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What's weird is the Hot Boys and the whole New Orleans Cash Money thing had a really big impact on the Bay when that was popping off. I don't all the way understand it. I mean, I know that they were big everywhere and had a lot of commercial success in the mid to late '90s, but they were really, really felt in the Bay Area.
I never really think so much about commercial success; I usually just think about records that move me, and 'Baby Got Back' was one that moved me.
I know a lot of people who have tremendous commercial success and they go directly for it. There's something that has always been difficult about that for me.
Rock became an incredible commercial success, people just became bored with serious music, and it was forgotten.
I've rarely gotten a good review in my life, yet, to paraphrase Noel Coward, I am happy to console myself with the bitter palliative of commercial success.
Years of imprisoning and beheading writers never succeeded in shutting them out. However, placing them in the heart of a market and rewarding them with a lot of commercial success, has.
I've had lots of commercial success. I've also had some terrible reviews and some wonderful reviews.
When you hold things back, when you don't commit completely to your ideas and trust completely in your own instincts, you are guaranteeing your own failure - even if you end up having commercial success.
A film has to be for commercial success as well as earn you respect as an artist. You don't want to do only things that are designed to run commercially, and neither do you want to do things that get acclaim but don't run.
It has nothing to do with commercial success. You cannot calculate in your head how to put the mosaic together to make a commercial film: that's out of the question.