They will open up to what I would call corporate broadcastings where the non-commercial material will have air time. There's no possibility of that here right now, none.

Any new producer starting up is to get investors' confidence. Investors are still very very wary of anything to do with the arts world.

Film is the most expensive, highest risk industry in the world.

The more commercial work that is happening, the more people are operating cameras and are setting up studio lights, the greater the opportunity for drama production to happen.

We probably do not have a large enough industry here to ably support the independent filmmaker to move in and out. Much of the industry is based on full-time jobs here, institutionalised jobs.

Video just accesses international information so much more readily.

All the arts are predominantly national, and therefore the Australian Film Commission should be funding us. The battle gets more and more vicious each year.

We are here predominantly to support independent filmmakers and their needs. We are also here to assist people actually in their production, non-commercial people in their production.

We are the only state that does not have a State Film Corporation there to support the commercial industry.

It will never be Hollywood, the same way people think it should be. I think it will grow and it will be healthy and it will expand into more than one production house.

The tensions are always based on financial resources. Something like film is very problematic because it is viewed as an art form and also as an industry with a pure commercial base.

We're under the Arts Council under the Minister for the Arts. The Minister for the Arts and the Minister for Industrial Development have great difficulty in agreeing over who should fund what in terms of film.

We are not yet at the point where our size, our being the drama industry, is sufficient to support full time professional crews, and that is very very important.

In 1975 Australia was producing things like Picnic at Hanging Rock, in other words films that I would consider still some of the finest products to come out of Australia. I think that our quality now is less than it was then.

I see any production of any nature being good for the development of the whole industry.

The existing documentary makers still believe that it is impossible to produce drama material in this State, otherwise they would be doing it, they say.

The dichotomy between art and industry is totally dysfunctional in terms of film.

The worst thing that you can do in terms of bringing a product up to the market is to be two days after someone else has brought a similar product to the international market-It's dead.

We discovered that there was a great deal of keen interest in America for the kinds of products that we thought could be produced here. Also there was an interest in Britain for Australian material generally.

I think the long-term effect of video on cinema is good in that what we are now getting up there on the screen is of superior quality. Videos are just so much more sensitive to the world.

You have always had individual directors who begin in the advertising or commercial world, but they are probably exceptions rather than the traditional pattern.

They will open up to what I would call corporate broadcastings where the non-commercial material will have air time. There's no possibility of that here right now, none.

Ten years ago I was not heavily involved in the film world but on reflection it was a boom time with the mineral boom happening, so there was immense growth for industrial training films, documentaries to do with the mining, and the outback world.

The British needlewoman follows blindly where the merchant leads.

Build into each budget the cost of hiring and don't lump yourself with capital investment.

The State Film Authority will be there for film as industry only, as is the case in all the other states, except Victoria. Victoria is moving more now into supporting non-commercial films.

Most independent filmmakers in Britain and North America work for commercial crews and then have their own projects when they've got enough money saved up to do so.

The tensions are always based on financial resources. Something like film is very problematic because it is viewed as an art form and also as an industry with a pure commercial base.

Corporate partners help UNICEF fund our programmes for children, advocate with us on their behalf, or facilitate our work through logistical, technical, research or supply support.

If we can just take a few companies, and use those as models, as examples, to show the rest of corporate America how they can become more competitive, that's what I'd like to do and that's what I hope to do.

I don't see it in terms of changing things, but rather using language and music as weapons for fighting a mainstream media which is predominately right wing, and loyal to the political framework and its corporate interests.

The cultivation of sensibility on purely personal lines may, in fact, be the very worst training for a world where only the corporate and the cooperative will matter.

I think most corporate executives are good honorable honest men and women who do good work.

My expertise was in public finance, particularly corporate taxation, since I had worked at the US Treasury.

Pulling the plug on the BlackBerry could cost corporate America millions of dollars. The BlackBerry is more than e-mail but a handheld office, and if you shut down the BlackBerry, you shut off the data that powers American business.

First, his job approval ratings have been trending down for many months, a trend that has accelerated in recent weeks as the war on terrorism has been supplanted in the public's mind by corporate scandals, stock market declines, and a growing sense of economic insecurity.

The number of great museums and nonprofits versus the number of corporate headquarters is incredibly out of whack.

This is a struggle for the soul of the Democratic Party, which in too many cases has become so corporate and identified with corporate interests that you can't tell the difference between Democrats and Republicans.

Yes, we have the freedom to do what we please, but it only works because we don't do everything we might please - we should exercise some degree of personal, and corporate, responsibility.

Pixar is going in the direction of the early Disney. And it's also corporate, where they have four or five projects in the works. I don't want to get into that subject.

We have in this country a federal government that increasingly is engaged in trying to determine which business, which regions, which industries will succeed, which will not through a whole range of economic development, regional development corporate subsidization programs.

Welfare distorts behavior, makes one less personally responsible and reduces the role of private charity. This principle applies to corporate welfare.

When we give a subsidy, the benefits to the public ought to exceed the benefits to the company. When it doesn't, that's our definition of corporate welfare.

The corporate outings were fun, but after doing them for 25 years, they got to be a little old hat.

Even now it is no longer composed of the traditional political class, but of a composite layer of corporate leaders, high-level administrators, and the heads of the major professional, labor, political, and religious organisations.

The most meaningful engine of change, powerful enough to confront corporate power, may be not so much environmental quality, as the economic development and growth associated with the effort to improve it.

Also, the commercial media in a superior position, really, to any other corporate lobby, because where would people hear about commercial media or corporate media criticism, where would they hear criticism of them other than in the commercial media?

The trouble, in my opinion, with corporate America today, is that everything is thought of in quarters.

I felt devalued and disrespected. The energy behind it felt disingenuous and motivated by corporate profit.