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“I knew Otto Kahn [According to the Figaro, Mr. Kahn on first going to America was a clerk in the firm of Speyer and Company, and married a grand-daughter of Mr. Wolf, one of the founders of Kuhn, Loeb & Company], the multi-millionaire, for many years. I knew him when he was a patriotic German. I knew him when he was a patriotic American. Naturally, when he wanted to enter the House of Commons, he joined the 'patriotic party.'”

“If you wanted to create jobs in a way that has minimal effect on the deficit but has government action, the two best things you could do are the infrastructure bank and a simple SBA-like loan guarantee for all building retrofits, where the contractor or the energy-service company guarantees the savings. So that allows the bank to loan money to let a school or a college or a hospital or a museum or a commercial building unencumbered by debt to loan it on terms that are longer, so you can pay it back only from your utility savings. You could create a million jobs doing that.”

“Basically, the UBR is a relic of an earlier vision for UDDI. The original vision for UDDI was as a standard that would help companies conduct business with each other in an automated fashion. The idea was that companies could publish how they wanted to interact, and other companies could find that information and use it to establish a relationship.”

“As an editor, I read Charlotte Rogan's amazing debut novel, 'The Lifeboat,' when it was still in manuscript. I read it in one night, and I really wanted my company to publish it, but we lost it to another house. It's such a wonderful combination of beautiful writing and suspenseful storytelling.”

“I wanted to do the comic strip. I tried to get it syndicated, and I sent some examples to a syndication company, and they sent me a rejection letter! I wasn't smart enough at the time to realize you shouldn't let rejection letters stop you. I thought that rejection letter meant I was not allowed to be a cartoonist in this world, so I put the rejection letter down and said, well, I'll be a stand-up comedian.”

“I had an idea for a medical conspiracy thriller. Since it was non-horror, I didn't want the publishers and editors bringing a lot of baggage - my history as a genre writer in the SF and horror fields, for instance - to the novel when they read it. I wanted them to consider the book solely on its own merits. So I called myself Colin Andrews. I was tired of seeing my books at floor level. Not that Herman Wouk and Phyllis Whitney and William Wharton are bad company, but I wanted to be up at eye level for a change, where people with bad backs could get a chance to see my books.”

“I tend to share whatever I know in general. I've never been a person to horde information for the sake of my own skin, you know what I mean? Not share so somebody doesn't take your job, I've never had that kind of insecurity. I also had a management company, too, so we were always one of those companies that shared information with our artists. Whatever they wanted to know, as much as they wanted to know, they could know.”

“My parents had an independent theater company here in Sweden during the 1980s, so I was raised watching my parents create independently, having a lot of fun and just doing what they wanted to do. I think that idea of independence as an artist was something I was always used to. And then I entered the industry from a very commercial perspective, and things were very different then from what I grew up with.”

“With my two brothers, Jean-Marie and Joel, I wrote a two-page story and wanted to make some kind of movie. We met a French production company, called Why Not?, and the first name we put on the list was Ken Loach. It was a dream for all of us. So, we tried and we met Ken and Paul Laverty, his writer, and they read the two pages and were inspired by that to do something. Paul had the freedom to do his own story - and he wrote his own story, which is better than the one we'd written.”

“I've always loved the beauty world. Ever since I was a child, I looked at magazines and wore fragrances and tried out samples and sets. I worked at Clinique in the creative department for a summer during high school. And when I graduated from university, I worked at Prescriptives. My uncle [Leonard Lauder, chairman emeritus of the Estée Lauder Companies] smartly had wanted me to go into a small brand - to figure out what part of the company I loved. I discovered I was passionate about the creative process, the product development, creating a concept around a fragrance or lipstick.”

“That first company I started made a lot of money for the venture capitalists - nearly $30 million - but next to nothing for the founders. The companies I started after that varied between failures and mediocre successes. But at no point did I ever consider getting a 'real job.' That felt like a black and white world, and I wanted Technicolor.”