Zitat des Tages von Freddie Wong:
People always ask us, 'When are you guys gonna do a movie? When are you gonna do a TV show?' And to me, that feels like such a step backwards from where are.
Kickstarter has shifted from funding creative projects to funding products and videogames; the biggest funded are consumer electronics and video game projects.
YouTube's a funny place because so many creators fall into their aesthetics out of necessity and the visuals are driven out of an urge to create. You get a lot of interesting examples of interesting design choices that have roots in practicality as well as an artistic sentiment.
Defying genre conventions is instantly a risky move.
I think if you make good, interesting content with compelling story lines and good characters, people will tune into the web for as long as you want them to.
Drift racing is expensive.
As you reach more people, there is a potential to make a living with what you are creating, and that's the goal.
I don't think a lot of people really know what goes into something that they see.
We're able to push the envelope with what we're doing, both on a technical and artistic level, which is the most that any filmmaker can ask for.
We are video consumers first and foremost, and we hate anything appearing in the videos that isn't organic.
A vlog look is a very specific look, and it's basically a phone look.
People predicted in the 1910s that live theater was going to be all gone and that we'd just be watching movies. No, live theater is still around, because it does things that are specific to it.
When we started doing YouTube, the goal was, hey, let's make stuff that we want to see, that entertains us.
I get occasional tweets from people asking what shampoo and conditioner I use. I go straight for the Costco brand, Kirkland brand, the bulk shampoo. That's as far as I go.
Thanks to Netflix and Hulu, people are getting more and more used to consuming longer stretches of content on their televisions or computer screens.
We were looking for representation that was creatively and commercially in synch with our core DNA. The team at WME understands where we're going, and we're looking forward to taking our company to the next level with them by our side.
Online is another way for all of us to reach people.
Gamer humor ranges all over the place. What it comes down to is taking a lot of what we see in gaming and we're familiar with in gaming and being like, 'OK, hold on, let's re-examine this for a second. Isn't this funny? Isn't this strange? Isn't this a little bit ridiculous?' That's where it is.
It's rare to find a corporate partner who encourages true creativity, but our meetings with Lionsgate's creative team convinced us that this is the right move for RocketJump and our millions of fans.
Views online is a real weird and sticky subject. One view on a 30-second piece of content is not equivalent to one view on a 30 minute video. In my mind it's not quite the same thing.
We don't believe in competition.
On the advertising side, view count is not the most important thing. It's engagement.
Straight-up digital delivery will be the way the future works.
We take a lot of pictures with fans, and when they walk away, their parents say, 'Who was that?'
Visual effects have always been a part of this art form. And CG is simply a tool on the filmmaker's tool belt to tell a story, but when the end result is bad - maybe it's not the tool's fault.
Shooting on location and dressing locations in Los Angeles is shockingly expensive, especially when you're talking about webseries-level budgets, so the opportunity to build our sets in YouTube's space gives us a lot more room in our budget in being able to create the world of 'VGHS' properly.
I'm not even very good at most video games.
When you have a home and create a brand people believe in and want to support, it makes it easier for you to control merchandise and sell it.
A better quality of video is better for everyone.
Venture capitalists don't pay attention to you unless you have an app or a widget.
One of our goals is to figure out ways of diversifying where we are.
Content financing is a difficult beast no matter what era of Hollywood we're talking about.
There's a lot of history here. In terms of Asians in this country, you have a big influx after the Cultural Revolution, a big influx after the Korean War, a big influx after the Vietnam War.
Film gives us the luxury of deciding where the viewpoint of the audience is, and by knowing that, we can very effectively design around what is actually seen on camera.
Everyone talks about, 'Get your foot in the door,' but I never understood that mentality. Why would I want to go in that house? Why not build my own house? Why not take a chair and smash a window?
We want to be a studio that makes a whole bunch of stuff we believe in, in all ranges of scale and time and length, and own as much as that IP ourselves and generate as much of that IP ourselves as possible.