Quotes of All Topics . Occasions . Authors
I think a lot of social media creators have always been, like, content and haven't pushed the limits because no one else had pushed the limits before. I say to myself, 'How can I create my own TV show online every day and actually make it a real production and put effort into it?'
There's this thing in TV that I find hysterical where the writers and creators will ask us if you want to know what happens to your character or if you want to experience it episode by episode. In the theatre, we always know the ending; we always know where the character is going.
We started having more developers who wished they could develop on Roblox forever, but they were starting to go off to Google and get jobs. It struck us that this whole platform play, where the creators were powering the fun, we could wrap it into powering the monetization as well.
This has always been a small agency with a big mission. But these days, especially, we have to stand up every day, deliver value into the hands of small-business owners and get taxpayers the biggest bang for their buck so that we can help these job creators do what they need to do.
Historically, WordPress has been purely focused on the writing side. However, we're thinking about mobile completely differently, and I think there's a big opportunity to take the community of creators that loves WordPress and deliver an audience to the amazing things they're making.
John Carter was also one of our first recognizable superhumans and there is little doubt that his extraordinary physical feats inspired Superman's creators. Remember: before Superman could fly or turn back time, he was nothing less than an earthbound crime-fighting John Carter in tights.
And what could be a hotter ticket than the improbable triumph of 'The Book of Mormon,' the musical-comedy moon shot of the season? Its creators, Matt Stone and Trey Parker, of Comedy Central's 'South Park,' are the most unlikely Rodgers and Hammerstein team ever to bowl a thundering strike.
We are providing a platform to creators who are expressing their emotions; they are expressing what they are feeling - fears, joys, terror. That's what art is about, and we don't want to censor it, but neither would we permit violence which feels gratuitous or glorified to be on our platform.
YouTube is growing up, is basically my view of it. Growing up means our creators are growing up; they're getting more well known. We're providing programs for them to generate more revenue so they can generate even better, high-quality shows, and then also connecting them with the advertisers.
Game creators aren't necessarily all sitting around twirling their nefarious-looking mustaches while consciously trying to figure out how to best misrepresent women as part of some grand conspiracy. Most probably just haven't given much thought to the underlying messages their games are sending.
The really cool challenge of '24' was learning on camera how to be a dramatic actress. The biggest difficulty was the industry side of things. I was very lucky that I had Joel Surnow, one of the creators of '24,' in my corner. Early on, the Fox executives couldn't believe that I was on the show.
The Internet is going to have a bigger impact on content creators than the television ever had. The reason why that's the case is that suddenly you're able to tell stories 24/7 in the home, out of the home, in every room of the home. A television screen can be in your pocket through a smartphone.
It's important to debunk the myths of Africa being this benighted continent civilized only when white people arrived. In fact, Africans had been creators of culture for thousands of years before. These were very intelligent, subtle and sophisticated people, with organized societies and great art.
There's a widening of an idea of what a TV show can be or how it can be told, and that's partially in the diversity of the creators and the stories. Because there are so many new networks and streaming services popping up every day that need more content, there are more opportunities to take risks.
Every product you have ever loved was a compromise from the ideal vision of its creators to the realities of shipping on time, on budget, and on price point. Anyone who has ever manufactured a physical product that had to be on the shelves for Christmas shopping knows how painful these choices can be.
When I was asked by Pacific Comics for an original creator-owned series, my first choice of those several characters was Ms. Mystic. Since I always try to advance the work of other younger creators, I asked the young Mike Nasser if he'd like to join me in this project. He said yes. Mike created nothing!
'Station to Station' came out of a sense of urgency - a sense that culture, be it art, film or architecture, has become so compartmentalised. For this project, we wanted to break that and create a language that is more nomadic and less materialistic and really empowering for the creators and the audience.
The implication is that this basic idea we have that we are controlled by our genes is false. It's an idea that turns us into victims. I'm saying we are the creators of our situation. The genes are merely the blueprints. We are the contractors, and we can adjust those blueprints. And we can even rewrite them.
The story of Detroit's bankruptcy was simple enough: Allow capitalism to grow the city, campaign against income inequality, tax the job creators until they flee, increase government spending in order to boost employment, promise generous pension plans to keep people voting for failure. Rinse, wash and repeat.
My aunt was Frances Hodges, who in the Fifties was the editor of 'Seventeen' and later one of the creators of 'Mademoiselle.' She was my Auntie Mame; she loved culture. She was a Quaker, but she became a milliner against all Quaker logic - they feel that fashion and art are vanities - because she loved fashion.
My own belief is that rather than getting involved in trying to change the reality of social-political things, creators can be involved in and express in different ways and be meaningful in different ways, so for me, it's important to leave messages to people of the future and to be engaged with the people now.
I'm really happy that more and more people are making their own comics. I remember how daunting it was for me to just put pen to paper, page by page, until you had a finished comic, but the way new creators are doing that and bravely bringing their unique voices and experiences to their work is really inspiring.
As one of the first creators on YouTube, I've been fortunate to sit in the front row, witnessing the remarkable evolution of digital media. The experiences and knowledge I've been afforded are invaluable, and I'm excited to take that skill set, together with Endemol Beyond, to build a reliable, reputable business.
Netflix, Amazon, iTunes - whatever platforms emerge - we are looking at as having the same potential that home video had for the movie business. Which means there are entirely new opportunities to monetize our capital investment in content and do so in ways that work for distributors, for consumers and for creators.
The value of streaming platforms is estimated at a few billion dollars, and creators can only afford a pizza without pepperoni at the end of the year with the revenues. Without musicians, all those platforms wouldn't exist, so we urgently need an appropriate and sustainable business model for musicians for the 21st century.
Being a perfectionist is really difficult. You're never really happy with what you're doing, no matter how good it is. When you can just release that pressure and be in someone else's work and still have the respect of those creators to bounce off the page and give your ideas that they can take or leave? I really enjoy that.
Every year, in our country, we churn out more job seekers rather than job creators. We have to look at new business models, identify a problem, and work on a solution for the same. Today, the machines I have created have provided employment to many women in the rural areas across the country. Why can't youngsters follow suit?
The sets on 'Defiance' are incredible. I've never really seen a set like this, where the world is so built around us. There's not too much left for us to have to imagine. We do a lot of stuff on the green screen as well, but when we're outside in the streets, it's all there. It's amazing! The creators have just been incredible.
I always think about the fact that PewDiePie, who has tens of millions of followers, started with zero. All of my favorite creators started with zero. And all it takes is one video to dive deep, and you are officially a YouTuber. So you've got to make that first video. It's not going to be your best, but you will learn as you go.
You look at Superman, the story of an orphan coming to America, keeping his identity secret and even the names, Kal-El and Jor-El, you can trace lines to the background of the creators, Jerry Siegel and Joe Shuster, both Jewish. Overall, there was a remarkable confluence of events that led to the medium and the Jewish participation.
The truth is, truly passionate media creators don't get into the media business to make huge gains from spectacular unicorn exits. When it happens, we certainly all cheer (and perhaps secretly hope it happens to us). But the fact is, we make media because we don't know what else to do with ourselves. It's how we're wired, so to speak.
There are so many voices on YouTube, and there are incredible creators that are popular for a reason. And although it's great to be inspired by them, nobody is going to subscribe to a second-rate version of them. It's really important to put your best foot forward and be your best self because you will always be the number one version of you.
The future of ballet is really in the hands of the creators, so if it's something that interests them to push the envelope with gender roles, then I think it will change. But if that's not of interest to a dance-maker, if their interest is to sort of preserve the way things have been done for the past 200 years, then nothing is going to change.
