Freddie Wong Quotes
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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.
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The moment you've brought a toothbrush to work, then you're getting into crunch time.
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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.
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We are video consumers first and foremost, and we hate anything appearing in the videos that isn't organic.
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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?
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If you can't answer the question 'What is VR adding to that experience?' - and it should be more than just a gee-whiz thing - then that project shouldn't be in VR. You're not taking full advantage of your medium.
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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.
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Drift racing is expensive.
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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.
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When we started out doing YouTube videos, I think we were very, very early on in terms of people doing a behind-the-scenes component.
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As you reach more people, there is a potential to make a living with what you are creating, and that's the goal.
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I have to credit high school for allowing us to mess around with movie stuff at a time when it was a novelty. Experimenting with that and having a very good group of friends to work with made it a very easy decision that this seemed like something I wanted to do with the rest of my life.
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When we think about a great movie, I mean, what do we think about? We think about story, we think about character. And when the visual effects aren't perfect, we forgive it.
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Five years is a very long time. If you think about it in terms of just people's lives, in terms of who our audience is: if you were in high school when you first saw our stuff, you're in college now.
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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.
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Straight-up digital delivery will be the way the future works.
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We take a lot of pictures with fans, and when they walk away, their parents say, 'Who was that?'
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VR has a whole range of things it's very good at, and there's a lot of things that it's going to be deficient at.
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Defying genre conventions is instantly a risky move.
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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.
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We founded RocketJump for two reasons: to provide quality entertainment and to reach as many different audiences as possible.
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The consumer is the absolute king in everything you do.
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Video content yearns to be free.
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From a creative perspective, we've been very fortunate in that doing it the 'VGHS' way gave us unlimited freedom. Whatever we wanted to do, however we wanted to do it, we had that.