Freddie Wong Quotes

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I'm not even very good at most video games.

Defying genre conventions is instantly a risky move.

Non-studio entities can experiment with storytelling that might be too niche... for a studio.

As you reach more people, there is a potential to make a living with what you are creating, and that's the goal.

Online is another way for all of us to reach people.

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.

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.

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.

Thanks to Netflix and Hulu, people are getting more and more used to consuming longer stretches of content on their televisions or computer screens.

A lot of people have difficulty wrapping their heads around what VR is good for. And the direction people go first is wrong. The wrong place is always: How can we do something we've done before, but on this?

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.

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.

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.

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.

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.

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.

The Asian male has an interesting history as far as Western appropriation. At one point, we were completely sexless Chinamen building the railroads. Then, World War II came around, and it was like, Asian guys are coming after the white women. We became a menace for a second.

One of our goals is to figure out ways of diversifying where we are.

Venture capitalists don't pay attention to you unless you have an app or a widget.

The goal is not to just do 'Video Game High School' every year. We want to grow into a real content production company. We want to be Pixar or HBO. We want to make five series a year or 10 series a year.

Content financing is a difficult beast no matter what era of Hollywood we're talking about.

At the end of the day, we still make the things that we make. And we found that the best strategy in this very fluid marketplace is to not be tied into any given platform, but to be able to make good content, and good content will be able to live anywhere.

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.

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.

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.

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.

If it doesn't feel organic to the audience, you gotta trust your gut.

A better quality of video is better for everyone.

We don't believe in competition.

I don't think a lot of people really know what goes into something that they see.

I think some people have a vague idea, but the general public has no clue what the actual behind-the-scenes of filmmaking is and what this profession is.

A vlog look is a very specific look, and it's basically a phone look.

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 take a lot of pictures with fans, and when they walk away, their parents say, 'Who was that?'

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.

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.

The consumer is the absolute king in everything you do.

Hollywood is just a bunch of middlemen, people trying to facilitate content transfer between creators and viewers.

I don't think any reasonable person would object to you, as the advertiser, having say in who and what you want to pair your ad with.

A user who essentially costs YouTube money has very little say. The way to have a say is to concretely support the creators and channels you watch directly by giving them money.

I want to see more people push what it means to be a web show... because it's very difficult to make a living making those types of shows.

Deep engagement is much more powerful and valuable than fleeting mass market engagement.

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.

The moment you've brought a toothbrush to work, then you're getting into crunch time.

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?

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.

While it's easy to sit back and cherry pick bad visual effects and blame the industry for making movies the way they are, you're really not seeing the whole picture.

Great visual effects serve story and character and in doing so, are, by their very definition, invisible.

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.

When we started doing YouTube, the goal was, hey, let's make stuff that we want to see, that entertains us.

We have an audience, the ability to fund our own projects, own our own projects, the ability to display our projects unencumbered by any middlemen. That's the perfect scenario.

We firmly believe the future of television is online, and Hulu has recognized the value of quality long-form series.

We believe that the future for content-creators such as ourselves lies in being able to source project money from an audience and deliver on those projects in a timely and cost-effective manner.

We've always wanted to control the video player for our videos. We really want to evolve how comments on videos work.

We always said that directors work their whole lives to get final cut on a movie. We have that. So why would you want to run away from what every other director is sprinting toward their entire careers?

Drift racing is expensive.

In general, a lot of content creators find that their success is unable to support any sort of organization of scale. It's pretty difficult to support even three or four employees.

The Lionsgate deal came at an opportune time. It allows us to get our projects financed and create long-form content without needing to be reliant on brand deals or crowdsourcing for external financing.

Hulu understood how much content costs. By remaining defensive, YouTube is losing various aspects of video - long-form, for example - to other companies.

YouTube is the place where people go to consume advertisements willingly. It's some capitalist dystopian nightmare.

I feel like we cheated... because you read about these other directors, just like, 'Damn! They paid dues for 10 years before they got to get behind the camera.' We cheated because technology was in the right place at the right time, and we were alive at the right age at the right time for us to take advantage of that.

Video content yearns to be free.

You have to figure out some way of making money without relying on video ads or people paying to download.

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.

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.

We have full creative control, we have a giant audience that loves what we do, and we can make whatever we want.

We are not frou-frou creative types. We have done both sides of the business and are constantly asking ourselves, 'How are we going to pay for this?' But the criteria is that it must fit with our world.

We are video consumers first and foremost, and we hate anything appearing in the videos that isn't organic.

It's hard to sell merchandise off YouTube.

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