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.

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.

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.

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.

We were postwar middle-class white kids living in the slipstream of the greatest per-capita rise in income in the history of Western civilization; we were 'teen-agers' - a term, coined in 1941, that was in common usage a decade later - a new, recognizable franchise. We had money, mobility, and problems all our own.

The notion of making money by popular work, and then retiring to do good work, is the most familiar of all the devil's traps for artists.

I would recommend to someone that has the money to experience the experience of giving to another and purchasing me a Veyron. A Bugatti Veyron. That will really make you want to give to your fellow man.

People who lose money always need someone to blame.