Words matter. These are the best Kickstarter Quotes from famous people such as Brendan Myers, Om Malik, Jihae, Gail Simone, Paget Brewster, and they’re great for sharing with your friends.
My first Kickstarter project created a book called ‘Clear and Present Thinking’, a college-level textbook on logic and critical reasoning, which was made available to the world for free. As a professor myself, I observed that the price of textbooks was too high for some of my students.
When I see Kickstarter, I don’t see a company. Instead, I see a social movement. I see people doing things for people.
Kickstarter is such an amazing platform, it really is. It’s something great for independent artists of all kinds because every musician and every artist needs help to produce the record, make the record. It’s like the modern day patronage. It’s turning to your direct fan. It’s a good motivator too.
People who support Kickstarter, we love them all. We’re so grateful we have these products out here that allowed us to keep the copyrights and own them and everything, but people don’t realize just how massive an undertaking it is.
I’ve done a show at the Largo Theater called The ‘Thrilling Adventure Hour.’ We read, like, radio teleplays. It’s a send-up of radio dramas from the ’30s and ’40s. We just did a Kickstarter for that so that we can do a web series and a concert film.
It’s a lot harder for an author that’s unpublished to say, ‘Hey, here’s a new book.’ There’s nothing of theirs to read, so you don’t know what it’s going to be like. Kickstarter is great, but you also have to put your work out there whenever you can so you can build a reputation.
One of the best things about Kickstarter and crowdfunding and the collapse of the music business is a lot of artists like me have been forced to face our own weird mess about ourselves and what we thought it meant to become musicians.
While I’m confident in Obsidian being able to deliver a quality title, it only takes one other Kickstarter developer to ruin things for everyone else and cast doubt on the donation process going forward.
One of the smartest things Kickstarter has done, in my opinion, is give people a great shopping experience related to the arts, that funds the arts. In essence, they’ve gotten people to pay $200 for a t-shirt plus the feeling of participation in another artist’s endeavor.
The temptation, when you go into Kickstarter, is that the first three days are wonderful, and you believe you’re a god. You go in your spreadsheet and think, ‘If every day’s like day one, we’re going to have suitcases of money arriving at the front door.’ Then, it dips into this slump.
Kickstarter is perfect for us. It wasn’t something we heard about and just got to it. We did our research, met with the people at Kickstarter – they are brilliant, and they’re excited to work with us.
Twitter is maybe the worst thing. It’s cool when you can tweet out your show and be like, ‘Hey, come see my show,’ or ‘Check out this Kickstarter,’ but it’s also this weird 140-character vehicle for insidiousness.
Game ideas on Kickstarter have found loads of success, even when they’re not as unusual as ‘BlindSide.’
What I like on Kickstarter is when I see real innovation and I see people building something new. It makes me sad when I see things that are just the same technology; you aren’t passing the technology forward.
Kickstarter has shifted from funding creative projects to funding products and videogames; the biggest funded are consumer electronics and video game projects.
I really like Kickstarter because you don’t have to be a Medici to fund the arts and sciences or to get behind a big idea or a person that sparks your imagination. It’s a type of microfunding directed toward creators.
We’ve been working with Paul Bettner and the Playful team since the beginning of Oculus. Paul was one of, I think, seven $5,000 Kickstarter backers.
What I like about Kickstarter is it helps games that people want to play still get made, even if you don’t pump $20 million dollars into it to try and meet all the stupid bells and whistles that publishers feel must be in games nowadays.
I used the principles of Kickstarter to make ‘She’s Gotta Have It.’ We filmed that in 1985 to 1986. The final cost was $175,000. I didn’t have that money. It was friends, grants, donations. We saved our bottles for the nickel deposit.
