A Quote by David Baszucki
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.
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As our platform gets technically better, coupled with allowing developers to make real money on Roblox, that's created a virtuous cycle where the quality of Roblox games is continuing to go up and up.
For the first time we're allowing developers who don't work at Facebook to develop applications just as if they were. That's a big deal because it means that all developers have a new way of doing business if they choose to take advantage of it. There are whole companies that are forming whose only product is a Facebook Platform application.
Some of our developers are starting to make $20,000 a month, which is really significant... We're getting developers who are 14 and 20 years of age making more money than their parents, starting to make a professional career of developing games on Roblox.
I think that when I was first starting out, even after I was on 'Gilmore Girls,' when things were going pretty well, I was constantly focused on what's next, how can my career get bigger? I could've had a little more fun, and I think I could've had a little more gratitude for the job I did have.
When I started in the late nineties, it was all about young Hollywood. There were jobs for all of us if you were 18 to 21, were slightly good looking, or could be funny.
We experimented with different monetization techniques in 'Godus.' We had some events that you could go on which were time-limited. That didn't work terribly well.
Sometimes you have to wonder if there isn't an ejector seat built into having a popular-music career. We were lucky when we started. We were already old when we started - you could have described our first album as "aging Brooklyn guys." We were in our late 20s. We weren't octogenarians, but a lot of bands were already younger than us. Fortunately, we've held on to our manly good looks.
So the recordings were these immersive landscapes, and yet, unlike the performances that almost no one would see, I had a sense that these could live forever. I was just starting to get my head around the democratic aspect of art; I didn't want to make rarefied things that were either alienatingly obscure or elite and art-worldy, so a recording that anyone could buy was a great medium.
When we first started 'The Breakfast Club,' we wanted to have a video person dedicated to filming our interviews and sending out content. I think having video clips that could go viral, or get picked up by media outlets, helped us get syndicated, because people in other cities were familiar with us from having seen our videos.
Well, developers do want to touch a lot of customers. We have to make our platform very popular in order for them to do that. If we make their jobs easier, then they'll be more likely to stay on the Windows platform.
If an alien visitor were to hover a few hundred yards above the planet, it could be forgiven for thinking that cars were the dominant life form, and that human beings were a kind of ambulatory fuel cell: injected when the car wished to move off, and ejected when they were spent.
I think sometimes could I only have music on my own terms, could I live in a great city, and know where I could go whenever I wished the ablution and inundation of musical waves, that were a bath and a medicine.
The story of our band is that we were this relentless touring band in those early years. We were leaving day jobs and going off on the road and having fun and seeing the country for the first time. We were playing Chinese restaurants and basements and record stores and houses. We were crashing on floors and it was all new and exciting. It was like a vacation. It didn't feel like work. I couldn't wait to go on tour back then. I would be sitting at my day job or my apartment, just itching to go. There were so many adventures that were about to happen.
All the writers and producers around us that gave us the environment where we could play. They were able to provide us with a place where we could take chances to play with things, go against the grain and do things that people don't always do.
What goes through one's head when Disney asked for 52 more shows? I remember seeing that in the supplemental features...When they first said "52" I literally laughed, I thought they were kidding. They said, "Well, how many do you think could do?" And I said, "Well, we've got 6 scripts in the works, so 6 obviously we could do. We did 13 last year, I think we could do 13 this year without a problem." I said, "If we really pushed it, I think we could do 18." And they said, "What about 52?" I started laughing but they were serious and eventually they did get the 52 episode order.
When Jeff and I were first starting out and trying to make a name for ourselves, we were doing indy shows, and would take whatever we could get just to have as much in-ring time as we could.
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