A Quote by Gabe Newell
What's the right way to think about the distribution part of Steam? You need to worry about viruses and people trying to publish other people's content, but the underlying thing is to eliminate that barrier between people who create stuff and people who want to have access to it.
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When I write stuff that's provocative, I want people to think about that, too. I'm in between a pop musician and an artist in that way. I want people to be part of the music as they listen, but I also want them to think: What was that?
I'm trying to honestly do what I want to do, in the most honest way, and not worry about the consequences, because what's the worst thing that can happen? People don't like it, I go home. I'm not going to get hung by my thumbs. And as long as I don't read the reviews or care about what people say on a website or worry about those kind of things, then I'll probably be very happy.
People think memorizing lines is hard, when that's the last thing you worry about. You get that done, and then you've got to worry about the internal stuff, which is the challenging part.
I think the future fashion will be more and more separated-like, on one side would be big distribution, and on the other side there will be high-level prêt-à-porter and couture. I mean, the prêt-à-porter is already couture in a way for the prices and the way that it's made. The big distribution will allow people to dress in a fashionable way, so this could be for everybody. This part of the big distribution will be stronger and stronger, but the other part we are coming up on is more and more rich people, because we are always thinking about Europe and about America.
There are other people coming out now, like Adele, people who are making their own music, doing their own stuff. That's a good thing. I think that music's okay. I don't think we need to worry about it.
The thing about doing concerts is that it's doing a live show. It's on my schedule. It's songs I want to sing. It's saying what I want to say. It's working with the people I want to work with. I don't have to worry about pleasing other people - I can do what I want, and people come along and go for the ride.
It's not about pop culture, and it's not about fooling people, and it's not about convincing people that they want something they don't. We figure out what we want. And I think we're pretty good at having the right discipline to think through whether a lot of other people are going to want it, too. That's what we get paid to do.
We can be aggressive at the right time with the right stakes when it comes to price. But I think for us, it starts and ends with people. And generally speaking, venture investors will say that. Right? That people are very important. It is all about the people. But at Anthemis, it is beyond "all about the people." Because it's almost exclusively about the people. We've been operating this way for a while.
People don't care how you feel. You need to paint pictures, you need to tell stories. That's what people want. They want to be entertained. Then all of the other stuff kind of filters across as part of the whole thing.
People think, for some reason, that I don't care about creativity and art, or helping people. So I would say that the biggest misconception is, when you think about me, when you think about my name, I don't want you to think about design or clothes or music. I want you to think about a person that's just trying to help people.
There are two things that matter when you're making music. First, that you're doing what you love, even if it's crazy and other people tell you it's crazy. The second thing is the only people you really need to worry about are the people who love your music, not the people who speak badly about it.
I never worry what people think about me anymore. Just go out and say what you need to say. People worry about people so much.
Every once in a while someone says, 'You can't really learn anything, if you're really a writer then you wouldn't need to do it.' But I think what people need is the sense of not being alone. They go to MFA programs to be part of a community of people who care, and then you start caring about your friend who is trying to edit a magazine and your other friend who is stuck in the middle of her poem. There you have all kinds of things to worry about besides your own success.
The thing is, right now the films don't need to be overtly political to be about our times. We also need films that are just human, that are about people. People need that, too. It's like we need to reconnect to what it is to be human. Not just what our political situation is. That's not what I'm thinking about exclusively. Human content is needed again, as it was in the '70s. I think films were more human than they've been since then.
So I don't worry about, and people shouldn't worry about a draft I think we're in good shape, I really do. And, if not, we'll - I'll address the nation. But I don't see any need to right now.
I really think people are greatly stimulated and enriched by experiencing in film just as we can from novels and other art, experiencing things that resonate with what our lives are about. I think people really want to know... want to share, want to have the stimulus to think and care about the way they live their lives, the way they relate to other people, their aspirations, their hopes, et cetera.
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