Top 43 Kickstarter Quotes & Sayings

Everybody has something now. It's become very over-saturated, and it's hard to weed out what's good, what you should watch and what you have time to watch. And Twitter was much less crowded, at the time, and it was an easier way to reach people. So, the combination of having a great video, a lot more access to people through Twitter, and having Kickstarter be this new thing in. We tapped into it, at its inception, and got people interested in it just based on the concept of what Kickstarter was. The timing was right.

It's a lot harder for an author that's unpublished to say, 'Hey, here's a new book.'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.

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.

Kickstarter eliminates the risk that publishers and booksellers face. They have limited resources and limited shelf space, and Kickstarter is proof to them that something is going to work.

When you're at a film festival, you have a rapt and enthused audience and if you can point them to a Kickstarter campaign, that's a great way to leverage that enthusiasm. Even if you don't need finishing funds, it's a way to get outreach funds.

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.

Those projects most successful on Kickstarter - those that receive funding completely and quickly - do so largely because the creator has a strong social network and invites people to be engaged.

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.

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 way Electronic Dance Music [EDM] is manipulated and exported to the world is a very strong, and "total" concept. But it's not that interesting artistically. EDM is seen by some media as a kickstarter for kids who have no idea how deep dance music can go.

The truth is I've been doing Kickstarter before there was Kickstarter; there was no Internet. Social Media was writing letters, making phone calls, beating the bushes.

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.

Bernie Sanders' presidential campaign announced that it raised over $1.5 million in the 24 hours after he announced his bid. Meanwhile, a 12-year-old on Kickstarter just raised $7 million in five minutes after announcing his idea for juice box water guns.

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.

I never understood using Kickstarter for commercial purposes. If you want to raise money for commercial purposes, I think you should give someone a dividend. They make money, then you make money. It should be an investment, whereas I think Kickstarter's true purpose is raising money for things that are in and of themselves justifying.

I'm not planning a kickstarter game. And I'm not really a game designer.

Game ideas on Kickstarter have found loads of success, even when they're not as unusual as 'BlindSide.'

I think what i've also learned, is that doing Kickstarter and Steam Early Access before you've got something which is defined and playable is a hugely risky undertaking that can be very destructive to the final quality of the game.

So, to see the response to the Kickstarter, and to see people actually really want to see, hear what I'm doing, hear what comes out of my own mind, is really an incredible experience.

Kickstarter isn't a profit center, it's an organizer and an instigator.

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.

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.

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.

The Russian economy is tanking. It's gotten so bad that today Vladimir Putin had to pawn his stolen Super Bowl ring. And Putin will finance his next invasion on Kickstarter.

When I look at Kickstarter, I see small businesses that have been funded by their customers. I see the acceleration of this shift away from the industrial manufacturing ideology to more of a maker economy. And I also see an idea so powerful that the company name has become a verb.

If I could get an honest answer, I would ask Trump. "How much money would you want in order to leave the presidency?" Because I think he would have a number, strangely enough. Then we'd know how much to launch the Kickstarter for.

One of the successes of Kickstarter is that it takes the guesswork out of greenlighting games. Publishers of larger games have to carefully choose which titles they publish, lest they lose a bunch of money on a quirky game that doesn't sell. Kickstarter is all reward, no risk, since nobody has to pay if the project isn't completely funded.

With Kickstarter, people are patrons of the arts. With Mosaic, people can be clean-energy investors like Warren Buffett.

Someone should make a Kickstarter to get Taylor Swift a booty.

I fell in love with movies as a kid. I had been making shorts and making TV and making commercials and it's such a difficult, weird process of trying to wing your first feature, especially if you're not going to go and just have a Kickstarter and do it on your own.

I have a very warm feeling about Kickstarter 'cause I think it's the best of what we can be. It's people who actually help out our fellow artists. We actually kind of go into our pocket for something. It's very rare.

Artists are just entrepreneurs. It's up to them to figure out how or if they can make a monetary profit from their passion ? from their calling, as I discussed above. Sometimes they can. Musicians can sell music, even in the face of piracy. Or they can sell their services ? concerts, etc. Painters and other artists can profit in similar ways. A novelist could use kickstarter for a sequel or get paid to consult on a movie version.

Kickstarter has shifted from funding creative projects to funding products and videogames; the biggest funded are consumer electronics and video game projects.

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.

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.

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.

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.

When I see Kickstarter, I don't see a company. Instead, I see a social movement. I see people doing things for people.

Kickstarter can get customers invested, both literally and figuratively, in a game before it is released. With nothing but an idea, a bit of video and a few screenshots, a developer can start building a loyal fan base.

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.

What's great about things like Kickstarter is that it enables me, finally, and without any bad feeling at all, when people come up to me now saying, "I want to do this." I can just go, "There are no excuses anymore."

I have no problem with bands using participant financing schemes like Kickstarter and such. I've said many times that I think they're part of the new way bands and their audience interact and they can be a fantastic resource, enabling bands to do things essentially in cooperation with their audience. It's pretty amazing, actually.

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.