YouSaid · the spoken record

James Cameron

lines on the record: 62
first: 2017-01-27
most recent: 2017-01-27
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“So bring back to intermission. That's super exciting and interesting. I also like the narrative tool that the intermission was. You know, at one particular divides it into two before and after. Yeah, take a sec digest. And where are we when we come back? You know, it was part of the story architecture. It was actually where the climax.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“I mean, all that'll change. I mean, there are so many tentacles in VR. It's not sort of one trick pony. I think you'll see successes in certain areas and failures and others. But for me, this next year is going to be really focused on. Proving that you can tell an emotional tale, have it compelling enough for people to sort of engage and want to sort of see more of.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“That you couldn't translate plays to movies and movies. Now to VR. There's going to be a lot of new language Storytelling medium being created, but yet sometimes using some of the same fundamental core principles about what makes people emotionally. Well, I just love this idea.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, it is Alice in Wonderland, but look, we can read a book and we can adapt that to a screenplay and we can do certain things. I think if we can follow character paths, character arcs and write a story to each of those arcs. Which all ties together at the end with one broad narrative”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“I'm just so interested in how you write that kind of choice into the story. It will have to be a story that has a kind of multiplicity to it. Adding free will into it, that's the hard part, figure out where that fits into narrative. The writing challenge around that. To make it not like Kyla saying, choose one door.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“But the next generation of gaming platformer storytelling is the same as the first computer game or game narrative format. You've entered a room, go through the door? Yes. It's just that with much more impressive visuals.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Really quick story is that when it first started VRC, one of the first things I wanted to do was prove that it could be a cinematic tool and not just a gaming tool. So I did a four-minute test that I called there, which is basically a little girl taking you through this dream-like landscape. And I ended up showing that to Stephen. And it was, I just remember the look on his face. It changed everything in his view of VR. And so I was at his house. He was inviting all his grandkids and everybody else to watch. And it was just a really moving moment. And what it proved to me is that you can... Do something in storytelling that's emotional and compelling and where we're going now, we are doing branching narratives, which is really cool.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“There's lots of talk of that, and we're talking to people about that. I think you could very realistically see 30, 40 seat theaters pop up with seats, motion-based seats that are synchronized to the experience itself. So you'll have that option, or you can go home and perhaps everyone will have their VR set up at home in very similar model. Right now, it's so early. And you're right that mobile is where we're really focused on right now, but that's going to change over time as people, I'll tell you what the key is, is when there's more compelling content, there's content that people are willing to buy. It'll happen”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“So given the rate of adoption of these VR headsets, several hundred thousand units each for the Rift and Vive, let's say, does the idea of having some other form of getting to people sound, like are you interested, for instance, in the arcade model of set up places at a movie theater where you go see Star Wars episode 8 and here is a Star Wars high-end VR experience, or here is Ready Player One, here's a Ready Player One VR experience.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Initially, where you get, you know, when you have sites like Steam and Oculus site and all these, these will be the first places that you're able to sort of download, but I can see very clearly a time when you will have this sort of Netflix-like library to choose from and pay for a subscription.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, do you think that it's something along the lines of Netflix or HBO where you kind of pay for this all-access bucket? Is it something where you basically pay for a session? You get to spend 20 minutes in Avatar for $10?”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, again, I think we're in the infancy stages of things. I mean, you can play a 2D game and be compelled on your iPhone, or you can go home and turn on your Xbox. It depends on a decision that you make and what sort of fidelity and interaction you want. But what we're trying to do, and it's in these early days, is be platform agnostic and pay attention to all platforms. It's looking ahead three years from now, and what's going to happen. And planning now for when... The market is there when people adopt to a certain platform. So right now a lot of what I do is thinking about the future and more.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“The thing is, because it's so much cheaper, it's something like 5x more devices have been sold than on the high-end things attached to a PC. So how do you think about kind of the tug of I want to reach a bunch of people and the tug of I want to make the coolest things possible with VR today?”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“So, something I'd love to touch on is kind of the intersection of your art and the business of it. As a creator and someone wanting to take advantage of the capabilities of the annoying platforms, because with VR today, there's kind of the high tier where, again, as with the Martian, you've got your head and hand tracking that lets you be this other person. Whereas on mobile, it uses the same sensors that are in your phone for checking whether you turned it to the side so that it should play video horizontally to detect rotation of your head. And so it's kind of this fishbowl of video around you.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, from day one, I knew that there was going to have to be a symbiotic relationship between the technical and the creative. And so from day one, my intent was to be a pioneer in the content of VR and not an innovator in any new sort of hardware.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“When you get a powerful. So this shift we're talking about the handset and the hardware makers, we're talking about the studios and we're talking about the content and the creators. We're talking about the filmmakers, old and new and in between. There's all these different players. There's distribution and there's platforms. So we have this whole ecosystem. Where do you fit?”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, the reason I say that is because creative people in general, once they join forces with the smart minds and the technical people behind all of the new technology, then we'll start to see it really staying.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“I go back far enough where I witnessed analog to digital, right? In the first place, where computers were these things no one knew about. What was interesting is in the early days of computer graphics, it was the people that built the equipment themselves that were making stuff. And I remember a very specific time where when the creatives of Hollywood and visual effects and all of those people joined forces with those technical people, and that's when it all of a sudden you saw an explosion of really good Visual effects CG work.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Unfortunately, it's a bunch of little proof of concepts of, oh, we actually can guide your attention from one side of your body to the other without needing to necessarily control where the camera's pointed. How do we keep your attention but still give you the freedom of feeling like you have agency and you can look at whatever you want”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Avatar was in 2D and 3D. You know, the majority of the people I talk to found the 3D version compelling and emotional. So I think this argument for both. But look, it's always going to boil down to storytelling, writing, a compelling storylines and really interesting characters. And in VR, I hate to say this, but I feel like we're at this sort of parlor stage of things right now.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“To be more distracting, because while there was a very immersive, tangible, tactical quality to it, it was very distracting from the actual emotional experience. Whereas the first time I saw it without the 3D, I was in completely emotionally immersed because I was just so lost in this story of a woman trapped in space and in her own life, essentially”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Gravity is an interesting example to me because I actually saw it in two forms. I saw it in its regular movie, like the flat version. And then I saw it in the 3D, which I know is not VR just for the sake of terminology and clarification. But I found the 3D version.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I don't know. It's actually really interesting because VR is literally a brand new medium. I mean, and it's still in infancy, if you will. Right now, it's been introduced mainly in the gaming world, but part of the important part is to find that first narrative storytelling event in VR that is so compelling and emotional story. Yeah, with real actors and makes you feel something. And once that happens, I think a floodgate of other storytellers will get involved. And when I first saw the movie Gravity, for instance, I thought, oh, I love that.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“What are you going to see in VR is there's going to be more choices of what experience you want. I mean, there will be the possibility for you to participate in a film and there'll be other times where you want something to unfold in front of you and just take it in and let somebody tell you a story. I have the choice right now to go to a movie theater, sit back in the dark, and let somebody tell me a story. Or I could go home and turn on the Xbox and control my own moves.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“What are some of the tools that you're starting to get inklings? This is actually going to open up a different opportunity for us rather than just problem solving to make sure that we don't get sick All that references a new kind of access to emotional.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“That's where the horizon becomes so important. So fascinating. I love that you mentioned the theater experience too, because something that struck me about VR is that in a way it's like almost like going back to reading and being so psychologically immersive, right? And it's almost removing the screen that put us at the move. Yeah. Like the chapter wasn't really a standardized function of the novel until the Bible. Like the point of view wasn't a common thing until Eisenstein filmmaker.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Communicated well enough today is the fact that nausea typically it's not the hardware itself, oh if you use this gadget, you're going to get sick from VR, it's experiences built in a certain way using acceleration in a certain way, moving the camera in a certain way. That's what leads to it. And it's something that you can label and highlight and say, hey, this experience tends to do things in a way that to a subset of people might make you feel a little bit. So if you don't”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, let on a rail, let the people do the looking. Because when you take that ability away from them, they feel that as well. You know, I think that eventually we'll probably see some sort of motion rating system.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, it's like real life. I'm looking at you guys, and when you talk, I look at you, and when you talk, I look at you. So it's not just audio cues, it's visual cues. You can edit, by the way. You just have to do it in clever ways. I've done a lot of... Research in motion because obviously if you artificially give somebody a sense of motion, they can not feel well. So I spent a lot of time figuring that out. And one of the things I figured out is, you know, keeping the horizon correct at all times.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“I mean, the rule book is still not been written on how to make narrative storytelling in VR. I like to sort of look at it a little bit like a Broadway play, for instance, where there's a director and actors in front of you that are conveying a story to you. And you can sit in any seat in the theater and still be told the same story. If you were to jump up on stage and get in the middle of all of that, you would feel as though you were intruding. There's a lot of psychological elements that go along with creating storytelling in VR.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Like Of gaming, there's a game that I played. I don't play that many games, but it was a game called Extrasolar, which was all like exploring Mars and super high def. And it was very scientific and you were on this mission to find it, but you had no, I abandoned it after a while because I had no idea what to do next. And that was a game, not a VR immersive environment.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Some other narrative experiments I've seen. They've got done away with putting sci-fi floating text in front of you instead have what looks like a physical road sign like with a giant arrow saying go here next.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“I think there's a lot of interesting ways that people have a sort of finding, it doesn't have to be linear necessarily, obviously, but it's interesting how people are finding these ways of almost providing a weird sort of skeworphism for VR, for lack of a better frame.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“I was talking to Ridley along the way, and he was kind enough to let us work while he was in editorial still on making the actual film. But he allowed us to take their footage and experiment with it. So I came up with this thing I called box cutters, which is basically floating windows that come up and down like an edit. So it's fascinating. It propelled, you're still in VR and things feel dimensional, but it's still propelling the narrative forward.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“That's right. And you're in a spacesuit. So, you know, if you don't have that, you don't have a complete sense of immersion in what's happening. So that was incredibly important. And I think groundbreaking in many ways.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“We entered into that and like we entered into Avatar, which is really can we do this at all? And this is long before any of the hand controllers were available and all of that stuff. So we were working with literally soldered together hand controller prototypes and things. But rather than having floating hands, like we all see in VR, we actually came up with a way to do the IK for inverse.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, exactly. And so I'm curious, are there other kind of limitations that people talk about when it comes to film that you think actually that's not a weakness? It lets us experiment in these other ways.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“I was going to say, that's one of the things I found most impressive about the Martian, the virtual reality company is famous for anything today. It's the first production that you did with Fox Innovation Labs, which is the Martian, basically letting you be Matt Damon stuck on Mars for a couple minutes.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Story. Lots of movies where you didn't know there were visual effects in them. But what you get known for is the fingerprint, and that's the fantasy stuff. So in VR, what we haven't seen yet is, and what I'm trying to do with VRC is to bring the gaming world and Hollywood together in a way that hasn't been seen before”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“I do. And I was just on the phone this morning with somebody talking about this because, you know, when I was doing, not directing, but when I was doing visual effects, I would work on all types of movies. And each one of them is singing, if you will, different songs. So for instance, when I was a visual effect supervisor and I was doing a film like Walk the Line, no one knew there were visual effects in it.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Know a lot of these movies that you've done and worked on have this archetypal story feel to them, the fairy tale or even avatar sort of a Jungian, you know archetypal story. Are there genres or types of stories that you think you'll do a better job of telling with VR that they'll open up a different kind of way of talking about?”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“They're not linear. So I think that the fidelity will get better. The viewing systems will get better. And one day you'll be able to go into the worlds of Pandora, wherever you want to go, but in a very, very real way, you know, right now, when we're running at 90 frames a second and through game engines and things like that, there's a tremendous amount of material and information happening. And we all know that that stuff will get better over time.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“I think very much like Avatar. I look at things not today, but five years from now. Ideas will always be ideas that are catching up and the tech is catching up. They're constantly trying to sprint together.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“That very day. I read it. I got up and I actually cold called Oculus. They were still just a small group in Irvine at the time and asked if I could come see what they were doing. And they cordially said yes. And so I immediately went down there and they invited me into their little secret room. And that very day, what I saw was exactly what I hoped I would see. And that is that finally, you know, we have a viewing system that would allow us to step into these worlds that I've always dreamed about. And it sort of shocked me in a very big way. And so on that same day, I walked down to the cafe of their building and called my two other friends and said, we're starting a company today. And that was for the virtual reality company, VRC. Fantastic.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“The world of avatar, yeah. But at the time, the movie came out, the tech wasn't there for the headsets and all that for VR. But I did want to keep my eye on what was happening. And I went off to do other things. I designed Alice in Wonderland right after that. And then Oz, the great and powerful after that.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, even then, at the end of Avatar, I was thinking, Jesus, just a matter of time before we are able to create a viewing system where we'll be able to sort of walk around Pandora and actually go there and...”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Detailed world. I mean, it was sort of what we, sort of a previous state. It was like video game level. But everything that we did on that stage went to the visual effects people who just upgraded that to higher res models and all that stuff.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Quality rendering. Yeah, I used to call it the crayon version. Ultimately, what the film would look like. Oh, okay. Right. Obviously, when we first started Avatar, I remember the first meeting where we saw the test of motion capture and the capabilities. The first test was just one figure hopping over a little gray log. And Jim said, okay, we can do this, right? But by the time we were finished, technology had advanced so rapidly that we suddenly were making the movie in a fully”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“The camera itself was completely virtual. In other words, you were looking at a screen, but Jim had the ability to, you know, change that into any lens, any scale of movement. So you could have a technocrane move or just a little bitty move, all with the same. The ability to use any lens or any camera movement. If you just move your hand three inches, could be a 100 foot move or it could be a three inch move. So the ability to scale and to move around was unbelievable. And that was just to record.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source
“Partly. So actually, the entire movie, there was a section of the movie that was shot in New Zealand which were actual sets and actual actors. But the majority of the film was actually all motion capture, which means that all the actors had motion capture suit on. And we were in a warehouse in Playa Del Rey. And it was just a big gray, huge building with infrared cameras everywhere. And we had terrain simulations on the ground so that when the actors went up and down and over logs and things, it would feel like they were, yeah. Yeah, and we just replaced that with the digital stuff.”
2017-01-27 · a16z Podcast · a16z Podcast: Building Worlds with VR, Art, and Narrative · IDENTIFIED FROM THE TRANSCRIPT · source