Cory Barlog Quotes

The biggest fragility in a project is often just the inability to be able to explain to people why you are doing it, and when you're going to do it, and what's going to happen.

No new projects at the moment. There are restrictions to how much I can take on. And I need to finish those that I am committed to do before thinking ahead. But I'd rather they take final shape before we talk of them.

At the end of the day, though, there are a huge number of considerations that our management team go through before accepting any project - checking out the license is just one of them.

I work on OpenBSD fulltime, as the project leader. I set some directions, increase communication between the developers, and try to be involved in nearly every aspect of the base system.

Hofstadter's Law: It always takes longer than you expect, even when you take into account Hofstadter's Law.

You can’t really understand the challenges involved with any major tech project until you start trying to build it.

I've been in charge all my damn life, but executive producing is teamwork. You're involved with every aspect of the production, from casting to locations, everything.

Once you have a blueprint down, you start talking to all the other heads of department to see if and how they can help to execute what you've imagined, and so things change and evolve. And then you have to make it work within the budget and time frame, so things change even more.

Keep the team as small as possible. Having been on several of these mega-projects, they seem to grow magically. People are attracted to the project like moths to a flame.

You give a team a month - three weeks - to get together, and you're going to make mistakes. You're just not going to be as sharp.

Creeping featurism is a disease, fatal if not treated promptly. There are some cures, but, as usual, the best approach is to practice preventative medicine.

It is most difficult to deal with. There are so many plans, so many schemes, and so many reasons why there should be neither plans nor schemes.

If we have as a clear certainty with which to plan, total uncertainty, then that would be helpful.

Amid a multitude of projects, no plan is devised.

The great problem now is that we don’t know what to do.

I completely agree with feeling the need for or the benefits of being pushed and of being directed on a project and collaborating.

When I did a high-profile project, I was not the developer of it.

As a studio executive, I took the approach that people are competent until proven otherwise. But when you make a movie, because there is so little time to fix things when they break, you have to almost come to it with the mindset that everyone is incompetent until proven otherwise.

When I was a student and rushing to finish a project, my gut instinct was usually to keep adding all kinds of features. It's a way of papering over the fact that you haven't quite nailed your concept yet.

It's difficult to gel players.

I enjoy juggling four or five different projects in the air and finding connections and disconnections between them.

In management terms, directing opera certainly prepares you for a film set: the magnitude of it, the experts in other fields that you have to call on. Both are massive ensemble jobs in which there's incredible pressure to get things done on time and on budget - so much so that making the wrong decision may be better than making no decision at all.

I don't believe in projects of more than three years.

I think projects often fail because people do not have a clear understanding at the start what they are trying to deliver.

God of War' was a 40-60 person team. It was a lot of very different, very passionate, very crazy people.