If I have something that I've finished with, and someone else might find value in it, the idea of passing along for a price is a rational transaction. It exists in many aspects of our lives. But I do have to say that media is a different beast.

As a creative, as an artist, I'm just excited when people want my stuff, and want to experience it.

You can polish and iterate and double down on what the magic was. You can make a much better thing. A much cleaner thing, a much more solid thing. And that's what 'Borderlands 2' is to 'Borderlands.'

Taking 'Duke Nukem Forever' on was a very easy decision for me to make.

I'm in the business to make games - I love entertaining people.

I have immense respect for Christopher Nolan for taking a character called 'Batman' - taking a comic book - and making people believe in him in a real world context.

Each scenario in 'Battleborn' is kind of like a TV episode, you can play them in any order, and each one has a beginning, middle, and end. And they are super replayable.

Why is 'Borderlands' different from every other game with respect to DLC? It's because we haven't really worried about what the past models are. We just thought about what would be fun for us to make and what there would be demand for if it were to exist.

Things that are created with passion tend to work out better than things that are assignments that we don't really want to do.

Demand alone might let a business case be created, but things driven by that will have a risk of being soulless. You need it being driven from both directions. You need the nexus between demand and creative passion that wants to make something.

If you're making entertainment on a grand scale, if you're reaching millions, there will be tens of thousands of people who absolutely hate us, and some percentage of those will take it upon themselves to let us known how they feel.

There is always the person who's got to stand on the sandcastle, they must crush it.

A mission to entertain the world is a good one because it's impossible to achieve.

If you're going to take a risk, some people will like what you offer, and some definitely won't.

I think the first things I did, I used to try to create digital versions of Dungeons & Dragons that would help me generate a character, that would roll the dice for me.

I remember when I discovered The Beatles with music and The Beatles peaked before I was born and when I discovered them I felt really special.

No gamer, whether you've played 'Duke 3D' or you haven't, can play 'Duke Forever' without having experiences that surprise them.

When we shipped 'Borderlands 2,' we didn't ship it with a plan of how the level cap was going to increase. We didn't have any software built or strategy in place.

I've only experienced it a few times where you get to have a thing that simultaneously gets some critical respect, some critical success, while also having sales success. Sometimes you get one or the other if you're lucky.

Just as 'Half-Life' redefined the first person action game, 'Half-Life' for Dreamcast redefines what an extension of a great PC game to console should be.

The philosophy at Valve and Gearbox is that if things can't be done better, they shouldn't be done at all.

Good games teach what works and bad games teach what doesn't.

Blue Shift' is a game that I'm very proud of.

The key is when we make mistakes, we want to be able to correct them and we also want to be able to learn from them so that we do not make the same mistake twice.

There's no trend lines that work in entertainment. You can break any trend line by offering value that we as consumers of content want.

Do something good, and people want that! Do something less good, and people want it a little less!

There are several cool cross-overs between 'Blue Shift,' 'Opposing Force' and 'Half-Life.' The plots are all designed to work nicely with themselves and the observant player will catch many cross-references.

From a narrative perspective, 'Blue Shift' for the PC and 'Blue Shift' for the Dreamcast are very similar.

If you're successful, 'Blue Shift' has what many have called the most satisfying 'Half-Life' ending yet.

Usually when we finish a game and we're at the end, we're sick of it. We want to put it in the box and be done with it. But with 'Borderlands,' it's actually become a productivity sink at Gearbox, because we're just having fun.

Sometimes we do derive some entertainment when we 'appreciate' something, and sometime we feel something when we're moved. So a lot of game makers want challenge themselves with 'can I move someone?' or 'can I get them to respect me as an artist?'

I mean, of course there's art in video games - duh.

When I'm in line at the grocery store, I might pick up one of those tabloids. I might not even buy it. I'm just gonna sit there and read the headlines and chuckle at how stupid that stuff is, even though I'm reading it anyway.

I've decided, because we have a short time here, that those of us that create joy and happiness, that's a really noble thing.

I have a lot of respect for those in medicine that are trying to extend our lives or help us when we're sick.

But it's only through joy and happiness that life has any value or purpose.

I'm just a boy with a dream from Queens. Just a queen from Queens.

I think that I did inherit a very expressive face from my mother and my grandmother.

Well, the first restaurant I worked in was Hooters.

I'm very - I'm not very sure of anything in my life, but there's always been something in me that has known that I'm going to get where I'm going, one way or the other.

I did have a thing for mazes. When I was a kid, I remember drawing little mazes constantly and puzzles. I loved that.

I always considered song parody kind of cheap.

Music in general, but really musical theater has always been a real coping mechanism for me.

Comedy is able to point out things in ways that more serious people cannot.

Comedy illuminates. And it unifies people, it's not as polarizing as shows with specific political agendas.

The worse things are on the world stage, the more fodder there will always be for comedians. But at the end of the day, I trust in my abilities to make comedy and create art, with or without Donald Trump.

I started out doing musical theater specifically - I thought I would eventually move to New York and audition for stuff, and maybe wind up on Broadway or something. Well, that didn't happen.

I moved to New York in 2003, I was a very young 22-year-old, so I just kind of started finding my way as a human and was working odd jobs here and there.

I mean, musical theater really informed so much of my life. It just so perfectly brings order to chaos, which is why we love theater.

I'm not really that political and I love the idea of a sitcom. But a lot of people want me to become the next Jon Stewart.