Ted Sarandos Quotes
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Netflix has always had this interesting ability to get non-mainstream content to be watched by the mainstream.
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The major international appeal for 'House of Cards' was kind of a surprise because it's a very American show. What we learned is that American politics is very American, but greed and corruption and all of that is very global.
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A lot of our animation projects are co-productions with French production companies.
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When we set out our original program from the beginning, obviously our markets were pretty limited, and we were thinking about them mostly as U.S. shows, and they would travel like other U.S. shows have.
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There are films like 'Interstellar' where you cannot replicate the experience of seeing it in IMAX - it's an amazing film presented in a spectacular way. It really is an experience, like going to Disneyland, and you can't replicate that by watching home videos of going to Disneyland.
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The future of how the networks and studios deal with Netflix and Hulu and Amazon Prime Instant Video is certainly going to determine their future.
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'Walking Dead' has done great on Netflix, but to pay for the full output deal just to get 'Walking Dead' didn't make sense.
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We expect 'Narcos' will be an enormous success throughout everywhere in the world and maybe out-index in Latin America, given the Brazilian star and Brazilian director and heavy Latin American cast and that we shot the show entirely on location in Colombia.
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The television business is based on managed dissatisfaction. You're watching a great television show you're really wrapped up in? You might get 50 minutes of watching a week and then 18,000 minutes of waiting until the next episode comes along.
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I don't want to kill windowing; I want to restore choice and options.
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I love, personally, the experience of going to the theater, going to the cinema.
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Why not premiere movies on Netflix the same day they're opening in theaters? Listen to the consumer; give the consumer what they want.
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Typically, if you buy a studio with a library, their library is pretty well licensed out many years in advance, so you are not really gaining access to the programming in that way.
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The tax incentives in place for 'House of Cards' in Maryland have resulted in hundreds and hundreds of jobs and not just for actors, but for carpenters and waitresses and hotel workers. The amount of hotel nights and meals that the production of a television series brings to a state is staggering.
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I always love that phrase, 'Oh, this is a good idea, but it's execution dependent.' As if anything in life is not execution dependent. Breathing is execution-dependent.
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David Fincher's work has all been incredibly well-received on Netflix, and Kevin Spacey's films have all worked on Netflix.
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Theater owners are exerting a lot of power over the studios to withhold access to content that people want to see. That's bad for consumers, that's bad for studios, and ultimately, I think it will be bad for theaters.
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I don't know that on-demand sports is remarkably better than live sports.
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I think that we've got a huge head start on things that are not easy to do: progressive streaming, to be able to stream in very high quality, even in an environment of highly variable bit rate, and to work on a big variety of devices seamlessly.
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Within the U.S., you could have argued that most people who watch 'Mad Men' would watch 'House of Cards.' But the viewing is much more on par with the large-scale mainstream things like 'The Walking Dead.' It was much younger than we thought.
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We try to guide with a light touch. Sometimes we can be helpful, and my goal with my team, both on the series side and on the film side, is that the collaboration should always be invited. In other words, we're not looking to impose our view on the filmmaker; we hire a storyteller because we love the story, and we love their ability to tell it.
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When we say a show is successful, it's because, relative to the investment, it's successful, relative to how else we would have spent that money on licensing something else, does this creation - did it attract the audience that it was built for.
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The typical output deal from a studio is 10 to 14 movies a year.
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The Disney deal for us, we are very excited to be their Pay 1 partner, where we are a big licensing partner of Disney all over the world in all different windows.