Ted Sarandos Quotes
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What if you could radically alter the way stories get told? What if the way people wanted to consume content actually changed what you could make?
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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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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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Our feature film, 'Crouching Tiger, Hidden Dragon Two,' has a built-in fan base from the original film.
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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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Typically on a TV series, the writers on a show are writing for their life almost every episode. When someone sits down to write a Netflix show, they know there's going to be a 13th hour.
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The best way to really make the VPN issue a completely nonissue is through global licensing that we are continuing to pursue with our partners.
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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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I think when you see 'Ridiculous Six,' the show speaks for itself in terms of its treatment of American Indians.
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I feel like if we can use the combination of basically data-driven hunches and bet on really first-class talent to deliver the shows, that I think we could do as well as the networks do, who basically have a 75 to 80 percent failure rate for new shows anyway - even after all that development and pilot work.
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We're one of the largest employers in Canada for animation executives, and there is - I think something on the magnitude of $140 million a year be important to the Canadian economy producing animation for Netflix.
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What I didn't want to do is get into a ratings race with television because really, for them, it matters. For me, it doesn't.
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I think we can launch - successfully, high quality - around 20 original scripted shows a year, which means every 2 1/2 to three weeks you're launching a new season or a new show on Netflix meant to be for really diverse tastes all around the world.
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'Orange Is the New Black' and 'Sense8' have enjoyed great success all over the world.
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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.
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To me, cinema is not a movie or a TV screen, and it's not a seat in a building versus one in your living room. It's the art of motion pictures.
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More and more what we're licensing, we're licensing on a global basis - even though the studios aren't orchestrated to sell that way yet, my bet is that they will.
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Adam Sandler is a remarkable movie brand.
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The real great news is, in the piracy capitals of the world, Netflix is winning. We are pushing down piracy in those markets by getting the access.
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'Orange Is the New Black' was by far the most watched show in both France and Germany and, in fact, all of the markets that we launched.
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Netflix is distributed in 50 countries around the world. It's an incredibly affordable, well-distributed product that gives anyone with access to the Internet and a screen access to content in a very affordable way.
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There's not a lot of really great, deep, serialized television, and we can see from the data that that's what people want.
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I don't think, by the way, that any network would have given us their show to release all 13 episodes once ahead of them, and the same way, I don't think any studio will give us their movies to release the same day they are in the theaters - not yet, not yet.
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We're closer to HBO than we are to the entire grid of cable on demand.