Ted Sarandos Quotes

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.

Networks can typically invest tens of millions of dollars in the development of a pilot. And if they put the show on the air and it fails, that’s all lost money. There’s no monetization of a broken series.

I love, personally, the experience of going to the theater, going to the cinema.

I think what’s going to happen with linear television is it’s going to become more linear. It’s going to become more about events and more about award shows, live sports – all those things that, really, you can’t replicate.

I don’t want to kill windowing; I want to restore choice and options.

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.

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.

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.

Our value proposition to consumers is so much more about completeness than freshness. Having the complete season is so much more valuable, in our business model, than having last night’s episode.

The star of ‘Narcos’ and the director and creator of ‘Narcos’ are both Brazilian superstars. So Brazil has received ‘Narcos’ particularly well as it’s been well-received around the world.

If you want to go out and see a movie and sit in a dark room with strangers, it’s not an experience you can replicate at home.

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.

‘Crouching Tiger, Hidden Dragon’ is not a direct-to-video, low-budget sequel: it’s a big film. And it’d be fantastic to have the opportunity to see it on the IMAX screens at the same time, and IMAX has made arrangements with us for that to happen.

There’s no such thing as ‘too much TV,’ unless we’re all spending more and not watching more.

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.

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.

I don’t think on-demand brings anything extra to sports.

When we started looking at the bigger television ecosystem, you see that there’s not that many serialized TV shows being made for TV. The economics are lousy: They don’t sell into syndication well; they’re expensive to produce.

Our feature film, ‘Crouching Tiger, Hidden Dragon Two,’ has a built-in fan base from the original film.

On Friday night, if you want to go out on a date with your wife or your girlfriend, nothing on Netflix competes with that, right? Because you’re getting out; that’s what you’re doing. If you don’t want to put your shoes on, nothing in the cinema competes with the worst thing on Netflix.

I have a deep respect for the fundamentals of television, the traditions of it, even, but I don’t have any reverence for it.

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.

The current distribution model for movies, in the U.S. particularly, but also around the world, is pretty antiquated relative to the on-demand generation that we’re trying to serve.

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.

Being able to compete for consumers’ attention and dollars over the preciousness of access is a thing of the past. Everyone is using the Internet to globally market a product.

We are anxious and open to all forms of doing business in China.

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.

I think being a partner with the studios and networks and, more importantly, being a great source for consumers to watch that programming is always going to be a part of our programming mix.

Netflix has always had this interesting ability to get non-mainstream content to be watched by the mainstream.

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.

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?

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.

You need to get in studio; we’re excited about the Pay 1 opportunity with Disney because those movies are not just movies. They’re amazing family content that get flexed over and over again, forms great loyalty with our subscribers, and it’s a real trust brand for parents as well.

The two things that got everyone’s attention about the ‘House of Cards’ deal was the two-season commitment and David Fincher. After David Fincher directs a series for Netflix, no one else can say, ‘Well, I’m not going to direct a series for the Internet.’

There’s not a lot of really great, deep, serialized television, and we can see from the data that that’s what people want.