Ted Sarandos quotes:

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  • 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 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.

  • I think when you see 'Ridiculous Six,' the show speaks for itself in terms of its treatment of American Indians.

  • 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.

  • 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.

  • Adam Sandler is a remarkable movie brand.

  • 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.

  • 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.

  • 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.

  • 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.

  • Orange Is the New Black' and 'Sense8' have enjoyed great success all over the world.

  • 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.

  • 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.

  • 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.

  • 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.

  • 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.

  • 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.'

  • 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.

  • 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 U.K. has been very progressive about on-demand, and the iPlayer has been a great invention. It has trained a generation of viewers to expect on-demand - unfortunately, it trains them to expect free!

  • A lot of our animation projects are co-productions with French production companies.

  • 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.

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

  • 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.

  • 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.

  • When we show you all these various pieces of content on the site, how frequently do you take the one that we present? And of the one you took, how frequently do you completely watch the whole series? And do you rate it, one to five stars? So if we presented it to you, and you watched it, and you rated it, that's a big win.

  • I really loved the 'Sopranos' but didn't have HBO. So someone would send me tapes of the show with three or four episodes. I would watch one episode and go: 'Oh my God, I've got to watch one more.' I'd watch the whole tape and champ at the bit for the next one.

  • 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.

  • 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.

  • 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.

  • 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.

  • Marco Polo' had some negative reactions in the press. Viewers have loved it, and the volume of viewing has been phenomenal.

  • 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.

  • Walking Dead' has done great on Netflix, but to pay for the full output deal just to get 'Walking Dead' didn't make sense.

  • 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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