Ted Sarandos Quotes

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.

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.

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

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

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

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.

'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.

Why not premiere movies on Netflix the same day they're opening in theaters? Listen to the consumer; give the consumer what they want.

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

In the first week of release, 'Beasts Of No Nation' was the most watched movie on Netflix, in every country we operate in.

Adam Sandler is a remarkable movie brand.

We're closer to HBO than we are to the entire grid of cable on demand.

The typical output deal from a studio is 10 to 14 movies a year.

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

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.

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.

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.

'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.

What we are going to do is continue to grow our content spend on original programming, both in absolute numbers and as a percentage of our total spending, because it's been working. It's been helping grow the brand; and more importantly, it's been driving viewing hours relative to how else we would spend the money.

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.

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

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.

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!

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

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.

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.

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.

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.

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.

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.

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.'

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

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.

Movies are becoming more global, which is making them less intimate. If you make a movie for the world, you don't make it for any country.

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.

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 don't know that on-demand sports is remarkably better than live sports.

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.