Quotes of All Topics . Occasions . Authors
One of our secret-sauce powers is that our people don't just write checks and place the ads, but our employees go the extra mile to get things done.
I think we all have to ask ourselves, as leaders, do we have the right processes in place for complaints to be filed and for people to feel protected?
In the media business and as a creative executive, if you don't take risks, you're dead in the water. Calculated risk-taking is essential for success.
When I think about too much content out there, one of the things that comes to mind for me is just the volume of really outstanding creators there are.
We love the Vice guys; we believe in them. We're investors. We believe in them, in the creative work that they've done... What they built is incredible.
To effect meaningful change, you have to look at who's in the boardrooms, who has the financial control of businesses, and who has the greenlighting power.
At our core, we are a content company. That content has to be the very best. You can't be a company of this size and be doing what everybody else is doing.
It's easy for the board to say, 'Well, add makeover shows.' The No. 1 show for women in the United States is 'The Walking Dead.' That's not a makeover show.
I think people take for granted the success of the original content at A&E Networks and in building brands. People have selective memory on how long that takes.
Historically, we've had to think in increments of 30 or 60 minutes. And now we have to think in increments of six seconds to six hours and everything in between.
We have to take a really close look at making sure that we are more surgical and more tailored in dealing with the production community and our producing partners.
We were an entertainment brand, and if we were going to compete in an era of incredible growth in the cable industry, I felt we actually needed to be entertaining.
Shane Smith has led Vice from a fledgling magazine into a global media brand, and all of us at A+E are excited to work with him and his passionate and innovative team.
'The Hatfields and McCoys' is a classic tale of American history. These are names that are widely recognized, yet few people know the real story that made them famous.
My focus - even before becoming CEO - has always been memorable and unique content. And one of the most important things we did to reinforce that was create A+E Studios.
The directness of my mother is clearly in my voice. Her opinion is always a very strong opinion at the dining room table. I think she empowered me to have the same drive.
We need to get rid of bullying. We need to get rid of abuse. We need to get rid of harassment. We need to get rid of the casting couch. Instead, we need to build the bench.
So much of our audience is on mobile and online platforms, but there's something special, unique, and unexpected about engaging with such great content at the street level.
Vice has a bold voice and a distinctive model in the marketplace. This channel represents a strategic fit and a new direction for the future of our portfolio of media assets.
Owning content and original content has been our lifeblood - we've never been a suite of brands that's been reliant on a movie library or on rented series from other networks.
In the media business and as a creative executive, if you don't take risks, you're dead in the water. Calculated risk taking is essential for success. No one said it was easy.
I grew up in Bristol, R.I. I had grandparents and great-grandparents nearby, and because I was the only grandchild until I was 12, I was the center of a lot of adult attention.
Storytelling takes many forms, and even feature-length storytelling is often 90 minutes or two hours. There's nothing stopping us from trying to do that on a week-to-week basis.
I run a creative company, and the best way to support creatives is to make them fearless and willing to take big swings. That is an important part of our culture at A&E Networks.
I'm a very goal-oriented person, and work is really rewarding. It's how I take care of my family, and ultimately, I'm never going to let that responsibility fall to anybody but myself.
I have an innate passion and competitive streak to win and to create, and I want our team to be better than everybody else. Some people thrive in that environment, and some people don't.
From Abby Lee Miller's intensity and her students' incredible performances to their devoted moms and its high drama, 'Dance Moms' has become one of the most compelling shows on television.
Beautycon has done an incredible job growing and evolving their business into a major player not only in the experiential marketplace, but also the digital content and ecommerce businesses.
Hearst makes smart investments and partnerships across important industries, and HearstLive is the perfect opportunity to highlight the amazing innovations coming out of all of those brands.
We don't see the Lifetime brand as just a television brand. We see it as a female media brand. It has to represent what she is interested in, up and down the spectrum, in all kinds of content.
It's an honor to be the only woman in the room a lot of times, but I wish I weren't the only woman in the room. I still have to think in a calculated way about how to speak and what to speak about.
There are very few black-and-white truths in management or in business, but one that I have found is that people either hire people who are smarter than them, or people hire people they can control.
Panna is focused on the intersection of premium video content and digital product to deliver great experiences. Given those are areas of focus for FYI, we are extremely excited to partner with Panna.
The best advice I give to young people starting out is choose your boss. Regardless of gender, I think it is important to have someone who supports you and lets you take risks without fear of failure.
What I see around the management team meetings and the conference tables I sit at is that there isn't that same comfort level in other women who are rising the ranks. And I don't know how to fix that.
The perseverance and the strength and the determination and the sacrifice that so many millions of people have had to endure to form this country is far greater than anything that we can really imagine.
I'm enormously proud that I can do a deal with the National Women's Soccer League to showcase the power and passion of women athletes as positive role models, not only for my daughter but also for my son.
Personally, I feel a strong responsibility to make sure that we have women equally represented in our executive suites and that we employ women in front of and behind the camera and in our writers' rooms.
When you look at the increase in the number of scripted series and the number of unscripted hours, the pool of producers hasn't grown at the same rate. So I think there's a bit of a creative tax on the system.
The beauty of the media business is all about what is next. You put your mistakes behind you. Learn from them and move on to the next project. Having some degree of success is integral to a risk-taking balance.
In Vice, I saw all of it in one. I saw a studio. I saw a content creator. I saw an agency. I saw a distributor. We want to learn from them. They're talking to a generation we're struggling to connect to as an industry.
I'm not a very patient person. I'll take those quick risks to see if it's going to work versus taking the long and tortuous road of trying to guarantee myself that something will work. That's like self-mutilation to me.
I interned at NBC News and had a great experience there in both New York City and Washington. After graduating, I got an entry-level production job at PBS in Boston. There, I developed the bug for programming and production.
It's hard for me to accept the argument that millennials are not watching TV. I'm not one to believe that our culture of TV consumption is changing dramatically. It's just how we consume and where we consume it that's changing.
We've learned that you can't just put your promos up in a digital environment and expect the consumer will accept that as shortform content. It needs to have a unique point of view and style and execution that is tailored to that platform.
I would love to see more swings in areas that we haven't explored. I can't necessarily tell you what that is - I think you know it when you see it - but I think we've had a lot of the same-themed shows in broadcast, but those shows are still performing.
I think that the strategy around FYI is really a corporate strategy, and that's that every one of our brands that we invest in have to matter and that we need to commit to building brands and investing in those brands, or we need to get out of that business.
You had a generation of women, of which I'm part, where it was a stigma to be associated with feminism; there was a backlash. Now you have a generation that is clearly embracing feminism because, at the end of the day, the definition of feminism is just equality.
Sometimes people get fairly obscure just for the creative license of it, and that can backfire. Iconic stories are iconic for a reason, and there are so many incredible, iconic history stories that have not been told that we don't need to go too deep in the well yet.
There's still too much filler, copycat programming that's out there. We work so hard to pioneer new ideas, and then those ideas are just regurgitated by other networks. That's not good for anybody, I think. That's not good for our business. That's not good for our audience.