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Adam Sandler is a remarkable movie brand.
I don't think on-demand brings anything extra to sports.
The typical output deal from a studio is 10 to 14 movies a year.
We are anxious and open to all forms of doing business in China.
I don't want to kill windowing; I want to restore choice and options.
We're closer to HBO than we are to the entire grid of cable on demand.
I don't know that on-demand sports is remarkably better than live sports.
I love, personally, the experience of going to the theater, going to the cinema.
A lot of our animation projects are co-productions with French production companies.
'Orange Is the New Black' and 'Sense8' have enjoyed great success all over the world.
Our feature film, 'Crouching Tiger, Hidden Dragon Two,' has a built-in fan base from the original film.
The longer people watch Netflix and the longer they stay members - they're the criteria of success for us.
Netflix has always had this interesting ability to get non-mainstream content to be watched by the mainstream.
I think when you see 'Ridiculous Six,' the show speaks for itself in terms of its treatment of American Indians.
In the first week of release, 'Beasts Of No Nation' was the most watched movie on Netflix, in every country we operate in.
There's not a lot of really great, deep, serialized television, and we can see from the data that that's what people want.
'Walking Dead' has done great on Netflix, but to pay for the full output deal just to get 'Walking Dead' didn't make sense.
David Fincher's work has all been incredibly well-received on Netflix, and Kevin Spacey's films have all worked 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.
'Marco Polo' had some negative reactions in the press. Viewers have loved it, and the volume of viewing has been phenomenal.
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.
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.
Why not premiere movies on Netflix the same day they're opening in theaters? Listen to the consumer; give the consumer what they want.
'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.
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.
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.
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.
The future of how the networks and studios deal with Netflix and Hulu and Amazon Prime Instant Video is certainly going to determine their future.
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?
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.
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.
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.
I always love that phrase, 'Oh, this is a good idea, but it's execution dependent.' As if anything in life is not execution dependent. Breathing is execution-dependent.
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.
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 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.
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.
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.
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!
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.
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.
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.
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 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.
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.
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.
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.
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.