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.

— Ted Sarandos

“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.”

— Ted Sarandos

“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.”

— Ted Sarandos

“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.”

— Ted Sarandos

“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.”

— Ted Sarandos

“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.”

— Ted Sarandos

“It's a massive consumer frustration around the world about how long they have to wait after the U.S. to see television shows and movies. In the U.S., there's the frustration of having to wait a year to watch a movie in the format that you choose.”

— Ted Sarandos

“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.”

— Ted Sarandos

“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.”

— Ted Sarandos

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.

— Ted Sarandos

“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.”

— Ted Sarandos

“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.”

— Ted Sarandos

“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.”

— Ted Sarandos

“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.'”

— Ted Sarandos

“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.”

— Ted Sarandos

There are films like 'Interstellar' where you cannot replicate the experience of seeing it in IMAX - it's an amazing film presented in a spectacular way. It really is an experience, like going to Disneyland, and you can't replicate that by watching home videos of going to Disneyland.

— Ted Sarandos

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.

— Ted Sarandos

“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.”

— Ted Sarandos

“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.”

— Ted Sarandos

“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.”

— Ted Sarandos

“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.”

— Ted Sarandos

“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.”

— Ted Sarandos

“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.”