Ted Sarandos
Ted Sarandos
Ted Sarandosis an American businessman. He serves as the Chief Content Officer for Netflix...
NationalityAmerican
ProfessionEntrepreneur
Date of Birth30 July 1964
CityPhoenix, AZ
CountryUnited States of America
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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.
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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.
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'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.
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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.
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Why not premiere movies on Netflix the same day they're opening in theaters? Listen to the consumer; give the consumer what they want.
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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.
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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.
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We are anxious and open to all forms of doing business in China.
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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.
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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.
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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.
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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.
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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.
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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.