Countries like France should not be naive. We don’t have a French YouTube or Amazon or Netflix.
There was no DVR, no Netflix, and no binge-watching. We didn’t even have a VCR till I was nearly out of high school.
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.
While there continue to be critics of the Comcast-NBC merger, it’s hard to argue that competition in news and entertainment has diminished as a result, given the rise of Netflix and Amazon and the explosion in entertainment options that followed the merger.
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.
We provide a breadth of live and catch-up content – what we define as this season’s content, none of which is available in the Netflix rerun world.
We in the independent sector more than anybody need Netflix, because they care about what we do.
I’m going to go do a Netflix series. It’s straight-to-series, 10 episodes, probably go for three seasons. I’m going to direct the pilot and hopefully the last episode of the first season. The show is ‘Seven Seconds.’
The realm of making microbudget stuff will always be totally in our control. Most of the time, we just pay for those out of pocket. Then there is stuff that’s too expensive for us to pay for, and we want partners on, like ‘Togetherness’ and ‘Animals’ and some of our original Netflix movies.
I see us continuing to expand our contracts just as we’ve done with Netflix and with Telemundo. We are not just bound to the traditional employers that we’ve had in the past.
I’m sure many more people saw ‘Hush’ in the first weekend it was on Netflix than saw ‘Oculus’ in theatres.
There will be more chances for films to be released through streaming services, such as Netflix.
Netflix is my homepage.
Marvel and Netflix have proven they know what they’re doing.
The Netflix thing with Nas is more of a documentary, where we kind of… talk. We go to my neighborhood. You get to see where I’m from and all that. And then, I’m in the studio with Nas.
On Netflix and other streaming services, they’re taking risks that are based on ‘Come with us! Come with us!’ and the audience does.
I auditioned for the leading role in ‘The Kissing Booth’ that came out on Netflix, funny enough.
I love the NBC comedies. I DVR ‘Parks and Recreation,’ ‘Community,’ ‘The Office,’ ’30 Rock.’ I love most of the HBO shows. I love ‘Archer.’ ‘Archer’s a great show. I’m big on Netflix; I’ve seen every episode of ‘Freaks and Geeks.’ We need more shows like that.
In the first week of release, ‘Beasts Of No Nation’ was the most watched movie on Netflix, in every country we operate in.
I usually just watch YouTube videos or reruns on Netflix of older TV shows like ‘Family Guy’ and stuff. But I still really want to start watching more TV.
Online, I’m this loud, outrageous, confident guy who acts like nothing bothers him, and he has the whole world at his fingertips. In reality, I’m a shy, quiet guy who would rather spend his nights lying in bed watching Netflix than being a valuable member of society.
Like Netflix, Looker started as nothing more than an idea. Lloyd Tabb and Ben Porterfield were two brilliant engineers who had figured out a better way for businesses to see and analyze their data, and they asked me to join them to help out with the ABCs – that’s short for Anything But Coding.
In terms of ‘The Discovery’ being a Netflix Original, they actually came on once we had already started shooting.
The lessons I learned starting Netflix – and over a lifetime of entrepreneurship – are broadly applicable to anyone with a dream.
I think people are going to places that they weren’t able to with television before, and I think Netflix really paved the way for that. With freedom comes better content, and with better content comes great actors and a bigger audience. I think that has just snowballed into a movement for making really great TV.
When we were kicking around the idea for Netflix in 1997, proving out an idea was expensive and labor-intensive. There was no Squarespace, no cloud. If you wanted a website, you had to build it from scratch. If you wanted an online store, you had to completely design it yourself.
I need Netflix to sort of wisen up and give me a staff and a budget, that would be fun.
Netflix, Amazon, iTunes – whatever platforms emerge – we are looking at as having the same potential that home video had for the movie business. Which means there are entirely new opportunities to monetize our capital investment in content and do so in ways that work for distributors, for consumers and for creators.
The sad thing is that I only ever read novels in bed and now only on the iPad, and thanks to Netflix and iTunes my reading time is getting eaten up more and more by movies and brilliant sci-fi television, like the U.K. series ‘Misfits!’
I am here to tell you, TV is not dead. Rather, it is constantly evolving as we are. My view is that we are in the next Golden Age of content. If AOL, Google, Netflix, Amazon, and Yahoo felt TV was dying, they would not be so eager to play in our sandbox. It is, after all, TV content that’s driving their business.
I enjoy watching news and lifestyle channels. Cooking shows are also my favourite. I also watch a lot of films on Netflix.
I am a fan of the Marvel shows. I think some of what they’re doing and the work on Netflix is fantastic.
You get on the tube and you notice everyone’s looking at you, and you’re like, ‘What’s on my face?’ It always takes me a couple of seconds to remember I’m on a Netflix show that airs to the entire world.
The subscriptions were working so well, and on top of that, we saw the success of Netflix and Spotify and thought, ‘We can create a similar kind of experience for books.’
To be honest, Im a really bad Gen Zer, because I didnt get Netflix or any streaming services until the pandemic. I was always a die hard cable person.
I don’t really watch a lot of TV, to be honest. I’m more of a movie girl, or I Netflix stuff.
I think, with any kind of Netflix show, it’s quite nice at the end of – just even watching the end of Episode 1, you have that kind of moment to yourself where you’re like, ‘Okay, I need to see the next episode here.’
Britain in 2018 has the feel of a Netflix drama approaching its season finale. It’s the classic ‘how on earth does anyone get out of this one?’ kind of cliffhanger, with all of the key protagonists confronted by their nemesis.
In the world, we have a lot of options. We have escapes, we have choices. If we have an argument, we can turn to Netflix, get busy on the phone, talk to friends. If we have problems, we chill, go out. We don’t look at the core problems that we’re projecting on the other person.
That Will Never Work’ is the untold story of Netflix. It’s how a handful of people, with no experience in the video business, went from mailing a used Patsy Cline CD and ended up with a publicly traded company.
Netflix is just wonderful.
At Netflix, we think you have to build a sense of responsibility where people care about the enterprise. Hard work, like long hours at the office, doesn’t matter as much to us. We care about great work.
You’ve got to find a way to relate to people. I just did an improvised episode for Joe Swanberg’s new Netflix show, ‘Easy,’ and it was a huge learning curve for me and taught me so much about fear and courage. But when you’re present in the moment, the audience, it’s incomparable.
I draw, paint, crochet, sew, embroider – anything productive I can do with my hands while watching Netflix.
When a movie opened – if you lived in New York, you would see it at Radio City Music Hall where it would play a couple of weeks, and then you moved on to the next movie. Now you can see it the rest of your life – it’s going to be on Netflix and DVD.
People don’t wish to watch masala films of the ’50s any more. Audiences do not want loud films at all. They are watching Netflix and Amazon that have fresh ideas.
I like doing firsts and ‘Love per Square Foot’ will be the first ever Indian movie to premiere on a digital platform. Netflix saw the movie, loved it and proposed that we premiere it with them.
To my way of thinking, passive management of file assets is okay for screwing around with iPads, where we’re mainly watching TV on Netflix or obsessive-compulsively checking the popularity of our Instagram uploads.
Netflix is like sitting at the cool kids’ table. Netflix is amazing. We’re the biggest fans of not only working there but of the company in general.
No one’s ever going to make a PG-13 animated film unless David Fincher executive produces it and puts it out on Netflix, and then if it’s a success everyone will change.
At Netflix, we realized that we weren’t in business with the Toshibas and the Sonys of the world. We were in business with the guy sitting at home trying to find a DVD to watch. If we had the courage to focus on him, everyone – movie studios, electronics companies, Netflix itself – won.
I’ve become completely obsessed with Netflix original programming. ‘House of Cards’ and ‘Orange is the New Black’ are two of my new favorite shows. I also love having access to such an amazing library of film and television and have watched some truly enlightening documentaries.
