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.

When we set out our original program from the beginning, obviously our markets were pretty limited, and we were thinking about them mostly as U.S. shows, and they would travel like other U.S. shows have.

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.

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.

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.

You need to get in studio; we're excited about the Pay 1 opportunity with Disney because those movies are not just movies. They're amazing family content that get flexed over and over again, forms great loyalty with our subscribers, and it's a real trust brand for parents as well.

Crouching Tiger, Hidden Dragon' is not a direct-to-video, low-budget sequel: it's a big film. And it'd be fantastic to have the opportunity to see it on the IMAX screens at the same time, and IMAX has made arrangements with us for that to happen.

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.'

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.

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.

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.

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.