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.
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.
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.
The longer people watch Netflix and the longer they stay members - they're the criteria of success for us.
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.
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.
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.
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.
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.
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.
David Fincher's work has all been incredibly well-received on Netflix, and Kevin Spacey's films have all worked on Netflix.
I think when you see 'Ridiculous Six,' the show speaks for itself in terms of its treatment of American Indians.
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.
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 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.
I have a deep respect for the fundamentals of television, the traditions of it, even, but I don't have any reverence for it.