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.

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.

What if you could radically alter the way stories get told? What if the way people wanted to consume content actually changed what you could make?

Our value proposition to consumers is so much more about completeness than freshness. Having the complete season is so much more valuable, in our business model, than having last night's episode.

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 when you see 'Ridiculous Six,' the show speaks for itself in terms of its treatment of American Indians.

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.

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.

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.

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 real great news is, in the piracy capitals of the world, Netflix is winning. We are pushing down piracy in those markets by getting the access.

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.

I don't know that on-demand sports is remarkably better than live sports.

We are anxious and open to all forms of doing business in China.

In the first week of release, 'Beasts Of No Nation' was the most watched movie on Netflix, in every country we operate in.

When we say a show is successful, it's because, relative to the investment, it's successful, relative to how else we would have spent that money on licensing something else, does this creation - did it attract the audience that it was built for.

David Fincher's work has all been incredibly well-received on Netflix, and Kevin Spacey's films have all worked on Netflix.

I don't think on-demand brings anything extra to sports.

There's not a lot of really great, deep, serialized television, and we can see from the data that that's what people want.

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.

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.

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.

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.

'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.

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.