Ted Sarandos Quotes

I don't think Apple has to own a content business.

We live in an age when it is cheaper to buy the rights to movies than to make them.

It is quite clear that compelling content, which is made available on economic terms that respect the intellectual rights of owners, can be a tremendous spur to the growth of broadband networks.

I don't know the figures, but Hollywood must buy 100 rights for every movie that actually gets made.

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.

The Disney deal for us, we are very excited to be their Pay 1 partner, where we are a big licensing partner of Disney all over the world in all different windows.

We struck an unusual deal. I'll get to leave CNN with my catalog and documentaries. We were able to create a brand at CNN - 'Black in America' - that I now own. I can take that brand and extend it in any way I want.

WMR is wholly devoted to acquiring and exploiting rights. We're not a production company, and we're not a broadcaster.

Piracy is almost always a service problem.

Natalie's estate is handled by Global Icons, and they police the world so her picture isn't on a T-shirt or coffee cup unless we approve of it.

In the States, there's ESPN3, and each country has different options, and other than premiere league football, there tends to be very little global content. And movie and TV rights are pretty broad content.

I think being a partner with the studios and networks and, more importantly, being a great source for consumers to watch that programming is always going to be a part of our programming mix.

The British judiciary needs to support intellectual property.

We have 28,000 drug patents held by American universities that are not being developed.

I have tremendous brand experience. What I do a lot for Disney is manage the great brands of this company, whether it's Disney, ESPN, ABC, Pixar, Marvel, 'Star Wars.' And I'm very engaged in technology and its impact on the consumer, either what experience you deliver for them or how to market and sell to them.

I wouldn't be comfy going toe to toe launching a new scripted show against broadcast.

I've always believed that the best way you combat intellectual property theft is making a product available that is well priced, well timed to market, whether it's a movie product, TV product, music product, even theme-park product.

Blumhouse Books is not an outlet for us to mine intellectual property for movies and TV.

Perhaps not unusually for a popular film produced over three decades ago, there have been a dizzying parade of corporate characters trading rights to 'This Is Spinal Tap' through the years. Yet our requests for timely statements of the film's income have been met with a series of slammed doors.

It's called showbusiness, and the business end of it is very important, especially now. You have to learn the business end of it; otherwise, you get ripped off left, right and centre.

With platforms like Netflix, things are evolving as they are making content-driven films and series.

I get contacted daily by people in America saying is there any legal way to download 'The IT Crowd', but the whole mechanism is too rigid to allow for things like that.

In the epic war over Silicon Valley's intellectual property, Bill Gates was on the side of licensing copyright and robust protections for intellectual property. He wasn't on the side of the hackers, and he didn't want information to be free.

The Indian television industry has catapulted into a huge business. Films, however, have not lost one shred of charisma or commercial lucrativity.

When you look at sports leagues today, they manage a lot of intellectual property, which means it takes you into a lot of different kinds of businesses.