Bobby Kotick Quotes

Whether they're paying for it or not is not really relevant. They're investing a significant amount of time in our content. At some point, commercial opportunities will materialise for greater percentages of that audience.

You can get any film now basically for free, and that's where I think the model we're talking about is - if you give people what they want, how they want it and when they want it, they're more likely to pay for it.

Ideally, in the future, you'll just pay your cable company for the stream, which you'll be able to watch and manipulate through whatever means on whatever devices you like.

It's nice that HBO is in business with the audience and not with the advertisers. There's a difference.

Instapaper does support paywall sites. I have a list of them, that when someone saves something it sends a copy of the page as they are viewing it only to them. If you subscribe to a paid site, you can save the content. I'm not really touching the money.

We believe content relationships are compelling draws even where paid-TV-provided guides are prevalent, such as here in the United States.

There's not a single business model, and there's not a single type of electronic content. There are really a lot of opportunities and a lot of options and we just have to discover all of them.

The TV Everywhere structure is good for all cable, satellite, and telephone distributors. It's good for all networks. It's good for studios that sell to networks, so it's basically good for everybody on the business side.

Look at music like gaming. You monetize the game to all the people who are most engaged. I wanted to bring that theory and thinking to music.

Try to imagine if all the Premier League games were now available, easily accessed by match or by season or by team via Amazon or Netflix. The audience could be much bigger. The single price per client could be lower; the total amount would still be bigger.

We're an industry obsessed with the storytelling side of things, the content. And then we got obsessed with the canvas. Is it going to be on television? Is it print? And now the canvas is mobile. But what we really need to think about is the context. The context is where and when the person is consuming it - location, time of day.

Netflix likes critical attention, and they like their analytics.

The problem is never the audience, it has always been the distribution. The digital space is proof that the audience is quite accepting.

The digital apocalypse continues to blight the lives of television producers, music-industry executives and newspaper publishers, all of whom are scrambling to figure out how to reconfigure their business models in such a way as to allow them to make an honest buck.

It's a growing trend. Viewers are our customers, but so are advertisers. And advertisers want different ways to reach our viewers.

If people are given quality stuff to watch, they'll watch it.

We need Netflix. We in the independent sector more than anybody need Netflix, because they care about what we do.

We in the independent sector more than anybody need Netflix, because they care about what we do.

I don't think Hollywood will be the place that innovates great technology, but if people underestimate how they monetize content, they're sorely mistaken.

Music is more available than ever. It's up to people to figure out. Ultimately, it's up to the business to figure out what the business is, monetizing that.

Hard paywalls will never work because, just like at a newsstand, the reader likes to browse the cover and a few articles before choosing to buy. Even if the material is truly unique, a consumer likes to try a little before buying.

Once we were a part of Equity, we were able to get a salary, and then because we were employing ourselves, we just made sure we were always working. We put in hours to get subscribers. We used to do little shows at rich peoples' houses to get them to give us money.

The consumer is deciding what they want to see and when and how, and filmmakers are more aware and accepting of the fact that success is not predicated on your movie showing in a traditional theater for a certain amount of time.

The way that we're consuming what we watch. Netflix, binge-watching, destination agnostic were not terms. It was about networks, times, dates. Even with feature films, you had to see it this way, in this capacity, at this time. All that has changed. Now it's really about the story. It's a gift that I became a storyteller at this time.

All I care about is the story and telling the story. I don't care how people ingest it.