Content Acquisition Quotes

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.

With 'Nighty Night' series one, Oprah Winfrey's channel took it on, so she must have liked it.

Some estimate Hulu IPO could bring in $2 billion. What will the content providers get? Zero. What is Hulu without content? An empty jukebox.

When I started Shutterstock, I tried to get people access to big events. It's very hard to keep up, to publish them quick, and to get the right photographers.

'Walking Dead' has done great on Netflix, but to pay for the full output deal just to get 'Walking Dead' didn't make sense.

I'm very surprised at that, yes, because there were many chances for it to be in Germany once the syndication market started and it continually just did not happen.

I'm an Amazon Prime member. I subscribe to Netflix and Hulu, and they have great user interfaces and some excellent original programs. But what truly distinguishes all three of these services is the utility of their vast libraries of acquired content, which also is a part of what makes each a platform, even if it has a 'house brand,' too.

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

I think the relationship between cable and satellite and telco pay TV service providers and the content industry is a very, very solid one.

There is a variety of different kind of producers. I'm a very hands-on, creative producer. I find material that I think would make a good movie or TV show, find the right financier/studio/network, hire a writer, get a good script, find a director, and collaborate with him/her to cast the movie and hire department heads.

I hope to take advantage of the Netflix organism and see if there are ways to get in new material and see if there are ways to do deleted scenes.

Authors will make far more on those ebooks through direct sales than publishers are offering. There is no incentive for authors to sell those rights to traditional publishers which means, in the fairly short term, publishers run out of material to sell.

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.

It's always this grand search in the industry to find good material. Whenever there is good material, they all jump on it, and it's like a food fight to get it made. That's why so many things take years and years to develop because it all shows up on screen.

We realized that YouTube is a rocket ship and that this is an incredibly big space. I started agitating for it. I was the most passionate voice for acquiring YouTube: 'The price tag seems really high, but it is going to be worth it.

Not every show has to work equally well. It just has to work better than any competitor because then we can outbid for the content.

I would say television is a focus, and expanding our channel platform is a focus. As for buying libraries, when catalogs are going down in value, the answer is that it's all about price!

Netflix knew I was going to North Korea and Ethiopia and Iceland. They saw the film and liked it and that was that.

Pay-TV companies that built their businesses on the backs of local and network broadcast signals should pay a fair price for access to that high-value programming.

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.

My primary job is to choose the programs, either to co-produce them, or acquire them after they're finished. So, I read a lot of scripts, I meet with producers and I read a lot of books.

I've been fortunate enough to match up the material I'm producing with the right buyer, the company that will make it and that wants it, and that isn't saying yes to be nice, but is saying yes because they want and need that movie and it's going to be important on their slate.

We're dependent on buying overseas productions and television shows. A lot of the time they come in packages, I think. You take the hit show and you take a couple of other unloved children that they want to get rid of along with the hit show.

Most large media firms make outsized investments to acquire and market a small number of titles with strong hit potential, and bank on their sales to make up for middling performance in the rest of their catalogs.