Content Expansion Quotes

Sometimes when you're editing a movie, you have the thing that you don't expect - which is you make it longer and longer as you go along.

A first book often has enough material in it for half a dozen.

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 think Michael O'Donoghue felt he'd said what he wanted to say. In fact, nobody thought we could spin it out long enough to make a book.

I think, from a standpoint of editorial, you know, AOL historically has played in a very deep way across many different verticals in the content space. Huffington Post adds a very large new dimension to that.

We have CBS.com, we have our stuff on iTunes. We feel the wave of the future is getting as much distribution as we can. We feel that we should be nonexclusive and get our content out there.

Spotify is a platform: it could be expanded to other types of content.

Usually, YouTube channels are named after the person that you see on camera... or in the case of ours, it could have been the show, but we didn't even name the company 'Red vs. Blue.' We named it something else to give people the idea that we were going to be doing more than that.

Youku Tudou gives us the reach into China that we've been looking for, and we look forward to sharing even more content with international audiences in the near future.

Everyone seems to think that digital technology devoids the medium of content, but that is not true at all. If anything, it broadens the content.

Since Chris Albrecht took over the network, I think more and more people are finding Starz. He made HBO what HBO became, and now he's doing the same thing at Starz.

Your book grows. The early part of your book is growing still while you are writing the later part of your book.

The show has boundaries right now we're trying to widen them not break them.

Television is ever more ambitious, more akin to the Victorian novel with multiple narratives and more discursive material.

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.

There will always be economic pressure to make hits, identify hits, and then exploit hits. And you're going to exploit them with as many episodes as you probably can.

We see ourselves as the world's digital library. That can be a lot more than books. We do want to expand to other types of content: sheet music, magazines, user-generated content.

There's a widening of an idea of what a TV show can be or how it can be told, and that's partially in the diversity of the creators and the stories. Because there are so many new networks and streaming services popping up every day that need more content, there are more opportunities to take risks.

If 'Spectator Business' works, we will continue this brand extension strategy and look at everything from 'Spectator Arts' to 'Spectator Style and Travel' or 'Spectator Connoisseur.'

I write 1,000-1,500 words. The next day, I rewrite it and add 1,000-1,500 words to the end of it.

For me, because I've been such a YouTube lover since day one, I want to continue doing YouTube but also branch out and do other things simultaneously.

Offset and Skillfeed are examples of products launched in 2013 that have expanded our opportunity with both large enterprises and across new content types.

There's a lot of great writing, and characters, and stories being told in television nowadays. And much more than there used to be. The opportunities to tell stories, because of the opportunities to show content. And so it's drawing actors from cinema, movie actors, actors to where there's a lot of opportunities to where you can tell stories.

More and more smaller entities, such as Politico or TechCrunch, have been able to come out of nowhere and own entities. Dealbook, like them, now has an even greater opportunity, through additional resources, to drill down and offer even more breaking news and deep analysis of the issues that matter to our audience.

'Podcasting House' is pivotal to the BBC's plan to scatter the seed of its various non-broadcast audio products beyond the narrow silos of the people who happen to listen to the programmes from which they arise.