Digital Distribution Quotes

We'll turn down crappy games that are submitted to the Epic Store.

I think the Internet was the saving grace for Public Enemy. Before that, travelling the world saved Public Enemy.

I love the place 'Clone Wars' has on Netflix; it's very accessible, and I think it's great.

In a way, the traditional album is no longer as important as it used to be. But at the same time, I don't want to be the kind of artist who just releases one song after another.

I don't think that free games are something new. On the PC, there have always been free games. But finding them was not always easy. With the popular products like the iPhone, now it is easier.

Every time we give a musician the advice to give away the music and sell the T-shirt, we're saying, 'Don't make your living in this more elevated way. Instead, reverse this social progress, and choose a more physical way to make a living.' We're sending them to peasanthood, very much like the Maoists have.

The film business has changed hugely. You seem to spend about 30 per cent of the time producing the films and 70 per cent talking about it.

I spend all my time right now trying to combat music retail and copyright.

One of the things I wonder is whether it's good that the whole free model makes a lot of people listen to more of your music. I'm wondering if it devalues it, it becomes disposable, because you can get it so easily.

The record business is changing a lot, and I don't think to the detriment of music - I think, if anything, it's helping music. It's to the detriment of the business in some aspects. In many ways, you might say this is not the time to be going back to the majors, it's the time to be leaving them, which is a good point.

Let's face it; people are doing everything online these days. So if they are going to watch my movies, I'm happy as long as it's being bought legally and being exhibited legally, as long as they are paying even a small fee for it. I'm just anti-piracy. If it's a legitimate way of watching film online, then I'm very happy.

The big problem isn’t piracy, it’s obscurity.

The thing that concerns me most is that, in the digital age, if we fail to make efforts to maintain the value of our content, there is the high possibility for the value to be greatly reduced, as the history of the music industry has shown.

And so the idea was, well maybe you can take an Atari video game machine, where people plug in a game cartridge, and plug in a modem, and tie that into a telephone, and essentially turn that game in the machine into an interactive terminal.

I was part of the generation that pushed the Internet. In fact, I broke as an artist in the U.S.A. because of the Internet.

Netflix, Amazon, iTunes - whatever platforms emerge - we are looking at as having the same potential that home video had for the movie business. Which means there are entirely new opportunities to monetize our capital investment in content and do so in ways that work for distributors, for consumers and for creators.

When I first started writing for television in the seventies and eighties, the Internet didn't exist, and we didn't need to worry about foreign websites illegally distributing the latest TV shows and blockbuster movies online.

The music industry is transforming fairly rapidly.

Digitization has altered the nature of the film industry. Social media, especially, has become a decisive factor in determining a film's box office success.

One of the amazing things about the Internet is that the content creators are the gatekeepers. We can think of an idea and execute it quickly, and we didn't have to pitch the idea to a major network or convince a studio head to sign-off on the concept.

Digital reading will completely take over. It's lightweight and it's fantastic for sharing. Over time it will take over.

Distributing the music is so easy it's moot. So now the delicate art of calling attention to your music means everything. Marketing is distribution.

I didn't expect major labels would embrace MySpace, and the original idea for music on the site was the unsigned bands, the independent bands.

Anyone who's an executive at a record label does not understand what the Internet is, how it works, how people use it, how fans and consumers interact - no idea. I'm surprised they know how to use e-mail.

How about no one's ever going to outsell Michael Jackson at selling records because the record industry is over. Game over. There's no more record stores. With no more record stores there's no more pressing plants. With no more pressing plants, there's no more charts.