A Quote by Marc Randolph

I wanted to use my story of starting Netflix - the whole thing, warts and all - to show how a dream could make it from the inside of one's head out into the real world. — © Marc Randolph
I wanted to use my story of starting Netflix - the whole thing, warts and all - to show how a dream could make it from the inside of one's head out into the real world.
The Party leader at the time, Jiang Zemin, wanted to show the world China's new status. And in winning the bid, the leaders could show the people how strong the government was. Plus, the leadership wanted to use the Olympics to strengthen nationalist sentiment.
I am wary of repeating myself too much. In this age of Netflix, as a Netflix show, if you want to go back and watch a season 1 episode, you can do that easily. I'm not interested in repeating the same story beats over and over and over again. But part of the truth of BoJack story is about how much he repeats himself and these patterns that are difficult to get out of. I'm trying not to be evasive about that. I'm not using that as an excuse. I think that's convenient to fall back on as a TV writer: "Oh, it's a show about stagnation."
Sometimes a god comes.... He brings a new way to do a thing, or a new thing to be done. A new kind of singing, or a new kind of death. He brings this across the bridge between the dream-time and the world-time. When he has done this, it is done. You cannot take things that exist in the world and try to drive them back into the dream, to hold them inside the dream with walls and pretenses. That is insanity. What is, is. There is no use pretending, now, that we do not know how to kill one another.
It's funny how concert dreams are such a recurring thing among musicians. It's like how everyone has that dream of their teeth falling out? Except musicians have this dream of just standing onstage and there being all these people out there, and for some reason, the song isn't starting.
I knew what I wanted to do when I set out. I knew that I wanted to write a book that told the story, obviously. I wanted it be comedy first, because I felt like there already had been childhood druggy stories that were very serious, and I felt that the unique thing here was that I was a comic and I could tell the story with some levity, and I have been laughing at these stories my whole life.
The thing about a story is that you dream it as you tell it, hoping that others might then dream along with you, and in this way memory and imagination and language combine to make spirits in the head. There is the illusion of aliveness.
You could then use the dream to learn more about yourself, others, the world, and the nature of life. You can come awake in the matrix and realize you're the one in your own dream. People on the spiritual path can do that, thus they can avoid wasting the whole night, and use it in a developmental, nice way.
I stared into her eyes, wide under the thick fringe of lashes, and yearned for sleep. Not for oblivion, as I had before, not to escape boredom, but because I wanted to *dream*. Maybe, if I could be unconscious, if I could dream, I could live for a few hours in a world where she and I could be together. She dreamed of me. I wanted to dream of her.
The whole decision to do my show was that I was trying to "true up" my work life and my personal life and I wanted the principles in both of them to be the same. And the only way that I could think of to do that was to make a show about exploring cultures through food that demonstrated those principles with every story that we told.
I graduated high school, and I did my internship at Dove in their public relations department because I thought I wanted to be in PR, which turns out I did not. It was right when they were coming out with the Campaign for Real Beauty, so I got an inside view on the whole thing.
I wanted to get out in the world, have a great job, make my mark, and see how far I could go. And I wanted to make good on the philosophy my mother drilled into us with all the subtlety of a Lady Gaga performance. I got it loud and clear. I would need to succeed, and then I could possibly be happy.
I really set out to do this traditional looking and traditional sounding multi-cam sitcom, but then make the world as elastic as an animated show could be. Make the world as surreal as we wanted it to be.
It's an exciting time to be in television, and it's a really exciting time to be on a Netflix show. I remember when Netflix first came out, I didn't quite understand the DVD thing and why my husband was mailing it back.
I wanted to deconstruct the puppet show. I wanted to turn it inside out and do stuff that you're not supposed to do. I didn't want it to be gentle like most puppet shows tend to be, since they come from childhood where you're gently trying to tell a story. I wanted to blast all that out of the water. I think there's plenty of room of any kind of attitude toward puppets. I call puppeteering acting while hiding.
Inside, I've got a real purist desire and dream about the music. I like the idea of being able to carve out a kind of magical, colourful, artistic, inspirational life. And the reality just turns out to be quite different, working with the business to bring this thing you have created into the world.
Netflix and Amazon know when you stop and start a program, whether you wanted the whole thing, all of that.
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