A Quote by Rick Smolan

Netflix and Amazon know when you stop and start a program, whether you wanted the whole thing, all of that. — © Rick Smolan
Netflix and Amazon know when you stop and start a program, whether you wanted the whole thing, all of that.
Drake is involved heavily, and they're kind of working away to find the right home for 'Top Boy,' whether that be Netflix, whether it be on TV, whether it be Amazon, I don't know.
The main thing that's important to me is getting to do whatever project it is the way that I do what I do, and that's different. To go to an entity - whether it's a traditional film studio or some newer company, or HBO, Amazon or Netflix - they would have to know that I need to work the way I work.
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.
What I did know from having started businesses before Amazon, as well as from my time at Amazon, was that when you are trying to do something new, it's really a waste of energy to spend a lot of cycles wondering whether it's going to be a success or not.
It's important that the art forms communicate, whether it's the dance program with the jazz program or the classical program with the opera program, that these conversations becomes fluid.
The digital component is enormous in not only wrestling but all of entertainment. Every day, you read a new blog or article on Netflix, Hulu, this program and that program. It's where everything is heading.
The thing with Netflix is everyone who reads this article can go to Netflix, watch 'Live in Oakland' and come to D.C. and see me do a different show. It's a constant source of people getting to know me.
From the first time I heard Bob Marley or even Sublime, I wanted to move out to California and be near the ocean, start surfing, start being a part of that whole thing.
My whole thing is I just always wanted to be a working actor and I just wanted to stop waiting tables.
The Amazon lot are perfectly reasonable, level-headed people who just want to make TV programmes. I don't think they are the enemy of the BBC or the other way round. It's not a war; these things can coexist. We can have Amazon and Netflix and the BBC and BT Sport, and people can make choices. That's what modern life is all about.
Going into editing when I got to New York was part of that. I guess I just kind of wanted to know as much as possible. But I have a real love of the whole process, from start to finish. So right now, I fit into the acting part of the process, but I wouldn't rule anything out. I'm enamored with how the whole thing works.
There's a story about how the program is organized, there's a story about the context in which the program is expected to operate. And one would hope that there will be something about the program, whether it's block comments at the start of each routine or an overview document that comes separately or just choices of variable names that will somehow convey those stories to you.
Countries like France should not be naive. We don't have a French YouTube or Amazon or Netflix.
I love Netflix and Amazon and watching movies on streamers as much as the next person.
Most of the best writing, the most creative writing, the most interesting, the most out-of-the-box kind of stuff, is being done on cable, you know, and on the computer. I mean, whatever it is, Amazon or Netflix or something. Because they're just willing to take chances, you know, and there's a market for it.
Now, if you want to do realistic, kind of heavier acting stuff, you do it on Amazon or Netflix or whatever or HBO.
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