A Quote by Ted Sarandos

The current distribution model for movies, in the U.S. particularly, but also around the world, is pretty antiquated relative to the on-demand generation that we're trying to serve.
The current generation now sees everything clearly, it marvels at the errors, it laughs at the folly of its ancestors, not seeing that this chronicle is all overscored by divine fire, that every letter of it cries out, that from everywhere the piercing finger is pointed at it, at this current generation; but the current generation laughs and presumptuously, proudly begins a series of new errors, at which their descendants will also laugh afterwards.
I play a pretty physical game, trying to run around and hit a lot of forehands, using my serve, and using my legs on my serve.
The current generation of world leaders -- our generation -- is also being called to face significant challenges concerning peace, collective security and the environment. We have been unable to solve old disputes and to prevent new threats. The use of force is incapable of eliminating the underlying causes of conflict.
Our current model of capitalism and the dominant ideas in policy making have led to a failure of investment by both the public and the private sector in the things that drive productivity, and which affect its distribution.
I got a reputation for being sort of nuts and difficult, because I was at that point, so I wasn't much in demand. And also, on the basic level, I'd made a lot of movies that didn't make money. And if you make movies that don't make money - I mean, it is a business, after all - you are not in demand.
What I really think is that our current model of copyright is fundamentally broken. We badly need to replace it with a different system for remunerating creators, which gets it the hell out of the face of the public (who were never aware of it to begin with in the pre-internet dead tree era). Unfortunately, the current copyright model is enshrined in international trade treaty law, making it almost impossible to work around.
That the mechanisms of mass-production, which feed the demand for endlessly growing consumption in one generation can radically effect the possible futures for subsequent generations. Furthermore, to undo the effects of one generation's actions is not temporally relative. What is done, cannot be undone in the same timeframe. Like the factories themselves, the effects linger, they haunt us long after their final breath.
For Sony, owning a studio is a gamble and probably a pretty good one, now that in the broadband era having content is a great advantage when you sell devices that in a ubiquitous world of distribution can actually show programs, movies, content directly to the consumer. So that you actually create, in a digital world, real synergy.
Software substitution, whether it's for drivers or waiters or nurses ... it's progressing. ... Technology over time will reduce demand for jobs, particularly at the lower end of skill set. ... 20 years from now, labor demand for lots of skill sets will be substantially lower. I don’t think people have that in their mental model.
I wasn't a fanboy of horror. I didn't grow up on horror movies. I grew up loving all movies. I still love all movies, but I particularly love scary movies - as much for the culture around them as the movies themselves.
The distribution of the market is fat-tailed relative to the normal distribution... For passive investors, none of this matters, beyond being aware that outlier returns are more common than would be expected if return distributions were normal.
Generation Alpha has very different expectations for the entire world. Everything that's going to happen in their lives needs to be visual, on demand, adaptive, in demand, and we have to find a way to embed that into our toy experiences.
I'm very aware of how much movies, literature and art affect culture. They are a reflection of the world around us and they are also a means by which we engage with the world around us.
We've grown up with American movies. Not to say that American movies - or movies that have been based in Watts, Compton, or Inglewood - are a 100% true depiction of that world. But also you have inner-city London, and the foundations are pretty much the same. Especially me, growing up in Southeast London, in Peckham.
All television ever did was shrink the demand for ordinary movies. The demand for extraordinary movies increased. If any one thing is wrong with the movie industry today, it is the unrelenting effort to astonish.
I'm using myself as a typical 20th century model as I'm trying to make sense out of the world around me.
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