Top 404 Netflix Quotes & Sayings - Page 4
Explore popular Netflix quotes.
Last updated on November 22, 2024.
Some of my fondest memories of the early years of Netflix have to do with our efforts to figure out the most efficient, effective, and fast methods to get DVDs to people all over the country.
The Netflix brand for TV shows is really all about binge viewing. The ability to get hooked and watch episode after episode.
It is clear that for many of our members two websites would make things more difficult, so we are going to keep Netflix as one place to go for streaming and DVDs.
Netflix did it right and focused on all the things that have replaced the dumb, raw numbers of the Nielsen world - they embraced targeted marketing and 'brand' as a virtue higher than ratings.
We provide a breadth of live and catch-up content - what we define as this season's content, none of which is available in the Netflix rerun world.
People just don't sit down and watch shows live anymore. They DVR it. They stream it; they watch it on Netflix or iTunes.
Television is better than it's ever been in history. A lot of stories are being pushed - because of how complicated they are to make - toward Netflix and other channels on cable.
I think I still get something from the original broadcaster but I'm certainly not aware of any Netflix van driving to my house and unloading a load of cash into my front yard.
I think the networks, in general, have to evaluate what's happening around them. I'm sure they're scared about a lot of things: Amazon, Netflix, Hulu, and all these places that allow people to watch shows in chunks.
It's so amazing that you can give somebody like David Fincher 'House of Cards,' and he can do whatever he wants - Netflix doesn't say, 'Oh, you can't do that,' or, 'We need a subplot here about this.' It's pretty neat that it is allowing the creatives to be creative.
Because I've worked with Netflix from the beginning, and that's my first job, I only want to work with creators, producers, and networks that are pushing the limit and putting people on the screen that haven't had their stories told yet.
It is a golden age of television, with Amazon, Sky, and Netflix. They give opportunities to people to develop their own projects together. So much stuff has to be made. There has to be more opportunity.
The idea of a streaming service, like Netflix for music, I'm not totally against it. It's just we won't put all of our music on it until there are enough subscribers for it to make sense.
Eighty-two million households is what Netflix put out watched 'Bridgerton.' And I cannot hold 82 million in my head, because that doesn't fit. It's too big.
To my way of thinking, passive management of file assets is okay for screwing around with iPads, where we're mainly watching TV on Netflix or obsessive-compulsively checking the popularity of our Instagram uploads.
Thanks to Netflix and Hulu, people are getting more and more used to consuming longer stretches of content on their televisions or computer screens.
People don't wish to watch masala films of the '50s any more. Audiences do not want loud films at all. They are watching Netflix and Amazon that have fresh ideas.
Netflix really trusts us. We don't get a lot of network notes. They're not coming back all the time like, 'Oh, this is too sad,' or 'This is too weird.'
I love 'House of Cards,' I love 'Bloodline,' I love 'Orange is the New Black,' so I had written on my refrigerator that I was looking for 'groundbreaking television on Netflix.'
I enjoy watching news and lifestyle channels. Cooking shows are also my favourite. I also watch a lot of films on Netflix.
Throughout the series [Narcos], I appear younger and younger - I don't know why that is particular to Netflix, to show the evolution of Pablo Escobar's children in that manner.
That Will Never Work' is the untold story of Netflix. It's how a handful of people, with no experience in the video business, went from mailing a used Patsy Cline CD and ended up with a publicly traded company.
You get on the tube and you notice everyone's looking at you, and you're like, 'What's on my face?' It always takes me a couple of seconds to remember I'm on a Netflix show that airs to the entire world.
For every Netflix, there's a Blockbuster. Every Facebook, a MySpace.
I'm sometimes skeptical about Netflix - for no reason that I can put my finger on - but when you stumble upon a series and it delights you for ten nights in a row, that's a good feeling for a week and a half and a bit.
I just try to be the same kid from New York and Greenwich, Connecticut, who is just lame and watches TV and Netflix.
I see us continuing to expand our contracts just as we've done with Netflix and with Telemundo. We are not just bound to the traditional employers that we've had in the past.
I had my first for real American person recognize me and come up to talk to me. They'd seen The Code' on Netflix - it was amazing.
I love going to movie theaters, even in the era of movies on-demand and Netflix. When you are in a movie theater, no one can reach you by phone or other means.
When 'Toast' got on Netflix, I noticed a difference. It was something I thought that only myself and a few people would find funny, and suddenly it's on a very large platform. Now it kind of belongs to everyone.
Particularly with Netflix, there are some series you just binge-watch. But I think with 'Black Mirror,' it's a joy to have some space between each one.
I really want to expand with movies and I would love to land on a TV show, like a Netflix original series, that would be fantastic.
My little joke that I make whenever I talk about my show is that the way I sold the show to Netflix is 'I'm exactly like Anthony Bourdain, if he was afraid of everything.'
The Obama administration announced a deal with Iran that would prevent the Iranians from making a nuclear weapon. In exchange, we're giving the Iranians Netflix.
The real great news is, in the piracy capitals of the world, Netflix is winning. We are pushing down piracy in those markets by getting the access.
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.
Cubans can be as conversant as any Netflix-and-chill American about popular shows like 'House of Cards' or 'Black Mirror', and they drop allusions to the 'Lannisters' and 'Omar Little' constantly.
No one's ever going to make a PG-13 animated film unless David Fincher executive produces it and puts it out on Netflix, and then if it's a success everyone will change.
That's what I grew up loving. Whether it's 30 Rock or The Office or Parks And Rec... I don't know if those still work on network today or not, but The Grinder did not. But the great news is that it lives on on Netflix.
To be sure, educational programming likely benefits some of the children who seek it out, particularly those whose families can't afford the myriad options available today on cable or Netflix.
The 'solution' to file sharing was never centralizing content control back to a few entities - that was the struggle we were fighting for. Netflix, Spotify etc. are not a solution but a loss.
The beauty of Netflix is that you can figure out a good part of the season before you get started. You're never in the hole of, "Oh, we've already released the first four episodes, and now we gotta make the finale, and we've already promised this."
What's great about Netflix is that everything is kind of instantaneous, and it goes around the world instantly. Everything is released at once. The format can be a little bit whatever you want.
Why not premiere movies on Netflix the same day they're opening in theaters? Listen to the consumer; give the consumer what they want.
A lot of people that I work with now call me Netflix's poster boy and that makes me so happy as who doesn't want to be.
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.
I would like to have a filmography of the late Lee Je-hoon' list on Netflix or to have a DVD collection of my works. It would be a great honor.
We're one of the largest employers in Canada for animation executives, and there is - I think something on the magnitude of $140 million a year be important to the Canadian economy producing animation for Netflix.
More people have seen 13th on Netflix than have seen all my films put together between the Sundance winners and Selma, and the whole international distribution of film.
I think 'Party Down' found its audience primarily on Netflix and stuff like that, and primarily after it had been cancelled.
I have two or three shows that I follow, and even those are few and far, when I can see them on Netflix. I don't really watch anything on TV. It's not really a priority for me.
Lena Waithe won an Emmy for writing while starring on the Netflix show 'Master of None,' but it might be more accurate to call her a Master of Everything.
Actually they [ Netflix] were telling us to push it further and I've never gotten a nod like that from anybody in the industry, so it's been awesome to work with them. I'm very happy where we're at.
The future of how the networks and studios deal with Netflix and Hulu and Amazon Prime Instant Video is certainly going to determine their future.
I was in a play just outside of London and started auditioning for 'Sex Education,' but I just completely had the mindset that it's a Netflix show, they're not gonna hire me anyway.
Netflix was my sixth start-up, and that point I decided I didn't have it in me to start another company. At least that's what I thought at the time.
The Netflix thing with Nas is more of a documentary, where we kind of... talk. We go to my neighborhood. You get to see where I'm from and all that. And then, I'm in the studio with Nas.
I only watched the documentary 'Diana: In Her Own Words,' which is now on Netflix. I didn't watch another documentary. I don't think I would have got the part without it.
Television is really fertile ground, and it's because of platforms like Netflix and Hulu and, of course, the cable channels like HBO and Showtime.
Britain in 2018 has the feel of a Netflix drama approaching its season finale. It's the classic 'how on earth does anyone get out of this one?' kind of cliffhanger, with all of the key protagonists confronted by their nemesis.
