1 00:00:00,120 --> 00:00:02,679 Speaker 1: Strictly Business is brought to you in part by City 2 00:00:02,800 --> 00:00:05,600 Speaker 1: National Bank, the bank who makes it their business to 3 00:00:05,680 --> 00:00:10,240 Speaker 1: be personal. A City National relationship manager can anticipate the 4 00:00:10,280 --> 00:00:13,520 Speaker 1: financial needs that make the entertainment and tech industries tick. 5 00:00:14,000 --> 00:00:16,280 Speaker 1: That's because they've been doing it for more than sixty 6 00:00:16,320 --> 00:00:20,680 Speaker 1: five years. Need to figure out day to day finances done. 7 00:00:21,480 --> 00:00:27,640 Speaker 1: Someone that understands intellectual property, licensing and royalties absolutely. City 8 00:00:27,760 --> 00:00:31,280 Speaker 1: National understands the industry because they were born in it. 9 00:00:32,159 --> 00:00:36,800 Speaker 1: Visit c NB dot com and get started. City National 10 00:00:36,840 --> 00:00:49,400 Speaker 1: Bank member f d I C. Welcome to Strictly Business, 11 00:00:49,560 --> 00:00:53,440 Speaker 1: Varieties weekly podcast featuring conversations with industry leaders about the 12 00:00:53,440 --> 00:00:57,560 Speaker 1: business of media and entertainment. I'm Cynthia Littleton, business editor 13 00:00:57,640 --> 00:01:01,520 Speaker 1: for Variety Today. My guest is Ted's Surrandos, co CEO 14 00:01:01,720 --> 00:01:05,240 Speaker 1: and Chief Content Officer for Netflix. Surrandos has a view 15 00:01:05,319 --> 00:01:08,480 Speaker 1: of the global entertainment industry like no other because no 16 00:01:08,600 --> 00:01:12,160 Speaker 1: other entertainment company has ever had the global reach and 17 00:01:12,240 --> 00:01:15,880 Speaker 1: local presence that Netflix has. In our wide ranging interview, 18 00:01:16,200 --> 00:01:19,759 Speaker 1: Surrandos talks about what they've learned from their aggressive global 19 00:01:19,800 --> 00:01:22,959 Speaker 1: push over the past five years and how it's changed 20 00:01:23,000 --> 00:01:26,640 Speaker 1: the way Netflix views the overall content business. He also 21 00:01:26,720 --> 00:01:32,000 Speaker 1: talks about navigating coronavirus curveballs, the controversy over the French 22 00:01:32,120 --> 00:01:35,640 Speaker 1: arthouse film Cutis, and why he recently made a big 23 00:01:35,720 --> 00:01:39,520 Speaker 1: change in Netflix's senior management ranks. The interview was held 24 00:01:39,520 --> 00:01:43,120 Speaker 1: in conjunction with the presentation of the Vanguard Award to 25 00:01:43,240 --> 00:01:47,120 Speaker 1: Surrandos and Netflix from Variety and the mip COM Global 26 00:01:47,160 --> 00:01:53,320 Speaker 1: Content Conference. Welcome everyone, Thank you for joining us what 27 00:01:53,520 --> 00:01:56,760 Speaker 1: for what is sure to be a lively conversation about 28 00:01:56,760 --> 00:02:00,880 Speaker 1: the global entertainment business with none other than Ted Surrando's 29 00:02:01,160 --> 00:02:06,440 Speaker 1: Chief Content Officer and co CEO of Netflix. I'm Cynthia Littleton, 30 00:02:06,920 --> 00:02:11,760 Speaker 1: business editor for Variety and on behalf of Variety and Midcom. 31 00:02:11,800 --> 00:02:17,640 Speaker 1: We are very pleased to award varieties Vanguard Award for 32 00:02:18,200 --> 00:02:23,079 Speaker 1: achievement and Impact in the global Television Business to Ted 33 00:02:23,120 --> 00:02:27,079 Speaker 1: Surrandos and Netflix. Thank you very much, Thanks so much 34 00:02:27,120 --> 00:02:30,200 Speaker 1: for joining us. Ted. In this virtual format, we would 35 00:02:30,280 --> 00:02:34,440 Speaker 1: otherwise be on the croissette, but we we can have 36 00:02:34,480 --> 00:02:37,799 Speaker 1: a toast in future years. Absolutely. If you know, if 37 00:02:37,800 --> 00:02:40,919 Speaker 1: France would have us, we would have come, but I 38 00:02:40,960 --> 00:02:43,400 Speaker 1: would I would not mind being on the coast of 39 00:02:43,440 --> 00:02:45,880 Speaker 1: France right now. I hear you, I hear you. So 40 00:02:46,160 --> 00:02:49,600 Speaker 1: thank you very much obviously to Variety and everyone at 41 00:02:49,600 --> 00:02:52,079 Speaker 1: MIPCOM for this great honor and UH for the for 42 00:02:52,200 --> 00:02:56,000 Speaker 1: the jetting me this morning. Oh you're welcome. So I 43 00:02:56,040 --> 00:02:58,280 Speaker 1: thought we would start kind of where it began for 44 00:02:58,360 --> 00:03:02,520 Speaker 1: you on the on the in the global arena. Um. 45 00:03:02,560 --> 00:03:05,360 Speaker 1: It's hard to believe, but it's coming up on five years. 46 00:03:05,760 --> 00:03:09,280 Speaker 1: January seven, two thousand and sixteen, you were at the 47 00:03:09,280 --> 00:03:11,919 Speaker 1: c E S conference in Las Vegas and you very 48 00:03:12,040 --> 00:03:16,880 Speaker 1: dramatically flipped the switch and took Netflix into more than 49 00:03:16,880 --> 00:03:20,440 Speaker 1: a hundred and thirty countries on one day. I think 50 00:03:20,560 --> 00:03:23,320 Speaker 1: that one move was one of the things that really 51 00:03:23,680 --> 00:03:27,919 Speaker 1: I think galvanized Hollywood's attention and I think the global 52 00:03:28,000 --> 00:03:31,040 Speaker 1: entertainment industry kind of looked and thought, woa, this is 53 00:03:31,080 --> 00:03:34,760 Speaker 1: a different kind of company. When you were making that 54 00:03:34,840 --> 00:03:39,520 Speaker 1: move almost five years ago, did you know did did 55 00:03:39,560 --> 00:03:42,000 Speaker 1: you have a sense of what a profound impact that 56 00:03:42,240 --> 00:03:46,160 Speaker 1: going global in that degree, you know, expanding that that 57 00:03:46,520 --> 00:03:49,640 Speaker 1: to that many territories that quickly in one field swoop. 58 00:03:49,800 --> 00:03:51,520 Speaker 1: Did you know what kind of an impact that would 59 00:03:51,560 --> 00:03:54,880 Speaker 1: have on your business? Well, you know, the company was 60 00:03:55,720 --> 00:03:58,200 Speaker 1: an Internet company, even though we were only mailing DVDs 61 00:03:58,240 --> 00:04:01,920 Speaker 1: around the US to start with. The the the ability 62 00:04:02,040 --> 00:04:04,640 Speaker 1: to be a global company at the Global Entertainment Company 63 00:04:05,280 --> 00:04:08,360 Speaker 1: was uniquely enabled by the Internet. UH. The way that 64 00:04:08,760 --> 00:04:12,200 Speaker 1: being a A to Z DVD rental company UH was 65 00:04:12,280 --> 00:04:14,320 Speaker 1: owned was uniquely enabled by the Internet back in the 66 00:04:14,320 --> 00:04:17,400 Speaker 1: beginning of Netflix. But I think that we've always thought 67 00:04:17,400 --> 00:04:21,239 Speaker 1: that there was an interesting lack of equilibrium in the 68 00:04:21,279 --> 00:04:25,480 Speaker 1: storytelling arena where the US represented such a small percentage 69 00:04:25,480 --> 00:04:28,719 Speaker 1: of the world population and such a large percent of 70 00:04:28,760 --> 00:04:32,039 Speaker 1: total watching of content around the world. So you knew, 71 00:04:32,040 --> 00:04:33,919 Speaker 1: we knew that there were great storytellers, We knew that 72 00:04:33,920 --> 00:04:36,360 Speaker 1: there was great content coming from all over the world, 73 00:04:36,360 --> 00:04:39,760 Speaker 1: but the existing distribution models made it pretty difficult for 74 00:04:39,800 --> 00:04:44,640 Speaker 1: anything but domestic content to travel internationally. UM. But so 75 00:04:44,800 --> 00:04:46,599 Speaker 1: we looked at it earlier, which was like, what the 76 00:04:46,600 --> 00:04:49,240 Speaker 1: more time we spent in more countries, the more you 77 00:04:49,320 --> 00:04:52,440 Speaker 1: got to understand about the local appetites and local culture, 78 00:04:52,839 --> 00:04:57,359 Speaker 1: local history, local storytelling, local production ecosystems, and realized there 79 00:04:57,400 --> 00:05:01,159 Speaker 1: was an enormous opportunity for underserved audiences who've been pretty 80 00:05:01,200 --> 00:05:04,880 Speaker 1: dramatically underserved up to that point for us to be 81 00:05:04,960 --> 00:05:08,280 Speaker 1: able to be um as meaningful to a customer in 82 00:05:08,279 --> 00:05:10,680 Speaker 1: India as we are in Indiana. That was kind of 83 00:05:10,680 --> 00:05:12,360 Speaker 1: the way we thought about it back five years ago. 84 00:05:13,160 --> 00:05:16,800 Speaker 1: M hmm. Were was did you have nerves at that time? 85 00:05:17,040 --> 00:05:18,839 Speaker 1: It's kind of like, you know, you turned the lights on, 86 00:05:18,960 --> 00:05:21,720 Speaker 1: did you have any worries that you wouldn't get meaningful 87 00:05:21,800 --> 00:05:25,320 Speaker 1: numbers of subscribers? Uh, you know, at the time, it 88 00:05:25,400 --> 00:05:28,040 Speaker 1: was really uh that that that that literally flipped the 89 00:05:28,040 --> 00:05:30,400 Speaker 1: switch go live a hundred and thirty countries. It was 90 00:05:30,480 --> 00:05:32,640 Speaker 1: at that time. It wasn't like we were specializing in 91 00:05:32,680 --> 00:05:34,680 Speaker 1: any of them. You know, we had a couple, we 92 00:05:34,720 --> 00:05:38,120 Speaker 1: had some international territories launched ahead of that, but these 93 00:05:38,240 --> 00:05:40,279 Speaker 1: hundred and thirty countries were basically just entering for the 94 00:05:40,320 --> 00:05:43,440 Speaker 1: first time with the Netflix product as it was offered 95 00:05:43,480 --> 00:05:46,280 Speaker 1: to most people in the world. Uh, localized in many 96 00:05:46,279 --> 00:05:49,440 Speaker 1: countries and money languages, but at the time we didn't 97 00:05:49,480 --> 00:05:53,159 Speaker 1: have local payment options in many cases, or local subtitles 98 00:05:53,160 --> 00:05:56,040 Speaker 1: and dubs in some cases. So and those that early 99 00:05:56,080 --> 00:05:58,719 Speaker 1: early past, it was very much a hey, if you're 100 00:05:58,839 --> 00:06:02,160 Speaker 1: like Western content and up international credit card, uh, and 101 00:06:02,240 --> 00:06:04,840 Speaker 1: you've heard about Netflix, now you can watch it. Uh. 102 00:06:04,839 --> 00:06:08,280 Speaker 1: And then we just then just started more surgically looking 103 00:06:08,360 --> 00:06:12,080 Speaker 1: country by country, territory by territory uh at doing everything 104 00:06:12,080 --> 00:06:15,480 Speaker 1: from localizing the content that we had UH, to localizing 105 00:06:15,520 --> 00:06:19,200 Speaker 1: the payment methodologies UH and also to uh in many 106 00:06:19,240 --> 00:06:22,239 Speaker 1: cases producing original content and local language in those countries. 107 00:06:23,640 --> 00:06:26,920 Speaker 1: Was there anyone market or region that really fired up 108 00:06:26,960 --> 00:06:30,479 Speaker 1: your appetite for local language production to to really go 109 00:06:30,600 --> 00:06:33,479 Speaker 1: for it in that on that scale. Well, our first 110 00:06:33,480 --> 00:06:35,920 Speaker 1: time out was um you know we did in Mexican 111 00:06:36,040 --> 00:06:39,520 Speaker 1: Mexico when we made um Um Club the Cuervos, we 112 00:06:39,560 --> 00:06:41,400 Speaker 1: had an opportunity to look at say, well, that's the 113 00:06:41,440 --> 00:06:44,080 Speaker 1: show that not only worked really well in Mexico, but 114 00:06:44,200 --> 00:06:47,280 Speaker 1: it pretty much serves the Spanish speaking world. Uh. So 115 00:06:47,320 --> 00:06:50,680 Speaker 1: you really understand that you've got some opportunity to build 116 00:06:50,680 --> 00:06:53,240 Speaker 1: scale in some places in the world and other stories 117 00:06:53,279 --> 00:06:56,560 Speaker 1: and other places where like Japan, which was, you know, 118 00:06:56,560 --> 00:06:59,800 Speaker 1: such a huge media market and it's almost exclusively jepp 119 00:07:00,040 --> 00:07:04,400 Speaker 1: Upanese content in Japan. Uh. His history, history, taste, culture, 120 00:07:04,440 --> 00:07:07,440 Speaker 1: all those things that steer that population to mostly enjoy 121 00:07:07,480 --> 00:07:10,360 Speaker 1: the Japanese content. So you have these challenges of saying, 122 00:07:10,360 --> 00:07:12,160 Speaker 1: how do you you know, one hand, you can take 123 00:07:12,160 --> 00:07:15,880 Speaker 1: a stranger things that's almost totally global. But prior to that, 124 00:07:15,920 --> 00:07:19,360 Speaker 1: we didn't have a lot of experience with um, non 125 00:07:19,440 --> 00:07:22,760 Speaker 1: English language shows being very global. Uh. And then you 126 00:07:22,760 --> 00:07:26,120 Speaker 1: know Fastival, you know launched. Uh. We have a new 127 00:07:26,160 --> 00:07:28,320 Speaker 1: season of the Custody Papela just came out this year. 128 00:07:28,320 --> 00:07:30,680 Speaker 1: And you think at that show, and that show is 129 00:07:30,960 --> 00:07:34,000 Speaker 1: enormous globally, Uh. And the Spanish language and it's film, 130 00:07:34,040 --> 00:07:36,200 Speaker 1: you know, it's in a show from Spain. Uh. So 131 00:07:36,200 --> 00:07:40,040 Speaker 1: you have the opportunity to produce at scale in local languages. Uh. 132 00:07:40,040 --> 00:07:43,360 Speaker 1: It's an incredible It's incredible when you get it right. UM. 133 00:07:43,400 --> 00:07:45,360 Speaker 1: And I do think and that is you know, trusting 134 00:07:45,400 --> 00:07:48,920 Speaker 1: the storytellers in the region, giving them a big platform 135 00:07:49,000 --> 00:07:51,120 Speaker 1: and the opportunity to talk to the world in some 136 00:07:51,320 --> 00:07:55,800 Speaker 1: in some cases for the first time. And and of 137 00:07:55,800 --> 00:07:59,200 Speaker 1: course in this in this new on demand format which 138 00:07:59,280 --> 00:08:02,480 Speaker 1: is in an of itself, is so it is revolutionary 139 00:08:02,600 --> 00:08:05,679 Speaker 1: for markets where you know, the the overall the notion 140 00:08:05,760 --> 00:08:13,040 Speaker 1: of you know, private private networks is still relatively young. Yeah. Absolutely. Um. 141 00:08:13,080 --> 00:08:17,520 Speaker 1: Of course, in in your global network, China is a 142 00:08:17,760 --> 00:08:20,440 Speaker 1: is a big gap in terms of where you are. 143 00:08:20,480 --> 00:08:24,239 Speaker 1: You know, it's been well documented that the Chinese government 144 00:08:24,280 --> 00:08:28,560 Speaker 1: has not has not welcomed Netflix. Is there any progress 145 00:08:28,640 --> 00:08:31,600 Speaker 1: or any any effort to get into that market? You know, 146 00:08:31,680 --> 00:08:33,840 Speaker 1: We've not, I menially, in the last couple of years 147 00:08:33,920 --> 00:08:37,000 Speaker 1: invested in trying to get there. I think that to 148 00:08:37,080 --> 00:08:40,839 Speaker 1: your point, I think the local government in China UH 149 00:08:41,040 --> 00:08:43,199 Speaker 1: is not like the Chinese versions of Netflix to be 150 00:08:43,400 --> 00:08:45,920 Speaker 1: Chinese UM. And so I think we have a lot 151 00:08:45,960 --> 00:08:48,079 Speaker 1: of a lot of folks in the industry I think 152 00:08:48,120 --> 00:08:50,640 Speaker 1: have been you know, running into walls trying to make 153 00:08:50,679 --> 00:08:53,760 Speaker 1: trying to change that and eventually eventually that eventually those 154 00:08:53,760 --> 00:08:56,240 Speaker 1: walls will come down. But I don't think it's gonna 155 00:08:56,240 --> 00:08:58,200 Speaker 1: happen anytime really soon. And I'm glad that we spend 156 00:08:58,240 --> 00:09:01,439 Speaker 1: most of our energies UH in countries that are that 157 00:09:01,600 --> 00:09:04,400 Speaker 1: welcome UH Netflix to be part of the entertainment landscape. 158 00:09:05,559 --> 00:09:09,520 Speaker 1: M Um. With all of the local language content that 159 00:09:09,600 --> 00:09:12,880 Speaker 1: you are doing now, I was wondering, how do you 160 00:09:13,200 --> 00:09:16,440 Speaker 1: must have to schedule your time to to watch some 161 00:09:17,000 --> 00:09:19,319 Speaker 1: all of that content or watch at least a sampling 162 00:09:19,480 --> 00:09:21,959 Speaker 1: of it. Do you do you literally like apportion your 163 00:09:21,960 --> 00:09:25,120 Speaker 1: schedule by continent maybe or uh? You know what I 164 00:09:25,120 --> 00:09:29,319 Speaker 1: really miss in our current times of uh of COVID restrictions. 165 00:09:29,320 --> 00:09:32,760 Speaker 1: What I really miss is the international travel. Uh. Beyond 166 00:09:32,840 --> 00:09:34,840 Speaker 1: just the ability to get out and see people around 167 00:09:34,880 --> 00:09:38,160 Speaker 1: the world. Uh, those long plane rides were really accommodating 168 00:09:38,200 --> 00:09:40,800 Speaker 1: to catching up on the viewing, to catch you watching 169 00:09:40,840 --> 00:09:44,520 Speaker 1: cuts of episodes and so so I do have to 170 00:09:44,520 --> 00:09:47,200 Speaker 1: be more discipline about regimenting my time to make sure 171 00:09:47,240 --> 00:09:49,720 Speaker 1: that I can get get in front of some of 172 00:09:49,720 --> 00:09:52,360 Speaker 1: the content. And the keith that really do that is 173 00:09:52,720 --> 00:09:54,960 Speaker 1: when I we first started this, you know, we were 174 00:09:55,000 --> 00:09:57,040 Speaker 1: doing two or three shows, and you can watch every 175 00:09:57,120 --> 00:09:59,920 Speaker 1: cut and read every draft of every script. And today 176 00:10:00,040 --> 00:10:02,199 Speaker 1: a you know, it's not unusual for shows to come 177 00:10:02,200 --> 00:10:04,440 Speaker 1: on Netflix without me having seen any of any of it. 178 00:10:04,800 --> 00:10:07,360 Speaker 1: And that's because we've got I've got incredible teams in 179 00:10:07,360 --> 00:10:10,040 Speaker 1: each of these content verticals in each of these countries 180 00:10:10,720 --> 00:10:15,360 Speaker 1: that are producing great original content and they're really empowered. Uh. 181 00:10:15,400 --> 00:10:18,320 Speaker 1: There's great, hugely experience that I get to step in 182 00:10:18,440 --> 00:10:23,880 Speaker 1: sometimes when things are particularly challenging or particular particularly celebratory. 183 00:10:24,360 --> 00:10:26,800 Speaker 1: UH that I'm part of that, But in general, the 184 00:10:26,800 --> 00:10:30,160 Speaker 1: teams that I have enabled the entire thing to scale. 185 00:10:30,720 --> 00:10:33,080 Speaker 1: UM I knew going you know, looking at those early 186 00:10:33,160 --> 00:10:37,240 Speaker 1: days that if we bottle neck decision behind me, we'd 187 00:10:37,240 --> 00:10:40,280 Speaker 1: never get anywhere. So we really had to, particularly now 188 00:10:40,280 --> 00:10:42,199 Speaker 1: that we're operating in you know, every time zone in 189 00:10:42,240 --> 00:10:46,679 Speaker 1: the world. So the opportunity to enable people to make 190 00:10:46,720 --> 00:10:49,240 Speaker 1: great choices and come up with great television and film 191 00:10:49,280 --> 00:10:51,000 Speaker 1: for the world has been one of the things that 192 00:10:51,120 --> 00:10:53,720 Speaker 1: most gratified by how this all turned out, UM, and 193 00:10:53,720 --> 00:10:55,599 Speaker 1: that it it really enabled it to scale in a 194 00:10:55,640 --> 00:10:58,000 Speaker 1: way that I think entertainment companies have a difficult time 195 00:10:58,600 --> 00:11:01,400 Speaker 1: scaling because their historical they are you know, wrapped around 196 00:11:01,400 --> 00:11:03,840 Speaker 1: these kind of cult to personalities or golden this idea 197 00:11:03,840 --> 00:11:07,240 Speaker 1: of golden guts and all those things. I hopefully, if 198 00:11:07,240 --> 00:11:10,320 Speaker 1: I have a golden gut, it's for people, UM, and 199 00:11:10,559 --> 00:11:14,720 Speaker 1: their ability to make great choices. You have some local, 200 00:11:15,120 --> 00:11:19,040 Speaker 1: local buyers, local managers have green have green light authority 201 00:11:19,080 --> 00:11:22,840 Speaker 1: in essence, they can order and commission content correct on 202 00:11:22,880 --> 00:11:24,920 Speaker 1: their own, on their own, and they you know, there's 203 00:11:24,960 --> 00:11:27,280 Speaker 1: some things obviously you want to check in with, but 204 00:11:27,320 --> 00:11:29,320 Speaker 1: for the most part, you know, they know those markets 205 00:11:29,360 --> 00:11:32,120 Speaker 1: better than we do. And you know, as as example, 206 00:11:32,320 --> 00:11:35,400 Speaker 1: Um uh Min Young is an executive of ours in Korea. 207 00:11:36,000 --> 00:11:38,360 Speaker 1: Uh she had come up pretty you know, pretty fast 208 00:11:38,240 --> 00:11:41,720 Speaker 1: and at Netflix and her her sense of the production 209 00:11:42,440 --> 00:11:45,120 Speaker 1: ecosystem in Korea was obviously far better than anybody in 210 00:11:45,160 --> 00:11:48,760 Speaker 1: Netflix at the time. Uh. And she's had incredible success 211 00:11:49,480 --> 00:11:53,720 Speaker 1: with our local language originals film and television in Korea 212 00:11:53,960 --> 00:11:56,480 Speaker 1: that are serving in the Korean market but also serving 213 00:11:56,480 --> 00:11:58,120 Speaker 1: throughout a pack and every once in a while you 214 00:11:58,120 --> 00:12:00,600 Speaker 1: get one, it just serves the world. Um. We had 215 00:12:00,720 --> 00:12:02,679 Speaker 1: a film and original film that came out this quarter, 216 00:12:02,960 --> 00:12:06,640 Speaker 1: um hashtag alive. Um that it was a big global success, 217 00:12:06,640 --> 00:12:08,840 Speaker 1: one of our top non English films ever on Netflix. 218 00:12:10,040 --> 00:12:13,960 Speaker 1: M Um, have you having you know, watched the flate 219 00:12:14,240 --> 00:12:17,640 Speaker 1: you know, a sampling of shows undoubtedly from so many regions, 220 00:12:17,920 --> 00:12:20,680 Speaker 1: you know, looking at comedies and dramas and I'm sure 221 00:12:20,760 --> 00:12:25,000 Speaker 1: narrative and non narrative. Are there anything you know? I 222 00:12:25,040 --> 00:12:27,320 Speaker 1: would imagine that you've become something of a student of 223 00:12:27,760 --> 00:12:31,480 Speaker 1: cultures around the world. Are there any similarities that you 224 00:12:31,600 --> 00:12:35,640 Speaker 1: find in dramas or similarities that you find in comedies, 225 00:12:35,760 --> 00:12:39,640 Speaker 1: or differences that stand out in your mind for content 226 00:12:39,960 --> 00:12:43,480 Speaker 1: in various regions. I'm always interested in what, you know, 227 00:12:43,520 --> 00:12:45,480 Speaker 1: how similar the world is more so than I am. 228 00:12:45,480 --> 00:12:48,360 Speaker 1: And like what are the unique differences, because I think 229 00:12:48,360 --> 00:12:50,960 Speaker 1: people are mostly surprised at how similar tastes are, you know, 230 00:12:51,000 --> 00:12:53,719 Speaker 1: like there's all this conventional wisdom about the entertainment is 231 00:12:53,760 --> 00:12:56,280 Speaker 1: about what does and doesn't travel. Most of it turns 232 00:12:56,280 --> 00:12:59,480 Speaker 1: out not to be true. What really travels is UM 233 00:12:59,600 --> 00:13:03,280 Speaker 1: great already telling UM super authentic characters that you can 234 00:13:03,280 --> 00:13:06,040 Speaker 1: really that people can relate to somewhere in the world. Uh. 235 00:13:06,080 --> 00:13:09,640 Speaker 1: And I think that this um notion of trying to 236 00:13:09,720 --> 00:13:13,559 Speaker 1: reverse engineering global storytelling is silly because really the most 237 00:13:13,559 --> 00:13:15,319 Speaker 1: things have been most successful the things that are most 238 00:13:15,360 --> 00:13:18,959 Speaker 1: authentically local, So that the better we do at identifying 239 00:13:19,000 --> 00:13:21,920 Speaker 1: those stories that are authentically local, the better success we have. 240 00:13:22,000 --> 00:13:25,000 Speaker 1: So that helps a lot playing down the other convention 241 00:13:25,520 --> 00:13:30,679 Speaker 1: convention past, like French French comedy plays huge in France 242 00:13:30,679 --> 00:13:32,960 Speaker 1: and never travels. Uh. We we we had a great show 243 00:13:32,960 --> 00:13:36,240 Speaker 1: called Plank Core, great rom com uh that plays all 244 00:13:36,240 --> 00:13:38,640 Speaker 1: over Europe and all over the world. Uh. Just by 245 00:13:38,640 --> 00:13:41,480 Speaker 1: way of example, right now, our show Emily in Paris, 246 00:13:41,520 --> 00:13:44,760 Speaker 1: which is obviously an English language show American characters set 247 00:13:44,800 --> 00:13:47,160 Speaker 1: in Europe. You think that's kind of reverse engineering story, 248 00:13:47,200 --> 00:13:49,200 Speaker 1: but it's just a it's a classic fish out of 249 00:13:49,200 --> 00:13:51,800 Speaker 1: water Story, so I played. That's why it plays so 250 00:13:51,840 --> 00:13:54,960 Speaker 1: well everywhere in the world. So I think in general, 251 00:13:55,040 --> 00:13:58,000 Speaker 1: the one thing that that have been most fascinating Mexico 252 00:13:58,120 --> 00:13:59,800 Speaker 1: was one of our early launches and one of our 253 00:14:00,040 --> 00:14:05,600 Speaker 1: the original content plays and the telenovelas obviously are quite 254 00:14:05,600 --> 00:14:09,679 Speaker 1: popular in Mexico, and we've kind of evolved what a 255 00:14:09,960 --> 00:14:13,640 Speaker 1: what a telenovela can look like. Um and I think 256 00:14:13,679 --> 00:14:16,400 Speaker 1: you know this this year recently we released a show 257 00:14:16,440 --> 00:14:20,520 Speaker 1: called Dark Desire Um that was an enormous success in 258 00:14:20,600 --> 00:14:24,480 Speaker 1: Mexico but also played everywhere that people really love that 259 00:14:24,560 --> 00:14:28,760 Speaker 1: kind of highly serialized, soapy storytelling. Uh. And so that 260 00:14:28,760 --> 00:14:30,680 Speaker 1: show is a huge success for us in India and 261 00:14:30,680 --> 00:14:33,480 Speaker 1: in Turkey, uh and in the US because it speaks 262 00:14:33,480 --> 00:14:35,920 Speaker 1: well to the Spanish speaking community. In the US, we 263 00:14:36,040 --> 00:14:39,280 Speaker 1: have seen a bit of a cultural class a culture 264 00:14:39,440 --> 00:14:43,120 Speaker 1: clash in the world and kind of coming through Netflix. 265 00:14:43,480 --> 00:14:46,000 Speaker 1: In the last couple of weeks in the United States, 266 00:14:46,080 --> 00:14:49,000 Speaker 1: there's been a bit of an outcry over a movie 267 00:14:49,040 --> 00:14:52,440 Speaker 1: that you have on the platform. Cuti's um, a movie 268 00:14:52,440 --> 00:14:56,119 Speaker 1: that you know played Sundance gathered a claim at Sundance 269 00:14:56,320 --> 00:14:59,440 Speaker 1: when it came on Netflix and was very available to 270 00:14:59,520 --> 00:15:01,720 Speaker 1: the world. You know, I don't have to tell you 271 00:15:01,760 --> 00:15:04,640 Speaker 1: there has been some outcry in pockets in the US. 272 00:15:05,480 --> 00:15:07,800 Speaker 1: How how do you feel about that? Does it? It 273 00:15:07,880 --> 00:15:10,000 Speaker 1: seems too many people that this is a you know 274 00:15:10,040 --> 00:15:13,080 Speaker 1: that this is UM, it's a it's a dangerous on 275 00:15:13,080 --> 00:15:17,480 Speaker 1: a First Amendment UM, on a First Amendment basis in 276 00:15:17,480 --> 00:15:20,360 Speaker 1: the in the United States. But it's also interesting in 277 00:15:20,440 --> 00:15:25,440 Speaker 1: that Netflix really has created something of a global village. Yeah, 278 00:15:25,480 --> 00:15:28,560 Speaker 1: I'm I'm frankly, I'm I'm surprised that it has been 279 00:15:28,560 --> 00:15:32,600 Speaker 1: more discussion about the First Amendment implications about this film. 280 00:15:32,640 --> 00:15:36,680 Speaker 1: It's a film that I would argue is very misunderstood 281 00:15:36,720 --> 00:15:40,400 Speaker 1: with some audiences, uniquely in the in the United States. UM. 282 00:15:40,440 --> 00:15:44,320 Speaker 1: I think the film itself speaks for itself. It's a 283 00:15:44,480 --> 00:15:48,520 Speaker 1: very personal coming of age film. UH. The directors, the 284 00:15:48,560 --> 00:15:51,880 Speaker 1: director's story, UM. And the film is you know, obviously 285 00:15:51,880 --> 00:15:57,200 Speaker 1: played very well UMU at Sundance and without any of 286 00:15:57,240 --> 00:16:01,800 Speaker 1: this controversy, played uh in theaters throughout Europe with without 287 00:16:01,800 --> 00:16:04,640 Speaker 1: any of this controversy. UH. And the film I think 288 00:16:04,720 --> 00:16:06,840 Speaker 1: does speak for itself. And I think it's it's a 289 00:16:06,840 --> 00:16:11,400 Speaker 1: little surprising that in America we're having a discussion about 290 00:16:11,440 --> 00:16:16,080 Speaker 1: censoring storytelling. Yeah, and you I mean, I think I 291 00:16:16,120 --> 00:16:18,360 Speaker 1: know the answer, But you have not considered making any 292 00:16:18,480 --> 00:16:22,200 Speaker 1: changes to the movie or or or limiting its access 293 00:16:22,200 --> 00:16:29,440 Speaker 1: in any way. M hm Um. Let's talk about a 294 00:16:29,480 --> 00:16:33,160 Speaker 1: little more specifically, like are there are there certain conditions 295 00:16:33,200 --> 00:16:36,760 Speaker 1: in markets that you look at before you decide to 296 00:16:36,880 --> 00:16:40,400 Speaker 1: invest big in original content? Is there like a you know, 297 00:16:40,480 --> 00:16:43,440 Speaker 1: broadband penetration, or is there like a certain number of 298 00:16:43,480 --> 00:16:46,000 Speaker 1: subs that you need in a market before you'll go 299 00:16:46,240 --> 00:16:49,880 Speaker 1: kind of deep on original original content for that region. 300 00:16:50,440 --> 00:16:54,080 Speaker 1: I think we're looking at like some some markets. Um, 301 00:16:54,200 --> 00:16:56,480 Speaker 1: when we look at the opportunity, right, we're looking our 302 00:16:56,520 --> 00:17:00,000 Speaker 1: addressable audience. Really is everybody with access to the Internet 303 00:17:00,040 --> 00:17:04,040 Speaker 1: in a screen. Pretty big that way. So if you 304 00:17:04,119 --> 00:17:07,159 Speaker 1: only think about it as broadband penetration, you missed the 305 00:17:07,200 --> 00:17:09,639 Speaker 1: big population of folks who watch most of their content 306 00:17:09,680 --> 00:17:12,320 Speaker 1: on mobile phones and then and connect to the Internet 307 00:17:12,400 --> 00:17:14,359 Speaker 1: via mobile. So I do think that we have the 308 00:17:14,359 --> 00:17:18,800 Speaker 1: opportunity is bigger than broadband penetration or pay television penetration. Uh, 309 00:17:18,800 --> 00:17:21,640 Speaker 1: those are the easy ones because I think it goes 310 00:17:21,720 --> 00:17:26,240 Speaker 1: to um, socio economics of that country. Uh that you know, 311 00:17:26,280 --> 00:17:30,119 Speaker 1: you have an opportunity to reach audiences quickly. Um and so, 312 00:17:30,200 --> 00:17:32,040 Speaker 1: but I think it's in the next piece of it 313 00:17:32,080 --> 00:17:35,760 Speaker 1: is kind of the entertainment cultures, right, of these countries 314 00:17:35,800 --> 00:17:39,840 Speaker 1: that really thrive on storytelling, big pay television markets, big 315 00:17:40,280 --> 00:17:43,040 Speaker 1: uh movie going, all those kind of things. So there's 316 00:17:43,040 --> 00:17:45,920 Speaker 1: a whole list of things that line up sometimes perfectly. 317 00:17:46,160 --> 00:17:49,080 Speaker 1: And then you have places like Brazil, um, which you know, 318 00:17:49,440 --> 00:17:54,320 Speaker 1: very young, vibrant population, great storytelling culture, great move great 319 00:17:54,320 --> 00:17:58,240 Speaker 1: television market, great movie cultures, uh, and just people who 320 00:17:58,240 --> 00:18:01,920 Speaker 1: are just hungry for great content. So we're uh. That 321 00:18:01,800 --> 00:18:05,480 Speaker 1: was kind of one of our early breakouts if for international, 322 00:18:05,560 --> 00:18:07,520 Speaker 1: was our success of Brazil, and I think he has 323 00:18:07,560 --> 00:18:09,920 Speaker 1: a lot to do with the excitement and vibrant for 324 00:18:10,000 --> 00:18:18,360 Speaker 1: the population in Brazil. We'll be right back. Strictly, business 325 00:18:18,440 --> 00:18:20,840 Speaker 1: is brought to you in part by City National Bank, 326 00:18:21,200 --> 00:18:23,640 Speaker 1: the bank who makes it their business to be personal. 327 00:18:24,240 --> 00:18:28,560 Speaker 1: A City National relationship manager can anticipate the financial needs 328 00:18:28,560 --> 00:18:31,879 Speaker 1: that make the entertainment and tech industries tick. That's because 329 00:18:31,920 --> 00:18:34,240 Speaker 1: they've been doing it for more than sixty five years. 330 00:18:35,040 --> 00:18:39,159 Speaker 1: Need to figure out day to day finances done. Someone 331 00:18:39,200 --> 00:18:45,520 Speaker 1: that understands intellectual property licensing, and royalties. Absolutely. City National 332 00:18:45,720 --> 00:18:49,760 Speaker 1: understands the industry because they were born in it. Visit 333 00:18:49,960 --> 00:18:54,440 Speaker 1: c NB dot com and get started. City National Bank 334 00:18:54,760 --> 00:19:02,520 Speaker 1: member f D I C. Welcome back to strictly Business. 335 00:19:02,520 --> 00:19:06,160 Speaker 1: Here's more of my conversation with Ted Surrandos, PO CEO 336 00:19:06,359 --> 00:19:10,840 Speaker 1: and Chief Content Officer for Netflix. Do you find that 337 00:19:11,040 --> 00:19:13,959 Speaker 1: in like the bigger in the bigger global global markets 338 00:19:13,960 --> 00:19:16,840 Speaker 1: in Europe and Latin America and Asia, do you find 339 00:19:16,880 --> 00:19:21,400 Speaker 1: that your biggest competitors tend to be regional or local 340 00:19:21,480 --> 00:19:24,879 Speaker 1: players or are you going you know, you feel like 341 00:19:24,920 --> 00:19:27,840 Speaker 1: you get this the same sort of um competition from 342 00:19:27,840 --> 00:19:31,560 Speaker 1: an Amazon or from other from the other you know 343 00:19:31,720 --> 00:19:34,000 Speaker 1: some of the some of the competitors that are active 344 00:19:34,000 --> 00:19:36,879 Speaker 1: in the US as well. Yeah, they're pretty much the 345 00:19:36,920 --> 00:19:39,080 Speaker 1: same pool of folks. You know. The thing that we're 346 00:19:39,119 --> 00:19:41,560 Speaker 1: competing with mostly is for you know, with folks for 347 00:19:41,560 --> 00:19:44,360 Speaker 1: what time that they're spending on screens, so that can 348 00:19:44,400 --> 00:19:50,000 Speaker 1: be through traditional television or through various uh subscription services 349 00:19:50,160 --> 00:19:53,440 Speaker 1: and also things like YouTube. You know, many countries television 350 00:19:53,480 --> 00:19:56,600 Speaker 1: watching is dominated about YouTube. So we're we're looking at 351 00:19:56,640 --> 00:19:58,280 Speaker 1: all that, we look at all those markets and all 352 00:19:58,320 --> 00:20:00,639 Speaker 1: those folks who we compete with, but we mostly focus 353 00:20:00,720 --> 00:20:02,959 Speaker 1: on our members and mostly try to focus on how 354 00:20:02,960 --> 00:20:05,080 Speaker 1: do you make these folks happy? How do you make 355 00:20:05,080 --> 00:20:07,800 Speaker 1: the shows that they can't live without? Um. And if 356 00:20:07,840 --> 00:20:09,320 Speaker 1: we focus on that, we don't have to worry too 357 00:20:09,400 --> 00:20:12,119 Speaker 1: much about competitors. UM. We know that it's a big, 358 00:20:12,280 --> 00:20:15,119 Speaker 1: enormous market and there's gonna be multiple players. You know, 359 00:20:15,160 --> 00:20:18,879 Speaker 1: there's hundreds of channels of cable television around the world 360 00:20:19,240 --> 00:20:23,440 Speaker 1: against satellite television. There are uh countless numbers of video 361 00:20:23,480 --> 00:20:26,080 Speaker 1: competitors on the internet. UH. So you look at that 362 00:20:26,119 --> 00:20:28,440 Speaker 1: and say, you know, we we always know there's gonna 363 00:20:28,480 --> 00:20:31,879 Speaker 1: be folks. Yet we're competing with for people's affinity and 364 00:20:31,920 --> 00:20:34,439 Speaker 1: love and attention and time. Uh. And we do that 365 00:20:34,480 --> 00:20:37,320 Speaker 1: by with two great storytelling and delivering a great product 366 00:20:37,400 --> 00:20:40,440 Speaker 1: for people. So when they push play uh anywhere in 367 00:20:40,480 --> 00:20:43,840 Speaker 1: the world, uh, it works UM. And it's in many 368 00:20:43,880 --> 00:20:47,439 Speaker 1: cases in the local language. UH. And it's oriented to 369 00:20:47,480 --> 00:20:49,320 Speaker 1: what your taste is so that you could find great 370 00:20:49,359 --> 00:20:52,199 Speaker 1: things to watch. Uh. And that's that great kind of 371 00:20:52,200 --> 00:20:56,119 Speaker 1: convergence of of great tech and great storytelling. M HM. 372 00:20:56,240 --> 00:20:58,760 Speaker 1: And I think you guys have have accurately said that 373 00:20:58,800 --> 00:21:01,359 Speaker 1: one of your biggest competitor yours is in fact sleep. 374 00:21:03,200 --> 00:21:05,879 Speaker 1: But we want people to sleep. Though we do want 375 00:21:06,080 --> 00:21:09,280 Speaker 1: don't sacrifice anything, and don't don't sacrifice any sleep time. 376 00:21:09,280 --> 00:21:10,840 Speaker 1: We want some of you more of your screen time, 377 00:21:10,840 --> 00:21:17,200 Speaker 1: but your sleep time. Please keep keep sleep. It's important. UM. Obviously, 378 00:21:17,600 --> 00:21:21,040 Speaker 1: COVID has been the curve just has been an enormous 379 00:21:21,080 --> 00:21:24,919 Speaker 1: curveball for virtually every economics sector and every country on 380 00:21:24,960 --> 00:21:30,760 Speaker 1: the planet. Have you, um, have you did you have 381 00:21:30,840 --> 00:21:33,640 Speaker 1: to adjust either up or down or make big changes 382 00:21:33,840 --> 00:21:37,520 Speaker 1: into your into the your plans for your content spending 383 00:21:37,520 --> 00:21:42,480 Speaker 1: in has it been much revisions? The main thing I'm 384 00:21:42,480 --> 00:21:44,479 Speaker 1: really proud of, you know, we throughout the one thing 385 00:21:44,520 --> 00:21:48,720 Speaker 1: that really benefits from being UH Internet Global company is 386 00:21:48,920 --> 00:21:53,280 Speaker 1: that throughout the early stages of the COVID shutdown, UH, 387 00:21:53,320 --> 00:21:55,439 Speaker 1: in some places they did not shut down, like in 388 00:21:55,560 --> 00:21:59,080 Speaker 1: Iceland and Sweden. UH. And we were able to figure 389 00:21:59,080 --> 00:22:01,640 Speaker 1: out safety prod of calls that have served us really 390 00:22:01,640 --> 00:22:04,399 Speaker 1: well all over the world, and our productions were mostly 391 00:22:04,480 --> 00:22:07,280 Speaker 1: up and running. UH. And with our productions all over 392 00:22:07,320 --> 00:22:10,920 Speaker 1: the world, we're shooting about a hundred yards from where 393 00:22:10,920 --> 00:22:14,520 Speaker 1: I'm sitting right now on a stage UH, and it's 394 00:22:14,640 --> 00:22:16,440 Speaker 1: I and it's making me a little crazy. I can't 395 00:22:16,440 --> 00:22:18,600 Speaker 1: go over there because our code, because of our protocol 396 00:22:19,200 --> 00:22:23,240 Speaker 1: safety protocols that I don't go visit the sets. But 397 00:22:23,480 --> 00:22:27,560 Speaker 1: those sets and the safety protocols have kept these operations 398 00:22:27,560 --> 00:22:30,800 Speaker 1: incredibly safe and healthy, uh and make the talent feel 399 00:22:30,880 --> 00:22:33,840 Speaker 1: very comfortable, uh that they are being protected and looked 400 00:22:33,880 --> 00:22:36,320 Speaker 1: out for. UH. So at first it was we don't. 401 00:22:36,440 --> 00:22:38,000 Speaker 1: We didn't really spend that much time thinking what's it 402 00:22:38,080 --> 00:22:40,960 Speaker 1: all going to cost? Um, But because because it really 403 00:22:41,000 --> 00:22:43,240 Speaker 1: wasn't optional and it was not a great thing to 404 00:22:43,680 --> 00:22:46,920 Speaker 1: cut corners on we're talking about, um creating a safe 405 00:22:46,920 --> 00:22:49,920 Speaker 1: work environment of any kind, So we didn't, and we 406 00:22:49,960 --> 00:22:52,879 Speaker 1: really built what I think is a state of the 407 00:22:52,960 --> 00:22:56,600 Speaker 1: art safety protocols around our productions and uh and the 408 00:22:56,840 --> 00:22:58,639 Speaker 1: art of this thing going forward because I'm afraid that 409 00:22:59,040 --> 00:23:01,680 Speaker 1: you know, COVID nineteas be with us for a while, UM, 410 00:23:01,760 --> 00:23:03,200 Speaker 1: that the art of all this is really gonna be 411 00:23:03,280 --> 00:23:06,000 Speaker 1: how to manage in a world with COVID nineteen UM 412 00:23:06,320 --> 00:23:09,320 Speaker 1: and how to keep people safe and working. And that's 413 00:23:09,320 --> 00:23:11,240 Speaker 1: what we've been really focused on. And the cost of 414 00:23:11,280 --> 00:23:14,720 Speaker 1: it has been um, you know, uh, not the leading 415 00:23:14,720 --> 00:23:17,520 Speaker 1: priority if of course, it's a factor. Uh. And what's 416 00:23:17,520 --> 00:23:19,439 Speaker 1: really nice about it is because of all the safety 417 00:23:19,440 --> 00:23:23,240 Speaker 1: protocols and people being very supportive of the safety protocols, 418 00:23:23,280 --> 00:23:26,560 Speaker 1: that productions run much smoother. So you actually save some 419 00:23:26,600 --> 00:23:32,040 Speaker 1: shooting days. Sometimes shooting days are shorter. Um, the sets 420 00:23:32,040 --> 00:23:35,240 Speaker 1: are better run, a better organized is fewer people on 421 00:23:35,359 --> 00:23:37,879 Speaker 1: set sometimes, which you keep it easy. It keeps the 422 00:23:38,080 --> 00:23:41,520 Speaker 1: trains running on time. So there's been some recovery in 423 00:23:41,560 --> 00:23:44,320 Speaker 1: that too. Uh. And so we just we find is 424 00:23:44,359 --> 00:23:45,720 Speaker 1: that you know, the the other thing two, as you 425 00:23:45,760 --> 00:23:50,960 Speaker 1: get unforeseen benefits, financial benefits of when people aren't sick 426 00:23:51,200 --> 00:23:54,199 Speaker 1: and getting sick going into blue season, all these safety 427 00:23:54,200 --> 00:23:56,359 Speaker 1: protocols for COVID are going to prevent people also from 428 00:23:56,400 --> 00:23:58,680 Speaker 1: getting the flue as frequently as they did and you 429 00:23:58,680 --> 00:24:02,320 Speaker 1: would lose shooting days to the before. So in general, 430 00:24:02,359 --> 00:24:06,320 Speaker 1: I think it's been uh not as um uh not 431 00:24:06,400 --> 00:24:09,199 Speaker 1: as as as difficult to financial pain point to do 432 00:24:09,280 --> 00:24:13,080 Speaker 1: the right thing. Uh. And we've been managing both. Have 433 00:24:13,160 --> 00:24:15,959 Speaker 1: you found are there? I mean there are there. Obviously 434 00:24:16,000 --> 00:24:19,280 Speaker 1: there are countries that got up and running sooner. Has 435 00:24:19,320 --> 00:24:22,080 Speaker 1: there been any examples of how they're handling the protocols 436 00:24:22,119 --> 00:24:26,800 Speaker 1: are just aspects of dealing with life in a COVID time. 437 00:24:27,320 --> 00:24:30,200 Speaker 1: Any places that have impressed you, you know, outside the US, 438 00:24:30,240 --> 00:24:32,520 Speaker 1: any places that impressed you with the way that that 439 00:24:32,520 --> 00:24:35,800 Speaker 1: that local governments or you know, authorities have gone about 440 00:24:36,320 --> 00:24:40,400 Speaker 1: dealing with the COVID crisis. I think everyone has got 441 00:24:40,440 --> 00:24:42,520 Speaker 1: their different flavors of these things. So I think in 442 00:24:42,600 --> 00:24:44,760 Speaker 1: general that you know, we I think, you know, North 443 00:24:44,800 --> 00:24:48,280 Speaker 1: America was very slow to reopen relative to the rest 444 00:24:48,320 --> 00:24:50,720 Speaker 1: of other places in the world. And I don't fault that, 445 00:24:50,960 --> 00:24:52,320 Speaker 1: you know, this is not this is a good time 446 00:24:52,359 --> 00:24:55,199 Speaker 1: to be careful, but in a way, I gotta give 447 00:24:55,240 --> 00:24:58,080 Speaker 1: everybody the opportunity to figure out things. I think one 448 00:24:58,119 --> 00:25:01,000 Speaker 1: thing that was great was the country is um like 449 00:25:01,040 --> 00:25:03,919 Speaker 1: South Korea. One of the benefits that I think that 450 00:25:04,080 --> 00:25:07,920 Speaker 1: what they did right was um you know, uh, large 451 00:25:07,960 --> 00:25:13,240 Speaker 1: scale testing, a big federal response. I think the countries 452 00:25:13,280 --> 00:25:15,240 Speaker 1: that took that, that took this series at the federal 453 00:25:15,320 --> 00:25:18,520 Speaker 1: level UM have advanced things like production in all forms 454 00:25:18,560 --> 00:25:21,400 Speaker 1: of essential work U is back to you know, near 455 00:25:21,480 --> 00:25:24,119 Speaker 1: normal in many of these countries who took a big 456 00:25:24,840 --> 00:25:30,919 Speaker 1: federal uniform response to to COVID. Mhm um. Let me 457 00:25:30,960 --> 00:25:33,600 Speaker 1: ask you in terms of as you're you have an 458 00:25:33,600 --> 00:25:36,840 Speaker 1: ever changing lineup of content. What are what are your 459 00:25:36,840 --> 00:25:41,400 Speaker 1: most important metrics for evaluating shows? How there are programming, 460 00:25:41,400 --> 00:25:45,400 Speaker 1: you know, program shows, movies, documentaries. What are the key 461 00:25:45,440 --> 00:25:47,480 Speaker 1: things that you look at to see if they're resonating? 462 00:25:48,640 --> 00:25:51,639 Speaker 1: In this way, Netflix is pretty traditional, like the meaning 463 00:25:51,640 --> 00:25:54,600 Speaker 1: the audience measure audience matters. There are people showing up? 464 00:25:54,640 --> 00:25:57,240 Speaker 1: Are they loving the shows? Uh? The things that we 465 00:25:57,280 --> 00:25:59,240 Speaker 1: could bring to that that you know, that's more a 466 00:25:59,240 --> 00:26:02,960 Speaker 1: little more difficult to measure in in old in traditional media, 467 00:26:03,000 --> 00:26:07,320 Speaker 1: I said almost at old media, sorry, Uh is things like, um, 468 00:26:07,359 --> 00:26:09,520 Speaker 1: you know, what people watch in the first twenty four hours, 469 00:26:09,520 --> 00:26:11,919 Speaker 1: so that gives you a good signal that people actually 470 00:26:11,960 --> 00:26:14,359 Speaker 1: join Netflix to watch that show, So that show is 471 00:26:14,400 --> 00:26:17,040 Speaker 1: more valuable than other shows in that way. Are they 472 00:26:17,080 --> 00:26:19,959 Speaker 1: finishing the show? Do they finish it quickly? Meaning are 473 00:26:20,000 --> 00:26:22,240 Speaker 1: they so addicted to the show that they really love it? 474 00:26:22,280 --> 00:26:24,760 Speaker 1: And that kind of watching, that kind of level of 475 00:26:24,800 --> 00:26:29,439 Speaker 1: passion is more valuable than just casual watching. And it's monetized, 476 00:26:29,760 --> 00:26:32,840 Speaker 1: you know, through positive word of mouth and retention and 477 00:26:32,880 --> 00:26:35,000 Speaker 1: all those kind of things. So they're all signals that 478 00:26:35,080 --> 00:26:38,440 Speaker 1: are relatively easy for us to manage to to measure um, 479 00:26:38,640 --> 00:26:41,320 Speaker 1: that to to to land on the in a world 480 00:26:41,320 --> 00:26:44,880 Speaker 1: where all viewing isn't equal um and so in that way. 481 00:26:45,119 --> 00:26:47,040 Speaker 1: But at the end of the day, relative to what 482 00:26:47,080 --> 00:26:49,920 Speaker 1: the show cost, does it attract you know, a big 483 00:26:50,000 --> 00:26:52,760 Speaker 1: enough audience who care enough about the show to keep going. 484 00:26:53,800 --> 00:26:58,600 Speaker 1: M hmm. Interesting? Um, how do you should point out 485 00:26:58,600 --> 00:27:01,919 Speaker 1: to you know? It's interesting the because I think the 486 00:27:01,920 --> 00:27:05,320 Speaker 1: television world has so much grown up around you know, 487 00:27:05,359 --> 00:27:10,600 Speaker 1: the core financial model of syndication, that the whole measure 488 00:27:10,600 --> 00:27:13,960 Speaker 1: of success is how long a show runs, and getting 489 00:27:13,960 --> 00:27:16,840 Speaker 1: a show too in the syndication getting to the magic 490 00:27:16,880 --> 00:27:19,800 Speaker 1: hundred episodes with so much the measure of success in 491 00:27:19,840 --> 00:27:22,520 Speaker 1: old media, uh that I just don't think. I think 492 00:27:22,520 --> 00:27:25,159 Speaker 1: that that's why that gets an undue attention when shows 493 00:27:25,200 --> 00:27:30,400 Speaker 1: don't go longer in the new kind of premium sad world. 494 00:27:30,720 --> 00:27:32,760 Speaker 1: And I don't know that it is necessarily the measure 495 00:27:32,800 --> 00:27:36,320 Speaker 1: of success. I think that we get the opportunity to 496 00:27:36,400 --> 00:27:39,480 Speaker 1: tell stories for exactly as long as you should. You know, 497 00:27:39,880 --> 00:27:41,320 Speaker 1: I think a lot of times you watch a lot 498 00:27:41,320 --> 00:27:43,400 Speaker 1: of shows and they run out of creative a lot 499 00:27:43,840 --> 00:27:47,000 Speaker 1: sooner than they run out of episodes. Uh, And in general, 500 00:27:47,040 --> 00:27:49,240 Speaker 1: I really but I'm really thrilled about is sometimes we could, 501 00:27:49,480 --> 00:27:52,120 Speaker 1: you know, sometimes the perfect shelf life for a show, 502 00:27:52,280 --> 00:27:55,280 Speaker 1: the perfect running time for a show is three seasons 503 00:27:55,600 --> 00:27:58,200 Speaker 1: or four seasons, or six seasons or eight seasons, whatever 504 00:27:58,240 --> 00:28:01,440 Speaker 1: it is. But the unit form measure of success being 505 00:28:02,200 --> 00:28:04,760 Speaker 1: you know, long running. I don't think. I think it's 506 00:28:04,760 --> 00:28:07,320 Speaker 1: a very unusual thing that emerge. I think mostly tied 507 00:28:07,359 --> 00:28:10,879 Speaker 1: to the golden prize of getting this syndication that is 508 00:28:11,280 --> 00:28:14,720 Speaker 1: really no longer, uh, you know, the pot of gold 509 00:28:14,760 --> 00:28:17,720 Speaker 1: that it once was in television. And I feel like 510 00:28:17,760 --> 00:28:21,119 Speaker 1: I have for for minimum five years, probably closer to 511 00:28:21,160 --> 00:28:24,560 Speaker 1: eight years, have been writing nothing about how things used 512 00:28:24,600 --> 00:28:27,600 Speaker 1: to be and how they are now, so so that 513 00:28:27,600 --> 00:28:29,920 Speaker 1: that is absolutely so true. It used to be that 514 00:28:30,000 --> 00:28:32,760 Speaker 1: you built, you know, the the the absolute end goal 515 00:28:32,880 --> 00:28:35,520 Speaker 1: was to build something that you could last as long 516 00:28:35,560 --> 00:28:39,560 Speaker 1: as possible because it was tied to time sensitive schedules 517 00:28:39,600 --> 00:28:42,800 Speaker 1: and time sensive schedules and everything there. And there are 518 00:28:42,880 --> 00:28:46,840 Speaker 1: times that there's a story or a world or or 519 00:28:46,880 --> 00:28:50,040 Speaker 1: some I p that is really built perfectly, you know, 520 00:28:50,120 --> 00:28:53,640 Speaker 1: for fifteen years of storytelling. Not there's not not that frequently, 521 00:28:54,200 --> 00:28:56,320 Speaker 1: but they exist and they're usually valuable when you could 522 00:28:56,320 --> 00:28:58,880 Speaker 1: if you could find them. But you know, I do think, 523 00:28:58,920 --> 00:29:02,280 Speaker 1: you know, we go. I think our shows if what 524 00:29:02,320 --> 00:29:03,720 Speaker 1: I don't want to ever get into the position of 525 00:29:03,760 --> 00:29:06,560 Speaker 1: doing is uh, you know, trying to prop up a 526 00:29:06,560 --> 00:29:10,080 Speaker 1: show beyond its creative life. I know think creators are 527 00:29:10,120 --> 00:29:13,160 Speaker 1: happy doing it either so, and I like the opportunity 528 00:29:13,160 --> 00:29:14,800 Speaker 1: of doing a lot of you know, having a lot 529 00:29:14,840 --> 00:29:17,480 Speaker 1: of slots, uh, is that to get the opportunity to 530 00:29:17,480 --> 00:29:19,600 Speaker 1: tell another story? You know? The big reason why I 531 00:29:19,600 --> 00:29:21,560 Speaker 1: think people wanted these shows to last forever is that 532 00:29:21,960 --> 00:29:23,840 Speaker 1: sometimes they didn't get a second or third shot at 533 00:29:23,880 --> 00:29:25,720 Speaker 1: it because it was because this the shelf space was 534 00:29:25,760 --> 00:29:31,080 Speaker 1: so limited. It's the bringing in cousin Oliver syndrome exactly, 535 00:29:32,040 --> 00:29:34,880 Speaker 1: the final season doing you're punching sharks and you're trying 536 00:29:34,880 --> 00:29:37,680 Speaker 1: to keep you know, you're trying to go Maybe do 537 00:29:37,760 --> 00:29:40,440 Speaker 1: you is this something that you talked talk about with 538 00:29:40,480 --> 00:29:43,720 Speaker 1: your creators early on in the process. Do you talk about, 539 00:29:43,760 --> 00:29:46,560 Speaker 1: like what is the what is the long arc for this? 540 00:29:46,680 --> 00:29:48,880 Speaker 1: Do you see this as three seasons or four seasons? 541 00:29:48,920 --> 00:29:52,480 Speaker 1: Are you having those conversations earlier? Given that the mindset 542 00:29:52,680 --> 00:29:55,440 Speaker 1: is I want to go as long often is I 543 00:29:55,480 --> 00:29:57,600 Speaker 1: want to go as long as possible. Yeah, And I 544 00:29:57,600 --> 00:30:00,640 Speaker 1: would say, look, going back to our earliest shows, Um, 545 00:30:00,680 --> 00:30:04,760 Speaker 1: The Crown, Peter Morgan could tell you nearly every story 546 00:30:04,800 --> 00:30:07,520 Speaker 1: beat of six seasons of The Crown when we met, 547 00:30:08,640 --> 00:30:11,640 Speaker 1: and you know, not that many there's not that many 548 00:30:11,640 --> 00:30:14,040 Speaker 1: people who can tell you. Basically, you get a season, 549 00:30:14,240 --> 00:30:18,000 Speaker 1: you get sometimes a pilot script, and sometimes I see 550 00:30:18,040 --> 00:30:21,160 Speaker 1: a season bible and then a kind of very loose 551 00:30:21,200 --> 00:30:23,960 Speaker 1: series bible, like where is this going over time? And 552 00:30:24,080 --> 00:30:25,680 Speaker 1: you know, and they by the time you get to 553 00:30:25,720 --> 00:30:28,280 Speaker 1: the fourth or fifth when it's a sentence. Uh. And 554 00:30:28,320 --> 00:30:30,560 Speaker 1: in this case that you know Peter had talked about 555 00:30:31,120 --> 00:30:33,720 Speaker 1: uh literally the stories that when they would break, how 556 00:30:33,800 --> 00:30:36,320 Speaker 1: they would break, you know, through every season of this show. 557 00:30:36,800 --> 00:30:38,560 Speaker 1: And that's why it's been such a thrill to watch 558 00:30:38,560 --> 00:30:41,520 Speaker 1: it unfold so closely to how we pitched it. Uh. 559 00:30:41,520 --> 00:30:43,320 Speaker 1: In most cases, I don't think people really have that 560 00:30:43,400 --> 00:30:46,920 Speaker 1: clearer vision of the creative vision. I think they think 561 00:30:46,960 --> 00:30:48,280 Speaker 1: they can say, this is a world that you can 562 00:30:48,320 --> 00:30:51,880 Speaker 1: keep exploring and keep going deeper. Um, these are characters 563 00:30:51,920 --> 00:30:55,400 Speaker 1: that you want to age with. Um. All those things 564 00:30:55,400 --> 00:30:58,680 Speaker 1: are possible in television, is just not that common let 565 00:30:58,680 --> 00:31:00,920 Speaker 1: me ask you, Ted, you i'll be had a major 566 00:31:01,040 --> 00:31:04,800 Speaker 1: change in your uh, in your operation in the management 567 00:31:04,880 --> 00:31:08,760 Speaker 1: side recently with Cindy Holland, a long time lieutenant of 568 00:31:08,840 --> 00:31:13,880 Speaker 1: yours has left Bello Bajaria was was elevated. Can you 569 00:31:13,960 --> 00:31:16,280 Speaker 1: tell me what drove that? Why did you change the 570 00:31:16,320 --> 00:31:19,680 Speaker 1: structure in that way? UM? Some of it was triggered 571 00:31:19,680 --> 00:31:23,160 Speaker 1: on the coast CEO arrangement with read meaning I was 572 00:31:23,160 --> 00:31:27,200 Speaker 1: taking on some other responsibilities inside the company. Uh and 573 00:31:27,200 --> 00:31:31,440 Speaker 1: and and had me second look at my direct report 574 00:31:31,520 --> 00:31:33,920 Speaker 1: organization and how to how how to kind of streamline 575 00:31:33,920 --> 00:31:37,880 Speaker 1: things a bit. And we've had great success running film 576 00:31:37,920 --> 00:31:41,560 Speaker 1: and animation uh and and uh is uh is as 577 00:31:41,600 --> 00:31:45,920 Speaker 1: global organizations. Our stand up comedy group was doing you know, 578 00:31:46,000 --> 00:31:48,840 Speaker 1: global stand up comedy. UH. The only thing that really 579 00:31:48,920 --> 00:31:52,600 Speaker 1: was regionalized this way really was our television efforts. We 580 00:31:52,640 --> 00:31:56,239 Speaker 1: had very strong teams regionally. Uh and I looked at 581 00:31:56,240 --> 00:31:58,240 Speaker 1: that and said, I wanted to have a global head 582 00:31:58,240 --> 00:32:01,080 Speaker 1: of television. Du could had that up and in that 583 00:32:01,160 --> 00:32:03,000 Speaker 1: world thinking about the things that we're going to be 584 00:32:03,040 --> 00:32:06,120 Speaker 1: incredibly important to us for the next decade um, you know, 585 00:32:06,200 --> 00:32:10,400 Speaker 1: local language, original programming, UM. UH. The the enormous growth 586 00:32:10,560 --> 00:32:13,160 Speaker 1: has seen an unscripted and unscripted television which is still 587 00:32:13,200 --> 00:32:17,520 Speaker 1: kind of been its infancy. Um. Uh. Bella built the 588 00:32:17,600 --> 00:32:20,880 Speaker 1: unscripted team inside of Netflix now headed by Brandon reag 589 00:32:20,920 --> 00:32:23,120 Speaker 1: as you brought over with her. I remember when I 590 00:32:23,200 --> 00:32:26,440 Speaker 1: when we hired Bela, she had never worked on scripted television, 591 00:32:26,800 --> 00:32:29,640 Speaker 1: and she built you know, brand Brandon and they architected 592 00:32:29,680 --> 00:32:32,960 Speaker 1: this team in this slate of original unscripted shows. Uh 593 00:32:33,080 --> 00:32:36,600 Speaker 1: so successfully. Um. After doing that for a little while, 594 00:32:36,640 --> 00:32:38,640 Speaker 1: she stepped into the role of the local running the 595 00:32:38,640 --> 00:32:42,280 Speaker 1: local language originals everywhere outside of the US, again having 596 00:32:42,280 --> 00:32:45,320 Speaker 1: never worked international television. Uh and it has had a 597 00:32:45,360 --> 00:32:49,200 Speaker 1: remarkable track record of building and rebuilding that team for me. Uh. 598 00:32:49,240 --> 00:32:51,040 Speaker 1: And when I look at that, on top of the 599 00:32:51,040 --> 00:32:55,520 Speaker 1: fact that she had such enormous success at Universal Television. 600 00:32:56,000 --> 00:32:57,520 Speaker 1: Uh and in fact, it was a great supplier to 601 00:32:57,680 --> 00:33:01,080 Speaker 1: Netflix before she joined us, the veloping great Joe's like 602 00:33:01,320 --> 00:33:04,120 Speaker 1: master of None and I'm breakboo, Kim Schmidt uh and 603 00:33:04,280 --> 00:33:07,520 Speaker 1: was really instrumental in getting UM never have I ever 604 00:33:07,640 --> 00:33:10,600 Speaker 1: to Netflix. I thought it was a no brainer that 605 00:33:10,680 --> 00:33:15,080 Speaker 1: Bella had the experience, uh and the leadership skills to 606 00:33:15,160 --> 00:33:17,280 Speaker 1: take on. All those things are gonna be so important 607 00:33:17,320 --> 00:33:20,640 Speaker 1: for the next you know, next twenty years at Netflix. Uh, 608 00:33:20,720 --> 00:33:23,520 Speaker 1: and Cindy was a great partner getting all this built. 609 00:33:24,080 --> 00:33:26,040 Speaker 1: But I think in the if you know, looking at it, 610 00:33:26,080 --> 00:33:29,560 Speaker 1: the challenges and the opportunities of the next twenty years, 611 00:33:29,840 --> 00:33:32,520 Speaker 1: the Bella was so perfectly positioned to lead through that 612 00:33:34,160 --> 00:33:36,000 Speaker 1: those of us that have known Bella a while are 613 00:33:36,080 --> 00:33:38,280 Speaker 1: not at all surprised that she is in fact on 614 00:33:38,360 --> 00:33:42,120 Speaker 1: top of the world now. Fantastic. I guess my last 615 00:33:42,160 --> 00:33:44,280 Speaker 1: question for you, Tend you sort of touched on but 616 00:33:44,600 --> 00:33:48,360 Speaker 1: m you were recently elevated to co CEO with Read Hastings. 617 00:33:48,800 --> 00:33:51,800 Speaker 1: How does you know you've been an architect of Netflix 618 00:33:51,840 --> 00:33:54,520 Speaker 1: for years now, but how does the view look different 619 00:33:55,240 --> 00:33:57,880 Speaker 1: at all? If how does the view look different, if 620 00:33:57,920 --> 00:34:01,360 Speaker 1: at all as co CEO? Well, you know, I like, 621 00:34:01,480 --> 00:34:03,400 Speaker 1: like to your point, Read and I've been doing this 622 00:34:03,440 --> 00:34:06,240 Speaker 1: together for a really long time. You know, the migration 623 00:34:06,360 --> 00:34:10,279 Speaker 1: from DVD to streaming and streaming to original production, and 624 00:34:10,360 --> 00:34:14,080 Speaker 1: from the domestic to international and global, all those things 625 00:34:14,160 --> 00:34:16,960 Speaker 1: we were, you know, very closely aligned and making those 626 00:34:16,960 --> 00:34:20,640 Speaker 1: decisions both how to time them out, how to invest 627 00:34:20,680 --> 00:34:23,400 Speaker 1: in them, how to build the teams to support. You know, 628 00:34:23,520 --> 00:34:25,919 Speaker 1: we've done all those things together for a very long time, 629 00:34:25,960 --> 00:34:28,640 Speaker 1: so Read very generously says, we've been I've been co 630 00:34:28,800 --> 00:34:32,720 Speaker 1: CEO for a long time, but um, this is more 631 00:34:33,440 --> 00:34:36,320 Speaker 1: uh so people. I would say that my day to 632 00:34:36,400 --> 00:34:39,239 Speaker 1: day hasn't changed very dramatically because we've been running things 633 00:34:39,280 --> 00:34:41,799 Speaker 1: that way for a long time. UM. And I think 634 00:34:41,840 --> 00:34:44,799 Speaker 1: it's been you know, under Getting the opportunity to do 635 00:34:44,880 --> 00:34:48,200 Speaker 1: this with somebody a real visionary like Read um has 636 00:34:48,280 --> 00:34:50,640 Speaker 1: been a remarkable gift. And I think being able to 637 00:34:51,160 --> 00:34:53,799 Speaker 1: to co lead Netflix with him uh is the gift 638 00:34:53,800 --> 00:34:56,880 Speaker 1: that keeps on giving because it's a it's surprised to 639 00:34:56,920 --> 00:35:00,359 Speaker 1: me to have an executive Usually people have very good 640 00:35:00,400 --> 00:35:02,480 Speaker 1: in the weeds? Are they very good on the clouds? 641 00:35:02,520 --> 00:35:04,800 Speaker 1: And Read is really good in both you know, and 642 00:35:04,920 --> 00:35:08,000 Speaker 1: his ability to look see around the corner, uh to 643 00:35:08,080 --> 00:35:10,680 Speaker 1: ask hard questions about things that he really doesn't you know, 644 00:35:10,719 --> 00:35:13,880 Speaker 1: may or not have experience in um has been something 645 00:35:13,920 --> 00:35:18,120 Speaker 1: that has enabled me to run fast. His kind of 646 00:35:18,840 --> 00:35:21,359 Speaker 1: lack of ego in this uh to been able to 647 00:35:21,360 --> 00:35:23,960 Speaker 1: to allow me to exist at the profile that I 648 00:35:24,000 --> 00:35:26,279 Speaker 1: do with Netflix all this time is really unusual as 649 00:35:26,320 --> 00:35:29,040 Speaker 1: you know, uh in an entertainment company. So it's been 650 00:35:29,040 --> 00:35:30,359 Speaker 1: a great thing and I think my day to day, 651 00:35:30,360 --> 00:35:33,080 Speaker 1: while it hasn't shifted much, I really are looking forward 652 00:35:33,080 --> 00:35:35,160 Speaker 1: to the to the next several years doing this together. 653 00:35:35,520 --> 00:35:39,799 Speaker 1: So it's really an exciting time. Well again to you 654 00:35:39,880 --> 00:35:42,600 Speaker 1: can't find two executives that have had a bigger impact 655 00:35:42,680 --> 00:35:46,719 Speaker 1: on the global business of entertainment in the in many decades. 656 00:35:46,800 --> 00:35:49,600 Speaker 1: So uh, ted, we thank you for your time, thank 657 00:35:49,600 --> 00:35:52,520 Speaker 1: you for answering all of my questions, and uh again, 658 00:35:52,600 --> 00:35:57,120 Speaker 1: congratulations on the Vanguard award from Variety and mipcom. That 659 00:35:57,280 --> 00:35:59,840 Speaker 1: is very very well deserved. Thank you so it Do 660 00:35:59,880 --> 00:36:01,319 Speaker 1: you mind if I take a second and thank a 661 00:36:01,320 --> 00:36:05,200 Speaker 1: few folks for this once again. I wanted first of 662 00:36:05,200 --> 00:36:08,799 Speaker 1: all all of our members around the world, many of 663 00:36:08,800 --> 00:36:12,200 Speaker 1: which are stuck at home or sometimes some have who 664 00:36:12,200 --> 00:36:15,920 Speaker 1: have been affected by the by the impact of of 665 00:36:15,960 --> 00:36:19,240 Speaker 1: the of the COVID nineteen Uh. Our thoughts and prayers 666 00:36:19,239 --> 00:36:21,280 Speaker 1: are with you and our goals to keep you entertained 667 00:36:21,760 --> 00:36:24,840 Speaker 1: while you're home. Uh. Obviously I think nip COM and 668 00:36:24,960 --> 00:36:27,200 Speaker 1: Variety for this great honor you send it to me 669 00:36:27,200 --> 00:36:30,040 Speaker 1: ahead of time. Thank you so much. Uh. I've got 670 00:36:30,080 --> 00:36:32,279 Speaker 1: One of the great gifts of this role is you 671 00:36:32,400 --> 00:36:36,000 Speaker 1: get to to meet all your heroes and uh, in 672 00:36:36,040 --> 00:36:39,880 Speaker 1: the last lesson, just in the last year, uh, some 673 00:36:40,000 --> 00:36:41,920 Speaker 1: of got had lost a few of them. We have 674 00:36:42,000 --> 00:36:45,600 Speaker 1: gotten to be very very friendly, very friendly with and 675 00:36:45,680 --> 00:36:49,239 Speaker 1: inspired by like Leonard Goldberg, who put almost every show 676 00:36:49,280 --> 00:36:52,080 Speaker 1: that I cared about on television when I was young. Uh, 677 00:36:52,440 --> 00:36:58,640 Speaker 1: Carl Reiner on top of being a real architect of television, 678 00:36:59,000 --> 00:37:01,680 Speaker 1: you know, starting back, you know, with with your show 679 00:37:01,719 --> 00:37:04,839 Speaker 1: of shows. And think Ben Dyke's enormous influence on me, 680 00:37:05,400 --> 00:37:08,840 Speaker 1: um and getting to know him before he passed. A 681 00:37:08,920 --> 00:37:11,839 Speaker 1: real kind of guy. Basically, I think of Carl Ryner 682 00:37:11,920 --> 00:37:14,960 Speaker 1: is like the origin of American comedy. Uh. So it's 683 00:37:15,000 --> 00:37:17,200 Speaker 1: just it was a real joy in my life to 684 00:37:17,239 --> 00:37:19,359 Speaker 1: get to know him before he passed. Uh. And then 685 00:37:19,400 --> 00:37:21,840 Speaker 1: it makes you really appreciate the legends who are still around, 686 00:37:22,160 --> 00:37:24,200 Speaker 1: who I could pick up the phone and get advice 687 00:37:24,280 --> 00:37:29,919 Speaker 1: from or support from or kicked kicked by. And that's 688 00:37:29,920 --> 00:37:32,839 Speaker 1: folks like Bob Dailey, Uh, you know, he right after 689 00:37:33,520 --> 00:37:36,799 Speaker 1: right after Bill Paley in television. It's a really remarkable 690 00:37:37,360 --> 00:37:40,040 Speaker 1: resource to get to have to have Bob WoT speed 691 00:37:40,080 --> 00:37:44,000 Speaker 1: dial a Norman Lear uh, who you know who is 692 00:37:44,480 --> 00:37:47,960 Speaker 1: not just a legend from the beginning of television and 693 00:37:48,040 --> 00:37:50,160 Speaker 1: maybe the first guy who was first to be a 694 00:37:50,200 --> 00:37:52,719 Speaker 1: television writer before he was a radio writer and still 695 00:37:52,760 --> 00:37:56,759 Speaker 1: doing it, still making great television uh, and such an 696 00:37:56,760 --> 00:38:00,680 Speaker 1: incredibly decent human being. And I'm just it's a real 697 00:38:00,760 --> 00:38:03,920 Speaker 1: gift to have access to folks like that and and 698 00:38:04,080 --> 00:38:06,799 Speaker 1: doing all this work. Um, it takes a lot of time, 699 00:38:06,840 --> 00:38:09,279 Speaker 1: and it takes me a lot of time away from home. Uh. 700 00:38:09,360 --> 00:38:11,759 Speaker 1: And of course I just none of that, None of 701 00:38:11,800 --> 00:38:15,080 Speaker 1: this would be possible without the sacrifice and support and 702 00:38:15,120 --> 00:38:18,640 Speaker 1: love of my wife Nicole uh and my kids, Tony 703 00:38:18,680 --> 00:38:21,280 Speaker 1: and Sarah, whom we met. We all make trade offs 704 00:38:21,280 --> 00:38:23,880 Speaker 1: to make all this work. And I just endlessly appreciative 705 00:38:23,920 --> 00:38:35,520 Speaker 1: of the time and support, bigot. Thanks for listening. Be 706 00:38:35,640 --> 00:38:38,480 Speaker 1: sure to tune in next week for another episode of 707 00:38:38,520 --> 00:38:46,399 Speaker 1: Strictly Business. Strictly Business is brought to you in part 708 00:38:46,440 --> 00:38:49,319 Speaker 1: by City National Bank, the bank who makes it their 709 00:38:49,320 --> 00:38:53,640 Speaker 1: business to be personal. A City National relationship manager can 710 00:38:53,680 --> 00:38:56,879 Speaker 1: anticipate the financial needs that make the entertainment and tech 711 00:38:56,920 --> 00:39:00,000 Speaker 1: industries tick. That's because they've been doing it for more 712 00:39:00,000 --> 00:39:03,120 Speaker 1: In sixty five years. Need to figure out day to 713 00:39:03,239 --> 00:39:08,920 Speaker 1: day finances done. Someone that understands intellectual property, licensing and 714 00:39:09,000 --> 00:39:14,759 Speaker 1: royalties absolutely. City National understands the industry because they were 715 00:39:14,800 --> 00:39:19,600 Speaker 1: born in it. Visit c NB dot com and get started. 716 00:39:20,200 --> 00:39:23,120 Speaker 1: City National Bank member f d I C