People selling content internationally need to be highly focused on selling the right product to the right buyer. If things don't succeed on a particular network, they're not going to stay on very long.
When I was working at Sony, I used to live near the beach. I'd get up in the morning, walk my dog, go for a swim with dolphins, and in 25 minutes I would be at Sony.
The Producers Guild represents the creativity, innovation and dynamism that sets our industry apart from all others.
Obviously, we were disappointed that neither 'The Last Witch Hunter' nor 'American Ultra' found bigger theatrical audiences. It's important to note that our focus on risk mitigations limited our exposure on both films, and I'm pleased to report that 'The Last Witch Hunter' is doing well in a number of international territories.
Everybody wants all of our businesses to have no restrictions in any country, but even in Canada, in order to distribute home entertainment, you need to follow the Canadian rules, and it's just about as hard to do business there as it is in China.
'Power Rangers' is a massive global brand, and we believe that filmmaker Dean Israelite's singular vision will not only thrill a generation of existing fans but will bring magic to a whole new global audience.
We want to be a consolidator, not a seller, and we want to continue to explore the kind of targeted entertainment, targeted audiences, that I think are happening and emerging in every country in the world.
We're not going to scramble to make Chinese movies that we don't believe in; we're not going to make co-productions that we don't believe in, and we're not going to try to jam product into China that doesn't make sense.
You can't ignore mobile. We are doing a lot of stuff in the game space, mostly nonconsole stuff, and those are primarily mobile/pad games.
To be able to watch something that you start on your television that you then move to your mobile device, I think that's a big benefit for the content business.
The key thing is, always put the right content on the right network, on the right platform, make it great, and then figure out how to monetize it.
'Mad Men' was one of the first shows where Netflix was the first syndication window.
There's nowhere you can aggregate more people in one fell swoop than a broadcast network; there's no place you can build a star quicker than you can on a broadcast network.
I don't think it's fair to pinpoint Asia in terms of piracy. It's a worldwide problem. With 'The Expendables 3,' piracy extended everywhere, and over 10 percent of it was in the United States. So I don't want to put my hands over my eyes. It's a shame there is no DVD business in a lot of Asia, certainly China and India.
You change your business plan to anticipate and adapt to changes in the marketplace.
I had a degree in economics but also thought of myself as a musician.
We're always looking for ways to extend all of our intellectual property. We've seen that's what happened with 'Harry Potter' and 'The Lord of the Rings.'
I feel like I learn something new every day, and that's what's exciting about my job.
China and the Asian territory is an incredible opportunity. We spend a lot of time looking at it, looking for the right partners.
'Escape Plan' did better in China than it did in the U.S.
