How long will ted be in theaters

Are you doing this because you're good citizens? Or is it because it's good business? Or do you get the combo platter? I think it's really good business.

It's clearly that people want to see themselves reflected on-screen. And that starts with the organization itself. Half of our leadership team are women at Netflix, half of our leadership team are people from underrepresented communities. Netflix says the film was one of its most successful of And these are big action movies. It's important to not think that women make a certain kind of movie, or a director of color makes a certain kind of movie.

They make the movies that people want to see, and they're really great at it. That's real opportunity, I think. In the early days of Netflix, the philosophy was: We are not doing theatrical releases unless it's day and date [movies are released in theaters and streaming platforms on the same day]. It seems like that is changing as you've gotten to know Hollywood, and maybe as Hollywood has gotten to know you.

Am I seeing that right? Our core is that we make movies for our members. The only thing I ever objected to about the theatrical releasing of our films was that theater owners would require a very long window of exclusivity to have access even to a single screen. That's what I was reacting to. I did not want to hold back a movie for million fans around the world so I could show them in a single theater in New York or LA for a week. That to me was the big disconnect.

I don't think that consumers who are looking for a great film to watch are thinking about where it was first. They're just looking at: Is this a film I care about? So we invest in those films accordingly.

We've been able to gradually work through those things. Out of necessity, people are more flexible and creative about windowing. If we can put them in screens to give people who want to go out and see a movie the opportunity to do that, that's a great thing, as long as we can do that in a way that doesn't interfere with the core business.

Can you give us some sense of how long you could be comfortable with a certain number of screens? The legacy studios are obviously breaking the window, and the number seems to shift depending on who you're talking to. But it's a conversation that, I'm going to assure you, no movie lover is having. People just want to watch new movies, and they won't have access to them. And most people don't even have a theater in their neighborhood. We're trying to enable as much as we can. We bought the Egyptian Theatre in LA, and we bought the Paris [Theater] in New York, so that we would make sure that we'd have access to it, even if other folks who controlled screens wouldn't give it to us.

But that's not a big, scalable answer. Most people watch most movies at home. And going out is a very different experience. Seeing the movie on a big screen is great, I miss it terribly. And I hope it all comes back healthy and that I could have those opportunities to get back into theaters, both for filmmakers, and for film lovers like me. I do wonder about the sustainability because if you don't support theaters, at a certain point, it collapses. And we may be close to that point.

What are your thoughts on that? And if the audience isn't showing up [to theaters], and they're showing up watching at home, you have to adapt. Seeing a movie in a theater might just become rarer. It's a very hard thing to figure out what post-pandemic behaviors will be and how they shift.

There's a big financial infrastructure required to support screens that has to ultimately be supported by the fans and the viewers. Do you think that legacy studios are going to be harmed by trying to preserve their theater business, which costs so much to market, while trying to stream at the same time? Your mission is clear, but they are trying to do two things, it seems. You might say that not being diversified in our business approach is a challenge.

But it's actually been such a blessing that we've not had to try to save a business. Once your primary role is trying to save a business, you're dead. Remember, we made the transition from DVD to streaming. We never spent a minute trying to save the DVD business. Our future was always going to be in streaming, and any energy we spent trying to save the DVD business was energy that wasn't being spent trying to create the streaming business.

Putting the consumer first was really important. Once you see that happening, you've got to go all in. Netflix can harvest very precise data about who watched what for how long, but they don't share that precious information publicly. It feels like data is going to be a looming battle.

Do you think you have a date with destiny in terms of data? We've become completely open and transparent with our producers, and increasingly transparent with the public. When we were the only ones doing this, it was very hard to have apples-to-apples comparisons on the data, so we didn't want to be blanket publishing everything, because there was no context. We're looking at it as: What's the cultural relevance? This is the kind of first 28 day viewing that we talked about on Netflix as having some cultural relevance to the press and to the folks who read it.

The people who make the content want a little more level of detail, and we do share that with them because it helps them become better connected to our audiences. We're not trying to hide anything by not being transparent.

We're just trying to position it. When streaming is more and more the norm, I think that there will be some uniform way of looking at data. In terms of talent megadeals, you've taken some blowback on some of them, while others seem to have worked out magnificently. Do you just throw the dice when you like a talent?

We believed from the beginning that if this was going to be the evolution of filmed entertainment, that the people who make our TV shows and films are not going to want to do that for us for very long. They're going to want to do that for themselves. So access to talent is very important. We had, in the past, been able to have them make shows for us under the terms of those deals. And increasingly, what we predicted would come true did come true. Those studios did not want to offer us those programmings anymore.

The current most-watched show, measured by total viewing hours, is romantic drama "Bridgerton," Sarandos said. The most popular film to date is Sandra Bullock thriller "Bird Box.

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