YouTube may have emerged as a great force on television, but to hear it from the Sarandos Ted from Netflix, his business is the real business with regard to the best rewarding creators.
“I think we are a better monetization model,” the CO-PDG said during a conversation with the editor-in-chief of Semaor-En Chief Ben Smith at the Paley Center in New York on March 28.
Sarandos said youtube does not pay creators in advance to make content, “so they do everything at their own risk.” He noted that Uber-YouTuber Mrbeast has lost money on content. “This is not an excellent recovery model,” said Sarandos.
MrBeast, whose real name is Jimmy Donaldson, has launched a series of funding for his company, in particular by creating a network of creators. Sarandos added later: “If Beast had the public he had on Netflix, he would not collect money. He would give more money.”
Despite Sarandos’ comments on YouTube’s payment system, MrBeast has shown that creators can also lose money for a Hollywood agreement. MrBeast said he had lost “tens of millions” in his program Amazon, “Beast Games”.
Netflix disturbed Hollywood and won streaming wars, with more than 300 million global subscribers and an increasing advertising company. But in recent times, YouTube has made the headlines with its growing share of the television pie and the content model generated by the user.
Netflix relied on popular youtubers. He concluded agreements with the Sidemen, the preschool educator Ms. Rachel, and the live meeting show, “Pop the Balloon”. Sarandos underlined Ms. Rachel as an example of how Netflix can amplify YouTubers with her massive scope. He said it was ranked among the 10 best Netflix shows every week since she came to the platform.
Sarandos compared YouTube to a “farm league” where creators can develop ideas. “Then they can come, and we do something where we take the financial risk,” he said.
The CEO also said that although YouTube is a competitor for advertising dollars, Netflix has a better audience quality. People come there to watch, rather than wasting time, he said.
Sarandos weighed on Trump, Disney and censorship
Sarandos has also weighed on a range of other subjects during the event, including the Netflix plan for more live events, research and the commercial model of the Disney CEO and programming in today’s political era.
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While Amazon has made a live sports more of its offer, Sarandos said that Netflix focuses on exclusive live events such as very popular Jake Paul-Mike Tyson Games or Christmas Day NFL Games.
“The scarcity of a big live event that everyone looks at the same time is really rare and precious,” he said.
Regarding censorship, Sarandos defended the protection of controversial actors like David Chappelle for free expression patterns.
“It is important to preserve and protect this role for comics,” he said. “You may not like all the jokes, but it is undeniable that it is one of the greatest actors of our time.”
Netflix managed to avoid being taken in the political reticle as other media and entertainment companies under President Donald Trump 2.0.
When he was asked if he was more careful with the content decisions now that Trump is back in the White House and about his December dinner with Trump, Sarandos said: “No, we program exactly the same.” He said that “The Apprentice”, a film on the years of Trump training that Netflix and other streamers have died, was not avoided due to fears of reprisals. He said he thought that “was a good film”, but one of the many who did not meet buyers’ criteria for the public compared to the cost. Sarandos took a search in the Amazon contract for an upcoming documentary from Melania Trump, saying: “For 40 million dollars, I hope it’s great.”
Sarandos, which has just scored 25 years in Netflix, has also sounded on Disney, which is home to the greatest history of entertainment in entertainment today. The chief of Netflix said that he had not been approached for the role of the CEO and “the best work in the world”.
He also said he thought that Netflix has a global winning formula compared to Disney to take a big IP and export it to the world.
Netflix seeks to make a program which is a success locally and hopes that it will move, such as “adolescence” of the United Kingdom or “Squid Game” of South Korea.
“They want to see films, programs on themselves, people they recognize in the language they speak, in the neighborhoods they have seen before,” he said about viewers.
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