Señal Internacional 141 by Señal News

T UR KEY : FROM LOC A L C ON T EN T T O G L OBA L R E C O G N I TI O N

Turkey is a large TV market with a strong potential, with an average viewing time of 4:04 hours in 2016 and a universe made up of 57 million potential TV viewers. The Turkish television market is highly competitive, dominated by

private channels such as ATV, Kanal D, and the national broadcaster group TRT. Turkish distribution companies are highly active in bringing their formats to the world. Some companies play dual role: distribution and production.

INTERVIEWS 19 · Paul Presburger explains the details about the launch of Pantaya. 26 · Katrina Neylon details Fremantle´s strategy regarding content acquisition. 34 · Andrew Sime highlights Banijay´s huge adventure reality formats. 36 · Kelly Wright talks about Keshet´s import-export business.

UKR ANIAN TV MAR KET

T HE BI O P I C S TR E N D

Ukrainian market has experienced large changes during recent years. As for the beginning of 2017, there were a total of 15 million television households and approximately 22 million television sets in use.

Joshua Mintz from TV Azteca, Luis Peraza from HBO Latin America, Dago García from Caracol, Guillermo Borensztein from Telefe, and Fernando Gaitán from RCN, share their opinion about a local trend with global impact.

YEAR 17 - EDITION 141 OCTOBER 2017 Redacción & diseño: ESI Impreso por: imprenta 2.0 Los artículos firmados no reflejan necesariamente la opinión de los editores. Para la reproducción total o parcial deberá hacerse expresa mención de la fuente. “Señal Internacional” es marca registrada de Fernando Calviño. Queda hecho el depósito que marca la ley 11.723. Registro Nacional de Propiedad Intelectual en trámite. Revista Señal Internacional es una publicación bimensual de Editorial Señal Internacional S.R.L.

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Editorial Señal Internacional S.R.L.

DISTRIBUTION 30 · Red Arrow International reloads its reality and entertainment strategy. 32 · Kanal D has a new sales structure for new global challenges. 38 · Mistco aimes to the new global trends regarding Turkish content. 42 · Mondo TV goes global with the sales hit "Heidi".

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• DRAMA AND LIFESTYLE LEADERS LIKE A+E NETWORKS, VIACOM, DISCOVERY, SCRIPPS AND AMC NETWORKS ARE IN THE PROJECT. • THE LINEUP OF CHANNELS FEATURED AREN’T ALL DRAWN OUT, BUT ALL U.S. CORE CHANNELS ARE EXPECTED TO BE PART OF IT.

#PHILO • THE CHANNEL PACKAGE IS SAID TO BE DUBBED AS PHILO, NAMED AFTER THE COMPANY POWERING THE VENTURE.

DIEGO LERNER TO TAKE A NEW ROLE AT WALT DISNEY INTERNATIONAL

JOSÉ BASTÓN STEPS DOWN FROM TELEVISA José Bastón is stepping down from his position as President of Televisa International, effective October 30, to pursue other interests and ventures. Bastón will remain as a member of the board of directors of Televisa. “We are very thankful to Pepe for his immeasurable contributions to Televisa over almost three decades, and we are sad to see him go. Pepe is a trusted friend and a leader who has been instrumental in the development of Televisa as the leading Spanish-language content producer in the world,” said Emilio Azcárraga, the President and CEO of Televisa.

Walt Disney International announced that Rebecca Campbell, President, ABC Owned Television Station Group and ABC Daytime, will assume the role of President at The Walt Disney Company Europe, Middle East and Africa (EMEA), effective January 1st, 2018. Diego Lerner, current President at The Walt Disney Company EMEA, will return to his home in Buenos Aires, Argentina, where he will take on a new role as a part of the Walt Disney International management team reporting to its Chairman, Andy Bird. Since 2009 Lerner has served as President at The Walt Disney Company EMEA, where he has overseen all lines of business of The Walt Disney Company, except ESPN and Disneyland Resort Paris.

NTV AND DORI MEDIA LAUNCH NEW DRAMA Russian NTV channel will premiere “The Road to Calvary” at MIPCOM. The series is dedicated to the 100th anniversary of the October Revolution, and the exclusive worldwide distribution rights have been bought by the Dori Media Group. The story was shot by the famous Russian director Konstantin Khudyakov, according to the scenario of Elena Raiskaya. The shooting took place in St. Petersburg, Moscow, Pyatigorsk, Riga and Arkhangelsk; and the series has been created with the support of the Ministry of Culture. The leading actresses Julia Snigir and Anya Chipovskaya will present the show in Cannes.

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A+E NETWORKS LAUNCHES “COCAINE GODMOTHER” IN CANNES

TELEMUNDO MAKES HISTORY WITH US HISPANIC RATINGS Telemundo has made history as it has, for the first time ever, edged out Univision and is set to win the 20162017 broadcast season as the Spanish-language network leader in primetime. Following a recordbreaking summer, the network is ruling weeknights from 8pm-11pm among the highly-coveted demo: 18-49 (858,000) and adults 18-34 (398,000), according to Nielsen. The network registered its highest share ever in Spanishlanguage TV, surpassing Univision and Unimas among adults 18-49 (43%) and adults 18-34 (45%). Telemundo also ranked among the top 5 broadcast networks with NBC, ABC, CBS, and Fox, during the season and outperformed all cable networks, except ESPN, in the key demos. “We are proud our investments are paying off and that Telemundo has become the new standard in primetime television, which is where the largest number of Hispanics go for their entertainment,” Cesar Conde, Chairman, NBCUniversal Telemundo Enterprises, said.

ENDEMOL SHINE INKS DEAL WITH VIACOM INTERNATIONAL Endemol Shine Group confirmed that Viacom International Media Networks has entered into a multiterritory deal for Season 1 and the newly announced Season 2, of the hit reality series “Fear Factor” across Europe, Middle East, Africa, Latin America, Asia (excluding India and Pakistan) and Australia/New Zealand. Produced by Endemol Shine North America, “Fear Factor” is hosted by multi-platinum recording artist Chris ‘Ludacris’ Bridges and was MTV’s highest rated series premiere in two years for P18-34. The new version will feature new stunts inspired by urban legends, popular scary movies and viral videos from today’s cultural zeitgeist.

One of the main highlights this year at MIPCOM wiil be the original movie “Cocaine Godmother”, starring Catherine Zeta-Jones and directed by Guillermo Navarro. Based on the life of Miami drug lord Griselda Blanco, “Cocaine Godmother” will premiere in 2018 on Lifetime. Blanco was living in Queens, NY, when she became embroiled with local drug runners. After moving to Miami to expand her empire, the death of her second husband gave rise to her nickname “The Black Widow”. She later moved to California, was deported to Colombia and was gunned down in 2012. She was suspected of ordering more than 200 murders.

“PHI” TO BE KOREAN TV’s FIRST TURKISH DRAMA The show will become the first Turkish drama series to air on Korean television, on GTV next November. The channel, which focuses on a female audience with a line up of lifestyle, cookery and fashion programming, will use “Phi” to introduce the Turkish Drama phenomenon to the Korean market. Mint Media Group, who facilitated the deal alongside international distributor Eccho Rights, will dub the series in to Korean using A-list voice actors. GTV will also bring a specially created 4K version of the series to their ultra hi-def service UHD Dream TV. From production giants Ay Yapim, “Phi” has been a game-changing success in Turkey since its launch earlier this year. The first season’s 12 episodes have generated over 85 million views for online broadcaster Puhu TV. The channel has reported 13 million unique users following Phi’s launch, over 30% of Turkey’s entire online population.

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KEY DATA Hulu will spend $2.5 billion on original content in 2017. The streaming service plans to launch seven new original series in the next 6-9 months. Hulu disclosed that it had reached 12 million subscribers in May 2016.

#Mipcom2017 Banijay Group @banijaygroup

.@CandilisTakis will join the panel BEYOND COPRODUCTION during #Mipcom2017 #Scripted Monday October 16th 3.30pm

GlobalAgency @GlobalAgencyTV

Global Agency presents the most violent form of entertainment since the gladiatorial games: #Momsters. Five nights a week, we dine in hell!

Armoza Formats @ArmozaFormats

#SexTape “may have EMMY potential in the future” according to E! News! Watch this video to find out why

Sabbatical Entertainment @SabbaticalEnt

Our mission is always to create a profitable premium content design to educate, enlighten and entertain. #WeAreSabbatical

Eurodata TV Worldwide @EurodataTV

This year, we are opening #MIPJunior with a superfast binge session! Check out our intervention!

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9 STORY EXPANDS PLANS FOR “PEG + CAT” SERIES The company announced the expansion of its international licensing program for the multiple Emmy Award-winning animated preschool series “Peg + Cat”. Since partnering with Ypsilon Licensing for Spain and Portugal, the show brand has seen strong growth within the territory. Several new licensees for Spain and Portugal have been appointed, including Editorial Planeta (publishing), Ravensburger (puzzles and games), C y P Brands Evolution (back-to-school), Artesania Cerdà (apparel, backto-school) and Comansi (figurines), with more licensees to be announced soon. “Peg + Cat” airs on TVE in Spain and on RTP in Portugal. 9 Story has also recently signed with Merchantwise as the brand’s exclusive agent for Australia and New Zealand. “Peg + Cat” airs on ABC in the territory, with ABC Commercial on board for home entertainment.

DRG APPOINTS 7A MEDIA AS SALES AGENT FOR LATIN AMERICA Leading independent distributor DRG confirmed that it has appointed 7A Media as its first-ever agent for Latin America and Hispanic US. 7A Media was founded by highly respected industry expert Cesar Diaz, who will now work closely with DRG’s SVP for North and South America, Scott Kirkpatrick, to create opportunities and maximise returns in the region from the wide-ranging DRG catalogue. “I am delighted that someone as experienced, well-known and respected as Cesar will be representing our content with me and I look forward to working closely with him,” Scott Kirkpatrick said. /senalint

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AZTECA HOSTED SEMI-FINAL ROUND OF EMMY AWARDS

THE COMPANY ORGANIZED AN EVENT IN MEXICO THAT DECIDED THE SEMIFINAL ROUND OF THE AWARDS, WITH THE PARTICIPATION OF SCRIPTWRITERS, DIRECTORS, PRODUCERS AND CONTENT PROFESSIONALS.

Cineflix Rights signs acquisition deal with Yap

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This engaging telenovela has increased its ratings in a 48% from its premiere in July. Broadcasted by Venevision, it reached an average of 19% of share against a 9% of its closest competitor, “La Doña”, from Telemundo. The show is produced by Cisneros Media and directed by Jose Alcalde.

Films

Cineflix Rights, the UK’s independent TV content distributor, has closed a deal with Canadian producer Yap Films for two new programs, ahead of MIPCOM 2017. The first one is “Made by Destruction” (seasons 1&2, 26x30’, Discovery Science Canada), which explores how everyday objects are resurrected from landfill and transformed by technology to be repurposed into something entirely new. The second show is “Ice Bridge” (1x60’, CBC ), which has exclusive access to an international team of archaeologists, geneticists, and geologists aiming to rewrite the history books through pushing back the date of humankind’s arrival in the New World by approximately 6,000 years.

“JUST LOOKING” INCREASES ITS RATINGS

Univision and AT&T Launch Facebook Live After-show

“El Chapo,” Univision’s ground-breaking series, had an extra dose of the most anticipated return of “El Chapo Ilimitado” (El Chapo Unlimited) season two, the Facebook Live after-show, presented by AT&T. Season two kicked off with El Chapo’s first prison break and goes on to reveal the critical role corrupt government officials play in aiding El Chapo’s rise over his rival cartel bosses. “El Chapo Ilimitado” was streamed via Facebook Live on Univision’s Facebook page on Sunday, September 24th., immediately following “El Chapo´s” episode.

million of SVOD subscribers will be in Western Europe by 2022. The revenues for this business will increase to $6.5 billion, up from $2.8 billion in 2016.

RIVE GAUCHE SECURES RIGHTS TO NEW TITLES The distributor has secured the rights to multiple titles from different genres to add to its expansive catalog of 2500+ hours of content for worldwide distribution ahead of MIPCOM. Meanwhile, before the market in Cannes, Rive Gauche closed several deals with TF1 in France, FOX MENA, and NTV Japan.

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OVERVIEW

Ukrainian TV, a Cultivating

Production Market With more than 15 million television households and approximately 22 million television sets, the country has developed production facilities, creative services, and scripted and non-scripted content that meets the highest international standards.

krainian market has experienced significant changes during recent years. By the beginning of 2017, there were a total of 15 million television households with approximately 22 million television sets in use. The country is a kind of unique case in Europe regarding the available terrestrial TV networks nationwide: there are 15 free-to-air channels. Private TV broadcasters owned by Ukrainian tycoons play the leading role in the local market. There are four dominant TV groups: StarLight Media, Inter Media Group, 1+1 Media and Media

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Group Ukraine. The public broadcaster UA is not so popular as private TV channels and it doesn’t even belong to Ukrainian’s Top 10. Ukraine has developed production facilities, creative services and produces content, both scripted and non-scripted, meeting the highest international standards. The evidence of this new context is the numerous sales of Ukrainian shows around the world and the nominations to the most prestigious international awards. Locally developed formats are starting to conquer the global environment, and the industry’s first results are encouraging. NEW LAWS For many years Russia has been the dominant sup-

2017

plier of scripted content in Ukraine. The scope changed dramatically after the Russian-Ukrainian political conflict, that led to a ban for Russia TV shows, as well as to restriction of co-production partnerships. Ukrainian broadcasters started to increase local production. In 2014, 68% of all TV series aired in Ukraine were from Russia and only 7% from Ukraine. By 2016 39% of all scripted content on Ukrainian TV was locally produced, and less than 33% was from Russia. Today there are more than 100 production companies in Ukraine, and the number is growing fast. The leading local names are FILM.UA Group, Studio Kvartal 95, and ProTV. The state support for national film production increased from $2.2 million in 2014 to $19 million in 2017, the same year when authorities finally adopted the long-awaited laws on state

support for the film industry. New local legislations now allow foreign producers to payback up to 16.6% production costs spent in all the territory of Ukraine, due to new cash rebate systems. Moreover, international producers will be able to receive additional 10% payback from the labor-production costs in Kyiv and Sevastopol, and 4.5% payback on the rest of the country. Another local innovation is that TV series could get up to 50% of the budget from state support. Regarding the advertising market, in 2016 the local investing volume in Ukraine reached $455 million (TV ads was the 49% of the market). It is also important to highlight that in 2013, before the economic crisis in Ukraine and the region, the TV advertising market volume was $617 million. By Media Resources Management /senalint

INTERVIEW

m Paul Presburger

“We offer a vast library and world-class programming resources”

Paul Presburger, Chief Executive Officer at Pantaya, explains all the details about this disruptive platform, launched by Lionsgate and Hemisphere Media Group. It is the first-ever Spanish language digital service fully dedicated to the US Hispanic audience.

ionsgate y Hemisphere Media Group have teamed up to deliver Pantaya, the first-ever Spanish language digital service fully dedicated to the US Hispanic audience. Paul Presburger, Chief Executive Officer at Pantaya, explains all the details about this innovative and disruptive platform to Señal Internacional. Why has Lionsgate decided to partner with Hemisphere Media for the development? “Hemisphere Media brings an expertise in programming, research and marketing garnered from its operation of Wapa TV and Cinelatino. They contribute contemporary Latin American hits from their unparalleled catalogue to Pantaya in addition to exclusive films making their U.S. debuts. With a partner like Hemisphere, which targets the high growth U.S. Hispanic and Latin American markets with leading broadcast, cable television and digital content platforms, Pantaya offer vast libraries and world-class programming resources”. What does Pantaya have to offer and why should people subscribe to it? “Pantaya was created especially for people who love Spanish language movies. There was no single destination for those types of films that, not only encompassed

the newest titles, but also the deepest library for the past 80 years. We built it to address these needs and created an offering of the largest, most current and varied selection of first run and original movies in Spanish. Pantaya will have the first post theatrical window of Pantelion’s films, the highest grossing films year after year. In addition, one feature that we believe will generate enormous popularity is our simultaneous release of certain movies on Pantaya the same day they premiere in theatres in Latin America. Our catalog is the largest in the market”. How Pantay´s programming strategy is going to be? Will it add original content in the future? “Our primary focus is building on our extensive and varied selection of Spanish-language movies. We offer a mix of exclusive and first-run features from Pantelion’s library whose unmatched Spanish-language catalogue includes ‘No Manches Frida’ and ‘Instructions Not Included’, the highest-grossing Spanish-language film of all time. Lionsgate

adds a 16,000 title library that includes ‘Dirty Dancing’ and the Oscar-nominated ‘Amores Perros’; and Hemisphere brings strong content from Puerto Rico, the Dominican Republic, Colombia and other Latin American countries. There are plans to offer original content in the future, with comedy and music specials, to expand our current strategy”. Why have you decided to focus on the US Hispanic market? “My whole career has been spent bringing premium content to niche markets that are typically underserved. That was the premise when we started Pantelion Films seven years ago. Pantaya is a logical extension of the same philosophy, utilizing new technologies with the same goal. We are proud to bring to the market the first of its kind Spanish-language OTT service for Hispanics that is distinguished by its breadth, quality and variety”. How do you analyze Hispanic audiences nowadays? “There are more than 52 million Hispanics residing in the U.S., of whom more than 60% have Internet enabled smartphones and more than 50% watch content on them, according to studies by Nielsen and Advertising Age. This has created a great opportunity in the Spanish-language streaming space. Although one can find plenty of Spanish-language content available on free TV, what has been lacking is a premium movie based streaming destination for our audience and we provide that”. By Federico Marzullo SEÑAL INTERNACIONAL 2017

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OVERVIEW

: y e k From r u Local Content to T Global Recognition

A dominant country in the global landscape, each main channel in Turkey airs two dramas back to back in primetime across the week, some of them up to 3 hours long. This industrial-scale drama output sets up a highly competitive industry potential.

urkey is a large TV market with a strong potential, with an average viewing time of 4:04 hours in 2016 and a universe made up of 57 million potential TV viewers. The Turkish television market is highly competitive, dominated by private channels such as ATV, Kanal D, and the national broadcaster group TRT. Turkish distribution companies are highly active in bringing their formats to the world. Some companies play dual role of distribution and production, such as Kanal D, Endemol Shine Turkey and ATV.

ADAPTATIONS FINISHED PROGRAMS

89% Over the mid-season 2016-2017, most new serial shows launched were original Turkish productions, with only a small percentage of acquired concepts or formats. Such imported programming are usually telenovelas or love/family drama series. TV prime time is considered as an important time where Turkish

families gather together to watch TV, especially with fiction series. Indeed, the average evening fiction series runs for 159 min per day. Last season, fiction represented about three quarters of all new serial titles launched. Generally, each channel airs two dramas back to back in primetime across the week, some up to 3-hours long. Consequently, this industrial-scale drama output sets up a highly competitive television landscape, and some series are quickly eliminated. Entertainment accounts for a solid 22% of last season launches. In keeping with the idea of family gathering time, most popular formats are oriented toward the family, such as the singing talent show “Keep Your Light Shining”, launched by FOX in January 2017. Others are adaptations of tried-and-tested international formats, for example the revamped versions of “Wheel of Fortune”. Crime series are an integral part of Turkish fiction, and are in constant evolution. New crime series of high quality production and intriguing story line

+64 MN 3:00

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Vs worldwide TV viewing

4:04 2016

/senalint

ENTERTAINMENT

FICTION

27% FACTUAL

70% often incorporate drama elements, such as family intrigue or love triangles. Some series are notable audience boosters for channels, such as “Insider”, a crime series launched on Show TV where a police agent must face his own long-lost brother in his fight against crime. Other series have adopted military themes such as “Soz” or “Isimsizler”, which depict army actions against terrorists. Drama is the golden goose of Turkish series. Their appeal lies partly in the reflection of Turkish society: while tradition still governs Turkish people’s lives, modernity plays an increasingly strong role. This conflict creates a rich environment for Turkish drama. The most popular love series often feature forbidden romance, such as “Heart of the City” launched by ATV, where a young Chilean sailor fell in love with a already-engaged daughter of a powerful ship lord. Successful family dramas tend to place women at the center, describing the hardship they face. Among the importations, Asian shows are particularly attractive for Turkish buyers. From Japan comes a successful adaptation of “Mother”, as well as the upcoming Nippon TV / MF Yapim deal for the Turkish version of the Japanese drama “Woman—My Life for My Children”, which tells the story of a single mother and shows the love between her and her children.

“Drama is the golden goose of Turkish series. Their appeal lies partly in the reflection of Turkish society” Korean formats are also popular on Turkish screen, such as two Korean adaptations this summer 2017, “Doctors” (Kalp Atişi) and “Secret” (Meryem). In addition, Eccho Rights is presenting “Cennet”, adaptation of “Tears of Heaven”, at MIPCOM. The series is about an ambitious young woman abandoned by her mother, and who would later be hired unknowingly in her mother’s company. ORIGINAL ONLINE CREATION January marks the birth of original online creation in Turkey with the first Turkish streaming series, titled “Innocent” (Masum), launched on local platform BluTV. Two months later, Ay Yapim’s original drama “Phi” was launched on the digital platform Puhu TV, marking the next step in Turkish drama production, specifically targeting digital audiences for the first time. It would also be the first Turkish series to be aired in Korea. This digital movement, together with the arrival of Netflix in 2016, marks the next evolution in Turkish TV landscape: the creation of Turkish ready-to-export series by online platforms. An original TV format powerhouse, Turkey is also among the top series exporter. Its series usually featured among the most-watched fiction list in Eastern Europe and Middle East. Turkish popular series, such as “Magnificient Century”, broadcasted in more than 40 countries, have become a brand on their own, and are the main export drivers. Its spin-off, “Magnificient Century Kosem”, enjoyed the same success and features among

the top shows in many countries. “Broken Pieces”, distributed by Global Agency, was awarded with an Export Success Award as the top-selling drama out of Turkey. After its entrance to Latin America, in Chile, with the series “1001 Nights”, a booming gold rush of Turkish series has been pouring into the region. Eccho Rights, in partnership with Somos Distribution, announced that the Turkish drama “Ezel” has been sold in every country in Latin America; meanwhile “Wounded Love” is also making its way to Chile, Argentina, and Peru. Furthermore, Kanal D and Mega Chile announced the signing of a co-production and co-development deal both in Turkey and in Chile. This move from a simple import/export relationship to a co-production partnership signifies the success of Turkish TV in Chile, and also throughout the whole continent. By Long Trinh Research and Client Executive Eurodata TV Worldwide – Mediametrie Sources: Eurodata TV Worldwide NOTA – Copyright Eurodata TV Worldwide

WANT TO KNOW MORE ABOUT RATINGS AND PROGRAMMING TRENDS IN ALMOST 50 TERRITORIES WORLDWIDE? Stay up-to-date and discover further editorial trends and hit programmes in the NOTA Trends report. To find out more about our NOTA Trends report and other Eurodata TV Worldwide products & services, please contact François Lhomme flhomme@eurodatatv.com or meet us at MIPCOM, Booth P1.C56 SEÑAL INTERNACIONAL 2017

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OVERVIEW

Biopics,

a Latin American

Specialty m “Sandro de América” (Telefe)

iopics have become an international trend in the last years and have diversified its reach to cultural, arts and political figures, and characters from several historical ages. Executives representing companies that produce and distribute these contents told Señal Internacional that their shows are toprated specifically in Latin America, a region that is also attracting international businesses that seek real personalities with global impact. Joshua Mintz, General Direction Consultant at TV Azteca; Luis Peraza, Networks President of HBO Latin America; Dago García, Production VP at Caracol; Guillermo Borensztein, VP Content Sales and Coproduction at Telefe; and Fernando Gaitán, Product VP at RCN Televisión, shared their experience working with this trending genre. “Not all stories of famous people are biopic material,” stated Joshua Mintz, who assured the status of a person to inspire a biopic. “Depends on whether the person is alive or dead, how massively popular it is, or its gender. There aren’t many personalities in the world with the required features, but the best place to find them is the show-business”. For Luis Peraza, the best stories are those which any person from any part of the world can relate to easily. “The focus in Latin America gives more visibility to the extraordinary personalities and achievements of the region,” he stated. Dago Garcia thinks that the appeal of characters such as Pablo Escobar and John Jairo Velásquez is an essential element. “It is important to highlight that the devastating effects of drug-trafficking in Colombia since the 80’s was, for many reasons, hidden in the country”. Caracol Televisión was one of the first companies to treat the subject. Stories about villains are universal because they remind humankind about the fragility of its social organization”, he added. From Telefe

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Argentina, Guillermo Borensztein recognized biopics imply having the audience identify with the traditional personifications and their life story. “These contents lead any catalog if they are unique and socially relevant.” Fernando Gaitán believes that biopics are used to reflect real-life drama stories. “Today the trend is to produce shows about famous characters that tell stories about personal achievements.” DAGO GARCIA

>> Stories about villains are universal because they remind humankind about the fragility of its social organization<<

INTERNATIONAL APPEAL The General Direction Consultant at TV Azteca considered that, from a free-to-air network’s perspective, there are many characters in the political and cultural arena that have a loss of transcendence in other platforms. “Nonetheless, to reach international appeal it needs to be a great story, with a great character, no matter his name or importance in present or past events. Massive and favorite characters have their place in free-to-air and pay TV but, sophisticated biopics about other personalities need to be in more specific or thematic platforms”. “When the structure of a biopic flows correctly it will always help the Latin American industry to cross territorial borders,” Peraza stated. The executive confirmed that it is not possible to make a distinction between biopics depending on internationa potential. q “El Cesar” (Disney - Turner)

JOSHUA MINTZ

>> Not all stories of famous people are biopic material<<

/senalint

FERNANDO GAITÁN

m ”Pablo Escobar, El Patrón Del Mal” (Caracol) “Each content and story is unique, be it a biopic, a series or a documentary”, he said. Dago Garcia, from Caracol, believes that the biopic trend is coming to a saturation point and soon a new wave will emerge. “When the different contribution of each series starts to disappear, and every story has a similar structure, the tendency comes to its end. Therefore, the biggest challenge is to make each story unique, even if the dramatic arches are similar,” he said. Fernando Gaitán from RCN recognized that biopics consolidate local audiences through social networks and new distribution platforms. “These shows are targeted to local audiences because they keep the loyalty in free TV. The stories take place in a very local context,” Gaitan said. The RCN executive explains that the only way series of this kind could have international sales potential is if the main character has global popularity of the show talks about selfimprovement or struggle, with a lot of drama. Guillermo Borensztein used Telefe´s project “Sandro de America” to describe the international potential of biopics. “He was a famous artist, with regional influence. Therefore, our distribution will be first limited to Latin

>> Today the trend is to produce shows about famous characters that tell stories about personal achievements<<

GUILLERMO BORENSZTEIN

>> These contents lead any catalog if they are unique and socially relevant<<

LUIS PERAZA

m “El Comandante” (RCN - Sony)

>> The focus in Latin America gives more visibility to the extraordinary personalities and achievements of the region<<

m ”Celia” (RCN) America. We believe that it will be a successful show in free TV, pay TV, and digital platforms”. Telefe spent more than two years looking for the right biopic project to develop. “Sandro had an emotional tie with Telefe´s audience, but he was also popular outside Argentina, and the show has already been pre-sold to Canal 13 Chile and Caracol Colombia. This genre is a local trend that started in Latin America, and it will expand to other regions in the world”. PRODUCTION STRATEGY Joshua Mintz concluded that, like all trends, biopics season would end in the future. Another important issue is why these shows focus their business model into co-production, where Mintz clarified that it takes a lot of money and resources to produce a short duration show, so it’s much easier to do it with the support of many companies. He added that these series or films should be accurate, multiplatform and transmitted in Premium timelines to integrate a positive business model. “The participation in the process allows us to ensure the quality of these shows and the exclusivity of our projects. HBO’s co-development strategy is focused in Brazil right now,” Luis Peraza said. Dago García stated that Caracol is taking a step further with a critical perspective towards drug trafficking, with a focus on the victims and the people that fought this worldwide problematic. “Television works under the same logic: big waves that appear as an alternative, they develop, saturate and give way to a new tendency”. “Biopics are sustainable if two or more players have the long-term commitment to cover production costs and assume risks together for more than one project. This genre demands significant investments for acquiring rights and recreating scenarios. The challenges for launching these productions are enormous, and they go from the character choice, story’s focus, and the selection of the right business model,” Guillermo Borensztein explained. About RCN’s production strategy, Gaitán pointed out that biopics generate enough profit to enable riskier projects. “Their long-term success depends on how many characters are transcendental enough to develop on TV. In RCN we are trying to adjust to the global model, making series shorter with no more than 60 episodes but, our primary benefit comes from local audiences,” he quantified. By Lucila Rivadeneira Cuvry SEÑAL INTERNACIONAL 2017

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INTERVIEW

“International co-productions will be the future of the TV business”

m Katrina Neylon

Katrina Neylon, Executive Vice President, Global Content at FremantleMedia International, explains the company’s strategy regarding content acquisition and analyses the current trends of the global industry.

n a landscape full of different shows and platforms to showcase them, finding the best content in the market might be a difficult task for a producer or a distributor. Katrina Neylon, Executive Vice President, Global Content at FremantleMedia International, explains to Señal Internacional what the company’s strategy is when it comes to content acquisition and analyses the trends that change the global industry. What is Fremantle’s strategy regarding content acquisition? “We are always on the lookout for top quality content with universal appeal. As well as continuing our push into high-end drama, we are also looking for premium and bold, event-viewing factual content. Content that can tell a story, from the small q “Hard Sun”

stories that have never been heard before, to the big stories told in new and exciting ways. FremantleMedia is also continuing to look for great partnerships with the best producers and writers across the industry, and continuing our mission to be recognized as the place for storytellers to bring fresh and compelling new projects. We are always on the lookout for bold and ambitious scripted and non-scripted programming that can sit across every platform, both English and foreign language content that has international appeal and resonates with global audiences”. What a show must have to be worldwide attractive? “At FremantleMedia we aim to work with great talent and develop quality series that will resonate with and attract international audiences. In order to appeal globally, we look for content that has the ability to create a buzz, with compelling story arcs, high production values and well known on or off-screen talent”. Do you observe any particular trend regarding genres? “In non-scripted we are seeing a huge demand for premium content, so we are continuing to push into the top end of the factual space and are always on the lookout for producers to partner with on high end projects. Take for example our collaboration with Arrow Media. We’ve worked with them on many high-end factual shows such as ‘Burma’s Secret Jungle War with Joe Simpson’ and ‘Nightmare on Everest’.

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Arrow’s shows have done incredibly well for us around the world, which is all down to their compelling narrative and uncovering of never before seen footage. In scripted, we made the decision in 2013 to invest in highend drama and since then, through various acquisitions and in-house productions, we’ve worked on a number of channeldefining dramas”. How much has the industry evolved and changed the daily work between writers, producers and distributors? “We have seen competition drive global players to devise multi-local strategies and local players to produce global ambitions. The end goal is always to unite with the best partner to create the best content and to nurture the best talent to deliver internationally appealing shows. Over the last few years we have seen talent from the film industry transitioning over to TV. There are new defining genres, such as our new scripted series, ‘Hard Sun’, the preapocalyptic crime thriller being defined as ‘genre plus’. We are also seeing a lot of scripted series taking inspiration from books with a lot of ideas stemming from globally renowned novels”. Which type of project is better for a co-production? “There is a necessity for international coproductions and it will be the future of the TV business. With dramas getting bigger in scale and ambition, co-productions allow for higher budgets and a shared risk. This model has an organic fit to scripted projects but with the popularity of factual on the rise and the appetite for high end projects, we could see more co-productions in this space”. By Federico Marzullo /senalint

DISTRIBUTION

Exciting times for brave and genre-defining shows

m “Buying Blind”

Henrik Pabst, Managing Director of Red Arrow International, describes the company´s reloaded reality and entertainment formats strategy; while he reinforces the factual lineup with more original developments and co-productions.

ed Arrow heads into MIPCOM with a strong catalogue of high-quality, bold and ambitious content highlighted by its slate of new formats. One launch is “Buying Blind”, a radical new reality format that sees a family put their life savings in the hands of experts to buy them a home, without ever having seen it. Created by Kinetic Content and produced by Snowman Productions, the series has been commissioned by TV3 Denmark. New reality formats include “The Spouse House”, a smash hit on TLC US and produced by Kinetic Content, which follows 14 single people desperately searching for the love of their lives, who move in to the Spouse House in the hope of leaving married; and an extraordinary new format, “Pregnant with a Stranger”, produced by Snowman Productions for Kanal 4 Denmark, that sees single women, all of whom have already decided to have a baby, given help and support from a team of experts to find the right father for their child. “Although the market can be tough, there continues to be

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m Henrik Pabst

the sense with unscripted programming that it’s an exciting time for brave, genre-defining shows that offer something thought-provoking and different. In addition, budgets for unscripted are following the trend of scripted, with budgets increasing for tentpole factual content,” Henrik Pabst, Managing Director of Red Arrow International, stated. Other reality highlight for MIPCOM will be “State of Hate”, a radical and timely new experiment from Snowman Productions for Kanal 5 Denmark, that looks to end the bitter rivalries between groups of people divided by hate, through a series of intense challenges. New entertainment formats include “Music of the People”, produced by Art89 for SVT Sweden, that sees musical bands from different cultural heritages reinterpret a popular local song; and fun new cooking competition, “Shop! Cook! Win!”, from RedSeven Entertainment for

kabel eins Germany, where celebrity chefs secretly observe shoppers in a supermarket, and then cook up a storm in the shopper’s own kitchens. “The rise of digital platforms has obviously caused free-to-air channels to feel the pinch in competing for audience attention, although all networks continue to search and prioritize ‘appointment to view’ television to increase their audience and lift their primetime ratings. I think we have quite a lot of that in our new MIPCOM slate,” Henrik Pabst said.

FACTUAL POSITIONING Red Arrow International’s factual lineup includes “A Matter of Life and Debt”, produced by Curve Media for the BBC UK, which goes behind-the-scenes at community-based credit unions to tell the inspiring, real-life stories of people who take out money loans; and “The Story of Toys”, a playful look at some of the world’s most iconic and international toys, produced by Pernel Media for France 4. “Red Arrow remains a world-leading TV distributor of scripted shows, with our global network of in-house production companies, and relationships with outstanding third-party producers and digital-content partners. We are also a major co-producer of global entertainment, providing substantial production financing for scripted projects,” Pabst highlighted. The company will also offer “Strike Carrier” at MIPCOM, an epic new documentary from Emmy Award-winning filmmaker Chris Terrill for the BBC UK and the Smithsonian Channel US, about life on board the largest, most advanced and powerful warship ever constructed in Britain, produced by STV Productions and Uppercut Films. “Our scripted slate continues to raise the bar for excellent drama, with two series that pioneer strong female leads. The first is razor-sharp neo-noir crime series ‘Stella Blomkvist’, starring Poldark’s Heida Reed as a quick-witted lawyer; while twisted psychological crime thriller ‘23 Cases’ pits a tough female detective against a ruthless serial killer. In addition, ‘Einstein’ returns for a second season, with Tom Beck stepping back into the shoes of the crime-solving genius professor,” Pabst concluded. By Diego Alfagemez /senalint

DISTRIBUTION

A new sales strategy for a broader expansion Kerim Emrah Turna, Director of Sales & Business Development, Americas & Africa; and Ezgi Ural, Director of Sales & Business Development, MENA, Europe & Asia, describe the new sales structure of the company and its main global challenges.

ast July, Kanal D has restructured its senior management team as part of the company’s growth target in international markets. In the context of that move, the company promoted Kerim Emrah Turna to Director of Business Development and Sales, Americas & Africa; and Ezgi Ural to Director of Business Development and Sales, Europe, MENA & Asia. They are in charge of identifying new opportunities in the global media landscape and linear and non-linear content sales, and they report directly to Ozge Bulut Maraslı, Deputy CEO – Dogan TV Holding. “Besides the conventional free TV and pay TV content sales, we will be seeking for alternative monetizing ways for our content. The strategy will include the new organization Kanal m Ezgi Ural

KANAL D DRAMAS WILL DAZZLE EUROPE

Turkish distributor keeps its expansion in Western Europe, with dramas that will be on air in Spain and France. After conquering Latin America, “Fatmagul” was licensed in Spain for the first time, and the premium drama “Matter of Respect” arrived in France. These deals follow the 2016 Kanal D sales in Italy, which included titles such as “Sweet Revenge” and “Love of My Life”.

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D International Networks and co-production possibilities”, Ezgi Ural and Kerim Emrah Turna explained to Señal Internacional in an exclusive interview. “Dogan TV Holding is the largest media organization in Turkey, and Kanald D has been the pioneer of distributing Turkish content globally. From now, Kanal D International will be in charge of all the global business of Dogan TV Holding. Sustainable growth and enlarging global presence will be the key targets in these upcoming years”, both executives assured. Focusing on the world market, the Director of Business Development of Kanal D International pointed out that the company will seek to partner with complete and local players. “This will be the core of all business models,” they highlighted.

m Kerim Emrah Turna

NEW LATAM MEMBER As a part of its growth target, Kanal D International has appointed Mikaela Perez to Sales Executive, Americas. Perez is in charge of all Latin American accounts and will be based in Istanbul and report to Kerim Emrah Turna, Director of Business Development and Sales Americas & Africa. “Mikaela Perez is a very talented Sales executive. She will deepen the client relations in Americas and will help the company’s growth within the region”, Ezgi Ural and Kerim Emrah Turna explained. Finally, the executives anticipated the main highlights for MIPCOM. “We will be announcing the biggest title of 2018. Besides that, we will launch the names of some globally famous Turkish actors that will lead our projects for 2017 fall and 2018”. Some certain names for next year are Kenan İmirzalıoğlu (“Ezel” and “Karadayı”), İbrahim Çelikkol (“Intersection” and “Mercy”), and Engin Akyürek (“Black Money Love” and “Fatmagül”). At the same time, Farah Zeynep Abdullah (“Magnificent Century: Kösem” and “Time Goes By”) and Elçin Sangu (“Love for Rent” and “Time Goes By”) will lead new dramas in 2018. Halit Ergenç and Bergüzar Korel will be in the second season of “Wounded Love”. By Romina Rodriguez

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INTERVIEW

“Adventure reality formats are visually striking and instantly recognizable” Andrew Sime, VP of Formats at Banijay Rights, highlights the global business potential for huge adventure reality formats, and how this type of shows could be an affordable project for any type of channel.

anijay Rights is one of the world’s biggest independent distributors, with a catalog of more than 20,000 hours of content. across all genres, including drama, formats, factual, entertainment and theatrical. Inside that offer, big adventure reality formats are one of the central emblems of the company. Andrew Sime, VP of Formats at Banijay Rights, explains the global potential for these shows. What is the global business potential for huge adventure reality formats? “Adventure reality formats have never been more popular, and at Banijay we pride ourselves on being the home of adventure reality formats. As one of the first reality formats, ‘Survivor’ is one of the strongest brands in television and continues to play around the world. In major territories such as the USA, France, and Australia, it remains a huge hit, and at the same time, it continues to find new audiences in countries such as Greece and New Zealand. Equally, ‘Fort Boyard’ has been running in France for almost 30 years, and we’re continuing to see new productions around the world. In the past year, the show

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has launched in countries such as Romania, the Czech Republic, and Slovakia”. How does this genre reinforce a broadcaster´s brand? “Viewing is fragmenting fast, and it’s important for channels to find distinctive programming that can give them a clear identity. Adventure reality formats tend to be visually striking and instantly recognizable, so viewers know immediately what they’re watching”. Are adventure reality formats an affordable project for any channel? “Adventure reality formats can be big or small depending on a channel’s requirements. With proper planning and development, it’s normally possible to scale production up or down to fit most budgets. ‘Survivor’

m “Temptation Island”

m Andrew Sime

remains a huge brand around the world, and the core values of the format never change, but there’s huge variability in how you can produce the show. Standalone production works well in markets such as the USA or France, but in smaller territories our hub production model can give buyers a rich look and feel on an affordable budget”. How difficult is it to successfully adapt an adventure format in different countries? “As the world’s leading producer of adventure reality shows, Banijay can draw on years of experience to adapt formats to the needs of every territory. Our unique production know-how means we take formats as diverse as ‘Temptation Island,’ ‘The Bravest,’ and ‘71 Degrees North’, and localize them efficiently”. What is the main appeal of shows like “Survivor” and “The Crystal Maze”? “Like all good adventure reality formats, ‘Survivor’ and ‘The Crystal Maze’ place everyday people into incredible locations. The challenges at the heart of these formats have a

2017

“Adventure reality formats can be big or small depending on a channel’s requirements” universal appeal. Viewers in any country can recognize and admire perseverance, bravery, and strength”. How would these shows refresh the current need for formats? “Both ‘Survivor’ and ‘The Crystal Maze’ are long-running formats which constantly evolve while maintaining their core values to remain relevant to today’s audiences. Their high performance, particularly with hard to reach young adults, demonstrates this beyond doubt. With state-of-the-art production techniques, and a modern look and feel, the challenges and the story arcs are as compelling and relatable as ever”. By Diego Alfagemez /senalint

INTERVIEW

“We don’t ever bring a ‘copy and paste’ mentality to our formats”

m Kelly Wright

Kelly Wright, VP Distribution and New Business at Keshet International, talks about the import-export business between different global regions, the main needs of the clients, and Keshet’s strategy to satisfy them.

n an industry where change is constant, some new trend is always around the corner. From co-productions to book-based series, opportunities to develop original content are getting broader, but so are the audience’s demands. Interviewed by Señal Internacional, Kelly Wright, VP Distribution at Keshet International, talks about the primary needs of the clients today and Keshet’s strategy to satisfy them. Do you observe any global trend for scripted content? What are the main needs of the clients today? “The rise of co-productions. They allow local broadcasters to receive license fees in advance to cover the production costs, and then share their product with broadcasters in other territories. This model mitigates cost and risk, but for creators and producers, it keeps the ‘sellers’ club’ to a short list as there are less individual series being produced. Other trends are the wooing of cinematic talent to the TV screen and book-based series, like ‘Game of Thrones,’ ‘Big Little Lies,’ ‘The Handmaid’s Tale,’ among others”.

“Keshet and the broadcasters are identifying trends and supplying brilliant content to keep these broadcasters’ leadership positions secure” How could the expertise of Keshet for scripted bring a new perspective to Latin America? “Two things: first, expertise in adapting niche, foreign-language content to a local, and often much broader audience. At Keshet, we don’t ever bring a ‘copy and paste’ mentality to our formats as we take them from one country to another. We take a format,

be it scripted or unscripted, and we work with local producers, companies, and talent and make it reflect the needs of that audience and the local culture. The second issue is our originality. We have curated so many original stories going to screen in so many territories that we have become very adept at the development process and about identifying ‘winning’ ideas from the start”. How will Keshet develop an import-export business between different regions? “Launching Keshet MX was a strategic decision to help bridge our incredible business at Keshet Studios in the US with our successful formats business in Latin America. What we see now are opportunities that we can bring to produce more in Mexico for global SVOD companies, as well as for US Hispanic companies.

It’s a very competitive and challenging environment to work in, but that’s part of what makes it such an exciting venture on which to embark. Outside of Keshet MX, Keshet has various production companies in places as diverse as London and Los Angeles, Mumbai and Munich, and we are constantly sourcing content for those production companies. We believe there’s powerful crossover potential between Latin America and all of these foreign countries for different reasons”. What are the best ways to distribute formats into Latin America and the US? “By being bold. The broadcasters in Latin America often make bold choices. They know their audiences so well, and broadcasters tend to drive trends rather than just respond to them. Working with visionary commissioners is a pleasure. Because together, Keshet and the broadcasters are identifying trends and supplying brilliant content to keep these broadcasters’ leadership positions secure. Global SVOD platforms are also providing an interesting new window into Latin America, but they by no means produce at that volume – at least not yet. It’s going to be a challenge for everyone, but with that comes exciting opportunities”. By Federico Marzullo

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DISTRIBUTION

A Turkish Catalogue That Goes Global Aysegul Tuzun, VP Sales & Marketing for Mistco, defines the new international trends regarding Turkish content and explains how audiences around the world share similar consuming patterns.

fter being appointed international sales agent for Turkish Radio and Television (TRT) a year ago, Mistco expanded its sales and networking in many continents, including Asia Pacific and Latin America. Towards MIPCOM 2017, Aysegul Tuzun, VP Sales & Marketing for the company, commented about the new trends in Turkish content acquisition and the advantages of having presence in the event that will take place in Cannes. Mistco catalogue has dramas, animation series, entertaining formats, documentaries and TV movies. “As a result of the continuous production in Turkish drama industry, there are new genres emerging every year. What we

MIPCOM UNVEILINGS • Between the new contents that Mistco will present at MIPCOM, the highlights are “High School Patrol,” “Wit & Village” and “Your Turn,” the company’s first format. “High School Patrol” is a youth drama in which young detectives disguised as high school students to catch a famous criminal. “Wit & Village” is a series about a charming community in which all residents know each other as a family. Then, “Your Turn” is a song contest which has three types of jurors including celebrities, orchestra members and people among the audience. MIPCOM will also receive new episodes from emblematic TRT series such as “Resurrection: Ertugrul, “The Last Emperor” and “You Name It.”

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m Aysegul Tuzun

observe in every market is that there is a demand for all genres of Turkish series and it varies according to territories,” Tuzun explained. The executive sees special potential for Mistco’s catalogue in Latin America. “Audiences in the region can easily get connected to what they are watching. There are numerous similarities between Turkish and Latin American culture. This is why everybody all over the world would like to watch our epic drama ‘Resurrection: Ertugrul’, our modern drama ‘You Name It’, or the family drama ‘What Happens to My Family’.” Tuzun described.

series, Tuzun announced that “Jade” has been elected for the finals at Japan Prize International Contest; and said that new sales are confirmed for other pre-scholar shows in Asia, the Balkan countries, India as well as Netflix. “There are on-going negotiations for more sales,” Tuzun added. The VP Sales & Marketing for Mistco remarked that the presence of the company at every MIPCOM is always important not only to launch new titles, but also to increase the networking. “So far, 2017 was very productive for us. In addition to major deals in MENA region for our top titles, we could close several deals for our library titles as well”, Tuzun said. “We’re very pleased to see that each title from TRT’s library has still value in all around the world and it is a proof of TRT’s important role in Turkish Media as being one of the biggest TV networks in Turkey,” she concluded.

GLOBAL PERSPECTIVE Regarding Turkish animated children’s

By Lucila Rivadeneira Cuvry /senalint

QUICKIES

“Endless Love”, the First Turkish Series Nominated at the Emmy Awards

m Gordon Ramsay

All3media cooks a new hit with Gordon Ramsay

A m Can Okan

roduced by one of Turkey’s most important production houses, Ay Yapim, and distributed internationally by Inter Medya, “Endless Love” continues to conquer the world. The International Academy of Television Arts & Sciences included the show between its nominees for the 2017 International Emmy Awards. Featuring actors Burak Ozcivit, Neslihan Atagul and Kaan Urgancioglu, “Endless Love” is the first-ever Turkish drama series nominated for an Emmy award in the Best Telenovela category. Since its launch in 2015, “Endless Love” has continuously attracted attention around several territories around the world. The series, which has ended last June with a shocking finale, has been successfully broadcasted in the Middle East, Argentina, Chile, Peru, Uruguay, and Greece, among many other countries. “There is hardly a more important award worldwide than the International Emmys. I am thrilled and proud that ‘Endless Love’ has been nominated as the first ever Turkish series of 11 categories under 18 countries. I congratulate the nominees and wish them all the success for the event in New York,” Can Okan, Founder and CEO of Inter Medya, stated. With the Emmy nomination and the celebration of its 25th anniversary, the will have a very special MIPCOM. At Cannes, the company will have a significant launch: the drama series “Mrs. Fazilet and Her Daughters”, produced by Avsar Film, which tells the story of a mother and her two daughters, who live a modest life and dream of becoming rich.

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ward-winning chef, television host and producer Gordon Ramsay will be this year at Cannes with all3media international, celebrating 25 years in the industry as well as launching a host of new titles through Studio Ramsay, his joint-venture multi-media production company with all3media. Ramsay will participate in a much-anticipated keynote as part of the official MIPCOM schedule, and will reveal the motivation behind his TV persona, his views on how to deliver enduring appeal for audiences around the world and how he maintains his brand across his restaurant and media empire. The chef is no stranger to the MIPCOM experience, having first arrived to Cannes twenty-five years ago as the chef on Australian media guru Reg Grundy. Since the launch of Studio Ramsay in April 2016, the company is focused to create new formats and innovative programming, working closely in the UK with Layla Smith, CEO of Objective Media Group, an all3media group company, and in the US with Greg Lipstone, CEO, all3media America. The partnership continues to build on the already successful catalogue of programming that Ramsay has worked on over the years with all3media, and will see the addition of new, original unscripted and scripted content. The huge potential of this creative, production and distribution collaboration is already evident from the slate of new content available to broadcasters this MIPCOM.

/senalint

DISTRIBUTION

“Heidi” continues its path to new territories With a confirmed third season and the two previous ones becoming a global sales hit, the co-production between Mondo TV and Alianzas Producciones reaches new territories. Maria Bonaria Fois, General Manager of Mondo TV Iberoamérica, explains the global sales hit.

co-production between Mondo TV and Alianzas Producciones, “Heidi” is having a memorable year. Following the successful launch of “Heidi, Bienvenida a Casa” on Nickelodeon Latin America, sales for the series remained strong throughout the region. It is now also airing on A+ Mexico, the new channel recently launched by TV Azteca group and is expected to be broadcasted in Bolivia, Costa Rica and El Salvador by the end of 2017. “In January 2018 the series will also be released on Latina Channel of Peru and there are other territories that are close to being included for launch,” said Maria Bonaria Fois, General Manager of Mondo TV Iberoamérica. The executive confirmed that markets like Europe and the Middle East are now interested in this show. “With the success in Latin America and the recent incursions into Europe and the Middle East, we have high hopes for ‘Heidi’. It is a combination of a classic story (Johanna Spyri’s tale of a girl from the mountains who moves to the big city) with humor,

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great songs and lovable characters. It has clearly reached out to conquer various audiences,” Fois said. But the path of the production does not end with a first season, because the second part of “Heidi, Bienvenida al Show” is now in production, and its third season has now been confirmed. Regarding these recent news, Bonaria Fois underlined that “Heidi, Bienvenida al Show” is an important asset for Mondo TV for this year´s MIPCOM. “The show is currently in production and is expected to be released in the first quarter of 2018,” she highlighted.

m María Bonaria Fois

the tale of Kit, an intelligent, thoughtful and creative fox that, in each episode, comes up with a new invention. The show has a very attractive plot, with conflicts, enmities as well as funny, eccentric and engaging characters; but it also offers something different. Following the little fox, the young audience will know more about science and how it works. “We believe it is a great potential concept for the long term. We have five series planned for this franchise,” Fois said. At MIPCOM, Mondo TV will promote a new 3D CGI show titled “Cuby Zoo” (52 x 11’), where a group of toy animals comes to life in the form of cubes. There, they play a vital but secret role in keeping the world in balance. “‘Cuby Zoo’ has strong potential in several regions, not to mention the categories of licensing,” Fois added. The company is also focused on the expansion of the hit series “Sissi the Young Empress” (52 x 26’), which tells the story of the adventures of the free-spirited queen who resists etiquette and the duties of the court to follow her heart. The show was a big success with its target audience of young girls around different territories. “‘Sissi’ is now airing in a number of countries, and a third 3D series and an expanded licensing campaign are on the way,” Maria Bonaria Fois explained. By Romina Rodríguez

REINFORCED PROPOSAL In addition to the strong focus on “Heidi”, Mondo TV will also promote a bunch of new series. “The new animated ‘Invention Story’ (104 x 11’), for example, is a highly innovative concept,” Bonaria Fois said. It is /senalint

INTERVIEW

“Our investment in new productions must meet the needs of the market” Beatriz Campos is the new Head of International Sales, TV Series at Studiocanal. Leading the international sales activities for the company, she describes the company’s growing roster of high-end productions

ast July, Studiocanal appointed Beatriz Campos as their Head of International Sales. Based in London, she leads the international sales activities of the company, including TV series and the Studiocanal´s portfolio of highlyregarded CANAL+ series, as well as third party acquisitions. In an interview with Señal Internacional, Campos describes the strategy to develop and maintain strong relationships with Studiocanal´s global client base. What will be your main new challenges at your new role at Studiocanal? “One of my main goals is to ensure that our investment in new productions really meets the needs of the global market. There is a great deal of very good drama available to buyers and it is vital to have programming in our catalogue which enables a channel or platform to stand out from its competitors. We need to keep pace with demand for high-quality, premium programming that transcends borders and has wide appeal”. What is Studiocanal’s current international strategy? “The company is focused on continuing to build our high-end European drama portfolio. We are proud of the programming we represent and firmly believe that strong European stories that can transcend borders continue to be in demand on the global stage. We are in touch with our many clients around the world to talk to them about our new line up and to work to help define and build their channel brands by scheduling our highly regarded, event programming”. 44 · SEÑAL INTERNACIONAL

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channels, there is a demand for globally relatable programming with high-end production values, created by leading writers and offering well-known performers and behind the camera talent”.

m Beatriz Campos

How would you define the change in the content consumption? What was the impact of the digital platforms? “With the growth of AVOD and SVOD services around the world we know that, particularly in Latin America alongside the more niche and local programming

“We need to keep pace with demand for high-quality, premium programming that transcends borders and has wide appeal”

What is the strategy of the company for original content production? “Studiocanal has partners with very strong and local companies in the UK, Denmark, Sweden, Germany, France and Spain. We trust them to develop stories that work locally and at the same time resonate with global audiences. Studiocanal actively develops and distributes high-end TV series through its growing network of award-winning subsidiary production companies. We are also continuing to seek out and work closely with global co-production partners. In addition, we have an extraordinary acquisitions team which works with many of the best producers in Europe to source third party content for us to distribute internationally” By Diego Alfagemez

GLOBAL PARTNERS Studiocanal has production partners all over Europe, including TANDEM Productions in Germany (Crossing Lines, Spotless); UK’s RED Production Company (Trust Me, The Five); Denmark’s SAM Productions (Ride Upon The Storm; Something’s Rockin’; Below The Surface); and UK´s Guilty Party Pictures, run by producer Spencer Millman, (Harry Hill’s TV Burp), and the actors and writers Simon Bird (The Inbetweeners) and Jonny Sweet (Chickens). Most recently, Studiocanal announced investments in Benedict Cumberbatch’s UK production company, Sunnymarch TV (The Child In Time); the Madrid-based Bambú Producciones (Grand Hotel), and the UK’s Urban Myth Films (Crazyhead), founded by Johnny Capps and Julian Murphy (Merlin) and Howard Overman

(Misfits).

/senalint

INTERVIEW

“The challenge with young viewers is to activate them” Maarten Meijs is the Managing Director of Talpa Global, the division in charge of all international activities of the Talpa Media Group. The executive describes the new scripted projects of the company and how the format business had changed in the recent years.

ne of the biggest production deals of the year involved Talpa Media USA, which has entered into a production partnership with ITV America, to produce shows through ITV´s infrastructure. Talpa´s mastermind of the deal was its Managing Director, Maarten Meijs, who describes the global positioning of the company, in a more competitive context. How do you analyze the current potential and challenges of the format business? “In today’s fragmented market, it’s increasingly important for broadcasters to have strong formats that can attract both traditionals and millennials. To deal with this new development, we conceptualize the process of new formats. The challenge with young viewers is not only to reach them, but also to activate them. Therefore, Talpa develops a thorough activation approach. By developing specific content across multiple platforms and channel for relevant stability, Talpa is able to create strong content that connects the new masses via multiple screens. This way viewers are turned into fans right from the start”.

What are the main needs regarding the game show genre? Have you observed any significant changes in the recent years? “Broadcasters are always looking for strong pillars to further build on, to secure a continuity of viewers in their schedule. The game show genre, one of the oldest genres in the TV world, is such a strong pillar. It brings different age groups together, they are being watched by both young and old and connects them to the broadcaster. A strong game show has a long lifespan, bringing continuity for the broadcaster. What is unique to Talpa is that we not only introduce new game shows in a fast pace to the market, but that we also link them to new technologies. A big change over the last few years is the development of new technology, which enables us to create interaction and engagement with the viewers”. Talpa is globally known for their non-scripted business. Do you find expansion opportunities around drama and scripted projects? “In the Dutch and German market, we have A-level teams working on local scripted and drama projects. To set

“Talpa develops a thorough activation approach, and is able to create strong content that connects the new masses via multiple screens” m ”Design Dream”

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m Maarten Meijs

us apart from strong markets such as US and UK, our aim is to come up with smart original ideas. On the back of that we look at organically growing our business. We have three great new scripted formats we are proud to introduce this MIPCOM: a new drama series launched in The Netherlands, ‘Good Time Girl’, which has secured fantastic ratings; the new series ‘The Spa’, and the romantic drama ‘Mistress: My Secret Life’”. How important is the recent production deal sealed with ITV America? “We are happy to partner with ITV America in the USA which enables us to use their highly proficient infrastructure and resources. Combined with Talpa’s strong content lab, we are well positioned to further increase our development and production across broadcast, non-linear, cable and digital platforms -- whether it’s long-form, short-form or premium global content that we are known for, like ‘The Voice’. From creation to execution, this new partnership provides a great strategic set-up to facilitate the rapidly growing US market with fresh Talpa formats. We firmly believe we will build a stronger position in the US market.” By Diego Alfagemez

/senalint

DISTRIBUTION

Good Stories that Rise Local Audiences Asli Serim Guliyev, International Sales Director at Calinos Entertainment; and Anghelo Taylor, International Sales Manager for Latin America & The Caribbean; explain how the company work close to its global client base.

IMPCOM is always a key event for Calinos Entertainment, where the company reinforces its relationship with global broadcasters. “Since 1997, Calinos strategy has always been based on establishing long-lasting relationships with our clients. This year we are going one step ahead, using digital marketing tools to help our buyers to promote their launches and create a social environment,” Anghelo Taylor, International Sales Manager for Latin America & The Caribbean said. “The idea is to tell them that they are not alone. We are not just selling a good story. We will generate local audiences around those titles”. The 2017-2018 season for Calinos starts at MIPCOM. The company is now looking into Africa as a new potential market and added a new Kenyan sales representative in the sales team. But the new executive for Africa is not the only one who joined the company. Anghelo Taylor himself is a recent addition to Calinos. “It is proven that having a sales executive that can understand the culture, language, and society of a region is a valuable asset for any company. For some territories, we have employed sales executives from those regions. The example is the case of the series ´Wild Heart´, sold by Ismail Dursunov to Kazakhstan. It was the first Turkish series sold abroad and opened a new market for all Turkish series worldwide”, Asli Serim Guliyev, International Sales Director of Calinos Entertainment revealed. Regarding the new responsibility of Anghelo Taylor for Latin American, Asli Serim Guliyev highlighted the experience of the executive, who holds a Master in Media Management by the Media

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m Asli Serim Guliyev

m Anghelo Taylor

“It is proven that having a sales executive that can understand the culture, language, and the society of a region is a valuable asset for any company”

Business School in Spain and is specialized on sales and distribution. “Anghelo Taylor is an asset for us. He is bringing on board a vast experience in selling stories across the world, speaks several languages, and manages different business models. We believe that his incorporation will realign our sales team by innovating on our business models for Latin America”, Asli Serim Guliyev said. THE HIT CONTINUES Turkey continues a steady performance as a global drama distributor, and

Calinos is one of the key companies inside that trend. “We are now in a stage where Turkish dramas are part of the industry. The so-called ´Turkish Boom´ has passed, and our content is here for the long-term. It is a fact that major competitors are rising from different countries, but Turkish producers and companies like Calinos are finding new stories and business models to engage global audiences”, Taylor commented. “Turkey has a very long history, and due to its strategic location, the country has witnessed some of the most important events in universal history. Our job is to help storytellers to tell those stories and share them with global audiences”. Asli Serim Guliyev and Anghelo Taylor confirmed that Latin American and MENA regions are at the heart of the company’s global strategy. Africa and the Eastern countries are becoming more important in that mix, where the company seeks new opportunities for original content. “We are working with the major partners across the globe. We can bring all of our corporate support and experience to any project”, Taylor said. “The most important thing is to find good stories, which would be appealing to international audiences. Then, our responsibility is to work on the most suitable business model and add pan-regional creative elements”. By Romina Rodríguez

/senalint

DISTRIBUTION

High Quality Productions for the Global Marketplace

m Leyla Formoso

Leyla Formoso, Sales and Development for Drama in Latin America at Federation Entertainment, explains the fast growth of the company and its new production goals.

ederation Entertainment, launched by President and Founder Pascal Breton in 2013, has quickly established itself as a top indie European studio and production company. Breton, former President of Marathon Group, partnered with the major international players, and opened offices in Paris and Los Angeles. The company focuses on the creation, production, finances, and distribution of high-quality original productions for the global marketplace. Last year, Federation Entertainment expanded its distribution team with the hiring of Leyla Formoso, who handles sales and development of the company’s drama programming activities throughout Latin America. “Federation Entertainment is originally a TV producer but now has several business areas. We produced the first drama series for Netflix in France, ´Marseille´, led by Gerard Depardieu. From there, we started with the philosophy of federating the best of the European production. Proposals arrive from France, Belgium, Finland, and all over Europe, so that we became a global co-producer. We developed ´Love Divina´, the youth series with Pol-Ka and Televisa, and we became the first French production company to co-produce a soap opera with Latin American countries. We achieved great results with this show”, Formoso said. Federation Entertainment currently has 12 series in production including the second season of Netflix France’s first original series “Marseille”; “Le Bureau des Légendes/The Bureau”; a CANAL+ Creation Originale series; Oliver Goldstick’s

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“The Collection”, a co-production with Lookout Point for BBC Worldwide and Amazon’s first UK original drama; and the award-winning Israeli thriller “Hostages” for Channel 10 & Canal +. “Pascal Breton is a well-known personality in the industry, and the company experienced an extremely rapid growth. We produce kids´ content and we keep growing in the non-scripted area. We are also starting to explore virtual reality business. Federation has many projects under consideration right now.”, Formoso described. Additionally, Federation has some high profile series in development for both U.S. and international audiences.

and Federation Kids & Family, starring TV and pop star Laura Esquivel. The show premiered on eltrece (Argentina) in January 2017 and Televisa’s digital platform BLIM (Mexico and LatAm) in the first quarter of 2017, followed by broadcasts on all Televisa’s other platforms including Free TV (Mexico). “My role is to make our connection with Latin America stronger. I´m trying to promote European fiction, a new genre for this audience. My priority is to get pay TV and digital platforms, but also find new projects to produce. I believe that Latin America is changing and it is becoming more open to European content.”, Formoso said. Federation Entertainment made another big deal with Paramount Television, where both companies have entered into a first-look agreement which includes co-production and co-distribution rights. Additionally, Paramount Television will create series based on Federation Entertainment’s international formats for American audiences. “We want to be in the right place and receive the appropriate script. Our goal is to innovate and produce the best international content regardless of the language and format. We want to build a bridge between regions, and Latin America is essential”, Formoso concluded. FEDERATION_HOSTAGES_POSTER100x70.indd 1

GLOBAL DEALS “Love, Divina” is a daily series co-produced by Televisa, Pol-ka Producciones

By Diego Alfagemez /senalint

09/11/2015 18:27

DISTRIBUTION

A dynamic, independent and fast-moving company Amos Neumann, COO of Armoza Formats, describes how the Israeli company works hard to be updated about the needs of each client, and satisfy them with shows that conquer the international prime time slots.

everal Armoza Formats shows, including dramas and formats, have traveled throughout the world during 2017. Great examples of that expansion are the commission of the “Sex Tape” format in Spain; the sales of the modeling competition “Curvy Supermodel” to Poland and Ukraine, and the new deals for the game show “Still Standing” in India, Italy, and, Greece. On the drama side, the series “The Final Four” was sold in Italy, Spain and the United States. “We provide content that fits different needs”, Amos Neumann, COO at Armoza Formats, explained to Señal Internacional. “We aim to be a dynamic and fast-moving company. We see our independence as an asset in a very consolidated industry. Our freedom allows us to work with everyone, move quickly, and take smart

m “Eclipse”

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risks”, he added. Neumann highlighted that one of Armoza Formats´ main advantages is to know the needs of each broadcaster. “Our goal is to bring a new perspective to our clients, both with our formats and third-party associations. We take care of each broadcaster, trying to provide viewers with content that has an inherent truth in its narrative,” Neumann said. The company achieved another big expansion step in the USA market. Last month, Fox Television Group announced that FOX ordered Armoza Formats’ prime time singing competition series, “The Final Four”. The local US adaptation will be known as “The Four” and will be produced by ITV Entertainment in association with Armoza Formats. “I believe that producing a prime time show for a US network is to be in the middle of the worldwide TV industry. It is a real achievement to sell a musical show in one of the most challenging global markets. The United States is a key territory, a place where everyone wants to be involved. But since we are a global company, we put our emphasis on working with our clients from all territories,” Neumann said. MIPCOM FOCUS Armoza Formats arrives in Cannes with a lineup that focuses on emotional formats that offer prime time entertainment. As an essential part of the

slate, the company has announced the release of two new hit dramas, “Eclipse” and “Refuge”, from leading Canadian broadcaster TVA GROUP. Aired in prime time on TVA, both series achieved high performances for the channel with over 32% share and had already been re-commissioned for second seasons. Another highlight of Armoza at Mipcom will be its new dating show “Perfect 10”, which helps 20 singles persons who want to relate and find love. Ten men and ten women will live in a luxurious villa for ten weeks in the hope of meeting each other. The company will also relea-

“Since we are a global company, we put our emphasis on working with our clients from all territories” se “Back to Life”, an inspiring docu-reality that follows the unique stories of patients and their families while they are waiting for the transplant that could save their lives. “Broadcasters are looking for human stories, with a unique touch and a different narrative. Viewers love large formats that are both emotional and empowering. When there is something real, that can be related to the public and structured in the different point of view; it will be a sure success,” Amos Neumann concluded. By Romina Rodríguez /senalint

OVERVIEW

Innovation Coming from Spain Once again, Spanish flag will be raisen at MIPCOM under the umbrella of “Audiovisual from Spain”. This year the newcomers will be GymBoCo, DLM International, MediaBank and Mil Ojos Producen, four companies with different business approach. GYMBOCO

DLM INTERNACIONAL

“We have developed a product which is meant to be shown on TV, although it could work on any platform. GymBoCo is, more than a product, a service that has the intention of helping its users to lead a healthier life. Until now, a SVOD service like that did not exist, where the user can exercise whenever and wherever he wants, ARTUR SOLER, choosing the discipline, duration and DIRECTOR OF NEW intensity of the activity. We believe BUSINESS’ this niche is not too well represented DEVELOPMENT in the market, so MIPCOM is the GYMBOCO perfect showcase for us”. “GymBoCo is a service designed for the whole family which offers 100 videos of different durations (15, 30 and 45 minutes), divided into 19 disciplines ranging from the most traditional ones, like Yoga and Thai Chi, to the most current ones, like Cross Fit or Hiit. We want to reach as many households as we can”.

“The industry is in a fascinating moment thanks to nowadays’ great offer of content on television channels, Internet, and platforms. After spending many years translating series, movies, documentaries and TV shows in our studios in Spain and Latin America, last year we acquired our studios in BELÉN ORTEGA, Portugal and Brazil, so we believe BUSINESS this is a good time to expand our DEVELOPER presence in events related to the DLM industry as MIPCOM”. INTERNACIONAL “DLM International offers dubbing services from its studis in Madrid, Bogotá, Lisbon, and Sao Paulo. Soon, we will offer services from Miami and China. DLM also gives translation and subtitling services in all European and South American languages such as neutral Spanish and Portuguese”.

MEDIABANK

MIL OJOS PRODUCEN

“At MIPCOM we have three primary goals. First of all, meet with executives in charge of acquisitions of content to incorporate them to our database of pre-registered users, which already has more than 350 buyers. Second, let people know about our buying and selling solution for online content. Last, represent the catalog of MediaBank’s JORDI UTIEL, partners”. CEO “MediaBank is a professional MEDIABANK marketplace of audio-visual contents specially designed to allow buying and selling of an enormous amount of titles ready to be emitted in a natural and fast way, without the need of another physical format. It is a Business to Business (B2B) platform hosted in a 100% cloud environment. Our catalog is composed of audio-visual productions like movies, series, interviews, news, advertising creatives, digital assets and branded content, among others”.

“We have gone to MIPTV last year, where we learned a lot. We were able to present our projects and get in touch with producers and distributors. It was a first approach to the market, and it was great. Now that we are more advanced with our projects, we would like to repeat the experience, get more contacts ELENA ALJARILLA, and open new opportunities for our EXECUTIVE projects”. PRODUCER “Although we have many projects, MIL OJOS PRODUCEN we are putting all our efforts in looking for opportunities for our docu-series “I Love Wine” (7x52’). In this show, the main character, an American who loves wine, discovers unique wine regions in Spain. We are searching for distributors in the United States and Europe. We consider this could perfectly fit in generalist, food, travel or lifestyle channels”.

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PRODUCTION

myself and learn from every job. No matter how many surveys we can do, it is impossible to determine if a new show will be successful or not. Only the audiences can decide that feature.”

m Manuela Días

Creating Content for Everybody´s Heart Manuela Dias is part of the creative team of Rede Globo, and wrote hit series as “Justicia” and “Relaciones Peligrosas” and the movie “El Bosque Que se Mueve.” She describes the creative process of making an international hit.

oday, content writers are clear that their work has no boundaries, and even more if their creations will arrive at different windows. Manuela Días is a writer and she part of the creative team of Brazilian giant Globo. She wrote hit series like “Justicia” and “Relaciones Peligrosas”, alongside with the movie “El Bosque que se Mueve.” “I love to watch one of my

m “Above Justice”

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shows on TV and check the feedback of the audiences through a cell phone or social media. As a creator, the most exciting fact is to reach the heart of the people. I want them to feel the story and not only understand it,” Días said to Señal Internacional. The writer confessed that when she starts a new project, she does not care in which window it will go on air; but during the creative process she likes to talk to

STORIES AND DILEMMAS “Today´s environment requires good stories, the ones that can build symbols that help us to live and face our dilemmas, like losing a loved one, gaining or losing power. The lead characters experience life for us, and the stories open reflections about human existence,” Días said. The writer commented that the series “Relaciones Peligrosas” is an adaptation

“It is impossible to determine if a new show will be successful or not. Only the audiences can decide that feature” different areas of Globo´s structure. “We are working on different projects. It can include spinoffs, new versions for GloboPlay, or a film for Globo Filmes. We can develop books with Globo as a publisher or cross-media with other programs of the company. Our structure is robust, and it offers many possibilities for each product”. The author knows that her work will travel to different screens all around the world, for diverse audiences and cultures. Días explained that there is no absolute formula for adapting content to different consumption habits. “The future is uncertain enough. I need to transform

of the classic novel of Chordelos de Laclos. “Adapting an epistolary novel to TV was like doing embroidery. Power in 1782 is the central element of the plot, as it is in the world today. Another example is ’Justicia,’ which was my first original work. The miniseries was born of a real story, which starts with the arrest of a poor man for killing a dog,” she said. Finally, the film “El Bosque que se Mueve” is a contemporary adaptation of “Macbeth.” “Vinícius Coimbra invited me to the project. It was a two and a half years study process that ended with the film,” Días explained. By Romina Rodríguez /senalint

PRODUCTION

Ukrainian expertise, ready to conquer the world Andriy Yakovlev, owner and producer of the Ukrainian Kvartal 95, explains the current strategy of the company and expresses the desire of global expansion and growth around new territories.

vartal 95 is one of the largest producers in Ukraine. The company was created in 2003 and focuses on comedies, political shows, dramatic films, and movies for cinema and television. “Kvartal 95 always had a significant influence in Ukraine, in Post-Soviet countries like Russia or Belorus, and the Baltic territories. We are expanding globally and one of our formats, ‘Servant of the People’, was adapted by FOX in the United States and acquired by Netflix. Our series ‘Crack Them Up’ also adaptations in China, Vietnam, and the most recently in Finland”, Andriy Yakovlev, Owner of Kvartal 95 explained to Señal Internacional. “We always wanted to reach the international industry, but now we are taking it more seriously because we have been in global markets for many years. Competition is particularly stringent in Europe and the United States”. The main hit of Kvartal 95 is the comedy series “Servant of the People”. The production house Elephant Story picked up the show for a French remake, and Star Channel in Greece will create their version of the political comedy. The original series will air on HQ Plus in Korea this fall too. “The international appeal of ‘The Servant of the People’ showed that

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a local comedy might have many global versions. This show has given us more confidence in ourselves,” Yakovlev said. Following the successful first season, Kvartal 95 released the movie “Servant of the People 2”, that became one of the box office leaders in Ukraine in 2016 and currently the second season of the series is in production, going on-air on 1+1, from October 23rd. “The series continues to follow the life of an honest and humble school teacher, who unexpectedly becomes the President of Ukraine. The new season brings formidable challenges for the President’s team. At every step, he encounters obstacles and difficulties, nepotism, and corruption”, Yakovlev described. “This autumn the Ukranian audience will see how the ‘People’s President’ will manage with all this on his way to building a better country. The first season is already available on Netflix.”

GLOBAL APPROACH The global distributor Eccho Rights concluded every international deal for Kvartal 95. Both companies are the long-time partners for worldwide distribution. Previously, Eccho Rights secured the deals with Fox Studios for the remake rights in the US and with Netflix for the readymade product, where the series already won many positive reviews after its launch on the global streaming service earlier this year. Last July, Kvartal 95 started filming the long-awaited seventh season of “The

m Andriy Yakovlev

“We always wanted to reach the international industry, but now we are taking it more seriously” In-Laws,” a warm-hearted series with a comedy plot and twists about family relations. The series was three times voted as the best Ukrainian comedy TV Series, with excellent local ratings. In the 2012-2017 period, it was four times nominated in Monte Carlo Television Festival as the series viewed by the largest audience on five continents, reaching the top three positions in the comedy category along with the “Desperate Housewives”, “Modern Family” and “The Big Bang Theory”. Andriy Yakovlev is also directing the project, which will go on air in 2018.

By Romina Rodriguez

/senalint

PHOTOGALLERY

NATPE EUROPE 2017 /01

As the leading CEE-focused global television market and conference, NATPE had a dynamic agenda of carefully curated one-on-one interviews, panels, case studies and workshops.

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/18 1. Paula Cohen McHarg (KESHET), Kateryna Vyshnevska (FILM. UA), Johnathan Young (HBO), Laura Rhodarmer (TALPA) and Fredrik Malmborg (ECCHO RIGHTS) 2. Azuka Stekovics and Sarah Mottershead (STUDIOCANAL) 3. Bill Peck (STAR MEDIA) 4. Emre Gorentas and Muge Akar (ATV) 5. Carolina Krambeck (GLOBO) 6.Camellia Doncheva (BNT) and Margherita Zocaro (RAI) 7. Laura Rhodarmer (TALPA), Iulia Plesi and Silvia Stefanescu (PROTV Rumania) 8. Nele Paves and Kai Gahler (KANAL 2 y 11) 9. Zoe Wilson (TRX) 10. Manuela Caputti (MEDIASET) 11. Goyo Garcia (SBT)

/19 12. Claudia Marra, Sonia Danielli, Manuela Caputti and Chiara Duranti (MEDIASET) 13. Gabriel Cobayassi and Tomas Silva (MADE IN SPANISH) 14. Yesim Eren (TRT), Aysegul Tuzun and Beyza Nur Torum (MISTCO) 15. Sonal Gupta and Debkumar Dasgupta (INDIACAST) 16. Maria Kivinen (YLE) 17. Dragana Kos (RTL) and Melanie Torres (GRB) 18. Emma Stow, Agata Ziomek and Rosario Cosentino (VIACOM) 19. Paloma Garcia (CARACOL) 20. Nick Pawsey (FREMANTLE) 21. Gordan Bobinac (KIP Croacia) and Lina Wacked (RCN)

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INTERVIEW

“There is Still Room for International Programming in Latin America”

Lenneke de Jong, Sales Executive at DCD Rights, reviews the current global market trends, explains the company’s sales strategy for MIPCOM, and the potential of the Latin American market.

ith a diverse catalog, DCD Rights, one of the UK’s leading independent television distribution companies, hopes to make an impact in this year’s MIPCOM. Lenneke de Jong, Sales Executive at DCD Rights, discuss with Señal Internacional about the global market trends, the company’s sales strategy, and analyzes the current challenges of the Latin American market. What is the company’s focus for MIPCOM? “DCD Rights’ focus at MIPCOM is to launch a range of new programming, as well as present our many highlights from the last year. Our new MIPCOM offerings include exciting topical drama ‘Romper Stomper’, which takes a dynamic and energetic look at our current polarized society; a third series of female driven political drama ‘Janet King’; and a second series of ‘Striking Out’, a good-hu-

m Lenneke de Jong

moured Irish drama. As music has always been an integral part of DCD Rights, at MIPCOM we will launch the third season of ‘Berlin Live’, ‘David Gilmour: Live in Pompeii’ and ‘Paul Simon: Live in Hyde Park’. Our strong factual programming is reinforced by new content such as ‘Best Laid Plans’, an ambitious home renovation show, and ‘Dangerous Borders: A Journey Across India & Pakistan’, an engaging exploration of cultures”. Do you observe an increasing demand for factual content? “There continues to be a healthy appetite for drama and factual in Latin America, but the biggest and most constant demand is for music-themed content. Most recently licensed in the region was

“There continues to be a healthy appetite for drama and factual in Latin America, but the biggest and most constant demand is for musicthemed content” m ”Berlin Live Series 3 - Blondie”

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our ‘Berlin Live’ series, which includes artists such as Stereophonics, Texas and Bloc Party. Popular factual content in the region is usually more female skewed, celebrity based or focused on crime. Our popular factual shows include ‘Mama June: From Not to Hot’, ‘I Found the Gown’ and our ‘Off Camera’ series of celebrity interviews, including Robert Downey Jr, Matt Damon and Jake Gyllenhaal. Our drama content continues to be a hit with SundanceTV Global acquiring ‘Deep Water’, which features notable talent Noah Taylor and Yael Stone, and comedic legal drama ‘Rake’”. How do you set your sales strategy in terms of pay TV, free TV and digital? “We mainly deal with pay TV operators in Latin America, as our strongest relationships are with them and they have a higher demand for international content. Also, our programming which does go into the continent tends to be better suited for pay TV. In terms of digital, we are increasingly dealing with Netflix and aggregators such as Vubiquity, who provide content to many different individual platforms across Latin America. Operators can be flexible with exclusivity on a case by case basis, but this varies between drama, where exclusivity is usually crucial, and music”. How do you analyze the potential of the Latin American market? “The Latin American market has particular tastes and is so varied, with preferences also varying from country to country. There is a large focus on local content, however there is still room for attractive international programming. The key is to find topics applicable and attractive to Latin American interests and trends. Certainly, music-themed content remains consistently popular in Latin America”. By Federico Marzullo /senalint

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QUICKIES

Directv to Offer Mediaset Italia

m Debkumar Dasgupta

Indiacast Expands its Original Series Offer

m ”Striscia Autunno”

T&T now offers the best of Italy on Directv with the launch of Mediaset Italia on September, 15th. One of Italy’s top-rated entertainment channels, Mediaset Italia is available to any new or existing subscriber “A la Carte” for $10 a month, with an eligible base package. “Mediaset Italia will make the more than 17 million Italian Americans in the U.S. feel right at home,” Emma Brackett, Vice President, Content and Programming at AT&T, said. “We know there is a strong desire for quality programming from Italy and we’re excited to connect new and existing customers to more entertainment choices that reflect their culture and interests”. Mediaset Italia is a 24-hour Italian-language channel (DTV channel 2020) offering programming from Italy’s top channels: Canale 5, Italia 1 and Rete 4. Its programming schedule is strategically created to offer all the key primetime offerings from all three channels in addition to the best general Italian language entertainment available. “We are extremely proud to be the first Italian channel to be offered by the largest satellite service provider in the United States”, Giorgio Giovetti, Head of Sales at Mediaset Italia, said. “This new agreement with Directv is a great opportunity to reach all the Italian communities all over the nation. We constantly work to offer the viewers an exciting TV experience bringing them a piece of Italy”.

m ”Squadra Mobile”

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fter successfully performing in the East European markets, CIS countries and Asia, Indiacast is now expanding its offer to the Caribbean, Turkey, and Africa. The goal is to reach both traditional and new media platforms. At this year’s MIPCOM the company will introduce a set of new series, including “Dil Se Dil Tak,” “Swabhiman,” “Ishq Mein Marjawan”, and “Tu Aashiqui”. These shows are a blend of emotion, romance and family dramas, which had an immediate impact in the audiences where Indian series are popular. “Our drama series have proved to be extremely successful in every market that we have licensed, especially in South East Asia (Indonesia, Vietnam, Cambodia, Malaysia, Thailand, Sri Lanka, Pakistan, Afghanistan, and Nepal), Middle East, Africa (Kenya, Tanzania, Uganda, Nigeria, South Africa, and Mauritius), CIS / CEE (Serbia, Bosnia, Macedonia, Croatia, Romania, Bulgaria, Hungary, Lithuania, Georgia, Kazakhstan, and Russia), Canada and the Caribbean Islands,” Debkumar Dasgupta, Vice President of International Business and Head of Content Sales at Indiacast Media Distribution, stated. Apart from drama series, Indicast is exploring the kid’s animation series genre, with “Gattu Battu”, “Shiva”, and “Motu Patlu”, which was commissioned by Nick and had a huge performance in India. For digital platforms, the company will offer special series like “Nagin”, “Chandrakantha”, and “Kavach”, which had huge successes on free TV across Asia & Africa. “We are excited to establish strategic alliances and business opportunities in the growing market of Latin America,” Dasgupta added. /senalint

TV DATA

Insight Stats to Understand Current and Future Trends

Global Digital Series Demand NEW DIGITAL ORIGINAL SERIES RELEASED DURING SECOND QUARTER, 2017 Dimension 404

Hulu

Science Fiction

April, 4

American Playboy: The Hugh Hefner Story

Amazon Video

Drama

April, 7

DanTDM Creates A Big Scene

YouTube Red

Childrens

April, 7

Kings Of Atlantis

YouTube Red

Childrens

April, 7

Girlboss

Netflix

Comedy

April, 21

Hot Girls Wanted: Turned On

Netflix

Documentary

April, 21

Bill Nye Saves the World

Netflix

Documentary

April, 21

The Handmaid’s Tale

Hulu

Drama

April, 26

Dear White People

Netflix

Drama

April, 28

Las Chicas Del Cable

Netflix

Drama

April, 28

Fruit Ninja: Frenzy Force

YouTube Red

Childrens

May, 5

I Love Dick

Amazon Video

Comedy-drama

May, 12

The Keepers

Netflix

Documentary

May, 19

Run, BIGBANG Scout!

YouTube Red

Reality

May, 26

Hyperlinked

YouTube Red

Comedy

May, 31

My Only Love Song

Netflix

Drama

June, 9

GLOW

Netflix

DANGER & EGGS

Amazon Video

Gypsy

Netflix

Drama

June, 23

Childrens

June, 30

Drama

June, 30

Source: “Digital Original Series Global Demand Report”. Based on a metric measures the total audience demand being expressed for a title, within a market.

TOP DIGITAL ORIGINAL SERIES IN THE UNITED STATES 13 Reasons Why

Netflix

Drama

31,515,564

Orange Is The New Black

Netflix

Comedy-Drama

17,009,736

The Handmaid’s Tale

Hulu

Drama

14,949,414

House Of Cards

Netflix

Drama

9,261,759

Marvel’s Iron Fist

Netflix

Drama

8,678,799

TOP DIGITAL ORIGINAL SERIES IN THE UNITED KINGDOM 13 Reasons Why

Netflix

Drama

5,861,535

The Grand Tour

Amazon Video

Reality

3,348,572

The Handmaid’s Tale

Hulu

Drama

3,142,102

Orange Is The New Black

Netflix

Comedy-Drama

2,924,055

Marvel’s Iron Fist

Netflix

Drama

2,545,121

TOP DIGITAL ORIGINAL SERIES IN FRANCE 13 Reasons Why

Netflix

Drama

6,043,162

Orange Is The New Black

Netflix

Comedy-Drama

5,984,692

Sense8

Netflix

Science Fiction

2,955,953

Narcos

Netflix

Drama

2,344,381

House Of Cards

Netflix

Drama

1,741,611

TOP DIGITAL ORIGINAL SERIES IN GERMANY

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Netflix

Drama

5,836,573

House Of Cards

Netflix

Drama

3,338,631

Orange Is The New Black

Netflix

Comedy-Drama

2,966,815

The Grand Tour

Amazon Video

Reality

2,150,452

Marvel’s Iron Fist

Netflix

Drama

1,473,736

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/senalint