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SEÑAL INTERNACIONAL 2018

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T H E CEE REGION, A R D U OU S BU T BI G BU SI N E S S

Central and Eastern Europe shapes itself as a great expansion opportunity for global distributors. Due to its stable free TV market and new digital platforms, the region is open for different deals, in terms of genres, duration,

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and business models. Executives from A+E, All3media International, BBC, DCD Rights, Dori Media, Entertainment One, Fremantle, Keshet International, and Marvista describe the challenges and potential of the region.

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F O CUS ON P REMIU M D R A M A

KEEP I N G H I T F O R M A TS A L I V E

H U G E P R O D U C I N G P A RT NERS

Chris Ottinger, President of Worldwide Television Distribution and Acquisitions at MGM, explains the renewed international strategy of the company, which is now focused on producing super premium dramas.

Pascal Dalton, VP, Global Format Sales; Christina Covarrubias, Sales Director for Latin America and & USH; and Mike Kelley, SVP Sales for The Americas at ITV Studios; describes the company’s format business strategy.

Angela Neillis, Director of Non-Scripted Acquisitions, Global Content, International, at Fremantle, describes one of the company’s biggest launches for Mipcom: the new show “Expedition with Steve Backshall”.

YEAR 18 - EDITION 154 OCTOBER 2018 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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DOWNLOAD THE INTERACTIVE EDITION

Editorial Señal Internacional S.R.L. Av. Triunvirato 3176 Dpto 704, CABA - Argentina www.revistasenal.com

/senalint

2ble Click GLOBAL OTT REVENUES TO MORE THAN DOUBLE

$129

$16 69%

• BILLION DOLLARS IN OTT REVENUES WILL BE ADDED THIS YEAR ALONE, WHILE REVENUES WILL EXCEED $1 BILLION IN 17 COUNTRIES BY 2023.

• OF WORLDWIDE REVENUES BY 2023 ARE GOING TO BE COVERED

BY THE MAIN FIVE COUNTRIES OF THE OTT MARKET.

TOP MARKET BILLION DOLLARS WILL BE THE GLOBAL OTT TV AND MOVIE REVENUES IN 2023.

• SUBSCRIPTION VIDEO-ON-DEMAND OVERTOOK AD-SUPPORTED VOD AS THE LARGEST OTT REVENUE SOURCE IN 2016 AND IS EXPECTED TO INCREASE ITS SHARE OF THE MARKET FROM 47% IN 2017 TO 53% IN 2023.

MORTEN MOGENSEN TO BE THE NEW CHAIRMAN OF DRG

MGM HIRES TOMAS DAVISON FOR LATIN AMERICA AND US HISPANIC DISTRIBUTION

DRG announced that Morten Mogensen will be the new Chairman of DRG. Morten is CEO of DRG’s parent company NENT Studios, which is part of Nordic Entertainment Group.

At the same time, DRG CEO Richard Halliwell has been appointed to the additional role of CEO of DRG owned Atrium TV. The appointments follow the decision by Jeremy Fox, DRG Founder and Chairman, to move on to new projects outside the group after completing the terms of his earn out. NENT Group acquired DRG in 2013 and will now also buy Jeremy Fox’s remaining shares in the business.

MGM Worldwide Television Distribution announced the hiring of Tomas Davison as Senior Vice President, International Television Distribution, Latin America and U.S. Hispanic. Based in Miami, Davison will be responsible for sales in Latin America and U.S. Hispanic, reporting to Matt Vassallo, Senior Vice President, International Television Distribution, Latin America, Asia Pacific & Global Formats.

Davison joins MGM Worldwide Television Distribution at a time when the business is thriving and as the team prepares for Mipcom, where the studios offerings will be stronger than ever, with an influx of quality content like “The Handmaid’s Tale,” “Fargo,” “Condor,” “The Contender,” “TKO: Total Knockout,” “Creed II,” and “The Girl in the Spider’s Web”.

KESHET SIGNS DEAL WITH HIRU TV FOR “RISING STAR” Keshet International has signed a major licensing deal with the Asia Broadcasting Corporation that will see five 52x90’ series of its interactive talent format “Rising Star” premiere on Hiru TV, Sri Lanka’s first and only digitally-enabled HD television channel. Originally created and produced by Tedy Productions and Keshet Broadcasting, the format was the fastest-selling talent show on record, when launched at Mipcom in 2013. Up to now it has been sold to over 35 territories worldwide, including India (Colours TV), Brazil (Globo), Indonesia (RCT1), China (CCTV), and Greece (Antenna).

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GREAT RATINGS FOR ATV’S “LIFELINE” SECOND SEASON ALL3MEDIA SCORES EARLY PRESALES FOR “THE BISEXUAL”

ATV’s second and new season of “Lifeline” made its debut on the local Turkish prime time, reaching a 13.37 rating and 36.38% share. The show has been a top performer for ATV in Turkey, a market where competition is increasingly high and it’s not always easy for dramas or broadcasters to stand out.

“Lifeline” is a very successful title for ATV’s international catalogue, since the series was already sold to more than 30 countries and is expected to grow even more after the upcoming Mipcom 2018. At the last MIPTV, “Lifetime” was selected to be the only Turkish drama at the Fresh TV conference.

“Lifeline” tells the story of Nefes, who became the victim of domestic violence and her battle to survive with her son.

Her path crosses with Tahir, and he becomes the symbol of hope, love, and existence. Tahir takes his life in his hand to rescue Nefes and their passionate love.

The independent distributor has signed major presales for its new contemporary comedy “The Bisexual”. The six-part series is written, directed, and stared by Iranian-American filmmaker Desiree Akhavan. Produced by Hootenanny, a Sister Pictures company, for Channel 4 UK and Hulu in the US, the show is currently in post-production. It has been secured by CANAL+ Group to be broadcast in France and all its territories, while Sky Network in New Zealand has acquired exclusive rights to the series, and Stan Australia also has exclusive rights. Set to debut on Channel 4 and Hulu, “The Bisexual” is a six-part comedy drama exploring the differences between dating men and women from the perspective of a person who finds herself, for the first time, doing both.

BANIJAY RIGHTS’ “THE LEGACY” PREMIERED IN BELGIUM

A+E NETWORKS ADDS 200+ TERRITORIES TO “KNIGHTFALL”

The distribution arm of Banijay Group announced that long-running entertainment format “The Legacy” has been picked up in Belgium for the first time. The new commission, which is for an initial 86 x 45’ episodes, is produced by Zodiak Belgium for RTBF. Locally titled “Les Associés,” the game show began on September 24th and will be stripped daily in access prime on RTBF’s Frenchspeaking free-to-air channel, La Une. “The Legacy” has already been adapted in eight territories, has been a daily hit for more than fifteen years on Rai 1 in Italy and, since 2010, has helped boost the midday slot on TF1 in France.

On the eve of Mipcom, A+E Networks has secured a raft of new deals bringing its drama series “Knightfall” to 200+ territories. New licensing agreements have been closed for History in the UK, Italy and South Korea; Canal D (Frenchspeaking Canada); Euro TV (France); Deutsche Telekom (Germany); OTE Cinema 1 (Greece); Manoto and Starz Play SVOD Service (Middle East); Box Channel (New Zealand); Viasat Pay Channels AB (Nordic, Russia and CEE); HBO (Poland); TVSeries (Portugal); Ren TV (Russia); SABC (South Africa); Dramax and K-Star (South Korea); HBO (Spain and Andorra); Nitro and Neox – Antena 3 (Spain); and True ID, True ID TV, True TV (Thailand).

SEÑAL INTERNACIONAL 2018

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2ble Click

KEY DATA Hulu’s live TV streaming service now has more than 1 million subscribers. It is only a small percentage of Hulu’s total subscriber base of 20 million, but is significant given that the service launched just over a year ago.

“HOUSE OF TALENT” CAPTIVATES YOUNG AUDIENCES Talpa’s newest daily format with reality tv, music, and social fully integrated, has completed its first six-week cycle. The show targets the young and difficult to reach audience across different platforms. On TV, it had a substantial growth of +42.9% market share in the younger age demo (16-24) compared to channel average. In the key commercial demo (20–54) the show increased the channel average by +15.8%.

Online viewing on platforms such as YouTube and local OTT platform KIJK increased the linear reach by an impressive +135%. On YouTube the show also had a strong engagement, and the number of subscribers tripled since the launch episode. The strength of the format lies in the strategic multi-channel approach, resulting in a massive youngsters reach and fanbase.

CINEFLIX RIGHTS SIGNS DEAL WITH MAYHEM ENTERTAINMENT

UNIVERSAL CINERGIA EXPANDS ITS SALES TEAM Liliam Hernandez, CEO at Universal Cinergia Dubbing, confirmed the expansion of the company’s sales team, adding two experienced professionals to the division: Jose Luis Fajin and Alejandra Sturiza.

“We are pleased to welcome such great professionals and seasoned sales people to our team. Jose Luis and Alejandra will officially debut their work with the company at Mipcom, and will be able to contribute to the growing success of the company,” Hernandez said.

“Universal Cinergia Dubbing has been growing and expanding its footprint globally, therefore the need to add new sales people,” she added.

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The UK’s independent TV content distributor has signed a first look development deal with Canadian producer Mayhem Entertainment. The partnership gives Cineflix Rights exclusive worldwide distribution rights to Mayhem’s upcoming shows, including new series “The Dog Dudes”, which will be launching at Mipcom. Mayhem Entertainment was recently founded by Tyson Hepburn and Matt Shewchuk. Based in Vancouver, the company’s mission is to produce groundbreaking television aimed at pushing the limits of cinematography and storytelling in both unscripted and scripted spaces.

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2ble Click

RED ARROW SECURES RIGHTS FOR “THE WEEKLY”

ENDEMOL SHINE BRAZIL EXPANDS ITS COMMERCIAL TEAM

RENATO MARTINEZ RETURNS TO THE COMPANY AS CONTENT SALES DIRECTOR; NELSON ROSA WILL HAVE THE ROLE OF LICENSING COMMERCIAL; AND RUBENS AJZENBERG WILL BE IN CHARGE OF BRAND SOLUTIONS.

“Ezel” Remake

$581

Coming to

Romania Classic Turkish series is being remade in Romania, following a deal between Eccho Rights and ProTV. Already in production, the new show will have an initial run of 13 episodes set to broadcast in 2019.

Originally produced by Ay Yapim, “Ezel” is one of the most significant titles in Turkish drama history and has been at the forefront of the globalisation of Turkish series. Since the launch of the first season in 2009, distributor Eccho Rights has signed over 150 licenses for the series around the world. As a readymade the title has scored huge ratings across Eastern Europe, MENA and Asia, while becoming the first Turkish drama to be sold in every territory across Latin America.

“Ezel” tells the story of a young man on a mission for revenge after a betrayal by his friends and fiancé.

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Produced by The New York Times and Left/Right, the show has been commissioned by FX, as the first-run North American rights, in partnership with Hulu, the exclusive streaming home for new episodes the day after TV air. FX has committed to a minimum of 30 episodes, premiering in 2019.

Alfred Haber

secures sales for the Grammy

Awards

The 61st Annual Grammy Awards will return to Los Angeles in 2019 after being held in New York, earlier this year, for its 60th anniversary celebration. Alfred Haber, exclusive international distributor of the show, closed several key international sales for the 2019 music event slated for February 10th. The ceremony will broadcast in the U.S. on the CBS Television Network for the 47th consecutive year. Major broadcasters will do the same internationally, like Rogers (Canada), Tencent (China), WOWOW (Japan), VTM (Belgium), M-Net (Africa), Channel One (Russia), Viacom 18 (India), WDR (Germany), D17 (France), and Bangkok Broadcasting (Thailand).

billion dollars will be the global advertising expenditure predicted for 2018, with a growth of the 4,5%, according to industry forecaster Zenith. For 2019 the growth will be 4.2%.

ARMOZA BRINGS A NEW SPIN ON DANCE TO MIPCOM Armoza Formats launches a new prime time studio entertainment format, “Dance Revolution”. The dance competition, produced by Quebecor Content and Fair-Play, began airing on Canada’s TVA and won the night with 34% share, performing 41% above the channel’s average share.

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OVERVIEW

Mexicans are most likely to watch subtitled international content Parrot Analytics commissioned a survey in the US, Germany, South Korea and Mexico, in order to discover how common it’s for audiences worldwide to consume content with subtitles.

Mexican audiences led the way with this type of content.

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n order to discover how common it’s for audiences worldwide to consume content with subtitles, global TV demand measurement company Parrot Analytics commissioned a survey in the US, Germany, South Korea, and Mexico. Parrot asked whether respondents had watched a subtitled foreign language TV series; 500 respondents per country were involved, for a total of 2,000 respondents.

Of the markets surveyed, Mexican audiences led the way at engaging with subtitled shows. 44% of Mexicans surveyed reported that in the past month they had watched a foreign-language

title with subtitles. This finding reflects the fact that subtitling international content is a common localization practice in Mexico.

Similar to the company’s findings in Mexico is South Korea, where 36% of respondents said that they had watched a non-Korean title with subtitles in the past month. In the United States and Germany, audiences are less willing to engage with subtitled Consumption of Subtitled Content foreign-language content, with only 17% of respondents in the US and 13% of respondents in Germany answering that they had watched a foreign-language show with subtitles in the past month. Of course, this does not necessarily mean that the U.S. and German markets are resistant to international content, it simply indicates that using international content with subtitles may not be the Consumption Differences by Genre best way to introduce such titles to these markets. Subtitled content is not the type of localization that audiences in these markets expect and it appears in general that dubbing is a better choice for these two markets.

Parrot Analytics also searched for the percen-

tage of responses changed depending on the age of the survey participants.

In South Korea, United States, and Germany the age demographic with the highest rate of consuming subtitled content is the youngest age group.

One potential reason for the increase in viewing of subtitled international content among this age group is the popularity of Japanese anime, which is commonly watched subtitled by fans. As previously mentioned, another potential reason is that the piracy of TV shows is more common among young people, where pirated material is more likely to be subtitled than dubbed.

Mexico’s localization preferences stood out against the other three markets examined, where the 55-64 age group was the most likely to answer that they had consumed subtitled content recently. At the other end of the scale, the age group least likely to have watched a subtitled show in the past month skewed older in the United States and in Germany.

WOMEN POWER In each country, Parrot Analytics further segmented responses based on gender. Generally, women are more likely to watch shows with subtitles than men. In South Korea, women answered that they had watched a subtitled non-Korean language title in the past month 9.4% more than men in the same country did. The same result happened in the USA, where women are more likely than men to watch a subtitled show by 7.1% and in Mexico this figure is 6.5%. These results show how important it is to know not only the general attitude towards localization methods for a specific market but also the importance your specific target demographic places on localization.

By Parrot Analytics SEÑAL INTERNACIONAL 2018

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OVERVIEW

Games Consoles as Media Consumption Devices IHS Markit’s conducted a survey about gaming platforms and its relationship with media spending. The global number of connected consoles reached 164 million, where 89.6% said that their household had at least one OTT video service.

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he global games console industry generated $42.2 billion in 2017, with $14.9 billion being generated from hardware sales. Around 49 million games consoles were shipped worldwide in 2017, with North America receiving the largest share of these at 18.4 million units. At the end of 2017, the global number of connected consoles reached 164 million, of which 136 million or 83% were 7th or 8th generation consoles.

In April 2018, IHS Markit’s Connected Devices and Media Consumption service conducted a survey of 12,008 respondents across 5 countries, 35.6% of respondents said that they or a member of their household owned a games console. From 4,277 console owners across the five markets, 89.6% said that their household had at least one OTT video service, compared with 51% of the total sample. While 88.6% of households had one or more pay TV services, compared with 57% of the total.

The high penetration of subscription video services, particularly pay TV, is hardly surprising as games consoles remain premium devices with prices ranging between $200 and $400, meaning

these households have already show a propensity towards media spending.

In the US, the largest market in terms of games console sales and connected devices, 38.2% of respondents indicated they had access to one or more games consoles. The single largest console owning group, with a share of 17%, is male home owners aged between 25 and 34 years, with a household annual income range from $35,000 to $75,000.

A 97.8% of console owning households subscribed to at least one pay TV or subscription video service.

GLOBAL STATS The majority of Brazil’s console owning population subscribe to multiple video services be they traditional pay TV or online video subscription services. An 80% of console owners in Brazil had a household subscription to Netflix, 13% higher than the national average, while 28% had access to Sky Brazil, compared to a 20% national average.

Share of Addressable Console Users 100 85% 72%

80

53%

60

53% 44% 41%

39%

39%

38%

35%

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In Germany, there were 7.64 million connected consoles by the end of 2017.

The PlayStation 4 was the most common device, with 5 million connected consoles. IHS Markit consumer survey revealed that 24% of PlayStation 4 households in Germany also own a PlayStation 3, and the 14% has a Xbox One. Just 22% of Japanese console owners subscribed to online video service Netflix, while a comparably low 14% subscribed to Free Retransmission Cable, the largest pay TV operator in terms of subscribers. Just 11% of PlayStation 4 owners use it daily and none selected the device as their first-choice device for media consumption.

In the UK market, 40% of survey’s respondents indicated that their household owned one or more games consoles.

As was uniformly the case across the all markets surveyed, PlayStation 4 was the most popular console. Netflix is the largest streaming service in the UK, with 7.4 million subscribers, likening to around 30% of total broadband households. IHS Markit’s survey generated similar results, with 31% of respondents saying they had access to Netflix, rising to 48% when looking specifically at console owners.

While gaming remains the core purpose, Microsoft’s and Sony’s have leveraged their existing online stores. Now, the stores provide digital rental and retail options, while opening the platforms to third-party applications, allowing major and niche online video services access to television centered devices. The new landscape make viewing on the main screen convenient, making consoles comparable to streaming devices like Apple TV and Amazon’s FireStick.

By IHS Markit

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INTERVIEW ENTREVISTA

“We Are Highly Focused on

Premium Drama” Chris Ottinger, President of Worldwide Television Distribution and Acquisitions at MGM, explains the renewed international strategy of the company, which is aimed to produce high-end shows.

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GM renewed its international strategy, now with a strong focus on the production of super premium dramas, together with a special interest in the Latin American market, after the huge success of “Luis Miguel” biopic. Chris Ottinger, President of Worldwide Television Distribution and Acquisitions at MGM, talked with Señal Internacional to describe the company’s business model.

How would you define MGM’s current international distribution strategy?

“We are still extremely focused on our core business; wich is feature films, premium dramas, and unscripted TV. We are a content company more than anything else and we have been working hard in redefining our film strategy. That is why we now do direct theatrical distribution, which we never did before. That gives us much more flexibility in the movies we produce as well as in marketing and launching. We have full rights and we take our own decisions. In terms of TV, we still are highly focused on premium drama, a space that has become much more competitive in recent times”.

Shows like “The Handmaid’s Tale,” “Fargo” or “Condor” had global recognition.

What’s the specific weight of drama for MGM’s catalogue?

“It is really important for us. We are launching probably two or three new shows per year. That is exactly where we want to be.

We feel like more than that starts to become a challenge. It also works really well for our partners because we are not asking them to take products they cannot use”.

Do you observe an increasing demand for premium drama?

“There still is an increasing demand for premium drama. I do not see people moving away from it. Maybe the biggest difference is what I would call ‘the raise of local drama’.

There used to be that only the American studios can produce premium shows but that is not the case anymore. Our best example of that was ‘Luis Miguel’ with Gato Grande, which is an incredible show and probably one of the best Latin dramas ever produced.

m “The Harry Quebert Affair”

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What’s MGM’s main strength in the drama business?

“Our feeling is that we can compete really well at the high end of that spectrum. For instance, HBO does an amazing work, but they do not really sell their shows because they distribute them by themselves. We see ourselves having the same quality of products and we can be a strong competitor for those types of companies in terms of bringing premium drama to the market. We are also open to work with free TV, pay TV, and digital platforms anywhere in the world. We will work with anybody who is looking for a great show”.

2018

m Chris Ottinger

“Our experience with Gato Grande told us that we could have a really interesting business and make great programming in Latin America” I think there is space for both premium international and local dramas, but at the same time they compete with each other.

There is only a limited amount of hours for people to watch TV per day, so you must get a piece of that time. The competition is intense. It is a golden era for international production and I really think that opportunities are bigger as they have ever been”.

How has the joint venture with Gato Grande changed MGM’s footprint in Latin America?

“It was a critical first step for us in revaluating our Latin American strategy. Five years ago, we had a very straight up and down market, a very US studio-centric distribution model. Our experience with Gato Grande told us that we could have a really interesting business and make great programming in Latin America too. Now we are very serious about growing our Latin business”.

By Diego Alfagemez and Federico Marzullo /senalint

MIPCOM’S LISTINGS FINEST D

S

#DRAMA

“THE TRUTH ABOUT THE HARRY QUEBERT AFFAIR”

“ONE AGAINST ALL” FOX 8 X 60’

#SERIES

“MONZÓN” DISNEY MEDIA DISTRIBUTION 13 X 60’

MGM TELEVISION 10 X 60’ Based on the European best-selling novel by Jöel Dicker, the series event stars Patrick Dempsey as literary icon Harry Quebert who suddenly finds himself indicted for murder after the body of a young girl who has been missing for many years is found buried on his property. www.mgm.com

2018 INTERNATIONAL EMMY NOMINEE Inspired by a true story, tells the story of Cadu, a respected and honest public defender who gets wrongly arrested when police mistake him for one of the region’s most dangerous and high profile drug dealers. He is sent to prison and overnight his life changes dramatically. www.fngcontentdistribution.com

The series tells the life of the great Argentine idol who in 1988 was convicted of murdering his last wife and mother of his youngest son. It is the life of the greatest world champion of the medium weights, where artists, politicians, and figures of the international jet set take a key role. The story of the man, the boxer, and the first Argentine celebrity to be sentenced to prison for the murder of a woman. This is the story of Carlos Monzón, the man who did not know how to escape violence. www.disneymediadistribution.tv

“SIDE GAMES” IMAGINA INTERNATIONAL SALES 8 X 50’

“MARIA MAGDALENA” SONY - DOPAMINE - TV AZTECA 60 X 45’

“DEATH & NIGHTINGALES” RED ARROW STUDIOS 3 x 60’ or 2 x 90’

Money, power, betrayal and sport.

An ambitious executive of a regional soccer club will be immersed in a thrilling game of corruption, violence and power. “Side Games” is an exciting thriller mixing the bright world of soccer fans with the dark underworlds around it. www.imaginasales.tv

María Magdalena is a biblical melodrama that recreates the life of a passionate and independent woman living in a time of great oppression. www.sonypicturestelevision.com

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An intense and haunting new BBC drama from acclaimed writer and director Allan Cubitt, starring Matthew Rhys, Ann Skelly and Jamie Dornan. A riveting story of love and revenge, set in the countryside of Fermanagh, Ireland in 1885; a world of spies, deception and betrayal, with simmering tensions of class, politics and religion that threaten to tear the country apart. www.redarrowstudios.com

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NS

#NON-SCRIPTED

“NADIYA’S FOOD ADVENTURE”

“EXPEDITION WITH STEVE BACKSHALL”

DCD RIGHTS

FREMANTLE

8 X 30’

10 X 60’

FA “WATERGATE” A+E NETWORKS 3 X 120’

It follows Nadiya Hussain on a culinary road trip, as she travels the length and breadth of Britain to seek out all that is great about food across the country. Visiting a different region in each episode, Nadiya meets some of the culinary world’s most exciting food pioneers, before heading into the kitchen.

www.fremantle.com

FO

From Academy Award winning director Charles Ferguson, “Watergate” chronicles one of the biggest criminal conspiracies in modern politics, telling the entire story of the Watergate scandal from the first troubling signs in Richard Nixon’s presidency to his resignation and beyond. This definitive documentary series features a roster of some of the most important media, legal and political figures from the scandal. sales.aenetworks.com

An ambitious, prime-time adventure series filled with world firsts.

The series follows Steve Backshall and his team of world-class experts and his film crew, as they venture into uncharted territory. To be successful, Steve and his adventurist experts – including divers, kayakers and mountaineers – will have to rely on each other and the power of extraordinary teamwork.

www.dcdrights.com

#FACTUAL

F

#FILMS

“MILE 22” TELEFILMS DIRECTOR: Peter Berg

#ENTERTAINMENT

“SHOWDOWN”

“THE CIRCLE”

KESHET INTERNATIONAL

ALLEMEDIA INTERNATIONAL

21 X 75’ “Showdown” sees two of Israel’s most popular performers take their well-known rivalry to another level in a bid to discover Israel’s next great singing talent.

60’ An elite American intelligence officer, aided by a top-secret tactical command unit, tries to smuggle a mysterious police officer with sensitive information out of the country.

www.keshetinternational.com

www.telefilms.com.ar

“JANE GREEN” A+E NETWORKS 3 X 60’ From the producers of “Gogglebox”, “The Circle” asks provocative questions about how we portray ourselves through social media as strangers compete in a popularity contest to win a cash prize. www.all3mediainternational.com

Based on the internationally best-selling novels by Jane Green — more than 10 million copies sold worldwide — comes a trio of emotionally truthful movies starring Alyssa Milano (“Mistresses,” “Wet Hot American Summer”). From the passions and perils of extramarital affairs to families in transition to the angst of midlife, these are stories that will linger in viewers’ hearts long after they’ve seen them. sales.aenetworks.com

SEÑAL INTERNACIONAL 2018

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INTERVIEW ENTREVISTA

“We’re Always on the Lookout for Partner with Exceptional Producers” Angela Neillis, Director of Non-Scripted Acquisitions, Global Content, International, at Fremantle, describes one of the company’s biggest launches for Mipocm: “Expedition with Steve Backshall”.

m Angela Neillis

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his year at Mipcom, Fremantle’s ever-growing catalogue includes a variety of compelling shows across all genres.

One of the main highlights will come from the the non-scripted side, with the epic adventure series of world-firsts, “Expedition with Steve Backshall”.

Señal Internacional talked with Angela Neillis, Director of Non-Scripted Acquisitions, Global Content, International, at Fremantle, to describe the international appeal of the show and its genre.

What´s the origin of the “Expedition with Steve Backshall” project?

“Steve Backshall is one of TV’s bestknown adventurers and has always been passionate about uncovering destinations that have never been explored before. To develop and produce a series which harks back to that romantic era, that age of exploration, has long been a passion for Steve and his new independent production company, True to Nature, he is finally making it a reality. At Fremantle, we’re always on the lookout

How would you describe the current global need for travel adventure series?

“In this day and age, the world is a very accessible place with people travelling more widely and more easily than ever before. There are few locations that humans haven’t been able to reach and so now, in ‘Expedition with Steve Backshall’, we are presenting a real treat for audiences. Steve will take us on a real adventure in every episode and will help us to recapture that long lost spirit of adventure and indulge our curiosity about the world”.

In that context, what would be the main international appeal of the show? “‘Expedition with Steve Backshall’ represents the best in factual programming and appeals to international audiences on a huge scale. Firstly, it’s an incredibly

m ”Expedition with Steve Backshall”

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to partner with exceptional producers who can bring us jaw-dropping television experiences. Steve Backshall and the True to Nature team deliver just that.

There is a plethora of outstanding talent both behind and in front of the camera.

The series is also a unique commissioning model, with both the BBC and Dave (UKTV) coming on board as commissioning broadcasters, sharing the UK premiere”.

2018

clear and ambitious concept, within each episode there is an attempt at a ‘World First’, whether it is an unscaled peak, or an unexplored cave system, which in this era is very special. It’s a jaw dropping TV experience, filmed in UHD on a large scale and featuring some of the most breath-taking locations. Also, Steve has a huge global following, is highly experienced in many fields. He has a naturally inquisitive, insightful and charismatic personality. Audiences will feel they share every step of the journey with Steve and his team of adventurist experts, who all have to rely on each other and the power of extraordinary teamwork”.

The show has global filming locations, including Latin America.

Would that feature help to its global engagement?

“Steve Backshall is no stranger to Latin America having filmed ‘Venom Hunter’ in South America in 2008, not to mention the fact that he was one of the first ever to climb and reach the top of Venezuela’s Upuigma-tepui. In ‘Deadly 60,’ he visited Argentina, Perú, and Brazil, where he navigated the countries’ forests finding the region’s deadliest animals.

The global filming locations in ‘Expedition with Steve Backshall’ are extensive.

Audiences will share every step of Steve’s journey, the emotional highs and lows, the frustrations, the triumphs. They will feel like they are there with him, the up close and personal filming is as much a part of the story as the exploration”.

By Diego Alfagemez

/senalint

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DISTRIBUTION

The Strategy to Keep Hit Formats Alive Pascal Dalton, VP, Global Format Sales; Christina Covarrubias, Sales Director for Latin America and & USH; and Mike Kelley, SVP Sales for The Americas at ITV Studios; talks about the company’s format business and the main launches for Mipcom this year.

I

TV Entertainment has recently closed deals to renew its hit international formats like “Saturday Night Takeaway” in Australia, “I’m A Celebrity…Get Me Out of Here!” in France, and “Dancing on Ice” for many European territories. “The global trend now is renewals.

The clients are recommissioning their preexisting format deals, so we are responding to that. ‘Come Dine with Me’ continues to be sold globally after reaching 40 territories.

Moreover, ‘Hell’s Kitchen’ continues to roll out into new markets,” Pascal Dalton, VP, Global Format Sales for ITV said.

According to Dalton, creating an international success needs confidence and a good marketing team that can keep the brand alive and growing. “Generating

m Christina Covarrubias

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m Pascal Dalton

experiences is crucial, so we also have a ‘Hell’s Kitchen’ restaurant in Cesar’s Palace in Las Vegas, which is a huge hit amongst dinners,” he said.

Regarding the focus for Mipcom, Dalton together with ITV’s Christina Covarrubias, Sales Director for Latin America and & USH; and Mike Kelley, SVP Sales for The Americas, agreed that “Love Island,” recently picked up

by CBS for its launch in the US, will be the company’s flagship at the market.

Furthermore, Covarrubias said that the deal for the US market will be a key factor to promote the format for Latin American. “Broadcasters are looking for family-feeling content, and this show was also sold to Germany (RTL2), Australia (Network Nine), Sweden (TV4), Norway (TV3), Denmark (TV3), and Finland

2018

(MTV3),” she stated.

“The show challenges the traditional reality TV model. In many ways, it’s a distributor’s dream. We’re seeing great results on linear TV, VOD, merchandising sales, and social media. Despite it was actually created for young viewers in the UK, we’ve seen a huge spike of older demographics subscribe to ITV Hub, our video catch-up service,” Dalton described. “In Australia it is the most streamed program in history and it has tripled its 16-39 audience. A second season is being launched in Germany, setting a new record of 1.9 million viewers, which is the highest audience any episode has reached so far,” he said. “If a program has an interesting story and good characters, it will travel all around the world,” Mike Kelley added.

m Mike Kelley

GLOBAL FOCUS Pascal Dalton expressed that buyers are looking for four main genres today: daily-time realities, prime-time entertainment, daily game-shows, and local scripted; and the ITV’s focus is set on quality instead of quantity. “We will also have three hit prime-time family entertainment highlights for Mipcom. The first one is ‘The Singalong Show,’ where participants need to know the songs to win. We will also offer ‘I’ll Get This,’ produced by Shiver, a comedy game-show about a dinner table of celebrities who are challenged to eat hilarious things during three courses of dinner, and the looser ends up paying for dinner. Finally, another big show for us will be ‘Spotless,’ produced by Hard Knocks, where the goal is to keep a space as clean as possible, avoiding scrubs or paint. It’s very fun, no knowledge needed, a purely physical gameshow,” Dalton described. Regarding recent deals, Covarrubias stated that the first scripted adaptation of “Come Dine with Me” in Latin America is being launched in Chile.

By Lucila Cuvry

/senalint

DISTRIBUTION

Madd Entertainment, a New Player for Global Drama

m Deniz Cantutan

Turkey’s two leading production companies, Medyapim and Ay Yapim, made a joint venture to create Madd (Medyapım Ay Yapım Drama Distribution). Deniz Cantutan, Sales Manager at the company, explains its origins and international goals.

T

urkey’s two leading production companies, Medyapim and Ay Yapim, made a joint venture and created Madd (Medyapım Ay Yapım Drama Distribution) to gathe their international content distribution rights under a single roof. Madd Entertainment aims to be the one-stop-shop for international content buyers for the best Turkish drama series and content rights. The new Turkish Super Series in Madd’s portfolio will pave its way for entering new markets where current Turkish dramas are not relevant yet. “Madd stands for Medyapim Ay Yapim Drama Distribution. Both companies have proven experience in the Turkish content era. With strong production capabilities and experienced media proffesionnal team, Madd Entertainment is ready to build powerful relations in the global content industry,” Deniz Cantutan, Sales Manager at Madd Entertainment stated to Señal Internacional.

“Our primary target is to become the one stop shop for international buyers and to expand our global penetration”.

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Medyapım, founded in 1993 carries the heritage of the Turkish broadcasting know-how as one of the most experienced and well-known production houses in the country. The company invested in Turkey’s first formats and remakes, creating series with global success like “Girl Named Feriha,” “Mother,” and “Woman”. Moreover, Ay Yapım, founded in 2005, is the producer of Turkey’s most loved, watched and influential dramas. The company created titles like “Endless Love,” “Fatmagul,” “Ezel,” “Black Money Love,” and “Forbidden Love”. “Medyapim has more than 25 years of experience in the production industry and Ay Yapım was honored with an International Emmy Award last year. High quality dramas from both companies were watched by many TV households all around the world. We trust on its production capabilities, approaching the drama distribution with a different strategy. We want to open new markets and windows for the Turkish content,” Deniz Cantutan said.

EXCLUSIVE AGENT Madd Entertainment will just distribute the new titles from both Medyapim and Ay Yapim, no adding any other producer the its portfolio. The company will launch two hit titles at Mipocm, “Phi” and “Persona”, aired in Turkey’s leading OTT service Puhutv. Both shows will be available for buyers all around the world. Furthermore, Madd Entertaın-

ment will be the distributor of “My Little Girl”, the recent hit produced by Medyapim and broadcasted by TV8. “At Mipcom, we will have all the best and fresh titles from Medyapim and Ay Yapim, featuring ‘One Litre of Tears’, an adaptation by Medyapım; ‘Crash’, by Ay Yapım and starred by Kıvanç Tatlıtuğ; and ‘Falcon Crest’, a remake made

by Warner Bros,” Cantutan explained.

In addition to its core business, Madd aims to invest in the future of drama and collaborative productions with international partners. Thus Madd Entertainment will explore on new content, co-production, and partnership opportunities with global producers and broadcasters. “Our primary target is to become one stop shop for international content buyers and to expand our global penetration. We will offer well-known traditional Turkish dramas and additionally Super-Series, with edgy stories, which have been aired on OTT platforms in Turkey,” Deniz Cantutan stated.

By Diego Alfagemez /senalint

INTERVIEW ENTREVISTA

“‘Jesus’ is our Most Important Production of All Time” Delmar Andrade, International Sales Director at Record TV, describes the impressive production stats of the company’s new launch for Mipcom. The show is aimed to follow the global success of the previous biblical dramas from the Brazilian distributor.

R

ecord TV’s biblical dramas have conquered the world and now the Brazilian company launches a new future hit: “Jesus”. The show is aimed to follow the great ratings that Record’s previous shows gathered in markets like the US Hispanic and Latin America. In order to describe the company’s strategy over a highly successful slot for the international market, Señal Internacional interviewed Delmar Andrade, International Sales Director at Record TV. What’s the main international appeal of “Jesus”?

“Jesus is our most important production of all time.

With its worldwide known story, the show is our great challenge, because it will reveal new important facts that were never told before. Certainly, it will make a great difference in the way

m “Jesus”

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of portraying Jesus. No other production managed to explore much into his story, but Record TV will bring all those details for the first time. ‘Jesús’ continues our path of successful biblical productions in the national and international market”.

Did Record use international sets for “Jesus” shooting?

“Record TV has an excellent production team to develop its own shows. ‘Jesus’ had several scenes filmed in Morocco, in one of the most important studios in the world, known as the Moroccan Hollywood. Huge hits as ‘Babel,’ ‘Game of Thrones,’ and ‘Gladiator’ were shot there”.

What are the production stats for the show?

“More than 350 professionals were involved for the production in Morocco, with more than 200 scenes made. The costume design for this production was the biggest ever for Record TV. Almost 100 suitcases with costumes and materials were sent to the set in Morocco. Moreover, 20 climatized container trucks were used for production, staff, and makeup. Almost 5.000 bottles of water were consumed by the team daily. In Brazil, the show used 55 sets and four constructed-cities, together with more than 12,000 costumes. A cast with 100 members was necessary for the shooting process in Brazil”.

m Delmar Andrade

“Biblical stories have conquered the whole world, not only in the United States, but in all the countries were aired” How was the impact of “Jesus’”after its premiere in Brazil?

“In its debut, the telenovela has reached excellent levels of audience. In addition to achieving an historical leadership in Goiania, in some regions the show has achieved more than twice the audience of ‘Moses and the Ten Commandments’ in the same period on-air. Moreover, ‘Jesus’ has conquered the second place in important regions of Brazil like Rio de Janeiro”.

How do you analyze the great impact that Record TV’s shows achieved in the US Hispanic market through Univision and Unimas?

“Biblical stories have conquered the whole world, not only in the United States, but in all the countries were aired. Ratings were great in Argentina, Chile, Paraguay, and all Latin American countries. In the United States, our dramas are a great audience phenomenon. Record TV’s shows were the first dubbed productions in the 55 years history of Univisión. The US Hispanic audience is very important to define the global potential of our products. The culture mix of the target works as a great lab for show’s global appeal”.

By Diego Alfagemez /senalint

PRODUCTION

m Jorge Román and Mauricio Pikio (Old and Young Carlos Monzón)

Disney Goes Deeps on Biopic:

The Monzon’s Round Leonardo Aranguibel, Production Director of Disney Media Distribution Latin America, and Pablo Bossi, Executive Producer of Pampa Films, describes the new thriller based on the life of the legendary Argentinian boxer Carlos Monzón.

D

isney Media Distribution Latin America and Pampa Films began the production of “Monzón”, the new thriller based on the life of the legendary Argentinian boxer Carlos Monzón. With a talented cast, the series will be finished by the first quarter of 2019 and promises to tell the story of the athlete as it was, without issuing any kind of judgment.

“For both Disney and Pampa Films it was essential to tell a story as controversial as this, with a tragic character, and all the dramatic steps of his life. We didn´t issue a trial about Carlos Monzón, we want to tell the story as it happened. There are enough elements for the public and the critics to make their own judgments, but we wanted to be genuine, authentic, and real,” Leonardo Aranguibel, Production Director at Disney Media Distribution Latin America, said to Señal Internacional.

An experienced player in the film industry, Pampa Films had already in mind to develop a project about the life of Carlos Monzón but, in words of Pablo Bossi, Executive Producer of Pampa Films, the company considered that a movie “was too small for him”. The executive admitted that many precautions were taken for the production process. “It was a public case and there were trials and even homicides involved. That is why we bought the rights of published books about the subject and

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“For both Disney and Pampa Films it was essential to tell a story as controversial as this” we take all the necessary precautions,” Bossi assured.

Throughout 13 one-hour episodes, the biopic will cover the controversial life of the great Argentinian idol, going through the different moments of his life and revealing his origins, his intimate life, sporting achievements, the debut in the show-business, his friendships, women, family, his success and decline. The cast will be composed by Jorge Román and Mauricio Paniagua, who will play the historic boxer in the different stages of his life; and figures such as Celeste Cid, Soledad Silveyra, Diego Cremonesi, Gustavo Garzón, Florencia Raggi and Carla Quevedo, among other artists.

LONGTIME PARTNERS The partnership between Pampa Films and Disney Media Distribution Latin America for the “Monzón” project was natural.

Both companies share a similar market

m Leonardo Aranguibel

vision and a long-term relationship. “We worked with Pablo Bossi in a series we did for Disney in Spain called ‘El Don de Alba,’ which was broadcasted by Telecinco.

We have always had a great relationship,” the Production Director of Disney Media Distribution Latin America said.

Disney Media Distribution Latin America and Pampa Films plan to finish the production of the series for next March and deliver the first episodes around the second quarter of 2019. Space channel will be the first window confirmed for Latin America, although it will not be the only one. In Argentina, the series will be also aired on free TV. For Aranguibel, the story of Carlos Monzón, even with its tragic tones, is fascinating. “For us, it is almost a duty to tell this kind of stories. Beyond Carlos Monzón, it is about how we debate a situation like this in today’s world and how it was debated at that time. The curve of social perception generates a responsibility in the media, which describes the route that we followed as a society. Furthermore, there is a great figure, a huge athlete, and the celebrity. We have key elements that, joined together, generate an incredible story that doesn’t look real, it even seems to have been written before,” Aranguibel stated.

By Fernando Calviño & Federico Marzullo

/senalint

SEÑAL INTERNACIONAL 2018

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OVERVIEW

The CEE Region,

Tough but Big Business Central and Eastern Europe shapes itself as a great expansion opportunity for global distributors. Due to its stable free TV market and new digital platforms, the region is open for different deals, in terms of genres, duration, and business models.

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he number of digital pay TV subscribers in Central and Eastern Europe (CEE) will increase from 25.49 million in 2010 to 61.57 million in 2017, and onto 78.08 million by 2023, according to the forecast made by Digital TV Research. Additionally, digital pay TV subs will climb by 27% between 2017 and 2023.

Furthermore, linear TV is holding its own against online video streaming platforms much better in the CEE region than in Western Europe.

Findings of an analysis by the Wavemaker media agency show that in CEE the decrease in the time young viewers devote to watching linear TV is expressed by low single-digit values, while in broader demographic

2018

groups the drops are almost negligible.

The landscape around the CEE region shapes a great opportunity for content producers and distributions, in a region made by different territories and programming need. “Eastern Europe is slowly ridding itself of the legacy of analog cable TV. Twenty million households still subscribed to analog cable at end-2017, more than digital cable. Many of these homes receive very basic packages; often as part of their rent. Some of the remaining analog cable subs do not want to convert to more expensive digital pay TV platforms and will therefore switch to DTT,” Simon Murray, Principal Analyst at Digital TV Research, said.

“The CEE region is thriving, filled with opportunities.

There are no two territories that are the same. I look after 29 countries and each has its particularities. There are twice as many languages and the culture is different in each of them. That is why the idea that something that performs well in Czech Republic will do the same in Bulgaria is totally wrong. You need to dig deep, understand cultures, build relationships, and really know the clients,” Salim Mukaddam, General Manager and Vice President, Central and Eastern Europe at BBC Worldwide, described.

“Fremantle’s strategy for the CEE region is to listen well and to address our clients’ specific needs. We work very close with the channels’ teams, not just in the production area, but also in the areas of digital and social media, or brand integration, where /senalint

we offer several ways to help clients improve monetization around the IP they acquire from us,” Daniela Matei, CEO Nordics, Central Eastern Europe & Balkans at Fremantle, described.

All3media International has recently grow its CEE sales team in order to specialize more in the region. “We are now three Sales Managers working across CEE, giving us the opportunity to travel to and work with more territories than ever. Debra Bergg is selling to Russia, Ukraine, CIS, and Baltics; Anna Maslowska oversees the Balkan

territories. Each executive covers both tape and format sales,” Ben Packwood, Senior Sales Manager EMEA North at All3media, said.

From Keshet International’s perspective, the Central and Eastern Europe is a region that proposes a lot of challenges. “It is a really wide broad region, so it is wrong to look at it as one big region. It is more like a lot of small regions,” Paula Cohen McHarg, Senior Sales Manager at Keshet International, explained.

“The CEE region is a very big market. The challenge is to get the time to meet everybody, since there is a strong business potential.

We are closing deals with Czech Republic, Hungary, and Poland. In terms of strategy, we continue to have a strong first approach to pay

Salim Mukaddam BBC

“The CEE region is thriving, filled with opportunities.

There are no two territories that are the same”.

Paula Kohen Keshet

TV channels, especially satellite-operated ones. We also do business with Discovery, AMC, BBC, and local networks, as first windows for our shows. Then we go into OTT and VOD rights,” James Anderson, Senior Sales Executive for DCD Rights, said.

Dan Gopal, Executive Vice President, Sales EMEA at Entertainment One (eOne), assured that the CEE region is constantly changing and developing, leading to cyclical trends for content.

“While there is definitely an increased focus on local drama and scripted formats, leading to a more competitive landscape for imported drama; we see more digital, SVOD and basic pay

Eastern Europe: Pay TV Homes by Technology (x000) 90.000 80.000 70.000

channels emerging which provide new opportunities for our content,” the executive highlighted.

“The territories within the CEE continue to grow with new channel and platforms opportunities. Our strategy has been and will continue to be the ongoing collaboration with our longtime and new media partners in the various regions, with a focus on identifying their audience needs,” Jody Cipriano, Head of Global Distribution & Acquisions at Marvista Entertainment, said.

REGIONAL DEALS The CEE region is welcoming several kind of deals from global distributors.

All3media sold a package of 47 hours of new dramas to ITI Neovision in Poland for 2018 and 2019. Furthermore, “Brokenwood Mysteries” has seen a new fresh uptake in popularity with its five seasons being picked up at once in Hungary by Digital Media Communications and by FTV Prima in the Czech Re-

60.000 50.000

25.491

61.568

64.109

40.000

78.082

DIGITAL

30.000 20.000

34.728

10.000 0 Source: Digital TV Research Ltd.

ANALOG 19.964

17.158 1075

2010

2017

2018

2023

Marica Giessen A+E

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OVERVIEW public. “In Russia, our factual catalogue continues to work great on pay TV, with recent packages sold to First HDTV, CNT Media, and TV Home,” Ben Packwood stated.

“We have completed the renewals for ‘Got Talent’ S9 in Romania, ‘The X Factor’ S8 in Romania, ‘The X Factor’ in Georgia, Ukraine, Latvia, and Lithuania; the extensions of

Jody Cipriano Marvista ‘Family Feud’ in Estonia, Romania, Bulgaria and Serbia, as well as for ‘My Mom Cooks Better Than Yours’ and ‘Inkognito’ in Slovakia. We also closed a second season for ‘My Mom Cooks Better Than Yours’ in Armenia, new

James Anderson DCD seasons of ‘Who Knew’ in Romania, Slovenia, Moldova, and Kazakhstan, together with new seasons of ‘Farmer Wants A Wife’ in Czech and Slovak, Romania, and Slovenia,” Daniela Matei from Fremantle said. “‘Restart’ has seen its first sale in the region, to Slovakia. There are also some very exciting news around shows like ‘Golden Brain,’ ‘Celebrity Advise Bureau,’ and ‘All Your Wishes,’” she added.

Marica Giessen, Senior Manager, Content Sales at A+E Networks, describes that over the past few years the company have focused on growing its business across the CEE region. “We secu-

red new partnerships from Poland to the Balkans. All our deals span from factual shows, like we did with TV2 Hungary, PRVA Serbia, and Nova Croatia; to scripted titles, like the movies we sold to Story 4 Hungary and HBO,” Giessen said.

“I think that one of the things that Keshet International can do very well and also works really well in Central Europe is to provide scripted format adaptations which cater to budget needs of the region. An example is ‘Traffic Light’ in Greece, which entered in production a week after we closed the deal. It is a real testimony that pro-

Daniela Matei Fremantle

Eastern Europe: OTT TV & Video Revenues by Country ($ millon) 4000 3500 1408

3000

RUSSIA

2500 2000

814

766

POLAND

1500 598

1000 500 0

492

414 277 169

374 57 42 51

270

2017

2018

Source: Digital TV Research Ltd.

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90 72 74

126 109 97 375

2019

227 185 169 702

2023

ROMANIA UKRAINE CZECH OTHERS

“While there is an increased focus on local drama and scripted formats, CEE region is a competitive landscape for imported drama”. ject-friendly and cost-effective series can be made well and quickly,” Paula Cohen McHarg from Keshet International, detailed.

James Anderson from DCD Rights highlights that the company main focus in the CEE region is factual and lifestyle content. “Our great launch at Mipcom for the territory will be ‘Emergency Helicopter Medics’ and also ‘Dog Tales Rescue’,” he described.

“We closed a deal for ‘The Detail’ with NBCU across the region and have been delighted with the initial ratings success where the series has launched. Our key returning series also continue to sell well, with second or third window deals recently closed for series including ‘Ransom,’ ‘Private Eyes,’ ‘Heartland,’ ‘Turn’ and ‘Klondike,’” Dan Gopal from eOne explained. “We are confident that the eOne content will continue to be relevant in CEE given we have a heritage of accessible broad appeal drama like ‘Private Eyes’ and ‘Heartland,’ contemporary procedural series like ‘The Rookie’ and ‘Ransom,’ and other genres like factual cri-

/senalint

OVERVIEW viewers new consuming trends over OTT platforms, which will increase the demand for bold, kicking, and dark stories,” she said.

“We are increasingly seeing that our partners need quality content to complement their local original drama programming to round out their schedule. We are hitting the mark for them with what we are deliver time me and period drama which still perform well across the region,” he added.

“We are being active in the CEE region, with ‘Ciega a Citas’ format in Hungary, ‘Las Estrellas’ format in Russia, and the tape for Albania and Kosovo. We also sold the tape for the second season of ‘Dumb’ for Poland, the second season of ‘Power Couple’ for Hungary, ‘Las

Ben Packwood All3Media Estrellas’ tape for Spain, ‘The Road to Calvary’ for Greece, and ‘In Treatment’ for Finland,” Camila Premet, Sales Manager CEE & CIS at Dori Media, described.

BUYER’S NEEDS Everything won’t be good news around the CEE region.

Eastern Europe will lose 2.4 million pay TV subscribers between 2017 and 2023, down by 2.9% to 79 million.

This has more to do with poor economic conditions than cord-cutting. Eastern Europe also has a legacy of low-paying analog cable TV

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Dan Gopal eOne subscribers to convert to digital. 2017 was the peak year for the region. The 2017 total included 20 million analog cable subscribers.

The challenging environment for broadcasters and channels changed its needs for new programming, in terms of genres and quality.

“Different channels have different strategies going forward. In smaller markets, buyers have more restrictive budgets than in larger ones, the channels’ profiles are different and so on. All in all, the good news is that the need for quality content is growing, together with more slots for local productions.

That means a wider range of programs and formats are required, something Fremantle can easily satisfy given the fantastic catalogue and the very vibrant current pipeline of new shows,” Daniela Matei from Fremantle stated.

“The more you talk to CEE buyers, you realize the importance of owning IP rights

2018

everywhere in the world.

We are seeing that viewing is shifting from linear to digital and players have to be ready for this. The thing in common between Europe, Asia, Scandinavia, and other near regions is the demand for gripping, engaging, and high-quality content. We do more business with regional broadcasters in the CEE region, Scandinavia or the Benelux,” James Anderson from DCD Rights added.

Salim Mukaddam from BBC Worldwide describes that CEE is a region where free and pay TV have a steady positioning, being more competitive to digital platforms that in many other global territories. “This is a market where you can get Netflix for €10 but pay TV packages still have very low prices, so the SVOD will have to fight harder. There is a great pressure amongst pay TV operators to each young audiences before OTT,” the executive stated.

From Camila Premet from Dori Media, the CEE region still looks for both scripted and non-scripted. “We believe that the continuing growing trend for scripted shows, both for weekly prime time and daily shows, will continue. The trend will continue both for long and short-format series. The demand for scripted shows will also grow due to the way

Camila Premet Dori Media and time again, and we do this in an efficient manner,” Jody Cipriano from Marvista Entertainment said.

For Marica Giessen from A+E Networks, affordable formats are always in demand around the CEE. “In that space we are rolling out ‘Vintage Queens,’ created by Lifetime Poland. The appetite for factual, that can be played throughout the schedule, is insatiable and we continue to serve our clients well in that area,” Giessen stated.

“We’re seeing more requests for scripted formats than ever before, as local production becomes ever more important for ratings in the region. We have a wealth of new scripted series and can offer the format rights on these as well as a deep back catalogue of dramas with storylines as relevant now as ever,” Packwood added.

By Diego Alfagemez

/senalint

DISTRIBUTIÓN

The Scale of a Studio and the Heart of an Indie Mark Rodríguez, EVP & Head of Sales – Americas at eOne, analyses the company’s strengths and sales objectives in the US, Canada, and Latin America for film, television, and digital business.

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ast May, Entertainment One (eOne) named Mark Rodriguez as EVP & Head of Sales International Distribution for the Americas. The executive comes from Sony Pictures Television and is now responsible for positioning eOne’s properties in the US, Canada, and Latin America. “With the company’s global reach, expansive scale, and deep local market knowledge, our goal is to deliver the best content to the world.

There is a huge opportunity to bring critically acclaimed and international ratings success programming in our catalogue to all regions in the Americas,” Rodríguez said.

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The executive, who is still based in New York, will move to eOne’s offices in Los Angeles by the end of the year. “We have the scale of a studio and the heart of an indie. Strategically, eOne is one of the first entertainment companies to have brought together film, television, and digital businesses under one combined content creation and international distribution operation. Through our global sales force, we’re equipped to distribute ground-breaking, high-end, must-have content. As a studio, we can package deals and bring the best creatives in front of and behind the camera, including both established talent and fresh voices,” Rodríguez highlighted.

The EVP & Head of Sales International Distribution for the Americas described the distribution strategy of eOne for each market of the continent. “In Canada we have established production relationships with all the broadcasters, and we are a major player for local scripted and non-scripted content. In the last few years our Canadian hub has launched global brands, such as ‘Cardinal,’ with sales in more than 100 territories and an association with BBC, Canal+, and Hulu. We also launched ‘Ransom,’ sold in over 100 territories and spanned to CBS, Global, TF1, and RTL; and ‘Private Eyes,’ which has sold to over 135 territories,” Rodríguez described.

m Mark Rodríguez

MIPCOM HIGHS

Mark Rodríguez emphasized eOne’s main highlights for Mipcom. “‘The Rookie’ follows John Nolan, the oldest rookie in the LAPD. He casts aside his comfortable small-town life and moves to LA to pursue his dream of being a cop. On the other hand, ‘Diggstown,’ created by Floyd Kane is a procedural contemporary drama for CBC Canada, set in the world of legal aid. Marcie Diggs (Vinessa Antoine) is a star corporate lawyer who reconsiders her priorities after her beloved aunt commits suicide following a malicious prosecution,” he described.

PARTICULAR FOCUS For the US, the acquisition of The Mark Gordon Company and partnerships with Brad Weston’s Makeready, Sierra Pictures, and Tucker Tooley, are part of eOne’s plan to build a portfolio of high-quality productions and a local footprint. “This is also boosted by our film label Momentum Pictures, which extends throughout North America and selected international markets”, Rodríguez added.

Furthermore, Latin America is a top priority for eOne and the company is quickly building momentum in the region. “We have recently established a foothold by building a kids’ content and licensing business in Sao Paulo, with plans to expand other local television distribution activities in the near future. We are actively looking for production and co-production opportunities in the region and we currently have a number of possible projects in discussion,” Rodriguez stated.

Por Lucila Rivadeneira Cuvry /senalint

INTERVIEW ENTREVISTA

“Strong Scripted Properties Will Drive Our Growth” Sabrina Ayala, VP Sales for France, Italy, Iberia, and Latin America at Cineflix, analyzes the business expansion of the company and describes the global appeal of the distributor’s main scripted launch for Mipcom.

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ast May, with the appointment of Julien Leroux to lead scripted acquisitions and co-productions, Cineflix Media has made a huge focus over the drama business. The distributor made a deal with Russian broadcaster TV-3 to distribute “An Ordinary Woman”, m which will be launched at the international market at Mipcom. Sabrina Ayala, VP Sales for France, Italy, Iberia, and Latin America, talked with Señal Internacional and shared the distributor’s strategy for the new series, discovered by Cineflix at the last Series Mania official competition.

modern-day drama series with suspense, family turmoil, and a situation spinning out of control”.

What are the new opportunities for Cineflix in the Latin American market?

“Strong scripted properties will drive our growth in Latin Sabrina Ayala America. This region is where our huge efforts in building a scripted catalogue come into play in the year ahead, while our steady stream of factual titles will keep business going as usual with our traditional clients. Attending MipCancun, NATPE and the LA Screenings is a big effort toward increasing our distribution and visibility in the region. Our buyers come to What’s the main international appeal us for high-quality current affairs docuof “An Ordinary Woman”?

“Non-linear platforms have made their mark with original stand-out, edgy shows, offering viewers something different to what they’re used to watch at traditional TV. Linear networks are taking more risks in order to keep up with the digital competition. ‘An Ordinary Woman’ can perform well on both platforms and will appeal to buyers because it’s a one-of-akind great story. Moreover, consumers are looking for strong stories and characters, female-driven now more than ever, given the turbulent times we are living in terms of gender equality. This is a m “An Ordinary Woman” 46 · SEÑAL INTERNACIONAL

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m “Marcella”

mentaries, returning factual entertainment series, and big stories that audiences can connect with”.

What partnerships had a key role this year for Cineflix and how will the company expand in the future?

“Talesmith Productions from the UK are the producers of our ‘Rediscovering T-Rex’ documentary, which was aired by end of last year on BBC. Seadog Productions UK is behind our wildlife adventure series ‘My Family and the Galapagos’ and war history series ‘WWII: Great Escapes’ both for Channel 4. We also have our joint venture with Buccaneer Media, that has produced the award-winning drama series ‘Marcella’, which second season was aired earlier this year on ITV and is currently on Netflix worldwide”.

Besides “An Ordinary Woman”, what will be the main highlights for Mipcom? “‘The Day We Walked on The Moon’ (1 x 60’) is the inside story, told from the unique, first-hand perspective of key figures on the Apollo 11 Mission. The show also explores the value of the first moon mission for the United States. It’s produced by Finestripe Productions for ITV (UK) and Smithsonian Networks (USA).

Furthermore, ‘The Wall’ (6 x 60’) features Matthew Rhys exploring six of the world’s most iconic walls and borders, like the one between USA and Mexico, the Korean DMZ, the Israel-Palestine separation barrier, the walled communities in Northern Ireland, Cyprus’s Green Line, and the now demolished Berlin Wall. It was developed

by Rondo Media for S4C (Wales)”.

By Lucila Rivadeneira Cuvry

/senalint

ENTREVISTA INTERVIEW

“Flexibility Allows Us to Find The Right Business Model” Ana Bond, Senior Vice President and Managing Director, International Production, Latin America for Sony Pictures Television, analyzes the challenges and business potential of producing content in Latin America.

L

ast April Ana Bond has been named Senior Vice President and Managing Director, International Production, Latin America for Sony Pictures Television. From her new position, the executive oversees the company’s production business m across the region, including Sony’s joint venture entities Teleset in Colombia and Floresta in Brazil. Señal Internacional interviewed Bond to describe the challenges of producing and distributing high-end content.

What is the new input that you want to apply to Sony’s international production division?

“Sony is going through many transformations and as part of that process, there is a big push to have all Sony companies working together and cross collaborate. I think there are many incredible opportunities that Sony is uniquely positioned to offer for talent, production partners, and content creators. The idea is to make sure we are leveraging all of these assets”.

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How would you define the company’s production business across Latin America?

“Sony has been able to position itself as a strong player in the region, but more than that, as a great partner, able to work with essentiaAna Bond lly all clients in our market. We develop a variety of different deals, from specific hires to complex multiparty co-productions. This flexibility allows us to always find the right business model for each project”.

What will be the goals and next steps in order to grow in the regional production business?

“We are trying to work smarter, not necessarily harder. So, we are currently very focused on improving our production processes and efficiencies”.

What would be the most effective business model nowadays?

“As the audience demands higher quality productions, margins get smaller and

“We are trying to work smarter, not necessarily harder.

So, we are currently very focused on improving our production processes and efficiencies”. risks higher. Co-production models seem to be the best solutions in order to get projects off the ground and still see a good return”.

What is the business potential of SPT’s joint ventures Teleset in Colombia and Floresta in Brazil?

“A few years back, Sony purchased the remaining ownership of Teleset. So, it is now a fully owned Sony entity and part of the Sony family. As such, the idea is to continue growing the business in the region now in Mexico and Colombia. With Floresta we are entering the market with more premium shows at a time when production of premium content is rapidly growing in Brazil”.

What specific trends do you observe in the Latin American market?

“There is a growing reception of more international productions. Spanish related content seems to be winning that race captivating the audience. There is also more interest in comedy as well as for youngadult content. Moreover, I think we begin to see less focus over the narco-series and the possibility of introducing new stories and genres”.

By Diego Alfagemez

/senalint

INTERVIEW ENTREVISTA

m “Eilat” m Nadav Palti

“The Potential of the Format Business is Increasing” Nadav Palti, President & CEO at Dori Media Group, talks about the increasing demand over the new and historic titles of the company. How he combines the scripted and non-scripted business for any type of buyer.

T

he change in the way that viewers watch TV series has increased the demand for scripted shows. However, high quality non-scripted formats are another trend in the content distribution industry. That’s the perfect blend for Dori Media, which had already produced ten titles in 2018. To describe the potential of the growing landscape for the company, Señal Internacional interviewed Nadav Palti, President & CEO at Dori Media Group.

How would you define the potential of the format business of Dori Media?

“The potential of formats is increasing, both scripted and non-scripted. In 2018 Dori Media Darset is producing over ten new titles. In addition, it’s awesome to see how old shows, from ten or fifteen years ago, are coming back to business.

‘Lalola,’ premiered in 2007 on América TV in Argentina, is still making new business. Furthermore, ‘Ciega a Citas’ has

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a new Hungarian adaptation, ‘200 Első Randi’ (200 first dates), that premiered on Hungary on October 1st. Due to our huge catalogue, we can blend some of our ‘old hits’ with new content.

We can offer what each client needs”.

What’s Dori’s business strategy in order to offer a suitable format to any size of buyer?

“Buyers from different territories and sizes are looking for diverse things. Therefore, the demand fluctuates by countries and clients. Dori Media’s catalogue has approximately 100 titles, both scripted and non-scripted, with weekly and daily series, realities, entertainment formats, and kids programming. Our sales team all over the world will continue to offer the best solution for each territory and buyer”.

“Due to our huge catalogue, we can blend some of our ‘old hits’ with new content.

We can offer what each client needs”

Did you expect the impact that “Power Couple” had in Germany and Hungary? “‘Power Couple’ is a huge international proven worldwide success in all countries aired. It was sold to eleven territories and its success was not a surprise. The third season in Germany reached 17,5% on RTL’s prime time, with 2.8 million people who watched the final episode.

The second season started in Hungary, where obtained a 24.1% of share and a 24.2% on the final episode. The whole season was a huge success, it never was below the 20% of share, which is great for the Hungarian market. The three seasons from the Brazilian adaptation of the format were also a huge success, reaching a 12.6% of share on TV Record”.

What is the international outlook for the second season of “El Marginal”?

“The second season continues the success of the first one, and reached a 24,4% of share, increasing its slot by 500%. The show is attractive for many reasons: the production quality is amazing, it was shot in a real jail, with a great cast, a remarkable director, and a huge production team. It is a violent, edgy, and realistic show, where the audience will fell mixed emotions all the time. ‘El Marginal’ is unique. Due to the success of both seasons we identified a huge interest on the series. Many deals are still under negotiation and they will include both seasons”.

By Diego Alfagemez /senalint

OVERVIEW

Turkey,

,

the Power of an Industry for Turbulent Times Turkish economy experienced a 25% of inflation and a 37% of devaluation against the US dollar since the start of the year. Executives from country’s main producers and distributors highlights the strengths of its market, in order to stay at the top of global distribution.

T

urkish inflation surged to nearly 25% in last September from a year earlier, as official data recently showed, hitting its highest in 15 years and sharpening focus on whether the central bank will be able to deliver another hefty rate hike. The size of the increase, with prices jumped by 6.3% from a month earlier, far outpaced expectations and underscored the deep impact of a currency crisis on the economy and consumers. The huge rise in inflation follows a currency crisis that erupted in August after a row with US President Donald Trump exacerbated underlying fears about the Turkish economy’s health. Although the currency has since strengthened from record lows, it has lost 37% of its value against the dollar since the start of the year, pushing up the cost of fuel and other imports.

The economical turbulence in Turkey will affect over all country’s industries, where one of the most important

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economic assets is the production and global distribution of television and entertainment content. A recent study from Interpress Media Services reveals that nearly 100 countries watch Turkish TV shows and Turkey ranks after the US as second worldwide drama seller, with $350 million dollars in revenue.

“The effects of the local currency devaluation at Turkish TV industry has raised the expectations of interna-

m Ebru Atasav Tahranci

tional sales. Both the producers and broadcasters are basing their budgets on international sales revenues, since it is becoming harder to finance top quality dramas in the domestic market dynamics. Therefore, we will keep the same pricing policies in order to catch targeted sales figures,” Can Okan, Founder and CEO at Inter Medya said.

“All companies in Turkey are very much being affected by the devaluation of the lira. Because of the changes in the economy, TV channels get less advertising which in turn would force the producers to reduce their budgets and this could affect the production in the country, decreasing the number of projects being made. Producers as well as distributors would have to develop new strategies in order to reduce costs and maximize profits,” Ismail Dursunov, Deputy General Manager at Calinos Entertainment, stated.

From the international perspective of Acunmedya Global, Ebru Atasav Tahranci, CEO of the company, said that /senalint

m Ziyad Varol

the impact of the local economic turbulence will not be the same for all types of business. “The current changes lead us to be more selective as TV channels in Turkey. International sales will have a huge effect on the predefined budgets, but the market will maintain the quality of its shows. While the number of the dramas to be produced may decrease, its quality will increase.

Regarding formats, as we develop tailor made productions for each country, this business won’t be affected by the economic conditions in Turkey,”, she said.

“The negative impact of the current economic changes is inevitable, as is for every market that faces the same challenges. However, we believe that the quality of the productions will be maintained, actually, it will make everyone push their limits in search of bigger and better stories, with different business models. The current changes can induce a shift towards co-productions between countries and more partnerships,” Salmi Gambarova, Sales Executive for CIS, Asia, and Australia at Kanal D.

Aysegul Tuzun, VP, Sales & Marketing at Mistco, highlights the positioning of Turkey in the international environment as the main strength to evade the local financial up and down. “Turkey is positioned as a main international content producer for over a decade.

Drama series are dominating the television industry in Turkey and there are, at least, 35 different drama series aired each week. The audience demands better drama every season, what creates a harder competition in the production business. That´s the main reason why Turkish drama is getting better every year in the international arena,” Tuzun said. “What happens in the local industry will be reflected in the global business. When it comes to TRT, they approach each broadcast project with a long-term perspective,” she added.

“Turkey is a country where cultural diversity is very rich, what helps storytellers to create different scripts. The profile of Turkish casts is both qualitive and compatible with other countries.

Combining great casts, high value productions, and best stories help us to stay on top among other global content

m Ismail Dursunov

m Can Okan

producers. Turkish TV producers will have to cope with the most unique TV environment in the world and they must produce three weekly content hours, what it’s like doing a movie per week,” Ziyad Varol, Licensing and Digital Manager, Acquisition & Sales, Platforms, at ATV said. “In addition, our stories are always relevant for all international audiences. Turkish drama is not limited to one genre, we have historical dramas, love dramas, and romantic comedies,” he added.

STAY AT THE TOP The biggest current challenge for Turkish producers and distributors seems to find the way to stay at the top of the worldwide content distribution industry. In recent years, Latin American countries welcomed Turkish dramas, which are among the Top-10 most watched shows in all territories. In the Middle East, Turkish shows are largely popular, and the European market just opened the doors to the country’s productions, with new deals in Spain, Italy, and France. Turkey’s new market goals for content are China, Japan, and SEÑAL INTERNACIONAL 2018

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OVERVIEW

m Salmi Gambarova

India, where productions coming from Turkey still has a lot to conquer.

“Turkish content has its own characteristics. Most of the dramas are played in breathtaking locations, where the dialogues take place in beautiful houses with a Bosphorus view. The plot deals with love stories, loyalty, betrayal, and class clashes. All this, combined with the outstanding production quality, means that millions of viewers cannot get enough of it. Turkish content is unique, and it will prevail over their competitors in the international marketplace,” Can Okan from Inter Medya said. “It has now been several years since the premiere of ‘Endless Love’ and ‘Black Money Love’, and many people are still talking about the influence of Turkish productions. It’s easier for an audience to connect to Turkish content than to other international television series,” he added.

“Turkish local television structure is very competitive and there are many private TV channels. The market’s dynamic is an advantage in the international arena: we produce high quality

m Deniz Cantutan

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content to stay on the top. In the past, Turkish content was more popular regionally, with a huge focus over MENA and the Balkans. Nowadays, Turkish content expanded its limit and became popular all around the world, including Europe, Latin America, Asia, and Africa.

For that reason, Turkish content is considered as a genre on its own”, Ziyad Varol from ATV said.

From the perspective of Calinos Entertainment, Ismail Dursunov describes

m Aysegul Tuzun

that during the past eight to ten years, Turkey became a world class player in the global television ecosystem. Since 2009 it has seen a steady growth, as the demand reached its highest point in 2014. “The need for new content will slightly decrease within the next couple of years and will reach a solid point, remaining consistent from that point onwards. The trans-nationalization of Turkish dramas has made Turkey a global brand in cultural consumption; in turn, this phenomenon, I believe, will pave the way for many new and diverse co-productions and joint ventures.

However, the biggest conflict we are facing at the moment is the fact that in a lot of countries Turkish series gather ratings as good as local TV shows.

Therefore, in order to support the local producers, some countries decrease the acquisition of Turkish shows. I still believe that, in a lot of countries, Turkish series are still underestimated when considering the ratings they obtain,” he said.

“Turkish content has been travelling

around the world for more than ten years. Turkish government supports distribution companies in many different areas, in order to discover new business possibilities. All producers are really excited about sharing their content and stories with abroad,” Deniz Cantutan, Sales Manager at Madd Entertainment, stated.

“When you look at most successful series’s plots, they are all about human stories. When you are able to touch humans’ hearts and connect with them, success comes with it. Whether it is a movie or a TV series, with human stories Turkish contents have achieved success in terms of distribution. The most important thing is how the story is told and how the series is produced. So, as long as the Turkish drama producers continue developing beautiful shows, the distribution business will be active for us,” Aysegul Tuzun from Mistco, said.

Salmi Gambarova from Kanal D also highlights the value of the Turkish production standards in the international arena. “Our quality is a significant factor and it will keep improving. Over the last years, the international audience has hosen its favortire Turkish actors.

The relatable and timeless quality of the Turkish content has allowed it to remain on the top of worldwide distribution.

“Turkey has a very important role in the international TV business. It provides high-quality products with affordable prices for many countries that don’t have great production skills. Even for countries that count with an important TV market, cost control and profitability has become a very significant factor. For those markets, Turkish dramas has also been very effective, bringing high-quality products to their audiences with significantly lower costs. For the last ten years, international success and improving sales empowered Turkish producers to provide higher budgets,” Ebru Atasav Tahranci from Acunmedya Global, said.

By Diego Alfagemez /senalint

DISTRIBUTION

m Sibel Levendoglu (Inter Medya), Engin Akyurek and Cecilia Gómez de la Torre during he Turkish actor’s tour around Latin America.

Connecting Regions Through New Business Models Cecilia Gómez de la Torre, General Manager at Tondero Distribución, shares the company’s most important accomplishments after the celebration of its tenth anniversary. New international focus and upcoming projects.

T

en years after the foundation of Tondero Producciones, the company has now an international distribution arm, Tondero Distribución, led by Cecilia Gómez de la Torre, its General Manager. After the well-earned celebrations, Tondero has now a new expansion plan, that foresees more business possibilities in new markets, as a natural evolution of its internationalization. “We are opening operations in new countries to develop new business opportunities. Regarding new original series, we are thinking about more coproduction models.

It’s important to work with different territories, making a valuable product for all partners involved. In the case of original local productions, we manage all projects entirely, but we will continue to support strategic alliances to have

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more investment parts involved,” Cecilia Gómez de la Torre said.

According to Tondero’s General Manager, the alliance with Inter Medya was one of the company’s main recent success.

“We are the first distributor of Turkish films in Latin America. I was part of the strategic development of the launch of many Turkish dramas when I worked in Latina TV. It was a great experience that gave me a special knowledge to bring these products to the region,” Gómez de la Torre described.

The General Manager at Tondero Distribución was responsible for organizing the promotional tour of the actor Engin Akyurek, who stares in Inter Medya’s film “Kerem”, around Latin America. The tour started on August 8th with a red carpet and avant premiere of the film in Peru.

The promotional experience followed with events in Santiago de Chile and Buenos Aires, with both avant-premieres and press junkets. “We’re glad about our deal with Inter Medya, since we will be able to premiere the film in countries like Peru, Chile, Argentina, and Puerto Rico,” Gómez de la Torre said.

PERUVIAN POWER Peru’s participation in Mipcom 2017 was the first major branding activation of the

“We are the first distributor of Turkish films in Latin America. We’re glad about our deal with Inter Medya, premiering ‘Kerem’ in countries like Peru, Chile, Argentina, and Puerto Rico” country in the most important international content market. “The country started to be recognized worldwide. I hope that the Peruvian government will maintain its support to national companies.

Tondero will renew its presence but it’s important, as a nation, to count with help and assistance for all local companies,” Gómez de la Torre stated.

She also analyzed Mipcom as the meeting point with international players, where Tondero closed deals with European and Asian buyers. “MipCancun is also important. It is a smaller venue, with a strong focus on the Latin American market, but it has a great platform to stay in touch with our partners,” the executive added.

Finally, Gómez de la Torre talked about the international distribution scenario and the new challenges presented by the changes in consumer habits. In the current international landscape, opportunities for producers are healthy because of the multiplicity of platforms and screens.

“At Tondero we’ve already started to develop co-productions with partners in different countries, like Argentina and Spain. Distances are shortened by the emergence of new VOD, streaming, and online platforms. One would think that the traditional TV and film business is dying, but free TV, at least in Peru, is still one of the media business that generated more advertising revenue during last year,” Tondero Distribución’s General Manager assured.

By Lucila Rivadeneira Cuvry /senalint

DISTRIBUTION

Refocusing the Brazilian Market

m All together now

m Renato Martínez

E

ndemol Shine Group recently announced the expansion of its commercial team in Brazil, hiring three important new executives. Renato Martínez returned to the company as Director of Content Sales; Nelson Rosa joined the Licensing Sales Division; and Rubens Ajzenberg is now in charge of the Brand Solutions area. “I’m very thankful to Viacom for all the learning and trust while I was there, and I’ve had three amazing years working with major brands and properties. Endemol Shine is in a great moment in Brazil and when they invited me to get back I felt it could bring new assets to the company. I think that both Endemol and me have grown in this last years and I’m sure this new journey will be successful”, Renato Martínez described in

“Our brandedcontent department is growing a lot, delivering big projects such as ‘Eisenbahn Mestre Cervejeiro’ for Eisenbahn (Heineken Group) and ‘Cabelo Pantene’ for P&G”

Renato Martínez, brand new Director of Content Sales for the country’s unit, explains why he returned to the company and the challenges of his new role working with the most local outstanding productions. an interview with Señal Internacional.

In his new role as Director of Content Sales, Martínez believes that the challenge for all content providers is always to create and maintain relevance for the public and brands. “We are living a very changing era and the main driver are the commercial models. We need to add more than one window, involve other platforms or partners, and put in practice new business models. It is important to disobey the regular logic of our business”, Martínez advised.

Regarding the objectives of his new position, Martinez remembered that Endemol is already working with the main free TV and pay TV channels from Brazil. “Our goal is to be always on the top of mind when a client needs creative production solutions.

We look forward to expanding the production hub for “The Wall” and to produce our first drama series,” Martinez said.

LOCAL FOOTPRINT Endemol Shine Brasil has produced big hits from Brazilian television, such as “Mas-

terChef” for Band, or “The Wall” for Globo.

“In addition, we are very happy with our local version of ‘All Together Now’ (‘Canta Conmigo’) with Record,” he said. “Canta Conmigo” shows a lot of talented artists performing to the “The 100”, an audience of great singers with hard-hitting opinions.

If any of the 100 likes what they hear, they can stand up, join and sing. At the end of the series, a performance will go with a big prize in cash.

At Mipcom 2018, Endemol Shine Group is betting on two formats with a high appeal for the Brazilian market: “Family Food Fight” and “Big Bounce Battle”.

“Family Food Fight”” is an original format developed with Channel Nine that was the highest rated program since its local launch. It was recently renewed for a second season, while ABC commissioned Endemol Shine North America to create a version for the United States; while Endemol Shine Latino will adapt it for Telefe in Argentina. “Furthermore, our branded-content department is growing a lot, delivering big projects such as ‘Eisenbahn Mestre Cervejeiro’ for Eisenbahn (Heineken Group) and ‘Cabelo Pantene’ for P&G,” Martinez stated.

Por Romina Rodríguez

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/senalint

AWARDS

The 2018 International Emmy Awards Race Started There are 44 Nominees across 11 categories and 20 countries. In addition, the International Academy of Television Arts & Sciences will present special awards to the writer and producer Greg Berlanti and Sophie Turner Laing, CEO of Endemol Shine Group.

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ominations for the 2018 International Emmy Awards were announced last month by the International Academy of Television Arts & Sciences so that the race to November’s gala at the Hilton New York Hotel just started.

There are 44 Nominees across 11 categories and 20 countries. Nominees come from Australia, Belgium, Brazil, Canada, Chile, Denmark, Germany, India, Israel, Japan, Mexico, Netherlands, Portugal, Spain, South Africa, South Korea, Thailand, Turkey, United Kingdom, and the United States.

“Looking at the diversity and geographic spread of this year’s nominations across all continents and platforms it is clear that excellence in television is a global phenomenon which transcends culture and language,” Bruce L. Paisner, President and CEO of the International Academy of Television Arts and Sciences, said.

In addition to the presentation of the International Emmy Awards for programming and performances, the Academy will present special awards to Greg Berlanti, the record setting writer and producer behind global hits “Dawson’s Creek,” “The Flash,” and “Blindspot”; and Sophie Turner Laing, CEO of Endemol Shine Group, a network of more than 120 creative production companies in 23 markets, responsible for international successes such as “Big Brother,” “MasterChef,” “Peaky Blinders,” and “Black Mirror,” that last year produced in over 50 languages.

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2018 International Emmy Awards Nominees k ARTS PROGRAMMING

“DAVID STRATTON’S STORY OF AUSTRALIAN CINEMA” Stranger Than Fiction Films - Australia “DREAMING OF A JEWISH CHRISTMAS” Riddle Films - Canada “ETGAR KERET, GEBASEERD OP EEN WAAR VERHAAL” Baldr Film / NTR Television - Netherlands “PALAVRAS EM SÉRIE” GNT / Hungry Man - Brazil

k BEST PERFORMANCE BY AN ACTRESS THUSO MBEDU IN “IS’THUNZI - SEASON 2” Rapid Blue - South Africa “ANNA SCHUDT IN “EIN SCHNUPFEN” Zeitsprung Pictures / RTL Television - Germany EMILY WATSON IN “APPLE TREE YARD” Kudos - United Kingdom DENISE WEINBERG IN “PSI - SEASON 3” HBO Latin America / O2 Filmes - Brazil

k DOCUMENTARY

“DE WERELD VAN PUCK” KURTA / EO Television - Netherlands “EU SOU ASSIM” GNT / TV Zero - Brazil “GOODBYE ALEPPO BBC Arabic - United Kingdom “PARALYMPIC DOCUMENTARY SERIES WHO I AM SEASON2” WOWOW / Acrobat Film - Japan

k NON-ENGLISH U.S. PRIMETIME PROGRAM “EL SEÑOR DE LOS CIELOS - SEASON 5” Telemundo Studios / Argos Televisión - USA “EL VATO SEASON 2” Universo / Endemol Shine Boomdog - USA “JENNI RIVERA, MARIPOSA DE BARRIO” Telemundo Studios - USA “SIN SENOS SÍ HAY PARAÍSO - SEASON 2” Telemundo Studios / FoxTelecolombia - USA

k SHORT-FORM SERIES

“HOW TO BUY A BABY” LoCo Motion Pictures - Canada “L’ÂGE ADULTE” Productions Pixcom - Canada “SHIN” Seventytwo Seconds - South Korea “UNA HISTORIA NECESARIA” Tridi Films / CNTV / Escuela de Cine de Chile - Chile

k TELENOVELA

“CESUR VE GUZEL” Ay Yapim - Turkey “ISTANBULLU GELIN” O3 Medya / Global Agency - Turkey “OURO VERDE” Plural Entertainment Portugal - Portugal “PAQUITA LA DEL BARRIO” Sony Pictures Television / Grupo Imagen / Teleset Mexico

k BEST PERFORMANCE BY AN ACTOR

JULIO ANDRADE IN “UM CONTRA TODOS - SEASON 2” Conspiração Filmes / FOX Networks Group Latam Brazil BILLY CAMPBELL IN “CARDINAL” Sienna Films / Entertainment One - Canada LARS MIKKELSEN IN “HERRENS VEJE” DR Drama / ARTE France / SAM le Français / DR Drama / ARTE France - Denmark TOLGA SARITAS IN “SOZ” Tims&B Productions - Turkey

k COMEDY

“CLUB DE CUERVOS” Alazraki Films / Netflix - Mexico “EL FIN DE LA COMEDIA - SEASON 2” Comedy Central España - Spain “NEVSU” Endemol Shine Israel / ‘Gesher’ Fund / Avi Chai Fund - Israel “WORKIN’ MOMS” Wolf + Rabbit Entertainment - Canada

k DRAMA SERIES

“INSIDE EDGE” Amazon Studios - India “LA CASA DE PAPEL” Vancouver Media / Atresmedia Televisión - Spain “UM CONTRA TODOS - SEASON 2” Conspiração Filmes / FOX Networks Group LATAM Brazil “URBAN MYTHS” Happy Tramp Productions / Sky - United Kingdom

k NON-SCRIPTED ENTERTAINMENT

“HOE ZAL IK HET ZEGGEN?” Shelter - Belgium “MASTERCHEF AUSTRALIA” Endemol Shine Australia - Australia “THE MASK SINGER” Thai Broadcasting Company Limited - Thailand “TOP CHEF MÉXICO” Sony Pictures Television de Mexico / Cinemateli Mexico

k TV MOVIE/MINI-SERIES

“ALDO - MAIS FORTE QUE O MUNDO” Globo Filmes / Globo / Black Maria / Paris Entret. Brazil “KURARA: THE DAZZLING LIFE OF HOKUSAI’S DAUGHTER” NHK Enterprises / NHK - Japan “MAN IN AN ORANGE SHIRT” Kudos - United Kingdom “TOTER WINKEL” Geissendoerfer Film & Fernsehproduktion / WDR Germany

/senalint

DISTRIBUTION

Onza Distribution Plays Big in the

Drama Slot

Gonzalo Sagardía, Managing Partner of the company, describes the huge launch of “Little Coincidences”, and highlights the international power of Portuguese dramas.

O

nza Distribution sells film and television content throughout the world and has a broad catalog that covers different genres such as drama, entertainment, and documentaries.

The big release for this year’s Mipcom will be “Little Coincidences”, a romantic comedy (8x50’), that features a very special couple which still do not know each other. “It’s a series that we developed with Atresmedia Studios and Medio Limón, producing it in a multiscreen format,” Gonzalo Sagardía, Managing Partner of Onza Distribution, said to Señal Internacional.

The rights of “Little Coincidences” has been sold to Amazon for Spain and Atresmedia will also broadcast the show in the country. Onza Distribution will sell the show globally. “We are very excited about the show and its distribution possibilities. It has a unique concept, since comedy and humor are universal concepts. We have advanced conversations for a new adaptation in the United States, and the series has not been released yet,” Sagardía stated.

Another major focus for Onza Distribution are the Portuguese dramas. During

the past four years, the company has been distributing the catalogue from TVI channel, and both telenovelas and miniseries had a great feedback from several international markets, including Latin America. “I’m convinced that the Portuguese dramas will end up triumphing in the region, because they have a high-end production and great stories, even better than the Turkish shows,” Sagardía described.

Regarding the rest of Onza Distribution’s catalogue, Sagardía said that documentaries still perform well, and the company will offer a great array of titles, featuring nature, trip, and adventures shows. “Perhaps they do not represent a large volume sale, but it is a genre that is deep inside our DNA,” the executive said.

INTERNATIONAL GROWTH Sagardía remarked that Onza Distri-

m “Little Coincidences”

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“We are very excited about ‘Little Coincidences’ and its distribution possibilities. It has a unique concept, since comedy and humor are universal concepts”.

2018

m Gonzalo Sagardía

bution is working with multiple international territories, but he recognized that Australia and New Zealand are countries where it is still difficult to penetrate. Regarding the latest distribution deals, Sagardía said that they closed business with OTT like Netflix for Portuguese dramas. “The shows will be available in Eastern Europe and Mexico. In Asia we sealed agreements for nature documentaries, and we sold ‘The Department of Time’ to China, becoming the first Spanish format sold in that country,” he said.

The company also sold “Roman Engineering” to the Middle East, the second season of “The Only Woman” to Africa; the Spanish miniseries “Dalia, the Dressmaker” to Univision; and a selection of Portuguese mini-series to several airlines. “The biggest challenge we have for being an independent distributor is to expand our catalogue,” Sagardía said. For that reason, Onza Distribution keeps an eye on the entertainment business and tries to distribute all the formats in which its production company is involved. “The most important thing for us is to have universal stories.

We are looking for Onza Entertainment to grow with its own formats because it could be a key component for our catalogue’s update,” Sagardía stated.

By Romina Rodríguez /senalint

INTERVIEW ENTREVISTA

Jennifer Askin, VP of Sales, Distribution; and Maria Ibarra, Director of Sales, Distribution at Kew Media Distribution, defines the different programming needs between international clients and highlights the company’s goals for the Americas.

L

ast September, Kew Media Distribution announced the appointment of Maria Ibarra as Director of Sales, Distribution.

Based in Miami and reporting to Jennifer Askin, VP of Sales, Ibarra will manage sales of Kew Media Distribution’s multi-genre programming slate across Latin America, Caribbean, US Hispanic territories and Canada. In order to describe the new sales strategy and the goals throughout the region, Señal Internacional interviewed Askin and Ibarra.

How do you analyze the content distribution industry? What specific trends and needs could you highlight?

Jennifer Askin: “From a distribution standpoint, our goal is to ensure we are both closing the best deals possible for our producers, while also being strategic about exploiting windows so that the potential of each title is maximized throughout each territory. This requires careful consideration on how our clients handle windows and holdbacks (who is willing to co-exist, who requires exclusivity, and what titles are best served by a

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m “Dead Lands”

“Our Goal Is to Be Strategic About

Exploiting Windows”

renewals! I’m always looking out for the next lead and, with all the genres we are across, as well as the quality of what we present, there are many opportunities available”.

m María Ibarra

significant exclusive window).

Every client has a different viewpoint, often tied to their own budget and place in the market, and it’s our job to seize the right moment as to when to bring a client a project so that it is in the rights model they are looking for and that the title gets the full exposure its deserves”.

Do you find business potential for any kind and size of a buyer?

JA: “With the large portfolio that Kew Media Distribution has, I always say that there is room for everyone. We look after everything from non-exclusive library deals on multiple platforms at once to big premiere launches with significant holdbacks.

Everything from theatrical releases to repeat library 2018

m Jennifer Askin

How do you manage all client’s needs with the windowing strategy?

Maria Ibarra: “As the volume of content in the industry increases, it has become more essential than ever to bring the best produced, best stories, and best ideas to the table. At Kew Media Distribution we are teaming up with renowned producers in order to bring compelling content to our clients. We also can determine and offer optimum windowing strategies to our clients, from theatrical to free TV. Regarding trends and needs, there continues to be high demand for strong stories, series that show-

case relatable characters, and content with higher than ever production values. Clients are also looking to acquire several media rights, not just for free or pay TV, the majority now require SVOD rights as well”.

What are the content sales goals at Kew Media across all genres?

JA: “We have a solid team across the Americas and we are busy, committed, and determined to deliver the smartest, biggest deals we can while also taking a longer view of building very strong relationships. I want us to be doing all that we can to ensure that our clients keep returning to us for new content opportunities. The KMD team has always been known for presenting quality content and for being great to work with, and it is very important for me to sustain both key tenets of that reputation”.

What are the similarities and differences between the US and LatAm buyers?

MI: “In Latin America we are now seeing that clients are willing to coexist with different window strategies. In these ever-changing times, we can also see that broadcasters are taking risks, they are willing to play with windows, it is no longer one window after the other, enabling content to reach a broad range of audience groups. Biopics are a big trend in Latin America, we are seeing more and more biopic series, and all become an instant success. Scripted content is in strong demand as well, alongside local adaptations of hit international formats”.

By Diego Alfagemez /senalint

QUICKIES

TV Azteca

Brings Mexican Football to MENA

T

V Azteca International has struck a deal that will see the Mexican football matches broadcast by TV Azteca airing in the Middle East and North Africa. Grupo Bastione licensed matches of the Mexican football league for

the MENA region. The live games of “Fut Azteca” from the Liga MX will be broadcasting on the new sports network My Sports 1 in My-HD. “I decided to take the signal with graphics and commentators from the Mexican network, for the great quality and spectacle that TV Azteca has in the transmission of soccer matches,” Fernando Fernández, CEO of Bastione Group, said. “The Mexican football has two great shows at the

m “Fut Azteca”

same time: football matches on one hand, and the way of narrating the games, on the other. ‘Fut Azteca’ is a pioneer in Mexican soccer and in the transmission of soccer for more than 25 years. Its quality and experience are worthy of sharing among our

fanatical spectators”.

Patricia Jasín, VP of TV Azteca International, added: “At TV Azteca International we are proud to represent the high standards of local production that provide the framework of excellence to our content”.

Viacom to Launch Two Nickelodeon Shows: “Noobees” and “Club 57”

V

iacom International Media Networks Americas will launch at Mipcom two brandnew shows from Nickelodeon: “Noobees” and “Club 57”. Last month, Nickelodeon Latin America premiered the highly anticipated teen gaming series “Noobees,” the latest

m Tatiana Rodriguez

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co-production between Viacom International Studios and Mediapro Group.

The show, which was produced in Spanish and will be adapted to Portuguese for audiences in Brazil, was recorded in Bogotá, Colombia, at the facilities of Televideo, a Mediapro Colombia’s company which has already worked with Nickelodeon on productions such as “Chica Vampiro” and “Yo Soy Franky”.

Furthermore, Viacom will also launch Nickelodeon and Italy’s Rainbow Group co-production, the 60-episode “Club 57” time-travel epic teen-telenovela.

Viacom will handle global distribution and Rainbow Group retains rights in

m “Noobes”

their home country. “Nowadays, children discover the shows on television and, once they watch an episode, they want to consume more. It is never enough. While they enjoy seeing the same chapter over and over again, they always want more things around the show they love. Digital extensions have worked very well for us,” Tatiana Rodriguez, SVP, Brand Head, Kids & Family at Nickelodeon Latin America, said to Señal Internacional. /senalint

QUICKIES

Dopamine Opens New Regional Office in Madrid

G

rupo Salinas’ media company focused on the development and production of stories for global platforms, has announced the opening of its regional office in Madrid, Spain. The new office will provide services to Europe, Asia and the Middle East, widening the company’s international scope and reach.

The new office’s main objective is to develop new businesses and to help identify new opportunities on a global scale. It will give Dopamine a unique global reach unparalleled among production companies in the Americas or Europe.

“The opening of this office reflects the international positioning of Dopamine.

We are prepared to continue growing our business, and we have all the tools needed to do so. From this new location we will keep working to create and develop the best stories for consumers,” Fidela Navarro, CEO of Dopamine, said.

The office will be led by José Miguel Barrera, Dopamine’s Chief International Business Development Officer, who will identify new opportunities and business models in order to advance in the company’s growth. Barrera has an outstanding international career, with more than ten years of experience in the media industry, in particular in the selection, negotiation, and distribution of entertainment and fiction formats. He has led international business development for major Spanish companies, such as Grupo Ganga and Grupo Secuoya.

m Miguel Gutierrez, Fidela Navarro y Jose Miguel Barrera (DOPAMINE)

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m ”Help! My House is Uanted!”

Alfred Haber Secures Worldwide Rights to “Help! My House is Haunted!”

H

aving premiered on July 13th in the UK, airing on UKTV’s Really, Alfred Haber, President of Alfred Haber Television, confirmed that the company has secured the exclusive worldwide rights (excluding m Alfred Haber the UK) to Executive Producer Zak Bagans’ newest series “Help! My House is Haunted!” (12 x 60’), a spine-tingling reality that helps families reclaim their homes from unwelcome spirits. Bagans is the creator, executive producer, and host of Travel Channel’s hit US series “Ghost Adventures”, now in its 14th season.

This brand-new paranormal series is produced by My Entertainment and back2back Productions and it will be offered at Mipcom by Alfred Haber Television.

Another huge highlight from the company in Cannes will be the “19th Annual Latin Grammy Awards”, produced by Univision, with airing date for the upcoming November 15th. The show returns once again as the international musical showcase for Latin talent, diversity, relevance, and excellence. Alfred Haber Television will also launch “Shallow Grave” (8 x 60’), a show from Crime & Investigation Channel in the UK. The reality features a murder that has been committed elsewhere, likely cleaned of evidence, and then dumped at what investigators call “the deposition site” or shallow grave.

/senalint

DISTRIBUTION

A Big Bet on High-Quality and Relevant Series Angela Colla, Head of International Sales at Globo, explains how the company’s investment in talent, production, and distribution responds to international audiences’ consuming habits. r ”Harassment”

m Angela Colla

I

n recent years, Globo has promoted important changes in its talent management processes, as well as for content creation and distribution. The company has diversified its production, especially for short formats, a new international consuming trend. “One of the consequences of that strategy is that we will present in Cannes a catalog completely made by series,” Angela Colla, Head of International Sales at Globo, said in an interview with Señal Internacional.

Globo’s main footprint perhaps is to constantly seek innovation, technology, and talent that guarantee a high level of production. “We also invest in new means to create, produce, and distribute content. Last year, for example, we launched the Casa dos Roteiristas, a collaborative production space for short formats, where more than 240 writers have been hired. We are always already considering new international opportunities,” Colla stated.

Globo has also invested in new talents to be in line with industry´s standards and response to new consumer habits.

“We invest in talent because they are the heart of storytelling. We create stories with the help of specialists from different areas of expertise, not only well-known in Brazil, but worldwide. Estúdios Globo welcomes around three million

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“We invest in talent because they are the heart of storytelling.

We develop stories with the help of specialists from different areas of expertise” professionals every year, a team that is always searching for more creativity and innovation,” Colla said.

At this year´s Mipcom, Globo will focus in three new productions: “Harassment”, a fiction inspired by a book of Vicente Vilardaga; the psychological thriller “If I Close My Eyes Now”; and “Iron Island,” which features an oil worker that struggles between his stressful work at sea and the deepest dramas of life on dry land. “All titles, despite the different styles and narratives, offer interesting plots and extremely relevant topics, that question human issues and appeal to both the

local and international audiences. They all can be programmed in linear TV and nonlinear digital platforms,” Colla described.

WORLDWIDE HITS Globo reached recent deals in Western Europe, such as the licensing of “Jailers” and “Under Pressure” for Sky Italia and “Merciless” for RTL Crime. It has also sealed new business in the United States, licensing “Jailers” and the Brazilian version of “Supermax” to AMC Networks’ streaming services. The show will be broadcasted in Portuguese with subtitles in local languages in countries like the United States, United Kingdom, Ireland, Australia, New Zealand, Germany, Austria, and Switzerland. In Latin America, “Above Justice” was the most watched program in Argentina, after premiering in Telefe and led the ratings in its time slot on Mega, in Chile. “Our goal is to create, produce and distribute premium high-quality content. We are open to new opportunities for partnerships and content co-productions. We are committed to deliver relevant content, where we can interact with people from all over the world, suitable for different platforms (free TV, pay TV, digital, OTT, and cinema), to be consumed according to viewers’ needs and wishes,” Colla concluded.

Por Romina Rodríguez /senalint

DIGITAL

A New Distribution and

Marketing Tool

Edwina Thring and Roz Parker, two former colleagues at Nat Geo, have joined forces to launch a non-transactional, multigenre aggregation, and screening site, designed for global distributors and buyers.

E

dwina Thring and Roz Parker, two experienced TV sales executives and former colleagues at National Geographic Television International, have joined forces to launch ProgramBuyer.com, a non-transactional, multi-genre aggregation, and screening site, designed for global buyers and distributors of TV programming. “Both of us have an extensive background in programming sales and understand the challenges faced by many distributors to reach the ever growing number of global content buyers, both with new programming and back catalogue. ProgramBuyer was designed to join up a fragmented industry, enabling buyers to find new sources of content and giving sellers an additional route to the marketplace in addition to their existing relationships,” Edwina Thring and Roz Parker detailed in conversation with Señal Internacional.

ProgramBuyer.com has already signed-up 55 distributors from around the world, featuring big players such as Kew Media Distribution and DRG in the UK, Televisa in Mexico, Mondo TV in Italy, Off the Fence in the Netherlands, Lagardère Studios

Distribution and Millimages in France, and Nordic World in Scandinavia. In addition, numerous other independent distributors of all sizes and covering all genres are in the platform. ProgramBuyer.com is a free service for buyers and has launched with more than 25,000 hours of content.

The platform is modelled upon successful real estate aggregations sites such as Zillow.com or RightMove.co.uk, and it serves

“Today we have more than 350 key global buyers registered, covering both key linear broadcasters as well as SVOD, OTT, and transactional buyers”

m Edwina Thring and Roz Parker

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as a powerful marketing tool. However, all deals are concluded directly between buyers and sellers, out from the website.

“Every executive has their own branded page with only their content, and buyers can also search across multiple catalogues using very detailed search classifications,” both executives explained.

BUSINESS MODEL With an innovative and disrupt approach, Edwina Thring and Roz Parker are not planning to go transactional in the future.

“We did a lot of research in the marketplace. We have spoken to a lot of buyers and sellers and we are happy with the model we are presenting,” both assured.

Regarding who would be able to access the site, Thring y Parker commented that “all users of the site are vetted as broadcast content buyers before being granted access. The site is free for 12 months for all content sellers who sign up pre-launch.

The pricing in the second year will be a monthly subscription fee per-hour and relative to the volume of hours placed on the site”. Free trials for sellers are available from launch, with no commitment thereafter.

So far, the reaction from the industry has been incredibly positive, from both buyers and sellers. “ProgramBuyer is a strong tool for all international distributors of any size, and had more than 70 global distributors from UK, Germany, France, Portugal, USA, Latin America, Asia, and Australia signed up for pre-launch. There are more than 350 key global buyers registered, covering both key linear broadcasters as well as SVOD, OTT, and transactional buyers,” they said.

Recently launched, ProgramBuyer is heading to Mipcom to announce some additional features of the platform at the market, whilst continually increasing buyer awareness and growth of content on the site. “Our goals at Mipcom are to have as many distributors as we can on the site.

We will be talking to our existing distributors but also with new ones. Moreover, we would like to reach as many buyers as possible. We will be doing direct meetings with them to try to attract them,” Thring and Parker concluded.

By Federico Marzullo /senalint

DISTRIBUTION

m ”Bonacini’s Italy”

Cooking High-Quality Shows for Global Partners

Corey Caplan, Senior Director of International Sales of Gusto Worldwide Media, describes the company’s new shows for the international arena, and reveals the strategy behind the sustained growth of the its brands.

G

usto Worldwide Media is a world leading producer, distributor, and broadcaster of high-quality cooking and lifestyle content, created in native 4K UHD. This year, at Mipcom, one of the main focuses of the company will be to find high-level partnerships to grow the company’s international reach.

“The company produces 100+ hours of long-form and short-form content in 4K every year. Only in 2018 we’ve completed six holiday specials, renewed three series, and we have three brand new series that are in production. We’re also thrilled to be bringing an innovative format to Mipcom,” Corey Caplan, Senior Director of International Sales at Gusto Worldwide Media, explained to Señal Internacional.

“DNA Dinners” is a ground-breaking new series that explores the culture and cuisine in a way that has never been seen on television before. “This is the only cooking series where you may see fascinating combinations of cuisines, such as Kenyan, Spanish, Italian or Lebanese. Shot in 4K UHD, the show teaches people about their food culture through DNA analysis. It takes viewers on an individual’s journey as they discover their roots and uncover their background through cuisine. The first season explores the diverse heritage of 16 people through cooking and is hosted by Tyrone Edwards,” Caplan explained.

The sophisticated cooking series “Bonacini’s Italy”, featuring celebrity chef Michael Bonacini, now has 15 new episodes in 4K. Michael cooks his way

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m Corey Caplan

through 15 Italian regions, exploring the flavours and textures that make these areas unique. Furthermore, “Flour Power” is Gusto Worldwide Media flagship 4K baking series. “We’re pleased to offer 13 brand new episodes as well as four holiday specials. Set in a stylish retro kitchen, the vivacious host Jessica McGovern inspires with simple to extravagant baked treats for all occasions,” Caplan stated.

GLOBAL DEALS The 2018 has been a busy year for Gusto Worldwide Media. “Our brand is quickly expanding globally, and our titles have been picked up in new territories.

We launched our linear channel, Gusto TV, on multiple platforms in Starhub Singapore and in the US, coming soon on Pluto TV, XUMO, and with Sinclair Broadcast Group. We’re about to launch it also in the UK on Pluto TV’s OTT platform. We’ve also recently inked content deals with Asian Cable Communications in the Philippines and Red Media

“The company produce 100+ hours of long-form and short-form content in 4K every year”.

Group in Russia,” Caplan described.

“We’re seeking content deals in several new territories, including Latin America and English-speaking markets such as the UK, Australia, and New Zealand.

Our 4K/UHD food programming includes an extensive package of digital assets, including engaging short-form content and carefully crafted recipes for every dish you see created in our series,” Caplan added.

About the future goals of the company, Caplan said that between now and the end of 2018, Gusto Worldwide Media is wrapping on three brand new series with plenty of new productions planned for 2019. “We’re seeking international partners with the goal to launch our linear & OTT offering Gusto TV in new territories. We’re also looking to bring our titles and find co-production partners in new markets, as well as markets where we are launching Gusto TV,” Caplan concluded.

By Romina Rodríguez /senalint

QUICKIES

Federation Entertainment takes a majority stake in WeMake

O

ne year after forming a successful partnership, Federation Entertainment has acquired a stake in WeMake, establishing a major independent player in international fiction and kids’ entertainment, and strengthening its position m Bouchra Réjani and widening its activities.

WeMake has developed a catalogue of over twenty original formats and signed several co-production and distribution agreements with major international market players including Talpa TV in Europe, Lionsgate, and Metro Goldwyn Mayer in the United States.

“WeMake has the same strategic vision as Federation: investing heavily in creating original formats, selling these formats both in France and internationally, with particular focus on the United States, and developing new formats in order to bring new life to the genre while becoming relevant for platforms,” Pascal Breton, President of Federation Entertainment, said.

“We are delighted to expand the Federation family. The arrival of new platforms on the unscripted market is shaking up the game for the greater benefit of creation.

The race between q Pascal Breton networks and their studios and these new players is boosting the entire sector to launch new, original and cost-effective formats. At WeMake, just like at Federation, we bring together the best creative talents from France and elsewhere to forge global partnerships in order to meet this demand,” Bouchra Réjani, President and Founder of WeMake added.

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m ”Stockholm”

21 New Drama and Entertainment Shows for Keshet’s Slate

K

eshet International will launch 21 new titles across high-end drama productions and factual series, entertainment formats, kids and teens content for Mipcom this year. Two Israeli m Keren Shahar titles headline the company’s scripted slate. “Stockholm”, a darkly comedic series inspired by the bestselling novel from Noa Yedlin, which debuted to critical acclaim at the Toronto International Film Festival. Keshet’s second scripted highlight is “Autonomies”, a dystopian drama produced by United Studios of Israel for Hot and penned by Shtisel creators Yehonatan Indursky and Ori Elon.

Keshet’s format slate features two new formats from British entertainment indie Rumpus Media: “Personal Dater” and “Playing for Time”. For the factual finished tape slate the catalogue includes “Trucking Hell,” “Crouch Recovery,” and “Busing”. “Finished tape is a big focus for us this year, in particular factual and foreign dramas. Our new relationship with Greenbird Media and its partner production companies means we have lots of brand new factual English language finished tapes from some of the best in the business,” Keren Shahar, COO and President of Distribution at Keshet International, said.

/senalint

PHOTOGALLERY

NATPE BUDAPEST 2018 The market has been renamed to NATPE Budapest International in order to reflect the global TV market and conference’s extended focus beyond Central and Eastern Europe to the EMEA and worldwide content business.

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1 - Katie Pike, Caroline Hurmson, Michelle Payne y Julie Aletti de Gely (CBS) 2 - Beatriz Cea Okan, Can Okan y Pelin Koray (INTER MEDYA) 3 - Muge Akar y Ziyad Varol (ATV) 4 - Salim Mukaddam (BBC) 5 - Ben Packwood y Anna Maslowska (ALL3MEDIA) 6 - Jukka Kaivola y Maria Kivinen (YLE) 7 - JP Bommel (NATPE)

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8 - Umay Ayaz, Deniz Tuzun, y Senay Taz (GLOBAL AGENCY) 9 - Dorian Buhr (STUDIO 100) 10 - Berkin Nalbantli, Handan Özkubat y Fredrik al Malmborg (ECCHO RIGHTS) 11 - Paloma Garcia (CARACOL), Xavier Aristimuño (HBO), Melissa Pillow (AZTECA), Ricardo Pereira (GLOBO) y Esperanza Garay (MEGA) 12 - Deniz Cantutan (MADD) y Salmi Gambarova (KANAL D)

13 - Laarni Yu (ABS CBN) 14 - Paula Cohen McHarg (KESHET) 15 - Melanie Torres (GRB) 16 - Manuela Caputi y Sonia Danieli (MEDIASET) 17 - Asli Serim Guliyev y Ebru Mercan (CALINOS) 18 - James Anderson (DCD)

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· 81

TV IN NUMBERS

Insight Stats to Understand Current and Future Trends

VIDEO: THE GLOBAL OBSESSION Technology disruptors continues to expand the universe of video content, changing the landscape forever.

4.4

The average global viewer spends 4.4 hours each day watching video

Average Daily Viewing Hours by Country UNITED STATESS

UNITED KINGDOM

FRANCE

GERMANY

5.1

4.2

3.7

3.3

4.1

4.7

4.1

COLOMBIA

BRAZIL

MEXICO

Top Streaming Services by Country U.S.

GERMANY

U.K.

FRANCE Amazon Prime

69%

Netflix

82%

Netflix

67%

Netflix

65%

Amazon Prime

47%

Amazon Prime

52%

Canal Play

34%

Netflix

42%

Hulu

32%

Now tv

19%

OCS

19%

maxdom

12%

BRAZIL

COLOMBIA

MEXICO

Netflix 82%

Netflix 91%

Netflix 91%

Claro Video 29%

Globo Play 23%

Claro Video 34%

Sporte Interactivo 17%

Cinepolis 13%

Source: 2017 TIVO GLOBAL STUDY. “ADDICTED TO VIDEO: THE GLOBAL OBSESSION”

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/senalint