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Contents _/35

_/84 Special Reports LATIN AMERICA´S AUDIOVISUAL LANDSCAPE

Continental Transition _/84 RESEARCH

_/20

_/22

Profile

It Started with a Memo _/20

Jeffrey Katzenberg, CEO and director, DreamWorks Animations

Opinion Movies on TV in the Multi-Platform World _/22

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It Makes Complete Sense _/94

CREATIVE ONLINE

Perspectives on the Future of Television _/122 ttv todotv ttvPreview Yearbook - Distributors Yearbook - Pay TV Yearbook - Broadcast TV AdSales Guide Production Guide todotvnews.com ttvmedianews.com UNIK Media Solutions

Toby Melling is VP Sales, TV & Home Entertainment for Content Film

Q&A Angélica Guerra, SVP & Managing Director, Production for Latin America/US Hispanic, Sony Pictures Television

Outside Boundaries _/96

Greg Johnson, SVP Sales, Americas, ITV Studios Global Entertainment

The Brazilian Giant _/128

Raphael Corrêa Netto, Executive Director of International Business, Globo

Bold and Original _/158

Hernán López, President and CEO of Fox International Channels

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Executives

Quality Stamp _/24 Joe Patrick, SVP and head of Television and Digital Sales, Miramax Much More than ‘Homeland’ _/26 Keren Shahar, Head of Distribution & Acquisitions, Keshet International Life Creators _/27 Márcio Fonseca, Managing Director, Latin America, Scripps Networks International A Booming Business _/28 Can Okan, CEO, ITV Inter Medya Audiovisual From Spain Shows its Cards _/32 Sonsoles Huidobro, Head of the Audiovisual, Music and Online Department, ICEX Bases Loaded _/51 Pedro Citaristi, Distribution Manager, Atlantyca Entertainment Double the Fun _/56 Valerie Cabrera, EVP, Entertainment One The Japanese Pioneer _/60 Yukiko Kimishima, Divisional President of International Business Development, Nippon Television Network Corporation (NTV) A Crucial Ally _/62 Jens Richter, Managing Director, Red Arrow International Outside the Box _/64 Maarten Meijs, Managing Director, Talpa International

Diverse and Global Content _/66 Francisco Villanueva, VP and COO at SOMOS Distribution Ratings Plus Quality _/83 Rafael Bardem, Sub-Manager of Programming Sales and Licensing at TVE

_/158 Gallery MIPTV 2013 _/58

May 8 to 11, Palais des Festivals, Cannes, France

ttv Special Telenovelas _/35

Telenovelas On Display _/116 Marcel Vinay Jr., CEO, Comarex

ttv Special Films&Series _/67

Keep Them Guessing _/118 Sheila Aguirre, SVP International Distribution Latin America and US Hispanic, FremantleMedia International

ttv Special Kids&Teens _/99

One Step Ahead of the Play _/120 David Jones, Sales and Marketing Manager, Sportel

Focus On Uruguay _/167

Beyond Bollywood _/151 Sunita Uchil, Global Head Syndication, Zee TV Make Yourself at Home _/154 Patty Geneste, FRAPA Chair and Absolutely Independent’s CEO & President A Growing Niche _/156 Sebastian Choy, President of Mannam Media Mister Maker Goes Global _/160 Cecile Cau, VP of Sales, Zodiak Kids Straightforward Partner _/162 Nick Woollard, Director of Music Sales, EMEA RATINGS/PROGRAMACIÓN

Discovery USH: picos de audiencia y renovación _/84

Across The Universe _/164 Marion Camus-Oberdorfer, Head of International Content Sales, ORF Enterprise

Inside Argentina _/131

Articles

PRODUCTION

Football Idols _/52

DISTRIBUTION

Even Flow _/152

ttvmedianews.com TREND

The Second Screen War Heats Up _/30

PRESIDENT/CEO Sebastian Lateulade - slateulade@todotv.tv EXECUTIVE DIRECTOR Soledad Saldías - ssaldias@todotv.tv PUBLISHING DIRECTOR Sebastián Amoroso- samoroso@todotv.tv EDITOR IN CHIEF Rodrigo Ros - rros@todotv.tv SENIOR EDITORS Sebastián Torterola - storterola@todotv.tv Josefina Mezzera Regules - jmezzera@todotv.tv EDITORS Gonzalo Larrea - glarrea@todotv.tv Carolina Mussio - cmussio@todotv.tv Valentina Vinaja - vvinaja@todotv.tv Luis Cabrera - lcabrera@todotv.tv SALES AND PRODUCTION MANAGER Darío Alemán - daleman@todotv.tv SALES MANAGER Monica Iriarte - miriarte@todotv.tv HEAD OF BUSINESS DEVELOPMENT Alejandro Sánchez - asanchez@todotv.tv IT MANAGER Alejandro Barros - abarros@todotv.tv DATA OPERATIONS Fernando Moreno - fmoreno@todotv.tv WEBMASTER Nazario Pereira - n.pereira@todotv.tv FINANCE MANAGER Cr. Michel Schwartz - mschwartz@todotv.tv ADMINISTRATION Ana Paula Carreira - acarreira@todotv.tv Valeria Morena - morena@todotv.tv ART AND DESIGN UNIK Media Solutions - info@unikbureau.com www.unikbureau.com

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65th Primetime Emmy Awards

The Emmys Go Bad ‘Breaking Bad’ crowned king of drama, Jeff Daniels’ surprising win and ‘Modern Family’s unstoppable winning streak were the night’s highlights, along with heartfelt tributes and short speeches that made for an unusual ceremony. It’s hard to give such a traditional ceremony a fresh face while still staying true to its essence, and given this past edition was its 65th, the Primetime Emmy Awards should have it figured out by now. Yet, this year’s ceremony, held at the Nokia Theatre on Sunday, September 22, was unusual to say the least. The event was once again hosted by ‘How I Met Your Mother’s Neil Patrick-Harris, placed special focus on variety shows and cut back winners’ acceptance speeches to just a few seconds; causing many of them to be forced to leave the stage mid-sentence. SURPRISING WIN. The short acceptance speeches didn’t allow viewers to enjoy the long list of surprising wins the ceremony delivered, especially Jeff Daniels (‘The Newsroom’), who became the night’s Outstanding Lead Actor in a Drama Series. Daniels beat all analyst favorites, such as Bryan Cranston (‘Breaking Bad’), Kevin Spacey (‘House of Cards’), Damian Lewis (‘Homeland’) and John Hamm (‘Mad Men’), who is yet to win in this leading category. ‘Breaking Bad’ was the evening’s top dog, taking home the award for Outstanding Drama Series, an honor most experts predicted the series would win, and which will probably also win next year when the second half of its last season is taken into consideration. “This is the answer to a wish and a prayer for me,” said Cranston backstage. “I’ve been blessed in the past and this show has been nominated in the past, but what I really wanted was what we got, to celebrate the win for the writing crew and cast. This is one helluva party, and what a way to go out.” The series also collected an award in the Outstanding Supporting Actress in a Drama Series category, given to the brilliant Anna Gunn, the only cast member who took home an award after Aaron Paul and Jonathan Banks were surprisingly beat by Bobby Cannavale (‘Boardwalk Empire’) in the Supporting Actor category. COMEDY IS STILL STRONG. The funny side of the awards also came with a few surprises, but none in the main categories, where ‘Modern Family’ was once again (and for the fourth time in a row) named Outstanding Comedy Series, now standing one win away from matching five-time winner ‘Frasier’; and Julia Louis-Dreyfus (‘Veep’) and Jim Parsons (‘The Big Bang Theory’) winning in the Lead Actress and Actor categories. Supporting roles brought the unexpected wins, leaving ‘Modern Family’s cast empty handed, watching as Tony Hale (‘Veep’) and Merrit Wever (‘Nurse Jackie’) received their awards. Wever summed up the night pretty perfectly with her speech, which was a simple “Thank you so much. I gotta go. Bye.” Variety shows also took center stage on Sunday night, with ‘The Colbert Report’ finally ending ‘The Daily Show with John Stewart’s winning streak after ten consecutive wins. A similar thing happened amongst reality shows, where ‘The Voice’ beat nine-time winner ‘The Amazing Race’. The night’s most heart-warming moments came from the “In Memoriam” tributes, where Edie Falco gave a tearful and emotional farewell to her former costar and friend, James Gandolfini, star of ‘The Sopranos’.

INNUMBERS

SOCIAL MEDIA

The Most Anticipated Series

60%

of smartphone users in the US use apps to watch video and access news, says Nielsen.

US$ 650

million is what Entertainment One’s content library’s woth,85% more than last year, according to FTI Consulting.

4.7%

fewer discs, including DVD and Blu-ray, were sold in the US during the first half of 2013, DEG says.

20%

is how much digital ad spending is expected to rise in Brazil in 2013.

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million dollars was Starz’s total net income for Q2, 2013; 5.1% less than a year ago.

8.1

billion euros were paid by Spain’s Telefónica to acquire German mobile company KPN.

Luis F. Peraza, EVP Acquisitions and Original Productions at HBO Latin America Group

BRAZIL

New HBO Original Series for LatAm

HBO announced the start of production on ‘Psi’, a new original series written by Contardo Calligaris, which is now being shot in San Pablo. It’s a 16-episode series that features psychoanalyst Carlo Antonini, played by actor Emilio Mello. In addition, Marcus Baldini, who worked on the movie adaptation of one of Calligaris’ romantic dramas, joined the project as director. Production will take an estimated 19 weeks, and the series will be shot on 100 locations across San Pablo. ‘Psi’ is the newest bet HBO is waging on for the Brazilian market and we’re proud to produce another quality series. The script is a mix of drama with a smart dash of comedy,” said Luis F. Peraza, EVP Acquisitions and Original Productions at HBO Latin America Group. The series shows the adventures lived by Carlo both in and out of his office as a therapist interested in unusual cases that defy him and even put him in danger.

The summer is officially over and that means the new fall TV season is about to begin. As expectations grow higher, networks, advertisers and viewers get eager to find out which will be the greatest hits and misses in US television. To gather some insight on what might come social media analysts at Crimson Hexagon, ranked the shows that generated the most buzz during the summer, to provide an idea of what the future may hold. Based on Twitter comments, the big “winner” was ‘Marvel’s Agents of Shield by ABC’, which generated 220,034 tweets and the most used hashtag (#CoulsonLives), becoming the most anticipated new series. Considering the 10 most talked about shows, ABC and Fox are the two networks that did the best in choosing their series, since each has three of the 10 most anticipated ones. NBC came in third with two shows, and The CW and CBS ranked last with only one. ‘Marvel’s Agents of Shield by ABC’ is one of the highlights of Disney Media Distribution Latin America for this year’s Mipcom.

SPORTS

BBC Sport Announced Outside Broadcast Bidders Following a highly competitive tender process, contracts have been awarded to CTV, NEP Visions, Presteigne Charter and Telegenic. The contracts cover major events and sports. The tender process was designed to ensure a high quality in service delivery and best value for money for license fee payers, whilst encouraging innovation and creativity from bidders. Barbara Slater, Director of BBC Sport, said: “We were hugely impressed by the calibre of the bids we received. The mix of suppliers we now have ensures best value for money for licence fee payers and will bring more innovation to the BBC’s coverage of sporting events.” BBC Sport and their current supplier, SIS Live, were unable to reach a commercial agreement for the provision of some of BBC Sport’s outdoor broadcast services. SIS Live will cease their work with BBC Sport at the end of their current contract in March 2014.

TRENDS

EXPANSION

ESPN: Web TV Rather than 4K After announcing the big step of shutting down its 3D channel, once again ESPN put its signature in the world’s technologic agenda by assuring that, for now, it’s not planning to launch 4K channels. The statements were made by its CTO, Chuck Pagano, who also said that neither DirecTV nor Dish have requested a 4K channel, which means that in spite of the optimistic predictions over this new standard, there’s still a lot to be done before we see tangible results. Meanwhile, ESPN president John Skipper also admitted that the channel is in preliminary talks with internet pay TV providers. Even though he didn’t reveal details, companies like Sony, Apple, Intel and Google are planning to launch services of this kind. According to Skipper, however, if an internet TV provider wants to broadcast the channel, it would have to pay the same as traditional pay TV operators or more, buying its whole product package including ESPN, ESPN2, ESPN News and the company’s mobile apps.

Novovision

Continues to Internationalize

PAY TV

Lifetime to Launch in the UK One of the top female-targeted brands in US cable TV, Lifetime, has set a milestone in its process of international expansion, as international media company A+E Networks confirmed its UK launch this Thursday. The channel is set to start airing in autumn. The channel will offer a range of high-quality scripted dramas, original movies and factual entertainment from the US and UK “with an emphasis on bold, distinctive, feel-good content that excites, engages and inspires audiences,” A+E Networks announced. Lifetime recently added the Crime & Investigation Networks and H2 to its established factual channel supply, joining the ranks of networks like History. Hit US shows already confirmed to air on the channel include exclusive UK premieres of original movies, including ‘Steel Magnolias’, starring Queen Latifah; ‘Liz & Dick’, starring Lindsay Lohan; ‘Drew Peterson: Untouchable’, starring Rob Lowe; ‘Talhotblond’, directed by Courtney Cox; and ‘Call Me Crazy: A Five Film’, from executive producer Jennifer Aniston.

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CONTENT

Inamediapro.com Allows FREE Clip DOWNLOADS Bringing together and conserving the images and sounds which underpin our collective memory, giving them meaning and sharing them with as many people as possible: this has been INA’s primary mission since 1974. The Inamediapro website (www.inamediapro. com) provides free and immediate access to over 1,000,000 hours of digitized video and audio “treasures” spanning over more than 70 years of modern and international history. Science, sport, factual, history... its content includes exciting collections added daily.

Present in every major tradeshow in the international agenda (around 15 each year), Novovision continues strengthening its client relationships and showcasing its newest titles to buyers from the global market. On top of promoting their new ‘Pop Toon’ and ‘Junior Hidden Camera’ shows, which were launched in Cannes in April, Novovision is presenting several new projects. After joining forces with Nathalie Bourdon, former sales director of Canadian producer Just For Laugh, the company officially launched Novovision Canada. Also, this new venture comes on the heels of the agreement signed with 2M, the second public channel of Morocco, which has partnered with the company for the show called ‘Al Camera al Majnouna’. “For the first time in its history, Novovision produced a show in an Arabian country,” CEO François XavierPoirier said.

NEWS STREAMING

Netflix

Gets More and More Exclusive Netflix and The Weinstein Company (TWC) have announced a multiyear premium pay TV window agreement that will make Netflix the exclusive US subscription television service for first-run films from TWC beginning in 2016. Netflix is already the pay TV home to TWC documentaries and foreign films, including the Academy Award winning Best Picture, ‘The Artist’, and Best Documentary Feature, ‘Undefeated’. Starting with its 2016 theatrically released feature films, new TWC and Dimension Films titles will be made available for Netflix members to watch instantly. “Harvey and Bob Weinstein are in a class of their own when it comes to choosing and producing the best films in the world,” said Ted Sarandos, Chief Content Officer for Netflix. “They are as innovative in business as they are creative in their storytelling. We look forward to reinventing the pay TV window with the Weinsteins.”

DEAL

Mance, Continental Strike Distribution Partnership LA-based distribution company Mance Media has announced it sealed a worldwide distribution pact with Continental Media to handle the television rights on its first run features. Mance will integrate Continental’s sales and distribution efforts in order to maximize the worldwide reach of Continental Media’s slate of commercial titles. Mance Media will present eight new completed features at this year’s Mipcom to TV buyers. The lineup will include titles like Bigfoot: the ‘Lost Coast Tapes’, starring Drew Rauch (‘Battleship’); ‘Refuge’, starring Kyrsten Ritter (‘Life Happens’) and Brian Geraghty (‘The Hurt Locker, Jarhead’); Duke, starring Carmine Giovinazzo (‘CSI: NY’, ‘Black Hawk Down’); Perfect Sunday starring Danny Trejo (‘Machete’, ‘Grindhouse’) and Emilio Rivera (‘Act of Valor’, ‘Sons of Anarchy’); ‘For My Brother’, starring Adam Shapiro (‘A Single Man’, ‘The House Bunny’); among many others.

Matthew Mancinelli, CEO, Mance Media’s

PAY TV

Sundance Channel

Docks in Latin America AMC Networks has announced it reached a historic agreement with Directv Latin America to launch Sundance Channel throughout the region on September 17. It will be available for the first time in seven Latin American countries, including Argentina, Chile, Colombia, Ecuador, Peru, Uruguay and Venezuela. Directv will also launch a separate Portuguese language channel for Directv subscribers in Brazil at a later date. Following its launch on Directv Latin America’s platform, Sundance Channel will be made available for distribution to pay TV operators across the region. It will be a Spanish language 24/7 linear network featuring a diverse and engaging selection of first-run original drama and other iconic programming, award-winning and locally appealing independent films and documentaries.

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REPORTS

TV Viewing: Mobile is Negligible According to a research by Thinkbox, TV continues to be the preferred device to watch content in the UK. According to the report, British viewers watched an average of four hours and one minute of TV a day during the first six months of the year, a similar figure to last year’s data. Out of that number, three hours and 58 minutes were viewed in average on TV, which represents 98.5% of the total content viewing. The other 1.5%, some three minutes and 30 seconds a day, went to mobile devices such as tablets, smartphones and laptops. Even though the figure is significantly small, it shows some growth compared to 2012, when 1.2% was reported. However, this doesn’t mean that all the TV viewing happens in linear channels. In fact, 10% of the contents watched in the TV screen are either recorded or on demand. The Analysts at Thinkbox believe that growing access to VOD platforms on TV, due to the and other devices that take internet to the screen, explain low usage of other screens. All in all, Thinkbox affirms that linear both TV and on demand can coexist and and foster TV consumption together.

Interview ttv

It Started with a Memo WITH ONE OF THE MOST SPECTACULAR CAREERS IN HOLLYWOOD, JEFFREY KATZENBERG WILL BE NAMED PERSONALITY OF THE YEAR AT MIPCOM 2013, FOLLOWING A LIFE OF INNOVATION AND HIT PRODUCTIONS AT PARAMOUNT PICTURES, THE WALT DISNEY COMPANY AND DREAMWORKS ANIMATION. By Luis Cabrera

Twitter: @luis_cabreram lcabrera@todotv.tv

“Despite all the hype and promotional noise, in the end the public will search out the movies it wants to see.” “I thought I would be at Disney for the rest of my life and that I’d be with Michael. It was painful leaving a place I had spent 10 years building.”

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or Jerry Maguire, it was a “mission statement.” The memo that changed the character’s life on the acclaimed 1996 movie by director Cameron Crowe, was based on another memo, a real one, more like a plea even, written by Jeffrey Katzenberg. The memo, created in 1991, asked the movie industry to go back to its roots and stay away from major tent pole productions, with their high costs and superficial storylines. “Despite all the hype and promotional noise, in the end the public will search out the movies it wants to see,” Katzenberg wrote. “And these films, more often than not, will be primarily based on two basic elements: a good story that’s well executed.” Now, 22 years later, major studios have only increased their taste for blockbusters, but Kat-

Monsters vs Aliens 2009

Jeffrey Katzenberg,

zenberg has refused to accept this new reality. From his position as CEO of Dreamworks Animation, company he co-founded, he’s maintained a vision that differs from the industry he helped transform, and Mipcom is honoring his investment by making him the 2013 Personality of the Year.

CEO and director, DreamWorks Animations “I have one philosophy that I live by, which is: in anything you do that’s important to you, always give 110% of yourself.”

THE MIDAS TOUCH. A man of action, ever since his early youth when he was part of Republican candidate John Lindsay’s campaign to be mayor of New York, Katzenberg’s entrepreneur personality led him to succeed at every single position he has held in Hollywood. His career started in 1974 at Paramount Pictures. The NY executive’s first challenge was to bring back the Star Trek brand after the original series ended with only three seasons. With great effort in his part, including a face to face negotiation with Leonard Nimoy, who was not willing to reprise his role as Spock, Katzenberg made the movie happen. In its opening weekend, ‘Star Trek: The Motion Picture’ broke the box office record set in 1979. It was at Paramount that Katzenberg started his working relationship with Michael Eisner, who he would then follow to The Walt Disney Company in 1984. Eisner, CEO of Disney, trusted Katzenberg to lead the company’s motion picture division, which had gotten used to coming out last at the box office. According to Katzenberg, at the time Disney was losing US$200 million a year, but when he left the company, a decade later, it was getting US$10 billion in revenue. Under Katzenberg’s leadership, Disney completely revamped its image and found continuous box-office success, starting with films like ‘Three Men and a Baby’ and ‘Good Morning, Vietnam’, and later with animations like ‘Who Framed Roger Rabbit?’, ‘The Little Mermaid’ and ‘Beauty and the Beast’. The executive was also key in sealing the partnership deal with Pixar and the acquisition of Miramax Films. “I could not have had a better run (at Disney),” Katzenberg said a couple of months ago. “Using whatever measure you want to use, talk about either great movies, great box office, great television shows, financial results…”

“The marriage just blew up,” said Katzenberg many years later. Everything about the executive’s departure was messy, with public

“I thought I would be at Disney for the rest of my life and that I’d be with Michael. It was painful leaving a place I had spent 10 years building,” he said in an interview with The Jewish Journal. “That was hard. But, you know, it pushed me out of the nest. In retrospect, it was a great thing.” A year after leaving Disney, Katzenberg cofounded DreamWorks SKG with Steven Spielberg and David Geffen. The executive took on full responsibility of the animation division, where he quickly moved away from traditional methods and veered towards computergenerated art. The Shrek franchise is one of his most successful results. Once DreamWorks Animation was created in 2004, Katzenberg became CEO. With him at the driver’s seat, the Glendale-based studio has made over US$11 billion worldwide. Its most notable productions in the field of animation became some of the highest grossing titles in the history of cinema, and the studio has won two Academy Awards thus far. DreamWorks Animation has also made its way onto TV industry several times and now has three shows on the air (‘Kun Fu Panda: Legends of Awesomeness’, ‘Dragons: Riders of Berk’ and ‘Monsters vs Aliens’) and two others on the way: ‘Turbo: F.A.S.T.’ and a TV series based on ‘The Croods’. The idea is to transform the movie studio into a multiplatform media business. With that goal in mind, Katzenberg worked out an agreement with Netflix to create 300+ hours of original programming. The streaming distributor will have exclusive access to those shows in every country where it operates.

Apart from acquiring AwesomenessTV, a network with 21 million subscribers on YouTube, Katzenberg also took Dreamworks Animation to China, where it signed deals with two organizations to build a new studio in Shanghai, to be named Oriental DreamWorks. “My mantra is to exceed people’s expectations,” Katzenberg said. “I have one philosophy that I live by, which is: in anything you do that’s important to you, always give 110% of yourself.” ttv

STILL WORTH READING “It used to be that there was a reliable criterion for a film’s success; whether or not it had ‘legs’. Studios would toy with different strategies for opening a film, all with the goal of helping it develop ‘legs’ through positive word-of-mouth. Now the term ‘legs’ has all but disappeared from the Hollywood vocabulary. Thanks to the dictates of the blockbuster mentality, the shelf life of many movies has come to be somewhat shorter than a supermarket tomato.” (Excerpt of the memo written by Katzenberg in 1991 about the state of the film industry).

PERSONALITY OF THE YEAR After receiving multiple awards for different productions all throughout his career, Katzenberg has gotten used to collecting them personally. This year, the Academy of Motion Picture Arts and Sciences awarded him with the Jean Hersholt Humanitarian Award. And now Mipcom follows by naming him the 2013 Personality of the Year. The executive will receive the award on October 9, during a gala dinner after his keynote speech, as part of the Mastermind Media series.

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IN HIS OWN TERMS. The successful partnership with Eisner ended abruptly in 1994. The worn-out relationship finally broke down after the Disney CEO refused to promote Katzenberg to president and COO; a role left empty when Frank Wells died in an accident.

attacks between old co-workers and a big lawsuit in which Katzenberg sought restitution for US$ 250 million. The lawsuit was settled out of court.

Opinion ttv

Movies on TV in the Multiplatform World In today’s economic climate, many theatrical buyers are unwilling to step up to the plate and offer the kind of advances that the sales agent and the film’s producers are looking for. Split rights deals across multiple platforms could be the way forward for film sellers. By Toby Melling

n the fight for television slots, most independent sales agents and distributors complain that it’s becoming increasingly difficult to release small to medium budget films in over-crowded markets such as the UK and France. In every territory in the world, major studios dominate the industry, making it harder and harder for indies to get their films into the theatres. With DVD in decline, television has become an ever more important source of revenue. THE OLD SCHOOL APPROACH. Many independent feature film sales agents still concentrate on “all rights” deals, handing over their films to local theatrical agents who will take care of every step of the release, including theatrical, DVD, DTO, TVOD, SVOD, FVOD, pay TV and broadcast TV.

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For theatrical buyers, television has always been their back-stop, the one guaranteed source of revenue. Some of these distributors are part-owned by networks. Companies such as Polsat, Telepool, Mediaset, Universum Film arguably have an obvious advantage when it comes to getting their films on the small screen. Other theatrical buyers will only buy if they are pretty certain of television interest and others may take the plunge and pre-buy without a guaranteed TV deal. The advantage for the sales agent is that they can just do one simple deal in a territory they may not be over-familiar with and move a step

“In today’s economic climate, many theatrical buyers are unwilling to step up to the plate and offer the kind of advances that the sales agent and the film’s producers are looking for.”

closer to recoupment. If the film performs well at the box office they hope the all rights buyer will recoup their initial MG and P&A costs and then be in a position to share digital and TV revenue. At least, that’s the theory. The disadvantages are that you risk licensing your precious film for 10, 15 or even 20 years without a guarantee of further revenue apart from the initial minimum guarantee. In today’s economic climate, many theatrical buyers are unwilling to step up to the plate and offer the kind of advances that the sales agent and the film’s producers are looking for. With the proliferation of digital media, there are more opportunities out there that off-set the decline in DVD. There are plenty of multiterritory pay TV and new media buyers such as Netflix, HBO, LAPTV and iTunes. There is still the old tug-of-war between all rights buyers and sales agents over what rights they are prepared to grant and what rights they are prepared to include. After all, the local Mexican distributor won’t be in a position to finalize a deal with HBO or Turner, since he doesn’t control rights in the rest of Latin America. But nonetheless, he will be keen to make money back from his local TV and won’t want to be held back too long. Major studios have never had to face such niggling problems as they tightly control every step of a film’s release and carefully manage their own digital and TV rights. Indie sales agents can only look on in envy. Of course, even for the studios, life is no longer a bed of roses. They are finding it increasingly difficult to leverage huge volume and output deals. Film slots are disappearing from the schedules of many free TV broadcasters. In the UK, the BBC has ended up scheduling big Pixar movies such as ‘Up’ and ‘The Incredibles’ on

Behind the Candelabra Series

BBC3 and BBC4 at 8 PM: a time when you think the core audience for these films should be tucked up safely in bed. In many parts of the world, more slots are being filled by locally produced dramas or factual entertainment. Schedulers frequently prefer long-running series to single movies with different running times. THE NEW MODEL. At Content Film, we have come to rely more and more on split rights deals in certain territories. The advantages are obvious: instead of licensing your film for 1518 years, you maximize revenues from every medium and keep your eyes open for future opportunities in an ever changing media landscape. With certain films in the UK we ultimately found it more profitable to split the UK rights by finding theatrical partners for a four-wall release to qualify the films for Filmflex, separate DVD partners and then we negotiated the various TVOD, SVOD, FVOD, pay and free TV deals. In the UK, Alex Gibney’s ‘Mea Maxima Culpa’ was released theatrically and on DVD by the Irish co-producer, Element Pictures; the BBC acquired the free TV rights; and separate new media deals were struck with Netflix, Google, Samsung, Sony, Amazon, Filmflex and Microsoft.

CHANGING THE BOUNDARIES. The boundaries between what is a theatrical film and what is a TV movie are shifting. There are plenty of examples of quality TV movies that have crossed over to theatrical. Steven Soderbergh’s ‘Behind the Candelabra’ premiered on HBO in the US, which means that it cannot be considered for Academy Award nominations. But in Europe, the film premiered at the Cannes Film Festival and went on to have a successful theatrical run in the UK and elsewhere. John Dahl’s 1994 film noir ‘The Last Seduction’ failed to get a theatrical release in the US, but did good box office business in France and the UK. France, as everyone knows, has very particular rules and regulations regarding quotas. If a film does not get a theatrical release in its country of origin it is so much easier to sell the film to television. Even a limited 6-screen release will kill its chances of qualifying the film for TV. There is little chance of fudging the issue. In other territories such as Africa, it has been far easier to get TV deals than theatrical deals. In this ever-changing world, where there are so many opportunities for watching movies, it is inevitable that the traditional release model is coming under attack. ttv

“We have come to rely more and more on split rights deals in certain territories. The advantages are obvious.” “Even for the studios, life is no longer a bed of roses. They are finding it increasingly difficult to leverage huge volume and output deals.”

*Toby Melling is VP Sales, TV & Home Entertainment for Content Film, a division of Content Media Corporation. This article was extracted from a series of MIPBlog posts exploring the ever-growing bridges between TV and cinema.

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Certain producers still prefer to have the kudos of getting a theatrical release for their film. Others are more interested in just getting the best possible deals, even if it means giving up altogether on a cinema release. With the collapse of the traditional release model, it is increasingly important for us to squeeze every penny out of all media. Ben Wheatley’s ‘A Field in England’ was released simultaneously theatrically, on DVD, on VOD and also broadcast on Channel Four in the UK on July 5th and, as reported in Screen International, the director

has declared that he would be happy to repeat the experience with future films.

Executives ttv

Seal of Quality Miramax means high quality and its catalog speaks for itself. ‘Pulp Fiction’, ‘Shakespeare in Love’, ‘Good Will Hunting’, and the ‘Scream’ and ‘Spy Kids’ franchises are just some of the leading titles the company has in store for the international market, apart from TV projects like ‘From Dusk Till Dawn’, by Robert Rodriguez. By Gonzalo Larrea Twitter: @Gonzalolarrea glarrea@todotv.tv

“Digital platforms are important for everyone ith a catalog full of quality these days, and they are expanding and movies and series, and titles evolving in interesting and innovaknown and requested all tive ways, but traditional buyers over the world, Mira“We are aren’t going anywhere. I think max is present at a pleased to be we will continue to see both new edition of Mipcom as one of bringing new digital and traditional platthe most sought-out companies television projects forms adapt to meet the by international buyers. to the market in increasing demand from collaboration with iconic filmmakers, audiences for access to the Products like ‘Pulp Fiction’, ‘Chiin particular ‘From content they want, when cago’, ‘Good Will Hunting’, ‘Scary Dusk Till Dawn’ they want it and how they Movie’, ‘Kill Bill’ and ‘Sin City’, by Robert want it,” he said. to name a few, place the US Rodríguez.” company’s catalog atop the list Thus, these digital buyers and new of requests from buyers and windows open more doors for Miramax, partners. which also celebrates pay TV’s growth in emerging markets like Latin America. “Pay TV In addition, Miramax is also taking this opportunity to launch new TV products at Mipcom, including a new series from Robert Rodriguez called ‘From Dusk Till Dawn’, based on his sucCentral Station cessful and iconic movie. 1998

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“Mipcom is an excellent opportunity for us to reconnect with our partners and clients and to meet and build relationships with new ones. We are pleased to be bringing new television projects to the market in collaboration with iconic filmmakers, in particular ‘From Dusk Till Dawn’ by Robert Rodriguez,” Joe Patrick, SVP and head of Television and Digital Sales at Miramax, said to ttv. “In addition to the new TV series, we of course have our exceptional library of films, including ‘Pulp Fiction’, ‘Shakespeare in Love’, ‘Good Will Hunting’, and the ‘Scream’ and ‘Spy Kids’ franchises,” he added. In regard to new market trends, the executive noted the increasing amount of online platforms in the industry, which are not only changing the way viewers watch movies, but also the dynamic in international tradeshows, where digital buyers are becoming more important.

Joe Patrick,

SVP and head of Television and Digital Sales, Miramax

is expanding and with more platforms, there are more outlets for our film and TV projects,” the executive explained. Lastly, Patrick said Miramax now has its eye set on international expansion, without focusing on any specific market, but rather looking at the entire world as a destination. “High quality content is always in demand, and we have a library full of award-winning and original films that appeal to audiences worldwide, so we are focused on distributing our films all across the globe. All of our titles have performed well. We have a uniquely beloved library of films that consumers all over the world respond to and connect with,” he concluded. ttv Frida 2002

Executives ttv

Much More than ‘Homeland’ Known worldwide for their series ‘Prisoners of War’, the format that inspired the internationally successful ‘Homeland’; Isreali company Keshet International is arriving at Mipcom with a catalog that also features hit entertainment formats and a complete lineup of finished programs in need of new screens. By Gonzalo Larrea Twitter: @Gonzalolarrea glarrea@todotv.tv

voting and replaces it for a second screen app, o talk about Israeli company Kesmaking it the first of its kind in the world. het and not mention its drama series ‘Prisoners of War’, which Other products are a dating show cainspired the US phenomenon “I believe lled ‘Face To Face’, which will be pre‘Homeland’, is practically imthat what miered this year by the company’s possible. Both have been incredibly we are best main commercial network, Keshet successful since they premiered, coequipped in is Channel Two; ‘What Happens in…’, llecting awards, fans and local verentertainment a scripted-reality comedy with cesions all over the world. formats.” lebrities and a very successful second season in Israel; ‘She’s With Me’, a However, if there’s something Keshet romantic comedy that follows the impossible International wants everyone to know is that love story between a simple baker and an they’re much more than just ‘Homeland’ and international “It girl”; and ‘Sure or Insure’, that that far from being a “one hit wonder”, the sepremiered in August and became the slotries’ success is neither random nor an isolated winner with a 29.1% share and 19.2 in ratings. incident; something proven by their hit products in almost every genre. The company will also focus on its catalog of finished programs, which includes titles such In fact, while its drama catalog is very impresas ‘Deal With it’ US. sive, it’s not the company’s main genre. “I think Keshet is best known for its drama ‘Prisoners of “One thing to highlight is that we are also War’. Our clients expect us to bring them very distributing finished programs, such as the interesting dramas, but I believe that what US version of our format called ‘Deal With we are best equipped in is entertainment forIt’, as well as Israeli programs. It’s part of our mats,” said Keren Shahar, head of Distribution & Acquisitions at Keshet International.

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“We have a big development team in house at Keshet and this is what they do: they come up with new formats for our channel and the international market. I would definitively say our forte is entertainment formats; taking an existing genre and putting a new twist on it,” she added. Keshet International’s catalog for this year’s Mipcom is proof of the executive’s words, filled with a series of successful and unique formats, tested both in Israel and other key markets such as the US or the UK, to name a few. In this sense, the company’s star product is ‘Rising Star’, a live talent show that sets out to find the music world’s next big star, but with a twist. The innovative format eliminates text

Keren Shahar,

Head of Distribution & Acquisitions at Keshet International strategy to grow our distribution of finished programs. I am very excited about the catalogue and I am expecting to see more sales of our finished programs; that’s a major goal for Keshet”, Keren Shahar explained and also highlighted the new reality show ‘Girlfriend’, broadcast in the UK and based on a Keshet format. And, to bolster its catalog of finished series even more, the company has inaugurated production hubs in countries like Canada, the UK and Australia. “The creation of these production hubs is part of a strategy to grow our business outside of being a distribution company and become a production company. This is where we are taking the company forward. I think we are concentrating mainly on the English-speaking territories at least for the near future,” she concluded. ttv Rising Star Talent Show

Executives ttv

Creators of Life In the US they produce over 2,000 hours of original content each year and the development of local talent is key for their business. Now, they’re rapidly expanding worldwide and aim to extend their network distribution to regions like Latin America in the following months. By Sebastián Torterola Twitter: @storterola storterola@todotv.tv

Chopped Reality

Márcio Fonseca,

Managing Director, Latin America, Scripps Networks International nels reach as many as 100 million households,” Fonseca explains. These expansion perspectives have also included innovative services like HD, VOD, TV everywhere and mobile. “In the US all six of our services will be available in HD by the end of the year. We were one of the early players in TV-VOD and remain a leader in terms of innovation. We have successfully executed TV Everywhere deals with most of the largest distributors/operators in the US, covering 60%+ of the subscriber base. We have also launched our own service-branded TV everywhere products,” the executive states.

“I see a lot of potential for the channels, especially since there are not many channels within these genres available to subscribers in the region. Our strategy for the region is to offer channels with Scripps’ quality content distributed to as many markets as possible, with relevant local content. To do so, we are using all of our expertise in producing lifestyle content to build unique channels in the region, and we aim to support all pay TV operators feeding content to their VOD platforms and TV everywhere initiatives, so that our viewers can have more opportunities to access our programming,” he remarks. Considering the pay TV business as a whole, Fonseca believes it’s moving “from a nice-to-have to a must-have service,” just like in the U.S. “Also, I observe that in certain markets there is a growing demand for lifestyle content; more and more viewers are looking for the genre, which certainly seems quite promising for our company. We are very excited to get on the international field and very confident that we are well-positioned to leverage this trend,” he concludes. ttv

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As local content is one of the strongest trends aving launched networks such in the Latin America market, the company as Food Network and Travel aims to produce local versions of Channel in international successful formats from its own territories, Scripps Net“We produce channels. “We’re also reviewing works is embarked in over 2,000 local formats for all of our chana plan of broadening the scope hours of original nels, proving that Latin Ameriof its business through joint content annually; ca is a highly fertile ground for ventures and acquisitions that internationally, we lifestyle content,” he affirms. fit within the company’s core also invest in original programming across categories of home, food and our territories, DAS MODEL. Scripps Nettravel. “Our overall internatioas well as develop works’ brands are organinal expansion strategy invollocal talent.” zed into three pillars: Home ves launching more lifestyle (HGTV, DIY Network), Food (Food channels, especially in those Network, Cooking Channel) and Travel and markets where we aren’t present yet,” says Entertainment (Travel Channel and Great Brazilian executive Márcio Fonseca, manaAmerican Country). Each of these brands ging director, Latin America, Scripps Netreach consumers through a 360 degree exworks International. perience, whether it’s through companion websites, mobile apps, magazines or pro“We’re the leading creator of home, food and duct licensing. travel lifestyle content. In the US we produce over 2,000 hours of original content annually; “Our programming can be viewed in over 200 internationally, we also invest in original procountries and we have operations in Asia, UK/ gramming across our territories, as well as deEMEA and Latin America. In the US, our chanvelop local talent,” he adds.

PERSPECTIVES. One of the company’s main objectives for the future is to start distributing its channels in Latin America, where the executive identifies great potential.

Executives ttv

A Booming Business

The CEO of ITV Inter Medya spoke to ttv about his company’s most recent sales, its representation deals with Latin American companies and its announcements for Mipcom 2013; and explained why he believes Turkish productions are so successful nowadays. By Valentina Vinaja Twitter: @vvinaja vvinaja@todotv.tv

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com, the company’s catalog also features TV Inter Medya is certainly one of the main other hit titles. ITV will present five new companies leading Turkish content’s indrama series to the international ternational success: it constantly hits market along with a modern corecord ratings worldwide, its pro“The production medy series. “Our hit launches ductions are sold in every conquality of for Mipcom are three very tinent, and it has recently scored our content strong Turkish Dramas, ‘Black several exclusive representation had increased Rose,’ ‘In Between’ and ‘The Fadeals in Latin America, representremendously due mily,” he said. ting catalogs from Latin compato competition between local nies in the Middle East. And now, players.” As for what makes ITV’s producthe company announced the tions so appealing for the global adaptation of one of its newest hit market, Okan said “our productions series in Spain and Italy. have several characteristics in common: all of these three titles performed very well ratings“Our content reflects the modern Turkish cultuwise in Turkey. According to our past expere which is a blend of Eastern and Western culriences, we are pretty sure that they will pertures and viewers all around the world can find form successfully in other territories as well.” a part of themselves in it,” Can Okan, CEO of ITV Inter Medya, said to ttv. This mixture of cultures Moreover, Okan explained that all three titles is, according to the executive, the key behind his have “very high production values, great cast productions’ success. and acting and are produced by reputable companies in the market. All of them have 20 MINUTES. ‘20 Minutes’, one of the fictions such fascinating stories that create addiction most recently launched by ITV Inter Medya, among the viewers.” became the latest hit among this year’s Turkish products and has been sold in more than Lastly, the executive shared his expectations 30 territories in less than four months. The for this new edition of Mipcom, saying they’re company has also signed option agreements for the title’s remake rights in Spain and Italy, and this is only the beginning: “We and are in final negotiations with a major company for the format rights in Latin America, with a Russian producer for the CIS territories, and with a distributor for French speaking territories,” he said. In this sense, Latin America is one of the regions where the production has made the greatest impact: the executive said ITV Inter Medya is already in talks with several broadcasters and distributors, and added he “will announce some more format and finished product deals for Latin American market in near future.” LINEUP. While ‘20 Minutes’ is clearly the company’s star product for this year’s Mip-

Can Okan,

CEO of ITV Inter Medya high due to the growing demand for Turkish content. “There is a boom in demand for Turkish content worldwide for the last couple of years. The production quality of our content has tremendously increased due to the competition between the local players. As a result, we are expecting to set up new business relationships with broadcasters from some of our young markets like Western Europe and Latin America,” he concluded. ttv

EXPANSION Recently, ITV Inter Medya announced a deal with Latin American distributor VIP2000 TV for the regional distribution of its telenovela ‘Deep Waters’, which is currently being dubbed and subtitled. In addition, Can Okan’s company partnered up with Argentina’s Construir TV to represent its catalog: “Further to our marketing activities a demand for Construir TV documentaries has just began from Middle East and Eastern Europe markets. We hope we will finalise some deals soon,” Okan said. Black Rose Drama

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TREND

The Second Screen War Heats Up As more consumers use their mobile devices while watching TV, the battle for the second screen market has become relevant in the last few months, with important acquisitions and shifts in strategy by players that continue to drive the segment’s growth. By Gonzalo Larrea Twitter: @Gonzalolarrea glarrea@todotv.tv

he second screen market is now way beyond the just-a-trend mark, with reports confirming its growing adoption and influence. Programmers, advertisers and the entire industry are now arching their eyebrows with interest; meanwhile, the sector’s main players -mostly social networks- have gotten their game on, to fiercely compete over this new advertising pie.

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The fact is, all bets are off and study after study proves it. Consumers are increasingly using their mobile devices while watching TV, opening a new world of possibilities for those who know how to capitalize them. According to Ericsson ConsumerLab’s latest report, 75% of TV viewers are using their mo-

bile phones while watching television, making multitasking an expected behavior in consumers. Nielsen, on the other hand, published another report that shows a correlation between Twitter and TV ratings. “The study,” the report says, “marks the first statistical evidence of a causal relationship, and two-way influence between viewing a show and chatting about it on Twitter at the same time.” The company analyzed minute-by-minute ratings of 221 shows and the tweets generated by them, using a technique developed by the Nobel Prize winning economist Clive Granger. They found that 48% of all studied content was directly affected by the volume of commentary within the social network. Likewise,

“Using time series analysis, we saw a statistically significant causal influence indicating that a spike in TV ratings can increase the volume of tweets, and, conversely, a spike in tweets can increase tune-in,” a Nielsen report says.

tweet volume also caused significant changes in ratings for 29% of all episodes. “Using time series analysis, we saw a statistically significant causal influence indicating that a spike in TV ratings can increase the volume of tweets, and, conversely, a spike in tweets can increase tune-in,” said Paul Donato, Chief Research Officer at Nielsen. “This rigorous, research-based approach provides our clients and the media industry as a whole with a better understanding of the interplay between Twitter and broadcast TV viewing.” Aware of this phenomenon, Twitter decided to capitalize its platform through TV, with new products specially designed to complement the television experience, and by acquiring companies that were already delving into this new world of influence. The 140-character social network first announced a partnership with Nielsen to create the “Nielsen Twitter TV Rating”, a new way to measure TV show ratings based on volume of social media comments. This seeks to be a

23 tottdvme 0.0 otvndian 00 ewse.cwos.co (S ou rc e: Go og le

new standard within the industry and was later emulated by the UK’s Kantar Media. The next step was acquiring Bluefin Labs, a company specialized in analyzing the impact of TV on social networks. This resulted in the creation of Twitter Amplify and the launch of a “teledirecting” technology that allows advertisers and programmers to coordinate content that complements what’s being aired on TV, and is delivered via the social network. Six months later, it acquired Trendrr, another social TV analytics platform, putting Twitter in the best position to continue to offer interactive tools to agencies and advertisers.

In fact, just a month before Twitter acquired Trendrr, the social analytics tool had reported that Facebook is not only TV viewers’ prefe-

Facebook is the pebble in Twitter’s shoe right now. Both compete with each other in the social media arena but now take their feud over to the second screen market. Armed with its new tools and a plethora of public announcements, Facebook went all out to set the record straight: Twitter isn’t the only social network used simultaneously with TV - Facebook is too, and an ideal one at that. Zuckerberg’s social network first added hashtags (#) to tag text and images, seeking to find a privacy loophole in the thousands of comments about television and current events that Facebook users like to express. “Between 88 and 100 million Americans log into Facebook every night during primetime TV hours, which represents a significant opportunity for broadcasters, advertisers and our other partners,” said Justin Osofsky,

m m

(m age on v Oc th ie to be ly w r2 01 av s 3) er ag e)

director of Platform Partnerships and Operations at Facebook, who also gave details on Facebook’s important role in social conversations. According to the executive, the last Oscars ceremony showed record highs in Facebook, with over 66.5 million interactions, while the ‘Game of Thrones’ controversial Red Wedding episode generated 1.5 million Facebook mentions, with over 70 million people logged into the social network during air time. “A recent Nielsen report discovered that 29% of all comments on Facebook are about TV shows, something that we also see reflected in our own stats,” Osofsky underlined. Facebook also added a video feature to its Instagram photo app, and is now planning to launch 15-second video ads to its News Feed, which could cost between US$ 1-2.5 million a day. With its 1.1 billion users and a healthy competitive streak, Facebook’s plans to overshadow Twitter and become the leading social TV platform should not be taken lightly. ttv

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The acquisition also bought Twitter exclusivity, taking Trendrr off the market to ensure that it wouldn’t work with other networks such as Facebook, which, interestingly enough, has also gone after the social TV market in the last couple of months.

rred choice when multitasking, but that it was also five times as popular as any other simultaneous activity. Evidently, when faced with some competition, Twitter decided to up the ante.

An al yt ics -

Executives ttv

Audiovisual From Spain Shows Its Cards Several announcements in terms of content distribution, new markets, a networking event and new attending companies are all part of the Spanish delegation’s agenda for the upcoming Mipcom in Cannes, which is once again backed by ICEX. By Rodrigo Ros

Twitter: @rodrigo__ros rros@todotv.tv

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Sonsoles Huidobro,

Head of the Audiovisual, Music and Online Department, ICEX

‘Cuba: refugio de vida’ by Explora Films or ‘CenPOSITIVE OUTLOOK. While official results n charge of backing promotion and tauros’ by Secuoya. in regard to TV content exports are yet to be marketing for the Spanish audiovisual released, ICEX is already evaluating industry on the international market, In this sense, the event will also welcome new the industry’s performance in the the ICEX is once again behind the “Another attendees: Secuoya, coming to Mipcom for international market as positive. delegation of Spanish compareason why we’re the first time after also making its debut at nies at this year’s Mipcom, where very optimistic Miptv in April; Onza Content Distribution and How does ICEX justify said opmore than 100 companies will be is that Spanish production company Inspira Content. timism? Huidobro said it cogathered from October 7 through productions are mes from the announcements the 10th in Cannes. 21 of them finding more “Another reason why we’re very optimistic is made in the past few months, success in markets will be present under the Audioconsidered that Spanish productions are finding more sucmainly the number of new titvisual from Spain pavilion; 3 of complicated.” cess in markets considered complicated, such les released. them with their own space and as Phileas, with its format ‘Don’t say bring it’ in 18 in workshop tables. In addition, Germany; Boomerang with ‘Los Misterios de The launch of the series ‘El tiempo entre there will be 8 companies grouped Laura’s pilot picked up by NBC in the US; Imacosturas’, distributed by AtresMedia (former in Agadic’s area; TVE and Imagina with their gina and the adaptation of ‘El Barco’ for CTC in Antena 3) and produced by Boomerang TV; own stand. And lastly, an important number Russia; or the deal signed with China’s second ‘Dreamland’, by Mediaset’s Spanish affiliate; of companies will attend under the Catalan biggest network, Hunan TV, which renewed ‘El or ‘The Avatar’, produced by Spanish company Films and Basque Audiovisual umbrellas. Hormiguero’ for a second season,” she said. Portocabo and distributed by Onza Content Distribution, are just some of those new titles. A year from her first time at Mipcom, SonsoSTRENGTHS. “On the one hand, it’s a very les Huidobro, head of the Audiovisual, Music professionalized industry,” Huidobro said in As for animation, the market is welcoming and Online Department at ICEX, spoke to ttv regard to the audiovisual industry and its companies like Imira Entertainment, which is about the activities the institute is promogrowing interaction with other commercial presenting new episodes of its animated seting and Spanish companies’ newest conareas. ries ‘Lucky Fred’. And in format sales, compatent. nies such as ZZJ, Phileas or Inspira Content, a “The quality of Spanish production is strong, first-timer at Mipcom where it will present its “While the main activity is content sales, we and this is what’s valued on the international also want to promote business collaboration,” entertainment format ‘El año que vivimos pelimarket. Whether it’s animation, fiction series grosamente’. Huidobro said about ICEX’s international and or documentaries, our products reach all netnational ventures. “We want to highlight networks with general entertainment and niche Documentaries are also important for this working events and make the most of each content,” she concluded. ttv year’s Spanish delegation, with titles such as of the international markets we attend as a meeting point to strengthen alliances and our companies’ awareness. We are designing parallel activities with specific commercial NETWORKING goals, same as we’re doing this Mipcom. In addition, for a long time now we’ve organized More than 100 companies are attending the 2013 Mipcom, 21 under the Audiovisual From what we call Investment Forums, organized in Spain pavilion, along with the Basque Audiovisual, Catalan Films and TV-PROA umbrellas, and different cities across the world. These Forums the companies that are attending with their own stands, such as Imira, Secuoya, Onza, Imagina were thought for big industries like engineeand RTVE. “We are expecting strong commercial activity,” Huidobro said announcing a bilateral ring, but now we want to veer towards TICs networking activity organized with the Argentina Audiovisual pavilion on October 8 at 5:00 PM and the audiovisual industry in general,” Huiin front of the Majestic Hotel. “The activity’s goal is to promote coproduction, catalog expansion dobro said. and content sales,” she added.

Article ttv

The Time In Between Mini Series

The latest Spanish literary phenomenon is now an exciting 11-part miniseries: Boomerang TV and Antena 3 announced the launch of the TV adaptation of ‘María Dueñas’, which will debut in September at the FesTVal in Vitoria and will arrive on Spanish screens next fall. By ttvnews

Spain’s Bestseller, Now on TV

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iterary phenomenon ‘The Time in Between’ (aka. ‘The Seamstress’), was published in June 2009. Philologist María Dueñas’ first novel sold two million copies in Spanish and one million in the rest of the world. It was distributed in almost thirty countries, with excellent sales in China, the UK, the US, France, Holland, Italy and Brazil, among others. As a result, the book has been translated into more than twenty languages. Also, according to the Reading Habits and Book Purchase Barometer of the Spanish Federation of Publishers, it was the most-read read book in the year 2011 and the most-borrowed from libraries in Spain. Those are reasons enough for Boomerang TV and Antena 3 to launch a TV adaptation of the book. The result is ‘The Time In Between’, an exciting 11-part miniseries that narrates the adventurous life of Sira Quiroga, a young dressmaker who leaves Madrid in the months before the civil war to follow the man of her dreams to Tangier. When fate leaves her in debt, alone and with a broken heart in a foreign country, Sira has to use her talent with threads and cloth to survive, a talent which, in

a fascinating tale of intrigue, passion and betrayal, leads her to become a spy for the allies in the run-up to the Second World War. With an ambitious production design, ‘The Time In Between’ involved seven months of work filming in more than 100 different locations. The international locations include natural settings in the Moroccan cities of Tangiers and Tetuan, as well as in Lisbon, Cascais and Estoril. The series also filmed in national natural localizations including Toledo, San Francisco Fortress, Guadalajara, and numerous settings in Madrid like the Retiro Park, the Delicias Railway Museum, a mansion on Calle Miguel Ángel and Fernán Núñez Palace. To achieve the right atmosphere, 254 sets were built to adapt the natural locations to the period of the late 30s and early 40s. INTERNATIONAL CAST. Adriana Ugarte leads the cast in the adaptation of María Dueñas’ bestseller in the role of seamstress Sira Quiroga, who the plot rotates around. The fiction series’ cast is completed by an outstanding array of national actors, including Elvira

“With an ambitious production design, ‘The Time In Between’ involved seven months of work filming in more than 100 different locations.”

RECREATING 1930 AND 1940 A hundred vehicles and animals, numerous pieces of furniture and thousands of pieces of atrezzo from the period were used in the production of the mini-series. The wardrobe also played a key role as it became a vital part of recreating characters. More than 400 suits were made and about 1,500 were hired from the most important specialized cinema and theatre houses of Madrid, London and Rome. Mínguez, Raúl Arévalo (‘I’m So Excited’), Tristán Ulloa (‘Sex & Lucía’), Carlos Santos, Francesc Garrido, Alba Flores, Mari Carmen Sánchez, Elena Irureta, David V. Muro, Pepa Rus and Carlos Olalla. Meticulous auditions were also carried out for the cast of international actors, made up of Hannah New (‘Maleficient’), Peter Vives, Filipe Duarte, Rubén Cortada, Ben Temple (‘Rec’, ‘I Want to be a Soldier’, ‘Goya’s Ghosts’) and Jimmy Shaw, among other outstanding performers. Among main, secondary and episodic characters, 135 actors and more than 2,500 extras worked on this production. Grupo Boomerang TV and Antena 3 are also bringing, ‘The Time In Between’ to the international market at this year’s Mipcom. ttv

TTVTelenovelas news

APPOINTMENT

RCN Appoints VP International Networks With ten years working as manager of RCN Comerciales and five as manager of RCN Cine, Julian Giraldo Suárez took on the role of VP of RCN Televisión’s international channels on August 1. He will be in charge of financial, administrative and commercial operations for TVColombia, NTN24 and RCN Telenovelas.” I’m responsible for assuring a better distribution of our networks in the US and in the Latin countries that watch us. TVColombia is one of the channels with the best distribution and can be accessed on all cable providers,” Giraldo said. The executive will also supervise all administration, accounting, finances and commercialization for the networks. RCN Televisión currently has an NTN24 office in Washington, where it’s “better located to access strategic markets such as New York, Miami and Los Angeles, and establish new alliances there.”

CATALOGUE

The Telenovela

RATINGS

Record’s Productions Reach Record Peaks ‘King David’, produced by Rede Record in Brazil as one of its many epic series has had an excellent performance on US Hispanic network MundoFox’s primetime. Since its premiere, the network increased its ratings by 300% in the US Hispanic market, and became one of its highest rated titles. Delmar Andrade, head of International Sales at Record TV Network, affirmed: “Fortunately, we closed this deal with MundoFox and the network registered amazing numbers,” he said. “There was notable growth in the 8:00 PM timeslot, Mondays through Fridays, with ratings 320% higher than a week before the premiere.” Meanwhile, the company is also enjoying great results with new HD soap opera ‘The Penny Lady’, which hit a record of 11 rating points this year in Sao Paulo. The production also reached peaks of 13 points and 19% share.

King Returns Televisa International, the distribution arm of Mexican giant Televisa, is once again at Mipcom to showcase a part of its prolific telenovela catalog. This year, some of the highlights of Televisa’s are focus on classic telenovela stories such as ‘Forever Yours’, where surprising events change the course of the lives of a couple and its relatives; ‘Life of Lies’ (150 x 60’), which follows the story of Oriana, a woman who thought she had a full life next to her husband, but destiny forces to run away to another country; and ‘Head Over Heels’, a classic story of unfulfilled love; among other titles.

AGREEMENT

Caracol Takes Formats to the US TTV MAGAZINE/T

Multimedia entertainment studio Electus announced that it has signed a one-year first look deal with Caracol Television for its scripted and non-scripted programming catalog. With the first look, Electus, along with its production partner Jay Weisleder, will develop, pitch and produce Caracol formats into the US market. This is the first deal of its kind for Electus. Caracol programming has adapted shows to air in various countries around the world, with great success. Their most notable telenovelas to make an international debut include ‘Without Breasts There is No Paradise’, ‘The Secretary’ and ‘Nuevo Rico Nuevo Pobre’. “It is with great pride that Caracol Television joins forces with a company of such high prestige as Electus,” says Lisette Osorio, VP of International Sales at Caracol Television. “We believe that this alliance will allow us to conquer the US market. This is the type of partnership that motivates us to continue to produce universal and unique stories without borders. Electus is always one step ahead and as content creators we feel that this type of vision will continue to reach audiences with international appeal.”

TTVTelenovelas report DEBUT Broken Angel Telenovela

T/TTV MAGAZINE

Airing From Humanity’s Cradle Telemundo announced it has started to air the Telemundo cable network in Africa, MAKING IT THE FIRST Latin channel dubbed into English and Portuguese to operate in the continent. By Sebastián Amoroso Twitter: @sebamoroso samoroso@todotv.tv

ince August 12 the Telemundo cable network has been available in Africa, a telenovela channel airing in English and Portuguese with presence in more than 48 African countries through DSTV, the digital pay TV platform of Multichoice. “Telemundo Internacional has been present in Africa since 2006, when we started airing our telenovelas in that continent, and we know that there has always been a strong appetite for this genre,” says Karina Etchison, SVP of Sales Europe, Middle East and Africa. “DSTV is one of the largest players in the African market, with 2.9 million subscribers. Joining this powerful platform represents a big opportunity to reach 48 African countries with a 24-hour telenovela channel completely dubbed into English and Portuguese,” she affirmed. The launch was sealed in an important event in Johannesburg, where the local media and clients gathered to enthusiastically welcome Telemundo’s talent, including Rafael Amaya, Aylín Mujica David Chocarro, Catherine Siachoque, Jorge Luis Pila and Angélica Celaya. Telemundo Internacional has successfully distributed content in the African continent since 2006, and it’s now reassuring its presence with the launch of a telenovela channel designed specifically for this territory. “For us it has been a competitive market, but we could offer the African audiences an alternative through the telenovela genre, differently from the ‘soapies’ that are common in the continent. It’s a big achievement for Telemundo Internacional, and if we succeed with them, we’ll be able to explore other markets anywhere in the world,” Etchison assures. PASSION FOR TELENOVELAS. With the motto “Telemundo, feel the passion,” the channel will offer successful productions within the romantic, mystery, adventure and action genres.

TTVTelenovelas report

“Telemundo Internacional has been present in Africa since 2006, when we started airing our telenovelas in that continent.”

The telenovelas that will premiere together with the channel’s debut include ‘Precious Rose’, ‘Aurora’, ‘My Heart Beats for Lola Volcán’ and ‘La casa de al lado’. All these productions will be watched in the region for the first time and they make part of the 1,400-hour agreement to air telenovelas. “Initially, the channel will air four hours and will add one

more hour three months after its debut. In six months, other telenovelas will be added,” Etchison explains. According to the executive, Telemundo Internacional is renowned for offering a “wide variety” of telenovelas, including the traditional genre of romantic stories, as well as mysLabour of Love Telenovela

CONTINENTAL PIONEERS Back in June, Marcos Santana, president of Telemundo Internacional, proudly confirmed the launch of the international channel in the African market. “With the launch of Telemundo Africa, the region sees the birth of the first pay TV Latin American channel in English language. We are very proud to extend the footprint of our Telemundo pay TV channel beyond Latin America via Universal Networks International,” he said. “We know that there is a huge appetite for top-quality telenovelas, the world over, and are looking forward to building a fan-base for this unique genre across Africa.”“The addition of Telemundo to our portfolio of channel brands is an exciting development for Universal Networks International and our channels’ business in Africa,” said Belinda Menendez, president, International Television Distribution and Universal Networks International, NBCUniversal. “We are thrilled to be bringing the channel to audiences in 48 African countries, and building our presence in this dynamic pay TV market.”

T/TTV MAGAZINE

tional telenovelas. Our productions are unique and original, both in their stories and talent, and they will charm the public, allowing them to disconnect from their daily routines,” Etchison concludes.

“Joining this powerful platform represents a big opportunity to reach 48 African countries.”

tery, drama, action and suspense. Likewise, Telemundo has stories inspired on real facts, such as ‘The Lord of the Skies’ and ‘The Queen of the South’, two stories that “have broken records in the United States and internationally, thanks to their high-quality production standards, scripts and casts.” Meanwhile, “all these telenovelas have been top products, and with this channel we want to offer the audience an alternative to tradi-

Some of the countries that will be able to enjoy this unique pay TV service include South Africa, Kenia, Ghana, Zambia, Zimbabwe, Angola and Mozambique, the latter two in Portuguese. Through this debut, Telemundo becomes the fifth channel brand from Universal Networks International to launch in Africa, joining the recently refreshed channels Universal Channel, E! Entertainment Television and The Style Network, as well as movies channel, Studio Universal. ttv

TTVTelenovelas interview

Jonathan Blum, President, Cisneros Media

Moving Behind Telenovelas The drama production area of Cisneros Media is mainly focused on telenovelas and TV series produced in the studios the Grupo Cisneros company has in the US and Venezuela. Cisneros Media invests US$80 million to produce six telenovelas a year. In addition, it looks to increase the production of TV series and offer production services to third parties.

n the following interview, Jonathan Blum, president of Cisneros Media, explains what new outlines the Grupo Cisneros company has started implementing to develop new content.

Jonathan Blum,

President, Cisneros Media “We currently produce six telenovelas a year in average, which translates into 700 hours.” By Sebastián Torterola

T/TTV MAGAZINE

Twitter: @storterola storterola@todotv.tv

In general terms, what are Cisneros Media’s goals and strategies for the development of original telenovelas? There are two main outlines: to increase our participation in the production of TV series to engage the audiences that prefer less traditional stories with a more dynamic pace. On the other hand, we aim to continue going deeper in the generation of contents that satisfy the taste of global audiences. Additionally, we’re exploring co-productions that guarantee the development of an increasingly global product. How many telenovelas does the company produce on average? Considering our studios in Miami and Caracas, Venezuela, we currently produce six telenovelas per year on average, which translates to 700 hours. How many people work in the development of the Cisneros Media telenovelas? We count on a team of fifteen scriptwriters, 25 directors, some 40 producers, plus around 1,000 people related to production and services. Additionally, we must add to this the great amount of talent participating in each one of our productions. Not to mention the hundreds of indirect employees that work in a production, independently hired to provide services like security, catering, transport, etc. Telenovelas are definitely an important job source.

Could you describe how do these production poles work? Traditionally, the Venezuelan production center concentrated its efforts in satisfying the needs of our TV channel, Venevision; and the Miami facility focused on the US Hispanic market’s needs, through our agreement with the Univision network. But this is onw of the big changes I want to implement. The objective is to achieve a global vision as a content production house; our facilities have to operate with more synergy and following the same direction. The purpose is to generate high quality content, independently from where they are produced. Meanwhile, we’re opening a new business line in our facilities in Miami: production services for third parties. We want to turn our production houses into real content generation studios, be it or own or others’.

TTVTelenovelas interview

“More than US$80 million are used to produce telenovelas each year.” “We count on a team of fifteen scriptwriters, 25 directors, some 40 producers, plus around 1,000 people related to production and services.”

Gabriela Telenovela

What is the budget assigned to the telenovela production area at Cisneros Media? More than US$80 million are assigned for telenovela production each year.

T/TTV MAGAZINE

How would you describe the process that results in the creation of a new telenovelas? First, the process is included in the company’s annual plan, which is associated to multiple factors. The election of the story responds to a demand from the screen, whereas the conceptual development is a collaboration process headed by the scriptwriter. After a strategy is set and the description of the characters is made, we begin the preproduction process, which is obviously followed by production and postproduction. The

complete process totals an average of ten months for telenovelas and seven months for TV series. What are the latest telenovelas developed by Cisneros Media and how did they do on air? Our most recent productions are ‘Cosita linda’ (Venevision Productions/in production), ‘Rosario’ (Venevision Productions), ‘Lucía’s Secrets’ (Venevision, Venezuela/Venevision Productions), ‘Corazón esmeralda’ (Venevision, Venezuela/in production), ‘Love Gone Crazy’ (Venevision Venezuela) and ‘My Ex Wants Me’ (Venevision Venezuela). All the productions for the Venezuelan market are rating leaders in their time slot; for instance, primetime production ‘My Ex Wants Me’ had an audience share above average, which contributes to Venevision’s growth. Likewise, telenovelas ‘Love Gone Crazy’ is also having a superb performance on primetime. What is Cisneros Media’s international projection for its telenovelas? The telenovela continues to be the most programed genre on primetime in the Latin America and US Hispanic broadcasters. Despite cultural and language differences, the advantage of the genre is that it travels beyond boundaries. There are countless examples of Latin American succeeding in Europe, Africa or Asia. What projects is Cisneros Media currently producing? We currently have three telenovelas and one TV series in production. ttv

The Brave Ones

Corazón en Condominio

Football Dreams: A World Of Passion

La Clínica

Artear

Azteca

Caracol Televisión

Comarex

Lima 1261 - C1138ACA, Buenos Aires , Argentina Tel.: 54 11 4306 0013 Web: www.artear.com Booth: 20.18

Periférico Sur #4121 Col. Fuentes del Pedregal. CP 14141 Mexico City, Mexico Tel.: +5255 52511410 E-mail: sales@comarex.tv Web: www.comarex.tv Booth: LR2.06

150 Alhambra Circle. Suite 1250. Miami, FL, 33134 USA Phone number: (+1) 305-960-2018 Fax: (+1) 305-960-2017 Web: www.caracolinternacional.com Suite: 13.21

Executives Attending

Bosque de Duraznos #69-905, Bosques de las Lomas, México D.F., 11700 Tel.: +52 55 52 51 14 10 Fax: +52 55 52 51 14 09 E-mail: sales@comarex.tv Web: www.comarex.tv Booth: LR2.06

Executives Attending

Daniel Zanardi, General Manager Pablo Codevilla, Content Manager Eduardo Fernández, Head of Production Walter Sequeira, Acquisitions Manager Facundo Bailez, Acquisitions Executive Natalia Affranchino, Operations Assistant, International Sales

top EXECUTIVE

Marcel Vinay Jr., CEO Comarex Jesica Stescobich, Sales Central America Carmen Pizano, Sales Latin America and Spain Ernesto Ramirez, Operations Director and New Media Martha Contreras, Sales Asia Adela Velasco, Sales Eastern Europe and Africa Raul Mendoza, Marketing

Luciana Egurrola, Senior Sales Executive, International Sales

Berta Orozo, Sales Executive for Western Europe and Africa Estafania Arteaga, Sales Executive for Eastern Europe and Asia

top EXECUTIVE Lisette Osorio, International VP

top EXECUTIVE

Executives Attending

top EXECUTIVE

Marcel Vinay Hill, VP International Sales

FOOTBALL DREAMS: A WORLD OF PASSION

The Brave Ones

(60 x 60’)

(Valientes) (Telenovela – 218 x 60’) The time has come for three brothers to take the law into their own hands. Thirty years ago, the most powerful man in town decided the fate of these brothers. Owner of a large stretch of land, that man, Laureano Gomez Acuña, stole Roque Sosa’s land, plunging him into terrible poverty. Aware that he would never recover his land, Roque’s feeling of impotence sent him to an early grave and he left his three little sons utterly defenseless. The brothers have led a separate life and now it is time to see justice done. Determined to avenge their father’s death, Leonardo decides to look for his brothers Segundo and Enzo. Soon they come across three women that will change their lives. Time goes by and their plan is carried out, inch by inch. Vengeance begins to take shape... However, love will also play a central part in this bitter struggle.

Wolf

(Lobo) (Telenovela - 55 x 60’) The lore of the Wolf. Lucas is the seventh son of a seventh son after his 30th birthday, during full moon he becomes half man half wolf. Animal instincts woven into a love story. The hunter will hunt him down.

The Social Leader

T/TTV MAGAZINE

(El Puntero) (Series – 36 x 60’) ‘The Social Leader’ tells the story of a political staffer, a man that keeps his dreams alive in a very peculiar way: through the political and social work within a neighborhood. He influences the actions and drives the destinies of the neighbors he represents in the area he has taken control of ‘The Social Leader’ is a personal story that portrays the path of frustrations and unfulfilled wishes.

Marcel Vinay Hill, VP International Sales

Corazón en Condominio (Drama - 120 x 60’)

Oscar Leal is a very charismatic and noble taxi driver. He has no worries in life, except to collect money for his famous “karaoke night parties”. But everything changes when he meets Tatiana, a very smart and educated young woman who he knows is out of his league. But when Oscar wins the lottery, he will do everything in his power to win Tatiana’s heart, even to the extent of buying a condo in her expensive building. Now, he will have to prove to her that he is truly worthy of her love.

Prohibido Amar (Drama)

Inside the Consorcio Aguilera textile emporium there is a passionate triangle between Gabriela Ramirez, a successful fashion designer, Ignacio Aguilera, the owner of the company and Rafael Hernandez Cosio. With almost 40 years on his shoulders, Rafael ignores the indestructible link that ties him to the Aguilera family – a blood link where Ignacio is his real father. But another strong link to this family is his love for Gabriela, a love so strong that it will separate him from the man who gave him life and a love, which will pull him closer together to his father’s wife.

Is a tour around the entrancing world of football and the hectic lives of four emblematic players from the Colombian National Football Team: Carlos Valderrama, Freddy Rincón, René Higuita and Faustino Asprilla. A production with a fiction touch that recreates true facts, sacrifices, disappointments, happy moments and experiences lived both in and outside the soccer field, which are unknown by fans.

THE VOICE OF FREEDOM, HELENITA VARGAS (60 x 60’)

This is the story of Helena Vargas, a woman eager to become emancipated during an extremely machista time (the fifties). She found in Mexican music a way to express her deep desire for freedom, overcoming all obstacles in a prejudiced society, beginning with her family, until finally attaining success and fulfilling her childhood dream.

THE LORD OF THE SKIES (65 x 60’)

Follow Aurelio Casillas’ journey in his efforts to become the leading, and only, drug dealer in Mexico in the ‘90s, taking Pablo Escobar’s place in the region. To do so, he must overcome all sorts of obstacles, in a whirlwind of action, emotions, unbridled passions, luxuries, intrigue, and betrayal. But, in Aurelio’s way is Marco Mejia, a police officer with the goal of capturing him. After the appearance of his picture in the press, Casillas, whose fleet of 27 aircraft has earned him the nickname “The Lord of the Skies”, decides to undergo a risky plastic surgery to change his face and disappear without a trace, putting the lives of his beloved Ximena and their children at risk. A co-production of Caracol Televisión and Telemundo.

LA CLINICA

(THE CLINIC) (Telenovela/Comedy - 120 x 60’) ‘The Clinic’ is a TV series that takes a look at the amusing love stories that develop within the confines of a psychiatric clinic. The series also explores the strange and whimsical ways of the human brain and its mental disorders. This is a crazy, romantic comedy in which the patients, doctors, nurses, their family members and the odd madman (madly in love, that is!) are the stars!

ÚLTIMO AÑO

(SENIOR YEAR) (Telenovela - 70 x 60’) Martin is a young and handsome man. Everyone thinks he is the ideal boy. He joins a very important school thanks to a scholarship program and lives at Benjamin house, the most popular guy in school who is in love with Celeste. Martin also falls in love with Celeste and he starts manipulating Benjamin who ends up all alone, unpopular and without any friends. Having stolen his whole life Benjamin now has to try and reclaim what belongs to him and take control of what’s been taken away from him by his new “friend”.

EL ABERGUE

(THE SHELTER) (Telenovela/Comedy – 140 x 60’) ‘The Shelter’ is a mirror of a typical dysfunctional family: an absentee father, an over-protective mother, children who can’t let go of their mother’s apron strings and their equally unstable parents, not to mention the maid and the grandfather who is forever in the way. All living under the same roof with hilarious results!

Enigma

Brazil Avenue

Allá te espero

Joseph from Egypt

Dori Media Group

Globo

RCN Televisión

Record TV Network

Seefeldstrasse 133, CH-8008 Zurich, Switzerland Tel.: +41-43-817-7050 Fax: +41-43-817-7055 E-mail: sales@dorimedia.com Web: www.dorimedia.com www.dorimediadistribution.com Booth: Booth 12.02

Rua Evandro Carlos de Andrade, 160 / 7º andar, Vila Cordeiro 04583-115, São Paulo, Brazil Tel: + 55 11 5112- 4405 Fax: + 55 115112- 4018 Web: www.globo.com/licensing Stand: A0.01

Ave. Américas # 65 – 86 Tel.: (571) 4269292 ext 1189, 1190,1199 Email: mhernand@rcntv.com.co Website: www.rcnventasinternacionales.com Booth: 11.22

Rua da Várzea, 240 - Barra Funda, São Paulo, Brasil. CEP: 01140-080. Tel.: +55 11 3300-4022 E-mail: emendes@sp.rederecord.com.br Web: www.recordtvnetwork.com Booth:

Executives Attending

Leora Nir, VP of Content, Dori Media Group Andres Santos, VP of Sales, Dori Media America Revital Basel, VP of Sales – Israeli content, Dori Media Group Maria Perez Campi, Sales Manager, Dori Media Distribution Argentina Sivan Menashe, Sales Manager, Dori Media Group Tali Fink, Director of Acquisitions, Dori Media Group Yoni Paran, CEO, Dori Media Darset Yair Sklan, VP Marketing, Dori Media Darset Clair Elbaz, CEO, Dori Media Spike

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Executives Attending

Raphael Correa, Executive Director of International Business Guilherme Bokelm Executive Director of International Entertainment Bruno Guerra, Head of Product Development Daniel Djahjah, Head of Sales Gabriel Rohonyi, Sales Executive Ramona Bakker, Production Manager Pedro Dombrasas, Sales Manager EMEA Rodrigo Vilela, Sales Executive África Bruno Assumpcao, Sales Executive Eastern Europe João Fonseca, Sales Executive Asia Pablo Ghiglione, Sales Executive Mrs. Krambeck, Carolina, Sales Executive Eastern Europe Mrs. Bayma, Claudine, Marketing Coordinator

Nadav Palti, President & CEO, Dori Media Group

top EXECUTIVE

Ricardo Scalamandré, Head of International Business

Enigma

(Daily Drama – 150 x 30’ / 75 x 60’) When a thriving family business depends on one man’s talent, his mental deterioration becomes another legitimate tool in the game. But the family of the comic strip artist, Adam, goes one step too far, when they encourage his overwhelming infatuation with Sophie, the girl of his dreams, Without telling him that she is only a figment of his imagination. Adam indeed overcomes his writer’s block, but they never thought that this infatuation is about to reveal the family’s darkest secret, that up until now, stayed buried deep in the past.

BRAZIL AVENUE

The Village

SPARKLING GIRLS

(Reality)

(Telenovelas - 120 x 45’ HD)

A new reality TV format in which five nuclear families are taken from their comfortable, modern lives and brought to an uninhabited area in order to build a new settlement and a new community along with other families that are totally different from them culturally, socially and from a socio economic aspect. The families will say goodbye to 21st century clothes and accessories and delve into a reality in which you communicate with your family members by actually talking to them. Will the family cell survive the reality tasks?

‘Sparkling Girls’ centers around three young and beautiful, hard-working housekeepers who reach stardom instantly when an online video clip of them singing, surprisingly becomes a hit. Their success provokes the wrath of a glamorously gaudy and outspoken famous singer who will do anything to ruin the girls’ friendship and career. With humor, romance, over the top characters, and bright, glittery stage performances set to catchy tunes, ‘Sparkling Girls’ delivers all of the expected delights and shows that dreams really do come true.

(Telenovela - 160 x 45’ HD) ‘Brazil Avenue’ is a dynamic, lifelike, and modern telenovela that reveals how blind ambition and inflicted cruelty can change the course of a life. This is the dramatic story of Rita, who struggles to recover the life her dreadful stepmother Carminha took from her when she was a child. She will have to confront her past and decide how far she is willing to go to exact revenge on the people that hurt her the most.

Executives Attending

Gabriel Reyes Copello, President Lina María Waked, International Sales Monica Alvarez, International Sales Ricardo Cruz, Acquisitions Director

Executives Attending

Edson Pfutzenreiter Mendes, International Sales Manager

top EXECUTIVE

Delmar Andrade, International Sales Director

Maria Lucia Hernandez, Director, International Sales

ALLÁ TE ESPERO

(WAIT FOR ME!) (Telenovela – 120 x 60’) Rosa Maria supports her husband to make his American dream come true. Alex lives in New York and his dream is to reunite with Michael and Rosa Maria, but destiny plays a bad pass, since Michael is the only one that is able to travel because Rosa Maria is returned at the airport and is forced to stay in Colombia. Her daily struggle is to find a way to be with her son again, especially after discovering her husband’s betrayal. She falls in love again with the man that is currently her boss, but he doesn’t know about Michael’s existence and doesn’t know how to forgive Rosa Maria for her deception.

TRES CAÍNES

(THE THREE CAINS) (Series – 75 x 60’) ‘The Three Cains’ relates the incredible real life story of the Castaño brothers: Carlos, Fidel and Vicente, who shook Colombia’s history in their quest for justice and vengeance after suffering a family tragedy on the hands of the guerilla. They created the world’s most powerful private army financed by landowners, politicians, military men and drug dealers, with the purpose of ending the guerrilla but at the end, they ended up dragging with them the entire nation in a war that destroyed even their whole family.

EL CAPO II

(DON PEDRO: STORY OF A DRUG LORD II) (Series - 76 x 60’)

(José del Egipto) (HD Series - 38 x 60’) Joseph, the miracle son of Rachel, a sterile woman, and Jacob, is chosen as his father’s successor. He’s betrayed by his brothers and sold as a slave, taken to Egypt where he interprets dreams for Pharaoh Apepi. When his brothers travel to Egypt in search for food, they don’t recognize their brother, who’s now the only one who can save them, despite their betrayal.

The Penny Lady

(La Pichinchona) (HD Soap Opera – 45’ x on air) Open market worker Carlota Losano is an uneducated, kind and explosive woman, who abandoned by her husband, Esmeraldino, acts as mother and father for her children, Édison and Rosália. With an exciting story and an involving plot, ‘The Penny Lady’ offers the viewer a variety of genres: romance, humor, action and drama.

Tricky Business

(Los Tramposos) (HD Soap Opera - 163 x 45’) Isabel Vilela is married to Danilo and about to fulfill her greatest wishes: she’s pregnant and will inaugurate her own architecture firm. Yet, all of her dreams vanish when she discovers her husband has a gambling habit and is drowning in debt. This causes her to lose her baby and put an end to their relationship. The story also features her sister Teresa, her husband Nestor and their daughter Tais.

TTV MAGAZINE/T

Despite the intention of trying to abandon the drug business and taking a new path, “The Drug Lord” has been involved in a new war, this time against The Mexican drug lord “Pacífico Blanco.” In The drug Lord rush from trying to be with his family that has suffered the extradition to the United States. Now vengeance, passion and mainly the action will not have limits.

Joseph from Egypt

Neighbors At War

Broken Angel

Telefe International Prilidiano Pueyrredón 2989 2nd floor. (B1640ILA) Martinez – Buenos Aires – Argentina Tel.: (5411) 4102-5810 Fax: (5411) 4587-4349 E-mail: sales@telefeinternational.com.ar Web: www.telefeinternational.com.ar Booth: RSV 14 (Riviera Sea View)

Executives Attending

Guillermo Borensztein, Business Development & Research María Eugenia Costa, International Business Executive - Programming, Formats & Production Services María del Rosario Cosentino, International Business Executive - Programming, Formats & Production Services Diana Coifman, International Business Senior Executive - Programming, Formats & Production Services Meca Salado Pizarro, Head of Marketing:

top EXECUTIVE

Forever Yours

Telemundo Internacional 2555 Ponce de Leon Blvd., 4th Floor Coral Gables FL 33134, USA Tel.: (305) 774-0033 Fax: (305) 774-7372 E-mail: Olimpia.DelBoccio@nbcuni.com Web: www.telemundointernacional.com Stand: A0.21

Executives Attending

Xavier Aristimuño, SVP Sales & Business Development Esperanza Garay, SVP Sales & Acquisition, Latin America Karen Barroeta, Senior Vice President International Cable Karina Etchison, VP of Sales – Europe, Africa and Middle East Melissa Pillow, Sales Director – Europe Olimpia Del Boccio, Marketing & Promotions Director Emanuela Bosco, Format Sales Manager

top EXECUTIVE

Claudio Ipolitti, International Business Director

Marcos Santana, President

NEIGHBORS AT WAR

(Family Comedy - Approx. 150 x 60’)

T/TTV MAGAZINE

‘Los Vecinos en Guerra’ is the new comedy that airs Monday through Thursday at prime time on Telefe. It is produced by Underground, Endemol and Telefe, the same creative team that brought the 2012 hit, ‘Graduates’. It is aired by Telefe Tuesday through Friday at 10:30pm registering an average share of 35%. It is the story of Mecha and Rafael, The Crespos. Mecha is a 40-year-old housewife, who, 20 years ago was a member of a gang of swindlers but nobody in her current life knows about her past. In the past, Mecha worked with Alex, who recruited her for that kind of task and became her first love, and with Ciro, who planned and financed the scams. A robbery failed and the group dissolved. She changed her identity and started a new life, far from the world of scams. Mecha has never told Rafael her secret and even if they are happy, she is a bit bored of being a mother and a wife. One morning, which seemed just like any other morning, they discover the most luxurious and expensive house of the neighborhood has new occupants: The Mayorgas. When Mecha sees them, she is shocked to discover that the father of the family is Alex, her old flame and partner in crime, whom she believed dead.

BROKEN ANGEL

(SANTA DIABLA) (Telenovela 120 x 60’) Santa Martinez married her lifelong sweetheart, Willy Delgado, and together they had a son. Their happy lives are shaken when Willy is hired as the music instructor for Daniela Cano, the granddaughter of the town’s most powerful lawyer, who heads the prestigious Cano Law Firm. Willy is trapped when he discovers that Daniela is using illegal substances and when Barbara, her mother, becomes obsessed with him. When he rejects the seduction of Barbara, she and her daughter decide to take revenge and accuse Willy of sexual harassment. The Cano family successfully incriminates him, sentencing him to 30 years of prison. Santa is unable to forget, and much less, forgive, and she decides to leave behind her life to become Amanda Braun, in order to taken down one-byone all of those responsible for Willy’s demise. What Santa did not expect was that while carrying out her vengeance, she might fall in love with Santiago Cano, the youngest brother of the family, and she would have to choose between her love for her late husband or a new hope – the man who could be her future.

Lucia’s Secrets

Televisa Internacional

Venevision International

6355 NW 36th Street Miami, FL. 33166 USA Tel.: +1 (786) 265 2500 Fax: +1 (786) 265 2269 Web: www.televisainternacional.tv Stand: Riviera Sea View.02

121 Alhambra Plaza, Suite 1400 Coral Gables, FL 33134 (USA) Tel.: +1 (305) 442.3411 / Fax: +1 (305) 446.4743 E-mail: info@venevisioninternational.com Web: www.venevisioninternational.com Stand: 14.02

Executives Attending

Carlos Castro, General Sales Director Ricardo Ehrsam, General Director of Europe and Asia Mario Castro, Director of Asia and Africa Claudia Sahab, Director for Europe

top EXECUTIVE

Executives Attending

Miguel Somoza, Sales Director, North America & Asia Daniel Rodriguez, Sales Director, Latin America Cristobal Ponte, Exclusive Independent Representative for Europe, Africa & M.E. Juan Julio Baena, President, Vision Europa, Exclusive Independent Representative for Spain

Fernando Pérez Gavilán, VP of Televisa Internacional

top EXECUTIVE

Cesar Diaz, Vice President of Sales

Forever Yours

(Telenovela/Classic - 150’) Arturo De La Riva has been happily married to Eugenia for 10 years, which they share with their only daughter, Aranza. But not everything is happiness for the couple, Sonia, Eugenia´s cousin, is consumed with an obsessive love for Arturo. Meanwhile, Isabel Lopez Cerdan spent two years living a farce, believing she was married to Fernando Cordova. Surprising events will change the course of both their lives, Eugenia dies unexpectedly and at the same time Isabel discovers that Fernando is a con man. After such hard blows, Isabel and Arturo are joined by destiny in a heavenly beach in Mexico, giving birth to a romance that will have to overcome the obstacles of Sonia´s manipulation and Fernando´s hunger for revenge.

Lucia’s Secrets

Life of Lies

Currently in production. The Lujan and Rincon families live in almost opposite worlds; the Lujan’s live a privileged life among luxury, enjoying the benefits of high-class economic status; while the Rincon’s are a middle-class family, simple, hard-working and close-knit. Fate, and the love between Diego Lujan and Ana Rincon, will lead these two very different families to cross paths, uniting them forever.

(Telenovela/Classic - 150 x 60’) This is the story of Oriana, a woman who thought she had a full life next to her husband, Jose Luis, and her little daughter, Alina. Nevertheless, destiny is about to offer her a path full of hardships in which she is forced to run away to another country because of her husband. There, fate will confront her again, compelling her to take over another woman´s personality in order to protect her daughter, ignoring that this new identity has a dark hidden past. This way, Oriana will find the chance to start a new life in which she will run into Ricardo´s love, with whom she will have to face all her lies. Once the truth is revealed, only love will be capable of getting over the past.

(Los Secretos de Lucía) (Tele-Series – 75 approx. x 45’) This action-packed series breaks away from the classic telenovela. Amnesia leaves Lucia with an unknown past and uncertain future as she navigates through life running from an unknown threat. She struggles with flashes of who she was – a ruthless arms dealer and killer - and who she wants to be. Struck by love, Lucia must first bury her horrid past before it destroys her promising future.

Sweet Thing

(Cosita Linda) (Telenovela - 120 approx. x 45’)

Miss Venezuela, All For The Crown (Miss Venezuela, Todo Por La Corona) (Reality Series – 15 x 45’)

The series consists of three stages: “The Casting,” traveling through Venezuela in search of the Top 50 candidates; “From Candidates To Misses,” 24 contestants are selected and assigned the coveted sash, moving into the official housing, Quinta Rosada; “Quest For The Crown,” contestants are groomed, rehearse, and undergo tougher testing and training in order to become the next representatives of Venezuela in the most important international beauty contest in the world, “Miss Universe.”

Executives ttv

Bases Loaded “Interaction and involvement,” that’s the motto Pedro Citaristi sees content developers living under from now on. As Distribution manager, he explained how Atlantyca Entertainment is preparing for this multiplatform future, with projects in all fronts: television, publishing and digital. By Carolina Mussio Twitter: @Carolinamussio cmussio@todotv.tv

Bat Pat Series

Pedro Citaristi,

Distribution Manager, Atlantyca Entertainment to search for new partners in multiple platforms. The distributor is presenting ‘Geronimo Stilton’, which already sold in 100 countries, to find new broadcasters for it across the globe; along with ‘Bat Pat’, a new series it currently has in production. In addition, it’s also bringing ‘The Fixies’ and ‘Taka & Maka’ for the first time. “In addition, we are always interested in looking for strong shows to represent as distributor worldwide or in specific regions,” he said. These “specific regions” may very well be in Latin America, described by Citaristi as “absolutely one of the regions with more growth potential in the world” and “already an important player in the industry.” Atlantyca Entertainment already has important partners in Latin America, such as Editorial Planeta, the publisher for ‘Geronimo Stilton’ in the region. “Starting from this Mipcom, we’ll be very focused on that area, trying to sell our series to regional and local channels,” he concluded. ttv

Taka&Maka Series

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can’t beat them, join them. The executive beransmedia company Atlantyca lieves that as the future of the entertainment Entertainment develops business industry evolves, it’s best to change strategies that cover everything along with it. from creating content for pu“I believe blishing, animated series, ‘interaction’ and “I believe ‘interaction’ and ‘inTV titles and digital exploitation. ‘involvement’ volvement’ will become the key “We’re always focused on develowill become words for the content produping our own brands with a 360° the key words cers,” he said. “For us as producers strategy,” said Distribution manager for the content and distributors it has a double Pedro Citaristi, who spoke to ttv and producers.” meaning: from one side we have shared his views on the industry’s futo create new contents able to satisfy ture and his company’s role in it. the need of the young audience and from the other, we have to be able to deal with these “I think we will see a growth in terms of marnew players in the market.” ket share of the digital platforms offering content on demand,” he said, explaining this Ready to face this double challenge, Atlanexpansion will make online services a “serious tyca is headed to Mipcom with both new competitor for the traditional home enterproducts to offer the market and the goal tainment companies.” And as they say, if you

Article ttv PRODUCTION

Football Idols Caracol Television’s last big bet is ‘Football Dreams: A World of Passion’, which delves deep into the soccer universe following the life of four world-renowned players. The promising series also works as a preview of the Brazilian World Cup in 2014. By Sebastián Amoroso

Twitter: @sebamoroso samoroso@todotv.tv

Asier Aguilar,

Executive Producer of ‘Football Dreams: A World of Passion’ by Caracol Television “This idea was born from Colombia’s probable qualification to the Brazilian World Cup and Olympic Games, where the country’s team is doing well. Soccer has always been important in this country and, within it, one can find great stories belonging to players that have also been an important part of this country,” Asier Aguilar, executive producer of ‘Football Dreams: A World of Passion’, tells ttv. “From there, we decided to tell the story of four players that opened the doors of international soccer for Colombia.”

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eries ‘Football Dreams: A World of Passion’ is Colombian Caracol Television’s greatest bet after the successful and surprising plot twists of series ‘Pablo Escobar: The Drug Lord’. Aired on July 3, Caracol Television’s new series is a passionate quest deep into the soccer universe, as told by the lives of four emblematic Colombian players: Carlos Valderrama, Freddy Rincón, René Higuita and Faustino Asprilla. With just a dash of fiction, the series recreates the facts, sacrifices, deceptions, joys and anecdotes -inside and outside the football field- that fans barely know of.

This is not the first time that Caracol Television includes real-life characters and historical facts in fiction. The Colombian channel already has an impressive array of productions where real situations or characters are recreated in high-impact productions, both in the artistic and technical sense. “Real-life character stories have worked for us when it comes to ratings. It’s the case of ‘Without Breasts There Is No Paradise’, of ‘The Witch’, of ‘Pablo Escobar: The Drug Lord’, ‘Rafael Orozco: The Idol’ and, now, ‘Football Dreams’,” Aguiar explains. “And not all of them are stories related to drug trafficking or the country’s current conflicts; we also have musicals and light stories like the

“This idea was born from Colombia’s probable qualification to the Brazilian World Cup and Olympic Games, where the country’s team is doing well.”

ones belonging to these four players,” he stresses. ‘Football Dreams: A World of Passion’ takes this winning formula and tells the story of four emblematic Colombian players and their journey through the zealous world of soccer: Carlos Valderrama, Freddy Rincón, René Higuita and Faustino Asprilla. “We researched each of these players for three months to learn about their lives both at home and on the soccer pitch. From there, we created a great plot and every 15 days would meet to better define the fictional plot lines and conflict points that would complement the main story,” the series’ executive producer remembers. The series’ production belongs 100% to Caracol Television and cost around US$ 200,000 per episode. Script writing was in charge of writers César Bentacur, Juan Andrés Granados and Perla Ramírez, while Luis Alberto Restrepo and Ricardo Coral directed. Shoots were held on location in different regions and cities throughout Colombia such as Cali, Medellín, Santa Marta, Cúcuta and Bogotá, with two units constantly working during seven months to create 65 episodes shot with three independent HD cameras. Each unit had an average of 60 people working for production, 25 actors and over 900 guest actors. “The casting and characterization process was long,” Aguiar tells us. “It took four months, whe-

Article ttv

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“Real-life character stories have worked for us when it comes to ratings.”

re we held several casting sessions in different Colombian cities. We looked for acting skills and not necessarily football skills, since we knew we’d be using stunt doubles for most sequences. Our makeup team’s work is also astounding - we used the same people that worked in the Pablo Escobar series,” he adds. Likewise, post producing the soccer matches also took a lot of time. “Recreating the football matches took the longest in postproduction because we needed to fill up stadiums and create that particular atmosphere one senses in real-life matches,” Aguiar explains.

“’Football Dreams’ is a universal story and that’s why it’s working in other countries that air it.”

The product is already generating buzz. “There have been great expectations ever since we launched the promotional campaign. Right now, it’s the most-viewed program of Colombia’s primetime, averaging 38% share and 14 rating points,” the executive highlights. It seems that ‘Football Dreams: A World of Passion’ will have no trouble fitting into the giant space left by the success of ‘Pablo Escobar: The Drug Lord’ in the international market. “’Footbal Dreams’ has become an international event. This series not only shows four

football idols in the field. We wanted to show an authentic, yet-unrevealed story about these heroes, focusing on their private lives. Their everyday lives, their loves, their failed relationships. Their intense struggles to keep their personal life as successful as their professional one,” Aguiar says. “’Football Dreams’ is a universal story and that’s why it’s working in other countries that air it. We have no doubts that its journey around international screens will continue to grow, because the story is designed to conquer new frontiers.” ttv

Executives ttv

Double

the Fun

Having added original scripted series from AMC and Sundance Channel to its already copious content catalog, Entertainment One is headed to Mipcom with an eclectic lineup and the determination to find new partners and regions for its titles. By Carolina Mussio

EVP, Entertainment One

Twitter: @carolinamussio cmussio@todotv.tv

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Valerie Cabrera,

said. AMC’s titles are ‘Halt & Catch Fire’, a series his year marks a time of real growth set in the early 1980s, which dramatizes the for international production and personal computing boom through distribution company Entertainthe eyes of a visionary, an engiment One, with new titles, “I see a lot neer and a prodigy; and ‘Turn’, both self-made and acquimore production which tells the story of New red, that have doubled its content for the York farmer Abe Woodhull, offer, making it “one of the most international who bands together with an exciting line-ups for Mipcom,” said market coming unlikely group of spies who EVP Valerie Cabrera. With a reout of Argentina turn the tide in America’s fight newed catalog up her sleeve, her as well as more digital platforms for independence. “expectations are high.” evolving.” And from Sundance Channel, the This catalog got notably larger in distributor is presenting ‘The Red Road’, September, when eOne signed an a hard-hitting drama that revolves around exclusive agreement with AMC, whereby it a local cop struggling to keep his family towill be handling international distribution for gether while simultaneously policing two all original scripted series from US-based AMC clashing communities. These new acquisiNetworks’ AMC and Sundance Channel. tions join eOne’s vast catalog of productions, featuring series such as ‘Klondike’, ‘Welcome “We are super excited to be bringing the first to Sweden’ and ‘Bitten’. projects under that deal to Mipcom,” Cabrera

“Our main goals and objectives are to maximize sales, move library content and develop new business opportunities worldwide in all media,” the executive said; opportunities that may be found in Latin America, more precisely Argentina, this year’s Mipcom Country of Honor, where Cabrera sees “a lot more production for the international market as well as more digital platforms evolving.”

Perfect Storms Documentary

Rogue Series

Panic Button Reality

With this rising territory in sight, eOne has set two clear goals for the international market: to “produce projects with Latin American actors and Argentine facilities,” and “upping our social media, looking more at web content development.” ttv

Gallery tradeshow

MiPTV 2013 May 8 to 11, Palais des Festivals, Cannes, France

Laurine Garaude, Paul Zilk and Reed Midem execs celebrate Miptv’s 50th Anniversary at the Palais des Festivals

Roxana Rotundo (VIP 2000 TV) and Can Okan (ITV Inter Medya)

Delmar Andrade and Edson Pfutzenreiter Mendes (Record TV Network)

Tim Hincks (Endemol)

Ma Runsheng (China International TV Corporation) and Manuel Pérez (Venevision International) sign agreement for the distribution of documentary ‘Los Mega Proyectos de China’ in Latin America

Oscar Rangel (National Film Board of Canada)

Darío Turovelzky (Telefe)

Nick Dorra (Rovio Entertainment)

Michael Stevens (VSauce) during his conference at the Palais des Festivals

Miri Dori Mor and Yair Dori (YAIR DORI)

55 ,00 0

ttv to me do d tv ian ne ew ws s. . c U co om (m niq m

(S ou rc e: Go og le

The 50th Miptv drew in over 11,000 visitors from 100 countries, with 4,000 buyers and an increased attendance from digital players. Out of the total number of buyers present in Cannes, 800 came from digital platforms and services, whose attendance grew 30% from 2012. The borders between traditional TV and the digital world have seemingly disappeared. Likewise, among conferences, announcements and deals, Argentina was appointed the Mipcom 2013 Country of Honor. “After a great first 50 years, we’re ready to start out on the next 50 year adventure,” said Laurine Garaude, director of Reed Midem’s Television division.

Hannu Uotila (Rakett Ijengi)

Vanessa Palacios Quirós (Secuoya International)

Liliana Mazure (INCAA) and Paul Zilk (Reed Midem) during the press conference where Argentina was appointed the “Country of Honor” of Mipcom 2013

Damián Kirzner (Newsock) and Marcel Vinay Jr. (Comarex)

Martin Lin and the Taipei Multimedia Production Association team

An al yt ics -

nt Oc to hl be y r2 01 av 3) er

vi sit o ag rs e

Luis Villanueva (SOMOS Distribution)

Galina Ikryannikova, Maria Brenerman, Maria Tyabova and Elina Klyuchnikova (Russia Television and Radio)

Mario Rodríguez (Filmedia World Entertainment)

Vera Manova and Anastasia Lunkova (Sojuzmultfilm)

Vicky Ji-hye Kim, Jean Hur and Sky Kim (MBC Korea)

)

Executives ttv

The Japanese Pioneer This year Nippon Television Network Corporation (NTV) is celebrating its 60th Anniversary. It was on August 28th, 1953 when the first commercial broadcaster in Japan aired its first broadcast. “This is a special year for NTV as we celebrate not only our 60th anniversary, but also 60 years of broadcast in Japan,” says Yukiko Kimishima, NTV divisional president of International Business Development. By Sebastián Torterola Twitter: @storterola storterola@todotv.tv

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Yukiko Kimishima,

Divisional President of International Business Development, Nippon Television Network Corporation (NTV)

llenges. We create huge entertainment shows joyed a 40% viewer rating (52.6% share), the utting-edge innovations on its which none of the other broadcasters have highest for dramas broadcast in Japan digital platform have made the done before,” she concludes. ttv in the 21st century. It has won vachannel successful in exrious awards both at home and panding its viewer en“Our programs abroad and has been remade gagement. “We are the are recognized as in South Korea, where it is undisputed leader in Japanese I’m Mita, Your Housekeeper being educational Drama Series broadcast on SBS in Septemsocial television, having pioneeand cultivating ber,” she explains. red program-linked social mea family viewing atmosphere, providing dia applications such as JoinTV an opportunity for Other shows highlighted by and wiz TV, which give viewers parents and children the executive include ‘The fresh and exciting interactive to watch television Quest’ and ‘Shimura Zoo’; aniexperiences when watching together.” mation series ‘Anpanman’ and sports,” she says. ‘Hunter X Hunter’, which since 2011 has reached audiences in over 60 countries/ In this regard, Wild FANtasista, the channel’s regions; among others. double screen “social cheering tool”, which was implemented during the last FIFA Club “This year is NTV’s 60th anniversary, but we World Cup Japan 2012 live broadcast tournahave been producing heartwarming proment, was selected to become one of three grams since we started broadcasting. For the finalists in the Best Branded Sports Social TV last 36 years, our successful charity program Award category of the 2013 Sports Social TV ‘24 Hour Television’ has been inspiring the Awards in Los Angeles. nation to contribute to environmental preservation, public welfare, and disaster assisHIGH NOTE. NTV has earned the highest ratance. Also, ‘Dragons’ Den’, a NTV original, is tings among commercial broadcasters in the now an award-winning international franchiAll Day (6am to midnight) and the Golden se produced in over 20 countries,” Kimishima Time (7pm to 10pm) categories for two years states. in a row. According to the executive, the key for this is simple: high-quality production. “NTV has been the pioneer of Japanese television and continually embraces greater cha“Our programs are recognized as being educational and cultivating a family viewing atmosphere, providing an opportunity for parents and children to watch television toJAPAN INTERNATIONALLY gether. Having our programs viewed by the “The high quality of Japanese animation is known all around the world. In addition, the whole family leads us to achieve high ratings,” uniqueness of Japanese entertainment shows makes them appealing to the international format Kimishima assures. market. Throughout its 60 years, NTV has always been competitive with the other key commercial broadcasters in Japan in ratings and in ad revenue. Since most of the content in Japan is NTV broadcasts and produces a diverse vaproduced for the domestic market and in Japanese only, there is a tendency for it to be judged as riety of programs ranging from news, docuirrelevant to the non-Japanese audience. We believe that with a few changes such as considering mentaries, sports, dramas, entertainment the distribution of our content and formats in the international market from the planning stages, shows to animation. “The last episode of our we can adapt our high-quality content so that it is more appealing to viewers abroad.” drama series ‘I’m Mita, Your Housekeeper’ en-

Executives ttv

A Crucial Ally The Managing Director of Red Arrow spoke to ttv about how the company makes the most of the growing new platforms through co-production and distribution deals, and shared its new titles ahead of Mipcom 2013. By Valentina Vinaja

In addition, VOD platforms are also being ined Arrow International’s 2013 can corporated to Red Arrow’s business as strong be defined in one simple word: content buyers. “With VOD being productive. The distributor more popular than ever –not has been able to take se“Streaming only in North America and Euveral of its formats and platforms such rope but globally– it is crucial drama series to the world’s most as Netflix, Hulu, to produce, distribute and sell important broadcasters, such as Amazon Prime and content to digital platforms,” ‘The Taste’, with commissions in the like, play a big part for us. We are he said, highlighting the Canada, Germany, Netherlands, working with several platform’s potential in Asia, Belgium, Russia and UK; ‘BeniVOD platforms on Central and Eastern Europe. dorm Bastards’, that was sold to creating original Spain, Portugal and Czech Recontent.” Asia is one of Red Arrow’s current public; and its renowned series focus points, with new offices recently ‘Lilyhammer’ and ‘Jo’, both picked inaugurated in Hong Kong; in addition to Laup in over 150 countries.

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“Our Emmy nominated spy thriller ‘Restless’ also traveled the world: Germany, France, Scandinavia, Australia and the US, to name just a few,” Jens Richter, managing director of Red Arrow International, says. With these positive results, the upcoming Mipcom in Cannes comes as the perfect place to present its numerous new productions to the international market, not just broadcasters but also new streaming platforms, which are becoming increasingly important for Red Arrow’s strategy.

Jens Richter,

Managing Director, Red Arrow International

Twitter: @vvinaja vvinaja@todotv.tv

tin America, where several of its most famous fiction series are now on the air, such as Jo and Johan Falk, along with TV movies and entertainment formats. Lastly, the executive shared his thoughts on today’s market trends, saying that fragmentation of the markets gives plenty of choices to the consumer, and that to build lasting program brands and specifically reach young audiences, a digital strategy is crucial for broadcasters. “In 2013 we sealed a cooperation deal with leading cross-media specialist Screenz. Together we assist our clients in finding and implementing the right digital strategy,” he concluded. ttv

House Rules Reality

VOD. In this sense, Netflix has become a key ally for the global distributor: both companies are now producing a second season of ‘Lilyhammer’. “Netflix is absolutely fantastic to work with. They are strong, creative and reliable partners for us in numerous territories,” Richter said. Moreover, the executive added that his company is now developing similar projects with other VOD platforms: “Streaming platforms such as Netflix, Hulu, Amazon Prime and the like, play a big part for us. We are working with several VOD platforms on creating original content; same as we did with Netflix and ‘Lilyhammer’,” he said.

LINEUP Red Arrow International will present 60+ new programs at Mipcom, such as the BBC miniseries ‘The Escape Artist’; and the Emmy Award winning producer Hilary Bevan Jones ‘Roald Dahl’s Esio Trot’ with Dustin Hoffman and Dame Judi Dench. On the formats front, the company just obtained distribution rights from Australia’s Seven Network knock-out show ‘House Rules’, and will also present ‘Married at First Sight’, which has broken all walls on DR3 in Denmark. Just in time for the FIFA World Cup 2014 in Brazil is the factual highlight ‘Mata Mata,’ an intimate portrait of Brazilian society and the world of football.

Executives ttv

Outside the Box By now, there’s not much TV audiences haven’t seen. Broader packages, multiplatform strategies and building online communities are Talpa International’s tools to stay afloat in a sea of new TV shows where “a good idea is no longer enough.” By Carolina Mussio Twitter: @carolinamussio cmussio@todotv.tv

The Winner Is... Reality

Maarten Meijs, Managing Director, Talpa International

veral platforms, standing alongside creators to “give them all the support they need.” As partners to their clients, Meijs believes “one of Talpa’s primary strengths has been in providing local producers and broadcasters with extensive support in the roll-out of all our formats across the globe. We don’t just, as we say in Holland, throw the content ‘over the fence’ for the local producers to figure it out from there.”

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formats like ‘What Do I Know?’, accomplish rom plain old heartwarming com“unprecedented” results. “12% of the viewers petitions to game shows that are in Holland actually played along with dangerous, extreme and just the family quiz show from home. It’s basic weird. TV formats have “A great huge that we had the undivided more than pushed the limits idea is no attention of such a high percenof human imagination. As the saying longer enough. The package tage of viewers actively engaging goes, everything that can be invencontinually with the program,” he said. ted, has been invented. So how can needs to become content creators still win over today’s broader.” And given this new multiplatform jaded TV viewer? TV industry is bound to grow even more connected as time goes by, causing “A great idea is no longer enough. The package continually needs to become broader,” what Meijs described as “an even greater need for integrated format packages and knowhow said Maarten Meijs, managing director of Talto maximize formats’ potential,” Talpa Internapa International, a distributor that, as he puts tional is determined to be ready to face the it, “is one of the few content providers that future: enter Talpa Connect, its “brand-new thinks along with the broadcasters in terms of department that ensures the multiplatform meeting their need to supply to the various potential of formats is taken into account in platforms and building communities around the creative process right from the start.” a show.” Various platforms, building communities; both mandatory elements of Talpa’s current distribution strategy, that when applied to

The division chooses formats that can truly benefit from digital applications and initiatives, and ensures their integration across se-

With this 360 mentality, Talpa International is headed to Mipcom 2013, taking “an extensive line-up to the market so we’ll have a lot to offer our clients,” the executive said. The list of titles includes ‘Beat the Best’, a format that combines astounding acts with a thrilling competition element; new dramedy series ‘Divorce’; two new scripted series, ‘The Return’ and ‘Doris’; and ‘The Winner Is’, which recently debuted on NBC in the US, and has sold to more than 30 countries. “We expect to further build its success at Mipcom,” he concluded. ttv Beat the Best Reality

Executives ttv

Diverse and Global Content SOMOS Distribution looks forward to Mipcom 2013, armed with a portfolio of over 10,000 hours of programming, in every genre imaginable and for all types of windows. Latin American programs, movies by Eccho/Sparks Networks or even Turkish telenovelas: SOMOS has it all. By Sebastián Amoroso

Francisco Villanueva,

VP and COO at SOMOS Distribution

Twitter: @sebamoroso samoroso@todotv.tv

Full Contact Sports Sports full-contact or martial arts varieties also hold fans worldwide.” The distribution company is presenting this heavy-set portfolio at Mipcom 2013 for Latin American, European and Asian buyers. “We really believe in this catalog since we’re representing prestigious production companies like Nickelodeon, as well as content from our sister company SOMOS Productions,” Villanueva adds. Some highlights include the documentary ‘G.A.U.L.A’; ‘Full Contact Sports’ including MMA, boxing and wrestling; Nickedoleon teen telenovela ’11-11: En mi Cuadra Nada Cuadra’, which earned first place in ratings in Latin America; Turkish telenovelas; and scripts by Latin American writers. Other stars are highgrossing independent films, production staples and series such as ‘Mercedes Salazar’ and ‘Casos de Familia’, among others. “We have a very varied supply that caters to the needs of all kinds of audiences and times slots,” Villanueva says. “They all have excellent potential and many represent true under-the-radar opportunities.” ttv

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the market at a certain time,” Francisco VillaOMOS Distribution’s library holds nueva, VP and COO of SOMOS Distribution, over 10,000 hours of programming tells ttv. ranging across all genres: telenovelas, movies, series, “We have Villanueva describes their portformats, variety shows, a very varied folio as “international”, arguing sports, documentaries and news supply that that its genres are demanded programs for all kinds of windows, caters to the by audiences in every corner audiences and time slots. Its portneeds of all kinds of the planet. “In a lot of cafolio includes international conof audiences and ses, our international content’s tent, focusing on movies, telenotimes slots.” genres are very popular in velas and formats stemmed from countries where the industry and their alliance with Eccho/Sparks the market are similar to those in Latin Networks, ensuring success in all American countries, both in idiosyncrasy parts of the world. and content type. This is true of many Asian economies,” he says. “On the other hand, “We try to maintain an updated supply of congenres likes the telenovela are globally potent and look to offer new products that let us pular, while sports such as those from the give our clients what’s already successful in

NATPE BUDAPEST 2013 SOMOS Distribution also took part of NATPE Budapest 2013, where its executives travelled to strengthen bonds with Eastern European buyers, as well as establish new relationships within the market. “Budapest was our first step into these markets and we strengthened a lot of relationships we had started during the last edition of Mipcom,” Villanueva says. “We met a lot of new contacts and also grasped a better understanding of what products these countries need. The market opened up many negotiations that we’ll be announcing shortly, especially in the telenovela genre with our Nickelodeon product, sports and with La Tele’s catalog, to name a few.”

TTVFilms&Series report HOLLYWOOD Iron Man 3 2013

F&S/TTV MAGAZINE

Hot Summer at Box Office Hollywood broke its own record this season by reaching US$ 4.75 billion. Yet, a few movies fell short of expectations, prompting studios to cut back on their expenses in the future. By ttvnews

Twitter: @todotvnews

ollywood had quite the summer, with big hits and also big flops. While the summer box office ended at a record US$4.75 billion, earnings weren’t even for all movies, and many of them simply didn’t reach expectations. The final result is 8% higher than US$4.4 billion, the previous record set in 2011. An important factor in this growth was the tickets’ price, since this season’s 567 million moviegoers were plenty, yet not a historical amount. Audiences once again turned their back on 3D causing this type of movies to lose ticket sales, especially animated flick ‘Turbo’. The big winners this summer were ‘Iron Man 3’, ‘Despicable Me 2’, ‘Man of Steel’, ‘Monsters University’, ‘Fast & Furious 6’, ‘Star Trek into darkness’, ‘World War Z’ and Lee Daniels’ ‘The Butler’; proving big franchises are still fan favorites: eight of the summer’s top 12 movies are sequels. In addition, smaller original titles grossed the most money in comparison to their production cost: ‘This is the End’ (production cost US$ 32 million - US$ 97 million box office gross), ‘The Purge’ (US$ 3 million - US$ 64 million) and ‘The Conjuring’ (US$ 20 million - US$ 134 million), to name a few. Yet, while some titles enjoyed great success in the theatres, others failed to live up to expectations. The array of movies in some genres like animation made it impossible for audiences to

TTVFilms&Series report

see all of them, making productions like ‘Epic’, ‘Turbo’, ‘The Smurfs 2’ and ‘Planes’ be overshadowed by giants like ‘Despicable Me 2’ and ‘Monsters University’. ‘Turbo’ was in fact the second lowest grossing animated movie in DreamWorks’ history. Along with a disappointing result for ‘Planes’, Disney also took a fall with ‘The Lone Ranger’, which cost US$ 250 million to produce and after two months in theaters has only grossed US$ 90 million this far. But Disney managed to make up for its failures with the outstanding results reached by ‘Iron Man 3’, the highest grossing movie of the

summer with US$ 408.6 million in the US box office, and ‘Monster University’, with US$ 700 million worldwide. Alan Horn, president of Walt Disney Studios, said to Hollywood Reporter that the industry’s hard summer has led to “introspection and postpartum discussion.” “We always look at everything,” he said. “It’s ongoing and not particularly affected by whatever succeeds or fails in the marketplace.” Horn didn’t say his studio is cutting back on expenses for future movies, such as ‘Pirates of the Caribbean 5’, but it’s a possibility other Star Treck Into The Darkness 2013

“While some titles enjoyed great success in the theatres, others failed to live up to expectations. The array of movies in some genres like animation made it impossible for audiences to see all of them.” UK: A YEAR IN FILMS Marking the 50th anniversary of the Bond franchise, 2012 was a memorable year for British movies, when total box office earnings hit a record level of £1.1 billion (US$ 1.63) and VOD grew 123%, according to the British Film Institute’s annual Statistical Yearbook. For starters, the report indicates that despite the array of new platforms and services, UK movie buffs still flocked to the theaters, making UK cinema admissions rise to £ 172.5 million, the third highest figure in the past 40 years. Once inside, moviegoers had plenty to choose from, as the BFI finds a total of 647 films were released in the UK and Republic of Ireland in 2012: over 12 titles per week and up 84% from 352 in 2001.

F&S/TTV MAGAZINE

From this vast list of choices, audiences were drawn to the twenty-third official James Bond title ‘Skyfall’, making it the highest earning film in UK box office history with ticket sales of over £100 million. As far as earnings go, the report says total box office earnings hit a record level of £1.1 billion, up 6% from 2011. Yet, the distribution of those revenues was uneven, as the top 100 films earned 92% of the total gross, leaving the remaining 547 films to compete for box office revenues of £93 million, less than the gross earned by ‘Skyfall’.

directors are considering. Joe Roth, (‘Oz: The Great and Powerful’) told THR that “a year ago it was, ‘You can do it for US$150 million, right?’ Today it’s, ‘You can do it for US$125 million, right?’ [Everyone is] trying to get it down about 20%.” As part of this quest to get higher revenues, ‘World War Z’s sequel will see its giant budget drastically reduced. The movie grossed US$532 million worldwide; not too shabby. But it did cost US$250 million to produce, which makes it less profitable. The sequel’s estimated budget will be US$160 million, says THR. ttv

While theater releases did very well in 2012, the year was also important for the VOD industry, as Netflix and LOVEFiLM Instant, along with other platforms entering the UK, boosted the market by 123% from 2011 and established the subscription VoD model as a valid alternative. In light of this increasingly competitive market, the international market also played a major role in the success of UK films. The report says two thirds of the top 200 highest grossing films at the worldwide box office since 2001 have featured UK stars, and in 2012/13 the most iconic superheroes of popular culture were played by British actors: Batman (Christian Bale), Spider Man (Andrew Garfield) and Superman (Henry Cavill).

TTVFilms&Series Q&A

Jorge Nisco, Director and Founding Partner at Quark Contenidos

The Perfect Balance

The director of popular teen series ‘Violetta’ and countless other TV hits is also the founding partner of Argentine production company Quark Contenidos. In this interview, he stresses the importance of achieving a perfect balance between local and foreign content in international screens. “I’m a movie director,” Jorge Nisco is quick to mention. The clarification isn’t pointless. After all, Nisco’s name is linked to several TV hits, including productions such as ‘Epitafios’ (HBO Latin American Group), ‘Killer Women’ (Pol-ka Producciones) and, recently, ‘Violetta’ (Disney Channel Latin America). “Those who aren’t familiar with my career call me a TV director because I’ve worked a lot in television, but I hadn’t done a single thing on television when I started,” he explains.

Jorge Nisco,

Director and Founding Partner at Quark Contenidos “What matters most is to work with your eyes set on important international companies and understand the rules of each one.” By Luis Cabrera F&S/TTV MAGAZINE

Twitter: @luis_cabreram lcabrera@todotv.tv

Along with his manager Alex Lagomarsino, CEO of MediaBiz, Nisco sits down for an exclusive interview with ttv, where he tells us about TV today, his experience working with The Walt Disney Company Latin America and HBO Latin American Group, as well as the regional future of production companies working for great international screens. What are the challenges of working with companies such as The Walt Disney Company? First off, you need to bring your best

work to the table because you know you’ll be analyzed as if under a microscope, both in your country and in other countries. On the other hand, working for Disney entails not only certain aesthetic demands, but also requirements over what story you’re telling and how you’re telling it. Disney takes great care in its products directed at children: some words can’t go, some actions can’t go. They’re careful with values and are worried by safety regulations. If a person gets into a car, he or she needs to wear a seatbelt. In this way, parents know what their kids are going to watch and what won’t be shown in a Disney product. How valuable was your previous experience with ‘Epitafios’ for HBO? “What matters most is to work with your eyes set on important international companies and understand the rules of each one.” HBO was creating, at that time, its first product outside of the US Epitafios Series

TTVFilms&Series Q&A

Violetta Series

“In Latin America, perhaps due to the opportunity itself or because equipment is very easy to find, you can actually produce with a very good aesthetic quality.” “In narratives and styles, in character building and plot complexity, television is way above film.”

and demanded that it was up to par with the on-screen quality they already had. I wasn’t scared because I know the people I work with very well; but of course, this being their first time, they were quite scared.

vides the service. It’s a matter of saying ‘let’s level the scales’, 70/30 or something like that. We also need to go out into the world and conquer it with our products. We need to know how to do it.

What can a Latin American production aspire to today, in terms of quality? I feel that in Latin America, perhaps due to the opportunity itself or because equipment is very easy to find, you can actually produce with a very good aesthetic quality. Colombia has turned into an important production hub, as well as Argentina. I think that international companies need this market. It’s important for HBO to have Argentine and Colombian products because their channel is seen here. Countries also make sure that their own screens have some percentage of local production, or at least they should make sure they do.

What do you make of the success that’s ‘Violetta’? What happened with ‘Violetta’ is an unexpected phenomenon. One is always looking for a hit, or at least one always wants to avoid failure. But it’s very hard to measure what’s going to be a hit beforehand. ‘Violetta’ was one of those successes that no one actually thought would happen. Today, fans sold out the Gran Rex theatre in Buenos Aires eighty times – it’s a colossal number. In Italy, right before airing the second season, the two first episodes were shown on over a hundred movie theatres: 270,000 spectators saw them between Saturday and Sunday. The show launched two or three weeks ago in the UK. The fact that ‘Violetta’ would air in Englishspeaking countries was unthinkable, at least when we were just starting with it. Everything just naturally happened.

Something similar to what’s happening in Brazil? Yes. It’s a way to preserve our own idiosyncrasy, to generate jobs without asphyxiating whoever comes along and pro-

F&S/TTV MAGAZINE

THE IDEAL TARGET AUDIENCE “Teens are the most massive audience, they move more merchandising money. But there are also other audiences which are more segmented, found in niches, for whom we need to work as well,” Jorge Nisco says. “Channels call this a 360 business because it’s global; it goes beyond the television product. And when it comes to numbers, the TV show becomes a little spot in the entire equation.”

Script-writer Ramiro San Honorio, who’s worked with you on TV and a book, said this year that TV killed film. What do you make of this? Today, television has contributed more to audiovisual narration than film has. I mean, when it comes to innovation on how to tell a story, television has overcome film. Technically, movies can make explosions, they can make airplanes come from here and leave the screen over there, and television has a lot of catching up to do in that area. But in narratives and styles, in character building and plot complexity, television is way above film. ttv

Addicted To The Life

The Curse of the Jade Scorpion

Beyond Distribution

CDC United NetworkS

41/42 Berners Street, London W1T 3NB, United Kingdom Tel.: +442073233444 E-mail: info@beyonddistribution.com Web: www.beyonddistribution.com Booth:

Avenue Louise 350, 1050 Bruxelles, Belgique Tel.: +32 2 502 66 40 E-mail: silvia@cdcun.com Web: www.cdcun.com Stand:

Executives Attending

Jimmy Van der Heyden, Free TV Manager Director

Mikael Borglund, Chief Executive + Managing Director Michael Murphy, General Manager, Distribution Munia Kanna-Konsek, Head of Sales Yvonne Body, Head of Acquisitions Danika Porter, Head of Marketing Sherry Fynbo, SVP Sales, USA, Canada, Latin America

Executives Attending

Klondike

Hannibal

Entertainment One Television International

Gaumont International Television

175 Bloor Street East, Toronto, Ontario Tel.: (416) 646-2400 Website: sales.eonetv.com

9200 W. Sunset Blvd. #820 Los Angeles, CA 90069 Tel.: (310) 775-2440 Fax: (310) 550-1685 E-mail: sales@gaumontinternationaltv.com Web: www.gaumontinternationaltv.com Booth: LR3.01

Executives Attending Valerie Cabrera, EVP Kara Ciccarelli, Marketing

top EXECUTIVE

Erik Jensen, Managing Director and PAY TV Sales Manager

Peter Emerson, President

Executives Attending

Erik Pack, Head of International Distribution and Co-Production Tim Farish, Head of Marketing

top EXECUTIVE

Sherry Fynbo, SVP Sales, USA, Canada, Latin America

ADDICTED TO THE LIFE (12 x 30’)

‘Addicted To The Life’ tells the stories of everyday men and women who get caught up in a life of crime and can’t break the habit, with devastating consequences.

A STRANGER IN MY HOME (10 x 60’)

These are true stories when trusting victims opened their homes to a stranger, and it tragically became the last mistake they ever made.

ABSOLUTE GENIUS WITH DICK AND DOM (10 x 30’)

From Archimedes to Faraday, Dick and Dom explore the work of the most important inventors and scientists in history, and experiment with their own genius ideas.

HERO SQUAD (10 x 30’)

The Hero Squad cadets are out to prove even kids are capable of saving lives, as they work and train alongside the emergency and rescue services.

PIPSQUEAKS

F&S/TTV MAGAZINE

(45 x 30’)

In the Pipsqueaks playground, children sing, dance and laugh with their puppet friends, whilst discovering new and interesting facts of the world.

Katie O’Connell, CEO

The Curse of the Jade Scorpion

Klondike

An insurance investigator and an efficency expert who hate each other are both hypnotized by a crooked hypnotist with a jade scorpion into stealing jewels. Cast: Charlize Theron, Woody Allen, Helen Hunt and Dan Aykroyd

Blood, guts and gold – ‘Klondike’ is an event mini-series of epic proportion inspired by the true stories of those who hunted for wealth and battled for survival in the brutal Yukon Territory. At the center of the action are Bill Haskell and Bryon Epstein – childhood best friends who risk everything to pursue their dream of striking it rich during the 1890’s gold rush. Lured into this treacherous landscape by the prospect of riches, they endure the unforgiving elements and discover that the deadliest threats are always human.

(Comedy/Crime/Mistery – 103’)

Deconstructing Harry (Comedy - 96’)

Suffering from writer’s block and eagerly awaiting his writing award, Harry Block remembers events from his past and scenes from his best-selling books as characters, real and fictional, come back to haunt him. Cast: Robin Williams, Demi Moore, Billy Crystal, Paul Giamatti, Tobey Maguire, Jennifer Garner, Judy Davis and Stanley Tucci

Hollywood Ending

(Comedy/Romance – 112’) A director is forced to work with his ex-wife, who left him for the boss of the studio bankrolling his new film. But the night before the first day of shooting, he develops a case of psychosomatic blindness. Cast: Woody Allen, Téa Leoni, Debra Messing, George Hamilton and Treat Williams

Mighty Aphrodite

(Comedy/Romance – 95’) When he discovers his adopted son is a genius, a New York sportswriter seeks out the boy’s birth mother: a prostitute. Cast: Hugh Grant, Mira Sorvino, Woody Allen, Helena Bonham Carter

Sweet and Lowdown

(Comedy/Music/Drama – 95) In the 1930s, fictional jazz guitarist Emmet Ray idolizes Django Reinhardt, faces gangsters and falls in love with a mute. Cast: Sean Penn, Uma Thurman, Woody Allen and Ben Duncan.

(Event Mini Series - 3 x 120’ or 6 x 60’)

Bitten

HANNIBAL

(Drama - 26 x 60’) ‘Hannibal’ is a one-hour drama series for NBC exploring the unique and riveting early relationship of Thomas Harris’s classic character renowned psychiatrist Dr. Hannibal Lecter and his patient, a young FBI criminal profiler named Will Graham who is haunted by his ability to empathize with serial killers. From the inventive mind of executive producer Bryan Fuller.

(Drama Series - 13 x 60’)

HEMLOCK GROVE

Desperate to escape both a world she never wanted to be part of and the man who turned her into a werewolf, Elena abandons her Pack and takes refuge in a new city, starting over with a hot new romance and a successful photography career. But when bodies turn up in the werewolf sanctuary, Elena is torn between the life she’s building and the wild and dangerously unpredictable one she thought she left behind.

Based on the gothic novel by Brian McGreevy and directed by Eli Roth, ‘Hemlock Grove’ tells the tale of the unraveling of a once vibrant and now struggling community after a mysterious death. As the town’s secret unravel, suspicions about the mysterious White Tower and rumors of a werewolf are just the beginning of the intrigue.

Welcome to Sweden

(Drama - 23 x 60’)

BARBARELLA

(Comedy Series - 10 x 30’)

(Drama - 13 x 60’)

Bruce is an accountant ready to start a new life with his smart and sexy Swedish girlfriend Emma, but moving from New York City to Sweden isn’t as easy as he thought. With new customs, new cuisine, her outlandish family and his needy, but hilarious celebrity clients – Amy Poehler, Gene Simmons and Will Ferrell, hindering his efforts to adjust, no one is sure if Bruce and Emma’s love will survive this comical culture clash.

Director Nicolas Winding Refn (‘Drive’, ‘Bronson’) and writers Neal Purvis & Robert Wade (‘Skyfall’, ‘Casino Royale’) bring their uncompromising vision to the iconic character of ‘Barbarella’. As Barbarella is called upon to save a civilization, she also begins to find answers to the question that has haunted her entire life: where did she come from?

Weight Loss Challenge

Waiting For The Sun

Imagina International Sales Ctra. Fuencarral-Alcobendas, 24 28049 Madrid, España Tel.: +34917285738 E-mail: info@imaginasales.tv Web: www.imaginasales.tv Stand: R 32.31

Executives Attending

José Huertas, CEO Géraldine Gonard, CCO Guillermina Ortega, Sales Executive Alicia López, Sales and Acquisitions Coordinator

Janus

Played

Kanal D

ORF-Enterprise

Peace Point Rights

100. Yil Mahallesi Dogan TV Center, Bagcilar, Istanbul, Turkey Email: sales@kanald.com.tr Website: sales.kanald.com.tr

Am Europlatz 1 / Building A, 1120 Vienna, Austria Tel.: +43 1 87878 13030 E-mail: contentsales@orf.at Web: contentsales.ORF.at Stand: 21.01

78 Berkeley Street, Toronto ON, M5A 2W7 Tel.: 1-416-365-7734 Email: sales@peacepoint.tv Website: www.peacepointrights.tv

Executives Attending

Kerim Emrah Turna, International Sales Executive. Ezgi Ural, International Sales Executive Amac Us, International Sales Specialist

top EXECUTIVE

Executives Attending

Armin Luttenberger, Sales Director TV Johannes Stanek, Sales Manager TV Monika Kossits, Sales Manager TV Rudolf Kaiser, Sales Manager TV Maximilian Wenzel, Sales Manager TV

Ozlem Ozsumbul, Head of Sales & Acquisitions

top EXECUTIVE

Lolita Cabaret (Series - 13 x 70’)

A group of artists struggle to regain the glory days of an old cabaret.

Celebrity Pole Dancing (Talent Show - 10 x 52’)

A new exciting television format with a variety of 24 celebrities training and competing with each others to be the best performers in contemporary Pole dancing.

Let´s Rock

(Talent Show - 8 x 52’) An innovative talent show about a group of elderly people who take on the challenge of singing rock classics under the direction of a famous Spanish pop singer.

Castle Trial

(Reality-Adventure - 10 x 50’) Famous castles of epic and historical battles are now the setting of challenges and adventures for twelve participants in this new and exciting program.

Les Tomlin, President

Played

(Drama - 13 x 60’)

(GUNESI BEKLERKEN) (8+ x 95’)

The program is a weekly reality show in which four teams of four overweight participants from different towns and cities show us that it is possible to change their lives.

top EXECUTIVE

Marion Camus-Oberdorfer, Head of Content Sales International

WAITING FOR THE SUN

(Reality Show - 21 x 150’)

Julie Chang, Vice President of Acquisitions & Business Affairs Eric Müller, VP, International Sales and Acquisitions

top EXECUTIVE

Barbora Susterova, Sales Manager

Weight Loss Challenge

Executives Attending

Zeynep finds it hard to adapt to Istanbul, a place she never wanted to move in the first place.. . Moving from a small village to big city Istanbul, Zeynep tries to find her unknown father while trying to adapt her new life, new school and new friends…

MERCY

(MERHAMET) (15+ x 90’) Narin is a young woman who has overcome many difficulties in her life through hard work and determination alone and is well on the way to really becoming someone successful without help from anyone. She is a true hero who has overcome the blows dealt by her mean family and the big city. Her story starts in a small village but ends in Istanbul.

SECRETS

(KAYIP) (8+ x 95’) Kemal, his wife Leyla and their children Kerem and Yasemin have a life to be envied. Kerem, the beloved son of Leyla Sarman Özcemir and Kemal Özdemir, is taken from his home by two police officers one night. Leyla is shaken by the news, but there is a more shocking truth that is yet to be revealed. The night Kerem is taken, the text message “Don’t get the police involved or your son dies!” to Leyla’s phone reveals that they are face to face with a stunning plan…

KUZEY GUNEY (80 x 90’)

(Crime TV Series - 7 x 45’) Dr. Leo Benedict is a forensic psychologist. His world is the minds of mentally deranged criminals. It doesn’t matter if it’s Cara Horvath calling on him as a police expert or someone else asking him for help in a private matter, Leo knows that every crime starts in the psyche - and consequently can only be solved there, too. When Leo looks into a series of mysterious suicides, he stumbles across the shadowy pharmaceutical company, Janus, and is stunned when he discovers what is actually behind the suicides.

Yummy – Cooking With Kids (Edutainment - 16 x 15’)

In each episode of ‘Yummy’, hip chef Alexander Kumptner and two children cook up delicious dishes for young and old. The colourful menu includes homemade treats such as smoothies, fish fingers and potato salad, potato and carrot rostis with mango chutney, sweet cheese dumplings with raspberries and vanilla cream, and Mexican wraps. ‘Yummy’ shows children and their parents great recipes that will make the kids’ eyes sparkle - modern cuisine with dishes that are quick and easy to prepare, look delicious and taste fantastic.

From Muse Entertainment and Back Alley Productions, this ensemble drama follows an elite undercover police unit as it infiltrates impenetrable criminal circles. The cops perform covert high-wire acts, nerve-wracking and unpredictable confidence games, “plays” that can turn deadly in a heartbeat. The bonds between these cops are tight, the conflicts intense. It’s a tough world in which a man or a woman can lose themselves.

JFK: The Smoking Gun

(Documentary - 1 x 90’ or 1 x 60’) ‘JFK: The Smoking Gun’ looks at the assassination of John F. Kennedy through the forensic analysis conducted by Colin McLaren, a foremost Australian homicide detective, who, by using modern technology to examine every piece of ballistic detail and eye-witness testimony – solves the greatest cold case mystery of all time and concludes that all evidence points to a 2nd shooter.

Colin and Justin’s Cabin Fever (Reality/Lifestyle/Renovation /Home design - 13 x 30’)

Muskoka is to Toronto what the Hamptons are to New York. Over this 13-episode makeover series, the infamous pair Colin McAllister and Justin Ryan transform their lakeside fixer-upper into a rural sanctuary worthy of Hollywood stars. Each 30-minute episode in this unscripted renovation comedy will be a stand-alone and follow a theme, ending with one fantastic reno reveal within the cabin!

TTV MAGAZINE/F&S

‘Kuzey- Güney’ is the story of two brothers’ struggle to survive in their own worlds. They have different ambitions, different paths. The only thing they have in common is Cemre, the girl they are both in love with...

Janus

Einstein: The Theory Of Love

Russia Television & Radio SOVTELEEXPORT 37 Shabolovka str., Moscow 115162, Russia Tel.: +7 495 955 89 20 Fax: +7 495 955 82 21 E-mail: Ref.ste@vgtrk.com Web: sales.vgtrk.com Stand: R31.01B

Executives Attending

G.A.U.L.A.

Julia Matiash, Director/SOVTELEEXPORT

TM International

Vision Films

2601 South Bayshore Dr. Ste. 1250 Coconut Grove, Fl. 33133 Tel.: 001-(786) 2200440 Website: www.somosdistribution.net

Luise-Ullrich-Str. 6, 82031 Gruenwald, Germany Tel.: +49 (0)89 290 93 0 E-mail: sales@tmg.de Web: www.tmg.de Stand: LR1.06

14945 Ventura Blvd. STE 306 Sherman Oaks, CA 91403 Tel.: +1-818-784-1702 Fax: +1-818-788-3715 E-mail: sales@visionfilms.net Web: www.visionfilms.net Stand: R29.33

Executives Attending

Luis Villanueva, President & CEO Mariana Villanueva. Sales, Andine Region & The Caribbean

top EXECUTIVE

(Drama – 4 x 44’)

Albert Einstein: twentieth-century genius and a great physicist who revolutionized science. It is well known that genius is the most powerful aphrodisiac. Fatal beauties, leading female illuminati, socialites, and youthful temptresses all fell in love with the great scientist. The most important woman in his life was Margarita Konenkova, the wife of a famous Soviet sculptor. This beauty, a Russian Mata Hari, was entrusted by the Soviet secret services to obtain intelligence on the development of the American atom bomb. The great love affair was doomed.

PETER THE GREAT. TESTAMENT

(2/4 x 90’/44’) Based on Granin’s historical novel Evenings with Peter the Great. At the end of his life, Peter the Great, Emperor of Russia, falls for Princess Maria Cantemir, a young, prominent, well-educated woman. Becoming his royal mistress and pregnant, she is poised to become the next Empress. But thwarted by court intrigue and ultimately, the demise of Peter himself, she never reaches the target.

Carlos Hertel, Head of International Sales Myriam Gauff, International Sales Manager Angelika Koch, International Sales Manager Giannina Antola, International Sales Manager

top EXECUTIVE

Executives Attending

Adam Wright, Executive Vice President / Int. Sales & Acquisitions Alexandra Sparer, Int. Sales & Acquisitions Executive

top EXECUTIVE

Herbert L. Kloiber, Managing Director

Lise Romanoff, Managing Director / CEO Worldwide Distribution

G.A.U.L.A. (30 x 45’)

The Colombian elite and kidnapping unit kidnapping stories with real footage, research and emotions.

Everything is allowed! (catalog and upcoming events). MMA (the most popular full contact sport that combines all Martial Arts), Mexican box and Lucha Libre (the widely popular wrestling matches with its colorful characters).

11-11

(Teens Telenovela - 75 x 45’) The #1 in ratings in The Americas Nickelodeon’s telenovela, showing the life and love of Kike, an adolescent who changes into a young man by virtue of a magical location.

TURKISH TELENOVELAS

UNKNOWN HEART

(Romantic Drama - 2 x 90’ HD) Emotional upheavals keynote this Rosamunde Pilcher two-parter about a heart-transplant patient (Carolina Vera), who becomes estranged from her husband and falls in love with her donor’s widower.

RUBY RED

(Mystery/Romance - 1 x 122’ HD) Sixteen-year-old London teen Gwen becomes a pawn in a sinister conspiracy when she realizes that she can time-travel. With the help of a dashing young man and fellow time-traveler, she sets out to learn the truth about a secret society with a mysterious agenda.

HUBERT & STALLER

(Crime & Smile - 50 x 60’ HD)

Scripts and Spanish dubbed programming from the TV dramas that are impacting the industry.

A drily humorous, ‘who dunnit’ police series played out against a fantastic mountain backdrop.

TELENOVELA SCRIPTS

COSMOS

Popular and internationally successful stories from acclaimed writers ready for remakes. Finished product available as well.

MOVIES A collection of independent, high-production value films.

MERCEDES SALAZAR A popular jeweler that teaches the history, beauty and power of gems.

F&S/TTV MAGAZINE

Executives Attending

Francisco Villanueva, SVP & COO

FULL CONTACT SPORTS EINSTEIN: THE THEORY OF LOVE

Finding Ms. Right

SOMOS Distribution

Maria Ryabova, Manager of International Sales (Worldwide, except CIS and Baltic States) Maria Brenerman, Manager of International Sales (Worldwide, except CIS and Baltic Satates) Ekaterina Grigorieva, Head of Sales (CIS and Baltic States)

top EXECUTIVE

Unknown Heart

(Wildlife Documentary - 16 x 60’ HD) An intriguing and spectacularly photographed wildlife documentary series from award winning filmmaker Prof. Dr. Kurt Mündl.

THE OTHER WIFE

(Romantic Drama - 2 x 90’ HD) In this sweeping drama, a privileged woman’s world collapses around her when she learns of her husband’s double life and dubious business dealings. She must now confront the “other wife.”

FINDING MS. RIGHT (Drama – 90’)

A one-of-a-kind love story about a young man who pretends to be Jewish in order to find the perfect wife. Cast: Jennifer Love Hewitt (‘I Know What You Did Last Summer’), Jamie-Lynn Sigler (‘The Sopranos’), Nicollette Sheridan (‘Desperate Housewives’), Tom Arnold (‘True Lies’), Rita Wilson (‘Sleepless in Seattle’), Jon Lovitz (‘Big’, ‘A League of Their Own’).

DARK TOURIST (Drama – 93’)

A man’s obsession with serial killers leads him to the scene of a notorious murder, where his violent impulses erupt and his grip on reality deteriorates. Cast: Michael Cudlitz (‘Running Scared’), Melanie Griffith (‘Lolita’, ‘Working Girl’), Pruitt Taylor Vince (‘Wild at Heart’, ‘Constantine’).

CRAZY KIND OF LOVE (Drama - 90’)

A newly single mother relies on her son and his carefree girlfriend to rebuild her belief in love, even if it is the crazy kind. Cast: Sam Trammell (‘True Blood’), Virginia Madsen (‘Sideways’), Amanda Crew (‘Sex Drive’), Eva Longoria (‘Desperate Housewives’), Anthony LaPaglia (‘Without A Trace’), Zach Gilford (‘Friday Night Lights’).

CELEBRITIES, ICONS & STARS (Biography - 12 x 60’)

In-depth profiles of the people who shaped the culture of our 21st century: JT, 1D, Justin Bieber, Pink, Black Eye Peas, Queen, Hendrix, Duff McKagan, Steve Jobs, Betty White, Fishbone & More.

Executives ttv

Ratings Plus Quality The Spanish Radio Television Coorporation (RTVE) is present at Mipcom 2013 with a list of new projects, including the launch of its telenovela ‘El Origen’, along with the second season of its hit series ‘Isabel’ and new international distribution deals with companies like Imira, Onza and Imagina. By Sebastián Amoroso Twitter: @sebamoroso samoroso@todotv.tv

Rafael Bardem, Isabel Series

Sub-Manager of Programming Sales and Licensing, TVE main markets in Latin America are Mexico and Uruguay. In this sense, TVE is seeking to increase its international presence at markets like Miptv and Mipcom, to progressively move on to other markets such as Natpe in Miami in the upcoming years. “The product we offer is based on quality and high ratings, an equation that’s always hard to come by, but we achieve relatively often with series like ‘Isabel’, ‘El Origen’, ‘Gran Reserva’, ‘Amar en Tiempos Revueltos’ or ‘Cuéntame’, among others,” Bardem said.

Gran Reserva. El Origen. Series

TTV MAGAZINE/83

Origen’, which goes back to the origins of the he Spanish Radio Television CoorCortázar and Reverte families, already known poration (RTVE) is one of the larin fiction series such as ‘Gran Reserva’. gest media groups in Spain This new format adapts much betand includes nine TV chan“The products ter to the programming schenels -both national and we offer are dules used in America. I’m sure international-, six radio stations based on quality Latin American viewers will enand its website rtve.es, offering a and high ratings, joy this great production very varied multimedia content offer. an equation that’s much. And our other new title Moreover, TVE’s international caalways hard to is the second season of ‘Isabel’, talog covers a general entertaincome by, but we achieve relatively which is already surpassing ment channel, TVE, and a news often.” the first season’s numbers,” he channel, Canal 24h, along with a added. vast fiction content portfolio with registered success. TVE continues to invest on expanding its content on all international markets: “Each of the In this sense, TVE is present at Mipcom 2013 series we bring to these markets have already with a well-defined programming offer. “Our been successful in our own country. Yet, I perfiction offer for this market is well over 300 sonally believe our level of international dishours,” Rafael Bardem, Sub-Manager of Protribution is not up to par with the high quality gramming Sales and Licensing at TVE, said to of our production,” he said. Currently, TVE’s ttv. “The main new title is the telenovela ‘El

To accomplish this, TVE has signed deals with several Spanish distributors that support the brand’s expansion in the international market. “We’ve signed deals with Imira for the distribution of our kids’ titles, with Onza for our documentaries and Imagina for ‘Gran Reserva’,” he said. “We are confident we’re collaborating with experienced distributors,” he concluded. ttv

SpecialReport

Continental Transition LATIN AMERICA’S AUDIOVISUAL LANDSCAPE

The following report provides a complete x-ray of Latin America’s television market. We focus on the main trends paving the road, as well as the challenges TV faces moving onward: from a growing concentration in media and strong social penetration, to a rise in government intervention, platform diversification and audience fragmentation.

By Sebastián Amoroso

Twitter: @sebamoroso samoroso@todotv.tv

55 ,00 0

ttv to me do d tv ian ne ew ws s. . c U co om (m niq m

(S ou rc e: Go og le

An al yt ics -

nt Oc to hl be y r2 01 av 3) er

vi sit o ag rs e )

*This report was created based on “Latin America’s Audiovisual Panorama. Concentration and Technological Rennovation” by Llorente & Cuenca (Madrid, July 2013).

atin America’s audiovisual landscape is as complex as it is changing, especially since the turn of the century and in this last decade. The main culprits: swift technological and business-related changes, as well as political transformations that currently plague the region. Following suit to the rest of the world’s steps, a series of corporations have risen in Latin America, looking to dominate -and sometimes rule over- the audiovisual world. This world also counts with massive social influence, since more than 90% of Latin Americans have access to at least one television set. Likewise, technological change has diversified supply and, finally, fragmented audiences. MEDIA CONCENTRATION. The region’s television business is determined by three clear dynamics: a high concentration and centralization of media and the historic development of commercial TV. Generally, each country’s four main channels hold a tight grip over 80% of market share - yet this concentration in media isn’t a recent phenomenon and has its roots in the advent of television within the region. What is new is how tightly integrated and concentrated the television industry stands today: those who own media companies also own telephone, mobile and data companies. Their business isn’t just limited to TV but also includes radio stations and newspapers, among others.

How media is concentrated does vary from country to country. Some show a high concentration around one operator (such as Grupo Globo in Brazil). Other countries, like Mexico with Televisa and Azteca, evidence strong

TTV MAGAZINE/85

This process goes hand in hand with the modernization of the region’s business structures: instead of relying on family-centric interests as in the years of yore, players have now reached out and forged alliances, aided by the heat of globalization. Companies have evolved into transnational groups, sometimes even becoming multilatin companies. The resulting concentration isn’t just economical but also geographical, linked to the region’s huge urban centers, usually each of the countries’ booming capital cities. This trend has resulted in the appearance of huge communications groups such as Televisa (Mexico), Globo (Brazil), Cisneros (Venezuela) and Clarín (Argentina).

SpecialReport duopolies. The same can be said of Colombia (Caracol and RCN) and Venezuela, at least until 2007 (Grupo Cisneros and Grupo 1BC).

Emilio Azcárraga Jean, CEO, Grupo Televisa

Roberto Irineu MARINHO, CEO, Grupo Globo

Carlos Slim, CEO, América Móvil

Mexico’s audiovisual sector is reined by a historical duopoly between two major media groups: Televisa, owned by the Azcárraga family, and Azteca, ran by the Salinas family. The two corporations’ channels share almost 97% of the country’s TV viewers, granting their board of directors’ great power over the media, the economy and within Mexico’s political landscape. A similar story can be told of Colombia, where the audiovisual sector serves as a battlefield for the duopoly between Grupo Santo Domingo (Caracol) and Organización Ardila Lülle (RCN). Both groups also hold strong alliances with other international conglomerates and own broadcast and pay TV channels, production companies, editorial houses, radio stations, press media, internet companies, etc. Both of the country’s nationwide private channels hold over 50% of the market share according to Ibope, (26.9% for RCN and 25.2% for Caracol), while public channels strain to climb over the 1% mark. For the rest of the region -or at least in most of its countries- market share is spread across three to four main channels. In Peru, only three national private channels hold 50% of all market share. According to Ibope, América Television holds 21.3% (Grupo Plural TV, owned by Grupo El Comercio), ATV holds 13.3% (Grupo ATV, controlled by Mexican-American Ángel Gonzalez) and Frecuencia Latina holds 13.2% (managed by Baruch Ivcher).

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In Argentina, 90% of TV viewers choose among five channels (Telefe, El Trece, América, Canal 9 and TV Pública) but only three business groups (Grupo Clarín, Telefónica and Grupo Uno) control almost 50% of all broadcast TV. In Bolivia, four channels (UNITEL, Red Uno, ATB and Bolivisión) have held 90% of all audiences captive since the 90s, with a new player, network PAT, recently joining the ranks. On a different note, Ecuador’s television market has the government as one of the main media “concentrators”, after seizing most major companies from ex-banking groups back in 2008. The State now manages over 20 media outlets, apart from offering pay TV and internet services. Meanwhile, business groups looking to manage private outlets have seen their chances significantly diminished. Groups Egas and Eljuri were forced to sell their media companies, after a constitutional disposition preventing finance-related companies or directors from owning stock in me-

“More than 90% of Latin Americans have access to at least one television set.”

dia companies. Now, only a few families are left to manage the country’s media: groups Vivanco, Martínez, Alvarado and Mantilla are the survivors. MEDIA PENETRATION. Despite all of its social differences and shortages, there is one thing that links all of Latin America’s social classes together: each home counts with at least one television set. In fact, broadcast TV penetration levels are high among the entire region, reaching almost 100% in Argentina. In Brazil, TV is also the country’s favorite media outlet, leading the region’s penetration indexes since the 1990s. This makes Brazil the main broadcast TV market in Latin America, covering 98% of all homes and reaching a potential audience of 175 million people. Over 120 million people also make TV the winning choice in Mexico, where 98% of all homes watch broadcast TV and over 32% go for the pay variety. The same thing happens in Colombia, where 94.4% of its 47 million people watch TV. Likewise, TV is the most extended media outlet in Peru. Reaching almost 30 million people, 99% of all homes count with a television set and almost 30% of them also go for pay TV. In Venezuela, TV penetration is at 95%. Even in countries not leading the penetration charts, the percentages are still high. Ecuador’s stretches over 90% when it comes to broadcast TV, while pay TV penetration is currently at 14.5%. Yet strong penetration isn’t the entire story. Audiences are growingly becoming fragmented. Up until the 1990s, audiences were segmented in such a way that commercial channels could elaborate and design programming schedules based on their habits and availability. However, audiences have

SpecialReport

Ricardo Salinas Pliego, CEO, Grupo Salinas

Gustavo Cisneros, PRESIDENT OF THE BOARD, GRUPO CISNEROS

Brazil Avenue Globo become much more complex since the 90s, showing different behaviors according to age, gender and social status, while technological improvements have paved the way to an even greater diversification.

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The expansion of pay TV has multiplied programming offers and promoted thematic specialization for channels. Audiences have increasingly migrated toward pay TV in detriment of broadcast TV’s screen quota. This passage from massive broadcast TV channels -which used to rule over TV- to extremely diversified pay TV channels, has boosted audience fragmentation even more. This fragmentation can be clearly seen in audience metrics. In Argentina, pay TV’s share grew to cover 50% of the entire population during the first trimester of 2013, a true record in pay TV consumption. In Chile, share for pay TV went from 40% in 2008 to 45% in 2013. In Colombia, pay TV reached a record share of 23.5% in April 2013. These figures are more incipient in the rest of the region, but significant nonetheless. In Mexico, Televisa continues to rule over audience share but has lost chunks of its screen quota to pay TV. Televisa has 43.3% share and is followed by pay TV with 27.4% share, which ousted Azteca’s 19.5% share, shoving it into third place. Pay TV has seen its share increase by 53% in Mexico during the last three years. According

“Income from the TV rights to some of the region’s most important soccer leagues rose 56% in 2012, cashing in over US$ 1 billion.”

to an annual report by Nielsen-Ibope, pay TV has a larger audience than Azteca, Mexico’s second most important broadcast TV channel. The same thing happens in Brazil, but to an even larger extent. In 1993 Globo held 5659% share and, today, is grasping at just 37% of the market. An avalanche of new channels that are increasingly easier and cheaper to access has fragmented audiences, which are now less concentrated and more evenly spread out, with ratings that seldom reach double digits. This is confirmed by just looking at ratings from countries like Argentina, where Telefe reached 11.2 rating points in 2012, just 1.7 points over its main competitor El Trece, which earned 9.5 points. Telefe’s leading position was gained after huge hits like the series ‘Graduados’ and ‘Dulce Amor’. Canal 9 came in third with 4.7 points, while America followed with 4.3 points, leaving TV Pública and its 2.7 points behind. Something similar happened in Chile, where audience fragmentation has left broadcast TV ratings in the single digit realm. Canal 13 was the most successful network of 2012 with an average 8.9 rating points thanks to the series ‘Soltera otra vez’ and the reality show ‘Mundos opuestos’. TVN came out behind with 7.7 points, followed by Chilevisión with 7.1 points. Last place was awarded to Mega with 6.6 points. The struggle for audiences in Peru is starred by América, ATV, Frecuencia Latina and Panamericana TV, while in Colombia, according to Ibope, Caracol managed to beat rival network RCN’s share during 2012. RCN has been the leading network just twice since 1998 and continues to maintain its 27% share after achieving peaks of 35% in 2006. Meanwhile,

SpecialReport

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Pablo Escobar, The Drug Lord Caracol Televisión

Caracol’s share has gone down from 36% to 28% but the network has still managed to end up on top with top-notch productions in 2012 such as ‘Escobar: el patrón del mal’, ‘Rafael Orozco, el ídolo’ and the reality show ‘La Voz Colombia’.

AUDIENCES AND PROGRAMMING. As for audience preferences, traditional productions are still in the lead. Sports -especially soccerare by far the region’s star products: only telenovelas can sometimes beat live national or international league games.

In Brazil, Globo occupies the first ten spots of the country’s ranking with its telenovela ‘Avenida Brasil’ (with a 19.5 rating point average), its news shows ‘Jornal Nacional’ (14.5 points) and the reality show ‘Big Brother Brasil’ (13.5 points). According to reports from AGB Nielsen, the top ten most-watched TV shows in Venezuela in 2012 were broadcast by Venevisión, which reached 45% share. Network Televen recorded 31% share, while VTV held 11% and Globovisión 8%.

Televised soccer has by far become a matter of good business sense. Income from the TV rights to some of the region’s most important leagues rose 56% in 2012, cashing in over US$ 1 billion. According to reports by consulting company Dataxis, TV rights for first division soccer matches in Argentina, Brasil, Chile, Colombia, Mexico and Peru generated US$ 1.07 billion in revenue. Four countries (Brazil, Argentina, Chile and Mexico) were responsible for over 90% of that number in 2012 and the rights to air the Brazilian championship were sold for US$ 610 million in 2012. That’s almost 57% of the grand total.

“Pay TV continues to awe in numbers. Its astronomical growth moves around US$ 500 million a year in the region.”

The telenovela has always been a continental phenomenon, and its low-budget melodrama years are now definitely behind. Today, production costs are stupendous, with well-crafted

SpecialReport Other less powerful markets are also seeing their pay TV numbers skyrocket. As of January 31st, Ecuador counts with 650,870 subscribers, 29.9% more than the 500.893 subscribers recorded in December 2012. Meanwhile, pay TV subscribers in Uruguay are increasing at a 10% annual rate. Television will definitely experience an interesting evolution in the next five years. DTT and the launch of IPTV will further diversify the offer, pushing pay TV operators to redefine their business. However, and despite this progressive evolution in alternatives, all signs point toward pay TV’s survival and constant growth.

scripts interpreted by renowned actors. They also capture a true television culture that tries to impart moral values and, in many cases, counts with an educational objective and reach. Telenovelas and soccer are the only shows that manage to reach over 30% of audiences at one given time this year. The most interesting cases are ‘Amores verdaderos’ (Televisa) or ‘Los Rey’ (Azteca) in Mexico; ‘Solamente vos’ (El Trece) in Argentina; ‘Soltera otra vez’ (Canal 13) in Chile; ‘Avenida Brasil’ (Globo) in Brazil; ‘La reina de las carretillas’ or ‘Solamente milagros’ (América Televisión) in Peru; ‘Tres caínes’ (RCN) in Colombia; and ‘Válgame Dios’ (Venevisión) in Venezuela. On the other hand, talk and contest shows like ‘Susana Giménez’ (Telefe) in Argentina and reality shows like ‘Combate’ (RTS) in Ecuador and ‘Desafío África’ (Caracol) in Colombia, are the most-watched programs after soccer matches and telenovelas.

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THE FUTURE: BROADCAST TV, PAY TV AND DTT. The short-term future of television in Latin America is closely linked to technological innovation. Pay TV is greatly earning its stand thanks to socio-economic and technological improvements, much to broadcast TV’s dismay. Yet, it still has one challenge to face: DTT. Digital Terrestrial Television could easily jeopardize its reign, as each country’s analog blackout starts to roll out in this coming decade. The region is currently going through a double dynamic: while pay TV continues to soar spectacularly, more and more DTT licenses are being awarded at the same time. The Argentine government has already expressed its desire to raise the number of new broadcast TV licenses from 90 to 300. In Mexico, the Overseeing Council of the Pact by Mexico has agreed to create two new broadcast TV channels and a third State-controlled network. And in Colombia, after the absolutely failed

tender of a third private broadcast TV channel in 2012 (led by the Planeta group), word is out that this year will see a new tender process for a third or even fourth private channel with national coverage. But pay TV continues to awe in numbers. Its astronomical growth moves around US$ 500 million a year in the region. Its average global penetration has constantly risen in the last five years from 36% in 2008 to 55% in 2013. In better consolidated markets with higher penetration levels like Argentina and Colombia, pay TV penetration has grown close to 15%. In countries like Brazil, Chile and Mexico, the numbers are staggering: pay TV penetration grew 118%, 83% and 38% respectively in these markets, according to reports from the Latin American Multichannel Advertising Council (LAMAC). And there is still much room to grow, especially in the Brazilian and Mexican markets. These two countries actually have the most people subscribed to pay TV packages, but these numbers fail to cover most of the population and lose the battle to other countries when considering penetration. Their middle classes’ growing purchasing power and their giant populations are what will drive pay TV growth in these two countries. Colombia also has a growing urban middle class, and has quickly become the Latin American leader in pay TV penetration: according to LAMAC, 8 out of 10 homes are already subscribed. Pay TV in Colombia grew 23% in the last five years, and now reaches 84.4% of all Colombians. Despite leading until 2012, Argentina occupies the region’s second place with 83% of pay TV penetration, also according to LAMAC. Chile comes in third with 60%, after a 40% rise between 2012 and 2013. Peru (53%) and Venezuela (50%) follow suit, leaving Mexico (44%) and Brazil (40%) behind.

This is confirmed by Dataxis, a company that specializes in regional TV market intelligence. Pay TV’s stance will consolidate in the following years, reaching penetration rates of over 70% in most countries. Dataxis reports that the region’s seven most important pay TV markets will concentrate over 67 million subscribers in 2016. Brazil, Mexico and Colombia will be the leading countries, which will join Argentina in the medium term to, together, become the four biggest pay TV markets in regards to volume, concentrating almost 90% of all subscribers. The next following years will be witness to great changes in the Latin American audiovisual landscape, marked by two “revolutionary” transformations: analog blackouts to finally give way to DTT, and the development of multiplay technology. Analog blackouts are still the main challenge ahead. The region is way behind Europe and the US in this regard: only one city in the entire region -Mexico’s Tijuana- has ceased analog transmissions as of May 2013. And yet, over 12 million homes had access to DTT in the region by the end of 2012, almost 10% of all homes with a TV set in Argentina, Brazil, Chile, Colombia, Mexico, Peru and Venezuela. The other great challenge that is bound to be a game-changer for TV is triple play. Logically, Latin America will most likely follow Europe’s steps, where fixed triple play has hit the roof and is now expanding with content created for mobile devices. In the near future, the region will see its TV sector go through a deep transformation. The development and competition between Digital TV, DTH and multiplay will diversify how and when audiences watch content, which will be produced for computers, tablets and even smartphones. The user is the sole winner in this uproar of alternatives at accessible prices, but will not always count with the best quality and service. Whoever wins the duel between DTT and multiplay will finally complete Latin America’s new audiovisual map. ttv

Q&A ttv

It Makes Complete Sense Deciding to remake one of the most popular series of recent times can only mean one thing: ambition. Sony Picture Television’s Angélica Guerra explains they are working with creator Vince Gilligan on the ‘Breaking Bad’ adaptation, assures that casting was “challenging” and says the new script was “written to be shot in Colombia.” By Sebastián Torterola Twitter: @storterola storterola@todotv.tv

Metástasis Behind the Scenes

“One of the biggest challenges is striking the right balance to make sure your series is both true to the original but also relevant with your audience.”

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“In reading the initial scripts, we quickly recognized that ‘Metástasis’ felt like it was written to be shot in Colombia.”

‘Metástasis’ is expected to replicate the whole five seasons of ‘Breaking Bad’ in Spanish, and it aims to catch the Hispanic public that still hasn’t watched the series. It’s set to air in 2014 and the adaptation is already sold in territories like Puerto Rico, Bolivia, Panama, Ecuador, Colombia and Mexico, among others.

s it was revealed a couple of months ago, Sony Pictures Television (SPT) and its Colombian production company Teleset are producing a remake of US hit ‘Breaking Bad’ for Latin American and US Hispanic audiences. The new version will be called ‘Metástasis’, and it’s the first adaptation of the award-winning series. The series will air on Colombia’s RCN Televisión and on Univision’s cable network UniMas in the US, whereas it’s been said that the show has been cleared in most major Spanish speaking markets. Based on the popular drama that’s now entering the second half of its fifth and final season in the US, ‘Metástasis’ follows the story

of an unassuming chemistry teacher who is given a fatal diagnosis and enters a world of drugs and crime, where he ascends to power. To find out more about the characteristics of the project and how the production is going, ttv spoke to Angélica Guerra, SVP & Managing Director, Production for Latin America/US Hispanic, SPT, who affirmed the adaptation “made complete sense” for the company, and that one of the biggest challenges is “striking the right balance to make sure your series is both true to the original but also relevant with your audience.” What took SPT to adapt hit series ‘Breaking Bad’ for the Latin American market? As a leader of content creation around the world, SPT has a deep library of movies and TV

Angélica Guerra,

shows that audiences have come to love and respect. One of our goals was to leverage that catalog to create new original content that is in tune with the tastes of Latin American and US Hispanic viewers.

SVP & Managing Director, Production for Latin America/US Hispanic, Sony Pictures Television

As an adaptation, ‘Breaking Bad’ made complete sense for us. It is a fast and gripping drama about how a very relatable everyman “breaks bad” and becomes an iconic antihero. We also felt that the story itself -the collision of a serene suburban life and the drug dealing underworld- could be easily adapted to fit a location in Latin America.

“We started production in Colombia in midJune and are expected to shoot for around six months.”

What’s the production model used for ‘Metástasis’? We produce ‘Metástasis’ ourselves through our production company Teleset, which is one of the leading creative production houses in the region. The project is fully funded and wholly owned by Sony Pictures Television.

was easier to attract top Latin American talent like Diego Trujillo, Julián Arango and Damián Alcázar to our series. Our efforts paid off because we have put together a truly amazing cast with great chemistry and presence. While they are staying true to the creator’s vision for these characters, each of our actors also brings his own personality and perspective to these roles. It is a delicate balance, which our cast handles smartly and sharply, and it is simply amazing to see it all play out on TV. What factors took you to shoot ‘Metástasis’ in Bogotá, Colombia? In reading the initial scripts, we quickly recognized that ‘Metástasis’ felt like it was written to be shot in Colombia. The story and characters not only feel authentic to the country, but Colombia itself also offers many locations that correspond very well with ones established in the original series. Colombia also boasts a strong infrastructure for productions of this size, and it is also very convenient for our Teleset crew based out of Bogota.

One of the biggest challenges is striking the right balance to make sure your series is both true to the original but also relevant with your audience. There is universality in the ‘Breaking Bad’ story, which meant we only had to make

minor changes to the script to make it fit with our audience. For example, motor homes are not popular in Colombia, where our story is set, so audiences will see our lead characters Walter and Jose cooking up their first several batches of methamphetamine in an old, barely drivable school bus. Who are the directors of ‘Metástasis’? How was the casting process? ‘Metástasis’ is in the very capable hands of two talented directors, Andy Baiz and Andrés Biermann. The casting process was the most challenging piece. We had very big shoes to fill since the original cast is so beloved by audiences. We spent a very long time finding the right actor for each role in ‘Metástasis’. Since this is an adaptation of one of the hottest series on television, it

How many people comprise the production’s crew and cast? There are approximately 120 people working on the production, including cast and crew. What does it mean for SPT to be part of this adaptation project in Latin America? It is a huge honor and also an important responsibility to be the first to adapt this brilliant story for a local audience. We’re excited for Latin American and U.S. Hispanic viewers to experience this unique, complex and powerful drama. ttv

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What details can you comment on the adaptation process for the Hispanic culture? Andrés Burgos and Lina Arboleda are in charge of writing the adaptation. Taking on this popular, critically-acclaimed series is a huge responsibility, which is why we’re taking great care in producing this adaptation. We have been working very closely with the ‘Breaking Bad’ creator Vince Gilligan and his team on each episode to make sure that the structure and intention of our adaptation aligns with Vince’s original vision.

What is the production plan for Colombia? Estimated time for shooting, how many in and out locations/sets are planned? We started production in Colombia in mid-June and are expected to shoot for around six months. The series is being shot completely on location in and around Bogota.

Q&A ttv

Beyond Boundaries Drama and entertainment formats are as strong as if it were day one. However, regardless of the good health of the traditional business, the distribution arm of UK-based ITV Studios has also set a careful strategy for digital windows, even though “it’s still early days to understand any long term impact” of the new digital content scenario. By Sebastián Torterola Twitter: @storterola storterola@todotv.tv

Stepping Out Format

“There is also a continuing demand for both new and established formats.”

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“The rise of new platforms and windows provides an opportunity for us to offer consumers greater choices and access to our content, on demand and across multiple devices.”

ctive in the business of content distribution across all genres, including drama, entertainment, factual and formats; ITV Studios Global Entertainment (ITVS GE) is a key worldwide entertainment player. Greg Johnson, its SVP Sales for the Americas, says current audiences are “more open to non-local programming” and that it’s an exciting time

for the Latin American market, which they’ll put particular focus in 2014. What content would you say is most demanded in the market right now? We are seeing a growing appetite for more ambitious programming, combined with a willingness from audiences to watch shows from outside of their own cultures and geographical boun-

Greg Johnson,

daries. This is reflected in the worldwide success of drama; for example, we’ve sold period drama ‘Mr Selfridge’ to more than 100 territories worldwide, including Sundance Channel Global for Latin America, and we are bringing the new second series to Mipcom.

SVP Sales, Americas, ITV Studios Global Entertainment “The next generation of entertainment consumers are more demanding and on-the-go, and need flexibility in how they access and view content.”

And other than drama? There is also a continuing demand for both new and established formats. ‘Come Dine with me’ is one of the world’s most popular formats, with productions in 36 territories. It continues to perform strongly, receive recommissions and enter new countries, most recently Brazil through Globo. Entertainment formats are still a trend worldwide. What is the secret for this genre to reinvent itself from year to year and continue to be effective? Broadcasters are looking for the next big format that will translate around the globe, as well as fresh new ideas. One of our new formats, ‘Boom Town’, is unlike any other format on the market – it’s an entirely new genre that combines reality with the traditional sketch show format to hilarious effect, and this uniqueness mean that we are already discussing a number of international offers. Equally, broadcasters are always keen to consider formats with proven international success. ITVS GE has a track record in distributing returning formats that deliver audiences for broadcasters in multiple territories; for example, our game show ‘The Chase’ has recently been recommissioned in the UK, the US, Germany and Russia. What other kinds of formats are you distributing and why? ITVS GE represents a huge number of new and established formats across a range of genres that are suitable for a variety of slots and budgets. These include: primetime entertainment shows such as new format ‘Stepping Out’ as well as hit reality formats ‘I’m A Celebrity… Get Me Out Of Here!’ and ‘Hell’s Kitchen’; family friendly game shows like new titles ‘Big Star’s Little Star’ and ‘Take On The Twisters’ alongside ‘The Chase’ and popular factual entertainment programmes including new magic series ‘Tricked’ in addition to the ground-breaking observational documentary series ‘Keeping The Nation Alive’ or hit format ‘Four Weddings’.

New digital services and broadcasters are entering the market. Rights packages are converging and broadcasters ramping up their VOD platforms are looking for additional rights in order to mange their brand and associated programmes. Could you mention some of these clients? In Latin America we are in discussions with a multitude of clients, from our existing broadcast and DVD partners, to OTT services like Netflix and Crackle, to the pan-regional telcos like Telefonica. Great content will always be in demand with clients and consumers, and we look forward to growing our business across all programming genres, both new and library. Have digital platforms changed the content distribution business at all? The content distribution business is always evolving, and digital platforms are one component of Breathless Serie

the overall ecosystem that we need to manage carefully in terms of rights and windows. It is still early days in terms of understanding any long term impact on pricing and competition, but for now our focus remains offering consumers the best quality experience for watching our content on any format or device they want. How would you describe the new generation of entertainment consumers? The next generation of entertainment consumers are more demanding and on-the-go, and need flexibility in how they access and view content. The younger generation is definitely more open to non-local programming. What new products are you bringing to Mipcom 2013? ITVS GE is renowned for its world-class dramas and Mipcom will see the international launch and first international screening of our stylish new 1960s medical drama ‘Breathless’ (ITV Studios for ITV). It’s from the producers of ‘Mr Selfridge’, co-created and written by Paul Unwin (‘Casualty’) and stars Jack Davenport as a charismatic surgeon. The series follows the lives of doctors and nurses working in a London hospital just before the sexual revolution, when attitudes were shifting and the established moral codes were being challenged. At the market, we will also be introducing viewers to some brand new formats that will have recently aired in the UK. They include: ‘Stepping Out’ (ITV Studios for ITV), a brand new, primetime Saturday night dance series, which will showcase celebrities’ relationships with their real life partners; ‘Tricked’ (ITV Studios for ITV2), a fantastic new hidden camera magic show; and two new game shows from 12 Yard: ‘Big Star’s Little Star’, which sees celebrities teaming up with their young children to win money for charity, and ‘Take on the Twisters’, a nail-biting quiz show. ttv

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The rise of digital platforms of content delivery over the internet represents new exhibition windows for content distributors. How important are these new players in ITVS GE’s current business? The rise of new platforms and windows provides an opportunity for us to offer consumers greater choices and access to our content, on demand and across multiple devices. It is challenging as we see broadcasters, home entertainment partners and new digital entrants all converging on the on demand space; but as long as we manage our rights and windows carefully we can maximise the opportunity to work with

all partners, while ultimately providing better experiences for viewers.

INNUMBERS

SOCIAL TV

Measure this Conversat ion

is the rank ‘The Sopranos: The Complete Series’ has on Amazon’s DVD Section, following James Gandolfini’s death.

million global 4K shipments will be made in 2017, says Futuresource Consulting.

157

exhibitors and more 400 buyers made their way to the 2013 Natpe Budapest.

million videos were uploaded through Instagram’s new video app in the first 24 hours since its release.

5.2

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million illegal downloads made HBO’s ‘Game of Thrones’ the most-pirated TV show of spring 2013.

102.7

million dollars in full-year revenue were reported by Australian company Beyond International.

PLAYERS

Artear

Brings Seroes and Telenovelas to Mipcom The Argentine distributor is attending a new edition of Mipcom with a vast content catalog for international buyers. The company is presenting several fiction series, starting with ‘Compulsive Times’, set at the Renacer foundation, a therapeutic space for severe OCD outpatients, where experienced Dr. Ricardo Buso (Miras) is responsible for treating a group of outpatients with diverse severe ailments. Artear is also introducing ‘The Brave Ones’, a telenovela that has been really popular in Latin America, where vengeance and love play a central part in a bitter struggle of brothers. As far as series goes, the company will also present ‘The Social Leader’, which tells the story of a political staffer, a man that keeps his dreams alive in a very peculiar way: through the political and social work within a neighborhood.

Twitter and WPP’s Kantar Media announced an alliance through which they aim to create new data analysis tools for channels and advertisers in the UK. Same as in the US, where it got together with Nielsen to create the Nielsen Twitter TV Rating, Twitter is replicating the model in the UK together with Kantar. As they explained, the alliance will allow them to develop a new suite of tools to support planning and analytics for the UK TV industry, focused on the interaction between viewers and social media. The first of these new products, it was stated, will be available commercially to UK broadcasters, media agencies and the wider industry in 2014. The tools will enable broadcasters to assess programs and series, plan program promotions more effectively and assist media buyers and sellers to integrate social data more comprehensively into the TV component of their media mix.

DISTRIBUTION

Estrela TV Launc hes Internat ional Distribution for ‘Jeni: The Life Of A Diva’ Estrela TV has launched the international distribution of ‘Jenni: La Vida de Una Diva’, a ten-part miniseries chronicling the life and career of Jenni Rivera, the internationally-renowned superstar artist whose tragic death on December 9, 2012 from an airplane accident shocked fans throughout the world. Produced by Estrella TV, the miniseries is comprised of ten one-hour episodes that capture the gripping story of the renowned singer’s troubled life – and groundbreaking triumphs. Available for broadcast beginning November 2013, ‘Jenni: La Vida de Una Diva’ unveils her personal struggles with domestic violence and failed relationships – and her spectacular rise to international stardom as a singer in Banda and Norteña – genres traditionally dominated by male singers. Andy Weir, Senior Vice President Worldwide Content Distribution, Estrella TV

TTVKids&Teens report

Wake Up With No Make Up Series

K&T/TTV MAGAZINE

A Screen Hero Smilehood Media produces universal multitarget and multiplatform content, charged with positive messages to be aired at any time. Their shows are conceived with a 360º model in mind that generates different ways to reach consumers around the world. ‘Plim Plim, un héroe de corazón’ and ‘Wake Up with no Make Up’ are excellent examples of this strategy. By Valentina Vinaja

Twitter: @vvinaja vvinaja@todotv.tv

milehood Media’s first steps into the production and distribution of kid’s content around the world have a clear goal in mind: to conceive productions based on a 360º model, knowing that kid’s and teen’s content needs to be multiplatform. Thanks to their experience with renowned licenses such as ‘Spong Bob’, ‘Snoopy’ and ‘Backyardigans’, the company’s distribution strategy focuses on getting properties onto every possible business platform. “Our goal is to position an integral business, a brand that’s been created as content meant for TV, the internet, digital apps and other byproducts such as music and live shows,” Silvana D’Angelo, sales director of Smilehood Media, explains. Based on this, the company is taking its 360º sales model abroad, offering buyers unique know-how on how to ensure the consolidation of their products in all markets. THE FIRST HERO. ‘Plim Plim, un héroe de corazón’ is the first animated series produced by the company, also created following its signature strategy. Targeted at pre-school kids, the series avoids underestimating the child. D’Angelo describes the series as a high-quality 2D animation with charming characters and wonderful music. ‘Plim Plim’ was created responsibly and with the intention to communicate human and ecological values to kid audiences. We took on the challenge to create an animation that’s up to par with some of the best content out there,” the executive adds. The agreements Smilehood Media has already signed for this property speak volumes of ‘Plim Plim’’s allure: the animation is broadcast on Disney Channel in all of Latin America, in Discovery Familia for the US Hispanic market and in other countries such as Israel, Turkey, Colombia, Uruguay and Argentina. “We managed to get to this point in record time; we’re not only organizing ‘Plim Plim’’s broadcast in several countries but also launching licenses with the best agents in each one and coordinating the launch of a musical program with Universal Music, as well as the

show’s theatre tour, simultaneously,” D’Angelo says. In this sense, ‘Plim Plim’ offers an entire parallel business line conceived from the very start by Smilehood Media’s creative team. The show is also popular among public channels, mostly due to its educational and entertainment qualities. The fact that it’s also broadly marketable is another plus which networks are looking for - and finding in this property. BRANDED CONTENT. Smilehood Media is definitely riding the trend wave. Mipcom 2013 will be their chosen stage to present a new show called ‘Wake Up with no Make Up’, a teen series coproduced by Coca Cola, Warner/Chappell and their production company, Once Loops. The series’ musical production is in charge of the same producer who created the international hit ‘Violetta’. D’Angelo explains the pros of this production model. “Today, it’s all about offering advertisers new ways to reach consumers. Brands are increasingly looking to pull their own weight in the production of content meant for different audiovisual platforms, simultaneously attacking TV, the internet, mobile phones, tablets and other screens by sponsoring the end-product,” she says. ‘Wake Up with no Make Up’ is still in its production stages but plans for a second season are already underway. “It’s a 13-episode series, a musical, with talent from Mexico, Colombia and Argentina. We know it’s going to be a hit wherever it airs,” D’Angelo affirms. E! Entertainment Latin America has already picked up ‘Wake Up with no Make Up’, which will be the channel’s first fiction. “Our international distribution division plans to not only place this product in different markets but to replicate the entire 360º model, which is planned jointly with each local buyer from scratch,” D’Angelo adds. Plim Plim Animated Series

Smilehood Media manages all available media platforms and licenses of its kid and teen productions through its licensing team, overseen by Ana Caratini. This division counts with ample expertise in the area and also works with third-party products such as Cris Morena’s ‘Aliados’. UNIVERSAL STORIES. ‘Según Roxi’ is the third pillar of Smilehood Media’s Mipcom catalog. The show -intended to be a webseries- includes a universal plot that can easily be adapted to any culture or language. In it, its creator Lucas Mirvois, as well as his production company La Maldita and the series’ gifted writers, show their ability to interpret motherhood in a realistic and hilarious way.

“Our goal is to position an integral business, a brand that’s been created as content meant for TV, the internet, digital apps and other byproducts such as music and live shows.” “‘Plim Plim’ was created responsibly and with the intention to communicate human and ecological values to kid audiences.”

TTV MAGAZINE/K&T

Roxi is not a politically correct mother and is constantly slamming her face into the walls of motherhood. During her adventures she meets the other moms at kindergarten, a pediatrician, her friends, her significant other and her housekeeper. Despite being conceived for the web, the series can also become a weekly or daily TV show, a movie, a blog or an editorial. “It’s a fresh, brilliant concept that’s extraordinary and endless. This makes it very attractive to develop as a format in any territory,” D’Angelo concludes. ttv

Según Roxi Series

TTVKids&Teens news

LATIN AMERICA

Nerd Corps inks ‘Slugterra’ Licensing Deals Nerd Corps Entertainment announced a flurry of new licensing deals with partners across Central and South America for ‘Slugterra’, the company’s latest hit boys action property. Nerd Corps’ agent in the region is CPL (Compañia Panamericana de Licencias), and deals have been struck with TARGMEX, Carvajal Educacion S.A.S., Importadora y Exportadora Rosen, Grupo Industrial Brigitte and more for apparel, stationary, back-to-school and sporting goods. ‘Slugterra’ has been building momentum across Latin America since the series began rolling out in the region in February 2013. The show quickly hit #1 spots on Disney XD in Argentina and #2 spots in Columbia and Brazil, and has delivered strong overall performance in each territory. The first Slugterra iOS game, Slug it Out!, launched on August 29, 2013, and was ranked as the #1 free action game for iPad in nine Latin American countries. The game also delivered its highest daily downloads, active users and weekly revenues in September. Free TV launches will continue to keep ‘Slugterra’s momentum going strong in the region, with Televisora Hondurena (Honduras), Televisora Nacional (Panama), and Televen (Venezuela) set to begin airing the show this fall, and more announcements on the way for spring.

ON DEMAND

Mondo, Toon Goggles Sign VOD Deal

INTERNATIONAL

Disney Adds ‘Matt Hatter’ to Spring Lineup

K&T/TTV MAGAZINE

Platinum Film’s winning boy’s action adventure series, ‘Matt Hatter Chronicles’, continues its European advance as Disney Benelux banks the hit show for a Spring 2014 debut. Seasons 1 and 2 of the CG animation will premiere next year on Disney XD across The Netherlands, Luxembourg and Dutch-speaking Belgium and will be supported online with rich, immersive digital content including Matt Hatter games and 3D Multivision clips. This latest European signing further boosts the international TV footprint of the popular series which has sold into over 80 countries worldwide and emerged as one of the fastest growing boys’ global franchises of 2013.

Toon Goggles inked a deal with prestigious Italian distributor Mondo TV for eight of its kids properties, which will be available for Toon Goggle’s young users at www.toongoggles.com. “Mondo TV is a leader in the animation production and distribution business,” noted Stephen L. Hodge, Managing Director, Toon Goggles. “Dedicated to only producing high-quality programs for children featuring stories that incorporate value with educational elements, Mondo TV is a perfect content partner for us. This partnership also adds more brand recognized shows that will instantly be loved by our user base.” Toon Goggles’ young users will now be able to select and view more of Mondo’s globally successful animated series including titles like ‘Puppy in My Pocket’, ‘Pocahontas’ and ‘Cinderella’, among others. Matteo Corradi, Managing Director of Mondo TV, said: “We are proud to see our programs distributed by Toon Goggles whose editorial line perfectly fits with our commitment to communicate positive values to the youngest audiences.”

VENICE

Toei Unveils ‘Harlock: Space Pirate’ Although Hayao Miyazaki’s ‘The Wind Rises’ got most of the coverage at the recent Venice Film Festival, another big Japanese feature was also screened at the global event. Directed by Shinji Aramaki (‘Starship Troopers: Invasion’), Toei Animation’s ‘Harlock: Space Pirate’ managed to impress the fans of the popular manga with its cool 3-D CG animation and Hiroaki Ueno’s elaborate production design. Leiji Matsumoto’s property was first adapted into an animated TV series in the late 1970s. The new CG-animated feature incorporates mo-cap elements for enhanced facial expressiveness and smoother body movements. The US$ 30-million budgeted pic was released in Japan on September 7.

TTVKids&Teens Q&A

9 Story Bulks Up Having doubled its kids’ content library with the acquisition of CCI Entertainment’s catalog, 9 Story Entertainment moves on to its next goal: to be among the largest independent ‘pure play’ kids’ entertainment companies in the world.

Vince Commisso,

CEO, 9 Story Entertainment “CCI was looking for a home for their library and the fit between the two companies was really strong.” By Valentina Vinaja

K&T/TTV MAGAZINE

Twitter: @vvinaja vvinaja@todotv.tv

For starters, could you share the reasons behind your acquisition of CCI’s Entertainment catalog? CCI was a unique opportunity for us. Until recently, we had been focusing our efforts on the production side of our business. Our long term strategy has always been to shift this focus to the distribution side at the appropriate time. A key driver of this shift is to expand our portfolio through acquisition. CCI was looking for a home for their library and the fit between the two companies was really strong. Not only with respect to the quality and diversity of their content, but also with respect to the management style and overall approach to production. This is one of the reasons we chose to have an ongoing first look deal on CCI’s new productions as well. How many hours of content did 9 Story add with this acquisition and what rights do you have for these shows? We acquired 913 additional half hours, and secured international distribution and consumer products rights. Our catalogue is now in excess of 1,500 half hours. What are the main advantages of acquiring this catalog? The acquisition has more than doubled the size of our library. Now that we have a larger offering we will be pursuing digital platforms in a much more aggressive way. While some of the bulk library opportunities have gone away, there are still tremendous opportunities with local and players in the digital space. Following the acquisition you announced the appointment of Natalie Osborne to the role of managing director. What are her new responsibilities? Yes, we recently promoted Natalie to the role of managing director. She continues to oversee 9 Story Entertainment, which is our distribution division. With the CCI kids library acquisition, her role has now expanded to include a larger sales team (Jill Keenleyside, VP of Distribution, and Federico Vargas, director of Distribution) as well as Consumer Products for the first time (Kristin Lecour, director of Consumer Products).

Could you share any news about 9 Story ahead of this edition of Mipcom? We recently acquired two new properties that we are really excited to add to our catalogue: ‘Monkey See Monkey Do’, which is a CG animated preschool show that also features live action children, and ‘Haunted Tales’ (still a working title), a hit animated comedy from Brazil. Could you comment on the main agreements you have closed this year? Of course, our biggest deal was the CCI acquisition, which was really a transformational event for our company and has fueled significant growth. Beyond that, we’ve stepped up our acquisitions for individual properties as well, with the previously mentioned ‘Monkey See Monkey Do’ from Smartoonz and ‘Haunted Tales’ from Glaz Entertainment. We have also had a strong year in terms of our broadcast partnerships, securing placement on Disney XD US for ‘Camp Lakebottom’ and multiple territories for ‘Daniel Tiger’s Neighbourhood.’ What’s the new streaming platforms role in your distribution strategy? We are very focused on digital platforms and they continue

Nerds & Monsters Animated Series

TTVKids&Teens Q&A

“We want to be among the largest independent ‘pure play’ kids’ entertainment companies in the world.” “We currently operate globally although are working on increasing our presence in Latin America and Asia specifically.”

Daniel Tiger’s Neighbourhood Animated Series

Peg & Cat Animated Series

Extreme Babysitting Hidden Camera

to play a more important role in our growth strategy. We recently announced our partnership with Hulu for our primetime animated comedy ‘Fugget About It’, which is set to air as a Hulu Exclusive beginning October 13. Working with Disney XD, we also now have ‘Camp Lakebottom’ on iTunes U.S. Digital platforms are becoming more and more relevant.

Can you list which regions you currently operate in and in which ones would like to strengthen your presence? We currently operate globally although are working on increasing our presence in Latin America and Asia specifically. With our acquisition of CCI Kids, we brought Federico Vargas on board as Director of Sales. Federico has tremendous experience in global distribution, especially within the Spanish speaking world. He will be concentrating on Latin America, US Hispanic, Iberia, Australasia and the Middle East markets. What consumer trends would you highlight for children’s content? In terms of content trends, we see animated comedy, targeting ages 6-11 still being tremendously popular. ‘Camp Lakebottom’ for example, is performing incredibly well both on Teletoon in Canada and Disney XD in the US We also see this genre translating exceptionally well across global markets.

K&T/TTV MAGAZINE

With respect to viewing trends, we are beginning to see multiplatform viewer engagement along with brand building playing a more important role than ever before. There is so much choice these days and kids don’t care if they are watching a show on traditional linear platforms, their desktop or via their Xbox. Successful content providers have to reach them across all platforms.

FUSED CATALOG It’s the first time 9 Story is bringing the combined catalogue of titles from the recent acquisition of the CCI kids and family library. This includes popular favorites like ‘Joe & Jack,’ ‘Artzooka!’ and ‘Extreme Babysitting.’ In addition, the company has a strong slate of new shows in various stages of production and development. The company is also bringing demos for two new shows currently in development: ‘Sonny & Sky,’ an adorable preschool series and ‘The 3 Amigonauts,’ an incredibly funny 6-11 animated comedy that has a “Three Stooges” element of inspiration. We also are bringing the first episodes of ‘Numb Chucks,’ a truly hilarious animated comedy about two kung-fu fighting woodchucks. “In addition to all the new content we are bringing, we will also have the largest delegation we’ve ever had. Joining us for the first time will be our new Director of Sales, Federico Vargas; Kristin Lecour, our new Director of Consumer Products, and Jennifer Ansley, our new Vice President of Marketing & Communications,” Commisso said.

What are your expectations for the upcoming years? We carefully crafted a growth strategy a few years ago that focused on content. We had a laser beam like focus on it and we feel that it’s really paid off. We’re now on to the next phase: we want to be among the largest independent ‘pure play’ kids’ entertainment companies in the world. We’re exploring any and all opportunities that we feel will help us meet this objective. At this stage, this involves identifying and resourcing our organic opportunities as well as any potential acquisition, in regards to both companies and properties, that work us towards this goal. ttv

TTVKids&Teens news

LATIN AMERICA

Toonz: Between Franchises and Co-productions Apart from the variety of genres in Toonz Animation’s catalogue, this Mipcom the company is extending its ‘Speedracer’ franchise with a 66’ movie which has been picked up by Turner Asia P, and Al Jazeera for all Arabic-speaking countries. “We are also Jayakumar CEO, Toonz Animation offering ‘Rat-a-Tat’, a 7’ chase comedy which is the international version of a highly rated ‘Nick India’ show,” says Jayakumar P, CEO, Toonz Animation. There’s also ‘HTDT’, a 52-episode comedy adventure series, a combination between ‘Shrek’ and ‘Yu Gi Oh!’, a fairy tale cop show for 6-11 year old kids. “It features over-the-top characters and visual comedy with non-stop martial art action and classic children’s book characters,” the executive affirmed.

PRESCHOOL

Zou’s Cross-Media

Success in France

DEBUT

ACTF to Launch Four New Series The Australian Children’s Television Foundation (ACTF) gets ready to launch four new series at Mipjunior and Mipcom this October. The line-up includes the highly anticipated 13 part comedy series, ‘Worst Year of My Life, Again!’, that was already pre-sold to CBBC (UK) and ABC 3 (Australia) and is currently in post-production with delivery due by the end of the year. Post production is also nearing completion for the 52-part children’s wildlife series ‘WAC (World Animal Championships)’, whereas also new to the ACTF catalogue is 20 x 5’ interstitial series ‘Handball Heroes’ and series two of ‘You’re Skitting Me’, a brand new 13-episodes sketch comedy craziness. The ACTF has worldwide distribution rights for all four series.

Cyber Group Studios announced excellent performance results of its preschool series ‘Zou’ in France on each segment: digital platforms, publishing and TV. Just several days after hitting the Appstore in the beginning of August, Zou’s app for preschoolers ranked #4 in the general section and #1 in the entertainment section on the French store. The app remained in the entertainment top 10 charts for the whole summer. The multi-language freemium app – an extensive use of CGI animation including puzzles, eBooks, coloring and DIY activities and karaoke - now records more than 50,000 downloads. This digital success was extended with the launch in September of three new apps by publishing company Hachette. This follows their fruitful sales of ‘Zou’ holiday educational workbooks. Larousse Publishing also shared the same enthusiasm with high sales figures for the summer. A total of 50,000 books have been sold since May 2013.

DEBUT

’Boy and the Dinosaur’ Ready for the Game TTV MAGAZINE/K&T

With brand new development completed, Foothill is looking forward to cementing the final pre-sales for ‘Boy and the Dinosaur’ at this Mipjunior. After being one of the top three most viewed shows at last year’s Mipjunior, Foothill has nailed down broadcaster interest from around the globe and has already pre-sold to several significant broadcasters in the major territories, including Disney Australia. ‘Boy and the Dinosaur’ is about an ordinary Boy and his extraordinary friend, Dinosaur. It blends strong visual storytelling and broad, physical comedy with plenty of original music and a simple educational philosophy that resonates on a global basis. To be produced by an award-winning UK production team lead by 1461 Limited with animation by Studio Liddell, the series boasts renowned creative professionals including director Paul Couvela (‘Bob the Builder’, ‘Chuggington’), producer David Bunting (‘Shaun the Sheep’, ‘The Tigger Movie’) and writer Davey Moore (‘Octonauts’, ‘Thomas & Friends’, ‘Rastamouse’).

Ladybug

Bat Pat

AB International Distribution 132 Ave du President Wilson – 93210 Saint Denis la Plaine Tel.: +331 49 22 22 39 Fax: +33-1 49 22 22 16 E-mail: vnetes@groupe-ab.fr Booth: 22.01

Executives Attending

Juliette Laniez, Sales Manager – French Speaking Territories Virginie Boireaux, International Senior Sales Manager Katia Sol, International Sales Manager Charlotte Tachet, Head of Documentary Sales Nathalie Hadjadj, Marketing Manager

Extreme Babysitting

Atlantyca Entertainment Via Leopardi, 8 20123, Milano, Italy Tel.: 39 024300101 Fax: 39 0243001020 E-mail: info@atlantyca.it Web: www.atlantyca.com Booth: 35.21 (Riviera)

Executives Attending

Claudia Mazzucco, CEO Caterina Vacchi, Head of Animation Department, Executive Producer Pedro Citaristi, Distribution Manager Niccolò Sacchi, Executive Producer Lucia Scott, Production Manager Lara Pigni, Sales Representative

Australian Children’s Television Foundation Level 3, 145 Smith Street, Fitzroy VIC 3065, Australia Tel.: +613 9200 5500 Fax: +613 9200 5555 E-mail: infp@actf.com.au Web: www.actf.com.au Suite: 04.33

Executives Attending

Bernadette O’Mahony, Head of Development & Production Roberta Di Vito, International Sales Executive Tim Hegarty, International Sales Executive

top EXECUTIVE

BRB Internacional Autovía de Fuencarral-Alcobendas, Km 12,220. Edificio Auge I. 4º. 28049 Madrid Tel.: +34917711400 Website: www.brb.es Stand: R33.12

Executives Attending

Emilie Pasquet, Sales Executives Nuria Queipo, Sales Executive Marijo Arnáiz, Digital Sales Executive Javier Biern, Licensing Director

top EXECUTIVE Carlos Biern, CEO

top EXECUTIVE

Pietro Marietti, Chairman

Valerie Vleeschhouwer, Managing Director

Invizimals

Jenny Buckland, CEO

Invizimals

Invizimals (26 x 30’ HD CG)

LADYBUG

(Animation – 26 x 26’) Marinette and Adrien are two extraordinary junior high students. Close friends in the daily life, unknown team-mates the night. They transform into superheroes: Ladybug and Chat Noir. Missioned by Fu, the Guardian of the Orb, to capture evil creatures – the Akumas – led by Butterfly to transform anyone into a super villain and so to save Paris! Right now Marinette will always have to struggle to juggle her two identities and her objectives: win Adrien’s heart in the daily life and stop the Butterfly in the Night. Maybe the second one is the easier for this reserved girl… Thanks to her earrings where Tikki - her Kwami with magical power – resides she is always ready to transform and to face enemies.

COPY CUT

(Animation – 52 x 13’)

K&T/TTV MAGAZINE

We’re the Copy-Cuts: the globe-trotting masters of disguise! A group of teenage cosplay fanatics who travel to the four corners of the world in a beat-up Banger Van. Our destination: Tokyo, to take part in the greatest Cosplay contest of all time!

BAT PAT

Worst Year of My Life, Again

Based on the successful book series of the same name, ‘Bat Pat’ follows the spooky and comical adventures of the talking bat and the Silver brothers: Martin, Leo and Rebecca. During their adventures our heroes come to understand that the supernatural “bad guys” that kids do love (ogres, vampires, werewolves, mermaids, ghosts) are not evil, their actions are simply misunderstood by the dwellers of Fogville! Balancing comedy and action, the series is a creepy sitcom that maintains the fast paced quirky character humor of a traditional sitcom mixed up with a lot of creepy and funny adventures. The series is a co-production between Atlantyca Entertainment, Imira and Inspidea, with the participation of Rai Fiction.

Alex King has had a horrible year - humiliated by his teachers, targeted by bullies and embarrassed by attempts to impress the most popular girl in school. So when he wakes up on his birthday to discover that somehow time has reset itself, he can’t believe he must relive every miserable moment of the past 12 months once more. Until his friends Simon Birch and Maddy Kent convince him he’s being offered a second chance and maybe this time round, he can get it right.

(52 x 11’ - 2D HD)

GERONIMO STILTON (78 x 23’ - 2D HD)

Inspired by the popular book series of the same name, the animated series focuses on the life and adventures of the super famous mouse journalist and head of the Geronimo Stilton Media Group. The third season will see many of his friends, old and new, returning for new journeys and locations. The series is a co-production between Atlantyca and Moonscoop, with the participation of RAI Fiction, France Television and M6. Season 1 and Season 2 have been sold in over 100 countries, among our partners KIKA, Cartoon Network, Nickelodeon, Channel 1 Russia, Minimax. Season 2 is set for delivery in October 2014.

(Live action comedy series - 13 x 24’)

Handball Heroes

(Fun fast paced interstitial Series - 20 x 5’) Slide on your sweatbands, grab some chalk and join our Handball Heroes as they take off on an action-packed quest to find the best handball moves from 20 kids across Australia. Each move is then ‘booked’ in the Handball Heroes Handbook for the rest of handball history!

You’re Skitting Me

(Sketch Comedy Series - 26 x 24’) ‘You’re Skitting Me’ is a brand new sketch comedy show for kids featuring a random mix of characters, parodies and animations. A comedy series performed by teens for kids aged 10 to 15, which will be sure to provide a laugh for the whole family. The sketches are an edgy mix of zombies, cavemen, scary Girl Guides, EMOs, superheroes and hipsters. Parodies of Twilight, Dr Who, Masterchef, Gollum and talent shows as well as some offbeat animations featuring Vomit Boy and a new twist on fairy tales, that will tickle everyone’s funny bone.

The first transmedia show featuring Augmented Reality onscreen. Based on the massives successful PSP, PSVita and PS3 game. What if I told you a scientist called Keni Nakamura discovered invisible creatures are living all around us? What if I told you he’s discovered a portal to travel from our world to theirs? What if I told you we are embarking on a quest to unravel the mysteries of the ‘Invizimals’ world? Wanna join our team? Meet after class. We are Invizimals hunters, and we could really use your help!

Filly Funtasia (26 x30’ HD CG)

The most successful toy in Central Europe now comes to life with the most imaginative magical characters and stories. The Filly animated series brings to life the charming adventures of Rose and her friends as they attend the Magic Royal Academy of Funtasia. Despite the wacky attempts of the Wizard of the Dark Mirror, and his comical minion Battiwigs, to steal all the magic in the kingdom, the Fillys enjoy everyday school life, studying and discovering their unique, and magical, crystal powers in this coming of age sitcom stories.

Mica

(26 x 13’ HD CG) Mica is a happy, imaginative, outgoing, 6 yearold girl. Mica believes life is full of challenges, and not problems, so she deals with everything with a big smile on her face and bucket of enthusiasm. Whether she is in her house, at school or down in the village, Mica along with her friends Daniel and Julia, always turns her daily routine into an adventure. Ah!And besides this, Mica has a tiny big secret:Lio, the crazy charming book bug she has in her den. Wich is a van in the garden. Based on the most successful educational book from Santillana.

ZOU

Boy & the Dinosaur

Treasure Island

Matt Hatter Chronicles

Cyber Group Studios

Foothill Entertainment

Mondo TV

Platinium Films

7 rue Letellier. 75015 Paris, France Tel.: +331 4058 1453 Website: www.cybergroupstudios.com

1129 State Street, Santa Barbara, CA 93101, USA Tel.: +1 805 965 4488 E-mail: jkpayne@foothillentertainment.com Web: www.foothillentertainment.com Booth: VIP Club

Via Brenta 11, 00198 Rome, Italy Tel.: + 39 0686323293 Website: www.mondotv.it

Pinewood Studios, Pinewood Road, Iver, Bucks, SL0 0NH Tel.: +44 (0) 1753 651275 Fax: +44 (0) 1753 654082 E-Mail: info@platinumfilms.co.uk Website: www.platinumfilms.co.uk www.matthatter.com Stand: H4.35 Media

Executives Attending

Antonio Macipe, Sales Executive

top EXECUTIVE Carole Brin, Head of Intl. Sales and Acquisitions

Executives Attending

Executives Attending Matteo Corradi, CEO Orlando Corradi, President

Greg Payne, Chairman Elizabeth Stephens, Director of Sales and Development

top EXECUTIVE Micheline Azoury, International Sales Coordinator

top EXECUTIVE

Jo Kavanagh-Payne, President

Executives Attending

Carl England, Managing Director Natalie Llewellyn, Head of International Programming

top EXECUTIVE

ZOU

(Season 1: 52 x 11’ /Season 2: 52 x 11’ in production) Based on the hugely successful books by Michel Gay, ‘Zou’ is all about family. It’s about growing up, about relationships between family members and friends. It’s about learning how the world works, how to use one’s imagination. It’s about Zou. Zou, a little five-year-old zebra, lives in a town inhabited only by zebras. He and his extended family live in a large house right next door to his best friend, Elzee. He is an imaginative and inquisitive foal, and he’s now old enough to start becoming his own person! Let’s follow Zou on a series of fun-filled escapades, scrapes and experiences.

Mademoiselle Zazie

(78 x 7’ - In production. Full delivery November 2013) ‘Mademoiselle Zazie’ is first and foremost a series about friendship: that of Zazie and Max, the inseparable best friends, as well as that of the whole tribe: Pedro, Tariq, Cindy and Abigail! They are 7 years old, live by the seaside and have so much fun together! The whole bunch takes us into their games, private jokes and adventures. They start to discover the world of grown-ups, and want to understand it. They will solve problems in a way we, as grown-ups, would never expect them to! ‘Mademoiselle Zazie’ is a resolutely contemporary series, packed with comedy, with all of the kids’ crazy ideas!

Nigel Stone, CEO

TREASURE ISLAND

(Full HD 3D CGI Animation - 26 x 26’)

Boy & the Dinosaur (52 x 11’)

Is a charming preschool animation series that blends big, visual storytelling and broad, physical comedy.

Rollie & Friends (52 x 11’)

This animated series was born from the masterpiece of R. L. Stevenson, and from the beginning it blends the classic story with a wider and complex story, taking us far beyond the island, the treasure and Stevenson.

GORMITI – The New Adventure

(Animation – 52 X 26’ Full HD 3D CGI)

(52 x 11’)

The new Princes of Gorm are called to action when an ancient evil rears its head and the legendary Magmion returns! Man Of Action proposes a “soft reboot” that does not discount the earlier series but does not directly address them either.

Is an animation buddy comedy series that can be enjoyed by the whole family!

SALADIN - THE HERO WHO BECAME A LEGEND

Is a preschool animation series about the magical world of Sunshine Cove Amusement Park.

Raz & Benny

Spike Team (52 x 11’)

Is an animation series about a girl’s volleyball team that has unforgettable stories about camaraderie, fun and teamwork.

Brent’s Dream – A Spike Team Special (1 x 26’)

Is an animated Special that encourages people to follow their dreams and was funded by the Paralympic Committee!

(Action Adventure - 26 x 26’)

The desert lands of Western Asia were a dangerous place in the 12th Century. The Marauders-ruthless sand pirates roamed the desert, attacking merchant caravans in search of plunder. It was also the era of the Crusades, a time of occupation by invading armies from Europe known as Franks.

The Drakers

(Animation – 26 X 26’ Full HD 2D)

(Animation - 39 x 22’)

‘Matt Hatter Chronicles’ has emerged as one of the fastest growing boys’ global franchises of 2013. ‘Matt Hatter Chronicles’ is a high-stakes adventure comedy series aimed at 5 -10 year olds about a schoolboy whose life is changed forever when he discovers a secret dimension known as the Multiverse. Matt must become the new Hatter Hero and alongside his two best friends Roxie and Gomez, defeat and capture infamous Super-Villains from movie, myth and legend to save the Multiverse and free his Grandpa! ‘Matt Hatter’ has been sold in over 80 countries worldwide and will be dubbed in 18 languages by the end of 2013. This pulse-pounding action-adventure series combines ground-breaking CG animation with fun and explosive storytelling, hi tech gadgetry and immersive online content. Introducing a new and unique 3D animation technique called Multivision (3D without glasses) this international hit property offers Hatter Fans all over the world the ultimate TV viewing experience.

DREAM STREET

(Animation – 65 x 10’) ‘Dream Street’ is a BAFTA nominated, top rated preschool series which follows the adventures of Buddy the magical truck, Daisy the police car and their friends. Dr Loretta Long from Sesame Street fame ensured a moral and educational message was included in each episode and the series pro-actively raises awareness of road safety. Hugely popular worldwide the series has sold to 45 territories including Canada, Portugal, Germany, France, Asia and Middle East.

TTV MAGAZINE/K&T

Chris and Fabri are two young Formula X drivers and compete in the Kids championship for the Drakers team. As they are in the kids section, Chris and Fabri drive their cars through the Xracer, a kind of capsule inside which they sit and drive from distance. Thanks to their F-TAB, Chris and Fabri can communicate to their racing cars and travel through space to easily reach the races locations all over the world. Their mission is not only to become champions; they will also have to rescue the “official” driver of the Drakers’ team, who disappeared at the beginning of their adventures, and another task of their main mission is to find the Xrall, a basic component for their cars.

MATT HATTER CHRONICLES

Saint Seiya Ω (Omega)

Winx Club 6

Rat-a-Tat

Everything’s Rosie

Rainbow

Toei Animation

Toonz Animation India

V&S Entertainment Ltd

Via Brecce, 60025, Loreto (AN), Italy Tel.: +39 07175067500 Fax: +39 0717501690 E-mail: info@rbw.it Web: www.rbw.it Stand: R.33.01

5F Nakano Central Park East, 4-10-1, Nakano, Nakano-ku, Tokyo, 164-0001, Japan Tel.: +81. 3-5318-0640 Fax: +81.3-5318-0642 E-mail: sales@toei-anim.co.jp Web: http://www.toei-animation.com/en Booth: R35.17

731-735, NILA, Technopark Campus, Trivandrum, India Tel.: +91 471-3042500 Fax: +91 471-2700954 E-mail: Jaya@toonzanimationindia.com Website: www.toonzentertainment.com www.toonzanimationindia.com

V&S House, Ballinger Road, Lee Common, Great Missenden, Bucks, HP16 9LA, UK Tel.: +44 (0)1494 837 881 Website: www.vandsent.com

Executives Attending

Joanne Lee, COO Luana Perrero, TV Sales Manager Cristina Buzzelli, VP, Contents - Digital & Publishing Luca Vecci, Sales and Licensing Manager

top EXECUTIVE Iginio Straffi, CEO

Iriya Azuma, Director, Global Licensing Business Department, Toei Animation Co., Ltd. Masayuki Endo, General Manager of Toei Animation Inc. Hideaki Udagawa, Vice President of Toei Animation Enterprises Ryuji Kochi, General Manager of Toei Animation Europe S.A.S.

Everything’s Rosie (78 x 11’)

(Chase comedy - 78 x 7’ - 2D Animation)

R.I.P.

(Animation - 26 x 30’)

K&T/TTV MAGAZINE

Who says that the dead rest in peace? In our chaotic City of Peace where life continues after death, John, the chief police struggles as he tries to keep the community to live in harmony. It’s not easy when the snobbish vampires try to capture every annoying slimy zombies while the uncontrollable werewolves hunt down every skeleton they meet. On top, John has to defend from the mysterious aliens attempts to take over City of Peace. The story follows the bizarre everyday life of John and his family especially his son, Teddy and daughter, Susan and their dog Doc.

Saint Seiya Ω (Omega)

(Action, Adventure, Sci-Fi – 26 x 26’ /Season 2: production still in progress) Warriors called “Saints” are champions of hope who have always appeared since the Age of Myth whenever evil threatens the world. They would clad themselves in armor called Cloths, and fight to protect Athena, the goddess who rules the world’s surface. Seiya the Pegasus Saint has saved Athena many times, and while he and his friends are Bronze Saints, which is the lowest rank, their battles have been passed down as legend. The god of war and guardian of his namesake planet, Mars, was once sealed away by Seiya, but time has passed and his revival is at hand. Meanwhile, Saori Kido (Athena) is raising the boy Kouga, whose life Seiya saved, and he’s been training every day to become a Saint in order to prepare for the coming crisis... Unaware of his destiny, when Kouga awakens to the power of his Cosmo hidden inside him, the curtain will rise upon the legend of a new Saint!

Driland

(Action, adventures - Season 1: 37 x 20’ /Season 2: production still in progress) A thousand years ago, Princess Davina saved Driland from the Power of Darkness by sealing all hunters into hunter cards. Among these hunters, Gohdo who was the strongest hunter of the Power of Darkness, recovers from the Spell and attacks Driland again. To achieve his goal to reign over the world, he unseals all the hunter cards tainted with the Power of Darkness and sets all these hunters free. But Driland can count on Hagan and his friends to protect the kingdom from Gohdo’s reign.

Vickie Corner, Managing Director

Gulshan David, Director, Marketing & Sales

Rat-a-Tat

A new witch named Selina joins Cloudtower. She owns an evil book called Legendarium, and through it is able to make legends come true. The Trix take over Cloudtower and make the college fly, then order Selina to summon legendary creatures out of the Legendarium and unleash them against the magical schools. Bloom leads the Winx against the witches, but the Winx accidentally lose their powers: will the Winx manage to get their fairy powers back and save all the schools of the Magic Dimension from the threat of the legendary creatures? Comedy, action, friendship and romance all combine in this new and exciting fairy adventure that’s sure to appeal to Winx Club’s fans and everyone else!

top EXECUTIVE

Katsuhiro Takagi, President of Toei Animation

(Genre Comedy - 26 x 30’)

Vickie Corner, Managing Director

P. Jayakumar, Chief Executive Officer Rajesh Pillai, Sénior Consultant, Business Development

top EXECUTIVE

Winx Club 6

Executives Attending

‘Rat-A-Tat’ is a hyper-energy show packed with crazy chase sequences and character casualities! Don, a darling house-dog is at war with Charly, Marly & Larry – the mice-trio that has set camp in his house. Don’s ally and only aide is his brother Colonel, an ex-army dog. He may be smarter than Don, but certainly no match for the terrific-trio.

Speed Racer Movie

(Action/Adventure - 1 x 66’ - 2D Animation) Thanks to the time orb, our heroes are sent 50 years into the future where robots populate the world. To find their way home they have to win the race and earn the price money. Will they make it home? Can they stop this robotic invasion

Magic Beyond Words

(TV Feature/Drama/Live Action) Rowling’s was a life of constant struggle, amidst which she nurtured the dream of being a writer. Even when publishers, one after the other rejected the magical world of an orphan wizard, she had hope. This is the story a writer, a story of success.

Wolverine & The X-Men

(TV Series/Action/Adventure - 26 x 22’ - 2D Animation) When an explosive event takes them away from the mentor, the beaten heroes are given a rare glimpse into the future, and they see a world, spiraled out of control ruled by giant destructive robots. So now the most legendary of all X-Men takes the lead - Wolverine! He reunites these broken heroes and embarks on the ultimate mission - to prevent the world’s destruction. To rescue us from ourselves.

A visually striking high definition CGI animated series of world class quality aimed at 3–6 year olds. Recognized for its universally strong values, mutual gender appeal, engaging characters and aspirational story-telling, this ground-breaking series has quickly become an international broadcast hit.

Ebb & Flo

(Animated Series - 26 x 5’) Based on the worldwide published books, ‘Ebb & Flo’ follows the adventures of the loyal and inseparable friendship between Flo, a lively 5 year old girl, and her portly dog Ebb.

Blanche

(Animated Series - 26 x 6’) This quirky cast of characters is led by Blanche, a golf playing sheep. Blanche and her friends redefine the meaning of ‘natural instincts’ as they encourage children to respect and value one another’s individual qualities.

Executives ttv

Telenovelas On Display The genre that best represents Latin American TV will be the main part of the content catalog presented in Cannes by Azteca’s exclusive distributor. By Luis Cabrera

Twitter: @luis_cabreram lcabrera@todotv.tv

“Digital platforms are generating interesting “There’s an appetite for telenovelas,” said revenues and they allow the audience to Marcel Vinay Jr, CEO of Comarex, provireach content from a different plading both a description of the internace,” he said. “It lets users catch up tional market and the main reason “The market with what they missed out on or why the genre has a key role in looks for see a show that’s not broadcast the distributor’s offer for Mipcom telenovelas because in their country. The market has the viewers are 2013. grown and this is another way loyal to them. They to reach audiences.” generate great The company, which distributes fidelity for the Azteca’s content exclusively, will network.” Looking ahead, the executibe present in Cannes with a catave believes digital content are log that features three telenovehere to stay, as they are complemenlas: ‘Forbidden Love’, ‘Tenías que ser tary to what you may see in the linear nethombre’ and ‘Corazón en condominio’. works. “I think there’s an interesting synergy. Everything that comes as additional content, USER LOYALTY. Each telenovela’s individual such as behind the scenes footage or more incharacteristics, their love stories filled with formation about the characters, is something deceit and passion, are ideal for engaging users are seeking and it’s content you don’t viewers, says Vinay Jr. see on TV. In this sense, linear and non-linear “The market looks for telenovelas because the viewers are loyal to them. They generate great fidelity for the network,” he said. “It’s a great return for your investment and as a network you have a guaranteed production for a long period of time in the schedule.”

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The three tenelovelas Comarex is presenting in Cannes all premiered recently: ‘Corazón en condominio’ and ‘Tenías que ser hombre’ made their debut in September, while ‘Forbidden Love’ is set to premiere on October 7. IDEAL COMPLEMENT. Comarex’s catalog will also feature different series and formats, such as ‘What Women Keep in Silence’, now being adapted in Chile and other countries, as well as ‘La Academia’ and ‘La Academia Kids’. “We are also distributing ‘The Lieutenant’,” he added, highlighting the hit series starring María Fernanda Yépes. As far as digital platforms go and their role in content distribution, Vinay Jr. described them as positive, based on the possibilities they offer for content providers.

Marcel Vinay Jr., CEO, Comarex

complement each other very well,” he concluded. ttv

WINNING BACK LOST VIEWERS “Digital content has given way to a different kind of viewer. Those who worked and just couldn’t watch a show at a certain time were considered lost viewers, so to speak. But now, they can watch that show. The same happened if a telenovela aired at the same time as a soccer match they wanted to see. You don’t have to choose anymore. We’re allowing viewers to watch that soccer match and still enjoy the telenovela afterwards.” Corazón en condominio Telenovela

Executives ttv

Keep Them Guessing Re-inventing its strategy to keep up with changing audiences, FremantleMedia has learned to embrace the unexpected as part of its strategy, creating worldwide formats that “grasp people’s attention and keep them intrigued.” By Carolina Mussio Twitter: @carolinamussio cmussio@todotv.tv

Kate and Mim-Mim Animated

Sheila Aguirre,

SVP International Distribution Latin America and US Hispanic, FremantleMedia International 2014,” Aguirre said, adding that the company is incorporating strategies to ensure effective windowing, increased exposure and maximum exploitation of its content worldwide.

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And standing as this year’s Country of Honor at Mipcom, Argentina is becoming a more important destination for FremantleMedia. “We are very pleased to see that Mipcom is recognizing Argentina’s vast capabilities,” the executive said. “We look forward to seeing ‘Got Talent’ back on Telefe in 2014.”

to ride along with it. Quoting the late Peter “Whether it’s drama, reality or talent, it boils Drucker, the executive said “you have to learn down to one very simple and important eleto take advantage of the unexpected ment: it has to be good.” Simple enough, isn’t as part of your innovation strategy.” it? If only. Reaching international success “You have is something few formats have accomto learn to take With this motto, unique titles and plished, because as Sheila Aguirre exadvantage of formats have taken Fremantleplains, “it also has to grasp people’s the unexpected Media to all corners of the globe. attention and keep them intrigued; as part of your Yet, creativity will not always take it must strike a chord with audiences.” innovation the cake, not unless it’s accompastrategy.” nied by hard work: “We are forward As part of FremantleMedia Internatiothinking, and we never sit back and nal, the SVP International Distribution take a break,” she said. Latin America and US Hispanic has seen her fair share of titles make it in international screens, PARTNERS AND DEALS. As far as the near fusuch as ‘Idols,’ ‘Got Talent’ and ‘X-Factor’, which ture goes, the company is looking to expand she believes “demonstrate our ability to create and constantly re-invent in the changing world.” the number of Fremantle formats being produced across Latin territories. “For Latin America, we will be focusing on closing pending deals ONE STEP AHEAD. This “changing world” and to wrap up 2013, and exploring the best platits technological revolution present opporforms for our new titles and formats going into tunities and profit for those who know how

What does the future hold for FremantleMedia? For starters, several new titles in the works, including a new US drama series called ‘Full Circle’, a Jamie Oliver series named ‘Save With Jamie’, a documentary and a new reality show. “We are also launching several new formats which will be revealed closer to Mipcom,” Aguirre said. “We’ll strive to stay focused on the audience and what their needs are and will be tomorrow,” she concluded. ttv Wentworth Series

Executives ttv

One Step Ahead of the Play The permanent growth of Sportel Monaco promises new records for the 2013 edition, where the industry will debate on the future of sports coverage and transmissions, including TV Anywhere and 4K. By Luis Cabrera

Twitter: @luis_cabreram lcabrera@todotv.tv

David Jones,

Sales and Marketing Manager, Sportel Another main topic to be discussed in the convention will be the emergent Ultra High Definition standard, aka 4K, and its impact in sporting events’ broadcasts. “It’s one of the main topics that I’ve seen and one that Sportel Monaco will also offer with a conference titled ‘4k technology, the next big thing?”

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This conference has gained even more relevance after the successful experiment made at the IBC 2013, where a joint initiative gathering several companies allowed them to air the first live sporting event in 4K: a rugby game from London, which could be watched in Amsterdam.

ALIVE AND KICKING. It seems that 2014 March had TV Everywhere as its main discusince its inception in 1987, Sportel will be the year of soccer, thanks to the FIFA sion theme, the European edition is taking has worked hard to become the World Cup in Brazil. The sport dominated the that concept beyond, and plans to referent event for the sports two conventions made in South America, but talk about “TV Anywhere.” media industry, and theJones affirms that this year Sportel will have a se efforts have been “The sports different focus. A good example is Mixed MarThe concept has propagarewarded by a growing attencontent business has tial Arts (MMA), a sport that is currently expeted across the industry and dance and increasing impact in changed a lot in the past riencing a revival. Sportel will feature a panel few years. It is not about the sector’s business. TV and Second Screens of experts that will develop anymore, it is about “MMA is having an interesting comeback at the idea under the name “Statistics show that sales for broadcasting sports Sportel Monaco this year,” Jones said. “For a long “TV Anywhere what the Sportel Monaco 2013 are up content on any possible time MMA has experienced it’s ups and downs fans want and how to give and we expect this year’s conplatform in existence with broadcasters, but this year we’re happy to it to them?” vention to be another success these days.” see another increase in MMA attendance.” for the industry,” says David Jo“The sports content business nes, Marketing & Sales manager Speaking about markets, Jones admits that has changed a lot in the past few at Sportel, referring to this year’s the convention in Monaco is quite popular years, both in technical developments as well edition of the event, which will take place at the in Europe, but that its reach extends to many as consumer trends,” Jones explained. “It is Grimaldi Forum from October 14 to the 17th. parts of the world. “Mostly out of the Amerinot about TV and second screen anymore, it cas and Asia, but also a slight increase in Africa is about broadcasting sports content on any “We are happy to see the great interest and and Oceania,” the executive concluded. ttv possible platform existent these days.” growth over the past two years, this mainly because of the growing participation of new brands and organization of the sports media industry,” the executive said. “Last year Sport AN EVENT WITH A COMPLETE PLAYBOOK Monaco had a total of 2,409 participants, reResponding to the high demand, Sportel Monaco increased the space available for the presenting 980 companies from 75 countries. event, which now reaches 2,500m2. Among the schedule of conferences, Jones highlights the This year we aim to pass 2,500 participants.” annual “Round Table” meeting, this year with the subject “Monetizing Social Media”, the “Golden Foot Award Ceremony” and the “Golden Podium Award Ceremony” that awards the best sports THE FUTURE IMAGE OF SPORTS. Whereas sequences of the year and rewards TV sports directors. the last Sportel adventure in Río, back in

SpecialReport

RESEARCH*

Perspectives on the The following report provides a complete x-ray of Latin America’s television market. We focus on the main trends paving the road, as well as the challenges TV faces moving onward: from a growing concentration in media and strong social penetration, to a rise in government intervention, platform diversification and audience fragmentation. By Sebastián Torterola

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Twitter: @storterola storterola@todotv.tv

“TV is becoming the cockroach of the internet apocalypse...whatever the internet revolution throws at it, TV survives and survives and survives. Its resilience is conspicuous at a time of turbulent change.” With this quote from Ed Richards, CEO UK’s telecommunications regulator Ofcom, Jon Gasby opens its report called Industry Perspectives on the Future of Commercial Communications on TV and TV-like services, an independent research commissioned by Ofcom, in which he analyzes five relevant issues of the industry in the UK: TV & advertising, the impact of technology on consumer behavior, video advertising and regulation.

TV & ADVERTISING. According to the report, TV remains the only medium that delivers the reach and impact that major advertisers require, and its importance as a commercial medium is underpinned by decades of research on its effectiveness. There is a robust ecosystem of advertisers, agencies, producers and broadcasters, and this will sustain the virtuous circle between advertising budgets and content investment, ensuring that TV advertising remains the dominant form of commercial communication until beyond 2020. One agency executive, quoted in the report, puts it clearly: “My clients care passionately which channels their ads appear on, but are

very wary of where their ads might end up on the internet.”Thus, investing billions in building brands and millions in individual campaigns incentivizes marketers to rely on trusted relationships with agencies and broadcasters rather than the perceived risk of media planning via algorithms and digital start-ups. Far from considering the new digital platforms as a threat for TV, it affirms they have contributed to its growth. “The availability of VOD services from the broadcasters (iPlayer, 4oD, etc.) and platforms (Sky, Virgin) have increased rather than diminished the consumption of linear TV, by enabling viewers to catch up on missed episodes. The growing penetration of social media (Facebook and Twitter) and second screens (iPads and tablets) are providing opportunities for broadcasters and platforms to engage audiences in new ways both during live broadcasts and sustaining interest between broadcasts,” Gasby assures.

and that therefore 80% of viewing will still be to schedule linear channels that are watched live. This level of viewing should sustain a healthy TV ad market, ensuring that TV advertising remains the most important commercial medium. This in turn should enable broadcasters to continue to sustain the large and valuable audiences needed for marketers to advertise to.

While UK viewing times exceed those of other European markets, there is still room for more growth before we match the 5 hours per day consumed by US viewers, he adds.

TECH IMPACT. Unprecedented and unpredictable: such are the terms used to describe the “dramatic” technological changes the market is experiencing. According to the document, the proliferation of broadband, smart mobile devices, cheap screens, cloudbased services and social media will have a progressive and potentially profound impact on consumer behavior, business models and content services. The impact of this innovation is currently nascent, and a sudden single transformation (a ‘Kindle’ or ‘iTunes’ moment) is “unlikely”. Instead, there will be a “messy but exciting” period of innovation in technology and services whose cumulative disruptive impact will be significant.

Another solid affirmation present in the document is that TV remains the most attracti-

Although the industry players interviewed believe these changes will have a “significant

The availability of VOD services from the broadcasters and platforms have increased, rather than diminished the consumption of linear TV. The growing penetration of social media and second screens provides opportunities for broadcasters to engage audiences in new ways.

Future of Television ve medium for big brands. “Robust reach and consumption are sustaining TV advertising revenues. In 2010 TV advertising increased its share of the UK advertising market for the third consecutive year, a record investment of £4.3 billion, up 16% year on year. Although more money is now invested in internet based advertising, TV’s 26.9% share of the overall market has remained remarkably consistent, and is comparable with 2000 when it achieved its highest ever share,” it’s stated.

Ofcom’s own forecasts suggest that hours per viewer will remain steady at around 4 hours per day, and that linear schedules will remain paramount. Despite the increased availability of on-demand video content, non-linear viewing from PVR’s or online is currently around 10% of total viewing. The consensus view is that this will rise to about 20% by 2020,

“We are entering the early stages of the third age of video distribution into the home,” the report states. This phase will be characterized by essentially unlimited bandwidth, initially into the home and increasingly to mobile devices. Broadcast, VOD and other content is now available from a wide range of sources and technologies: global and local, streamed and cached. “It will be consumed on a plethora of devices, and will create rich sources of data that can be used to benefit audiences, advertisers and platform operators. And content can be monetized through a variety of business models: traditional broadcast advertising highly targeted advertising to individual viewers,

TTV MAGAZINE/123

Also, TV’s share of display advertising is at record levels, at around 43% and the top 40 companies advertising on TV increased their spend by 5% in 2011. This picture is consistent with forecasts in other countries, in many of which TV advertising budgets are growing both in absolute and relative terms.

impact on consumer behavior,” which in turn will influence advertiser spend, they also see a risk that “the virtuous circle of audiences generating ad revenues that fund programs could become a vicious circle of advertisers redirecting spend,” leading to less TV content funded, generating smaller and less attractive audiences. To assess whether views are valid, Gasby says, it’s necessary to understand the technology trends that are underway.

SpecialReport WHY TV ADVERTISING REMAINS SO STRONG Industry stakeholders identified four interlinked reasons. > First, its scale. UK viewers are watching 2.7 billion TV ads per day. No other medium can provide that level of reach and impact. > The second reason is the inverse of the first. The digital revolution fragments audience attention across a diverse range of internet sites and devices. This fragmentation and complexity increases the attractiveness of large but still well targeted TV audiences. TV also provides the control of context and environment which marketers need. One agency executive summarized it neatly: “McLuhan was right, the medium is the message.” > Third, the effectiveness of TV is perceived to be well measured and researched. There are commonly agreed currencies for buying and selling commercial air time, and well established metrics for evaluating campaign effectiveness. Both of these are in sharp contrast to digital media, where both remain in their infancy. > The fourth reason is the robustness of the regulatory regime that underpins it, which are generally well understood and respected by industry and (implicitly) by audiences. They are perceived by many to provide certainty and confidence, while evolving to take account of new technologies and enable new revenue streams.

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*This article is based on the report Industry Perspectives on the Future of Commercial Communications on TV and TVlike services, released by Ofcom in August 2013.

subscription, purchase, rental or subsidized by hardware sales. These business models are likely to co-exist for the same piece of content and / or the same viewer,” it states. (See table). This explosion in consumer choice is being enabled by four underlying technological shifts. Broadband internet has enabled video to be distributed over the internet, and some estimates suggest that it will shortly account for 90% of internet traffic. Cloud based storage is enabling cheap storage outside the home, making it possible for limitless video to be available on demand at very low cost. Smartphones and tablets are ensuring that consumers can enjoy more processing power in their handheld device than has been available in set top boxes, and enabling consumption in new locations inside and outside the home. And finally, the ability to generate, collate and analyze vast quantities of data creates new opportunities for consumers, content and advertisers to connect, and will eventually have a similar impact on the TV industry as it has on music, financial services and retail. Overall, the technological revolution is a new and potentially more important “digital switchover,” away from broadcast distribution and towards personalized, internet based and data driven services, enabling UK consumers to access and engage with video content in entirely new ways. VIDEO ADVERTISING. This disruption, Gasby affirms, will curtail growth in linear TV spot advertising, and its relative importance will diminish. Brands and agencies are already seeking new ways to engage consumers either directly or in partnership with others. These new routes to audiences already include direct investment in TV programs, complementary advertising via second screens, investment in video content delivered via the internet, and investment in alternative forms of engagement marketing. Brands, he continues, are increasingly able and willing to find new routes to engaging consumers via IP connected devices and networks. These new routes are creating a wide

range of new opportunities to improve the effectiveness and efficiency of their commercial communications in two broad areas. Meanwhile, direct response advertisers can improve the efficiency and effectiveness of their promotions via the targeting and automated trading of online advertising. Both types of advertiser now have the ability to create compelling advertising, embedded into content, linked to transactional platforms and social media across multiple platforms, but this activity is in a parallel universe to the hermetically sealed and highly regulated UK market of TV spots and sponsorship. “Each of these new revenue streams offers opportunities for diversification by brands, agencies, broadcasters and producers, but they often require new capabilities that sit uneasily alongside their core businesses. In parallel new distribution platforms and companies will emerge who invest in content, technology and audience acquisition on a global scale.” What’s unclear is whether these commercial environments will co-exist, merge or be subsumed. This will partly be determined by the evolution of the regulatory frameworks in the UK, and the actions of global players in markets outside the UK. REGULATION. Regulators face the same challenges as those faced by brands and media businesses: how to preserve the existing while creating the new, and how to prepare for inevitable but unpredictable disruption. The current regulatory framework for broadcast advertising mostly works well, and although it may need to evolve it will remain necessary until beyond 2020, according to the report. However, as broadcast and internet delivered content converge, the distinctions between content and advertising will become harder to maintain and the existing frameworks will struggle to accommodate the prolific innovation in advertising formats, the highly fragmented nature of their implementation and the scale of their cumulative impact on

SpecialReport consumers. Regulators will face increasingly difficult choices about the appropriate scope of regulation, how to implement regulatory “Platforms, smartphones and broadband are a revolution. They are the new DNA that enables genetic mutation. It may take a little time, but it’ll be rapid and dramatic when it happens.” Media Agency Executive “The TV industry is in denial. Consumers are not spending 20 hours a week watching TV. They’re spending 20 hours a week watching video content on a screen.” Digital Content Producer “We are not in the business of keeping media companies alive. We are in the business of connecting with consumers.” Trevor Edwards, VP Global Brand Management, Nike “Media companies and agencies would still like us to just create a load of TV spots. It’d be much easier for them, and frankly for us, if things still worked like that. But they don’t.” Brand Manager, Global Consumer Brand

“10 million people watching ‘X Factor’ together on 42 inch screens has a much greater impact than 10 million people reached on different devices and services via the internet. Even if it was easy to reach that number at the same time online, their context and psychological mode is just different.” Brand manager “The old model of advertising was about engaging consumers to push them down the sales funnel. The new model is about combining engagement, transactions and recommendations, all underpinned by data.” Cindy Gallop, ex chair of BBH in New York “When I started my career as a media planner we bought TV airtime because it was all there was to buy. Now you can target an audience of 20 year old women, in Suffolk, who bought a product like yours in the last thirty days, and you can serve an ad only to them and at a time and context of your choosing” Media Agency Executive

change, and how to balance consumer protection, innovation, investment in content and economic growth. ttv

“We will move towards a post-broadcasting age via the cumulative impact of lots of small changes. Each of these is like a small piece of coral that goes into building a reef: seemingly insignificant on its own, but en masse they’re perfectly capable of ripping the hulls of old boats.” Adam Singer, the chairman of the British Screen Advisory Council. “The changes in advertising are like the rivers of melt water underneath the ice cap in Greenland. Everyone agrees that global warming is happening. If you listen hard enough you can hear the water gurgling, and if you measure cleverly enough you can prove the waters are rising. But it’s equally possible to argue that nothing significant will change, partly because the consequences are so unthinkable. For now the future still belongs to whoever happens to be talking at the time. But my bet is that won’t be the case for much longer.” Media Agency Senior Executive

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Video distribution and monetization, then and now 1950s to 1990s

1980s to recently

Now Onwards

Content service: • Broadcast television

Content service: • Broadcast television • Cable and satellite channels • On Demand streaming

Content service: • Broadcast television • Cable and satellite channels • On Demand streaming • Push VOD • Over the top streaming • Digital download / rental

Consumer hardware: • TV set • Acquired by consumer • Common standards

Consumer hardware: • TV set • Set top box • VCR / PVR • PC

Consumer hardware: • TV set • Set top box • VCR / PVR • PC • Tablet (e.g. iPad) • Smartphone • Connected TV

Consumer software: • Not relevant

Consumer software: • EPG • Internet browser

Consumer software: • EPG • Internet browser • Apps & operating system (e.g. Apple, Android)

Underlying distribution • Analogue transmission

Underlying distribution • Digital transmission (DTT) • Cable and Satellite • IP / Internet (fixed)

Underlying distribution • Digital transmission (DTT) • Cable and Satellite • IP / Internet (fixed and mobile)

Commercial business model • Broadcast advertising

Commercial business model • Broadcast advertising • Broadcast sponsorship • Internet advertising (video and display) • Subscription • Transaction (pay per view, rental) • Advertiser funded programming

Who can monetize video content? • Commercial broadcasters

Who can monetize video content? • Commercial broadcasters • Platform operators (e.g. Sky, Virgin)

Who can monetize video content? • Commercial broadcasters • Platform operators (e.g. Sky, Virgin) • Rights holders (e.g. sports, live events) • Social media companies (Facebook, Twitter, Zeebox) • Global broadcasters and video aggregators (Hollywood studios, YouTube, Newspaper websites) • Brands and Media Agencies • Studios and production companies (e.g. Warner Bros, All3Media) • Hardware (e.g. Samsung) • 3rd Party Ad Networks (e.g. SmartClip, Videology)

Q&A ttv

The Brazilian Giant Over the last 40 years, Globo’s international distribution division has sold over 130 titles in over 170 countries. This Mipcom 2013 will not only feature its hit telenovela ‘Brazil Avenue’ -with record licenses and audience numbers in Brazil and the world- but also the telenovela ‘Gabriela’ as well as new series, documentaries, sports shows and specials. By Sebastián Torterola Twitter: @storterola storterola@todotv.tv

Gabriela Telenovela

“In these four decades of international distribution we’ve seen about 130 titles aired in over 170 countries.”

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“Globo’s mostlicensed product ever is the telenovela ‘Avenida Brasil’.”

How would you describe Globo TV International’s current catalog? How has it evolved throughout the years? Globo has been exporting hit products from Brazil for 40 years. We started out with telenovelas, which became a national and worldwide passion. Then, some years ago, we also started to include other options in our portfolio, such as series, documentaries, sports content, formats and specials. Why were these alternatives included in Globo’s portfolio? Our partners and the international television market started needing

new options to fit into different time slots. Globo has a complete and diversified catalog, which offers different programmers from different countries endless possibilities. From fiction to content about Brazilian culture, music, sports and natural spaces, we’ve got it. In these four decades of international distribution we’ve seen about 130 titles aired in over 170 countries. What kind of content does the market demand today? Content that entertains and thrills audiences in every genre. In our case, dramas are our presentation card. Globo’s

Raphael Corrêa Netto,

most-licensed product ever is the telenovela ‘Brazil Avenue’. In just six months this story of vengeance, love and betrayal has charmed audiences from Brazil, Portugal, Chile, Greece and Croatia, and that’s just the tip of the iceberg: it’s been licensed in 106 countries and dubbed into fourteen languages.

Executive Director of International Business, Globo “We recently closed important agreements in Europe, a market that presents great potential for growth for Globo.”

What kind of stories is Globo trying to tell right now? We always seek to tell stories that have universal plots and can reach the hearts of diverse audiences. We listen to society’s movements and include themes that are current and fit into today’s reality, like the Brazilian C socio-economic class gaining upward mobility in ‘Brazil Avenue’ or human trafficking as shown in the telenovela ‘Salve Jorge’, aired this year in Brazil during Globo’s primetime. Where the audience is doesn’t matter: whether in Rio de Janeiro, in Athens or in Montevideo, what’s important is for people to relate to these themes. What recent distribution agreements would you highlight? We recently closed important agreements in Europe, a market that presents great potential for growth for Globo. The telenovela ‘The Life we Lead’ was licensed in Serbia, Montenegro, Armenia and Hungary. And the broadcasting rights to the telenovela ‘Brazil Avenue’ were also recently sold in France, Greece, Bulgaria and Hungary. Digital platforms that deliver digital content over the internet are increasing and present new exhibition windows for content distributors. How important are these new players for Globo? The appearance of new exhibition windows and, therefore, new players in the market is the result of what audiences are demanding, looking for more ways to access television content. This is very important because these platforms offer users more ways to follow their favorite shows. For us, content is still the most important thing. We work to always offer high-quality shows that surprise and hook audiences, no matter what screen they choose to use. The Life We Lead Telenovela

Could you mention some of these new clients? Our team is adapting to this new reality and we’re developing several projects with players such as Netflix in Latin America. Have digital platforms changed the content distribution business at all? What’s the impact in terms of pricing and competition? Digital platforms complement traditional media. They allow us to reach more audiences, at different times and in different ways. How would you describe the new generation of entertainment consumers? How do you think they will change the entertainment paradigm in the next five years? People are fundamentally looking for high-quality content that charms and entertains them. And that’s what we’ve always looked for in our telenovelas, series, documentaries or specials. We understand we’re satisfying both a demand for high-quality content and a demand for how this content is delivered, whether linear (broadcast and pay TV) or on-demand. ttv My Dear Handyman Telenovela

WALCYR CARRASCO, AUTHOR OF ‘GABRIELA’ The telenovela ‘Gabriela’ is an adaptation of the classic novel Gabriela, Cravo e Canela by Jorge Amado. “The story isn’t updated; it continues to be an epic story,” Walcyr Carrasco, author of the telenovela, tells ttv. Globo will be presenting this telenovela at Mipcom 2013. “Jorge Amado’s story is set in the 1920s and so is the telenovela,” he adds. The author also takes a moment to comment on the empathy that Globo stories have with audiences, and how this stems from the company’s relationship with writers. “From my point of view, I feel that Globo deeply respects its writers and this, in turn, lets them express their creativity freely, not being afraid to show emotion. It’s the writer’s emotion that, in the end, connects with the audience,” he concludes.

Brazil will be host to the 2014 FIFA World Cup and Globo is getting ready to offer its television expertise so that global audiences can enjoy this event worldwide. “We’re preparing ourselves to offer an array of services and productions for those who visit Brasil,” Raphael Corrêa Netto highlights.

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2014: THE YEAR OF BRAZIL

INNUMBERS

PLAYERS

Al-Jazeera Set to Conquer the US

59%

of the global media advertising was made on TV during Q1 2013, according to Nielsen’s Global AdView Pulse report.

171.7

million euros was Spanish media group Prisa’s total losses during the first half of 2013.

85%

of tablet owners worldwide view online content on their mobile devices instead of their TVs, says NPD DisplaySearch.

27.7

billion dollars were 21st Century Fox’s full-year revenues in Q2, 2013, reflecting a 10% gain.

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of UK web users (12 or older) illegally accessed entertainment files during Q1, says Ofcom.

RIO OLYMPICS

Slim to Put New Satellite into Orbit Star One, a company owned by Mexican media mogul Carlos Slim, will put a new US$ 400 million-satellite into orbit on Q1, 2016, with the aim of increasing internet broadband access for the Rio 2016 Olympics. It will also offer extended internet coverage to the rest of the Latin American countries. “Star One D1, the largest satellite ever built by the company, equipped with C, Ku and Ka bands, will increase satellite capacities in Brazil, South America and Central America, including Mexico,” Slim’s América Movil reported in a release. The Star One D1 will be built by Space Systems Loral, and French company Arianespace will put into orbit. Star One currently provides satellite capacity for some 500 Brazilian companies, including TV stations, independent networks and government entities. Meanwhile, América Móvil will hold the exclusive rights for the transmission of the 2016 Rio Olympics in the whole Latin American continent, except Brazil, as it was informed by the group on March.

After several years of failed attempts to dock in the US market, Al-Jazeera America, the US version of the prestigious Arab news channel, has been launched. The network, announced months ago when Al-Jazeera bought Al Gore’s Current TV, replaced the acquired channel as from August, reaching 45 million households. The Qatar-based company has put real focus on this launch, for which it hired great US TV personalities; promising serious, impartial and high-quality journalism. In total, the network hired 850 people, among which there are names like John Seigenthaler, Joie Chen, Antonio Mora and Sheila MacVicar. Meanwhile, its studios are located in New York and Washington, whereas the channel will have offices in 11 cities throughout the countries, added to the 70 offices it already has worldwide. The new channel’s slate will include 14 hours of live programming, as well as documentaries and debate shows. Some of Its biggest challenges include avoiding the prejudices around its agenda, and also competing with giants like CNN, MSNBC and Fox News.

AGENTS

Mediabiz is Also a Talent House Known across Latin America for distributing great fiction formats from major producers, striking important deals for ‘Mujeres Asesinas’ in 17 countries, Mediabiz recently expanded its services to now represent authors, directors and screenwriters. Born from a need expressed by producers, networks and the authors themselves, the company’s new business division is slowly growing in a region where talent agents are a fairly new concept. The company currently represents Ricardo Rodríguez, Jorge Nisco, Leo Bechini, Oscar Tavernizi, Ramiro San Honorio, Marcelo Cabrera, Marcela Marcolini and Ana Bernardi. Among such varied names and styles, Mediabiz’ job begins by interacting with the client to assess their creative needs, and therefore suggest the right name for each project. “While we represent authors who create fiction content, each of them have a different profile, tone and style,” the company said.

Contents

EDITORS Gonzalo Larrea - glarrea@todotv.tv Carolina Mussio - cmussio@todotv.tv Valentina Vinaja - vvinaja@todotv.tv Luis Cabrera - lcabrera@todotv.tv

Special Reports

SALES AND PRODUCTION MANAGER Darío Alemán - daleman@todotv.tv

ARGENTINA COUNTRY OF HONOR - MIPCOM 2013

TV Nation Executives

Content, Diversity, Passion

Germán Calvi, Development Manager of Content Production for Television, Internet and Video Games at INCAA

Creative Powerhouse

Tomás Yankelevich, Head of Programming and Production, Telefe

A Live Approach

Liliana Parodi, Programming and Production manager - America TV

The Leader’s Recipe

Fernando Blanco, CEO of Pol-ka Producciones

Pivot for Latin Production

Michelle Wasserman, SVP International Business and Content Development – Latin America

Creators of Hits

Alejandro Corniola, President, Underground Producciones

HEAD OF BUSINESS DEVELOPMENT Alejandro Sánchez - asanchez@todotv.tv

Boutique Production House Claudio Villarruel y Bernarda Llorente, Partners & Founders, ON TV Contenidos

Business Agent

Alex Lagomarsino, CEO, MediaBiz

Argentine Talent

Nicolás Grapper, President, PepperMind

Kings of Content

Claudio Ipolitti, Director of Satellite Networks and International Business, Telefe

The Independent Voice

Alejandro Borensztein, President of the Argentine Chamber of Independent TV Producers - CAPIT

IT MANAGER Alejandro Barros - abarros@todotv.tv DATA OPERATIONS Fernando Moreno - fmoreno@todotv.tv WEBMASTER Nazario Pereira - n.pereira@todotv.tv FINANCE MANAGER Cr. Michel Schwartz - mschwartz@todotv.tv ADMINISTRATION Ana Paula Carreira - acarreira@todotv.tv Valeria Morena - morena@todotv.tv ART AND DESIGN UNIK Media Solutions - info@unikbureau.com www.unikbureau.com HEADQUARTERS Aguada Park - Paraguay 2141 Of. 401, Montevideo - Uruguay - CP 11800 Tel./Fax: (598) 2927 2510 / 2511 / 2513 ttv is a monthly publication owned by TodotvMedia. Its distribution is free of charge. The articles reflect the opinions of the individual authors on the topics covered, without implying editorial control or endorsement of the content by the management and ownership of the magazine. For all purposes, the advertisements and their content are the sole responsibility of the advertiser. Reproduction in whole or in part, in electronic or print form, of the content of this publication, without express written permission of TodotvMedia is strictly prohibited.

todotvmedia

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Download the PDF version of this edition.

SALES MANAGER Monica Iriarte - miriarte@todotv.tv

insideArgentina | Special Report

TV Nation ARGENTINA COUNTRY OF HONOR – MIPCOM 2013

This year Argentina becomes the first Latin American country to be named “Country of Honor” by the 2013 Mipcom organization. The following report takes an in-depth look at the Argentinean TV market; its main players, most important content genres and their export destinations, and the country’s incentives for audiovisual production and coproduction.

By Sebastián Amoroso

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Twitter: @sebamoroso samoroso@todotv.tv

An estimated 300 delegates representing more than 3,000 hours of content produced in Argentina over the last two years are expected to attend Mipcom 2013.

The Secret in Their Eyes

2009

his year Argentina turns into the first country in Latin America to enter the exclusive “Country of Honor” club; an honor granted by Mipcom. The focus on the country’s audiovisual industry will begin at MIPJunior (October 5 and 6) and last through Mipcom (October 7 - 10), during which the organization will highlight it through conferences, workshops and commercial meetings. “We will show the whole world the content, formats and coproduction projects developed in Argentina over the past three years since the Audiovisual Communication Services Law went into effect,” Liliana Mazure, president of the National Film and Audiovisual Arts Institute (INCAA) said to ttv during the “Argentina Country of Honor” announcement at Miptv 2013. Argentina’s controversial Law 25,522 of Audiovisual Communication Services developed in 2010 -commonly known as “Media Law”determines the regulation and deconcentration of the country’s media, and has generated strong debates that have extended to the whole of the Argentinean society, as well as an ongoing feud between President Cristina Fernandez de Kirchner’s government and Grupo Clarín, one of Latin America’s largest and most influential media conglomerates. For this upcoming edition of Mipcom, Mazure predicts the arrival of close to 300 delegates representing more than 3,000 hours of content developed in the past two years. This will give the international market the chance to discover the richness of Argentina’s audiovisual content, especially its series, TV films, documentaries and animation, in addition to its financial incentives for coproduction, production services and vast locations. HOT SCREEN. Argentina is one of the most important audiovisual markets in Latin America. Content produced, developed, broadcast and distributed in and from Argentina stands out in other territories worldwide. And TV is one of the country’s main means of entertainment, just as important as Diego Armando Maradona’s soccer, its famous “asado” barbecue or Malbec wine.

With over 60 years in existence since its creation in 1951, Argentine television has turned into an industry that’s now made up of five

This makes for a highly concentrated model that generates 80% of all primetime content, which comes from 40 production houses that develop the vast majority of the nation’s programming. They’re all located in Buenos Aires, the world’s fourth most popular destination to be used as a filming set, according to the Audiovisual District of the City of Buenos Aires’ Government. “Its flexibility to be turned into any place in the world, its architecture and its talent pool, assure constant development and growth,” the organization said in its June 2013 report.

“The country’s audiovisual industry has over 500 companies that generate more than 100,000 jobs just in the metropolitan areas.”

Argentina is also known for its large number of independent production companies, 30 of which are part of the Argentine Chamber of Independent Television Producers (CAPIT), including Pol-ka Producciones (51% of Grupo Clarín), Ideas del Sur Producciones (30% of Grupo Clarín), Endemol Argentina and Eyeworks/Cuatro Cabezas. All in all, the country’s audiovisual industry has over 500 companies that generate more than 100,000 jobs just in the metropolitan areas, in a country with 40 million citizens.

ARGENTINA IN NUMBERS

Its different TV networks also develop most of the genres and formats currently available in the industry. There’s a varied offer of TV shows produced locally, in addition to local adaptations of foreign formats and local versions of international series.

Capital: Buenos Aires Official Language: Spanish Total Surface: 2,780,400km² Population: 40,117,096 (2010 census) Total GDP (2012) US$ 756,226 Currency: Peso ($)

ARGENTINA IN THE WORLD. Argentina distributes around 40,000 hours of TV programming a year across the globe, which include genres such as telenovelas, series, entertainment shows, formats, documentaries, movies and animation. “According to estimates pu-

DIGITAL SWITCH-ON DTT Normative: ISDB-Tb (Japan-Brazil) Analog Switch-Off: 2019

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Ad spending in Argentina climbed to US$ 1.91 billion during Q1, 2013, growing 30.4% in a year, according to the most recent report from the Argentine Chamber of Media Agencies (CAAM). Moreover, INCAA indicates the country’s ad market is worth approximately US$ 3.2 million a year, 65% of which is divided between broadcast and pay TV.

broadcast networks with national reach: Telefe (Canal 11/Grupo Telefónica), El Trece (Canal 13/Grupo Clarín), América TV (Canal 2/Grupo Vila-Manzano), Canal 9 (Prime Argentina Holdings/HFS Media) and TV Pública Digital (Canal 7/State-owned). In addition, the country has state-owned digital TV channels: Encuentro, Paka Paka, INCAA TV, DeporTV, CN23 and C5N, among others.

insideArgentina | Special Report “Argentina distributes around 40,000 hours of TV programming a year across the globe.”

blished by AFSCA, 30,000 hours of independent production were broadcast in Argentina in 2013, including programming from broadcast and pay TV networks in the country and overseas,” said Alejandro Borensztein, president of CAPIT. The average production cost for a daily fiction broadcast TV series in Argentina is between 60 and 70 thousand dollars. Moreover, a weekly series costs from US$120,000 to US$150,000. But the truth is that in Argentina “it all depends.” These numbers can be used in broadcast TV primetime, but if it’s a show for HBO, for example, costs are much higher. In this sense, industry executives interviewed for this report believe the exchange rate is a “very important” variable in Argentina, as well as its audiovisual industry’s labor unions, since the professional and technical talent in the country is “very pricey.” The industry is known for its formats and series, with highlighted titles such as ‘Killer

2004, which have been broadcast and adapted in hundreds of countries. Argentinean formats’ leadership in Latin America is particularly evident in Mexico, where several local versions of Argentine formats have been developed with great success. The list features ‘Brothers and Detectives’ (Telefe), ‘The Successful Mr. and Mrs. Pells’ (Telefe) and ‘The Roldans’ (Ideas del Sur Producciones). One of the most recent success stories for Argentina, with a title that was also acquired in Mexico, is the series ‘Killer Women’ (Pol-ka Producciones), which will soon be adapted for the complex US market and the ABC network by famous actress Sofía Vergara. “We are very interested in these networks because they’re broadcast in the US, one of the most difficult markets for us. Despite it having a vast Hispanic population, we find it very complex to enter the US market, both through TV and film,” said Liliana Mazure. In addition, Argentine networks also acquire foreign formats, mainly reality shows that draw in massive audiences, even more so than local productions. Such is the case of ‘Soñando por Bailar’, a format acquired by local producer Ideas del Sur to Mexico’s Televisa, that has reigned as Argentina’s highest rated show of the past five years. There are numerous examples in this scenario, including local adaptations of foreign series as ‘Desperate Housewives’ (‘Amas de Casa Desesperadas’), a local production by Pol-ka Producciones for Disney Media Distribution Latin America for Argentina (El Trece), Brazil (RedeTV!), Colombia (RCN Televisión), Ecuador (Ecuavisa) and US Hispanic (Univision).

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“Argentina has an interesting selection of shooting locations, as well as highly capable professionals whose talent and creativity have been noted both locally and internationally, and have made the country one of the most renowned content producers in the world,” Borensztein said.

“Argentina ranks fourth among the world’s most active format exporters, behind the UK, the US and Holland.”

Women’, ‘Violetta’, ‘The Successful Mr. and Mrs. Pells’, ‘Patito Feo’, ‘Montecristo’, ‘Pretenders’, ‘Caiga Quien Caiga’ (CQC) and ‘Graduates’, which have been distributed to more than 80 territories. The country also ranks fourth among the world’s most active format exporters, behind the UK (146), the US (87) and Holland (35), according to the Format Recognition and Protection Association (FRAPA). The association says Argentina is Latin America’s leading country in TV programming exports, reaching a total of 28 formats since

“That said, Argentina is in many ways a more developed television market in comparison to other countries in the region and this has a lot of advantages: professional partnerships between producers and customers, a large (production) talent pool, high production values, reliable and fast ratings information, to name a few,” said Martha Brass, COO of Endemol Group, which has offices in Argentina since 2000. PAY TV SUBSCRIBERS. 2013 also marks the 50th anniversary of Argentina’s pay TV industry, which now reaches 80% penetration, almost twice the region’s average. Around 9.2 million homes in Argentina have access to pay TV services and content, with a yearly growth

insideArgentina | Special Report of 7%, according to the Latin American Multichannel Advertising Council (LAMAC). Its main operators are Cablevisión (Grupo Clarín, reaching 47.7% of the market), DIRECTV (21.1%), Supercanal (7.8%) and Telecentro (7.2%). In addition, several foreign programmers -mostly from the US- have regional offices and audiovisual production studios in Argentina. “Argentina is a mature market with high penetration levels. This makes it different from other countries in the region. I see a market that resembles the US more than it does other Latin territories. Cable in Argentina has great market penetration and the C and D classes have cable network coverage,” said Carlos Moltini, CEO of Cablevisión. “Nowadays cable is communication, information, knowledge, diversity; a space by everyone, for everyone. We have more than 600 local signals and over 1000 producers. 32% of the existing broadband belongs to cable,” said Walter Burzaco, president of the Argentinean Cable TV Association (ATVC).

INTERNATIONAL AWARDS Argentina’s audiovisual production is recognized worldwide. In this sense, the country has collected two Academy Awards in the Best Foreign Movie category. The winning productions were ‘La Historia Oficial’ (‘The Offical Story’, 1985) directed by Luis Puenzo, and ‘El Secreto de sus Ojos’ (‘The Secret in Their Eyes,’ 2009) directed by Juan José Campanella. In addition, Argentina has also received two International Emmy Awards for its TV series ‘Caiga Quien Caiga’ (CQC) by Eyeworks/Cuatro Cabezas (Non Scripted Entertainment, 2011), the miniseries ‘Televisión por la Identidad’ by ON-TV (Best Miniseries, 2008) and ‘Televisión por la Inclusión’ by ON-TV (Leading Actor, Darío Grandinetti and Leading Actress, Cristina Benegas; 2012).

In this context, pay TV produces much of the programming developed in the country, for the local and international markets. A notable example is HBO Latin America Group, which developed its first original production for its Latin American network in Argentina. The TV series ‘Epitafios’ was produced by Pol-ka Producciones back in 2004 and was the starting point of a list of original productions the US programmer has developed thus far in Latin America. PROMOTION AND DEVELOPMENT. Moreover, in 2012 INCAA created the Management for the Development of Content Production for Television, Internet and Videogames, as an answer to the complex task of implementing public policies which the new Media Law and the Argentine Digital Broadcast Television System required.

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That same year, INCAA also promoted the presence of content creators from all over the country in the international market. “We believe Mipcom is the greatest market in the world and that’s why we decided to focus our efforts there,” German Calvi, Development Manager of Content Production for Television, Internet and Video Games at INCAA, said to ttv. “To sum up, in regard to promotion, we can say we’ve now received more than 4,000 projects in every contest category. In the first edition, 142 audiovisual pieces were completed, and 122 in the second; and now we have 104 audiovisual projects in different stages of production. This means there are now over 2,000 hours of content produced with help from the state, in addition to 1,682 new ones in the works,” Calvi concluded. ttv

insideArgentina | Executives

Content, Diversity, Passion

Germán Calvi, Development Manager of Content Production for Television, Internet and Video Games at INCAA

The National Institute of Cinema and Audiovisual Arts (INCAA) has the strategic goal of promoting and developing the Argentinean audiovisual industry, which is STEALING the spotlight this year as Mipcom’s “Country of Honor.” By Sebastián Torterola

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Twitter: @storterola storterola@todotv.tv

n the following interview, Germán Calvi, Development Manager of Content Production for Television, Internet and Video Games at INCAA tells ttv about the country’s audiovisual industry and the organization’s role in it.

How is the Argentine TV industry composed? Argentine television, created in 1951, has developed into a commercial and industrial scenario represented mainly by five operators (Canal 2, Canal 7, Canal 9, Canal 11 and Canal 13) which concentrate and generate

80% of the primetime content related to the 40 companies that produce the bulk of all the programming. In addition, Argentina has more than 80% pay TV penetration, almost twice the region’s average. The audiovisual industry has 100,000 employees and professionals. How has the industry changed with the Audiovisual Communication Services Law? After the law was passed in 2009 and the Brazilian-Japanese norm (ISDB-T) was adopted to implement the Digital Terrestrial Television service in Argentina, a real transformation began, with the government as the main entity promoting this development, betting on a TV that represents the country and its different territories’ cultural diversity. What happens with Argentina’s public TV? Public television has become a referent in Latin America as far as cultural and educational content, through the new positioning of Canal 7’s lineup and the launch of a series of new channels, headed by Canal Encuentro with its shows Presidentes de Latinoamérica and Mundo Leo (Messi) that have achieved great success and recognition both inside and outside the country’s borders. In this sense, how would you define Argentina’s place in the global TV industry? The Argentine industry is recognized for its formats and series, with great examples like ‘Violetta’, ‘Patito feo’, ‘Montecristo’, ‘Sheik’, ‘Perla negra’, ‘Los simuladores’, ‘Mujeres asesinas’; the Emmy-award winning Televisión por la identidad, Televisión por la inclusión and ‘CQC’; in addition to’ Graduates’, ‘Erreway’ and ‘La extraña dama’, which have reached more than 80 countries. What opportunities does Argentina provide as an audiovisual hub in the region? Argentina has technology and professionals that are highly qualified and can contribute with production and co-production services for the most ambitious projects. And, in addition, its vast territory offers diverse climates and landscapes, making the country a scenario that represents all weathers and geographies.

ket, considering Mipcom is the largest market in the world and thus making us focus our efforts there. How will Argentina being Country of Honor at Mipcom benefit its business? We believe INCAA is responsible for promoting production, but it’s hard -maybe impossibleto separate production from broadcast, that’s why distribution and commercialization are key parts of the process. We are betting on Argentinean audiovisual companies doubling their efforts to make the most of the visibility and opportunity provided by this new position we’ve achieved at Mipcom and increase their sales, their partnerships with allies and clients, and improve the country’s exporting role in the audiovisual industry. ttv

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Which are INCAA’s main goals? In her five years as president of INCAA, Liliana Mazure has worked hard on the organization’s goals. We started by understanding the complex reality of the audiovisual industry and designed a series of tools that can influence this reality and accomplish ambitious goals. The main one is to collaborate, from promoting to producing content, with the cultural audiovisual industry’s development in Argentina. This means helping the industrial area of the business develop daily fictions and exporting them. In addition, 2012 was the first year we promoted the presence of developers from all over the country in an international mar-

“2012 was the first year INCAA promoted the presence of developers from all over the country in an international market.”

insideArgentina | Executives Tomás Yankelevich, Head of Programming and Production, Telefe

Liliana Parodi, Programming and Production manager - America TV

Creative Powerhouse Telefe is still at the top of Argentina’s free TV landscape. Meanwhile, its production division has several ongoing projects for the international market and the next step is to become proficient in multi-platform content production.

leading broadcaster, a production house, a distributor with widespread international presence; Telefe stands out as a fundamental industry player to understand Argentina’s TV history. “We’re in a really good moment. As a channel, we’re leading free TV audiences; as a content generator, we’re in transition, looking at how to grow in the creation of multi-platform content,” says Tomás Yankelevich, head of Programming and Production at Telefe. According to the executive, the Argentinean TV landscape is very dynamic and it’s necessary to “put up a good fight every month” to lead the ratings. “Contents are very competitive and quality standards are high. Cable penetration is big (83%) and this means that, apart from having creating projects, we have to give them a superior quality to stay competitive,” he explains. PRODUCTION. 60% of Telefe’s programming slate is comprised of original in-house production across several genres. The company produces drama (‘Allies’), entertainment (original formats such as ‘La Pelu’ as well as international formats such as ‘Celebrity Splash’ or ‘The Voice’), daily fiction (‘Graduates’, ‘Neighbors at War’). Some of them are co-productions, but they are produced in-house. “Depending on the business case, we always try to use all of our resources, even though in some case we decide to outsource. For instance, we consider ‘Candy Love’ to be a co-production, since all the artistic talent was from Telefe, but it was made outside the channel,” Yankelevich assures.

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PRODUCTION LINKS Telefe is very used to working with independent production companies. According to Yankelevich, some of the companies they’ve worked with recently include: Cien Pies, Corner, Cris Morena Group, Dori Media Group, El Arbol, Endemol, Eyeworks, FDV, LCA Producciones, Nanuk, RGB Entertainment, Underground and WinTV. “And we will continue to work with any independent producer with good content for our screens,” he affirms.

“The Argentinean TV landscape is very dynamic and it’s necessary to put up a good fight every month to lead the ratings.”

A Live Approach América TV currently ranks third in popularity among Argentine TV viewers, with a programming strategy based mainly on infotainment.

013 has been a year of consolidation and growth for broadcast TV channel América TV. Not just because its ratings have played in its favor, leading it to the number three spot in the country (it had retained fourth place for over 12 years); but also because it allowed it to develop and strengthen its live programming from morning to midnight. Close to 50% of América TV’s programming is self-made. Yet, several local producers work on co-productions for several of the channel’s series. “We work with producers such as Endemol, Mandarina, Jotax, Eyeworks/Cuatro Cabezas, and others,” said Liliana Parodi, Programming and Production manager for America TV. “The channel’s productions are obviously it live shows, magazines, showbiz and in some cases, pink journalism, newscasts, opinion pieces, investigation and general information,” she added. This year, to even out its live programming, the channel has experimented with entertainment formats. “We were successful with ‘Lo Sabe no lo sabe’, produced in 4K. The idea is to continue with this type of programs that include participation from the general audience,” she said. In this sense, considering Argentina’s notable presence in this year’s Mipcom, Parodi believes the audiovisual industry “has special features when it comes to production, mainly because it has excellent human resources and a variety so vast of formats and programming genres that everything is represented somewhere. Argentine television has viewers that always seek for what’s new, which presents a constant challenge for those of us who must meet this demand. Our viewers are also very local and we notice that with our fiction series and the modifications we must make to some international formats to make them more “Argentinean”,” she concluded.

“Argentine television has viewers that always seek for what’s new, which presents a constant challenge for those of us who must meet this demand.” Aniamles Sueltos Infotainment

insideArgentina | Executives Fernando Blanco, CEO of Pol-ka Producciones

Michelle Wasserman, SVP International Business and Content Development – Latin America

The Leader’s Recipe Pol-ka is one of the leading production companies in Latin America. It develops fiction titles for television and creates original ideas and scripts, allowing it to export formats such as ‘Killer Women’ to major networks like ABC.

ol-ka Producciones was created in 1996 and is today one of the leading producers in Latin America. The company includes more than 300 employees, has its own studios and locations, and cameras with HD technology. It also has special technical equipment such for production and postproduction, image and sound. “We’ve produced over 6,000 hours of fiction content: series and telenovelas, covering drama, action and comedy,” Fernando Blanco, CEO of Pol-ka Producciones. “Over the years, we’ve created a brand, a quality guarantee in all our productions. We are proud to be the first Argentine producer to sell a format in the US, which will be produced in Hollywood and broadcast on ABC Networks in 2014,” he said. Pol-ka Producciones develops close to 300 hours of fiction titles each year (two telenovelas and a series) for Canal 13 (Artear) in Argentina. “It’s our partner and also our strategic ally, as it broadcasts all of our productions on broadcast TV. We’ve invested in every genre, be it drama, comedy, action or fantasy,” he said. In this sense, ‘Farsantes’ and ‘Solamente vos’, two of its most popular telenovelas, have reached notable ratings this year. As far as Argentina’s audiovisual production and its place in the international scenario, Blanco believes that because of its high quality and creativity, “Pol-ka has been able to take its formats and series to numerous countries worldwide.” In addition, the company “has provided production services to important channels and companies, such as HBO, Disney and Fox. Pol-ka is ‘Violetta’s production house, a series that’s broadast all over Latin America and Europe with great success,” he concluded.

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“Pol-ka has been able to take its formats and series to numerous countries worldwide.”

Killer Women Series

Pivot for Latin Production Endemol Argentina is the group’s main base in Latin America. From there, it develops close to a thousand hours of programming and offers production services for its partners all over the world.

ndemol Argentina is the only producer to work with every local channel in the country covering several types of genres. In addition, it acts as the pivot around which the company’s business in the region revolves and is its main production center in Latin America, which over 40 countries have reached out to as the place to develop their most ambitious projects. The company was born as a local producer but turned into what’s known today as Endemol Latin America, thanks to a notable business outlook that transcends borders. “From our Argentinean base we manage all of our business for the region -except for Mexico, which is overseen from our Endemol US offices- and its growth led to us opening new headquarters in Chile and Brazil, which reports to our CEO based in Argentina,” said Michelle Wasserman, SPV International Business and Content Development, Latin America. “Over the last decade we’ve exported over 285 formats in the region, not including our productions in Argentina, which would add another hundred titles,” she said.

Endemol Argentina has a strong presence in the regional market. The company currently has 30 local shows on air in Latin America, and more to come in 2013, year that will end with 40 shows aired in the region, excluding Mexico. “Our activity involves coproduction with local and panregional cable networks, format distribution and international production services in Argentina and other countries. If we add the finished programs that travel very well in the region, that number increases significantly,” she explained. In 2012, Endemol produced 2,200 hours of entertainment and realities in Argentina, as well as 230 hours of fiction series. In 2013 the producer developed 2,500 hours of entertainment and realities on a local scale, plus 240 hours of fiction titles. Its offer also includes production services to other Endemol affiliates and international companies. “We’ve taken on productions for more than 45 countries worldwide. From Finland to China, Turkey and Israel,” she said. “Argentina continues to be a referent for the high-quality services it offers, the variety of locations and its excellent teams of professionals; even when we don’t have the economic advantage we used to have six years ago,” she said. “In addition, it’s also important to highlight government’s active involvement and the support it’s given the industry, promoting local production and training, which gives us an optimistic outlook on the business’ future,” she concluded.

“Argentina continues to be a referent for the high-quality services it offers, the variety of locations and its excellent teams of professionals.”

insideArgentina | Executives Alejandro Corniola, President, Underground Producciones

Creators of Hits In seven years, production house Underground Producciones has become a generator of local and international TV hits like ‘Lalola’, ‘The Successful Mr. and Mrs. Pells’ and ‘Graduates’.

Claudio Villarruel y Bernarda Llorente, Partners & Founders, ON TV Contenidos

Boutique Production House In seven years, production house Underground Producciones has become a generator of local and international TV hits like ‘Lalola’, ‘The Successful Mr. and Mrs. Pells’ and ‘Graduates’.

ounded in 2006, Underground Producciones is born out of a partnership between Sebastián Ortega and Alejandro Corniola. The company is associated to Endemol and Grupo Crónica. In 2006, it produces ‘El tiempo no para’ and ‘Amo de casa’ for Canal 9, and in 2007 it starts working for Telefe network, generating a great impact on local TV with series ‘Lalola’, which was sold to over 70 countries by Dori Media Group. That year the company also produced ‘Travesía Chubut’ for Discovery Channel. In 2008, Underground presented the series ‘The Successful Mr. and Mrs. Pells’ and in 2009 it developed the telenovela ‘WAGs - Love for the Game’. Meanwhile, in 2011 it produces ‘A Year to Remember’ and in 2012 ‘Graduates’ for Telefe, which became the hit of the year, reaching an average of 25 rating points; being sold to several countries as a format and as finished content; and winning a Golden Martín Fierro award in 2012. “Underground mainly develops fiction content in TV series and standalone formats; ant it’s currently approaching the production of transmedia content for digital outlets. We produce around 200 hours of annual,” Corniola explains. “In terms of the audiovisual and narrative treatment of fiction, Argentine production works with international quality standards. They are highly competitive in the global market and at the same level of the world’s main capitals,” he concludes.

“Underground mainly develops fiction content in TV series and standalone formats; ant it’s currently approaching the production of transmedia content.” Exploradores de la Quinta Galaxia Series

roduction house ON TV Contenidos was created after a period of over ten years of Claudio Villarruel and Bernarda Llorente working in the programming area of Telefe network. “In these few years we got two International Emmy Awards with ‘Televisión por la inclusión’ thanks to the performance of actors Darío Grandinetti and Cristina Banegas. ‘Contra las Cuerdas’ was also a finalist in 2011, recognized as one of the world’s best telenovelas,” the executive proudly comments. “Our producer is oriented to creating and searching for new ideas and concepts that revitalize TV,” they explain. “We could define ourselves as a boutique production house, since we approach specific projects with great artistic value.” Currently, ON TV Contenidos is associated to several media companies such as Turner Broadcasting System Latin America, Teleset in Colombia, Canal 9 in Argentina and Azteca in Mexico, just to name a few. It’s now producing a late night show for TBS veryfunny, which will be launched across Latin America, and it’s also producing a 13-episode series that will air on Argentina’s Canal 9.

“We believe that Argentina continues to be a referent in the region in terms of production standards, as a generator of ideas and narrative styles.”

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“We believe that Argentina continues to be a referent in the region in terms of production standards, as a generator of ideas and narrative styles, as well as due to its high quality talent. All of this awards it with international appeal,” Villarruel and Llorente explain. “We believe that Argentina being considered ‘Country of Honor’ is a very important step towards international consolidation of our audiovisual industry. It gives us great exposure and it positions us as a key player in the competitive international market,” they conclude.

insideArgentina | Executives Nora Seoane, SVP International Sales, Yair Dori Corp

Rejuvenated Experience

Ariel Tobi, President, Snap TV

Connected with the Client’s Needs

The company created by renowned executive Yair Dori started operating in the TV business in 2011, and has already given birth to its first big international hit: the series ‘Historias de Diván’.

air Dori Corp started operating in 2011, headed by successful and renowned executive Yair Dori. The company creates, develops and distributes TV shows –its portfolio is comprised of 200 hours-, films, theatre plays, music concerts and merchandising for all of its TV shows in the local and international market. “We rely on the work, on the generation of opportunities for acclaimed talent and new figures; and developing co-productions with international companies with which we’ve worked for a long time,” says Nora Seoane, SVP International Sales, Yair Dori Corp. In 2012, Yair Dori Corp premiered its first production on Telefe, ‘Historias de Diván’ (120 x 60’), based on the books by psychotherapist Gabriel Rolón. In addition, it’s currently producing the tween musical soap opera ‘Señales del fin del mundo’ (120 x 60’). “We currently distribute both original programs and formats of our own productions, as well as other products we represent,” Seoane explains. “We started in 2011 with ‘Historias de Diván’, which is currently aired in Argentina, Uruguay and Israel, and it targets an adult audience due to its plot oriented to deep and dramatic psychoanalysis. We’re currently producing ‘Señales’, a teen multi-platform telenovelas completely shot in HD,” the executive assures.

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Yair Dori Corp’s partners include Telefe (Argentina), Canal 10 (Uruguay) and Israel’s public TV. As for the European market, an important alliance with FunWood has been established for the distribution of ‘Señales’ in Spain and Italy. “Argentina is a great country to produce content, not only because of the costs, which are pretty more accessible with respect to other countries, but also because it’s a great generator of innovative ideas and creativity, as well as a cradle of well-trained and flexible artistic talent,” Soane concludes.

A creative house with growing sales in US Hispanic, several titles on air for NatGeo and History, and an acquisition team strengthened by content demand; Snap is one of the fastest growing Argentine distributors of recent years.

145% sales growth within the US Hispanic market means a third year of 100%+ growth for Snap TV, the exclusive distribution agent of MarVista Entertainment in Latin America. “We’ve inked very important agreements with MundoFox, Unimás and MTV, which allowed us to boost our presence in the US Hispanic market,” says Ariel Tobi, president of Snap TV. “In the company’s second year we grew 129%, the next 156% and last year it was 126%. This year, only 4 months away from beginning our 2013-2014 period, we are already 5% ahead of last year,” he added. The distributor has been able to close several deals for its package of movies, which has allowed the company to increase its presence in specific events for content acquisitions, such as the AFM in the US and a series of minor events in Latin America, such as Guadalajara’s International Film Festival, Ventana Sur in Buenos Aires, and the European ones such as the EFM. PRODUCTION. As for the production area, the company continues to develop documentaries for third parties, mainly for clients such as History Channel, for which they produced ‘Vida Eterna’, ‘H90 Bicentenario’, ‘Templarios’ and ‘Rescates Extremos’; or NatGeo, with productions such as ‘Profecías’ and ‘Tabú Latinoamérica’. “We have a creative department that’s in charge of developing projects according to the client’s needs. But we also have a stable team that works in the direct communication with the Programming area of History and NatGeo. It’s the only way to be constantly connected with its needs.”

“We have a creative department that’s in charge of developing projects according to the client’s needs.” Golden Winter 2012

“We rely on the work, on the generation of opportunities for acclaimed talent and new figures; and developing co-productions with international companies.”

insideArgentina | Executives Alex Lagomarsino, CEO and Virginia Berberian, International Business Director, MediaBiz

Business Agent The company created by Alex Lagomarsino distributes formats, develops paper formats and business for the TV industry, and represents an array of scriptwriters and directors worldwide.

ediaBiz is a business agent operating in the entertainment industry. Among other activities, it distributes formats such as the ones from Pol-ka Producciones, as well as Aries and Bechini, among others. “MediaBiz is a long-running distribution company with know-how in format distribution, development of paper formats and business development,” says Alex Lagomarsino, CEO at MediaBiz. “Our distribution average reaches about 200 hours for broadcast and cable TV, mainly in Mexico,” he adds. In the last few years, MediBiz closed sales in many countries in Latin America, mainly Mexico and Colombia, as well as in Europe, Russia and Spain. It also managed to attract production business to Argentina, such as ‘Desperate Housewives’; the production of ‘Killer Women’ for Italy; ‘Valentino el argentino’ for Colombia; and ‘Epitafios’ for HBO Latin America Group; as well as an alliance with Televisa in Mexico and ABC Studios. Recently, the company set up a pool of authors, scriptwriters and directors, whom it represents by offering their services for story development.

“Through the years, Argentine productions have maintained their creativity and high-quality leadership.”

Argentine Talent Young producer PepperMind has a team of professionals with over ten years of expertise in Argentina’s audiovisual production field. The company produces and distributes formats with focus on the international market.

rgentine prodco PepperMind was born in March 2011, and since then it provides international production services ranging from content development to integral production. “We’re curious and agile, we keep our eyes open to the channel’s need and the audience’s preferences. We search and develop the formats that we know will give them the results they want,” says Nicolás Grapper, president of PepperMind. “We develop, distribute and produce international TV formats,” he says. “The company is comprised of a team of professionals with over ten years of international experience and that is reflected in the competitive advantage of the added value services we offer. We’ve developed and produced formats for Russia, Turkey and Brazil, among others,” he adds. Thus, PepperMind produces in-house and third-party entertainment formats with international aspirations. It also offers creative and production services. Today, the company produces an average of 36 hours each year, and it’s expecting to grow this number for the following years. “Our partners are two giants that award us a great competitive advantage internationally. On the one side there’s Betaplus, with over 20 years in the market, it’s the continent’s largest provider of postproduction services. They’ve provided services in over sixteen seasons of ‘Survivor’, among others,” he says. “Meanwhile, our projects and productions count on the essential participation of FX Stunt Team, the most prestigious after effects and stunt doubles company in Latin America. Together we’ve produced more than 30 seasons of ‘Fear Factor’, 32 of ‘Wipeout’ and ‘101 Ways to Leave a Game Show’, among other formats.” Currently, PepperMind is shooting pilots and preparing the launch of new formats. Moreover, they are about to launch their first production for Argentine TV. “It’s a really innovative formats that integrates the TV screen to the internet, and interactivity with the audience is its premise,” Grapper concludes.

“The company is comprised of a team of professionals with over ten years of international expertise.”

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“Through the years, Argentine productions have maintained their creativity and high-quality leadership,” Lagomarsino states. “Argentina is internationally renowned for its talent, which attracts producers and networks to acquire and produce ideas in Argentina,” he concludes.

Nicolás Grapper, President, PepperMind

insideArgentina | Executives Claudio Ipolitti, Director of Satellite Networks and International Business, Telefe

Alejandro Borensztein, President of the Argentine Chamber of Independent TV Producers - CAPIT

Kings of Content

The Independent Voice

Telefe -the current rating’s leader in Argentina- has a content portfolio that holds over 100 titles and more than 500 hours of new fiction added each year. The company is present at the 2013 Mipcom to present its star multiscreen production ‘Allies’.

elefe’s international distribution division has a long track record of global distribution of hit content that has made the channel the rating’s leader in Argentina. “We are the most experienced Argentine producer, as well as the most accomplished in terms of volume and quality of our exports,” said Claudio Ipolitti, Director of Satellite Networks and International Business, Telefe. The company’s mission is to be “a bridge between creativity, Argentina’s production capacity and the international audience,” Ipolitti said. “Our goal is to give Telefe’s products the ability to be recognized and consumed across the whole world through several business platforms: the international networks, as taped content and formats. This allows us to broaden the number of markets and generate income that makes the company sustainable,” he added. Telefe’s portfolio has over 100 titles that the company’s been collecting through the years. Its biggest competition is in the fiction arena, and each year it adds three or four new titles that amount to 500 hours of content. “On a local level, we’ve developed co-productions with almost all Argentinean and foreign independent producers,” he said. “We distribute content locally on broadcast and pay TV, covering the entire country and the region. As far as the international market goes, our main clients are global pay TV operators; all the major ones in South America and US Hispanic. But our productions are adapted both in Latin America and further regions such as the Middle East or Europe,” he added.

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This year, in addition to its usual titles, Telefe is presenting its new multiplatform production ‘Allies’, along with ‘Vecinos en Guerra’, ‘Dulce Amor’, ‘Graduates’, ‘El Hombre de tu Vida’, and its vast catalog of series, entertainment products, telenovelas, and kids and teens’ titles. “Argentina’s creativity and production capacity are known worldwide, and products developed locally travel the whole world. So whether it’s the number of titles or their high quality, I believe Argentina has excellent opportunities in today’s world where content is king,” he concluded.

“Telefe’s mission is to be a bridge between creativity, Argentina’s production capacity and the international audience.”

Argentine Chamber of Independent TV Producers represents the 30 main production companies in the country, which in 2012 alone generated around 30,000 hours of content and 24,000 jobs.

“Capit’s mission is to promote independent production in TV in general and especially that of the production companies, defending their interests, managing the industry’s benefits with national and regional authorities, as well as the TV channels and the organizations behind them,” Alejandro Borensztein, president of Capit, says to ttv. The organization is also in charge of setting minimum salaries for the industry’s workers. “As the representative entity for independent TV production it’s also our mission to have a permanent dialog with its regulatory organization (Afsca), working together to regulate the TV industry’s activities,” he explains. In this sense, Argentina’s independent production industry generated over 24,000 jobs in 2012. In addition, according to estimates published by the Federal Audiovisual Communication Services Authority (Afsca), Argentina broadcast 30,000 hours of independent productions in 2012, including shows for broadcast and pay TV for Argentina and overseas. According to several market reports, Argentina is the fourth global exporter of TV formats, surpassed only by the UK, the US and Holland. “Almost half of the total amount of exported formats are created by independent producers that are members of Capit,” he says. Moreover, the executive said that “despite not having a specific legislation to promote the industry, Argentina has always offered a reasonable cost/efficiency ratio, although competition with other countries has become increasingly tough,” he said. This is why Capit and other organizations are currently hard at work with the government “to create a legal framework that lets us promote TV content production in Argentina at all times, to broadcast them both locally and internationally,” he adds. FROM ARGENTINA TO THE WORLD. This year’s Mipcom will feature Argentina as its Country of Honor, allowing the world to take a closer look into the South American country’s industry and its vast TV tradition. Thus, it’s worth it to take a look at its TV industry and how it ranks in the international scenario. “Argentine productions are distributed in Bolivia, Uruguay, Paraguay, Colombia, Venezuela, Ecuador, Chile, El Salvador, Nicaragua, Guatemala, Panama, Costa Rica, the US, Russia, Serbia, Hungary, Bulgaria, Poland, Romania, Montenegro, Israel, Greece, Italy, Spain, France, India, Pakistan, Hong Kong and Singapore,” he said. “We also develop specific productions for global networks such as HBO, FOX, ESPN or Disney.”

“Almost half of the total amount of exported formats are created by independent producers that are members of Capit.”

Executives ttv

Beyond

Bollywood Sunita Uchil, Global Head Syndication at Zee TV spoke about the evolution of the entertainment industry in India and described her goals for this Mipcom edition: to enter key regions like Europe, Latin America, Japan and the CIS.

Sunita Uchil,

Global Head Syndication, Zee TV

By Valentina Vinaja Twitter: @vvinaja vvinaja@todotv.tv

Dance India Dance Reality Asked about the potential of India’s entertainment industry, Uchil replies that it’s “an extremely robust and vibrant industry,” and she affirms that today they have a demand for their programming content from over 170 countries. “We are just about at the tip of the proverbial iceberg at the moment,” she says. DIGITAL. Today, new digital streaming platforms are important buyers for Zee TV: the company has set teams specifically dedicated to these clients, and it builds strategies to have a permanent presence in the digital world. “We are actively involved in working out the best models which will ensure a fair share of revenue from the online platforms. Digital is the future, and there is no denying that fact,” Uchil says.

LINEUP At this year’s Mipcom, Zee TV’s big ticket offering is the recently launched Historic drama ‘Buddha.’ This is the first ever biopic on Buddha shot in Cinemascope HD. The story traces the unique life and teachings of Gautama Buddha and we believe it will have a vast audience appeal, across cultures. In addition, the company will present its own dance reality show ‘Dance India Dance’, which has a huge fan following in India. This show has spanned across four seasons, several variations, has a Guinness World Record and was made into a Bollywood movie.

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genres include history, kids and romantic ee TV, one of India’s pioneer proprogramming. We have an Indian moduction and distribution comvie library with more than 3,000 panies works intensely in titles and new titles released regions like The Middle “Today, recently will be much in deEast and Africa. With 22 Indian TV shows mand across markets,” Uchil offices worldwide, the company are making their mark says. continues to expand and aims across the globe to introduce its productions and global audiences Uchil highlighted the to Europe and Latin Ameriare increasingly transformation Indian ca, regions that, according to interested in shows which reflect the productions have gone Sunita Uchil, Global Head of Indian culture, cuisine through recently. Even Syndication, “are particularly and people.” though in the past India was interesting.” known for local films, now its focus has changed: “Today Indian Among the highlights within TV shows are making their mark across the Zee TV’s catalog for these regions there’s a globe and global audiences are increasingly wide variety of genres of premium content interested in shows which reflect the Indian which total 100,000 hours of programming. culture, cuisine and people,” the executive “Our main focus continues to be our core explains. offering of family dramas. Other popular

Lastly, the executive explained that for this Mipcom edition they are bringing several special titles, such as premium family dramas, a biopic on Buddha and a dance reality show format. “With this array, we are hoping to expand our footprint into Japan, CIS regions & Latin America. Reinforcing the Zee Bollyworld brand with higher demand in Indian entertainment content continues to be our key focus this year,” Uchil concludes. ttv

Article ttv

In recent years, Power has greatly enriched its content library with high-quality drama productions and a varied offer from third-party producers. Backed by excellent sales to US players during the LA Screenings, the company arrives at Mipcom with a punch. By Sebastián Torterola Twitter: @storterola storterola@todotv.tv

DISTRIBUTION

Even Flow

f you aim to be a top-of-mind distributor in the international market, a good way is certainly covering a wide range of content genres, so that you always have a title for each need. Action, disaster, family, wildlife, factual and comedies… together, all of these genres may be an effective way to engage clients. That’s the strategy of UK-based distributor Power, which docks at Mipcom with a threefold library comprised of drama, factual and feature films sections. “Our drama includes miniseries and TV movies, including historical, action, disaster and family titles. Our main focus for Mipcom will be our new four-part historical drama ‘New Worlds’ which is set in the 1680’s in England and America,” says Andrew Whiteman, head of Sales Planning & Operations.

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In this genre, Power will also be highlighting five disaster miniseries: ‘Delete’, ‘Ring of Fire’, ‘Cat 8’, ‘Exploding Sun’ and ‘Eve of Destruction’, alongside its other latest co-production ‘Air Force One is Down’. “Mini-series remains a very popular format and an ideal acquisition for broadcasters. Our recent sales of our VFX-laden ‘End of the World’ collection, alongside our co-production, ‘Air Force One Is Down’ to Universal at LA Scree-

nings and A&E illustrate that demand,” Whiteman explains. Power has an extensive portfolio of drama and factual titles from third parties, some of which are Bankside, GKTV, Muse, NHU, Sabido, Sonar and TMG. “These relations can work very well as it benefits both the producer and the distributor,” he assures. Thus, the producer receives revenue without incurring costs and Power gets to present high quality programming. FACTUAL & FILMS. “Our wildlife programming includes amazing series and one off specials, including the new titles, ‘The Great Penguin Rescue’, ‘The Trapper’ and ‘Shark Meet Crocs’. Our factual content covers sport & adventure, science & technology, real life, lifestyle, history & biography and crime & investigation, again bringing exciting new content to the market including ‘Breaker Morant’,” he adds. Meanwhile, Power also has feature film titles across genres like family, action, comedy and psychological thrillers, and include a range of well known casts including, Damian Lewis, Geena Davis, Vanessa Redgrave, Val Kilmer and John Hurt. DIGITAL RISE. There are a growing number of established platforms and portals, parti-

“If we include the digital rights in our free and pay TV deals with established broadcasters, it’s important to ensure they’re on a non-exclusive basis.”

New Worlds Historical Drama

Series and movies aren’t that strong in free TV networks as they were before. Do you agree with this? We haven’t found this and believe there is a strong requirement for this type of content. TV movies are a good option for stations who don’t have studio deals or don’t want to put there blockbuster movies on at times they can’t generate the maximum revenue from. cularly with the library and SVOD/AVOD business models that are providing a genuine opportunity for backend revenue to replace the declining DVD market. However, Power’s preference is to go with “the established old media/pay TV-owned platforms” as they have “the brand and marketing power.” However, there are an increasing number of “credible standalone sites like Netflix,” who are “not only purchasing rights for huge amounts of content”, but are now commissioning original series. “Digital platforms are definitely changing the way we construct our deals. Broadcasters are frequently demanding more rights for the content they purchase. If we include the digital rights in our free and pay TV deals with established broadcasters it’s important to ensure they’re on a non-exclusive basis and that we are getting the additional value in the license fees and revenue share on top of the agreed fees for free and pay TV,” Whiteman states. ttv

Executives ttv

Make Yourself at Home In an industry where everyone’s searching for new ideas, it’s best to have someone watch your back. FRAPA Chair Patty Geneste explains how the self-described “home of the international format business” is working to be the “most important organization” to protect producers and creators all over the world

Patty Geneste,

FRAPA Chair and Absolutely Independent’s CEO & President

By Carolina Mussio Twitter: @carolinamussio cmussio@todotv.tv

To this end, FRAPA is undertaking several inihen the formats industry grew tiatives, the next one being a new indepenfrom a boutique business into dent nonprofit registration system a global, multi-billion dowhich we will be launched at llar market, FRAPA’s Mipcom, through which FRAPA role as a helping “It’s FRAPA’s goal to become members can benefit from exhand for producers and creators the most important tra discounts. became more important than organization ever. The Format Recognition and not to be missed OLD HABITS DIE HARD. BaProtection Association, which out on if you’re lancing a double role as chair acts as “the home of the internaactively working of FRAPA and CEO of international format business” by proviin the format business.” tional distributor Absolutely Inding protection and information dependent, the executive is also for producers, creators and distriattending this year’s Mipcom to showbutors; is now actively working to case the latter’s new titles; a list made up by take its mission even further. ‘Minibuzz,’ ‘Get a Life,’ ‘The Golden Dish’ and “goldie oldie” comedy panel show ‘Who am I?’; “It’s FRAPA’s goal to become the most important a genre the executive said “disappeared from organization not to be missed out on if you’re the international scenery but is now coming actively working in the format business,” said back again.” Patty Geneste, Chair of the organization, who explained they are seeking to add more memWhy? Because “you can always see waves of inbers this year, because “the more members we terest in certain formats,” she said, adding that have, the better job we do in defining the forwhile new techniques and platforms are a must mat business into a professional business.”

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Get a Life Reality

Find My Family Reality

for branded content, she believes the effect of technological developments on the actual process of content creation is “overrated.” “Look at the formats that still score the highest ratings; they are mostly old fashioned shiny floor entertainment using new techniques to simply broaden the reach into the target group and its revenues,” she explained. Still, she does acknowledge the benefits of new technologies in the formats business, saying that “if new techniques fit with the format in a natural way, we always stimulate to add them to the concept.” As for the future, Absolutely Independent seeks to “wrap pending deals into licenses and pitch new formats,” an industry the executive believes will always stand the test of time: “People are old fashioned, so television programs in their current shape are here to stay. We have dinner and watch TV. We are a simple kind of species that wants to be entertained,” she concluded. ttv Minibuzz Reality

Executives ttv

A Growing Niche On the heels of signing a deal with Second TV for a package of 1,500 hours of programming, Sebastian Choy’s distributor Mannam Media is now adding pay TV channels and becoming the go-to place for Korean content. By Rodrigo Ros

Twitter: @rodrigo__ros rros@todotv.tv

The company believes analyzing all busiebastian Choy, president of Manness opportunities means exploring new nam Media believes the internahorizons. In this sense, the distributor tional context couldn’t be more is now in talks, negotiating adapprofitable for his company as tation rights in the Middle East, it is today. With a niche au“There’s true dience that keeps growing, Korean interest in closing building bridges between Amedeals both ways, rica and Asia. “In fact, this was content is finding different distriboth from Korea our main goal since the beginbution windows across the US and and from Latin ning and is still so today. I can Latin America. America.” say there’s true interest in closing deals both ways, both from Korea “Each day we land new deals with and from Latin America, but as with pay TV providers in the US and Caevery new project, we are in the process of nada. I’m not talking about a specific channel, but Korean TV channels in general. An example is KBS, which signed a deal within Directv’s Korean package in early August, being one of the few pay TV providers in the US that has all the channels currently airing in Korea (KBS, MBC, SBS), plus 8 or 9 cable networks,” Choy said. “As far as Latin America goes, we’re starting to distribute Korean channels and waiting to have something more specific by 2014.”

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As far as its catalog goes, Choy believes OTT and VOD platforms are an excellent opportunity for niche content: “not just Korean content, but also non-mainstream content. Of course, then you realize the niche is actually much bigger than most people think.” In terms of Latin America, the president of Mannam Media says he is currently in talks with a pay TV operator within a PPV and VOD platform in Brazil; a deal he will probably announce shortly. A little over a year since its first run at the LA Screenings 2012, Mannam Media is consolidating its client portfolio: “we are very happy and proud to have signed a deal with Second TV, but we’re not resting in our laurels. We are also negotiating with other providers and finding new deals, and while there’s big news coming up, we can’t share it just yet.”

Sebastian Choy,

President of Mannam Media planting seeds to be able to reap the rewards in the future,” Choy said. Lastly, the distributor’s main markets continue to be Canada, the US and Latin America, yet Choy thinks it is “ready to enter other territories in Europe, Australia, the Middle East and obviously Asia.” ttv

Good Doctor Series

Q&A ttv

Bold and Original This year, FOX celebrates its 20th anniversary as a leading channel in entertainment and programming, leaving a permanent mark on the region’s TV audiences. In the following interview with ttv, Hernán López, president and CEO of Fox International Channels, remembers the network’s most important milestones since its arrival in Latin America. By Rodrigo Ros

Twitter: @rodrigo__ros rros@todotv.tv

The Simpsons Movie 2007

“My first contact with Fox was as a viewer. I was a fan of ‘The Simpsons’.”

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“Over time, we realized it was necessary to offer our programming in Spanish or Portuguese. Our first hit was ‘Tiempo Final’ in 2007.”

t’s hard to list all the moments that have made Fox “the leading entertainment channel” in Latin America. Hernán Lopez, president and CEO of Fox International Channels, believes each accomplishment was achieved with strong team work. A team that, in every city it stands, has a piece of the network’s history with it. Do you remember your first contact with Fox? My first contact with Fox was as a simple viewer. I was a fan of ‘The Simpsons’. There wasn’t a US-series channel then. It was the first to bring them and in fact, the channel presented itself as “the Hollywood channel.” My first

professional contact with it was in October 1996. Fox Sports and Fox Kids were about to be launched, and they had just purchased the rights to broadcast Argentina’s first division soccer league matches. They wanted to have a big launch for the sports network. So from the start I managed its ad sales in Argentina, starting January 1997, and in August of that year I moved to Miami as the Ad Sales Manager. What happened in 2000? In October of 2000 I moved to LA, where I took on the role of general manager of Fox Latin America. Back then we started seeing the first signs of an econo-

Hernán López,

mic crisis in Argentina and Brazil. And that became much more evident in 2001. During those years we began to feel pressure from cable operators to lower programming costs. As of that moment the relationship with affiliates became more important and we started to think more seriously about the cost-benefit ratio. How did this affect Fox’s operations and how would you define its new position? As a result of this situation, many companies began to rationalize their expenses. Fox sold Fox Kids and decided to sell an important stake in Fox Sports, while also joining National Geographic. At that time David Haslingden took on the role of general manager for all of Fox Latin America channels, which back then were only Fox and National Geographic. That’s when Fox repositioned itself on the global scenario. It hired an international agency and decided to change its slogan to “Yo soy Fox” (“I am Fox”). The goal was to create a stronger relationship between the network’s characters and its viewers. Characters like Buffy, Dark Angel and other from various series were associated with words that identified themselves and the network. For instance, Bart Simpson’s slogan was “Yo soy rebelde. Yo soy Fox” (“I am a rebel. I am Fox”). In this context we created -and I can certainly take credit for this- the channel’s editorial positioning which we use to this day: “Smart entertainment with an edge.” I remember the three people who were involved with this were Emiliano Saccone, VP On Air; Mauricio Ríos, Programming manager and myself. How did you strengthen the bond with your affiliates, advertisers and viewers? When in 2001 David Haslingden joined the company, he realized that -same as other- it had a very colonialist culture, meaning we had a VP Sales and Affiliates in Miami who oversaw everyone who made deals with affiliates in each region. So, all Latin American sales were controlled from Miami or Los Angeles. But at the same Cumbia ninja Series

President and CEO of Fox International Channels “Our challenge is to replicate our leading position on every platform.”

time, the Marketing manager, the Sales manager and the Advertising manager never spoke to each other, because they each reported to different bosses. In this context the decision was made to delegate the management to each region. This change was implemented in 2002. First we began to move the management to the offices we already had in Brazil, Argentina and Mexico, and then began to open new offices in other countries where our competitors had never been present: Colombia, Venezuela, Chile, Guatemala and Peru. Adrián Herzkovich was, for example, the first general manager to work from our office in Argentina. In Brazil it was Abel Puig, and in Mexico, Carlos Martínez. How did things change with the launch of ‘24’? The premiere of ‘24’ led to a repositioning for our programming. We always tried to have the best series and movies, but it’s true that 2001 saw a rebirth of Fox Studios’ productions. In addition, what we did with this series in Latin America was break with the style of broadcasting used with US series. Meaning, here in the US a 22-episode series is broadcast over 35 weeks, including reruns. In Latin America this was a new way of doing it, so we waited until we had all 24 episodes and only then began to air the whole season. A strategy that would then also be used by Fox in the US.

Not to mention the 2005 series ‘City Hunters’… Yes, that’s right. With ‘City Hunters’ through Fox Factor, we had our first experience. The truth is we wanted to develop original

What challenges come from facing a multiplatform scenario? Fox is a leader in content and brand. Fox goes beyond the platform, although we are naturally committed to the pay TV industry. We want our channels to reach viewers through a paid service and be available on different platforms such as tablets, phones and TVs. In this sense, our challenge is to replicate our leading position on any platform. ttv

THE HOLLYWOOD CHANNEL “From the beginning, Fox offered a well-defined sales promise: to be ‘the Hollywood channel’. With this aim, it has always presented many films, mainly from 20th Century Fox studios. But something else was missing. The problem is that you can’t get to be number one with just one hit series. The important things are what lay behind these series. Thus was born a strong campaign with the ‘I am Fox’ motto, that was after change to: ‘I am Fox’,” says Carlos Martínez, president of Fox International Channels Latin America. “One of the most relevant changes pointed to another direction. As our local links got stronger, the important decisions started to be decentralized and our local presence was strengthened. That is, the famous b2b, which was big at the time. The rest of the channels didn’t have this kind of structure,” he reminds. “I remember that in the beginning, the support to our affiliates was guaranteed through training our sales force so that they understood the product and how to sell it. Then the support came through customer services, aiming to maintain the clients; through programming strategies; and through premium products. Today, the challenge lays on how to satisfy the consumers,” Martínez concludes.

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What challenges came from producing your own original series? Over time, we realized viewers had gotten used to having the best programming with US standards, but it was also necessary to see this type of programming in Spanish or Portuguese. Our first hit was ‘Tiempo Final’ in 2007.

productions, but back then we couldn’t find the revenue in it, and with ‘City Hunters’ we had our first important experience with Unilever, since it was actually a branded show.

Executives ttv

Mister Maker Goes Global Riding on the international success of the first seasons, Zodiak Kids will present a third installment of the series called ‘Mister Maker Around The World’ at this year’s Mipcom, along with two new animated shows. By Luis Cabrera

the series ‘Redakai’; with Nick Jr. for a new seven in today’s technological world, ries and three specials of ‘Tickety Toc’; where kids have their first conand with Discovery Kids for seatact with new devices at sons 1 and 2 of ‘Mister Maker a very young age, arts “Although comes to town’, season 3 of and crafts are still an we focus heavily on a ‘Mister Maker’ and the brand important part of their enter360 degree approach new show ‘Zack & Quack’. tainment and education, and where a programme must nobody does this better than deliver the best possible “Our pre-school offering, Mister Maker. commercial return, the character, story ‘Zack and Quack’ is a beauand concept must tifully animated 3D show The character played by Bristill remain at the and one of the two brand tish actor Phil Gallagher moheart of our decisionnew kids shows that we’ll tivates kids to get creative making.” be launching at Mipcom,” all over the world with two she said. “The series follows an hit shows that Zodiak Kids adventurous boy named Zack and his best has taken worldwide. “Arts and crafts shows friend, an impulsive young duck called Quaalways resonate well with a younger audience, but Mister Maker is a cartoony and instantly likeable personality, fronting the show that kids fall in love with,” Cecile Cau, VP of Sales at Zodiak Kids, said to ttv.

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The first two seasons, ‘Mister Maker’ and ‘Mister Maker Comes to Town,’ were very successful in the UK, US and Latin America. Now, production house The Foundation is preparing a third one called ‘Mister Maker around the world,’ in which the leading actor visits kids and creates things in Rio de Janeiro, Sydney, Hong Kong, London and South Africa, among many other locations. “I am looking forward to showing clients the brand new series,” the executive said in regard to the upcoming Mipcom in Cannes. A PAN REGIONAL VISION. Zodiak Kids is looking to expand globally and has signed multiple deals with international networks in the past few months. “We have great relationships with all the pan-regional broadcasters and are lucky to work with all of them,” she said. The list of deals includes one with Cartoon Network for the franchise ‘Totally Spies’ and

Cecile Cau,

VP of Sales, Zodiak Kids

Twitter: @luis_cabreram lcabrera@todotv.tv

ck. They live inside the most amazing popup book ever and as the story unfolds we discover a world of surprise, adventure and pop-up play.” The other new show is called ‘Extreme Football’ and follows down the same line as ‘Street Football,’ developed by Tele Images Production. Zodiak Kids is also presenting new seasons of ‘Tickety Toc’, ‘Officially Amazing’ and ‘Lolirock’. STORY COMES FIRST. Kids’ content has great commercial potential and while Zodiak Kids agrees with having a 360º strategy, it always prioritizes high quality content. “It is crucial to look at all our content with a view to how we engage with our audience in a multi-faceted approach – our audience is no longer in one singular place,” Cau said. “Although we focus heavily on a 360 degree approach where a program must deliver the best possible commercial return across TV, merchandising, digital, home entertainment, etc, the character, story and concept must still remain at the heart of our decisionmaking.” ttv

Zack & Quack 3D Animation

ONE SHOW TO UNITE THEM ALL Working with content for kids, Cecile Cau believes it’s important to keep the aim wide: “when our producers start to produce a show or when we acquire for distribution we always try to focus on titles which can appeal to a large number of children within a certain age group. Even if some of our programs are targeted, for example, to girls we always try not to completely alienate boys and vice-versa. We are faced with the challenge of find the optimum platform which will provide the show with good exposure to create a valuable brand.”

Executives ttv

Straightforward Partner Audio Networks takes care of a big part of the global market in terms of music services. Nick Woollard, the company’s director of Music Sales for EMEA, explains its business model, talks about its music production standards and mentions the kind of clients they work with. By Gonzalo Larrea Twitter: @Gonzalolarrea glarrea@todotv.tv

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are happy to engage in any project where What is Audio Network’s main business we feel we can add value to a client’s producfocus on the TV industry right now? Audio tion, or workflow. Network is a supplier of music to a significant proportion of the global televiIs there a specific trend as for sion industry. We work with many “It is important to music/audio on screen or it of the world’s leading broadcasmeet a very broad just depends on the speters and production groups. range of needs. cific client’s demand? TheWe own and manage a huge The consistent re are clearly varied tastes collection (over 65,000 tracks) element from across time, nationality and of world-class music. We licenour end is that production genre which will se this to content producers the music has to sound fantastic.” affect the type of music a client within the framework of a very needs. The reality for us is that simple and cost-effective license with such a diverse and large client agreement. base, it is important to meet a very broad range of needs. The consistent element from our Could you describe the company’s offer end is that the music has to sound fantastic. and the innovative features it presents to We record with the highest production stanits clients? Our offer is very straightforward. dards, with amazing and authentic musicians We supply producers with one low cost licenand some of the world’s best composing tase (typically £3,000 in the UK) to cover all of lent. their annual production. This license permits them to distribute this content globally, on What’s your business model thinking multi-platform, in perpetuity. about the sports market? Sports producers What kind of partners does Audio Network have? Audio Network works with a diverse and international client base, serviced by offices in Amsterdam, London, Los Angeles, Munich, New York, Sydney & Toronto. Examples of current clients include: Discovery, Endemol, IMG, NBC Universal and Shine Group. Outside of TV we have extensive relationships across the advertising and digital sectors. How would you describe the different kinds of agreements that can be made with Audio Network? Producers can license either for a single production, or on an annual basis. The prices are consistent; and this offer is backed up by an amazing choice of music and fantastic customer service. As a business we are beginning to diversify our services and recently completed an asset management system build for Endemol. We are incredibly forward-thinking and as such

Nick Woollard,

Director of Music Sales, EMEA often love Audio Network and again we work with many broadcasters, production companies, associations and clubs. Some examples would be Borussia Dortmund, FIFA, IMG, MUTV, and Sky Sports. The attraction is clear – we offer a great product that enhances their productions. This is packaged within a very simple set of rights that makes global, multiplatform distribution very easy and very cost effective. How has the digital boom changed Audio Network’s business model? We are part of the digital boom. The company is only 12 years old and was set up specifically to meet the challenges of a fragmenting media market. We’ve won awards for our innovative distribution model and have been on the Sunday Times Tech Track list for the past 3 years, as one of the UK’s fastest growing technology businesses. We’re constantly striving to improve our business; and continue to make big investments in our technology, to enhance the customer experience. ttv

Executives ttv

Across The Universe By now, there’s not much TV audiences haven’t seen. Broader packages, multiplatform strategies and building online communities are Talpa International’s tools to stay afloat in a sea of new TV shows where “a good idea is no longer enough.”

Marion Camus-Oberdorfer,

By Carolina Mussio

Head of International Content Sales, ORF Enterprise

Twitter: @carolinamussio cmussio@todotv.tv

its top brand ‘Universum’, including ‘Secrets of nown for its in-depth documenBumblebees’ and ‘From Hunting Buddies to taries, ORF Enterprise has put toPartner for Life.’ gether a new catalog of titles that shine a light on life’s “The A selection of programs about wonders and delve into technological the 1st World War, a music offer its conundrums, as it prepares to evolution is opening new markets, with new recordings from vaexpand its reach to new places and forcing rious operas and a selection around the globe. international of kids’ series complete the distributors and company’s multi-faceted cata“Our main goal for Mipcom 2013 content producers log; which it plans to not only is to extend our contacts all over to take a fresh distribute in new regions, but the world,” said head of Interchallenge.” also new platforms. national Content Sales, Marion Camus Oberdorfer, noting the “In addition to offering programs to convencompany’s search for expansion “especially tional free and pay TV stations in Latin Amein Latin America, where there is an increasing rica and all over the world, ORF Enterprise is interest in ORF programs.” also actively negotiating with telecommunication companies to offer VOD packages,” the These programs include a variety of docuexecutive explained, noting how these new mentaries such as ‘Interfaces - Our Digital Life’, platforms and online services present new the extreme-sports feature documentary ‘Atopportunities for the entire industry. tention - A Life in Extremes’, and new titles from

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Interfaces - Our Digital Life Documentary

Secrets of Bumblebees Documentary

“The technological evolution is opening new markets, and forcing international distributors and content producers to take a fresh challenge,” she said, and added: “There are more opportunities for formats as TV stations increasingly aim for programs produced in their own country based on international stories of success.” In this scenario, the executive believes it is important for distributors to have access to all available rights when programs are produced, “so that they can take advantage of the multiple opportunities now on offer.” With a catalog that abides by these last premises and a clear focus on new territories in Latin America, ORF has an optimistic outlook on the future: “Our range of formats in our catalog is continuously increasing. We look forward to expanding our business all over the world,” she concluded. ttv

Yummy - Cooking with Kids Documentary

NEWS STREAMING

Calinos to Fill the Market with Turkish Drama

Established in 1997, Calinos Entertainment, was the first company to sell Turkish TV series overseas, which eventually lead to a phenomenon all around the world. The company appeals to a large audience with its selection from world cinema, as well as acquiring Home Video and TV rights for titles to reach a broader audience. For this edition of Mipcom, one of the company’s highlights is ‘The Girl Named Feriha’, a TV series full of drama and romance (80 x 188 TV hr.). Other titles include drama series ‘The Karadag Family’ (40 x 80 TV hr.); romantic dramas ‘Starfish’ (100 x 100+ TV hr.) and ‘A Love Story’ (22 x 47+ TV hr.); as well as action feature film ‘Conquest 1453’ (180/4 x 45’).

TURKEY

ATV Strengthens International Presence Conquer new territories, sign new deals and find innovative business models: such are ATV’s objectives for this year’s Mipcom. To achieve that, the company has arrived in Cannes with a renovated offer of original drama productions, added to the big international hits that ATV has already distributed all over the EMEA region, but aims to keep expanding their presence. Some of the new titles for this year includes drama series ‘Tatar Ramazan’ (9 x 90’), ‘Peace Street - Huzur Sokağı’ (37 x 90’) and Kaçak – ‘Fugitive‘ (90’).

MARKET INSIGHT

Uruguay:

One Remarkable Market Backed by the economy’s sustained growth since 2002, Uruguay’s audiovisual industry is the country’s fourth biggest export service. According to recent data, 3 out of 4 ad shoots are made for overseas. This small market with barely 3 million PEOPLE, DEEP IN THE SOUTH OF SOUTH AMERICA, IS RISING to become a new audiovisual hub. By Rodrigo Ros / Twitter: @rodrigo__ros / rros@todotv.tv

ax exemptions for audiovisual exports, government handouts for content creation and distribution, quick transportation and communication routes, well-prepared technicians and a world-renowned sector are some of the main pros that make Uruguay an attractive location within the region.

COMMITMENT. The government took steps to promote its audiovisual industry with three main actions: the country’s new Cinema Law, the creation of Uruguay’s Film and Audiovisual Institute (ICAU) and the birth of the Film Commission & Promotion Office in 2008. These mechanisms ensure project production and development, further studies and knowledge for technicians, international promotion of works and, finally, new tax exemptions that improve existing ones, which used to be mostly generated by Montevideo’s City Hall. In the last five years, Uruguay’s Film and Audiovisual Institute, Uruguay’s Audiovisual

“Uruguay is currently going through one of its most important shifts in the regulation and conformation of its audiovisual market.”

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The country’s film industry has also had its hand in positioning Uruguay for international clients. In the last fifteen years a trifecta of executive producers, qualified technicians and competitive fees have also strengthened the sector. According to Montevideo’s Location Office Log (OLM), 194 shoots were set in the city in 2012, 138 of which were for the advertising industry, 28 for television programs (domestic, foreign and pilots), 5 for movies and the rest for music videos and shorts.

Clients also highlight the country’s modern telecommunications infrastructure, a favorable currency exchange market, political and social stability and an ample array of locations at very short distances.

Uruguay | Special Report

Two new DTT licenses will be given before the end of the year in Uruguay. In general terms, DTT obviously implies opening the audiovisual spectrum in an unprecedented way.

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“In the last few years, the country’s audiovisual sector had indeed grown. Data provided by OLM shows that shoots in the capital rose 50% between 2009 and 2012.”

Chamber (CADU) and Montevideo’s Location Office have constantly worked to strengthen “Uruguay’s Audiovisual Cluster”. “Uruguay’s audiovisual conglomerate is made up of companies from the film production sector (fiction and documentaries), advertising, television, animation and videogames, as well as service and equipment providers, distributors and exhibitors. It’s a dynamic sector, with strong ties to innovation, creativity and talent,” says Lucila Bortagaray, Film Commissioner of the Film Commission & Promotion Office in Uruguay. Being a small market, Uruguay’s development opportunities are naturally found overseas. In this sense, and as Komai Garabelli, assistant at Uruguay’s Film Commission & Promotion Office, explains, “domestic production companies are beginning to project their paths internationally, letting others know of the pros and benefits of coproducing with Uruguay and marketing both television content and formats. These opportunities are vital to get the international community to know about Uruguay, to start building and developing a relationship with the country, generating the trust circles that are so valued in this industry.” URUGUAY FOR EXPORT. Uruguay’s references abroad carry the weight provided by a

group of companies that seek to sell its talent, formats and quick thinking. One of the most recent and remembered examples is the kid and teen fiction ‘Dance!’, aired by Canal 10 in 2011. This was a coproduction with Argentine production company Pow Wow Media Partners that was distributed internationally by Telemundo Internacional, and presented at Mipcom that same year. Since then, we find other examples like ‘Historias de diván’, a coproduction with YAIR DORI, as well as the work done by production companies Oz Media and Nepal Films for Sun Channel. Further on, an agreement between Zur Films with GPMedia provided content for BBC in Argentina and ‘Q’Viva – The Chosen’ included shoots in the country produced by Metropolis Films. Many of Uruguay’s products have been distributed by international companies in important territories such as the US, Spain, Argentina, Israel, Germany, Canada, South Africa and China. “OZ media | The Format Factory has been exploring international markets for the last five years. This has resulted in important production agreements with Discovery, Travel & Living Channel and Sun Channel, among others. On the other hand, we’ve specialized in the development of original formats, which are actually being distributed by companies in the US, Israel

and Germany, as well as in Canada, South Africa and China,” Pablo Arriola, founding partner and CEO of the production company, tells ttv. “Why not take advantage of all the pros that have made Uruguay one of the most attractive places to shoot in the world?” asks production company Oriental Films in one of its brochures for 2011. “Security, amazing locations, simple logistics, world-level castings, highly qualified technicians and an industry that, based on its quick growth, has generated and maintained competitive costs. This is Uruguay’s moment. It’s time for its projects to reach the production quality that its clients and directors want, within the budget you need,” the brochure closes, illustrating the same line that Uruguay’s entire audiovisual sector has followed since then. In the last few years, the country’s audiovisual sector had indeed grown. Data provided by OLM shows that shoots in the capital rose 50% between 2009 and 2012. “This growth goes hand-in-hand with a rise in the number of Uruguayan entrepreneurs in international markets,” Bortagaray explains. “And this is because national producers have become more professionalized, and have a better understanding of the international content and format market dynamics.” FORMAT SALES. One of the most recently explored routes is the development and sale of formats abroad. Formats such as ‘Tierra a

la vista’ and ‘Telemental’ by Nepal Films, ‘Voces anónimas’ by Canal 12 and ‘Laboratorio en casa’ by OZ Media, among others, are a clear example of properties that travel overseas. Diego Arsuaga, president of Taxi Films, explains that his experience in the area has been with ETB and Castilla y León’s television. “We produced 24 episodes of one of our formats that were shot in Chile, Argentina and Uruguay,” he says. Pablo Arriola has another experience. “We have three main goals. First, to celebrate the world distribution of our format ‘Prueba que me amas’, which was taken on by Armoza Formats, a company with excellent credentials and with whom we’ve already created a relationship based on mutual trust and cooperation that we are very satisfied with. On the other hand, we’ve re-launched our format ‘Laboratorio en casa’ (an edutainment sitcom), with 26 episodes that have been fully developed, produced and aired. And, finally, we’ll be looking for new strategic alliances to coproduce new formats that are in their final development stages, particularly in the educational fiction and factual entertainment genres,” he says. Luis Castro, content manager at Canal 10, gives us his view as a broadcaster. “Developing a content, format and idea lab to later bring new alternatives to other markets can be very interesting. Basing production in Uruguay for both regional and international markets is also very interesting, mostly because of low costs,” he says.

GOVERNMENT AID Via a loan approved in 2008, Uruguay’s Planning and Budgeting Office created a Program for the Competitiveness of Productive Systems and Conglomerates. From there, the Plan for the Support of Competitiveness (PRC) of the audiovisual conglomerate was born, which stemmed from a participative process including companies and institutions from both the private and public sectors. Part of these funds will be managed through the Film Commission & Promotion Office to support the internationalization and promotion of the sector. Coproduction and production services meant for overseas are VAT-free because they’re considered to be exports. This tax exemption alone has lured international companies into considering Uruguay for their projects.

Komai Garabelli,

Assistant at Uruguay’s Film Commission & Promotion Office in Uruguay

Simultaneously, Uruguay’s Fund for Film and Audiovisual Promotion by ICAU offers contestbased and automatic support lines for national projects, each pertaining to a different stage in the audiovisual process: script writing for movies and TV series, documentary investigation, development of fiction, documentary and telefilm projects, minority coproduction promotion, production of films, shorts, series and documentaries meant for TV, launch and promotion of movie releases, training for professionals and positioning projects and movies in international labs, meetings, festivals and markets. TTV MAGAZINE/U

The sector also counts with extra funding for tutorships provided by the Ministry of Industry, Energy and Mining; pre-purchasing by public channels TNU and Tevé Ciudad; funds by Montevideo Socio Audiovisual’s program, coordinated by OLM for film and TV content; funds by the National Direction of Telecommunications and Audiovisual Communications Services (DI.NA.TEL) for interactive and digital audiovisual content (fiction series, non-fiction and animation) meant for multiple platforms that have entertainment and educational goals for five to twelve year-olds; and finally, the Cultural Incentives for Television Production Fund, made up from volunteer contributions from companies already paying the Economic Activity Income Tax (IRAE) and Estate Tax, which receive fiscal benefits in exchange for their support of the Global Fund or Specific Project fund.

Uruguay | Special Report Another initiative that’s been largely analyzed by both the public and private sectors is to create a new audiovisual hub. The possibility of creating an industrial area under a taxfree regime would allow exporting companies focused on audiovisual services to find an ideal location to do business from. And, based on how this experience has worked for other countries, the possibility is a very real one. DTT AND MEDIA LAW. Uruguay is currently going through one of its most important shifts in the regulation and conformation of its audiovisual market. Two new digital terrestrial television licenses will be given before the end of the year, apart from those already awarded to community, educational, syndical and local channels. In general terms, DTT obviously implies opening the audiovisual spectrum in an unprecedented way. And, obviously, this also brings a bigger need for content and an opportunity that content producers will definitely take to accelerate the sector’s professionalization. Meanwhile, several local companies will be present in this new edition of Mipcom, looking to entrench existing relationships, develop new projects and find new growth opportunities in the international market. In a market that moves US$ 263 million, according to data by the country’s Economic Investigation Center (CINVE), growth opportunities seem to be linked to the development of a competitive business model, a renewed supply of local services and the development of intellectual properties that are capable of competing in international markets. ttv

FILM COMMISSION OBJECTIVES

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“Uruguay’s Film Commission & Promotion Office’s (UFCPO) main goal is to promote the locations and services offered by Uruguayan production companies to foreign productions, and later to contribute with the international projection of the country’s audiovisual production. During our first four years, UFCPO has focused on identifying and exploring the main markets where we should promote audiovisual production and Uruguayan locations; then we focused on bringing the international audiovisual industry and Uruguayan companies and professionals together, and in helping interested foreign producers to get to know the conditions and requirements for them to actually shoot in Uruguayan soil. The Film Commission’s role during this mission to Mipcom is to help national production companies with their market presence, mostly those that are travelling to the market for the first time, and coordinate instances where they can network amongst themselves. Likewise, we’re also coordinating actions to make them more visible within the market. Based on the subsidy from the Internationalization of Priority Markets of the Audiovisual Cluster and the PACC Program (Program for the Competitiveness of Productive Systems and Conglomerates), a delegation of three Uruguayan companies was defined: Estudio 9, Locomotion and Taxi Films.”

Lucila Bortagaray,

Film Commissioner of the Film Commission & Promotion Office in Uruguay

Uruguay | Executives

The Uruguayan Channel As one of the three main private TV networks in Uruguay, Channel 10 - Saeta has turned toward creating its own original content and is now looking to step into the international market.

Luis Castro,

Production Manager, Channel 10 - Saeta

“Uruguay is a very interesting market to develop ideas in and then take them to fruition.” “Our experience in the international market has mostly been as buyers, but in the last years we’ve taken a step forward in our international distribution by coproducing with foreign production companies and via our distributor Frecuencia Latina International, with whom we’ve been able to become product sellers, something we intend to keep on,” he says. When asked what sets the Uruguayan audiovisual sector apart, Castro replies: “the sector combines sustainable and national productions with viable production costs, which compete with imported products made in economically bigger markets.” The result is what the executive defines as a “permanent ongoing search for attractive and ingenious ideas. We look for impact and to build stories that are new and have better reach, that generate empathy with the audience.”

hannel 10 – Saeta is one of the three nation-wide commercial networks in Uruguay. Its focus on national production for the last 50 years has also earned it the moniker “the Uruguayan channel”. Channel 10 has developed several fictions in the last years, where ‘Gastos

Comunes’, ‘Porque te Quiero Así’, ‘Bienes Gananciales’, or ‘Dance!’ stand out. “This year we premiered a coproduction with Yair Dori, ‘Historias de Diván’, based on the book by Gabriel Rolón. This product was also exported to Argentina and can be seen on Telefe’s screen,” Luis Castro, production manager at Channel 10, tells ttv.

And when it comes to producing in the country, Castro is quick to point out the benefits. He highlights the volume of qualified workers, how close the country is to capital cities like Buenos Aires or Sao Paulo and the impressive variety of locations found at very short distances. “Uruguay is a very interesting market to develop ideas in and then take them to fruition. It can be very interesting to develop in a content, format or idea lab and later take these ideas to other markets,” he concludes. ttv

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Salven el Millón Game Show

Uruguay | Executives

The Keys to Success Teledoce is the leading network of the Uruguayan TV landscape, as well as a big promoter of local production. The channel’s experiences in the entertainment and fiction fields have gathered great results on screen, and have allowed it to take its first international steps. Súbete a mi moto Entertainment

Eugenio Restano,

Programming Manager, Teledoce this helps us to make the best productions,” he adds. This year, Teledoce premiered the global telenovelas hit ‘Brazil Avenue’ (Globo) apart from the fifth season of 2waytraffic’s ‘Minute to Win It’. Among the channel’s original productions highlighted for this year, we find journalistic program ‘Código País’, the fourth season of ‘Voces Anónimas’, entertainment show ‘Sinvergüenza’, docureality ‘Cámara Testigo’, talkshow ‘Esta Boca es Mía’, ‘Súbete a mi Moto’, third season of ‘Sonríe te Estamos Grabando’, as well as magazine ‘Día Perfecto’, among others.

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Speaking about the business models used in the Uruguayan audiovisual sector, the executive highlights the “low costs” of producing in Uruguay, compared to other countries, as well as the “great infrastructure levels” that Uruguay has reach in the last years in terms of production and postproduction.

he Teledoce network has led the Uruguayan TV market for several years, according the data revealed by Ibope Uruguay. The keys to success? A coherent programming strategy adapted to current times and able to identify the taste of local audiences. Eugenio Restano, programming manager at Teledoce, is one of the main architects of the channel’s outstanding performance in the last years, which positions it as the network with the best rating average in the country. Teledoce’s programming strategy is defined by drama an entertainment in a slate that is

comprised of 60% of local production and 40% of foreign content. LOCAL PRODUCTION. “The originally produced shows for this year have all premiered already, and in all cases they have fulfilled the expectations,” Restano explains. “The Uruguayan audience is known to be demanding and critic of the contents and their quality, and

“The advantages offered by Uruguay as an audiovisual production country turn it into a really interesting pole at the time of developing in-house products to export,” Restano explains. “Our country looks to orient a joint action of the whole sector to develop better business opportunities, both nationally and internationally. The audiovisual activity has proven to be so dynamic in the last decades that the perspectives of growth for the future are really promising,” the executive concludes. ttv

“The advantages offered by Uruguay as an audiovisual production country turn it into a really interesting pole at the time of developing in-house products to export.”

Uruguay | Executives

Animation For Export Javier Figueroa, president and CEO of Locomotion Audiovisual Company, HIGHLIGHTS Uruguay’s qualified animation professionals, as well as his experience with the animated series ‘Pequeño Héroe’, sold as a format and adapted in Chile. The company is now applying a model that looks to replicate the experience in new markets.

ith over seven years of experience, Uruguayan company Locomotion Audiovisual is focused on animated content in the edutainment genre for kid audiences. This year, the company travels to Mipcom for the first time, looking to expand its content and format sales internationally, while also looking for new coproduction partners. “Locomotion Audiovisual Company has a business model based on generating audiovisual content for kid audiences, and 100% of these productions are intellectual content that belongs to us,” Javier Figueroa, president and CEO of the company, tells ttv. “We have top-level professionals that are dedicated to kid and teen communications, producing multimedia projects that include web, video game, TV and graphic content. Our creations are mostly in the edutainment Arequita Film in production

genre and are highly adaptable to different countries,” he adds. As for Uruguay as a content producer, and particularly within the animation field, the executive highlights the country’s green turf for coproduction opportunities, as well as its highly-qualified professionals. “Uruguay’s seen strong growth in the number of young professionals working on CGI animation. It’s the only country that has an animation and videogame major in its universities. There is one university (ORT) that even has a professor exchange program with the prestigious California Institute of the Arts (CalArts), where most graduates later work for companies such as Dreamworks, Pixar or Disney,” he explains. “Plus, we’ve got competitive costs and Uruguay is a country where commitments are deeply respected. This offers clients great stability and security when closing business. Our production model lets us partner up with all sorts of international production companies and networks,” he adds.

“A local production company adapted the ‘Pequeño Héroe’ format in Chile for the Mega net-

President and CEO of Locomotion Audiovisual Company work,” Figueroa explains. “We believe that the idea can also be adapted in other markets, following the adventures of local heroes around the world but as kids. The idea is to imagine what they were like as kids, before changing history, showing their deep-seeded ideals and leadership skills via adventures they had as kids,” Figueroa explains. Another of the company’s most interesting products is ‘Tu Serie’, aired in 2012 by Channel 10 in Uruguay, and which ended up among the eight best Latin American projects in Brazil’s ComKids. “This was the first transmedia project presented in an international festival. The production includes kid participation in all stages of the creation and airing process. Finally, using movement capturing processes, the kids can even act in their own series,” Figueroa says about ‘Tu Serie’. The company is now developing an animated film titled ‘Arequita’ and looking for international partners to get involved. “We would like to contact different potential players to start with the internationalization of our products and to generate associations for the animated feature we’re producing, ‘Arequita’. It’s an animated 3D movie that tells the story of how black communities were brought to Latin America by force. The story is set in Mexico, Argentina and Uruguay, among other regions,” he concludes. ttv

“Our production model lets us partner up with all sorts of international production companies and networks.”

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Figueroa singles out his company’s experience with the animated ‘Pequeño Héroe’, which imagines the adventures of Uruguay’s liberator José Artigas when he was a kid. After succeeding in the domestic market, the product was sold to Chile as a format, where it was adapted to show the adventures of that country’s own liberator, Bernardo O’Higgins.

Javier Figueroa,

Uruguay | Executives

Creative Powerhouse OZ Media/The Format Factory is one of the key independent production companies in Uruguay, outstanding for the creative value of its contents and the flexibility of its services. With over ten years of expertise, one of its priorities is international rollout.

ith over ten years in the business, OZ Media is one of the main independent producers in Uruguay. In addition, its founders are the creators of The Format Factory. “The main business at OZ Media and The Format Factory consists of research, creation, development and production of formats for TV or other audiovisual platforms,” says Pablo Arriola, OZ Media’s general manager. He assures the Uruguayan market presents several pros and solutions for those willing to produce audiovisual content. “First, there is a clear advantage in terms of costs. Uruguay is positioned in the market for having a matrix of development and production with costs below other emerging economies, and way below territories like Europe or the US, for example. And of course, maintaining high quality standards in the products developed,” he adds.

Laboratorio en casa Format

Likewise, “the audiovisual sector in Uruguay is highly competitive in terms of equipment, professional training and frequency of productions for demanding markets, particularly in the advertising field. As a result, we have a dynamic professional warp used to fill the needs of sophisticated markets,” Arriola says. Moreover, “Uruguay has a series of important tax incentives for foreign companies investing in the country, as well as tax benefits for national companies that co-produce abroad or commercialize creative, production and postproduction services.” Thus, OZ Media/The Format Factory supports the market and the companies interested in developing local projects, international coproductions and international production services. “OZ Media/The Format Factory accumulates the largest amount of on-air hours regarding formats and TV shows in different genres and for different audience targets, and at the same time being a specialized and diversified company in terms of development and production capacities,” Arriola states.

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It’s the only production house in Uruguay with a stable I+D+i multidisciplinary area. “We have permanent exposition in international markets, several products being distributed worldwide and a stable program of professional training for our workers,” he assures. In his opinion, Uruguay is an “ideal” market to “experiment” new formats, with an “attractive

Pablo Arriola,

General Manager, OZ Media /The Format Factory MISSION: MIPCOM 2013 OZ Media/The Format Factory has three main goals for this Mipcom edition. First, to celebrate the worldwide distribution agreement for ‘Prove that You Love Me’, which is being produced by Armoza Formats. “It’s a prestigious company with which we’ve established a relationship of trust and cooperation, and we’re really glad about it. Meanwhile, at Mipcom we’re re-launching our format ‘Laboratorio en casa’, now with 26 episodes developed, produced and onair,” Arriola explains. Finally, the producer will look for new strategic alliances for the coproduction of new formats. treatment of investments, a favorable costs scale and a well-established inter-corporate cooperation network.” OZ Media/The Format Factory has spent the last five years exploring the international market. “This brought about important agreements of production services for Discovery, TLC and Sun Channel, among others,” Arriola says. “In the meantime, we’ve specialized in the development of original formats that are currently being distributed internationally by companies in the US, Israel and Germany to territories like Canada, South Africa and China,” he concludes. ttv

“We’ve specialized in the development of original formats that are currently being distributed internationally by companies in the US, Israel and Germany to territories like Canada, South Africa and China.”

Uruguay | Executives

Just Like Taking a Cab With over fifteen years in the film, TV and advertising industry, production company Taxi Films docks at Mipcom with a fresh offer of flexible formats and the advantage of being based in Uruguay, a country that demands audiovisual players to think internationally.

ccording to Diego Arsuaga, president of Taxi Films, Uruguay is a country that demands audiovisual players to “think internationally.” “When we do television, we work thinking about international sales, whether it is taped content, formats, or more specifically providing production services or co-producing,” he assures. With over fifteen years producing films, TV shows and ad spots, the executive analyzed the Uruguayan market and its current international position. The sector, he adds, has been developed quite recently and there are a lot of well-prepared young people willing to work in diverse business areas. “Added to this we have the generation that started this development, which has interesting international expertise and it’s implementing really high-quality standards in the industry.”

Equilibrio Crime Series

ADVANTAGES. Arsuaga is convinced that Uruguay is a cost-effective market to produce, with excellent crews and talent. “Montevideo is a friendly city, with shooting locations minutes away from the beach or the countryside, and used to shoot around the city and recreate any spot on the planet,” he explains.

Diego Arsuaga, President of Taxi Films

INTERNATIONAL EXPERTISE

Taxi Films, for instance, has offices in several countries in Latin America, and “this marks an important difference,” since by talking to one single production company, clients have access to shooting locations in Mexico, Chile, Venezuela, Argentina, Uruguay or Spain, no extra fees involved.

2013 will be the first time Taxi Films attends Mipcom. However, the company has been wandering global markets for a while. “We’ve co-produced movies with several channels, and some of our best experiences were with ETB and networks from Castilla y León, for which we produced 24 episodes of one of our formats, a production shot in Chile, Argentina and Uruguay. Now we want to understand how Mipcom works. We’ve participated of film markets, and for us is a big step to join the TV world,” Diego Arsuaga assures.

Meanwhile, there’s also public funding accessible for production and project development, as well as support for training and distribution. “Moreover, there are tax incentives for international productions that reach 20%,” he adds.

tion. “’Mal de amores’ is a project that can be adapted to any territory and has a very interesting model, in which an international channel finances 50% of the production,” he states.

CONTENT. The company has worked with Uruguay’s four free TV broadcasters, private networks Canal 10 (Saeta), Canal 12 (La Tele) and Canal 4 (Montecarlo); as well as public station Televisión Nacional. “In Argentina we co-produced a movie with Telefe and Spain’s Antena 3; and at the same time, we’ve made two seasons based on one of our formats, for regional Spanish networks,” Arsuaga says.

“We’re also in conversations with a Uruguayan channel to adapt an Israeli format, and in talks with a Mexican channel to adapt one of our formats. We are used to building our budgets in more than one country, always looking for the most convenient solution, which rarely means to simply prioritize the best price,” Arsuaga concludes. ttv

“When we do television, we work thinking about international sales, whether it is taped content, formats, or more specifically providing production services or co-producing.”

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In its first participation in Mipcom, Taxi Films will take three main fiction series that are very different and are in different stages of produc-

There’s also crime series ‘Equilibrio’, where a revolutionary adapts urban guerrilla tactics and ideology from the sixties to current times, and who the police believes to be a serial killer.

Uruguay | Article

The Waiting List The Honorary and Independent Consulting Commission in Uruguay -that is working with the government in the call for interested parties in DTT channels- turned in its evaluation of all the projects presented. The government will have to decide before October 27.

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he Honorary and Independent Consulting Commission (CHAI) has been working with the Uruguayan government to select the companies that will be behind two new DTT channels. In August, it turned in its evaluation of the projects presented by all interested parties. First place was awarded to a project by the Giro consortium, made up by newspaper La Diaria and other investors. VTV managed to come in second, while Pop TV (a plan presented by production company Oz Media and Bla magazine) came in third. A project by entrepreneur and ex owner of newspaper La República, Federico Fasano, grabbed the fourth place slot while a project presented by one of the owners of El País news-

paper, Diego Beltrán, managed to come in fifth. Last place was awarded to a project by Pablo Lecueder, owner of radio station Oceano FM. Gabriel Kaplún, president of the commission, explained to local media that those projects that came in first and last won’t change. All proposals were to be analyzed by the CHAI, but the government’s executive branch will have the final say once it assigns the available frequencies via presidential decree. The CHAI’s report isn’t binding and the government could easily award the channels to those projects that came in last in the commission’s ranking. Yet, according to government releases, this report and another one created by the country’s Regulation Unit

“We have a lot of great projects and we think it would be smart to consider awarding an extra channel.” Gabriel Kaplún, President of Uruguay’s Honorary and Independent Consulting Commission (CHAI).

of Communication Services (Ursec) will hold their weight in president José Mujica’s final decision. The government’s executive branch could also end up awarding three channels instead of the two announced in the decree, Kaplún said. “We have a lot of great projects and we think it would be smart to consider awarding an extra channel,” he told newspaper El Observador. The channels will be awarded for 15 years. The companies chosen to manage them will have to start airing content during their first year. Constitutionally, the government will have to make a decision before October 27, a year before Uruguay’s national elections in 2014. On the other hand, private TV channels Monte Carlo TV (Channel 4), Saeta (Channel 10), and Teledoce (Channel 12) weren’t obliged to participate in this process. Even though they still did, they are guaranteed by the government that they will keep their own channels. ttv

Towards a New Media Law Uruguay’s Audiovisual Communications Services bill is being analyzed by its parliament. If made into law, the country’s audiovisual landscape will undergo significant changes, including more opportunities for independent production. Standing in the shadow of Argentina’s case, the project has also given way to numerous debates.

he bill being studied by the parliament covers many aspects. First off, the law seeks to regulate advertising spaces, exerting control over the messages advertisers target to kid audiences and others. As for pay TV, the bill establishes that operators will not be allowed to hold more than 25% market share. This point directly addresses operators’ complaints about satellite companies’ growing presence in the market, as is the case with Directv.

On the other hand, the bill establishes the creation of an Audiovisual Communications

The project doesn’t include provisions or regulations for content and media distributed online. “This is not an omission, it’s a decision. The world is still struggling with how one should regulate the internet without affecting any fundamental rights and we tried to be overly careful with this issue. It does deserve our attention, even to protect those rights. But we’re not going to regulate radio and television services that are broadcast over the internet,” Gustavo Gómez, a telecommunications consultant for the Presidency’s secretary office, said. The bill has caused several debates so far. The country’s press has found several topics to be controversial, especially those pertaining to

“Independent production companies will be the ones raking in the most benefits, broadening their potential nationally and internationally - and in very little time.” transgressions in freedom of speech, an absence in advertising regulations for companies run by the state and the lack of regulations for internet content and services. What’s true is that if this bill becomes Uruguay’s new Media Law, independent production companies will be the ones raking in the most benefits, broadening their potential nationally and internationally - and in very little time. Meanwhile, the debate goes on. ttv

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Evidently, the bill also includes dispositions on domestic production. “At least 60% of all programs broadcast in each service should be national productions or co-productions, not including advertising and self-promotion,” the bill states, further adding that at least 30% of these productions should be from independent companies.

Council “responsible for the application, supervision and compliance of the dispositions included in this Law and for regulating every other aspect that does not fall under the competence of the Executive Branch or the Ursec [Uruguay’s Unit for the Regulation of Communication Services.]”

Uruguay | Listings

Salven el millón

Arequita

Canal 10 - SAETA Lorenzo Carnelli 1234 Montevideo, Uruguay Tel.: (+598) 2 410 2120 Web: www.canal10.com.uy

Executives Attending

Luis Castro, Production Manager

TOP EXecutivE

Equilibrio

LOCOMOTION AUDIOVISUAL COMPANY Requena 1193, Montevideo, Uruguay Tel.: (598) 24012895 E-mail: info@locomotionco.com Web: www.locomotionco.com

Executives Attending

(Entertainment – Season 2) Humor and entertainment for the whole family, with sections like La Hora de la Pavada, Delivery Solidario, Túcate and Lo sabe/No lo Sabe, have already turned into classics of the screen.

Subrayado (News)

The most prestigious news bulletin of the Uruguayan TV, with three daily editions and informative flashes that take the viewer close to the key national and international happenings.

Bendita TV

(Entertainment– Season 8) The weird, fun and accidental scenes from our TV, together in one live show, featuring live studio audience.

Franco Valsecchi, Productor Ejecutivo Valcine - Taxi Films

TOP EXecutivE

THE FORMAT FACTORY OZ MEDIA Santiago Vazquez 1256 CP 11300, Montevideo, Uruguay Tel.: (598) 27082174 Web: www.theformatfactory.tv www.ozmedia.com.uy

Executives Attending

Pablo Arriola, Executive Director

TOP EXecutivE

Diego Arzuaga, President

Pablo Arriola, Executive Director

EQUILIBRIO

Arequita

(Film in production) ‘Arequita’ is an animated 3D movie that tells the story of how black communities were brought to Latin America by force. The story is set in Mexico, Argentina and Uruguay, among other regions.

Pequeño Héroe

(Animated fiction – 21 x 7’) A kids series that combines history and adventure to communicate the values of our national hero.

Tu Serie

(Multimedia fiction – 26 x 7’) A show made by children for children. In this experience our viewers will be able to participate directly in the creation process by choosing their favorite among five series and participating of great contents where they’ll be able to give life to the characters.

Beta 3

(Fiction – 26 x 5’) Three clones created in a Lunar Lab decide to run when they find out they are being trained for a war between galaxies. In their trip they will face fangerous challenges and discover new enemies, as well as their true origin.

La Magia de Claudia (Magazine – 36 x 30’)

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Executives Attending

Javier Figueroa, Director

(The Money Drop) (Season 2)

Yo y 3 Más

Tel.: (598) 2419 2315 E-mail: diego@taxifilms.com Web: www.taxifilms.com

TOP EXecutivE

Salven el millón

Emotion, suspense and competition lead to television’s largest prize. Many Uruguayans are looking to save their million.

TAXI FILMS

Javier Figueroa, Director

Martín Villar, Gerente General Canal 10

Laboratorio en Casa

Claudia leads the children through her magic land where everything is possible by using the imagination. In a very entertaining way, Claudia and her friends will invite the little ones of each house to sing, play, learn how to cook and speak English.

Cuentos Medios de Miedo (Fiction - 6 x 2’)

These tales are based on the typical fears of children from a humorous perspective. Each one generates both entertainment and dialogue about this important issue at this age.

(Series/Thriller - 13 x 52’) ‘Equilibrio’ follows the steps of Nicola, a serial killer who believes he’s law-abiding. He aims to prove that the same murder has a different social importance depending of the victim’s social position in society.

MAL DE AMORES (Series – 52’)

Did it hurt when you broke up with the love of your life? Did you think it was forever? This romantic series of 52-minutes stand-alone episodes tells what happens with a couple after they end their relationship.

GARITA FLORES (Series – 12 x 45’)

A crazy comedy series that tells the story of 70-year old Manuela and her quest to become a successful businesswoman. Together with her dysfunctional family, she will try to survive in a business full of chauvinism: taxis.

SANTO ASESINO

(Miniseries – 2 x 90’) A French man arrives in Valparaíso, Chile in the beginning of the XX century. He is an anarchist, an adventurer, a Don Juan and a con. And a coldblooded killer and benefactor of the poor. An epic miniseries full of history, action, suspense, murder and love in Valparaíso.

LA ISLA

(Series – 16 x 25’) In the South of Chile, in the magic and isolated Chiloé island, paranormal things are happening. Its rich mythology rises to life in the rainy woods of the South of the world. A stand-alone series of terror and fantasy.

Laboratorio en Casa

(Edutainment Sitcom - 25 x 30’ - HD - Format and finished product available) A multi-platform concept through which Lola, a teenager scientist that has a lab in the garage of her house, takes diverse educational contents to 8-12 year-old children in a fresh and entertaining way.

Los Misterios de Rolo y sus Amigos (Edutainment Sitcom - 13 x 30’ - Format and finished product available)

A multi-platform concept targeting 8-12 year-old boys and girls. Rolo is an eccentric private detective who heads a research team integrated by his fifteen year-old faughter Sofi, Alex and Felipe (Sofi’s classmates) and housekeeper Renata.

Prueba que me Amas (Format available)

Many times broken couples need a proof of love to get together again. A gesture, a word, a look. But what happens when this isn’t enough? Lovers try their last resort: Prueba que me amas. A big primetime show full of adrenaline and emotion, with contestants willing to everything.

Tierra de Vinos

(Lifestyle – 26 x 10’ - HD - Finished product available) A series of audiovisual contents focused on thematic stories related to the world of wines in Uruguay. It aims to represent in images and words the different realities that exist in the sector.

Protagonistas

(Factual - HD - 8 x 30’) Real men tell their life stories, both from a personal and professional perspective. It’s about encounters with the strength and sensitiveness that every man has inside and is able to take outside. A format of interviews where the journalist is also interviewed about his experience in each one of the meetings with men that are renowned in their professional and personal life.

NEWS TEENS

‘The Royals’ Rule the World Content Television, a division of Content Media Corporation, has concluded a long list of new international deals for Back2Back Productions’ ‘The Royals’, as broadcasters -including the UK’s Channel 5- secure the six-part documentary that provides an in-depth look into the world of the British Royal Family. Alongside Channel 5, which will debut ‘The Royals’ in a primetime slot later this year, further TV sales include a pan-regional deal with Directv in Latin America and Globosat (Brazil). MTV (Finland), Foxtel (Australia), Sky TV (New Zealand) and Channel 8 (Israel) have also selected the series for TV broadcast and ABC in Australia and BFS in USA and Canada have picked up home entertainment rights.

SERIES

Proper Television

Summons the ‘Hardcore Heroes’

STREAMING

Netflix, the TV Network “We are a movie and TV series network.” That’s how the online service is now branding itself in the “long term view” section of its blog. “We are commercial-free unlimited-viewing subscription TV. We choose to be the best at our model, and to have our brand stand for commercial-free, unlimited viewing, low flat monthly fee. We are a movie and TV series network,” the blog says. As most linear TV channels do, the company has rolled out a very successful original production strategy, which produced hit shows like ‘Lilyhammer’, ‘House of Cards’, ‘Hemlock Grove’, ‘Arrested Development’ season 4 and ‘Orange is the New Black’. And it seems as if this will only continue to get bigger and bigger. “We’ve had a great start with our first five original series. Any network creating content would be proud to have these series,” the company said and added: “We’ll steadily grow our original content spending.” The service is planning to double its original programming by 2014.

Proper Television, the Torontobased producer of factual programming, has announced it started coproducing the new series ‘Hardcore Heroes’. The new six-episode production showcases real-life heroes who risked their lives to change the world and will air on History in Canada, Military Channel in the US, and Discovery Channel in parts of Europe, Middle East, and Africa. “This world is full of hardcore guys that would make Rambo, John McClane and Indiana Jones pale in comparison,” said Guy O’Sullivan, president of Proper Television. “We have found twelve of the most kick-ass heroes on the planet, who have performed unbelievable acts, and Proper is thrilled to be sharing their stories with audiences across the world.” Produced by Proper Television, Guy O’Sullivan (‘Canada’s Worst Driver’) and Jennifer Scott (‘Don’t Drive Here’) serve as executive producers and Jeffrey Hirschfield (‘I Didn’t Do It’) as series producer. Barbara Shearer serves as production executive for Shaw Media and Ron Simon serves as production executive for Military Channel.

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ADAPTATIONS

SBS Series Gets German Makeover Following SBS International’s sale of the format rights of Australian series ‘Go Back to Where You Came From’, German broadcaster ZDF has announced completion of their adaptation ‘Auf der Flucht - Das Experiment’ (‘Fleeing - The Experiment’). ‘Fleeing - The Experiment’ is the most recent adaption of the award-winning Australian unscripted format ‘Go Back To Where You Came’, acquired by Doclights, one of the leading documentary producers in Germany, in 2012. It follows TV2 Denmark’s re-version titled ‘Send Dem Hjem’ (‘Send Them Home’) which premiered in February this year. The new series sees six Germans, all with firm views on the immigration debate, set out on a unique journey which fundamentally changes their views on asylum and refugee issues. It combines concepts from both Australian series, using famous Germans and everyday citizens.

Numb Chucks

Big History

Bardot, The Misunderstood

9 Story Entertainment

A+E NETWORKS

Armoza Formats

Arte France

23 Fraser Avenue, Toronto ON, M6K 1Y7 Tel.: +1 416-530-9900 Fax: +1 416-530-9935 E-mail: info@9story.com Web: www.9story.com Booth: R.35.24

235 East 45th Street, New York, NY 10017 Tel.: +1-212-210-1400 Web: www.AETNinternational.com E-mail: intl.sales@aetn.com Stand: G3.18

16 Ha’Arba’a St., 3rd Floor, Tel Aviv 64739, Israel Tel.: +972-3-5408333 E-mail: info@armozaformats.com Web: www.armozaformats.com Stand: LR2.03

8 rue Marceau – F 92785 Issy Les Moulineaux Cedex Tel.: 00 33 1 55 00 70 81 E-mail: infosales@artefrance.fr Website: www.artepro.com/sales

Executives Attending

Natalie Osborne, Managing Director Liliana Vogt, Vice President, Development Jennifer Ansley, Vice President, Marketing & Communications Stephen Kelley, Director, Distribution Federico Vargas, Director, Distribution Kristin Lecour, Director Consumer Products

TOP EXecutivE Vince Commisso, President & CEO

Christopher Barry, Managing Director, International Strategy and Digital Christian Murphy, Senior Vice President, International Programming and Marketing Kate Gutman, Vice President, International Business Development Marielle Zuccarelli, Managing Director, International Content Distribution Jonathan South, Vice President, International Content Sales, EMEA Ellen Lovejoy, Vice President, International Content Sales Bob DeBitetto, President, Brand Strategy, Business Development, A+E Studios Kerri Tarmey, Vice President, International Marketing & Communications

Sean Cohan, Executive Vice President, International

(Animated Comedy - 52 x 11’) An animated comedy about two half-witted woodchuck vigilantes, Dilweed and Fungus, who use their non-existent kung-fu skills to protect the lives of all the citizens in Ding-a-Ling Springs, whether they need it or not!

Extreme Babysitting (Realiy Prank - 22 x 30’)

A hidden camera prank show that takes teenagers who think they know everything about looking after kids and puts them to the ultimate babysitting test – one that they will never see coming. ‘Extreme Babysitting’ sets out to push the ridiculous meter on the usually mundane world of babysitting, without letting the babysitter know that they are actually on TV!

Peg + Cat

(Animated Preschool - 80 x 12’) A new preschool series that follows an adorable spirited little girl, Peg, and her sidekick, Cat, as they embark on adventures while learning basic math concepts and skills.

Daniel Tiger’s Neighbourhood

(Animated Preschool - 40 x 22’ or 80 x 11’) An animated preschool series featuring Daniel, a shy but brave 4-year-old tiger, who lives in the beloved Neighbourhood of Make Believe. With the help of his neighbors, family, and friends - O the Owl, Prince Wednesday, and Katerina Kittycat - Daniel has fun and learns key skills necessary for school and for life.

Mihal Brezis, VP Amos Neumann, COO Anat Lewinsky, Sales Manager (European & CIS territories) Ana Paula Szewkies, Sales Manager (Spain, Portugal, Italy, LatAm & Asia) Sharon Levi, Sales Manager (English speaking & Nordic territories) Ilana Gindis, Products Coordinator Yael Phillips, Marketing Manager

Big History

(History - 16 x 30’ + 1 x 120’ Special) Twenty years ago, a group of innovative teachers had a breakthrough idea: break down the artificial wall between science & history. The idea: use science to teach history, and use history to reveal science. Bill Gates discovered the course and vowed to help spread the revolutionary idea. In each episode, science – from biology to astronomy, geology to chemistry – reveals an unexpected twist on historical events. For example, viewers will discover how every time they use a cell phone they’re using radio wave lanes assigned after Titanic telegraph rescue calls went unanswered 100 years ago. Then producers connect that same call to an exploding star a billion years in the past using tantalum—a rare but essential element linked to the Big Bang and a trace part of every cell phone. The two-hour finale will reveal a breakthrough idea that connects all of the ‘Big History’ episodes into one, grand narrative of the universe.

Alec Herrmann, Head of Pre-sales and Acquisitions for the Publishing Department Audrey Kamga, Sales Manager Emilie Kleinmann, Sales Manager Anne Voirin, Sales and Pre-sales Assistant

TOP EXecutivE

Cedric Hazard, Head of International Distribution

TOP EXecutivE Avi Armoza, Founder & CEO

BARDOT, THE MISUNDERSTOOD

TOP EXecutivE

Numb Chucks

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I Can Do That

(Cinema Doc – 52’ HD)

I Can Do That

(Prime Time Entertainment - 70-90’) A spectacular prime time entertainment format that challenges the same group of eight celebrities to perform breathtaking and unique acts each week! They will have to walk down the interactive studio steps to choose their act and decide if ‘I Can Do That’. The original performers will become the celebs’ trainers and will prepare them in one week for the next show. Only the viewers can choose who has given the best performance! Watch your favorite stars master a new skill every week, and face challenges beyond their imagination. They may already be winners, but can they do… That?

Hostages

(Suspense / Drama – 10 x 40’) The highly anticipated new drama, ‘Hostages’, is heading up Armoza Format’s scripted formats offering this Mipcom. It is an intense psychological crime-thriller that follows a renowned surgeon about to perform a routine operation on the President. But there is nothing routine about it when her family is taken hostage and she is ordered to sabotage the procedure and kill the President – or her family will die. As we follow her battle to save both her family and the president, we are taken on a journey where all are fighting for survival.

This film examines previously unseen archives of Brigitte Bardot: her childhood, the films she appeared in, and the photographs that shaped her image in the collective memory. For the first time, we see a darker side of BB, alluded to in her own writings and in the cinema that drained her. What might the sunny, blonde, natural, dream-girl looks have hidden?

HOW CHAPLIN BECAME THE TRAMP? (Cinema Doc - 52’ HD)

Everything has been said, shown and recounted regarding the legend of Charlie Chaplin. Everything… or nearly everything! How did a street child, born in one of the most underprivileged districts of London, become the most famous man in the world in the space of a few years?

ELLIS ISLAND, A HISTORY OF THE AMERICAN DREAM

(Contemporary History – 52’ HD) At the turn of the 20th century, Lucky Luciano, William O’Dwyer, Pola Negri, George Voskovec or Sam Goldwyn crossed the Atlantic, running away from Europe, a miserable existence and persecutions. Like 12 million of other emigrants, they went through Ellis Island, first outpost of the American immigration services in the New York bay, ultimate Gateway to the United States of America.

Tatar Ramazan

The Time In Between

ATV

Zerby Derby

The Girl Named Ferıha

Abbasaga Mh. Ihlamur Yıldız Cd. Toprak Center Binası No:10 Besiktas, 34353, Istanbul, Turkey Tel.: +90 212 381 28 48 Fax: +90 212 227 83 88 Email: info@atvdistribution.com Website: www.atvdistribution.com Booth: 11.15

Boomerang TV International

Breakthrough Entertainment

Calle María Tubau 4 4º planta, 28050 Madrid- Spain Tel: +34916624756 E-mail: salesfiction@boomerangtv.com Web: www.boomerangtv.com Stand number: R3320

Executives Attending

Calinos Plaza, Kavacik Mh. Ekinciler Cd. Necip Fazil Sk. No:6 34810 Beykoz-Istanbul, Turkey Tel.: +90 216 999 4 999 Fax: +90 216 999 20 60 E-mail: info@calinosentertainment.com Web: www.calinosentertainment.com Booth: 18.15

Executives Attending

122 Sherbourne Street, Toronto, ON, M5A 2R4 Tel.: 416-366-6588 x 133 Fax: 416-363-9726 E-mail: distribution@ breakthroughentertainment.com Web: www.breakthroughentertainment.com Stand: 00.01

Executives Attending

Emir Düzel, Content Sales Specialist Ali Ugur Bayazit, Content Purchasing Manager Adem Gurses, General Manager Mahmut Ipsirli, President, Thematic Channels Aysegul Tuzun, Content Purchasing Specialist

Beatriz Setuain, International Sales

TOP EXecutivE

Ruth Martinez, Head of Entertainment Sales & Ac.

TOP EXecutivE

Ira Levy, Executive Producer/Partner Joan Lambur, Executive Producer Nat Abraham, President, Distribution Kate Blank, Director, International Distribution Jodi Mackie, International Sales Executive

TOP EXecutivE

Ziyad Varol, Head of Sales

Nat Abraham, President, Distribution

THE TIME IN BETWEEN

Calinos Entertainment

Aslı Serım, International Sales Dırector Ismaıl Dursunov, International Sales Dırector, CIS Bıllur Arıkan, Vice President Sıbel Ozorhon, Channel Acquistions & Business Development Director Beylem Tanju, Content Acquistions Manager Banu Ersoy, Content Acquistions Manager Melis Hamamcıoğlu, Content Acquistions Executive Seda Gul, Content Acquistions Executive Selen Bazmanoglu, Content Acquistions Executive

(Miniseries – 8 x 90’/11 x 70’/16 x 45’)

Tatar Ramazan

(Ongoing/Drama - 9 x 90’) ‘Tatar Ramazan’ is the story of a man who seeks justice… He turns into a legend from an ordinary blacksmith as he runs after justice that all human being are needed. Tatar pledges equity and justice to people. While he delivers his promise, he represents the rebellion of courage, bravery and honor against injustice and tyranny… Tatar is an outbreak against fears in people’s minds. As he cries out “No sin will be unpunished before the end of the world.”

Peace Street - Huzur Sokağı (Drama - 37 x 90’)

Bilal was born and raised in a religious and conservative district. His father died and now Hasan is taking care of him. Feyza, on the other hand, is a rich and a little bit spoiled girl raised with modern values. The impossible love begins with a bet between Feyza and her friend Leyla, studying in the same department with Bilal. Feyza who learns that Leyla is secretly in love with him tells her, joking, that she could seduce him as Leyla couldn’t. But nothing seems to be like a joke anymore. This little game turns into a love story but the obstacles makes it hard to keep them together.

Kaçak – Fugitive

(New Series/Drama – 90’)

THE AVATARS

(Youth Comedy – 52 x 24’) ‘The Avatars’ proposes a modern, positive view of using new technologies. Thanks to them, the main characters live the dream of many youngsters: to become rock stars. However, thanks to their secret identity, the kids have to struggle in their everyday lives without the support of fame, which is not as important as being able to unleash their passion: music

MUM DETECTIVE

(Police Dramedy – 32 x 70’) Who’s better than a mom to resolve a crime? A return to the classics in the company of a fascinating, novel character, Laura Lebrel, ‘Mum Detective’ is the new classic among detective series

LAND OF WOLVES (Drama – 42 x 70’)

‘Land of Wolves’ is a historical series mixing the western, action, mystery, drama, adventure, and romantic genres. The story of two brothes for whom starting from scratch will not be easy.

OLD BRIDGE’S SECRET (Telenovela)

‘Old Bridge’s Secret’ is a daily series that exploits to the full the premises of classic romantic literature: impossible loves, revenge, betrayals… And shameful secrets. ‘Old Bridge’s Secret’ is not only a good story. It’s mainly our history seen from our days: a sum of passionate stories around a woman: Pepa Balmes.

TOP EXecutivE Fırat Gulgen, CEO

Zerby Derby (Kids – 13 x 30’)

‘Zerby Derby’ is a live-action series with radiocontrolled cars that live among life-size trees, rivers and rocks. No obstacle is too big for our friends whose motto is ‘Answers are Everywhere!’

The Adventures of Napkin Man (Animarion/Kids – 13 x 30’)

The Girl Named Ferıha

(TV series/Drama/Romance – 80 x 188 TV hr.)

‘A Universal Language’ documents the exciting once in a life time journey of six comedians as they explore comedy, identity and history throughout the Holy Land and use the weapons of comedy to try and bring peace to the Middle East.

Feriha is a girl who lives in a luxury neighbourhood. Her father works as a janitor in an apartment block. Feriha is in the middle and away of a world where desires and opportunities are endless. Her dreams and reality will be mixed up when she attends a private university with full scholarship. She quickly starts being the center of attention for the upper class in the university. Including Emir, who is a rich and handsome playboy! She looks rich from outside but for how long she will be able to continue pretending to be rich? The beautiful daughter of a janitor will rise from her own world to a false world that she has built where she is the princess. Alas, this new world that she built will start to consume her and her family and also the real life struggles of the mother and the daughter will become a battle where there’s no return.

Naked News: Uncovered!

Starfısh

Napkin Man is a brand new kind of superhero! He helps children better understand their emotions. From overcoming their fears of getting a haircut to dealing with a best friend moving away, Napkin Man helps kids manage their feelings in everyday difficult situations.

A Universal Language

(Documentary – 1 x 70’/1 x 48’)

(Lifestyle – 8 x 30’)

This funny, quirky, lifestyle series follows a dysfunctional news team who have made it their life’s work and ambition to produce the Naked News. It’s the Office meets The Newsroom... but naked!

(TV Series/Drama/Romance – 100 x 100+ TV hr.) A tale of lives full of secrets! Love, lies, secrets, jealousy, family deceptions are in your new addictive tv show Starfish! Deniz, who comes to Ankara for medical school from a small town of Anatolia, is placed with her father by his mother. But Deniz knows her father as a friend of the family. No one knows this secret besides Deniz’s mother and father. In a different family, different environment and a group of rich kids, Deniz gullibly tries to adjust herself to her new life.

TTV MAGAZINE/187

Serhat is a modest married man with a child, who has come from Istanbul to a small town in Anatolia and started living there and made his life by running a coffeehouse. One day, thieves break into a jewellery shop near his coffeehouse. At that moment, Serhat enters the shop incidentally and defuse them with agile moves. Right after this incident, he is announced as “hero” and his news spread around newspapers and TV stations. However, Serhat does not enjoy this situation, because he is about to be dragged into his dark past.

The inspiring international bestseller of a seemingly ordinary woman who uses her talent to transform herself into a prestigious couturier has become a high quality miniseries for TV.

All Aboard: East Coast Trains

Serangoon Road

Cineflix Rights

Content Television

28-32 Britannia Street London WC1X 9JF Tel.: +44(0)20 3179 5050 Fax: +44(0)20 3179 5051 E-mail: sales@cineflix.com Web: www.cineflixrights.com Stand: R37.20

19 Heddon Street, London, W1B 4BG, UK Tel.: +44 (0) 207 851 6500 Fax: +44 (0) 207 851 6504 Web: www.contentmediacorp.com Stand: Stand RB.44

Executives Attending

Saralo MacGregor, Executive Vice President, Worldwide Distribution

Christopher Gordon, Director of Sales, Latin America

Executives Attending

All Aboard: East Coast Trains (Reality - 10 x 60’)

Welcome to ‘All Aboard: East Coast Trains’, the series that goes behind the scenes of one of the UK’s biggest railways. A small army of dedicated ambassadors works 24/7 to keep everything on track. And when things go off the rails, it’s their job to keep everything running full steam ahead.

Secrets & Lies (6 x 60’)

The life of a family man is shattered when he is accused of murdering a four-year-old boy. As his world spins apart, he embarks on a relentless chase to clear his name. At stake is his marriage, his kids, his reputation and his sanity. But is he innocent or guilty? ‘Secrets & Lies’ is a six part event mini series from BAFTA and Emmy Award winning production company Hoodlum.

1000 Days for the Planet

(Wildlife & Natural History - 28 x 60’) Exploring life from ocean depths to mountain peaks, ‘1000 Days for the Planet’ is a journey around our vast planet to discover extraordinary beauty of the world, help us understand how our living environments function, and ponder the great challenges we all face.

Trauma Investigators (Reality - 10 x 60’)

‘Trauma Investigators’ follows an elite team of specialists as they diagnose and treat patients at one of the UK’s leading trauma centres. Every case presents a new mystery and cutting-edge 3D graphics give viewers a rare insider’s perspective of what’s at stake.

Deutsche Welle DW Transtel

Kavci hory, CZ - 140 70, Prague 4 Tel.: +420 261 137 433 Fax: +420 261 211 354 Web: www.ceskatelevize.cz/sales

Kurt-Schumacher-Str. 3, 53113 Bonn, Germany Tel.: +49.228.429 - 3501 Fax: +49.228.429 - 3500 E-mail: sales@dw.de Web: www.dw.de /www.dw-transtel.de Stand: 19.14

Executives Attending

Marie Magdalena Novakova, Sales Manager

TOP EXecutivE

Diana Zakis, Vice President, Sales, Latin America & Asia

Christopher Gordon, Director of Sales, Latin America

Tricks of the Trade

Czech TELEVISION TELEXPORT

TOP EXecutivE

188/TTV MAGAZINE

Ambulance II

Lubos Kriz, Program Sales

Serangoon Road

Ambulance II

Action drama series ‘Serangoon Road’ is set against the turbulent backdrop of 1960’s Singapore, a port city at a crossroads of violence, politics and crime. When her husband is mysteriously killed, Patricia Cheng (Joan Chen – ‘Lust’, ‘Caution’) enlists the services of enigmatic Australian Sam Callaghan (Don Hany – ‘East West 101’) to help her run the Cheng Detective Agency.

Continuation of the series about the emergency medical service which was highly popular in the 1980s. Featuring in the thirteen episodes are some of the now “somewhat” older original characters plus a number of new ones. The task they fulfil has stayed the same, but what has changed are the times, the people and the state of the society in which they live. Rights Available: TV, Video, Internet.

(Drama Series - 10 x 60’)

The Great Train Robbery (Drama Mini-Series - 2 x 90’)

From the acclaimed writer of the hit series Broadchurch comes two ninety-minute films chronicling the true story of the Great Train Robbery. On August 8, 1963 Britain awakens to the news of the biggest robbery in the country’s history. The hijacking of a train leaves the country stunned and wanting to know who did it -- and how they managed to pull off such an audacious raid.

The Wipers Times

(Drama Feature - 1 x 90’) In the bombed-out ruins of Ypres in 1916, Captain Fred Roberts and Lieutenant Jack Pearson discover a classic printing press and use it to produce The Wipers Times - a humorous and subversive newspaper that proved hugely popular with soldiers, though not entirely with their superior officers.

The Temp Agency

(Multi-Platform Thriller - Multiple duration options available) The Temp is recruited by a secret agency that deploys highly trained ‘temps’ to bring down companies from the inside. He must learn the skills he needs to survive, including doing whatever it takes to complete his mission, even if it means compromising what few scruples he has left.

(Series - 13 x 55’)

Executives Attending

Maria Winzen, Head of DW Transtel Rolf Rische, Head of Society and Documentaries Dr. Arno Hefner, Head of Department Documentaries & Features Martin Maass, Editor DW Transtel Daisy Weisbrodt, Editor Documentaries Ulrich Wartmann, Head of Distribution Europe Dr. Naser Schruf, Head of Distribution Africa/ Middle East Andrea Hugmann, Distribution Executive America Alexandra Lenz, Distribution Executive Asia/ Australia Evgenia Tatiyankina, Distribution Executive CIS Mee-Fung Lee, Representative Asia Jihad Ibrahim, Representative Middle East

TOP EXecutivE Petra Schneider, Director of Sales and Distribution

National Jewels – Unesco World Heritage (Documentary Series)

A unique documentary series on the Czech Republic’s unique wealth of architectural, artistic, urbanistic and other cultural treasures included in the Unesco World Heritage List. The viewers are offered the possibility not only to see them in detail, but also learn about their history, their place in and impacts on the landscape with which they blend so perfectly. ‘From the River to the Sky’, ‘Lake Rose’, ‘Bequest of the Middle Ages’, ‘March of Time’, ‘The Lednice-Valtice Cultural Landscape – Gleaming Jewel’, ‘Monte Carlo of the Middle Ages’, ‘The Church of St John of Nepomuk on Zelená Hora - The Secret of Language’, ‘Bloody Romance’, ‘Uniqueness of Multiplicity’, ‘The Holy Trinity Column in Olomouc – Fullness of Faith’, ‘Villa Tugendhat – Onyx Heart’ and ‘Diversity in Unity and Prague’. Rights Available: TV, Video, Internet.

Tricks of the Trade (Documentary - 7 X 30’)

An in-depth look at why and what we buy. We educate consumers about how goods are produced and marketed – from harmful additives and waste to misleading marketing strategies. Available in Arabic, English and Spanish.

Life’s a Beach

(Documentary - 7 x 30’) The series lets viewers experience classic seaside towns, first-hand. From Biarritz to Usedom in the heart of Europe to famed Copacabana and everywhere in between. Available in Arabic, English and Spanish.

Let’s Go Wild

(Documentary - 7 x 30’) The series shares extraordinary images of animals and their natural habitats – from rainforests, savannas and mountains to the depths of the oceans. Available in Arabic, English and Spanish.

Marvel’s Ag ents of S.H.I.E.L.D.

Disney Media Distribution Latin America Two Alhambra Plaza 9th floor, Coral Gables, FL33134, USA Tel.: (+1) 305-567-3785 Fax: (+1) 305-774-3913 Web: www.daet.tv Stand:

Executives Attending

Henri Ringel, VP, Distribution Jack Morera, Director, Distribution Leonardo Aranguibel, Director, Production Fabiola Bovino, Senior Manager, Marketing

TOP EXecutivE Fernando Barbosa, SVP Distribution and Production

Enigma

Endemol Latinoamérica

Endemol Group

Seefeldstrasse 133, CH-8008 Zurich, Switzerland Tel.: +41-43-817-7050 Fax: +41-43-817-7055 E-mail: sales@dorimedia.com Web: www.dorimedia.com / www. dorimediadistribution.com Booth: Booth 12.02

Cabrera 5870 (CP1414), Buenos Aires, Argentina Tel.: (5411) 5218-9000 E-mail: info@endemolargentina.com.ar Web: www.endemolargentina.com.ar Stand: LR 5.15

MediArena 11099CZ Duivendrecht Amsterdam Zuid Oost. The Netherlands Tel.: +31 (0) 20 893 9000 Fax: +31 (0) 20 893 9982 Web: www.endemol.com Booth: LR5.15

Executives Attending

TOP EXecutivE Nadav Palti, President & CEO, Dori Media Group

(ABC Live Action Series - Drama/Science Fiction)

Betrayal

(Drama – ABC) Two lovers’ worlds will collide, culminating in a powerful and compelling story of sex, love, loyalty, marriage and treachery in the provocative, sensual and gripping new drama, ‘Betrayal.’

Secretos de familia

(Reversioning of Brothers and Sisters) ‘Secretos de Familia’ (‘Family Secrets’) is a Mexican telenovela, remake of ‘Brothers & Sisters’ by Azteca in 2013. The cast includes Sergio Basañez and Anette Michel as main characters. Produced by Elisa Salinas and Pedro Lira for Disney. Nora Ventura, mother of the Ventura kids, is eagerly waiting for her daughter Cecilia to return after being in Monterrey for two years. Cecilia is suffering because she was betrayed by Juan Pablo, her boyfriend, and when she returns to Mexico she decides not to tell anyone. When she gets home, Eduardo gives her a warm welcome, but Nora was cold and distant. Nobody knows Eduardo cheated on Nora. Sandra, Daniel and Andres were suspicious. Her uncle Raul was also thought to be guilty of laundering money.

Next One

Dori Media Group

Marvel’s Ag ents of S.H.I.E.L.D.

‘Marvel’s Agents of S.H.I.E.L.D.’ (Strategic Homeland Intervention, Enforcement and Logistics Division), the movie saga that joins ‘The Avengers’ by Marvel, is a global law enforcement organization made up by a select group of special agents. After the Chitauri attack Earth, the team members -led by agent Phill Coulsondeal with different situations in a world of superheroes, aliens and unusual stories.

Your Face Sounds Familiar

Enigma

The Village (Reality)

Executives Attending

and Content Development Belén Ibañez, Assistant, International Bussines

TOP EXecutivE

Michelle Wasserman, Senior VP of International Business and Content Development

Executives Attending

Tim Hincks, President Martha Brass, Chief Operating Officer Iris Boelhouwer, Managing Director of Creative Operations Ana Langenberg, Head of Format Distribution

TOP EXecutivE

Just Spee, Chief Executive Officer

YOUR FACE SOUNDS FAMILIAR Every week, the same group of celebrities find out who they have to impersonate by simply pressing a buzzer. A giant screen displays multiple images of different singers in rapid succession. The minute the celebrity hits the buzzer, the images freeze and the selection is made. Whether it’s an older or younger person, or even someone of the opposite sex, it doesn’t matter – vocal coaches, choreographers, make-up artists and stylists are ready to prep them for their big performance. A panel of judges and competing celebrities award points based on various categories, including singing, style and believability. There are no eliminations. The scores are tallied in each show, ranking the contestants from first to last. After each performance, the celebrities must press the buzzer again to find out who they will impersonate the following week. Towards the end, only the four celebrities who accumulated the most points throughout the show qualify for the series final. After their very last performance, the celebrity with the with the most points receives the top cash prize for a charity of their choice.

STEP RIGHT UP

‘Next One’ is new daily game show from Endemol Italy where players queue up on stage and one by one take part in a high-speed game of knowledge. In the unique endgame, contestants must choose the wrong answer from two possibilities- it’s a battle against the clock and every time they answer incorrectly they have to start all over again. The fast paced game show has been a breakout hit for Italy’s Canale 5 since it launched in 2011 and has also sold to Antena 3 in Spain.

UNBEATABLE From Endemol Germany is ‘Unbeatable’ where contestants with distinctive skills have to face their toughest opponent. Two celebrities search the world for each participant’s strongest possible adversary - be it a person, an animal, or a machine – before putting the contestant’s exceptional discipline to the ultimate test. Will they be Unbeatable?

THE BRAIN ‘The Brain’ is a cerebral talent show originally produced by Endemol Germany, which celebrates gifted minds and incredible skills of extraordinary people. Contestants must perform mental and physical challenges that are all but impossible for everyday people. ‘The Brain’ has already sold to Spain as well as Italy where it ranked number one in its prime time slot.

YOUR FACE SOUND FAMILIAR ‘Your Face Sounds Familiar’ sees well known personalities take on a new identity as an iconic music performer. The catch is they could find themselves transformed into someone far older, younger or even of the opposite sex. Created by Endemol Spain, ‘Your Face Sounds Familiar’ has been sold to 30 countries across Europe, Latin America and Asia.

TTV MAGAZINE/189

Each episode features five different games and each game comes with a different prize and a different challenge – some games might require physical skill and others might test the contestant’s talent or mental competence. About thirty people can participate per game. The contestants queue up and are given only one chance to play, which means there’s only one shot at winning the featured prize. Some of the physical challenges might include: scoring a hole-in-one on a mini golf course, piercing an apple with an arrow or returning a serve from a pro table tennis player. Other challenges are designed to unleash the hidden talents of the contestants such as, how well they can sing or dance to a Beyoncé song. At the end of the show, the contestants who nearly failed to win a game have a last shot to see if they can turn their luck and take home a prize.

NEXT ONE

El Shaka

Wentworth

Don’t Say It Bring It

Estrella TV Liberman Broadcasting

FremantleMedia International

FremantleMedia Latin America

1845 Empire Ave. Burbank, California 91504 Tel.: (212) 867-7625 Fax: (212) 355-2779 Web: www.estrellatv.com/screeners www.lbimedia.com E-mail: aweir@lbimedia.com Stand: 07.09

1 Stephen Street, London, W1T 1AL Tel.: +44 (0)207 691 6000 Fax: +44 (0)207 691 6100 Website: www.fremantlemedia.com www.fmescreenings.com

5200 Blue Lagoon Drive Suite 200 Miami, Fl 33126 Tel.: +1 (305) 267-0821 Fax: +1 (305) 267-0459 Website: www.fremantlemedia.com

Executives Attending

Executives Attending Lenard Liberman, CEO

TOP EXecutivE

Andrew Weir, Senior Vice President, Worldwide Content Distribution

Max Bolenius, VP International Distribution German Speaking & Eastern Europe Justin Hatfield, SVP International Distribution UK, Ireland & Scandinavia Lisa Honig, SEVP International Distribution Americas Jamie Lynn, EVP International Distribution EMEA Haryaty Rahman, VP Sales & Distribution Asia Paul Ridley, SEVP Sales & Distribution APAC Hendrik Van Daalen, SVP International Distribution Spain, France, Italy & Portugal

TOP EXecutivE

EL SHAKA

Sheila Aguirre, SVP International Distribution Latin America & US Hispanic

(Drama – 36 x 60’) This riveting drama portrays the exciting and dangerous world of a notorious drug lord, El Shaka. El Shaka is a husband, lover, father, brother, friend... and the head of Mexico’s most dangerous drug cartel. This actions series will keep viewers at the edge of their seats.

LA VIDA DE UNA DIVA (Mini-Series – 10 x 60’)

A brand new, original, 10-part Mini-Series on the life and career of Jenni Rivera, the famous Banda music artist who lost her life in a plane crash in Mexico in 2012.

HISTORIAS DELIRANTES (Drama – 46 x 60’)

Taken from stories of the unexplained, this suspense thriller series combines intrigue with the paranormal. Each episode features a different story - stories of money, love, mystery, relationships, past lives, passion and most of all justice. Inspired from the pages of the legendary “La Lloronas”, ‘Historias Delirantes’ is compelling and entertaining.

QUE JALADA

(Comedy – 158 x 30’)

190/TTV MAGAZINE

Idol Puerto Rico

A half-hour comedy series that covers the comedic side of the Internet. Actor/writer/producer Krzysztof hosts the show and, together with three celebrity comedians, comments on the craziest video clips out there, using his razor sharp wit to keep the audience in stitches. Taped with a live audience the irreverent show delivers non-stop laughs. Que Jalada’s ratings have grown every week since its premiere!

WENTWORTH

(Drama - S1: 10 x 1 hr./ S2: 12 x 1 hr.) A FremantleMedia Australia Production for Foxtel. Bea is thrown into a strange and violent new world of female prisoners where lesbian top dog Frankie rules; it seems like she isn’t going to last long.

FULL CIRCLE

(Drama 10 x 30’) There’s friction aplenty as FMI brings high concept drama ‘Full Circle’ (10 x 30’) to this year’s market. The show marks the television debut of award-winning screenwriter, director and playwright Neil LaBute ‘The Shape of Things,’ ‘In the Company of Men’. Like many of LaBute’s plays, the show focuses on the complexity and difficulty of human interaction, this time through “la ronde”-style episodes where 11 people’s lives intertwine and intersect until they come to a devastating and shocking conclusion.

THE FASHION FUND

(Entertainment 6 x 1hr) Each entry is backed-up with clips of impromptu, candid interviews with Hollywood’s glitterati, captured in a high definition broadcast studio in the Four Seasons Hotel in Beverly Hills. Meanwhile, the real-life ‘Project Runway’ is showcased in ‘The Fashion Fund’ - Condé Nast Entertainment’s captivating docu-series of CFDA/Vogue Fashion Fund’s most coveted, long-running and career-changing prize for emerging new designers. With an incredible $300,000 grant and a one-year mentorship with an industry titan as first prize, it is the most sought-after title from those who want to become fashion icons.

Jack Alfandary, SVP Latin America and US Hispanic Julieta Lujan, Senior Manager Production

TOP EXecutivE Carlos González, Managing Director, Latin America and US Hispanic

Idol Puerto Rico (Reality Musical)

Global Agency Abdi Ipekci Cad. Arman Palas Apt. No: 7/17 Nisantasi – Istanbul /Turkey Tel.: +90 212 241 26 93 Fax: +90 212 296 60 53 E-mail: info@theglobalagency.tv Web: www.theglobalagency.tv Booth: Lerins Hall 3.08

Executives Attending

Gila Kantar, COO Mert Uzcan, CFO Farrell Meisel, Director of Development Selim Kastoryano, Head of Operations Umay Ayaz, Acquisitions Manager Catherine Stryker, Head of Sales Melis Konca, Head of Licensing and Merchandising Senay Tas, Sales Director Brianne Bonney, Sales Director Isil Turksen, Sales Director Ivan Sanchez, Sales Director Cagla Menderes, Sales Director Cheryl Godfrey Ross, Sales Executive Rozlin Sevindiren, Finance and Account Manager Gokhan Kantarcioglu, Head Video Editor

‘Idol Puerto Rico’ is starting its third season as the ratings leader among adults, both men and women, becoming an audience favorite. Once again, ‘Idol Puerto Rico’ will cause a commotion with Puerto Rican audiences, who’ll be auditioning to showcase their talent, hopeful they’ll become the next ‘Idol Puerto Rico’. This is the local version of the hit format Idols, which already has over 50 original versions made.

Project Runway Latin America (Reality)

‘Project Runway Latin America’ is a successful and entertaining series, set in the glamorous and rigorous world of fashion. In its third season, fourteen talented and ambitious designers will get the chance to become the best Latin fashion designer.

El Factor X, USA Hispanic (Reality Competition)

‘X Factor’ is a singing competition in which contestants of any age, style, single or in groups, compete against each other to become the next US Hispanic hit singer. Contestants are not the only ones competing in this show, since the judges are also part of the intense competition, participating as mentors in the search for the ‘X Factor’. The show premiered on Mundo Fox during Q2, 2013. It airs on Mundo Fox.

TOP EXecutivE Izzet Pinto, CEO

Don’t Say It Bring It (Urban Game Show – 30’)

An action-packed new urban game show where contestants are forbidden from answering questions with words! Instead, they are required to bring the object that best answers the quiz question in order to win.

Street Jury

(Reality Entertainment – 30’) ‘Street Jury’ is about real people solving real but simple and lighthearted conflicts reflecting bigger issues by taking their case to the street – to judges and jury of their peers.

Same Old, Brand New YoU (Singing Competition – 60’)

The participants are 12 singers, who were popular in the 90’s and early 2000’s, with either a single hit, or an album. Throughout 13 weeks of competition these former celebrities compete against each other.

Heroes

Salvador Dali, Tragicomic Genius

Black Rose

Breathless

Global Screen

INA

ITV Inter Medya

Sonnenstr. 21, 80331 Munich Tel.: +49.89.244 1295 500 Fax: +49.89.244 1295 520 E-mail: info@globalscreen.de Web: www.globalscreen.de Stand: 19.02

83/85, rue de Patay CP: 75013 Ville: Paris - France Tel.: 00 33 (0)1 44 23 12 30 Fax: 00 33 (0)1 44 23 11 30 Site: www.ina-ecatalog-programs.com Booth: 02-15

Valikonagi Cad. 26/3 34367 Sisli Istanbul / Turkey Tel.: +90 212 231 0102 Web: www.itv-intermedya.com Stand: RSV 11

Executives Attending

Laure Audinot, Programme & Video Licencing Executive

Dr. Thomas Weymar, Managing Director Dr. Rolf Moser, Managing Director Julia Weber, Head of Theatrical Sales; Executive Sales Manager TV Helge Köhnen, Senior Sales Manager TV Kerstin Grünwald, Senior Sales Manager TV Gisela Ermeier, Sales Manager TV Iowanka Sánchez-Sprehe, Sales Manager TV Alexandra Heidrich, Sales Manager Formats Ulrike Schröder, Acquisitions Manager Tina Harnisch, Senior Marketing Manager Jessica Weber, Assistant to Head of Sales

TOP EXecutivE Marlene Fritz, Head of TV Sales

Heroes

(Event Movie – 120’) A high-budget disaster movie, featuring hundreds of VFX shots and a star-studded German cast. Produced by the genre experts at Dreamtool for RTL, with the involvement of Academy Award-winner Pixomondo.

Weissensee

(Historical Family Series - 12 x 48’) A sweeping and gripping family saga of conflicting loyalties, love, hope, faith and betrayal set behind the Berlin Wall in the former East Germany. Following the smash hit first season, six more episodes are now ready for delivery.

Pinocchio

(Family Entertainment - 1 x 120’/2 x 90’/3 x 60’) A wonderful, partly animated retelling of Carlo Collodi’s world-famous adventures of the wood puppet who wants to be a real boy.

Storm of Love

(Romance Telenovela - 1814 x 50’ - Season 9 in production) One of the ten most successful and valuable drama series in Europe (Madigan Cluff and Digital TV Research 2012).

Executives Attending

TOP EXecutivE

Executives Attending

Ahmet Ziyalar, Managing Director Sibel Özdemir, Sales Executive Elena Pak, Sales Executive Beatriz Cea Esteruelas, Sales Executive Leyla Apa, Sales Asistant

TOP EXecutivE

Larris Dubois-Flavien, Programme Sales

Can Okan, President & CEO

Salvador Dali, Tragicomic Genius (Documentary – 52’ – HD)

Who really was Salvador Dalí? A figure always in the media spotlight, one of the greatest popular painters of the 20th century? Proclaiming himself as a genius, the famous Spanish painter (with Picasso) is one of the few to have kept his place in the collective subconscious.

Chabada Collection

(Entertainment Show – 170 x 52’, 4 x 120’, 8 x 240’) This collection brings three musical programmes, all presented by Daniela Lumbroso and aired by France Télévisions from 2005 to 2012: ‘Chabada’, a weekly programme; ‘La fête de la Chanson française’ & ‘Paris Québec sous les étoiles’, yearly shows featuring French chanson singers.

The Tour de France’s Greatest Mountain Passes (Sports Documentary - 5 x 26’ – HD)

The Tour de France is the biggest stadium in the world. The heart of the mythical Tour lies in the great mountain passes. Check out five of the most mythical climbs of the Tour: the Galibier, the Tourmalet, the Alpe d’Huez, the Ventoux and the Puy de Dôme.

Homopoliticus

(Documentary – 52’) In 1960, homosexuality again became a criminal offence in France, and was even included on a list of social evils. Since then, homosexuals have been forced to wage a real battle against the French Republic and its representatives in order to win more rights.

BLACK ROSE (Drama 2013)

The series that takes place in Halfeti Şanlıurfa is the story of two brothers in war. The oldest son of the family Kendal has always been jealous of his younger brother Murat and all he wants is to be the sole heir of the inheritance and the sole leader of the family, however Kendal doesn’t have a son that will continue his legacy,the only son he has is disabled, he has 2 wives and no sons. His brother Murat has 4 children. His first born is a boy whom he lives with his older brother and his wife whom he married religiously. They raise his son and in exchange Murat moves to Istanbul and has a different life. He has 2 daughters and a son from his official wife Ebru. Ebru is unaware of this secret life that he has kept from her. She thinks her first born was born dead. She’s far from the village and their traditions. A woman who has never left the walls of her mansion and a man that left her to live a lie. She’s all alone with the truth that she faces. Now she has to fight for all that she lost. She has to stand up for her kids and start all over in a distant place. Karagül is the story of rebirth of a woman in distant lands.

Prisoners Of Love (Drama 2013)

The only thing in common that 4 women from very different lives and social status share is their emprisonned lovers. These four women will meet while visinting their lovers in jail and their lives will crossover in a very unexpected manner. They will clinch to each other to survive and they will support each other to stand up during their husbands absence. Each one of them has their own secret and things that they don’t know about their husband. They are the henceforth “the prisoners of love”.

ITV Studios Global Entertainment LTVC Upper Ground, London, SE1 9LT Tel.: +44 207 157 3000 Web: www.itvstudiosge.com Stand: R38.01

Executives Attending

Mike Beale, Director of International Formats, ITV Studios Craig Bohland, VP, Sales Americas Ruth Clarke, Director of Acquisitions & Co-productions Jennifer Ebell, VP, Sales EMEA South and East Tobias de Graaff, Director of Global TV Distribution Augustus Dulgaro, SVP, Sales Asia Pacific Dan Gopal, SVP Global Digital Media & Home Entertainment Hyeonza Hong, VP, Sales Asia Mark Kirkpatrick, VP, International Home Entertainment Carol Lee, SVP, ITV Studios Home Entertainment Americas Jayne Redpath, SVP, Sales EMEA David Wilcox, VP, Sales North and West EMEA Greg Johnson, SVP Americas

TOP EXecutivE Maria Kyriacou MD

Breathless

(Drama - 6 x 60’) Secrets, lies and sex smoulder beneath the glamorous and stylish world of the early 1960s, in the brand new drama Breathless.

Rectify

(Drama - S2: 10 x 60’/S2: 6 x 60’) From the award-winning producers behind ‘Breaking Bad’, ‘Rectify’ returns for a second series following the life of Daniel Holden upon his release from prison.

Tricked

(Entertainment - 6 x 60’) Trickster Ben Hanlin redefines magical entertainment in a fresh young show that mixes candid camera fun with illusion and wonder.

Wild West Alaska

(Entertainment - S2: 10 x 60’/S1: 10 x 60’)

TTV MAGAZINE/191

Set in a firearm shop on the edge of civilisation, this explosive docusoap follows quirky characters into the Alaskan wilderness – armed with big guns and bigger personalities.

Rising Star

Crazy About Love

The Secrets Of Borgo Larici

Keshet International

Mediabiz

MEDIASET DISTRIBUTION

Miramax

12 Raul Valenberg Street, P.O.B. 58151, 61580 Tel Aviv, Israel Tel.: +972.3.7676412 E-mail: limor.got@keshet-tv.com Web: www.keshetinternational.com Stand: LR1.05

Jorge Newberry 3449, Capital Federal, Buenos Aires, Argentina Tel.: +5411.4553.0588 E-mail: virginia@mediabiz.com.ar Web: www.mediabiz.com.ar Stand: 6.27

Via Aurelia Antica 422, 00165 Rome, Italy Tel.: +39 06 66390 566 Fax: +39 06 66390 650 E-mail: internationalsales@mediaset.it Web: www.mediasetdistribution.com Stand: R 32.07

2450 Colorado Avenue, Suite 100 East Santa Monica, California, USA 90404 Tel.: +1 310 409 4321 E-mail: worldwidesales@miramax.com Website: www.miramax.com Stand: LR4.22

Executives Attending

Ran Tellem, Keshet’s VP Programing Keren Shahar, Head of Distribution & Acquisitions Nelly Weber Feld, Sales Director Cynthia Kennedy, Sales Director Kelly Wright, Sales Director Limor Gott Ronen, Marcom Manager, Sales Manager Docu and Digital Platforms Hagar Livny, KI Coordinator

Virginia Berberian, International Business Director

TOP EXecutivE

Manuela Caputi, International Sales Manager Serena Petrecca, Sales and Marketing Manager Licia Paoli, Account Sales Manager Mediaset Italia

TOP EXecutivE

Alex Lagomarsino, CEO

Clare Mc Ardle, International Sales Manager

TOP EXecutivE

Alon Shtruzman, Keshet International’s Managing Director

Rising Star (Talent show)

‘Rising Star’ introduces an original, revolutionary format: An entire season broadcast live, including the auditions. The viewers will use an innovative and free app to determine which contestant advances to the next level, who is eliminated and who becomes the ultimate winner. ‘Rising Star’ is a musical talent show that sets out to find the music world’s next big star. The season is broadcast live in its entirety – beginning with the very first audition – and throughout the season, home viewers judge the contestants along with the panel of four tough judges, deciding in real time, as each song is sung, whether or not the contestant will advance to the next stage.

FACE TO FACE

(Studio Dating Show)

192/TTV MAGAZINE

Pulp Fiction

A studio dating show goes on a tailored search for love, based on an exact portrait of the dream date. The fate of any date is sealed the moment the man and the woman meet, and hangs on a single element – does she like the way he looks? Now imagine a dating show where all the men competing for your heart look exactly, but exactly the way you like them! ‘Face to Face’ is a dating show that uses an application to find the man of our bachelorette’s dreams, and the five men competing for her heart in the studio will look exactly like her dream man. Throughout the show, the bachelorette can see the men competing for her heart, but they cannot see her. It is only after she has made her decision that the tables are turned and the men are afforded the opportunity to see her and make their own decision: do they like the way she looks?

Beth Minehart, EVP, Global Digital Marna Grantham, SVP, North & South America Richard Tulk-Hart, SVP, Europe, Middle East & Africa Mathilde Rottier, VP, North America Jeff Cooke, Director, Asia Pacific Stuart Shaw, Director, Europe Alexandra Tullberg, Director, Europe Janine Rogers, Asia Pacific Ronda Elbanna, Asia Pacific

TOP EXecutivE

Crazy About Love

(Drama Series - 39 x 60’) The story of three women living in a psychiatric hospital who will move to an apartment together, as the first step of a project aimed at bringing them back into society. They will have to deal with everyday matters such as getting a job and learning how to live in harmony with others. Simona, Juana and Eva, who suffer from different pathologies, will have to live together in an apartment, where they will confront their personal subjective stories with reality, while trying to restore social and family ties.

(Costume Drama Series – 7 x 80’ or 14 x 40’)

The Things we Love

(Biographical Miniseries – 2 x 100’)

(Comedy/Telenovela - 245 x 60’ + 215 x 60’) Roberto Sanchez is a loner who is so orderly that finds it hard to live with anyone else. He works as a referee and is obsessed with living by the rules. When his girlfriend leaves him, and thinking he is alone again, his nephews – Pablo and Martin – and his little niece – Valeria – come along to invade his privacy. He’ll have to get used to a boisterous and chaotic lifestyle, which for a strict man like him becomes quite a problem! However, little by little he will learn to appreciate the true value of family

Love in Blue: 099 Central (Telenovela - 146 x 60’)

Love and passion stories are mixed with high-risk action, explosions and hints of comedy in this police brigade. 099 Central is also the name of a top-notch police brigade formed by cops, doctors and rescue teams, trained to solve extreme situations that others are incapable of dealing with. But the toughness and confidence of these men and women in action deeply contrasts with their souls’ uncertainty. Loneliness and abandonment are probably their worst enemies.

Joe Patrick, EVP, Worldwide Television

THE SECRETS OF BORGO LARICI

Piedmont, 1922. Borgo Larici seems like a perfect little town like many others. But things are about to change dramatically. The secrets of the past come back to haunt its duellers revealing murder and mystery while Francesco and Anita, two lovers from different social backgrounds, struggle to stay together despite family pressures, in a changing Italy.

RUDOLPH VALENTINO, THE LEGEND This is the story of a man born at the beginning of the last century in a small town in southern Italy. This is the story of a Hollywood legend, an ultimate talent with a penetrating gaze which captivated women in their millions. This is the story of Rudolph Valentino.

MY RESPECTS, PALERMO – NEW YORK 1958 (Drama Series – 8 x 80’ or 16 x 40’)

Early ‘60s between Sicily and America. ‘My Respects’ tells the story of Ida and Agnese: two courageous women who, in differing ways, attempt to oppose the power of the mafia.

TUSCAN PASSION

(Sentimental Drama Series – 2nd Season: 14 x 90’ or 28 x 45’) The love of two young people is shattered in the wake of a dramatic murder. All set in the rich Tuscan vineyard countryside which is only perfect on the surface. Underneath, the original sin of one woman, Eva, who has disappeared, taking with her the truth that could explain everything.

Miramax Library ‘Frank Miller’s Sin City’, ‘Sin City: A Dame to Kill For’, ‘Pulp Fiction’, ‘Kill Bill Vol. 1&2’, ‘Good Will Hunting’, ‘Chicago’, ‘Spy Kids’, ‘Scary Movie’, ‘Gone Baby Gone’, ‘Like Water for Chocolate’.

From Dusk Till Dawn, the series (Action/Horror - 10 x 60’)

Based on the hit action/horror franchise from Robert Rodriguez and Quentin Tarantino, ‘From Dusk Till Dawn’, the series will be written, produced and directed by Rodriguez. It will explore and expand on the characters and story from the original film, providing a wider scope and richer Aztec mythology.

Revolution Studios Library ‘Black Hawk Down’, ‘XXX’, ‘Anger Management’, ‘Daddy Day Care’, ‘America’s Sweethearts’.

Samuel L. Goldwyn Library ‘Guys & Dolls’, ‘The Westerner’, ‘The Secret Life of Walter Mitty’, ‘Wuthering Heights’, ‘The Bishop’s Wife’.

Woman

Exit Afghanistan

Nippon Television Network Corporation 1-6-1 Higashi Shimbashi, Minato-ku, Tokyo 105-7444, Japan Tel.: +81-3-6215-3036 Fax: +81-3-6215-3037 Web: http://www.ntv.co.jp/english Email: intlprog@ntv.co.jp Stand: 17.24

Executives Attending

Suzuko Fujimoto, Managing Director, International Business Development Shigeko Chino, Senior Director, International Business Development Mikiko Nishiyama, Director, International Business Development

Mad Animals

NordicWorld

Novovision

Passion Distribution

Karl Johansgate 14, 0154 Oslo Tel.: +47 22 81 42 99 E-mail: tbc@nordicworld.tv Web: http://nordicworld.tv/ Stand: R 3118

12 rue Vivienne – LOT N°3, 75002 Paris, France Tel.: +33 1 75 47 80 70 Fax: +33 1 75 47 80 74 E-mail: Sabrina.h@novovision.tv Web: www.novovision.tv Booth: R 32.04

Elsinore House 77 Fulham Palace Road, London W6 8JA, UK Tel.: +44 (0)207 981 9801 Fax: +44 (0)207 401 7801 E-mail: sales@passiondistribution.com Web: www.passiondistribution.com Stand: H4.30

Executives Attending

Espen Huseby, CEO Ole Steen Stolberg, Sales Executive Ready Made Ann Christin Siljan, Sales Executive Formats Bente Sagplads, Key Account Manager Tea Bakstad Carlsen, Product and Material Coordinator

TOP EXecutivE

Executives Attending

Philippe Deleplace, Development Consultant Nathalie Bourdon, CEO of Novovision Canada Charles Gebenholtz, Regional Sales Manager Allison Glasgow-Lafontaine, Regional Sales Manager Sabrina Hounas, Acquisition and Marketing Manager

TOP EXecutivE

Jan Salling, COO & Sales Director

François Xavier Porier, CEO

Yukiko Kimishima, Divisional President, International Business Development

Exit Afghanistan

(Documentary – 1 x 58’)

Woman

(Drama – 11 x 60’) This is a touching story about a recently widowed mother whose unconditional love for her children drives her to fight against all odds for their survival. Brought to you by the same team that created the hit drama Mother, recipient of the Mipcom Buyers’ Award for Japanese Drama in 2010, ‘Woman’ depicts both the struggles and tender moments of a single mother simply trying to find peace and happiness for her children in a cold and difficult world.

Hajime No Ippo: The Fighting! – Rising (Anime – 25 x 30’)

This is the third animation series based on the hugely popular manga that has been serialized in Weekly Shonen Magazine (Kodansha) and running strong since 1989. Ippo, the once bullied boy who took up boxing and eventually became the Japanese national champion, continues his search for the true meaning of strength. Heartwarming scenes and thrilling fights are interwoven to create a very human story.

Happy House Cleaning (Entertainment/Format)

As the first documentary of its kind; ‘Exit Afghanistan’ refers to one of the most important issues of our time: how to retract peacefully from war. ‘Exit Afghanistan’ displays unique footage, dramatic material as well as personal, captivating stories from war-torn Afghanistan.

The Green Planet

(Nature/Current Affairs/History – 3 x 52’) Deforestation definitely leads to climate changes. This three part series looks at the efforts made by the nation states of the world so far and comes up with solutions to the problems that face us all.

Mammon

(Thriller / Crime - 6 x 45’) ‘Mammon’ is a thriller series in the spirit of ‘All the President’s men’. However, in this story not all journalists are good, and the hunt for truth far more personal.

The Extreme Pop-Up Challenge (Factual Entertainment)

1000 dishes, 12 hours and one chef! A master chef creates a pop up restaurant in the most unlikely locations. And in just one day, with the use of local food only, will he create a restaurant serving 100 plates.

Executives Attending

Nick Rees, Managing Director Emma Simpkins, Director of Sales Hana Palmer, Head of Sales Formats & Scripted Maria Ishak, Senior Sales Manager Beatrice Rossmanith, Sales Manager Rebecca Thomas, Sales Manager Katie Stephenson, Sales Manager Lorenzo Bertolotti, Sales Executive Nick Tanner, Sales Executive Arabella Field, Junior Sales Executive Fraser Cameron, PR & Marketing Manager Alex Lee, Marketing Coordinator Sophie Halton, Junior Acquisitions Executive & Executive Assistant to the CEO

TOP EXecutivE

Mad Animals

Sally Miles, CEO

(26 x 26’)

Novovision has recently acquired several extensive catalogs of animal home videos to create a new program in the spirit of ‘Hilarious Home Videos’ in response to numerous requests from customers for programs featuring animals.

Junior Hidden Camera (31 x 22’)

This hilarious new children’s show, allows children to laugh at themselves and discover that things are not always what they seem. Our gags depict our little heroes in unexpected circumstances, but alas, some are not as innocent as you might expect.

Pop Toon (104 x 22’)

‘Pop Toon’ is a patchwork of Animation classics. Novovision has been searching the world for the best in cartoons from the golden age of animation (Popeye, Casper, Betty Boop) to today’s best 3D (Cook’n sheep, Sweet lambs). The premium compilation show brings together playful animations with universal appeal.

Bubble

(26 x 26’)

Is a compilation of video clips from 45 seconds to 3 minutes. It is a great range of non-verbal comedy shows and clips from around the world.

Lost For Life

(Documentary - 1 x 60’ or 1 x 90’) ‘Lost For Life’ is the shocking documentary about juveniles serving life in prison without parole, all are guilty of First Degree Murder. ‘Lost For Life’ examines the sometimes-unanswerable questions: What is justice when a kid kills? Can a horrific act place a life beyond redemption? Are there alternatives for kids like these? Or do we simply dispose of them?

Joe Rogan Questions Everything (Factual Entertainment – 6 X 60’)

Joe Rogan goes on an open-minded journey of fact and fiction, unraveling the truth behind the most unconventional mysteries and conspiracies known to man. Topics range from the afterlife to aliens. No matter what you thought you knew before, it’s all going to change. Get ready to… Question Everything!

Breaking Ice

Factual Entertainment - 6 x 30’) This series takes viewers aboard two icebreakers that journey to two extreme parts of the planet the Arctic and the Antarctic. Each episode in the series cuts between both sides of the planet to take viewers on board these steel vessels that are nearly as powerful as the Titanic, however they don’t sink when they hit ice – they simply smash through it.

TTV MAGAZINE/193

NTV’s newest entertainment format that is sure to get the entire family excited! Ever wondered how much that dusty vase in your attic is actually worth? We’ll bring an appraiser and a recycle shop owner to your house to give you a chance to get cash! Who knows, you might have some hidden treasures that could pay for your next family vacation. Or, you might realize that your precious heirloom actually isn’t worth much. But don’t despair. Play some games for another chance to win!

Lost For Life

New Worlds

The Escape Artist

Mountain Movers

Power

Red Arrow International

Rive Gauche Television

RTVE

34 Gresse Street, London, W1T 1QX, United Kingdom Tel.: +44 (0) 207 323 0070 E-mail: info@powcorp.com Web: www.powcorp.com Stand: R29.23

Medienallee 6, 85774 Unterfoehring, Germany Tel.: +49 89 9507-2320 Fax: +49 89 9507-2321 Website: www.redarrowinternational.tv

15300 Ventura Blvd., Suite 507, Sherman Oaks, CA 91403 Tel.: 818.784.9912 Web: www.rivegauchetelevision.com E-mail: marine@rgitv.com Stand: 26.01

Edificio Prado del Rey, B152 Tel.: +34 91 58 17807 / 683 671 906 (56894) E-mail: jesus.molina@rtve.es Web: www.rtve.es Stand R36.07

Executives Attending

Andrew Whiteman, Head of Sales Planning & Operations Steve Turney, Vice President, Sales & Acquisitions Georgina McNeilly, Vice President, International Sales Pepe Echegaray, Sales, Latin America Adam Jones, Marketing Manager Nadine Margolis, Executive Assistant to CEO

TOP EXecutivE Susan Waddell, CEO

Executives Attending

Axel Böhm, Senior Vice President Sales, CEE, Spain, Italy / Senior Vice President Fiction Acquisition Yan He, Senior Vice President Sales, Asia Pacific, Middle East, Africa Irina Ignatiew, Senior Vice President Sales, German-Speaking Territories, France Caroline Kusser Senior Vice President Sales, North America Henrik Pabst, Senior Vice President Sales, Scandinavia, Benelux, UK / Senior Vice President Format Acquisition Aline Avedikian, Sales Manager, France Shakira Hoffmann, Sales Manager, CEE Jamie I, Senior Sales Manager, Asia Tobias Schulze, Sales Manager, GermanSpeaking Territories, Turkey Zasha Robles, Director Spiral International

TOP EXecutivE Jens Richter, Managing Director

NEW WORLDS

(Period Drama - 4 x 60’) Four young men and women in America and England struggle against tyranny and oppression in the turbulent 1680’s.

SCARECROW (2 x 60’)

Surviving the night becomes a distant prayer for a motley group of students when a local legend is revealed to be a terrifying reality.

BREAKER MORANT

(Historical Documentary - 2 x 60’) A revealing documentary about the exploits, court martial and execution of Australian folk hero Harry Morant during the Boer War.

THE GREAT PENGUIN RESCUE (Documentary - 6 x 30’)

The race is on to save a diminishing colony of penguins… and there’s only six weeks in which to do it!

THE TRAPPER He used to trap animals to kill them, now he’s trapping animals to save them. Follow trapper extraordinaire Darien Simpson in his quest to catch some of the most dangerous predators in Africa.

194/TTV MAGAZINE

Isabel

The Escape Artist

(Thriller – 2 x 90’; 3 x 60’) Starring David Tennant. Will Burton is ‘The Escape Artist’, a defense lawyer who specializes in getting people out of tight legal corners. But when his talents acquit the prime suspect in a horrific murder trial, that brilliance comes back to bite him.

Lilyhammer

(Dramedy Series - 16 x 45’) Starring Steven Van Zandt. In season 2 (co-produced by Netflix), former mob fixer Frank Tagliano is still under witness protection in Lillehammer, Norway – living under the guise of Johnny Henriksen, a successful nightclub owner and more recently, a father of two.

Johan Falk

(Movie Cycle - 6 x 90’) Detective Johan Falk and his special unit investigate in a world where lives mean nothing. Starring Jakob Eklund and Joel Kinnaman (‘The Killing’), this gripping movie-cycle is inspired by real cases, investigations and covert ops.

Executives Attending

David Auerbach, President Marine Ksadzhikyan, VP International Sales Tomas A Silva, VP International Sales Bryan Gabourie, Director International Sales

TOP EXecutivE Jon Kramer, CEO

Executives Attending

Alejandro Flórez, Deputy Director Rafael Bardem, Head of Sales & Licenses Maria Jesus Pérez Rojo, Sales Executive Alessia Di Giacomo, Sales Assistant Antonio Pérez, Sales Executive Raúl Molina, Sales Executive Rosalía Alcubilla, Sales Executive Maria Jesus Pérez, Head of Channel Distribution David Priego, Sales Executive Fernando Hernández Berzal, Sales Executive Rodolfo Dominguez Alfageme, Comercial Director

TOP EXecutivE Ignacio Corrales, Director

Mountain Movers (8 x 60’)

‘Mountain Movers’ follows Chris “Gunny” Gunnarson and the Snow Park Technologies team as they design and build some of the most impressive winter sports projects across the nation. Whether creating a remote private training facility for a high profile athlete, building the perfect half-pipe for the ESPN Winter X Games, or constructing a terrain park at a major winter resort, these larger-than-life snow-sculptors battle the elements to amp up the thrill of snow sports everywhere.

The Illegal Eater (13 x 30’)

Every city has underground and illegal restaurants. It’s a world-wide movement like none other. The host Steven Page, lead singer and guitarist of The Barenaked Ladies, will uncover elusive restaurants in this unique food series searching for the greatest underground food a city has to offer. When Steven finds his restaurant of choice, he descends on it like a detective on a juicy lead. By the end of each night, he has uncovered a new bootleg restaurant that serves up foods like wild game that can’t be experienced anywhere else on the planet.

Who Let the Dogs Out (26 x 30’)

‘Who Let the Dogs Out’ is an energetic animal loving series featuring Tillman the Skateboarding Dog and Norman the Scooter Dog. Tillman & Norman have recruited a colorful cast of canines and humans to travel the country in search of the most talented pooches and some of the most inspirational canine stories. It’s a quest to find the most spectacular, high-flying, and incredible dogs.

Isabel

(Historical Fiction − 13 x 70’) A historical series that narrates the life of one of the most important women of Spain, Queen Isabella the Catholic. The series, in its first season, tells the story of Isabella of Castille up to her marriage with Fernando of Aragon and her coronation as Queen of Castille. One of the most important periods of history captured in 13 chapters at prime time with a fast paced narration, magnicent interpretation and a meticulous setting.

Gran Reserva: El Origen (Series)

Set over 40 years before, at the end of the sixties, we return to Bodegas Cortázar y Reverte. We discover both wine houses are still allies and both struggle to win their place in a wine market that is aggressively dominated by a third company, Bodegas Miranda. The head of this family, don Santiago, is an ambitious leader and nothing will stop him. But none of these families know that Elena Cortázar, Vicente Cortázar’s younger sister and daughter of Don Alejandro, is secretly in love of Luis Miranda, the heir of the powerful winery.

Saber y Ganar (Contest)

The cultura contest of La 2, presented by host Jordi Hurtado, celebrates its fifteenth anniversary and has turned into the daily show with more years on air in Spain’s TV history.

Legally Brown

Golden Winter

Bad Teacher

Ronaldinho Gaucho’s Team

SBS International

Snap TV

Sony Pictures Television

Sullivan Entertainment

14 Herbert Street, Artarmon Australia 2064 Tel.: +61 2 9430 3975 Fax: +61 2 9430 3700 Web: http://www.sbs.com.au/sbsinternational Booth: No. 04:42

Zapata 286 – 1426 – Buenos Aires, Argentina Tel.: +541147738826 E-mail: info@snaptv.tv Web: www.snaptv.tv Stand:

Executives Attending

10202 West Washington Boulevard, Culver City, CA 90232, USA Tel.: +1 (310) 244-4000 Fax: +1 (310) 244-1874 Web: www.sonypictures.com Stand: RB 20

110 Davenport Road Toronto, ON M5R 3R3 Canada Tel.: 1 416 921 7177 Fax: 1 416 921 7538 Web: www.sullivanmovies.com Stand: 18.05

Executives Attending

Carolyn Johnston, Sales Manager

Ezequiel Olzanski, Sales Director and International Distribution

TOP EXecutivE

Lara von Ahlefeldt, Head of Programme Sales

Legally Brown

(Comedy - 10 x 25’ HD) A daring new comedy series which will push all the boundaries of political incorrectness! Before a pumped studio audience, internationally renowned Australian comedian Nazeem Hussain performs his unique brand of stand-up comedy to frame a series of socially relevant character and hidden camera stunts, as well as scripted comedy sketches. The anarchic series will parody many aspects of life, including race relations, international politics and pop culture. ‘Legally Brown’ brings mayhem and madness to the streets. A little ethnic, a lot edgy and a whole load of entertainment!

The President vs The Pirates (Documentary - 1 x 52’)

The world is watching closely as Somalia continues to raise fears of extremism and unending clan warfare. Years of civil war and crippling drought have torn this once-prosperous nation to shreds. Now pirates and terrorists are destroying what remains of civil society… But one man thinks he can make a difference. This film gains unprecedented access to Abdirahman Farole, a Somali-Australian former refugee who has returned to his native land to become the President of Puntland (the northern province of Somalia) with the sole mission to bring back peace and a working democracy to Somalia once and for all.

Destination Flavour Japan

Ariel Tobi, President

GOLDEN WINTER

(2012 – Family – 90’) A boy befriends a litter of homeless Golden Retrievers. Together, they help stop a bank robbery just in time for Christmas.

THE LEGEND OF SARILA

(2013 – Family/Animation – 80’) A voyage of initiation in which three young Inuits go in search of a promised land, hoping to save their clan from famine. It is also the story of a fight to the death between two shamans, the young Markussi (Dustin Milligan) and the aged Croolik (Christopher Plummer), who feels that his power is threatened. With humor, action, and adventure Sarlia explores the universal themes and challenges inherent in coming of age. It is a story of triumph, self realization and hope for all people.

VAMPIRE SISTERS

(2012 – Family/Teen – 98’) Dakaria and Silvania, 12-year-old half-vampire sisters, move from Transylvania to Germany. Here the girls have to become accustomed to the conditions of human daily life: that is, go to school during the day, use lots of sun block and fly during nighttime hours only. The most important difficulty, however, is to find friends as they always need to be cautious about keeping the truth to themselves.

HOLY NIGHT!

No other nation can match the Japanese reverence for food, or the exquisite care that goes into preparing the simplest meal. Adam Liaw, our presenter, returns to the country that first fired his passion for food in ‘Destination Flavour: Japan’. From the frozen ponds of Hokkaido in the north to the southern multicultural island of Okinawa, we follow the much-loved recipe of the first series of ‘Destination Flavour’: one-on-one encounters with the obsessive primary producers, local food legends and master chefs; peppered with recipes that anyone can try in their own kitchen.

Christmas Eve. Two toy worlds live together in the living room of a house. Two traditions confronted. On one side, the Christmas tree, home of Santa Claus and his elves. On the other, the Nativity Scene with the Three Wise Men and the rest of its inhabitants. When everyone is ready to celebrate a quiet Christmas the alarm goes off: somebody has stolen Santa’s sleigh and Baby Jesus has been kidnapped! Follow our heroes, Sam and Sarah, in an incredible adventure to save the most magical night of the year.

TOP EXecutivE

Steve Mosko, President, Sony Pictures Television

Trudy Grant, President and Executive Producer Sharon Lee, Manager, Sales and Acquisitions Marissa Asperjan, Sales Representative Petra Kobayashi, Manager, In-House Production

TOP EXecutivE Kevin Sullivan, CEO

Ronaldinho Gaucho’s Team (Animation Series - 52 x 15’)

Seven year-old Ronaldinho and his friends go on extraordinary adventures as their magical soccer ball leads them to new mythical discoveries. The series promotes a healthy way of learning and enjoying sports, as Ronaldinho and his friends learn new rules about soccer in fun and engaging ways, sharing with the viewers the importance and influence soccer and sports can have during childhood. ‘Ronaldinho Gaucho’s Team’ looks to educate viewers by sharing life lessons on the importance of friendship, self-confidence, team play and a healthy sense of fun and competition through fantasy-based and imaginative storytelling.

Super Rupert (Series - 13 x 30’)

This boys-action, half live-action and half animation series follows a ten year old Rupert who has a BIG imagination. His wild stories and wacky inventions are legendary around town and the villains that are created in his stories appear as animation characters. When a robber comes to town, Rupert’s life takes on a whole new dimension as he believes it is up to him to save his hometown.

P.R.

(Comedy/Entertainment - 13 x 30’)

(2011 – Animation/Family – 90’)

BAD TEACHER

(Comedy Series – 13 x 30’) A confident and unapologetic divorcee cons her way into a teaching job at a local middle school in hopes of finding her next husband among the student body’s rich single fathers, while dispensing unconventional wisdom to her students.

Twenty-nine year-old Alex Reed, owner of Alexandra Reed & Associates has spent her entire career mastering the art of image-making. She began her career at the age of 21 as an assistant to the most maniacal, egotistical, slimy and successful publicist in town. She now has her own business to provide it. Alex has built a flourishing business with the help of friends in high places, and a healthy dose of trickery imagination, and truthstretching; which she and her partner Jill Hayes use in a world of creating news and fabricating events in order to serve their multitude of clients in the entertainment world.

TTV MAGAZINE/195

(Lifestyle/Food/Travel - 10 x 30’ HD)

Keith Le Goy, President, International Distribution Andrea Wong, President, International Production Andy Kaplan, President, Worldwide Networks Amy Carney, President, Advertiser Sales, Strategy & Research Mike Wald, Executive Vice President, International Distribution Wayne Garvie, Chief Creative Officer, International Production Donna Cunningham, Executive Vice President, Operations, International Production Marie Jacobson, Executive Vice President, Programming & Production, Networks Angel Orengo, Executive Vice President, Distribution, Asia-Pacific George Chien, Executive Vice President, Networks, Asia-Pacific T.C. Schultz, Executive Vice President & Managing Director, Networks, Latin America & Brazil Paula Askanas, Executive Vice President, Communications Ed Louwerse, Senior Vice President, Format Sales, International Distribution Alex Marin, Senior Vice President, Distribution, Latin America & the Caribbean Angélica Guerra, Senior Vice President and Managing Director of Production for Latin America & U.S. Hispanic Mary Chan, Vice President, Production, Asia Kate Marsh, Senior Vice President, Western Europe, Networks Lyle Stewart, Senior Vice President, Central & Eastern Europe, Middle East and Africa, Networks Camila Misas, Vice President of Creative for Production, Latin America & US Hispanic market

Buddy For Hire

Extreme Trucking

Mint & Lemon

Talpa International

Terranoa

Sumatralaan 45, 1217 GP Hilversum, the Netherlands Tel.: +31 35 5333111 Fax: +31 35 5333334 E-mail: sales@talpa.tv Web: www.talpa.tv Stand: LR3.09

155 rue de Charonne, 75011 Paris, France Tel.: +33 (0)1 55 25 59 42 Fax: +33 (0)1 55 25 59 03 E-mail: contact@terranoa.com Web: www.terranoa.com Stand: 02.15

Executives Attending

Gepke Nederlof, Head of Sales Annelies Noest, SVP Licensing Laura Rhodarmer, SVP Licensing Sebastian van Barneveld, VP Licensing Isabelle Blog, VP Licensing

Executives Attending

Emmanuelle Jouanole, General Manager Véronique Commelin, Senior Sales Manager Laetitia Giansily-Doyle, Senior Sales Manager

TRT - TURKISH RADIO AND TELEVISION CORPORATION

Twentieth Century Fox Television Distribution

604 6th Floor Oran 06450, Ankara, Turkey Tel.: +90 312 463 2482 Fax: +90 312 463 2473 E-mail: meltemtumturk.akyol@trt.net.tr Web: www.trt.net.tr / www.trtsales.com Booth: 9.34

P.O. Box 900, Beverly Hills, CA 90213-0900, USA Tel.: 310.369-5952 Fax: 310.369.8877 E-mail: Peter.Ritchie@fox.com Webs: www.foxfast.com

Executives Attending

Nimet Ersin, Head of TV Department Ibrahim Eren, Deputy Director General

TOP EXecutivE

Isabelle Graiziadey, Head of International Sales and Acquisitions

TOP EXecutivE

Meltem Tumturk Akyol, Head of International Programmes Sales

Maarten Meijs, Managing Director

EXTREME TRUCKING

(Travel & Adventure – 5 x 52’)

Buddy For Hire

(Factual Entertainment – 45’) On each episode of ‘Buddy for Hire’ a young person not doing anything with his life is paired up with someone physically unable to do anything with his. Someone who needs constant care, which the underachiever will have to provide. He’ll see that - unlike himself - the handicapped person is trying to make the most of his life. Despite all his limitations… A give and take relationship between the two gradually evolves. They get to know each other. And as they grow closer, the young caretaker organizes special activities for his disabled friend. Activities his new friend never dreamed he’d experience… Inspired by Intouchables, this TV format is about facing the unknown, acceptance and the true meaning of friendship. Leading up to the question: will they sign a contract at the end of the episode to continue their friendship?

The Winner Is…

(Talent-Game show – 75’)

196/TTV MAGAZINE

It’s the must-see singing game show that delivers an unbeatable combination great vocal duels, instant cash, dramatic decisions… and a big cash prize. First are the intense qualifying audition rounds, judged by an audience of 101 music lovers. On each episode, the contestants face each other in singing duels. After each duel the jury votes. But instead of revealing the results, the dueling contestants are given the chance to accept or refuse cash to leave the show. Just one contestant can take the money! So be confident of your own talent but don’t underestimate your opponent!!

Travel on the world’s most dangerous roads with truckers who are not run-of-the-mill drivers. Go along for the ride on the highways to hell.

PICASSO, THE LEGACY

(Arts & Culture – 52’ & 110’) With unprecedented access to family archives, this film provides 40 years after Picasso’s death, new insights into the artist’s life and rich creative process.

RIO, THE GREAT SAGA

(History – 52’ & 90’ & 3 x 52’) Explore the history of RIO, Brazil’s cultural hub and most iconic city. Using the latest CGI and 3D augmented reality to recreate the landmark monuments and sites, history unfolds as we meet key historical figures who shaped the fate of Brazil.

24: Live Another Day

CICIKI

(13’ X 13) NEW!

24: Live Another Day (Drama - 12 x 60’)

Its winter time again! This means migrating to warmer lands once more. There is a long journey ahead of them. Of course waiting for them is a lot of exciting events and heroes along the way. Lots of big surprises await the eastern storks who migrate in packs from Turkey to Africa. About friendship, helping one another and courage. It’s time to discover the extraordinary colors of life with Ciciki!

A suspenseful event series that once again follows the exploits of heroic agent Jack Bauer (Kiefer Sutherland), who will resume his story several years following the events of the final season.

DODOHANDO

A thrilling mystery-adventure drama series spanning two and a half centuries, in which a resurrected Ichabod Crane pairs up with a present-day cop to save the enigmatic town of Sleepy Hollow – and the world – from unprecedented evil.

Cute, curious, excitable and clumsy! His name is Dodo! And he is excited over and eager to use every object he is presented by El who can re-sculpt very object around! Whatever Dodo does, El always manages to face him with a big new surprise. Everyone is having loads of fun in the inspired world of ‘Dodohando’. All kinds of objects, colourful shapes and imagination!

A breathtaking journey blending the best aerial shots to reveal the country’s geography, cultural diversity and heritage.

Mark Kaner, President, Twentieth Century Fox Television Distribution

On air since 2009, ‘Mint & Lemon’ have met TRT Kids viewers 52 times during this time. The adventures of 2 siblings by the name of Nane (Mint) and Limon (Lemon) all started with their never ending desire of discovering new tastes around the kitchen.

Between the surface of the seas and minus 5 meters lies an incredibly rich and dense underwater life which stands as the most relatable link between man and. Joe BUNNI, submarine photographer, crosses the seas of the globe and takes us on a landmark journey. (Travel – 5 x 52’)

TOP EXecutivE

(104 x 10’)

+/- 5 METERS

BRAZIL COASTLINES

Marion Edwards, President, International Television, Twentieth Century Fox Television Distribution Gina Brogi, Executive Vice President, Worldwide Pay Television & SVOD, Twentieth Century Fox Television Distribution Scott Gregg, Senior Vice President, Worldwide All Media Sales Operations, Twentieth Century Fox Television Distribution Cristina Mancini, Senior Vice President, Worldwide Marketing, Twentieth Century Fox Television Distribution

MINT & LEMON

(13 x 3’)

(Science & Green – 5 x 52’)

Executives Attending

Sleepy Hollow (Drama - 13 x 60’)

The Crazy Ones (Comedy - 13 x 30’)

Academy Award winner Robin Williams returns to television as advertising genius Simon Roberts, whose unorthodox methods and unpredictable behavior would get him fired... if he weren’t the boss. Simon heads a powerful agency with the biggest clients and brands in the world, but even more important to him is having his daughter Sydney working by his side.

Paw Patrol

Hostages

Viacom International Media Networks Web: www.b2b.viacom.com Stand: R38.05

Executives Attending

Sam Witters, Vice President Emmanuelle Bon, South Europe and South Africa (France, Italy, South Africa) Marco Arabit, South Europe (Iberia, Greece, Turkey, Cyprus), Middle East Anthony Jewitt, UK, Australia, New Zealand Maria Rakhmatullina-Ufland, Russia & CIS, Israel, Romania Agata Ziomek, CEE, Baltics, Caucasian States, The Stans, Balkans, & Malta Louise McNab, Northern Europe, Belgium, Switzerland, Austria, Continental Africa Adeline Delgado, Latin America/Canada June Choi, Asia-Pacific (Southeast Asia, Singapore, Korea) Jun Tanaka, Japan Teng Yong, China

Dance India Dance

Warner Bros International Television Distribution Latin America 4000 Warner Blvd., Bldg. 151 Burbank, CA 91522 Web: www.wbitv.com Suite: RB 50 Majestic Beach

Executives Attending

Lisa Gregorian, Chief Marketing Officer, Warner Bros. Television Group Jim Brehm, SVP, Sales-Canada, Latin America & Asia Pacific, Warner Bros. Television Distribution John Garcia, SVP and General Manager, Warner Bros. Television Distribution Latin America

Caroline Beaton, Senior Vice President

PAW PATROL

(Pre-School - 26 x 30’) ‘PAW Patrol’ is the latest addition to Nickelodeon’s pre-school portfolio, launching for international syndication at Mipcom 2013! Produced by Spin Master Entertainment, ‘PAW Patrol’ is Nickelodeon’s brand new CG, action-adventure series starring a pack of six heroic puppies who are led by a techsavvy 10-year-old boy named Ryder. With a unique blend of problemsolving skills, cool vehicles and physical humour, the PAW Patrol works together on high-stakes rescue missions to protect the Adventure Bay community.

SAM & CAT

(Live Action - 40 x 30’) ‘Sam & Cat’ is Nickelodeon’s latest double spinoff series following in the footsteps of smash hit, live action properties ‘iCarly’ and ‘Victorious.’ Launching for international syndication this Mipcom, the laugh-out-loud series follows feisty Sam Puckett (Jennette McCurdy of ‘iCarly’ fame) and flighty Cat Valentine (Ariana Grande of ‘Victorious’ fame) as they become best friends and unlikely roommates who start a babysitting service.

ZEE ENTERTAINMENT ENTERPRISES Continental Building, 135, Dr. Annie Besant Road, Worli, Mumbai 400018. India Tel.: +91 22 2483 1234/5515 Fax: +91 22 2495 5733 E-mail: alisha.goriawala@zee.esselgroup.com Web: www.zeebollyworld.com / www. zeetelevision.com Booth: 20.01

Executives Attending

TOP EXecutivE

Cecile Cau, Vice President, Sales

VERSUS

DANCE INDIA DANCE

(Non-Fiction - S1, S2, S3 – 90’) India’s biggest dance talent show, ‘Dance India Dance’ is a unique platform for talented and aspiring dancers to become future sensations. This is the highest level of competition for promising dancers, who compete with each other with guidance from well-known Bollywood choreographers and their destiny will finally be decided by public voting. Format also available.

ALMOST HUMAN

BUDDHA

(Historic -52 x 60’)

In this action-packed cop show from Fringe executive producers J.J. Abrams and J.H. Wyman set in 2048, a worse-for-wear cop teams up with a second-hand synthetic android to fight a strain of urban crime that’s evolved in ever more frightening ways. With a criminal conspiracy threatening to destroy their world, they must rely on their common humanity.

The epic story of a global personality. This is the first-ever series in HD which traces the unique life of Gautama Buddha and his teachings. Siddhartha (Buddha) was born in a royal family in a princely state located along the Himalayan foothills. At the age of 29, he left his palace in his quest to find enlightenment through deprivation of worldly goods, including food, and practiced self-mortification.

MOM

QUBOOL HAI

Anna Faris and Allison Janney star in a new comedy from Chuck Lorre about a newly sober single mom who tries to untangle years of reckless decisions in order to make a better life for her and her kids. But just because she wants to be a better person, doesn’t mean it’s going to be easy.

Cecile Cau, Vice President, Sales

(Format – 60’ / 90’)

Toni Collette and Dylan McDermott star in a thrilling and suspenseful new one-hour series from executive producers Jerry Bruckheimer (‘Pirates of the Caribbean’, ‘CSI’ series) and Jeffrey Nachmanoff (‘Chicago Fire’) about a family caught in the middle of a grand political conspiracy that will change their lives forever.

(CBS/Comedy/30’)

Executives Attending

Sunita Uchil, Global Head Syndication

(CBS/Drama/60’)

(FOX/Drama/60’)

Avon House, Kensington Village, Avonmore Road, London W14 8TS Tel. + 44 (0) 20 7 013 4400 Fax: + 44 (0) 20 7 013 4401 E-mail: Contactus@zodiakrights.com Web: www.zodiakrights.com Stand: LR4.02

TOP EXecutivE

Jeffrey Schlesinger, President, Warner Bros. Worldwide Television Distribution

HOSTAGES

Zodiak Rights

Jesal Doshi, Senior Sales Manager (UK) Nitin Michael, Assistant Vice President (MENAP) Zubin Engineer, Manager Syndication (APAC)

TOP EXecutivE

Versus

(Romance – 240 x 30’) It is the story of two families related by blood and yet distanced by circumstances. Two brothersAyaan and Asad are separated by their families but united in their hearts. Their common interest is Zoya, the girl who starts by hating the culture of hypocrisy in joint families and eventually ends up bringing together the two warring families.

‘Versus’ is a new concept in game shows. Thirty contestants each compete for the chance to help themselves to a big money jackpot. They may have to share it or they could take the whole lot home, but in order to win even a cent they have to keep on predicting the outcome of a series of duels. And with eight to consider that’s going to be easier said than done. Each duel is carefully tailored to test to the limit the abilities of our thirty thinkers to calculate and predict the outcome. They range from death defying stunts, which will have viewers on the edge of their seats, to the plain daft. As with all duels there can only be one winner, and it’s up to our contestants, with a little help from their team of 4 family and friends, to make the right decision which could take them through to the next duel and an ever-increasing share of that jackpot. ‘Versus’ is cutting edge entertainment for primetime audiences; totally interactive and compelling viewing for all.

GRAB IT. HOLD IT. COUNT IT! (Format – 60’)

You’re invited to TV’s most outrageous real cash giveaway – brand new physical game show where it literally rains money - ‘Grab It, Hold It, Count It!’ In each episode, four lucky couples are invited into a wacky celebrity wonderland where awesome cash contraptions pump out real banknotes. After entering the money mansion they take on a series of insane cash challenges. They may have to grab the money as they become a human crane, hold it in the trash wind tunnel or catch a falling fortune. However the cash comes at them, there are just three simple rules: Grab the cash, keep hold of it, count it and it’s yours!

TTV MAGAZINE/197

INNUMBERS

500

episodes of ‘The Soup’ were celebrated with a live coast-to-coast broadcast on E!, watched by 909,000 viewers.

9.2

million new homes will adopt a pay TV service in Western Europe in 2018, says Analysys Mason.

912,891

broadband subscriptions were registered in Hungary by regulator NMHH in July.

CONTENT

Peace Point Updates Offer for Cannes Canada’s Peace Point Rights announced its slate for Mipcom 2013, including new scripted and lifestyle series, documentaries and features. Both produced and distributed by Peace Point are ‘Food Truck Face Off’ (1x60’), where four teams duke it out to get their very own customized food truck for one full year; ‘Colin and Justin’s Cabin Pressure’ (13x30’), a new lifestyle series featuring interior designers Colin McAllister and Justin Ryan; and ‘Frontier Vets’ (13x30’), a lifestyle series about running an animal clinic in a remote community. From Muse Entertainment and Back Alley Productions, represented by Peace Point in Latin America, Bulgaria, Ukraine, Romania, Slovakia and Slovenia are scripted procedural drama ‘Played’ (13x60’) and the feature length documentary ‘JFK: The Smoking Gun’ (1x90’ and 1x60’). Additional highlights include ‘The DNA of GSP’ (1x90’ documentary, 2x60’ mini-series); and, from Canada’s premier promoter of mixed martial arts (MMA), ‘Hard Knocks Fighting Championship’. Added to this, the distributor docks with a renovated slate of feature films.

3.6

million US subscribers are part of TiVo as of Q2, 2013; a 33% year-onyear increase.

28% 198/TTV MAGAZINE

of TV viewers worldwide between 14 and 64 interact with second screens daily, says TNS Convergence Monitors.

172

billion dollars is what Digital TV Research predicts will be Europe’s ad spend total in 2013.

Les Tomlin, President, Peace Point Rights

DISTRIBUTION

Cineflix

Takes 300 Hours to Scandinavia Cineflix Rights has signed a series of deals with Scandinavian broadcasters for more than 300 hours of programming from Cineflix Productions and third party producers. Highlights of the deals include ‘The Day Kennedy Died’ (1x60’, Finestripe Productions for ITV1 UK and Smithsonian Channel US), which has been bought by TV4 Sweden, NRK Norway and DR Denmark. Also TV4 Sweden bought seasons 5 and 6 of ‘Unusual Suspects’ (26x60’, LMNO Productions), ‘Murder in Paradise’ (6x60’, Cineflix Productions), ‘Hollywood & Crime’ (6x60’, LMNO Productions), ‘Wives with Knives’ (6x60’, Indigo Films), seasons 1 and 2 of ‘Tough Nuts: Australia’s Hardest Criminals’ (16x60’, The Full Box Productions) and seasons 1 and 2 of ‘Claimed and Shamed’ (20x30’, Cineflix Productions). Further deals were inked in the lifestyle and wildlife genres, among others.

DISTRIBUTION

Imagina Strikes Acquisitions in Toronto Scooping up two awaited Spanish titles, Madrid-based Imagina International Sales has closed world sales rights to ‘Who Killed Bambi?’, the latest film from ‘The Orphanage’ producer Rodar y Rodar, as well as Fernando Franco’s ‘The Wound’. Featuring Ernesto Alterio (‘Clandestine Childhood’), Quim Gutierrez (‘Dark Blue Almost Black’) and Clara Lago (‘Fin’), ‘Bambi’ is a bungled kidnap comedy helmed by Santi Amodeo. Imagina COO Geraldine Gonard described it as a “dark screwball comedy.” “’The Wound’ is a beautiful film, treating a little-known illness, which is suddenly in the public eye, but difficult to detect or treat,” said Gonard.