Contents
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Special Reports INSIDE CANADA
Interview TV’s Unexpected Ally _/12
Claire Tavernier, Senior Executive Vice President, FMX and Worldwide Drama, FremantleMedia
The Collaborative Culture _/28
ENTERTAINMENT MODELS
The Interactive Era _/50 Access and download the PDF version of ttv Preview Mipcom 2012
Red Carpet/Q&A The Man Behind the Character _/34
Andrés Parra Medina, Star of ‘Pablo Escobar: The Drug Lord’
Trends/Q&A Surviving in Convergent Times _/66
Adriana Whiteley, Head of Strategy Practice at Farncombe
Rovio: A Modern-Day Walt Disney _/72 Nick Dorra, Head of Animation at Rovio Entertainment
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_/50
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Trends/Quick Guide 6 Simple Steps to Unmask OTT _/42 Markets BRAZIL _/78
_/82 June 26-28, Sofitel Chain Bridge Hotel, Budapest, Hungary
Listings MIPCOM 2012 _/86
Product News MIPCOM 2012 _/20
todotvnews.com | ttvmedianews.com Olympics 2.0 _/70
BRANDED CONTENT
A Nimble Production Model _/82
ONLINE PRINT
Map & Schedule MIPCOM & MIPJunior _/58
Unprecedented Evolution
LONDON 2012
todotvmedia
Gallery NATPE Budapest 2012 _/38
ttv todotv ttvPreview yearbook Gu铆a AdSales Directorio Producci贸n todotvnews.com ttvmedianews.com
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 WRITER Valentina Vinaja - vvinaja@todotv.tv SALES AND PRODUCTION MANAGER Darío Alemán - daleman@todotv.tv INTERNATIONAL SALES MANAGER Monica Iriarte - miriarte@todotv.tv INTERNATIONAL BUSINESS DEVELOPMENT Alejandro Sánchez - asanchez@todotv.tv IT MANAGER Alejandro Barros - abarros@todotv.tv IT ASSISTANT Fabián González - fgonzález@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
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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 preview 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.
NEW MEDIA
Social TV’s Unstoppable Growth The marriage between TV and social media has given way to a worldwide trend that’s only getting stronger: Social TV. Ericsson ConsumerLab’s latest report entitled ‘TV & Video Consumer Trend Report 2012’ shows 62% of consumers use social media while watching TV (an 18% increase from last year). In addition, 25% of consumers use social media to discuss what they are watching while they are watching it. The study also indicates mobile devices and VOD services are increasing in popularity, “as 67% of consumers use smartphones, tablets, or laptops for TV and video viewing. Furthermore, 60% of them say they use on-demand services on a weekly basis,” said Niklas Rönnblom, Ericsson ConsumerLab Senior Advisor. Yet, despite these results, the study also shows users won’t cancel their pay TV subscriptions. In fact, only 7%of consumers say they will reduce their TV subscriptions in the future, while 41% say they are willing to pay for TV and video content in HD. Lastly, the report reveals an increasing demand among consumers: “As the number of screens and services increase, people are eagerly looking for an easy-to-use, aggregated service that can bring everything together. It should allow consumers to mix on-demand and linear TV including live content, facilitate content discovery, leverage the value of social TV and provide seamless access across devices,” Rönnblom said. The study was conducted in Brazil, Chile, China, Germany, Italy, Mexico, South Korea, Spain, Sweden, Taiwan, UK and the US; with 14 qualitative and 12,000 quantitative online interviews, representing more than 460 million consumers.
INNUMBERS
85 feature films are
produced in Canada each year, according to Telefilm Canada.
4 billion
YouTube views are recorded every day for the London 2012 Olympics.
500
companies are scheduled to attend Discop Istanbul 2013, as reported by Basic Lead.
41.5 million
households in Brazil have an internet connection speed of over 2Mbps, according to Ibope Nielsen Online.
20 years
of CABLEready were celebrated on August 1, 2012.
20 million
viewers witnessed Usain Bolt’s Olympic win on the BBC on Sunday.
TRENDS
The Nitty Gritty of Connected TV Smart TVs stand to grow at a yearly rate of 60% in the following years, which makes it evident they’re here to stay. But what does it mean for advertisers? To answer these pressing questions, YuMe and Frank N. Magid Associates conducted an in-depth consumer research to analyze the basics of connected TV, and their conclusion is connected TV has become a valuable tool for both video distribution and advertising. According to the report, 45% of viewers connect their TVs to the Internet through multiple devices, and use it mainly as a way to access the content of their choice -mainly that which is not available on cable or broadcast TV- whenever they want; especially short-form programs and TV shows. As far as advertisers go, the report explains the great majority of connected TV viewers (90%) recall seeing advertising, with the majority of ads noticed by these users being pre-roll (57%). More importantly, approximately 70% of connected TV users have actually interacted with a relevant ad; and 19% even purchased a product as a result of an ad they saw on connected TV. In addition, more than half of connected TV consumers (60%) don’t mind advertising in their content, and actually prefer ad-supported content to paid ad-free content. According to the survey, they see it as “a win-win” situation: they have access to high-quality, free programs and in exchange, they welcome ads.
JOINT VENTURE
Global Agency Acquires World Wide Entertainment Brand The international distributor entered the business of finished content distribution, after acquiring the brand rights to Australian factual entertainment distributor World Wide Entertainment. The brand is a joint venture between Global Agency and Tims Productions. Under Global Agency’s ownership, World Wide Entertainment will be controlled by Global Agency founder and CEO Izzet Pinto, and focus on creating a fresh new catalog, acquiring the latest programming from some of the world’s biggest producers of factual entertainment, reality, documentaries and lifestyle content. Izzet Pinto said: “World Wide Entertainment is a long-running success story, and I’m delighted to welcome it into the Global Agency family. Our aim is to make it the industry’s leading distributor of factual entertainment.” Bill Farrow, founder of World Wide Entertainment, added: “Being in the industry for the last 15 years, our priority has always been building a reputable brand. Izzet Pinto of Global Agency saw great value in the World Wide Entertainment brand and agreed to acquire the brand for his new formation. I know that the Izzet Pinto, brand is in good hands.” CEO Global Agency
Interview ttvpreview
TV’s Unexpected Ally In the golden age of TV, where high-quality content has taken center stage and new programming offers are spreading like wildfire; programmers find themselves veering towards the online world in search for a differential, rolling out digital promotion strategies to expand their TV content past the small screen. By Carolina Mussio Twitter: @carolinamussio cmussio@todotv.tv
Family Feud Game Show
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A
at FremantleMedia; as she explained to ttv how content production, distribution and promotion must coexist to guarantee the success of any TV show. “I believe we are going to see more and more of a disconnection between the two, as TV screens become more multi-functional and TV content can be watched at any moment.” Paradoxically, while multiple platforms and evolving technologies continue to gain popularity; the actual content is what feeds these devices and services, and will therefore always be essential. “Content is king, indeed. Every day another talented TV writer or producer comes up with a new idea; there’s still a huge appetite for highly engaging TV stories, and those stories aren’t going anywhere,” Tavernier explained, stressing the fact that it’s high-quality stories what ultimately engages new audiences and clients.
s the industry’s focus has shifted to creating new technologies and devices, with TV companies enlisting new services to provide programming anytime, anywhere; it seems likely THE DIGITAL DIFFERENTIAL. Consequently, that content and quality productions how does a TV programmer differentiate its would take a back seat to other priorishows form the rest, amidst this overflow ties. Yet, as a global TV company and “There’s still a one of the largest creators and produhuge appetite for of great programming? According to the executive, the answer lays in the digital cers of entertainment programming, highly engaging world: “With so much competition and FremantleMedia’s experience proves TV stories.” so many great shows on TV, having a that, even in the midst of a true techconsistent and thought-through digital nological revolution, content is still strategy can make a big difference to the success king. of a program.” “The word TV has two meanings: there’s the TV screen, and then there’s TV content,” said Claire Abiding by this last premise, the company aims Tavernier, Senior EVP, FMX and Worldwide Drama to provide customized digital solutions for
Claire Tavernier,
Senior Executive Vice President, FMX and Worldwide Drama, FremantleMedia “The word TV has two meanings: there’s the TV screen, and then there’s TV content […]. We are going to see more and more of a disconnection between the two.” at FremantleMedia to ensure that ‘The X Factor’ became the digital success story on 2011 on American TV.”
programmers to make the most of their content: FreemantleMedia Cross Platforms (FMX) -the producer’s own central new media divisionoversees all of its digital activities across the world, “ensuring that all the production, digital lessons and expertise from every country where the programme has been made is captured and shared,” the executive stated. FMX sits at the center of this international strategy, managing local teams in each territory and providing a global overview. The division oversees FremantleMedia’s digital activities across the world, which according to the executive, are currently threefold: “we actively distribute our content to new platforms such as Netflix and iTunes; we extend our TV brands to digital platforms through online activations, social media or apps; and we create original content for online, like our YouTube channel The Pet Collective, for instance.”
Moreover, in 2010 the producer acquired Canadian games company Ludia to further nourish its digital offer through social and casual games. These games have “a key focus of the company’s digital strategy, for example, as extensions of our two most successful brands, ‘Price is Right’ and ‘Family Feud’,” she explained, and added that, through Ludia, the company’s also starting to investigate games as a new source of IP, which she believes “is a very interesting area.” AUDIENCE MAGNET. In addition to promoting brands and shows, rolling out the right digital strategy can make a true impact on how the
One of FMX successful initiatives was the “digital eco-system” implemented around game show ‘Family Feud’, which increased the program’s audiences by up to 40%, and surprisingly engaging a particular demographic target: middle age women and younger males.
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By expanding a TV program beyond the small screen onto other platforms, FremantleMedia has managed to play a major role in the promotion of several hit shows across the world, such as ‘The X Factor’ in the US: “the US team was able to call on the knowledge of the global digital community
Interview ttvpreview
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“With so much competition on TV, having a consistent and thought-through digital strategy can make a big difference to the success of a program.”
promotions are often underestimated; mostly due programmers’ tendency to believe that only a certain kind of viewer is digitally engaged. “It’s a fallacy. Different demographics tend to operate differently online,” said Tavernier, stressing that FMX’s digital strategy is custom-made to adapt to the different users.
audience connects to the content in three distinct ways: “digital extensions can monetize the audience, retain the audience and acquire new audiences,” the executive explained. “Any activity that we engage in, needs to have a measurable impact on at least one of these three dimensions, although most work on more than one level.”
“A great counter example to the thought that only teenage girls and talent shows can be engaged online was the success we had with developing a digital eco-system around our 35-year-old American game show ‘Family Feud’,” she explained. “Through a combination of a new host, a highly successful YouTube page, a Facebook game and a connected iPhone/iPad game, we were able to increase audiences for the show by up to 40%.” Said increase was strongest in middle age women and younger males, which the executive believes shows just how wide-ranging the internet audience is.
Clearly, online activations, social media and apps, stand to take any TV show to the next level, by increasing its popularity on par with its viewership, both in quantity and loyalty. And interestingly enough, the potential effects of digital
In light of this current scenario, it’s clear digital platforms can potentially play an essential role in any TV show’s ongoing success; thus becoming a great compliment -rather than a competitor- to traditional TV. ttv
A YEAR iN
Quotes “We’ve studied connected TV, 3D, new formats (4K and 8K, called Ultra HD) and interactive TV, which will all certainly enrich the TV viewing experience.” Octávio Florisbal, General Manager at Rede Globo “Only one thing’s certain: whichever system or platform prevails; content, as it always has been, will still be king.” Fernando Pérez Gavilán, VP of Televisa Internacional
“The process through which Angry Birds got to this place was really step by step. Once it got to the App Store in the UK, it led to the App Store in the US, and then it became the worldwide phenomenon it is today Nick Dorra, Head of Animation at Rovio Entertainment
Pierluigi Gazzolo, COO of Viacom International Media Networks
Emiliano Saccone, President of MundoFox
“This year, we will launch more channels in Israel and around the world.” Nadav Palti, CEO and President of Dori Media Group
Donna Cunningham, EVP Operations and International Production at Sony Pictures Television
“3D technology, despite having incredible potential for feature films -especially action and fantasy-, is better suited for short formats. Having said this, I wouldn’t rule it out for our telenovelas, yet I believe it’s a challenge do to their timing, theme and format.”
“Our goal for 2012 is to continue promoting our brands and networks with special focus on the adult segment.”
Dean Possenniskie, Managing Director, Europe at A+E Networks International.
“We are still focused on producing telenovelas, series, dramas and sitcoms”.
Marcos Santana, President of Telemundo Internacional
“I’m very excited to be leading this new project. It’s a wonderful opportunity to provide unique entertainment for Hispanic TV viewers. I hope to develop a TV network that offers the high-quality content that this audience has been lacking.”
“2012 is proving to be the most successful year in the history of A+E Networks. The growth in viewership in America has grown to a point where we are having our most successful quarter in terms of audience reach in the history of our company.”
“These studios represent Azteca’s plans to continue growing, evolving and being the best in these times of intense competition. Azteca is ready to face this industry. That’s where content will make a difference. It won’t be distribution channels that will make a company great; it will be content. And therefore, these studios will allow us to produce much more content for all those platforms. Production will be done in a world-class environment.” Ricardo Salinas Pliego, President of Salinas Group, and Founder and President of Azteca
“Extending a show beyond the TV screen, with a certain level of interactivity through social networks such as Facebook, doesn’t change the content; it enriches it.”
“Original content is part of our strategy to ensure Netflix remains the global leader in online video streaming.”
Barnaby Shingleton, Director of Entretainment at Zodiak Rights
“The network’s goal is the same it’s been for over 50 years; TV’s four basic rules: to inform, educate, entertain and produce.” Eugenio Restano, Programming Manager
“The world of streaming at Teledoce is a bubble; a lot of noise and not many results. Time will tell where we’ll end up. Yet the current difficulties make it a business that will take time to develop.” Elie Wahba, SVP of 20th Century Fox Distribution for Latin America and the Caribbean.
Ted Sarandos, Chief Content Officer at Netflix
“This series is set in another time, but most of us were alive back then, it, suffered and lived through difficult times.” Juana Uribe, VP of Caracol Televisión and General Producer of TV series ‘Pablo Escobar: The Drug Lord’
“The future will all be about maximizing the potential unleashed by social networking and the interaction of audiences with content. This has already started, but it’s in its infancy. The next great format will utilize all the networks we know, but also create new revenue models. It may be that it starts with an app and then becomes an idea for television.” Wayne Garvie, CCO of International Production at Sony Pictures Television
“BBC has been present in Brazil through different programmers for several years, but now’s the time to enter the market. It’s time to take advantage of Brazil’s thriving economy and launch the Brazilian feed in HD.” Adriana Eckstein, Head of Distribution for Latin America at BBC Worlwide Channels
“ Although we have a decline in the number of traditional cable homes, there is an upsurge in the delivery of mobile programming. We’ve been in the digital business for five years now, through our company Smokebomb, and we’re poised to take advantage of what I think it’s going to be one of the most exciting transitions in our business.” Shane Kinnear, SVP Sales & Marketing at Shaftesbury
“We are producing with higher competitive standards on an international level, and devoting a great deal of that production to the international market.” Fernando Varela, Head of International Business at Telefe “Original content is very important for Fox, now more than ever, since everything we produce will have a window in broadcast TV in the US through MundoFox,” Carlos Martínez, President of Fox International Channels Latin America
“DreamWorks Animation is a great company that makes terrific films and everyone here feels privileged and honored to have been chosen to distribute their marvelous work throughout the world,” Jim Gianopulos and Tom Rothman, Fox Filmed Entertainment CEOs and Chairmen
“Record TV Network must be congratulated on setting up an entire station here in London.” Dilma Rouseff, President of Brazil
“ Animation is absolutely the most internationally distributed Finnish content. This genre travels very well because you don’t have actors; it’s not so locally-based, so you can easily adapt it to different cultures,” Liisa Vähäkylä, Managing Director at Finnanimation
“We actively distribute our content to new platforms such as Netflix and iTunes; we extend our TV brands to digital platforms through online activations, social media or apps; and we create original content for online, like our YouTube channel The Pet Collective, for instance.” Claire Tavernier, Senior EVP, FMX and Worldwide Drama at FremantleMedia
“Nowadays, it’s impossible to think a movie premiere can generate high ratings when it has already been accessed through several windows before it airs. These are products that are no longer suitable for primetime, except in certain cases, and they only air on less important timeslots during the weekends or afternoons. Series no longer engage our broadcast TV audience; cable TV airs them over and over again, so if anyone wanted to see them, they already have before we premiere it.” Walter Sequeira, Film Manager at El Trece
“We have the habit of waiting to get home to watch TV. Kids don’t [...] Kids’ networks are losing viewers in the US as kids continue to go online, and internet solutions are excellent for them.” Antonio Barreto, CEO at DLA
VOD
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HBO vs. Netflix: the Fight for the Nordic Viewer A mere few hours after Netflix announced it was extending its business into Norway, Denmark, Sweden and Finland; HBO also entered the picture to rain on its parade. As the VOD company prepares to debut its broadband video service in the region, HBO and Parsifal International announced a new joint multi–platform video distribution venture called HBO Nordic, which will serve Sweden, Norway, Finland and Denmark. The companies will now battle it out in the Nordic region, attempting to attract as many new clients within the countries’ combined total of 8.4 million broadband households, competing against several others who jumped the gun and arrived there first, such as Amazon.com-owned LoveFilm, local startup Voddler, and the recently launched online VOD site MUBI. The Scandinavian region presents itself as a coveted destination for both companies, where a high education rate and high household incomes, make it an excellent market for further expansion. With this in mind, Netflix and HBO are pulling out all the stops: the first announced it will offer its unlimited streaming of movies and TV shows, while the latter will launch a multi-platform video distribution service.
AGREEMENT
DreamWorks Animation Moves to Twentieth Century Fox DreamWorks announced it’s entering a new five-year distribution agreement with Twentieth Century Fox, through which Fox will assume certain marketing and distribution responsibilities in both domestic and international markets for all animated feature films produced by DreamWorks Animation for release in 2013 through 2017. “Starting in 2013, DreamWorks Animation content will be distributed in the more traditional markets under a fee structure that is similar to our existing arrangement with our current distributor,” said Jeffrey Katzenberg, DreamWorks’ CEO. “However, our new agreement with Fox presents more favorable economics overall for DreamWorks Animation because we are taking advantage of lower costs associated with the emerging digital distribution landscape and managing domestic television distribution in-house.” Under the terms of the agreement, Fox will receive a distribution fee on worldwide theatrical and home video gross receipts as well as on international television, and on certain digital businesses, including rentals, SVOD and EST. DreamWorks Animation will retain the rights to distribute its product in the domestic television windows without paying a fee to Fox. Jeffrey Kaztenbach, CEO of DreamWorks Animation
Photo: Asa Mathat | All Things Digital.
NEW PLATFORMS
Apple: the Latest Contender in the Battle for TV
While Apple has already expressed its interest in the TV business on several occasions, the way it intends to enter said market still remains uncertain. Over the past few months, the possibility that the company would choose to launch its own TV, with access to linear and online programming, took a life of its own. In fact, speculation regarding a possible premiere by year’s-end reached a fever pitch, and a possible name was even revealed: “iTV.” According to the Wall Street Journal, Apple is allegedly negotiating with the main US cable operators. The goal is to allow consumers to use an Apple device as a set-top-box to offer live TV and other content. Apple would therefore be entering the pay TV business through an existing model, avoiding the possible complications of attempting to “revolutionize” the consumption model. The strategy not only makes sense, but even seems practical. With a similar model to the one used by the iPhone, the company is presented with a great penetration potential. While Apple TV continues to grow, it still remains a “hobby.” According to the company’s last financial report, Apple has sold 1.3 million devices, 170% more than the year before. A deal with US pay TV operators might take these numbers to a whole new level. Tim Cook, CEO of Apple
Mipcom 2012 ProductNews Telefilms www.telefilms.com.ar Action- Sci Fi
!
Looper. Lots of action in this film starring Bruce Willis and Joseph Gordon-Levitt. A criminal organization in the future through time sends the murderers to kill the last version of themselves.
9 Story Entertainment www.9story.com Animated Comedy - 52 x 22’ or 104 x 11’
!
Almost Naked Animals. Based on the quirky designs of Noah Z. Jones (creator of ‘Fish Hooks’), the series features an ensemble cast of underwear-clad animals, set in a beachfront hotel named the Banana Cabana, home to mayhem, destruction and all around fun! Our cast is led by Howie, the fun-loving, hospitalitychallenged canine manager, with the attention span of an 11-year old in a video arcade.
Dori Media Group www.dorimediadistribution.com Crime Drama – 50 x 30’
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New York. The son of the head of a notorious crime family arrives in New York, escaping his past and seeking a new future. He rejects the subservience of the badly exploited foreign workers and is determined to change it.
! Artear (Arte Radiotelevisivo Argentino S.A.) www.artear.com Series – 14 x 60’
Compulsive Times. Th e R e n a ce r
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Foundation. A therapeutic space for severe OCD outpatients. The experienced Dr. Ricardo Buso is responsible for treating a group of outpatients with diverse severe ailments: Gerardo who’s a workaholic and has Internet Addiction Disorder; Ines an OCD hoarder with an eating disorder; Sofia her body bears the scars and injuries she inflicts herself to silence her deeper pains, she suffers from Deliberate Self Harm; Teresa and her Multiple Personality Disorder always vying for one to prevail; and Esteban the more complex case of them all, he’s a mythomaniac.
NOVAVISION PROMOTION INTERNATIONALE www.novavision.fr Family Entertainment - 25 x 26’
! A+E NETWORKS www.AETNinternational.com Movies - 1 x 120’
!
Mad Kids. They are pure, they are innocent but they can turn into horrible little sweet creatures. With their cute looking faces, they can easily turn their victims crazy and helpless.
LIZ AND DICK. Starring Lindsay Lohan, ‘Liz &
Dick’ takes viewers behind the headlines of one of the great love stories of all time. Swarmed by paparazzi, Taylor and Burton’s love affair was played out entirely in front of the global press from the time they met on the set of the major motion picture Cleopatra, left their respective spouses, married and divorced, only to remarry and divorce once again.
Azteca www.comarex.tv Action Series − 24 x 60’
!
The Lieutenant. During an operation involving the rescue of kidnapped immigrants, someone posing as a sailor murders Lieutenant Juan Alejo a member of the Navy’s Special Forces unit. His brother, Nicolas, also a member of the Special Forces has the tragic misfortune of seeing his brother die in his arms. That same day Lieutenant Roberta Ballesteros graduates from the Special Forces training program and is named Juan Alejo’s substitute to the surprise of the whole platoon.
Zodiak Rights www.zodiakrights.com Game Show Format – 60’
Sullivan Entertainment www.sullivanmovies.com Documentary – 1 x 60’ HD
!
Out of the Shadows. Through a melding of innovative scientific techniques and art connoisseurship, completely different paintings and important clues about the artists themselves are being uncovered under existing masterpieces by Rembrandt and van Gogh by materials scientist Dr. Joris Dik. Follow Dik, a Dutch “Indiana Jones”, on an ubiquitous quest that takes him from searching for a piece of the cross of Christ to the attribution of a “lost” Rembrandt painting in this exciting new documentary narrated by Donald Sutherland.
Attraction Distribution www.attractiondistribution.ca Family – 110 x 90’
!
Family Film Collection. AA world-acclaimed collection of award winning family films (eg ‘Fuchsia the Mini Witch’ in above image). 110 titles. 600+ awards. All rights.
!
Tipping Point. A brand new quiz show in which four players take on an extraordinary machine filled with counters worth thousands, in the hope of winning its jackpot. Players need quick wits, good strategy and nerves of steel to carefully release their counter in the hope of setting off a cashcade of coins at the other end. The last player standing goes head to head with the Tipping Point machine when they’ll be focussed on just one counter – the golden jackpot disc. Once again by answering questions for the right to play they’ll win a big cash sum if they can get the golden disk out of the machine in time.
Cyber Group Studios www.cybergroupstudios.com CGI Animation – 78 x 7’ HD
!
!
The Nutcracker. Delight in the beauty of this timeless classic, showcasing the superb talent of world-renowned National ballet of Cuba featuring the Canadian Ballet Youth Ensemble. Captured in stunning HD with 5.1 audio, this 2012 production features engaging interviews with the stellar cast and children from the production.
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Mademoiselle Zazie. The series, resolutely contemporary and packed with comedy, tells about kids’ 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 year-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 try to do so… but will shake it up to make it all their own!
Tricord Media www.tricordmedia.ca Ballet – 120’ – 1080p HD
Mipcom 2012 ProductNews Disney Media Distribution www.daet.tv Live Action – 80 x 45’
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Violetta. ‘Violetta’ tells the story of a lonely and very talented teenager who returns to her hometown of Buenos Aires. In her new life she finds true friends and love, as she discovers her innate talent and passion for music and, in turn, builds and faces the great and interesting experience of growing up.
FremantleMedia Enterprises www.fremantlemedia.com Format
witty studio based entertainment show that lifts the lid on what a nation really thinks and gets up to. Delivering an alternative social census of the country and catering for the nation’s number one obsession - themselves - no stone is left unturned with questions ranging from the serious to the very light-hearted, from the national to the personal; the eye-opening to the downright daft.
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Isabel. 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.
!
Unzipped. ‘Unzipped’ is the irreverent and
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Corp. Radiotelevisión Española (RTVE) www.rtve.es Historical Fiction − 13 x 70’
Telefe International www.telefeinternational.com.ar Telenovela - Approx. 150 x 1 TV Hour HD
Record TV Network www.recordtvnetwork.com HD Soup opera
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Masks. Maria is Octavio’s wife, a rich landowner from MatoGrosso do Sul. She is kidnapped along with her son Tavinho while returning from a therapeutic cruise to cure her postpartum depression. A desperate Octavio follows the trail of the supposed kidnappers. But he discovers that Maria and Tavinho’s kidnapping is fruit of a mysterious criminal organization under the command of a mysterious man named Big Blond, an entrepreneur that uses a code name to maneuver in the high echelons of power.
!
Candy Love. ’Candy Love’ is the love story of four couples, four generations, and four kinds of love that are completely different but equally beautiful and intense. On the one hand, the story of a family that loses its patriarch, 3 sisters and a mother, a candy factory, “Bandi Candy” that is about to go bankrupt. On the other hand, two men who need to collect money to fulfill their dreams and who will enter the Bandis’ life as drivers of the family and who show them it is worth fighting for your dreams, because Marcos and Julian will not stop until they go back to the racing world and the car sponsor will be none other than “Bandi Candy”.
POWER CORP www.powcorp.com Mini Series - 2 x 120’
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Air Force One Is Down. A fearless rogue soldier who makes his own rules, a former general driven by vengeance and the most powerful woman in the world become pawns in the deadliest contest of wills to ever be played on the world stage. The game begins now.
Caracol Televisión www.caracolinternacional.com Series − 63 x 60’
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Pablo Escobar, the Drug Lord. This mega production tells the story of what without a doubt, everybody wants to know: the details of the path that turned a common man into the drug lord of the drug trafficking business, as well as into one of the richest and most cruel criminals of the whole world. Based on the testimony of those who, in one way or another, had something to do with this genius of evil, this series portrays the life of Pablo Escobar from its beginnings, when a child who lived in a calm town close to Medellin is able to quickly become the boss of the world wide drug traffic business.
LEDAFILMS www.ledafilms.com Animation – 13 x 15’
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Barça Toons. A football team, the Barça-
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Rosario. Rosario, a young and brilliant law student, and Alejandro, a prominent veteran attorney, fall deeply in love and start planning a future together. But fate throws before them an unexpected torment when Rosario discovers that Alejandro is the same man her mother was to marry 21 years earlier. Now lies from the past resurface, disrupting the lives of everyone involved.
ITV Studios Global Entertainment www.itvstudios.com Drama - 1 x 90’ + 9 x 60’
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Mr Selfridge. Created by Emmy and BAFTA award-winning writer Andrew Davies and starring Jeremy Piven, ‘Mr Selfridge’ brings to life the spectacular rise and fall of the American retail genius in a lavish and seductive period drama set in glamorous, bustling London.
ORF-Enterprise www.contentsales.ORF.at Classical Music – 90’
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Summer Gala Concert Grafenegg 2012. This year’s concert of the “TonkünstlerOrchestra” takes place in June and like all other Grafenegg concerts will not fail to impress. This major musical event at the beginning of the Grafenegg festival has become a by word festive joie de vivre in recent years. Guesting at the “Wolkenturm” are Joyce DiDonato, mezzosoprano, Michael Schade, tenor and Vadim Repin, violist.meticulous setting.
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Fox Telecolombia www.foxtelecolombia.com Series - Season 1: 13 x 60’/Season 2: 9 x 60’
Lynch. After three generations in the business, the Lynch funeral parlor is just about to be buried, with financial problems that seem unsolvable. For its owner, Geronimo Lynch, the lack of money is far from being his biggest problem. Isabel Reyes has only one thing on her mind: to fake her own death so she can free herself from a dark past. The whole business will change: they will start creating second chances in life for those who really deserve to die and make a fresh start. TTV PREVIEW/23
Toons, the alter egos of the FC Barcelona players. They are a perfect example of a team; both as sportsman and with a sense of humour. Valdés, Puyol, Piqué, Xavi, Iniesta, Messi, Fábregas … and their trainer, Pep Guardiola accept their fame on a daily basis without becoming snotty and distant. They draw positive conclusions from their fun adventures.
Venevision International www.venevisioninternational.com Telenovela – 120 x 45’
Mipcom 2012 ProductNews Passion Distribution www.passiondistribution.com Food Series – 26 x 60’
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Rachael Ray’s Week In a Day - Season 1 & 2. The woman who taught America how to make a meal in 30 minutes is back with an even bigger promise: one day of cooking and up to five days of eating! In every episode, Rachael will show viewers five meals they can put together in a single day. So when you come home from a long day at work, the hard work in the kitchen’s already done. Using the recipes, strategies, and tips from Week in a Day, viewers can eat well every night – even on those days when the clock is working against them.
Telemundo Internacional www.telemundointernacional.com Telenovela - 130 x 60’
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Precious Rose. Abandoned at a young age, Rosa Puentes and Eva Sotomayor grew up considering themselves each other’s only family. When Eva falls in love with a man who leaves her heartbroken and pregnant, Rosa promises to help raise the child and never to forget the deception of his father. An accident will leave Eva unable to return home to claim her grandfather’s inheritance, and Rosa will assume Eva’s identity to enter the Sotomayor nucleus and protect what belongs to her friend, taking revenge over those attempting to run the family’s empire.
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World Wrestling Entertainment International www.wwe.com Sports / Entertainment - 52 x 60’ o 52 x 120’
RAW. An unpredictable, exciting, action-filled live event for TV. An incredible assembly of majestic superstars. It combines professional fighting with emotional stories of athleticism and intrigue. Each week brings a new, original show with fresh stories and unprecedented action where anything might happen.
! Comarex www.comarex.tv Teen Telenovela − 70 x 60’
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Televisa Internacional www.televisainternacional.tv Telenovela
True Love. The story begins with a kidnapping attempt to Victoria Balvanera, a huge landowner and owner of a well-known advertising agency. Jose Angel, who happened to be in the family estate applying for the foreman´s job, saves her from the criminals. After the quarrel is over, Victoria decides to hire him as her bodyguard; the time they spend together everyday causes that true love grows between them. However, their love is impossible because both of them are married.
Frecuencia Latina International www.flinternational.tv Comedy - 13 x 60’ HD
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My Problem With Women. Local adaptation of the Peruvian format ‘My Problem with Women’. Jose is a single man, who is worried about his inability to make a commitment. Because of this, he accepts to undergo a therapy recommended by his psychologist. Each session then becomes a reflexive catharsis of his complicated love life. Casted by the successful local talent Mariano Martinez.
Popland!. ’Popland!’ is the story of a small-town girl who travels to the big city to become a professional photographer. Amid celebrities and endless parties, she will find a love that turns her life around. Carla, a charismatic 18-year-old who dreams of becoming a professional photographer, finds work snapping celebrities in compromising situations. Her best photos are of Ari, a rock star who has every teenager swooning, but who likes to keep his private life out of the media.
InsideCanada
Wind at My Back Sullivan Entertainment
The Collaborative Culture As Mipcom’s “Country of Honor”, Canada will bring a great amount of original content and potential partners to the world’s biggest TV tradeshow. In the following article, ttv presents the basics of this consolidated audiovisual market, which has the “collaborative” vision in its DNA.
By Sebastián Torterola Twitter: storterola storterola@todotv.tv
C
anada’s audiovisual industry has acquired the status of a “consolidated marketplace,” and now heads to boost its international expansion. With content that meets the highest Hollywood standards succeeding in the US and in many international markets, Canada’s long-running production companies are most-wanted business partners, and the result is often huge, high-budget feature films and series that lead innovation in the fields of technology and storytelling. Next, we’ll find out why Canada was named Mipcom’s Country of Honor. THE COUNTRY’S BASICS. As for consolidation, it all started a few years ago, back when Canada’s three main telecommunication companies began their journey to the top. First there was Rogers acquiring Citytv’s chain of stations from CTV in 2007, followed by Shaw Media taking over what was once Canwest in October, 2010. Furthermore, Bell Canada Enterprises (BCE) bought CTV television network also in 2010 –the new venture was renamed Bell Media in 2011-, whereas this year it took over Quebec’s Astral Media. These three telecommunication companies (Rogers, Shaw, Bell) have now dominant positions in Canada’s TV market, a scheme complemented by a healthy pay TV business, which also includes players like Netflix -which in September 2010, chose Canada as the first step for its international rollout, and plays an active role in content acquisition. Naturally, another huge player in the market is pubcaster CBC/Radio Canada, which operates since 1936.
Innovation in Canada’s TV industry lays on a unique business model, which allows TV operators to boost audience levels and increase the value of the
This unique approach to broadcasting has allowed Canada’s TV industry to grow and compete with other major markets such as Europe and the US: “Canadian TV movies all sell extremely well around the world,” said Murphy, highlighting the international success of Incendo’s productions. “Canada’s TV business has been constantly improving for the past 30 years, and will continue to do so,” he says. Although these can be described as “challenging times” for the domestic market, due to the economic context, especially for production companies, the situation carries a positive side in terms of business. “There’s fewer advertising dollars going to the business, which trickles down to fewer shows being produced. The trends I see, though, are more shows being produced for international purposes,” Vince Commisso, president & CEO at 9Story Entertainment, explains. A RENOWNED NEIGHBOR. Being next to the world’s most powerful audiovisual market is one of the keys for Canada’s growth in this area. Traditionally, apart from exporting a great amount of Hollywood and independent’s content to its neighbor, the US has also been a natural destiny of Canadian production. The result of this exchange is the sector’s professionalization, the improvement of quality standards and business strategies meant for the global market. Nat Abraham, president of Distribution at Breakthrough Entertainment, explains local producers are forced to raise the bar on their productions in order to compete. “In Canada we are very influenced by the styles of what comes out of the US, which is a good thing, because they have
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“The big story in Canada is that the broadcast world and our outlets have gone through tremendous changes in terms of maturation and consolidation. We are defining how the future will be and who our partners will be,” Shane Kinnear, SVP sales and marketing at production and distribution company Shaftesbury, explains. In fact, this consolidation and the reorganization of the country’s three main media groups has brought to the market “new personalities, new executives, new long term strategies,” he adds.
advertising time: simulcasting US networks’ series. “US broadcast signals are retransmitted by cable and satellite all across Canada,” explains Michael Murphy, SVP and general manager at distributor Fox/Incendo, and added it’s very important for the Canadian broadcaster to run the program at the same time as the US signal, so that cable operators are required to replace the national signal in place of the US one, which gives the Canadian broadcaster 100% of the audience for that program at that time. “It’s the financial backbone of our industry,” he assured.
InsideCanada huge budgets to produce their shows. We try to learn from some of the things the Americans do; we have to, because we have to be competitive since every major US channel is receivable in Canada. When we produce for the Canadian networks, we have to be on par so we can compete with the American shows,” he says. In these regard, the executive believes production standards always have to be world-class, “whether is because we are so close to the US, or whether we are competing with Germany or Japan. And I think that’s not something unique to Canada: companies producing all over the world have to raise the bar in their productions to compete globally,” he adds. A DUAL SURFACE. However, US proximity isn’t the only important influence to Canada’s production arena. “We are very good storytellers. I think that makes other people in the international market jealous since our writers are very strong,” is the opinion of Josée Vallée, president of Attraction Images. But why is that so? “Quebec is Latin because we came from France, but we also come from the UK. I believe in Canada we have the best of two worlds,” she continues.
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This dual characteristic impacts directly in the final result. “We are clearly near the US. So our productions look American, but have a Latin and French style also. So they can be appealing for the whole world,” she explains. CO-PRODUCTION. An excellent way for Canadian companies to roll out their know-how beyond borders –particularly in recent years of economic recessionhas been co-ventures. There are several examples of high-budget TV series made in co-production with US companies, such as Entertainment One’s ‘The Firm’ or ‘The Borgias’, just to name a few. However, it’s a fact that partnering is on Canada’s DNA. “As a nation, we’re a little under the radar in terms of our visibility, but that also gives us a very strong ability to collaborate. That’s probably the most effective point of access for Canada: we have a unique sensibility; maybe it’s part of the Canadian psyche. We are able to collaborate with Europe, the UK, France and even the US,” says Kevin Sullivan,
This article is an advance of a Special Report on Canada’s market that will be published in ttv’s Inside Canada special edition in Mipcom 2012, also distributed digitally.
CEO at Sullivan Entertainment, who also pointed out that all of the 600 half-hours that comprise the company’s library have been co-produced with American partners. In terms of business, this aspect may turn out to be crucial in a production’s success. “If you’re a US company, you tend to dominate. If you’re a Canadian company, you tend to collaborate, because you often have to pull in financing from several different sources. That’s great at a financial level, but it’s very important at a creative level, since you have to get used to working with different sensibilities and be able to adapt whatever ideas you have,” Sullivan assures. Another essential part of Canada’s audiovisual industry is the government’s tax credit system, which aims to foster for the audiovisual sector. In the case of drama, for instance in Ontario, the tax credits can go as high as 40% of the labor production cost, and this policy is being implemented in different regions of the country and for different programming genres. “People are very aware of our tax credit system, as well as government financing and funding for projects. We’re always open to coproduction, we have dozens of treaties with many territories, so that remains very strong,” Thom Chapman, VP of Business Development and Sales at ToonBox Entertainment. KIDS & FACTUAL. Being a large market focused on global audiences, each year there are many projects involving drama series, documentaries and feature films. However, kids and factual programming are always in the spotlight in Canada, and this makes sense since currently both enjoy much success with niche audiences globally. “Our focus is twofold: kids, primarily, which has always been our core business; we’ve produced a number of series and have some in distribution. And we also do lifestyle and factual programming,” Portfolio Entertainment’s VP of Sales and Acquisitions, Louis Fournier, says. “We have a lot of cooking shows, traveling shows, and so on. We are really making an effort to have a stronger presence in factual and lifestyle by developing and producing our own shows. The area of growth for
us is really on the factual and lifestyle side, while still keeping the kids very prominent since we’re established in that area,” the executive adds.
CANADA HIGHLIGHTS
In fact, Canada’s animation and live action have gained worldwide prestige, and kids programming definitely heads the race for technologic innovation thinking about the new generation of viewers. “We’re involved in creating stories that will be successful at any length in any place, whether it’s short pieces for mobile or it is longer form entertainment that can play into a game. Most of the content we are developing for kids now has a very strong digital component,” Shaftesbury’s Shane Kinnear assures.
sion and Telecommunications Commission (CRTC) has approved the sale of Maple Leafs Sports & Entertainment (MLSE) sports channels to Bell Canada Enterprises (BCE) and Rogers Communications, which will inject US$ 7.5 million into the Canadian production industry for new content.
Thom Chapman, from ToonBox, also describes the company’s focus on 3D content, another emerging field that had a strong start with theatrical films, but that now is spreading to other windows, such as pay TV. “We had the first animated TV series to be shown in stereoscopic, on 3NET in the US and on BSkyB in the UK. So it’s nice to be ready to deliver these kind of products to the market.” ttv
Bell and Rogers Strengthen Sport Business. The Canadian Radio-televi-
Novavision Signs Co-Production Deal with Tricord Media. The project in-
cludes a version in English of the Pop Corn TV Show for Canadian channel CTS – which started airing it in September- and international distribution. Tricord Media will spearhead distribution of this new co-production for North America, while Novavision will take on the rest of the world, working together to bring the new English version of the highly successful program worldwide.
Discovery Kids Inks Deal with Portfolio Entertainment. The kids’ net-
work is celebrating its fifteen years in Latin America with 26 new episodes of ‘Doki y sus amigos’, produced by Canadian company Portfolio Entertainment. The series becomes part of the independent producer’s award-winning catalog of over 2,000 hours of lifestyle, factual and animated programming.
Toon Goggles Acquires BRB Series. The online kids channel is expanding
its catalog as it recently signed a deal with Spanish company BRB Internacional to premiere its content on Toon Goggles’ segment “New Toon Tuesday.”
DHX Media to Acquire Cookie Jar Entertainment. Through a deal worth
Mighty Mighty Monsters Shaftesbury
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US$111 million, the organizations will merge to create Canada’s largest children’s entertainment company, and one of the biggest independent libraries of kids content in the world, including more than 8,550 half hour episodes of series such as ‘Caillou’ and ‘Inspector Gadget’. DHX expects to realize cost synergies of at least US$8 million annually. As for Cookie Jar, the deal grants its current shareholders approximately 36 million common shares of DHX.
INNUMBERS
55,600 full-time
jobs were generated by independent film & TV production in Canada in 2010-2011.
49%
of those surveyed by analysts in the US said they would buy an Apple TV.
TRENDS
Linear TV Dies Hard Despite the arrival new technologies and multi-platform content, linear TV continues to be the most popular device in the UK. According to a study conducted by the Broadcasters’ Audience Research Board (BARB), 90% of TV consumption in the UK was done through traditional means, and only 10% on mobile devices. While catch-up services and DVR devices have a 51% penetration; in homes with access to other devices, non-traditional TV consumption barely reaches 15.9% of the total (a number higher than the 14.7% registered a year ago, but still far from what is to be expected). The report states each UK viewer watches an average of 4 hours of content a day, and indicates linear TV viewing has grown by 16 minutes a day over the past five years. Lastly, the report shows 47% of all recorded content is watched the same day as it airs, since “viewers want to stay as close to the broadcast schedule as possible.”
90%
of pay TV penetration in Brazil will be reached by 2018, as estimated by Anatel.
11.09 billion
dollars was The Walt Disney Company’s net profit for their third fiscal quarter.
336,000
new pay TV subscribers were registered in Venezuela during 2012, according to Conatel.
97 million
new pay TV subscribers will total the 7 largest LatAm markets by 2017, as reported by Dataxis.
ONLINE
HuffPost Live: a Two-Way Street to Information Digital newspaper Huffington Post continues to be a true referent in online innovation: in August, the site launched HuffPost Live; an online video streaming network to broadcast 12 hours of live programming every weekday, and highlights shown overnight and on weekends. The project is part of a new era of online TV, raising the bar in both interactivity with its users and the amount of people the news stands to reach: “The news is no longer about a few people telling everyone else what happened; it’s about everyone telling everyone else what’s happening right now. This shift from presentation to participation is what fuels HuffPost Live,” said Huffington Post Media Group president and editor-in-chief, Arianna Huffington, in an announcement. Users will provide information in real time from all over the globe; and allow the news to travel at recordbreaking speed among themselves.
Red Carpet Q&A
Andrés Parra Medina, Star of ‘Pablo Escobar: The Drug Lord’
The Man behind the Character
The leading actor in ‘Pablo Escobar: The Drug Lord’ -considered to be Caracol Televisión’s most ambitious TV series- spoke to ttv in Los Angeles and explained the creative process that led him to embody one of the world’s most dangerous drug-dealers. 34/TTV PREVIEW
By Sebastián Amoroso Twitter: sebamoroso samoroso@todotv.tv
Watch the video interview.
I
t was early in the morning back in May, and Andrés Parra Medina (Cali, 1978) with his shaved head, exhausted yet smiling, leaned back on a couch in a room at the Hyatt Century Plaza Hotel, in Los Angeles, US. In that opportunity, the Colombian actor, who played Pablo Escobar for 62 episodes, spoke to ttv about what it was like to embody one of the most powerful and dangerous men in history. “Turning into Pablo Escobar was a strange experience. And that’s not fun, but I must deal with it,” he said.
What was the first thing that came to mind when you were offered the role of Pablo Escobar in Caracol Televisión’s new series? You feel restless about it. At that moment what worried me was playing the third character with a similar profile and not do the same thing over again. [Parra had already played another two drug dealers before]. And I think that’s what saved me because just now I’m beginning to realize how big of a predicament I got myself into. I still can’t believe what this means and what it can turn into. What did it entail to play such a complex character? The main goal with Juana Uribe [production VP at Caracol Televisión and the series’ general producer] was to tell this story with the upmost respect for its victims and the audience, since it was a very sensitive issue. We weren’t going
“I still can’t fully grasp what this means and what it can turn into.”
DISTRIBUTION to take it lightly. We weren’t going to try to be funny. We wouldn’t turn it into something frivolous or dumb. It had to be done right, since in involved the lives of many people, as well as extremely complicated emotions that were hard to deal with. And that’s what motivated me the most. So I said to Juana: “I think it’s right to do this.”
And what was it like to play such a contradictory man as Pablo Escobar? Pablo has a very unique moral and ethics. If you attempt to judge him within the system, you can’t; it’s just not viable. But when you come to understand him as a complicated person with a peculiar mindset, then
The series was shot 100% on location -over 450-, with HD technology and produced with theatrical standards. More than 1,300 actors participated in the project.
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Once these parameters were determined, you then began the actual researching process… I studied Pablo Escobar for over four months, using all the material I could find: books, documentaries, home-videos, tapes, articles and photographs. That’s how I began to become obsessed with Pablo; spending 24 hours a day reading, taking notes, going over those notes and listening to his voice. Every day I fell asleep watching one of his documentaries. At one point, I met with a group of psychologists to try -on a personal level- to understand the contradiction that is Pablo Escobar. Then came the time to process everything and try to imitate his voice, gestures, posture and all his body movements.
The series ‘Pablo Escobar: The Drug Lord’ (62 x 60’) is a free adaptation of Alonso Salazar’s book La parábola de Pablo. Its debut on May 28 on Caracol Television became the highest rated show in Colombian history, as its ratings spiked to 70.8, reaching 11 million viewers during its 9:00 PM timeslot and increasing the primetime average by 55%. On July 9, Hispanic network Telemundo premiered the series in the US, and on July 24, Monte Carlo TV aired it in Uruguay. Recent premieres also include Ecuador’s Gama TV, Puerto Rico’s Wapa TV and Panama’s Canal 2 TVN.
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Red Carpet Q&A it becomes easier, because otherwise it’s very hard it. That was going to allow us to have a clearer to understand how someone could be capable of image, which is what we wanted. In addition, blasting a bomb on an airplane while he’s after the series’ promos were already aired, tending to his sick daughter. The man we further confirmed it was the best was an outstanding father to his kids thing to do, since the myth is so great “At one point, I and an excellent friend. If you called that if you go to Medellín, everyone met with a group of him, he would come. Yet, he was a claims to have met him. Everyone psychologists to try man who killed almost 4,000 people. allegedly spoke to him. Everyone has to understand the Escobar gave orders to kill someone something to say about him. contradiction that is as easily as he would order someone Pablo Escobar.” else to mow the lawn. No regrets, What happened when you tried no guilt. That was very difficult for to break character? I was usually me to understand. How can you emotionally drained, but it also depended not feel any guilt? But once you understand he on what I had done at the time. For instance, was antisocial, aggressive and sadistic; it all makes when we shot Escobar’s final hours, it was brutal. sense. Sometimes we finished filming and I didn’t want to speak to anyone. The whole cast and crew went During this entire process, did you get the out to eat or celebrate and I locked myself in my chance to meet and chat with people who hotel room because I was fed up. were connected to him, either as victims or victimizers? No. It was a decision we made with Did you feel any kind of responsibility when Juana Uribe, because if we spoke to one side or playing such an important character as Pablo the other, all those voices would be biased. So Escobar? Right now, I’m not alright. I’m not we decided to stick to journalists and people comfortable or happy. I’m scared, worried, nervous who dedicated their time to researching about and excited. All at the same time. And it never him, without a specific mindset or goal behind ceases to be weird, because I have the feeling something might happen. Turning into Pablo Escobar was a strange experience. And that’s not fun, but I must deal with it. When I get on a plane, people say “There’s the boss,” or even refer to me as “Pablo”. That’s not cool. I think it will go on for a while, and that’s scary. I wouldn’t want people to see me as that character. It seems crazy to me because in school I couldn’t even say “Pablo Escobar”. It was forbidden. You couldn’t mention drugs at the airport and it was extremely hard for Colombians in the US since people saw us all as Escobar. It seems crazy to think that 20 years later I actually became Pablo Escobar. It’s just strange. Pablo Escobar is a big deal. What have you gained from this experience? I dare to think it’s the first time a production company in Colombia has invested as much time and efforts into one project. I believe the audience will find an incredible production; a series with all the ingredients necessary to become a success. It has everything the viewer could want: action, romance, entertainment and suspense. ttv
Gallery tradeshows
NATPE Buda June 26-28, Sofitel Chain Bridge Hotel, Budapest, Hungary
Hosted entirely by NATPE for the first time, and despite having a slow start with fewer attendees than expected -caused in part by the Screenings organized by majors outside the venue-; NATPE Budapest ended on a high note as new participants arrived and important meetings took place. According to the results published by the organization, 430 buyers and over 200 sellers were present at the Sofitel Hotel during the three-day event, where there low attendance from Spain, Latin America and France; was balanced by the numerous new players from Asia, India and the UK who arrived at the market.
General View of NATPE Budapest 2012 at the Sofitel Chain Bridge Hotel
Amac Erol Us and Ezgi Ural (Kanal D)
Rod Perth (NATPE) during the cocktail party organized by NATPE Budapest 2012
Eukene Aldekoa Betzuen and Xabier Zabaleta (Pausoka Entertainment)
Avi Armoza (Armoza Formats)
55 ttvm ,00 edia 0 news
(S ou rc e: Go og le
apest 2012 Samuelle Proietti and Martin Prokes (Dramedy Productions) with Veronika Skriniarova (Eurokom Telefilm)
Kim Ji-Sou (MBC)
Gavin Reardon (Incendo)
Kostas Sakkaris and Miltos Karatzas (Victory Media)
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An (m niq al yt on ue ics th vi – ly sit Se pt av ors em er be ag r2 01 e) 2)
.co m
Mahir Cavus and Meltem Tumturk Akyol (TRT)
Gilda Demirtas (Echo Bridge Entertainment)
Anna Tleuzh and Inna Skibina (9TV)
Gallery tradeshows
NATPE Budapest 2012
Borbíró Géza (aTV) and Tibor Fórizs (RTL Klub)
Alisha Serold and Kristen Stanisz (Starz Media)
Julieta González (Artear Argentina)
Lucy Le Gruiec (Novavision)
40/TTV PREVIEW
Beatrice Rossmanith (Passion Distribution)
Claudia Sahab and Ricardo Ehrsam (Televisa Internacional)
Elena Antonini and María Pérez Campi (Dori Media Group)
Natalia Egorova and Oksana Drozdova (Channel One Russia Worldwide)
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Trends Quick Guide
6 Simple Steps to In light of Over-the-top being one of Latin America’s most prominent trends, ttv presents a six-part guide to find out what’s true and what’s simply smoke and mirrors in this race towards the future of TV. By Sebastián Torterola Twitter: @storterola storterola@todotv.tv
2012 will go down in history as the year Over-the-top (OTT) exploded in Latin America, a region that witnessed a long list of new platforms coming up in a few months. However, it’s essential to shed some light on the issue and see what’s real and what’s not in this race for innovation. What role do these emerging platforms play in the entertainment market? Are Latin American consumers demanding new ways of watching their content in any place at any time or is it just a result of technology providers pushing to create new consumption habits? Next, we present six key points to bear in mind.
01 42/TTV PREVIEW
Netflix: innovation catalyst. In early 2011, traditional Pay TV in Latin America was as strong and healthy as ever. Yet, in May 2012, Netflix announced it was disembarking in 43 countries in the region, which shook the foundations of the industry, generating two main changes. The first, increased competition: a new powerful player was making its way into the market with a long-running, successful business model; something never-before-seen that could potentially take over the traditional business’ revenues. The second -undoubtedly positive- change was the outburst of innovation and creativity from most players. The new scenario gave way to experimenting, setting up labs devoted to devise new solutions, exploring Latin American users’ limits and interests, and pushing the boundaries of existing content offers, tools and technology.
Advanced integration of TV and the internet -with the effective use of connected solutions based on HTML5 and Java- is expected to happen in Latin America in the next 2-4 years, when operators will assume heavier investments on this area.
03
02
A competitive advantage. The current demand for OTT services from Latin American consumers is still limited. Traditional Pay TV players (programmers and operators) need it more as a way to have a leg up on the competition, rather than as an answer to a market demand. It’s a proven fact that, while consumers “appreciate” the possibility to watch content everywhere, most still rather sit back in their own home whenever the TV schedule indicates, and watch it the old fashion way.
An evolving model. In Latin America, online VOD distribution (free, transactional or subscription-based) is not a sustainable business model on a larger scale, rather than a complementary service. That’s proven by Pay TV’s ongoing growth in the region, and the fact that the existing offers are promoted by TV companies which are consolidated in the market. There are no players -yet- setting aside exclusive content for OTT platforms; it’s something analyzed by many, but for the time being, content available on demand is the same that’s broadcast by linear networks.
Unmask OTT During 2008-2012, Pay TV penetration in Latin America grew 40% and 50% in the middle and lower classes, respectively. Ratings increased 30% in the last 3 years, market share grew 26%. By 2015, over 60% of Latin American viewers are expected to have access to Pay TV.
04
The technology’s parameters are not yet defined. At the end of the day, one question remains unanswered: What does OTT mean and how does it work? The region’s latest Pay TV tradeshows have witnessed the arrival of an array of new techproviders from all corners of the globe (North America, Europe, Asia), who believe they have the best solution for operators and digital platforms. The truth of the matter is they’re all very different, and several standards coexist in this experimenting phase.
05
Cord-Cutting seems unlikely. The possibility of Latin American consumers migrating towards the exclusive use of VOD services is seemingly out of the question. The reasons behind this are issues Netflix is still having to deal with since it arrived in the region: insufficient broadband widths, low banking among the general population, an undersized segment of early-adopters, and most importantly, the fact that we are living in the golden age of traditional TV; both broadcast and Pay TV.
Whereas the two VOD OTT forerunners in LatAm were Moviecity, Disney/ESPN Networks and Telefonica; Netflix’s announcement unleashed a great amount of launches in this area: Sony’s Crackle, DMX2GO, HBO Go, Claxson’s Hot Go, Globosat’s Muu, Philos TV, Premierefc.com and Telecine Play; DLA’s Neon, Pixdom Entertainment, Sky Online, Terra’s Sunday TV and VeMasTV, among others.
Marketing,
catch-up and antipiracy. OTT in Latin America works as a marketing tool. All brands want to be renewed, re-positioning themselves within their current and potential subscribers’ preferences, and the buzz-generating TV everywhere presents itself as an excellent opportunity. On a practical level, its main uses are twofold: first, the platform works as a catch-up TV service, where TV subscribers get a “second chance” to watch content that’s already aired on traditional networks. Second, it’s a legal alternative to access content online, which means a valuable contribution to the region’s ongoing fight against piracy.
It’s safe to say there’s one thing that’s been thoroughly debated across the region, and stands to drastically change the business: the arrival of DTT, which will affect the entire industry between 2014-2018, as new players will find a window of opportunity to make their way into the market.
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1 million subscribers were gathered by Netflix in one year of operations in Latin America. Although the region still stands with great future potential for the company, perspectives of growth turned out to be a lot slower than anticipated.
06
Opinion ttvpreview
Netflix:
Two Years After A
t Mipcom 2010, Netflix confirmed that the proposal we had made to them 6 months earlier made perfect sense: to enter Latin America before Europe, and that they were willing to make the Latin American market third after the US and Canada. Now, two years later, it’s safe to say IPTV is here to stay.
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By Ariel Tobi President of Snap TV
Our generation is having the opportunity to create new audiovisual media. This can be compared to the arrival of cable TV in the 80s, which completely revolutionized the way we watch TV. How ground-breaking this media proves to be will depend on how each individual approaches it. Like with every big venture, at first it might be belittled, and we’ll hear the all too familiar “it’s not the right time yet”. Still, someone has to make the first move for that time to arrive. Today, a handful of companies are creating a new market, and with it a new way of watching
ty Play or Max Go, which manage OTT rights in pay TV, making way for a very interesting battle.
Over a year after Netflix’s controversial launch en Latin America, another major company that decided to enter this market, presented me its business plans and described Netflix as its main referent: the leader. This was shocking to me, because up until then, we were mainly discussing whether the amount of subscribers Netflix had added was enough to even consider it a success or not. That day I realized why it’s so important to be first, because regardless of what your product is, whoever follows you will see you as “the leader”.
We are present in a market where the industry leader has a million subscribers in Latin America alone, where brands such as LG, Sony and Samsung have expected sales that range in the millions of internet-connected TVs for the next year in this region, all of them carrying the main content platforms. A market with companies like Crackle bringing new business models, placing big emphasis on advertising, iTunes going full force on transactions, Netflix aiming for subscribers, TV Everywhere growing notably fast, and the largest Latin American broadcast TV company ready and waiting to stand up to this new nontraditional TV. We buy and sell for those platforms, and above all, I believe the most important thing is that people are starting to talk about their favorite IP platform, criticizing some and praising others. And this is what I call “market.”
I believe IPTV is at a crucial stage for the future of the business; whether it’s SVOD, TVOD or FVOD, the platforms still need to find their window, their right time. Today, this time is still to be defined, leaving content owners wondering if making deals with IP might lead to complications with traditional pay TV, and consequently, big products are still being set aside for traditional platforms first. This is where IPs like Netflix, Crackle, iTunes and others meet with TV Everywhere companies like HBO Go, Movieci-
Regardless of the competition, all platforms need to come together to create the habit of watching IPTV. And I leave you with an anecdote: every Saturday morning my kids fall hostage to kidspecific networks, allowing me to sleep in for a couple of hours. For a few months now, after they wake up, they each take an iPad and watch Netflix. After seeing this I realized that we are no longer working for the “old” viewers in their 30s; and that watching OTT on a variety of devices will be how today’s kids watch TV. ttv
TV. It’s amazing to see how -out of the blue- new players, leaders and followers, clients, advertising campaigns and new rights start to appear.
MIPCOM 2012 update
Opening Party Monday 8 October, 19:30, Martinez Hotel
The mega networking party that mixes the glamour of the TV business with key industry personalities. Free entry with your MIPCOM badge.
“Women in Global Entertainment Power Lunch” Monday 8 October, 13.00-14.30, Carlton Hotel
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In partnership with Lifetime Networks, MIPCOM will bring together 100 of the most influential women executives from international television and entertainment for the industry’s first ever “Women in Global Entertainment Power Lunch,” a new senior-level networking event. Lifetime Networks’ President and General Manager, Nancy Dubuc, will lead a panel discussion with a selection of pioneering women.
Emilio Azcárraga Jean Named Mipcom 2012 Personality of the Year
The Chairman of the Board and Chief Executive Officer of Grupo Televisa, will receive the award on Wednesday, October 10, during a gala dinner for industry executives at the Carlton Hotel, in Cannes. The same day, he will give a keynote address in the Palais des Festival’s Grand Auditorium, as part of Mipcom’s Media Mastermind series; which will focus on the current and future challenges of the entertainment industry, as well as Televisa’s commitment to go global and become a good partner to grow with.
2012 International Emmy Nominees Monday 8 October
The 2012 International Emmy Nominees will be announced at a press conference at Mipcom on Monday, October 8th. Ricardo Salinas, Founder & Chairman of Mexico’s Azteca television network and a Director of the International Academy, will serve as Gala Chair for the 40th International Emmy Awards Gala, which will take place Monday, November 19th, in New York City.
Google & YouTube’s Robert Kyncl to present keynote address Monday 8 October, 15.10-15.50, Grand Auditorium As part of MIPCOM’s Media Mastermind keynote series, the Global Head of Content at Google/YouTube, whose focus is to build out the company’s presence in the media world, will deliver a keynote address on the future of media, entertainment and video content.
Canada: MIPCOM 2012 Focus on Country of Honor Multiplatform Canada As part of the tribute to Canadian television, film and digital industries, MIPCOM, in partnership with the Canada Media Fund and Telefilm Canada, will organize a dedicated Focus on Canada featuring a wide-ranging list of highlevel conference speakers, screening showcases, world-renowned Canadian talent, and business matchmaking events.
Tuesday 9 October, 14.00-14.30, Esterel As more and more transmedia series, games, software and mobile applications emerge from Canada and gain international recognition, this showcase presents original projects that are positioning Canada as a leader in the screen-based Industry. Presented by Catalina Briceno, Director of Industry and Market trends, Canada Media Fund.
Co-produce
with Canada Overview
Monday 8 October, 10.05-10.20, Esterel Telefilm Canada’s Executive Director, Carolle Brabant, kicks off this year’s MIPCOM conference & events programme. Her presentation will be followed by some case studies, where international speakers will offer an in-depth look at some of the world’s most ground-breaking Canadian co-productions, showing how quality primetime drama series get made and showcasing efficient and cost-effective ways of developing new and existing projects.
Fresh TV from Canada Monday 8 October, 9.30-10.00, Esterel
A special Canadian Fresh TV presentation of the hottest and most innovative content from Canada presented by Virginia Mouseler, CEO, The WIT (France).
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Anne of Green Gables Sullivan Entertainment
MIPCOM 2012 update
“LATAM Global Dealmakers Networking Lunch” Tuesday 9 October, 13.00-14.30, Carlton Hotel Sponsored by Telemundo Internacional; a new seniorlevel gathering of the 80 most influential entertainment executives from Latin America and the world who are driving the explosive growth in international co-productions and media investment deals in and out of the Americas. Adriana Cisneros, Vice Chairman and Director of Strategy of the Cisneros Group of Companies, will be the guest headline speaker for the event.
Digital Minds Summit
Monday 8 October, 10.00-14.00, Majestic Hotel An invitation-only gathering which convenes more than 50 carefully selected top-level executives from the highest ranks of digital entertainment, who will explore the new revenue models digital brings to the distribution business. Sponsored by The Bell Fund and presented by IBM Global Business Services’s Saul J. Berman and Mark Ghuneim from Wiredset/Trendrr.
Hulu’s Jason Kilar to deliver Media Mastermind keynote address Tuesday 9 October, 16.45-17.25, Grand Auditorium
As Hulu’s CEO, Kilar will explain how this platform differentiates itself among a growing number of online video services to provide a unique offering to their users, advertisers and content partners.
Turner Broadcasting’s Stuart Snyder to keynote at MIPJunior’s 20th edition The President & COO of Turner Broadcasting System, Inc.’s Animation, Young Adults & Kids Media division, will speak on the state of the kids business today and moving forward. Known as the driving force behind Turner Broadcasting’s Cartoon Network, Boomerang and Adult Swim, and celebrating Cartoon Network’s 20th Birthday, Snyder will also feature examples from the network’s experiences and evolution over the past 20 years.
Special Report ttvpreview
ENTERTAINMENT MODELS
Era
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The interactive
Increasing TV consumption through social networks, generating higher ratings with great entertainment formats and keeping them fresh, investing on local production suited for new platforms, and searching for ways to modernize the TV industry; these are some of the issues addressed in the following report, derived from the collaborative expertise of international TV producers and major Latin American broadcast TV networks.
By Rodrigo Ros
By Sebastiรกn Amoroso
Twitter: @rodrigo__ros Twitter: @sebamoroso rros@todotv.tv samoroso@todotv.tv
This article is an advance of a Special Report that will be published in ttv Mipcom 2012 edition, also distributed digitally.
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hile some experts are constantly stressing the fact that certain entertainment formats considered to be “success formulas” are beginning to lose their shine; others believe their outstanding worldwide performance and their potential to be reinvented, will actually give way to higher ratings, promoted by the increasing interaction with audiences through new platforms and social networks.
This diversity of opinions raises more than a few questions among broadcast TV players; where local production, interactivity, multiplying platforms and new formats are currently the industry’s mostdiscussed topics. The following article illustrates the different outlooks on the situation from 20 production, programming and acquisition executives consulted by ttv; presented as a preview ahead of its Mipcom issue, which will feature an extended version of the report. SOCIAL NETWORKS AND TV. According to Ericsson ConsumerLab’s annual study entitled ‘TV & Video Consumer Trend Report 2012’ conducted in numerous key markets across the globe -including Chile, Brazil and Mexico-, social TV is turning into a mass-market phenomenon. The report indicates 62% of consumers use social media while watching TV on a weekly basis; an increase of 18% points in one year. In addition, 25% of consumers use social media to discuss what they are watching while they are watching it. TTV PREVIEW/51
The Voice (Argentina) Talpa Distribution
Numerous companies seem to be more than willing to take part in this new trend. For instance, US social TV platform yap.TV recently extended its service to Latin America. The free iPhone and iPad app lets users interact online with their friends and other TV fans while watching programs together, and share their preferences and suggestions for TV series, videos and movies.
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always be local production and providing content these viewers can identify with, in order to increase their loyalty.”
ves are most passionate about all over the world, since the phenomenon is not only a clear “Reality indication of how users’ conis hard because sumption habits are changing; now it’s much but also reveals a need for new, inmore difficult to novative distribution strategies and find the shock of content. the new.” [Paul e: rc ou (S
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“Extending a show beyond the TV screen, with a certain level of interactivity through social networks such as Facebook, doesn’t change the content; it enriches it,” said Barnaby Shingleton, director of Entertainment at Zodiak Rights. Based on this new paradigm, Lee, Entertainment Zodiak has created a division called Since the trend is still in its infancy, president of ABC] Zodiak Active to specialize in new ways the truth is there’s still plenty to fito make content more appealing for advergure out about how content and tisers. advertisement could be translated from the TV screen onto social networks and vice versa. Several companies seem to be more than willing to Ricardo Vázquez, general manager of Ecuavi- take part in this new trend. For instance, US social sa (Ecuador), believes “the main target must be TV platform yap.TV recently extended its service to today’s kids, as they’ll become tomorrow’s adults. Latin America. The app allows users to chat with Kids are the ones who set the trend in regard to others through Facebook and Twitter and share which content they like best. With the new techno- their preferences and suggestions for TV series, vilogies available, they can enjoy their favorite shows deos and movies. on several different platforms; yet still consume traditional TV, actively engaging with the pro- yap.tv is available for free download on iPads and gramming through social networks. What must we iPhones. According to its official website, the serdo to keep this audience entertained? The key will vice still doesn’t offer complete episodes, but is currently in negotiations with different partners to eventually launch a VOD platform. The free app lets users interact online with their friends and other TV fans while watching programs together, to create program-specific content feeds, real-time private group chats and user-generated polls.
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“The future will be all about maximizing the potential unleashed by social networking and the interaction of audiences with content. This has already started, but it’s still new. The next great format will utilize all the networks we know, but also create new revenue models. It may be that it starts with an app and then becomes an idea for television,” explained Wayne Garvie, CCO International Production at Sony Pictures Television (SPT).
Guys in Disguise Armoza Formats
On a related note, Bernadette Delmás, Programming sub-manager at Canal 10 (Uruguay), stated “we must be prepared to face a wave of changes to
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Slowly but surely, the game started to show its full potential, taking over App Stores in Finle aspects (social land first before embarking upon an og Go : ce and digital international expansion. Eventuaur o (S “The future lly, the game arrived in Sweden, will be all about neighboring countries, Europe maximizing the potential Meanwhile, Cecilia Gómez and finally, the UK, where it was unleashed by social de la Torre, Programming machosen pick of the week by the networking and the nager at Frecuencia Latina (Peru) local App Store. interaction of audiences believes some timeslots have with content.” [Wayne notably improved their ratings, “The process through which Garvie, CCO International mainly “due to a different content ‘Angry Birds’ got to this place Production at Sony offer, with exclusive high-quality was really step by step. Once it Pictures Television] products; integrating other platgot to the App Store in the UK, it forms and using extremely crealed to the App Store in the US, and tive communication strategies then it became the worldwide phenomethat, above all, make a difference in engaging au- non it is today,” Dorra explained. By spring 2011, diences beyond the TV screen.” the game had already been downloaded over 1,000 times. SUCCESS STORY: ‘ANGRY BIRDS’. Born as a simple game just three years ago, ‘Angry Birds’ is now REALITIES AND TALENT SHOWS: ASYMMETRIan international phenomenon that continues to CAL CYCLES. “There once was a time when it was grow. In Finland, ttv met with Nick Dorra, head of an event to launch a reality show in summer,” ABC animation at Rovio Entertainment, who shared the entertainment president Paul Lee told reporters story behind the company’s success. [Read the full interview on page 72].
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“Rovio was founded back in 2003, when its four owners won a contest as game developers and decided to make that their job. The company then went through ups and downs for a couple of years, and was on the verge of bankruptcy,” Dorra said. Interestingly enough, that desperate situation was the main reason behind the company’s success, as it made its owners devise a whole new strategy. After thorough analysis of the main trends in videogames, they decided to develop a game focusing on its design and its characters. 51 games later, ‘Angry Birds’ was born.
Unzipped FremantleMedia
TV 2.0 According to Ericsson ConsumerLab’s latest study entitled ‘TV & Video Consumer Trend Report 2012’, social TV is turning into a mass-market phenomenon, as 62% of consumers stated they use social media while watching TV on a weekly basis; an increase of 18% points in one year. In addition, 25% of consumers use social media to discuss what they are watching while they are watching it.
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during July’s press tour. “Reality is hard because it’s now much more difficult to find the shock of the new.”
nerates high expectations among our audiences. Each format has unique characteristics, and if we add that to local talent and all the creativity behind it, I believe that -in our country at least- there’s still plenty of unexplored potential.”
Certainly, this last remark presents a dilemma more than a few US networks are currently facing; and as a result, the search for “the next hit format” is now more important “Extending a show than ever.
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In Latin America, the scenario is not that black and white. In this sense, Gómez de la Torre stated that, while talent shows and reality series have been present on international TV screens for many years now; they’re still fairly new to Latin American viewers.
Bernadette Delmás seems to agree with this last statement, as she explained “the next successful beyond the TV screen, format will probably come with a certain level of from the entertainment geninteractivity through re, and will include interactisocial networks such as vity with all the established Facebook, doesn’t change platforms.” the content; it enriches
it.” [Barnaby Shingleton, director of Entertainment at Zodiak Rights]
“For instance, this year Frecuencia Latina is producing Endemol’s ‘Yo Soy’ and FremantleMedia’s ‘Got Talent’ in Peru; which ge-
All in all, enhancing TV consumption through social networks, while also finding new revenue streams on emerging platforms; are clearly some of the main challenges presented by the industry’s constant evolution. ttv
MOBILE PLAYGROUND MDG Advertising created an infographic to show how major tech companies such as Apple continue to gain ground among the younger demographics, and explain the different ways kids these days relate to mobile technologies. According to Apple, toddlers are becoming more mobile than ever, since nearly half of first time mobile tech users in the US are under the age of five. In addition, the report indicates 7 out of 10 kids under 12 years old are using tablets in those households where the device is present.
Map & Schedule Mipcom 2012
Map Mipcom
2012 RIVIERA BEACH HALL
Riviera Beach
S Enteafro ran nt ce
SEAFRONT ENTRANCE
LERINS HALL RIVIERA HALL
Harbour
Riviera Beach
RIVIERA SEAVIEW
Beach Beach
MIPCOM Shuttles
AccessHtoall Lerins ie & Riv iera Seav w
La Croisette
BUYERS’ CLUB Level 01
VIP CLUB Level 3
PALAIS DES FESTIVALS
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REGISTRATION & PARTICIPANTS CLUB PROTOCOL
NEWS HUB PRESS & S CLUB PRES TRATION EGIS PRESS RCOM NEWS MIP
CROISETTE ENTRANCE
mipcom NEWS
Schedule may be modified by the organization prior to the event.
Conference and Events Agenda: “Where The Stars Align” Monday 8 October 2012 9.30 - 10.00 FOCUS ON CANADA: FRESH TV FROM CANADA Location: Palais des Festivals, Esterel, Level 5 Presenter: Virginia Mouseler, CEO, The WIT, France 10.00 - 14.00 DIGITAL MINDS SUMMIT By invitation only Location: Majestic 10.05 - 10.20 FOCUS ON CANADA: CO-PRODUCE WITH CANADA OVERVIEW - Presentation Location: Palais des Festivals, Auditorium A, Level 3 Presenter: Carolle Brabant, Executive Director, Telefilm Canada, Canada
12.25 - 13.00 MEDIA MASTERMIND KEYNOTE: Mark Burnett, President, One Three Media Location: Palais des Festivals, Grand Auditorium, Level 1 13.00 - 14.30 MIPCOM WOMEN IN GLOBAL ENTERTAINMENT POWER LUNCH Location: Carlton Hotel 14.00 - 15.00 FRESH TV AROUND THE WORLD - Screening Location: Palais des Festivals, Grand Auditorium, Level 1 Speaker: Virginia Mouseler, CEO, The WIT, France
10.25 - 11.10 FOCUS ON CANADA: CO-PRODUCE WITH CANADA CASE STUDIES: Drama - Case study Location: Palais des Festivals, Esterel, Level 5
15.10 - 15.50 MEDIA MASTERMIND KEYNOTE: Robert Kyncl, VP, Global Head of Content, Google/YouTube Location: Palais des Festivals, Grand Auditorium, Level 1
11.15 - 11.45 MEDIA MASTERMIND KEYNOTE: Pierre Karl Péladeau, President and CEO, Quebecor Inc., Quebecor Media Inc. & Sun Media Corporation Location: Palais des Festivals, Esterel, Level 5
16.00 - 16.20 PWC GLOBAL ENTERTAINMENT & MEDIA OUTLOOK - Presentation Presenter: Marcel Fenez, Global Leader, Entertainment and Media, PricewaterhouseCoopers, Hong Kong
17.00 - 18.15 MEDIA MASTERMIND KEYNOTES: INTERVIEWS - to be announced Location: Palais des Festivals, Grand Auditorium, Level 1 18.30 - 20.00 MIPCOM WORLD PREMIERE TV SCREENINGS Location: Palais des Festivals, Esterel, Level 5
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11.50 - 12.25 MEDIA MASTERMIND KEYNOTE: Nancy Dubuc, President and General Manager, History® and Lifetime Networks Location: Palais des Festivals, Grand Auditorium, Level 1
16.20 - 16.55 MEDIA MASTERMIND KEYNOTE: Andrea Wong, President of International Production, SPT & President of International, SPE Location: Palais des Festivals, Grand Auditorium, Level 1
Map & Schedule Mipcom 2012
Tuesday 9 October 2012 9.00 - 10.00 ULTRAVIOLET 2013: IMPROVED CONSUMER EXPERIENCE EQUALS IMPROVED BOTTOM LINE - Case Study Location: Palais des Festivals, Esterel, Level 5 9.15 - 10.15 FOCUS ON CANADA: CO-PRODUCE WITH CANADA CASE STUDIES: Factual & Documentary Location: Palais des Festivals, Auditorium A, Level 3 10.15 - 13.00 FOCUS ON CANADA: CO-PRODUCE WITH CANADA MATCHMAKING EVENT Location: Palais des Festivals, Verrière Californie, Level 5 10.15-10.55 THE AUDIENCE SHIFT: Could you Show me the Way to the Future of TV? - Interview/Debate Location: Palais des Festivals, Esterel, Level 5
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11.00-11.15 THE AUDIENCE SHIFT: Exploring Tomorrow’s Audiences Today - Presentation Location: Palais des Festivals, Esterel, Level 5 Speaker: Stella Medlicott, Chief Marketing Officer, Red Bee Media, UK 11.15 - 13.45 CREATIVE TALKS: HEAR FROM THE TALENT Location: Palais des Festivals, Grand Auditorium, Level 1 Speakers: to be announced
13.00-14.30 LATAM GLOBAL DEALMAKERS NETWORKING LUNCH Location: Carlton Hotel
15.05 - 15.55 SOCIAL TV: Social TV Case Studies Location: Palais des Festivals, Esterel, Level 5
14.00-14.30 FOCUS ON CANADA: MULTIPLATFORM CANADA Location: Palais des Festivals, Esterel, Level 5 Presenter: Catalina Briceno, Director of Industry and Market trends, Canada Media Fund, Canada
15.15 - 16.00 DRAMA GLOBAL PRODUCTION TRENDS: TURKISH DRAMA: THE NEW DELIGHTS? - Debate Location: Palais des Festivals, Auditorium A, Level 3
14.00 - 14.15 DRAMA GLOBAL PRODUCTION TRENDS: THE ARAB SPRING: New Beginnings Presentation Location: Palais des Festivals, Auditorium A, Level 3 Presenter: Nabil Kazan, President/CEO, K & Partners TV Services Inc, Lebanon 14.15-15.00 DRAMA GLOBAL PRODUCTION TRENDS: THE MIDDLE EAST BROADCASTERS’ CONVERSATION - Debate Location: Palais des Festivals, Auditorium A, Level 3 14.40 - 15.00 SOCIAL TV: The Olympics in the Digital Age - Case Study Location: Palais des Festivals, Esterel, Level 5 Speaker: Ralph Rivera, Director, BBC Future Media, UK 15.00 - 17.00 3DTV: MATCHMAKING EVENT Location: Palais des Festivals, Verrière Californie, Level 5
16.00 - 16.40 MEDIA MASTERMIND KEYNOTE: Dawn Ostroff, President, Condé Nast Entertainment, USA Location: Palais des Festivals, Grand Auditorium, Level 1 16.45 - 17.25 MEDIA MASTERMIND KEYNOTE: Jason Kilar, CEO, Hulu, USA Location: Palais des Festivals, Grand Auditorium, Level 1 17.30 - 18.00 MEDIA MASTERMIND KEYNOTE: Wade Oosterman, President, Bell Mobility, Bell Residential Services and Chief Brand Officer, Bell Canada Location: Palais des Festivals, Grand Auditorium, Level 1 18.15 - 19.15 THE INTERNATIONAL INTERACTIVE TV AWARDS Location: Palais des Festivals, Esterel, Level 5
Schedule may be modified by the organization prior to the event.
Wednesday 10 October 2012 9.00 - 10.30 GLOBAL CONTENT TRENDS PRODUCTION OPPORTUNITIES IN AFRICA - Workshop Location: Palais des Festivals, Verrière Californie, Level 5
10.10 - 10.30 3DTV: CREATIVE KEYNOTE: Steve Schklair, CEO, 3ality Technica Location: Palais des Festivals, Auditorium A, Level 3
14.15-14.45 3DTV FOCUS: 3DTV CONTENT TRENDS: WHAT’S NEXT Location: Palais des Festivals, Auditorium A, Level 3
9.30 - 10.10 MEDIA MASTERMIND KEYNOTE: speaker to be announced. Location: Palais des Festivals, Grand Auditorium, Level 1
10.35 - 10.55 3DTV FOCUS: KEYNOTE TALK Location: Palais des Festivals, Auditorium A, Level 3
14.45 - 15.05 CROSS-MEDIA CREATIVE SHOT - Case study Location: Palais des Festivals, Esterel, Level 5
10.10 - 10.40 3DTV: CREATIVE KEYNOTE: Steve Schklair, CEO, 3ality Technica Location: Palais des Festivals, Auditorium A, Level 3 10.15 - 11.15 CONTENT ORIGINALS IN THE DIGITAL SPACE - Debate Location: Palais des Festivals, Esterel, Level 5
11.00 - 12.00 3DTV FOCUS: WHAT DO 3D TV BUYERS WANT? Location: Palais des Festivals, Auditorium A, Level 3 11.25 - 11.55 DIGITAL CHINA Location: Palais des Festivals, Esterel, Level 5 Speaker: to be announced
10.35 - 10.55 3DTV FOCUS: KEYNOTE TALK Location: Palais des Festivals, Auditorium A, Level 3
12.05 - 12.55 DISRUPTIVE DISTRIBUTION: LET THE CONSUMER CHOOSE! - Debate Location: Palais des Festivals, Esterel, Level 5
11.00 - 12.00 3DTV FOCUS: WHAT DO 3D TV BUYERS WANT? Location: Palais des Festivals, Auditorium A, Level 3
12.05-12.50 3DTV FOCUS: DOING BUSINESS IN CHINA Location: Palais des Festivals, Auditorium A, Level 3
11.05 - 11.30 MEDIA MASTERMIND KEYNOTE: speaker to be announced. Location: Palais des Festivals, Esterel, Level 5
14.00-14.40 FANS, YOUR MOST PRECIOUS ASSET Workshop Location: Palais des Festivals, Esterel, Level 5
15.10 - 15.50 THE SUPER HEROES OF DIGITAL DEVELOPMENT - Case Study Location: Palais des Festivals, Esterel, Level 5 16.00 - 16.45 MIPCOM PERSONALITY OF THE YEAR KEYNOTE: to be announced Location: Palais des Festivals, Grand Auditorium, Level 1 17.00 - 18.00 ACQUISITION SUPERPANEL: What do Buyers Want? - Debate Location: Palais des Festivals, Grand Auditorium, Level 1
9.30 - 10.00 SOCIAL TV BREAKFAST Location: Palais des Festivals, Verrière Californie, Level 5
10.00 - 12.00 SOCIAL TV BOOT CAMP: Live Consulting - Workshop Location: Palais des Festivals, Verrière Californie, Level 5
14.00 - 15.00 THE MIPCOM WRAP-UP: Analysis of the Week & Predictions for the Coming Year
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Thursday 11 October 2012
Schedule MIPJunior 2012
MIPJunior 2012 Highlights “Where It Begins”
Schedule may be modified by the organization prior to the event.
Saturday 6 October 2012 10.00 - 11.00 THE CO-PRODUCTION BOOT CAMP - Case Study Location: Martinez Hotel, Conference Room, Salon Acajou 11.30 - 12.45 THE BUYERS’ CONVERSATION: What do They Want? - Debate Location: Martinez Hotel, Conference Room, Salon Acajou 13.00 - 14.30 THE MIPJunior NETWORKING LUNCH
14.30 - 16.00 THE MIPJunior INTERNATIONAL PITCH Location: Martinez Hotel, Conference Room, Salon Acajou 16.15 - 17.00 MIPJunior MEDIA MASTERMIND KEYNOTE: Stuart Snyder, President And COO, Turner Broadcasting System, Inc.’s Animation, Young Adults & Kids Media division Location: Martinez Hotel, Conference Room, Salon Acajou
18.00 - 16.45 WHAT PUBLISHERS WANT TO SEE FROM PRODUCERS - Debate Location: Martinez Hotel, Licensing Lounge, Salon Ebène 19.00 - 23.00 THE KIDS’ JURY AWARDS CEREMONY Location: Martinez Hotel, Conference Room, Salon Acajou
17.10 - 18.00 THE LICENSING MARKETPLACE: Studies & Success Stories Location: Martinez Hotel, Conference Room, Salon Acajou
Sunday 7 October 2012 9.00 - 10.00 THE BUYERS’ MATCHMAKING: Pitching face to face Location: Martinez Hotel, Licensing Lounge, Salon Ebène
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9.30 - 9.50 DIGITAL KIDS! The Way Kids Connect With Each Other And With Content Location: Martinez Hotel, Conference Room, Salon Acajou 10.00 - 11.00 DIGITAL KIDS! Kids IP: Great Ideas are Media Agnostic! Location: Martinez Hotel, Conference Room, Salon Acajou 10.00 - 11.00 Pitch To The Licensing Agents From ASIA/AUSTRALASIA Location: Martinez Hotel, Licensing Lounge, Salon Ebène 11.10 - 12.00 DIGITAL KIDS! Meet The Digital Content Strategists - Matchmaking Location: Martinez Hotel, Conference Room, Salon Acajou
11.30 - 12.30 Pitch To The Licensing Agents From RUSSIA Location: Martinez Hotel, Licensing Lounge, Salon Ebène
15.30 - 16.30 Pitch to the Licensing Agents from EUROPE Location: Martinez Hotel, Licensing Lounge, Salon Ebène
12.30 - 13.30 CANADA COUNTRY OF HONOUR: SNACK & SCREEN - Screening Location: Martinez Hotel, Conference Room, Salon Acajou
15.40 - 16.10 DIGITAL KIDS!: Meet The Digital Producers Location: Martinez Hotel, Conference Room, Salon Acajou
14.00 - 15.00 Pitch to the Licensing Agents from THE AMERICAS Location: Martinez Hotel, Licensing Lounge, Salon Ebène 14.30 - 15.00 DIGITAL KIDS!: Teen Fresh TV: The Top TV Shows In Social Media Location: Martinez Hotel, Conference Room, Salon Acajou 15.00 - 15.35 DIGITAL KIDS!: The Apps Business Model - Case study Location: Martinez Hotel, Conference Room, Salon Acajou
16.15 - 16.45 DIGITAL KIDS!: New Digital Fundings Location: Martinez Hotel, Conference Room, Salon Acajou 16.50 - 17.20 DIGITAL KIDS!: The NFB Innovation Show Location: Martinez Hotel, Conference Room, Salon Acajou 17.25 - 17.55 DIGITAL KIDS!: How To Create For The Digital Kids Location: Martinez Hotel, Conference Room, Salon Acajou 18.00 - 19.00 MIPJunior PREMIERE SCREENINGS Location: Martinez Hotel, Conference Room, Salon Acajou
INNUMBERS
1,200
TV productions are developed in Canada each year, according to Telefilm Canada.
44.2 million
dollars were the documented losses for Lionsgate during its first quarter.
116,000
tweets per minute were recorded during the Spice Girls’ performance at the closing ceremony of the London 2012 Olympics.
12.3 million
users will have access to DTT in Latin America by 2016, according to Dataxis.
30%
of VOD’s global revenues by 2017 will come from the US market, as mentioned on Digital TV Research.
624 billion
dollars is the current worth of the Apple Company.
STREAMING
Bittersweet Future for Netfilx
In a report signed by CEO Reed Hastings and financial director David Wells, Netflix announced its financial results for Q2 2012, and stated it might be difficult to reach its goal subscribers by the end of the year. From April to June, Netflix’s US subscribers grew from 23.4 million to 23.9 million, while in the rest of the world (Latin America, Canada, UK and Ireland), the amount of subscribers grew from 3.07 to 3.7 million. The company ended the period with US$0.11 global earnings per share, surpassing the US$ 0.05 analysts could foresee. The company’s global revenue rose to US$ 889 and net income was US$ 6 million. UNCERTAIN FUTURE. Netflix announced it reached one million subscribers in the UK and Ireland just seven months after its launch. Yet, it also stated it expects to see loss in the final quarter, due to its plans to launch the service in another European market, and the negative effect of the London Olympics: “This quarter the Olympics are likely to have a negative impact on Netflix viewing and sign-ups. So, our Q3 guidance is 1 million to 1.8 million domestic net adds. If we finish Q3 in the high end of that range, we would remain on track for 7 million domestic net additions for the year; otherwise it would be challenging to achieve that goal by year end,” says the report. The company is also facing fierce competition from other companies such as Hulu, Red Box (by Coinstar), Xfinity (Comcast), Fios (Verizon), HBO Go (HBO), and even Facebook, which recently signed deals with several studios to offer movies via streaming. Furthermore, Amazon launched a new iPad app, while Hulu announced Hulu Plus -its premium streaming service- is available on Apple TV. INTERNATIONAL JOURNEY. In mid-August Netflix announced it was to enter the Scandinavian market by the end of 2012, covering Norway, Sweden, Finland and Denmark; where local VOD service Voddler, as well as international companies such as Amazon’s Lovefilm, HBO and MUBI are set to be fierce competitors for the new player. Meanwhile, in Latin America, the company “remains focused on accelerating growth by overcoming some of the many unique challenges in the region (low device penetration, under-developed Internet infrastructure and consumer payment challenges for e-commerce); as well as “expanding payment options in Mexico and Brazil.”
Trends Q&A
Surviving
in Convergent Times As DDT gains MOMENTUM ALL OVER the world, free-to-air must adapt to face fierce competition, new pay TV models come up and players experience trying to find the best way to deliver mobile TV. What’s become a trend in the digital entertainment era? Por Sebastián Torterola Twitter: @storterola storterola@todotv.tv
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targeted now. As TVs get connected, broadcasters are using more the middleware standards available to them, such as the MHEG in the UK and the MHP especially in Italy. However, driven in part by the TV manufacturers, the buzz is all about HbbTV - a HTML-based standard for interactivity which is being incorporated to provide interactive and catch-up services.
D
DT’s diverse evolution paths worldwide have forced TV players to come up with innovative, long-term business models and strategies. Interactivity, high-definition and mobile TV head this vertiginous process that simultaneously obliges the revision of traditional concepts within the sector, such as pay TV, free-to-air and on-demand. ttv spoke with Adriana Whiteley, Head of Strategy Practice at UK-based consultancy firm Farncombe, who gave an insight about the current TV trends worldwide. How do you see the evolution of DTT worldwide? Interactivity is where most investments are
New DTT countries such as Malaysia have mandated HbbTV and it is being trialed in China and Japan as well. Europe is going HbbTV en masse. Germany is probably the more advanced in HbbTV applications, but it does not have so much coordination between broadcasters; France, Belgium and Spain are enabling a more complete environment with DRM and streaming specifications (MPEG-DASH). How has DTT impacted over traditional TV business models? Around the world, the major impact of DTT is the introduction of more competition on free-to-air TV (with the exception of Brazil). DTT usually leads to fragmentation of the audience, and broadcasters have to react by creating more “niche” channels to maintain their advertising revenues. The advertising pie doesn’t grow in total but the cost to produce extra channels does – some broadcasters make use of “+1” channels to mitigate cost of producing extra content, but in general DTT is a negative impact on the broadcasters’ bottom line.
Adriana Whiteley, Head of Strategy Practice at Farncombe “Probably the best convergence model would be somewhere between UK’s YouView project and France’s TNT 2.0.”
What Mobile TV models have enjoyed more success? There is the consensus that paid mobile TV over DVB-H is not economically viable. However, in some places where free to air TV can be received in mobiles it can be quite popular. Analogue TV in China was widely adopted and watched on mobiles for example, and in Latin America although the DTT coverage is limited, there seems to be growing availability of mobile handsets and some tentative investments to enable good indoor reception (Globo in Brazil has invested in in-fillers for mobile in some areas, for example).
Will Free TV and Pay TV continue to exist separately? Pay-DTT is a difficult business model without a return path – the cases in Spain, UK are not promising – Boxer in Sweden which is usually considered
Will linear TV be cannibalized by on demand services? Linear is a passive way of receiving content: people like to just switch the TV and watch whatever is on. Having said that, there are types of channels that could be easily replaced by a “play-list” of programs that could be pre-selected - Sports, Live TV, news are protected from on-demand cannibalization than, say, old documentaries. In this regard, payTV operators that do not differentiate in content will face a strong threat from cord-cutting –but you have to pay attention at which cord clients are cutting. Many IPTV and 2-way cable providers are focusing on triple play packages, joining catch-up and third party content with their broadband connection, in practice using over-the-top to their advantage. Now, in the long-term the question is not linear vs. on-demand, but DTT over IP distribution. As governments push to increase broadband availability, there might be a point when it makes sense to have broadband for all, and recently in the UK the Chamber of Lords has published a report saying exactly that. In the long-term DTT frequencies could be better used for mobile data services, but of course it will vary from country to country.
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In Europe broadcasters have not really invested or configured their networks to provide good indoor reception. Germany is probably the exception where free-to-air mobile TV works reasonably well. But there is now a second wave of migration to DVB-T2 and broadcasters experimenting with T2-lite for mobile. The BBC for example has recently successfully trialed T2-lite using the same multiplex that they use for fixed reception, which would make it much easier and more flexible to provide mobile versions for TV channels (which is similar to what ISDB-T does but with a bit more flexibility to configure channels)
a success case is also stable in the number of subscribers. The most successful case is probably Mediaset in Italy - but they can count with more DTT capacity than the vast majority of broadcasters….
Trends Q&A
CASE STUDY According to Whiteley, some innovative examples of integration initiatives worldwide are: In the UK, the YouView project, which is sponsored by the BBC, BT and other commercial broadcasters and ISPs. It’s an interface joining Internet with DTT- the guide shows both channels that arrive via DTT and IP channels, and it allows the launch of paid and free video-on-demand services from that platform. “The most interesting feature of YouView is that you can browse forwards to see the future schedule and set recordings as a normal PVR but you can also browse backwards, click on the content that has already finished and launch it from the EPG to watch it on-demand,” she affirms, also stating that this capability is becoming standard in all connected TVs in the UK as it will be standardized in the new TV technical specifications. “The UK case is definitely the best example of how the DTT industry got together to develop a clear set of specifications associated with a consumer brand (FreeView, FreeView HD+ and the Digital Tick) and to enable features such as the programming guide.” In France, the HD Forum has sponsored an initiative called TNT 2.0 (the French acronym for DTT) which specifies DRMs for televisions and the type of streaming (MPEG-Dash), and the new version of HbbTV. “Spain and Belgium are launching initiatives following the French specifications to enable free catch-up as well as paid VoD to the TV,” Whiteley adds.
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In many Eastern European countries and parts of Asia they are already migrating straight to DVB-T2. The Malaysian DTT bid that is taking place is proposing DVB-T2 lite for a mobile standard for example. In Brazil the interesting aspect is that the government has pushed for quotas for enabled mobile handsets and TVs to be made compliant with Ginga middleware and DTT, but not for a clear set of specifications, which according to the executive, is one of the pillars of enabling and speeding up DTT migration. “The government has been very good at helping the ‘passive’ adoption (i.e. when someone buys a new TV, it will be DTT) but not very good at pushing for the ‘active’ DTT take-up, which is also difficult in Brazil as DTT is not ‘multichannel’ compared to analogue. Variety of content is the major driver of adoption for DTT around the world.” In Japan, the TV manufacturers have led a walled garden platform which took a bit to take off, but is supported by the vast majority of connected TVs now.
TV and internet are experiencing a growing “marriage” in the current entertainment market. What convergence models do you see as more effective and successful in this regard? Probably the best convergence model would be somewhere between UK’s YouView project and France’s TNT 2.0. Broadcasters need some type of security control and can benefit from an integrated “portal” and EPG, but the solution must be lean enough to be accepted by TV manufacturers – YouView is currently designed for set-top-boxes. Multi-screen, transmedia, mobile devices, social networking, apps, streaming, games, interactivity… Are TV players monetizing these alternatives? There are quite a few surveys indicating that viewers are not so keen in having Facebook on their TV, for example - but on-demand and catchup are becoming increasingly important revenue generators. Catch-up viewing in some countries is starting to be counted inside “normal” audience (especially the VOSDAL, viewed on the same day as live). In some programs in the UK, catch-up viewing doubles the DTT audience. As more connected TVs are in the market, these services are becoming important revenue-wise. What other media consumption trends do you perceive? Tablets are a real game changer – both as companion devices (used as remote controls, for example) and as competitors to TV. The use of mobile handsets tends to be not so user-friendly to video –people watch shorter content, the screen is small– but the consumption of video on tablets is much closer to the TV sets. The other interesting trend is Ultraviolet – but I’d probably need another interview just for that! ttv
todotvnews.com Television & Entertainment Business News
Newsletter todotvnews – Distributed daily to over 7,500 niche executives
LONDON 2012
Olympics 2.0 Of all the world records broken at the London 2012 Olympics, the biggest one was set by social networks, with over 150 million tweets generated during the 16 days of competition. In addition, online digital broadcasts surpassed traditional TV, where ratings still managed to reach an all-time high. By Gonzalo Larrea Twitter: @Gonzalolarrea glarrea@todotv.tv
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W
hile social networks, second screens wins and losses, as well as tons of behind-the-scenes and mobile devices have become images and information. According to a statement by substantially more popular over the International Olympic Committee (IOC), social the last few years; the networks such as Twitter raise people’s interest 2012 Summer Olympics in the Games, making them want to watch Twitter’s definitely proved the phenomenon has the event on TV and other devices. official blog reached a whole new level. registered over In fact, Twitter’s official blog registered 150 million tweets The London 2012 Olympics will over 150 million tweets about the about the Olympics forever be remembered as the digital Olympics. The platform allowed users during the event. Olympics, since social networks such who couldn’t watch the Games due to as Twitter and Facebook took center their work schedules or the time difference stage and became a key player among to access exclusive information and images viewers and competitors. from the athletes themselves, as well as live results. Twitter served as a gateway for athletes to communicate directly with their fans, to share their
In addition to Twitter, the internet in general played a major role in the event’s broadcast. For the first
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time ever, the London 2012 Olympics were watched online and on mobile devices by more viewers than on traditional TV, according to the IOC’s TV and marketing director, Timo Lumme, who described it as a true milestone. “I think London 2012 heralds really a new era in Olympic broadcasting,” Lumme, told reporters.
NBC reps stated that, with 219.4 million viewers across 17 days of competition, the London 2012
.co m
Olympics became the highest rated TV event in US history. These results came about despite the highlycriticized delayed broadcasts, the problems with online content streaming, and the edited versions of the opening and closing ceremonies. “These results exceeded all our expectations in viewership, digital, consumption and revenue,” said NBCUniversal Chief Executive Steve Burke. The network paid US$1.18 billion for the US broadcast rights to the London Olympics, and while it initially expected to break even; it ultimately came out winning. Meanwhile, in the UK, the BBC presented a similar scenario, with 52 million British viewers -close to 90% of the population- having watched the Games, making it the most watched sporting event on TV in the UK. ttv
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All in all, the London Olympics’ TV coverage exceeded 100,000 hours, surpassing the Beijing event by 40,000 hours. Interestingly enough, with the massive amount of online broadcasts, TV’s ratings still reached new highs and broke records all over the world.
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Trends interview
Rovio: a Modern-Day Walt Disney
Born as a game just three years ago, Angry Birds is now an international phenomenon. In Finland, ttv cought up with Nick Dorra, head of Animation at Rovio Entertainment, who shared the story behind the company’s success. Por Gonzalo Larrea Twitter: @Gonzalolarrea glarrea@todotv.tv
C
reated in Finland in 2003 by four college students, not even the most optimistic person could foresee Rovio’s evolution over the last nine years; a time in which it went from being almost bankrupt to taking the world by storm with ‘Angry Birds’.
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Today, the game is famous all over the world. It’s enough to walk down the streets in Finland to get a sense of just how major the phenomenon is. Billboards, ads on the side of buses, posters at train stations and all over the place. They’re everywhere and then some. There’s also toys, stuffed animals, action figures, drinks and even theme parks. It’s hard to believe only three years ago, ‘Angry Birds’ didn’t even exist. However, it wasn’t all fun and games at the Finnish company, which ensures the project was not an overnight success, and is now getting ready to take its next big step: becoming a complete entertainment company; first with an animated series and then a feature film. As the leader of this transition stands Nick Dorra, head of Animation at Rovio, who spoke to ttv at
Nick Dorra,
Head of Animation at Rovio Entertainment Watch the video interview
“The company then went trough ups and downs for a couple of years, and was on the verge of bankruptcy.”
the company’s headquarters in Finland about its transition from a small company to an international phenomenon. “Rovio was founded back in 2003, when its four owners won a contest as game developers and decided to make that their job. The company then went trough ups and downs for a couple of years, and was on the verge of bankruptcy,” said Dorra.
success, as it made its owners devise a whole new strategy. After thorough analysis of the main trends in videogames, they decided to develop a game focusing on its design and its characters. 51 games later, ‘Angry “Rovio’s Birds’ was born. future plans
include animation and new games.”
Interestingly enough, that desperate situation was the main reason behind the company’s
Slowly but surely, the game started to show its full potential, taking over App Stores in Finland first before embarking upon an international expansion. Eventually, the game arrived in Sweden, neighboring countries, Europe and finally, the UK, where it was chosen pick of the week by the local App Store.
The global phenomenon that is Angry Birds and the success of a company such as Rovio is far from being uncommon in Finland; a country that has produced several high-quality projects in the last few years -such as ‘Max Payne’, ‘Alan Wake’ or ‘Shadow Cities’-, with a thriving videogame industry backed by the government. “I believe the videogame industry as a whole in Finland is not huge compared other markets, yet the tittles that have come out of Finland are of very high quality. There is a strong background in computer programming and in games developing in the country; and I see Rovio as a part of this whole family games developers from Finland,” Nick Dorra said.
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FINLAND: THE LAND OF VIDEOGAMES
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Trends interview
“The process through which Angry Birds got to well as other projects including new games and this place was really step by step. Once it got to merchandising products. the App Store in the UK, it led to the App “We are very excited about this series. It Store in the US, and then it became the premieres in the fall and will have 52, worldwide phenomenon it is today,” “The process 3-minute episodes. We’ll present the said Dorra. By spring 2011, the game through which characters’ background and see why had already been downloaded over Angry Birds got they’re so angry. It will all be revealed. 1,000 times. to this place was It’s something we’re excited about and really step by something we’re working very hard in. When it comes to explaining the step.” We want to bring these characters to life reasons behind this incredible on as many screens as possible. From phones success, Dorra highlights it’s to TV,” he said. As far as the movie goes, Dorra primarily a great game, born from hard work. “It’s really difficult to determine why stated it’s still in its early stages of development. it was so successful, but I believe it’s its intuitive gameplay, its characters and the versatility it “Rovio’s future plans of course include animation and new games, but also new ideas in the provides in how you play the game,” he said. merchandising field,” he said, highlighting the Now, three years after the birth of ‘Angry Birds’, recent launch of a game called ‘Amazing Alex’, the company is seeking to make the move onto which might also make its way onto the TV new fields. Thus, it recently changed its name screen. “Time will tell if there are going to be from Rovio Mobile to Rovio Entertainment, to more animated stories that we can tell with Alex,” show its ambition for exploring new business he added. opportunities. There’s no doubt about it. The phenomenon is “The change was made to emphasize the move far from wearing out, and at Rovio, people are from being just a games’ developer to a real working harder than ever. The company wants to entertainment company, with ambitions beyond continue to grow and more than a few voices are describing it as the Walt Disney of the XXI century. the games,” he said. The comparison might seem bold, but it shows the In March, the company announced a TV series company’s evident evolution and its intentions for that will possibly be followed by a feature film, as the future. ttv
INNUMBERS
5.5 billion
dollars were generated by film and TV production in Canada in 2010-2011, the highest level ever.
1 billion
viewers across the globe is the current span of yap.TV, the US social TV platform.
2016
won’t be the year of Brazil’s analogue TV switch off, which was pushed back by the government.
400 million
is the number of global triple-play subscribers there will be by 2017, according to Digital TV Research.
4700
satellite TV channels out of a total of 31,000 are now in HD, as reported by Lyngsat.
165 million
households will subscribe to IPTV in 2017, according to DTVR.
INTERNET
Google to Launch Premium TV Service As the countdown for the launch of its new service Google Fiber continues -which is being rolled out in Kansas- Google presented its Premium TV package. The basic service, with access to over 160 channels, will have a US$ 300 installation fee and will set users back US$ 120 a month for the TV + internet package, with the option to buy only the internet service for US$70. Now, Google announced it will offer three Premium TV packages and presented the complete lineup of content they will feature. One of the packages includes a collection of Starz channels, several Encore channels, IndiePlex, MoviePlex and RetroPlex. The other package includes a collection of Showtime networks, Flix, The Movie Channel and The Movie Channel Xtra. And the third package offers a series of channels especially selected for Hispanic audiences. Google Fiber’s official website will become available in September 2012.
MARKETS
Pay TV Loses Ground to OTT As Netflix, Hulu and other OTT services continue to grow; the US pay TV market is losing clients. According to IHS Screen Digest, during Q2 2012, US pay-TV operators’ net subscriber additions dropped by 350,000 -the biggest in history- mainly due to OTT’s increasing popularity as an alternative to cable amidst a weakened economy. The number of pay TV subscribers decreased 348,000 from Q1’s total of 101.2 million to 100.9 million in Q2 2012. In addition, IHS’ report also indicates cable TV services lost 600,000 clients, while satellite TV shed 62,000 subscribers in Q2, with DirecTV losing clients (52,000) for the first time ever. “Poor economic conditions played a role in declining subscriber additions for pay-TV operators in the second quarter,” IHS analyst Erik Brannon said in a statement. In this scenario, cable providers are fighting back: “Pay TV players are betting that by adding extra value for their subscribers, they can stem the tide of subscribers defecting to OTT, and entice new ones to join,” Brannon said, and explained cable is relying on new offers such as TV Everywhere, faster Internet speeds and pricing promotions to compete against OTT’s customized offers.
Markets ttvpreview
Brazil: 78/TTV PREVIEW
Unprecedented Evolution Latin America’s wealthiest market now has new game rules. While its players adapt to a new law which has caused stock movements, changed business structures and imposed national content lineups in Pay TV; telcos jump at new opportunities in the TV field. Dynamism reaches an all-time high in Brazil. By Sebastián Torterola Twitter: @storterola storterola@todotv.tv
B
razil is on everybody’s lips. It’s the market everybody wants to jump into. And the ones already operating there feel they are part of something unprecedented. A thriving economy bolstered by lower demographic segments, which have turned pay TV services into a commodity. A mature industry with great penetration potential that has yet to be fully exploited. A new legal scenario to adapt to, increased competition, the FIFA Confederations Cup, the FIFA
a clearer view of how the business will change from now on. “Starting September 1, we’ll have an hour and ten minutes of Brazilian content in all pay TV networks. And we’ll have one Brazilian channel with qualified timeslots out of every 9 channels in the packages. By September 13, we’ll have 2 hours and 20 minutes of Brazilian content a week and one channel for 6. And, as of September 13, it will be 3 hours and 30 minutes a week on all channels, and a Brazilian channel our of every 3,” said Manoel Rangel, president of Ancine, as he explained the agency’s ruling in regard to the new pay TV law.
World Cup, the Olympics… in a word, there’s a lot of business going on in the country.
Since June 4, after Brazil’s national film agency Ancine announced its “normative instructions” that complemented the new law, the market’s players have
This statement is directly related to one of Ancine’s main goals behind the new law: to professionalize Brazil’s independent production market. The tension generated between programmers and producers is evident: the first demand more professionalism and less focusing on “authorship”, while the latter demand more information and guidance to adjust
Still, there are other players who question whether the law actually promotes professionalism. “The way to professionalize and industry is the exchange of information and communication. And the law censors our involvement in the projects,” said Anthony Doyle, VP of Turner Brazil. Another controversial aspect of the new law now surfaces: Ancine’s new power to oversee the industry’s operations. MARKET MOVEMENTS. Another main aspect about Brazil’s new pay TV law is the arrival of telcos to the market, with the exception that -for better or worse- these companies were already indirectly involved in the country’s pay TV industry through DTH operations. As the terms of the new law came into effect, foreign telcos were granted permission to take control of national companies, such as Telefonica, which in June acquired a 51% stake in TVA (Grupo Abril) and allegedly intends to take over the entire company; or Embratel (property of Carlos Slim’s América Móvil), which purchased stocks in Organizações Globo in March to get control over NET Serviços. Together with Embratel’s DTH-based pay TV service Claro TV, both operators now cover 55% of pay TV subscribers in Brazil. In addition, the new regulation grants telcos access to cable, which used to only be allowed to offer DTH and MMDS. The main goal is to motivate competition and consequently see
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NEW LAW. After a four-year stroll in congress, president Dilma Rousseff approved the bill that would update Pay TV rules in Brazil, turning into the Law 12.485/2012. Now, one year later, important changes are beginning to be seen in the country’s telecommunications landscape, mainly in the two important innovations made by the new law: opening the cable market to telcos and establishing local programming quotas on pay TV channels.
Whereas there are still many doubts in this readapting process, the new rules are already defined. “Of course there’s an impact, but it’s no big deal,” Dante Compagno, local operator GVT’s head of pay TV, explains in this regard. The first changes are already noticeable in certain channels’ lineups, in some programmers’ structures, and in the new production and distribution strategies: “We have a great demand for content and need professionals fit to do the job, considering the content as a product,” said Carla Ponte, production supervisor at Discovery Networks LatAm/USH.
to their needs. As Grupo Ink’s Paulo Schmidt said recently: “the Brazilian market is getting ready to go through fifty years in only five.”
Markets ttvpreview prices decrease to benefit the Oi is South America’s largest land end user. Yet, the current scena- telephony company in terms of rio resembles the one forevenue, and undertakes reseen over a year ago an aggressive invesby Paulo Saad, VP of tment strategy on its “The Brazilian Grupo Bandeirantes, TV service. market is getting ready to the country’s third go through fifty media group. Clearly, the increased years in only competition is sofive.” “The PLC [currently mething to be discusLaw 12.485] allows sed. “I don’t see anything foreign companies in this new law that can cause to acquire shares in other organi- prices to decrease and benefit the zations. It will resolve Embratel’s end user,” GVT’s Dante Campagno situation with NET; Telefonica’s says. Several players believe “the with TVA and Vivendi’s with GVT. market was already causing comIf this regulation seeks to benefit petition to increase and prices to smaller operators, it should have go down” prior to the creation of control over the larger ones, with this new law. “In a way, it’s bureaudifferent terms and conditions cracy that’s growing, and I don’t for each side. For instance, Oi see benefits for the final clients,” invoices close to US$ 9.9 billion said Anthony Doyle, VP of Turner a year. How can a Brazilian ope- Brazil. rator compete with such a large telephony company?,” he said. Meanwhile, the landscape as a Controlled by Telecom Portugal, whole doesn’t seem to be expe-
riencing important changes: an industry ruled by a few multinational companies that guarantee a certain level of competition, since market dominance varies across Brazil’s different regions. While there are optimistic predictions in regard to great investments in networks to continue the industry’s growth and pay TV’s increasing penetration; the market is far from being fertile ground for real competition. In addition, the potential effects of the European economic crisis on foreign investments for Brazil, is still to be seen; as well as whether the country’s new regulatory framework can guarantee original content production won’t translate into higher prices for the end users, and still stimulate a national industry without closing the door on current or potential foreign investors. ttv
LEGAL CONSEQUENCES
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During the Forum Brasil de Televisão (Brazilian TV Forum), held in São Paulo in June, Manoel Rangel, regulator agency Ancine’s director and president, explained the changes the new law would bring to the country’s telecommunications market from the Government’s perspective. “There will be a true demand for national content for the first time ever. Over 1,000 hours of independent Brazilian productions will be demanded once the law becomes effective,” he said. That, he continued, will also enable programmers to “distribute Brazilian content internationally,” while also “connecting better with the audience”, which will have a variety of local content to choose from. “We believe competition is not only necessary among content distributors [pay TV operators], but also among the different offers,” he said in reference to production and selection of networks, both aspects addressed by the new law. He also said formats and realities must, on the one hand, be owned by Brazil (to be classified as “Brazilian production”) and on the other hand, be produced by independent producers (to be classified as “independent Brazilian production”), something highlighted in the law, which ensures independent companies are involved in the new industry. Rangel also mentioned the investment made by the Government on national production. The FSA (Audiovisual Sector Fund) is now devoting US$ 27,2 million to TV series (90%) and documentaries (10%); and Condecine (National Film Industry Development Committee) raised over US$ 400 million in the last year, US$ 200 million of which are being devoted to financing projects in 2012.
todotvnews.com Television & Entertainment Business News
Newsletter todotvnews – Distributed daily to over 7,500 niche executives
BRANDED CONTENT
A Nimble
Production
Model Major brands migrating towards the field of content have promoted the development of new, original and innovative models. Renowned advertisers, independent and major Hollywood producers are all part of it. A growing industry bolstered by the search for synergies among the multiplying platforms and content creation. By Rodrigo Ros
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Twitter: @rodrigo__ros rros@todotv.tv
T
here are many reasons behind the new AT&T: AN EXAMPLE OF INNOVATION: ‘Daybreak’ trend: the search for advertising models is an interactive series produced for the internet with greater return, alternative low-cost and mobile phones by Tim Kring (‘Heroes’, ‘Touch’) production models, the evolution of and RSA Films (owned by Ridley Scott) for AT&T, digital platforms, the effect of through the BBDO agency in New York. The social networks, fragmented audiences, series follows Ben Wilkins, an ordinary new consumption habits and players, young man whose life changes “Branded content and why not, the search for creative dramatically as he finds himself in the allows advertising ideas to replace the traditional middle of a worldwide conspiracy. actions to travel production model. From modest from one platform to low-cost offers, to major investments The series is distributed through another, operating in feature films; branded content Daybreak2012.com, which hosts a both as content presents itself as a viable option selection of additional content (video, and ads.” within this context. images, links, apps, etc) and allows
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Day Break Series
INTANGIBLE MEASURES
This innovative project created for AT&T revolves around technological evolution (‘Touch’ was the operator’s first production of this sort). Through new apps and somewhat futuristic devices, the company is pushing the boundaries of product placement, promoting mainly a whole new universe in which its players make the most of the technology available. AT&T’s developing apps are part of the series’ plot,
mixed in with the action, which allows experts to measure the potential impact of their new projects through the audiences’ reaction. CONTENT CO-PRODUCTION. Branded content enables at least two companies to develop content that serves their specific interests. The strategy gives way to more ambitious content, and precise control over the risk margins associated with the costbenefit ratio. Some examples of this new model are Toshiba and Intel with their film ‘The Beauty
TTV PREVIEW/83
viewers to immerse themselves deeper into the series’ universe. Each 10-15 minute episode was premiered on the official website, as well as YouTube and Hulu. The last episode made its debut on June 28.
Rentrak’s TV Essentials service provides second-by-second TV audience viewing and demographic information based on data from 20 million televisions and all TV stations to create granular-level data in all 210 media markets. “Our work with Rentrak will provide advertisers and broadcasters with 360 degree solutions and insights for planning, analyzing, implementing, and measuring their most challenging branded entertainment campaigns,” Frank Zazza, CEO of iTVX, said in a statement. The Rentrak viewing data will be aligned with iTVX’s system, which uses research, brandedentertainment expertise and performance analytics to deliver multiplatform intelligence for both the general and Hispanic TV markets, the companies said.
todotvnews.com Television & Entertainment Business News
The #1 source on Latin American Markets (Google Analytics – September 2012)
Inside’, and Ford and Schick with ‘Dating Rules’ -by the producers of ‘Gossip Girl’-, a story that shows the life of a young woman who communicates with a version of herself, ten years in the future.
new Spanish audiovisual law-, companies such as Telefonica, Vodafone and Campofrío, have been able to develop content that adapts to the audiences’ needs, as well as the new law.
INTEL AND TOSHIBA: SOCIAL MOVIES? Seeking to promote its new Ultrabook, Toshiba and Intel have joined forces to create a new “social movie,” a film that combines web series, traditional feature film and social media-driven interaction.
A great example of this is ‘Entrevista a la Carta’, a talk show format hosted by Julia Otero, sponsored by Telefónica, and recently premiered by TVE’s La 1. “Telefónica’s co-production history in the content industry is long and covers fiction projects such as movies and series, as well as documentaries, game shows and talk shows,” said sources from the company to the El Mundo newspaper in Spain.
Directed by Drake Doremus -whose movie ‘Like Crazy’ won an award at the Sundance Film Festival in 2011‘The Beauty Inside’ tells the story of Alex, a young man who wakes up every morning as a different person -man, woman, old, young-, until one day he falls in love and that “gift” becomes a true curse. “Could you be the next Alex?” says the official trailer, inviting viewers to participate in the auditions hosted on the companies’ Facebook page (/thebeautyinsidefilm). On August 16, Toshiba and Intel will premiere the first of six episodes on the Facebook page.
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TOYOTA AND BOSSANOVAFILMS: ACROSS THE BRAND. In Brazil, where telenovelas score the highest ratings on broadcast TV, there are alternative means for creating and developing original pay TV projects, such as the one used by BossaNovaFilms production company in alliance with Toyota. ‘Across The Amazon’, a docu-reality produced by BossaNova Films in association with Toyota and pay TV network NatGeo in 130 countries, follows two adventurers on a truck-ride across the Amazon river. The major co-production included 6, 25-minute episodes broadcast on NatGeo in 130 countries, as well as a contest held during the last 700km of the expedition. “We’ve managed to offer intelligent solutions at affordable prices to clients such as Nokia, Samsung, Ford Ecosport and others,” said Denise Gomes, partner and director at the company. LOW-COST CONTENT. In Spain, where brands are banned from broadcast TV networks, except in those cases when the content promotes “cultural, social or sporting activities” -according to the
Yet, this model is not presented as an innovative way to produce content, but rather a creative alternative in times of crisis. Other shows can also provide great examples of this new scenario, such as ‘¿Conoces España?’ (La 1), financed by Telefónica; and ‘Conectando España’, financed by Vodafone. IN SEARCH OF ORIGINALITY. There is simply not enough room to list all the existing examples of this new production model. Experiences such as Sprite’s campaign ‘Destapados Sprite: Las Cosas Como Son’, produced by Pedro Torres’ El Mall -which also produced ‘The Next Top Model’-; or what has been done by Zodiak Media -which manages the company’s branded content and digital platformsled by Raquel Yuepes (former Zodiak Latino); and also the ‘Pepsi Challenge’ campaign in Colombia, and several others. What is it that makes these projects so original? They empower an industry with its own resources and needs, capable of being an alternative way of financing a project; while also promoting a new productive business model. With the development of new pay TV platforms, mobile devices and smartphones, as well as social networks’ ability to analyze how consumers behave; evaluating how effective an advertising campaign really is has become a key point. Branded content allows advertising actions to travel from one platform to another, operating both as content and ads. ttv
Almost Naked Animals
Kobushi
Liz And Dick
9 Story Entertainment
AB INTERNATIONAL DISTRIBUTION
23 Fraser Ave Toronto, Canada M6K 1Y7 Tel.: 416-530-9900 Fax: 416-530-9935 Web: www.9story.com Booth: R35.24
132 Avenue du Président Wilson, 93213 saint denis la plaine Tel.: +33-1 49 22 21 80 E-mail: ventes@groupe-ab.fr Web: www.ab-international.com Booth: 22.01
Executives Attending Vince Commisso, President & CEO Stephen Kelley, Director, Distribution Liliana Vogt, Vice President, Development
TOP EXECUTIVE
Natalie Osborne, EVP Business Development
Executives Attending Juliette Laniez, Sales Manager, French Speaking Territories Virginie Boireaux, International Sales Manager Katia Sol, International Sales Manager
TOP EXECUTIVE
Valérie Vleeschhouwer, Managing Director
Almost Naked Animals
(Animated Comedy - 52 x 22’ or 104 x 11’) Based on the quirky designs of Noah Z. Jones (creator of ‘Fish Hooks’), the series features an ensemble cast of underwear-clad animals, set in a beachfront hotel named the Banana Cabana, home to mayhem, destruction and all around fun! Our cast is led by Howie, the fun-loving, hospitality-challenged canine manager, with the attention span of an 11year old in a video arcade.
Daniel Tiger’s Neighborhood
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(Preschool Animation - 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 Neighborhood of Make Believe. With the help of his neighbors, family, and friends - O the Owl, Prince Wednesday, and Katerina Kittycat - Daniel learns key skills necessary for school and for life.
A+E Networks 235 East 45th Street, New York, NY 10017 Tel: +1-212-210-1400 Fax: +1-212-907-9476 Website: www.AETNinternational.com Email: intl.sales@aetn.com Booth Number: G3-18
Executives Attending Nancy Dubuc, President & General Manager, HISTORY and Lifetime Bob DeBitetto, President & General Manager, A&E Network and BIO Channel Michael Feeney, Senior Vice President, Corporate Communications Steve Ronson, Executive Vice President, Enterprises Christian Murphy, Senior Vice President, International Programming & Marketing Dean Possenniskie, Managing Director, Europe Mayra Bracer, International Content Sales Executive, Latin America
KOBUSHI
TOP EXECUTIVE
(Animation – 104 x 7’) Every night, after closing hours, a very strange phenomenon occurs in a Japanese restaurant. All the sushis, makis, temakis, come to life: they are the Kobushis. They all live in a Japanese village (in fact the bar of the restaurant). Inside this community live Toro, Tamago, Onigiri and Ebi, four sushis who have trained by Master Tako in order to become samurais. Their mission: defend the village from Neko, the stupid but determined porcelain cat bank who wants to eat them all.
A.R.T.!
(Animated Investigative Comedy - 52 x 13’) A.R.T. (Art Rescue Team) An investigative team secretly administrated by an international organization to fight against various traffickings linked to the worldwide art market. The A.R.T. team relentlessly (but with boundless good humor) tracks down forgers, looters, thieves and other criminals whose insatiable greed is fed by limitless imagination.
Sean Cohan, Executive Vice President, International
LIZ AND DICK
(Movies - 1 x 120’) Starring Lindsay Lohan, ‘Liz & Dick’ takes viewers behind the headlines of one of the great love stories of all time. Swarmed by paparazzi, Taylor and Burton’s love affair was played out entirely in front of the global press from the time they met on the set of the major motion picture Cleopatra, left their respective spouses, married and divorced, only to remarry and divorce once again.
Guys in Disguise
Compulsive Times
Armoza Formats 16 Ha’Arba’a Street, Tel Aviv 64739 Israel Tel.:+972–3–5408333 Fax: +972–3–5435752 E-mail: info@armozaformats.com Web: www.armozaformats.com Stand: LR2.03
Executives Attending Mihal Brezis, VP & Sales Anat Lewinsky, Sales Kelly Wright, Sales Ronit Shuler, Sales Elad Adelman, Development Ilana Gindis, Receptionist
TOP EXECUTIVE Avi Armoza, CEO
Guys in Disguise
Artear
Attraction Distribution
(Arte Radiotelevisivo Argentino S.A.) Lima 1261, C1138ACA, Buenos Aires, Argentina Tel.: +54 11 4306 0013 Fax: +54 11 4370 1403 E-mail: sales@artearinternacional.com.ar Web: www.artear.com Booth: 20.18
Executives Attending Julieta González, Sales Executive Daniel Zanardi, General Manager Adrian Schwartz Kirzner, Programming Manager Pablo Codevilla, Content Manager Eduardo Fernández, Production Manager Walter Sequeira, Acquisitions Manager
Shuttle Battle
(Game Show – 30-60’)
Back to the Date
(Factual Entertainment – 30’) Married couples consumed by their stressful lives are given a second chance to relive a memorable romantic moment in a makeover of the body and soul, a transformation that will take them back in time to their former selves.
Executives Attending Max Oliveras, Director of Sales and Acquisitions Chrystine Girard, Head of Format Licensing
TOP EXECUTIVE
Xiaojuan Zhou, President
Mariana Fernández, Sales Manager
Compulsive Times
(Tiempos Compulsivos) (Series – 14 x 60’) The Renacer Foundation. A therapeutic space for severe OCD outpatients. The experienced Dr. Ricardo Buso (Miras) is responsible for treating a group of outpatients with diverse severe ailments: Gerardo (Arengo) who’s a workaholic and has IAD (Internet Addiction Disorder); Ines (Peterson) an OCD hoarder with an eating disorder; Sofia (Gamboa) her body bears the scars and injuries she inflicts herself to silence her deeper pains, she suffers from DSH (Deliberate Self Harm); Teresa (Carra) and her MPD (Multiple Personality Disorder) always vying for one to prevail; and Esteban (De La Serna) the more complex case of them all, he’s a mythomaniac, a person with an irresistible impulse for lying and exaggerating, he is a psychopath with a brilliant mind. Dr. R. Buso and his loyal friend and colleague Ezequiel (Minujin) will try to bring relief to outpatients every time they gather for group therapy.
Family Film Collection (Family – 110 x 90’)
A world-acclaimed collection of award winning family films (eg ‘Fuchsia the Mini Witch’ in above image). 110 titles. 600+ awards. All rights.
CODE 37
(Crime/Police – 39 x 60’) Award winning police series featuring a fearless young female chief inspector who fights urban crimes as well as her personal demons. Ready-to-air and format. Chief police inspector Hannah Maes and her team are investigating a series of strange indecency offenses. When her private investigations gains momentum she loses herself completely…
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Five couples arrive at the airport for a dream vacation, but before boarding the plane they must compete in a three-stage trivia challenge that could land them in paradise…or the middle of nowhere!
5455 De Gaspe Avenue, Suite 803 Montreal, Quebec, Canada H2T 3B3 Tel.: +1 514 846 1222 Fax: +1 514 846 1227 E-mail: info@attractiondistribution.ca Web: www.attractiondistribution.ca Booth: 02.10
TOP EXECUTIVE
(Dating Show – 30’)
The dating show where one girl meets three potential suitors and will have to choose a winner without seeing their faces – or their entire bodies! Disguised in costumes, from bears to bumble bees, these guys will make her see that looks aren’t everything!
Family Film Collection
Life Goes On
The Lieutenant
Trust
ATV
Azteca
Banijay International
Abbasaga Mh. Ihlamur Yıldız Cd. Toprak Center Binası, No:8 Besiktas,34353, Istanbul, Turkey Tel.: +90 212 381 26 14 Fax: +90 212 227 83 88 E-mail: info@atvdistribution.com Web: www.atvdistribution.com Booth: 07.23
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
359 Goswell Road, EC1V 7JL London, United Kingdom Email: sales@banijayinternational.com Web: www.banijayinternational.com Stand: Banijay Tent, opposite the main entrance to the Palais
Executives Attending
Executives Attending
Marcel Vinay Jr., CEO Comarex Carmen Pizano, Sales, Latin America & Spain Jesica Stescobich, Sales Central America Martha Contreras: Sales Asia Adela Velasco: Sales Europe Raul Mendoza, Marketing
Sebastian Burkhardt, Head of Sales Fanny Baurdy, International Acquisitions Executive Luci Burnley, International Sales Executive Siobhan Herriott, Sales Executive
Executives Attending Burçin Akil, Content Sales Specialist Emir Düzel, Content Sales Specialist
TOP EXECUTIVE
88/TTV PREVIEW
‘Life Goes On’ portrays the hard lives of Grandfather İbrahim from Doğubayazıt who feels he would die if kept away from his lands, his son İsmail , the potter who has 2 wives and 7 children and in the broader sense it deals with the migration theme to a big city which results in the disintegration of the family, the fight for power among the family members and the concept of being co-wives. Ismail has 4 children from his first wife Kudret whom he was forced to marry and has 3 children from his second wife Cennet whom he fell in love with at first sight. As the story progresses, as İsmail no longer earns enough from pottery sales, he decides to migrate to İstanbul with the support of his eldest son Siraç and his daughter Zeliha who settled in İstanbul a few years before.
Karoline Spodsberg, Managing Director
Marcel Vinay Hill, Vice President International Sales
Life Goes On
(Hayat Devam Ediyor) (Drama Series – 32 x 90’)
TOP EXECUTIVE
TOP EXECUTIVE
Ziyad Varol, Content Sales Deputy Manager
The Lieutenant
(La Teniente) (Action Series − 24 x 60’) During an operation involving the rescue of kidnapped immigrants, someone posing as a sailor murders Lieutenant Juan Alejo a member of the Navy’s Special Forces unit. His brother, Nicolas, also a member of the Special Forces has the tragic misfortune of seeing his brother die in his arms. That same day Lieutenant Roberta Ballesteros graduates from the Special Forces training program and is named Juan Alejo’s substitute to the surprise of the whole platoon. Nicolas doesn’t understand how a novice can substitute his brother and neither does Captain Volante who cannot accept having a woman in the ranks. Roberta now has to prove that she has the training, ability and values to take part on the battlefield and in the Navy world. She faces missions that only the best prepared manage to complete. The lives of these heroes will be seen through Roberta’s activities as she shows that her strength has nothing to do with brute force.
Trust
(Game Show – Format) What is the price of your betrayal? In Trust two complete strangers must work together to correctly answer quiz questions and build up a substantial pool of cash winnings. But at any moment one of them could take all the money and run, leaving their partner with nothing! Filled with drama and suspense, ‘Trust’ draws on the fundamental dilemma that underlies human interaction: Should we align ourselves with others, or in order to succeed should we rely on ourselves?
Popstars
(Reality – Format) The original musical talent format revamped for a new generation of viewers! In the hunt for the nation’s next pop group sensation, Popstars focuses as much on the music as on the real lives of the contestants. What happens behind the scenes is as important as what happens on stage! Follow the exciting emotional journey from starry-eyed amateur to Popstar!
Outcast Kustoms
Pablo Escobar, the Drug Lord
House Hazards
CABLEready Corporation
Caracol Television
Cineflix Rights
98 East Avenue, Norwalk, CT 06851-5029 USA Tel.: +1 203 855 7979 Fax: +1 203 855 8370 E-mail: info@cableready.net Web: www.cableready.net Booth: R31.17
150 Alhambra Circle. Suite 1250 Coral Gables, FL, 33134 Calle 103 # 69b -43. Bogota, Colombia Tel.: 305-960-2018 (Miami) Tel.: 571 – 6430-430 (Bogota) Fax: +1 - 305-960-2017 (USA) E-mail: ventas@caracoltv.com.co Web: www.caracolinternacional.com Suite: 13.21
1st Floor, 1 Lorenzo Street, London, WC1X 9DJ, UK Tel.: +44 (0) 203 179 5050 Fax: +44 (0) 203 179 5051 E-mail: sayala@cineflix.com Web: www.cineflixrights.com Booth: R37.20
Executives Attending Lou Occhicone, Senior Vice President of Operations Peter De Jong, Vice President of Sales and Development Reess Kennedy, Director of Digital Media
Executives Attending
Executives Attending Sabrina Ayala, VP of Sales and Acquisitions, Latin America, Iberia, and Italy
Roberto Corrente, Sales Executive Berta Orozco, Sales Executive
TOP EXECUTIVE
TOP EXECUTIVE
TOP EXECUTIVE
Sabrina Ayala, VP of Sales and Acquisitions, Latin America, Iberia, and Italy
Lisette Osorio, Senior Director of International Sales
Gary Lico, President & CEO
House Hazards Outcast Kustoms
(Entertainment, Reality, Lifestyle – 6 x 60’) Kelvin Locklear, his wife April, and their expert team take on the biggest and baddest big rigs and RVs in the country and transform them into some of the coolest, one-of-a-kind rides ruling the highways and byways.
Bullied: You’re Not Alone (Documentary Series – 5 x 30’)
(Series − 63 x 60’)
This mega production, never made before in Colombian television, with a staging, technical specifications and artistic quality at the level of the best worldwide productions, tells the story of what without a doubt, everybody wants to know: the details of the path that turned a common man into the drug lord of the drug trafficking business, as well as into one of the richest and most cruel criminals of the whole world. Based on the testimony of those who, in one way or another, had something to do with this genius of evil, this series portrays the life of Pablo Escobar from its beginnings, when a child who lived in a calm town close to Medellin is able to - through some contradictory values and with perverse and intuitive malice and intelligence - quickly become the boss of the world wide drug traffic business, influence the most important spheres of the Colombian society of the moment and, using terror and death - his great instruments of power - dress in mourning and bring down a whole nation, changing forever the culture and the customs of our country, and perhaps of the whole world.
(Science/Entertainment/Format - 14 x 30’) Enter the world of domestic disaster in ‘House Hazards’, the series that puts potential home hazards to the test in a real house. Using state-of-the-art technology and scientific experiments, ‘House Hazards’ is a super-sized look at every day household dangers.
Karma’s a B*tch (Crime - 6 x 60’)
On ‘Karma’sa B*tch’, Sopranos star Steve Schirripa introduces you to those who fantasize about revenge, and then get even. This provocative new series shows just how far some people are willing to go to get even.
Wives with Knives (Crime - 6 x 60’)
‘Wives with Knives’ features gripping stories of women who fought at close range. Whether motivated by greed and jealousy or triggered by years of physical abuse, each episode reveals the traumatic events that lead up to these deadly confrontations.
TTV PREVIEW/89
This documentary series provides a platform for people across the country to tell their stories on bullying, while gaining perspective from both the bullies and the bullied, as well as insight from numerous experts, authors and psychologists.
Pablo Escobar, the Drug Lord
Popland!
Isabel
Comarex 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 Marcel Vinay Jr., CEO Comarex Carmen Pizano, Sales, Latin America & Spain Martha Contreras, Sales Asia Adela Velasco, Sales Europe Jesica Stescobich, Sales Central America Raul Mendoza, Marketing
TOP EXECUTIVE
Corporación Radiotelevisión Española (RTVE) Prado del Rey, Avenida Radio Televisión, 4 28223 Pozuelo de Alarcón, Madrid, España Tel.: +34 91 581 70 00 Fax: +34 91 346 30 55 Web: www.rtve.es Booth: R – 36.07
Executives Attending Rafael Bardem, Head Of Sales Mª Jesús Pérez Gómez, Head Of Channels Sales Mª Victoria Altemir de Mergelina, Deputy Director, Operations and Events
TOP EXECUTIVE
Marcel Vinay Hill, Vice President International Sales
Popland!
(Teen Telenovela − 70 x 60’) Being a paparazzi can breed envy and evil all around you. ‘Popland!’ is the story of a small-town girl who travels to the big city to become a professional photographer. Amid celebrities and endless parties, she will find a love that turns her life around.
Grachi
90/TTV PREVIEW
(Teen Telenovela − First Season 75 x 60’ /Second Season 81 x 60’/Third Season 50 x 60’) ‘Grachi’ is a story of a young girl who must learn to use her new-found magical powers all while coping with school, boys and growing up. Her rivalry with classmate Matilda for the affection of heart-throb Daniel sets the stage for a bewitching battle of spells that is sure to enchant and captivate viewers.
Mademoiselle Zazie
Rodolfo Domínguez Alfageme, Commercial Director
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.
Real Madrid - The Best Football Club (Documentary − 6 x 42’)
An exciting tour in 6 episodes (46’ approx.), of more than 100 years of success and titles of de biggest club in history.
Cyber Group Studios 7 rue Letellier 75015 Paris, France Tel.: +33 140 58 14 43 Fax: +33 1 40 58 14 53 Email: sales@cybergroupstudios.com Website: www.cybergroupstudios.com Booth: R 31.13.
Executives Attending Pierre Sissmann, CEO Silene Chaves, International Sales Executive Antonio Macipe, International Sales Executive
TOP EXECUTIVE
Carole Brin, Head of International Sales and Acquisitions
Mademoiselle Zazie
(CGI Animation – 78 x 7’ HD). Is produced by Cyber Group Studios and Scrawl Studios for France 5. The series, resolutely contemporary and packed with comedy, tells about kids’ 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 year-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 grownups, and want to understand it. They will try to do so… but will shake it up to make it all their own ! They will solve problems in a way we, as grown-ups, would never expect them to! Zazie and her friends make us laugh and that’s great!
Violetta
New York
Lynch
Disney Media Distribution
Dori Media Group
Fox Telecolombia
Two Alhambra Plaza 9th floor, Coral Gables, FL33134, USA Tel.: (+1) 305-567-3785 Fax: (+1) 305-774-3913 Website: www.daet.tv Suite: RB.30
Seefeldstrasse 133, CH-8008 Zurich, Switzerland Tel.: +41-43-817-705 Fax: +41-43-817-7055 E-mail: sales@dorimedia.com Web: www.dorimediadistribution.com Booth: 12.02
Carrera 50 # 17-77 Bogotá, Colombia Tel.: 571 4174200 Fax: 571 4174200 Ext. 130 E-mail: ana.barreto@foxtelecolombia.com Web: www.foxtelecolombia.com
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
Executives Attending Leora Nir, VP of TV Channels, Dori Media Group Elena Antonini, VP of Sales, Dori Media Distribution Argentina Andres Santos, VP of Sales, Dori Media America Revital Basel, CEO, Dori New Media Tali Fink, Director of Marketing, Dori Media Group Yair Sklan, VP Marketing, Dori Media Darset
TOP EXECUTIVE
Violetta
Nadav Palti, President & CEO, Dori Media Group
(Live Action – 80 x 45’) ‘Violetta’ tells the story of a lonely and very talented teenager who returns to her hometown of Buenos Aires. In her new life she finds true friends and love, as she discovers her innate talent and passion for music and, in turn, builds and faces the great and interesting experience of growing up.
The Amazing Race
(Reality Show/Adventure – Season 4)
El Jardin de Clarilú
(Animated Series/Live Action) In each episode, the adventure begins when Clarilú reads a letter from a mysterious writer who gives her clues about his/her identity. With the help of the audience, she embarks upon a quest to solve the mystery.
(Crime Drama – 50 x 30’) The son of the head of a notorious crime family arrives in New York, escaping his past and seeking a new future. He rejects the subservience of the badly exploited foreign workers and is determined to change it.
Galis
(Teen Series - 60 x 30’) A mysterious donation sends three lucky foster home kids to join an elite summer camp in a faraway forest. As they try to fit in with the snobbish kids and weather stormy loves, they discover it wasn’t luck that brought them there but a sophisticated scheme that leads to a larger than life adventure. Their incredible search for a magical, mythological treasure brings them to find their true destiny and place in the world which will change their lives forever.
Samuel Duque Duque, VP de Producción y Operaciones Ana María Barreto, Directora Comercial Luisa Harry, Ejecutiva de Ventas
TOP EXECUTIVE
Samuel Duque Rozo, Presidente y CEO
Lynch
(Series - Season 1: 13 x 60’/Season 2: 9 x 60’) To begin a new life, some people need money, or love, or even recognition, but others need to be dead. After three generations in the business, the Lynch funeral parlor is just about to be buried, with financial problems that seem unsolvable. Nevertheless, for its owner, Geronimo Lynch, the lack of money is far from being his biggest problem: now he must deal with Isabel, the woman he has loved forever, who left him with their son, now a rebel teenager, 14 years ago. Isabel Reyes has only one thing on her mind: to fake her own death so she can free herself from a dark past, but to do so, she needs Lynch´s help. She will create and upheaval in the lives of everyone working or living at the funeral home. The whole business will change: they will start creating second chances in life for those who really deserve to die and make a fresh start.
TTV PREVIEW/91
‘The Amazing Race’, Season 4: a reality television competition between 12 teams of two with a pre-existing relationship who race around Latin America for a US$250,000 prize.
New York
Executives Attending
My Problem With Women
Mr Selfridge
Frecuencia Latina International
FremantleMedia Enterprises
ITV Studios Global Entertainment
20900 NE 30th Ave. Suite 853 Aventura, Fl, 33180 Tel.: (954) 457-1200 Fax (954) 457-1213 E-mail: pjasin@frecuenciatv.com.pe Web: www.flinternational.tv Booth: 09.07
1 Stephen Street, London, W1T 1AL Tel.: +44 (0)20 7691 6000 Web: www.fremantlemedia.com Stand: Riviera Beach, RB1
LTVC Upper Ground, London, SE1 9LT Tel.: +44 20 7491 1441 Web: www.itvstudios.com Stand: R.38.01
Executives Attending
Executives Attending
Executives Attending Patricia Jasin, International Sales Director
TOP EXECUTIVE Miki Ivcher, CEO
My Problem With Women (Comedy - 13 x 60’ HD)
Local adaptation of the Peruvian format ‘My Problem with Women’. Jose is a single man, who is worried about his inability to make a commitment. Because of this, he accepts to undergo a therapy recommended by his psychologist. Each session then becomes a reflexive catharsis of his complicated love life. Casted by the successful local talent Mariano Martinez.
Stories Behind Death (Docudrama - 30 x 60’ HD) 92/TTV PREVIEW
Wizards vs Aliens
The series recreates true stories, which happened hundreds of years ago. Each episode starts with the most interesting epitaph found on graves in local Museums and Cemeteries. After a careful investigation the stories are recreated by an excellent local cast. This are cases never told before, full of suspense, enigmas and information that has never been disclosed.
Mel Alcock, CEO FremantleMedia Enterprises, EMEA Justin Hatfield, SVP Sales, UK, Eire & Scandinavia Jamie Lynn, SVP Distribution, Southern Europe, Middle East and Africa Hendrik Van Daalen, SVP Sale, Spain, France, Italy & Portugal Keith Hindle, CEO FremantleMedia Enterprises, Americas Sheila Aguirre, SVP Sales & Development, Latin America & Hispanic USA Lisa Honig, SVP Program Distribution, North America Paul Ridley, EVP International Distribution & Home Entertainment, Asia-Pacific Ana Garanito, Director of Scripted Programming, Global Content, EMEA & APAC Jeff Tahler, SVP Acquisitions & Development, Americas Kate Schlomann, EVP Brand Management & Marketing
TOP EXECUTIVE
David Ellender, Global CEO
Wizards vs Aliens
Flavio Medeiros - VP Sales, Latin America & US Hispanic Augustus Dulgaro - SVP, Asia Pacific
TOP EXECUTIVE
Tobi de Graaff, Director, Global Television Distribution
Mr Selfridge
(Drama - 1 x 90’ + 9 x 60’) Created by Emmy and BAFTA award-winning writer Andrew Davies and starring Jeremy Piven, ‘Mr Selfridge’ brings to life the spectacular rise and fall of the American retail genius in a lavish and seductive period drama set in glamorous, bustling London.
Mrs Biggs
(Drama - 1 x 90’ + 3 x 60’ + 1 x 90’) From headmaster’s daughter to wife of a criminal, the story of Charmian Biggs’ marriage to an infamous fugitive Ronnie Biggs is a moving tale of dishonour, deception and love. An inspiring true story of passion and sacrifice from the makers of the BAFTA award-winning drama ‘Appropiate Adult’.
(Kids & Family Entertainment - Series 1: 14 x 30’/Series 2: 12 x 30’)
Surprise Surprise
Follow young wizard Tom and his superbrainy friend Benny, as they battle the alien Nekross intent on devouring the most precious thing in the universe. Magic!
The classic family entertainment juggernaut ‘Surprise Surprise’ is back. Our well-known host, with the help of some celebrity friends, will be surprising the nation in a series of funny, exciting and tear jerking moments that guarantee appointment-to-view TV.
(Format/Entertainment - 60’ Slot)
Kuzey - Guney
Barça Toons
Left on the Shelf
Kanal D
Ledafilms
Mediabiz
Dogan TV Center 34204 Bagcilar, Istanbul, Turkiye Tel.: +90 212 4135111 Fax: +90 212 4135204 E-mail: sales@kanald.com.tr Booth: 17.10
Virrey Olaguer y Feliu 2462 – Piso 3 – Buenos Aires (C1426EBB) - Argentina Tel.: +5411 4788 5215 Fax: +54 11 4788 5220 Web: www.ledafilms.com
Leandro N Alem 1026, Piso 5, Capital Federal, Buenos Aires C1001AAS, Argentina Tel.: +1-310-765-4094 E-mail alex@mediabiz.com.ar / virginia@mediabiz.com.ar Web: www.mediabiz.com.ar Booth: 06.23
Executives Attending Kerim Emrah Turna, International Sales Executive Ezgi Ural, International Sales Executive Erol Amac Us, International Sales Executive
Executives Attending Moira Mc Namara, Gerente de Ventas Viviana Lisanti, Gerente de Adquisiciones Alejandro Leda, Adquisiciones
TOP EXECUTIVE
TOP EXECUTIVE
Barça Toons
‘Kuzey- Güney’ is the story of two brothers’struggle to survive in their own worlds. They have different ambitions, different paths...They have different strategies to reach their goals. The only thing the two characteristically opposite brothers have in common is Cemre, the girl they are both in love with... Even though they have very different behaviours and characters, two brothers can somehow manage to get along. The events which destroy two brothers’ life begin after Cemre and her coiffeur mother move into the neighborhood.
Tıme Goes By
TOP EXECUTIVE
(Animation – 13 – 15’)
Alex Lagomarsino, CEO and Partner
Left on the Shelf
(Dramatic Comedy Series – 35 x 60’) A football team, the Barça-Toons, the alter egos of the FC Barcelona players. They are a perfect example of a team; both as sportsman and with a sense of humour. Valdés, Puyol, Piqué, Xavi, Iniesta, Messi, Fábregas … and their trainer, Pep Guardiola accept their fame on a daily basis without becoming snotty and distant. They draw positive conclusions from their fun adventures. The opponent team is Sorong and difficult to beat. How do they manage to win? By playing good football. Hpw do they achieve this? By sticking together. Delusions of grandeur? None. Effort? A huge amount. Each chapter reveals the team improving.
The Expatriate
(Action/Thriller – 90’) An ex-CIA agent and his estranged daughter are forced on the run when his employers mark them both for termination as part of a wide-reaching international conspiracy.
Three sisters, haunted by memories of their dead mother, will try to break the spell of bad love affairs that seems to be on them. They might be single, but never alone. When Gloria, their mother, died, Susi, Virgi and Malena didn’t feel sad; but even relieved. Nowadays these grown up women live together in their childhood home. They aresmart, beautiful, young. So why do they have no luck on love relationships? That’s a mystery.
Nine Moons
(Telenovela - 80 x 60’) Dr. Pedro Laurenti and Dr. Claudia Miller not only share their office, but also their lives. These two outstanding doctors treat cases of teenage pregnancy, assisted fertilization, and problems of incest and sexual harassment. They examine the most sensitive issues of our times, and at the same time, have the challenge of bringing the expected children to the world.
TTV PREVIEW/93
Year 1967... Long distance Captain Sailor, Ali Akarsu spends most of his time away from his family. In the mean time his wife Cemile takes care of their four children. She becomes both a mother and a father figure to their chidren while her husband is away. One day Ali finally comes back home from his journey and Cemile finds a letter in Ali’s pocket which will lead to many events that will make the Akarsu family’s life upside down... A secret love affair with a foreign woman.
Virginia Berberian, International Business Director
Pedro Leda, President
Ozlem Ozsumbul, Head of Sales & Acquisitions
Kuzey - Guney
Executives Attending
Gormiti
Mad Kids
Mondo TV Via Brenta, 11 - 00198 Rome Italy Ph.: +39 06 86323293 Fax: +39 06 86209836 Email: mondotv@mondotv.it Web: www.mondotv.it Stand: 23.02/ 25.01
Executives Attending Gian Claudio Galatoli, Production Director Matteo Corradi, Senior VP of International Sales Micheline Azoury, Head of International Sales & Brand Manager Alessandro Venturi, Sales Manager Theo Kouroglou, Sales Manager Maria B. Fois, gen. man. Mondo TV Spain Guido Berté, Licensing Manager Mondo Cons. Prod Roberta Puppo, International Licensing Manager
Summer Gala Concert Grafenegg 2012
NOVAVISION PROMOTION INTERNATIONALE 12, rue Vivienne 75002 Paris France Tel.: +33 1 75 47 80 70/+33 1 75 47 89 27 Fax: +33 1 75 47 80 74 Email: veronique.d@novavision.fr/ assistante.projet@novavision.fr Web: www.novavision.fr Booth: #R3204
Executives Attending Philippe Deleplace, Strategy & Development Consultant Véronique Ledidroux, Marketing Assistant Anta Holubec, COO Lucy Le Gruiec, Sales executive Charles Gebenholtz, Sales executive Allison Glasgow-Lafontaine, Sales executive
ORF-Enterprise Wuerzburggasse 30, 1136 Vienna Tel.: +43 1 87878-13030 Fax: +43 1 87878-12757 E-mail: contentsales@orf.at Web: contentsales.ORF.at Booth: 21.01
Executives Attending Armin Luttenberger, Sales Director TV Johannes Stanek, Sales Manager TV Rudolf Kaiser, Sales Manager TV Monika Kossits, Sales Manager TV Maximilian Wenzel, Sales Manager DVD / VOD
TOP EXECUTIVE
Marion Camus-Oberdorfer, Head of Content Sales International
TOP EXECUTIVE
TOP EXECUTIVE
François-Xavier Poirier, CEO
Orlando Corradi, President & CEO
Summer Gala Concert Grafenegg 2012 (Classical Music – 90’)
Mad Kids Gormiti
94/TTV PREVIEW
(Animation Series - 52 x 26’ - HD - 3D)
Three thousand years ago, the Island of Gorm faced its gravest hour. The dreaded Magmion was at full power, and his rage threatened to consume the entire island, and every living Gormiti along with it! He was repelled thanks to the power of the Invincible Lords of Nature and their mysterious benefactor, the Old Sage.
Virus Attack (Animation Series - 52 x 13’) Hundreds of years ago, the inhabitants of a pacific town where kidnapped by a supreme and evil mind to be transported to planets used as incubation machines, where they would be mutated into monstrous viruses in order to conquer the Earth.
(Family Entertainment - 25 x 26’) They are pure, they are innocent but they can turn into horrible little sweet creatures. With their cute looking faces, they can easily turn their victims crazy and helpless.
Mad Girls
(Family Entertainment - 25 x 26’) They are so sweet, so gentle and fragile that no one would dare to shout at those delicate creatures. Using their instinct, these women will play those clichés to perfection.
Fast Mad & Explosive
(Family Entertainment - 25 x 26’) Outrageous footage captured on hidden video - Funny or shocking... but always real! High-speed pursuits, extraordinary events...
This year’s concert of the “Tonkünstler-Orchestra” takes place in June and like all other Grafenegg concerts will not fail to impress. This major musical event at the beginning of the Grafenegg festival has become a by word festive joie de vivre in recent years. Guesting at the “Wolkenturm” are Joyce DiDonato, mezzo-soprano, Michael Schade, tenor and Vadim Repin, violist.
Fast Forward
(Crime TV Series - 40 x 45’) Angelica Fast is in her mid-thirties, a divorced single mother – and a successful Investigator at Vienna’s criminal investigation department. The good-looking young woman handles the balancing act between her job and parental duties with humour. Even if her teenage twins keep her on her toes, she goes all out for the pursuit of criminals.
Rachael Ray’s Week In a Day - Season 1 & 2
Air Force One Is Down
Masks
Passion Distribution
Power Corp
Record TV Network
182 Hercules Road, London, SE1 7LD Tel.: +44 (0)207 981 9801 Fax: +44 (0)207 981 7801 Email: info@passiondistribution.com Stand: H4.30
43 Gresse Street, London, W1T 1QX. United Kingdom Tel.: +44 (0) 202 323 0070 Fax: +44 (0) 207 323 0060 E-mail: info@powcorp.com Web: www.powcorp.com Stand: R29.23
Rua da Várzea, 240 - Barra Funda, São Paulo-SP, Brasil. CEP: 01140-080 Tel.: +55 11 3300-5468 Email: emendes@sp.rederecord.com.br Website: www.recordtvnetwork.com Stand: 05.02
Executives Attending
Edson Mendes, International Sales Manager
Executives Attending Emma Simpkins, Director Of Sales Nick Rees, Managing Director Anita Barnard, Sales Manager Maria Ishak, Senior Sales Manager Beatrice Rossmanith, Sales Manager Rebecca Thomas, Sales Manager Fraser Cameron, PR & Marketing Manager Sophie Halton, Assistant to CEO Arabella Field, Junior Sales Executive
TOP EXECUTIVE
Andrew Whiteman, Head of Sales Planning & Operations Steve Turney, VP, Sales & Acquisitions Georgina McNeilly, VP, International Sales Jose “Pepe” Echegaray, Sales, Latin America Adam Jones, Marketing Manager Nadine Kaminsky, Executive Assistant to CEO
TOP EXECUTIVE
Sally Miles, CEO
Rachael Ray’s Week In a Day - Season 1 & 2
Susan Waddell, CEO
Air Force One Is Down (Mini Series - 2 x 120’)
The woman who taught America how to make a meal in 30 minutes is back with an even bigger promise: one day of cooking and up to five days of eating! In every episode, Rachael will show viewers five meals they can put together in a single day. So when you come home from a long day at work, the hard work in the kitchen’s already done. Using the recipes, strategies, and tips from Week in a Day, viewers can eat well every night – even on those days when the clock is working against them.
A fearless rogue soldier who makes his own rules, a former general driven by vengeance and the most powerful woman in the world become pawns in the deadliest contest of wills to ever be played on the world stage. The game begins now.
Bomb Girls
(Mini Series - 6 x 60’) During World War II, remarkable women of all walks of life put their lives at risk in munitions factories, building bombs for the front. Newly liberated from social and cultural restrictions, these women embraced their newfound freedom, changing their lives and the world around them forever.
TOP EXECUTIVE
Delmar Andrade, International Sales Director
Masks
(HD Soup opera) Maria is Octavio’s wife, a rich landowner from MatoGrosso do Sul. She is kidnapped along with her son Tavinho while returning from a therapeutic cruise to cure her postpartum depression. A desperate Octavio follows the trail of the supposed kidnappers and does not restrain himself from getting his family back. While searching for clues, the landowner encounters various obstacles at first and can’t seem to find his family. But he discovers that Maria and Tavinho’s kidnapping is fruit of a mysterious criminal organization under the command of a mysterious man named Big Blond, an entrepreneur that uses a code name to maneuver in the high echelons of power. Octavio’s great challenge during the story is finding people he can trust and through them, find Maria and his son. A ship serves as the background to the most important events. Emotion filled events with plenty of revelations. The fantasy inducing atmosphere, brings about the use of social masks, in order for them to act out their dreams and interests, key points in the development of the plot.
TTV PREVIEW/95
(Food Series – 26 x 60’)
Executives Attending
Mighty Mighty Monsters
11-11
SHAFTESBURY
Snap TV
SOMOS Distribution
163 Queen St East, Suite 100, Toronto, Ontario, Canada M5A 1S1 Tel.: 416-363-1411 Fax: 416-363-1428 E-mail: mailbox@shaftesbury.ca Web: www.shaftesbury.ca Stand: R27.12
Zapata 286, Buenos Aires, Argentina Tel.: +54 11 4775 7145 Email: vfanego@snaptv.tv Web: www.snaptv.tv Booth: Riviera Sea View # RSV 46
2601 South Bayshore Drive Suite 1250. Coconut Grove, Florida, 33133 USA. Tel.: +1 786 220 0440 Fax: +1 305 858 7188 E-mail: lvillanueva@somostv.net Web: www.somosdistribution.net Booth: 09.14
Executives Attending Scott Garvie, SVP, Business & Legal Affairs Shane Kinnear, SVP, Sales & Marketing Adam Haight, SVP, Scripted Content Katherine Wolfgang, VP, Communications Jay Bennett, VP, Digital/ Creative Director, Smokebomb Entertainment Ryan St. Peters, Director, Sales Rebecca Herr, Marketing Executive
TOP EXECUTIVE
Christina Jennings, Chairman & CEO
Mighty Mighty Monsters (Animated Kids Comedy – 2 x 44’)
These two animated specials revolve around a group of classic movie monster kids – Frankie, Gunnar and Vlad – who are expelled from monster school and sent to a human immersion program at a “normal” middle school, where they must try to fit in. 96/TTV PREVIEW
You’re So Cupid!
State of Syn
(Science Fiction Animation – 10 x 5’) This futuristic sci-fi noir motion novel for broadcast, web and mobile, and available in 3D, explores the mystery surrounding a global technology corporation that is manufacturing a highly addictive new sensory experience.
Executives Attending Ezequiel Olzanski, Director of International Sales & Distribution, Latin America Fernanda Sancho, Creative Director
Executives Attending Carlos Abascal, VP Business Development
TOP EXECUTIVE
TOP EXECUTIVE
Ariel Tobi, President
You’re So Cupid!
(Family-Teen/Fantasy - 93’) Fraternal twin sisters Emma and Lilly are as different as night and day. Emma would rather be riding a horse than anything else in the world. While Lilly loves to be left alone to curl up with a good book. Inseparable since the day they were born, Emma and Lilly have an insatiable desire to play matchmaker, even though they’ve never fallen in love themselves. Emma and Lilly find out their matchmaking skills are not just a gift from heaven, but rather because their father is actually Cupid (yes the guy who shoots bows and arrows). As they enter their senior year in high school, Emma and Lilly finally fall in love. Life gets complicated when they discover they’re in love with the same guy and they become bitter rivals as they try to win his affection.
Beware The Gonzo
(Family/teen Comedy - 94’) Eddie “Gonzo” Gilman is starting a revolution. When the wild-eyed rebel journalist is ousted from his prep school’s newspaper by its überpopular editor, Eddie fronts an underground movement to give a voice to all the misfits, outcasts, and nerds. Soon the power of the press is in Eddie’s hands... but will he use it wisely?
Francisco Villanueva, Vice President & COO
11-11
(Telenovela – 75 x 45’) Kike, 14, has a passion for cutting-edge technology-and that passion has turned him into a true expert when it comes to inventing, enhancing or repairing all sorts of mechanical and electronic gadgets. This overpowering attraction to technology becomes especially important when he and his family move into Apartment 11-B in Building 1111, a mysterious structure that is not really a building but rather a unique device designed to make dreams come true, created by an eccentric architect/inventor/philosopher named Don Leonardo. Thanks to the building’s special qualities, whenever Kike falls asleep he has the ability to materialize as Enrique, an adult version of himself that can actually interact with the real world like any other person.
Mixed Martial Arts (Sports – 80 x 45’)
The full contact sport that is attracting audiences worldwide. A full catalog of fights plus new shows produced every two weeks. Combines all styles of full contact disciplines (box, wrestling, judo, jiu-jitsu, tae kwan do and Muay Thai.
Out of the Shadows
Candy Love
Looper
Sullivan Entertainment
Telefe International
Telefilms
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
Prilidiano Pueyrredón 2989 2nd. floor (B1640ILA) Martínez, Buenos Aires, Argentina Tel.: (5411) 4102-5810 Fax: (5411) 4587-4349 E-mail: sales@telefeinternational.com.ar Website: www.telefeinternational.com.ar Booth: RSV 14
Av. Libertador 1068 PISO 11. Buenos Aires, Argentina. Tel.: 5411 5032 6000 Web: www.telefilms.com.ar Stand: 09.05
Executives Attending Trudy Grant, President and Executive Producer Sharon Lee, Manager of Sales and Acquisitions
Executives Attending
Executives Attending Ricardo Costianovsky, CEO Humberto Delmas, Sales Manager Alejandro Carballo, Sales Manager
Fernando Varela, Head of International Business
TOP EXECUTIVE
TOP EXECUTIVE
TOP EXECUTIVE
Tomás Darcyl, President
Fernando Varela, Head of International Business
Kevin Sullivan, CEO
Looper
(Documentary – 1 x 60’ HD)
(Telenovela - Approx. 150 x 1 TV Hour HD)
Through a melding of innovative scientific techniques and art connoisseurship, completely different paintings and important clues about the artists themselves are being uncovered under existing masterpieces by Rembrandt and van Gogh by materials scientist Dr. Joris Dik. Follow Dik, a Dutch “Indiana Jones”, on an ubiquitous quest that takes him from searching for a piece of the cross of Christ to the attribution of a “lost” Rembrandt painting in this exciting new documentary narrated by Donald Sutherland.
‘Candy Love’ is the love story of four couples, four generations, and four kinds of love that are completely different but equally beautiful and intense. Love that will have to go through many tests before coming to fruition. It is two worlds crashing: The “popular” and the “rich”. On the one hand, the story of a family that loses its patriarch, 3 sisters and a mother, a candy factory, “Bandi Candy” that is about to go bankrupt and a legacy that is threatened by a real estate development. On the other hand, two men who need to collect money to fulfill their dreams and who will enter the Bandis’ life as drivers of the family and who show them it is worth fighting for your dreams, because Marcos and Julian will not stop until they go back to the racing world and the car sponsor will be none other than “Bandi Candy”. They will open the Bandis’ eyes, because they were being betrayed by their own people.
(Action- Sci Fi) Lots of action in this film starring Bruce Willis and Joseph Gordon-Levitt. A criminal organization in the future through time sends the murderers to kill the last version of themselves.
The Master (Drama)
Starring Philip Seymour Hoffman. A 1950sset drama centered on the relationship between a charismatic intellectual known as “the Master” whose faith-based organization begins to catch on in America, and a young drifter who becomes his right-hand man.
The Possession (Thriller)
A young girl buys an antique box at a yard sale, unaware that inside the collectible lives a malicious ancient spirit. The girl’s father teams with his ex-wife to find a way to end the curse upon their child.
TTV PREVIEW/97
Out of the Shadows
Candy Love
Precious Rose
True Love
Telemundo Internacional
Televisa Internacional
Tricord Media
2745 Ponce de Leon Blvd. Coral Gables FL 33134, USA Tel: (305) 774-0033 Fax: (305) 774-7372 E-mail: Cynthia.Carnivali@nbcuni.com Web: www.telemundointernacional.com Stand: A0.21
6355 NW 36th Street Miami, FL. 33166 USA Tel.: +1 (786) 265 2500 Fax: +1 (786) 265 2269 Web: www.televisainternacional.tv Stand: RSV.02
1295 North Service Road, Burlington, Ontario, L7R 4M2 Tel.: +1 905 635 0968 Fax: +1 905 332 6655 E-mail: info@tricordmedia.ca Web: www.tricordmedia.ca Booth: Canada Pavilion 00.01
Executives Attending Karen Barroeta, SVP International Cable & Marketing Xavier Aristimuño, SVP Sales & Business Development, Asia Esperanza Garay, SVP Sales & Acquisition, Latin America Luis Daniel Capriles, VP International Digital Media Sales Karina Etchison, VP of Sales, Europe, Africa and Middle East Melissa Pillow, Sales Director, Central and Eastern Europe Joysette Rivera, Sales Director, Central America, Canada, Ecuador & Caribbean
TOP EXECUTIVE
Marcos Santana, President
Precious Rose
(Rosa Diamante) (Telenovela - 130 x 60’)
98/TTV PREVIEW
The Nutcracker
Abandoned at a young age, Rosa Puentes and Eva Sotomayor grew up considering themselves each other’s only family. When Eva falls in love with a man who leaves her heartbroken and pregnant, Rosa promises to help raise the child and never to forget the deception of his father. An accident will leave Eva unable to return home to claim her grandfather’s inheritance, and Rosa will assume Eva’s identity to enter the Sotomayor nucleus and protect what belongs to her friend, taking revenge over those attempting to run the family’s empire.
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 of Europe
Executives Attending Katherine Lawler, Manager of Finance
TOP EXECUTIVE
Jan Di Clemente, Director License Sales
TOP EXECUTIVE
Fernando Pérez Gavilán, VP of Televisa Internacional
The Nutcracker True Love (Telenovela)
The story begins with a kidnapping attempt to Victoria Balvanera, a huge landowner and owner of a well-known advertising agency. Jose Angel, who happened to be in the family estate applying for the foreman´s job, saves her from the criminals. After the quarrel is over, Victoria decides to hire him as her bodyguard; the time they spend together everyday causes that true love grows between them. However, their love is impossible because both of them are married. Victoria is Nelson Brizz’s wife, who married her out of convenience; as a result of this marriage, her daughter Nicole was born. Victoria, Jose Angel, Nicole and Francisco will have to overcome the obstacles from destiny which will be the only thing that will join them and make them realize their true loves.
(Ballet – 120’ – 1080p HD) Delight in the beauty of this timeless classic, showcasing the superb talent of worldrenowned National ballet of Cuba featuring the Canadian Ballet Youth Ensemble. Captured in stunning HD with 5.1 audio, this 2012 production features engaging interviews with the stellar cast and children from the production.
Pop Corn TV
(Comedy – 170 x 30’ – 1080p HD) Laughter is the best medicine and ‘Pop Corn TV´ brings you your weekly dose of smiles and laughter,with hidden camera antics, bloopers, comedy sketches, home videos and more.
Family Movies (MOW +100 Titles)
Tricord’s library of movies of the week include movies with celebrities such as Joan Cusack, Kristen Bell, Dean Cain, Ed Asner and many more family favourites. All our titles are family friendly with high quality production and casting.
Everything’s Rosie
Rosario
The 12 Dogs of Christmas II: Great Puppy Rescue
V&S Entertainment
Venevision International
Vision Films
&S House Ballinger Road Lee Common Great Missenden HP19 9LA Tel.: 00 44 (0)1494 837881 E-mail: kirstie@vandsent.com Web: www.vandsent.com Stand: R28.13
121 Alhambra Plaza, Suite 1400, Coral Gables, FL 33134, USA Tel.: 305.442.3411 Fax: 305.446.4743 Email: info@venevisioninternational.com Website: www.venevisioninternational.com Stand: 14.02
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 Booth: R29.33
Executives Attending
Executives Attending
Manuel Perez, Vice President & CFO of Venevision International (VVI) Cesar Diaz, Vice President of Sales (VVI) Miguel Somoza, Regional Sales Director (VVI) Daniel Rodriguez, Sales Director, Latin America (VVI) Cristobal Ponte, Exclusive Independent Representative for Europe, Africa & M.E. Juan Julio Baena, President, Vision Europa, Exclusive Independent Representative for Spain
Lise Romanoff, Managing Director & CEO Worldwide Distribution Vincent Tola -, International Sales & Acquisitions
Executives Attending Julie Quirke, International Sales and Licensing Director Kirstie Brandon, Director of International Programming
TOP EXECUTIVE
Vickie Corner, Managing Director
Everything’s Rosie
TOP EXECUTIVE
(78 x 11’)
‘‘Everything’s Rosie’’ is a vibrant HD CGI preschool series aimed at girls and boys aged 3 to 6 years. The series centres on Rosie, a little girl with a taste for adventure and a cast of equally lovable characters who together embrace everyday challenges in a fun, imaginative and positive way. Rosie and her friends are inspiring role models offering friendhsip, laughter, discovery and timeless life lessons to pre-schoolers.
Ebb & Flo 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.
Rosario
(Telenovela – 120 x 45’) Rosario, a young and brilliant law student, and Alejandro, a prominent veteran attorney, fall deeply in love and start planning a future together. But fate throws before them an unexpected torment when Rosario discovers that Alejandro is the same man her mother was to marry 21 years earlier. Now lies from the past resurface, disrupting the lives of everyone involved.
Adam Wright, Executive Vice President, International Sales & Acquisitions
The 12 Dogs of Christmas II: Great Puppy Rescue (Family – 103’)
Two teens find themselves in a race against time and impossible odds to rescue a dog orphanage from an unscrupulous tycoon. This is an action-packed, fun-filled, adventure filled with kids, dogs and many other wonderful surprises.
Elf-Man
(Family – 90’) When Santa leaves an Elf behind on Christmas Eve, the Harper kids find out his true identity as a super-hero Elf-Man. Together they must save their Dad’s new invention from a bumbling gang of thieves, and enjoy the best Christmas, ever.
TTV PREVIEW/99
(26 x 5’)
Miguel Dvorak, President & COO of the Cisneros Group of Companies
TOP EXECUTIVE
The Following
RAW
Warner Bros International Television Distribution Latin America 4000 Ponce de Leon Blvd. Suite 490 Tel.: (786) 999 7256 Fax: (786) 999 7260 Booth: Stand RB.50 Majestic Beach Restaurant & Pier
Executives Attending
World Wrestling Entertainment International 5 Jubilee Place, London, England SW3 3TD Tel.: +44 (0) 20 73497140 Website: www.wwe.com Suite: R31.37
Executives Attending Emilio Revelo, Gerente, TV Internacional, América Latina
General Manager Tomas Davison, Director, Sales Peter Langenberg, Vice President, Business Management (Warner Bros. International Production) Al de Azpiazu, Sales Development Executive (Warner Bros. International Production)
TOP EXECUTIVE
John Garcia, Senior Vice President and General Manager
100/TTV PREVIEW
The Following James Purefoy star in this terrifying new thriller from Kevin Williamson. When notorious serial killer Joe Carroll (Purefoy) escapes from death row and embarks on a new killing spree, the FBI calls former agent Ryan Hardy (Bacon), a psychologically scarred veteran who captured Carroll nine years earlier, after Carroll murdered 14 female students on a college campus. Knowing Carroll better than anyone and close with Carroll’s ex-wife, Claire, Hardy works closely with an FBI team, which includes no-nonsense agent Jennifer Mason and sharp upstart Mike Weston.
Tipping Point
Zodiak Rights Avon House Kensington Village Avonmore Road London W14 8TS Tel.: +44 (0) 207 013 4400 Fax: +44 (0) 207 013 4401 E-mail: contactus@zodiakrights.com Web: www.zodiakrights.com Stand: LR4.02
Executives Attending Myriam Lopez-Otazu, Vice President of Sales
TOP EXECUTIVE
TOP EXECUTIVE
Myriam Lopez-Otazu, Vice President of Sales
Emilio Revelo, Manager, TV Internacional, Latin America
RAW
Tipping Point
(Sports / Entertainment - 52 x 60’ o 52 x 120’)
(Game Show Format – 60’)
An unpredictable, exciting, action-filled live event for TV. An incredible assembly of majestic superstars. It combines professional fighting with emotional stories of athleticism and intrigue. Each week brings a new, original show with fresh stories and unprecedented action where anything might happen.
‘Tipping Point’ is a brand new quiz show in which four players take on an extraordinary machine filled with counters worth thousands, in the hope of winning its jackpot. Players need quick wits, good strategy and nerves of steel to carefully release their counter in the hope of setting off a cashcade of coins at the other end. The last player standing goes head to head with the Tipping Point machine when they’ll be focussed on just one counter – the golden jackpot disc. Once again by answering questions for the right to play they’ll win a big cash sum if they can get the golden disk out of the machine in time.
SmackDown
(Sports / Entertainment - 52 x 60’ o 52 x 120’) Guaranteed to make worldwide TV screen vibrate, ‘SmackDown’ is a live event featuring the best talent. Each week, the show’s superstars will engage audiences with action inside the ring and dramatic sagas.
Don’t Forget The Lyrics! (Entertainment Format – 60’)
In this fun and addictive game show, contestants choose songs from different genres, decades and musical artists. They then take centre stage to sing alongside the studio band as the lyrics are projected on screen, but suddenly the music stops and the words disappear. Will the contestants sing the correct missing lyric or will they freeze under pressure?