TTV | Nº 48 | 2010 | DISCOP AFRICA

Summary

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_/12 SPECIAL REPORTS DISCOP Africa 2010: Betting on a Growing Market_/10 Latin America: Grey Skies for Technological Convergence_/12 Format Adaptation: An Ever-Changing Model_/26

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Š 2010

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Gallery NATPE 2010_/30

January 24 – 27, Mandalay Bay, THEHotel, Las Vegas, US.

Listings DISCOP AFRICA 2010_/48

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This section features the companies at DISCOP AFRICA 2010 and their catalogues.

Executives Concentrate and conquer_/18

Michal Nashiv, President & CEO of Dori Media Distribution, CEO of Dori Media Contenidos, President of Dori Media Central Studios

The Art of Producing for Television_/24

Guilherme Bokel, International Co-Production Director of TV Globo

Made in Argentina_/32 Alejandro Parra, International Business Director

Out of Africa_/36

Karina Etchinson, VP of Sales Europe & Middle East & Africa for Telemundo Internacional

The Man Behind the Myth_/42 George Lucas, screenwriter, producer and director

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© 2010

President / CEO Sebastian Lateulade Executive Director Soledad Saldías Editorial Manager Sebastián Amoroso EDITOR Stephanie Biscomb Online Director Omar Méndez Online Editor Diego Alegre Editorial Assistants Sebastián Torterola Dino Cappelli PROOFREADER Josefina Mezzera Regules Operations Director Rodrigo Ros SENIOR ACCOUNTS EXECUTIVE Dolores Irazábal Production Manager Dario Aleman IT Manager Alejandro Barros

Ecuadorian Regulator Revokes Broadcasting Concessions Ecuador’s National Board of Telecommunications (Conatel) initiated an integral revision of frequency concessions not provided by the country’s applicable law. Within this context, cancellation processes were started for seven radio stations’ concession contracts. The decision was based on reports issued on the matter, including one made by the controller determining that, between 2003 and 2005, 127 of 1.583 given concessions were issued without a contract and 779 had fallen into arrears. According to the regulating institution, these stations obtained their concessions without reporting to the Telecommunications Superintendence. Unilateral and anticipated termination of contracts belonging to 13 radio and five TV concessions was also initiated, claiming failure to pay dues for over six months up until November 26th. These broadcasters are Manglar TV Canal 35 (San Lorenzo), Joga TV (El Pan y Sevilla de Oro), Ximena TV (Paccha Marcabelí) and Borja Visión (San Francisco de Borja).

Data Operations Fernando Moreno Webmaster Nazario Pereira Webmaster Assistant Nazario Saldias Translators Ken Mandel Marlyn Mandel Finance Manager Cr. Michel Schwartz Finance Assistant Mónica Iriarte art & Design Unik design info@unikbureau.com www.unikbureau.com Headquarters Ruta 8 Km 17.500 Of 503 A Zonamerica / CP 91600 Montevideo - Uruguay Tel. (+598 2) 518.2848 Fax. (+598 2) 518.2849 EuropE 114, rue Villiers de l´ Isle Adam 75020 París - Francia Tel. (33) 6 6726.5894 TodoTv 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.

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ISDB-T Standard: Brazil Out to Conquer Africa Even though its Latin American goals have not been met yet, Lula’s government isn’t wasting any time. And so, its focus has shifted toward another continent.

The Terrestrial Digital TV System Forum (Fórum SBTVD according to its initials in Portuguese) participated at the “1st Conferência de Comunicações em Parceria Público-Privada” which took place in Maputo, capital of Mozambique, Africa. Organized by the Brazilian and Mozambican governments, the event discussed introduction to digital radiobroadcast in Mozambique. Brazil’s Digital TV Forum’s goal in participating in this event was to present the ISDB-T system in Africa, a continent with several Portuguese-speaking countries.

Carolina Lightcap is Disney Channels Worldwide’s New President The announcement was made by Anne Sweeney, Co-Chair of Disney Media Networks and President of Disney/ABC Television Group, to whom Lightcap will be reporting.

Lightcap is a well-known and widely respected executive in the television industry with over 20 years’ experience in the media and entertainment market. She joined The Walt Disney Company in 2000 and has been, until now, Senior Vice-President of Programming and Creative Affairs for Disney Channels Latin America and Chief Marketing Officer (CMO) for The Walt Disney Company Latin America. Lightcap will be moving to Burbank from Buenos Aires. Disney Channel’s global executive team – in charge of programming and production, business affairs, business planning and development, marketing, brand marketing, advertising sales and Radio Disney – will directly report to her.

NEWS

Complex transition towards DTT in Mexico An evaluation from the Comisión Federal de Telecomunicaciones (COFETEL) revealed that progress in the DTT process isn’t being corresponded by the level of basic technical knowledge that users require. The regulating entity found that the transition process has been accelerated by broadcasters only, which have quickly adopted the broadcasting standard. However, this progress hasn’t been equally fast in terms of adoption since broad access to television sets with digital or mixed tuners isn’t yet a reality. The study conducted by the COFETEL revealed that confusion between flat screens and plasma or LCD digital receivers is common amongst the majority of Mexicans. What’s more, stores that sell these devices are lacking qualified staff and analog sets are being sold as digital ones.

Mark Hollinger appointed President and CEO of Discovery Networks International

his replacement. His history with the group began in 1991 when he was named VicePresident and Legal Consultant for Discovery Communications. In 1994, he was appointed Interim General Manager of Discovery Channel Asia. Based in Hong Kong, he was responsible for supervision and coordination of all projects related to Discovery Channel Asia’s launch and operations.

The executive is replacing Greg Ricca who is leaving the company after a transition period.

Hollinger will continue with his Director of Operations responsibilities at Discovery Communications until the company designates

Grupo Abril acquires MTV Brazil and expands its Viacom licenses Brazilian Grupo Abril and Viacom Inc. sealed a deal expanding the group’s exclusive right to use the MTV brand name in Brazil for multiple platforms, including TV, Internet, mobile telephony and radio, as well as license granting. Abril has also acquired 30% of MTV Brazil from Viacom Inc., ending the Abril-Viacom partnership and joint control of MTV Brazil. The announcement was made by Giancarlo Civita, Executive President of Grupo Abril, and Sofia Ioannou, General Director of MTV Networks Latin America. “To go from a minority stake in a jointly owned company to a licensing agreement is in line with our international strategy for growth of both our brands, that can be maximized in key markets such as Brazil”, Ioannou commented.

COLOMBIA Communications Minister Resigns Wear-out of Colombia’s Minister of Information Technologies and Communications (TIC), María del Rosario Guerra, was already evident considering the complex history involved in the country’s third private channel’s tender, endless comings and goings and her rocky relationship with the National Television Commission (CNTV). Now, the expected has occurred: in a letter addressed to President Álvaro Uribe and recalling all achievements made by the Ministry during the 42 months she was in charge, Guerra extended her irrevocable resignation. Reasons are not explicit; the letter only details the ever-diplomatic “personal reasons”. Even though official efforts to prevent all disagreements from becoming public were made, differences between the former minister’s management and CNTV were evident, especially for the way both conducted processes that, at some point, caused friction between the Ministry and the TV entity’s responsibilities. CNTV has become highly politicized and the manifested historical inconsistencies shown in most of its commissioner’s actions prove that the entity has never quite understood the reasons for its creation. As a farewell, Guerra once again called for the organism’s reform in order to assure “a more efficient and less political institution.”

Japan Contributes US$ 65 Million for Development of DTT in Peru Japan’s International Cooperation Bank announced its approval of a million-dollar loan granted to Peru in order to promote exploitation of audiovisual equipment for the Japanese-Brazilian ISDBT DTT system. According to the financial institution, the maximum amount loaned will be US$ 65 million for the country to prepare its broadcasts under the Japanese-born and Brazilianadapted standard, which has a scheduled initiation date of March 2010 for its first stage. The loan will be allocated between seven Peruvian channels that have expressed their interest in purchasing transmitters and other equipment that will not only broadcast digital signals in high definition, but will also provide coverage for the entire country with no problems.

Endemol Worlwide Distribution Reinforces its Regional Strategy Endemol Worwide Distribution (EWD) has announced two appointments as part of its expansion strategy in the U.S. territories, Canada and Latin America. The company named Matt Creasey, former Sales Director at Endemol International as the new Executive Director for the Americas, Asia, Australia and New Zealand.

Creasey will be based in Los Angeles, from where he’ll oversee EWD’s growth strategy in both U.S. and Latin America, and where he’ll be completely responsible for the company’s distribution activities in both regions. The executive will also supervise Sales Directors in Australia, New Zealand, Asia and the Americas. Creasey will directly report to Cathy Payne, CEO of Endemol Worldwide Distribution.

Reporting to Matt Creasey, and also in Los Angeles, will be Rolando Figueroa, former VP of International Sales at CarseyWerner Distribution. He will join EWD as Sales Director for Latin America and the Hispanic U.S. Figueroa counts with ample experience in marketing and sales, and has been working for 15 years in the American and Hispanic television markets. His new role at Endemol will make him responsible for rights exploitation in Latin America and the Hispanic U.S., working toward the expansion of EWD activities in these markets. According to Cathy Payne, CEO of Endemol Worldwide, “these two additions significantly expand EWD’s operation and reach by establishing an office dedicated to the U.S., Canada and Latin America.”

Preparations for an unprecedented MIPTV MIPTV’s next edition promises to be unique in every way. The organization has confirmed the MIPFormats conference, a window of opportunity that offers attendees the possibility to immerse themselves into a global market including 3,000 formats. According to its organizers, MIPFormats is targeted at innovative entertainment format producers, brokers, brands and designers. It also offers the opportunity to discover 2010’s latest acquisition trends, listen to the industry’s founders and discover brand new formulas. Another reason for the industry to attend is the renewed Producers Forum, which will be enriched by its co-production associations, creative collaboration and new funding opportunities already defined. “Producers are the heart of MIPTV and will enjoy a couple of days of creative workshops, conferences and events,” the organization’s sources state.

On the other hand, the novel MIPDigital will explore the potential of TV, Internet and mobile game convergence. Its goal is definitely ambitious: according to its presentation, MIPDigital promises to be an immersion program with digital Think Tank conferences, a VIP summit and an exhibition i-zone where people, innovations and ideas that currently mold the multi-screen universe will be displayed. MIPTV’s 2010 edition also marks the 360 Content Festival’s 5th consecutive year, a challenge for aspiring producers to submit original multiplatform content live. The festival counts with renowned partners such as BBC, TF1, the National Film Board of Canada, the Korean Communication Commission, the European Commission and the Ogilvy agency, among others.

ARGENTINA Ad Spending Increased 16.2% in 2009 The Argentine Central Media Chamber (CACEM) announced that ad spending has reached the 8.84 billion peso mark – about US$ 2.3 billion, 16.2% higher than the previous year – and predicted that the sector will continue to grow during 2010. The Chamber’s annual survey found that 3.6% of all investments were spent on the Internet, consolidating it at a growth rate of 33.6% in a year where public expenditure from political campaigns was instrumental in sector growth. The report also reveals that TV and press participation continues to stand, making for more than three-quarters of all ad investments. The Internet showed the greatest growth rate (33.5%), followed by cable TV (33.3%) and radio (27.1%). Increases in growth rates were also found at lower levels on open TV (15.4%), newspapers (12.9%), magazines (11.4%), outdoor displays (10%) and movies (2.7%). Cable and open TV registered 10% and 3% increases respectively and, to a lesser extent, capital radio also grew 1%. The remaining media show decreases when taking fixed volumes in consideration: magazines 16% and newspapers 7%. Sectors concentrating 90% of all advertising investments showed inter-annual increases during 2009. As for 2010, the organization expects the South African Football World Cup and Argentina’s bicentennial celebration of its Independence to revitalize the scene.

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DISCOP Africa 2010

Betting on a

Growing Market DISCOP Africa’s third edition will take place on February 24th at Dakar. As in last year’s edition, the event will be held on Senegal’s west coast, seeking to gather the industry’s main players at the Pullman Teranga Hotel, bringing the 40 countries comprised within Africa’s Sub-Saharan region together. > By Rodrigo Ros

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his vast territory has been scene and subject of recent disputes between great emerging powers (India, China and Brazil) and has recently carried out far-reaching structural changes, accelerated by preparations for South Africa’s 2010 World Cup. One of these transformations’ main outcomes has been an explosion in audiovisual services that DISCOP’s organization seeks to make the most of, in order to encourage closed agreements between local stakeholders and major international groups. It’s in this way that this continent with a population of 900 million – the second most populous after Asia – currently represents, without doubt, an enormous potential for the television industry.

Historically controlled by former colonial powers, the continent has been searching for a distinctive voice within the international arena. While large open TV channels vie for control over major international content providers, its local sector is steadily looking for a unique style that will put finally set them on the map of new trends worldwide.

In this way, and considering recent emergence of large local production centers, Africa begins to assess production with new quality criteria and to develop new strategies and consumption formulas. Thus, as television set sales soar and new offers from TV networks arise, one can only wonder what needs this growing audience entails.

With examples such as Nigeria’s – considered the continent’s Nollywood and ranked third in regional content production and sales – local

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production agreements causing the region to redefine its business philosophy is expected.

Despite common assumptions, history of television in Africa is anything but recent. Its first public network started broadcasting in Morocco back in 1954, followed by Nigeria in 1959 and South Africa in 1976. After most of Africa’s countries’ independence following 1960 (this year marks the continent’s 50th independence anniversary), a long economic and political consolidation process took place. Releasing telecommunications sped the process up and international groups landing in the continent reinforced development of new short-term proposals within major territories such as Senegal, Cameroon and South Africa. Now, despite a supply line – bound by language and culture – linked until recently to former colonial powers’ audiovisual groups, a new spell of openness toward potential international partners has put the African continent in a strong position compared to its Western counterparts.

Even though language continues to be one of the first entry barriers in African markets, Latin America has been able to harbor several successes under its belt. Huge groups like Globo – who can cater to Africa’s huge Portuguese-speaking market – have already sold content and the telenovela genre represents a unique access key to African markets.

turn, eventually generate a secondary source of income by exporting content to other countries within the region. In this sense, the Latin American experience provides an interesting and meritorious example to establish comparisons. French-speaking paid TV operator Canal Plus Overseas provides a clear example of this: it just launched its first fiction miniseries for Sub-Saharan Africa and will, undoubtedly, become a pioneers in both paid TV and local production. At least this is what the network’s demonstrating through its ‘ZEM’ miniseries, locally produced in a small country like Togo, and premiered last January.

SENEGAL: A GROWING MARKET. Senegal will host and star DISCOP Africa’s third edition. But what do we really know about this area? The Senegalese audiovisual landscape is composed of six public television channels: The Radiodiffusion Télévision Sénégalaise (RTS), which operates the RTS1 and SN2 networks plus other four private channels: Walf TV, 2STV, RDV and Canal Info. Future TV, the seventh private network, is expected to be released shortly by the Futurs médias de Youssou NDour group. According to recent data, estimates show that over 60% of the population has a TV set that, in a population of about 12 million people, represents a significant number of viewers.

This is why companies such as Caracol TV International, have managed to succeed in the African region. Caracol successfully penetrated the Nigerian, Kenyan and Ghanaian markets with English-dubbed productions such as ‘La Quiero a Morir’ and ‘El Cartel’. For this new DISCOP Africa edition, the company will be presenting new productions such as ‘La Bella Ceci y El Imprudente’ and ‘Gabriela, Giros del Destino’.

Within this landscape, and according to a recent study conducted by the Agence Dakaroise D’Etudes Stratégiques et de Recherches (ADESR), the Walf network would be the most viewed TV station in Dakar with a cumulative audience share of 93%. 2STV follows with 92.4% (leading in the polls, 2008) and broadcaster RTS comes in third, having lost more than 14% of its audience since 2008. Foreign networks present in this territory include Africable, TV5 MONDE, and Canal Horizons (which continue to be viewed the most), Trace TV, Euronews, and Canal+ Sport.

As for African production, one of the 2010’s main challenges will be to produce sufficient advertising revenue from locally produced programs, which will ultimately launch production forward and, in

As for its advertising market, the food and agriculture section ranks first, closely followed by electronics and telecommunications. Advertising sales have grown approximately 3% during the last period. ttv

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LATIN AMERICA

Grey Skies for Technological

Convergence Technology convergence is pushing the envelope in every corner of the world. Some territories are naturally better prepared than others and several markets have been sowed to take advantage of technological progress. Latin America can’t exactly pride in counting with the best conditions. Lack of historical attention from most of its governments has seeded severe difficulties in most parts of its territory, turning the dramatic analog-to-digital transition opportunity into a hurdle it still needs to overcome. > BY Omar MÊndez 12 TTV MAGAZINE

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echnological convergence forces all countries to zealously readapt the rules of the game, no longer under the industry or business’ traditional structures but under a radically different multiplatform concept.

This is a pivotal moment in media, demanding radical, structural changes arising from the emergence of new technologies, where companies require – more than ever – regulations that balance and protect them from the unclear boundaries found in the avalanche of platforms generated by progress. Having adequate legal frameworks in each country and rational schemes determined by technicians in the field is, therefore, vital.

In Latin America’s case, these designs have had imperfect roots in practically all of its countries. Unlike other territories, where governments have intervened by creating regulations for the construction of different communication industries, Latin America has always been characterized by its private initiative, shadowing an historical lack of official participation.

The region’s telecommunication, television and recent new platform businesses have developed in an extremely uneven way. Mistakes were revised with circumstantial patches and competence regulations (especially within the telecommunications field) were treated with evident technical incompetence, influenced by official corruption on many occasions. Some countries have been able to bear these situations more comfortably than others; some, to this day and age, still remain prey to state-owned monopolies or failed privatizations. The rest walk the difficult path toward regulation design for this waterfall of converging platforms.

All of them speak of wider-ranged regulations for convergence but speeding processes up is impossible in many cases: deep-seeded structural damages are very hard to correct without committed government participation.

DISPARITIES. Brazil and Chile are setting the regulation pace by democratically applying adjustments to the exponential technological transformation taking place. The fact that both countries count with the most plausible political and economical policies below the Rio Grande is no coincidence. Countries with the most immature regulations in the sector are finding that the revolutionary digital phenomenon is happening at a politically inconvenient time, where independence of criteria for the discussion of convenient regulatory frameworks is at least elusive. Ecuador and Bolivia are at the top of that list with their decisively populist political regimes. Experience has shown that with such strong governmental influences, perspectives are far ideal.

Argentina, for instance, hasn’t been able to elude its populist effect. Cristina and Nestor Kirchner, the governing couple, have managed to generate more light than heat in this matter, with 80% of all media clashing with the National Government and a law that tries to explicitly and officially control communications in that country.

Chavez’s government currently inspires fear, especially from investors.

The official party’s pressure on media is only comparable to prevailing conditions in the world’s most oppressive regimes.

Mexico, on the other hand, is discussing its Federal Radio and Television Law reform. This has caused heated confrontations between the country’s major political parties, allying the PRI and PRD parties against the PAN. Felipe Calderón’s government’s intention to balance forces is currently confronting historical pressures by large groups seeking to keep and amplify their business spectrum. Large conglomerates, aware of the importance that new technologies hold for the future, have reinforced their influence on political outcomes with strong lobbying practices. Projections show that this current administration will manage to further open discussion on the matter before running its course but won’t be able to modify existing inequalities.

Peru and Colombia, two countries lacking the current populist wave, have stable political practices and good economic projections, yet discussions for renewing regulations is not a priority. Lack of adequate policies to assure well-balanced development before technological convergence furiously arrived has left an undefined distribution body and with a difficult-to-remove order where Triple Play is unevenly controlled by the region’s major TELCOs (Telefónica Perú and Telmex, followed by Telefónica in Colombia). Television and radio broadcasting are the only media attracting investors’ attention but, even there, regulators have failed to give this interest its due course.

Uruguay is getting ready to discuss a new media bill that will challenge the government’s control over key business development of new radio and television broadcasting, where independence is crucial. National government has shown a clear disposition to keep the status quo, something that José Mujica’s government isn’t arguing against, and traditional media don’t seem concerned with either. The decisively conservative Uruguayan outlook for new regulation discussion does not anticipate any heated debates or variations.

Central American countries, meanwhile, seek to design new regulations at their own pace. Costa Rica is leading these attempts, closely followed

by Panama. Guatemala, Nicaragua and Honduras are discussing submitting bills to their legislative bodies but with much less intensity.

Rafael Correa, President of Ecuador Photo: TV Pública (Canal 7)

Argentine and Ecuadorian justice departments were the only ones able to stall official trials to control media and punish their so-called “antigovernment” actions – for now. Venezuela, before Chavez, was considered have one of the best legal scenarios to engage and foster media production. However, things have changed:

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goes against all business transformation trends occurring in industries belonging to the developed world.

Panoramas in Venezuela, Ecuador and Bolivia aren’t great either. Once Hugo Chavez steps down, Venezuela will be left with an unfavorable private business scenario and an entire industry in great need of being reconstructed. Rafael Correa has given the same signs, currently trying to install regulations in tune with his semi-public vision of mass media.

This vision will be therefore transported to all new platforms arising from convergence. Evo Morales is mimicking Correa’s stance, combining some Chavezlike extreme ideas into the mix. There are no signs that anything with radically change in these three countries soon.

Argentinean President Cristina Fernández de Kirchner and Gabriel Mariotto, a key executive in audiovisual media law.

Photo: Presidencia de la Nación Argentina

There are no clear signs that any new regulations will be ready for these countries in 2010, with the exception of Costa Rica.

PERSPECTIVES. So, what is the medium-term scenario for the region?

Definitely not the best one. Political times aren’t corresponding with those demanded by an analogical-digital mega transformation.

Argentina, who is leading the way, is suffering from governmental dysfunction. The Kirchner couple will continue to govern for another year and a half and there’s still no sign that any substantial changes to the country’s telecommunication structures will be applied. The political project’s voracity has roused personal interests and an all-or-nothing war has been set against the country’s main media group. Argentina is also trying to correct its telecommunications industry’s unacceptable situation by nationalizing its telephony business once again. Were this to fail, it still wants to regain control over one of the country’s two incumbents (Telecom), affected by its already transparent corporative relationship with Telefónica. In any case, if public decision to intervene in private telecommunication businesses is maintained, the outcome won’t be the best for the future of convergence in Argentina.

Argentina has shown the effects of populism throughout Latin America: it has recently approved a law out of sheer animosity against a media group that has been inconvenient to its government.

There were no intentions to promote common good, or provide a law respecting its citizen’s interests and its companies’ acquired rights. If any illegalities existed in granting dominant rights, then new regulations should have been generated in order to create a restoration process instead of allowing a fight to death.

With this law’s approval, Argentina has become a case study for the entire world. Historically lacking State policies, allowing government interventions with subtle positive effects and great negative impact on sector regulation, and no even or specific regulations, Argentina has arrived to its current situation. The approved law undermines investment in the sector and

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Colombia is starting to feel the effects of wrong policies defined during the last couple of years. State intervention in designing a new telecommunications industry has been under par. Other fields aren’t doing any better: delirious actions taken by the National Television Commission (CNTV) have left television with irreparable damages that will take years to correct. The uneven situation found in paid TV along the Colombian territory is just a sample of the organization’s gross errors.

Uruguay has already shown where it’s heading: a 100% nationalized telecommunication and technology convergence terrain have left an uninteresting market for private investments… and its citizens prey of clearly monopolist fees. Will this scenario change once Mujica steps into office? Up until now, all signs are showing that Mujica will continue to defend the Government’s interests.

Peru will ultimately suffer from unbalances rooted in past mistakes.

This is definitely the region’s most uneven market for competition.

It’s therefore up to Brazil and Chile to initiate a new era as transparent markets for investors and count with the best regulatory frameworks in order to cleverly and efficiently exploit the convergence harvest. ttv Chávez and Kirchner, the most critizised.

Photo: VTV Venezuela

HIGHLIGHTS

CRISIS RECOVERY ACCORDING TO NIELSEN

Asian Consumers Confident, Brazilians

Very Optimistic

A Nielsen survey on consumer confidence in the global marketplace, conducted on 29 countries, positioned Brazilians on the podium of optimism and revealed Asian consumers to be most confident in the recovering economy. > BY SEBASTIÁN TORTEROLA “The economy is emerging from a global recession and, in some markets, the recovery is accelerating,” The Nielsen Company stated, based on results from its latest Global Index of Consumer Confidence survey involving 17,500 Internet users from 29 countries. The main reason behind this: an increase in consumer confidence in both Asian markets and Brazil. The consultant ranked the Latin American country 3rd in the top 10 global markets with highest confidence indexes.

These results show that economic recovery is strengthening motivation to spend in 2010, as consumers are increasing their savings, investing in the stock market and increasingly spending in luxuries such as entertainment, clothing and vacations. According to O Globo, in Brazil’s particular case, 49% of all respondents believe that 2010 will be a “good or excellent year” to start spending on nonessential items again, despite this not being the case in Argentina (33%), the U.S. (31%) and Mexico (29%). Additionally, 39% of all Brazilians say they are planning on spending money on vacations and 43% will invest in technology items while only 11% reported no intention of spending on these non-essential items.

The picture in the Iberian Peninsula seems to be less encouraging as people continue to feel the crisis’ effects. According to Nielsen, 96% of all Spanish respondents believe that their country is still experiencing economic recession and 54% are not confident that Spain will leave the crisis behind in 2010. According to the Direct Marketing Spanish portal, a majority admit to changing their consumer habits due to the crisis. Despite the emerging belief that the crisis is beginning to reverse, the Spanish population remains insecure, skeptical and unwilling to take risks.

However, and reflecting the highest confidence levels in 2009’s fourth quarter, eight of the top 10 nations belong to the Asian/ Pacific area, with Indonesia and India leading the way respectively.

Hong Kong was also the fastest growing market compared to the previous period and, even though Japan and South Korea represent two of the most developed markets in the region, the survey found them as less confident markets. “Global consumers crossed and important psychological milestone in 2009’s fourth quarter and began to believe the worst was over,” the Nielsen report concluded. “[The] next burning question is ‘when are things really going to get better?’” ttv

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EXECUTIVES

Concentrate and conquer She’s in charge of all of Dori Media Group’s operations and structures in Argentina and has designed its promotional lines to strengthen and position the company within a very competitive market. todotv spoke with Michal Nashiv, who introduced the new weekly title ‘Ladronas’, discussed agreements reached for ‘Ciega a Citas’ and explained the strategy used to transform good productions into global hits. > By Sebastián Torterola “Considering the huge investment it would require, I can’t say that we’ll definitely produce another Internet telenovela”

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ichal Nashiv has been with Dori Media since March 2008 but her responsibilities exceed the short time she’s been part of the company: she’s President and CEO of Dori Media Distribution, CEO of Dori Media Contenidos and President of Dori Media’s Central Studios in Argentina, 50% of which was recently sold. With nine years of experience in the Israeli advertising market, Nashiv says she “never imagined having anything to do with telenovelas”. She was certainly mistaken.

“We have unique products compared to other companies in the market,” the executive says with authority and no arrogance. This is the main reason why Dori brands such as ‘LaLola’, got stronger despite the financial downturn;

Mia Tween telenovela 120 x 60’ Launch: 2010

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the company has a flexible and original portfolio which explores emerging platforms, taking risks and investing in cutting-edge content. “We’re the number one buyer of telenovelas in the world: 4,000 hours per year,” Nashiv informs and it’s not difficult to understand why Spanish is already being taught at Israeli schools.

NATPE 2010 had several outcomes for DMG. First, validating ‘Split’s good results, sold to 35 countries in 7 months and with a second season currently in the works. “It’s having excellent results and we find it’s great that nobody wanted to produce it locally; all clients bought the readymade program, dubbed it or subtitled it, and simply put it on air,” Nashiv muses. The interesting thing about this tween vampire telenovela is that it was specifically developed in Israel for Israeli operator HOT’s very advanced VOD system, so it never actually aired on local channels. “The first season was so successful that the second will be launched simultaneously on HOT VOD and on Israel’s main children’s channel,” she adds.

Moreover, the title that’s currently concentrating all of Dori Media Group’s energies is ‘Ciega a Citas’, an adapted blognovela that debuted last October in Argentina on Channel 7 and has experienced an audience growth of 500% ever since, including sales to 7 countries in two months. “All of these seven countries are European, a result of the screening we conducted at Mipcom. Latin American clients will arise from NATPE”, the executive declared

Michal Nashiv,

also mentioning that several deals related to this product will be announced shortly.

She also highlights the bond ‘Ciega a Citas’ manages to create with audiences, reflected by its 40,000 Facebook fans in just 4 months.

“While this can’t be monetized, its main value relies in the audience’s additional emotional involvement, increasing its chances of success,” she explains.

GOOD NEWS, THE RESULT OF A SOLID STRATEGY. New developments, such as ongoing negotiations, are plenty. There’s great anticipation for ‘Mia’, a teen telenovela starring Brenda Asnicar (‘Patito Feo’) to be released during the second half of 2010 in Argentina.

The title was introduced at the 2009 Mipcom and, according to the executive, already counts with several closed deals. The ‘uMan’ reality show – a “control game” integrating mobile devices and the Internet – was mainly sold in European countries such as Spain and Greece, while at least 7 contracts were closed during NATPE, making future popularization in Latin America a possibility. On another note, Las Vegas was home to the market launch of ‘Ladronas’, a weekly series with 26 episodes for

President & CEO of Dori Media Distribution, CEO of Dori Media Contenidos, President of Dori Media Central Studios

“We’re the number one buyer of telenovelas in the world: 4,000 hours per year” which at least 7 contracts will be announced soon. “This is our first time producing a weekly title, something that’s part of our expansion

“We grant a great part of our entire marketing budget to one single product that we consider has the greatest potential at the time.”

Ladronas Weekly 13 episodes Launch: 2010

TOWARD THEIR OWN STUDIO In late January, Dori Media Group announced the sale of 50% of Dori Media Central Studios in Argentina, which was acquired in 2007. The move represents a step toward forming an in-house production studio in Buenos Aires, part of its expansion strategy in the region. “The purchase of a stake in Dori Media Central Studios was part of a broader strategy and this strategy has not changed.

Dori Media Group is examining opportunities and ways to invest in new companies in Latin America. Additionally, the group will continue its traditional products in Argentina, producing high-quality titles with international appeal, to be sold worldwide,” Michal Nashiv stated back then.

TTV MAGAZINE 19

EXECUTIVES

advantage once launching time arrives: “Israel is a very small market so it’s possible to test new projects without having to rely on large investments. Additionally, Israeli clients are eager for new things, giving us the opportunity to test non-traditional initiatives.”

This leads to a hasty but effective conclusion: if it works in Israel, it’s very likely that it’ll work anywhere else in the world.

Following that line of thought, the executive evaluates the multiplatform experience earned for ‘Amanda O’, a telenovela that was exclusively broadcast to mobile devices, television and online. “Considering the huge investment it would require, I can’t say that we’ll definitely produce another Internet telenovela. Online material that’s currently available is of very poor quality and that’s what users are used to watch; however, we don’t believe in that, we believe that users should be given high-quality content.” The telenovela, starred by Natalia Oreiro, was granted the same budget as a TV production – several million dollars – but return on investment was very slow. “We did eventually receive returns because we sold it all around the world,” Nashiv explains.

Ciega a Citas Telenovela 120 x 60’ Launch: 2009

strategy. Yet it’s approached in the same way as a telenovela, generating viewer loyalty from week to week,” Nashiv affirms.

As for new media, Nashiv announced that “the novebox.com telenovela portal will sign a revenue share contract with two major websites”, boosting portal promotion by incorporating a great amount of Latin American users. Other news can be found at the mobile platform frontier: Israeli launch of the Viva telenovela channel for mobile devices that will broadcast content 24/7, including several Dori Media telenovelas from around the world. These innovative endeavors are what distinguish the company, which also counts with a strategic territorial

Split Teen telenovela 45 x 30’

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Dori Media Group’s strategy has been rational and effective since it first started operating. The company’s methodology was clearly explained by Nashiv at her NATPE participation, as a panelist for the “Selling Telenovelas: Two Billion Viewers Worldwide and Growing” conference: “We grant a great part of our entire marketing budget to one single product that we consider has the greatest potential at the time.” This allows the company to segment and target each title toward a specific market in order to aggressively and intensely promote it, contrasting with other distributors that usually try to promote their entire catalog at once. “When we first entered the market, all large companies such as Televisa, TV Azteca and Globo were already operating within it. We decided that in order to succeed we should concentrate on one specific area and, so far, we’ve been focusing solely on telenovelas. Then, as the world became familiar with Dori Media telenovelas, we expanded by including daily titles that were not telenovelas [such as the ‘uMan’ control game] and are now venturing into weekly shows with ‘Ladronas’.”

And what about having a telenovela channel in Latin America? Nashiv’s response is cautious: “That region does have audience potential yet, at the same time, it’s very competitive; all channels are featuring telenovelas during their primetime. We did think about it, but then DIRECTV presented a telenovela channel that failed [Pasiones], so we’re still waiting to see what happens.” ttv

HIGHLIGHTS

CO-PRODUCTION EXPLOSION

A Brave

New World?

Experience, analysis and predictions were brought to the table during a Think-Tank featuring representatives from Fox Television Studios, E1 Entertainment, Shine International and Tandem Communications at NATPE 2010. > BY SEBASTIÁN TORTEROLA, from Las Vegas The “A Brave New World – A Window into the International CoProduction Explosion” Think-Tank took place at the Islander Ballroom of the NATPE 2010 Conference Center, offering a dynamic talk focused around experiences, evaluations and analysis of co-productions.

Canadian John Morayniss, CEO of E1 Enterteinament Group, stood out in a panel of young speakers as the voice of experience, also presenting ‘The Bridge’ (co-produced with CTV and CBS) and ‘Copper’ (with NBC) to the audience. “Handling multiple visions is always hard and co-productions will always harbor different opinions,” Morayniss told attendees in regard to the ‘balance’ desired in all co-productions.

Among the issues addressed was the current co-production boom, especially compared to the disinterest in the market just a few years ago. “Everyone is looking for co-financing,” Chris Coelen, former CEO of RFD Media USA commented. Faced with the question of whether Asian companies could be attracted to the world of nonscripted content, Coelen answered: “it’s complicated because the non-scripted world prevents foreign audiences from identifying with the story. However, this is possible in cases such as ‘Temptation Island’ [couple reality show from Fox] where structures are mounted in such a way that titles can be adapted to Asian values.”

22 TTV MAGAZINE

Emiliano Calemzuk, President of Fox Television Studios and moderator for the event, raised the debate on the role of new platforms within these operations, specifically discussed by President of Shine International, Chris Grant. According to Grant, “[new platforms] are windows that make reaching the rest of the world a lot easier, also implying speedier negotiation processes.”

Rola Bauer, CEO of Tandem Communications, emphasized how strong efforts spent on co-production processes aren’t always rewarded because, after all is said and done, “the result is a product and large companies might not want it despite its quality.”The executive presented an adaptation of Ken Follett’s bestselling book ‘The Pillars of Earth’ (8 x 60’) in long form that seeks to fulfill a need in audiences, as well as ‘The Listener’, a supernatural drama that premiered last November.

There was consensus among the speakers over one main issue: the coproduction process is tinged with constant negotiations mostly due to the fact the large companies – potential co-production partners – need to be convinced in order to allocate a significant portion of their budgets to creativity. “Financial departments do not consider ideas and only require proof of effectiveness,” they all agreed. ttv

EXECUTIVES

The Art of Producing for

Television Directing production of 2,500 hours of entertainment annually or developing complex co-productions worldwide are just some of Guilherme Bokel’s responsibilities, making him a key executive at Rede Globo. Based on this and his role as Art Director for all exports, Globo’s International Co-Production Director explains the tremendous work involved in creating art for the television screen.

> By Diego alegre “Human emotions are the key to creating universal stories.”

R

ede Globo International won its fourth Emmy at the 37th International Emmys with the telenovela ‘India - A Love Story’. The Brazilian giant has been nominated on 26 occasions in several categories over the years and even earned a Direction International Emmy awarded to Roberto Marinho, the channel’s founder, in 1983.

At the awards’ 37th installment in 2009, the company earned six nominations: ‘Maysa Cuando Canta el Corazón’ for Best TV Movie/ Miniseries, ‘O Natal do Menino Imperador’ in the Children & Young People category, ‘Ó Pai

India – A Love Story Telenovela 160 x 45’ 2009

24 TTV MAGAZINE

Ó’ for Best Comedy; ‘Por Toda Minha Vida: Mamonas Assassinas’ in Art Programming, and a report of the Eloá case from ‘Jornal Nacional’ in the News category. According to Guilherme Bokel, Director of the channel’s International Co-Productions Division, “participating in the International Emmys is important for TV Globo because every nomination is recognition of the work done daily by more than 8,000 employees in our central production studio in Rio de Janeiro.”

The station first exported one of their productions in 1973 to Uruguay’s Channel 12. Currently, Globo’s Production Center – or Central Globo de Producción (CGP), better known as Projac – is based in Río de Janeiro and producing more than 2,500 hours of entertainment annually. “This award is, for all of us producers and creators at Rede Globo, the crowning point of our creativity, efforts and investments and a reason to continue producing even more high-quality, worldappealing telenovelas,” Bokel explains, adding that Projac is currently operating at full capacity and that “building new studios is already a necessity.”

Production of ‘India – A Love Story’ was part of the media group’s strategy to produce telenovelas using international locations, reinforcing its audiovisual products’ universality. “Production abroad is always

Guilherme Bokel,

complex,” the executive declares. “Several barriers exist, such as language, habits, culture and each country’s particular legislation, making partnerships with local producers the best way to work. This exchange is always very rewarding for everyone involved.”

International Co-Production Director of TV Globo

Rede Globo has been strategically betting on international co-production development since early 2008, partnering with Telemundo Network to create a new version of ‘El Clon’, its hit telenovela. In 2009, the station developed a co-production with TV Azteca that will be premiered in 2010, Bokel anticipates, adding that the international division continues to seek strategic partners for its international coproductions, with deals already developing in the Iberian Peninsula and Asia. “We expect to have good news to announce this year,” he affirms.

“I’ve done everything except Sunday mass.”

“Few companies are as dynamic as Globo.”

Renowned for their large filmic turnover and exterior scene deployment, Globo’s telenovelas have travelled over more than 130 countries with emotional formulas that appeal to mankind’s greatest passions.

According to Bokel, “human emotions are the key to creating universal stories,” and dealing with “complex human feelings ever since Shakespeare revolutionized modern theatre” is challenging in the least.

Technical quality in Globo productions is the result of regular investments made by the corporation since 1994, particularly in technology, research and development of digital, high-definition productions. Ever since 2007, Globo counts with six studios equipped with digital technology that allow high-definition filming and post-production.

“This technology offers many advantages for producing, from visual quality to countless revenue opportunities during postproduction,” Bokel reminds.

This technology also calls for greater care in details such as set construction, set completion and makeup, but “mainly in photography, something that can either amplify or diminish revenue and, of course, costs,” the executive explains. “This area requires specific technical solutions when it comes to video, audio, lighting, photography and even set design, makeup and costumes [because] details are six times as visible.”

Shooting in high definition also implies – apart from greater care in set details – different handling of textures and colors: “the costume team is prepared to optimize fabric use and colors when it comes to high definition recordings,” Bokel points out.

Similarly, traditional makeup is “too obvious when captured in HD so new tools are needed.” As a solution, Globo has trained its professionals in-house and, according

Sketch it Out Format 2000

to Bokel, “we can say that we have achieved the desired results.”

Projac TV Globo production studios in Rio de Janeiro Profession Reporter Reality 2006

Managing 2,500 annual hours of production volume not only requires great professionalism and dedication; it also implies that every day will be a challenge. “I’ve been Production Director for countless Globo programs such as telenovelas, series or live-audience shows. I’ve done everything, except Sunday mass,” Bokel declares, tongue-in-cheek. The seasoned executive recognizes that leading Rede Globo’s Production Division is a “huge responsibility” that entails great satisfaction: “Few companies are as dynamic as Globo and [few companies] allow their producers to take huge risks, [taking on] new challenges, new perspectives and, consequently, new achievements.” ttv

TTV MAGAZINE 25

SPECIAL REPORT

FORMAT ADAPTATION

An Ever-

Changing Model Consolidation, growth and expansion. The format adaptation production model grows and, with it, knowledge and understanding of its emerging needs. > BY RODRIGO ROS

I

mmersed in the race to find new hits, big networks, international producers and distributors are increasingly turning to incubators for great ideas. Format adaptation has now become the model of choice and several domains once limited to original production – such as fiction – are now being considered as adaptation formats. This has resulted in the emergence of several differential elements within the international production panorama: new internal format-purchasing and sales departments, extensive literature devoted to the sector, new format catalogs, courses and seminars for industry executives and studies exploring the economic performance of adapted formats have been consistently arising. Everything seems to be welcome in this ongoing search for new avenues.

Yet, how does originality fit into this new process? Reusing a successful idea within a different geographical market isn’t new for the television industry or even radio and press. However, its originality seems to lie in the rationalization of the production processes that format adaptation has achieved, not only due to economic factors but also as a result of agreements between internationally operating groups.

These agreements have encouraged the concentration of available resources by creating strategic alliances and making exploitation rights profitable. These alliances aren’t just reusing a successful idea, paying for its rights or simply forming a mutual collaboration agreement. These agreements, as their legal terms clearly define, are forming networks aimed at providing a better supply of ideas and greater control over the production processes: international negotiations, programming strategies, program scheduling and production process planning.

REFERENCE MANUALS. A network deciding to adapt successful ideas isn’t what’s new. According to Albert Moran and Justin Malbon, authors of Understanding the Global TV Format, one of the first adapted television hits would be ‘Romper Room’, a children’s TV show aired by a local Baltimore network in 1953 and later transformed into an

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international success. Format adaptation is, of course, a long-standing practice: by the end of the 30s private radio stations in Australia were already creating their own adaptations of the U.S.’s most successful American radio shows. Moran and Malbon point out that the BBC, for instance, produced a 1951 adaptation of the ‘What’s My Line?’ radio program that would later cross over to TV. However, as the authors point out later, it was not until 1994 that the BBC created its own Format Licensing Division, looking to generate revenue from various ideas already being adapted outside the UK. As for South America, Hugo di Guglielmo’s Vivir del aire, published in 2002, reflects on the author’s own experience as Programming Director for Argentina’s Channel 13. He then continued to work as a consultant and was responsible for several adaptations in the Southern Cone, including some of the network’s star programs: ‘Gasoleros’ and ‘Champions’, one of Pol-Ka Producciones’ first successes that included several of the most popular characters in argentine fiction.

Meanwhile, in 2003, Gloria Salo publishes what could be considered as one of the earliest literary references within the Spanish sector. The book’s title even sums up the fundamental spirit of the matter: ¿Qué es eso del formato? (What’s That Thing Called ‘Format’?). Unlike Moran and Malbon’s work, Salo’s book sought to reach a wider audience through her experience gained in the New Projects for Entertainment at the Telecinco network, a position she would occupy until 2008 before leaving to become part of the Radio Televisión Castilla-La Mancha team as Production Deputy Director. Salo’s book – unlike later publications – is impregnated with fascination over how reality shows, even in 2003, had become the small screen’s major genre and everyone wished to know more about their internal “machinery”.

Another main reference, more current in regards to publication date, technical specifications and legal matters, is a manual written

by Christoph Fay, published in 2007 by the European Broadcasting Union (EBU). This particular work combines various case studies and complete accounts of all technical and legal details concerned in local adaptations. Unlike the rest, Fay’s work is a practical and comprehensive guide for broadcasters and producers, helping them understand the business from within the industry. Perhaps that’s what makes this manual – to a greater extent than other works – the result of concerns expressed by broadcasters for broadcasters.

As for the current trend in new project assessment, Alberto Carullo, former Television Director at Telecinco, told todotv in an interview that, “it is true that today we are more used to assessing a program’s potential considering its life and overall performance abroad than its written idea on paper. Having finished material has helped us tremendously, giving us more evaluation elements and a much more complete vision.

EXPORTED EPISODES (BY COUNTRY OF ORIGIN) EPISODES

2006

2007

2008

TOTAL

Argentina Australia Canada Denmark France Germany Italy Japan Netherland Norway Spain Sweeden UK USA

2,115 1,138 203 143 1,474 942 942 200 3,428 92 169 342 4,929 3,470

2,375 1,201 129 94 1,764 1,069 1,069 327 3,647 13 289 768 5,075 4,477

2,387 1,133 80 102 1,728 1,329 1,329 943 2,289 46 292 596 5,977 5,538

6,877 3,472 412 412 4,966 3,340 3,340 1,470 9,364 151 750 1,706 15,981 13,485

YEARLY TOTALS

18,940

21,358

22,745

63,043

TTV MAGAZINE 27

SPECIAL REPORT

However, when it came to fiction, we used to consider the script, the idea, over the finished product.”

FRAPA: 2009 REPORT. The Format Recognition and Protection Association (FRAPA) has released its second biannual report, analyzing eleven of the most influential territories currently involved in international format trade. According to the report’s figures, production costs for format commercialization in these countries accounts for 9.3 billion Euros, a 45% increase from last period’s 4.6 billion Euros.

FRAPA was born in April 2000 when several industry players decided to form an international body aimed at combating format piracy.

Ever since then, this non-profit association with over 100 companies (producers, distributors and broadcasters), has taken the task of collecting, analyzing and consulting on various aspects linked to format adaptation. While its work is currently far from being an exhaustive reference on the market’s adaptations, it does have the advantage of already counting with a second edition of reports that will continue to grow and will, in the future, allow for a comparative IN TERMS OF EUROS GENERATED BY EXPORTED FORMATS PRODUCTS COSTS (BY COUNTRY ORIGIN)

Argentina Australia Canada Denmark France Germany Italy Japan Netherland Norway Spain Sweden UK USA

YEARLY TOTALS

2006

2007

2008

TOTAL

150,979,000 € 116,930,000 € 15,104,000 € 17,805,000 € 72,856,000 € 40,721,000 € 23,140,000 € 37,999,000 € 368,427,000 € 8,527,000 € 25,028,000 € 50,915,000 € 661,570,000 € 269,007,600 €

196,995,000 € 190,939,000 € 13,174,000 € 10,619,000 € 94,933,000 € 41,436,000 € 9,650,000 € 41,223,000 € 357,900,000 € 1,494,000 € 29,430,000 € 69,116,000 € 603,851,000 € 333,392,800 €

133,787,000 € 183,302,000 € 12,090,000 € 13,863,000 € 77,186,000 € 54,037,000 € 15,037,000 € 67,970,000 € 345,827,000 € 23,170,000 € 23,170,000 € 112,745,000 € 701,410,000 € 377,552,800 €

481,761,000 € 491,171,000 € 40,368,000 € 42,287,000 € 244,975,000 € 136,194,000 € 47,827,000 € 147,192,000 € 1,072,154,000 € 13,471,000 € 77,628,000 € 232,776,000 € 1,966,831,000 € 979,953,200 €

1,859,600 €

1,994,152,800 € 2,121,426,800 € 5,974,588,200 €

analysis of format adaptations and the economic flow they represent in each of the studied markets. These markets, in turn, represent the most important pillars for analyzing economic development of format adaptation within the international sector.

The 2009 report notes that 445 original formats found new versions between 2006 and 2008. This number doubles the amount of adaptations during the 2002-2004 period analyzed in the previous report. The surveyed countries were Argentina, Australia, Canada, France, Germany, Italy, Japan, The Netherlands, Spain, the U.K. and the U.S. plus Denmark, Norway and Sweden considered as a whole under the “Scandinavia” category.

The U.K. continues to lead format exportation, closely followed by the U.S., the Netherlands and Argentina. Countries such as Germany, Spain and Italy are starting to achieve significant revenue from format exportation. Even Japan is beginning to obtain excellent results. Ute Biernat, President of FRAPA and CEO of GRUNDY Light Entertainment adds that “we are very proud to present these results. Once again, the impact of the sector within the television industry becomes evident, as well as the importance of protecting format rights.”

Protection of format rights has been a priority since FRAPA’s birth, offering legal consultancies and various advisory services from day one. Biernat also points out that ”hits like ‘Come Dine with Me’, ‘Pop Idol’, ‘Deal or Not Deal’ and ‘Family Feud’ or ‘Are You Smarter than a Fifth Grader?’ prove that there is huge demand for creative content and that international format trade is increasing each year. Formats are travelling around the world in search of greater audiences and more countries, attracting and inspiring a growing number of viewers around the world.”

COURSES AND MORE. The growing need to collect, analyze and process format adaptation data from around the world combined with the need to understand its operation and see new applications for every analyzed territory, has increased the supply of professional training targeted toward a very specialized public. This has resulted in the creation of specialized events and high-level courses, offered mainly to industry executives, and destined to provide future top managers with the necessary details, requirements and understanding of these processes.

Thus, two different training models stand out: one destined for executives interested in understanding the international industry and the other one aimed at training young talent in the production and distribution of new formats. The European Television Management Academy (ETMA), launched during the 2008 Miptv, is a clear example of the first model. According to its press release issued during the event, “several studies carried out during the past three years have proven the need for a school specialized in management and addressed at the television and digital media sectors. Television distribution and digital TV markets have shown rapid growth, constantly changing and becoming more and more complex. In this sense, specialized training is an advantage.” Its program, divided into five different modules, deals with issues relating to media business, its context, management, marketing, new media, finance, and so on.

These and other courses have several common denominators.

Firstly, they are sponsored, promoted and supported by executives and companies within the industry. Secondly, they seek to develop a niche of specialized schools in order to train executives or young talent. And last, they all rely on the steady development of format adaptation. So we must ask: in what way can format adaptation be affecting the original production model? And if so, is the socalled “demand-marketing” being subtly overturned by an incipient “supply-marketing”? ttv

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NATPE2010

January 24 – 27, Mandalay Bay – THEHotel, Las Vegas, US. The event known for congregating industry executives over decades has come to the end of an era, at least according to many of the latest edition’s attendees. However, Latin Americans have managed to take advantage of its last benefits. This edition was a goodbye to Las Vegas: 2011’s edition will take place at the Fontainebleu Resort in Miami Beach. The convention and exposition took place with no ostentation or spectacular shows. Majors were located at the THEHotel suites or further away at the Four Seasons. Public decreased notoriously in comparison to previous years, yet suites at THEHotel were crowded with people. The largest percentage of attendees was Latin American and general consensus agreed that this was a great market for Latin Americans. The vast majority of sellers talked about tight schedules, strong leads or sales and their positive perspective of the months to come, while buyers confirmed there is thirst for new content for their programming schedules.

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_/01

_/03

_/04 01. José Vicente Scheuren, José Bastón (Grupo Televisa) y Marcos Santana (Telemundo Internacional) 02. Alexander Marin (Sony Pictures Television Latin America) 03. Luis Fernández (Univision Studios)

06. Raphael Correa Netto (Globo TV International), Mishal Nashiv (Dori Media Group) y Luis Daniel Capriles (Telemundo Internacional) 07. Antonio Barreto y David Guerra (DLA)

04. Enrique Torres, Michelle Wasserman y Alejandro Parra (Telefe International) 05. Tatiana Rodríguez (MTV Networks Latinoamérica)

_/05

_/06

_/07

_/08

_/09

_/10

_/11

08. Moira Mc Namara, Pedro Félix Leda, Fernando Paduczak y Gabriela López (Ledafilms), junto a dos personajes de ‘Star Wars: The Clone Wars’.

09. Cristian Sessa, Carlos Kargauer y Diego Kargauer (PolarStar) 10. Jimmy Van der Heyden y Bárbara Rodríguez (CDC United Network) 11. Gareth Williams y Helen Jurado (BBC Worldwide) 12. Alejandro F. Cacciamani, Luis Villanueva y Eugenio Lacayo A. (SOMOS Distribution)

_/13

_/12 13. Manuel Pérez, los protagonistas de ‘Salvador de Mujeres’ (Alejandra Sandoval, Carlos Guillermo Haydón y Ruddy Rodríguez), Miguel Somoza, y César Díaz (Venevision International) 14. Stephanie Pacheco y Barry Chamberlain (CBS Studios International) 15.Xavier Alvarado Roca (Ecuavisa), Marlon Quintiero (Sony Pictures Television Latin America) y José Escalante (Latin Media Corporation).

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EXECUTIVES

Made in

Argentina Telefe International, part of Telefe’s International Business Management division and one of Argentin’as leading channels, will arrive at DISCOP Africa with the best of their content catalog, including: romantic comedies, telenovelas, teen-novelas, series, game shows, documentaries, specials and others. > By Sebastián Amoroso

T

elefe International and renowned author Enrique Torres sealed a strategic alliance last January in Las Vegas at NATPE 2010.This agreement will allow Telefe International to represent some of Torres’ leading products.

Amongst them, the company will represent ‘Wild Angel’, the internationally best-selling Argentinean telenovela that counted with a 53% share during its original broadcasting run.

“This agreement with Enrique Torres reasserts many things we’ve already been doing and it seemed logical to reaffirm this even further by renewing a distribution agreement,” Alejandro Parra, International Business Director for Telefe International, comments. “Torres’ products have great potential and continue to run.

It’s true that they have no expiration date and no need to be updated. Products with proven success are always welcome and ‘Wild Angel’s track record, both as a ready-made product and adaptation format, has always been impressive; that definitely carries a lot of weight,” he adds.

Alejandro Parra, International Business Director

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Argentina’s Telefe channel has already premiered ‘Wags: Love for the game’, a romantic comedy, and is preparing a competitive game show’s release, ‘321 a Ganar’. This show, according to the executive, “is fantastic. It features competitions on bouncing games.

This not only gives the program a spectacular and dynamic touch but also allows for greater production flexibility. The bouncing games can be moved, removed and easily moved around without incurring in major investments.”

Telefe holds an agreement with the games’ manufacturer, so distributors will be able to

provide clients with the inflatable bouncing games. Likewise, the Argentinean channel will premier its new afternoon telenovela in April. This telenovela was produced by ON TV, Claudio Villaruel and Bernarda Llorente’s production company, starring Soledad Silveyra and replacing ‘Legacy of passion’ in the weekly programming schedule. Villaruel and Llorente are former creative heads of the channel.

This year will also be marked by the world’s ultimate sporting event, South Africa’s 2010 World Cup, and Telefe Argentina has already acquired its rights. Telefe International presented the ‘South Africa Documentaries’ specials at NATPE 2010, featuring over 80 hours of high definition material with Wags: Love for the game Telenovela 120 x 60’ 2010

EXECUTIVES

Everybody against Juan Series 13 x 55’ 2008

everything viewers need to know about South Africa today: its stadiums, people, attractions, diversity and history covered in four dynamic and entertaining installments. Additionally, this material can be easily adapted to represent any other country, following four thematic pillars: sports, history and social life, travel and living, and nature.

The distribution company also offers production services to cover the World Cup’s previous months, duration and summaries, counting with over 60 professionals located in South Africa with eight years of experience in the region and fluent in the country’s eleven official languages. Telefe International also offers logistic and production services. “We’re not looking at broadcasting the matches per se, but rather providing soft news as ‘warm up’ before the World Cup: shooting reports, showing the stadiums and each country’s history,” Parra explains.

According to the executive, Telefe International will be targeting four relevant markets during 2010: Brazil, India, Russia – where the distributor has a regional office – and Chine. “We believe that these markets will show interesting and sustained growth over the next five years,” Parra affirms.

still not a mature. That’s precisely why we need to develop it, get Telefe International’s products out there and work with the region’s companies,” the executive considers. Telefe International will present a broad and diverse catalog that includes titles Such as ‘Wags, love for the game’, ‘South Africa Documentaries’, ‘Everybody against Juan’, ‘Just in Time’, ‘Legacy of Love’, ‘The Succesful Mr. and Mrs. Pells’, ‘Teen Angels’ (third season), Countdown (third season), ‘Don Juan and his Fair Lady’, among others.“This is probably the reason why we’re having more business meetings than ever before: a carefully planned and diverse catalog.”

The executive’s perspectives for 2010 are very positive, and this is clearly manifested in the company’s production area, formats and production services. “The mood is upbeat and there’s more money to produce. At Telefe we continue to hold our commitment to produce even though – and despite the crisis – we never stopped,” Parra concludes. ttv Just in Time Format/Gameshow 2009

DISCOP AFRICA. This is Telefe’s second time attending the event, held this year in Dakar, Senegal. “DISCOP Africa is a market that’s still under development. We’re just getting acquainted with it, but I think it’s

“Products with proven success are always welcome.”

The Successful Mr. and Mrs. Pells Romantic Comedy Chilean Version

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Legacy of Passion Telenovela 131 x 60’ 2009

EXECUTIVES

OUT OF AFRICA

After landing in Africa just four years ago, distributor Telemundo Internacional continues to consolidate its presence in the continent with its successful telenovelas. ‘The storm’ recently debuted in Namibia and Kenya, making Telemundo now present in eight different territories. During DISCOP Africa’s second edition, the company plans to present enticing titles such as ‘second chance’, ‘hidden passion’, ‘The storm’ and ‘the Clon’, their latest super production.

> BY Sebastian Amoroso

Karina Etchinson,

VP of Sales Europe & Middle East & Africa for Telemundo Internacional 36 TTV MAGAZINE

T

elemundo International set foot on the African continent in 2006 with the telenovela ‘Second Chance’, sold in four different countries. “Africa was a completely virgin territory,” Karina Etchinson, VP Sales for Europe, Middle East & Africa, recalls. In this regard, ‘Second Chance’ was a spearhead with which the distributor explored the real possibilities the continent might have. “’Second Chance’ became a phenomenon, and we had the great satisfaction of discovering that the telenovela genre was in strong demand, even though there certainly was a shortage of Englishdubbed material”. At that time, ‘Second Chance’ was issued in eight different countries and an undisputed success in ratings.

PASSION FOR TELENOVELAS. Etchinson explained to todotv that many of the territories that consume telenovelas in Africa are sub-Saharan countries: seventeen markets that, despite speaking their own dialects, have English as a common denominator. Countries located at the continent’s northern region are characterized by speaking more languages such as French, Arabic and Portuguese.

Therefore, when selecting titles to include in its catalog for these markets, Telemundo International already counted with an edge: a vast, diverse and successful library. “The Second Chance Telenovela 145 x 60’

EXECUTIVES

Thus, demand for the genre began to gain strength and Telemundo International decided to launch ‘The Storm’, starring Christian Meier and Natalia Streignard.

The title was recently released in Namibia on Channel One, and was broadcast from Monday to Friday at 7:30 AM. Meanwhile, it airs in Kenya on channel NTV, scheduled Saturday and Sunday at 8:00 PM, making Telemundo now present in eight territories within the region.

The distributor also presented the telenovela ‘Hidden Passion’ in 2009 to great response.

Today, one can find the telenovela in three markets: Nigeria, Kenya and Ghana. At the same time, the distributor has just entered the Guinea-Bissau territory, promoting ‘Agua en la Boca’ in its original Portuguese version.

The telenovela is a Brazilian Bandeirantes production filmed in high definition and distributed by Telemundo International.

DUBBING: SERIOUS BUSINESS. One of the main difficulties encountered by all African distributors - without exception - is dubbing, an expensive but essential component when marketing in Africa. “We do voiceovers in the U.S. in completely neutral English and this has worked particularly well in Africa.

Previously, clients felt a little resentful toward certain suppliers because they did not pay much attention or dedication to dubbing. But our clients know that Telemundo oversees every detail of the dubbing process, episode by episode, from our offices in Miami and Madrid,” Etchinson asserts. main advantage we have in Africa is that, this being a new territory for us, we are backed up by a solid catalog and have time to study all our titles and choose carefully from them. For instance, one case that comes to mind is ‘The Storm, a telenovela that will generate a very special connection with audiences of this region because of its rural setting,” Etchinson affirms.

The Clon Telenovela 130 x 60’

The executive also highlights that television business in Africa is actually in a very advanced state. In this sense, the market holds very good prospects for companies. “I think some people still have a distorted concept. Africa is a continent with a highly developed television industry where many local productions exist but where content is still being needed, not only in the telenovela format, but movies or series, among other genres,” the executive stresses.

The idea of going into the format business in this developing industry with enormous growth potential is progressively taking shape. Today, Telemundo International is analyzing the possibility of marketing certain formats: “We have some local producers we’ll be working with in the near future, and African channels are seriously studying the format’s possibility. Making an adaptation is definitely in the company’s plans.”

Agua en la Boca Telenovela Producer: TV Bandeirantes 2008

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For DISCOP Africa’s second edition, Telemundo International will introduce ‘Second Chance’, ‘The Storm’, ‘Hidden Passion’ and ‘The Clon’, whicht hasn’t even been released on Telemundo’s U.S. network. ttv

NEWS

International Emmy Award Applications The International Academy of Arts and Sciences is preparing its 38th celebration of the 2010 International Emmy World Television Festival. This will be the third year in which a prize for Best Telenovela will be awarded and its deadline for signing up has already been announced.

The organization confirmed that the deadline will be this month and interested companies can apply at www.iemmys.tv/awards_entry. Winners will be announced at the 38th International Emmy Awards Gala in New York City on November 22nd. The awards include fifteen categories: Arts Programming, Best Actor, Best Actress, Current Affairs, Children & Young People, Comedy, Interactive TV Service, Fiction, Interactive Program, Documentary, Drama Series, News, Non-Scripted Entertainment, Telenovela and TV Movie/Mini-Series.

Octávio Florisbal, general manager of Globo and Roberto Irineu Marinho, president of Globo Organizations. Photo:: TV GLOBO/ João Miguel Junior.

John de Mol to Lead Talpa Media’s New Board of Directors According to Talpa Media, its owner, John de Mol, will continue to be in charge of new content development and production, as well as international sale supervision. Talpa Media is directed, along with de Mol, by an executive board of directors composed by a triumvirate headed by its CEO, Pim Schmitz, responsible for the company’s national and international strategy and business development. Mark

Castalia Agrees to Distribute Chinese National TV in Latin America Castalia Communications sealed an agreement with China International TV Corporation (CITVC) enabling the programmer to distribute China Central Television (CCTV) in Latin America. CITVC is CCTV’s – China’s national public television network – commercial arm. The multiplatform deal was closed at NATPE 2010 and includes cable broadcasting, DTH, MMDS, Internet and various existing distribution channels in Latin American territory. CCTV’s general programming includes everything from classic theater to Chinese TV documentaries, cartoons, entertainment and series. “CITVC counts with extremely high-quality content and is ideal for our Latin American programmers and distributors to consider,” Luis Torres-Bohl, President of Castalia Communications, commented.

Ramakers, CFO, will transfer his position to Pieter Landman. Ramakers, according to a company statement, has significantly contributed to Talpa Media’s recent strategic reorientation.

Leon Schoouten, COO, will be responsible for operational control of the company’s German branch, as well as Talpa’s contributions to its various international alliances.

Nextel, a Jewel in Televisa’s Quad Play Strategy Despite still being a rumor, and according to Mexican media, the Televisa media conglomerate submitted a proposal to the country’s Regulatory Commission looking to acquire part of wireless operator Nextel Mexico, part of NII Holdings. Some analysts speculate that Televisa could pay around US$ 1 billion for 20%-30% of the operator, looking to strengthen its Quad Play plans. Nextel also operates in Brazil, Argentina, Peru and Chile.

Hulu’s Free Days are Now Counted Hulu’s numbers are reinforcing what pioneer YouTube has already figured out: there is insatiable hunger for video on the Internet. Figures released by Hulu are amazing from every angle: in 2009, its free streaming video service in the U.S. was watched 1 billion times. These results are making its directors evaluate the possibility of introducing payment methods in order to access all of their portfolio’s videos. Yet, they do know that the only way to sustain these high numbers is by maintaining their content free-of-charge for most users.

Still, their high viewer volumes have gained their partners and advertising sponsors’ confidence. Hulu currently counts with 220 content partners and around 400 sponsors. Jason Kilar, Hulu’s CEO, has stated before that the company doesn’t expect to become profitable in the short term, but they do expect to receive some revenues from their high traffic levels. Two pricing levels are currently being evaluated: US$ 4.99 for Hulu’s basic, ad-free version and US$ 14.99 for unlimited access, including complete seasons from favorite television shows.

Possible Implosion at Globovision Globovision has always been – and will continue to be unless catastrophe strikes – a stumbling block in the Presidency’s path. Alberto Federico Ravell, a man rejected

by Chavez and symbol of the opposition’s voice in media, was fired from his position as General Director for the company. “From this moment, I am no longer Globovision’s Director. I was asked to resign. I didn’t. We’ll keep in touch,” he announced through his Twitter account. Ravell’s announcement says a lot in just a few words and unveils a critical situation that leaves room for an array of comments and digressions. Globovision also released a concise, official statement: “Globovision solemnly and responsibly informs the country that this information channel has not undergone any changes in its shareholders, maintains its editorial line and has the same owners that founded this company fifteen years ago. Globovision, as always and since airing for the first time fifteen years ago, will not stall in its efforts to inform Venezuelans and the world with the same committed disposition and with our never-ending respect toward out audience. This is the truth we’re exposing to the public opinion we’re engaged with and we affirm that Globovision can be neither bought nor sold.” A lot can be inferred from these two statements: Globovision is in no hurry to be sold (Ravell has recently admitted that the Mezerhane group offered 120 million pesos for the channel), Ravell was forced to resign and won’t be selling his shares, that Globovision is undergoing an internal crisis and that all of these movements are just darkening the panorama for all mass media tending to that market.

Televisa to Broadcast 2010 South African World Cup Online for Free Televisa signed a deal with FIFA, acquiring exclusive broadcasting rights for 30 live and VOD matches for Mexico plus 64 live games for Latin America, with the exception of Brazil and Argentina. The agreement also covers exclusive rights for a great variety of World Cup-related content for mobile phones. televisadeportes.com will broadcast part of the FIFA archives: 90 matches from previous World Cups, from Chile ‘62 onwards. These matches will become available online 100 days before South Africa 2010 opens. “We are sure this will be the Internet’s World Cup, and visitors from throughout Latin America will be able to enjoy it at televisadeportes.com from their computer”, Javier Alarcón, Editorial Director of Televisa Deportes, affirmed.

13% Raise in Dividends Brings Time Warner to Positive Closing in 2009 Time Warner obtained net profits of US$ 2.468 billion in 2009 compared to its US$ 13.402 billion losses in 2008, raising its dividends 13.3% for its shareholders, as well as its buyback program’s volume. Revenues for the company amounted to US$ 25.785 billion, 2.7% less despite its 4.9% increase in turnover for its radio and TV division: its numbers could not compensate the 18.9% drop in its publishing unit’s sales and film’s 2.9% decrease. However, last quarter Time Warner earned US$ 67 million after losing US$ 16.03 billion during the same period in 2008. Its turnover rose by 2.2% to US$ 7.3 billion. Additionally, Time Warner’s board of directors decided to raise its dividend by 13.3% to be distributed among the company’s shareholders – up to US$0.2125 per share – while agreeing to increase its pending share buyback program to US$ 3 billion.

Deloitte: TV Will Continue to Reign in 2010 Television will remain as king of home entertainment in 2010 despite advances in content demand and downloading from other platforms. Once again, television will consolidate its power in consumer preference over newspapers and digital variants such as e-readers. This is what the panorama will be according to Deloitte, taking an opposite stand to what analysts are currently predicting regarding expansion of content downloading and declines in TV viewership. Steps taken by the U.K. to offer a TV-on-demand service and available movie services for television, and not just through computers, have proven to be very popular and this trend is expected to take flight, according to a Reuters report. The consulting company stressed that traditional horizontal TV and radio delivery systems were easier and more efficient for a great majority of consumers. With technology playing an increasingly dramatic role, estimations find that more than 90%of all TV usage and over 80% of all radio content will be consumed in its traditional broadcasting way. Deloitte expects newspapers and magazines to continue deliberating on whether they should charge for online content, but no consensus will be reached. E-readers, made by a growing number of companies such as Amazon.com Inc. and Sony Corp., allow users to read digitally-downloaded content displayed on a book-sized tablet. Back in December, Amazon announced that its Kindle reader had become the most purchased gift in the company’s history. Deloitte highlighted that the reader could be crushed by new devices appearing in the market, such as Microsoft and Apple’s tablets.

TTV MAGAZINE 41

MANAGEMENTV SPECIALS | LEADERS

The Man Behind the Myth George Lucas is a pioneer, his genius evident from his first foray in the audiovisual world. He has garnered awards from around the world ever since he first started his career while attending university. Lucas knew he had to defend his work as a writer, producer and director from an early age, standing up to big studios and making agreements that allowed him to remain independent while enjoying the economic benefits of his success. ‘Star Wars’, his most famous work, took years of production and became a franchise with millions of loyal fans worldwide.

G

eorge Lucas had a simple life: “I was born in a small town in central California. It was an agricultural city. I liked to invent things. I liked to build. When I was twelve, we bought our first TV. We had an amazing invention in our house. In general, I lived a very normal life, the life of any kid in a small quiet town.” He was passionate about cars until he suffered a terrible accident that took

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him to hospital at age eighteen. “I realized that maybe I should pay more attention to school. When I finished high school, I went to a prep school in order to study social studies in college. That fascinated me and I eventually became interested in school and managed to get good grades. After graduation, I planned on moving to San Francisco to become an anthropology specialist and my best friend, who grew up with me, told me he was applying

George Lucas,

to University of Southern California (USC) so I said I would go with him. It was a long trip and this way, he wouldn’t have to go alone. I took the exam and was surprised when I got in. I didn’t even know what I wanted to study.”

screenwriter, producer and director

THE STORY OF THE STORYTELLER. Lucas’ interests were varied: he liked anthropology, psychology and sociology. “My other option was to go to an art center in Los Angeles and become an illustrator. But my father, a shopkeeper with a furniture store, told me there were no artists in our family and that was no way to make a living. He said he would pay if I decided to go to a real college with real classes. So I decided to study at USC. My friend told me they had an art photography school, and I loved that. I like pictures.”

But once at the University, Lucas was in for a surprise. What was supposed to be a photography school turned out to be a cinema school, where one could actually learn how to make movies. “I thought that was crazy. Going to college to learn how to make movies? Never before had I paid attention to movies. I used to go to the movies looking for girls and not really watch them. So I went to college and took my first production class, which was animated and, two months later, I had a camera test. I tried it, and I created a movie.” This practice was the start of a career marked by success and originality: “The film won awards around the world and I realized I knew how to do this. It was very good and I loved it; I fell in love with cinema. It felt like a passion.”

TALENT AND PASSION. When asked if talent is what determines his passion, Lucas’ vision is clear: “I think those things come together.

You discover something you love, something you care about, and that’s usually something you’re very good at. You need to figure out what you’re good at. That’s a good test. What do you enjoy doing? When you sit down and have nothing to do, what do you like spending time on. And that’s usually what you are passionate about.”

His father was a strong role model for George Lucas. “My father, who gave me a lot of helpful advice, said to me one: ‘don’t let your hobby be your business; if you do that people will take advantage of you because they know you would do it for free.’ Once I started making films and doing what I loved, I remembered that and, even though I made a living out of my hobby, when people came over and asked me to make a particular film and said ‘Well, here’s the deal’, I’d tell them, ‘No, I can’t do it like that’. And then they would say: ‘Well, we won’t do the movie’ and I’d just end it with: ‘OK, never mind, I’ll do it with someone else’.

And by putting my foot down I could get all the agreements I wanted.”

“Merchandising was worth nothing at that time. Absolutely zero.

People cannot believe I was given those rights, but it wasn’t worth anything.”

A VERY PARTICULAR STYLE. In the late ‘70s, when George Lucas was negotiating making ‘Star Wars’ with the studio, he included a clause that proved how visionary he actually was. He made sure that the contract included a clause making him the sole bearer of all merchandising rights for the film. “Merchandising was worth nothing at that time. Absolutely zero. People cannot believe I was given those rights, but it wasn’t worth anything.” Lucas also negotiated rights for the film’s sequel. ‘The rights to the sequel had some value, but by then they thought the film would fail. So they said I was lucky that they were letting me shoot considering it was going to be a huge flop. No one thought of these films as a potential hit.”

“I believe that mythology is a kind of archeological psychology. You learn to know what people think and the living world’s vision of things.”

Star Wars: The Clone Wars Genre: Animated Series

After going through several studios that refused to make it, Fox finally agreed to do it. It was after the studio’s director watched Lucas’ previous film, ‘American Graffiti’. “’I loved the movie, I think you’re so talented. What else have you got?’ he said. And I said: ‘I have a science fiction movie. It’s a space opera. It’s the sort of thing that everyone can understand.

It has robots, ray guns and all that stuff.’ And the guy said, ‘I don’t understand what you’re talking about, but you have talent, so I’m following you, not your crazy idea.’” Lucas was 28 years old.

“We did a two-page agreement. It basically considered that money and everything else

HSM SPECIALS This article is based on an episode belonging to the ‘HSM Specials’ series, which will air on ManagemenTV on Tuesday, March 18th at 8:30 PM (Argentina), 11:30 PM (Mexico), 12:00 AM (Venezuela), 11:30 PM (Colombia), 8:30 PM (Chile) and 12:30 (Bolivia). Enjoy ManagemenTV on DIRECTV (throughout Latin America), Net and Sky (Brazil), Multicanal and Cablevision Digital (Argentina), Cablevision (Mexico), and other operators in the region.

TTV MAGAZINE 43

would be negotiated later. Then, they usually give you a blank contract to sign. But I said: ‘I will give you a contract and after signing, you can negotiate with me’. It was a 180-page contract where I put down everything that was missing from the first agreement. Among these things were the rights to the sequel and merchandising.

When they saw it, they just thought it meant T-shirts; merchandise at the time was just that: shirts and posters. They ended up fighting the licesnsing and sharing issues of the first film. We shared it and I managed it.”

Star Wars: Episode III Genre: Science Fiction

The only reason that moved Lucas to control merchandising was to promote the movie since he knew that the studio would not do it. “For me, selling T-shirts and posters at Disneyland was an advertising method to make the film known. What we did was – years before the movie was even released – attend science fiction conventions wearing T-shirts and carrying posters. We sold them and achieved huge word-of-mouth among fans years before the movie even came out.

The studio had no idea what we were doing or why we did it. But I was a boy who was devoted to just that.” Today, promotion of any film without considering merchandising is unthinkable; merchandising has become a huge business of its own.

THE SECRET BEHIND STAR WARS’SUCCESS. When trying to pinpoint the reasons behind ‘Star Wars’ huge success, Lucas mentions

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several factors: “First comes the story. Then comes the story’s interpretation, how it’s presented to the public. The story can have no authorship rights, but the way the story is told can. You need a good story to begin with, that’s where it all begins. Some people say that there are only 32 stories that are always being repeated. Part of my experiment was to return to my anthropology days and see if the underlying psychology involved in telling stories was the same 3,000 years ago than today, and if people responded in the same way. So I took the underlying themes into the methodology, psychological issues, and put them into a story, and that story became ‘Star Wars’. I know how to make movies and I know how to tell stories. It’s the same with any other story, which is one of the oldest forms of entertainment. It’s one of the oldest forms of getting a society together and to tell people what is expected from them and what’s not expected from them, and learn things without anyone guiding them. But everything depends on the narrator’s quality. Whether Homer or Shakespeare, you must have someone who is very good with words, with visual tools that are used to tell the story. And you need the two things to really work, not one thing is more important than the other.

I think, ultimately, that the movie succeeded because it’s based on human psychology, and because its nature has a mythological foundation, tested by word-of-mouth. And word-of-mouth means that the story changes each time it’s told, each time the audience reacts to the story.”

Lucas’s fascination for social sciences, his life meaning according to him, translates into his working style: “I believe that mythology is a kind of archeological psychology. You learn to know what people think and the living world’s vision of things.”

FUTURE PROJECTS. The name Lucas is so closely linked to the world of ‘Star Wars’ that Lucas knows this project will accompany him throughout his lifetime. “I’m still caught in the ‘Star Wars’ world, for better or for worse. ’Star Wars’ began as a single movie, the tragedy of Darth Vader. It began with him killing everyone on screen and halfway through you realize that his son is his nemesis and, eventually, his son redeems him. It became something big. I had to do three movies and it all started with ‘Episode IV’ because I wanted to be in the middle of the adventure. But then I had to write the past stories. This came with time and then continued to grow from there.

It’s one of the funniest things in life, you cling on to something that follows you around forever and you must follow it. I had many other plans about what I wanted to do. It took a while to accept that my middle name would be ‘Star Wars’ and to get used to that. It could be worse, but it is what it is.” ttv

HIGHLIGHTS

ECUADOR

Teleamazonas

Open Channel Seeks Buyers Current constitutional revision forces the owner to sell 100% of all shares belonging to the country’s second open station. > By Diego Alegre Ecuadorian broadcaster Teleamazonas, the country’s second most-viewed channel, has been subject of fierce confrontations with President Rafael Correa’s government since its 2007 inauguration and now needs to be sold before October this year. The demand, enacted in the Ecuadorian Constitution’s 312 Article, states that “financial institutions or groups may not hold permanent, total or partial shares of firms outside financial activity. Participation in capital control, investments or assets in media entities or financial groups by their legal representatives, board members and shareholders is now prohibited.” Therefore, the channel needs to be sold before October 2010. Fidel Egas Grijalva, current owner of 100% of all shares, told Ecuadorian newspaper El Comercio that no interested parties have met the law’s established requirements yet. Egas Grijalva is also one of Banco Pinchicha’s main shareholders, the country’s top financial institution.

According to Ecuador’s Internal Revenue Service, Teleamazonas’ subscribed capital amounts to US$ 24.3 million. However, Proventus S.A., the company in charge of the station’s valuation has not yet released their audit’s results and thus, no final price has been set. The station started broadcasting on February 1974 and currently counts with 513 employees. The Ecuadorian IRS’ records also show that Teleamazonas hasn’t been able to collect profits in nine years. Sebastian Corral, the station’s General Manager, confirmed this to El Comercio, noting that the company wasn’t paying any income tax because “one must pay income tax when there’s a profit and there were none to pay for.”

Despite the impending forced sale, the station owner continues with his strong investment policy. The channel is planning on producing a telenovela on a specially-built, 800-square-metre set and various sporting events’ broadcasting rights were recently acquired. ttv

EUROPE

Media Consumption: A Generational Digital Divide

A survey commissioned by Motorola reveals that 74% of Spanish users regularly consume content on different devices. Sweden is the only country in which live TV does not dominate the viewer’s preferences.

The Motorola Barometer for European Media Consumption 2010, commissioned by Motorola’s Network and Home Mobility division, reveals greater pan-regional demand to control and customize content experience. The study, conducted on 3,500 Europeans, showed that 74% of Spanish consumers regularly view content on their devices while at home or on the go. Research also suggests that, with so much content available, consumers need more help in finding the content they like: 69% of Europeans surveyed are frustrated by searching through so many options.

Another aspect indicates that Europeans are consuming large amounts of video content. 72% of Spanish consumers watch live TV every week but Spanish viewers are increasingly accessing content through other means: 49% prefer Internet video streaming, 18% watch television on demand and 28% download TV content at least once a week, showing a variety of destinations catering to each preference. The trend may be even more advanced in Sweden, the only country where live TV does not dominate viewership. Most of this country’s respondents said they would prefer to see live video streamed over the Internet (48%), amply outnumbering live TV supporters (28%). Additionally, consumers also are demanding an improvement in quality: 52% of Spanish would like to have more HD programming.

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“Our research shows that we are entering a new age for TV – what we at Motorola call the Internet TV Era. Internet, social networks and smartphones have changed the way consumers of all ages are connected to their content, boosting their preferences. So, as part of the industry, we must continue developing solutions and services toward an intuitive, individual and interactive experience,” Steve McCaffery, Vice-President of Mobility for Motorola’s Network and Home division commented.

In Spain’s case, more than half of all respondents expressed interest in TV applications that allow viewing experience customization. For instance, 45% of all Millennials (16 to 29 years old) would like to recommend content through their TVs. What’s more, all generations participate in social networks: 99% of Millennials and Gen Xers (30 to 44 years old) and 93% of all the Baby Boomers (45 to 64 years old). When asking consumers of all ages what devices they would like to use in order to access social media, 70% answered “television”, while computers (71%) and mobile phones (84%) were also popular choices. This suggests that the integration with user communities could help service providers to alleviate pan-generational frustration caused by an oversaturation of content. ttv

LISTINGs TTV This section features the companies at DISCOP AFRICA 2010 and their catalogues.

Pirates Haven

Al Jazeera English Booth: viewing box 27

Executives attending

Martin Ryan, Head of Distribution Sales, Europe & Africa Carlotta Gelmetti, Syndication, Licensing & Programmes Sales

Pirates Haven

(Documentary - 1 x 21’)

DISCOP AFRICA2010

An insightful documentary that travels to the land of pirates in Somalia to discover if the communities’ harbouring these groups consider them heroes or criminals.

Artsworld

(Docu-series - 3 x 22’) Unique culture series presented by special local personalities who reveal their local culture and stories of Kenya, Liberia and Ghana, often overlooked elsewhere in the mainstream media.

Uncomfortably Numb

(Docu-series - 1 x 23’)

One Hundred Heartbeats

Alfred Haber Distribution EXECUTIVES ATTENDING

Christopher Brouder, Vice President, International Sales

One Hundred Heartbeats

(Documentary - 1 x 120’)

With famed naturalist Jeff Corwin as host, this documentary tells the compelling stories of some of Earth’s most cherished animal species that are dangerously close to extinction.

Octomom: The Incredible Unseen Footage

(Documentary - 1 x 120’)

Culled from seven months of exclusive access to Nadya Suleman this compelling two-hour documentary shows the emotional struggles, physical complications and financial burdens of this single mother of 14, including the private moments and reactions of her family, as well as Suleman’s own feelings, doubts and fears.

The underground tunnels between Egypt and Gaza are a lifeline for those inside the blockaded Strip, but along food, a dangerously addictive painkiller is also slipping through.

Fish Life

Ampersand

Hollywood Dailies

Booth: French Pavilion

EXECUTIVES ATTENDING

Mathurin Beauvert, International Sales Executive

Fish Life

(HD Wildlife Documentary - 6 x 26’) Clown fish, octopuses, lionfish, cleaner fish, corals; all these animals are the essential figurants of the riveting marine Coral life theater. But are we sure to know these sea creatures that well?

The Most Amazing

(Movie Magazine - 52 x 26’)

A fast, fun countdown show about pop culture’s highlights and lowlights. From the best Hollywood couples to off-screen rivals, each episode presents a new topic and gathers the stars, movies and events that made headlines.

Animal Life in Africa

(Wildlife Documentary - 10 x 52’)

A collection of 10 blue chip documentaries which spy out the animal life in Africa. This spectacular collection unveils predation, reproduction and survival strategies in the African wildlife featuring very various animals for gnus to baboons and lions to zebras.

Oops! Football Bloopers Non Verbal The ultimate footage collection of football actions. These hilarious programs show sportsmen in their luckiest and unluckiest moments. Coaches and referees at their best and worst behavior.

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Cuba, An African Odyssey

ARTE FRANCE Booth: French Pavilion

EXECUTIVES ATTENDING

Cédric Hazard, Sales Manager

Cuba, An African Odyssey

(Documentary - 2 x 59’) (HD)

From Che Guevara’s tragicomic epic in the Congo up to the triumph of the battle of Cuito Cuanavale in Angola, an untold story (from 1961 to 1989) about the cold war on the African continent, or the defeat of an ideal, internationalism, which Cuban guerrillas failed to defend.

Rice War

(Documentary - 52’ / 90’) (HD) An inquiry into those parts of the globe where the rice-battle is fought. Rice figures in the equation of the planet’s food-balance.

No other economic activity feeds so many people, or proves to be so crucial for the social equilibrium of so many countries.

The Day Before

(Documentary/Lifestyle - 4 x 52’) (HD) Loic Prigent unveiled rare and refreshing glimpses behind the doors of some of the world’s leading fashion houses 36 hours before a show (Sonia Rykiel, Jean-Paul Gaultier, Proenza Schouler, Fendi by Karl Lagerfeld).

CABLEready Corporation Booth: Viewing Box 9

EXECUTIVES ATTENDING

Tatiana Figueiredo, Sales Representative

Hollywood Dailies

(Entertainment - 52 x 30’)

A lively half-hour in which the two real-life friends and passionate movie fans share with viewers Hollywood’’s newest movie trailers and celebrity news.

Forensic Files/Medical Detectives

(Documentary - 378 x 30’) (HD - Available in Spanish)

Each episode profiles intriguing crimes where science catches the bad guy. Follow coroners, medical examiners, physicians, law enforcement officials, journalists and legal experts as they put together the pieces of the crime puzzle.

Into The Wild

(Wildlife/Children/HD - 50 x 30’) Join world-famous wildlife expert, author and TV personality Jack Hanna as he embarks on exciting adventures to all corners of the globe and encounters fascinating animals and cultures. Winner of the Daytime Emmy for Outstanding Children’s Series, ‘Into the Wild’ brings you up-close with Sumatran tigers in Australia, wombats in Tasmania, white rhinos in Kenya, the exotic inhabitants of Rwanda’s Akagera National Park, and so much more.

The Cartel

Hollywood Buzz

Overland

Caracol TelevisiÓn

FCCE Distribution

Mediaset Distribution

Booth: 22

Booth: Table 11

Stand: Hotel Pullman Teranga

Executives attending

Alejandro Toro, Sales Executive, Asia & Africa

The Cartel

Executives attending

Christophe Audran, International Sales Manager

Hollywood Buzz

Executives attending

Manuela Caputi, International Sales Manager

Overland

(Telenovela - 50 x 60’)

(Weekly magazine - 52 x 26’)

(Documentary - 13 x 50’)

The story of 10 friends, members of a dangerous drug cartel, whose ambition for power and money will lead them to selfdestruction. Manolo Cardona, Karen Martínez and Robinson Díaz star.

Keep your viewers on the cutting edge of the entertainment industry. Each week, we report what’s hot in Hollywood – from who’s in the news to what they’re wearing on the red carpet.

The Mafia Dolls

(Movie magazine - 52 x 26’)

From Cape Town to the North Cape, ‘Overland’s attention shifts to the African continent. Having reached South Africa by ship, the expedition climbs back up Eastern Africa reaching Gibuti, coasts the Arab peninsula, tackles the Middle East and the Balkans, passes through Eastern Europe and reaches the top of Europe, the North Cape. The 35,000 km itinerary is covered in just under four months.

(Telenovela - 50 x 60’)

A production full of action and suspense, where the romantic relationships that are woven in the drug dealing world will be the main subject. Braulio Bermúdez, an important gangster who is tired of his relationship with his wife, Lucrecia, decides to have affairs with women that are much younger than him, and that is how he meets five young women, who, dazzled by the luxury and extravagancies that surround the world of the mafia, decide to change their lives and they will become from that moment on, a nightmare and a torture for them and for their families.

Films & Stars

A sneak preview of the hottest new films and the stars that make them. The latest entertainment news uniquely adapted to each local market. Our team of editors track local release dates around the world to create a specialized version every week just for your market.

Action Zone

(Entertainment magazine - 52 x 26’) A fast-paced 25 minute TV magazine that has almost everything you wish to know. Every week it brings you an overview of the explosive new movies and let your favourite stars tell why you should want to go see them. There’s always a star profile of a hot Hollywood babe or a top action hero.

Mission Africa’

(Comedy / TV Movie - 1 x 100´) Sandro and Lorenzo run an estate agent’s. The pair, who are great friends, go to Kenya to close a business deal and discover they have been swindled. Before long, their great friendship has degenerated into profound hatred. There, unexpectedly, they meet an old acquaintance: Laura. The woman has become a nun and is working in a small mission for poor children that is in danger of closing because of building speculation.

Angel’s Friends: The Secret World Around You Ice

Mondo TV

PopCorn TV

Stand: Viewing Box 41

Executives Attending

Micheline Azoury, Sales for Middle East & Africa

Angel’s Friends: The Secret World Around You

(Animation - 52 x 13’ or 26 x 26’) (In Production)

Five young Angels live in the crowded Angie Town, where they attend the special class at the school, to become 100% Angels.

For that reason they should go through a “stage” period on Planet Earth among “human” in a beautiful city. But they are not alone… also five irresistible 99% devils are coming up to the Earth with the same reasons.

Virus Attack

(Animation - 52 x 13’) (In Production) The Earth is sick, pollution and human beings have allowed viruses to arrive and spread. The clamourous finding of a genial scientist, allow five guys to have a special DNA to become anti-virus. The only one condition to allow transformation is that they get in physical contact with the viruses. With their agility, bravery, cleverness and their super powers, they will save the world.

Novavision Promotion Internationale Booth: French Pavilion

EXECUTIVES ATTENDING

F. Xavier Poirier, President

PopCorn TV

(Hidden camera / sports bloopers - 200 x 26’) Exciting new graphics depicting a variety of favourite gags from ‘ZeZe Hidden Camera’, ‘Mad Boys hidden camera’, ‘Junior hidden camera’, ‘Hilarious home video’, ‘Extreme sports bloopers’.

Crazy Hidden Camera

(Hidden camera compilation - 100 x 26’) Compilation show, for those broadcasters who want candid camera, but do not require funny home video clips. This family orientated show features our favourite world renowned candid camera gags.

POWER Suite: Screening suite D

EXECUTIVES ATTENDING

Eric Muller, Vice President of International Sales

Ice

(Mini Series - 2 x 120’) Power-hungry oil giants exploit the world’s limited fuel supplies against the advice of staunch environmentalists, when the collapse of an Arctic ice shelf causes global panic. Devastating weather patterns emerge and plunge the world’s temperatures into steep decline. The entire planet is left to contemplate the dawning of a new ice age.

The Day of The Triffids

(Mini Series - 2 x 120’)

A fast paced contemporary take on John Wyndham’s international bestseller. When the human race is blinded by a terrifying solar storm, the Triffids, a highly dangerous crop of carnivorous plants, turn against mankind. A select few fight to save themselves in what could be the last days of humankind.

TTV MAGAZINE 49

WAGs, Love for the Game

Hidden Passion

Wild Heart

Telefe International

Telemundo Internacional

Televisa Internacional

Booth: Viewing Box 24

Suite: Suite C, 1st Floor

Suite: 101 & 102 Pullman Teranga Hotel

EXECUTIVES ATTENDING

Alejandro Parra, Director International Business Area Michelle Wasserman, Head of International Distribution Programming, Formats & Production Guillermo Henrich, Project Leader

WAGs, Love for the Game

(Romantic Comedy – 120 x 60’)

Starred by Nicolás Cabré, Romina Gaetani, Florencia Peña, Damián de Santo, Isabel Macedo and Gonzalo Valenzuela, it is a fun and current story which has the added value of snooping around football’s inner dealings, the life of the players’ wives, the girls who seek to change their lives and become rich and famous through the players. Stories inspired upon current topics which will certainly cause a lot of talk.

South Africa Documentaries Over 80 hours of Full HD material with all there is to know about South Africa, not only its present but also its past history: stadiums, cities, people and its complex history, the last 100 years of one of the most attractive and complicated countries of the 20th and 21st centuries.

EXECUTIVES ATTENDING

Karina Etchinson, VP Sales Europe, Africa & Middle East Elena Aguirre, Sales Assistant

Hidden Passion

(Telenovela - 188 x 60’)

The Reyes brothers are honest and good-hearted men until the day they’re betrayed and decide to take revenge. However, their plan takes a different turn when they meet the Elizondo sisters, three beautiful women whose father is a successful farmer. Although their plan is to seduce the three sisters and take revenge, they will fall in their own trap as they fall madly in love with them.

The Storm

Booth: French Pavilion

EXECUTIVES ATTENDING

Xavier Gouyou Beauchamps, President Mathieu Bejot, Executive Director Catherine Charmet, Markets Manager Isabelle David, Analyst, International Information

Attending companies

A story of two individuals that despite their differences in social class, are deeply in love and have child together, but fall victim to a corrupt plan to separate them. Juan de Dios is survived by his son who promises to avenge all the pain and suffering experienced by his parents.

Shine: An unauthorized story on Beyonce

I Will Never Say Good-bye

World Wide Entertainment Booth: Table 8, non-Exhibitor area

Venevision International Booth: Meeting Station #17

EXECUTIVES ATTENDING

Cristobal Ponte, Exclusive Independent Representative, Europe, Africa & Middle East

I Will Never Say Good-bye

Novavision Promotion Internationale Mad Boys Hidden Camera

An innocent girl’s Cinderella dream is shattered and she must take matters into her own hands to re-conquer her love.

Aimed predominately at the elusive male 13-34 demographic, these bad boys are adventurous and do things you wouldn’t do and still remain candid. After seeing their antics, you may just look over your shoulder a little more regularly.

(Telenovela - 118 x 45’)

Executives Attending

Ratidzo Mambo, International Business Manager, Africa

Shine: An unauthorized story on Beyonce

(Entertainment - 1 x 60’)

Beyoncé Knowles was made for a career in show-biz. From Destiny’s Child to a solo career and all the movie roles in between not to mention her famous husband Jay-Z. ‘Shine’ covers all things Beyoncé: fashion, focus and furious talent.

Free Force: An unauthorized story on Jay-Z

Always On My Mind

(Entertainment - 1 x 30’)

Victoria has spent 20 years waiting for the perfect moment to avenge an unforgivable wrong - and now the time has come.

Hip-hop superstar, ex-Def Jam CEO, clothing line founder and all round entrepreneur, Jay-Z has been in the spotlight for over a decade. And recently married to the hottest music sensation on the planet, Beyoncé, he won’t be leaving anytime soon.

Yearning For Your Love

(Documentary - 5 x 52’) (HD)

(Telenovela - 145 x 45’)

Peabody and Academy Award-winning filmmakers Denis Poncet and Jean-Xavier de Lestrade (‘The Staircase’, ‘Murder On A Sunday Morning’) present a revealing look at American justice in a documentary series set in the Las Vegas courts.

They were the best of friends - until love made them the fiercest rivals.

50 TTV MAGAZINE

Wild Heart (Corazón Salvaje)

A businesswoman accustomed to life in the city has to leave all her comforts and move to The Storm, her father’s plantation which she must make profitable. She discovers that the worst thing about the place is that she must develop a relationship with the plantation’s overseer, Santos Torrealba, a man from the country who has a reputation as a womanizer and a seducer. But the more they try to keep their distance from each other, the more intense the passion between them grows: their hatred for each other gives way to the purest love they have ever known.

(Telenovela - 120 x 45’)

Sin City Law

The story revolves around a young and famous actress and singer who feels her career is becoming stagnant and wants a change in her life. To continue exploiting her image, her manager decides to kill the artist after one last concert, since she has been exploiting her fortune for years.

(Format also Available) (Telenovela – 150 x 60’)

Ampersand / Arte France / Films Distribution ICTV-Solferino / Novavision Promotion Internationale

(Hidden camera - 12 x 26’)

A New Beginning

(Telenovela - 150 x 60’)

(Telenovela - 216 x 60’)

Mad Boys Hidden Camera

TV France International

Executives attending

Ricardo Ehrsam, General Director, Europe & Asia Mario Castro, Director of New Business Pedro Font, GMD Asia, Africa and Middle East Silvia Garcia, GMD Asia, Africa and Middle East

Game On!

(Sports - 1 x 60’) ‘Game On!’ goes behind the scenes to check out what goes in the lead up to a World Cup. From security to stadium construction, it gives you the low-down on how South Africa is shaping up for 2010.