TTV | Nº 72 | MIPCOM | Oct. 2011 by TodotvMedia

Contents _/26

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Special Reports

Executives

ASIA

Yeow Hui Leng _/10

Keywords: co-production, efficiency and digital _/06

Project Director, Asia TV Forum (ATF)

Angélica Guerra _/12

VP of Caracol TV Internacional

TELENOVELAS

Dato’ Sri Kamaruddin Siaraf _/14

The Latin Touch _/26

Secretary General, Ministry of Information, Communications and Culture of Malaysia

Larry Namer _/16

Gallery

President, Metan Development Group

Aubeck Kam _/17

MIPCOM 2011 _/12

CEO, MDA Singapore

3-6 October, Palais des Festivals, Cannes, France

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José Escalante _/22

General Director of Latin Media Corporation

Esther Lee _/24 Download the Scanlife free application on any phone or access your Blackberry’s bar code reader found within the Blackberry Messenger options. Point your mobile device’s camera over the QR code and instantly access www.ttvmedianews.com to read the latest news on Latin American and Hispanic TV markets.

Director of Distribution & Marketing at Arirang TV

François Xavier Porier _/28 CEO, Novavision-MEG

Formats

A Chinese Version for ‘Hasta que el Dinero nos Separe’ The famous Colombian telenovela ‘Hasta que el Dinero nos Separe’ -produced by RCN and later adapted for the Mexican market by Televisawill have its own Chinese adaptation. The new version was presented in Beijing and its producers hope to achieve the same success as with ‘Betty, La Fea’. With Daye Media in charge of its production, the new version will be shot in Xiamen, a tourist city located on the country’s south-east coast. Arturo Casares, advisor for Asia at Televisa, explained that the telenovela will be aired on Chinese television as ‘Love Contract’. This is the fourth Televisa production to land in China after ‘Betty, La Fea’, ‘Las Tontas no van al Cielo’ and ‘Palabra de Mujer’. The story’s main villain will be played by Tu Songyuan, a renowned Chinese actor. The telenovela is set to have a 30-episode first season and the Televisa rep assured that a second season is definitely a possibility.

Tradeshow

Singapore Present at MIPCOM 2011 Singapore’s MDA took a 17-company delegation to MIPCOM that presented 48 Singaporean shows for a total of over 400 hours of drama, reality and animation. Compared to MIPCOM 2010, Singapore’s presence in the event rose 40% this year and TV producers, animation companies, content distributors and service enterprises were readily seen flocking the Palais des Festivals’ hallways. Almost 30% of all Singaporean attendees were at the event for the first time. MediaCorp also had the opportunity to present The Asian Pitch winners, four documentaries that won the award during last year’s edition. The Asian Pitch is an initiative that’s jointly organized by MediaCorp and NHK, seeking to acknowledge the best original documentaries in HD made by Asian creators.

PRESIDENT / CEO Sebastian Lateulade - slateulade@todotv.tv EXECUTIVE DIRECTOR Soledad Saldías - ssaldias@todotv.tv PUBLISHING EDITOR Sebastián Amoroso- samoroso@todotv.tv EDITOR IN CHIEF Rodrigo Ros - rros@todotv.tv EDITORS Stephanie Biscomb - sbiscomb@todotv.tv Sebastián Torterola - storterola@todotv.tv Josefina Mezzera Regules - jmezzera@todotv.tv SALES AND PRODUCTION MANAGER Darío Alemán - daleman@todotv.tv INTERNATIONAL SALES MANAGER Monica Iriarte - miriarte@todotv.tv INTERNATIONAL BUSINESS DEVELOPMENT Alejandro Sánchez - asanchez@todotv.tv IT MANAGER Alejandro Barros - abarros@todotv.tv DATA OPERATIONS Fernando Moreno - fmoreno@todotv.tv WEBMASTER Nazario Pereira - npereira@todotv.tv TRANSLATOR Carolina Mussio - cmussio@todotv.tv Josefina Caviglia - jcaviglia@todotv.tv FINANCE MANAGER Cr. Michel Schwartz - mschwartz@todotv.tv ADMINISTRATION Ana Paula Carreira - acarreira@todotv.tv Valeria Morena - morena@todotv.tv ART & DESIGN Unik Design - info@unikbureau.com www.unikbureau.com

Distribution

German distribution company Beta Film will be responsible for taking the 10hour series to Germany, France, East Europe and Asia. For the Scandinavian region, distribution will be handled by local companies STV (Sweden), NRK (Norway), YLE (Finland) and RUV (Iceland). Set in the 1860s in New York City, ‘Copper’ features Kevin Corcoran, an intense, rugged Irish-immigrant cop working the city’s notorious Five Points neighborhood and his friendship with two Civil War compatriots. Oliver Bachert, VP of international acquisitions at Beta Film said: “We are proud to be working again -after ‘Borgia’- with Tom Fontana on this project ‘Copper’. The crime genre, combined with the horizontal structure of the story will generate great potential on pay and broadcast TV worldwide.”

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TTV MAGAZINE/5

Cineflix to Roll out ‘Copper’ Across Several Countries

HEADQUARTERS Aguada Park - Paraguay 2141 Of. 401, Montevideo - Uruguay - CP 11800 Tel./Fax: (598) 2927 2510 / 2511 / 2513

Special Report ttv

Todayâ&#x20AC;&#x2122;s Keywords: Co-production, Efficiency, Digital

Sha Nu Zui Niu Chinese adaptation of ‘Dumb Girls Don’t Go to Heaven’ Production: Televisa/Hunan TV

In an industry where nothing is stable and change is the rule, there are two main keys for success: innovation and collaboration. International alliances flourish throughout the Asian territory to open doors for quality content and more and more players from the West choose Eastern partners as a way out of their local crisis. In this ttv report, four important companies working in the international arena give their impressions about the market’s present and future. BY Sebastián Torterola Twitter: @storterola storterola@todotv.tv

Special Report ttv

MALAYSIA | FUNCEL

Alex Shio, International Marketing Executive at FUNCEL

Aneesh Shenoy, Head of Business & Operations at Manipal Studios

Alex Shio, international marketing executive at FUNCEL, explains that the animation production company focuses on one to two high end quality projects per year and creates its own intellectual property (IP). Shio foresees growth of its operations through the development of international projects. “We are looking forward to increasing the magnitude of our manpower, particularly for international projects that need more talent and experts,” he states. According to the executive, the Asian production industry is growing “vastly and steadily,” and there are “lots of co-production initiatives from European animation producers” with Asian production companies for animated TV series or feature films. Indeed, as the economic crisis refuses to pass, the Asian market becomes a great territory for Western companies building production alliances. “Production costs in the Asian market are quite low compared to those from European, Canadian and American studios, especially considering projects’ good quality and timely delivery. Even though Asian production studios are already using modern technologies in animation, “they are still striving for more, and we can see that through the massive participation of Asian production studios in the international technology and innovation exhibitions. Funcel has incorporated new cel-animation and digital animation production techniques to its technology repertoire as a way to “increase high-quality mass production in less time consumed”. The results of this strategy include titles like ‘Satria the Warriors of 7 Elements’ (26 x 24’), a series targeting 9 year-old and above audiences that was co-produced with the Malaysian Film Development Corporation (FINAS) and renowned Japanese producers GONZO. “In the meantime we are working on a new season of ‘Puyoo World’, which has already attracted many broadcasters and distributors at the MIPCOM Junior 2011 screening,” the executive says. “FUNCEL is also in its final negotiations for the production of a renowned international IP with August Media Holdings from Singapore and Red Kite from England,” Shio explains.

INDIA | MANIPAL STUDIOS Aneesh Shenoy, head of business & operations at Manipal Studios, refers to important concepts in the company’s business: 2D animation, visual effects (VFX), stereoscopic technologies and availability. “Our company is focused on providing endto-end solutions on 2D animation and VFX domains. We work 24/7 all 365 days of the

year on three shifts providing services to our customers globally,” he says. Manipal’s annual work plan includes the creation of about 100 hours of animation. “We aim to reach 300 hours of animation per year in 2013. Our original content and ideas are purely generated by our creative teams,” he adds. As for 2D animation, the company is working on a teleseries called ‘Zorak & Grumpy’ and also on a 2D movie titled ‘Rama Returns’, a 90-minute animated action-packed sequel. “On the VFX front we have recently completed the delivery of a movie, ‘Conan the Barbarian’, and we’re now working with the stereoscopic conversion of a TV spot for Malaysia,” Shenoy says. According to the executive, Asian production companies have traditionally had some advantages for doing business internationally. “We’ve always had a privileged position in the technology’s adaptation cycle, as well as great levels of talent available. Our steady economy combined with an affordable cost of living turns projects reasonably cheap and this attracts more interest toward this region,” he says. In addition to that, the television market “has grown impressively”. The executive’s vision is that “it has always been a struggle for broadcasters to find the right show to retain their audience. All the hard work and efforts depend on audience numbers, which decide which show is good and which one is bad. Audience reaction is really writing the destiny of today’s media and entertainment industry,” he explains.

CHINA | SHANGHAI JETOON ANIMATION Chen Gu, president at Shanghai Jetoon Animation, explains that within its five-year production strategy, the company will develop 2-4 projects each year, comprised of originally created content and production for third parties. “We estimate 1,500-2,500 minutes of production each year, depending on each project,” he says. The executive thinks the huge technological development the industry has experienced in the past years has definitely changed the landscape, determining a multi-platform reality. “Traditional media has been impacted by multimedia, including iPads, online video, outdoor media, etc. People have more platforms and channels to choose, which means customers will be stricter and more demanding when it comes to consuming content. Fortunately, since VOD technology has been developing rapidly, TV is getting more attractive for people,” Chen Gu assures. As the content-oriented market gets more competitive, linear content isn’t the key

for success anymore and there’s a need to re-adapt models for other platforms like the internet. In the online video field, the executive points out that there are two successful models worldwide: Youtube (based on user-generated content) and Hulu (copyrighted). But what happens in China? “We like platforms like Tudou.com and Qiyi. com, which means Chinese consumers are keener on copyrighted online video,” he says. Furthermore, China’s TV industry has recently undergone important regulatory changes that have made operative costs higher each year. “On the other hand, a worker’s income in the animation industry (TV series and movies) is still low,” Chen Gu affirms. To the executive, original projects in China find revenue mainly in TV rights negotiations and merchandising and the country still hasn’t found a profitable business model. “Most of original projects come from governments’ allowance and support. This means investment for original projects in China is still very scarce and politics within the industry are conservative. In the meantime, after more than ten years of animation production being outsourced from Europe, Japan and North America, we can say we accumulated an important number of skilled and experienced professionals, so the time has come to start our own original animation. That is mainly because currently technological innovation isn’t a central element in the production process: the core is creativity, creative storytelling, attractive storyboards and creative character design,” Chen Gu concludes.

TURKEY | GLOBAL AGENCY Izzet Pinto, CEO at Global Agency, states that 70% of the company’s content is

formats, and he’s focused in growing on that field. However, Global Agency works with the top three Turkish production companies, with Greece’s number one broadcaster and producer MEGA TV and with diverse producers from many countries. “We are offering formats that can be produced with any budget in mind. We have big, splashy studio shows such as ‘Mr. and Ms. Talent’, an original talent format from Turkey, and shows such as ‘I Need a Favor’, a very fun and engaging format for all audiences which can also be produced with a limited budget,” Pinto says. As a sample of the company’s international focus, the company’s series ‘Forbidden Love’ has been picked up by broadcaster Telemundo for its adaptation for the US Hispanic market. “In 2012, we will continue the pace and we are taking on more and more international content every month. Our catalog will expand with quality content and we will refine our distribution reach. We will continue to work closely with producers and our international partners who appreciate our marketing expertise and the high level of service that we offer,” Pinto assures. Finally, the executive gives his impressions on the Middle Eastern market, an important and complex territory for the company: “The Middle East has a huge appetite for content from Turkey because of our cultural similarities. However, there are also very appealing differences that really engage audiences. We have familiar sets of references, but presented in a different way. Our series such as ‘Magnificent Century’ have done very well, and of course this gives us an edge in selling content to the Middle East. There is potential from the region as investment has been stepped up and experienced producers eye formats and scripted formats for local production,” he concludes. ttv

Chen Gu, President at Shanghai Jetoon Animation

Izzet Pinto, CEO at Global Agency

TTV MAGAZINE/9

Country’s Summer Manipal Studios

Executives ttv

Successful

in Their Own Backyard Growing 15% a year is great news to any business, especially if you’re in the world’s economic engine for the next decade. Such is the landscape for the Asia TV Forum (ATF), a content-pipeline market that provides an intra-Asian commercial platform and simultaneously succeeds in catalyzing Western content into Eastern screens. By Sebastián Torterola Twitter: @storterola storterola@todotv.tv

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ver the past decade the Asia TV Forum (ATF) has established itself as the preferred gateway for international sellers to meet and network with buyers from the Asia Pacific region. However, with the rise of these territories’ production capabilities and the growing demand for Asian content within the region and internationally, more Asian delegations and content providers are choosing to profile themselves at ATF. So much, that Asian content now accounts for about 50% of the content represented in the market. “ATF is evolving with this market trend to deliver beyond just content trading; it is repositioning itself as a comprehensive event that showcases the best of Asian content and innovation. ATF is also a platform where the world learns about and connects with Asia, and where Asia takes the spotlight in this come-out party,” Yeow Hui Leng, the market’s project director, explains. Indeed, the tradeshow is really at its peak, considering its 2010 edition brought together more than 850 companies from 53 countries, an overall 15% increase in the number of participating companies compared to the previous edition. “This year we are expecting 3,500 attendees from around the region and internationally. We are also seeing increased buyer participation from Asia including Korea, Thailand, Vietnam, Malaysia, Indonesia, Hong Kong and Taiwan with new entries such as Myanmar, Kyrgyzstan and Pakistan.” TRAVELER CONTENT. This increase of Asian content providers in ATF goes together with growing levels of intra-Asian content exchange since, as Yeow says, Asian countries realize that they have to “be successful in their

own backyard” before their content gains traction on the international stage. Such is the case of Korean dramas and Japanese anime, which “first captured the imagination of the Asian audience” before they “burst the seams” into the international arena. “China is an upcoming force to observe,” the executive warns. Nevertheless, Korean drama has been able to travel despite the important cultural differences between East and West, garnering a wide viewership in Asia and spreading across Europe, Central and South America and India. “Asian content is produced with a more international flavor, partly boosted by the increase in cross-country co-productions and Asia’s higher production values. Its high marketability lies in soft and easy-to-digest storylines based on the universal themes of love and family. With their good-looking and fashion-forward casts coupled with meticulous production, Korean drama series transcend cultural differences,” Yeow states. Walking the opposite path, one of the traditional difficulties for non-Asian content providers entering Asia is market

fragmentation and difference in cultural needs. However, the executive reveals an interesting receipt for success: “In spite of the cultural differences in Asia and varied consumer tastes, there is a range of content and formats that are popular across Asia. Drama series, animation, documentaries, and travelogues as well as reality formats, like talent shows, have proved successful among Asian audiences,” she says. Like Korean dramas, there are successful case studies of telenovelas making inroads into territories such as Indonesia, Vietnam, China and Philippines. For instance, Singapore’s Mediacorp recently aired Globo’s ‘India – A Love Story’ on its English channel 5. “Consumers in Asia are also well-exposed to an increasing amount of foreign content via new media platforms, which increases demand for international programs. Beyond offering finished content, international sellers offer license formats and scripts (some shows are better received by the domestic audience when locally produced), explore co-production partnerships and leverage on the business opportunities available at market platforms to network with Asian buyers,” she remarks. ttv

MIPCOM DEALS According to the ATF’s project director, Asia’s pay TV landscape is also growing as more households are able to afford the cost of pay TV subscriptions now. “This optimistic outlook can also be attributed to growing consumer demand for new content. According to the Asia Pacific Pay-TV & Broadband 2011 report by Media Partners Asia (MPA), pay TV subscriptions in Asia Pacific grew by 9% in 2010 and the number is expected to grow to 57% of TV homes or 468 million subscribers in the region by 20151. In terms of revenue, both MPA and In-State forecast that revenue for the pay TV industry in Asia Pacific (in terms of income from consumer subscriptions as well as advertising) will grow at a 10% CAGR between 2010 and 2015 and climb to US$60 billion by 2015,” she points out. Media Partners Asia Ltd. (2011). Asia Pacific Pay-TV & Broadband Markets 2011. Hong Kong.

在后院获得成功对于任何企业来说，一年增长15%都是好消息，尤其身为世界未来十年的经济引擎。这就是亚洲电视论坛（ATF）的处境，一个内容市场，为亚洲国家提供商业平台并同时成功地在东方屏幕推动西方内容。文： Sebastián Torterola

姚慧玲, 项目总监，亚洲电视论坛（ATF）亚洲电视论坛在过去的十年已经成为首选平台，国际销售公司通过ATF与整个亚太地区的买家取得联系和互通。然而，随着该区域制作能力的增长，以及区域内和国际上对亚洲内容需求的增加，更多亚洲代表团和内容供应商选择通过ATF来介绍自己。甚至，目前亚洲内容份额占整个内容市场的50%。“ATF正跟随着市场趋势演变，以超越简单的内容交易。ATF重新定位自己，作为综合性平台展示最佳亚洲内容和创新成果。ATF也是一个平台，让全世界对亚洲更了解并和亚洲取得连接，在这个盛会上亚洲是聚焦灯” 该市场的项目总监，姚慧玲表示。事实上，展会正在其高潮期，2010届参与的850个企业来自53个国家，与上届相比，参与公司数量增长了15%。 “今年，我们预估将会有3500名来自周边地区以及世界各地的与会者。来自亚洲的买家也将增长，包括韩国，泰国，越南，马来西亚，印度尼西亚，香港和台湾。新增国家包括缅甸，吉尔吉斯斯坦和巴基斯坦”。

此外，虽然存在重要的中西方文化差异，韩剧已经能够通行世界，在亚洲和整个欧洲，中南美洲以及印度传播，赢得广泛的收视率。亚洲内容被赋予更多国际元素，部分基于跨国联合制作，部分基于亚洲较高的制作水平。其高销路是因为普及易懂的情节：爱情和家庭。其时尚的偶像派

相反的，非亚洲的内容供应商进入亚洲传统的困难之一是市场分割和文化需求的差异。但是行政人员揭示了一个有趣的成功秘方：“尽管亚洲的存在文化差异以及不同的消费者口味，仍然有一些内容非常受亚洲观众欢迎，如连续剧，动画，纪录片，和游记，以及真实题材，如才艺表演，已经成功赢得亚洲观众”，她表示。像韩剧，就有成功案例，进入印尼，越南，中国和菲律宾。例如，新加坡传媒在其英语频道5播出的“印度 - 一个爱情故事”。 “亚洲的消费者也通过新媒体平台接触到很多海外内容，从而增加了国际节目的需求。除了提供成品内容，国际卖家提供许可证的格式和剧本（国内观众更容易接受由本地制作的节目），探索联合制作的合作关系，并充分利用市场平台所提供的商机与亚洲买家达到互通”，她表示。

亚洲付费电视：前景良好据ATF的项目总监表示，随着越来越多的家庭有能力购买付费电视，亚洲付费电视的前景越来越广。“这种乐观前景，也归功于日益增长的新内容需求。根据亚太地区付费电视和宽带2011年，亚洲媒体合作伙伴（MPA）的报告，2010年亚太地区的电视订阅增长了9％，到20151 年, 家庭电视预计增长57%，也就是4.68亿用户。在收入方面，无论是MPA或国家预测，亚太地区的付费电视的收入（来自收费电视业订阅以及广告的收入），2010年到 2015年间的年增长率为10%，2015年将高达600亿美金,她表示。 1 媒体合作伙伴（亚洲）有限公司（2011年）。亚太地区付费电视和宽带市场 2011年。香港。

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旅游内容。该亚洲内容供应商的增加，与亚洲内部的内容交流的增长有关，姚说，亚洲国家已经意识到，在拉动国际市场前，必须先“在自己的后院成功”。例如，韩剧，日本动漫，“首先夺取了亚洲观众的想象力”，才“爆” 走向国际区域，“中国是一股需要关注的力量”执行官警告。

影星演员，加上一丝不苟的制作，使韩国电视剧超越文化差异。姚表示。

Executives ttv

Caracol TV

in Singapore

This year the international distribution division of Caracol Televisión will be present with a diverse catalog both in Dubai’s MyContent and in Singapore’s Asia TV Forum (ATF). This content stands out for its renewed audiovisual language that includes touches of comedy and an innovative outlook on reality. By Sebastián Amoroso Twitter: @sebamoroso samoroso@todotv.tv

Cooperation Agreement Carlos Alejandro Pérez-Dávila, president of Caracol Televisión with Arirang TV’s Shon Jie-ae

“At least six coproductions will be produced in the coming three years [with Sony Pictures Television].”

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“[With CCTV] we would like to work on it with dedication and care to turn it into a reliable and long-lasting partnership that brings benefits for both parties.”

aithful to its strategy of international expansion through the diversification of its original programming, Caracol TV Internacional will have representatives of its sales team both for the Middle East and the Asia/Pacific markets this year. The Colombian distribution company will be showcasing several premieres including comedy telenovelas ‘The Secretary’ and ‘Yellow Team’, crime series ‘Infiltrated’, reality show ‘The Promise’, telenovela ‘The English Teacher’ and miniseries ‘women on the Edge’.

A year-round effort to boost its international business has led the division into forming two solid areas within its organizational structure: international sales and co-productions. International sales -led by Lisette Osorio- “is focused on distributing taped content and formats produced by Caracol or any of its partner production companies,” Angélica Guerra, VP of Caracol TV Internacional, told ttv. The division under Guerra’s lead reported 48% growth in revenues during the first half of the year compared to the same period in 2010. Generally speaking, 85% of all exports

Angélica Guerra,

are taped content and the remaining 15% are formats.

VP of Caracol TV Internacional

Its co-productions area -led by Carolina Leconte- specializes in finding partners and clients to make Caracol one of the region’s most important content production hubs. “As part of this strategy, a co-production alliance has been formed with Sony Pictures Television for the next three years,” the executive said. Telenovela ‘Amar y Temer’ (90 x 60’) has been the first co-production that came out of that deal. “At least six co-productions will be produced in the coming three years,” Guerra said. The executive also said that the company is currently in talks with Latin American broadcast TV channels “to build synergies and produce with substantial resources, while reducing costs for each co-producer’s grid,” the executive said. DEALS IN ASIA. 2011 was also an important year for Caracol in terms of strengthening its bonds with Asian continent. In June, the Colombian broadcaster signed a historical cooperation agreement with Chinese giant CCTV, which opened “a new fruitful page in the relationship between the two nations,” as Carlos Alejandro Pérez Dávila, president of Caracol Televisión, said during the deal’s ceremonial signature. The executive also described the context of this agreement: “The bilateral trade relationship between China and Colombia grew from US$10 million in 1980 to over US$5 billion in 2010. China is today Colombia’s second largest commercial partner and it has huge perspectives in the media communications field. Even though our relationship with CCTV has just started, we would like to work on it with dedication and care to turn it into a reliable and long-lasting partnership that brings benefits for both parties.”

“Content strategies for the channel and for the international market are outlined together.”

the episodes are rolled out among channels around the world,” the executive said. The VP of Caracol TV Internacional highlighted some elements that distinguish Caracol Televisión’s TV content from the rest: narrative language, comedy and an innovative way of portraying reality as fiction. “There is a special way to tell stories and I think that is the reason why our products have traditionally stood out from the rest of the countries in the region,” she said.

As for comedy and innovation, Guerra said: “We always have comedy in our content and we are bold and daring when it comes to telling stories. We are not afraid of innovating and telling stories about our own reality: that has added a special touch to our for-export products,” she concluded. ttv Alliance Carlos Alejandro Pérez-Dávila, president of Caracol Televisión and Gao Zhengyue, ambassador to Colombia of the People’s Republic of China

In the meantime, another landmark cooperation agreement was signed in August between Caracol and Korea’s Arirang TV, the company controlled by Korea’s International Radiobroadcast Foundation. Upon this deal both networks will be able to cover news, sports and other general interest topics, using each other’s technical and human resources to develop local productions. Furthermore, they will also exchange cultural, art, scientific, sports, news and other kinds of shows with each other, whenever necessary, and team up to co-produce TV shows.

Caracol Televisión’s productions are always conceived with an international approach. “It is there from the moment it is created until

Production Services In Colombia, Caracol Televisión offers international partners production services to develop co-production or productions under a commission model. The company has already conducted business with partners like Telemundo-RTI, TV Azteca and Sony Pictures Television. The channel has 11 studios that range in size from 2,798ft² up to 8,611ft² with a capacity that’s close to 215,278 ft². Four studios and five mobile units are fully-equipped with HD technology.

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SYNERGY AS KEY. Caracol Televisión’s international division and its production department join forces to create audiovisual products with international projection. “From this perspective, content strategies for the channel and for the international market are outlined together,” Guerra said.

View Interview www.ttvmedianews.com

Executives ttv

Following a national strategy aimed at building an international country brand within the audiovisual production industry -which has just garnered 16 deals worth US$70 million at MIPCOM 2011- the Secretary General of Malaysia’s Ministry of Information, Communications and Culture explained how the government helps local Malaysian content players jump into the international scene.

support of its audiovisual industry, make Malaysia a particularly interesting market for entertainment players worldwide.

By Sebastián Torterola

The Malaysian Pavilion at MIPCOM also showed significant growth, representing 75 companies compared to the 35 from last year. “We are preparing Malaysian creativity for the world,” Kamaruddin said. The executive highlighted the role of FINAS in developing and arranging all details concerning the Malaysian Pavilion, one of the most dynamic stands at the Palais des Festivals. This presence was a result of the collaboration between FINAS and the Malaysian Communications & Multimedia Commission (SKMM), the Multimedia Development Corporation (MDeC) and the Malaysian External Trade Development Corporation (MATRADE).

Twitter: @storterola storterola@todotv.tv

Dato’ Sri Kamaruddin Siaraf, Secretary General, Ministry of Information, Communications and Culture of Malaysia

here was a time when France and England were the world’s economic axes. A century later, the United States and the USSR took center stage with their technologic and military races. Today, the Western world is ready for new world leaders. “A couple of months ago, I flew to Australia and had to stop over in Hong Kong,” ttv overheard a French business man say at MIPCOM recently. “There I found out we’re not the world’s center anymore.”

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Indeed, the region known as Asia Pacific has turned into the planet’s economic and demographic core. That can be seen, for instance, in Malaysia’s thriving audiovisual industry. “As far as technology advances regarding audiovisual production, I think Malaysia is definitely on top of other countries,” His Excellency Dato’ Sri Kamaruddin Siaraf, Secretary General of Malaysia’s Ministry of Information, Communications and Culture, told ttv. Audiovisual funding, training academies, global co-production agreements, long-term national incentive plans, state-of-the-art technology and production facilities make the country an audiovisual pole. Associations like the Malaysia National Film Development Corporation (FINAS) or technology parks such as MSC Malaysia make it a huge source of “technopreneurs”, innovation and creativity. This national strategy seems to be working with excellent results and the country’s brand is steadily positioning itself in the investment map. “We have CGI production and FINAS

“We would really like for people in Latin America, for instance, to look at opportunities in Malaysia.” is providing state-of-the-art facilities to all interested producers at cheaper rates compared to the market. Here is definitely where the Malaysian government steps in as a facilitator to the industry’s development. We would really like for people in Latin America, for instance, to look at opportunities in Malaysia, at the type of content that we are creating,” Kamaruddin explained. “And Malaysia is also a tropical country: definitely, we also have a lot of different film locations to offer.” Malaysia offers other advantages that make it a great business destination: a stable political system, an attractive and stable economy for content development, low operating costs, a strategic geographical location and a multi-racial, English-speaking creative talent pool. These, along with the government’s aggressive and spot-on

VISIBLE RESULTS. During the last edition of MIPCOM -held on October 3-6 in Cannes- His Excellency chose the Creative Malaysia Cocktail Reception to announce 16 co-production deals worth more than US$70 million, inked by Malaysian production companies with international players. “I’m proud that Malaysia has achieved a major breakthrough this year in MIPCOM, managing to double the growth of Malaysian sellers and available IPs (...). It is truly a testament of the healthy growth of the Malaysian entertainment and media industry,” he had said during the announcement.

“All companies taking part in the Pavilion are given some kind of incentive, whether lower fees or making it easier for them to meet buyers and sellers. The role of the Malaysian government at this stage is to ensure Malaysian participation is visible,” Kamaruddin explained. The Ministry does this by supporting national producers and players along the creative process, especially in animation projects. “Animators apply for Government’s financing incentives, which facilitate their activity of content creation,” he added. This way, Malaysian animation companies have a great opportunity of international expansion through these governmental resources. But why animation? “It’s appealing to everyone,” His Excellency said. “Its target group is normally children [and it’s] very universal in its approach and penetrating other markets is not difficult (…). We want to make sure that Malaysian content travels so everything is being dubbed into other languages,” the executive assured. ttv

MIPCOM DEALS Malaysian companies involved in the 16 deals worth over US$70 million announced at MIPCOM include Animasia Studio, Backbone Entertainment, Cartoon4Kids, Double Vision, Ed-Online Technologies, Escalade, Funcel, InfiniteMotion, Lemon Sky Animation, Payang Group, Sirius Pictures, Tulus Fikir, Vision Animation, Vision New Media, among others. International partners include companies from the US, Singapore, South Africa, Australia, New Zealand, UK, Germany, France, Spain, China, Korea, India and Lebanon.

Executives ttv

The LA-based production and distribution company is truly adapting its structure and projects to the Chinese market. In the words of its president, this means creating specific content for that market, respecting its rules and understanding that in China “relationships are everything.” By Sebastián Torterola Twitter: @storterola storterola@todotv.tv

Larry Namer,

President, Metan Development Group

wo and a half years ago Metan Development Group officially began its business in China. After a year and a half of studying the Chinese market and its opportunities, the company started building the link between Los Angeles and Beijing. “Entering any new market is complex and there is a learning curve. I would say that today we are much further along in understanding not just the rules and regulations in this market, but also the audience’s tastes and habits. We have five TV shows that are in various stages, lots of Internet and mobile content deals and even our first theatrical film,” says Larry Namer, president of the group. The company’s successful case study is called ‘Hello! Hollywood’, an entertainment show that explores the passion Chinese audience has toward the American celebrities. Currently,

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Hello! Hollywood Entertainment

“China is a big enough market that if you don’t want to create something specific for the market, you are in the wrong place.” the program is on 40 TV stations reaching over 600 million potential viewers in China. “We also air the show on six stations in the US. It now goes out over a big Internet portal named Tencent reaching almost 3 million people weekly online,” Namer says. Other Metan projects include an in-house developed sitcom that “is now casting and starts shooting next month,” a cooking competition show and the adaptation of a US format drama series. “That is followed by a daily talk show about health and wellness. On the net, we have content ranging from webisodes to action

sports clips, to live coverage of global fashion shows,” Namer adds. LOCAL RULES. The Chinese market is huge and rich but it demands respect when allowing foreigners into it. This means adapting your content to the local rules and regulations and submitting your ideas to the control of governmental institutions like the SARFT (the local Administration of Radio, Film and Television). “We think that a lot of Western companies have had a hard time in China because they try to take what they do in other places and force that upon the Chinese market. It doesn’t work. China is a big enough market that if you don’t want to create something specific for the market, you are in the wrong place,” Namer says. As for the market’s regulations, the executive believes that “there are rules and regulations everywhere”in the same way that social customs and other factors vary from market to market. “I have not done business with any country where there weren’t rules. If a Western company wants to be in China they have to learn the rules and obey them. It’s no different than doing business in Brazil. You can’t go into another country and expect them to change their rules to suit you. If you don’t like them, don’t enter the market. Another mistake I see all the time is companies trying to manage their China business from afar. It doesn’t work,” he adds. Bearing this in mind, the company has been looking for successful formats -like telenovela formats- to adapt in China but the process hasn’t been easy. “In China, greed, sex and crime are things that can’t be overly apparent in the focus of the story. So it’s hard to find Latin American formats or even US formats that will have audience appeal and stay within the boundaries of what is OK for TV in China. More and more we are looking at creating things that are made for the market rather than trying to take things made for other places and trying to force them to fit,” Namer explains. An important step in Metan’s strategy was the recent creation of Metan International Talent Management (MITM), a new division that is now giving its first steps. “As China becomes a bigger and bigger part of the financial equation for global media projects, the need for people who understand China becomes more relevant. For example, writers who understand the Chinese audience will become more valuable. We want to be on the front end of that wave,” the executive assures. It is often said that the general rule of thumb when working in Asia is that even though building relationships is no quick task they do tend to last a very long time once formed. How true is this? “That’s absolutely true. More than anywhere else, relationships are everything here,” Namer concludes. ttv

SINGAPORE MEDIA FUSION PLAN

ike a mother who guides her children toward their first steps, the Media Development Authority (MDA) of Singapore was formed with the main aim of building a foundation of companies, people and projects in Singapore’s local media industry. That meant participating in the entire process of a project: idea pitching, funding, production and the project’s internationalization. However, after a couple of years of work, the children started walking by themselves and something had to change in the cycle. “We wanted to make it easier for companies to understand how we could help them. Reducing our existing 46 schemes to just five schemes across all the media sectors we are supporting -namely Animation, Broadcast, Film, Games, Interactive Digital Media, Music and Publishingwas a good way to do so. So rather than say a particular scheme is only for TV or film, our schemes will be able to support content production on more than one platform. This makes sense as technology is multiplying the platforms for media content to be delivered,” Aubeck Kam, MDA’s CEO, explains. That’s why last September 2011 MDA launched its new “revised grant schemes” which seek to “position the media industry for the future” and take it “to the next level”. The production-centric nature of MDA’s old funding schemes gave place to coinvestments as the main mode of funding, which encouraged companies “to think about IP ownership and go beyond service for hire”. “Now that our companies have matured, we want to help them move on to the next stage, to acquire their own IP and even share their

The Singapore Media Fusion Plan (SMFP) is a five-year media development roadmap. Since its launch in 2009, the media industry has achieved S$23.9 billion in revenue; S$6.4 billion in value added and created 66,000 jobs. “We are confident that we are on track to achieving the goal of S$8 billion value-added by 2013, as spelt out in the SMFP, but we certainly need to continue to be aware of the issues facing our industry and find solutions to mitigate these issues. After a series of consultations, industry visits and market trends analyses, we saw a strong need to renew our focus on productivity if we want to propel our current media industry to the next level. This is one of the key objectives of our revised grant schemes,” Aubeck Kam affirms.

MIPCOM & ATF

Angel’s Gate Interactive SG

IP across various platforms, so as to empower them to maximize the commercialization of their IP and to increase their revenue,” Kam says. Therefore, MDA’s continues to assist projects and initiatives, but from a different, more intelligent perspective.

“MIPCOM was bustling with activity as usual, continuing to be an important market to showcase Singapore content and capabilities to the international buyers and sellers. The Singapore contingent had a fruitful time meeting up and networking with potential partners including international media companies and governmental counterparts. Thus far, I understand Singapore companies are already in several negotiations with international counterparts as a result of MIPCOM. Several international co-production deals were also announced at the market. On the other hand, ATF is one of the most important television media content markets in the region. Singapore will be represented at ATF this year by a delegation of over 30 media companies, including national broadcaster MediaCorp and a selection of our TV, animation, film and music companies such as Sparky Animation, Tiny Island Productions, The Group Entertainment, Ochre Pictures, Boku Films and Yellow Box Studios, amongst others.”

SCHEMES REVIEWED.“Reviewing the schemes also enables us to provide a stronger focus on supporting the creation and refinement of ideas -which is critical to raise productivity- and to provide more opportunities for talent across a wide range of skills to be developed. This

Aubeck Kam, CEO, MDA Singapore

BY Sebastián Torterola Twitter: @storterola storterola@todotv.tv

Hidden Cities Beach House Pictures

also includes freelancers in the industry, who constitute a significant portion of the industry,” the executive states. Arguments for this change include some “industry signs” like the perception that Singapore’s players are “of a world-class standard” and capable of working with foreign partners to create competitive projects. With this in mind, from now on there will be a strong emphasis on helping researchers and scriptwriters grow, as well as “a sharper focus” on local talent development. ttv

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While continuing to actively foster the development of Singapore-made ideas in the entertainment industry, the country’s Media Development Authority (MDA) has embarked on a strategic review. Its CEO tells ttv about the scheme’s simplification and MDA’s main goal: to take the industry to the next level.

Executives ttv

A 55 year-old company that produces over 100 hours of original programming and has four weekly TV slots on Japan’s major TV networks is certainly a privileged Asian player. The person in charge of Toei’s licensing business worldwide explains the details of the company’s operations throughout the planet. By Sebastián Torterola Twitter: @storterola samoroso@todotv.tv

Kanji Kazahaya,

Director, Global Licensing Business Department, Toei Animation

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apan is where it all started. Taiwan became its most loyal market. Then came China, Hong Kong, The Philippines, Paris, the US…. Toei Animation is one of the most renowned Asian production and distribution companies and its content has gone global for several years now. “As for licensing operations, Toei Animation has divided the global market by region: Americas, Asia and EMEA (Europe, the Middle East and Africa). Accordingly, our Los Angeles office covers the Americas market, our Hong Kong office covers Asia and our Paris office covers EMEA. Because of the uniqueness and its potential for opportunities, we have a representative office in Shanghai as an antenna for China. Furthermore, we outsource basic animation production to the Philippines,” Kanji Kazahaya, director of the company’s global licensing business department, tells ttv. For a very long time, Toei Animation produced animation shows for the Japanese market focused on returning all investments locally. Its overseas business was just an extra. “However, when we started taking our global business seriously, we acknowledged the ‘gap’ between our traditional model and our new global business model. The key for the new model is to confirm our strength in the animation business by partnering with competitive players who meet the requirements of the new global business model,” the executive says. In other words, the company usually seeks a partner with enough production and distribution capacities to adapt its classic titles in a

particular region and maintain its good reputation. The company’s businesses cover various categories, such as series production, feature film production, rights licensing, animation content on mobile and smartphone devices,

VOD distribution and theme park events, among others. “As we continuously have four weekly TV slots on Japanese major TV networks, we produce around 100 hours of new programs each year: 30 minutes during almost 50 weeks divided into 4 shows. In addition to this, we produce around 4 movies each year, which adds up to another 5 hours,” Kazahaya adds. But that’s just one year of 55 that the company’s been around. Its audiovisual heritage is comprised of 5,300 hours, including around 200 TV series and 200 feature films. KEY TERRITORIES. “From the perspective of our borderless strategy, Taiwan is one of the most important markets for us. Moreover, thanks to our long history in each country, France and Italy are also key markets. Meanwhile, the economic growth of Latin America and the increase of Hispanic consumers in the US have really positioned these markets. So much so that we are working on a new strategy to reposition Toei in the Latin American business,” the executive explains. On the other hand, Japan’s new economic treaty with China and Hong Kong will allow Toei to revisit its strategy for both markets; from standard licensing business into licensing and production integration. “We are also working on variations to strengthen our activities in India,” he assures. ttv Dragon Ball Z Kai Animation series

OVERSEAS AND OVER-THE-TOP As a traditional animation production company in Japan, the multi-platform and mobile market represents an interesting challenge for Toei Animation rolling out overseas. “Considering smartphones’ increasing penetration of the market, our Japanese partners in the mobile and OTT areas have assumed this challenge toward a global strategy as Japanese content opportunities increase. On the other hand, we are also working with foreign potential partners in this field to roll out our brands globally, something that will come in handy in territories where our animation content is not strong enough,” Kazahaya explains.

Gallery ttv

MIPCOM 2011 3-6 October – Palais des Festivals – Cannes – France

Fernando Barbosa (Disney Media Networks Latin America), Ben Pyne (Disney Media Networks), Catherine Powell and Robert Gilby (The Walt Disney Company)

Marcos Santana (Telemundo Internacional)

Fernando Varela and Meca Salado (Telefe International)

Lesse Hallberg (Metronome Film & Television), Stevie van Zandt and Jens Richter (SevenOne International)

Gonzalo Sagardia (Vértice Sales)

David Ellender (FremantleMedia Enterprises), Tony Cohen (FremantleMedia), Jeff Tahler, Sander Schwartz (FremantleMedia Enterprises) and Trish Kinane (FremantleMedia)

Pierluigi Gazzolo (Viacom International Media Networks)

Miki Ivcher and Patricia Jasin (Frecuencia Latina International)

Gary Lico (CABLEready)

Rodolfo Domínguez (RTVE)

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An al yt ics –

The market showed that it is becoming increasingly necessary to build a collaborative business in every sense of the word. Multi-territorial alliances are the result of a market with the capacity to move on and keep generating revenues. This way, MIPCOM lived up to the international market’s expectations: a total of about 12,500 executives, 4,211 companies and 102 countries attended the four-day event. MIPCOM’s open attitude toward exchange led to a wide range of alliances. The key word: disposition. Among the event’s star deals were the ones fostered by film commissions or government incentives. In the meantime, it would not be accurate to say that buyers have revised their budgets but there is indeed a need to diversify partners and have more options within arm’s reach. As a result, co-production was one of the main topics of conversation along the Palais’ halls.

Lorena Molloy and Laura Miñarro (Imagina International Sales)

Emilio Revelo (World Wrestling Entertainment International)

César Díaz, Manuel Pérez and Cristóbal Ponte (Venevison International)

Samuel Duque Duque (FoxTelecolombia)

Elías Hofman (Exim Licensing Group), Rosinda García (Tycoon) and Eric Belloso (BondiBand LLC)

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Guilherme Bokel and Ricardo Scalamandré (Globo TV International)

Alejandro Sánchez (todotvmedia), Patricio Wills (RTI), Leonadro Aranguibel (Disney Media Networks Latin America), Denise Gomes (Bossa Nova Films) and Martín Kweller (Endemol) at “The Latin Touch” Conference.

Francois-Xavier Poirer (Novavision)

Nadav Palti (Dori Media Group), Cristina Palacio and Alejandro Arboleda (BE-TV) and Alex Lagomarsino (Media Biz)

The FRAPA team during the presentation of its 2011 report.

Executives ttv

Latin Media Corporation was officially launched at MIPCOM 2009 in Cannes (France). Since then, the company led by José Escalante has managed to build a bridge connecting TV programming from Asia and America. In this interview, the experienced executive talks to ttv about these two years of hard work and shares his future projects. By Sebastián Amoroso Twitter: @sebamoroso samoroso@todotv.tv

José Escalante,

General Director of Latin Media Corporation “I started working with Asia two years ago. One of the countries where I saw the most potential -not just to sell Latin American products but to develop Latin American products, with room for future growth- was Malaysia,” José Escalante, general director of Latin Media Corporation (LMC), tells ttv. “When about three years ago I started working independently developing projects on my own, I started to make contacts and I found the possibility of producing in Malaysia.” Escalante’s adventures with his brand new production and distribution company LMC have led him into signing a partnership with the Malaysian government to produce

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Bola Cinta Telenovela

“Latin America is scheduling Asian dramas in Peru, Ecuador, Panama, Puerto Rico and Venezuela.” telenovelas. “In Malaysia we found writers who had stories and, following the advice of Latin American writers, this has allowed us to start producing drama in Malaysia,” Escalante says. Dramas ‘Bola Cinta’ and ‘Pesona Kasih’ were then born. “We are now developing our third production and I have recently signed a new deal to develop our fourth co-production,” the executive adds. The announcement of a fourth co-production was made by Dato’ Sri Kamaruddin Siarif, general secretary of Malaysia’s Minister of Information, Communication and Culture during the latest edition of MIPCOM. LMC will start shooting ‘Solamente Tú... Sofea Hannah’ along with Malaysian channel RTM. “This telenovela is very rich in content. Once again, we have chosen a love story full of suspense and mystery,” Escalante said. LMC is also in talks to form an alliance in China to distribute Chinese dramas throughout

View Interview www.ttvmedianews.com

Latin America as well as to sell and produce in China. “Now we are studying a script that we would like to produce. LMC is again involved in the production and sale of this product in both Latin America and Asia,” Escalante assures. “We are not handing in a format for them to produce. We are engaged in the production, seeking to learn more about the market at a production level.” Even though the executive considers China a tough market for foreigners from a cultural point of view, he also thinks broadcasters are much more open now and that there are real opportunities to develop projects and businesses. In addition to China, there are also other mature markets ready to develop these kinds of projects. “A lot is currently being done in Indonesia, Thailand, Hong-Kong, Singapore and India,” Escalante says. “The idea is to grow the production concept within any of these countries but always creating a product that can travel around the region. That is our first project,” he says. “We are presenting the Malaysian product in Europe and we will eventually do the same in Latin America.” A second stage will consist of developing and exchanging products between Asia and Latin America. “We sell Latin American telenovelas in Asia and Asian dramas in Latin America, in the same way that we are doing it with Chinese or Korean dramas,” Escalante adds. LMC is probably the only distribution company that has ventured into convincing Latin American TV channels to schedule Asian dramas. Escalante has defined a negotiation strategy that is starting to bear fruits. “Latin America is scheduling Asian dramas in Peru, Ecuador, Panama, Puerto Rico and Venezuela,” the executive says. “Love stories are universal. The faces and locations may change but in the end we are selling what the telenovela has always sold, something to accompany audiences. And content is finally what makes the difference. The idea is to keep growing and helping in today’s global exchange,” José Escalante concludes. ttv

LCM PORTFOLIO The Latin Media Corporation portfolio also includes products from Channel 13 (Chile) and Ecuavisa (Ecuador) and content by some independent producers. Series ‘Peleles’ (100 x 45’), ‘Volver a Mí’ (13 x 45’) and ‘Vida Después de Vida’ (12 x 55’) stand out among Chile’s content offer. The company has also distributed Malaysian animation -including ‘Ibn Battuta’ (13 x 22’)- for markets in Europe, Africa and Latin America.

Executives ttv

n 1999 ArirangTV launched its first overseas satellite broadcast for Asia, later establishing a worldwide broadcasting network including the US and Europe in 2000. “After 11 years of effort, there are more than 90 million households around the globe that can watch ArirangTV’s newest music, drama and culture shows as well as other various programs. We launched our Arab Channel in 2004 and initiated a DTV service in the U.S. in seven languages including Chinese and Spanish. Now there is no doubt that ArirangTV has become a representative of Korean TV for the world,” Esther Lee, director of distribution and marketing at Arirang TV, tells ttv. The company’s numbers are a good sample of this international success: ArirangTV currently reaches more than 91.9 million households in 188 countries through eight overseas satellites and ranks seventh in Global Awareness among international channels. The Korean company holds five feeds that reach Latin America, the Middle East and Africa, Asia and the Americas. As for original production, “ArirangTV produces various genres such as news shows (20%), cultural programs (40%), entertainment shows (40%), with almost 80% of its programming being original. In addition, ArirangTV has contributed to the ‘Korean Wave’ which is now spreading out to the world through its K-pop (Korean pop music) programs,” the executive says. Indeed, ‘Pops in Seoul’ is the most popular program among Arirang’s viewers and the executive says concert show ‘Wave K’ is now becoming

OPPORTUNITIES WITHIN LATIN AMERICA Arirang recognizes the importance of Latin America’s pay TV market and has been offering a Spanish service for its main entertainment programs. “Despite the long distance between Korea and Latin America, we strongly believe that there are a lot of common factors which the two can share and the success of Korean dramas there has proven this. On the other hand, Arirang has already introduced a lot of Latin American content to Korean viewers through our program ‘Swap-World’. We are looking forward to acquiring programs like documentaries or programs which can introduce Latin American culture to Korea. Our main Latin American partners are public broadcasters in Mexico, Argentina, Brazil and Peru,” Lee explains. “Since Korea will be celebrating its 50th anniversary of diplomatic relations with many Latin American countries in 2012, we are planning co-production projects with several public broadcasters to improve cooperation in the field of broadcasting.”

more and more popular. “There are also a lot of viewers who are interested in dramas and Korean culture programs,” Lee affirms. ArirangTV has also established Korea’s first digital newsroom system. “We have two studios and two news studios producing original programs,” the executive explains. The company’s production capacities include other facilities such as mobile broadcasting vans and digital production and dubbing rooms. “Our reporters, producers and engineers are focusing their efforts on making creative and decent content every day,” she adds. ANYWHERE, AT ANY TIME. Asian audiences are the world’s most tech-savvy consumers and that certainly pushes any content provider to the forefront of innovation, offering an added value to the international market. “In the new media field we are providing live stream broadcasting VOD, a NOD service via our website that is free of charge and a mobile

Esther Lee,

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Director of Distribution & Marketing at Arirang TV With an 11 year-old international operation covering five different regions through broadcast TV, DTT, IPTV, VOD and mobile services, Arirang TV places all of its efforts on delivering Korean content to the world while taking international content -Latin American programming, for instance- to Korean audiences. By Sebastián Torterola Twitter: @storterola storterola@todotv.tv

ARIRANG’S INTERNATIONAL FIGURES Arirang reaches over 91.9 million households in 188 countries worldwide Europe: 31.62 million Italia: Canal+, Sky Russia: Akado Poland: Cyfra Spain: Digital+ Americas: 26.37 million DIRECTV LA, NY, Chicago, Atlanta Dish network Middle East & Africa: 14.34million Arabsat Latin America: 6.89 million Mexico: Cablevision, Argentina: Cablevision, Multicanal Guatemala, El Salvador, Peru: Claro Asia: 19,57million Singapore, Hong Kong: Starhub Vietnam: VCTC Indonesia: Indovision Taiwan: MOD India: Incable Net Philippines: Sky Cable China: CCTV web service for smartphone users as well,” Lee explains. This strategy also covers platforms like IPTV and DTT and international expansion is a great excuse to test technology. “We have launched our free TV channel in France via an IPTV service provider and started a digital terrestrial television channel in Los Angeles, New York and Washington DC,” the executive says. “In order to meet with viewers’ diverse demands, we will not only upgrade our whole system but also develop all new media and SNS services as well.” ttv

The Perricholi Frecuencia Latina International

Telenovelas TTV

The Latin Distribution outlets, producers and screens have never had offerings as complete and varied in regard to genres, audiences and formats. Distributors are diversifying, product lines are reaching an increasingly larger audience and screens are finding profits from bigger original production projects. This is just part of the Latin American reality, a market almost untouched by the economical crisis that is already positioned as one of the key territories for this decade. By Rodrigo Ros

Twitter: @rostodotv rros@todotv.tv

“Highlights include big new releases, formats for export, historical adaptations, heartwarming stories and, naturally, a significant number of telenovelas.”

istributors from all across the Latin American continent and the US Hispanic market are renewing their catalogs with local productions that year by year surprise audiences with high definition content and first class talent. Highlights include big new releases, for-export formats, historical adaptations, heartwarming stories and, naturally, a significant number of telenovelas that are already boasting a handful of international deals. HOT AND NEW. This year will be remembered among other things for its high-quality

premieres, promotional on-screen campaigns, all-star casts, risky storylines and programming strategies. What’s new includes the recently-premiered ‘Pushovers’ from Chilean Channel 13. Latin Media Corporation is in charge of handling the international distribution business of the already-successful series. Other two notable releases come from Peru and are distributed by Frecuencia Latina International: ‘The Perricholi’, released on August 8 on América TV, and Frecuencia Latina’s ‘La Bodeguita’. High-quality production ‘The Perricholi’ is an extraordinary historical adaptation that

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follows one of the most popular characters in Peru’s history during the Spanish rule. The result is definitely a must-see during all international tradeshows. Another long-awaited release is ‘El Laberinto de Alicia’, which has managed to captivate audiences in TVN Chile’s primetime. In recent months, the telenovela was sold to several countries in and outside the Latin American continent. Sales deals for the Chilean series were closed by its official distributor Telemundo Internacional. Following the grand finale of ‘The English Teacher’, Caracol TV premiered ‘La Bruja’, a telenovela based on Germán Castro Caycedo’s play that combines different styles and genres, featuring a crime, comedy and supernatural storyline. Both ‘The English Teacher’ and ‘La Bruja’ -along with ‘Broken Promises’, ‘The

Another must-see in the list of this year’s releases is the US Hispanic premiere of ‘The Queen of the South’, which became Telemundo’s most successful debut and had a great international reception in both audience performances and sales by Telemundo Internacional. Also from the US Hispanic market is mega production ‘Eva Luna’, made by Venevision Productions for Univision. The series became the highest-rated telenovela in the US. AMBITION AND SUSPENSE. One of the ingredients that has distinguished major distribution companies is their choice for plots that combine suspense and characters with complex psychological profiles driven by their ambition. Such is the case of ‘The One’, a telenovela distributed by Telefe International that

Touch Secretary’ and ‘Infiltrated’- are among the Colombian distributor’s strongest titles. The international market is also seeing Telefe’s ‘The Man of Your Dreams’ among its new releases. This original production was directed by award-winning Juan José Campanella (‘The Secret in Their Eyes’) winner of an Academy Award in 2010. Shot in HD, ‘The Man of Your Dreams’ follows the story of Hugo, an unemployed single father that is hired by his cousin Gloria to work at her dating agency. Unlike the traditional Latin American style, this production is comprised of 13 episodes, which obtained 25 rating points and 49% share according to data released by the network. Being Human Telenovela

tells the story of Andrés, an ambitious and arrogant lawyer that wins a case in Argentina and is awarded with a trip to Spain that will ultimately change his life forever. Globo TV International’s ‘Cat’s Cradle’ runs along the same lines. The telenovela was introduced to the international market earlier this year and has been already distributed across more than 15 countries including Chile, Peru, Costa Rica, Uruguay, the Dominican Republic, El Salvador, Cuba, Albania and Portugal. ‘Cat’s Cradle’ has reported extremely good results in Latin America, especially in its home country (Brazil). There, the telenovela reported 56% share and an average audience of 22 million viewers, according to the distribution company. The Queen of the South Telenovela

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(

m iq tic And another s– on u Ju th e lY extraordinary example ly v 20 11 av is is Record TV Network’s. The ) er ito ag r company is already known for e) s the international distribution of popular titles such as ‘Samson and Delilah’ and ‘Esther, the Queen’. This year it released ‘Jackpot!’ which follows the misfortunes of a group of friends who, after winning the lottery and becoming millionaires, will go through a nightmare as they try to comply with a promise and compete for the other half of the prize.

GENRES AND FORMATS. Another outstanding aspect of the content that Latin American distribution companies have made available for this year is the diversity of its genres and a solid format offering that goes beyond its star genre, the telenovela. One of the first surprises came from Mexico, where in addition to having the world’s largest amount of TV content in Spanish, the country has developed an entertainment format catalog that has captivated local and world audiences. A good example of this trend is Televisa’s ’Pequeños Gigantes’ which not only became a local hit but also achieved excellent audience results on network Univision. And a further Mexican example in terms of original formats is Azteca’s ninth season of ‘La Academia’ which upped the ante with a refreshed version of the format, complete with 3D broadcasts. Outside Mexico, other formats have also started to earn a place of their own within the global market such as ‘Mi Problema con las Mujeres’, distributed by Frecuencia International and picked up by FOX. Another successful example of the Latin American synergy between networks is the adaptation by Record Brazil of ‘Rebels’, or the Mexican version of ‘Los Exitosos Pells’ (a version of original Argentine format ‘The Successful Mr. and Mrs. Pells’) called ‘Los Exitosos Pérez’ and distributed by VIP 2000 TV. Also along the same path are Peruvian versions of ‘Los Exitosos Gome$’ and ‘LaLola’, distributed by Frecuencia Latina International.

All in all, a wide range of content offerings that will definitely show what the so-called latin touch is all about. ttv

TTV MAGAZINE/27

Risks are not only being taken in terms of genres and formats, but also in regard to audiences. Examples include products like Telefe’s ‘SuperClumsy’ or ‘La Banda’ (a Turner Broadcasting System Latin America production distributed by World Media Pictures), or even ‘Being Human’, a Zodiak series based on the story of three travelling companions: a vampire, a werewolf and a ghost. The latter has been recently acquired by VIP 2000 TV.

Executives ttv

he 2011 edition of MIPCOM was the background chosen by French company Novavision-MEG to officially launch Novabrand International, its new division focused on creating and developing branded content for brands across the world. “We decided to launch Novabrand after noticing that there was a capital flux running from traditional TV to emerging media outlets,” François Xavier Poirier, president and founder of Novavision, told ttv. José Arcos, who recently joined the company to run the new area, highlighted that Novabrand combines two Novavision strengths: production expertise and brand strategy. “We aim at developing branded content that is entertaining, engages consumers and is viral,” he said. The production company offers services that range from creating to developing special TV shows across different media platforms, as well as integrating brands and finished products to show on TV and clips made by Novavision. NEW FORMATS. In Cannes, Novavision presented some of the new and popular formats in its broad title catalog. One of them is ‘Second Chance Makeover’, which shows people that live on the streets that find help to go back to living an ordinary social life and make up with their families. The show has worked very well in the US and “we are in advanced talks” with a broadcast TV channel in France, which, according to Poirier, would be also interested in its new game show ‘The Prize of Surprize’. A further innovative format is ‘The QuizZz’, which was produced by Bandeirantes (Brazil) and is currently being produced in Sri Lanka

The Prize of Surprize Game show

and India. “The challenge for a TV station is to have a constant level of audience during a key moment, which is commercials. Most TV stations would tell you they see their audience drop 25% to 30% during commercial breaks,” the president of Novavision said. “The question then is: what can we offer TV stations to keep their audiences as high as possible during the commercial breaks?” And the answer they found is simple: “give them something in exchange of their attention.”

“We aim at developing branded content that is entertaining, engages consumers and is viral.”

(José Arcos, Executive Director, Novabrand International)

François Xavier Poirier, President of Novavision

28/TTV MAGAZINE

ZeZe Hidden Camera Entertainment

François Xavier Poirier, president of Novavision-MEG, introduced the company’s new initiative -Novabrand International- a division exclusively focused on branded content production and headed by José Arcos. Its aims: to create entertaining, engaging and viral content. By Josefina Mezzera

The QuizZz Game show

That was how the idea of ‘The QuizZz’ was born, a format that consists of a spot with a short 20 to 30-second question before the commercial break with the answer at the end of the commercial break. Poirier also talked about ‘Pop Corn TV’, a show with a live audience that has been also produced by Novavision in Brazil. The show broadcasts funny clips produced by the companies in different parts of the world (the library currently features 87,000 clips), but with a local host and a local audience. “So instead of having gags from France, China, India or Chile, we have gags that are presented locally, which gives them great local flavor, with a taste to make them even more local,” Poirier said. ‘Pop Corn TV’ has become one of the most successful formats of Novavision and is being produced in India today. ttv

Twitter: @jmezzera jmezzera@todotv.tv

View Interview www.ttvmedianews.com

Raising The Titanic

Deals From the Dark Side

Broken Promises

A+E Networks

CABLEready

Caracol Television

Cineflix Rights

11C Mount Sophia Old School Building, #03-16, Singapore 228467 Tel.: +65 9004 0989 Website: www.AETNinternational.com E-mail: intl.sales@aetn.com Stand ATF: H19

98 East Avenue, Norwalk, CT 06851-5029 USA Tel.: +1 203 855 7979 Fax: +1 203 855 8370 Website: www.cableready.net E-mail: info@cableready.net

Executives Attending ATF

Barley Mow Centre, 10 Barley Mow Passage, London, UK, W4 4PH Tel.: +44 (0) 208 996 1810 Fax: +44 (0) 208 996 1811 Website: www.cineflixrights.com E-mail: cbluett@cineflix.com Stand ATF: H20

Tatiana Figueiredo, Director of Sales

Colombia. Calle 103 # 69b -43. Bogota, Colombia Tel.: +571 6430 430 US. 150 Alhambra Circle, Suite 1250, Coral Gables, FL, 33134 Tel.:+1 305 960 2018 Spain. Ctra. Fuencarral Alcobendas Km. 12.450, 28049, Madrid Tel.: +34 91 728 57 38 E-mail: ventas@caracoltv.com.co Website: www.caracolinternacional.com Stand ATF: H-14 Stand MyContent: A-406

Executives Attending ATF

Joanne Lim, International Content Sales Executive, Asia Pacific Lin Huiting, International Sales Coordinator

TOP EXecutivE

Tatiana Figueiredo, Director of Sales

TOP EXecutivE

It’s common knowledge that an iceberg sank RMS Titanic, but how the “unsinkable” ship was so quickly mortally wounded, how it sank, and how it broke apart are questions that remain unanswered to this day. To commemorate the 100th anniversary of the sinking of the Titanic in April 2012, ‘Raising the Titanic’ seeks to answer these questions once and for all.

Storage Wars

(Real-Life - 78 x 30’ + 2 x 60’ Specials) Storage unit auctions are the newest and biggest untapped source for hidden treasures, and opportunistic individuals bid on unclaimed properties hoping to strike gold. In each episode, the owner of the storage facility cuts the lock to a delinquent unit and raises the door for the first time, allowing anxious bidders to peer inside for a brief moment, aided only by a flashlight.

Monster In-Laws (Real-Life - 10 x 30’)

In Laws – most people have them...and in most cases, people have issues with them. ‘Monster In-Laws’ shines a light on married couples that are at the boiling point with their overbearing in-laws. Each episode features a spouse in between their parents and the person they married, desperate to save their relationships and reconcile deep-seated family feuds along the way. After setting up the relationship and the stakes of their impending reunion, viewers see them move in together, and observe as all of their nightmares come to fruition. Seasoned relationship experts will come in and use unconventional tactics to make them face their issues and hopefully restore their families.

TOP EXecutivE

Executives Attending ATF

Chris Bluett, Sales Manager

Berta Orozco, Sales Representative for Asia and Africa

(Entertainment - 13 x 30’) (History - 1 x 120’)

Chris Bluett, Sales Manager

Executives attending MyContent Deals From the Dark Side

Raising The Titanic

Executives Attending ATF

Roberto Corrente, Sales Executive

Ling-Sze Gan, Senior Director, International Content Sales, Asia Pacific

30/TTV MAGAZINE

Driving Wars

Follows eccentric relic collector Steve Santini on his quest to buy and authenticate dark and haunted items for his unusual collections. Santini scours high and low looking for the rare, unusual and tragic; a Titanic deck chair, Jack the Ripper’s knife, a monk’s cloak from the Spanish Inquisition. Objects that are undeniably supernatural and are connected to iconic events and infamous people who have long since passed.

Hollywood’s Top Ten (Entertainment - 150 x 30’)

Count down the top 10 of everything Hollywood featuring memorable scenes from movies new and old. Top ten car chases, Brad Pitt movies and movie kisses are just a few of the lists to be counted down. Each episode is evergreen and can be customized with local hosts according to network needs and be used as filler material.

Prison Diaries

(Crime & Investigation - 18 x 60’) ‘Prison Diaries’ takes the viewer on an exclusive and harrowing journey inside the female criminal mind to discover why women who are incarcerated in America’s prisons don’t just hurt they people they have been found guilty of murdering, but also the people they love, their own family and friends.

TOP EXecutivE

Berta Orozco, Sales Representative for Asia and Africa

Broken Promises

(La Promesa) (Series - 60 x 30’) Every year thousands of women fall into the human traffic networks and they are forced to live a life full of slavery, both sexually and work wise. This is the story of Ana, Seleni and Frida who were taken from their homes with lies and sentenced to be exploited by a ruthless international trafficking ring which shows the living hell that they have to go through every day and from which they have no hope of escaping. In the middle of their life struggle, these three women will find out that love is the key to escape from the degradation and the torture that they have lived. But, will they be able to find an absolution after having gone through hell?

The Secretary

(El Secretario) (Comedy Telenovela - 120 x 60’) Emilio lives in New York but when he realizes that he has a daughter in Colombia, he decides to return to take on his role as a father. However, when he is traveling someone hides some dollars in his suitcase and the police arrests him. Emilio proves his innocence but his past will forever be stained by this incident and the only job he will get is as secretary. From the moment he “takes office”, Emilio will have to fight to fit in with the other secretaries. He will then become his boss’s shadow and right hand and will inevitably fall in love with her. But Antonia is engaged with no other than the despicable Felix Segura, lord and master of Copito Industries.

Driving Wars

(Entertainment - 8 x 60’) Driving Wars combines the fantasy of driving video games with the sights, sounds, action, and destruction of real-life motorsport and Hollywood stunts. State-of-the-art robotics and radio control technology are used to remotely control cars as teams of hotshot drivers put their reputations on the line in the ultimate driving competition. Driving Wars brings racing skills and video games together for a totally wild ride.

Bigger Better Faster Stronger (Entertainment - 10 x 30’)

Have you ever looked at an everyday appliance and thought “I could make that better.” In this series, two teams compete to “turbo” everyday objects to their full potential. Each team is helped by industry professionals to rip out all the boring bits, throw in some more power and attempt to make household appliances bigger, better, faster, stronger.

Extreme Prison Break (Crime & Investigation - 12 x 30’)

There are over two million prisoners incarcerated in America, and every year a daring few attempt to escape. ‘Extreme Prison Breaks’ reveals the elaborate plans and determination involved in some of the world’s most daring breakouts. Told from the point-of-view of the prisoners and the officers who kept them behind bars, each true story weaves together the details of a high-risk escape with startling interviews and tense reenactments.

Grachi

Split - The Real Story

Cat’s Cradle

Pushovers

Comarex

Dori Media Group

Globo TV International

Latin Media Corporation

Bosque de Duraznos #69-905, Bosques de las Lomas, México D.F., 11700 Tel.: +52 55 52 51 14 10 Fax: +52 55 52 51 14 09 E-mail: sales@comarex.tv Website: www.comarex.tv Stand ATF: LH22

Hochhaus zur Palme, Bleicherweg 33, CH-8002 Zurich, Switzerland Tel.: +41-43-817-7050 Fax: +41-43-817-7055 E-mail: sales@dorimedia.com Website: www.dorimediadistribution.com Stand ATF: J18

Rua Evandro Carlos de Andrade, 160 / 7º andar, Vila Cordeiro 04583-115, São Paulo, Brazil Tel.: + 55 11 5112- 4413 Fax: + 55 115112-4018

8725 NW 18th Terrace Suite 405 Miami, FL 33172 Tel: 1305-974-1765 to 1768 Fax: 1305-974-1769 Website: www.latinmediacorp.net Stand ATF: C02

Executives Attending ATF

Martha Contreras, Sales Asia

‘Grachi’ is a story of a young girl who must learn to use her new-found magical powers all while coping with school, boys and growing up. Her rivalry with classmate Matilda for the affection of heart-throb Daniel sets the stage for a bewitching battle of spells that is sure to enchant and captivate viewers. A story where fantasy meets reality creating a whimsical escape for kids that is marvelously magical.

Executives Attending ATF Farid K. Ahmad, Director of Sales

TOP EXecutivE

Marcel Vinay Jr., CEO Comarex

(Teen Telenovela - 75 x 60’)

Raphael Correa Netto, Head of International Sales

Pauline Ick, Director of Marketing and Sales, Asia-Pacific, Dori Media Distribution

TOP EXecutivE

Grachi

TOP EXecutivE

Andres Santos, VP Sales, Dori Media America

Split - The Real Story (45 X 30’)

What happens when fantasy takes over reality? A group of actors in a vampire series discover that their real life is scarier than the story they act in. The choices are similar but the threat is much more real – and deadly. Will true love prevail among demons and evil forces? Will Yon and Amit find each other again? At what price? ‘Split’ 3rd season -the culmination of the fight between good and evil.

Wrong Numbers An exciting game show, in which a random pedestrian is asked to call one of his least favorite cell phone contacts. Once the call is answered, both caller and receiver take part in a trivia game, at the end of which, one of them is in for a huge surprise.

Money Pump A thrilling game show where contestants must beat a huge money pump in order to walk away with a cash prize. Two contestants must answer questions correctly before the money pump sucks away $1,000,000 out of a large cell. From question to question, the money pump increases its speed... Who will win?

José Escalante, Managing Director

Cat’s Cradle

(Telenovela - 110 x 45’) The twists and turns in the life of Gustavo, a rich and intolerant man, married to Veronica, a vindictive, arrogant and futile woman. Gustavo only discover true love and recover his old values when he meets Rose, a simple, hardworking and down to earth woman who takes care of her four kids with love and dedication.

Passione

(Telenovela HD - 160 x 45’) When the secrets of the past of a powerful family are revealed, mystery, intrigue, envy, passion, love and hatred intertwine the characters in a mesmerizing plot filled with enthralling and engaging twists and turns.

Extreme Planet

(Journalistic HD - 1 x 40’ / 3 x 30’) An expedition moved by beauty, danger, adventure, and success. A team of Brazilian journalists travel across Antartica, Andes Mountais, Norway and Bahamas, facing breathtaking challenges. The series tests man´s limits in a suprising, fascinating, and unforgettable way.

Globodoc

(Documentaries - 9 x 45’) Produced under the supervision of TV Globo’s award-winning journalism team, and bearing Globo’s top-quality stamp, Emmy-nominee ‘GloboDOC’ is a series of documentaries highlighting Brazil’s vast cultural and geographic diversity and renowned local personalities that have left their mark on the world, as seen through the eyes of Brazilians themselves.

Pushovers

(Telenovela - 100 x 45’ in production) After being laid off from their job, a group of men decide to take revenge on their former employer by stealing merchandise that’s worth lots of money. Everything goes wrong at first but they manage to succeed with their plan. After discovering they have a taste for felony, these men - each with a special skill; decide to continue with these robberies. They will get into hilarious situations as they hide their reality from their families and faced the impending danger of the people who they’ve wronged including a dangerous and yet colorful mob boss.

First Lady

(Telenovela - 100 x 45’) This is the story of Sabina Astudillo, a young and poor woman who dreams of becoming rich and to have everything her heart’s desires: power, luxury, and Money. Tired of being poor, Sabina moves to the capital city and decides to meet Leonardo Santander, one of the country’s presidential candidates. Sabina with the help of her allies: Domingo and Aníbal, she manages to enter into Leonardo’s and that of his family’s. At the same time, Sabina meets Mariano and fells deeply in love with him but she realizes if she wants to achieve her goals some sacrifices need to be made and she breaks up with him and begins to concentrate on her objectives. Sabina lies, manipulates, cheats, and doesn’t even care whom she has to hurt in order for her to become the First Lady.

TTV MAGAZINE/31

Dinofroz

Franklin and Friends

Pop Corn TV

Jackpot!

MONDO TV

Nelvana Enterprises

NOVAVISION-MEG

Record TV Network

Address: Via Brenta, 11 – 00198 Rome Italy Tel.: +39 06 86323293 Fax: +39 06 86209836 E-mail: mondotv@mondotv.it Website: www.mondotv.it

Website: www.nelvana.com E-mail: kerry.novick@corusent.com

Rue Vivienne 12 – 75002 – Paris, France Tel.: 33 (0)1 7547 8070 Fax: 33 (0)1 7547 8074 Web: www.novavision.fr E-mail: sales@novavision.fr Stand ATF: G02-F02

Rua da Várzea, 240 – Barra Funda, 01140-080, São Paulo-SP, Brazil Tel.: +55 11 3300-5468 Fax: +55 11 3300-5200 E-mail: dandrade@sp.rederecord.com.br Website: www.recordtvnetwork.com

Executives Attending ATF

Micheline Azoury, Head of International Sales & Brand Manager

Executives Attending ATF

Kerry Novick, Sales Representative, Australasia, Nelvana Enterprises Derek Reeves, Asia Pacific Representative, Production and Development, Nelvana Enterprises

TOP EXecutivE

Executives Attending ATF

TOP EXecutivE

Micheline Azoury, Head of International Sales & Brand Manager

TOP EXecutivE

Charles Gebenholtz, Sales Executive

Delmar Andrade, International Sales Director

TOP EXecutivE

Kerry Novick, Sales Representative, Australasia, Nelvana Enterprises

François-Xavier Poirier, CEO

Jackpot!

(HD Telenovela – on air)

Dinofroz

(Full HD 2D animation with CG effects - 26 x 26’) Four childhood buddies find a way of accessing a parallel time dimension, where they find themselves as dinosaurs, in the middle of a never-ending war with dragons. Tom, Eric, John and Bob are four teenage friends. They’re 12 years old and are just regular kids at school. Regular for everyone else, but they share something in common that no one knows about. Something that makes their kid’s life very exciting and makes them notso-regular kids.

Gormitti–The New Adventure (Full HD 3D CGI animation - 52 x 26’)

32/TTV MAGAZINE

The new Princes of Gorm are called to action when an ancient evil rears its head and the legendary Magmion returns. Three thousand years ago, the Island of Gorm faced its gravest hour. The dreaded Magmion was at full power, and his rage threatened to consume the entire island, and every living Gormitti along with it. He was repelled thanks to the power of the Invincible Lords of Nature and their mysterious benefactor, the Old Sage. But the Lords knew that a victory against Magmion was, at best, temporary - for Magmion had grown too strong. The wisest among the Lords devised a brilliant, but drastic plan – divide Magmion’s power into Six “FIRESTONES” and hide each of these pieces of dark power separately - one sequestered deep within each Lord’s kingdom. But how to ensure that these Firestones remain forever apart and thus guarantee that Magmion could never reconstitute himself?

Franklin and Friends

POP CORN TV

He’s older, wiser and in this CG series, Franklin the turtle and his familiar friends including Bear, Fox and Rabbit take on all-new adventures in Woodland. This series offers laughs, heartwarming moments and lessons on growth and empowerment, ensuring that Franklin continues to win the hearts of families from pond to pond.

‘Pop Corn TV’ is our best seller, a premium family compilation show, totally revised for 2012, with the best of our candid camera gags, clips and bloopers. Everything and anything to surprise your audience and keep them glued to your screen! Magicians, twin brothers, contortionists, hypnotists, wild animals... everyday people facing extraordinary situations, always funny!

Scaredy Squirrel

THE QUIZZZ

‘Scaredy Squirrel’ is based on the popular children’s book series of the same name by Canadian author Mélanie Watt, published by Kids Can Press. The series follows the adventures of an endearingly smart but obsessively minded squirrel, Scaredy, who lives in Balsa City. He has the perfect job for a squirrel with a touch of OCD, he gets to stack cans into elaborate displays at the Stash n’ Hoard grocery store. At first glance, he may seem geeky and quirky, but he’s actually one cool confident squirrel.

Family oriented, trans-generational, and trans-cultural, this short game show format is based on the oldest game in the world and makes TV channels keep their audience during commercial breaks and get extra revenues (from viewers, sponsors, brand content, product placement). The host mimes an object, a city, a job, a movie, a sport, a celebrity, etc. that the viewers have to guess thanks to a MCQ. They can play for fun, or for prizes, through text messages. The answer comes right after the commercial break.

Samson is a courageous man, a Hebrew who gives fight to many armies of his people enemies, and savage beasts; also, he keeps to himself the mysterious secret of his strength. He was born as the promise of being the rescuer of his people who were oppressed and persecuted. Delilah, a Philistine woman who has an exuberant beauty and is extremely ambitious, hears about the triumph of Samson over the Philistines. She was chosen by Inarus, prince of Gaza, to be another of his courtesans and to persuade Samson so as to discover the secret of his strength.

Mr. Young

THE PRIZE OF SURPRISE

Esther, the Queen

(Game Show – Magazine)

(HD Series – 10 x 60’)

Filmed in front of a live studio audience, Mr. Young stars Brendan Meyer as Adam Young, a whiz-kid-turned-teen genius who hit the books hard enough to get into university at the age of 9. Now, at the tender age of 14, he’s headed back to high school – as a teacher. Being the same age as his students, Adam finds himself trapped between two worlds – coping with his co-workers, who happen to be twice his age, while teaching his best friend, the girl he has a crush on, and the class bully. With one foot in the lunch room and the other foot in the staff room, it’s Mr. Young’s social life that’s being put to the test.

The twist consists in comparing and explaining cultural differences between countries through candid cameras and funny clips. The promise is to have fun while guessing people’s reactions to pranks, compare these reactions according to country of origin, and challenge our prejudices through humor and trivia.

‘Esther, the Queen’ tells the story of a beautiful young lady, and Jewish at a time when her people were persecuted and she must avoid that they’re all extinct. The drama takes place in Persian Empire, where King Ahasuerus called all the virgins of the kingdom so he could choose a new queen for him. When he meets Esther, King Ahasuerus falls in love with her immediately, without knowing the truth about her origin. Esther surrenders to the love of the king and reveals her true feelings for him. They get married and she is crowned queen of the whole Persian Empire.

(Animated preschool – 26 x 30’ / 52 x 11 minutes - HD)

(Animated comedy – 40 x 30’ - HD)

(Live-action Comedy – 26 x 30’ - HD)

(Entertainment - 400 x 26’)

(Game Show)

Bubble Comedy Show

(Format / Light Entertainment - 26’) A compilation of videoclips from 45 seconds to 3 minutes. It’s a great range of non verbal comedy shows and clips from around the world.

A group of friends had been playing lottery since two years ago. In the New Year’s Eve, when the prize has an extraordinary value, they picked the correct numbers of the lottery and they all become millionaires. They live their dreams but they are also involved in a terrible nightmare because they made a pact: each one has a mission to accomplish within one year and only those who can accomplish their mission shall be entitled to the other half of the prize that is stored in a saving account.

Samson and Delilah (HD Series – 18 x 50’)

La Pola

The House of Anubis

Maid in Manhattan

The One Who Couldn’t Love

Sony Pictures Television

Studio100 Media GmbH

Telemundo Internacional

Televisa Internacional

21/F, City Plaza Three, 14 Taikoo Wan Road Taikoo Shing, Hong Kong Tel.: +852 2913 3788 Fax: +852 2913 3798 Website: www.spti.com Suite ATF: Marina Bay Sands Hotel, Angsana Meeting Room 3F Level 3, Sands Expo & Convention Centre

Nymphenburger Str. 82, 80636 Munich, Germany Tel.: + 49 89 960 855 0 Fax: +49 960 855 104 E-mail: info@studio100media.com Website: www.studio100media.com Stand ATF: H15

2745 Ponce de Leon Blvd. Coral Gables FL 33134, USA Tel.: (305) 774-0033 Fax: (305) 774-7372 Website: www.telemundointernacional.com E-mail: alejandra.recasens@nbcuni.com

Room 1201, Building 3, Wanda Plaza, 93 Jianguo Road Chaoyang District, Beijing 100022, China Tel.: +86 (1343) 670 6023 Fax +86 (10) 5960 4886 Stand ATF: G-20

Executives Attending ATF

Julian Curtis, Director, 2waytraffic, Asia Annie Yim, Executive Director, Distribution, SEA

The Pretenders (Telenovela - 36 x 60’)

The Pretenders are a commando group, trained and prepared to carry out simulated operations. The team is made up by Mario Santos, the brain, who comes up with the plans; Emilio Vargas, the chameleon, who plays different characters in the operations; Pablo López, the go-to-man, in charge of logistics and all technical aspects; and Gabriel Medina, the researcher, who finds all the necessary data for Santos to come up with the plans.

Los Caballeros las Prefieren Brutas (Telenovela - 22 x 60’)

Mario Castro, Director of New Businesses

(Telenovela - 130 x 60’)

(Live action - Season I 60 x 12’ + Season II 90 x 12’)

Amid an unsolved mystery in a school boarding house, a crazy school caretaker and an attic which is probably haunted, a group of teenagers begins its investigation.

Maya The Bee

(3D CGI Animation - 78 x 11’) Maya is a story of a little bee that ‘goes her own way’. Her adventures sometimes lead her into trouble, but luckily she has Skip, an avuncular grasshopper and Willy, her best friend to help her out.

Florrie´S Dragons (Animation - 52 x 10’)

Florrie, a little Princess and her friends, the dragons, explore the world in a series of charming adventures and discover the meaning of friendship, community, compassion and individuality.

For a woman who has spent all her life in a small town in Mexico, making her way to my New York means facing a new world. With a couple of suitcases, the company of her young son Lalo, and a handful of bills in her pocket, Marisa Lujan decided to leave her town after armed groups arrived to take over the area. Without looking back, she made her way to New York, the grand metropolis. Thanks to the help of a friend, she slept on a couch while searching for employment. Those days were not easy; however, they were rewarding for a real-life heroine. New York becomes the starting point of this story which promises to bring with it tears of joy and pain, with the hope that in the end, love will know how to overcome any obstacle.

The One Who Couldn’t Love

Dance! To The Beat Of The Heart

(Traditional - 150 x 60’)

(Telenovela - 80 x 60’)

In just a few hours the hallways and classrooms of Estela Redondo’s prestigious dance academy will be filled with hundreds of youngsters holding big dreams of becoming worldrenowned dancers. Among the hopefuls are Gala and Miranda, the granddaughters of Estela, who have to demonstrate just like the rest of the students that they have the talent needed to win a spot in the acclaimed school.

Behind Closed Doors (Telenovela - 130 x 60’)

In the house next door, nothing is what it seems. In it live people that hide many secrets. This is the Conde family, a traditional family composed by Renato Conde, Eva Spencer, and their children Ignacia, Carola and Emilio. Cornered to demonstrate their innocence, each member of this family will end up bringing their own demons out into the public after hiding them for so many years, and making the victims of this story the culprits and the apparently innocent, the murderers.

(Traditional - 150 x 60’)

Ana Paula lives in Chiapas where she is studying nursing; her devotion for sick people came up while she took care of her ill mother throughout her long agony. When she was about to graduate, she met Bruno, Rogelio Montero’s lawyer. He offered her a job nursing his boss who became paralytic and got stuck in a wheel chair after having an accident. As the pay is fine, she takes the job in order to financially support her aunt Rosaura. Since then, an endless saga of jealousy, love and passion takes place.

Double Life

What happens when destiny changes your life, facing you with the hardest decision to make? Angélica Estrada marries Santiago Ballesteros, a young and good looking architect, with whom she falls in love at first sight. But, after a while, he suffers an accident and disappears, being declared officially dead. Thus, after two years of mourning, Angélica loses her mind for Ricardo Valtierra, who is married and leaves her wife because of Angélica. However, the story doesn’t end there. Santiago comes back and he is determined to recover his life, which includes Angélica. Now, she must solve her vital dilemma: which of the two should she stay with.

Pequeños Gigantes

(Light Entertainment, 13 x 120’, weekly) A fabulous format where, in a unique way, we will have the opportunity to see the world through the eye of children. A competition in which children, between 4 and 12, will entertain us with their abilities and witty comments.

TTV MAGAZINE/33

The story of Cristina, an attractive, intelligent, professional and independent woman who is financially successful, has great friends and shares her life with the perfect man. Until the day discovers that her perfect boyfriend is a perfect idiot. Her ideal world comes crashing down and she finds herself suffering from an emotional emptiness. But she is determined to find happiness and personal satisfaction… no matter what it costs or what it takes. What is the secret to finding it? What is the problem with professional, intelligent and successful women? And why are relationships so difficult in these modern times? Can it really be that “gentlemen prefer them dumb”?

TOP EXecutivE

Maid in Manhattan The House of Anubis

La Pola is a beautiful and proud woman. Alejo is an educated, high society man. They love each other, but theirs is a forbidden love. Alejo is a Spaniard; La Pola, a mixed-race woman. Only when New Granada gains freedom from Spain can their dream of being together come true - if they are still alive by then.

Hugo Treviño, Director of Logistics and Events

Patrick Elmendorff, Managing Director

Ángel Orengo, SVP, Distribution, Asia-Pacific

(Drama/Romance - 90 x 60’)

Executives Attending ATF

Xavier Aristimuño, VP Sales & Business Development Asia

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La Pola

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Martin Krieger, Senior Sales Executive Jo Daris, Head of Global Business Development

Gogos Crazybones

Dragon Ball Z Kai

Huérfanas

Usain Bolt: The Fastest Man Alive

Televix Entertainment

Toei Animation

TV Azteca

Zodiak Rights

449 S. Beverly Drive, Penthouse Beverly Hills, CA 90212, USA Tel.: 1-310-788-5500 Fax: 1-310-286-0207 Email: sales@televix.com Website: www.televix.com

58, Yokodera-machi, Shinjuku-ku, Tokyo 162-0831, Japan Tel.: +81 3 5261 7619 Fax: +81 3 5261 3875 E-mail: sales@toei-anim.co.jp Website: www.toei-animation.com/en

Periferico Sur 4121 Tel.: +52 555 251 1410 - Fax: +52 555 251 1409 E-mail: sales@comarex.tv Website: www.comarex.tv Stand ATF: H22

Beaumont House, Kensington Village, Avonmore Road, London, W14 8TS Tel.: +44 (0)20 7013 4400 / Fax: +44 (0)20 7013 4401 E-mail: contactus@zodiakrights.com Website: www.zodiakrights.com Stand MyContent: A-506 / Stand ATF: K19

Executives Attending ATF

TOP EXecutivE

Tony Piantedosi, Director of Development

Executives Attending ATF Martha Contreras, Sales Asia

TOP EXecutivE

Kanji Kazahaya, Director, Global Licensing Business Department, Toei Animation

TOP EXecutivE Hugo Rose, CEO

Executives Attending ATF Celine Laune, Sales Coordinator

TOP EXecutivE

Marcel Vinay Jr., CEO Comarex

Naomi Koh, Vice President of Sales

Dragon Ball Z Kai

(Animation series - 97 x 30’)

Gogos Crazybones (Comedy/Action - 52 x 11’)

The zany Gogos, tiny creatures from a parallel dimension, use their amazing abilities to travel to Earth and hunt down human artifacts, with hilarious results!

Blake: Double Identity (Action/Adventure - 26 x 30’)

Armed with the latest gadgets and super intelligence, action hero twins Justin and Tatiana Blake combat the greatest threats the world has ever seen!

The Illusionauts

(Action/Adventure - 1 x 86’) When an evil government plot unravels, four kids are bound together to travel through time and books on a mission to save the books and the world.

Stan Lee’s Heroman (Action/Adventure - 26 x 30’)

Joey Jones is a soft-spoken boy whose model robot grows into a massive weapon, while the boy himself grows into a hero who can save the world.

Rob the Robot

(Educational - 26 x 30’)

34/TTV MAGAZINE

Rob and his robot friends explore new worlds, such as the Band Planet and the Weather Planet, in order to fulfill missions and learn about the galaxy.

With overwhelming and extraordinary power, new enemies descend upon Goku. Goku has no way out… In this second series, Gohan, the son of Goku joins the fighting battle and the action is even more vigorous.

Huérfanas

(Drama - 120 X 60’)

As the Pirate King Gold Roger was executed he reveled that his treasure, know as One Piece, was hidden somewhere on the Grand Line. Monkey D. Luffy dreams of finding the legendary treasure and becoming the Pirate King, and after eating the Devil’s fruit he gains the power to do so. But first he must find a crew.

The story of three wealthy young girls whose fortune takes a turn for the worse when their parents die. On the tough journey ahead of them, they will discover that their fighting spirit and thirst for the truth are the most valuable things they could ever have wished to inherit. The aristocratic Montemayor sisters, Aralia, Melina and Diana, are too young and naïve to fully comprehend the tragedy that has befallen them. Their parents had brought them up in a completely different world, one where there was no place for betrayal, intrigue and scorn. Now, with the help of their nana, Santina, they will have to learn to survive in a harsher reality.

Sailor Moon

Cielo Rojo

One day on the way to the school, a young girl helped a black cat bullied by children. The strange black cat who had a crescent patch on his forehead told her that she is a Sailor Moon to protect the earth and the moon. The black cat gave her the magic brooch and told the key word to change to Sailor Moon. “Moon Prism Power…Make Up!” Then the light suddenly covered her and she turned to Sailor Moon. The action and romance of Sailor Moon now begin.

Alma and Andres were meant for each other, but it seems destiny is intent on keeping them apart. Years after a painful separation, their paths cross again and they plan to run away together. But Alma’s husband, Victor, prevents her from meeting Andres, who leaves disheartened, convinced that she has chosen her husband over him. When confronted by Victor, an alcoholic prone to fits of violence, Alma accidentally kills him in self defense. Overcome by grief and hate, her mother-in-law, Adela, has Alma arrested for murder. A few months later, she gives birth to a baby girl in jail. Knowing full well Andres is the father and not her son, Adela disappears with the baby, which she names Daniela. Meanwhile, Andres marries a former girlfriend, who pretends to be carrying his child when she is really pregnant by another man.

One Piece

(Action/Adventure/Family - 450 x 30’)

(Animation series - 200 x 30’)

TORIKO

(Adventure/Action/Comedy - 48 x 26’) The world is full of deliciously deadly ingredients that the wealthiest appetites in existence can’t wait to devour. Toriko, the legendary Gourmet Hunter, is ready and willing to track down the rarest animals on the planet and put them on a plate!

(Drama - 174 X 60’)

Lucho en Familia

(Comedy / Series - 36 X 60’) A comedy which follows the life of a retired wrestler with great family values who has to return to the ring to support his family. Lucho will have to overcome all kind of obstacles to get his family back on their feet.

Usain Bolt: The Fastest Man Alive (Factual - 2 x 60’ - HD)

At 25 years old, Usain Bolt is the quickest man on the planet. An extraordinary athlete. A legend. In 2012, he will try to become the first man to win the 100m gold medal on the track in two consecutive Olympic Games. But how can a man 6’5’’ tall and built like a rugby player be so fast? Director Gael Leiblang has secured exclusive access to Usain Bolt, filming him up close and personal over 12 months as he prepares for the biggest race of his life.

You’ve Got To Be Kidding Me (Entertainment - 60’ Format)

They’re clever, smart, fast and strong. They compete against some of the country’s toughest opponents in battles of skill, strength and endurance. And they’re all kids! This prime time entertainment format showcases the nation’s most talented kids in a series of nail-biting duels, matching them head-to-head against celebrities from the field of music, sport and culture. A panel of celebrities bet on the outcome with the winner donating their cash prize to charity.

Tickety Toc

(Kids - 52 x 11’ - HD) Inside an old clock shop is wall full of clocks. Big clocks, little clocks, silly clocks and sensible clocks. All of them ticking away to themselves and keeping perfect time. And right in the middle is one very special clock. This is the Tickety Toc Clock. As every hour passes, the Tic Toc Clock springs into life to chime in the time. It all happens as regular as clockwork. But chiming the time isn’t as easy as it seems. For behind the face of the Tickety Toc Clock lies an extraordinary wooden world where things definitely don’t always run so smoothly. This slapstick show centres on our inseparable heroes, Tommy and Tallulah, and their remarkable friends as they race against time to keep the clock ticking. In this beautifully crafted series, the pressure is always on and every madcap minute counts.