TTV N84 - MIPCOM 2012 by TodotvMedia

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Special Report

Top Honor

ENTERTAINMENT MODELS

The Interactive Era _/28

Personality of the Year _/16

Emilio Azcárraga Jean, Chairman of the Board and Chief Executive Officer, Grupo Televisa

Interviews

TV’s Unexpected Ally _/52

Claire Tavernier, Senior Executive Vice President, FMX and Worldwide Drama, FremantleMedia

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ONLINE PRINT

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Guía AdSales Directorio Producción todotvnews.com ttvmedianews.com

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The Wave Comes and Goes _/64 Ana Langenberg, Head of Format Distribution, Endemol Group

Local Production Matters _/84 Dean Possenniskie, Managing Director, Europe of A+E Networks International

Gurus and Trendsetters _/136 Marcos Santana, President, Telemundo Internacional

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Executives

Multi-Faceted Strategy _/20 Marion Camus-Oberdorfer, Head of International Content Sales, ORF-Enterprise Nomadic Content _/24 Ziyad Varol, Content Sales Deputy Manager, ATV Co-production Opportunities _/51 Patrick Jucaud, President and CEO of Basic Lead Stone Turners _/26 Sally Miles, CEO, Passion Distribution Humor Without Borders _/57 François-Xavier Poirier, President and CEO, Novovision Avant-Garde Indie _/58 Adam Wright, Executive VP of International Sales & Acquisitions, Vision Films

_/96 TVFI Unveils Export Figures _/138 Mathieu Béjot, Executive Director, TV France International

insidecanada

Turkish Drama from North to South _/140 Kerim Emrah Turna, International Sales Executive, Kanal D

Special Features

Experts in Telenovelas _/146 Miguel Dvorak, Executive President and COO, Cisneros Group Upscale Fiction _/150 Fernando Varela, Director of International Business, Telefe International

Q&A Hamish Mykura, EVP and Head of International Content, National Geographic Channels International

All-Around Distribution _/98 Tomás Darcyl, Director, Telefilms Group

Innovative Think Tank _/148

ttvmedianews.com BRANDED CONTENT

A Nimble Production Model _/88

Kids&Teens _/35 Telenovelas _/67 Production _/151 Films&Series _/187

The Right Mix _/96

Spotlight on Russian Culture _/83 Julia Matiash, Director of Sovteleexport, VGTRK

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Pim Schmitz, CEO, Talpa Holding

Listings

Mipcom 2012 _/175

Gallery

NATPE Budapest 2012 _/144

June 26-28, Sofitel Chain Bridge Hotel, Budapest, Hungary

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

8/TTV MAGAZINE

HEADQUARTERS Aguada Park - Paraguay 2141 Of. 401, Montevideo - Uruguay - CP 11800 Tel./Fax: (598) 2927 2510 / 2511 / 2513 ttv is a monthly publication owned by TodotvMedia. Its distribution is free of charge. The articles reflect the opinions of the individual authors on the topics covered, without implying editorial control or endorsement of the content by the management and ownership of the magazine. For all purposes, the advertisements and their content are the sole responsibility of the advertiser. Reproduction in whole or in part, in electronic or print form, of the content of this publication, without express written permission of TodotvMedia is strictly prohibited.

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VOD

HBO vs. Netflix:

the Fight for the Nordic Viewer A mere few hours after Netflix announced it was extending its business into Norway, Denmark, Sweden and Finland; HBO also entered the picture to rain on its parade. As the VOD company prepares to debut its broadband video service in the region, HBO and Parsifal International announced a new joint multi–platform video distribution venture called HBO Nordic, which will serve Sweden, Norway, Finland and Denmark. The companies will now battle it out in the Nordic region, attempting to attract as many new clients within the countries’ combined total of 8.4 million broadband households, competing against several others who jumped the gun and arrived there first, such as Amazon.com-owned LoveFilm, local startup Voddler, and the recently launched online VOD site MUBI. The Scandinavian region presents itself as a coveted destination for both companies, where a high education rate and high household incomes, make it an excellent market for further expansion. With this in mind, Netflix and HBO are pulling out all the stops: the first announced it will offer its unlimited streaming of movies and TV shows, while the latter will launch a multi-platform video distribution service.

TRENDS

The Nitty Gritty of Connected TV Smart TVs stand to grow at a yearly rate of 60% in the following years, which makes it evident they’re here to stay. But what does it mean for advertisers? To answer these pressing questions, YuMe and Frank N. Magid Associates conducted an in-depth consumer research to analyze the basics of connected TV, and their conclusion is connected TV has become a valuable tool for both video distribution and advertising. According to the report, 45% of viewers connect their TVs to the Internet through multiple devices, and use it mainly as a way to access the content of their choice -mainly that which is not available on cable or broadcast TV- whenever they want; especially short-form programs and TV shows. As far as advertisers go, the report explains the great majority of connected TV viewers (90%) recall seeing advertising, with the majority of ads noticed by these users being pre-roll (57%). More importantly, approximately 70% of connected TV users have actually interacted with a relevant ad; and 19% even purchased a product as a result of an ad they saw on connected TV. In addition, more than half of connected TV consumers (60%) don’t mind advertising in their content, and actually prefer ad-supported content to paid adfree content. According to the survey, they see it as “a win-win” situation: they have access to high-quality, free programs and in exchange, they welcome ads.

INNUMBERS 85 feature films

are produced in Canada each year, according to Telefilm Canada.

4 billion

YouTube views are recorded every day for the London 2012 Olympics.

500 companies

are scheduled to attend Discop Istanbul 2013, as reported by Basic Lead.

TV AND SOCIAL MEDIA

Social TV’s

Unstoppable Growth According to Ericsson ConsumerLab’s annual study entitled ‘TV & Video Consumer Trend Report 2012’, 62% of consumers use social media while watching TV; which proves Social TV is turning into a mass-market phenomenon. The marriage between TV and social media has given way to a worldwide trend that’s only getting stronger: Social TV. Ericsson ConsumerLab’s latest report entitled ‘TV & Video Consumer Trend Report 2012’ shows 62% of consumers use social media while watching TV (an 18% increase from last year). In addition, 25% of consumers use social media to discuss what they are watching while they are watching it. The study also indicates mobile devices and VOD services are also increasing in popularity, “as 67% of consumers use smartphones, tablets, or laptops for TV and video viewing. Furthermore, 60% of them say they use on-demand services on a weekly basis,” said Niklas Rönnblom, Ericsson ConsumerLab Senior Advisor. Yet, despite these results, the study also shows users won’t cancel their pay TV subscriptions. In fact, only 7%of consumers say they will reduce their TV subscriptions in the future, while 41% say they are willing to pay for TV and video content in HD. Lastly, the report reveals an increasing demand among consumers: “As the number of screens and services increase, people are eagerly looking for an easy-to-use, aggregated service that can bring everything together. It should allow consumers to mix on-demand and linear TV including live content, facilitate content discovery, leverage the value of social TV and provide seamless access across devices,” Rönnblom said. The study was conducted in Brazil, Chile, China, Germany, Italy, Mexico, South Korea, Spain, Sweden, Taiwan, UK and the US; with 14 qualitative and 12,000 quantitative online interviews, representing more than 460 million consumers.

41.5 million

households in Brazil have an internet connection speed of over 2Mbps, according to Ibope Nielsen Online.

20 years

of CABLEready were celebrated on August 1, 2012.

10/TTV MAGAZINE

20 million

viewers witnessed Usain Bolt’s Olympic win on the BBC on Sunday.

AGREEMENT

DreamWorks Animation Moves to Twentieth Century Fox DreamWorks announced it’s entering a new five-year distribution agreement with Twentieth Century Fox, through which Fox will assume certain marketing and distribution responsibilities in both domestic and international markets for all animated feature films produced by DreamWorks Animation for release in 2013 through 2017. “Starting in 2013, DreamWorks Animation content will be distributed in the more traditional markets under a fee structure that is similar to our existing arrangement with our current distributor,” said Jeffrey Katzenberg, DreamWorks’ CEO. “However, our new agreement with Fox presents more favorable economics overall for DreamWorks Animation because we are taking advantage of lower costs associated with the emerging digital distribution landscape and managing domestic television distribution in-house.” Under the terms of the agreement, Fox will receive a distribution fee on worldwide theatrical and home video gross receipts as well as on international television, and on certain digital businesses, including rentals, SVOD and EST. DreamWorks Animation will retain the rights to distribute its product in the domestic televiJeffrey Kaztenbach, CEO of Dreamworks sion windows without paying a fee to Fox.

News ttv JOINT VENTURE

Global Agency

TRENDS

Linear TV Dies Hard

Despite the arrival new technologies and multi-platform content, linear TV continues to be the most popular device in the UK. According to a study conducted by the Broadcasters’ Audience Research Board (BARB), 90% of TV consumption in the UK was done through traditional means, and only 10% on mobile devices. While catch-up services and DVR devices have a 51% penetration; in homes with access to other devices, nontraditional TV consumption barely reaches

Acquires WorldWide Entertainment Brand NEWS

Ruptly, RT’s New Video Agency Russia-based news media group RT is “on the cusp of launching RT Ruptly, its new full-service video agency that will provide original video coverage of developing stories from around the world,” as stated by the company. The agency will have a fullystaffed office in Berlin, and its main objective is to become “a go-to resource of news footage for other international news outlets.” To that end, the new service will have expanded global presence to provide raw footage and create materials aimed specifically at outside distribution. The new platform is seen as the next level of RT’s online video agency FreeVideo, launched in 2009, which in the last three years provided material for more than 13,000 TV channels and agencies from 185 countries, including CNN, Fox News, ABC News, AP, and Reuters. However, RT Ruptly’s offerings will be “much more extensive,” and unlike FreeVideo, it will provide fee-based services for its clients, including special services for its subscribers. “The ultimate goal for RT is to provide balance in the global media coverage of the world news, and offer an alternative in a highly concentrated market of professional video footage,” RT reported in a release.

The international distributor entered the business of finished content distribution, after acquiring the brand rights to Australian factual entertainment distributor World Wide Entertainment. The brand is a joint venture between Global Agency and Tims Productions. Under Global Agency’s ownership, World Wide Entertainment will be controlled by Global Agency founder and CEO Izzet Pinto, and focus on creating a fresh new catalog, acquiring the latest programming from some of the world’s biggest producers of factual entertainment, reality, documentaries and lifestyle content. Izzet Pinto said: “World Wide Entertainment is a long-running success story, and I’m delighted to welcome it into the Global Agency family. Our aim is to make it the industry’s leading distributor of factual entertainment.” Bill Farrow, founder of World Wide Entertainment, added: “Being in the industry for the last 15 years, our priority has always been building a reputable brand. Izzet Pinto of Global Agency saw great value in the World Wide Entertainment brand and agreed to acquire the brand for his new formation. I know that the brand is in good hands.”

Izzet Pinto, CEO of Global Agency

NEW PLATFORMS

12/TTV MAGAZINE

Apple: the Latest Contender in the Battle for TV

15.9% of the total (a number higher than the 14.7% registered a year ago, but still far from what is to be expected). The report states each UK viewer watches an average of 4 hours of content a day, and indicates linear TV viewing has grown by 16 minutes a day over the past five years. Lastly, the report shows 47% of all recorded content is watched the same day as it airs, since “viewers want to stay as close to the broadcast schedule as possible.”

While Apple has already expressed its interest in the TV business on several occasions, the way it intends to enter said market still remains uncertain. Over the past few months, the possibility that the company would choose to launch its own TV, with access to linear and online programming, took a life of its own. In fact, speculation regarding a possible premiere by year’s-end reached a fever pitch, and a possible name was even revealed: “iTV.” According to the Wall Street Journal, Apple is allegedly negotiating with the main US cable operators. The goal is to allow consumers to use an Apple device as a set-top-box to offer live TV and other content. Apple would therefore be entering the pay TV business through an existing model, avoiding the possible complications of attempting to “revolutionize” the consumption model. The strategy not only makes sense, but even seems practical. With a similar model to the one used by the iPhone, the company is presented with a great penetration potential. While Apple TV continues to grow, it still remains a “hobby.” According to the company’s last financial report, Apple has sold 1.3 million devices, 170% more than the year before. A deal with US pay TV operators might take these numbers to a whole new level.

Tim Cook, CEO of Apple

News ttv

BRAZIL

Globosat: Apps Downloads

RecordBreaking

Grow 600%

Debut for HBO GO

HBO Latin America Group’s new premium entertainment platform, HBO GO, reached record-breaking marks just seven days after being launched in Brazil. In its first week, HBO GO registered over 177,000 visits and 53,000 content streams, which grant it an excellent position in the market. HBO GO is an online platform through which HBO subscribers can access movies, series, shows and sports programming. In Brazil, the only necessary requirement is to have a valid subscription to the HBOMAX package with Sky. HBO GO features several tools to customize the services available, such as the Series Pass, which allows users to receive notifications and reminders about new episodes when they are released. It also gives viewers the option to create a list of preferences with their favorite shows and watch HD programming, with or without subtitles. The platform has a simple and intuitive interface, with content organized in different sections: series, movies, documentaries, specials, kids and adult content.

Google

to Launch Premium TV Service As the countdown for the launch of its new service Google Fiber continues -which is being rolled out in Kansas- Google presented its Premium TV package. The basic service, with access to over 160 channels, will have a US$ 300 installation fee and will set users back US$ 120 a month for the TV + internet package, with the option to buy only the internet service for US$70. Now, Google announced it will offer three Premium TV packages and presented the complete lineup of content they will feature. One of the packages includes a collection of Starz channels, several Encore channels, IndiePlex, MoviePlex and RetroPlex. The other package includes a collection of Showtime networks, Flix, The Movie Channel and The Movie Channel Xtra. And the third package offers a series of channels especially selected for Hispanic audiences. Google Fiber’s official website will become available in September 2012.

Globosat’s TV Everywhere service, Muu, is celebrating its first anniversary with over 2,000 hours of content, available for free for all subscribers with access to the company’s networks. Muu’s content can be accessed in several ways: through its website, mobile devices, SmarTVs and apps for mobile OS such as Android or iOS. “Android apps were the most popular ones this year, mainly those meant for tablets,” said Gustavo Ramos, head of New Media at Globosat. The amount of users who access the service through mobile devices has multiplied exponentially. In fact, the number of apps installed in iPads and iPhones has grown 190% since January 2012, while Android apps have grown 516% since they were launched back in March. Movies from Rede Telecine and Canal Megapix are the most popular, mainly titles such as ‘The Reader’, ‘Vicky Cristina Barcelona’, ‘Código de Conduta’, ‘Dogville’ and ‘Coincidências do Amor’. They’re followed by musicals, comedy series, kids’ content, documentaries and sports. Series such as ‘Spartacus’, ‘Camelot’, ‘Marília Gabriela Entrevista’ and others are also very popular. The platform is currently available for over 4 million subscribers of the MSO NET Serviços and 75,000 clients from CTBC, which own at least one Globosat channel. Muu includes content from the Globosat channels GNT, Multishow, SporTV, Canal OFF, Globosat HD, Universal Channel, Canal Brasil, Rede Telecine, Gloob, and Multishow HD.

ACQUISITIONS 14/TTV MAGAZINE

Banijay Buys Into Australia´s Screentime International production conglomerate Banijay Group and Australian production company, Screentime, have signed a deal which will see Banijay acquiring a majority stake in the latter -including New Zealandand Screentime’s interest in its affiliate company in Ireland. Through the deal, Banijay enters into all three territories for the first time. In addition, its distribution arm Banijay International will represent Screentime’s catalogue; while the Australian company will gain access to Banijay’s wide portfolio of formats for local adaption. With this alliance, Banijay is set to draw on the Australian producer’s expertise in the production of high quality and long-running series such as ‘Underbelly’ to forge a new presence in the scripted content market. Screentime is also known for its international reality mega-hit ‘Popstars’, which has been produced in more than 50 countries and aired in over 100. A brand-new, refreshed version of ‘Popstars’ will be launched at Mipcom. Under the terms of the agreement, Des Monaghan and Bob Campbell, Screentime founders, will continue in their roles as Executive Chairman and Managing Director respectively as will all other key executives. Capital Investment Group and Bob Campbell will continue as significant shareholders in Screentime.

Top Honor ttv

Personality of the Year Emilio Azcárraga Jean, Chairman of the Board and Chief Executive Officer of Grupo Televisa, will be honored as the Mipcom 2012 Personality of the Year on Wednesday, October 10 during a gala dinner for industry executives at the Carlton Hotel, in Cannes. In 2011, Televisa sold over 73,000 hours of programming in more than 30 languages across 56 countries, becoming one of the world’s main Hispanic content PROVIDERS and reaching numerous milestones during the past year. By Rodrigo Ros Twitter: rodrigo__ros rros@todotv.tv

True Love Telenovela

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“Receiving Mipcom’s Personality of the Year Award is a real honor, and being worthy of it is a commitment I take on gladly.”

Royalties received from Univision in the US alone reached US$ 224.9 million in 2011, a 44% increase from the US$ 156.1 million registered in 2010.

revious to the gala dinner where Grupo Televisa’s Emilio Azcárraga Jean will be entitled the Mipcom 2012 Personality of the Year, the executive will give a keynote address at the Palais des Festival’s Grand Auditorium, as part of Mipcom’s Media Mastermind series, where he’ll share his views about the

current and future challenges of the entertainment industry, and will describe Televisa’s achievements as content developer and provider in the global arena. PERSONALITY OF THE YEAR. Azcárraga Jean’s speech at Mipcom will focus on the commitment he made five years ago: to go global

Emilio Azcárraga Jean,

and become a good partner to grow with. He will explain how Televisa has expanded the reach of its finished products and coproduction efforts around the world; and will close with his thoughts about the future of content, distribution and the transmedia landscape.

Chairman of the Board and Chief Executive Officer of Grupo Televisa

“Ever since I took over the running of Televisa, I have received lots of good news and some important recognitions; however, receiving Mipcom’s Personality of the Year Award is a real honor, and being worthy of it is a commitment I take on gladly,” he said, and added: “To receive this award encourages me and all of us at Televisa to continue working on the creation of high-quality content and taking exciting stories all over the world; it inspires us to keep building alliances with our current partners and those who may join in on this great challenge.” The executive’s commitment to social responsibility is also reflected in his support of Fundación Televisa, Teletón, Espacio and Endeavor. CONTENT EXPORT. In 2011 alone, Televisa sold over 73,000 content hours in more than 30 languages across 56 countries, becoming one of the world’s main Hispanic programming providers and reaching numerous milestones during the past year. Content sales are a solid source of income for the company, which allows it to make up for the high costs of local production. In addition, several key markets with different economic landscapes contribute to the company’s growth in numerous ways. For instance, royalties received from Univision in the US alone reached US$ 224.9 million in 2011; a 44% increase from the US$ 156.1 million registered in 2010.

“To receive this award encourages me and all of us at Televisa to continue working on the creation of highquality content and taking exciting stories all over the world.” each year, but also the vast audiences they engage. In 2011, Televisa’s telenovelas were highly successful: the final episode of ‘Triumph of Love’, for instance, was the highest rated show in Mexico during the year’s second quarter, reaching a 40% market share. In addition, ‘La Fuerza del Destino’ ranked among the top 10 programs during the third quarter, also reaching a 40% share. Lastly, the final episode of ‘Teresa’ became the year’s highest rated show, with a 53% market share. ttv Carousel Teen Telenovela

“It inspires us to keep building alliances with our current partners and those who may join in on this great challenge.”

Crown of Tears Telenovela

NEW PLATFORMS. Recently, the company’s international sales have been experiencing a steady growth, fueled in part by the development of new platforms. A clear example is the recent agreement between Televisa and Netflix, for a total of approximately 3,000 hours of content for Latin America, Brazil and the Caribbean.

TELENOVELAS. Telenovelas are one of the main genres in Televisa’s catalog, not only due to the large amount of products developed

ABOUT GRUPO TELEVISA Grupo Televisa is the world’s largest and most important Spanish-language media corporation. Under Emilio Azcárraga Jean’s leadership, Grupo Televisa has doubled its operating margin and constantly garnered over 70 percent of the Mexican Broadcast TV Market. Today, Televisa is the undisputed leader of Spanish-language content worldwide. It produces more than 80,000 hours of original programming each year and exports it to 56 countries, including to an audience of over 50 million Hispanics in the United States. Thanks to its continuous expansion into cable and satellite television as well as landline and mobile telephony services, Televisa has become an important player in Mexico’s telecommunications industry.

TTV MAGAZINE/17

In addition, the deal between Televisa and Univision includes online content distribution. Therefore, in October 2011, Univision and Hulu signed a multi-annual agreement for Televisa’s content -including telenovelas and several reality shows- to be distributed through Hulu and Hulu Plus. As a result Televisa’s content is now available online in the US for the first time, reaching a Spanishspeaking community of over 50 million people.

Executives ttv

Multi-Faceted Strategy Amidst an increasing amount of companies and services in the market, ORF-Enterprise knows it takes more than just a catalog of quality titles to compete. Thus, it’s currently developing a multi-platform distribution strategy and working on expanding its presence in new territories. By Josefina Mezzera

Marion Camus-Oberdorfer, Head of International Content Sales of ORF-Enterprise

Twitter: @jmezzera jmezzera@todotv.tv

ustrian company ORF-Enterprise’s benefits from being marketed by a strong international expansion strategy and reliable distribution partner. These is getting stronger by the are precisely the two elements that minute. As ORF’s markemake up ‘Universum’, ORF’s most “Our current ting and distribution successful brand. “It offers a 25strategy is to access arm, the division is now seeyear tradition of blue-chip Naimportant up-andking “to access important upture and Wildlife Documentacoming markets and-coming markets such as ries as well as ORF-Enterprise such as Latin Latin America and the Middle Content Sales International America and the East and to establish longtime as a professional partner for Middle East and to establish longtime relationships there,” Marion pre-sales and sales throughout relationships there.” Camus-Oberdorfer, head of the entire process – from preInternational Content Sales at production to the completed proORF-Enterprise, said. duct,” she said. Following a very successful first half of 2012, ORF-Enterprise is arriving at Mipcom ready to further promote its content catalog which includes fictional titles, children’s programming, documentaries, factual series, new formats and music performances.

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Within this varied catalog, the company will highlight two specific genres: its new TV series and its premium natural history documentaries, with hit productions such as ‘Paul KempNo Big Deal’ (13x50’) and the documentaries ‘Extreme!-Light and Dark’ (1x50’) and ‘The Cultural History of Money and Medicines’ (2x50’). THE NEXT STAR FORMAT. In an industry where there’s an overflow of entertainment formats, an inevitable question comes to mind: how does a format have to be in order to stand out and be successful? Camus-Oberdorfer believes it must be “a unique and topical idea provided at a high quality production standard with the capacity of being translated globally. That surely is the key.” In addition, she also explained the production has to follow a clear brand identity, and

MULTI-PLATFORM DISTRIBUTION. Another one of ORF’s main strengths is its on-demand distribution strategy, aimed directly at the consumer. Its online VOD service TVthek is available on multiple platforms as apps for Android or iOS smartphones and tablets,

cable providers and well-known TV manufacturer devices, and offers more than 130 of ORF programs. “The assets are accessible up to seven days after broadcast and, in addition, there is a growing Live-Stream offer available,” Camus-Oberdorfer explained. The company is currently working on expanding TVthek’s availability on all internet-capable video devices, for which it need to implement new web technologies and add new features. “The implementation of ORF TVthek on multiple platforms aims to make ORF’s content and services accessible to as many people as possible at any time and place,” she concluded. ttv Paul Kemp-No Big Deal Series

Executives ttv

Nomadic Content

Through ground-breaking stories and innovative programming, Turkish network ATV has found great success among local audiences and is now setting its sights on the international market. Its Content Sales deputy manager spoke to ttv about the company’s future plans, and presented the new seasons and titles that will fuel its journey to new destinations.

Ziyad Varol,

Content Sales Deputy Manager of ATV

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

ith several years of experience industry. “The more the viewer demands as part of Turkey’s TV indusprime-time titles; the more titles are offetry, ATV is well aware of red for the next season,” the executive how local audiences explained, and noted there’s one behave and how particular genre at the center “We would to satisfy their demands: “Taking of this growth: drama. “Turkish like to use our expertise abroad. into consideration the demodrama has a big influence on We especially have graphic factors, we observe Turthis trend; especially the pea close relation kish viewers spend much more riod dramas which have becowith the Middle time in front of the television me very popular.” East and would like than the Europeans,” said Ziyad to take it to the Varol, the network’s Content SaTURKEY OVERSEAS. Working next level.” les deputy manager. in this market has allowed ATV to compile a vast catalog of high-quality This avid TV audience is one of the main drama productions, as well as sitcoms and catalysts of Turkey’s growing audiovisual action series, which the network hopes to

use as a springboard to sign international agreements: “We would like to use our expertise abroad. We especially have a close relation with the Middle East and want to take it to the next level,” he said and highlighted a recent 6-series package deal in that region. With 2012 being “the most successful year in terms of sales” for the company, ATV is on the right track with its international expansion. At the moment, ATV’s series are present in Eastern Europe, the Balkans, the Middle East region and Caucasia. “Our goal is to maintain our sales in these regions and expand them by entering different markets,” he said.

24/TTV MAGAZINE

The next layover in this journey across the globe is Mipcom, where the company continues promoting its hit series ‘The Cliff’ and ‘Life Goes On’; and introducing premiere programming for the upcoming season, with a slate of new titles including ‘Karadayi’, ‘Valley of the Wolves’, ‘Last Summer’, ‘The Balkans’, ‘Alev’, ‘Don’t Worry for Me’, ‘Peace Street’ and ‘Lotion’. Backed by this nourished content catalog, the executive is confident his network is headed for great success in the near future. “We will have eight new titles and two from the last season; our casts are very strong and we will make an ambitious introduction,” he stated, and added: “At ATV, our expectations for the upcoming season are very high.” ttv

Life Goes On Drama Series

Executives ttv

Stone Turners With the largest slate of custom programs ever presented by the company at an international market, Passion Distribution is arriving at this year’s Mipcom with “the right content and the right formats to respond to our buyers’ needs,” according to its CEO, Sally Miles. By Gonzalo Larrea Twitter: @Gonzalolarrea glarrea@todotv.tv

Sally Miles,

CEO of Passion Distribution

hile formats have always been presented at an international tradeshow- and a key part of Passion’s recent deals with two important broadcatalog, this year the casters. distributor led by “Formats Sally Miles has “We will be bringing nearly 900 will be a bit of a decided to focus even more on hours of new programming to theme for Passion at Mipcom, the genre, as it sees great potenMipcom, which is by far the laremphasised with tial in it for further growth. gest slate we have ever brought a bespoke formats to launch at one market. We will catalogue for the “This year we have targeted ouralso be introducing two new exfirst time.” selves with really focusing on clusive broadcaster relationships the format side of the business. with The Weather Channel and Game It has always been an exciting Show Network. We have announced at area for us and we are driven towards expanleast one new broadcaster relationship at ding on that,” Sally Miles explained to ttv. every market that Passion has attended, so we are very excited to continue that tradition “Formats will be a bit of a theme for Passion at and be bringing two to Mipcom this year,” she Mipcom, emphasised with a bespoke f ormats said. catalogue for the first time,” she added. In regard to the markets the company is setThe executive also highlighted the amount of ting its sights on, the executive stated Passion content available within its catalog this year “likes to feel it doesn’t leave any stone untur-which it the largest one the company has ever ned” to “cover all exploitation potential on behalf of its content owners.”

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Beat The Chefs Cooking Show

The company has expanded its business in several territories such as Latin America, Brazil, CEE, Czech Republic, Romania and Africa; while still looking to continue reaching new destinations through digital platforms. “Digital stand-alone sales have been growing at an impressive rate. We have found that it is as viable as any other territory in terms of monetization of our content and we are very happy with the growth and the client base we have built to date. There seems to be a real need for Lifestyle content, especially female skewing, from the platforms globally as they begin to move away from the studio content and

begin to focus on more niche genres which is great news for indies such as Passion as it takes Digital sales from “Digital pennies” to “Digital pounds”,” she said. The executive believes “there will always be a pull towards traditional broadcast sales. The change in the landscape will have more to do with premiers and windowing opportunities as the digital platforms have more power to command first runs within a territory; something we are beginning to see in the US already,” she explained. Lastly, as far as new trends go, Miles stated that as long as the appetite for quality lifestyle programming remains constant, “there will also be a demand for strong male-skewing factual as well as fun and original non-scripted formats.” ttv

Catalog Highlights Passion’s vast content catalog for the upcoming Mipcom includes two new formats that Miles has very high hopes for. First, the company will present ‘Baggage Battles’ from the US Travel Channel. It’s a show which has done very well domestically (immediately picked up for a second season), which follows auction specialists who travel the world looking to snatch up unclaimed and lost personal property in an attempt to make large profits. In addition, the distributor is also introducing ‘Beat The Chefs’, a new cooking show format from Game Show Network, which lets ordinary people compete at cooking their favourite dishes against professional chefs. A panel of food experts then judge who has cooked the best dish for a chance at winning a US$ 25,000 prize. The catalog also includes other hit titles such as ‘Dynamo: Magician Impossible’, ‘Ghost Adventures’ and ‘Abby And Brittany: College And Beyond’.

Special Report ttv ENTERTAINMENT MODELS

Era The interactive

Increasing TV consumption through social networks, generating higher ratings with great entertainment formats and keeping them fresh, investing on local production suited for new platforms, and searching for ways to modernize the TV industry; these are some of the issues addressed in the following report, derived from the collaborative expertise of international TV producers and major Latin American broadcast TV networks.

By Rodrigo Ros

By Sebastiรกn Amoroso

Twitter: @rodrigo__ros Twitter: @sebamoroso rros@todotv.tv samoroso@todotv.tv

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Numerous companies seem to be more than willing to take part in this new trend. For instance, US social TV platform yap.TV recently extended its service to Latin America. The free iPhone and iPad app lets users interact online with their friends and other TV fans while watching programs together, and share their preferences and suggestions for TV series, videos and movies.

only a clear indication of how users’ consumption habits are changing; but also reveals a need for new, innovative distribution strategies and content.

The following article illustrates the different outlooks on the situation from 20 production,

Ricardo Vázquez, general manager of Ecuavisa (Ecuador), believes “the main target must be today’s kids, as they’ll become tomorrow’s adults. Kids are the ones who set the trend in regard to which content they like best. With the new technologies available, they can enjoy their favorite shows on several different platforms; yet still consume traditional TV, actively engaging with the programming through social networks. What must we do to keep this audience entertained? The key will always be local production and providing content these viewers can identify with, in order to increase their loyalty.”

hile some experts are constantly stressing the fact that certain entertainment formats considered to be “success formulas” are beginning to lose their shine; others believe their outstanding worldwide performance and their potential to be reinvented, will actually give way to higher ratings, promoted by the increasing interaction with audiences through new platforms and social networks. This diversity of opinions raises more than a few questions among broadcast TV players; where local production, interactivity, multiplying platforms and new formats are currently the industry’s most-discussed topics.

Unzipped,

FremantleMedia

Since the trend is still in its infancy, the truth is there’s still plenty to figure out about how content and advertisement could be translated from the TV screen onto social networks and vice versa.

“Extending a show beyond the TV screen, with a certain level of interactivity through social networks such as Facebook, doesn’t change the content; it enriches it,” said Barnaby Shingleton, director of Entertainment at Zodiak Rights. Based on this new paradigm, Zodiak has created a division called Zodiak Active to specialize in new ways to make content more appealing for advertisers. Several companies seem to be more than willing to take part in this new trend. For instance, US social TV platform yap.TV recently extended its service to Latin America. The app allows users to chat with others through Facebook and Twitter and share their preferences and suggestions for TV series, videos and movies.

programming and acquisition executives consulted by ttv. SOCIAL NETWORKS AND TV. According to Ericsson ConsumerLab’s annual study entitled ‘TV & Video Consumer Trend Report 2012’ conducted in numerous key markets across the globe -including Chile, Brazil and Mexico-, social TV is turning into a mass-market phenomenon. The report indicates 62% of consumers use social media while watching TV on a weekly basis; an increase of 18% points in one year. In addition, 25% of consumers use social media to discuss what they are watching while they are watching it. This last fact is certainly what marketing and ad sales executives most passionate about all over the world, since the phenomenon is not

yap.tv is available for free download on iPads and iPhones. According to its official website, the service still doesn’t offer complete episodes, but is currently in negotiations with different partners to eventually launch a VOD platform. The free app lets users interact online with their friends and other TV fans while watching programs together, to create program-specific content feeds, real-time private group chats and user-generated polls. “The future will be all about maximizing the potential unleashed by social networking and the interaction of audiences with content. This has already started, but it’s still new. The next great format will utilize all the networks we know, but also create new revenue models. It may be that it starts with an app and then becomes an idea for television,” explained Wayne Garvie, CCO International Production at Sony Pictures Television (SPT).

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Number One, Endemol

On a related note, Bernadette Delmás, Programming sub-manager at Canal 10 (Uruguay), stated “we must be prepared to face a wave of changes to come in the short-term, both in programming and technical aspects (social networks and digital platforms).” Meanwhile, Cecilia Gómez de la Torre, Programming manager at Frecuencia Latina (Peru) believes some timeslots have notably improved their ratings, mainly “due to a different content offer, with exclusive highquality products; integrating other platforms and using extremely creative communication strategies that, above all, make a difference in engaging audiences beyond the TV screen.” “Entertainment shows have always been big in Europe,” Langberg assures, mentioning the case of franchises like All You Need is Love, which in the Netherlands and in Germany has been on the air for over twenty years. “And they keep coming back. Of course, we’ve seen talent shows, which have been very successful in the last six years. But it’s difficult to talk about trends in general; entertainment shows are always going to be there. Sometimes reality takes over for a couple of years, but we’ll always have the big Saturday night family entertainment show,” she says. SUCCESS STORY: ‘ANGRY BIRDS’. Born as a simple game just three years ago, ‘Angry Birds’ is now an international phenomenon that

continues to grow. In Finland, ttv met with Nick Dorra, head of animation at Rovio Entertainment, who shared the story behind the company’s success. [Read the full interview on page 70]. “Rovio was founded back in 2003, when its four owners won a contest as game developers and decided to make that their job. The company then went through ups and downs for a couple of years, and was on the verge of bankruptcy,” Dorra said. Interestingly enough, that desperate situation was the main reason behind the company’s success, as it made its owners devise a whole new strategy. After thorough analysis of the main trends in videogames, they decided to develop a game focusing on its design and its characters. 51 games later, ‘Angry Birds’ was born. Slowly but surely, the game started to show its full potential, taking over App Stores in Finland first before embarking upon an international expansion. Eventually, the game arrived in Sweden, neighboring countries, Europe and finally, the UK, where it was chosen pick of the week by the local App Store. “The process through which ‘Angry Birds’ got to this place was really step by step. Once it got to the App Store in the UK, it led to the App Store in the US, and then it became the worldwide phenomenon it is today,” Dorra ex-

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plained. By spring 2011, the game had already been downloaded over 1,000 times. REALITIES AND TALENT SHOWS: ASYMMETRICAL CYCLES. “There once was a time when it was an event to launch a reality show in summer,” ABC entertainment president Paul Lee told reporters during July’s press tour. “Reality is hard because it’s now much more difficult to find the shock of the new.” Certainly, this last remark presents a dilemma more than a few US networks are currently facing; and as a result, the search for “the next hit format” is now more important than ever. In Latin America, the scenario is not that black and white. In this sense, Gómez de la Torre stated that, while talent shows and reality series have been present on international TV screens for many years now; they’re still fairly new to Latin American viewers.

“Reality is hard because now it’s much more difficult to find the shock of the new.” Paul Lee, Entertainment President of ABC

“The future will be all about maximizing the potential unleashed by social networking and the interaction of audiences with content.” Wayne Garvie, CCO International Production at Sony Pictures Television

“For instance, this year Frecuencia Latina is producing Endemol’s ‘Yo Soy’ and FremantleMedia’s ‘Got Talent’ in Peru; which generates high expectations among our audiences. Each format has unique characteristics, and if we add that to local talent and all the creativity behind it, I believe that -in our country at least- there’s still plenty of unexplored potential.” Bernadette Delmás seems to agree with this last statement, as she explained “the next successful format will probably come from the entertainment genre, and will include interactivity with all the established platforms.” All in all, enhancing TV consumption through social networks, while also finding new revenue streams on emerging platforms; are clearly some of the main challenges presented by the industry’s constant evolution. ttv

“Extending a show beyond the TV screen, with a certain level of interactivity through social networks such as Facebook, doesn’t change the content; it enriches it.” Barnaby Shingleton, Director of Entertainment at Zodiak Rights

in Disguise, Guys Armoza Formats

TV 2.0 According to Ericsson ConsumerLab’s latest study entitled ‘TV & Video Consumer Trend Report 2012’, social TV is turning into a mass-market phenomenon, as 62% of consumers stated they use social media while watching TV on a weekly basis; an increase of 18% points in one year. In addition, 25% of consumers use social media to discuss what they are watching while they are watching it.

TTVKids&Teens report TRENDS

Shrek Forever After 2010

K&T/TTV MAGAZINE

Multitasking Playgrounds Kids these days are raised surrounded by VOD platforms in a digital world, where accessing content through their game consoles and mobile devices has become an everyday activity. Still, it appears that no amount of new technology can pull them away from the small screen: there’s an increase in TV consumption, which also fosters a variety of new genres in kids’ programming. By Valentina Vinaja

Twitter: @vvinaja vvinaja@todotv.tv

ew platforms, new social media, new screens, new devices. It’s no wonder technology is having a notable influence on our TV consumption habits. As today’s kids grow up with iPads and Facebook accounts; how are these technologies changing the way they watch TV? Up next we’ll analyze several interesting facts about how the younger TV viewers relate to the small screen; habits that will provide an outlook on how future TV audiences will behave. THE BABYSITTER. For parents today, VOD platforms such as Netflix, with child-specific sections, are a great source of kids’ programming. They allow parents to mix and match between multiple shows, creating their own lineups for continuous entertainment. They also offer the choice to disable advertising and closely monitor what their kids are exposed to. A recent study conducted by Bernstein Research jokingly refers to this service as the “eightdollar babysitter”, revealing that the key lies in the differences between kids’ VOD consumption patterns and those of adults. The parents will originally hire the service for themselves, but it’s their kids who will take full advantage of the wide-ranging kids’ catalog offered by Netflix, gleefully watching their favorite shows over and over again. In this scenario, children become very familiar with VOD platforms, which in conjunction with their proficient use of internet-connected game consoles and mobile devices, allows them to access their favorite content anytime, anywhere. This raises an important question: will these new technologies prevail over traditional TV? TRADITIONAL TV. In 2011, consultancy company Eurodata TV Worldwide conducted a study on this phenomenon in several European countries. As expected, the results showed that new technologies account for most of the kids’ free time, and yet, they don’t draw them away from traditional TV.

TTVKids&Teens report

It appears that kids have become natural multitaskers, using new technologies not as a replacement for TV, but as a tool to interact with their favorite shows and characters in different settings at the same time. The report also states that younger viewers are far from dismissing traditional TV. In fact, it seems as if the time they spend in front of their TV sets is actually increasing: in 2011, the time kids spent watching TV increased considerably across several countries. In Europe for instance, the average time children spend watching TV has grown 9 minutes since 2008. According to the data provided by Eurodata TV Worldwide, in France, Germany, Spain and

also being developed. For several years now, live action programs, factual and unscripted series, have been challenging the popularity of animated shows: the amount and diversity of kids’ programs is at an all-time high. Unlike former generations, children today no longer limit their choices to animated films and shows: new sub-genres account for a growing percentage of kids’ TV lineups. Eurodata TV’s report on kids’ content states that animated shows reach a 64% market share, followed by live action shows with 23%. Thus, this type of programming accounts for one quarter of the kids’ programming across the 13 territories studied: Australia, Canada, Czech Republic, France, Germany, Italy,

NUMBERS 9 minutes a year is the

average time TV consumption grows among kids. 138 minutes is the average time European kids spend watching TV. 23% market share is what live action shows account for within kids’ programming across the globe. 7 out of 10 US kids under 12 use tablets on a regular basis.

K&T/TTV MAGAZINE

MOBILE KIDS

the UK, kids’ average time children spent watching TV in 2008 was 129 minutes, escalating to an average of 138 minutes by 2011. Thus, the results appear to indicate the consumption of TV shows developed for kids will continue to grow on par with new technologies, and it is likely that future TV viewers will be doing so by using multiple platforms simultaneously. PROGRAMMING GENRES. With a growing worldwide consumption of kids’ programming, it’s only logical that an array of subgenres devoted exclusively for young viewers is

Netherlands, Poland, Russia, South Africa, Spain, United Kingdom and the US. However, live action shows are even more popular in the US, where they have a 40% market share, mainly due to the fact that giants like Disney and Nickelodeon have included a substantial amount of this type of shows in their lineups; which is not the case for other regions such as Northern and Western Europe, where local productions are flourishing. Logically, what kids choose to watch is strongly conditioned by what is available to them:

Children are being raised in a digital world, where going through an entire day without using a cell phone or PC has become inconceivable for adults, and technology is involved in every activity. In this new scenario, the key to increasing TV consumption is to promote interactivity with its programming through other devices. According to Apple, toddlers are becoming more mobile than ever, as nearly half of first time mobile tech users in the US are under the age of five. In addition, the report indicates 7 out of 10 kids under 12 years old are using tablets in those households where the device is present. in several European countries there is not a single live action show ranked amongst the top 15 most popular children’s shows, simply because there are no live action series in the networks’ offers. Clearly, the numbers speak for themselves: programmers should keep a close eye on live action shows, a versatile subgenre that appeals not only to children but also teenagers who are not yet drawn to other TV series and telenovelas. ttv

TTVKids&Teens interview

Orlando Corradi, CEO of Mondo TV

Co-Produced Dreams Mondo TV has recently expanded its business in the Middle East and Africa, where it partnered with one of the region’s main broadcasters and a major organization to co-produce a new animated series set to premiere in the United Arab Emirates.

nternational “dream factory” Mondo TV continues to spread fantastic stories all over the world, distributing its catalog’s main products in numerous territories. In addition, Orlando Corradi’s company is consistently signing new co-production deals with worldwide partners; a model that’s proven to be a guarantee for success in the animation industry.

Orlando Corradi, CEO of Mondo TV

“By working together with Giochi Preziosi and Turner Broadcasting, we can be sure that the CGI release of ‘Gormiti’ will be a huge success.” By Valentina Vinaja

K&T/TTV MAGAZINE

Twitter: @vvinaja vvinaja@todotv.tv

In June, Mondo TV announced a co-production and distribution deal for a new animated series with Russian Mobile Television (RMT). The TV show, based on ‘Cat Leopold’, will include 13 13-minute episodes. ‘Cat Leopold’ is a classic property from Russian animation that started in the late 1970s.

Gormiti Animated Series

The company recently announced a deal with Dubai Events and Promotions Establishment (DEPE), an agency of the Department of Economic Development in Dubai, United Arab Emirates, for the co-production and distribution of an animated TV series based on the cartoon character ‘Modhesh’. This character was created back in 2000 as part of a TV advertising campaign to promote the region’s most successful and biggest summer event, Dubai Summer Surprises. Over time, ‘Modhesh’ became an iconic character for summer fun, loved by millions across the Middle East. This deal is the first co-production agreement the company has signed in the Middle East, and will mark the character’s TV debut. The animated series will be funded by both entities with a sharing of worldwide licensing and dis-

tribution revenues of the project and its merchandising. As far as distribution goes, the company closed an important deal with Turner Broadcasting in July to broadcast its animated series ‘Gormiti’ in several countries across the Middle East and Africa. The show, co-produced in high resolution CGI by Mondo TV and Giochi Preziosi, includes screenplays written by the industry leading action adventure writing team at US-based Man of Action. ‘Gormiti’ will have full EMEA broadcast in 2013, launching on Cartoon Network in all remaining territories. Aimed at boys aged 6 to 11, the 52 x 22’ series debuted on Turner Broadcasting’s kids network Boing in Spain and Italy in 2012. “We have great expectations for our new coproduction with Giochi Preziosi on ‘Gormiti’, and teaming up with Turner on this project will help us meet our goals. By working together with Giochi Preziosi and Turner Broadcasting, we can be sure that the CGI release of ‘Gormiti’ will be a huge success and we are pleased and proud to be working with these two world class partners,” Orlando Corradi, CEO at Mondo TV, explained. ttv

TTVKids&Teens interview

Pierre Sissmann, Chairman and CEO of Cyber Group Studios

Chronicle of a Success Foretold In association with Zorro Productions and with the collaboration of France Télevisions, Cyber Group Studios is bringing the Zorro franchise back to life through an ambitious new animated series, which after being presented at the Cartoon Forum, is now making its way to Mipcom in Cannes.

W Pierre Sissmann,

Chairman and CEO of Cyber Group Studios “The goal with this project was to take a high-quality production on par with any blockbuster, to the small screen.” By Rodrigo Ros

K&T/TTV MAGAZINE

Twitter: @rodrigo__ros rros@todotv.tv

ith a premiere date scheduled for October 2014, ‘Zorro, The Chronicles’ mixes an original story with action and comedy elements, innovative animation techniques, and the participation of internationally-renowned professionals. Pierre Sissmann, chairman and CEO of production and distribution company Cyber Group Studios, is a fan of the Zorro saga. In order to develop this ambitious project, the production team conducted an extensive research and development process for over 15 months, focusing mainly on the iconographic elements of the era where the story is set. “I now know more about that time in California than I ever thought I could,” said Sissmann. In fact, “the great challenge we faced with this project was bringing back the Zorro franchise; a beloved character that’s part of the worldwide culture, yet hasn’t been featured in any new big television projects for a while. Thus, we had to make sure the story was true to the saga, while also adding new elements to engage today’s audience.” This was one of France Télévisions first concerns when hearing about the project, yet still ultimately became the first network in charge of developing it with the original producers. “We were already immersed in the development process when we started presenting it to different networks, until it was finally picked up by France Télévisions.” The first to have faith in the project, at the time, was Julien Borde, Director of Youth entertainment at France Télévisions, who picked it up for France 3. It is now being followed up ZOU / Preschool

by Pierre Siracusa, the current director of the unit which succeeded to Julien Borde. During the development period, a team of highly trained professionals was put together, including screenwriter Annabelle Perrichon and Pierre Sissmann himself, who were the original writers of the book and the synopsis; graphic designers Christophe Rendu and Georges Bouchelaghem -who also worked in ‘Arthur’ together with Luc Besson -; Olivier Lelardoux, co-director of the series and Head of Cyber Group Studios and co-director Anthony LaMolinara -who won an Oscar in 2004 for his direction of the animation in the feature film ‘Spider Man 2’-, among others. In addition, the company developed its own technology in the process, and carried out the animation with the help of Chinese company Global Digital Creations (GDC), which gave the series a truly realistic feel. “The goal with this project was to take a high-quality production on par with any blockbuster, to the small screen.” Sissmann doesn’t rule out the possibility to produce a feature film, although his main goal for now is to gain enough attention around the world, to produce the first three seasons of the TV series. At the upcoming Mipcom in Cannes, the company will present this and several other projects, such as the 6 to 8 year old energy packed comedy ‘Mademoiselle Zazie’ or ‘Zou’ its new preschool show hit ; with faith that the series will appeal to several international networks at the event. ttv

Almost Naked Animals

Kobushi

9 Story Entertainment 23 Fraser Ave Toronto, Canada M6K 1Y7 Tel.: 416-530-9900 Fax: 416-530-9935 Web: www.9story.com Booth: R35.24

Executives Attending

Vince Commiso, President & CEO Stephen Kelley, Director, Distribution Liliana Vogt, Vice President, Development

TOP EXecutivE Natalie Osborne, EVP Business Development

Mademoiselle Zazie

AB INTERNATIONAL DISTRIBUTION 132 Avenue du Président Wilson – 93213 saint denis la plaine Tel.: +33-1 49 22 21 80 E-mail: ventes@groupe-ab.fr Web: www.ab-international.com Booth: 22.01

Executives Attending

Juliette Laniez, Sales Manager, French Speaking Territories Virginie Boireaux, International Sales Manager Katia Sol, International Sales Manager

Cyber Group Studios 7 rue Letellier 75015 Paris, France Tel.: +33 140 58 14 43 Fax: +33 1 40 58 14 53 Email: sales@cybergroupstudios.com Website: www.cybergroupstudios.com Booth: R 31.13.

Executives Attending

Pierre Sissmann, CEO Silene Chaves, International Sales Executive Antonio Macipe, International Sales Executive

TOP EXecutivE

Daniel Tiger’s Neighborhood (Preschool Animation - 40 x 22’ or 80 x 11’)

An animated preschool series featuring Daniel, a shy but brave 4-year-old tiger, who lives in the beloved Neighborhood of Make Believe. With the help of his neighbors, family, and friends - O the Owl, Prince Wednesday, and Katerina Kittycat - Daniel learns key skills necessary for school and for life.

Camp Lakebottom

(Animated Comedy - 26 x 22’ or 52 x 11’) A half-hour, animated comedy about 12-year old mastermind and ultra rich kid McGee, who longed for real thrills and real friends from his 154th floor penthouse. So he begged his parents to send him to the most dangerous and exciting summer camp in the world, Camp Lakebottom. The cabins are possessed, the staff members are a real creep show and McGee and his misfit pals are having way too much fun!

Two Alhambra Plaza 9th floor, Coral Gables, FL33134, USA Tel.: (+1) 305-567-3785 Fax: (+1) 305-774-3913 Website: www.daet.tv Suite: RB.30

Executives Attending

Henri Ringel, VP, Distribution Jack Morera, Director, Distribution Leonardo Aranguibel, Director, Production Fabiola Bovino, Senior Manager, Marketing

TOP EXecutivE Fernando Barbosa, SVP Distribution and Production

Mademoiselle Zazie

(Animated Comedy - 52 x 22’ or 104 x 11’) Based on the quirky designs of Noah Z. Jones (creator of ‘Fish Hooks’), the series features an ensemble cast of underwear-clad animals, set in a beachfront hotel named the Banana Cabana, home to mayhem, destruction and all around fun! Our cast is led by Howie, the funloving, hospitality-challenged canine manager, with the attention span of an 11-year old in a video arcade.

Disney Media Distribution

Carole Brin, Head of International Sales and Acquisitions

Valérie Vleeschhouwer, Managing Director

Almost Naked Animals

Violetta

(CGI Animation – 78 x 7’ HD).

KOBUSHI

(Animation – 104 x 7’) Every night, after closing hours, a very strange phenomenon occurs in a Japanese restaurant. All the sushis, makis, temakis, come to life: they are the Kobushis. They all live in a Japanese village (in fact the bar of the restaurant). Inside this community live Toro, Tamago, Onigiri and Ebi, four sushis who have trained by Master Tako in order to become samurais. Their mission: defend the village from Neko, the stupid but determined porcelain cat bank who wants to eat them all.

A.R.T.!

(Animated Investigative Comedy - 52 x 13’) A.R.T. (Art Rescue Team) An investigative team secretly administrated by an international organization to fight against various traffickings linked to the worldwide art market. The A.R.T. team relentlessly (but with boundless good humor) tracks down forgers, looters, thieves and other criminals whose insatiable greed is fed by limitless imagination.

LAZY COMPANY

(Comedy Series - 10 x 22’) D-Day. The American air force parachutes its best men at the heart of occupied France. The best? Not really… Four strayed soldiers form an improvised unit, united by a total incompetence in war and an agreement on hiding «until it all goes away». If the world is undergoing the largest conflict human kind has ever known, they are dead set on staying alive…

Is produced by Cyber Group Studios and Scrawl Studios for France 5. The series, resolutely contemporary and packed with comedy, tells about kids’ friendship: that of Zazie and Max, the inseparable best friends, as well as that of the whole tribe: Pedro, Tariq, Cindy and Abigail! They are 7 year-old, live by the seaside and have so much fun together! The whole bunch takes us into their games, private jokes and adventures. They start to discover the world of grown-ups, and want to understand it. They will try to do so… but will shake it up to make it all their own ! They will solve problems in a way we, as grown-ups, would never expect them to! Zazie and her friends make us laugh and that’s great!

Tales of Tatonka

(CGI Animation/Live – 52 x 13’ HD)

‘Violetta’ tells the story of a lonely and very talented teenager who returns to her hometown of Buenos Aires. In her new life she finds true friends and love, as she discovers her innate talent and passion for music and, in turn, builds and faces the great and interesting experience of growing up.

El Jardin de Clarilú

(Animated Series/Live Action) In each episode, the adventure begins when Clarilú reads a letter from a mysterious writer who gives her clues about his/her identity. With the help of the audience, she embarks upon a quest to solve the mystery.

TTV MAGAZINE/K&T

Produced by Cyber Group Studios for Tiji in France and Rai 2 in Italy has already been sold to more than 60 broadcasters, covering over 110 territories, on all five continents, including France TV in France, Karusel in Russia, TeleQuebec in Canada, YLE in Finland or TV2 in Norway. The series was selected in 2011 for a “Gold Panda” Award at the Sichuan TV Festival (China). Meet Wanji, Nunpa, Yamni and Topa, four wolf-cubs who live with their parents Winyan and Wicasa amidst a wolf pack in the plains and forests of North America. Their friend Tatonka, the lone bison, initiates them to a world unknown to wolves: they will have to learn to live outside the family, sometimes in a hostile and totally surprising environment. They will face their fears, have unexpected encounters and even fight dangers. But they will also have so much fun, playing tricks to one another! Let’s follow them on their thrilling adventures in the wilderness, and enjoy laughter and moments of friendship!

Violetta

(Live Action – 80 x 45’)

Kaijudo: Rise of the Duel Masters and Littlest Pet Shop

Hemlock Grove

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

Executives Attending

Richard Frankie, COO Erik Pack, Head International Distribution and Co-Production

TOP EXecutivE

Toby’s Travelling Circus

Gormiti

Hasbro Studios

Komixx Entertainment

Mondo TV

2950 N. Hollywood Way Suite 100 Burbank, CA. 91504 Tel.: 818-478-4794 Fax: 818-478-4844 Web: www.Hasbro.com Stand: R30.33

6th Floor Holborn Gate, 330 High Holborn, London, WC1V 7QD Tel.: +44 207 861 3869 Email: info@komixx.com Web: www.komixx.com

Via Brenta, 11 - 00198 Rome Italy Ph.: +39 06 86323293 Fax: +39 06 86209836 Email: mondotv@mondotv.it Web: www.mondotv.it Stand: 23.02/ 25.01

Executives Attending

Finn Arnesen, SVP International Distribution and Development Nina Scales, Senior Sales Director International Sheetal Merchant, Sales Manager Matthew Proulx, Director of Marketing & Business Development Lucy Mackrill, Distribution and Marketing Coordinator

Katie O’Connell, CEO

Executives Attending

Edward Glauser, Head of Strategy and Technology Richard Randolph, Head of Production and Creative Director

TOP EXecutivE

Andrew Cole-Bulgin, Joint CEO and Executive Director

TOP EXecutivE

Executives Attending

Gian Claudio Galatoli, Production Director Matteo Corradi, Senior VP of International Sales Micheline Azoury, Head of International Sales & Brand Manager Alessandro Venturi, Sales Manager Theo Kouroglou, Sales Manager Maria B. Fois, gen. man. Mondo TV Spain Guido Berté, Licensing Manager Mondo Cons. Prod Roberta Puppo, International Licensing Manager Susanna Masini, Marketing Assistant

Stephen Davis, President

TOP EXecutivE

Toby’s Travelling Circus (Netflix) (Drama Series - 13 x 60’) Based on the gothic novel by Brian McGreevy and directed by Eli Roth, ‘Hemlock Grove’ tells the tale of the unraveling of a once vibrant and now struggling community after a mysterious death. As the town’s secrets begin to unravel, suspicions about the mysterious White Tower and rumors of a werewolf are just the beginning of the intrigue.

Hannibal

(NBC) (Drama Series - 13 x 60’) ‘Hannibal’ is a one-hour drama series for NBC exploring the unique and riveting early relationship of Thomas Harris’s classic character renowned psychiatrist Dr. Hannibal Lector and his patient, a young FBI criminal profiler named Will Graham who is haunted by his ability to empathize with serial killers.

Orlando Corradi, President & CEO

(52 x 10’)

Hemlock Grove

Kaijudo: Rise of the Duel Masters and Littlest Pet Shop (Animated Series - 52 x 30’)

‘Kaijudo’ is an animated action-fantasy series that follows the adventures of a young hero, Ray, who possesses the rare ability to befriend and duel alongside fantastical creatures from a parallel dimension. Evil forces would have these creatures tamed and enslaved, so Ray and his two best friends must join the ranks of the mysterious Kaijudo monks to ensure the survival of both races before it’s too late. In the end, it’s up to Ray to master the ancient art of Kaijudo in order to protect both worlds. In the animated series inspired by the beloved Littlest Pet Shop brand, 11-year-old Blythe moves to the city and discovers that her new apartment is where her neighbors’ pets come to play when their owners are away. She befriends the pets and introduces them to a world of adventure just outside their door.

A delightful new preschool series made entirely in the UK in high quality stop motion animation. Launching on Channel 5’s Milkshake in September 2012, it is being produced for Komixx Entertainment by Mackinnon and Saunders. A warm hearted and funny series, it brings all the fun of the big top to the small screen. A wonderful cast of characters, lead by 8 year old ringmaster Toby, brings the excitement and spectacle of the circus to life, from clowning and magic tricks to the flying trapeze, with an underlying message that practice makes perfect when you are putting on an amazing show. Worldwide distribution is by Union Media.

Gormiti

(Animation Series - 52 x 26’ - HD - 3D) Three thousand years ago, the Island of Gorm faced its gravest hour. The dreaded Magmion was at full power, and his rage threatened to consume the entire island, and every living Gormiti along with it! He was repelled thanks to the power of the Invincible Lords of Nature and their mysterious benefactor, the Old Sage.

Dinofroz

(Animation Series - 26 x 26’ - HD - CG effects) Tom, Eric, John and Bob are four teenage friends regular for everyone else, but they share a weird boardgame than opened up a gate between the present and the past. In the other time dimension, they were able to talk, think and interact with dinosaurs.

Partidei

K&T/TTV MAGAZINE

(Animation Series - 26 x 26’ - HD - CG) Based on an original concept by Orlando Corradi. In a future world where computers and robots have complete control of society, a small group of boys and girls, lead by the old sage Asari, try to save mankind from slavery created by the machines. High Towers is a “megalopolis” of the future, an amalgamation of high-tech skyscrapers, better known as the Towers, that reach upwards towards the sky, and even touch the clouds. Everything at High Towers is “high-tech”.

Chuck Chicken

Power Rangers Megaforce

Elmo The Musical

Everything’s Rosie

Neptuno Films

Saban Brands

Sesame Workshop

V&S Entertainment

Parc Audiovisual de Catalunya Carreter BV-1274, Km.1 Edifici Nord, Local 12 08225 Terrassa (Barcelona), Spain Tel.: +34 93 784 1622 E-mail: neptuno@neptunofilms.com Web: www.neptunofilms.com Booth: R34.13

10100 Santa Monica Blvd. Suite 600, Los Angeles, CA 90067 Tel.: (310) 557-5230 Web: www.sabanbrands.com Stand: VIP Club – Level 3

1900 Broadway, New York, NY 10023 Tel.: (212) 595-3456 Fax: (212) 875-6157 Web: www.sesameworkshop.org Booth: R30.24

Executives Attending

V&S House Ballinger Road Lee Common Great Missenden HP19 9LA Tel.: 00 44 (0)1494 837881 E-mail: kirstie@vandsent.com Web: www.vandsent.com Stand: R28.13

Executives Attending

Neus Viciana, Sales Executive Montse Capón, Sales Executive

TOP EXecutivE Cristina Brandner, Managing Director

Joel Andryc, Co-President, Vortexx (Programming)&Managing Director, Saban Capital Group Brian Casentini, Senior Vice President, Production & Development Frederic Soulie, Vice President of Distribution Kirk Bloomgarden, Senior Vice President, International Licensing

TOP EXecutivE Elie Dekel, President

Chuck Chicken

Scott Chambers, Senior Vice President, Worldwide Media Distribution Renee Mascara, Vice President, International Television Distribution Sep Riahi, Vice President, Digital Media Business Development Cooper Wright Vice President, International Creative Celia Musikant, Assistant Director, International Television Distribution Maggie Leyden, Manager, International Home Video & Audio Distribution Todd Slepian, Senior Producer, Interactive TV Philip Toscano, Publicist, Corporate Communications

TOP EXecutivE

(Animation – 52 x 11’)

Rocky Perch Island is inhabited by birds, and all of them are peaceful, law-abiding and goodnatured… All of them? Not quite… There are some bad birds too, and a few of them are really super-extra bad. These fiendish fowl only care about robbing, stealing and causing mayhem amongst the bird community. But now there’s someone who’ll stand up to them, foil their sinister plans and strike fear into their hearts… and his name is Chuck Chicken! Chuck runs a detective agency with his two friends: Flick, a highly-intelligent Kung Fu champion who fights like a lion, even though she’s a dove, and Wing, a crackpot inventor who builds gadgets that are as original as they’re dangerous. Chuck used to be an accident-prone scatterbrain, but fate led him to a magic golden egg. Now he’s an accident-prone scatterbrain with super-powers! His egg gives him the powers of different animals - the strength of a rhino, the stretchiness of a snake or the speed of a cheetah. Chuck uses his powers to fight the criminal mastermind Dr. Mingo, and his penguin henchmen, or to defeat the Sinister Emperor, master of the dark arts… one thing’s for sure: Chuck Chicken will always win the day!

MegaMinimals

(Animation – 173 x 6’) ‘MegaMinimals’ is set in a nursery school for very young animals. We join them as they learn and play together; sharing their friendships and the fun they have on their trips out. Each episode is a funny, enchanting story, full of situations and characters with which preschool children will easily identify.

Terry Fitzpatrick, Executive Vice President, Distribution

Power Rangers Megaforce (Action Adventure Series - 40 x 30’)

For centuries, the earth has been protected by a supernatural guardian being named Gosei and his robotic aide, Tensou. When the evil Warstar aliens begin their massive invasion, Gosei calls upon five teenagers with attitude to form the ultimate team... the ‘Power Rangers Megaforce’! Using their newfound abilities, weapons, and high-tech zords and Megazords to battle numerous alien threats, the ‘Power Rangers Megaforce’ will prove that “Earth’s defenders never surrender!”

Julius Jr.

(2D Animation – Preschool – 26 x 30’ / 52 x 11’) Julius Jr. is a monkey with a penchant for invention and a dream, a team and a scheme to make all his wildest imaginings come true. When Julius Jr. saw “The Box” he knew right away what it was – a playhouse, perfect for himself and his very best friends. But inside “The Box” something magical happens. Everyday items come to life with quirky characteristics and unexpected results!

Digimon Fusion

(Action Adventure/2D Animation - 26 x 30’)

(Children - 13 x 11’)

Each episode of this exciting new segment is a fun-filled, interactive musical adventure created by Elmo and the child at home. Focusing on imagination and math skills, such as enumeration, relational concepts, addition/ subtraction, geometric shapes and many more, Elmo will take viewers on thrilling explorations as he imagines himself in “Sea Captain the Musical,”“Guacamole the Musical,”“Prince Elmo the Musical” and many more! Kids can sing, dance, play, problem solve and imagine along with Elmo on these math-filled adventures!

ABBY’S FLYING FAIRY SCHOOL (Children - 13 x 9’)

Everybody’s favorite fairy-in-training, Abby Cadabby, is getting a new look – a 3D animated look – in her new series Abby’s Flying Fairy School. The characters for the 9-minute CGIanimation series were designed by Peter De Séve, character designer for Ice Age. Each segment is created to foster preschoolers’ critical thinking skills to solve problems. Abby Cadabby, along with an eclectic gang of new friends - fairies, trolls and a part gerbil part unicorn called Niblet - attend Fairy School with Ms. Sparklenose. Abby and her friends use rhyme, reason, and cooperation – plus a helping hand (or wand) from viewers at home to solve problems.

Julie Quirke, International Sales and Licensing Director Kirstie Brandon, Director of International Programming

TOP EXecutivE Vickie Corner, Managing Director

Everything’s Rosie (78 x 11’)

‘Everything’s Rosie’ is a vibrant HD CGI preschool series aimed at girls and boys aged 3 to 6 years. The series centres on Rosie, a little girl with a taste for adventure and a cast of equally lovable characters who together embrace everyday challenges in a fun, imaginative and positive way. Rosie and her friends are inspiring role models offering friendhsip, laughter, discovery and timeless life lessons to pre-schoolers.

Ebb & Flo (26 x 5’)

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

Blanche

(26 x 6’)

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

TTV MAGAZINE/K&T

When a human boy is transported into the Digital World along with his two best friends, he encounters a strange group of creatures called Digimon who engage in epic battles for control of their empire. With the fate of the Digital World at risk, the Digimon need our heroes to help them save their world from an evil threat or be deleted once and for all!

ELMO THE MUSICAL

Executives Attending

TTVKids&Teens news CONTENTS LICENCES

Nickelodeon /Viacom

Consumer Products Signs Deal With Agosin Group Nickelodeon/Viacom Consumer Products The Americas, a Viacom International Media Networks (VIMN) The Americas division, and Agosin Group have signed a regional licensing deal that includes 17 Latin American countries: Chile, Colombia, Venezuela, Peru, Costa Rica and the Dominican Republic. The deal was announced by Cristian Cabero, VP Viacom/Nickelodeon Consumer Products The Americas, and Shai Agosin, president of Agosin. “Agosin has been our partner in Chile for several years, which is why we are thrilled to expand our alliance by adding other countries,” said Cabero. “We are eager to work with Agosin and provide quality products for Nickelodeon fans in those regions to enjoy.” In addition, Agosin will have rights to the classic MTV logo; MTV’s ‘Beavis and Butthead’ and Comedy Central’s ‘South Park’, all of which are included in VIMN portfolio. “We are excited and thankful for Nickelodeon Latin America to give us this incredible opportunity,” said Agosin. “This is a great way to reach the region in a more global way and use our licenses for a better service.”

Cristian Cabero, VP Viacom/Nickelodeon Consumer Products The Americas

‘Kobushi’: the World Through Sushi Eyes Targeting children aged between 8 and 12 years old as well as familiar audiences, AB International Distribution arrives at Mipcom to introduce ‘Kobushi’, the company’s latest animated series co-developed with Gulli. Co-produced by Zagtoon, Inspidea, 2 min and CNC, ‘Kobushi’ uses animated 2D flash and 3D technologies, and tells the story of eclectic characters that have samurai lives in a village. The companies involved are also in production of a feature film, and the producers are also working in on a second season which includes a whole publishing strategy and multimedia developments such as apps.

ANIMATION

‘Everything’s Rosie’ Continues International Consolidation V&S Entertainment’s hit preschool animation, ‘Everything’s Rosie’ celebrates a new milestone at Mipcom 2012 as CBeebies acquired a fourth series, taking the total number of episodes to 104 x 11’. This comes hot on the heels of a 22 minute special of the show entitled ‘When You Wish Upon An Oak’ which is currently in production for delivery early next year. The success of ‘Everything’s Rosie’ in the UK has been mirrored internationally, since then the CGI animated series has achieved remarkable international recognition having sold in over 150 countries worldwide including CBeebies, UK; RTVE’s Clan TV, Spain; France Television; Rai YoYo and DeaKids, Italy; V-Me US Hispanic; TVO and SRC Canada, ETV South Africa and TVNZ New Zealand. Globally the series has been met with great enthusiasm from broadcasters. Amongst many, RTVE Spain and RAI YOYO have recently announced the acquisition of Series 2 and the Special whilst new deals with Chellomedia Central Europe and its Eastern European channel Minimax, and Canal Panda Portugal further extend the series’ reach across Western and Eastern Europe. Furthermore, V&S Entertainment has appointed CPLG as its licensing agent to manage the licensing programme for France with highly anticipated product launches planned for 2013 and earlier this summer, Exim Licensing Group, leaded by Elias Hoffman, was appointed to handle South America. The second half of series 3 will be delivered in the coming months.

K&T/TTV MAGAZINE

LATIN AMERICA

Cartoon Network Premieres First Live-Action Series ‘La CQ’ is the first kids’ live action series in the genre to be premiered by Cartoon Network Latin America. Co-produced with Mexican giant Televisa Internacional, the show follows a group of teens who study at Constantino Quijano high school, where they find love and discover the true meaning of friendship. Ángel is the captain of the football team; he’s nice, handsome and good friends with Monche and Beto. He’s in love with Clara, the new girl and one of the prettiest and nicest girls in school; and is willing to do anything to win her heart. Adri is Ángel’s sister; known for her intelligence and not missing a chance to ridicule her brother. ‘La CQ’s nerd is Beto, and his best friend Monche is as smart as a baby. In addition, Jenny is the head cheerleader at ‘La CQ’ and the principal’s daughter. Nobody can stand her except for her cousin Danny, who sees her as a role model.

Executives ttv

Co-production Opportunities DISCOP Istanbul will take place on March 5-7, 2013, at the Intercontinental Ceylan Hotel in Istanbul; with over 500 companies from 70 different countries expected to attend. Ahead of the event, Patrick Jucaud, who’s in charge of its organization, highlighted the debate panel coordinated by ttv as part of the DISCOPRO Western Asia, an event to be held in parallel, where the industry will discuss about the current co-production opportunities between Latin America and Western Asia, among other cases.

Patrick Jucaud, President and CEO of Basic Lead

By Rodrigo Ros

Twitter: @rodrigo__ros rros@todotv.tv

o-production deals are gaining organize a discussion panel to analyze the ground all over the world. Accorlatest business opportunities and co-producding to the latest report publistion projects between Latin America and hed by the Centre National Western Asia. “The common passion du Cinéma et de l’Image for two major genres -TV dramas “We have Animée (CNC) in France, co-proand/or telenovelas, however decided to increase duction in the country grew you name them- provides DISCOP’s relevance 23.3% from 2010, registering a enough grounds to already as a marketplace for independent TV content total of 77.4 million euros. try to initiate such bilateral producers interested in discussions in the context of establishing regional an event like DISCOPRO WesCollaboration and co-producand international tern Asia,” Jucaud said. tion agreements between Wesco-production tern Asia and Latin America are partnerships.” also part of this trend: “We are The focus of the Conference in contact with some compa“Drama Development Opportuninies, negotiating both possible ties between Western Asia and Latin co-production deals and the exchange of scripAmerica” will be to discuss between 2 and 3 ted formats; whether it’s from Latin America to different co-production case studies in WesTurkey, or vice versa,” Can Okan, CEO of ITV Intern Asia and Latin America. These case stuter Medya -company responsible for adapting dies should be existing projects, all of them Telemundo Internacional’s format ‘Dónde Está Elisa’ (‘Missing’) in Turkey- said to ttv.

DRAMA OPORTUNITIES. In light of this new reality, ttv -in collaboration with DISCOP- will

The Turkish Radio & Television (TRT) team during last year’s Discop Istanbul.

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Patrick Jucaud, CEO of Basic Lead and the executive responsible for organizing the upcoming DISCOP Istanbul, explained the company “has decided to increase DISCOP’s presence for all the independent content producers interested in establishing regional and international co-production partnerships.” The executive believes in the near future, one of the main catalysts of Western Asia and Africa’s content industry will be local production: “Independent content production is booming in those regions, which are no longer just content buyers, but also content producers.”

(if possible) on different stages: development, funding, production, etc. The main goal for the Conference is to highlight the relevance of co-production, and go over the details of the co-production deal: the anatomy of the deal, the negotiation process and its timings, funding sources, production work update, distribution agreements, emerging platforms, etc. The panel will also go over the necessary steps to start a co-production between these territories and answer questions like ‘what can partners from Western Asia expect out from Latin America?’, ‘what can Latin America expect out of partners from Western Asia?’, ‘where is the money coming from?’ and of course, the step by step procedure to enter Latin America, among other questions. ttv

Interview ttv

TV’s Unexpected Ally In the golden age of TV, where high quality content has taken center stage and new programming offers are spreading like wildfire; programmers find themselves veering towards the online world in search for a differential, rolling out digital promotion strategies to expand their TV content past the small screen. By Carolina Mussio

Family Fortunes UK

Twitter: @carolinamussio cmussio@todotv.tv

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“The word TV has two meanings: there’s the TV screen, and then there’s TV content […]. We are going to see more and more of a disconnection between the two.”

One of FMX successful

initiatives was the “digital eco-system” implemented around game show ‘Family Feud’, which increased the program’s audiences by up to 40%, and surprisingly engaging a particular demographic target: middle age women and younger males.

s the industry’s focus has shifted to creating new technologies and devices, with TV companies enlisting new services to provide programming anytime, anywhere; it seems likely that content and quality productions would take a back seat to other priorities. Yet, as a global TV company and one of the largest creators and producers of entertainment programming, FremantleMedia’s experience proves that, even in the midst of a true technological revolution, content is still king. “The word TV has two meanings: there’s the TV screen, and then there’s TV content,” said

Claire Tavernier, Senior EVP, FMX and Worldwide Drama at FremantleMedia; as she explained to ttv how content production, distribution and promotion must coexist to guarantee the success of any TV show. “I believe we are going to see more and more of a disconnection between the two, as TV screens become more multi-functional and TV content can be watched at any moment.” Paradoxically, while multiple platforms and evolving technologies continue to gain popularity; the actual content is what feeds these devices and services, and will therefore always be essential. “Content is king, indeed.

Claire Tavernier,

Every day another talented TV writer or producer comes up with a new idea; there’s still a huge appetite for highly engaging TV stories, and those stories aren’t going anywhere,” Tavernier explained, stressing the fact that it’s high-quality stories what ultimately engages new audiences and clients.

Senior Executive Vice President, FMX and Worldwide Drama of FremantleMedia “Every day another talented TV writer or producer comes up with a new idea; there’s still a huge appetite for highly engaging TV stories.”

THE DIGITAL ADVANTAGE. Consequently, how does a TV programmer differentiate its shows form the rest, amidst this overflow of great programming? According to the executive, the answer lays in the digital world: “With so much competition and so many great shows on TV, having a consistent and thought-through digital strategy can make a big difference to the success of a program.” Abiding by this last premise, the company aims to provide customized digital solutions for programmers to make the most of their content: FreemantleMedia Cross Platforms (FMX) -the producer’s own central new media division- oversees all of its digital activities across the world, “ensuring that all the production, digital lessons and expertise from every country where the programme has been made is captured and shared,” the executive stated. FMX sits at the center of this international strategy, managing local teams in each territory and providing a global overview. The division oversees FremantleMedia’s digital activities across the world, which according to the executive, are currently threefold: “we actively distribute our content to new platforms such as Netflix and iTunes; we extend our TV brands to digital platforms through online activations, social media or apps; and we create original content for online, like our YouTube channel The Pet Collective, for instance.” By expanding a TV program beyond the small screen onto other platforms, FremantleMedia has managed to play a major role in the promotion of several hit shows across the world, such as ‘The X Factor’ in the US: “the US team was able to call on the knowledge of the global digital community at FremantleMedia to ensure that ‘The X Factor’ became the digital success story on 2011 on American TV.”

AUDIENCE MAGNET. In addition to promoting brands and shows, rolling out the right digital strategy can make a true impact on

Clearly, online activations, social media and apps, stand to take any TV show to the next level, by increasing its popularity on par with its viewership, both in quantity and loyalty. And interestingly enough, the potential effects of digital promotions are often underestimated; mostly due programmers’ tendency to believe that only a certain kind of viewer is digitally engaged. “It’s a fallacy. Different demographics tend to operate differently online,” said Tavernier, stressing that FMX’s digital strategy is custom-made to adapt to the different users. “A great counter example to the thought that only teenage girls and talent shows can be engaged online was the success we had with developing a digital eco-system around our 35-year-old American game show ‘Family Feud’,” she explained. “Through a combination of a new host, a highly successful YouTube page, a Facebook game and a connected iPhone/iPad game, we were able to increase audiences for the show by up to 40%.” Said increase was strongest in middle age women and younger males, which the executive believes shows just how wide-ranging the internet audience is. In light of this current scenario, it’s clear digital platforms can potentially play an essential role in any TV show’s ongoing success; thus becoming a great compliment -rather than a competitor- to traditional TV. ttv Family Feud USA

ENTERTAINMENT ON CENTER STAGE “Formats deliver fantastic ratings that allow broadcasters and brands to reach their audiences and deliver their messages, while reducing risks,” Jack Alfandary, SVP of FremantleMedia Latin America and US Hispanic said to ttv, as he explained the reasons why this type of content is now stronger than ever. “We see continued growth in the formats market, especially game shows and entertainment shows, which are particularly popular with broadcasters and audiences alike,” he stated, highlighting the international success of formats such as ‘Got Talent’, ‘Idols’ and ‘X Factor’; as well as classic game shows like ‘The Price Is Right’ and ‘Password’. In order to ensure their products’ continued success, the executive explained FremantleMedia works hard to ensure they always stay fresh: “These formats are designed to grow with their audiences; offering them thrills, laughs, tears and inspiring stories that attract fantastic ratings year after year,” he concluded.

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Moreover, in 2010 the producer acquired Canadian games company Ludia to further nourish its digital offer through social and casual games. These games have “a key focus of the company’s digital strategy, for example, as extensions of our two most successful brands, ‘Price is Right’ and ‘Family Feud’,” she explained, and added that, through Ludia, the company’s also starting to investigate games as a new source of IP, which she believes “is a very interesting area.”

how the audience connects to the content in three distinct ways: “digital extensions can monetize the audience, retain the audience and acquire new audiences,” the executive explained. “Any activity that we engage in, needs to have a measurable impact on at least one of these three dimensions, although most work on more than one level.”

Executives ttv

Humor Without Borders Novovision, the French company specialized in producing and distributing short-format non-verbal comedy programming, will attend the upcoming Mipcom in Cannes to present its new corporate image (formerly “Novavision”), a renewed sales team and its catalog of recent premieres. By Rodrigo Ros

Twitter: @rodrigo__ros rros@todotv.tv

NEW PLATFORMS. Novovision’s content has been able to adapt to the new platforms currently developing in the market. According to Poirier, this growth “will be essential for the audiovisual industry” since “until recently,

President and CEO of Novovision

Hidden Camera’ and ‘Pop Corn TV’ shows. The latter was co-produced with Canadian company Tricord Media.” “The deal with Tricord Media was part of Novovision’s expansion strategy for 2010, following ‘Pop Corn TV’s first broadcast in Brazil, where it was co-produced with Bandeirantes. Now it’s Canada’s turn, where we’ll be able to fully utilize our business know-how,” Poirier said. In regard to the last quarter of 2012, the executive highlighted his expectations for the upcoming premiere of two new projects: ‘Pop Toon’ (26 x 26’), which picks up on classic animated series and is aimed at kids 6 to 13; and a hidden camera series produced in the US by Warner Bros Kids (13 x 26’). “The hidden camera shows and all short-format humor series, still have plenty of room for growth; even more so considering the innovation we can bring to the table, adapting our content to the different cultures and audiences worldwide. A savoir-faire from ten years of experience,” he concluded. ttv

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2012 is shaping up to be a great year for Nothese platforms didn’t offer a viable business vovision. On April 1, the company premiered model. Producers had to provide their cata‘Junior Hidden Camera’ on Cartoon Network logs for a potential revenue-share deal. in France, following a deal signed with At first, we rejected these types of Turner Broadcasting System France. agreements. Yet, in light of the ex“The hidden In late March, the company signed a cellent results most of these platcamera shows distribution agreement with Veneforms have accomplished, we’ve and all shortvision International for the Hispanic radically changed our mind format humor series, still have US market, part of Latin America, about it. Therefore, at the next plenty of room and Spanish and Portuguese-speaMipcom, our model will allow for growth.” king countries in Africa (South Afrinew platforms to offer our cataca excluded). Following this deal, log, without the need to pay for the Novovision sold content in Bolivia shows up front,” he said. to RED Uno, and in Uruguay to Canal 10 -both broadcast TV networks-, among others. The NEW CONTENT. At this year’s event, the list of deals signed in Latin America is complecompany will showcase four new hidden ted by one in Brazil with Bandeirantes, one in camera series from ‘Mad Family’: ‘Mad GrandMexico with Azteca and a last one with Artear mas’, ‘Mad Animals’, ‘Mad Girls’ and ‘Mad Kids’; in Argentina. a new 26x30’ series aimed at kids, initially produced for Warner Bros Kids and later NEW SALES TEAM. The company is also reaacquired by Novovision. The series will be rranging its sales division. François-Xavier Poipresented as short formats within the ‘Junior rier, president and CEO of Novovision, stated Mad Kids the first phase began with the appointment Family Entertainment of Philippe Deleplace as the company’s new COO to lead its international commercial strategy, supervising Allison Glasgow-Lafontaine -executive in charge of Europe, North America and the Middle East-, Lucy Le Gruiec -Latin America, Eastern Europe and Oceania-, and Charles Gebenholtz -who manages the Asian region-. “After joining the company, Philippe Deleplace’s first decision was to restructure the sales team and sign a deal with Venevision, allowing us to get closer to small and medium-sized networks, which we rarely get a chance to negotiate with at international events, even though they have shown great interest in our programming,” said Poirier.

François-Xavier Poirier,

Executives ttv

Avant-Garde Indie

Vision Films is making its own independent way amongst industry majors by offering original content for online platforms and 3D titles. Its EVP of International Sales & Acquisitions spoke to ttv and shared his views on the evolution of these technologies and the opportunities they bring.

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

ision Films’ place in this market is veral deals with online streaming services in that of a solid and innovative inthe UK, Australia, Poland, Russia and Chidependent distributor, comna. mercializing 3D content for “The trend is film and TV worldwide. In In this sense, the executive beliethat VOD addition, it has also created its own ves that VOD and OTT are here platforms are digital division to dabble in content to stay, and are offering new increasing distribution for VOD and OTT plat- for the foreseeable business opportunities for indeforms; services that continue to bependent distributors. “The trend future”. come increasingly popular all over is that VOD platforms are increathe world. sing for the foreseeable future, and we are starting to see some good reve3D. “The demand for 3D programming is innues,” Wright stated. creasing. Genres like action and animation lend themselves extremely well to this technology, and is becoming a must-have for certain theatrical exhibitors,” Adam Wright, Executive VP of International Sales & Acquisitions, said to ttv.

Adam Wright,

Executive VP of International Sales & Acquisitions, Vision Films

Lastly, the Executive VP of International Sales & Acquisitions of Vision Films commented on his expectations for Mipcom 2012: “This is always a strong market for Vision Films. Unlike some other companies of similar size, Vision Films has 3 full-time sales executives and we attend the Television as well as the Film markets. We all are anticipating good sales in our respective Territories ,” he concluded. ttv

Elf-Man Feature Film

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Vision Films has closed several deals for 3D movies during 2012. The company recently sold a natural history documentary in 3D to Universal Worldwide, which will be produced by Los Banditos. In addition, the 3D animated film ‘The Illusionauts’, co-produced by Chilean producer Aronnax and US’s Televix Entertainment, was successfully released in Latin America and distributed throughout the Middle East, Turkey, Poland, Russia, CEI countries and South Korea by Vision Films. According to the executive, there is a clear niche in these countries for this technology, as well as in Germany, Russia and China. VOD AND OTT. These new platforms have not gone unnoticed by Vision Films: “We’ve recently started up a Digital Films Division to deliver content directly to cable, VOD, and internet platforms in the US and Canada”, Wright said. The company has also signed se-

MIPCOM 2012 For the upcoming Mipcom, the company is banking on films with strong casts. On the one hand, it will present two Holiday Films, ‘The 12 Dogs Of Christmas: The Great Puppy Rescue’ and ‘Elf-man’, plus a thriller called ‘The Employer’, and new action titles like ‘Blood Money’ and ‘Gun Fight at Yuma‘. As far as 3D programming goes, the company is presenting four new documentaries. Lastly, Vision Films’ catalog also includes Music Bio Docs: ‘One Direction’, ‘Queen’ and ‘Jimmy Hendrix’.

Trends Analysis

6 Simple Steps to U In light of Over-the-top being one of Latin America’s most prominent trends, ttv presents a six-part guide to find out what’s true and what’s simply smoke and mirrors in this race towards the future of TV. By Sebastián Torterola Twitter: @storterola storterola@todotv.tv

2012 will go down in history as the year Over-the-top (OTT) exploded in Latin America, a region that witnessed a long list of new platforms coming up in a few months. However, it’s essential to shed some light on the issue and see what’s real and what’s not in this race for innovation. What role do these emerging platforms play in the entertainment market? Are Latin American consumers demanding new ways of watching their content in any place at any time or is it just a result of technology providers pushing to create new consumption habits? Next, we present six key points to bear in mind.

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Netflix: innovation catalyst. In early 2011, traditional Pay TV in Latin America was as strong and healthy as ever. Yet, in May 2012, Netflix announced it was disembarking in 43 countries in the region, which shook the foundations of the industry, generating two main changes. The first, increased competition: a new powerful player was making its way into the market with a long-running, successful business model; something never-before-seen that could potentially take over the traditional business’ revenues. The second -undoubtedly positive- change was the outburst of innovation and creativity from most players. The new scenario gave way to experimenting, setting up labs devoted to devise new solutions, exploring Latin American users’ limits and interests, and pushing the boundaries of existing content offers, tools and technology.

Advanced integration of TV and the internet -with the effective use of connected solutions based on HTML5 and Java- is expected to happen in Latin America in the next 2-4 years, when operators will assume heavier investments on this area.

A competitive advantage. The current demand for OTT services from Latin American consumers is still limited. Traditional Pay TV players (programmers and operators) need it more as a way to have a leg up on the competition, rather than as an answer to a market demand. It’s a proven fact that, while consumers “appreciate” the possibility to watch content everywhere, most still rather sit back in their own home whenever the TV schedule indicates, and watch it the old fashion way.

An evolving model. In Latin America, online VOD distribution (free, transactional or subscription-based) is not a sustainable business model on a larger scale, rather than a complementary service. That’s proven by Pay TV’s ongoing growth in the region, and the fact that the existing offers are promoted by TV companies which are consolidated in the market. There are no players -yet- setting aside exclusive content for OTT platforms; it’s something analyzed by many, but for the time being, content available on demand is the same that’s broadcast by linear networks.

Unmask OTT During 2008-2012, Pay TV penetration in Latin America grew 40% and 50% in the middle and lower classes, respectively. Ratings increased 30% in the last 3 years, market share grew 26%. By 2015, over 60% of Latin American viewers are expected to have access to Pay TV.

The technology’s parameters are not yet defined. At the end of the day, one question remains unanswered: What does OTT mean and how does it work? The region’s latest Pay TV tradeshows have witnessed the arrival of an array of new techproviders from all corners of the globe (North America, Europe, Asia), who believe they have the best solution for operators and digital platforms. The truth of the matter is they’re all very different, and several standards coexist in this experimenting phase.

Cord-Cutting seems unlikely. The possibility of Latin American consumers migrating towards the exclusive use of VOD services is seemingly out of the question. The reasons behind this are issues Netflix is still having to deal with since it arrived in the region: insufficient broadband widths, low banking among the general population, an undersized segment of earlyadopters, and most importantly, the fact that we are living in the golden age of traditional TV; both broadcast and Pay TV.

Whereas the two VOD OTT forerunners in LatAm were Moviecity, Disney/ESPN Networks and Telefonica; Netflix’s announcement unleashed a great amount of launches in this area: Sony’s Crackle, DMX2GO, HBO Go, Claxson’s Hot Go, Globosat’s Muu, Philos TV, Premierefc.com and Telecine Play; DLA’s Neon, Pixdom Entertainment, Sky Online, Terra’s Sunday TV and VeMasTV, among others.

Marketing,

catch-up and antipiracy. OTT in Latin America works as a marketing tool. All brands want to be renewed, re-positioning themselves within their current and potential subscribers’ preferences, and the buzz-generating TV everywhere presents itself as an excellent opportunity. On a practical level, its main uses are twofold: first, the platform works as a catch-up TV service, where TV subscribers get a “second chance” to watch content that’s already aired on traditional networks. Second, it’s a legal alternative to access content online, which means a valuable contribution to the region’s ongoing fight against piracy.

It’s safe to say there’s one thing that’s been thoroughly debated across the region, and stands to drastically change the business: the arrival of DTT, which will affect the entire industry between 2014-2018, as new players will find a window of opportunity to make their way into the market.

TTV MAGAZINE/63

1 million subscribers were gathered by Netflix in one year of operations in Latin America. Although the region still stands with great future potential for the company, perspectives of growth turned out to be a lot slower than anticipated.

Interview ttv

The Wave Comes and Goes According to Endemol Group’s Head of Format distribution, Ana Langenberg, changes in the entertainment shows business include a new interactivity model, a continuing subgenre switch and, most importantly, brands that succeed in beating trends.

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

“Sometimes reality takes over for a couple of years, but we’ll always have the big Saturday night family entertainment shows.”

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Ana Langenberg,

Head of Format Distribution, Endemol Group Watch video interview.

rom its headquarters in the Netherlands, Endemol Group represents 80 creative companies in 31 territories around the world. “Our main objective doesn’t change much from year to year: we focus on stimulating creativity. We give much value to local creativity in all of our companies, so that they focus on their own markets and create content for their broadcasters,” explains Ana Langenberg, the company’s Head of Format Distribution.

“It was something new, not expected,” she admits, assuring the title has triumphed in Chile and Colombia, and will continue to travel to Central America and other South American countries like Ecuador. Similar phenomena take place in other dissimilar markets. “In the case of Asia, for instance, they are starting to buy some of our shows like ‘Your Face Sounds Familiar’, and that means they’re redefining their entertainment models.”

TRENDSPOTTING. “Entertainment shows have always been big in Europe,” Langenberg assures, mentioning the case of franchises like ‘All You Need is Love’, which in the Netherlands and in Germany has been airing for over twenty years. “And they keep coming back. Of course, we’ve seen talent shows, which have been very successful in the last six years. But it’s difficult to talk about trends in general; entertainment shows are always going to be there. Sometimes reality takes over for a couple of years, but we’ll always have the big Saturday night family entertainment show,” she says.

HERE NOW. In the meantime, a hot topic in the market is the viewer’s demand for a second screen experience, which Endemol is aware of; in fact, the company’s division Endemol Worldwide Brands operates exclusively to exploit its brands on multiplatforms. “In game show ‘The Money Drop’ we were extremely successful with our play-along strategy, through which viewers could play the same games that were happening on screen

First, the demand was for “big shiny studio shows,” then the company had shows like ‘Wipeout’ and ‘Fear Factor’, which “took entertainment outdoors”. “You do it for a couple of years, and then people want to see studio shows and dancing, shiny floor shows again,” Langenberg explains. So it’s an ever-changing business environment and, of course, what matters is the ability to anticipate the market pulse and be in synergy with audiences in each territory. In Latin America, for example, talent show ‘My Name Is’ has become a particularly important franchise defending the company’s interests in the region, something the show didn’t go through in other continents.

Your Face Sounds Familiar Talent Show

Interview ttv

13 years after

its creation and after redefining the entertainment genre, ‘Big Brother’ is still in force: it reached its 12 version in the US, while Spain’s ‘Big Brother 13’ was the most successful version in the country’s history.

THE MIPCOM OFFER

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As for Mipcom 2012, one of Endemol’s most important titles is still ‘Your Face Sounds Familiar’. However, the company brings a diverse and international selection of productions; according to Langenberg, the Mipcom library will feature two new productions from the Netherlands, two from Germany, two from the UK, and also two recently acquired shows. “We’ll going to have a long line-up comprised of all programming genres,” she assured.

and share it through social networking apps. That’s where everybody is moving on to.”

Plan B Dance Format

Interactivity isn’t exclusive from today’s TV, though. In fact Endemol embraced interactivity in ‘Big Brother’’s early days. It’s just that we’re witnessing a change of models. “It meant going online when the show wasn’t on air and watching exclusive content available on the internet, playing games and chatting. Now, we’re talking about watching and playing, finding out what other people is thinking about it, and deciding who I’m going to vote for,” she affirms.

and each platform. We still haven’t sold this kind of formats, but it’s an area which we definitely want to create for,” the executive says, mentioning the US as the main source of online shows, such as Endemol’s wedding series ‘Married on MySpace’ and travel series ‘The Gap Year’.

Beyond convergence, there are also shows being created exclusively for the internet, which Langenberg believes “it’s still a challenge” for most companies, though “they can be cost-effective and sustainable.” “The model keeps changing, but there is interest from online platforms like YouTube to tap into online shows, since they want to be involved in creating and producing content. However, there isn’t a unique model that is going to be adopted, since it depends on each company

PRODUCTION VS. RECESSION In times in which economic difficulties are still above the TV business player’s heads, production companies are particularly affected in its daily operations. Langenberg explained how Endemol’s companies assumed this reality: “Production companies are under pressure to reduce costs and lower budgets. That makes us try to find synergies between our companies.” This way, production sets begin to be shared and regional strategies become crucial. “Our Scandinavian companies share the same ‘The Money Drop’ set for Denmark, Sweden and Norway. We’ve also created production hubs in Argentina to produce ‘Wipeout’, ‘1001 Ways to Leave a Gameshow’, ‘XXS’ and ‘Fear Factor’ at a global level, since the country offers high-quality production standards and economic prices. Apart from the US, not one country alone –whether it be European, Latin American, Asian or Eastern European- would have been able to afford a set of the size of ‘Wipeout’”

Apart from the creative side, Langenberg also notes that “there is a move towards online in terms of advertising,” which in her opinion “will make production of online shows more feasible,” although it’s still in its early days. LONG RUNNING FRANCHISES. Incredible as it seems, after over 13 years since its creation, ‘Big Brother’ continues to be one of the most popular Endemol franchises around the world, “if not the main one,” according to Langenberg. “We still broadcast it in several territories, and it continues to be extremely successful in important markets such as the US, Germany and Spain,” she says. For instance, in Spain, the show latest version, Big Brother 13, became the most successful in the country’s history. However, Endemol is far from being stuck in time, and has come up with excellent brands that have gone global. That’s the case of reality show ‘Secret Story’, which is on its 7th series in France; game show ‘The Money Drop’, which was sold in over 40 territories and “has a continuing series in most” of them, following the line opened by ‘Deal or Now Deal’; and more recently, ‘Your Face Sounds Familiar’, sold in 11 territories in around a year. ttv

TTVTelenovelas news

PROGRAMMING

‘Precious Rose’ Debuts in Latin America Telemundo Internacional’s telenovela was premiered in Panama on Monday, August 20 at 7:30PM on TVN. Directed by Miguel Varoni, the story was produced by Argos Televisión in Mexico. Featuring Mauricio Ochmann, Carla Hernández and Lupita Ferrer; ‘Rosa Diamante’ -based on Argentine series ‘Perla Negra’- tells the story of Rosa Puentes and Eva Sotomayor, two friends who are abandoned as kids and grow up together. When Eva becomes involved with a man who leaves her alone and pregnant, Rosa helps her raise the child and ultimately falls in love with him; forcing her to choose between her best friend and her true love.

CONTENTS

Televisa

Adapts Telefe Format

The Argentine company announced the premiere of a new adaptation of its format ‘Love’s Guard’. The telenovela’s Mexican version entitled ‘Amores verdaderos’ airs on Canal de las Estrellas’ primetime at 9:15 PM. The series reached record-breaking ratings in Argentina and its original version was broadcast in over 50 territories, with adaptations already made in numerous countries. Originally created by Marcela Citterio and Enrique Estevanez, the new adaptation was produced by Televisa under Nicandro Díaz’ supervision, and features Erika Buenfil, Eduardo Yáñez, Eiza González and Sebastián Rulli.

DISTRIBUTION

Record TV Network Docks in Cannes with Award-Winning Catalog Brazilian distributor Record TV Network is bringing to this year’s Mipcom a renewed slate of soap operas and high-ended TV series. The company’s latest production, soap opera ‘Masks’, is Record’s new bet on the genre, a plot that features a renowned cast and was produced in the RecNov studios, which recently were absolutely updated with cutting-edge technology and billionaire investments. Another title within the Record catalog is ‘Jackpot’, which recently won a Banff Rockie Award for ‘Best telenovela’ in the 2012 edition. ‘Jackpot’ tells the story of a group of 10 friends who win the lottery. Yet, after using half the money to fulfill some dreams, the nightmare begins: each of them must complete a goal by the end of the year or they won’t receive the other half of the price.

PRODUCTION

The Argentine network renewed its contract with production company Underground. The new deal sees both companies co-producing telenovelas, series and other content between 2013 and 2014. The partners have already developed hit projects such as ‘The Successful Mr. and Mrs. Pells’, ‘Lo que el tiempo nos dejó’, ‘A Year to Remember’, ‘WAGs – Love for the Game’ and ‘Graduates’, one of the year’s highest rated shows in Argentina.

Sebastián Ortega, owner of

Underground, and Tomás Yankelevich, Programming Director of Telefe

TTV MAGAZINE/T

Telefe and Underground Extend Partnership

TTVTelenovelas report MEXICO Photo: Enrique Macías Martínez

T/TTV MAGAZINE

Azteca Novelas’ New Studios On June 5th, Azteca Novelas’ seven new studios were officially launched in front of 800 guests in Mexico City. The state-ofthe-art facilities make the avantgarde network a true innovator in the international audiovisual content production industry. By Sebastián Amoroso Twitter: @sebamoroso samoroso@todotv.tv

n June 5th, Mexico City witnessed the official inauguration of the seven new Azteca Novelas studios; Azteca’s production factory. The project dates back to November 23, 2009, when Ricardo Salinas Pliego laid down the first stone that led to the construction of the most modern telenovelaproduction studios in Latin America. Close to 800 guests gathered at the event -including ttv- and were part of this unprecedented event in Mexico and Latin America. In fact, it took over 9 months to design the project and an additional 28 months (2 and a half years) to produce it; which entailed a multi-million dollar investment. Just as a reference: the lighting alone cost US$ 5 million. During that time, 14,520 people were employed, including architects, engineers, foremen, bricklayers, electricians, painters, plumbers, carpenters, blacksmiths, cleaning service, and light and sound technicians, among others, all of whom played a part in completing the construction in record-time. THE CELEBRATION. The ceremony began at 7:00 PM when the red carpet filled with the company’s most popular faces, as well as directors from Azteca and Salinas Group -owner of Azteca-, alongside politicians such as President Felipe Calderón, diplomats and foreign networks such as Telemundo (US), Venevision (Venezuela), TV Globo (Brazil) and Telefe (Argentina). In addition, the event featured Ricardo B. Salinas Pliego, president of Salinas Group, who arrived via helicopter and landed on the new studios’ helipad. The ceremony was hosted by Javier Alatorre and Patricia Champoy, and included the secretary of communication and transport, Dionisio Pérez Jacome, present on behalf of Felipe Calderón. Salinas Pliego addressed the audience and gave a short speech about the importance of the new studios and what they mean for Salinas and the TV industry in general. “When

TTVTelenovelas report

it comes to privatizations, I believe this is a successful one in every way. And that must be remembered, because some people have said the Nation was deprived of its property in the process since Azteca was created nineteen years ago,” he said. And added: “I believe this is the best example that this is not the case. In this situation, a load was taken from the people. A new -dynamic- competition was created and opened up space for discussion, information and generated new offers in both communication and telenovelas.” The president of Salinas Group also stated that 19 years after Azteca was created, 1,700 hours of drama content is produced a year, not counting news, sports, entertainment and live shows. In this sense, Salinas Pliego explained “the production of drama is the most complex, and it requires great team work to make this productions; it takes a

“These studios are a sign that Azteca wishes to continue growing, evolving and being the best in this highly-competitive times; and Azteca is ready to face them,” he said. The executive also explained in this scenario, in which online platforms and pay TV networks are very important, “it’s where content will make all the difference. It’s not distribution channels what make a company great; it’s content. And therefore, these studios will allow us to produce much more for every platform. Production will be done in a world-class environment,” he said. Salinas Pliego also described the new studios as an endeavor that will provide numerous job opportunities for trained professionals. “Our commitment to our audience is to continue producing high-quality content within our ethic and values; and our commitment to our advertisers is to keep producing integrated content that connects the main brands in Mexico to the excellent programming we

NUMBERS The construction generated over 14,000 jobs. It demanded over 238,387 tons of steel. 100,000mt of electrical wiring was installed. The studios have 1,090 LED lights. The helipad can stand a 7-ton helicopter. There are four mobile units available equipped with HD technologies. The studios have a system that can hold 1 million lts of water.

Photo: Enrique Macías Martínez

“These new studios represent our commitment to be the best Hispanic TV broadcaster in the world.”

“What comes next is for executives, producers, writers and actors to make the best use of these facilities, since what counts is what we do with them.”

“We want to contribute to creating higherquality products, innovating through new ideas and of course, make better TV; not just in Mexico but for the entire industry.”

Mario San Román, General Manager of Azteca

Alberto Santini, General Manager of Azteca Novelas and Azteca 13

highly-qualified team, not just the actors but also quality technology and production.”

have. And that’s why I’m extremely pleased to inaugurate these studios,” he said.

In front of 800 guests, the executive described the studios as “the new home” of Azteca’s talented team. “These new studios represent our commitment to be the best Hispanic TV broadcaster in the world. A broadcaster that’s always willing to innovate, entertain, inform and impart values to our viewers,” he said.

THE FACILITIES. The new Azteca Novelas studios are state-of-the-art and one of the most modern production studios in the world. With a unique architectural design and 3D technologies, the 7 new studios cover over 15,110 m2; 5,000 m2 of which are divided among the seven studios: on the bottom floor, there’s

Studio 1 and Studio 2 (1.620 m2), and Studio 3 (780 m2). The top floor is where one can find Studio 4 (800 m2), Studio 5 (850 m2), Studio 6 (520 m2), and Studio 7 (450 m2).

T/TTV MAGAZINE

Ricardo Salinas Pliego, President of Salinas Group

The “eco-friendly building” includes dressing rooms, sound and image editing booths, underground parking, cafeterias, VIP areas, library, gym, acupuncture and massage lounges, daycare and a helipad. ttv

TTVTelenovelas interview

Martin Hahn, Telenovela writer, Venevision

To the Beat of the Audience Martin Hahn gives us a peek into the world of telenovelas from the writer’s perspective, including the evolution, current state, and what the audience expects from this genre that, against all odds, is still as effective as ever.

s a traditional main stream TV genre, telenovelas have always shared a simple and effective narrative outline: melodrama. Yet, this apparent continuity in structure does not imply a lack of evolution; on the contrary, Telenovelas have undergone several changes while adapting to new audience demands, particularly on the creative side.

Martin Hahn,

Telenovela writer, Venevision “I enjoy stories that get a strong reaction from the audience. I think that is the reason I gravitate towards comedies or thrillers” By Sebastián Torterola

T/TTV MAGAZINE

Twitter: @storterola storterola@todotv.tv

To get an inside look on what truly matters when creating a compelling and original plot, ttv went straight to the source, renowned Venevision writer Martin Hahn; who explained the telenovela genre is still standing strong “despite it being the most despised genre in the entire history of drama.” This comes partly due to audiences taking the lead, demanding dramatic content “that’s agile, more substantial and innovative”. You have successfully developed several different stories during the course of your career. How would you characterize your writing style? When it comes to my work, I’m very OCD. This applies to all areas of my work, not just telenovelas but the theater as well. I particularly enjoy developing stories that I know will get a strong reaction from the audience. That is why I tend to gravitate towards comedy or thrillers, both genres that are known for generating that kind of response. How do contemporary telenovelas differ with those written fifteen years ago? The changes have been, and still are, fast, drastic and incessant. Fifteen years ago, we didn’t have the intense competition we see today due to cable TV, the internet and social media; and the story pace was set primarily by the writers. Today, the audience is in control. Immerse in a multiplatform world, this audience demands fresh, agile content with more substance. Telenovelas seek to generate stronger emotional reactions, which is why the issues depicted in the stories have changed so much and become more volatile.

How much room is there for innovation within the melodrama genre? The genre dates back to the XVIII century and its essence has not changed much since then. It has managed to remain intact in spite of being the most despised genre in the entire history of drama. They key to creating a successful drama lies in tapping into the audience’s emotions. Telenovelas target feelings and emotions, neither of which need any kind of intellectual process to enjoy; they’re universal and can reach a wide audience of diverse ages. Venevision understands how this paradigm works, allowing each author to develop their own dramatic vision within this structure. How would you describe the target audience for your stories? I would describe it as a demanding audience. An audience trained by the lights of Fox, Warner, Universal, Sony, and NatGeo amongst others; which shows no hesitation when it comes to watching telenovelas. Developing complete telenovela plots is a highly complex job. How much of it is inspiration and how much is hard work? Telenovela writers rely on inspiration as much as any The Black Widow Telenovela

TTVTelenovelas interview

“Telenovelas target feelings and emotions, neither of which need any kind of intellectual process to enjoy, making them universally appealing”

indeed been affected. The internet opens up a whole new world for communication. It’s a vast universe that implies fierce competition; a whole new world of possibilities, highly interactive, and highly competitive, of which telenovelas make up only a small part. In this regard there is a constant need to generate new stories to keep up with the demands of this new modern system, directly affecting the creative process.

T/TTV MAGAZINE

My Ex Wants Me Telenovela

other writer, but discipline and work ethics play a big role in the successful completion of the project. There’s a constant flow of ideas, but only some will have the potential to become stories worth being told. How would you rate the quality of the stories written for Latin American TV? When it comes to stories for TV there are two possible ways to go. The first one takes no chances, remaking the same stories over and over again, getting worn out with time and losing the charm they had in the begging. These are the remakes. The second one, on the other hand, is all about creativity and new, original stories. This is risky for the producers, but it pays off by making the genre more attractive and able to compete with other dramas such as TV series, movies, and documentaries, amongst others. What effect have the new technologies had on the way TV stories are written? Has it influenced the creative process? Yes, it has

How would you describe Venevision’s approach to connecting with both their national and international audiences? When it comes to dramas I believe they appeal to variety and original stories. I admire the bold approach Venevision has regarding their drama productions, taking risks with new and original content, never-before-seen on TV. What do you imagine will happen to telenovelas ten years down the line? They can go in several different directions. They might take a reality show format, where the public can interject and make decisions that modify the course of the story. Or they may go down the path of repeating the same stories over and over. They may also attempt to recreate real life, or even create fables ... But one thing is certain, like melodrama itself, telenovelas will stand the test of time. What projects are you working on at the moment? I am currently working on a series called ‘My Ex Wants Me’. It’s a love story, a comedy and a thriller all taking place during a police investigation. It’s about two people who truly hate each other but must cooperate in order to solve an obscure crime, which becomes even more complicated when the murderer decides to start committing other crimes. ttv

Life Goes On

The Lieutenant

Pablo Escobar, the Drug Lord

ATV

Azteca

Caracol Television

Globo TV International

Abbasaga Mh. Ihlamur Yıldız Cd. Toprak Center Binası, No:8 Besiktas,34353, Istanbul, Turkey Tel.: +90 212 381 26 14 Fax: +90 212 227 83 88 E-mail: info@atvdistribution.com Web: www.atvdistribution.com Booth: 07.23

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

150 Alhambra Circle. Suite 1250 Coral Gables, FL, 33134 Calle 103 # 69b -43. Bogota, Colombia Tel.: 305-960-2018 (Miami) Tel.: 571 – 6430-430 (Bogota) Fax: +1 - 305-960-2017 (USA) E-mail: ventas@caracoltv.com.co Web: www.caracolinternacional.com Suite: 13.21

Rua Evandro Carlos de Andrade, 160 / 7º andarVila Cordeiro 04583-115São Paulo, Brazil Tel: + 55 11 5112- 4368 Fax: + 55 115112-4018 E-mail: pedro.dombrasas@tvglobo.com.br Web: www.globotvinternational.com Stand: A0.01

Executives Attending

Burçin Akil, Content Sales Specialist Emir Düzel, Content Sales Specialist

TOP EXecutivE

Executives Attending

Marcel Vinay Jr., CEO Comarex Carmen Pizano, Sales, Latin America & Spain Jesica Stescobich, Sales Central America Martha Contreras: Sales Asia Adela Velasco: Sales Europe Raul Mendoza, Marketing

Ziyad Varol, Content Sales Deputy Manager

Executives Attending

Roberto Corrente, Sales Executive Berta Orozco, Sales Executive

TOP EXecutivE

Lisette Osorio, Senior Director of International Sales

Marcel Vinay Hill, Vice President International Sales

(Hayat Devam Ediyor) (Drama Series – 32 x 90’) ‘Life Goes On’ portrays the hard lives of Grandfather İbrahim from Doğubayazıt who feels he would die if kept away from his lands, his son İsmail , the potter who has 2 wives and 7 children and in the broader sense it deals with the migration theme to a big city which results in the disintegration of the family, the fight for power among the family members and the concept of being co-wives. Ismail has 4 children from his first wife Kudret whom he was forced to marry and has 3 children from his second wife Cennet whom he fell in love with at first sight. As the story progresses, as İsmail no longer earns enough from pottery sales, he decides to migrate to İstanbul with the support of his eldest son Siraç and his daughter Zeliha who settled in İstanbul a few years before.

The Cliff

(Uçurum) (Drama Series – 18 x 90’) After coming to Turkey with her sister Felicia with the hope of working as a nanny , Eva falls into the pimps’ trap, manages to escape from being raped at the last minute and finds herself in Adem’s taxi. Unfortunately, her sister Felicia is not as lucky as her. Adem and Eva’s intersecting path will be on one hand the starting point of a big but troubled love and on the other hand a merciless and dangerous struggle against the crime gangs. After having done his military service, Adem returns home and starts working as a taxi driver with his army friend Hasan. He works the night shift and falls into depression after witnessing the hitches in the night life of Istanbul.

Executives Attending

Ricardo Scalamandré, Head of International Business Guilherme Bokel, Head of Productions Daniel Djahjah, Sales Manager Americas Gabriel Rohonyi, Sales Executive Latin America Pedro Dombrasas, Sales Manager EMEA Rodrigo, Vilela, Sales Executive África Bruno Assumpçao, Sales Executive Eastern Europe João Fonseca, Sales Executive Asia Pablo Ghiglione, Marketing Coordinator EME

TOP EXecutivE

Life Goes On

T/TTV MAGAZINE

Looks and Essence

The Lieutenant

(La Teniente) (Action Series − 24 x 60’) During an operation involving the rescue of kidnapped immigrants, someone posing as a sailor murders Lieutenant Juan Alejo a member of the Navy’s Special Forces unit. His brother, Nicolas, also a member of the Special Forces has the tragic misfortune of seeing his brother die in his arms. That same day Lieutenant Roberta Ballesteros graduates from the Special Forces training program and is named Juan Alejo’s substitute to the surprise of the whole platoon. Nicolas doesn’t understand how a novice can substitute his brother and neither does Captain Volante who cannot accept having a woman in the ranks. Roberta now has to prove that she has the training, ability and values to take part on the battlefield and in the Navy world. She faces missions that only the best prepared manage to complete. The lives of these heroes will be seen through Roberta’s activities as she shows that her strength has nothing to do with brute force.

LEGENDARY LOVE (Drama − 120 x 60’)

The “Bride behind the Veil” is the nickname given to Altagracia del Toro who has become somehow of a legend, they say she dresses in a bride dress to kill her enemies. Our heroine Natalia, will start investigating about this legend and thru this process she will meet Salomon who will fight Altagracia del Toro for the property of “Grupo Cervecero”, a beer factory that is the family business. Together, Natalia and Salomon, will try to discover the real identity of the “Bride behind the Veil”.

Pablo Escobar, the Drug Lord (Series − 63 x 60’)

This mega production, never made before in Colombian television, with a staging, technical specifications and artistic quality at the level of the best worldwide productions, tells the story of what without a doubt, everybody wants to know: the details of the path that turned a common man into the drug lord of the drug trafficking business, as well as into one of the richest and most cruel criminals of the whole world. Based on the testimony of those who, in one way or another, had something to do with this genius of evil, this series portrays the life of Pablo Escobar from its beginnings, when a child who lived in a calm town close to Medellin is able to - through some contradictory values and with perverse and intuitive malice and intelligence - quickly become the boss of the world wide drug traffic business, influence the most important spheres of the Colombian society of the moment and, using terror and death - his great instruments of power - dress in mourning and bring down a whole nation, changing forever the culture and the customs of our country, and perhaps of the whole world.

Sounds Like a Million (Game Show)

‘Sounds like a million’ is a one hour game show in which the contestants may win juicy prizes according to their musical abilities: singing, dancing, identifying a tune or piece of music and playing instruments will be part of this fun moment on a colorful and modern set where the festive competition will take place.

Raphael Correa, Head of International Sales

Looks and Essence

(Fina Estampa) (Telenovela - 160 x 45’ HD) ‘Looks and Essence’ is a telenovela that explores the issue of modern-day values. Griselda is a tough, hard-working handywoman who managed to raise her three children on her own. She struggles to make ends meet but after winning the lottery tensions rise as people inevitably show their true value. With plenty of romance and intrigue this incredibly rich telenovela brings together the true values of friendship, love, and family.

The Enchanted Tale

(Cuento Encantado) (Telenovela - 100 x 45’ HD) This enchanting story is an epic telenovela encircled by castles, kings, and outlaws that tells the story of a majestic love between Azucena and Jesuino: two noble spirited young people who are unaware of their true origins. He is the son of outlaws and she is a true princess. They will have to overcome many obstacles for their love to prevail. A great success in Brazil, ‘Enchanted Tale’ is an innovative, timeless telenovela that fascinates everyone with its simple plot and great production.

Kuzey - Guney

El Don

Armored Hearts

Masks

Kanal D

Latin Media Corporation

RCN Televisión

Record TV Network

Dogan TV Center 34204 Bagcilar, Istanbul, Turkiye Tel.: +90 212 4135111 Fax: +90 212 4135204 E-mail: sales@kanald.com.tr Booth: 17.10

8725 NW 18th Terrace Suite 405 Miami, FL 33172 Tel: 1305-974-1765 to 1768 Fax: 1305-974-1769 Web: www.latinmediacorp.net Stand: 5.19

Avenida de las Américas # 65-82, Bogotá, Colombia Tel.: + 571 4269292 - Ext 1187 Booth: 09.09

Executives Attending

Rua da Várzea, 240 - Barra Funda, São Paulo-SP, Brasil. CEP: 01140-080 Tel.: +55 11 3300-5468 Email: emendes@sp.rederecord.com.br Website: www.recordtvnetwork.com Stand: 05.02

Kerim Emrah Turna, International Sales Executive Ezgi Ural, International Sales Executive Erol Amac Us, International Sales Executive

Ahmad, Director of Sales Carlos Documet

TOP EXecutivE

‘Kuzey - Güney’ is the story of two brothers’ struggle to survive in their own worlds. They have different ambitions, different paths... They have different strategies to reach their goals. The only thing the two characteristically opposite brothers have in common is Cemre, the girl they are both in love with... Even though they have very different behaviours and characters, two brothers can somehow manage to get along. The events which destroy two brothers’ life begin after Cemre and her coiffeur mother move into the neighborhood.

Tıme Goes By Year 1967... Long distance Captain Sailor, Ali Akarsu spends most of his time away from his family. In the mean time his wife Cemile takes care of their four children. She becomes both a mother and a father figure to their chidren while her husband is away. One day Ali finally comes back home from his journey and Cemile finds a letter in Ali’s pocket which will lead to many events that will make the Akarsu family’s life upside down... A secret love affair with a foreign woman.

Fatmagul The story of the stolen lives... Fatmagül lives on a shore town with her naive brother Rahmi and his wife Mukaddes. She is counting days to marry her fiancee, her childhood love, fisherman Mustafa... Kerim lives in the same town. When he was a little boy, his father left him and his mother for another woman. Ebe Nanny who is known as the healer of the town, takes Kerim under her own care after his mother’s suicide.

Maria Lucia Hernandez, International sales Director Lina María Waked, International Sales Ricardo Cruz, Acquisition Director Sara Gutierrez, Programming Vice-president

Executives Attending

Edson Mendes, International Sales Manager

TOP EXecutivE

José Escalante, Managing Director

Özlem Özsümbül, Head of Sales & Acquisitions

Kuzey - Guney

Executives Attending

Delmar Andrade, International Sales Director

Gabriel Reyes Copello, President

El Don

(Series - 13 x 45’ – Season I) Mr. Armando Julio is not an ordinary man. He is the most feared, dangerous, and most wanted mafia boss in the entire Caribbean region. His power extends not only in the low class slums but also at the most powerful political spheres and police forces of the country. ‘El Don’ is based on real events. This is a love story filled with revenge, crime, and passions that will keep you hooked from the first episode and its will live you breathless.

Pushovers

(Telenovela - Approx 100 x 45’ min, 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.

Masks ARMORED HEARTS (Series – 80 x 60’)

Diana and Raul, two police officers that patrol the dangerous streets of Bogotá fall in love. But she, honorable and just, has decided to put her heart on a pause until she knows the real whereabouts of her daughter’s father, noncommissioned officer Vicente Yañez, whom was kidnapped by the guerrilla six years ago. When everyone considers him dead, Diana decides to end her grief, put an end to her pain, and let her feelings for Raul go loose. However, destiny prepares a surprise that is difficult to resolve: Vicente is rescued safe and sound and returns to take a place back in Diana’s life.

FROM RICHES, TO RAGS

(Telenovela/Comedy – 120 x 60’) The Rico’s are linked to the Siachoque’s and their lives are intertwined forever. They will understand that it is not money that produces happiness, but love, solidarity, and union. There is no need to be attached to material things or to luxuries, but to enjoy life with all its good and bad. After all, being Rich is not about having the most, but about needing the least.

Life after Life

CLASSIFIED AD STORIES

More than 30,000 people in the world get transplants in order to get a second chance to live again. This heartwarming series takes place in the prestigious Nataniel Cox Hospital where a group of discipline doctors, surgeons, technicians, lawyers, and prosecutors must work together and where their ethics and emotions will be put to the test as they faced various challenges and cases that will come across their path.

Behind a classified ad there is story to tell, there are strange, curious, fun, and surprising ads. ‘Classified Ad stories’ is a series with a touch of humor and charm that reveals every day drama that happens to people next door, but must of all people who have been forced to place a classified ad to solve their economic, sentimental, labor, or family problems.

(Series - 12 x 55’ – Season I)

(Series – 60 x 60’)

(HD Soup opera) Maria is Octavio’s wife, a rich landowner from MatoGrosso do Sul. She is kidnapped along with her son Tavinho while returning from a therapeutic cruise to cure her postpartum depression. A desperate Octavio follows the trail of the supposed kidnappers and does not restrain himself from getting his family back. While searching for clues, the landowner encounters various obstacles at first and can’t seem to find his family. But he discovers that Maria and Tavinho’s kidnapping is fruit of a mysterious criminal organization under the command of a mysterious man named Big Blond, an entrepreneur that uses a code name to maneuver in the high echelons of power. Octavio’s great challenge during the story is finding people he can trust and through them, find Maria and his son. A ship serves as the background to the most important events. Emotion filled events with plenty of revelations. The fantasy inducing atmosphere, brings about the use of social masks, in order for them to act out their dreams and interests, key points in the development of the plot.

King David

(Series – 29 chapters) David’s life is marked by love and hate, intrigue, friendship, betrayal and forgiveness. David’s legacy is to show mankind that all men are capable of committing sin and injustice, but that they’ll only find the path when they obey God’s laws.

TTV MAGAZINE/T

Candy Love

Precious Rose

Telefe International Prilidiano Pueyrredón 2989 2nd. floor (B1640ILA) Martínez, Buenos Aires, Argentina Tel.: (5411) 4102-5810 Fax: (5411) 4587-4349 E-mail: sales@telefeinternational.com.ar Website: www.telefeinternational.com.ar Booth: RSV 14

Executives Attending

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

TOP EXecutivE

Fernando Varela, Head of International Business

Crown of Tears

Telemundo Internacional 2745 Ponce de Leon Blvd. Coral Gables FL 33134, USA Tel.: (305) 774-0033 Fax: (305) 774-7372 Web: www.telemundointernacional.com E-mail: Cynthia.Carnivali@nbcuni.com Stand: A.021

Executives Attending

Karen Barroeta, SVP International Cable & Marketing Xavier Aristimuño, SVP Sales & Business Development - Asia Esperanza Garay, SVP Sales & Acquisition, Latin America Luis Daniel Capriles, VP International Digital Media Sales Karina Etchison, VP of Sales - Europe, Africa and Middle East Melissa Pillow, Sales Director, Central and Eastern Europe Olimpia Del Boccio, Director of Marketing, Press & Promotions Emanuela Bosco, Format Sales Manager, Europe

TOP EXecutivE Marcos Santana, President

Candy Love

(Telenovela - Approx. 150 x 1 TV Hour HD)

T/TTV MAGAZINE

‘Candy Love’ is the love story of four couples, four generations, and four kinds of love that are completely different but equally beautiful and intense. Love that will have to go through many tests before coming to fruition. It is two worlds crashing: The “popular” and the “rich”. On the one hand, the story of a family that loses its patriarch, 3 sisters and a mother, a candy factory, “Bandi Candy” that is about to go bankrupt and a legacy that is threatened by a real estate development. On the other hand, two men who need to collect money to fulfill their dreams and who will enter the Bandis’ life as drivers of the family and who show them it is worth fighting for your dreams, because Marcos and Julian will not stop until they go back to the racing world and the car sponsor will be none other than “Bandi Candy”. They will open the Bandis’ eyes, because they were being betrayed by their own people.

Precious Rose

(Telenovela - 130 x 60’) Abandoned at a young age, Rosa Puentes and Eva Sotomayor grew up considering themselves each other’s only family. When Eva falls in love with a man who leaves her heartbroken and pregnant, Rosa promises to help raise the child and never to forget the deception of his father. In her quest, Rosa will assume Eva’s identity and confront the man who betrayed her friend, but she will become the victim of her own destiny when she falls in love with him. Soon, she’ll have to decide between loyalty to her promise and surrendering to true love.

Bitter Sweet

(Telenovela 130 x 60’) ‘Bitter Sweet’ takes us into the world of five couples and their everyday struggles, one of them being Mariana and Nicolas, who are about to celebrate their seven-year anniversary. Mariana, overwhelmed with the worry that she may develop a hereditary mental illness, decides to leave her husband and son to avoid them the pain of seeing her suffer. But soon after, she will be captivated unwittingly by a new passion, and behind this romance will hide the madness of a psychopath.

Rosario

Televisa Internacional

Venevision International

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

121 Alhambra Plaza, Suite 1400, Coral Gables, FL 33134, USA Tel.: 305.442.3411 Fax: 305.446.4743 Email: info@venevisioninternational.com Website: www.venevisioninternational.com Stand: 14.02

Executives Attending

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

TOP EXecutivE Carlos Castro, General Sales Director

Executives Attending

Group of Companies Manuel Perez, Vice President & CFO of Venevision International (VVI) Cesar Diaz, Vice President of Sales (VVI) Miguel Somoza, Regional Sales Director (VVI) Daniel Rodriguez, Sales Director, Latin America (VVI) Cristobal Ponte, Exclusive Independent Representative for Europe, Africa & M.E. Juan Julio Baena, President, Vision Europa, Exclusive Independent Representative for Spain

TOP EXecutivE

Crown of Tears

Miguel Dvorak, President & COO of the Cisneros Group of Companies

(Telenovela - 150 x 60’)

When Refugio and her three kids, Patricio, Edmundo and Ignacio are thrown out of their home, they arrive by chance in Mexico City where they start a new life. 18 years later, she has got a modest job and even though she suffers from serious vision problems, she neglects her health to attend her sons needs. Patricio has started dating Lucero, Silvia´s daughter, who provided them with accommodation when they first arrived in the city, but short after, he rejects her when he meets Olga, a shifty character girl whose fortune blinds him leading him to become embarrassed of his family and lie about his origins to the point of denying his mother.

Carrossel

(Children - 200 x 60’)

The telenovela begins with the arrival of Helena to the World School as a permanent teacher. She is the first and only one to win over the entire third grade students, challenging headon the rules and demands of the imperative and stringent school’s Principal, Mrs. Olívia. She soon becomes, not only a teacher, but also a great friend and advisor. Helena also finds a faithful friend in old Firmino, the school’s keeper. They both act as mediators for the problems caused by the demanding Olívia, who does not agree with the excessive tolerance that the teacher shows regarding the students.

Rosario

(Telenovela – 120 x 45’) Rosario, a young and brilliant law student, and Alejandro, a prominent veteran attorney, fall deeply in love and start planning a future together. But fate throws before them an unexpected torment when Rosario discovers that Alejandro is the same man her mother was to marry 21 years earlier. Now lies from the past resurface, disrupting the lives of everyone involved.

My Ex Wants Me

(Telenovela – 120 x 45’) This romantic comedy with a touch of mystery presents three young women whose normal lives become intertwined in a missing person case and they find themselves rekindling a love that brought them heartache in the past, but now presents itself with the fairytale illusion of happily-ever-after.

The Love Curse

(Telenovela – 120 x 45’) The women of the Lopez family have been cursed for the past 100 years: when the time comes to choose the love of their life, they meet two completely different men, one is a good man and the other is terrible, and they always decide on the man who will make them miserable for the rest of their lives. There’s a secret to breaking the curse, but the one who holds the answer, considered by everyone to be a saint, is actually the most evil of them all.

Executives ttv

Spotlight on Russian Culture Running the distribution division of Russia’s biggest state-owned media corporation stands Julia Matiash, who spoke to ttv about the evolution of the country’s audiovisual industry, its main strengths and quality productions; and the international market’s increasing interest for Russian history. By Carolina Mussio Twitter: @carolinamussio cmussio@todotv.tv

ver the past few years, the ternational content distributor, the company amount of local content deplays an essential role in highlighting Rusveloped in Russia has sian productions across the globe: grown notably, on par “STE’s credo is to combine the dis“There is with the demand for tribution of the best Russian proa great demand it coming from numerous territo- for feature films and gramming; meeting the highest ries. “The production of domestic quality standards and using the TV series dedicated to the history of content, especially drama series latest technologies with a client Russia or based on and feature films has consideraoriented approach,” she said. Russian classics.” bly increased,” said Julia Matiash, Director of Sovteleexport (STE), This mission presents a great chathe distribution arm of Russia’s llenge for the Russian distributor, as largest state-owned media holthe demand for local content continues ding VGTRK (Russia Television and Radio). to grow: “The territory of our partnerships has been expanding year after year,” Julia Matiash Working as part of one of the country’s main said. The company conducts business with broadcasters and content providers, Julia Manumerous partners across the globe, such as tiash is well aware of the evolution of Russia’s Discovery Networks, BBC, CANAL PLUS, RAI, audiovisual market and its main strengths: “The key content includes melodramas, detective stories and telenovelas,” she explained, while also highlighting the increasing popularity of Russian entertainment programming, classic music concerts, and films with leading opera and ballet stars.

“This particular kind of content has gained intense interest among public and state channels in more than 40 countries all over the world,” Julia Matiash explained. As an in-

Director of Sovteleexport, VGTRK

SVT, TVP, CCTV, China Film Group and Phoenix Satellite. Representing a catalogue of over 15,000 hours of Russian programs, STE’s reach currently expands across several territories, including France, Germany, Israel, China, Great Britain, Poland and others. And as far as the near future goes, the company intends to continue growing, adding new territories to the list: “Our newest distribution agreements in Latin and North America have become our most exciting achievement recently,” she concluded. ttv

Life and Fate Historical drama

TTV MAGAZINE/83

SHOWCASING RUSSIA’S HERITAGE. Once these local productions travel across Russian borders, they function as a gateway into Russian customs and traditions: “Unique content covering cultural and social issues makes Sovteleexport stand out on the international media markets,” she said, and added: “There is a great demand for movies and series dedicated to the history of Russia or based on Russian classics, as well as high-quality documentaries discovering unknown facts and rare archive materials.”

Julia Matiash,

Interview ttv

Local Production

Matters

Dean Possenniskie, Managing Director, Europe for A+E Networks, welcomed ttv in his London office to share details on the company’s business in Europe, its local content strategy and current plans to launch new networks. By Gonzalo Larrea Twitter: @Gonzalolarrea glarrea@todotv.tv

Swamp People Reality

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“The good news is that audiences are watching more television, both linear and online.”

Since A+E Networks acquired Lifetime Entertainment Services in 2009, the brand has become one of the company’s most important asset. So much so, that Lifetime’s international launch -which still didn’t happen- is being carefully prepared.

he most successful year in the company’s history. That’s how Dean Possenniskie, managing director, Europe for A+E Networks described 2012, during his interview with ttv in his London office, where he shared the programmer’s latest international projects. “2012 is proving to be the most successful year in the history of A+E Networks. The growth in viewership in America now has grown to a point where we are having our most successful quarter in terms of audience reach in the history of our company,” the executive said, as he highlighted the ongoing growth of its channels such as A+E, History and Lifetime.

HISTORY is now firmly established as one of the top 3 cable channels in the US, as well as the number one reaching men 25-54, excluding sports. In the UK, the network grew 40% over the last year. Meanwhile, on an international level, A+E networks has been gaining ground in Eastern and Central Europe, where its channels added over 10 million households in the last year over several key markets. The company currently reaches 80 million households across Europe. “Our distribution has grown significantly in Europe; particularly in Central and Eastern Europe and key markets such as Poland and Rumania,

Dean Possenniskie,

which are a real focus for our business,” he said. “I believe in the next six to twelve months we are going to see more growth in our core networks in those territories, so we have a great deal of focus there. The great news is that literally, quarter by quarter, we have been announcing new deals in those markets.”

Managing Director, Europe of A+E Networks International Watch video interview.

Leading said growth is one of the company’s newest networks, Crime and Investigation, which was recently launched in Spain, Holland, the Middle East and Poland. EXPANDED LIFETIME. Possenniskie also stated one of the biggest projects in store for A+E will feature Lifetime, a channel that’s been growing consistently in the US and will begin its international expansion. In the near future, it will disembark in Canada and possibly other European territories by end-2012. “Lifetime is an area of great potential and great investment for A+E networks. The channel continues to succeed in the US, where it just had its most successful second quarter in ten years with new formats and is original movies. That puts as in a very strong position now as we build our library for international launches,” he explained.

“Original production gives us the opportunity to tell local stories, something we’re seeing great success in.” area to invest in to further nourish its networks’ offer.

The executive believes this success is based on having a formula that works, “combining fantastic and innovative A+E Networks’ programming with innovative local commissions.”

According to the executive, people are now watching more TV than ever; both traditionally and online. And, what it all comes down to is producing high-quality content and distributing it in a smart way. “I believe both platforms work hand in hand, and we’ll continue to work this way as long as it makes sense for our channels,” he said.

STAYING LOCAL. Thus, original production is at the heart of the company’s strategy in every territory: not only does it fill its different networks with local content, but it also promotes its products and distribution rights across several platforms.

“Now it’s becoming more and more important to support these platforms as our partners provide these services to the customers. We are very aware of the variety of options on the table for consumers. A lot has change in the last two years,” he explained.

“In Europe I believe there’s a very important place for original production commissioned locally on our channels. We’re very fortunate that we have an incredibly strong creative pipeline of programming which comes from A+E Networks in the US,” he said.

Lastly, the executive stated they expect to have a very successful Mipcom, since they’re taking a “fantastic” catalog to the French market, with international productions, as well as hit shows and formats from the US. ttv

“But there’s also a great opportunity to tell the local history, local stories on some networks; so we’re very active in that field across all of out local channels,” he added. In Europe alone, the company produces over 100 hours of local commissions.

As far as new platforms and technologies go, A+E’s strategy has been to work with distribution partners, as it believes it’s an important

IRT Deadliest Roads Series

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In order to roll out this strategy, the company works with a series of independent producers, which Possenniskie assures it has a very “open relationship” with. Another option for the company is also co-production: “We are focusing more and more on full commissions and owning those commissions; yet co-production does play a big part,” he said.

Storage Wars Reality

“Our distribution has grown significantly in Europe, particularly in Central and Eastern Europe.”

INNUMBERS 1,200

TV productions are developed in Canada each year, according to Telefilm Canada.

44.2 million

dollars were the documented losses for Lionsgate during its first quarter.

BRAZIL

High Praise for Brazilian Pay TV The 19th Pay TV POP, a report published by IBOPE Media -conducted between March 19 and April 1, 2012 across 13 Brazilian cities, with over 18,000 people (10 and older) surveyed from all socio-economic backgrounds-, reveals 78% of pay TV subscribers in Brazil are very satisfied with the service provided by operators. Among those who have never subscribed to cable TV, 17% intend to do so within the next 6 months; and 30% of those who’ve hired the service in the past plan to do so again. As far as the programming and channels offered go, over 70% of users consider them to be good or excellent, while 78% described On-Demand content as their favorite. Moreover, 63% of those polled ranked movies as the number one content they watch. This year, the report also revealed new information on the number of pay TV households, the new video consumption habits, multiscreening, online content, cable penetration, smart TV usage and HD packages.

116,000

tweets per minute were recorded during the Spice Girls’ performance at the closing ceremony of the London 2012 Olympics.

12.3 million

users will have access to DTT in Latin America by 2016, according to Dataxis.

30% of VOD’s global

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revenues by 2017 will come from the US market, as mentioned on Digital TV Research.

624 billion

dollars is the current worth of the Apple Company.

RESTRUCTURE

Caroline Thomson Leaves the BBC The executive stepped down from her role as the British broadcaster’s Chief Operating Officer in September. As COO, Thomson contributed in several projects at the BBC, such as its digital switch-over, moving 3,000 staff members to Salford, and the development of the BBC’s two main sites in central and west London. “It has been an immense privilege to be part of the leadership of the BBC, the world’s best public service broadcaster. I wish George and his colleagues the best of luck as they take the BBC forward; I know it will be safe in their hands,” she said. The move came after the BBC’s new Director General, George Entwistle, announced he was closing the role as part of the restructure of his senior team. Through this plan, he aimed to put program makers and “outstanding creative originality” at the heart of the organization, while changing the company’s management as part of a radical simplification.”I intend to change the way we’re led to put the emphasis where it belongs: on creative people doing creative things; on our audiences and the exceptional quality of work they deserve,” he told BBC staff. Caroline Thomson, Former COO of BBC

todotvnews.com Television & Entertainment Business News Newsletter todotvnews - Distributed daily to over 7,500 niche executives

BRANDED CONTENT

AProduction Nimble Model Major brands migrating towards the field of content have promoted the development of new, original and innovative models. Renowned advertisers, independent and major Hollywood producers are all part of it. A growing industry bolstered by the search for synergies among the multiplying platforms and content creation. By Rodrigo Ros

Twitter: @rodrigo__ros rros@todotv.tv

88/TTV MAGAZINE

etc) and allows viewers to immerse themhere are many reasons behind the selves deeper into the series’ universe. Each new trend: the search for adverti10-15 minute episode was premiered on the sing models with greater return, official website, as well as YouTube and Hulu. alternative low-cost production The last episode made its debut on June 28. models, the evolution of digital platforms, the effect of social networks, fragThis innovative project created for AT&T revolmented audiences, new consumption habits ves around technological evolution (‘Touch’ and players, and why not, the search for creawas the operator’s first production of tive ideas to replace the traditional this sort). Through new apps and production model. From modest somewhat futuristic devices, the low-cost offers, to major inves“Branded content company is pushing the bountments in feature films; branded allows advertising daries of product placement, content presents itself as a viaactions to travel from one platform promoting mainly a whole new ble option within this context. to another, universe in which its players operating both as make the most of the technology AT&T: AN EXAMPLE OF INNOcontent and ads.” available. AT&T’s developing apps VATION: ‘Daybreak’ is an inteare part of the series’ plot, mixed in ractive series produced for the with the action, which allows experts internet and mobile phones by to measure the potential impact of their Tim Kring (‘Heroes’, ‘Touch’) and new projects through the audiences’ reaction. RSA Films (owned by Ridley Scott) for AT&T, through the BBDO agency in New York. The CONTENT CO-PRODUCTION. Branded conseries follows Ben Wilkins, an ordinary young tent enables at least two companies to deveman whose life changes dramatically as he lop content that serves their specific interests. finds himself in the middle of a worldwide The strategy gives way to more ambitious conconspiracy. tent, and precise control over the risk margins associated with the cost-benefit ratio. Some The series is distributed through Dayexamples of this new model are Toshiba and break2012.com, which hosts a selection of Intel with their film ‘The Beauty Inside’, and Ford additional content (video, images, links, apps,

and Schick with ‘Dating Rules’ -by the producers of ‘Gossip Girl’-, a story that shows the life of a young woman who communicates with a version of herself, ten years in the future. INTEL AND TOSHIBA: SOCIAL MOVIES? Seeking to promote its new Ultrabook, Toshiba and Intel have joined forces to create a new “social movie,” a film that combines web series, traditional feature film and social media-driven interaction. Directed by Drake Doremus -whose movie ‘Like Crazy’ won an award at the Sundance Film Festival in 2011- ‘The Beauty Inside’ tells the story of Alex, a young man who wakes up every morning as a different person -man, woman, old, young-, until one day he falls in love and that “gift” becomes a true curse. “Could you be the next Alex?” says the official trailer, inviting viewers to participate in the auditions hosted on the companies’ Facebook page (/ thebeautyinsidefilm). On August 16, Toshiba and Intel will premiere the first of six episodes on the Facebook page. TOYOTA AND BOSSANOVAFILMS: ACROSS THE BRAND. In Brazil, where telenovelas score the highest ratings on broadcast TV, there are alternative means for creating and develo-

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Day Break Series

INTANGIBLE MEASURES

ping original pay TV projects, such as the one used by BossaNovaFilms production company in alliance with Toyota. ‘Across The Amazon’, a docu-reality produced by BossaNova Films in association with Toyota and pay TV network NatGeo in 130 countries, follows two adventurers on a truck-ride across the Amazon river. The major co-production included 6, 25-minute episodes broadcast on NatGeo in 130 countries, as well as a contest held during the last 700km of the expedition. “We’ve managed to offer intelligent solutions at affordable prices to clients such as Nokia, Samsung, Ford Ecosport and others,” said Denise Gomes, partner and director at the company.

A great example of this is ‘Entrevista a la Carta’, a talk show format hosted by Julia Otero, sponsored by Telefónica, and recently premie-

Yet, this model is not presented as an innovative way to produce content, but rather a creative alternative in times of crisis. Other shows can also provide great examples of this new scenario, such as ‘¿Conoces España?’ (La 1), financed by Telefónica; and ‘Conectando España’, financed by Vodafone. IN SEARCH OF ORIGINALITY. There is simply not enough room to list all the existing examples of this new production model. Experiences such as Sprite’s campaign ‘Destapados Sprite: Las Cosas Como Son’, produced by Pedro Torres’ El Mall -which also produced ‘The Next Top Model’-; or what has been done by Zodiak Media -which manages the company’s branded content and digital platforms- led by Raquel Yuepes (former Zodiak Latino); and also the ‘Pepsi Challenge’ campaign in Colombia, and several others. What is it that makes these projects so original? They empower an industry with its own

resources and needs, capable of being an alternative way of financing a project; while also promoting a new productive business model. With the development of new pay TV platforms, mobile devices and smartphones, as well as social networks’ ability to analyze how consumers behave; evaluating how effective an advertising campaign really is has become a key point. Branded content allows advertising actions to travel from one platform to another, operating both as content and ads. ttv

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LOW-COST CONTENT. In Spain, where brands are banned from broadcast TV networks, except in those cases when the content promotes “cultural, social or sporting activities” -according to the new Spanish audiovisual law-, companies such as Telefonica, Vodafone and Campofrío, have been able to develop content that adapts to the audiences’ needs, as well as the new law.

red by TVE’s La 1. “Telefónica’s co-production history in the content industry is long and covers fiction projects such as movies and series, as well as documentaries, game shows and talk shows,” said sources from the company to the El Mundo newspaper in Spain.

Rentrak’s TV Essentials service provides second-by-second TV audience viewing and demographic information based on data from 20 million televisions and all TV stations to create granularlevel data in all 210 media markets. “Our work with Rentrak will provide advertisers and broadcasters with 360 degree solutions and insights for planning, analyzing, implementing, and measuring their most challenging branded entertainment campaigns,” Frank Zazza, CEO of iTVX, said in a statement. The Rentrak viewing data will be aligned with iTVX’s system, which uses research, brandedentertainment expertise and performance analytics to deliver multiplatform intelligence for both the general and Hispanic TV markets, the companies said.

News ttv

FOX TELECOLOMBIA

Transforming Latin America’s Storytelling

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After the success of the two seasons of the ‘Kdabra’ series (the first coproduction between Fox International Channels Latin America and Moviecity), Bogotá-based Fox Telecolombia stepped into the first series made 100% for Moviecity: ‘Lynch’, starred by Uruguayan actress Natalia Oreiro, which had great results in the pan-regional screens. So much so that the programmer ordered a second season of the series, which is already in production and features a multi-regional cast. The new season will have 17 episodes, and it’s based upon the original script of Colombian writer Juliana Barrera. Each episode will be directed by renowned Latin American directors such as Diego Suárez (‘The Roldans’, ‘LaLola’, ‘El tiempo no para’ and ‘Tiempo final’). Both seasons of ‘Lynch’ are distributed by Fox Telecolombia at Mipcom.

Pay TV Loses Ground to OTT

As Netflix, Hulu and other OTT services continue to grow; the US pay TV market is losing clients. According to IHS Screen Digest, during Q2 2012, US pay-TV operators’ net subscriber additions dropped by 350,000 -the biggest in history- mainly due to OTT’s increasing popularity as an alternative to cable amidst a weakened economy. The number of pay TV subscribers decreased 348,000 from Q1’s total of 101.2 million to 100.9 million in Q2 2012. In addition, IHS’ report also indicates cable TV services lost 600,000 clients, while satellite TV shed 62,000 subscribers in Q2, with DirecTV losing clients (52,000) for the first time ever. “Poor economic conditions played a role in declining subscriber additions for pay-TV operators in the second quarter,” IHS analyst Erik Brannon said in a statement. In this scenario, cable providers are fighting back: “Pay TV players are betting that by adding extra value for their subscribers, they can stem the tide of subscribers defecting to OTT, and entice new ones to join,” Brannon said, and explained cable is relying on new offers such as TV Everywhere, faster Internet speeds and pricing promotions to compete against OTT’s customized offers.

BRAZIL

Second Screening: Compliment or Threat?

Second screening -the use of other platforms such as laptops, smartphones and tablets while watching TV- is on the rise, making it increasingly difficult for TV programming to get viewers’ undivided attention. According to Deloitte’s latest case study, 24% of all respondents use second screens; and almost half of all 16-24 year olds use messaging, email, Facebook or Twitter to discuss what they are viewing on TV. “Second screening may well end up with a similar status as eating in front of the TV: an everyday experience for some; absolutely unthinkable for others. The challenge for second screen content today is that it is likely to be relatively expensive as we are still in an experimental, bespoke phase. But one thing is certain: it is here for good,” said Paul Lee, director of technology, media and telecommunications research at Deloitte; and he added: “Every pound spent on second screen content may be a pound diverted from the first screen. In order to justify the investment, content creators need to get the balance right between all screens.”

EUROPA DUBBING GROUP

Worldwide Translators With a proven expertise and know-how on telenovelas dubbing, Europa Dubbing Group dubs over 3.000 hours of programming each year. Indeed, the company’s list of clients include some of the largest Hispanic companies, such as Telemundo, Televisa, Venevision, Caracol and also Brazilian giant Globo. Some of the productions include ‘Amarte asi frijolito’, ‘Corazon partido’, ‘La madrastra’, ‘Sabor a ti’, ‘La mujer de Lorenzo’, ‘El diablo’, and Globo’s ‘Seize the Day’ and ‘Cat’s Cradle’. Europa Dubbing Group has its own dubbing studios based in four continents, and it uses the rythmo band technology for dubbing. The company works with dubbing in French, English, Spanish, Portuguese, German and Arabic; whereas for voice over and subtitling it works with all languages, featuring more than 1000 actors. Other worldwide clients include Asia’s Zee TV, ABS, CBN; Turkey’s Kanal D and South Africa’s Mnet.

Interview ttv

Room for Audacity Caracol Televisión network is arriving at this year’s Mipcom with its latest major production: ‘Pablo Escobar: The Drug Lord’, which has increased the Colombian channel’s ratings significantly, as well as those of international networks airing the series. The following article reveals details about this premiere and other co-production deals the company has struck with Sony Entertainment Television and Mexico’s Cadena 3.

By Sebastián Amoroso

Pablo Escobar: The Drug Lord Series

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Twitter: @sebamoroso samoroso@todotv.tv

olombian network Caracol Televisión’s star series this season has been ‘Pablo Escobar: The Drug Lord’; a super production based on real characters and events which shook the foundations of a nation troubled by drug dealing and corruption. “It was a complex production since the goal was to showcase one of the most important

times in the country’s history, as well as a renowned character; which entailed the participation of numerous actors, detailed reenactments and post-production effects,” Juana Uribe, VP at Caracol Television and the series’ general producer, explained to ttv. “It was a record-breaking premiere. Its ratings showed us the country is very interested in learning about its history and that was proven by close to 11 million viewers who tuned

Interview ttv

in. This series has made people talk about that time, a part of our history that’s important to share since newer generations must also know what happened back then.” The series’ development came alongside the evolution of what’s known as narconovelas, a genre that Caracol Televisión has invested in on previous occasions. “It’s a new generation of the so called narconovelas, where our goal was to tell the story of Pablo Escobar with the upmost respect for the victims and those who fought against him and his destructive power,” she said. “We want to share that story with the ability to see the events from a distance and showcase them the right way. We wanted to present his childhood, his teenage years and the road that led him to become last century’s most feared drug dealer; a man who embraced violence as his way of life and destabilized the country, becoming the most wanted criminal of his time,” she added.

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After 18 months as the president of Caracol Televisión, Carlos Pérez Dávila is stepping down from his post to be replaced by Gonzalo Córdoba Mallarino, who’ll take on the role. Carlos Pérez Dávila is leaving the company after leading a restructuring and modernizing process which transformed the entire company, according to reps from the organization. “For over a year and a half, Carlos Pérez Dávila was in charge of consolidating the different business units and getting the company ready to face the industry’s upcoming challenges. He transformed the news structure and digital platforms through which Caracol will be present in the future. He also created and led the project that will allow Santo Domingo Group to return to the radio,” the company said in a press release. The executive will be replaced by Gonzalo Córdoba Mallarino, current president of El Espectador’s Board of Directors, and Board member at Caracol Televisión.

The production is currently present on numerous international networks including Telemundo in the US, Gama TV in Ecuador, Televisión Nacional de Panamá in Panama, Monte Carlo TV in Uruguay and Juana Uribe Wapa TV in Puerto Rico. “Other teVP of Caracol Televisión and the series’ rritories will announce the series’ general producer premiere very soon,” she added.

“‘Pablo Escobar had a recordbreaking premiere. Its ratings showed us the country is very interested in learning about its history.” Lisette Osorio international senior director

Alejandro Toro director of co-productions

“With Sony we started with the pre-production of ‘La hipocondriaca’, a 120-episode romantic comedy which will be produced in early October.” tober,” said Alejandro Toro, head of co-productions. The series features Stephanie Cayo and Ernesto Calzadilla. “We are also working on the content for our second project, which should start to be produced in 2013,” he said. Another deal signed by the company under this innovative production model was made with Cadena 3 in Mexico for the -already finalized- production of the series ‘La ruta blanca’, which premiered on August 13 on Cadena 3’s network. “This was a project made in four different units in three countries: Colombia, Mexico and the US; and turned out to be an excellent working experience. We feel extremely positive about the show’s evolution on Cadena 3 and its upcoming presence on our network,” he said. INTERNATIONAL DISTRIBUTION. As far as international distribution goes, the series ‘Pablo Escobar: The Drug Lord’ was officially presented at the 2012 LA Screenings in May. “We are very pleased with ‘Pablo Escobar: The Drug Lord’s international performance and distribution. The series has already been acquired across America, in every country from the US to Argentina,” said Lisette Osorio, international senior director.

The interesting thing about this international expansion is the series’ performance in all those countries. “Just like it did in Colombia, the product has been embraced by audiences in every country where it premiered,” she said. “The US results are worth noting, since the product became the leader in Telemundo’s primetime. This result has replicated in other countries such as Puerto Rico and Panama. Without a doubt, this series has been very successful and raised the interest of the international community. We are extremely pleased with the rating results it has achieved on our clients’ networks,” Osorio said.

“Just like it was in Colombia, the product has been embraced by audiences in every country where it premiered.”

CO-PRODUCTION DEALS. Another means of development for the Colombian network are co-productions, as well as searching for new and innovative production models. For instance, the company recently signed a 600-hour content deal with Sony Entertainment Television (SET).

CARACOL TELEVISIÓN HAS A NEW PRESIDENT

“With Sony we started with the pre-production of ‘La hipocondriaca’, a 120-episode romantic comedy, and will start production in early Oc-

In addition to this series, Caracol Televisión has also distributed several formats worldwide. “Formats are still highly demanded, as well as taped content. One doesn’t tower over the other, since each market has specific needs,” she said.

The executive believes as far as European markets go, “there’s still a demand for stories that can be adapted. This means there’s room for everything, both taped content and formats,” she said. “There isn’t a greater demand for formats than taped content, since it’s always cheaper to acquire a finished product than to adapt a format, and this depends on each territory’s specific needs,” she concluded. ttv Pablo Escobar: The Drug Lord Series

Q&A ttv

The Right Mix As the head of NatGeo’s new London-based content hub for international markets, Hamish Mykura aims to combine observational documentaries with entertaining, character-driven factual series. In the following article he gives some tips of what kind of ideas are working for him right now. By Sebastián Torterola Twitter: @storterola storterola@todotv.tv

“The challenge is getting the mix of the programs right, and making sure you end up with a popular channel which still feels right for the yellow border.”

The move shows the growing importance of NatGeo’s relationships in the UK within the production side. However, this doesn’t mean the company will stop working with production companies from around the world, but it sets an important milestone as it turns the UK into the main commissioning and content hub for international. Mykura spoke to ttv and gave a complete insight of the company’s new production strategy, particularly referring to the kind of contents currently in tune with the brand, which always results in a mix.

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“One of the regions that is at the forefront of the online and social media communities being built around our shows is Latin America.”

Since Hamish Mykura heads NatGeo’s new international content hub, he finds himself up against Julian Bellamy, an old colleague from Channel 4, who is now set to be his competitor at Discovery Networks.

ince May 2012, National Geographic has moved its international content hub from Washington DC to London for the first time. “It’s a way of accessing the very extensive factual sector in the UK, which has already been making a lot of programs for the NatGeo for some years. It’s a great way of getting closer relationships with some of these producers,” Hamish Mykura, EVP and head of International Content for National Geographic Channels International, explains.

Doomsday Preppers Series

What challenges did you face in the setting of this new hub? There’s a very interesting challenge at the heart of NatGeo: we need to make programs that rate highly and make the channel competitive; but at the same time, contents have to be in tune with the brand, with NatGeo’s culture and with what people expects from it. Sometimes you get more commercial shows, sometimes you get shows which are more about being true to NatGeo’s spirit. The challenge is getting the mix of the programs right, and making sure you end up with a popular channel which still feels right for the yellow border. What would be a good example of that mix? There’s a show called ‘Brain Games’, which will premiere at the beginning of 2013, that is about optical illusion and perception: how the brain works and the way it can be tricked and fooled. It’s feasible to make the show in a very entertaining way, including street magic and tricks that really look amazing when you see them performed. So the series is a really entertaining watch, even though behind it all

it’s a science show. There are ways of making sure that programs work both ways.

Hamish Mykura,

Where do these ideas come from? Although some of the contents are made by National Geographic Television –the in-house producer-, most of our programs come from independent production companies. I have a commissioning staff of two people [former ITV Studios’ Ed Sayer and Commissioning exec Hannah Demidowicz] who are constantly speaking to producers and meeting indie production companies, explaining what works for us and how our schedule is looking. Roughly every four or six month we will do a briefing for independent producers, where we would set out what we’re looking for, just to give them guidance about what we’re looking after.

“We are looking for more series in the mix, and they tend to be character-led and observational rather than show a documentary making.”

How long could a NatGeo standard documentary project take? It’s massively different between each project. Sometime shows can be really quick to put together and not take much supervision; other may take years in the making. It really depends of the kind of shows we’re doing: the more investigative, the more observational a program is, the more time it’s going to take. What are the main independent companies you work with? In the UK, right now we’re working with Darlow Smithson, Raw Television and Arrow Media. We also work with some US companies. What kind of stories is NatGeo up to telling at this moment? We have different approaches to storytelling. I believe now we are looking for more series in the mix, and they tend to be character-led and observational rather than show a documentary making. So preferably you’re showing rather that telling what’s happening, and following characters in the moment. The idea is to see stories unfolding before your eyes, rather than having people discovering it in the past tense, reaching the story before the facts. In many ways these programs can be more entertaining, and it’s possible to do longer series runs if you have observational documentaries that work really well. However, it’s not that we are only looking for only one kind of program; the contents we look for are always a mix.

text, what we really want to do is to give more value and extra content for people who want to connect online with our shows. This is also big in Europe, Asia and the US, but Latin America is the biggest of all. What will you look for at Mipcom? Well, if people are wondering what content I’m looking for they should be checking out some of the successful shows on the channel at the moment. I would be looking at ‘Doomsday Preppers’, which has been a big international hit, just beginning to launch now; ‘Wicked Tuna’, which launched internationally this month, with very good response from the audiences and very good audience figures too; as well as the already mentioned ‘Brain Games’. Alongside this, we’re also looking for what I would call the NatGeo specials: things that are events that mark an anniversary. For instance, this year we made the Titanic 100th anniversary with three shows. It’s a great way of doing single series or either special seasons. ttv Doomsday Preppers Series

ENTERTAINMENT ON CENTER STAGE National Geographic’s networks are going through a solid and noted expansion in numerous Hispanic markets across America. The company reaches close to 42 million households in Latin America through Nat Geo and Nat Geo Wild. In addition, its network Nat Geo Mundo -broadcast entirely in Spanishhas been present in the US for over a year. “National Geographic is a brand with more than 100 years of experience, which fortunately is very strong and has an important penetration as a leader in factual programming,” Carmen Larios, VP Programming and Development for National Geographic Channels Latin America and Nat Geo Mundo, explained to ttv. The company is currently betting on producing original content: “We have the possibility to work with regional producers and search for stories that Hispanic audiences are drawn to, both in Latin America and the US,” she said. Original local productions account for close to 30% of its programming. “We are looking to have a smart television that’s also entertaining; finding characters and situations the audience hasn’t seen before,” she concluded.

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National Geographic is a traditional content producer for linear TV. What place do new platforms have in the company’s business strategy? We’re always interested in the new media applications for any of the shows that we produce. And I believe in this regard, one of the regions that is at the forefront of the online and social media communities being built around our shows is Latin America. Social media communities tend to love discussing NatGeo’s shows, and that is especially true in those territories, where our shows get fans at massive scale. In this con-

EVP and Head of International Content for National Geographic Channels International

Executives ttv

All-Around Distribution

Strongly investing in both quality and quantity, with a business model that involves the release of 30 high-budget movies a year, Telefilms is currently one of the strongest distributors in Latin America. Working with a complete distribution model, it holds an impressive, constantly expanding portfolio of highly successful films.

Tomás Darcyl,

Director of Telefilms Group

By Gonzalo Larrea Twitter: @Gonzalolarrea glarrea@todotv.tv

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ith 51 years of experience in rights and platforms for all the major movies the industry, more than its fair in Latin America, making use of every winshare of hits and an ondow to fully exploit them in the whogoing commitment to le region,” the company’s president excellence, Telefilms Tomas Darcyl, said to ttv. “When I “We always is one of Latin America’s main distri- aim to be present say fully, what I mean is that bebutors. A brief overview of their lasides the theatrical release, we at the Oscars, test releases only confirms it. also handle P&A (Press and Adit’s the icing on the cake.” vertising), promotions, present films’ casts, and make complete This year alone, the company took use of every window.” major titles to the region, such as ‘To Rome With Love’, ‘The Hunger Games’ and ‘The Artist’, while also preparing an array In order to manage the movies’ rights, Teleof new releases for 2013 and the remainder of films commits to projects with a future mind2012. Their business model not only involves set, investing in new films before they are the release of 30 big-budget movies a year, developed. This guarantees them full right but also managing the entire distribution proownership for all of Latin America. “We read cess for each one. the scripts and then, 95% of the time, we make a strong investment, providing a significant percentage of the budget; then we pay “When it comes to US premieres, our comroyalties,” Darcyl explained. pany is currently working with an average of 30 big releases a year. In addition, we are the only independent company that manages all This particular strategy has been the key to their success, with several global block-busLooper ters and Academy Award-winning titles such 2012

as ‘Million Dollar Baby’, ‘The King’s Speech’ and ‘Midnight in Paris’; just to name a few. Now, while approaching the final straight of this fruitful 2012, Darcyl shared a sneak peek of what is up ahead for this thriving company, which amongst other things, opened and closed the Toronto Film Festival. Opening with ‘Looper’, starring Bruce Willis, and closing with ‘Song For Marion’. Meanwhile, across the globe, two of its films also competed in the Venice Film Festival: ‘The Master’, directed by Paul Thomas Anderson and starring Philip Seymour Hoffman and Joaquin Phenix, and ‘To The Wonder’, by Terrence Malick. Other company’s releases for 2012 include ‘The Possession’, ‘House At The End Of The Street’ and ‘Seven Psychopaths’. “Next year we’ll be taking on yet another 30 remarkable films, including the three sagas: ‘Beautiful Creatures’, which is scheduled to be released in the US on February 14 with great expectations, ‘The Mortal Instruments’, coming out August 23 and ‘Ender’s Game’, which is the first installment of a series featuring Harrison Ford, Asa Butterfield and Ben Kingsley, “ Darcyl said.” It’s the perfect blend of high-budget movies, and small prestigious projects. We always aim to be present at the Oscars, it’s the icing on the cake. Our main goal has always been to work with first class, highly commercial films,” he added Lastly, the executive spoke about new platforms entering Latin America. And while they already have an agreement in place with Netflix, they claim to be open to new negotiations. “We are working on very important agreements with other players. We are almost finished. We love that there are new players in this game,” he concluded. ttv

PRESIDENT/CEO Sebastian Lateulade - slateulade@todotv.tv EXECUTIVE DIRECTOR Soledad Saldías - ssaldias@todotv.tv

Contents

PUBLISHING DIRECTOR Sebastián Amoroso- samoroso@todotv.tv EDITOR IN CHIEF Rodrigo Ros - rros@todotv.tv SENIOR EDITORS Sebastián Torterola - storterola@todotv.tv Josefina Mezzera Regules - jmezzera@todotv.tv

Special Reports CANADA

The Collaborative Culture Executives

KIDS

The Youth Power

Connecting the Global Village

The People’s Film Studio

The Kids’ Speech

Tom Perlmutter, Government Film Commissioner and Chairperson of the National Film Board of Canada

At the Media Forefront

Tony Leadman, Head of Worldwide Program Distribution of CTV, EPI (Exploration Production Inc) & Discovery Channel Canada

WRITER Valentina Vinaja - vvinaja@todotv.tv SALES AND PRODUCTION MANAGER Darío Alemán - daleman@todotv.tv

In the Spotlight

Carolle Brabant, Executive Director of Telefilm Canada

EDITORS Gonzalo Larrea - glarrea@todotv.tv Carolina Mussio - cmussio@todotv.tv

Vince Commisso, President and CEO, 9 Story Entertainment

INTERNATIONAL SALES MANAGER Monica Iriarte - miriarte@todotv.tv HEAD OF BUSINESS DEVELOPMENT Alejandro Sánchez - asanchez@todotv.tv

Colin Bohm, Managing Director, Nelvana

IT MANAGER Alejandro Barros - abarros@todotv.tv

Turn on the Coffee Machine

IT ASSISTANT Fabián González - fgonzález@todotv.tv

Richard Speer, President & Founder, Attraction

A Somewhat Unusual Producer Kevin Sullivan, CEO, Sullivan Entertainment

DATA OPERATIONS Fernando Moreno - fmoreno@todotv.tv WEBMASTER Nazario Pereira - n.pereira@todotv.tv

Non-Fiction Aces

Integrate and Rule Les Tomlin, President & CEO, Peace Point Entertainment

FINANCE MANAGER Cr. Michel Schwartz - mschwartz@todotv.tv

Equipped to Adjust

It’s All About IP

ADMINISTRATION Ana Paula Carreira - acarreira@todotv.tv Valeria Morena - morena@todotv.tv

Chris Bonney, CEO of Rights, Cineflix Media & Rob Carey, Creative Director, Cineflix Productions Shane Kinnear, SVP Sales and Marketing, Shaftesbury

Ken Faier, President, Nerd Corps

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

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insidecanada | Highlights MARKET

A Co-Production

Oasis

Tricon Films & Television is known for distributing strong factual and lifestyle content, and has recently branched into scripted and kids: “We are looking to grow on our scripted slate and kids’ content,” said Jon Rutherford, the company’s VP Distribution & Business Development. In addition to kids’ content, Rutherford also highlighted scripted and factual programming as a growing part of Canada’s TV industry and an area that’s encouraged international co-productions: “It’s happening more and more. There’s a co-venture avenue with the US where we usually produce shows for both markets. We also work with producers from UK, Australia, France and Ireland.” New technological developments and devices have also provided several opportunities for both local and international producers, since -as Rutherford explained- new platforms “have opened up a playing field to get programming out there; not having to depend on traditional channels anymore.”

PLAYERS

Musical Revenue Streams

David Weitzman, Senior Director of Business Development

Under the motto “Majorly Indie”, with offices in Toronto, Nashville and Los Angeles, ole combines the security of being a large, financially well-backed company; with the benefits of working independently. Standing tall with a substantial commercial pop and production music library available for film and TV producers across the globe, the company’s service is twofold. On the one hand, it provides an alternative source of production financing through a cash advance against future music publishing royalties: “We collect performance royalties for our clients, and have an expert staff who works with the collectives for each revenue stream,” David Weitzman, Senior Director of Business Development, explained. Through this rights administration business, ole works with major international companies such as Nelvana, Porchlight, Peace Arch, Lenz Entertainment, Cookie Jar, Cineflix and others.

The Entertainment Boutique Portfolio Entertainment produces between 26 and 52 programming hours and define itself as a “boutique-type company” focused specifically in the buyer’s needs. “When you’re in distribution you don’t want every show to be in the same mold,” Luis Fournier, VP Sales and Acquisitions at Portfolio Entertainment, explains. The company also looks for content overseas, in territories such as Brazil, while also keeping an eye out for international coproductions. For instance, the company co-produced ‘The Cat in the Hat’ with UK company Collingwood O’Hare Productions; and recently announced a deal with Discovery Kids Latin America. “Our focus is twofold: kids, primarily, which has always been our core business; we’ve produced a number of series and have some in distribution. And we also do lifestyle and factual programming. The area of growth for us is really on the factual and lifestyle side,” Fournier adds.

KIDS

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Animation For the Global Arena Although for about ten years it has been focused on cartoons and kids content, Corporation Image Entertainment has recently stepped into fiction. “One of our new projects is a live action comedy series based on our animated characters. In addition, last year we also produced an animated feature film, and we’ll try make more in the next year,” Sylvain Viau, its president and executive producer, assures. The Montreal-based production and distribution company specializes in stereoscopic animation and its catalogue comprises many titles produced in 2D. Recently, it launched new production studios in Sherbrooke, where 20-25 professionals work creating animated characters. “Meanwhile, in Montreal we also have around 25 people dedicated to the preproduction of all our projects,” Viau adds. Also, this year’s Mipcom will be a milestone for Corporation Image Entertainment, since the company is focused on generating buzz around its new live action shows. In this regard, MIPJunior will open an intense week for Canada’s animation content. “We’ll have a lot of visibility in MIPJunior, which is something new for us. And we decided to have a bigger stand at Telefilm Canada,” Viau affirms.

Sylvain Viau,

President and executive producer, Corporation Image Entertainment

insidecanada Special Report

The Collaborative Culture The Wind at my Back Sullivan Entertainment

As Mipcom’s “Country of Honor”, Canada is bringing a great amount of original content and potential partners to the world’s biggest TV tradeshow. In the following article, ttv presents the basics of this consolidated audiovisual market, which has the “collaborative” vision in its DNA. By Sebastián Torterola

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Twitter: @storterola storterola@todotv.tv

anada’s audiovisual industry has acquired the status of a “consolidated marketplace,” and now heads to boost its international expansion. With content that meets the highest Hollywood standards succeeding in the US and in many international markets, Canada’s long-running production companies are most-wanted business partners, and the result is often huge, high-budget feature films and series that lead innovation in the fields of technology and storytelling. Next, we’ll find out why Canada was named Mipcom’s Country of Honor.

THE COUNTRY’S BASICS. As for consolidation, it all started a few years ago, back when Canada’s three main telecommunication companies began their journey to the top. First there was Rogers acquiring Citytv’s chain of stations from CTV in 2007, followed by Shaw Media taking over what was once Canwest in October, 2010. Furthermore, Bell Canada Enterprises (BCE) bought CTV television network also in 2010 –the new venture was renamed to Bell Media in 2011-, and this year it took over Quebec’s Astral Media for US$ 3.2 billion, which grants the company a 42.8% market share. These three telecommunication companies (Rogers, Shaw, Bell) have now dominant positions in Canada’s TV market, a scheme complemented by a healthy pay TV business that also includes players like Netflix, which in September 2010 chose Canada as the first step for its international rollout, and plays an active role in content acquisition. Naturally, another huge player in the market is pubcaster CBC/Radio Canada, which operates since 1936.

tion companies, the situation carries a positive side in terms of business. “There’s fewer advertising dollars going to the business, which trickles down to fewer shows being produced. The trends I see, though, are more shows being produced for international purposes,” Vince Commisso, president & CEO at 9 Story Entertainment, explains.

In this regard, the executive believes production standards always have to be world-class, “whether is because we are so close to the US, or whether we are competing with Germany or Japan. And I think that’s not something unique to Canada: companies producing all over the world have to raise the bar in their productions to compete globally,” he adds.

A RENOWNED NEIGHBOR. The fact of being next to the world’s most powerful audiovi-

A DUAL SURFACE. However, US proximity isn’t the only important influence to Canada’s

“The big story in Canada is that the broadcast world and our outlets have gone through tremendous changes in terms of maturation and consolidation. We are defining how the future will be and who our partners will be,” Shane Kinnear, SVP sales and marketing at production and distribution company Shaftesbury, explains. In fact, this consolidation and the reorganization of the country’s three main media groups has brought to the market “new personalities, new executives and new long term strategies,” he adds. Innovation in Canada’s TV industry lays on a unique business model, which allows TV operators to boost audience levels and increase the value of the advertising time: simulcasting US networks’ series. “US broadcast signals are retransmitted by cable and satellite all across Canada,” explains Michael Murphy, SVP and general manager at distributor Fox/Incendo, and explained it’s very important for the Canadian broadcaster to run the program at the same time as the US signal, so that cable operators are required to replace the national signal in place of the US one, which gives the Canadian broadcaster 100% of the audience for that program at that time. “It’s the financial backbone of our industry,” he assured.

Although these can be describe as “challenging times” for the domestic market, due to the economic context, especially for produc-

Shaftesbury

sual market is one of the keys for Canada’s growth in this area. Traditionally, apart from exporting a great amount of Hollywood and independent’s content to its neighbor, the US has also been a natural destiny of Canadian production. The result of this exchange is the sector’s professionalization, the improvement of quality standards and business strategies meant for the global market. Nat Abraham, president of Distribution at Breakthrough Entertainment, explains local producers are forced to raise the bar on their productions in order to compete. “In Canada we are very influenced by the styles of what comes out of the US, which is a good thing, because they have huge budgets to produce their shows. We try to learn from some of the things the Americans do; we have to, because we have to be competitive since every major US channel is receivable in Canada. When we produce for the Canadian networks, we have to be on par so we can compete with the American shows,” he says.

production arena. “We are very good storytellers. I think that makes other people in the international market jealous since our writers are very strong,” is the opinion of Josée Vallée, president of Attraction Images, the production division within the Attraction Media group. But why is that so? “Canada is Latin because we came from France, but we also come from the UK. I believe in Canada we have the best of two worlds,” she continues. This dual characteristic impacts directly in the final result. “We are clearly near the US. So our productions look American, but have a Latin and French style also. So they can be appealing for the whole world,” she explains. CO-PRODUCTION. An excellent way for Canadian companies to roll out their know-how beyond borders –particularly in recent years of economic recession- has been co-ventures. There are several examples of high-budget TV series made in co-production with US compa-

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This unique approach to broadcasting has allowed Canada’s TV industry to grow and compete with other major markets such as Europe and the US: “Canadian TV movies all sell extremely well around the world,” said Murphy, highlighting the international success of Incendo’s productions. “Canada’s TV business has been constantly improving for the past 30 years, and will continue to do so,” he says.

Mighty Mighty Monsters

insidecanada Special Report Ken Faier, Nerd Corp’s president, agrees on this point. “I would say that Canada has a slightly more global approach to content creation. While the US is clearly a world leader when it comes to creating great entertainment, the high quality writing and production coming out of Canada can be just as appealing to American audiences. Plus, the content coming out of Canada doesn’t have the same US focus in its storytelling as American productions sometimes do, so it bridges to international markets very well,” he states. Canada’s next layer of strength lays on the government’s tax credit system, which aims to foster for the audiovisual sector. In the case of drama, for instance in Ontario, the tax credits can go as high as 40% of the labor production cost, and this policy is being implemented in different regions of the country and for different programming genres. “People are very aware of our tax credit system, as well as government financing and funding for projects. We’re always open to coproduction, we have dozens of treaties with many territories, so that remains very strong,” Thom Chapman, VP of Business and Sales at ToonBox, affirms. KIDS & FACTUAL. Being a large market focused on global audiences, each year there are many projects involving drama series, documentaries and feature films. However, kids and factual programming are on the buzz in Canada, and this makes sense since currently they both enjoy much success with niche audiences globally.

Tango’s Revenge

Muse Distribution

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CANADA’S FIGURES > 34.5 million people > Per-capita film and television production volume: US$159 > 12.4 million private households > 2,691 movie-theatre screens > 114.4 million paid theatre admissions a year: > 7.162 television services available > 5.192 Canadian television services > 1.972 Non-Canadian television services > 91% of households subscribing to multi-channel television programming services > 11.5 million subscribers to multi-channel television programming services > 8.3 million Cable-television and IPTV subscribers > 2.9 million DTH and MDS subscribers > 8.8 million DTT subscribers > 76% DTT penetration rate among multi-channel households

nies, such as Entertainment One’s ‘The Firm’ or ‘The Borgias’, just to name a few. However, it’s a fact that partnering is on Canada’s DNA. “As a nation, we’re a little under the radar in terms of our visibility, but that also gives us a very strong ability to collaborate. Probably that’s the most effective access that Canada has: it’s a unique sensibility, maybe it’s part of Canadian psyche. We could in collaborate in a Europe, in the UK, in France or in the US,” says Kevin Sullivan, CEO at Sullivan Entertainment, who also pointed out that all of the 600 half-hours that comprise the company’s library have been co-produced with American partners. In terms of business, this aspect may turn out to be crucial in a production’s success. “If you’re a US company, you tend to dominate. If you’re a Canadian company, you tend to collaborate, because you often have to pull in financing from several different sources. That’s great at a financial level, but it’s very important at a creative level, since you have to get used to work with different sensibilities and be able to adapt whatever ideas you have,” Sullivan assures.

“Our focus is twofold: kids, primarily, which has always been our core business; we’ve produced a number of series and have some in distribution. And we also do lifestyle and factual programming,” Portfolio Entertainment’s VP of Sales and Acquisitions, Louis Fournier, says. “We have a lot of cooking shows, traveling shows, and so on. We are really making an effort to have a stronger presence in factual and lifestyle by developing and producing our own shows. The area of growth for us is really on the factual and lifestyle side, while still keeping the kids very prominent since we’re established in that area,” the executive adds. In fact, Canada’s animation and live action have gained worldwide prestige, and kids programming definitely heads the race for technologic innovation thinking about the new generation of viewers. “We’re involved in creating story that will be successful at any length in any place, whether it’s short pieces for mobile or it is longer form entertainment that can play into a game. Most of we are developing for kids now has a very strong digital component,” Shaftesbury’s Shane Kinnear assures. Thom Chapman, from ToonBox, also describes the company’s focus on 3D content, another

insidecanada Special Report Film and television production in Canada

Canadian film and television production

Foreign location and service production

Broadcaster in-house production

*Graphics taken from the Profile 2011 report, conducted by the Canada Media Production Association (CMPA) and Quebec’s Association of Film and Television Producers (APFTQ).

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Bell and Rogers Strengthen Sport Business The Canadian Radio-television and Telecommunications Commission (CRTC) has approved the sale of Maple Leafs Sports & Entertainment (MLSE) sports channels to Bell Canada Enterprises (BCE) and Rogers Communications, which will inject US$ 7.5 million into the Canadian production industry for new content.

emerging field that had a strong start with theatrical films, but now is spreading to other windows, such as pay TV. “We had the first animated TV series to be shown in stereoscopic, on 3NET in the US and on BSkyB in the UK. So it’s nice to be ready to deliver these kinds of products to the market.” ONLINE & MOBILE. In regard to content consumption in Canada, as well as in all the developed markets, users are leaning towards new devices and screens. “We are moving into new platforms more and more, since our clients are requesting those types of rights. And we have to be clear and concise in that regard, so that there is no overlap with our strongest market: the broadcasters around the world. It’s a growing area; in Africa, for example, the mobile phone is the most penetrating audiovisual tool at the moment. People are bypassing television and consuming contents on tablets and smartphones. It’s not so much about viewing in your home now, it’s viewing content everywhere and anywhere,” is the opinion of John Watts, director of License Sales at Octapixx Worldwide, from the side of the distributor.

From the producers’ side, Sullivan foresees a lot of opportunities in the online world, especially in connecting directly with the final consumers. “There’s a trend towards encrypting and downloading content. iTunes has a monopoly in that area, but now I see it’s going independent. It’s a new business model, players will start to be able to offer their content online, and eventually there will be so much traffic in those models that it will too start to generate advertising. TV for us is an unusual opportunity to build microaudiences and then, what we’re looking at long-term is to generate our own advertising revenues out of those long-term relationships with individual audience members,” he adds. Lastly, we could take the reflection of Nerd Corp’s Ken Faier on the future of the business, which probably isn’t limited to the Canadian market: “There are so many new ways to consume media, and that has meant many new challenges as well as many new opportunities. The question is, will the pie grow bigger with all these new channels or will it just get sliced up into smaller pieces?” ttv

insidecanada Executives

In the Spotlight “The time is right for Canada to be in the spotlight.”

Carolle Brabant,

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Executive Director of Telefilm Canada

Telefilm Canada is the main responsible for Canada’s content having gone global and renowned. Its executive director, industry veteran Carolle Brabant, highlighted the strengths of a production market that manages US$ 5.5 billion a year.

US$481 million and an average Canadian shaver the last year, Telefilm Canare of US$227 million. In 2010-2011, film and da has taken on a more active TV production in Canada increased by role in the promotion of nearly 9% to reach $5.5 billion – its Canadian screenbased highest level ever. content by helping “In 2010-2011, the industry further develop its film and TV What strengths would you capacity to promote producproduction in Canada increased by nearly highlight as for Canada’s autions in innovative ways. “Our 9% to reach diovisual market? The Canavision is based on audiences $5.5 billion dian industry is strong in both everywhere demanding screen- its highest level the service and creative spheres. based content created by Caever.” It features a talented production nadians – accessible anywhere, community: Canada produces around any time and on any platform,” 85 feature films and more than 1,200 tesays executive director of Telelevision production per year. In 2010-2011, film Canada, Carolle Brabant. independent film and television production in Canada generated about 55,600 full-time What type of companies make up this asjobs in the country. Canadian talents, casts sociation? A wide variety of public and priand crews are recognized on the internatiovate Canadian production and distribution nal scene. companies, representing a diversity of genres, attend Telefilm under the Canada Pavilion at Why is Canada a good destiny for invesMIPCOM. In partnership with provincial and tment in production? The country has a difederal agencies and the private sector, Teversified culture and a diversity of stories: Calefilm hosts the Canada Pavilion (one of the nada is a federation of 10 provinces and three largest national stands at MIPCOM) at the territories covering a vast area of almost 10 disposal of the Canadian industry, on a costmillion square kilometers with a population sharing basis. of 34.5 million. The country’s two official languages are French and English and features a What place does co-production have strong ethnic diversity. There are also finanwithin the national content strategy? cing advantages, since the industry also beCo-productions are a key component of nefits from stable financing, both public and Canada’s audiovisual industry. As Canada private. has treaties with more than 50 countries, coproduction models vary from one project to the other. Foreign producers choose What does it mean for Canada to be this Canada to take advantage of our cultural year´s MIPCOM’s Country of Honor? The diversity, huge talent base, and diverse geotime is right for Canada to be in the spotlight graphy and, last but not least, our financial at MIPCOM 2012. Whether it’s international support to screen based industries, both visibility at the Oscars and Cannes, or feature from private, public sectors and fiscal incenfilm and television treaty coproduction budtives. Recent marquee feature film and telegets, partnering with Canada means busivision co-productions include: ‘Cosmopolis’, ness. As outlined in Telefilm’s latest corporate ‘Inch’Allah’, ‘Laurence Anyways’, ‘Midnight’s plan, two of our strategic priorities include foChildren’, ‘Rouge Brésil’, ‘The Borgias’, ‘Viking’, cusing on stimulating demand and on expan‘Brave New World with Stephen Hawking’, and ding financing sources for the Canadian au‘The Tudors’. diovisual industry. Without question, foreign markets offer important opportunities for Could you mention some figures regarCanadian creators to reach new international ding this business area? Between 2008 and audiences, and foreign partnerships provide 2011, 259 co-productions were produced, additional resources to create high-quality out of which there were 87 films and 172 TV productions with broad appeal. ttv shows. The total average annual budget was

insidecanada Executives

The People’s Film Studio “The NFB is a unique institution-neither a funder nor a film commission; it’s a publicly funded producer and distributor.”

Tom Perlmutter,

Government Film Commissioner and Chairperson of the National Film Board of Canada.

A producer and distributor with over 13,000 titles, an international co-production partner, an OTT platform delivering content straight to the consumer; Canada’s National Film Board has a unique business model that’s worth exploring.

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international partnerships and co-productions anadian audiovisual production so that there is an expertise in responding to sector has proved remarkably resthe needs of the international marketplace. ilient as it keeps adapting to changing economic, industrial and teWhat successful co-production models have chnological realities. According to been implemented in Canada? The NFB is Tom Perlmutter, Government Film Commisunique in that by definition anything we sioner and Chairperson of the National produce is considered Canadian conFilm Board of Canada (NFB), the key tent which gives us a great deal of factors within Canada have been “We do not flexibility in our international cothe consolidation and vertical have to go production arrangements. We integration of broadcast and through the official do not have to go through the cable companies and the conco-production route official co-production route in tinuing challenges of the digital in our bilateral partnerships with our bilateral partnerships with revolution. broadcasters.” broadcasters such as we have with ARTE [France] or NHK [Japan] - but, I What is the National Film emphasize, we always respect the spiBoard main role in this conrit of the co-production treaties. text? The NFB is a unique institution-neither a funder nor a film commission; it’s Could you mention a specific case study? We a publicly funded producer and distributor. In did a pilot project with ARTE to co-develop other words, it is the equivalent of a film studio. and co-produce an original interactive work, However, our mandate is to undertake works Bar Code. The project was so successful we of importance that cannot be done either by have expanded the relationship. What is interthe private sector or the public broadcaster. esting about that is that from the first we deWe have a rich film collection of 13,000 works cided on a different approach to the partnerto which we add roughly a hundred new works ship. Instead of pitching each other ideas, we a year. Our online screening room, NFB.ca/ONF. determined to bring together our respective ca, is now fully transactional, which in a sense creative teams to work from scratch in devemakes us an OTT player from the start. loping original ideas. This has worked superbly well and we are extending that process to What regulatory initiatives have been imother partnerships. plemented to foster national production? Canada’s public broadcaster, CBC, has seen Could you mention NFB’s most recent intera cut in its funding as part of the Canadian national distribution agreements? We have deficit reduction plan which will have some some important partners in Latin America inimpact on production. However, part of the cluding pan regional channels DLA, Direct TV regulatory adjustment to vertical integration and Turner, Canal Once in Mexico, TV Escola will see increased funding for Canadian proand Globosat in Brazil and Canal Encuentro duction over the next few years and Canadian in Argentina. We are also seeing a lot of new public policy has been responding with inbusiness out of Asia – we recently signed a novative solutions to a multi-platform digital package with China’s CCTV’s new doc chanworld allowing Canadian producers to devenel, A&E’s India Channel; LG in Korea and a lop new products and new works. we have a new on line partnership for an NFB channel in China with Phoenix. Our most How would you describe Canadian content’s important/frequent TV partners are public international appeal? Canada is unique channels around the world - PBS, ARTE, NHK, in that within its borders it straddles many BBC, SBS, ABC, ZDF, SVT, TV2 Denmark etc. But worlds; it is among the most diverse countries we’re seeing a lot of new opportunity with inin the world and has learned how to appeal ternational VOD channels and we are in the to a wide range of audiences-in that it is inheprocess of closing business with a number of rently international. Add to that the fact that new VOD outlets around the world. ttv Canadian producers have always depended on

insidecanada Kids

The Youth Power Audiovisual content produced for the kids & teens segment is one of Canada’s strongest business areas. Animation, live action, 3D, CGI and most important, emblematic characters that have conquered worldwide screens are part of this fruitful national reality. truly acting constructively to secure the future of Canadian content in its broadest sense.” According to economic report Profile 2011, conducted by the Canada Media Production Association (CMPA) and Quebec’s Association of Film and Television Producers (APFTQ), children and youth programming in Canada enjoyed its best moment in the 2009/2010 period, when it climbed 35.7% to a ten-year high of $418 million. However, the production volume fell to $322 million in 2010/11. While the theatrical segment was down by $8 million in 2010/11, the bulk of the decrease in production was concentrated in the television segment. “The temporary rise in 2009/10 was due, in part, to animation television movies, the number of which was lower in 2010/11. Moreover, animation television series in this genre also dropped last year,” the report explains.

Slugterra

Nerd Corps

By Sebastián Torterola

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Twitter: @storterola storterola@todotv.tv

“Among the 72 companies that comprise the Telefilm Canada umbrella, over 42 either produce or distribute youth content.”

t Mipcom, the Canada Pavilion organized by Telefilm Canada is the place where a wide variety of public and private Canadian companies gather to showcase the best of their work. Among 72 companies that comprise the Telefilm Canada umbrella, over 42 either produce or distribute youth content, and for half of these companies youth production constitutes their main area of activity. “Canada’s audiovisual industry is positioning itself as one of the most competitive in the world, thanks in large part to our youth programming,” says Sheila de La Varende, Telefilm’s Director of National and International Business Development. “Canadian products for children and youth are widely admired. They are innovative and their presence extends beyond television to games, the Web and interactive digital media. By helping producers reach out to a new generation of young audiences around the world, Telefilm is

Indeed, executives within the kids content production told ttv that they face difficulties in undertaking new projects in the local market, mainly due to a tough economic situation. “The situation in Canada is challenging; it’s a reflection of the economy. There are fewer advertising dollars going to the business, which trickles down to fewer shows being produced,” Vince Commisso, CEO at 9 Story Entertainment, affirms. Another important factor is the consolidation of a few broadcasters in the English media market. “Where there used to be many different broadcasters that would order different programming, now there’s three or four main groups that control the entire environment. And that’s challenging, because producers are going after the same buyers all the time to try and get projects,” says Nat Abraham, President of Distribution at Breakthrough Entertainment. From the French-speaking side, Sylvain Viau, president and executive producer at Corporation Image International, assures: “We have difficulties to raise the broadcaster’s license fee.” That’s for the internal market. However, there’s no doubt kids and youth programming is still a growth-driver for the Canadian audiovisual

*Graphics taken from the Profile 2011 report, conducted by the Canada Media Production Association (CMPA) and Quebec’s Association of Film and Television Producers (APFTQ).

Exhibit 2-8 Total volume of children’s and youth production market, especially in two areas: exports and digital. INTERNATIONAL PARTNERSHIPS. “The trends I see, though, is that there are more and more shows being produced for international purposes, both so that those shows can be bigger businesses and so they can be financed,” Commisso adds. This opinion shows the best way ever to face difficult economic times worldwide is still to partner, and Canadian companies tend to be good colleagues for co-venturing, not only to split expenses and revenues, but also to share know-how and expertise. “Owing to their creative talent, entrepreneurial drive and success, Canadian companies are in great demand as co-producers of youth programming. Among other things, there has been an increase in the number of co-venturing initiatives with the United States. And more and more countries are showing an interest in Canadian youth content, including, most recently, several Arabic countries, South Africa and a number of Latin American countries,” says a release from Telefilm Canada. Therefore, the landscape is quite different in the international arena, where Canadians have build a renowned and respected reputation as for production, especially in the youth segment. “The Canadian kids and animation community has fared very well over the years, becoming a leader. The financing available here has attracted many projects to the country, and the skill and experience in the industry is at an all time high, looking at a bright future,” says Ken Faier, president at animation company Nerd Corps.

Exhibit 2-10 Volume of children’s and youth production, by language and category

Exhibit 2-11 Number and share of children’s and youth projects, by type, 2010/11

In this regard, some of the most popular kids characters worldwide -as quoted by the Profile 2011 report- are ‘Crash Canyon’, ‘The Doodlebops’, ‘Johnny Test’, ‘Chilly Beach’, ‘RollBots’ and ‘Babar and the Adventures of Badou’, which have been televised by broadcasters all around the world. DIGITAL SCENE. On the other hand, there’s worldwide impulse towards content being consumed digitally in multiple devices, and this, apart from being a heavy challenge for the industry, has brought about many business opportunities in Canada.

The international expansion of streaming platforms like Netflix has proved that youth pro-

gramming is the most consumed genre online, which has unfolded a growing demand for licensing and commissioning rights for products. “The ongoing proliferation of options for kids in traditional TV, non-linear digital opportunities and mobile is creating tremendous change-and with it both opportunities and challen-

ges. Each type of delivery has its own business model, and it is imperative to stay on top of how you finance high quality TV series when the audiences are fragmented. This type of fragmentation ultimately drives down license fees and sometimes creates a need to explore the ancillary revenues streams that are becoming critical to success,” Faier adds. ttv

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“Canada has always been one of the most cabled and internet connected countries. While the costs are somewhat high, the adoption of mobile in the kids’ space is incredible, and has had an impact on viewership for traditional linear television. The great thing is that kids are very quick to fall in love with a show and when they do, they want to devour all aspects of it including gaming, short form content and getting involved through social media,” Nerd Corp’s Ken Faier explains.

insidecanada | Highlights

CCI: KIDS

The Visual Priority

Charles Falzon, CCI Entertainment’s Co-Chairman, believes the level of illustration in kids & teen properties are key in today’s business, and determines if a product is effective, especially for preschool as well as properties based on established brands. “An example of the latter is ‘Guess How Much I Love You’, based on the top selling children’s story book, produced by Australia’s SLR Productions, which has performed extremely well for us. ‘Joe and Jack’ from Dancing Girl productions is an example of a beautiful and unique looking property that has been extremely successful,” he explains. This preschool property has been sold to Disney Media Distribution Latin America, Canal Plus in France, ZAPP Netherlands and was also commissioned for RTE. On the other hand, the company also announced its film ‘Anything But Christmas’, which will launch at TIFF for international buyers.

Distribution

Boundary

Travellers

Located in Toronto, Octapixx Worldwide operates since 1995 and has evolved into “a multidimensional company” distributing content across diverse genres. “We’re featuring more and more lifestyle content, from our sixth season of ‘State of Style’, which features fashion weeks around the world; to ‘Cooking for Beauty’, which gives you insights on how to make your skin look younger and healthier and brighter,” says director of Sales & Acquisitions, John Watts. These two series are being licensed into Europe, Canada and Australia, and in the case of ‘Cooking for Beauty’, Octapixx reached an agreement for the series to be broadcast on Russia. According to the executive, broadcasters from all over the world right now are prioritizing engaging characters and compelling stories that travel boundaries. “That’s the case of ‘The Pirate Tapes’, which treats something that the global viewer wants to know about. Also we have ‘The Great War’, which we’ve licensed to Discovery Europe, and was also picked up by broadcasters in China, Poland, Canada, the US and Australia,” Watts affirms.

Animation

The 3D Party ToonBox Entertainment mainly focuses on production and distribution of 3D stereoscopic animated content for the big screen, TV and interactive platforms. With the merit of having created one of the first 3D stereoscopic animated TV series (it first aired on 3NET in the US, and now BSkyB in the UK), this young Canadian company is getting ready for the time when the market starts launching 3D content for TV. The company devotes its efforts to producing feature films, given that the market for stereoscopic movies is much more mature than it is for TV or tablets. “Although we’ve made some inroads with Nintendo 3DS,” Thom Chapman, VP Business Development & Sales at ToonBox Entertainment, says. The last statement is related to the deal the companies signed, through which ToonBox’s ‘The Beet Party’, has been available in Europe and Australia since October on Nintendo’s system. ToonBox is also in negotiations for the TV version of ‘The Beet Party’ to make its way into the international market. “SVT Sweden was one of the first in Europe to pick it up. At MIPJunior we expect to continue to make more sales as production’s more complete,” Chapman said.

Trends

Approaching the 114/TTV MAGAZINE

Multimedia Model “It is a commission from ION TV in the US, and we have presales from Alliance Films in Canada and Trade Media in France. We are also in production on an animated feature film for Bella Sara which we are coproducing with Buffalo Gal Pictures, Entrenched Media and Bruce Johnson’s Company- Foxfield Entertainment. Bella Sara is well known global kid’s brand and we are thrilled to be working on it,” the executive adds.

Canada’s production company Vivavision is bringing new features to this year’s Mipcom, introducing a hidden camera series that, according to President & CEO Jean-Pierre Morin, “will refresh the non-dialogue hidden camera genre,” and because of that it’s feasible that “networks from all over the world and all languages will be interested.” According to the executive, the company produces approximately 300 episodes a year, including animation, documentaries and live action. “I would say our main focus currently is set on content for young audiences, and that’s why it’s crucial to approach productions from a multimedia perspective,” he explains. In the last five years, Canada’s audiovisual sector “has evolved significantly, and the advertising pie splits evenly between the internet and TV. It means that we’re evolving particularly to an interactive television within a multimedia model.”

insidecanada Executives

At the Media Forefront “We are always open to coproductions; any broadcaster anywhere in the world, no matter how large or small their market is, will always be welcome to negotiate with us.”

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Tony Leadman,

Head of Worldwide Program Distribution of CTV, EPI (Exploration Production Inc) & Discovery Channel Canada

A key player in Canada’s audiovisual landscape, Bell Media concentrates a good amount of media venues: 40 specialized channels and 100 radio stations, and has been producing HD content for 11 years now. Its main goal for expansion: focus on factual programming.

INTERNATIONAL OPPORTUNITIES. In anada’s TV industry has been addition to being at the forefront of the lagrowing at a steady pace for quite test technologies, the company continues to some time now, where established expand its presence across the globe, making broadcasters and producers make the most of the different advantages each teit one of the most important marrritory has to offer. While markets such as the kets in the world. “Major broadcasters are UK, Australia, Germany, Scandinavia, uniting; there’s a consolidation of big the US and Europe, might stand out players in Canada,” said Tony Leaddue to their economic advantaman, Head of Worldwide Program “Close to 11 years ges; the executive highlighted Distribution of CTV, EPI (Exploraago, we started producing all our the importance other regions tion Production Inc) & Discovery programs in HD; have for the company: “We also Channel Canada. back when not like our shows to be present in many producers territories such as South AmeriHD PIONEERS. Amidst this did it.” ca; because apart from the ecothriving audiovisual production nomic aspect, we are proud of our market stands CTV’s mother programming and like to distribute it company Bell Media, one the in those territories. At Bell Media, we care country’s biggest media group, mostly about our clients and the quality of and a key player working to promote Canada’s our products.” international appeal. “Bell Media, CTV and EPI are very invested in distribution and producIn this regard, the company is increasing its tion, and building our own catalog in Canada efforts within the factual programming area, to present to the international market,” the and the executive referred to the company’s executive explained. current projects in that genre, such as ‘Mighty Ships’ and ‘Mighty Planes’. “We are currently Part of what has made Bell Media a key teleshooting a series called ‘Alien Encounters’ in communications company in Canada -owHD, another big series we’re going to launch ner of over 40 specialized channels and 100 soon,” he assures. radio stations- is its ability to be a trendsetter: “Close to 11 years ago, we started proThus, as it seeks to distribute content to all ducing all our programs in HD; back when corners of the globe, all players become ponot many producers did it,” Leadman explaitential partners. “We are always open to coned. “When we decided to expand internaproductions; any broadcaster anywhere in tionally, we saw our high-quality content the world, no matter how large or small their was very appealing for broadcasters.” This market is, will always be welcome to negotiainnovative mindset dates back to the comte with us,” Leadman said. ttv panies first HD production, Forensic Factor; all the way to its newest hit series such as Mighty Ships Mighty Ships, currently present in several Science & Technology markets such as Australia, US, UK, Norway and Scandinavia. Furthermore, Bell Media and CTV are also on the loop of the mobile business, which is something the market is introducing in Canada and worldwide, and for which the leading companies have to plan prioritary strategies “Watching content on small mobile devices and bigger ones such as tablets is a growing trend. As a leader in communications in the country, we are spearheading quality content on mobile devices.”

insidecanada Executives

Aces Non-Fiction

In the following article, ttv spoke to Chris Bonney, CEO of Rights, Cineflix Media and Rob Carey, creative director, Cineflix Productions, who gave an insight into the company’s business strategies and its production hubs in Canada, the US and the UK.

C Chris Bonney, CEO of Rights, Cineflix Media

Creative Director, Cineflix Productions

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Rob Carey,

lifestyle programming sells well with home ineflix Media produces in three mamakeover and property genres working in jor territories, Canada, the US and most global markets as viewers everywhere the UK, with an output of around enjoy the voyeurism and the ‘before & after’ 400 hours a year, which brings pay-off. ‘Property Virgins’ is a big hit on Fox about a permanent stream of coLife in Latin America. At the same time, production and distribution deals. “Prohigh-end factual programming, such duction and rights exploitation are as ‘Mayday: Air Disasters’ - running closely integrated at Cineflix so we “Production on Nat Geo in Latin America, and design specific business models and rights exploitation are ‘Weird or What?’ - airing on Discoon a show-by-show basis. Highclosely integrated very worldwide, have done very end shows are funded with at Cineflix so we well for us,” he states. a number of partners,” Chris design specific Bonney, the company’s CEO of business models PRODUCTION ISSUES. Carey rights, says. An example of this on a show-by-show also described the company’s prois ‘Motives and Murders’ (prebasis.” duction initiatives and capacities. viously known as ‘Cold Blood’), “Everything we produce is in HD; we which was put together HIShave several 3D projects in development and TORY (Canada), Canal D (Canada), Investigaare transitioning to a tapeless shooting and tion Discovery (US), Five (UK), and Discovery editing system. We have a cutting edge CGI (Europe & International) and has run for five unit in Toronto that works miracles produseasons and 66 episodes. cing Hollywood standard effects on television budgets; their recent work on ‘Air Aces’ is exThe company is particularly focused on nontraordinary,” he affirms. Cineflix has a staff of fiction content, both scripted and non-scripapproximately 500 professionals working in ted, which represent a major growth driver the production area. in Canada’s audiovisual industry. “We have the expertise to develop and produce a wide As for trends, the executive also assured that variety of non-fiction genres; from primetime non-broadcast demands are increasingly imfactual entertainment like ‘Cash Cowboys’ and portant, a reality that has introduced the di‘Property Brothers’ to high-end docudrama gital component in most of current projects. like ‘Manson’ and ‘Mayday: Air Disasters’. The However, strong characters and innovative common denominator of all these producideas remain central. “In non-scripted we are tions is they are compelling stories, well told pushing ahead on multiple fronts; returnawith very high production values for the marble factual entertainment formats are always ket,” Rob Carey, Creative Directora at Cineflix what every producer strives for; high-end facProductions, assures. tual is a priority and we are constantly searching for genre-defining characters to appear Cineflix’s shows have presence in the US, Euin our programmes.” rope, Asia and Latin America, which has seen 30% year-on-year growth and now represents For Bonney, this kind of content is born with a key region for the company. According to an international appeal because Cineflix Bonney, depending on the genre type and doesn’t think just about Canadian networks. budget size, its commercial partners can be “Factual programming in particular is of a sithe major terrestrial players, global channels milar quality in terms of production standards such as Discovery and NatGeo, as well as nito American equivalents so it sells very well che cable channels. globally. For example, our new series about some of history’s most heroic pilots, ‘Air Aces’, “Our first scripted series, ‘Copper’, was shot in combines state of the art CGI with dramatic Toronto and launched in the US and Canada reconstructions and archive to create a very at the end of August. It has sold exceptionally high quality show for broadcasters worldwiwell so far and international sales contributed de,” he says. ttv majorly to the business model. Meanwhile,

insidecanada Executives

Equipped to Adjust “We are equipped to adjust, we’re nimble, and we’re really excited about the opportunities that presented by this consolidation.”

Shane Kinnear,

SVP Sales and Marketing, Shaftesbury Totally Amp’d Kids Musical Comedy

Shane Kinnear, SVP sales and marketing at Canada’s producer and distributor explained how the company is positioned towards the new scenario of mobile TV, and explained the Canadian touch that makes its content take over the US.

siness. “Most of this work is made with Latin reating, producing and distribuAmerican and European countries, however ting high-quality content within the largest markets for Canadian producers to the uprising Canadian market, sell is the US,” Kinnear states. Shaftesbury is the company responsible for the sucAlongside successful series such as cess of international drama co“Although we ‘Rookie Blue’ and ‘Flashpoint’, two productions such as ‘The Listener’ have a decline original Canadian dramas that and ‘Murdoch Mysteries’. in the number of traditional cable are internationally successful are homes, there is ‘The Listener’ and ‘Saving Hope’. Shane Kinnear, SVP sales and maran upsurge in the The difference in the latter titles, keting, explains the company’s delivery of mobile according to the executive, is that business model. “We can divide programming.” “they are both stories about paraour company’s activities into two normal activity, but done in an increstreams: the first is programming dibly heartwarming way, non-sensational, that we sell directly, particularly non-science fiction. It’s treated like drama,” he focused on kids, factual and half-hour comeexplains. dies; and then, the stream of one-hour drama, which has been tremendously successful.” As it often happens, high quality standards in production come as a result of a fierce local Naturally, the largest projects are born out of competition. This scenario, together with a raco-productions, and the UK is the most fruitpid change in media consuming, has made Caful territory in this regard. That’s the case of nadian companies to anticipate the future TV. drama series ‘Murdoch Mysteries’, made in collaboration with UKTV and ITV Global Net“It’s true that online offerings have brought us works, which “has been sold everywhere in to a precipice. We’re working diligently to enthe world, including China;” and ‘The Listener’, sure we will be produce programs that can be co-produced with Fox International Channels delivered online, mobile and on traditional TV. and UK-based Shine Group. Although we have a decline in the number of traditional cable homes, there is an upsurge A GROWING GIANT. “The big story in Canain the delivery of mobile programming. We’ve da is that the broadcast world and our outlets been in the digital business for five years have gone through tremendous changes in now, through our company Smokebomb, and terms of maturation and consolidation. We we’re poised to take advantage of what I think are defining how the future will be and who it’s going to be one of the most exciting tranour partners will be,” Kinnear explains. sitions in our business,” he affirms. ttv In fact, this consolidation and the reorgaMighty Mighty Monsters nization of the country’s three main media Animated Kids Comedy groups –Bell Media, Shaw Communications and Rogers- has brought to the market “new personalities, new executives, new long term strategies.” And for a company like Shaftesbury, which has been in the business for over 25 years, it’s the perfect time for expansion. “We are equipped to adjust, we’re nimble, and we’re really excited about the opportunities that presented by this consolidation,” he adds. The fact that Mipcom, the world’s largest TV event, has appointed Canada as Country of Honor due to its “dynamic television,” is mainly a result of the country’s healthy export bu-

insidecanada Executives

Connecting the Global Village “There’s a point in time when you realize you’ve grown this business following this model to the extent it can be grown. The challenge for us is to figure out what the new paradigm is.”

Vince Commisso,

President and CEO, 9 Story Entertainment 120/TTV MAGAZINE

Ver video completo en www.todotvnews.com

The president and CEO of Canadian animation producer 9 Story Entertainment, spoke to ttv about the company’s current projects and the international success of kids’ content made in Canada.

port, since it’s a very stable base of financing hrough kids’ content, Canada’s authat’s dependable and on time; and that really diovisual market continues to exhelp them support the industry in the pand across the globe; socountry. mething that’s happened for a long time and has “Especially In September the company celebecome more evident in the last at the kids’ level brated its 10th anniversary, and few years. In this context, 9 Story where there’s a lot of social media and Mipcom it’s the perfect opportuEntertainment stands as a main connectivity, the nity to show the results gathered player in this evolution, with world is becoming a in this whole decade. Therefore, content especially designed for global village.” 9Story will deliver 84 half-hours in the global market that travels to 2012, and intends to deliver close numerous key territories. to 152 in 2013. The company’s president and Lastly, the executive shared the company’s CEO, Vince Commisso, explained the popuplans for the near future: “9 Story’s goals over larity of Canadian kids’ content is due to the the next year are to figure out how to grow its country’s ability to create products that all business beyond the model of developmentkids can relate to. “We’ve learned that, espeproduction-distribution. We had a great succially at the kids’ level, an age group where cess doing that, but there’s a point in time there’s a lot of social media and connectivity, when you realize you’ve grown this business the world is becoming a global village. The following this model to the extent it can be stories that come out from Canada are really grown. The challenge for us is to figure out character driven, and provide both a mirror what the new paradigm is, and how can we and a window for the kids,” he said. “All good grow given our corporate strengths, our abicontent, if it’s character-driven and characters lity to produce and distribute great content,” are strong, they can relate to the kids at home. he concluded. ttv That’s why animation is particularly strong from 6 to 11.” Indeed, the company has robust production capacities, comprised of 200 professionals among artists, producers and administrative staff. Currently, 9Story has 9 shows in production. BUSINESS DETAILS. Commisso stated all of the company’’s shows are designed for the global market, and explained they usually have key indicators with initial territories that pick up the shows as to whether it will be successful worldwide. “If you have a show that works in Canada, there’s interest for it in the US and the UK; and if it works well in any of the three, there’s a very big chance that your show will be distributed internationally,” he said. The executive also highlighted the fact that companies are very fortunate in Canada to have strong agency and government supWild Kratts Animated Adventure/Comedy

Arthur Animation

insidecanada Executives

The Kids’ Speech “If a Canadian show can rate in Canada it has the potential to rate well around the world.”

Colin Bohm,

Managing Director, Nelvana

With shows in over 150 countries in 60 languages, Nelvana creates content for the international kids’ audiences, producing in dissimilar territories like Canada, France, Australia, the UK and Singapore.

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“What works in Canada works in the world,” try. Our co-production of ‘Babar’ and the ‘Adventures of Badou’ with France is close to Colin Bohm, Nelvana’s Managing Director, staa 50/50 production,” Bohm says, which contes. Whether that be because of the country’s trasts with the ‘Franklin’ co-production with cultural diversity or due to the versatile natuSingapore, which is a 70-30 co-producre of its audiovisual projects, he believes tion with 70% of the work made in that “if a Canadian show can rate in “The tipping Canada. Canada it has the potential to rate point of moving well around the world”, particuto more time with KIDS’ HABITS. It’s an unqueslarly in the preschool, comedy the computer tionable truth that the digiand boys action categories. really doesn’t tal element is a crucial part of start until the teenage years.” nowadays’ business but, how “We do work hard in the develomuch has kids’ consumption habits pment stage of all of our shows changed as for linear TV and mobile to make sure that the characters devices? According to Bohm, the move and stories have a global appeal to multiple screens is real, but it has some and are not local or regional. If our characters specific connotations depending on the age are fun, interesting and compelling and our segment. stories are kid-focused, we believe our shows will always have appeal beyond Canada,” he “There are increasing numbers of screens in assures. the home, and kids as well as adults are interacting with all of them. Roughly 50% of GOING WORLDWIDE. The company’s kids 0-8 have a smartphone in the home and expansion strategy became more feasiabout 25% have a video iPod or iPad in the ble since in 2000 it was acquired by Shaw home. And of course, kids of all ages are spenCommunication’s media group Corus Enterding an increasing amount of time with the tainment. As a result, Nelvana’s international computer. That said, TV watching is still by reach keeps on growing, with shows in over far the dominant medium for this demogra150 countries in 60 languages. phic with kids spending more than 3 times as much time watching TV/videos as they do “On the production side, business is strong. on the computer. The tipping point of moWe currently have 8 series in production ving to more time with the computer –which through the Nelvana Studio and are working you hear so much about in the media– really hard to greenlight additional series for the codoesn’t start until the teenage years for most ming year.” According to Bohm, production is kids,” he argues. an up-and-down business, but the company puts all its efforts in having 7 to 9 shows in In this context, he admits the OTT concept production “at any given time”. Evidently, an is definitely changing the way to approach important part of those projects are born out distribution, as well as the way in which of co-productions, which represents a good viewers watch video content. “For producway of initiating new productions, but it’s also tion companies, it offers more avenues to sell a delicate process, since “every co-production products, and it allows viewers more flexibiis unique.” lity and access to that content. Services like Netflix and Hulu expose shows to potentially “We are currently co-producing in France, new viewers and allow fans to consume conSingapore and the UK, as well as working on tent the way they want; 2 or 3 episodes in a new co-production in Australia. Our focus a row, for example. Distribution has become in co-productions is to work to the strength more complicated as we consider different of each co-producer to deliver the best show windowing strategies, but it hasn’t affecpossible. We have shared in writing, post ted our production strategy because good production, animation and storyboarding, content is still good content wherever you literally in every element of a production watch it.” ttv when producing with another treaty coun-

insidecanada | Highlights ANIMATION

UK and Canada Unite

for ‘Matt Hatter Chronicles’

‘Matt Hatter Chronicles’ (26 x 22’) is a high octane adventure comedy series targeted at boys aged 5 – 10. This pulse pounding action series features Matt, an ordinary 13 year old who discovers his family defends a gateway to a different dimension called the Multiverse. Matt must battle and capture infamous villains from movie, myth and legend in order to save his family and protect the Multiverse. The series is produced by UK prod-co Platinum Films and Toronto-based Dream Mill Inc and is animated by leading CG-animation and Visual effects studio Arc Productions. This US$ 12 million series is an original production for Teletoon Canada and Nickelodeon UK. The first season (13 x 22’) launched in the UK on Nicktoons in October 2011 and aired on ITV in March this year, rapidly rising to a top rated position on both channels. Second series (13 x 22’) launched on ITV on 9th September and on Canadian broadcaster Teletoon on 8th September. The new property is rapidly extending its global broadcast footprint, having already sold to Nickelodeon in Australia, RTE in Ireland, SABC in South Africa and JCC in Middle East Region. A third season of the series is already being produced.

PROGRAMMING

Muse’s ‘Bomb Girls’ to Premiere in 2013

The second season of Muse Entertainment’s most recent television series, ‘Bomb Girls’, will premiere in January 2013. Furthermore, in 2011, its topical, 8-hr. historical drama, ‘The Kennedys’, earned 10 Emmy Award nominations. Muse’s other award-winning programs are ‘The Pillars of the Earth’, ‘Being Human’ (Seasons 1 & 2), ‘Durham County’ (Seasons 1, 2, 3), ‘Ben Hur’, ‘The Last Templar’, ‘Impact’, ‘Human Trafficking’, ‘Answered by Fire’, ‘This is Wonderland’ and ‘Tales from the Neverending Story’. Muse Entertainment is a film and television production company known for its well-crafted and high-quality productions. Since its founding in 1998, Muse has produced, co-produced or provided production services on more than 150 TV movies and mini-series, television series and feature films and has won 95 awards and garnered 299 award nominations.

PRODUCTION

Running on Family and Faith Tricord Media aims to produce six projects of around 134 hours between 2012 and 2013. The company describes its main focus as “family and faith,” and its main objectives are “to grow the library of content significantly and always in the family and faith arena but in all genres of programming,” according to Jan Di Clemente, Director License Sales. “We work alongside the specific mandate of partnering domestic broadcasters in a broad range of production formats including documentary, lifestyle, current events talk shows and productions for children and youth. Sensitivity to the specific needs of local broadcast partners is key in these relationships. Successful programming efforts are reflected in original programming that satisfy both domestic and international partners,” the executive explains. The company produces everything in full HD, using CGI and motion graphics “selectively in live action” content. Di Clemente assures Canada’s content have reached world-class level. “Production standards are second to none. The fact that our production companies are often co-venturing with the US networks on scripted fare that airs in both markets is testament to the quality and creative appeal of the content.

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DISTRIBUTION

Breakthrough Entertainment Finalizes Slate of International Deals Previous to Mipcom 2012, Breakthrough Entertainment has finalized a long list of content deals with broadcasters across Europe, Africa, Australia and The Middle East; it was announced by Nat Abraham, President of Distribution for Breakthrough. In Europe, Breakthrough has licensed its newest documentary series, ‘My Really Cool Legs!’, to YLE TEEMA (Finland); ‘The Future Revealed’ to Red Bull Media (Germany); and the factual series ‘The Re-Inventors’ to DR TV (Denmark). Launching into a multi-series association with StarTimes Media Co. in Africa, Breakthrough has locked in over 300 halfhours encompassing the company’s documentary, children’s, animated and lifestyle series, including ‘Books Into Film’, ‘Criminal Mind’, ‘Dino Dan’, ‘Droogles’, ‘Filmography’, ‘Hollywood’s Greatest Mysteries’, ‘Mooh Brothers’, ‘My Big Big Friend’, ‘Robot Zoo’ and ‘Sacred Balance’. The list of international agreements also includes deals with Foxtel (Australia) for ‘Clash of Cultures China and the West’; TRT (Turkey) for ‘Re-Inventors’; and HOP TV (Israel) for ‘Dino Dan’ and ‘My Big Big Friend’.

Nat Abraham,

President of Distribution for Breakthrough Entertainment

insidecanada Executives

Turn on the Coffee Machine “In the last few years, we’ve made over 3,500 TV spots.”

Richard Speer,

124/TTV MAGAZINE

President & Founder, Attraction

Active in production, radio broadcasting, content distribution and advertising, Attraction media group offers an integral service, focused on one main priority: creativity.

tion distribution, its distribution arm formerly hen he was 28 years old, Riknown as Delphis Films, timely rebranded for chard Speer founded AttracMipcom; Attraction Radio, comprised of five ration in 2002. He first acquidio stations and aiming to join business opporred one of the most reputed tunities for TV advertising clients and agencies; advertising film production and Attraction Pub, which leads the advertising companies in Quebec in 1999. Very soon he spots business, joining production comparealized that owning the content would nies Jet Films and La Cavalerie. be the main stake in the production “We try to industry. That’s why he bought make a fit either Now, with strategic outlines a TV and film production comby pushing our TV clearly defined, Attraction has pany almost simultaneously. At or cinema content one main objective in mind: the Attraction, the coffee machine through our radio international market. In that returned out to be the incubator stations, or pushing a brand through gard, the company has been proof ideas. advertising films and ducing and distributing content TV shows.” with different partners from the “Today we are the biggest plaworld, and France is one of the most yer in Canada as advertising is important ones. concerned. In the last few years, we’ve made over 3,500 TV spots. We aim to keep growing, but sort of outside the box,” “France is top of mind for Quebec because, despite having different cultures, we speak the company’s president & founder, Richard the same language. However, we’ve also been Speer, explains. into co-production projects with the US, and also in Europe, like Germany and the UK, beThe difference is that those initial couple of cause of the advantages Canada offers for companies evolved into a media group that, that kind of ventures,” Speer says. Apart from in the executive’s own words, gathers complithat, the country has the unique case of genementary content expertise to cope with differating co-productions between provinces, for rent business cycles. “We’ve just bought five instance between Ontario and Quebec. radio stations here in Quebec. We’re stepping into the broadcast business, but not necessa“Internationally, we have the biggest movie in rily through TV stations,” he says. the year in France, Alain Chabat’s ‘Sur la Piste du Marsupilami’. We’ve recently had the theatrical Over the years, Attraction acquired strong and release, it did quite well and we’re very happy independent brands from the local market: about that. Also, we’re doing a coproduction advertising films, TV, new media and film proright now with Ontario, and we’re also heading duction, distribution, and radio broadcasting. for a big international co-production project “We try to make a fit either by pushing our TV with Germany,” the executive adds. or cinema content through our radio stations, or pushing a brand through advertising films CHALLENGING MARKET. Canada’s players, and TV shows, for example. We are in the busimainly production companies, are having chaness of emotions and quality of content is key. llenging times in terms of business, since the Our business is mostly about content creation market became very competitive and negoand convergence,” Speer assures. tiations with broadcasters are not “flowing” as they were some time ago. “We have to adapt. TO THE NEXT LEVEL. Two years ago, all of The challenge is coming up with content that Attraction’s companies moved together, inclupeople can identify with; as well as producing ding about 150 employees. The group’s several content that can go abroad with a Canadian business fronts reorganized in four divisions: sense of flavor. There are good opportunities Attraction Images, operating in the TV and film out there. To compensate we have to be a lot production area across prime time series, gamore creative, have good storylines and great meshows, factual/variety shows, documentaaspirations with small budgets,” he states. ttv ries, youth series, talent shows and films; Attrac-

insidecanada Executives

A Somewhat Unusual Producer “Japanese are really strong partners of us, and we’ve been involved both in the theatrical market as well as the television market for 30 years now.”

Kevin Sullivan, CEO, Sullivan Entertainment

Sullivan Entertainment’s tight links with Japan and the “period backlog” it has built up over the years make it an outof-the-box player in Canada’s production market.

However, Sullivan’s case is somehow “unusual,” oronto-based Sullivan Entertainsince the company has established a strong ment works in production along business relationship with Japan. “Our ‘Anne different programming genres: draof Green Gables’ series has been so popular ma, documentaries, feature films there, and we have over 140 hours of and also content for children. that series that we’ve worked out “In children’s programming we have “We have with NHK. They were involved in very strong brands with TBS in the probably the the restoration of that material, US and we’ve developed series with most unusual which was originally shot in film BBC as well. However, I believe our backlog in all and completely restored to HD. The main focus right now is adult draof Canada.” Japanese are really strong partners ma and documentaries,” Kevin Suof us, and we’ve been involved both llivan, the company’s CEO, tells ttv. in the theatrical market as well as the television market for 30 years now.” Indeed, Sullivan is preparing an ambitious documentary project set to launch in the new year, after having produced the documentary Anne of Green Gables ‘Out of the Shadows’, with Donald Sutherland, Miniseries which is “all about finding masterpieces out of existing masterpieces, by artists like Rembrandt, Van Gogh or Goya. And we have a Dutch scientist partner that received over 6 million euros from the Dutch government to develop an atomic particle accelerator that can be taken into the museums. So we’re looking forward to do a museum tour to allow curators to look at prestigious paintings and find out what’s behind them,” the executive says.

FROM WEST TO EAST. Sullivan Entertainment owns a library of 600 hours of drama, all of them co-produced with US partners. That’s why, internationally speaking, the company sets the US as its most important, whereas Europe and Australia come in second place. “Australia is a very big market for Englishspeaking drama and factual programming, alongside with the UK,” the executive says.

PRODUCTION ADVANTAGES. The producer explained that, apart from the collaborative nature of Canada’s audiovisual players and the tax credit system that succeeds in fostering national production and international co-productions, the country also offers diverse locations and professional studio facilities. “Not only can you make Toronto look like New York, or make Montreal look like Chicago in the 1930s; but Canada also has a very wide parameter of locations as well as amazing studio space,” Sullivan explains. The company itself has a production studio with 2.5 acres, four sound stages, as well as a costume inventory that goes from 1850 to 1950; a legacy of the many period movies made in the past. “And we have probably the most unusual backlog in all of Canada; we maintain a full period backlog where you can shoot from late 19th century to mid 20th century production. We have all the buildings that work with those periods, and in a studio situation.” ttv

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Another series the company is focused on in terms of production is ‘Chuckers’, which according to the executive is “about the glamorous world of polo.” In this case, Sullivan is interested in having a Latin American partner for the series, since “Argentina has always been renowned in polo. We’re doing a two-period series: one set in the 20s and one set in the 50s,” Sullivan explains. Furthermore, the company is also developing a feature film called ‘Famous Last Words’, which is set to be produced during 2013; as well as theater projects in the US.

insidecanada Executives

Integrate and Rule “We do really well in Asia with the Asian food channels, which are big acquirers of our food contents.”

Les Tomlin,

126/TTV MAGAZINE

President & CEO, Peace Point Entertainment

In the year of Peace Point Entertainment’s 10th anniversary, ttv spoke to its president & CEO, Les Tomlin, who explained the launch of the company’s distribution arm and analyzed the transition to an integrated contents model.

INTERNATIONALLY SPEAKING. According eace Point Entertainment made 10 to Tomlin, in the past five years Canadianyears last month, and the company produced content reached a world-class level, proves to be at a great moment: and “there have been some major hits in the each year it produces between five dramatic scripted world, where scripted proand seven projects in Canada, whegramming being produced in Canada is acreas 2012 also marks the debut for its brand tually sold in the US. You can also say new production arm, Peace Point Rights. that for factual or documentaries,” President & CEO Les Tomlin analyzed “Ad spending is he adds. the Canadian market’s situation, detending to spread fining this moment as “very strong” a little bit over As for the most important comfor the TV business. different screens; mercial partners, the executive it’s not necessarily notes it’s always desirable to “We’ve had the consolidation of about buying 30 second spots have a worldwide approach, even the biggest broadcasters in the on TV.” though there are some markets last few years. This means that, as that are especially keen on Canadian a result, there’s a benefit stock that programming. “We do really well in Asia with has to be spent on Canadian conthe Asian food channels, which are big acquitent produced by national companies as part rers of our food contents; and also our stars of the deal”, Tomlin says, referring to the conare celebrities there, so they’ve been great ditions imposed by the Canadian Radio-Telepartners. There’s also Latin America, and the vision and Telecommunications Commission UK, where there are important co-production (CRTC) to the country’s telcos taking over TV projects,” Tomlin assures. Peace Point’s concompanies. “Because of these large mergers tents are now in over 145 international marand acquisitions in the industry, there’s a lot kets. of benefit packages of money being spent on high-quality content to meet those requireDISTRIBUTION. In the same line of the Canaments,” he adds. dian market’s international expansion, Peace Point Entertainment chose the 2012 edition Good perspectives in the business come as of MIPTV to launch its international distribua result of a good national economic landstion division in Toronto, Peace Point Rights. cape, which “has been very solid,” and that “We’ve been focused on the launch of our also affects advertising. “However, ad spenown-produced catalogue, but now we’re starding tends to spread a little bit over different ting to add third-party material, which we’ll screens; it’s not necessarily about buying 30 bring many hours for this fall,” he explains. second spots on TV, but more about having integration opportunities for programs,” he “Also, we’re currently producing a series for a states. As an example, he mentions ad inteCanadian network, which is the commissiogration in Peace Point’s cooking shows, whit ning network, but as we have a worldwide apcase studies are shifting the traditional ad reproach, we try to make that program as interlation to a new model that is “more sophistinationally appealing as possible,” he explains, cated and much more complicated”. “There’s mentioning the company is both interested in product integration, mobile, online, and other selling the taped content and the format. ttv different screens,” Tomlin says.

FOUR TABLE LEGS With the launch of its new distribution division, Peace Point Entertainment is now comprised of four companies approaching different sides of the entertainment business: new division Peace Point Rights; Peace Point Productions which produces between 5-7 series a year; Peace Point Digital, which takes care about digital apps and online operations; and there is also a fully integrated post production facility in Toronto. “We’re fully staffed easily to do a production from its creation and financing to getting it produced, posted and take the finished product to the international market,” Tomlin explains.

insidecanada Executives

It’s All About IP “The financing available here has attracted many projects to the country, and the skill and experience in the industry is at an all time high.”

Ken Faier,

President, Nerd Corps

With 285 professionals working at full steam to create compelling stories and character-driven series, Nerd Corps is entirely devoted to developing innovative stories and, most importantly, to implementing an effective licensing and commissioning strategy of its content rights.

And what are worldwide broadcasters demanding right now as far as original content goes? Faier affirms the key is offering strong comedy series for the 6 to 11 demographic core. “They want series that can deliver great laughs and fun stories that kids can relate to. In action content “We have been they want exciting, adrenalineexploring stereoscopic fueled storytelling in a seamless Ken Faier, the company’s presiproduction but have world, while at the same time dent, gave details about this bunot committed delivering solid laughs through siness model. “We develop our to it yet. The demand great characters. We’re a creative own IP, but we also produce anihasn’t been there for the TV market.” driven house, and firmly believe mated TV series for clients with that excellent writing, exciting aniexisting brands. We have more mation and attention to every detail than 285 employees in our Vanare all necessary to deliver on that procouver studio, and our main fomise, and build a compelling fantasy that will cus is to retain as much creative control as we resonate with our audience,” he states. can over the entire process, building IP that stretches beyond traditional linear television. Nerd Corps typically produces and delivers This does not mean we are not collaborators between 52 x 30’ and 78 x 30’ of animated CGI but it does allow our partners to feel like they television per year, worth saying, all in high are getting a holistic approach to producdefinition, working primarily in Softimage. tion and development,” the executive, better “We also have a multi-Emmy award nominaknown as El Presidente, explains. ted sound studio and a significant interactive team producing online and mobile games In this context, the company’s priority is to and content based on our original IP.” fine tune the complete process of creating IP that can live in many different forms, incluFurthermore, the production company is also ding digital platforms, consumer products, on the 3D scoop, developing styles and wortoys and events. “We have expanded our onliking with its mind set in 3D content. However, ne and interactive teams to develop great onthe executive explains that there’s still a long line gaming and apps for mobile devices, and way to go as for 3DTV. “We are an HD CGI prodeepened our creative development team as duction studio and have been exploring stewell as our distribution and merchandising reoscopic production but have not commitand licensing operations,” Faier assures. ted to it yet. The demand hasn’t been there for the TV market.” ttv These factors, according to the executive, have turned the Canadian kids and animaSlugterra tion community into a leader. “The financing Kids available here has attracted many projects to the country, and the skill and experience in the industry is at an all time high, looking at a bright future.” ancouver-based animation production company Nerd Corps defines itself as a “one stop shop for IP creation, development, pre-production, production, post-production and exploitation” through TV, as well as merchandising and licensing.

THINKING GLOBAL. The main markets for Nerd Corps in commercial terms are the UK, France, Germany, Australia and the US, alongside Spain, Italy and the emerging BRIC markets. “We recently secured CBBC in the UK for ‘League of Super Evil’ and have also closed a deal with Disney XD Worldwide for pay TV for ‘Slugterra’,” he explains.

insidecanada Listings

Almost Naked Animals

The Americans

9 Story Entertainment 23 Fraser Ave Toronto, Canada M6K 1Y7 Tel.: 416-530-9900 Fax: 416-530-9935 Web: www.9story.com Booth: R35.24

Executives Attending

Vince Commisso, President & CEO Stephen Kelley, Director, Distribution Liliana Vogt, Vice President, Development

TOP EXecutivE Natalie Osborne, EVP Business Development

Almost Naked Animals

P.O. Box 900, Beverly Hills, CA 90213-0900, USA Tel.: 310.369.1000 Fax: 310.369.8877 E-mail: Mahnaz.Landers@fox.com Web: www.foxfast.com Booth: E3.01

Executives Attending

Marion Edwards, President, International Television, 20th Century Fox Television Distribution Gina Brogi, Executive Vice President, Worldwide Pay Television & SVOD, 20th Century Fox Television Distribution Scott Gregg, Senior Vice President, Worldwide All Media Sales Operations, 20th Century Fox Television Distribution Cristina Mancini, Senior Vice President, Worldwide Marketing, 20th Century Fox Television Distribution

TOP EXecutivE

Based on the quirky designs of Noah Z. Jones (creator of ‘Fish Hooks’), the series features an ensemble cast of underwear-clad animals, set in a beachfront hotel named the Banana Cabana, home to mayhem, destruction and all around fun! Our cast is led by Howie, the fun-loving, hospitalitychallenged canine manager, with the attention span of an 11-year old in a video arcade. (Preschool Animation - 40 x 22’ or 80 x 11’)

Camp Lakebottom

(Animated Comedy - 26 x 22’ or 52 x 11’)

128/TTV MAGAZINE

A half-hour, animated comedy about 12-year old mastermind and ultra rich kid McGee, who longed for real thrills and real friends from his 154th floor penthouse. So he begged his parents to send him to the most dangerous and exciting summer camp in the world, Camp Lakebottom. The cabins are possessed, the staff members are a real creep show and McGee and his misfit pals are having way too much fun!

Arthur

(Animation - 20 x 22’ or 40 x 11’) Everyone’s favorite little aardvark and his gang of pals are back for 20 new exciting episodes! Based on the book series written and illustrated by Marc Brown, ‘Arthur’ is the longest running children’s animated series in the US and one of the highest rated shows on PBS Kids. Fans just can’t get enough of eight-year-old Arthur and are excited to find out what fun adventures he will have next in the 16th season.

Nerve Center

20th Century Fox Attraction Television Distribution Distribution

(Animated Comedy - 52 x 22’ or 104 x 11’)

Daniel Tiger’s Neighborhood

Family Film Collection

Mark Kaner, President, 20th Century Fox Television Distribution

5455 De Gaspe Avenue, Suite 803 Montreal, Quebec, Canada H2T 3B3 Tel.: +1 514 846 1222 Fax: +1 514 846 1227 E-mail: info@attractiondistribution.ca Web: www.attractiondistribution.ca Booth: 02.10

Executives Attending

Max Oliveras, Director of Sales and Acquisitions Chrystine Girard, Head of Format Licensing

TOP EXecutivE Xiaojuan Zhou, President

A period drama about the complex marriage of two KGB spies posing as Americans in suburban Washington DC shortly after Ronald Reagan is elected President. The arranged marriage of Phillip and Elizabeth Jennings, who have two children who know nothing about their parents’ true identity, grows more passionate and genuine by the day, but is constantly tested by the escalation of the Cold War and the intimate, dangerous and darkly funny relationships they must maintain with a network of spies and informants under their control. Complicating their relationship further is Phillip’s growing sense of affinity for America’s values and way of life. Tensions also heighten upon the arrival of a new neighbor, Stan, an FBI agent working in counter intelligence. This series stars Keri Russell, Matthew Rhys and Noah Emmerich.

Graceland

(Drama - Pilot - 12 x 60’) Newly minted FBI agent Mike Warren is all set to take up a prestigious posting in Washington, D.C. when he discovers he’s being reassigned to Graceland – a prime piece of beachfront real estate that was seized from drug lords and now serves as an undercover residence for agents from the FBI, DEA and Customs. Mike and his new roommates must all work to solve cases for their respective agencies while also keeping the peace in their own household. Based on real events. This series stars Daniel Sunjata, Aaron Tveit, Vanessa Ferlito, Brandon Jay McLaren, and Manny Montana.

Bell Media (CTV, Exploration Production Inc., Discovery Channel Canada) 9 Channel Nine Court Scarborough, Ontario, M1S 4B5, Canada Tel.: +1 416.384.5000 Fax: +1.416.384.4208 E-mail: tony.leadman@bellmedia.ca Web: www.exploration.ca Stand: G3.23

Executives Attending

Edwina Follows, Director, Commissioning and Production – Discovery Networks Canada Blair Lowndes, Sales Associate & Client Services

TOP EXecutivE

Family Film Collection (Family – 110 x 90’)

A world-acclaimed collection of award winning family films 110 titles. 600 + awards. All rights. (Crime/Police – 39 x 60’)

(Drama - Pilot - 12 x 60’)

(CTV, Exploration Production Inc., Discovery Channel Canada)

Tony Leadman, Head, Worldwide Program Distribution

Code 37 The Americans

Bell Media

Award winning police series featuring a fearless young female chief inspector who fights urban crimes as well as her personal demons. Readyto-air and format. Chief police inspector Hannah Maes and her team are investigating a series of strange indecency offenses. When her private investigations gains momentum she loses herself completely.

We Are Family

(Talent Format – 13 x 60’) Premiering on Canada’s national TV SRC on Sept. 27, 2012, ‘We Are Family’ is a brand new hour long talent format featuring the country’s best singing families, ranging from all sizes and ages. Coached by celebrity singers, selected families perform popular songs in a weekly competition which will culminate with a live finale. Each week, 3 families will compete for viewers’ vote and a chance to perform with celebrity singers the following week and hopefully make it to the semi-finals and grand finale to become the best singing family in the country!

Dragon

(Kids – 78 x 12’ HD) Adapted from Scholastic books by Dav Pilkey, this stop-motion series features a blue dragon and his friends who go through their daily routines with imagination & humour. Aired on NBC network USA, RAI Italy, Treehouse Canada, etc. Available in English, French, neutral Spanish, Brazilian Portuguese, etc.

Nerve Center

(Science & Technology - 18 x 60’) They are some of the biggest and busiest super systems ever built – and ‘Nerve Center’ offers unprecedented access to the people and places that keep them ticking 24/7. Each episode begins from the high-pressure moment of peak operations. We meet the key personnel that drive the momentum from behind the scenes and we see how over the course of 24 hours everything interconnects seamlessly or sometimes not so seamlessly. Every episode is filled with stats, stakes and stories of how complex mechanisms work, as seen through the experiences of the front line workers.

Mighty Ships

(Science & Technology - 37 x 60’) ‘Mighty Ships’ traverses the globe to give the viewer unprecedented access to some of the world’s most extraordinary working vessels. From pirate-hunting naval frigates to nuclear-powered submarines -from the Captain’s bridge to the boiler room- ‘Mighty Ships’ offers exclusive, behind-thescenes entry to these technical marvels. Real people. Real adventure.

Mighty Planes

(Science & Technology - 12 x 60’) ‘Mighty Planes’ straps you in for a ride on the world’s most amazing aircrafts, taking off on missions that push them to their limits. From the fastest passenger planes to the giants of oversized cargo, from planes on skis in Arctic science camps to a flying hospital, ‘Mighty Planes’ takes a revealing and dramatic look at the people and the technology that make them soar.

Rocket Monkeys

Survivorman: Ten Days

Anything But Christmas

Breaktrough Entertainment

BuzzTaxi Communications

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

201 - 1110 Yonge Street, Toronto, Ontario, Canada M4W 2L6 Tel.: 416.920.3800 Fax: 416.920.3998 E-mail: info@buzztaxi.com Web: www.buzztaxi.com Booth: Canadian Pavilion

Executives Attending

Ira Levy, Executive Producer/Partner Joan Lambur, Executive Producer Diane Boehme, Senior Development Executive Kate Blank, Director, International Distribution Jodi Mackie, International Sales Executive

Executives Attending Natalie Vinet, Co-President

TOP EXecutivE

CCI Entertainment

Cineflix Rights

18 Dupont St. Toronto, Ontario, Canda, M5R 1V2 Tel.: 416.583.2916 Fax: 416.964.1980 E-mail: kkaufman@ccientertainment.com Web: www.ccientertainment.com Booth: 2.10

1st Floor, 1 Lorenzo Street, London, WC1X 9DJ, UK Tel.: +44 (0) 203 179 5050 Fax: +44 (0) 203 179 5051 E-mail: sayala@cineflix.com Web: www.cineflixrights.com Booth: R37.20

Executives Attending

Charles Falzon, Co-chairman Jill Keenleyside, Executive VP, Distribution Federico Vargas, Director of Sales: Latin America, Iberia, CEEMEA Kailey Kaufman, Manager of Operations, Distribution

Sabrina Ayala, VP of Sales and Acquisitions, Latin America, Iberia, and Italy

TOP EXecutivE

Sabrina Ayala, VP of Sales and Acquisitions, Latin America, Iberia, and Italy

TOP EXecutivE

Natalie Vinet, Co-President

TOP EXecutivE

House Hazards

Arnie Zipursky, President & Co-chairman

Nat Abraham, President, Distribution

House Hazards

(Science/Entertainment/Format - 14 x 30’)

Survivorman: Ten Days (Travel/Adventure - 4 x 60’, HD)

Rocket Monkeys (Animation - 26 x 30’)

Meet Wally and Gus. Best friends and NOSA-trained monkeynauts on an odyssey through outer space. Blasted into strange new worlds on a unique and specially equipped rocket, these two simians experiment with new technologies and discover alien species never seen before. New life forms, techno-gadgets and collisions with space pirates all add up to a zany, fun-filled series. It’s close encounters of a primate kind.

Kinderzoo

(Kids – 26 x 30’/52 x 11’) ‘Kinderzoo’ is a fun and highly entertaining series designed to stimulate and educate 2 – 5 year old children with ‘Play and Learn’ characteristics within its structure. Set in the Kinderzoo, conservation through education is promoted using real animals, and through various editing techniques these animals are then brought to life.

Sea Nation

(Lifestyle/Reality – 10 x 30’)

My Really Cool Legs! (Documentary - 1 x 60’)

Follow a team of pediatric amputees as they challenge themselves beyond their disability. Under the guidance of the brilliant prosthetist who makes their legs and led by their amputee mentor and coach these kids run, ski, dance and fly refusing to let their disability define who they are and what is possible.

Real Designing Women

(Lifestyle/Design/Docusoap - 13 x 30’, HD) Four of the most successful female interior designers working today, Dee Dee Eustace (Toronto), Lori Dennis (L.A.), Jennifer Flanders and Nina Freudenberger (NYC) lead us on a fun, fascinating and completely real behind the scenes look at the world of high stakes design!

Ship2Shore

(Lifestyle/Travel - 13 x 30’) Are you a cruise virgin, or a cruise lover? ‘Ship2Shore’ is the place for you to explore the cruise/ travel lifestyle.

Handyman Superstar Challenge (Lifestyle - 7 x 60’, 2 seasons)

Ten people have nailed the chance to be crowned the “handiest of them all”. Contestants must prove their abilities to celebrity judges Mike Holmes (‘Holmes on Homes’) and Jim Caruk (‘Real Renos’). Each of these contestants has what it takes, but only one will walk away with the title of “Handyman Superstar”!

La Cucina di Sabrina (Cooking - 26 x 30’, HD)

Who better to introduce us to Italian cooking than chef/restaurateur Sabrina Tutino? With warmth and charm, Sabrina generously shares her family recipes making them simple, accessible and irresistible!

(family feature film - 1 x 90’)

Grace, the single-mother of nine-year old Zachary, has finally found love again in John, and everything feels so close to perfect. As the holiday season approaches, Grace & Zachary’s favourite time of year, Grace realizes she is building a life with a man who just doesn’t do Christmas. She busies herself with the decorating and all of the much-cherished seasonal festivities, while John refuses to participate. As the tension between them builds, the real reasons begin to unfold as to why they both approach this holiday so very differently. Can John cast his feelings aside and become the man and the father that Grace & Zachary need? Can the joy & magic of theHoliday season cause even the most cynical heart to come out of the cold?

Emma’s Wings: A Bella Sara Tale (Animated kids movie – 1 x 75’)

‘Emma’s Wings: A Bella Sara Tale’ takes us on a magical journey to the mythical land of “North of North,” a land once filled with beautiful horses, but a place now where earthling Emma comes face to face with the evil Ivenna who has been out to destroy the herds and take possession of this land herself. In her journey to the new land, Emma meets and becomes best friends with Sara, a goddess of North of North. Through Sara’s help and a true sense of empowerment, Emma overcomes all odds to defeat Ivenna. Along the way, she learns her true destiny – to become a Valkyrie in this spectacular mythical land – a land that will be the setting of many adventures to come.

Teenage Fairytale Dropouts (TV Series - 52 x 11’)

Meet the next generation of fairytale characters, the children of those super famous icons we all grew up with. They are best friends, live in Fairytale Estates, and are just normal tweens.... except for the occasional nursery rhyme character who bounces in and out of every episode!

Enter the world of domestic disaster in ‘House Hazards’, the series that puts potential home hazards to the test in a real house. Using stateof-the-art technology and scientific experiments, ‘House Hazards’ is a super-sized look at every day household dangers.

Karma’s a B*tch (Crime - 6 x 60’)

On ‘Karma’sa B*tch’, Sopranos star Steve Schirripa introduces you to those who fantasize about revenge, and then get even. This provocative new series shows just how far some people are willing to go to get even.

Wives with Knives (Crime - 6 x 60’)

‘Wives with Knives’ features gripping stories of women who fought at close range. Whether motivated by greed and jealousy or triggered by years of physical abuse, each episode reveals the traumatic events that lead up to these deadly confrontations.

The Real Skinny (Entertainment - 1 x 60’)

‘The Real Skinny’ follows Sarah and Chris, who, after undergoing gastric bypass surgery and losing an enormous amount of weight, must now undergo post-bariatric surgery to remove the huge folds of loose, stretched-out skin that has been left behind on their bodies.

Dangerous Fights (Science - 8 x 60’)

‘Dangerous Flights’ is a fast-paced, adventure series about aviation’s last frontier: aircraft delivery. In each episode we meet the mavericks that have the skill, courage, and are crazy enough to fly everything from float planes to jumbo jets on dangerous delivery flights.

TTV MAGAZINE/129

‘Sea Nation’ is about freedom: freedom from the common restraints that hold us back, that prevent us from truly experiencing all that life has to offer. Following Globe Trekker host Megan McCormick as she and a friend take their families on a journey across the Caribbean into the unknown, leaving the comfort and security of routine life behind.

Les Stroud heads back to some of the most captivating and harshest wilderness areas in the world. With little to no food, water or gear, Les sets off for ten consecutive days of survival!

Anything But Christmas

insidecanada Listings

Walter and Tandoori

Bomb Girls

Franklin and Friends

Image Entertainment Corporation

Muse Distribution International

417, Rue Saint-Pierre, Suite 600, Montréal, QC, H2Y 2M4, Canada Tel.: +1 514 844 1244 x 230 Fax: +1 514 844 0554 Email: j.bilodeau@image-cie.com Website: www.imagecie.com / www.waltertandoori.com / www.waltersworld.com Booth: Canadian Pavillion, 02.10

3451 Rue St. Jacques, Montreal, Quebec, Canada, H4C 1H1 Tel.: 514-866-6873 Fax: 514-876-3911 Email: bpalik@muse.ca Web: www.muse.ca Booth: C1.14

Executives Attending

Jacinthe Bilodeau, Marketing, Communications, L&M Director

TOP EXecutivE

Sylvain Viau, President/Executive Producer

Executives Attending

Michael Prupas, President & CEO, Muse Distribution International

Walter and Tandoori

(2D Animated Series - 104 x 11’ - Season 1 and 2) It is just before Christmas in the village of Hart’s Landing and an ominous shadow threatens the tiny town. That’s right, Bill Counter, a wealthy businessman without scruples, has a project to install a huge retail box store right in the middle of the village. With a thousand tricks up his sleeve, nothing appears to be able to stop him. Buy, buy and always buy seem to be his favorite refrain. But after he makes friends with Walter and Tandoori, they are quick to realize the dishonest nature of this dear Bill Counter! A major challenge awaits our hero Walter. He must save the village whose quality of life is being severely tested.

Bomb Girls

(Dramatic Series - 18 x 1 hr) Set in the 1940s during World War II, ‘Bomb Girls’ tells the stories of remarkable women who risk their lives in a munitions factory, building bombs for the European front. Liberated from social and cultural restrictions, they embrace their newfound freedom, form a sisterhood and change their lives forever. There’s a fiery rich girl looking to escape her crushing social expectations. There’s a preacher’s daughter running from home. And there’s the factory matron whose long-latched heart blossoms through the power of work and unexpected romance.

King Tut

(Dramatic Miniseries – 8 x 1 hr)

130/TTV MAGAZINE

Nelvana Enterprises Corus Quay 25 Dockside Drive Toronto, Ontario, M5A 0B5, Canada Tel.: 416-479-7000 Web: www.nelvana.com Booth: N6.04

Executives Attending

Irene Weibel, Head of Nelvana Studio Jerry Diaz, Vice President, Worldwide Sales and Distribution, Nelvana Enterprises

TOP EXecutivE

Betty Palik, VP Communications & Factual, Muse Entertainment Jesse Prupas, VP Development & Distribution, Muse Entertainment Joel Rice, President, Muse Entertainment USA Jonas Prupas, General Manager, Muse Entertainment Ontario Lanni Frankel, Director of International Sales, Muse Distribution International Adora Law, Assistant to Michael Prupas

TOP EXecutivE

This is the story of King Tutankhamen – a story told for the first time. Recent scientific testing has revealed new insight into the truth about the most famous ruler of Ancient Egypt, who continues to amaze and mystify the modern public. The story follow Tutankhamen’s journey from manipulated figurehead to empowered king – and to his untimely death. A classic tragic hero, Tutankhamen is plagued by plots against him throughout his reign. ‘King TUT’ is truly a series for the ages; full of romance, battles, political intrigue, heartbreak and betrayal.

Slugterra

Nerd Corps Entertainment 1256 East 6th Ave – 3rd Floor, Vancouver, BC, V5T 1E7 Tel.: 604-484-0266 Fax: 604-484-0267 E-mail: Ken.Faier@nerdcorps.com Web: www.nerdcorps.com Booth: 02.10

Executives Attending

Jillianne Reinseth, VP Creative Affairs Asaph Fipke, CEO, Supreme Commander

Colin Bohm, Managing Director, Nelvana

TOP EXecutivE Ken Faier, President

Franklin and Friends

(Two Specials: Pole to Pole and Under the Sea) (Animated Preschool – 2 x 44’) Join Franklin the turtle and his friends as they embark on two incredible new adventures. In their first journey, ‘Pole to Pole’, Franklin and his friends journey from the Arctic to Antarctica. Their second adventure, ‘Under the Sea’, tracks the gang as they explore the incredible world that exists underwater - and right under their home! These two specials take the TV series far outside of Woodland and promise to be packed full of hilarious adventures for young viewers.

OH NO! (It’s an Alien Invasion)

(Animated Comedy – 26 half-hour episodes (52 x 11’) This animated comedy is from Philippe IvanusicVallee and Peter Ricq, part of the creative team behind the League of Super Evil. In the series, a crazy band of partying aliens have invaded Earth and kidnapped all of the planet’s grownups. Luckily, Nate and his Super Wicked Extreme Emergency Team (S.W.E.E.T.) are on the case to take back the world. Operating from their secret headquarters in a mega-mall, they wage a resistance against the zany Brainlings, in a plan to elude capture, and free their parents. Young audiences will be immersed in the wonky anarchy of a world without parents, where the kids make the rules.

Detentionaire

(Animated Comedy - 52 x 30’) After being blamed for the biggest, most over-thetop prank in high school history, Lee Ping is back for a second season as he continues his year long stint in detention. Now that he knows who was truly behind the prank that he was blamed for, Lee must clear his name – but if only it were that simple. Lee has unearthed a massive conspiracy that lies at the very core of his school’s administration. Can Lee escape detention and uncover the truth? Will another prank threaten Lee’s future in high school? This show continues to attract young viewers with its hilarious depiction of high school life.

Slugterra

(Kids - 39 x 30’ plus 39 x 1’) Eli Shane is determined to be the greatest slugslinging hero of them all! Only by collecting, training and dueling with little critters called slugs can Eli and his team hope to defeat the forces of evil. Did we mention the part where the slugs transform into powerful magical beasts? That part’s awesome. ‘Slugterra’ is an epic sci-fi comedy adventure set deep underground, where the ammo’s alive and only the quick survive! In this luminous, high-tech, underground world every cavern holds a new adventure, new battle and weird little slugs to be discovered! The story follows Eli and his crew as they explore the caverns, challenge rivals and each other to friendly duels, upgrade their cool gear, and generally have a blast in this never-before-imagined underground world! But there is a very real threat to the world and the slugs; Dr. Blakk is seeking to “ghoul” the slugs, transforming them into feral mindless weapons! No one has been able to stand up to Blakk’s powerful slugs and army of henchmen… until now.

Endangered Species

(Comedy Series - 52 x 11’ plus 1 minute bonus shorts) Three lovable woodland creatures form an unlikely household within a tree stump in the peaceful park of Happy Meadows. Together they find shelter from the encroaching city in this domestic comedy about ridiculously twisted roommates who have managed to form their own species - misfits! Merl the Squirrel, is the cautious control freak, whose efforts to prepare for the worst case scenario often end up producing… the worst case scenario. He’s driven crazy by Sunny the Bunny, the hyper-impulsive optimist who never met an idea she didn’t immediately want to pursue to its fullest… and immediately abandon a moment later! The simply named Gull, a messy, garbage-loving seagull will follow both the upbeat chaos of Sunny and the fussy restraint of Merl… depending on whoever spoke last. Every simple day-to-day happening from Merl cooking an omelette, Sunny curing the squirrel plague, or Gull having a toothache - ends up in over-the-top hyper romps that just might destroy their home and everything around it!

Keasha’s Perfect Dress

Get Stuffed

Peace Point Rights 78 Berkeley Street, Toronto, ON, M5A2W7, Canada Tel: +1 416.365.7734 Fax: +1.416.365.7739 E-mail: sales@peacepoint.tv Web: www.peacepoint.tv Booth: 17.21

Executives Attending

Julie Chang, Vice President of Business Affairs & Acquisitions Eric Muller, Vice President of International Sales & Acquisitions

Doki

Mighty Mighty Monsters

Picture Box Distribution

Portfolio Entertainment

110 Eastwood Road. Unit #2, Toronto, Ontario M4L 2C9, Canada Tel.: +1 416 461 8209 E-mail: info@picturebox.ca Web: www.picturebox.ca Booth: 02.10

110 Eglinton Avenue east, Toronto, ON. M4P2Y1 Tel: 416.483.9773 Fax: 416.483.6537 E-mail: Sales@portfolio-ent.com Web: www.portfolioentertainment.com Booth: 00.01 (Telefilm Canada Pavilion)

Executives Attending

Kate Sanagan, Partner, Director of Sales, The Americas, France, Australia and New Zealand

Joy Rosen, Co-Founder & President Lisa Olfman, Co-Founder & President Leslie Miller, International Sales Manager

TOP EXecutivE

Marilyn Kynaston, Partner, Director of Sales, Europe, Middle East and Africa

Les Tomlin, President & CEO

Louis Fournier, Vice President, Sales & Acquisitions

Shaftesbury 163 Queen St East, Suite 100, Toronto, Ontario, Canada M5A 1S1 Tel.: 416-363-1411 Fax: 416-363-1428 E-mail: mailbox@shaftesbury.ca Web: www.shaftesbury.ca Stand: R27.12

Executives Attending

Scott Garvie, SVP, Business & Legal Affairs Shane Kinnear, SVP, Sales & Marketing Adam Haight, SVP, Scripted Content Katherine Wolfgang, VP, Communications Jay Bennett, VP, Digital/ Creative Director, Smokebomb Entertainment Ryan St. Peters, Director, Sales Rebecca Herr, Marketing Executive

TOP EXecutivE

Christina Jennings, Chairman & CEO

Keasha’s Perfect Dress (Lifestyle – 14 x 30’)

A half-hour bridal fashion reality series that focuses on the dramatic highs and lows of three bridesto-be and their opinionated families and friends, who each have their own opinions about what the ‘perfect’ dress should look like. Keasha makes a true connection with every bride to get to the heart of the matter – finding the perfect dress for her perfect day. Keasha Rigsby is a renowned bridal consultant whose warmth and talent have endeared her to audiences of the hit series Say Yes To the Dress. Now she’s striking out on her own, helping brides find their perfect wedding dress in her own exclusive boutique – a stunning openconcept space filled with sumptuous dresses from some of the world’s top bridal designers.

Bulloch Family Ranch (Reality – 7 x 60’)

Colin & Justin’s Street Swap (Lifestyle Pilot – 1 x 30’)

A half-hour design series where Colin and Justin show that design doesn’t have to cost a fortune. Every episode the designers make over a room using the homeowner’s existing furniture and transformable items swapped from neighboring homes to achieve their design goals. Missionstatement: One house in need, one street happy to help! Stylish attainable design packaged in a fun, upbeat, feel good format.

DOKI

(Documentary Series – 13 x 30’ HD)

(Animation - 26 x 30’ or 52 x 11’)

A new reality series that combines extreme competitions with outrageous food. In each episode, two fearless competitors go head-to-head in intense competitions at unique North American festivals like Georgia’s Redneck Games, Arizona’s Ostrich Races, and Quebec’s Greased Pig Races. The competitors will do whatever it takes to win, including riding ostriches bareback, crawling through mud and bobbing for pig’s feet. The stakes are high, as the winner gets bragging rights and the loser has to take on a gut-busting meal.

Join the Worldwide Expedition Club and follow Doki and his friends as they travel all over the world to learn about science, nature and the world we live in. Doki sure has a lot of questions and he flies all over the world to get the answers. Join Team Doki on their hilarious global adventures as they make cool discoveries and meet plenty of new friends along the way.

THE LIQUIDATOR

(Animation/Family - 1 x 52’)

(Documentary Series - 26 x 30’ HD) Flea market haggler. Storage locker trader. Pawnshop owner. When it comes to moving discarded merchandise Jeff Schwarz has done it all. Jeff has bought and sold his way up the food chain to become the owner of Direct Liquidation -- a 30,000 square foot warehouse chock full of ever-changing oddities, household goods, and urban artifacts that are going to make him rich. Armed with two cell phones, a wallet full of cash and his razor-sharp negotiating skills, Jeff is on the job seven days a week trying to buy low and sell high and most importantly, keep the goods moving.

ORVIS GUIDE TO FISHING (Documentary Series - 13 x 30’ HD)

Fly fishing has a special allure but can feel daunting, complex or inapplicable to local waters. This new 13 part series teaches the fundamentals of fly fishing for all species, in all waters. It demystifies fly fishing, makes it fun and clear to understand and, most importantly, emphasizes that it is both accessible and affordable for all people.

The Cat in the Hat Knows a Lot About Christmas! Inspired by the top-rated, fun-filled animated series, ‘The Cat in the Hat Knows a Lot About Christmas!’, this one hour holiday special brings our favourite characters together to discover the magic of Christmas!

The Cat in the Hat Knows A Lot About That!

(Animation/Preschool - 60 x 30’ or 120 x 15’) Dr. Seuss’ beloved Cat In The Hat comes to television with a perfect blend of entertainment and education. Fuelled by curiosity and imagination, The Cat and his friends embark on extraordinary adventures into the natural world.

You Gotta Eat Here (Food & Travel – 26 x 30’)

Charming, funny, and food obsessed host, comedian John Catucci sets out on a quest to find the most delicious, mouthwatering, and over the top comfort foods. John dives into the kitchens to find out what makes these signature recipes so damn good.

Mighty Mighty Monsters (Animated Kids Comedy – 2 x 44’)

These two animated specials revolve around a group of classic movie monster kids – Frankie, Gunnar and Vlad – who are expelled from monster school and sent to a human immersion program at a “normal” middle school, where they must try to fit in.

State of Syn

(Science Fiction Animation – 10 x 5’) This futuristic sci-fi noir motion novel for broadcast, web and mobile, and available in 3D, explores the mystery surrounding a global technology corporation that is manufacturing a highly addictive new sensory experience.

Totally Amp’d

(Kids Musical Comedy – 10 X 6’) This series for broadcast, web and mobile focuses on five teenagers with raw talent and their manager (Ashley Leggat, ‘Life With Derek’), who are brought together to try and win the musical competition of their lives.

Backpackers (Comedy – 8 x 6’)

This series for broadcast, web and mobile, available as a straight narrative or an interactive ChooseYour-Own-Adventure, follows best friends Ryan and Brandon as they race across Europe in search of Beth, Ryan’s missing bride-to-be.

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Hosts Julie and Rusty Bulloch who are the proud parents of two biological kids and over 25 nonbiological kids. Like the Tuohys family in the movie The Blind Side, the Bulloch’s open their hearts and home the difference being that The Bulloch’s haven’t helped just one kid, they helped 25+ build futures for themselves, including one (Bilal Powell) who we to play football for the New York Jets. The Bulloch’s give everything they have to give young adults teetering on the brink of self-destruction and often last chance of building a better tomorrow.

GET STUFFED

insidecanada Listings

Out of the Shadows

The Beet Party

Comedy Bang Bang

Sullivan Entertainment

ToonBox Entertainment

110 Davenport Road, Toronto, ON M5R 3R3, Canada Tel.: 1 416 921 7177 Fax: 1 416 921 7538 Web: www.sullivanmovies.com Stand: 18.05

26 Richardson St., Toronto, Ontario M5A 4J9, Canada Tel: 416.362.8783 Fax: 416.362.7914 E-mail: t.chapman@toonboxent.com Web: www.toonboxent.com Booth: 02.10 (Canadian Pavilion)

Executives Attending

Trudy Grant, President and Executive Producer Sharon Lee, Manager of Sales and Acquisitions Emily Hamilton, Sales Representative

Executives Attending

Thom Chapman, Vice President of Business Development and Sales

TOP EXecutivE

Kevin Sullivan, CEO

Thom Chapman, Vice President of Business Development and Sales

The Nutcracker

Tricon Films

Tricord Media

372 Richmond STr West, Suite 200 Toronto ON Canada. M5V 1X6. Tel: 1.416.341.9926 Fax: 1.416.341.0173 E-mail: info@triconfilms.com Web: www.triconfilms.com Booth: R33.08

1295 North Service Road, Burlington, Ontario, L7R 4M2 Tel.: +1 905 635 0968 Fax: +1 905 332 6655 E-mail: info@tricordmedia.ca Web: www.tricordmedia.ca Booth: 00.01 (Canada Pavilion)

Executives Attending

Jon Rutherford, VP Distribution & Business Development Lia Dolente, Manager, International Sales & Publicity Ashley Rite, Manager, Development & International Sales Tricon Kids Nick Solowski, Manager, International Sales & Acquisitions Liz Coucean, Acquisitions Executive

TOP EXecutivE Andrea Gorfolova, President

Out of the Shadows

The Beet Party

Through a melding of innovative scientific techniques and art connoisseurship, completely different paintings and important clues about the artists themselves are being uncovered under existing masterpieces by Rembrandt and van Gogh by materials scientist Dr. Joris Dik. Follow Dik, a Dutch “Indiana Jones”, on an ubiquitous quest that takes him from searching for a piece of the cross of Christ to the attribution of a “lost” Rembrandt painting in this exciting new documentary narrated by Donald Sutherland.

Five of the coolest beets are chilling in the fridge when something new and unexpected arrives. Curiosity piqued, they explore, experiment, and then celebrate with some serious beat-boxing skills!

(Documentary - 1 x 60’)

Anne of Green Gables Mini-Series (Drama - Four 2-part mini-series or 16 x 60’)

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This Internationally-acclaimed Emmy-award winning classic has been meticulously restored from the original negative in widescreen HD. The evergreen series follows the triumphant life of redheaded Anne Shirley from her adolescent struggles as an orphan to her triumphs as a young woman and teacher. The series concludes with Anne as an older woman (Barbara Hershey) revealing her secret life as a child before she came to the mythical Green Gables. A delicate epic romance -- full of wit, style, and emotional power. Lavishly photographed and costumed, the entire series is available in HD.

Road to Avonlea

(Drama - 91 x 60’ plus 120’ Xmas Movie) A gorgeous period spin-off series from Anne of Green Gables this four time Emmy-Award winning production revolves around the adventures of Sara Stanley, a wealthy heiress who is uprooted from her lavish upbringing in a big city and sent to live with relatives in the remote farming community of Avonlea on Prince Edward Island. This wonderful ensemble series was co-produced with Disney Channel. The entire series is available in HD.

(Musical Comedy – 104 x 2’)

The Nut Job

(Comic Adventure Family – 90’) After being banished to the city, the mischievous Surly Squirrel plans a nut store heist of outrageous proportions with his rat friend Buddy and gets caught up in a convoluted bank heist.

Bolts & Blip

(Comic Action Adventure – 26 x 22’) When average robots Bolts & Blip find themselves on the Lunar League of Robotic Sports they’re in over their heads as they battle formidable foes and the evil Dr. Blood

Comedy Bang Bang (Comedy Series - 10 x 30’)

‘Comedy Bang Bang’ packs character cameos, sketches, and nonstop comedic absurdity with some of the biggest names in Hollywood including Zach Galifianakis (‘The Hangover’), Seth Rogen (‘50/50’), Amy Poehler (‘Parks & Recreation’) and Jon Hamm (‘Mad Men’).

Bunk

(Comedy Series - 10 x 30’) ‘Bunk’ is an exciting new breed of “comedy game show” in which a trio of comedians compete in a series of bizarre challenges to win surreal prizes. Each week, contestants are armed with nothing more than their wits and fertile imaginations as they complete offbeat games and challenges to win a myriad of “non-charitable causes” such as the ability to travel back in time, having a priest supply an alibi, and trading lives with a baby.

Satan

(Feature Length Documentary) ‘Satan’ explores the influence of The Devil in film, television, literature, music and popular culture from the 1960s to present.

I Didn’t Do It

(Factual Crime Series - 7 x 60’) ‘I Didn’t do IT’ is a series that exposes the untold story (and personal tragedy) of wrongful convictions… one gut-wrenching case at a time. Narrated by Chris Noth (‘The Good Wife’, ‘Law & Order’, ‘Sex and the City’), ‘I Didn’t do It’ loooks beyond the investigations to reveal the harrowing personal stories and long-awaited redemptions of those brought down by an imperfect justice system.

Executives Attending

Katherine Lawler, Manager of Finance

TOP EXecutivE

Jan Di Clemente, Director License Sales

The Nutcracker (Ballet – 120’)

Delight in the beauty of this timeless classic, showcasing the superb talent of world-renowned National ballet of Cuba featuring the Canadian Ballet Youth Ensemble. Captured in stunning HD with 5.1 audio, this 2012 production features engaging interviews with the stellar cast and children from the production.

Pop Corn TV

(Comedy – 170 x 30’) Laughter is the best medicine and ‘Pop Corn TV’ brings you your weekly dose of smiles and laughter,with hidden camera antics, bloopers, comedy sketches, home videos and more.

Family Movies (MOW + 100 Titles)

Tricord’s library of movies of the week include movies with celebrities such as Joan Cusack, Kristen Bell, Dean Cain, Ed Asner and many more family favourites. All our titles are family friendly with high quality production and casting.

RocKid’s TV

(Animation – 26 x 30’) The ‘RocKid’s TV’ universe is centered around an imaginary TV network that airs fun and fantastic shows that teach kids about Jesus and the Bible. The series features animation, puppets, songs and live action skits created by award-winning children’s producers Phil Vischer and Bruce Stacey.

George Foreman Shine a Light (Reality Format – 13 x 60’)

In this one-hour, inspiring and entertaining reality show George Foreman introduces us to his passion for charities. We will get to experience first-hand what charities are doing to help others live life to its fullest potential.

Interview ttv

Gurus and Trendsetters Telemundo Internacional stands for telenovelas that travel the world with as much ease as they do in their own country. What new destinations await the company’s productions in this unstoppable journey? Format sales and new platforms are the two main trends, according to Marcos Santana. By Josefina Mezzera

Facing Destiny Telenovela

Twitter: @jmezzera jmezzera@todotv.tv

“Our search for co-productions is focused on finding specific projects. We become interested in them when we find extraordinary scripts.”

s the distribution division of one of Latin America’s largest TV production companies, Telemundo Internacional is arriving in Cannes to further consolidate its global image, with special focus on the European, Asian and African markets. Its telenovelas are already present in dozens of territories, which only encourages Telemundo Studios to create even more projects. “Our content factory has grown exponentially,” said Marcos Santana, president of Telemundo Internacional. “Together with Televisa and Globo, it’s currently one of the continent’s most important telenovela producers,” he added.

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Co-production has become a substantial part of the company’s business in recent times, with major productions developed in association with studios such as Sony Pictures Television (‘Maid in Manhattan’), TV Globo (‘The Clone’ and ‘Looks and Essence’, now in production) and Antena 3 (‘The Queen of the South’). How have the results been so far? According to the executive, there are plenty of new projects in the horizon: “We’ll soon be announcing an important new agreement to co-produce another series we have very high hopes for.”

Telemundo

is currently pre-producing ‘Pasión Prohibida’, the first Hispanic adaptation of a Turkish drama series.

During Natpe 2012, Telemundo already announced a new Alliance with Mexican company Argos. “We are producing ‘Precious Rose’, a new telenovela based on the hit Argentine series ‘Perla Negra’. In addition, we are currently preproducing an original idea written by Valentina Párraga called ‘La Patrona’”, he said. Both compa-

Marcos Santana,

nies will share the series’ production through a business model that, according to the executive, “has had excellent results so far.”

President of Telemundo Internacional

How can a company partner with Telemundo to ensure the success of its telenovela? “Our search for co-productions is focused on finding specific projects,” Santana said. “We become interested in them when we find extraordinary scripts.”

“No matter what territory or which window it airs on; as long as you have a fresh and innovative concept, success will come.”

TELENOVELAS AND FORMATS. Within its vast and eclectic content catalog, the distributor is coming to this year’s Mipcom with several strong projects. “We’ll be presenting new productions currently on the air, such as ‘Precious Rose’, ‘Fearless Heart’ and ‘ Facing Destiny’. We also have ‘Bitter Sweet’, a modern-day love story co-produced by Televen and Cadena Tres,” he said. The catalog also includes other titles such as the comedies ‘Pobre Rico’ and ‘I’m the Boss’, both produced by TVN Chile, a network for which Santana’s company manages the international distribution. All in all, this year Telemundo Internacional has clear goals to achieve at Mipcom: “We’ll try to sell our formats -both ours and TVN Chile’s- and promote format co-productions in Europe and Asia.” The executive also mentioned its plans to continue expanding the Telemundo network through cable operators in Europe and Africa. TWO MAJOR TRENDS. As an expert in global content distribution, Marcos Santana has the necessary tools to scan the current market and detect the trends that can foster his company’s expansion onto new destinations. He believes “telenovelas’ distribution has grown in two new ways: format sales and new platforms.”

region, thus losing their initial appeal due to an overflow of content. Yet, there are certain examples of products that never seem to lose their shine, as audiences keep coming back to watch new seasons. Is there a secret behind this type of success? “It’s hard to generalize it, since there are some examples such as ‘Operación Triunfo’ and ‘Big Brother’ which are very successful in some countries but soon start to lose viewers; while still remaining popular in other places,” he said.

15 times and the results are always great. Each market relates differently to each format,” he added.

“When it comes to fiction formats, we see numerous telenovelas have been adapted up to

The executive prefers to find projects with substance, and believes successful fiction series require “a great story”, while entertainment formats need a concept that’s relatable for each individual society. “No matter what the territory or region is like, or what the window is (pay TV, broadcast TV or online platforms); as long as you have a fresh and innovative concept, success will come,” he concluded. ttv

Bitter Sweet Telenovela

Precious Rose Telenovela

In regard to the development of new distribution platforms, the executive knows that in order to satisfy the international market’s demands, production companies must develop content “with top levels of production and unique stories, capable of engaging increasingly demanding audiences.”

In addition to telenovelas -the main Latin American TV genre- the executive also highlighted the array of entertainment formats in the market. The truth is the market is experiencing an unusual phenomenon, where tons of entertainment formats are being premiered in the

LEADING THE HISPANIC INDUSTRY’S GROWTH During Mipcom’s second day -Tuesday, October 9- the Carlton Hotel will welcome the 80 most influential executives from the international audiovisual entertainment industry, at the first “LATAM Global Dealmakers Networking Lunch.” Telemundo Internacional is sponsoring this event which seeks to promote international co-productions and media investments, both inside and outside Latin America. “It’s part of Telemundo Internacional’s mission to promote Hispanic content production around the world,” Marcos Santana explained to ttv.

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And the international format business is one of the main areas of business for Telemundo, which sees a growing demand for its telenovelas. “Once the programmer invests on producing telenovelas, there’s no turning back. It’s a noble genre that’s easy to program and distribute,” Santana explained. “We see a clear demand for high-quality, short productions.”

Executives ttv

TVFI Unveils Export Figures From September 9 through the 13th, the seaside French city of Biarritz hosted TV France International’s Rendez-Vous, which welcomed 64 French companies and close to 230 buyers from 55 different countries. Mathieu Béjot, the organization’s executive director shared the Gallic products’ export figures, which have managed to increase for the third year in a row.

Mathieu Béjot,

Executive Director, TV France International

By Rodrigo Ros

Twitter: @rodrigo__ros rros@todotv.tv

138/TTV MAGAZINE

rench content stands out in the insetting the venue offers,” said Mathieu Béjot, ternational market with successful executive director at TV France International. animated productions (which account for 32% of the worldwide saINTERNATIONAL MARKETS. Investing on les), documentaries (with 24.5% of content distribution is, now more tan ever, one the total), fiction series (18.1%) and formats of the main strategies promoting the growth (17.9%). These are the numbers revealed of the French economy. Markets such as by the annual report presented by the Mexico, Brazil, Colombia and Chile “When Centre National du Cinéma et de in Latin America; Canada, Japan traditional l’Image Animée (CNC) at the Renand some Northern African networks stop airing dez-Vouz in France, where close countries; continue to be the kids’ content or to 230 buyers met with Gallic dismost important destinations documentaries and tributors and content providers. for these productions. In 2011, distribute it through audiovisual content sales have their DTT platforms; it causes the prices to “Despite being present in every increased 4.8% to 110.6 million lower considerably.” content market across the globe, euros, according to the report and the commercial strategies presented by the CNC at the we roll out outside the year’s event. Considering the total amount many events; the Rendez-Vouz of exports (sales and pre-sales included), in Biarritz is still a key appointment for our the number rises to a 12.9% increase, thus partners within our schedule. This is because reaching 153.6 million euros. These results inat this event we can draw everyone’s attendicate the industry continues to grow; yet, the tion to our catalog, partly due to the relaxed numbers are not as high as those registered

back in 2007, when the market reached 118.8 million euros in content sales. In this scenario, the organization’s main goal is to ensure its companies are present in all the main markets, such as NATPE, which the French delegation attended after a six-year absence. “The balance following an event such as NATPE saw both positive and negative aspects. On the one hand, it was positive for us to return, and for Latin American and US companies to know we were once again offering our content catalog. It was also positive because it gave us the chance to reconnect with several buyers who only attend certain events such as NATPE or Mipcom. On the other hand, attending these markets entails devoting time and efforts to arranging meetings, at times with executives that are not necessarily interested in what we are presenting,” Béjot said. DIGITAL TERRESTRIAL TELEVISION. DTT offers content providers the chance to reach new markets through the increasing demand generated by these platforms. Yet, the executive believes this trend is not always perceived as a positive change. “Lately we’ve noticed DTT in Europe provides new business opportunities, which is obviously very positive for distributors in general. But we also see that, when traditional networks stop airing kids’ content or documentaries -which is our main strength- and distribute it through their DTT platforms; it causes the prices to lower considerably.” As far as Mipcom goes, Béjot estimates French companies’ attendance will be very important and that this year their content will be very successful worldwide. ttv

Executives ttv

Turkish Drama from North to South Local drama series ‘Kuzey Guney’ led the international expansion of Kanal D’s catalog of high-quality dramas, which currently reach all corners of the globe. Now, the production and distribution company is coming to Mipcom with new premieres which are set to travel down the same road. By Valentina Vinaja Twitter: @vvinaja vvinaja@todotv.tv

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Kerim Emrah Turna,

International Sales Executive, Kanal D

EXPECTATIONS. After taking the Eastern will continue to rule the international market: t’s hard to believe only seven years ago, European and Middle Eastern markets by “Formats seem to be the new trend but I perTurkish production and distribution comstorm, the company is now moving onto sonally don’t think that they will be reapany Kanal D closed its first international other regions such as Latin America, Asia and ching any more slots in prime time. deal. From that moment on, its sales Africa: “Our focus in 2013 will be Africa. It is I guess we have to focus more on have grown consistently, backed obvious that the African market is growing the scripted programming,” he by high-quality products produced “Viewers started rapidly and needs high quality content,” Turconsuming the said. in HD, written by top local screencontent in different na said. writers, and created with renowdevices, and as a DIGITAL DELIVERY. As one ned casts. result, we have The company is headed for Mipcom with of Turkey’s main networks, Kato produce 360º a vast content catalog composed by its hit nal D is focused on high-qua“The prominent feature of ‘Kuzey drama projects.” telenovela ‘Kuzey Guney’ and other series lity productions destined for Guney’ is that unlike almost all including ‘Fallen Angel’ and ‘Sultan’, as well traditional TV. Yet, the company’s other Turkish drama series, it is as its format ‘My Partner Knows’. “We’ll try to strategy also includes producing not just a Cinderella story,” said establish good relations with our potential programs that can be distributed in seKerim Emrah Turna as he descriclients during the market; we will be aiming veral windows: “Viewers started consuming bed the hit series, one of the main products to build strong relations with the Latin the content in different devices, and as a redriving the company’s notable growth. “In sult, we have to produce 360º drama projects,” American and Asian broadcasters,” he conthis project there are not only the best actors cluded. ttv he explained. like Kivanc Tatlitug, Bade Iscil, Bugra Gursoy, Merve Bologur and Oyku Karayel, but also the All in all, the executive believes the multibest scriptwriters in Turkey: Ece Yorenc and plying number of screens and devices is not Melek Gencoglu (‘Leafcast’, ‘Fatmagul’ and LATEST DEALS slowing traditional TV’s growth, where the ‘Forbidden Love’),” he added. Along with ‘Kuzey Guney’s interprogramming continues to improve and national success, Kanal D has signed productions are created entirely in HD. Still, The series is already on its second season, several distribution deals for its series he noted “the reality about the new devices which ranked “among the top 3 drama series ‘Fatmagul’, which will premiere in Greeforces us -the content providers- to take an in the last period. And even though it is a very ce, Croatia and Afghanistan. In addition, immediate and effective action. We, as Kanal recent production, it has already been sold to ‘Turkan’ was sold in over 20 French speaD, try to penetrate in all possible distribution more than 25 different countries,” Turna exking North Africa; together with several channels in order to have a direct connection plained. other titles sold to Kosovo, Pakistan, Iran. with our viewers.” So far ‘Kuzey Guney’ was distributed in 22 countries in the Middle East and North Africa, Iran, Bosnia & Herzegovina, Kazakhstan, MIPCOM 2012 PORTFOLIO Montenegro, Serbia and Albania. “A couple of major and world-renowned studios are inKanal D’s catalog to present at this year’s Mipcom is led by three series: ‘Kuzey terested in the scripted format rights of the Guney’, the story of two brothers’ struggle to survive in their own worlds. They have different project,” he said, and added: “We also have ambitions, different paths; the only thing they have in common is the girl they are both in love several negotiations with plenty of new tewith. Meanwhile, “’Fallen Angel’ is one of our most recent titles,” Turna said. “It is a periodic drama rritories.” with great production quality. Inspired by the famous author Orhan Kemal’s novel ‘Kötü Yol’, the story takes place in Istanbul, during the years of Turkish cinema in 1960s. ‘Sultan’ is also one of our The company’s business plan is based on recent titles. It started in early summer of this year.” In addition, the company will present a new the region’s current trends, such as popular format entitled ‘My Partner Knows’, an entertainment program that features lovers, engaged and genres, and new consumption habits and married couples and is aired every weekday. The couples that take part in the program find out platforms. In this sense, Turna noted dramas how much they really know about each other through their predictions and the games.

INNUMBERS 55,600 full-time

jobs were generated by independent film & TV production in Canada in 2010-2011.

49%

of those surveyed by analysts in the US said they would buy an Apple TV.

90% of pay TV

penetration in Brazil will be reached by 2018, as estimated by Anatel.

11.09 billion dollars was The Walt Disney Company’s net profit for their third fiscal quarter.

336,000

new pay TV subscribers were registered in Venezuela during 2012, according to Conatel.

97 million 142/TTV MAGAZINE

new pay TV subscribers will total the 7 largest LatAm markets by 2017, as reported by Dataxis.

SPAIN

Joining Forces to Stay Afloat Presented on Thursday, September 13 in Madrid by Jordi Bosch, president of Endemol Spain, and Óscar Cornejo, delegate counselor of Spanish production company La Fábrica de la Tele; The Future of Audiovisual Media report summarizes the results of a thorough case study conducted by the ESADE business school for Orange, which analyzed the current state of the industry through interviews to producers, network directors and analysts; and concluded networks must pull together to keep production companies from collapsing. According to the report, as Private organizations Mediaset España and Antena 3 cover 84.8% of the national ad sales market, any broadcast network would be lost between two private media giants and an RTVE without advertising, making it important for TV networks must work together and establish “new game rules” to keep the content industry from “collapsing.” The study also indicates there’s a clear uncertainty surrounding the future of TV, since digitalization and DTT may block the creative process as new networks find it safer to repeat successful formulas and franchises, or air reruns. Yet, TV still has room for growth, as Óscar Cornejo stated that while there’s less money to work with, “currently more TV is watched” and “viewers are more involved with the stories” through social networks and interactivity.

APPS

Shazam Expands Tagging to All US Shows The popular music-tagging app announced it will expand its TV presence, allowing viewers to “Shazam” any show in the US. Users will be able to use the app on any TV show to identify what show it is, and receive additional information on the cast, news, rumors, trivia, images and video. The platform will also provide a series of Social TV options, including the ability to share and comment on the show on Facebook and Twitter. For the time being, the new technology will be available solely in the US, working with over 160 channels, including cable, free-to-air and satellite. The app is expected to be available soon in the UK, Germany, Italy and Spain. “With more than a quarter of a billion people who have used Shazam worldwide, no other app has our scale when it comes to offering the opportunity to engage with the media that interests them the most, whether it’s music or television. And now, that experience is even better than before, enabling people in the US to engage with any show at any time,” said Andrew Fisher, CEO of Shazam.

Gallery tradeshow

NATPE Budapest 2012 June 26-28, Sofitel Chain Bridge Hotel, Budapest, Hungary

General View of NATPE Budapest 2012 at the Sofitel Chain Bridge Hotel

Amac Erol Us and Ezgi Ural (Kanal D)

Samuelle Proietti and Martin Prokes (Dramedy Productions) with Veronika Skriniarova (Eurokom Telefilm)

Kim Ji-Sou (MBC)

Rod Perth (NATPE) during the cocktail party organized by NATPE Budapest 2012

Eukene Aldekoa Betzuen and Xabier Zabaleta (Pausoka Entertainment)

Avi Armoza (Armoza Formats)

Mahir Cavus and Meltem Tumturk Akyol (TRT)

Kostas Sakkaris and Miltos Karatzas (Victory Media)

Gilda Demirtas (Echo Bridge Entertainment)

55 ttvme ,00 dian 0 ews.co (S ou rc e: Go og le

An al yt ics –

Hosted entirely by NATPE for the first time, and despite having a slow start with fewer attendees than expected -caused in part by the Screenings organized by majors outside the venue-; NATPE Budapest ended on a high note as new participants arrived and important meetings took place. According to the results published by the organization, 430 buyers and over 200 sellers were present at the Sofitel Hotel during the three-day event, where there low attendance from Spain, Latin America and France; was balanced by the numerous new players from Asia, India and the UK who arrived at the market.

Gavin Reardon (Incendo)

Anna Tleuzh and Inna Skibina (9TV)

Alisha Serold and Kristen Stanisz (Starz Media)

Claudia Sahab and Ricardo Ehrsam (Televisa Internacional)

Beatrice Rossmanith (Passion Distribution)

Elena Antonini and María Pérez Campi (Dori Media Group)

Lucy Le Gruiec (Novavision)

Julieta González (Artear Argentina)

Borbíró Géza (aTV) and Tibor Fórizs (RTL Klub)

Natalia Egorova and Oksana Drozdova (Channel One Russia Worldwide)

U (m niq on ue th vi Oc ly sit to be av ors r, er 20 12 ag ) e)

Executives ttv

Experts in Telenovelas Venevision International is arriving at Mipcom with a robust content catalog of its most recent telenovelas, variety shows, comedies and documentaries. ttv spoke to Miguel Dvorak, executive president and COO of Cisneros Group, who shared details on the company’s upcoming projects. By Gonzalo Larrea

Miguel Dvorak,

Executive President and COO of Cisneros Group

Twitter: @Gonzalolarrea glarrea@todotv.tv

nternationally renowned for its expertise The Venezuelan company is already prepain telenovelas; Venevision International is ring three new projects with the Hispanic US arriving at this year’s Mipcom with a vast network, while also analyzing three other pocatalog full of new and successful tential co-productions. productions within its star genre. The Venezuelan company seeks to Meanwhile, in regard to new plat“The digital continue taking its best products forms and devices, the executive ecosystem has become much to international audiences, and assured the digital industry is more complex, continue growing in key markets the area with greatest growth with new windows such as Europe and Asia. potential for the company, which and a new is already distributing its content dynamic.” This time, its catalog’s main prothrough major streaming sites. ductions are ‘Rosario’, Venevision “The area with the most room for Productions’ new telenovela, ‘My growth is, unquestionably, digital platEx Wants Me’, ‘Los Secretos de Lucia’ and ‘The forms. Part of our content is now available on Love Curse!’. video streaming services such as Hulu, Netflix and YouTube,” he said. “We are presenting two new drama productions for the international market; both co“We see it as new opportunities to take enterproduced with Univision Studios. The first is tainment directly to our audiences. I’ve said it ‘Rosario’, produced entirely in HD in our stuon numerous occasions; the ecosystem has dios in Miami,” Miguel Dvorak, president and become much more complex, with new winCOO of Cisneros Group, told ttv.

dows and a new dynamic. The challenge is to make sure our content is present in each one of those platforms,” he said.

Los secretos de Lucía Telenovela

Rosario Telenovela

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It’s an original story written by Alex Hadad -famous author of the international hit series ‘Eva Luna’- and features Guy Ecker, Itahisa Machado and Lorena Rojas. “We also have ‘Los Secretos de Lucia’, the first HD telenovela produced in our Venezuelan studios in collaboration with BE-TV in Colombia and Univision Studios,” he said and noted said telenovela was filmed 70% on location in different territories across Venezuela, Colombia and the US. As far as the company’s co-production deal with Univision goes, Dvorak stated it’s “still working great,” since Univision “understands its audiences’ preferences perfectly and we know how to produce content that satisfies those needs.”

Lastly, the executive highlighted the organization’s desire to expand its programming to other genres outside telenovelas. “We want to increase our business in other areas, such as non-fiction products like talk-shows, and once again invest in new reality shows. That’s where most of our potential co-production projects are aimed,” he said. The company’s catalog to present at the upcoming Mipcom already includes several variety series such as ‘Bikini Destinations’ and ‘Latin Angel Lovers’; as well as the comedic shorts collection ‘Home Videos & Bloopers’, the comedy series ‘Laughing Out Loud’, extreme sports show ‘Extreme Sports’ and the documentaries ‘Animal Atlas’ and ‘Platinum Documentary Series’. ttv

Q&A ttv

Innovative Think Tank

In an industry full of new platforms, technologies and formats, Talpa is focusing its creative skills to rollout a brand strategy on traditional TV, before adapting it to the digital world. Pim Schmitz, CEO of Talpa Holding, spoke about the upcoming trends in entertainment formats. By Valentina Vinaja

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Twitter: @vvinaja vvinaja@todotv.tv

“It’s now essential to attract viewers by offering them a complete package in order to fully connect them with the show.”

The Voice Of... Holland Reality

n the long-running business of creating effective ideas for entertainment formats and spreading them worldwide, Talpa is at a stage of consolidation. Its flagship brand ‘The Voice’ has excelled all expectations, reaching screens in varied and dissimilar territories. Now, content is not a problem anymore; the company’s next challenge is digital. Interactivity, digital integration, mobile content are concepts which Pim Schmitz refers to in the following article. All formats go through a natural cycle: they evolve and are renewed. What kind of format could be the next big trend among audiences? That would have to be a format that continues to expand TV shows

into multiple platforms with a live play-along option. It’s now essential to attract viewers by offering them a full package in order to fully connect them with the show. It’s incredibly important to create a community and engagement around a show and thereby boost ratings. ‘The Voice’ alone has more than eight million Facebook friends worldwide and nearly two million Voice-related tweets per week. What programming trends do you currently identify? What kind of programs engage audiences around the world and why? Many broadcasters in Europe tend to be risk-averse and therefore extend their run on existing formats, revamping shows they’re al-

ready airing. We’re also seeing a trend toward bringing back proven formats, even those that have been around for a very long time, such as ‘The Price is Right’, for example.

Pim Schmitz,

In today’s multiplatform, multitasking and multi-device scenario, what does your creative process entail? There is a strong focus on digital integration, live interactivity and innovation reflected in many of our shows. The company’s strategy is focusing on programs from a brand management perspective. We evaluate new formats to see if we’re already able to integrate all new ideas and business elements right from the start. As society continues to change and evolve, so must the industry. We have to keep innovating to succeed.

“We’re also seeing a trend toward bringing back proven formats, even those that have been around for a very long time.”

As audiences get fragmented across different devices and screens; how do aim to draw viewers to content? First and foremost, the starting point in everything we do is creativity with a primary focus on developing content for traditional screens. That said, in developing the content we always take into account the digital integration possibilities and potential and when adding to the format make sure it will be a format integrated element in the total proposition. The viewer/ consumer is highly interested in active participation –in whatever form– when looking at content, devices like the tablet are enabling that and we need to make sure that we deliver that experience. What resources do you use to get innovative ideas for your formats? In addition to your creative team, do you generally organize pitching sessions to acquire new projects? Talpa continues to focus on creative content development, the company’s number one priority. Talpa’s creative think tank is based in-house and consists of more than 20 people specialized in all kinds of genres. Aside from new shows, our aim is to continually refresh formats by implementing new rounds and ideas. The best deals for us are recurring deals, which means we’re making our clients happy. The company’s quest The Winner Is Reality

CEO of Talpa Holding

Body Talk Reality

for the longevity of its shows is reflected in the first edition of ‘The Voice Exchange’, held in Amsterdam the end of August to give producers of the show worldwide the opportunity to share best practices with colleagues.

MIPCOM 2012 At this year’s event, the company will promote ‘Beat the Best’, its most recent talent show, and ‘The Winner Is…’, its prime time vocal talent show featuring game show elements. In addition, it will present two factual formats: ‘Body Talk’, Talpa’s new up-close and personal health quiz; and ‘Part of You’, on which unique meetings take place between grateful organ recipients and their donor’s family members.

WORLWIDE VOICE New countries will be producing and broadcasting a local version of ‘The Voice’, such as Switzerland, French-speaking Canada and Russia. ‘The Voice Kids’ is also really taking off on the back of the success of ‘The Voice’, with deals in multiple territories around the globe including US Hispanic. Schmitz also announced a number of new deals for the singing game show ‘The Winner Is…’ with, among others, NBC picking up the rights for the US. “We will soon also announce deals of our hit format ‘I Love My Country’, already on air in 30 countries”, he added.

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Talpa’s entertainment format ‘The Voice’ was recently adapted in numerous countries including Argentina, UAE and China; scoring very high ratings. What differentiates this format from other talent shows? First of all, ‘The Voice’ really is all about the voice and not the looks, which sets it apart from all other talent shows. Only the best singing talent is good enough to enter the “Blind Auditions.” Instead of being laughed at, they’re given constructive criticism because they’re already really good. High quality is at the core of all aspects of the format, including the talent, the coaches and the technical side. Also unique is that, if more than one coach is interested in a contestant, the power shifts and the talent chooses his or her own star coach. On this show, the coaches are true coaches: they work closely on a dayto-day basis on improving the talent of their teams. And right from the start, ‘The Voice’ has also had a strong focus on digital integration and innovation. When the first series of ‘The Voice of Holland’ aired and was a huge ratings success, we knew we might have an international hit on our hands. That was confirmed as soon as broadcasters all over the world wanted the format; so far nearly 50 local adaptations of the format have been picked up by international broadcasters. ttv

Executives ttv

Upscale Fiction With a vast content portfolio of TV series, telenovelas, formats and original productions; Telefe is headed for Mipcom with the clear mission to add new territories and markets for its slate of titles, including ‘The Graduates’, ‘Candy Love’ and ‘The Man of Your Dreams’; as well as projects that are yet to be premiered. By Gonzalo Larrea

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ollowing an impressive performanestablished in those countries that are most ce in its own country as the year’s appealing for the company. “We set goals highest rated network; Telefe is for ourselves to achieve at Mipcom now arriving at Mipcom to in regard to creating relationships present the international “The idea is to give with new partners in places we market with a renowned content are not present in, and end added value to Argentine content catalog that has allowed it to bepending negotiations in the come an undisputable leader in through upscale fiction Middle East and Europe,” he series such as the Argentina. said. ones we are currently producing.” Fiction series such as ‘The GraThe executive also highlighted duates’, ‘Candy Love’ and ‘The new opportunities in the US HisMan of Your Dreams’ are all inpanic market, as well as the success cluded in the company’s portof Telefe’s products in Europe. “We are folio, along with other projects that have working extremely well with the US Hispanic not been premiered yet, and are expected market, where several new opportunities are to achieve the same level of success as its appearing. The market’s players are multipredecessors. plying and MundoFox presents a new window for us to distribute our taped content and formats,” he said. “This year, Telefe has developed an interesting collection of products; from series to telenovelas, entertainment formats and ori“In Europe -despite the current economic criginal content which we’ve been working on sis- we are working successfully this year, getsince last year. We have new projects such ting positive feedback from buyers. The fact as ‘Qitapenas’ (music series), ‘Dirty Old Man’ is we are working very hard in Eastern Europe (comedy series) and two seasons of ‘The Man and now in the Middle East. Clearly, our goal of Your Dreams’. In addition, we believe ‘The is to give added value to Argentine content Graduates’ and ‘Candy Love’ still have plenty through upscale fiction series such as the of room for growth,” Fernando Varela, head ones we are currently producing. This gives of International Business at Telefe, explained us a privileged position in the most important to ttv. markets,” he explained. “’The Graduates’, ‘Candy Love’ and ‘The Man of Your Dreams’ have been the stars of our catalog during these last few months, while ‘The Chairwoman’ is also starting its own journey,” he said. In fact, there are several local adaptations of these formats in numerous countries such as Mexico, Colombia, Chile and the Middle East; while additional versions are currently being negotiated. Telefe’s main focus this year is to expand its business onto new territories, and become

Fernando Varela,

Director of International Business, Telefe International

Twitter: @Gonzalolarrea glarrea@todotv.tv

has not really invested in, yet intends to do so in the near future. “While it’s something we haven’t focused on, it’s a short term goal for us. I believe it’s an opportunity to join forces and combine financial and creative resources. We set it as an objective for the next few months,” he concluded. Graduates Romantic comedy

ttv

Lastly, the executive spoke about the possibility to co-produce content; an area Telefe

TELEFE AND UNDERGROUND TO EXTEND ALLIANCE On September 13th, Telefe channel and production company Underground confirmed they are extending their production agreement, which will allow both companies to continue producing telenovelas, stand-alone series and other contents during the next two years (2013 and 2014). The partnership has already borne out hits like ‘The Succesful Mr. and Mrs. Pells’, ‘Lo que el tiempo nos dejó’ and ‘Graduates’, one of the most popular programs this year in Argentina. Telefe and Underground also created titles like ‘A Year to Remember’ and ‘WAGs: Love for the Game’.

TTVProduction report LATIN AMERICA

Time for

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Consolidation In the last five years, TV production in Latin America has managed to secure a leading position within the global context through an endless supply of programming that has reached the highest international quality standards and has won prestigious awards across the globe. By SebastiĂĄn Amoroso Twitter: @sebamoroso samoroso@todotv.tv

atin America, known to this day for its experience in the field of telenovelas, the regionâ&#x20AC;&#x2122;s quintessential genre; is now proving its ability to adapt to the endless possibilities provided by broadcast TV, pay TV, the growing popularity of DTT services, mobile platforms, fragmented audiences, interactive content and worldwide distribution. Thus, TV consumption continues to grow on par with the tools to evaluate the investmentsâ&#x20AC;&#x2122; performance; risk margins are expanding, yet so are the technical abilities and know-how of those in charge of creating, producing and adapting original ideas to then be copied in other territories, both inside the continent and overseas (see related articles in this insert). The region is currently producing all types of audiovisual genres, from classic dramatic telenovelas to the most outlandish ones which combine comedy with the local cultures; from highbudget fiction series with major productions and ensemble casts to all kinds of reality shows and entertainment formats. Over the last five years, TV production in Latin America -broadly generalizing- has managed to learn through daily experiences and the increasing competition in the local, regional and international arenas. In addition, the technological advances which have reduced production costs, as well as the increasing demand for audiovisual content from broadcast and pay TV viewers, have also played a part in this evolution. Latin America has markets that stand out for their production skills, content consumption and distribution, such as Brazil, Mexico, Argentina, Colombia and Chile. These markets

“Latin America has markets that stand out for their production skills, content consumption and distribution, such as Brazil, Mexico, Argentina, Colombia and Chile.”

have established themselves as the main audiovisual production hubs in Latin America, promoted by powerful media organizations as Televisa and Azteca in Mexico, TV Globo and Rede Record in Brazil, Caracol Televisión and RCN Televisión in Colombia, and Telefe and Artear in Argentina. These Latin American countries create and develop content that draw viewers in their respective markets, and are later distributed across the region, as well as the US, Europe, Asia and Africa. Major international companies have docked in these territories with the clear goal to promote their production on a pan-regional level, while also nurture their production factories and other international markets. Such is the case of companies like Sony Pictures Television, Fox International Channels, Disney Media Distribution Latin America, HBO Latin America Group, Endemol, FremantleMe-

dia Latin America, Eyeworks or Zodiak Rights; just to name a few. These production companies are currently developing original production and adaptations for broadcasters and pay TV networks in the region; while also producing programming for other international markets. Examples such as TV series ‘Mental’, produced by FoxTelecolombia in Colombia for the US market; ‘Desperate Housewives’ developed by Polka Producciones in Argentina for numerous Latin American and Hispanic US channels; or entertainment formats produced by Endemol in Argentina for the whole world; are simply a few examples of the growth in the region’s TV production industry. Clearly, Latin America has become an audiovisual content producer, responsible for several successful projects, as well as a market that offers diverse production services for the entire world. Proof of this are the original ideas

and productions developed in the region, and the talent the continent has to offer. In the following insert, ttv presents an overview of some of the region’s main production companies. ttv

TTVProduction executives

Content Gears

Caracol Television’s production company has one main goal: to become international. From Colombia, the producer seeks to enhance its content distribution and search for new partners to develop new co-production models.

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olombia’s Caracol Televisión is a peals to all audiences,” Felipe Boshell, Geprivate national network that has neral Manager of Production for Caracol produced most of the grounTV Colombia, said to ttv. “At Caracol dbreaking and successful Television we continue to grow “The Colombian shows in the country’s with original productions. Over production TV (telenovelas, series, dramas, kids’ the last few years, we’ve been industry is very programming and entertainment developing original fiction and dynamic formats). Today, the network is a drama series.” and true content factory that has expancompetitive.” ded its footprint across the globe Caracol Television’s production through its international distribucompany works like any other indetion division and global channel. pendent producer, with its main client being the Caracol Television network. Yet, it “The Colombian production industry is very also works with other channels in both broaddynamic and competitive. The market concast and pay TV, designing different products tinues to grow and prove its products sell and searching for new markets, partners and internationally; it’s global content that apcontent.

Felipe Boshell,

General Manager of Caracol TV Colombia’s Production Company CONTENT AND NEW PLATFORMS In light of the current development of new platforms such as TV Everywhere, transmedia storytelling, consoles, mobile devices, 360, webisodes/mobisodes and apps; how is the producer preparing to work with them? “We still don’t see this evolution in the Colombian market. We do broadcast, if you can call it that, on our online platform caracoltv.com where the audience can access all episodes of our productions, and we are making progress on that,” said Felipe Boshell, and added: “Mobility is a fact, but mobile content from the point of view of long-running products such as telenovelas, series and entertainment programs, is something we are not seeing yet; and we still haven’t focused on creating episodes for online or mobile devices.” “The production company has one main goal: to become international, look for partners outside the country to co-produce with,” he said. “This certainly changes the production model as well as the content itself; and we are working very hard on that. We’ve already signed several interesting co-production deals, which entails a more flexible model than the previous one. Today, we’re more flexible in regard to how and where we produce content, since there are partners who are interested in creating it in one place rather than in another, or that work with different platforms.” Lastly, Boshell stated the company has its eye set on the international market. “We’ve been creating universal content that travels well for several years now. That’s an essential part of Caracol Televisión’s successful international sales,” he concluded. ttv Pablo Escobar: the Drug Lord Series

TTVProduction executives

World-Class Content As a division of RTL, one of Europe’s main radio and TV organizations, the company has a solid presence in Latin America and US Hispanic through an internationally renowned content catalog.

Jack Alfandary,

SVP Latin America & US Hispanic, FremantleMedia Idolos Brazil Talent show

The company works closely with all the broadcast TV networks in the region, as well as pay TV channels. “FremantleMedia has several business areas in which it’s found great success, including entertainment formats, realities and game shows. Yet, our success is not limited to those genres. Our dramas, kids’ shows, digital content and social networks are also a source of success,” he said. The executive believes the content production business as a whole still has the same essence it used to have in regard to coproductions, partnerships and distribution agreements. “In addition to business models, the production industry is affected by technology and the new trends in digital video which, through HD cameras and lower costs, has made way for higher quality and opened doors for independent producers to enter the business,” he concluded. ttv

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de high quality products to its audience, remantleMedia’s international prooffering the best world-class TV that’s duction division is responsable for customized to the local tastes and the most popular entertainment preferences. In addition, oriformats, dramas, series and “Local ginal production is good for factual programming. Freand original product integration, which mantleMedia (which includes talkbacproductions are gives advertisers an alternatikThame, UFA and Grund, among other going through ve way to communicate with companies) works in 22 countries and an excellent consumers,” he said. is one of the world’s largest media time.” companies; creating close to 10,000 FremantleMedia’s catalog has programming hours a year, with over some of the most popular, long60 formats and 300 individual titles. running formats, and is currently producing shows on an international level, such as “Local and original productions are going ‘Idols’, ‘The X Factor’, ‘Got Talent’, ‘My Name Is’, through an excellent time,” Jack Alfandary, ‘Neighbors’, ‘TheBill’, ‘Family Feud’, ‘The Price Is SVP, Latin America and US Hispanic, said Right’, ‘Farmer Wants A Wife’ and ‘Hole in the to ttv. “Original production and local forWall’. mat adaptations allow networks to provi-

DTT’S MAIN CHALLENGES The deployment of DTT plays a key role in the development of new opportunities for producers in the region. “DTT’s most notable effect is increasing the existing offer,” Alfandary said, and added: “Nowadays, we not only have independent producers capable of creating high-quality content, but there’s also non-professional individuals who produce content and can distribute it online. Thus, quality content produced by renowned companies, and products created by local independent producers and the audience itself, compete side by side for the same viewers. In this scenario, the final user is clearly benefited, as the offer is larger and extremely varied.”

TTVProduction executives

Audiovisual Symphony HBO Latin America is becoming established as an important original content creator in the region. With over a dozen productions completed so far, its EVP of Acquisitions and Original Production shares details on its upcoming projects.

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ver since ‘Epitafios’, through which in Mexico, the programmer is now producing the programmer embarked upon the series ‘Señor Ávila’, created by the Slavich a long journey to find and develop brothers and developed by production comoriginal projects in the region; pany Lemon Films, owned by Billy HBO Latin America Group and Fernando Rovzar. In addition, (LAG) has managed to transform HBO LAG recently announced “The model the whole local production conthe return of ‘Capadocia’ with we follow simply cept, showcasing Latin America’s its third and final season. The consists of producing talented professionals and reseries was once again prolocal content that’s sources along the way. “We’ve duced by Mexican company relevant for HBO’s developed a dozen projects in Argos, and directed by Pitipol audience [...] That’s the region between fiction and Ybarra, Carlos Carrera, Javier the goal and we are achieving it.” non-fiction series. The truth is Patrón Fox and Moisés Ortiz it’s been a great ride -not just Urquidi. for us, but also for the producers we’ve worked with- and we’ve “The model we follow simply consists learned a lot about how to create TV series,” of producing local content that’s relevant for said Luis Peraza, EVP of Acquisitions and OriHBO’s audience; which is one of the network’s ginal Production. main assets. That’s the goal and we are achieving it,” he concluded. ttv The executive praised the region’s creative talent and its ability to develop projects, most of which have been very ambitious. Brazil and Mexico are its main content factories in Latin America, followed by Argentina and Chile, where the programmer has already finalized several projects. Among those productions currently in development, the executive highlighted ‘O Negócio’ in Brazil, a 13 one-hour episodes series created by Luca Paiva Mello and Rodrigo Castilho. Produced by HBO Latin America Originals and production company Mixer, it will be filmed over 26 weeks in more than 100 locations across the city of San Pablo. It will be directed by Luca Paiva Mello. Meanwhile,

Profugos II Series

Luis Peraza,

EVP Acquisitions and Original Production at HBO Latin America Group BRAZIL’S ORIGINAL PRODUCTION QUOTAS HBO has been developing several original productions in Brazil, a market currently ruled by a new pay TV law which determines minimum amounts of local content in the country’s cable networks. “In general, I believe it’s a law which is very beneficial, while also being somewhat questionable,” Peraza said, and added: “The beneficial aspect is that it promotes local production; and the questionable side is that the mandatory content quotas force programmers to include local programs in their lineups. This doesn’t necessarily promote quality production as they add content to abide by the law, and not necessarily to create proper products for their networks.”

TTVProduction executives

Cutting Edge Production

Pol-ka Producciones is one of Latin America’s leading production companies, with more than 6,000 hours of fiction formats, including telenovelas and series in all genres.

Fernando Blanco,

CEO of Pol-ka Producciones

he Argentine-based production “Pol-ka develops close to 400 hours of original company has distributed seTV productions a year for Channel 13 veral of its shows and TV in Argentina, which then distribu“Pol-ka develops formats all trough Latin tes worldwide,” Fernando Blanco, close to 400 hours America and Europe. It CEO of Pol-ka Producciones, of original TV has signed major deals in Mexico, said to ttv. This means that the productions a year and provided its production servicompany has a volume deal for Channel 13 in ces for renown companies such as with Channel 13 (El Trece), with Argentina, which Disney to develop series such as original fiction productions for then distributes worldwide.” ‘Violetta’ and ‘Desperate Housewibroadcast TV as their most profives’, HBO Latin America Group (‘Epitable genre. tafios’); Fox International Channels (‘Mujeres Asesinas’); and Colombia’s RCN (‘VaFrom its very begging, this production comlentino, el Argentino’). pany has been notorious for their cutting

AN OUTLOOK ON THE FUTURE In light of the rise of emerging digital platforms, Pol-ka Producciones is “in constant negotiations and analysis, open to working with content providers for these new platforms in order to find new business opportunities,” said Fernando Blanco. In this sense, the executive predicts a positive 2013: “I believe Latin America is constantly growing, hence I have high expectations for our future projects,” he concluded. edge production model, not only in Argentina but in the rest of the continent as well. “Polka holds its place at the forefront of the production industry by making use of the latest technology available” Blanco explained. “The distribution of content over new platforms, such as online channels, is a new alternative generated through globalization,” he added.

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Along these lines, this production company has also developed several co-productions. “What we find most profitable is to create productions aimed at the local broadcast TV market, while also pre-selling the rights for other territories, platforms, or cable,” the CEO stated. “Our other approach is providing the resources such as -script, production equipment and technology-, to reduce production costs, and relinquishing certain rights,” he added. Lastly, the executive said that Argentina and Pol-ka have been very successful in distributing their content in Latin America, as well as the rest of the world. “Latin American talent is becoming more relevant for the international market, becoming a real source of fiction content,” he concluded. ttv Los Únicos Series

TTVProduction executives

Renowned Entertainment Argetine producer Ideas del Sur has been focused on creating and developing entertainment programs over the last few years; becoming the country’s most successful production company within that genre.

Mariano Elizondo, General Manager at Ideas del Sur Bailando Por un Sueño Talent show

The producer has also developed reality shows such as ‘Soñando por Bailar’, which allowed the winning contestant to become part of ‘Bailando por un Sueño’; and ‘Soñando por Cantar’, which travelled across the country in search of the best singers. As far as international entertainment productions go, the executive believes Argentina is at the forefront of content creation and development. For instance, Ideas del Sur “created the ‘Baila Argentina’ format; a dancing competition in which entire cities competed together,” he said. Through a deal with 2waytraffic, the format was produced by TV Globo in Brazil and Gama in Ecuador; while also being distributed in the Ukraine and the Philippines. “We have excellent international partnerships and our products are distributed in Argentina and the entire world,” he concluded. ttv

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neral manager of Ideas del Sur Producciones, roduction company Ideas del Sur told ttv. specializes in developing entertainment programs, being the While the production company has main source of this type of created successful fiction series programming for El Trece “We have in the past, its business is now (Artear), one of the broadcast TV excellent mainly based on entertainment. networks currently competing to international partnerships and “Producing fiction series is sothe leader in Argentina’s TV marour products are mething we haven’t done sinket. The producer develops close distributed in ce 2010. It’s actually a matter of to 30 content hours a week for the Argentina and the strategy,” he said. “We are now network. entire world.” focused on entertainment content for Canal 13, and Pol-ka Producciones “Everything we produce is done for is responsible for the network’s original Artear. We are currently producing fiction series. In addition, given our company’s ‘Show Match’ for El Trece’s primetime, ‘Este es infrastructure, we feel more comfortable focuel Show’ for the afternoon timeslot, ‘La Cocising on a single business area, which currently na del Show’ which airs on Saturdays; ‘Sabado is entertainment, and staying out -for now at Show’ for Saturday nights and ‘Cantando por least- of the fiction genre.” un Sueño’ on Sundays,” Mariano Elizondo, ge-

PREVALENCE OF LOCAL PRODUCTION The vast majority of the programming in Argentina’s two main TV channels is completely original. “Artear’s productions are created by Pol-ka Producciones, Ideas del Sur and Endemol Argentina, which entails a great amount of local production,” Elizondo said. Meanwhile, “Telefe, which is our main competitor, also broadcasts original productions, especially during primetime on weekdays and weekends,” he said. In addition, América network “has original entertainment series and talk shows; while the channel with the least amount of original content is Canal 9,” he explained. In this scenario, “there’s plenty of new programming created with global ideas,” he concluded.

TTVProduction executives

Dream Factory Telemundo Studios, a division of Telemundo Media -member of the NBCUniversal/Comcast family-, produces 3,000 hours of content a year between drama and entertainment series. Creating programming from its Miami studios, the company’s productions currently reach screens all over the globe.

Joshua Mintz,

EVP Fiction Programming and General Manager of Telemundo Studios

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elemundo is one of the world’s lea“Miami has a solid production industry that ding Hispanic content provianswers the current content demands, ders. With production stucontributing to the development of dios in Miami and a staff great talent and generating high “The drama of over 400 employees; competition standards,” he said. series’ production it produces more than 1,000 hours “Our products have a brand and market in Miami of telenovelas and 2,000 hours of image that’s very well defined and is more robust entertainment programming a embraced by our main audience; than ever.” year. the Hispanic US market. Another key factor is that, while we produce in Miami, we have the ability to create “The drama series’ production martelenovelas anywhere in the US. This means ket in Miami is more robust than ever. Teleour stories are not necessarily based mundo is currently producing three on Miami. For instance, we have telenovelas simultaneously,” a story set in Los Angeles, one Joshua Mintz explained to in Chicago and one in New ttv, and added: “There are York,” he said. two or three production companies developing several telenovelas each. I’ve been working in Miami for 12 years now, and if back when I first got here someone had told me I would be producing six telenovelas at the same time, I wouldn’t have believed it. It’s really a great time for local production.”

PRODUCTION FACILITIES Telemundo Studios’ installations offer numerous production services, including a team of 400 professionals who work with production and editing equipment of cuttingedge technology. In addition, its Production Design division works round the clock, creating perfect stages to develop each story. “We are currently recreating a New York neighborhood in our back lot. It was designed for ‘A Maid in Manhattan’ and is now being used for ‘Facing Destiny’,” Joshua Mintz said. Through Telemundo Internacional, a division of Telemundo Media devoted to selling and distributing original content for the network; new ideas in content development and distribution are created, generating innovative business opportunities for platforms other than traditional TV. Meanwhile, the company manages its co-productions through Telemundo Internacional, led by Marcos Santana. “Each co-production is a different marriage. We have worked with Sony, Globo, Caracol and each of those designs has acquired a life of its own. I believe in co-production since the creative exchange is very positive, and always enriches the final product, not just from a creative point of view, but also through resources. An important element in co-production is precisely the talented professionals who meet around the table and come up with new ideas,” he concluded. ttv

Precious Rose Telenovela

TTVProduction executives

A ‘Glocal’ Production Hub With close to 2,000 content hours a year, Endemol’s business in the Southern Cone includes local productions for broadcast TV, pan-regional productions for pay TV, and production services for major formats provided to the main networks in Europe, Asia and the US.

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ndemol Argentina is one of the In regard to the production company, the execountry’s leading production comcutive noted Endemol Argentina is “a large panies. A part of Endemol Group, independent producer which has worked present in over 25 countries, with all four private broadcast TV chanthe producer works with all nels; even three of them at the same “The market TV genres: entertainment, fiction, time.” The company currently works is very realities and news, among others. with both Telefe and Artear. “We active and In addition to the shows on the air also have a strong presence in the competitive.” in Telefe and Artear, the producer international pay TV market as we provides content for pan-regional continue to produce for Discovery, leaders such as Discovery, History with whom we’ll premiere ‘Batalla de inChannel and Turner; while also offegenios’ during the last quarter of 2012. With ring international production services for Turner we are about to launch ‘Extreme Make some of Endemol’s biggest formats such as Over Home Edition’, and with History Channel ‘Wipeout’ and ‘Fear Factor’. we produced ‘Milagros decodificados’ for its network A&E. The two fronts are very important for our development,” Kweller said. “The market is very active and competitive. The development of new networks and the As far as new production and business models growth in content variety give way to a complex dynamic, which forces us to outdo ourgo, the executive explained the company is selves in order to move forward,” Martín Kweworking to combine TV with the internet and ller, Managing Director of Endemol Argentina, social networks, as well as content for advertisers. “It’s still a trial phase where there’s a lot explained to ttv.

Martín Kweller, Managing Director, Endemol Argentina

PRODUCTION SERVICES Production company Endemol Argentina provides production services for third parties. It currently works with 4 studios, totaling over 2,000m2. In addition, the company has 4 HD studios, exterior units, 16 editing booths, in-studio and exterior lighting. The producer also has a professional staff of 350 people.

to test out, but it also presents very interesting opportunities for content providers,” he said. In addition, Endemol Argentina has had several positive experiences working with the evolving co-production model: “With Undergroung, despite the fact that it belongs to the same group, we co-produced several fictions. We are about to create a telenovela with El Árbol and a reality series with Madarina Producciones,” he said, and added: “Our experience as production service providers for the international market has given us a great base to learn how to work as a group. There isn’t a more effective way in general; each case requires a distinct model that adapts to the specific needs.” Lastly, the producer has also had excellent results selling ready-mades and formats. “’The Succesful Mr. and Mrs. Pells’ was very successful; we sold the format in several countries to be adapted locally as well as the ready-made product, and even provided production services for Televisa to shoot it’s own version called ‘Los Exitosos Pérez’ in Argentina,” Kweller said. “Our entertainment format ‘XXS’ was sold in 9 countries which came to Argentina to film it in our set. The last season was produced for China,” he concluded. ttv Extreme Make Over Home Edition Reality show

JOINT VENTURE

INNUMBERS

Zodiak Expands into Latin America

2 millones

de iPhone 5 vendió Apple en 24 horas.

2,8%

creció el consumo de televisión en España entre 2011 y 2012, según Media Team.

4.300 millones

de US$ recibió Yahoo por la venta de parte de sus acciones en Alibaba.

250 millones

de personas utilizan Shazam, la aplicación de reconocimiento de música que ahora se lanza a la TV.

4,38

172/TTV MAGAZINE

horas diarias de programación en directo miran los estadounidenses, según Nielsen.

4,8%

crecieron las ventas internacionales de programas de TV franceses en 2011.

CONTENTS

WWE

Smacks Mipcom Down World Wrestling Television International, the WWE’s distribution arm, will be present at Mipcom 2012 with a whole array of renewed fighting content, featuring its flagship shows ‘WWE Superstars’, ‘SmackDown’ and ‘Raw’, to name a few. Apart from the visual strengths of WWE’s content, which include permanent live tours around the world’s biggest cities, such as New York, London or Cairo, the company also features a complete commercial strategy for pay-per-view contents which are extremely popular worldwide, as well as web series with exclusive contents to complement the TV shows.

Zodiak Rights, the international division of Zodiak Media, announced it has secured a number of entertainment format deals in Latin America. In Brazil, Record network has renewed its rights for a second series of hidden camera format ‘Deal With It!’ (‘Faça e Disfarça’). In addition, the recently launched third season of talent show ‘Sing if You Can’ (‘Cante Se Puder’); whereas in Uruguay Teledoce has acquired the rights to the format and is producing a 13 x 60’ series later this fall. Furthermore, Zodiak has confirmed two new formats and a renewal for Chile: Chilevision has acquired the format rights for ‘Don’t Forget the Lyrics’, and is currently broadcasting the local version; while the network also renewed the rights to produce a second series of ‘Psychic Challenge’. In the meantime, pubcaster TVN has picked up Mastiff Sweden’s talent format ‘True Talent’ for a 12 episode primetime series. Myriam Lopez, VP Sales Latin America Zodiak Rights, said: “Zodiak Rights and our local production companies are delighted that our entertainment formats have taken off in Latin America. There is a real appetite for them and we look forward working with the broadcasters to continue their success.”

ONLINE

HuffPost Live: a Two-Way Street to Information Digital newspaper Huffington Post continues to be a true referent in online innovation: in August, the site launched HuffPost Live; an online video streaming network to broadcast 12 hours of live programming every weekday, and highlights shown overnight and on weekends. The project is part of a new era of online TV, raising the bar in both interactivity with its users and the amount of people the news stands to reach: “The news is no longer about a few people telling everyone else what happened; it’s about everyone telling everyone else what’s happening right now. This shift from presentation to participation is what fuels HuffPost Live,” said Huffington Post Media Group president and editor-inchief, Arianna Huffington, in an announcement. Users will provide information in real time from all over the globe; and allow the news to travel at record-breaking speed among themselves.

Opinion ttv

Talent: a Productive Priority

s a business agent in the entertainment industry, I’m making it my mission to expose the constant challenges production companies are faced with when having to meet the different TV channels’ demands, while working in the highly competitive environment that is today’s audiovisual market.

By Alex Lagomarsino CEO of MediaBiz (*)

Every production company seeks to become established and consolidated as a content provider, with a constant flow of new ideas and quality programs. This can only be achieved with a skillful and highly organized work team, comprised of creative writers, directors, producers, or “talents” if you will, that must be in perfect sync with the customer needs (the channel) and its audience. This path starts with a long process, generally tedious and repetitive, of pitching these ideas to potential customers. The ideas are often submitted (sometimes involving an agent) along with the business models, needed to carry out the content production and ultimately make a profit. CHALLENGES. In this process, producers bring to the table their ability to roll out and develop their ideas, relying heavily on the quality of their production teams, constantly procuring and training new talent. Just as important, a production company also needs to achieve and maintain an optimal work load, which enables it to maintain the talent and know-how generated, reflecting its work skills

and increasing the value of the company as a whole. While new and small production companies have the ability and speed to offer high quality products at low cost with an entrepreneur-like passion, their weakness lays in their inability to compete against the big production conglomerates, that due to their worldwide reach and financial stability, are able to achieve, and more importantly sustain, their expected work quality over time. That is why, I believe it’s necessary to establish medium-term agreements between channels and production companies that have proven to have both the talent and the production capabilities. Those that have managed to assemble and maintain great production teams to develop the best content for its customers. The big challenge for these companies is meeting the market’s demands, constantly producing content over their first years; something that’s virtually impossible without the support of the channels. New companies need this support as they have no financial stability of their own to enable them to meet these goals and maintain their talent. CONCLUSION. I believe production agreements are the perfect solution. Deals that will allow the production companies to build production teams, create a solid foundation, and generate innovative content that is also economically sustainable. A winwin situation that will surely lead to industry growth. ttv (*) Alex Lagomarsino, CEO of MediaBiz, is a business agent with a close relationship with the Latin American media business. His clients include leading producer companies from Argentina, Colombia, Brazil and Chile. In addition, MediaBiz represents eminent telenovela authors and fiction directors, and has developed and implemented several important agreements between media companies, production companies and channels in this area.

STREAMING

Bittersweet Future for

Netfilx In a report signed by CEO Reed Hastings and financial director David Wells, Netflix announced its financial results for Q2 2012, and stated it might be difficult to reach its goal subscribers by the end of the year. From April to June, Netflix’s US subscribers grew from 23.4 million to 23.9 million, while in the rest of the world (Latin America, Canada, UK and Ireland), the amount of subscribers grew from 3.07 to 3.7 million. The company ended the period with US$0.11 global earnings per share, surpassing the US$ 0.05 analysts could foresee. The company’s global revenue rose to US$ 889 and net income was US$ 6 million. UNCERTAIN FUTURE. Netflix announced it reached one million subscribers in the UK and Ireland just seven months after its launch. Yet, it also stated it expects to see loss in the final quarter, due to its plans to launch the service in another European market, and the negative effect of the London Olympics: “This quarter the Olympics are likely to have a negative impact on Netflix viewing and sign-ups. So, our Q3 guidance is 1 million to 1.8 million domestic net adds. If we finish Q3 in the high end of that range, we would remain on track for 7 million domestic net additions for the year; otherwise it would be challenging to achieve that goal by year end,” says the report. The company is also facing fierce competition from other companies such as Hulu, Red Box (by Coinstar), Xfinity (Comcast), Fios (Verizon), HBO Go (HBO), and even Facebook, which recently signed deals with several studios to offer movies via streaming. Furthermore, Amazon launched a new iPad app, while Hulu announced Hulu Plus -its premium streaming service- is available on Apple TV. INTERNATIONAL JOURNEY. In mid-August Netflix announced it was to enter the Scandinavian market by the end of 2012, covering Norway, Sweden, Finland and Denmark; where local VOD service Voddler, as well as international companies such as Amazon’s Lovefilm, HBO and MUBI are set to be fierce competitors for the new player. Meanwhile, in Latin America, the company “remains focused on accelerating growth by overcoming some of the many unique challenges in the region (low device penetration, under-developed Internet infrastructure and consumer payment challenges for e-commerce); as well as “expanding payment options in Mexico and Brazil.”

Painfully Funny

Accused

Guys in Disguise

Happiness Is In The Plate

AFL Productions

ALL3MEDIA International

Armoza Formats

Arte France

1519 37th Avenue, San Francisco, CA 94122, U.S.A. Tel.: +1 (415) 661-6146 E-mail: volax@netwiz.net Web: www.aflproductions.com Stand: 16.05

Berkshire House, 168-173 High Holborn, London. WC1V 7AA Tel.: +44 (0)207 845 4350 Fax: +44 (0)207 845 4360 Email: international@all3media.com Web: www.all3mediainternational.com Booth: LR 3.22

16 Ha’Arba’a Street, Tel Aviv 64739 Israel Tel.:+972–3–5408333 Fax: +972–3–5435752 E-mail: info@armozaformats.com Web: www.armozaformats.com Stand: LR2.03

8 rue Marceau – F 92785 ISSY Les Moulineaux Cedex Tel.: +00 33 1 55 00 70 81 E-mail: infosales@artefrance.fr Web: www.artepro.com/sales Stand: Arte Booth – C1-01

Executives Attending

Mihal Brezis, VP & Sales Anat Lewinsky, Sales Kelly Wright, Sales Ronit Shuler, Sales Elad Adelman, Development Ilana Gindis, Receptionist

Executives Attending

Scott Hanock, Vice President & International Sales Manager Julia Belova, Sales Director, CIS Lana Berezovsky, VP, Acquisitions

TOP EXECUTIVE

Yuri Volodarsky, Head of Development & Distribution

Stephen Driscoll, SVP International Sales Liza Thompson, SVP International Sales Peter Grant, SVP International Sales Kelly Shek, Sales Executive Stephanie Hartog, EVP International Format Sales Nick Smith, VP International Format Sales Sabrina Duguet, VP International Format Sales Rachel Glaister, Head of Press and Marketing Maartje Horchner, Head of Acquisitions Ceire Clark, Senior Acquisitions Executive Andrea Dunn, Head of Business Affairs

TOP EXECUTIVE

Painfully Funny

Louise Pedersen, Managing Director

(Comedy series - 52 x 30’) Incorporating innovative and unique show segments, ‘Painfully Funny’ sits comfortably at the intersection of comedy and pain, comedy and embarrassment and comedy and awkwardness. If someone is getting hurt or humiliated, but it’s really, really amusing, you’ll find it on ‘Painfully Funny’!

Shelarious

(Comedy series – 52 x 30’) If you’ve got a pair of X chromosomes (and often a pair of other items as well!) and you’re funny, doing something funny, or just happen to be female, and in a fantastically funny, silly or supremely stupid situation, ‘Shelarious’ is where you belong. It’s the show where ladies make us laugh and the females – both human and not – are as hilarious…no, wait… as ‘Shelarious’ as can be.

2Rude4UTube

(Comedy Series - 120 x 30’) ‘2Rude4UTube’ is the hilarious comedy series consisting of video clips starring real people behaving really badly on camera. All clips are user-generated, shot on video, phone, webcam, by surveillance cameras, and/or by amateurs poking fun at their friends and family (‘Jackass’ style). ‘2Rude4UTube’ is a prime-time collection of slightly naughty stupid, sexy and/ or nasty clips.

Accused

(Series 2/Drama – 4 x 1hr) With a stellar cast including Sean Bean (‘Game of Thrones’), the second series of Jimmy McGovern’s modern-day morality plays sees a mother, a son, a transvestite and a prison guard stand on trial. They are the innocent, the guilty and the somewhere in between.

Harley Street

(Entertainment – 10 x 1 hr) Witness life at London’s most exclusive cosmetic surgery clinic, Harley Street Skin, and the intimate workings of this multi-million pound business - from the interesting characters that come in for treatments to the equally interesting staff that work there.

Guy Martin’s Industrial Wonders (Factual Entertainment – 4 x 1 hr)

The charismatic Guy Martin embarks on a journey through the Industrial Revolution, exploring the machines that powered the railways, worked the docks and descended the mines.

Are You Normal? (Entertainment Format)

TOP EXECUTIVE

Cedric Hazard, Head of International Sales and Acquisitions

Avi Armoza, CEO

Happiness Is In The Plate (Lifestyle and sport - 5 x 52’ HD)

Guys in Disguise (Dating Show – 30’)

The dating show where one girl meets three potential suitors and will have to choose a winner without seeing their faces – or their entire bodies! Disguised in costumes, from bears to bumble bees, these guys will make her see that looks aren’t everything!

Shuttle Battle

(Game Show – 30-60’) Five couples arrive at the airport for a dream vacation, but before boarding the plane they must compete in a three-stage trivia challenge that could land them in paradise…or the middle of nowhere!

Back to the Date

(Factual Entertainment – 30’) Married couples consumed by their stressful lives are given a second chance to relive a memorable romantic moment in a makeover of the body and soul, a transformation that will take them back in time to their former selves.

House Call

(Factual Entertainment – 60’) The prime time factual entertainment format where doctors go into the home of a different family each week to force them to take a closer look at how their lifestyles are affecting their health.

This tasty series blends travel, cooking, nature, and civic sense and follows the daily work of five “green” chefs fighting for eco-friendly cooking.

Football Rebels

(Lifestyle and sport - 5 x 26’ & 90’ HD) When football becomes a citizen sport! At a time when business seems to be corrupting our relationship with sport, the indomitable Éric Cantona shows us footballers who’ve managed to resist.

Crops Of The Future (Green & Science - 90’ HD)

After ‘The World according to Monsanto’ and ‘Our daily poison’, Marie-Monique Robin offers us the third chapter of her trilogy, an encouraging study of agroecology and the solutions to our planet’s food crisis. How to feed the world in 2050? Through agroecology practices.

Irak 2003, Days Of War And Invasion (History - 2 x 52’ & 90’ HD)

The 21st century began with an international crisis of unprecedented severity. After ten years of war, and now that US troops have almost completely left the country, what assessment can be made?

It’s A Bet ! Sports And Gambling (Current Affairs - 52’ & 75’ HD)

From Macao to London, Geneva and Shanghai, this detective story into a hermetic and secret world investigates what is bound to become a scandal of international proportions.

TTV MAGAZINE/175

Have you ever peaked at your boyfriends emails? Do you kiss your grandma on the lips? This game-show asks what is normal and, more importantly… are you?

Alex Herrmann, Head of Pre-sales Eran Kameya, Sales Manager Audrey Kamga, Sales Manager

Compulsive Times

Trust

Artear

(Arte Radiotelevisivo Argentino S.A.) Lima 1261, C1138ACA, Buenos Aires, Argentina Tel.: +54 11 4306 0013 Fax: +54 11 4370 1403 E-mail: sales@artearinternacional.com.ar Web: www.artear.com Booth: 20.18

Executives Attending

Julieta González, Sales Executive Daniel Zanardi, General Manager Adrian Schwartz Kirzner, Programming Manager Pablo Codevilla, Content Manager Eduardo Fernández, Production Manager Walter Sequeira, Acquisitions Manager

Outcast Kustoms

Pablo Escobar, the Drug Lord

Banijay International

CABLEready Corporation

Caracol Televisión

359 Goswell Road, EC1V 7JL London, United Kingdom Email: sales@banijayinternational.com Web: www.banijayinternational.com Stand: Banijay Tent, opposite the main entrance to the Palais

98 East Avenue, Norwalk, CT 06851-5029 USA Tel.: +1 203 855 7979 Fax: +1 203 855 8370 E-mail: info@cableready.net Web: www.cableready.net Booth: R31.17

Executives Attending

Sebastian Burkhardt, Head of Sales Fanny Baurdy, International Acquisitions Executive Luci Burnley, International Sales Executive Siobhan Herriott, Sales Executive

Lou Occhicone, Senior Vice President of Operations Peter De Jong, Vice President of Sales and Development Reess Kennedy, Director of Digital Media

TOP EXECUTIVE

Executives Attending

Roberto Corrente, Sales Executive Berta Orozco, Sales Executive

TOP EXECUTIVE

Karoline Spodsberg, Managing Director

TOP EXECUTIVE

Gary Lico, President & CEO

Lisette Osorio, Senior Director of International Sales

Mariana Fernández, Sales Manager

Trust

(Game Show – Format)

Compulsive Times

(Tiempos Compulsivos) (Series – 14 x 60’) The Renacer Foundation. A therapeutic space for severe OCD outpatients. The experienced Dr. Ricardo Buso (Miras) is responsible for treating a group of outpatients with diverse severe ailments: Gerardo (Arengo) who’s a workaholic and has IAD (Internet Addiction Disorder); Ines (Peterson) an OCD hoarder with an eating disorder; Sofia (Gamboa) her body bears the scars and injuries she inflicts herself to silence her deeper pains, she suffers from DSH (Deliberate Self Harm); Teresa (Carra) and her MPD (Multiple Personality Disorder) always vying for one to prevail; and Esteban (De La Serna) the more complex case of them all, he’s a mythomaniac, a person with an irresistible impulse for lying and exaggerating, he is a psychopath with a brilliant mind. Dr. R. Buso and his loyal friend and colleague Ezequiel (Minujin) will try to bring relief to outpatients every time they gather for group therapy.

The Social Leader

(El Puntero) (Series – 40 x 60’)

176/TTV MAGAZINE

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

What is the price of your betrayal? In ‘Trust’ two complete strangers must work together to correctly answer quiz questions and build up a substantial pool of cash winnings. But at any moment one of them could take all the money and run, leaving their partner with nothing! Filled with drama and suspense, ‘Trust’ draws on the fundamental dilemma that underlies human interaction: Should we align ourselves with others, or in order to succeed should we rely on ourselves?

Opposite Worlds (Reality – Format)

Imagine a world where the past and the future are part of the same reality. The future: a world of privilege and luxury. The past: a world of hardship and adversity. Imagine they are separated only by a glass wall! In ‘Opposite Worlds’ two teams share a house divided into the world of the future and the world of the past. Which side they live on is determined each week by how they perform in extreme challenges that push both body and mind to the limit. But in the end it’s every man for himself and only one will be crowned The Man or Woman of All Times.

The Art of Survival

(Factual Entertainment – Format) Two teams of artists must make their way on a long journey across Europe. With no money or means of transport, they have nothing to rely on but their talent! They’ll have to use their artistic skill for all its worth while also brushing up on their wheeling and dealing in order to earn the means to make it from Athens to Edinburgh. The team that makes it first takes the cash prize! Filled with beautiful original works of art of all kinds and travels through some of Europe’s most picturesque spots.

Outcast Kustoms

Pablo Escobar, the Drug Lord

Kelvin Locklear, his wife April, and their expert team take on the biggest and baddest big rigs and RVs in the country and transform them into some of the coolest, one-of-a-kind rides ruling the highways and byways.

(Entertainment, Reality, Lifestyle – 6 x 60’)

Lost Treasure Hunters (Entertainment/Reality - 6 x 60’)

A team of highly skilled extreme prospectors attempt to rediscover the long lost source of the great diamonds of Golconda, India. Using a mix of ancient maps and modern geology, the team races to find untold riches in diamonds before the monsoons arrive.

Snagfilms

(15 Documentary & Narrative Fims) Among the films being offered are ‘We Made This Movie’, written and directed by Rob Burnett, Emmy Award-winning executive producer of ‘Late Show With David Letterman’, ‘A Fighting Chance’, a documentary chronicling ESPY awardwinner Kyle Maynard’s efforts to become an MMA fighter despite being born without arms or legs, and ‘Splinters’, a documentary following four local surfers competing in their country’s first ever national surfing title for a chance at a better life.

Reelz Specials

(Entertainment – 30’ and 60’ Weekly Specials) An in-depth look at movies and Hollywood from every angle – with extras not available anywhere else, including extended interviews with the stars, movie trailers and clips, behind-the-scenes coverage, and in-depth stories. Specials include: ‘Brangelina In Love’, ‘Fashion Fanatics: Emmy Awards’, and ‘Breaking Dawn: Part 2’.

(Series − 63 x 60’)

Sounds Like a Million (Game Show)

Elementary

The Booth at the End

Isabel

CBS Studios International

Content Media Corporation

7800 Beverly Blvd., Los Angeles, CA 90036 Tel.: 323-575-5460 Fax: 323-575-5469 Web: www.CBSSI.com Booth: R30.01

19 Heddon Street, London, W1B 4BG, UK Tel.: +44 (0) 207 851 6500 Fax: +44 (0) 207 851 6504 Web: www.contentmediacorp.com Stand: Stand RB.44

Executives Attending

Joe Lucas, EVP, Sales and Marketing Barry Chamberlain, EVP, Sales

TOP EXECUTIVE

Armando Nuñez, President, CBS Studios International

Greg Phillips, President, Content Television and Digital Saralo MacGregor, EVP, Content Television and Digital Jonathan Ford, EVP, Content Television and Digital Melissa Wohl, SVP, Worldwide Distribution, Content Television

Corporación Radiotelevisión Española (RTVE) Prado del Rey, Avenida Radio Televisión, 4 28223 Pozuelo de Alarcón, Madrid, España Tel.: +34 91 581 70 00 Fax: +34 91 346 30 55 Web: www.rtve.es Booth: R – 36.07

Executives Attending

Rafael Bardem, Head Of Sales Mª Jesús Pérez Gómez, Head Of Channels Sales Mª Victoria Altemir de Mergelina, Deputy Director, Operations and Events

TOP EXECUTIVE

TOP EXECUTIVE (Drama − 13 x 60’)

In ‘Emily Owens, M.D.’, a first year medical intern played by Mamie Gummer is excited to enter adulthood as a professional only to discover that life in a hospital isn’t so different from high school.

Beauty And The Beast (Drama – 13 x 60’)

The drama ‘Beauty And The Beast’ stars Kristen Kreuk and Jay Ryan in a modern day romantic love story with a procedural twist.

Vegas

(Drama − 13 x 60’) Dennis Quaid and Michael Chiklis star in ‘Vegas’, a period piece set in the 1960’s, centered around the true story of Ralph Lamb – a rodeo cowboy turned longtime sheriff of Las Vegas.

Friend Me

(Comedy − 13 x 60’) ‘Friend Me’ is a comedy about two Midwesterners trying to expand their social circle in Los Angeles.

The Jeff Probst Show (Talk Show − 170 x 60’)

Isabel

The Booth at the End

(Multi-Platform Drama Series - Season 2/5 x half hours/54 x shorts and 10 x 10’ HD) The mysterious Man who sits in a booth at the end of the Cadillac Jacks diner is back - granting you any wish, always for something in return. But this time, The Man has a wish of his own and will have to pay the price for it.

Rugged Wales

(Documentary Series - 2 x 1 hr HD) Wildlife expert Iolo Williams takes a fascinating tour through ‘Rugged Wales’ in this new natural history series, exploring diverse terrain that has been shaped, enjoyed and exploited by both nature and man for centuries.

Fred Dinenage: Murder Casebook

(Non-Fiction Series - 18 x 1 hr/Seasons 1 and 2 HD) From the notorious Kray twins, to the story of Ruth Ellis, the last woman to be executed in the UK, journalist Fred Dinenage takes a fresh look at the murders that shocked the UK in the 20th century and the killers that committed them.

Psycho Kitty

(Non-Fiction Series - 13 x half hours HD) Out of control felines are turned into perfect pets as Pam Johnson-Bennett, one of the world’s best cat behaviorists shows owners how to do the previously unthinkable: tame their cats!

(Historical Fiction − 13 x 70’) A historical series that narrates the life of one of the most important women of Spain, Queen Isabella the Catholic. The series, in its first season, tells the story of Isabella of Castille up to her marriage with Fernando of Aragon and her coronation as Queen of Castille. One of the most important periods of history captured in 13 chapters at prime time with a fast paced narration, magnicent interpretation and a meticulous setting.

DRG (Digital Rights Group) 65 Chandos Place, Covent Garden, London WC2N 4HG Tel.: +44 (0)207 845 5200 E-mail: sales@drg.tv Web: www.drg.tv Booth: LR4.23

Executives Attending

Patrick Roberts, SVP International Sales Chris Bartlett, VP Sales Anne Roder-Botbol, Senior Sales Executive & Coproduction Joel Atley, Senior Sales Executive Carolina Den Baas, Senior Sales Executive Reema Patel, Senior Sales Executive Rose Hughes, Sales Executive Andrea Jackson, MD Acquisitions & Formats Diane Rankin, SVP Acquisitions Anke Stoll, Head of Acquisitions & Development Charlotte Hargreaves, SVP Marketing & Business Development Laura Stanley, Marketing Manager

TOP EXECUTIVE

Jonathan Jackson, Group Managing Director

Big Tiny – Life With The Jordans (Factual Entertainment - 8 x 30’)

An exciting tour in 6 episodes (46’ approx.), of more than 100 years of success and titles of de biggest club in history.

A new series about the extraordinary life of the world’s smallest siblings. In September 2011, 22-year-old Bridgette Jordan was crowned the “World’s Shortest Living Woman.”Weighing only 18 pounds, she stands a diminutive, beyond-belief size of 28” - about the size of a six month old baby, while her younger brother Brad, weighs only 35 pounds and stands just 38” tall - making them the world’s shortest living brother and sister.

Remember When…

WOW – Women Of Wrestling

Real Madrid – The Best Football Club (Documentary − 6 x 42’)

(Fiction − 216 x 70’)

After several years of success and having been awarded numerous prizes worldwide, ‘Remember When…’ has now reached its twelfth series. The irruption of television set in the life of a Spanish family in the end of 60’; the passion which the radio series; “Ama Rosa” stirred up; the Elena Francis pieces of advice; the “Singer” sewing machine; the first signs of freedom after 40 years if dictatorship: the success of the song “La, La, La” in the Eurovision Festival and the arrival of the car Seat 600, are some meeting points with collective memory of three Spanish citizens generations.

(Sport Entertainment/Reality - 26 x 60’ HD) Showcasing a cast of powerful, contemporary female superhero characters in a traditional ‘good versus evil’ set-up, ‘WOW’ – Women Of Wrestling is a compelling series with broad global appeal. Each 60 minute episode is as entertaining as a soap opera featuring athletic, sexy females playing villains and superheroes with a spicy backdrop of storylines which continue week-on-week. The conflicts that develop between lead characters result in some serious drama in the ring. Rivalries and disputes are fought out in each event, recorded live in front of thousands of excited fans, all participating in the drama and cheering on their favourite performer. The entry music plays, the characters enter the ring and the chaos ensues. Will good always triumph over evil?

TTV MAGAZINE/177

Hosted and executive produced by the Emmy Award-winning Jeff Probst, ‘The Jeff Probst Show’ is a one-hour talk show that will cover topics including relationships and family dynamics, newsmakers of the day, families and individuals facing challenges. Probst has hosted all 24 editions of CBS’s reality hit ‘Survivor’ since its inception 12 years ago, and is currently an Executive Producer. He is a four-time Emmy Award winner for Outstanding Reality Host.

Rodolfo Domínguez Alfageme, Commercial Director

Diana Zakis, VP Sales, Latin America and Asia, Content Television

Emily Owens, M.D.

Big Tiny – Life With The Jordans

El don de Alba

New York

Disney Media Distribution

Goats

Dori Media Group

Two Alhambra Plaza 9th floor, Coral Gables, FL33134, USA Tel.: (+1) 305-567-3785 Fax: (+1) 305-774-3913 Website: www.daet.tv Suite: RB.30

Executives Attending

Henri Ringel, VP, Distribution Jack Morera, Director, Distribution Leonardo Aranguibel, Director, Production Fabiola Bovino, Senior Manager, Marketing

TOP EXECUTIVE

Seefeldstrasse 133, CH-8008 Zurich, Switzerland Tel.: +41-43-817-705 Fax: +41-43-817-7055 E-mail: sales@dorimedia.com Web: www.dorimediadistribution.com Booth: 12.02

Executives Attending

Leora Nir, VP of TV Channels, Dori Media Group Elena Antonini, VP of Sales, Dori Media Distribution Argentina Andres Santos, VP of Sales, Dori Media America Revital Basel, CEO, Dori New Media Tali Fink, Director of Marketing, Dori Media Group Yair Sklan, VP Marketing, Dori Media Darset

Echo Bridge Entertainment 8383 Wilshire Blvd., Suite 530 Beverly Hills, CA 90211 Tel.: (1) 323.658.7900 Fax: (1) 323.658.7922 E-mail: info@ebellc.com Web: www.echobridgeentertainment.com Stand: RB.33

Executives Attending

Emilia Nuccio, SVP, International Distribution Melissa Caron, VP International Sales, Europe) John Neill, Asia Pacific Sales Gilda Demirtas, Director, International Sales Susan Hewitt, International Sales

Endemol Group MediArena 1 1099CZ Duivendrecht, Amsterdam Zuid Oost The Netherlands Tel.: +31 (0) 20 893 9000 Fax: +31 (0) 20 893 9982 Web: www.endemol.com Lerin’s Hall (LR5.15)

Executives Attending

Tim Hincks, President Virginie Calmels, Chief Operating Officer Martha Brass, Managing Director of International Operations Iris Boelhouwer, Managing Director of Creative Operations Ana Langenberg, Head of Formats

TOP EXECUTIVE

Fernando Barbosa, SVP Distribution and Production

Number One

Just Spee, CEO

Daniel March, President, International

Nadav Palti, President & CEO, Dori Media Group

El don de Alba (Drama Series)

Based on the US series ‘Ghost Whisperer’, ‘El Don de Alba’ tells the story of Alba, a woman capable of seeing, hearing and feeling the presence of deceased people with pending business in the world of the living; a gift that will make her the ideal person to help those soles complete their journey towards the light and reach eternal peace. Alba Rivas (Patricia Montero) has begun a new phase in her life by opening an antique shop in the town of Bellavista, and will be joined by Gabriel Vega (Antonio Hortelano), who’s responsible for the Municipal Archives and will help Alba as a perfect complement to her supernatural powers. Alba will also have to face an unexpected dark force which will try to take those lost soles over to the dark side and trap them forever.

The Two Escobars

178/TTV MAGAZINE

(Documentary)

Born in the same city in Colombia with the same last name, Andres Escobar and Pablo Escobar shared a fanatical childhood love for soccer. Andres grew up to become one of Colombia’s most beloved players, while Pablo rose through the ranks of the criminal underground to become not only the most notorious drug baron of all time, but also arguably the secret weapon responsible for Colombian soccer’s unprecedented rise to glory. Then, just when Colombia was expected to win the World Cup and transform its image on the international stage, the mysterious murder of Andres Escobar dashed the hopes of a nation. Fifteen years later, ‘The Two Escobars’ investigates the secret marriage of crime and sport, and uncovers the surprising connections between the murders of Andres and Pablo.

New York

(Crime Drama – 50 x 30’) The son of the head of a notorious crime family arrives in New York, escaping his past and seeking a new future. He rejects the subservience of the badly exploited foreign workers and is determined to change it.

Galis

(Teen Series - 60 x 30’) A mysterious donation sends three lucky foster home kids to join an elite summer camp in a faraway forest. As they try to fit in with the snobbish kids and weather stormy loves, they discover it wasn’t luck that brought them there but a sophisticated scheme that leads to a larger than life adventure. Their incredible search for a magical, mythological treasure brings them to find their true destiny and place in the world which will change their lives forever.

Last Chance for Love (Dramatic Reality Format)

A dramatic and intimate docu-reality show that follows couples on the brink of divorce as they get one last chance to save their marriage. Each episode centers on one couple who, with the help of an experienced marriage counselor, goes through 3 distinct stages that help them understand one another, sacrifice for one another and communicate with one another. At the end of the emotional journey, they must make the fateful decision of whether to end their marriage, or stay together. ‘Last Chance for Love’ is a moving reality format which takes us on a touching journey from challenges and hardships to love and transformation.

Goats

(Comedy – 92’) Ellis prepares to leave his luxurious home in Tucson for an East Coast prep school, leaving behind his new age mother and the only real father he has ever known, Goat Man.

Tornado Warning (Sci-Fi/Disaster – 87’)

Green-tinted tornadoes barrel through a small town and the locals must dodge shadowy government forces to alert the public and stop an alien invasion.

Arachnoquake (Sci-Fi – 86’)

After earthquakes ravage a small town, a deadly species of albino spiders swarm from the opened fissures and infest the town.

Degrassi: Season 12

(Drama - 40 x 30’ new /318 x 30’ total) In season 12 of the Emmy nominated teen series new friendships are formed, old relationships are tested and rivalry among students reaches new levels.

I’m Carolyn Parker (Documentary – 90’)

The portrait of an extraordinary woman as she returns home to New Orleans after the devastation of Hurricane Katrina.

Number One (Talent Show)

‘Number One’ is a new concept talent show looking for accomplished unsigned artists that can top the charts. Contestants must deliver an impressive live performance each week and make their own career changing decisions. They have total freedom over everything from repertoire, promotion and communicating with fans through social networks. To judge them are five real number one artists plus the public who vote for their favourites. ‘Number One’ (‘El Número Uno’), from Endemol Spain has been a break out prime time hit on Antena 3.

Love is in the Air (Reality Series)

From Endemol Netherlands is a heart-felt reality series that reunites loved ones residing in far flung countries. The host flies around the world to reunite best friends, family or soul mates. Each moving story tells the tale of a close pair who miss each other terribly but haven’t been able to organize the journey themselves. The host arranges the emotional get-together before saying goodbye and leaving for the next destination and reunion.

Your Face Sounds Familiar (Talent Show)

A talent competition with a comedy twist. Celebrities take on a new identity as an iconic music performer and are awarded points for singing, style and believability. But the catch is they could well find themselves transformed into someone far older, younger or even of the opposite sex. Originally produced by Endemol Spain for Antena 3, ‘Your Face Sounds Familiar’ has been snapped up by nine territories including China and Italy.

Primeval: New World

Lynch

My Problem With Women

Entertainment One

Fox Telecolombia

9465 Wilshire Blvd Suite 500 Beverly Hills, CA 90212 Tel: (310) 407-0960 x 118 Fax: (310) 407-0961 E-mail: vcabrera@entonegroup.com Web: www.eonetv.com Booth: RB.43

Carrera 50 # 17-77 Bogotá, Colombia Tel.: 571 4174200 Fax: 571 4174200 Ext. 130 E-mail: ana.barreto@foxtelecolombia.com Web: www.foxtelecolombia.com Booth:

Executives Attending

Samuel Duque Duque, VP de Producción y Operaciones Ana María Barreto, Directora Comercial Luisa Harry, Ejecutiva de Ventas

Valerie Cabrera, Executive VP, Entertainment One Television International

Executives Attending

TOP EXECUTIVE

Primeval: New World (Action/Adventure - 13 x 60’)

‘Primeval: New World’ is a North American interpretation of the hit U.K. television series, Primeval. Set in the Pacific North West, the series follows a group of scientists and animal experts who investigate the arrival of prehistoric and futuristic creatures in the modern-day world through anomalous rips in time. Starring Niall Matter and Sara Canning.

Rookie Blue Season 4

(Drama - Season 1 - 13 x 60’/Season 2 - 13 x 60’/Season 3 - 13 x 60’/Season 4 - 13 x 60’) It’s been two years on the job, and the rookies of 15 Division are well on their way to being experienced cops. They’ve wanted to shoot guns, and help people, catch bad guys, and toughen up in every way; and they have. But at what cost? What is the price of doing this kind of job, both professionally and personally? How do you stay true to yourself -- how do you maintain your individuality and compassion -- when this is what you do for a living? Last season, the training wheels came off and the rookies proved that they could handle the job. Now they’re learning that experience isn’t everything… and that the boundaries between who they are as cops and who they are as people is not as black and white as they once believed. Season 3 will welcome a new rookie, ex-soldier Nick Collins (Peter Mooney), to round out the rest of the team.

Frecuencia Latina International

FremantleMedia Enterprises

20900 NE 30th Ave. Suite 853 Aventura, Fl, 33180 Tel.: (954) 457-1200 Fax (954) 457-1213 E-mail: pjasin@frecuenciatv.com.pe Web: www.flinternational.tv Booth: 09.07

1 Stephen Street, London, W1T 1AL Tel.: +44 (0)20 7691 6000 Web: www.fremantlemedia.com Stand: Riviera Beach, RB1

Executives Attending

Patricia Jasin, International Sales Director

TOP EXECUTIVE

Valerie Cabrera, Executive VP, Entertainment One Television International

Miki Ivcher, CEO

Samuel Duque Rozo, Presidente y CEO

My Problem With Women Lynch

(Series - Season 1: 13 x 60’/Season 2: 9 x 60’) To begin a new life, some people need money, or love, or even recognition, but others need to be dead. After three generations in the business, the Lynch funeral parlor is just about to be buried, with financial problems that seem unsolvable. Nevertheless, for its owner, Geronimo Lynch, the lack of money is far from being his biggest problem: now he must deal with Isabel, the woman he has loved forever, who left him with their son, now a rebel teenager, 14 years ago. Isabel Reyes has only one thing on her mind: to fake her own death so she can free herself from a dark past, but to do so, she needs Lynch´s help. She will create and upheaval in the lives of everyone working or living at the funeral home. The whole business will change: they will start creating second chances in life for those who really deserve to die and make a fresh start.

Don Pedro: Story of a Drug Lord II (El Capo 2) (Series – 75 x 60’)

‘Don Pedro: Story of a Drug Lord’, is just about to start his most daring adventure: build a submarine that will take him to the United States, evading the world´s most advanced security systems so that he can meet again with the love of his life and daughter. During the process, he will immerse himself in the bloody world of Salvador´s gangs and start a war against a very powerful Mexican drug dealer. With the help of the most unthinkable person, he will try to find his redemption.

Wizards vs Aliens

(Comedy - 13 x 60’ HD)

Local adaptation of the Peruvian format ‘My Problem with Women’. Jose is a single man, who is worried about his inability to make a commitment. Because of this, he accepts to undergo a therapy recommended by his psychologist. Each session then becomes a reflexive catharsis of his complicated love life. Casted by the successful local talent Mariano Martinez.

Executives Attending

Mel Alcock, CEO FremantleMedia Enterprises, EMEA Justin Hatfield, SVP Sales – UK, Eire & Scandinavia Jamie Lynn, SVP Distribution, Southern Europe, Middle East and Africa Hendrik Van Daalen, SVP Sales, Spain, France, Italy & Portugal Keith Hindle, CEO FremantleMedia Enterprises, Americas Sheila Aguirre, SVP Sales & Development, Latin America & Hispanic USA Lisa Honig, SVP Program Distribution, North America Paul Ridley, EVP International Distribution & Home Entertainment, Asia-Pacific Ana Garanito, Director of Scripted Programming - Global Content, EMEA & APAC Jeff Tahler, SVP Acquisitions & Development, Americas Kate Schlomann, EVP Brand Management & Marketing

TOP EXECUTIVE David Ellender, Global CEO, FremantleMedia Enterprises

Stories Behind Death (Docudrama - 30 x 60’ HD)

The series recreates true stories, which happened hundreds of years ago. Each episode starts with the most interesting epitaph found on graves in local Museums and Cemeteries. After a careful investigation the stories are recreated by an excellent local cast. This are cases never told before, full of suspense, enigmas and information that has never been disclosed.

Mamemo

(Animation - 74 x 2’) Animated series for preschool children which narrates the experiences of a 4 year old boy who travels through the world using his imagination. Based on the famous ‘The Little Prince’ by Saint-Exupery, the series has been a success all over the world through the most important networks. Versions in French, Italian, German and Spanish are available.

Wizards vs Aliens

(Kids & Family Entertainment - Series 1: 14 x 30’ /Series 2: 12 x 30’) Follow young wizard Tom and his super-brainy friend Benny, as they battle the alien Nekross intent on devouring the most precious thing in the universe. Magic!

Battleground (Drama - 13 x 30’)

Head campaign strategist Chris “Tak” Davis and his staff strive to win a US Senate seat for their underdog candidate with personal and national consequences.

Jamie’s 15 Minute Meals (Lifestyle - 40 x 30’)

Pushing the concept of quick, everyday food to the next level, each half-hour episode will offer two 15 minute dishes back to back.

TTV MAGAZINE/179

Blind Taste

Moon

Global Agency Abdi Ipekci cad. Arman palas 7/17 Nisantasi, Istanbul, Turkey Tel.: +90 212 296 6154 E-mail: sales@theglobalagency.tv Web: www.theglobalagency.tv Stand: Lerins Hall LR3.08

Executives Attending

Gila Kantar, CFO Mert Uzcan, Head of Operations Andrew Sime, Head of acquisitions Umay Ayaz, Acquisitions manager Rozlin Sevindiren, Head of finance Catherine Stryker, Sales Director, USA, CEE Brianne Bonney, Sales Director, Middle East, CIS Cheryl Godfrey Ross, Sales manager Ivan Sanchez, Sales Director, Latin America, Asia Pacific Isil Turksen, Sales Director, Europe, Asia

Memories Still Hurt

Imagina International Sales Ctra. de Fuencarral a Alcobendas, km. 12,450 28.049 Madrid SPAIN Tel.: +34 91 728 57 38 Fax: +34 91 728 57 39 E-mail: info@imaginasales.tv Web: www.imaginasales.com Booth: R32.31

Executives Attending

Pepe Huertas, General Director Géraldine Gonard, Sales Director & New Business Development Barbora Susterova, Sales Executive Lorena Molloy, Marketing Manager Alicia López, Sales Assistant

TOP EXECUTIVE

Mr Selfridge

ITV INTER MEDYA Valikonagi Caddesi 26/3, Nisantasi, 34367 Istanbul, Turkey Tel.: +90 212 231 0102 E-mail: info@itv-intermedya.com Web: www.itv-intermedya.com Stand: RSV.11

LTVC Upper Ground, London, SE1 9LT Tel.: +44 207 157 3000 Web: www.itvstudios.com Stand: R.38.01

Executives Attending

Ahmet Ziyalar, Managing Director Sibel Ozdemir, Sales Executive Beatriz Cea Esteruelas, Sales Executive Annabelle Aramburu Picasso, Consultant Hasan Buyurgan, Acquisitions Director

(2nd Season in production) (Series/Mystery – 20 x 70’ )

(Daily Cooking Format) The unique cooking show that puts blindfolded chefs to the test. Will they rate their own dish the best or will they prefer every dish but their own?

Fashion icon (Daily style format)

The hot new style format that challenges contestants’ personal styles and shopping skills to see who has what it takes to be the next fashion icon!

Let’s play hangmen (Weekly Game Show)

180/TTV MAGAZINE

It’s family fun and huge cash prizes in the exciting game show based on the timeless word game hangman!

A judge arrives in a remote town Calenda, with her rebellious teenage daughter. A horrifying series of events lead the judge and the police to start an investigation and try to find a logical explanation, but this is a place where werewolves have always been more than legend. While the series probes into the lives of the town’s inhabitants her daughter will start a dangerous romance.

The Boat

(3rd Season Premiere on September) (Series/Adventure – 43 x 70’) The school trip onboard the “North Star” promises new and exciting experiences for its forty young pupils. They have two months to get to know each other, fall in love and follow the instructions of their teachers. When they are about to reach their destination, a storm disorientates them after an accident at the CERN particle accelerator, leaving them lost at sea. Soon they’ll find out that nothing will be the same again since land has disappeared without trace. The ship’s crew thinks they are the only human survivors in the world and have to solve one of the strangest enigmas in their lives. They just have a 70 meter long ship as home and a fascinating adventure to live.

Tobi de Graaff, Director, Global Television Distribution

Mr Selfridge (Mazi Kalbimde Yaradır)(Drama- HD – 50 x 45’)

Blind taste

TOP EXECUTIVE

Can Okan, President/CEO

Memories Still HURT Moon

Flavio Medeiros - VP Sales, Latin America & US Hispanic Augustus Dulgaro - SVP, Asia Pacific

TOP EXECUTIVE

Laura Miñarro, Sales Manager & New Business Development

Izzet Pinto, CEO

ITV Studios Global Entertainment

The story begins in the winter of 1974; when the lives of Mujgan, Ferit, Selim and Nalan intersect...Those were the times when love at first sight still existed, when, even an eye contact was enough to set one’s heart on fire. Ferit is a very attractive young marine whose heart is a floating mine ready to atomize anyone who steps on it. Mujgan is a delicate young girl, somewhat like a defeated sparrow who has not yet tasted the joys of love. Mujgan yearns for the seas and Ferit for sparrows. These two, together, will learn what love is in the beautiful settings of Istanbul along with its seagulls and nostalgic sidewalks along the shore. And then, they will learn all the other sensations that come hand in hand with love: Yearning, loyalty, passion, betrayal and silence. Two siblings Selim and Nalan... Two broken hearted that will seal the hearts of Ferit and Mujgan, Selim is in love with Mujgan...And Nalan is deeply in love with Ferit. The blossoming lives of these 4 young people will turn into hell because of love; a love that is unmentionably sinful.

(Drama - 1 x 90’ + 9 x 60’) Created by Emmy and BAFTA award-winning writer Andrew Davies and starring Jeremy Piven, ‘Mr Selfridge’ brings to life the spectacular rise and fall of the American retail genius in a lavish and seductive period drama set in glamorous, bustling London.

Mrs Biggs

(Drama - 1 x 90’ + 3 x 60’ + 1 x 90’) From headmaster’s daughter to wife of a criminal, the story of Charmian Biggs’ marriage to an infamous fugitive Ronnie Biggs is a moving tale of dishonour, deception and love. An inspiring true story of passion and sacrifice from the makers of the BAFTA award-winning drama Appropriate Adult.

The Audience

(Entertainment/Format - 7 x 60’) Would you trust a group of strangers to help you make the most important decision of your life? Could you expose your world to their scrutiny and judgement? Can you face the truth to change your future? For one desperate person facing a dilemma, this is their last resort.

Red or Black?

(Formats: Game & Quiz - 90’ slot) ‘Red or Black?’ the primetime event of 2011 is back and it’s bigger, better and more entertaining than ever. Welcome to the ‘Red or Black?’ arena where eight pre-cast contestants are challenged to correctly predict the outcome of a series of spectacular games using their skill and judgement. Contestants must choose from two competitors or teams, one red one black until only one contestant remains to face The Vortex, where success or failure to win TV’s biggest ever jackpot lies in their hands.

Left on the Shelf

Free Speech

Animal Practice

Mad Kids

Mediabiz

Mentorn International

Leandro N Alem 1026, Piso 5, Capital Federal, Buenos Aires C1001AAS, Argentina Tel.: +1-310-765-4094 E-mail alex@mediabiz.com.ar / virginia@ mediabiz.com.ar Web: www.mediabiz.com.ar Booth: 06.23

Elsinore House, 77 Fulham Palace Road, London, W6 8JA, United Kingdom Tel.: +44 (0) 207 258 6800 Email: international@mentorn.tv Web: www.mentorninternational.com Stand: 11.29

100 Universal City Plaza, Universal City, CA 91608 Tel.: +818 777-1300 Booth: H4.05, Level 4

Executives Attending

Virginia Berberian, International Business Director

TOP EXECUTIVE

Marianna Hyland, Sales & Marketing Executive Rebecca Nicholls, Head of Sales Agnes Mbye, Sales Manager Nick Tanner, Sales Executive Alex Lee, Sales & Marketing Coordinator

NBC Universal International Television Distribution

Kevin MacLellan, President, NBCUniversal International Television Belinda Menendez, President, NBCUniversal International Television Distribution & Universal Networks International

TOP EXECUTIVE

Alex Lagomarsino, CEO and Partner

TOP EXECUTIVE

David Leach, Managing Director

Jeff Shell, President, NBCUniversal International Television

NOVAVISION PROMOTION INTERNATIONALE 12, rue Vivienne 75002 Paris France Tel.: +33 1 75 47 80 70/+33 1 75 47 89 27 Fax: +33 1 75 47 80 74 Email: veronique.d@novavision.fr/assistante. projet@novavision.fr Web: www.novavision.fr Booth: #R3204

Executives Attending

Philippe Deleplace, Strategy & Development Consultant Véronique Ledidroux, Marketing Assistant Anta Holubec, COO Lucy Le Gruiec, Sales executive Charles Gebenholtz, Sales executive Allison Glasgow-Lafontaine, Sales executive

TOP EXECUTIVE

François Xavier Porier, CEO

Left on the Shelf

(Dramatic Comedy Series – 35 x 60’) Three sisters, haunted by memories of their dead mother, will try to break the spell of bad love affairs that seems to be on them. They might be single, but never alone. When Gloria, their mother, died, Susi, Virgi and Malena didn’t feel sad; but even relieved. Nowadays these grown up women live together in their childhood home. They aresmart, beautiful, young. So why do they have no luck on love relationships? That’s a mystery.

Nine Moons

(Telenovela - 80 x 60’) Dr. Pedro Laurenti and Dr. Claudia Miller not only share their office, but also their lives. These two outstanding doctors treat cases of teenage pregnancy, assisted fertilization, and problems of incest and sexual harassment. They examine the most sensitive issues of our times, and at the same time, have the challenge of bringing the expected children to the world.

Breaking Codes (Telenovela - 91 x 60’)

Three security officers will be faced up with difficult missions, risking their lives in the most bizarre situations and places. Gabriel Nielsen is the owner of a top-level private security company. He works side by side with Axel, with whom he shares some past story. Now the company is bankrupt and every employee has decided to quit, except Axel and his loyal secretary Antonia, who decides to join the team.

Free Speech

(Format/Live Debate) The first ever live debate format on TV to put the audience in charge. Free Speech has taken the UK by storm - tearing up the Twittersphere, Facebook and the BBC Blog with a fullycharged, loud and passionate debate - the first show ever on British TV where the audience calls the shots.

An Idiot Abroad

(Format/Comedy Travelogue – Series 3 - 3 x 60’) Following last year’s international hit series, co-stars and executive producers Ricky Gervais and Stephen Merchant come together in the third installment of this ambitious epic travelogue series starring Karl Pilkington and Warwick Davis.

The Politician’s Husband (Drama – 3 x 60’)

When Aiden’s career path to the top echelons comes to an abrupt halt, the power balance within his marriage is irrevocably shifted as he witnesses his wife’s political career soar. In his desperation to cling to power, Aiden risks destroying everything he holds most dear. Starring Oscar winner Emily Watson and David Tennant. Directed by Simon Cellan Jones (Boardwalk Empire, The Borgias).

How To Change Your Body (Science & Knowledge – 2 x 60’ HD)

(Comedy – 13 x 30’)

Dr. George Coleman (Justin Kirk, ‘Weeds’) is a top veterinarian with an impressive list of famous animal patients at the Crane Animal Hospital – a bustling New York City veterinary practice, where it often seems as if the patients are running the place. Despite his unorthodox style, George has an undeniable gift with animals of all kinds – except the human kind. Much to his chagrin, George recently learned that his ex-girlfriend, Dorothy Crane (JoAnna Garcia Swisher, ‘Better with You’), has inherited the family business and is now George’s boss. Whip-smart and ambitious, Dorothy shakes up the hospital as she brings order to the chaos and butts heads with George’s animal-friendly administration.

Chicago Fire (Drama - 13 x 60’)

From renowned Emmy-winning producer Dick Wolf, ‘Chicago Fire’ is an edge-of-your-seat view into the lives of everyday heroes committed to one of America’s noblest professions. No job is more stressful, dangerous or exhilarating than those of the Firefighters, Rescue Squad and Paramedics of Chicago Firehouse 51. These are the courageous men and women who forge headfirst into danger when everyone else is running the other way. But the enormous responsibilities of the job also take a personal toll. With big reputations and hefty egos, the pressure to perform and make split-second decisions is bound to put squad members at odds. When a tragedy claims one of their own, there’s plenty of guilt and blame to go around. When it’s “go-time,” though, they put their differences aside and everything on the line for each other.

Mad Kids

(Family Entertainment - 25 x 26’) They are pure, they are innocent but they can turn into horrible little sweet creatures. With their cute looking faces, they can easily turn their victims crazy and helpless.

Mad Girls

(Family Entertainment - 25 x 26’) They are so sweet, so gentle and fragile that no one would dare to shout at those delicate creatures. Using their instinct, these women will play those clichés to perfection.

Mad Grandma

(Family Entertainment - 25 x 26’) Who would dare to shout at a senior who has lost his mind? They are so fragile, so unpredictable that anyone could only show patience and kindness towards their mad behavior!

Mad Animals

(Family Entertainment - 25 x 26’) For most of us, they are our best friend, our confident, and our perfect companion. We want the best for them but… do they want the best for us? Roles have changed, animals are no longer the victims, and we have become their victims!

TTV MAGAZINE/181

With never before seen CGI, we explore the science of body image, enhancement and alteration, weaving a rich mix of personal stories and scientific investigation to explore the various ways in which people strive to alter their appearance.

Animal Practice

Summer Gala Concert Grafenegg 2012

Rachael Ray’s Week In a Day - Season 1 & 2

Evil Twins

ORF-Enterprise

Passion Distribution

Record TV Network

Rive Gauche Television

Wuerzburggasse 30, 1136 Vienna Tel.: +43 1 87878-13030 Fax: +43 1 87878-12757 E-mail: contentsales@orf.at Web: contentsales.ORF.at Booth: 21.01

182 Hercules Road, London, SE1 7LD Tel.: +44 (0)207 981 9801 Fax: +44 (0)207 981 7801 Email: info@passiondistribution.com Stand: H4.30

Rua da Várzea, 240 - Barra Funda, São Paulo-SP, Brasil. CEP: 01140-080 Tel.: +55 11 3300-5468 Email: emendes@sp.rederecord.com.br Website: www.recordtvnetwork.com Stand: 05.02

15300 Ventura Boulevard, Suite 507, Sherman Oaks, CA, 91403 Tel.: (818) 784-9912 Fax: (818) 784-9916 E-mail: rgtvsales@rgitv.com Web: www.rgitv.com Stand: 26.01

Executives Attending

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

TOP EXECUTIVE

Executives Attending

Emma Simpkins, Director Of Sales Nick Rees, Managing Director Anita Barnard, Sales Manager Maria Ishak, Senior Sales Manager Beatrice Rossmanith, Sales Manager Rebecca Thomas, Sales Manager Fraser Cameron, PR & Marketing Manager Sophie Halton, Assistant to CEO Arabella Field, Junior Sales Executive

Marion Camus-Oberdorfer, Head of Content Sales International

TOP EXECUTIVE Sally Miles, CEO

Summer Gala Concert Grafenegg 2012 (Classical Music – 90’)

This year’s concert of the “Tonkünstler-Orchestra” takes place in June and like all other Grafenegg concerts will not fail to impress. This major musical event at the beginning of the Grafenegg festival has become a by word festive joie de vivre in recent years. Guesting at the “Wolkenturm” are Joyce DiDonato, mezzosoprano, Michael Schade, tenor and Vadim Repin, violist.

Fast Forward

(Crime TV Series - 40 x 45’) Angelica Fast is in her mid-thirties, a divorced single mother – and a successful Investigator at Vienna’s criminal investigation department. The good-looking young woman handles the balancing act between her job and parental duties with humour. Even if her teenage twins keep her on her toes, she goes all out for the pursuit of criminals.

Christmas in Vienna 2012 (Classical Music – 100’)

The traditional advent concert brings also in 2012 a quartet of international singing greats together. The program includes Christmas classics such as “Silent Night” and the traditional “Hallelujah Chorus” from Händel’s “Messiah”. In addition, Christmas medleys and pieces from various soloists’ homelands will also be played and sung.

182/TTV MAGAZINE

Masks

Rachael Ray’s Week In a Day Season 1 & 2 (Food Series – 26 x 60’)

The woman who taught America how to make a meal in 30 minutes is back with an even bigger promise: one day of cooking and up to five days of eating! In every episode, Rachael will show viewers five meals they can put together in a single day. So when you come home from a long day at work, the hard work in the kitchen’s already done. Using the recipes, strategies, and tips from Week in a Day, viewers can eat well every night – even on those days when the clock is working against them.

Brunch At Bobby’s

Season 1 & 2 (Food Series – 21 x 30’) From sweet to savory, and for any occasion, Brunch @ Bobby’s is Bobby in his element: cool, calm, and relaxed with a spatula in one hand, a drink in the other, and nowhere to be! With menus spanning Southern comfort food to typical South of France dishes, brunch has never been more inviting.

International Open House (Factual Entertainment – 8 x 30’)

‘International Open House’ takes a privileged peek inside some of the homes that tourists only look at from the street – an exclusive invitation to see how the residents truly live. Each episode takes place in a new city and showcases three amazing homes in three different neighborhoods, with three very different prices. In the end, it’s up to you to decide if you’d pay the price to live there.

Executives Attending

Edson Mendes, International Sales Manager

TOP EXECUTIVE Delmar Andrade, International Sales Director

Executives Attending

David Auerbach, President Marine Ksadzhikyan, VP, International Sales Tomas Silva, VP, International Sales Bryan Gabourie, Director, International Sales

TOP EXECUTIVE Jon Kramer, Chairman & CEO

Masks

King David

EVIL TWINS

(Unscripted Crime - 6 x 60’) It’s double the trouble when twins go from matching outfits to matching mug shots. ‘Evil Twins’ chronicles true-crime mysteries following the cases of sinister siblings. Each episode reveals terrifying true tales of twins gone bad. From twins killing together, to twins killing each other, each harrowing story makes you wonder: when identical twins are driven to kill… is evil born or made?

SEA RESCUE

(Unscripted Animal/Adventure - 39 x 30’) ‘Sea Rescue’ showcases the extraordinary and heartfelt stories of the rescue, rehabilitation and return to the wild of marine animals by the dedicated men and women of Sea World’s wildlife rescue teams. SeaWorld has rescued 20,000 animals over the last 40 years. Their rescue teams are on call 24/7 and every day is a new adventure, whether airlifting a manatee by helicopter out of the Everglades, replicating mother’s milk for an orphaned gray whale, or creating a back brace for a stranded pilot whale with scoliosis. This exciting new series will take viewers on incredible adventures through a combination of first-hand accounts, expert insight and remarkable footage. The mission: to save marine animals and inspire yet another generation to appreciate the wonders of the sea.

Life and Fate

You’re So Cupid!

Russia Television and Radio 37, Shabolovka str., Moscow 115162, Russia Tel.: +7 495 955 89 20 Fax: +7 495 955 82 21 E-mail: Ref.ste@vgtrk.com Web: sales.vgtrk.com/en Stand: 31.01.B

Executives Attending

Julia Matiash, Director Galina Ikryannikova, Head of Marketing Deparment Ekaterina Grigofieva, Head of Sales (CIS and Baltics States)

Masters of Sex

SNAP TV Zapata 286, Buenos Aires, Argentina Tel.: +54 11 4775 7145 Email: vfanego@snaptv.tv Web: www.snaptv.tv Booth: Riviera Sea View # RSV 46

Executives Attending

Ezequiel Olzanski, Director of International Sales & Distribution, Latin America Fernanda Sancho, Creative Director

TOP EXECUTIVE Ariel Tobi, President

TOP EXECUTIVE Julia Matiash, Director

You’re So Cupid!

Sony Pictures Television 10202 West Washington Boulevard, Culver City, CA 90232, USA Tel.: +1 (310) 244-4000 Fax: +1 (310) 244-1874 Web: www.sonypictures.com Booth: Riviera Beach, Stand RB 20

Executives Attending

Keith Le Goy, President, International Distribution Andrea Wong, President, International Production John Weiser, President, U.S. Distribution Andy Kaplan, President, Worldwide Networks Mike Wald, Executive Vice President, International Distribution Donna Cunningham, Executive Vice President, Operations, International Production Paula Askanas, Executive Vice President, Communications

(Family-Teen/Fantasy - 93’)

Life and Fate

(Historical Drama – 6 x 90’) ‘Life and Fate’ is a multi-episode TV film (6 х 90’) made as an opus-magnum screen version for novel under the same title by the Soviet author Vasily Grossman. An epic historical saga, this book has come to be referred to as “War and Peace” of 20th century, as the most veracious novel about the Great Patriotic War.

BIG BALLET

(FORMAT – 6 programs + 1 gala show x 120’ HD) Original format. Exciting and passionate competition of young ballet stars, gorgeously staged by the world-famous choreographers. Unique stage and shooting know-how open all the beauty and attraction of classical and modern ballet.

SECRETS OF THE INSTITUTE FOR NOBLE MAIDENS (Costume Melodrama – 170 x 44’)

In 1880 the Russian Empire is being shaken to its core by terrorism. Revolutionaries plant bombs everywhere, including the Czar’s Palace. Only in one place - the Somolny Institute for Noble Maidens -does life go on as if nothing has changed. The place of education for girls of nobility is filled with curtsies, jocks, laughter, childhood infatuations and secrets. However, these secrets are not the secrets of children but are rather adult in nature.

Fraternal twin sisters Emma and Lilly are as different as night and day. Emma would rather be riding a horse than anything else in the world. While Lilly loves to be left alone to curl up with a good book. Inseparable since the day they were born, Emma and Lilly have an insatiable desire to play matchmaker, even though they’ve never fallen in love themselves. Emma and Lilly find out their matchmaking skills are not just a gift from heaven, but rather because their father is actually Cupid (yes the guy who shoots bows and arrows). As they enter their senior year in high school, Emma and Lilly finally fall in love. Life gets complicated when they discover they’re in love with the same guy and they become bitter rivals as they try to win his affection.

Minor Details (Family/Teen - 85’)

Someone’s trying to make the students sick at the upscale boarding school, Danforth Academy! Abby, Paige, Claire and Taylor, join forces to solve the mystery. Could it be Mia or Riley - the girls who have everything that money can buy? Or Emily the know it all Principal’s daughter? Maybe it’s the wacky Sean Meneskie? Or the school’s strange Professor Plume. Whoever it is, the four best friends are going to find out!

Magic City

TOP EXECUTIVE Steve Mosko, President, Sony Pictures Television

MASTERS OF SEX

(Drama Series – 13 x 60’) Based on the lives of pioneering sex experts Dr. William Masters and Virginia Johnson, this new series sheds light on what happens behind closed doors. By taking the guilt out of the pleasure equation we’re taken on a voyeuristic journey, as the eternal mysteries of desire and intimacy are unlocked. This smart, provocative new drama chronicles the relationship of the couple that risked everything and gave birth to the sexual revolution while struggling with their own clash of success, betrayal and jealousies.

MEN AT WORK

(Comedy Series – 20 x 30’) ‘Men at Work’ centers on four buddies who work together at a magazine. Masterson plays the recently dumped Milo, whose friends are determined to help him get back in the dating game. Lesure is Gibbs, a photographer and successful ladies man. Cassidy plays Tyler, a features writer who brings a dose of style and sophistication to the group. And Busch is Neal, a somewhat nerdy ad salesman and the only one in the group with a steady girlfriend (Meredith Hagner).

Starz Media 9242 Beverly Blvd, Suite 200, Beverly Hills, CA 90210 Tel.: 424 204 4000 E-mail: info@starz.com Web: www.starzglobal.com Booth: Riviera Seaview 25 (RSV 25)

Executives Attending

Alisha Serold, Vice President, Worldwide Distribution Todd Bartoo, Senior Manager, Sales & Acquisitions Kristen Stanisz, Manager, Sales Administration

TOP EXECUTIVE

Gene George, Executive Vice President, Worldwide Distribution

Magic City

(Drama - 8 x 60’) Miami Beach, New Year’s Eve, 1958-1959. Castro’s rebels seize Havana while the Kennedys, the mob and the CIA all hold court at the luxurious Miramar Playa Hotel. This is Ike Evans’ place and he used mob boss Ben “The Butcher” Diamond to finance it. With diving clowns by day and escorts at night, nothing’s what it seems in the Magic City.

Spartacus: War of the Damned (Action - 10 x 60’)

Many months have passed since Gaius Claudius Glaber’s defeat and the rebel army, led by Spartacus and his generals Crixus, Gannicus, and Agron, continues to amass victories over Rome. Spartacus is more determined than ever to bring down the entire Roman Republic. As Spartacus becomes more of a threat, the Roman Senate turns to its wealthiest citizen, Marcus Crassus, for aid. A powerful, strategic politician and fierce warrior, Crassus respects the skills of the rebels and refuses to underestimate them as Glaber and his predecessors did. With a young and battle hardened Julius Ceaser as an ally, Crassus is determined to crush Spartacus and his rebellion. The epic conclusion of a legendary journey, ‘Spartacus: War of the Damned’ will unleash a battle unlike anything ever seen before.

All About Christmas Eve (Family - 1 x 90’)

TTV MAGAZINE/183

A young executive must leave NYC and her fiancé during Christmas time. At one point she misses her plane and finds her boyfriend is with another woman. In a concurrent storyline, she makes the flight and does not know the truth. Christmas magic intervenes and shows her the right path.

I love My Country

Flashpoint

Talpa Distribution Zevenend 45, 1251 RL Laren, the Netherlands Tel.: +31 35 5333333 Fax: +31 35 5333334 E-mail: sales@talpa.tv Website: www.talpa.tv Stand: LR3.09

Executives Attending

Annelies Noest, Format Sales Director Gepke Nederlof, Licensing Manager Laura Rhodarmer, Licensing Manager Sebastian van Barneveld, Licensing Manager

TOP EXECUTIVE

Candy Love

Tele München International Luise-Ullrich-Str. 6 82031 Gruenwald, Germany Tel.: +49 (0)89 290 93-0 Fax: +49 (0)89 290 93-109 E-mail: sales@tmg.de Web: www.tmg.de Booth: LR1.06

Executives Attending

Michael Oesterlin, EVP International Sales, TMG Carlos Hertel, Head of International Sales Myriam Gauff, Sales & Acquisitions Manager Angelika Koch, International Sales Manager Giannina Antola, International Sales Manager

TOP EXECUTIVE

Maarten Meijs, Managing Director

Dirk Schweitzer, Managing Director

Executives Attending

TOP EXECUTIVE

I love My Country

(Entertainment - Weekly 60-90’) ‘I Love My Country’ two celebrity teams take each other on in a fun-filled show all about your own country.

The Battle of the Sexes (Entertainment - Weekly 60’)

On the upbeat game show ‘The Battle of the Sexes’, four male and four female celebrities will do all they can to try to understand the other sex. Opposites attack!

Dating in the dark (Entertainment – 30’)

Can you fall in love with someone you’ve spoken to, smelt, felt, maybe even tasted… But have never seen? And, what happens when you do?

The Voice

(Talent show – 80’)

184/TTV MAGAZINE

It’s the purest vocal talent competition ever. Four of the country’s top recording artists seek out the nation’s best vocal talent. It’s all about the voice!

Precious Rose

Fernando Varela, Head of International Business

Flashpoint

(Action/Drama/Crime - 75 x 60’) Gotta rescue hostages, defuse bombs, outfox psychopaths and, with only seconds to go, convince suicidal teens and terrorist commandos alike to give up? It’s a job for the Strategic Response Unit (SRU), the ultimate team of elite cops. Each of the five seasons of ‘Flashpoint’ delves into a variety of thematic backdrops, from the human cost of heroism to the true meaning of a team, and from the powerful bonds of family to the many faces of sacrifice. In the fifth season, the SRU faces its toughest challenge yet, when its faith in justice itself is shaken by events beyond its control.

The Other Wife

(Romance/Drama - 2 x 90’) Rebecca Kendall is blessed with beauty, talent, a splendid home, two wonderful daughters and a loving husband, Robert, who is often in Canada, where he runs a mining firm. After he dies in a plane crash, Rebecca learns that he invested everything they own in an unprofitable gold mine; and that he has a second wife, Natalie, and a young son. Rebecca turns to her brother-in-law Martin for help, unaware that he is pursuing his own agenda... When Rebecca finally speaks with Natalie, who claims part of Robert’s estate, it emerges that they are both “the other wife”.

Executives Attending

Karen Barroeta, SVP International Cable & Marketing Xavier Aristimuño, SVP Sales & Business Development, Asia Esperanza Garay, SVP Sales & Acquisition, Latin America Luis Daniel Capriles, VP International Digital Media Sales Karina Etchison, VP of Sales, Europe, Africa and Middle East Melissa Pillow, Sales Director, Central and Eastern Europe Olimpia Del Boccio, Director of Marketing, Press & Promotions Emanuela Bosco, Format Sales Manager, Europe

TOP EXECUTIVE Marcos Santana, President

Candy Love

(Telenovela - Approx. 150 x 1 TV Hour HD) ‘Candy Love’ is the love story of four couples, four generations, and four kinds of love that are completely different but equally beautiful and intense. Love that will have to go through many tests before coming to fruition. It is two worlds crashing: The “popular” and the “rich”. On the one hand, the story of a family that loses its patriarch, 3 sisters and a mother, a candy factory, “Bandi Candy” that is about to go bankrupt and a legacy that is threatened by a real estate development. On the other hand, two men who need to collect money to fulfill their dreams and who will enter the Bandis’ life as drivers of the family and who show them it is worth fighting for your dreams, because Marcos and Julian will not stop until they go back to the racing world and the car sponsor will be none other than “Bandi Candy”. They will open the Bandis’ eyes, because they were being betrayed by their own people.

Precious Rose

Bitter Sweet

Crown of Tears

Fight Club: A History of Violence

Televisa Internacional

TVF International

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

375 City Road, London, EC1V 1NB, UK Tel.: +44(0)20 7837 3000 Fax: +44 (0)20 7833 2185 E-mail: international@tvf.co.uk Web: www.tvfinternational.com Booth: R29.34

Executives Attending

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

TOP EXECUTIVE Carlos Castro, General Sales Director

Executives Attending

Alice Hamlett, Head of Programming and Acquisitions Anna Budashevskaya, Senior Sales Executive Will Stapley, Senior Sales Executive Harriet Armston-Clarke, Sales Executive Julian Chou-Lambert, Programming and Sales Executive Alex Shawcross, Business Affairs Manager

TOP EXECUTIVE Jessica Bennetts, Head of Sales

The Americans

Twentieth Century Fox Television Distribution P.O. Box 900, Beverly Hills, CA 90213-0900, USA Tel.: 310.369.1000 Fax: 310.369.8877 E-mail: Mahnaz.Landers@fox.com Web: www.foxfast.com Booth: E3.01

EXecutives Attending

Marion Edwards, President, International Television, Twentieth Century Fox Television Distribution Gina Brogi, Executive Vice President, Worldwide Pay Television & SVOD, Twentieth Century Fox Television Distribution Scott Gregg, Senior Vice President, Worldwide All Media Sales Operations, Twentieth Century Fox Television Distribution Cristina Mancini, Senior Vice President, Worldwide Marketing, Twentieth Century Fox Television Distribution

Crown of Tears

TOP EXECUTIVE

(Telenovela - 150 x 60’)

Carrossel

(Children - 200 x 60’)

Yoga Sutra Now with Jai Sugrim

Mark Kaner, President, Twentieth Century Fox Television Distribution

Fight Club: A History of Violence (History Series - 4 x 47’ HD)

A mind-blowing new series which uses dramatic reconstructions and state-of-the-art CGI to tell the gripping history of how men (and women) fought each other through the Victorian, Georgian, Elizabethan and Tudor ages. The series uncovers the shocking realities of these ruthless one-on-one contests and puts them into vivid social context.

Special Forces

(Crime Series – 4 x 48’ HD) A heartstopping incursion into the world of Asia’s elite Special Forces, revealing their brutal training and cutting-edge combat capabilities. Explore the endurance needed for the world’s most dangerous missions, from criminal raids to hostage crises. Unprecedented access brings you to the core of Malay, Thai, Indonesian and Chinese Special Forces.

Great Minds of Design (Arts Series – 6 x 23’ HD)

Shot in the USA, Canada, Germany and Haiti, this stunning new series introduces the visionary people behind both everyday objects and new ambitious ideas, following a wide variety of designers through their unique processes of creation. ‘Great Minds of Design’ features everyone from street artists to green conscious industrial designers.

Veria Living Worldwide One Penn Plaza, 250 W 34TH ST, Suite 3501, New York, NY 10119, USA Tel.: +1 646 745 9024 E-mail: raymond.donahue@veria.com Web: www.verialiving.com/programsales Stand: G3.07

EXecutives Attending

Raymond Donahue, SVP, Program Sales (HQ - The Americas)

TOP EXECUTIVE

Raymond Donahue, SVP, Program Sales (HQ - The Americas)

Yoga Sutra Now with Jai Sugrim (Fitness - 52 x 1 hr)

Jai Sugrim combines physical asana practice with a master class in understanding the origins of every pose, movement, breathing technique, meditative focus, nutritional habit and thought process.

Kitchen Cures with Peggy K (Food – 39 x 30’)

The Americans

(Drama - Pilot - 12 x 60’) A period drama about the complex marriage of two KGB spies posing as Americans in suburban Washington DC shortly after Ronald Reagan is elected President. The arranged marriage of Phillip and Elizabeth Jennings, who have two children who know nothing about their parents’ true identity, grows more passionate and genuine by the day, but is constantly tested by the escalation of the Cold War and the intimate, dangerous and darkly funny relationships they must maintain with a network of spies and informants under their control. Complicating their relationship further is Phillip’s growing sense of affinity for America’s values and way of life. Tensions also heighten upon the arrival of a new neighbor, Stan, an FBI agent working in counter intelligence. This series stars Keri Russell, Matthew Rhys and Noah Emmerich.

Ben and Kate

(Comedy - Pilot - 12 x 30’)

Myth Defying with Dr. Holly (Reality - 26 x 30’)

Dr. Holly an acclaimed expert in the field of natural medicine, helps viewers break down the myths and misconceptions about health and related topics.

What Would Julieanna Do? (Reality - 39 x 30’)

A lifestyle-oriented talk show starring Julieanna Hever, who will share insider information with her viewers on such everyday topics as “getting your kids to eat better” and “treating menopause” to “rekindling the spark in your marriage.”

Yogi Cameron: A Model Guru (Reality - 52 x 1 hr)

Yogi Cameron, former super model turned Ayurvedic healer and yoga master uses ancient healing treatments to help people recover from their health issues. New season in production.

TTV MAGAZINE/185

The single-camera comedy follows a pair of odd-couple siblings – one, an overly responsible single mom; the other, an exuberant dreamer – and their friends as they push each other out of their comfort zones and into real life. This series stars Dakota Johnson, Nat Faxon, Lucy Punch, Echo Kellum, and Maggie Elizabeth Jones.

Registered holistic nutritionist, health educator and culinary consultant Peggy Kotsopoulos whips up healthy and delicious dishes that are both good and good-for-you!

Teenage Mutant Ninja Turtles

Viacom International Media Networks Website: www.b2b.viacom.com Stand: R38.05

Executives Attending

Sam Witters, Vice President Emmanuelle Bon, South Europe (France, Italy) Marco Arabit, South Europe (Iberia, Greece, Turkey, Cyprus), Middle East and Africa Lauren Marriott, UK, Australia, New Zealand, Germany and Northern Europe (Kids only) Maria Rakhmatullina-Ufland, Russia & CIS, India subcontinent, Anna Walczak, South Africa, Israel, Romania, CEE, Baltics, Caucasian States, The Stans & Malta Louise McNab, Northern Europe, Belgium, Switzerland, Austria, Balkans, UK & Ireland Adeline Delgado, Latin America/Canada Anna Lee, Asia-Pacific (Southeast Asia, Singapore, Korea) Mayumi Uchida, Japan Tracy Cui, China & Hong Kong

The Following

RAW

Warner Bros International Television Distribution Latin America 4000 Ponce de Leon Blvd. Suite 490 Tel.: (786) 999 7256 Fax: (786) 999 7260 Booth: Stand RB.50 Majestic Beach Restaurant & Pier

John Garcia, Senior Vice President and General Manager

Caroline Beaton, Senior Vice President

The Following

(Animated Series - 52 x 30’)

Prepare to be shell-shocked at MIPCOM 2012 as Nickelodeon launches the all-new, CGanimated series ‘Teenage Mutant Ninja Turtles’. As Nickelodeon’s biggest ever property launch to date, the re-imagined, re-invigorated action comedy series explores the camaraderie of four teenage brothers – Leonardo, Donatello, Raphael, and Michelangelo – who learn to rely on one another as they unravel the mystery of their existence and train to become the heroes they’re destined to be.

The Pauly D Project

186/TTV MAGAZINE

(Live Action - 12 x 30’)

Following the incredible success of Jersey Shore -MTV’s highest rating show ever, ‘The Pauly D Project’, starring break-out star Paul “Pauly D” DelVecchio, is MTV’s latest reality series to launch for international syndication at MIPCOM. In this 12-episode series, viewers get an inside look into the life of DJ Pauly D as cameras document his transition from world-famous housemate to world-class DJ with his best friends from his home state of Rhode Island along for the ride. He shot to fame on Jersey Shore, but now can he succeed on his own?

5 Jubilee Place, London, England SW3 3TD Tel.: +44 (0) 20 73497140 Website: www.wwe.com

Executives Attending

Emilio Revelo, Manager, TV Internacional, Latin America

James Purefoy star in this terrifying new thriller from Kevin Williamson. When notorious serial killer Joe Carroll (Purefoy) escapes from death row and embarks on a new killing spree, the FBI calls former agent Ryan Hardy (Bacon), a psychologically scarred veteran who captured Carroll nine years earlier, after Carroll murdered 14 female students on a college campus. Knowing Carroll better than anyone and close with Carroll’s ex-wife, Claire, Hardy works closely with an FBI team, which includes no-nonsense agent Jennifer Mason and sharp upstart Mike Weston.

Dallas

(Series)

From executive producer Cynthia Cidre comes ‘Dallas’, an all-new series based upon one of the most popular television dramas of all time, about the bitter rivalries and power struggles within the Ewing family, a Texas oil dynasty. Secrets, schemes and betrayals abound at the Southfork ranch, as the iconic elder Ewings are joined by the next generation, who take ambition and deception to another level. The all-new ‘Dallas’ focuses on the offspring of bitter rivals and brothers J.R. and Bobby Ewing - John Ross, the son of J.R., and Christopher, the adopted son of Bobby - as they clash over the future of the Ewing empire in a battle for power, love and Southfork itself.

Zodiak Rights Avon House Kensington Village Avonmore Road London W14 8TS Tel.: +44 (0) 207 013 4400 Fax: +44 (0) 207 013 4401 E-mail: contactus@zodiakrights.com Web: www.zodiakrights.com Stand: LR4.02

Executives Attending

Myriam Lopez-Otazu, Vice President of Sales

TOP EXECUTIVE

Tomas Davison, Director, Sales Peter Langenberg, Vice President, Business Management (Warner Bros. International Production) Al de Azpiazu, Director, Sales Southern Europe & Latin America (Warner Bros International Production)

TOP EXECUTIVE

Teenage Mutant Ninja Turtles

World Wrestling Entertainment International

Executives Attending

TOP EXECUTIVE

Tipping Point

Myriam Lopez-Otazu, Vice President of Sales

Emilio Revelo, Manager, TV Internacional, Latin America

RAW

(Sports / Entertainment - 52 x 60’ o 52 x 120’) An unpredictable, exciting, action-filled live event for TV. An incredible assembly of majestic superstars. It combines professional fighting with emotional stories of athleticism and intrigue. Each week brings a new, original show with fresh stories and unprecedented action where anything might happen.

SmackDown

(Sports / Entertainment - 52 x 60’ o 52 x 120’) Guaranteed to make worldwide TV screen vibrate, ‘SmackDown’ is a live event featuring the best talent. Each week, the show’s superstars will engage audiences with action inside the ring and dramatic sagas.

WWE Superstars

(Sports / Entertainment – episodes of 2.5 - 3 hours) This live show features superstars from different shows and gives fans the opportunity to experience battles, never-before-seen in regular programming, without PPV. With unprecedented action and supercharged stories, Superstars’ fans can expect anything.

Tipping Point

(Game Show Format – 60’) ‘Tipping Point’ is a brand new quiz show in which four players take on an extraordinary machine filled with counters worth thousands, in the hope of winning its jackpot. Players need quick wits, good strategy and nerves of steel to carefully release their counter in the hope of setting off a cashcade of coins at the other end. The last player standing goes head to head with the Tipping Point machine when they’ll be focussed on just one counter – the golden jackpot disc. Once again by answering questions for the right to play they’ll win a big cash sum if they can get the golden disk out of the machine in time.

The Dare

(Entertainment Format – 60’) ‘The Dare’ is a primetime event series that combines life-changing challenges with edge-of-your-seat entertainment that will keep the whole country guessing. Featuring daring stunts on location and breath-taking challenges in studio, ordinary people are secretly trained to deliver incredible performances. But they’ll only win a cash prize if they can fool enough people into believing they’re trained professionals when going head-tohead against the real deal! At its heart is an inspirational journey for the novices as they reach deep inside themselves to entertain a huge live audience. In each challenge there are two performances – one by a genuine professional at the top of their game, one by a rank amateur. But can you tell which is which?

TTVFilms&Series news

APPOINTMENT

Nancy Dubuc Upped at

A+E Networks Abbe Raven, president and CEO of A+E Networks, announced Nancy Dubuc has been appointed to the newly established role of president of Entertainment and Media. She will now oversee all content creation, brand development and marketing for the entire A+E Networks’ portfolio including A&E Network, Lifetime and History and their affiliated brands. In addition, Dubuc will oversee A+E Networks’ International and Digital divisions. A&E Network president Bob DeBitetto and EVPs Dan Suratt and Steve Ronson will now report to Dubuc; who will report to Raven. The appointment becomes effective immediately. Prior to this new role, Dubuc was the company’s SVP of Non-Fiction Programming and New Media Content; a position she assumed in June 2006. Previously, she was Programming SVP for A&E Network. The executive began her career at A+E Networks as Director of Historical Programming for History.

KIDS

‘12 Dogs of Christmas’ Sequel Barks its way to New Territories Vision Films announced ‘12 Dogs of Christmas: The Great Puppy Rescue’ -the sequel to the very successful ‘12 Dogs of Christmas’- will be released this Christmas in over 50 territories worldwide. Sony Pictures picked up all rights for North America. In France, it will be released by Emylia; in Benelux by Kids Workout; and in Poland by Polmedia. In addition, Eagle Entertainment will release it in Australia; Savoy/MIG in Germany, and Signature Home Entertainment in the UK will be releasing it on Home Video. Lastly, Leda Films licensed the Television rights for Latin America, and the South East Asian territories Pay TV rights went to Fox Int’l Channels/Star Movies.

DISTRIBUTION

Power Floods TV Azteca´s Programming

Nancy Dubuc,

President of Entertainment and Media, A+E Networks

UK production and distribution company Power has signed a deal with Mexican broadcaster TV Azteca for 114 hours of drama programming. The deal comprises a library of 36 TV movies and miniseries. Among the properties are Power’s co-production miniseries ‘Flood’, the effects-laden disaster drama starring Robert Carlyle and Tom Hardy that sees millions imperiled when a tidal surge hits London; and the Bourne-like conspiracy thriller ‘XIII: the Conspiracy’, starring Val Kilmer. The deal also includes library classics such as the miniseries ‘Titanic’, an emotional dramatization of the world’s most infamous maiden voyage starring Catherine Zeta-Jones and Peter Gallagher; and the Emmy award-winning ‘Merlin’, an epic fantasy centered on King Arthur’s legendary magician starring Sam Neill and Helena Bonham Carter.

F&S/TTV MAGAZINE

APPOINTMENT

Kevin Reilly Named Chairman of Entertainment at FOX Peter Rice, Chairman and CEO of Fox Networks Group, announced Kevin Reilly was promoted to Chairman of Entertainment of Fox Broadcasting Company (FOX). As part of his new responsibilities, he’ll oversee all programming, scheduling, marketing, research, digital and business affairs at the network. “Kevin is a uniquely gifted executive with the strong strategic vision and creative instincts to ensure that Fox continues to drive the future of our industry,” said Peter Rice, chairman and CEO of Fox Networks Group. “We are incredibly fortunate to have him here and thrilled he will be with us for many more years.” Before joining FOX’s team in 2007, the executive worked as head of entertainment at NBC.

Kevin Reilly, Chairman of Entertainment of Fox Broadcasting Company

TTVFilms&Series interview DEBATE

Carmina o revienta 2012

F&S/TTV MAGAZINE

The Democratic Premiere The internet is beginning to rule the new audiovisual consumption industry, and while its players debate about possible business models that can make the new distribution windows profitable, consumers remain unyielding on one specific request: they want access to newer online content; premieres for everyone. When offer and demand seem to be miles apart… are there any alternatives? By Josefina Mezzera

Twitter: @jmezzera jmezzera@todotv.tv

t’s safe to say the star of today’s new media consumption habits is clearly the internet. In just a few years, all predictions and expectations became a reality; it’s the present and will certainly be the future of communication. In this online scenario, movies and series are the most popular audiovisual content, consumed by millions of users who continue to combine different screens and platforms. Everything is merging. Yet, the current market is showing a noticeable gap between offer and demand. While the past year witnessed an exponential growth in OTT platforms, the truth is their content is still not up to par. Online offers are far from what they ought to be, mainly because their programming is not appealing enough: independent services’ catalogs are outdated, while those provided by pay TV programmers are simply too limited. Basically, it all comes down to timing. Who wants to wait an entire week to watch the premiere of their favorite series’ last episode, or three months to see a movie that’s already in theaters? And, to make matters worse, have to pay for it. The internet has made us used to having what we want, when we want it. And now, it’s something we’ve come to demand from it. Consumption habits are already established: viewers now go online to watch movies and TV shows, whenever and wherever they please. But now, users are also demanding premieres. Is there an online window to access them legally? No there isn’t. And that’s when, magnanimously, the great villain in this story comes along: piracy. RISK OR BUST. The new reality forces content distribution and broadcasting models to be redesigned; making it a pressing issue for entertainment industry executives everywhere, as they seek to make content sales to digital platforms a profitable business. The problem is that while the industry debates and discusses the problem in search for solutions, users get impatient. Illegal downloads and online streaming sites manage to fall and get

No Rest for the Wicked 2011

FURTHER EXAMPLES

back up, showing an undeniable resistance to being shut down. They know they’re in control of today’s most coveted item. In light of this somewhat discouraging scenario; is there anything to do rather than simply wait for the day the industry announces it’s finally come to a solution? This year, an interesting alternative made its way into the picture, and while it would be farfetched to think it will become the norm any time soon, it’s at least important to take a closer look. All in all, what it proposes is to fight against piracy in its own turf: online content premieres. With an innovative -almost provocative- distribution model, on its debut weekend (July 7-8, 2012), Spanish movie ‘Carmina o revienta’ became the country’s most popular premiere. Paco León’s directorial debut was simultaneously released in movie theaters, legal online platforms, pay TV and on DVD. What was the final outcome of such risky bet? On that weekend alone, the online version (offered for prices between 1.95 and 4 euros) reached 16,000 views, which according to the Spanish Ministry of Culture’s accounting method, translates to approximately 32,000 people. With these results, ‘Carmina o revienta’ became the most popular online movie premiere ever in Spain, surpassing in only three days the previous record set by ‘Margin Call’ in three months. In addition, with price tags ran-

ging from 4.95 to 5.95 euros, between 8,000 and 9,000 DVD copies were sold; while 4,600 viewers filled movie theaters in the country. The film was the 17th most viewed in Spain and ranked 7th in amount of viewers who saw each showing. Not bad. “Many considered this model could mean the end of movie theaters,” said the man behind this movie which -adding all the different broadcast windows- was one of Spain’s biggest premieres during the weekend it was released. Logically, this sparked notable controversy, as critics claimed Pablo León was tempering with the traditional distribution model based on a specific order in broadcast windows. It was an experiment; one that turned out quite right. And it wasn’t the only one: Spain also witnessed a similar phenomenon with the re-release of ‘No habrá paz para los malvados’ (‘No Rest for the Wicked’), Enriqe Urbizu’s feature film. After taking the 2012 Goya Awards by storm, the movie became available on movie theaters (for the second time), legal online streaming sites, pay TV and DVD at the same time; each window with a different price. This project was also successful. Ultimately, the positive outcome achieved by these examples should serve as a wakeup call. Because evidently there are plenty of players, interests, rights and business opportunities in the mix, and it’s not possible to overlook the

Other initiatives seeking to provide an alternative for consumers are film festivals, which have recently come up with innovative ways to exhibit movies. Once again taking an example from the Spanish market, the second Online Film Festival took place this year and became “a unique cinematographic event.” From July 9 through the 29th, competing films were made available on movie theaters, TV, mobile devices, tablets and computers simultaneously. Once again, the goal was giving users across the globe the chance to access premiere movies legally and free of charge, through as many distribution windows as possible, including the internet. established game rules as if for some reason they had ceased to exist, or as if there were no consequences to consider. Yet, there was a risk taken with these movies that, at the very least, makes the industry question the current movie distribution model and the gap between the different windows. If consumption habits change, so should the structures that support them. It’s not a matter of finding a magical formula. Maybe, for now, it’s simply about content distributors and rights owners to revise and analyze each of these cases to try and reach specific agreements that can benefit all parties. “All parties” also means the viewers. It means working towards offering audiovisual content for all audiences as fast and efficiently as possible. Because people have made it clear: they respond. ttv

TTVFilms&Series interview

Andrés Parra Medina, Star of ‘Pablo Escobar: The Drug Lord’

The Man Behind the Character

The leading actor in ‘Pablo Escobar: The Drug Lord’ -considered to be Caracol Televisión’s most ambitious TV series- spoke to ttv in Los Angeles and explained the creative process that led him to embody one of the world’s most dangerous drug-dealers.

t was early in the morning back in May, and Andrés Parra Medina (Cali, 1978) with his shaved head, exhausted yet smiling, leaned back on a couch in a room at the Hyatt Century Plaza Hotel, in Los Angeles, US. In that opportunity, the Colombian actor, who played Pablo Escobar for 62 episodes, spoke to ttv about what it was like to embody one of the most powerful and dangerous men in history. “Turning into Pablo Escobar was a strange experience. And that’s not fun, but I must deal with it,” he said.

Andrés Parra Medina, Star of ‘Pablo Escobar: The Drug Lord’

Watch the video interview www.todotvnews.com

F&S/TTV MAGAZINE

“I still can’t fully grasp what this means and what it can turn into.” By Sebastián Amoroso Twitter: @sebamoroso samoroso@todotv.tv

What was the first thing that came to mind when you were offered the role of Pablo Escobar in Caracol Televisión’s new series? You feel restless about it. At that moment what worried me was playing the third character with a similar profile and not do the same thing over again. [Parra had already played another two drug dealers before]. And I think that’s what saved me because just now I’m beginning to realize how big of a predicament I got myself into. I still can’t believe what this means and what it can turn into. What did it entail to play such a complex character? The main goal with Juana Uribe [production VP at Caracol Televisión and the series’ general producer] was to tell this story with the upmost respect for its victims and the audience, since it was a very sensitive issue. We weren’t going to take it lightly. We weren’t going to try to be funny. We wouldn’t turn it into something frivolous or dumb. It had to be done right, since in involved the lives of many people, as well as extremely complicated emotions that were hard to deal with. And that’s what motivated me the most. So I said to Juana: “I think it’s right to do this.”

Once these parameters were determined, you then began the actual researching process… I studied Pablo Escobar for over four months, using all the material I could find: books, documentaries, home-videos, tapes, articles and photographs. That’s how I began to become obsessed with Pablo; spending 24 hours a day reading, taking notes, going over those notes and listening to his voice. Every day I fell asleep watching one of his documentaries. At one point, I met with a group of psychologists to try -on a personal level- to understand the contradiction that is Pablo Escobar. Then came the time to process everything and try to imitate his voice, gestures, posture and all his body movements. And what was it like to play such a contradictory man as Pablo Escobar? Pablo has a very unique moral and ethics. If you attempt to judge him within the system, you can’t; it’s just not viable. But when you come to understand him as a complicated person with a peculiar mindset, then it becomes easier, because otherwise it’s very hard to understand how

TTVFilms&Series interview

someone could be capable of blasting a bomb on an airplane while he’s tending to his sick daughter. The man was an outstanding father to his kids and an excellent friend. If you called him, he would come. Yet, he was a man who killed almost 4,000 people. Escobar gave orders to kill someone as easily as he would order someone else to mow the lawn. No regrets, no guilt. That was very difficult for me to understand. How can you not feel any guilt? But once you understand he was antisocial, aggressive and sadistic; it all makes sense.

F&S/TTV MAGAZINE

DISTRIBUTION The series ‘Pablo Escobar: The Drug Lord’ (62 x 60’) is a free adaptation of Alonso Salazar’s book La parábola de Pablo. Its debut on May 28 on Caracol Television became the highest rated show in Colombian history, as its ratings spiked to 70.8, reaching 11 million viewers during its 9:00 PM timeslot and increasing the primetime average by 55%. On July 9, Hispanic network Telemundo premiered the series in the US, and on July 24, Monte Carlo TV aired it in Uruguay. Recent premieres also include Ecuador’s Gama TV, Puerto Rico’s Wapa TV and Panama’s Canal 2 TVN.

we finished filming and I didn’t want to speak to anyone. The whole cast and crew went out to eat or celebrate and I locked myself in my hotel room because I was fed up.

Did you feel any kind of responsibility when playing such an important character as Pablo Escobar? Right now, I’m not alright. I’m not comfortable or happy. I’m scared, worried, nervous and excited. All at the same time. And it never ceases to be weird, because I have the feeling something might happen. Turning into Pablo Escobar was a strange experience. And that’s not fun, but I must deal During this entire process, did you get the with it. When I get on a plane, people say chance to meet and chat with people who “There’s the boss,” or even refer to me as “Pawere connected to him, either as victims blo”. That’s not cool. I think it will go on for a or victimizers? No. It was a decision we while, and that’s scary. I wouldn’t want made with Juana Uribe, because if we people to see me as that character. spoke to one side or the other, all “Escobar gave It seems crazy to me because in those voices would be biased. So orders to kill school I couldn’t even say “Pablo we decided to stick to journalists someone as easily Escobar”. It was forbidden. You and people who dedicated their as he would order couldn’t mention drugs at the airtime to researching about him, someone else to port and it was extremely hard for without a specific mindset or goal mow the lawn.” Colombians in the US since people behind it. That was going to allow saw us all as Escobar. It seems crazy us to have a clearer image, which to think that 20 years later I actually beis what we wanted. In addition, came Pablo Escobar. It’s just strange. Pablo after the series’ promos were already aired, Escobar is a big deal. we further confirmed it was the best thing to do, since the myth is so great that if you go What have you gained from this experiento Medellín, everyone claims to have met him. ce? I dare to think it’s the first time a proEveryone allegedly spoke to him. Everyone duction company in Colombia has invested has something to say about him. as much time and efforts into one project. I believe the audience will find an incrediWhat happened when you tried to break ble production; a series with all the ingrecharacter? I was usually emotionally draidients necessary to become a success. It has ned, but it also depended on what I had everything the viewer could want: action, rodone at the time. For instance, when we shot mance, entertainment and suspense. ttv Escobar’s final hours, it was brutal. Sometimes

Liz and Dick

Wild Geese

The Chosen

A+E NETWORKS

BoPaul Media Worldwide

Comarex

235 East 45th Street New York, NY 10017 Tel: +1-212-210-1400 Fax: +1-212-907-9476 Website: www.AETNinternational.com Email: intl.sales@aetn.com Booth Number: G3-18

3124 Nicada Dr., Bel Air, CA 90077 Tel.: 310-471-8875 Fax: 310-472-0718 Website: www.bopaulmedia.com Stand: 07.39

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

Executives Attending

Nancy Dubuc, President & General Manager, History and Lifetime Bob DeBitetto, President & General Manager, A&E Network and BIO Channel Michael Feeney, Senior Vice President, Corporate Communications Steve Ronson, Executive Vice President, Enterprises Christian Murphy, Senior Vice President, International Programming & Marketing Dean Possenniskie, Managing Director, Europe Mayra Bracer, International Content Sales Executive, Latin America

EJECUTIVO TOP

Sean Cohan, Executive Vice President, Internationalr

Executives Attending

Monique Nayard, Senior Sales Executive Susan Bender, Bender Media Services, Latin American Sales Thomas Valentino, International Sales Coordinator Dorothea Rich, Vice President

EJECUTIVO TOP

(HD – 133’)

One of the all-time classic action films. Crack paratroopers – all former Special Forces – reunite to free a man who can alter Africa’s destiny.

A doctor searches wild African plains for his kidnapped, enslaved wife.

Starring Lindsay Lohan, ‘Liz & Dick’ takes viewers behind the headlines of one of the great love stories of all time. Swarmed by paparazzi, Taylor and Burton’s love affair was played out entirely in front of the global press from the time they met on the set of the major motion picture Cleopatra, left their respective spouses, married and divorced, only to remarry and divorce once again.

Zulu Dawn

(Real-life: Change - 7 x 60’)

‘My Life is a Lifetime Movie’ is a compelling new series that taps into the key components of the Lifetime brand: gripping stories of average women who find themselves caught up in circumstances so outrageous they have to be true. Each episode will feature two too-wildto-be-scripted stories told through first-person interviews and recreations. When high school teacher Jodi Barrus is falsely accused by an obsessed student that she’s had sex with him, she finds herself arrested by the local police.

Two Alhambra Plaza 9th floor, Coral Gables, FL33134, USA Tel.: (+1) 305-567-3785 Fax: (+1) 305-774-3913 Website: www.daet.tv Suite: RB.30

Executives Attending

Henri Ringel, VP, Distribution Jack Morera, Director, Distribution Leonardo Aranguibel, Director, Production Fabiola Bovino, Senior Manager, Marketing

EJECUTIVO TOP

Wild Geese

LIZ AND DICK

MY LIFE IS A LIFETIME MOVIE

Marcel Vinay Jr., CEO Comarex Carmen Pizano, Sales, Latin America & Spain Martha Contreras, Sales Asia Adela Velasco, Sales Europe Jesica Stescobich, Sales Central America Raul Mendoza, Marketing

Disney Media Distribution

Fernando Barbosa, SVP Distribution and Production

Marcel Vinay Hill, Vice President International Sales

Ashanti

(Movies - 1 x 120’)

Executives Attending

Paul Rich, Owner/CEO

(HD – 118’)

F&S/TTV MAGAZINE

Violetta

(HD – 113’)

The epic true story recounting the British defeat of the Zulu army in 1879 Africa.

Hellraiser IV

(HD, SD versions available – 86’) A 22nd century scientist tries to reverse the Lament Configuation. Theatrically released 4th film in the famed Clive Barker-driven series. Miramax theatrical release in U.S. in 1996.

Citizen Kane A group of reporters attempt to decipher the last word ever spoken by Charles Foster Kane, the millionaire newspaper tycoon: “Rosebud.” The film begins with a news reel detailing Kane’s life for the masses, and proceeds to show flashbacks depicting a man’s fascinating rise to fame, and how he eventually fell off the “top of the world.”

The Chosen

(Paranormal Investigation − 12 x 50’) Gabriel Antinori is a young priest and theology professor at the university. Loved by his students for his unconventional intellect, Gabriel is concerned with exploring the boundaries between science and faith, studying the world of paranormal phenomena. Motivated by the desire to explore life´s mysteries, Gabriel works with a religious institution which investigates rationally unexplainable happenings: The Congregation of Truth. Gabriel is not an investigator of the occult, but a man of faith who is free from prejudice and narrowmindedness, who wants to understand the phenomenon especially from a human point of view. Gabriel meets attractive psychologist Claudia, who has a more skeptical attitude than Gabriel, believing in the potential of the human mind rather than the divine. An irresistible attraction, both spontaneous and passionate but ultimately impossible, develops between them catching them off-guard. Their collaboration creates a special chemistry that comes from the seductive juxtaposition between rationality and faith, between science and spirituality. Together they discover new perspectives to explain the mysteries they encounter.

Popland!

(Teen Telenovela − 70 x 60’) Being a paparazzi can breed envy and evil all around you. ‘Popland!’ is the story of a smalltown girl who travels to the big city to become a professional photographer. Amid celebrities and endless parties, she will find a love that turns her life around.

Violetta

(Live Action – 80 x 45’) ‘Violetta’ tells the story of a lonely and very talented teenager who returns to her hometown of Buenos Aires. In her new life she finds true friends and love, as she discovers her innate talent and passion for music and, in turn, builds and faces the great and interesting experience of growing up.

The Amazing Race

(Reality Show/Adventure – Season 4) ‘The Amazing Race’, Season 4: a reality television competition between 12 teams of two with a pre-existing relationship who race around Latin America for a US$250,000 prize.

El Jardin de Clarilú

The Expatriate

Collision Course

Pirate Brothers

Air Force One Is Down

Ledafilms

MarVista Entertainment

MultiVisionnaire Media

Power

Virrey Olaguer y Feliu 2462 – Piso 3, Buenos Aires (C1426EBB) - Argentina Tel.: +5411 4788 5215 Fax: +54 11 4788 5220 Web: www.ledafilms.com

10277 W. Olympic Blvd 3rd Floor Los Angeles, CA 90067 Tel.: 1.310.737.0950 Web: www.marvista.net Booth: Riviera Sea View #46

Executives Attending

3080 W Valley Blvd Ste B, Alhambra, CA, 91803-1821, USA Tel.: +1 626 737 8357 Fax: +1 626 737 8642 Email: distribution@multivisionnaire.com Website: www.multivisionnaire.com Booth: POD09 (14.09)

43 Gresse Street, London, W1T 1QX. United Kingdom Tel.: +44 (0) 202 323 0070 Fax: +44 (0) 207 323 0060 E-mail: info@powcorp.com Web: www.powcorp.com Stand: R29.23

Executives Attending

Moira Mc Namara, Gerente de Ventas Viviana Lisanti, Gerente de Adquisiciones Alejandro Leda, Adquisiciones

EJECUTIVO TOP Pedro Leda, Presidente

Vanessa Shapiro, Executive Vice President of Sales Stephanie Slack, Senior Vice President, Co Productions & Acquisitions Laura Hoffman, Executive Director, Sales & Contract Administration Robby Amar, Director, International Sales Scott Kirkpatrick, Director, International Sales

Sean Haley, Managing Partner

EJECUTIVO TOP Sean Haley, Managing Partner

EJECUTIVO TOP

Andrew Whiteman, Head of Sales Planning & Operations Steve Turney, VP, Sales & Acquisitions Georgina McNeilly, VP, International Sales Jose “Pepe” Echegaray, Sales, Latin America Adam Jones, Marketing Manager Nadine Kaminsky, Executive Assistant to CEO

EJECUTIVO TOP

Fernando Szew, CEO

The Expatriate

(Action/Thriller – 90’) An ex-CIA agent and his estranged daughter are forced on the run when his employers mark them both for termination as part of a widereaching international conspiracy.

Albert Nobbs (Drama – 113’)

‘Albert Nobbs’, a witty Irish-set period drama about the lives of staff at Dublin’s most luxurious hotel: the illegitimate child of a maid, a beautiful couple’s impossible love, and Albert... a woman who pretends to be a man to survive. 19th century Ireland: a woman with no husband or family and without work would face a bleak life of poverty and loneliness. Albert, a shy butler who keeps himself to himself, has been hiding a deep secret for years – ‘he’ is a woman who has had to dress and behave as a man all her life in order to escape this fate. When handsome painter Hubert Page arrives at the hotel, Albert is inspired to try and escape the false life she has created for herself.

Susan Waddell, CEO

Pirate Brothers

Collision Course (Action/Disaster – 90’)

(Action/Adventure – 96’) Brothers separated by fate, Sunny and Verdy are reunited when pirates kidnap Verdy’s fiancée. They fight to save her and take down the pirate gang.

Air Force One Is Down (Mini Series - 2 x 120’)

When a powerful solar flare strikes her plane, killing the pilot and disabling the electronic systems, author Kate Parks must find a way to land the plane safely… or kill everyone on board trying. Starring Tia Carrere (‘In Plain Sight’), David Chokachi (‘Baywatch’), Dee Wallace (‘E.T.: The Extra-Terrestrial’)

Heathens And Thieves When two drifters hear rumors of hidden gold, the desperate men put a conspiracy in motion to steal the “Chainman’s” gold--before others do.

A fearless rogue soldier who makes his own rules, a former general driven by vengeance and the most powerful woman in the world become pawns in the deadliest contest of wills to ever be played on the world stage. The game begins now.

The Shores

I Am Bad

Bomb Girls

‘The Shores’, a series set in the glamorous world of modeling and chic party planning, follows the lives of gorgeous American women who leave the U.S. to live work and play in some of the world’s most luxurious and hottest beachside destinations.

‘I Am Bad’ is a voyeuristic roller-coaster experience of the life of a serial killer--seen entirely through the eyes of the killer himself.

Circle of Lies

Mickey, an IRA lifer, flees his life of violence to make a fresh start in LA. Forced to help the one he loves he reawakens the ghost of his past.

During World War II, remarkable women of all walks of life put their lives at risk in munitions factories, building bombs for the front. Newly liberated from social and cultural restrictions, these women embraced their newfound freedom, changing their lives and the world around them forever.

(Unscripted Reality Drama - 13 x 30’)

(Teen Feature – 90’) After a life-changing night, Denise must put a stop to the vicious rumors circulating throughout her school. Starring: Hilary Caitens, Ryan Harrison, Anna Lawrence, Stephen Multari.

Power Rangers Megaforce

(Action Adventure Series/Live Action - 40 x 30’) ‘Power Rangers Megaforce’, which premieres in 2013 on Nickelodeon, delivers mega action, humor, excitement, and entertainment, in addition to the core themes of friendship, teamwork, fitness, and helping others.

(Action/Adventure – 110’)

(Thriller/Horror - 83’)

No Saints For Sinners (Action – 84’)

Jesse

(Action/Crime/Woman – 85’) Jesse Weinstein could be called a vigilante. A police detective with slightly unorthodox Methods, her goal is to get all the bad guyseven if she has to break more than a few rules..

(Mini Series - 6 x 60’)

Blood Money (Movie - 1 x 120’) Zheng Zou, a Shaolin warrior and the world’s most feared assassin, makes war on the most notorious drugs cartels in Australia, Hong Kong and America following the murder of his family.

7 Below

(Movie - 1 x 120’) A group of strangers become targets of an unstoppable evil presence when they’re forced to shelter in an old house. Starring Ving Rhames, Luke Goss and Val Kilmer.

TTV MAGAZINE/F&S

Restless

Family Rights

The 12 Dogs of Christmas II: Great Puppy Rescue

Red Arrow International

SOMOS Distribution

Telefilms

Vision Films

Medienallee 6, 85774 Unterföhring, Germany Tel: +49 (0)89 9507 2320 Fax: +49 (0)89 9507 2321 E-Mail: sales@redarrowinternational.tv Website: www.redarrowinternational.tv Booth: H4.12

2601 South Bayshore Drive Suite 1250. Coconut Grove, Florida, 33133 USA. Tel.: +1 786 220 0440 Fax: +1 305 858 7188 E-mail: lvillanueva@somostv.net Web: www.somosdistribution.net Booth: 09.14

Av. Libertador 1068 PISO 11. Buenos Aires, Argentina. Tel.: 5411 5032 6000 Web: www.telefilms.com.ar Stand: 09.05

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

Executives Attending

Axel Böhm, Regional Sales Director CEE, Italy, Spain / Director International Fiction Acquisition Shakira Hoffman, International Sale Manager CEE Yan He, Regional Sales Director Asia, Australia, New Zealand, Middle East, Africa Jamie I, Senior Sale Manager Asia Irina Ignatiew, Regional Sales Director German-Speaking Countries Tobias Schulze, Sales Manager German Speaking Countries, Turkey Caroline Kusser, Director North America Henrik Pabst, Regional Sales Director Scandinavia, Benelux, UK / Director International Format Acquisition Tim Gerhartz, Acquisitions and Sales Manager, Scandinavia, Benelux, UK Aline Avedikian, Regional Sales Manager France Zasha Robles, Director Spiral International

EJECUTIVO TOP Jens Richter, Managing Director

Restless

(Thriller - 2 x 90’ / 1 x 130’) Based on William Boyd’s bestselling novel, Restless is a compelling romance and espionage thriller, set in World War II and the 1970s, starring Hayley Atwell, Rufus Sewell and Michelle Dockery.

(Detective Series - 8 x 45’) In his role as elite cop Jo, Jean Reno stops at nothing to solve mysterious murder cases. Each killing is tied to one of Paris’ iconic locations, highlighting the second star of the series: Paris. Co-created by Emmy Award winner René Balcer, crime geniuses Charlotte Sieling, Stefan Schwartz and Kristoffer Nyholm are directing the one-hour procedural crime series.

The Taste

(Cooking Competition Show – 45’)

F&S/TTV MAGAZINE

Looper

For the first time ever famed foodies Anthony Bourdain and Nigella Lawson are teaming up to get down to what truly matters: the taste.

Executives Attending

Carlos Abascal, VP Business Development

Executives Attending

Ricardo Costianovsky, CEO Humberto Delmas, Sales Manager Alejandro Carballo, Sales Manager

EJECUTIVO TOP

Francisco Villanueva, Vice President & COO

Executives Attending

Lise Romanoff, Managing Director & CEO Worldwide Distribution Vincent Tola -, International Sales & Acquisitions

Tomás Darcyl, President

EJECUTIVO TOP

Adam Wright, Executive Vice President International Sales & Acquisitions

Family Rights

Looper

(TV Drama Series – 60 x 45’)

(Action- Sci Fi)

‘Family Rights’ is a serial telenovela in which Marta, a social worker deals with a selection of different cases and problems to solve on a daily basis. Over the course of the plot we’ll see develop the story of Marta, a women who fate has obliged to start over again.

Lots of action in this film starring Bruce Willis and Joseph Gordon-Levitt. A criminal organization in the future through time sends the murderers to kill the last version of themselves.

11-11

(Telenovela – 75 x 45’) Kike, 14, has a passion for cutting-edge technology-and that passion has turned him into a true expert when it comes to inventing, enhancing or repairing all sorts of mechanical and electronic gadgets. This overpowering attraction to technology becomes especially important when he and his family move into Apartment 11-B in Building 1111, a mysterious structure that is not really a building but rather a unique device designed to make dreams come true, created by an eccentric architect/inventor/ philosopher named Don Leonardo. Thanks to the building’s special qualities, whenever Kike falls asleep he has the ability to materialize as Enrique, an adult version of himself that can actually interact with the real world like any other person.

Mixed Martial Arts (Sports – 80 x 45’)

The best fights from the United Fight Alliance!. The full contact sport that is attracting audiences worldwide. A full catalog of fights plus new shows produced every two weeks. Let your audiences enjoy the action with the most prestigious brand in this unique sport that combines all styles of full contact disciplines (box, wrestling, judo, jiu-jitsu, tae kwan do and Muay Thai.

The Master (Drama)

Starring Philip Seymour Hoffman. A 1950s-set drama centered on the relationship between a charismatic intellectual known as “the Master” whose faith-based organization begins to catch on in America, and a young drifter who becomes his right-hand man.

The Possession (Thriller)

A young girl buys an antique box at a yard sale, unaware that inside the collectible lives a malicious ancient spirit. The girl’s father teams with his ex-wife to find a way to end the curse upon their child.

House at the End of the Street (Thriller)

A mother and daughter move to a new town and find themselves living next door to a house where a young girl murdered her parents. When the daughter befriends the surviving son, she learns the story is far from over.

Son for Marion (Comedy/Drama)

‘Song for Marion’ tells the story of a grumpy retiree whose wife Marion encouraged him to join a local choir which, of course, has nothing conventional. Despite the opposition of his son James, the director will attempt to convince the man to become part of their group and therefore, to learn to take advantage of the good things in life.

The 12 Dogs of Christmas II: Great Puppy Rescue (Family – 103’)

Two teens find themselves in a race against time and impossible odds to rescue a dog orphanage from an unscrupulous tycoon. This is an actionpacked, fun-filled, adventure filled with kids, dogs and many other wonderful surprises.

Elf-Man

(Family – 90’) When Santa leaves an Elf behind on Christmas Eve, the Harper kids find out his true identity as a super-hero Elf-Man. Together they must save their Dad’s new invention from a bumbling gang of thieves, and enjoy the best Christmas, ever.

The Illusinauts (Animation 3D – 82’)

A group of kids with special powers and their trusted dog are sent back in time on a mission to restore the famous stories and their place in history as the mad President and Minister of Cultural Affairs are trying to change them.

Division III: Football´s Finest (Comedy – 98’)

An overly aggressive and crazy coach is hired to help save a losing college football team, but his insane ways quickly make him the players’ worst nightmare.

3D Documentaries (Nature/Travel - 5 x 60’)

Stunning 3D programming takes you on to Egypt, Madagascar, face to face with Sharks, a journey with the Monarch Butterfly, around the globe in Earth 3D, through Sin City in Vegas 3D, and deep into the mystic Kama Sutra.