TTVPreview // MIPCOM

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速 Buena Vista International, Inc. 2013


速 ABC Studios



Contents _/06

_/28 Special Report ARGENTINA: COUNTRY OF HONOR

TV Nation _/28

_/10 REPORTS LATAM’S AUDIOVISUAL LANDSCAPE Continental Transition _/52 RESEARCH Perspectives on the Future of Television _/62 Q&A Bold and Original _/38 Hernán López, President and CEO of Fox International Channels A Multi-Faceted Problem _/48 Marcel Fenez, Global Leader of Entertainment and Media, PricewaterhouseCoopers


_/14

_/52

_/62

_/24

_/38

_/48

TRENDS Kevin Spacey “It’s the New Golden Age of Television” _/6 OPINION Movies on TV in the Multi-Platform World _/10 Toby Melling, VP Sales, TV & Home Entertainment for Content Film, Content Media Corporation

ttvmedianews.com Television & Entertainment Business News

HIGHLIGHTS MIPCOM 2013 _/24 MAP & SCHEDULE MIPCOM 2013 _/42 PRODUCT NEWS MIPCOM 2013 _/18 LISTINGS MIPCOM 2013 _/66

SOCIAL TV The Second Screen War Heats Up _/14

Galleries MIPTV 2013 _/34 May 8th to 11th, Palais des Festivals, Cannes, France NATPE Budapest 2013 _/58 June 25th to 17th, Sofitel Chain Bridge Hotel, Budapest, Hungary


OPINION

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

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

“It’s the New Golden Age of Television”

Actor Kevin Spacey praised the successful times the TV industry is going through for “giving people what they want.” He also predicted “in a decade or two”, the differences between platforms will “disappear.” Television has evolved in both the quality of its products and its viewers’ consumption habits, now entering a “new golden age,” according to actor and producer Kevin Spacey, who praised the industry for its ability to learn and “give viewers what they want.” In his speech at the International TV Festival in Edinburgh, Spacey said “TV learned the lesson that the music industry didn’t learn.” He added it’s important to “give people what they want, when they want it, in the form they want it in, at a reasonable price, and they’ll more likely pay for it rather than steal it.” “Well, some will still steal it, but I believe this new model can take a bite out of piracy,” he said. “The audience wants control. They want freedom,” he explained. “If they want to binge then we should let them binge,” said the man starring in ‘House of Cards’, a series that premiered several episodes at once. The two-time Academy Award winning actor said TV must continue down its current path and “not veer towards a conservative track, further from taking risks.” He said “TV channels must take risks, experiment and be prepared to fail for aiming high instead of playing it safe. We need to take viewers by surprise, break barriers and take them to new places.” Spacey also said the networks who ignore the technological advancements will be “left behind,” saying that “in a decade or two” the differences between formats will disappear. “Labels are useless, except perhaps to agents and managers and lawyers who use these labels to conduct business deals. For the kids watching the shows, however, there’s no difference watching ‘Avatar’ on an iPad or watching YouTube on a TV and watching ‘Game of Thrones’ on their computer. It’s all content. It’s all story,” he said.



INNUMBERS

US$ 650

million is how much Entertainment One’s content library is worth, up 85% from last year, according to FTI Consulting.

62%

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

20%

will be the increase of digital ad spending in Brazil in 2013.

4.7%

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

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3.3

million is the number of subscribers of Cablevisión Argentina, the pay TV operator reported.

16.9

million people are subscribed to a pay TV service in Brazil as of July 2013, says Anatel.

RENOUNCEMENT

Microsoft’s CEO to Step Down in a Year A few months after carrying out an important restructure of its divisions, Microsoft will have to face the future with a new CEO, since Steve Ballmer, who leads the company since 2000 after Bill Gates’ departure, will step down in a year. “There is never a perfect time for this type of transition, but now is the right time,” Ballmer said. “We have embarked on a new strategy with a new organization and we have an amazing Senior Leadership Team. My original thoughts on timing would have had my retirement happen in the middle of our company’s transformation to a devices and services company. We need a CEO who will be here longer term for this new direction.” The Board of Directors has appointed a special committee to direct the process. This committee is chaired by John Thompson, the board’s lead independent director, and includes chairman of the Board Bill Gates, chairman of the Audit Committee Chuck Noski and chairman of the Compensation Committee Steve Luczo. The special committee is working with Heidrick & Struggles International Inc., a leading executive recruiting firm, and will consider both external and internal candidates. PLAYERS

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



Opinion ttvpreview

DIGITAL

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

By Toby Melling (*)

I

n the fight for television slots, most independent sales agents and distributors complain that it’s becoming increasingly difficult to release small to medium budget films in over-crowded markets such as the UK and France. In every territory in the world, major studios dominate the industry, making it harder and harder for indies to get their films into the theatres. With DVD in decline, television has become an ever more important source of revenue.

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THE OLD SCHOOL APPROACH. Many independent feature film sales agents still concentrate on “all rights” deals, handing over their films to local theatrical agents who will take care of every step of the release, including theatrical, DVD, DTO, TVOD, SVOD, FVOD, Pay TV and Free TV. For theatrical buyers, television has always been their back-stop, the one guaranteed source of revenue. Some of these distributors are part-owned by networks. Companies such as Polsat, Telepool, Mediaset, Universum Film arguably have an obvious advantage when it comes to getting their films on the small screen. Other theatrical buyers will only buy if they are pretty certain of television interest and others may take the plunge and pre-buy without a guaranteed TV deal.

The advantage for the sales agent is that they can just do one simple deal in a territory they may not be overfamiliar with and move a step closer to recoupment. If the film performs well at the box office they hope the all rights buyer will recoup their initial MG and P&A costs and then be in a position to share digital and TV revenue. At least, that’s the theory. The disadvantages are that you risk licensing your precious film for 10, 15 or even 20 years without a guarantee of further revenue apart from the initial minimum guarantee. In today’s economic climate, many theatrical buyers are unwilling to step up to the plate and offer the kind of advances that the sales agent and the film’s producers are looking for. With the proliferation of digital media, there are more opportunities out there that off-set the decline in DVD. There are plenty of multi-territory pay TV and new media buyers such as Netflix, HBO, LAPTV and iTunes. There is still the old tug-of-war between all rights buyers and sales agents over what rights they are prepared to grant and what rights they are prepared to include. After all, the local Mexican distributor won’t be in a position to finalize a deal with HBO or Turner, since he doesn’t control rights in the rest of Latin America. But nonetheless, he will be keen to make


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

money back from his local TV and won’t want to be held back too long. Major studios have never had to face such niggling problems as they tightly control every step of a film’s release and carefully manage their own digital and TV rights. Indie sales agents can only look on in envy. Of course, even for the studios, life is no longer a bed of roses. They are finding it increasingly difficult to leverage huge volume and output deals. Film slots are disappearing from the schedules of many free TV broadcasters. In the UK, the BBC has ended up scheduling big Pixar movies such as ‘Up’ and ‘The Incredibles’ on BBC3 and BBC4 at 20.00: a time when you think the core audience for these films should be tucked up safely in bed. In many parts of the world, more slots are being filled by locally produced dramas or factual entertainment. Schedulers frequently prefer long-running series to single movies with different running times. THE NEW MODEL. At Content Film, we have come to rely more and more on split rights deals in certain territories. The advantages are obvious: instead of licensing your film for 15-18 years, you maximize revenues from every medium and keep your eyes open for future opportunities in an ever changing media landscape.

“We have come to rely more and more on split rights deals in certain territories. The advantages are obvious.”

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


Opinion ttvpreview Behind the Candelabra Director: Steven Soderbergh

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With certain films in the UK we ultimately found it more profitable to split the UK rights by finding theatrical partners for a four-wall release to qualify the films for Filmflex, separate DVD partners and then we negotiated the various TVOD, SVOD, FVOD, pay and free TV deals. In the UK, Alex Gibney’s ‘Mea Maxima Culpa’ was released theatrically and on DVD by the Irish co-producer, Element Pictures; the BBC acquired the free TV rights; and separate new media deals were struck with Netflix, Google, Samsung, Sony, Amazon, Filmflex and Microsoft. Certain producers still prefer to have the kudos of getting a theatrical release for their film. Others are more interested in just getting the best possible deals, even if it means giving up altogether on a cinema release. With the collapse of the traditional release model, it is increasingly important for us to squeeze every penny out of all media. Ben Wheatley’s ‘A Field in England’ was released simultaneously theatrically, on DVD, on VOD and also broadcast on Channel Four in the UK on July 5th and, as reported in Screen International,

“Even for the studios, life is no longer a bed of roses. They are finding it increasingly difficult to leverage huge volume and output deals.”

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



ttvmedianews.com Television & Entertainment Business News Newsletter distributed to over 8,500 niche executives every day

SOCIAL TV

The Second Screen War Heats Up

As more consumers use their mobile devices while watching TV, the battle for the second screen market has become relevant in the last few months, with important acquisitions and shifts in strategy by players that continue to drive the segment’s growth. By Gonzalo Larrea

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Twitter: @Gonzalolarrea glarrea@todotv.tv

T

he second screen market is now way beyond the just-a-trend mark, with reports confirming its growing adoption and influence. Programmers, advertisers and the entire industry are now arching their eyebrows with interest; meanwhile, the sector’s main players -mostly social networks- have gotten their game on, to fiercely compete over this new advertising pie. The fact is, all bets are off and study after study proves it. Consumers are increasingly using their mobile devices while watching TV, opening a new world of possibilities for those who know how to capitalize them.

According to Ericsson ConsumerLab’s latest report, 75% of TV viewers are using their mobile phones while watching television, making multitasking an expected behavior in consumers. Nielsen, on the other hand, published another report that shows a correlation between Twitter and TV ratings. “The study,” the report says, “marks the first statistical evidence of a causal relationship, and twoway influence between viewing a show and chatting about it on Twitter at the same time.” The company analyzed minute-by-minute ratings of 221 shows and the tweets generated by them, using


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“Using time series analysis, we saw a statistically significant causal influence indicating that a spike in TV ratings can increase the volume of tweets, and, conversely, a spike in tweets can increase tune-in,” said Paul Donato, Chief Research Officer at Nielsen. “This rigorous, research-based approach provides our clients and the media industry as a whole with a bet-

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

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a technique developed by the Nobel Prize winning economist Clive Granger. They found that 48% of all studied content was directly affected by the volume of commentary within the social network. Likewise, tweet volume also caused significant changes in ratings for 29% of all episodes.

An al yt ics -


ttvmedianews.com Television & Entertainment Business News Newsletter distributed to over 8,500 niche executives every day

ter understanding of the interplay between Twitter and broadcast TV viewing.” Aware of this phenomenon, Twitter decided to capitalize its platform through TV, with new products specially designed to complement the television experience, and by acquiring companies that were already delving into this new world of influence. The 140-character social network first announced a partnership with Nielsen to create the “Nielsen Twitter TV Rating”, a new way to measure TV show ratings based on volume of social media comments. This seeks to be a new standard within the industry and was later emulated by the UK’s Kantar Media. The next step was acquiring Bluefin Labs, a company specialized in analyzing the impact of TV on social networks. This resulted in the creation of Twitter Amplify and the launch of a “teledirecting” technology that allows advertisers and programmers to coordinate content that complements what’s being aired on TV, and is delivered via the social network. Six months later, it acquired Trendrr, another social TV analytics platform, putting Twitter in the best position to continue to offer interactive tools to agencies and advertisers.

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The acquisition also bought Twitter exclusivity, taking Trendrr off the market to ensure that it wouldn’t work with other networks such as Facebook, which, interestingly enough, has also gone after the social TV market in the last couple of months. In fact, just a month before Twitter acquired Trendrr, the social analytics tool had reported that Facebook is not only TV viewers’ preferred choice when multiThe latest Ericsson ConsumerLab report finds that the most commonly practiced activities on second screens are: checking email (63%), using apps or surfing the web (56%), looking for complementary information to what the viewer’s watching (49%), using social networks (40%), talking about the show online (29%) and watching another program or live event at the same time (25%).

tasking, but that it was also five times as popular as any other simultaneous activity. Evidently, when faced with some competition, Twitter decided to up the ante. Facebook is the pebble in Twitter’s shoe right now. Both compete with each other in the social media arena but now take their feud over to the second screen market. Armed with its new tools and a plethora of public announcements, Facebook went all out to set the record straight: Twitter isn’t the only social network used simultaneously with TV - Facebook is too, and an ideal one at that. Zuckerberg’s social network first added hashtags (#) to tag text and images, seeking to find a privacy loophole in the thousands of comments about television and current events that Facebook users like to express. “Between 88 and 100 million Americans log into Facebook every night during prime time TV hours, which represents a significant opportunity for broadcasters, advertisers and our other partners,” said Justin Osofsky, director of Platform Partnerships and Operations at Facebook, who also gave details on Facebook’s important role in social conversations. According to the executive, the last Oscars ceremony showed record highs in Facebook, with over 66.5 million interactions, while ‘Game of Thrones’ controversial Red Wedding episode generated 1.5 million Facebook mentions, with over 70 million people logged into the social network during air time. “A recent Nielsen report discovered that 29% of all comments on Facebook are about TV shows, something that we also see reflected in our own stats,” Osofsky underlined. Facebook also added a video feature to its Instagram photo app, and is now planning to launch 15-second video ads to its News Feed, which could cost between US$ 1-2.5 million a day. With its 1.1 billion users and a healthy competitive streak, Facebook’s plans to overshadow Twitter and become the leading social TV platform should not be taken lightly. ttv



PRODUCT NEWS ttvpreview

ATLANTYCA ENTERTAINMENT www.atlantyca.com (52 x 11’ - 2D HD)

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

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ZEE ENTERTAINMENT ENTERPRISES www.zeebollyworld.com / www.zeetelevision.com (Non-Fiction - S1, S2, S3 – 90’)

Dori Media Group www.dorimedia.com www.dorimediadistribution.com (Reality)

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

show, ‘Dance India Dance’ is a unique platform for talented and aspiring dancers to become future sensations. This is the highest level of competition for promising dancers, who compete with each other with guidance from well-known Bollywood choreographers and their destiny will finally be decided by public voting. Format also available.

! TELEVISA INTERNACIONAL www.televisainternacional.tv (Telenovela/Classic - 150 x 60’)

9 Story Entertainment www.9story.com (Animated Comedy - 52 x 11’)

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Numb Chucks. An animated comedy about two half-witted woodchuck vigilantes, Dilweed and Fungus, who use their non-existent kung-fu skills to protect the lives of all the citizens in Ding-a-Ling Springs, whether they need it or not!

CDC United Network www.cdcun.com (Comedy/Crime/Mistery – 103’)

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

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


! SnapTV www.snaptv.tv (2012 – Family – 90’)

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

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GOLDEN WINTER. A boy befriends a litter of homeless Golden Retrievers. Together, they help stop a bank robbery just in time for Christmas.

! Disney Media Distribution Latin America www.daet.tv (ABC Live Action Series - Drama/Science Fiction) Marvel’s aGeNts of s.H.i.e.l.d. ‘Marvel’s Agents of S.H.I.E.L.D.’ (Strategic Homeland Intervention, Enforcement and Logistics Division), the movie saga that joins ‘The Avengers’ by Marvel, is a global law enforcement organization made up by a select group of special agents. After the Chitauri attack Earth, the team members -led by agent Phill Coulson-deal with different situations in a world of superheroes, aliens and unusual stories.

! GLOBO www.globo.com/licensing (Telenovela - 160 x 45’ HD)

BOOMERANG TV INTERNATIONAL www.boomerangtv.com (Youth Comedy – 52 x 24’)

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Tricks of the Trade. An in-depth look at why and what we buy. We educate consumers about how goods are produced and marketed – from harmful additives and waste to misleading marketing strategies. Available in Arabic, English and Spanish.

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THE AVATARS. ’The Avatars’ proposes a modern, positive view of using new technologies. Thanks to them, the main characters live the dream of many youngsters: to become rock stars. However, thanks to their secret identity, the kids have to struggle in their everyday lives without the support of fame, which is not as important as being able to unleash their passion: music.

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

Deutsche Welle / DW Transtel www.dw.de / www.dw-transtel.de (Documentary - 7 X 30’)


PRODUCT NEWS ttvpreview ! Talpa International www.talpa.tv (Talent show – 75’)

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

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Toei Animation www.toei-animation.com/en (Action, Adventure, Sci-Fi – 26 x 26’ /Season 2: production still in progress)

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The Voice. It’s the purest vocal talent competition ever. Four of the country’s top recording artists seek out the nation’s best vocal talent. In this innovative primetime contest, looks don’t play a role. This show is all about real talent; it’s all about ‘The Voice’! ‘The Voice’... The best in business looking for the next best!

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

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

! CARACOL TELEVISION www.caracolinternacional.com (60 x 60’) FOOTBALL DREAMS: A WORLD OF PASSION. Is a tour around the entrancing world of football and the hectic lives of four emblematic players from the Colombian National Football Team: Carlos Valderrama, Freddy Rincón, René Higuita and Faustino Asprilla. A production with a fiction touch that recreates true facts, sacrifices, disappointments, happy moments and experiences lived both in and outside the soccer field, which are unknown by fans.

ITV Studios Global Entertainment www.itvstudiosge.com (Drama - 6 x 60’)

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Breathless. Secrets, lies and sex smoulder beneath the glamorous and stylish world of the early 1960s, in the brand new drama ‘Breathless’.


ORF-Enterprise contentsales.ORF.at (Crime TV Series - 7 x 45’)

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

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NEW WORLDS. Four young men and women in America and England struggle against tyranny and oppression in the turbulent 1680’s.

TELEFILMS www.telefilms.com.ar (Action/ Adventure)

! AZTECA www.comarex.tv (Drama - 120 X 60’) Corazon en Condominio. Oscar Leal is a very charismatic and noble taxi driver. He has no worries in life, except to collect money for his famous “karaoke night parties”. But everything changes when he meets Tatiana, a very smart and educated young woman who he knows is out of his league. But when Oscar wins the lottery, he will do everything in his power to win Tatiana’s heart, even to the extent of buying a condo in her expensive building. Now, he will have to prove to her that he is truly worthy of her love.

TRT - TURKISH RADIO AND TELEVISION CORPORATION www.trt.net.tr / www.trtsales.com (104 x 10’)

Power www.powcorp.com (Period Drama - 4 x 60’)

MINT & LEMON. On air since 2009, ‘Mint & Lemon’ have met TRT Kids viewers 52 times during this time. The adventures of 2 siblings by the name of Nane (Mint) and Limon (Lemon) all started with their never ending desire of discovering new tastes around the kitchen.

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THE MORTAL INSTRUMENTS. Based on the worldwide best-selling book series. Set in contemporary New York City, a seemingly ordinary teenager, Clary Fray (Lily Collins), discovers she is the descendant of a line of Shadowhunters, a secret cadre of young half-angel warriors locked in an ancient battle to protect our world from demons. After the disappearance of her mother (Lena Headey), Clary must join forces with a group of Shadowhunters, who introduce her to a dangerous alternate New York called Downworld, filled with demons, warlocks, vampires, werewolves and other deadly creatures.

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! Telefe International www.telefeinternational.com.ar (Teen Telenovela - 40 x 60’) ALLIES. ’Allies’ is the new format fiction that sets renowned producer Cris Morena’s return to Argentine TV. She is the pioneer of the genre and creator of greatest hits such as ‘Tiny Angels’, ‘Rebels’ Way’, ‘Flinderella’ and ‘Teenangels’. ‘Allies’ is the language of the new era. It is the first 360° project of Telefe, which introduces an innovative multiplatform format which has never been done before. ‘Allies’ features 40 episodes in HD format aired weekly during Telefe prime time and are complemented daily (including Saturdays and Sundays) with 7-minute long webisodes from the internet on the site telefe. com/aliados. ‘Allies’ has every ingredient of Cris Morena’s stories, music, dynamism, young actors, a great setting and above all, a message. The message that there is still time to change, nothing is lost and if we help one another we can make a better world.

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PRODUCT NEWS ttvpreview

Russia Television and Radio (SOVTELEEXPORT) sales.vgtrk.com (Drama – 4 x 44’)

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

Australian Children’s Television Foundation www.actf.com.au (Live action comedy series - 13 x 24’)

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Keshet International www.keshetinternational.com (Dating reality - Season 1: 8 x 60’/Season 2: 8 x 60’)

Ronaldinho Gaucho’s Team. Seven year-old Ronaldinho and his friends go on extraordinary adventures as their magical soccer ball leads them to new mythical discoveries. The series promotes a healthy way of learning and enjoying sports, as Ronaldinho and his friends learn new rules about soccer in fun and engaging ways, sharing with the viewers the importance and influence soccer and sports can have during childhood. ‘Ronaldinho Gaucho’s’ Team looks to educate viewers by sharing life lessons on the importance of friendship, self-confidence, team play and a healthy sense of fun and competition through fantasy-based and imaginative storytelling.

Girlfri3nds. Host Emma Willis joins three single ladies who will live together, laugh together and date together, as they begin their search for Mr. Right. Each week our singletons embark on a series of dating scenarios with their potential suitors. Witness their preparations, nerves and trepidation as they get to know more about the men they have chosen. Their ‘dates’ will whittle down until they have just one decision to make…. will our three Girlfriends finally meet their perfect guy or will they be left out in the cold? (A Studio Lambert Production for ITV2). The second, is TBS’ new summer hit, executive produced by Howie Mandel. The great thing about this show is that it does great in repeats (so great value for money…).

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

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! Sullivan Entertainment www.sullivanmovies.com (Animation Series - 52 x 15’)

! FremantleMedia Latin America www.fremantlemedia.com (Reality Musical) Idol Puerto Rico. ’Idol Puerto Rico’ is starting its third season as the ratings leader among adults, both men and women, becoming an audience favorite. Once again, ’Idol Puerto Rico’ will cause a commotion with Puerto Rican audiences, who’ll be auditioning to showcase their talent, hopeful they’ll become the next Idol Puerto Rico. This is the local version of the hit format Idols, which already has over 50 original versions made.

Smilehood Media www.smilehood.com (Animated Series)

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Plim Plim, un héroe del corazón. An animated series starring a 5-year-old friendly kid that’s brave and enthusiastic. Part clown, part magician and hero, he teaches his friends by example. The series’ episodes focus on different topics like honesty, generosity, solidarity, friendship and responsibility. ‘Plim Plim’ combines entertainment and education for pre-school kids. It comes as 60, 7-minute episodes, or in its 20, half-hour episodes TV format.



Mipcom 2013 Highlights

4K/U-HDTV:

The TV Industry Prepares

MIPCOM 2013 Country of Honor: Argentina

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In partnership with the Argentine National Film Board (Instituto Nacional de Cine y Artes Audiovisuales), Mipcom will organize a dedicated focus on Argentina’s vibrant television, film and digital media industries, featuring a wide-ranging program of highlevel conferences, screening showcases, co-production matchmaking, and Argentine-themed networking events. The Focus on Argentina will run throughout MIPJunior (Oct. 5-6) and Mipcom (Oct. 7-10) and will highlight Argentina’s world-renowned television and film production industry with the aim of providing the world’s entertainment executives the opportunity to discover the country’s rich content offering across drama, TV films, documentary and animation, in addition to co-production funding incentives and location scouting throughout Argentina.

Tom Cosgrove, president & CEO, 3net, will introduce the situation of 4K in the light of the channel’s experience in the US. 3net is a 3D television network borne out of a joint venture between Sony, Discovery Communications and IMAX.

Changing the Very Nature of Business: Canada Find out how Canada, his talent and creators are leading new models of cooperation between the film and TV production industries. Speakers include Daniel Grou, director, Creative Differences Corporation; Michael Shouther, executive producer/co-owner, Amaze Film + Television; Jocelyn Deschênes, producer & founding president, Sphere Media Plus; and Christina Jennings, Chairman & CEO, Shaftesbury. In partnership with Canada Media Fund and Telefilm Canada.

Media Mastermind: Facebook’s Dan Rose Dan Rose, VP of Partnerships at Facebook, will give a keynote address on Monday 7 October as part of Mipcom’s Media Mastermind Keynote Series. According to the organization, he will share his insights on how key players in the industry are leveraging the power of social media. Rose will also explore new opportunities for producers and broadcasters in terms of driving viewer loyalty and retention and influencing TV ratings; as well as discuss the impact that word-of-mouth at scale is having on the television industry and how broadcasters can tap into this phenomenon in meaningful ways


Jeffrey Katzenberg, Personality of the Year

Jeffrey Katzenberg, co-founder and CEO of DreamWorks Animation, will accept the Mipcom 2013 Personality of the Year award on Wednesday 9 October, during a gala dinner for industry executives at the Carlton Hotel in Cannes. The same day, he will address the Mipcom audience in the Palais des Festival’s Grand Auditorium and share his unique perspectives on the television business as part of Mipcom’s Media Mastermind series of presentations. In 1994, along with Steven Spielberg and David Geffen, Jeffrey Katzenberg co-founded DreamWorks SKG. Since 2004, DreamWorks Animation has been a publicly-traded company; under Katzenberg’s leadership, it has become the largest animation studio in the world, releasing 27 animated feature films to date and earning nine Academy Award nominations and two wins for Best Animated Feature.

Digital Comes of Age: Behind the Scenes With the Key Players

Sandy Wax, Head of US pre-school channel Sprout, Brian Robbins, CEO of multi-channel network AwesomenessTV, and Michael Acton Smith, CEO of Mind Candy, the creators of ‘Moshi Monsters’, will deliver three MIPJunior keynotes on Sunday 6 October 2013, as part of the Digital Kids conference program. All three headliners are at the heart of the converging worlds of television and digital, and central to the transformation of the kids entertainment industry.

Focus

on the new Golden Age of Television Mipcom announced the initial line-up for the Media Mastermind conference program to take center-stage in the Palais des Festivals’ Grand Auditorium in Cannes. The confirmed speakers are Frances Berwick, President, Bravo and Style Media, Cécile Frot-Coutaz, CEO, FremantleMedia, Ryan Kavanaugh, CEO, Relativity Media, and Roy Price, Director of Amazon Studios. “Television is undergoing a dramatic transformation and confirms itself as the world’s most creative medium for the world’s best storytellers,” said Laurine Garaude, Director of Reed Midem’s Television Division.

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The latest business models vaunt flexibility, multi-platform, and clever use of social networks. Leading players from studios, platforms and broadcasters discuss approaches to new distribution in this brave new world. Speakers include Dee Forbes, president and managing director, Discovery Networks Western Europe; and Jim Packer, president, Worldwide TV and Digital Distribution, Lionsgate.

Sprout, AwesomenessTV & Mind Candy to Open the MIPJunior Keynote Line-Up


Mipcom 2013 Highlights

Global Hotspots:

PwC Interview:

With a buoyant pay TV and free sector, and a fastgrowing export market for productions, Turkey’s become a Mipcom Global Hotspot. Learn to overcome its inherent challenges: protect your IP rights, ensure payments are properly made, and overcome political setbacks while reaping the creative benefits of coproducing in this captivating market.

In the PWC Global Entertainment Outlook & Keynote Interview, Punit Goenka, managing director and CEO, ZEE Entertainment Enterprises, will be interviewed by PwC’s Global Leader, Entertainment and Media Marcel Fenez, on Tuesday, 8th October 2013 From 11:35 AM to 12:00 PM. Mr. Goenka is a dynamic leader whose actions and hands-on approach has been instrumental in steering the ZEE Empire to new frontiers of success.

Turkey Market Overview

Punit Goenka

MIPCOM 2013 HIGHLIGHTS

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Fresh TV Around the World An exclusive glimpse of some of the most talkedabout formats on the planet in the autumn edition of Virgina Mouseler’s anticipated showcase. Virginia Mouseler is the co-founder of The WIT, the leading agency specialized in research and information on TV programs worldwide. The Wit– World Information Tracking – the leading agency specialized in research and information on TV programs worldwide.

Keynote Speakers: Michael Wright and Ben Silverman

Michael Wright, president, head of programming for TBS, TNT and Turner Classic Movies (TCM) joins the MIPCOM stage for a conversation with Ben Silverman, Founder and Chairman, Electus. Wright & Silverman will share their insights on the Mipcom over-riding theme The New Golden Age of Television, looking at how TV and film studios are leveraging internationally renowned actors, producers and directors to deliver a level of blockbuster entertainment once reserved for the big screen.



SpecialReport

“ARGENTINA COUNTRY OF HONOR” – MIPCOM 2013

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


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his year Argentina turns into the first country in Latin America to enter the exclusive “Country of Honor” club; an honor granted by Mipcom. The focus on the country’s audiovisual industry will begin at MIPJunior (October 5 and 6) and last through Mipcom (October 7 - 10), during which the organization will highlight it through conferences, workshops and commercial meetings.

“We will show the whole world the content, formats and coproduction projects developed in Argentina over the past three years since the Audiovisual Communication Services Law went into effect,” Liliana Mazure, president of the National Film and Audiovisual Arts Institute (INCAA) said to ttv during the “Argentina Country of Honor” announcement at Miptv 2013.

HOT SCREEN. Argentina is one of the most important audiovisual markets in Latin America. Content produced, developed, broadcast and distributed in and from Argentina stands out in other territories worldwide. And TV is one of the country’s main means of entertainment, just as important as Diego Armando Maradona’s soccer, its famous “asado” barbecue or Malbec wine. Ad spending in Argentina climbed to US$ 1.91 billion during Q1, 2013, growing 30.4% in a year, according to the most recent report from the Argentine Chamber of Media Agencies (CAAM). Moreover, INCAA indicates the country’s ad market is worth approximately US$ 3.2 million a year, 65% of which is divided between broadcast and pay TV. With over 60 years in existence since its creation in 1951, Argentine television has turned into an industry that’s now made up of five broadcast networks with national reach: Telefe (Canal 11/Grupo Telefónica), El Trece (Canal 13/Grupo Clarín), América TV (Canal 2/Grupo Vila-

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

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Speaking about the local industry’, Argentina’s controversial Law 25,522 of Audiovisual Communication Services developed in 2010 -commonly known as “Media Law”- determines the regulation and deconcentration of the country’s media, and has generated strong debates that have extended to the whole of the Argentinean society, as well as an ongoing feud between President Cristina Fernandez de Kirchner’s government and Grupo Clarín, one of Latin America’s largest and most influential media conglomerates. For this upcoming edition of Mipcom, Mazure predicts the arrival of close to 300 delegates repre-

senting more than 3,000 hours of content developed in the past two years. This will give the international market the chance to discover the richness of Argentina’s audiovisual content, especially its series, TV films, documentaries and animation, in addition to its financial incentives for coproduction, production services and vast locations.


SpecialReport Manzano), Canal 9 (Prime Argentina Holdings/HFS Media) and TV Pública Digital (Canal 7/State-owned). In addition, the country has stateowned digital TV channels: Encuentro, Paka Paka, INCAA TV, DeporTV, CN23 and C5N, among others. This makes for a highly concentrated model that generates 80% of all primetime content, which comes from 40 production houses that develop the vast majority of the nation’s programming. They’re all located in Buenos Aires, the world’s fourth most popular to be used as a filming set, according to the Audiovisual District of the City of Buenos Aires’ Government. “Its flexibility to be turned into any place in the world, its architecture and its talent pool, assure constant development and growth,” the organization said in its June 2013 report. Argentina is also known for its large number of independent production companies, 30 of which are part of the Argentine Chamber of Independent Television Producers (CAPIT), including Pol-ka Producciones (51% of Grupo Clarín), Ideas del Sur Producciones (30% of Grupo Clarín), Endemol Argentina and Eyeworks/Cuatro Cabezas.

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All in all, the country’s audiovisual industry has over 500 companies that generate more than 100,000 jobs just in the metropolitan areas, in a country with 40 million citizens. Its different TV networks also develop most of the genres and formats currently available in the industry. There’s a varied offer of TV shows produced locally, in addition to local adaptations of foreign formats and local versions of international series. ARGENTINA IN THE WORLD. Argentina distributes around 40,000

hours of TV programming a year across the globe, which include genres such as telenovelas, series, entertainment shows, formats, documentaries, movies and animation. “According to estimates published by AFSCA, 30,000 hours of independent production were broadcast in Argentina in 2013, including programming from broadcast and pay TV networks in the country and overseas,” said Alejandro Borensztein, president of CAPIT.

Latin America’s leading country in TV programming exports, reaching a total of 28 formats since 2004, which have been broadcast and adapted in hundreds of countries. Argentinean formats’ leadership in Latin America is particularly evident in Mexico, where several local versions of Argentine formats have been developed with great success. The list features ‘Brothers and Detectives’ (Telefe), ‘The Successful Mr. and Mrs. Pells’ (Telefe) and ‘The Roldans’ (Ideas del Sur Producciones).

The average production cost for a daily fiction broadcast TV series in Argentina is between 60 and 70 thousand dollars. Moreover, a weekly series costs from US$120,000 to US$150,000. But the truth is that in Argentina “it all depends.” These numbers can be used in broadcast TV primetime, but if it’s a show for HBO, for example, costs are much higher.

One of the most recent success stories for Argentina, with a title that was also acquired in Mexico, is the series ‘Killer Women’ (Pol-ka Producciones), which will soon be adapted for the complex US market and the ABC network by famous actress Sofía Vergara.

In this sense, industry executives interviewed for this report believe the exchange rate is a “very important” variable in Argentina, as well as its audiovisual industry’s labor unions, since the professional and technical talent in the country is “very pricey.”

“We are very interested in these networks because they’re broadcast in the US, one of the most difficult markets for us. Despite it having a vast Hispanic population, we find it very complex to enter the US market, both through TV and film,” said Liliana Mazure.

The industry is known for its formats and series, with highlighted titles such as ‘Killer Women’, ‘Violetta’, ‘The Successful Mr. and Mrs. Pells’, ‘Patito Feo’, ‘Montecristo’, ‘Pretenders’, ‘Caiga Quien Caiga’ (CQC) and ‘Graduates’, which have been distributed to more than 80 territories.

In addition, Argentine networks also acquire foreign formats, mainly reality shows that draw in massive audiences, even more so than local productions. Such is the case of ‘Soñando por Bailar’, a format acquired by local producer Ideas del Sur to Mexico’s Televisa, that has reigned as Argentina’s highest rated show of the past five years.

The country also ranks fourth among the world’s most active format exporters, behind the UK (146), the US (87) and Holland (35), according to the Format Recognition and Protection Association (FRAPA). The association says Argentina is

There are numerous examples in this scenario, including local adaptations of foreign series as ‘Desperate Housewives’ (‘Amas de Casa Desesperadas’), a local production



SpecialReport by Pol-ka Producciones for Disney Media Distribution Latin America for Argentina (El Trece), Brazil (RedeTV!), Colombia (RCN Televisión), Ecuador (Ecuavisa) and US Hispanic (Univision). “Argentina has an interesting selection of shooting locations, as well as highly capable professionals whose talent and creativity have been noted both locally and internationally, and have made the country one of the most renowned content producers in the world,” Borensztein said. “That said, Argentina is in many ways a more developed television market in comparison to other countries in the region and this has a lot of advantages: professional partnerships between producers and customers, a large (production) talent pool, high production values, reliable and fast ratings information, to name a few,” said Martha Brass, COO of Endemol Group, which has offices in Argentina since 2000. PAY TV SUBSCRIBERS. 2013 also marks the 50th anniversary of Argentina’s pay TV industry, which now reaches 80% penetration, almost twice the region’s average. Around 9.2 million homes in Argentina have access to pay TV

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

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

veloped in the country, for the local and international markets. A notable example is HBO Latin America Group, which developed its first original production for its Latin American network in Argentina. The TV series ‘Epitafios’ was produced by Pol-ka Producciones back in 2004 and was the starting point of a list of original productions the US programmer has developed thus far in Latin America. PROMOTION AND DEVELOPMENT. Moreover, in 2012 INCAA created the Management for the Development of Content Production for Television, Internet and Videogames, as an answer to the complex task of implementing public policies which the new Media Law and the Argentine Digital Broadcast Television System required. That same year, INCAA also promoted the presence of content creators from all over the country in the international market. “We believe Mipcom is the greatest market in the world and that’s why we decided to focus our efforts there,” German Calvi, Development Manager of Content Production for Television, Internet and Video Games at INCAA, said to ttv. “To sum up, in regard to promotion, we can say we’ve now received more than 4,000 projects in every contest category. In the first edition, 142 audiovisual pieces were completed, and 122 in the second; and now we have 104 audiovisual projects in different stages of production. This means there are now over 2,000 hours of content produced with help from the state, in addition to 1,682 new ones in the works,” Calvi concluded. ttv



Gallery tradeshows

MIPTV 2013 May 8th to 11th, Palais des Festivals, Cannes, France

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

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

Tim Hincks (Endemol)

Delmar Andrade and Edson Pfutzenreiter Mendes (Record TV Network)

Nick Dorra (Rovio Entertainment)


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

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

Oscar Rangel (National Film Board of Canada)

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

Darío Turovelzky (Telefe)

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

Vanessa Palacios Quirós (Secuoya International)

Miri Dori Mor and Yair Dori (YAIR DORI)


Gallery tradeshows

MIPTV

2013

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

Vera Manova and Anastasia Lunkova (Sojuzmultfilm)

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

Hannu Uotila (Rakett Ijengi)

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

Mario RodrĂ­guez (Filmedia World Entertainment)

Martin Lin and the Taipei Multimedia Production Association team

Francisco Villanueva (SOMOS Distribution)

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



Q&A ttvpreview

Hernán López, President and CEO of Fox International Channels

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

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The Simpsons Movie 2007

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t’s hard to list all the moments that have made Fox “the leading entertainment channel” in Latin America. Hernán Lopez, president and CEO of Fox International Channels, believes each accomplishment was achieved with strong team work. A team that, in every city it stands, has a piece of the network’s history with it.

Do you remember your first contact with Fox? My first contact with Fox was as a simple viewer. I was a fan of ‘The Simpsons’. There wasn’t a US-series channel then. It was the first to bring them and in fact, the channel presented itself as “the Hollywood channel.” My first professional contact with it was in October 1996. Fox Sports and Fox Kids were about to be


“My first contact with Fox was as a viewer. I was a fan of ‘The Simpsons’.” “Over time, we realized it was necessary to offer our programming in Spanish or Portuguese. Our first hit was ‘Tiempo Final’ in 2007.” “Our challenge is to replicate our leading position on every platform.”

launched, and they had just purchased the rights to broadcast Argentina’s first division soccer league matches. They wanted to have a big launch for the sports network. So from the start I managed its ad sales in Argentina, starting January 1997, and in August of that year I moved to Miami as the Ad Sales Manager. What happened in 2000? In October of 2000 I moved to LA, where I took on the role of general manager of Fox Latin America. Back then we started seeing the first signs of an economic crisis in Argentina and Brazil. And that became much more evident in 2001. During those years we began to feel pressure from cable operators to lower programming costs. As of that moment the relationship with affiliates became more important and we started to think more seriously about the cost-benefit ratio. How did this affect Fox’s operations and how would you define its new position? As a result of this situation, many companies began to rationalize their expenses. Fox sold Fox Kids and decided to sell an important stake in Fox Sports, while also joining National Geographic. At that time David Haslingden took on the role of general manager for all of Fox Latin America channels, which back then were only Fox and

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


Q&A ttvpreview

to delegate the management to each region. This change was implemented in 2002. First we began to move the management to the offices we already had in Brazil, Argentina and Mexico, and then began to open new offices in other countries where our competitors had never been present: Colombia, Venezuela, Chile, Guatemala and Peru. Adrián Herzkovich was, for example, the first general manager to work from our office in Argentina. In Brazil it was Abel Puig, and in Mexico, Carlos Martínez.

Cumbia Ninja Series

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National Geographic. That’s when Fox repositioned itself on the global scenario. It hired an international agency and decided to change its slogan to “Yo soy Fox” (“I am Fox”). The goal was to create a stronger relationship between the network’s characters and its viewers. Characters like Buffy, Dark Angel and other from various series were associated with words that identified themselves and the network. For instance, Bart Simpson’s slogan was “Yo soy rebelde. Yo soy Fox” (“I am a rebel. I am Fox”). In this context we created -and I can certainly take credit for this- the channel’s editorial positioning which we use to this day: “Smart entertainment with an edge.” I remember the three people who were involved with this were Emiliano Saccone, VP On Air; Mauricio Ríos, Programming manager and myself. How did you strengthen the bond with your affiliates, advertisers and viewers? When in 2001 David Haslingden joined the company, he realized that -same as other companies- it had a very colonialist culture, meaning we had a VP Sales and Affiliates in Miami who oversaw everyone who made deals with affiliates in each region. So, all Latin American sales were controlled from Miami or Los Angeles. But at the same time, the Marketing manager, the Sales manager and the Advertising manager never spoke to each other, because they each reported to different bosses. In this context the decision was made

How did things change with the launch of ‘24’? The premiere of ‘24’ led to a repositioning for our programming. We always tried to have the best series and movies, but it’s true that 2001 saw a rebirth of Fox Studios’ productions. In addition, what we did with this series in Latin America was break with the style of broadcasting used with US series. Meaning, here in the US a 22-episode series is broadcast over 35 weeks, including reruns. In Latin America this was a new way of doing it, so we waited until we had all 24 episodes and only then began to air the whole season. A strategy that would then also be used by Fox in the US. What challenges came from producing your own original series? Over time, we realized viewers had gotten used to having the best programming with US standards, but it was also necessary to see this type of programming in Spanish or Portuguese. Our first hit was ‘Tiempo Final’ in 2007. Not to mention the 2005 series ‘City Hunters’… Yes, that’s right. With ‘City Hunters’ through Fox Factor, we had our first experience. The truth is we wanted to develop original productions, but back then we couldn’t find the revenue in it, and with ‘City Hunters’ we had our first important experience with Unilever, since it was actually a branded show. What challenges come from facing a multiplatform scenario? Fox is a leader in content and brand. Fox goes beyond the platform, although we are naturally committed to the pay TV industry. We want our channels to reach viewers through a paid service and be available on different platforms such as tablets, phones and TVs. In this sense, our challenge is to replicate our leading position on any platform. ttv



Map & Schedule Mipcom 2013

Map

Mipcom 2013 LERINS HALL RIVIERA BEACH HALL

RIVIERA HALL RIVIERA SEAVIEW

BUYERS’ CLUB Level 01

VIP CLUB Level 3

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MIPCOM Shuttles

REGISTRATION & PARTICIPANTS CLUB

PALAIS DES FESTIVALS CROISETTE VILLAGE ORGANISERS’ OFFICE

mipcom NEWS

S HUB & NEW PRESS CLUB PRESS REGISTRATION NEWS PRESS MIPCOM


*The program may be modified by the organization prior to the event. Check the updated program at www.mipcom.com.

MIPCOM 2013 CONFERENCES & EVENTS AGENDA: THE NEW GOLDEN AGE OF TELEVISION MONDAY 7 OCTOBER 8.30- 9.30 KIDS CONTENT MAKERS SHOWCASE Matchmaking Lounge Open to registered buyers only. 9.15-9.45 ARGENTINA COUNTRY OF HONOUR: FRESH TV FROM ARGENTINA Audi A , Level 3 - In partnership with The WIT Presenter: Virginia Mouseler, CEO, The WIT, Switzerland 9.45-10.00 ARGENTINA COUNTRY OF HONOUR: ARGENTINA MEDIA LANDSCAPE Audi A, Level 3 Speaker: Jean Marc Auclair, Alauda Films, France 10.00-11.00 ARGENTINA COUNTRY OF HONOUR: A VIEW FROM THE TOP Audi, Level 3 Speakers: Martin Kweller (Endemol Argentina), Cris Morena (Cris Morena Group), Tomás Yankelevich (Telefe) 10.00-11.00 THE NEW LEGAL LANDSCAPE: NAVIGATING MULTI-PLATFORM TELEVISION LICENSES IN AN EVOLVING MARKETPLACE Audi K, Level 4 Speakers: Jonathan Blair (Michael Simkins LLP, UK), Eric Lauvaux (NomoS, France), Anne-Marie Pecoraro (Aklea, France), Massimo Travostino (Studio Legale Pecoraro-Travostino, Italy)

16.30-17.10 MEDIA MASTERMIND KEYNOTE: CECILE FROT-COUTAZ Grand Audi, Level 1 Speaker: Cécile Frot-Coutaz, CEO, FremantleMedia

11.45-12.15 MEDIA MASTERMIND KEYNOTE: FRANCES BERWICK Grand Audi , Level 1 Speaker: Frances Berwick, President of Bravo and Style Media Moderator: Kevin MacLellan, President, International Television, NBC Universal, USA

17.20-18.00 MEDIA MASTERMIND KEYNOTE: ROY PRICE Grand Audi, Level 1 Speaker: Roy Price, Director of Amazon Studios.

12.20-12.50 MEDIA MASTERMIND KEYNOTES: MICHAEL WRIGHT Grand Audi, Level 1 Speakers: Michael Wright, president, head of programming for TBS, TNT and TCM, in conversation Ben Silverman, Founder and Chairman, Electus.

From 19.30 MIPCOM OPENING PARTY Carlton Hotel

12.30-14.30 WOMEN IN GLOBAL ENTERTAINMENT POWER LUNCH Salon Croisette, Majestic Hotel - By invitation. 13.00-14.00 FRESH TV AROUND THE WORLD Grand Audi, Level 1 Presenter: Virginia Mouseler, CEO, The WIT, Switzerland 14.15-15.30 DIGITAL COMES OF AGE: VOD FOR SUCCESS: TAKE YOUR DIGITAL RIGHTS FURTHER Esterel, Level 5 Speakers: Razmig Hovaghimian (Viki, Singapore), Sergey Kornikhin (ivi.ru, Russia), Jason Njoku (IROKO, Nigeria), Suk Park (DramaFever, USA), Carlos Tibi (icflix, UAE)

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11.00-13.00 TV, FILM’S NEW ELDORADO: FILM DISTRIBUTORS & TV FICTION BUYERS MATCHMAKING Matchmaking Lounge - In partnership with Creatives Loop

11.10-11.40 MEDIA MASTERMIND KEYNOTE: DAN ROSE Grand Audi , Level 1 Speaker: Dan Rose, Vice President of Partnerships at Facebook.


Map & Schedule Mipcom 2013

TUESDAY 8 OCTOBER 8.30-9.30 CONTENT DELIVERY: WHY YOU NEED TO GET DISRUPTIVE Verrière Grand Audi , Level 1 Speaker: Darren Baker, Senior Director, Sales and Business Development, Europe, Deluxe, UK 9.00-10.30 4K/U-HDTV Audi K 4K/U-HDTV: THE TV INDUSTRY PREPARES Speaker: Tom Cosgrove, President and CEO, 3net, UK 9.00-9.40 ARGENTINA COUNTRY OF HONOUR - PRIME TIME FOCUS: ARGENTINA, A COUNTRY OF TALENT Audi A, Level 3 Speakers: Claudio Martinez (El Oso Producciones), Claudio Villarruel (ON TV Llorente & Villarruel Contenidos). 9.50-10.30 ARGENTINA COUNTRY OF HONOUR - CO-PRODUCTION WITH ARGENTINA: CROSSING THE BORDERS FOR INTERNATIONAL SUCCESS Audi A, Level 3 Speakers: Diego Piasek (Electus), Eduardo Ruiz (A+E Networks Latin America) 10.30-12.30 ARGENTINA COUNTRY OF HONOUR - DISCOVER NEW FORMATS FROM ARGENTINA MATCHMAKING Matchmaking Lounge

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10.00-11.00 DIGITAL COMES OF AGE: BEHIND THE SCENES WITH THE KEY PLAYERS Esterel, Level 5 Speakers: Dee Forbes (Discovery Networks Western Europe), Jim Packer (Lionsgate, USA), Evan Shapiro (Pivot, USA) 11.15-11.35 PWC GLOBAL ENTERTAINMENT OUTLOOK Grand Audi, Level 1 Presenter: Marcel Fenez, Global Leader, Entertainment and Media, PwC, Honk Hong

11.35-12.00 PWC GLOBAL ENTERTAINMENT OUTLOOK & KEYNOTE INTERVIEW: PUNIT GOENKA Speaker: Punit Goenka, MD & CEO of Zee Entertainment Enterprises

14.15-15.00 GLOBAL HOTSPOTS: TURKEY THE BROADCASTERS’ SUPERPANEL Audi A, Level 3 Speakers: Akin Emre Karagülle (Samanyolu), Esra Özaral (Digiturk), Ibrahim Eren (TRT)

12.30-14.30 LATAM GLOBAL DEALMAKERS LUNCH Carlton Hotel – By invitation In partnership with The Argentine National Film Board (INCAA) and Telemundo Internacional

15.15-16.00 GLOBAL HOTSPOTS: TURKEY A TALENTED COUNTRY OF PRODUCTION Audi A, Level 3 Speakers: Ayse Barim (Tims Yapım Medya Film Prodüksiyon), Kerem Çatay (Ay Yadim), Pelin Distas (Dogan TV Holding), Fredrik Af Malmborg (Sparks Networks/Ecchorights, Sweden)

13.00-13.45 NEW: FRESH TV FICTION Grand Audi Presenter: Virginia Mouseler, CEO, The WIT, Switzerland 13.00-14.00 SCREENING: TELEFE, MULTIPLATFORM CONTENT PRODUCER. HIT CASE: ‘ALLIES’ Audi Km Level 4 Presenters: Tomás Yankelevich (Telefe, Argentina), Cris Morena (Cris Morena Group, Argentina) 14.00-14.30 TV, FILM’S NEW ELDORADO - CHANGING THE VERY NATURE OF BUSINESS: CANADA Esterel, Level 5 Speakers: Jocelyn Deschênes (Sphere Media Plus), Sheri Elwood (Screenwriter/Director), Daniel Grou (Creative Differences Corporation), Christina Jennings (Shaftesbury), Michael Souther (Amaze Film + Television) 14.40-15.30 BUSINESS IS BOOMING: NEW FINANCIAL AND BUSINESS MODELS Esterel, Level 5 Speakers: Amandine Cassi (Mediametrie – Eurodata), David Grover (ING Bank N.V, The Netherlands), Michael Hjorth (Tre Vänner Produktion AB, Sweden), Philipp Kreuzer (Bavaria Film, Germany) 14.00-14.15 GLOBAL HOTSPOTS: TURKEY - MARKET OVERVIEW Audi A, Level 3 Speaker: Mehmet Altioklar, Chairman/CEO, M6 Film ve Danışmanlık Ltd.Şti., Turkey

16.45-17.30 MEDIA MASTERMIND KEYNOTE: RYAN KAVANAUGH Grand Audi, Level 1 Speaker: Ryan Kavanaugh, founder and CEO, Relativity Media


*The program may be modified by the organization prior to the event. Check the updated program at www.mipcom.com.

WEDNESDAY 9 OCTOBER 8.30-9.30 GOLDEN OPPORTUNIES IN GLOBAL NEWS NEWSROOM NEW MEDIA INFUSION: TOOLS & KEYS FOR BROADCASTERS & NEWS CHANNELS Matchmaking Lounge 9.30-10.30 GOLDEN OPPORTUNIES IN GLOBAL NEWS: PROGRAMMING & ENGAGING IN THE DIGITAL AGE Esterel, Level 5 Speakers: Moeed Ahmad (Al Jazeera Media Network, Qatar), KC Estenson (CNN Digital, USA), Andy Mitchell (Facebook, USA), Jon Steinberg (BuzzFeed, USA), Gry Winther (Winther productions /TV2 Norway, Norway) 10.40-11.20 GOLDEN OPPORTUNIES IN GLOBAL NEWS: INFLUENCING AUDIENCES EFFECTIVELY Esterel, Level 5 Speaker: Margarita Simonyan, Editor-in-Chief & CEO, RT channel, Russia

9.45-10.45 TV, FILM’S NEW ELDORADO FILM COMMISSION SHOWCASE Matchmaking Lounge - An overview of major incentives from institutions around the world. 11.30-12.30 A CLOSER LOOK AT THE OPPORTUNITIES IN TOMORROW’S VIDEO: CONSUMPTION INDUSTRY Audi A - By PricewaterhouseCoopers A unique glimpse into the future of video consumption through the eyes of PwC’s Global entertainment and media outlook. 14.30-15.30 DIGITAL COMES OF AGE - ACCESS IS THE NEW OWNERSHIP: A NEW LOOK AT CONTENT DISTRIBUTION Level 3, Audi A Speakers: Peter E. Blacker (Telemundo Media – NBC, USA), Anuj Gandhi (IndiaCast, India), Karim Safieddine (Cinemoz, Lebanon)

15.45-16.30 PERSONALITY OF THE YEAR KEYNOTE: Jeffrey Katzenberg Grand Audi, Level 1 Speaker: Jeffrey Katzenberg, CEO, DreamWorks Animation 16.45-17.45 WORLD SCREEN CONTENT TRENDSETTER AWARD - ACQUISITION SUPERPANEL: WHAT DO BUYERS WANT? Grand Audi, Level 1 Speakers: Piv Bernth (Danish Broadcasting Corporation/DR, Denmark), Ross Crowley (Foxtel Management, Australia), Pedro Lascurain (TV Azteca, Mexico), Carmi Zlotnik (Starz Media, USA)

THURSDAY 10 OCTOBER 10.00-12.00 DIGITAL COMES OF AGE THE PRODUCERS TOOL BOX: SECOND SCREEN WORKSHOP Matchmaking Lounge Speaker: Matthias Puschmann, Founder & Managing Director, VAST MEDIA, Germany

14.00-15.00 THE MIPCOM WRAP Matchmaking Lounge Speakers: Louisa Heinrich, Founder, Superhuman Limited, UK; Traci Paige Johnson, Yummico

11.00-12.00 MIPCOM 2013 OVERVIEW: PRESS CONFERENCE Blue Lounge Laurine Garaude, Television Division Director, Reed MIDEM, and somePress Club exceptional guests will exchange their views on the four day market: key figures, trends & deals to give the best MIPCOM 2013 Overview.

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INNUMBERS

59%

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

66

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

8.1

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

171.7

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

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85%

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

27.7

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

AGENTS

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

(scriptwriters) and Alex Lagomarsino (MediaBiz)

STREAMING

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



Q&A ttvpreview

Marcel Fenez, Global Leader of Entertainment and Media, PricewaterhouseCoopers.

A Multi-Faceted Problem ttv caught up with PwC’s Marcel Fenez to talk about consumer behavior and digital experimentation in a worldwide scenario of entertainment players looking to monetize their content.

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

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ack in July, during Latin America’s largest pay TV and telecommunications market the ABTA fair and congress, ttv was able to speak with Marcel Fenez, global leader of Entertainment and Media at PricewaterhouseCoopers. He was the international speaker of the panel called “New scenarios for content monetization,” and he assured that “there’s no silver bullet” that will solve this problem. According to what you said in the panel, the viewer is the one in control nowadays… The consumer has more control than ever before. I believe the individual is getting a lot more power, mainly in the way that they consume, but also in the fact that they realize that the information that they have themselves is also really important. Therefore, the real challenge for the industry, whether you are a content producer, a distributor or an advertiser, is actually understanding how consumers interact with content. Inevitably that means understanding the multi-screen behavior; understanding the fact

that on the large screen we interact differently with content than we do on the small screen. That level of consumer insight is really critical for monetization, for which there’s no easy answer. How do you see the industry players reacting to this reality? There’s not a silver bullet that’s going to solve this problem. What’s really interesting is the debate between cannibalization compared with companion. In other industries we have seen absolute cannibalization, but the one thing that TV has in advantage right now is the fact that there have been lots of other sectors that have gone through this earlier: the music industry, the print industry right now… What TV has is a true opportunity to experiment in fields where other sectors didn’t. And one of the big differences is bandwidth for video content; in many markets the bandwidth still isn’t at relevant levels, so there’s still a little of time for the industry to experiment. What markets are closer to the right path? Each market is different, normally because the infrastructu-


“Hay grandes ideas escondidas fuera de la empresa, por lo que representamos formatos de otras compañías cuando creemos que tienen los ingredientes indicados para lograr el éxito a nivel mundial”.

re, regulation and content tastes are different. However, in spite of these differences, the ways in which consumers actually interact are quite similar. If they got the access, the got the device, they are very avid users of those devices. So, the real question is not so much how the consumer behavior changes; it’s how do this infrastructure,

“That level of consumer insight is really critical for monetization, for which there’s no easy answer.”


Q&A ttvpreview

“In many markets the bandwidth still isn’t at relevant levels, so there’s still a little time for the industry to experiment.” regulation and content differences change around the world. You have to look at each market to understand the dynamics, but one thing is for sure, you need to look at consumers in other parts of the world to learn. Markets like China, for example, how consumers are interacting with online video is really interesting, and we should be really aware of that. That’s exactly why I’m here at ABTA: because I’m keen on knowing what’s going on in the Brazilian market. How did you see the discussion about this among Brazilian players during the panel? I was quite surprised, actually, about the quality of the discussion on stage. It’s quite clear that the different players in the value chain have a very good understanding of what the challenges are. They appreciate there’s a need to work together and collaborate. And I agree with them that there’s not a silver bullet that will cure the problem of monetization; it’s a multi-faceted problem. ttv

“There’s not a silver bullet that will cure the problem of monetization; it’s a multi-faceted problem.”

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THE RISE OF THE MULTISCREEN “We are not making money,” says Gustavo Ramos, director of New Media at Globosat, without a hint of doubt. The statement came as an answer to the question Is TV Everywhere profitable? “But we are not worried about that. The numbers are not the main issue for us. We think it’s an affordable way to defend our own business,” he said. Plenty was said about it during and its many ramifications ABTA: OTT, VOD, SVOD, transactional VOD, free VOD. And maybe the most repeated phrase was “value chain”: VOD online is not about making money, but about keeping TV viewers engaged with the same content that’s now changing. “OTT is a risky business only if the industry doesn’t evolve,” said Rodrigo Marques, VP Strategy at Net Serviços, Latin America’s largest TV operator. “It’s not just offering subscribers international series, but also making the entire pay TV content available on demand and in a personalized manner.” If there was one thing everyone agreed on was that, same as they do today, in the future both models will coexist: “Those who’ll be successful will be the ones that tend to the subscriber, who’s the real king. They’ll have better results the more they combine all models.” “Monetization will come from many platforms, but it’s the sum of all models which will define true success,” said Álvaro Paes de Barros, Alliance Manager at YouTube.



SpecialReport

El Negocio HBO Latin America Group

LATIN AMERICA’S AUDIOVISUAL LANDSCAPE

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Continental Transition The following report provides a complete x-ray of Latin America’s television market, focusing on the main trends paving the road, as well as the challenges TV faces moving onward: from a growing concentration in media and strong social penetration, to a rise in government intervention, platform diversification and audience fragmentation. By Sebastián Amoroso Twitter: @sebamoroso samoroso@todotv.tv


L

atin America’s audiovisual landscape is as complex as it is changing, especially since the turn of the century and in this last decade. The main culprits: swift technological and business-related changes, as well as political transformations that currently plague the region.

Following suit to the rest of the world’s steps, a series of corporations have risen in Latin America, looking to dominate -and sometimes rule over- the audiovisual world. This world also counts with massive social influence, since more than 90% of Latin Americans have access to at least one television set. Likewise, technological change has diversified supply and, finally, fragmented audiences.

This process goes hand in hand with the modernization of the region’s business structures: instead of relying on family-centric interests as in the years of yore, players have now reached out and forged alliances, aided by the heat of globalization. Companies have

How media is concentrated does vary from country to country. Some show a high concentration around one operator (such as Organizações Globo in Brazil). Other countries, like Mexico with Televisa and Azteca, evidence strong duopolies. The same can be said of Colombia (Caracol and RCN) and Venezuela, at least until 2007 (Grupo Cisneros and Grupo 1BC). Mexico’s audiovisual sector is reined by a historical duopoly between two major media groups: Televisa, owned by the Azcárraga family, and Azteca, ran by the Salinas family. The two corporations’ channels share almost 97% of the country’s TV viewers, granting their board of directors’ great power over the media, the economy and within Mexico’s political landscape. A similar story can be told of Colombia, where the audiovisual sector serves as a battlefield for the duopoly between Grupo Santo Domingo (Caracol) and Organización Ardila Lülle (RCN). Both groups also hold strong alliances with other international conglomerates and own broadcast and pay TV channels, production companies, editorial houses, radio stations, press media, internet companies, etc. Both of the country’s nationwide private channels hold over 50% of the market share according to Ibope, (26.9% for RCN

Emilio Azcárraga Jean, CEO, Grupo Televisa

Roberto Irineu Mrinho, CEO, ORGANIZAÇÕES GLOBO

Carlos Slim, CEO, América Móvil

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

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MEDIA CONCENTRATION. The region’s television business is determined by three clear dynamics: a high concentration and centralization of media and the historic development of commercial TV. Generally, each country’s four main channels hold a tight grip over 80% of market share - yet this concentration in media isn’t a recent phenomenon and has its roots in the advent of television within the region. What is new is how tightly integrated and concentrated the television industry stands today: those who own media companies also own telephone, mobile and data companies. Their business isn’t just limited to TV but also includes radio stations and newspapers, among others.

evolved into transnational groups, sometimes even becoming multiLatin companies. The resulting concentration isn’t just economical but also geographical, linked to the region’s huge urban centers, usually each of the countries’ booming capital cities. This trend has resulted in the appearance of huge communications groups such as Televisa (Mexico), Globo (Brazil), Cisneros (Venezuela) and Clarín (Argentina).


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Ricardo Salinas Pliego, CEO, Grupo Salinas

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Gustavo Cisneros, CEO, Grupo Cisneros

and 25.2% for Caracol), while public channels strain to climb over the 1% mark. For the rest of the region -or at least in most of its countries- market share is spread across three to four main channels. In Peru, only three national private channels hold 50% of all market share. According to Ibope, América Television holds 21.3% (Grupo Plural TV, owned by Grupo El Comercio), ATV holds 13.3% (Grupo ATV, controlled by Mexican-American Ángel Gonzalez) and Frecuencia Latina holds 13.2% (managed by Baruch Ivcher). In Argentina, 90% of TV viewers choose among five channels (Telefe, El Trece, América, Canal 9 and TV Pública) but only three business groups (Grupo Clarín, Telefónica and Grupo Uno) control almost 50% of all broadcast TV. In Bolivia, four channels (UNITEL, Red Uno, ATB and Bolivisión) have held 90% of all audiences captive since the 90s, with a new player, network PAT, recently joining the ranks. On a different note, Ecuador’s television market has the government as one of the main media “concentrators”, after seizing most major companies from ex-banking groups back in 2008. The State now manages over 20 media outlets, apart from offering pay TV and internet services. Meanwhile, business groups looking to manage private outlets have seen their chances significantly diminished. Groups Egas and Eljuri were forced to sell their media companies, after a constitutional disposition preventing finance-related companies or directors from owning stock in media companies. Now, only a few families are left to manage the country’s media: groups Vivanco, Martínez, Alvarado and Mantilla are the survivors.

MEDIA PENETRATION. Despite all of its social differences and shortages, there is one thing that links all of Latin America’s social classes together: each home counts with at least one television set. In fact, broadcast TV penetration levels are high among the entire region, reaching almost 100% in Argentina. In Brazil, TV is also the country’s favorite media outlet, leading the region’s penetration indexes since the 1990s. This makes Brazil the main broadcast TV market in Latin America, covering 98% of all homes and reaching a potential audience of 175 million people. Over 120 million people also make TV the winning choice in Mexico, where 98% of all homes watch broadcast TV and over 32% go for the pay variety. The same thing happens in Colombia, where 94.4% of its 47 million people watch TV. Likewise, TV is the most extended media outlet in Peru. Reaching almost 30 million people, 99% of all homes count with a television set and almost 30% of them also go for pay TV. In Venezuela, TV penetration is at 95%. Even in countries not leading the penetration charts, the percentages are still high. Ecuador’s stretches over 90% when it comes to broadcast TV, while pay TV penetration is currently at 14.5%. Yet strong penetration isn’t the entire story. Audiences are growingly becoming fragmented, and that can be clearly seen in audience metrics. In Argentina, pay TV’s share grew to cover 50% of the entire population during the first trimester of 2013, a true record in pay TV consumption. In Chile, share for pay TV went from 40% in 2008 to 45% in 2013. In Colombia, pay TV reached a record share of 23.5% in April 2013. These figures are more inci-


pient in the rest of the region, but significant nonetheless. In Mexico, Televisa continues to rule over audience share but has lost chunks of its screen quota to pay TV. Televisa has 43.3% share and is followed by pay TV with 27.4% share, which ousted Azteca’s 19.5% share, shoving it into third place. Pay TV has seen its share increase by 53% in Mexico during the last three years. According to an annual report by Nielsen-Ibope, pay TV has a larger audience than Azteca, Mexico’s second most important broadcast TV channel. The same thing happens in Brazil, but to an even larger extent. In 1993 Globo held 56-59% share and, today, is grasping at just 37% of the market. An avalanche of new channels that are increasingly easier and cheaper to access has fragmented audiences, which are now less concentrated and more evenly spread out, with ratings that seldom reach double digits. This is confirmed by just looking at ratings from countries like Argentina, where Telefe reached 11.2 rating points in 2012, just 1.7 points over its main competitor El Trece, which earned 9.5 points. Telefe’s leading position was gained after huge hits like the series ‘Graduates’ and ‘Candy Love’. Canal 9 came in third with 4.7 points, while America followed with 4.3 points, leaving TV Pública and its 2.7 points behind.

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

In Brazil, Globo occupies the first ten spots of the country’s ranking with its telenovela ‘Brazil Avenue’ (with a 19.5 rating point average), its news shows ‘Jornal Nacional’ (14.5 points) and the reality show ‘Big Brother Brasil’ (13.5 points). According to reports from AGB Nielsen, the top ten most-watched TV shows in Venezuela in 2012 were broadcast by Venevisión, which reached 45% share. Network Televen recorded 31% share, while VTV held 11% and Globovisión 8%. THE FUTURE: BROADCAST TV, PAY TV AND DTT. The short-term future of television in Latin America is closely linked to technological innovation. Pay TV is greatly earning its stand thanks to socioeconomic and technological improvements, much to broadcast TV’s dismay. Yet, it still has one challenge to face: DTT. Digital Terrestrial Television could easily jeopardize its reign, as each country’s analog blackout starts to roll out in this coming decade. The region is currently going through a double dynamic: while pay TV continues to soar spectacularly, more and more DTT licenses

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

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Something similar happened in Chile, where audience fragmentation has left broadcast TV ratings in the single digit realm. Canal 13 was the most successful network of 2012 with an average 8.9 rating points thanks to the series ‘Soltera otra vez’ and the reality show ‘Opposite Worlds’. TVN came out behind with 7.7 points, followed by Chilevisión with 7.1 points. Last place was awarded to Mega with 6.6 points.

The struggle for audiences in Peru is starred by América, ATV, Frecuencia Latina and Panamericana TV, while in Colombia, according to Ibope, Caracol managed to beat rival network RCN’s share during 2012. RCN has been the leading network just twice since 1998 and continues to maintain its 27% share after achieving peaks of 35% in 2006. Meanwhile, Caracol’s share has gone down from 36% to 28% but the network has still managed to end up on top with top-notch productions in 2012 such as ‘´Pablo Escobar: the Drug Lord’, ‘Rafael Orozco, el ídolo’ and the reality show ‘The Voice Colombia’.

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

are being awarded at the same time. The Argentine government has already expressed its desire to raise the number of new broadcast TV licenses from 90 to 300. In Mexico, the Overseeing Council of the Pact by Mexico has agreed to create two new broadcast TV channels and a third State-controlled network. And in Colombia, after the absolutely failed tender of a third private broadcast TV channel in 2012 (led by the Planeta group), word is out that this year will see a new tender process for a third or even fourth private channel with national coverage.

in pay TV penetration: according to LAMAC, 8 out of 10 homes are already subscribed. Pay TV in Colombia grew 23% in the last five years, and now reaches 84.4% of all Colombians.

But pay TV continues to awe in numbers. Its astronomical growth moves around US$ 500 million a year in the region. Its average global penetration has constantly risen in the last five years from 36% in 2008 to 55% in 2013. In better consolidated markets with higher penetration levels like Argentina and Colombia, pay TV penetration has grown close to 15%. In countries like Brazil, Chile and Mexico, the numbers are staggering: pay TV penetration grew 118%, 83% and 38% respectively in these markets, according to reports from the Latin American Multichannel Advertising Council (LAMAC).

Other less powerful markets are also seeing their pay TV numbers skyrocket. As of January 31st, Ecuador counts with 650,870 subscribers, 29.9% more than the 500.893 subscribers recorded in December 2012. Meanwhile, pay TV subscribers in Uruguay are increasing at a 10% annual rate.

And there is still much room to grow, especially in the Brazilian and Mexican markets. These two countries actually have the most people subscribed to pay TV packages, but these numbers fail to cover most of the population and lose the battle to other countries when considering penetration. Their middle classes’ growing purchasing power and their giant populations are what will drive pay TV growth in these two countries. Colombia also has a growing urban middle class, and has quickly become the Latin American leader

Despite leading until 2012, Argentina occupies the region’s second place with 83% of pay TV penetration, also according to LAMAC. Chile comes in third with 60%, after a 40% rise between 2012 and 2013. Peru (53%) and Venezuela (50%) follow suit, leaving Mexico (44%) and Brazil (40%) behind.

Television will definitely experience an interesting evolution in the next five years. DTT and the launch of IPTV will further diversify the offer, pushing pay TV operators to redefine their business. However, and despite this progressive evolution in alternatives, all signs point toward pay TV’s survival and constant growth. In the near future, the region will see its TV sector go through a deep transformation. The development and competition between Digital TV, DTH and multiplay will diversify how and when audiences watch content, which will be produced for computers, tablets and even smartphones. The user is the sole winner in this uproar of alternatives at accessible prices, but will not always count with the best quality and service. Whoever wins the duel between DTT and multiplay will finally complete Latin America’s new audiovisual map. ttv



Gallery tradeshows

NATPE

Budapest 2013 June 25th to 27th , Sofitel Chain Bridge Hotel, Budapest, Hungary

Rod Perth (Natpe Budapest)

General view of the Sofitel Chain Bridge Hotel

Opening Cocktail Reception Natpe Budapest 2013

Rosaura Romero (Secuoya Distribution)

Laura Rhodarmer (Talpa International)


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(S ou rc e: Go og le

Participants of the 2013 edition of Natpe Budapest were witnesses of the efforts made by the organization to make more tools available to improve the business. Nevertheless, one of the biggest challenges for 2014 will be to attract the buyers that have stopped coming to the event. Meanwhile, once again the Turkish companies shone during the market with great presence of producers and distributors of prime time contents. One of the surprises was the presence of several Italian companies, most of which were supported by government agency ICE. Photos: SWpix/NATPE

Peter Herman and Felix Wesseler (RTL) with Sabriana Duguet (All3Media International) at the ‘Day & Night - The Morning After the Night Before’ Breakfast

Fredrik af Malmborg (Eccho Rights)

Pedro Citaristi (Atlantyca Entertainment)

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Sabrina Duguet (All3Media International) at the ‘Day & Night - The Morning After the Night Before’ Breakfast

Business and networking at Natpe Budapest 2013

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(m niq An al on ue yt ics th vi -S ly sit ep av ors te m er be ag r2 e) 01 3)

Roberto Corrente (Caracol Televisión)

Liliam Hernández and Gema López (Universal Cinergia Dubbing)


Gallery tradeshows

NATPE Budapest

2013

June 25th to 27th, Sofitel Chain Bridge Hotel, Budapest, Hungary

General view of Natpe Budapest 2013

Eric Muller (Peace Point Rights)

Opening cocktail at the Sofitel Chain Bridge Hotel

Business meetings during the event

Executives at the Meeting Room, Natpe Budapest 2013

Federico Vargas (9 Story Entertainment)

Music at Natpe Budapest 2013

Melissa Pillow (Telemundo Internacional)



Report

RESEARCH*

62/TTV PREVIEW

Perspectives on the Back in August, the UK’s Ofcom released an independent report about “industry perspectives on the future of commercial communications on TV and TV-like services.” Next, ttv sums up its main conclusions, which say that, among other concepts, ONE THING IS FOR SURE traditional TV will rule at least until 2020. By ttvnews

Twitter: @todotvnews

“TV is becoming the cockroach of the internet apocalypse...whatever the internet revolution throws at it, TV survives and survives and survives. Its resilience is conspicuous at a time of turbulent change.” With this quote from Ed Richards, CEO of UK’s telecommunications regulator Ofcom, Jon Gisby opens the report called Industry Perspectives on the Future of Commercial Communications on TV and TV-like services, an independent research commissioned by Ofcom, in which he analyzes five relevant issues of the industry in the UK: TV & advertising, the impact of technology on consumer behavior, video advertising and regulation. TV & ADVERTISING. According to the report, TV remains the only medium that delivers the reach and impact that major advertisers require, and its importance as a commercial medium is underpinned by decades of research on its effectiveness. There is a


robust ecosystem of advertisers, agencies, producers and broadcasters, and this will sustain the virtuous circle between advertising budgets and content investment, ensuring that TV advertising remains the dominant form of commercial communication until beyond 2020.

vices. The impact of this innovation is currently nascent, and a sudden single transformation (a ‘Kindle’ or ‘iTunes’ moment) is “unlikely”. Instead, there will be a “messy but exciting” period of innovation in technology and services whose cumulative disruptive impact will be significant.

One agency executive, quoted in the report, puts it clearly: “My clients care passionately which channels their ads appear on, but are very wary of where their ads might end up on the internet.” Thus, investing billions in building brands and millions in individual campaigns incentivizes marketers to rely on trusted relationships with agencies and broadcasters rather than the perceived risk of media planning via algorithms and digital start-ups.

Although the industry players interviewed believe these changes will have a “significant impact on consumer behavior,” which in turn will influence advertiser spend, they also see a risk that “the virtuous circle of audiences generating ad revenues that fund programs could become a vicious circle of advertisers redirecting spend,” leading to less TV content funded, generating smaller and less attractive audiences.

Far from considering the new digital platforms as a threat for TV, it affirms they have contributed to its growth. “The availability of VOD services from the broadcasters (iPlayer, 4oD, etc.) and platforms (Sky, Virgin) have increased rather than diminished the consumption of linear TV, by enabling viewers to catch up

Overall, the technological revolution is a new and potentially more important “digital switchover,” away from broadcast distribution and towards personalized, internet based and data driven services, enabling UK consumers to access and engage with video content in entirely new ways.

Future of Television on missed episodes. The growing penetration of social media (Facebook and Twitter) and second screens (iPads and tablets) are providing opportunities for broadcasters and platforms to engage audiences in new ways both during live broadcasts and sustaining interest between broadcasts,” Gisby assures.

TECH IMPACT. Unprecedented and unpredictable: such are the terms used to describe the “dramatic” technological changes the market is experiencing. According to the document, the proliferation of broadband, smart mobile devices, cheap screens, cloud-based services and social media will have a progressive and potentially profound impact on consumer behavior, business models and content ser-

CONCEPTS ON THE PRESENT OF TV > TV consumption remains strong, and may have room to grow > TV remains the most attractive medium for big brands > Most TV consumption and ad forecasts remain optimistic > We are entering the third age of video distribution into the home > The routes to connect with the audience are changing permanently

TTV PREVIEW/63

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

VIDEO ADVERTISING. This disruption, Gisby affirms, will curtail growth in linear TV spot advertising, and its relative importance will diminish. Brands and agencies are already seeking new ways to engage consumers either directly or in partnership with others. These new routes to audiences already include di-


Report WHY DOES TV ADVERTISING REMAIN SO STRONG? Industry stakeholders identified four interlinked reasons. > First, its scale. UK viewers are watching 2.7 billion TV ads per day. No other medium can provide that level of reach and impact. > The second reason is the inverse of the first. The digital revolution fragments audience attention across a diverse range of internet sites and devices. This fragmentation and complexity increases the attractiveness of large but still well targeted TV audiences. TV also provides the control of context and environment which marketers need. One agency executive summarised it neatly: “McLuhan was right, the medium is the message.” > Third, the effectiveness of TV is perceived to be well measured and researched. There are commonly agreed currencies for buying and selling commercial air time, and well established metrics for evaluating campaign effectiveness. Both of these are in sharp contrast to digital media, where both remain in their infancy.

64/TTV PREVIEW

> The fourth reason is the robustness of the regulatory regime that underpins it, which are generally well understood and respected by industry and (implicitly) by audiences. They are perceived by many to provide certainty and confidence, while evolving to take account of new technologies and enable new revenue streams. *This article is based on the report Industry Perspectives on the Future of Commercial Communications on TV and TV-like services, released by Ofcom in August 2013.

rect investment in TV programmes, complementary advertising via second screens, investment in video content delivered via the internet, and investment in alternative forms of engagement marketing. “Each of these new revenue streams offer opportunities for diversification by brands, agencies, broadcasters and producers, but they often require new capabilities that sit uneasily alongside their core businesses. In parallel new distribution platforms and companies will emerge who invest in content, technology and audience acquisition on a global scale.” REGULATION. Meanwhile, regulators face the same challenges as those faced by brands and media businesses: how to preserve the existing while creating the new, and how to prepare for inevitable but unpredictable disruption. The current regulatory framework for broadcast advertising mostly works well, and although it may need to evolve it will remain necessary until beyond 2020, according to the report. However, as broadcast and internet delivered content converge, the distinctions between content and advertising will become harder to maintain and the existing frameworks will struggle to accommodate the prolific innovation in advertising formats, the highly fragmented nature of their implementation and the scale of their cumulative impact on consumers. Regulators will face increasingly difficult choices about the appropriate scope of regulation, how to implement regulatory change, and how to balance consumer protection, innovation, investment in content and economic growth. ttv



Listings ttvpreview

Numb Chucks

Big History

9 STORY ENTERTAINMENT

A+E NETWORKS

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

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

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

TOP EXECUTIVE

Vince Commisso, President & CEO

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

Numb Chucks

TOP EXECUTIVE

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

Extreme Babysitting 66/TTV PREVIEW

Ladybug

Sean Cohan, Executive Vice President, International

Big History (History - 16 x 30’ + 1 x 120’ Special)

(Realiy Prank - 22 x 30’) A hidden camera prank show that takes teenagers who think they know everything about looking after kids and puts them to the ultimate babysitting test – one that they will never see coming. ‘Extreme Babysitting’sets out to push the ridiculous meter on the usually mundane world of babysitting, without letting the babysitter know that they are actually on TV!

Twenty years ago, a group of innovative teachers had a breakthrough idea: break down the artificial wall between science & history. The idea: use science to teach history, and use history to reveal science. Bill Gates discovered the course and vowed to help spread the revolutionary idea. In each episode, science - from biology to astronomy, geology to chemistry - reveals an unexpected twist on historical events. For example, viewers will discover how every time they use a cell phone they’re using radio wave lanes assigned after Titanic telegraph rescue calls went unanswered 100 years ago.

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

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

TOP EXECUTIVE

Valerie Vleeschhouwer, Managing Director

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


The Brave Ones

Bat Pat

Worst Year of My Life, Again

ARTEAR

ATLANTYCA ENTERTAINMENT

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

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

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

TOP EXECUTIVE

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

TOP EXECUTIVE

Luciana Egurrola, Senior Sales Executive, International Sales

The Brave Ones (Valientes) (Telenovela – 218 x 60’)

BAT PAT (52 x 11’ - 2D HD) Based on the successful book series of the same name, ‘Bat Pat’ follows the spooky and comical adventures of the talking bat and the Silver brothers: Martin, Leo and Rebecca. During their adventures our heroes come to understand that the supernatural “bad guys” that kids do love (ogres, vampires, werewolves, mermaids, ghosts) are not evil, their actions are simply misunderstood by the dwellers of Fogville! Balancing comedy and action, the series is a creepy sitcom that maintains the fast paced quirky character humor of a traditional sitcom mixed up with a lot of creepy and funny adventures. The series is a co-production between Atlantyca Entertainment, Imira and Inspidea, with the participation of Rai Fiction.

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

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

TOP EXECUTIVE

Jenny Buckland, CEO

Worst Year of My Life, Again (Live action comedy series - 13 x 24’) Alex King has had a horrible year - humiliated by his teachers, targeted by bullies and embarrassed by attempts to impress the most popular girl in school. So when he wakes up on his birthday to discover that somehow time has reset itself, he can’t believe he must relive every miserable moment of the past 12 months once more. Until his friends Simon Birch and Maddy Kent convince him he’s being offered a second chance and maybe this time round, he can get it right.

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

TTV PREVIEW/67

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

Pietro Marietti, Chairman

Australian Children’s Television Foundation


Listings ttvpreview

Football Dreams: A World of Passion

All Aboard: East Coast Trains

The Clinic

CARACOL TELEVISION

Cineflix Rights

COMAREX

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

28-32 Britannia Street London WC1X 9JF Tel.: +44(0)20 3179 5050 Fax: +44(0)20 3179 5051 E-mail: sales@cineflix.com Web: www.cineflixrights.com Stand: R37.20

Executives Attending

Executives Attending

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

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

Christopher Gordon, Director of Sales, Latin America

TOP EXECUTIVE

TOP EXECUTIVE

Christopher Gordon, Director of Sales, Latin America

Lisette Osorio, International VP

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

TOP EXECUTIVE

All Aboard: East Coast Trains FOOTBALL DREAMS: A WORLD OF PASSION (60 x 60’)

68/TTV PREVIEW

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

THE VOICE OF FREEDOM, HELENITA VARGAS (60 x 60’) This is the story of Helena Vargas, a woman eager to become emancipated during an extremely machista time (the fifties). She found in Mexican music a way to express her deep desire for freedom, overcoming all obstacles in a prejudiced society, beginning with her family, until finally attaining success and fulfilling her childhood dream.

(Reality - 10 x 60’) Welcome to ‘All Aboard: East Coast Trains’, the series that goes behind the scenes of one of the UK’s biggest railways. A small army of dedicated ambassadors works 24/7 to keep everything on track. And when things go off the rails, it’s their job to keep everything running full steam ahead.

Secrets & Lies (6 x 60’) The life of a family man is shattered when he is accused of murdering a four-year-old boy. As his world spins apart, he embarks on a relentless chase to clear his name. At stake is his marriage, his kids, his reputation and his sanity. But is he innocent or guilty? ‘Secrets & Lies’ is a six part event mini series from BAFTA and Emmy Award winning production company Hoodlum.

Marcel Vinay Hill, VP International Sales

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


Ambulance II

Marvel’s aGeNts of s.H.i.e.l.d.

CZECH TELEVISION TELEXPORT Kavci hory, CZ - 140 70, Prague 4 Tel.: +420 261 137 433 Fax: +420 261 211 354 Web: www.ceskatelevize.cz/sales

Executives Attending Marie Magdalena Novakova, Sales Manager

TOP EXECUTIVE

Lubos Kriz, Program Sales

Ambulance II (Series - 13 x 55’) Continuation of the series about the emergency medical service which was highly popular in the 1980s. Featuring in the thirteen episodes are some of the now “somewhat” older original characters plus a number of new ones. The task they fulfil has stayed the same, but what has changed are the times, the people and the state of the society in which they live. Rights Available: TV, Video, Internet.

Innocent Lies (8 x 75’)

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

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

TOP EXECUTIVE

Fernando Barbosa, SVP Distribution and Production

Marvel’s aGeNts of s.H.i.e.l.d. (ABC Live Action Series - Drama/Science Fiction) ‘Marvel’s Agents of S.H.I.E.L.D.’ (Strategic Homeland Intervention, Enforcement and Logistics Division), the movie saga that joins ‘The Avengers’ by Marvel, is a global law enforcement organization made up by a select group of special agents. After the Chitauri attack Earth, the team members -led by agent Phill Coulson-deal with different situations in a world of superheroes, aliens and unusual stories.

ENDEMOL LATINOAMERICA Cabrera 5870 (CP1414), Buenos Aires, Argentina Tel.: (5411) 5218-9000 E-mail: info@endemolargentina.com.ar Web: www.endemolargentina.com.ar Stand: LR 5.15

Executives Attending Belén Ibañez, International Business Assistant

TOP EXECUTIVE

Michelle Wasserman, SVP International Business and Content Development

YOUR FACE SOUNDS FAMILIAR Every week, the same group of celebrities find out who they have to impersonate by simply pressing a buzzer. A giant screen displays multiple images of different singers in rapid succession. The minute the celebrity hits the buzzer, the images freeze and the selection is made. Whether it’s an older or younger person, or even someone of the opposite sex, it doesn’t matter – vocal coaches, choreographers, make-up artists and stylists are ready to prep them for their big performance. A panel of judges and competing celebrities award points based on various categories, including singing, style and believability. There are no eliminations. The scores are tallied in each show, ranking the contestants from first to last. After each performance, the celebrities must press the buzzer again to find out who they will impersonate the following week. Towards the end, only the four celebrities who accumulated the most points throughout the show qualify for the series final. After their very last performance, the celebrity with the with the most points receives the top cash prize for a charity of their choice.

TTV PREVIEW/69

Each of the protagonists of the eight episodes of the Innocent Lies series has personal reasons not to tell the truth. And each time we understand them, and what´s more – we believe them. Because it´s us who´s in their shoes. But supposing a small, intimate and seemingly innocent lie swells up, assumes unforeseeable dimensions, and seizes the opportunity for turning our life inside out? Though telling the personal stories of individuals, the episodes concern topical social phenomena, such as new family patterns, the power of the media, economic crisis or false accusation of sexual abuse. Rights Available: TV, Video, Internet.

Disney Media Distribution Latin America

Your Face Sounds Familiar


Listings ttvpreview

Rogue

Wentworth

Entertainment One Television International

FremantleMedia International

FremantleMedia Latin America

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

Executives Attending

1 Stephen Street, London, W1T 1AL Tel.: +44 (0)207 691 6000 Fax: +44 (0)207 691 6100 Website: www.fremantlemedia.com /www.fmescreenings.com

5200 Blue Lagoon Drive Suite 200 Miami, Fl 33126 Tel.: +1 (305) 267-0821 Fax: +1 (305) 267-0459 Website: www.fremantlemedia.com

Valerie Cabrera, EVP Kara Ciccarelli, Marketing

Executives Attending

Executives Attending

Max Bolenius, VP International Distribution German Speaking & Eastern Europe Justin Hatfield, SVP International Distribution UK, Ireland & Scandinavia Lisa Honig, SEVP International Distribution Americas Jamie Lynn, EVP International Distribution EMEA Haryaty Rahman, VP Sales & Distribution Asia Paul Ridley, SEVP Sales & Distribution APAC Hendrik Van Daalen, SVP International Distribution Spain, France, Italy & Portugal

Jack Alfandary, SVP Latin America and US Hispanic Julieta Lujan, Senior Manager Production

TOP EXECUTIVE

Peter Emerson, President

Rogue (Drama/Suspense Series - 10 x 60’ /10 x 5’ original webisodes)

70/TTV PREVIEW

Idol Puerto Rico

A smart, complex, character-led thriller, ‘Rogue’ revolves around Grace, a morally and emotionally-conflicted undercover detective who is tormented by the possibility that her own actions caused her young son’s mysterious death. In her quest for the truth, Grace goes ‘Rogue’ and falls deeper into a forbidden relationship with Jimmy Laszlo, head of the city’s most powerful and dangerous crime family. To stay alive, Grace must help Jimmy find the traitor in his midst, while knowing he may have played a role in her own tragedy. Lines are crossed with devastating consequences for all of the characters and everyone around them.

The Walking Dead (Drama/Suspense Series - 35 x 60’) As police officer Rick Grimes and his group of survivors continue their travels in the post apocalyptic war zone, the world becomes more dangerous and threats to their new surroundings cause lives to hang in the balance. With the realization that there are greater forces to be feared than the hordes of zombies roaming the earth, the survivors must make critical choices as potential attacks constantly loom over their heads.

TOP EXECUTIVE

Sheila Aguirre, SVP International Distribution Latin America & US Hispanic

WENTWORTH (Drama - S1: 10 x 1 hr./ S2: 12 x 1 hr.) A FremantleMedia Australia Production for Foxtel. Bea is thrown into a strange and violent new world of female prisoners where lesbian top dog Frankie rules; it seems like she isn’t going to last long.

SAVE WITH JAMIE (Lifestyle - 6 x 1 hr.) An optimistic, inventive and super-helpful new food series set to inspire viewers around the world to eat better and waste less. The chef uses some of his most useful money-saving tips to prepare seriously delicious family meals without breaking the bank.

TOP EXECUTIVE

Carlos González, Managing Director, Latin America and US Hispanic

Idol Puerto Rico (Reality Musical) ‘Idol Puerto Rico’ is starting its third season as the ratings leader among adults, both men and women, becoming an audience favorite. Once again, Idol Puerto Rico will cause a commotion with Puerto Rican audiences, who’ll be auditioning to showcase their talent, hopeful they’ll become the next Idol Puerto Rico. This is the local version of the hit format Idols, which already has over 50 original versions made.

Project Runway Latin America (Reality) ‘Project Runway Latin America’ is a successful and entertaining series, set in the glamorous and rigorous world of fashion. In its third season, fourteen talented and ambitious designers will get the chance to become the best Latin fashion designer.


Heroes

Salvador Dali, Tragicomic Genius

Black Rose

GLOBAL SCREEN

INA

ITV Inter Medya

Sonnenstr. 21, 80331 Munich Tel.: +49.89.244 1295 500 Fax: +49.89.244 1295 520 E-mail: info@globalscreen.de Web: www.globalscreen.de Stand: 19.02

83/85, rue de Patay CP: 75013 Ville: Paris - France Tel.: 00 33 (0)1 44 23 12 30 Fax: 00 33 (0)1 44 23 11 30 Site: www.ina-ecatalog-programs.com Booth: 02-15

Valikonagi Cad. 26/3 34367 Sisli Istanbul / Turkey Tel.: +90 212 231 0102 Web: www.itv-intermedya.com Stand: RSV 11

Executives Attending

Executives Attending

Dr. Thomas Weymar, Managing Director Dr. Rolf Moser, Managing Director Julia Weber, Head of Theatrical Sales; Executive Sales Manager TV Helge Köhnen, Senior Sales Manager TV Kerstin Grünwald, Senior Sales Manager TV Gisela Ermeier, Sales Manager TV Iowanka Sánchez-Sprehe, Sales Manager TV Alexandra Heidrich, Sales Manager Formats Ulrike Schröder, Acquisitions Manager Tina Harnisch, Senior Marketing Manager Jessica Weber, Assistant to Head of Sales

Laure Audinot, Programme & Video Licencing Executive

Ahmet Ziyalar, Managing Director Sibel Özdemir, Sales Executive Elena Pak, Sales Executive Beatriz Cea Esteruelas, Sales Executive Leyla Apa, Sales Asistant

TOP EXECUTIVE

Marlene Fritz, Head of TV Sales

Heroes

TOP EXECUTIVE

Larris Dubois-Flavien, Programme Sales

Salvador Dali, Tragicomic Genius (Documentary – 52’ – HD) Who really was Salvador Dalí? A figure always in the media spotlight, one of the greatest popular painters of the 20th century? Proclaiming himself as a genius, the famous Spanish painter (with Picasso) is one of the few to have kept his place in the collective subconscious.

Chabada Collection

A high-budget disaster movie, featuring hundreds of VFX shots and a star-studded German cast. Produced by the genre experts at Dreamtool for RTL, with the involvement of Academy Awardwinner Pixomondo.

This collection brings three musical programmes, all presented by Daniela Lumbroso and aired by France Télévisions from 2005 to 2012: ‘Chabada’, a weekly programme; ‘La fête de la Chanson française’ & ‘Paris Québec sous les étoiles’, yearly shows featuring French chanson singers.

A sweeping and gripping family saga of conflicting loyalties, love, hope, faith and betrayal set behind the Berlin Wall in the former East Germany. Following the smash hit first season, six more episodes are now ready for delivery.

Homopoliticus (Documentary – 52’) In 1960, homosexuality again became a criminal offence in France, and was even included on a list of social evils. Since then, homosexuals have been forced to wage a real battle against the French Republic and its representatives in order to win more rights.

BLACK ROSE (Drama 2013) The series that takes place in Halfeti Şanlıurfa is the story of two brothers in war. The oldest son of the family Kendal has always been jealous of his younger brother Murat and all he wants is to be the sole heir of the inheritance and the sole leader of the family, however Kendal doesn’t have a son that will continue his legacy, the only son he has is disabled, he has 2 wives and no sons. His brother Murat has 4 children. His first born is a boy whom he lives with his older brother and his wife whom he married religiously. They raise his son and in exchange Murat moves to Istanbul and has a different life. He has 2 daughters and a son from his official wife Ebru. Ebru is unaware of this secret life that he has kept from her. She thinks her first born was born dead. She’s far from the village and their traditions. A woman who has never left the walls of her mansion and a man that left her to live a lie. She’s all alone with the truth that she faces. Now she has to fight for all that she lost. She has to stand up for her kids and start all over in a distant place. Karagül is the story of rebirth of a woman in distant lands.

TTV PREVIEW/71

(Entertainment Show – 170 x 52’, 4 x 120’, 8 x 240’)

Weissensee

TOP EXECUTIVE

Can Okan, President/CEO

(Event Movie – 120’)

(Historical Family Series - 12 x 48’)

Executives Attending


Listings ttvpreview

Breathless

Girlfri3nds

ITV Studios Global Entertainment LTVC Upper Ground, London, SE1 9LT Tel.: +44 207 157 3000 Web: www.itvstudiosge.com Stand: R38.01

Executives Attending Mike Beale, Director of International Formats, ITV Studios Craig Bohland, VP, Sales Americas Ruth Clarke, Director of Acquisitions & Coproductions Jennifer Ebell, VP, Sales EMEA South and East Tobias de Graaff, Director of Global TV Distribution Augustus Dulgaro, SVP, Sales Asia Pacific Dan Gopal, SVP Global Digital Media & Home Entertainment Hyeonza Hong, VP, Sales Asia Mark Kirkpatrick, VP Carol Lee, SVP, ITV Studios Home Entertainment Americas Jayne Redpath, SVP, Sales EMEA David Wilcox, VP, Sales North West EMEA Greg Johnson, SVP Americas

TOP EXECUTIVE

72/TTV PREVIEW

Maria Kyriacou, Managing Director

Breathless (Drama - 6 x 60’) Secrets, lies and sex smoulder beneath the glamorous and stylish world of the early 1960s, in the brand new drama ‘Breathless’.

Heartland Bowhunter

Keshet International

MANCE MEDIA

12 Raul Valenberg Street, P.O.B. 58151, 61580 Tel Aviv, Israel Tel.: +972.3.7676412 E-mail: limor.got@keshet-tv.com Web: http://www.keshetinternational.com/ Stand: LR1.05 (Lerins Hall)

1438 N. Gower Street, Building 2, Suite 38, Hollywood, CA 90028 Tel.: +1 (323) 468 3180 Fax: +1 (323) 972 1752 E-Mail: contact@mancemedia.com Website: mancemedia.com

Executives Attending

Executives Attending

Ran Tellem, Keshet’s VP Programing Keren Shahar, Head of Distribution & Acquisitions Nelly Weber Feld, Sales Director Cynthia Kennedy, Sales Director Kelly Wright, Sales Director Limor Gott Ronen, Marcom Manager, Sales Manager Docu and Digital Platforms Hagar Livny, KI Coordinator

Matthew Mancinelli, CEO

TOP EXECUTIVE

Alon Shtruzman, Keshet International’s Managing director

Girlfri3nds (Dating reality - Season 1: 8 x 60’/Season 2: 8 x 60’) Host Emma Willis joins three single ladies who will live together, laugh together and date together, as they begin their search for Mr. Right. Each week our singletons embark on a series of dating scenarios with their potential suitors. Witness their preparations, nerves and trepidation as they get to know more about the men they have chosen. Their ‘dates’ will whittle down until they have just one decision to make…. will our three Girlfriends finally meet their perfect guy or will they be left out in the cold? (A Studio Lambert Production for ITV2). The second, is TBS’new summer hit, executive produced by Howie Mandel. The great thing about this show is that it does great in repeats (so great value for money…).

TOP EXECUTIVE

Matthew Mancinelli, CEO

HEARTLAND BOWHUNTER From the beginning ‘Heartland Bowhunter’ was founded with one guiding principle: quality. No matter the service, product or production, quality was going to be the baseline for everything we embarked u pon. The very first venture we took on was creating a tree arm that would give outdoor producers their best chance at capturing higher quality footage. The Sniper Pro Tree Arm was born! With the arm quickly becoming the industry standard for professional producers the next focus moved to producing a show of our own. 2007 saw HB take a turn for the serious. With the introduction of the new HB apparel line, Arrows Unleashed S.1 DVD and a new website, HB saw significant growth in its first year. HB then moved on from DVD production to becoming the industries most talked about new television show! The show has now gained staggering support from industry giants and has built a loyal and appreciated fan base!


Good Doctor

Crazy About Love

Miramax Library

Mannam Media

MEDIABIZ

MIRAMAX

445 S. Hobart Blvd. Suite 517 Los Angeles, CA 90020, USA Tel.: 213.2004939 Web: www.mannammedia.com

Jorge Newberry 3449, Capital Federal, Buenos Aires, Argentina Tel.: +5411.4553.0588 E-mail: virginia@mediabiz.com.ar Web: www.mediabiz.com.ar Stand: 6.27

2450 Colorado Avenue, Suite 100 East Santa Monica, California, USA 90404 Tel.: +1 310 409 4321 E-mail: worldwidesales@miramax.com Website: www.miramax.com Stand: LR4.22

Executives Attending

Executives Attending

Virginia Berberian, International Business Director

Beth Minehart, EVP, Global Digital Marna Grantham, SVP, North & South America Richard Tulk-Hart, SVP, Europe, Middle East & Africa Mathilde Rottier, VP, North America Jeff Cooke, Director, Asia Pacific Stuart Shaw, Director, Europe Alexandra Tullberg, Director, Europe Janine Rogers, Asia Pacific Ronda Elbanna, Asia Pacific

Executives Attending Sebastian Choy, President & CEO

TOP EXECUTIVE

Sebastian Choy, President & CEO

TOP EXECUTIVE

Alex Lagomarsino, CEO

Good Doctor (Drama - 20 x 70’) This drama will draw the story of a young man, Park Shi On (Joo Won) with Idiot Savant Syndrome who overcomes obstacles to become a pediatric surgeon. He is a pediatrician who despite his developmental disabilities is a medical genius. He is a gifted doctor but has trouble with other areas of his life, such as relating to people socially.

Sent From Heaven (Drama - 80 x 35’)

My Husband Got a Family (Drama - 50 x 70’) The heartwarming story of a woman who has no appreciation for everything good a family stands for and a man who grew up without a family. To their surprise, the newlyweds discover they are about to become family with a bunch of complete strangers.

(Drama Series - 39 x 60’) The story of three women living in a psychiatric hospital who will move to an apartment together, as the first step of a project aimed at bringing them back into society. They will have to deal with everyday matters such as getting a job and learning how to live in harmony with others. Simona, Juana and Eva, who suffer from different pathologies, will have to live together in an apartment, where they will confront their personal subjective stories with reality, while trying to restore social and family ties.

The Things we Love (Comedy/Telenovela - 245 x 60’ + 215 x 60’) Roberto Sanchez is a loner who is so orderly that finds it hard to live with anyone else. He works as a referee and is obsessed with living by the rules. When his girlfriend leaves him, and thinking he is alone again, his nephews – Pablo and Martin – and his little niece – Valeria – come along to invade his privacy. He’ll have to get used to a boisterous and chaotic lifestyle, which for a strict man like him becomes quite a problem! However, little by little he will learn to appreciate the true value of family

TOP EXECUTIVE

Joe Patrick, EVP, Worldwide Television

Miramax Library ‘Frank Miller’s Sin City’, ‘Sin City: A Dame to Kill For’, ‘Pulp Fiction’, ‘Kill Bill Vol. 1&2’, ‘Good Will Hunting’, ‘Chicago’, ‘Spy Kids’, ‘Scary Movie’, ‘Gone Baby Gone’, ‘Like Water for Chocolate’.

From Dusk Till Dawn, the series (Drama Series - 39 x 60’) Based on the hit action/horror franchise from Robert Rodriguez and Quentin Tarantino, ‘From Dusk Till Dawn’, the series will be written, produced and directed by Rodriguez. It will explore and expand on the characters and story from the original film, providing a wider scope and richer Aztec mythology.

TTV PREVIEW/73

What would happen if a fairy lost her winged robe? She is the antithesis of a traditional dainty fairy with her fearless personality. He is a divorcee with two kids, not quite the naive woodsman in the traditional tale.

Crazy About Love


Listings ttvpreview

Treasure Island

Mad Animals

MONDO TV

NOVOVISION

ORF-Enterprise

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

12 rue Vivienne – LOT N°3, 75002 Paris, France Tel.: +33 1 75 47 80 70 Fax: +33 1 75 47 80 74 E-mail: Sabrina.h@novovision.tv Web: www.novovision.tv Booth: R 32.04

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

Executives Attending

Executives Attending

Philippe Deleplace, Development Consultant Nathalie Bourdon, CEO of Novovision Canada Charles Gebenholtz, Regional Sales Manager Allison Glasgow-Lafontaine, Regional Sales Manager Sabrina Hounas, Acquisition and Marketing Manager

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

Executives Attending Matteo Corradi, CEO Orlando Corradi, President

TOP EXECUTIVE

Micheline Azoury, International Sales Coordinator

(Full HD 3D CGI Animation - 26 x 26’) This animated series was born from the masterpiece of R. L. Stevenson, and from the beginning it blends the classic story with a wider and complex story, taking us far beyond the island, the treasure and Stevenson.

Dinofroz (Animation - 26 x 26’- Full HD 2D with CG effects) Four childhood buddies find a way of accessing a parallel time dimension, where they find themselves as dinosaurs, in the middle of a never-ending war with dragons! Based on the pocket-size collectable toys by Giochi Preziosi.

Beast Keeper (Kids – 52 x 13’ – HD) Beast Keeper features the adventures of the young Jay, Mac, Alice and Toto who accompany the brave Keep during the journey in search of his origins. Keep has no memory of his past, but he owns an ancient and magic artefact called Spin Shell that grants him the power of taming and fusing with the Beasts - legendary beings coming from the Underworld.

TOP EXECUTIVE

TOP EXECUTIVE

Treasure Island

74/TTV PREVIEW

Janus

Marion Camus-Oberdorfer, Head of Content Sales International

François Xavier Porier, CEO

Mad Animals (26 x 26’) Novovision has recently acquired several extensive catalogs of animal home videos to create a new program in the spirit of ‘Hilarious Home Videos’ in response to numerous requests from customers for programs featuring animals.

Junior Hidden Camera (31 x 22’) This hilarious new children’s show, allows children to laugh at themselves and discover that things are not always what they seem. Our gags depict our little heroes in unexpected circumstances, but alas, some are not as innocent as you might expect.

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


Belle Du Seigneur

Matt Hatter Chronicles

New Worlds

Peace Point Rights

PLATINUM FILMS

POWER

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

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

34 Gresse Street, London, W1T 1QX, United Kingdom Tel.: +44 (0) 207 323 0070 E-mail: info@powcorp.com Web: www.powcorp.com Stand: R29.23

Executives Attending Julie Chang, Vice President of Acquisitions & Business Affairs

TOP EXECUTIVE Les Tomlin, President

BELLE DU SEIGNEUR (Feature: 1 x 97’, Mini Series: 3 x 45’) This tragic love story is based on Albert Cohen’s literary masterpiece of the same name that won the Grand Prix du Roman de l’Academie Francais in 1968 and has since gone on to sell over 100 million copies in Europe Alone. The heart of the novel, and the premise of the 2012 feature film, is the doomed love affair between Solal (played by Jonathan Rhys Meyers), a devastatingly handsome Mediterranean Jew who rose from his exotic origins in the Greek island of Cephalonia to become Under-Secretary-General of the League of Nations; and Ariane Deume (played by supermodel Natalia Vodianova), wife of one of his subordinates, a breathtakingly beautiful Genevoise aristocrat who has married beneath her. (Documentary: 1 X 90’, Mini-series: 2 x 60’) ‘The DNA of GSP’ is a feature length documentary about UFC’s reigning welterweight world champion, Georges St-Pierre (GSP). This feature is a journey that will take the viewer through the life of GSP and will provide an in–depth, unprecedented all access exploration on who GSP is, the motivation behind his career and life and the strategy used in his MMA fights.

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

TOP EXECUTIVE Nigel Stone, CEO

Andrew Whiteman, Head of Sales Planning & Operations Steve Turney, Vice President, Sales & Acquisitions Georgina McNeilly, Vice President, International Sales Pepe Echegaray, Sales, Latin America Adam Jones, Marketing Manager Nadine Margolis, Executive Assistant to CEO

TOP EXECUTIVE

Susan Waddell, CEO

MATT HATTER CHRONICLES (Animation - 39 x 22’) ‘Matt Hatter Chronicles’ has emerged as one of the fastest growing boys’ global franchises of 2013. ‘Matt Hatter Chronicles’ is a high-stakes adventure comedy series aimed at 5 -10 year olds about a schoolboy whose life is changed forever when he discovers a secret dimension known as the Multiverse. Matt must become the new Hatter Hero and alongside his two best friends Roxie and Gomez, defeat and capture infamous SuperVillains from movie, myth and legend to save the Multiverse and free his Grandpa! ‘Matt Hatter’ has been sold in over 80 countries worldwide and will be dubbed in 18 languages by the end of 2013. This pulse-pounding action-adventure series combines ground-breaking CG animation with fun and explosive storytelling, hi tech gadgetry and immersive online content. Introducing a new and unique 3D animation technique called Multivision (3D without glasses) this international hit property offers Hatter Fans all over the world the ultimate TV viewing experience.

NEW WORLDS (Period Drama - 4 x 60’) Four young men and women in America and England struggle against tyranny and oppression in the turbulent 1680’s.

SCARECROW (2 x 60’) Surviving the night becomes a distant prayer for a motley group of students when a local legend is revealed to be a terrifying reality.

BREAKER MORANT (Historical Documentary - 2 x 60’) A revealing documentary about the exploits, court martial and execution of Australian folk hero Harry Morant during the Boer War.

TTV PREVIEW/75

THE DNA OF GSP

Executives Attending

Executives Attending


Listings ttvpreview

The Escape Artist

Isabel

Einstein: The Theory of Love

Red Arrow International

RTVE

Russia Television and Radio

Medienallee 6, 85774 Unterfoehring, Germany Tel.: +49 89 9507-2320 Fax: +49 89 9507-2321 Website: www.redarrowinternational.tv

Edificio Prado del Rey, B152 Tel.: +34 91 58 17807 / 683 671 906 (56894) E-mail: jesus.molina@rtve.es Web: www.rtve.es Stand R36.07

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

Executives Attending Isabelle Fedyk, Senior Vice President Marketing & Publicity

TOP EXECUTIVE

Jens Richter, Managing Director

The Escape Artist (Thriller – 2 x 90’; 3 x 60’) Starring David Tennant. Will Burton is ‘The Escape Artist’, a defense lawyer who specializes in getting people out of tight legal corners. But when his talents acquit the prime suspect in a horrific murder trial, that brilliance comes back to bite him.

Executives Attending Alejandro Flórez, Deputy Director Rafael Bardem, Head of Sales & Licenses Maria Jesus Pérez Rojo, Sales Executive Alessia Di Giacomo, Sales Assistant Antonio Pérez, Sales Executive Raúl Molina, Sales Executive Rosalía Alcubilla, Sales Executive Maria Jesus Pérez, Head of Channel Distribution David Priego, Sales Executive Fernando Hernández Berzal, Sales Executive Rodolfo Dominguez Alfageme, Comercial Director

Ignacio Corrales, Director

76/TTV PREVIEW

(Crime Series - 13 x 45’)

Johan Falk (Movie Cycle - 6 x 90’) Inspired by real cases, investigations and covert ops: Detective Johan Falk and his special unit investigate in a world where lives mean nothing. Starring Joel Kinnaman.

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

TOP EXECUTIVE

Julia Matiash, Director/SOVTELEEXPORT

TOP EXECUTIVE

Bosch Based on Michael Connelly’s international bestselling novels. With millions of fans around the world, LAPD homicide detective Harry Bosch finally comes to television. He will stop at nothing – even in the face of threats to himself and those he loves – to bring justice to the victims he speaks for.

Executives Attending

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

EINSTEIN: THE THEORY OF LOVE (Drama – 4 x 44’) Albert Einstein: twentieth-century genius and a great physicist who revolutionized science. It is well known that genius is the most powerful aphrodisiac. Fatal beauties, leading female illuminati, socialites, and youthful temptresses all fell in love with the great scientist. The most important woman in his life was Margarita Konenkova, the wife of a famous Soviet sculptor. This beauty, a Russian Mata Hari, was entrusted by the Soviet secret services to obtain intelligence on the development of the American atom bomb. The great love affair was doomed.


Mighty Mighty Monsters

Plim Plim, un héroe del corazón

Golden Winter

SHAFTESBURY / SMOKEBOMB

SMILEHOOD Media

SNAPTV

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

Av. Córdoba 679, 7° piso, Ciudad de Buenos Aires Tel: +5411 5235 9500 Website: www.smilehood.com

Zapata 286 – 1426 – Buenos Aires, Argentina Tel.: +541147738826 E-mail: info@snaptv.tv Web: www.snaptv.tv Stand:

Executives Attending

Executives Attending Silvana D’Angelo, Sales Director Anita Caratini, Smilehood Licensing

TOP EXECUTIVE

Joanna Webb, SVP, Content Strategy Adam Haight, SVP, Scripted Content Ryan St. Peters, VP, Sales Katherine Wolfgang, VP, Communications Rebecca Herr, Marketing Executive

TOP EXECUTIVE

Christina Jennings, CEO & Chairman

Mighty Mighty Monsters (Kids Animation 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.

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

Ezequiel Olzanski, Sales Director and International Distribution

TOP EXECUTIVE

Guillermo Pino, President

Ariel Tobi, President

Plim Plim, un héroe del corazón (Animated Series) An animated series starring a 5-year-old friendly kid that’s brave and enthusiastic. Part clown, part magician and hero, he teaches his friends by example. The series’ episodes focus on different topics like honesty, generosity, solidarity, friendship and responsibility. ‘Plim Plim’ combines entertainment and education for pre-school kids. It comes as 60, 7-minute episodes, or in its 20, half-hour episodes TV format.

GOLDEN WINTER (2012 – Family – 90’) A boy befriends a litter of homeless Golden Retrievers. Together, they help stop a bank robbery just in time for Christmas.

THE LEGEND OF SARILA (2013 – Family/Animation – 80’) A voyage of initiation in which three young Inuits go in search of a promised land, hoping to save their clan from famine. It is also the story of a fight to the death between two shamans, the young Markussi (Dustin Milligan) and the aged Croolik (Christopher Plummer), who feels that his power is threatened. With humor, action, and adventure Sarlia explores the universal themes and challenges inherent in coming of age. It is a story of triumph, self realization and hope for all people.

TTV PREVIEW/77

(Comedy - 8 x 11’)

Executives Attending


Listings ttvpreview

GAULA

The Voice

Allies

SOMOS Distribution

Talpa International

TELEFE International

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

Sumatralaan 45, 1217 GP Hilversum, the Netherlands Tel.: +31 35 5333111 Fax: +31 35 5333334 E-mail: sales@talpa.tv Web: www.talpa.tv Stand: LR3.09

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

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

TOP EXECUTIVE

Francisco Villanueva, SVP & COO

Executives Attending Gepke Nederlof, Head of Sales Annelies Noest, SVP Licensing Laura Rhodarmer, SVP Licensing Sebastian van Barneveld, VP Licensing Isabelle Blog, VP Licensing

TOP EXECUTIVE

Maarten Meijs, Managing Director

G.A.U.L.A. (30 x 45’) The Colombian elite and kidnapping unit kidnapping stories with real footage, research and emotions.

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

78/TTV PREVIEW

11-11 (Teens Telenovela - 75 x 45’) The #1 in ratings in The Americas Nickelodeon’s telenovela, showing the life and love of Kike, an adolescent who changes into a young man by virtue of a magical location.

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

TOP EXECUTIVE

The Voice

Claudio Ipolitti, International Business Director

(Talent show – 75’) It’s the purest vocal talent competition ever. Four of the country’s top recording artists seek out the nation’s best vocal talent. In this innovative primetime contest, looks don’t play a role. This show is all about real talent; it’s all about ‘The Voice’! ‘The Voice’... The best in business looking for the next best!

ALLIES (Teen Telenovela - 40 x 60’) ‘Allies’is the new format fiction that sets renowned producer Cris Morena’s return to Argentine TV. She is the pioneer of the genre and creator of greatest hits such as ‘Tiny Angels’, ‘Rebels’ Way’, ‘Flinderella’ and ‘Teenangels’. ‘Allies’ is the language of the new era. It is the first 360° project of Telefe, which introduces an innovative multiplatform format which has never been done before.‘Allies’features 40 episodes in HD format aired weekly during Telefe prime time and are complemented daily (including Saturdays and Sundays) with 7-minute long webisodes from the internet on the site telefe. com/aliados. ‘Allies’ has every ingredient of Cris Morena’s stories, music, dynamism, young actors, a great setting and above all, a message.


Broken Angel

Life of Lies Genre

Extreme Trucking

TELEMUNDO Internacional

TELEVISA INTERNACIONAL

TERRANOA

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

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

155 rue de Charonne, 75011 Paris, France Tel.: +33 (0)1 55 25 59 42 Fax: +33 (0)1 55 25 59 03 E-mail: contact@terranoa.com Web: www.terranoa.com Stand: 02.15

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

TOP EXECUTIVE

Marcos Santana, President

BROKEN ANGEL (SANTA DIABLA) (Telenovela 120 x 60’)

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

TOP EXECUTIVE

Fernando Pérez Gavilán, VP of Televisa Internacional

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

Executives Attending Emmanuelle Jouanole, General Manager Véronique Commelin, Senior Sales Manager Laetitia Giansily-Doyle, Senior Sales Manager

TOP EXECUTIVE

Isabelle Graiziadey, Head of International Sales and Acquisitions

EXTREME TRUCKING (Travel & Adventure – 5 x 52’) Travel on the world’s most dangerous roads with truckers who are not run-of-the-mill drivers. Go along for the ride on the highways to hell.

PICASSO, THE LEGACY (Arts & Culture – 52’ & 110’) With unprecedented access to family archives, this film provides 40 years after Picasso’s death, new insights into the artist’s life and rich creative process.

RIO, THE GREAT SAGA (History – 52’ & 90’ & 3 x 52’) Explore the history of RIO, Brazil’s cultural hub and most iconic city. Using the latest CGI and 3D augmented reality to recreate the landmark monuments and sites, history unfolds as we meet key historical figures who shaped the fate of Brazil.

TTV PREVIEW/79

Santa Martinez married her lifelong sweetheart, Willy Delgado, and together they had a son. Their happy lives are shaken when Willy is hired as the music instructor for Daniela Cano, the granddaughter of the town’s most powerful lawyer, who heads the prestigious Cano Law Firm. Willy is trapped when he discovers that Daniela is using illegal substances and when Barbara, her mother, becomes obsessed with him. When he rejects the seduction of Barbara, she and her daughter decide to take revenge and accuse Willy of sexual harassment. The Cano family successfully incriminates him, sentencing him to 30 years of prison.

Executives Attending


Listings ttvpreview

24: Live Another Day

Twentieth Century Fox Television Distribution P.O. Box 900, Beverly Hills, CA 90213-0900, USA Tel.: 310.369-5952 Fax: 310.369.8877 E-mail: Peter.Ritchie@fox.com Webs: www.foxfast.com

Executives Attending 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

Lucia’s Secrets

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

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

TOP EXECUTIVE

Cesar Diaz, Vice President of Sales

TOP EXECUTIVE

Mark Kaner, President, Twentieth Century Fox Television Distribution

24: Live Another Day

80/TTV PREVIEW

(Drama - 12 x 60’) A suspenseful event series that once again follows the exploits of heroic agent Jack Bauer (Kiefer Sutherland), who will resume his story several years following the events of the final season.

Sleepy Hollow (Drama - 13 x 60’) A thrilling mystery-adventure drama series spanning two and a half centuries, in which a resurrected Ichabod Crane pairs up with a present-day cop to save the enigmatic town of Sleepy Hollow from unprecedented evil.

Paw Patrol

VIACOM INTERNATIONAL MEDIA NETWORKS Web: www.b2b.viacom.com Stand: R38.05

Executives Attending Sam Witters, Vice President Emmanuelle Bon, South Europe and South Africa (France, Italy, South Africa) Marco Arabit, South Europe (Iberia, Greece, Turkey, Cyprus), Middle East Anthony Jewitt, UK, Australia, New Zealand Maria Rakhmatullina-Ufland, Russia & CIS, Israel, Romania Agata Ziomek, CEE, Baltics, Caucasian States, The Stans, Balkans, & Malta Louise McNab, Northern Europe, Belgium, Switzerland, Austria, Continental Africa Adeline Delgado, Latin America/Canada June Choi, Asia-Pacific (Southeast Asia, Singapore, Korea) Jun Tanaka, Japan Teng Yong, China

TOP EXECUTIVE

Caroline Beaton, Senior Vice President

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

PAW PATROL (Pre-School - 26 x 30’) ‘PAW Patrol’ is Nickelodeon’s brand new CG, action-adventure series starring a pack of six heroic puppies who are led by a tech-savvy 10-year-old boy named Ryder. With a unique blend of problemsolving skills, cool vehicles and physical humour, the PAW Patrol works together on high-stakes rescue missions to protect the Adventure Bay community.


Hostages

Dance India Dance

Warner Bros International Television Distribution Latin America 4000 Warner Blvd., Bldg. 151 Burbank, CA 91522 Web: www.wbitv.com Suite: RB 50 Majestic Beach

Executives Attending Lisa Gregorian, Chief Marketing Officer, Warner Bros. Television Group Jim Brehm, SVP, Sales-Canada, Latin America & Asia Pacific, Warner Bros. Television Distribution John Garcia, SVP and General Manager, Warner Bros. Television Distribution Latin America

ZEE ENTERTAINMENT ENTERPRISES Continental Building, 135, Dr. Annie Besant Road, Worli, Mumbai 400018. India Tel.: +91 22 2483 1234/5515 Fax: +91 22 2495 5733 E-mail: alisha.goriawala@zee.esselgroup.com Web: www.zeebollyworld.com / www. zeetelevision.com Booth: 20.01

Executives Attending Cecile Cau, Vice President, Sales

TOP EXECUTIVE

Cecile Cau, Vice President, Sales

TOP EXECUTIVE

Sunita Uchil, Global Head Syndication

VERSUS (Format – 60’ / 90’)

HOSTAGES

DANCE INDIA DANCE

(CBS/Drama/60’)

(Non-Fiction - S1, S2, S3 – 90’)

Toni Collette and Dylan McDermott star in a thrilling and suspenseful new one-hour series from executive producers Jerry Bruckheimer (‘Pirates of the Caribbean’, ‘CSI’ series) and Jeffrey Nachmanoff (‘Chicago Fire’) about a family caught in the middle of a grand political conspiracy that will change their lives forever.

India’s biggest dance talent show, ‘Dance India Dance’ is a unique platform for talented and aspiring dancers to become future sensations. This is the highest level of competition for promising dancers, who compete with each other with guidance from well-known Bollywood choreographers and their destiny will finally be decided by public voting. Format also available.

The epic story of a global personality. This is the first-ever series in HD which traces the unique life of Gautama Buddha and his teachings. Siddhartha (Buddha) was born in a royal family in a princely state located along the Himalayan foothills. At the age of 29, he left his palace in his quest to find enlightenment through deprivation of worldly goods, including food, and practiced self-mortification.

‘Versus’ is a new concept in game shows. Thirty contestants each compete for the chance to help themselves to a big money jackpot. They may have to share it or they could take the whole lot home, but in order to win even a cent they have to keep on predicting the outcome of a series of duels. And with eight to consider that’s going to be easier said than done. Each duel is carefully tailored to test to the limit the abilities of our thirty thinkers to calculate and predict the outcome. They range from death defying stunts, which will have viewers on the edge of their seats, to the plain daft. As with all duels there can only be one winner, and it’s up to our contestants, with a little help from their team of 4 family and friends, to make the right decision which could take them through to the next duel and an everincreasing share of that jackpot. ‘Versus’ is cutting edge entertainment for primetime audiences; totally interactive and compelling viewing for all.

TTV PREVIEW/81

BUDDHA (Historic -52 x 60’)

In this action-packed cop show from Fringe executive producers J.J. Abrams and J.H. Wyman set in 2048, a worse-for-wear cop teams up with a second-hand synthetic android to fight a strain of urban crime that’s evolved in ever more frightening ways. With a criminal conspiracy threatening to destroy their world, they must rely on their common humanity.

Avon House, Kensington Village, Avonmore Road, London W14 8TS Tel. + 44 (0) 20 7 013 4400 Fax: + 44 (0) 20 7 013 4401 E-mail: Contactus@zodiakrights.com Web: www.zodiakrights.com Stand: LR4.02

Jesal Doshi, Senior Sales Manager (UK) Nitin Michael, Assistant Vice President (MENAP) Zubin Engineer, Manager Syndication (APAC)

Jeffrey Schlesinger, President, Warner Bros. Worldwide Television Distribution

(FOX/Drama/60’)

ZODIAK RIGHTS

Executives Attending

TOP EXECUTIVE

ALMOST HUMAN

Versus


INNUMBERS

18%

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

1

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

22

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

157

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

82/TTV PREVIEW

5

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

5.2

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

TRENDS

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

SOCIAL TV

Measure

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




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