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THE MAGAZINE OF INTERNATIONAL MEDIA • MARCH 2013
www.worldscreen.com
DISCOP West Asia & Pre-MIPTV Edition
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contents MARCH 2013/DISCOP WEST ASIA & PRE-MIPTV EDITION
departments WORLD VIEW
Publisher Ricardo Seguin Guise
16
A note from the editor. UPFRONT
Editor Anna Carugati
20
Executive Editor Mansha Daswani
New shows on the market. SPOTLIGHT
36
Gillian Anderson, star of the new drama The Fall.
36
46
48
Managing Editor Kristin Brzoznowski Contributing Editor Elizabeth Guider
special report MARKET TRENDS
38
Global Agency’s Izzet Pinto. WORLD’S END
50
In the stars.
Special Projects Editor Jay Stuart
41 TURKISH TALES Drama series from Turkey’s top broadcasters are making their way to screens across the globe. —Jay Stuart
one-on-one
Associate Editor Joanna Padovano Editor, Spanish-Language Publications Elizabeth Bowen-Tombari Executive Editor, Spanish-Language Publications Rafael Blanco Associate Editor, Spanish-Language Publications Jessica Rodríguez
46 ITV’S MARIA KYRIACOU As the managing director of ITV Studios Global Entertainment (ITVS GE), Kyriacou manages a diverse portfolio of assets, including global formats and acclaimed dramas. —Anna Carugati
Online Director Simon Weaver Production Director Victor Cuevas Art Director Phyllis Q. Busell
on the record
48 EONE’S JOHN MORAYNISS
Sales & Marketing Director Cesar Suero
The CEO of Entertainment One (eOne) Television, Morayniss oversees day-to-day activities that encompass development, production, financing and worldwide distribution. —Anna Carugati
Sales & Marketing Manager Vanessa Brand Business Affairs Manager Terry Acunzo Senior Editors Bill Dunlap Kate Norris Contributing Writers Chris Forrester Bob Jenkins Juliana Koranteng Joanna Stephens David Wood
WORLD SCREEN is published eight times per year: January, March, April, May, June/July, October, November and December. Annual subscription price: Inside the U.S.: $70.00 Outside the U.S.: $120.00 Send checks, company information and address corrections to: WSN INC. 1123 Broadway, Suite 1207 New York, NY 10010, U.S.A. For a free subscription to our newsletters, please visit www.worldscreen.com.
Ricardo Seguin Guise, President Anna Carugati, Executive VP & Group Editorial Director Mansha Daswani, Associate Publisher & VP of Strategic Development
WORLD SCREEN is a registered trademark of WSN INC. 1123 Broadway, Suite 1207 New York, NY 10010, U.S.A. Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.worldscreen.com
41 THE LEADING ONLINE DAILY NEWS SERVICE FOR THE INTERNATIONAL MEDIA INDUSTRY. For a free subscription, visit www.worldscreen.com/pages/newsletter
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world view BY ANNA CARUGATI
The Beauty of Numbers Have you heard of the Golden Ratio, also known as the Divine Proportion? It’s represented by the Greek number Phi, Φ, and simply defined it’s one plus the square root of five, all divided by two, (1 + √5)/2, which equals 1.618. In other words, it’s a fraction that represents a geometric relationship that is seen over and over and over again in nature.Yes, this ratio can be found everywhere: in the proportions of the human body and of the human face, in every single sea shell and sea creature, in the structure of the inner ear, the spiral of a hurricane and the petals of a flower. The Divine Proportion has been applied to classical architecture (in the Parthenon) and even in design (in a bottle of Pepsi and the Nissan logo); 1.618 is even present in the aspect ratio of your widescreen TV set! I studied the Golden Ratio in college and rediscovered it recently while browsing through art books in the gift shop of The National Gallery in London. There is a lovely book called Divine Proportion: Phi in Art, Nature and Science, by Priya Hemenway, who states, “Not obvious, and not hidden, the Divine Proportion is easily expressed in words: the whole is to the larger in exactly the same proportion as the larger is to the smaller. It is as easily described as a pattern of numbers that increases by THE TELEVISION INDUSTRY adding the two previous numbers.” 0, 1, 1, 2, 3, 5, 8, 13, 21, IS CLAMORING FOR A 34.... 0+1=1, 1+1=2, 1+2=3, 2+3=5 and so on. The ratio of each successive pair of numbers UNIVERSAL METHOD OF in the series approximates Phi, 1.618. Hemenway continues: those of us who find numMEASURING ALL VIEWING. “For bers and abstractions difficult to understand, it means there is a relationship that can be proven with numbers, that gives rise to a series of shapes and dynamics that appear throughout nature.” In a world that so often seems to be spiraling out of control, numbers can provide a sense of unity and order. How reassuring. I was always a dunce in math, but I have a newfound respect for numbers. Numbers, or the lack thereof, are, in fact, a hot topic among most television executives. Long gone are the days when viewers watched a show on TV on the day it aired. Thanks to DVRs, catch-up TV services and on-demand menus, today we time-shift. In the U.S., Nielsen started measuring C3 numbers, meaning ratings for a show, and its commercials, watched live on the day it aired but also watched up to three days 16 World Screen 3/13
later on DVRs. Many in the TV industry are saying C7 (measuring up to seven days after the show airs) would provide more accurate numbers, and others still would like C29, to take into account a month of time-shifted viewing. Nielsen recently released The Cross-Platform Report: How Viewers Watch Time-Shifted Programming, which for the first time measures viewing behavior beyond seven days— up to 29 days past the live airing of a show. The results are interesting. According to the report, “while the vast majority of shows are in fact viewed within the first seven days, a handful of programs—science fiction being the top Beyond 7 genre—get a sizeable audience in days eight through 29. Respectively, among the top 10 shows in broadcast and cable to report Beyond 7 figures, just over 5 percent of viewing happens within this time period, affecting ratings.” While this is definitely a step in the right direction, there is still a whole lot of viewing that is not measured—on cable and satellite on-demand menus, online, on tablets, on gaming consoles, on set-top boxes like Roku or digital receivers like Apple TV. The television industry is clamoring for a universal method of measuring all viewing. The way of counting how many people watch a show online is vastly different from how TV viewers are calculated. One-second clicks on a piece of content online do not come close to measuring people who watch an entire 30-minute or 60-minute show on a linear channel. And as Netflix launched its first original series, House of Cards, it steadfastly stuck to its position of not releasing any viewing data at all. It appears that television needs a version of the Golden Ratio of its own—numbers that will bring unity and order. What is driving this demand for a more uniform measurement of all screens? Producers, distributors and networks in the business of providing quality programming know that high-end shows are expensive. And they want precise ratings data, as do advertisers. No one ever knows when a show will become a hit, or when a genre will strike a chord with audiences in multiple countries.We’ve seen it with British drama, with Danish cop series, and now with Turkish drama, which we examine in this issue. But when a show does take off, everyone wants to see its numbers. Ratings data drives advertising and international distribution, and both drive revenues, which are essential to the health of this business.
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upfront
A+E Networks • The
Men Who Built America • Mankind: The Story of All of Us • Miracle Rising: South Africa
Epic nonfiction series and specials are what A+E Networks is focusing on for DISCOP West Asia. Marielle Zuccarelli, the managing director for international content distribution at the company, points to The Men Who Built America as a particular highlight. The eight-hour piece spotlights Cornelius Vanderbilt, John D. Rockefeller, Andrew Carnegie, J. P. Morgan and Henry Ford, and looks at how their industrial innovations and business empires revolutionized the U.S. at a pivotal time in the country’s history. From the producers of America:The Story of Us comes the epic Mankind:The Story of All of Us. “With state-of-the-art graphics, cutting-edge production techniques and universally appealing stories, The Men Who Built America and Mankind:The Story of All of Us have already made an impact with international broadcasters,” Zuccarelli says. “Series like this are paving the way forward for a new method of presenting history to television viewers, and the feedback we’ve had so far has been extremely positive.” Another centerpiece is Miracle Rising: South Africa, which tells the story of South Africa’s political transformation that culminated in the first free and fair elections, in April 1994.
“ We look forward to the opportunities new markets like DISCOP West Asia offer by way of further extending our reach and allowing us to deliver our content to new audiences.
”
—Marielle Zuccarelli
Mankind: The Story of All of Us
ABC Commercial • Shark
Girl • Bench to Bedside • Stone Age Mystery
The factual highlights in ABC Commercial’s catalogue promise to offer viewers something that is “unique, different and fresh,” according to Natalie Lawley, the company’s manager of content sales. “Each title enables an audience to see something that they haven’t witnessed before.” In Shark Girl, viewers see a young woman’s close relationship with sharks and how she uses her bond to protect their habitat. In Stone Age Mystery, the audience follows the story of a new human species that scientists have uncovered in China, including all the discoveries that unfold during filming. “This is an amazing story that has been highly publicized around the world and has now been captured in one complete program,” says Lawley. Bench to Bedside features inspirational stories of people and animals living with serious illnesses and the biomedical research that could save their lives. ABC Commercial has seen an increase in its U.S. sales in recent months, a trend that Lawley believes will continue with its new releases at MIPTV and MIPDoc. “We really do expect these new titles to be universally appealing, so we’ll be targeting all territories.”
“ This year, ABC Content Sales will be attending its highest number of markets to date.
”
—Natalie Lawley Shark Girl 20 World Screen 3/13
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ATV • Peace
Street • Don’t Worry About Me • The Cliff
For broadcasters interested in Turkish content, the series Peace Street could be just what they’re looking for. “Peace Street lets us see Turkey in a very different way,” says Ziyad Varol, the deputy manager for content sales at ATV, which sells the title. “It tells the story of two lovers stuck between two different lifestyles who want to make their love possible. In a way, it shows us the clash between the West and the East, modernity and tradition.” The Cliff deals with an issue that has affected many countries: the illegal trafficking of women. It tells the story of two Moldovian sisters who are captured, one of whom manages to escape and must find a way to free the other. Don’t Worry About Me is a large-scale production that features the sorrow-filled lives of several different characters, all of whom are living in the Black Sea region. Varol says that Turkish series are finding new markets all the time, yet the Middle East, former Soviet countries, the Balkans and Eastern Europe continue to be the most important for sales. “The new markets that we would like to enter are Southeast Asia, Africa, Northeastern Europe and Latin America,” he adds.
“ What made DISCOP in Istanbul popular is Turkish content, and in regard to this matter, we are the main actors, so this market is very important for us.
”
—Ziyad Varol
Don’t Worry About Me
Azteca • The
Kings (Los Rey) • La Otra Cara del Alma • The Lieutenant (La Teniente)
Three new telenovelas headline the slate that Azteca brings to this year’s DISCOP West Asia. “Each of the stories in our new titles is very well written and has been excellently produced,” says Martha Contreras, the sales director for Asia at Comarex, which represents the Azteca catalogue. “The stories are easily identifiable and combine elements such as love, romance, intrigue, family values, a little mystery and a splash of vengeance. [These are] ingredients that are universally appealing to both broadcasters and audiences.” The Kings focuses on a family that is fighting to defend what is rightfully theirs. Contreras describes the series as “an innovative telenovela with a great story line.” La Otra Cara del Alma is about an orphan who is seeking revenge on the individuals responsible for the death of her parents. “It’s a captivating story full of retribution,” says Contreras. The Lieutenant, which first aired in Mexico, revolves around a woman who is determined to prove herself in the Navy, which is dominated by men.The show was created and directed by Benjamin Salinas. “The Lieutenant is a thrilling drama series full of suspense and intrigue,” Contreras says.
“ The successes of these high-quality productions from Azteca speak for themselves.
”
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—Martha Contreras
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Eccho Rights • Karadayi • The
End • Dangerous Beauty
The main drama launch for Eccho Rights at DISCOP West Asia is Karadayi, produced by Ay Yapim. The ratings for the first season of 85 episodes have been “fantastic and very stable,” says Fredrik af Malmborg, the managing director at Eccho Rights. “We have already closed most deals in major territories but are looking at closing the remaining ones in the coming months.” The drama The End is another key Turkish title on the Eccho Rights slate. The show has been a success on SVT in Sweden, and is often credited as the first Turkish drama to travel to Western Europe. It also launched on Antenna in Greece. Dangerous Beauty, produced by Medyapim, had a very solid showing on Show TV in Turkey last year, and Eccho Rights believes the series can also travel well internationally. Af Malmborg says that he is constantly seeing new countries show an interest in Turkish dramas. “The latest country to join the wave is Pakistan, where Turkish dramas in the last year have become a real hit, but we are also looking at new deals in Western Europe and Latin America.”
“ We have an extremely strong slate of Turkish drama series together with some hit formats to offer our clients.
”
—Fredrik af Malmborg
The End
GMA Worldwide • Forever • Indio • Temptation
of Wife
For DISCOP West Asia, which GMA Worldwide is attending for its fourth time, the company is primarily pushing its titles that have been dubbed into English. “Our programs highlight compelling story lines, original themes and our country’s most talented artists,” says Roxanne Barcelona, the VP of GMA Worldwide. “These are backed by our skilled production teams who resonate GMA’s high standards. GMA’s wide assortment of titles impart ideas, characters and settings that reflect real life, which is why our diverse portfolio of clients are able to enjoy and identify with our shows.” The shows that GMA is highlighting this time around include Forever, about a young plantation heiress who falls in love with an ordinary farm boy. In Indio, the goddess of war, Ynaguiginid, is forced to sacrifice her own immortality in order to save her newborn son from certain doom. Temptation of Wife is the Filipino adaptation of the top-rating Korean novela of the same name. “GMA’s ultimate goal, of course, is to expand our reach into every territory through international channel sales, program syndication and online services,” says Barcelona.
“ GMA’s titles appeal to international buyers, broadcasters and audiences because of the growing appreciation for high-quality Filipino programming.
”
—Roxanne Barcelona
Temptation of Wife
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Intact Media Group Dan Negru is one Romania’s leading TV entertainment hosts, linked to the biggest local and international formats aired in the country. He is the host of Plasa de stele (The Star Net), a local format that has developed loyal viewership over the last four years. He also fronts Beat the Blondes, which was the number four entertainment show last year in Romania. Negru leads the action in Romania’s Minute to Win It as well as the Moldovian version of Deal or No Deal. Negru also set a record with audience leadership for his New Year’s Eve TV program 13 years in a row. Most of his shows have aired on Romania’s Antena 1, which is part of Intact Media Group. “Antena offered me the chance of hosting powerful formats in early 2000 and I have been loyal to this TV brand ever since,” says Negru. “I was included in each of the TV seasons, year after year, and have never missed a single one of them. In the last 13 years the New Year’s Eve special programs hosted by me were market leaders all over Romania. And the best is yet to come.”
Dan Negru
ITV-Inter Medya • Forget
Me Not • Memories Still Hurt • Red Scarf
High production values, attractive stories and top-notch acting talent are among the reasons cited by ITV-Inter Medya for the success of programming coming out of Turkey. “The series and telenovelas labeled ‘Made in Turkey’ became the new trend among the international broadcasters all around the globe...in the last couple of years [and] the number of territories that Turkish products are being broadcast in is increasing every day,” says Can Okan, the president and CEO of ITV-Inter Medya. “Additionally, the popularity of our stars in certain territories will be the most important factor that will appeal to broadcasters.” He highlights Forget Me Not, Memories Still Hurt and Red Scarf as the company’s top titles for new sales. “Our products are being sold in over 60 territories in Central and Eastern Europe, CIS countries, Central Asia, the Middle East and North Africa—and Turkey ranks second behind the U.S.A. in terms of TV-product export,” says Okan. “As the next step, we are close to finalizing deals in the Latin American market and in Asia.”
“ We are aiming and expecting to start business relationships with some new companies from Central and Southeast Asia.
”
—Can Okan
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ITV Studios Global Entertainment • Agatha
Christie’s Poirot • Saturday Night Takeaway • Islands on the Edge
Made famous by the novels of Agatha Christie, the character of detective Hercule Poirot has gained recognition the world over. In Agatha Christie’s Poirot, sold by ITV Studios Global Entertainment (ITVS GE), the fictional detective is brought to life by the renowned star David Suchet. “The long-running TV adaptation…is one of the U.K.’s most traveled and respected detective brands, airing in countries across the world, from the U.S. and Brazil to France, Russia and Japan,” says Tobi de Graaff, the director of global television distribution for ITVS GE. “This MIPTV, we’re bringing the 13th and final series of the drama, which sees Poirot return to the scene of his first investigation to solve his last ever case.” Another title de Graaff highlights is Saturday Night Takeaway, a prime-time entertainment format. The show is “packed with fast-paced games, big surprises, exciting challenges and celebrity guests,” says de Graaff. There’s also Islands on the Edge (working title), which is set in the Hebrides on the west coast of Scotland.
“ Saturday Night Takeaway has already proven a major ratings success.
”
—Tobi de Graaff
Saturday Night Takeaway
Kanal D • Lost
City • Kuzey Güney • My Partner Knows
The strength of Turkish drama series has been evidenced by the success of shows such as Lost City and Kuzey Güney. Both series have been top performers in their native Turkey and have also gained international recognition. Kanal D is offering Lost City and Kuzey Güney to global buyers at DISCOP West Asia.There, the company will also be presenting the entertainment format My Partner Knows, which features couples who are dating, engaged or married. The couples participating in the show get to find out how much they really know about each other through a series of games. “We think this format can be adapted and played by any couple in any part of the world and become a huge success, just like it has in Turkey since the summer of 2012,” says Ozlem Ozsumbul, the head of sales and acquisitions at Kanal D. “The creative games and ways in which the couples get themselves into funny situations keeps the audience’s mind off the stresses of everyday life.” Ozsumbul says that for Kanal D the “constant goal is to expand more.” Toward this effort, the company is targeting Latin America, the Far East and Western Europe, Ozsumbul adds.
“ With Turkey being a multicultural country, viewers in other territories can also relate to our stories.
”
—Ozlem Ozsumbul
Kuzey Güney
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Keshet International • Girlfri3nds • The
“A” Word • Dear Neighbors
While attending this year’s DISCOP West Asia market, Keshet International is looking to discuss collaborations with buyers from all around the globe.The company has a number of titles on offer, with genres ranging from reality to drama. Girlfri3nds is “a reality dating show with a twist,” according to Alon Shtruzman, the managing director of Keshet International. The program watches as three single women conduct a nationwide hunt for love, hosting hundreds of auditions along the way. Girlfri3nds has enjoyed success on Channel 2 in Israel and was ordered for a second season on ITV2 in the U.K., where the show is produced by Studio Lambert. The “A” Word is a drama that revolves around the family of a 5year-old who has just been diagnosed with Autism.There is also Dear Neighbors, a docu-comedy format focused on the efforts of a couple in search of a romantic partner for their single daughter. “As we have realized, strong characters, good writing and compelling storytelling have broad appeal worldwide,” says Shtruzman. “We have the ability to provide content that is usually tested on air on Keshet channels, and proves itself in different territories.”
“ We wish to develop relations with the creative community, producers and broadcasters and get our shows on air.
”
—Alon Shtruzman
Girlfri3nds
Record TV Network • King
David • River of Intrigues • Jackpot!
The story in the soap opera Jackpot! begins as a group of friends who have been playing the lottery for years win an extraordinary prize on New Year’s Eve. They all become millionaires and make a pact that each one has a mission to accomplish within one year and only those who accomplish it shall be entitled to the other half of the prize money.The conflicts get worse when the winners start to die off mysteriously. In King David, the action is set in Bethlehem in the year 1045 B.C. It centers on David, the youngest of seven brothers who is the household servant. He grows up to become a good shepherd but still remains humble and loving. David becomes a confidant to the powerful King Saul, who has now fallen ill. Through a series of events, David is anointed as God’s chosen one to replace King Saul. River of Intrigues tells a contemporary story. It is set in a historic town with a beautiful landscape and a river where people practice sports.When the town becomes the center of international tourism for extreme sports, it stirs up conflicts between some of the local businessmen, among other changes that uproot the once-quiet city.
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Russia Television and Radio/SOVTELEEXPORT • Life
and Fate • The Spy • Secrets of the Institute for Noble Maidens
The costume melodrama Secrets of the Institute for Noble Maidens is the big launch for SOVTELEEXPORT, the distribution company of Russia Television and Radio. In the story, the year is 1880 and the Russian Empire is being shaken to its core by terrorism. Revolutionaries plant bombs everywhere, including the Czar’s palace. Only at the Smolny Institute for Noble Maidens does life go on as if nothing has changed.This place of education for girls of nobility is filled with curtsies, jokes, laughter and secrets. The 259x44-minute piece is one of several period titles in the company’s catalogue.The mini-series Life and Fate is set in the 1940s. Based on the classic novel of the same name by Vasily Grossman that was banned in the Soviet Union, the characters are involved in the Battle of Stalingrad. From the feature film catalogue comes The Spy, also set in the 1940s. Julia Matiash, the director of SOVTELEEXPORT, points out that these titles have elaborate sets and decorations, giving them a high-quality look. Also, says Matiash, many of the actors used are already well known in various countries around the world, adding to the programs’ appeal.
“ The first priorities are the territories of Latin America, the U.S., Canada, Australia and the Middle East.” —Julia Matiash
Secrets of the Institute for Noble Maidens
Televisa Internacional • True
Love • Crown of Tears • Carousel
The production output from Grupo Televisa is around 70,000 hours a year of original content, spanning all types of entertainment. Through Televisa Internacional, it is able to offer this unique programming to broadcasters around the world. From its catalogue, Televisa Internacional is highlighting True Love, a 120x1-hour telenovela produced by Nicandro Diaz.The series revolves around the life of Victoria, the creative director of a high-level advertising agency. After being attacked,Victoria hires protection for herself and her daughter, Nikki, who winds up falling in love with her bodyguard.The company is also promoting Crown of Tears, a 115x1-hour telenovela about a mother named Refugio, who endures harassment and humiliation for the sake of her three sons. Carousel, a 200x1-hour children’s show, unites boys and girls from different racial, religious and social backgrounds in one classroom, where a teacher named Helena teaches them about the importance of equality. Additional Televisa titles on offer for the international market are The Lady from Vendaval, a traditional telenovela, and Love Rules, a comedy.
True Love
Carousel
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Venevision International • Lucia’s
Secrets (Los Secretos de Lucia) • Rosario • The Love Curse (Válgame Dios)
Telenovelas are a major focus for Venevision International. “In addition to being dependable, the telenovela is an affordable means of producing great results, particularly when compared to the ratio of prime-time programming and the high costs of local productions,” says Manuel Perez, the company’s VP and CFO. “We have established a longstanding reputation for offering telenovelas with an international appeal, incorporating captivating story lines that are universal, have excellent casts with outstanding international stars, great scenery and outstanding production elements.” One of the telenovelas being presented byVenevision this year is Lucia’s Secrets, featuring Iran Castillo, Juan Pablo Raba, Lucia Reina and Miguel Gaitan.The action-packed series centers on the life of a woman who is suffering from amnesia. Starring Guy Ecker, Itahisa Machado and Lorena Rojas, Rosario tells the story of a law student who falls in love with her mother’s ex-fiancé.Then there is The Love Curse, which is about a family of women who are incapable of choosing the right men due to a century-old curse. Sabrina Seara, Eduardo Orozco and Ricardo Alamo lead the cast.
“ Although our catalogue is vast and diverse, telenovelas are our trademark product.
”
—Manuel Perez
Lucia’s Secrets
ZDF Enterprises • House
Husbands • Last Secrets of the Third Reich • Mako Mermaids
House Husbands, a family drama series about a group of stay-athome fathers, is among the shows that ZDF Enterprises (ZDFE) is showcasing. “With their fabulously flawed wives and partners, the House Husbands navigate their way through the craziness of modern parenting, relationships, friendships and careers... and try to get their kids to school on time,” says Tasja Abel, the VP of ZDFE.drama. Abel mentions that the show has already rated highly in Australia. “We believe that House Husbands is a universally appealing show that will find a home in worldwide territories,” Abel adds. Last Secrets of the Third Reich investigates the inner workings of Hitler’s regime. “It’s a ‘classical’ high-quality history documentary in the best sense of the notion—and a constant interest in these kinds of programs shows us they are still in demand—co-existing in the market with fashionable ‘histotainment’ formats and factual series,” says Nikolas Huelbusch, the director of ZDFE.factual. Additionally, Mako Mermaids, a live-action kids’ series, is a spinoff of the hit H2O: Just Add Water.The show follows the adventures of a trio of mermaids living in the waters of Mako Island.
“The tone [of House Husbands] is irreverent, the pace is fast and the drama is often funny and always emotionally compelling.
”
—Tasja Abel
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spotlight
ANDERSON: The script is very well written, and I’m a fan of good writing, so that’s always the first thing that piques my attention. And the character—I haven’t really come across someone like her before, or had the opportunity to play someone like her. I genuinely like her a great deal, which is really nice. That was probably it, the mixture of falling in love with the character and just loving the piece as a whole. WS: You’ve worked in television on both sides of the
Atlantic. Have you found that there are many differences in working with broadcasters and producers in the U.K. versus in the U.S.? ANDERSON: There probably are quite a few differences, but nothing that I’m particularly privy to as an actor, other than timing—doing a one-hour drama in the U.S., a 42minute hour, as opposed to the 59-minute hour at the BBC. So that is different just in the time that’s put into [a show] and the number of episodes that one can do per year. Most of the differences are [found in] what lies behind the camera and how things are approached and situations are dealt with.
Gillian Anderson By Mansha Daswani
Over the course of nine seasons and two feature films, Gillian Anderson established a global fan base for her portrayal of FBI agent Dana Scully on The X-Files. When the popular sci-fi series ended its run on FOX in 2002, Anderson opted for a dramatic change of pace, trading in 22-episode seasons filmed in Vancouver and Los Angeles for a string of period drama miniseries in the U.K., among them Bleak House and Great Expectations, stage plays and a number of independent features. The Fall, commissioned by BBC Two, marks Anderson’s return to the contemporary crime drama genre. Distributed globally by ZDF Enterprises and Content Television, The Fall—which also counts Jamie Dornan and Archie Panjabi among its cast members—follows the search for a serial killer in Belfast, Northern Ireland. Anderson recently told World Screen what attracted her to the project.
WS: Tell me about the character you portray in The Fall. ANDERSON: I play Detective Superintendant Stella Gib-
son. She works for the Metropolitan Police in London and she’s sent up to Belfast to do a 28-day review on a murder case.That’s when we’re introduced to her. It turns out the murder case is not a singular case, it ends up being a serial case, and so she stays a lot longer than she had anticipated. That’s the environment that you see her in. WS: What was it about this script that spoke to you? 36 World Screen 3/13
WS: There are a lot of crime dramas out there. How do
you think The Fall approaches the genre in a new way? ANDERSON: I don’t know if this is the first time that this
has been done...but the character of the serial killer is as prevalent a character as the policewoman who is searching for him. So you have two different story lines running simultaneously.You see the serial killer at work from the very beginning, so as the audience you are that much [further] ahead of the investigation than the investigators are; the way this is written, that is quite a compelling device. [It gets] into the head of the serial killer in a different way and also gets into Stella’s head. It’s a compelling story about two human beings and how close [they] are in various ways. A lot of the shots mirror each other, which is a very interesting way to shoot it when you have those opposing, simultaneous story lines. It just feels quite different. WS:You’ve done a lot of period dramas in the past; is there more research for you as you prepare for a role in a show such as Bleak House than for something like The Fall? ANDERSON: Yes, definitely. It’s a lot of research and a lot of work, especially when they are historical or [based on] classics like Dickens. Obviously there are certain expectations, and with iconic characters, no pun intended, really great expectations of how a character is portrayed. So yes, [there are] different pressures, different levels of research.
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market trends
Global Agency’s
PINTO: We have partnered with Coyote from France, Miditech from India, Zucchero Media from Romania, Costantin from Germany and SBT from Brazil. We became the exclusive distributor of their formats. These deals with well-known international companies help us not only to grow in numbers but to also have a better reputation in the market. We have always wanted to be a global company, so these partnerships make us a global distributor rather than a local one. At the moment we represent projects from 15 countries. We are hoping to raise this number to 25 before the end of the year.
Izzet Pinto By Kristin Brzoznowski
Over the course of just a few short years, Global Agency has grown its business tremendously. Having started as a boutique format distributor out of Istanbul, the company now has international bases in Turkey, the Netherlands, the U.K. and the U.S., and sells across a range of genres, including prime-time entertainment shows and high-profile dramas. Spearheading this growth is Izzet Pinto, the company’s founder and CEO. Pinto talks to World Screen about his passion for cutting-edge, buzz-generating content, and how this has contributed to Global Agency’s overall success.
WS: What has been the strategy behind the
company’s aggressive expansion? PINTO: It is mainly because I am addicted to growth. I am never satisfied with the position we reach and always have bigger goals. Each time we attend major markets like DISCOP West Asia, MIPCOM or MIPTV, I get ambitious and set bigger goals for every year. These goals include hiring more people, having bigger space at the markets, spending more on marketing and achieving greater sales. As you know, the sky is the limit, so we keep aiming to be one of the most important distributors in the market. When I founded the company, we had only one format. After a while, we had five formats. The format business was growing but I wanted to have a new division, so I opened a film section to export Turkish movies abroad. It went pretty well, and later on we opened a series-distribution division. The success was bigger than I had expected. Recently, we decided to move into factual entertainment. We acquired the well-established brand World Wide Entertainment from Australia. In the coming years, we may go into kids’ programming. Also, digital rights are growing these days, so we will be focusing on digital platforms. We prefer to grow carefully, so we would like to step into new genres every two years. WS: Have partnerships also been essential to
the company’s expansion? 38 World Screen 3/13
WS: Global Agency was one of the first companies to begin exporting Turkish drama series; what value did you see in these programs initially? PINTO: To be frank, I didn’t step into this business with big expectations at first. I believed in the projects, but it took us a long time to convince the buyers. I made the first sale with a Bulgarian broadcaster. With the success in Bulgaria, I was able to convince a buyer in Serbia, then Greece, and then it had a domino effect. At the moment, Turkish series are being exported to more than 50 countries.Turkish series are shot with big budgets.The stories are appealing and include great talent; they have all the ingredients for a successful project, therefore viewers love them. WS: Have you been able to sell the formats of any of
these Turkish dramas as well? PINTO: Selling the script rights has always been a chal-
lenge. For entertainment programs, buyers prefer to buy formats, but for producing series, they prefer to work with local scriptwriters. One of our strongest scripted formats is Forbidden Love, which achieved more than a 70-percent share with its finale. Telemundo licensed the format and started airing it in January.We are very excited with this project since the script is based on a 100-yearold Turkish novel. I am sure more deals will follow after its success in the U.S.A. WS: What types of formats seem to be working best in
the market nowadays? PINTO: From our catalogue, shopping and cooking for-
mats are doing very well lately. Shopping Monsters has been optioned and licensed in over 25 countries. Blind Taste achieved similar success in less than a year. Still, our wedding format Perfect Bride has the best track record of success, with deals done in more than 35 territories. Reality shows are more likely to create buzz. In Perfect Bride, the mother-in-law is choosing the bride for her son.This concept created huge buzz in each territory we entered. Since the concept is quite old-fashioned, everybody was talking about this format. In Turkey, the grand finale achieved more than a 70-percent share. Formats with controversy can still be successful.
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The Blue Mosque in Istanbul.
Drama series from Turkey’s top broadcasters are making their way to screens across the globe. By Jay Stuart
he continuing expansion of Turkish programming exports reached a new milestone at the beginning of this year. The drama series The End (Son) from ATV made its Swedish debut in a Monday evening slot on SVT2 on January 7, marking the first time a drama series from Turkey has been shown in Northern Europe. The Swedish public broadcaster scheduled an opening double episode of the mystery drama, produced by Ay Yapim, at 7:30 p.m. against strong competition to start a ten-week run of the series with five daily episodes per week. The opening scored a 7.5-percent share among all viewers and a 9.5-percent share among women, better than the channel’s average share in November of 6.4 percent. Anders Björkman, a leading critic at the Swedish newspaper Expressen, named The End the best new foreign drama series of the season.When the show started on Swedish TV, he welcomed it by saying (more or less), “If you assume that Turkish television is
about rural life, old men with big moustaches and goats, you need to try this...” Fredrik af Malmborg, the managing director of Eccho Rights, which is distributing the series globally, notes, “We were a little doubtful about whether we could sell it, but it works. It hasn’t had a super-strong start, but the audience is well in line with any U.S. series on a channel like SVT. Western Europe has been so fixated on American series. But the shape of American series is determined by the tastes of the average American. The Western European may have more in common with the Middle East or India or elsewhere.” The original episodes of the show were 90 minutes long, like most Turkish drama programs. That length may be an obstacle to sales in many markets. Eccho Rights solved the problem by cutting the episodes to 58 minutes each. A team of editors in Sweden worked with The End’s script writer, Berkun Oya, on the shortened episodes.
Eccho Rights’ sister company, Sparks Network—both are divisions of Sparks Eccho—has been working with Ay Yapim, Turkey’s most successful producer, for seven or eight years, on program development and collaboration. Eccho’s first Turkish success internationally was the Show TV series Ezel, licensed into 45 countries. The crime series, along with 1001 Nights and Magnificent Century, paved the way for the remarkable growth of Turkish exports in the past few years. STORIES THAT TRAVEL
Because Turkey is a multicultural country, viewers around the world can relate to the stories and characters at the heart of these dramas, says Ozlem Ozsumbul, the head of sales and acquisitions at Kanal D. “In Turkey, local production, especially drama, is very important. Lost City and Kuzey Güney are local [productions], but the stories have universal elements that can be enjoyed everywhere in the world.
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The quality of production, casts and scripts are very high. All are HD. These factors are usually highly recognized by the audiences around the world. At least this is the feedback that we have been getting from our sales to more than 70 different countries.” “The roots of the Turkish drama series that are taking the Middle East, the Balkans and Central Asia by storm really go back about 20 years to the start of commercial broadcasting in Turkey,” says Meltem Tumturk Akyol, the head of international sales for TRT, the country’s public broadcaster. “From the time the first private TV channels opened their doors in 1990, the market started to see an everincreasing competition.This rivalry propelled the levels of quality to new heights as the drama series business became the main attraction of the sector. “Bigger advertising budgets in the past few years have supported a major boom in drama production,” continues Akyol. “Turkish viewers
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hunger for prime-time series, and drama has been the driving force. As advertising revenues began reaching gigantic levels, the producers naturally headed towards productions with mega-budgets, and that itself meant even higher quality productions.” Izzet Pinto, the CEO of the Istanbul-based Global Agency, also mentions the big budgets that are behind many Turkish dramas. “The stories are appealing and include great talent,” he adds. “They have all the ingredients for a successful project; therefore viewers love them.” Global Agency, which at first only sold formats and later opened a series-distribution division, sells a number of Turkish dramas, including 1001 Nights, Game of Silence and iffet, as well as the mega-hit Magnificent Century. Launched in 2011 and now in its third season, Magnificent Century is probably the most successful of all Turkish exports, with primetime slots on a score of channels in Europe and the Middle East. In Europe, one of the reasons for the appetite may be that the 16thcentury saga of Suleiman the
The plot thickens: After developing a strong following from his starring role in Ezel, the Turkish actor Kenan Imirzalioglu can now be seen leading the series Karadayi, which is sold by Eccho Rights.
Magnificent is an intrinsic part of the history of the Balkan countries that comprised the Ottoman Empire, such as Bulgaria and the former Yugoslavian republics. The program began a run on RTL Klub in Hungary at the start of this year. Another show that has been making its way across the globe is Time Goes By, from Kanal D. In its
third season, the series recently rolled out in Serbia, where it began airing on 1Prva this year.The series now features the German actress Wilma Elles in a leading role as a femme fatale. Unable to speak Turkish at first, she memorized her lines phonetically. Elles is not the only foreign actress looking to opportunities in Turkish television. The Lost City, a current
Embracing the moment: Kanal D has successfully exported a number of its top-rated Turkish dramas, including Kuzey Güney, which tells the story of two brothers struggling to survive in their own worlds. 42 World Screen 3/13
success on Kanal D, stars the Albanian actor Nik Xhelilaj, in a trend that has seen Turkish producers increasingly using more performers from their Balkan neighbors. EPIC STORIES
In addition to the Balkan countries, the Middle East has developed a penchant for Turkish series. A breakthrough was achieved in 2008 when MBC, based in the United Arab Emirates and reaching 21 countries in the Middle East, started airing popular Turkish series like Silver (Gümüs), Rose Lace In My Scarf (Çemberimde Gül Oya) and Under the Linden Trees (Ihlamurlar Altında). “By the time the [last title] was being aired, Turkish drama was reaching record-breaking popularity in the region, scoring ratings that had never been seen before,” says TRT’s Akyol. “And this naturally led other TV channels and distribution companies to buy more Turkish series. “Turkish actors have become even more popular than they are in Turkey, especially in the Middle East region. Arab viewers are currently seeing dozens of different Turkish drama series.Today,Turkish drama series are also aired intensively in the Balkans, Central Asia and Eastern Europe. There are ongoing discussions with the Americas and the Far East regarding possible sales.” ATV’s latest international distribution projects are the current
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Fields of love: Based on a best-selling novel from Chingiz Aitmatov, Red Scarf, part of the ITV-Inter Medya catalogue, tells a story of love at first sight that later ends in heartache.
ratings successes Peace Street and Don’t Worry About Me. “We are the channel with the most series in our library, and the most varied lineup,” says Burçin Akil, a content sales specialist at ATV/Turkuvaz Media Group. “Most of our series are dramas, but we also have historical, action, comedy-dramas and sitcoms. Having a wider range of series is an important factor in buyers’ gravitating towards us.” CROSSING BORDERS
ATV is mainly selling to the Middle East, Eastern Europe, the Balkans and Caucasia, covering over 40 countries. “On top of that, every day we are receiving more and more demand from Asia and we’re very keen to expand our sales in that region,” Akil says. “The latest demand comes from Pakistan. The channels are ambitious buyers, which makes us very happy. We have no doubt this is only the beginning for our sales in new territories.” Global Agency reports the bulk of its Turkish drama sales taking place in the Middle East and Central and Eastern Europe, according to Pinto. He credits these robust sales to the many cultural similarities between Turkey and territories in these parts of the world. “We also look alike, so viewers in these territories feel like they are watching a local series when they watch
Turkish series. Since these shows are family-oriented, we capture millions of viewers around the world in prime time.” “We have been very successful in the Balkan region—former Yugo slavia, Bulgaria, Greece, Romania and the neighboring countries—then, of course, in the Middle East,” says Can Okan, the president and CEO of ITV-Inter Medya, which sells such Turkish dramas as Memories Still Hurt (Mazi Kalbimde Yaradir), The Girl with the Red Scarf (Al Yazmalim) and The Harem. “Next, we jumped to Central Asia, starting with Tajikistan. We are spreading towards the West, with Western Europe and Eastern Asia. Now, our aim is to also enter into the Latin American market, which we have already started doing with our formats. I believe that the finished products will be shown on Latin American TV stations also pretty shortly.” Naturally the series that make the biggest impact in the international market tend to be the ones that have been successful in Turkey’s own competitive scramble for ratings. Knowing the Turkish hits probably gives a pretty good indication of some of the foreign successes coming up. The country has recently emerged from a ratings vacuum. Audience figures were unavailable for most of 2012 after AGB
Nielsen lost the franchise on supplying data amid controversy over possible manipulation of its panels. The new supplier, Kantar Media, cranked up its service in midSeptember 2012. For this article, World Screen has obtained a list of the ongoing performance of the top 20 Turkish dramas in the ratings—“the most valuable data in Turkey,” according to Basak Özkan, client services manager at Kantar Media. “The Turkish industry evaluates programs with their net ratings, excluding the commercial breaks,” she says. “Including the commercials in the rating calculation does not affect the first ten programs in the rankings, but it does affect the order of the others.” RATINGS SUCCESS
The following commentary applies to figures from September 17 to December 31 of 2012.The figures do not include repeats of the programs. Drama series shown on the Kanal D network occupy seven spots in the top 20 list. But the programs aired on ATV are the most successful, with four ranking among the first eight, including number one, Kurtlar Vadisi Pusu (Valley of the Wolves). Fox TV has four series in the top 20, Star TV has two, Show TV has two and international channel Samanyolu TV has one. A characteristic of the Turkish market that is quite different from
44 World Screen 3/13
the American norm is a tendency for series to move from channel to channel—competition over them is a bit like the fights for sports rights. The autumn season was in fact something of a slaughter in Turkey, with about 20 series canceled. Among the most successful, meanwhile, was Valley of the Wolves, which averaged a 13.03 rating and a remarkable 34.47percent share during the period. The action crime and politics franchise started on Show TV in 2003 and then jumped to Kanal D before arriving on ATV. It has generated hit theatrical films too. In second place, Star TV’s Magnificent Century (Muhtesem Yüzyil) averaged a rating of 10.81 and a share of 27.74 percent for 15 episodes. It was launched on Show TV. A television version of The Conquest 1453 (Fetih 1453), the most successful Turkish movie ever at the box office, aired on Fox, ranking third with an average TVR (television viewing rating) of 8.8 and a share of 21.57 percent. Kanal D’s Time Goes By (Öyle Bir Geçer Zaman Ki) ranks fourth with an average TVR of 8.28 and a share of 21.05 percent for 14 episodes. In fifth place is ATV’s series Karadayi, averaging a rating of 8.03 and a 20percent share for 12 episodes. Don’t Worry About Me (Benim Için Üzülme), also on ATV, is sixth, with a 7.5 TVR and 18.48-percent share for eight episodes.A police comedy-
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drama, Back Streets (Arka Sokaklar), on Kanal D since 2006, ranks seventh, with an average rating of 7.28 and 18.77-percent share for 15 episodes. In eighth place is Peace Street (Huzur Sokagi) on ATV, averaging a 6.24 rating and nearly 17percent share for 14 episodes. Number nine is The Lost City (Kayip Sehir), on Kanal D, with 14 episodes scoring an average 5.48 TVR and 16-percent share. In tenth place is The Tulip Era (Lâle Devri) on Fox TV, averaging a 5.41 rating and 15.25percent share for 15 episodes. The show was launched on Show TV. Rounding out the top 20 are Show TV’s Dirty Sevens (Pis Yedili), Kanal D’s Kuzey Güney, Compassion Peak (Sefkat Tepe) on Semanyolu TV, Lady Dila (Dila Hanim) on Star TV, the Turkish version of Desperate Housewives (Umutsuz Ev Kadinlari) on Kanal D, Love in the Sky (Yer Gok Ask) on Fox TV, Kanal D’s False World (Yalan Dünya), Tulip Era Love (Lâle Devri Ask) on Fox TV, Razor Kemal (Ustura Kemal) on Show TV and Sultan on Kanal D. Eccho Rights’ Malmborg has clear ideas on why Turkish series are enjoy-
ing so much success internationally. “First, it’s a matter of the scale of the market and the quality it generates. There are seven channels running original drama every night. There are 80 to 100 episodes being produced every week. That’s huge. A lot of it features actors and directors who are really good. The actors have plenty of opportunity to get better, too. When you are in all those Royal ties: The period drama Magnificent Century, sold by Global Agency, has aired on broadcasters across episodes of a show, Europe and the Middle East and is often credited with being one of the most successful Turkish exports. that is a pretty good Turkey’s emergence is technology. acting school. Turkey is one of the the serial drama genre something “Making high-end drama today is biggest production hubs in the world of their own. not that complicated in terms of proalong with Hollywood, Bollywood “Third, the Turks dare to take the duction,” he says. He sees Turkey’s and South Korea. family and human relationships serisuccess as part of the bigger develop“Second, there is a new creative ously. They see relationships as the ment of globalizing creativity. “It’s a generation. They are people who real stuff of drama. In the U.S. shows grew up watching Latin American are about the police or about doctors. global market. New shows travel very quickly.There is a lot of opportunity telenovelas on Turkish TV in the If they’re about the family, they are for people doing top-notch stuff. But 1980s and now they have made comedies. It’s really a very narrow the market is small for the [lowerrange.The taste of the average American audience is pretty boring. The quality shows].There are 800 or 900 Turkish take the human dimension million people watching dubbed seriously. Again, when you have such drama.The Americans paved the way with Desperate Housewives and Lost. a large output, it gives you more Ugly Betty was adapted from a opportunity to stretch creatively.” TRT’s Akyol agrees on this point. Colombian series. There was an “What makes Turkish programs American version and a German verdesirable in the regions where they sion; the latter became a hit in France. are most successful are the family and Imagine having a German series man-woman relationships they show, based on a Colombian series dubbed and the depiction of independent in French and being a hit on TF1. characters against a social backdrop, as That’s the world we’re living in.” But it’s the stories coming out of well as the romantic and sentimental orientation of the story lines. Turkey that obviously have a special hold on international buyers these Undoubtedly, the magnificent locations where all these series are shot are days. Another one will be coming another big reason for the popularity, to Sweden soon. Eccho’s new Turkish series is one of the current Istanbul being first and foremost.” season’s ratings winners, ATV’s QUALITY CONTROL Karadayi, starring Kenan ImirzaliITV-Inter Medya’s Okan says, “The oglu from Ezel and Bergüzar Korel production quality is very good comfrom 1001 Nights. pared to other territories’ products. “The End was not a big ratings This is because of the competition winner in Turkey,” Malmborg says. between broadcasters in the local “We are anxious to try a really top market in Turkey. Now that they are Turkish show internationally.” in huge competition with each other “I think we have reached a point [for ad revenues], they are trying to where ‘Turkish Drama’ has become a make the best programs possible.” brand name,” says Akyol. “The attenFor Eccho Rights’ Malmborg, tion the programs receive in the interLifting the veil: ATV reports that the majority of its sales have been to the Middle East another big contributing factor in national market is proof of that.” and Eastern Europe for its stable of Turkish dramas, which includes Life Goes On. 45 World Screen 3/13
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one-on-one
Maria Kyriacou
or the past decade or so, broadcasters have been challenged on a number of fronts: cable and satellite channels competing for audiences and advertisers while viewers are watching movies and series on screens other than the TV set. Smart broadcasters, like ITV plc in the U.K., have responded by launching their own digital channels, but also, most important, by producing must-see programming that has significantly boosted rat-
ings at home and generated muchneeded additional revenues through international sales. Maria Kyriacou, the managing director of ITV Studios Global Entertainment (ITVS GE), oversees the distribution of thousands of hours of television series, movies and films from ITV Studios and independent producers to more than 200 countries worldwide. Kyriacou talks to World Screen about the staying power of beloved crime franchises, the appeal of hit factual formats, and new opportunities offered by digital platforms.
ITV Studios Global Entertainment
WS: Many of ITV Studios’ shows
not only satisfy the British audience but also have international appeal. KYRIACOU: We’re a fortunate distributor. We’ve benefited from shows like Mr Selfridge, which is a large volume order from a major U.K. network, ITV. It’s done really well launching to 9.4 million viewers (which is a huge number for a show in the U.K.) [It has since been re-commissioned for a second season.] A show like this from a well-respected writer like Andrew Davies, (everyone knows his reputation from shows he’s written [Pride and Prejudice, Little Dorrit] in the past), and with Jeremy Piven in the lead, in addition to the high-volume order and the ability for it to return year after year, attracts attention everywhere. We’ve announced a number of sales already and we’ll announce a few more before MIPTV. WS: And the fact that it has a longer order is very important to a distributor. KYRIACOU: There is nothing better than returning shows. We’ll be talking a lot at MIPTV about our crime franchises. Our shows may not have large individual season orders, but they come back year after year and they combine to become in some cases over 100 hours. One show we are highlighting this market is Agatha Christie’s Poirot. We launch the final season at MIPTV and are promoting it by bringing David Suchet, the star of the series, 46 World Screen 3/13
to mark the end of a chapter, quite literally, for Hercule Poirot. We are known for our crime franchises. As well as Poirot we have new seasons of Agatha Christie’s Marple. Agatha Christie is loved the world over. From the Inspector Morse franchise we have the 2013 season of Lewis and full season of Endeavour. Fans of Morse have responded very positively to the prequel, [which takes] Morse back to his youth. WS: ITVS GE secured the international distribution rights for Rectify, Sundance Channel’s first original production. Is ITVS GE searching for more product from outside of the U.K.? KYRIACOU: Yes, we are looking for more. We are a growing business and you should expect to see more U.S.-originated content. We are attracted to what we view as quality drama and Rectify is just that, a beautifully executed show and different to the mainstream. It challenges its audience. It’s a show we feel can become a real brandbuilder for broadcasters. Interestingly, there is a single writer on the piece, Ray McKinnon, which is more of a European approach than American. Our strategy in selling a show such as this is to find the right broadcasters who value the show’s uniqueness. WS: Are you looking to do more international co-productions like the Titanic mini-series?
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WS: What other areas are allowing you to generate revenues, whether it’s consumer products or the DVD market? KYRIACOU: We announced a DVD and download-to-own deal with NBCUniversal for Mr Selfridge last month. The home-entertainment market is critical to the commercial success of serialized dramas.
A sign of the times: One of the stand-out dramas on ITVS GE’s slate is Mr Selfridge, which launched on ITV in January to an average audience of 7.3 million viewers and was promptly renewed for a second season.
KYRIACOU: Yes, we are. We respond to what broadcasters want, and there is an appetite for high-end drama and for events. And that’s what Titanic was—it was an event. But these are few and far between. When we have a good creative idea that fits the bill we will deliver. We are looking at a few ideas right now, but nothing to announce yet. WS: Come Dine with Me has been one of the top-selling formats in Europe. What appetite are you finding for formats? KYRIACOU: We celebrated our 4,000th episode of Come Dine with Me last year! We see broadcasters looking for tried and tested factualentertainment shows that they know will deliver. Come Dine with Me does that because every episode is a different story. Come Dine with Me is a format that sustains its ratings over multiple episodes and seasons. Other shows that work in a similar way are Four Weddings and May the Best House Win. We’ve also seen a resurgence of older formats like Popstar to Operastar, which recently was acquired inVietnam and is in its second season in Korea. The growth of our formatdistribution business in Asia,
Central and Eastern Europe and Latin America is very exciting. We have recently sold Hell’s Kitchen to Romania, Ukraine and Russia; Come Dine with Me has been re-commissioned by Globo in Brazil and we secured our first Come Dine with Me deal in Asia with Star India, produced by Miditech. WS: What opportunities are digital platforms offering you? KYRIACOU: They are important clients. Digital platforms broaden our audience reach. For example, in Asia they are buying dramas that you normally wouldn’t sell to the linear networks. That’s true even in the largest commercial digital market, the U.S. We launched Coronation Street—the world’s most successful serialized drama going strong for over 50 years—on Hulu in January. And where our shows are already popular on linear television, digital platforms give fans more flexible access. For instance in Scandinavia, where our shows perform well in the ratings, we recently signed deals with both Netflix and SF Anytime. Netflix for a range of drama titles such as Agatha Christie’s Poirot, Agatha
Christie’s Marple and Prime Suspect and SF Anytime for a package of our long–running crime dramas, including Touch of Frost and Inspector Morse, to name a few.
WS: Looking ahead 12 to 24 months, in what areas do you see the most potential for growth? KYRIACOU: We’re very strong in drama, we’re really proud of that and we are going to continue to invest in this genre. We’ve always been strong in formats and factual and we are going to continue to invest in this area. You will see us increasingly globalize our presence, which means we will be more active in markets outside the U.K. and not only in selling but in creating and acquiring content.
Criminal minds: ITVS GE’s strong library of crime dramas includes Agatha Christie’s Poirot, starring David Suchet, which comes to an end after its 13th season.
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on the record
s a leading independent production-anddistribution company, Entertainment One (eOne) Television has been involved in a wide range of series and successfully placed them in the competitive yet lucrative U.S. market: the mystery drama Haven and the sci-fi thriller Primeval: New World on Syfy; the cop drama Rookie Blue on ABC; the medical show Saving Hope on NBC; the dark comedy Call Me Fitz on DIRECTV; and the contemporary western Hell on Wheels on AMC.
While producing for the North American market, eOne also has a vibrant international-distribution business, working with more than 500 broadcasters in 150 countries, selling not only series— among them The Walking Dead—but also TV movies. John Morayniss, eOne Television’s CEO, is a seasoned executive with extensive experience in forming partnerships and crafting co-financing and co-production models, which are becoming essential these days as broadcaster license fees diminish and viewer demand for quality—therefore high-budget—programming increases.
John Morayniss Entertainment One
You’re also seeing more co-productions, co-financing models, just more partnerships. Part of it has to do with digital platforms that are growing over-the-top services like Netflix. So we’re seeing more demand for high-end programming and we want to meet that demand.
shows coming from all over the world— especially [from] the U.K. and Canada— they’re seeing these shows work. The result is that [U.S. networks] are now open to this talent not only being involved in co-productions and shows that come from overseas, but also in the shows that they’re commissioning.
WS: Since a lot of companies that tradi-
tionally haven’t been in scripted are starting to commission now, are you finding it harder to get the actors and writers that you want? Or, because of eOne’s reputation, are you able to find the talent you need for your projects? MORAYNISS: Part of it has to do with our reputation; part has to do with the shows that we’re involved in. Obviously, good scripts, good auspices attract talent. I also think that the U.S. marketplace is more open to global talent: writers out of the U.K., out of Canada, out of the rest of Europe, and the same with [actors]. So we’re seeing more and more British writers and Canadian writers working on American shows. Same with the talent; a show like Rogue, which we’re doing for DIRECTV, stars Thandie Newton and Marton Csokas. While it’s more competitive, there are more opportunities to source talent from around the world. WS: You are expanding eOne’s scripted business. What opportunities are you seeing across the TV landscape? MORAYNISS: We’re growing our scripted business because we think there are a lot of opportunities in North America.There are now more than 30 networks in the U.S. that are commissioning original scripted programming. In the international market there are also networks that are commissioning original scripted programming.
WS: When did that opening take place?
Ten to fifteen years ago, the U.S. networks didn’t want anybody who hadn’t been tested in the American market. MORAYNISS: It’s been gradual. It’s partly out of necessity and partly because the talent is there and is contributing to making great TV shows. Over time, as networks have started to acquire or be involved in co-productions, they’re seeing the value of 48 World Screen 3/13
WS: eOne has been a pioneer in cofinancing models. Are you still using them? MORAYNISS: Yes. “Co-finance” is such a broad term, but generally speaking, as an independent, we’re all about partnerships, we’re all about co-production models, co-financing models. So almost everything we do has some component of that. Our goal is, obviously, to hold on to the international distribution rights. So how we get those rights can take on many different forms. It can be through our own internal development that we sell and then produce on our own. It could be through shows like Klondike, that we’re doing for Discovery, which was developed by Scott Free and then brought to us. In that case, it’s really a partnership between eOne and Discovery on the financing side, and then a creative partnership with Scott Free. So, yes, more and more we see these opportunities to co-finance, co-produce, and partly it’s how the shows originate. They’re coming from financing entities, just other distributors that want to partner with us, production companies that want to get involved in the financing. We’re open to all different models. WS: Tell us about Klondike. MORAYNISS: Klondike’s very exciting.
It’s a big action-adventure six-hour
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Where the action is: Primeval: New World, the North American spin-off of the hit British series Primeval, has been licensed by eOne to Syfy and Hulu in the U.S., among other international deals.
mini-series that was commissioned by Discovery Channel in the U.S., developed by Scott Free. It’s set in the Klondike during the Gold Rush. Our show is set in 1897 and it’s an exciting rags-to-riches-torags and then back to riches story, and there’s a mystery element in it. It’s really quite thrilling. We’re really excited to be involved because, one, it’s Discovery’s first big scripted event, and two, we’re excited to be in business with Scott Free. They’re just a great and talented company in the film and television world. WS: What appealed to you about the series Rogue? MORAYNISS: Well, we were fortunate with Rogue. When it was brought to us by a company called Greenroom, run by a British producer named Nick Hamm, we already had a script that they had developed.We had a first episode that was just terrific. We loved all the characters, but especially the female character, which was complex and dark. It was just a great thriller/ mystery cop show. We loved the script and we thought it was something in line with what eOne was looking to develop, which is something a little more pay-cable, serialized, just interesting. So we got involved, and we liked the partnership, and the show was pitched to a
number of platforms in the U.S., and ultimately DIRECTV came on board and now we’ve shot the first season and are excited for the launch. WS: eOne has been able to keep the cost per hour on dramas a little lower than some other series and yet you deliver all that quality on screen. How are you able to accomplish that? MORAYNISS: It’s never easy, and I’ve noticed over the years, as we get involved in higher-end programming, it’s tougher and tougher when the next show comes around to revert back to a lower-budget model. So part of it has to do with expectations and who our broadcasters are and the kinds of shows that we develop. Some shows just warrant a lower budget and, actually, creatively and organically work better that way, and on other shows you need to spend money. On a show like Klondike, we’re spending a lot of money. We’re starting to spend more money for the bigger-budget event-type series and then when it makes sense with the more contained character pieces that don’t have a lot of action or special effects, we can still control those budgets. We’re doing lower-budget TV movies for Hallmark Channel and Lifetime, but when Discovery wants a big event mini-series like Klondike, we’re going to spend the money.
WS: Writers in the U.K. usually write six or eight episodes per series. Do they have a hard time adapting from one person writing six episodes to working in the American format of a writers’ room? MORAYNISS: It really depends on the show and, obviously, the order. For shows that have lower-episode orders, you said six or eight, maybe even ten, and if you have enough flexibility and enough time in your schedule, you can get a writer or two writers to write all those episodes. And it’s very different than the American approach, where you’ve got that strong showrunner and you’re barely being able to keep up with the schedule of deliveries. It’s starting to change, because, again, as more and more U.K. writers start working in the U.S. environment, we’re seeing a shift in methodology. It works in a number of ways. I don’t think any model is better than the other. I think there are some benefits to writing your scripts up front. Certainly there are production efficiencies that you can have. On the other hand, series are organic; characters come alive once you shoot them. And sometimes certain actors pop and others don’t. And you want to be a little in front of that and be able to write as these stories unfold, as these characters develop on screen. I don’t think
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there’s a right or wrong way of doing it, it’s just different, and sometimes there are cultural clashes, which are challenging [when you are] working with one methodology but [have] writers or producers that are used to a different methodology. WS: You and eOne have a long track record of bringing cultures together, whether it be in financing or on the creative side. Are you a diplomat at heart? MORAYNISS: You kind of have to be. Necessity is the mother of invention, and for many years in the U.S. you didn’t need to co-produce, because the market could sustain, from an economic standpoint, an original program without going outside its borders.Things have changed. Growing up in the Canadian system certainly has helped because you just had to do more of these coproductions. But now you’re seeing this on a worldwide basis, and certainly, some of the most successful shows on a global basis are being done through co-financing models. Look at a show like The Walking Dead. Three key partners all came together on that show—AMC, FOX International Channels and eOne. So you’re seeing more and more broadcaster partnerships, broadcasterdistribution-producer partnerships. It’s the way of the world now.
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world’s end IN THE STARS
Almost every national constitution forbids the establishment of an official state religion. But this secular bent doesn’t stop people from looking to the heavens for answers to life’s most troublesome questions: Will I succeed? Will I find love? Will Lance Armstrong make any confessions to me? Every day, papers and magazines worldwide print horoscopes—projections for people born in a specific month, based on the positions of the stars and planets. While many people rely on these daily, weekly or monthly messages for guidance in their lives, some readers skip over them entirely. The editors of WS recognize that these little pearls of random foresight occasionally prove prophetic. But rather than poring over charts of the zodiac to predict world events, our staff prefers to use past horoscopes in an attempt to legitimate the science. As you can see here, had some of these media figures remembered to consult their horoscopes on signif-
Beyoncé Knowles
Jodie Foster
Sylvester Stallone
Beyoncé Knowles
Jodie Foster
Global distinction: Musical superstar. Sign: Virgo (b. September 4, 1981) Significant date: January 21, 2013 Noteworthy activity: The Grammy-winning singer
Global distinction: Hollywood veteran. Sign: Scorpio (b. November 19, 1962) Significant date: January 13, 2013 Noteworthy activity: The issue of the actress’s sexuality
generates criticism after her not-so-live rendition of “The Star-Spangled Banner” during U.S. President Barack Obama’s second inauguration ceremony. A last-minute decision was made for the wife of Jay-Z to lip-synch along to a previously recorded version of her singing the National Anthem. Horoscope: “Don’t be a pretender, a phony or fake— keep it real.” (serendipity-astrolovers.com)
has been in question for many years, yet the notoriously private star has always remained mum. However, while being honored with a lifetime achievement award at this year’s Golden Globes, Foster alludes to the fact that she is a lesbian. In her acceptance speech she gives a shout-out to her ex-partner, who is a woman, and stresses the importance of privacy. Horoscope: “You might question the way you have been portraying yourself to the rest of the world and become increasingly willing to be who you are, without shame or apology.” (oranum.com)
Lance Armstrong Global distinction: Former professional cyclist. Sign: Virgo (b. September 18, 1971) Significant date: January 17, 2013 Noteworthy activity: The seven-time Tour de France
winner was previously stripped of his medals and banned from cycling for life for doping offenses. Despite having made many denials, the pro road-racing cyclist finally comes clean in a two-part television interview with Oprah Winfrey. In it, he admits to doping since the mid90s, saying he took EPO, blood transfusions and testosterone until 2005. Horoscope: “You might have to make a choice between telling the truth and a lie. Sometimes this can be a difficult choice.... However, a lie can take far more energy than the truth.” (glo.msn.com/horoscopes)
icant days, they could have avoided a few surprises.
Rob Lowe
Rob Lowe Global distinction: TV and film star. Sign: Pisces (b. March 17, 1964) Significant date: January 24, 2013 Noteworthy activity: After a strong financial earnings
report, shares in Netflix skyrocket. However, the 48-yearold actor says he knows the real reason for the spike in the stock prices. He tweets: “Hmmm, I wonder why Netflix just posted a surprise profit report? #WestWing ???”The actor, who played Sam Seaborn in the TV series from 1999 to 2006, was alluding to the fact that The West Wing started streaming on Netflix earlier that month. Horoscope: “Instead of hogging the attention, be sure to give credit where credit’s due.” (mylifetime.com)
Donald Trump Global distinction: Litigious business magnate. Sign: Gemini (b. June 14, 1946) Significant date: February 4, 2013 Noteworthy activity: The real-estate mogul files a $5
million lawsuit against Bill Maher, after the television host does not hold up his end of the deal when asking Trump to prove that he is not a “spawn of an orangutan.” Maher had previously joked that if Trump could prove he wasn’t, he would make a generous donation to charity. Horoscope: “You should be aware of critics, but stick to your guns.Try to laugh at yourself occasionally, it will help get you through your day.” (gotohoroscope.com) 50 World Screen 3/13
Sylvester Stallone Global distinction: Muscular action star. Sign: Cancer (b. July 6, 1946) Significant date: January 24, 2013 Noteworthy activity: The NewYork Post uncovers papers
that show that Toni-Ann Filiti, Stallone’s half-sister, blackmailed him in 1987 over abuse allegations.The documents reveal that he agreed to give Filiti $2 million, in addition to $16,666.66 per month for the rest of her life and a trust worth $50,000 per year for her psychiatric and medical expenses, though he denies all her claims. Horoscope: “Family troubles will be on your mind all day long.You will be unfairly accused.” (minihoroscope.com)
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