TV Drama Guide 2018-2019

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Contents A Note from the Editor . . . . . . . . . . . . . 6 Talent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Executives . . . . . . . . . . . . . . . . . . . . . . . 17 Distributors . . . . . . . . . . . . . . . . . . . . . . 27 Publisher Ricardo Seguin Guise Group Editorial Director Anna Carugati

Ricardo Seguin Guise President

Editor Mansha Daswani Executive Editor and Editor, English-Language Guides Kristin Brzoznowski Production Director Victor L. Cuevas

Anna Carugati Executive VP Mansha Daswani VP of Strategic Development and Associate Publisher Š 2018 WSN INC.

Managing Editor Joanna Padovano Tong

1123 Broadway, #1207 New York, NY 10010

Associate Editor Sara Alessi

Phone: (212) 924-7620 Fax: (212) 924-6940

Online Director Simon Weaver

Website: www.tvdrama.ws

Senior Sales and Marketing Manager Dana Mattison Sales and Marketing Coordinator Nathalia Lopez

No part of this publication can be used, reprinted, copied or stored in any medium without the publisher’s authorization.

Business Affairs Manager Andrea Moreno

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A Note from the Editor Kristin Brzoznowski

In a true sign of the times, the term “bingeable” has officially been added to the Merriam-Webster dictionary.

Defined as “having multiple episodes or parts that can be watched in rapid succession,” the word has become pervasive in today’s TV landscape, where so many series tempt viewers to indulge in back-to-back episodes.

Platforms have been feeding into this indulgence as well, with many streaming services dropping full seasons in one go and linear broadcasters embracing on-demand offerings and delivering box sets.

Admit it, you’ve binged before. You may have been pulled into a highly addictive thriller that won’t release you from its clutches until you’ve seen the conclusion or a crime drama that holds you captive until you know whodunnit.

You may have gotten lost in the fantastical world of a sci-fi series or been deeply immersed in the lavish costumes and sets of a period drama.

It’s easy to see how viewers can get so caught up in their favorite drama series that they want to devour it all at once.

That said, there’s something special about savoring a storyline, relishing in the nuances of a character, taking time to dissect rapid-fire dialogue or allowing yourself the emotional breathing room to process the dramatic turn of events you just witnessed.

With the high-quality dramas in the marketplace today— packed with A-list talent in front of and behind the camera and storytelling that transcends the small screen— viewers have an embarrassment of riches to choose from when it comes to scripted shows. Added to that is the fact that series from foreign shores are crossing borders with increasing ease.

This edition of the TV Drama Guide features shows from nearly all corners of the globe—some highly bingeable, others better to savor, all looking to strike a chord with international audiences.

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TALENT

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Angela Bassett Actress 9-1-1 TV DRAMA: How did you hear about 9-1-1?

BASSETT: I heard about it soon after I finished my four years on American Horror Story. [I had completed] my contract, so I was free as a bird! Ryan Murphy reached out to me and said that he had a project he was coming up with about a 911 concept. He told me the name of it and, of course, I’m thinking 9/11 like September 11. He said, no, it’s about first responders. I thought, OK, this could be interesting.

Maybe it was another year before we got started on it and I got the script. But because I had had such a wonderful working relationship with the company and felt like part of the family and am familiar with the writers and the entire team, I felt pretty confident that it would be an opportunity and a role that I would enjoy. For the previous four years, I had had the opportunity to play a lot of different characters. 9-1-1 was going to be different, but I didn’t feel it would be less fun, interesting, intriguing or compelling.

TV DRAMA: Did you meet any first responders or cops that helped you get into the character?

BASSETT: Yes, I worked with a retired cop, who is one of our consultants. He was very helpful to me in terms of how our policemen go about procedures, what they would do, how they neutralize a situation, how they take down a perpetrator, how they work handcuffs. We even spent time at the shooting range, which was very different for me because I had never handled a gun before. He also put me in touch with a woman who is on the force, a lieutenant who I was able to spend time with, go on a run with, go to an event with and observe in action with her colleagues and those who work under her. Seeing this woman who is really in charge at this big outdoor function was interesting and fascinating, [as was being able] to sit down with her and get some insight into what the journey for her has been like as she has risen in the ranks and become a lieutenant.

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Freddie Highmore Actor The Good Doctor TV DRAMA: What research did you do to prepare for the role of Dr. Shaun Murphy?

HIGHMORE: Shaun needed more careful preparation than other characters in terms of wanting to make sure that the autism he has was portrayed as authentically as possible. That was something David [Shore] and I had many conversations about and shared pieces of literature and documentaries back and forth and still do. On the show (and certainly for the pilot), we have a full-time autism consultant who is there for all aspects of preproduction, production and post-production. We thought that those steps were necessary and that was what we focused on during those initial conversations about building the character.

In terms of creating the character it wasn’t purely focusing on him as someone with autism but an individual in his own right.

We are all aware that Shaun is never going to be representative of everyone who does have autism. And many of the individual nuances and even the things that make Shaun excited or make him laugh or make him fall in love are idiosyncrasies that are unique to him, and may or may not be related to the fact that he has autism. He speaks not only to those who have autism or may be close to those who have autism, but also more widely to anyone who feels somewhat different or marginalized by society or discriminated against in the workplace. Or people who feel they haven’t been given their shot in life or been given the opportunity that they deserve to excel at the thing that they are really good at.

TV DRAMA: You are a producer on The Good Doctor. Do you see yourself possibly directing?

HIGHMORE: I would love to be a part of that. I’ve enjoyed the producing side of The Good Doctor and supporting David as much as possible, which for all of the producers, that’s effectively our role. He has such a great vision for this character and the story in general and it’s our job to try to service that as best we can. And help out in whatever way is useful.

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Mark Strong Actor Deep State TV DRAMA: What appealed to you about being a part of Deep State?

STRONG: The ambition of it being set in London and Washington and Beirut and having two time frames. It’s a pageturner. That coupled with the fact that the more conflicted characters are, the more interesting they are. Max Easton, the Secret Service guy I play, has that in spades. He has a family that collapsed because of his time with the Secret Service. He’s trying to embark on a new life. For ten years he’s hidden these dark secrets from his past from his new family, but something happens and the whole lot comes crashing down. I love the moral and ethical debate that surrounds the character.

TV DRAMA: What kind of research did you do to prepare?

STRONG: A lot of assassinations, black ops, all of that! No, the truth is, obviously the world of spying is covert, so there isn’t much research you can do. All I know is that that world is very rich in terms of drama. You have betrayal, trust, danger— everything that a good drama needs to appeal to an audience.

I’m aware that Secret Service [agents] get up to dastardly things all over the world, so it’s a short hop to use your imagination to take it to where we’ve taken it to in this series. [The show is] about the repercussions of the big bad world on normal human beings; how you cope with everything we’re reading about in the news.

TV DRAMA: What new opportunities has the golden age of television drama created for you?

STRONG: What’s great is the respect television is now being afforded. In the past it was always seen as the inferior younger brother or sister to film—I don’t think that’s the case anymore.

[In TV] you’ve got to make instant decisions, you’ve got to move fast, you’ve got to roll with the punches. Schedules are so tight.

I love the energy of that forward momentum you have to have in TV. And I think it shows in the final result.

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Ioan Gruffudd Actor Harrow, Liar TV DRAMA: What appealed to you about Harrow?

GRUFFUDD: I had finished shooting Liar.

I’d come home to L.A., and I had a couple of scripts that people were interested in, and Harrow was one of them. I was reluctant to pick it up because it was about a forensic pathologist; I had played a forensic pathologist [in the series Forever], and one of the people involved in Harrow had been involved in Forever as well. So I thought, Oh my, I’m going to be typecast. But once I read the script, I just couldn’t put it down. It was such a wonderfully rounded three-dimensional character; every character was, even in the pilot. The story and the twist at the end of the pilot just grabbed me. Even though it shot in Brisbane, Australia, and it meant that I was going to be away from my family for five months, it was kind of a no-brainer, just based on the script and the character. I had a very lucky year last year going from a great script with Liar to another great script. I think the character and the humor in this show are what attracted me.

TV DRAMA: Tell us about Dr. Daniel Harrow.

GRUFFUDD: Stephen M. Irwin, our scribe, wrote all ten episodes and co-wrote some of them with Leigh McGrath, one of the creators. We always use analogies because they help convey character; Dr. Harrow is a bit like [House’s] Dr. House, quite curmudgeonly. He’s also like [Quincy, M.E.’s Dr.] Quincy; there are very lighthearted moments in Harrow. The gallows humor among all the characters in the morgue is wonderful. Then there is the tough love he has to go through with his teenage daughter being estranged and with his ex-wife. Then you add into the mix all the interesting cases that are presented every week, plus the one over-arching case of the entire series, which is a bunch of bones that are presented to him at the end of the pilot. We discover he had something to do with these bones. The pilot script was so well-rounded and encompassed all those things with a beautiful twist.

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Carlton Cuse Co-Creator Tom Clancy ’s Jack Ryan TV DRAMA: How did the idea to make Jack Ryan as an eight-episode series instead of a feature film come about?

CUSE: The truth was this was a moribund franchise at Paramount. They gave the franchise to the TV division.

The TV division approached us and we jumped at the opportunity. I had read eight Tom Clancy books as a fan and one of the defining qualities of them was that these eight 1,000-page books just couldn’t be reduced to a two-hour movie. But the idea that you could do something like that in eight hours felt much truer to the essence of what Tom Clancy was all about. Having read all those books, I felt I had a pretty good idea what the DNA of the storytelling was. Graham [Roland, co-creator] and I started trying to adapt one of the books and after a month we bailed on it, basically feeling it was dated. The more we talked, the more we were able to [pinpoint] those things that we felt were the reasons Tom Clancy had sold 650 million books. And one was that he told geopolitical thrillers of the time. So to adapt one of the books didn’t make sense because they felt dated. He also had a mosaic storytelling style, which is less apparent in the movies because there is this imperative to go from A to Z in two hours. But we had the luxury in eight hours of being able to do that kind of storytelling.

TV DRAMA: Tell us about your Jack Ryan.

CUSE: In a certain way, Graham and I saw this as a contemporary prequel. Our version of the Jack Ryan character, played by John Krasinski, is a little bit earlier than the one that we see in The Hunt for Red October. He's an analyst.

He has only been working for the CIA for four years. He's in the very early part of his career, and we watch the transformation from being a guy who works in a cubicle and writes reports to someone who is now having his first taste of what it’s like to be in the field.

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Lorenzo Mieli Producer The Young Pope, My Brilliant Friend TV DRAMA: What have you learned about satisfying the needs of several broadcasters while maintaining the vision of the series’ creator?

MIELI: The first real international production that I did was The Young Pope. We wanted it to be international, but we didn’t want it to be international in the way that co-productions were built in the 1990s and early 2000s—the days of the “Europudding.”

We put forward the investment to attach Paolo Sorrentino, to write all the teleplays and to cast Jude Law. With all of this together, we went to the broadcasters and said: “Do you like the scripts? Do you like Jude Law? Do you like Paolo Sorrentino? If you do, we are supposed to shoot next summer for 24 weeks, and you can have the show.”At the time, Wildside was still a rather small independent company, with no solid financial backing, and that was a big chunk of money invested. So that was by far the biggest risk I have taken in my entire professional life.

But it worked!

From there, the partners could start giving notes and discussing, but this would not change the shape or vision of the show. We have used this same model with all of our projects since.

TV DRAMA: How do writers and producers share the work of bringing a TV project to life?

MIELI: We involve the writers in the development of the show early on when the project is just with us and not yet with a broadcaster. We build a very strong link between producers and writers. Wildside has a creative team comprised of writers, former writers and directors. Alongside myself and [co-founder and CEO] Mario Gianani, the creative team works on a daily basis in development with directors and head writers. What comes out in the end, whether it’s a pilot or a couple of episodes, is the fruit of this collaboration.

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Angela Kang Showrunner The Walking Dead TV DRAMA: What can you tell us about the overall theme of the new season?

KANG: Season nine starts in a world that looks kind of different from when we left it. We start with a time jump—we’re about a year and a half after the end of the previous season. That’s a bigger jump than we’ve done before between seasons. And we get to tell some new kinds of stories as a result, which is really fun and exciting.

We see that our characters are actively dealing with the world around them changing as resources dwindle. They’re dealing with infrastructure around them falling and crumbling and nature taking over. That provides some new challenges for them to deal with. And on a human level, you have people who have been at war for so long, fighting for daily survival, coming up against these human groups and these extended conflicts. They start in a time of relative peace, but now you have characters who are really thinking about their philosophies going forward and you see some conflict and divergence on that front.

TV DRAMA: Andrew Lincoln has confirmed he’s exiting this season. I know we can’t discuss his final episodes, but could you talk about how you’ve prepared for his departure, given the huge role he’s played since season one?

KANG: We’ve known for a while that Andy needs to go home to his family. He’s the loveliest person to work with. He was so welcoming to me from the beginning of my time on the show, and the work we did together this season has been so gratifying and satisfying. He’s such a good person who cares so deeply about The Walking Dead. We love him and we’re a family behind the scenes. All we can focus on is trying to tell the very best story we can, one that does service to this character, that gives him amazing material to work on. It’s been really fun writing scenes with him and a lot of these characters that he’s been with for many years on the show. Because of where we are in the story, we’re able to tell some stories with our characters working together.

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Eric Newman Showrunner Narcos TV DRAMA: How did the subject matter for Narcos come to your attention and how much research went into the prep phase?

NEWMAN: I read a story about the drug war in 1996, so there were some 15 years of prep and research and thinking and reading, first alone, but [then] along the way, I talked people into joining the team. We became a unit that was dedicated to making this show work. We recruited the DEA guys to whom the story happened. We interviewed journalists, politicians, ex-police, ex-military, and after a long while we had put together a pretty comprehensive, exhaustive account of events.

TV DRAMA: How did you balance the facts and the chronology of the events against the dramatizations that were necessary to bring the story to life?

NEWMAN: Someone somewhere wrote about us and I’m very proud of this description; they called us “Pulp Non-Fiction.” I like that because I do feel that while we will take some liberties with time and composites of people involved in the story who might have a problem with how they are depicted, we’ve been pretty conservative about the degree to which we will change the story.

They are the story; the events [actually] happened. Sometimes events will happen in a compressed period of time, but for the most part, we will try to remain very true to the facts because authenticity is such an important part of our show.

TV DRAMA: How much input did the DEA agents have in crafting their characters and the story?

NEWMAN: We relied on the DEA and a lot on [agents] Javier Peña and Steve Murphy. They offered insights into the story that had not been widely reported in the kind of detail that we were looking for. This season we have new DEA agents because we have moved to Mexico, and they are very involved. In fact, we’ve tried to build in a visit each season for the DEA guys to come to the set and walk around the office that we have built for them and live in the story that we are telling.

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Jack Thorne Executive Producer & Writer National Treasure, Kiri TV DRAMA: Where did the idea for Kiri come from?

THORNE: My mum was a care worker.

She worked with adults with learning difficulties at a day center. She called them clients; I knew her clients very well [because] I grew up going to a day center after school. They were mostly adults with Down syndrome.

We would go over there often; they were part of our lives. That [idea] of people who care professionally and how it works inside their brain has always fascinated me. Toby Bentley, the script editor of National Treasure and producer of Kiri, and I were talking about adoption and the way it works. He said he thought there was something in that and we started investigating it. Then we came across transracial adoption, which is a massively contentious issue worldwide, in terms of how you preserve cultural understanding in kids who are not being brought up in the cultural environment that their [race] would suggest. That became the starting point. We thought, what is the story here and how do we manage to examine this issue? That was the complicated beginning of Kiri.

TV DRAMA: Do you write on your own or do you write with someone?

THORNE: I talk to people. Actually, on Kiri, there is one episode that is co-written because I got stuck. I knew another writer who I really admired, Rachel De-Lahay. I asked her to come in and help. She did help enormously and transformed it. And that was because I was talking about Black Lives Matter and I just felt like I wasn’t telling the truth. I felt I was worrying too much about offending people and not being honest as a writer. And Rachel, as a black writer, as a writer who has written about this issue so beautifully in the past, I felt would be able to help me. She was making her TV debut, and I’m very excited that we were her TV debut.

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EXECUTIVES

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Gina Brogi President, Global Distribution Twentieth Century Fox Television Distribution TV DRAMA: What are some of your considerations when you look to maximize the exposure and revenues of a given show?

BROGI: Our goal is to partner with broadcasters that will get behind our shows and work with us to market them in the best way possible. We are always looking to get as much exposure as we can for our series so that they launch properly in each individual market. Historically, we have tried to start with a free-to-air broadcaster where appropriate, but of course, that doesn’t work for every show, so our sales team has found creative ways to get the right exposure for our series and maximize revenue in this ever-changing, complex environment.

That could mean bringing a new model to a market like offering all windows to a multiplatform operator, or adapting to an existing market strategy like servicing basic-cable television and then going to a free-to-air buyer.

TV DRAMA: What are the main issues with stacking rights?

BROGI: Fiscal responsibility is a very important factor and also impacts what our plans are in a particular territory. Every situation is different; every market is different. With more broadcasters now having on-demand capability, their audiences are becoming more used to watching series in that way. However, we are seeing that for procedurals the stacking rights are less important, which makes sense given the nature of procedurals. We are also seeing that clients are more willing to pay for stacking for serialized programming so they can grow an audience over the span of a season.

They understand that if viewers happen to come in on episode six, and they haven’t seen the first five episodes, they likely will not watch the show. The ability to stack creates marketing and programming value. I like what Hulu has done in the U.S. with The Handmaid’s Tale, where when they roll out the new season, they don’t put it all up at once. If you put all the episodes up at once, the show doesn’t become part of the conversation. If you roll it out so that everybody’s on the same episode at the same time, you get a little more of a watercooler effect.

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Sophie Turner Laing CEO Endemol Shine Group TV DRAMA: Is it deep pockets or reputation that helps Endemol Shine get great names attached to projects?

TURNER LAING: It’s interesting, because the U.K. and the U.S. have different ways of producing drama. In Europe, as a rule, it’s all about the relationship between the production company and the writer. That is what comes first, followed by the development stage, then the on-screen and directing talent gets added later. What’s interesting in the U.S., however, is how big announcements are made before anything is developed. By comparison, the Europeans spend a lot more time in development, which can be equally frustrating because the Americans are brilliant at turning shows around very quickly. But for Endemol Shine, the key focus is on how to attract emerging writing talent, because the best-known British writers tend to be tied up. Yes, [access to talent] is very competitive, but our track record speaks for itself.

TV DRAMA: Endemol Shine International (ESI) is getting involved earlier and earlier in scripted projects.

TURNER LAING: Yes, Cathy Payne, who runs ESI, is very experienced in this world. We have a scripted board that reviews the big projects that need funding, and Cathy and her team are brilliant at knowing which are the best homes for each project because not every idea is going to work for every broadcaster. And whether it’s putting up distribution advances or getting the deals done, there can be great benefits to ESI getting involved earlier. These are complex funding models that have to be woven together.

TV DRAMA: Do changing viewing habits inform how you create content?

TURNER LAING: Nothing can get in the way of the fact that you need to start with a great idea, regardless of what screen it ends up on.

We are very fortunate that technology delivers new platforms on a regular basis, and how we partner with them is key. But equally, the traditional linear customers are very solid supporters of ours.

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Louise Pedersen CEO all3media international TV DRAMA: What results has your drama strategy yielded?

PEDERSEN: We started talking to producers about getting involved in their projects at a much earlier stage. That happened in two ways. One was getting involved on a project-by-project case at the development stage, which in essence is funding a treatment or a script. And the other way was forming first-look deals and relationships where we can have an overall slate deal with a production business and look at which projects in that slate we think would be great to develop further. That’s paid off. We’ve got some really great shows coming out of it. Then there are ongoing relationships with all3media group companies as they expand. Through this change in scripted strategy, we have become a bit more diverse in the kinds of shows we’re looking for and a bit more broad-minded about foreign-language drama in the context of that strategy.

TV DRAMA: How do you work with producers to help them shape product that might work in the international market?

PEDERSEN: We [have a] light touch about it. If you are a production company working on a show, we want to work with you, and we absolutely trust you to get that show right creatively. Perhaps we just give market intelligence on the pitch— what are the two lines that make your show unique? What are you trying to achieve? Of course, if you can back that up with a cast and a director with a track record, that’s great as well. But in essence, where we are really adding value is [by telling producers] how to make their show stand out, what we think the market wants, and how to bring out those points in the pitch.

Helping our production companies refine their pitches is where we can add value. We also give feedback on trends and developments: who’s looking for what, who is buying what, what opportunities there are. And, of course, writing a check is the biggest feedback, either for development or for top-off financing, deficit financing, or in some cases, a level of cocommissioning financing as well.

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Jane Millichip Managing Director Sky Vision TV DRAMA: How has the financing of drama changed?

MILLICHIP: On the big dramas, it’s evident that you need at least one big coproducing or financing partner. And that means that the management of risk is critical because if you don’t secure that co-production partner, that’s a significant portion of the budget that you have to carry. Most of our dramas assume a co-production or presale somewhere in the mix, particularly the Sky dramas. It used to be the case that a presale was top-up funding; now it’s core to the funding, and you need two key broadcasters and a distributor. The distributor’s advance is now required as core funding rather than being pure profit for the stakeholders. That has changed our risk profile; a much greater portion of sales is now required to recover advances and deficits, which increases our risk. In some ways, we’ve never had it better in drama—the quality has never been higher and we will never run out of stories. But do we have too many dramas to be able to fund them according to conventional business models? Possibly, yes. And it’s certainly the case that good is not good enough anymore. You have to be brilliant to break through. That adds to the risk management.

TV DRAMA: How is Sky Vision increasing its presence in international markets?

MILLICHIP: We are a furiously outward-looking business. We’ve built up our credibility and our profile on the idea that we offer bespoke scale. So we can handle some of the biggest projects.

We have the means to market those shows, but we don’t have a telephone-directory-style catalog, and we do not intend to. You need a certain amount of volume to give you the critical mass to make you an important distributor for buyers to engage with, and we do a lot of packaged deals, particularly in the factual area. But bespoke scale is very much our mission statement.

And in terms of our global reach, we have a great and wellestablished sales team.

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Robert Franke VP, Drama ZDF Enterprises TV DRAMA: What qualities do you look for in dramas to invest in?

FRANKE: Market segmentation is picking up speed, primarily driven by the streaming platforms. Even smaller shows tend to find an audience now.

That is great but also kind of scary. People in our industry are used to selling their flagships to hundreds of territories.

Now you have all these smaller shows popping up like mushrooms. People call it the golden age of television. In my mind, it’s the golden age of fragmentation. As a consequence, it’s important to become more diverse in the titles we’re adding to our catalog. There are smaller shows with great premises for niche audiences, and you have to find these viewers out there. It’s harder and harder to generate these worldwide hits.

TV DRAMA: How are you finding new creative talent?

FRANKE: We are trying to find ideas that have an international angle or that stand for quality. If it’s a new voice, a new writer, for example, we team them up with experienced creative talent. In a highly consolidated market, you have to take risks, you have to give emerging talent a chance to do something they believe is unique and you have to support them.

TV DRAMA: How do you craft a windowing strategy for each title?

FRANKE: There is no one-size-fits-all. We look at what we have and determine who are the most likely candidates to greenlight something like this. And then we try to get feedback as early as possible. And then work out a strategy together with them. If you go to a large SVOD platform and they turn something into an original show, there isn’t much windowing you can do. You have to ask yourself, Is it the right thing to do for the show? It might be, and sometimes you have to say, No, this is not what I want, we are aiming for a different type of exposure and we’d rather sell it off one by one. It’s always weighing the strategic value of a deal versus the commercial value.

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Fredrik af Malmborg Managing Director Eccho Rights TV DRAMA: Long-running drama series, where there are hundreds of episodes, can be a challenge for OTT platforms.

How are you negotiating that with your Turkish shows?

AF MALMBORG: We know that Turkish shows are incredibly big on YouTube. We know the viewing is there. Turkish drama consumers are used to getting it for free.

But we have 500 hours of Turkish drama on Netflix, so it is there. Most Turkish dramas are made for linear TV. That’s where they perform the best. But we launched Phi, an OTT series, last year and have sold it into a number of countries.

Things are being done in Turkey that are shorter. But I admit it’s a bit of a dilemma [for OTT services]. For SVOD we’re doing more deals on Turkish movies, for example, because movies work very well on SVOD. TV DRAMA: What’s resonating with your clients in Eastern Europe?

AF MALMBORG: We have a number of Turkish shows that sell very well. We’ve started to sell more Scandinavian shows, and we are also selling some Russian and Ukrainian series. The demand is quite high in Eastern Europe. [Interest in] Turkish drama shows no sign of weakening. And then we’re selling more and more to the VOD platforms. Poland is taking off well with Turkish drama.

We’ve had series there for quite some time, but there’s still a good demand and the prices are increasing. We sold out in Bulgaria and Romania, and Hungary buys a lot. Croatia has been a bit weak in Turkish drama, but they’re coming back. And in general, there is strong growth in dramas that are produced locally.

TV DRAMA: How are Turkish series doing in Western Europe?

AF MALMBORG: We’ve had success with Turkish dramas in Sweden. They run every day on SVT. The really big thing is the success of Turkish drama in Spain. Fatmagül premiered earlier this year [on Nova]. Fatmagül is also doing well in France, and we have previously seen Turkish series delivering very strong results in Italy.

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Can Okan Founder & CEO Inter Medya TV DRAMA: What is the position of Turkish dramas in the global market today?

OKAN: Turkey has become the secondbiggest exporter of TV series following the U.S., with the current volume estimated to exceed $300 million. The Turkish Exporters’ Assembly plans [for the industry] to reach $1 billion in content exports by 2023. More than 150 Turkish series have been sold abroad and watched by more than 500 million viewers in 100-plus countries. The number of territories where Turkish content is finding its way is increasing every day. In fact, Turkish series are now being watched in Western Europe. There is no doubt that other European countries will soon follow the Turkish drama trend.

TV DRAMA: Can Turkish dramas continue to sustain their popularity in the international market?

OKAN: Turkish drama series have been so successful everywhere because of their exciting and captivating scenarios, outstanding production quality and their attractive and talented casts. While classic Turkish dramas with more conventional stories featuring love triangles and betrayals are still extremely popular, new genres are starting to attract more and more interest across the globe. Dramas with some comedy elements, such as Hayat, and dramas with some criminal features, like The Pit, are generating a new trend in the Turkish television industry.

TV DRAMA: How has Inter Medya contributed to the success of Turkish content?

OKAN: By following an aggressive marketing strategy, we have tried to maximize our company’s visibility to consistently and reliably spread the Turkish TV and film industry outside of Turkey.

We have managed to earn our clients’ trust and loyalty by providing them with an up-to-date catalog and a satisfactory and sustained service record. Following a pricing policy respected by our partners, our most important achievement is that our trustworthy work relationships have spread in many countries.

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David Ellender President, Global Distribution & Co-Productions Sonar Entertainment TV DRAMA: How did Sonar come to be involved in Das Boot?

ELLENDER: Bavaria Fiction owns the underlying rights to the book and the original 1981 Wolfgang Petersen movie. Sky Deutschland came on board, and then we followed very shortly after. This was at the very early stage—it was more an idea rather than a fleshed-out project. We didn’t want to do a remake or sequel. We wanted to be true to the material by creating another U-boat mission, and then taking it into a new world with different characters.

We decided that 50 percent of it should be a French resistance story told on the land. We took the production into Europe; not just in France and Germany but also the Czech Republic and Malta. When having the scripts written, we mixed German, U.K. and French writers. That gave the project a very balanced view. It was a challenge in many ways. The scripts were written in their mother tongues and then translated into English. A lot of the production meetings were trilingual. There were a lot of early-morning calls for us, and a number of transatlantic visits to the various sets in Europe.

TV DRAMA: As you move forward with your co-pro strategy, are you looking to employ a similar model as the one for Das Boot?

ELLENDER: All of our dramas have been constructed differently. We focus on having a broad development portfolio—something for every type of platform, from streamers to premium to basic cable to free-to-air channels. We have a significant U.S. focus, but we’re also looking for co-production or straight-to-distribution projects in the international market. First and foremost, we’re looking for great stories and great storytellers, and then from that we’ll determine, what does the structure of this project look like? We don’t necessarily bring a cookie-cutter approach to what we’re going to do because the partners will vary on each project. If it sits on a streamer, it will look very different from a project on basic cable. So we have to be pragmatic and to some degree also a little bit opportunistic. The landscape is continually changing with new platforms and new opportunities with new partners.

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Christian Vesper Executive VP & Creative Director, Global Drama Fremantle TV DRAMA: Are existing IP and recognizable names necessary to cut through in the current drama marketplace?

VESPER: A good idea with a good writer attached always stands a good chance.

The minute you start saying what everyone is looking for, it changes. The SVODs really want projects to come to them set up already with talent. With those projects, IP really helps, [as does] a wellknown writer or director who people trust. And if you happen to have a big piece of casting talent, all the better. That makes it easier to set up. But also, the challenge we have as distributors and producers—we’re both—is how to push the conversation toward new ideas. What is clearly going to work and where are the edges of what is new and interesting?

TV DRAMA: How are you finding new voices?

VESPER: We spend a lot of time at the theater and watching movies from festivals and talking to reps we trust who are great at cultivating new talent. The tricky part is, how do you pair them with a producer or writer that the networks or SVODs trust?

That’s a role we can play as producers who work across various production companies. We have a lot of producers within our group, like Wildside and Kate Harwood’s Euston Films, who have been around for a long time and are trusted by commissioners.

It’s that alchemy of putting all the right pieces together.

TV DRAMA: How developed does a show need to be before you start pitching it?

VESPER: It depends on the project. When I was a commissioner, it was great when someone came in and knew the end of the season. But if someone like Steven Soderbergh comes in and has a nugget of an idea, you’re probably going to go for it. Then you look at a lot of the European directors we work with. We’ll go out with a novel-sized outline where they thought the whole season through—it’s just the way they develop—because they see it as a movie. That definitely helps.

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DISTRIBUTORS

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ABS-CBN Corporation ADDRESS: 10/Fl., ELJ Building, Mother Ignacia St., Diliman, Quezon City 1103, Philippines TELEPHONE: (63-2) 415-2272 WEBSITE: internationalsales.abs-cbn.com VP/HEAD, INTEGRATED ACQUISITIONS & INTERNATIONAL SALES DISTRIBUTION: Macie F. Imperial SALES HEAD, ASIA: Pia Laurel SALES HEAD, EMEA: Laarni Yu ACQUISITIONS HEAD: Rachel Simon CONTACT: internationalsales@abs-cbn.com PROGRAMS: Betrayal: 45 min. eps., drama/romance, ABS-CBN, ABS-CBN, Philippines; Now & Forever: 45 min. eps., drama/romance, ABS-CBN, ABS-CBN, Philippines; Secrets of El Paraiso: 45 min. eps., drama/romance, ABS-CBN, ABS-CBN, Philippines; The Blood Sisters: 45 min. eps., crime/ drama, ABS-CBN, ABS-CBN, Philippines; Asintado: 45 min. eps., crime/drama, ABS-CBN, ABS-CBN, Philippines; The Good Son: 45 min. eps., crime/drama, ABS-CBN, ABS-CBN, Philippines; Since I Found You: 45 min. eps., drama/romance, ABS-CBN, ABS-CBN, Philippines; I’ll Never Say Goodbye: 45 min. eps., drama/romance, ABS-CBN, ABS-CBN, Philippines; Lost Hearts: 45 min. eps., family drama, ABS-CBN, ABS-CBN, Philippines; La Luna Sangre: 45 min. eps., fantasy/drama, ABS-CBN, ABS-CBN, Philippines.

“As the leading content provider of Filipino TV drama all over the world, ABS-CBN proudly introduces its newest prime-time series at MIPCOM this year. Jericho Rosales, dubbed as the Asian prince of drama, is back with his hottest romantic drama series, Betrayal. We are also introducing our newest love teams: Joshua Garcia and Julia Barretto of Now & Forever and Barbie Imperial and JM de Guzman of Secrets of El Paraiso. These dramas have been receiving rave reviews and are consistently enjoying high ratings in prime time. We are very excited for our partners and clients to see the latest drama offerings of ABS-CBN. We are also very keen to create production alliances with our Asian and Western counterparts. ABS-CBN is known for telling engaging stories that have captivated even nonFilipino viewers globally, and we believe that co-production partnerships will boost more Filipino dramas in the international arena.”

—Macie F. Imperial, VP/Head, Integrated Acquisitions & International Sales Distribution 28

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all3media international ADDRESS: Berkshire House, 168–173 High Holborn, London WC1V 7AA, U.K. TELEPHONE: (44-20) 7845-4350 EXECUTIVE VP, CONTENT: Maartje Horchner WEBSITE: www.all3mediainternational.com CONTACT: Rachel Glaister, rachel.glaister@all3media.com PROGRAMS: Strangers (White Dragon): 8x60 min., thriller/ drama, Two Brothers Pictures, ITV, U.K.; Informer: 6x60 min., thriller, Neal Street Productions, BBC One, U.K./Amazon Prime, U.S.A.; Agatha Raisin: S2 3x90 min./6x45 min., drama, Free@LastTV/Company Pictures/Acorn Media Enterprises, Acorn TV, U.K./U.S.A.; Cheat: 4x60 min., thriller, Two Brothers Pictures, ITV, U.K.; Blood: 6x60 min., thriller/drama, Company Pictures, Virgin Media Television, Ireland; Playing for Keeps: 8x60 min., drama, Screentime, Network Ten, Australia; The Brokenwood Mysteries: S5 4x120 min., drama, South Pacific Pictures, Prime, New Zealand; Clique: S2 6x60 min., drama, BBC Studios/Balloon Entertainment/POP, BBC Three, U.K./BBC Scotland.

“We continue to distribute world-class drama from the best producers in the business, from Neal Street Productions’ gripping Informer, which follows a young second-generation immigrant coerced to go undercover for a counterterrorism officer, to Two Brothers Pictures’ Hong Kong setting for Strangers a.k.a. White Dragon, where, after his wife’s untimely death, Jonah Mulray discovers that she was leading a dangerous double life. Two Brothers Pictures also brings us Cheat, a thriller featuring two strong female leads in an academic surrounding, while fresh from Company Pictures are Blood, an intimate psychological thriller set in Ireland, and, together with Free@LastTV, Agatha Raisin series two, the murder mystery with more than a hint of humor. New from Screentime is the Australian drama Playing for Keeps, a contemporary and glamorous mystery set on the sidelines of professional football. South Pacific Pictures’ The Brokenwood Mysteries and Balloon Entertainment’s Clique return for further series.”

—Maartje Horchner, Executive VP, Content

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ATV ADDRESS: Gayrettepe mah. Barbaros Bulvari, Cam Han, No: 153 Kat: 8 Beşiktaş, 34353 Istanbul, Turkey TELEPHONE: (90-212) 381-2848 WEBSITE: www.atvdistribution.com GENERAL MANAGER: Metin Ergen LICENSING & DIGITAL MANAGER, ACQUISITION & SALES, PLATFORMS: Ziyad Varol HEAD, DRAMA TEAM: Gurhan Ozciftci CONTACT: Merve Altuncu, merve.altuncu@atv.com.tr PROGRAMS: Lifeline: 72x45 min., drama; Don’t Leave Me: 110x60 min., drama; Broken Lives: drama; Love and Hate: 111x45 min., drama; Orphan Flowers: 297x45 min., drama; Wedlock: 137x45 min., drama; She Was Pretty: 28x120 min., romance; Stolen Life: 100x45 min., drama; Torn Apart: 66x45 min., drama; Price of Love: 60x45 min., drama.

“Turkuvaz Media Group (TMG), one of the largest media groups in Turkey, operates in television and radio broadcasting, newspaper and magazine publication and printing. Its flagship TV channel, ATV, was launched in 1993. Throughout the years, ATV has followed its motto to be at the top, without sacrificing quality, thus becoming a jewel in the crown of Turkuvaz Media Group. ATV, with its powerful advertising capability, has had an active role in shaping Turkish television over the years.

The channel is renowned for its enthralling dramas, hilarious comedies, action-packed series and engaging sitcoms—all of which are produced at the highest quality. TMG and ATV prioritizing quality has earned ATV a Quality Medal (QUDAL) from the independent Swiss organization ICERTIAS. With its creative and pioneering outlook, ATV successfully produces many unique and original programs, bringing an abundance of fabulous stories and first-rate actors into your homes via the TV screen.”

—Corporate Communications

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Dori Media Group ADDRESS: 2 Raul Wallenberg St., Tel Aviv 6971901, Israel TELEPHONE: (972-3) 647-8185 WEBSITE: dorimedia.com PRESIDENT & CEO: Nadav Palti VP, SALES, DORI MEDIA DISTRIBUTION: Carolina Sabbag CEO, DORI MEDIA DARSET: Jonathan Faran CONTACT: Einat Borovich-Naim, einat@dorimedia.com PROGRAMS: Eilat: 50x30 min., teen/adventure, Dori Media Darset, HOT, Israel; El Marginal (The Outsider): S1 13x45 min., S2 8x45 min., crime, S1 Underground Producciones/TV Publica, S2 Underground Producciones/Contenidos Publicos, TV Publica, Argentina; The New Black: 12x30 min., comedic, Dori Media Darset, HOT, Israel; Las Estrellas (5 Stars): 120x60 min., romantic comedy, Pol-ka Producciones/Dori Media International, Canal 13, Argentina; The Road to Calvary: 12x45 min., drama, NTV Broadcasting Company/Russian World Studio, NTV, Russia; Dumb: 50x35 min., crime, Dori Media Darset, HOT, Israel; Complicated: 10x30 min., crime, Dori Media Darset, Channel 10, Israel; Full Moon: 100x30 min., daily drama, Dori Media Darset/Slutzky Communications, HOT Entertainment Channel, Israel; Por Amarte Asi (Loving You): 60x60 min., telenovela, Kuarzo Endemol Argentina/CTV Contenidos/Azteka Films, Telefe, Argentina; Game Over: 6x30 min., comedic, Pre2Post, Channel 10, Israel.

“The growing trend for scripted series continues, both for weekly prime-time and daily shows. Therefore, the key to success is to meet the market demand with many new productions. The main challenge for content creators is glocalization: to create a format that works locally but at the same time is global—that can travel and be successful worldwide. Dori Media’s catalog consists of content that travels worldwide.

Ideas, concepts, storylines and even the looks of the casts in our dramas can be suitable all over the world.

Dori Media Group is an international group of media companies, located in Israel, Switzerland, Argentina, Spain and the Philippines. The group produces and distributes TV and newmedia content, broadcasts various TV channels and operates video-content internet sites. The group owns approximately 6,500 TV hours, more than 7,000 three-minute clips, 120 nine-minute webisodes and around 556 one- to five-minute cellular episodes.”

—Nadav Palti, President & CEO

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Escapade Media ADDRESS: Level 2, Building 61, Fox Studios Australia, 38 Driver Ave., Moore Park, NSW 2021, Australia TELEPHONE: (61) 411-035317 WEBSITE: www.escapademedia.com.au MANAGING DIRECTOR: Natalie Lawley CONTACT: natalie@escapademedia.com.au PROGRAMS: 600 Bottles of Wine: 8x9 min./4x18 min., comedic, BBC, U.K./Network Ten, Australia/TVNZ, New Zealand; Undocumented: 10x30 min. 4K, comedic; The Art of Killing: 6x60 min., crime, U.K.; When We Go to War: 6x60 min., war, TVNZ, New Zealand; Tomorrow When the War Began: 6x45 min., drama, ABC3, Australia.

“When Escapade formed, our ambition was to develop and represent very distinct projects with strong commercial appeal. We also wanted to work with partners and creative teams developing content with strong and diverse characters at its core. All of the above projects represent this. The creative teams responsible for each of these titles are outstanding, and we look forward to introducing our new projects and providing significant updates on those in the development stage.”

—Natalie Lawley, Managing Director

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Gaumont ADDRESS: 750 N. San Vicente Blvd., #1550, West Hollywood, CA 90069, U.S.A. TELEPHONE: (1-424) 281-5200 WEBSITE: www.gaumont.us VICE CEO: Christophe Riandee PRESIDENT, WORLDWIDE TV DISTRIBUTION & CO-PRODUCTION: Vanessa Shapiro CONTACT: sales@gaumont.com PROGRAMS: El Chapo: 34x60 min., true-life drama, Story House Entertainment, Univision, U.S.A.; Narcos: 40x60 min., truelife drama, Gaumont, Netflix, U.S.A.; NOX: 6x60 min., thriller, Gaumont, Canal+, France; The Frozen Dead: 6x60 min., thriller, Gaumont, M6, France; Relationship Status: 36x10 min./ 13x22 min., millennial drama, DiVide/StyleHaul/Full Fathom Five, go90, U.S.A.; The Art of Crime: 12x60 min., procedural, Gaumont, France 2, France; Bellevue: 8x60 min., mystery, Muse Entertainment/Back Alley Film Productions, CBC, Canada; Hannibal: 39x60 min., thriller, Gaumont, NBC, U.S.A.; Hemlock Grove: 33x60 min., thriller, Gaumont, Netflix, U.S.A.; Crime Time: 4x52 min., thriller, Vivendi Content, Studio Plus, France.

“Gaumont is a producer and distributor of highquality programming for the U.S. and international markets and part of the motion picture studio Gaumont. This year, the company will be focused on developing new TV co-production alliances and launching new divisions around the world, including Gaumont Germany and Gaumont U.K., focusing on developing and producing scripted drama series. At MIPCOM, we will be debuting our latest acquisition, El Chapo, a series that explores the life story of drug kingpin Joaquín “El Chapo” Guzmán, one of the world’s most notorious criminals. Our drama series include the Emmy- and Golden Globe-nominated Narcos, currently in production for season four for Netflix; the limited series NOX, a Creation Originale series produced for Canal+ that debuted in March this year; two seasons of The Art of Crime, which we produced for France 2, with season two debuting later this year; and The Frozen Dead, a limited series that we produced for M6. The latter two series debuted in France with over 4 million viewers.”

—Vanessa Shapiro, President, Worldwide TV Distribution & Co-Production

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Global Agency ADDRESS: Abdi Ipekci Caddesi, Park 19, K3, 34367 Nisantasi, Sisli, Istanbul, Turkey TELEPHONE: (90-212) 240-5769 WEBSITE: www.theglobalagency.tv FOUNDER & CEO: Izzet Pinto HEAD, DRAMA ACQUISITIONS: Senay Filiztekin CONTACT: Fahriye Senturk, fahriye@theglobalagency.tv PROGRAMS: Daydreamer: 120 min. eps., dramedy, Gold Film, Star TV, Turkey; Breathless: 120 min. eps., drama, TMC, Star TV, Turkey; Waves: 113x60 min., drama, TMC, Kanal D, Turkey; Meryem: 90x60 min., drama, TMC, Kanal D, Turkey.

“Established in 2006, Global Agency is the world’s leading independent TV content distributor of series, formats and films for global markets. Global Agency was founded in the second half of 2006 with only one project and a team of two people. It now has 150 projects and a team of 28 people. Our company slogan is ‘Content that Creates Buzz’ and we live up to it through the distribution of our hit content, including Magnificent Century, 1001 Nights, Broken Pieces, Keep Your Light Shining, Perfect Bride, Shopping Monsters and The Remix.

In just a few short years, we have become one of the fastest-growing distributors in the industry, thanks to our strong lineup of content and our experienced team. Our catalog includes formats and series from around the world, and due to our long-established relationships with some of the world’s most creative individuals and companies, we are able to offer buyers the hottest new content throughout the year.

At Global Agency, we are committed to acquiring the highest quality and most original new content through our partnerships with leading broadcasters and production companies in all the major territories. With an international team, and bases in Turkey, France, the U.K. and Spain, our knowledge of the global entertainment industry allows us to find and sell cutting-edge content that can be adapted in territories around the world. We have built a reputation for our dynamic and high-profile marketing strategy and attending over 15 international markets a year is a major part of our global reach.”

—Corporate Communications

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Global Screen ADDRESS: Sonnenstrasse 21, 80331 Munich, Germany TELEPHONE: (49-89) 24412-95507 WEBSITE: www.globalscreen.de MANAGING DIRECTOR: André Druskeit HEAD, TV SALES & ACQUISITIONS: Alexandra Heidrich CONTACT: alexandra.heidrich@globalscreen.de PROGRAMS: After the Crash: 4x52 min., thriller, CPB Films, M6, France; Rule of Light: If Justice Could See: 6x48 min., drama, Olga Film, Das Erste/rbb, Germany; Sophie: A New Beginning: 10x48 min., romantic comedy, KeyFilm/Millstreet Films, RTL NL, Netherlands; The Weissensee Saga: 24x48 min., drama, Ziegler Film, ARD Degeto, Germany; The Joshua Profile: 1x105 min., thriller, UFA Fiction, RTL, Germany; Racko: No Better Friend!: 13x25 min., family series, Filmbüro Münchner Freiheit, BR, Germany; Let it Glow: How Pauline Saved Christmas: 24x15 min., family series, Wunderwerk, KiKA, Germany; ZombieLars: 26x15 min., dramedy, Tordenfilm, NRK Super, Norway; The Undertaker: 40x58 min., crime, Snakefilm, SRF, Switzerland; Streets of Berlin: 8x48 min., crime, EIKON Media/Real Film/Studio.TV.Film/Wiedemann & Berg Television, rbb/Das Erste, Germany.

“From an exciting thriller miniseries about the sole survivor of an airplane crash in the late ’70s to an extraordinary legal drama series—get ready for Global Screen’s promising TV highlights at this year’s MIPCOM. The leading international sales and distribution company can’t wait to reveal the first glimpse of the book-to-TV adaptation of Michel Bussi’s best seller After the Crash, translated into over 20 languages and with more than a million books sold. The miniseries produced for M6 is sure to become a hot commodity right away. An attorney you can trust blindly comes along with Rule of Light: If Justice Could See, a fresh lawyer series, inspired by the true stories of Germany’s first blind-from-birth criminal defense lawyer. Last but not least, there is a new best friend on four paws joining Global Screen’s family-entertainment catalog: Racko, a family series about a boy and his dog with the picturesque backdrop of the Prealps.”

—Corporate Communications

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Inter Medya ADDRESS: Istanbloom, Kore Sehitler Caddesi, 16/1 Zincirlikuyu, 34394 Istanbul, Turkey TELEPHONE: (90-212) 231-0102 WEBSITE: www.intermedya.tv FOUNDER & CEO: Can Okan COO: Ahmet Ziyalar CONTACT: info@intermedya.tv PROGRAMS: The Pit: drama, Ay Yapim; Flames of Desire: drama, Most Production; Mrs. Fazilet and Her Daughters: drama, Avşar Film; Broken Wings: drama, Koliba Film.

“Founded in 1992, Inter Medya has established itself as one of the most successful content distributors in Turkey. Specializing in the sales of Turkish TV series and feature films, the company has also recently started to develop and produce entertainment and reality formats, taking important steps to becoming a significant content distributor in the field.

The company managed to earn its clients’ trust and loyalty through a satisfactory and sustained service record and a library that always manages to stay current. Consistently and reliably [expanding] the Turkish TV, film and format industry into the foreign market, the company is adamant about developing and increasing this contribution in the coming years.”

—Can Okan, Founder & CEO

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Kanal D International ADDRESS: Demirören Medya Center, 100.Yil Mah 2264 sk., No: 1, 34204, Bagcilar, Istanbul, Turkey TELEPHONE: (90-212) 413-6090 WEBSITE: kanald.international EXECUTIVE DIRECTOR: Emrah Turna SALES EXECUTIVE, AMERICAS & SPAIN: Mikaela Perez SALES EXECUTIVE, WESTERN EUROPE, MIDDLE EAST & AFRICA: Selim Türkmen SALES EXECUTIVE, CIS, ASIA & AUSTRALIA: Salmi Gambarova SALES EXECUTIVE, CENTRAL & EASTERN EUROPE: Ekin Koyuncu OPERATIONS SPECIALIST: Dilara Kervancioğlu CONTACT: dilara.kervancioglu@kanald.com.tr PROGRAMS: Price of Passion: 96x45 min. HD, romance, Kanal D, Turkey; Wounded Love: 168x45 min. HD, period drama, Kanal D, Turkey; Big Fat Lies: Kanal D, Turkey; For My Son: 82x130 min./241x45 min., romance, Kanal D, Turkey; Sunshine Girls: 39x135 min./113x45 min. HD, drama, Kanal D, Turkey; Sweet Revenge: 30x140 min./82x45 min. HD, romance, Kanal D, Turkey; Matter of Respect: 26x130 min./76x45 min. HD, family drama, Kanal D, Turkey; Waiting for the Sun: 54x110 min.

HD, drama, Kanal D, Turkey; A.K.A. Legend: 29x140 min./ 86x45 min. HD, teen drama, Kanal D, Turkey.

“Kanal D International is a global media company creating world-class content. The team works with some of the best creative talents in the business, with a catalog containing a diverse and exciting range of programming spanning dramas, miniseries, soap operas, formats and library titles.

With its innovative approach to management and creative projects, Kanal D International reaches a wide profile of audiences in more than 150 countries.”

—Corporate Communications

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MarVista Entertainment ADDRESS: 10877 Wilshire Blvd., 10/Fl., Los Angeles, CA 90024, U.S.A. TELEPHONE: (1-424) 274-3000 WEBSITE: www.marvista.net SENIOR VP, CREATIVE AFFAIRS: Hannah Pillemer HEAD, DISTRIBUTION & ACQUISITIONS: Jody Cipriano CONTACTS: hpillemer@marvista.net, jcipriano@marvista.net PROGRAMS: A Wicked Vendetta: 1x90 min., thriller, MarVista Entertainment/Dawn’s Light, Lifetime, U.S.A.; The Sinister Surrogate: 1x90 min., thriller, MarVista Entertainment, Lifetime, U.S.A.; Cradles for Cash: 1x90 min., thriller, MarVista Entertainment, Mediaset, Italy; Sins and Seduction: 1x90 min., thriller, MarVista Entertainment, TF1, France; Fallen Queen: 1x90 min., thriller, MarVista Entertainment, TF1, France; Deadly Switch: 1x90 min., thriller, MarVista Entertainment, TF1, France; A Focus to Kill: 1x90 min., thriller, MarVista Entertainment, Lifetime, U.S.A.; Hidden Intentions: 1x90 min., thriller, MarVista Entertainment, Lifetime, U.S.A.; Killer Night Shift: 1x90 min., thriller, MarVista Entertainment, Lifetime, U.S.A.; Only Mine: 1x90 min., thriller, MarVista Entertainment, TF1, France.

“MarVista Entertainment is an independent entertainment studio with a mission to produce, acquire and distribute premium film and television programming worldwide. With a library showcasing nearly 2,500 hours of content, MarVista produces and/or distributes approximately 60 movies per year across all genres, as well as launched into scripted series production with its first drama series, Rebel, from executive producer John Singleton, that premiered on BET. MarVista’s expansive distribution footprint spans more than 125 global territories and has grown to become a preeminent supplier of programming to channels in the U.S., including Disney Channel/Disney XD, Lifetime, Hallmark Channel, NBCUniversal and Nickelodeon, as well as key international broadcasters, cable networks and digital platforms, including Netflix. MarVista’s recent projects include the 2017 Sundance Film Festival feature Bitch and 2018 Tribeca Film Festival feature Seven Stages to Achieve Eternal Bliss, the first two films in a multi-project partnership deal with Elijah Wood’s Company X/SpectreVision; King Kong Skull Island, a live-action series currently in development; and the original limited series Best.Worst.Weekend.Ever. for Netflix.”

—Corporate Communications

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Mediaset España Comunicación ADDRESS: Federico Mompou 5 Bis., 28050 Madrid, Spain TELEPHONE: (34) 9139-66300 WEBSITE: www.sales.mediaset.es HEAD, SALES DEPARTMENT: Silvia Cotino Estornell HEAD, DRAMA ACQUISITIONS: Ghislain Barrois HEAD, DRAMA DEVELOPMENT: Arantxa Ecija GENERAL CONTENT MANAGEMENT DIVISION: Manuel Villanueva CONTACT: infosales@mediaset.es PROGRAMS: State Secrets: 13x70 min., thriller, Mediaset España/ Melodia Producciones, Telecinco, Spain; Unauthorized Living: 13x70 min., S2 ordered, thriller, Mediaset España/Alea Media, Telecinco, Spain; Truth: 16x70 min., thriller, Mediaset España/Plano a plano, Telecinco, Spain; I Know Who You Are: 16x70 min., thriller, Mediaset España/Filmax, Telecinco, Spain; El Principe: 31x70 min., thriller, Mediaset España/Plano a plano, Telecinco, Spain; She Is Your Father: 13x70 min., comedic, Mediaset España/La Competencia, Telecinco, Spain; Hidden Behind Her Eyes: 4x80 min., historical, Mediaset España/MOD, Telecinco, Spain; Our Guys: 3x80 min., thriller, Mediaset España/Melodia Producciones, Telecinco, Spain; Cain’s Father: 2x80 min., thriller, Mediaset España/Boomerang, Telecinco, Spain; Stolen Kids: 2x80 min., thriller, Mediaset España/MOD, Telecinco, Spain.

“We are the reference in the film and television sector [in Spain] thanks to the production and [broadcast] of the most-seen TV series and films in the country. Historically, we have innovated in the creation of new TV languages, with which we have prominently contributed to the development of an audiovisual industry that has an enormous recognition at both national and international levels.

In series, we are currently filming El Pueblo, Señoras del (h)AMPA and Brigada del Sol, three titles that address very different worlds. We have recently finished filming Los Nuestros 2 and Secretos de Estado, and we are about to premiere the first season of Vivir Sin Permiso, which has a second season in production.

Also, a new season of the hit La Que Se Avecina will premiere together with the second season of La Verdad.

Regarding cinema, for the last four years, we have been audience leaders with the most-seen films in Spanish history. Many are produced in English in very different genres such as Ocho apellidos vascos, Ocho apellidos catalanes, Lo Imposible, Un monstruo viene a verme, El laberinto del Fauno, Perfectos desconocidos, El Orfanato, Ágora, Alatriste and Las aventuras de Tadeo Jones.”

—Manuel Villanueva, General Content Management Division 50

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MISTCO ADDRESS: Murat Reis Mah, Yeni Ocak Sok, No: 45 34664 Uskudar, Istanbul, Turkey TELEPHONE: (90-216) 695-1300 WEBSITE: www.mistco.tv VP, SALES & MARKETING: Aysegul Tuzun SALES & MARKETING MANAGER: Beyza Nur Torun CONTACT: info@mistco.tv PROGRAMS: Hold My Hand: 100x45 min., romance, Us Yapim, TRT, Turkey; Two Parts One Love: 100x45 min., family series, Kopru Film, TRT, Turkey; Resurrection: Ertugrul: S1-5 360x45 min. total, epic, Tekden Film, TRT, Turkey; The Last Emperor: S1-3 250x45 min. total, epic, Es Film, TRT, Turkey; The Prisoner of Love: 227x45 min., romance, Karamel Yapim, TRT, Turkey; Mehmetcik: Kûtulamâre: 34x140 min., epic, Bozdag Film, TRT, Turkey; Lion Family: 35x140 min., family series, Es Film, TRT, Turkey; Let’s Go: 30x150 min., family series, Staff Film, TRT, Turkey.

“Representing a huge catalog consisting of more than 50 titles, we offer very diversified genres of drama series and all of them, including library titles, are of high quality and feature successful plots. The new drama to be launched at this MIPCOM, Hold My Hand, is a romantic love story following a handsome young boy named Cenk and a beautiful young girl named Azra, who tragically loses her father and finds herself out in the streets with no money or home. The show has been the leader in terms of ratings so far, and we expect this success to be reflected globally. Also, regarding the rest of our dramas, Resurrection: Ertugrul is currently airing in season five and is still our [leading] content; we are very pleased with its fame worldwide. Another highlight is our strong title The Last Emperor, airing in season three. The series reveals the games and traitors that the last, strongest Ottoman emperor, Abdulhamid Han, faced during his reign.”

—Aysegul Tuzun, VP, Sales & Marketing

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Onza Distribution ADDRESS: Calle Muntaner 340 3º 2, 08021 Barcelona, Spain TELEPHONE: (34-93) 827-5326 WEBSITE: www.onzadistribution.com MANAGING PARTNER: Gonzalo Sagardía MANAGING DIRECTOR: Jessica Ortiz CONTACT: jortiz@onzadistribution.com PROGRAMS: Little Coincidences: 8x50 min., romantic comedy, Onza Entertainment/Atresmedia/Medio Limon, Atresmedia Television, Spain; The Gipsy Heiress: 119x50 min., romance, Plural Entertainment, TVI, Portugal; The Value of Life: 55 min. eps., romance, Plural Entertainment, TVI, Portugal; Dalia: 4x70 min., drama, CTV, Televisión Gallega, Spain; The Pretender: 113x50 min., drama, Plural Entertainment, TVI, Portugal.

“Onza Distribution is an international audiovisual content distributor with a focus on global exploitation and transmedia. We work intensely on five continents, having a presence in the main international markets.

It’s a good moment for Spanish fiction; our productions have great international prestige, which is helping us a lot when distributing this content. The production and demand for Spanish content are growing. Onza Entertainment [is in] production on many series such as Little Coincidences and Hernan Cortéz, a Mexican co-production with Dopamine, both with great potential for the international market.

Our goal is to keep growing in the local market and supporting the best creative talents of our country. At the same time, we want to concentrate on international co-productions for which we can contribute as local partners for the Spanish and Latin American markets. Fiction is an important genre, but we don’t want to lose focus on the other quality content [such as] docu-reality and current affairs. Additionally, [we want to] act as partners for audiovisual producers and TV channels, to facilitate their access to a massive global market full of opportunities.”

—Jessica Ortiz, Managing Director

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Record TV ADDRESS: Rua da Várzea, 240, Barra Funda, 01140-080 São Paulo–SP, Brazil TELEPHONE: (55-11) 3300-4022 WEBSITE: www.recordtvnetwork.com INTERNATIONAL SALES DIRECTOR: Delmar Andrade INTERNATIONAL SALES MANAGER: Edson Mendes CONTACT: emendes@recordtv.com.br PROGRAMS: Jesus: HD, soap opera; Leah: HD, series; Apocalypse: HD, soap opera; Belaventura: 134x45 min. HD, soap opera; The Rich and Lazarus: 187x45 min. HD, soap opera; The Promised Land: 179x50 min. HD, soap opera; The Slave Mother: 151x60 min. 4K, soap opera; Moses and the Ten Commandments: 242x60 min. HD, soap opera.

“Record TV was created in September 1953. Back then, Record was one of the broadcasters that helped popular Brazilian music evolve, and its history is made up of a series of successful shows. The company’s initiatives help Brazil’s society and culture. Record is today the oldest broadcaster in Brazil, still scoring excellent ratings and extending its market share in the Brazilian landscape. Record TV has strengthened its performance in the international market by giving foreign clients and viewers some of the highest-quality products from Brazil. The company’s list of products features telenovelas, series and documentaries, synonymous with information, entertainment, culture, diversity and tremendous success.”

—Corporate Communications

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Red Arrow Studios International ADDRESS: Medienallee 7, 85774 Unterfoehring, Germany TELEPHONE: (49-89) 9507-7303 WEBSITE: redarrowstudios.com/international PRESIDENT: Henrik Pabst EXECUTIVE VP, GLOBAL SALES: Bo Stehmeier SENIOR VP, ACQUISITIONS: Alex Fraser CONTACT: sales@redarrowstudios.com PROGRAMS: Death and Nightingales: 3x60 min./2x90 min., period drama, The Imaginarium/Soho Moon Pictures, BBC Two, U.K.; Australian Gangster: 2x90 min./4x45 min., crime, Roadshow Rough Diamond/Screen Australia/Create NSW, Channel Seven, Australia; Checkout!: 21x24 min., comedic, July-August Productions, Channel 10, Israel; All or Nothing: 250x30 min., daily drama, Producers at Work, SAT.1, Germany; Lice Mother: 10x25 min., comedic, BING Film & TV, AVROTROS/NPO 3, Netherlands; Einstein: S3 10x45 min., 30x45 min. total, crime, Zeitsprung Pictures, SAT.1, Germany; Squinters: 6x26 min., comedic, Jungle Entertainment/Screen Australia/Create NSW, ABC, Australia; Falco (Mexico): 15x60 min., crime, Dynamo/Spiral International, Amazon, Latin America/TNT, Latin America/ Telemundo, U.S.A.; Stella Blómkvist: 6x45 min./3x90 min., crime, Sagafilm/Icelandic Film Centre/The Ministry of Industries and Innovation and MEDIA, Síminn, Iceland/Viaplay, Sweden; Sense of Tumour: 8x52 min., comedic, Sylvester/VRT, Eén/VRT, Belgium.

“Red Arrow Studios International is a worldleading TV distributor of scripted, formats and factual shows from a global network of in-house production companies, outstanding third-party producers and digital-content partners.

Red Arrow Studios International is part of Red Arrow Studios, which is comprised of 20 production companies in seven territories; the digital studio Studio71; and the film distributor Gravitas Ventures. Red Arrow Studios is a ProSiebenSat.1 Media company, one of Europe’s leading media groups.

Our new drama catalog for MIPCOM showcases the quality and breadth of our scripted content and reflects the trends and demands we are seeing from program buyers internationally. Leading our slate is the haunting period drama series Death and Nightingales for BBC Two in the U.K., written and directed by Allan Cubitt (The Fall) and starring Golden Globe and Emmy nominee Matthew Rhys (The Americans, The Post), Jamie Dornan (Fifty Shades trilogy, The Fall) and Ann Skelly (Kissing Candice, The Red Rock).”

—Henrik Pabst, President

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Sky Vision ADDRESS: Sky Central, 1/Fl., Grant Way, Isleworth, London TW7 5QD, U.K. TELEPHONE: (44-207) 032-3061 WEBSITE: sky.com/skyvision MANAGING DIRECTOR: Jane Millichip DIRECTOR, SALES: Leona Connell DIRECTOR, DRAMA & COMEDY: Jason Simms CONTACT: leona.connell@sky.uk PROGRAMS: Curfew: 8x60 min., drama, Tiger Aspect/Moonage Pictures, Sky One, U.K.; The Victim: 4x60 min., crime, STV Productions, BBC One, U.K.; Eight Days: 8x60 min., drama, NEUESUPER/German Motion Picture Fund/Medienboard Berlin Brandenburg/FFF Bayern, Sky Deutschland, Germany; She: 3x60 min., drama, Me & You Productions, Channel 4, U.K.; Bullets: 10x60 min., crime, Vertigo Production/ Lumière/Nadcon, Elisa Viihde/MTV3, Finland; The Flatey Enigma: 4x60 min., drama, Sagafilm/Reykjavik Films, RUV, Iceland; There She Goes: 5x30 min., dramedy, Merman, BBC Four, U.K.; Tin Star: S2 10x60 min., drama, Kudos/ Government of Alberta/Alberta Media Fund, Sky Atlantic, U.K.; Fortitude: S3 4x60 min., drama, Fifty Fathoms, Sky Atlantic, U.K.

“Sky Vision, the production and distribution arm of Sky Europe, will showcase its biggestever lineup of dramas at MIPCOM this year, premiering over a dozen new and returning series at this October’s market. Once again, we are proud to be heading to Cannes with a fantastic array of scripted programming that will resonate with audiences the world over. From the spectacular, high-octane action of Sky One’s Curfew to the powerful switchback emotions of BBC One’s The Victim to the eagerly awaited launch of the MIPDrama Coup de Coeur-winning series Bullets, Sky Vision’s slate goes from strength to strength. We’re incredibly fortunate and excited to be working with a diverse, exceptional group of creative and commercial partners across our slate, and we’re really looking forward to introducing many of them personally to buyers at events across the week.”

—Jason Simms, Director, Drama & Comedy

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Star Media ADDRESS: 31, Bld.1, Nizhnie Polya St., 109 382 Moscow, Russia; 22, Zakrevskogo str., 02222 Kiev, Ukraine TELEPHONE: (7-499) 356-5400; (38-044) 390-5060 WEBSITE: www.starmediafilm.com VP, SALES & INTERNATIONAL PROJECTS: Maria Grechishnikova HEAD, INTERNATIONAL PROJECTS DEPARTMENT: Nadia Rekhter INTERNATIONAL SALES CONSULTANT: William J. Peck GENERAL PRODUCER: Vlad Ryashin CONTACTS: info@starmediafilm.com, office@starmediafilm.com PROGRAMS: Detective Anna: 56 eps., drama w/sci-fi elements, Ukraine/Russia; Richard Sorge. Master Spy: 12 eps., historical, Russia/Ukraine/China; Maestro: 12 eps., adventure, Ukraine; Operation Muhabbat: 12 eps., war/adventure, Russia; The Experts: 20 eps., detective, Ukraine; Ancestral Land: 16 eps., drama, Russia; Mata Hari: 12 eps., historical, Russia/ Ukraine/Portugal; The Russian Revolution: 8 eps., docudrama, Russia; The Birth of a Nation: 4 eps., docudrama, Russia; Oriental Sweets: 24 eps., melodrama, Ukraine.

“Star Media Group was founded in 2006. It became a leader in the production of TV content and feature films for the major Russian and Ukrainian broadcasters. Today, Star Media produces content not only for its local market but also projects for worldwide distribution in the English language.”

—Vlad Ryashin, General Producer

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Twentieth Century Fox Television Distribution ADDRESS: P.O. Box 900, Beverly Hills, CA 90213-0900, U.S.A. TELEPHONE: (1-310) 369-1000 WEBSITE: www.foxfast.com PRESIDENT: Mark Kaner PRESIDENT, GLOBAL DISTRIBUTION: Gina Brogi PROGRAMS: Proven Innocent: 13x60 min., drama, 20th Century Fox Television/Danny Strong Productions, FOX, U.S.A.; The Passage: 10x60 min., drama, 20th Century Fox Television, FOX, U.S.A.; The Resident: S1-2 13x60 min., drama, 20th Century Fox Television, FOX, U.S.A.; The Gifted: S1 13x60 min., S2 16x60 min., drama, 20th Century Fox Television/Marvel Television, FOX, U.S.A.; The Orville: S1 12x60 min., S2 15x60 min., sci-fi/comedic, 20th Century Fox Television, FOX, U.S.A.; 9-1-1: S1 10x60 min., S2 18x60 min., drama, 20th Century Fox Television/Ryan Murphy Television/Brad Falchuk Teley-Vision, FOX, U.S.A.

“Year after year, Twentieth Century Fox Television Distribution benefits from a strong roster of creators whose new series add to the robust library of content that we are able to offer to global audiences. Joining our highquality, distinctive slate of dramas are two new character-driven series that we will be making available at MIPCOM. The Passage, an epic thriller based on the popular book series of the same title, explores what happens when a secret government medical facility experiments with a dangerous virus that could either cure all disease or cause the downfall of the human race. Proven Innocent is a really smart legal crime drama that tells the emotional story of one woman’s fight for the innocence of others, as well as her own. Both of these dramas continue our commitment to delivering shows with strong and unique storytelling that will appeal to audiences around the world.”

—Gina Brogi, President, Global Distribution

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ZDF Enterprises ADDRESS: Erich-Dombrowski-Str. 1, 55127 Mainz, Germany TELEPHONE: (49) 6131-9910 WEBSITE: www.zdf-enterprises.de PRESIDENT & CEO: Fred Burcksen VP, ZDFE.DRAMA: Robert Franke VP, ZDFE.UNSCRIPTED: Ralf Rueckauer VP, ZDFE.JUNIOR: Peter Lang VP, MARKETING & CORPORATE COMMUNICATIONS: Christine Denilauler CONTACT: info@zdf-enterprises.de PROGRAMS: Over Water: 10x45 min., crime/suspense, Panenka, VRT/Eén/Telenet, Belgium; Kristina Ohlsson’s STHLM Requiem: 10x45 min./5x90 min., crime/suspense, Black Spark Film & TV/Kärnfilm/Nice Drama/TV4/C More/Film Capital Stockholm/ ZDF/ZDF Enterprises/LUNANIME/Co Made, TV4/C More, Sweden; JJ: 10x60 min., crime/suspense, Dynamo/ZDF Enterprises, Netflix; London Kills: S1-2 5x60 min., crime/suspense, PGMTV, Acorn TV, U.K./U.S.A.; The Crimson Rivers: 8x52 min./4x100min. 4K UHD, crime/suspense, Storia Television/Maze Pictures/ZDF Enterprises, France Télévisions, France/ZDF, Germany; The Dying Detective: 3x60 min., crime/suspense, SVT/DR/Svenska Yle/Nordvision Fund, STV, Sweden; Blochin: 10x45 min., crime/suspense, Real Film Berlin, ZDF, Germany; Other People’s Problems: 5x7 min., drama, Seymour Films/ABC/Screen Australia/Film Victoria, ABC, Australia; Maltese: 8x50 min./4x100 min. 4K UHD, Palomar, RAI, Italy; Ku’damm 59: 3x90 min., family series, UFA Fiction, ZDF/ZDF Enterprises, Germany.

“As a global player with a German home base, we are responsible for worldwide program sales, the making of international co-productions, the acquisition of licenses, as well as the merchandising of strong program brands in our own name, for our shareholder ZDF and for third parties. ZDF Enterprises has successfully established itself as an independent market player on the German and international stage. Bound into a strong group, the company manages the largest German-language stock of programs in the world and a continuously growing portfolio of international productions consisting of series and miniseries, TV movies, documentaries and children’s programs. ZDF Enterprises can provide a comprehensive, full-service offering and covers every step in the chain of origin and exploitation of successful TV programs, from development to production and up to the marketing of TV licenses, merchandising rights, online rights and much more.

Our ZDFE.drama highlights for this MIPCOM are the crime series Over Water, Kristina Ohlsson’s STHLM Requiem and JJ.” —Fred Burcksen, President & CEO 66

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