TV Drama Guide 2019/2020 by World Screen

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Contents A Note from the Editor . . . . . . . . . . . . . 6 Talent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Executives . . . . . . . . . . . . . . . . . . . . . . . 19 Distributors . . . . . . . . . . . . . . . . . . . . . . 31 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

Anna Carugati Executive VP Mansha Daswani VP of Strategic Development and Associate Publisher

Production and Design Director David Diehl

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Associate Editors Chelsea Regan Alison Skilton

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A Note from the Editor Kristin Brzoznowski

It’s shaping up to be another banner year in the drama business, as the appetite for high-quality scripted series remains seemingly insatiable. The stories at the heart of today’s top dramas span a wide gamut as well, shining a light on everything from fictitious far-off lands to romantic epics of centuries past, the tumult of family dynamics to the pressures faced by emergency-rescue workers—and pretty much everything in between. Alfred Hitchcock once famously said, “Drama is life with the dull bits cut out.” Indeed, there is a wealth of drama series striking a chord in the international marketplace that have been inspired by real life. This includes stories of injustice at the hands of the law, reexaminations of the lives of historical figures and closer looks at the key moments leading up to and following world-shaping events. Books have long provided fertile ground for TV storytelling, and with deep-pocketed streaming platforms increasingly tying up deals, the race to lock down literary IP is frenetic. According to a report this spring from Ampere Analysis, onethird of upcoming TV series on global platforms are based on existing content, with over 250 of the titles in production based on literature. Most of the literary adaptations are based on crime and thrillers, with murder and mystery featuring heavily. A key fixture in the slates of streaming giants Netflix and Amazon, sci-fi and fantasy represent the second-highest number of titles. Most sci-fi series are being adapted from graphic novels or young adult fiction, both of which have given way to popular shows in the past. Flipping through this edition of the TV Drama Guide you’ll find a mix of titles, with stories that are entirely original, are based on an existing property or franchise, or were perhaps inspired by real-life events or people. All are hoping to attract buyers and captivate viewers (on whatever platform they’re choosing to watch them on). 6

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TALENT

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Michael Sheen Actor Prodigal Son

TV DRAMA: What appealed to you about Prodigal Son and this character? SHEEN: When I read the pilot episode, I was compelled by it. It was a subject and a genre that felt quite familiar but had a different take to it. The family dynamic felt interesting and there was a lot of potential there. Then there was my character, this monster in the dark, at the center of the labyrinth, who is a mystery. We know that he had done monstrous things, but he appears to be a loving father and someone who you would warm to and whose company you would like. I thought that was interesting. When playing any character who is a serial killer, psychopath, sociopath, however you want to describe him, the central question is: Is it possible for that person to feel empathy? If he can’t feel empathy, then what is this relationship about with his son? I found that fascinating as a reader. As an actor, I felt there were a lot of interesting things both to explore and to play. TV DRAMA: How were you able to step into the mind of a serial killer? SHEEN: For a few years, I researched and wrote a script for a ﬁlm that I haven’t done yet, which was about a real-life serial killer. I spent a long time researching that. In Britain, there was a man called Harold Shipman. He was a serial killer and a successful, loved and respected [doctor] who had been killing people for years and years. Then there was a case of a psychopathic multiple murderer who had killed children as well as adults. I heard that one of his children, a daughter whom he didn’t know about, had gotten in touch with him. She had had children and wanted them to have a relationship with their grandfather. I read about him and watched a documentary. He was saying this was a huge meaningful relationship in his life with his daughter and his grandchildren. This was a sign of how well he was doing and he truly loved them. It does bring up this question: If he is a psychopath, and he can’t feel empathy, what is going on? It’s all very dark stuff. It’s not pleasant to do the research, but it’s fascinating. 8

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David Tennant Actor Good Omens

TV DRAMA: How did you hear about the project? TENNANT: I think it was Douglas Mackinnon, the director, who I heard it from first. I had worked with Douglas before and he said, there’s a script coming. I got this wonderful script that was a fully formed piece of genius. Michael [Sheen] was already attached, which already made me want to do it. I didn’t know the book, I’m ashamed to say. Now it seems that for everyone in the world it’s their favorite book ever! TV DRAMA: Is there added pressure when you’re taking on material that is so beloved? TENNANT: Anything that is that beloved, it’s a huge honor to get to bring it to a different medium and to be the embodiment of these characters that people have lived with and loved for all these years. Of course you tread gently. Preparing to shoot it, I was definitely liberated by not knowing the book. It was only after [beginning production] when I started to meet people for whom it meant so much. It’s a mixed blessing. It’s thrilling to be part of something that has such a built-in enthusiasm, such a fan base, such love for it. But you have to take a deep breath. I’m sort of glad I didn’t know too much about it before we got started. [If I had] I may have been hamstrung by expectations. TV DRAMA: How did you finesse your on-screen dynamic with Michael Sheen? TENNANT: You finesse it by just turning up! You finesse it by reading the scenes and playing the scenes. It’s almost after the event that you look back and go, that was such a happy, creative, enjoyable time. There is a lot written about chemistry between actors. I don’t know if that’s a thing you can prepare for or measure or legislate for in any way, really. We did know each other and therefore I always felt quite confident that [the chemistry] would happen, and then it sort of did. We both work in quite similar ways. 9

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Andrew Davies Screenwriter Sanditon

TV DRAMA: How did you approach taking Jane Austen’s 11-chapter fragment and continuing the characters’ story arcs? DAVIES: I’d read it before and never really considered it, thinking it was a shame she didn’t finish because I’d have enjoyed adapting it. Then looking at it afresh with the idea that maybe I could be the one to finish it, it seemed like a very exciting opportunity. Largely because it seemed like Jane Austen was treating it as a new departure, with different kinds of people in it. Entrepreneurs and businessmen rather than sedate country gentleman, an energetic heroine and her first black character in Miss Lambe, the West Indian heiress. [Austen] gave us the premise, the setup for the story, and never really got the plot started. So it was just a big opportunity. TV DRAMA: Why do you think Jane Austen’s work has been so incredibly well suited to TV and film adaptations, sometimes more than once? DAVIES: Her typical story, at the heart of it, was a sort of fairy tale in which a lovely but disadvantaged heroine gets a happy ending. And within that, she always has interesting characters. She sharply satirizes a lot of them, and she writes wonderful scenes, wonderful dialogue. At the heart of it, it’s the romantic story plus the intelligence and the deep insight into characters. TV DRAMA: Did you make this as a one-off limited series or is there potential for it to return? DAVIES: I’ve got much more experience in doing things that have a definite end. Mr Selfridge is my only other experience of writing a returning series. That was fun. If a little hair-raising, not quite knowing where it was going to go next. But it is fun to do these kinds of things. I’d hate to have to do it on my own, but I’m surrounded by a very bright bunch of young script executives and producers who stimulate me and bring ideas of their own and make it all happen as a team. It’s just such good fun! 10

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Russell T Davies Creator Years and Years

TV DRAMA: Was it the election of Donald Trump that inspired you to write Years and Years? DAVIES: It was. To be honest, it’s been ticking away in my head for a long time. It almost seems like common sense, really, to write a drama in which fictional characters are engaged with the real world and reacting to it. I’m surprised more dramas don’t do that. We’ve had a hell of a few years, with the banking crisis and then Brexit and then Trump’s election. I sent an email to the BBC saying, If he gets in, that drama I’ve been talking about for years, I think I should start writing it straightaway. TV DRAMA: Why did you choose to unfold the story over a 15year period? DAVIES: After 15 years, you might have to change the lead actors and all the prosthetics would start to become heavy; too many wrinkles around the eyes! Also, in 15 years, life actually will truly start to change in a way that might affect the budget. In 15 years time, I think the climate will start to change. Also, a child is born in the first episode, and that child is 16 by the time it’s done; that feels nice. You’ve seen a modern generation pass. In the first episode, we start in May 2019, and then it rapidly leaps five years ahead. But then every episode moves a year or so into the future. It’s quite a classic structure. It’s just no one has ever used it to go forward [into the future] before. That’s the exciting thing about it. TV DRAMA: How did you think about what technology is going to look like 5, 10, 15 years from now? DAVIES: We didn’t kill ourselves over that, to be honest. Otherwise, you’d end up with very fancy devices that would upstage all the actors around them. It’s all meant to be normal and relaxed. You’re not distracting the viewer with the latest flashy technology. That was a decision, to not be very fancy with it. We really brought it down to earth. It’s not about [the technology]; it’s about who we are, as opposed to what we’re using. 11

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Mark Gatiss Co-Creator Dracula

TV DRAMA: How did the idea for you and Steven Moffat to do a new Dracula come about? GATISS: It has a strange genesis because it’s been in the works, not definitively, for quite a long time. We had just started shooting series three of Sherlock and we came back for an awards ceremony and I had a picture on my phone of Benedict Cumberbatch’s silhouette. I showed it to Ben Stephenson, who was then the head of drama at the BBC, and said, It looks like Dracula, doesn’t it? And he said, Do you want to do it? That was literally the beginning of it. That’s two drama commissioners ago. It only really came to fruition when we’d finished the last series of Sherlock. We thought, maybe we should do Dracula if they still want it. And they did. That’s how it started. TV DRAMA: What was the approach to retelling this wellknown story? GATISS: It’s a Sherlock approach, except that it’s period, in that we wanted to look at the story, which has been told a lot, and see what it is that people love about it and still respond to about it. There’s a reason that people keep coming back to Dracula. One is, it’s a terrific story. Bram Stoker never did anything remotely as good. It was his great idea. We wanted to approach it like we did Sherlock. Read it again, go back to the essence of it and find out what worked and what we could do something different with. TV DRAMA: You used the three-episode format with great success on Sherlock. What’s appealing about this model? GATISS: A Dracula film is usually roughly 90 minutes long. So we have three. As with Sherlock, it’s both faithful and faithless at the same time. We’ve done a lot of stuff from the novel, and we’ve done a lot of new stuff and ignored some stuff. It’s a wonderful palette to play with because you have a lot of time to tell your story. We treat them as films. We promise we’ll do the three best Dracula films you didn’t know you wanted! [Laughs] 12

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Jed Mercurio Creator Line of Duty

TV DRAMA: What inspired you to write a police drama focused on corruption? MERCURIO: A lot of TV cop shows are what I would describe as the drama of reassurance. They are very formulaic in that they show police officers getting the job done right and catching the bad guys. And here in the U.K., rather like in the U.S., if you watch the news you’ll see that isn’t always the case. A minority of officers commit misconduct and make errors of judgment, and it felt like TV drama was lagging behind in exploring that. TV DRAMA: The ratings have almost doubled since season one, which is quite a feat. What’s contributed to that steady build in audience numbers season after season? MERCURIO: It’s hard to come up with an answer that fully explains it. What we do know is that when people invest in the show, they stay with it. Very few people drop out. As the show has come back season after season, word of mouth has remained strong and that triggered people to commit. That means people who’ve missed a couple of seasons, even if they missed four seasons, they’ve come to the show [in season five]. One of the features of the show that makes it accessible to a new audience is that each season can be watched as a standalone limited miniseries. TV DRAMA: What’s your process as you embark on each new season in terms of mapping out your story arcs? MERCURIO: Two things are really part of my process. The first one is, What is the story of the season, the defining limited story? That is something I need to figure out in regard to who the guest character is and what kind of misconduct this character is alleged to have committed. And then I also need to consider how that is going to fit with the meta-narrative, the overall arc of the series that relates to the returning characters—and possibly relates to previous seasons. That’s something we bring in once the first couple of episodes of the season are up and running so that the new audience can buy into it. 13

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Alexander Woo Co-Creator The Terror: Infamy

TV DRAMA: How did you approach this part of history, which has not been explored in long-form TV drama before, while adding genre elements? WOO: The strategy from the very beginning was to use Japanese kaidan—ghost stories or folklore that is hundreds of thousands of years old. Viewers might be familiar with it from the Japanese horror movies like The Ring and The Grudge, the psychologically creepy movies that use a lot of these traditional elements. The idea was to use the genre to help the viewer feel the terror of the historical experience. There’s a danger when you’re doing period [drama] where it can feel like a museum piece—you’re at a safe remove, looking at it through glass. This is something that happened 75 years ago, thank goodness it’s over, immigrants have nothing to worry about now! You don’t want that feeling. You want it to feel very present. You use the elements of horror filmmaking to make you feel what it’s like to be in the skin of these characters, the atmosphere of dread for these characters, where you are not only experiencing wartime but wartime in an internment camp. TV DRAMA: There can be a fine line between scary and camp in horror. As someone who has done a lot of genre pieces, how do you negotiate that? WOO: We had a very simple guideline: we will deploy the genre toolbox to evocate the emotional experience of the characters, whether it’s fear or rage or betrayal. We would use it if it helped the viewer gain access to the emotional experience of the characters. If it became prurient or just for the fun of it, then we would set it aside. There were times we had an idea to try an effect—we do a lot with visual effects, special effects and makeup—and they didn’t always hit the mark. And then we had to fine-tune until we got it to a point where we felt, This evokes the horror that our character is going through. We would fine-tune it until we could feel what the character is feeling, so we understand what it’s like to be in their skin. 14

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Ava DuVernay

Creator, Co-Writer & Director, When They See Us Creator & Executive Producer, Queen Sugar TV DRAMA: When did you decide you wanted to make a drama about the Central Park Five? What kinds of research did you have to do? DUVERNAY: I was invited to tell the story by Raymond Santana, one of the five. He contacted me on social media and invited me to talk with him about the story. I did and fell in love with the guys and decided to take on the truth-telling involved in this story. There has been so much injustice, so many lies, so much misinformation. So over a period of four years, I went about interviewing them extensively, their families as well, researching every shred of press, confidential materials and public court documents that I could get my hands on. I assembled a writers’ room to work off of my outline. I wrote each of the episodes in concert with a writer I selected. TV DRAMA: Let’s talk about Queen Sugar. How did you decide to bring the Natalie Baszile book to television? DUVERNAY: This was another invitation, by Oprah Winfrey. There were two or three books she was thinking about. [She asked,] Do any of them interest you? Queen Sugar, the idea of images of black people on land, dealing with ideas of property and society and culture and identity, captured my imagination. I’d never adapted a book before. The idea you can go in and take seeds of what works out of a text and then adorn it with other things to allow it to grow for years and years. It really felt like taking seeds and watering them, so it’s been a beautiful time on that show. It’s my pride and joy. TV DRAMA: What’s it been like working with Oprah? DUVERNAY: She gives me the freedom to create and to explore and she gives the power to make those creations and explorations become a reality. It’s been an incredible working relationship. 15

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Ryan Eggold Actor New Amsterdam TV DRAMA: Is it important that New Amsterdam offers an accurate portrayal of the workings of a hospital, and how does the show accomplish that? EGGOLD: It is important, and the most wonderful compliment always is that compliment from a nurse or a doctor who says, Yes, that’s what it looks like, that’s what it feels like. The accuracy comes from Eric Manheimer’s book, Twelve Patients: Life and Death at Bellevue Hospital, about his experiences running Bellevue Hospital in Manhattan. He is providing a lot of that authenticity and a lot of true stories. And [showrunner] David Schulner and the writers do an amazing job of then dramatizing that and making that story work and have emotional arcs. We also have doctors and nurses on set who help keep us honest. And it’s always a great reminder to me, not having gone to medical school, not being a doctor, imagining being in a situation where someone is ﬂatlining and the cardiac monitor is beeping—my blood pressure would go through the roof! But as a good doctor, you are assessing the situation and what needs to be done and you are working. You are thinking, this and this need to happen and it’s not as emotional. It’s not as crazy as it would be for a layman or someone like me. So the real doctors and nurses on set are always a good reminder of, Oh yeah, this is work; I’m trained to do this and now there is an emergency happening so let me solve it. It’s interesting. TV DRAMA: In every episode, there are life-and-death moments for the patients. But then, your character, Max, is diagnosed with cancer. Is that emotionally difficult? EGGOLD: Yes, it can be. It depends. Some days there will be a very dramatic scene and there will be laughter in between takes and we’ll be gooﬁng around, too. Other days, it will be a certain kind of scene where you don’t want to laugh in between because you’re staying in a certain emotional place or it’s affecting you in a certain way. But in general, there is a lot of humor and fun on the show. 16

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Rachel Griffiths

Actor, Co-Creator & Executive Producer Total Control (Black B*tch) TV DRAMA: How did you prepare for your role as Prime Minister Rachel Anderson in Total Control? GRIFFITHS: I was watching Theresa May quite a lot. I was interested in how women behave under pressure. I had just watched episode six and I wanted to re-voice a few sections where I felt I was a bit weak. [But then I thought], Is it just apparent that she is a dead woman walking from the start of the episode? I wondered if that came from my digesting Theresa May’s final months. She went in with confidence thinking she would create consensus and hadn’t quite factored in the recklessness of the hard-liners to have their will, whether that be of the people or not. So yes, I studied her. And [former Australian Prime Minister] Julia Gillard. But because she is a conservative and a true daughter of the party, Theresa May is the model of the centrist, good swotty girl. Brightest in class, and didn’t get there on privilege but on merit. TV DRAMA: How did you juggle the multiple hats of co-creator, executive producer and star? GRIFFITHS: I actually think it’s the perfect combination! As an actor, you feel such huge pride that you’re prepared to give everything; there’s that skin in the game. There’s nothing you wouldn’t do to keep seeing the show do well around the world. In many ways, the co-creator job is fairly much done by the time the actor work starts. To me, directing-acting is the grand riddle that makes no sense, even though many extraordinary people seem to pull it off! The history of EPing and participating is quite established, and for good reason. TV DRAMA: How important is it for you that your show is airing on a national public broadcaster, ABC, in Australia? GRIFFITHS: I haven’t given up on the broadcasters. I don’t think mainstream network television can’t contribute in a significant way to the national conversation. I’m thrilled that this is on the national broadcaster. 17

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Carrie-Anne Moss Actor Wisting

TV DRAMA: What initially appealed to you about Wisting; was it the script, the character, the auspices attached? MOSS: It was a combination of all of that. The script and the writing were really strong. I have a soft spot for Norwegian [culture], so that was a huge draw. My manager had spoken to the [creative team behind the project] and was super excited about it. She articulated that excitement to me, and I then spoke to them, and we went and shot it. It was such a great experience. I fell in love with Norway. TV DRAMA: How did the experience of working on a Scandinavian TV project differ from what you’ve found in the American system? MOSS: It was very different than the culture of acting and production in the United States. It’s a totally different system, even regarding the actors. We would rehearse together at night and all hang out in one room. It felt very community-based, which I loved. That was a treat. The crew is much thinner than an American crew, so there’s an intimacy. There’s a humanity to the way that they tell stories that really resonated with me. There’s a humbleness to it; that’s even reflected on-screen—when I watch it, it feels humble and yet is also super rich and layered. TV DRAMA: Did the dual-language scripting present any challenges at first? MOSS: That was one of the reasons my manager was super excited about it; she loved the idea that it was using dual language in that way. I felt like it was quite effortless. I wasn’t sure at first how it was going to work. In times when they’re talking and [my character doesn’t] understand what they’re saying, I am having to remember that just because I know what the scene is about from the script, my character wouldn’t. So, in the way it was written, often they are explaining to my character what’s going on. The execution of it felt quite natural. 18

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EXECUTIVES

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Walter Iuzzolino Co-Founder & Curator Walter Presents

TV DRAMA: What’s driving your international growth? IUZZOLINO: First of all, we’ve established a lovely, happy cycle with broadcasters. Our reputation internationally in the drama space has grown. And the brilliant formula we established with Channel 4 has been a blueprint for many others. So now we’re getting into a position where broadcasters ring us and say, How are you doing 30 million streams a year and can we joint venture together? We identify great shows, we help them shine, we make distributors happy, we make content producers happy and we make broadcasters happy! We realized as much as we love adventure, our role should always really be that of the pure curator. Our concentration and focus should be on watching and picking the best dramas, packaging them and branding them. Every time we can nestle our venture in the home of a broader broadcasting organization that already has relationships with millions of viewers, it’s just better. They do what they do best and we do what we do best. TV DRAMA: Has your job become harder, having to sift through all these great series being created across the globe? IUZZOLINO: When we started, we had bought 800 or 900 hours. There was always that slight concern of, is there going to be a feeding frenzy of such proportion that we’d be left without programming to buy because more powerful forces than us came and swept up everything! That hasn’t happened. The FAANGs have poured a lot of money into the business. That’s amazing. They’ve been championing their own originals. They’re making lots of stuff. They’re making lots of producers rich. It’s been a great thing for the sector at large. With the big boys concentrating on their originals, and with terrestrial broadcasters competing to make glossy, sexy, good stuff, everyone has become better, so the quality of drama on the market is extraordinary. I used to have to watch 20 titles to ﬁnd maybe two or three. Now, every ﬁve there are a couple I’d like to buy. 20

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Mark Linsey Chief Creative Officer BBC Studios

TV DRAMA: Can you take us through some of the key models you are using to pull together the ﬁnancing on new drama projects? LINSEY: There is a sea of opportunity in drama, but you need to be smart about the right opportunity for the producer as well as the platform or the broadcaster. That’s what we try to do according to our expertise and the different deal-making. No two deals are the same anymore. They’re all different. The Mallorca Files is a co-production between ZDF, France TV and BritBox that we’ve put together with the BBC. Good Omens, made by BBC Studios, is a copro with Amazon. Brexit: The Uncivil War we made with Channel 4, and HBO U.S. came on board. And we will fund project development and look to sell the global rights to a global player, such as Dracula, which we sold to Netﬂix, and His Dark Materials, sold to HBO. We get excited by the creatives and we try to work out ways of how to get that creativity into production. We’re really excited about how we structured a co-pro deal with Steve McQueen on his drama Small Axe, which is commissioned by BBC in the U.K., and we sold the rights to Amazon U.S. It’s really starting with the creativity and working out what other audiences would be interested in this and where is the synergy and how we can piece together a deal to get it into production. TV DRAMA: How are you working with your producers to keep delivering successful seasons? LINSEY: The partners we have work hard at that. On Call the Midwife, it’s incredible how they keep the storylines fresh and new. Likewise with The Durrells. Doctor Who is another shining example. Arguably, you can say each episode is a reinvention. Viewers have a real appetite for those soft-intone, heartwarming pieces. Buyers want them because they can return in the schedule year after year and they can build a schedule around these returners. 21

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Jim Packer President, Worldwide Television & Digital Distribution Lionsgate TV DRAMA: Give us some examples of how you are financing shows today. PACKER: It’s really about finding the right financial structure for each partnership. We don’t look at things traditionally. [Take] Manhunt, which was picked up by Discovery and by Netflix globally. When Discovery moved away from scripted programming, we had to make a choice. This is where Kevin Beggs [chairman of Lionsgate Television Group] and I talk all the time. We didn’t say, It’s over. We said, What else can we do? Charter Communications came to mind. We had a conversation with them, and ultimately, we did move it to that platform. We’re taking advantage of very creative ways [of bringing] things to market. TV DRAMA: How do you give a show the best exposure? PACKER: Kevin and my team are very close to the artists and creators, and we get a sense of what their content is all about. Then we try to find a network or platform that will come in not just for one season, because you have to look at these deals as multiseason commitments. You want somebody who will take the show, brand it and make it successful, and will also embrace season two, season three and season four. We also try to get at least two [bidders], because it’s always better to have a little bit of competition. TV DRAMA: In what ways do you and your team work with Kevin and his? PACKER: When they are in the market and have a bidding war going for projects or pilots or straight-to-series, he and I talk about, Where is the right platform? What will be the best rights profile? We start there and go all the way through the production, including casting. Kevin is one of the more open executives. He’ll call and say, “We have two or three different people we could place in this role, what’s the right person for international?” It doesn’t always work out, but he welcomes that input. 22

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Tim Mutimer CEO Banijay Rights

TV DRAMA: What types of scripted shows is Banijay focusing on? MUTIMER: Banijay is fortunate to have scripted companies in 16 territories, so we have a whole range of ideas coming through. We look at the slates and work with producers, especially on ideas that we think have international appeal. We’re interested in great stories that feel authentic. A lot of the series that travel well focus on local territories, but are also ones that people around the world can enjoy. There’s also a section of the slate that includes more premium content requiring a lot of funding. And there, we work out how we think we can fund a project— which other territories might be interested in coming on board and the kind of distribution advance that we could give. We’re interested in everything as long as it’s a great story, particularly if it means bringing on strong talent, whether that’s on-screen or behind the camera. TV DRAMA: Is it getting more complicated to piece together ﬁnancing for high-end drama? MUTIMER: It is, and it means that the distributor often has to take a greater risk. Commissioning broadcasters once would have paid for almost the whole budget but are now paying maybe 50 percent or 70 percent. So, it’s our job to ﬁnd the rest of the money elsewhere. We look at tax incentives or co-productions. It’s a complex business. We’ve got a number of regular partners with whom we’ve got good relationships. The other advantage of being part of Banijay is that having companies in 16 territories means they’re trusted by their local broadcasters. We’ve got projects like [The Count of] Monte Cristo that Neon Ink in London is developing. They’ve obtained paid development with a broadcaster in the U.K. We know it is a story that will resonate with French audiences. So Banijay Studios France has taken it to French broadcasters who have relationships with the creative talent at Banijay Studios and trust them to deliver a program that will work for their audiences just as well as it will for British audiences. 23

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Louise Pedersen CEO all3media international

TV DRAMA: How have you grown your scripted output in recent years? PEDERSEN: We wanted to grow the business and broaden the scripted content that we were bringing to our international buyers. We commissioned research into how our scripted catalog was perceived by our buyers, and it backed up the fact that we needed to offer a wider range of scripted shows, from detective procedurals to contemporary thrillers to high-concept, heightened drama, for example. As a result of that, we doubled our investment into scripted content in 2017 and sought to invest in a sweep of dramas that all shared some common denominators: original ideas with interesting talent attached—writers and directors from top-quality production companies. We are now starting to deliver the shows that resulted from this investment push. We have some key first-look relationships, both within the all3media group and with a number of independent production companies, and these are incredibly valuable to us. The extra investment helped us finance more shows from these partners but also form some new relationships in the scripted area. TV DRAMA: Are you relying on co-financing to get higher-end projects off the ground? PEDERSEN: Our financing model has evolved over the last couple of years. There is the traditional distributor model—U.K. broadcaster finances 80 percent of the budget or so, and then the distributor advances the remaining 20 percent, and, of course, we still do that. There’s the co-pro model, where we bring in another broadcaster to partner with the U.K. broadcaster and we cover the remaining gap. There is a new co-commissioning model that we are starting to explore with a show called Blood. It was an idea that really resonated with us and we loved the production team behind it, but it wasn’t being commissioned by a broadcaster in the U.K. Virgin Media Ireland came on board as the commissioner, and we financed the rest of the production, bringing in other key broadcast partners once it was greenlit. 24

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Fred Burcksen President & CEO ZDF Enterprises

TV DRAMA: What are some of the qualities a drama needs to cut through the clutter? BURCKSEN: We believe that there are two types of projects. The bread-and-butter mainstream projects, in our experience, remain successful because they stick to a proven recipe. They make it easy for users to decide to invest an hour of their time and watch a show due to the fact that they know what they will get. And then there are projects that combine known plots in new and surprising constellations. In a world where the attention economy is the new reality, people are looking for either the well-familiar or the super-surprising. TV DRAMA: What are you hearing from buyers about what they are looking for in new drama projects? BURCKSEN: We definitely see a trend towards lighter and more uplifting product. There is a certain fatigue around bleak and dark shows, probably due to the current political and ecological state of the Earth. This leads viewers to look for more escapism in their daily lives. TV DRAMA: Can you take me through some of the key models you are using to pull together the financing on new drama projects? BURCKSEN: The most classical financing instrument remains the traditional minimum guarantee for projects we enter very late in the game to fill a gap in the budget, which is still a viable way to source content even though the market is getting tougher for these types of collaborations. We prefer to enter projects at earlier stages. We can help to find additional commissioning partners in order to reduce the amount of the recoupable minimum guarantee and create a scenario where projects break even faster and risk is shared more evenly among the financing partners. The last model is alternative funding, which is basically us coming in and helping to optimize the production structure of the project by finding the best places and partners for it. 25

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Vanessa Shapiro

President, Worldwide TV Distribution & Co-Production Gaumont TV DRAMA: How are you working with creatives inside the group and third parties to bring projects together? SHAPIRO: Working with the sister companies within Gaumont, we distribute the content they produce. We work very closely with the production team at an early stage, providing sales estimates and sometimes presales to raise the financing. I’ve been heavily involved in the sourcing of projects we can co-produce with third-party production companies. Our first project out of this development and financing effort is El Presidente. This is the first co-production in Latin America for Gaumont. We have numerous series in development and we are open to coming on board projects at various stages. We prefer to come in at the co-development stage, where we are full partners and co-production partners from day one and codeveloping and sharing the costs along the way. We’ve found that by the time content is already produced, there’s normally a distribution company attached, so to get great content that fits with our clients’ needs and what we’re looking for, we have to come in as early as possible. And in some cases, we will develop our own content—I’m a distributor, but I can bring my creative team and co-develop with other production companies. TV DRAMA: Are broadcasters more flexible about the rights they need? SHAPIRO: It depends on how much they want the show. The more they want something, the more flexible they are! It’s becoming extremely complicated, especially when you sell a show post a Netflix window. So, we’re looking for creative ways to make, rebrand or repackage the content to make it unique to a channel. For instance, in the case of Narcos, the original version is 50-50 Spanish and English. Now, we’re dubbing the whole series in local languages (English, Spanish, French) for free-TV broadcasters, where audiences might not want to read subtitles. We’re doing that with all our shows, looking for the angle that will make us different from other available content. 26

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Ran Tellem Head, Development The Mediapro Studio

TV DRAMA: When you come across an idea, what elements must it have to make it worth developing into a TV show? TELLEM: It’s a combination of many things, not just boxes I want to check. I want the story I’m reading not to be vague or blurred. Usually, when I read an idea, I read it as a reader; I don’t read it as a professional. I try to get myself interested and if it works for me as a reader, it has a good chance of working for the viewers. I look for the engine of the story, which is the core reason for why we are telling the story. What is the story about? Is there a deeper DNA to it that I feel is interesting and fresh, and hasn’t been touched before? Or is it [taking a] completely different [angle] on a story [that has already been told]? I take a look at the creator, at how good of a storyteller he is, how passionate he is about the project and how grounded the project is in the place where he is telling it. Then I look at the characters. How interesting and layered they are, how many sides the characters have—not one dimensional, but having something interesting that you can follow through a season and see the progression and evolution that a character goes through. TV DRAMA: Because there is so much more scripted production going on, are there enough writers, directors and actors available? TELLEM: It’s becoming more complicated. It’s getting to a stage where we’re not just talking about the writing process. When you move into production, and when you want to cast both your crew and your actors, you need to move quicker because people are busier than before. If you want to have more options, you need to get into motion earlier in the process and be quicker than before in order to get good people on your show. But I still think, even though there’s a lot of content being created, that there are more good people looking for work than [there is] work. 27

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Izzet Pinto Founder & CEO Global Agency TV DRAMA: Turkish dramas have been riding high on a wave of demand for a while now. How is the genre keeping its momentum at a time when drama from all over the world is traveling and given the economic crisis in Turkey? PINTO: It’s been difficult. Clients are very selective now. Since many dramas didn’t see second seasons in Turkey, it makes a series harder to sell. For Global Agency and its competitors in the industry, the main challenge is to find content from Turkey to be exported. Nevertheless, we always manage to find good content. So, the demand didn’t drop; it’s still out there. We just need more product to be produced in Turkey. TV DRAMA: Do classic themes still work best in Turkish dramas, or is there more experimentation with less traditional plots and structures? PINTO: The scripts still mainly have classic themes. Turkey is known best for its unique telenovela-type dramas. We are really good at producing high-quality melodramas. Turkish-drama buyers don’t look for short episodes, anything that’s too fast-paced or thrillers. They want series that are long-running and not risky, a classic telenovela style that’s high quality. TV DRAMA: Are you eyeing more dramas from outside of Turkey? PINTO: We are looking. In the past, we have had dramas from Spain, Portugal, Russia and the U.K. But Turkish drama still has such a good reputation. When you have the label of “Made in Turkey,” the clients are ready to have a look. With dramas from other countries, they might have doubts and require a huge track record of success since they aren’t that familiar with it. We have already invested years in proving that Turkish dramas can be successful globally. 28

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Can Okan Founder & CEO Inter Medya

TV DRAMA: In which territories is there demand for your dramas? OKAN: We are still very successful in Latin America and the U.S. Hispanic market, and there are some new countries opening up every month. In Asia, countries like Bangladesh, Malaysia, Vietnam and Thailand are opening. We also have quite a big demand from African territories—we believe that it is going to be a growing market for us. TV DRAMA: Have streaming services offered distribution opportunities? OKAN: Yes, and not only the international ones. BluTV is the first SVOD platform in Turkey. They have started their own original productions from local producers that we are distributing on their behalf. The linear market is still our core market because the conventional Turkish drama series are quite long and they are not being sold that much on SVOD platforms. TV DRAMA: Turkish dramas have crossed cultures so well. What allows them to be popular in so many different countries? OKAN: When you go to a neighborhood in Istanbul, you see a mosque, next to it a church and right behind there is a synagogue. It has been the center of lots of different cultures for centuries. The stories that come out of this culture are appealing to almost all countries around the world. TV DRAMA: Has the Turkish currency crisis impacted the market? OKAN: It hasn’t affected us. But the ad revenues in Turkey, unfortunately, are shrinking, so this is going to affect the broadcasters in the very near future. This may cause a decrease in the quality or the number of saleable products. So, we’re quite cautious and are waiting to see what’s going to happen in the near future. 29

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Fredrik af Malmborg Managing Director Eccho Rights TV DRAMA: Do Turkish dramas continue to perform well for the company? AF MALMBORG: They still perform extraordinarily well. Latin America is still strong. Asia is very promising. There are lots of new markets coming up, like Bangladesh, and Indonesia is coming back. The cloud in the sky in the Turkish case is they are struggling with the fluctuation in their currency, so the whole market is a bit turbulent. That means it’s a little bit hard to finance [shows] and many of the broadcasters who normally pay the whole budget are struggling with their advertising revenues. So it’s a bit of trouble in the home market, but the international market is still strong. What is really amazing is the success in Spain. There are two channels, Nova and Mediaset, airing Turkish dramas in Spain, with very strong results. That is very promising. Spain is the rising star in Turkish drama in Western Europe. TV DRAMA: What are your other primary sources of dramas? AF MALMBORG: Our two main sources are Turkey and Scandinavia. Nordic drama is doing well for us. Russia has always been close to our hearts. Our next big focus is Korean series. We’ve been doing lots of adaptations but we’re looking at doing more. There are lots of Korean adaptations in Turkey. We’re also doing some Scandinavian scripts—we sold Nurses to a number of countries. We’re doing ten adaptations per year around the world. TV DRAMA: Do your clients prefer dubbed dramas to subtitled ones? AF MALMBORG: Most countries are dubbing. We’re dubbing a thousand hours a year to Spanish from Turkish series. The financing and control of the language assets is getting more and more important. Turkish drama is growing quite a lot in Africa, for example. It’s always a bit of a hurdle to finance the dubbing but once you have it then it goes much easier and you can make a number of smaller deals. 30

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DISTRIBUTORS

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ABS-CBN Corporation ADDRESS: ELJ Building, ABS-CBN Compound, Mother Ignacia Ave., Quezon City 1100, Metro Manila, Philippines TELEPHONE: (632) 415-2272 WEBSITE: internationalsales.abs-cbn.com CHIEF OPERATING OFFICER, BROADCAST: Cory Vidanes VP & HEAD, INTEGRATED ACQUISITIONS & INTERNATIONAL SALES & DISTRIBUTION: Macie F. Imperial HEAD, PROGRAM ACQUISITIONS: Rachel Simon SALES HEAD: Pia Laurel CONTACT: pia_bacungan-laurel@abs-cbn.com PROGRAMS: The Killer Bride: 40x45 min., revenge drama, ABS-CBN, ABS-CBN, Philippines; Mea Culpa: 40x45 min., crime, ABS-CBN, ABS-CBN, Philippines; The Heiress: 40x45 min., family, ABS-CBN, ABS-CBN, Philippines; The General’s Daughter: 100x45 min., action, ABS-CBN, ABS-CBN, Philippines; Los Bastardos: 120x45 min., action, ABS-CBN, ABS-CBN, Philippines; Now & Forever: 59x45 min., romantic drama, ABS-CBN, ABS-CBN, Philippines; Betrayal: 108x45 min., romantic drama, ABS-CBN, ABS-CBN, Philippines; The Secrets of El Paraiso: 65x45 min., romantic drama, ABS-CBN, ABS-CBN, Philippines; The Blood Sisters: 70x45 min., family, 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. Maja Salvador, the star of Wildflower—which is one of our best-selling series and the first to enter the French territories—is back with her newest show entitled The Killer Bride. We are also introducing promising young actresses in our family drama The Heiress. We are highlighting our newest investigative drama, Mea Culpa. These dramas have been receiving rave reviews and are enjoying high ratings in prime time consistently. These shows are also dominating trending topics on social media, even ranking first on the worldwide lists. We are also very excited to announce our newest coproduction partnership with one of the best reality-show producers in the industry. With this, we are hoping that [we will] open more international partnerships in the years to come.” —Macie F. Imperial, VP & Head, Integrated Acquisitions & International Sales & Distribution

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Adler & Associates Entertainment ADDRESS: 8721 Santa Monica Blvd., #312, West Hollywood, CA 90069, U.S.A. TELEPHONE: (1-310) 684-3545 WEBSITE: www.adlerandassociatesentertainment.com CEO: Marie Adler CONTACT: marie-adler@adlersproductions.com PROGRAMS: El Guardia: 1x105 min., drama, Kee Films, U.S.A. (Puerto Rico); The Golden Age: 1x111 min., drama, Belle Epoque Films, France; At the Frontera: 1x102 min., thriller/drama, 525 Films, U.S.A.; Paradise Valley: 1x80 min., thriller/drama, Lykos Film, Italy; Frank and Ava: 1x112 min., drama/biography, 8th House Entertainment, U.S.A.

“Adler & Associates Entertainment (A&AE) is a global production, distribution and sales company. A&AE is a high-net-worth company, a member of IFTA, the [Better Business Bureau] and is bonded and insured. Whether it is a young director just out of film school or a seasoned A-list actor making their directorial debut, A&AE is an unbeaten champion of new talent. With its philosophy of ‘films by the world, for the world,’ and its operating principle of ‘lean, mean and green,’ A&AE takes a truly international approach and has an unbiased eye for fresh and unique content from around the globe. A&AE specializes in diversity, with an emphasis on bridging gaps between cultures, nations, races, languages and religions, and puts great effort into educating the world and killing hatred by using film as a medium.” —Marie Adler, CEO

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all3media international ADDRESS: Berkshire House, 168-173 High Holborn, London WC1V 7AA, U.K. TELEPHONE: (44-20) 7845-4350 WEBSITE: www.all3mediainternational.com CEO: Louise Pedersen EXECUTIVE VP, CONTENT: Maartje Horchner VP, ACQUISITIONS: David Swetman CONTACT: Ben Sawyers, ben.sawyers@all3media.com PROGRAMS: Van der Valk: 3x120 min., detective, all3media international/Company Pictures, ARD, Germany; The Accident: 4x60 min., contemporary drama, The Forge/Hulu, Channel 4, U.K.; Miss Fisher and the Crypt of Tears: 1x120 min., detective, Every Cloud Productions/all3media international/ Screen Australia/Film Victoria/Fulcrum Media Finance/Film Finances Australasia, Roadshow Films, Australia; Blinded: 8x60 min., thriller, FLX/all3media international, C More/TV4, Sweden; Back to Life: 6x30 min., contemporary comedy/ drama, Two Brothers Pictures/all3media international, BBC Three, U.K.; Diary of an Uber Driver: 6x30 min., contemporary comedy/drama, Revlover Films/all3media international/Create NSW, ABC, Australia; The Feed: 10x60 min., thriller, Studio Lambert/all3media international/Liberty Global/Amazon, Virgin Media, U.K.; Playing for Keeps: 8x60 min., telenovela, Screentime, Network Ten, Australia; Butterﬂy Breath (Pili Pala): 4x60 min., contemporary medical drama, Triongl, S4C, Wales; Hidden/Craith: S2 8x60 min., detective, Severn Screen/S4C/BBC Cymru Wales/BBC Four/ all3media international.

“all3media international is the distribution arm of the all3media group. We promote and license a catalog of awardwinning TV programs and formats to broadcasters and media platforms across the globe. Our catalog contains over 11,500 hours of content across all genres, and we work with over 1,000 broadcast, DVD and digital platform clients from more than 200 countries. Our scripted slate continues to grow with more bold and exciting content, from the new contemporary detective series Van der Valk, starring Marc Warren, to the captivating thriller Blinded, with Julia Ragnarsson and Matias Varela. Important questions surrounding justice are posed in The Accident, from critically acclaimed Jack Thorne and with a cast led by Sarah Lancashire, while ethical and professional dilemmas are faced in the Welsh Sian Reese Williamsfronted drama Butterﬂy Breath. Following on the successful ﬁrst series Blood, Playing for Keeps and Hidden are back with more of the drama that audiences love.” —Corporate Communications 36

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Banijay Rights ADDRESS: Gloucester Building, Kensington Village, Avonmore Rd., London W14 8RF, U.K. TELEPHONE: (44-20) 7013-0000 WEBSITE: www.banijayrights.com HEAD, SCRIPTED: Caroline Torrance COMMERCIAL DIRECTOR, SCRIPTED: Chris Stewart CONTACT: chris.stewart@banijayrights.com PROGRAMS: The Gulf: 6x60 min./3x90 min., crime, Screentime New Zealand/Lippy Productions/Letterbox Filmproduktion, TV3, New Zealand/ZDF, Germany; Occupied: S3 6x60 min., political/thriller, Yellow Bird, Viaplay, Scandinavia; The Restaurant: S3 8x60 min., drama, Jarowskij, SVT/Viaplay, Sweden; Rebecka Martinsson: S2 8x60 min., drama, Yellow Bird, TV4, Sweden/ARD Degeto, Germany; Baroness von Sketch Show: S4 10x30 min., comedy, Frantic Films, CBC, Canada. “Banijay Rights’ drama at MIPCOM is second to none with brand-new The Gulf—recently hailed in the press as a ‘world-class drama’—a gripping six-part crime thriller that is already getting a good deal of attention from international buyers. It’s a co-production between TV3 New Zealand and ZDF, produced by Banijay Group’s Screentime in New Zealand. We are also very proud to launch the third and ﬁnal season of the global hit political drama Occupied, which has been a huge success for us over the previous seasons. Scandi noir Rebecka Martinsson, from Banijay Group’s Yellow Bird, returns for a highly anticipated season two. And we have the period drama The Restaurant coming back for its third season. The family saga, which began in the 1940s and has now moved to the 1970s, was SVT’s biggest drama launch in ﬁve years and, with its universal appeal, is reaching a global audience.” —Chris Stewart, Commercial Director, Scripted

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Caracol Television ADDRESS: 150 Alhambra Circle, Suite 1250, Miami, FL 33134, U.S.A. TELEPHONE: (1-305) 960-2018 WEBSITE: www.caracolinternacional.com VP, INTERNATIONAL SALES: Lisette Osorio CONTACT: sales@caracoltv.com.co PROGRAMS: The Queen and the Conqueror: 60x60 min., series; Living to Love: 60x60 min., series; The Road to Love: 60x60 min., series; The King of Hearts: 80x60 min., telenovela; Bolivar: 60x60 min., series; The Queen of Flow: 82x60 min., telenovela; The Good Bandit: 63x60 min., series.

“Caracol Television is a national private channel that has produced some of the most innovative and successful shows on Colombian television. Today, it is a major content producer expanding its inﬂuence to the entire world through its international distribution division and its international cable signal.” —Corporate Communications

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Dynamic Television ADDRESS: 145 S. Fairfax Ave., Suite 404, Los Angeles, CA 90036, U.S.A. TELEPHONE: (1-323) 433-0100 WEBSITE: www.dynamictelevision.com MANAGING PARTNER: Dan March MANAGING PARTNER: Klaus Zimmermann HEAD, ACQUISITIONS: Jan Bennemann VP, CO-PRODUCTION & ACQUISITIONS: Tasja Abel CONTACTS: dmarch@dynamictelevision.com; kzimmermann@dynamictelevision.com; jbennemann@dynamictelevision.com; tabel@dynamictelevision.com PROGRAMS: Deliver Us: 8x60 min., thriller, Motor, DR, Denmark/ZDFneo, Germany; The Sommerdahl Murders: 8x45 min./4x90 min., crime/procedural, Sequoia Global, TV2, Denmark/ZDF, Germany; Vagrant Queen: 10x60 min., sci-ﬁ, Blue Ice Productions, SYFY, U.S.A.; Creepshow: 12x30 min./ 6x60 min., horror, Cartel Pictures, Shudder, U.S.A.; How to Stay Married: 16x30 min., comedy, Princess Pictures, Network Ten, Australia.

“Dynamic is extremely excited for our slate of new drama series at MIPCOM. We focus on commercial genres that have proven successful worldwide. Whether the riveting suspense and intensity of Deliver Us, the closed-ended urgency in solving a murder each week in The Sommerdahl Murders or the extraordinary adventure in an actionpacked Vagrant Queen sci-ﬁ universe, each of these series brings masterful storytelling that is easily marketed to and accessible by a very broad audience. Dynamic’s drama series have a fantastic track record of delivering successful ratings for our partners, which we are very proud of as a company. We’ve spent countless hours collaborating with very talented writers, directors and producers, and we couldn’t be more excited [about] this slate of programs. We are conﬁdent each of these series will live up to our high expectations and be very successful for our partners.” —Dan March, Managing Partner

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Eccho Rights ADDRESS: Kungsgatan 48, Stockholm 111 35, Sweden TELEPHONE: (46-8) 5560-9380 WEBSITE: www.ecchorights.com MANAGING DIRECTOR: Fredrik af Malmborg CONTACT: fam@ecchorights.com PROGRAMS: Everywhere I Go: 45 min. eps., drama, Karga Seven Pictures, Fox, Turkey; My Sweet Lie: 45 min. eps., drama, O3 Medya, Star TV, Turkey; Heart & Soul: 45 min. eps., serial drama, SP Televisão, SIC, Portugal; Water Mirror: 45 min. eps., serial drama, SP Televisão, SIC, Portugal; North Star: 45 min. eps., drama, Sürec Film, Show TV, Turkey; Sisterhood: 45 min. eps., drama, Sürec Film, Star TV, Turkey; Honour: 45 min. eps., crime/thriller, Bigster, Viaplay, Sweden; Swiping: 45 min. eps., comedy/drama, B-reel, SVT, Sweden; Invisible Heroes: 45 min. eps., historical drama, Kaiho Republic/Parox, Yle, Finland/Chilevision, Chile.

“We are incredibly proud of our rich and varied lineup for this edition of MIPCOM. As well as being one of the world’s leading suppliers of Turkish drama, we continue to diversify with our content and our growing catalog of Swedish titles—plus the introduction of drama series from Portugal, which is a very exciting territory—shows our ambitions to keep growing like this. As well as ready-made drama series, we have an ever-increasing catalog of Korean scripts that we are signing up format deals for, working in close partnership with CJ ENM.” —Fredrik af Malmborg, Managing Director

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Gaumont ADDRESS: 750 N. San Vicente Blvd., #1000, West Hollywood, CA 90069, U.S.A. TELEPHONE: (1-424) 281-5200 WEBSITE: www.gaumonttelevision.com VICE CEO: Christophe Riandee PRESIDENT, WORLDWIDE TV DISTRIBUTION & CO-PRODUCTION: Vanessa Shapiro CONTACT: sales@gaumont.com PROGRAMS: El Presidente: 8x60 min., true-life drama, Gaumont, Amazon Prime Video, Latin America; Narcos: 50x60 min., true-life drama, Gaumont, Netﬂix, U.S.A.; NOX: 6x60 min., thriller, Gaumont, Canal+, France; The Art of Crime: 18x60 min., procedural, Gaumont, France 2, France; Murder in Lisieux: 1x90 min., thriller, Gaumont, France 3, France; Merry Christmas Match: 1x90 min., holiday, Gaumont, Hallmark Channel, U.S.A.; A Very Corgi Christmas: 1x90 min., holiday, Gaumont, BYU TV, U.S.A.; Christmas Runaway Wedding: 1x90 min., holiday, Gaumont, UPtv, U.S.A.; Christmas a la Mode: 1x90 min., holiday, Gaumont, Lifetime, U.S.A.

“Gaumont is a producer and distributor of high-quality programming for the U.S. and international markets and part of the motion picture studio Gaumont. This year, the company will continue to focus on developing new TV co-production alliances and launching new divisions around the world. Last year, we opened offices in Germany, the U.K. and Argentina, with a mandate to develop and produce original scripted drama series. We have just completed principal photography on our new Latin American co-production with the Oscar‐winning production company Fabula and Kapow for Amazon, El Presidente, a true-crime series that explores the FIFA corruption scandal; and also our first German production, the historical and ambitious The Barbarians for Netflix. We are also in post-production for season five of the Emmy- and Golden Globe-nominated Narcos. According to Parrot Analytics, the latest season topped the charts as the number one digital original series when it debuted in the U.S. in 2018.” —Vanessa Shapiro, President, Worldwide TV Distribution & Co-Production

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Global Agency ADDRESS: Abdi Ipekci Cad., Park 19, Kat: 3, 34367 Nisantasi, Sisli, Istanbul, Turkey TELEPHONE: (90-212) 240-5769 WEBSITE: www.theglobalagency.tv FOUNDER & CEO: Izzet Pinto HEAD, DRAMA ACQUISITIONS: Senay Filiztekin CONTACT: Duygu Safak, duygu@theglobalagency.tv PROGRAMS: Daydreamer: 161x60 min., dramedy, Star TV, Turkey; Sisters: S1 53x60 min., S2 ongoing, drama, Star TV, Turkey; Evermore: S1 51x60 min., S2 129x60 min., S3 121x60 min., drama, Star TV, Turkey; Gulperi: 93x60 min., drama, Show TV, Turkey; Meryem: 94x60 min., drama, Kanal D, Turkey; Mother: 85x60 min., drama, Star TV, Turkey; Bitter Sweet: 81x60 min., drama, Star TV, Turkey; Intersection: 99x60 min., drama, Fox, Turkey; Love for Rent: S1 148x60 min., S2 54x60 min., dramedy, Star TV, Turkey; Aria of the Doomed: 10x60 min., period drama, NTV, Russia.

“The romantic-comedy genre is very popular in the international market at the moment. We are extremely happy and excited to see such great interest because we have a high-rated and impressive portfolio for this genre in our catalog, with titles such as Daydreamer, Love for Rent and Bitter Sweet. We have closed many deals for these projects in Europe, CEE and CIS countries in summer 2019. Viewers in these countries have already proven their strong commitment to this genre with our projects. Since its premiere, Evermore, which extends over three seasons, has become one of the most talked-about dramas series not only in Turkey but also in the world. It was nominated for a 2018 International Emmy and has been widely sold around the world, including in Israel, where it has become a pop-culture phenomenon. Israeli audiences have become obsessed with this series. Following its success in Israel, the series has been sold to 14 more countries in summer 2019. Another success is Aria of the Doomed, a Russian drama, which is based on real historical events. It was launched in Kazakhstan in June this year and has had a great impact. Turkish content will continue its journey and conquer more countries in the near future. We are also very proud to represent the stunning titles Gulperi, Sisters and Meryem in the international market. We are conﬁdent that we will see these titles in many other countries by the end of 2019. On the scripted adaptation/localization side, we cannot wait to see the remake of Sisters in Ukraine very soon.” —Senay Filiztekin, Head, Drama Acquisitions 48

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GMA Worldwide ADDRESS: 10/Fl., GMA Network Center, EDSA corner Timog Ave., Diliman, Quezon City 1103, Philippines TELEPHONE: (632) 333-7633 WEBSITE: www.gmaworldwide.tv SENIOR VP, GMA NETWORK: Lilybeth G. Rasonable VP: Roxanne J. Barcelona FIRST VP, PROGRAM MANAGEMENT, GMA NETWORK: Jose Mari R. Abacan CONTACT: Ana Racquel A. Sevilla, aasevilla@gmanetwork.com PROGRAMS: For Love or Money: 50x45 min. in prod., contemporary drama, GMA Entertainment Group, GMA Network, Philippines; Love You Two: 50x45 min. in prod., romantic comedy, GMA Entertainment Group, GMA Network, Philippines; The Silent Thief: 45x45 min., crime, GMA Entertainment Group, GMA Network, Philippines; Obsession: 45x45 min. in prod., thriller, GMA Entertainment Group, GMA Network, Philippines; The Better Woman: 30x45 min. in prod., rivalry, GMA Entertainment Group, GMA Network, Philippines; Prima Donnas: 25x45 min. in prod., family, GMA Entertainment Group, GMA Network, Philippines; Beautiful Justice: 25x45 min. in prod., crime, GMA Entertainment Group, GMA Network, Philippines; The Gift: 25x45 min. in prod., contemporary drama, GMA Entertainment Group, GMA Network, Philippines; Sahaya: 60x45 min. in prod., contemporary drama, GMA Entertainment Group, GMA Network, Philippines; My Crown Princess: 25x45 min. in prod., romantic comedy, GMA Public Affairs, GMA Network, Philippines.

“GMA Worldwide Inc. (GWI) is a whollyowned subsidiary of GMA Network. It is the group tasked with the distribution of GMA’s content worldwide. Through GWI, GMA’s content is currently seen in over 30 countries on four continents. GMA’s titles and artists have been recognized by international award-giving bodies for the last 20 years. As the primary source of Filipino content, GWI has licensed over 100 titles around the globe through its partner broadcasters and online platforms. GWI’s goal is to reach more viewers around the world via program syndication. With the network producing over 26 dramas annually, GWI’s clients and partners can expect a consistent stream of well-crafted programs featuring stories with universal themes and starring the Philippines’ most talented artists.” —Roxanne J. Barcelona, VP

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Intellecta ADDRESS: 57 Vitosha Blvd., Soﬁa 1000, Bulgaria TELEPHONE: (359) 88830-8180 WEBSITE: www.intellectasrl.com GENERAL MANAGER: Christina Vlahova HEAD, DRAMA SALES: Anna Kraeva CONTACTS: christina.vlahova@intellectasrl.com; anna.kraeva@intellectasrl.com; Antonia Matolov, antonia.matolov@intellectasrl.com; Giuseppe Zappala, giuseppe.zappala@intellectasrl.com PROGRAMS: Love Conquers All: 260x30 min., romantic drama, Star TV, India; What Do You Call This Love?: 398x30 min., romantic drama, Star TV, India; Stand By My Side: 2,184x30 min., romantic drama, Star TV, India; The Singing Star: 380x30 min., family, Star TV, India; Love Gamblers: 758x30 min., family, Star TV, India; Family Secrets: 168x30 min., family, Star TV, India; Illusions: 94x30 min., thriller, Star TV, India; Happily Never After: 326x30 min., family, Star TV, India; The Estranged Melody: 470x30 min., family, Star TV, India; The Threshold: 104x30 min., family, Star TV, India.

“Intellecta has been syndicating Indian series and movies for the last eight years as a syndication partner of Star TV India, Fox Star India and a number of Indian movie producers. We are proud to have built a very strong media and cultural bridge between India and Europe, introducing the best Indian content and giving an opportunity to viewers in Europe to watch the highest production [of] Indian TV series and movies.” —Christina Vlahova, General Manager

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Inter Medya ADDRESS: Istanbloom, Zincirlikuyu Sokak, Kore Şehitleri Cad. 16/1, 34394 Istanbul, Turkey TELEPHONE: (90-212) 231-0102 WEBSITE: www.intermedya.tv FOUNDER & CEO: Can Okan SALES & MARKETING MANAGER: Melissa Okan Miskavi VP & HEAD, SALES & ACQUISITIONS: Beatriz Cea Okan CONTACT: info@intermedya.tv PROGRAMS: Bitter Lands: drama, TIMS&B Productions, ATV, Turkey; Tainted Love: drama, TIMS&B Productions, Kanal D, Turkey; Behzat Ç.: 9x45-60 min., action/detective, Inter Medya, BluTV, Turkey; The Pit: S1 107x45 min., drama, Ay Yapim, Show TV, Turkey; Bozkir: detective, BluTV, Turkey; Loved You Once: drama, Focus Film, Star TV, Turkey; Flames of Desire: 186x45 min., drama, Most Production, Kanal D, Turkey; Mrs. Fazilet and Her Daughters: drama, Avşar Film, Star TV, Turkey; Hayat: 102x45 min., dramedy, Bi Yapim, Show TV, Turkey; Broken Wings: 160x45 min., drama, Koliba Film, ATV, Turkey.

“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.” —Corporate Communications

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Lionsgate Entertainment ADDRESS: 2700 Colorado Ave., Santa Monica, CA 90404, U.S.A. TELEPHONE: (1-310) 449-9200 WEBSITE: www.lionsgate.com PRESIDENT, INTERNATIONAL TV & DIGITAL DISTRIBUTION: Agapy Kapouranis PRESIDENT, WORLDWIDE TV & DIGITAL DISTRIBUTION: Jim Packer CHAIRMAN, LIONSGATE TELEVISION GROUP: Kevin Beggs CONTACT: general-inquiries@lionsgate.com PROGRAMS: Zoey’s Extraordinary Playlist: 12x60 min., drama; Manhunt: Lone Wolf: 10x60 min., drama; Ambitions: 18x60 min., drama.

“The first major new studio in decades, Lionsgate is a global content platform whose films, television series, digital products and linear and over-the-top platforms reach nextgeneration audiences around the world. In addition to its filmed entertainment leadership, Lionsgate content drives a growing presence in interactive and location-based entertainment, gaming, virtual reality and other new entertainment technologies. Lionsgate’s content initiatives are backed by a 16,000-title film and television library and delivered through a global licensing infrastructure. The Lionsgate brand is synonymous with original, daring and groundbreaking content created with special emphasis on the evolving patterns and diverse composition of the company’s worldwide consumer base.” —Agapy Kapouranis, President, International TV & Digital Distribution

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The Mediapro Studio ADDRESS: Ctra. Fuencarral – Alcobendas, 24, 28049 Madrid, Spain TELEPHONE: (34) 91728-5740 WEBSITE: www.themediaprostudio.com CORPORATE DIRECTOR & HEAD, TV: Laura Fernandez CHIEF CONTENT OFFICER: Javier Méndez THE MEDIAPRO STUDIO DISTRIBUTION: Beatriz Setuain HEAD, DEVELOPMENT: Ran Tellem CONTACT: Lorena Molloy, lmolloy@mediapro.tv PROGRAMS: The Paradise: 8x50 min., thriller, The Mediapro Studio/MRP Matila Röhr Productions Oy, Yle, Finland; The Head: 6x50 min., thriller, The Mediapro Studio, Spain; Side Games: 16x50 min., thriller, The Mediapro Studio, OnDIRECTV, U.S.A./Spain; I’m Alive: 26x70 min., family/thriller, Globomedia (The Mediapro Studio), RTVE, Spain; Juan for President: 8x30 min., comedy, 100 Balas (The Mediapro Studio), TNT, Spain; Locked Up: 40x50 min., thriller, Globomedia (The Mediapro Studio), Antena 3/Fox Networks Spain, Spain.

“The mission of The Mediapro Studio, the content division of the Mediapro Group, is to expand the creation, production and distribution of content globally, creating high-quality international content in association with the very best Spanish and international talent, including Paolo Sorrentino, Woody Allen, Isabel Coixet, Ran Tellem, Oliver Stone, Daniel Burman, Fernando León de Aranoa, Iván Escobar, Javier Fesser, Patricio Guzmán, Borja Cobeaga, Diego San José, Marc Cistaré, Manuel Huerga, Ernesto Daranas, Gastón Duprat, Mariano Cohn, Laura Belloso, Marc Vigil, Fernando González Molina, Javier Olivares and Ruth García. The Mediapro Studio—with 58 offices distributed across four continents, 14 of which develop and produce content—launched 34 series in 2019 with a global investment of €200 million for the production of series, movies, entertainment programs, short formats and documentaries. The Mediapro Studio has partnered with key industry players worldwide, including HBO, Netﬂix, Amazon, DirecTV, Fox, Viacom, Yle, Turner and Disney, which have earned international acclaim winning awards, including two Oscars, two Golden Globes, multiple Goyas and two Daytime Emmys.” —Corporate Communications

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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, LATAM & IBERIA: Maria Fernanda Espino Noguez CONTACT: info@mistco.tv PROGRAMS: Melek (A Mother’s Struggle): 100x45 min., drama, Us Yapim, TRT, Turkey; My Champion: 100x45 min., drama, BSK Yapim, TRT, Turkey; Hold My Hand: 151x45 min., romantic, Us Yapim, TRT, Turkey; Beloved: 66x45 min., romantic, A23 Yapim, TRT, Turkey; Resurrection: Ertugrul: S1-5 448x45 min., epic, Tekden Film, TRT, Turkey; The Circle: 61x45 min., crime/romantic, Es Film, TRT, Turkey; The Last Emperor: S1-3 289x45 min., epic, Es Film, TRT, Turkey; The Prisoner of Love: 227x45 min., romantic, Karamel Yapim, TRT, Turkey; Mehmetcik: Kûtulamâre: 34x140 min., epic, Bozdag Film, TRT, Turkey.

“As the foremost distribution company based in Istanbul, MISTCO exclusively distributes the portfolio of one of the leading media networks, TRT, including dramas, animations, movies, miniseries and formats. MISTCO offers diversified genres of drama series and all of them, including library titles, are of high quality and [have] successful plots. We are bringing two new dramas to MIPCOM 2019 along with a new season of our successful drama Hold My Hand, which 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. Melek (A Mother’s Struggle) is about a mother who will sacrifice everything for her children and fight for them. My Champion is a very emotional story of a father and son. After his wife passed away as a result of an incurable disease, Kafkas, who is a boxer, decided to give up everything—until he learns that his son has the same disease. To save his life, it is time to go back for the last round. Beloved, which is a story of impossible love, and the successful historical drama The Last Emperor are other series that will be at the market with new seasons.” —Aysegul Tuzun, VP, Sales & Marketing

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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: Jezebel: telenovela; Topíssima: telenovela; Jesus: 196x45 min., telenovela; Leah: 9x45 min., series; Apocalypse: telenovela; The Rich and Lazarus: 187x45 min., telenovela; The Promised Land: 179x50 min., telenovela; The Slave Mother: 151x60 min., telenovela; Moses and the Ten Commandments: 242x50 min., telenovela.

“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 TV 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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Star Media ADDRESS: 31, Bld.1, Nizhnie Polya St., 109 382 Moscow, Russia; 22, Zakrevskogo St., 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: office@starmediafilm.com; info@starmediafilm.com PROGRAMS: The Pleasure Principle: 10 eps., thriller/detective, Ukraine, Poland, the Czech Republic; Cold Shores: 8 eps., thriller, Russia; Just Sex, Nothing Personal: 1x98 min., romantic comedy, Ukraine; Ancestral Land: 16 eps., drama, Russia; Detective Anna: 56 eps., drama w/sci-fi elements, Ukraine, Russia; The Rurik Dynasty: 8 eps., docudrama, Russia; Where Truth Lies: 8 eps., psychological drama; The Reckless: 12 eps., crime/melodrama/detective, Russia; Awake: 12 eps., drama/mystic, Russia; The Closer: S4 16 eps., detective, Russia.

“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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STAND R9.A23

William J Peck

Phone: +44 (0)20 3008 6555 Mobile: +44 (0)7725 036525 bill@billpeck.co.uk

Ksenia Kalistratova

Phone: (+357) 99 879 813 sales@movieland.com.cy

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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 CONTACT: zdfe.drama@zdf-enterprises.de PROGRAMS: Ottilie von Faber-Castell: 2x90 min., TV movie, Wiedemann & Berg TV; Dead Still: 6x50 min., crime/suspense; Hide and Seek: 8x50 min., crime/suspense, FILM.UA; The Wall: 3x90 min./6x45 min., miniseries, Wiedemann & Berg TV; Top Dog: 8x45 min., crime/suspense, Filmlance International/Nimbus Film/Sveriges Television/DR/ZDF/ZDF Enterprises/Film i Skåne/NRK/Lumiere Group; Unterleuten: 3x90 min., drama, Network Movie Hamburg; Victor Lessard: S3 10x60 min., crime/suspense, Pixcom Productions; Crimson Rivers: 8x50 min./4x100 min., crime/suspense, Storia Television/Maze Pictures/ZDF Enterprises, France Télévisions, France/ZDF, Germany; Queens of Mystery: 6x45 min./3x90 min., crime/mystery, FILM.UA; Everything I Don’t Remember: 2x90 min./3x60 min., drama/mystery, Black Spark & Kärnfilm Production.

“Our objective for MIPCOM is to offer our clients successful programs, to strengthen existing customer relationships, to acquire new partners and, of course, to successfully launch our new titles through ﬁrst sales. We have a lot of new programs in our catalog and we are proud to present them in Cannes.” —Fred Burcksen, President & CEO

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MIPCOM stand no. P-1.L2, P-1.M1 zdf-enterprises.de

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