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Contents A Note from the Editor . . . . . . . . . . . . . 6 Interviews . . . . . . . . . . . . . . . . . . . . . . . . . 7 Distributors . . . . . . . . . . . . . . . . . . . . . . 17
Publisher Ricardo Seguin Guise Group Editorial Director Anna Carugati
Ricardo Seguin Guise President
Editor Mansha Daswani
Anna Carugati Executive VP
Executive Editor and Editor, English-Language Guides Kristin Brzoznowski
Mansha Daswani VP of Strategic Development and Associate Publisher
Production and Design Director David Diehl
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Managing Editor Chelsea Regan
1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620
Associate Editor Jamie Stalcup
Fax: (212) 924-6940
Online Director Simon Weaver
Website: www.tvdrama.ws
Senior Sales and Marketing Manager Dana Mattison Sales and Marketing Coordinator Genovick Acevedo
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
For a free subscription to our newsletters, please visit www.subscriptions.ws 4
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A Note from the Editor Mansha Daswani
As we all know, it’s been an especially tough year for scripted producers attempting to navigate the complexities (and budgetary pressures) of producing amid Covid-19. Every day there seems to be a new headline about a shoot having to pause because of an infection, as the seemingly endless alphabet of Covid-19 variants plagues back-to-normal plans. But, against the odds, producers are making it work. Just look at the U.K., where, in the last year, the Film and TV Production Restart Scheme has helped 640 projects get back on set. Unveiled last July, the program was established to deliver £500 million in assistance to film and TV projects that were ready to start or restart but unable to secure insurance against potential Covid-19 related delays and interruptions. Similar initiatives are in place in other territories. And with producers clamoring to get their projects finished, the demand for studio space appears to be surging. In the last few months alone, plans for expansive new soundstages have been announced in the U.K. and Australia. Expect much more in this space because the demand for great content is seemingly endless right now. Audiences are insatiable, too, as viewing time rises in markets around the world. Streaming time across the globe was up 13 percent in the second quarter of this year compared to the same period in 2020, according to new data from Conviva. “When streaming skyrocketed last year, many surmised that the global upswing was due to the Covid-19 pandemic temporarily altering viewing and social media behaviors,” Conviva says in its Q2 State of Streaming report. “While viewing habits certainly changed, those temporary spikes have turned out to be not so temporary. The pandemic has spurred a tipping point in streaming that shows no signs of reversal.” This edition of the TV Drama Guide features a broad swath of high-quality scripted programming, ready to satisfy viewers’ voracious appetites. 6
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INTERVIEWS
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Jane Turton CEO All3Media
TV DRAMA: Several Hollywood studios are holding the vast majority of their product for their streaming services. Does this create more opportunity for a company like All3Media to sell programming to broadcasters and platforms around the world? TURTON: What we need as content creators is buyers with slots to fill and cash to spend. So, every time there is a withholding of rights or a repatriation of a catalog by one of the studios to put on their SVOD or AVOD platform, gaps are created elsewhere. That, plus the arrival of newer platforms that want high-quality content, means there are lots of buyers for shows. The market is dynamic and investment in content is growing—all of which is a positive force for content creators. TV DRAMA: As there are more platforms and channels buying product, the whole windowing strategy becomes more complicated for All3Media International, doesn’t it? TURTON: The market is more complex than ever, and this complexity creates opportunity—if you know what you’re doing! We are very lucky to have Louise Pedersen and her team at All3Media International sitting at the heart of the group. Her team’s role is as a long-term partner to the producers. They routinely get involved at the early stage in development conversations, funding rights deals, opening doors for international partnerships, designing the optimal sales strategy and so on. Their experience allows us to take an informed view of opportunity and risk and is invaluable in a world where everything is so dynamic and windowing and the medium is all changing so fast. TV DRAMA: How do you see All3Media and the media landscape as you look past the pandemic? TURTON: Content is the single most critical part of any media proposition. Our job is to make sure that we remain at the top of the list as a leading world-class content producer that can and will sell to multiple platforms for an audience that will view all types of shows and on multiple devices. 8
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Tim Gerhartz President & Managing Director Red Arrow Studios International TV DRAMA: What are audiences and platforms looking for today? GERHARTZ: While I think it’s true to say audiences are looking for uplifting and feel-good content, I expect in the longerterm this will balance out and we’ll return to a position where some viewers will still want a more lighthearted escape from reality, but others will want to understand it or find meaning and resonance in shows with darker, more challenging themes. As such, we are trying to keep our approach to our content offering as broad as possible to ensure we have a little bit of everything and can meet all audience and broadcaster demands as they evolve. I also think it’s important to note that the rapid proliferation of options for content means there is now room for all types of shows. Within crime drama specifically, we’re seeing linear channels and platforms look to procedurals and series that are lighter in tone and easy to schedule. Whereas with pay-TV and VOD platforms, there is scope for more complex programming, which is maybe darker in tone and themes but keeps audiences gripped and returning episode after episode. We’re also seeing strong interest in our crime TV-movie slate, as audiences are also looking for fresh content that works for the whole family and isn’t too much of a time commitment. They are also cost-effective and offer flexible scheduling opportunities for broadcasters. TV DRAMA: How have windowing models evolved? GERHARTZ: We’re increasingly finding many platforms—global, regional and national—open to a greater degree of flexibility when it comes to windowing across all genres of drama content and we expect this to continue as the cost of producing drama remains high and the trend for producing local content continues. Covid-19 has also caused many production delays, leaving platforms eager to find new content to keep their offering fresh and engaging, so they are more than ever open to sharing shows and IPs to achieve this. 9
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Dan Cohen
President ViacomCBS Global Distribution Group TV DRAMA: With such a rich library, how do you manage to give the gems the attention and exposure they deserve? COHEN: The gems tend to stand out. In this era of lower ratings, lots of competition, lots of content, lots of clutter, the harder part is sometimes monetizing the mid-range content that is pretty good but not extraordinary. We’re more selective in what we produce. But the gems we already have, the CSIs, the NCISes, have been sold for years and clients have been very happy. That hasn’t changed much. Also, George Cheeks, who runs CBS, is very focused on the overall business. He will say to me, “If you can’t distribute the show internationally, maybe I shouldn’t make it, because my economics don’t allow me to say it’s good for CBS, so we don’t need to worry.” We do need to worry, and I know it’s gotten tougher out there. We have more of those discussions now than we did two or three years ago. TV DRAMA: Are linear and nonlinear platforms willing to share rights? COHEN: One of the things I’ve counseled our teams on is don’t get locked into rigid thinking that it has to be exclusive. Or that if it’s on a streaming service, you’ll never be able to license it to linear or vice versa. We are seeing more willingness to share. We’re seeing more willingness to do co-exclusive deals where we keep rights for ourselves. Our clients have realized that big media companies have streaming services, and that’s more attractive than us saying, “I’m not going to do business with you.” TV DRAMA: Is linear still a good part of your business? COHEN: Linear is still an incredibly important part of our business. There is so much focus on streaming in the media and on Wall Street, whether our services or our licensing to streaming services. But we still have local salespeople in international offices all over the world. The business remains heavily weighted to boots on the ground, licensing to clients in territories. 10
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Robert Franke VP ZDFE.drama ZDF Enterprises (ZDFE)
TV DRAMA: How has ZDFE become such a prolific provider of crime drama series? FRANKE: ZDF Enterprises is very strong on the crime drama side. We feature a wide variety of crime-themed shows from all European territories. Most notably is our slate of Scandi noir classics like The Killing and The Bridge, but also newer shows like Before We Die or Agatha Christie’s Hjerson. Besides that, we offer English-language crime shows like London Kills and the U.K. remake of Before We Die and, of course, our extensive catalog of best-selling German procedural crime. TV DRAMA: What are audiences looking for in crime dramas? FRANKE: There is definitely a trend toward lighter-themed crime, but the classics are classics for a reason—narrative superiority always sells! So even though the trend for new productions is lighter in tone and storytelling, it’s the mix of different tones and styles that makes a good crime catalog. TV DRAMA: What are some of the innovations you’re seeing in this enduring genre? FRANKE: There is a strong trend back to semi-procedural crime drama: case-of-the-week-style shows with a strong story arc over a season. Also, the characters are becoming more balanced. There was a strong trend after Breaking Bad to similarly dark U.S. shows and characters with almost no redeeming features. We see that this is changing, and writers also show light within the dark, which is a good thing and helps make these shows more digestible. TV DRAMA: Are your crime dramas primarily local productions, or are there opportunities for cross-border co-productions? FRANKE: Both. There are strong local traditions in crime storytelling and every territory does it a little differently. Local shows tend to be fully financed by either a local channel or platform since they tend to travel a bit less compared to these bigger event crime shows with more complex setups. 11
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Fredrik af Malmborg Managing Director Eccho Rights TV DRAMA: How did the lockdowns of last year impact your lineup? AF MALMBORG: Almost not at all. The American and U.K. productions [have been delayed], and they even have bidding wars for half-written scripts to prebuy. We do Nordic series from Scandinavia; there, at least in Sweden, it’s been going on. Then we have Turkey, where there have been hardly any interruptions at all. And then, of course, all the productions from Korea we represent; all the output from CJ ENM, our majority owner, and series from other producers in Korea. They’ve been producing with very little interruption. And we represent quite a few Australian series, based on our representation deal with Sony. They’ve also continued producing. So we have four source areas of fantastic series that have not been interrupted. We do a number of series from Russia as well, and Ukraine, that are really well produced. They’ve been fairly uninterrupted in their productions. TV DRAMA: What are the needs of your clients at present? AF MALMBORG: The obvious answer is, it’s the lighter stuff. Relationship issues rather than hardcore crime. We are selling a lot of our Nordic romance series, also some of the lighter productions from Korea. Turkish drama works quite well because it’s not about crime primarily; it’s more about human relationships, family issues. So that plays pretty well. But they will still buy good crime. SVOD is also booming. I think the purchasing power for good acquisitions is actually stronger than ever. TV DRAMA: How are you and your partners managing the increased costs related to producing under new Covid-19 guidelines? AF MALMBORG: There is a new role on the team, Covid security person, making sure everyone is tested and has masks on. So costs are increasing. I’m really impressed by all the producers that have managed to carry through their productions. It’s been a challenging time for producers, but they managed, and I think they deserve a huge amount of credit for that. 12
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Ryan Chanatry General Manager Topic
TV DRAMA: Tell us about Topic’s positioning in the SVOD marketplace. CHANATRY: We’ve found our space to be bringing the best of undiscovered global storytelling into the U.S. and Canada. We have a focus on thrillers, crime, within the genre spaces that people love, in an elevated and well-produced way. That’s proved to be differentiating for us. While all the services have some element of that type of programming, there’s not anyone focused on overserving the customer who loves to go deep on great detective crime thrillers or political suspense stories. A large number of series and films haven’t been seen in the U.S. or haven’t had significant exposure. We’re excited because we’re still at the very beginning of our journey. TV DRAMA: Are there greater opportunities for collaboration for region-specific streamers rather than the global ones? CHANATRY: That’s what we do feel like is the opportunity. There is so much support for incredible series, especially in Europe. If those are not globally available rights, services like ours are great partners for the Nordic broadcasters, for the STUDIOCANALs, the ARTEs, the ZDFs and all of the other strong brands and filters that have started to [come into] their own in the last five to ten years. Those are aesthetically and tonally who we feel like we get along with well. TV DRAMA: How does your slate look for the year ahead? CHANATRY: We’re happy with where we’re heading, but we’re always looking for more great titles. We brought the original The Bridge back to the U.S. We have The Killing, and we have a great series called Dead Mountain from Russia. We don’t want to leave Europe behind by any means, but we want to push into finding those similar projects from South America, Asia, Southeast Asia. That’s what we’re looking for next year, to bring more emerging series like that and sprinkle them in with the Australian, French, Nordic shows. 13
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Filippa Wallestam Executive VP & Chief Content Officer Nordic Entertainment Group
TV DRAMA: You’re doing English- and local-language productions. How do you determine what direction to take? WALLESTAM: It’s something we assess on a project-by-project basis. Some stories should be purely local. Other projects are naturally in English. For Hilma, we discussed if it should be in Swedish. We agreed that she is such an international person who is well known across the globe, so it makes sense for us to do it in English with a combination of Nordic and international stars. It is on a case-by-case basis, but these big projects we do with big budgets, where we will finance most of it ourselves, will usually be in English. TV DRAMA: What role do acquisitions play on Viaplay? WALLESTAM: It’s changing. We’re creating our own productions and, of course, they become increasingly important. Our own content is starting to drive sales. Having said that, we have a lot of very strong, long-term relationships with the U.S. players. Those are collaborations and operations we intend to continue. They fill different purposes. We want to have a broad service, and we want to have something to offer everyone. It has been challenging to understand what we’re going to get from the U.S. But I’m excited about our output deals. We are working on our own [content] and building up that layer, but we really value the strong relationships we have with the studios. Many are going D2C, which means we are working even closer with the ones that aren’t. There are many ways we can collaborate. TV DRAMA: Does being a regional versus a global player give you more flexibility in creating partnerships? WALLESTAM: That is one of our main advantages. Also, we don’t take the full upside. We’re interested in the markets we’re in, and even though they are increasing—we will be in at least 15 markets by the end of 2023—there is a lot of the world left. It leaves room for more collaborations and for the creators to get their shows financed but still have a significant upside on the back end. 14
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Superna Kalle
President, International Networks STARZ TV DRAMA: What niche has STARZPLAY carved out in the SVOD market? KALLE: STARZPLAY curates best-inclass series and features from the world with global, premium drama for our subscribers—content that is edgy, sexy and of the highest caliber, benefiting from both our relationship with Lionsgate for our feature offering and our network’s incredible home-grown series programming. We have hugely successful original franchises like the Power universe, alongside the best of U.S. and international drama such as The Great across our footprint and Godfather of Harlem and Gangs of London in key territories. We’re also priced relatively inexpensively because we are a complement, not competition, to the SVOD giants. We offer a completely bespoke selection of incredible, entertaining, adult-focused drama for each territory, and we’re seeing the benefits of that strategy in our subscriber growth and retention. TV DRAMA: How are you supplementing the slate of STARZ originals with third-party acquisitions? KALLE: We are always on the lookout for incredible series— and increasingly looking for co-production opportunities for local-language productions directly alongside our third-party acquisitions. TV DRAMA: How important are international originals for STARZPLAY? KALLE: It’s an area of growth for us as we enter the next stage of maturity as a global SVOD. We partnered with STUDIOCANAL for the upcoming Marc Levy adaptation All Those Things We Never Said. We have wrapped production on the Spanish-language original Express, as well as the Mexican pageant drama Señorita 89 from Lucia Puenzo. We’re actively developing a slate of international originals and look forward to strengthening this offering even further. 15
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Gavin Reardon
International Sales & Co-Productions Incendo TV DRAMA: What have been Incendo’s key priorities in the last year? REARDON: Priority number one, Incendo is focused on keeping our employees safe and healthy. If we can achieve the same success we had [in 2020] in keeping our staff, cast and crew on our productions Covidfree, while producing another 12 films in 2021, we will have accomplished our goal. After that, we’re all working hard to follow our success on Versailles, and continue to develop and pitch fiction series projects with our co-production partners around the world. TV DRAMA: What are the needs of your clients at present? REARDON: Our clients are asking for more positive content. More upbeat and less dark. Now that production has restarted in a number of countries, we will be back competing for slots for our content. That said, Incendo’s films always have wonderful production value, and we’re confident we will continue to be a major supplier for our clients. TV DRAMA: What do you see as the major trends impacting the scripted landscape this year? REARDON: The pandemic has only accelerated changes that were coming in scripted content. The explosion of SVOD and AVOD, and the level of investment, is unprecedented and will continue. Limited series will become more of a focus as they allow huge stars to play in the TV space. Big events, maybe even with a live terrestrial as well as an OTT component, will be a solution for both ad- and subscriberbased platforms. Slower rollouts of series, over weeks or months rather than the dumping of series. A strong reaction from the creative community to having their series canceled by SVOD platforms without the historic validation of ratings. And lighter, more varied, more inclusive and accessible content. 16
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DISTRIBUTORS
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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, AMERICAS: Sally Habbershaw EXECUTIVE VP, EMEA: Stephen Driscoll EXECUTIVE VP, ASIAPAC: Sabrina Duguet SENIOR VP, SCRIPTED CONTENT: David Swetman CONTACT: david.swetman@all3media.com PROGRAMS: Angela Black: 6x60 min., drama/thriller, Two Brothers Pictures, ITV, U.K./Spectrum, U.S.A.; New Gold Mountain: 4x60 min., period drama, Goalpost Television, SBS, Australia; Manhunt II: The Night Stalker: 4x60 min., true crime/detective, Buffalo Pictures, ITV, U.K.; Dalgliesh: 6x60 min., crime/drama/detective, New Pictures, Channel 5, U.K./Acorn TV, U.S.A.; Hollington Drive: 4x60 min., drama, West Road Pictures, ITV, U.K.; Help: 1x120 min., drama, The Forge, Channel 4, U.K.; Total Control: 6x60 min., drama, Blackfella Films, ABC, Australia.
“At All3Media International, we work hard to bring the best stories from the best creatives to the international market. We have an exciting and varied slate on offer this year. I’m delighted to welcome back some favorite returning series: Buffalo Pictures’ Manhunt, starring Martin Clunes as London detective Colin Sutton, returns to ITV for a second series, as does Blackfella Films’ political thriller Total Control, starring Deborah Mailman and Rachel Griffiths on ABC. I’m also excited to see Daisy Haggard’s Back to Life, produced by Two Brothers Pictures for the BBC and Showtime. It’s great to be launching several new series, including the domestic thriller Hollington Drive from West Road Pictures and starring Anna Maxwell Martin, and New Pictures’ Dalgliesh, a period detective series based on the books by PD James and starring Bertie Carvel. I’m also pleased to introduce historic gold-rush thriller New Gold Mountain, the first program from our partnership with Goalpost Pictures.” —David Swetman, Senior VP, Scripted Content
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Banijay Rights ADDRESS: Shepherd’s Building Central, Charecroft Way, Shepherd’s Bush, London W14 0EE, U.K. WEBSITE: www.banijayrights.com CEO: Cathy Payne SENIOR VP, ACQUISITIONS: Simon Cox PROGRAMS: Germinal: 6x60 min., drama, Banijay Studios France/Pictanovo, France 2/Rai Fiction/Salto, France; Grantchester: S6 8x60 min., drama, Kudos/Masterpiece, Masterpiece PBS/ITV, U.K.; A Class Apart: 8x60 min., drama, Jarowskij/Brommamamma/Film I Väst/Viaplay/Banjiay Rights, Viaplay, Sweden.
“Our selection of premium titles this year includes an adaptation of Émile Zola’s classic novel Germinal, the sixth run of detective series Grantchester and the new Swedish thriller A Class Apart, all of which demonstrate what a truly great range of scripted content we have in the Banijay Rights catalog. This is an exciting time for Banijay Rights in the global drama industry. All of our scripted titles have returned to production following a challenging year, and we have an exciting slate for the coming months, which will see the likes of Peaky Blinders, Then You Run, SAS: Rogue Heroes and Chloe coming to entertain audiences globally. There are so many great stories and new voices to showcase, and we are excited to bring these to new audiences around the world.” —Simon Cox, Senior VP, Acquisitions
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BBC Studios ADDRESS: 1 Television Centre, 101 Wood Lane, London W12 7FA, U.K. WEBSITE: sales.bbcstudios.com SENIOR VP, GLOBAL FORMAT SALES: André Renaud CREATIVE DIRECTOR, FORMATS: Sumi Connock CONTACT: andre.renaud@bbc.com PROGRAMS: Inside No. 9: S1-5 31x30 min. & format, comedy, BBC, BBC, U.K.; The Office: S1-9 201x30 min. & format, comedy, BBC/BBC America, BBC, U.K.; This Country: S1-3 18x25 min. & 1x45 min. & format, comedy, BBC Studios, BBC, U.K.; Miranda: S1-3 & 2 specials 20x30 min. & format, comedy, BBC Studios, BBC, U.K.; Ghosts: S1-3 18x30 min. & format, comedy, Monumental Television/Them There, BBC, U.K.; Wannabe: S1-2 8x30 min. & format, comedy, Bullion, BBC, U.K.; Alma’s Not Normal: 6x30 min. & format, comedy, Expectation, BBC, U.K.; The Wrong Mans: 6x30 min. & format, comedy, BBC/Hulu, BBC, U.K.; Ladhood: S1-2 12x30 min. & format, comedy, BBC Studios, BBC, U.K.; Wakefield: 8x60 min. & format, drama, Jungle Entertainment, ABC iview, Australia.
“Scripted comedy has never been so popular, as audiences around the world look for laughter and light relief. BBC Studios has a vast catalog of award-winning scripted comedy formats to show that there really is something to suit every sense of humor, including mockumentaries The Office and This Country to the mishaps of Miranda or the haunted humor of Ghosts. And while these formats have all been adapted for the U.S. market, there are plenty more laughs for many more countries, from the utterly surreal Inside No. 9 to the coming-of-age sitcom Ladhood and action-packed comedy The Wrong Mans. But, of course, if comedy is not your thing, the groundbreaking and powerful new psychological mystery Wakefield explores the fine line between sanity and madness. BBC Studios’ scripted formats continue to reach new heights and help bring key titles and talent to new audiences around the world.” —André Renaud, Senior VP, Global Format Sales
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Cineflix Rights ADDRESS: 1/Fl., 1 Lorenzo St., London WC1X 9DJ, U.K. TELEPHONE: (44-20) 3179-5050 WEBSITE: www.cineflixrights.com CEO, RIGHTS, CINEFLIX MEDIA: Tim Mutimer HEAD, SCRIPTED: James Durie SENIOR VP, SCRIPTED SALES & DEVELOPMENT: Tom Misselbrook CONTACT: jdurie@cineflix.com PROGRAMS: Rebecca: 8x60 min., crime, Elephant, TF1, France; Crime: 6x60 min., crime, Buccaneer Media, BritBox, U.K.; Whitstable Pearl: 6x45 min., crime, Buccaneer Media, Acorn TV, U.K.; Manayek: 20x45 min., crime, Yoav Gross Productions, Kan 11, Israel; Happily Married: 20x45 min., scripted, Productions Casablanca, Radio-Canada, Canada; Left for Dead: The Ashley Reeves Story: 1x90 min., movie, Cineflix Productions, Lifetime, U.S.A.; An Ice Wine Christmas: 1x90 min., movie, Cineflix Productions, Lifetime, U.S.A.; Christmas in Detroit: 1x90 min., movie, Cineflix Productions, Lifetime, U.S.A.
“We are thrilled to be offering a slate of new and returning high-quality, distinctive dramas to international buyers this fall. Rebecca is a heart-wrenching journey of loss and redemption filled with twists and turns to keep viewers riveted, and its quality has been recognized with an official selection at Series Mania 2021. Crime will have strong appeal not just to Irvine Welsh fans everywhere but also any fan of cop shows featuring complex characters investigating cases while confronting their own demons. Manayek has been a major, award-winning hit in Israel—it’s an intense thriller packed with strong characters and a deeply layered, hard-hitting plot with an authenticity that is rare in police dramas. These titles join our growing catalog of standout commercially and creatively exciting scripted series that appeal to global audiences.” —James Durie, Head, Scripted
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Daro Film Distribution ADDRESS: Le Patio Palace, 41 Avenue Hector Otto, Monaco, 98000 TELEPHONE: (377) 9797-1605 WEBSITE: www.daro-films.mc PRESIDENT: Pierre-Andre Rochat HEAD, SALES: Bertrand Reignier HEAD, ACQUISITIONS: Sandra Crotty M’Sili CONTACT: Adam Champ, achamp@daro-films.mc PROGRAMS: Mystic: 29x30 min., family adventure, Slim Film & Television/Libertine Pictures, BBC, U.K./TVNZ, New Zealand; Around the World in 80 Days: 8x60 min., action/adventure, Slim Film & Television, ZDF, Germany/France Télévisions, France/RAI, Italy.
“Created in 1982, Daro Film Distribution has grown to become one of the leading independent distribution companies. It now represents more than 100 production companies from around the world. Daro has a catalog of more than 5,000 hours, ranging from blockbuster theatrical films and action series to TV movies, cartoons and documentaries. Daro has built strong relationships with major companies such as Summit, Intermedia, Morgan Creek, Icon, Lionsgate, Europacorp, Lakeshore and Lucasfilm. The sales team is selling to all of Europe, the Middle East, Africa, Asia and Latin America. Our main focus is on worldwide distribution, and we are involved in development, financing and co-production. The company employs a dedicated team who specialize in all aspects of distribution, financing and marketing. Daro is present at all major television and film markets.” —Corporate Communications
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Dori Media Group ADDRESS: 2 Raul Wallenberg St., Tel Aviv 6971901, Israel TELEPHONE: (972-3) 647-8185 WEBSITE: www.dorimedia.com PRESIDENT & CEO: Nadav Palti VP, SALES, WESTERN EUROPE, U.S.A. & CANADA: Carolina Sabbag DIRECTOR, SALES, LATAM & U.S. HISPANIC: Maria Perez Campi SALES MANAGER, CEE, CIS & AFRICA: Camila Premet SALES MANAGER, ASIA & MIDDLE EAST: Haikal Jamari HEAD, CONTENT, DORI MEDIA INTERNATIONAL: Givon Snir CHIEF CONTENT OFFICER, DORI MEDIA INTERNATIONAL: Joshua Mintz CONTACT: sales@dorimedia.com PROGRAMS: The New Black: 26x30 min., comedy, Dori Media Darset, HOT, Israel; Normal: 8x35 min., drama, Dori Media Darset, HOT, Israel; Dumb: 75x35 min., crime drama, Dori Media Darset, HOT, Israel; Little Mom: 51x30 min., comedy, Yoav Gross, Channel 13, Israel; Las Estrellas (5 Stars): 120x60 min., romantic comedy, Pol-ka Producciones/Dori Media International, Canal 13, Argentina; Esau: 4x60 min., drama, Pavel Lungin’s Studio/2TEAM Productions, Yandex, Russia; In Treatment: 45x30 min., weekly drama, Sheleg, HOT, Israel; La Entrega: 10x50 min., crime/thriller, Macondo Producciones, Red Uno, Bolivia; Middle East Central!!!: 10x30 min., horror for kids, Dori Media Darset, HOT, Israel; Run!!!: 10x30 min., horror for kids, Dori Media Darset, HOT, Israel.
“Dori Media’s catalog consists of over 150 titles, both scripted and non-scripted (daily dramas, weekly dramas, telenovelas, new-velas, comedies, reality and game shows, kids’ content and feature films). The huge number of titles, both track-record titles and new formats, enables us to offer each client the best solution for their needs. In addition, the catalog consists of titles in various languages from Israel, Argentina, Spain, Russia, Bolivia, Japan, China and more. The demand for scripted content (and especially dramas) has increased in recent years because of the change in the way viewers watch the series (binge) and the growing demand of the OTT platforms for both new and library content. In addition, the Covid-19 world situation, and the fact that people stay at home more, increased it even more. This worldwide trend has a good effect on Dori Media as a big producer and distributor of high-quality content.” —Nadav Palti, President & CEO
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Eccho Rights ADDRESS: Kungsgatan 48, 111 35 Stockholm, Sweden TELEPHONE: (46-8) 5560-9380 WEBSITE: ecchorights.com MANAGING DIRECTOR: Fredrik af Malmborg DIRECTOR, TURKISH DRAMA: Handan Özkubat MANAGING PARTNER: Nicola Söderlund CONTACT: David Seton, david@ecchorights.com PROGRAMS: Liar: 45 min. eps., thriller, Sürec Film, Show TV, Turkey; One of Us: 45 min. eps., romantic drama, Sürec Film, Show TV, Turkey; Threesome: 23 min. eps., young adult drama, Yellow Bird, Viaplay, Sweden; High Class: 70 min. eps., thriller/drama, CJ ENM, tvN, South Korea; Hometown: 70 min. eps., thriller/drama, CJ ENM, tvN, South Korea; Chrysalis: 45 min. eps., drama, OGM Pictures, Kanal D, Turkey; The Red Room: 45 min. eps., drama, OGM Pictures, TV8, Turkey; Legacy: 45 min. eps., drama, Karamel Yapim, Kanal 7, Turkey; Honour: 45 min. eps., thriller/drama, Bigster, Viaplay, Sweden; The Promise: 45 min. eps., drama, Karamel Yapim, Kanal 7, Turkey.
“Eccho Rights returns to MIPCOM this year not only excited to meet our valued clients in person at last but also to share what is an incredibly strong lineup of drama series. We once more have the strongest titles from Turkey, with the exciting new series Liar and One of Us, both from Sürec Film, as well as four huge hits from the past season that are returning. We are delighted to exclusively represent High Class and Hometown, the two biggest new K dramas for 2021 from our mother company CJ ENM. And, of course, we have some of the best premium drama coming from Sweden, including Threesome from Yellow Bird, which has just launched on Viaplay, scoring rave reviews and generating huge interest among international broadcasters.” —Fredrik af Malmborg, Managing Director
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Global Screen ADDRESS: Sonnenstr. 21, Munich 80331, Germany TELEPHONE: (49-89) 2441295-500 WEBSITE: www.globalscreen.de CEO: Jan David Frouman HEAD, INTERNATIONAL SALES & ACQUISITIONS: Julia Weber CONTACT: julia.weber@globalscreen.de PROGRAMS: The Conference: 1x90 min., period drama, Constantin Film, ZDF, Germany; The Palace: 6x45 min., period drama, Constantin Television, ZDF, Germany; The New Front: 6x45 min., thriller, Gaumont, ZDF, Germany; 3Hz: 13x26 min., adventure/family entertainment, De Mensen, VRT, Belgium.
“Global Screen, a TELEPOOL brand, is a vertically integrated media and licensing company with more than 55 years of experience in film distribution. In June 2018, actor and producer Will Smith and Swiss investment company Elysian Fields jointly acquired TELEPOOL, which has thus become part of Will and Jada Pinkett Smith’s international network Westbrook. Global Screen is the sales unit of TELEPOOL, selling its high-quality feature films and series to distributors, movie theaters, festivals, VOD platforms and TV stations all around the world. Global Screen’s TV department focuses on premium drama productions, crime series and family entertainment and sells directly to public and private TV channels worldwide, international SVOD services, on-demand platforms, distributors and producers of remakes. Current highlights are the international drama series The Palace and A Good Year, as well as the gripping crime series Dark Woods and FAST.” —Corporate Communications
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GMA Network ADDRESS: GMA Network Center, EDSA Corner Timog Ave., Diliman, Quezon City, 1103 Philippines TELEPHONE: (632) 8333-7633 WEBSITE: www.gmaworldwide.tv SENIOR VP, ENTERTAINMENT GROUP: Lilybeth G. Rasonable FIRST VP, PUBLIC AFFAIRS: Ianessa S. Valdellon VP, WORLDWIDE DIVISION (CONTENT SALES, SYNDICATION & DISTRIBUTION): Roxanne J. Barcelona ADVISER, CONTENT SALES, SYNDICATION, PARTNERSHIPS & DISTRIBUTION: Reena G. Garingan CONTACT: rjbarcelona@gmanetwork.com PROGRAMS: Legal Wives: 40x45 min., drama, GMA Entertainment Group, GMA Network, Philippines; The World Between Us: 40x45 min., drama/romance, GMA Entertainment Group, GMA Network, Philippines; The First Nanny: 40x45 min., romantic comedy/drama, GMA Entertainment Group, GMA Network, Philippines; Heartful Café: 22x45 min., romantic comedy/drama, GMA Entertainment Group, GMA Network, Philippines; I Can See You S1-2: 7 series 38x30 min., drama/anthology, GMA Entertainment Group, GMA Network, Philippines; Owe My Love: 30x45 min., romantic comedy/drama, GMA News and Public Affairs, GMA Network, Philippines; The Lost Recipe: 27x45 min., romantic comedy/drama, GMA News and Public Affairs, GMA Network, Philippines; Descendants of the Sun: 31x45 min., romantic comedy/drama, GMA Entertainment Group, GMA Network, Philippines; Love of My Life: 40x45 min., drama, GMA Entertainment Group, GMA Network, Philippines; Prima Donnas: 80x45 min., family drama, GMA Entertainment Group, GMA Network, Philippines.
“Marking its 71st year in the broadcast industry this year, GMA Network Inc. is the Philippines’ largest and most-trusted media company and the primary source of Filipino content around the world. Through its Worldwide division, GMA International and GMA New Media, GMA content is seen in over 40 countries on five continents. Its lineup of varied programs entertains and inspires viewers worldwide. GMA’s dramas and telenovelas are known for their daring, uncharted themes, which offer viewers a rich array of emotional experiences.” —Roxanne J. Barcelona, VP, Worldwide Division (Content Sales, Syndication & Distribution)
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Incendo ADDRESS: 1, Westmount Sq., Suite 850, Westmount, QC H3Z 2P9, Canada TELEPHONE: (1-514) 937-3333 WEBSITE: incendo.ca PRESIDENT: Jean Bureau COO: Jean-Philippe Normandeau INTERNATIONAL SALES & CO-PRODUCTIONS: Gavin Reardon CONTACT: greardon@incendo.ca PROGRAMS: Love Knots: 1x90 min., romantic comedy, Screentime New Zealand/Incendo; Destination Love: 1x90 min., romantic comedy, Screentime New Zealand/Incendo; Sweet as Maple Syrup: 1x90 min., romantic comedy, Incendo; Written in the Stars: 1x90 min., romantic comedy, Screentime New Zealand/Incendo; Within These Walls: 1x90 min., drama/thriller, Incendo, Lifetime, U.S.A.; No Good Deed: 1x90 min., drama/thriller, Incendo, Lifetime, U.S.A.; Glass Houses: 1x90 min., drama/thriller, Incendo, Lifetime, U.S.A.; Rule of 3: 1x90 min., drama/thriller, Incendo, Lifetime, U.S.A.
“Incendo’s evolving business model continues to expand to meet the demand of film and television consumption by showcasing a breadth of range in the content we are producing. We will complete production on nine romantic comedy films this year and have an additional seven available from our 2020 slate, adding to our already substantial catalog of award-winning drama/thriller content. With a collection of original, multi-genre films and fiction/drama television series in various stages of development, we have reinforced our commitment to bring premium-quality, thought-provoking stories to global audiences and establish growth opportunities within our industry across the development, production and distribution arms of our organization.” —Gavin Reardon, International Sales & Co-Productions
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Lionsgate ADDRESS: 2700 Colorado Ave., Santa Monica, CA 90404, U.S.A. TELEPHONE: (1-310) 449-9200 WEBSITE: www.lionsgate.com PRESIDENT, WORLDWIDE TV & DIGITAL DISTRIBUTION: Jim Packer PRESIDENT, INTERNATIONAL TV & DIGITAL DISTRIBUTION: Agapy Kapouranis CHAIR, LIONSGATE TV GROUP: Kevin Beggs PROGRAMS: BMF: 8x60 min., drama; Hightown: 18x60 min., drama; Heels: 8x60 min., drama; Zoey’s Extraordinary Christmas: 1x120 min., holiday.
“One of our recent priorities has been producing original premium programming for STARZ. This year, we’re showcasing that partnership by bringing three of our most compelling and exciting STARZ dramas to international buyers: Heels, Hightown and BMF. Heels, Hightown and BMF all tell very different stories, but they share the same intensity, suspense and emotion of great dramas that appeal to global buyers. All three series are amazingly written with incredible performances that will captivate audiences everywhere.” —Agapy Kapouranis, President, International TV & Digital Distribution
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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 CEO: Fernando Szew SENIOR VP, DISTRIBUTION: Jody Cipriano SENIOR VP, MARKETING, COMMUNICATIONS & ACQUISITIONS: Deena Stern EXECUTIVE VP, CREATIVE AFFAIRS: Hannah Pillemer CONTACT: dstern@marvista.net PROGRAMS: All for Her: 1x90 min., drama, MarVista Entertainment, Lifetime, U.S.A.; List of a Lifetime: 1x90 min., drama, MarVista Entertainment, Lifetime, U.S.A.; The Right Mom: 1x90 min., drama, MarVista Entertainment, Lifetime, U.S.A.; Trouble in Suburbia: 1x90 min., drama, MarVista Entertainment, Lifetime, U.S.A.
“MarVista Entertainment is an independent entertainment studio with a mission to produce, acquire and distribute premium film and television programming worldwide. Founded in 2003 as a global television distributor, MarVista quickly expanded into original feature film and television production while building a library showcasing more than 2,500 hours of content.” —Corporate Communications
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MISTCO ADDRESS: Murat Resi Mh. Yeniocak Sk. No.45, 34664, Uskudar, Istanbul, Turkey TELEPHONE: (90-216) 695-1300 WEBSITE: www.mistco.tv MANAGING DIRECTOR: Aysegul Tuzun SALES MANAGER, LATAM & IBERIA: Maria Fernanda Espino Noguez CONTACTS: aysegul.tuzun@mistco.tv; maria.espino@mistco.tv PROGRAMS: The Shadow Team: 44x45 min., drama/crime, TIMS&B Productions, TRT1, Turkey; Once Upon a Time in Cyprus: 100x45 min., drama, TMC Film, TRT1, Turkey; The Innocents: 128x45 min., drama, OGM Pictures, TRT1, Turkey; The Great Seljuks: Guardians of Justice: 120x45 min., historical drama, Akli Film, TRT, Turkey; An Anatolian Tale: 110x45 min., drama, Köprü Film, TRT, Turkey; Melek “A Mother’s Struggle”: 244x45 min., drama, US Yapim, TRT, Turkey; Golden Cage: 51x45 min., drama, Pastel Film, Star TV, Turkey; Hold My Hand: 206x45 min., drama, US Yapim, TRT, Turkey; My Champion: 102x45 min., drama, BSK Yapim, TRT, Turkey; Last Emperor: 537x45 min., historical drama, ES Film, TRT, Turkey.
“MISTCO was founded as an international brand-management and content-distribution agency serving top titles, brands and channels and as a target-oriented distribution company. We have an experienced team that has a strong background in the TV industry.” —Corporate Communications
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Red Arrow Studios International ADDRESS: Medienallee 7, 85774 Unterföhring, Germany TELEPHONE: (49-89) 9507-7303 WEBSITE: redarrowstudios.com/international PRESIDENT & MANAGING DIRECTOR: Tim Gerhartz SENIOR ACQUISITIONS & CO-PRODUCTIONS MANAGER, SCRIPTED: Rodrigo Herrera Ibarguengoytia CONTACT: Sarah Walker, sarah.walker@redarrowstudios.com PROGRAMS: Blackout: Tomorrow Is Too Late: 6x45 min., thriller, W&B Television, Joyn/SAT.1, Germany; Australian Gangster: 2x90 min./4x45 min., crime, Roadshow Rough Diamond, Channel Seven, Australia; Vienna Blood: 6x90 min./12x45 min., crime, Endor Productions/MR Film, ORF, Austria/ZDF, Germany; Departure: 12x45 min., thriller, Shaftesbury/Deadpan Pictures, Global, Canada; Stella Blómkvist: 6x90 min./12x45 min., crime, Sagafilm, Síminn, Iceland/Viaplay, Sweden; Bosch: 68x45 min., crime, Fabrik Entertainment, Amazon Studios; Dignity: 6x52 min., thriller, Invercine & Wood/Story House Productions, Joyn, Germany/Mega, Chile; The Bank Hacker: 8x50 min., thriller, De Mensen, VTM, Belgium; Death & Nightingales: 3x60 min./2x90 min., drama, The Imaginarium/Soho Moon Pictures, BBC Two, U.K.; Bad Mothers: 8x45 min., thriller, Jungle Entertainment/Filthy Productions, Nine Network, Australia.
“Red Arrow Studios International is a worldleading supplier of scripted content from an outstanding network of in-house production companies and third-party producers. We work with producers across the whole value chain, from co-development and financing through to presales and sales. Red Arrow Studios International is renowned for its strong collection of ‘world drama,’ ranging from returning, high-end English-language series like Vienna Blood and Departure through to critically acclaimed non-Englishlanguage dramas such as Dignity and Stella Blómkvist. Our catalog of classic crime procedurals and comedydramas are enduringly popular as scripted remakes, and we are a major supplier of European and North American TV movies sourced from leading producers. With offices in Munich, London and Los Angeles, we provide a bridge between Europe and North America for our production partners, and our multilingual sales team works with buyers in over 200 territories—from traditional linear TV to pay TV to SVOD streamers.” —Tim Gerhartz, President & Managing Director 44
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Russia Television and Radio/Sovtelexport ADDRESS: 37 Shabolovka Str., Moscow 115162, Russia TELEPHONE: (7-495) 955-8920 WEBSITE: sales.vgtrk.com DIRECTOR, SOVTELEXPORT: Julia Matyash HEAD, INTERNATIONAL SALES, WORLDWIDE, EXCEPT CIS & BALTIC STATES: Maria Dorokhina HEAD, SALES, CIS & BALTIC STATES: Ekaterina Grigorieva MANAGER, INTERNATIONAL SALES, WORLDWIDE, EXCEPT CIS & BALTIC STATES: Elizaveta Shcherbakova MANAGER, INTERNATIONAL SALES, WORLDWIDE, EXCEPT CIS & BALTIC STATES: Nadezhda Kobzeva MANAGER, INTERNATIONAL SALES, CIS & BALTIC STATES: Karina Soldatova CONTACT: ref.ste@vgtrk.com PROGRAMS: Elsa’s Land: 1x95 min., drama/romance, Sputnik Vostok Production, Russia; Cloister: 8x52 min., drama, Valery Todorovsky Production Company; The Lockdown: 8x52-53 min., detective drama, Mars Media Entertainment; The Emerald Curse: 16x52-53 min., mystic drama, GPM KIT Group; The Terrible: 8x60 min., drama, Moskino Production Company; The Optimists: Caribbean Season: 8x52 min., spy/detective drama, Valery Todorovsky Production Company; Zuleikha Opens Her Eyes: 8x53-55 min., drama, Russkoe Film Company; The Blood Widow: 16x51-53 min., thriller/historical drama, Markes Film Studio/Russkoe Film Company; Ekaterina. Pretenders: 16x52-53 min., historical drama, Cosmos Studio; Call Me Mother: 12x43-47 min., drama, LOOK FILM.
“Our catalog can fulfill all needs of the audience. Perhaps the most popular theme today is the imminent mass-infection threat, which the thrilling detective drama The Lockdown captures perfectly. The topic of involving talented young people in terrorist communities is beyond relevant nowadays and is uncompromisingly and truthfully revealed in the thriller On the Edge. Viewers will be fascinated with The Emerald Curse melodrama series. High-end exquisite screen adaptations of famous contemporary Russian writers’ works such as Zuleikha Opens Her Eyes, Blackout and Cloister will excite fans. The acting performances, high-level productions and relevance of themes are as remarkable as in our best-selling titles Anna Karenina, The Idiot and In the First Circle. And, undoubtedly, period dramas with large-scale productions, gripping plots, gorgeous costumes and decorations remain a hallmark of our catalog.” —Julia Matyash, Director, Sovtelexport 46
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TeleColombia & Estudios TeleMéxico ADDRESS: Carrera 50 #17 77 Bogotá, Colombia; Alfonso Reyes 100, Hipódromo Condesa CDMX, Mexico TELEPHONE: (57-1) 417-4200; (52-55) 5025-3954 WEBSITES: foxtelecolombia.com; estudiostelemexico.com CHAIRMAN & CEO: Samuel Duque Rozo PRESIDENT: Samuel Duque Duque COMMERCIAL VP: Ana Barreto CONTACT: ana.barreto@foxtelecolombia.com PROGRAMS: Opa Popa Dupa 2: 26x30 min., kids; El Galán: 12x30 min., comedy; Viaje al centro de la tierra: 8x30 min., adventure; Latin Flow: 13x30 min., reality; Noticia de un secuestro: 6x45 min., drama.
“We are one of the main TV and film studios in Latin America. Original productions, production services, infrastructure rental and international distribution are our main business pillars. All of them are powered by a talented and professional team, extraordinary facilities, high-end technology, access to the best talents in the region and operations in the vibrant cities of Mexico City and Bogotá. During our 23 years, we’ve delivered successful, wonderful and memorable shows of different genres and formats that have reached audiences worldwide through prestigious windows such as Telemundo, FOX, National Geographic, Disney, ESPN, Caracol, RCN, Claro Video and soon to be Amazon and MTV, among others. We are constantly embarking on new and challenging projects in which our talented team will be able to [utilize] its creativity, professionalism and passion for the job.” —Corporate Communications
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ZDF Enterprises ADDRESS: Erich-Dombrowski-Str. 1, 55127 Mainz, Germany TELEPHONE: (49) 6131-991-0 WEBSITE: www.zdf-enterprises.de PRESIDENT & CEO: Fred Burcksen VP ZDFE.DRAMA: Robert Franke CONTACT: zdfe.drama@zdf-enterprises.de PROGRAMS: Agatha Christie’s Hjerson: 4x90 min./8x45 min., thriller, BR•F/TV4/C More/ZDF/Agatha Christie Ltd./Nadcon Film, TV4/C More/ZDF; The Window: 10x45 min., thriller, Boogie Entertainment/ZDF Enterprises/Fuji Television Network/Velvet/Streamz, Fuji TV; Sherlock: The Russian Chronicles: 8x50 min., thriller, SREDA/START, Start.ru/TNT Russia; Before We Die: 6x52 min., thriller, Eagle Eye Drama, Channel 4, U.K.; Huss: 5x90 min./10x45 min., crime, Yellow Bird/Viaplay/Discovery/ZDF/ZDF Enterprises, Viaplay/ZDF; ANA. all in.: 6x48 min., crime, RTVE/Tornasol/DeAPlaneta/ ZDF Enterprises, TVE; Voltaire in Love: 4x52 min., period drama, Siècle Productions/France Télévisions, France 2; Unbroken: 6x45 min., thriller, Network Movie, ZDFneo/ZDF.
“ZDF Enterprises was founded in 1993 and is responsible for worldwide program distribution, international co-productions, program acquisitions as well as the merchandising of strong program brands in its own name, for broadcaster ZDF and for third parties. Bound into a strong group of 18 subsidiaries and affiliated companies, ZDF Enterprises manages the largest German-language program stock worldwide and an impressive portfolio of international productions, consisting of series and miniseries, TV movies, documentaries and children’s programs. ZDF Enterprises provides a comprehensive, full-service offering and covers every step in the chain of creation and exploitation of successful content, from development to production and marketing.” —Corporate Communications
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SHOWCASE YOUR NEW SERIES ON
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If you wish to reserve a World Screen Premiere, please contact Ricardo Guise (rguise@worldscreen.com) or Dana Mattison (dmattison@worldscreen.com)