TV Formats Distributors Guide 2012/2013

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TV formats

Distributors GUIDE 2012/2013

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Contents A Note from the Editor . . . .6 Interviews . . . . . . . . . . . . .7 Distributors . . . . . . . . . . .21

Publisher Ricardo Seguin Guise Editor Anna Carugati

Ricardo Seguin Guise President

Executive Editor Mansha Daswani

Anna Carugati Executive VP and Group Editorial Director

Managing Editor and Editor, English-Language Guides Kristin Brzoznowski

Mansha Daswani VP of Strategic Development and Associate Publisher

Production Directors Meredith Miller Chris Carline

World Screen Š 2012 WSN INC. 1123 Broadway, #1207 New York, NY 10010 U.S.A.

Online Director Simon Weaver Associate Editor Joanna Padovano

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

Sales and Marketing Director Cesar Suero

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

For a free subscription to our newsletters, please visit WorldScreen.com/pages/newsletter

Business Affairs Manager Terry Acunzo Sales and Marketing Manager Vanessa Brand

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A Note from the Editor This year marks the tenth anniversary of TV Formats. One might think that in ten years great seismic shifts would have shaken up and drastically changed the format landscape, but upon closer inspection there’s actually quite a bit that has remained the same. A decade ago, reality television had already been on the rise, with the popularity of Big Brother, which hit U.S. screens in 2000. That same year, Survivor captured the attention of American viewers, ushering in a new style of competition series.

American Idol surged onto the airwaves in 2002 and the talentsearch genre caught ablaze.

All three of these shows are, in fact, still on the air and as popular as ever. The reality, competition and talent-search genres continue to be top sellers as well. However, the last ten years have brought about great innovation in the format industry, as producers have breathed new life into these and other entertainment genres by incorporating fresh twists. From food to celebrities, feel-good stories to obstacle-course eliminations, the new elements added to established genres have kept TV formats doing big business.

The value created by the 50 major formats last year was $2.02 billion for 98 channels across 16 European territories, according to the TV Formats in Europe report by Digital TV Research.The U.K. was the format powerhouse of Europe.The country not only screened the highest number of format hours, it was home to a number of major format producers and distributors. Among them ITV Studios Global Entertainment, whose Come Dine with Me was the most-screened TV format in Europe in 2011. Endemol’s The Money Drop, Sony Pictures Television’s Who Wants to Be a Millionaire?, BBC Worldwide’s Dancing with the Stars and FremantleMedia’s Got Talent rounded out the top five most-screened formats of 2011.

What new genres and innovative twists will come about in the next ten years? Only time will tell.The distributors featured in this TV Formats Distributors Guide have a wealth of offerings that may just spark the next global TV formats craze.

—Kristin Brzoznowski 6

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Interviews

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Gordon Ramsay Executive Producer & Judge MasterChef U.S. TV FORMATS: The third season of

MasterChef was its highest rated so far.

Why do you think audiences are responding so strongly?

RAMSAY: MasterChef is part of [a] phenomenon because it’s made [cooking] less intimidating, it’s made it more enjoyable.

And people are watching it, thinking, Hey, I can compete with that. There’s no service, there’s no restaurant to run.

There were some contestants this year that were embarrassed to tell their parents that they were keen to cook rather than go study law. It’s so wrong! How snobby do we have to be to think that it’s a second-class citizenship to become a chef? Just learning how to cook for yourself can erase 50 percent of [the] obesity issue. How many times do we get told how important [going to the] gym is and how we’ve got to keep fit, keep active? Cooking is exactly the same.

TV FORMATS: Why did you want to be involved with the

American version of the format?

RAMSAY: Lis Murdoch [the chairman of the Shine Group] said

to me three years ago, MasterChef is a phenomenon in the U.K., what do you think about doing it in America? I said, as long as we can continue running the competitions and FOX runs the show. It’s like with Hell’s Kitchen—FOX lets me run a restaurant, they run the show. So we understand our parameters and where not to overstep the mark.

We’ve also got a bigger chance on MasterChef, more than any other program anywhere in the world, to actually mentor these individuals.Yes, you see a 42-minute sequence edited.We’ll film 12 or 14 hours for that. But we have our sessions in the prep kitchen where we [demonstrate dishes]. Each and every one of us who is giving reprimands and compliments can step down off our high horse and absolutely perfect what we’re talking about in front of them. They’re gaining that knowledge on a daily basis, not just a weekly basis. But we really do push them to the extent that they get so much better and I think it’s starting to show.

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Mark Burnett President One Three Media TV FORMATS: What are the qualities you look for when evaluating international ideas for the U.S.?

BURNETT: I look for the same things from an international format that I do for a U.S. format: solid storytelling and something unique. The projects that appeal to me have worldwide appeal. The Apprentice is a threemonth televised job interview. Most people have thought about what it would be like to have a big job with a dynamic figure at a huge salary. This series is something everyone can relate to.

Are You Smarter Than a 5th Grader? has great humor. What parent hasn’t been helping their kids with their homework and realized they could not remember the simplest things from their school days? These kinds of hooks make a show relatable to a worldwide audience.

TV FORMATS: Can you tell us about your own development

process, and the projects you’re generating in house?

BURNETT: We have a great in-house team who are generat-

ing ideas across multiple genres. The most important qualities to me are that shows be thoroughly developed, true to our brand, and most of all, tell a great story. There are three things to remember in developing shows: story, story, story.

TV FORMATS: What do you see as the major shifts that have taken place in the format business in the last decade?

BURNETT: Technology has made the global marketplace much smaller. It makes the exchange of ideas so much faster. Smart international broadcasters have started jumping in and acquiring formats and shows much more quickly than they used to.

We’re also starting to see international broadcasters be more willing to take a chance on a new format idea, not needing to wait until it’s made in the U.S. or U.K. first.

That’s very encouraging.

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Paul Telegdy President, Alternative & Late-Night Programming, NBC TV FORMATS: The U.S. was the first mar-

ket to launch its own version of The Voice following its Dutch success.Why did you decide to take a chance on the format?

TELEGDY: The Netherlands is the intellectual property generator story of the last 25 years. Holland’s unique evolution has allowed for an intense level of competition in a very small market, with people who were smart enough to make the kind of shows they could afford to make, but do so with high stakes in the ratings.There are certain markets that will give you a false read on whether something will work or not. But frankly, it wasn’t even the Dutch ratings story. Just seeing the show itself, its spirit, and obviously the very marketable, easy-to-hang-onto visual and dinner theater aspect of the first round [of blind auditions, where the judges can’t see the performers]. It just immediately appealed to me as a viewer.

TV FORMATS: Can you tell us about your initiatives to develop concepts in-house that your colleagues at NBCUniversal International can then sell on as formats worldwide?

TELEGDY: Let’s go through the recent catalogue of big reality on NBC.The oldest standing player on our network is The Apprentice: that was on NBC first before it went anywhere else around the world. The Biggest Loser: on NBC first and then it went everywhere in the world....The financial decision to be more in the contentownership business should not be presented as some kind of crazy logic. It’s just business. If I’m paying a premium for a bright idea from someone else who has tested it in 20 countries, I’m happy to do that, we’re in that business. If we’re taking a big swing on a piece of content like The Voice from one of television’s great creators, if we’re tinkering away for months and months, working with top producers to come up with ideas, we’ll do it any which way. We would like to own a bit more of what we do, and yes [Comcast] has made it clear that they don’t just want to be publishers, they want to be publishers and distributors, and that content creation is absolutely a core building block of NBCUniversal.

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Cecile Frot-Coutaz CEO FremantleMedia TV FORMATS: What are the major chal-

lenges and opportunities you see that lie ahead for FremantleMedia?

FROT-COUTAZ: A key focus is on getting IP into the pipeline, across a broad range of genres. Strengthening the development effort globally continues to be a top priority, along with looking at different kinds of partnerships. Another focus is on digital, and this is crucial.

New technologies, new platforms and new digital audiences open up enormous opportunities for a company like FremantleMedia. On a more short-term tactical level, there are a lot of markets around the world that are entering recession, and we always have to bear that in mind as we look at the next couple of years. But if Europe is having a tough time, that’s counterbalanced by markets like Brazil or India that are real growth markets. That’s the good news about having a global company.

TV FORMATS: Are there specific ways to look for the next big hit, or does it just happen when it happens?

FROT-COUTAZ: If there were, there would be a lot more big hits! What we’re finding is that the reality genre has really matured. I don’t know if you remember ten years ago, but every week you’d read about a new reality show, and there was a lot of creativity and a lot of invention because the genre was completely new. It isn’t new anymore, so now we’re in a different place. If you talk to me or to any of our competitors, the big question is, where is the next big hit going to come from?

Nobody’s got a crystal ball, so all you can do is try a lot of different things: have really talented people on your team, join in partnerships, take some risks, look globally. And if you do enough things and if you try enough times, hopefully you’ll find something that works. Ultimately, there is no prescriptive way to approach development, other than establishing a culture that nurtures creativity and being fairly agnostic and flexible about how you approach it.

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Nigel Lythgoe Creator & Executive Producer, So You Think You Can Dance, Producer, American Idol TV FORMATS: How have live talentcompetition shows evolved in the last ten years? What has the audience come to expect from these shows?

LYTHGOE: They’ve come to expect the very best talent and the very worthiest talent. They still enjoy those auditions that show the deluded contestants that come along and have been told all their life that they are a good singer and they are absolutely tone deaf! The audience enjoys that in the first part of the competition, but at the end of the day, they just want really great talent. It’s a bit like horse racing: you bet on your favorite and you continually vote for that person; you are invested in them and you are invested in how they develop across the series.

People ask me all the time, “Will reality television remain?”

Absolutely, it’s part of our television diet.

TV FORMATS: What are the secrets to the success of So You Think You Can Dance?

LYTHGOE: It is about the art of dancing. People have come to realize just how wonderful dance is and how it has progressed over the years. It has a new integrity to it, it’s athletic, and I think people are actually loving the fact that choreographers are creating these wonderful numbers as well. So it comes from different angles. It comes from obviously a judging angle. It comes from the young dancers attempting stuff that is not in their genre, and succeeding most of the time, and it comes from the artistic choreographer.

TV FORMATS: What has contributed to the success and

longevity of American Idol?

LYTHGOE: I think it’s the very strong talent that is in America.

It’s the fact that we’ve grabbed an audience that loves to feel that they are a part of giving somebody the break of their life and turning them into a star. Obviously, Simon Cowell was a major part of it when we originated the show.

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Andrea Wong President, International Production Sony Pictures Television TV FORMATS: Are you seeing an uptick in scripted formats?

WONG: Yes, we are seeing an uptick in them and our studio is very, very good at adapting American sitcoms and American scripted formats successfully.

It requires an amount of consulting and time and effort to ensure that we both maintain the heart of what the series is and yet localize it so that a Russian audience will enjoy Everybody Loves Raymond, for example. We put in a significant amount of time and effort. It’s push and pull, and somehow we’ve been able to really get that mix right.

TV FORMATS: As there is increased consolidation of production

companies in several countries, is there competition for the same talent in some of these markets? What advantage does Sony offer an actor, a writer, a producer?

WONG: There’s always competition, but the great advantage of being part of Sony is that the Sony brand is extremely strong around the world. We have a huge catalogue, which is also a big advantage. In addition, we also offer a creative person the opportunity to share know-how with our global creative council, to share with our other production companies and to know that what they create has a great Sony network to launch shows throughout the world.

TV FORMATS: Are you seeing commonalities in what people want from television and from programming?

WONG: I am, and [speaking] to emotional resonance— people are fundamentally the same. The same things resonate emotionally with them…whether it’s falling in love or raising your children. They have the same desires, the same needs, the same worries, no matter what culture they’re from. So if you look at those commonalities, I think that’s a great base to start thinking about developing content. I just see so much opportunity. So it’s an exciting time.

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Karoline Spodsberg Managing Director Banijay International TV FORMATS: How important are ancillary products and interactive features for formats?

SPODSBERG: They’re becoming increasingly important and something that everybody is watching: the producer, the distributor, the broadcaster. Now the demand is for formats that have a very big potential within the secondary revenue streams.

What has changed in the market, due to technological evolution, is how we measure success. For a broadcaster, before it was really only about the ratings in your first run and how many viewers you could pull in for your slot compared to last year. Now, the success measurement is different. You are measuring your viewers in your first run, your secondary run is becoming increasingly important, but then all the different touch points that you have with the viewers— the traffic that you can generate through your brand—are becoming really important.

TV FORMATS: What is your strategy for third-party acquisitions?

SPODSBERG: Our third-party relationships continue to be

extremely important for us. We are still a new player in the market. We are not working toward having a big catalogue, we are working toward having the best catalogue. For that we absolutely need to create relationships with the strongest creative people from all over the world.

With our subsidiaries within the group, they all have a strong position in each of their markets. We have a very strong factual catalogue coming out of the Nordic territories.

We have a very strong game-show catalogue coming out mainly from the French territories. Our fantastic company in the U.S., Bunim-Murray, is extremely strong within reality and character-driven programming. We are closely related with all of them in figuring out what it takes to bring something to the international market and where it is we need to focus to make it into an international hit.

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Avi Armoza CEO Armoza Formats TV FORMATS: What has contributed to Israel’s strength in the creative sector?

ARMOZA: It’s a combination of two key elements. One is the maturity of the market. It is, in television terms, quite a young market. Commercial television in Israel was only launched in 1993, so in the last few years the market has matured and become very sophisticated. Also, Israel is a melting pot of creativity. It’s a country of immigrants and this all contributes to being a very creative society.

It’s also a small country with very limited television budgets, and when you operate with a limited budget, it calls for added creative value because the demands for production quality are still high. It’s an open Western society and everybody’s looking at the American level of television and trying to meet that level. What makes us different is really that limited budget, which renders all formats relatively cost-effective to reproduce. What we can’t pay for in production costs, we can make up for in creativity, so we need to focus on the story and the characters and creative elements, making each unique because you can’t just spend money and make it big.

The other element that is part of our work at Armoza Formats is that we were able to create a distribution platform to bring this Israeli creativity into the international market and make it known.

TV FORMATS: What’s been the approach to incorporating

multiplatform elements into your formats?

ARMOZA: Our cross-platform philosophy begins with a

strong content brand. Once that is in place, you need to create a presence on every possible platform with the goal of generating traffic from one platform to another. The brand needs to have a solid, independent presence on each of the platforms, giving the viewer the ability to watch the show or follow the brand wherever they are and on whichever device they choose.

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Izzet Pinto CEO Global Agency TV FORMATS: How are Turkish dramas selling as formats?

PINTO: The Turkish series are doing very well as finished episodes, but it’s not that easy to exploit the rights as scripted formats. It is possible. We represent Forbidden Love, which was one of the biggest series in Turkey.

TV FORMATS: What can Global Agency offer producers who are looking for a home for their ideas?

PINTO: If I were a creator, I would not give my stuff to the big companies. At each market they have 50 to 100 new things and only 25 minutes to make the perfect pitch to a client. How many projects can you pitch in that time?

Maybe three or four? If you as a creator give your [show] to the big companies, it could [end up in their] library. With us, there are eight people on the sales team, so that’s eight people pitching the same thing to hundreds of clients. It has a higher chance of getting sales. It makes sense for a creator to work with a smaller, boutique-style agency.

TV FORMATS: What are your long-term goals for continuing to grow the company?

PINTO: My plan is to focus on acquisitions and sales. We are searching for great formats from Croatia, Serbia, Australia, the U.K., all over the world.

We have a slogan, “Content That Creates Buzz.” We want to stick to our image and to our slogan, so we are looking for formats that everyone is talking about. We would like to have more clients, more product, more sales—this is how I want to progress. I want to keep growing 100 percent a year.

Our goal is to become a much bigger distributor, but always be a boutique, where we have not too many ideas but at each market we have four or five great formats and a couple of series. We want to focus on quality and giving the best service to our clients.

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Fredrik af Malmborg Managing Director Eccho Rights TV FORMATS: What is driving the success of the scripted-format catalogue?

AF MALMBORG: The development of scripted formats is really exciting at the moment. Producers and broadcasters have realized more and more that instead of always writing your own script, it is easier to take a successful script from somewhere else. We’ve been selling scripted formats for quite some time. Most recently, we’ve had a [lot of] success with a Turkish drama series called Ezel. We’ve sold the ready-mades and now we’re starting to make the first format deals. We’ve been approached by a number of smaller countries that we didn’t think could afford to make such a high-end series. For example, we did a deal with Shant TV in Armenia for Ezel. They made five episodes per day, based on the sales script, with some small modifications.

It scored around a 70-percent share in its daily slot. It’s a massive success.

TV FORMATS: How do you compare the value in producing a scripted format versus a non-scripted format?

AF MALMBORG: The value is higher for a scripted format than a non-scripted one. The script is so important in a drama series. If you have a success, [the volume of scripts can create value that lasts a long time]. Obviously, it may [be different] if you have a shorter series that you start to adapt. In that case, you may have to start to write your own scripts. Even still, writing the plot, writing the first season, making the character descriptions, those are the difficult parts. With a scripted format, that is done already.

In Western Europe, the Middle East and CIS there are around 800 million people that are watching dubbed drama.

They have accepted watching it in prime time and it’s a big success. Therefore, it doesn’t matter if the original comes from Los Angeles, Istanbul, Stockholm or wherever, as long as it’s good. It’s a sign of globalization. Tastes are getting more similar.

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Avi Nir CEO Keshet Media Group TV FORMATS: So many of your

properties have been formatted in the U.S. How were you able to crack this challenging market?

NIR: It started by getting to know Rick Rosen from what was then Endeavor and now WME. Rick learned of Keshet from getting to know our head of drama at the time, Hagai Levi, who did Be’Tipul [which would become HBO’s] In Treatment. Then I started coming to the U.S. more frequently and just showed our product. It spoke for itself! Each year we produce four or five new drama or comedy franchises and three or four new unscripted shows. [We’re] very prolific. We’ve come to understand the way the U.S. market operates and what’s expected from someone who is coming from abroad, how to cooperate with the studios.

TV FORMATS: Why do you think Israel has become such a hotbed of creativity?

NIR: The start-up culture of Israel is part of the company DNA. This constant state of looking and not finding—I can speak for Keshet, and maybe this is right for Israel—is a part of that start-up culture. I think we share a strong urge to express ourselves and a constant state of neurotic dissatisfaction. It’s a good state [to be in] in order to create.

TV FORMATS: Prisoners of War was the basis for the hit U.S. drama Homeland on Showtime. How important was Prisoners of War in elevating the profile of Israeli content on the global stage?

NIR: Very important. On the one hand it was as Israeli a theme as you could think of. But on the other hand, the adaptation done by the American creators with our Gideon Raff [who wrote and directed the original Israeli Prisoners of War] was so compelling, so strong, so American. [It showed that] local creativity, local themes and pains, can be transformed to various nations and cultures.

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Jan Salling COO & Sales Director Nordic World TV FORMATS: How would you describe the creative climate in the Nordic region?

SALLING: The Nordic region has always been a creative hub, at least for the past 20 years or so, which is the time frame when we have had competitive channels and commercial channels in our region. I must say that once in a while [the popularity] pops up again, that the Nordic region is a creative hot spot; you’re riding on the wave. And right now we’re on top of that wave.

Something that paved the way is the huge successes with drama series coming out of the Nordic region; the publicservice channel DR has series that win one award after another. Then when Stieg Larsson and the Millennium trilogy came along, everything sort of peaked. That attracted all kinds of business to the Nordic region.

Usually the Netherlands was just on the heels of the U.K. Now it seems like the Nordic region is just on the heels of the U.K. and the Netherlands is a bit behind. So that’s good, but we’re on the top of a wave and it will go down again and then will resurface again.

TV FORMATS: When did Nordic World make its foray into the format arena?

SALLING: We launched our format division at MIPTV 2011.The strategy is to take the best from the Nordic region to the rest of the world. We work with all the independent producers in the Scandinavian region.The independents that are struggling so hard to survive, competing with the super-indies, we help them.Those are the rights that we can cherry-pick from and bring to the market. The beauty about that is, when we find little gems among these independent producers, we, Nordic World, are just a distributor. We do not have any production hubs, production interests, co-production interests, or anything like that.We just take the best we can find and bring it to the world; there are no production interests, everything we provide to the market is for sale.

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Distributors

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A+E Networks ADDRESS: 235 E. 45 St., New York, NY 10017, U.S.A. TELEPHONE: (1-212) 210-1400 WEBSITE: www.aetninternational.com MANAGING DIRECTOR, INTERNATIONAL CONTENT DISTRIBUTION:

Marielle Zuccarelli VP, INTERNATIONAL CONTENT DISTRIBUTION: Ellen Lovejoy CONTACTS: Kerri Tarmey, kerri.tarmey@aenetworks.com;

Shannon Kerr, shannon.kerr@aenetworks.com PROGRAMS: 7 Days of Sex: 1 hr., real life/change, Shed Media,

Lifetime Television, U.S.A.; 24 Hour Catwalk: 1 hr., entertainment, Jane Street Entertainment, Lifetime Television, U.S.A.; American Pickers: 1 hr., real life/character, Leftfield Pictures, Lifetime Television, U.S.A.; Dance Moms: 1 hr., Collins Avenue Entertainment, Lifetime Television, U.S.A.; Hoarders: 1 hr., real life/change, Screaming Flea Productions, A&E Network, U.S.A.; Intervention: 1 hr., real life/change, GRB Entertainment, A&E Network, U.S.A; I Survived: 1 hr., real life/change, NHNZ, BIO, U.S.A.; Monster In-Laws: 30 min., Leftfield Pictures, A&E Network, U.S.A.; My Ghost Story: 1 hr., paranormal/unexplained, Mark Phillips Philms & Telephision, BIO, U.S.A.; Pawn Stars: 30 min., real life/ character, Leftfield Pictures, HISTORY, U.S.A.

“One of our primary goals this year is to build more awareness about our format catalogue so that broadcasters immediately look to A+E Networks when they think ‘top formats.’ We have an incredible selection that includes Pawn Stars, Intervention and I Survived, which have all proven to be extremely successful internationally.”

—Marielle Zuccarelli, Managing Director, International Content Distribution

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Armoza Formats ADDRESS: 16 Ha’Arba’a St., Tel Aviv 64739, Israel TELEPHONE: (972-3) 540-8333 FAX: (972-3) 543-5752 WEBSITE: www.armozaformats.com CEO: Avi Armoza VP & SALES: Mihal Brezis SALES: Anat Lewinsky SALES: Kelly Wright SALES: Ronit Shuler DEVELOPMENT: Elad Adelman CONTACT: info@armozaformats.com PROGRAMS: Guys in Disguise: 30 min., dating show; Shuttle

Battle: 30 min. or 1 hr., game show; Back to the Date: 30 min., factual entertainment; House Call: 1 hr., weekly prime time, United Studios, Channel 10, Israel; Exposed: 30 min., scripted daily drama, Koda Communications, Hot3, Israel.

“Here at Armoza Formats, we’re dedicated to developing and distributing fresh and innovative entertainment formats for the global community.

We represent formats across a wide range of genres, including game shows (Still Standing, Upgrade), factual entertainment (Connected, The Package), comedy (Comedians at Work) and scripted dramas (The Naked Truth, Life Isn’t Everything).

Our content philosophy is simple: tell good stories, ensure costeffective and high-quality production values, and interact with audiences on every device, wherever they are, with unique crossplatform concepts.”

—Avi Armoza, CEO

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Banijay International ADDRESS: 395 Goswell Rd., London EC1V 7JL, U.K. WEBSITE: www.banijayinternational.com MANAGING DIRECTOR: Karoline Spodsberg HEAD, SALES: Sebastian Burkhardt CONTACT: Emily Brookes,

e.brookes@banijayinternational.com PROGRAMS: Trust: 30 min. or 1 hr., game show, Banijay Creative Factory & Air Productions; Opposite Worlds: 1 hr., reality, Canal 13, Chile; Art of Survival: 1 hr., reality, Illuminations Media; Popstars: 1 hr., reality, Screentime; Ghetto Riders: 30 min., factual entertainment, Respirator.

“The evolving Banijay International catalogue consistently provides our broadcast clients with formats that will help them build a strong, coherent brand and a large and loyal viewer base. Formats need an impressive track record and a strong universal viewer appeal, but they must also allow broadcasters to adapt them to their local culture—the key to ratings success.

In sourcing, we are lucky to have access to the very creative Banijay Group production companies, which constantly feed us new ideas.

We are also committed to searching the globe to find the best third-party formats. This is the philosophy behind our recent expansion, which has seen us relocate our headquarters to London and set up an acquisitions base in Los Angeles. We are already reaping the rewards of this new structure, with the likes of hot new reality format Opposite Worlds, a massive ratings hit on Canal 13 in Chile, launching at MIPCOM.” —Karoline Spodsberg, Managing Director

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Cineflix Rights ADDRESS: 1 Lorenzo St., 1/Fl., London WC1X 9DJ, U.K. TELEPHONE: (44-20) 3179-5050 WEBSITE: www.cineflixrights.com CEO, RIGHTS, CINEFLIX MEDIA: Chris Bonney CONTACT: sales@cineflix.com PROGRAMS: Undercover Mad (The World’s Maddest Job Interview):

13x1 hr., entertainment, Cineflix Productions, Channel 4, U.K.; Claimed & Shamed: 10x30 min., crime/entertainment, Cineflix Productions, BBC, U.K.; Pet School: 10x30 min., entertainment, Cineflix Productions, BBC, U.K.; Bigger Better Faster Stronger: 10x30 min., science/entertainment, The Downlow Concept, TV3, New Zealand; Instant Cash: 65x30 min., entertainment/game show, Cineflix Productions, TVtropolis, Canada; Buying & Selling: 13x1 hr., home & design, Cineflix Productions, HGTV, U.S.A.; House Hazards: 14x30 min., science/entertainment, Cineflix Productions, HGTV, Canada; Conviction Kitchen: 16x1 hr., entertainment, Cineflix Productions, Rogers, Canada/Planet Green, U.S.A.; Property Virgins: 169x30 min., home & design, Cineflix Productions, HGTV, Canada & U.S.A.; My House Your Money: 52x30 min., home & design, Cineflix Productions, W Network, Canada.

“Cineflix Rights is one of the U.K.’s most dynamic independent distributors of TV programming, offering new and original content to broadcasters and media platforms in more than 180 territories worldwide. We distribute select content from leading international producers, new producers with top-notch talent, and from our own producers at Cineflix Media, who specialize in scripted and unscripted TV series. Our portfolio includes 2,800 active hours of multi-genre properties, including factual, factual entertainment, formats, children’s and scripted series, with more than 700 hours of fresh content added each year.

Cineflix Rights has consistently held its position in the top ten distributor surveys, and is esteemed by producers and peers. Our international structure, sales expertise, strong marketing support and quality service have earned us a track record of solid returns that intellectual-property owners and program producers rely on.”

—Chris Bonney, CEO, Rights, Cineflix Media 28

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Global Agency ADDRESS: Abdi Ipekci cad., Arman palas 7/17 Nisantasi,

Istanbul, Turkey TELEPHONE: (90-212) 296-6154 WEBSITE: www.theglobalagency.tv CEO: Izzet Pinto HEAD, SALES: Catherine Stryker HEAD, ACQUISITIONS: Andrew Sime CONTACT: sales@theglobalagency.tv PROGRAMS: Shopping Monsters: 1 hr. daily, style, Kanal D,

Turkey; Fashion Icon: 1 hr. daily, style, Show TV, Turkey; Blind Taste: 1 hr. daily, cooking; Let’s Play Hangman: 1 hr. weekly, game show, SBT, Brazil; Perfect Bride: 1 hr. daily, wedding/ reality, Show TV, Turkey; The Gift: 1 hr. daily, decorating, Star TV, Turkey; Truth Hunter: 1 hr. weekly, celebrity/factual entertainment, Prima TV, Romania; Home Buy Now: 1 hr. weekly, factual entertainment, Channel 2, Israel; Rise or Fall: 1 hr. weekly, talent show, PRVA, Serbia.

“Global Agency has become one of the fastestgrowing companies in the industry, due to our dedication to providing buyers with fresh and original formats. At this MIPCOM, we are launching two unique new formats, Fashion Icon and Blind Taste, which we’re sure will be hits with audiences worldwide. Fashion Icon features a nationwide search for the country’s most stylish women, and Blind Taste is a cooking show with an exciting twist! Our hot style format Shopping Monsters has already become a huge success internationally, having been sold to 20 territories—and it is still spreading! As a result of our attention to the industry’s needs, Global Agency has also just acquired World Wide Entertainment, allowing us to now offer the best in both completed content and high-quality formats.”

—Izzet Pinto, CEO

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ITV Studios Global Entertainment ADDRESS: London Television Centre, Upper Ground,

London SE1 9LT, U.K. TELEPHONE: (44-20) 7157-3000 WEBSITE: www.itvstudios.com DIRECTOR, INTERNATIONAL FORMATS, ITV STUDIOS: Mike Beale VP, FORMAT SALES: Merrily Ross CONTACT: Tessa McHugh PROGRAMS: Red or Black?: 90 min., game & quiz show, Syco

Entertainment & ITV Studios, ITV1, U.K.; Surprise Surprise: 1 hr., entertainment, ITV Studios, ITV1, U.K.; The Audience: 1 hr., factual entertainment, The Garden, Channel 4, U.K.; Come Date with Me: 1 hr., factual entertainment, ITV Studios, Channel 4, U.K.; Don’t Blow the Inheritance: 1 hr., game & quiz show, 12 Yard Productions, ITV1, U.K.; Top Dog Model: 1 hr., reality, ITV Studios, ITV1, U.K.; Real Life—The Musical: 1 hr., factual entertainment, ITV Studios America, OWN, U.S.A.; Fool…: 30 min., entertainment, ITV Studios, ITV1, U.K.; Marry Me: 1 hr., factual entertainment, The Garden, ITV1, U.K.; The Chase: 1 hr., game & quiz show, ITV Studios, ITV1, U.K.

“ITV Studios is the largest and most successful commercial production company in the U.K., creating over 3,500 hours of original programming each year for local and international broadcasters.

Building on a heritage of over 50 years of quality programmaking, ITV Studios produces across a wide range of genres, from drama and entertainment to factual and lifestyle across the U.K. broadcasters. [Programs include] Coronation Street, I’m A Celebrity…Get Me Out of Here!, Emmerdale, Dancing on Ice, Come Dine with Me and Four Weddings.”

—Corporate Communications

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Mediaset Distribution ADDRESS: Via Aurelia Antica 422, 00165 Rome, Italy TELEPHONE: (39-6) 6639-0566 WEBSITE: www.mediasetdistribution.com HEAD, SALES: Francesco Mozzetti INTERNATIONAL SALES MANAGER: Clare McArdle INTERNATIONAL SALES MANAGER: Manuela Caputi CONTACT: internationalsales@mediaset.it PROGRAMS: The Chosen: 12x50 min., scripted/suspense/

thriller; Tuscan Passion: 12x90 min. or 24x45 min., scripted/drama; The Anti-Talent Show: weekly prime time, talent show; You’ve Got Mail: weekly prime time, sentimental; Date Me!: daily daytime, dating show; That’s Talent!: daily daytime & weekly prime time, talent show; Donnavventura: weekly daytime, docu-reality.

“We’re [focusing] this year on our scripted and unscripted formats business that has been, until now, quite a success, having closed options and adaptations in many different countries, including the U.S.A. We look to promote and strengthen the market perception of our company as not only a supplier of readymade programs but also as a provider of great entertainment and successful stories.”

—Manuela Caputi, International Sales Manager

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MNet ADDRESS: 137 Bram Fischer Dr., Randburg 2194,

South Africa TELEPHONE: (27-11) 686-6000 WEBSITE: www.mnet.co.za DIRECTOR, GROUP CONTENT SERVICES: Jan du Plessis HEAD, SALES, ACQUISITIONS & BUSINESS DEVELOPMENT:

Mandy Roger COMMISSIONING EDITOR: Anne Davids PROGRAMS: Comedy Character: 1 hr., sketch comedy, MNet,

South Africa; Duet Date: 30 min., dating show, MNet, South Africa; Pop Part: 1 hr., talent competition/reality, MNet, South Africa; To Be Continued: 2x1 hr. & 26x30 min., reality/competition, MNet, South Africa.

“These formats incorporate a little bit of our culture and diversity. Even with the South African flavor, the concepts are easy to translate, as most countries out there are becoming so diversified and the formats appeal to and embrace that change.”

—Mandy Roger, Head, Sales, Acquisitions & Business Development

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FOR_DIST_1012_M-NET_GUIDE 8/29/12 2:35 PM Page 1

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Passion Distribution ADDRESS: 182 Hercules Rd., London SE1 7LD, U.K. TELEPHONE: (44-20) 7981-9801 WEBSITE: www.passiondistribution.com CEO: Sally Miles DIRECTOR, SALES: Emma Simpkins CONTACT: Fraser Cameron,

frasercameron@passiondistribution.com PROGRAMS: The Great Food Truck Race: 1 hr., food/competition, Food Network, U.S.A.; The Mortified Sessions: 30 min., factual entertainment/biography, Sundance Channel, U.S.A.; Restaurant Stakeout: 1 hr., factual entertainment, Food Network, U.S.A.; Cupcake Wars: 1 hr., food/competition, Food Network, U.S.A.; Extreme Clutter: 1 hr., factual entertainment, OWN, U.S.A.; Baggage Battles: 30 min., factual entertainment, Travel Channel, U.S.A.; Dealers—Put Your Money Where Your Mouth Is: 1 hr., factual entertainment, Reef Television, BBC One, U.K.

“Passion Distribution was officially launched in 2008. This unique, boutique and intimate-style international-distribution business represents great content and formats on behalf of U.K. and North American producers and broadcasters.

London-based Passion Distribution specializes in popular quality programming and formats in genres including factual entertainment, reality, documentaries, lifestyle and game shows. Passion Distribution has exclusive distribution agreements with several U.S. broadcasters and production companies, including Scripps Networks International, Sundance Channel and World of Wonder and works with many companies, both in the U.K. and North America.

Passion Distribution has built a catalogue of over 3,000 hours in three years.The company is active in preselling, finding co-pro partners and deficit funding.”

—Sally Miles, CEO

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Red Arrow International ADDRESS: Medienallee 6, 85774 Unterfoehring, Germany TELEPHONE: (49-89) 9507-2320 WEBSITE: www.redarrowinternational.tv MANAGING DIRECTOR: Jens Richter CONTACT: sales@redarrowinternational.tv PROGRAMS: The Taste: 1 hr., food/competition, Kinetic

Content, ABC, U.S.A.; A League of Their Own: 1 hr., entertainment, CPL Productions, Sky1, U.K.; What If?: 30 min., sketch comedy, SHELTER, 2BE, Belgium; Ten Ladies Luck: 30 min. or 1 hr., game show, Dick de Rijk; The Anti Social Network: 30 min., prank show, NERD, ProSieben, Germany; Fake Reaction: 30 min., game show, Kinetic Content, ITV2, U.K.; Firing Mom & Dad: 1 hr., reality, Kinetic Content & NERD, Kabel Eins, Germany; Heroes of the Internet: 30 min., comedy clip show, SHELTER, 2BE, Belgium; My Man Can: 1 hr., game show, Redseven Entertainment, Sat.1, Germany; Game of Love: 1 hr., dating show, SEO Entertainment.

“Red Arrow International (formerly SevenOne International) is the worldwide programmingsales company of Red Arrow Entertainment Group. By marketing the group’s projects and third-party producers, Red Arrow International offers an extensive portfolio of fictional and factual programming, plus a strong format lineup.

Red Arrow International is a gap financier and secures international co-production and co-financing partners. Launched in January 2010, Red Arrow Entertainment Group combines a dynamic and growing group of 18 TV production companies spanning nine countries, with powerful creative partnerships, including Dick de Rijk (You Deserve It, Deal or No Deal) and Omri Marcus (Eye Contact). Red Arrow Entertainment Group is a ProSiebenSat.1 Group company, [one of] Europe’s leading media groups, reaching more than 62 million TV households.”

—Jens Richter, Managing Director

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Shine International ADDRESS: Primrose Studios, 109 Regents Park Rd.,

London NW1 8UR, U.K. TELEPHONE: (44-20) 7985-7000 WEBSITE: www.shineinternational.com CEO: Nadine Nohr PRESIDENT, SHINE NETWORK: Mark Fennessy DIRECTOR, ACQUISITIONS: Georgia Brown CONTACT: info@shineinternational.com PROGRAMS: Britain’s Best Bakery: Shine TV, ITV1, U.K.;

Jewish Mum of the Year: Shine TV, Channel 4, U.K.; Golden Goal: Rubicon, TV2, Norway; Hellstrom’s Kitchen Legacy: Rubicon, TV3, Norway; Beauty & The Geek: Shine Australia, Seven, Australia; Battle of the Brides: Dragonfly, Sky Living, U.K.; The Date Machine: Princess Productions, Sky Living, U.K.; MasterChef All Stars: Shine Australia, Seven, Australia; Minute to Win It: Friday TV, CCTV-1, China.

“Shine International represents over 3,700 hours of prime-time commissioned programming and market-leading formats. Featuring a world-class portfolio of content spanning scripted, entertainment, factual entertainment and documentaries, each title [was] created and produced by a host of TV’s biggest, most trusted and innovative names.

Shine International’s sales team is based in London, Paris, Los Angeles, Sydney and Singapore and through a global network of relationships, its programming captures the hearts and imaginations of millions of viewers in over 200 territories every day.

In 2012, Shine International will world premiere new entertainment formats Britain’s Best Bakery (ITV1), which comes freshly made from the production company behind MasterChef in the U.K., and the hilarious family-sports competition Golden Goal, created by Rubicon for TV2. [There are] returning seasons of the top-rated entertainment formats MasterChef (BBC One), The Date Machine (Sky Living), Australia’s Beauty & The Geek (Seven) and Secret Street Crew (Sky1).”

—Nadine Nohr, CEO

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FOR_DIST_1012_SHINE_GUIDE 9/10/12 10:46 AM Page 1

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Sparks Eccho ADDRESS: Kungsgatan 48, 111 25 Stockholm, Sweden TELEPHONE: (46-8) 5560-9382 WEBSITE: www.ecchorights.com MANAGING DIRECTOR, ECCHO RIGHTS: Fredrik af Malmborg DIRECTOR, SALES & ACQUISITIONS, ECCHO RIGHTS:

Mia Engström SALES EXECUTIVE, ECCHO RIGHTS: Michelle Harbottle CONTACT: info@ecchorights.com PROGRAMS: Exit: reality/game show; My Way: entertainment/

reality; Peking Express: adventure/reality; Cover Me Canada: entertainment/reality; The End: drama; Dangerous Beauty: drama.

“Eccho Rights is the new distribution arm of Sparks Eccho that works alongside Sparks Network and Eccholine to empower creativity worldwide. We have working relationships with all broadcasters in the world and are working closely with the rights-holders that we represent in a modern and transparent way. We are the ideal partner for any independent creative in any genre.”

—Fredrik af Malmborg, Managing Director, Eccho Rights

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Talpa Distribution ADDRESS: Zevenend 45, 1251 RL Laren, The Netherlands TELEPHONE: (31-35) 533-3333 WEBSITE: www.talpa.tv MANAGING DIRECTOR: Maarten Meijs PROGRAMS: The Voice: 80 min., talent show; I Love My Country:

1 hr. or 90 min., entertainment; The Winner Is...: 80 min., talent show/game show; Divided: 30 min., game show; Beat the Best: 80 min., talent show; Dating in the Dark: 30 min., dating show/reality; Battle of the Sexes: 1 hr., entertainment; The Greatest Hit: 1 hr., entertainment.

“Talpa is a full-service development and production company built around creativity. We develop ideas for all media platforms with a strong focus on television. Our creative unit, Talpa Content, is the heart of the group; here, we develop our ideas into formats. Genres include reality, daily and weekly infotainment magazines, variety, game shows, fiction and comedy. Talpa Productions is the group’s own TV-production unit. Our initial clients are the broadcasters in the Netherlands.

If a format is successful in this country, we try to bring it to the attention of media companies in other markets. Talpa Distribution is dedicated to the worldwide licensing of Talpa Content’s formats and finished series.Well-known examples of our formats are I Love My Country, Dating in the Dark, Sing It, The Winner Is…, Divided and, of course, The Voice, the purest vocal talent competition ever.”

—Maarten Meijs, Managing Director

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Televisa Internacional ADDRESS: 6355 NW 36 St., Miami, FL 33166, U.S.A. TELEPHONE: (1-786) 265-2500 FAX: (1-786) 265-2269 WEBSITE: www.televisainternacional.tv VP: Fernando Pérez Gavilán HEAD, NEW CONTENT: Eduardo Clemesha DIRECTOR, FORMATS & NEW CONTENT: José Luis Romero PROGRAMS: True Love: 1 hr., telenovela; Crown of Tears:

1 hr., telenovela; Hollywood Heights: 1 hr., telenovela; Carousel: 1 hr., children’s; Little Giants: reality.

“One of the priorities of Televisa is the development of formats and products created to reach [wider] audiences.

Our production experience gives us the tools to create amusing and appealing formats like Parodiando and Little Giants, two of our newest formats in the catalogue that involve humor and parody, as well as family entertainment.

The main goal is to create content that the whole family will be able to enjoy, since the audience has trusted us for decades.We work hard providing a huge variety of content, from the Dancing for a Dream and Singing for a Dream franchise, passing through game shows, reality, series and, of course, telenovelas.

The main creative task for Televisa is to reinforce our product catalogue with pure entertainment formats for everyone.”

—José Luis Romero, Director, Formats & New Content

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Twentieth Century Fox Television Distribution ADDRESS: P.O. Box 900, Los Angeles, CA 90213, U.S.A. TELEPHONE: (1-310) 369-1000 WEBSITE: www.foxformats.com SENIOR VP, INTERNATIONAL DEVELOPMENT & SALES:

Yoni Cohen VP, CREATIVE AFFAIRS & CURRENT PROGRAMMING, TWENTIETH CENTURY FOX TELEVISION: Steve Sicherman CONTACT: foxformats@fox.com PROGRAMS: Glee: 1 hr., scripted comedy; White Collar: 1 hr.,

scripted drama; Modern Family: 30 min., scripted comedy; Bones: 1 hr., scripted drama; How I Met Your Mother: 30 min., scripted comedy; Prison Break: 1 hr., scripted drama; Marchlands: 1 hr., scripted drama; Malcolm in the Middle: 30 min., scripted comedy; My Name is Earl: 30 min., scripted comedy; It’s Always Sunny in Philadelphia: 30 min., scripted comedy.

“Twentieth Century Fox is dedicated to working with the most creative talent, delivering features and series that have thrived in the international market. This remains our goal in the international format-production business— to have creative and business partnerships around the world. The needs of each territory and their audiences vary enormously, but are rarely met better than with locally produced shows. We provide original development, short- and long-running series, by tapping into the studio’s vast store of ever-growing intellectual property.

As ITV in the U.K. follows its hugely successful Marchlands with Lightfields, the audience remains unaware that both started from David Schulner’s extraordinary script The Oaks (originally for FOX). The Wonder Years (Colombia) has made a seamless transition to more modern times and a completely local sensibility.We are thrilled with upcoming productions of Malcolm in the Middle, Bones, It’s Always Sunny In Philadelphia, Modern Family, 24 and more, around the globe—a proud continuation of the studio’s extraordinary success.”

—Yoni Cohen, Senior VP, International Development & Sales

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