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FGUIDE_0315_TOC_Index 3/18/15 11:55 AM Page 1
Contents A Note from the Editor . . . . . . . . . . . . .8 Interviews . . . . . . . . . . . . . . . . . . . . . . .9 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 Production Director Victor L. Cuevas Associate Editor Joanna Padovano
Mansha Daswani VP of Strategic Development and Associate Publisher Š 2015 WSN INC.
Assistant Editor Joel Marino
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Online Director Simon Weaver
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Sales and Marketing Manager Faustyna Hariasz Sales and Marketing Coordinator Dana Mattison
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Sales and Marketing Assistant Erika Santana
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Business Affairs Manager Terry Acunzo
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FGUIDE_0315_COLUMN_KGUIDE_1008_EDITORIAL 3/20/15 10:27 AM Page 1
A Note from the Editor Kristin Brzoznowski
The format business has come under fire lately, with much moaning going on about a lack of fresh ideas in the marketplace. Many executives claim that the shows they’re being pitched at the markets and in meetings throughout the year are more derivative than they are daring. There are, indeed, many clones (and clones of those clones) when it comes to today’s crop of formats. Whether it’s singing, dancing or dating, there can only be so many successful variations out there before fatigue starts to set in. Judging from the lower ratings for what were some of the biggest entertainment franchises of years past, this may already be the case. Buyers will tell you that format creators and producers just aren’t being innovative enough, that there’s a dearth of truly unique format concepts. From their perspective, the formats they’re being offered are more like spin-offs or brand extensions of existing ideas. Producers and distributors, on the other hand, have argued that broadcasters are simply not willing to take risks. Many report that when they approach a buyer with something that’s original and inventive, they’re typically shot down. The out-of-the-box format concepts, perceived as riskier bets, are passed over for something safe (and perhaps stale). Regardless of your stance in this debate, it’s clear that the format landscape is hungry for a global hit. But maybe it doesn’t have to be this elusive “next big thing” everybody seems to be talking about (but nobody can get their hands on). Perhaps the industry should be looking for the “next small thing,” a simple, quiet idea that, when managed properly, has the ability to work in numerous international territories. When reading through this edition of the TV Formats Guide, keep an eye out for standout format concepts, big and small. 8
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INTERVIEWS
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Paul Telegdy
President of Alternative & Late Night Programming NBC Entertainment TV FORMATS: How important is live viewer engagement in formats that are being pitched to you? TELEGDY: This is going to sound controversial: it is of zero importance going into a pitch. I tell people, when pitching to us, to please take out the following two slides. One: anything to do with interactivity. Think of the level of assets and resources that a company like NBCUniversal has in the area of interactivity! We have a digital team of several hundred people. We assume everything is going to have a massive level of interactivity. Two: that this format is going to be advertiser-friendly. If it isn’t advertiser-friendly, you’re in the wrong place! If the storytelling doesn’t work, don’t bother building an expensive app that is not going to do anything for you. Start with a TV story; if on its merits it feels like it’s going to be [a hit], it’ll get anything and everything that makes it engage with audiences. Yes, interactivity is important. We want our apps to be incredible experiences that augment viewing. They’re not meant to be distractions from what’s going on on-screen, they’re meant to be complementary. Having said that, we are actively experimenting, and we will continue to look for the best ideas that combine TV screen and device. TV FORMATS: What’s gone into maintaining the success of The Voice? TELEGDY: The theory of franchise management is launch, grow, sustain. We are probably in the sustain part of the lifecycle of the show. In that phase, there are big changes, medium-sized changes and small changes. There are very few big changes, a few medium-sized changes and thousands of small changes that are imperceptible to anyone other than the people working on the show. There’s a lot that falls into the category of creative excellence and self-imposed improvements—costumes, lighting, etc.—by hundreds of people wanting to do better work every time they come to the office. 10
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Phil King
President of CTV, Sports & Entertainment Programming Bell Media TV FORMATS: How was The Amazing Race adapted for the Canadian market? KING: Because of the size and diverse population of Canada, we had the first version that was able to do the race within its own country. When we talked to the producers and format owners, they basically said, You probably have the only country that can do that. Even with the [diversity], we knew that we were going to run out of truly interesting places to go. So, we surprised people and went over to Hong Kong and then went over to France, but we tied in Canadian stories. That’s how we’re going to keep it interesting. We will stay in Canada predominantly. There are lots of little communities people haven’t seen, so it’s really like a love letter to Canada. That’s what people are really embracing; they like to see our Canadian stories. We’re such a diverse melting pot and we’re very fortunate that way—we can keep the stories going. TV FORMATS: Is CTV also developing formats? KING: We [recently] entered into a partnership with Mark Burnett and that’s exactly what we’re doing: creating. We have two projects with Mark that we’re producing pilots for. We’ll air them on CTV. If it works, we’ll approve the concept and take it around the world with Mark and a division of Omnicom Canada, Highway Entertainment. I kind of have a rule: Do not bring me another singing, dancing or dating show. If it has those [elements] in it, I don’t even want to read it. I’m tired of them; they need to go away for a while and then come back. There are too many clones, too many sequels. We really want to try something different. When we first met with Mark, those were my rules to him. He went away with his team, came back and pitched ideas that weren’t part of [those genres]. We loved most of the ideas, but we particularly loved two of them. Because we’ve been looking for new ideas, we’ve decided to create them ourselves with Mark. 11
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David Tennant Actor Broadchurch, Gracepoint
TV FORMATS: When you were first approached about Broadchurch, what appealed to you about the project? TENNANT: I had previously worked with Chris Chibnall [the creator of Broadchurch] on both Doctor Who and on his TV movie United, about the Manchester United Munich air disaster. So I knew Chris well, I knew his work well and I knew that it would be a script worth reading. James Strong is a director I’ve worked with many times, again on Doctor Who and on United. So the fact that it was them approaching me meant that I was all the more inclined to be part of it. And then I read [the script] and thought, this is fantastic—a brilliantly drawn portrait of a terrible event with these extraordinary characters, all of whom you need to know more about. The whole world of it was so evocative. At the end of episode one you are desperate to know what happens next. All those things collided to make me think, this is something to be part of. TV FORMATS: What was your initial reaction to the idea of signing on for the same role in the U.S. Broadchurch adaptation, Gracepoint? TENNANT: The thing is, I’ve had a few close calls with various American television projects that, for various reasons, hadn’t quite come to fruition. There was something very appealing about the fact that this was something I knew was good. It was going to be executive produced by people I knew and trusted. It was going straight to series, which of course is quite rare. It felt like there were too many positives to look a gift horse in the mouth. It was an unusual situation, trying to recreate something I had done in a whole new set of circumstances, but that felt like it might be an interesting challenge. There were so many positives to the project that it would have been churlish to say no. 12
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Gina Rodriguez Actress Jane the Virgin
TV FORMATS: How did you first hear about this American remake of the Juana la virgen telenovela? RODRIGUEZ: When I first heard about Jane it was pilot season, and I was going on a lot of auditions during that time. When they called me and said, You have an audition for Jane the Virgin on Tuesday, I thought, Oh, Jane the Virgin, that is quite the title! What role am I coming in for? And they said, Jane, and I thought, Awesome! Awesome! Jane! They know I’m brown, right? Everybody’s aware of it? [Laughs] For me, it was such a breath of fresh air to read something about a girl having dreams and trying to get her stuff together. How could this crazy accident happen? So I fell in love—fell in love—with the script and auditioned like everyone else. I went in and I met [showrunner] Jennie [Snyder Urman]. Then I did three tests with the studio and the network, and the rest is history. TV FORMATS: What do you like about Jane? RODRIGUEZ: I see Jane as a person who perseveres through any kind of obstacle. She’s not driven by power and status; on the contrary, she’s driven by love and connection and honesty and realness. She’s not a girl who has outlandish dreams; they are very realistic dreams. And she’s the product of a mistake as well [her mother got pregnant as a teenager]. Jane makes mistakes and she fails, but she tries and tries again. I love that about her because that is Jane’s hard-learned journey. She has to fight, whether it’s her desire to be a writer or finding out about her unfortunate situation and then having to make tough choices. She is ultimately the woman I would love to be and the woman at times I wish I were more like: she is patient and faithful and understanding, but at the same time is imperfect and isn’t a saint. She has flaws and is real. She is considered beautiful in her virginity, and even though she’s not a size 2, she is still beautiful and she still has men after her and that’s not a discussion. Her weight is not a discussion. Her ethnicity is not a discussion. 13
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Ran Telem Senior VP of Content Keshet Media Group
TV FORMATS: What is the format acquisition strategy at Keshet? TELEM: Keshet uses a combination of acquiring big formats and making our own original formats. What’s different in Israel is the way we adapt the formats. We take a format and—I don’t know if “Israelize” is the word—make big changes to adapt it for the viewers. For instance, MasterChef has been a great success for us. It’s a bit of a different show [on Keshet] than it is around the world. We have a live final on MasterChef, which no other country in the world has. We do Big Brother completely different than other countries do it. Also Cash Cab, which we picked up many years ago as an access-prime show—it became a ratings hit for us in prime time. So, there’s a lot of work from the minute that we pick up the format until we put it on the air, and a lot of changes, a lot of adaptation that we put into it. We like to work with companies that are flexible with our ideas and our thinking. [It’s about finding] the DNA of the show and then creating something that is almost original and very suitable for Israel. On the other hand, I must say that we feel some sort of fatigue with the old formats. We feel that the viewers are looking forward to the next big thing. I think it’s needed. With the big formats, we know what’s going to happen, we know how they’re going to end. We’re desperately looking for the next one, as a buyer and as a maker. TV FORMATS: How important is audience interactivity to Keshet? TELEM: We look at interactivity as an integral part of the show. In Rising Star, without the application, there is no show. It’s part of the DNA. That’s why we don’t regard it as a second screen. It’s part of the viewing experience when you watch a show. So, when you come up with an idea for interactivity for a show, it has to be something that makes watching the show a lot more fun or a lot more interesting or a lot more dramatic. It cannot be an add-on. 14
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Anette Romer Head of Acquisitions & Formats TV 2 Danmark
TV FORMATS: Are you finding a lack of innovation in the marketplace nowadays? ROMER: [MIPCOM 2014 was] quite bland. There was no big, exciting show. We are waiting for the next big thing, but I don’t see it anywhere. All the big shows that launch these days are derivatives either of dancing, talent or some sort of reality experiment. When Strictly Come Dancing came along, no one had [done dancing on TV] before. It was a game changer! It was a leap! It also took leaps of faith to go down that path, and the channels that did it were rewarded. Since then, at least on our channel, every time we’ve tried to launch another dance show or something that looks like a brand extension, the audience is expecting more from us than just another Strictly. It’s very hard to work with all of these brand extensions, or as I’ve come to call them, “grey formats.” Everything is just dull. It creates anticipation of when someone is going to surprise us. TV FORMATS: How much do you deviate from the original format when adapting series? ROMER: We really try to stay as close to the idea as we can. If no one else holds us to it, the distributor certainly will. I’m of the opinion that if you buy a format it’s because you want to produce that format. You shouldn’t deviate unnecessarily from it. I think casting is what you can play around with and try to hit the right tone for the DNA of the channel that you’re producing for. Every time that I’ve brought a format to a producer, the exercise has been to analyze it first, to understand what is really at the core of this idea, and then go do the same thing. If all you want to do is deviate from it, build something else on top of it, make it your own in a way that’s perhaps not needed, you may miss the point and you will ultimately fail. I’ve seen it many times. 15
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Merrily Ross VP of Formats & Content Modern Times Group
TV FORMATS: What formats have been most successful for the channels you’re buying for? ROSS: In Central and Eastern Europe we have very large, broad channels. In the Nordics, it’s slightly different: we’re very female skewing, we’re a bit more edgy. So, our shows are very different in terms of their success. In Bulgaria, The X Factor is brilliant, and Big Brother has had [many] seasons. In the Nordics, Expedition: Robinson, which everyone knows as Survivor, does extremely well for us. Reality is also huge, so Paradise Hotel works on all three of our channels in Scandinavia. That’s because it really hits our target: it’s young, it’s edgy and you don’t know what you’re going to get next. TV FORMATS: Do you try to stay as close to the original format as possible when adapting for your local markets? ROSS: We produce MasterChef in Denmark and that’s a prime-time show, but we make it as access prime from Monday to Thursday. At the heart of the show are exactly the same key elements as a prime-time show. It is about keeping those very core elements of the format and not trying to deviate away too far, in terms of just changing it for the sake of changing it. Local producers do get a hold of formats and think, Well, I can do it better than that! And you’re thinking, But the show is already proven in two or three territories. TV FORMATS: What type of formats are you currently on the lookout for? ROSS: Everyone always says they’re looking for “the next big thing,” but I don’t want to find the next big thing. [Laughs] Look at Married at First Sight. It is a lovely new way of looking at factual programming. It has a new idea and it’s original. There are original ideas [in the marketplace], they’re just not [for] a big shiny-floor show. 16
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Henrik Pabst Managing Director Red Arrow International
TV FORMATS: Are you hearing a lot of requests from buyers for big primetime formats? PABST: Yes, big prime-time formats are still highly sought after. The Taste [did] well in its third season on ABC in the U.S., and in addition to the format, broadcasters are very eager to buy the U.S. and U.K. completed shows as well. For some time now, channels have been opening up to other kinds of shows in prime time, be it factual entertainment or reality. So, when Red Arrow companies like NERD, which is very strong in factual entertainment, or Snowman Productions come up with great ideas that could work in prime time, the budget is there and you can shape the idea to work around that. Reality is an ongoing trend, especially social experiments like Escape Your Life, which asks big questions that we have all asked: could my life be better? Should I change my life and do something else? Is the grass really always greener on the other side? Our reality show Lost In Love helps people find “the one that got away.” The special moment at the end of the show with the big reveal is always unexpected—sometimes good, sometimes bad, but always entertaining to watch. TV FORMATS: Is there still an appetite for more traditional format genres as well? PABST: Definitely. Many broadcasters are still looking for more classic-style formats. Our show Decimate is a strong quiz show for the BBC. The Lie is traveling really well, and our daily cooking show My Restaurant Rocks is very successful in Germany and on TF1 in France, and has been picked up in Italy. We are working with great producers and development executives—they have my deepest respect for coming up with ideas that have the ability to engage audiences across the world. 17
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Avi Armoza Founder & CEO Armoza Formats
TV FORMATS: How is the demand for scripted formats? ARMOZA: It’s a different type of business and different pace of business— it’s more [about having a long-term strategy]. Last year we experienced something for the first time: we were able to sell Hostages as a ready-made. The Hebrew-language Israeli version was sold in more than ten territories all around the world. People respect and like to see the original version [in addition to] the adapted one. We are starting to do some deals in Asia. We did deals in Turkey. We did a deal in Eastern Europe and in Latin America as well. Of course, the U.S. is always an attractive market for scripted shows. TV FORMATS: Is there still an appetite for the big-budget, shiny-floor formats? ARMOZA: There is no alternative. Those are still the major moneymakers and audience generators. There is a need for new ones, though. Everybody is careful, especially after having different experiences in the last year. Still, when the next fresh primetime entertainment format comes, everyone will be after it. TV FORMATS: Are more broadcasters requesting formats with interactive elements? ARMOZA: It’s not a “must” yet. Responsible and serious broadcasters understand that they need to explore it and that they need the experience of interactivity. They need to find ways to reach out to a younger audience and not lose the game to the internet. The content solutions are not there yet, but there are various experiments. We brought to [MIPCOM 2014] The People’s Choice, which is an interactive game show in which the people at home take part in the game. This is a game that can only be broadcast live. It was very well received; we made the most deals at MIPCOM 2014 with this format, including direct-to-license deals. 18
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Izzet Pinto Founder & CEO Global Agency
TV FORMATS: What have you heard from buyers about the types of formats they’re looking for? PINTO: At the last few markets, buyers were concentrating on prime-time formats. Now, the slot that is before the news has become very important for many channels. [Buyers have been] looking more for access-prime projects now, and we have plenty of those, such as Shopping Monsters, Love Is Calling, TUG, Stars On the Street, Keep It or Lose It and My Style Rocks. From our prime-time formats, we had three big hits [last MIPCOM], and normally it’s hard to even have one big hit. One is Keep Your Light Shining, which has started to sell very well. The second is Bring’em Back and the third is the new highlight Stand By Me. I created all three of these formats, so it feels even more exciting that [buyers] are after them trying to secure the rights. That’s also my goal: to focus more on creation. TV FORMATS: Which territories have been presenting new sales opportunities? PINTO: Latin America. In the past, it has been difficult to enter this market, but now—due to our success with Turkish series and the good relationships we have there—Latin American channels are looking very closely at our formats. One of the leading channels in Brazil has licensed Keep Your Light Shining. We are now getting even stronger in Latin America. TV FORMATS: What’s the next step for Global Agency’s growth? PINTO: We have reached such a good position that it’s hard to actually keep on growing so fast—we have [achieved] a size that’s very difficult to double or triple every year. We [are in] a good position, and I’m not trying to enter production. I want to keep our growth steady and enjoy it! I definitely want to stay independent. There are very few companies left [in the format business] that are independent. I think that for the good of the industry, we have to stay independent. 19
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Fredrik af Malmborg Managing Director Eccho Rights
TV FORMATS: Are scripted formats becoming more of a focus for Eccho Rights nowadays? AF MALMBORG: We’ve been very successful in selling scripted formats. People have started to understand the value of buying scripts. That is very encouraging and fun because developing a really good script in different versions is an interesting project to do as a distributor. We also still see a demand for entertainment formats, just slightly different than it was before. Cost-efficient [ideas] that can make a good impact with a viral effect are ideal. These still need to be big shows, though; as a broadcaster, you need to have those tentpole shows that really make an impact. TV FORMATS: Is there strong interest for buying scripts of Turkish dramas? AF MALMBORG: We’re very strong in Turkish drama. It is a big market and some of the scripts are really, really good. They are long-running series, which is good—if it works, you have more scripts to buy. There’s a big demand in Latin America, the classic telenovela market—they are buying lots of Turkish scripts. Our next area is to work with more Korean scripts. We have done sales on Ice Adonis, which is from CJ E&M, and there are more to come as well. TV FORMATS: Why do you believe Korean dramas have strong format potential? AF MALMBORG: For starters, they are well written. They are coming from competitive home markets where you have to be on top to win the slot of the night. Compared to in America, where they control [drama formats] very strictly together with the ready-made distribution all over the world, there is more of an opportunity to find scripts in [Asian] markets because they are not totally controlled yet by big corporate groups. This makes them interesting! So, we are researching a lot in the Korean market and also in India and the Bollywood [industry]. 20
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DISTRIBUTORS
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Armoza Formats ADDRESS: 16 Ha’Arba’a St., Tel Aviv 64739, Israel TELEPHONE: (972-3) 540-8333 WEBSITE: www.armozaformats.com FOUNDER & CEO: Avi Armoza HEAD, DEVELOPMENT: Nehama Cohen CONTACT: info@armozaformats.com PROGRAMS: Babushka: 60 min., studio game show/prime time, Armoza Formats/Ryan Seacrest Productions/TF1 Productions, TF1, France; Yum Factor: 60 min., cooking/competition/prime time, Armoza Formats/Abot Hameiri; I Can Do That!: 13x90 min.120 min., entertainment/prime time, Armoza Formats/Ambra Banijay Italia, RAI1, Italy; The People’s Choice: 60 min., studio entertainment/prime time, Armoza Formats/TF1 Productions, TF1, France; Connected: 30 min., factual entertainment, Koda Communications, HOT3, Israel; Who’s Asking?: 60 min., studio game show, United Studios Israel, Channel 10, Israel; Guys in Disguise: 30 min., dating, Artza Productions, NRJ12, France; Hostages: 20x40 min., suspense/drama, Yetzira Ivrit, Channel 10, Israel; The Killer Inside: 30x60 min., suspense/drama, Sovimage, TVA, Canada; Still Standing: 60 min., studio game show, JulyAugust Productions, Channel 10, Israel. “2015 is an exciting year for us, as it marks ten years of Armoza Formats. Since 2005, we have specialized in bringing the best of Israeli and international TV formats to the market, and are proud to have become a leading independent TV formats development and distribution company. With over 75 formats in our catalogue and productions in over 35 countries globally currently, as well as a wide range of international partnerships, Armoza has a proven track record of success across all genres, from the game show Still Standing, which has now aired more than 2,000 episodes globally, to the docu-reality format Connected, which is on air in over 12 territories. Our prime-time entertainment format I Can Do That! has won the night consistently on Italy’s RAI1 and is in production in over 15 countries, while the scripted drama Hostages won the Monte-Carlo Television Festival Award for best drama and is now on air in over 12 territories, including in the U.K. for the BBC, where it received rave reviews. This MIPTV, we will be allowing viewers to test their luck and knowledge in our dramatic new prime-time game show, and to sense their skills in our new and appetizingly unique cooking show.” —Avi Armoza, Founder & CEO 22
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Banijay International ADDRESS: 24 St John St., London EC1M 4AY, U.K. TELEPHONE: (44-203) 405-2065 WEBSITE: www.banijayinternational.com MANAGING DIRECTOR: Emmanuelle Namiech CONTACT: sales@banijayinternational.com PROGRAMS: Temptation Island: reality; King of Chess: entertainment; Breaking Love: reality; Something Special: reality; Beat Your Host; 71 Degrees North; Super Star Ding Dong; Popstars: talent show; Opposite Worlds. “Leading international distributor Banijay International arrives at MIPTV with a portfolio of stand-out content. Formats launching at the market include the brand-new reality telenovela Breaking Love, known as Amor a prueba in Chile, where it has been achieving record ratings during its 100-episode run; the engaging family interactive game show King of Chess, in which a reigning champion takes on the whole country; and the inspirational reality format Something Special, which sees a group of young athletes follow a dream at the Special Olympics in Los Angeles.” —Corporate Communications
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BBC Worldwide ADDRESS: TVC, 101 Wood Lane, London W12 7FA, U.K. TELEPHONE: (44-20) 8433-2000 WEBSITE: www.bbcworldwidesales.com CREATIVE DIRECTOR, FORMATS: Kate Phillips ACTING HEAD, FORMAT SALES: Suzanne Kendrick HEAD, ACQUISITIONS, ENTERTAINMENT & FORMATS: Nicki McDermott CONTACT: bbcwwformatsales@bbc.com PROGRAMS: You’re Back in the Room: 60 min., entertainment, Tuesday’s Child, ITV, U.K.; The Edge: 45 min., game show, BBC, BBC One, U.K.; The Big Painting Challenge: 60 min., BBC, BBC One, U.K.; Pressure Cooker: 45 min., Fresh One/Bristow Global Media, W Network, Canada; Seven Envelopes: 60 min., Riverdog Productions, UKTV, U.K.; Designs on Chelsea: 60 min., BBC, BBC Two, U.K.; Antiques Detectives: 30 min., BBC, BBC Two, U.K.; Silk: 18x60 min., BBC, BBC One, U.K. “We’ve got a truly varied slate this year at MIPTV that has everything from big prime-time, shinyfloor shows like You’re Back in the Room to the brand-new competition format The Big Painting Challenge to Seven Envelopes, a quiz show from the creator of Come Dine with Me that leaves behind the traditional studio setup and takes to the streets of towns across the country. You’re Back in the Room is a completely fresh twist on the game-show format. It’s heartwarming, feel-good and, most of all, very funny! The Edge is a quiz show that combines general knowledge with physical gameplay. It’s high volume, highly strippable entertainment that can easily be scaled up for prime time with celebrities. In The Big Painting Challenge, ten amateur painters travel to some of the country’s most visually stunning landscapes and locations, where they face a series of art challenges, from drawing and still-life to landscape and portrait painting. We’ve had a lot of success in the past with titles like Maestro that look at high-art subjects in an accessible way for mainstream audiences, and The Big Painting Challenge is another compelling, character-driven and inspiring show that brings the world of art to prime-time schedules in an entertaining and engaging way.” —Kate Phillips, Creative Director, Formats
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CJ E&M Corporation ADDRESS: CJ E&M Center, 66 Sangamsan-ro, Mapo-Gu, Seoul 121-904, Korea TELEPHONE: (82-2) 371-8298 WEBSITE: lineup.cjenm.com CEO: SungSoo Kim HEAD, INTERNATIONAL ACQUISITIONS & SALES: JangHo Seo CONTACT: Diane Min, diane@cj.net PROGRAMS: Three Meals a Day: 11x60 min. HD, entertainment, Na Young-Seok, CJ E&M Corporation, Republic of Korea; I Can See Your Voice: 8x70 min. HD, music, Lee Seon-Young, CJ E&M Corporation, Republic of Korea; Grandpas Over Flowers: 12x60 min. HD, entertainment, Na Young-Seok, CJ E&M Corporation, Republic of Korea; The Dish of the Nation: 12x60 min. HD, food, Ock Geun-Tae, CJ E&M Corporation, Republic of Korea. “CJ E&M, Asia’s number one content and media company, develops and produces trendsetting content for broadcast, motion picture, music and live entertainment. Seeking to promote the globalization of Asian pop culture through a strategic ‘one source, multi-content approach,’ CJ E&M has won a wide and passionate following across the world. In its home country of Korea, CJ E&M operates 18 specialty cable channels covering diverse programming genres. The company’s hit programs, including Grandpas Over Flowers, Ice Adonis, Emergency Couple, Three Meals a Day and others, are widely popular across Asia.” —JangHo Seo, Head, International Acquisitions & Sales
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Electus International ADDRESS: 8800 W. Sunset Blvd., West Hollywood, CA 90069, U.S.A. TELEPHONE: (1-310) 360-2455 WEBSITE: sales.electus.com PRESIDENT, ELECTUS STUDIOS & GLOBAL DISTRIBUTION: John Pollak SENIOR VP, INTERNATIONAL MEDIA & FORMATS: Eli Shibley PROGRAMS: Bear Grylls: Mission Survive: 6x60 min., reality/ survival, betty/Electus/Bear Grylls Ventures, ITV, U.K.; Style By Jury: 6x60 min., fashion/makeover, Electus/Planetworks, TLC, U.S.A.; The Raft: 6x60 min., reality/survival, Electus/Brian Catalina Entertainment, National Geographic, U.S.A.; Food Fighters: season 1, 8x60 min./season 2, 10x60 min., game show/food/cooking, Electus, NBC, U.S.A.; King of the Nerds: season 1, 8x60 min./season 2, 8x60 min./season 3, 8x60 min., competition/reality, Electus, TBS, U.S.A.; Jane the Virgin: season 1, 22x60 min./season 2, 22x60 min., comedy/drama/scripted, Electus/CBS Television/Warner Bros. Television, The CW, U.S.A.; Bet On Your Baby: season 1, 8x60 min./season 2, 8x60 min., game show/reality/entertainment, Electus, ABC, U.S.A.; Crazy Market: 13x90 min., game show/cooking/food, CJ E&M Corporation, Olive, Korea; Canada’s Smartest Person: 2x120 min. & 7x60 min., game show/interactive/entertainment, Media Headquarters, CBC, Canada; Running Wild: 6x60 min., survival/reality/celebrity, Electus/Bear Grylls Ventures, NBC, U.S.A.
“With the aim of delivering a steady flow of the best English-language content to our buyers, we’re thrilled to unveil an incredibly diverse and dependable slate of new and returning formats at this MIPTV. With series coming from top-tier broadcasters such as NBC, ABC, ITV, The CW, Nat Geo, TNT and TLC, to name just a few, our slate continues to expand and advance, allowing for us to provide content to every partner, regardless of platform or distribution capabilities. Formats such as Food Fighters (NBC) and Bet On Your Baby (ABC) have already delivered substantial success across the globe, and the scripted series Jane the Virgin (The CW) is having huge success, winning awards, including a Golden Globe. We are also continuing to deliver hugely successful reality survival formats that will deliver viewers, including Bear Grylls: Mission Survive (ITV) and The Raft (National Geographic). Our strong slate of network formats and cable series allow Electus International to maintain our position as a leader in international program distribution.” —John Pollak, President, Electus Studios & Global Distribution
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Global Agency ADDRESS: Abdi Ipekci Caddesi, 53/12, 34367 Nisantasi, Istanbul, Turkey TELEPHONE: (90-212) 240-5769 WEBSITE: www.theglobalagency.tv CEO: Izzet Pinto HEAD, ACQUISITIONS: Umay Ayaz HEAD, SALES: Catherine Stryker CONTACT: Fahriye Senturk, fahriye@theglobalagency.tv PROGRAMS: It’s Showtime: 60 min./daily/access prime, reality/ singing; Stairway to Fame: 120 min./weekly/prime time, singing/talent show; Joker: daily/prime time, quiz show; Keep Your Light Shining: 120 min./weekly/prime time, singing/ talent show; Flying Wheel: 60 min./daily/access prime, game show; I Bet You: 30 min./daily/access prime, quiz show, The Red Heads/Neeman Agency; Dance with Me: 60 min./weekly/ prime time, talent show, Studio Glam; Wedding Ring: 60 min./ weekly/prime time, dating/game show, KM Media; Life Swap: 60 min./daily/access prime, reality; Risk Taker: 60 min./ daily/access prime, quiz show. “Global Agency is the world’s leading independent distribution company and a major player in the international entertainment industry. Our catalogue encompasses a broad spectrum of genres, including reality, entertainment, talent and game shows, as well as drama, fiction and comedy series. We are proud to present our new formats at MIPTV 2015 with a lineup of strong new shows such as It’s Showtime, Stairway to Fame, Life Swap, I Bet You, Wedding Ring, Dance with Me and Flying Wheel. As formats are a major part of our business, we are pleased to add these to our list of already proven formats and groundbreaking hits such as Keep Your Light Shining, Shopping Monsters and Perfect Bride. We are looking forward to presenting yet another dynamic slate to our regular buyers and new clients at MIPTV.” —Izzet Pinto, CEO
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It’s Showtime: Five contestants will judge each other during the course of the week. Every episode, one performer will sing two songs on the stage. At the end of each performance, the other contestants will rate that day’s performer on their voice, stage performance, song selection and styling. As well as the face-to-face general critique, backstage evaluations will be given and points allocated for each of the four categories. On Fridays, all the points will be totaled from both the evaluations and from the audience votes. The singer with the most points will win the title and a cash prize for that week. Stairway to Fame: In the first stage of the vocal competition, the contestant will appear behind a frosted panel. Four judges will vote on their performance, and if they get more than two votes, the stage rotates to reveal the contestant. In the next phase, three out of four votes from the jury will now light up a stairway leading to the orchestra for the successful contestant. Once there, they will need to win over the studio audience in the third phase. If they pass, they will take a seat behind the judges and be able to vote for other contestants as well. In the semi-finals, three judges have to be won over, then 85 percent of the audience vote is needed to light up the stairway to fame. The final is decided by SMS voting. Joker: The contestant will be given ten questions to answer and seven Jokers to help them. For every correct answer, the contestants will go up one step on the money tree. Jokers can be used to eliminate wrong answers from the multiple choices offered. If they give a wrong answer, the contestant will lose three Jokers. After they have run out of Jokers, they will drop down three steps on the money tree with each wrong answer. By the end of the tenth question, they will win the money prize wherever they are positioned on the money tree. Keep Your Light Shining: Every episode, nine contestants take to a circular stage in darkness and prepare to sing a song in turns. At the end of the song, the audience votes and the four lowestranking contestants are up for elimination. A jury of three celebrity singers can each choose to protect one singer. The remaining contestants start with a new song and one leaves after every round. The last two remaining must face off in a duet. At the end of each episode, two contestants will be replaced: the one who made it through to the grand finale and the one who has been eliminated. The following week, the remaining seven contestants from the previous show are joined by two new contestants.
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ITV Studios Global Entertainment ADDRESS: The London Television Centre, Upper Ground, London SE1 9LT, U.K. TELEPHONE: (44-207) 157-3000 WEBSITE: www.itvstudios.com MANAGING DIRECTOR, ITV STUDIOS GLOBAL ENTERTAINMENT & ROW: Maria Kyriacou EXECUTIVE VP, GLOBAL DEVELOPMENT & FORMATS, ITV STUDIOS: Mike Beale PROGRAMS: 10,000 BC: 60 min., reality, The Garden Productions/GroupM Entertainment, Channel 5, U.K.; Get Your Act Together: 60 min., entertainment, ITV Studios, ITV, U.K.; Keep It in the Family: 60 min., game & quiz, ITV Studios/Over The Top Productions, ITV, U.K.; Quiz Duel: 60 min., game & quiz, ITV Studios Germany, ARD, Germany; I’m a Celebrity…Get Me Out of Here!: 90 min., reality, ITV Studios, ITV, U.K.; Saturday Night Takeaway: 80 min., entertainment, ITV Studios, ITV, U.K.; Hell’s Kitchen: 60 min., reality, ITV Studios America/A. Smith & Co. Productions, FOX, U.S.A.; The Chase: 60 min., game & quiz, Potato, ITV, U.K.; Come Dine with Me: 30 min./60 min., entertainment, Shiver, Channel 4, U.K. “Our slate for MIPTV spans formats across a variety of genres, originating from our producers around the world. 10,000 BC is a unique and compelling social experiment in which 20 people give up their home comforts to live in the wilderness as a Stone Age community. Saturday night entertainment show Get Your Act Together sees celebrities trying to master variety acts, while in game show Keep It in the Family, three generations of two families go head-to-head in a series of fun-filled challenges. These titles join our portfolio of hit formats that continue to be commissioned in new territories and return in others worldwide. I’m a Celebrity…Get Me Out of Here! has debuted for the first time in France, Denmark and Romania this year; Saturday Night Takeaway will premiere in the U.S. on NBC, hosted by Neil Patrick Harris; and Hell’s Kitchen has recently launched in Brazil and Indonesia.” —Mike Beale, Executive VP, Global Development & Formats, ITV Studios
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Keshet International ADDRESS: 12 Raul Valenberg St., P.O.B. 58151, 61580 Tel Aviv, Israel TELEPHONE: (972-3) 767-6412 WEBSITE: www.keshetinternational.com CEO: Alon Shtruzman MANAGING DIRECTOR, DISTRIBUTION: Keren Shahar CONTACT: Paula Cohen McHarg, paula.cohenmcharg@keshet-tv.com PROGRAMS: Imported: comedy, Keshet Broadcasting, Israel; Help! I Can’t Cook: reality, Keshet Broadcasting, Israel; BOOM!: game show, Keshet Broadcasting, Israel; Your Family or Mine: comedy, Keshet Broadcasting, Israel; Not a Star Yet: talent show, Zhejiang TV, China; Babe Magnet: dating, Comedy Central, Israel; Master Class: talent show, Keshet Broadcasting, Israel; The Baker and the Beauty: romantic comedy, Keshet Broadcasting, Israel; Dig: action/thriller, USA Network, U.S.A.; Rising Star: talent show, Keshet Broadcasting, Israel. “Keshet International (KI) is Keshet Media Group’s global distribution and production arm. Headed by CEO Alon Shtruzman, it includes Keshet’s local production outposts (Keshet UK, Keshet Australia and Keshet DCP in the U.S.) as well as its global distribution arm. KI’s catalogue consists of over 60 tried-and-tested properties that appeal to audiences worldwide, spanning all genres. Highlights include the hit drama Prisoners of War, the original Israeli version of prime-time Emmy Award-winner Homeland; the hit interactive talent show Rising Star; International Emmy Award-nominated docu-reality format Dear Neighbors, Help Our Daughter Find Love; the talent show Master Class; cross-platform format 50 Things You Have to Know; the reality dating format Girlfri3nds; the game show The Vault; and the International Emmy Awardwinning buddy comedy Traffic Light.” —Corporate Communications
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Red Arrow International ADDRESS: Medienallee 6, 85774 Unterföhring, Germany TELEPHONE: (49-89) 9507-2320 WEBSITE: www.redarrowinternational.tv MANAGING DIRECTOR: Henrik Pabst VP, FORMAT ACQUISITIONS & SALES: Harry Gamsu CONTACT: info@redarrowinternational.tv PROGRAMS: The Big Surprise: entertainment, FischWillWurm, ProSieben, Germany; Real Men: reality, Fjernsynsforeningen, DR1, Denmark; Santas in the Barn: reality, Seefood TV, Norway; Meet My Idol: entertainment, SEO Entertainment, Sat.1, Germany; Married at First Sight: reality, Snowman Productions, DR3/DR1, Denmark; Fence Off!: entertainment, RedSeven Entertainment, ZDF, Germany; House Rules: entertainment, Seven Network Operations, Seven Network, Australia; 3AM: reality, Left/Right, Showtime, U.S.A.; My Restaurant Rocks: entertainment, Good Times Fernsehproduktions, kabel eins, Germany; What If?: comedy, SHELTER, 2BE, Belgium. “Red Arrow International is a world-leading TV distributor of scripted, factual and formatted shows from Red Arrow’s global group of production companies, outstanding thirdparty producers and digital-content partners. Red Arrow International is a major coproducer of global entertainment, providing substantial production financing for scripted and non-scripted projects. Recent international highlights include Bosch (Amazon), Lilyhammer (Netflix), Married at First Sight (FYI) and The Taste (ABC). With offices in Munich, Los Angeles and Hong Kong, Red Arrow International has a truly global reach and distributes acclaimed, quality content to over 200 territories worldwide. Red Arrow International is part of Red Arrow Entertainment Group, made up of 13 production companies across seven countries; the Los Angeles-based MCN Collective Digital Studio; and creative partnerships and joint ventures with STV, Screenz, Sync Media and United Artists Media Group (Mark Burnett/Hearst). Red Arrow Entertainment Group is a wholly owned subsidiary of ProSiebenSat.1 Media, one of Europe’s leading media groups.” —Henrik Pabst, Managing Director
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Sony Pictures Television ADDRESS: Sony Pictures Europe House, 25 Golden Square, London W1F 9LU, U.K. TELEPHONE: (44-20) 7406-3000 WEBSITE: www.sptformats.com SENIOR VP, INTERNATIONAL DISTRIBUTION, FORMATS: Jane Dockery VP, ACQUISITIONS: Lisette van Diepen CONTACT: Jane_Dockery@spe.sony.com PROGRAMS: Prized Apart: 60 min., entertainment, Electric Ray, BBC One, U.K.; Win Your Wish List: 60 min., entertainment, Victory Television, BBC One, U.K.; Man V Fly: 3 min. & 30 min., entertainment, Gogglebox Entertainment, The Sun, U.K.; Release the Hounds: 60 min., entertainment, Gogglebox Entertainment, ITV2, U.K.; Dragons’ Den: 60 min., factual entertainment, NTV, Japan; Raid the Cage: 60 min., entertainment, United Studios Israel, Reshet, Israel. “Sony Pictures Television (SPT) is one of the television industry’s leading content providers, producing and distributing programming worldwide in every genre and for every platform. In addition to managing one of the industry’s largest libraries of award-winning feature films, television shows and formats, SPT is home to a thriving U.S. production business and operates 19 wholly-owned or joint-venture production companies in 13 countries around the world. SPT’s worldwide networks portfolio includes 148 channel feeds, which are available in 178 countries reaching more than 1.2 billion cumulative households worldwide. Sony Pictures Television is a Sony Pictures Entertainment company.” —Corporate Communications
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Studio Glam ADDRESS: Homa Migdal 20, Tel Aviv, Israel TELEPHONE: (972-3) 771-9925 WEBSITE: www.studioglam.tv CEO: Ami Glam CEO & HEAD, BUSINESS DEVELOPMENT: Ilan V. Glam SALES DIRECTOR: Sara Amado CONTACT: sara@studioglam.tv PROGRAMS: Almost 007: 45 min., talent show, Studio Glam; Selfie Challenge: 30 min., reality/game show, Studio Glam; Extreme Love: 45 min., reality/dating; The Extra Mile: 60 min., reality, Studio Glam, Channel 10, Israel/Telecinco, Spain/TV2, Denmark; Dance with Me: 45 min., talent show, Studio Glam; 300 Sec. Ride: 30 min., game show, Studio Glam; Like Share Please: 60 min., factual entertainment, Studio Glam, Channel 8, Israel; Win the Crowd: 45 min., street game show, Studio Glam, 360, Russia; Duel Game: Studio Glam; Street Jury: Studio Glam. “Having expanded our collaboration with creators and showrunners, as well as international production and distribution companies, we have developed four new innovative formats. Studio Glam has gradually become a home for creators from all over the world, and we are ready to take this collaborative work method to the next step.” —Ilan V. Glam, CEO & Head, Business Development
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Talpa ADDRESS: Media Park, Matrix Building, Sumatralaan 45, 1217 GP Hilversum, Netherlands TELEPHONE: (31-35) 533-3333 WEBSITE: www.talpa.tv OWNER: John de Mol MANAGING DIRECTOR, TALPA GLOBAL: Maarten Meijs HEAD, SALES, TALPA GLOBAL: Gepke Nederlof MANAGING DIRECTOR, TALPA CONTENT: Geertje Hoek PROGRAMS: The Puppet Show: 75 min., talent show, Talpa, SBS6, Netherlands; The Big Picture: 45 min., connected game show, Talpa, RTL4, Netherlands; Utopia: 25 min., reality, Talpa, SBS6, Netherlands; The Winner Takes It All: 75 min., talent show, Talpa, SBS6, Netherlands; The Voice: 75 min., talent show, Talpa, RTL4, Netherlands; The Voice Kids: 75 min., talent show, Talpa, RTL4, Netherlands; Divorce: 45 min., scripted/ drama, Talpa, RTL4, Netherlands; What Do I Know: 45 min., connected game show, Talpa, RTL4, Netherlands; Ready Set Sew: 45 min., talent show, Talpa, RTL4, Netherlands; Grannies Bucket List: 45 min., factual, Talpa, RTL4, Netherlands. “Talpa Holding is the company that fully owns Talpa Media. Talpa Media comprises Talpa Netherlands and Talpa Global. Talpa Netherlands consists of Talpa Content, the group’s in-house creative development unit for television formats and multimedia concepts, as well as Talpa Productions, the group’s TV production unit that realizes the shows for the Netherlands. Talpa Global is dedicated to the worldwide licensing of Talpa Content’s formats and finished series. Its global production division ensures the quality of Talpa formats across the globe, whereas Global Connect, Talpa Global’s digital department, is technologically driven to develop digital concepts. Talpa Media’s global network includes production companies Talpa Media USA, the division of the Talpa Media Group based in Los Angeles; Talpa Middle East, headquartered in Dubai; as well as Talpa Germany, with offices in Berlin and Hamburg. Other Talpa companies, all 50-50 joint ventures, are Talpa UK, Talpa Italy and Talpa Nordic.” —Maarten Meijs, Managing Director
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Televisa Internacional ADDRESS: 6355 N.W. 36 St., Suite 101, Miami, FL 33166, U.S.A. TELEPHONE: (1-786) 265-2500 WEBSITE: www.televisainternacional.tv HEAD, ENTERTAINMENT FORMATS DIVISION: Richard Ehrsam PROGRAMS: The Single Chef: 8x90 min./weekly/prime time, dating/cooking/reality; The Assembly Game: 30-40 min./daily, game show; Generation Gap: 30-45 min./daily, game show; Stand Up: 120 min., talent show. “Grupo Televisa is the largest mass-media company in the Hispanic world, and a major player in the global entertainment industry. The company is involved in TV production and broadcasting, restricted TV signals production, TV programs’ international distribution, direct-to-home satellite TV, cable TV and telecommunication services, magazine publishing and distribution, radio programs’ production and broadcasting, live sports and entertainment events, film production and distribution, a website operation, and it also participates in the game and raffles industry. It produces more than 90,000 hours of content a year; it transforms universal stories into local successes by creating alliances and performing tailor-made productions. Televisa is a global entertainment company.” —Corporate Communications
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TM International
I NT E R N AT I O N A L
ADDRESS: Luise-Ullrich-Str. 6, 82031 Gruenwald, Germany TELEPHONE: (49-89) 290-930 WEBSITE: www.tmg.de MANAGING DIRECTOR: Herbert L. Kloiber HEAD, INTERNATIONAL SALES: Carlos Hertel MANAGING DIRECTOR, ODEON ENTERTAINMENT: Iris Mayerhofer MANAGING DIRECTOR, ATV: Martin Gastinger CONTACT: sales@tmg.de PROGRAMS: Catwalk 30+: 12x60 min. HD, reality/casting show, Odeon Entertainment, TLC, Germany; Big Stars: Celebrities Lose Weight: 6x120 min. HD, reality, Odeon Entertainment, ProSiebenSat.1 Media, Germany; Most Wanted: 1x50 min. HD, reality/dating, Odeon Entertainment, ProSiebenSat.1 Media, Germany; My Perfect Party: 5x60 min. HD, reality, Odeon Entertainment. “TM International has been handling international distribution of the Tele München Group’s (TMG) TV productions and feature films across all genres since 2008. As a result of the production activities of Odeon Entertainment and the Austrian free-to-air channel ATV—both of which TMG is a major shareholder in—TM International has enjoyed organic growth in the area of format distribution as well. This guarantees TM International a regular supply of entertaining, creative and successful new TV formats. Among these are the reality casting show for women over 30, Catwalk 30+ (produced for TLC), of which the second season is about to air. There are also Big Stars: Celebrities Lose Weight and the reality dating show Most Wanted, in which desirable bachelors finally find a steady girlfriend. Both formats were produced for ProSiebenSat.1 Media. The organizer of the best party will also be announced very soon, in My Perfect Party.” —Corporate Communications
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Twofour Rights ADDRESS: Twofour Studios, Estover, Plymouth PL6 7RG, U.K. TELEPHONE: (44-17) 5272-7400 WEBSITE: www.twofour-rights.co.uk GROUP FINANCIAL OFFICER: Anthony Hughes HEAD, SALES: Anthony Appell GROUP DEVELOPMENT DIRECTOR: Matt Pritchard PROGRAMS: The Jump: 60 min., reality/entertainment, Twofour/GroupM Entertainment, Channel 4, U.K.; Happy Families: 60 min., reality, Twofour, Channel 4, U.K.; The Hotel Inspector: 60 min., lifestyle, Twofour, Channel 5, U.K.; Secret Interview: 60 min., reality/business, Twofour/GroupM Entertainment, Channel 5, U.K.; Storage Hoarders: 60 min., lifestyle, Twofour, ITV1, U.K.; The Fixer: 60 min., factual, Twofour, BBC Two, U.K.; Posh Pawn: 60 min., popular factual, Boomerang, Channel 4, U.K.; Bedtime Live: 60 min., reality, Twofour, Channel 4, U.K.; Be Your Own Boss: 60 min., business, Twofour, BBC Three, U.K.; The Resort (Magaluf/Ibiza Weekender): 60 min., reality, Twofour/GroupM Entertainment, ITV2, U.K.
“Twofour is an award-winning producer of original programming, and Twofour Rights, our in-house rights arm, is a global supplier of premium content. Working closely with our award-winning in-house development division, our dedicated, multilingual sales team delivers new and creative ways of maximizing revenue across all platforms and media. Every hour in the catalogue is equally important to us, and our broad slate of unscripted programming and formats provides more than 550 hours of content that work across all territories. We’ve seen our fixed-rig format shows enjoy major success internationally, as well as the reality entertainment genre. With several fresh formats in the pipeline, there are exciting times ahead. Twofour’s headquarters are in Plymouth, with offices in London and Los Angeles.” —Anthony Appell, Head, Sales
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