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Contents A Note from the Editor . . . . . . . . . . . . .6 Interviews . . . . . . . . . . . . . . . . . . . . . . .7 Distributors . . . . . . . . . . . . . . . . . . . . .21
Publisher Ricardo Seguin Guise Group Editorial Director Anna Carugati
Ricardo Seguin Guise President
Editor Mansha Daswani Executive Editor and Editor, English-Language Guides Kristin Brzoznowski Production Director Victor L. Cuevas
Anna Carugati Executive VP Mansha Daswani VP of Strategic Development and Associate Publisher
Managing Editor Joanna Padovano
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FGUIDE_0316_COLUMN_KGUIDE_1008_EDITORIAL 3/7/16 5:02 PM Page 1
A Note from the Editor Kristin Brzoznowski
The word “authentic” has been coming up quite frequently when distributors are asked what types of formats are most in demand nowadays. The renewed focus on real reality is perhaps a rejection of some of the more heavily produced, semi-scripted entertainment shows of recent years, or even a reaction to the massive amount of dark and complex drama that is dominating the airwaves in so many countries globally. Also, as high-quality drama tends to carry with it a sizable price tag, buyers warmly welcome the cost-effective nature of these reality-based formats to help balance out their schedules. Indeed, there has been a rise in the so-called social-experiment format, which looks to capture how people react in certain (producer-manufactured) situations. These shows have the ability to make a lot of noise for a network. They can also be a high-volume proposition, filling schedules day after day and returning for long runs in new seasons once proven successful. Also in terms of trends, dating is back in a big way when it comes to formats, and cooking, dancing, singing and survival have all persisted in their popularity. Even these genres tend to be less “produced” in their current iterations, focusing more on the people taking part in the series and their backstories than the mechanics of the gameplay. The real-life high drama of game shows continues to make them hot picks in many markets globally. And the demand for scripted formats is booming, as they can help to save on time and development, as well as minimize risk for buyers looking for drama and comedy fare. Assessing the myriad genres of formats that are selling well in the TV marketplace today, it’s easier to see what’s not working than to pinpoint specifically what is. It’s clear that what buyers don’t want is anything that’s been seen and done before. Yes, the genres are familiar, but there needs to be a new spin with it that’s fresh, original and stands out in what has become an incredibly crowded television landscape. This year’s TV Formats Guide contains information on hundreds of formats being taken out to the international market, and perhaps within this mix is the next big global hit. 6
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INTERVIEWS
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Sophie Turner Laing CEO Endemol Shine Group TV FORMATS: What are the major issues facing the format business? TURNER LAING: The biggest challenge when you talk to any production company, or indeed any buyer in the nonscripted business, is, Where’s the next big thing for prime time? Fortunately for us, we have two of the largest long-running non-scripted formats, Big Brother and MasterChef, which, despite all odds and despite viewing on linear TV slowly drifting down, are holding their own year-on-year. But these shows don’t just get themselves onto the screen; there is an enormous team who work behind the scenes to evolve the format. So you’re constantly adding something new, but there is a degree of familiarity with the brand for both broadcaster and the viewer, where they know to a certain extent what they’re going to get. And because there isn’t anything else that’s resonating as strongly, they are doing very well. TV FORMATS: What are the best ways of taking the essence of a scripted show and adapting it to another culture and language? TURNER LAING: Well, we’re incredibly fortunate to have in our group superb talent like Lars Blomgren—who leads Filmlance—the creator of Bron/Broen or The Bridge, which then is The Tunnel in the U.K./France version. Lars, in fact, chairs our Scripted Exchange, which connects our drama talent from around the world. The Bridge is a very unique drama format that actually has multiple iterations. With drama, one needs to be very careful; adapting it for another country is not always the right thing. However, there have been enormous successes, whether they’re ours or other people’s. For example, Prisoners of War that became Homeland. There is an opportunity to take a drama format that could have been produced locally at a smaller budget, probably not in the English language, to other markets. Whether you can successfully carry on doing a British version, an American version, remains to be seen; it totally depends on the show itself. But the premise of The Bridge is so brilliantly adaptable because you have borders in every country in the world, and often, trouble on borders! 8
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Bertram van Munster Co-Creator The Amazing Race TV FORMATS: How do you keep coming up with new challenges? VAN MUNSTER: Most of the ideas are coming from Elise [Doganieri, co-creator] and from myself. We create those challenges, and we are very, very picky about this. I have to travel to some of these challenges myself; you can’t come up with this sitting in an office. As I travel around the world I see stuff that is extremely unusual and fun and that has a difficulty to it that we don’t recognize with our cultural backgrounds. Then we test it. TV FORMATS: What are some of the most pressing logistical issues? VAN MUNSTER: I don’t want to completely give away how it works [laughs], but the word “logic” is in there somewhere. When I put something together, there is an absolute logic to it. Where we go and how the route makes itself around the globe are completely based in logic. Sometimes we throw a little curveball in there. For instance, last time we went to Europe, then down to Africa, then back to Europe, which surprised everybody. I’m also commingling climates—from hot to cold, rain to snow to extreme humidity—all of that is laid into the route so that people can be jarred. By the time they come back and sit on the couch at home, they don’t believe what happened to them. TV FORMATS: How do you work with the producers of the international versions? VAN MUNSTER: Our producers, and very often a director of photography, travel with these teams to show them the format that our company has put together. The show looks like [it’s easy to do], but when you actually do it, you find out how difficult it really is. Our experienced, talented producers travel with these teams to show them the pitfalls. That has been very successful. It also ties in to how much money they have available, and that may depend on the size of the market. That will also dictate the creative. But I’ve got to say, the Canadian version is a fantastic adaptation. It shoots partly overseas and a lot of it in Canada. 9
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Rob Clark Director of Global Entertainment FremantleMedia TV FORMATS: What elements have contributed to the longevity of FremantleMedia’s most successful formats? CLARK: There are two specific things that have to do with formats: the first is that they are not associated with either a time or a place—they are culturally neutral. You can take The Price Is Right as an example. It doesn’t feel like a show from the ’50s. And when it plays in Portugal, for example, it doesn’t feel like an American show, it feels like a Portuguese show. That culturally neutral element is really important to the longevity of any format. The second is how they are managed. These formats that we have had on air, for decades in some cases, are not just left there. They are cared for and constantly creatively prodded and poked. You constantly have to refresh. TV FORMATS: What elements do you look for to say a given show can work in another country? CLARK: I look for three things, what I call transferability, returnability and scalability. First, the show has to be a format. Not everything is meant to travel. Some things are just good programs. You could probably make something similar in a different territory but you can’t protect it in terms of its IP and there is not a discernible structure to it that you can replicate. Then you need to be able to look at it and say we could make that much bigger in a country like Germany or America or the U.K. Or we could make it on a much smaller budget in some Central European territories or some smaller Asian territories. Once you’ve got that degree of scalability, then you know it can roll out and be made in all those different territories. If it’s culturally transferable, then you know there is nothing in it that would stop it from being transferred globally, or even regionally, so it’s not something specific to that one country. That’s why game shows, singing competitions, the reality arc, the models, beauty, all travel because they are culturally transferable. 10
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Kate Phillips Creative Director of Formats BBC Worldwide TV FORMATS: What must a format have to be successfully replicated in more than one country? PHILLIPS: All formats are different, but I think at their heart they have a USP, a unique selling point. Without a doubt, every format you see on television will have been done before, so it has to have a new twist. And, at its core, it has to have something very clever and real that doesn’t feel crowbarred in there but feels quite natural. When the format goes abroad, we give it packaging that surrounds it, which the different countries use as their basis. But then they play around with beats. They bring to the forefront the elements that work for them and push back the ones that don’t. But good formats will always have that unique twist at the core. The basic concept should be clear and simple; you should be able to sell it in a sentence. TV FORMATS: Are scripted formats more difficult to get right, and if so, why? PHILLIPS: It’s very hard [to get it right] with drama because it comes from a very complicated creative process. A drama often takes many years to get on screen. The writers often have many drafts of the script, and different directors come to the project. When you are making [a drama] abroad, there are a lot of stakeholders who are very worried about how it’s remade. But I also think you have to allow it to be adapted. Luther [about a police detective] is a very big drama in the U.K. It was successfully remade in Russia, although the [lead] character [is somewhat] different—he used to work with wolves and has a special empathy with animals that helps him do his job. They brought a very different take and did it beautifully. It totally worked for the Russian market. But drama is always difficult to recreate, as is comedy, because comic sensibilities are very different in different countries. I often get it wrong; often a show I think will sell does not, and then a show that maybe I personally don’t find funny is a rip-roaring hit worldwide. 11
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Mike Beale Executive VP of Global Development & Formats ITV Studios TV FORMATS: Are you continuing to crack new markets with some of your longer-running titles? BEALE: We are quite lucky to have strength in the breadth of our titles. Our key shows, such as Hell’s Kitchen and Come Dine with Me, are perennial. We see them returning in all markets. We also have shows like I’m a Celebrity… Get Me Out of Here!, which we’ve been focusing on for the last year. We created a hub in South Africa to make the show, so we’ve made it easier for our licensees to produce. We are seeing that starting to pick up again, and more territories are realizing they could do [their own version]. TV FORMATS: Which territories are you keeping an eye on? BEALE: We are looking at different ways of working [in various markets]. We made a deal with CJ E&M [in Korea] for format exchange and collaboration. It’s about getting into markets in different, interesting ways. I know everyone is talking about China. There is still a requirement for formats there; it’s got a huge broadcasting landscape. We signed a co-development deal with Huace [which will see them] produce a new show in the lead-up to the 2022 Beijing Olympic Games. Latin America is also always a focus. Europe tends to look after itself; the region follows trends quite quickly. TV FORMATS: And where are you looking to scout fresh concepts? BEALE: We are working with South Korea and Israel, where we have seen a lot of ideas in the last 12 to 18 months. I don’t think it’s necessarily territories that we are looking to now but more so individuals—people who have the capacity to come up with ideas that are unique or a dynamic that is different. As the bigger companies produce these huge shows and roll out their format slates, we are making sure that we are talking to the smaller production companies or the individual creators—that’s where I think the big, different idea can come from next. 12
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Grant Ross Executive VP of Global Creative Development & Format Acquisition Zodiak Media TV FORMATS: What are the benefits of the merger with Banijay? ROSS: The obvious one is the larger footprint [which will now include] 17 territories. That gives us quite a force while maintaining creative freedom. The merger is also incredibly interesting because it’s bringing two different cultures together. Both of them have their own advantages. Banijay has a very strong entrepreneurial culture. They do something that we have been looking to do for a while at Zodiak but it’s always been our weak point and that is they target slots. At Banijay they are very good at achieving results in slots that are very complicated to get and very complicated to hold on to, and those are the slots in television that pay the most—slots for game shows and daily talk shows. These are the ones that change businesses. So we have a lot to learn from that side. On the Zodiak side, creativity is certainly at the heart of what we do and that is something we’ve invested in heavily in the past two years. Banijay is certainly embracing that part of our culture. I would lastly say that Zodiak, going back to the old RDF years, has a very strong, renowned and respected distribution arm. There is no doubt about it; outside the new footprint we have a good distribution arm to sell our shows. TV FORMATS: When you hear an idea for a show, are there certain elements that jump out that make you think it will work as a format? ROSS: The originality of the idea. If it’s a strong idea and it’s original and it’s taking us into a space that nobody’s gone before, then immediately the hairs come up on my arm. Failing this, [I’d be interested in] a completely different way of tackling something we already know. But there is nothing worse than generic, derivative concepts. Our audiences will reject them. Originality is the first element I look out for. 13
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Beverley McGarvey Chief Programming Officer Network Ten TV FORMATS: Of the big formats that you have acquired, what adaptations have you had to make for the Australian audience? MCGARVEY: Every show is different and every format that we buy we do adapt because every market has a very unique cultural slant. For example, on I’m a Celebrity…Get Me Out of Here! Australians are generally athletic and competitive. The series is based on the fact that the competitors do challenges and the reward is food. Once the competitors started doing the challenges we realized we needed to make them harder because they were doing them too well! So we put in challenging tasks early in the series and that is a bit of a change compared to how the show runs in other markets. Australians are quite laid back, and a show like The Bachelor is really interesting when you see how the drama plays out. But how the drama plays out for an Australian audience is not the same as how it would play out for a U.S. audience. TV FORMATS: Is there a point when a format can exhibit a bit of fatigue? MCGARVEY: There is a point at which a format does fatigue. We are in the stage in our production cycle that some of our more mature franchises are actually having a renaissance. A lot of our shows are in their infancy and we believe they have a lot of growth potential in them. We are working really hard to ensure we have shows in all stages of their life cycles so that everything doesn’t reach maturity at the same time. TV FORMATS: Are you looking for any entertainment formats in particular? MCGARVEY: There are a lot of cooking shows on in Australia and we have MasterChef. There are a lot of renovation shows, so we are probably on the market for something different. Rather than shows that are on two or three times a week, we’d like shows that air once maybe twice a week. In terms of what the subject matter would be, we are relatively open. 14
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Henrik Pabst Managing Director Red Arrow International TV FORMATS: What potential does Red Arrow International see in the area of social-experiment formats? PABST: Social experiments continue to be in high demand and are some of the most innovative formats on the market. They deal with issues and problems that viewers at home can relate to, and deal with universal themes—of love, dating and marriage—that will always prove popular. You have to treat these shows with care and respect because you cannot dictate what the outcomes are going to be. Audiences are looking for authentic stories and honesty; they want to see real characters experience something emotionally real. If you want to sell this type of show as a format, as we are doing with Married at First Sight, you have to look very carefully at how to “soft format” the show: provide the framework for the show but without influencing or dictating what will happen on screen. These kinds of shows need a relatively long preproduction period, and must be cast extremely carefully. It’s all about finding great characters and stories that the viewer at home can relate to. TV FORMATS: What new social-experiment formats does Red Arrow International have to offer? PABST: We are building on the success of Married at First Sight, which as a format has sold to over 24 countries worldwide. We have married a lot of people through that show, plus we now have our first baby! It’s not simply an entertainment show; there is genuine science underpinning it, which is why it has led the field in terms of social experiments. In terms of bold, new, real-world social experiments, we have the BBC show The Day the Cash Came from CPL Productions. Here, an anonymous benefactor gives a family living below the poverty line a year’s salary in one lump sum of cash—no strings attached. We also have the new entertainment format Kiss Bang Love, from the creators of Married at First Sight, that sees single people looking for love take part in a radical TV experiment. It’s a brand-new approach to dating and the relationship genre. 15
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Alon Shtruzman CEO Keshet International TV FORMATS: Tell us about your U.S. strategy, and the opening of a scripted studio there last year. SHTRUZMAN: The U.S. is a key market. A U.S. success not only translates to revenue but also to global sales. Lots of buyers tend to buy shows that work there. And it’s a market we’ve been in for a long time—Keshet has been selling into the U.S. for ten years. Before Homeland we had shows like The Ex List on CBS and The Vault and Traffic Light with FOX. Now that we have Keshet Studios we don’t just sell into the U.S.—we produce in the U.S., and more than that, we develop in the U.S. It gives us some extra clout and better access to broadcasters and local creators, and the ability to be more hands-on creatively with the shows we produce. TV FORMATS: You’ve also stepped up non-scripted development out of the U.K. SHTRUZMAN: We’ve launched our first in-house production, When Do You Get Off? It’s a homegrown show that was born in the U.K. by British creators for the U.K. We love that. I’m a big believer in local sensibilities. Even though Israel is always the engine from the head office, we’re pushing more and more for the Keshet International outposts to be independent and to develop their own shows. When Do You Get Off? was the first independent project from the U.K. It was amazing how quickly the show was developed, sold and produced for ITVBe. We’re looking forward to launching more shows like that. TV FORMATS: What are some of your other key growth priorities for Keshet International? SHTRUZMAN: China and the Southeast are important for Keshet. We’ve had some big successes in China. Shows like Master Class and Rising Star are in China. We’re getting into scripted in Asia— we did Gordin Cell in Korea, and now Traffic Light and Loaded [are being] made in China by Huace Group/Croton Media. For us, Asia is a very big deal. 16
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Izzet Pinto Founder & CEO Global Agency TV FORMATS: What message does Global Agency want to put out to the creative community? PINTO: As an independent company, we work with all the majors. Because of competition, the majors are unable to pass projects to their competitors. They don’t work with each other, but they work with us. That’s a big strength of ours. Also, we are extremely aggressive. In every market we have at least 10 or 11 salespeople. Once we have a project that we believe in, we do a lot of marketing for it. Global Agency is very well known for its marketing. We create buzz. When we have a new project, we make sure that everybody hears about it. If it’s a good project, it will reach success. TV FORMATS: What types of concepts are you seeking for The Formats Project competition? PINTO: Right now we are eyeing cooking formats, as well as dating series and also game shows. Even though many buyers will say that they are fed up with talent shows, they are still looking for them. If a unique talent show comes up, I think it will sell quickly. There were a lot of talent formats submitted in the first edition [of The Formats Project]; this time there are fewer talent formats and there is more diversity in the genres. We have a good variety so far and a really good mix. Above all, we are looking for originality. The format shouldn’t look similar to something that already exists in the marketplace. The same genre or basic idea might already be out there, but it’s about having those unique twists—that’s very important. We are open to projects at any stage. We are one of the rare companies that believes strongly in paper formats. As long as you have a strong idea, we will back up the development. One format can change the destiny of a company. Since I am aware of that, we are always looking for the next big thing and it can come from anywhere. 17
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John Pollak President of Global Distribution & Electus Studios Electus International TV FORMATS: Have you noticed an increased demand for formats focused on relationships, dating and marriage? POLLAK: We’ve seen an explosion of interest in dating shows. Every time we ask [a buyer] what they’re looking for, they’re looking for a prime-time dating show. They want their next The Bachelor. It’s very hard to crack that formula, at least on the prime-time level. Authenticity is really what matters most right now and you can dress it up however you want. At the end of the day, these shows are about people looking for love. It’s really hard to replicate that and do it differently so that it’s its own show and could become a major hit in the U.S. I know that everyone is trying and it is bound to happen sooner or later. TV FORMATS: How do the dating and marriage formats in the marketplace today differ from what was popular a few years ago? POLLAK: We’re definitely pushing the envelope now compared to where we were a few years back. I remember [when I started] selling dating series back with shows like Date My Mom and Parental Control; those were daily strips on MTV and they were harmless, fun and easy to watch. There were simple dates that you enjoyed watching, but no real frills and nothing that pushed the envelope. Now that’s completely been turned on its head, with shows like Married at First Sight and Dating Naked. We’ve had a lot of success in optioning Dating Naked. We haven’t yet gotten it over the line to an original series, but I think that should change pretty soon. Broadcasters are looking for loud, noisy and different types of programming in the dating space. With a show like Dating Naked, we have that and it has grabbed people’s attention. It’s going into its third season on VH1 in the U.S. and is now a proven success. 18
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Ricardo Ehrsam General Director of Entertainment Formats Televisa Internacional TV FORMATS: How has your formats business grown? EHRSAM: This venture began [a few] years ago, turning Televisa into a player within the world of entertainment beyond being a supplier of telenovelas. We began by creating really good family content, and our various customers recognized that the product we brought to the table was a product they could use for their programming schedules. We have managed to provide solutions to our existing customers, offering them not only entertainment and telenovelas, but any content that fits their schedules. Televisa [content] has landed in countries it has never reached before. TV FORMATS: What new regions are you hoping to penetrate? EHRSAM: We would like to consolidate the entertainmentformat space in the English-speaking U.S. market, because obviously this market is a catalyst for our global penetration, as [buyers notice] when a format is successful in the U.S. Our goal is also to enter countries such as the U.K. and Germany, which look for very specific characteristics in their formats. We believe that in reaching these countries, we will be able to increase the rate of penetration of our formats around the world. TV FORMATS: What are the plans for the business in the year ahead? EHRSAM: Televisa will continue to pursue growth in this area. We believe there is still much to do. We will continue increasing our catalogue at the pace we’ve been going, with the purpose of having customers see us as a provider of solutions for their programming schedules, not simply as a content provider. [We will continue offering] an important variety of genres within entertainment and look to enter more strongly into territories where we currently have a footing, while also trying to enter new territories, particularly in Northern Europe and the English-speaking U.S. market. 19
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Ken Mok Co-Creator & Executive Producer America’s Next Top Model TV FORMATS: Why do you think the show has traveled so well as a format? MOK: Fashion travels. It has no language barrier. Everybody in every country, big or small, is consumed with fashion; we are all affected by it, whether we like it or not. We all make fashion choices every day. Every morning when you get up and pick out what to wear, you’re making a fashion choice. So we knew that this show would travel very, very well. TV FORMATS: Do you share know-how with the producers of the international versions of Next Top Model? MOK: Yes. Every year we have a conference in Miami, where our international franchises gather and exchange ideas. We do our own presentation of what we’re doing with the show [in the U.S.] and what we did with the latest cycle. We walk through storytelling, casting, new aspects of social media that we’re using on the show, and the feedback we’ve received about things that we have done. We show a big video presentation and have a discussion. Then the franchises themselves each do their own presentation for us. It’s a great exchange of ideas about how to make the show work. The one thing that we always tell all the [international producers] is: process is boring, people are not. One of the mistakes that a lot of modeling shows make, one that our franchise partners sometimes make, is they will focus on how fantastic the photo shoot is; they’ll focus on the process of the shoot. That’s interesting for about 30 seconds, but after that you’re bored. There’s no personal point of view that’s coming through that. However, if you tell a story through the perspective of one of the models, what her experience is during that shoot, it makes the story emotionally engaging. That is something that we always teach our franchise partners how to do. If you focus on the individual journey rather than the overall picture, you will have success. 20
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DISTRIBUTORS
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A+E Networks ADDRESS: 235 East 45th St., New York, NY 10017, U.S.A. TELEPHONE: (1-212) 210-1400 WEBSITE: sales.aenetworks.com PRESIDENT & CEO: Nancy Dubuc VP, INTERNATIONAL CONTENT SALES: Ellen Lovejoy CONTACT: ellen.lovejoy@aenetworks.com PROGRAMS: Man vs. Child: Chef Showdown: 60 min., Kinetic Content; Alone: 60 min., Leftfield Pictures; Seven Year Switch: 60 min., Kinetic Content; The Rap Game: 60 min., Intuitive Entertainment; 60 Days In: 60 min., Lucky 8 TV; He Shed, She Shed: 60 min., home renovation, Loud TV/Plum Pictures; Unplugged Nation: 60 min., Blast! Films; Fit to Fat to Fit: 60 min., Renegade 83.
“A+E Networks is an award-winning, global media content company offering consumers a diverse communications environment ranging from television networks to websites, gaming, watch apps and educational software. A+E Networks is comprised of A&E, Lifetime, History, LMN, FYI, VICELAND, H2, A+E Studios, History en Español, Crime & Investigation Network, Military History, Lifetime Real Women, A&E IndieFilms, A+E Networks International, A+E Networks Digital and A+E Networks Consumer Products. A+E Networks’s channels and branded programming reach more than 350 million households in over 200 territories. A+E Networks is a joint venture of Disney-ABC Television Group and Hearst Corporation.” —Corporate Communications
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Armoza Formats ADDRESS: HaArba’a St., Tel Aviv 64739, Israel TELEPHONE: (972-3) 540-8333 WEBSITE: www.armozaformats.com CEO: Avi Armoza HEAD, DEVELOPMENT: Nehama Cohen CONTACT: info@armozaformats.com PROGRAMS: Wrecking Ball: 60 min., studio game show, Armoza Formats/Shenhar Productions/Volley Formats; The Foodies: 60 min., factual entertainment, Armoza Formats; Marry Me Now: 60 min., factual entertainment, Armoza Formats/Zipi Rozenblum; Local Heroes: 60 min., factual, Geronimo, VTM, Belgium; La Famiglia: 30x30 min., scripted comedy, United Studios Israel, Channel 10, Israel; I Can Do That!: 60-90 min., prime time/entertainment, Armoza Formats; Double or Nothing: 60 min., studio challenge show, Armoza Formats/Studio Glam/NBA Productions; How to Be: 30-60 min., factual entertainment, Artza Productions; Still Standing: 60 min., studio game show, July-August Productions; Who’s Asking?: 60 min., studio game show, United Studios Israel.
“Since 2005, Armoza Formats has specialized in bringing the best of Israeli and international content to the market, and is proud to have become a leading independent TV formats development and distribution company. With over 85 formats in our catalogue and productions currently in over 35 countries globally, we have a proven track record of success across all genres. Our spectacular prime-time entertainment show I Can Do That! has now been licensed in 24 countries and aired in over 80 countries, while our hit studio game show Still Standing has now aired more than 3,000 episodes globally and continues to grow into new territories. This MIPTV, we’ll be launching a diverse and unmissable slate of new shows, from powerful factual formats and drama to hard-hitting game shows and comedy, all of which are set to knock viewers off their feet!” —Avi Armoza, CEO
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BBC Worldwide ADDRESS: Television Centre, 101 Wood Lane, London W12 7FA, U.K. TELEPHONE: (44-20) 8433-2000 WEBSITE: www.bbcworldwide.com CREATIVE DIRECTOR, FORMATS: Kate Phillips HEAD, GLOBAL FORMAT SALES: Suzanne Kendrick HEAD, FORMATS & ENTERTAINMENT: Nicki McDermott CONTACT: format.sales@bbc.com PROGRAMS: The Getaway Car: 60 min., entertainment, BBC, BBC One, U.K.; Ultimate Hell Week: 60 min., factual entertainment, BBC, BBC Two, U.K.; For What It’s Worth: 45 min., quiz show, Tuesday’s Child, ITV, U.K.; Everybody’s Business: 60 min., factual entertainment, BBC, BBC Two, U.K.; The Big Catch: 60 min., factual entertainment, BBC, BBC Two, U.K.; Into the Wild: 60 min., factual entertainment, Hello Halo, BBC Two, U.K.; Doctor Foster: 5x60 min., drama, Drama Republic, BBC One, U.K.; Unforgotten: 6x45 min., drama, Mainstreet Pictures, ITV, U.K.; In the Club: 6x60 min., drama, Rollem Productions, BBC One, U.K.; The Coroner: 10x45 min., drama, BBC, BBC One, U.K.
“Our big brands continued to dominate in 2015, from Dancing with the Stars celebrating its 20th season in the U.S. to Bake Off launching in its 21st territory and Top Gear China reaching 350 million viewers. I’ve been working with the formats team to redevelop our archive titles, reviving hidden gems from our extensive back catalogue. We’re also doing more work to secure our future pipeline of ideas, which will grow into the next generation of big brands. The Paper to Pitch fund launched last autumn and we’ve already provided development funding for a large number of new ideas. Amongst our MIPTV format slate for 2016 we have a great array of original ideas, beautifully executed across all genres. Highlights include the prime-time entertainment format The Getaway Car, Ultimate Hell Week (recently commissioned for a second series) and on the scripted side, the highest rated new U.K. drama in 2015, Doctor Foster.” —Kate Phillips, Creative Director, Formats
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CJ E&M ADDRESS: 16/Fl., CJ E&M Center, 66 Sangamsan-ro, Mapo-Gu, Seoul, Korea 03926 TELEPHONE: (82-2) 371-8684 WEBSITE: lineup.cjenm.com CEO, MEDIA CONTENTS DIVISION: Deokjae Lee HEAD, INTERNATIONAL SALES & ACQUISITIONS: Jangho Seo CONTACT: Albert Park, albert.park@cj.net PROGRAMS: We Kid: 60 min., studio entertainment/music, Kim Yong-Beom, Mnet, Korea; The Acting School: 70 min., variety/ entertainment, Baek Seung-Ryong, tvN, Korea; Look What Your Hubby Did: 45 min., variety/entertainment, Park SungYong/Lee Yong-Soo, XTM, Korea; I Can See Your Voice: 60 min., studio entertainment/music, Lee Seon-Jung, Mnet, Korea; Countdown Challenge: 60 min., competition/reality, Park Sung-Yong/Shin Dong-Hoon, XTM, Korea; Devil’s Runway: 60 min., competition/reality, Kim Kyung-Hong/Kim YoungWon, OnStyle, Korea; Now You Can Cook: Homemade Food Master: 60 min., cooking, Go Min-Gu, tvN, Korea; The Bunker: 60 min., automotive/infotainment, Lee Yong-Soo, XTM, Korea; Brainiacs: 70 min., Lee Geun-Chan, tvN, Korea; Dancing 9: 90 min., competition/reality, Choi Jung-Nam/Lee Young-Joo, Mnet, Korea.
“CJ E&M is Asia’s leading content and media company, headquartered in Seoul, Korea. It has four main business units: broadcast, film (CJ Entertainment), music and live entertainment. Since 2011, CJ E&M has been contributing to the promotion of Korean culture around the world, through the company’s ‘one source, multi-content’ strategy. As a trend-leader in Asia, CJ E&M has produced and distributed various popular content, some of which include Asia’s largest music festival Mnet Asian Music Awards (MAMA), leading Hallyu convention KCON, Tony Award-winning musical Kinky Boots, record-breaking box-office hits Roaring Currents (2014) and Ode to My Father (2014), along with sought-after television series The Incomplete and Grandpas over Flowers. With regional offices in Asia and the U.S., CJ E&M currently employs over 2,000 people worldwide.” —Jangho Seo, Head, International Sales & Acquisitions
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Electus International ADDRESS: 8800 W. Sunset Blvd., West Hollywood, CA 90069, U.S.A. TELEPHONE: (1-310) 360-3443 WEBSITE: www.sales.electus.com PRESIDENT, GLOBAL DISTRIBUTION & ELECTUS STUDIOS: John Pollak SENIOR VP, HEAD, INTERNATIONAL SALES: Cyrus Farrokh DIRECTOR, GLOBAL ACQUISITIONS & MANAGEMENT RELATIONS: Darah Wagner CONTACT: john.pollak@electus.com PROGRAMS: Separation Anxiety: 14x60 min., studio game show, Electus/5x5, TBS, U.S.A.; Canada’s Smartest Person: S1 2x120 min. & 7x60 min./S2 1x120 min. & 7x60 min., studio competition, Media Headquarters, CBC, Canada; Winsanity: 40x60 min., studio game show, Barracuda Productions, GSN, U.S.A.; Jane the Virgin: S1 22x60 min./S2 22x60 min., drama/comedy, CBS Studios/Electus, The CW, U.S.A.; Fameless: 18x30 min., unscripted/comedy, Electus/Entertainment One, truTV, U.S.A.; Running Wild with Bear Grylls: S1 6x60 min./S2 8x60 min./S3 TBD, entertainment, Electus/Bear Grylls Ventures, NBC, U.S.A.; The Raft: 6x60 min., entertainment, Electus, National Geographic Channel, U.S.A.; Dating Naked: S1 11x60 min./S2 10x60 min./S3 10x60 min., game show, Lighthearted Entertainment, VH1, U.S.A.
“With an 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 series at this upcoming MIPTV. With series coming from top-tier broadcasters such as NBC, FOX, ABC, ITV, The CW, Nat Geo, TBS and truTV, 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 Separation Anxiety and Winsanity have already delivered substantial success across the globe and our returning network titles such as David Blaine’s Real or Magic and Home Free are delivering rave reviews and ratings. We are also continuing to deliver hugely successful reality survival formats that will engage viewers, including Running Wild with Bear Grylls, Bear Grylls: Mission Survive and The Raft, as well as delivering on the muchsought-after reality comedy genre with series like Fameless, Adam Ruins Everything, Almost Genius and World’s Funniest Videos. Our strong slate of network titles and cable series allow Electus International to maintain our position as a leader in international program distribution.” —John Pollak, President, Global Distribution & Electus Studios 30
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Global Agency ADDRESS: Abdi Ipekci Caddesi, Park 19-1, K:3, 34367 Nisantasi, Sisli, 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: The Legend: weekly/prime time, singing/talent show; Cooking Roulette: 120 min./weekly/prime time, cooking; Are You Kidding Me: 60 min./daily/weekly/access prime time, game show; The Wedding Race: 60 min./weekly/prime time, reality; Blind Taste: daily strip/access prime time, cooking; Lucky Room: daily strip/access prime time, game show; I Wanna Marry You: daily strip & weekly prime-time eliminations, wedding/reality; Is That Really Your Voice: weekly/prime time, game show; Shopping Monsters: daily strip/access prime time, style; Chasing the Stars: weekly/prime time, singing/talent show.
“Established in 2006, Global Agency is the world’s leading independent TV-content distributor of series, formats and films for global markets. Global Agency was founded in the second half of 2006 with only one project and a team of two people. It now has 150 projects and a team of 25 people. Our company slogan is ‘Content that Creates Buzz’ and we live up to it through the distribution of our hit content, including Magnificent Century, 1001 Nights, Keep Your Light Shining, Perfect Bride and Shopping Monsters. We have built a reputation for our dynamic and highprofile marketing strategy. Attending over 12 international markets a year is a major part of our global reach. In September 2012, Global Agency entered the business of finished-content distribution, trading under the banner of World Wide Entertainment, after acquiring the brand rights to the leading Australian factual-entertainment distributor. World Wide Entertainment is a joint venture between Global Agency and TIMS Productions.” —Corporate Communications
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ITV-Inter Medya ADDRESS: Valikonagi Caddesi 26/3, Nisantasi, 34367 Istanbul, Turkey TELEPHONE: (90-212) 231-0102 WEBSITE: www.itv-intermedya.com PRESIDENT & CEO: Can Okan MANAGING DIRECTOR: Ahmet Ziyalar PROJECT DEVELOPMENT: Nikolaus Dimos CONTACT: info@itv-intermedya.com PROGRAMS: Join Instant: game show, ITV-Inter Medya; Fifty Fifty: game show, ITV-Inter Medya; Answer If You Can: game show, ITV-Inter Medya; Celebrities in the Kitchen: game show, ITV-Inter Medya; The League: game show, ITV-Inter Medya.
“At the beginning of 2015, ITV-Inter Medya started producing entertainment and game-show formats by bringing together a creative team and has taken important steps to become a significant content distributor in this field for the local and international market. This year, 2016, we observe and celebrate the 24-year anniversary of our company. In these 24 perfect years of service, we never failed to underscore the global transformations structurally changing our markets and deeply affecting how we serve our clients. Thus it was that we have earned our clients’ trust and loyalty: a satisfactory and sustained service record with a library that always manages to stay current. Today, ITV-Inter Medya is not just a successful and innovative content and format distributor but also a powerful business developer and a consultant with significant experience in the market with very strong business relationships.” —Can Okan, President & CEO
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KABO International ADDRESS: 16 Rue André Campra, 93210 La Plaine St Denis, France TELEPHONE: (33-1) 5869-2922 WEBSITE: www.kabofamily-international.com MANAGING DIRECTOR: Arabelle Pouliot-Di Crescenzo CONTACT: arabelle@kabointernational.com PROGRAMS: Who’s Who?: 30 min./60 min., entertainment/game show, Rose Bay Media/Noel Gay Television; Ciao Darwin: 75x125 min./60 min./90 min., R.T.I. Mediaset, Canale 5, Italy; Our Crazy Family: 170x30 min., comedy, KABO Family, M6, France; Best Host Ever: 60 min./120 min., entertainment, R&G Productions, France 2, France; Matchmaking Kids: 30x52 min., entertainment, Avanti Cine Video, Canal Vie, Canada.
“KABO International is the distribution arm for KABO Family, one of the leading production groups in France. With more than 150 employees, and over 80 comedy writers, KABO Family produces more than 70 hours of fiction per year. KABO Family Group was established in 2005 and operates various production entities under the KABO umbrella brand: Kabotine (theater production for stage and screen), Kabo Films (theatrical feature-film production), Senorita Films (development and production of feature films), Studio Kabo (dedicated to brand content), Noon (production company specializing in short comedy programs), Thalie Images (producer of prime-time fiction TV programs), Kabo Edition (publishing) and Solo ’N Co (focused on the development of feature-film projects and drama for television).” —Corporate Communications
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Mediaset Distribution ADDRESS: Viale Aventino, 26, 00153 Rome, Italy TELEPHONE: (39-06) 6639-0589 WEBSITE: www.mediasetdistribution.com HEAD, INTERNATIONAL SALES, MEDIASET CATALOGUE: Manuela Caputi HEAD, FORMATS & FACTUAL ACQUISITIONS: Fabrizio Battocchio CONTACTS: manuela.caputi@mediaset.it; fabrizio.battocchio@mediaset.it PROGRAMS: Task Force 45: 8x100 min., action/drama, RB Produzioni, Canale 5, Italy; Not My Son: 8x80 min., thriller, Ares Produzioni, Canale 5, Italy; Matter of Respect: 24x100 min., mafia drama, Ares Film, Canale 5, Italy; Tuscan Passion: 80x45 min., romantic thriller/drama, Endemol Italia/RTI, Canale 5, Italy; Fury: The Wind of Hope: 6x75 min., period drama, Ares Film, Canale 5, Italy; City Cops: 16x40 min., crime series, Taodue; Suddenly All Together: 80x90 min., comedy, Picomedia/RTI, Canale 5, Italy; Sunday Lunch: 6x45 min., cooking/factual, Prodotto, La5, Italy; Cern: Tutta colpa di Einstein: 3x45 min., docureality, DueB, Italia 1, Italy; Harry’s Bar: documentary, Wider Film.
“We had many new series and renewals: flagship Canale 5 launched the action series Task Force 45 with superstar Raoul Bova in the main role and Megan Montaner (El Puente Viejo). It’s an intense story, set in Herat in Afghanistan, with love and drama between two very different people in the middle of the war. We also keep our tradition of melodrama with the premiere of the Ares series Not My Son, a thriller [with] passion and drama mixed together, as a courageous mother fights to defend the innocence of her son accused of murder. Alongside these new titles, we are happy with our hit series Matter of Respect (in production on season five) and Tuscan Passion (commissioned for season four). We are also offering a catalogue of unscripted formats and we are ready to sell both ready-made and format rights.” —Manuela Caputi, Head, International Sales, Mediaset Catalogue
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Red Arrow International ADDRESS: Medienallee 7, 85774 Unterföhring, Germany TELEPHONE: (49-89) 9507-2320 WEBSITE: www.redarrowinternational.tv MANAGING DIRECTOR: Henrik Pabst SENIOR VP, GLOBAL SALES: Bo Stehmeier VP, FORMAT ACQUISITIONS & SALES: Harry Gamsu CONTACT: info@redarrowinternational.tv PROGRAMS: My Diet Is Better Than Yours: 8x60 min., factual entertainment/reality, Kinetic Content, ABC, U.S.A.; Kiss Bang Love: entertainment, Snowman Productions/Redseven Entertainment, ProSieben, Germany; The Day the Cash Came: reality, CPL Productions, BBC One, U.K.; All Hail the Veil: entertainment, Half Yard Productions, Channel 4, U.K.; My Selfie Life: 10x30 min., factual entertainment/reality, NERD TV, Fusion, U.S.A.; Radio Face: factual entertainment/reality, Third Street Studios, BBC Northern Ireland, Ireland; Real Men: reality, MakeitBee/DR, DR1, Denmark; Married at First Sight: reality, Snowman Productions, DR1 & DR3, Denmark; House Rules: 104x60 min., entertainment, Seven Network Operations, Seven Network, Australia.
“Red Arrow International is a world-leading TV distributor of scripted, factual and formatted shows from a global network of in-house production companies, outstanding third-party 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) and Married at First Sight (A&E/FYI). 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 15 production companies across six countries. Red Arrow Entertainment is a ProSiebenSat.1 Media company.” —Henrik Pabst, Managing Director
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Televisa Internacional ADDRESS: Av. Vasco de Quiroga 2000, Col. Santa Fe, México DF, 01210, Mexico TELEPHONE: (1-786) 265-2500 WEBSITE: www.televisainternacional.tv VP: Fernando Pérez-Gavilán GENERAL DIRECTOR, ENTERTAINMENT FORMATS: Ricardo Ehrsam CONTACT: Hugo Treviño, htrevino@televisa.com.mx PROGRAMS: Date My Avatar: 60 min., reality/dating; The Wacky Old Games: 60-70 min., game show; Little Giants: 120 min., talent show; The Assembly Game: 30-45 min./daily, game show; Generation Gap: 30-45 min./daily, game show; Mini Me: 90-120 min., entertainment; Los Gonzalez: 30 min., comedy; 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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Twofour Rights ADDRESS: Twofour Studios, Estover, Plymouth PL6 7RG, U.K. TELEPHONE: (44-17) 5272-7400 WEBSITE: www.twofour-rights.co.uk CHIEF EXECUTIVE: Melanie Leach HEAD, SALES: Anthony Appell CONTACT: anthony.appell@twofour.co.uk PROGRAMS: This Time Next Year: 60 min., studio entertainment, Twofour, ITV, U.K.; The Indian Dream Hotel: 60 min., travel/reality, Twofour, BBC Two, U.K.; Get Me to the Church on Time: 60 min., travel/reality, Twofour, UKTV, U.K.; The Chopping Block: 60 min., cooking/reality, Twofour, ITV, U.K.; Strip Date: 30 min., dating, Boomerang, Channel 5, U.K.; The Jump: 60 min., reality/entertainment, Twofour, Channel 4, U.K.; The Diner: 60 min., reality, Twofour, Channel 4, U.K.; The Hotel Inspector: 60 min., lifestyle, Twofour, Channel 5, U.K.; Happy Families: 60 min., reality, Twofour, Channel 4, U.K.
“Twofour Rights is part of the Twofour Group, a family of award-winning companies striving to deliver world-class international TV production and distribution. Working for broadcasters around the world, the Twofour Group spans drama, comedy, factual, factual entertainment, formats, children’s and entertainment. We have some brilliant new global formats to offer our clients for MIPTV. Our brand-new studio-based entertainment format This Time Next Year has been a breakout hit for buyers. It showcases an array of real-life transformations, but in a unique twist, what is a yearlong mission for the contributor is instantaneous for the viewer. The Jump recently returned in spectacular form for a third new season, which sees celebrities test their nerves and skills on the slopes. The Chopping Block puts competitive cookery into a reality setup. The Indian Dream Hotel, which recently smashed the slot average for the channel, follows a group of retired celebrities as they test the quality of life abroad in their twilight years. Get Me to the Church on Time is an adventure/reality format that sees brides and grooms waking up thousands of miles from home and [they have] just 72 hours to get back for their wedding. With this diverse slate and many more in the pipeline, it’s exciting times for the company.” —Anthony Appell, Head, Sales
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WDR mediagroup ADDRESS: Ludwigstrasse 11, 50667 Cologne, Germany TELEPHONE: (49-221) 2035-2123 WEBSITE: www.wdr-mediagroup.com/en HEAD, CONTENT: Stefanie Fischer SALES MANAGER, INTERNATIONAL: Nicole Offergeld CONTACT: sales@wdr-mediagroup.com PROGRAMS: Autumn Tingles: improvised fiction, Riva Filmproduktion/WDR/NDR, ARD, Germany; Come and Ask the Maus!: prime time, family/entertainment, Ansager & Schnipselmann, WDR, Germany; Moral Springs: fiction, Zieglerfilm Köln, WDR, Germany; The Human Quiz: prime time, entertainment, Ansager & Schnipselmann, ARD, Germany; The Laugh of Others: social/comedy, SEO Entertainment, WDR, Germany; The Unlikely Events in the Life of…: ensemble comedy, bft, WDR, Germany. “The formats catalogue features outstanding WDR formats, in which we see a lot of potential for international adaptation. It is growing continuously and includes formats suited for all age groups. For example: The Human Quiz, a knowledge game show that discovers the most amazing facts about the human body, and The Unlikely Events in the Life of…, a unique genre mix of show, musical and sitcom in which nine comedians explore the imaginary world of their celebrity host.” —Stefanie Fischer, Head, Content
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ZDF Enterprises ADDRESS: Erich-Dombrowski-Str. 1, 55127 Mainz, Germany TELEPHONE: (49) 6131-9910 WEBSITE: www.zdf-enterprises.de PRESIDENT & CEO: Alexander Coridass EXECUTIVE VP & COO: Fred Burcksen CONTACT: programinfo@zdf-enterprises.de PROGRAMS: You Can’t Fool Me!: 90 min., game show; The Game Begins!: 180 min., game show; Your Song: 16x25 min. & 1x100 min., talent show; Dalli Dalli: 150 min., quiz show; Sketch History: 10x23 min., comedy/satire; Crime Watch XY: 90 min., reality/crime; 1, 2 – War?: 4x45 min., docutainment; Quiz Champion: 150 min., quiz show; Paula Unexpected: 30 min., comedy/satire; Wanna Bet?: 180 min., game show/variety/entertainment.
“As a global player with a German home base, we are particularly proud to be lead sponsor of this MIPTV’s Focus on Germany. We are responsible for worldwide program sales, the making of international co-productions, the acquisition of licenses as well as the merchandising of strong program brands in our own name, for our shareholder ZDF, and for third parties. ZDF Enterprises has successfully established itself as an independent market player on the German and international stage. Bound into a strong group, the company manages the largest German-language stock of programs in the world and a continuously growing portfolio of international productions consisting of series and miniseries, TV movies, documentaries and children’s programs. ZDF Enterprises can provide a comprehensive, full-service offering, and covers every step in the chain of origin and exploitation of successful TV programs, from development to production and up to the marketing of TV licenses, merchandising rights, online rights and much more. Our entertainment highlights for this MIPTV market are You Can’t Fool Me!, The Game Begins! and Your Song.” —Alexander Coridass, President & CEO
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Zodiak Rights ADDRESS: Avon House, Kensington Village, Avonmore Rd., London W14 8TS, U.K. TELEPHONE: (44-207) 013-4400 WEBSITE: www.zodiakrights.com CEO, ZODIAK RIGHTS & HEAD, DISTRIBUTION, BANIJAY GROUP: Tim Mutimer VP, FORMATS: Andrew Sime GROUP FORMAT ACQUISITIONS: Carlotta Rossi Spencer CONTACT: contactus@zodiakrights.com PROGRAMS: Killer Roads: 60 min., factual entertainment, Zodiak Nederland, SBS6, Netherlands; Wimps in the Wilderness: 60 min., factual entertainment, Mastiff Denmark, TV2, Denmark; Wonderkids: 60 min., entertainment, Nordisk Film TV, DR1, Denmark; The Legends Club: 60 min., factual entertainment, Banijay Finland, TV5, Finland; Wild Things: 60 min., entertainment/game show, IWC Media/Mad Monk/ GroupM Entertainment, Sky1, U.K.; Undressed: 30 min., entertainment, Magnolia, NOVE, Italy; The Secret Life of 4 Year Olds: 30-60 min., factual entertainment, RDF Television, Channel 4, U.K.; Let’s All Play With…: 60-120 min., entertainment, Air Productions, France 2, France; Secret Millionaire: 60 min., factual entertainment, RDF Television, Channel 4, U.K.
“The recent merger of Banijay Group and Zodiak Media has created a brand-new entity, which is now the world’s biggest independent production company and the largest not controlled by a media group. Banijay Group, which already boasts the leading production companies in many countries, now has operations in 17 territories producing entertainment, drama, factual, reality entertainment, docudrama, children’s and animation programming. Leading formats include Undressed, The Secret Life of 4 Year Olds, Wonderkids, Temptation Island, Popstars, Beat Your Host, 71 Degrees North, Fort Boyard, Wife Swap, Wild Things and Location Location Location, among many others. Zodiak Rights is the distribution arm of Banijay Group and we are delighted to be at MIPTV 2016 with a combined portfolio of innovative, engaging and entertaining formats.” —Tim Mutimer, Head, Distribution, Banijay Group & CEO, Zodiak Rights
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