World Screen Distributors Guide 2013

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Distributors Guide 2013

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CONTENTS A Note from the Editor . . . . . . .8 Executives . . . . . . . . . . . . . . . .9 Talent . . . . . . . . . . . . . . . . . .29 Distributors . . . . . . . . . . . . . .47

Publisher Ricardo Seguin Guise Editor Anna Carugati

Ricardo Seguin Guise President

Executive Editor Mansha Daswani

Anna Carugati Executive VP and Group Editorial Director

Managing Editor and Editor, English-Language Guides Kristin Brzoznowski

Mansha Daswani VP of Strategic Development and Associate Publisher

Production Director Victor L. Cuevas

World Screen © 2013 WSN INC. 1123 Broadway, #1207 New York, NY 10010

Associate Editor Joanna Padovano Online Director Simon Weaver

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

Sales and Marketing Director Cesar Suero

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

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Sales and Marketing Manager Vanessa Brand Business Affairs Manager Terry Acunzo

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A Note from the Editor Kristin Brzoznowski

Featuring a refreshed look and feel, this edition of the World Screen Distributors Guide is our largest ever. The newly redesigned guide presents the latest offerings from some of the top distributors in the international TV industry as well as interviews with the heads of some of the most powerful media companies in the world and leading decision-makers at global channel groups. There is also a roster of Q&As with heavy-hitters from the creative community, including showrunners, writers and stars of some of the most popular and compelling shows currently on television.

A common theme throughout many of these interviews is the ways in which digital platforms are shaking up the media landscape. Streaming services the likes of Netflix,Amazon and Hulu are challenging the traditional linear broadcast networks, providing a higher level of competition for rights acquisitions and also increasingly encroaching on the original-programming front. Some consider these streamingVOD services as friends instead of foes, as they provide yet another platform to reach audiences that are demanding to watch programming at their own convenience. A slew of new devices are enabling this on-the-go viewing behavior as well, with the use of smartphones and tablets on the rise and their takeup becoming more widespread in countries throughout the world.

These changes have left fans and networks complaining that the current ratings-measurement systems do not accurately reflect the ways that viewers are watching television nowadays.

The Nielsen Company has stepped up to answer this call, expanding its definition of what constitutes “TV viewing.” By the start of the next television season in the U.S., Nielsen expects to have in place new hardware and software tools in the nearly 23,000 TV homes it samples that will effectively capture all video viewing, including broadband, gaming systems like Xbox and PlayStation, and, in time, iPads.

This is but one example of the ways in which the television industry is adapting to—and rising above—the challenges of today’s market.

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EXECUTIVES

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Anke Schäferkordt Co-CEO RTL Group WS: What factors have contributed to the

success of the RTL family of channels?

SCHÄFERKORDT: We have established

strong channel and program brands in Germany’s very crowded TV market, and are continuously developing and successfully playing them on all platforms: on air as well as online and mobile. Our setup is complementary, to ensure that we reach a range of different demographics. RTL Television offers programs for the whole family across all relevant program genres: drama series and movies are just as much part of this as large-scale shows, comedy and sport events, magazines and news. Vox’s premium lineup with U.S. series, movies and first-rate commissioned productions caters more to a female audience. With its focus on news, business and talk, N-TV is our news channel. Super RTL is the strongest children’s brand on German television and RTL II is a contemporary channel for young audiences.

WS: As the audience continues to fragment in Germany, what

strategies must the RTL family of channels follow to maintain their competitive edge?

SCHÄFERKORDT: “When the market fragments, fragment yourself ” is one of our guidelines. And that is precisely the reason why we launched our three pay-TV channels for different and very narrowly defined target audiences in 2006, and then RTL Nitro [about one year ago]. Viewed over a longer period of 10 to 15 years, all major channels in Germany will lose audience share as digitization progresses. The primary winners are the “second-generation” channels, led

by Vox. As the pace of digitization accelerates and following the switch-off of the analog satellites, digital special-interest channels have mushroomed, especially recently—and here we are also shaping the market with RTL Nitro. Even if RTL Television has bucked the market trend and grown in the past two years, we won’t be able to stop the natural fragmentation of the market as more and more channels are available.

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Guillaume de Posch Co-CEO RTL Group WS: What has RTL Group learned about

monetizing content on digital platforms?

DE POSCH: We are actively pursuing a

digitization strategy: our linear free-to-air channels are already available on multiple digital distribution networks: terrestrial, cable, satellite and IPTV. We complement our channels with nonlinear offers such as free catch-up TV, paid on-demand services and apps on TV, tablets and smartphones— in a nutshell, we are available to viewers on all screens. And we’ll do even more in the future. Let’s not forget that top content is the key driver of demand for such devices.

As for our content arm, there are many opportunities in the digital world for FremantleMedia. One way to generate revenues from content online is by micropayments. FremantleMedia’s digital subsidiary Ludia has shown how to generate profits from games on Facebook or apps for digital devices such as the iPad. Additionally, the YouTube channel of Britain’s Got Talent has reached over 1 billion video views and is among the top 50 mostwatched channels worldwide. In May 2012, FremantleMedia launched its first channel funded by YouTube:The Pet Collective.

In July, @radical.media followed with its channel, THNKR, which features programming focused on education and ideas that are changing the world. FremantleMedia’s German arm, UFA, [also has] two YouTube channels.

WS: Do you have plans to expand the group’s pay-TV offerings?

DE POSCH: We currently offer pay-TV channels in Germany,

France and the Netherlands. RTL Nederland [last year] launched RTL Telekids.The RTL Telekids programming window, which was introduced on RTL 8 in October 2010, will remain on air as well.

So the new channel can benefit from the cross-promotion between free-to-air and pay TV. That is our strategy: if a pay-TV channel complements and enhances our free-to-air portfolio we will definitely look into it and expand our portfolio. But we will not become a pay-TV company in the future.

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Adam Crozier Chief Executive ITV plc WS: How is TV in the U.K. holding up

as an advertising medium?

CROZIER: Television has been remark-

ably resilient and there is no doubt that newspapers, radio and direct marketing have suffered disproportionately badly.

The forms of advertising that have really held up have been television, which obviously reaches a mass audience, and the Internet. The combination of the two is increasingly a winning combination for advertisers and marketers in the U.K. With our share of viewing and our share of the commercial marketplace, I do genuinely believe that we are the strongest marketing platform for advertisers in the U.K. WS: How have linear viewership levels held up?

CROZIER: Viewing in the U.K. has been at record levels. The

average person is viewing just over four hours a day of linear TV, pretty much the highest it’s ever been. That doesn’t include the viewing on all the various new devices and platforms, so generally viewing of television is very strong in the U.K. right now.

WS: What’s driving this increase?

CROZIER: It’s a number of different things. First of all, there is

a very healthy competitive market in the U.K., a lot of good channels. The U.K. invests per capita more in original content than just about any other market in the world, so there’s very high-quality original programming across all the channels— drama and entertainment as well as sport. There was a view, a few years ago, that social media would detract from TV viewing. Actually, I think we are pretty clear that if anything, social media is driving interest in television and in television programming and in many ways creating a two-way relationship with viewers. The number one thing people want online is to be able to access programs at any time, on whatever device, in any place that suits them. But what they also want alongside that is increased engagement and interaction with the program.

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Thomas Ebeling CEO ProSiebenSat.1 Media WS: Is advertiser-supported television still a

good and healthy business?

EBELING: Human beings want to be

entertained and customers need advertising. TV continues to be the strongest medium for the largest number of people.

It is indispensible. It is the most effective and efficient advertising medium because it has fast reach, relatively low cost and emotional impact.

WS: How do you plan on reducing the company’s dependence

on the German-speaking market?

EBELING: The German market will remain crucial for us,

but we want to generate 50 percent of our revenues outside the classical German-TV advertising market. We have developed a so-called Four Pillar Growth Strategy. In addition to the broadcasting business in Germany, we will expand our international broadcasting operations, we will diversify our business into digital and adjacent businesses, like online ventures, online commerce platforms, online gaming, online dating platforms, music and live entertainment, and we will expand our production business Red Arrow Entertainment internationally.

WS: The VOD platform maxdome has been very successful.

EBELING: I would say the fundamental attractiveness of max-

dome for consumers is the wide range and high quality of the programs it offers.Also very important are the reliability of service and the ease of payment. When you are pursuing those standards people will respond favorably even though they are still very price-conscious. What we are seeing is that some people like to pay a low monthly payment, a subscription fee, in order to have access to a wide library of content. Other consumers prefer to download on occasion, to buy on occasion—these are the socalled “snacking consumers.” Both coexist and I think the combination of subscription and special offers that people are willing to pay for is the model for the future.

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Emilio Azcárraga Jean Chairman of the Board & CEO Grupo Televisa WS: How important is the U.S. Hispanic market for your company’s expansion?

AZCÁRRAGA: The Hispanic market in the U.S. is almost as natural to Televisa as the Mexican market.There are more than 50 million Hispanics in the U.S., of which more than two thirds are of Mexican origin. Televisa is undoubtedly the best cultural link between these people and their home country. We are the link to their traditions, their language and their values.

We also keep them informed of what’s going on in their country.

This minority is no longer a minority; these 50 million Hispanics represent more than $1 trillion of disposable income, so they are also an enormous business opportunity. Hispanics are already a prominent demographic in all aspects of American life. That is likely to continue. Univision is the leader in this segment. Televisa’s programming continues to have solid success among the Hispanic audience.

WS: You have a significant licensing deal with Netflix; why is this important for the company?

AZCÁRRAGA: The agreement with Netflix expands the availability of Televisa programming in Latin America, Brazil and the Caribbean, where Netflix can make it available via subscription streaming. With this deal we expand the reach of our content.

In Televisa we are convinced that “content is king” but it is also our belief that the content should be distributed through all available outlets.

Since the beginning of our company, we have adapted to every emerging distribution platform. Today, Netflix represents one of the growing distribution alternatives in which we want to participate. Under the terms of this agreement, Televisa makes available to Netflix on a non-exclusive basis around 3,000 hours annually of telenovelas, series, and other general entertainment programming from its extensive library. As part of the agreement, current content is made available to Netflix one year after it is broadcast on over-the-air television.

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Haim Saban Chairman & CEO Saban Capital Group WS: You have a track record of investing in television entities.What makes you believe so much in television as a medium?

SABAN: Because it has withstood every assault from any other medium.The fact of the matter is that networks and TV stations are still very profitable businesses. Our experience over the years with broadcasting has been very positive. ProSiebenSat.1 was a big success. Keshet was a big success.

Univision is a magnificent company... catering to the fastest-growing demographic in America. We believe it’s going to be a great success for us, too.

Broadcasters are now enjoying a dual revenue stream, retransmission fees as well as advertising. It is no longer a one-revenue-stream business, but if an advertiser or a marketer or an ad agency wants to reach masses, and reach is important to them, the best place to be is in broadcasting. I am not trying to minimize the importance or the penetration of cable, which is very significant. And as a matter of fact, we are looking for opportunities in satellite and cable in Asia. So we’re not limiting our interest just to broadcasting. Our interest is much broader than that.

WS: Is Asia the area of the world right now where you feel

there is a lot of potential and growth opportunities?

SABAN: We will continue, obviously, to look for investment

opportunities both in the U.S. and Israel.We are concerned about Europe.There is a lot of uncertainty and volatility.We have diverted our attention from Europe to Asia, while, on an on-going basis, we’re looking for opportunities in the U.S. and Israel.

WS: Is digital media an area that also interests you?

SABAN: We are completely open to business for any form of

media, or any form of business where we feel we can bring added value. If you have a business that is in the content area, merchandising, licensing, marketing, online, gaming, broadcasting, any and all forms of content, we are open for business. And we are actively looking for investments.

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Richard Plepler CEO HBO WS: HBO has a relationship with its subscribers, not with advertisers. How does that shape your original productions strategy?

PLEPLER: The key to our brand is to be distinctive, original, and to create programming that people feel they cannot get anywhere else, and which speaks to quality.We believe that if we can continue to deliver, across the original-programming landscape, those original voices, which come from the talent that we are fortunate enough to work with, we are going to continue to deliver on our brand promise to our customer—and that promise is you get something here that is special.

WS: There are a number of other channels that are going after high-quality, event original productions. Is this taking potential talent away from HBO? PLEPLER: We hear over and over again from producers, agents, managers and actors who want to be at HBO.This is not a zerosum game. It does not hurt HBO if there is a good show on AMC or a good show on Showtime. All that would hurt HBO is if we somehow stopped playing our game as we are capable of playing it.

As long as we do that, we have a line at the door of showrunners, writers and producers and auteurs who want to work with us.

WS: Do you have a better idea each year of what your program-

ming budget will be than an ad-supported network?

PLEPLER: We have a relatively predictable revenue stream. Obvi-

ously we seek to grow it every year.We are able to justify [our price increases] because we are not only giving our distributors more value, but through such technologies as HBO GO and HBO On Demand, we are giving them a variety of ways for their customers to watch our programming, which adds to value.We are growing internationally, which adds to our revenue. We’re selling into more markets.We are building more networks. All of these things contribute to our growth.

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Josh Sapan President & CEO AMC Networks WS: How did original productions help

change the perception of AMC among cable operators?

SAPAN: What cable operators and satellite companies found was that people really cared...what happened next [on our original series]. So the anticipation of the coming season of Mad Men or the coming season of The Walking Dead or what’s happening on Breaking Bad, really grew [to a very high level]. When there is long-arc drama that people become invested in and really care about, there’s a connection.

WS: Given the popularity of screening shows online, do linear

channels have a healthy future?

SAPAN: Certainly outside of our realm, in news and sports, live is

live, and that, of course, is what it is. In the scripted arena, it’s interesting because we have had ratings success and have watched ratings go up in seasons four and five of Breaking Bad and Mad Men, respectively, which is an anti-television pattern. And so hopefully what it suggests is that there will be tons of on-demand viewing, both within a paid system...and there will be Internet on-demand viewing. But it seems that if you have enough juice behind the story you are telling, people will gather to have the immediate experience of what happens next.

WS: Why did you decide to branch out beyond the U.S.?

SAPAN: We decided to in part because of a business opportunity,

but I would also describe it as an imperative, because in order to have productions that you can ultimately own, one needs scale, and the world is a bigger place than the U.S., to say it simply.We also thought that there was opportunity. While there are many, many channels in different countries, we hoped that we could offer something that had a unique contribution to the success of the cable operators’ business or the satellite companies’ business because [our channels] had this anticipation of what would come with dramas that were among the best developed.

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Hisashi Hieda Chairman & CEO Fuji Media Holdings WS: What is Fuji’s share of the advertising pie in Japan?

HIEDA: Our advertising income dropped temporarily after the financial crisis in 2008 but made a quick recovery in 2010, followed by another year of increased revenue in 2011. Fuji TV’s share of the Tokyo metropolitan area’s spot-ad market is approximately 29 percent, at the top out of the five networks in the area. Our programs are overwhelmingly favored by the young female demographic that advertisers place great importance on, due to their high purchasing power. Fuji TV will continue to [present] programming to suit the needs of young viewers who are our main target.

WS: How are you diversifying Fuji’s revenues beyond advertising?

HIEDA: Fuji TV was ahead of the game compared to other

networks when it came to expanding its business outside of advertising. Events, motion pictures, DVDs and related merchandise have grown into a large-scale business, incomparable to other networks. On-demand, online program distribution and the gaming business have begun generating revenue and are anticipated to be an area of further growth in the future.

WS: Are you seeing Japanese audiences spend more time

with nonlinear viewing?

HIEDA: There is a high percentage of Japanese households

that own DVRs, and the on-demand market is gradually [progressing]. While this may be an indication of a gradual transformation in TV viewing trends, the foundation of the free-TV business remains stable and unshaken. In fact, last year’s prime-time ratings in Japan rose compared to the year before, proving TV’s dominant standpoint. On the other hand, we are working on on-demand content, to prepare for when changes do occur in viewing trends.

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Ricardo Salinas Founder & Chairman of the Board Grupo Salinas WS: Of the main mass media outlets, what

place does television occupy in Mexico?

SALINAS: The advertising market for free

TV represents about $3 billion annually, which equals more than 60 percent of ad spend in Mexico.

WS: Azteca is recognized worldwide as a producer of quality novelas. Recently, however, the company has focused on series with high production values.

SALINAS: We’re always looking to bring innovation to our screens. Although novelas continue to be important for us in prime time, we’ve invested a notable effort in the production of series.We’re strong in sports, news and entertainment and we’ve recently launched new comedy formats that can probably garner very interesting results.

WS: How important is it to reach viewers through new media?

SALINAS: A big reason for the change from TV Azteca to Azteca

two years ago is the evolution of the industry. We hope to have many more years of broadcast television, but we always have to consider new technology for its ability to attract viewers. Luckily, as content providers, we have the flexibility to move within different media with agility.We’re always looking for deals to deliver our content to new audiences. Internet options are important, as well as programs that can be delivered to smartphone screens.

WS: What are your plans for Azteca América?

SALINAS: We’re working hard at Azteca América to continue

expanding our network and delivering the most compelling programming for our audience.We migrated to full power stations in Dallas, Houston and San Francisco, an important step in terms of our channel coverage. [Our feed is also now available in HD.] The other challenge is delivering content that speaks directly to the Hispanic viewer in the U.S. Although more than 60 percent of the 50 million Latinos [in the U.S.] are of Mexican descent, their everyday lives are very different from what we experience in Mexico.

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Subhash Chandra Chairman Zee Group WS: What challenges do you see for the

growth of the Indian media business?

CHANDRA: The government has set a

deadline of 2014 [for all cable operators to upgrade their systems to digital]. My guess is it will [be partly completed by that deadline]. I think that it will take a few more years, maybe to 2017–2018, even 2020, for the cable industry to become more consolidated, from 100,000 mom-and-pop cable operators to one or two dozen corporations who can control a large [market share] and provide good quality [broadcasts] and technology, and service the customers in a better way. The ARPUs [average revenue per subscriber], which are just about $4 per home for a bundle of 400 channels, would [have to] increase to a viable level. Currently it’s not at a viable level for any consolidation to take place.

Today, there is no pay market in India. Everyone says there is a $7-billion pay market in India. I don’t believe that. It is just giving a bundled service to the household; people don’t pay separately for HBO, they don’t pay for Zee Cinema, they don’t pay for premium content separately. Slowly that will start happening. Pay services will have to develop and evolve over the next five to seven years.

Similarly, in DTH, [there are] far too many operators—six or seven of them. They will have to consolidate. Again, their ARPUs will have to increase to a profitable level. Today it’s not at a profitable level. That money will then have to flow into programming.

WS: The channels’ landscape is so fragmented. How do you maintain, and increase, your share of advertising dollars?

CHANDRA: We are a network of channels. We are serving [audiences in] seven languages [with] 30 networks, and we have almost 17 percent of the TV eyeballs. Against the 17percent viewership we control, we are able to extract almost 25 percent of the advertising pie.

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Irfan Sahin CEO Dogan TV WS: What factors have contributed to

Kanal D’s position as the most-watched channel in Turkey?

SAHIN: Five factors have contributed to this success: creativity; long-term stability; being part of Dogan, the largest media group in Turkey; talented young people working at the channel; and addressing the large Turkish audience in the right way. All those elements have made Kanal D the leading channel in Turkey for many years.

Being creative, innovative and dynamic, the channel introduced many new television programs, including several series, foreign movies, talk shows, game shows, children’s, women’s, sports, news and magazine programs. Kanal D has positioned itself at the top of the TV sector with its successful serials, educational and entertaining children’s shows, ethical news programs and talk shows presented by the most popular television stars. We broadcast content that relates to everyone living all around Turkey.

WS: What makes Turkish serials popular worldwide?

SAHIN: The success of Turkish TV productions is stimulated by

the high competition in the prime-time slots of the commercial free-to-air TV market. Every commercial TV station airs at least one locally produced drama series. There is a great preproduction process in which the producers and the scriptwriters work hard on the story, the scripts and the cast. The series are shot in HD and in internationally accepted high-quality standards. All these factors differentiate Turkish dramas from their regional competitors and inevitably bring higher quality and popularity.

Turkish TV is no different than others in many aspects. In Turkey, local production, especially drama, is very important.

Turkish dramas are local, but the stories have universal elements that can be enjoyed everywhere in the world. The quality of production, cast and scripts is very high and continues to get better. This is highly recognized by the audiences in more than 70 countries in the world.

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Peter Chernin Founder Chernin Entertainment & The Chernin Group WS: How do you make sure that your shows get exposed to the widest audience possible?

CHERNIN: Marketing is extraordinarily important. I do think one of the roles that a number of producers don’t pay enough attention to is the marketing of their shows and movies. It’s something I spend a lot of attention and time on because if I go through the trouble of making one of these shows or movies, I want to be sure it gets seen and it’s as successful as possible.

WS: Why should the studios support Hulu?

CHERNIN: It involves a whole range of benefits. First and fore-

most, everything that has ever been made is available to be pirated. I am a huge believer that the really effective way to stop piracy is less about legal action than it is about making your goods available to consumers at an appropriate price in a convenient manner. The ability to monetize content on Hulu is enormous. Anybody in their right mind who wants to watch an old episode will watch it on Hulu rather than pirate it. It’s free and it’s a better experience.

So first and foremost, you have to make things digitally available just to combat piracy.

Secondly, one of the things we looked at very closely when we started Hulu was we moved as a hedge against DVRs. So many viewers were recording shows on DVRs and in those days we weren’t getting any benefits in the ratings. So we felt we’d much rather have people watching things on Hulu than recording them on DVRs and getting no credit for it.

Third, the Hulu subscription service, Hulu Plus, has actually been quite successful, and if I am a studio, which I am not right now, but if I were, I would feel very strongly that I want there to be multiple players in the digital distribution world. I wouldn’t want to live in a world where there is just Netflix. I happen to have a lot of respect for Netflix, but where the content community does very well is where there are multiple players distributing content.

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Herbert Kloiber Chairman & Shareholder Tele München Group WS: Are you looking to expand TMG’s

distribution catalogue?

KLOIBER: Yes, we have several segments

to it. One is the feature-film catalogue. It consists mainly of features for which we have worldwide distribution, such as Tomb Raider, Wonder Boys or The Jackal.Then we have a slate of documentaries and television drama and all our classic music productions. We will continue to participate in projects like Flashpoint, and buy international distribution rights or split rights with partners that could retain parts of the world whilst we do the rest.

WS: As digital media are changing viewing habits and business

models, what are the priorities for a company like TMG? KLOIBER: To have very well organized departments in legal and

contractual, in delivery and accounting, because it’s lots of volume for very modest individual monetary return. In other words, if you license 2,000 features to a VOD platform, you’ve got to do the metadata and the delivery and the contracts and the accounting for each title for cents and pennies, sometimes with guarantees, sometimes without. But you’ve got 50 of these contracts flying around to do $200 million of volume, whereas in the old days you’d conclude four contracts [with] four broadcasters and you were done.To have the capacity to refuel and replenish the library with all rights deals that comprise all these forms of exploitation, you’ve also got to be able to be very, very clearly ahead of the game—otherwise you could make a deal now and get very hurt a little later.

WS: Besides having top-quality content, which is essential in this business, what does an indie need to succeed these days?

KLOIBER: I am still old school and parochial about the quality of management, and a lot of it depends on long-established contacts in and outside the company. It’s always nice to know you’ve got people around the globe that see things a little bit like you do, and that you can pick up the phone and say, What do you think of this idea?

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Hernán López President & CEO FOX International Channels WS: What can FIC offer advertisers that they can’t find elsewhere?

LÓPEZ: Our breadth of content, the fact that we are the only global group that is present in drama, sport, factual/lifestyle and entertainment.They are also attracted to the fact that we can do activation campaigns at the local level because we have a local presence—we have 58 offices all around the world. They are attracted to that combination: a breadth of content, the ability to execute locally and also the ability to use television and online synergistically.

WS: Are advertisers willing to move into the online space?

LÓPEZ: They are very much willing to move into the online space,

to the point that we have to remind them about the power of television, how television...is able to create emotional connections with consumers and that television is the ultimate scale medium.

We bought the .FOX advertising network five years ago, so we have been in the business of online advertising for a long time and we’ve learned a lot. I think we were able to utilize online both in favor of our advertisers as well as to sell our own shows.

Through online you can amplify the message, because sometimes, especially through social media, you make a connection with the consumer, who in turn shares the content with other consumers.You also get more data from the consumers.

WS: What is the strategy for MundoFOX? LÓPEZ: Through the partnership with RCN in Colombia, we

are [doing] something new. We are not swearing off telenovelas; we have them, but they air more in daytime. We have American movies and Latino movies. We have weekly dramas, which is something very distinctive that hasn’t been seen much in Hispanic television. We have national news. We [have] the first national newscast in Spanish to be produced out of Los Angeles—the other two are produced in Miami. We have reality shows…kids’ programming and we have sports.

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Chris Albrecht CEO Starz, LLC WS: How is Starz positioning itself in the pay-TV market?

ALBRECHT: Starz has deals with two studios, Disney and Sony, and has a lot of first-run theatrical movies, [and] is now also entering original programming. For us it’s a chance to augment our brand but also make it seem a little more seamless. Our originals are big, theatrical, quality shows that aren’t trying to be overly realistic, or take a real intimate look at a given world. They are big, fun crowd-pleasers, and provide a little bit of an escape for the audience. We will distinguish ourselves from the other premium channels and at the same time make it a little easier for the audience to understand what Starz is.

WS: And the original programming helps brand the channel.

ALBRECHT: For sure, original programming is what helps

you to gain some attention, what helps you be unique within the different brands, but I don’t think it’s about any one program, per se. It’s about the whole offering in and of itself—movies are going to be an important part of what we do and the original programming is going to be an important part of what we do, and the two will hopefully go together on Starz in a way that makes us identifiable.

WS: Producing a show requires a certain amount of alchemy

more than formula.

ALBRECHT: There is certainly a bit of magic that needs to

happen. I think the magic is a function of a lot of talented people coming together at one time. But I do think that a successful, high-quality, long-running series is the hardest thing in show business, because you have to keep making them over and over and over again. There are so many pitfalls that come not only from a creative point of view but also from a business point of view—negotiations, contracts end, people go off and do other things.

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Cecile Frot-Coutaz CEO FremantleMedia WS: What are the key strengths of

FremantleMedia?

FROT-COUTAZ: The thing that is incredi-

bly exciting about FremantleMedia and that I am very proud of is that we are a truly global player. When I say we are global, we are global in terms of our approach to production and we’re also starting to use our global presence to further our development efforts.That is quite hard to do because the world has become a much more global marketplace than it was ten years ago.We’re a great partner, we work very well in partnerships and we are really good executors.This company makes really good shows.

If I look at the future, the challenge for me is: Where is the business going? Where are the viewers going? The kinds of shows that are working today are not the same kinds of shows that were working ten years ago. We’re looking at those trends and I want to broaden the scope of the company into some new genres. I also want to really focus on what digital means for us.The next decade will be quite transformational for our company and for our competitors as well. And that is the exciting part, figuring out what our path is going to be and how we can be a trailblazer.

WS: What are the major opportunities for the company?

FROT-COUTAZ: A key focus is on getting IP into the pipeline,

across a broad range of genres. Strengthening the development effort globally continues to be a top priority, along with looking at different kinds of partnerships.Another focus is on digital, and this is crucial. New technologies, new platforms and new digital audiences open up enormous opportunities for a company like FremantleMedia. On a more short-term tactical level, there are a lot of markets around the world that are entering recession, and we always have to bear that in mind as we look at the next couple of years. But if Europe is having a tough time, that’s counterbalanced by markets like Brazil or India that are real growth markets. That’s the good news about having a global company.

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Darren Throop President & CEO Entertainment One WS: What have been the drivers of your TV business?

THROOP: In March 2012 we relocated [Peter Emerson], the president of Entertainment One Television International, to London and announced that we were expanding our international TV business in the U.K. and Europe…to broaden our distribution network and give us greater access to premium television content around the globe. This gives us closer relationships with European broadcasters, European producers and European picture makers.We’ve been involved in a number of highly successful co-productions with international partners like Endemol, Impossible Pictures in the U.K. and Raw TV in the U.K. We are trying to broaden our reach and extend our relationships with both the producers and the broadcasters.

We just want to continue to build on our successful partnerships and co-financing models. Our team is exceptionally innovative in putting together co-productions with international partners, both on the broadcast side and on the creative side, and financing them in such a way that it is helpful for the broadcaster and for the producer.

WS: What do you see as the major opportunities and the major challenges for eOne? THROOP: The ebbs and flows in the global economy may prove to be a challenge in the months and years ahead. As we’re seeing ad revenue decline and shifts in consumer behavior, we’ll see fewer dollars invested in original programming. However, the changes in viewing habits give us, as a nimble, small independent, the ability to change with the consumers, and be very opportunistic with these developments in technology and the way people are interfacing with our content. It’s our biggest opportunity but also a major challenge. I also believe that further consolidation across the media space globally will continue to present opportunities for us across all divisions.

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Tim Worner CEO Seven Network Television WS: What have viewers come to

expect from Seven?

WORNER: I think our group has a

really strong understanding of what our brand is, a really clear idea of what belongs on Seven. In development meetings, it’s really common to hear an idea described as “not a Seven show” or “a really Seven show.” We don’t take ourselves too seriously as a brand, we’re a bit irreverent and we like to have fun and we think viewers have responded to that. But the main thing is we are different from the opposition.

WS: How important are original productions?

WORNER: They are absolutely critical. If you look at the

top performing programs in Australia they are almost all, with the notable exception of Downton Abbey, Australian productions. This is not to say that U.S. or U.K. product has become useless. That is far from the case. But it is to say that you cannot make strides—with either audiences or advertisers—without really strong local productions. Because you control them, you do control the way they shape your brand. And because you control them, you do control the way you integrate your customers into them. The days of selling 30-second spots are over. Customers want more and unless you can deliver you will get left behind.

WS: What have you learned about how viewers are watch-

ing Seven’s programming from your catch-up TV service?

WORNER: We’ve learned there is a lot of love for our seri-

alized shows. Shows like Home and Away over-perform in this area. The other phenomenon we’ve seen is the watercooler effect becoming far more pronounced far more quickly. If there is a major controversial incident on one of these reality franchises and it attracts a lot of morning radio or social-media comment, the catch-up TV numbers for that episode will spike instantly and steeply.

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Howard Gordon Co-Creator Homeland WS: Besides language, violence and sex scenes, what other creative freedoms do you enjoy working for Showtime, a pay-TV network?

GORDON: What Alex [Gansa, Homeland’s co-creator] and I appreciated, particularly with regard to this series, was what I’d call the rhythm, just the fact that we didn’t have to be interrupted by commercials. This show required what we hoped was a trance-like involvement or a spell—not to sound pretentious, but for lack of a better word—and we knew commercials would disrupt that flow. So not having to write to those artificial breaks was very liberating and I think was part of the show’s success. Aside from the fact that on a broadcast network show, you probably couldn’t have a heroine who is bipolar.

WS: What is fueling this demand for really great drama on

television nowadays?

GORDON: Someone told me they really would rather not go

to the movies because there’s so much good stuff on television. I think that just the ability to tell these kinds of stories, which in some ways are deeper than even the movie experience can be because of their length—you can tell eight or more stories on Starz or Showtime or on AMC—is just a great frame for a story. For writers [12 episodes are] a little bit more civilized than doing 22 or 24 episodes of a show about a cop or a lawyer or a doctor. You can tell these very novelistic, deep stories, and that’s a very attractive form for an audience and for an actor who really wants to get into a part.

WS: Do you have CIA consultants on the show?

GORDON: We have one person who was really helpful to

us—a female CIA agent, a pretty high-ranking person, and she was very, very helpful. One of the stories came out of a direct conversation she and Alex had.

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Matthew Weiner Creator Mad Men WS: As the show becomes more suc-

cessful, do you feel added pressures?

WEINER: Anyone who knows me

knows this: Mad Men could not be more successful as far as I’m concerned. The idea that I got to make an episode after the pilot already exceeded my expectations! I’m not being modest. I just never expected that to happen.The other thing that anyone who knows me will tell you is that I live under pressure all the time. I am afraid of failing. I want the audience to like the show and at the same time I want to challenge them.

The real pressure I feel is just the pressure I’ve always felt of, Oh God, don’t be bad, don’t be boring, don’t repeat yourself—that would be most disappointing. If people think that we are doing the same thing we’ve always done, that would be very upsetting to me. I try very hard not to do that and it’s really the hardest part of my job.

WS: Does knowing that the show will run seven seasons allow

you to see where you are going to take these characters?

WEINER: I will be honest about this seven-year plan. It is

how long I think the story can be sustained before the machinery that tells the story will be boring, before it will be so much effort for me not to repeat myself.

The most important thing for me—talking about pressure—is to not psychologically try to top the season before.

I am always trying to move laterally, not to surpass it in any way, but just to do something different. That is less pressure to me than trying to make it bigger and better than last year.

I just can’t do that. But I love the idea that there is an anticipation of [what’s coming next]. The viewers will experience a chunk of time in these characters’ lives. In the smallest way, that is literally what inspired me to make the show: can I see 12 years in these people’s lives? It’s an exciting proposition. Maybe this is my life’s work. I never expect this to happen again.

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Terence Winter Creator Boardwalk Empire WS: How difficult is it for you to get the viewer to sympathize with gangsters?

WINTER: If you are really honest about a depiction of any human being and show every aspect of their personality, you’ll find something you can relate to even in the most evil person. Take a guy like Al Capone. Generally in movies you only have a limited amount of time to tell the story, so most of the time you see Al Capone depicted as the guy with the white fedora and the cigar and the machine guns and the violence. But on a TV show, we have the luxury of really spending a great deal of time with these people and digging really deep into character. So you’ll see those moments of Al Capone at home with his deaf son, and say, Wow, this guy really loves his kid. Some of the things that happened to him are informed by events that have happened in his life and suddenly it gets a lot more complicated. And once you start to dig deeper, it takes the black and white and makes it gray and suddenly you’re not sure what you think.

We went through the same thing on The Sopranos [on which Winter was a co-writer]. People loved Tony and his relationship with his kids and his wife. They would get lulled into this sense that he was this big cuddly teddy bear and then suddenly he would engage in some horrific act of violence and you’d go, I thought I liked this guy! You are really conflicted and think, I do like him, but I don’t like certain things that he does.

WS: Would you say that characters on TV are far more threedimensional today?

WINTER: Certainly on cable pay TV they are. I’m not really sure about network TV. I’m not sure how much latitude you have to really depict people honestly. It feels like you have to explain away a lot of behavior on network TV, whereas on cable you can explore more flawed characters or just more honest depictions of people.We are all flawed and cable allows you to explore those aspects of human nature that are not necessarily us at our best.

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Vince Gilligan Creator Breaking Bad WS: Most of the characters have undergone dramatic personality shifts.

Did you have these arcs planned out from the inception, or did some of them evolve organically?

GILLIGAN: The one that I will take credit for, as it had been planned from the get-go, at least in broad strokes, was Walter White. When I was first pitching this show the original [idea] was: We’re going to take Mr. Chips and we’re going to turn him into Scarface. In other words, we were going to tell a story of personal transformation, in which our good guy main character would, through sheer force of will, decide to be a bad guy and will himself into such a way of living and way of thinking. That was indeed planned out from the beginning.

WS: How does it feel to know the show is coming to an

end after this season?

GILLIGAN: I’m very nervous about the future. I’m very

fearful that this is as good as it gets. Therefore it would seem odd to hear that it was my idea as much as anyone’s that the show should end. Part of me wants the show to go on forever, there’s no question about that. The wiser part of me knows that we have told most of our story. We don’t have a whole lot of Walter White’s story left to tell.

The worst thing you can do on a TV show, it seems to me, is just tread water creatively. That’s a bad feeling when that happens. A worse feeling still would be to hear through the grapevine people start to say, “That used to be such a good show; I didn’t know that was still on the air.” That would be terribly hurtful! I would rather leave this particular party too soon than too late. Therefore, as nervous as I am about the future and what comes next—and I don’t know what that next project may or may not be—I hope it’ll be half as much fun and half as satisfying as Breaking Bad. This truly has been lightning in a bottle.

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Julian Fellowes Creator Downton Abbey WS: Why do you think Downton Abbey struck a chord with American viewers? It truly represents a slice of British society.

FELLOWES: It’s hard to say. So much has been written [saying the show is popular because it’s about] snobbery. But that is to miss the point completely. The reason the show is popular is precisely because it is not snobbish. It does not suggest that the upper-class characters are somehow more important or have more important lives. Everyone’s life in the show is important.The kitchen maid Daisy is just as important as Lady Edith. That egalitarianism of treatment probably appeals to an American audience.You can pick your favorite characters from whatever group. There are people upstairs and downstairs who are given the same screen time and all their fates are taken seriously.We’re not judgmental about who are the important characters and who are not; that’s for the audience to decide. I imagine that is a way of treating the class system that might appeal to an American audience, which has a kind of natural egalitarianism.

WS: Have you been influenced at all by American television?

FELLOWES: American television reinvented the concept of the

drama series a few years ago with this layered, multistory, multinarrative, very fast-paced movement. One thing we perhaps did do right with Downton is that although in one way it is a traditional period series, the kind British television was making 30 years ago, when you look at those shows, they are generally single narrative and, to our rhythm, quite slow. Instead of going back into that territory, we really modeled Downton more on a modern American show in the sense of having lots going on and getting involved with all sorts of characters simultaneously. In the old days, when you were watching one of those shows, you could go out and make a cup of tea, whereas now...you can’t go and make a cup of tea, unless you have a television in the kitchen, because you come back and you’ve missed the whole end of one story! That was the pattern we were looking at rather than traditional British television.

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David Attenborough Presenter Kingdom of Plants 3D WS: What were some of the challenges you encountered working in 3D? ATTENBOROUGH: The main challenge is the camera, which when we started‌was even more awkward than it is now. It took four people to carry it, it took a team of about ten to service it and keep it happy, it took three quarters of an hour to change the lens.

All of which makes it not very suitable for trying to film nervous animals, which you have to try and creep up on in an unintrusive way. Since my programs are mostly about animals, it meant one had to rethink [what I would do in 3D].

The other thing is, what does very well [in 3D] is computergenerated imaging. So with those limitations in mind, we came up with the idea of doing something about fossils. We could bring fossils to life with CGI, and also you can creep up on a fossil without it running away! So we chose terrasaurs, which are flying reptiles that flew above the head of the dinosaurs and are very often ignored. That produced a program called Flying Monsters 3D, which was the first 3D program I did.Then we did one in the Antarctic with penguins. And then we did a series on plants [Kingdom of Plants 3D] that exploited time lapse and macro work, which also are very exciting in 3D. WS: How long do you think it will take for the technology to become more manageable so that more productions can be done in 3D? ATTENBOROUGH: Well, I suppose it’s improving all the time. It only takes two people to carry a camera now, and I dare say it will go on getting smaller and smaller, which will be a very good thing.

The big hurdle is to get rid of the dark glasses you need to see 3D at the moment. I was reading only this morning about some technology that is hoping to be able to get rid of the glasses. When that happens, I think it will be a very big leap forward for the audience.

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Aaron Sorkin Creator The Newsroom WS: What research did you do before or while writing The Newsroom?

SORKIN: I spent time in several newsrooms just to get a feel of the place (and it turns out they’re all different). I also had a series of meetings with some of the top people in American journalism.

Sometimes they were one-on-one and sometimes they were rowdy roundtables. I asked a ton of questions but mostly let them do the talking. At some point I’d ask two questions. The first was, “What would a utopian news show be?” and the second was, “What’s stopping someone from doing that?” The answers to the first question varied a bit, but the answer to the second question was always some form of “guts.” If you want to write romantically and idealistically, that’s the best answer you could hear.

WS: The West Wing offered viewers intellectually challenging, rapidfire dialogue. In the beginning of the series, were you concerned that such an ambitious show might not find an audience, especially on broadcast TV? SORKIN: I try to write something that I like and that I think my friends would like and that I think my parents would like, and then I keep my fingers crossed that enough other people will like it that I can earn a living. I think it’s important to like your audience and have faith in them. I don’t think the people who watch television are any dumber than the people who make television.

WS: I’ve read that when you write you do not always stay seated at your keyboard; you move around and act out the scenes and characters you are imagining. Can you tell us about that process?

SORKIN: I’m pretty active when I’m writing. I start arguments in my head between two characters, and if something sparks I’ll be on my feet and talking out loud, and before you know it, I’m out on the street looking like someone a mom would tell her kid not to make eye contact with.

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Steven Levitan Co-Creator Modern Family WS: Why did you choose the mockumentary format for Modern Family?

LEVITAN: I had dabbled in it in a very low-budget pilot that I had made and really came to like what those interview [segments] could do to a scene, in terms of adding pace and allowing you to cut through the exposition. I also thought that it was a nice way to take a show with cute kids in it and [give it] a little less cutesy feeling.

We didn’t want people to think, “Oh no, here comes another one of those shows that is all syrupy sweet.” The documentary style just makes it feel a little more real, and that’s what we were going for, above everything else, to make it as real as possible.

WS: How would you define your style of comedy?

LEVITAN: I like it to be smart and not talk down to the

audience and not feel familiar. I don’t like it when I [watch a show] and there is either a giant logic bump in the story or it’s very familiar material. It feels in some way insulting to the audience when I see that the writers didn’t care enough to say, Boy, people have seen this before, let’s find a new take on this. Above all, I like smart comedy that feels fresh and relatable and new.

WS: Has the show helped usher in a comedy renaissance?

LEVITAN: What Modern Family did, which is really nice and

we feel lucky to be part of it, is it has shown that there can still be a show that is both a hit with viewers and with critics…. Also, a number of shows are proving that there is a business model that still makes sense. That is an important part, because in order to sustain the quality of these kinds of shows, it really requires a very large investment. For a while a lot of people were wondering if comedies really still [could] make the big bucks. Modern Family perhaps gave people a reason to continue to invest in this business.

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Armando Iannucci Creator Veep WS: In Veep, does your cinema-verité style allow you to catch the comedic moment you’re looking for?

IANNUCCI: That’s right, and we light it more or less so we can move 360 degrees on the set.That means it’s quicker to shoot, because we don’t have to reset and relight for all the reverse shots. It means that we can flow a lot more.We can shoot a whole scene uninterrupted and then add in a few notes and suggestions, shoot it again, add in a few more notes and suggestions, shoot it again, pick off a moment that we feel can do with loosening up, loosen it up, so we’re shooting loads of stuff, but we usually end the day on time. For the actors that’s a very heavy day.They could be sitting way over in the corner but a camera might still find them and certainly their radio microphones might still be on so we can hear what they say.They are on all the time, which they love, but it does make for an intense shoot.

WS: You’ve done webisodes, television episodes and feature films.

What are the storytelling techniques for each one?

IANNUCCI: With the television series you have to have more or

less everyone back to where they started after 30 minutes, so you can do the next episode, whereas with a film, you’re at liberty to do anything with them; you can kill some [characters] off. In an episode you have to get all your plot lines up and running within the first five minutes. Whereas with a film you can delay something till halfway through, you can introduce a character just at the end.

Doing shorter things on the web, that’s a whole new discipline as well—it’s very concise, every word is important. It’s all about honing right down to the bare essentials. I find all these media are converging anyway.There is a very cinematic look to television series now and, in fact, the most original TV shows are the ones where unexpectedly dramatic things do happen to the main characters and they are killed off halfway through an episode and so on. All those rules of conventional TV story lines have been thrown out the window.

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Andrew Davies Creator Mr Selfridge WS: How did Mr Selfridge come about?

DAVIES: Kate Lewis, who is the

executive producer, had this book called Shopping, Seduction & Mr Selfridge, which was an account of how Harry Gordon Selfridge came to London from America and opened a shop.

She said, I think this will make a fantastic series. At first I thought, Do I want to do a whole series about shopping? But then I did get drawn in by the story. He’s just a fantastic character. And it’s a story about business and modernity and change—he did revolutionize retail practices and started lots of things we take for granted today.

Harry Gordon Selfridge was in a way a self-destructive character. He loved to gamble; that was his way of relaxing.

And he took incredible risks with his business and usually got away with them. In terms of his emotional life, he was drawn to the kind of women who would be the most trouble. Of course; that makes for terrific drama.

WS: What are some of the biggest changes you’ve witnessed in your years working in British television?

DAVIES: When I started, producers at the BBC could commission—they didn’t have to go to commissioners. So my early career was very much tied up with two producers, Louis Marks and Rosemary Hill. They would have their four productions a year, and if three of them worked then they were all right for the next [project]. Producers had much more freedom. For a while my career hung on the same fragile thread as Louis Marks, because he would not only commission me again and again, but he’d also recommend me to other producers. One of the big differences [today] is that, at the BBC especially, [there is a greater] number of people that have got to say yes [to a project]. It’s much more straightforward at ITV. There are fewer people involved and decisions are made more quickly.

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Jonathan Nolan Creator Person of Interest WS: What served as inspiration for Person of Interest?

NOLAN: My childhood was spent in London and during the ’70s and ’80s Scotland Yard started putting up cameras everywhere.Then I moved to the States and they didn’t have any cameras—none in public—they were only in private institutions. Since then...we’ve seen a rise in these surveillance cameras all over America, but especially in lower Manhattan.... I was always wondering who is watching those cameras and why are they watching.To some extent they are overtaxed, underpaid police officers, but automation and technology have come online and the answer is something is watching those cameras, something is listening to us all the time.

For a long time I have been fascinated by this concept of the panopticon [a round-the-clock surveillance machine]. But clearly the question I was always most interested in is not the big-ticket items they were looking for with these cameras set up to prevent terrorist attacks. I was always fascinated by the smaller things that they would see…the everyday smaller crimes and dramas that were out of sight of everyone else.

WS: What creative challenges and freedoms do you have writ-

ing for television compared with writing feature films?

NOLAN: It’s actually great fun. On our show we have a story-of-

the-week format so we have to create a beginning, a middle and an end in each episode. But we also have this...larger story we are telling about the characters and their relationships, and about the machine: who knows about it, what they would do to protect it.We have to generate so much story it’s a wonderful challenge.

What is sometimes frustrating about writing movies is that you only get two hours [in which to tell] that story and to explore that character. If you are lucky enough to be working on a set of characters that are compelling and fun, with actors that are extremely talented, you want to continue to explore those characters and that’s what television allows you to do.

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Gale Anne Hurd Executive Producer The Walking Dead WS: How important is it, for the integrity

of The Walking Dead, to be able to kill off a character that is liked by the fans?

HURD: It’s very difficult for all of us, but if we are to be true to Robert Kirkman’s comic book, unfortunately the body count for characters we love is pretty high. We do change it up, so there are characters who are still alive in the comic book that we’ve sadly put to rest, and there are characters who are still alive in our show that have died in the comic book. There is the threat from walkers—the zombies—and also from the humans that they might encounter. And it just wouldn’t be believable if every one of our fantastic cast survived.

WS: How closely do the story lines mirror what’s happening in

the comic books?

HURD: Well, the interesting thing is that Robert Kirkman’s

underlying comic book, The Walking Dead, is also a huge success.

The fans care very deeply about it. The 100th issue is now the best-selling comic book in 15 years, outselling Marvel and DC. Over 350,000 comic books were sold. It would be very difficult [to decide] what to change if it were not for the fact that Robert Kirkman is not only an executive producer of the show, but he’s in the writers’ room, part of that discussion about what to keep, what to change and what to invent. And with his blessing, I think that the fans accept those changes.

WS: You’ve done a lot of work for network television; I imagine a

16-episode order is much more manageable than having to do 24!

HURD: Yes, 16 is manageable. On the other hand, it is quite

demanding. Most network shows are primarily shot in studio— they’ll have maybe a couple of days outside. We shoot a very demanding show in eight days, with most of it on location. I think that our 16 episodes, in terms of the storytelling, because of the complexity of the stories, and the fact that it’s serialized, as well as the physical demands, is the equivalent to 24.

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Liz Meriwether Creator New Girl WS: What served as inspiration for the

characters in New Girl?

MERIWETHER: I definitely looked at

my life when I was making the pilot and thought about my friends who are guys and some of the silly things I had done and continue to do! Network television is so hard because there are so many episodes to do, you have to write from a place of personal experience or you will hit a wall at some point. You have to come up with 24 stories a year and you have to know the characters inside and out to generate that many stories.

It’s a really big deal to us that the show feels real and honest and the characters feel like real people. I am always encouraging the writers to write from their own life and to think first if they could imagine a real person doing this before we put it in the show.

WS: When you’re shooting a scene on a given day, do you stay with it until you get it right, or does the scene get enhance in the editing process?

MERIWETHER: Our philosophy is, Nothing matters until we all agree that something is working and it’s funny. We’re able to always throw out the scene or throw out the line if it’s not working, as opposed to sticking to the script or to the story that we had. The only thing that matters is if it’s funny. We have a really open set. There is improv. We go down to the set with a huge packet of jokes and we [deal] them out to the actors and they incorporate them in what they are doing and then the actors will change some things.

Once we’ve shot the scene, there is a lot of rearranging in the editing room. It does feel like a rewriting process in the editing room. I’ve always seen the set as more of a laboratory: you are testing things out and trying to get as many options as you can so that you have a ton of material for the editing room. That is really where the show comes together.

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Edie Falco Actress Nurse Jackie WS: Do you feel a certain responsibility to present the problem of addiction in all its facets on Nurse Jackie?

FALCO: Absolutely, yes. I originally fought early on with the idea that Jackie had an addiction problem.

When it was presented to me I felt very strongly that I didn’t want it, because I do feel a sense of responsibility to people. Then once I realized that it really was important for the storytelling and that it does make good drama, I said it is absolutely of dire importance to me that we can’t just show A plus B, you have to see what C is. Yes, the ramifications portion of it was very important to me.

WS: What did you learn from your experience on The Sopranos?

FALCO: What I learned from The Sopranos is how much I

enjoy that genre, doing an episodic television show.You get to play the same person for a long time and get to experience her in all different dimensions. It was my first time doing episodic work and I loved it. When I’m reading scripts I am drawn to characteristics that maybe I wish I had more of, so that I am always in awe of [the person I’m playing]. One of the things about Carmela was her ease with people. She felt at ease in her world. She had been with her husband since they were teenagers, she was very deeply ensconced in a community. The ease she had with touching people and calling people—the way she treated her daughter was very physical. That’s very much not the way I used to be. I was so taken by that and so thoroughly enjoyed getting into the body of a person who behaved that way.

Nurse Jackie was on some levels the antithesis of that. She was just such a cold wiseass. She was not concerned about being liked, while Carmela was so concerned with being liked. I think it’s about where I am, at the time, and what it is about that character that I find appealing or want more of in my life, or at least want to live there...for a little while.

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Kiefer Sutherland Actor Touch WS: When you read the script for

Touch what initially appealed to you about the project?

SUTHERLAND: This story broke my heart. I am a parent and the idea of being in a position with a child that you can’t communicate [with] in a normal way, that you can’t hold in a normal way, is heartbreaking. My favorite time as a parent was in the evening, bathing the kids and getting them ready for bed, the giggles, the cuddling. Not being able to do that would leave a giant hole in you as a parent and as a person. Somehow you have to feel responsible for it because you are the parent. These were things I really responded to as a reader.

Subsequently, as an actor, that’s a huge field to plow, that’s endless, you can mine that for days. Then there are story lines that surround that [core relationship between father and son]. And there is then this concept of interconnectivity.

When you start to see how all these story lines converge because of what this boy is doing, in some cases 10,000 miles away, it’s just amazing.

WS: Is there a lot of emotion in Touch, compared to 24?

SUTHERLAND: 24 was an emotional show, it was just a

very different kind of emotion, it was much more aggressive. It was designed to push you back and this is designed to pull you in. It’s as opposite as that. The emotional requirements that I’ve experienced in making Touch are very common things between people—certainly as a parent but also trying to find out the right thing and the wrong thing to do. I believe that Martin has an unbelievably strong moral compass, with his child at the center of it, and I find it unbelievably relatable. But the emotional journey is very honest and very real, as opposed to the emotional journey on 24, which was based on truly heightened circumstances.

Touch is grounded in a much firmer reality.

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Mark Harmon Actor NCIS WS: What first appealed to you about

the character you play on NCIS, Special Agent Gibbs?

HARMON: The answer is the same for all of us. There are four of us who are still here from the original group: myself, Michael Weatherly [Special Agent Tony DiNozzo], Pauley Perrette [Forensics Specialist Abby Sciuto] and David McCallum [Chief M.E. Ducky Mallard]. One thing that attracted us right away to this material was that it was about characters, it had humor—that was always part of it—and then there was a case, but the case was not what drove the show.

Ten years down the line, there have been changes in all directions and certainly individual developmental changes in all of our characters. I see it as a very different show from where it started. However, there are pieces of it that remain consistent. Everybody is individual to the role they play and we all know our jobs. And we’ve done that from the beginning. Everybody has a voice; everybody speaks his or her mind. There are not a lot of secrets on this show. That’s the way the show has developed.

WS: Do you work with real NCIS agents to ensure the accuracy of the show?

HARMON: We’ve had a man named Leon Carroll, Jr. He’s a 30-year NCIS veteran, originally at [the Naval Investigative Service] and before that a Marine Corps major. He’s been here from the very, very beginning, when we were all given different special agents to supervise us. Pauley had a forensic scientist. David had a coroner. I had a special agent and Michael had a special agent. Some actors used them and others didn’t use them at all, but there was always Leon.

He’s been a huge help. To back up a step, even before that, from the very, very beginning, this show cared about NCIS as an agency and wanted to portray its work in the right way. That’s important because that feeling still exists.

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Gillian Anderson Actress The Fall WS: How does The Fall differ from other crime dramas?

ANDERSON: I don’t know if this is the first time that this has been done...but the character of the serial killer is as prevalent a character as the policewoman who is searching for him. So you have two different story lines running simultaneously. You see the serial killer at work from the very beginning, so as the audience you are that much [further] ahead of the investigation than the investigators are; the way this is written, that is quite a compelling device. [It gets] into the head of the serial killer in a different way and also gets into Stella’s head. It’s a compelling story about two human beings and how close [they] are in various ways. A lot of the shots mirror each other, which is a very interesting way to shoot it when you have those opposing, simultaneous story lines.

WS: Have you found that there are many differences in working

with broadcasters and producers in the U.K. versus in the U.S.?

ANDERSON: There probably are quite a few differences, but

nothing that I’m particularly privy to as an actor, other than timing—doing a one-hour drama in the U.S., a 42-minute hour, as opposed to the 59-minute hour at the BBC. So that is different just in the time that’s put into [a show] and the number of episodes that one can do per year. Most of the differences are [found in] what lies behind the camera and how things are approached and situations are dealt with.

WS: Is there more research for you as you prepare for a role in a period drama than for something like The Fall?

ANDERSON: Yes, definitely. It’s a lot of research and a lot of work, especially when they are historical or [based on] classics like Dickens. Obviously there are certain expectations, and with iconic characters, no pun intended, really great expectations of how a character is portrayed. So yes, [there are] different pressures, different levels of research.

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DISTRIBUTORS

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9 Story Entertainment ADDRESS: 23 Fraser Ave., Toronto, ON M6K 1Y7, Canada TELEPHONE: (1-416) 530-9900 FAX: (1-416) 530-9935 WEBSITE: www.9story.com PRESIDENT & CEO: Vince Commisso EXECUTIVE VP, BUSINESS DEVELOPMENT: Natalie Osborne CONTACT: Stephen Kelley, stephenk@9story.com PROGRAMS: Nerds and Monsters: 40x11 min., kids/comedy;

Peg + Cat: 80x11 min., animated/preschool; Cache Craze: 10x60 min., kids/competition/adventure/comedy; Camp Lakebottom: 26x22 min./52x11 min., kids/animated/comedy; Fugget About It: 26x22 min., animated/comedy/adults 18+; Almost Naked Animals: 52x22 min./104x11 min., kids/ animated/comedy; Daniel Tiger’s Neighbourhood: 40x22 min./ 80x11 min., animated/preschool; Arthur: 20x22 min./ 40x11 min., kids/animated; Wild Kratts: 66x22 min., kids/animated/adventure/comedy.

“9 Story Entertainment is one of the industry’s leading creators, producers and distributors of award-winning animated and live-action content for young audiences around the world.

With one of North America’s largest animation studios, based in Toronto, 9 Story has over 200 creative and production staff, and has produced over 800 half-hours of quality children’s and family programming, seen on some of the most respected children’s channels around the world across multiple platforms.

The company’s distribution arm, 9 Story Enterprises, represents a growing catalogue, which includes several beloved brands such as Arthur, Wibbly Pig, Harriet the Spy: Blog Wars, Wild Kratts and Almost Naked Animals, in addition to popular new series such as Camp Lakebottom, Cache Craze, Daniel Tiger’s Neighbourhood and Nerds and Monsters.”

—Corporate Communications

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ABC Commercial ADDRESS: 700 Harris St., Ultimo, NSW 2007, Australia TELEPHONE: (61-2) 8333-5351 FAX: (61-2) 8333-3169 WEBSITE: www.abccommercial.com/contentsales MANAGER, CONTENT SALES: Natalie Lawley CONTACT: lawley.natalie@abc.net.au PROGRAMS: The Agony of Life: 8x30 min. HD, comedy; Bench to

Bedside: 12x25 min. HD, science; Bess of Both Worlds: 8x30 min.

HD, comedy; The Flying Winemaker: 13x30 min. HD, lifestyle/entertainment; License to Kill: 1x57 min. HD, factual; Poh’s Kitchen Lends a Hand: 6x30 min. HD, lifestyle/ entertainment; Redfern Now: season 2, 6x55 min. HD, drama; Shark Girl: 1x57 min. HD, factual; A Smarter Country: 1x55 min.

HD, factual; Stefano’s Cooking Paradiso: 8x23-27 min. HD, lifestyle/entertainment.

“ABC Commercial Content Sales represents the television, online and DVD program catalogue of Australia’s national broadcaster. As the country’s largest TV production house, we offer programming across every imaginable genre.

Content Sales also represents programs sourced from independent producers as well as the catalogues of Screen Australia, The Australian Ballet and Opera Australia. We are proud to have acquired rights to high-profile titles such as The Search for the Ocean’s Super Predator, Shark Girl, The Adventures of Figaro Pho and A Cautionary Tail.

Our digital sales expertise puts Content Sales: Digital at the cutting edge of new technology, licensing to ever-increasing network platforms. Covering live news delivery as well as titles from our high-quality entertainment catalogue, we sell to online, mobile and IPTV buyers.

Our team is well positioned to guide buyers in terms of which formats and genres perform best in specific platforms and territories.”

—Corporate Communications

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AFL Productions ADDRESS: 1519 37th Ave., San Francisco, CA 94122, U.S.A. TELEPHONE: (1-415) 661-6146 FAX: (1–415) 661-7581 WEBSITE: www.aflproductions.com GENERAL MANAGER: Yuri Volodarsky SALES DIRECTOR: Julia Belova INTERNATIONAL SALES DIRECTOR: Scott Hanock CONTACT: sh@aflproductions.com PROGRAMS: Painfully Funny: 52x30 min., comedy; Shelarious:

52x30 min., comedy; 2Rude4UTube: 120x30 min., comedy; Crazy TV Pranks: 72x30 min., hidden camera; Naked and Funny: 250x30 min., hidden camera; It Only Hurts When I Laugh: 47x30 min., entertainment; Funniest Pets and People: 125x30 min., entertainment; Life’s Funniest Moments: 125x30 min., home video; Planet’s Funniest Animals: 237x30 min., home video.

“AFL Productions is a well-respected independent global development and distribution company specializing in universally accessible programming across a wide spectrum of broadcast, cable, satellite, IPTV, mobile and home-entertainment genres.

The company continues to build on past successes by partnering with some of the most talented TV producers while also bringing many of their new hidden-camera comedy shows and home-video blooper clip shows to the marketplace.”

—Scott Hanock, International Sales Director

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ALL3MEDIA International ADDRESS: Berkshire House, 168-173 High Holborn, London WC1V 7AA, U.K. TELEPHONE: (44-207) 845-4350 FAX: (44-207) 845-4399 WEBSITE: www.all3mediainternational.com MANAGING DIRECTOR: Louise Pedersen SENIOR VP, INTERNATIONAL SALES: Stephen Driscoll SENIOR VP, INTERNATIONAL SALES: Peter Grant SENIOR VP, INTERNATIONAL SALES: Liza Thompson EXECUTIVE VP, INTERNATIONAL FORMAT SALES:

Stephanie Hartog CONTACT: Rachel Glaister, rachel.glaister@all3media.com PROGRAMS: Field of Blood: 2x60 min. & 2x60 min., drama; Foyle’s War: 3x120 min. & 22x120 min., drama; Hollyoaks: 30 min. eps., drama; The Village: 6x60 min., drama; Face the Clock: 30x30 min. & format, entertainment; The Inside Job (w.t.): 4x60 min. & format, entertainment; Ancient Egypt— Life and Death in the Valley of the Kings: 2x60 min., factual; Buck Wild: 13x30 min. & season 2 commissioned, entertainment; Life on the Edge: 7x60 min., factual; Monty Don’s French Gardens: 3x60 min., factual.

“Recent months have seen ALL3MEDIA International further expand its borders, increasing its global presence and raising its profile as a top distributor through significant activity in both well-established and emerging markets. Last year saw new commissions for Lion TV’s hit game show Cash Cab in Asia; Undercover Boss has seen a successful launch in Canada; and the innovative and hugely successful constructed-reality formats from our German producers Filmpool have enjoyed a prolific spread across the European continent. Never one to be left behind, and continuing its commitment to forward thinking, the business has also strengthened its interactive department with expansive console and social-media games, designed to support and contribute to the enduring brands that the ALL3MEDIA Group is known for, while the company has significantly developed its work in VOD and other emerging distribution platforms.”

—Louise Pedersen, Managing Director 54

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ARTE France ADDRESS: 8 rue Marceau, F 92785 Issy Les Moulineaux Cedex, France TELEPHONE: (33-1) 5500-7081 WEBSITE: www.artepro.com/sales HEAD, INTERNATIONAL DISTRIBUTION: Cédric Hazard HEAD, PRE-SALES & ACQUISITIONS, PUBLISHING DEPARTMENT:

Alec Herrmann SALES MANAGER: Emilie Kleinmann SALES MANAGER: Audrey Kamga SALES & PRE-SALES ASSISTANT: Anne Voirin CONTACT: infosales@artefrance.fr PROGRAMS: Budding Stars: 7x26 min. HD, performing arts;

Castles and Palaces of Europe: 5x52 min. HD, discovery; The Mystery of Dark Matter: 1x52 min. HD, science; In the Belly of the City: 5x52 min. HD, gastronomy; Karl Lagerfeld Sketches His Life: 1x52 min. HD, fashion; Geolino: 10x13 min. HD, children’s; The King of Mont Ventoux: 1x52 min. HD, sports; Happiness is on the Plate: 5x52 min. HD, gastronomy; The World After Fukushima: 1x90 min./1x52 min. HD, current affairs; Future By Starck: 1x52 min./1x100 min. HD, science.

“ARTE Sales is the international program-sales unit of the European public channel ARTE. Our catalogue features over 2,000 hours of documentaries, co-produced by ARTE in association with the most prestigious production companies worldwide.

The programs on offer cover a wide range of fields, such as history, society, discovery, science, music and the arts. Imbued with the channel’s daring and creative spirit,ARTE Distribution has become a key international partner.

ARTE Sales is present across all media and negotiates broadcasting rights as well as licenses for DVD editors and institutions. It also has a vast catalogue of online rights. Our team also finds international funds for projects initiated by the channel and developed by independent producers.

We aim to provide our partners the keys to understanding the world today. Our commitment is to enlighten, inform and entertain.”

—Cédric Hazard, Head, International Distribution 56

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Artist View Entertainment ADDRESS: 4425 Irvine Ave., Studio City, CA 91602, U.S.A. TELEPHONE: (1-818) 752-2480 FAX: (1-818) 752-9339 WEBSITE: www.artistviewent.com PRESIDENT: Scott Jones VP, WORLDWIDE SALES: Jay Joyce CONTACT: jay@artistviewent.com PROGRAMS: ICE Agent: 1x94 min., action; Assassins Tale:

1x90 min., action; American Virgins: 1x90 min., comedy; Stitch: 1x95 min., thriller; Magic: 1x90 min., family; The Tournament: 1x45 min. & 15x32 min., comedy; Once I Was a Champion: 1x90 min., documentary; After Kony—Staging Hope: 1x90 min., documentary; Stunt Sport: 1x85 min., documentary; Addicted to Fame: 1x90 min., documentary.

“Founded in 1991 by its president, Scott J. Jones, Artist View has continued to provide both buyers and producers with a high level of service.

The company boasts a large catalogue of feature films with a nice variety of titles for each genre, including an impressive selection of titles available in HD. This wide variety makes it easy for today’s buyer to focus in on the genre they are looking for and feel that there will be a solid selection to choose from in that category.

Artist View is very proud of the long-term relationships it has with high-level independent producers and buyers worldwide.

As we move into this new era of entertainment and digital technology, the business motto is simple, ‘adapt or perish’—and we have every intention of adapting.”

—Jay Joyce, VP, Worldwide Sales

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Atlantyca Entertainment ADDRESS: Via Leopardi 8, 20123 Milano, Italy TELEPHONE: (39-02) 430-0101 FAX: (39-02) 430-01020 WEBSITE: www.atlantyca.com CHAIRMAN: Pietro Marietti CEO: Claudia Mazzucco HEAD, ANIMATION DEPARTMENT & EXECUTIVE PRODUCER:

Caterina Vacchi DISTRIBUTION MANAGER: Pedro Citaristi SALES REPRESENTATIVE: Lara Pigni EXECUTIVE PRODUCER: Niccolò Sacchi PRODUCTION MANAGER: Lucia Scott CONTACT: distribution@atlantyca.it PROGRAMS: Bat Pat: 52x11 min. HD, 2D animation/kids 6+;

Geronimo Stilton: 78x23 min. HD, 2D animation/kids 6+; Dive Olly Dive (Italy): 104x11 min. HD, 3D/CGI animation/ preschool; The Fixies: 104x6 min., 3D/CGI animation/ kids 4 to 9.

“Atlantyca Entertainment was launched in 2006 by former key executives of Edizioni Piemme, the largest children’s publisher in Italy.

A transmedia entertainment company, we maintain production-and-distribution, licensing, publishing and foreign-rights sales divisions. Atlantyca has produced, along with French partner Moonscoop, two seasons of Geronimo Stilton, an animated series featuring the adventures of the most famous mouse journalist. Seasons one and two have been sold in more than 100 countries around the world. In February we announced, jointly with Moonscoop, our plans to produce the third season of the series.

Atlantyca Entertainment’s core strategy is to develop new content specifically for books, television and licensed merchandise, and in addition to acquiring third-party properties, partnering with companies around the world for distribution on each of those platforms.”

—Pedro Citaristi, Distribution Manager

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Audiovisual from Spain ADDRESS: Paseo de la Castellana, 14-16, 28046 Madrid, Spain TELEPHONE: (34-91) 349-6467 FAX: (34-91) 577-6313 WEBSITE: www.audiovisualfromspain.com HEAD, AUDIOVISUAL DEPARTMENT: Sonsoles Huidobro CONTACT: info@audiovisualfromspain.tv PROGRAMS: You or Me (Boomerang TV): 30 min. eps.,

format/quiz show; The Last Hunters (Explora Films): 5x52 min., documentary series; Unit 7 (Film Factory): 1x96 min., feature film; Rascayu (Finding4you): 26x6 min., comedy/ animation; Horatio and the Plasticines (Imira Entertainment): 78x7 min. HD, claymation/puppetry/preschool; The ATM (Phileas Productions): 45 min. eps., entertainment/format; Want a Ride? (Veralia): 60 min. eps., format/reality; Cooking con Kike (ZZJ): 25 min. eps., format/cooking; Filly Funtasia (BRB): 26x30 min., animation; Stolen Kids (Mediaset España): drama.

“Audiovisual from Spain is the umbrella brand used to promote the Spanish content industry in all the international TV trade shows and any other promotional and commercial activity of Spanish companies worldwide. All the promotional actions under this brand are sponsored by ICEX Spain Trade and Investment and FAPAE Spanish Audiovisual Producers Confederation.

The variety of genres that make up the Spanish catalogue is extensive and includes everything from classic entertainment to the latest technology in 3D as well as products for the new transmedia business.

Our mission is to support the companies but also to promote their success. On an everyday basis, the Spanish content is performing better than ever and we are very pleased to share it with all the professionals attending the market.We are proud to work on promoting quality entertainment and to highlight, with the occasion of MIPTV, the novelties of our catalogue.”

—Sonsoles Huidobro, Head, Audiovisual Department

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Azteca ADDRESS: Periferico Sur 4131, Col. Fuentes del Pedregal, Mexico City CP 14141, Mexico TELEPHONE: (52-55) 5251-1410 FAX: (52-55) 5251-1409 WEBSITE: www.comarex.tv CEO, COMAREX: Marcel Vinay, Jr. CONTACT: Raul Mendoza, rmendoza@comarex.tv PROGRAMS: Vivir a Destiempo: 120x60 min., drama/telenovela; La Otra Cara del Alma: 124x60 min., drama/telenovela; The Kings (Los Rey): 125x60 min., drama/telenovela; The Lieutenant (La Teniente): 24x60 min., action; Prisoner of Love (Amor Cautivo): 120x60 min., drama/telenovela; Loving You (Quererte Así): 120x60 min., drama/telenovela; Legendary Love (La Mujer de Judas): 165x60 min., drama/telenovela; Trading Lives (Huérfanas): 130x60 min., drama/telenovela; Under a Red Sky (Cielo Rojo): 171x60 min., drama/telenovela.

“Comarex is a leading international distributor of Hispanic media and programming, including digital content distribution. Founded over 30 years ago, the company has quickly learned the art of adapting and has evolved, bringing new technologies and advancements to the entertainment industry. By offering content to traditional and new media, the company distributes more than 42,000 hours of content annually, to more than 110 countries. Comarex’s catalogue is composed of a wide selection of genres, including telenovelas, feature films, documentaries, game shows, sports, children’s programming, news, music entertainment, series, reality shows and mobile content. In addition to its content library, Comarex is the exclusive sales agent for various production companies, including Azteca (worldwide) and in Latin America and Hispanic U.S.A. to Studio 100 Media and Mediaset Distribution as well as Nickelodeon and MTV Networks. The Comarex team has extensive experience in creating and operating pay-TV channels. Currently the company operates and distributes the pay-TV channels Azteca International and Azteca Novelas in Latin America, Puerto Rico, Europe and Canada.”

—Marcel Vinay, Jr., CEO, Comarex 64

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Beyond Distribution ADDRESS: 109 Reserve Rd., Artarmon, Sydney, NSW 2064, Australia TELEPHONE: (61-2) 9437-2000 FAX: (61-2) 9437-2017 WEBSITE: www.beyond.com.au HEAD, SALES: Munia Kanna-Konsek CONTACT: distribution@beyond.com.au PROGRAMS: Mother of the Bride: 13x30 min., factual; Hidden in America: 6x60 min., factual; BBQ Crawl: 10x30 min., factual; History Hunters: 26x30 min., children & family; Junior Vets: 10x30 min., children & family; Totally Rubbish: 10x30 min., children & family; Love It or List It Vancouver: 26x60 min./ 26x30 min., lifestyle; Get Squiggling Letters: 26x7 min., children & family; Dog Dazed: 1x60 min., documentary; Anh Does Vietnam: 2x60 min., travel/adventure.

“Beyond Distribution continues to be recognized as a worldwide leading independent distributor. With offices around the world, we are able to keep our finger on the pulse across all territories by building and maintaining relationships with producers, broadcasters and industry representatives. In addition to attending the major markets, our sales team focuses heavily on territory sales trips. We have over 25 years of experience in distributing to the international marketplace and our highly experienced and knowledgeable team is crucial towards the company’s longevity and reputation. Program highlights for 2013 include Highway Thru Hell, The Mistress, Fatal Vows, Steam Punks, History Hunters, Mother of the Bride and BBQ Crawl.”

—Corporate Communications

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Breakthrough Entertainment ADDRESS: 122 Sherbourne St., Toronto, ON M5A 2R4, Canada TELEPHONE: (1-416) 366-6588, ext. 234 FAX: (1-416) 363-9726 WEBSITE: www.breakthroughentertainment.com EXECUTIVE PRODUCER: Ira Levy EXECUTIVE PRODUCER: Peter Williamson PRESIDENT, DISTRIBUTION: Nat Abraham CONTACT: distribution@breakthroughentertainment.com PROGRAMS: Going Global: 11x30 min. HD, lifestyle/travel; American Food Battle: 12x30 min. HD, documentary/food/ travel; Boundless: 20x60 min. HD, documentary/travel; Rustic Adventures: 8x30 min. HD, documentary/food/travel; Zerby Derby: 13x30 min. HD, kids; Shameless Idealists: 5x30 min. HD, documentary; Supervolcano: 1x60 min. HD, documentary; Rocket Monkeys: 26x30 min./52x11 min. HD, animation/kids; Less than Kind: 39x30 min. HD, comedy; Mother Up!: 13x30 min.

HD, prime-time animation.

“Headquartered in Toronto, Breakthrough Entertainment Inc. (BEI) is a world-class studio, being a leading global producer and distributor of acclaimed prime-time comedy and drama series, as well as factual entertainment, documentaries, television movies, feature films, family entertainment and children’s animation. As one of Canada’s largest television production and distribution companies, BEI has licensed programs to major broadcasters in over 200 territories.With a catalogue of over 3,000 half-hours of programming, the company handles distribution as well as worldwide pre-sales, co-productions and third-party acquisitions. In addition to its dedicated program development, production and distribution divisions, Breakthrough’s digital media division ranks among one of the industry’s most respected producers of high-quality digital entertainment, including ebooks, webisodes and online and mobile games.”

—Corporate Communications

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CAKE ADDRESS: 76 Charlotte St., London W1T 4QS, U.K. TELEPHONE: (44-20) 7307-3230 FAX: (44-20) 7307-3239 WEBSITE: www.cakeentertainment.com CEO & CREATIVE DIRECTOR: Tom van Waveren CHIEF COMMERCIAL OFFICER & MANAGING DIRECTOR:

Edward Galton CONTACT: info@cakeentertainment.com PROGRAMS: Space Racers: 52x11 min., preschool/CGI; The Sparticle Mystery: 23x30 min., live action/kids 6 to 9; Clay Kids: 52x11 min., claymation/kids 8 to 12; Get Well Soon: 30x11 min., factual/kids 3 to 6; Angelo Rules: season 2, 46x11 min. & 3x22 min., animation/kids 4 to 7; Dear Dracula: 1x45 min., animation/kids 6 to 12; Abominable Christmas: 1x45 min., animation/kids 6 to 12; Total Drama: 91x22 min. & 2x60 min., animation/kids 8 to 12; Pocoyo: 156x7 min., animation/kids 3 to 6; Poppy Cat: 52x11 min., animation/kids 3 to 6.

“CAKE is one of the world’s leading kids’ and family entertainment specialists. Since 2002, the London-based company has worked with animation and live-action producers from around the world to develop, create, commercially position and manage their IP propositions for the international market. We handle everything from traditional television rights to digital, online and ancillary commercial rights. CAKE looks after a diverse and distinctive range of animated and live-action programming from the fast-paced and witty claymation series Clay Kids and kids’ health show Get Well Soon to the critically acclaimed TV-parody series Total Drama and global favorite Pocoyo. Other titles include the wonderfully gross Fleabag Monkeyface, the eco-comedy Plankton Invasion, the vibrant Oscar’s Oasis, the smart and savvy Angelo Rules, the unmistakable Tom & the Slice of Bread with Strawberry Jam & Honey and the delightful preschool series Poppy Cat. New for MIPTV 2013 is a second season of live-action, sci-fi adventure series The Sparticle Mystery and the NASA-endorsed preschool animation Space Racers.”

—Edward Galton, Chief Commercial Officer & Managing Director 70

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Cyber Group Studios ADDRESS: 7 rue Letellier, 75015 Paris, France TELEPHONE: (33-1) 4058-1443 FAX: (33-1) 4058-1453 WEBSITE: www.cybergroupstudios.com CHAIRMAN & CEO: Pierre Sissmann VP, INTERNATIONAL SALES & ACQUISITIONS: Carole Brin CONTACT: sales@cybergroupstudios.com PROGRAMS: Zou: 104x11 min., animation; Mademoiselle Zazie:

78x7 min., animation; Mia: 39x11 min., animation; Cloud Bread: 156x7 min., animation; Patch Pillows: 78x7 min., animation; Tales of Tatonka: 52x13 min., animation/educational/ adventure/comedy; Nina Patalo: 78x7 min., animation/comedy; My Goldfish is Evil: 26x24 min., animation/comedy; Animalia: 40x24 min., animation/adventure; Nutri Ventures: 40x22 min., animation.

“Cyber Group Studios is a multi-awarded independent producer and distributor specialized in top-quality kids’ programming with strong international appeal.

Cyber Group Studios has become one of the leaders in youth programming. The company has built a catalogue of series representing more than 600 half-hours of HD programming, targeted at children aged 2 to 14, tweens and family. In 2010, with 27 hours of new productions, Cyber Group Studios was ranked number one on the list of 27 most-active French producers made by the CNC. In 2012, Cyber Group’s brand-new production Zou got the first prize at the Chicago International Children’s Film Festival: Kids’ Jury.

Cyber Group Studios’ mission is to bring to children and families around the world the best quality entertainment experience, thanks to the company’s pool of international top creative talent, its breakthrough technology enabling it to bring theatrical animation quality to TV, new digital platforms and its distribution organization giving access to top broadcasters worldwide.

Cyber Group Studios seeks partnership opportunities (coproductions, distribution) with other producers around the world sharing its values.’’

—Carole Brin, VP, International Sales & Acquisitions 72

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DreamWorks Classics ADDRESS: Royalty House, 3/Fl., 72-74 Dean St., London, W1D 3SG, U.K. TELEPHONE: (44-20) 8762-6200 FAX: (44-20) 8762-6299 WEBSITE: www.classicmedia.tv CO-CEO: Eric Ellenbogen CO-CEO: John Engelman EXECUTIVE VP, INTERNATIONAL: Chloe van den Berg CONTACT: programsales@classicmedia.tv PROGRAMS: Postman Pat SDS: season 1, 52x11 min., season 2, 52x11 min., preschool; Dragons—Riders of Berk: 40x22 min., kids 6 to 10; The Owl & Co.: 78x7 min. & 52x1 min. & 4x7 min., kids 4 to 7; Life with Boys: 22x30 min., tween; George of the Jungle: season 1, 52x11 min., season 2, 52x11 min., kids 6 to 10; Dream Defenders: 26x22 min., kids 6 to 10; Kidz in Motion: 13x30 min., kids 6 to 10; Team Franco: 52x11 min., preschool; Noddy: 55x10 min. & 100x10 min. & 1x30 min. & 1x30 min. & 52x11 min. & 100x2 min. & 1x30 min. & 20x30 min., preschool; Olivia: season 1, 52x11 min. & 1x22 min., season 2, 26x11 min. & 1x22 min., preschool.

“A leader in reinventing the classics of yesterday and creating the entertainment classics of tomorrow, DreamWorks Classics was formed from DreamWorks Animation’s acquisition last year of Classic Media, owners and managers of one of the most extensive portfolios of long-enduring family entertainment franchises, including Where’s Wally?, Postman Pat, Casper the Friendly Ghost, Lassie, The Lone Ranger, Mr. Peabody & Sherman and Rocky & Bullwinkle. The portfolio is experienced across multiple formats, including consumer products, publishing, digital, music, TV, film and home video with programming distributed in more than 170 territories worldwide.”

—Corporate Communications

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Echo Bridge Entertainment ADDRESS: 75 Second Ave., Suite 500,

Needham, MA 02494, U.S.A. TELEPHONE: (1-781) 444-6767 FAX: (1-781) 444-6472 WEBSITE: www.echobridgeentertainment.com PRESIDENT & CEO: Michael Rosenblatt PRESIDENT, INTERNATIONAL DISTRIBUTION: Emilia Nuccio CONTACTS: Jamie Schneider, jschneider@ebellc.com;

info@ebellc.com PROGRAMS: The L.A. Complex: 19x60 min., drama; Degrassi:

season 12, 40x30 min., total, 318x30 min., drama; Alligator Alley: 1x90 min., sci-fi/action; Trail of Terror (Chupacabra vs. the Alamo): 1x90 min., sci-fi/action; Ghost Shark: 1x90 min., sci-fi; Tasmanian Devils: 1x90 min., sci-fi/thriller; Next Stop: 30x30 min., travel/reality; Jeff: 1x60 min. & 1x80 min., documentary; I’m Carolyn Parker—The Good, the Mad and the Beautiful: 1x90 min., documentary; Brutal Beauty—Tales of the Rose City Rollers: 1x60 min. & 1x80 min., documentary.

“One of the world’s largest independent distribution companies, Echo Bridge Entertainment distributes feature films, scripted and nonscripted series, specials and children’s programming for home video, digital and television in the U.S. and throughout the world.

Echo Bridge has a combined portfolio of over 11,000 titles and will bring to MIPTV a vast catalogue of high-quality programs, including Syfy originals, a collection of Christmas titles, and the most successful long-running teen series in the world, Degrassi, now in its 13th season. In addition, Echo Bridge has recently acquired a slate of critically acclaimed documentaries and reality shows that will engage audiences around the world.”

—Emilia Nuccio, President, International Distribution

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Entertainment One Television International ADDRESS: 175 Bloor St. E., North Tower, Suite 601,

Toronto, ON M4W 3R8, Canada TELEPHONE: (1-416) 646-2400 FAX: (1-416) 646-6998 WEBSITE: sales.eonetv.com CEO, ENTERTAINMENT ONE TELEVISION: John Morayniss SENIOR VP, WORLDWIDE SALES & ACQUISITIONS: Prentiss Fraser CONTACT: pfraser@entonegroup.com PROGRAMS: Rogue: 10x60 min. & 10x5 min., suspense/drama;

Hell on Wheels: 30x60 min., drama; The Walking Dead: 35x60 min., suspense/drama; Seed: 13x30 min., comedy; The Carpenter’s Miracle: 1x90 min., holiday/TV movie; Rookie Blue: 52x60 min., & 11x4 min., drama; Saving Hope: 31x60 min., drama; Dangerous Persuasions: 6x60 min., true crime; Perfect Storms: 6x60 min., documentary; Panic Button: 10x60 min. & 8x60 min., reality/competition.

“Entertainment One (eOne) continues to rise in the ranks year on year both in distribution and production. Our slate is comprised of toptier scripted and factual programming from around the globe. Our returning scripted hits The Walking Dead, Hell on Wheels and Rookie Blue are now complemented by a bold new series for DIRECTV, Rogue, starring Thandie Newton and Marton Csokas. eOne’s factual successes The Devil You Know, Very Bad Men and Outlaw Bikers are now alongside our new series Perfect Storms and Dangerous Persuasions. We offer a first-class distribution service with full access to our localized sales and acquisition teams as well as direct home-entertainment distribution in the U.S., Canada, the U.K., Germany, Spain, France, Benelux, Scandinavia, Australia, New Zealand, South Africa and Korea.”

—Prentiss Fraser, Senior VP,Worldwide Sales & Acquisitions

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Gaiam Vivendi Entertainment ADDRESS: 833 W. South Boulder Rd.,

Louisville, CO 80027, U.S.A. TELEPHONE: (1-818) 432-8000 WEBSITE: www.gaiam.com PRESIDENT: Bill Sondheim CONTACTS: Terry Kalagian, terry.kalagian@gaiam.com;

Carolyn Ryan, gaiamintlsales@gaiam.com PROGRAMS: The Firm Flat Abs Solution: 1x70 min., fitness;

Beginning Yoga with Chrissy Carter: 1x60 min., fitness; Gwen Lawrence’s Yoga for Fitness: 1x70 min., fitness; Colleen Saidman’s Yoga for Weight Loss: 1x60 min., fitness; David-Dorian Ross Intro to T’ai Chi: 1x60 min., fitness; T’ai Chi for Health & Happiness with David-Dorian Ross: 1x75 min., fitness; Core Power Yoga—Calorie Blast Yoga: 1x60 min., fitness; Rodney Yee’s Power Up Yoga: 1x60 min., fitness.

“Expanding acquisitions and sales of our fitness lifestyle content as well as our more mainstream family-entertainment titles continues to be our priority in this market. We are especially energized about our block of nine new fitness titles.

Our new titles include some of our already well-known talent, including Chrissy Carter, Gwen Lawrence and, of course, Rodney Yee. In addition, we have two new titles that focus on t’ai chi, featuring our new partner David-Dorian Ross. This new content is perfectly timed to hit the marketplace, as there is an extraordinary growth of enthusiasm towards fitness, especially yoga, and wellness content internationally. We have been in this business for a long time and it is exciting to see, with the expansion of new digital channels and platforms and a worldwide consciousness towards health and wellness, new territories showing an eagerness for our content.”

—Bill Sondheim, President

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GMA Worldwide ADDRESS: GMA Network Center, 10/Fl., EDSA Cor.Timog Ave., Diliman, Quezon City 1103, Philippines TELEPHONE: (632) 982-7777 FAX: (632) 982-5065 WEBSITE: www.gmaworldwide.tv VP: Roxanne J. Barcelona ASSISTANT VP: Jocelyn D. Go CONTACT: Reineer Zedrix O. Reyes, roreyes@gmanetwork.com PROGRAMS: Legacy: 48x45 min., contemporary drama/ telenovela; One True Love: 43x45 min., contemporary drama/ telenovela; Together Again: 35x45 min., contemporary drama/telenovela; It Might Be You: 30x45 min., contemporary drama/telenovela; Chasing Moments: 40x45 min., contemporary drama/telenovela; Temptation of Wife: 40x45 min., contemporary drama/telenovela; Indio: 35x45 min., fantasy drama; Forever: 35x45 min., fantasy drama; Magdalena: 40x45 min., contemporary drama/telenovela; Sosy Problems: 1x103 min., feature film.

“GMA Worldwide, Inc. is the distribution arm of GMA Network Inc., the respected broadcast leader in the Philippines and now a recognized media innovator across the globe. With a growing library of original world-class program content, GMA Worldwide is actively syndicating the network’s series and feature films to the international market.”

—Roxanne J. Barcelona, VP

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Goldstein Douglas Entertainment ADDRESS: 201 Wilshire Blvd., 3/Fl., Santa Monica,

CA 90401, U.S.A. TELEPHONE: (1-310) 395-6001 FAX: (1-310) 395-6003 PARTNER & PRESIDENT: Bobby Goldstein PARTNER & HEAD, SALES & ACQUISITIONS: Cord Douglas CONTACT: cord@goldsteindouglas.com PROGRAMS: Cheaters: 286x60 min./572x30 min., reality; The

Proposal: 13x30 min., reality; The Wedding Belles: 13x30 min., reality; The Travel Guys: 35x30 min., reality; Glacier Project & G.Mac Big Wave Attack: 2x60 min., action/documentary.

“Goldstein Douglas Entertainment (GDE) is rapidly expanding its slate of proven reality hits.

Each reality series sold by GDE has been a ratings success during its broadcast in the United States or Canada. We aim to eliminate the guesswork involved in program acquisition.

Over the next 12 months, GDE will further expand into television movies, focusing on reliable genres, helmed by veteran directors and featuring noteworthy stars. Our buyers can be confident that our programs are road-tested and sea-worthy.”

—Cord Douglas, Partner & Head, Sales & Acquisitions

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GRB Entertainment ADDRESS: 13400 Riverside Dr., Suite 300,

Sherman Oaks, CA 91423, U.S.A. TELEPHONE: (1-818) 728-7600 FAX: (1-818) 728-7601 WEBSITE: www.grbtv.com PRESIDENT & CEO: Gary R. Benz SENIOR VP, INTERNATIONAL DISTRIBUTION: Michael Lolato CONTACT: Joey Sabella, jsabella@grbtv.com PROGRAMS: BBQ Pitmasters: 26x60 min. HD, cooking/

competition; How Booze Built America: 3x60 min. HD, history/documentary; Great White Highway: 1x60 min. HD, wildlife/documentary; Pregnant and Dating: 6x60 min. HD, docu-drama/reality; Ted Nugent’s Gun Country: 1x60 min. HD, docu-drama/reality; Bloopers: 40x30 min. HD, entertainment; American Greed—The Fugitives: 7x60 min. HD, crime; Tamar & Vince: 10x60 min. HD, docu-soap/reality; Cellblock 6— Female Lockup: 6x60 min. HD, crime/documentary; Hurricane Hunters: 15x30 min. HD, docu-drama.

“GRB Entertainment is pleased to announce a powerful new slate of shows for MIPTV, featuring premier content across every genre. Our team is offering a wide range of successful and engaging programming, including BBQ Pitmasters, an established and entertaining cooking competition now in its fourth season; Discovery’s hit show How Booze Built America, featuring Mike Rowe; and Ted Nugent’s Gun Country. Dramatic reality such as The Weather Channel’s hit series Hurricane Hunters and CNBC’s critically acclaimed American Greed are established franchises and we are excited to be presenting new seasons.

Naturally, we are aggressively searching for fresh, intriguing programs to add to GRB’s extensive catalogue of compelling programming. A wide variety of accomplished, award-winning producers trust GRB to represent their shows around the world. We are committed to distributing insightful, high-quality shows that resonate with audiences and deliver strong ratings around the world.”

—Gary R. Benz, President & CEO

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ITV-Inter Medya ADDRESS: Valikonagi Caddesi 26/3, Nisantasi, 34367 Istanbul, Turkey TELEPHONE: (90-212) 231-0102 FAX: (90-212) 231-8929 WEBSITE: www.itv-intermedya.com PRESIDENT & CEO: Can Okan HEAD, SALES: Ahmet Ziyalar CONTACT: Sibel Levendoglu, sibel@itv-intermedya.com PROGRAMS: 20 Minutes (20 Dakika): 65x45 min. HD, drama; The Harem (Harem): comedy; Red Scarf (Al Yazmalim): 88x45 min.

HD, drama; Memories Still Hurt (Mazi Kalbimde Yaradir): 50x45 min. HD, drama; Forget Me Not (Unutma Beni): 214x52 min. & 209x52 min. & 231x52 min., drama.

“ITV-Inter Medya started out as a filmdistribution company serving the Turkish film sector solely within the domestic market. This year, 2013, we observe and celebrate the 21st anniversary of our company. In the course of our first ten years as a company, our basic market structure remained more or less the same.

But as global developments picked up speed and gained in depth, we soon found ourselves operating both inbound and outbound. Soon after, beginning with 2001, we expanded our range to cover Central and Eastern European markets, Russia and the CIS countries, Central Asia and Baltic States. The nature of the content we provide also radically changed: telenovelas ‘Made in Turkey,’ TV series, and, to a lesser extent, Turkish feature films, started to draw broad interest from all markets as well as the Middle East and North Africa.

We are now aiming to gain a foothold in Asia,Western Europe, as well as the Americas, especially in the birthplace of telenovelas, the South American market.”

—Can Okan, President & CEO

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ITV Studios Global Entertainment ADDRESS: London Television Studios, Upper Ground, London SE1 9LT, U.K. TELEPHONE: (44-20) 7491-1441 WEBSITE: www.itvstudios.com MANAGING DIRECTOR: Maria Kyriacou DIRECTOR, GLOBAL TELEVISION DISTRIBUTION: Tobias de Graaff PROGRAMS: Poirot: season 13, 5x120 min., drama; Case Histories: season 2, 3x120 min., drama; Lewis: season 7, 3x120 min., drama; Dr Blake Mysteries: 10x60 min., drama; Shetland: 2x60 min., drama; Lightfields: 5x60 min., drama; Mr Selfridge: season 1, 1x90 min. & 9x60 min., season 2, 10x60 min., drama; Rectify: 6x60 min., drama; Miranda: season 3, 6x30 min., comedy; Islands on the Edge: 4x60 min., nature; River Monsters: season 5, 6x60 min., nature.

“We have a strong MIPTV slate, particularly in the drama, factual and entertainment genres.

One of our drama highlights is Agatha Christie’s Poirot (ITV Studios). Poirot is the world’s most famous fictional detective and the long-running TV adaptation is one of the most traveled and respected detective brands. We’re bringing the 13th and final series, which sees Poirot solving his last ever case.

On the factual side, we have the landmark wildlife documentary series Islands on the Edge (Maramedia). Filmed using the latest in camera technology by an award-winning team, and narrated by Ewan McGregor, this series transports us to the Hebrides, one of the most beautiful places on Earth and home to a compelling cast of animal families.

One of our key entertainment titles is Boom Town (Knickerbockerglory), a new genre hybrid that mixes the conventions of structured reality with those of a traditional sketch show.

Our formats slate for the market also includes ITV Studios’ new entertainment show The Big Reunion and refreshed hit format Saturday Night Takeaway and factual-entertainment series Keeping the Nation Alive from The Garden, creators of The Audience.”

—Maria Kyriacou, Managing Director

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Kanal D ADDRESS: 100 Yil Mahallesi, Dogan TV Center, Bagcilar, Istanbul, Turkey TELEPHONE: (90-212) 413-5289 WEBSITE: sales.kanald.com.tr CEO, DOGAN TV: Irfan Sahin HEAD, ACQUISITIONS & SALES: Ozlem Ozsumbul CONTACT: Amac Us, aus@kanald.com.tr PROGRAMS: Kuzey Güney: 50+x90 min., drama; Time Goes By… (Öyle Bir Geçer Zaman Ki): 100+x95 min., drama; Fatmagul (Fatmagül’ün Suçu Ne?): 80x90 min., drama; Forbidden Love (Ask-I Memnu): 79x90 min., drama; Lost City (Kayip Sehir): 26+x90 min., drama.

“Dogan TV Holding (DTVH) is Turkey’s largest broadcasting Group, focusing on free-to-air TV and radio broadcasting, production and digital platform operations with a pioneering role in implementing multiscreen strategies with the latest technologies on multimedia platforms. Dogan TV Holding operates the leading mainstream entertainment channel Kanal D; the leading news channel CNN Turk; the second largest DTVH digital platform, D-Smart; the leading drama production company DProductions; the leading music production company DMC; three national radio [stations] and many thematic channels.

Dogan TV Holding is the broadcasting arm of Dogan Group, which is the one of the largest diversified conglomerates in Turkey, with operations in publishing, energy, retail, tourism and trade.

Dogan TV Holding reaches millions of Turkish audiences through its owned and commissioned high-quality content, as well as more than 100 million viewers in 73 countries in Eastern Europe, the Middle East and Eurasia through its own dramas.

DTVH believes the core code of the media business is in creating good content and distributing it in the right way to reach all.”

—Corporate Communications

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Keshet International ADDRESS: 12 Raul Valenberg St., P.O.B. 58151, 61580 Tel Aviv, Israel TELEPHONE: (972-3) 767-6412 FAX: (972-3) 767-6007 WEBSITE: www.keshetinternational.com MANAGING DIRECTOR: Alon Shtruzman HEAD, DISTRIBUTION & ACQUISITIONS: Keren Shahar CONTACT: Limor Gott Ronen, limor.got@keshet-tv.com PROGRAMS: Dear Neighbors, Help Our Daughter Find Love: 3x60 min., docu-reality; Prisoners of War: 24x60 min., drama; Fair & Square: 33x60 min., factual entertainment/consumer show; Master Class: 23x60 min./23x90 min., talent/ competition show; Girlfri3nds: 11x60 min., dating/reality; Checkout: 3x30 min., game show; The A Word: 13x35 min., drama; Mother’s Day: 13x30 min., comedy; MICE: 12x60 min., drama; Sure or Insure: 1x40 min., game show; Remember Me?: 1x40 min., docu-reality.

“With a diverse award-winning catalogue of over 60 formats, we have something for everyone; we provide great shows with a proven track record both critically and having topped the rating charts. Whether it’s reality shows, game shows, drama or comedy, Keshet has it, tested on our network or on the other broadcasters airing our formats around world.The ubiquitous international success of Homeland, Deal with It, Girlfri3nds and more prove that our storytelling travels everywhere. And there’s more to come, as we’re launching this MIPTV a whole fresh output.”

—Alon Shtruzman, Managing Director

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Lightning International ADDRESS: Khuan Ying Building, 85 Wellington St., 11/Fl.,

Central, Hong Kong TELEPHONE: (852) 2815-7481 FAX: (852) 2815-3667 WEBSITE: www.lightninginternational.net CEO: James Ross CONTACT: james@lightninginternational.net PROGRAMS: The Kitchen Musical: 13x60 min., drama; Junkie

Monastery: 1x60 min., documentary; Up Close With: 66x30 min., documentary; Project Lotus: 8x60 min., factual entertainment; The Apartment: 18x60 min., reality; The Challenger Muay Thai: 13x60 min., reality; K-Pop Star Hunt: 8x60 min., reality; Bommi & Friends: 13x30 min., kids; The Workers: 50x30 min., kids; The Wish Fish: 1x90 min., kids.

“Lightning International is based in Hong Kong. We distribute programs and movies of all kinds. Our focus is on acquiring high-quality content from Asia, and distributing it globally.

Similarly, we represent content from Europe and North America, distributing it to our network of broadcasters and other platforms across the Asia-Pacific region.

Our experience is focused on the countries of the AsiaPacific region, from China to India, Japan to Australia, Korea to Singapore, and everywhere in between. Our staff comes from many of the world’s biggest broadcasters, including the BBC, NBCUniversal, ITV, Comcast, Bloomberg TV and ATV. We are looking to build relationships with Asian content owners who are interested in reaching a global audience, and European or North American producers and distributors who would like to extend their reach into Asia.”

—James Ross, CEO

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Multicom Entertainment Group ADDRESS: 1575 Westwood Blvd., Suite 300,

Los Angeles, CA 90024, U.S.A. TELEPHONE: (1-310) 445-0700 FAX: (1-310) 445-0703 WEBSITE: www.multicom.tv CHAIRMAN: Irv Holender CONTACT: irvsnet@yahoo.com PROGRAMS: GUN: 6x60 min., drama; Tropical Heat: 66x60 min.,

drama; Factual, History, Biography & Documentary Package: 3,000+x60 min.; Mask Masters: 26x30 min., 3D/HD animation; Harts of the West: 15x60 min., drama/comedy/western; JFK— Reckless Youth: 4x60 min., drama/biography; Family Animation Classics: series of features, animation; War Feature Package: 10x90 min. HD, war/action/adventure; Network MOWs: 100+ features, drama/comedy/action/romance/crime/thriller; The Little Traitor: 1x89 min., drama.

“Multicom Entertainment Group is a global television distribution company with a focus on the worldwide television market, as well as digital media platforms, including pay-perview, Internet and mobile channels. It is also involved in coproductions of original programming.”

—Corporate Communications

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ORF-Enterprise ADDRESS: Am Europlatz 1, Building A, 1120 Vienna, Austria TELEPHONE: (43-1) 87878-13030 FAX: (43-1) 87878-12757 WEBSITE: contentsales.orf.at MANAGING DIRECTOR & CHIEF FINANCIAL OFFICER:

Beatrice Cox-Riesenfelder HEAD, CONTENT SALES, INTERNATIONAL:

Marion Camus-Oberdorfer CONTACT: Diane Mitsche, diane.mitsche@orf.at PROGRAMS: Christmas in Vienna 2013: 1x100 min., concert/ classical music; Never Kiss a Christmas Angel!: 1x90 min., TV movie/romantic comedy; Cop Stories: 10x45 min., drama; Mr. Punch: 30x25 min., children’s; Musically Culinary: 8x45 min., documentary; Nelson Mandela—A Life for Freedom: 1x45 min., documentary; The Talking Rocks of the Aborigines: 1x52 min., documentary; Redemption Impossible— In the Midst of Humans: 1x90 min., documentary; Beauty, the Beast and the Truth: 1x50 min., documentary; Owl’s Odyssey: 1x50 min., documentary.

“ORF-Enterprise—Content Sales International offers an extensive range of top programs from all genres, addressing TV and media professionals worldwide. Well-known for and focused on its high-quality nature and wildlife documentaries of ORF’s UNIVERSUM strand, ORFEnterprise—Content Sales International again stands out in 2013 with a fine selection of extraordinary films, such as the brand-new documentaries Owl’s Odyssey and Return of the Hoopoe, which is a touching portrait of a small bird that had almost been erased from European landscapes.

As a new segment within the UNIVERSUM strand, ORF-E will also offer outstanding history documentaries. The eagerly awaited documentary Beauty, the Beast and the Truth premieres at MIPTV 2013.

We are looking forward to delighting and surprising our friends and partners with our broad offering of new programs at MIPTV, because service is our success!”

—Marion Camus-Oberdorfer, Head, Content Sales, International

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Passion Distribution ADDRESS: Elsinore House, 77 Fulham Palace Rd., London W6 8JA, U.K. TELEPHONE: (44-207) 981-9801 FAX: (44-207) 401-7801 WEBSITE: www.passiondistribution.com CEO: Sally Miles DIRECTOR, SALES: Emma Simpkins CONTACT: Fraser Cameron, frasercameron@passiondistribution.com PROGRAMS: Deliver Me: 10x60 min., factual entertainment; Stalked: season 4, 20x30 min., crime & investigation; The Town that Caught Tourettes: 1x60 min., documentary; My New Hand: 1x60 min., documentary; Hacking the Planet: 6x30 min., documentary; Deadliest Space Weather: 6x30 min. & 1x30 min., documentary; World’s Scariest: season 3, 4x60 min., documentary; The Vanilla Ice Project: 39x30 min., factual entertainment; Derek: 7x30 min. & 1x30 min., comedy; The Politician’s Husband: 3x60 min., drama.

“Passion Distribution was officially launched by its founder and CEO, Sally Miles, in 2008.

In November 2012, Passion Distribution became part of the Tinopolis Group, merging with Mentorn International and increasing the catalogue to over 5,500 hours. London-based Passion Distribution now specializes in popular quality programming and formats in genres including factual entertainment, reality, documentaries, lifestyle, drama, comedy and game shows. Passion Distribution has exclusive distribution agreements with many U.S. broadcasters and production companies, including Scripps Networks International, Sundance Channel, OWN: Oprah Winfrey Network, The Weather Channel and World of Wonder, and will also benefit from the relationship with all Tinopolis Group companies, including Firecracker Films, Mentorn Productions, A Smith & Co, Daybreak and Pioneer Productions.

The company is active in pre-selling, finding co-pro partners and deficit-funding third-party content.”

—Corporate Communications

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Power ADDRESS: 34 Gresse St., London W1T 1QX, U.K. TELEPHONE: (44-207) 323-0070 FAX: (44-207) 323-0060 WEBSITE: www.powcorp.com CEO: Susan Waddell HEAD, SALES PLANNING & OPERATIONS: Andrew Whiteman CONTACT: Adam Jones, adam@powcorp.com PROGRAMS: Air Force One is Down: 2x120 min., action/

thriller/drama; Cat. 8: 2x120 min., end of the world/ drama; Delete: 2x120 min., end of the world/drama; Eve of Destruction: 2x120 min., end of the world/drama; Exploding Sun: 2x120 min., end of the world/drama; Ring of Fire: 2x120 min., end of the world/drama; Treasure Island: 2x120 min., action/adventure/drama; Neverland: 2x120 min., fantasy/adventure/drama; Rhino Wars: 1x60 min., wildlife/ investigative/factual; On the Edge: 1x60 min., real life/factual.

“Power is an independent producer and distributor of multiplatform drama and factual content. Founded in 1995, Power’s library extends to over 1,000 hours of unique and premium quality product.

Our drama slate includes the explosive new mini-series Air Force One is Down, in which a terrorist faction kidnaps the U.S. President and plots to blow up the Vatican, and five new ‘end of the world’ mini-series: Cat. 8, starring Matthew Modine; Delete, starring Seth Green; Ring of Fire, starring Terry O’Quinn; and Exploding Sun and Eve of Destruction. Boasting impressive visual effects, each ‘end of the world’ mini-series sees mankind fight to survive in the face of a different ‘extinction level’ catastrophe.

Power’s factual slate includes On the Edge, a fascinating glimpse into the life-or-death work of the Table Mountain rescue volunteers, and Rhino Wars, a revealing investigation into poaching and the rhino-horn trade.”

—Susan Waddell, CEO

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Red Arrow International ADDRESS: Medienallee 6, 85774 Unterfoehring, Germany TELEPHONE: (49-89) 9507-2320 FAX: (49-89) 9507-2321 WEBSITE: www.redarrowinternational.tv MANAGING DIRECTOR: Jens Richter CONTACT: sales@redarrowinternational.tv PROGRAMS: Jo: 8x45 min., crime; Restless: 2x90 min., thriller;

Lilyhammer: 16x45 min., dramedy; Bosch: 13x45 min., crime; The Escape Artist: 2x90 min. & 3x60 min., thriller; Johan Falk: 6x90 min., crime; The Last Cop: 52x45 min., dramedy; The Taste: format, cooking/competition; What if?: format, sketch comedy; The Anti Social Network: format, prank show.

“Red Arrow International is a leading distributor with an extensive scripted, factual and format slate, guaranteeing a strong portfolio with programs by Red Arrow Entertainment Group and third-party producers.

Red Arrow International has a unique expertise in packaging, co-financing and co-producing international drama, such as Netflix’s original drama Lilyhammer and Jo, starring Jean Reno.

Red Arrow International boasts a strong track record in building format franchises like Benidorm Bastards with 25 local versions, including NBC’s Betty White’s Off Their Rockers, and The Taste, ABC’s highest in-season unscripted debut since 2011.

Led by Jens Richter, Red Arrow International has a global reach with sales to over 150 territories and offices in Munich, Los Angeles and Hong Kong.

Red Arrow International is part of Red Arrow Entertainment Group, incorporating 18 TV production companies spanning nine countries. Red Arrow Entertainment Group belongs to ProSiebenSat.1 Group, one of Europe’s leading media groups.”

—Corporate Communications

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Russia Television and Radio/SOVTELEEXPORT ADDRESS: 37 Shabolovka Str., Moscow 115162, Russia TELEPHONE: (7-495) 955-8920 FAX: (7-495) 955-8221 WEBSITE: sales.vgtrk.com DIRECTOR, SOVTELEEXPORT: Julia Matiash SALES MANAGER: Maria Ryabova SALES MANAGER: Maria Brenerman HEAD, SALES, CIS & BALTIC STATES: Ekaterina Grigorieva CONTACT: ref.ste@vgtrk.com PROGRAMS: Life and Fate: 6x90 min. HD, historical drama;

Secrets of the Institute for Noble Maidens: 259x44 min., costume melodrama; The Spy: 1x110 min./4x44 min. HD, adventure/ detective; The White Guard: 8x44 min. HD, classical drama; Fyodor Dostoevsky: 8x44 min. HD, classical drama; By Sickle and Stone—The USSR vs. the Third Reich: 1x44 min. HD, culture; WWI Top Secrets: 3x44 min. HD, history; Two Bullets for Gorbachev: 1x44 min. HD, history; Lost City of Orhan Pamuk: 1x39 min. HD, culture; The Secret Advisor to Korolev: 1x39 min. HD, space.

“SOVTELEEXPORT is the distribution arm of Russia Television and Radio/VGTRK, the biggest state-owned media holding of the Russian Federation, representing a catalogue of more than 14,000 hours of high-quality domestic productions.”

—Corporate Communications

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Saban Brands ADDRESS: 10100 Santa Monica Blvd., Suite 500, Los Angeles, CA 90067, U.S.A. TELEPHONE: (1-310) 557-5230 WEBSITE: www.sabanbrands.com PRESIDENT: Elie Dekel VP, DISTRIBUTION: Frederic Soulie CONTACT: Kelsey Lynch, klynch@sabanbrands.com PROGRAMS: Power Rangers Megaforce: 22x22 min., action/adventure/kids 2 to 11; Julius Jr.: 26x30 min., kids 4 to 7; Digimon Fusion: 30x22 min., anime/boys 2 to 11.

“[In] 2010, as an affiliate of Saban Capital Group, Saban Brands (SB) was established to acquire and develop a world-class portfolio of properties and capitalize on the company’s experience, track record and capabilities in growing and monetizing consumer brands through content, media and marketing. SB applies a strategic transmedia management approach to enhancing and extending its brands in markets worldwide and to consumers of all ages. The company provides full-service management, marketing, promotion and strategic business development for its intellectual properties, including comprehensive strategies unique to each brand, trademark and copyright management and enforcement, creative design, retail development, direct-to-consumer initiatives and specialized property extensions. SB is led by a superior management team with decades of experience in media, content creation, branding, licensing, marketing and finance.”

—Corporate Communications

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Shaftesbury/ Smokebomb Entertainment ADDRESS: 163 Queen St. E., Suite 100,

Toronto, ON M5A 1S1, Canada TELEPHONE: (1-416) 363-1411 FAX: (1-416) 363-1428 WEBSITES: www.shaftesbury.ca, www.smokebomb.ca CHAIRMAN & CEO: Christina Jennings SENIOR VP, SALES & MARKETING: Shane Kinnear CONTACT: Ryan St. Peters, sales@shaftesbury.ca PROGRAMS: Mighty Mighty Monsters: 2x44 min., animated/

comedy/kids; State of Syn: 8x5 min., sci-fi/animated; Totally Amp’d: 10x6 min., musical comedy/kids; Backpackers: 8x6 min., comedy; Unlikely Heroes: 8x5 min., comedy/kids; Romeos & Juliets: 1x60 min., documentary; Why Men Cheat: 1x60 min., documentary; About Her: 1x60 min., documentary; Who’s Sorry Now?: 1x60 min., documentary; Good God: 10x30 min., comedy.

“With offices in Toronto and Los Angeles, Shaftesbury is an award-winning producer and distributor of original content for television and multiple platforms in more than 120 countries.

Shaftesbury’s slate includes four seasons of The Listener for CTV and FOX International Channels; six seasons of Murdoch Mysteries for Citytv, UKTV, ITV Studios Global Entertainment and, most recently, CBC; the global hit kids’ series Life with Derek; Ken Finkleman’s irreverent comedy series Good God; and compelling one-hour documentaries, including Why Men Cheat. Shaftesbury’s groundbreaking digital-media division, Smokebomb Entertainment, creates media-rich companion experiences for television properties as well as original multiplatform content, including the upcoming comedy series Backpackers for CTV and CW Digital; tween adventure web series Unlikely Heroes for YTV; 3D science-fiction digital series State of Syn and the International Emmy-nominated Murdoch Mysteries: The Curse of the Lost Pharaohs.”

—Corporate Communications

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Shine International ADDRESS: 109 Regents Park Rd., London NW1 8UR, U.K. TELEPHONE: (44-207) 985-7000 FAX: (44-207) 985-7001 WEBSITE: www.shineinternational.com CEO: Nadine Nohr SENIOR VP & HEAD, EMEA: Katrina Neylon SENIOR VP, SALES, CANADA & HEAD, AMERICAS: Tania Jacobson SENIOR VP, ASIA PACIFIC: Matthew Ashcroft SENIOR VP, USA & LATIN AMERICA: Matt Vassallo VP, MARKETING: David Reiss CONTACT: david.reiss@shinegroup.tv PROGRAMS: Broadchurch: 8x60 min., drama; In the Flesh:

3x60 min., drama; Mayday: 5x60 min., drama; Utopia: 6x60 min., drama; Vicious: 6x30 min., comedy; Saturday Night Tube: format, entertainment; MasterChef—The Professionals: 25x60 min., entertainment; Beat the Ancestors: 5x60 min., factual entertainment; The Face: 8x60 min., factual entertainment; Flipping the White House: 1x60 min., documentary.

“At Shine International we are all incredibly proud of our trusted name in original and high-quality programming and formats.We have a dedicated team of sales and distribution specialists, located in London, Paris, Los Angeles, Sydney and Singapore. Through our global network of relationships, Shine International programming captures the hearts and imaginations of millions of viewers, everyday, in over 200 territories. Our passionate sales team has been able to achieve its unique success because at the center of everything we do is truly exceptional programming, knowledge and creativity.”

—Corporate Communications

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Studio 100 Media ADDRESS: Nymphenburger Str. 82, 80636 Munich, Germany TELEPHONE: (49-89) 960-8550 FAX: (49-89) 960-855105 WEBSITE: www.studio100media.com MANAGING DIRECTOR: Patrick Elmendorff HEAD, TV SALES, INTERNATIONAL: Martin Krieger CONTACT: Nicole Braun, nicole.braun@studio100media.com PROGRAMS: Super Mega Hyper Pets: 52x12 min., CGI/3D

animation; Maya the Bee: 78x11 min., CGI/3D animation; Vic the Viking: 78x11 min., CGI/3D animation; Heidi: 39x24 min., CGI/3D animation; Molly Monster: 52x5 min. & 1x26 min., 2D animation; Bibi Blocksberg: 52x26 min., 2D animation; Galaxy Park: season 1, 52x12 min., season 2, 52x12 min., live action; Rox: season 1, 13x25 min., season 2, 13x25 min., live action.

“Studio 100 Media is an international production and distribution company within the children’s and family entertainment sector. Based in Munich, Germany, the company is a 100percent subsidiary of the Belgian firm Studio 100. The company develops and acquires new content, engages in co-production and cofinancing activities and is also responsible for the international distribution of its own and third-party rights.

Studio 100 Media began its production strategy and international film distribution with the movies House of Anubis and Maya the Bee. Studio 100 Media’s business model is the perfect vertical and horizontal integration of its IP. In marketing its license rights, the company pursues a global strategy within sectors ranging from licensing and merchandising, TV sales, home entertainment, games and interactive rights through to theatrical movies, stage shows and theme parks.”

—Patrick Elmendorff, Managing Director

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Telefe International ADDRESS: Prilidiano Pueyrredon 2989, 2/Fl.,

1640 Buenos Aires, Argentina TELEPHONE: (54-11) 4102-5810 WEBSITE: www.telefe.com/distribution INTERNATIONAL BUSINESS DIRECTOR: Claudio Ipolitti PROGRAMS: Graduates: 180x60 min. HD, romantic comedy;

Candy Love: 150x60 min. HD, telenovela; My Love, My Love: 150x60 min. HD, romantic comedy; Qitapenas: 30x60 min.

HD, musical comedy; Dirty Old Parrot: HD, comedy; The Chairwoman: 32x60 min. HD, series; The Man of Your Dreams: season 1, 13x60 min. HD, season 2, 11x60 min. HD, comedy; Ramirez: 13x60 min. HD, drama.

“Telefe International, the international division of business and distribution for Telefe, has a wide range of offerings that cover program sales, the sale of formats and scripts, and production services.

Telefe International is nowadays one of the three mostimportant programming distributors in Latin America and leads Latin fiction format sales, averaging a track record of over 15 years in the worldwide TV market.

Thus, Telefe International provides complete consulting services, through new business platforms, seeking ways, windows and new markets for this industry.”

—Corporate Communications

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Telescreen ADDRESS: Hoge Naarderweg 42, 1217 AG Hilversum, Netherlands TELEPHONE: (31-35) 6299-999 FAX: (31-35) 6242-767 WEBSITE: www.telescreen.nl GENERAL MANAGER: Sjoerd Raemakers CONTACT: sjoerd@telescreen.nl PROGRAMS: Mia and me: 26x23 min., live action/animation/ fantasy/adventure; Tip the Mouse: 52x7 min., animation/ preschool; Ask Lara: 26x11 min., animation/sitcom; Dex Hamilton: 1x76 min., feature film/animation/sci-fi/adventure; Tossed in Space: 1x90 min., feature film/animation/sci-fi/ comedy; Conni: 26x11.5 min., animation; Pixi and the Magic Wall: 27x12 min., animation; Miffy the Movie: 1x70 min., feature film/stop motion/puppet animation/preschool; Rudolf: 52x3 min., animation; Lizzie McGuire: 65x24 min., live action/animation/comedy.

“Telescreen B.V. belongs to the m4e group, which is an international brand-management and media company for children’s and family entertainment content. m4e is a leader in the creation, production, distribution and marketing of animated and live-action programming.

Its library of nearly 2,200 episodes features some of the most recognizable brands such as Lizzie McGuire, Mia and me, Miffy, Rainbow Fish, Conni and Tip the Mouse.

With its knowledge in animation production, Telescreen concentrates on the creation and development of high-quality animation series. The unit’s main objective is the development of series that can be successfully exploited in all media forms all over the world. Furthermore, Telescreen acts as the international distribution arm for TV and home-entertainment rights within m4e’s organization. Apart from its own productions, Telescreen represents a wide range of international producers and broadcasters, selling and distributing high-quality programs to all major TV channels in the world.”

—Sjoerd Raemakers, General Manager

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Televisa Internacional ADDRESS: 6355 NW 36th St., Miami, FL 33166, U.S.A. TELEPHONE: (1-786) 265-2500 FAX: (1-786) 265-2269 WEBSITE: www.televisainternacional.tv VP: Fernando Perez Gavilan CONTACT: Hugo Trevino, htrevino@televisa.com.mx PROGRAMS: Wild at Heart: 150x60 min., telenovela; The Lady

from Vendaval: 150x60 min., telenovela; Bandidas: 150x60 min., telenovela; Carrossel: 100x60 min., children’s telenovela; CQ: 80x30 min., teen comedy; Miss XV: 150x60 min., children’s & teen telenovela.

“Grupo Televisa is the world’s largest media company and a major player in the global entertainment industry. It produces and broadcasts content for [free] and pay television, radio, Internet, films, magazines and it is [entering into] consumer products, live shows and music. It produces 70,000 hours a year of original content in all types of entertainment.

We bring the best content to the world and we turn the greatest universal stories into a local success by making alliances and tailor-made productions. We are a global entertainment company.”

—Fernando Perez Gavilan,VP

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Televisión Nacional de Chile ADDRESS: Bellavista 0990, Providencia, Santiago, Chile TELEPHONE: (562) 2707-7240 FAX: (562) 2707-7771 WEBSITES: www.tvn.cl, www.tvchile.cl EXECUTIVE DIRECTOR: Mauro Valdés SENIOR VP, INTERNATIONAL SALES: Ernesto Lombardi CONTACT: ernesto.lombardi@tvn.cl PROGRAMS: Separados: 100x60 min., telenovela; Pobre Rico:

150x60 min., telenovela; Calle 7: format; Apuesto Por Ti: format; Pelotón: format, reality; Dónde Está Elisa?: 85x60 min., telenovela; La Familia de al Lado: 100x60 min., telenovela; Esto Es Mi Familia: docu-reality; Los Archivos del Cardenal: 12x60 min.; Buscándo América: 60x60 min., travel/adventure.

“Televisión Nacional de Chile (TVN) is the public network in Chile. We are the leader in production of original programming. Unlike other public broadcasters around the world that are subsidized or fully funded by the state, Televisión Nacional de Chile is 100-percent selfsustained and all revenues (advertisements and sales of content) are generated by competing in the Chilean TV industry. With approximately 1,300 employees, Televisión Nacional de Chile produces over 5,000 hours annually of original programming that includes six novelas.

During the past few years, TVN has been one of the most important suppliers of original formats in the region. Working together with Telemundo International, our exclusive agent, more than 15 novela formats have been sold worldwide. Hits like Dónde Está Elisa?, Amores de Mercado, Los Treinta and La Familia de al Lado are a few examples of our great library of scripts that have been produced in faraway places such as the Philippines, Indonesia, Greece, Russia, Spain, Italy, Colombia, Turkey, Portugal, the United States and Mexico. Recently, our newest entertainment format Calle 7 is a success in Paraguay and Ecuador, where it is the leader in ratings, doubling the competing programs.

TVN also has an international channel,TV Chile Internacional, which has over 15 million subscribers all over the world.”

—Ernesto Lombardi, Senior VP, International Sales

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Terranoa ADDRESS: 155 rue de Charonne, 75011 Paris, France TELEPHONE: (33-1) 5525-5942 FAX: (33-1) 5525-5903 WEBSITE: www.terranoa.com GENERAL MANAGER: Emmanuelle Jouanole HEAD, INTERNATIONAL SALES & ACQUISITIONS:

Isabelle Graziadey CONTACT: igraziadey@terranoa.com PROGRAMS: Looking for Picasso: 1x52 min. & 1x90 min., arts & culture; Animal Doctors: 1x52 min., science; Digital Memory Gatekeepers: 1x52 min., science & technology; Swimming Beyond Borders: 1x52 min. & 1x110 min., human adventure; Saved from Extinction: 6x52 min., wildlife & environment; Paris, the Great Saga: 1x90 min. & 1x52 min. & 4x52 min., history; Extreme Trucking: 5x52 min., travel & adventure; Killer Drones and Secret Wars: 1x52 min., current affairs; Super Fungi: 1x52 min., science; The Twilight of Civilizations: 2x52 min., history.

“Terranoa is a benchmark distributor for innovative, high-profile factual productions. With an eclectic catalogue of over 1,000 hours and a decade of successful programs sold internationally, Terranoa has attracted numerous producers who share the values and quality of our brand.

Our catalogue is open to a wide range of topics, from nature, travel and adventure to history and science, including pop culture, social affairs and sports.

With a true expertise in factual content, we supply broadcasters and platforms worldwide with the best factual productions around the world.”

—Isabelle Graziadey, Head, International Sales & Acquisitions

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Twentieth Century Fox Television Distribution ADDRESS: P.O. Box 900, Beverly Hills, CA 90213, U.S.A. TELEPHONE: (1-310) 369-1000 FAX: (1-310) 369-8877 WEBSITE: www.foxfast.com PRESIDENT: Mark Kaner PRESIDENT, INTERNATIONAL TELEVISION: Marion Edwards EXECUTIVE VP, WORLDWIDE PAY TELEVISION & SVOD:

Gina Brogi SENIOR VP, WORLDWIDE ALL MEDIA SALES OPERATIONS:

Scott Gregg SENIOR VP, WORLDWIDE MARKETING: Cristina Mancini PROGRAMS: Witches of East End: 10x60 min., drama; Graceland:

12x60 min., drama; The Americans: 13x60 min., drama.

“Twentieth Century Fox Television Distribution is the exclusive distributor for all FOX produced or acquired programming. Areas of responsibility include U.S. network feature film sales, international television broadcast and cable television, worldwide pay TV, DTT (digital terrestrial television), FOD (free-on-demand), SVOD (subscription-on-demand), longform content for mobile telephone platforms, and overseeing ownership interests in movie channels in Australia, Latin America and Brazil.

An additional area of responsibility includes Fox’s scripted format sales for local productions of popular FOX franchises such as Glee, Modern Family, How I Met Your Mother, Prison Break and Bones.

The division sells to clients in over 200 countries and has experienced sales, marketing and servicing executives located all over the world. On the leading edge of technology and distribution, Fox Television Distribution is moving into the digital world, providing broadcast-quality digital files of FOX series and feature films to its entire broadcast client base, saving distribution time and resources while increasing content security.

Twentieth Century Fox Television Distribution is a strategic marketing partner, utilizing the vast resources of Twentieth Century Fox to provide broadcasters and pay-television platforms with everything they need to build winning marketing campaigns.”

—Corporate Communications

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ZEE Entertainment Enterprises ADDRESS: Continental Building, 135, Dr. Annie Besant Rd., Worli, Mumbai 400018, India TELEPHONE: (91-22) 2483-1234 FAX: (91-22) 2495-5733 WEBSITES: www.zeebollyworld.com, www.zeetelevision.com CHAIRMAN: Subhash Chandra GLOBAL HEAD, SYNDICATION: Sunita Uchil CONTACT: Alisha Goriawala, alisha.goriawala@zee.esselgroup.com PROGRAMS: Dance Ke Superkids: 10x90 min., kids; Sa Re Ga Ma Pa 2012: 31x90 min., musical; Punarvivaah: 275x30 min., social; Pavitra Rishta: 1,000x30 min., drama; Jhansi Ki Rani: 493x30 min., history; Fear Files: 71x60 min., thriller; Shabaash India: 158x30 min., reality; Rab Se Sona Ishq: 175x30 min., romantic; Yahaan Mein Ghar Ghar Kheli: 697x30 min., family; Movies in HD.

“ZEE is India’s largest vertically integrated media and entertainment company. Its understanding of global and South Asian audiences, their culture and beliefs, has made it popular internationally.

It hosts the world’s largest Hindi film library, reaching out to 650 million viewers across five continents and 169 countries.

Our programs range from family dramas, romance, cookery, thrillers, game shows, music, travel and film-based events such as the ZEE Rishtey Awards and the ZEE Cine Awards. Shows like Sapne Suhane Ladakpan Ke, a story about the complicated relationship between two sisters; Qabool Hai, focusing on the Muslim community that aims to dispel stereotypes regarding Islam; Phir Subah Hogi, which highlights the lives of people who are marginalized due to social deformities; Aapki Antara, a social drama where the protagonist is a 6-year-old autistic girl; Khana Khazana, Indian television’s longest-running cooking-based program, and many more promise to enthrall your viewers. 2013 brings an exciting programming lineup to the ZEE family with India’s Best Dramebaaz, Badalte Rishton Ki Dastaan and numerous blockbuster Bollywood movies that will continue keeping them engrossed.”

—Corporate Communications

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