World Screen Guide 2016 by World Screen

WS_DIST_0316_COVER_KGUIDE_908_COVER 3/8/16 2:04 PM Page 1

GUIDE 2016

WS_DIST_316_spread_TEMPLATE 3/7/16 12:27 PM Page 1

WS_DIST_316_spread_TEMPLATE 3/7/16 12:28 PM Page 2

WS_DIST_316_spread_TEMPLATE 3/7/16 12:26 PM Page 1

WS_DIST_316_spread_TEMPLATE 3/7/16 12:26 PM Page 2

WS_DIST_316_spread_TEMPLATE 3/9/16 9:31 AM Page 1

WS_DIST_316_spread_TEMPLATE 3/9/16 9:31 AM Page 2

WS_DIST_0316_TOC_Index 3/8/16 2:11 PM Page 1

Contents A Note from the Editor . . . . . . . . . . . .10 Executives . . . . . . . . . . . . . . . . . . . . . .11 Talent . . . . . . . . . . . . . . . . . . . . . . . . . .23 Distributors . . . . . . . . . . . . . . . . . . . . .37 Publisher Ricardo Seguin Guise Group Editorial Director Anna Carugati

Ricardo Seguin Guise President

Editor Mansha Daswani Executive Editor and Editor, English-Language Guides Kristin Brzoznowski Production Director Victor L. Cuevas

Anna Carugati Executive VP Mansha Daswani VP of Strategic Development and Associate Publisher

Managing Editor Joanna Padovano

ÂŠ 2016 WSN INC. 1123 Broadway, #1207 New York, NY 10010

Associate Editors Sara Alessi Joel Marino

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

Online Director Simon Weaver Senior Sales and Marketing Manager Dana Mattison

Website: www.worldscreen.com

Sales and Marketing Manager Elizabeth Walsh

No part of this publication can be used, reprinted, copied or stored in any medium without the publisherâ&#x20AC;&#x2122;s authorization.

Business Affairs Manager Andrea Moreno

For a free subscription to our newsletters, please visit www.subscriptions.ws

WS_DIST_316__GUIDE 3/8/16 11:28 AM Page 1

WS_DIST_316_COLUMN_KGUIDE_1008_EDITORIAL 3/8/16 2:11 PM Page 1

A Note from the Editor Mansha Daswani

In the first few weeks of 2015, Netflix announced its ambitious global expansion plan, pledging to complete its rollout to 200 markets in two years. A year later, the “global internet TV network” announced it was ahead of schedule when it said it is now available in more than 190 countries. That announcement set the stage for what is expected to be another disruptive media year, as content owners make sense of the continually evolving business models. Amidst all the questions about skinny bundles and cordcutting, though, one fact has been abundantly clear: the breadth of video content has never been broader and its quality never higher. And content is traveling in ways that couldn’t have been expected even just a few years ago. Producers from different countries are forming creative alliances to forge drama that can resonate in multiple markets. SVOD platforms are making it easier for consumers to sample content from anywhere in the world. Broadcasters are opening themselves up to ideas, scripted and non-scripted, from markets they had never looked to before. Ultimately, the goal for media executives amid all these rapidly changing dynamics is to create and distribute content that audiences deeply want—that they will go out and look for and engage with. PwC said in a recent report that it’s not just about going after mass audiences in a bid for subscription and ad dollars. It’s about creating fans, passionate viewers who will watch your show, tweet about it, tell their friends about it, buy merchandise based on it and even create fan art about it. The distributors in the World Screen Guide are all looking for their shows to connect with viewers on one platform or another. Whether targeted to mainstream commercial channels or niche platforms, the shows listed in this edition, hailing from a slew of countries and genres, are counting on being able to create fans so that they can return, season after season. 10

WS_DIST_0316_SEP PAGES_WSG_309_SEP PAGES 3/8/16 2:12 PM Page 1

EXECUTIVES

WS_DIST_316_DISTRIBUTORS_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 1

Jeffrey Bewkes Chairman & CEO Time Warner WS: Looking ahead a couple of years, where do you see growth? BEWKES: The growth is in consumer engagement with video programming. It’s happening as television multichannel plants are being built all over South America, Asia, Africa and Eastern Europe. It happens as broadband capability to deliver programming over internet connections to all kinds of connected devices on demand is getting stronger. Fueling all that, you have the explosion of an infrastructure on TV and broadband. You also have a steady increase, with some interruption, of consumers’ financial ability to pay for services and content. So there’s a very secular, buoyant trend in video consumption across the world. VOD just makes it better. It makes the content, and engagement with it, possible for more people. It also makes it possible to watch programming less expensively than you could before. Billions of people who couldn’t see the programming that was on TV ten years ago are now able to see it in a way that is economically feasible for them, and on demand, so it fits their schedules. That is where the growth is. If you look at our company over the last five years, that gives you a pretty good indicator of the next five; we’ve been ramping up production of original programming and VOD capability both domestically and globally. The acquisitions we’ve done have tended to support more diverse types of production, not just in the U.S., and more platforms that we can deliver it over. WS: Do you see OTT platforms around the world affecting the Turner channels worldwide? BEWKES: Over-the-top bundles could be an interesting way to attract younger consumers to everybody’s channels, including Turner’s. These new internet-based products can also innovate more quickly in terms of consumer interfaces. That’s interesting because there is a real wealth of programming on the Turner networks. Having so much volume of programming across so many channels means that interface and recommendation engines become very important to helping consumers find and discover all the shows. 12

WS_DIST_316_DISTRIBUTORS_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 2

David Zaslav President & CEO Discovery Communications WS: What has been driving growth in your international businesses? ZASLAV: Our global brand rollouts have driven the international business. We have an average of 10 channels in more than 220 countries around the world. But we also have local programming, brands and ad and affiliate sales [teams] in offices around the world. Our global brands, paired with our local content and sales teams, have fueled our incredible, organic, double-digit international growth story—a true differentiator for Discovery. We have many strong markets in our portfolio. I’d say that Latin America has stood out, recently fueled by Discovery Channel, Discovery Kids and Discovery Home & Health. WS: How do consumers view the value proposition of pay TV in Europe, even in difficult economic times? ZASLAV: Years ago we made a decision to invest in Europe when many companies were slashing budgets or leaving. While it is certainly a mature market, we’ve been able to grow our market share and reach new audiences across Europe. We’ve strategically rolled out free-to-air channels, like Discovery MAX in Spain and Real Time and DMAX in Italy, to gain market share and maximize ad dollars, and we now have successful “hybrid” businesses in several markets, with strong pay-TV and free-to-air channels. Of course now that we own Eurosport, the premier sports entertainment provider across the continent, we’re using those rights on our platforms and bolstering Eurosport’s offering. So while Europe has its challenges, we believe there are opportunities to reach new audiences and gain share. WS: What business areas still hold potential for growth in the U.S.? ZASLAV: Our North Star is investing in content that drives our brands and programming forward. From Discovery Channel to Velocity, we are looking at how we can get viewers to spend more time with our content and how we can address white space in the market. What content will nourish them? 13

WS_DIST_316_DISTRIBUTORS_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 3

David Nevins President & CEO Showtime Networks WS: What’s been the strategy behind Showtime’s programming remit? NEVINS: We’ve made a major investment in owned original programming these last several years. We’re up to ten series on the air, and I expect [that] to get a little bit bigger over time. The strategy is to be the home of the most cutting-edge, exciting, adult, sophisticated premium programming. It’s a good time at Showtime. Above all, we have more shows that matter right now. It’s a pretty rich assortment of shows, and that’s what drives our subscribership. WS: When you hear pitches for Showtime, what do you try to find that is different from a show that would air on broadcast? NEVINS: As a producer, I always had the reputation of making shows that pushed the limits of the broadcast medium. The great thing is that now [Showtime is] the perfect platform for my taste and sensibility. And we’re now able to monetize those shows in ways [we couldn’t] in the old days, in a purely broadcast environment. I want to make sophisticated programming for adults, which is rare these days, and I want things that are going to surprise me, make me feel something, entertain me. Those are basics people sometimes forget about, especially when you get into the fancy world of premium programming. WS: How are Showtime shows, which are serialized, selling internationally? NEVINS: The strength of the kind of programming that we do is its stickiness. It’s addictive. It’s not for everyone, but the people who want to watch, the people who love our shows, love it on a deep level and will pay for it on a monthly basis. So it drives subscriptions, and there’s a lot of activity in every territory in the world around subscriptions, whether it’s pay TV or an SVOD platform. It’s a new subscription model, driven by this addictive serialized TV, in which you want to gobble it up, you want to binge-watch it, and when you’re done, you want more. 14

WS_DIST_316_DISTRIBUTORS_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 4

Nancy Dubuc President & CEO A+E Networks WS: Tell us about the deal with VICE Media. What does VICELAND bring to A+E Networks? How does it fit into A+E Networks’s portfolio? DUBUC: VICELAND is a JV between A+E Networks and VICE Media that launched in the U.S. on February 29 into approximately 70 million homes. The channel features new, original unscripted programming produced inhouse by the many talented young filmmakers at VICE that have a unique voice. Shane Smith, Spike Jonze and Eddy Morretti are building a channel with a very personal POV that is meant to resonate with the younger audience that the VICE brand is known to attract. The content covers a diverse range of topics, from social and political issues to food, fashion, travel and more. A+E Networks has a diverse and rich portfolio of brands. Our lead brands—A&E, HISTORY and Lifetime—deliver adult, male- and female-focused audiences, respectively, in the 25to-54 demographic. [We] complement these brands with our lifestyle brand FYI and VICELAND, and we can now deliver our advertising and distribution partners a robust suite of brands that attract a diverse demographic audience. WS: What message is A+E Studios sending the creative community? DUBUC: We launched A+E Studios in late 2013. Today, we have over 50 projects in development or production, including series, limited series and films. We are looking to build long-term relationships in the creative community and have struck overall deals with top creative talent like Carlton Cuse, Rachel Winter, Michael Hirst and Meryl Poster. On a whole, I would say that A+E Studios is a creative and collaborative environment for showrunners, writers and producers, and we take great pride in working with the creative community to deliver content that resonates with viewers. 15

WS_DIST_316_DISTRIBUTORS_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 5

Thomas Bellut Director-General ZDF WS: How competitive has the German TV market become, and what is the role of a public broadcaster? BELLUT: The German TV market is highly competitive. With the advance of digitization, the number of commercial broadcasters has multiplied significantly. A large number of smaller, special-interest channels can be added up together to be considerable competition. It is encouraging that the market share of the public broadcasters’ offerings has held steady at more than 45 percent of total viewership. In Germany, we reach a vast audience with our mix of news, documentaries, fiction, entertainment, culture and sports. What’s very important here is that we generate great trust from the credibility of our news programs. This is why we’re constantly working on expanding the quality of our reporting. WS: In how many different ways can viewers enjoy ZDF programs? BELLUT: Our content can be viewed live or time-delayed on practically all broadcasting devices. We’ve built a high-performance on-demand portal—ZDF Mediathek—through which we can access many live streams. Yet, in spite of all our euphoric observations on the new possibilities for content, we should not ignore the fact that the classical linear form of television has hardly transformed itself. The average German still watches more than four hours of linear television every day. WS: ZDF Enterprises delivers significant revenue to ZDF. What does this say about the quality and relevance of ZDF’s programming for the worldwide market? BELLUT: It is not always easy to work on a global scale from a German-speaking market. ZDF Enterprises regularly positions series, event miniseries, documentaries, children’s programs, TV movies and other ZDF productions with a hit factor in the international market. If ZDF is now admired around the world as a partner and supplier of programs, then that is largely due to ZDF Enterprises. 16

WS_DIST_316_DISTRIBUTORS_DIST_1207_INTERVIEWS 3/8/16 6:10 PM Page 6

Jan Frouman Chairman & CEO Red Arrow Entertainment Group WS: Red Arrow has experienced considerable growth. What strategy has guided this? FROUMAN: When we launched Red Arrow Entertainment, we were more focused on territories associated with ProSiebenSat.1’s TV footprint. This was when the group included SBS. Two things happened along the way. First, our appetite grew for territories with content that traveled better, namely the U.S. and the U.K. And second, we sold our channels in the SBS territories. We now consider our anchor territories to be the U.S., the U.K. and Germany, and we plan to go deeper into these territories. We will also continue to have a small presence in Scandinavia and Israel. That’s not to say we aren’t always open to opportunities in other regions, including partnerships, co-productions or joint ventures. WS: What factors do you consider when looking at companies to acquire? FROUMAN: You can have the greatest partners, but if they are not operating in a market that the rest of the world is paying attention to, or where you can do a terrific amount of production, it just doesn’t make sense for us to invest. Next we consider the partners themselves: who are the people we are going to be collaborating with, and are our cultures and goals both aligned? We have put culture and fit really high on the list of what we care about when we make these decisions. The terms of the deal are also fundamental. WS: What’s your view of the surging demand for scripted? FROUMAN: To a certain extent it feels like an ever-expanding bubble, and you wonder whether the appetite for good scripted shows really is limitless. The great thing about scripted is that the shows, particularly English-language shows, have an attractive shelf life. But the development process is lengthy and it is hard to plan when shows are going to get picked up, when they’ll go into production, how many episodes there will be and what the final deficit will be. These are the challenges, but we are still very optimistic about the business. 17

WS_DIST_316_DISTRIBUTORS_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 7

Kevin Reilly President, TBS & TNT Chief Creative Officer, Turner Entertainment WS: What choices can you make when programming a cable network compared to a broadcast network? REILLY: In cable you have more control over your destiny. First of all, you own 24 hours of your air, which gives you flexibility in terms of how you move your programming around. It can lead to stunts like marathons. Cable allows you to be a little more nimble with scheduling changes, including moving your ad inventory around. Additionally, cable is not beholden to an affiliate network, and the charter of cable is not bound by FCC regulations. So the standards are looser, which has ultimately led to more creative freedom. In broadcast, you are always aiming at the widest part of the audience, whereas cable, by definition, has been an alternative to broadcast and aimed at a narrower target. In today’s culture, narrow does not necessarily mean smaller; you can aim at a specific spot such as zombies and wind up with the number one drama on television. WS: How are you increasing your offerings on different screens and with what kind of content? REILLY: [Multiplatform viewing] is both a blessing and a curse. It’s a blessing in that people are watching and engaging with more television. The on-demand viewing experience is a good one. We do have stacking rights, and we do stream. Giving people the ability to catch up and stay connected with a show outside the first window of programming is great. The cursed part is this is an era of transition. TBS and TNT have been leaders in getting stacking rights and streaming; however, right now, our MVPD partners don’t provide an ideal customer experience on that front. So that is a never-ending negotiation and attempt to create a better consumer experience. There will be massive change on that front over a number of years. Bingeing is a great way to experience TV, and consumers love it. As we have competitive platforms that make [bingeing] easy, we are looking to provide that experience for our customers. 18

WS_DIST_316_DISTRIBUTORS_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 8

Chris Albrecht CEO Starz WS: How has your original programming strategy evolved? ALBRECHT: We determined that there are audiences that we consider underserved in the premium space that are also active, avid users of social media. That allows us to target a specific audience and engage them as not just the fan base for the show, but also a recommendation engine for the show. It’s always been hard to know what a particular show’s value is to a premium channel because we are not selling ad time, and there is not a direct revenue correlation between any particular show and the amount of money the company makes. So targeting women, or African Americans, or fan boys, or young women, is pretty powerful because the audiences for these shows seem to be growing, in part due to the word of mouth that’s being spread by the fans. WS: Are you happy with Starz’s reputation in the creative community? ALBRECHT: You are only as good as the people who come to work with you. I do think, and have thought for a long time now, that the premium platforms offer a unique creative opportunity: the episodes are longer and the budgets tend to be bigger. There are no ads, so you don’t have to write around commercial breaks. It’s very different storytelling that can be done on premium, and I think that attracts certain people. WS: How do you make sure that your shows get sampled? ALBRECHT: We’ll take some of our shows and put them on platforms like Facebook or our affiliates’ own platforms, and we’ll let non-Starz subscribers sample the first episode. We do big consumer campaigns, but that’s really more to drive an audience to a premiere of a show. It goes back in part to this audience that becomes a vocal advocate for the show. The people who start to find the shows are people who have heard about it through colleagues or peers or friends, and they probably take that recommendation more seriously than they are going to take an ad. 19

WS_DIST_316_DISTRIBUTORS_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 9

Cathy Payne CEO Endemol Shine International WS: Scripted programming is quite sought after these days, isn’t it? PAYNE: It is sought after. We’ve noticed a renaissance in British scripted and certainly that’s had a huge amount of success in recent years. Scripted series from the U.S. cable networks have also done well, while in the last few years U.S. broadcast network scripted shows have struggled. The U.S. cable or SVOD scripted product has come into its own; the limited number of episodes allow the producers to attract a high level of on-screen talent and off-screen creative, who are not tied into the multi-season commitments that the broadcast networks would demand. On top of that comes the non-English-language scripted, the audience for which is growing internationally. The benchmark for scripted programming has never been higher. WS: Are you doing many deals with SVOD platforms? PAYNE: Oh, yes, all the time. These platforms provide opportunities to exploit programs in another way, but one platform does feed off the other, so you have to look at what the cumulative benefit is. Certainly SVOD has taken away from home entertainment in a lot of markets, so you have to weigh that in; likewise as the SVOD platforms have matured and they want exclusive windows. The days of doing concurrent SVOD and linear pay-TV deals are all but gone. However, whatever type of broadcaster you are, linear or nonlinear, there is one word that is a common theme for all, and that is “exclusivity.” All broadcasters are seeking some form of exclusivity that delivers a unique opportunity to their audience. WS: Would you say that windowing takes up the most time when you are trying to place a property in a market? PAYNE: Yes, I’d say that most of the negotiation comes around to which rights [broadcasters] are taking and whether they are taking rights to actually utilize them, to hold them back or to protect themselves. I think the rights they take and the exclusivity around those rights are a constant point of discussion! 20

WS_DIST_316_DISTRIBUTORS_DIST_1207_INTERVIEWS 3/8/16 6:11 PM Page 10

Tim Davie CEO BBC Worldwide WS: Tell us about BBC Store, the online download-to-own service. DAVIE: We launched BBC Store with a simple aim: to offer U.K. consumers the opportunity to buy and keep a wide range of the BBC’s back catalogue—both recent titles, which are no longer available after the 30-day catch-up window has expired on BBC iPlayer, and some previously unavailable gems from our archive. WS: How is BBC Worldwide working with the BBC to help finance programming as its license-fee funding comes under pressure? DAVIE: Through building the BBC brands and audiences across the globe, as well as increasing commercial returns, we continue to deliver growing returns to the BBC. [In 2014/15] we returned a record £226.5 million ($314 million), an increase of almost a third from the previous year, which was the equivalent of 12.6 percent of the total content spend for BBC Television. We also invested £94.4 million ($131 million) in BBC commissions from both BBC Production and indies. WS: How is BBC Worldwide helping the U.K. creative industry? DAVIE: We support more than 250 independent producers by selling their content around the world, and [in 2014/15] we returned £113.1 million ($157 million) to the sector. We have also been active in securing stakes in new and growing U.K. independent companies, including Lookout Point and Curve Media, and we will continue to be active in this area. We have also increased our efforts to support creative industries export initiatives such as the GREAT Festival of Creativity, which took place in Shanghai, and the Technology Innovators Forum in both China and Los Angeles. WS: In which areas do you foresee growth for BBC Worldwide? DAVIE: There are a number of opportunities for growth: continuing to strengthen our content and production pipeline, expanding our global channel footprint and launching directto-consumer services like BBC Store. 21

WS_DIST_316_DISTRIBUTORS_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 11

John Morayniss CEO Entertainment One (eOne) Television WS: What has been driving the growth of eOne Television? MORAYNISS: eOne has grown substantially over the last several years. A big part of that has to do with our focus on four key English-language hubs: the U.S., Canada, the U.K. and Australia. In all of those territories, we’re really focusing on connecting with talent, working with the best producers in those territories, and of course, forging strong relationships with the broadcast community. When you add that to our deep infrastructure in international distribution and sales, it allows us to really monetize in the best possible way all of the content that we’re developing and producing, as well as the content that we’re acquiring. WS: What has been the strategy for ramping up eOne’s U.S. television business? MORAYNISS: We’re spending a lot more than we ever have on development. We’re taking bigger risks. We’re working with top talent. We’re going after big book properties, underlying rights, lifestory rights. We recognize that we really need to be in the bigevent, big-statement production business and also in the niche, small, but very targeted business—always [working on projects of] high quality, but really staying away from the middle. As a result, we’re also looking at more overall deals, more first-look deals. WS: How are you approaching international co-production opportunities? MORAYNISS: eOne is focused on partnerships. That is really what co-productions are all about. eOne is focusing on our local markets, particularly in the U.S., Canada, the U.K. and Australia. We’re trying to leverage our bases there and our relationships with the best talent to put together global productions that appeal to a worldwide marketplace. We are focusing on partnerships with broadcasters in multiple territories, we’re focusing on partnerships with producers in multiple territories, and certainly the talent is coming from all over the world. 22

WS_DIST_0316_SEP PAGES_WSG_309_SEP PAGES 3/8/16 2:12 PM Page 2

TALENT

WS_DIST_316_TALENT_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 1

Julianna Margulies Actress The Good Wife WS: How would you explain the success of The Good Wife? MARGULIES: It’s the writing. One of the luxuries of television, especially network television, is that we really get to keep up with what’s happening in today’s world as it’s happening. It keeps the show fresh and exciting. That’s part of it, and a tremendous part of it is that as the lead of the show, I see what the writers have to put up with in terms of scheduling conflicts and actors coming and going and contracts being expired. Instead of looking at it as a burden, they look at it as an opportunity to advance all the other characters. So they bring on these new, interesting characters that bring fresh life to the characters that have been there since day one. I’m always excited to play this character because she is constantly peeling off these layers and discovering every week who she is and who she can become, but is also dealing with new characters that come in. WS: What do you like about the character you play, Alicia Florrick? MARGULIES: At the core of her being she really is a good girl. She doesn’t really know how to be bad and yet she’s dying to break out of the good-girl role, and people’s opinions really matter to her. I love that she is so smart and cerebral. There is incredible intelligence that comes with her silences. And I really love the situation she’s been put in. It’s so much fun for me to play because it’s about loss, love, politics, the law; it’s about conquering your worst fears, it’s about raising children, it’s about trying to find love. WS: How does The Good Wife remain so engaging while complying with broadcast-network standards? MARGULIES: We’re not a cable show. We do twice as many episodes, and we don’t have the freedom of speech, necessarily. I asked [showrunners] Robert and Michelle King, if we were on cable, what would they change. Robert said the only thing he would change is that every now and then people would be able to swear. Everything else would remain the same. 24

WS_DIST_316_TALENT_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 2

Andrew Lincoln Actor The Walking Dead WS: What is it about Rick Grimes that has allowed him to be a leader and survive in these difficult conditions? LINCOLN: One of his great strengths is the fact that he is very fluid in his leadership. He also doubts himself and he listens to others. If somebody is more qualified than him in a certain area, or has more experience, he will listen to them. Ultimately, one of the things I love about playing him is that when he makes his mind up, he rarely goes back on it. Sometimes you can be fundamentally wrong or corrupt in a decision, but one of the great things about a leader is certainty. Once a decision has been made, he stands behind his decision. That takes great courage and great fortitude. And that’s also why people want to stand behind him. WS: Is the AMC scheduling strategy of having a gap between two sets of eight episodes helpful in terms of allowing you to digest what’s happened in the first half of the season? LINCOLN: It’s become not just important but absolutely vital. Not necessarily so much for the actors, but for the crew. The crew are magnificent and most of them have been on this show since the beginning. Anybody that’s been to Atlanta, Georgia, in mid-summer knows how brutal the weather can be. We shoot an episode in eight days, which is impossible, actually. Because the bar keeps getting set higher and higher each season, 16 episodes of story is the maximum for the writers’ room. I would hate to speak on [showrunner] Scott [Gimple]’s behalf, but I know how much of a perfectionist he is and how much he cares about this show. He says he never wants a stagnant episode. You don’t want a filler episode, ever, in this show. AMC deciding to do eight and eight not only gives breathing space for the crew to stand down, but it gives the writers an opportunity to do two arcs within one overarching season. You have a season premiere, a midseason finale, and then you have a midseason premiere and an overall finale. You can shape, within one season, more story, more compelling story arcs—and maybe more ambitious story arcs—because of that. 25

WS_DIST_316_TALENT_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 3

Emilia Clarke Actress Game of Thrones WS: Did you read George R. R. Martin’s books as part of your preparation for the role? CLARKE: I did. The first book especially was akin to a Bible for me. I took it everywhere, absolutely everywhere, and reread and reread and reread. Then, as I grew in confidence after that first season, I have leant on the books less. Mainly because to understand the work you really need to pay homage to and understand the world that George R. R. Martin has created, but as the television show has moved on apace, as an actor it is important for you to be as present on the set as you are thinking about the book. Otherwise you’re doing a disservice to the both of them, because you could spend too much time thinking about what affected you in the narration of one of the chapters that George has written, then you’re suddenly forgetting that it’s 4 o’clock in a Croatian desert with [hundreds of] people and having David [Benioff] and Dan [D.B. Weiss] asking when I’m gonna say my line! So we’ve grown to a place of accepting the Game of Thrones world, the show, as the new Bible. WS: What contemporary themes do you think the show presents and addresses? CLARKE: Ultimately, the core of Game of Thrones is power and the struggle for power—who has it, who doesn’t. Why do you want it? What good or bad can you do with it? That is always going to find a relevant counterpart to our modern society, because, you know, power and money—they ain’t going nowhere! So [with those two themes] there are always a million ways that you can find counterpoints to modern society. I think that’s why people enjoy the show so much, making it even more relevant to today, and that that’s what keeps it really exciting. I’m genuinely not comparing [Game of Thrones to Shakespeare] at all, but good writing—the most famous example of good writing is Shakespeare, and you can read Hamlet and find it relevant today because it’s discussing themes that are the product of human nature, as opposed to being the product of 2015 or 1912. 26

WS_DIST_316_TALENT_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 4

Tatiana Maslany Actress Orphan Black WS: Why do you think the show has struck such a chord with viewers? MASLANY: Where television is right now, there’s a real drive to have women in lead stories. That inherently is interesting, in terms of how we look at identity and experience on Orphan Black and what makes us unique and all the potential of who we could be depending on who our parents were or the choices that we make. I don’t know why it’s struck such a chord, but there’s something about the timing of it that people are ready for this kind of storytelling and are willing to go on the ride. WS: Tell us about the production process for scenes where you’re playing multiple characters. MASLANY: We block the whole sequence, and I’ll have to block as different characters in that sequence and predetermine what the movements are like so that the lighting can be specific and so that everybody knows what we are doing and that the camera moves can be memorized. Then we shoot one pass with all of our doubles and all of the cast, and the camera memorizes that movement. Then everybody leaves except for me and potentially one person I might interact with. Then we do the scene or I do the scene by myself, looking at people across the table who aren’t there and speaking to them and listening in on a headset so that I can respond to their lines. Then we go back and we do a clone changeover and I shoot another section of it, responding to what I just shot. So I have to remember what I did and respond to it in kind. It’s a crazy, bizarre, very technical process. WS: Are there things that you do when switching between characters? MASLANY: To be honest with you, at this point the hair and makeup room really helps. For me it always comes back to the physicality—how they walk, where they hold their tension, what they’re afraid of. I feel like the characters are so in my body that it’s really about just letting them live and letting them talk. 27

WS_DIST_316_TALENT_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 5

Kathy Bates Actress American Horror Story WS: How did you get involved with American Horror Story? BATES: I was driving up Beverly Boulevard [in Los Angeles] when I saw this big billboard that had, on one end, a pregnant woman and, on the other end, a man in a rubber suit. I looked at it and thought, What is that? That’s what first drew my eye to the show, and I wanted to see what it was all about. Then I discovered that Jessica [Lange] was on the show. I was absolutely mesmerized by her performance. I asked Jessica to put in a good word for me with Ryan Murphy. Bless her heart, she did! I had a meeting with him and he pitched me this wonderful part, of Delphine LaLaurie [in Coven], who was based on a real person in New Orleans. I was thrilled, and that began my history with Horror Story. It has been a wonderful experience. It’s such a unique show. It’s so much fun to have some of the same friends that you love working with all playing different characters every year. WS: What is it like to work with some of the same actors every season, but with different characters and story lines? BATES: There’s a sense of security. A lot of us come from theater backgrounds. We all respect that in one another. Without really talking about it, we all speak the same language. It’s magic. WS: Having worked in film, TV and theater, do you have a preference? BATES: I was passionate about theater when I was doing it. I, like a lot of people, turned my nose up at television very early on. I came out to L.A. to do some more theater, and that’s when Rob Reiner saw me and cast me in Misery. Then I started a film career, and still turned my nose up at television. Movies now are either tentpoles and sequels or they’re independent. There are very few movies in between. The writers and directors have now flocked to television, and to cable in particular. Actors, creators and directors, we all go where the story is. We want to play in the best thing we can find, and today that’s cable. 28

WS_DIST_316_TALENT_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 6

Jeffrey Tambor Actor Transparent WS: How was your preparation for the role of Maura Pfefferman different from how you’ve prepared for other roles? TAMBOR: Every role has its own set of [characteristics], externally and internally, that you have to bring into yourself. With Maura, what’s interesting is that she is transitioning. She is a transgender woman and so there was a whole other set, externally and internally, that I had to adopt, adapt, acquire and learn about, and it’s been one of the most thrilling rides of my career! I continue to learn every day. I thought that the external part would be more daunting than the internal part, whereas indeed the internal part seems to be the one that has the most—for want of better words—gravy and guts. The outside was very easy, and I adapted to it very easily and love it. WS: Besides Maura’s journey from man to woman, what other important themes does Transparent explore? TAMBOR: From male to female the journey is incredible, but Maura’s journey sparks and ignites everyone else’s journey in the Pfefferman family. When people ask me what is the bare nub of this series I say, If I change, will you still love me? That is indigenous to every family. When people stop and talk to me on the street about this show there are usually three strands: One, they didn’t know what to expect from the show, which I think is code for their comfort or discomfort about the subject. Two, they will talk about their idea of me playing this role without actually having seen it. Three, often they will start talking about their families. WS: Does comedy have the ability to reveal a character’s humanity, at times even more effectively than a drama? TAMBOR: Yes, that is the function of comedy. I have always believed that laughter is curative and laughter teaches on so many levels. And that is really emblematic about this show and what Jill [Soloway, the creator of Transparent] does, she zigs when you think she is going to zag, and zags when you think she is going to zig. 29

WS_DIST_316_TALENT_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 7

Morgan Freeman Host The Story of God WS: What did you find most surprising or unexpected in your travels for the show? FREEMAN: There were a couple things. Hindus, for instance, are not all that enamored with reincarnation [as I had previously believed]. It’s not something to look forward to, it’s something almost to dread, because a guy has to go through the whole thing again trying to reach some sort of perfection. So every time you are here on Earth, you have to go through this chore. They would rather not, they would rather just be here once and get it right and then be able to not have to come back. Because if you don’t have to come back, it means that you’ve become pure energy; you’ve done it right and you’ve moved on, you’ve been liberated. You’ve become godlike. I found that surprising because I had been going through the whole of my questionable, questioning life thinking that [reincarnation] was something to look forward to. Then there was the whole idea that the Catholic Church established a Pontifical Academy of Sciences to look into questions of science. I don’t know if they were looking to see if there was something counter to God and religion, but I think what they found is that science and religion—it all works together. For example, Georges Lemaître, the guy who came up with the theory of the Big Bang, was a priest. WS: Religion is often seen today as more of a divisive force than a unifying force. Did you find that there is more that we as a people have in common or is there more that divides us? FREEMAN: I think there is much more that we have in common. You only have to go to Jerusalem and see the numbers of people there who share the same belief system. Go to India. There are two main religious groups that exist side by side in India without any apparent strife at all: the Hindus and the Muslims. I think the strife that we see today is more political than religious. 30

WS_DIST_316_TALENT_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 8

Patrick Stewart Actor Blunt Talk WS: How did Blunt Talk come about? STEWART: I was approached by Seth MacFarlane, with whom I have worked for almost 12 years on his animated series American Dad, and occasionally on Family Guy. He asked me how I would feel about doing a half-hour comedy show. I said that if he had anything to do with it, I would love to, since I had never done a half-hour comedy show before, except for making guest appearances. Very soon after that he introduced me to Jonathan Ames, and we took off from there. WS: Does comedy require a different set of acting “muscles” than drama does? STEWART: I think it does, yes. I’ve been lucky to have a very diverse career—the Royal Shakespeare Company and then TV series like Star Trek and a film franchise with X-Men. But there is one major difference about shooting a comedy. Nothing changes from the point of view of how truthful you want it to be, how realistic, how honest. But, then, there’s always, Where is the humor? How do we [convey it]? I have been somewhat identified by two characters I am the most well known for: Jean-Luc Picard in Star Trek and Charles Xavier from X-Men. I’m nothing like either of them! I like to think I have a touch of a comic attitude toward life and I’ve always enjoyed comedy—particularly the sort of somewhat scandalous comedy that Seth MacFarlane specializes in. WS: How have you seen the television landscape evolve? STEWART: I tell people that I’ve always been typecast, but in my case the types keep changing. In a sense, Charles Xavier was a natural follow-on from Jean-Luc Picard, but comedy has entered more and more into my life, largely through what I do on social media. That has brought me significantly different work. I’ve not given up my love for Shakespeare and other drama. This year is a perfect example of the kind of work that I’m pursuing: the first four months are taken up with Blunt Talk, then I am doing a studio movie, and then I start rehearsing for a Harold Pinter play. 31

WS_DIST_316_TALENT_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 9

Dominic West Actor The Affair WS: What appealed to you about the character Noah Solloway? WEST: I know him and I quite like him. He’s an ordinary guy and a decent guy; he’s a good dad and he’s a husband. Essentially the role examines what happens in midlife to some men when they feel they are creatively stunted or sexually unadventurous, or they haven’t lived their lives as they wished they had. That’s quite a potent subject and I like him for that. I also like him because I think he’s a bit of an idiot a lot of the time, but men are, and I think he’s ultimately likeable because he’s an honest man. WS: You’ve had a variety of roles. What do you look for? WEST: Something different, something I haven’t done before, something that is a challenge and something that I find resonates in some way with what I find interesting in life. I did Pride mainly because I had a two-minute solo disco dance in the middle of it! You have to feel that something in the character resonates with you and that you have something to say about that character. Or that something is going to be fun or enjoyable or connects with you in playing that. It comes down to good writing, really, because there’s not much of it around. I don’t get offered a great deal of really good writing, so I jump at it when it becomes available. WS: The Affair has a lot of nonverbal communication that depicts state of mind, motivation and emotion. Is it harder to get moods across with looks and gestures than with words? WEST: It’s very interesting you say that. We usually cut down a bit from some of the writing because every beat is written, and I often say, actually we can get all of that with a look. And they are very happy to cut some of the stuff anyway. I love the words and I love the writing, but it’s become very apparent to me now when there is too much written and that we can convey far more in looks and gestures and in the way body language relates the story. I find all of that very interesting, and the added advantage is that I don’t have to do it in an accent that is not my own! [Laughs] 32

WS_DIST_316_TALENT_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 10

Ben McKenzie Actor Gotham WS: What are the challenges of acting in a series whose characters are so iconic? MCKENZIE: I would say it’s both a responsibility and an opportunity. It’s a responsibility to stay true to the intrinsic nature of these characters, the foundation that’s been laid over the last 75 years of Batman; these characters are so beloved and so well known in certain respects that you need to be true to their spirit. The opportunity is to interpret them anew and add your own little contribution to the thousands of artists who have drawn these characters or acted these characters or have done all of the myriad jobs [necessary] to portray these worlds, either in print or on screen. We all felt the responsibility of it more heavily at the beginning when we were worried about pulling it off, quite frankly, and not embarrassing ourselves. But as the series has come out and it’s been well received both in the U.S. and in many parts of the world, that sense of freedom is really starting to grow. We’re able to focus on being creative and taking leaps of imagination and broadening the scope of the series to include all sorts of other characters that we [hadn’t] had time to mention. WS: Was the preparation for this role different from previous roles you’ve had? MCKENZIE: The series before Gotham was Southland, which offered a much more purposefully realistic take on police work, so there was a lot of practical training working with the LAPD. In Gotham, although I’m playing a cop again, a detective in this case, it’s clearly a larger-than-life world, so it’s much more understanding of themes and the roleplaying that goes on in terms of Jim’s relationship to Bruce, primarily. Jim is, in many senses, the knight to the once and future king of Gotham, Bruce Wayne. Jim is trying to maintain order in a city that’s falling apart, while mentoring a young boy who will eventually succeed him and reign over a city as it crumbles. So [the preparation] involved more of a thematic understanding of the role, of the themes of the show, as opposed to a more practical, hands-on training. 33

WS_DIST_316_TALENT_DIST_1207_INTERVIEWS 3/8/16 6:13 PM Page 11

Priyanka Chopra Actress Quantico WS: When did you decide you wanted to do American television? CHOPRA: Keli Lee [at the time the executive VP of casting at ABC] came to India while I was filming Gunday [a 2014 action crime thriller]. She hung out with me on set and talked to me about doing a talent holding deal. I really did want to expand my horizons, expand myself creatively as an actor. Even with the films I’m doing in India, I’ve been trying to do a lot of different kinds of roles. I thought about it and said, let me at least have a read. I came to L.A. during pilot season and I read about 26 scripts. Quantico was my favorite, and ABC felt it was the best pilot for me, too. WS: When you read the script, what was it that appealed to you? CHOPRA: I love watching good TV. America is going through a golden age of television. The part and the story line of Quantico kept me guessing so much when I was reading the pilot. It keeps you on your toes. I am a smart consumer of entertainment and I don’t like my intelligence being taken for granted. This show is gritty, it’s smart and it’s sexy. Those things combined make for good TV. Quantico runs in two time periods, the future and the present. All of the recruits coming into Quantico have something to hide. So [the viewer] never knows what’s going to happen. The people making the show have made so much great TV that I have loved. They obviously know what they’re doing. WS: How have you prepared for the physicality of playing an FBI recruit? CHOPRA: I’ve done a lot of action movies. I’m so glad I did them! [One of my latest movies] was Mary Kom, a biopic of a boxing champion. There was a lot of action in Don [a 2006 blockbuster hit]. I’ve played cops before. I have an interesting background, which made me relatively comfortable with the physical aspects of the role. But the hours are crazy and there’s a lot of stamina needed in the fight sequences. So I’m training and working out, which is something I hate doing! 34

WS_DIST_316_TALENT_DIST_1207_INTERVIEWS 3/8/16 2:16 PM Page 12

Chris Carter Creator The X-Files WS: How did the idea for a new limited series of The X-Files come about? CARTER: I got a phone call one day and it was from Dana Walden [co-CEO and cochairman of Fox Television Group], who said that FOX wanted to do a short series of episodes. I guess it wasn’t exactly unexpected, because you see they brought back 24, and other shows were being, for lack of a better term, rebooted. The call was unexpected, but the idea wasn’t necessarily unexpected. WS: Having done more than 20 episodes a season for so long, was it liberating to just do six, or was it constricting? CARTER: I felt it was not dissimilar to our original approach to the show, but we just did it in a tighter arc. Emotionally I think the story makes a really nice sweep through the characters’ lives. Every episode owes something to the one that came before it and illuminates the one that comes after it. WS: There are a lot of shows being rebooted. Why do you think that’s happening so frequently? CARTER: [Broadcasters and studios are] trying to capitalize, I believe, on titles that have immediacy and a familiarity with an audience. It’s intellectual property; it’s taking advantage of your own library. You see the same thing happening in movies. It’s not uncommon to see [studios] remake something. Everything has its time, and everything has its time again. WS: Was the process of making the series different today than it was in the 1990s? CARTER: No, it wasn’t exactly different, but it is a different landscape and a different time. We’re being honest to the passage of time, so that’s different. And we had to be honest to where they were in their relationship, and that’s different. It’s been hard work, with some different people but also with some of the same people. There were people who had actually worked on the pilot episode of the show who came back to [work on the new episodes]. 35

WS_DIST_316_TALENT_DIST_1207_INTERVIEWS 3/8/16 6:13 PM Page 13

Andrew Davies Screenwriter War and Peace WS: Had you thought about adapting War and Peace before BBC approached you with the project? DAVIES: It hadn’t been on my mind. In fact, I’d been thinking, it’s about time I got around to reading it! It was a nice surprise when Faith Penhale [head of drama at BBC Cymru Wales] asked me if I’d be interested in adapting it. I said, I have to read it first. So I took it away on holiday with me and read it and enjoyed it very much. I found it to be a much more approachable, lively, almost modern book. And then we began the big process of making a drama out of it. WS: How did you go about condensing the story into six hours? DAVIES: With all these things, I just try and soak the novel up and think about, Who do I love in this novel? Whose story is it really? Who do we want to concentrate on particularly? With War and Peace, it’s really three characters who fascinate us. Pierre is a puzzled seeker of the meaning of life who unexpectedly finds himself one of the richest men in Russia, from having been a disregarded, illegitimate son. Natasha is the lovely, innocent, much-loved young daughter of a very cozy family. And there’s Prince Andrei, who had been brought up in a very austere environment. He’s apparently quite cold and contemptuous, a bit of a Mr. Darcy. Those three, their lives are all intertwined. I built the whole drama around them. WS: Were there aspects of the novel that were more challenging to adapt than the previous literary works you’ve brought to television? DAVIES: The scale of [the novel] is huge. The history is quite complicated. It was about finding a way to tell the historical and the war sides of it really clearly and simply, without distorting it and without being too shorthanded about it. Really the key lies in seeing everything through the eyes of our principal characters. [Leo] Tolstoy goes in for quite a bit of straight history in his book. I thought it was very important to go into all these battles and explore the pros and cons of things through the eyes of characters that we know and care about. 36

WS_DIST_0316_SEP PAGES_WSG_309_SEP PAGES 3/8/16 2:12 PM Page 3

DISTRIBUTORS

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 1

9 Story Media Group ADDRESS: 23 Fraser Ave., Toronto, ON M6K 1Y7, Canada TELEPHONE: (1-416) 530-9900 WEBSITE: www.9story.com PRESIDENT & CEO: Vince Commisso MANAGING DIRECTOR: Natalie Osborne VP, BUSINESS DEVELOPMENT: Claudia Scott-Hansen CONTACT: distribution@9story.com PROGRAMS: Nature Cat: 80x11 min., animated/comedy; Camp Lakebottom: 104x11 min., animated/comedy; Daniel Tiger’s Neighbourhood: 80x11 min. + 50 eps. in prod., animated/preschool; Wild Kratts: 118x22 min., animated/adventure/comedy; Peg + Cat: 80x12 min. + 50 eps. in prod., animated/preschool; Nerds and Monsters: 80x11 min., animated/comedy; Numb Chucks: 52x11 min. + 52 eps. in prod., animated/comedy; Guess How Much I Love You: The Adventures of Little Nutbrown Hare: 78x11 min., animated/preschool; Get Ace: 52x11 min., animated/ comedy; Haunted Tales: 40x11 min., animated/comedy. “9 Story Media Group is a leading content creator, marketer and distributor of kids- and familyfocused intellectual property. Recognized around the world for best-in-class brands such as Daniel Tiger’s Neighbourhood, Wild Kratts, Numb Chucks and Peg + Cat, 9 Story represents over 2,150 half-hours of animated and live-action programming, seen on some of the most respected international channels and platforms. With one of North America’s largest animation studios, 9 Story employs over 250 creative and production staff in its Toronto facility and has produced over 900 half-hours of award-winning children’s content.” —Natalie Osborne, Managing Director

WS_DIST_316__GUIDE 3/8/16 3:49 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 2

AFL Productions ADDRESS: 1519 37th Ave., San Francisco, CA 94122, U.S.A. TELEPHONE: (1-415) 661-6146 WEBSITE: www.aflproductions.com HEAD, DEVELOPMENT & DISTRIBUTION: Yuri Volodarsky HEAD, SALES: Julia Belova CONTACTS: volax@netwiz.net; jb@aflproductions.com PROGRAMS: Accidents: 670x26 min. & 60x24 min., reality; Outrageous & Hilarious: 26x30 min., comedy; Painfully Funny: 52x30 min., comedy; Naked & Funny: 340x30 min., hidden camera; 2Rude4UTube: 136x30 min., comedy; Curse of the Diamonds: 4x50 min., historical drama; Animal Wars: 1x74 min., animated; New Year’s Shorts: 10x2 min. & 15x1 min., animated; SOS!: 62x1 min., animated; Recipes for All: 300x3 min., cooking. “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. We are well-known for our outstanding shows Naked & Funny, 2Rude4UTube, Painfully Funny, Outrageous & Hilarious, our prime-time miniseries Curse of the Diamonds, Police Patrol, Merry Family, television movies Pisa’s Tower, Animal Wars and many others. We’ve also collected life’s most shocking, outrageous, sexy, crazy, funny and hilarious moments, caught on tape by real people shooting the funniest, edgiest, nuttiest HD videos you’ve ever seen. We’ve got the clips you need!” —Yuri Volodarsky, Head, Development & Distribution

WS_DIST_316__GUIDE 3/7/16 6:37 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 3

Applicaster ADDRESS: 1101 Brickell Ave., South Tower, 8/Fl., Miami, FL 33131, U.S.A. WEBSITE: www.applicaster.com CEO: Jonathan Laor GENERAL MANAGER, LATIN AMERICA & SPAIN: Laura Tapias GENERAL MANAGER, NORTH AMERICA: Ariel Galinsky GENERAL MANAGER, EUROPE: Peter Cassidy CONTACT: Sharona Meushar, s.meushar@applicaster.com “The future of TV is apps. Applicaster, the leading provider of app-driven TV experiences, equips broadcasters and content owners with creative tools, technology and integrations to make their channels, shows and stars available in new ways on new devices. To date, Applicaster-powered TV apps are used by millions of viewers worldwide. The company’s SaaS model offers maximum modularity for broadcasters, which can either deploy a complete TV app service or select from a variety of second-screen and interactive TV modules for live and ondemand viewer engagement. Applicaster proudly counts among its customers RTL, Mediaset, ProSieben, Televisa, Telefe, Univision, FOX, MediaCorp and huge TV brands such as The Voice, The X Factor, The Amazing Race, MasterChef, Big Brother, Survivor, The Bachelor, Beauty and the Geek, So You Think You Can Dance, Copa America 2015, World Cup 2014, Sochi 2014 and many more.” —Corporate Communications

WS_DIST_316__GUIDE 3/7/16 6:26 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 4

ARTE France ADDRESS: 8, rue Marceau, 92785 Issy-les-Moulineaux Cx 9, France TELEPHONE: (33-1) 5500-7777 WEBSITE: sales.arte.tv/home HEAD, INTERNATIONAL SALES & CATALOGUE ACQUISITIONS: Heidi Fleisher CONTACT: h-fleisher@artefrance.fr PROGRAMS: Quest for the Perfect Athlete: 1x52 min., science; Brain Power: 2x52 min., science; Electricity: The Price to Pay: 1x52 min., current affairs; The Disappeared of Syria, An Invisible War: 1x52 min., current affairs; The Adventurers of Modern Art: 6x52 min., art; The Great Greek Myths: 20x26 min., ancient history; Anatomy of Crime Fiction: 3x52 min., pop culture; You’ll Die Less Stupid: 30x3 min., short content; Beatbox: Boom Bap Around the World: 1x52 min., contemporary music; Animals in Focus: 15x26 min., animals. “ARTE Sales is the international sales division of the European public broadcaster ARTE. With a catalogue of over 4,000 hours, ARTE Sales has established itself as a brand of creative, diverse and bold programs of impeccable quality. Recognized as a long-time reference in documentary film distribution, ARTE Sales has recently added drama and short content to the catalogue. Whether it be drama, history, society, current affairs, discovery, science, lifestyle or arts and culture, our programs reflect ARTE’s ambitious editorial policy and invite viewers to take another look at the world in which we live.” —Corporate Communications

WS_DIST_316__GUIDE 3/8/16 5:39 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 6:15 PM Page 5

Artist View Entertainment ADDRESS: 7141 Valjean Ave., Suite 200, Los Angeles, CA 91406, U.S.A. TELEPHONE: (1-818) 752-2480 WEBSITE: www.artistviewent.com PRESIDENT: Scott Jones VP, WORLDWIDE SALES: Jay Joyce CONTACT: jay@artistviewent.com PROGRAMS: A Rising Tide: 1x90 min., drama; The Architect: drama; Desiree: 1x93 min., thriller; Girl on the Edge: 1x100 min., drama; The Horde: action/horror; Charlotte’s Song: drama; Day Release: action; A Million Reasons to Die: 1x88 min., thriller; Warsaw 44: 1x119 min., drama; Expendable Assets: 1x90 min., action. “Founded in 1991, Artist View Entertainment is a leading independent worldwide distributor of feature films and TV movies of all genres. [We represent] both the international and domestic marketplaces for theatrical, DVD, television and VOD/digital rights. With over 250 films in its library, Artist View continues to grow at an impressive rate. Artist View prides itself on strong relationships with independent, selffinanced production companies. We work very closely with each producer in developing a strong marketing strategy to successfully license their content throughout the world. Artist View is a member of IFTA and exhibits at NATPE, Berlin Film Festival, Hong Kong FILMART, MIPTV, Cannes Film Festival, NATPE Europe, MIPCOM and AFM.” —Scott Jones, President

WS_DIST_316__GUIDE 3/7/16 5:24 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 6

Atlantyca Entertainment ADDRESS: Via Leopardi, 8, 20123 Milan, Italy TELEPHONE: (39-02) 430-0101 WEBSITE: www.atlantyca.com DISTRIBUTION MANAGER: Pedro Citaristi HEAD, ANIMATION DEPARTMENT & EXECUTIVE PRODUCER: Caterina Vacchi EXECUTIVE PRODUCER: Niccolo Sacchi PRODUCTION MANAGER: Lucia Scott CONTACT: pedrocitaristi@atlantyca.it PROGRAMS: Bat Pat: 52x11 min. HD, animated; Geronimo Stilton: 78x23 min. HD, animated; Nutri Ventures: 52x23 min. HD, animated; Jurassic Cubs: 91x13 min., animated; Dive Olly Dive: 104x11 min., animated; Bolts & Blip: 26x22 min., animated; Taka & Maka: 40x1 min., animated.

“Our company maintains production and distribution, licensing, publishing and foreign-rights sales divisions and has now expanded with the establishment of our Atlantyca Live! division to develop and produce live stage events. Atlantyca is the IP rights owner of the well-known Geronimo Stilton brand and all of its franchises. Our production and distribution arm is attending this market to introduce the 26x22-minute The New Adventures of Geronimo Stilton, a co-production with French company Superprod along with the participation of RAI Fiction and France Télévisions, and our newest animated comedy/adventure series called Bat Pat (52x11 min.) with co-production partners Imira Entertainment and Mondo TV. Bat Pat is a spooky animated adventure/comedy series that proves the supernatural isn’t always evil, just misunderstood. RAI Fiction (Italy) and RTVE (Spain) are broadcast and participation partners.” —Corporate Communications

WS_DIST_316__GUIDE 3/7/16 9:33 AM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 6:16 PM Page 7

Beyond Distribution ADDRESS: 167-169 Wardour St., London W1F 8WP, U.K. TELEPHONE: (44-20) 7323-3444 WEBSITE: www.beyonddistribution.com GENERAL MANAGER: Michael Murphy HEAD, SALES: Munia Kanna-Konsek CONTACT: sales@beyonddistribution.com PROGRAMS: Beach Cops: 6x30 min., crime/investigation; Too Many Cooks: 12x30 min., lifestyle; Carluccio’s Six Seasons: 6x30 min., lifestyle; Love It or List It: Vacation Homes: 13x60 min., lifestyle; Beyond Sahara: 2x60 min., adventure/lifestyle; The Other Prince William: history; Ice Stars: 10x30 min., kids/family; A Week to My Wedding: 6x30 min., factual entertainment; Crumlin Children’s Hospital: 4x60 min., health/medicine; You Should Really See a Doctor: 6x30 min., health/medicine.

“Beyond Distribution is a division of Beyond Entertainment, a leading international media and content business since 1985. Beyond Distribution is a successful distribution company responsible for turning a multitude of programs into international success stories. With sales, administration and acquisition executives based across the globe, Beyond Distribution’s name is synonymous with content of broad appeal to television audiences worldwide. Our top-quality catalogue comprises over 4,000 hours of high-caliber commercial programming in a wide variety of genres. Over 50 percent of Beyond’s catalogue originates from well-respected independent producers and broadcasters from around the world. Beyond Distribution is large enough to make an impact with key clients but small enough to offer a boutique service to producers.” —Corporate Communications

WS_DIST_316__GUIDE 3/8/16 10:31 AM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 8

Blue Ant International ADDRESS: 130 Merton St., Suite 200, Toronto, ON M4S 1A4, Canada TELEPHONE: (1-416) 646-4434, ext. 4508 WEBSITE: www.blueantinternational.com SENIOR VP, INTERNATIONAL: Solange Attwood DIRECTOR, INTERNATIONAL SALES & ACQUISITIONS: Gwen Jones McCauley DIRECTOR, INTERNATIONAL SALES: Kate Blank CONTACT: Saida Ali, saida.ali@blueantmedia.ca PROGRAMS: Airport Impossible: 10x60 min. HD, factual entertainment; Fish of the Day: 10x30 min. HD, nature/wildlife; Post My Party: 13x30 min. HD, lifestyle; Paranormal Investigators: 13x60 min. HD, factual entertainment; Secrets and Legends: 20x30 min. HD, nature/wildlife; The Cowboy: 2x45 min. HD, documentary; Murder U: 6x60 min. HD, crime/investigation; Secret Life of the Koala: 2x60 min. 4K & HD, nature/wildlife; Coastal Africa: 4x60 min. 4K & HD, nature/wildlife; Endless Yard Sale Showdown: 8x60 min. HD, lifestyle. “Blue Ant International brings a fresh and collaborative approach to connecting creators with decision-makers in the international marketplace. Positioned as the leading distributor of 4K unscripted content worldwide, Blue Ant International’s catalogue of 1,700-plus hours of top-tier programming includes 4K natural history, factual, reality, lifestyle, formats, documentaries, series and one-offs. Our approach stresses the importance of personal relationships, while employing a 360-degree approach to rights exploitation. We attend all major television markets, including MIPDoc, MIPTV, MIPCOM, Realscreen Summit, Realscreen West, Realscreen London, ATF, NATPE, Hot Docs, Sunny Side of the Doc, World Congress of Science & Factual Producers and the Banff World Media Festival.” —Corporate Communications

WS_DIST_316__GUIDE 3/4/16 3:57 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 6:17 PM Page 9

CAKE ADDRESS: 76 Charlotte St., 5/Fl., London W1T 4QS, U.K. TELEPHONE: (44-20) 7307-3230 WEBSITE: www.cakeentertainment.com CHIEF COMMERCIAL OFFICER & MANAGING DIRECTOR: Edward Galton SENIOR SALES MANAGER: Marie-Laure Roche CONTACTS: egalton@cakeentertainment.com; mlroche@cakeentertainment.com PROGRAMS: Angry Birds Toons: 104x3 min., kids 4+/ animated/comedy; Angelo Rules: S1 78x11 min./S2 46x11 min. & 3x22 min./S3 46x11 min. & 3x22 min., kids 6-12/ animated/comedy; My Knight and Me: 52x11 min., kids 6-11/ animated/comedy/adventure; Piggy Tales: 55x1 min., kids 4+/ animated/comedy; Ready Jet Go!: 40x30 min., kids 3-8/ animated/entertainment/educational; So Awkward: 26x28 min., kids 8-12/live action/comedy; Total Drama Presents: The Ridonculous Race: 26x30 min., kids 8-12/animated/ action/comedy; Trunk Train: 52x11 min., kids 6-11/animated/ action/comedy; Wanda and the Alien: 52x11 min., kids 3-6/ animated/preschool/entertainment; Woozle & Pip: 52x5 min., kids 2-6/animated/preschool/entertainment.

“CAKE is one of the world’s leading kids’ and family entertainment specialists working with animation and live-action producers from around the world to develop, co-produce, commercially position and manage their IP propositions for the international market. CAKE handles traditional television rights as well as digital, online and ancillary commercial rights. The company looks after a diverse and distinctive range of animated and live-action programming from leading international producers on programs such as the preschool space series Ready Jet Go! (40 half-hours) created by Craig Bartlett (Dinosaur Train, Hey Arnold!) and airing nationwide on PBS next year; all Angry Birds TV content based on the hugely successful gaming franchise; the Emmy-nominated Angelo Rules, now in its third season; and So Awkward, a live-action series airing successfully on CBBC in the U.K. London-based CAKE was set up in 2002 and is headed up by Ed Galton and Tom van Waveren.” —Corporate Communications

WS_DIST_316__GUIDE 3/9/16 12:47 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 10

Calinos Entertainment ADDRESS: Kavacik Mah. Ekinciler Cad. Necip Fazil Sok., Calinos Plaza No: 6, Beykoz, Istanbul, Turkey TELEPHONE: (90-216) 999-4999 WEBSITE: www.calinosentertainment.com GENERAL MANAGER: Besir Tatli INTERNATIONAL SALES DIRECTOR: Ismail Dursunov CONTACT: info@calinosentertainment.com PROGRAMS: The Girl Named Feriha: 187x45 min., drama/ romance; Relationship Status: It’s Complicated: 35+x45 min., romance; Emergency Love: 49+x45 min., romance; Dangerous Beauty: 46 eps., drama/romance; Only You: 1x105 min., drama/romance; Miracle: 1x136 min., drama; Love, Just a Coincidence: 1x118 min.; Evliya Celebi: Elixir of Life: 1x105 min., animated/feature film; The Long Way Home: 1x112 min., feature film.

“Established in 1997, Calinos Entertainment was the first company to sell Turkish TV series and films overseas, which eventually led to a phenomenon all around the world. The company appeals to a large audience with its selection from world cinema. The company also acquires home video and TV rights for titles to reach a broader audience. Calinos Entertainment, with its modern vision, is aiming to pioneer the improvement and innovation of the media sector by bringing the developments of the future to [today]. Calinos is in pursuit of excellence in every industry with its young and talented team of professionals. With a management that believes the secret of success lies within team spirit, Calinos is carrying its brand to the next level as the new era’s innovative company.” —Besir Tatli, General Manager

WS_DIST_316__GUIDE 3/7/16 11:39 AM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 11

CJ E&M ADDRESS: 16/Fl., CJ E&M Center, 66 Sangamsan-ro, Mapo-Gu, Seoul, Korea 03926 TELEPHONE: (82-2) 371-8684 WEBSITE: lineup.cjenm.com CEO, MEDIA CONTENTS DIVISION: Deokjae Lee HEAD, INTERNATIONAL SALES & ACQUISITIONS: Jangho Seo CONTACT: Albert Park, albert.park@cj.net PROGRAMS: Cheese in the Trap: 16x60 min., drama; Signal: 16x60 min., drama; Local Hero: 16x60 min., drama; We Kid: 12x60 min., studio entertainment/music; The Acting School: 12x70 min., variety/entertainment; Look What Your Hubby Did: 14x45 min., variety/entertainment; I Can See Your Voice: 12x60 min., studio entertainment/music; Dancing 9: 10x90 min., competition/reality; The Bunker: 12x60 min., automotive/infotainment.

“CJ E&M is Asia’s leading content and media company, headquartered in Seoul, Korea. It has four main business units: broadcast, film (CJ Entertainment), music and live entertainment. Since 2011, CJ E&M has been contributing to the promotion of Korean culture around the world through the company’s ‘one source, multi-content’ strategy. As a trend leader in Asia, CJ E&M has produced and distributed various popular content, some of which include Asia’s largest music festival Mnet Asian Music Awards (MAMA), leading Hallyu convention KCON, Tony Award-winning musical Kinky Boots, record-breaking box-office hits Roaring Currents (2014) and Ode to My Father (2014), along with sought-after television series The Incomplete and Grandpas over Flowers. With regional offices in Asia and the U.S., CJ E&M currently employs over 2,000 people worldwide.” —Jangho Seo, Head, International Sales & Acquisitions

WS_DIST_316__GUIDE 3/7/16 9:50 AM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 12

Cyber Group Studios ADDRESS: 44B quai de Jemmapes, 75010 Paris, France TELEPHONE: (33-1) 555-63213 WEBSITE: www.cybergroupstudios.com CHAIRMAN & CEO: Pierre Sissmann VP, SALES, ACQUISITIONS & NEW MEDIA: Marie Conge CONTACT: Eve Cohen, ecohen@cybergroupstudios.com PROGRAMS: Zorro the Chronicles: 26x22 min. HD, kids 6-12/ animated/adventure/comedy; Mini Ninjas: 52x11 min. HD, kids 6-12/animated/action/comedy; The Long Long Holiday: 10x26 min. HD/5x50 min. HD, kids 6-12/animated/adventure; G-Fighters: 26x22 min. HD, kids 6-10/animated/action/comedy; Zou 3: 156x11 min. HD, kids 3-6/animated; Mia: 39x11 min. HD, kids 2-6/animated; Mademoiselle Zazie: 78x7 min. HD, kids 5-8/ animated/adventure; Balloopo: 52x11 min. HD, kids 3-6/ animated/adventure; Tales of Tatonka: 52x13 min. HD, kids 4-8/ animated/educational/adventure/documentary/live footage; Mirette Investigates: 52x11 min. HD, kids 6-10/animated/ comedy/adventure.

“Cyber Group Studios is a French independent multi-awarded producer and distributor specialized in top-quality kids’ programming with strong international appeal. Our rich and varied library boasts 1,000 half-hours of programming targeted at kids and family. We collaborate with the best creative talents around the world, develop breakthrough technology to enhance our productions and also associate with other top producers to help them bring to market outstanding new productions through our distribution network. In 2015, Cyber Group Studios celebrated its tenth anniversary during MIPJunior with the world premiere of Zorro the Chronicles. With six animated series currently slated for production in 2016, including Zou 3, Mirette Investigates, Pirates Next Door and the Brown Bag co-pro Gilbert and Allie, we also present our new projects such as Enchanted Sisters and BouBouh, two new co-productions with The Jim Henson Company, as well as our new CGI preschool series Gigantosaurus.” —Marie Conge, VP, Sales, Acquisitions & New Media

WS_DIST_316__GUIDE 3/7/16 12:19 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 13

Distribution360 ADDRESS: 74 Fraser Ave., Suite 100, Toronto, ON M6K 3E1, Canada TELEPHONE: (1-416) 646-2711 WEBSITE: www.distribution360.com CEO: Mark Bishop SENIOR VP, INTERNATIONAL SALES & ACQUISITIONS: Diane Rankin CONTACT: sales@distribution360.com PROGRAMS: Tales by Light: 6x30 min., documentary; Britain’s Ultimate Pilots: Inside the RAF: 4x60 min., documentary; Messages from Spirit: 26x30 min., lifestyle; The Concert Series: 28x60 min., documentary/arts; Chasing Snowflakes: 1x60 min., documentary/science; Open House Overhaul: 14x30 min., factual; YaYa & Zouk: 78x5 min., animated/ preschool; Mississippi Snake Grabbers: 12x30 min., factual; YOUniverse: 26x2 min., mixed media. “Distribution360 (D360) is a dynamic and innovative rights-management business positioned to monetize content across all existing and emerging platforms, with a focus on kids’ and factual programming. At MIPTV we unveil our distribution partnership with ZoomerMedia. D360 is launching 150 hours of new original programming from Canada’s leading content provider to the baby-boomer generation—the most lucrative advertising demographic worldwide. Leading titles include The Concert Series, which features musical performances by the greatest classical musicians on the world stage today, and Messages from Spirit, which lets viewers explore the afterlife with intuitive, bestselling author Colette Baron-Reid. We are also excited to debut our first 4K series, Tales by Light, which gives viewers access to little-known and littleunderstood corners of the earth with stunning imagery captured by the lenses of world-renowned photographers who blur the lines between science, art and photography. Following our recent deal with Sprout in the U.S., we are showcasing more English episodes of the preschool animated brother-sister series YaYa & Zouk.” —Diane Rankin, Senior VP, International Sales & Acquisitions

WS_DIST_316__GUIDE 3/7/16 12:29 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 6:18 PM Page 14

Endemol Shine International ADDRESS: Shepherd’s Building Central, Charecroft Way, London W14 0EE, U.K. TELEPHONE: (44-870) 333-1700 WEBSITE: www.endemolshinedistribution.com CHIEF EXECUTIVE: Cathy Payne EXECUTIVE VP, SALES & ACQUISITIONS, AMERICAS, ASIA, AUSTRALIA & NEW ZEALAND: Matt Creasey EXECUTIVE DIRECTOR, EMEA: Mark Lawrence CONTACT: Shannon Becker, shannon.becker@endemolshine.com PROGRAMS: Intersection: 13x120 min., drama; Mossad 101: S1 13x60 min./S2 13x60 min., drama; Spring Tide: 10x60 min., drama; The Orpheus Project: 10x60 min., drama; Dark Angel: 3x60 min., drama; Brock: 4x60 min., drama; The Tunnel Sabotage: 8x60 min., drama; Flowers: 6x30 min., comedy; Hunted: reality/thriller; The Brain: entertainment.

“Global distributor Endemol Shine International has a portfolio of over 38,000 hours of owned and third-party programming across scripted and non-scripted genres. This includes Broadchurch, Peaky Blinders, The Fall, Humans, The Frankenstein Chronicles, Code of a Killer, Jonathan Strange and Mr Norrell, Grantchester, Kingdom, Hot in Cleveland, Home and Away, MasterChef, The Block, 24 Hours in A&E, Anthony Bourdain Parts Unknown, One Born Every Minute, My Kitchen Rules, The Biggest Loser and Mr Bean. Endemol Shine International has regionally focused distribution hubs in London, Los Angeles, Paris, Sydney, Miami, São Paulo, Moscow, Singapore and Mumbai, which serve broadcasters and other platforms in every market. Endemol Shine International is part of Endemol Shine Group, the new joint venture bringing together Endemol Group and Shine Group to create a global content creator, producer and distributor with a diverse portfolio of over 600 revenuegenerating titles across scripted and non-scripted genres, coupled with digital, gaming and distribution operations.” —Corporate Communications

WS_DIST_316__GUIDE 2/25/16 4:44 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 15

Entertainment One ADDRESS: 134 Peter St., Suite 700, Toronto, ON M5V 2H2, Canada TELEPHONE: (1-416) 646-2400 WEBSITE: www.eonetv.com EXECUTIVE PRESIDENT & CEO: Darren Throop PRESIDENT, ENTERTAINMENT ONE TELEVISION INTERNATIONAL: Stuart Baxter CONTACT: sbaxter@entonegroup.com PROGRAMS: The Walking Dead: S6 16x60 min., drama/ suspense; Fear the Walking Dead: S2 15x60 min., drama/suspense; TURN: Washington’s Spies: S3 10x60 min., drama; Cardinal: 6x60 min., drama; You, Me, Her: 10x30 min., dramedy; Private Eyes: 10x60 min., drama; Saving Hope: S5 18x60 min., drama; See No Evil: S2 13x60 min., true crime; Making of the Mob: Chicago: 8x60 min., crime/docudrama; Serial Thriller: 9x60 min., crime/thriller. “Entertainment One (eOne) is a leading international entertainment company that specializes in the acquisition, production and distribution of film and television content. The company’s comprehensive network extends around the globe, including Canada, the U.S., the U.K., Ireland, Spain, Benelux, France, Germany, Scandinavia, Australia, New Zealand and South Africa. Through established film and television divisions, the company provides extensive expertise in film distribution, television and music production, family programming, merchandising and licensing, and digital content. Its current rights library is exploited across all media formats and includes more than 40,000 film and television titles, 4,500 hours of television programming and 45,000 music tracks. With television development anchored in key Englishlanguage markets and robust sales capabilities worldwide, eOne Television partners with the best creative talent from around the globe to develop, produce, acquire and deliver world-class programming across all genres. The current production slate includes Mary Kills People, Cardinal, Private Eyes and You, Me, Her. Successful original productions include Bitten, Saving Hope, Hell on Wheels, Rookie Blue, Rogue, Haven and The Book of Negroes. The company’s sales arm, eOne Television International, drives the division’s global sales and marketing efforts and delivers original and third-party productions to over 500 broadcasters and digital platforms in over 150 countries, including key U.S. networks and international pay-TV channels.” —Corporate Communications

WS_DIST_316__GUIDE 3/9/16 10:55 AM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 16

FOX ADDRESS: 10 Hammersmith Grove, London W6 7AP, U.K. TELEPHONE: (44-203) 426-7000 WEBSITE: ficcontentsales.com SENIOR VP, GLOBAL HEAD, CONTENT SALES: Prentiss Fraser CONTACT: prentiss.fraser@fox.com PROGRAMS: The Story of God with Morgan Freeman: 6x60 min., religion/history/science; Breakthrough: 6x60 min., science; He Named Me Malala: 1x90 min., people/biography; Undercover Angel: 10x60 min., people; Fearless Chef: 10x60 min., food/travel/ adventure; Brain Games: S5 6x60 min., popular science/format; The Strange Truth: 4x60 min., science; Wild Yellowstone: 2x60 min., natural history; Our Big Blue Backyard: S2 6x60 min., natural history; Greeks: 3x60 min., history. “We are the leading global distributor for FOX and National Geographic Channels, representing high-quality scripted and unscripted programming and formats. We manage a library of over 15,000 hours of award-winning, exclusive and top-rated signature series and specials owned, developed and produced by Fox, National Geographic, 24Kitchen, Fox Life, Voyage and BabyTV channels, as well as many independent production partners from around the world. Our international positioning gives us access to multiple language versions, as well as locally created series and formats produced across Latin America, Europe and the Asia Pacific. With dedicated sales and creative teams across 62 hubs worldwide, Fox is strongly positioned to service its compelling content to multimedia clients and offer independent producers an allencompassing distribution service.” —Prentiss Fraser, Senior VP, Global Head, Content Sales

WS_DIST_316__GUIDE 3/8/16 1:42 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 17

Globo ADDRESS: Rua Evandro Carlos de Andrade 160, 7/Fl., Vila Cordeiro 04583-115, São Paulo, Brazil TELEPHONE: (55-11) 5112-4298 WEBSITE: www.globo.com/licensing HEAD, INTERNATIONAL BUSINESS: Ricardo Scalamandré HEAD, INTERNATIONAL SALES: Daniel Djahjah CONTACTS: Carolina Krambeck, carolina.krambeck@tvglobo.com.br; Rodrigo Vilela, rodrigo.vilela@tvglobo.com.br PROGRAMS: Boogie Oogie: 90x60 min., telenovela; Forever and Ever: 120x60 min., telenovela; Hidden Truths: 50x60 min., telenovela; Ambitious Women: 100x60 min., telenovela; Parts of Me: 75x60 min., telenovela; Rules of the Game: 140x60 min., telenovela; Happily Ever After?: 8x60 min., miniseries; Dear Death: 4x60 min., miniseries; Last Night: 1x100 min., feature film; Good Luck: 1x90 min., feature film.

“Globo entered the international market when it licensed the telenovela O Bem Amado in 1973. Since then, our titles have been capturing the imagination of viewers around the world. Our catalogue has expanded over the years and now also offers documentaries, special programs, films produced by Globo Filmes and, most recently, children’s programming from the channel Gloob. Over these four decades, about 130 titles were broadcast in more than 170 countries. Recognized for the quality of its productions, Globo has won 14 International Emmy Awards. In 2009, it expanded its operations to co-productions and in 2015 Globo [launched] the series Supermax, its first original production for the Ibero-American market. With Globo’s executive production, the infrastructure of Globo Studios and artistic direction by Daniel Burman, the series features an international cast, which reinforces its universal appeal and its ability to reach audiences in several countries.” —Ricardo Scalamandré, Head, International Business

WS_DIST_316__GUIDE 3/4/16 3:58 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 6:19 PM Page 18

GMA Worldwide ADDRESS: 10/Fl., GMA Network Center, EDSA corner Timog Ave., Diliman, Quezon City 1103, Philippines TELEPHONE: (632) 982-7777, ext. 9391 WEBSITE: www.gmaworldwide.tv PRESIDENT: Anna Teresa M. Gozon-Abrogar VP: Roxanne J. Barcelona SENIOR SALES MANAGER: Manuel Paolo J. Laurena CONTACT: mjlaurena@gmanetwork.com PROGRAMS: Beautiful Strangers: 43x45 min., melodrama; Buena Familia: 80x45 min., melodrama; My Faithful Husband: 39x45 min., melodrama; The Rich Man’s Daughter: 35x45 min., romance; Little Mommy: 40x45 min., family drama; Destiny Rose: 60x45 min., melodrama; Because of You: 40x45 min., romance; Wish I May: 30x45 min., romance; My Superstar: 40x45 min., romance/comedy.

“GMA Worldwide Inc. (GWI), a subsidiary of GMA Network, is in the business of worldwide distribution of GMA’s content ranging from melodrama, romance and romantic comedy. This year, GWI celebrates its 20th year in the industry and aims to further strengthen its partnerships with broadcasters in the Asia Pacific, North America and South America, and Africa. GMA Worldwide believes that its continuous participation in international markets will provide opportunities to meet and do business with buyers who are interested in Filipino content. For MIPTV, GMA Worldwide will showcase titles that were highly successful in the Philippines. Some of the titles are Beautiful Strangers, Buena Familia, My Faithful Husband, The Rich Man’s Daughter, Little Mommy, Destiny Rose, Because of You, Another Chance, Wish I May, My Superstar, Poor Señorita and Till We Meet Again, to name a few. This year we will focus on forging new partnerships in South America. We recently sold a drama format, My Little Heiress, to a Mexican production company, Telefilm Atlantico. We finalized a package of dramas in Canada for free TV. We continue to look for new markets for our dramas and drama formats, and we are optimistic that this year more deals will be finalized with new clients.” —Roxanne J. Barcelona, VP

WS_DIST_316__GUIDE 3/8/16 9:20 AM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 6:20 PM Page 19

INK Global ADDRESS: Gothersgade 12, 1/Fl., 1123 Copenhagen, Denmark WEBSITES: www.ink-brands.com; www.inkubator.com MANAGING PARTNER: Claus Tømming MEDIA DIRECTOR: Bruno Zarka CONTACT: bz@ink-brands.com PROGRAMS: Masha and the Bear: S1 26x7 min./S2 26x7 min., animated; Masha’s Tales: 26x6 min., animated; Masha’s Spooky Stories: 26x6 min., animated; The Mojicons: S1 26x12 min./S2 26x12 min., animated; The Fixies: S1 52x6 min./26x12 min./S2 52x6 min./26x12 min., animated; Tindili: S1 26x12 min., animated.

“The [foundation] of the INK Global vision is simply that we are just storytellers. Behind this short sentence is the understanding that nothing will be easy and that any story creates a bond between the audience and the teller. We decided to look for stories from the most unexpected places in the world, and because they are good stories and we can be good tellers, they will create that bond [with] children everywhere. We are always looking for projects that combine distinct originality with a really strong story, as this appeals not only to international media buyers, but also, most importantly, to kids. We don’t represent a lot of shows, as we value quality over quantity, but all these projects definitely fit the bill and will benefit from our long-term dedicated global cross-media plan for building a franchise.” —Claus Tømming, Managing Partner

WS_DIST_316__GUIDE 3/7/16 9:43 AM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 20

Lightning International ADDRESS: Khuan Ying Building, 11/Fl., 85 Wellington St., Central, Hong Kong TELEPHONE: (852) 2815-7481 WEBSITE: www.lightninginternational.net CEO: James Ross CONTACT: Amanda Yang, amanda@lightninginternational.net PROGRAMS: Essence of India: 10x30min., food/travel; The Winemakers: 13x30 min. 4K, entertainment; Sindbad & the 7 Galaxies: 26x15 min., animated; Chef Next Door: 13x30 min., food; Funnymals: 26x30 min., entertainment; Recipes for Success: 8x30 min., food/travel; The Boat Show: 20x30 min. 4K, lifestyle; Christmas Carols: 1x120 min., music; Music for Elephants: 1x60 min., documentary; Serial Swindlers: 13x30 min., documentary.

“Lightning International is based in Hong Kong and the U.K. 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, ITV, TV5MONDE, ESPN, Al Jazeera, Star TV, Bloomberg TV, etc. 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. We also offer representation and consulting services to media companies who don’t yet have an office in Asia.” —James Ross, CEO

WS_DIST_316__GUIDE 3/8/16 9:24 AM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 6:20 PM Page 21

m4e/Telescreen ADDRESS: Altlaufstr. 42, 85635 HoehenkirchenSiegertsbrunn, Germany TELEPHONE: (49) 8102-99453-0 WEBSITE: www.m4e.de CEO, M4E: Hans Ulrich Stoef GENERAL MANAGER, TELESCREEN: Sjoerd Raemakers CONTACT: sjoerd@telescreen.nl PROGRAMS: Wissper: 52x7 min., girls 4-7/animated/comedy/ adventure/preschool; Mia and me: 78x23 min., girls 6-12/live action/animated/fantasy/adventure; Tip the Mouse: 52x7 min., kids 3-6/animated/comedy/preschool; Tobot: 58x22 min., boys 3-8/animated/family/adventure; Julio Bunny: 52x11 min., kids 3-6/animated/adventure/comedy/preschool; Miffy’s Adventures, Big and Small: 52x7 min., kids 3-6/animated/ comedy/preschool; Conni: 26x11.5 min., kids 3-6/animated/ family/edutainment; Lizzie McGuire: 65x24 min., girls 8-14/ live action/animated/comedy; Hans Christian Andersen: The Fairytaler: 26x30 min., family/animated/adventure/drama; The Cramp Twins: 104x11 min., kids 8-12/animated/comedy.

“The m4e Group is an international kids’ and family entertainment and brand-management company. With deep know-how, we manage all aspects from production up to finished merchandise products in order to roll out brands internationally. We work with many animation and liveaction producers, create [our] own original content and produce/co-produce, distribute and manage brands worldwide. m4e’s library of nearly 2,300 episodes features recognizable brands such as Mia and me, Tip the Mouse, Miffy and Friends and many more. Currently m4e has 130 episodes in production and many new shows in development. Our subsidiary company Telescreen provides strategic media distribution also to third parties. Apart from m4e’s productions, Telescreen represents a wide range of international producers and broadcasters, selling and distributing highquality programs to all major international TV channels. The joint venture with Planeta Junior strengthens our distribution for TV and especially licensing and merchandising with offices in nine countries.” —Hans Ulrich Stoef, CEO, m4e

WS_DIST_316__GUIDE 3/8/16 10:33 AM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 6:21 PM Page 22

Mondo TV ADDRESS: Via Brenta, 11, 00198 Rome, Italy TELEPHONE: (39-06) 8632-3293 WEBSITE: www.mondo-tv.com CEO: Matteo Corradi HEAD, INTERNATIONAL SALES & BRAND MANAGER: Micheline Azoury CONTACT: mondotv@mondotv.it PROGRAMS: Adventures in Duckport: 52x11 min. HD, animated; Bug Rangers: 52x11 min. HD, animated; Cuby Zoo: 52x11 min. HD, animated; Eddie Is a Yeti: 52x3 min. HD, animated; Lulu Vroumette: 52x5 min. HD, animated; Nori: RollerCoaster Boy: 52x11 min. HD, animated; Secret Wings Pollen Princesses: 26x13 min. HD, animated; Sissi the Young Empress: 26x26 min. HD, animated; The Treasure Island: 26x26 min. HD, animated; YooHoo & Friends: 52x13 min. HD, animated. “Mondo TV is a group of companies that is a leader in Italy and among the primary European operators in the production and distribution of animated TV series and full-length feature films for TV and cinema. It owns one of the largest animation libraries consisting of more than 1,600 episodes of television series for all over the world together with more than 75 animated movies for video and theatrical release. The headquarters is in Rome and it is made up of an active international sales team headed by Micheline Azoury, who takes direct care of French-speaking territories as well as the Middle East, Africa, Europe, Australia and Asia, and Alessandro Venturi, who handles Eastern Europe. In order to support the sales activities in the Eastern European markets, the group assigned a direct sales manager for Greece, Cyprus and ex-Yugoslavia, Theo Kouroglou.” —Corporate Communications

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 6:23 PM Page 23

Adventures in Duckport: The series will feature the original Suzy’s Zoo character set, which includes Suzy Ducken and her friends Jack Quacker, Penelope O’Quinn, Corky Turtle and others. The series will be targeted to children ages 4 to 8 and will follow the exciting and whimsical adventures of these characters as they interact with and show respect and love for the elder members of their community. Suzy, Jack, Penelope, Corky and their friends are ever helpful and do their best to save the day every chance they get, even if they end up in a pickle doing so! Cuby Zoo: A children’s animated TV show about cube-shaped animal characters, which form most ordinary children’s toys. However, when the nearby humans are away, they come to life to play and explore. They are kindhearted and sometimes mischievous creatures that play a vital but anonymous role in keeping the world in balance. They are custodians of our children’s happiness and also sometimes even guardians of our very civilization itself. Sissi the Young Empress: Sissi, the charming young empress of Austria, is a historical figure who has impressed the popular imagination, especially among women. Novels, films and TV dramas have brought back the life of Elisabeth of Wittelsbach, who everyone keeps on calling Sissi. In this project, there is a version of Sissi based on her story with an emphasis on the modern personality and freedom of the young empress, on the relationship with her large family and, above all, with her lover Franz. The Treasure Island: This animated series was born from the masterpiece of R. L. Stevenson, and from the beginning it blends the classic story with a wider and more complex one. The protagonist is Jim Hawkins, an English preteen boy of the 18th century. He opens the first episode and all the subsequent ones writing in a diary in his dorm at the college of the British Admiralty, which hosts the cadets of the Royal School of Captaincy. Jim will tell viewers about incredible adventures looking for treasure. Eddie Is a Yeti: Eddie is a yeti but the world isn’t ready for yetis yet so he constantly has to be in disguise. Eddie used to live up in the glaciers of Alaska but his adventurous and curious nature led him to explore the greener areas of Alaska. While exploring the quaint town of Winnetka, Alaska, Eddie befriends a young girl named Polly, who saves him from an animal trap left in the woods. Although curious and smart, Polly is somewhat shy. Eddie’s outgoing personality is able to get her to come out of her shell. In return, she knows how to make sure he doesn’t get into too much trouble.

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 24

Multicom Entertainment Group ADDRESS: 1575 Westwood Blvd., Suite 300, Los Angeles, CA 90024, U.S.A. TELEPHONE: (1-310) 445-0700 WEBSITE: www.multicom.tv CHAIRMAN: Irv Holender PRESIDENT: Darrin Holender MANAGER, ACQUISITION, PRODUCTION & MARKETING: Jesse Baritz SALES, U.K.: Susan Hewitt CONTACT: irv@multicom.tv PROGRAMS: The Go-Go Boys: feature, documentary; Bereave Me Not: feature, drama/romance; Blood Is Blood: feature, thriller; William Kelly’s War: feature, war; Sir Arthur Conan Doyle’s The Lost World: 66x60 min., adventure; Peakviewing Films Library: features, family; Classic Television Series Package: 700+ hrs.; Factual Entertainment Package: 3,000+ hrs., factual/history/documentary/biography/music; Scripted Television Series Package; Cult Classic Film Library: action/horror/suspense/comedy.

“Headquartered in Los Angeles, Multicom Entertainment Group was established by veteran television executive Irv Holender to serve as an independent global television distribution company with a focus on the worldwide television market, as well as digital media platforms, including pay-perview, internet, mobile channels, publishing, licensing and merchandising. Multicom Entertainment is also involved in co-productions of original programming, working in joint venture with leading broadcasters and entertainment companies. Multicom’s catalogue in total can deliver over 3,500 hours of broadcast-quality content to all markets worldwide.” —Darrin Holender, President

WS_DIST_316__GUIDE 3/9/16 11:22 AM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 6:23 PM Page 25

ORF-Enterprise ADDRESS: Euro Plaza, Building A, Am Europlatz 1, 1120 Vienna, Austria TELEPHONE: (43-1) 87878-13030 WEBSITES: contentsales.orf.at; enterprise.ORF.at MANAGING DIRECTOR & CFO: Beatrice Cox-Riesenfelder HEAD, CONTENT SALES INTERNATIONAL: Marion Camus-Oberdorfer CONTACT: Sandra Kirschner, sandra.kirschner@orf.at PROGRAMS: The Canary Islands: 2x52 min., documentary/ nature/wildlife; The Secret Life of Snakes: 1x52 min., documentary/nature/wildlife; Turtle Hero: 1x52 min., documentary/ nature/wildlife; Making an Ancient Forest: 1x52 min., documentary/nature/wildlife; Transhumance: Europe’s Last Nomads: 1x52 min., documentary/nature/wildlife; Suburbia: Women on the Edge: 20x48 min., comedy; Backwood Crimes: 7x90 min., TV movie; The Vienna Boys’ Choir: A Polyphonic Youth: 1x45 min., music; Healing Tones: 1x54 min., science; L’Elisir d’Amore: St. Margarethen Open Air Opera: music.

“Suburbia: Women on the Edge goes in a second round—a new season of the successful ORF series, which created phenomenal market shares in Austria, is available for MIPTV! [I am] sure that the ten new episodes live up to the resounding success [of the first season] and will not fail to attract both male and female viewers. Moreover, ABC has ordered a 30-minute pilot based on the ORF series Braunschlag. The U.S. adaptation, called Hail Mary, will be a comedic half-hour single-camera project. ORF’s UNIVERSUM strand [features] enthralling and breathtaking 4K impressions of the Canary Islands [in The Canary Islands] with its unique diversity of terrain and climate. Additionally, one of this year’s UNIVERSUM highlights, The Secret Life of Snakes, presents astonishing and exceptional insights into Europe’s most stunning snake species and guarantees goose bumps! One of the company’s main focus areas is, more than ever, the ongoing production of Ultra HD 4K programs.” —Marion Camus-Oberdorfer, Head, Content Sales International

WS_DIST_316__GUIDE 3/8/16 11:26 AM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 6:26 PM Page 26

Rainbow ADDRESS: Via Le Brecce, 60025, Loreto, Italy TELEPHONE: (39-071) 7506-7500 WEBSITE: www.rbw.it FOUNDER & CEO: Iginio Straffi SENIOR VP, LICENSING & ACQUISITIONS: Cristiana Buzzelli HEAD, SALES, TV SERIES, MOVIES & CO-PRODUCTION: Andrea Graciotti HEAD, SALES, TV: Luana Perrero CONTACT: Silvia Conti, silvia.conti@rbw.it PROGRAMS: Winx Club 7: 26x30 min. HD, adventure/action/ animated; Regal Academy: 26x30 min. HD, comedy/animated; Maggie & Bianca Fashion Friends: 52x24 min., comedy/drama/ live action; World of Winx: 13x22 min. HD, action/mystery/ animated; Mia and me: S1-2 52x30 min., adventure/live action/animated; Winx Club 6: 26x30 min., comedy/action/ animated; Winx Club 5: 26x30 min., comedy/action/animated; Winx Club 3D: Magical Adventure: 1x80 min., comedy/ action/animated; PopPixie: 52x13 min., comedy/animated; Huntik: S1-2 52x30 min., adventure/comedy/animated. “Rainbow Group is one of the biggest animation studios in the world and a leader in kids’ entertainment, employing over 1,000 people worldwide. The company comprises many divisions, including three Canadian animation studios (two in Vancouver, one in Kelowna), two in Italy (in Rome and Loreto) and subsidiaries in Russia, Hong Kong, Singapore and Malaysia. Rainbow’s successful distribution of its content in the media (TV, theatrical, internet), as well as in the consumer-products industry, has led to the company being number 12 on the yearly global licensor list worldwide and first in Europe. Rainbow’s property list includes Winx Club, Regal Academy, Maggie & Bianca Fashion Friends, Mia and me, Tommy & Oscar, Prezzy, Monster Allergy, Huntik Secret and Seekers, PopPixie, Maya Fox and Gladiators of Rome.” —Iginio Straffi, Founder & CEO

WS_DIST_316__GUIDE 3/8/16 9:25 AM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 6:26 PM Page 27

RCN Television ADDRESS: Ave. Americas, 65–82, Bogotá, Colombia TELEPHONE: (57-1) 426-9292 PRESIDENT: Gabriel Reyes Copello INTERNATIONAL SALES DIRECTOR: Maria Lucia Hernandez CONTACTS: mhernand@rcntv.com.co; Lina Waked, lwaked@rcntv.com.co; Carolina Lozano, clozano@rcntv.com.co PROGRAMS: Sugar (Azúcar): 80x60 min., series; Against the Time (Contra el Tiempo): 90x60 min., series; Celia: 80x60 min., series; Damned Temptation (Maldita Tentación): 47x60 min., series; A Thread of Blue Blood (Hilos de Sangre Azul): 70x60 min., series; Light of My Eyes (Luz de Mis Ojos): 100x60 min., series; Pambelé: 80x60 min., series; Love Storm (Tormenta de Amor): 80x60 min., series. “RCN Television is a leading company in the production of television and entertainment in Colombia, known both nationally and internationally for its high quality.” —Corporate Communications

WS_DIST_316__GUIDE 3/1/16 4:29 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 28

Red Arrow International ADDRESS: Medienallee 7, 85774 Unterföhring, Germany TELEPHONE: (49-89) 9507-2320 WEBSITE: www.redarrowinternational.tv MANAGING DIRECTOR: Henrik Pabst SENIOR VP, GLOBAL SALES: Bo Stehmeier CONTACT: info@redarrowinternational.tv PROGRAMS: Cleverman: 6x60 min., genre drama; My Diet is Better Than Yours: 8x60 min., format/factual entertainment/ reality; Bosch: S2 10x60 min., crime drama; Kiss Bang Love: format/entertainment; Case: 9x60 min., crime drama; The Day the Cash Came: format/reality; The Romeo Section: 10x60 min., thriller; All Hail the Veil: format/factual entertainment/reality; My Selfie Life: 10x30 min., factual/entertainment; Married at First Sight: format/U.S. version 23x60 min. & specials, factual entertainment/reality. “Red Arrow International is a world-leading TV distributor of scripted, factual and formatted shows from a global network of in-house production companies, outstanding third-party producers and digital-content partners. Red Arrow International is a major coproducer of global entertainment, providing substantial production financing for scripted and non-scripted projects. Recent international highlights include Bosch (Amazon) and Married at First Sight (A&E/FYI). With offices in Munich, Los Angeles and Hong Kong, Red Arrow International has a truly global reach and distributes acclaimed, quality content to over 200 territories worldwide. Red Arrow International is part of Red Arrow Entertainment Group, made up of 15 production companies across six countries. Red Arrow Entertainment is a ProSiebenSat.1 Media company.” —Henrik Pabst, Managing Director

WS_DIST_316__GUIDE 3/7/16 9:46 AM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 29

Rive Gauche Television ADDRESS: 15300 Ventura Blvd., #507, Sherman Oaks, CA 91403, U.S.A. TELEPHONE: (1-818) 784-9912 WEBSITE: www.rgitv.com CEO: Jon Kramer SENIOR VP, DISTRIBUTION & DEVELOPMENT: Marine Ksadzhikyan VP, DISTRIBUTION & DEVELOPMENT: Bryan Gabourie CONTACT: marine@rgitv.com PROGRAMS: Droned: 10x30 min., reality; True Supernatural: 3x60 min., sci-fi; Ultimate Homes: 11x60 min., travel; Death By Gossip: 6x60 min., crime; Fame Kills: 6x60 min., crime; The Day I Almost Died: 8x60 min., reality; Where Cool Came From: 20x30 min., documentary; Am I a Boy or Girl: 10x30 min., documentary; Amazing Dog Tales: 10x30 min. & 1x60 min., animals/wildlife; Fix It & Finish It: 120x30 min., reality.

“Rive Gauche Television (RGTV) is dedicated to the development, production, co-production, acquisition and worldwide distribution of television programming and formats. The company has amassed a top-quality portfolio of approximately 1,650 hours of non-scripted programming and award-winning documentaries, aired by broadcasters in over 130 countries worldwide. Rive Gauche Television continues to focus on co-production opportunities with prolific producers from all over the world and remains a distributor of high-end brands such as Homicide Hunter, Dog Whisperer, Operation Repo and My Strange Addiction. Making a habit of being at the forefront of trends, RGTV is excited to debut a new title, Droned, which follows Pigeon Vision, a Fort Lauderdale-based, family-owned aerialfilming and drone-customization company whose business gives them access to innovative technology, high-end celebrity clients and travel adventures from amazing locales. The docuseries follows the eccentric, adrenaline-junkie team as they bring tomorrow’s drone technology to use today.” —Jon Kramer, CEO

WS_DIST_316__GUIDE 3/8/16 3:00 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 30

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 CEO: Janet Hsu SENIOR VP, GLOBAL DISTRIBUTION & CO-PRODUCTIONS: Frederic Soulie CONTACT: fsoulie@sabanbrands.com PROGRAMS: Saban’s Power Rangers Dino Super Charge: 22x22 min., live action/boys/action; Popples: 52x11 min., animated/comedy; Glitter Force: 40x22 min., animated/ girls/action; Cirque du Soleil—Luna Petunia: 52x11 min., mixed media/preschool. “Power Rangers Dino Super Charge, the current season of Saban’s Power Rangers series, premiered in the U.S. in January 2016 and makes franchise history by uniting ten Rangers on the same team for the first time ever. Popples, Saban Brands’s new Netflix original series for kids, premiered in October 2015. Season two of Popples [launched] in March 2016, continuing to follow the wacky adventures of the best Popple pals: Bubbles, Sunny, Lulu, Izzy and Yikes. Glitter Force, another new Netflix original series for kids from Saban Brands, premiered in December 2015 and stars five preteen girls who form the legendary superhero squad, the Glitter Force, and must defend Earth from evil fairytale villains. In fall 2016, Saban Brands will launch the groundbreaking new preschool series Cirque du Soleil—Luna Petunia, also debuting as a Netflix exclusive.” —Frederic Soulie, Senior VP, Global Distribution & Co-Productions

WS_DIST_316__GUIDE 3/8/16 1:39 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/9/16 12:08 PM Page 31

SOMOS Distribution ADDRESS: 2601 S. Bayshore Dr., Suite 1250, Miami, FL 33133, U.S.A. TELEPHONE: (1-786) 220-0280 WEBSITE: www.somosdistribution.net PRESIDENT & CEO: Luis Villanueva VP & COO: Francisco Villanueva HEAD, SALES: Mariana Villanueva CONTACT: fvillanueva@somosdistribution.net PROGRAMS: Hasta Que te Conocí: 13x45 min., series; Mercy: 88x45 min., drama; The Poor Boy and the Rich Girl: 226x45 min., drama; Merlin: 13x50 min., series; Strange Love: 120x60 min., telenovela. “SOMOS Distribution is a company dedicated to the global commercialization of top-quality audiovisual content in all genres, based on the experience and knowledge of a sales and management team with more than 25 years of experience.” —Francisco Villanueva, VP & COO

WS_DIST_316__GUIDE 3/4/16 3:58 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/9/16 9:09 AM Page 32

Starz ADDRESS: 9242 Beverly Blvd., Suite 200, Beverly Hills, CA 90210, U.S.A. TELEPHONE: (1-424) 204-4043 WEBSITE: www.starzglobal.com CEO: Chris Albrecht MANAGING DIRECTOR: Carmi Zlotnik EXECUTIVE VP, WORLDWIDE DISTRIBUTION: Gene George SENIOR VP, DIGITAL: Mara Winokur CONTACTS: starzworldwide@starz.com; digitalinfo@starz.com PROGRAMS: The Girlfriend Experience: 13x30 min., drama; Ash vs Evil Dead: 10x30 min., horror; Flesh and Bone: 8x60 min., drama; Black Sails: S3 10x60 min., action/drama; The Dresser: 1x109 min., drama; Christmas Land: 1x90 min., holiday; Betrayed: 1x90 min., thriller; I’m Not Ready for Christmas: 1x91 min., holiday; A Killer Walks Amongst Us: 1x91 min., thriller; 12 Gifts of Christmas: 1x89 min., holiday.

“Starz is a leading integrated global media and entertainment company with operating units that provide premium subscription video programming on domestic U.S. pay-television channels (Starz Networks) and global content distribution (Starz Distribution). Starz Distribution is comprised of home video, digital media (Starz Digital) and worldwide distribution (Starz Worldwide Distribution) business units. Starz Digital is the global digital and on-demand licensing arm of Starz and a leading multiplatform distributor of independent feature films in North America. Starz Digital distributes Starz original series and entertainment programming for select media companies, including The Weinstein Company and AMC Networks. Starz Worldwide Distribution is the global television-licensing arm of Starz. Starz Worldwide Distribution licenses Starz original series and is a leading distributor of other owned and licensed third-party programming, including movies, television series, documentaries, children’s programming and other video content.” —Corporate Communications

WS_DIST_316__GUIDE 3/7/16 5:47 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 33

Studio 100 Media ADDRESS: Sapporobogen 6-8, 80637 Munich, Germany TELEPHONE: (49-89) 960-8550 WEBSITE: www.studio100media.com CEO: Patrick Elmendorff HEAD, GLOBAL DISTRIBUTION: Martin Krieger CONTACT: martin.krieger@studio100media.com PROGRAMS: Nils Holgersson: 52x13 min., animated; Arthur and the Minimoys: The Series: 26x26 min., animated; The Wild Adventures of Blinky Bill: 52x11 min., animated; K3: 52x13 min., animated; The Night Watch: S1 13x25 min./S2 13x25 in dvpmt., live action/fantasy; Ghost Rockers: S1 53x12 min./S2 52x12 min./S3 52x12 min. in prod./S4 52x12 min. in dvpmt., live action/mystery; The Adventures of Lolly Laffalot: S1 13x12 min./S2 13x12 min./S3 13x12 min. in dvpmt., live action/comedy; Tashi: 52x11 min., animated; Heidi: 39x22 min., animated; Vic the Viking: 78x12 min., animated.

“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 100-percent 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’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, CEO

100

WS_DIST_316__GUIDE 3/7/16 11:24 AM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 34

Superights ADDRESS: 13 rue Keller, 75011 Paris, France TELEPHONE: (33-9) 6011-1333 WEBSITE: www.superights.net DEPUTY MANAGING DIRECTOR, INTERNATIONAL SALES & ACQUISITIONS: Morgann Favennec CONTACT: sales@superights.net PROGRAMS: Boyster: 52x13 min., kids 6-11/animated/comedy; Kika and Bob: 52x13 min., kids 6-9/animated/educational/comedy; Pat the Dog: 78x7 min., kids 5-8/animated/comedy; Picnic with Cake: 13x5 min. & 1x26 min., preschool/animated/investigation/comedy; Puffin Rock: 78x7 min., preschool/animated/eco-friendly/comedy; Story Time!: 13x13 min., preschool & family/animated/tales; The Big Bad Fox and Other Tales: 3x26 min., family/animated/ comedy; The Horn Quartet: 1x26 min., preschool/animated/road movie; Will: 52x2 min., kids 6-10/animated/comedy; Wubby School: 52x11 min., preschool/animated/comedy.

“Superights is an international boutique distribution company specialized in kids’ and family content. Our catalogue covers all genres, all demographics and includes awardwinning programs such as the preschool series Puffin Rock, Picnic with Cake and the feature film Song of the Sea. Superights’s highlights for MIPTV 2016 strengthen the distributor’s strategy to offer a wide and diversified selection of top-quality programming available on all media platforms with new projects such as the half-hour special The Horn Quartet, the preschool collection of tales Story Time! and Oscar-nominated Benjamin Renner’s collection of specials The Big Bad Fox and Other Tales.” —Morgann Favennec, Deputy Managing Director, International Sales & Acquisitions

102

WS_DIST_316__GUIDE 3/1/16 12:30 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 35

Telefe ADDRESS: Prilidiano Pueyrredón 2989, 2/Fl., B1640ILA, Martinez, Buenos Aires, Argentina TELEPHONE: (54-11) 4102-5994 WEBSITE: www.telefe.com INTERNATIONAL BUSINESS DIRECTOR: Tomas Yankelevich CONTENT DISTRIBUTION MANAGER: Daniel Otaola CONTACT: sales@telefeinternational.com.ar PROGRAMS: Educating Nina: 80x60 min., telenovela; Lioness: 120x60 min., telenovela; The Return of Lucas: 60x60 min., superseries; Story of a Clan: 11x60 min., miniseries; Cannibals: 60x60 min., drama/thriller.

“Telefe, a tireless originator of content and huge stars, [is operating] in an increasingly demanding and constantly evolving market, establishing itself as one of the most important and renowned Spanish-speaking content production [outfits]. Telefe’s catalogue is comprised of 70 percent of its own productions, with 5,100 hours of content. It has 12,000 square meters of production capacity and four large producing centers. [The company’s productions have been translated into] over 35 languages in over 100 countries. Besides being home to the most important national and international figures, its products go beyond the screen and become theater, musical, merchandising and licensing hits. The international business area [represents] one of the most important programming distributors, featuring the most complete catalogue [in] the market. Seeking the active participation of the viewer and always betting on new technology, Telefe develops digital content and strategies through formats such as the web, mobile and second screen.” —Corporate Communications

104

WS_DIST_316__GUIDE 3/8/16 3:56 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 36

Televisa Internacional ADDRESS: 6355 NW 36th St., Miami, FL 33166, U.S.A. TELEPHONE: (1-786) 265-2500 WEBSITE: www.televisainternacional.tv VP: Fernando Perez-Gavilán GENERAL DIRECTOR, SALES: Carlos Castro CONTACT: Hugo Treviño, htrevino@televisa.com.mx PROGRAMS: Dream of Love: 150x60 min., telenovela; Lying Heart: 150x60 min., telenovela; Road to Destiny: 150x60 min., telenovela; Secrets at the Hotel: 150x60 min., telenovela; Date My Avatar: 60 min. eps., reality/dating; The Wacky Old Games: 60-70 min. eps., game show; Little Giants: 120 min. eps., talent show; The Assembly Game: 30-45 min. eps./daily, game show; Generation Gap: 30-45 min. eps./daily, game show; Mini Me: 90-120 min. eps., entertainment.

“Grupo Televisa is the largest mass-media company in the Hispanic world, and a major player in the global entertainment industry. The company is involved in TV production and broadcasting, restricted TV signals production, TV programs’ international distribution, direct-to-home satellite TV, cable TV and telecommunication services, magazine publishing and distribution, radio programs’ production and broadcasting, live sports and entertainment events, film production and distribution, a website operation, and it also participates in the game and raffles industry. It produces more than 90,000 hours of content a year; it transforms universal stories into local successes by creating alliances and performing tailor-made productions. Televisa is a global entertainment company.” —Corporate Communications

106

WS_DIST_316__GUIDE 3/7/16 10:06 AM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 6:27 PM Page 37

Terra Mater Factual Studios ADDRESS: Wambachergasse 2, 1130 Vienna, Austria TELEPHONE: (43-1) 87003-0 WEBSITE: www.terramater.at CEO: Walter Köhler SALES DIRECTOR: Berend Dreier CONTACT: office@terramater.at PROGRAMS: David Attenborough’s Light on Earth: 1x53 min., documentary; Sri Lanka: Precious Isle: 1x50 min., documentary; Soul of the Elephant: 1x53 min., documentary; Ostrich: A Life on the Run: 1x53 min., documentary; River in the Sky: 1x50 min., documentary; Animal Homes: 3x50 min. without presenter/ 3x50 min. with presenter, documentary; Brazil: A Natural History: 5x50 min., documentary; Nile: The Ultimate River: 3x50 min., documentary; Wild Canada: 4x53 min., documentary; The Model and the Bushmen: 1x53 min., documentary. “Terra Mater Factual Studios (TMFS), a subsidiary company of Red Bull, is a full-blown production unit that produces and distributes a wide variety of programming for TV and theatrical release. TMFS is committed to the highest production values regarding visual excellence, innovative technology and amazing storytelling. Core production genres are wildlife and nature, science and history, resulting in blue-chip prime-time series and specials. TMFS also explores new styles to create exciting and different factual-entertainment formats. In TMFS’s theatrical releases, the borders between fiction and fact become seamless, resulting in a new take on feature-film production.” —Corporate Communications

108

WS_DIST_316__GUIDE 3/9/16 9:27 AM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 6:28 PM Page 38

Tricon Films & Television ADDRESS: 786 King St. W., Toronto, ON M5V 1N6, Canada; 602 Hampton Dr., Venice, CA 90291, U.S.A. TELEPHONE: (1-416) 341-9926 (Canada), (1-310) 450-0101 (U.S.A.) WEBSITE: www.triconfilms.com PRESIDENT: Andrea Gorfolova VP, WORLDWIDE SALES & ACQUISITIONS: Karthiga Ratnasabapathy CONTACT: Mariah Voronoff, mariah.voronoff@triconfilms.com PROGRAMS: Sensitive Skin: 12x30 min., dramedy; Real Rob: 8x30 min., comedy; Hard Rock Medical: 30x30 min., dramedy; Satan Lives: documentary; Staircase on Dragon’s Back: 1x60 min., documentary; On the Record with Mick Rock: 5x30 min., documentary; Food’s Greatest Hits: 14x30 min., lifestyle; Sugar Showdown: 14x30 min., lifestyle/competition; The Expandables: 28x30 min., lifestyle; Humble Home Hunters: 12x30 min., lifestyle. “Founded in 2000, Tricon Films & Television is widely recognized as a leading independent producer and distributor in the global marketplace. Established in 2002, Tricon Films was created as the distribution division of Tricon Films & Television. Now with offices in both Toronto and Los Angeles, the division has since rebranded as Tricon International. Tricon distributes high-quality, award-winning content to prominent worldwide media companies such as NBCUniversal, Viacom, Apple, Disney, Sony, Discovery, AMC Networks, Bell Media, Netflix, Scripps Networks, RTL Group, Turner, A+E Networks, CANAL+, Foxtel, Google and Sky. Over the past 13 years, the division has amassed a catalogue of almost 3,000 hours of original and acquired programming, including the award-winning sci-fi drama series Sanctuary. The company’s extensive catalogue—which includes prime-time scripted drama and comedy; factual and lifestyle; kids’, family and animation; and documentary series and specials—is now seen on over 500 international broadcasters and platforms in over 170 countries. Tricon’s reputation for successful international alliances has led to a number of partnerships, including its distribution agreement with Rob Schneider to launch his new series Real Rob worldwide. The company also executive produces and distributes Sensitive Skin, the scripted dramedy starring Kim Cattrall, which won four Canadian Screen Awards and was nominated for an International Emmy Award in the comedy category.” —Karthiga Ratnasabapathy, VP, Worldwide Sales & Acquisitions

110

WS_DIST_316__GUIDE 3/7/16 12:56 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 39

Twentieth Century Fox Television Distribution ADDRESS: P.O. Box 900, Beverly Hills, CA 90213-0900, U.S.A. TELEPHONE: (1-310) 369-1000 WEBSITE: www.foxfast.com PRESIDENT: Mark Kaner PRESIDENT, INTERNATIONAL TELEVISION: Marion Edwards EXECUTIVE VP, WORLDWIDE PAY TV & SVOD: Gina Brogi CONTACT: Mahnaz Landers, mahnaz.landers@fox.com PROGRAMS: Baskets: 10x30 min., comedy; Cooper Barrett’s Guide to Surviving Life: 13x30 min., comedy; Damien: 10x60 min., drama; The Grinder: 22x30 min., comedy; Queen of the South: 13x60 min., drama; You’re the Worst: 30 min. eps., comedy.

“A unit of 21st Century Fox, Twentieth Century Fox Television Distribution (FTVD) is a global leader in the distribution of award-winning motion pictures, television programming and entertainment content across broadcast television, pay TV, DTT (digital terrestrial television), SVOD (subscription videoon-demand) and long-form content for mobile platforms. It also oversees ownership interests in movie channels in Australia, Latin America and Brazil. Twentieth Century Fox Television Distribution connects audiences around the world with premium content from the production divisions of Twentieth Century Fox Films, Twentieth Century Fox Television and FX, as well as other 21st Century Fox companies. 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, FTVD 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 21st Century Fox to provide broadcasters and pay-television platforms with everything they need to build winning marketing campaigns.” —Corporate Communications

112

WS_DIST_316__GUIDE 3/7/16 5:45 PM Page 1

WS_DIST_316_DISTRIBUTORS_new design 3/8/16 2:24 PM Page 40

ZDF Enterprises ADDRESS: Erich-Dombrowski-Str. 1, 55127 Mainz, Germany TELEPHONE: (49) 6131-9910 WEBSITE: www.zdf-enterprises.de PRESIDENT & CEO: Alexander Coridass EXECUTIVE VP & COO: Fred Burcksen CONTACT: programinfo@zdf-enterprises.de PROGRAMS: First Flight: Conquest of the Skies: 1x50 min., history/biography; The Lesser Caucasus: Between Ararat and the Caspian Sea: 1x50 min., wildlife/nature; Why Size Matters: 2x50 min. 4K/10x50 min., science/knowledge; Ku’damm ’56: 3x90 min., event movie; Thicker Than Water: 20x60 min., drama; The Fall: 11x60 min., crime/suspense; Scream Street: 52x11 min. HD, kids/animated; Wolfblood: 52x26 min. HD, kids/live action; You Can’t Fool Me!: 90 min., format/game show; The Game Begins!: 180 min., format/game show. “As a global player with a German home base, we are particularly proud to be lead sponsor of this MIPTV’s Focus on Germany. We are responsible for worldwide program sales, the making of international co-productions, the acquisition of licenses as well as the merchandising of strong program brands in our own name, for our shareholder ZDF and for third parties. ZDF Enterprises has successfully established itself as an independent market player on the German and international stage. Bound into a strong group, the company manages the largest German-language stock of programs in the world and a continuously growing portfolio of international productions consisting of series and miniseries, TV movies, documentaries and children’s programs. ZDF Enterprises can provide a comprehensive, full-service offering and covers every step in the chain of origin and exploitation of successful TV programs, from development to production and up to the marketing of TV licenses, merchandising rights, online rights and much more. Our four genre highlights for this MIPTV market are the documentary First Flight: Conquest of the Skies, the event movie Ku’damm ’56, the junior animation Scream Street and the format (game show) You Can’t Fool Me!” —Fred Burcksen, Executive VP & COO

114

WS_DIST_316__GUIDE 3/2/16 10:59 AM Page 1

WS_DIST_316__GUIDE 3/9/16 9:26 AM Page 1