World Screen Guide 2019

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GUIDE 2019

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Contents A Note from the Editor . . . . . . . . . . . . . .8 Executives . . . . . . . . . . . . . . . . . . . . . . . . .9 Talent . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 Distributors . . . . . . . . . . . . . . . . . . . . . . .37 Publisher Ricardo Seguin Guise Group Editorial Director Anna Carugati

Ricardo Seguin Guise President

Editor Mansha Daswani

Anna Carugati Executive VP

Executive Editor and Editor, English-Language Guides Kristin Brzoznowski

Mansha Daswani VP of Strategic Development and Associate Publisher

Production Director Victor L. Cuevas

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A Note from the Editor Mansha Daswani

It used to be generally accepted wisdom that the cord-cutters and cord-nevers reshaping the media landscape were millennials, but a PwC report, A New Video World Order: What Motivates Consumers?, indicates that viewing behavior is not as dependent on traditional demographics as it used to be.

Older consumers in the U.S. are now cutting the cord more while “younger consumers are showing signs of positive pay-TV relationships.”

With age being a less relevant predictor for how a consumer will engage with content, PwC identified five broad audience groups based on viewing behavior and interests: indulgists, traditionalists, fanatics, engagers and connoisseurs. Indulgists are a key revenue driver for pay-TV operators and streamers. Around 57 percent subscribe to pay TV. They spend about $70 a month on video content and consume around 17 hours a week.

Engagers are the “future of immersive entertainment and the leaders in online engagement,” PwC says. About 43 percent subscribe to pay TV, and they are spending about 12 hours a week on content consumption. Fanatics will do “anything to have access to an endless selection of content,” but only 32 percent subscribe to pay TV and their average monthly spend is $55. They consume about 16 hours of video a week. Connoisseurs are picky about content and savvy about subscriptions, with just 27 percent having a pay-TV service. They spend about 10 hours a week with video, with an average spend of $49 a month. Traditionalists prefer live TV, with about 45 percent subscribing to pay TV. Spending an average of $63 a month, they are watching about 15 hours a week.

Also, half of the survey group said they would cancel a subscription “if the service was overwhelming (too much content) or inconvenient (not enough ways to overcome poor discovery).”

Whether you’re an indulgist, traditionalist, fanatic, engager or connoisseur, there’s something for everyone among the offerings in this edition of the World Screen Guide.

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EXECUTIVES

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Josh Sapan President & CEO AMC Networks

WS: In this ever-changing media world, how are you positioning AMC Networks?

SAPAN: The approach that we are taking is to be more of a studio and own more of our content, which gives us control over how our content may be rendered. We also want to be in the direct-to-consumer business more significantly and make our channels as vital as they can be and keep changing what they are doing. Our channels grew subscribers over the last year in the U.S. at a time when most others did not. That’s a function of a couple of different things: we are carried more widely on certain MVPDs than we have been in the past; and we are carried more widely in the new virtual MVPDs than any other independent programmer (meaning, programmers not aligned with a broadcast network). We have more distribution and penetration among the virtual MVPDs, and we are in fact number one. We think this is because what we do we do very well, and the price that we offer is very attractive.

These are the basics of our business, and what drives it all is great content. So we think it’s important to operate with discretion, ingenuity, innovation and particularly a fresh approach to both format and story, which can energize a business enterprise. Story comes in all sorts of forms; we’ve seen it in the past. Zombies were once considered perhaps marginal, but, in fact, they weren’t marginal at all. So that approach is important for us for growth.

WS: What challenges and opportunities do you see for AMC Networks in the next year to 18 months?

SAPAN: The biggest opportunities are in a combination of content and interface. When people find things that delight them. In my case, it’s voice recognition because I don’t like to press buttons, and when that works, I think, “This is the greatest thing in the world!” That, in combination with great content, is a delightful thing. That’s not the end of it; we’re at the beginning of watching socially.

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Jon Feltheimer CEO Lionsgate

WS: It’s been two years since Lionsgate acquired Starz. In what ways has the merger benefited both companies?

FELTHEIMER: We couldn’t be happier with everything we’ve accomplished together since the merger. First, the combination of our Lionsgate, Starz and library content makes us a great launch partner for the top distributors in nearly every major territory and for global streaming platforms expanding their services around the world.

Second, the combination of our two companies gives us broader shoulders in the creative community and allows us to offer unique opportunities to talent across all of our Lionsgate and Starz platforms. The creative community is responding enthusiastically to our “no silos,” cross-platform strategy that includes our first-of-its-kind partnership with the 3 Arts Entertainment talent management and production company. Third, our combined worldwide television and digital distribution operation under the leadership of Jim Packer has done a great job of monetizing rights to several of Starz’s biggest series. And finally, one of the most exciting opportunities to come out of the merger is Lionsgate and Starz’s ability to create great content together.

WS: Where do you see the potential for growth for Lionsgate in the next 12 to 24 months?

FELTHEIMER: All of our businesses are positioned for continued growth. But there are three newer growth opportunities about which we’re particularly excited. One is Starz’s ongoing transformation into a global brand. Our direct-to-consumer businesses, including location-based entertainment, interactive games, eSports and our own streaming services, are reaching critical mass and are poised to make meaningful contributions to our bottom line. Atom Tickets has the potential to be a gamechanger for our theatrical exhibition partners and moviegoers alike. These are all areas in which we’re combining the content portfolio of a media company with the innovation and digital expertise of a tech company, and the results are exciting.

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Bert Habets CEO RTL Group

WS: In an environment that is constantly changing, what is your strategy for planning for the future?

HABETS: We will be focusing more strongly on organic growth with our Total Video 2.0 strategy, which aims to expand our streaming services and grow our content production. We are already true champions when it comes to optimizing our core business, which is reflected in our leading market positions and healthy financials, and something we will absolutely continue. However, our business is becoming increasingly challenging. With rapidly changing consumer behavior and global tech giants capturing an ever-growing share of advertising spend and audience attention, we have moved from a local to a global competitive landscape—a seismic shift for our industry. More than ever, we will focus on fostering creativity, being close to our audiences, taking more risks and ensuring closer cooperation within RTL Group.

All of this is more easily said than done. To succeed requires a deep cultural change across the whole group, which takes time.

This is why, in the first half of 2018, we started a comprehensive group-wide transformation journey called “New Frontiers— reinventing RTL’s pioneering spirit.”

WS: How would you like to extend the connection between Fremantle and the broadcasters in the group?

HABETS: More than ever, local, exclusive content is the engine for everything we do. It is our USP and why we will increase our investment in exclusive content, across all major genres: scripted, entertainment, factual, news and information, live sport and also digital-first content.

Drama series are key for RTL Group’s VOD expansion plans.

We established a VOD content working group with Fremantle and our major broadcasters to explore the joint development of highend drama series.

We will explore all possibilities to jointly develop strong brands and formats...to satisfy the increasing demand for good content.

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Max Conze CEO ProSiebenSat.1 Media

WS: When you joined ProSiebenSat.1 Media, what did you see as the company’s strengths?

CONZE: As you know, I had no entertainment background when I joined ProSiebenSat.1, but I’ve been around consumer technologies all my life. What I was excited about is that ProSiebenSat.1 has a unique combination of strong entertainment brands and equally strong e-commerce platforms. There is an analogy to how Alibaba and Tencent are China run, but in the Western world, we are pretty much the only company that is set up this way. There are significant synergies between entertainment and commerce that we can build on in the future. Also, the media industry is in huge transformation and I don’t see that as a threat but rather as a fantastic opportunity. ProSiebenSat.1, particularly compared to America, has a great starting point in Germany. Broadcasting here is fundamentally a three-player market with us, RTL Group and the public broadcasters. Our strength is that we have brands, stars, huge reach and convening power. Now we need to take that and convert it into how people want to consume entertainment in the future.

WS: What have been the keys to ProSieben’s success and in attracting young viewers?

CONZE: ProSieben has one of the strongest channel slogans in the world, “We Love to Entertain You.” We have the passion for creating programs that you will find entertaining and want to watch, and that has longevity. ProSieben has always been an innovator in Germany with a great stable of big German stars and entertainers and we continue to build on that strength. The strength, attitude and content breadth that ProSieben has as a channel are universal and will continue to be meaningful in a linear world. Let’s not forget that people still watch close to 200 minutes of TV compared to 30 to 35 minutes of streaming per day. In Germany, ProSieben and “We Love to Entertain You” has more than 95 percent brand recognition. It’s a real icon and it’s up to us to continue to translate that icon in the broad world of entertainment.

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Tony Hall Director-General BBC

WS: What must the BBC do to maintain and protect its role as a public-service broadcaster?

HALL: I believe that the role of the BBC, and of public-service broadcasting more widely, has never been more important.

In a world where false information can spread around the globe in seconds, audiences rely on us for news that is trusted and impartial. At a time when consumers have an incredible array of global content to choose from, it’s the BBC whose first priority is brilliant British content that reflects and represents our country in all its diversity. And at a moment when the U.K. is seeking to forge a new relationship with the world, it’s the BBC that can be such a powerful voice for Britain’s identity, values and influence abroad.

At the same time, our role has never been tougher. Our financial challenge has become greater and greater. The way young people are watching and listening to content and finding their news is changing at a pace far faster than many could have imagined. And while the billions now being poured into content by the U.S.-based media giants have led to what’s often described as a golden age of television, it has also massively driven up costs in the global marketplace and British content risks being squeezed out.

To respond, we need to reinvent the BBC for a new generation.

WS: What led to the merger of BBC Worldwide and BBC Studios?

HALL: It’s all about ensuring that the BBC is best placed to succeed both creatively and commercially. Merging BBC Worldwide into BBC Studios means we can continue to create world-class content that we know our audiences love and distribute it around the world, competing on a level playing field. Studios will have a crucial role in growing and exploiting IP for the BBC. Where we own the IP, we can do even more to maximize its value and generate funds to reinvest back in our content. The profits BBC Studios generates will help to augment the license fee and increase our effectiveness as a public-service broadcaster—not to mention help invest in the U.K.’s cultural exports and global influence.

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Thomas Bellut Director-General ZDF

WS: What do viewers expect from ZDF? BELLUT: Our viewers expect a full range of programs that provide information, education and entertainment and give them an objective view of world affairs.

However, there is a strong focus in ZDF’s programming on information, which amounts to more than 40 percent of the overall schedule. Last year, heute journal was the most successful news magazine on German television. The ZDF political talk show maybrit illner was also one of the leading discussion programs in 2018. And a program like auslandsjournal, which has been reporting foreign news for the last 45 years, demonstrates another of ZDF’s strengths: its global network of correspondents.

WS: How is ZDF making its programming available on multiple platforms and devices?

BELLUT: ZDF makes its programming available via a range of different linear and digital channels. Our most important online offering is ZDFmediathek. This online channel is gaining more and more viewers. The popular ZDF dramas Ku’damm 56/59, Bad Banks and Parfum topped the list of all nonlinear channel offerings in 2018. The series Ku’damm 56/59, in particular, broke all records: the first episode of the second series was watched 2 million times, making it the most successful program so far on ZDFmediathek. Overall, 35 percent of Germans watch videos from ZDF’s online offering live or on catch-up at least occasionally, corresponding to a reach of 25 million users. The ZDF family of channels also includes ZDFinfo, the most successful documentary channel in the German television market. It achieves very good ratings, particularly in the target group of 14- to 49year-olds. To reach target groups that don’t use our own online offerings, we also show our video content on thirdparty platforms—particularly YouTube and Facebook. Our satire formats heute-show and NEO MAGAZIN ROYALE are particularly in demand there, as are our science brands Terra X and Lesch & Co. 17

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David Lynn

President & CEO Viacom International Media Networks WS: Viacom acquired Awesomeness last year. How does that brand fit into the company’s international portfolio?

LYNN: Awesomeness is a great addition to Viacom’s overall TV studios strategy, which aims to grow our revenues from creating new IP for third parties as well as licensing our deep library of content. As we all know, there’s a global arms race going on between broadcasters, MVPDs and streaming services, with everybody competing to secure the best original IP and library content. We’re seeing that some of our competitors are becoming increasingly vertical and they’re holding back content for their own services. That represents a good opportunity for Viacom, and we’re looking to take advantage of that growing global demand for premium IP, utilizing both our libraries and our studios. Awesomeness fits into that wider strategy. Initially, we’re announcing that we will be responsible for distributing their content outside the U.S. But we’re also exploring other opportunities to help them expand internationally, potentially including remakes of their original content for local markets.

WS: Viacom’s latest acquisition was that of the AVOD platform Pluto TV. What are your international ambitions for that service?

LYNN: There is a lot of excitement around the Pluto acquisition.

It’s a great product with proven appeal to young digital-first audiences. I see it as another great opportunity to exploit the deep content libraries that we have. We’ve announced that we’re going to be launching a U.S. Hispanic service. That will have a lot of synergies with our business in Latin America, so we’re also going to be rolling out the service in that region. Pluto is already in the U.K. and Germany. Pluto TV fits very nicely with our three-tiered distribution strategy—we see the market dividing further into premium, basic and free. We’re obviously already well established in the basic pay-TV tier. We’ve been increasingly launching services in premium, including Paramount+ and Noggin. And Pluto gives us a big addition in the free space.

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Armando Nuñez President & CEO CBS Global Distribution Group

WS: Would you give some examples of where you see demand for your product and what shows have been selling where?

NUÑEZ: Our varied genres of content drive different types of business opportunities.

FBI has been a very successful show on CBS and we have licensed it in some 200 markets. It recently premiered on SAT.1 in Germany. It sold to Rai in Italy and Sky in the U.K. It’s a high-profile Dick Wolf show. The NCIS franchise continues to perform extremely well.

The content that we have thrives in different ways on different platforms around the world.

It’s getting more difficult to cut through the noise and the clutter. There’s probably too much content in the marketplace now.

It’s going to be interesting to see what happens over the next couple of years, assuming Disney’s direct-to-consumer plans come to fruition on a global basis, which one would assume would include the Fox studio content as well. And there have been rumblings about a WarnerMedia direct-to-consumer global offering.

Comcast has made noise as well. So it’s going to be interesting to see the direction those companies take, how they are going to utilize their content and what that means in terms of availability and potential scarcity for that content in the global marketplace. That’s a fascinating potential evolution of how the business works.

WS: There are so many entities producing scripted programming. What does a studio offer clients these days that they can’t get elsewhere?

NUÑEZ: What studios still have—it varies from studio to studio, but I would put us at the top of this category—is infrastructure. We have a rolodex of writers and showrunners and producers who are part of CBS. The ability to execute on any concept obviously comes out of good casting and good directing, but so much of this comes down to the showrunners and writers, whether you are talking about Showtime or CBS Television Studios under David Stapf. They have the knowledge and the database from which to execute.

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Jens Richter CEO, International Fremantle

WS: What factors have driven up the cost of quality drama?

RICHTER: Financing drama has become more expensive and one of the reasons for this is that we have to go for the right talent. When we produce drama, our ambition is to aim high and that means creating a piece of storytelling that hasn’t been told before but also a package that’s hard to resist. That includes IP; we work very closely with partners such as our sister company Penguin Random House. We love book IP. We work with top creators and writers. We go for specific directors. We go for a great cast. We [want] to increase the quality and value of the package. In the ideal world, you put together a package that comes with built-in marketing. Setting is important, so you produce shows like Baghdad Central on location in Morocco or The Luminaries in New Zealand or Beecham House in India. All these aspects of production drive up the value. We end up with higher budgets because we don’t want to make just another drama, we want to make a very special kind of drama.

WS: Would you give some examples of how you are financing high-end productions?

RICHTER: We finance through presales and co-productions. One example is American Gods, which, in terms of budget, is one of our most ambitious shows. Very early in the process, we placed it with Amazon for the first global window and now we have secondwindow clients too. Picnic at Hanging Rock came out of Australia.

We took more time [to make it] so it looked more authentic and we got top talent involved when we brought Natalie Dormer on board; all of that, of course, affected the budget. For Picnic at Hanging Rock, it was important to bring partners in early. Very early we had conversations with Amazon and the BBC, and that helped in two ways: you offset some financial risk, but you also bring partners onboard early that share our ambition for the show and will help bring it to market by building the promotion and buzz.

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Cathy Payne CEO Endemol Shine International

WS: What considerations go into selling a show?

PAYNE: When you review a new idea or a project in development or a show, you consider what is going to be the best route to market and who is going to be the primary commissioning broadcaster.

With global streaming services, it’s become very interesting. Their appetite for product and budgets has seen them help finance many domestic productions that would have otherwise struggled to be financed. Therefore, they allow a level of production budgets that a domestic broadcaster couldn’t afford on its own. However, as those streaming services have become players in their own right and competitors to broadcasters in their markets, the linear broadcasters want to focus on exclusivity. From the streamers’ perspective, [given the] rising contributions being asked of them and the debate over how to window in the domestic territory, the streamers can choose to go alone and commission production for global rights.

WS: What are some of the most significant changes in the distribution business in the last ten years?

PAYNE: You’ve got a lot of different rights to divide up and sell.

Anyone who is commissioning a show wants to have the opportunity to offer it to their viewers so that they can consume it in many different ways—where they want to watch it and how they want to watch it. Everyone is chasing longer windows, additional VOD and more exclusivity. They want to own shows because exclusivity is so important for those premiere windows—it’s all about marketability and keeping those viewers on their channel or service.

The other point to reinforce is the importance of back catalog, and how valuable that is for a streaming service. The availability of catalog will become tight as the studios roll out their own direct-to-consumer services. New players such as all the FAANGs will need to build their own catalogs and certainly, Netflix has led the way in driving original commissions.

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Louise Pedersen CEO all3media international

WS: How have you grown your scripted output in recent years?

PEDERSEN: We wanted to grow the business and broaden the scripted content that we were bringing to our international buyers. We commissioned research into how our scripted catalog was perceived by our buyers, and it backed up the fact that we needed to offer a wider range of scripted shows, from detective procedurals to contemporary thrillers to high-concept, heightened drama, for example.

As a result of that, we doubled our investment into scripted content in 2017 and sought to invest in a sweep of dramas that all shared some common denominators: original ideas with interesting talent attached—writers and directors from top quality production companies. We are now starting to deliver the shows that resulted from this investment push. We have some key first-look relationships, both within the all3media group and with a number of independent production companies and these are incredibly valuable to us. The extra investment helped us finance more shows from these partners, but also form some new relationships in the scripted area.

WS: How do you work with writers to help prepare shows that appeal to the international market?

PEDERSEN: When dealing with writers, we rely on production companies and executive producers’ expertise. We are paying a lot more attention to how we market the shows—right from the get-go with the tag lines and images, to the messages for the initial pitch. We want to make sure we get the writer’s vision across to potential partners. It’s helpful in the scripted and unscripted space if you can have a short sizzle when you are pitching the show that gives some idea of the visual tone and explains the story. That can be enormously helpful; just getting past the words on the page and presenting an idea in a way that international buyers can get a feel for, give a comment on and respond to.

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Tim Mutimer CEO Banijay Rights

WS: What types of scripted shows is Banijay focusing on?

MUTIMER: Banijay is fortunate to have scripted companies in 16 territories, so we have a whole range of ideas coming through. We look at the slates and work with producers, especially on ideas that we think have international appeal. We’re interested in great stories that feel authentic. A lot of the series that travel well focus on local territories, but are also ones that people around the world can enjoy. There’s also a section of the slate that includes more premium content, requiring a lot of funding. And there, we work out how we think we can fund a project—which other territories might be interested in coming on board and the kind of distribution advance that we could give. We’re interested in everything as long as it’s a great story, particularly if it means bringing on strong talent, whether that’s on-screen or behind the camera. Relationships with writers are important. We find that having these different production companies around the world enables us to engage with a wide range of talent, and makes sure we’re getting a great flow of ideas coming through.

WS: What opportunities have streaming services offered?

MUTIMER: In terms of acquisitions, the streamers are key partners of ours; they are important clients. It’s interesting; we’ve started to see a switch in the way we work with companies like Netflix. Now they are focusing on fewer, bigger, better, and they want fewer properties across a larger footprint. So the opportunity we have now is different. Rather than talk about everything as a patchwork of availabilities, it’s often about getting in earlier and saying, we’ve got this great new show coming, is this something that would work for your service? And if they are interested, they are likely to want worldwide rights if they can get them. That’s a different operation, and as a distributor, you have to decide if that is the right strategy for that property or not. It’s great that we have the chance to do deals like that, and of course, we still have the option to sell on a territory-by-territory basis.

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Nadav Palti CEO Dori Media Group

WS: Creation and production of TV shows can be a risky business. How have you taken as much risk as possible out of creating programming, but still come up with so many hits?

PALTI: The idea is to balance opportunities against the situation of the market, and the market is rapidly changing. If you can look a bit into the future and try to understand the new trends, you can manage risk.

But we don’t always win. The biggest fault we had was the economic crisis in 2008. We didn’t expect it, but we weren’t the only ones. You should try not to be taken by surprise by the market, that’s the first rule.

Second, you should do co-productions that allow you to split the risk. But if you split the risk, you also split the opportunities.

In Hebrew, the Bible says, always divide your investment into three; never put everything in the same basket, and we have tried to follow that. Sometimes we are only distributors, and there we have none of the risks of production, but we do have the risks of the distribution business, which is very expensive.

We need to be experienced, understand the market and have good long-term relationships with all the players, the old and new. Sometimes we co-produce, so we split the risk. Sometimes we produce 100 percent by ourselves, as we do in Israel and Argentina. We are producing for TV, for YouTube and we are now trying a new trend and combining YouTube, social networks and TV. WS: Have OTTs disrupted the business the most? Within that disruption, have you found opportunities?

PALTI: Yes, and yes, and nobody knows if in ten years there will be ten big platforms that control the world, or, if there isn’t room for ten, they will merge, no one knows.

I will tell you one sentence: Netflix became Dori Media’s biggest client in 2018. This tells you the whole story. If you had asked me two years ago if that were possible, I would have said you were crazy. But it’s happened.

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Alon Shtruzman CEO Keshet International (KI)

WS: What have been the strategy shifts at Keshet International as you navigate the changing distribution business?

SHTRUZMAN: If you look at KI’s evolution from its foundation about seven years ago, the company has shifted massively into production. We identified that to make the most out of IP, we also needed to produce. That gives us better creative control and better participation. The way the market operates today is very different. It’s much harder to sell the same piece of IP to multiple countries. One of the pillars of our business in the past was selling formats like Prisoners of War (POW) and The A Word to multiple countries and producing them in different languages. Today, one of the effects of the OTTs is there is more of an appetite to take all rights. Most of the big platforms or broadcasters have global footprints, and they are all looking to exploit the shows globally. A decade ago, a show like POW had multiple revenue streams. POW became Homeland, which was a massive hit in the U.S. and worldwide. The Israeli POW was sold as a tape to 60 or 70 countries. And the format was produced in many countries—Russia, India, Latin America. So we managed to monetize POW on multiple platforms in multiple ways. Nowadays, most of the big shows are being sold in one big global deal, which means it’s impossible to monetize this IP in other countries.

So we increased our pipeline and we generate and create much more IP today. The appetite of the market is so big and the ability to sell the same IP to multiple platforms is so hard, you just need to have more pieces of IP! We’re developing IP in Israel, in the U.K., in Germany, in the U.S. We’ve expanded our slate massively.

WS: What benefits do you derive from being affiliated with a market-leading broadcaster?

SHTRUZMAN: It’s a huge advantage. It allows us to commission our own shows. It allows us to have a finger on the pulse and have a daily dialogue with a massive focus group so we can test our shows. It allows us to air the shows in Israel and go to key markets like the U.K., the U.S. and India with proven concepts.

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Can Okan Founder & CEO Inter Medya

WS: In which territories is there demand for your dramas?

OKAN: We are still very successful in Latin America and the U.S. Hispanic market, and there are some new countries opening up every month.

In Asia, countries like Bangladesh, Malaysia, Vietnam and Thailand are opening. We also have quite a big demand from African territories—we believe that it is going to be a growing market for us.

WS: Have streaming services offered new distribution opportunities?

OKAN: Yes, and not only the international ones. BluTV is the first SVOD platform in Turkey. They have started their own original productions from local producers that we are distributing on their behalf. The linear market is still our core market because the conventional Turkish drama series are quite long and they are not being sold that much on SVOD platforms.

WS: Turkish dramas have crossed cultures so well. What allows them to be popular in so many different countries around the world?

OKAN: When you go to a neighborhood in Istanbul, you see a mosque, next to it a church and right behind there is a synagogue. It has been the center of lots of different cultures for centuries. The stories that come out of this culture are appealing to almost all countries around the world.

WS: Has the Turkish currency crisis impacted the market?

OKAN: It hasn’t affected us. But the ad revenues in Turkey, unfortunately, are shrinking, so this is going to affect the broadcasters in the very near future. This may cause a decrease in the quality or the number of saleable products. So, we’re quite cautious and are waiting to see what’s going to happen in the near future.

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Sudhanshu Vats Group CEO Viacom18

WS: To what do you attribute Colors’ consistent ratings success?

VATS: It’s always had the mindset of a challenger brand, despite being number one. That’s a very good place to be. Associated with that is the ability to continuously innovate, and being willing to tear apart what you have built.

One of the things we’ve been doing is social messaging. We’ve always been challenging the status quo. We’re continuously bringing in the best international formats. And in our choice of stories, we’ve been upfront in trying to change the rules of the game. And finally, among all channels, there are two things we continue to do differently. We yank shows when others would say they are running quite well. That’s the reason we launch more shows [than our competitors]. And our success rate is pretty decent. And we have the widest spread of production houses on our channels. There are shows from some of the better-known names as well as first-time producers. And we’ve never shied away from mounting things at a scale that is new to the Indian market.

WS: What’s driving your operations outside of India?

VATS: We want to build a portfolio of channel brands. The U.K. is a classic example of this. We have Colors, Colors HD, Rishtey, MTV Beats, and our movie channel, Cineplex. We’ve done something similar in the U.S. So we’re building a portfolio of brands that goes well beyond general entertainment.

The second important piece in international is Voot. Voot International will allow us to package some of our content under one [platform]. And it will open up more markets for us. When you’re television-dependent, you need some amount of heft. The good thing about digital is you can reach two people in a market— as long as they can download it and pay you for it. I’m exaggerating, but you can go wide. We’re going to get more aggressive on the sales piece and on syndication in markets where we’re not present. We’ve scaled up to a $60 million [international] business. Now we need to do more television as well as digital.

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Lisa Holme VP, Content Acquisition Hulu

WS: What is Hulu’s acquisition strategy?

HOLME: We think about different audiences with different taste profiles—do we have the right mix of quality and volume for that consumer’s taste at any given time? And, for that user, have we added anything new recently that might be of interest? So, there is still a programming lens to [our strategy] because we think not only about what we may have available for you to watch right now, which is a variety of high-quality programming, but also, once you’re through watching something, what’s the next thing you are going to watch, and the next thing after that? Are we continuing to introduce you to new programming you are going to love, whether it is new to you or new to Hulu?

WS: What role does acquired programming play in the larger Hulu offering?

HOLME: It plays a huge role. We are known for having the best of everything, and we have the humility to know that programming can come from anywhere, whether it’s something we produce ourselves, something we license from our shareholders or something that we license from whoever has the rights to that show or movie. Licensed content drives a tremendous amount of engagement with Hulu, and that tends to be the biggest predictor of whether you are going to keep Hulu—are you using it enough and getting enough out of it to keep your subscription?

We look to licensed content to drive the relationship with our users so that you never run out of things you want to watch.

WS: What role does data play in your acquisitions?

HOLME: Data plays a tremendous role in our decision-making.

We look at whatever we can get our hands on to inform the decisions we are making—everything from Nielsen’s ratings data to piracy data to what people are searching for on Hulu to what people are talking about on social media. We look at whatever we can because some of these decisions are quite big bets and we want to be as informed as we can.

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TALENT

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Greg Berlanti Executive Producer Greg Berlanti Productions WS: What atmosphere do you want in the writers’ rooms?

BERLANTI: I’m not running any of the shows directly, but I’m working with the showrunners as though they are a writers’ room, in a sense. Very often I’ll work with individual showrunners and writers of a certain episode, or I’ll work with the writers’ room at certain key moments of the year, hearing the big pitches or hearing what they have in store. It’s about encouragement, and whenever you’re hearing a writer’s pitch, you are the first audience. I try to experience the story as though I’m an audience member and ask what would come to mind if I were experiencing that. I do try to separate out my production hat and let it be as creative an atmosphere as possible. The job is so hard and challenging: you have to dream something up out of nothing, then execute it, deal with the studio and the network and production demands, and communicate to the actors who then have to perform it. You finish it, and you’re still dealing with post-production and then with critics and the audience. That can all be so demanding. The one thing young writers can bring to a room the most is enthusiasm and encouragement because it hasn’t been knocked out of them yet.

WS: Have you seen the role of the showrunner evolve?

BERLANTI: The job of the showrunner has gotten harder as all of these shows have gotten more expensive and bigger. Part of that is driven entirely by audience demand for production values and the size and scope of these shows. More and more, the audience doesn’t see a difference between TV and film. They expect everything to look really good and be exciting and big. So we are shooting for more days and we’re editing for more days. And we’re spending more money so we can compete in a marketplace where our shows are compared with multi-hundred-milliondollar movies and other shows that may get twice our budget. And yet the audience [doesn’t distinguish between the two]. So you are working more hours to meet those demands. The job has definitely gotten more cumbersome.

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David Shore Showrunner The Good Doctor

WS: How do you create an atmosphere in the writers’ room where everybody feels free to share ideas?

SHORE: People feel free to share ideas if you respond to them with respect. That doesn’t mean I’m going to like every one of them—they may not all be good. But if you value the people in the room and let them know in some way that they are valued, then they will contribute. I expect them to contribute. The other side of that coin is that if they don’t contribute, I don’t want them in the room! There’s no hierarchy in the room. I guess that is disingenuous; the writers would laugh at that! I’m at the top. [Laughs] If I don’t like something, it’s not going to happen, and if I do like something, it’s probably going to happen.

But I like all the writers in my room, and I want to hear from all of them. They all have good ideas, and that’s all that matters.

WS: How do you strike a balance between The Good Doctor’s procedural element and having episodes with continuing storylines?

SHORE: There is a procedural core, and there is a huge character element to the show and ongoing arcs to those characters. I always believe in doing both of them at the same time. The purpose of the medical story is to help us reveal character. We do have a nice medical story in there that has a resolution, neither a good or a bad resolution, but a resolution in most episodes, but that story serves a larger purpose, which is to give rise to issues that help us explore our characters.

WS: Is it more challenging to make the character of Dr. Shaun Murphy interesting compared to an antihero or a bad guy?

SHORE: First of all, no! If you go with bad guys or larger-than-life characters, they give an actor and the writers something to sink their teeth into and have fun with. But I think that sometimes that’s a bit of a cheat. The more interesting characters ultimately are regular people, capable of greatness, who are flawed and have to overcome their own flaws somehow, and that’s pretty much all of us. And that’s what makes Shaun a wonderful character.

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Chris Chibnall Showrunner Doctor Who

WS: Has Doctor Who opened up possibilities for you of what storytelling could be?

CHIBNALL: Yes, my first memories of being alive are of watching Doctor Who! It’s ingrained in me and built into my DNA. I was a fan of it in my teens, and I started to think about being a writer when I was 17, 18. That wasn’t connected to Doctor Who, but it built out of that love of drama. Doctor Who was the first piece of any kind of drama that connected with me. I suppose that’s the amazing thing about Doctor Who. It’s almost genetically engineered to be the best piece of dramatic forbidden fruit for kids and family! That’s what I always loved about it. It always felt slightly scary, slightly more adventurous and slightly more intelligent than other things you would watch at that age. That’s the exciting thing about the show and what always inspired me to love it. Now, as showrunner, I am trying to keep those values of being thrilling for everybody from 4 to 104; it’s the most inclusive drama in the entire world. You really can watch it with everyone and different people will take different things from it.

WS: How do you run your writers’ room?

CHIBNALL: It’s a hybrid of the British and American systems.

I get a little bit superstitious about talking about it, because we have devised our own hybrid process. I almost feel as if the walls of the room are slightly sacrosanct! And if you describe [the process] it becomes locked and fixed in and people say, Oh, that’s how they work! [But] it’s so fluid and so dependent on the writer and the day and the story. What I aim to do is create a production that is collegiate and collaborative where everybody feels, hopefully, a part of it. I wanted to bring in a lot of new writers to the show and make sure there is representation on the writing team and open the door to the next generation of writers.

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Álex Pina

Creator La casa de papel (Money Heist) WS: What does it mean to you that Money Heist has become the mostwatched non-English-language series in the history of Netflix?

PINA: It was totally unexpected. We made a small series in Spain and look at what it has become! It is very exciting that the series has a global reach through Netflix. We created a series that somehow touches upon moral ambiguity. We changed the moral and ethical focus of the characters and we also worked with the viewers’ empathy. In other words, we presented them with situations in which they probably wouldn’t have liked to be involved themselves or they [empathized] with characters like Berlin, who is very complicated.

WS: What was your inspiration for Money Heist?

PINA: I love stories about the perfect heist; it’s such an entertaining genre. I thought about moving the genre, which only existed in feature films, to serialized fiction. This presented us with many challenges because we had to maintain an internal flow of time in regards to how the series was structured, the moment when one episode ends and the other begins. Thanks to this, viewers got that flashback feeling and the characters grew significantly.

Many times in a feature film you’re left wanting more because the story absorbs almost all of the narrative time, but a series allows you to expand the characters. In this sense, Money Heist allowed us to include a vision of the disappointment there is in Europe after the financial crisis. And not only in Europe, but also in Latin America. So the series allowed us to add that certain level of skepticism that exists against governments, central banks and immigration policies. Many things are happening that have made people think and be disappointed in the people that control or govern the world. This is present in the series, together with that moral ambiguity.

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Mariska Hargitay Actress & Executive Producer Law & Order: SVU WS: What makes SVU unique?

HARGITAY: I learned very early on from the type of fan mail that I was receiving that SVU was a very different kind of show, and we had an incredible opportunity. It was speaking to a different audience and was the beginning of giving voice to issues that traditionally had been swept under the carpet. I was so grateful that this television show gave voice to those issues, that if they were indeed on television, they could be discussed the next day at a watercooler and be new fodder for conversation.

WS: You have some scenes that are very tough. How do you disengage afterward?

HARGITAY: I still get nervous before a big scene, and I think that’s a gift. For example, the arc with Pablo Schreiber [who played serial rapist, killer and kidnapper William Lewis] about being kidnapped and held hostage was so rough, but you’re in it and you want to do a good job. Once I do the take, and I can feel if it was worthy, and the director is happy, there’s such a huge relief of getting it and not wanting to do it again that it’s a natural, “I’m done!” It’s like getting to the top of a mountain. It’s just a natural release.

WS: What has surprised you most after nearly 20 years on the show?

HARGITAY: The show has been my greatest teacher, but what surprised me is how the show changed me as a person and turned me into an “accidental activist,” if you will. When Dick [Wolf] hired me, I was so happy and grateful because I’m an actor and it’s what I love to do, it’s what I need to do.

When I got this role, all my dreams came true because it fit like a glove. The part and the person came together, and it’s been challenging for me, very much so, in a lot of ways. I was surprised—and grateful—that I was able to bring change and aid in bringing positivity to the world.

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Missy Peregrym Actress FBI

WS: Do you have consultants on the show? Have they helped you understand your character’s job?

PEREGRYM: We have an ex-FBI agent on set. I’m always learning about how they would do their job, and what’s important in the order of things. They’re very, very thoughtful. Yes, they have to do things quickly, but it’s meticulous in the details.

If they’re going to show up somewhere, they know, because of this, this, this and this. That part is different than playing a police officer. There’s an authority there that is earned. That’s been fun.

WS: Does the subject matter of the cases weigh on you?

PEREGRYM: Sometimes. We did a sex-trafficking episode, and it was hard for me. I’ve got two sisters, and I’m female, and just the way that we shot it, I was crying a lot on the other takes. Then as soon as the camera came around on me, [I’d have to turn my emotions off] because that’s not what the character would do. But I have to give myself the room to feel and be upset. It was hard not to be crying a lot. That specific episode is just the first one that comes to mind, but there are situations like that where it’s tough.

It’s not a [made-up] story; it’s happening [in the real world]. I want people to understand that what we’re discussing is not fake. There are things that we can educate ourselves about. Because law enforcement can’t do everything, it takes the citizens to be aware of the issues.

WS: What kind of atmosphere do you want on the set?

PEREGRYM: Fun. We’re there together for a very long time and it’s stressful. Every day is tricky to shoot. I care that people come to work and even though they’re tired, even though it can be frustrating, that it’s still a joyful experience, that it doesn’t feel like you’re going to work in the same way. Everybody has good days and bad days, but the more you know each other, and the more the environment is safe and fun, people want to be there. And it matters. It changes the dynamic, and it affects what shows up on screen.

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Iain Armitage Actor Young Sheldon

WS: What do you like most about the character you play in Young Sheldon, and do you and Sheldon have characteristics in common?

ARMITAGE: Since he is so oblivious to emotions, it gives him the freedom to say a lot of funny, kind of naughty things that you wouldn’t say in real life. He’s a very interesting character to play. He’s funny and nice (a lot of the time). We’re both very passionate about the things we’re passionate about. We both love science. We’re also different in a lot of ways. I’m not nearly as smart as he is, for example.

WS: How did Jim Parsons help you step into the role of Sheldon?

Do you ever watch The Big Bang Theory and look to his character for inspiration?

ARMITAGE: I don’t watch The Big Bang Theory because it’s not aimed at my audience level. The good thing is I have the world’s greatest Sheldon expert just a few sound stages away. To help me prepare for this mammoth role— it’s very hard to be Sheldon!—we talked about how Sheldon would handle different situations. We talked about how he would react to things and about everything from the way he speaks to the way he behaves. We discussed every aspect of Sheldon, and over time I got it down.

WS: What are some of the things that are universally funny (or relatable) that this show offers for viewers in countries across the world?

ARMITAGE: Touching back to the idea of Sheldon being oblivious to feelings, having someone being as open as he is is always pretty funny. He says such brash and hilarious things. There’s also the fish-out-of-water aspect to it.

That’s so relatable but in a funny way. This really takes it to the next level of being a fish out of water. Think fish in a desert. [Laughs] 36

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DISTRIBUTORS

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Albatross World Sales ADDRESS: Chopinstr. 8, 04103 Leipzig, Germany TELEPHONE: (49-341) 3500-2560 WEBSITE: www.albatrossworldsales.com MANAGING DIRECTOR: Anne Olzmann SENIOR SALES MANAGER, ASIA, MENA, AFRICA, RUSSIA & CIS: Polina Axenova SALES MANAGER, EASTERN EUROPE: Claudia Zell SALES & MARKETING COORDINATOR: Linda Kujawski CONTACT: info@albatrossworldsales.com PROGRAMS: Going Nuts—Tales from the Squirrel World: 1x52 min., nature & wildlife; Magical Iceland: 1x52 min., nature & wildlife; Nature’s Dress Code: 1x52 min., nature & wildlife; Wineman—The Gálvez Guide to Intelligent Wines: 20x45 min. & 6x30 min., travel; Cities by the Sea: 10x52 min., travel; Naked Mole-Rat—Nature’s Weirdest Superhero: 1x52 min., science; Paradise Preserved: 5x52 min., science; We Are Half the World: 2x52 min./1x90 min., history; Ice Cold Passion—Leni Riefenstahl and Arnold Fanck Between Hitler and Hollywood: 1x52 min., history; Garibaldi—Freedom Fighter and Womanizer: 1x52 min., history.

“Albatross World Sales is a leading documentary and factual program distributor and offers a wide range of high-quality content. A large part of our catalog is devoted to blue-chip wildlife programs, high-end science titles and inspiring travel and lifestyle series. We’ve also recently added outstanding new history titles.

We represent a large number of international, award-winning production companies and can, therefore, offer a wide variety of programming with different visual approaches and storytelling.

Highlights at MIPTV include Going Nuts—Tales from the Squirrel World (4K), in which the audience can dive into the fascinating lives of one of the most underestimated animals on the planet; Naked Mole-Rat—Nature’s Weirdest Superhero, winner of the NHK Science Award at Wildscreen; and We Are Half the World, an epic docudrama about the international fight for women’s right to vote.

We are devoted to diversifying and strengthening our program slate to ensure that we keep bringing highly relevant content to our clients worldwide.”

—Anne Olzmann, Managing Director

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AMC Networks International ADDRESS: Calle Saturno 1 - Pozuelo de Alarcon, Madrid 28224, Spain TELEPHONE: (34-91) 714-1080 WEBSITE: www.amcnetworksinternational.com PRESIDENT: Eduardo Zulueta AFFILIATE SALES, CENTRAL & NORTHERN EUROPE: Balázs Hajós AFFILIATE SALES, LATIN AMERICA: Alejandro Kember AFFILIATE SALES, SOUTHERN EUROPE: Estrella Rodriguez AFFILIATE SALES, U.K.: Louise Cottrell CONTACTS: balazs.hajos@amcnetworks.com, alejandro.kember@amcnetworks.com, estrella.rodriguez@amcnetworks.com, louise.cottrell@uk.amcnetworks.com PROGRAMS: Fear the Walking Dead: 16x60 min., drama; The Terror—Infamy: 10x60 min., drama; The Son: 10x60 min., drama; Into the Badlands: 8x60 min., drama; An Accidental Studio: 1x90 min., documentary; AMC Visionaries—The Story of Hip-Hop: 6x60 min., documentary.

“AMC Networks International (AMCNI), the global division of AMC Networks, delivers entertaining and acclaimed programming that reaches subscribers in more than 130 countries and territories. AMCNI consists of global brands, SundanceTV and AMC, as well as popular, locally recognized channels in various programming genres, including movies, series, factual, food, lifestyle, kids, music, sports and outdoors. Powered by the AMC brand and its reputation for having excellent, awardwinning content, the AMC Global channels have received wide critical acclaim and strong viewership for original AMC Studios-produced series, including Fear the Walking Dead and The Terror. AMCNI’s strong regional brands continue to drive distribution growth and attract viewers, including for its leading food network brands El Gourmet (Latin America) and Canal Cocina (Southern Europe); factual channel Spektrum (Central and Northern Europe); and CBS Reality, one of the biggest factual-entertainment channels in the U.K. and seen across Europe, the Middle East and Africa.”

—Corporate Communications

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Artist View Entertainment ADDRESS: 5775 E. Los Angeles Ave., Suite 218, Simi Valley, CA 93063, U.S.A. TELEPHONE: (1-818) 752-2480 WEBSITE: www.artistviewent.com PRESIDENT: Scott J. Jones VP, WORLDWIDE SALES: Jay E. Joyce CONTACT: scott@artistviewent.com PROGRAMS: U2—Dream Out Loud: documentary; Grace: 1x100 min., romantic comedy; 30 and Single: 1x97 min., romantic comedy; Relish: 1x97 min., drama; Axcellerator: 1x90 min., action/sci-fi; Narco Soldiers: 1x90min., action; Abducted: 1x90 min., action; Between Waves: 1x90 min., romantic adventure; Above Ground: 1x90 min., thriller; The Meanest Man in Texas: 1x90 min., drama; Bad Company: 1x90 min., action.

“With over 25 years of sales and marketing experience in the independent film business, Artist View continues to represent some of the finest filmmakers in the world. Whether the producers hail from the U.S.A., Canada, the U.K., Ireland, Spain or Poland (just to name a few), we are constantly on the lookout for the best films available today. As we move into the digital age at an outstanding rate, the need for strong content is alive and well. It will be our goal to continue to provide our distributors with the best, affordable content in the marketplace. Artist View has also expanded into production with an affiliate Canadian production services company based in Calgary, Alberta. We appreciate the people who allow us to represent their projects and are thankful for the buyers who continue to support our product.”

—Scott J. Jones, President

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Atlantyca Entertainment ADDRESS: Via Leopardi, 8, 20123 Milan, Italy TELEPHONE: (39-02) 430-0101 WEBSITE: www.atlantyca.com HEAD, ANIMATION DEPARTMENT, EXECUTIVE PRODUCER & DISTRIBUTION DIRECTOR: Caterina Vacchi EXECUTIVE PRODUCER & DIRECTOR: Niccolo Sacchi DISTRIBUTION MANAGER: Alessandra Dematteis CONTACT: alessandradematteis@atlantyca.it PROGRAMS: Bat Pat: 104x12 min., S2 in prod., 2D HD animation; Berry Bees: 52x12 min., 2D HD animation; Geronimo Stilton: 78x23 min., 2D HD animation; Nutri Ventures: 52x23 min., 2D HD animation; Toy Cop: 52x5 min., 3D CGI animation; Dive Olly Dive: 104x11 min., 3D CGI animation; ZDFE.junior catalog.

“Atlantyca Entertainment has divisions for production and distribution, licensing, publishing, foreign-rights sales and live stage events.

Atlantyca is the producer of three seasons of Geronimo Stilton, which have been sold all over the world. The company is currently realizing the second season of Bat Pat, a spooky animated adventure comedy that proves the supernatural isn’t always evil, just misunderstood.

In addition to that, Atlantyca is producing the buzz-kicking new 52x12-minute animated spy-action series Berry Bees, featuring three extraordinarily talented 10-year-old girls named Bobby, Lola and Juliette, who have been selected by the B.I.A. (Bee Intelligence Agency) for those special spy missions in which only child agents can be involved.

Atlantyca’s distribution arm represents a growing library of properties, including Toy Cop and the junior catalog of ZDF Enterprises for Italy (School of Roars, Scream Street, H2O and Dance Academy, among others).”

—Caterina Vacchi, Head, Animation Department, Executive Producer & Distribution Director

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Autentic Distribution ADDRESS: Lichtstrasse 43, 50825 Cologne, Germany TELEPHONE: (49-221) 4848-200 WEBSITE: www.autentic-distribution.com MANAGING DIRECTOR: Dr. Patrick Hörl GENERAL MANAGER, SALES: Anne Hufnagel CONTACT: sales@autentic-distribution.com PROGRAMS: The Woodstock Bus—Finding the Light: 5x52 min., history; Call of the Wild: 10x45 min., factual entertainment; 24H Europe—The Next Generation: 24x60 min., people & places; Balkan Boom Towns: 5x52 min., people & places; Creative Minds: 5x30 min., people & places; Counts: 2x52 min./ 4x30 min., history; Terror!: 6x50 min., history; Deltas of the World: 5x52 min., people & places; Terrorism Close Calls: 10x50 min., history; Into Bulgaria’s Mystic Mountains: 2x45 min., people & places.

“Autentic Distribution offers a wide range of factual productions spanning a broad thematic base in different genres. Our diverse and exclusive portfolio satisfies the demands of a changing international market. Our services extend to all stages of production, from conception to completion, presales to final sales.

We are always looking for the top-notch and best international documentary programs and series. Any buyer or producer is very much welcome to contact us for a meeting during MIPTV or just pass by our stand.”

—Anne Hufnagel, General Manager, Sales

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Banijay Rights ADDRESS: Gloucester Building, Kensington Village, Avonmore Rd., London W14 8RF, U.K. TELEPHONE: (44-20) 7013-4000 WEBSITE: www.banijayrights.com CEO: Tim Mutimer CONTACT: sales@banijayrights.com PROGRAMS: Wisting: 10x45 min., drama; Hierro: 8x60 min., drama; Temptation Island: 11x60 min., factual/entertainment; SAS—Who Dares Wins: S4 6x60 min., factual/human interest; The Making of Me: 3x60 min., factual/human interest; Abused

By My Girlfriend: 1x60 min., factual/human interest; Catch!: 60 min. eps., entertainment format; Fully Booked: 60 min. eps., cookery/entertainment format; Family or Fiancé: 60 min. eps., entertainment format; Shipwrecked: 60 min. eps., adventure/reality format.

“Banijay Rights is the international distribution division of Banijay Group, a leading creator and producer of TV content worldwide. Banijay Rights represents quality, excellence and experience in the business of television and ancillary sales across all platforms. It is one of the world’s biggest independent distributors, with a catalog of more than 20,000 hours of globally best-selling content across all genres, including drama, formats, factual, entertainment and theatrical. Fifty percent of the catalog is third-party programming from independent producers and networks throughout the world.”

—Corporate Communications

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Boat Rocker Studios ADDRESS: 595 Adelaide St. E., Toronto, ON M5A 1N8, Canada TELEPHONE: (1-416) 591-0065 WEBSITE: www.boatrocker.com MANAGING DIRECTOR & PRESIDENT, RIGHTS: Jon Rutherford CONTACT: sales@boatrocker.com PROGRAMS: Mary’s Kitchen Crush: 30x30 min., factual/ food/lifestyle; Unexplained—Caught on Camera: 8x60 min., factual/entertainment/paranormal; Cavendish: 8x30 min., scripted comedy; Vintage Tech Hunters: 14x30 min., factual/science/technology/pop culture; History in the Making: 26x30 min., factual/history & civilization; Late Nite Eats: 26x30 min., factual/food/travel; Kingdom Force: 52x11 min., action/adventure/kids 4-7; The Strange Chores: 26x11 min., comedy/adventure/kids 6-11; Love Monster: 52x7 min., comedy/adventure/kids 2-5; Bitz & Bob: 42x11 min. & 44x4 min. & 1x22 min., educational/adventure/kids 2-5.

“Boat Rocker Studios brings great stories to life through global relationships, creative packaging expertise, financial support and maintaining brand integrity. Boat Rocker Studios combines content, distribution and brands, streamlining Boat Rocker Media’s corporate structure as it plans for further investments into scripted, unscripted and kids’ and family content for the global marketplace. With over 600 employees across its Toronto, New York, Los Angeles, London, Ottawa and Hong Kong offices, 750 half-hours of content produced annually and a distribution library totaling over 7,000 half-hours, Boat Rocker has grown to become one of the largest and most prolific independent studios in the world.”

—Jon Rutherford, Managing Director & President, Rights

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Canal 13 ADDRESS: Inés Matte Urrejola 0848, Providencia, Santiago, Chile TELEPHONE: (562) 2630-2883 WEBSITE: www.13.cl/sudmedia CEO: Javier Urrutia SALES CONTENT MANAGER: Rodrigo Correa CONTACT: ventasint@13.cl PROGRAMS: Blood Pact (Pacto de sangre): 94x45 min., scripted; Queen of Franklin St. (La reina de Franklin): 94x45 min., scripted; They Made It! (Ellos la hicieron): 12x50 min., docureality; Looking for God (Buscando a dios): 10x50 min., docuseries; World’s Most Isolated Tribes (Las últimas tribus): 21x50 min., docuseries; Goodbye Haiti (Adiós Haití): 7x55 min., docuseries; Challenge 2030 (Desafío 2030): 8x25 min. & 8x52 min., docuseries; The Workshop (El Taller): 1x76 min., movie; Love is Not Enough (No basta con amar): 1x85 min., movie; Penguin Island (La isla de los pingüinos): 1x106 min., movie.

“For 60 years, Canal 13 keeps innovating, producing and broadcasting programs with the highest quality and creativity standards. For decades, Canal 13 has been in constant dialogue with the audience, through its leadership, pluralism and public service. Canal 13’s wide range of programs includes news, entertainment, reality shows, telenovelas, series and documentaries, which have set high standards within the industry. Canal 13 owns a group of radio stations, two pay-TV channels, websites 13.cl and t13.cl, the OTT platform 13.cl/loop and has its international channel, 13i. Since 2013, 13 Sudmedia is the international sales arm of Canal 13, offering a variety of content, which continues adding success to Canal 13.”

—Corporate Communications

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Crown Media International Distribution ADDRESS: 12700 Ventura Blvd., Studio City, CA 91604, U.S.A. TELEPHONE: (1-818) 755-1244 WEBSITE: www.crownmediainternational.com SENIOR VP, INTERNATIONAL DISTRIBUTION: Francisco Gonzalez CONTACT: franciscogonzalez@crownmedia.com PROGRAMS: Mystery 101: 1x90 min., mystery; Ruby Herring Mysteries—Silent Witness: 1x90 min., mystery; The Story of Us: 1x90 min., romantic comedy; One Winter Proposal: 1x90 min., romantic comedy; Love on the Menu: 1x90 min., romantic comedy; Love, Of Course: 1x90 min., romantic comedy; Mingle All the Way: 1x90 min., holiday; Christmas Bells are Ringing: 1x90 min., holiday; Christmas Everlasting: 1x90 min., holiday.

“Crown Media International Distribution markets and distributes Crown Media Family Networks’ original signature content to every international market around the world. Our networks include Hallmark Channel, our flagship network; Hallmark Movies & Mysteries; the new linear channel Hallmark Drama; and the SVOD platform Hallmark Movies Now.” —Corporate Communications

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Cyber Group Studios ADDRESS: 44B Quai de Jemmapes, 75010 Paris, France; 9696 Culver Blvd., Suite 208, Culver City, CA 90232, U.S.A. TELEPHONE: (33-1) 5556-3232; (1-424) 341-4911 WEBSITE: www.cybergroupstudios.com CHAIRMAN & CEO: Pierre Sissmann SENIOR VP, SALES, ACQUISITIONS & NEW MEDIA: Raphaelle Mathieu CONTACT: Eve Cohen, ecohen@cybergroupstudios.com PROGRAMS: Gigantosaurus: 52x11 min., kids 4-6/CGI 2D HD/adventure/comedy; Taffy: 78x7 min., kids 6-12/2D HD/animation/comedy/cartoon; Sadie Sparks: 52x11 min., kids 6-11/CGI 2D HD/animation/comedy; Purple Turtle: 52x7 min., kids 3-6/CGI HD/animation/comedy/edutainment; Mini Ninjas 2: 104x11 min., kids 6-12/CGI 2D HD/animation/ adventure/comedy; Ernest and Rebecca: 52x13 min., kids 6-10/ 2D HD/comedy; Zak Jinks: 52x13 min., kids 6-10/2D HD/animation/adventure/comedy; Tom Sawyer: 26x22 min., kids 6-12/CGI HD/animation/adventure; Zou 3: 156x11 min., kids 3-6/HD CGI/animation/comedy; The Pirates Next Door: 52x11 min., kids 6-10/CGI 2D HD/animation/comedy.

“Cyber Group Studios is a multi-awarded French independent 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 families.

To bring the highest quality entertainment, the company collaborates with the best creative talents around the world and develops breakthrough technology to enhance its productions. Cyber Group Studios is proud to continue the development of partnerships with top producers by bringing them high-value access to key players in the international market.

Following the opening of subsidiaries in Los Angeles (U.S.A.) and Roubaix (Hauts-de-France), Cyber Group Studios has extended its international exposure on digital platforms thanks to key partnerships and new digital specialists. The company has also created an interactive division aimed at developing games and interactive experiences on digital platforms (iOS and Android) as well as on traditional console platforms (Sony PlayStation, Microsoft Xbox, Nintendo Switch and PC).”

—Raphaelle Mathieu, Senior VP, Sales, Acquisitions & New Media

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DHX Media ADDRESS: 207 Queen’s Quay W., Suite 550, Toronto, ON M5J 1A7, Canada TELEPHONE: (1-416) 363-8034 WEBSITE: www.dhxmedia.com PRESIDENT: Josh Scherba VP, DISTRIBUTION: Jerry Diaz CONTACT: sales@dhxmedia.com PROGRAMS: Up in the Air: 15x30 min., kids/live action; Rev & Roll: 52x11 min., preschool/3D animation; Bajillionaires: 20x22 min., kids/live action.

“DHX Media is a global children’s content and brands company, recognized for such high-profile properties as Peanuts, Teletubbies, Strawberry Shortcake, Caillou, Inspector Gadget and the acclaimed Degrassi franchise. One of the world’s foremost producers of children’s shows, DHX Media owns the world’s largest independent library of children’s content, at 13,000 half-hours. It licenses its content to broadcasters and streaming services worldwide and generates royalties through its global consumer products program. Through its subsidiary WildBrain, DHX Media operates one of the largest networks of children’s channels on YouTube. Headquartered in Canada, DHX Media has offices worldwide.”

—Corporate Communications

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Filmax ADDRESS: Calle Miguel Hernández 81-87, 08908 Hospitalet de Llobregat, Barcelona, Spain TELEPHONE: (34-93) 336-8555 WEBSITE: www.filmaxinternationalsales.com CEO: Carlos Fernández HEAD, INTERNATIONAL: Iván Díaz CONTACT: filmaxint@filmax.com PROGRAMS: Welcome to the Family: S2 13x52 min., comedy; The Miramar Murders: 6x52 min., true crime; Kilian Jornet: 1x80 min., documentary; I Know Who You Are: 16x70 min., drama thriller; The Red Band Society: 28x45 min., drama; The Chosen: 1x125 min., spy thriller; Bikes: 1x86 min., animation; The Lunnis: 1x84 min., kids/animation; The Uncovering: 1x108 min., thriller; Cesc Gay’s Collection: five films from Cesc Gay; Six Films to Keep You Awake: 6x77 min., horror thriller.

“Based in Barcelona, Filmax is one of the most important audiovisual firms in Spain. The company, which provides development, production, distribution, exhibition and international sales, responds fully to the business opportunities within the European and international entertainment sectors.

One of the products that most stands out in our MIPTV 2019 lineup is the second season of the successful black comedy series Welcome to the Family, which charts the troubles and adventures of a lovable but dysfunctional family. Season one is available worldwide on Netflix, while the second season debuted on TV3 in Spain in January 2019.

As for our new projects, Filmax is currently filming the special Días de Navidad (Christmas Days) for Netflix, and we also have four different fictions in development with various clients. We’ll be bringing you more news on these at MIPCOM 2019.

We are also putting the final touches to the true-crime series The Miramar Murders, which will be ready in Q4 2019.

At the same time, we are actively looking for TV projects to co-produce and/or represent internationally.”

—Iván Díaz, Head, International

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Fremantle ADDRESS: 1 Stephen St., London W1T 1AL, U.K. TELEPHONE: (44-207) 691-6457 WEBSITE: www.fremantle.com CEO, INTERNATIONAL: Jens Richter CONTACT: Safiah Ngah, safiah.ngah@fremantle.com PROGRAMS: Beecham House: 6x60 min., drama; Baghdad Central: 6x60 min., drama; The Luminaries: 6x60 min., drama; La Jauría: 8x60 min., drama; Charité: 6x60 min., drama; Expedition with Steve Backshall: 10x60 min., factual; Enslaved: 6x60 min., factual; I AM Patrick Swayze: 1x120 min., factual; Punk: 4x60 min., factual; Murder for Hire: 4x60 min., factual.

“Fremantle is one the largest and most successful creators, producers and distributors of scripted and unscripted content in the world.

A global entertainment powerhouse, Fremantle has an outstanding international network of production teams, companies and labels in over 30 countries. We produce in excess of 12,000 hours of original programming, roll out more than 60 formats and air 450 programs a year worldwide.

The group distributes over 20,000 hours of content in more than 200 territories. We are also a world leader in digital and branded entertainment, with more than 300 million subscribers across 1,400 social channels and over 100 billion views across all platforms.

We are part of RTL Group, a global leader across broadcast, content and digital, itself a division of the international media giant Bertelsmann.”

—Jens Richter, CEO, International

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Beecham House: From BAFTA-nominated writer, director and producer Gurinder Chadha comes an epic drama following the fortunes of the owner and staff of splendid Beecham House.

Baghdad Central: A crime thriller set in the ruins of a fallen city.

The Luminaries: Based on the best-selling and Man Booker Prize-winning novel, The Luminaries is an epic love story following Anna Wetherell as she sails to New Zealand to make a living on the goldfields.

La Jauría: The first co-production between Fremantle and Oscar-winning Fabula, La Jauría follows a female-led police force, specializing in gender-related crimes. Daniela Vega stars.

Charité: This compelling wartime drama follows our characters as they navigate challenging conditions at the leading European wartime hospital.

Expedition with Steve Backshall: A global series exploring uncharted regions of our planet in a series of epic world firsts.

Enslaved: Samuel L. Jackson (executive producer) leads a team of expert divers and historians to investigate the wrecks of slave ships from 400 years ago.

I AM Patrick Swayze: The latest chapter in the I AM collection celebrates the life and times of Patrick Swayze, offering an intimate portrait of this fascinating icon. I AM Jackie O coming soon.

Punk: Rock legend Iggy Pop executive produces Punk, a four-part series that examines this DIY subculture of musical misfits and outcasts through interviews with its pioneers.

Murder for Hire: Produced by Emmy Award winner Dick Wolf (Law & Order), Murder for Hire delves into the dark world of contract killings, following undercover officers who commit their lives to stopping them before they happen.

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Gaumont TELEPHONE: (1-424) 281-5200 WEBSITE: www.gaumont.us VICE CEO: Christophe Riandee PRESIDENT, WORLDWIDE TV DISTRIBUTION & CO-PRODUCTION: Vanessa Shapiro CONTACT: sales@gaumont.com PROGRAMS: Narcos: 50x60 min., drama; El Chapo: 34x60 min., drama; NOX: 6x60 min., thriller; The Art of Crime: 16x60 min., drama; Christmas Arrangement: 1x90 min., holiday; Shoelaces for Christmas: 1x90 min., holiday; A Christmas Village: 1x90 min., holiday; Belle and Sebastian: 52x11 min., animation/comedy/ adventure/kids 5-9; Bionic Max: 52x11 min., animation/ comedy/adventure/kids 6-11; Calimero: 62x13 min., animation/ comedy/preschool.

“Gaumont is a producer and distributor of high-quality programming for the U.S. and international markets and part of the motion picture studio Gaumont. This year, the company will continue to focus on developing new TV co-production alliances and launching new divisions around the world. Last year, we opened offices in Germany, the U.K. and Argentina, with a mandate to develop and produce original scripted drama series. Most recently, we announced our new Latin American co-production with the Oscar-winning production company Fabula and Kapow for Amazon, El Presidente, a true-crime series that explores the FIFA corruption scandal; and also, our first German production, the historical and ambitious The Barbarians for Netflix. At MIPTV, we will be presenting all five seasons of the Emmy- and Golden Globenominated Narcos. According to Parrot Analytics, the latest season topped the chart as the number one digital original series in the U.S.” —Vanessa Shapiro, President, Worldwide TV Distribution & Co-Production

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GMA Worldwide ADDRESS: 10/Fl., GMA Network Center, EDSA corner Timog Ave., Diliman, Quezon City 1103, Philippines TELEPHONE: (632) 8333-7633 WEBSITE: www.gmaworldwide.tv VP: Roxanne J. Barcelona ASSISTANT VP: Ana Racquel A. Sevilla CONTACT: aasevilla@gmanetwork.com PROGRAMS: To the One I Love: 20x45 min., contemporary drama/romantic comedy; Written in the Stars: 50x45 min., contemporary drama/musical; Kara Mia: 40x45 min., contemporary drama/fantasy; Dragon Lady: 50x45 min., contemporary drama/fantasy; Sahaya: 40x45 min., contemporary drama/fantasy; Borrowed Embrace: 40x45 min., contemporary drama; Silent Shadow: 55x45 min., contemporary/revenge drama; Color of My Blood: 34x45 min., drama/revenge drama; The Way to Your Heart: 83x45 min., contemporary drama; The Heart Knows: 77x45 min., family drama.

“GMA Worldwide Inc. (GWI) is the distributor of content for GMA Network, the Philippines’ largest and most-trusted broadcaster. GWI enlivens the TV landscape with its lineup of breakthrough shows meant to keep the viewer awed, entertained and inspired. GMA’s dramas are popularly known for stories that push the boundaries of the imagination or explore daring, uncharted themes, while offering the audience a rich array of emotional experiences. GWI looks forward to strengthening its presence worldwide by providing quality Filipino dramas that help boost ratings.”

—Roxanne J. Barcelona, VP

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Inter Medya ADDRESS: Istanbloom Offices, Kore Sehitleri Caddesi 16/1, Zincirlikuyu, 34394 Istanbul, Turkey TELEPHONE: (90-212) 231-0102 WEBSITE: www.intermedya.tv CEO & FOUNDER: Can Okan PROGRAMS: Bitter Lands: drama; The Pit: 107x45 min., S2 TBA, drama; Mehmed, The Conqueror: 18x45 min., period drama; Exathlon: 150 min. eps., sports-reality format; The Perfect Couple: 60-90 min. eps., dating/reality format.

“Founded in 1992, Inter Medya has established itself as one of the most successful content distributors in Turkey. Specializing in the sales of Turkish TV series and feature films, the company has also recently started to develop and produce entertainment and reality formats, taking important steps to becoming a significant content distributor in the field.

The company managed to earn its clients’ trust and loyalty through a satisfactory and sustained service record and a library that always manages to stay current. Consistently and reliably spreading the Turkish TV, film and format industry to the foreign market, the company is adamant about developing and increasing this contribution in the coming years.”

—Can Okan, CEO & Founder

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Lightning International ADDRESS: 1204 Haleson Building, 1 Jubilee St., Central, Hong Kong TELEPHONE: (852) 2815-7481 WEBSITE: www.lightninginternational.net CEO: James Ross GENERAL MANAGER: Amanda Yang CONTACT: james@lightninginternational.net PROGRAMS: Luxury Hunters: 6x30 min., 4K entertainment; The Flying Chef: 7x30 min., food/travel; The Merger: 1x120 min., movie; Boat N Bikes: 10x30 min., travel; Bo66y: 1x120 min., documentary; Eullenia: 3x60 min., thriller/drama; Who Killed Jim Thompson, the Thai Silk King?: 1x60 min., documentary; Time Travel Girl: 12x30 min., animation; Art & Design: 6x30 min., culture; Uncaged: 20x30 min., animal documentary.

“Lightning International distributes highquality programming of many kinds from small- and medium-sized independent producers. While we are specialists in the AsiaPacific region, we offer distribution globally and regularly exhibit and attend major markets, including MIPCOM, MIPTV, ATF, NATPE and TIFFCOM. We have a passion for quirky subjects in genres ranging from movies to reality, animation to lifestyle, drama to factual, comedy to food and music to formats. We offer a personal boutique-style service, with a team who collectively have more than 40 years of experience with major broadcasters. We have offices in Hong Kong, London and Tokyo.

Content is in our blood, and through our network of connections we license programs to as wide a variety of platforms as possible, including traditional terrestrial broadcasters, cable, satellite and IPTV, in-flight and ancillary, and, of course, the full range of OTT and SVOD services.”

—James Ross, CEO

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Lionsgate Entertainment ADDRESS: 2700 Colorado Ave., Santa Monica, CA 90404, U.S.A. TELEPHONE: (1-310) 449-9200 WEBSITE: www.lionsgate.com PRESIDENT, INTERNATIONAL TV & DIGITAL DISTRIBUTION: Agapy Kapouranis PRESIDENT, WORLDWIDE TV & DIGITAL DISTRIBUTION: Jim Packer CONTACT: general-inquiries@lionsgate.com PROGRAMS: Sweetbitter: 14x30 min., drama; Vida: 16x30 min., drama; The A List: 13x30 min., drama; The Rook: 8x60 min., drama; The Spanish Princess: 8x60 min., event series; BoJack Horseman: 61x30 min., comedy; Now Apocalypse: 10x30 min., comedy; Florida Girls: 10x30 min., comedy; Ambitions: 11x60 min., drama.

“The first major new studio in decades, Lionsgate is a global content leader whose films, television series, digital products and linear and over-the-top platforms reach next-generation audiences around the world. In addition to its filmed entertainment leadership, Lionsgate content drives a growing presence in interactive and location-based entertainment, video games, eSports and other new entertainment technologies.

Lionsgate’s content initiatives are backed by a nearly 17,000title film and television library and delivered through a global sales and distribution infrastructure. The Lionsgate brand is synonymous with original, daring and groundbreaking content created with special emphasis on the evolving patterns and diverse composition of the company’s worldwide consumer base.”

—Agapy Kapouranis, President, International TV & Digital Distribution

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Mondo TV Group ADDRESS: Via Brenta, 11, 00198 Rome, Italy TELEPHONE: (39-06) 8632-3293 WEBSITE: www.mondotvgroup.com CEO: Matteo Corradi HEAD, TV SALES: Luana Perrero MANAGING DIRECTOR, MONDO TV IBEROAMERICA: Maria Bonaria Fois CONTACT: luana.perrero@mondotvgroup.com PROGRAMS: MeteoHeroes: 52x7 min., comedy/adventure/ educational; Robot Trains 2: 52x11 min., comedy/adventure; Heidi Bienvenida: S1 60x45 min./120x24 min. & S2 60x45 min./ 120x24 min., live action; YooHoo to the Rescue: 52x11 min., comedy/adventure; Invention Story: 104x11 min., comedy/ adventure; Bat Pat: 52x11 min., 2D HD/comedy/adventure; Sissi, the Young Empress 3: 52x11 min., 3D CGI/comedy/adventure.

“We have enjoyed a lot of success in coproduction and will continue to pursue partnerships for new projects. Children’s animation remains our core business, but live action is an area we plan to develop.

We are strongly committed to all platforms—linear, digital, OTT and others—and the opportunities they can present. YooHoo to the Rescue is the first-ever Netflix Original Series from coproducers Mondo TV and Aurora World. We have also agreed to a deal with SVOD provider Ameba TV for a number of shows from the Mondo TV library.

We intend to continue growing our very successful distribution and licensing businesses. And we are looking forward to broadcast and licensing success for the latest series of Sissi, the Young Empress, Robot Trains and Heidi Bienvenida as well as for our new properties, MeteoHeroes, YooHoo to the Rescue and Invention Story.”

—Matteo Corradi, CEO

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MeteoHeroes: A Mondo TV co-production with MOPI (Meteo Operations Italia, better known to the public as the Epson Expert), this show addresses issues like climate change, ecology and respect for nature through the adventures of six children who transform into superheroes with power over the weather. Each one has a different superpower, connected with a different weather phenomenon, enhanced by special gadgets and costumes.

Robot Trains 2: This animated series for children ages 4 to 7 is set in a land where all the citizens are trains, but some can transform into robots. A co-production between Mondo TV and CJ ENM, season two introduces Rail World and its different regions: Water Land, a vibrant place where the water flows endlessly; Sunny Land, which always enjoys warm sunlight; Wind Land, the windiest place in Rail World; and Mountain Land, where the lava bubbles a few feet below the surface of the snowy mountain. Also new for this series is Rail Watch, the trusted robot train guardians of Rail World, who protect their home and its vital energy supplies.

Heidi Bienvenida: Produced by Mondo TV Iberoamerica along with Alianzas Producciones, Heidi Bienvenida is Mondo’s first-ever live-action show. It is based on the classic tale of a happy, carefree girl who leaves her beloved mountain home to live in the big city. In season two, Heidi moves back to the big city, makes new friends and discovers new abilities, including a talent for creating perfumes.

YooHoo to the Rescue: A Netflix Original Series, this is a new 3D CGI children’s series with strong environmental themes based on the globally successful line of Aurora World plush toys. YooHoo and his friends—Pammee, Roodee, Chewoo and Lemmee—travel from their home in YooTopia to Earth to confront threats to nature and wildlife and meet many different endangered animal species.

Invention Story: A co-production from Henan York Animation and Mondo TV, Invention Story is the tale of an intelligent, thoughtful and creative fox who comes up with a new invention in each episode. By following the little fox in his efforts to build each new invention, the show’s young audience will find out more about science and how it works. Henan York Animation and Mondo TV have already committed to five series, for a total of 520 11-minute episodes.

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Multicom Entertainment Group ADDRESS: 2305 Glendale Blvd., Suite 550, Beverly Hills, CA 90211, U.S.A. TELEPHONE: (1-310) 693-8818 WEBSITE: www.multicom.tv CHAIRMAN: Irv Holender PRESIDENT: Darrin Holender VP, SALES & DISTRIBUTION: Niloo Badie CONTACT: info@multicom.tv PROGRAMS: Follow Me: 1x90 min., horror/thriller; Fat Legs: 1x96 min., drama/comedy; Blood 13: 1x99 min., thriller; Boonie Bears—The Adventurers; Boonie Bears—A Mystical Winter: 1x96 min., animation; The Remarkable Life of John Weld: 1x77 min., biography/drama; For Now: 1x81 min., comedy/drama.

“Multicom Entertainment Group is a global independent distribution company focusing on television markets and digital platforms, along with publishing, licensing and merchandising of its IP library. Multicom’s extensive catalog of feature films, specials and series includes over 5,000 hours of broadcastquality programming featuring countless stars, genres and formats, available in all media.”

—Darrin Holender, President

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ORF-Enterprise ADDRESS: Euro Plaza, Building C, Am Europlatz 5, 1120 Vienna, Austria TELEPHONE: (43-1) 87878-13030 WEBSITE: contentsales.orf.at MANAGING DIRECTOR & CFO: Beatrice Cox-Riesenfelder HEAD, CONTENT SALES INTERNATIONAL: Armin Luttenberger CONTACT: Lisa Pöpperl, lisa.poepperl@orf.at PROGRAMS: Greece—The Wild Side: 2x52 min., nature; Cuba’s Wild Revolution: 1x52 min., nature; Wild Austria—Created by Water: 2x52 min., nature; Passion and Power—Queen Victoria’s Secrets: 1x52 min./1x45 min., history; Beauty and Despair— Austria’s Empress Sisi: 1x52 min./1x43 min., history; Walking on Sunshine: 10x45 min., fiction; Suburbia—Women on the Edge: 30x48 min., fiction; Fast Forward: 60x45 min., fiction; The Csárdás Princess: 1x140 min., music; Carnival of the Musicians— Igudesman & Joo feat. Vienna Symphonics: 1x86 min., music.

“Strong brands like ORF Universum, our nature and wildlife strand, have been the foundation of our market position for over 30 years. Together with ORF’s natural history department, co-producing partners and renowned independent producers and filmmakers capturing the most stunning images from around the world, we are the preferred supplier of blue-chip documentaries for a wide range of broadcasters and platforms. Since 2013, ORF Universum History has been adding a new segment to the established ORF Universum brand family. Our successful TV movies and TV series represent another pillar of our catalog. Innovative fiction shows from Austria like Fast Forward, Scene of the Crime and K-Files are increasingly being requested and have granted us access to various markets. With Walking on Sunshine, we are proud to offer a brand-new dramedy series at MIPTV. ORF-Enterprise Content Sales International serves as a high-quality full-service provider of content from different genres for all media.”

—Armin Luttenberger, Head, Content Sales International

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Rainbow ADDRESS: Via Brecce, 60025 Loreto (AN), Italy TELEPHONE: (39-071) 7506-7500 WEBSITE: www.rbw.it FOUNDER & CEO: Iginio Straffi SENIOR VP, LICENSING & ACQUISITIONS: Cristiana Buzzelli HEAD, SALES & CO-PRODUCTION: Andrea Graciotti CONTACT: Silvia Conti, silvia.conti@rbw.it PROGRAMS: 44 Cats: 52x13 min., 3D CGI/comedy/kids 4-7; Winx Club: S8 26x30 min., 2D/animation/adventure/action/ comedy/kids 5-10; Club 57: 60x45 min., live action/ comedy/kids 7-14; Shark4: 52x11 min., 2D/comedy/kids 5-10; 2 Happy Farmers: 78x7 min., 2D/comedy/edutainment/kids 3-6; Dancing Horses: 52x11 min., 3D CGI/comedy/ musical/adventure/kids 4-7; Pinocchio: 26x30 min., CGI/adventure/comedy/kids 6-12; Regal Academy: S1-2 52x30 min., 2D/toonshade animation/comedy/kids 5-10; Maggie & Bianca Fashion Friends: S1-3 78x30 min., live action/comedy/kids 8-12; World of Winx: S1-2 26x30 min., 2D/animation/action/mystery/kids 5-10.

“Rainbow Group was founded in 1995 by Iginio Straffi, president and CEO. The group operates in the children and teenager entertainment industry, ranking among the main international companies for the creation, development and licensing of animated and live-action content for TV and cinema productions, as well as for the production of animated content for third parties integrated with the acquisition of Canadian studio Bardel Entertainment in 2015. The group also broadened its offer of TV and movie products dedicated to adults and families with the acquisition of Iven Group in 2017. With 20 years of history behind it, today the group can boast a wide product portfolio aired in over 100 countries through different broadcasting platforms. In the consumer-products industry, the group ranks in the top positions on the annual global licensors list and is first in Europe, with more than 500 licensees worldwide.”

—Corporate Communications

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Record TV ADDRESS: Rua da Várzea, 240 - Barra Funda, 01140-080 São Paulo-SP, Brazil TELEPHONE: (55-11) 3300-4022 WEBSITE: www.recordtvnetwork.com INTERNATIONAL SALES DIRECTOR: Delmar Andrade INTERNATIONAL SALES MANAGER: Edson Mendes CONTACT: emendes@recordtv.com.br PROGRAMS: Jesus (Jesús): soap opera; Leah (Lea): series; Apocalypse (Apocalipsis): soap opera; The Rich and Lazarus (El Rico y Lázaro): 187x45 min., soap opera; The Promised Land (La Tierra Prometida): 179x50 min., soap opera; The Slave Mother (La Esclava Madre): 151x60 min. 4K, soap opera; Moses and the Ten Commandments (Moisés y los Diez Mandamientos): 242x60 min., soap opera.

“Record TV was created in September 1953.

Back then, Record TV was one of the broadcasters that helped popular Brazilian music evolve, and its history is made up of a series of successful shows. The company’s initiatives help Brazil’s society and culture. Record TV is today the oldest broadcaster in Brazil, still scoring excellent ratings and extending its market share in the Brazilian landscape. Record TV has strengthened its performance in the international market by giving foreign clients and viewers some of the highest quality products from Brazil. The company’s list of products features telenovelas, series and documentaries, [synonymous with] information, entertainment, culture, diversity and tremendous success.”

—Delmar Andrade, International Sales Director

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RTVE ADDRESS: Avenida Radiotelevisión 4, 28223-Pozuelo de Alarcón, Madrid, Spain TELEPHONE: (34-91) 581-7827 WEBSITE: www.rtve.es/commercial PRESIDENT: Rosa Maria Mateo SALES DIRECTOR, INTERNATIONAL: Maria Jesús Pérez PROGRAMS: The Hunt. Monteperdido: 8x70 min., prime-time series; Promesas de Arena: 6x70 min., prime-time series; Valle Norte Hospital: 10x70 min., prime-time series; Dreaming is a Right: 130x50 min., daily series.

“RTVE is the largest audiovisual group in Spain. With its portfolio of channels and programs, RTVE disseminates the best news reports, entertainment and educational content in Spanish throughout the world.”

—Maria Jesús Pérez, Sales Director, International

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Showlab ADDRESS: Corso Unione Sovietica 612/15A, 10135 Turin, Italy TELEPHONE: (39-011) 347-0338 WEBSITE: www.showlab.it CEO: Corrado Camilla GENERAL MANAGER, CONSUMER PRODUCTS & KIDS CONTENT, PRODEA GROUP: Guido Berté GENERAL MANAGER, ANIMATION & YOUTH PROGRAMS: Alfio Bastiancich DIRECTOR, SALES & ACQUISITIONS: Micheline Azoury CONTACTS: corrado.camilla@prodeagroup.com, guido.berte@prodeagroup.com, bastiancich.a@showlab.it, azoury.m@showlab.it PROGRAMS: Miracle Tunes: 51x26 min., live action/3D CGI animation; YoYo: S1-2 104x7 min., 3D CGI animation; Whiskey & His Friends: 26x7 min., 2D animation.

“Showlab is Prodea Group’s media company, an Italian reality with a strong international vocation and a capacity to plan and produce content for any kind of platform in our media world today.

The company stands out for the production of shows for prime-time television, factual and entertainment formats for the last eight years. In the past three years, the company has been focusing on programs for kids and young audiences with successful consumer-product activities to start from the Italian market, such as the animated preschool series YoYo, co-produced with Rai Fiction, Grid Animation and Telegael. A successful Japanese format for girls has been produced during early 2018, a unique live-action series with a focus on music for little girls, called Miracle Tunes. Showlab produced that format for the Western market. Another area of Showlab’s activities is Blasteem, which has an important, massive focus on social media communication.

Thanks to a partnership with Giochi Preziosi Group, Showlab is positioning itself in the international market to become an important player from Italy across EMEA countries for kids’ content—in creation, co-production, distribution and licensing—with fast-growing expansion.”

—Corrado Camilla, CEO

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Studio 100 Media & m4e ADDRESS: Neumarkter Str. 18-20, 81673 Munich, Germany TELEPHONE: (49-89) 960855-0 WEBSITE: www.studio100media.com CEO: Ulli Stoef HEAD, GLOBAL DISTRIBUTION: Dorian Bühr CONTACT: dorian.buehr@studio100media.com PROGRAMS: Heidi: 65x22 min., CGI animation/adventure/kids 5-8; Tip the Mouse: 104x7 min., CGI animation/ adventure/comedy/kids 3-6; Wissper: 104x7 min., CGI animation/comedy/adventure/kids 4-8; Arthur and the Minimoys: 26x26 min., CGI animation/adventure/ fantasy/boys 5-9; Random & Whacky: 15x24 min., live action/comedy/kids 6-12; Drop Dead Weird: 26x24 min., live action/comedy/kids 6-12; Maya the Bee: 130x12 min., CGI animation/adventure/comedy/kids 4-7; Mia and me: 78x23 min., CGI animation/live action/fantasy/adventure/girls 6-12; The Wild Adventures of Blinky Bill: 52x12 min., CGI animation/adventure/comedy/kids 6-9; Ghost Rockers: 209x12 min. & 1x92 min., live action/mystery/kids 8-12.

“Studio 100 Media/m4e 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 Belgian Studio 100 group. 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.

The Studio 100 group includes the fully owned animation studios Flying Bark Productions (Sydney), Studio 100 Animation (Paris), Little Airplane Productions (New York) and Studio Isar Animation (Munich), which are also involved in co-productions and offer service work to other producers. In marketing its license rights, the company pursues a global strategy within sectors ranging from content distribution, licensing and home entertainment through to theatrical movies, stage shows and theme parks.

The company’s catalog contains more than 17,500 episodes of high-quality content with outstanding brands like Maya the Bee, Mia and me and Arthur and the Minimoys. At MIPTV, we are introducing new seasons of Heidi, Wissper and Tip the Mouse.”

—Dorian Bühr, Head, Global Distribution

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TCB Media Rights TELEPHONE: (44-203) 970-5577 WEBSITE: www.tcbmediarights.com CEO: Paul Heaney SENIOR SALES MANAGER: Simona Argenti CONTACT: office@tcbmediarights.com PROGRAMS: Anna Gare’s Taxi Fare: 10x30 min., food; The Car Years: 6x30 min., reality/entertainment; Dirty Tricks: 6x60 min., reality/entertainment; The House of Extraordinary People: 3x60 min., reality/entertainment; Murder Wall: 10x60 min., crime & investigation; Savage Australia: 12x60 min., animals; Secrets of the Railway: 6x60 min., history; The Shocking Truth About Food: 1x60 min., food; Train Truckers: 6x60 min., history; Ultimate Mysteries: 10x60 min., science & technology.

“TCB Media Rights launched in late 2012 to offer a full suite of distribution services, leveraging its global contacts, experience and knowledge to unlock the maximum creative and commercial potential from each project. Focusing on presales, IP co-creation, co-financing and now crucially bringing content briefs from broadcasters directly to producers, this is a distributor with a difference. TCB has gone on to become one of the fastest-growing unscripted distributors in the business, forging relationships with some of the most highly regarded production companies in the global business.”

—Corporate Communications

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Twofour Rights ADDRESS: Estover, Plymouth PL6 7RG, U.K. TELEPHONE: (44-1752) 727-400 WEBSITE: www.twofour-rights.co.uk CHIEF EXECUTIVE, TWOFOUR GROUP: Melanie Leach HEAD, SALES OPERATIONS; VP, SALES, NORTH AMERICA, U.K., IRELAND, AUSTRALIA & NEW ZEALAND: Holly Hodges CONTACT: sales@twofour-rights.co.uk PROGRAMS: What Would Your Kid Do?: S1-2 13x60 min., game show; Beat the Chef: 25x30 min., game show; Extreme Cake Makers: S1-4 108x30 min., factual entertainment; Undercover Girlfriends: S2 5x60 min., reality; Secret Teacher: 4x60 min., factual; It’s Your Fault I’m Fat: 6x60 min., lifestyle; Impossible Engineering: S1-5 36x60 min., factual; The Hotel Inspector: 60 min. eps., factual; Hairy Bikers: 6x60 min., factual entertainment.

“We’ve certainly made a strong start to 2019.

Already this year, we’ve had continued success with some of our long-running series: a third order of This Time Next Year, four mouth-watering seasons of Extreme Cake Makers, a fifth outing of Impossible Engineering and the 15th season of The Hotel Inspector, to name just a few.

The ever-popular family game show What Would Your Kid Do? is continuing to make waves internationally with nine global adaptations and more in the pipeline. It returns for a second season in the U.K. in the coming months, along with Undercover Girlfriends, which is in production for another double-bumper season.

Fresh off the slate is Beat the Chef, a fast-paced cookery competition game show with a money ladder, and new factual format Secret Teacher, which sees successful business owners go undercover to offer potential life-changing opportunities to school students. Then we head off on Route 66 in the U.S. with The Hairy Bikers, which takes us through incredible landscapes and cooks up some fine dishes.

Now with a portfolio of more than 2,000 hours of programming and sales into 100-plus markets, we’re looking forward to a year ahead of delivering entertaining, multidimensional programming to our international buyers.”

—Melanie Leach, Chief Executive, Twofour Group

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Viacom18/IndiaCast Media Distribution ADDRESS: 703, 7/Fl., HDIL- Kaledonia, Sahar Road, Opp. Vijay Nagar Society, Andheri (East), Mumbai 400069, Maharashtra, India TELEPHONE: (91-22) 6697-7700 WEBSITE: www.indiacast.com GROUP CEO: Anuj Gandhi SENIOR VP & BUSINESS HEAD, SYNDICATION: Debkumar Dasgupta CONTACTS: debkumar.dasgupta@indiacast.com; Bhavishya Rao, bhavishya.rao@indiacast.com; Keerthana Anand, keerthana.anand@indiacast.com; Lasya Chand, lasya.chand@indiacast.com PROGRAMS: Jhansi Ki Rani: 260x30 min., costume drama/ historical; Gath Bandhan: 260x30 min., romance/family drama; Kesarri Nandan: 260x30 min., family drama; Naagin Season 3: 103x60 min., fantasy; Silsila: 260x30 min., romance; Ishq Mein Marjawan: 520x30 min., romance/thriller; Bepannah: 186x30 min., romance; Internet Wala Love: 155x30 min., romance; Shakti: S1-2 597x30 min., social/romance; Roop: 260x30 min., romance.

“IndiaCast is India’s first multiplatform content asset monetization entity, jointly owned

by Viacom18 and TV18. Our flagship Hindi general-entertainment brand Colors has been among the top channels in India and has redefined the viewing trends in the entertainment space in India, thus making it the prime-time leader. We bring our unique brand of entertainment to the table that could significantly enhance audience viewership. We have been growing our syndication business at a very fast pace and it is one of the strongest growth stories that we have, with over 35,000 hours of content, available and adapted in over 135 countries in more than 35 international languages. Our network’s flagship channel Colors has been a category-definer in the Hindi entertainment genre and is known for bringing in the most differentiated drama series. Our shows encapsulate social messages that are relevant to most cultures across the world.

We have always adapted constantly to the market demands and expectations, keeping up the standards that we have proliferated for a while now and delivering high-quality content to audiences.”

—Debkumar Dasgupta, Senior VP & Business Head, Syndication

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ZDF Enterprises ADDRESS: Erich-Dombrowski-Str. 1, 55127 Mainz, Germany TELEPHONE: (49) 6131-9910 WEBSITE: www.zdf-enterprises.de PRESIDENT & CEO: Fred Burcksen VP, ZDFE.DRAMA: Robert Franke VP, ZDFE.UNSCRIPTED: Ralf Rückauer VP, ZDFE.JUNIOR: Peter Lang VP, MARKETING & CORPORATE COMMUNICATIONS: Christine Denilauler CONTACT: info@zdf-enterprises.de PROGRAMS: The Worst Witch: S3 13x28 min., kids/live action; Bobo: 26x7 min., preschool/animation; Buck: 33x15 min., kids/live action; The Greatest Race: 2x50 min. 4K/UHD, history & biographies; Just Animals: 10x50 min., wildlife & nature; Planet of Volcanoes: 1x50 min. 4K/UHD, science & knowledge; Meet Your Ancestors: 45 min. eps., docutainment; Victor Lessard: 30x60 min., crime drama; Beyond Appearances: 6x52 min.

4K/UHD, family drama; Bella Germania: 3x90 min., family.

“Apart from ‘business as usual,’ we have several presentations, sessions and screenings lined up.

It all starts off at MIPDoc with a keynote showcase, ‘A Strategic Update, presented by ZDF Enterprises & Off the Fence,’ on Sunday, April 7, 3:30 p.m. to 4:15 p.m., in the Grand Theatre.

On Monday, April 8, we will take part in the 2 p.m. session titled ‘4K/HDR Action Packed Drama and Factual,’ and later the same day, at 5:15 p.m., there will be a market screening of Victor Lessard in Auditorium K. Last but not least, on Tuesday, April 9, at 3:45 p.m., we will have a market screening of Wild District.

We are looking forward to welcoming MIPTV attendees at these occasions.”

—Fred Burcksen, President & CEO

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