World Screen Guide 2021

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GUIDE 2021

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Contents A Note from the Editor . . . . . . . . . . . . . .8 Interviews . . . . . . . . . . . . . . . . . . . . . . . . .9 Distributors . . . . . . . . . . . . . . . . . . . . . .25 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 and Design Director David Diehl

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Managing Editor Chelsea Regan

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Online Director Simon Weaver

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Website: www.worldscreen.com

Sales and Marketing Coordinator Genovick Acevedo

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Business Affairs Manager Andrea Moreno

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Please visit WorldScreenPremieres.com to see examples of previous Premieres.

If you wish to reserve a World Screen Premiere, please contact Ricardo Guise (rguise@worldscreen.com) or Dana Mattison (dmattison@worldscreen.com)

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A Note from the Editor Mansha Daswani

For an industry heavily reliant on faceto-face meetings, 2020 was a study in adaptation. As one event after the next nixed in-person gatherings and went virtual, content producers, distributors and buyers had to find new ways to do business. And so did we. World Screen added a range of new platforms in 2020, including the WorldScreenings and In-Demand newsletters to help buyers identify great content to fill grids disrupted by Covid-19. We moved into the events business, hosting the TV Latina Streaming Festival and the inaugural TV Kids Festival in February, with a summer edition to take place in June. We launched a premieres platform to give distributors a secure destination for screening new shows to buyers.

We redesigned our digital editions to make them more interactive and easier to read on laptops and mobile devices. All while continuing to produce our signature print editions as we prepare for a return to live events.

The content business did not just have to adapt to find new ways to sell and promote content; it also had to rapidly implement new ways of making it—rewriting scripts, adjusting sets and putting in place new protocols to be Covid-19 compliant.

And it had to feed the voracious appetite of viewers who were spending way more time at home. Consumption was up everywhere and across every genre, and streaming was king.

So what are the prospects for 2021? By all accounts, the streaming surge is set to continue with more customers taking on more services—the question remains, at what point will people max out: seven, eight, nine services per household? On the advertising front, dire predictions were upgraded as 2020 came to a close. Jonathan Barnard, Zenith’s head of forecasting, noted, “The prospect of multiple effective vaccines gives us confidence that adspend growth will continue in 2021 and beyond, returning the market to 2019 levels in 2022.”

World Screen is optimistic about the year ahead, especially after seeing the impressive range of new content available—have a look for yourself in this edition of the World Screen Guide.

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INTERVIEWS

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Tyler Perry

Writer, Producer, Actor, Director Founder, Tyler Perry Studios WS: When and why did you start writing, and when did you realize you wanted to work in the entertainment business?

PERRY: I started writing after I watched Oprah [Winfrey] on TV one day say it was cathartic to write things down. That was my catalyst for writing, and I wrote my first play. It was freeing to get things out of me and onto paper and to have that work. That was my beginning; that’s where it all started. There were people who saw that first play, and it inspired them and motivated them. That’s what made me want to continue with it.

WS: Tell us about the studio.

PERRY: [The studio is now in a structure that] was built in the 1800s. It was a former Confederate army base. I bought it about six years ago and started converting it. I knew it was a Confederate army base. I knew the history of what that meant, but in the time we are in today, with all that is going on, it has even more significance. To have a Black man own a large piece of land in the city of Atlanta that was used as a home base to strategize to keep Black people enslaved—for me to own that now, that speaks volumes.

WS: Do you feel that films or television can play a role in fostering understanding, introducing viewers to different ways of thinking or lifestyles, or maybe even healing?

PERRY: For sure, that’s the power of film. That’s the power of television. That’s the power of our industry. We get to paint pictures and tell stories, and the most powerful stories are the ones that leave you different. I look at people like Ava DuVernay, who has done some amazing work that speaks on so many levels.

Even when I think about some of the stuff I have done, I just tried to make people laugh and feel good, but also give them something to think about.

WS: Do you have a preference for working in theater, film or television?

PERRY: I don’t. They all have their own place in my mind. There are so many sides of my brain that need to be watered and satisfied. Theater has its place. Film has its place. Running a studio has its place. I need all sides of my brain working on all those things.

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Russell T Davies Creator & Writer It’s a Sin

WS: Why did you want to tell this story about the early days of the AIDS crisis?

DAVIES: I felt that the British version was untold. Not completely untold; it’s popped up in soap operas and detective thrillers and stage plays.

But not as a big, blockbuster piece.

Also, it’s a generational thing; there are 18-year-olds now who don’t know this happened. I don’t blame them for that. I don’t blame a generation for not looking back; you’re not born to look back.

But every so often you need to remind people of what happened in history; that’s a good thing to do. And also my age—at 57, I’ve been writing and telling these gay stories for a very long time, and in some ways, I hadn’t told the biggest one. I think I was waiting. I’m glad I waited. I have a lot more experience and hopefully a lot more skill. I hope I’ve told it well. It was just time.

WS: As a writer working in this drama landscape today, are you finding more opportunities to tell different types of stories?

DAVIES: It’s a good time. More drama means higher standards for all of us. The battle in drama is enormous now because the work out there is ferociously good. I’m not an expert in [producing for the SVODs] because I’m 57 and kind of an old-fashioned terrestrial broadcaster. [It’s a Sin] is the first thing I’ve done that’s been dropped with all five episodes available. It still had a terrestrial transmission of one a week [on Channel 4]. I think this drama benefits from being watched [in one sitting] because it doesn’t depend on plot twists, there are no great reveals, you don’t find out who the murderer is, it’s just life being lived. You look at the dramas that went out last year, like I May Destroy You and I Hate Suzie and Succession—the intelligence level of drama is rapidly accelerating. Those shows were as bright and bristling and clever as you could possibly imagine. That’s good for all of us. There’s not a writer in the land thinking, I’ll just take it easy and write a quick murder mystery. Stories and writers are getting more varied and more true and honest and insightful. That’s brilliant. It’s great news.

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Jon Feltheimer CEO Lionsgate

WS: How have you accelerated your direct-to-consumer business?

FELTHEIMER: Several years ago, we recognized that transitioning Starz from a primarily linear bundled network to an over-the-top digital and à la carte premium service was the right strategy.

Increased SVOD viewership in the stayat-home environment has just put an exclamation mark on that. In our other businesses, we’ve always taken the approach that there are no sacred cows.

We’ve reinvented different kinds of paradigms for feature film and television. In features, we were doing day-and-date movies ten years ago. We’ve been exploring premium video on demand (PVOD) and other windowing strategies for years. We built our company to look at different ways that we can get entertainment to the consumer while remaining sensitive to the needs of our distribution partners, and what’s happening now is simply accelerating that process.

WS: Tell us about the rollout of StarzPlay.

FELTHEIMER: StarzPlay has 58 different distribution partners across 50 countries. Our global growth strategy is to be a true premium— you might say “ultra-premium”—subscription service with edgy, provocative, grown-up content. We know our brand, our audience and how to reach them, and we know our place in the ecosystem. Internationally, we use more third-party high-end series than we do in the U.S., where we focus primarily on Lionsgate and Starz original programming and movies. But our overall strategy is similar: to have the best of global SVOD content as part of a premium service that can be bundled with everyone and will sit as a premium layer on top of every platform. I continue to be very bullish about StarzPlay’s international growth.

WS: What factors have contributed to the success of Lionsgate’s television output?

FELTHEIMER: Our television business has a similar philosophy to our film group in terms of its portfolio approach and ability to create bespoke deals for every different series we make and every distribution platform with whom we partner. We were early in delivering premium scripted content to all of the new platforms.

We’re able to create different business models for every partner according to their needs and economics.

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Casey Bloys

Chief Content Officer, HBO & HBO Max WarnerMedia WS: HBO has participated in many international co-productions. Will these co-productions continue?

BLOYS: We have a long history of collaborating with both Sky and the BBC, obviously English-language programs.

We had Chernobyl and brought Sky on as producers. They had The Third Day with Jude Law. We do His Dark Materials with the BBC. We’ve got a long history of collaborating with lots of U.K. outlets, and we will continue to do that.

We’ve got My Brilliant Friend, a show I love, the adaptation of the Elena Ferrante novels. We continue to do things we think our subscribers will be interested in.

We’ll air some HBO international shows. There are around 45 series from across HBO Europe, HBO Latin America and HBO Asia that are available to stream on HBO Max, but we are going to air two international shows on HBO for the first time.

When I talk about the diversity of our slate, co-productions will always be a part of the offering. Gentleman Jack is a good example. It’s a story that you wouldn’t necessarily know about Anne Lister, who is often known as the first modern lesbian. To put that story in a beautiful period piece, with a character that bold, the show is a great offering. When you think about putting it in the same slate as Lovecraft Country or I May Destroy You, the voices can come in all sorts of packaging. International co-productions will continue to do that for us.

WS: Are people coming to HBO Max for HBO content and originals and staying for their favorites like Friends or The Big Bang Theory? Or do they come for their favorites and discover the originals?

BLOYS: I think it goes both ways, because Max is a combination of great library product like you mentioned—Friends and Big Bang—HBO originals and Max originals. Anything fresh gets viewed very quickly. So, it’s been a nice cross-section, and that is the promise of the whole offering.

WS: What can you tell us about HBO Max’s international rollout?

BLOYS: International is going to be a very important piece of this. Latin America will be the first area of concentration, but the goal is to eventually have a fully international platform.

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Thomas Bellut Director-General ZDF

WS: What does ZDF represent for German viewers and citizens? What does ZDF provide that other linear and nonlinear platforms do not?

BELLUT: ZDF is the most successful national public-service provider on TV and online. We offer a wideranging, high-quality portfolio of entertainment, culture and information via all channels, almost all entirely without advertising. We are independent in terms of financial and political influence. As we are financed by the general broadcasting license fee, we can help shape opinions among the general population.

WS: What are the most significant investments ZDF has made in programming across all genres during the last year?

BELLUT: We have increased the number of staff working on our digital information output. But the biggest investments continue to be made in commissioned fiction and documentary productions. Despite the production restrictions due to the pandemic, we have increased our investment in this area. We are covering most of the additional costs arising from the restrictions resulting from the pandemic. We are working very closely with producers, and together we have managed to ensure that the important flow of new content remains steady.

WS: Are there any particular age groups or genres you are focusing on?

BELLUT: As a public-service broadcaster, our range of content and programs is generally aimed at society as a whole. But, of course, in the digital world, we also differentiate our content and output based on the relevant target audience. One example is the content for the funk service aimed at young people, which we create in conjunction with the public-service provider ARD. We also have linear themed channels like ZDFneo and ZDFinfo, which are aimed more at a middle-aged audience. And we place relevant online content on various social media platforms, via which we can reach appropriate user groups. The greatest challenge is undoubtedly getting young people interested in our content.

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Jane Turton CEO All3Media

WS: What is All3Media’s acquisition strategy?

TURTON: The strategy is, first and foremost, about the best talent and IP. In terms of production footprint, we have a core market strategy, which has worked extremely well. For us, the core markets are the U.K., the U.S. and Germany, with a strong scripted company in New Zealand, South Pacific Pictures, and a very successful producer in Holland, idtv. Even though our production footprint is relatively narrow, our IP travels the world with All3Media International, our distribution company, playing a critical part in the group’s success. And Little Dot, our digital studio, creates and distributes content in a way that pays no heed to geography.

WS: What is the strategy for scripted?

TURTON: We love the strength of our scripted business; both comedy and drama are now back in production across the board.

The hiatus in 2020 meant that series have slipped, but I’m delighted to say that commissioning is strong and new titles have been picked up from all producers in the group. Critical and rating successes for shows like Des, White House Farm, Fleabag and Britannia have contributed to the commissioning momentum. I am confident that the series that are currently in production will do really well. The demand for high-quality scripted has never been greater. All3Media is well-positioned to benefit with series set to deliver this year.

WS: Are you looking to increase production in territories outside the U.K.?

TURTON: Assuming it’s safe and operationally viable, we will produce in as many markets as makes creative and economic sense. The buyers are frequently global platforms and, especially in non-scripted, want versions of their hit shows for their key geographies. As producers, we want to make those shows—either through production hubs or, in other cases, through multiple locally produced versions. In some cases, we are also more than happy to partner with a locally based production company. The model is very flexible, and we will do the right deal for the show and the commissioning platform; it’s whatever works best.

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Sally Wainwright Creator & Writer Gentleman Jack

WS: When did you discover Anne Lister and Shibden Hall?

WAINWRIGHT: I grew up in Halifax.

Shibden Hall was a place I always visited as a child. I always had a real bond with it. I was interested in history as a kid; I was probably quite nerdy! So Shibden Hall always had a real pull on me. I can’t remember the first time I heard of Anne Lister.

Because I visited Shibden Hall since being small, she was always present when you visited the Hall; there’s a big portrait of her there and people would talk about her, even though there were huge aspects of her life that were kept quiet about for a long, long time. I’ve read so much of the diaries to write the show, I’ve learned a huge amount about her. I knew a lot, but I know a lot more now.

Some people find her hard to like; she’s like Marmite.

As a dramatist, it’s interesting and exciting that she isn’t always completely likable or completely good. She could be very Machiavellian, she could be quite difficult, but she was also very charismatic and very charming. My appreciation of her gets deeper and deeper the more I find out about her in the diaries. It’s such a phenomenal document; I don’t think people who haven’t seen it realize just how detailed it is. She tells you what she does every day.

There are probably a handful of days she misses across the 25 years the journal covers. And she tells you what she’s done from getting up to going to bed. We probably know more about her than the people closest to us because of the details in the journal.

WS: Are there particular types of stories or characters you are attracted to?

WAINWRIGHT: It’s really about story and finding a vehicle for characters through whom you can tell a good story.

Good stories don’t come along every day. They sneak up on you when you least expect it. It’s finding what’s in that story that excites you and developing ideas about characters for how you need to tell that story and what’s important in that story. You’re always looking for something new, something you haven’t quite done before. It’s not a formula.

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Jack Williams Writer & Managing Director Two Brothers Pictures

WS: With so much scripted drama in development, what does a story need in order to stand out and make commissioners feel they want the project?

WILLIAMS: Every story has been told in some form or another, so to get one away with so much out there, it should feel fresh. Like a version of that story you’ve not seen before.

That can be the world it’s set in, the way it’s told, the characters who take us through it. Trying to second-guess what people might want never really works—copycat shows don’t excite people. The shows that excite us are the ones that feel so different and unique you wonder if anyone will even want it.

WS: Do you have a process when you write? How do you come up with ideas, and how do you share the writing with your brother Harry?

WILLIAMS: It can take months for an idea to become a show. Or one of us just blurts out a title and premise and there it is. So there are no rules, other than we need to be excited to write it. Usually, we’ll have the idea, sit on it for a bit, discuss it, and then if we still want to write it, it’s probably worth writing. In terms of sharing the writing, we plot the whole thing together, then divide it in half and write half, then swap it. We’re not precious, really, but it’s 95 percent figuring out the story/characters, etc. And then only four percent is the actual fun bit, which is writing.

One percent is deciding what to have for lunch.

WS: How have you seen British drama evolve during the last decade?

WILLIAMS: It goes through phases; people loved relentlessly grim noir-ish dramas for a while. These days it seems they want to be entertained a bit more. There’s always a market for all kinds of shows, but it does feel like we’re headed somewhere a bit more escapist or at least slightly less depressing. Also, with so many outlets, there’s been an explosion in the range of genres and types of drama on offer, as things that might have been perceived as niche a few years ago are now mainstream.

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Walter Iuzzolino Co-Founder & Curator Walter Presents

WS: What are your criteria for choosing series?

IUZZOLINO: When I started Walter Presents, I set myself three criteria, and they’ve never changed. First, I wanted pieces that were big, successful, commercial hits in their country of origin. Second, I looked at the overall quality of the piece. The writing, acting and directing needed to be of the highest caliber, the kind of standard that was set by HBO in the ’90s, from The Sopranos onward. The crafting that used to be happening in independent cinema in America that has moved to television. And the third point was critical acclaim.

I was interested in pieces that were winning awards on the international festival circuit.

WS: How do you curate the offering for each individual territory?

IUZZOLINO: My ambition from the start was that we would be ever more coordinated in our schedule. In the beginning, we had to do a bit of bespoke because we launched in the U.K. in 2016 and the U.S. in 2017, so a lot of titles had either gone here or gone there. I needed to acquire complementary pieces to add volume. But now, it’s become much easier. I tend to buy for all our territories. There are subtle nuances in how our viewers watch programming, but broadly speaking, I found that viewers of glossy, well-crafted, box-set television love the same stories all over the world. A great story is a great story.

And our slight focus on crime drama means that a lover of crime is a certain type of viewer, and they are everywhere.

WS: What motivated setting up Eagle Eye Drama?

IUZZOLINO: From the moment we started Walter Presents, it became clear that there were wonderful stories around the world and great IP. Our job was always to enhance and increase the popularity and success of original content with subtitles around the world. But there is also a capacity issue, in the sense that it fundamentally remains a slightly niche proposition because subtitles are still subtitles. This is changing every year. But we always thought it would be exciting for us to also be able to identify content that is ripe for reinvention and reimagine it for an Anglo-American audience.

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Kelly Day President, Streaming & COO ViacomCBS Networks International WS: What was the thinking behind the rebrand of CBS All Access in the U.S. and branding the international service as Paramount+?

DAY: We did a lot of research around an umbrella brand as we were bringing Viacom and CBS together and thinking about how to incorporate the Paramount studio titles, which included testing outside the U.S. in the key markets where we knew we would eventually want to go with the service. We always knew that the Paramount brand was very strong. Paramount is a 100year-old iconic studio. But it was wonderful to see how incredibly strong the consumer research was in pretty much every market with regard to the Paramount+ brand; 91 percent brand awareness, 96 percent favorable recognition. These are exceptionally strong statistics. That gave us confidence as we started to think about rolling out in various markets, particularly nonEnglish-language markets. The Paramount [name], the mountain with the stars, that iconic branding, really did cut through, and the consumer research completely supported that choice in brand.

WS: Outline the international rollout strategy for Paramount+.

DAY: We already have some presence in all of the international markets in phase one. We have CBS All Access and Ten All Access in Canada and Australia, respectively. We had what you might consider a light version of Paramount+ in Latin America. The Nordics was one of the first markets where we introduced the Paramount+ brand back in 2017. It’s been a very popular service through our MVPD partners in the Nordics. So we already had some experience and a bit of a footprint in those markets as we thought about bringing a bigger super-service to drive direct-to-consumer subscribers and grow the Paramount+ brand. We have an ambitious rollout plan to launch in more markets relatively quickly over the next couple of years. When determining our rollout strategy, we look at everything from the strength and consumer adoption [of SVOD] to content availabilities and content rights situations to MVPD and telco partner relationships. We feel great about the first four markets where we are launching, given we already have experience in those markets and have strong content and distribution partnerships.

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Cathy Payne CEO Banijay Rights

WS: Do you have clients now who have smaller budgets, and if so, how are you working with them?

PAYNE: While Covid-19 caused the immediate issue of costs due to shutdowns and a longer production process with additional protocol, pressure on budgets already existed before the pandemic. All markets need original content that is made at a more affordable price point. Unscripted original production provides that, and during the pandemic, non-scripted could return faster. We also experienced a number of non-scripted series having their runs extended. As a global group, we experienced different levels of shutdowns from territory to territory and were able to share best practices within the group. We also do a lot of format licensing outside the Banijay footprint territories. We were happy with the level of local production we were able to maintain and how successful that’s been.

WS: How have you seen co-productions evolve?

PAYNE: The challenges in financing premium scripted have been around for the past couple of years. If a channel or platform wants a show that costs 3x and their domestic market is only paying 1x, it will only happen with a partner and a contribution from distribution. What has hit those premium dramas during Covid are the delays and additional protocols needed that result in not only production hiatus costs but ongoing costs once production commences. In general, broadcasters have been very good and stepped up, as have the distributors. Everyone has been amazing because they want those shows to continue. Financing premium drama won’t be going away anytime soon; however, it doesn’t mean to say that the most expensive shows are always the most successful.

WS: Is there a willingness to make co-exclusive deals or share rights?

PAYNE: For the big titles, for those must-watch shows, there is a need for exclusivity. But once you get to catalog programs or second runs or second-viewing windows, there is a tendency for more co-exclusivity across a number of platforms. For library, we are seeing more tolerance of the concept that a streamer would rather people stay on their service and watch that show on a nonexclusive basis rather than leave and find it somewhere else.

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Henrik Pabst Chief Content Officer & Managing Director, Seven.One Entertainment Group, ProSiebenSat.1 Media WS: What motivated last year’s reorganization, and what’s the new structure?

PABST: In an ever-faster changing media industry, we decided to simplify things by putting our core entertainment functionalities under one roof. The Seven.One Entertainment Group combines our content, distribution and sales business all in one unit. Now, after a year in practice, we see how much we all have grown together. Today we think of projects from an end-to-end perspective. We all have the same goals. Our decision-making has become much faster.

The entire organization has become more flexible. And on the whole, our way of working has become much more efficient and synergetic. But, of course, we aren’t done yet. We have reached the first milestones, but there still is a way to go for us, and after seeing the first results, we are looking forward to it.

WS: From a content perspective, what have been the most strategic steps so far?

PABST: Coming from rather U.S.-license-heavy programming grids, we are now constantly shifting our grids toward more local and live programming. We have a very close look at specific time slots that are our backbone as a broadcasting company. For instance, with our locally produced entertainment shows, we are able to reach very broad target groups—including even those young demographics that are often said to have left their TV sets for good.

By investing in local programming, we are able to reach the most attractive target groups for our sales business and win back viewers that may have left the set. ProSiebenSat.1 is concentrating on what it does best, creating great entertainment, and it pays off.

Sports rights are another important piece of our local and live strategy. We acquired a free-TV rights package to the German Bundesliga. We managed to grow a solid and loyal audience around the NFL in Germany over the last few years.

We are well aware of our role as a broadcaster within society and the responsibilities that come with it. That is why we are constantly increasing our socially relevant program offering, be it critical one-off documentaries like our piece on racism in Germany or specials on the coronavirus or social experiments. We see that we can use our reach to shed light on important topics and, luckily, our audience shows great interest in these kinds of programs.

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Tim Minear Showrunner 9-1-1 & 9-1-1: Lone Star

WS: How did 9-1-1 come about, and what did you and co-creators Ryan Murphy and Brad Falchuk want to accomplish with the show?

MINEAR: Ryan was fixing to depart for Netflix. He felt a certain loyalty to Dana Walden [at the time co-chairman and CEO of the Fox Television Group] and thought, “You know what would be nice?

If I came up with an idea that would be a hit network show for my friend Dana.”

He also wanted to create a vehicle that could showcase Angela Bassett on network TV, and he thought America wanted to see Angela Bassett in a uniform. I remember taking a walk through the lot with Ryan, and he said, “I have this idea about a 911 operator. Wouldn’t it be great to call a show 9-1-1?” He knew exactly what would make it different from all the other procedurals on TV. I don’t think he was interested in creating a cop show or a firefighter show. Those things are standard, and you see them on TV all the time. What interested him was seeing that other element that I don’t think you’d seen that much of up until we did it, which is the dispatch center, the call center. The idea was that these first responders, these heroes, [form] three legs of the stool: the dispatchers, the firefighters/paramedics and the police. Those three elements together create a unique way into a procedural world. Then Ryan, Brad and I [decided] that we wouldn’t have to have one plot driving an episode. What the viewers would have is almost the experience of going on YouTube and clicking on ultimate fail compilations or WTF compilations, the craziest things that happen in the world.

WS: Was the premise of 9-1-1: Lone Star different from that of 9-1-1?

MINEAR: Yes, I would say the biggest difference is that Lone Star began with a premise pilot, whereas 9-1-1 didn’t. When we came into 9-1-1, for the most part, the world was already in place. With Lone Star, there’s very much a premise there, which is there is a firefighter named Owen [played by Rob Lowe], who survived 9/11 and rebuilt his firehouse. He comes to Texas to rebuild a firehouse after a similar all-encompassing tragedy. It was told from Owen’s point of view, whereas 9-1-1 was a little more diverse. With Lone Star, there was a lot more world-building that had to take place over the course of the first ten episodes.

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Anna Winger Showrunner & Writer Unorthodox

WS: How did Unorthodox come about, and how is the TV adaptation different from Deborah Feldman’s book?

WINGER: For a while, I had been interested in making something that spoke to the German-Jewish experience or Jewishness here in Berlin. I had another project that I had been talking to Alexa Karolinski about. She’s a documentary filmmaker who’s made movies that speak to the German-Jewish experience— post-Holocaust life and love. [I know] Deborah—our kids go to school together. I told her I had read and loved her book, and she said, You should make a TV show of it. I’m used to making things up from scratch. The book is a memoir, and I felt it would have to be different to be a TV show. But she trusted us and gave us her blessing. Alexa and I broke it apart and put it back together. We made something different out of it. The best adaptations should become their own projects, and we were grateful that Deborah trusted us with the material. She loves the TV adaptation, and it’s very true to the spirit of the book, even though many things are different. The book is about Deborah’s whole life. We used the story of the arranged marriage; its back story is from the book. Part of those choices had to do with protecting Deborah because she is a young woman and well known in Germany. We didn’t want to tread too close to her real post-Orthodox life.

WS: Tell us about writing the first episode of a series and finding an entry point for the viewer.

WINGER: Writing a pilot is always difficult. I’ve always written them by myself, even though I created both Unorthodox and Deutschland with other people. As a writer, or as the head writer of both shows, I need to find my way into the voice and rhythm of the show. That is why I’ve always written them by myself, which is weird because, in America, I now understand that the show’s creator is the person who writes the first episode. But I see creating a show as being more complex than that. I’ve never done it by myself. I’ve done it with my husband on Deutschland and with Alexa on Unorthodox. I’m a strong writer and head writer with both shows, but the conversation about what the show is about and who the characters are and the experience of breaking out a story is a collaborative process.

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Fred Burcksen President & CEO ZDF Enterprises

WS: As the commercial arm of a public broadcaster, ZDF Enterprises has programming that other distributors don’t have. Has this type of product been in demand?

BURCKSEN: It’s a big advantage to be part of a media organization with its own production output. We profit from the fast output of excellent content from the network. Approximately 50 percent of what we have in our catalog comes from our shareholder, and it’s a steady output, so it’s very helpful. The other 50 percent of our content comes from our own investments in thirdparty content. We are investing globally in good storytelling.

The good thing about being part of the ZDF group is that it’s a steady flow. We feel that we have especially good content for access prime time—some lighter crime series. We have some good output in the genre of love and romance. We have a significant number of TV movies going to Spain for late afternoon time slots.

WS: Do buyers continue to request exclusive rights, or is there more willingness to make co-exclusive deals or share rights?

BURCKSEN: There is still a tendency toward originals. With the rise of SVOD platforms, you need to be recognized by original content. Having said that, there is a greater trust for what I call true co-productions—dividing territories or finding solutions for working with SVOD platforms on a co-production basis.

What remains difficult is sharing rights in a certain territory. If a broadcaster or platform steps in for a co-production, they want to defend their own territory. So that remains difficult.

But around that, it’s all about fair deals, creativity, finding solutions, finding financing models—it’s very inspiring.

WS: How have you been working with SVOD platforms?

BURCKSEN: We have seen a change of interest over the last three to five years. In the beginning, they were looking for bigger packages, local content. That has shifted towards commissioning their own originals. Happily, being a shareholder in 20 production companies, we see that many of them supply series and originals for each platform. Our production companies produce a couple of shows per year for the SVOD platforms.

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DISTRIBUTORS

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Albatross World Sales ADDRESS: Chopinstr. 8, 04103 Leipzig, Germany TELEPHONE: (49-341) 4428-2450 WEBSITE: www.albatrossworldsales.com MANAGING DIRECTOR: Anne Olzmann SALES MANAGER, EUROPE (EXCEPT EASTERN EUROPE), AMERICAS, AUSTRALIA, NEW ZEALAND & INFLIGHT: Lisa Anna Schelhas SALES MANAGER, ASIA, MIDDLE EAST, AFRICA, RUSSIA & CIS: Eleytheria Heine SALES MANAGER, EASTERN EUROPE: Claudia Zell CONTACT: info@albatrossworldsales.com PROGRAMS: Wild Horses—A Tale from the Puszta: 1x52 min., nature & science; Glorious Bustards: 1x52 min., nature & science; Wild Heart of Europe—The Return of an Ancient Forest: 1x52 min./1x90 min., nature & wildlife; Monkey (R)Evolution— Thailand’s Diving Macaques: 1x52 min./1x43 min., nature & science; Wolf—Wanderer Without Borders: 2x52 min./1x90 min., nature & wildlife; They Came to Stay—Our Alien Animal Neighbours: 3x52 min., nature & wildlife; The Otter—A Legend Returns: 1x52 min., nature & wildlife; Accidental Wilderness— Europe’s Everglades: 1x52 min., nature & wildlife; Metamorphoses—The Return of the Wilderness: 3x52 min., science & sustainability; Jewels of the Alps—Italy’s Great Lakes: 5x52 min./5x43 min., travel & adventure.

“Albatross World Sales is a leading documentary and factual program distributor offering a wide range of high-quality content. A large part of our catalog is devoted to blue-chip wildlife programs. We represent international, award-winning production companies and can therefore offer a wide variety of programming with different visual approaches and storytelling. With Wild Horses—A Tale from the Puszta and Wild Heart of Europe—The Return of an Ancient Forest, we present two visually stunning documentaries showing the power of nature. Titles like Glorious Bustards and Metamorphoses—The Return of the Wilderness are exemplary for our current science slot that focuses on innovation, sustainability and nature conservation.

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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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 CONTACT: sales@artistviewent.com PROGRAMS: Saving Paradise: 1x98 min., holiday/drama; The Believer: 1x90 min., thriller; 100 Days to Live: 1x90 min., thriller; Navigating Love: 1x89 min., romantic drama; Paint: 1x94 min., drama; 3 Day Weekend: 1x90 min., thriller; Here Awhile: 1x87 min., drama; The Adventures of Thomas and Felix: 1x88 min., kids/family; Acquainted: 1x90 min., romantic adventure; Break Even: 1x90 min., action.

“With over 30 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 independent films available. As we continue moving into the vast digital world, the need for strong content has never been greater. It will continue to be our goal to provide our buyers 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 sincerely appreciate the filmmakers who allow us to represent their projects and are thankful for the buyers who continue to support us.”

—Scott J. Jones, President

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ATV ADDRESS: Güzeltepe Mahallesi, Mareşal Fevzi Çakmak Caddesi, B Blok, No:29/1/1, Eyüpsultan, Istanbul, Turkey TELEPHONE: (90-212) 354-3701 WEBSITE: www.atvdistribution.com GENERAL MANAGER: Ali Turkarslan CONTENT SALES DEPUTY MANAGER: Muge Akar CONTENT SALES DEPUTY MANAGER: Emre Gorentas CONTENT SALES SPECIALIST: Gozde Dinc Ozcan CONTENT SALES SPECIALIST: Merve Dogan PROGRAMS: For My Family: 45 min. eps., drama; Akıncı: 45 min. eps., drama; Maria and Mustafa: 58x45 min., drama; The Ottoman: 185+x45 min., drama; Hercai: 250+x45 min., drama; Lifeline: 207x45 min., drama; Love and Secrets: 85x45 min., drama; Grand Family: 45 min. eps., drama; Don’t Leave Me: 147+x45 min., drama; Love and Hate: 280x45 min., drama.

“Turkuvaz Media Group (TMG), one of Turkey’s largest media groups, operates in television and radio broadcasting, newspaper and magazine publication and printing. Its flagship TV channel, ATV, was launched in 1993. Throughout the years, ATV has followed its motto to be at the top, without sacrificing quality, thus becoming a jewel in the crown of Turkuvaz Media Group.

TMG also includes numerous other thematic channels, each being leaders in their own category. ATV, with its powerful advertising capability, has had an active role in shaping Turkish television over the years. The channel is renowned for its enthralling dramas, hilarious comedies, action-packed series and engaging sitcoms, all of which are produced at the highest quality. With its creative and pioneering outlook, ATV successfully produces many unique and original programs, bringing an abundance of fabulous stories and first-rate actors into homes via the TV screen.

Furthermore, ATV’s distribution unit provides a vast range of choices and diversity, offering over 40,000 hours of TV series as well as movies. The popular TV channel’s contentsales department is one of the key figures of the Turkish distribution industry, exporting the highest quality drama series to over 60 countries worldwide.

At ATV, we are proud of our achievements and continue to strive to bring you even more.”

—Corporate Communications

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Autentic Distribution ADDRESS: Gruenwalder Weg 28d, 82041 Oberhaching, Germany TELEPHONE: (49-89) 673-469-797 WEBSITE: www.autentic-distribution.com MANAGING DIRECTOR: Dr. Patrick Hörl HEAD, SALES & ACQUISITIONS: Mirjam Strasser CONTACT: sales@autentic.com PROGRAMS: Snow Lords: 1x80 min., factual entertainment; Snows Lords: The Series: 4x45 min., factual entertainment; Stone Men: 6x45 min., factual entertainment; In Search of Monsters (w/t): 1x52 min./1x90 min., current affairs; The Dyatlov Pass Incident: 4x52 min./8x30 min., crime; What Went Wrong II: 6x52 min., history; Kings of St. Pauli—The Rise and Fall of Hamburg’s Pimp Gangs (w/t): 3x45 min., history; Europe’s Microstates: 6x52 min./6x45 min., people & places; The Huntsman: 4x45 min., sports & adventure.

“For this year’s MIPTV, we have amazing new titles to offer. We are really proud to present a great amount of new productions to our clients despite the production restrictions due to the pandemic. One of our highlights is the factual-entertainment series Stone Men, as well as the current-affairs title In Search of Monsters (w/t), which commemorates this year’s 20th anniversary of 9/11. The documentary takes a different perspective on the tragedy: it follows a formerly imprisoned and officially exonerated alleged al-Qaeda terrorist on his search for his torturers. He wants to take revenge—by forgiving. Another highlight is Kings of St. Pauli (w/t), a crime miniseries about the rise and fall of Hamburg’s pimp gangs in the ’60s, ’70s and ’80s. The miniseries takes us into a seemingly fun world that was incredibly brutal behind its facade.”

—Mirjam Strasser, Head, Sales & Acquisitions

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Bavaria Media International ADDRESS: Bavariafilmplatz 7, Geiselgasteig 82031, Germany TELEPHONE: (49-89) 6499-3097 WEBSITE: www.bavaria-media.de CEO: Dr. Christian Franckenstein CEO: Dr. Marc Lammek DEPUTY CEO: Eva Pfaudler DIRECTOR, INTERNATIONAL SALES: Carlos Hertel CONTACT: Alexandra Kudelina, alexandra.kudelina@bavaria-media.de PROGRAMS: Exit: 1x90 min., near-future thriller/sci-fi; Maleficius: 1x90 min., crime; Crimescapes: 15x90 min., crime; Imagining Murder: 16x90 min., crime; Falk: S1-2 12x50 min., drama/comedy; Dr. Dog: 4x90 min. & more eps. in prod., drama; Zoo Doctor—Wild Side of Life: S1-7 84x45 min., drama/romance; Toni, the Midwife: 4x90 min. & more eps. in prod., drama/comedy; Freedom to Kill: 1x90 min., thriller; Merkel: 1x120 min., drama.

“Flexible programming grabs younger audiences’ attention. Crime procedurals casting relatable protagonists and relevant sci-fi reflecting our modern world are key.

Whether utopic or dystopic, eyeballs in every demographic follow and glue to these genres.

Thus, our programming focus for this upcoming MIPTV. Our new crime dramas are iconic and archetypal—whether mundane in plot or extreme, whether in a small town or city.

Crimescapes, Imagining Murder and Song of Odenthal are 90-minute crime collections in a variety of German cities with unique characters to lead the investigations.

Sci-fi particularly attracts younger segments via idealism, new challenges and hope. Artificial intelligence currently fuels the genre with a new dimension of social relevance. We bring three titles to MIPTV set in near-future scenarios. Exit is a thriller about a young businessman trapped in his own artificial innovation. Hal and Maleficius are futuristic crime dramas in AI-driven settings.”

—Carlos Hertel, Director, International Sales

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Boat Rocker Studios ADDRESS: 310 King Street E., Toronto, ON M5A 1K6, Canada TELEPHONE: (1-416) 591-0065 WEBSITE: www.boatrocker.com PRESIDENT, BOAT ROCKER STUDIOS, KIDS & FAMILY & RIGHTS: Jon Rutherford SENIOR VP, GLOBAL SALES, KIDS & FAMILY: Gia DeLaney VP, GLOBAL SALES, FACTUAL: Natalie Vinet CONTACT: sales@boatrocker.com PROGRAMS: Anna’s Occasions: 10x30 min., factual/food/lifestyle; COVID America: 2x60 min., factual/docuseries/current events; Borrowed from Nature: 1x60 min., factual/history/culture; My Trans Journey: 4x30 min., factual/docuseries; Relative Race: 60x60 min., factual/competition; Dino Ranch: 52x11 min., preschool 2-5/comedy/adventure/3D; Kingdom Force: 52x11 min., preschool 3-6/action/adventure/3D; Remy & Boo: 52x11 min., preschool 2-5/adventure/3D; Love Monster: 54x7 min., preschool 2-5/comedy/adventure/2D; The Strange Chores: 52x11 min., kids 6-11/comedy/adventure/2D.

“Boat Rocker Studios is an independent, creative-driven studio that specializes in the development, production and distribution of premium, award-winning global content and franchises across all major genres via its scripted, unscripted and kids and family divisions. The studio distributes and licenses thousands of hours of its own and third-party content around the world through its Rights & Brands division. Boat Rocker Studiosproduced series have won a variety of prestigious industry accolades, including Emmy, Peabody, Golden Globe, BAFTA and Canadian Screen Awards. Recent projects include Invasion, in production at Apple with Simon Kinberg and David Weil; Dino Ranch, for Disney Junior; and Go-Big Show, for TBS and starring Snoop Dogg. With over 800 employees across its Toronto, New York, Los Angeles, London, Ottawa and Hong Kong offices, 400 hours of content produced annually and a distribution library now totaling over 9,000 halfhours, our sales team maintains a boutique style of distribution with the reach of a global media company. In the past year, Boat Rocker Studios has sold content in over 300 countries worldwide across free TV, pay TV, pan-regional channels, OTT and streaming platforms. Boat Rocker Studios is a part of Boat Rocker Media, a leading integrated global entertainment company that harnesses the power of creativity and commerce to tell stories and build iconic brands that audiences love.”

—Corporate Communications

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BossaNova ADDRESS: 124 Finchley Rd., London, NW3 5JS, U.K. WEBSITE: bossanovamedia.com CEO: Paul Heaney CONTACT: sales@bossanovamedia.com PROGRAMS: King of Tigers with Ross Kemp: 2x60 min., documentary; Cats and Dogs at War: 4x60 min., animals; Cruising: The Biggest Storm: 1x90 min., documentary; Borderforce USA: The Bridges: S1-3 30x60 min., reality; The Car Years: S1-2 14x30 min./7x60 min., cars.

“We like to think of BossaNova as the next wave in distribution, creating a community and hub for producers and buyers alike. For over 25 years (and, most recently, with TCB Media Rights), we’ve been a TV rights distributor, co-producer, codeveloper and commissioner. In the unscripted world, we bring a range of expertise, connections, endorsements and experience to help producers complete the funding puzzle and make great shows that we sell across the world. We are creating an integrated hub for channels and producers to enable all of this to happen. Meet, create and do business all in the same community. This platform will serve the new wave of content, delivering great shows from our trusted producers and giving buyers and commissioners what they need. We will be there at every step from idea inception, making it together, making it fresher, making it better. BossaNova is the new wave in developing, creating, funding and selling TV.” —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) 394-1310 WEBSITE: www.cybergroupstudios.com PRESIDENT & CEO: Pierre Sissmann SENIOR VP, SALES, ACQUISITIONS & NEW MEDIA: Raphaelle Mathieu CONTACT: rmathieu@cybergroupstudios.com PROGRAMS: Droners: 26x22 min., kids 6-10/adventure/ comedy/2D/CGI; Gigantosaurus: 52x11 min., kids 4-6/ comedy/adventure/2D/CGI; Taffy: 78x7 min., kids 6-10/ cartoon/comedy/2D; Tom Sawyer: 26x22 min., kids 6-12/ adventure/2D/CGI; Sadie Sparks: 52x11 min., kids 6-11/ comedy/2D/CGI; Orange Moo Cow: 78x7 min., kids 2-5/comedy/ 2D; Bananimals: 78x7 min., kids 5-8/comedy/2D; Ernest and Rebecca: 52x13 min., kids 5-8/comedy/2D; Purple Turtle: 52x7 min., kids 3-6/comedy/edutainment/2D; Mini Ninjas 2: 104x11 min., kids 6-12/adventure/comedy/CGI/2D.

“Cyber Group Studios is a leading producer and distributor of animated series and a developer of global entertainment brands for children and families worldwide. Founded in 2005 and employing around 150 people, the company has set its headquarters in Paris, two production studios in Paris and Roubaix (France), an office in Los Angeles (U.S.A.) and strategic partnerships in Russia and China.

The company’s mission is to produce safe and entertaining content for children around the world. The team has a passion for telling great stories leveraged by a strong creative identity, a diversity of animation styles and powerful music. To immerse the viewers in the emotion of its shows, the company works with top creative international talent and develops innovative technology.

Cyber Group Studios develops its content for television, digital platforms, feature films and direct-to-consumer.

The company sells the media distribution rights of its own and third-party programs, localized in 300-plus languages in more than 160 countries. Its distribution partners include TV broadcasters, VOD streaming platforms and home-entertainment companies.

The dedication of its team for creating content that resonates with kids and families worldwide has earned Cyber Group Studios multiple international awards.”

—Raphaelle Mathieu, Senior VP, Sales, Acquisitions & New Media 40

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Escapade Media ADDRESS: Building 21, Fox Studios Australia, 38 Driver Ave., Moore Park, NSW 2021, Australia TELEPHONE: (61) 411-035317 WEBSITE: www.escapademedia.com.au MANAGING DIRECTOR: Natalie Lawley CONTACT: natalie@escapademedia.com.au PROGRAMS: For the Love of Pets: 8x60 min., factual entertainment; Chasing Chaos: 4x60 min., factual; Killer Soundtrack: 13x60 min., crime/factual; The Best Kind of Beautiful: 6x60 min., drama; Crash Test World: 6x30 min., factual; Back to Nature: 8x30 min., factual/lifestyle; Back to Nature Finland: S1 9x30 min., S2 6x30 min., factual/lifestyle; Big vs Small: 1x60 min., factual; Devolution: A Devo Theory: 1x60 min., factual; Cloudy River: 6x8 min. & 1x47 min., drama.

“Escapade Media is an international distribution and content development company specializing in premium dramas, children’s and factual programming with a distinct point of difference. Our mission is to present unique and fresh content that resonates with global audiences and underlines our ambition to work with partners and creative teams developing projects that are strong and diverse at their core. All our content is now required to be delivered in both 4K and HD, and we are always interested in any new market technology that impacts how we view content. MIPTV sees the launch of five new titles across the factual and drama genres.”

—Natalie Lawley, Managing Director

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GMA Network ADDRESS: GMA Network Center, EDSA corner Timog Ave., Diliman, Quezon City, 1103 Philippines TELEPHONE: (632) 8333-7633 WEBSITE: www.gmanetwork.com; www.gmaworldwide.tv VP, WORLDWIDE DIVISION: Roxanne J. Barcelona ADVISER, CONTENT SALES, SYNDICATION, PARTNERSHIPS & DISTRIBUTION: Reena G. Garingan FIRST VP, GMA INTERNATIONAL: Joseph Jerome T. Francia PRESIDENT & COO, GMA NEW MEDIA: Dennis Augusto L. Caharian CONTACT: rjbarcelona@gmanetwork.com PROGRAMS: Descendants of the Sun: 31x45 min., drama/romance/action; I Can See You: 4 series, 5x30 min., romance/mystery; Owe My Love: 40x45 min., romantic comedy; The Lost Recipe: 25x45 min., fantasy/romance/drama; All or Nothing: 30x45 min., family drama; Prima Donnas: 80x45 min., family drama; Love of My Life: 40x45 min., family drama; Hidden Lies: 30x45 min., family drama; Broken Faith: 80x45 min., rivalry drama; A Place in Your Heart: 40x45 min., rivalry drama.

“Marking its 71st year in the broadcast industry, GMA Network is the Philippines’ largest and most-trusted media company and the primary source of Filipino content around the world. Through its Worldwide division, GMA International and GMA New Media, GMA content is seen in over 40 countries on five continents. Its lineup of varied programs entertains and inspires viewers worldwide. GMA’s dramas and telenovelas are known for their daring, uncharted themes, which offer viewers a rich array of emotional experiences.”

—Roxanne J. Barcelona, VP, Worldwide Division

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GoQuest Media ADDRESS: 504, 5/Fl., Morya Classic, Off Link Rd., Andheri West, Mumbai, MH 400053, India TELEPHONE: (91-22) 495-591-00 WEBSITE: www.goquestmedia.com FOUNDER & CEO: Vivek Lath VP, SALES & ACQUISITIONS: Jimmy George HEAD, EUROPE & NORTH AMERICA: Paula McHarg CONTACT: paula.mcharg@goquestmedia.com PROGRAMS: Civil Servant: 24x50 min., spy thriller; Debt to the Sea: 11x50 min., mystery thriller; RATS: 6x55 min., crime thriller; Mother’s Choice: 16x45 min., drama; Markuss: 8x45 min., crime drama; Ek Thi Begum: 14x30 min., action/crime/thriller.

“Headquartered in Mumbai and founded in 2013, GoQuest Media initially built its distribution network as the leading independent global distributor of South Asian content. Building on its widespread success placing local content— both format and finished tape—across markets in territories such as Asia, Africa, the Middle East and Eastern Europe, GoQuest has evolved into a frontrunner in the global entertainment landscape, specializing in the distribution of drama and scripted formats from markets across the world. With additional offices in the U.K. and Vietnam, and local sales presence in Istanbul and Tel Aviv, GoQuest continues to strongly expand its catalog and distribution footprint around the globe.”

—Jimmy George, VP, Sales & Acquisitions

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Incendo ADDRESS: 1 Westmount Sq., Suite 850, Westmount, QC H3Z 2P9, Canada TELEPHONE: (1-514) 937-3333 WEBSITE: incendo.ca PRESIDENT: Jean Bureau COO: Jean-Philippe Normandeau INTERNATIONAL SALES & CO-PRODUCTIONS: Gavin Reardon CONTACT: greardon@incendo.ca PROGRAMS: A Love Yarn: 1x90 min., romantic comedy; You May Kiss the Bridesmaid: 1x90 min., romantic comedy; One of a Kind Love: 1x90 min., romantic comedy; Seasoned with Love: 1x90 min., romantic comedy; Together Forever Tea: 1x90 min., romantic comedy; As Gouda as It Gets: 1x90 min., romantic comedy; Cupids on Beacon Street: 1x90 min., romantic comedy.

“2021 is a momentous year for Incendo: we celebrate our 20th anniversary! It’s an understatement to say 2020 was a difficult year, but our production and development teams overcame very challenging circumstances to produce and deliver seven wonderful rom-coms.

This is a new direction for Incendo, long known for our exciting and edgy thrillers. Incendo is synonymous with high production values, something our broadcast partners around the world have come to expect from us. The current slate is no exception. Though the films may differ in style and content, they never vary in quality. We are also actively looking at scripted projects from around the world and opportunities to work with partners on co-productions, which will showcase Incendo’s unique market position in Canada. I look forward to connecting with you during the virtual market and to meeting up in person again in the near future.”

—Gavin Reardon, International Sales & Co-Productions

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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 FOUNDER & CEO: Can Okan VP & HEAD, SALES & ACQUISITIONS: Beatriz Cea Okan CONTACT: info@intermedya.tv PROGRAMS: Last Summer: drama; Scorpion: drama; Ramo: drama; The Ambassador’s Daughter: drama; Bitter Lands: drama; The Light of Hope: 164x60 min., drama; Respect: 8x60 min., miniseries/drama/action/crime; Interrupted: 8x60 min., miniseries/drama; Miracle in Cell No. 7: 1x132 min., drama.

“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 TV series and entertainment and reality formats, taking important steps to become 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.”

—Corporate Communications

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Kanal D International ADDRESS: Yelda Haber Ve Gorsel Yayincilik A.S. 100, Yıl Mah, 2264, Sk. Demiroren Medya Center, Apt. No:1/21, 34218, Bagcilar, Istanbul, Turkey TELEPHONE: (90-212) 413-5411 WEBSITE: kanald.international MANAGING DIRECTOR, KANAL D: Murat Saygi EXECUTIVE DIRECTOR: Kerim Emrah Turna CONTACT: sales@kanald.international PROGRAMS: Hekimoglu: S1 44 commercial hrs., S2 ongoing, medical drama; Ruthless City: 136 commercial hrs., drama; Love Trap: 136 commercial hrs., romantic comedy; Romance Next Door: 60 commercial hrs., romantic comedy; Price of Passion: 96 commercial hrs., romantic drama; Wounded Love: 168 commercial hrs., period drama; Flames of Desire: 186 commercial hrs., drama; War of the Roses: 168 commercial hrs., drama; Meryem: 94 commercial hrs., drama; For My Son: 241 commercial hrs., family drama.

“Kanal D International is the global business arm of Kanal D, the leading TV channel of Turkish broadcasting under Demirören Media Group, Europe’s leading media organization, creating world-class premium content as one of the top content providers in the world for 26 years.

Since 2018, Kanal D International has widened its presence in the content world with the Kanal D International Networks brand to reach the end user. The distribution arm of the company continues its activities under the brand Kanal D International, and Kanal D International Networks is the name of the business line that holds all linear assets.

Kanal D Drama is the first Turkish drama channel established in LatAm and Europe and the first that penetrated the U.S. market. Kanal D Drama has brought an undivided, neverbefore-seen experience of premium Turkish content.”

—Corporate Communications

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MarVista Entertainment ADDRESS: 10877 Wilshire Blvd., 10/Fl., Los Angeles, CA 90024, U.S.A. TELEPHONE: (1-424) 274-3000 WEBSITE: www.marvista.net CEO: Fernando Szew HEAD, GLOBAL DISTRIBUTION: Jody Cipriano CONTACT: sales@marvista.net PROGRAMS: All For Her: 1x90 min., drama; The Right Mom: 1x90 min., drama; The Miseducation of Bindu: 1x90 min., young adult; Faith Heist: 1x90 min., dramedy; Evil Stepmom: 1x90 min., thriller; Family Seductions: 1x90 min., thriller; Hidden Family Secrets: 1x90 min., thriller; Hostage House: 1x90 min., thriller; Sinister Sorority: 1x90 min., thriller; Trapped Daughter: 1x90 min., thriller.

“MarVista is committed to delivering premium content across genres, including thriller, drama and young adult. Our films are often told from a female lens with increased diversity in respect to cast and themes such as defying the odds with motherhood, mental health and cultural assimilation.

With audiences primarily viewing content in their homes due to the pandemic, MarVista’s titles provide a dynamic alternative to theatrical releases for our clients.

With the global expansion of streaming services, we have seen higher demand for our original and catalog content, anticipating it to increase in the coming months.

As we look toward the future, we continue to build a sustainable model for independent films to meet the viewer appetite for quality movies across all viewing platforms and are dedicated to providing more opportunities for fresh new voices and representative storytelling in the creative community across all disciplines: acting, writing, directing and producing.”

—Jody Cipriano, Head, Global Distribution

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Mondo TV Group ADDRESS: Via Brenta 11, 00198, Rome, Italy TELEPHONE: (39-06) 8632-3293 WEBSITE: www.mondotvgroup.com PRESIDENT & CEO: Matteo Corradi HEAD, CONTENT SALES: Luana Perrero CONTACT: Silvia D’Archivio, silvia.darchivio@mondotvgroup.com PROGRAMS: MeteoHeroes: 52x7 min., comedy/adventure/ edutainment/2D; Annie & Carola: 52x11 min., comedy/2D; Agent 203 (presented by Mondo TV and Toon2Tango): 26x22 min., spy-fi/adventure/comedy/3D; Hey Fuzzy Yellow (presented

by Mondo TV and Toon2Tango): 52x11 min., preschool/ edutainment/emo-tainment/2D/live action; Robot Trains 3: 52x11 min., comedy/adventure/3D.

“Our shows continue to perform strongly.

MeteoHeroes is a ratings success. On Earth Day (April 22), it will launch in most of the 140 countries and 18 languages where it has currently been sold or confirmed. Sissi The Young Empress is now showing on many major channels. The much-anticipated third season of Robot Trains is in the final production stage. New shows like Annie & Carola, Agent 203 and Hey Fuzzy Yellow are attracting strong broadcast interest. Our partnership with the respected kids’ and family entertainment company Toon2Tango, which has led to Agent 203 and Hey Fuzzy Yellow, will bring many more innovative new shows to multiple platforms and expand our reach in the international market. Our new preproduction hub and 3D production studio, Mondo TV Producciones Canarias, is now up and running.

And, of course, L&M and distribution success continues in many territories, building on many TV launches.”

—Matteo Corradi, President & CEO

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MeteoHeroes: The stars are six superpowered kids—three girls and three boys—who can control weather phenomena. They come together from six different continents and go wherever they are needed to fulfill their mission: to save the Earth. This is a stylish and beautifully designed cartoon show delivering adventure, comedy and real scientific information in thrilling storylines that discuss contemporary issues like fighting pollution and climate change in an accessible and appealing way. Each episode is inspired by a real event, ending with fun and interesting facts to round off an exciting and engaging mission.

Annie & Carola: Centers around Carola, a nerd with no social skills who builds a robot clone called Annie to be her best friend. However, a freak accident turns her robot pal into a wild, fun-loving and outgoing companion—Carola’s complete opposite—who drags Carola into all the situations she fears the most. With sparkling dialogue, crazy situations, hilarious visual gags and wild slapstick, this is a classic animated comedy that is above all great entertainment, but feelings are the special core of each episode.

Agent 203: A modern show made for Generation Alpha. Zoe, the lead character, is a strong personality, mainstream but confident and independent. As Agent 203, Zoe is tasked with defending the Earth from alien invasion, but she also has to face the more down-to-earth social issues for kids—from physical and emotional changes to managing friendship groups and figuring out who you are and where you fit in.

Hey Fuzzy Yellow: A 2D/hybrid show that combines educational content with pure and crazy entertainment, helping kids to develop independent thinking and self-expression through exploration and play. A fiercely fun romp through infinite possibilities, starring a group of extraordinary characters led by a fuzzy yellow ball and driven by a lot of music in various styles, this is a show that defies conventions and has its own set of rules. It’s also very, very funny.

Robot Trains 3: The adventure continues for Kay, Alf, Victor, Maxie, Gary and Genie in the thrilling third season, as Train X and his invention, the shadow energy, threaten the future of Railworld. His teammate Duke changes sides and comes to Railwatch’s rescue. Can Railwatch trust him? As Train X weakens Railwatch’s defenses, they may have no choice.

Soon Genius Genie and Duke develop a counterforce to the shadow energy. A face-off against Train X—now SHADOW-X— draws closer. Maxie and Kay cannot neutralize the shadow energy alone. With Duke’s help, SHADOW-X can be defeated— but at what cost?

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Nicely Entertainment ADDRESS: 5737 Kanan Rd., Suite 130, Los Angeles, CA 91301, U.S.A. TELEPHONE: (1-323) 682-8029 WEBSITE: www.nicelytv.com CEO: Vanessa Shapiro SENIOR VP, SALES & OPERATIONS: Laura Hoffman CONTACT: info@nicelytv.com PROGRAMS: Wedding Cake Dreams: 1x90 min., romance; A Christmas Wish in Hudson: 1x90 min., holiday romance; 10 Steps to Love: 1x90 min., romance; Christmas in Crumbs: 1x90 min., holiday romance; Lonestar Christmas: 1x90 min., holiday romance; Christmas on the Menu: 1x90 min., holiday romance; Save the Wedding: 1x90 min., romance; This Little Love of Mine: 1x90 min., romance; His Killer Fan: 1x90 min., thriller; A Very Charming Christmas Town: 1x90 min., holiday romance.

“Nicely Entertainment was launched in January 2020 to bring quality TV series and movies to global audiences and markets around the world. Nicely’s 2020 slate of seven movies included our first co-production in Australia, the new romance movie This Little Love of Mine. In 2021, we are releasing a total of 12 movies, with the first four titles being released at MIPTV. The company is also developing several television series in Europe and Australia. Our first co-production series, the Netflix YA series Dive Club, just completed production in Australia and will be released in 2021.”

—Vanessa Shapiro, CEO

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ORF-Enterprise ADDRESS: Am Europlatz 5, Euro Plaza, Building 1C, 1120 Vienna, Austria TELEPHONE: (43-1) 87878-13030 WEBSITE: contentsales.orf.at CEO: Oliver Böhm HEAD, CONTENT SALES INTERNATIONAL: Armin Luttenberger CONTACT: contentsales@orf.at PROGRAMS: Water of Life: 1x52 min., documentary/wildlife & nature; King of the Taiga: 1x52 min., documentary/wildlife & nature; Rainforest First—Climate Protection in Central Africa: 1x52 min., documentary/wildlife & nature; On Thin Ice— Expedition into the Russian Arctic: 1x50 min., documentary/ wildlife & nature; Victims of the Vikings: 1x52 min., documentary/history; The Salt Saga—White Gold of the Alps: 1x52 min., documentary/history; Suburbia—Women on the Edge: 50x48 min., comedy; Soko Kitzbuehel: 257x45 min., crime; Fast Forward: 60x45 min./4x90 min., crime; Rookie Robot Explores the World: 26x3 min., animation.

“ORF-Enterprise serves as the preferred partner for broadcasters and platforms around the world as a one-stop-shop for high-quality content offering a wide range of titles from all genres: blue-chip documentaries, TV series and movies, children’s programs and music, as well as scripted and non-scripted formats.

In addition to being the Austrian public broadcaster’s exclusive marketer for advertising in all ORF media, ORF-Enterprise’s activities include a music library for professional usage.

Mainly renowned for the award-winning nature, wildlife and history strand ORF Universum and best-selling and longrunning TV series such as Fast Forward and Soko Kitzbuehel, the Austrian pubcaster’s commercial division continues to be a reliable partner for program buyers in the international television and media industry. We are committed to offering a perfect environment for excellent content in our diverse sales catalog, including quality service from our sales team and representatives all over the world.”

—Armin Luttenberger, Head, Content Sales International

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Russia Television and Radio/Sovtelexport ADDRESS: 37 Shabolovka str., Moscow 115162, Russia TELEPHONE: (7-495) 955-8920 WEBSITE: sales.vgtrk.com DIRECTOR, SOVTELEXPORT: Julia Matyash HEAD, INTERNATIONAL SALES, WORLDWIDE, EXCEPT CIS & BALTIC STATES: Maria Dorokhina MANAGER, INTERNATIONAL SALES, WORLDWIDE, EXCEPT CIS & BALTIC STATES: Elizaveta Shcherbakova MANAGER, INTERNATIONAL SALES, WORLDWIDE, EXCEPT CIS & BALTIC STATES: Nadezhda Kobzeva CONTACT: ref.ste@vgtrk.com PROGRAMS: The Terrible: 8x60 min., drama; The Optimists: Caribbean Season: 8x52 min., spy/detective drama; Call Me Mother: 12x43-47 min., drama; Zuleikha Opens Her Eyes: 8x5355 min., drama; The Blood Widow: 16x51-53 min., thriller/ historical drama; Ekaterina. Pretenders: 16x52-53 min., historical drama; Homo Sperans: 1x73 min., documentary/lifestyle/ psychology; Kresty: 1x90 min., documentary/current affairs/ psychology; The Wall: 2x45 min., documentary/history; Beslan: 1x109 min., documentary/history.

“Russia Television and Radio is the largest media corporation in Russia. Sovtelexport is the distribution arm of Russia Television and Radio promoting the content of Russia Television and Radio and other major production companies. The catalog contains over 25,000 hours of the latest programming in various genres: feature films, drama series, documentaries and TV shows, concerts and children’s shows.

Every year, Russia Television and Radio’s content is showcased at major international markets and prestigious TV and film festivals.”

—Julia Matyash, Director, Sovtelexport

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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.JUNIOR: Peter Lang VP, ZDFE.UNSCRIPTED: Ralf Rückauer CONTACT: info@zdf-enterprises.de PROGRAMS: Ku’damm 63: 3x90 min./6x45 min., drama; ANA. all in.: 6x48 min., crime & suspense; Voltaire in Love: 4x52 min., drama; Myths—The Greatest Mysteries of Humanity: 10x50 min. & 1x50 min. special, documentary/ history & biographies; In Touch with a Giant Pacific Octopus: 1x50 min., documentary/wildlife & nature; Construction Fails: 8x50 min., documentary/science & knowledge; Hoodie: 52x11 min., children’s/live action; Zoom—The White Dolphin: 104x12 min., preschool/animation; Space Nova: 26x22 min., children’s/animation; The Worst Witch: 52x28 min., children’s/live action.

“ZDF Enterprises was founded in 1993 and is responsible for worldwide program distribution, international co-productions, program acquisition and the merchandising of strong program brands in its own name, for broadcaster ZDF and for third parties.

Bound into a strong group of 18 subsidiaries and affiliated companies, ZDF Enterprises manages the largest German-language program stock worldwide and an impressive portfolio of international productions, consisting of series and miniseries, TV movies, documentaries and children’s programs. ZDF Enterprises provides a comprehensive, full-service offering and covers every step in the chain of creation and exploitation of successful content, from development to production and marketing.”

—Corporate Communications

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Pitch your content in an exclusive environment!

WorldScreenings For a full list of benefits and examples of previous Exclusive Reports, please visit WorldScreenings.ws

For more information, please contact Ricardo Guise (rguise@worldscreen.com) and Dana Mattison (dmattison@worldscreen.com)