World Screen NATPE 2015 by World Screen

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THE MAGAZINE OF INTERNATIONAL MEDIA • JANUARY 2015

www.worldscreen.com

MIPTVEdition Edition NATPE

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CONTENTS

JANUARY 2015/NATPE EDITION DEPARTMENTS WORLD VIEW

Publisher Ricardo Seguin Guise Editor Anna Carugati

A note from the editor.

UPFRONTS

Executive Editor Mansha Daswani

Managing Editor Kristin Brzoznowski

New content on the market.

BEHIND THE SCENES

Associate Editor Joanna Padovano

Donald Sutherland.

SPOTLIGHT

Editor, Spanish-Language Publications Elizabeth Bowen-Tombari

Entertainment One’s John Morayniss.

LATIN BEAT Adriana & Gustavo Cisneros.

FOCUS ON

WORLD’S END In the stars.

34 CBS’S ARMANDO NUÑEZ & DAVID STAPF

Nuñez, the president and CEO of the CBS Global Distribution Group, and Stapf, the president of CBS Television Studios, discuss the enduring popularity of procedurals.

Dori Media’s Nadav Palti.

ADVERTISERS’ INDEX

IN THE NEWS

Elizabeth Hurley.

MARKET TRENDS

—Anna Carugati

251 254

Associate Editor, Spanish-Language Publications Jessica Rodríguez Assistant Editor Joel Marino Contributing Editor Elizabeth Guider Special Projects Editor Bob Jenkins Online Director Simon Weaver Production & Design Director Victor L. Cuevas

SPECIAL REPORT

Art Director Phyllis Q. Busell

54 COMING TO AMERICA

Sales & Marketing Manager Faustyna Hariasz

A number of Europe’s biggest content companies are aggressively expanding their businesses in the U.S.

Sales & Marketing Coordinator Dana Mattison

—Joanna Stephens

ONE-ON-ONE

Sales & Marketing Assistant Erika Santana Business Affairs Manager Terry Acunzo

63 LEGENDARY’S BRUCE ROSENBLUM The president of the newly formed Legendary Television and Digital Media talks about projects in development that serve today’s multiplatform environment. —Anna Carugati

Senior Editor Kate Norris Contributing Writers Steve Clarke Andy Fry Juliana Koranteng Jane Marlow Joanna Stephens Jay Stuart David Wood Copy Editors Maddy Kloss Kathleen Payne

Ricardo Seguin Guise President

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Anna Carugati Executive VP & Group Editorial Director Mansha Daswani Associate Publisher & VP of Strategic Development

54 THE LEADING ONLINE DAILY NEWS SERVICE FOR THE INTERNATIONAL MEDIA INDUSTRY. For a free subscription, visit www.subscriptions.ws

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CONTENTS

JANUARY 2015/NATPE EDITION THESE TARGETED MAGAZINES APPEAR BOTH INSIDE WORLD SCREEN AND AS SEPARATE PUBLICATIONS:

TVKIDS

TVLATINA

#TRENDING A survey of the latest trends in kids’ content distribution 76… INTERVIEW Amazon Studios’ Tara Sorensen 82

FREE TV Top terrestrial channels 138…INTERVIEWS Televisa’s Emilio Azcárraga Jean 156…21st Century Fox’s James Murdoch 162…CBS Corp.’s Leslie Moonves 166…Kevin Spacey 185…Globo’s Roberto Irineu Marinho 190… BBC’s Tony Hall 198…Taylor Schilling 217…Adriana & Gustavo Cisneros 218… Shonda Rhimes 224…Ryan Murphy 228…Robert Kirkman 230…Alex Gansa 235

TVNOVELAS TVNIÑOS

ROMANCING THE GLOBE Telenovela formats are in demand around the world 174…INTERVIEW Telemundo Internacional’s Marcos Santana 180

GIRLS’ CLUB A look at programming for girl audiences 210… INTERVIEW Mauricio de Sousa 214

THE VIDEO PORTAL FOR THE ENTERTAINMENT INDUSTRY

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WORLD VIEW

BY ANNA CARUGATI

Wisdom of the Young The hacking of Sony’s servers has shed light on the disturbing reality of our everyday life: how vulnerable any company that holds personal data about us is to the whims and agendas of criminals, enemies and perhaps even disgruntled employees. If the previously unheard-of group called Guardians of Peace could hack into Sony’s computer system, the general consensus among tech insiders and law enforcement is that a breach like this is almost certain to happen again. The Sony hacking scandal caught everyone’s attention because it involves high-profile people in the entertainment business. If a lesser-known company had been hacked, private individuals would have been affected, but the media most likely wouldn’t have jumped on the story. The Sony hacking has revealed some pretty juicy stories: secrets, intrigue, backstabbing. I wouldn’t be surprised if someone was already planning a movie based on what has transpired. Of great concern is that employee salaries were released—there appears to be an industrywide gender pay gap—and social security numbers were leaked. Plans for future films were unveiled, possibly ruining the chance that those movies will get made. Hundreds of thousands of executives’ email exchanges were released. The most shocking part wasn’t that the communications were made public; it was the content of those emails, which included racist jabs at President Barack Obama and nasty criticism of several Hollywood stars. Now really, shouldn’t studio executives and Hollywood producers know better? Email is a wonderful tool: it allows for instant communication that’s productive, expedient, efficient. But shouldn’t people know how to use it? Of course we can all get caught up in the heat of the moment when we are upset. What a rush of adrenaline when we can bang out our frustration on our computer keyboards, typing whatever we are riled up about at the moment, but do we really have to press Send? An email is not a private conversation. Once you send it, it is “out there” for anyone to forward, print or even hack. Instant communication should not impede our ability to stop and think, Should I really send this out? Shouldn’t we always pause to think, no matter how easy technology makes communicating? Do you know who gave me perspective on this? A teenager, one who displayed remarkable maturity with her reflections on the role of technology in our lives. It was Holly Taylor, the

Young viewers

will continue to chart the course of the

entertainment industry.

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actress who plays Paige, the daughter of KGB spies Philip and Elizabeth Jennings (played by Matthew Rhys and Keri Russell, respectively) on The Americans. I was visiting the show’s set and had a chance to speak with Holly. When asked how it feels to be in a show that takes place in the ’80s, a time when she wasn’t even born yet, she said she thinks it’s crazy that there weren’t cell phones or the ability to send text messages. But she did add, “At the same time, wow, that was so cool! They probably had so much freedom, and they didn’t have social media to distract them from everything. You could probably do your homework in half an hour and not check Twitter every five minutes! I love social media and I use it all the time, but I think life would be so much easier sometimes if we didn’t have it. Especially in high school, when everybody is checking up on each other on Twitter—you just get so caught up in it.” She also praised people in the ’80s for having conversations face-to-face or on the phone, which doesn’t happen as often nowadays. “Personally, I hate talking on the phone,” she added. “It makes me so anxious, and I don’t know what to say sometimes. I’d rather just send a quick text. [In the ’80s] they had that skill, and it wasn’t something they had to worry about; they had to do it. I think that is cool.” Interesting, a high school student thinking like an adult, instead of adults behaving like petulant adolescents. Would the content of the Sony emails have been expressed in the same way on the phone or in face-to-face conversations? The media industry is closely observing how today’s young people use technology to communicate and enjoy content. In this issue, we bridge generations. We speak to Legendary Entertainment’s Bruce Rosenblum about how his division is producing programming for multiple platforms. Donald Sutherland tells us about his passion project: the adventures of a man who offers guidance to a young boy. Hollywood actress Elizabeth Hurley discusses her jump to television. We hear from a father, Gustavo Cisneros, who passed the CEO baton to his daughter Adriana, now at the helm of the Cisneros Group. Nadav Palti’s Dori Media Group has developed a specialty in producing novelas for teens. CBS executives Armando Nuñez and David Stapf and eOne’s John Morayniss produce for all prime-time demos. Young viewers will continue to chart the course of the entertainment industry, not only as consumers but also as actors, writers, producers and directors. I hope the majority will have Holly’s maturity and insight.

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UPFRONTS

A+E Networks Sons of Liberty / Embajadores de La Mafia / Bible Secrets Revealed A group of rebels working together to make America a country is the premise of Sons of Liberty. A+E Networks is presenting that title to international buyers, along with Embajadores de La Mafia, an original docudrama from A+E Networks Latin America. “[Embajadores] tells the surprising story of how the U.S. Italian Mafia came to Latin America via the Mexican border,” says Mayra Bracer, A+E Networks’ TV sales representative for Latin America. “It’s The Godfather in Mexico! It’s a story people don’t really know, so it’s unique and incredibly compelling.” The company is also showcasing Bible Secrets Revealed, a religious-themed doc. “Bible Secrets Revealed is dynamic and keeps the viewer engaged without dismissing anyone’s strong religious or moral convictions,” says Bracer.

“The new scripted content from our A+E Studios International banner will be a key focus for us during NATPE.” —Mayra Bracer Sons of Liberty

ABC Commercial Birthplace of the Giants / 72 Dangerous Places to Live / Tyke: Elephant Outlaw The one-hour natural-history doc Birthplace of the Giants follows a pair of researchers as they explore the secret life of the mysterious humpback whale. That is one of ABC Commercial’s NATPE highlights, as is the factual series 72 Dangerous Places to Live, which spotlights the world’s riskiest locations to inhabit. There is also Tyke: Elephant Outlaw, a story about a circus elephant who was shot to death after she killed her trainer in front of thousands of spectators. “Tyke: Elephant Outlaw has strong production values and centers on the issue of animal welfare—circus animals in particular—which can often spark debate and an emotional response in viewers,” says Sharon Ramsay-Luck, the company’s head of sales and business development.

“Birthplace of the Giants contains fascinating subject matter, with neverbefore-seen footage of humpback whales.” —Sharon Ramsay-Luck Birthplace of the Giants

all3media international The Missing / Indian Summers / Love Child Starring Frances O’Connor, James Nesbitt and Tchéky Karyo, The Missing follows the manhunt that ensues after a young boy is kidnapped during a family vacation. That title is being presented by all3media international at NATPE. Other highlights from the company include Indian Summers, a Northern Indiaset drama led by Julie Andrews and Henry Lloyd-Hughes; Love Child, an Australian series that takes place during the late 1960s; and Safe House, a character-driven psychological thriller. “[We always strive to] make all3media international a visible brand and the ‘go-to’ British distributor in Latin America because of the relevance and volume of its content both in drama and factual entertainment,” says Maga Diaz Villalba, a senior sales coordinator at the company.

“All of these titles tell compelling life stories in a very entertaining and smart way.” —Maga Diaz Villalba The Missing 14 World Screen 1/15

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American Cinema International The Ridley Chronicles / Love Finds You in Charm / Underdog Kids The action-packed miniseries The Ridley Chronicles is similar to American Cinema International’s Jack Hunter miniseries, except The Ridley Chronicles features a female lead. The company is offering that title to international buyers in Miami, along with Love Finds You in Charm, which is slated for broadcast in 2015. “This will be our second film [in the franchise], which will be followed by Love Finds You in Valentine, Nebraska,” says Chevonne O’Shaughnessy, the president of American Cinema International. There is also Underdog Kids, a youth-skewing film. “This is a fun, familyfriendly 3D movie,” says O’Shaughnessy. “The 3D market is big right now and still expanding; we hope to be a part of that trend with this movie.”

“We have had some great success with our last Love Finds You entry.” —Chevonne O’Shaughnessy Love Finds You in Charm

Applicaster Feed Reporter / Widgets / CrossMates Applicaster has been working to deliver cross-screen TV experiences that empower broadcasters, format creators and cable companies to build deeper engagement with audiences. “In 2015, Applicaster is focusing on its expansion to the American markets with the opening of Applicaster Inc., our new office based in New York,” says Laura Tapias, the company’s VP for Spain and Latin America. “Applicaster will [aim] to provide the best services to all the American territories, allowing us to be closer to existing customers and seek new opportunities in the region.” Its latest offerings include the Feed Reporter, which allows real-time sharing of videos and pictures; widgets that can unlock one-tap access to TV apps and activities; and CrossMates, a tool to connect fans with their favorite TV characters.

“We are eager to bring Applicaster’s powerful deck of TV tools to more broadcasters out there, to learn from them as well as to provide to them, and evolve together.” —Laura Tapias Feed Reporter

Audiovisual from Spain Something to Celebrate / Tell Me a Story / The Sea Chef Audiovisual from Spain represents companies of all sizes and profiles. The umbrella brand encompasses the major broadcasters of Spain such as Televisión Española, Atresmedia and Mediaset España, as well as independent production companies such as Grupo Secuoya and distribution outfits, including Imagina International Sales and Onza Distribution. Content highlights include Grupo Secuoya’s Something to Celebrate and Atresmedia’s Tell Me a Story. There’s also a wealth of animated programming, including Imira’s Lucky Fred and Edebé Audiovisual Licensing’s Four and a Half Friends. In the way of factual productions, Explora Films is presenting the doc The Lemur’s Island, while Medina Media is showcasing the series The Sea Chef.

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Band Content Distribution Wacky TV / Extraordinary Experiments / Head on a Platter From animated children’s shows to feature films to sitcoms, Band Content Distribution arrives at NATPE with a diverse portfolio for international buyers. Among the highlights is Head on a Platter, a movie starring Brazilian actors Alice Braga, Eduardo Moscovis and Cássio Gabus Mendes. On the sitcom front, the distributor is offering Extraordinary Experiments, a science-themed show aimed at a teenage audience. Kids’ content is also represented, with Wacky TV, a cartoon about a crazy TV channel. “We are bringing [to NATPE] Brazilian productions with great diversity and style,” says Elisa Ayub, Band’s director of international content. “That’s what makes us a television company ready to deal with and attend to different kinds of requests.”

“Our [NATPE] focus is to attract new partnerships with various platforms present as well as to strengthen our relationship with existing customers.” —Elisa Ayub Wacky TV

Breakthrough Entertainment Sports Lab / Pirate Express / Boundless The live-action edutainment program Sports Lab, which Breakthrough Entertainment is promoting at NATPE, is targeted at children ages 6 to 11. “Sports Lab presents an aspect of sports to kids that they rarely consider,” says Jodi Mackie, the company’s international sales and acquisitions executive. “The series opens their eyes to a richer understanding of the games they love and encourages them to really appreciate the benefits of physical activity.” Another highlight from Breakthrough is Pirate Express, which follows the adventures of a preteen from Atlantis who becomes the captain of a ship filled with dim-witted crewmembers. There is also Boundless, a travel adventure show that is currently in production on its third season.

“Our catalogue and development slate taps into Latin America’s strong appetite for inspiring lifestyle, kids’ and humaninterest [content].” —Jodi Mackie Pirate Express

Canada Media Fund Financial support / Industry intelligence / Promotion The Canada Media Fund (CMF) has three main areas of focus, explains Valerie Creighton, the group’s president and CEO. “We deliver financial support to the Canadian television and digital media industries through several programs designed to best support our industry and to reflect Canada’s unique cultural diversity.” She adds, “We also provide industry intelligence on the Canadian and international audiovisual landscape, including blog posts from Canadian and international experts, through the CMF Trends website and social media communities.” The CMF also continues to promote Canadian expertise and talent to international audiences at various trade events throughout the year.

“In 2015, the CMF looks forward to forging new relationships with international partners so that content creators have greater access to markets and funding as well as industry research.” —Valerie Creighton

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Cineflix Rights Food, Booze & Tattoos / Blackstone / Food Factory USA Cuisine, travel and edgy characters unite in Food, Booze & Tattoos, a factual series that Cineflix Rights is promoting at this year’s NATPE. The company is also offering up Blackstone, a gritty drama centered on conspiracy, social issues and crime. “Now in its fourth season, Blackstone has a track record that makes it very attractive for broadcasters,” says Sabrina Ayala, the VP and general manager for Italy, Iberia and Latin America at Cineflix Rights. Another top highlight for the company is Food Factory USA, the latest iteration of the Food Factory format that spotlights iconic food products. “Food Factory is already a co-viewing hit worldwide…and with our new American version we bring even bigger names to the series, such as Cheez Doodles and McDonald’s french fries,” says Ayala.

“While we already have a strong presence in the VOD market, we’ve identified it as a huge area for potential growth.” —Sabrina Ayala Blackstone

CJ E&M Corporation Tears of Heaven / Family Secrets / Three Meals a Day Two scripted series lead the slate that CJ E&M Corporation brings to this year’s NATPE market in Miami. The first, Tears of Heaven, tells the story of a mother who abandoned her child twice for her own selfish reasons. The second is Family Secrets, which is a Korean remake of a popular novela from Chile. The company is also offering up Three Meals a Day, a cooking show that looks on as two hosts prepare three meals a day. “Eating is a universal theme and it can be translated easily for the international market,” says Diane Min, a sales manager at CJ E&M. “We also have a Spanish-dubbed drama, Dating Agency, Cyrano (Cyrano, agencia de citas), which talks about an agency [that] finds lovers for people,” adds Min.

“[This] NATPE, we are excited to present both finished dramas and formats.” —Diane Min Family Secrets

Dori Media Group Date Blind / Power Couple / A Good Family The romantic comedy Date Blind (Ciega a citas) was a big success in Argentina and Spain, and Dori Media Group believes it will resonate in other international markets as well. Revital Basel, the company’s VP of sales, describes the show as a “funny and moving romantic comedy that can touch everyone worldwide and make viewers identify with our need to find ‘the one.’” Dori’s reality format Power Couple has seen ratings success in a number of markets. Basel says it is the type of big prime-time reality show that broadcasters are always looking for. The company is also highlighting A Good Family, a drama that explores the dynamic between kids and their parents. Basel believes that the series’ high production values are going to be a draw for international buyers.

“We have a few titles that have been traveling very well in Europe and Asia and we intend to introduce them into Latin America and the U.S.” —Revital Basel Date Blind 20 World Screen 1/15

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Escapade Media The Art of Killing / Artie! / Wimp 2 Warrior Escapade Media’s The Art of Killing is a psychological thriller set across two continents. “From the dark heart of a cold English city to the searing desert heat of an Australian wilderness, it pulses with raw emotion and nail-biting tension,” says Natalie Lawley, the company’s managing director. “The Art of Killing is a strong offering for the first in a set of three novels, so broadcasters can build a brand and stay with the main characters through this crime series.” There’s also Artie!, a kids’ show. “The series is based on comedy and adventure and provides the market with an internationally appealing 3D animated show that will delight all,” says Lawley. The observational series Wimp 2 Warrior, meanwhile, sees everyday contestants train and compete to become professional MMA athletes.

“Buyers are often asking for content aimed at an 8- to 10year-old demographic with a slight maleskew and Artie! is addressing that gap in the market.” —Natalie Lawley Artie!

Global Agency Broken Pieces / A Part of Me / Dance with Me The series Broken Pieces is one of many titles from the Global Agency catalogue that fulfills the international demand for Turkish drama. The series tells the stories of six people whose lives are changed forever by two accidents that happened in different time frames. Also on offer is the drama A Part of Me, about a surrogate mother’s fight to keep the baby she realizes is her own biological child. “Both Broken Pieces and A Part of Me are doing exceptionally well in ratings and have story lines that will hook international audiences easily,” says Catherine Stryker, Global Agency’s head of sales. Additionally, the company is offering the new competition format Dance with Me, which Stryker says “has all the ingredients of a successful show, with an interactive, original and dynamic structure.”

“The appetite for Turkish drama is increasing internationally, and we are always sourcing new and intriguing content for every market.” —Catherine Stryker Broken Pieces

GRB Entertainment Jet Truck / Mohawk Girls / Chug The docuseries Jet Truck follows daredevil Chris Darnell and his family as they take a truck outfitted with a jet engine across the country. GRB Entertainment is betting on the series to drum up interest with NATPE buyers. The company also has high hopes for Mohawk Girls, a new dramatic comedy about four women trying to establish their place in the world and find love in the process. GRB’s Chug follows traveling “drinkaloguer” Zane Lamprey around the world as he tries local customs, food and alcohol, and befriends new drinking buddies. “All of these series feature access to unique worlds and cultures, with themes of family, love and travel that resonate with audiences across the globe,” says Liz Levenson, GRB’s director of international sales and acquisitions.

“Our goals for NATPE are to expand the reach of GRB’s international catalogue across all Latin American traditional television platforms, as well as maximize revenue in digital distribution across the region.” Chug 22 World Screen 1/15

—Liz Levenson

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ITV-Inter Medya Black Money Love / In Between / Black Rose With its fast-paced editing, story twists and attractive cast, the series Black Money Love epitomizes the “new generation of Turkish drama,” according to Can Okan, the CEO and president of ITV-Inter Medya, which reps the program. “With all these assets, we are quite sure that the title will draw lots of attention from buyers at NATPE,” Okan says. He adds that the second season of Black Money Love is infused with “lots of action, romance and surprises.” Also part of the company’s catalogue are the dramas In Between, based on a best-selling novel about a young girl from the suburbs torn between the love of two men, and Black Rose, which Okan says has consistently managed to surprise audiences.

“Just like in other territories, Turkish dramas will spread in LatAm very quickly and become bestloved series.” —Can Okan Black Money Love

ITV Studios Global Entertainment Aquarius / Jordskott / Hell’s Kitchen Set in the 1960s, Aquarius stars David Duchovny as a Los Angeles police sergeant tracking a small-time criminal and budding cult leader who turns out to be Charles Manson. The series is distributed by ITV Studios Global Entertainment (ITVS GE). “The quality of talent both on- and off-screen has produced a captivating series that will appeal to a global audience,” explains Greg Johnson, the executive VP of distribution for the Americas at ITVS GE. The company’s catalogue also includes Jordskott, a Swedish crime drama with a mythological twist, and the popular ITV Studios format Hell’s Kitchen, which has already been produced in 17 international territories. “It’s a hugely successful format that we are looking to extend further into Latin America,” says Johnson.

“Our goal for NATPE is to highlight the fantastic new content that we are distributing across a range of genres.” —Greg Johnson Jordskott

Kanal D Matter of Respect / For My Son / Life As It Is Kanal D arrives at NATPE with a string of recent premieres, including a slate of 13-episode series. Kerim Emrah Turna, the company’s international sales executive, refers to these as “mini dramas,” since the episode count is smaller than the typical Turkish drama productions. “We think that these mini drama series will help us to enter new markets,” he says. The medical series Life As It Is follows five doctors recruited from all over Turkey to help save a non-profit hospital. They are all very different from one another, each dealing with their own set of problems. In Matter of Respect, two brothers on different paths seek to avenge their father’s death, while For My Son sees an unjustly suspended officer join the Mafia in order to save the police chief’s son.

“Our goal in this 2015 edition of NATPE is to strengthen our relations with our partners and reach new clients from the midsize territories.” —Kerim Emrah Turna For My Son 24 World Screen 1/15

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Keshet International Help! I Can’t Cook / BOOM! / Rising Star As cooking series continue to prove popular in Latin America, Keshet International is looking to capitalize on the trend by presenting NATPE buyers the new format Help! I Can’t Cook. Keren Shahar, the general manager of distribution at Keshet International, believes the show is a strong proposition for the market because of its unique twist on the cooking genre, as it has a stronger reality element to it than most other culinary formats. BOOM! is already off to a promising start in Latin America, having been licensed in Chile. Brazil was the first international territory to launch Rising Star, which is also getting an Argentinean version on Telefe. “We would like to see Rising Star’s iconic wall rising in many more Latin American territories,” says Shahar.

“NATPE is another opportunity for Keshet to build on its growing business in Latin America; we are very committed to working with partners in the region, large and small.” —Keren Shahar Rising Star

Lionsgate Deadbeat / Houdini / Manhattan Lionsgate teamed up with Hulu for the comedy Deadbeat, which features a hapless medium trying to cash in on his newfound supernatural talent. The series, led by Tyler Labine, has 22 half-hour episodes available from Lionsgate at NATPE. Also part of the Lionsgate offering is the four-hour scripted miniseries Houdini. Adrien Brody plays the famed illusionist and escape artist in the dramatic biopic, which aired on HISTORY in the U.S. Manhattan, another drama highlight from Lionsgate, is set in New Mexico at a time when the race was on to build the world’s first atomic bomb. The series was created by Sam Shaw and directed by Tommy Schlamme. At NATPE, Lionsgate will also be discussing with buyers the miniseries Rosemary’s Baby as well as the dramas The Royals and Chasing Life.

Deadbeat

MarVista Entertainment Pants on Fire / Zapped / 10.0 Earthquake MarVista Entertainment and its new MarVista Digital Entertainment division are both present at NATPE. “We’ve had a strong and consistently favorable response from buyers and viewers alike to our films, whether it’s our tween movies like Pants on Fire and Zapped for Disney in the U.S., or an action/disaster movie like 10.0 Earthquake,” says Vanessa Shapiro, the executive VP of distribution at MarVista Entertainment. Pants on Fire features a charming young man who tells lies to get out of chores, homework and to excuse his bad behavior. Zapped is a tween comedy featuring the breakout star Zendaya (Shake It Up!). The movie has a “positive message at its core,” according to Shapiro. The disaster story 10.0 Earthquake touches on ecological issues surrounding fracking.

“Our buyers tell us that family entertainment is as popular as ever and consistently delivers audiences and advertisers.” —Vanessa Shapiro Zapped 26 World Screen 1/15

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Multicom Entertainment Group Fallen Not Forgotten / How Sweet It Is / 100 Years of Horror The musical comedy How Sweet It Is focuses on a downon-his-luck director (played by Joe Piscopo) who is in danger of losing his life because he is in debt to the Mob. However, he has one last chance to save himself, and it all hinges on his new musical production, which must have a strong opening night. The feature-length title is one of several offerings from Multicom Entertainment Group for buyers at NATPE. Also on Multicom’s roster is Fallen Not Forgotten, a classic story of love and loss set during the Battle of the Bulge in World War II. Additionally, Multicom is offering 100 Years of Horror, a multi-volume documentary on the history of horror movies from the silent era up to the ’90s, hosted by veteran horror star Christopher Lee.

How Sweet It Is

Muse Distribution International Tut / The Kennedys: After Camelot / Mystery Movie Wheel The epic TV event Tut delves into the life of Tutankhamun, charting his rise to glory as a battlefield hero and leader, followed by his betrayal and untimely death. Muse Distribution International is looking for presales on the title. “With a production budget of more than $5 million per hour, Tut delivers broadcasters a production equal in scope to a feature film as well as the opportunity to create event programming,” says Shawn Rosengarten, the company’s VP of distribution. Muse is also looking to shore up presales for the miniseries The Kennedys: After Camelot, which stars Katie Holmes as Jackie Kennedy Onassis. Additionally, Muse Entertainment is producing a wheel of mystery movies for the Hallmark Movies & Mysteries channel, including the Aurora Teagarden series.

“Television events like Tut and The Kennedys: After Camelot are attractive globally and across all platforms due to their high production values and their riveting subject matter.” —Shawn Rosengarten Tut

Russia Television and Radio/Sovtelexport Ekaterina / The Iron Ivan / Demons Sovtelexport, which represents content from Russia Television and Radio as well as other Russian producers, is looking to strengthen its presence in the U.S. and Latin America through its attendance at NATPE. The company heads to the market with titles such as Ekaterina, a historical drama that tells the story of Catherine the Great. “Historical drama has become one of the most in-demand genres recently,” notes Maria Brenerman, the manager of international sales at Sovtelexport. The company also has in its catalogue The Iron Ivan, a drama feature about Ivan Poddubny, who in the 20th century was considered to be the world’s strongest man. The classical drama Demons, set in the Russian Empire in the 1870s, is based on Fyodor Dostoevsky’s novel of the same name.

“The interest in Russian content is growing.” —Maria Brenerman Ekaterina 28 World Screen 1/15

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SBS International Hipsters / Davie Wants to Live / Danger 5 Australia’s SBS International is launching a number of new shows at NATPE in the genres of factual entertainment, comedy, lifestyle/food and documentary series. Among the highlights is Hipsters, hosted by Samuel Johnson from the hit Aussie TV show The Secret Life of Us. The series follows Johnson on a global search to find out what it means to be a “hipster.” Lara von Ahlefeldt, the head of program sales at SBS International, says, “Hipsters is a more irreverent series, looking at a global phenomenon in an entertaining way, appealing to a broad demographic.” Also taking top billing on the SBS International slate are the observational doc series Davie Wants to Live and the comedy/entertainment show Danger 5, which is now in its second season.

“My main goal at NATPE is to introduce potential clients and partners to our multicultural and diverse SBS catalogue of programs as well as solidify deals and co-production opportunities with new and existing clients.” —Lara von Ahlefeldt Hipsters

Scripps Networks International Fine Living / Food Network / HGTV Scripps Networks achieved several significant milestones in 2014, including launching Fine Living Italy, the first bespoke DTT channel for the network. In Latin America, Scripps Networks debuted Food Network in Brazil, marking its first-ever launch of a 24/7 channel in the region. On the other side of the world, Scripps Networks also launched the first-ever HGTV outside of North America in the Asia Pacific. HGTV is the region’s first dedicated home lifestyle channel. Jim Samples, the president of international at Scripps Networks Interactive, says the company is looking to keep this momentum going throughout 2015. “We have ambitious plans for entering new markets and reaching new viewers across Europe, the Middle East, Africa, the Asia Pacific and Latin America,” he notes.

“Our number one priority is to continue to build scale and expand the distribution of our networks internationally.” —Jim Samples Chef Wanted with Anne Burrell on Food Network

Smilehood Media Plim Plim, A Hero of the Heart / Wake Up with No Make Up / Pispas A child with the attributes of a clown, hero and magician is the main character in Plim Plim, A Hero of the Heart. The animated series, which is available in high definition, is one of Smilehood Media’s top titles for NATPE. Silvana D’Angelo, the director of Smilehood, also highlights Wake Up with No Make Up, a musical youth series spotlighting a group of youngsters who decide to create a band in an old firehouse, and Pispas, a preschool animation about a friendly van with the ability to transform into a spacecraft. Additional titles on Smilehood’s slate include According to Roxi, a comedy focused on a politically incorrect mother, and Creators, which combines live action and 3D and incorporates transmedia elements.

“Smilehood remains committed to [serving] family audiences.” —Silvana D’Angelo Plim Plim, A Hero of the Heart 30 World Screen 1/15

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Studio 2V Talking to Beluga / Far-Flung Russia / Islands in the Ocean Studio 2V is presenting exclusive never-before-seen footage of Russian wildlife that was saved from extinction, offering buyers Talking to Beluga. “Shot in stunning high definition, Talking to Beluga tells a spectacular story about the endangered beluga whale,” says Ekaterina Shveiko, the CEO of Studio 2V. “It shows the richness of wildlife in the Russian North.” She adds of other catalogue highlights, “Far-Flung Russia and Islands in the Ocean capture an unforgettable journey to the world’s most remote place: the Commander Islands Nature Reserve. The audience will be swept off their feet by pristine landscapes of the uninhabited Medny Island. The crew had close encounters with killer whales, watched the humpback whale bubble net feeding and had amazing birding luck.”

“Our documentaries take you to the places you normally can’t go.” —Ekaterina Shveiko Far-Flung Russia

Tandem Spotless / The Last Panthers / Pirate’s Passage From BAFTA winner Ed McCardie and Oscar winner Corinne Marrinan comes Spotless, a new crime drama that Tandem is bringing to NATPE. The company is also highlighting The Last Panthers, about a heist that is reminiscent of an infamous gang of jewelry thieves, and Pirate’s Passage, an animated family movie. “Tandem’s original productions, as well as the productions that we participate in, have similar budgets and therefore similar production values, with a look and feel like major U.S. prime-time shows,” says Randall Broman, Tandem’s VP of sales. “The series we produce, co-produce or co-finance strive for a narrative style and pacing that audiences worldwide have come to expect from the top shows originating from the U.S. market.”

“We work with top-level writers and showrunners who have proven themselves as having editorial lines that transcend borders.” —Randall Broman Spotless

Yair Dori Cata and the Mystery of the Sphere / Couch Stories Yair Dori is looking to increase the presence of its productions globally, and has tapped 7A Media to represent its catalogue at NATPE, targeting all of North and South America, with a particular eye on the U.S. Hispanic market. The teen series Cata and the Mystery of the Sphere and the drama Couch Stories will be highlighted at NATPE. “Cata is ideal tween content for Latin America,” says Yair Dori, the founder and owner of the company. “With an entertaining story line, beautiful cast, catchy tunes and a positive message, it’s enjoying overall success on Italy’s Disney Channel. We are confident that Latin America can enjoy similar results. On the other hand, Couch Stories is a high-intensity psychological drama sure to absorb the most demanding viewer.”

“Our objectives for the future are to re-establish our roots as a recognized producer of top-quality content not only in the Spanish-speaking world but also, as a new mandate, to produce for other key markets.” —Yair Dori Cata and the Mystery of the Sphere 32 World Screen 1/15

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IN THE NEWS

CBS’s Armando Nuñez & David Stapf By Anna Carugati

CBS has been the most-watched network among total viewers for six years in a row and for 11 of the last 12 years. Last season, NCIS was the number one drama in the U.S. and the most-watched show around the world. This season, three of the top-rated new dramas on network television are on CBS: NCIS: New Orleans, Madam Secretary and Scorpion. What all of these shows have in common is that they are produced by CBS Television Studios. Armando Nuñez, the president and CEO of the CBS Global Distribution Group, and David Stapf, the president of CBS Television Studios, sat down with World Screen to talk about the enduring popularity of procedurals, extending hit franchises and producing shows with long-lasting appeal. WS: This season CBS has three new shows that are doing very well. Is it a bit unprecedented to have three freshman shows that are such strong performers? NUÑEZ: We’re incredibly grateful and fortunate that we have three new shows from our studio, all on CBS, that have all been performing incredibly well in a very competitive environment—Scorpion, Madam Secretary and NCIS: New Orleans. So, we’re off to a really good start on those three shows. To your point, yes, that sort of batting average is probably unprecedented. WS: David, how does your unit work with Armando’s when you are deciding whether or not to start a new show? What kind of feedback do they give you? STAPF: They give me really good feedback. We’ve been partners now for [almost] ten years. So, it’s a nice relationship. He’s always honest with me, whether it’s good or bad. I tap into not only Armando, but his group, not so much for what is going to work internationally, but what is going to touch on those themes that are universally accepted. We talk almost two, three times every

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day. It’s those details that make the collaboration work as well as help us develop shows that aren’t just for a U.S. audience but for a global marketplace. NUÑEZ: It is a collaborative relationship, and David is kind enough to ask for my opinion on things. But ultimately, first and foremost, the show has to work in the United States. Sometimes I’m a little bit overly simplistic with David. I say, You know what, just make it good for the U.S. and that increases the possibility and probability of success outside the U.S. Especially when you’re talking about content for CBS, the reality is that CBS, thanks to David and the guidance of Leslie [Moonves, president and CEO of CBS Corporation], we’re still very much a broad-caster. So, the kind of content that we’ve been getting out of our studio, being produced for CBS, is broad in nature and has broad appeal. And in terms of global distribution, it’s content that’s very much in demand. It’s the kind of prime-time content that broadcasters are looking for. WS: CBS is the home of the procedural, and these shows work internationally because self-contained episodes are easy for your clients to schedule. However, it seems you’re giving the genre a new twist by adding ongoing story arcs for today’s audiences, who have been exposed to many other forms of storytelling. STAPF: That’s been the goal. Obviously we do the breadand-butter, basic procedural well. For shows to have long-lasting appeal, you have to care about their characters. I think the success of NCIS is due, in large part, not to the crimes the characters solve, but to people caring about that team. You care about those people. You anticipate what their reactions are going to be. When [Anthony] DiNozzo says something about [Leroy Jethro] Gibbs, how is Gibbs going to react? That

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we’ve kept shows on the air, which is just as important as getting them on the air. NCIS is in year 12, CSI is in year 15. It seems like we just launched NCIS: Los Angeles but it’s in year six. We need to be a premium content company. And to attract the types of writers that we want at our studio, we’ve got to be able to sell everywhere. So, we’re doing that in earnest right now.

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CBS gave full-season orders to all four of its freshman dramas that launched this fall, among them Madam Secretary.

becomes more and more important as these shows evolve. The Good Wife is a good example. We have a case of the week in a courtroom drama, but we also have the overarching character [development] that works really well. The three new shows this season work on both those levels quite well. WS: You distribute more than just prime-time CBS shows. Tell us about the Showtime product that you bring to the market as well. NUÑEZ: We’re partners with Showtime. We distribute the content that Showtime retains the rights to. We have shows like Ray Donovan, Penny Dreadful. We launched The Affair recently. This is content that is a limited commodity. It’s very much sought-after. It plays extremely well in a premium environment. It plays well on premium linear channels, and now with the proliferation of digital all over the world, it’s the kind of content that thrives in a digital environment. So, with HBO having a more channel-related [distribution] strategy and its partnerships [in various territories], the content from Showtime is very much sought-after around the world. WS: And David, are you expanding the portfolio at the studio to produce for more than just CBS? STAPF: Absolutely. That’s been a goal for a little while now. We’re a little bit of a victim of our own success on CBS. We’ve filled that shelf space quite well and

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WS: You mentioned NCIS and CSI. Both franchises have new shows this year. How do you decide when to develop a new show off of a long-standing franchise? STAPF: It’s interesting. In the case of NCIS: New Orleans, we tried a spin-off from NCIS: Los Angeles a year ago and ultimately, it was a good effort, but it just didn’t work. So we kept our eye on the ball and said, Let’s do that again, but let’s let it come in organically. [The idea for the show] came in through an actual NCIS agent who worked and lived in New Orleans. The writers were meeting with him just to get some particular color for an episode, and they realized, when they met this larger-than-life character, Wow, there’s an interesting show here. So, it came in organically. And creatively, that’s what you want. You want that passion from writers who say, I have to tell this story. With CSI, we weren’t in the market to spin off a new show. But, in walked a woman named Mary Aiken, who was a cyber-forensic psychologist at a university in Ireland, who was telling stories about what she does and how she works with Interpol and various organizations solving cyber crime. And we were like, Oh my gosh, this is the next CSI! So, you hope you stumble into [the next spin-off idea]. Your antenna is always up, but you’ve got to do it right. If I’m coming up with the idea for the next spin-off, then we’re in trouble! NUÑEZ: David is over-complicating it. The real reason why we’re doing it is that I would tell him every year, We’ve got to do another CSI, we’ve got to do another NCIS. [Laughs] And then, finally, he listened! WS: These franchises remain evergreen in popularity with your international buyers, right? NUÑEZ: Yes, they’re huge. As you know, NCIS last year was named at the Monte-Carlo Television Festival as the most-watched television show in the world. It replaced CSI, which was named the most-watched television show the year before. One of the CSI franchises has won that award for over five years. These shows are still very big programming assets around the world. STAPF: But [these spin-offs] can’t just be duplicates of the mothership, or the show that they are coming out of. They do have to stand on their own and be creatively organic to resonate with viewers. NUÑEZ: I will say, during the [L.A.] Screenings, the reactions that we got—both to NCIS: New Orleans and CSI: Cyber—to your point, weren’t, OK, this is yet another clone. These shows stand on their own; they have the integrity of both the CSI and NCIS franchises, but are different enough to really, truly stand on their own. It’s terrific and we’ve done, as you would expect, a great job of distributing both shows around the world.

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BEHIND THE SCENES

Donald Sutherland By Anna Carugati

The award-winning actor Donald Sutherland grew up in Nova Scotia, Canada, and has worked on both sides of the Atlantic, in some of the most iconic films and for some of the best directors. His filmography includes M*A*S*H, Klute, The Dirty Dozen, Federico Fellini’s Casanova, Bernardo Bertolucci’s 1900, Oliver Stone’s JFK and, more recently, the Hunger Games movies. On the small screen he has starred in Commander in Chief, Dirty Sexy Money and the miniseries The Pillars of the Earth, which marked the beginning of his collaboration with Tandem. He also stars in Tandem’s TV series Crossing Lines. When Sutherland co-wrote and produced the animated movie Pirate’s Passage, Tandem stepped in as international distributor. He tells World Screen the incredible story of how the Pirate’s Passage project, based on the award-winning children’s book by fellow Nova Scotian William Gilkerson, reached his hands. WS: How did you get involved with Pirate’s Passage? SUTHERLAND: Through a very tortuous, circuitous route. Bill Gilkerson sent it to me. He gave the book to the son of a friend who was going to Los Angeles and said, “Give it to Donald Sutherland.” Six months later I was in Australia making the movie Fool’s Gold with Matthew McConaughey. He came to me and said, “A fellow who knows a fellow who knows a fellow who knows another fellow who lives in Nova Scotia gave me this package for you.” It was Bill Gilkerson’s book Pirate’s Passage! I read it and was so enamored with it that I read it again. I don’t read books twice. I mean, I read them twice in my life, but I don’t read them twice in two days.

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Pirate’s Passage had won the Governor General’s [Literary] Award in Canada for children’s literature. It was cited as a work of genius, and it is. It’s brilliant. WS: And you chose to option the book? SUTHERLAND: After I’d read it twice, I called William Gilkerson in Nova Scotia, and I bought an option on it. Then I approached the CBC, because for me it was definitively a Canadian piece of work, a piece of our culture, our fabric. I went to the CBC and they gave the OK. They were reluctant to do it in animated form, but when I broke down how much it would cost to do live action [in a way] that would be satisfactory, we agreed to animate it. We found some people in Ottawa, PiP Animation [Services], and they were grand. They were terrific. It is oldfashioned animation, but [the story is set in] 1952, so [it fits with the time]. I wrote the script. Sally Catto, who is the general manager of programming for CBC Television, was hugely influential in the progress of the script. I would send it to her and she would give notes, and every single one of those notes was perfect. That never happens. Mostly those notes are from people who are trying to advance their own careers and trying to say something smart. This was a woman who understood perfectly the center of the film, sometimes way better than I did. WS: Was it your first experience writing or had you written before?

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Sutherland has worked with Tandem on a number of TV projects, including the crime series Crossing Lines.

SUTHERLAND: I write all the time. Sometimes I work with the writer on the script that I’m shooting because, particularly on a television program, after a period of time, I get to know the character probably better than they do. It’s never intended to be an imposition, and people say that I do it correctly. I’m in the middle of writing a book, but that’s a whole other thing. WS: A novel? SUTHERLAND: Yes. WS: Pirate’s Passage is not your first project for television. As an actor, what creative freedoms have you found in television that are different from those in film? SUTHERLAND: I don’t know whether “freedom” is the right word. That’s an Anglo-Saxon word. “Liberty” is probably better because there are certain liberties with TV work in that you’re able to work for 22 hours on a character and so on. But there are limitations that really curtail your freedom because, more so than in movies, the notes that come down are from people who are really interested in advancing their own personal careers and are trying to make a note that they think will make somebody up there think, Oh, that’s a smart note, let’s give that boy a chance. And it’s not helpful. So it gets cut down and edited by those people who make those notes. I like to work for a director. In television, you work for the creator, and sometimes the creator doesn’t have control. God, I’ve been in this business for 60 years, but when I started making films, the director was always beside the camera and that was wonderful. You know, when you work for Francis Lawrence [director of The Hunger Games: Catching Fire and The Hunger Games: Mockingjay – Part 1 and Part 2], if he isn’t directly beside the camera, he nearly is. And he’s

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always present, always there. Same for Gary Ross [writer and director of The Hunger Games]. It was wonderful working for those people. WS: The Hunger Games was an important movie for you to make. Was there a special appeal for you? SUTHERLAND: Oh God. You know, I wasn’t cast in it. My agent snuck me a script because he said, “This is something you’re going to love to read.” I read it and, for me, it was the most important political work that I’d seen in years. I thought, Maybe this will wake up what had been a dormant generation. I thought maybe it would amplify the Occupy Wall Street movement. And it kind of has, I think, I hope. Certainly it was Suzanne Collins’s intention. She wrote three novels [the Hunger Games trilogy] and we took the last one and made it into two movies. I wrote a letter explaining why I thought this film was important, to my agent—because I write letters, long letters—he showed it to Gary Ross and Gary cast me. And then Gary did the unthinkable. He wrote three scenes of pure poetry. All the scenes in the rose garden were not in the script—I’m talking about the first Hunger Games movie. All three of them, they’re grand movies and they’re not for children. They’re for young people and for young adults and for adults. And she’s a genius, Jennifer [Lawrence]. WS: Finally, a word about Tandem. You’ve done Crossing Lines with them. SUTHERLAND: I [also] did The Pillars of the Earth. I love Rola [Bauer, the president and partner of Tandem]. I love her. [She has] passion and drive. I’m terrified that she’s just going to suddenly fall down dead, you know, because she works so hard. But she is a truly wonderful woman. Everybody loves her.

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SPOTLIGHT

Entertainment One’s JOHN MORAYNISS WS: What has been the strategy for expanding eOne’s television business over the last few years? MORAYNISS: It’s been a multipronged strategy. First, we’re really focusing on our high-end drama series. Doing an output deal with AMC and SundanceTV and getting their drama series pipeline has been a big boost for us in terms of volume and growth. The strong brands that AMC and SundanceTV have internationally are driving sales globally for us. We did the same thing with El Rey Network. We’re focusing a lot more on internal development as well. In the U.S., Canada and the U.K. we’re putting in place a lot more producer deals and connecting more with the production community. It’s really us playing more of a studio role, not just in the U.S. but also in other territories where we have strong distribution businesses. Glue came out of a first-look deal with Eleven Film in the U.K. On the non-scripted side, we bought a couple of companies out of Canada, Paperny and Force Four. We want to continue to do that. It’s all about building relationships with local producers in a number of territories. In the U.S. we’re organically growing our nonscripted business. While that hasn’t been a big boost for the distribution side yet, it’s really helped ramp up our production business and build relationships with new buyers in the U.S. that have been focusing on non-scripted programming.

By Mansha Daswani

Entertainment One (eOne) has long been known for its expertise in North American drama co-productions like Rookie Blue and Haven, funded by both U.S. and Canadian broadcasters. Its latest addition to that list is The Book of Negroes, a CBC and BET partnership that eOne premiered at MIPCOM. The company is now spreading its reach even further, expanding its production capabilities in Europe via a base in London and launching an arm in Sydney. The company’s television business, run by CEO John Morayniss, has also been doing output deals with major U.S. cable channels and building its factual capabilities, snapping up the Canadian outfits Paperny Entertainment and Force Four Entertainment last year. Morayniss tells World Screen about what’s driving eOne Television’s growth trajectory. 42 World Screen 1/15

WS: There are a lot of companies in the market today seeking access to talent. What gives eOne an edge in this competitive environment? MORAYNISS: There’s a lot we can offer. Part of it is obviously the money and support, so we can develop and package projects. The good news in the U.S. is that there are close to 60 buyers commissioning original programs. The bad news is, their expectations are so high and what they’re looking for in order to say yes to a project isn’t just a pitch with a writer anymore. [You need] a great pitch, sometimes a script, a director attached, a great showrunner attached, a piece of acting talent attached. All those things become very important. As a global independent, we can bring access to that writing talent, acting talent, directing talent. There’s so much production going on right now in the U.S. that we’re seeing a co-production mentality really start to take root. It’s always been there on a more opportunistic basis. But now buyers are starting with that thought at the very beginning— creatively, how do we put this together to maximize the access to talent from around the world? As an indie, we’ve always thought that way. We have to be nimble; we have to look outside the traditional creative model when we’re putting something together. It helps that we have a strong capital base

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eOne handles the worldwide rights for the upcoming event miniseries The Book of Negroes, which was adapted from a best-selling novel by Lawrence Hill. and infrastructure so we can take risks in development. It also helps that as an indie, we can think in the co-production world, because that’s where the U.S. is headed.

The crime drama Glue marked the first series from eOne’s first-look pact with Eleven Film.

WS: How do you manage co-production partnerships so that the commissioning broadcasters get the show they ordered, and you get a title you can take out and sell on the international market?

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MORAYNISS: It’s not easy. That is the art of coproduction. In the old days it was harder because the old co-production model was so driven by the money and not by the creative. The creative became almost a second thought. Now, it starts with the creative; we don’t start by thinking “co-pro,” we start by thinking “great project.” We start by focusing on one market—that’s the best way to have a singular voice and a vision that ultimately translates to quality. And then you make sure you find the right partner with a similar sensibility, a similar brand. The hard part is getting it set up with the right partners. Once it’s set with the right partners, it’s still hard, but you’re not trying to put a square peg into a round hole. It’s hard to distill it to a science, but there is an art to what we do, and part of it is just track record and experience. From almost the beginning of eOne and all the legacy companies [that were acquired by eOne], the mindset was all about partnerships. We always had to bring in financing and creative and production and channel partners. It’s an expertise that we’ve built up over many years. Now more than ever you’re seeing networks, in the U.S. particularly, open to these kinds of partnerships. That gives us a leg up over the studios, which are still in the [mindset of] having to own everything, having to control everything.

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ADRIANA & GUSTAVO

CISNEROS By Anna Carugati

The Cisneros Group was founded in Venezuela in 1929 by Diego Cisneros. What started as a transportation business quickly diversified into other ventures, including television with the launch in 1961 of the TV channel Venevision. Gustavo Cisneros followed in his father’s footsteps. He became chairman and CEO of the company in 1970 and expanded it into production and distribution, acquired the Miss Universe Pageant and became a founding member of Univision, thereby establishing the group’s focus on U.S. Hispanic and Latin American audiences. In 2013, Adriana Cisneros took over as CEO, and under her leadership the company has been restructured into three divisions: Cisneros Media, which includes broadcast and pay TV, content production and distribution; Cisneros Interactive, comprising digital advertising, e-commerce and gaming; and Cisneros Real Estate. Adriana and Gustavo Cisneros are being honored at NATPE with a Brandon Tartikoff Legacy Award. They talk to World Screen about their vision for a family business in this ever-changing media landscape. WS: As technology continues to change the TV business, what are the core values that the Cisneros Group must uphold? GUSTAVO: Of course, the entertainment industry has always been an extremely dynamic sector, which evolves at the same rate as new technologies arise and changes in harmony with new social habits and cultural tendencies. This is why being capable of adapting to this is the key to continuing to be valid and successful in the media. Nevertheless, globalization and the penetration of digital media have truly revolutionized the industry, which has totally transformed the ways of creating and consuming television. In Cisneros’s case, Adriana’s vision—both during her time as director of strategy and now as CEO—has definitely been fundamental and has allowed the group to jump on the wave of change at just the right time in a solid way using a well-focused business strategy. Today, Cisneros is a very innovative company that is in tune with new industry trends while continuing to preserve the values that have characterized us for more than eight decades: valuing our people, the spirit of continued diversification and evolution and, of course, the passion for doing things well. WS: Besides programming for the traditional TV environment, what content are you creating for other screens and devices? ADRIANA: For a long time now, we have been watching the divide between the various platforms become

increasingly smaller. Audiences are demanding more complementary multiplatform content that gives them a greater and improved experience. This is why for the last five years we have been working on a 360-degree strategy for our free-to-air and pay-TV channels. We are convinced that the communication industry is no longer a “traditional” industry, nor does it make sense to have a digital department anymore—all is digital. This is why we have now fully entered the digital era by applying an aggressive strategy, which systematically uses digital tools. Since 2010, our programming has been accompanied by digital extensions. Each new Cisneros Media format has a digital producer in charge of designing content to complement our platform range. This way, we can provide our clients with comprehensive solutions and truly comprehensive content, which captures audiences through multiple platforms, and offer our viewers a comprehensive selection of content with a continuous story line. Similarly, we seek to satisfy the need for new content within a context where differences in licensing, television channels, OTT systems, etc., are disappearing, making it necessary to offer content through new value-added technologies and platforms. For example, through an agreement with RRsat, we now have a new platform that gives us the opportunity to distribute our content around the world, launch new channels, greatly expand our scope and deliver programming to our payTV clients via a secure and reliable satellite signal. We have also signed an agreement with Azteca and AfricaXP to launch Romanza+Africa, a channel aimed at English-speaking audiences on the African continent, which offers nonlinear programming so that clients can view full program content whenever they like. At Cisneros, we are working to offer both complete content and value-added platforms to our clients. WS: What are you learning about how your audiences want to engage with your programming? ADRIANA: Since I began working at Cisneros, I was always very clear about the need for getting the most content to the most viewers. The current market is characterized by content saturation. Viewers seek greater personalization, which allows them to quickly and easily access formats and platforms that are tailored to their interests and habits. We have been experiencing improved synergy between our communications and digital divisions. Our productions are currently very successful, largely because

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and content produced in both English and Spanish for Latin audiences, as well as to identify and channel strategic relations within Cisneros, its advertisers and partners involved in developing brand content. Similarly, together with Part Time Hero Productions and Bungalow Media + Entertainment, Cisneros Media will develop American Girl Trapped on a Telenovela, aimed at the U.S. general market. The Hispanic market is growing stronger in the U.S.; forecasts show that Hispanics may come to represent 30 percent of the population. This is definitely a key market for Cisneros.

Miami-based Venevision Productions, part of the Cisneros Media family, produces such novelas as Fallen Over Love, which Cisneros Media Distribution represents globally.

we [have] experience in combining our content development with innovations created at Cisneros Interactive. Proof of this is the success of our social media channels. We have more than 9 million Facebook fans, more than 8 million Twitter followers, more than 200,000 Instagram followers and more than 800,000 subscribers on YouTube, where we are one of the most important Spanish-language programming partners. Similarly, we have been able to understand our audiences’ need for more segmented content. For example, at Cisneros Media we are transforming the way we produce soap operas (our most characteristic genre) to offer products to a much more specific market. In Venezuela’s case, we are more focused on traditional soap operas, while in the U.S. we are trying to cater to a younger audience and have introduced the concept of a teleseries, or a hybrid between a TV series and a novela. The teleseries is a much more dynamic format and is made up of 60 chapters. WS: How are you increasing your presence in the U.S. Hispanic market? ADRIANA: Our knowledge of the Latin American market has been a competitive advantage for developing content for the U.S. Hispanic market. Nevertheless, consumption habits vary mainly due to differences in purchasing power and the tendency toward bilingualism. For this reason, we have strengthened our strategy by signing various collaborative agreements. In January 2014, we formed a strategic partnership with Bobby Friedman, a media veteran and founder of Bungalow Media + Entertainment, to develop series

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WS: Tell us about your plans to produce in English. ADRIANA: We know the U.S. Hispanic audience has transformed in recent years. Alongside this, consumption habits, including the way we view television, have also changed. In addition to content in Spanish, Hispanic people currently seek out English formats that still tie them to their cultural roots, while also allowing them to enjoy mainstream content. This is why we have started to develop formats that reflect the new television viewing habits of Hispanic families and U.S. general audiences, including content such as American Girl. It is an English-language soap opera with a Latin flavor, and through that we hope to achieve two main objectives: bring the drama genre to a new level by adding a touch of comedy, and create a product that is attractive to both the U.S. general market and Hispanic communities in the U.S. In this same vein, during April we launched Romanza+Africa, a premier soap opera channel with more than 3,000 hours of programming in English, with broadcasts focused on countries such as South Africa, Kenya, Tanzania, Uganda, Zambia, Zimbabwe, Ghana and Nigeria during the first phase. We are also working with promising markets such as Botswana, Malawi, Namibia, Rwanda, the Republic of Mauritius and Seychelles. Similarly, through our agreement with Bungalow Media + Entertainment, we are currently working on a plan to distribute content created by important U.S. networks. WS: What particular challenges does a family business pose, compared to a non-family business? GUSTAVO: While the majority of companies in Latin America begin as family businesses, statistics show us that only 6 percent of brands survive long enough to be managed by the founder’s grandchildren. I think this is definitely one of the biggest challenges faced: to achieve sufficient maturity and structure to be able to successfully hand down [the business] to younger generations. In this sense, I think there are some fundamental survival factors for family businesses, which include knowing how to transmit the meaning and responsibility of leading a family company to the next generation; being able to identify the right person to hand it over to— someone with enough fire to continue the legacy—or to realize that if the ideal person does not exist, it is possible to take a step back and allow professionals to take over, allowing the family to act as proprietors; and, finally, being capable of carrying out an orderly, well-planned transition based on a natural process.

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WS: Tell us about your character, Queen Helena. HURLEY: The first thing to stress is that it’s a fictitious royal family. I am playing the queen of England, but she bears no relation to the current queen, Elizabeth II. With the real royal family, we see the glamour, we see them doing good work, we see them dressed up and looking fabulous stepping out of carriages, shaking hands. We see all of that in the show, but then the doors slam shut and we go backstage, and we see what we never get to see of the real royal family. This is when the fiction really takes over because, of course, we have no idea what goes on behind their closed doors. Our royal family is very much like a normal family. In Queen Helena’s case, while she is the queen of England, who is probably the most famous person in the world, she is also a mom with two naughty children who drive her demented—they don’t do what she wants them to do, they have their own minds, they have their own lives. Still, she’s very much the woman in charge. It was interesting when they said they had cast Joan Collins to come in and play my mother. We all loved Joan Collins playing the evil Alexis [Carrington] in Dynasty, and there’s a little bit possibly of her character in my character. As it happens, we do get to see a slightly softer side of the queen through a relationship that develops during the first season, but the first look at the queen does not see her at her sweetest. WS: Why do you think it is that the world is so fascinated by the royal family?

ELIZABETH HURLEY By Kristin Brzoznowski

The new hour-long drama The Royals depicts the wild antics and extravagant lifestyle of a fictitious British royal family. Slated for a March launch on E!, the series’ lead role is played by Elizabeth Hurley. The Hollywood actress has a long list of feature-film credits, but has only done a smattering of TV work. When she got offered the part of playing a fictional queen of England, however, Hurley says she couldn’t resist the allure. Hurley tells World Screen about her experience working on The Royals, which is produced by Lionsgate Television.

WS: What appealed to you about The Royals? HURLEY: I always resisted doing a potentially long-term television show before. I [have read] pilots that made me think, If I am lucky enough for this to [get on air], will I want to be in it? I’ve always ended up saying, Not really. When I got this one, [I thought] it’s not often you get offered [to play] the queen of England. The attraction of it was that it’s a television show that’s very current, very of the moment, but also harkens back a little bit to the days of Dynasty and the glamour of an hour-long TV show, which I don’t think we’ve seen for a while. It was the combination of that, along with the fact that it would shoot in England, and the fun of it that made it just irresistible in the end.

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HURLEY: I think what people particularly love [about them] right now is that there are some younger people at the helm. It’s like when Princess Diana fever took over the world. Now, people love Prince William and his wife. Our family [in The Royals] is also younger and more glamorous than the reigning monarchs we’ve been used to seeing. My children on the show are in their 20s and they’re just fabulous; they are the type of people that the world would be fascinated by if they were the real royal family. WS: After working on the series, is there anything that surprised you about doing television versus feature films? HURLEY: It’s a completely different world. I had done movies for a long time, then I took a long time off to raise my son; now I’ve come back and I’m doing television. The contrast is immense. For an actor, television is harder work; it shoots much, much faster and we shoot many more pages. What’s so fabulous about it is that with really good television, they use some of the best writers in the world, the producing is fantastic and the acting is almost second to none. The quality can actually sometimes be an awful lot higher in television. I’m finding that very attractive, working with people who are absolutely at the top of their trade. I find it challenging and exciting to be part of that world, where the standards are extremely high.

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MARKET TRENDS

and Sony will be a 50-50 partner in that, too. The company will be called Dori TLV, for Tel Aviv, if the registration office in Jerusalem approves the name. We will move to Dori TLV a few of our operations in Israel: the VIVA and VIVA Plus channels; the VIVA Walla online free video-on-demand service in Israel; Dori Media Ot, a company that does dubbing, subtitling, closed captions, etc.; and Dori Media’s EPG (Electronic Program Guide) operations. The idea behind all this is to increase the cooperation with Sony. Outside of Israel we want to launch more channels with Sony, and inside Israel we see a lot of new opportunities.

NADAV PALTI

WS: Tell us about your production operations. PALTI: We have production operations in Israel and in Argentina, which allow us to balance the demands and opportunities in the market. In Argentina, we started producing in 2002. Then the international [financial] crisis started in the last quarter of 2008; it hit the world and demand shrunk a bit, so we produced less in Argentina. Also the currency there, the peso, is very high, not the real price in the market, so we produce less in Argentina. At the same time, the demand for Israeli content was increasing, so we produced much more in Israel. Now we produce more than 300 hours a year in Israel. My prediction for the future in Argentina is that the currency will be devalued dramatically in the next few months. I already asked my people to look for new titles to produce in Argentina because today it costs $60,000 to $70,000 to produce an episode in Argentina. I believe a year from now it’s going to cost $40,000 because of the devaluation of the peso. We continue to produce every year in Argentina, but we changed our model. We presell the productions. This year we finished editing the third season of En Terapia, a coproduction with Canal 7. It’s a very high-quality production and has won many awards. For Canal 7 it marks a huge jump in quality and it increased the ratings of the time slot. We are selling En Terapia all around Latin America and in Spain.

WS: What does the deal with Sony entail? PALTI: In April 2013, we signed a 50-50 partnership with Sony for a company in Switzerland called Novebox, which owns channels in Indonesia. In October 2014, we decided to increase our cooperation with Sony. We put our Baby TV operations in Indonesia into Novebox, so we concentrated all the channels we have outside of Israel in Novebox. We are also launching a new company in Israel

WS: What are some of the highlights of your library? PALTI: We have more than 6,000 TV hours in our library— roughly 4,000 hours from Argentina and 2,000 from Israel. Having a large, quality library today is very important. The demand for drama is huge and a lot of companies want to do co-productions between countries. More and more cable channels in the U.S. need content. People are now watching several episodes at a time. So as their inventory shrinks, channels are looking for new content all the time. In the U.S. we are remaking the teen novela Rebelde Way that we originally produced in Argentina in 2002. People are still buying it and updating it because teenagers today have all these gadgets that they didn’t have 12 years ago. Now we make it in HD. We also have Ciega a citas from Argentina. We finished producing 120 episodes in 2010. Now there is a Spanish version that aired on Cuatro in Spain. We always keep the distribution rights and part of the IP rights of new adaptations of our shows. We are going to have Ciega a citas in Italy, Germany, Poland, Russia and hopefully the U.S.

DORI MEDIA’S By Anna Carugati

Dori Media Group (DMG) drew international attention several years ago with innovative shows that offered new twists on classic formulas: Rebelde Way, a telenovela targeting teens; Lalola, more of a comedy than a novela; and Be’ Tipul (In Treatment), a gripping drama that takes place mainly in a psychologist’s office. DMG has branched out beyond its native Israel, setting up companies in Argentina, Switzerland and the U.S. It built up its catalogue to more than 6,000 hours of programming, in addition to thousands of video clips, webisodes and content for cell phones. The company also operates TV channels and content-driven websites. Nadav Palti, the company’s CEO and president, tells World Screen about the programming that is driving its businesses and DMG’s recent joint venture with Sony Pictures Television.

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COMING TO

AMERICA A number of Europe’s biggest content companies are aggressively expanding their businesses in the U.S. By Joanna Stephens he urge to “Go West” remains a powerful one, judging by the steady flow of European media companies crossing the Atlantic to set up or acquire U.S. production arms or to embark upon co-production ventures. The reason can be summed up in a word: scale. No territory, in short, comes close to delivering the audiences, channels, platforms, commissioning opportunities, talent, budgets and license fees, not to mention the worldwide profile that comes with a “Made in America” hit. And no European company with expansionist ambitions can hope to become a global contender without breaking into, or at least severely denting, the U.S. market. One such European player is Germany’s Red Arrow Entertainment Group, whose stable of U.S.-based production companies includes Kinetic Content, Left/Right, Half Yard Productions, Fabrik Entertainment and the Stateside branch of the U.K.’s NERD TV. Red Arrow also holds a 20-percent stake in the U.S. multichannel network Collective Digital Studio (CDS) and has forged a strategic partnership with format pioneer Mark Burnett’s One Three Media. “I continue to be amazed by the scale of the U.S. market,” says Red Arrow CEO Jan Frouman. Everything is bigger in America, he adds: “the demand, the number of players, the number of slots and outlets—even the amount of food on set. We could have catered the entire 100 Code production with one day of leftovers from the Bosch set….” Bosch, based on Michael Connelly’s best-selling crime book franchise, is produced by Fabrik Entertainment

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(AMC’s The Killing, FOX’s The Good Guys), Red Arrow’s first strategic investment in the U.S. scripted sector. Starring Titus Welliver (The Good Wife, Lost) as the titular hero—a flawed but fascinating L.A. homicide detective—Bosch is also a good example of Red Arrow’s focus on producing shows with global resonance. And that’s a mission more easily accomplished with a shiny U.S.-produced drama than with a purely European project. Amazon Studios’ first-ever hour-long drama pilot, the first series of which is now in production for an early-2015 release on Amazon Prime Instant Video, has already been sold by Red Arrow International into Canada (Bell Media), the Nordic territories (HBO for pay TV, MTG for free TV) and Italy (Eagle Pictures). On the non-scripted front, Kinetic’s The Taste and Married at First Sight are also doing brisk business around the world.

BUILDING BLOCKS “You can’t build a large production group without a significant U.S. presence,” Frouman observes. And that, he adds, takes time, commitment, capital and a bedrock of strong relationships. This echoes the experience of the U.K.’s ITV Studios (ITVS), whose U.S. presence has grown dramatically on the heels of a shopping spree that started in 2012 with the acquisition of Gurney Productions (Duck Dynasty). Its portfolio has since expanded to include High Noon Entertainment (Cake Boss), Thinkfactory Media (Hatfields & McCoys), DiGa Vision (Teen Wolf), Leftfield Entertainment (Pawn Stars, Real Housewives of New Jersey) and a scripted studio partnership

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The crime series Bosch is produced by the U.S.-based Fabrik Entertainment, which is part of the Red Arrow Entertainment Group, for Amazon Studios in association with Red Arrow International. with Prison Break producer Marty Adelstein’s Tomorrow Studios, alongside its flagship U.S. production arm, ITV Studios America (Hell’s Kitchen, The Chase, The Good Witch). “The business in the U.S. is built on relationships and these take time to form,” says ITVS’s managing director, Kevin Lygo. From a European perspective, he adds, “dealmaking is very complex, as is understanding the cultural differences of the business environment and local audience tastes.” For example, U.S. networks and studios are often uninterested in the original talent involved in a production. And, in the case of scripted projects, the level of investment in development and talent can be a shock. “If you are paying the deficit, you have to have the stomach not just for season one of a series, but for all the future seasons that a network may be ordering,” Lygo notes. ITVS, which entered the U.S. non-scripted business in 2003, now claims to be the largest independent producer of unscripted in the U.S. It is also “forging a strong path in scripted,” Lygo says, citing three straight-to-series orders booked in the last year: Aquarius (NBC), Good Witch (Hallmark Channel) and Texas Rising (HISTORY), the last co-produced by ITVS America and A+E Studios, and produced by Thinkfactory.

Comparing the production culture in ITVS’s home market to that of the U.S., Lygo points to the latter’s rights regime, which is heavily weighted in the networks’ favor. In 2003, new terms of trade between producers and broadcasters were introduced in the U.K. allowing indies to own and exploit the rights to the programming they create. This stands in stark contrast to the U.S., where producers do not automatically

own their own content. “And the rights situation is getting tougher in the U.S., with all networks becoming increasingly aggressive in rights retention,” Lygo reports.

PERFECT PITCH The pitching process is also “much more formal and buttoned-down” Stateside than it is in the U.K. “You need to present a wide range of high-quality materials,” Lygo says. “Networks are also more

risk-averse, so there are more steps to go through, which takes more time, which in turn can put projects at risk through change of teams, mandates, etc.” Another key difference is that U.S. networks are accustomed to buying a showrunner’s fully fleshed-out vision, whereas European broadcasters will buy directly from a producer and collectively build a show from concept, points out Craig Cegielski, executive VP of

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“When partnerships are built in service of the show and not just for economic reasons, the editorial is organically shared and the show is delivered as intended.” This view is endorsed by Rola Bauer, president and partner at Munich-based Tandem, which is currently co-producing two highprofile dramas with U.S. partners: Sex, Lies and Handwriting with Lionsgate, in development with ABC (U.S.), Sat.1 (Germany), TF1 (France) and Bell Media (Canada); and the second season of Crossing Lines with Bernero Productions.

CREATIVE AFFAIRS

ITV Studios America’s slate of successful U.S. productions includes the long-running factual crime series The First 48 on A&E. scripted programming and development at FremantleMedia North America (FMNA), the U.S. arm of the global mega-indie that has operations in 28 countries, generates some 8,500 hours of original programming a year and distributes more than 20,000 hours of content in 200-plus territories. “There are also pitch seasons in the U.S. that trend throughout the year in broadcast, while basic cable is open year-round, similar to the European market,” Cegielski adds.

SCRIPTING SUCCESS Cegielski joined FMNA, whose U.S. production family includes nonfiction specialist Original Productions (Ice Road Truckers, Deadliest Catch, Storage Wars) and reality hit factory 495 Produc-

tions (Party Down South, Jersey Shore), in 2013 to launch the company’s push into scripted. Since then, he has guided a dozen or more projects into development, including FMNA’s first scripted series, supernatural drama The Returned, which is set to air on A&E in 2015. Based on the International Emmy Award-winning French format Les Revenants, the U.S. incarnation is a co-production between FMNA and A+E Studios, in association with Haut et Court TV, which produced the initial series for CANAL+. When reversioning such a strong original format for the U.S. market, the only modifications needed are cultural, Cegielski says. “Ensuring we deliver the same tone and energy as the original while allowing the

U.S. audience to find access points to characters that are culturally identifiable is very important.” He adds that showrunner Carlton Cuse has done “an amazing job” of protecting the elements of Les Revenants that made it CANAL+’s highest-rated drama ever while massaging it into a shape acceptable to U.S. audiences. FMNA’s relationship with its co-pro network partners is also a pivotal piece of the localization jigsaw puzzle. According to Cegielski, the decision on when and with whom to co-produce is driven by what makes the best creative sense. “The most important aspect of any co-production relationship is that we have a shared creative vision that works in service of the series,” he says.

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“The creative aspect must always come first,” Bauer insists. When this is sacrificed on the altar of business, and finance is allowed to dictate the narrative, the creative integrity of a project is invariably compromised. From there, she warns, it’s a short step to the indigestible Euro-puddings that gave co-production such a bad name back in the ’80s. And Bauer should know—the Tandem chief is an acknowledged co-pro pioneer, with a track record of North American/European creative alliances that dates back to the 1986 U.S./Canadian/French TV movie Sword of Gideon. The content market of 30 years ago was a very different beast compared to today’s risk-averse, cash-strapped, digitally disrupted business, where the sharing of the financial burden has become the norm. “So now everyone is talking about international co-production and wanting to get into the game,” Bauer says. “This was not the case when I began doing co-productions.” Another significant difference between those early days and the present marketplace is the relentless volume of original content now needed to feed the U.S. pipeline. “With the summer rerun season dying out, U.S. nets need fresh programming, where they are not carrying the full load of financing,” Bauer observes. This has not only sparked a production boom, she adds, but the “most attractive option to close these gaps is international co-production.”

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The L.A.-based Gaumont International Television, part of the European motion picture studio Gaumont, produced the horror thriller Hemlock Grove for Netflix. As to the ingredients needed to concoct a drama that will appeal to both U.S. and European audiences, Bauer believes it all begins, as it always has, with a good story, well told. But achieving such excellence takes both expertise and money— not to mention partners with similar profiles, narrative voices and creative vision. Tandem works with top-level writers and showrunners who have proved themselves capable of generating “editorial lines that transcend borders,” Bauer reports. “Our budgets are also in keeping with the successful U.S. one-hour series that have ruled international prime-time slots for years,” she adds. That said, the Tandem exec believes the editorial gap is closing between U.S. and European content. The U.S. success of Lilyhammer on Netflix and Downton Abbey on PBS has helped to make American audiences more open to shows with European themes. “More and more European elements are finding their way into U.S. productions, as well as more U.S. productions being set in Europe,” Bauer adds, citing NBC’s comedy series Welcome to Sweden, 90 percent of which was filmed in Sweden, and Amazon’s The Cosmopolitans, which was shot in Paris. Some of the credit for this must go to SVOD services such as Netflix and Ama-

zon, which have dared to “push the narrative envelope” in the U.S. by airing edgier, more unusual stories, along with foreign content. Also motivated by creative rather than commercial considerations when it comes to co-production is L.A.-based Gaumont International Television (GIT), which bills itself as “the newest division of the oldest entertainment company in the world” (GIT’s parent company, Paris-based Gaumont, was founded in 1895). “Our philosophy [is] that the editorial control should really be in the hands of the artist/creator,” says Katie O’Connell Marsh, CEO of GIT, which currently has four series in production: Hannibal with NBC and Sony’s AXN; and Hemlock Grove, Narcos and F is for Family with Netflix.

COLLABORATIVE SPIRIT Working with NBC and AXN on the third season of Bryan Fuller’s critically acclaimed Hannibal has been a “very collaborative effort,” O’Connell Marsh reports. “Bryan Fuller’s vision and execution on this series has been masterful,” she says, adding, “We work closely with our partners to execute the best series for the needs of networks. And we work hand in hand on the marketing side to promote a clear, exciting and inciting message to the viewer globally.”

Gaumont’s 2011 decision to set up shop in the U.S. was instigated by Paris-based Vice CEO Christophe Riandee, who saw the establishment of an international division to produce English-language drama and comedy as the French major’s next logical step in building “a company that is nimble, global and creative in [an] ever-changing television landscape.” O’Connell Marsh, a former head of drama at NBC, explains, “He had the idea that it would probably be best to locate that in Los Angeles—and probably be best to hire experienced U.S. executives to put it together.” O’Connell Marsh says GIT takes “a measured approach” to its production slate. “We have not focused on a volume business, but rather one of quality and returning series,” she says. Given that GIT has yet to have a series canceled, it is clearly a formula that works. Another notable difference between the European and American models is the central role of the agent in the U.S. entertainment ecosystem. The likes of Creative Artists Agency, International Creative Management, William Morris Endeavor Entertainment and United Talent Agency are “a critical lifeline to the creative process,” O’Connell Marsh says. Indeed, Hollywood’s “Big Four” agencies are said to represent upwards of

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70 percent of the entertainment industry’s actors, directors, musicians and writers and lurk at the heart of every significant project.

CLOSE TIES These days, the top agents do considerably more than represent industry talent—although that remains a creative art in itself. Crucially, they also “package” projects (attach a director, exec producers, stars and writers from their own stable prior to approaching a network) and “provide strategic guidance in understanding the marketplace,” O’Connell Marsh says. “Our agency relationships have really helped grow our business,” agrees Red Arrow’s Frouman. “They can play a big role, especially when it comes to packaging a project and opening doors for newer or boutique market entrants.” In the end, relationships—with agents, networks, co-production partners, the new content pipelines and platforms—appear to be the make-or-break factor for Europeans with U.S. ambitions. “The challenge is getting started,” Frouman says. “You have to form relationships, learn the way the business is done, establish a name for your group or company. But it can be done, obviously. It’s about diving in and proving you can deliver.”

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ONE-ON-ONE

ruce Rosenblum spent 26 years at Warner Bros., the last 14 of which as head of the television group, where he was in charge of all production, distribution and broadcasting. Under his leadership, not only were some of the most successful shows ever made—from ER to Friends, from Will & Grace to The West Wing, from The Big Bang Theory to The Mentalist—but the TV division consistently contributed half of Warner Bros.’ yearly profits.

Widely regarded as one of the industry’s most experienced executives, and one of its toughest negotiators, Rosenblum left Warner Bros. in 2013 after a management restructure that came in the wake of the retirement of studio chairman Barry Meyer. Rosenblum joined Legendary Entertainment in June 2013 as president of the newly formed Legendary Television and Digital Media, reporting directly to founder and CEO Thomas Tull. Legendary has a successful track record in film with the Hangover franchise, Batman Begins, The Dark Knight, The Dark Knight Rises, Man of Steel, Interstellar and the upcoming Jurassic World, and a reputation for producing in nontraditional ways. Rosenblum, who also serves as chairman and CEO of the Academy of Television Arts & Sciences, the organization in charge of awarding Emmys, is taking his decades of experience in producing hit television and adapting it to today’s multiplatform media world. He talks to World Screen about the team he is building, projects in development and his continued commitment to quality content.

BRUCE ROSENBLUM Legendary Entertainment

By Anna Carugati

WS: For nearly three decades at Warner Bros., you oversaw some of the most successful shows on television. Now at Legendary, what opportunities are you seeing in today’s evolving television programming landscape? ROSENBLUM: I’m glad you mentioned Warner Bros. We certainly had a great run. The most meaningful growth at Warner Bros. was during a time when the industry was primarily a four-network universe. During the past handful of years, our industry has dramatically moved toward a global landscape that includes broadcast, cable and over-the-top players as buyers of content. At Legendary, as we look at that landscape today, it’s filled with tremendous opportunity. The reason I joined Legendary is that I believe we are at a moment in time when a really nimble, entrepreneurial, independent studio can be successfully built. We need to be global and we need to remain, in today’s ecosystem, entirely platform agnostic; it’s important that we develop content without a specific distribution platform in mind. It is important to recognize that more people are watching more television on more platforms on a global basis than ever before, which provides tremendous opportunity for content suppliers. I am the chairman of the Television Academy, and as we honor creative excellence with the Emmy Award, it has become clear that the quality of television content that is being produced today has never been better. We are watching consumers experience this great content on their own terms, on their schedule, on ondemand platforms. And the opportunity for a company like ours to deliver great series to traditional and nontraditional buyers has never been better. As we focus on our development at Legendary, we’re not going to ignore the traditional broadcast and cable networks, but we clearly recognize that the playing field has widened. It has widened globally, and the creative community is responding by recognizing that the world is no longer controlled by the five vertically aligned studios. There is a clear opportunity for independent television studios to thrive in this environment. 1/15 World Screen 63

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On the heels of its success in film—with upcoming releases that include Jurassic World—Legendary is stepping up its efforts in TV. WS: To that end, as you build the television division, what kind of people are you looking for? ROSENBLUM: The primary key to launching a successful television company is the quality of our partnerships with the creative talent that will trust us to support their passion and creative vision. Second is the quality of our executive team. Both the creative talent and the executives need to come to a company like ours with a global view toward quality content and innovative deal-making— and an understanding that the series that we develop, produce and distribute must succeed not only on domestic platforms but internationally as well. WS: How do you distinguish between television and digital media? A lot of scripted product is showing up on all sorts of platforms today. ROSENBLUM: Our industry is evolving at an amazingly rapid pace; the changes that have taken place in the last decade, but even more so during the last 24 months, make it unclear what the word “digital” even means today. If we say “digital” and we mean Netflix, Amazon and Hulu, we

look at opportunities with those buyers the same way that we view a broadcast network like ABC or a cable network like FX or pay service like HBO. They are important buyers of episodic content and the types of series we intend to produce for FX, USA Network or HBO are the same types of series we are looking to produce for Netflix, Amazon or Hulu. If we think of digital as Crackle, Maker Studios or Fullscreen, then the environment is a little less certain, but we look at those opportunities as really intriguing and opportunistic. We just completed our first digital long-form project. It’s a 90-minute project that we produced for Crackle in the U.S. called Dead Rising: Watchtower. It’s being distributed around the world as well. We have an active slate of digital projects for the Crackles and Fullscreens and Makers of the world that offer an opportunity for us to incubate talent, create some new IP and also have the potential of developing really creative business models. It’s an uncertain platform, and it’s one that we want to experiment with, we want to develop, but I can’t tell you it’s going to turn out to be the same as Netflix, Amazon

or Hulu. The business model is less clear, but it’s a place where our company wants to play. WS: In film, Legendary is known for producing in nontraditional ways. Is that something that the television division is also going to embrace? Do you want to produce pilots? Do you also see instances where straight-to-series orders can work? Are you flexible in the way you want to finance and produce your TV product? ROSENBLUM: I don’t think there is a one-size-fits-all answer to that question. There are traditional opportunities to develop content and then there are less traditional ways, and we are going to play in both. We have the flexibility of being nimble and innovative and responsive, not only to the creative community but also to what our buyers look for from a company like ours. But at the end of the day, it is ultimately about the quality of the content. On some projects there is clear value in seeing if the creative vision for the series works through the pilot process. You sometimes want to see if the chemistry of the cast can break through. But then there are projects that provide such a com-

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pelling package that it justifies the bet on a straight-to-series structure. These are ultimately challenging issues for the buyer. As a seller of content we are going to be flexible. We will develop, where a pilot is necessary, through the pilot process. At the same time, if we see a straight-to-series opportunity, we will take advantage of it. What I will tell you wearing my Television Academy hat is that the pilot process is really ineffective. It’s difficult to compress production of so many pilots into such a short amount of time. There is such a natural rush to hire actors and writers and directors and below-the-line talent in this compressed time that it creates a frenzy, which probably diminishes the effectiveness of the process. We’ve all talked about year-round development; it’s a reality now with basic and premium cable buyers, and certainly with the over-the-top buyers. Now that we have so many nontraditional buyers, I think you’ll see more year-round development, and that’s a good thing. Straight-to-series projects are a reality. The success rate of straight-to-series? That story is yet to be told and we’ll see how it develops over time, but if buyers can experience enough successful straight-to-series projects, there is no reason why the industry won’t move in that direction as well. Let’s not lose sight that it still comes back to making great product. Legendary has a legacy of making great theatrical content, and I’m confident, whether we are in the traditional pilotdevelopment process or less traditional processes, a company like ours is very well equipped and well positioned to deliver great television content as well. WS: What TV projects in development can you tell us about? ROSENBLUM: In a relatively short amount of time, we have put together a very strong slate of development with some really diverse creative talent and a good cross section of buyers.

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We sold our first series to Netflix, a two-season commitment to Judd Apatow’s new project called Love. We’re thrilled to be in business with Judd; this is a really exciting project for us. We just completed our first big drama pilot for USA Network, which is from Carlton Cuse and Ryan Condal and is called Colony. We’ve put together a couple of really strong deals with nonwriting producers: Lorenzo di Bonaventura (Transformers, Red, G.I. Joe) has his television company here. And we just made a deal with Warren Littlefield, the former head of NBC, who recently won an Emmy for Fargo. And we have a really strong pipeline of relationships on the theatrical side through our close alliance with Jon Jashni [the president and chief creative officer of Legendary Entertainment] and his team. Jon understands television extremely well, and Legendary is a company built around collaboration. There are no defined lines between the theatrical side and the television side. If there is a great project, we will look at it and evaluate whether it belongs in theatrical or television. More importantly, a lot of the terrific talent that has worked with Jon and our theatrical team over the years want to do television. For example, we already have a couple of television projects with Guillermo del Toro. WS: As viewers increasingly watch on-demand, how do you see the future of linear channels? ROSENBLUM: I firmly believe there will always be a place in our television ecosystem for linear channels, whether they are on broadcast or cable. What will evolve is how the consumer experiences those channels both on a linear and an on-demand basis. What will be important to watch is how the broadcast and cable networks collaborate with the rest of the ecosystem to respond to what is clearly consumers’ appetite for on-demand

access to their content. How will the linear channels navigate the competitive environment presented by exclusively ondemand platforms like Netflix and Hulu and Amazon? But let’s not lose sight of the scale of the audience for linear networks. They have a terrific ability to deliver very large audiences for live content, whether that’s sports, news or entertainment shows. And they have very strong brands that currently exist in a linear fashion; these brands will rapidly evolve and be augmented by their nonlinear exposure as well. I genuinely believe that the notion that linear broadcasting and cable networks are dinosaurs is misplaced. WS: Despite the evolving media landscape, is this a good time to be in the content business? ROSENBLUM: I was really lucky. I was able to join a company that has an 11-year track record of producing great content that resonates globally. I have watched Thomas [Tull, the CEO of Legendary Entertainment] build Legendary into a wonderfully successful global brand. Now, to be able to join that company and build a television division within an environment that knows how to create and execute successful global content, that’s a luxury. I remember getting here and recognizing really early on that Legendary has a DNA for creating content for global audiences. The discussions in our meetings are not domestic-centric; the discussions revolve around building franchises that will translate and perform for audiences around the world. Our job is to translate the Legendary brand and DNA into successful television content. Starting a new independent television studio is challenging, but to have the head start of being part of a company with such a strong global identity and such a strong track record of global success really gives us an advantage. That’s encouraging for all of us on the television side of Legendary.

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ADVERTISERS’ INDEX

4K Media 9 Story Media Group A+E Networks A+E Networks Latin America ABC Commercial ABTA all3media international Alterna’TV AMC Networks International Latin America American Cinema International Andina Link Applicaster Atresmedia Audiovisual from Spain Azteca BabyTV Band Content Distribution BBC Worldwide Latin America Boomerang Breakthrough Entertainment Canada Media Fund Canal 13 Sudmedia Caracol TV Internacional CBS Studios International CDC United Network Cineflix Rights Cisneros Media Distribution CJ E&M Corporation Content Television Cyber Group Studios Deutsche Welle DHX Media Digital Rights Group Discovery Latin America/US Hispanic Disney Media Distribution Dori Media Group Edebé Audiovisual Licensing eOne Family Escapade Media FLY Content FOX International Channels The Fremantle Corporation FremantleMedia Latin America Gaumont Animation Global Agency Globo GRB Entertainment Hasbro Studios HBO Latin America

73 205 11 147 33 245 37 187 151, 239 17 247 27 143 66, 150 115, 193 86 39 123 169 45 41 141 113 191 94, 95 25 88, 89 57 111 79 167 71 109 125, 195 107, 202, 227 1 209 216 35 181 153, 165 145 117 81, 201 4, 5 90, 91 43 75 129

Hola TV 240 Hot Docs 61 Imira Entertainment 213 International Academy of TV Arts & Sciences 65, 83 ITV-Inter Medya 2, 3, 96, 97 ITV Studios Global Entertainment 13 Kanal D 9 Keshet International 31 Ledafilms 119 Limelight Design 62 Lionsgate 6, 7, 92, 93 Mannam Media 179 MarVista Entertainment 15 Mondo TV 68, 69 Multicom Entertainment Group 255 Muse Distribution International 21, 23 Passion Distribution 234 Polar Star 104 Pol-Ka Producciones 170, 223 Power 103 Rainbow 85 RCTV International 183 Red Arrow International 121 Reed MIDEM 59, 243 Rio Content Market 237 Rive Gauche Television 161 Russia Television and Radio 19, 149 Sato Co. 215 SBS International 49 Scripps Networks International 51, 159 Secuoya Content Distribution 155 Shine International 99, 101 Smilehood Media 134, 135, 136, 137 Snap TV 199 Somos Distribution 131, 221 Studio 2V 29 Tandem 256 Telefe 163 Telefilms 87 Telemundo Internacional 197, 250, 173 Televisa Internacional 139, 184 Television Española (TVE) 229 Turner Networks Latin America 127 Underground Producciones 231 Universal Cinergia Dubbing 233 Warner Bros. Intl. Television 189 WWE 133 Yair Dori 53 ZDF Enterprises 67, 207

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TRULY GLOBAL

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WORLD’S END

IN THE STARS Almost every national constitution forbids the establishment of an official state religion. But this secular bent doesn’t stop people from looking to the heavens for answers to life’s most troublesome questions: Will I succeed? Will I find love? Will I creep out the Duchess of Cambridge? Every day, papers and magazines worldwide print horoscopes—projections for people born in a specific month, based on the positions of the stars and planets. While many people rely on these daily, weekly or monthly messages for guidance in their lives, some readers skip over them entirely. The editors of WS recognize that these little pearls of random foresight occasionally prove prophetic. But rather than poring over charts of the zodiac to predict world events, our staff prefers to use past horoscopes in an attempt to legitimize the science. As you can see here, had some of these media figures remembered to consult their horoscopes on significant dates, they could have avoided a few surprises.

Kit Harington

Brad Pitt

Zooey Deschanel

Nicole “Snooki” Polizzi

CATHERINE, DUCHESS OF CAMBRIDGE

BRAD PITT

game in the U.S., Her Royal Highness meets NBA star LeBron James, who puts his arm around the expectant wife of Prince William while posing for a pic with the pair. Not only does this invasion of personal space go against royal protocol, it also must have been pretty gross since James was quite sweaty from his athletic endeavors. Horoscope: “Today you may find that you get caught up in a socially awkward situation and you need to use all your diplomatic skills to get out!” (in.lifestyle.yahoo.com)

to a courthouse in downtown Los Angeles after receiving a summons for jury duty, only to be turned away during the interview process. The court thought that the presence of the strikingly handsome, Oscar-winning megastar might be “too distracting” for people during the trial. Sources say that the father of six was actually looking forward to possibly serving on a short case—he thought it could be an interesting experience. Horoscope: “You don’t always have to fit in; sometimes it’s good to stand out.” (astrology.com)

BENJAMIN MCKENZIE

ZOOEY DESCHANEL

Elle magazine interview about his thoughts on relationships and sex. The actor, who’s normally quite guarded about his private life, dishes details of bringing “pink fluffy” handcuffs into the bedroom. He also tells the mag that his ex-girlfriends would say he’s “great in bed.” Horoscope: “Private and personal information might come tumbling out in casual conversation if you’re in a talkative mood. Watch what you say and whom you say it to.” (dailyhoroscope.com)

being sued by a horse owner who says that the stallion she leased to the actress is now “injured and unusable” due to being overworked. The lawsuit claims that Deschanel signed a contract promising to limit her use of the animal, and should now have to pay for the resulting medical bills. Horoscope: “Don’t push it! Excesses of any kind (including too much work!) can cause you troubles.” (eastrolog.com)

Global distinction: English royalty. Sign: Capricorn (b. January 9, 1982) Significant date: December 8, 2014 Noteworthy activity: After attending a basketball

Global distinction: Gotham’s detective Gordon. Sign: Virgo (b. September 12, 1978) Significant date: December 18, 2014 Noteworthy activity: The O.C. alum gets candid in an

Global distinction: Hollywood heartthrob. Sign: Sagittarius (b. December 18, 1963) Significant date: December 12, 2014 Noteworthy activity: Angelina Jolie’s hubby shows up

Global distinction: “Adorkable” actress. Sign: Capricorn (b. January 17, 1980) Significant date: December 10, 2014 Noteworthy activity: The New Girl star is allegedly

NICOLE “SNOOKI” POLIZZI

KIT HARINGTON

Global distinction: Brooding TV hunk. Sign: Capricorn (b. December 26, 1986) Significant date: December 2, 2014 Noteworthy activity: In an interview with British GQ, the Game of Thrones star discusses his “resting sad face,” meaning that his normal facial expression unintentionally makes him appear melancholy. “I’d get people coming up to me in the street and asking if I was OK,” he tells the mag. “But this is my default. I laugh, I make jokes, I just happen to reside in this face.” Horoscope: “Focus less on what others think of you and more on what you think of yourself.” (sfgate.com) 254 World Screen 1/15

Global distinction: Reality TV train wreck. Sign: Sagittarius (b. November 23, 1987) Significant date: December 17, 2014 Noteworthy activity: The pint-sized diva, best known from her turn as a housemate on the series Jersey Shore, posts a video online of her singing “Let It Go” to her 2-month-old daughter. The toddler’s reaction is less than favorable, as she looks terrified as her mommy belts out the Frozen hit. The former party girl, who is now married with two kids, captions the post with “LOL I’m the worst mother ever.” Horoscope: “Know your weaknesses so you can use your energy resources most efficiently.” (mydailymoment.com)

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