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THE MAGAZINE OF INTERNATIONAL MEDIA • JUNE/JULY 2014
www.worldscreen.com
NATPE Europe Edition
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contents contents
JUNE - JULY 2014/NATPE EUROPE EDITION Publisher Ricardo Seguin Guise
DEPARTMENTS WORLD VIEW A note from the editor.
Editor Anna Carugati
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Executive Editor Mansha Daswani
UPFRONTS 10 New shows on the market. IN THE NEWS Amy Poehler.
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WORLD’S END In the stars.
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Managing Editor Kristin Brzoznowski Associate Editor Joanna Padovano Editor, Spanish-Language Publications Elizabeth Bowen-Tombari Associate Editor, Spanish-Language Publications Jessica Rodríguez
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Assistant Editor Joel Marino Contributing Editor Elizabeth Guider Special Projects Editor Bob Jenkins
special report
22 FORMAT FRENZY
Online Director Simon Weaver
Broadcasters in Central and Eastern Europe are opening up to new format genres. —Kristin Brzoznowski
one-on-one
28 RED ARROW’S JAN FROUMAN The CEO of Red Arrow Entertainment Group talks about the company’s foray into U.S. drama and digital video. —Mansha Daswani
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Ricardo Seguin Guise President Anna Carugati Executive VP & Group Editorial Director Mansha Daswani Associate Publisher & VP of Strategic Development
Feature
Feature MONEY MATTERS
43
68
Interviews
Interview ZDFE’S ALEXANDER CORIDASS
FLYING TO RETAIL
52
STUDIO 100’S HANS BOURLON EONE FAMILY’S OLIVIER DUMONT
74 76
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world view contents
BY ANNA CARUGATI
Good Policy Makes Good News We live in a world where news is available in just about every medium and on any screen and device. This is good because we can constantly keep up to date on what is going on in our neighborhoods, our own country and even in the far reaches of the globe. It’s not so good because so much of the news of late is bad. We are barraged by reports of terrorist attacks, invasions, killing sprees, pollution, extreme weather, intolerance and unemployment. Not only is the news bad, but we often find ourselves questioning its source: the coverage of some channels is tainted by political ideology; other channels, in the quest for ratings, chase stories that aren’t newsworthy; and many news organizations need to deliver profits to parent companies, which has forced them to make cuts or temper coverage in order to appease the powers that be. On one end, we live surrounded by greed, inefficiency or worse, and on the other, by journalists who can’t or won’t report the stories we need to know, and governments and businesses are not being held accountable. Pretty grim, isn’t it? Fortunately, I recently found reason for optimism and hope. I attended graduation ceremonies at Columbia University, where my son earned two masters degrees: one from the THERE HAS BEEN School of Journalism and one from the School of International and Affairs (SIPA). I was heartA RAFT OF MERGERS Public ened to see the caliber of today’s graduates: serious, dedicated, preAND ACQUISITIONS IN pared and eager to make a difference. Certainly journalism is in a state of flux, as technology—first cable EUROPEAN MEDIA. TV, then the Internet and myriad portable devices—has completely changed the way news is served to consumers. But the everdisruptive Internet also offers opportunities and has given, as have cell phones, rise to valid and serious citizen journalism. At the School of Journalism graduation,Alan Rusbridger, the editor of The Guardian, the British newspaper that printed NSA information leaked by Edward Snowden, encouraged today’s young journalists not to be distracted by technology’s bells and whistles, but to focus on asking the hard questions, insisting on getting the other side of a story and being mindful of whose voice has been left out. “Be good, do great and zig when everyone else zags.”This new generation of journalists is also tasked with fine-tuning the business models that ensure that serious investigative reporting can survive. 8 World Screen 6/14
At the SIPA graduation, Tom Donilon, the national security advisor during President Obama’s first term, talked about the importance of policy. “When governments make decisions, there’s nothing abstract about it. Policy matters today as much as it ever has.” He added that governments have the potential to do tremendous good in a variety of areas: trade and economic policy, education, peacekeeping and infrastructure. I would add to that list the media industry. In our business, there has been a significant uptick in mergers and acquisitions. If we look at the U.S., Comcast, the country’s biggest cable company, is looking to buy Time Warner Cable, the second biggest. Together, the two would provide cable TV to nearly 30 percent of American homes and high-speed Internet service to some 40 percent. Many believe Comcast would become a gatekeeper, controlling what content consumers watch, read and listen to. There is also AT&T’s proposed acquisition of DIRECTV. Both deals are pending government approval. I hope there are forward-thinking policy makers who will rule in the public’s best interest. I also hope the mainstream press will continue to zero in on these deals and make sure all sides are covered. There has been a raft of mergers and acquisitions in European media as well, although Europe has always held its industries in a tighter regulatory grip than the U.S. has. We’ve seen AMC Networks acquire Chellomedia. Discovery Communications and Liberty Global have bought all3media. 21st Century Fox is in talks with Apollo Global Management to form a joint venture that would combine Shine Group, Endemol and CORE Media Group. Red Arrow earlier this year acquired Half Yard Productions and bought into Collective Digital Studio. We speak to Red Arrow’s CEO, Jan Frouman, about his cautious approach to expansion. We look at the thriving format business in Central and Eastern Europe and the tax incentives Europe is offering companies producing TV shows; we hear from ZDF Enterprises’ Alexander Coridass; and we examine the licensing and merchandising opportunities in the children’s television business. There is enough bad news out there. Thank goodness our industry is offering quality programming that serves as the perfect antidote.
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upfronts
A+E Networks The World Wars
/ Flowers in the Attic / Big History
The large-scale documentary The World Wars examines WWI and WWII on a contiguous timeline starting in 1914 and continuing to 1945. “The World Wars is a gem for buyers, as this year marks the 100th anniversary of WWI and the 70th anniversary of D-Day, so there is a strong demand for this genre of programming,” says Marielle Zuccarelli, the managing director of international content distribution at A+E Networks. Another factual highlight from the A+E Networks catalogue is Big History, which provides a new take on how everything in the universe is connected. The production “employs breathtaking, cutting-edge visuals and graphics,” says Zuccarelli. There are also two Lifetime original movies in the company’s catalogue: Flowers in the Attic and Petals on the Wind.
“During NATPE Europe, we will have a particular emphasis on reaching out to the Balkans, the Baltics and Romania.” —Marielle Zuccarelli The World Wars
all3media international Hinterland
/ Love Child / ANZAC Girls
The drama Hinterland joins all3media international’s successful stable of detective series. “The other four returning detective series—Midsomer Murders, Miss Fisher’s Murder Mysteries, Foyle’s War and George Gently—have all established themselves with CEE audiences, and we are confident this series will too,” says Stephen Driscoll, the company’s senior VP of international sales. “Love Child and ANZAC Girls are both female-skewing period dramas, which have achieved pre-market sales, and we anticipate more over the coming months as word of their success spreads.” Love Child is set in the 1960s, while ANZAC Girls takes place during the time of WWI. In total, all3media international is showcasing 120 hours of new drama at NATPE Europe.
“We have a strong track record of distributing detective series and period dramas, and these genres perform particularly well for our clients across CEE.” Hinterland
—Stephen Driscoll
Armoza Formats I Can Do That!
/ Runway in My Closet / Still Standing
The prime-time entertainment format I Can Do That!, from the Armoza Formats catalogue, challenges a group of celebrities to perform breathtaking live acts and prove that if you give them a week, there’s nothing they can’t do. “There is a gap in the market for the next big prime-time studio entertainment show and we have brought a strong solution to this need with our spectacular prime-time entertainment format I Can Do That!,” says Avi Armoza, the CEO of Armoza Formats. The company also has some stripped shows to offer, among them Runway in My Closet. As game shows continue to be a popular pick with buyers, Armoza is presenting Still Standing. “It is a fun, unique and exciting studio game show with a very successful track record,” says Armoza.
“Each of these shows brings to the table a fresh perspective on the genres that broadcasters across the world are looking for.” —Avi Armoza I Can Do That! 10 World Screen 6/14
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Azteca A Love to Remember
/ The Kings / Lucky Me
The new Azteca production A Love to Remember, which tells the story of a young woman who falls for a man who can’t recall his past, is one of the main telenovela titles Comarex is offering at NATPE Europe. That lineup also includes The Kings, from producer Elisa Salinas, and Lucky Me, about a taxi driver who wins the lottery. “With intricate story lines and unforgettable characters, we believe that audiences will connect with our programs and immerse themselves in hours of compelling entertainment,” says Adela Velasco, the company’s sales representative for Europe and Africa. She adds that telenovelas continue to be a “must” in CEE. “We have over the last few years witnessed a renewed appetite for our Azteca productions and for Latin productions in general,” she says.
“We are confident that Azteca telenovelas will boost market share and generate great ratings for broadcasters.” —Adela Velasco A Love to Remember
Beyond Distribution 3 Chefs, 1 City
/ Airshow / Hillbilly Preppers Atlanta
The series 3 Chefs, 1 City puts a unique spin on the way we see cities and food. “This vibrant and exciting title gives us the opportunity to explore cities and their culinary habits, all through the eyes of some of the world’s most diverse and celebrated chefs,” says Zoe Wilson, a sales executive at Beyond Distribution. Airshow takes viewers into the seldom-explored, thrill-seeking world of airshow pilots and their crews. “This is a title that combines fantastic footage with gripping and intense action,” says Wilson. Hillbilly Preppers Atlanta introduces the audience to three guys who run a store that specializes in security for all types of clients. “This is a reality series where you can’t help but want to be a part of the fun and laugh at the trickery that the men play on one another,” Wilson says.
“These titles have a unique focus and give the viewer previously unexplored insight into totally different worlds that can both entice and enthrall us all.” —Zoe Wilson Airshow
Caracol Television Fugitives
/ Men Cry Too / The Sweetest Love
The series Fugitives gives audiences a glimpse into the justice system, focusing on the lives of those who are falsely accused of crimes and end up in jail. That title is a highlight of Caracol Television’s slate for NATPE Europe, along with Men Cry Too. The romantic comedy follows a man’s survival during the biggest breakup of his life. In the drama category, The Sweetest Love reveals a story of secrets, romance and betrayal in classic telenovela style. Estefania Arteaga, Caracol’s sales executive for Eastern Europe and Asia, says that business in Central and Eastern Europe has been consistent for the company. “This is a very important market for us and we will continue to bring the best of our portfolio for our dear clients,” she adds.
“The Sweetest Love will win audiences over with its stellar cast and wonderful story.” —Estefania Arteaga The Sweetest Love 12 World Screen 6/14
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Cisneros Media Distribution Criminal MasterMind
/ Sweet Thing / Inside Football
While telenovelas have been the star product in Cisneros Media Distribution’s catalogue, the tele-series is a new type of offering the company is excited about. These shows contain fewer episodes, with a more compact story line, “but pack a punch since they feature plenty of action and suspense, delivering an uptempo continuity,” says Cesar Diaz, the VP of Cisneros Media Distribution. At NATPE Europe, the company is presenting the new tele-series Criminal MasterMind. It will also be showcasing the telenovela Sweet Thing, which recently finished production in Miami. Another highlight is Inside Football, which provides an in-depth look at the world of football today. “Our goal is to make our clients aware that we have a strong and diversified catalogue that is continually expanding,” says Diaz.
“Tele-series such as Criminal MasterMind are the latest type of productions that are grabbing audiences’ attention.” —Cesar Diaz Criminal MasterMind
Construir TV History Restorers
/ Made in Argentina / Trades Over Time
Construir TV is a unique thematic channel devoted to the world of work, offering high-quality entertainment focusing on social awareness. For NATPE Europe, the company is highlighting three shows that spotlight various professions, all of which are told with a first-person narrative. Its top title is History Restorers, which follows the work done by art-restoration experts. Trades Over Time reveals the origins and evolution of jobs found in our daily lives, while Made in Argentina explores the making of day-to-day objects such as clothing and appliances.“We tackle topics traditionally considered tough to produce, but with a twist, which is to convey the point of view of its protagonists—teachers, workers, artists,” says Alejandra Marano, Construir TV’s executive director.
“The way we tell stories through the point of view of those who live them is what distinguishes the channel’s catalogue.” —Alejandra Marano Made in Argentina
Dori Media Group Power Couple
/ Billy the Board / Taste of Love
The street game show Billy the Board, part of the Dori Media Group catalogue, provides an opportunity for people to earn money while they wait for a bus or train. It uses animation technology to turn a station’s billboard into a host that interacts with contestants. Elena Antonini, the VP of sales for Dori Media Distribution Argentina, says the show is a strong sales proposition for CEE because it is “funny, dynamic, fresh and, best of all, cost-effective.” The Dori catalogue also includes Power Couple, a prime-time reality format that sees pairs figuring out how well they know each other. There’s also the dating cooking show Taste of Love. “Culinary formats have succeeded in the past within this region, so we strongly believe this new format combining cooking and dating will be a hit,” says Antonini.
“We have added new titles to our catalogue from genres that can easily travel within the CEE region.” —Elena Antonini Power Couple 14 World Screen 6/14
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Entertainment One Television International Matador
/ Cars that Rock / Halt and Catch Fire
The new AMC drama Halt and Catch Fire is set in the 1980s, at the height of the personal-computing boom. It presents a depiction of the American dream during the rise of the PC era, focusing on three renegades who risk it all to build a computer that could change the future. Entertainment One Television International will be discussing the title with buyers at NATPE Europe, where it is also presenting the factual series Cars that Rock. Another highlight is Matador, an action-adventure series chronicling the undercover life of soccer star Tony “Matador” Bravo. Tess Charman, a sales director at the company, is enthusiastic about these shows selling into CEE. “We continue to have a great presence in these territories, as we offer an array of exciting and diverse content,” she says.
“Our goals are to present the new slate, meet new channels and buyers, and improve business even further for 2014.” —Tess Charman Halt and Catch Fire
GMA Worldwide Niño
/ The Other Mrs. Real / The Half Sisters
GMA Worldwide is making its first outing to NATPE Europe and is expecting the market to be “exceedingly fruitful,” according to VP Roxanne Barcelona. “GMA Worldwide’s penetration in Central and Eastern Europe is still in its infancy,” she says. “We have barely scratched the surface of what we can do for this territory, and based on our success in other regions, such as Southeast Asia and Africa, we remain very optimistic about the possibilities of our potential in Central and Eastern Europe.” The company is showcasing Niño, an inspirational story about a young man who is intellectually impaired, and The Other Mrs. Real, which features two women who love the same man. The Half Sisters centers on a set of twins who have different fathers.
“Our programs possess compelling story lines, original themes and the Philippines’ most talented artists.” —Roxanne Barcelona The Other Mrs. Real
ITV-Inter Medya Black Rose
/ In Between / Stolen Life
The drama Black Rose has been a ratings hit in Turkey, and ITV-Inter Medya has high hopes for its global performance. “We believe that it will be a ratings smasher in the international market,” says Ahmet Ziyalar, the company’s managing director. Another top offering from ITV-Inter Medya is Black Rose, which has also scored high ratings in Turkey. Stolen Life is among the newest titles in the company’s catalogue. Ziyalar says the series has a strong story, great cast and superb acting, which is why he is confident that it will appeal to buyers across CEE. “The interest in our titles from territories such as Romania, Greece, Bulgaria, Croatia, Serbia and Macedonia has been rapidly increasing, and we recently closed a number of new deals in Greece, Croatia, Bulgaria, Lithuania and Serbia,” says Ziyalar.
“Our goal is to establish new business relationships in the Baltics and Poland and to strengthen our business relations in Hungary and Russia.” —Ahmet Ziyalar In Between 16 World Screen 6/14
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Keshet International Rising Star
/ BOOM! / Master Class
Business across CEE has been “very busy” for Keshet International, according to Cynthia Kennedy, the company’s sales director. Keshet International will be at NATPE Europe looking to shore up new deals for the interactive talent format Rising Star, and will also be discussing sales for the U.S. version. The company is looking forward to presenting buyers the gameshow format BOOM! “In terms of the concepts of BOOM! and Rising Star, they stand out because they challenge traditional TV genres,” says Kennedy. Another top title the company will be showcasing is Master Class, a feel-good talent show featuring children. “Not only is it the highest-rated talent show ever to air in Israel, but during its second season in Hungary, it won its slot each week,” Kennedy points out.
“Rising Star is all about the viewers becoming the judges, which creates an entirely new television experience.” —Cynthia Kennedy Rising Star
Rive Gauche Television APB with Troy Dunn
/ The Super / The Illegal Eater
A number of the lead titles in the Rive Gauche Television catalogue feature strong central characters. The investigative series APB with Troy Dunn, for example, stars Troy Dunn, an expert in locating and reuniting long-lost persons. The Super spotlights Dave Palladino, a landlord, plumber, psychologist and bodyguard who manages 1,700 apartment units as part of his everyday duties. The show is described as My Strange Addiction meets Operation Repo. Steven Page is at the center of The Illegal Eater, in which the former vocalist for Barenaked Ladies explores the underground food scenes in various cities. “The Illegal Eater appeals to a wide range of audiences who are lovers of all things travel, food, culture, music and inherently cool,” says Bryan Gabourie, Rive Gauche’s VP of international distribution.
“All three of these shows are from very different genres, and yet each one appeals to both male and female viewers.” —Bryan Gabourie APB with Troy Dunn
Televisa Internacional The Stray Cat
/ Dolphins with the Stars / The Black Widow
The Stray Cat, a telenovela from the acclaimed Mexican producer Nathalie Lartilleux, leads Televisa Internacional’s highlights for NATPE Europe. Starring Mexican actress Maite Perroni, the program has already been sold ahead of its official presentation, according to Claudia Sahab, the company’s director of sales for Europe. Sahab says that the majority of Televisa Internacional’s business in CEE has been for telenovelas, but formats are also a big part of the company’s catalogue. The format Dolphins with the Stars, which sees celebrities performing with dolphins, has been picked up in Western Europe, including in Portugal. Another major offering is the drama series The Black Widow, centered on the real-life story of the woman who brought the cocaine trade to the U.S.
“For telenovela sales, the Central and Eastern European countries are the most important [markets] for us, besides Spain.” —Claudia Sahab The Black Widow 18 World Screen 6/14
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in the news
amy poehler BY ANNA CARUGATI
Photo Credit: Mary Ellen Matthews
en ws
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Fans of Amy Poehler have enjoyed her on Saturday Night Live, where she and friend Tina Fey co-anchored the “Weekend Update” segment and later famously portrayed and skewered Sarah Palin and Hillary Clinton during the 2008 presidential campaign. Poehler has starred in the comedy Parks and Recreation, in a number of feature films and, along with Fey, has hosted the Golden Globe Awards ceremony for two years in a row. Poehler was one of the founders of the sketch/improvcomedy troupe Upright Citizens Brigade (UCB). She is now donning the hat of producer, teaming up with her brother, Greg Poehler, to form the production company Syskon, and acting as executive producer of Broad City, a comedy about twentysomethings living in New York created by UCB alums Abbi Jacobson and Ilana Glazer, which started as a web series and was picked up by Comedy Central. WS: What appealed to you about Broad City? POEHLER: What people are responding to is the natural
chemistry between Abbi and Ilana, and that just can’t be faked. Real enthusiasm and natural chemistry is something that people are desperate for always and it’s hard to find. I also thought they had a really strong voice.They knew who they were and what they wanted to say.They worked really hard, which is important when you’re putting together a TV show, and [were] underestimated, frankly, in the process. And lastly, they were part of a bigger community of New York, people who were fresh and had a lot to say and hadn’t really been given an opportunity on a bigger platform. So, the combination of those things was really exciting to me and so was [working with] Comedy Central, [with whom] I’ve had a very long and lovely relationship. I did a sketch show with them 16 years ago and Kent Alterman, who is the head of original programming, is a terrific leader and supporter, so it was just a perfect fit for all of us at the time. WS: Today the web is offering an outlet to young actors and writers that didn’t exist when you were starting in the business. POEHLER: We used to have to perform our shows live in front of people who came and watched them. And now you are able to see the entirety of people’s work all at once. You’re able to send your ideas really fast. It’s a totally different world—thank goodness. [The web has] discovered fresh voices, new talent, and it’s democratized a bit the idea of who can get a show and who has a platform and a place to do comedy.
York City is universal; everybody can understand that. So, the answer to your question is: yes! WS: You have a company with your brother called Syskon. POEHLER: Syskon is the Swedish word for sibling and
it’s a company my brother and I started. I’m producing a show that he created called Welcome to Sweden. It’s on TV4 in Sweden and [has been] renewed for a second season, and it’s going to air on NBC this summer. It’s a fish-outof-water story—based on my brother’s real life—about an American who moves to Sweden because he’s in love. My brother writes it and is the star of it. It’s my first international production and it’s been exciting to play with the stereotypes of the Swedes and the Americans. WS: Do you prefer being in front of the camera or behind the camera? POEHLER: I like both. I’ve been so lucky to work on Parks and Rec, which is just a dream show in every way in that I get to play a character I really love and I get to be involved in every aspect of it. Now that I’m nearing the end of my run on that show, I had the opportunity to direct the finale this year of Broad City, and producing has been really challenging and exciting. I’m certainly interested right now in the idea of developing and producing and directing. It’s the newer world for me. I have a lot to learn and am continuing to learn, which is nice. WS: Do you like to push yourself into areas that are outside
your comfort zone, so to speak? POEHLER: I like to be comfortable! [Laughs] I’m not
WS: Is there a need for more female voices in comedy? POEHLER: I think it’s a time of really amazing, excit-
ing female voices on television. Television has always been a great place for women, but especially so now. We’re at a time when there are shows like Girls and 30 Rock and Broad City, and [comediennes like] Amy Schumer, and all these great, young, fresh new voices that are speaking to people today. So, it’s an exciting time. There’s always room for diverse voices, whether or not they’re female and in whatever way that they’re represented. We’ve been really excited about how many men have been watching Abbi and Ilana’s show because we feel like it’s not gender-specific or exclusive. The idea of two young women making their way in New
going to lie. I enjoy comfort! But I think it’s a natural progression if you’re a person who’s worked in comedy for a while and you start to see how things work and you want to be in charge of your own voice and then encourage and support other people’s voices.As an actor for hire, you probably have the least amount of power, and so, when you’re a content creator, you get to have control. The show Broad City is all about young people who feel a little out of control and who don’t know where they live in the world and are waiting for “the thing.” And it’s unlike Abbi and Ilana, who are very much in control of their voice and their work and are doing “the thing.”That would be my advice: whatever you want to do, just do it. Don’t talk about it. Don’t judge it. Just do it and then see what happens next. 6/14 World Screen 21
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Eccho Rights’ Comedy Combat.
Broadcasters in Central and Eastern Europe are opening
W
hile the TV markets across Central and Eastern Europe (CEE) have faced some hard economic times, the demand for local programming has kept the region’s format business buoyant. Distributors are even breaking into new CEE territories and reporting that broadcasters are evaluating projects
across a broad range of genres. The general outlook for format-licensing prospects in the region is positive for both established players and companies just starting to make their foray in CEE. Not only are broadcasters willing to experiment with new ideas, some of the new shows being produced in the region have the potential to travel to other countries.
The U.K.-based distributor all3media international has already achieved a strong track record in selling formats into CEE, with more than 2,500 hours commissioned over the past three years. “We can see the business growing even more due to the desire from the channels in the region to expand their local production,” says Natalia Sterlikova, a format sales executive at the company.
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“Therefore, many are looking for even more new and fresh ideas such as international hits like Gogglebox, The Cube, Day & Night and Meet the Parents.” Sterlikova cites Russia, Ukraine, Poland, Romania, Hungary and the Czech Republic as healthy formatbuying countries. She says that in the last year, there has been a shift in the Baltics, ex-Yugoslavia and Bulgaria,
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up to new format genres. which previously preferred big, prime-time shiny-floor talent shows but are now looking more for factual entertainment and constructed reality titles. MARKET POTENTIAL
Hungary and Turkey have been the strongest territories in CEE for Armoza Formats, according to Avi Armoza, the company’s founder and
CEO. “Additional countries in the region that are beginning to open up more to formats include the Czech Republic, Poland and Romania, which we are increasingly working with,” he says.“Other markets, such as Estonia, are also interested in international formats, having recently aired local versions of Upgrade on TV3 and the docureality show Connected on Kanal 2.”
By Kristin Brzoznowski Dori Media Group worked first to establish its presence with readymades in the region, and has since been able to strengthen its position as a format distributor in CEE. “Our strongest format sales have been in Russia, Ukraine, Poland and Turkey,” says Elena Antonini, the VP of sales for Dori Media Distribution Argentina. “Now, territories such as Bulgaria, Croatia, the Czech Repub-
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lic and Hungary are starting to open up new opportunities.” Both Armoza and Dori feature Israeli formats in their catalogues, which have proven popular in CEE because they also tend to be costeffective to produce. Keshet International, which is headquartered in Tel Aviv, has had similar success in exporting Israeli concepts across the region.
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of stripped programs, we are happy to develop and produce something entirely local, like the successful daily drama series Tajne for RTL Televizija in Croatia, or count on our strong catalogue for daily game shows. Family Feud stands out in this category and has been doing an impressive job in the daily schedules of channels in Slovakia, Poland, Russia, Croatia and Kazakhstan, among other countries.” STRIP SHOW
Az ének iskolája is the Hungarian version of the musical talent format Master Class, distributed by Keshet International.
“CEE is a key region for Keshet International and some of our most important markets are based here,” says Cynthia Kennedy, a sales director at the company. “For example, after the U.S., Russia is the territory where we have made the most scripted sales.” In addition to Russia, Kennedy says that Ukraine has been a big buyer of formats, “and we are seeing an increased demand in the Central European markets of Hungary, Poland and Romania. Also, we anticipate more activity in Kazakhstan in the coming year.” According to Kennedy, schedulers in CEE prioritize big shiny-floor shows. “A significant proportion of local production budgets is given over to this genre because it attracts large prime-time audiences and brings in high advertising revenues,” she says. “We are also seeing an increased appetite for game shows, and scripted formats are in high demand throughout the region, but particularly in Russia and CIS.” For ITV Studios Global Entertainment (ITVS GE), the demand has been high for prime-time entertainment as well as stripped game shows and factual-entertainment formats.The company’s well-established
unscripted brands continue to flourish with ongoing commissions and recommissions in CEE. “We have seen more broadcasters becoming risk-averse, so tried-and-tested formats continue to be in demand,” says Jennifer Ebell, ITVS GE’s VP of TV sales for Southeast EMEA.“Our formats have a proven track record of successful adaptations all around the globe.This is why formats like Come Dine with Me, Hell’s Kitchen and The Chase appeal to CEE buyers.” FremantleMedia also reports that its unscripted format behemoths have had the most traction in the region, particularly in the most important time slots. “Prime-time formats like Idols, Got Talent and The X Factor are bright, shining stars in our clients’ schedules in almost all our markets,” says Daniela Matei, FremantleMedia’s CEO for the Nordics, Central and Eastern Europe and the Balkans. “These shows are genuinely ubiquitous, extending from small markets like Albania and Latvia through to huge markets like Poland and Russia, and often dominating audience shares for their host broadcaster.” Matei adds that daily stripped formats are also being requested by broadcasters in CEE, based on budgets and scheduling strategy. “In terms
Sterlikova at all3media reports that prime-time shiny-floor talent and game shows are still in high demand in CEE, but constructed reality and access prime-time, stripped, daily factual-entertainment programs are increasing within the market.“This is because the broadcaster can have a high-quality production and large amount of hours for a significantly lower production budget,” she says. The daily constructed reality format Day & Night was recently commissioned in Lithuania for LNK. Nova TV in Bulgaria and Prima TV in the Czech Republic are having
success with the constructed reality format Families at the Crossroads. “It is very exciting to see broadcasters and producers stepping away from shiny-floor talent shows and trying and successfully adapting new genres such as constructed reality like Day & Night, which has become a daily prime-time success on RTL Klub in Hungary,” Sterlikova says. “Also, a strong demand for scripted drama and comedy is emerging in the region,” she continues. “We have had a very strong interest in our scripted titles such as Step Dave, and titles such as The Almighty Johnsons and Outrageous Fortune are currently in development across the region.” Fredrik af Malmborg, the managing director at Eccho Rights, points to scripted as a genre that has seen “great growth in demand” from CEE format buyers. “We are currently doing a large number of adaptations in the region,” he says. “We are licensing the scripts for Turkish drama series such as Ezel, The End and Kuzey Guney to various broadcasters in Russia, and are working on
Dori Media Group recently licensed the lifestyle format Home Buy Now for production in Poland.
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A key part of all3media international’s growing format business in CEE has been the increased demand for scripted titles, among them Step Dave.
an adaptation of the Korean scripted format Ice Adonis for Ukrainian TV.” FremantleMedia’s Matei has also seen demand rising for local scripted content, which “provides an opportunity for broadcasters to acquire great content with relatively low risk.” She adds,“We’re seeing a great deal of success with Wentworth as a scripted format....We’re looking at how we might bring it to this region.” Matei says that the number one challenge of the format business in CEE is the tough economic environment.“We work very closely with our clients, and our dedicated network of FremantleMedia flying producers, to offer creative solutions that allow us to deliver shows of the highest production value on a budget that the channels can afford,” she explains.“We also offer our clients support in exploiting ancillary activities, which can help generate additional revenues. Our collaboration with STB in Ukraine to create dedicated X Factor and Got Talent YouTube channels springs to mind. Similar discussions are going on across the region.” BUDGET BATTLES
Given the financial constraints that broadcasters and production companies in the region must operate within, formats oftentimes require structural tweaks in order to make them more budget friendly. “In the case of Got Talent, we had to reduce the number of live shows due to their high costs,” Matei recalls. “In the case of The Farmer Wants a Wife, we had to produce more reality content to suit the broadcaster’s need for a bi-weekly
broadcast, while at the same time making the whole production more cost-effective.” Armoza also mentions having to make certain adaptations for CEE countries working with smaller budgets. He says his company has a lot of know-how to share about maintaining the format’s essence while trimming down the overall costs or reducing the number of production days. “As the Israeli market doesn’t work with the same budget levels as other big format markets, we have gained experience and knowledge on how to be creative with our solutions and produce cost-effective shows that still have the appearance of big-budget productions,” Armoza adds. One way to accomplish this is through the use of production hubs, which Armoza believes will become more prevalent across CEE in the years to come. “We see a lot of potential for CEE hubs in the future, in particular for the smaller territories,” he says. “Not only can it help make large-scale studio entertainment shows more spectacular than would have otherwise been possible, it also enables them to be accessible, cost-effective and quicker to produce.” Eccho Rights’ af Malmborg agrees that production hubs could hold a lot of promise for the region. “We are working on a production hub for our entertainment format Exit and this allows us to make long-running series at very reasonable costs.” It’s not just production costs that need to be altered either. In some CEE
markets, the duration of a show needs to be adjusted to fit local preferences. ITVS GE’s Ebell says that extending the running time of a program by tweaking its structure is very common in Turkey.For example, the traditional 60-minute episode of The Chase is extended in Turkey with commentary from the host and the introduction of guests.The 30-minute daily episode of Come Dine with Me runs for 90 minutes with the addition of contestants providing entertainment at their dinner parties. FIRST STEPS
While the inclusion of interactivity in formats is becoming increasingly widespread in the global market, the trend is still in the early days in CEE, says Ebell. “I think that while there are a lot of great format brands with interactive features, broadcasters in CEE are still focused on monetizing through more traditional routes such as product placement, sponsorship and off-air campaigns, as there is less investment and risk needed.” Others, such as Keshet International’s Kennedy, believe that CEE is ready to move into the interactive space.“As we saw with the response to Rising Star, the appetite for interactive content in CEE is very strong,” she says. “Clearly, with some smaller markets there are further obstacles—for example, where there isn’t as big a track record of live broadcasting—but in terms of being tech-savvy, the broadcasters in CEE are as quick (or sometimes quicker!) to embrace this trend than other parts of the world.”
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Sterlikova at all3media says that interactivity is still relatively new in the CEE market, but notes that broadcasters are becoming more and more interested in trying out interactive formats since they have the potential to attract large audiences. “At all3media, we have a department that is dedicated to developing interactive opportunities for our formats,” she says. “With newer titles such as The Million Second Quiz, we incorporate interactive rights into the deal to allow local channels to offer and test them with their audiences. “The revenue generated from these rights is still fairly small in the region, but they are becoming an important part of the format market to build and establish brands on various platforms to engage a larger audience.” In looking at the future of the format market in CEE, Sterlikova says she’s optimistic about the gains to come. “Business in CEE is growing year on year. The broadcasters and producers are open to new ideas and to experimenting, which opens up the region.” Eccho Rights’ af Malmborg is not only enthusiastic about the prospects for selling into the region, he also believes that CEE has the potential to become a larger force in exporting format ideas internationally. “We have high hopes that [concepts] from smaller countries in CEE will sell abroad at increasingly high prices,” af Malmborg says. “U.S. and Turkish dramas have a strong position, but we expect drama produced in CEE to become more important.”
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one-on-one
By Mansha Daswani or ProSiebenSat.1 Media, advertising revenues in the competitive yet lucrative German television market remain a key source of income, but the European behemoth has been diversifying for the last several years, most notably with its content-production-and-distribution arm. Created in 2010, Red Arrow Entertainment Group is today a significant growth engine for the company. It encompasses a diverse portfolio of production companies in key markets around the world, including Endor Productions and CPL Productions in the U.K., Sultan Sushi in the Netherlands, Scandinavian outfit Snowman Productions and, in the U.S., Kinetic Content and Half Yard Productions. Through its ownership of 15 production companies in nine markets, as well as creative partnerships with the likes of STV and One Three Media, among others, Red Arrow has dramatically expanded the portfolio of content available through its content-sales arm, Red Arrow International. Once just the distributor of ProSiebenSat.1’s local productions, Red Arrow today represents a cross-genre slate
of titles from around the world, with highlights that include Bosch, based on Michael Connelly’s books and recently greenlit to series by Amazon Studios; the Canadian medical drama Remedy; the Danish entertainment format Married at First Sight; Betty White’s Off Their Rockers, the American version of Red Arrow’s popular Dutch format Benidorm Bastards; ABC’s cooking competition series The Taste; and, from the U.K., the upcoming family film Roald Dahl’s Esio Trot, starring Dustin Hoffman and Judi Dench, and the BBC One David Tennant drama The Escape Artist. Expanding its presence in the fast-growing digital space, Red Arrow Entertainment Group recently picked up a 20-percent interest in Los Angeles-based Collective Digital Studio, a multichannel network that encompasses some 600 channels on YouTube, reaching more than 100 million subscribers. Leading Red Arrow on this expansion path since its inception has been CEO Jan Frouman, who had spent six years within ProSiebenSat.1 Media before being tapped to lead the contentproduction-and-distribution division. As he tells World Screen in this interview, at the heart of his strategy has been a reasoned, stepby-step approach to expansion.
JAN FROUMAN RED ARROW
WS: Red Arrow Entertainment Group has been on a significant growth path the last few years. What, for you, were some of the key milestones in building the company into a global production-and-distribution entity? FROUMAN: It’s happened in phases. At the time [we started building the company], we were part of a big multi-territory broadcasting group, which [since] has put its focus on German-speaking territories. But first, it was launching in the territories where we were active as a broadcaster. And then it was expanding in a meaningful way into the U.S. and the U.K. That was what was going to get us on a trajectory to compete with others in the market. And then, obviously, [we started to get involved in] scripted projects that are becoming more and more high profile. Those have been the key growth points. And then most recently, we did a deal with a multichannel network group in L.A. called Collective Digital Studio. That’s another step forward for us—to not simply be in linear television, but now also be in the digital space. It’s a step-by-step build out. WS: How important is it to have a high-profile American drama like Bosch on the Red Arrow International distribution slate? FROUMAN: Very important. Look, we’re not a Hollywood studio; those aren’t our roots, that’s not our core business, but we wanted to selectively and thoughtfully do big highprofile English-language U.S.-originated projects. This one came and it was the stars aligning for us. It made a lot of sense. There was the built-in audience from the books, Henrik Bastin [from Fabrik Entertainment, which is producing the show], his passion for the project, the fact that the author [Michael Connelly] felt very comfortable with him, and that we could look to some 28 World Screen 6/14
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you could imagine this show on HBO or FX or whatever [platform] it might be. The same is true for Netflix. House of Cards is a terrifically produced show, it happens to be on Netflix, they happen to have their subscriber model, they happen to let binge viewing happen. I don’t think broadcasters are going to be moved by that. They are going to be moved by the product—is this a series that they could see on their air or on their platform? Also, digital platforms around the world may look to Amazon and Netflix and say, Some of what they’re doing is relevant for us, and that’s fine too. We approach it as: What are the great platforms to produce television for? Netflix, Amazon, CBS, NBC, ProSieben, what have you—that’s where we focus, not on how they deliver.
Based on a set of international best-selling novels, Bosch is produced by Fabrik Entertainment, part of the Red Arrow Entertainment Group, for Amazon Studios in association with Red Arrow International.
audience metrics based on the readership around the world. We felt like this was the kind of thing we wanted to do, and we want to do more of it. It’s just a question of being smart. We don’t want to produce big highprofile projects that drive us in the wrong direction. So, selectively, and with some commercial sense, this is what we’d like to do more of. Bosch was a pilot model, so we had to prove the project to the fans—and in this case, in the most transparent, real way, because the pilot was put out there for all viewers to see. They responded very favorably. You’re
also touching a fan base who knows this character. This was not a new concept for them. So, in the end, you want to be true to that. Having Michael Connelly so creatively involved gave us a lot of confidence that we were going to deliver something that the fans would respond to. And then we had the vote of confidence from Amazon to charge ahead with the series. It’s a huge milestone for us. But I tend to take it with a dose of humility. This is a business that gives and takes. At the moment, it’s terrific. It’s very exciting to have a project of this caliber and scale and we want to do more of
it, but we know they’re not all going to be home runs. We want to be a little bit conservative and measured in how we go forward. WS: Do you think some tradi-
tional linear broadcasters are still wary of shows coming from digital platforms, concerned that they won’t play to a broad mainstream audience? FROUMAN: I don’t think so. Amazon, Netflix, Hulu, these are producers of television—they reach their audience in the way they reach their audience. [Bosch] is a Hollywood studio show. The fact that we produce it, fine, but this is not specific to Amazon—
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WS: Where do you see opportunities for expansion, be it geographically or in specific genres? FROUMAN: We’ve always preached being opportunistic, but selective. So when we’ve done deals, whether it was our deal recently with Half Yard or our deal with Collective, they were opportunities that presented themselves in markets that we thought made a lot of sense for our growth, in this case the U.S., or in a business space that was accretive for us, like digital. We are interested in doing more. I don’t think we necessarily have as broad a market view as maybe some other companies do, so I don’t expect us to be popping up in every country. But I’d certainly love to do more in the U.S., I think it’s a market that allows for that. We’ve had a very good footprint in the U.K., and we’d like to do more there. I could see us doing some more deals with producers—not necessarily companies, but overall deals with creators and producers who we feel we can plug into what is now a platform for both non-scripted and scripted.
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We do have growth ambitions, but it’s not growth at all costs. [We want to be aligned with] people who want to be in the group, for the right reasons, who embrace what we’re trying to do. If that yields big scale right away, great; if there needs to be a little bit more patience to do better deals, that’s fine too. WS: There are a lot of other com-
panies acquiring independents in the U.S. and the U.K. Where there is so much competition for the top talent, how do you attract those creatives to Red Arrow? FROUMAN: A lot of it happens in the initial introduction phase. When we meet a company and we talk to them about what we’re about, and they do the same, some of it is just gut instinct. Put aside that they are producers of a certain quality, that they are a company of a certain size in a certain market— you tick all of those boxes [first]. Then it comes down to, Do they believe what I’m saying? Do I believe what they’re saying? Is there a basis on which to work? That tends to focus the conversation. So, when we sat down with the team that runs Half Yard, pretty quickly we felt like, This makes a lot of sense. And then as long as the business terms are sensible for them and for us, you do a deal. I try not to get distracted by deal noise. I’m not in a press release contest. We want to do deals that are smart for our group and that’s how we focus.
Red Arrow Entertainment Group’s program-sales house, Red Arrow International, has a robust format catalogue, which includes the social experiment Married at First Sight. 32 World Screen 6/14
WS: What are your major priorities for the next year? FROUMAN: I want to digest the two deals we just did, particularly [the one with] Collective. That’s one that’s new for us. We have to make that work. And I want Bosch to be a big global hit.We’ve invested into this show. We’ve believed in it since the start. It has a high profile, a lot of noise, so we want to execute. If something comes up along the way, then we’ll shoot [for it], but one step at a time.
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WS: What is driving the gains in the format business? PABST: You have to find the right mix. When you look at the catalogue, there have to be some game changers, like we had with The Taste, which we were able to roll out globally on a massive scale. This year, we came out with The Lie, which is the simplest quiz show I’ve ever seen, but that makes it all the more gripping and likeable. We have a great comedy format from the comedic mastermind Tim van Aelst, the creator of Benidorm Bastards, Off Their Rockers and What if?, with Safety First. It is a very nice workplace sitcom done in a mockumentary style. Not to forget the social experiments: we’ve got Married at First Sight and two other new shows coming along. It’s the Red Arrow International philosophy to have the right mix. Not
IRINA IGNATIEW & HENRIK PABST CO-MANAGING DIRECTORS OF RED ARROW INTERNATIONAL By Kristin Brzoznowski
WS: As you both transition into the co-managing direc-
tor roles, what are your strategic goals? PABST: There’s no change in general. Red Arrow International will follow its path of growing its international presence, namely by focusing a lot on English-language content by acquiring, co-developing and co-producing. Besides that, we are very much looking into digital. We have partnered up with Collective Digital Studio, a great multichannel network, so that is something that we are getting into more and more. IGNATIEW: In terms of scripted, Bosch has been a massive success and it’s really exciting to work with Amazon Studios. With Lilyhammer and accessing Netflix, we really want to build on that strategy. We’re looking to find new partnerships and go more actively into co-production and co-financing, and to seek great projects that work both on the digital side and on [traditional linear] networks worldwide. WS: What trends are you seeing in drama? IGNATIEW: A huge trend you can see is big Hollywood
stars moving into television. At the moment, there is such a great demand for creativity in the television landscape; all the networks are looking for original content. For us as a producer, it’s fantastic because we’re able to attract phenomenal casts, like Dominic Monaghan and Michael Nyqvist for 100 Code, and Dustin Hoffman and Judi Dench for BBC One’s Roald Dahl’s Esio Trot, which we just sold to ARD Degeto. 34 World Screen 6/14
every channel can take the big swing. The slots are rare, and the competition is tough. So, we always try to also offer our clients smaller, but still gripping and appealing formats. WS: Are you finding new opportunities in the digital space? PABST: There is a high demand to own formats that
have a digital component integrated and not attached. We are distributing BBC’s You Against the Nation, which is going to be piloted in July. One guy in the final round plays against the nation, so the digital element is integrated. And, as mentioned earlier, we have the partnership with Collective Digital Studio. We are distributing content from digital into linear, setting up our own channels, and attracting and partnering up with the next generation of top global creators. Alongside that, we are also broadening Red Arrow International’s IP offering for traditional and emerging platforms. IGNATIEW: Another example is our relationship with Amazon Studios and doing Bosch together with them. That’s perfect, because the way they work is it’s the viewer who decides what’s going to be picked up. It’s amazing that they know exactly what the viewers want: whereas all we had to go on was [approximately] 11,250 positive reviews, they have a lot more information to work with, because there are obviously people who have watched [the pilot] but have not put in their reviews. This is a very exciting opportunity for us to access those markets and to have programs that suit exactly what viewers are looking for.
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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 get into a Twitter
Lance Armstrong
war with Charlie Sheen?
EMILY BLUNT
HUGH JACKMAN
graph to promote Edge of Tomorrow, her upcoming sci-fi film with Tom Cruise, Blunt is called out about some unkind words she once said about her co-star.The actress was quoted a few years back saying she would rather do badly paid theater for the rest of her life than ever accept a role “as a spear carrier in a Tom Cruise movie.” Horoscope: “Be careful about the opinions you share in the presence of others; later you may come to regret your words.” (thefreehoroscope.com)
his kids, the X-Men: Days of Future Past star fails to mention the scene in which he appears nude. “It is actually really cool to watch it with them until you get to the moment [when] you’re naked on screen and you forgot to warn your almost 9-year-old daughter,” Jackman says during a New York Daily News live chat. “And she says, ‘Dad, why aren’t you wearing underwear?’” Horoscope: “It is very necessary to think before acting.... Even if you don’t mean it, you will end up hurting the people you love the most.” (bestastrologeronline.com)
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.
David Schwimmer
Global distinction: British actress. Sign: Pisces (b. February 23, 1983) Significant date: May 27, 2014 Noteworthy activity: During an interview with The Tele-
LANCE ARMSTRONG
Global distinction: Disgraced cyclist. Sign: Virgo (b. September 18, 1971) Significant date: May 18, 2014 Noteworthy activity: During a game of Cards Against
Humanity, which asks players to match the best answers to various questions, the former Tour de France champion, who had part of his reproductive system removed after being diagnosed with cancer, draws a card that reads, “Lance Armstrong’s missing testicle.” The athlete proves to be a good sport by posting a picture of the card on Twitter, with a caption that says, “Just another night playing Cards Against Humanity...” Horoscope: “With so many different perspectives, the same joke isn’t always funny for the same reasons. Take it in stride instead of feeling insulted.” (sasstrology.com)
DAVID SCHWIMMER
Global distinction: Friends alum. Sign: Scorpio (b. November 2, 1966) Significant date: May 26, 2014 Noteworthy activity: Following an alleged stabbing in
New York’s East Village neighborhood involving a transvestite prostitute, the actor lends a hand to cops trying to solve the case. He reportedly invites the police into his townhouse to view footage of the assault captured on his home security camera. Horoscope: “This can be a good time to contemplate how you can use your resources to make the world a better place.” (dailyom.com) 82 World Screen 6/14
Hugh Jackman
Charlie Sheen
Global distinction: Aussie-born actor. Sign: Libra (b. October 12, 1968) Significant date: May 21, 2014 Noteworthy activity: While screening his new flick for
JAY Z
Global distinction: Rap mogul. Sign: Sagittarius (b. December 4, 1969) Significant date: May 5, 2014 Noteworthy activity: Following a Met Gala after-party in
New York City, the hip-hop superstar is physically attacked by Solange Knowles, the sister of wife Beyoncé, in a hotel elevator. Footage of the altercation, which is captured by a surveillance camera, shows the 27-year-old throwing kicks and punches at her brother-in-law while Beyoncé stays out of the way. Horoscope: “It seems that everyone is a bit on edge today, so walk on eggshells as needed in order to avoid confrontation.” (in.lifestyle.yahoo.com)
CHARLIE SHEEN
Global distinction: Erratic sitcom star. Sign: Virgo (b. September 3, 1965) Significant date: May 21, 2014 Noteworthy activity: The Anger Management actor
launches a Twitter attack on Rihanna for allegedly snubbing his fiancée, who had asked to meet the pop princess at a restaurant but was turned down. “Sorry we’re not KOOL enough to warrant a blessing from the Princess. (Or in this case the Village idiot),” Sheen writes in one of several angry tweets. Horoscope: “Your quick temper can ward people off, so practice patience. A feeling of unworthiness is at the root of your issues.” (tarot.com)
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