THE 2014 OFFICI AL DAY
01 10 DEC 2014 Advertorial
OPENING KEYNOTE
Huayi Brothers’ president, James Zhonglei Wang, on opportunities beyond entertainment
ASIA MEDIA KEYNOTE
iQiyi’s content chief, Ma Dong, shares his views on China’s digital space
FORMAT KEYNOTE
Keshet International’s CEO, Alon Shtruzman, looks East Follow us on: /asiatvforum /screensingaporechl /asiatvforum /screensingapore
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DATE : 10 - 12 DECEMBER 2014 BOOTH NUMBER : D10 LOCATION : MARINA BAY SANDS, SINGAPORE
CONTENTS 04 06
EDITORIAL & PRODUCTION TEAM KHOO Boo Leong LIM Shibin Cristal BEK CHUA Yee Ling Michelle GOH Rena LIN Shouvik MUKHERJEE Hannah PICHAY Joanne YIP Tiffany KHOO LIM Yue Feng IP Wai Yin Maybelline TAN Andrew LOW LEE Man Tshun
10
PROJECT MANAGEMENT SENIOR PROJECT DIRECTOR
DAY @ A GLANCE HAPPENINGS
08
FROM THE MARKET
20
GALLERY
22
PROFILE: JAMES ZHONGLEI WANG
24
PROFILE: MA DONG
26
FEATURES
GREAT MINDS SHARE
YEOW Hui Leng
PROJECT MANAGER
Joyce CHUA
MARKETING & PUBLIC RELATIONS ASSISTANT MARKETING MANAGER
Kas XIE
SENIOR MARKETING EXECUTIVE
LIM Shibin
BUYERS SENIOR PROJECT EXECUTIVE
Kathy KIM
PROJECT COORDINATOR
Sofea TAN
EXHIBITORS & PARTICIPANTS SALES MANAGER
Rachel NG
SENIOR PROJECT COORDINATOR
Lynette THNG PROJECT COORDINATOR
Chrystia LIEW
CONFERENCE EXECUTIVE PRODUCER
Debe HOO
PROJECT COORDINATOR
Celyn LIEW
OPERATIONS ASSISTANT OPERATIONS MANAGER
Regina NG OPERATIONS EXECUTIVE
Bryan LAM Published by REED EXHIBITIONS, a division of Reed Elsevier (Singapore) 2008 Pte Ltd
32
EVENTS OF
C0 M 0 Y0 K100 Font: Baskerville
C59 M 0 Y50 K52
PRODUCT NEWS
04
DAY 01 DAY @ A GLANCE
DAY CONFERENCE
A GLANCE 10 DEC 2014, WEDNESDAY MARKET & EVENTS
CONFERENCE SYNOPSIS
10:00am - 11:00am | Level 4, Roselle Ballroom OPENING CEREMONY
ANIMATION LAB 9:00am - 9:30am Level 5, Suite 5201 12:00pm - 2:00pm Level 4, Peony Junior 4511 2:00pm - 3:00pm Level 4, Roselle Ballroom
MEDIA LEADERS’ LUNCH (by invitation only)
SCREENSINGAPORE KEYNOTE: BRANDED ENTERTAINMENT IN FILM
SNEAK PEEKS (by RSVP only)
3:30pm – 4:30pm Level 5, Taiwan Pavilion – C10 3:50PM – 4:30PM Level 4, Roselle Ballroom IN CONVERSATION WITH TAIWANESE DRAMA DIRECTOR – CHU YU-NING WORKS INCLUDE: TAIWANESE DRAMA SERIES IT STARTED WITH A KISS AND IN TIME WITH YOU
Jon Landau
Academy Award® and Two-time Golden Globe® Winning Producer, United States
UP-CLOSE WITH COMMISSIONER - DREAMWORKS ANIMATION SKG
Jeffrey Merrihue
CEO & Co-Founder, MOFILM, United States
9:40am - 10:10am Level 5, Suite 5201 UP-CLOSE WITH COMMISSIONER CJ E&M
2:00pm - 4:00pm Level 5, Singapore Pavilion - H10
TAIWAN NETWORKING RECEPTION
4:00pm - 5:00pm Level 5, Singapore Pavilion - H10 SINGAPORE HOUR (TV)
4:30pm - 5:30pm Level 5, L28
SCREENSINGAPORE KEYNOTE: BRANDED ENTERTAINMENT IN FILM
Vivek Rampal
Global Director, Passenger Car Oils, BP Castrol, Singapore
4:00pm - 4:30pm Level 5, Suite 5201 UP-CLOSE WITH COMMISSIONER - THE WALT DISNEY COMPANY (SOUTHEAST ASIA) 4:40pm - 5:10pm Level 5, Suite 5201
10:00am - 5:00pm Level 5, Animation Lab ANIMATION LAB CLOSED-DOOR PITCH
IN CONVERSATION WITH TAIWANESE DRAMA DIRECTOR – CHU YU-NING Chu Yu-Ning
Golden Bell Award-Winning Director, Taiwan
Chu is a writer and director whose works include movies, screenplays, TV dramas and documentaries. He has won multiple Golden Bell Awards in TV dramas, where he is best known for The Rose (2003), It Started With A Kiss (2005), Sweet Relationship (2006), They Kiss Again (2007), Mo Mo Love (2009), Gangster Daddy (2010) and In Time With You (2011). He recently directed You Light Up My Star, which began airing this year. His other achievements include Like a Hero (2006), a nominated feature film at the 51st Asia Pacific Film Festival, and My Whispering Plan (2003), which hit Number 3 in the Taiwan box office.
UP-CLOSE WITH COMMISSIONER SK BROADBAND & SYNERGY MEDIA INC.
5:00pm - 6:00pm Level 5, Animation Lab SK BROADBAND SPONSORED NETWORKING RECEPTION (by invitation only) Sponsored by:
MIPTV COCKTAIL PARTY Sponsored by:
6:00pm onwards Level 4, Bayview Pre-function Area (next to Conference Theatre) OPENING PARTY (All are invited)
7:15pm onwards Sands Theatre, Mastercard Theatres At Marina Bay Sands CHIANG KHAN STORY FILM SCREENING (TOOKKAE RAK PANG MAK) (by RSVP only)
Held in conjunction with:
You Light Up My Star (Oxygen Film Co Ltd)
DAY 01 DAY @ A GLANCE 05
ANIMATION LAB UP-CLOSE WITH COMMISSIONER – DREAMWORKS ANIMATION SKG Damien Tromel
Senior Creative, Acquisitions & Co-productions, DreamWorks Animation SKG, United States
TODAY’S HIGHLIGHTS
OPENING CEREMONY Officiated by Mr. Lawrence Wong, Second Minister, Ministry of Communications and Information, Singapore
UP-CLOSE WITH COMMISSIONER – CJ E&M Kay Jung
General Manager, Investment & Marketing, Animation Business Division, CJ E&M, South Korea
TAIWAN NETWORKING RECEPTION
Eun Sun Lee
Acquisition Manager, Tooniverse, CJ E&M, South Korea
MIPTV COCKTAIL PARTY UP-CLOSE WITH COMMISSIONER – THE WALT DISNEY COMPANY (SOUTHEAST ASIA) Leslie Lee
Executive Director, Programming, Branded Media and Content, The Walt Disney Company (Southeast Asia), Singapore
OPENING PARTY at Level 4, Bayview Pre-function Area
Sponsored by:
(next to Conference Theatre) (All are invited)
UP-CLOSE WITH COMMISSIONER – SK BROADBAND & SYNERGY MEDIA INC. Stella (Jin Nam) Noh Manager, Media Business HQ, SK Broadband, South Korea
Eugene Kang
President, Synergy Media Inc., South Korea
You are invited aNIMATION LAB NETWORKING RECEPTION 10 DEC, 5PM
IF YOU ARE IN THE ANIMATION BUSINESS, JOIN US FOR THE NETWORKING RECEPTION! Sponsored by:
CHIANG KHAN STORY FILM SCREENING (TOOKKAE RAK PANG MAK) SANDS THEATRE, MASTERCARD THEATRES AT MARINA BAY SANDS (by RSVP only)
Held in conjunction with:
06
DAY 01 HAPPENINGS
Happenings INTRODUCING SAMSUNG SEASONS TO PARTNERS …
NEW
BUYER's TAKE Thailand is a very new international content market, and ATF is a big opportunity for us to meet in person people and organisations we intend to buy television formats from and reproduce them in Thailand. We are mainly looking to buy reality gameshows and expect to find more content from Israel. We have not bought any content from Asia as yet, but we intend to create and develop content with Fuji [TV]. At ATF, we can experience the energy and exposure of a truly international content market. Sorayuth Sagrikananda Foreign Relations Manager Zense Entertainment
Samsung Electronics hosted a networking lunch yesteday. Chris Tarr, head of Entertainment for Southeast Asia & Oceania, the company presented Samsung Seasons, a video-on-demand service that offers a hand-picked selection of TV shows. In the introductory video, Nicholas Wodtke, vice president of Content and Services at Samsung Asia Private Limited highlighted that Samsung Seasons addresses the need in the South-east Asian market for “an authentic and legitimate experience of high-quality content”.
Chris emphasised that Samsung aims to delight customers not only with great content, but with unique options like ‘gift’ the content to six friends with each rental. In spite of low credit card penetration and content piracy issues in Southeast Asia, Chris believes they have found the right partners to deliver a comprehensive ecosystem that will ensure greater customer loyalty.
PRODUCERS WORKSHOP: CREATING A BIBLE FORMAT Get insights on what goes into a TV format bible from Alexis De
WHO, WHEN AND WHERE:
Gemini, a TV format expert and showrunner with 20 years of expertise. Get tips on how, when and by whom the format bible should be prepared. Understand what an industry-standard bible should look like, guided by successful formats such as The Voice; Top Chef; Dad, Where Are We Going?; and Beauty Academy, and discover ways to transform your ideas into the next big format.
Alexis De Gemini Founder and CEO, A2G Studio, France 12 December 2014, 9:00am – 9:40am, Level 4, Roselle Ballroom
WHY DO WE DO W H AT W E D O ?
Visit us at ATF Suite 5101 bbcworldwidesales.com
4 x 50’ Crook Productions/Objective Productions for Watch (UKTV)
08
DAY 01 FROM THE MARKET
FROM THE MARKET OH LUCKY ME’S SELFIE SET FOR 2015 BOW Singapore’s Oh Lucky Me Films and Cambodia’s Two Rivers will be filming the former’s new psychological thriller Selfie in January/February 2015 in their home countries. Advent Media Group, a Singapore-based regional media producing and financing company, will coproduce the film, with facilitation by the Southeast Asian Audio-Visual Association’s (SAAVA) creative producers’ network.
FOX’S WAYWARD PINES SET FOR MAJOR GLOBAL DEBUT Fox Broadcasting Company and Fox International Channels will premiere their 10-episode, intense psychological thriller Wayward Pines globally in May next year. Based on a best-selling novel and brought to life by suspense storyteller M Night Shyamalan (The Sixth Sense, Signs), Wayward Pines features a stellar cast of actors, including Academy Award nominee
Matt Dillon, taking on the role as ‘Crash’, a Secret Service agent on a mission to find two missing federal agents in the bucolic town of Wayward Pines, Idaho. Wayward Pines will premiere on Fox and it will be debuting simultaneously in more than 125 countries across Asia, Africa, Australia, Europe and Latin America. Officials at Fox claim that the global Wayward Pines debut will be the world’s largest day-and-date launch for a scripted series ever. The series is executive-produced by Shyamalan, Donald De Line, Chad Hodge and Ashwin Rajan.
“There are so many viable and financeable high-concept stories in this region that are still untapped,” says co-producer Justin Deimen of Advent Media Group. “I’m excited for international audiences to be introduced to [film director Mikael Teo’s] unique filmmaking style.” “The only way independent filmmakers in Asia can be competitive with the likes of Hollywood, is that we first work hard at that one big idea, then tweak it to perfection, and this is just at the script stage,” says Teo. “My goal is to make audiences around the globe ‘rupture their bladders’ while laughing or covering their eyes, and make our investors happy.”
KESHET’S MICE TO BE REMADE IN SOUTH KOREA Keshet International’s sizzling spy drama MICE (also known as The Gordin Cell) has been licensed to South Korea. The deal, officials at Keshet claim, makes MICE the first Korean adaptation of an Israeli drama. IMTV will adapt and produce MICE – an acronym for Money, Ideology, Coercion and Ego, the influences that a good case officer uses to maintain tight psychological control over his agent – for Korean Broadcasting System (KBS). Work will commence soon on the first season, which is scheduled to be aired in early 2015. The Korean adaptation will look at the life of
a Korean pilot who is torn between his loyalty to his family and his loyalty to his country. “MICE is a spy drama but at the same time, it naturally tells a story about conflicts and reconciliation between family members,” says Hong Soeck-gu, chief producer at KBS. “We expect it to have great appeal to Korean viewers.”
“We know that the South Korean market loves drama and does the genre very well, so it’s a great endorsement to have MICE selected as one of the few international imports in the region,” says Keren Shahar, general manager for distribution at Keshet International.
DAY 01 FROM THE MARKET 09
FREMANTLEMEDIA STRIKES KATE & MIM-MIM DEALS PBS in Thailand and okto in Singapore have acquired hit animated series Kate & Mim-Mim, according to Henry Or, vicepresident of FremantleMedia Kids & Family Entertainment Asia. Kate & Mim-Mim made its screen debut on CBeebies in the UK in August 2014 and is also airing on BBC Kids and the Knowledge Network in Canada and Super RTL in Germany. The pre-school property’s emphasis on humour, adventure and problem solving is clearly a hit with young viewers. On every platform launched to date, the series ranks as the top show in its timeslot. Aimed at 2- to 5-year-olds, and inspired by a real-life girl, Kate & Mim-Mim follows the adventures of Kate, a feisty little girl who, together with her toy rabbit Mim-Mim, travels to the fantasy world of Mimiloo. That is where Mim-Mim comes alive as a larger-than-life playmate. In each episode, Kate, Mim-Mim and their group of loveable friends discover exciting places and set off on adventures, all in the hope of solving a puzzling problem Kate has encountered in the real world. Created by the award-winning husband and wife team Scott and Julie Stewart, Kate & Mim-Mim is produced and developed by Nerd Corps Entertainment.
BBC PRESENTS KATHERINE MILLS: MIND GAMES BBC is poised to shock and amaze audiences with world-class illusionist Katherine Mills’ extraordinary blend of popular psychological science, astonishing trickery and illusion that makes one wonder what is real. Katherine Mills: Mind Games is packed with fascinating psychological revelations and wondrous magic. People of all ages and backgrounds are typically left stunned, confused and amazed as they take part in this acclaimed magician’s breathtaking experiments.
Katherine – who, in addition to her magic skills, has studied psychology and sociology – explains how we are all unconsciously influenced throughout our daily lives. Whether in supermarkets, restaurants, art galleries or in our homes, outside forces are often at work even when we think we are exercising free will. Over the course of the series, Katherine examines factors such as the bond between parents and children; the relationship between twins; the connection between staff in a supermarket; and the interaction between friends out to dinner or at the cinema. This compelling series proves that we are really far from being in control of our minds and behaviour!
FULL LIVE OSCARS BROADCAST ON HBO ASIA HBO Asia will be Asia’s only regional network for the 87th Academy Awards. Subscribers across 18 territories will be able to view the complete Academy Awards, also known as the Oscars, live. From the nominee announcements and red carpet segments, through the entire show and for the first time ever, backstage access to the winners. “With HBO as the new home of the Oscars in Asia, Hollywood’s most watched and anticipated television event is now available live to subscribers as a complete Oscars experience,” says Jonathan Spink, CEO of HBO Asia. “And for the first time in the history of the Academy Awards, viewers can watch winners backstage in a live feed, shown to Asian viewers on HBO.”
To be hosted by Neil Patrick Harris in 2015, viewers in Asia can catch the complete live broadcast of all the Oscars programmes on HBO and HBO HD. The Oscars programme schedule is available on hboasia.com.
10
DAY 01 GREAT MINDS SHARE
GREAT MINDS SHARE
James Zhonglei Wang, president, Huayi Brothers Media Corporation
NEW HORIZONS, GROWING ASPIRATIONS FOR CHINA’S RISING STAR This year, Huayi Brothers Media Corporation celebrates its 20th anniversary with an established position in China’s film and entertainment industry. Over the last two decades, the company has collaborated with 60 directors, including household names like Tsui Hark and Feng Xiao Gang, to produce 80 films. With such explosive growth amid rapid transformation across China’s entertainment landscape, James Zhonglei Wang, president of Huayi Brothers Media Corporation, shares how the company stays true to its objectives of producing excellent quality content while tapping on future trends and opportunities. While 90% of box office revenue currently comes from first-tier cities in China, an estimated 1 billion people in third and fourth tier cities do not get to watch movies in the cinema. This represents a potentially lucrative segment for Huayi. By 2017, China is expected to have 40,000 movie screens
generating RMB63 billion (USD10 billion) in box-office revenue, making it the topgrossing movie market in the world.
continue progressing. As such, every year the industry sees a constant proportion of works by young directors in China.
According to Wang, China’s market has grown to a level where it can now accept different categories of movies. Huayi itself continues to meet audiences’ demand and it has tested the maturity of the country’s movie industry with movies across different categorised genres.
In addition, Huayi will continue to invest in cutting-edge technology, which is transforming the way that movies are produced, and expand to online platforms in diversifying its business. In November, Alibaba, Tencent and Ping An became major shareholders of the company with investments totalling RMB3.6 billion. Partnership with China’s major online players Alibaba and Tencent will boost Huayi’s aim to grow its intellectual property and explore possibilities in content development.
Produced in the first half of 2014, Huayi’s artistic movie Black Coal, Thin Ice won the Golden Bear for Best Picture and Silver Bear for Best Director at the 64th Berlin International Movie Festival. Huayi’s 2014-2015 movie line-up includes 32 movies from 26 directors with box-office revenue targets of RMB10 billion. Wang also believes in the necessity to nurture young talent for the industry to
For Wang, he is looking forward to the future, one where audiences will watch Huayi movies, travel to Huayi theme parks, play Huayi games and immerse themselves in the entertainment characters created. It is his hope that no matter where people are, they can experience the joy that Huayi can bring to them.
DAY 01 GREAT MINDS SHARE 11
When it comes to purchasing licensed content, iQiyi carries out an integrated and educated analysis and forecast of the future. This involves analysing a spectrum of factors from statistics to timeslots to directors and producers involved.
SHAPING STORIES, DRIVING CONTENT IN DIGITAL CHINA iQiyi, the online video portal of China’s largest search engine, Baidu, has been growing from strength to strength. Since September 2014, iQiyi has been drawing an impressive 100 million viewers on a daily basis. In his keynote presentation, iQiyi’s chief content officer, Ma Dong, highlighted that what is important to him is not whether content is original or otherwise, but the ability to offer different types of content that allow viewers to enjoy the entertainment industry as a whole. When targeting different markets, Ma pointed out that there is a certain advantage in producing online programmes. In the various aspects of production, online programmes actually allow some flexibility and agility. By the end of 2014, iQiyi will have produced about 13 online programmes, with 30
Ma Dong, chief content officer, iQiyi, China
or more lined up next year. In 2015, Ma said, iQiyi will produce 30 different programmes with a total of 500 episodes. Strategically, iQiyi is focusing on recruitment of talent, professional judgment, and experience that comes from being a part of Baidu. Regardless of country or culture, Ma cited talent recruitment as a perennial challenge and in the 21st century, this is the most expensive area of investment.
Describing China’s development over the last 30 to 40 years as a miracle, Ma said that this has led to a social phenomenon where there is a rapid shift in ideology and value systems between people of different age groups. For the younger generation of online citizens, iQiyi’s concern revolves around not only their value systems but also questions about how they think, what they like, their interests and their lifestyles, all of which determine how this segment is targeted. Since joining iQiyi in 2013, Ma has witnessed many changes in the company’s strategies as it adapts to the changing needs of the market. From January to May this year, more than half of Baidu’s top 50 shows comprises online programmes or those from Korea. With the commercial and social value of online programmes increasing, it is a must for iQiyi to do something about it, said Ma.
THE KEY TO FORMATS SUCCESS IN ASIA With shows like Rising Star due to air in China, and Prisoners of War in development in South Korea, Keshet International – broadcaster, content distributor and provider – has achieved exceptional success in overcoming barriers and penetrating the booming Asian market. Speaking at yesterday’s ATF Format Keynote Session, Alon Shtruzman, CEO of Keshet International, shared how the company, though small, managed to enter into numerous markets, even in countries known for being exporters of intellectual property. “It’s all about flexibility,” said Shtruzman. Being flexible is crucial for successful market penetration because every single market is unique; different markets have their own requirements for doing business, localisation and production. Hence, local producers are best placed to produce content that will appeal to local audiences. Recognising this, Keshet has exercised the right level of flexibility, handing over to its partners just the right amount
of creative control without losing the premise of their formats and content. Giving the example of a recent deal, where the Homeland format was sold to Mexico, Shtruzman shared that the series took on a novella-like format to better appeal to Mexico’s local audiences. “That’s an example of how you take a show, keep the DNA, keep the premise, but completely revamp the format,” said Shrutzman, emphasising Keshet’s ability to adjust its business quickly according to the market they work with. On top of selling content and formats, Keshet also provides partners with advice and assistance when needed.
(from left) Ryan JH Lee, CEO, OpiconMedia, South Korea; Alon Shtruzman, CEO, Keshet International, Israel
Being a cooperative and supportive partner has served Keshet well. Rising Star alone has been adapted in 25 territories, including Turkey, United States and China.
12
DAY 01 GREAT MINDS SHARE
LOCAL RELEVANCE, GOOD STORYTELLING EDGE IN ASIAN CONTENT BUSINESS
NEW
BUYER's TAKE
(from left) Ricky Ow, president, Turner International Asia Pacific Limited, Hong Kong SAR; Jonathan Spink, CEO, HBO Asia, Singapore; Robert Gilby, managing director, The Walt Disney Company (Southeast Asia), Singapore; Virat Patel, managing director Asia, Venture Consulting, Singapore
The Market Leaders’ Discussion Panel at the ATF pre-market conference, moderated by Virat Patel, managing director for Asia at Venture Consulting, brought to light expert views on diverse topics related to Asian content business growth. They include content localisation; co-production; OTT development; younger target audiences; and usage of social media in the region. Ricky Ow, president of Turner International Asia Pacific Limited, shared how Turner is making content relevant to the market not just by dubbing but also re-scripting. He added that more Asian content could cross cultural and regional borders, and be successful, as “Indian content now works in Indonesia and Korean content now dominates the region with formats being reproduced in China.” However, Zubin Gandevia, president of Asia Pacific and the Middle East at Fox International Channel, believes that “a good story is a good story, is a good story and we are in the storytelling business.” Robert Gilby, managing director of The Walt Disney Company (Southeast Asia), agreed with Gandevia saying that “at the heart of relevance is great storytelling. It is not about localisation but local relevance”. Disney has achieved that through various techniques like creating original local content, re-versioning shows that worked across markets, and casting one regional character to ensure a consistent voice across the markets through Disney
Character Voices. “It’s not literal translation but trans-creation” said Gilby. On the topic of co-production, Jonathan Spink, CEO of HBO Asia, says, “You share the risk and don’t have to invest so much money, but the negative obviously is that ideas get compromised.” However, he reiterated that co-production is here to stay and HBO is in talks for co-production projects. The panellists also see OTT as a great opportunity to create compelling content and engage consumers. Gandevia sees OTT allowing market players to “move from perhousehold consumption to per-individual consumption model, which can significantly increase consumption and revenue”. While Ow highlighted the increasing importance that advertisers attach to the young adult audience, Gandevia believes in not targeting the market by demographics but by consumption benefit, where content may be relevant to a wider demographic.
This is our first time at ATF, and we are interested to find content, resource and business partners. We are targeting TV dramas and programmes based on various genres. The three things we look out for when acquiring programmes are content, casting and of course, price. Our company is the leading consulting firm for media and technology start-ups in China, providing comprehensive training in co-production services. And we believe that ATF’s focus on industry trends and not just content will be beneficial for us. Jason Yu Director of Content Acquisition & Licensing, LETV, Hong Kong
Amid diverse views on the usage of analytics, the panellists agreed that in Asia, social media is becoming very important to content marketing but has yet to become a platform for generating content. Spink summed up the session by saying that the industry has done remarkably well in adapting to changing market situations with “not fundamental but gradual change” as it develops more compelling and relevant content.
PRODUCERS WORKSHOP: HOW TO DRAFT THE PERFECT TREATMENT? In a world filled with terrific TV show ideas, the ability to pitch your format successfully or present your treatment perfectly is the key factor. Hence, whom better to learn the secrets and tricks from than Tim Crescenti – widely recognised as a top dealmaker and the person who discovered and sold Japan’s Dragons’ Den and South Korea’s Grandpas Over Flowers to the world.
WHO, WHEN AND WHERE: Tim Crescenti President, Small World International Format Television, United States 12 December 2014, 9:40am – 10:10am, Level 4, Roselle Ballroom
14
DAY 01 GREAT MINDS SHARE
EMERGING TRENDS: THE FUTURE OF TV Speaking at ATF’s ‘Emerging Trends in Asia’s Content Market’ session yesterday, Virat Patel, managing director for Asia at Venture Consulting, shared that the future of TV needs to be a multi-screen experience. And that experience should feature a search and recommendation facility tailored to the individual viewer’s preference.
(From left) Chris Tarr, head of Entertainment, Media Solutions Centre, Samsung Electronics, Southeast Asia & Oceania; Vincent Martin, executive vice president, Dailymotion, Asia Pacific, Singapore; Takayuki Hayakawa, general producer, Worldwide Production and Sales, International Department, Fuji Television Network, Japan; Iris Wee, chief marketing officer, Link Net-First Media, Indonesia.
LAYING THE FOUNDATION FOR OTT ADOPTION
Android set-top box and a new OTT service called First Media Go. The latter enables First Media to offer a multi-screen experience, extending consumers’ television experience to their cable set-top box.
With the evolution of online, digital and mobile platforms, audiences everywhere are spoilt for choice, with the option to decide how and when they want to access and enjoy entertainment content.
To counteract the poor quality of 3G in Indonesia, First Media is also working with its sister company Bolt to bundle First Media Go with its 4G LTE service launched recently in Jakarta. By offering relatively good media streaming as opposed to existing 3G networks, 4G LTE is a good primer for OTT adoption. That makes Bolt a complementary partner.
While over-the-top (OTT) services are not new in this region, a panel discussion among industry players on the regional market revealed that making OTT services profitable remains a challenge. This is partly due to issues like copyright violations and existing gaps in broadband infrastructure, especially for countries like Indonesia. “Broadband typically refers to 2Mbps and above, which is the minimum speed you need for any form of decent video streaming,” said Iris Wee, chief marketing officer of Link NetFirst Media (First Media), an Indonesian cable operator whose core business is broadband internet with pay-TV offered as a valueadded service. “This makes it interesting to see how OTT will pan out [in Indonesia] because broadband is really the requisite connectivity you need for OTT consumption.” Copyright issues need to be tackled and one way is to incentivise OTT platforms to help address the screening of illegal videos on their websites and platforms as a kind of mutually beneficial partnership, suggested Takayuki Hayakawa, general producer of Worldwide Production and Sales at Fuji Television Network. Despite the challenges, OTT presents opportunities for growth. In January 2015, First Media is launching a next-generation
Whether for OTT or other platforms, content is another key success factor. Here, co-productions were highlighted as an interesting trend. While it helps to have shared values, dreams and ambitions when it comes to co-developing content, it is primarily a cost and benefit analysis, because audiences ultimately care only about the quality rather than the nationality of the production, Hayakawa pointed out. Given the ‘openness’ of OTT platforms, he believes that it makes sense for each platform to explore ways to differentiate its content. Dailymotion, one of the biggest video platforms in the world, involves itself in a different kind of partnership. According to Vincent Martin, Dailymotion Asia Pacific’s executive vice president, the company helps partners reach new audiences and new countries in a way that is profitable. For instance, they adapt partners’ content for online platforms in the form of trailers and behind-the-scenes material. The company also provides tools for content creation, which is a way of addressing copyright infringement issues.
However, Patel warns that the journey to that vision will not be an easy one. A challenge the industry currently faces is that the TV ecosystem has transitioned from a single platform experience to a highly fragmented and cluttered ecosystem. Content producers will have to strike a fine balance between working with multiple platforms and developing their own over-the-top (OTT) platform. Online videos and multi-channel networks (MCNs) are also making a big impact on the TV industry. Currently, more than 75% of internet users across most Asian countries consume online videos, leading to the increased relevance of MCNs. But while digital video is gaining traction, TV viewing is still significant and content has never been this good. The rise in digital video consumption is causing a net increase in total content consumed and this has led media players from both East and West to fuel this consumption by producing innovative and popular hits, including Game of Thrones, Scandal and Masterchef, to name a few. On another front, Patel sees social media becoming a prime method for TV shows to engage audiences and help them discover new content. In a survey conducted by Venture Consulting, 42% of respondents aged between 15 and 17 use social media to remind them to tune into shows, and 26% in the same age group post comments about the shows they are watching. Amid these emerging trends, the TV industry will inevitably face challenges ahead. Still, Patel expects it to grow over the next three to five years.
Virat Patel, managing director Asia, Venture Consulting, Singapore
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16
DAY 01 GREAT MINDS SHARE
NEW
BUYER's TAKE (From left) Casey Chant, vice president, TV & New Media, now TV, Hong Kong SAR; Wang Yi, content acquisition & production, head of International Business, Sohu, China; Hyun Park, vice president, Licensing and Business Development, DramaFever Corp, US; Tracy Forsyth, genre director,Factual Entertainment and Entertainment, BBC Worldwide, UK; Peter Treacher, sales director, C21Media, UK
UNDERSTANDING WHAT BUYERS WANT From content that offers wit to content that has worldwide resonance, suppliers were treated to some insights on what buyers want at The Acquisition Panel discussion. Kicking off the session, Tracy Forsyth, genre director of Factual Entertainment and Entertainment at BBC Worldwide, talked about BBC’s exciting new brands – BBC First, BBC Earth and BBC Brit. The genre brands will be launched territory by territory, either as channels, brand blocks on existing channels, or as digital propositions. BBC First is a drama channel that will house the best of British dramas. BBC Earth focuses on natural history and will be looking for fast-paced, mission-style content a la Lara Croft and Indiana Jones. Lastly, BBC Brit, a male-skewed factual entertainment channel, will be looking for content that checks the following boxes – wit, expertise, camaraderie and jeopardy, or simply, entertainment value. The brand also continues to look for lifestyle content from chef-led series, from the likes of Nigella Lawson and Rachel Khoo, who present aspirational lifestyles that go beyond just food. During the hour-long session, Forsyth also shared BBC’s interest in co-productions.
dramas to seek new types of content to appeal to its audience. The company is also known for acquiring content from Asia, subtitling the shows and uploading within 24 hours of broadcast to share with the US market. Interestingly, the company has a user demographic of 44% Caucasians, 25% Hispanic, 16% Asian and 14% African American. The site’s most popular genres include melodramas and romantic comedies, according to Hyun Park, its vice president of Licensing and Business Development. Advertiser’s eye candy, online traffic generators and art-house gems are the three key content types that Wang Yi, head of International Business at Sohu China, is looking for. Advertiser’s eye candy include US dramas such as House of Cards, Fargo and The Flash, which are best used for attracting advertisers. Online traffic generator content include Japanese anime series such as One Piece and Fairy Tale while art-house gems, such as A Room with a View, do not generate a lot of video views online but cannot be neglected.
China broadcasters have talked about ATF providing suitable global content catering to the different profiles of Asian clients. Our International Department established earlier this year aims to acquire formats and content from the international market for local TV stations in China. We are looking forward to seeing Australian productions, which are generally well produced. The three genres we pay attention to when acquiring are gags, magic shows and documentary series. Kenneth Cheng Director of International Department, Beijing Oriental Moon & Star Media Advertising Company, China
Concluding the session was Casey Chant, vice president of TV & New Media at now TV, who shared their platform features that deliver video on demand. He emphasised that it was important to establish content rights for video on demand, online streaming, internet and the mobile platform.
Meanwhile, DramaFever Corp is hoping to break out of its stronghold of Korean
TV x TWITTER, WHERE THE AUDIENCE COMES TO LIFE Twitter is the social track to TV. Whether it’s voting in a reality
WHO, WHEN AND WHERE:
12 December 2014, 10:10am – 11:10am, Level 4, Roselle Ballroom
competition, live-tweeting with talent or campaigning for social change, Twitter has become one of the top default second screens to favourite television shows. Join the Twitter Asia Pacific TV team as they take you through
Tony Broderick
Head of TV Partnerships, Twitter, Australia
the case studies, research and data behind Twitter’s Emmy award-winning best practices for social TV. Learn how Twitter brings your audience to life, driving engagement, loyalty and tune-in.
Kim Minyoung
Head of TV Partnerships, Twitter, South Korea
Pratiksha Rao
Head of TV & Entertainment Partnerships, Twitter, India
35 min x 100 episodes / HD / Drama
VISIT US AT ATF STAND #L10 Distributed by CJ E&M CORPORATION © CJ E&M CORPORATION, all rights reserved Based on “Donde Esta Elisa” written by Pablo Illanes © Televisión Nacional de Chile & Telemundo Internacional
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DAY 01 GREAT MINDS SHARE
In addition, Chinese media companies seek partnerships that will be able to complement their local resources. Because of this, the media companies tend to be more receptive to creative production methods, and are willing to adopt methods that are new to them.
VITAL CONSIDERATIONS FOR FORMAT SUCCESS IN CHINA Media companies in China are looking to invest more in quality format programmes that resonate well with the Chinese audience, especially with their growing demand for creative and innovative content. Liu Xichen, president and CEO of 3C Media, shared this and other insights on China’s original formats at the ATF pre-market conference’s keynote presentation. While the demand for format programmes opens a window of opportunity for media players to enter the China market, Liu stressed that it
FORGING SUCCESSFUL ALLIANCES FOR ASIAN EXPORTS The Power of Alliance panel discussion started with the session moderator Ryan JH Lee, CEO of South Koreabased OpiconMedia, asking participants how they define partnership. Avi Armoza, founder and CEO of Armoza Formats, said that partnerships depend on the “needs of each territory where partners come together to join resources to do better”. So Fujinuma, general producer of Worldwide Production and Sales in Fuji Television Network’s International Department, highlighted the need to build things together from scratch.
So, to ensure the success of a production, it is important that companies are able to synergise their resources with the Chinese media.
is crucial for them to understand the local industry and what it needs.
Compared to the China market ten years ago, demand has shifted from content that is serious to light-hearted content, such as comedies and educational content.
Firstly, players must familiarise themselves with China’s cultural and mainstream values. Given that the China market is different from the European and American markets, programmes need to be adapted to suit China’s mainstream values for market acceptance.
Further, reality formats such as The Voice and America’s Got Talent have seen success in the China market, and Liu predicts that these programmes will continue to be in demand. Specifically, Liu expects talent searches, outdoor variety shows, and contests to be popular in the coming year.
After its success with formats from Japan, China and Singapore, Tim Crescenti, president of Small World International Format Television, is focusing on South Korea, and it has been a new learning curve. Crescenti believes that it is easier to scale up formats like Dragon’s Den from Japan, as the US is good in ‘supersizing’. He also gave the example of Wipeout that was successfully scaled down with production in Argentina, and suggested that this can be replicated.
To work in a unique market like China, Cheng advised foreign companies to look for strong local partners “not just for policies and regulatory requirements, but to understand the spirit of the market and its complexity”.
Liu Xichen, president / CEO, 3C Media, China
Fujinuma asserted that the success of alliances also depend on understanding the cultural nuances of the market, stating that he finds it difficult to understand the nuances of Chinese regulations or relate to the wit and humour of French content.
Armoza observed that each market has its own complexities when forging alliances. The US has this inevitable need to adapt formats, whereas in China, it is difficult to work with linear timelines and targets. “Creativity is suffering from stagnation, and partners need to join forces in creativity, bringing resources and funds together, and complement each other’s capabilities. Take a successful local idea and give it a universal meaning,” he added.
Tao Yan, deputy head of Strategic Development at Zhejiang Satellite TV, used a Chinese proverb about like-minded people working together to highlight that “to be successful, the partners need to have the same vision and aligned methodologies”. For a successful partnership, Shirley Shihui Cheng, vice president of Content Strategy & Development at 3C Media spoke about her company’s 360-degree content engine format where they work with partners to localise websites and develop mobile apps for the consumers beyond creating the traditional content.
(from left) Ryan JH Lee, CEO, OpiconMedia, South Korea; So Fujinuma, general producer, Worldwide Production and Sales, International Department, Fuji Television Network, Japan; Avi Armoza, founder & CEO, Armoza Formats, Israel; Tao Yan, deputy head of Strategic Development, Zhejiang Satellite TV, Zhejiang Radio & TV Group (ZRTV), China; Shirley Shihui Cheng, vice president of Content Strategy & Development , 3C Media, China; Tim Crescenti, president, Small World International Format Television, US
DAY 01 GREAT MINDS SHARE 19
KOREA’S EXPERTS SHARE THEIR APPROACH ON FORMATS Korea’s top format experts gathered yesterday for an ATF pre-market conference session to discuss the approach on formats and best practice examples from their networks. Starting the session was Kwon Yong-tack, producer at Korean Broadcasting System (KBS), who talked about the series The Return of Superman and Human Condition. The Return of Superman puts the spotlight on celebrity fathers who have never had to look after their children on their own for an extended period without their wife’s help. Human Condition, on the other hand, puts six Korean comedians together in a house, which is stripped of today’s modern necessities, including the cell phone, TV and internet. Introducing shows Love Village and A Day With My Son-In-Law was Kim lljoong, director of Global Format Strategy at Seoul Broadcasting System (SBS). Love Village, a
dating reality series, is a social experiment and dating format that showcases human nature in finding life partners. A Day with my Son-in-Law sees celebrity sonsin-law spending the weekend with their parents-in-law. The show offers viewers lots of laughter and touching moments. Thomas Hankil Nam, deputy director of Global Business & International Relations, at Educational Broadcasting System (EBS), gave insight into the success of the children’s educational TV programme Let’s Get Together Ding Dong Daeng. Taped in front of a live studio audience, the show has been watched by over 1.5 million kids and parents. It has since been exported to China’s CETV and slated to air in January 2015. Edgar Bosung Kim, senior analyst and format producer at CJ E&M, showcased Unplanned Trip and Let’s Eat, two of the Korean company’s formats that have seen success since their launch.
(from left) Kwon Yong-tack, producer, Korean Broadcasting System (KBS), South Korea; Kim Iljoong, Programming Dept./ Creative Oasis LAB, director of Global Format Strategy, Seoul Broadcasting System (SBS), South Korea; Sang-Im Kim, senior director, business head of Korea, Sony Pictures Television Networks, Asia; Thomas Hankil Nam, deputy director of Global Business & International Relations, Educational Broadcasting System (EBS), South Korea; Edgar Bosung Kim, senior analyst/format producer, CJ E&M, South Korea
What makes Koreans so good at creating these interesting formats? According to Kwon, it is the expertise of those in the industry, particularly the understanding that Korean producers have of reality TV shows and their knowledge of what the audience wants.
THE ELEMENTS OF GOOD FACTUAL ENTERTAINMENT Factual entertainment has been on the rise in Asia due to growing demand. Speaking at a panel session yesterday at the ATF pre-market conference, Chris Humphrey, director of Production at A+E Networks Asia, defines factual entertainment as the catchall term for everything that is non-fiction. Factual entertainment can go from documentaries, which are very educational and content heavy, to prime-time entertainment. The beauty about factual entertainment, is that it often features real people with real stories, and that even with the simplest of ideas, if planned well, a factual entertainment format can appeal to the masses, start conversations, and be adapted to suit other markets. Giving the example of the Undercover Boss format, Sabrina Duguet, SVP of International Format Sales at All3Media International, demonstrated that a concept as simple as following employees in their work day,
(From left) Marc Checkley, senior development producer, Beach House Pictures, Singapore; Sabrina Duguet, SVP International Format Sales, All3Media International, UK; Maria Kyriacou, managing director, ITV Studios Global Entertainment (ITVS GE) and Rest of World Production, UK; Myleeta Aga, SVP and GM India and content head Asia, BBC Worldwide, India; Vikram Channa, vice president, Production and Development, Discovery Networks Asia-Pacific, Singapore; Chris Humphrey, director, Production, A+E Networks Asia, Singapore
can appeal to the masses because of its emotional appeal. The Undercover Boss format now runs in close to 20 countries. Because factual entertainment features real people and real stories, the main characters play a crucial role to the programme’s success. Vikram Channa, vice president of Production and Development, Discovery Networks Asia-Pacific, believes that audiences are looking for key takeaways from factual entertainment. “As you plot and figure out how to tell the story, you need to balance out with thorough research what those key takeaways are,” says Channa.
According to Maria Kyriacou, managing director of ITV Studios Global Entertainment and Rest of World Production, current affairs presented as factual entertainment can be a way of “taking a topic that is in the news, that has been discussed and debated, and looking at it through a different lense”. Finally, adapting and localising the content according to the market is key to ensuring the format’s success. “You keep the things that really make the format what it is, and at the same time, you adapt,” says Myleeta Aga, SVP and general manager of India and content head for Asia at BBC Worldwide.
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GALLERY
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DAY 01 PROFILE
PROFILE V I S I O N A R Y ’ S
V I E W :
INSPIRING A GLOBAL ENTERTAINMENT EXPERIENCE Huayi Brothers started off as an advertising company. What were the key reasons that motivated the company to venture into the entertainment industry? Our entry into the entertainment industry was through a friend’s introduction. China’s film industry then was still small, growth was slow, and the outlook was uncertain. Despite this, we firmly believed in our dreams and that we have the enthusiasm, perseverance and dedication to progress. We love this industry and believe we can produce excellent movies and television programmes. What were some of the most memorable challenges faced in breaking into the entertainment industry and how did you overcome them? After going through a gruelling start-up, the main challenge we faced was the earnings volatility in the movie business. That made us realise that we could not rely solely on the movie business to achieve stable and rapid growth. So, we began expanding our industry coverage to integrate movies, TV, talent management, music, cinemas, games, entertainment marketing, virtual entertainment, and new media, to ease the effects of a volatile movie business. There have been an increasing number of films being co-produced within Asia. What do you think of this trend and how will it benefit the Asian film industry as a whole? Through film co-productions, we can learn from each other and jointly improve the overall production standard of Asian films. On the other hand, we can use our resources such as capital, script and talent more efficiently, and jointly promote mutual exchange and greater openness in the market.
James Zhonglei Wang, president of Huayi Brothers Media Corporation, is an influential contributor to the dynamism and vibrancy of China’s entertainment industry today. He has led Huayi Brothers to become one of China’s largest film and TV production companies, and the company is now well on track to deliver a global entertainment experience for viewers. With rapid digitisation and penetration of the internet, how has Huayi leveraged this to further boost its business? Huayi Brothers is actively transitioning to the internet and we have made great strides. This year, we started an internet entertainment group covering games, new media, online publishing and other internet-related businesses. The business has progressed rapidly and its contribution to the company’s profit is amazing. In November, Huayi Brothers announced a RMB3.6 billion (USD590 million) plan involving Alibaba, Tencent and Ping An Insurance becoming our major shareholders. In particular, Alibaba and Tencent are industry-leading platforms for e-commerce and social networking, respectively. A partnership with them will help us to embrace the internet to spur our own stable and rapid development. Huayi Brothers has diversified into mobile games and theme parks – what opportunities does diversification present to entertainment industry players? How do industry players know when they should diversify? Huayi Brothers’ vision for the future is to see our consumers watch our films, play our games and enjoy an immersive experience at our theme parks, film commune [in Haikou] and Culture City [in Shanghai].
While diversification offers a great way to reduce operational risks and gain more business opportunities, it is also important not to do this blindly. Instead, we must thoroughly consider several factors, including industry regulations, industry trends, industry developments and the company’s own position in the industry, and so on. There is no standard formula for this. Finally, the film community is curious about the next big Huayi film. Can you share updates on your upcoming projects? By the end of 2014, we will have released two films such as Women Who Flirt and the upcoming work of director Gu Changwei Love On The Cloud, both hilarious romantic comedies. In 2015, we will release about 17 new films, including Dragon Blade directed by Jackie Chan; Detective Dee 3 by director Tsui Hark; and The Ghouls by director Wu Er Shan and producer Chen Guo Fu. We will also release 15 Chinese films, including adaptations such as Shen Mo (神魔) and Lao Pao Er (老炮儿) starring director Feng Xiao Gang in his debut appearance as the main actor. Two major Hollywood co-productions are in the pipeline as well – John Wick starring Keanu Reeves, and Mortdecai, an action comedy about a roguish character played by Johnny Depp.
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PROFILE V I S I O N A R Y ’ S
V I E W :
FROM BIG DATA TO BIG HITS With content being such a prized asset in today’s multi-faceted media landscape, Ma Dong holds a coveted position as chief content officer of iQiyi – the immensely successful video website of China’s biggest search engine Baidu. Significantly, Ma belongs to a generation of key decision makers who are gearing up to drive change across the industry. Ma’s journey toward becoming the authority on content for one of China’s leading video streaming platforms had begun with a deep desire to fulfil his creative aspirations and expand his professional horizons. “I wanted to take my experience in the TV business to the next level,” he shares. And with the increased exposure to and growing appetite for not only Hollywood entertainment but also regional productions from countries like Korea and Japan, Ma sees an ideal opportunity for the industry to push boundaries for growth. “There will be significant pressure on and motivation for local production companies to learn from and compete with some of the most creative talents in the world.” In Ma’s view, raising the bar for content quality will lead to more concerted efforts at localisation and adapting content to suit the changing needs of local audiences rather than a conventional remake or copying of foreign shows. This ties in with iQiyi’s plans to succeed as one of China’s top online video streaming platform for both TV and film content. “On one hand, we try to emphasise on variety shows and Korean entertainment from a copyright perspective,” says Ma. “On the other hand, with Baidu and big data, we try to understand and predict the appetite of our customers to better [prioritise] our investments in original content.” iQiyi’s investments in original in-house productions yielded 15 shows and 302 episodes this year based on a budget
of RMB3 billion (USD481 million). In 2015, 30 shows and 500 episodes are in the pipeline, and the company has not put a limit on spending.
future trends in creating more useroriented content. To achieve this, big data helps us make better decisions, such as for more popular plots and actors.”
Production cost is rising rapidly as online competitors strive to enhance content quality to stand out from the crowd. The average cost of producing an episode of a “blockbuster online drama series” in-house is already closing in on the RMB15 million mark.
iQiyi has the advantage of leveraging Baidu’s market intelligence and platforms, as well as its own growing production resources. “Since Baidu is the biggest search engine in Asia, the data and traffic analysis will benefit us,” he says. “And with the Groupon-like websites that Baidu owns, movie tickets could be sold online, therefore creating an ecosystem.”
Unlike first-generation ‘webisodes’, the quality of current online dramas are equal to any produced for traditional TV broadcasts. No surprise then that the online entertainment industry has attracted a huge base of online viewers to thrive without the support of traditional channels. From January to May 2014, half of the top 50 shows on Baidu’s platform were online programmes. “We have set our sights on developing creative content from original sources,” Ma says. “In September, iQiyi established a RMB50 million fund to look for the best scripts from the public and industry for further development.” Additionally, iQiyi plans to produce seven local films and one Hollywood film next year. A crowd-funding programme saw participation from over one million users, raising RMB18 million within three minutes. “With Baidu, we will be able to host crowdsourcing on an enormous scale, both from the marketing and funding perspectives,” Ma adds. “In-house production and crowdsourcing are both
Yet, human resource and talent are still needed in exploring creative ideas. Ma himself displayed a knack for understanding market needs when he planned and hosted Chinese Spelling Hero, China’s first web-interaction cultural programme, jointly produced by iQiyi and Hunan Satellite TV, last year. Ironically enough, he was inspired by the growing lack of familiarity with written Chinese characters due to an over-reliance on technology. The show generated immediate interest among many parents and teachers who encouraged children to watch it together. Ma sees this as a positive affirmation of the programme’s “sincere intentions … to recreate and emphasise the essence of Chinese characters and remind us all to pick up where we left off with handwriting, a piece of ancient legacy.”
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FEATURES IN SEARCH OF ASIA’S NEXT BIG FORMAT FOR THE GLOBAL MARKET Necessity, as they say, is the mother of invention. That certainly holds true for Asian TV format players faced with the need to keep up with consumer and industry trends or to comply with new regulations. Regulations imposed in China that limit the import of foreign programming and formats could well spur China on to become a global content player. After all, the seeds of the Korean wave were sown by the necessity to innovate locally. For now, many Asian TV broadcasters are licensing and adapting international formats while increasing development and production of local content. Even format exporters like Japan and South Korea have to diversify content and markets given the Chinese media rules. Governments in the region have also been courting international TV companies to partner with local players. Such active pursuits around Asia augur well for Asian TV formats – scripted or unscripted – and their potential to travel globally. Good Doctor (Korean Broadcasting System, KBS)
DREAM BIG The growing base of TV format importers beyond China and Southeast Asia certainly boosts opportunities for Asian formats. In the US, ABC will remake the Seoul Broadcasting System (SBS) drama My Love from the Star; and CBS is partnering EnterMedia to develop a medical drama based on Good Doctor from Korean Broadcasting System (KBS). Through its deal with Small World IFT, NBC will air CJ E&M’s unscripted reality series
Grandpas Over Flowers – already a hit in Taiwan, Hong Kong and Japan – under the title Better Late Than Never next year. CJ E&M’s other formats – including survival reality show The Genius; singing competition Super Diva; and TV dramas Yellow Boots and Crazy Love – have been remade in the Netherlands, Mexico, Columbia, Argentina, Ukraine and Italy. It has also sold scripted format Nine to the US. “In the past, we sold simple ideas of TV programmes or entered into a limited form of sales, but Korean TV programme formats are now growing to be a new
brand of [the Korean Wave],” says Lee Deok-Jae, head of CJ E&M’s tvN. “Values that give a format the potential to travel are important,” advised Tim Crescenti, president of Small World IFT, at a The Format People course for Korean content agency KOCCA. Crescenti has brought many Asian formats, including Dragons’ Den and Silent Library, to the international market. Another show expanding its global reach is Thai format The Fan. Small World IFT sealed two deals for the family entertainment series in the Nordic region. Created in Thailand by Work Point
DAY 01 FEATURES 27
like Hunan Satellite TV and iQiyi’s Chinese Spelling Hero internationally. The company is also set to produce the Chinese version of Dutch gameshow format Beat the Blondes. The adaptation features beautiful longhaired women inspired by “the traditional Chinese saying, ‘Women’s wit does not match their long hair, thus women are short-sighted’,” says 3C Media president and CEO Liu Xichen. Separately, the Broadcast Programme Export Association of Japan is encouraging knowledge transfer by sponsoring international co-productions like those among content producer Primeworks Studios, Malaysian broadcaster 8TV, Nippon TV and Sumitomo Corporation on the Welcome to the Railworld Japan travelogue series.
Nine (CJ E&M)
TIME TO SOW Earlier this year, ITV Studios Global Entertainment signed a landmark deal to distribute Star China’s talent show format, Sing My Song, internationally. “This deal is a fantastic example of the benefits of a British-Chinese creative partnership,” says Mike Beale, director of International Formats at ITV Studios. Still, importing formats offers a way for Asian players to mitigate risks of high production cost, fulfil TV stations’ ratings expectation and ultimately, learn enough to create their own.
Dragons’ Den (Sony Pictures)
Entertainment, the show will also make its UK and Ireland debuts next year. Clearly, budding Asian format exporters have to leverage strategic partnerships and learn from international format distributors and producers.
This explains the busy year that FremantleMedia International (FMI) has had. The company has sold 25 different formats to seven markets across Asia, including The Noise to Malaysia and Cambodia; The X Factor to Cambodia and Myanmar; and the Got Talent franchise to Laos, which marks the first time a major international format has been sold to that market. “It’s a huge advantage that we are based [in Asia] as it means we completely understand the requirements of local audiences and broadcasters,” says Haryaty Rahman, FMI’s vice president of International Distribution and Home Entertainment for Asia. Meanwhile, 3C Media launched the First China TV Format Competition last year that turned eight winning entries into programmes this year by incorporating US expertise. And while it continues to license Western formats, it is setting up a research team for original formats creation and for promoting formats
In the case of Run, Brother!, the Chinese version of Korean format Running Man co-produced by creator SBS and Zhejiang Satellite TV, collaboration meant the input of capital from the latter and transfer of production know-how from SBS. The first five episodes of Run, Brother!, which was shot in Zhejiang and launched to much success in China recently, “was produced by our original production team that includes the producers, writers, head of camera, and other staff,” says Nam Seung Yong, chief producer at SBS. This allowed the staff of Zhejiang Satellite TV to learn every detail of how Running Man is produced. “Outdoor reality is very popular in China,” says Tao Yan, deputy head of Strategic Development at Zhejiang Satellite TV. “So, this cooperation is very important to us. Its success establishes our leading edge in China to some extent.” Indeed, the opportunity for content producers to exchange knowledge and craft Asian stories for the world in such co-productions also extends to scripted formats. One major player is Keshet International, whose interactive singing show Rising Star and kids singing format Master Class, have made debuts in more than 25 territories, including Singapore, Thailand, Indonesia and China. It has even sold scripted format Prisoners of War to South Korea, and at MIPCOM 2014, it launched reality talent show Not Yet A Star in partnership with Zhejiang Satellite TV.
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DAY 01 FEATURES
“We believe in strong formats which can drive channels in multiple territories with similar cultures, audiences and viewing habits,” says Alon Shtruzman, CEO of Keshet International. Indonesia’s RCTI was an early licensee of Rising Star. It has also licensed Indonesian Idol and MasterChef for its 180 million viewers. Clearly, family entertainment is a much sought-after category with the recent sale of Baby Ballroom to Vietnam as yet another example of this trend. “Studio game shows and entertainment formats are still in high demand,” says Sabrina Duguet, senior VP of International Format Sales at All3Media International. For example, versions of Are You Normal?, which recently launched in China on Tencent, are pending in Thailand, Vietnam, Malaysia and Indonesia.
Beat the Blondes, China (Eyeworks)
FUN FACTS For countries like Malaysia and Singapore, where governments offer aid for content development, factual entertainment can be an area of core competence. Singapore’s Media Development Authority, for example, offers grant schemes that covers a project’s lifecycle, from idea development to content production to gaining access to international markets. The fruits of such initiatives are evident from the Singapore showcase at international events, including MediaCorp’s history drama series The Journey; infotainment series Small Spaces; and August Pictures’ documentary Home. MediaCorp typically sells around 150 hours of TV dramas to China per year, and about 400 hours of Chinese content for new media broadcast. Across the causeway, Malaysia is developing its entertainment industry with the Film In Malaysia Incentive and the opening of Pinewood Iskandar Malaysia Studios. Astro Productions and Pinewood have signed a five-year deal to produce integrated TV content. Also helping are global factual TV players pursuing international scripted revenue, execution and partnerships in Asia. The First Time Filmmakers Singapore documentary project, for example, aims to select five filmmakers to produce
The Journey: Tumultuous Times (MediaCorp)
30-minute documentaries, with funding and production guidance from Discovery Channel and its local project partner, Beach House Pictures. The resulting documentaries will premiere on Discovery Channel across the Asia Pacific next year. Having launched its Lifetime and H2 channels in the region, A+E Networks has also beefed up its team to facilitate coproductions, pre-sales and distribution of its scripted series, mini-series and movies. “Pan-regionally, we are noticing a demand [from broadcasters] for character-led reality competition programming,” says Matthew Ashcroft, senior VP and head of the Asia Pacific at Shine International, pointing to Shine’s deal for MasterChef with A+E Networks and India’s move away from reality formats toward scripted programming. Beyond the region, Asian exporters can also look to the Chinese and Indian diasporas that represent massive viewership.
“Our creativity has found global acceptance and our universe of entertainment is expanding,” says Punit Goenka, managing director and CEO of Zee Entertainment Enterprises Ltd. South Asian network Zee TV, which reaches more than 730 million viewers across 170-odd countries, is well known for its Dance India Dance franchise. “India’s media and entertainment industry supports fast growth and is open to new ideas for transformation,” says Goenka. “The industry is expected to reach a market size of INR1,661 billion (USD27 billion) by 2017, and the key growth driver is undoubtedly the television industry.”
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FEATURES
KIDS AND BROADBAND
Anyone with kids will tell you that TV viewing among young audiences is changing beyond recognition, thanks to a combination of on-demand platforms and the proliferation of smart devices. From iPad-savvy toddlers to teenagers who access their content via proxy-based piracy, the youth demographic is turning the TV business on its head, writes Andy Fry. This trend is confirmed in a 2014 report by US-based research firm Smarty Pants. According to the report, Subscription Video on Demand (SVOD) services like Netflix are “not only taking viewers but also challenging for supremacy among kids’ brands. Kids see streaming as convenient and easy.” So, apparently, do their parents. “Moms have not only come to love the brand for their own use,” says Smarty Pants researchers, “but with Netflix’s burgeoning kids’ section, they are happy to give their children free rein on the service knowing they won’t be bombarded by advertising, are unlikely to encounter any inappropriate content, and can’t make incremental purchases.” These findings are echoed by Christian Kurz, VP of Research, Insights and Reporting at Viacom International Media Networks (VIMN), who says, “Even the youngest kids today are super savvy, demand immediate gratification and have an insatiable curiosity. Our recent research in the US shows that 65% of 3-to5-year-olds regularly use smartphones and tablets. The usage numbers increase to 76% for the 6-to-11s – that’s higher than computers and game consoles! Internationally, penetration numbers among homes with kids are very similar.”
Companies like VIMN, whose hit shows include Teenage Mutant Ninja Turtles and SpongeBob SquarePants, have responded by expanding the ways in which kids access their content. Kurz believes that established kids networks are now “presented with huge opportunities to be innovative and creative with their content – taking the what and turning their attention to the where and the how.” His enthusiasm is echoed by Humphrey Black, VP of Media Distribution for EMEA at Turner Broadcasting System, who says, “What’s really interesting for content owners like us is that the new devices often have greater capabilities than TVs, so we can design apps and games around popular shows like Adventure Time or Bugs Bunny. It makes them a 360-degree experience.” For Nicolas Atlan, CEO of US-based kids on-demand platform Kabillion, the beauty of the new media landscape is that it creates a direct communication with the audience. “At Kabillion, where we air shows like Chloe’s Closet and ToddWorld, it means we are better able to determine and verify what kids like. With the development of new platforms, new patterns and different tools, kids are telling us what works for them rather than us trying to impose on them what we think they will like. The kids are talking and we are listening.”
Doozers (The Jim Henson Company)
Teenage Mutant Ninja Turtles (Viacom International Media Networks)
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Hopster (Kabillion)
Big Fish is working on a children’s edutainment show called Chichi and Chacha. Explaining how the company is adapting to the changes, Lim adds, “TV is still very relevant for mass reach but it is impossible these days to release a product and expect it to sit on a singular platform.”
ToddWorld (Mike Young Productions)
Sohu chairman and CEO Charles Zhang observes that young people in China are increasingly watching shows on websites, and puts the overall number of online video views in China at 3 billion per day. On-demand content is growing across Asia, but China is particularly interesting because internet-based platforms are taking advantage of the country’s under-developed PayTV sector. Ciwen Kids, for example, recently launched BuddiesTV, a cross-media kids service. With more than 80% of China’s internet users accessing the medium via mobile, Ciwen has also ensured Buddies is available via iOS and Android apps. Malaysia-based Michael Lim, managing director at kids IP creator Big Fish Media, echoes much of the above when he says, “Kids nowadays are much more in control of what they want to consume. They start playing with the parents’ tablets or mobiles at such a young age, that by the time they are 3 years old, they already have a pretty strong grasp of it. They also choose what they want to play or watch, much more than a generation back when parents were vigilant gatekeepers.”
For producers, however, the downside is that taking a property 360 degrees usually means more cost and more time in the studio. While some online or appbased content is invariably expected by broadcasters and end-users, there is no easy way to monetise that investment. Nonetheless, the upside is three-fold. Firstly, there are more buyers and commissioners of kids content. Whether it’s Amazon greenlighting shows like Tumble Leaf and Annedroids, or Watchever acquiring 180 episodes of shows like Gormiti from Zodiak Kids for the German-speaking SVOD market, access to the market is more open than it has been for some time. This is confirmed by Richard Goldsmith, EVP of Global Distribution at The Jim Henson Company, who says his company “recently partnered with Hulu to debut Doozers as the first Original Series for Hulu Kids. The series launched with seven episodes on Hulu Plus, followed by a cycle of three more new episodes every third Friday. Episodes are also available on Hulu.com.” Secondly, the growing number of platforms means content owners can devise bespoke promotions in support of their content. Magic Light Pictures, for example, recently did a deal with interactive pre-school platform, Hopster, to promote its two Gruffalo animated films. Timed to coincide with the 15th anniversary of the property’s launch as a book, Hopster introduced Gruffalo-themed activities to support the
films’ debut. Magic Light’s Muriel Thomas says, “We are very excited about the potential of children’s SVOD and love what Hopster has done with our content.” Finally, the opportunities for producers to innovate have expanded dramatically. While innovation does not always lead to fame and fortune, it does make for an interesting life – and just occasionally throws up an Angry Birds or Moshi Monsters. It also introduces new ways of telling stories. At MIP 2014, for example, Israeli entrepreneur Yoni Bloch showcased his company’s online web application Treehouse, which allows people to tell their own stories via interactive videos. In his view, it is perfect for a genre like kids TV. “Kids love interactive videos because they can engage and shape the story differently each time,” says Bloch. “It combines their love of repetition with a new discovery each time they view the video.” With interactive video, short-form animation, e-books and games vying for kids’ attention using high-end animation and live action, there has probably never been a more exciting time to be in the kids content business – or to be a kid.
Adventure Time (Turner Broadcasting System)
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DAY 01 PRODUCT NEWS
PRODUCT NEWS
REINA DE CORAZONES (TELEMUNDO INTERNACIONAL)
TELEMUNDO INTERNACIONAL PIRATE EXPRESS (BREAKTHROUGH ENTERTAINMENT) SPOTLESS (TANDEM, A STUDIOCANAL COMPANY)
TANDEM, A STUDIOCANAL COMPANY SPOTLESS | A sexy, one-hour crime drama peppered with black humour and set in London, Spotless is the story of a troubled man, Jean, whose tidy life is turned upside down when his outlaw brother, Martin, crash lands into his world, entangling them in the deadly dynamics of organised crime. Played out against a backdrop of Jean’s niche Crime Scene Cleaning business, with gangsters, corruption, drugs and death a constant hazard, Jean, Martin and their dysfunctional family struggle to gain control over life, business and their shared destiny. Spotless is irreverent, dark, funny, sexy and dangerous.
BREAKTHROUGH ENTERTAINMENT PIRATE EXPRESS | Pirate Express follows the adventures of Newt, a 12-year-old boy from Atlantis, and the most dim-witted crew on the seven seas! Newt’s father, the almighty Poseidon, has made Newt the captain of the ship Pirate Express. Newt’s mission? To watch over a motley menagerie of misfit mariner miscreants and keep the former captain, LaPoutine, and his salty shipmates, away from mischief and out of trouble. Join Newt, LaPoutine, Armando, Burt, Booli, and Spewey the penguin, as they travel the seven seas and beyond, spreading cartoon comedy … and chaos of god-like proportions! (52x11 minutes, HD)
REINA DE CORAZONES | Reina Ortiz suffers an accident that causes her to forget the last eight years of her life, in which she became the wife of tycoon Victor de Rosas, a mother and the owner of the most famous bridal atelier in Las Vegas. She doesn’t even remember the happiest moment of her life when she fell in love with Nicolas Nuñez. Now Reina, who feels she doesn’t belong to this world of luxury and power, strives to discover her own truth. Meanwhile, Nicolas is working for the secret service under a new identity as Javier Bolivar. He seeks revenge after Estefania Perez makes him believe Reina and Victor were responsible for his unjust imprisonment. Entangled in secrets, tricks and deceptions under the framework of gold and precious stones trafficking, Nicolas and Reina fight for the only thing they cannot leave to chance, their love.
20TH CENTURY FOX TELEVISION DISTRIBUTION
TYRANT (20th Century Fox Television Distribution)
TYRANT | From Homeland creators Howard Gordon and Gideon Raff, Tyrant tells the story of an unassuming American family that is drawn into the workings of a turbulent Middle Eastern nation. Bassam “Barry” Al Fayeed (played by Adam Rayner of Hawthorne), the youngest son of a war-torn country’s controversial dictator, returns to his homeland after a self-imposed 20-year exile in America for his nephew’s wedding. Upon his return, Barry is immediately thrown back into the familial and national politics of his youth. As he braces himself to confront the stark realities of his father and older brother Jamal’s (Ashraf Barhom of Paradise Now, The Kingdom) harsh rule, Barry is unable and unwilling to make his all-American family understand his unease over returning home. A gripping and tense family saga, full of intrigue and action, Tyrant dramatises and humanises the faces behind the headlines.
DAY 01 PRODUCT NEWS 33
ELIAS: RESCUE TEAM ADVENTURES (THE JIM HENSON COMPANY)
THE JIM HENSON COMPANY ELIAS: RESCUE TEAM ADVENTURES | Elias: Rescue Team Adventures is a preschool TV adventure series. Our hero Elias is a young and very enthusiastic rescue boat. Clever and playful, Elias is also wise beyond his years. Elias takes pride in his community of Cozy Cove. He loves the unpredictable seas by the wind-swept harbour where he grew up. Elias is the leader of The Rescue Team and he will do anything for them. Together, they protect Cozy Cove and its residents while having seafaring adventures. Elias: The Rescue Team Adventures is all about doing the right thing and facing adversity with confidence and courage.
FIX IT & FINISH IT (RIVE GAUCHE TELEVISION) HENRY DANGER (VIACOM INTERNATIONAL MEDIA NETWORKS)
VIACOM INTERNATIONAL MEDIA NETWORKS HENRY DANGER | Henry Hart gets the after-school job of a lifetime. As the sidekick to Swellview’s well-known superhero, Captain Man, Henry’s gig has awesome perks. First up, it pays $9 an hour. Sweet! Next up, he gets to play with next-level, high-tech gadgets. Oh and he gets to save the world! As long as he keeps his new identity hidden from his family and friends, and passes algebra, Henry is set to be the superhero sidekick of the century! Supervillains, beware.
RIVE GAUCHE TELEVISION FIX IT & FINISH IT | Fix It & Finish It is a design series featuring host, Antonio Sabato Jr, as he travels to different locations, surprising lucky homeowners and helping to ‘fix and finish’ their homes. Whether it’s a living room, bedroom, dining room, deck or a beat-up old RV to be restored, Antonio and his team are ready to tackle it all ... in one day! To pull this off, Antonio enlists the help of designers to create the perfect space for homeowners. Each designer will bring in all the necessary specialists and subcontractors to create the perfect space for the unsuspecting and deserving family.
LUK INTERNACIONAL SA THE DUKE’S THEME PARK CHALLENGE (MEDIACORP PTE LTD)
MEDIACORP PTE LTD THE DUKE’S THEME PARK CHALLENGE | Good news for all fan girls and boys out there! For those who cannot get enough of MediaCorp’s heartthrobs, The Duke’s Theme Park Challenge variety show features the eight dukes of MediaCorp as hosts. In each episode, one duke will be paired up with host Quan Yifeng as they explore theme parks in Singapore, Hong Kong and Malaysia. The dukes will have to successfully complete their ‘missions’ or face ‘punishment’ at the end of the show. This show is filled with lots of laughter and fun, and of course, allows the audience to see a different side of the eight dukes from their usual television persona.
LITTLE MOSQUE ON THE PRAIRIE (LUK INTERNACIONAL SA)
LITTLE MOSQUE ON THE PRAIRIE | Tender but with no concessions, this intelligent Canadian comedy is about the co-existence of Muslims and non-Muslims in the small city of Mercy, in Western Canada. Humour arises from the interaction between the various members of the Muslim community, as well as from the clash of ideas among Muslims, Christians and neighbours in general. Big city values (Toronto) are set against those in rural areas, while the values of older characters (Baber, Fatima, …) are set against those of the young generation (Rayyan, Hamoudi, …). There are arranged marriages, conversions for love, and accusations of terrorism, among other themes. It has humour, entertainment, endearing characters and daily life situations with which are easy to identify. Welcome to Mercy’s mosque and its world – the Little Mosque on the Prairie.
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DAY 01 PRODUCT NEWS
RUSSIA TELEVISION AND RADIO / SOVTELEXPORT
PHOTOGRAPHER (TELEWIZJA POLSKA SA)
TELEWIZJA POLSKA SA PHOTOGRAPHER | A thrilling story of a serial killer called the Photographer. He is operating in Moscow but investigation reveals that his murders might be connected with the events that took place in the Soviet garrison in Legnica, Poland, 40 years ago.
EKATERINA | The daughter of an impoverished Prussian prince prepares to marry the future Tsar of Russia, Peter III. She dreams of love, but the Tsar prefers war games and shows little interest in women. Her girlish innocence soon disappears into vice, her tender nature replaced by cold fury. She channels her loneliness into a quest for power. This aggrieved young woman, full of strength, would go on to conquer both land and hearts, hand pick grenadiers to become her lovers, suppress rebellions, and converse with prominent European philosophers. She would become Catherine the Great. EKATERINA (RUSSIA TELEVISION AND RADIO / SOVTELEXPORT)
An experienced Russian policeman decides to go to Poland to find out who the killer is and what secret he hides. The investigator is assisted by a young policewoman – the only person who managed to talk to the Photographer and survived the meeting. Follow the investigations and gradually discover what happened in the past. The plots intertwine and build a mysterious, somewhat gloomy atmosphere. This movie is also a report on current burning issues depicting a unique perspective on modern Russia.
PRISONER ZERO (ABC COMMERCIAL)
ABC COMMERCIAL PRISONER ZERO | Prisoner Zero is a fast-paced, sci-fi, action-adventure series that follows the exploits of teen heroes, Tag and Gem, and their mysterious friend Prisoner Zero. Aimed at children aged 7 to 12, the series follows the heroes across the cosmos in the spaceship Rogue as they battle the evil Imperium. Tag and Gem’s mission is clear: Stop the Imperium and free humanity. Thrown together on a mission to help those in trouble across the cosmos, our heroadventurers become inter-galactic Robin Hoods in a breathtaking struggle against the evil Imperium’s General Vykar. On their incredible adventures across the universe, Tag and Gem encounter creatures from the dawn of time, discover a magical library hidden in the depths of their own ship, and get chased across the stars by an array of dazzling monsters. Each episode features extensive action sequences, and each character is a master combatant.
FILM. UA DISTRIBUTION THE SNIFFER | The Sniffer is about the proud owner of an extraordinarily acute sense of smell. He can detect things about you that you desperately want to conceal. He’ll find that needle in the haystack. Don’t ever doubt his exceptional skills! But the truth is that his sense of smell is as much a curse as it is a gift. The Sniffer can solve a mystery by having a single sniff around. But what happens when the myriad of smells force their way into his private life? Let’s just put it this way – he’s not exactly a happy camper. (8x52 minutes, available as a format)
ME AND MY ROBOT (SYNERGY MEDIA INC)
SYNERGY MEDIA INC ME AND MY ROBOT | This animated series centres on the topsy-turvy life of a group of friends, including genius Eugene, energetic Maia and mischievous Joseph, and their robots and teachers in a high-tech robotics school. Eugene’s robot Chip, the only robot with human awareness, brings mess and confusion as well as the best solutions.
THE SNIFFER (FILM. UA DISTRIBUTION)
DAY 01 PRODUCT NEWS 35
THE BIG PICTURE (TALPA GLOBAL BV)
TALPA GLOBAL BV
JACKPOT (SHREE INTERNATIONAL)
SHREE INTERNATIONAL JACKPOT | The story begins with a group of five members trying to win a game in a casino. But suddenly, they find themselves losing and someone has played smartly to make fools of them. The situation gets tense when everyone in the group starts doubting each other. Enters a beautiful lady (played by Sunny Leone) with a bag full of money and gun in hand, and the plan starts to go terribly wrong.
THE BIG PICTURE | A picture speaks more than a thousand words. And that’s never been more true than on The Big Picture! This next-generation game show puts your visual knowledge to the test. It’s the first show whereby the online connected player can play along in real-time with a studio player and has the chance to end up not only winning a substantial sum of money, but also the big prize! Picture that!
WOLFBLOOD (GOLDBEE ATLANTYCA) SERIAL TESTERS (ONLY LIFESTYLE / ONLY SCIENCE)
ONLY LIFESTYLE / ONLY SCIENCE SERIAL TESTERS | Agathe Lecaron, Vincent Chatelain, David Lowe and James the crash dummy – a bunch of audacious testers – run incredible experiments to demystify or confirm common ideas. How will they proceed? In a shed transformed into a science laboratory, the testers will execute incredible scientific experiments (wind tunnels, crash tests, etc) as well as outdoor experiments which they perform themselves. The experiments are a chain of experiences. Each experiment is clearly, scientifically and concretely explained with images and 3D plans. You will get answers to many questions: Are lice invincible? Can one walk on water ? Where do balloons go? Can one become invisible? Do plants grow quicker when we talk to them? And many other subjects ...
LITTLE FOX’S INVENTION STORIES (CHONGQING XIANGHONG FILM & TV CO LTD)
CHONGQING XIANGHONG FILM & TV CO LTD LITTLE FOX’S INVENTION STORIES | Targeted at children 8 to 15 years old, this series of stories takes place in a forest surrounding a town called Carrot Town. The town is full of joyful and magical air. The main character is an intelligent, thoughtful and creative fox, which in each episode, creates a new invention. These inventions relate with our daily lives and they can be used or seen by children every day. During the process of carrying out each invention, young viewers will be thinking and understanding scientific knowledge along with the characters in the story. This will raise their interest in creating their own inventions. (52x22 minutes, 3D)
GOLDBEE ATLANTYCA WOLFBLOOD | Maddy Smith is an almost normal teen living with her parents in a small rural town. The ‘almost’ is because she’s a Wolfblood! Neither completely wolves nor humans, Wolfbloods have great powers – super speed, strength and senses – and can change from one form to another. Just as Maddy’s getting ready for her first transformation, a new boy, Rhydian, starts at her school – and they both instinctively know their true nature. Rhydian helps Maddy master her first challenge, but after that, she’s got to learn to control her powers on her own. Rhydian, meanwhile has to cope with his mother, a ‘wild’ Wolfblood who wants her son to roam free as a wolf. For both Maddy and Rhydian, the main question is, “As we grow up, how do we know who we should be?” It’s a question only they can answer. (39x26 minutes)
DUDE, THAT’S MY GHOST! (GAUMONT ANIMATION)
GAUMONT ANIMATION DUDE, THAT’S MY GHOST! | For Spencer, a 14-year-old budding filmmaker, Hollywood is the ultimate thrill ride. But being the new kid at a high school populated by Hollywood royalty, he’s an outsider. Luckily, he’s got an all-access pass – his new best friend, the ghost of pop star Billy Joe Cobra!
36
DAY 01 PRODUCT NEWS
HIGH ROLLERS (FRED)
FRED HIGH ROLLERS | This is one show where everyone wants a piece of the action. The name of the game is America’s booming USD8 billion cigar business. Larger than life, self-appointed ‘Cigar Czar’ Michael is the main man. He takes viewers on a riotous ride through his colourful life in the Las Vegas fast lane. MIGHTY RAJU (GREEN GOLD ANIMATION PVT LTD)
GREEN GOLD ANIMATION PVT LTD MIGHTY RAJU | Mighty Raju is a 4-year-old Super Hero in the modern day fictional city of Aryanagar. The series revolves around the adventure of this Mighty Little Hero who blends brain and brawn to vanquish his enemies. Edgy sci-fi action, adventure and comedy make his endeavours mighty entertaining for all of us. But what makes Mighty Raju the slickest super hero of Indian animation are his gadgets. Greater the wrath of supervillains, mightier are his inventions.
Michael is gambling with some serious family money to make the big bucks. So, the family orders him to take on ‘business-savvy’ nephew Todd. It’s a combustible combo that will have viewers lighting up with laughter.
RIMBA RACER THE ANIMATED SERIES (GLUE STUDIOS SDN BHD)
GLUE STUDIOS SDN BHD RIMBA RACER THE ANIMATED SERIES | Welcome to the Rimba Grand Prix or RGP. Widely regarded as the most prestigious and widely watched sporting event on the planet, it is every professional racer’s dream to emerge as its champion. The event consists of a series of individual races, each with its own unique racing track and obstacles, specially built to challenge even the most skillful of racers. This action-comedy animation revolves around the experiences of Tag, a racing prodigy who is determined to make a name for himself by clinching the title. As the series progresses, Tag overcomes his personal weaknesses, clashes with the other competitors on the race, gains new allies and finds out that not everything is as it seems on the race. (13x22 minutes)
TEN THOUSAND MILES (DISCOVER CHINA PRODUCTION LIMITED)
DISCOVER CHINA PRODUCTION LIMITED
SHORELINE ENTERTAINMENT
TEN THOUSAND MILES | Gesang Duojie, a shy 19-year-old Tibetan, has never left his farming village. Abruptly, at his mother’s behest, he climbs onto the back of a small motorbike on May 4, 2009 to travel 8,000km to see the world with two men in their early 20s he doesn’t know – one from Eastern China, the other from Switzerland–and their friend, a Brazilian cinematographer.
SYMPHONY OF THE WILD | This dazzling wildlife spectacle propels us into the very private world of some of Earth’s most endearing critters. Set across a global stage, a parade of four-legged talents struts its stuff against the backdrop of great classical works. This live-action Fantasia depicts breaching mighty whales, charging elephants, roaring big cats, and a slew of other favourites performing in tandem with a symphony orchestra. Symphony Of The Wild is a highly original event that will thrill audiences of every age, particularly those with a growing concern for the well-being of the planet.
Authorities, monks, students and gangsters will join near-death experiences to challenge the foursome’s will and outlook on life in Ten Thousand Miles. They bump and wheel across vast stretches of icy, snowy spring Himalayas from the religious center of Tibet, Lhasa, through earthquakeravaged Sichuan to the lightning-rich deserts of Inner Mongolia, and end with the beat of China’s commercial heart, Shanghai, dense with skyscrapers. Ten Thousand Miles is more than just a highadventure road trip, though; it offers a very rare opportunity to hear the voices of China’s coming-of-age adults.
SYMPHONY OF THE WILD (SHORELINE ENTERTAINMENT)
GUARDIAN COUNCIL (VISOM DIGITAL)
VISOM DIGITAL GUARDIAN COUNCIL | Guardian Council is a fiction series based on true stories of Child Protective Services in Brazil. The drama brings three stories per episode – one serial story about the Guardians and two stories about the investigations and procedures of the Council. The series is in its first season and has already nine other episodes comissioned to be produced for a second season. It presents two guardians (Sereno and Cesar), a social worker (Lidia) and a midget child psychologist (Ester). The cast consists of top-tier soap opera actors and actresses who are wellknown TV personalities familiar to Brazilian audience. (5x48 minutes)
DAY 01 PRODUCT NEWS 37
ARTE FRANCE LOOKING FOR THE HOBBIT | Everyone knows The Hobbit and The Lord of the Rings. Now discover the universe of Tolkien and the legends that inspired them. LOOKING FOR THE HOBBIT (ARTE FRANCE)
UNBELIEVABLE – 13 INJUSTICE CASES (I-CABLE INTERNATIONAL DISTRIBUTION LTD)
I-CABLE INTERNATIONAL DISTRIBUTION LTD
MY FRANCE WITH MANU: BRITTANY TO BIARRITZ (BEYOND DISTRIBUTION)
UNBELIEVABLE – 13 INJUSTICE CASES | There are many shocking cases of injustice where the truth is not found and the murderer not caught. Including the real case of ‘Penang, decades of injustice spirit, Leung Meiling incident’, this programme pursues thirteen cases of injustice and the supernatural, and digs out the truth behind them.
BEYOND DISTRIBUTION
MAGIC ADVENTURES – THE CRYSTAL OF DARK (HONG DANG MOO)
HONG DANG MOO MAGIC ADVENTURES – THE CRYSTAL OF DARK | This fascinating fantasy adventure will shake the entire world! The thrilling tale of Magic Land begins! What is the only way to defeat darkness and keep Magic Land safe? Find the Magic Crystals! But who will find the Magic Crystals? Be thrilled by exciting adventures and enchanting fantasy as descendants of the wizards arise! Fierce battles rage in a scary, mysterious world as darkness awakens. This South Korean series is projected to launch in 2015. (52x11 minutes)
MY FRANCE WITH MANU: BRITTANY TO BIARRITZ | Manu Feildel, chef and host of My Kitchen Rules, travels from Brittany to Biarritz to showcase the culinary delights of his homeland. This is old France, a myriad of villages interconnected by family and food traditions. For example, Manu visits his mother, a great cook and the inspiration for his first recipe book, who lives in the beautiful seaside village of Guidel. Next, he relives his apprenticeship served under his father at a workers’ restaurant. In the tiny village of Challones-sur-Loire, he learns how to make his great-grandfather’s famous cake in the patisserie where it was invented. Manu travels on every mode of transport, from a mechanical elephant, canoe and seaplane, to a donkey, sand yacht and vintage Renault. Manu will cook, eat and reminisce on a personal journey of family, food and adventure.
STUDIO GALE CO LTD
POWER AGENT SEVEN (STUDIO GALE CO LTD)
POWER AGENT SEVEN | Ms Acacia, an agent of the headquarters, orders agent Seven to find missing agents in a certain area. Agent Seven goes across the desert to find the other agents and reaches a village where the agents had disappeared. He meets with a mini car in the empty village and comes to know what happened to the residents in the village. Agent Seven discovers a corrupt governor and commits to save the residents from the governor. However, he is trapped and captured, and thrown in prison. How can he escape from this dangerous situation?
THE FIXER (SONAR ENTERTAINMENT)
SONAR ENTERTAINMENT THE FIXER | What if the most catastrophic disasters and freak accidents of the past decade were, in fact, not accidents at all? An investigation into a massive oil rig disaster unearths a deadly conspiracy. Ellie Molaro, an investigator with the NAIA, becomes suspicious of the ‘official answers’ to what has become an unparalleled environmental disaster, resulting in millions of gallons of oil spilled in the Pacific Ocean. After spearheading a private investigation, she is contacted by a secret tipster known as Carter. What he reveals about the oil rig ‘accident’ is shocking. Carter claims a conspiracy of “fixers” are behind the disasters in the country, all rigged to manipulate the stock market and reap billions for a select few. Now, their largest plot in decades is an impending, destructive event targeting Washington DC. And, the only way the shadowy operation can succeed is if Ellie and Carter are among the casualties.
38
DAY 01 PRODUCT NEWS
PRISONERS OF WAR (KESHET INTERNATIONAL)
KESHET INTERNATIONAL PRISONERS OF WAR | The Emmy Award-winning drama on which Homeland is based, Prisoners Of War begins with the return of three soldiers who had been in captivity for 17 years. Two of them – Nimrod and Uri – come back alive while one, Amiel, returns in a coffin. The third highest-rated drama in Israel of all time, Prisoners Of War, is sold as finished tape to more than 20 countries and it has been adapted in Latin America, Russia, Turkey and Korea.
BACKLIGHT: FAKE FOR REAL (NPO SALES)
NPO SALES BACKLIGHT: FAKE FOR REAL | What is real and what is fake these days? This question presents itself more and more frequently, whether it’s in regard to newspaper photos, designer bags or the human body. Even filmed reality – as we see on TV news – cannot be trusted, since news events are increasingly (re)created in computers. So, when that distinction fades, what happens to the truth? Backlight explores the blurring boundary between the virtual and the real world in art and journalism.
ASCENSION (LIONSGATE)
LIONSGATE ASCENSION | Acension is an original drama following a covert US space mission launched in the 1960s that sent hundreds of men, women and children on a century-long voyage aboard the starship Ascension to populate a new world. Halfway into their journey, as they approach the point of no return, the mysterious murder of a young woman causes the ship’s population to question the true nature of their mission.
BOONIE BEARS: ROBO-RUMBLE (FANTAWILD ANIMATION INC)
SUPERMODELME SEASON 5 (REFINERY MEDIA PTE LTD)
REFINERY MEDIA PTE LTD SUPERMODELME SEASON 5 | The fifth season of Supermodelme promises to break new ground. Filmed in September 2014 and broadcast in the final quarter of 2014 on Mediacorp Channel 5 and cable network NBC Universal DIVA, this brand new season seeks to unearth the ultimate Supermodelme Siren – a dangerously beautiful woman of substance and power. A true test of resilience and strength, the competition is one of empowerment where young models overcome challenges and face their fears to prove that they are more than just pretty faces.
FANTAWILD ANIMATION INC
HAPPY ENDING (EROS INTERNATIONAL MEDIA LTD)
BOONIE BEARS: ROBO-RUMBLE | With Spring Festival just around the corner, Logger Vick decides to make one final attempt at earning enough money for a grand New Year’s celebration. However, when he learns that he has just been laid off for the holiday season, his hopes are shattered. Vick decides the best way to deal with this problem is to get another job. After many failures, he finally gets employed as a Forest Ranger. At first, the bear brothers, Briar and Bramble, accuse Logger Vick of just ‘pretending’ to be a ranger, with his true intention being to chop down trees in secret. But when a giant ‘Supper Chopping Robot’ arrives to log the entire forest, the animal gang must learn to trust their one-time enemy and work together to defend the forest!
EROS INTERNATIONAL MEDIA LTD HAPPY ENDING | A hard-core commitment phobic running away from all the “I Love You’s” best describes Yudi. He may not have a problem with the phrase but the after-effects of it are too much for him to handle. An author in his late 30s, he’s suave, sophisticated and enjoying his life whilst avoiding any kind of sticky love situations. His claim to fame is a single book written by him years ago which was an instant hit . Since then, he hasn’t managed to pen anything in many years, as he doesn’t have to. He’s got everything that he always wanted – fame, money and girls! Why exert yourself when you have everything you need?
D A V I D
D U C H O V N Y
1967. THE SUMMER OF LOVE. BUT ONE MAN WILL KILL THE PEACE.
watch episodes at itvstudiosge.com