World Screen Guide 2015

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Contents A Note from the Editor . . . . . . . . . . . .12 Executives . . . . . . . . . . . . . . . . . . . . . .13 Talent . . . . . . . . . . . . . . . . . . . . . . . . . .37 Distributors . . . . . . . . . . . . . . . . . . . . .47 Publisher Ricardo Seguin Guise Editor Anna Carugati

Ricardo Seguin Guise President

Executive Editor Mansha Daswani

Anna Carugati Executive VP and Group Editorial Director

Managing Editor and Editor, English-Language Guides Kristin Brzoznowski Production Director Victor L. Cuevas Associate Editor Joanna Padovano

Mansha Daswani VP of Strategic Development and Associate Publisher World Screen Š 2015 WSN INC.

Assistant Editor Joel Marino

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Online Director Simon Weaver

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Sales and Marketing Assistant Erika Santana

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Business Affairs Manager Terry Acunzo

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A Note from the Editor Kristin Brzoznowski

The “whenever, wherever” content movement may have started a ways back, but 2015 is shaping up to be the most revolutionary year yet for ondemand. OTT and streaming platforms that satisfy viewers’ penchant for binge-viewing are popping up all around the world.

Netflix is well on its way to conquering the globe, with ambitions to complete its rollout to 200 markets in the next two years. This includes Australia, where the SVOD landscape is heating up, with two other recent entrants, Stan and Presto. In Canada, Bell Media launched the SVOD streaming service CraveTV, while in Asia, Singtel, Sony Pictures Television and Warner Bros. Entertainment aligned for the regional OTT video service HOOQ. The examples all across Europe are too numerous to list here, same with the U.S., which is perhaps the most mature of the OTT markets.

A fairly significant shift is happening in the U.S. streaming landscape though. A number of large U.S. media outlets that have traditionally been dominant in the linear space are actually taking their services over the top. HBO is now offering a stand-alone service for viewers who don’t currently subscribe to pay TV. CBS unveiled digital subscription services, both live and ondemand. Nickelodeon, too, is making its content available via OTT, no pay-TV subscription required.

As more traditional content providers embrace stand-alone OTT SVOD services, many are eyeing the implications for linear television. Undoubtedly, what this power of choice does is make the battle for viewers’ attention all the more competitive. With so many programming options to choose from and platforms to turn to, audiences are becoming even more discerning. It’s up to the producers, distributors and buyers to deliver compelling content that will win over viewers en masse. This year’s World Screen Guide is chock-full of new programs for viewers to stream, watch on-demand and tune in to live.

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EXECUTIVES

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Leslie Moonves President & CEO CBS Corporation

WS: What are your goals for CBS Television Studios?

MOONVES: CBS Television Studios produces for a lot of different ventures, but obviously the CBS network is number one. So my goal is for them to continue to produce premium content, make the best shows they possibly can and maximize their revenue. What also impresses me about CBS Studios is the diversity of the product that they make, going all the way from syndication shows to top-notch cable programming.

WS: A majority of the shows on CBS today come from CBS Television Studios.

MOONVES: Our strategy is similar to that of other networks. We buy from everybody. But revenues from the international marketplace and the SVOD marketplace [that we can generate from our own shows] have become more important in the equation of picking shows. We always say that when it’s a jump ball, when it’s 50-50 [between one of our shows and another studio’s show], we will choose our show. If an outside studio has a better show, we’ll pick that one.

WS: Do you think there will be an inevitable decline in the ratings of linear channels?

MOONVES: The number of people who are watching on linear channels is still close to 75 percent of the total viewership. They are still watching shows at the time they are on. But as the world changes, we are prepared for the shifting schedule. Nielsen is becoming more sophisticated in counting time-shifted viewers and audiences on all platforms. We are fully prepared so that as more people watch a show three days or seven days after it airs, or on CBS.com, they will be counted, and that’s fine with us. The back end becomes as important as, if not more important than, the front end. And as viewers are changing their habits, it is still about having the best content and that’s all we care about. How they watch it, when they watch it, as long as it’s counted, it’s fine with us.

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Jon Feltheimer CEO Lionsgate

WS: What’s driving the success of Lionsgate Television?

FELTHEIMER: When you’re a newer company and you don’t have a lot of the overhead and legacy deals that an older company has, you can start with a fresh piece of paper and build your own model so you make sure that you’re producing the right shows for the right networks.

You can build new models that have different kinds of ancillary revenue sources, and you can take chances with shows that might seem daring. Quite frankly, a lot of the shows that we’ve done are shows that other people either said no to or were scared to do. They weren’t easy to finance, because you had to put a wide array of different revenue sources together to support their production value and make them profitable. By having less overhead, maybe it’s possible that we’ve been able to do those shows a little cheaper than somebody else. But the main thing is not just keeping the costs down. At the end of the day, the best shows are the ones that become the most valuable.

WS: Do you think online streaming and on-demand viewing of movies and shows will outpace viewing on linear channels?

FELTHEIMER: Whenever our industry transitions from one business model to another, people are quick to proclaim that the old model is dead. With the advent of cable networks, people said that broadcast was dead. In fact, it turned out to be an opportunity to reinvent itself as the home of event programming.

With the emergence of SVOD and EST, pessimists were ready to proclaim that the DVD was dead, even when it remains a vibrant business with plenty of opportunities for those willing to find them. We believe that the same is true of the competition between online and on-demand platforms and linear channels.

The television ecosphere is expanding to encompass broadcast, premium and basic cable and streaming services, offering an unprecedented level and diversity of content, and we view this not as an “either-or” but a win-win for content companies and consumers alike.

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Anke Schäferkordt Co-CEO RTL Group

WS: What are RTL Television’s main strengths?

SCHÄFERKORDT: RTL Television has been the clear market leader in the commercial target group for 21 consecutive years. The channel offers a well-balanced programming grid consisting of entertainment, news, fiction and [magazine] shows; 87 percent of RTL Television’s grid is locally produced and almost 30 percent is produced in-house. On a given weekday, more than five hours of in-house news and magazines form the backbone of our programming. This unmatched know-how across all genres enables us to react quickly to changes in TV consumption habits. Our daily magazines give us unique promotional power to establish new formats by creating buzz about them. This also enables us to keep viewers on our channel, enhancing the so-called audience flow. To sum it up: RTL Television’s leadership is not based on a few isolated “over-performers.”

Neither are our ratings built only on output deals or sports rights. RTL Television has a solid structural leadership across most slots and throughout the whole week, based on a variety of genres.

WS: How did the concept of RTL’s family of channels come about?

SCHÄFERKORDT: The rationale behind the approach is simple.

First, high audience shares will continue to form the basis of our success. Second, it is clearly the best response to increasing audience fragmentation in a digital, multichannel world. Or, as we say, “Fragment yourself before someone else does.”

Fragmentation continues across all markets. We have built our families of channels across Europe with complementary positioning and shared know-how. This has enabled us to grow share and strengthen our market position despite the increase in the number of channels across the market.

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Thomas Ebeling CEO ProSiebenSat.1 Media

WS: How has ProSieben connected so well with young viewers?

EBELING: ProSieben is the clear market leader among young target groups. This is due to the station’s very clear positioning.

ProSieben started in 1989 as the first German station concentrating on U.S. fiction and was the first station with 24-hour programming. The biggest blockbusters are shown on Sundays on ProSieben to this day. U.S. series like The X-Files and ER quickly captivated the young audience. At the same time, the channel positioned itself very clearly with its own productions. ProSieben remains the first port of call for young entertainment television.

WS: What is the strategy for growing the broadcasting businesses in Germany?

EBELING: I am convinced that the German-speaking TV market offers us potential for more stations. In addition, there is a second very important mainstay in our broadcasting segment: HD station distribution. In contrast to the U.S., German stations pay for cable network operators and other distributors to transmit their programs. With our HD stations, we have reversed this model for the first time. HD is a true growth market. This business offers us enormous advantages: we have established a recurring source of revenues for the long term, which is independent of the economically sensitive advertising market.

WS: How are you serving viewers programming online and on demand?

EBELING: Maxdome is the largest VOD portal in Germany. Our major USP [unique selling proposition] is that maxdome comes preinstalled on [select] smart TVs. In addition, we have launched our own app for Apple iOS. Maxdome is also available on Android.

Our second strong digital entertainment brand is MyVideo. In the last [few] years, we have rapidly increased our amount of webonly content. At the same time, we successfully established Studio71, our own multichannel network.

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Tony Hall Director-General BBC

WS: How are you investing in new talent and programming development?

HALL: I feel passionately about bringing new talent to the BBC. We’ve increased the number of young people coming into the BBC significantly by launching new apprentice schemes. I see these as the stars and commissioners of the future, and we will do all we can to keep and encourage them. On screen we are commissioning more content exclusively on BBC iPlayer, which allows us to work with new and emerging talent in exciting ways that are not possible on a linear channel.

WS: Tell us about transforming the iPlayer into the BBC’s primary digital entertainment destination and complementary fifth channel.

HALL: The iPlayer service is the best in the world—but we want to make it even better. We want to transform it from being catch-up TV to online TV. As BBC iPlayer adapts, it will become more interactive and contain more content that has been specially commissioned exclusively for viewers on iPlayer. This is a journey all broadcasters are on, but I want the BBC to be at the forefront of it.

WS: Are you concerned about the future relevance and viability of linear channels?

HALL: Linear channels still have a long life ahead of them.

For all the success of catch-up services, all the facts show that people still enjoy watching TV live and together. TV channels are, in a way, social media in the true sense of the term. In fact, we are seeing a new trend starting—perhaps unexpectedly. There are more big events than a few years ago, and those big events are getting bigger. So in the future, we will need to find the right blend of engaging, well-scheduled linear channels and distinctive on-demand content, so that everyone feels they are getting something from the BBC. 18

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Bertrand Meheut Chairman CANAL+ Group

WS: How has CANAL+ changed the TV landscape in France?

MEHEUT: CANAL+ has been at the forefront of many developments in the industry, starting with content. Over the years, CANAL+ has played a crucial role in building up the popularity of sports that had very little airtime, including French premiership soccer, rugby and golf. The channel quickly became [synonymous with] offbeat entertainment shows and recently released movies.

CANAL+ is also well known for world-class TV series after moving into original programming with shows that have since aired in prime time in many countries, including the U.S. WS: Tell us about the importance of original productions.

MEHEUT: Over the years, original production has become an important reason why people subscribe to pay TV. This is fairly new in France, where for a long time pay TV was driven essentially by movies and sports. But these are not programs we always have great control over. This is why we decided to move aggressively into original programming and give the public another good reason to pick us over anyone else. Since then, we have been able to produce exciting, high-quality drama with production values way above the French average.

WS: In what ways are you offering films and TV shows online and on video on demand?

MEHEUT: TV is still very popular in France. Most people here get their TV over DTT or as part of broadband triple-play packages. So this “cord-cutting” phenomenon that is much talked-about in the U.S. is not something that we see in France. This doesn’t mean that online video watching is not growing. In fact, there are many services available, most of them through the [Internet service provider’s] set-top boxes. CANAL+ launched its own SVOD offer CANALPLAY. In addition, CANAL+ has developed myCANAL, which gives subscribers access to all the shows that are part of their packages live or on-demand on any IP-enabled device.

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James Murdoch Co-COO 21st Century Fox

WS: As viewers increasingly watch content on demand, how do you keep linear channels relevant?

MURDOCH: We look at the channel business generally as an engine for creating content and programming. Increasingly, customers are enjoying streaming programming and doing more on-demand viewing, and for us that’s really not that different; it’s actually a really great product to make. We are pushing ahead very hard on our over-thetop services, with our investment in Hulu, [and] also our authenticated nonlinear services. We think that the channel business, generally speaking, will move increasingly to streaming services, and that’s why it’s so important for us to have a number of brands that really stand for something and are destinations where people in an on-demand environment can find programming they love.

WS: How do you see consumption of content evolving in the next two to five years?

MURDOCH: Video content and storytelling are so powerful for customers, and today we see so many ways to consume them thanks to the mobility of the programming and the number of screens available to customers. There is no question that television and film consumption, at least in the home or around individuals, is moving more and more to a streaming environment. That creates some challenges from a business perspective, but most of all it creates real opportunities to innovate in terms of how we tell our stories, how we monetize them, how we sell advertising, how we bring different brands to customers in new ways, how we make the experience of accessing the programming really great, by working with third-party distributors, like traditional MVPDs that are launching new services or companies like Amazon, Netflix or Hulu Plus, who we are very involved with; or the Sky Go businesses around Europe, which are probably the most developed TV Everywhere and multiscreen pay-television experiences in the world.

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Richard Plepler Chairman & CEO HBO

WS: In this competitive environment, how are you able to continue attracting feature-film talent to HBO originals? Are the shorter-run series more appealing?

PLEPLER: What’s always appealing to talent in whatever form is great writing and great storytelling. We are fortunate to have an enormous array of extraordinary talent that wants to work with us, both in front of and behind the camera. The combination of the power of HBO’s brand and that enormous talent is the recipe for all the great work you see on the screen—and we’re just getting started.

WS: What are some of the ways you’re working with your platform partners to drive subscriptions?

PLEPLER: There is a line I like to quote from The Godfather: Part II, “We always make money for our partners.” Our partners recognize that we can play a key role in the evolution of their business. Packages such as Comcast’s Internet Plus highlight the inclusion of HBO and HBO GO because our brand elevates the offering. This is all very exciting for our business in that it not only puts us at the forefront of a marketing campaign but also gets HBO into the home at a much lower price point.

WS: What growth opportunities do you see for HBO outside of the U.S.?

PLEPLER: All of our international businesses have great upside potential. Many of the countries where we have HBO-branded networks are still building out multichannel homes and we will benefit from that expansion. The rollout of HBO GO will also continue and that only strengthens the subscription. In addition, our output-deal model, “Home of HBO,” in which the HBO brand is licensed along with the programming, has been very successful and prompted interest in additional countries. Lastly, the HBO services are doing more and more local production.

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John Skipper

President, ESPN Co-Chairman, Disney Media Networks WS: Tell us about ESPN’s best-availablescreen philosophy and about serving fans wherever they are.

SKIPPER: This philosophy grew organically out of our mission to serve sports fans anytime, anywhere, and through research and changing consumer behavior, we realized serving them across multiple devices was what fans wanted. I joined ESPN to launch ESPN The Magazine, and shortly thereafter took on the digital business. At the time, there was ESPN.com and some very early mobile offerings like score alerts sent to pagers. Even then, we were seeing that the way the consumer and sports fan was headed had digital and mobile as a central part of [his or her] daily life. So we started to explore that and work to really understand it. When I moved on to manage our sales and content groups, we continued to focus on multiple screens. We decided, quite consciously, that we were not in the TV business anymore. We were in the sports-content business. That means content including video across any device or screen or medium that a sports fan uses.

WS: What is ESPN’s strategy for international growth?

SKIPPER: We are absolutely invested in our brand being present, growing and meaningful for fans around the world. The specific shape and look of ESPN in each market will not be the same, though. Nor should it be. Each market is different, so we will need to have different businesses—and each will change and evolve in its own way. In some markets we will have digitally led businesses (like we have at present in India with ESPNcricinfo), in others we’ll have fully integrated TV-led multiscreen markets (like we have in the U.S., Latin America and Australia). In some we may have digital media and syndication businesses (like we currently have in the U.K. and Southeast Asia), and we may even have joint ventures in some cases (like in Canada with TSN and RDS). Ultimately, the core strategy is the same: serve fans and develop sustainable, growable businesses. How that is done market by market will differ, and we have excellent local leadership around the world.

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Nancy Dubuc President & CEO A+E Networks

WS: What is the role of linear channels in today’s changing TV landscape?

DUBUC: We work hard to constantly stay aware and be prepared for what’s next in technology and the ways our audience consumes content. But we are a content company. Period. That’s the part we control. So for us, remaining relevant requires taking the insights we glean from our tech-savvy audience and tailoring our content accordingly. We want every experience with our brands, our shows and our characters to entertain and delight—and that means something slightly different on each platform. So part of our creative process is to think through delivering a great experience on each one.

WS: What does the Lifetime brand mean for viewers today?

DUBUC: Our goal has been and will always be to make the brand a more active and integral part of our viewers’ lives…and we set out to achieve this on several fronts. With programming, we continue to evolve our scripted, unscripted and movie slate to tap into the passions and interests of a constantly evolving female audience. We are finding ways to expand the moments our audience spends with us by creating more co-viewing opportunities. With technology, we continue to grow our digital presence and our social following to foster more of a holistic experience around our content.

WS: Tell us about the re-brand of Bio to FYI. DUBUC: FYI is designed to stoke personal inspiration, imagination and innovation. It is clear that a void exists in the market for lifestyle channels, but what occupies that space currently is very prescriptive. What separates FYI is a non-prescriptive approach to lifestyle content, one that embraces an adventurous, personalized spirit. Today all of us, especially Gen.Y-ers, live multifaceted lives. I call them the “proudly hyphenated.” We are building FYI to be the only network brand that truly reflects the multifaceted lifestyle of our viewers.

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Josh Sapan President & CEO AMC Networks

WS: What have you been learning about how people are enjoying programming?

SAPAN: There has been an increase in viewership and utilization of off-linear services, whether it’s cable on demand, satellite on demand or Internet subscription video services, inasmuch as they have the shows, which from us is generally a year after they air. What is curious is that we have seen our linear ratings escalate rather dramatically, while the utilization or consumption of on-demand has increased at the same time. That is an interesting phenomenon because there is generally an intuitive assumption that there is a certain number of viewers, and if they see it in one place, they won’t see it in the other place.

That historically has been a bit of a media paradigm: if you window material and you put it here first, then people won’t watch it there, second, as much. And hence the word “syndication,” which has its own implications. And what we are seeing is somewhat of the inverse, which is that the sampling of shows on the various on-demand platforms—cable, satellite, transactional (by which people often mean iTunes, rented or subscription)—is exposing more people to [our] shows, and they are then coming back in greater numbers to the show on linear. Whereas one may have conjectured that linear was under terrible pressure, [it turns out that] for the shows that are really popular on demand, it has boosted their importance and appeal on linear, if they have the right genetics. I would describe those genetics as being, most importantly, timeliness and urgency.

WS: Is social media helping fuel interest in shows?

SAPAN: Someone mentioned a line in passing the other day.

They said, “Referral is the new watercooler.” I liked it because it resonated, and of course what it means is that if one rewinds a number of years, the watercooler meant where humans collect to talk. Today, humans collect virtually and talk virtually, and the referral that occurs in social media in any manner is a very powerful tool.

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Chris Albrecht CEO Starz

WS: There are a lot more networks producing originals. Is there enough talent for the kinds of shows you want?

ALBRECHT: Yes, there is a sufficient pool of talent. To make sure that we have those talented, passionate people, instead of trying to compete for people who have already done a successful show—and the list of people who have done one successful television series is now getting rather long—[the key] is to go after people who have done two successful shows, because that list is still pretty short!

Also, there are a lot of people that are being trained in great systems [writers working alongside talented showrunners] and they haven’t done their own great show yet. So working with people who are really passionate about their first big idea is a way to access top-quality talent without getting into the arms race, if you will, about [certain] issues.

[We’re also willing] to produce overseas, to co-produce with partners, where we’re not just investing financially but are actually involved with another end-user in the creative evolution of the show. That allows us to expand the talent pool that we can access.

WS: Is it fair to say that originals have played a role in the increase in Starz’s subscriber base?

ALBRECHT: Certainly [subscriptions] have been growing. There is no correlation that anyone can ever draw between a successful show and the number of subscribers that you have. I think it’s fair to say that as more originals appear on a channel that catch the eye of viewers and the third parties—press, social media—then what starts to happen is that we have more opportunities to market our services with our distribution partners. That is really where you see the opportunity to acquire new subscribers. It’s kind of an indirect direct result of the programs that you have on the air.

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Hernan Lopez President & CEO FOX International Channels

WS: What led to the global rebrand of FOX? LOPEZ: There is an opportunity here to create the biggest quality entertainment brand in the world. I know that sounds like a big statement, but let me back it up. FOX has always been a broad entertainment brand associated with quality in consumers’ minds.

There are other entertainment brands that have parts of that positioning; for instance, Disney is very big, is associated with high quality and entertainment, but it’s targeted to children. There’s HBO, which is also a big, quality brand, but because it’s premium, the reach is narrow. Then you have newcomers such as YouTube, which has a big reach, but is not necessarily associated with quality in consumers’ minds.

So, we looked at the landscape and we realized that there is an opportunity to create the biggest quality entertainment brand in the world—comparable to what Nike did in the world of sports—to be the leader across the category, but also in the high-quality segments of the category.

WS: What role have original productions played in bolstering awareness for the FIC brands?

LOPEZ: A very important one. Today we are producing original scripted drama in Spanish, Portuguese, Mandarin, Turkish and English. That’s a big part of what we like to do. It’s expensive to do, because they have to look good next to shows like The Walking Dead or $4 million or $5 million per episode network shows.

WS: In what markets are you looking to expand your distribution?

LOPEZ: We’re well distributed, but there are still places [left to enter]. There’s only one big market where we’re not, and I don’t know if we’re going to be in the near future, and that’s France. Other than that, we are in every market where would like to be, with [the exception of] a few smaller markets. Indonesia, for example, is a huge market and we only have 10-percent penetration.

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Tim Worner CEO Seven West Media

WS: Is content a driving force of the company?

WORNER: Content is absolutely at the core of our company and one of our stated aims has actually been to expand the amount of content we originate and create. We have established the production joint ventures 7Wonder and 7Beyond in the U.K. and the U.S., respectively. We have had a lot of success exporting the formats for My Kitchen Rules and House Rules to other territories, and we’d really like to build on that going forward.

WS: How have you contained costs and at the same time continued to produce high-quality programming?

WORNER: All media businesses have had to deal with structural change, and for us sometimes that has meant having to walk away from content that under normal circumstances we would have preferred to retain. That is never an easy walk to take, but if we believe something just does not represent value any longer, we will do it. In addition, the search for operating efficiencies never ends. We are always challenging ourselves to produce our content more effectively. That in itself can be a very creative process. Again, that is a process that is powered by ideas.

WS: What have been the programming strengths that have allowed Seven to maintain its ratings leadership?

WORNER: There are three key planks to our strategy: live sports, live and local news and public affairs, and Australian programs.

There is still a very real role for foreign content in Australia, but there is no question our audience is getting access to a lot of this content illegally prior to us being able to monetize it. That is going to be a conundrum these studios and distribution houses are going to have to deal with. It is simply unreasonable to expect that we will continue to allow this to happen without there being a very real impact on pricing. We are already seeing that, and if nothing is done to prevent the illegal access to content, I think we will very quickly see it become a lot more pronounced.

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Darren Throop President & CEO Entertainment One

WS: What’s driving the gains in eOne’s television division?

THROOP: The company has grown quite a bit and we’re very strong financially, but we really need to be conscious of the fact that we should attach ourselves to the very best opportunities out there.

Not all opportunities are good opportunities. So, we’re quite selective about what projects we get involved with.

With the fragmentation of the marketplace and what’s happening with Netflix and [Amazon] and with so many networks in the multichannel world, there’s a big demand for original programming. What’s going to separate everyone from the limited few is quality—quality programming with great writers, great showrunners and excellent casts. So, we’ve really been selective about what we do. The [co-production and distribution deal with] AMC was an important one for us because the quality of the programming coming through that network is indisputable.

WS: You’ve also been willing to try new funding formulas.

THROOP: Our reach has really given us a lot of opportunity; we have an international sales group both in TV and in film, we’ve got our own production capabilities, we’ve got a very strong balance sheet, and we’re really good at international co-pros. Put all that together and we can decide, maybe this project should be funded with Canadian resources and get a Canadian broadcaster sale and a U.S. sale, but maybe none of that should happen at all. Maybe we should produce in Europe and sell to SVOD before we even go back to Canada and the U.S., and save that sale for last. The TV group is really very strong at exactly that— putting some really clever funding models together, giving us the opportunity to produce things that, as little as three or five years ago, wouldn’t have been produced, because the old model was built on the premise that it has to be for a network. And networks have to do it this way and if you can’t do it that way, it just doesn’t get done. Well, it’s a whole new world out there.

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Peter Fincham Director of Television ITV

WS: What is fueling the success of ITV’s schedule?

FINCHAM: It’s a mixture of things, but they all come back to fundamentals: trying to work with the right talent and commission the right programs, and trying to challenge our audience, while at the same time giving them what they understand and recognize.

Although the world changes around us with bewildering speed—[with new] technologies and platforms and viewing patterns—the constants that don’t change very much will remain the same this year, next year and in ten years’ time. If you make great programs and tell great stories, people will come to your channel.

WS: How is ITV satisfying viewers’ demand to watch when and where they want?

FINCHAM: We are what you call platform-agnostic, and I’m sure that’s the right thing to be. ITV Player is growing very fast. But it’s worth saying this as well: most catch-up viewing is not VOD, it’s on PVR, and most of the rise in time-shifted viewing has certainly come because people have acquired personal video recorders for the first time and have started using them. It’s a perfect example of something [that is] rightly perceived as a strong trend, but to think of [it as] a particularly modern one—it’s not quite as modern as you think. But that doesn’t mean it’s not a growing trend. Nor does it mean that live viewing, scheduled television, won’t continue to be resilient.

WS: How important is drama to the ITV schedule?

FINCHAM: Drama is one of the core genres of ITV. There is no question of our commitment to drama. It will continue and probably be as strong as ever. We are at a very exciting time in drama when audiences are more or less saying to us, “Challenge us.

Take us to places we didn’t expect to be taken. Give us something radical. Give us something unexpected.” The result of that is that there is a lot of good television drama around.

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Katsuto Momii President NHK

WS: What role does NHK play today as Japan’s public broadcasting group?

MOMII: Broadcasting in Japan consists of the public broadcaster NHK—which relies on receiving fees for its funding— and the commercial broadcasters, which mostly rely on advertising for their revenue. NHK and the commercial broadcasters should continue to have a positive effect on each other in the existing dual structure. At NHK we will continue to contribute to the development of broadcasting culture and play a leading role in international broadcasting and in the area of technical development. NHK is not swayed by any special interests or viewer ratings because it is a public broadcaster whose funding comes from the receiving fees that are paid directly by a wide range of viewers. Its role is to provide accurate information that is fundamental to community life, and to provide diverse programming that will enrich culture. They are provided without favoritism or discrimination, irrespective of time, place or person. I believe that NHK must be a medium that provides the foundation for an information society. It does this by continuing to provide audiences with relevant, reliable and accurate information and a diverse range of high-quality programs and content.

WS: What do you see as the future of the license fee in Japan?

MOMII: The system of receiving fees in Japan is provided for in the Broadcast Act and is based on the idea that the necessary costs for NHK to operate as a public broadcaster should be borne fairly by all those who install a TV set. It financially ensures the autonomy and independence of NHK. I believe that receiving fees provided by a wide range of viewers are the most suitable source of funding. A survey found that viewers on average feel they get 1.82 times the value of what they pay in receiving fees in relation to what NHK provides. It can be said that the system of receiving fees in Japan is supported by the public who pay them.

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Felipe L. Gozon Chairman & CEO GMA Network

WS: Tell us about GMA’s nonlinear strategy to offer Filipino audiences content on multiple screens.

GOZON: To achieve this, GMA Network has employed a Create Once, Distribute Everywhere (CODE) workflow. This allows the company to make its content available and accessible through multiple screens and devices currently in the market. This includes, but is not limited to, PCs, laptops, mobile phones, tablets, gaming consoles and set-top boxes. The workflow also has an R&D component that gives GMA the nimbleness to anticipate and exploit future technologies relevant to its business. This is meant not only to serve its current audience, whose media consumption is significantly influenced by this digital evolution, but also to create new audiences.

WS: In the competitive free-TV business, how has GMA Network’s performance been?

GOZON: Our strong programming lineup, particularly in the afternoon and evening blocks, has pushed our ratings up such that we are closing in on our main rival in nationwide TV ratings.

WS: How is your international business performing?

GOZON: GMA’s international channels continue to grow their subscriber bases as they are launched in more areas.

Consequently, their contribution to GMA Network’s revenue pie continues to increase. By the end of the first half of 2014, GMA’s flagship international channel, GMA Pinoy TV, grew its subscriber base by 8 percent. GMA Life TV also increased its reach by 20 percent, while GMA News TV International [posted] an increase of 894 percent over the same period in 2013. GMA Worldwide, our programming syndication and acquisition arm, meanwhile, sold PHP37.5 million ($860,000) worth of locally made programs amounting to 1,930 hours to various countries in the first half of 2014.

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Marc-Antoine d’Halluin CEO Zodiak Media

WS: Are you looking to acquire more companies? In today’s media landscape, how big is big enough?

D’HALLUIN: It seems that big is never big enough! It’s interesting to see that acquisition goes both ways. There has been an American invasion into the U.K. and Europe, but the reverse is also true; many U.S. production companies are being bought by European players. There is a lot of activity for sure. Zodiak is one of the most recently formed super-indies. It was only [a few] years ago that RDF joined us.

Zodiak consists of about 45 different production companies, but four initial major acquisitions were made by De Agostini to create the group. Our focus is very much on organic growth and on making sure we have the right processes in place so that we leverage the value of local companies in spotting a few formats that have international potential. We have to make sure that these formats travel quickly inside the company. Since I joined, we have focused a lot on putting these processes in place. The focus is therefore essentially organic. It doesn’t mean that we are not looking at outside possible targets. We are looking at being as rational as possible and often we see deals where we think prices are very high.

WS: How do you manage the companies in the group?

D’HALLUIN: When I came on board, I joined a company that was very much a federation. I saw an opportunity to move it a little bit away from that model and operate it more like a confederation, like a group: not distracting local producers from connecting with their local market and customers, and making sure they spent a little bit of their time, when relevant, sharing ideas. We created an International Development Board (IDB). It’s a forum where all our entertainment producers meet on a regular basis to share ideas and select the few formats that can travel. Lots of our local successes remain local, but some of them have the capability to travel. We have to make sure that these formats have the opportunity to be brought early, in the best possible way, to every one of our markets.

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Jan Frouman Managing Director Red Arrow Entertainment Group

WS: Where do you see opportunities for expansion?

FROUMAN: We’ve always preached being opportunistic, but selective. So when we’ve done deals, they were opportunities that presented themselves in markets that we thought made a lot of sense for our growth.

We are interested in doing more. I don’t think we necessarily have as broad a market view as maybe some other companies do, so I don’t expect us to be popping up in every country. But I’d certainly love to do more in the U.S. We’ve had a very good footprint in the U.K., and we’d like to do more there.

I could see us doing some more deals with producers—not necessarily companies, but overall deals with creators and producers who we feel we can plug into what is now a platform for both non-scripted and scripted. We do have growth ambitions, but it’s not growth at all costs. [We want to be aligned with] people who want to be in the group, for the right reasons, who embrace what we’re trying to do. If that yields big scale right away, great; if there needs to be a little bit more patience to do better deals, that’s fine too.

WS: How do you attract top talent to Red Arrow?

FROUMAN: A lot of it happens in the initial introduction phase.

When we meet a company and we talk to them about what we’re about, and they do the same, some of it is just gut instinct. Put aside that they are producers of a certain quality, that they are a company of a certain size in a certain market— you tick all of those boxes [first]. Then it comes down to, Do they believe what I’m saying? Do I believe what they’re saying? Is there a basis on which to work? That tends to focus the conversation. And then as long as the business terms are sensible for them and for us, you do a deal. I try not to get distracted by deal noise. I’m not in a press release contest. We want to do deals that are smart for our group and that’s how we focus.

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Jens Richter CEO FremantleMedia International

WS: What appealed to you about joining FremantleMedia International?

RICHTER: Years ago, if you had asked me what company I would have liked to work for, it would have been FremantleMedia. It was one of the first big global production companies. The combination of FremantleMedia and the RTL Group as the mother ship and the global structure on the production side makes it a very strong company. I believe very much that in the future our business will be, on one hand, very local when it comes to programming, and on the other hand, it will become increasingly important to be able to roll out content internationally. FremantleMedia is unique in both. There are a lot of shows being produced by FremantleMedia that will never leave the countries they are produced in. And that is right because that is what the power of local free TV will be all about in the future, very local content, and FremantleMedia is amazingly well positioned there. The production of formats on a local level will become more and more important as we have more platforms and more outlets. So, global rollout becomes more important as well. This is one of the very few companies that can play in both worlds.

WS: Are you working more with digital platforms, not only selling content to them but also representing their original programming?

RICHTER: We had a meeting recently and I was asked if in ten years there will be traditional broadcasters. Obviously there will be local broadcasters. I don’t know how many languages are spoken in the world, more than 200 for sure, so these local languages will require local productions. Platforms and signal transmission will change. Some will be more linear broadcast and others will be more VOD platforms. Moving forward, we also will have local versions of global content. The same way that companies like ours provide more and more programming to the Netflixes and Amazons and Hulus, it’s just logical that we will also see these platforms as content providers and work with them to distribute their product.

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Alexander Coridass President & CEO ZDF Enterprises

WS: What type of drama is selling today?

CORIDASS: There certainly is a golden age of drama right now. We have always been strong in crime and cop shows. Event programs, mainly about historical events and personalities, have also proven to be popular. Overall, we believe that regardless of the genre, the core points to successful drama are high quality, exceptional scripts and good production values. Content that is made with heart and soul and brains is the great television of the 21st century. We are also excited by the new opportunities offered by the digital and VOD segments of the market.

And we are taking additional risks. We have always been quite courageous. I remember when we made our first investment in Scandinavian product, a lot of people, both in Germany and outside of Germany, were astonished—to say the least—that we were investing in Danish drama, but we succeeded. We will go on with our strong Scandinavian offering but we are far beyond that level.

We invest a lot in our own projects. We have British, American, German and Scandinavian companies with whom we have development agreements. Our drama output has become, as our customers tell us, a very important and significant part of their services.

WS: Are you also finding good demand for entertainment shows, whether finished or formats?

CORIDASS: Definitely. Since the early days of television, variety shows, quiz shows and entertainment in general have played an important role in the schedules of all broadcasters. For ZDF Enterprises, this genre is not something new. We have sold the format of Wetten, dass..? (Wanna Bet?) in so many countries, especially in Continental Europe. [In 2013] when we restructured ZDF Enterprises, we decided to establish a department called ZDFE.entertainment, and we mainly offer formats of game shows and variety shows. Entertainment programming is a business, but it’s still a bit of a start-up for us. That was exactly the reason why we decided to establish this department, because we are convinced that there is potential in this segment.

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Herbert L. Kloiber Managing Director Tele München Group

WS: What are your goals for TMG’s drama business?

KLOIBER: We are actively looking at all new developments on a script or concept basis and are usually one of the first companies to discuss co-productions or acquisitions with various producers.

We are able to quickly assess a project and make a decision on whether we want to get involved and, if so, to what degree. In this light we are looking to increase our commitments in this area, specifically on the co-production side of international drama.

WS: What qualities do you look for when deciding to become a partner on a project?

KLOIBER: We are looking to partner with reliable producers who believe wholeheartedly in a project. We are usually looking for only one partner per project, from a significant market. We are looking at projects from two perspectives. One is the Germanspeaking territories, which are somewhat different than most other markets. It is essential that a project addresses a clear audience. That requires the right balance of story, cast and look and feel. It can’t be all things to all people. Since we are engaged very early on in a project, we bet on great talent, top showrunners and partners who have a proven track record. And we are willing to take risks. The other perspective [we evaluate is] the international potential we see in a particular show.

WS: What are some of the trends you’re seeing in the drama business?

KLOIBER: We are seeing a proliferation of product for niche audiences. There is less and less product for a broad viewership.

This has become problematic, particularly for German broadcasters, where there is still great demand for episodic crime or medical procedurals. On the other hand, different demographics consume media in different ways today. Targeted shows cater to these specific audiences and create added value.

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Kerry Washington Actress Scandal

WS: What first appealed to you about the role of Olivia Pope?

WASHINGTON: I think the thing I like most about playing her is her complexity. In some ways she is so together and strong and in control and empowered, and in other ways she is just a mess and so vulnerable.

Basically in her professional life she is the most important person in any room and wields her power with intelligence and grace and real authority. But when it comes to the President, she is a different woman because of how much she loves him.

WS: Are you privy to any information regarding plots ahead of time?

WASHINGTON: You do not get any sort of outline or anything in Shondaland [Shonda Rhimes’ production company]! We hear things at the table readings for the first time all the time. It’s one of the reasons we really enjoy being on social media with our audience, because the same way that people are screaming and throwing things at their televisions and crying and cheering, we have all those same reactions when we hear it at the table read with each other.

WS: Why do you think the show is so successful?

WASHINGTON: We are in a golden age of television right now where some of the best work that is happening in Hollywood is happening in television. To be a part of that is really exciting. A lot of that has to do with the fact that there are more writers in television than there are in filmmaking. One of the reasons why our show resonates is that it does have a little bit to do with this antihero moment going on in a lot of our media. There are no good guys and there are no bad guys. Everything is about flawed human beings just doing the best they can. And I think people relate to that. We all want to be the heroes of our own lives but are struggling to do that.

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Ben Kingsley Actor Tut

WS: How did you get involved in Tut? KINGSLEY: It was simply the good old nuts and bolts of the business: my agent rang me. They had approached him and talked through the idea and the script structure and explained that it would be six hours. They were going to shoot in Morocco and Montreal. But let me say that where we shoot, for the most part, [does not impact] my decision. I barely know the landscape I am working in—unless it’s something as remarkable as Morocco. Anyway, my agents were approached and very quickly I read it and was delighted to be part of it. The director, David Von Ancken, came to my house. I liked him very much and liked his grasp of the material. We touched on certain other metaphors from literature [that could] act as tools to bring that extraordinary, almost inaccessible history alive and make it accessible. Then I met everyone else in Morocco. My wife also has a lovely role in Tut, which was delightful. It was great to work together. They saw her for the role of Herit, the cousin and lady-in-waiting to the queen who gets sacrificed as a kind of war memento in the middle of the battles between the two warring factions. That was a huge plus. It did not determine whether or not I did the job, but it made it very delightful to know that we could both be working together. So everything was very swiftly resolved and off we flew to Morocco.

WS: Was it a luxury to be able to spend six edited hours on a character as opposed to doing a film that is two hours?

KINGSLEY: We still crammed in a huge amount of working hours into the day. We filmed six hours of film in not enough weeks. I think it was 10 or 11 weeks and we should have had 24, 25 for six hours of film. But sometimes compression is very good, because it forces you to make choices as an actor—it was almost the opposite luxury in that there was a lack of time and I had to make decisions very quickly based upon the performances of the others around me, the needs of the scene and the needs of the larger sweep. Nevertheless, I enjoyed it.

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Michael Emerson Actor Person of Interest

WS: What first appealed to you about Person of Interest and how did you hear about it?

EMERSON: It was among a pile of scripts that were being batted around at Bad Robot [J.J. Abrams’ company, which produced Lost and is also behind Person of Interest] in the fall of 2010. I still had a relationship with Bad Robot and I said, Surely you’ve got something else around here that’s cool. They showed me this and said, This might interest you, it’s kind of a noir setting, New York Citybased, crime fighting, vigilante; it could be fun. I read it and I really liked it. I liked the mood of it and the atmosphere and the setting and it seemed like a good part, so I just went with it.

WS: Is it more difficult to portray somebody who is basically a decent person or can that be just as satisfying a character to play?

EMERSON: It’s a little harder to make good guys interesting— especially since the general feeling right now is the chase for antiheroes or worse. Villainy or darkness have a few more layers or might be a little more complex. Whether you are playing a good guy or a bad guy, it’s fun if the character is complicated.

WS: Do you feel in any way that your creative freedom has been limited because you have been working within the broadcast model?

EMERSON: Well, it is a model, and the broadcast model is different from the cable model. It governs how the narrative is structured or how it is presented. There is a structure that is demanded by a broadcast network, it’s just the landscape in which you work. You may work brilliantly in that landscape or you may not, but it is the hand you are dealt. Cable gets to be a little looser, a little freer, but that’s a way to get hung up as well. Yes, they can be more graphic; they can be profane. They don’t feel as much obligation to explain themselves to the audience. There is an assumption of its sophisticated viewership and all of that is probably good, except it doesn’t always work out successfully.

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Donald Sutherland Actor, Crossing Lines Co-writer & Producer, Pirate’s Passage

WS: How did you get involved with Pirate’s Passage?

SUTHERLAND: Through a very tortuous, circuitous route. Bill Gilkerson sent it to me. He gave the book to the son of a friend who was going to Los Angeles and said, “Give it to Donald Sutherland.” I read it and was so enamored with it that I read it again. After I’d read it twice, I called Gilkerson, and I bought an option on it.

Then I approached the CBC, because for me it was definitively a Canadian piece of work, a piece of our culture, our fabric. They gave the OK. They were reluctant to do it in animated form, but when I broke down how much it would cost to do live action [in a way] that would be satisfactory, we agreed to animate it.

WS: As an actor, what creative freedoms have you found in television that are different from those in film?

SUTHERLAND: I don’t know whether “freedom” is the right word.

“Liberty” is probably better because there are certain liberties with TV work in that you’re able to work for 22 hours on a character and so on. But there are limitations that really curtail your freedom because, more so than in movies, the notes that come down are from people who are really interested in advancing their own personal careers and are trying to make a note that they think will make somebody up there think, Oh, that’s a smart note, let’s give that boy a chance. And it’s not helpful. So it gets cut down and edited by those people who make those notes. I like to work for a director. In television, you work for the creator, and sometimes the creator doesn’t have control.

WS: You’re doing Pirate’s Passage with Tandem, and you star in Crossing Lines with them.

SUTHERLAND: I [also] did The Pillars of the Earth. I love Rola [Bauer, the president of Tandem]. [She has] passion and drive.

I’m terrified that she’s just going to suddenly fall down dead, you know, because she works so hard. But she is a truly wonderful woman.

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Sofía Vergara Actress Modern Family

WS: What appealed to you about the character of Gloria in Modern Family? What do you like about her?

VERGARA: At the beginning Gloria scared, terrified me. The idea of playing a sexy, young, big-mouthed stepmother who was loud, dramatic and married to a rich older man, [prompted] two questions: Are Latinos going to hate me and be offended? Are Americans going to dislike me, and her, for being too much of a gold-digger symbol? That’s the truth, I was nervous.

The challenge was to give her so much heart, empathy and strength in her values of love for her husband and family to make her likable, and thank God it worked. And I absolutely love her. She has given me all I have now—my career, my life in Hollywood. What I admire most in Gloria is that she has so much love for her family, for the truth. She is so unapologetic and honest with her flaws that you have to at least forgive her even if you don’t like her.

WS: When did you first realize you could make people laugh and that you had a talent for comedy?

VERGARA: My family in Barranquilla [in Colombia] and my friends from elementary school say I was the class clown, the one with the funny faces and best imitations at family gatherings. I do believe that comedic timing is something that you get better at with practice and to a certain point, sure, it can be learned, but you have to be born with at least a little seed of humor, and some sharpness, cynicism, self-deprecation or wit to be able to make a living out of it. I feel lucky to be able to make a career of this, because I love to have fun, to make people laugh and to give them a break from a real life that can be very hard at times for all of us. Trust me, it’s not easy to make guys laugh or to make women take you seriously in comedy when you look like me, with big everything: big boobs, big accent, big teeth, big attitude, huge heels, plus a transvestite voice no one seems to understand, not even me at times.

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Taylor Schilling Actress Orange Is the New Black

WS: When you first heard about the show, how did you feel knowing that it was based on a true story?

SCHILLING: I was really compelled [by the fact] that it was based on a true story. For me, in films, books, TV or plays, there’s a real hook when it’s based on a true story.

It makes it fresher to have the idea of: That could be me. There’s that “What if?” factor. It’s like seeing behind the curtains into someone’s life, and that’s really exciting. The story was so intriguing. I found it really powerful.

WS: How do you put yourself into the mind-set of what your character, Piper, must be going through as an inmate?

SCHILLING: Piper has had to shed all her old ideas about what it means to be in the world. Even unconsciously she’s had to do that, just to survive. Who she is at a fundamental level has to come out to play in a way that never would have happened had she not been incarcerated. She’s discovering freedom in that.

There’s a great sense of wanting to know the truth, and she’s surviving and she’s going to any length [to survive]. In that, she is learning who she really is and is starting to trust that. As she transforms as a human being, that then changes every interaction she has with anyone. This process is reintroducing her to the world in a completely new way.

WS: How has your character evolved?

SCHILLING: [She started out being] quite sure of her place in the world and of what was right, or at least of her idea of what was right. Her values were based on the world she was living in, which was about maintaining the status quo, fitting in and being like other people. Her journey through incarceration has been about letting go of what others think and discovering who she is when she’s not bound by convention. She’s finding in that a new strength and a new vitality. It’s no longer about caring what other people think as much as it is about living her life. She’s taking more action now than she ever has before.

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M. Night Shyamalan Executive Producer Wayward Pines

WS: How did you come to be involved in Wayward Pines?

SHYAMALAN: We [at my production company Blinding Edge Pictures] were thinking about getting into TV for the first time. Ashwin Rajan, who works with me here, read the script [for the pilot]. He said, “I think it’s great.” I read it late that night. I called him and said, “I need to know what happens. If it’s too similar to something I’ve done before, I don’t want to do it. But if the answer isn’t something derivative, I’m interested!” Chad Hodge, who wrote the pilot, got on the phone and told me what the story was. I was like, “I can do that! That’ll be great!” It had that kind of David Lynchian tonality, and there was an explanation as to why everyone was acting like they were in a David Lynch movie!

WS: How has the transition been moving into directing television?

SHYAMALAN: When you’re writing and directing your own movies, it’s a long cycle. If I read a movie that doesn’t have enough parts for a whole bunch of actors I’d like to work with, well that’s another two years that I can’t work with them. My selfish goal is to tell stories that I’m interested in, in a long form on TV, and then put world-class actors in all the roles.

You have to work really fast in TV. So you’re stripping away all your comforts and bad habits. It also taught me a kind of permanent vigilance through the process of post-production. I didn’t think of it in the traditional film format of, you prep, you shoot, that’s it. You think of it as listening to the story the whole time, and you work that into how you’re making the [show]. I could go in like an assassin and shoot for two or three days to fill in episodes. Rather than being so macro focused, it allowed me to go in and do some surgical work. The story is so luscious and big, and it just rolls like a big 18-wheeler over you. Our job as storytellers is to make sure it has genuine idiosyncratic human qualities in it. So we were able to make it more of a director’s medium than [TV] normally is.

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Anthony Bourdain Host Anthony Bourdain: Parts Unknown

WS: Could you have ever imagined, early on in your TV career, that you’d be hosting a show on CNN? BOURDAIN: I was really surprised when they first called. We made a point of bringing in some of our most off-the-wall shows from the past and said, “You’d better look at these. Are you sure you know what you’re doing here?” As it’s worked out, the kind of material that we cover, while it’s not news, in many cases is a complement to the news.

We tend not to pay attention to places like Congo or Libya, or know much about them, until something really awful happens. It’s useful within a news context to have some image or idea of who we’re talking about when that hard news story happens.

WS: How do you find your guides and experts?

BOURDAIN: There’s a class of people called “fixers” around the world who generally work with production companies. A fixer is somebody who knows who to get permits from and how to make basic things happen and how to interpret the often fastchanging situation on the ground, to let you know if it’s time to run or time to stay. We also reach out to chefs and bloggers.

There’s a pretty lengthy process of back and forth, trying to get a sense of, Do they understand that we’re not doing a travelogue or a hard news story?

WS: Does the fact that so many people recognize you now present production challenges?

BOURDAIN: Yes, particularly with social media now. A successful day is when I go to a noodle stand and they have absolutely no idea who I am and wouldn’t care in any case. That would be the ideal situation. After that, it’s a question of whether people will keep quiet about it until we’re long gone. You don’t want the dynamic of the place to get weird. Cameras already change the dynamic in the room. We work really hard to get everybody loose and comfortable, so we’re more like annoying relatives with little cameras than an invading army.

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Amy Poehler Actress, Parks and Recreation Executive Producer, Broad City

WS: Today the web is offering an outlet to young actors and writers that didn’t exist when you were starting in the business.

POEHLER: We used to have to perform our shows live in front of people who came and watched them. And now you are able to see the entirety of people’s work all at once. You’re able to send your ideas really fast. It’s a totally different world—thank goodness. [The web has] discovered fresh voices, new talent, and it’s democratized a bit the idea of who can get a show and who has a platform and a place to do comedy.

WS: Is there a need for more female voices in comedy?

POEHLER: I think it’s a time of really amazing, exciting female voices on television. Television has always been a great place for women, but especially so now. We’re at a time when there are shows like Girls and Broad City, and [comediennes like] Amy Schumer, and all these great, young, fresh new voices that are speaking to people today. There’s always room for diverse voices, whether or not they’re female and in whatever way that they’re represented. We’ve been really excited about how many men have been watching [Broad City] because we feel like it’s not gender-specific or exclusive. The idea of two young women making their way in New York City is universal; everybody can understand that. So, the answer to your question is: yes!

WS: Do you prefer being in front of the camera or behind the camera?

POEHLER: I like both. I’ve been so lucky to work on Parks and Recreation, which is just a dream show in every way in that I get to play a character I really love and I get to be involved in every aspect of it. I [also] had the opportunity to direct the finale [last] year of Broad City, and producing has been really challenging and exciting. I’m certainly interested right now in the idea of developing and producing and directing. It’s the newer world for me. I have a lot to learn and am continuing to learn, which is nice.

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DISTRIBUTORS

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9 Story Media Group ADDRESS: 23 Fraser Ave., Toronto, ON M6K 1Y7, Canada TELEPHONE: (1-416) 530-9900 WEBSITE: www.9story.com PRESIDENT & CEO: Vince Commisso MANAGING DIRECTOR: Natalie Osborne CONTACT: distribution@9story.com PROGRAMS: Wild Kratts: 92x22 min., animation/adventure/ comedy; Peg + Cat: 80x12 min., animation/preschool; Get Ace: 52x11 min., animation/comedy; Guess How Much I Love You: The Adventures of Little Nutbrown Hare: 52x11 min., animation/ preschool; Numb Chucks: 52x11 min., animation/comedy; Nerds and Monsters: 40x11 min., animation/comedy; Camp Lakebottom: 52x11 min., animation/comedy; Monkey See Monkey Do: 26x11 min., animation & live action/preschool; Haunted Tales: 40x11 min., animation/comedy; Look Kool: 52x11 min., live action.

“9 Story Media Group is a leading content creator, marketer and distributor of kid- and familyfocused intellectual property. We are recognized around the world for best-in-class brands such as Daniel Tiger’s Neighbourhood, Wild Kratts, Numb Chucks, Arthur and Peg + Cat. We have over 1,800 half-hours of animated and live-action programming in our catalogue, seen on some of the most respected international channels and platforms. With one of North America’s largest animation studios, 9 Story employs over 220 creative and production staff and has produced over 900 half-hours of award-winning children’s content. With a recent investment from Zelnick Media, 9 Story is well positioned for considerable growth in 2015.”

—Natalie Osborne, Managing Director

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ABC Commercial ADDRESS: 700 Harris St., Ultimo, NSW 2007, Australia TELEPHONE: (61-2) 8333-5351 WEBSITE: abccommercial.com/contentsales HEAD, ABC SALES & BUSINESS DEVELOPMENT: Sharon Ramsay-Luck CONTACT: ramsay-luck.sharon@abc.net.au PROGRAMS: The Secret River: 2x85 min. HD, drama; 72 Dangerous Places to Live: 6x45 min. HD, factual; Birthplace of the Giants: 1x58 min. HD, factual/natural history; Tyke Elephant Outlaw: 1x80 min. HD & 1x55 min. HD, factual; Sammy J & Randy in Ricketts Lane: 6x24 min. HD, comedy; The New Adventures of Figaro Pho: 13x22 min./39x8 min. HD, children’s; 8MMM Aboriginal Radio: 6x30 min. HD, comedy; Black Comedy: 6x30 min. HD, comedy; Ready, Steady, Wiggle!: season 1, 52x11 min. HD/season 2, 52x11 min. HD, children’s; Prisoner Zero: 26x30 min. HD, children’s.

“We love great content and are fortunate to work with a talented bunch of producers who’ve entrusted us with quality programs that resonate with buyers and audiences worldwide. The diverse slate of content we represent spans multiple genres, interests and rights (including format sales). We ensure that we have a keen understanding of the needs of our clients and partners, and optimize sales opportunities with targeted and effective campaigns and promotions and by closely aligning content offers with scheduling interests.

Our sales team has substantial experience in servicing sales across all traditional and emerging platforms from our offices in Sydney and London.

We promote content and activate sales via our website, territory trips, tailored communications and by attendance at all major markets. As content creators ourselves, we appreciate the effort and care that goes into each and every production, and we remain committed to delivering strong sales results for the producers we work with.”

—Sharon Ramsay-Luck, Head, ABC Sales & Business Development

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ABS-CBN International Distribution ADDRESS: 10F ELJ Communications Center, Eugenio Lopez Dr., Mo. Ignacia St., 1103 Quezon City, Philippines TELEPHONE: (632) 411-1670 WEBSITE: internationalsales.abs-cbn.com VP, INTEGRATED PROGRAM ACQUISITIONS & INTERNATIONAL DISTRIBUTION: Evelyn “Leng” Raymundo CONTACT: leng_raymundo@abs-cbn.com PROGRAMS: Forevermore: 60x45 min. HD, family drama/romance; Two Wives: 60x45 min. HD, family drama/romance; The Legal Wife: 47x45 min. HD, family drama/romance; No Greater Love (Ikaw Lamang): 82x45 min. HD, family drama/romance; Tomorrow Belongs to Me (Sana Bukas Pa ang Kahapon): 44x45 min. HD, family drama/romance; Got to Believe: 72x45 min. HD, family drama/romance; Pure Love: 43x45 min.

HD, family drama/romance; Dream Dad: 55x45 min., romance/ drama; Oh My G!: 40x45 min. HD, family drama/romance; Bridges of Love: 40x45 min. HD, family drama/romance.

“A business unit of ABS-CBN, ABS-CBN International Distribution has been recognized in the global arena as a reliable foreigncontent provider and has been a premier source of high-quality Filipino programming in over 50 territories all over the world. It has sold over 30,000 hours of content worldwide.

Living up to this recognition, ABS-CBN International Distribution commits to add to its lineup highcaliber programs and movies with universal story lines, showcasing a mixture of distinct facial features ranging from Asian to Hispanic with an infusion of multicultural context.”

—Evelyn “Leng” Raymundo, VP, Integrated Program Acquisitions & International Distribution

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ARTE Sales ADDRESS: 8, rue Marceau, F 92785 Issy Les Moulineaux, France TELEPHONE: (33-1) 5500-7081 WEBSITE: www.artepro.com/sales HEAD, INTERNATIONAL SALES & ACQUISITIONS: Cédric Hazard HEAD, PRESALES & HEAD, ACQUISITIONS, HOME VIDEO DEPARTMENT: Alec Herrmann SALES MANAGERS: Audrey Kamga, Emilie Kleinmann, Anne Voirin CONTACT: infosales@artefrance.fr PROGRAMS: Sex, Lies and Tabloids: 1x52 min. HD, lifestyle; Hors d’oeuvre: 20x26 min. HD, art/gastronomy; The Hyenas of Harar: 1x52 min. HD, animal; The Mystery of the Pink Dolphin: 1x52 min. HD, animal; Immersed: 3x52 min. HD, drama; Debt Machine: 1x52 min./1x80 min. HD, current affairs; Little Secrets of Works of Art: 10x26 min. HD, art; Karaoke, The Magic Machine: 1x52 min. HD, social issues; An Eye on You: 1x52 min./ 1x90 min. HD, social issues; Alain Delon, A Unique Portrait: 1x52 min./1x90 min. HD, cinema documentary.

“ARTE Sales is the international program-sales unit of the European public channel ARTE. With a catalogue of over 4,000 hours of documentaries, we have made our mark on the five continents as the ultimate reference in documentary distribution, and we are proud to be a three-time winner of the TV France International Export Award, in 2007, 2012 and 2014.

We cover a wide range of fields, such as history, society, discovery, science, music and the arts. Since 2015, ARTE Sales also distributes drama and web content. We are present across all media and negotiate broadcasting rights as well as licenses for DVD editors and institutions. Our presales team also finds international funding for projects that are initiated by the channel and developed by independent producers. We aim to provide our partners the keys to understanding the world today.

Our commitment is to enlighten, inform and entertain.”

—Cédric Hazard, Head, International Sales & Acquisitions

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Artist View Entertainment ADDRESS: 7141 Valjean Ave., Suite 200, Van Nuys, CA 91406, U.S.A. TELEPHONE: (1-818) 752-2480 WEBSITE: www.artistviewent.com PRESIDENT: Scott Jones VP, WORLDWIDE SALES: Jay Joyce CONTACT: jay@artistviewent.com PROGRAMS: Warsaw 44: 1x119 min., drama; A Dark Reflection: 1x90 min., thriller; Marry Me… Alberta: 1x90 min., documentary; Jingle and Bell’s Christmas Star: 1x30 min., animation; Jingle All the Way: 1x30 min., animation; The Last Rescue: 1x90 min., war; Expendable Assets: 1x90 min., action; Paranormal Society: 1x90 min., horror; The Adventures of Pepper and Paula: 1x90 min., family/adventure; Adventures of a Pizza Guy: 1x90 min., adventure.

“Artist View Entertainment (AVE) is pleased to be attending MIPTV with a strong and very diverse lineup. For over two decades, AVE has focused heavily on feature-film releases and continues that tradition this year with the powerful Polish WWII box-office blockbuster Mistro 44, a.k.a.

Warsaw 44, and the highly controversial British theatrically released thriller A Dark Reflection.

In addition to these titles, AVE will present the unique and picturesque documentary Marry Me… Alberta, the first in a series of informative and entertaining feature docs that focus on the very popular ‘destination wedding’ craze. In addition to this flagship program, AVE will be presenting seven additional wedding-related pilots covering food, fitness and travel.

We are excited to be a part of this year’s MIPTV and the everchanging marketplace we call TV.” —Scott Jones, President

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Atlantyca Entertainment ADDRESS: Via Leopardi, 8, 20123 Milan, Italy TELEPHONE: (39-02) 430-0101 WEBSITE: www.atlantyca.com DISTRIBUTION MANAGER: Pedro Citaristi HEAD, ANIMATION DEPARTMENT & EXECUTIVE PRODUCER: Caterina Vacchi EXECUTIVE PRODUCER: Niccolo Sacchi CONTACT: pedrocitaristi@atlantyca.it PROGRAMS: Bat Pat: 52x11 min. HD, 2D animation/adventure/ comedy; Geronimo Stilton: 78x23 min. HD, 2D animation; Dive Olly Dive: 104x11 min., 3D animation/CGI; Bolts & Blip: 26x22 min., 3D animation/CGI; The Fixies: 104x6 min., 3D animation/CGI/education/adventure/comedy; Taka & Maka: 40x1 min., 3D animation/CGI; Dive Olly Dive and the Pirate Treasure: 1x80 min., 3D animation/CGI.

“Atlantyca is a transmedia entertainment company based in Milan, Italy. It maintains production and distribution, licensing, publishing and foreign-rights sales divisions. We are the IP owner and producer of two seasons of the globally popular animated children’s series Geronimo Stilton. To date, the series has been sold in over 130 countries, and Atlantyca, in partnership with France-based Superprod (with the broadcast participation of Rai Fiction and France TV), is currently producing a new season to be delivered in fall 2016.

Atlantyca Entertainment’s core strategy is to develop new content specifically for books, television and licensed merchandise, in addition to acquiring third-party properties, partnering with companies around the world for distribution on each of those platforms.

New on our production slate is Bat Pat, a spooky animated adventure-comedy. Atlantyca has partnered with Rai Fiction and RTVE to commence production, with delivery set for fall 2015.

Atlantyca’s distribution library includes The Fixies, Dive Olly Dive and Taka & Maka, as well as the new acquisition Bolts & Blip, produced by Red Rover and Toonbox, holding distribution rights for Italy, the U.K., Scandinavia and Eastern Europe.

The company’s licensing division continues to manage the international licensing initiatives for all the Geronimo Stilton brands and character spin-offs, as well as Bat Pat. Atlantyca’s foreign-rights division is dedicated to securing sales of translation rights for the Geronimo Stilton books, among many other properties we maintain rights to.”

—Pedro Citaristi, Distribution Manager 58

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Azteca ADDRESS: Periferico Sur 4121, Col. Fuentes del Pedregal, CP 14141 Mexico City, Mexico TELEPHONE: (52-55) 5251-1410 WEBSITE: www.comarex.tv VP, INTERNATIONAL SALES: Marcel Vinay Hill CEO, COMAREX: Marcel Vinay, Jr. CONTACT: Raul Mendoza, rmendoza@comarex.tv PROGRAMS: Así en el Barrio Como en el Cielo: 120x60 min., telenovela; UEPA: Un Escenario Para el Amor: 120x60 min., telenovela; The Man of Your Dreams (El Hombre de Tus Sueños): 13x60 min., comedy; I’m Your Double (Soy Tu Doble): 45x60 min. & format, reality/entertainment; La Academia Kids: 17 weeks, reality; Girls Only (Las Bravo): 120x60 min., telenovela; Acapulco… A Love to Remember (Siempre Tuya… Acapulco): 135x60 min., drama/telenovela; Lucky Me (Corazon en Condominio): 140x60 min., drama; Forbidden Love (Prohibido Amar): 90x60 min., drama/telenovela; The Agency (Hombre Tenias Que Ser): 105x60 min., drama.

“Azteca is one of the world’s largest producers of Spanish-language television programming.

Generating over 10,000 hours of content per year, the company operates two national television networks through its 300-plus owned stations. Its national channels are the familydriven Azteca 13 and the mid- to high-income and youth-focused Azteca 7, covering 97 percent and 95 percent of Mexican television households, respectively.

In the last [few] years, the company began operations of Proyecto 40, an over-the-air UHF channel, which brings the most noted cultural, social, economic and political Mexican opinion leaders together. Azteca also owns Azteca America, the fastest growing Hispanic television network in the United States, with a presence in 67 markets and home to 89 percent of U.S. Hispanic households. In addition, Azteca owns and operates the pay-TV networks AZMundo, AZCorazón and AZClik, reaching audiences in Latin America, Canada and Europe.”

—Marcel Vinay Hill, VP, International Sales

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Banijay International ADDRESS: 24 St John St., London EC1M 4AY, U.K. TELEPHONE: (44-203) 405-2065 WEBSITE: www.banijayinternational.com MANAGING DIRECTOR: Emmanuelle Namiech CONTACT: sales@banijayinternational.com PROGRAMS: The Pioneers: 6x60 min. HD, reality; Rock This Boat: 9x30 min. HD, reality; Outback ER: 8x30 min. HD, factual entertainment; Temptation Island: format, reality; King of Chess: format, entertainment; Breaking Love: format, reality; Something Special: reality.

“Leading international distributor Banijay International arrives at MIPTV with a portfolio of stand-out content across the reality, entertainment and factual genres.

Alongside brand-new factual-entertainment series such as The Pioneers, Rock This Boat: New Kids on the Block and Outback ER, the company has a raft of top formats available, including the adult reality entertainment hit Temptation Island.

Formats launching at the market include the brand-new reality telenovela Breaking Love, known as Amor a prueba in Chile, where it has been achieving record ratings during its 100-episode run; the engaging family interactive game show King of Chess, in which a reigning champion takes on the whole country; and the inspirational reality format Something Special, which sees a group of young athletes follow a dream at the Special Olympics in Los Angeles.”

—Corporate Communications

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Beyond Distribution ADDRESS: 41/42 Berners St., London W1T 3NB, U.K. TELEPHONE: (44-207) 323-3444 WEBSITE: www.beyonddistribution.com GENERAL MANAGER: Michael Murphy HEAD, SALES: Munia Kanna-Konsek HEAD, ACQUISITIONS: Caitlin Meek-O’Connor PROGRAMS: Hockey Wives: Married to the Game: 8x60 min.

HD, factual entertainment; Pati’s Mexican Table: 26x30 min.

HD, lifestyle; Game of Homes: 8x60 min. HD, lifestyle; Beyond Siberia: Riding the Road of Bones: 2x60 min. HD, adventure/travel; Anh Does Italy: 2x60 min. HD, adventure/travel; My France with Manu: The Rhone Valley: 2x60 min. HD, adventure/travel; Wild & Dangerous: 1x60 min.

HD, wildlife; Transforming Gender: 1x60 min. HD, people/ society; The Truth About Female Desire: 1x60 min. HD, people/ society; Myth or Science: You Are What You Eat: 1x60 min.

HD, science/technology.

“With offices in London, Sydney and Dublin, Beyond Distribution is a leading independent distributor of world-class television content. We’re excited to be launching a diverse range of new titles alongside our steadfast slate of returning series. Beyond is known for its strong content, encompassing everything from children’s to crime through to wildlife and lifestyle. We’ve got great content coming out of North America, with new titles including Hockey Wives, Transforming Gender and The Truth About Female Desire. We’re also thrilled to be bringing the brand-new format Game of Homes to the international market. Beyond’s name is synonymous with programs of broad commercial appeal to television audiences worldwide, and the catalogue comprises over 4,000 hours of top-quality and multi-award-winning programming.”

—Caitlin Meek-O’Connor, Head, Acquisitions

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Breakthrough Entertainment ADDRESS: 35 Britain St., Toronto, ON M5A1R7, Canada TELEPHONE: (1-416) 366-6588, ext. 234 WEBSITE: www.breakthroughentertainment.com PARTNER & EXECUTIVE PRODUCER: Ira Levy PARTNER & PRESIDENT, DISTRIBUTION: Nat Abraham PARTNER & CFO: Michael McGuigan DIRECTOR, SALES & ACQUISITIONS: Jodi Mackie CONTACT: Shabnam Shahin, sshahin@breakthroughentertainment.com PROGRAMS: Science Max: 13x30 min., kids; Sports Lab: 26x11 min., kids; Brojects: 39x30 min. HD, lifestyle/reality; A Day Without Cancer: 1x75 min., factual; Boundless: 30x60 min. HD, lifestyle/reality; David Rocco’s Dolce Vita: 65x30 min. & 1x60 min. HD, lifestyle/reality; Departures: 42x60 min., lifestyle/reality; Descending: 13x60 min., lifestyle/reality; Sticks and Stones: 1x60 min., lifestyle/reality; Nordic Lodge: 6x30 min., factual.

“Headquartered in Toronto, Breakthrough Entertainment Inc. (BEI), a world-class studio, is a leading producer and distributor of acclaimed prime-time comedy and drama series, as well as factual entertainment, documentaries, television movies, feature films, family entertainment and children’s series, both live action and animation. As one of Canada’s largest television production and distribution companies, BEI has licensed programs to major broadcasters worldwide. With a catalogue of over 3,000 half-hours of programming, the company handles distribution as well as presales, co-productions and third-party acquisitions. In addition to its dedicated program development, production and distribution divisions, Breakthrough’s award-winning digital media division ranks among the industry’s most respected producers of digital entertainment, including e-books, webisodes, online and mobile games.”

—Jodi Mackie, Director, Sales & Acquisitions

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CJ E&M Corporation ADDRESS: CJ E&M Center, 66 Sangamsan-ro, Mapo-Gu, Seoul 121-904, Korea TELEPHONE: (82-2) 371-8298 WEBSITE: lineup.cjenm.com CEO: SungSoo Kim HEAD, INTERNATIONAL ACQUISITIONS & SALES: JangHo Seo CONTACT: Diane Min, diane@cj.net PROGRAMS: Family Secrets: 100x35 min. HD, drama; Hogu’s Love: 16x60 min. HD, drama; Super Daddy Yeol: 16x60 min.

HD, drama; Three Meals a Day: 11x60 min. HD, entertainment; I Can See Your Voice: 8x70 min. HD, music; Grandpas Over Flowers: 12x60 min. HD, entertainment; The Dish of the Nation: 12x60 min. HD, food.

“CJ E&M, Asia’s number one content and media company, develops and produces trendsetting content for broadcast, motion picture, music and live entertainment.

Seeking to promote the globalization of Asian pop culture through a strategic ‘one source, multi-content’ approach, CJ E&M has won a wide and passionate following across the world. In its home country of Korea, CJ E&M operates 18 specialty cable channels covering diverse programming genres.

The company’s hit programs, including Grandpas Over Flowers, Ice Adonis, Emergency Couple, Three Meals a Day and others, are widely popular across Asia.”

—JangHo Seo, Head, International Acquisitions & Sales

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Content Television ADDRESS: 19 Heddon St., London W1B 4BG, U.K. TELEPHONE: (44-207) 851-6500 WEBSITE: www.contentmediacorp.com PRESIDENT: Greg Phillips EXECUTIVE VP, SALES & DISTRIBUTION: Jonathan Ford CONTACT: Jennifer Brinkworth, jennifer.brinkworth@contentmediacorp.com PROGRAMS: Olympus: 13x60 min., drama; Dominion Creek: 4x60 min., drama; Dead Rising: Watchtower: 1x113 min./ 9x10 min., drama; The Eichmann Show: feature, drama; 19-2: season 2, 10x60 min., drama; Warriors: 1x90 min., documentary; Flory’s Flame: 1x58 min., documentary; Going Clear: Scientology and the Prison of Belief: feature, documentary; Pacific Warriors: feature, documentary.

“Through our continuing collaborations with the world’s leading producers, Content Television is now established as one of the U.K.’s leading independent distributors of high-quality fiction and nonfiction programming. Our drama portfolio continues to go from strength to strength, with internationally renowned titles such as Line of Duty, Halo: Nightfall, Residue, Streetfighter: Assassin’s First, Olympus and 19-2 selling to broadcasters around the world.”

—Greg Phillips, President

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Cyber Group Studios ADDRESS: 44 B Quai de Jemmapes, 75010 Paris, France TELEPHONE: (33-1) 555-63232 WEBSITE: www.cybergroupstudios.com CEO & PRESIDENT: Pierre Sissmann VP, SALES, ACQUISITIONS & NEW MEDIA: Carole Brin CONTACTS: cbrin@cybergroupstudios.com; Asta Valancauskaite, astav@cybergroupstudios.com PROGRAMS: Zorro the Chronicles: 26x22 min. HD, kids 6-12/ CGI/animation/adventure; Mini Ninjas: 52x11 min. HD, kids 6-12/CGI/animation/action; The Long Long Holiday: 10x26 min./ 5x50 min. HD, kids 6-12/CGI/animation/adventure; G-Fighters: 26x22 min. HD, kids 6-10/CGI/animation/adventure; Zou: 104x11 min. HD, kids 3-6/CGI/animation; Mia: 39x11 min. HD, kids 2-6/CGI/animation; Mademoiselle Zazie: 78x7 min. HD, kids 5-8/CGI/animation/adventure; Balloopo: 52x11 min. HD, kids 3-6/CGI/animation/adventure; Tales of Tatonka: 52x13 min. HD, kids 4-8/CGI/animation/educative/adventure/documentary/live footage; Pom Pom and Friends: 78x7 min. HD, kids 2-5/ CGI/animation.

“Cyber Group Studios is a multi-awarded independent French producer and distributor specialized in top-quality kids’ programming with strong international appeal. The company was created in 2005 by a team of top executives with more than 30 years of experience. Cyber Group Studios has become one of the leaders in youth programming. The company has built a catalogue of series (all HD in 2D, 3D or CGI) representing 1,000 halfhours, targeted at children aged 2 to 14, tweens and families.

Cyber Group Studios distributes its own series as well as carefully selected third-party series. The company’s distribution is focused on the international market and has programs on air on the biggest terrestrial channels worldwide as well as on the major dedicated kids’ networks.

Cyber Group Studios’ mission is to bring to children and families around the world the best quality entertainment experience, thanks to the company’s pool of international top creative talent, its breakthrough technology enabling it to bring theatrical animation quality to TV and new digital platforms, and its distribution organization giving access to top broadcasters worldwide.

Cyber Group Studios seeks partnership opportunities (coproductions, distribution) with other producers around the world sharing its values.”

—Carole Brin, VP, Sales, Acquisitions & New Media 72

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DHX Media ADDRESS: Queen’s Quay Terminal, 207 Queens Quay W., Suite 550, Toronto, ON M5J 1A7, Canada TELEPHONE: (1-416) 363-8034 WEBSITE: www.dhxmedia.com CEO: Dana Landry SENIOR VP, DISTRIBUTION: Josh Scherba CONTACT: sales@dhxmedia.com PROGRAMS: Make It Pop: 20x22 min., tween; Twirlywoos: 50x11 min., preschool; KooKoo Harajuku: 26x22 min., kids; Inspector Gadget: 26x22 min., kids; Looped: 26x22 min., kids; Messy Goes to Okido: 52x11 min., preschool; Dr. Dimensionpants: 26x22 min., kids; Degrassi: 28x22 min., teen; Open Heart: 12x30 min., teen; The Gaming Show: 10x30 min., kids.

“DHX Media is proud to be coming to MIPTV with a high-quality slate that covers all demographics, from preschool to teens. Our new content for the market includes Make It Pop, a half-hour live-action tween musical comedy set in a boarding school, which centers on three teenage girls with a shared love of the K-pop aesthetic. KooKoo Harajuku is an animated show about a band called HJ5: Love, Angel, Music, Baby and their inspirational leader G. They’re crazy talented, but every time they start a gig something wild happens before they finish the first bar. Twirlywoos is the latest preschool offering from Ragdoll Productions. It’s a laugh-out-loud treat with lovable yet innocent comedy characters that use slapstick humor to encourage preschoolers to gain confidence in their own perceptions of the world and reinforce their understanding as they grow and develop.”

—Josh Scherba, Senior VP, Distribution

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Make It Pop: A half-hour live-action musical comedy set in a boarding school. It centers on three teenage girls with a shared love of the K-pop aesthetic who turn their high school upside down. Be it fashion, music or dance, it can always use a little K-pop shine. And these girls bring the shine, often to comic effect.

The students’ newfound independence at school is coupled with dramatic romances, expanding and deflating egos, and changing attitudes about themselves, each other and the world. It’s a place where every nuance and look can be encouraging, inspiring, criticizing or devastating. The stakes are high and the emotions raw. But hey, it’s a comedy.

KooKoo Harajuku: A show about a band called HJ5: Love, Angel, Music, Baby and their inspirational leader G. They’re crazy talented, but every time they start a gig something wild happens before they finish the first bar.

Twirlywoos: A laugh-out-loud treat with loveable yet innocent comedy characters, Twirlywoos is a safe world full of silly fun and surprises. Child-centric slapstick humor encourages preschoolers to gain confidence in their own perceptions of the world and reinforces their understanding as they grow and develop. The ever-curious Twirlywoos seek adventure and fun wherever they go. Whether in the real world or on their little red boat they love to hide, imitate and be surprised as they discover new things.

Looped: Ever wish you had a redo button, or knew you were having a pop-quiz before it popped? Wish you looked like a hero, or knew the class bully’s next move before him? Well, spoiler alert! Luc and Theor do. That’s because they’re stuck in a time-loop where every day is the same Monday.

Messy Goes to Okido: A comedy adventure series starring Messy, a little blue monster who lives in your house and loves nothing more than feeding on your socks! He’s furry, friendly, very inquisitive and always wants to go to Okido, a magical land where his friends Zoe and Felix live.

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DRG ADDRESS: 65 Chandos Place, London WC2N 4HG, U.K. TELEPHONE: (44-207) 845-5200 WEBSITE: www.drg.tv CEO: Jeremy Fox COO: Richard Halliwell CONTACT: Sancha Markson, s.markson@drg.tv PROGRAMS: Anno: format, factual entertainment; When the Orchestra Came to Town: format, entertainment; Killer Instinct: 10x60 min., factual; Genius: 8x60 min., factual; The Jesus Code: 6x60 min., factual; JFK & LBJ: A Time for Greatness: 1x60 min., factual; Obsession: Dark Desires: 10x60 min., factual entertainment; The Unemployables: 6x60 min., factual entertainment; Plebs: season 1, 6x30 min./ season 2, 8x30 min., comedy; Hooked: 12x60 min., drama.

“We provide a dedicated service to fit the unique requirements of individual programs, while benefiting from the backing of Modern Times Group, an international entertainment group conglomerate. We have a strong investment and co-financing track record and the ability to co-fund and enable early-stage project development across a wide range of compelling genres and ideas.

We operate just two key activities: acquisitions of programs and formats from producers and other content providers, and sales of programs and formats to broadcasters and other distribution outlets.

We work with the widest range of clients and partners, from independent producers and studios to international TV and social media networks and from on-air talent to media agencies and global media brands.

DRG has relationships with over 3,000 program buyers worldwide, as well as a highly motivated sales team, [comprised of] leaders in the field. DRG has distributed programs to broadcasters in 240 territories. We are passionate about the programs we offer, innovative in our marketing approach and we sell hard.”

—Corporate Communications

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Entertainment One ADDRESS: 145 King St. E., 3/Fl., Toronto, ON M5C 2Y7, Canada TELEPHONE: (1-416) 309-4200 WEBSITE: www.eonetv.com CEO: Darren Throop PRESIDENT, ENTERTAINMENT ONE TELEVISION INTERNATIONAL: Stuart Baxter CONTACT: sbaxter@entonegroup.com PROGRAMS: Making of the Mob: New York: 8x60 min., crime/docudrama; David Attenborough’s Great Barrier Reef: 3x60 min., natural history; The Enfield Haunting: 3x60 min./ 2x90 min., thriller; Hindsight: 10x60 min., drama; The Book of Negroes: 6x60 min., event miniseries; Halt and Catch Fire: season 2, 10x60 min., drama; Turn: season 2, 10x60 min., drama; The Red Road: season 2, 6x60 min., drama; Welcome to Sweden: season 2, 10x30 min., comedy; The Walking Dead: season 5, 16x60 min., drama/suspense.

“Entertainment One (eOne) develops, produces, acquires and distributes programming across all genres, with more than 4,500 hours of television programming around the globe.

The company continues to invest in high-end content by expanding its relationship with AMC and adding the new factual event miniseries Making of the Mob: New York and partnering with The Mark Gordon Company to distribute exclusive U.S. scripted programming. eOne maintains its commitment to working with the best creative talent in the business by teaming up with Atlantic Productions on its latest factual landmark series David Attenborough’s Great Barrier Reef as well as the U.K.’s Eleven Film’s scripted series The Enfield Haunting and Viacom’s hit VH1 series Hindsight. The company’s renewal success rate continues to soar with returning hits from AMC such as Halt and Catch Fire and The Walking Dead as well as the eOne-produced series Welcome to Sweden (NBC), Rogue (DIRECTV) and Bitten (Syfy/Space).”

—Stuart Baxter, President, Entertainment One Television International

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FOX International Channels Content Sales ADDRESS: 10 Hammersmith Grove, London W6 7AP, U.K. TELEPHONE: (44-203) 426-7042 WEBSITE: www.ficcontentsales.com EXECUTIVE VP, GLOBAL SPORTS & CONTENT SALES: Simon Thomas SENIOR VP, GLOBAL HEAD, CONTENT SALES: Prentiss Fraser CONTACT: sarah.asante@fox.com PROGRAMS: Killing Jesus: 3x60 min., history; Brain Games: season 4, 16x60 min., science & technology; Eat: The Story of Food: 6x60 min., food; Ultimate Airport Dubai: season 2, 10x60 min., science & technology; Nazi Attack on America: 1x60 min., history; Wayward Pines: 10x60 min., drama; Ask Yeniden: 5x90 min., telenovela; Ultimate Survival Alaska: season 3, 13x60 min., travel & adventure; Live Free or Die: 10x60 min., popular factual; Predator Fails: 3x60 min., natural history.

“FOX International Channels (FIC) Content Sales delivers a one-stop hub for buyers looking for outstanding content within the scripted and unscripted landscapes. Our portfolio brings together the best in ‘Fact + Fiction’ content, leveraging the wide range of original programming and formats owned, developed and produced by National Geographic Channels (NGC), FOX and the many independent production partners we collaborate with from around the world.

Our program catalogue includes captivating scripted dramas and well-known entertainment shows from the FIC bouquet of channels, [including] FOX, 24Kitchen and FOX Life.

Featuring stunning wildlife and natural-history programming, award-winning factual entertainment and innovative science and engineering series, our portfolio continues NGC’s commitment to bring the best unscripted programming to the international market. Character-driven series and headlinegrabbing specials from National Geographic Studios’ production unit remain a dominant feature in our factual offering.”

—Simon Thomas, Executive VP, Global Sports & Content Sales

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Gaumont International Television ADDRESS: 9200 W. Sunset Blvd., #820, Los Angeles, CA 90069, U.S.A. TELEPHONE: (1-310) 775-2440 WEBSITE: www.gaumontinternationaltv.com CEO: Katie O’Connell HEAD, INTERNATIONAL DISTRIBUTION & CO-PRODUCTION: Erik Pack CONTACT: sales@gaumontinternationaltv.com PROGRAMS: Hannibal: 39x60 min., drama; Hemlock Grove: 33x60 min., drama; Narcos: 10x60 min., drama; F is for Family: 6x30 min., animation/comedy; Hotel de la Plage: 12x60 min., drama.

“Gaumont International Television is a production and distribution studio based in Los Angeles and part of Gaumont, the legendary Europe-based motion picture studio. Gaumont, formed in 1895, is one of the main European production companies, with a film library holding over 900 titles. As an independent studio, Gaumont International Television is producing high-quality drama and comedy television programming for the U.S. and international markets with a number of projects currently in the works, including the third season of Hannibal for NBC and AXN, the third season of Hemlock Grove for Netflix, the first season of Narcos for Netflix, Barbarella for CANAL+ and Amazon, and the recently announced F is for Family for Netflix.”

—Corporate Communications

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Global Agency ADDRESS: Abdi Ipekci Caddesi, 53/12, 34367 Nisantasi, Istanbul, Turkey TELEPHONE: (90-212) 240-5769 WEBSITE: www.theglobalagency.tv CEO: Izzet Pinto HEAD, SALES: Catherine Stryker CONTACT: Fahriye Senturk, fahriye@theglobalagency.tv PROGRAMS: It’s Showtime: 60 min. format, reality/singing; Stairway to Fame: 120 min. format, singing/talent show; Keep Your Light Shining: 120 min. format, singing/talent show; Dance with Me: 60 min. format, talent show; Life Swap: 60 min. format, reality; Maral: 60 min. eps., drama; Broken Pieces: 60 min. eps., drama; A Part of Me: 60 min. eps., drama; Code of Honor: 60 min. eps., drama; Never Let Go: 60 min. eps., drama.

“Global Agency is the world’s leading independent distribution company and a major player in the international entertainment industry. Our catalogue encompasses a broad spectrum of genres, including reality, entertainment, talent and game shows, as well as drama, fiction and comedy series. This time around, we are proud to present some strong new formats at MIPTV 2015, with shows such as It’s Showtime, Stairway to Fame, Life Swap, I Bet You, Dance with Me and Flying Wheel in the entertainment space.

Meanwhile, our new drama highlights for the market are Maral, Code of Honor, Never Let Go and My Destiny. With so many upcoming series launches and terrific format hot picks, we are excited by our dynamic slate for MIPTV and know that we have something for everyone at this market.”

—Izzet Pinto, CEO

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Maral: Maral is an ambitious young woman who has a real flair for fashion. Orphaned at an early age and from a humble background, her one ambition is to become the CEO of ritzy department store Luna. As a way of getting a foot in the door, she finds a job as a waitress in the pastry shop. When she meets the chocolate chef, Sarp, it is love at first sight. However, Sarp has his own reasons for working there. He is trying to destroy the glamorous world of Luna from the inside. By a twist of fate, Maral is given the chance to step in as a temporary manager of the store. The longer she stays in the job and the closer she gets to achieving her dream, the more people around her plot to bring her down. The walls go up between her and Sarp. Will ambition succeed over love? Will Sarp demolish the glittering palace that Maral adores so much?

Broken Pieces: A story about difficult choices, tough decisions, entwined lives and parents torn between their children and their hearts. Gulseren comes from a poor background, while Cihan’s wife, Dilara, is wealthy. They both gave birth in the same hospital on the same day 15 years ago, but a mistake was made that would change their destinies. Having similar surnames, an absentminded nurse mixed up the babies and nobody noticed.

As the truth about the children is revealed, fundamental problems arise between the two families because of their totally different lifestyles and economic statuses. However, these events bring Cihan and Gulseren closer together. They have inexplicable feelings toward each other that they cannot run away from or ignore.

My Destiny: Serçe is a widow, living with her sister and her two sons in a slum area between skyscrapers near Bosphorus. She still mourns for her dead husband, Ramazan, who died two years ago.

However, while helping her best friend, Aliye, chase her husband, Serçe learns that her own husband had a mistress and a child.

Serçe’s whole world turns upside down. She decides to marry an old man but gives up since the man does not want her children.

After hearing of this marriage issue, Serçe’s mother-in-law, Safiye, gets angry and puts Serçe’s house up for sale (which she owns).

Serçe decides to buy the house and begins to work in a food company to pay for it. In the meantime, Serçe’s first love, Kadir, comes back and tries to get close to her. However, she is tired of living, since she has been cheated by the ones she trusted and loved most all through her life. One day, she takes all of her husband’s remnants, burns them and swears before her neighbors who came to watch her: from now on, she will live, work and look after her children only by trusting herself.

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GMA Worldwide ADDRESS: GMA Network Center, 10/Fl., EDSA Cor. Timog Ave., Diliman, Quezon City 1103, Philippines TELEPHONE: (632) 982-7777, ext. 9382/9392 WEBSITE: www.gmaworldwide.tv VP: Roxanne Barcelona CONTACT: Alvin Medrano, almedrano@gmanetwork.com PROGRAMS: Another Chance: 35x45 min., melodrama; Once Upon a Kiss: 35x45 min., romance/comedy/drama; Ruins of Love: 35x45 min., melodrama; More Than Words: 45x45 min., romance/comedy/drama; Healing Hearts: 35x45 min., melodrama; Village Doctor: 4x45 min., medical/documentary/ drama; Ilustrado: 12x45 min., historical/biographical/drama; Dading: 39x45 min., family/comedy/drama; The Half Sisters: 75x45 min., contemporary drama; The Other Mrs. Real: 40x45 min., contemporary drama.

“GMA Worldwide Inc. is dedicated to extending Filipino creativity and entertainment worldwide. With its programs presently seen in over 26 countries on four continents, GMA Worldwide continues to spread its values of quality, honest service and loyalty to its growing roster of business partners. These values keep GMA in the lead as the most awarded broadcast network in the Philippines. As such, GMA Worldwide is recognized as a dependable distributor of content and the chief source of great Filipino programming.

Having licensed over 60 titles worldwide on every platform, GMA Worldwide’s goal is to reach more and more viewers around the world via channel sales, online services and program syndication. Producing over 26 new dramas a year, our clients and partners can expect even-better-crafted programs featuring the Philippines’ greatest and brightest stars.”

—Roxanne Barcelona, VP

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ITV Studios Global Entertainment ADDRESS: The London Television Centre, Upper Ground, London SE1 9LT, U.K. TELEPHONE: (44-207) 157-3000 WEBSITE: www.itvstudios.com MANAGING DIRECTOR, ITV STUDIOS GLOBAL ENTERTAINMENT & ROW: Maria Kyriacou EXECUTIVE VP, DISTRIBUTION, EMEA & GLOBAL DIGITAL PARTNERS: Dan Gopal EXECUTIVE VP, DISTRIBUTION, THE AMERICAS: Greg Johnson EXECUTIVE VP, DISTRIBUTION, ASIA PACIFIC: Augustus Dulgaro PROGRAMS: Texas Rising: 8x60 min., drama; Aquarius: 13x60 min., drama; Good Witch: 10x60 min., drama; Arthur & George: 3x60 min., drama; Rectify: season 3, 6x60 min., drama; Mr Selfridge: season 3, 10x60 min., drama; 10,000 BC: 10x60 min. & format, entertainment; Get Your Act Together: format, entertainment; Quiz Duel: format, quiz show; Thunderbirds Are Go: 52x60 min., kids.

“We’re delighted to be launching Texas Rising to the global market with the MIPTV World Premiere Screening. Texas Rising is an epic and returnable series that tells the fascinating story of the Texas Rangers with cinematic scale. It boasts a world-class cast, including Ray Liotta, Bill Paxton and Olivier Martinez, and is directed by the Oscar-nominated Roland Joffé and produced by Thinkfactory Media’s Leslie Greif (Hatfields & McCoys). Texas Rising joins Aquarius and Good Witch in our portfolio of international drama.

One of our format highlights is 10,000 BC, a unique social experiment in which 20 people give up all their home comforts to live in the wilderness as a Stone Age community. It will make viewers all over the world think about everything we take for granted in 21st-century life.”

—Dan Gopal, Executive VP, Distribution, EMEA & Global Digital Partners

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Kanal D ADDRESS: Dogan TV Center, 100 Yil Mahallesi, 34204 Bagcilar, Istanbul, Turkey TELEPHONE: (90-212) 413-5111 WEBSITE: sales.kanald.com.tr CEO, DOGAN TV HOLDING: Irfan Sahin HEAD, SALES & ACQUISITIONS: Ozlem Ozsumbul CONTACTS: ozlemo@kanald.com.tr; sales@kanald.com.tr PROGRAMS: Matter of Respect (Seref Mesele): 16x100 min., drama; War of the Roses (Gullerin Savasi): 35x100 min., drama; For My Son (Poyraz Karayel): 10x100 min., drama; Life As It Is (Hayat Yolunda): 13x100 min., drama; My Partner Knows (Ben Bilmem Esim Bilir): 270x120 min. & format, studio game show.

“Dogan TV Holding (DTVH) is Turkey’s largest broadcasting group, focusing on free-to-air TV and radio broadcasting, production and digital platform operations with a pioneering role in implementing multiscreen strategies with the latest technologies on multimedia platforms, the internet and mobile. Dogan TV Holding operates the leading mainstream entertainment channel Kanal D; the leading news channel CNNTurk; the second largest DTVH platform, D Smart; the leading production company D Productions; the leading music production company DMC; three national radio stations; sister channel TV2; and many thematic channels.

Dogan TV Holding is the broadcasting arm of Dogan Group, which is one of the largest diversified conglomerates in Turkey, with operations in publishing, energy, retail, tourism and trade.

Dogan TV Holding reaches millions of Turkish audiences through its owned and commissioned high-quality content, as well as more than 100 million viewers in 94 countries in Eastern Europe, the Middle East, Eurasia and Latin America through its own dramas.

DTVH believes the core code of the media business is creating good content and distributing it in the right way to reach all.”

—Corporate Communications

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Keshet International ADDRESS: 12 Raul Valenberg St., P.O.B. 58151, 61580 Tel Aviv, Israel TELEPHONE: (972-3) 767-6412 WEBSITE: www.keshetinternational.com CEO: Alon Shtruzman MANAGING DIRECTOR, DISTRIBUTION: Keren Shahar CONTACT: Paula Cohen McHarg, paula.cohenmcharg@keshet-tv.com PROGRAMS: Imported: format, comedy; Help! I Can’t Cook: format, reality; BOOM!: format, game show; Your Family or Mine: format, scripted/comedy; Not a Star Yet: format, talent show; Babe Magnet: format, dating; Master Class: format, talent show; The Baker and The Beauty: 10x30 min. & format, scripted/romantic comedy; Dig: 6x60 min. & format, action/thriller; Rising Star: format, talent show.

“Keshet International (KI) is Keshet Media Group’s global distribution and production arm. Headed by CEO Alon Shtruzman, it includes Keshet’s local production outposts (Keshet UK, Keshet Australia and Keshet DCP in the U.S.) as well as its global distribution arm. KI’s catalogue consists of over 60 tried-and-tested properties that appeal to audiences worldwide, spanning all genres.

Highlights include the hit drama Prisoners of War, the original Israeli version of prime-time Emmy Award winner Homeland; the hit interactive talent show Rising Star; International Emmy Award-nominated docu-reality format Dear Neighbors, Help Our Daughter Find Love; the talent show Master Class; cross-platform format 50 Things You Have to Know; the reality dating format Girlfri3nds; the game show The Vault; and the International Emmy Awardwinning buddy comedy Traffic Light.”

—Corporate Communications

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Lightning International ADDRESS: Khuan Ying Building, 11/Fl., 85-89 Wellington St., Central, Hong Kong TELEPHONE: (852) 2815-7481 WEBSITE: www.lightninginternational.net CEO: James Ross DIRECTOR, BUSINESS DEVELOPMENT & MARKETING: Amanda Yang CONTACT: james@lightninginternational.net PROGRAMS: Essence of India: 12x30 min., food/travel; The Winemakers: 13x30 min. 4K, entertainment; Fit for Fashion: 10x60 min., reality; Men’s Fashion Insider: 13x30 min., entertainment; Snapatoonies: 52x30 min., kids; Pet Fashion: 52x30 min., factual entertainment; Bloomberg Game Changers: 21x30 min., documentary; Music for Elephants: 1x60 min., documentary; Wrestla-Girl: 13x30 min., sports entertainment; The Boston: 8x60 min., drama.

“Lightning International is based in Hong Kong. We distribute programs and movies of all kinds. Our focus is on acquiring high-quality content from Asia and distributing it globally.

Similarly, we represent content from Europe and North America, distributing it to our network of broadcasters and other platforms across the Asia-Pacific region.

Our experience is focused on the countries of the AsiaPacific region, from China to India, Japan to Australia, Korea to Singapore and everywhere in between. Our staff comes from many of the world’s biggest broadcasters, including the BBC, ITV, Turner, Al Jazeera, Bloomberg TV and ATV. We are looking to build relationships with Asian content owners who are interested in reaching a global audience and European or North American producers and distributors who would like to extend their reach into Asia.

We also offer representation and consulting services to companies who don’t yet have an office in Asia.”

—James Ross, CEO

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Lionsgate Entertainment ADDRESS: 2700 Colorado Ave., Santa Monica, CA 90404, U.S.A. TELEPHONE: (1-310) 449-9200 WEBSITE: www.lionsgate.com CEO: Jon Feltheimer PRESIDENT, INTERNATIONAL TV & DIGITAL DISTRIBUTION: Peter Iacono CONTACT: Max Lucas, mlucas@lionsgate.com PROGRAMS: Deadbeat: 23x30 min., comedy; Manhattan: 26x60 min., drama; The Royals: 20x60 min., drama; Chasing Life: 27x60 min., drama; Ascension: 6x60 min., limited series; Orange Is the New Black: 40x60 min., drama/comedy; Nashville: 65x60 min., drama; Mad Men: 92x60 min., drama.

“Lionsgate is a leading global entertainment company with a strong and diversified presence in motion-picture production and distribution, television programming and syndication, home entertainment, family entertainment, digital distribution, new channel platforms and international distribution and sales. Lionsgate currently has 34 television shows on 22 networks spanning its prime-time production, distribution and syndication businesses, including such critically acclaimed hits as the multiple Emmy Award-winning Mad Men and Nurse Jackie, the comedy Anger Management, the network series Nashville, the syndication success The Wendy Williams Show and the critically acclaimed series Orange Is the New Black.”

—Corporate Communications

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m4e/Telescreen ADDRESS: Altlaufstr. 42, 85635 Hoehenkrichen-Siegertsbrunn, Germany; Hoge Naarderweg 42, 1217 AG Hilversum, Netherlands TELEPHONE: (31-35) 6299-999 WEBSITE: www.m4e.de CEO, M4E: Hans Ulrich Stoef GENERAL MANAGER, TELESCREEN: Sjoerd Raemakers CONTACT: sjoerd@telescreen.nl PROGRAMS: Mia and me: 52x23 min., fantasy/adventure; Tip the Mouse: 52x7 min., comedy; Wissper: 52x7 min., adventure/ comedy; Atchoo!: 52x11 min., comedy; Miffy’s Adventures, Big and Small: 52x7 min., adventure; Conni: 52x12 min., adventure/comedy; Lizzie McGuire: 65x24 min., comedy; The Cramp Twins: 104x24 min., comedy; Dex Hamilton and the Doomsday Swarm: 1x75 min., sci-fi/adventure; Rudolf: 52x3 min., comedy.

“The m4e Group is an international kids’ and family entertainment and brand-management company. With our deep know-how and our qualified team of experts, we are managing all aspects of the business, from production up to the finished merchandise product, in order to roll out brands on a worldwide basis. Since 2003, we have worked with many animation and live-action producers/studios, created our own original content, and produced, co-produced, distributed and managed brands around the world. m4e’s library of nearly 2,300 episodes features some of the most recognizable brands such as Mia and me, Tip the Mouse, Rainbow Fish, Miffy, Lizzie McGuire, Conni and many more. Currently, m4e has 130 episodes in production and eight new shows in development.

Our subsidiary company Telescreen, with 32 years of experience in media distribution and an established network, also provides strategic media distribution to third parties. Apart from m4e’s own productions/co-productions, Telescreen represents a wide range of international producers and broadcasters, selling and distributing high-quality programs to all major TV channels in the world.”

—Hans Ulrich Stoef, CEO, m4e

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Multicom Entertainment Group ADDRESS: 1575 Westwood Blvd., Suite 300, Los Angeles, CA 90024, U.S.A. TELEPHONE: (1-310) 445-0700 WEBSITE: www.multicom.tv CHAIRMAN: Irv Holender PRESIDENT: Darrin Holender SALES COORDINATOR: Jesse Baritz CONTACT: irv@multicom.tv PROGRAMS: Drake’s Homecoming: The Lost Footage: music/ documentary; Blood is Blood: thriller; The Art and Crimes of David Choe: documentary; How Sweet It Is: 1x104 min., musical/comedy; Sir Arthur Conan Doyle’s The Lost World: 66x60 min., adventure; Classic Television Series Package: 700+ hrs., drama; Factual Entertainment Package: 1,500+ hrs., factual/history/documentary/biography/music; Scripted Television Series Package; Cult Classic Film Library: action/ horror/suspense/comedy.

“Headquartered in Los Angeles, Multicom Entertainment Group was established by veteran television executive Irv Holender to serve as an independent global television distribution company with a focus on the worldwide television market, as well as digital media platforms, including pay-perview, internet, mobile channels, co-productions, publishing, licensing and merchandising. Multicom Entertainment is also involved in co-productions of original programming, working in joint venture with leading broadcasters and entertainment companies.”

—Corporate Communications

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Off the Fence ADDRESS: Herengracht 105/107, 1015 BE Amsterdam, Netherlands TELEPHONE: (31-20) 5200-222 WEBSITE: www.offthefence.com CEO: Ellen Windemuth MANAGING DIRECTOR, DISTRIBUTION: Bo Stehmeier CONTACT: bo@offthefence.com PROGRAMS: Girl Eat World: 10x30 min., lifestyle; Dazzle: The Hidden Story of Camouflage: 1x60 min., history; Extreme Science: 3x60 min., science; Finding Little Italy: 6x60 min., travel/adventure; Animal Movers: 13x30 min., nature/ wildlife; The Condor’s Shadow: 1x60 min., nature/wildlife; Raw Travel: 34x30 min., travel/adventure; Travel Bug: 52x60 min., travel/adventure; Love & Hip Hop: 120x60 min., 8x30 min. & 1x90 min., lifestyle; David Tutera: CELEBrations: 17x60 min., lifestyle.

“2015 is an exciting year for Off the Fence Distribution as we step up our third-party cofinancing, especially in the history, science and wildlife genres. This year we will focus on strategic co-financing opportunities, enabling us to offer access to the world’s best specialist factual prime-time slots. It will also be a year in which we will continue growing our channelservicing businesses. In the last 18 months, we helped step up 12 regional digital networks focusing on special-interest content. In 2015, we will be actively scaling up this service.

For this year’s MIPTV, we are taking our most diverse catalogue to date, totaling over 6,000 hours of outstanding nonfiction programming that we know audiences will love. Our portfolio ranges from lifestyle and travel through to natural history and science, comprised of exceptional titles from our independent producers and broadcaster partners and our own production slate. Debuting at the market will be Girl Eat World from Lucky Bean Media, Dazzle: The Hidden Story of Camouflage from Jonnie & Kate Films and Extreme Science from Curveball Productions.”

—Bo Stehmeier, Managing Director, Distribution

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ORF-Enterprise ADDRESS: Europlaza, Building A, Am Europlatz 1, 1120 Vienna, Austria TELEPHONE: (43-1) 87878-13030 WEBSITE: contentsales.orf.at MANAGING DIRECTOR: Beatrice Cox-Riesenfelder HEAD, CONTENT SALES INTERNATIONAL: Marion Camus-Oberdorfer CONTACT: contentsales@orf.at PROGRAMS: Suburbia: Women on the Edge: 10x48 min., comedy; When Summer Ends: 1x90 min., drama; Yummy: Cooking with Kids: 48x15 min., kids/edutainment; Vanishing Kings: Lions of the Namib: 1x52 min., documentary/nature; The Grey and the Red: Secrets of Squirrels: 1x52 min. 4K, documentary/ nature/wildlife; Wild Venice: 1x52 min. 4K, documentary/nature/ wildlife; Africa’s Wild West: Stallions of the Namib Desert: 1x52 min., documentary/nature/wildlife; Lionsrock: Return of the King: 1x52 min., documentary/nature/wildlife; Forest of Fantasies: 1x52 min., documentary/nature/wildlife; Engadin: Switzerland’s Wilderness: 1x52 min., documentary/ nature/wildlife.

“ORF-Enterprise—Content Sales International will surprise with its funky new series Suburbia: Women on the Edge.

ORF’s UNIVERSUM strand presents enthralling new impressions of roaring lions and cute squirrels: Vanishing Kings: Lions of the Namib and The Grey and the Red: Secrets of Squirrels in 4K will not fail to impress.

Captivating wilderness from Austria’s Forest of Fantasies, Engadin: Switzerland’s Wilderness and Africa’s Wild West, with its multifaceted animal world, show astonishing insights into animal behavior and exceptional survival strategies.

We look forward to the upcoming MIPTV and hope to convince [buyers] with our special selection of new programs in 2015.”

—Marion Camus-Oberdorfer, Head, Content Sales International

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Rainbow ADDRESS: Via Brecce, 60025, Loreto, Italy TELEPHONE: (39-071) 7506-7500 WEBSITE: www.rbw.it FOUNDER & CEO: Iginio Straffi COO: Joanne Lee HEAD, SALES & CO-PRODUCTION: Andrea Graciotti VP, CONTENTS: Cristiana Buzzelli CONTACT: tvsales@rbw.it PROGRAMS: Winx Club 7: 26x30 min., 2D animation/comedy/action; Winx Club 6: 26x30 min., 2D & 3D animation/CGI/comedy/action; Royal Academy (working title): 26x30 min. HD, 2D animation or CGI/comedy; My American Friend: 26x20 min., live action; Winx Club 3D Magical Adventure: feature film, 3D animation/ comedy/action; Mia and me: seasons 1 & 2, 52x30 min., live action/3D animation/CGI; PopPixie: 52x13 min., 2D animation/ comedy; Huntik: seasons 1 & 2, 52x30 min., 2D animation/ adventure/comedy.

“Rainbow is a world leader in the kids’ entertainment industry, dedicated to TV and feature-film productions, along with managing business activities from concept to production to global distribution. Rainbow’s successful distribution of its content in diverse media, including TV, theater and the internet, as well as in the consumer-products industry, has led to the company being ranked on the top of the yearly global licensor list worldwide, and first in Europe. Rainbow’s property list includes Tommy & Oscar, Prezzy, Monster Allergy, Winx Club, Huntik: Secret and Seekers, PopPixie, Maya Fox, Gladiators of Rome and Mia and me. The company is headquartered in Italy, with subsidiaries in Moscow, Hong Kong and Singapore.”

—Corporate Communications

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Red Arrow International ADDRESS: Medienallee 6, 85774 Unterföhring, Germany TELEPHONE: (49-89) 9507-2320 WEBSITE: www.redarrowinternational.tv MANAGING DIRECTOR: Henrik Pabst CONTACT: sales@redarrowinternational.tv PROGRAMS: Bosch: 10x45 min., crime/drama; The Big Surprise: format, entertainment; 100 Code: 12x45 min., crime/drama; Real Men: format, reality; Lilyhammer: 24x45 min., dramedy; Santas in the Barn: format, reality; Remedy: 20x45 min., drama; Meet My Idol: format, entertainment; Married at First Sight: format & U.S. version, 21x45 min. & 2x90 min. & 2x120 min., reality; Fence Off!: format, entertainment.

“Red Arrow International is a world-leading TV distributor of scripted, factual and formatted shows from Red Arrow’s global group of production companies, outstanding third-party producers and digital-content partners.

Red Arrow International is a major coproducer of global entertainment, providing substantial production financing for scripted and non-scripted projects. Recent international highlights include Bosch (Amazon), Lilyhammer (Netflix), Married at First Sight (FYI) and The Taste (ABC).

With offices in Munich, Los Angeles and Hong Kong, Red Arrow International has a truly global reach and distributes acclaimed, quality content to over 200 territories worldwide.

Red Arrow International is part of Red Arrow Entertainment Group, made up of 13 production companies across seven countries; the Los Angeles-based MCN Collective Digital Studio; and creative partnerships and joint ventures with STV, Screenz, Sync Media and United Artists Media Group (Mark Burnett/Hearst).

Red Arrow Entertainment Group is a wholly owned subsidiary of ProSiebenSat.1 Media, one of Europe’s leading media groups.”

—Henrik Pabst, Managing Director

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Rive Gauche Television ADDRESS: 15300 Ventura Blvd., Suite 507, Sherman Oaks, CA 91403, U.S.A. TELEPHONE: (1-818) 784-9912 WEBSITE: www.rivegauchetelevision.com CEO: Jon Kramer VP, INTERNATIONAL DISTRIBUTION: Bryan Gabourie CONTACT: bryan@rgitv.com PROGRAMS: Am I a Boy or a Girl: 10x30 min., documentary/ reality; Where Cool Came From: 20x30 min., documentary/ reality; Back to Basics: 8x30 min., lifestyle/food; The Day I Almost Died: 8x60 min., documentary/reality; Fix It & Finish It: 150x30 min., lifestyle/renovation; APB with Troy Dunn: 6x60 min., crime/reality; The Super: 26x30 min., reality; Buying: 86x30 min., lifestyle/real estate; Born to Explore: 26x60 min., reality/travel/documentary; Race to the Scene: 8x60 min., reality/competition.

“Founded in 1994, Los Angeles-based Rive Gauche Television is dedicated to the production, co-production, acquisition and worldwide distribution of television programming and formats. The company has amassed an expansive portfolio of almost 2,000 hours of non-scripted programming and awardwinning documentaries, aired by broadcasters in over 130 countries worldwide. As one of the premier sources for high-quality, top-rated series and specials, Rive Gauche represents some of the most prolific U.S. network producers as well as many of the premier cable channels through co-production and distribution agreements. The company is best known for delivering unique programming and building global brands, including Dog Whisperer with Cesar Millan, My Strange Addiction, My Crazy Obsession, Operation Repo, Scare Tactics, Homicide Hunter, Sins & Secrets, Happily Never After and Evil Twins.”

—Jon Kramer, CEO

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Saban Brands ADDRESS: 10100 Santa Monica Blvd., Suite 500, Los Angeles, CA 90067, U.S.A. TELEPHONE: (1-310) 557-5230 WEBSITE: www.sabanbrands.com PRESIDENT: Elie Dekel SENIOR VP, GLOBAL DISTRIBUTION: Frederic Soulie CONTACT: fsoulie@sabanbrands.com PROGRAMS: Power Rangers Dino Charge: 22x22 min., kids 6-11/ boys/action; Julius Jr.: season 2, 52x11 min., kids 2-5/animation/ preschool; Digimon Fusion: season 2, 24x22 min., kids 6-11/boys/ action; Popples: 52x11 min., kids 5-8/animation/comedy; Luna Petunia: 52x11 min., kids 3-6/preschool; Emojiville: animation/comedy.

“Saban Brands and Cirque du Soleil Média unveiled Luna Petunia as the title of their upcoming preschool series inspired by the magical world of Cirque du Soleil. The company is also reimagining the lovable Popples characters for a whole new generation of kids with a brand-new animated Netflix original series, launching in fall 2015. Another addition to Saban Brands’ portfolio is Emojiville, a multiplatform kids’ property that follows three young emojis and their hilarious antics. Power Rangers Dino Charge, the current season of Saban’s Power Rangers series, premiered in the U.S. this February and is delivering thrilling new dino-fueled action and adventure. Award-winning preschool series Julius Jr. debuted a second season on Nick Jr. in fall 2014. Season two of powerful anime icon Digimon Fusion premiered in the U.S. in March and will roll out globally throughout 2015.”

—Frederic Soulie, Senior VP, Global Distribution

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SOMOS Distribution ADDRESS: 2601 South Bayshore Dr., Suite 1250, Miami, FL 33133, U.S.A. TELEPHONE: (1-786) 220-0280 WEBSITE: www.somosdistribution.net PRESIDENT & CEO: Luis Villanueva VP & COO: Francisco Villanueva CONTACT: fvillanueva@somosdistribution.net PROGRAMS: Kacak: season 1, 78x45 min./season 2, 80x45 min., drama; Gumus: 200x45 min., drama; Old Story: 26x45 min., drama; Secretos: 21x40-60 min., unitary; Milagros: 60 min. per week, unitary; Stone in the River: 8x45 min., fiction; Nurses: 20x50 min., fiction; Crack Them Up: 60 min. format, comedy; Beat the Champion: 60 min. format, entertainment; Bite of China: 7x50 min., documentary.

“SOMOS Distribution is a first-class audiovisual programming distributor in all genres worldwide. Its business is built on the experience and deep knowledge of a multicultural sales and management team, with over 20 years of experience and strong industry ties. SOMOS Distribution has the human and technical resources, along with the facilities necessary to ensure the most efficient, productive and comprehensive coverage of all territories worldwide. Our sales and distribution capabilities enable us to exploit the commercial potential of traditional channels such as broadcasters, cable and satellite transmitters to pay-per-view and the growing internet and video-on-demand market, along with all other platforms that have redefined the growth of the industry.

SOMOS Distribution is characterized and widely recognized by its speed, dynamism, foresight and its ability to open new markets to novel and nontraditional content.”

—Corporate Communications

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Sony Pictures Television ADDRESS: Sony Pictures Europe House, 25 Golden Square, London W1F 9LU, U.K. TELEPHONE: (44-20) 7406-3000 WEBSITE: www.sptformats.com SENIOR VP, INTERNATIONAL DISTRIBUTION, FORMATS: Jane Dockery VP, ACQUISITIONS: Lisette van Diepen CONTACT: Jane_Dockery@spe.sony.com PROGRAMS: Prized Apart: 60 min., entertainment; Win Your Wish List: 60 min., entertainment; Man V Fly: 3 min. & 30 min., entertainment; Release the Hounds: 60 min., entertainment; Dragons’ Den: 60 min., factual entertainment; Raid the Cage: 60 min., entertainment.

“Sony Pictures Television (SPT) is one of the television industry’s leading content providers, producing and distributing programming worldwide in every genre and for every platform. In addition to managing one of the industry’s largest libraries of award-winning feature films, television shows and formats, SPT is home to a thriving U.S. production business and operates 19 wholly-owned or joint-venture production companies in 13 countries around the world.

SPT’s worldwide networks portfolio includes 148 channel feeds, which are available in 178 countries reaching more than 1.2 billion cumulative households worldwide. Sony Pictures Television is a Sony Pictures Entertainment company.”

—Corporate Communications

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Starz Worldwide Distribution ADDRESS: 9242 Beverly Blvd., Suite 200, Beverly Hills, CA 90210, U.S.A. TELEPHONE: (1-424) 204-4043 WEBSITE: www.starzglobal.com EXECUTIVE VP: Gene George VP: Alisha Serold SALES EXECUTIVE: Meggan Kimberley CONTACT: info@starz.com PROGRAMS: Flesh and Bone: 8x60 min., drama/live action; Black Sails: season 2, 10x60 min., drama/live action; Power: season 2, 10x60 min., drama/live action; A Belle for Christmas: 1x91 min., holiday/family; The Dog Who Saved Summer: 1x90 min., holiday/family; Golden Shoes: 1x86 min., family; Hit the Floor: season 2, 12x60 min., drama/live action; Survivor’s Remorse: 6x30 min., comedy/live action; Christmas Under Wraps: 1x86 min., holiday/family; A Perfect Christmas List: 1x89 min., holiday/family.

“Starz Worldwide Distribution is a leading global distributor of movies, television series, documentaries, children’s programming and other video content. Starz Worldwide Distribution licenses and syndicates Starz original series and other owned and licensed third-party programming on a worldwide basis. Starz Worldwide Distribution’s partnerships with independent producers provide high-quality and diverse programming to its clients, while its experience in the field distinguishes it as a premier supplier in the global content marketplace. Starz Worldwide Distribution is a Starz business.”

—Gene George, Executive VP

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Studio 100 Media ADDRESS: Sapporobogen 6-8, 80637 Munich, Germany TELEPHONE: (49-89) 960-8550 WEBSITE: www.studio100media.com CEO: Patrick Elmendorff HEAD, GLOBAL DISTRIBUTION: Martin Krieger CONTACT: Katharina Muck, katharina.muck@studio100media.com PROGRAMS: Blinky: 52x11 min., kids 5-7/CGI; Nils Holgersson: 52x13 min., kids 6-11/CGI with 2D elements; K3: 52x13 min., kids 6-8/2D animation; Heidi: 39x22 min., kids 5-8/CGI/3D animation; Tashi: 52x11 min., kids 6-11/CGI with 2D elements; Ghost Rockers: 53x12 min., kids 8-14/live action; Vic the Viking: 78x12 min., kids 5-8/CGI/3D animation; Trains: season 1, 46x5 min./season 2, 46x5 min., kids 3-7/CGI/3D animation; Knietzsche: 26x3 min., kids 5-12/2D animation; Maya the Bee: 78x12 min., kids 4-7/CGI/3D animation.

“Studio 100 Media is an international production and distribution company within the children’s and family entertainment sector. Based in Munich, Germany, the company is a 100-percent subsidiary of Belgian firm Studio 100. The company develops and acquires new content, engages in co-production and cofinancing activities and is also responsible for the international distribution of its own and thirdparty rights. With the new film division under the banner Studio 100 Film, a 100-percent subsidiary of Studio 100 Media, the company has stepped into worldwide cinematic film sales.

Studio 100 Media’s business model is the perfect vertical and horizontal integration of its IP. In marketing its license rights, the company pursues a global strategy within sectors ranging from licensing and merchandising, TV sales, home entertainment, games and interactive right through to theatrical movies, stage shows and theme parks.”

—Patrick Elmendorff, CEO

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Telefe ADDRESS: Prilidiano Pueyrredón 2989, 2/Fl., B1640ILA, Martinez, Buenos Aires, Argentina TELEPHONE: (54-11) 4102-5994 WEBSITE: www.telefe.com INTERNATIONAL BUSINESS DIRECTOR: Tomas Yankelevich CONTENT DISTRIBUTION MANAGER: Daniel Otaola CONTACT: dotaola@telefe.com.ar PROGRAMS: Yes or No: format, interactive/fiction; Pope Francis, The Story of Jorge Bergoglio: 1x90 min., documentary; The Entrepreneur: A Million to Start Up: reality; Love Road: 120x60 min., telenovela; The Legacy of Rock and Roll: 150x60 min., romantic comedy; Dear Daddies: 184x60 min., dramatic comedy; We Are Family: 183x60 min., family comedy; Candy Love: 120x60 min., telenovela; Graduates: 180x60 min., romantic comedy.

“Telefe, a tireless originator of content and huge stars, [is operating] in an increasingly demanding and constantly evolving market, establishing itself as one of the most important and renowned Spanish-speaking content production [outfits].

Telefe’s catalogue is comprised of 70 percent of its own productions, with 5,100 hours of content. It has 12,000 square meters of production capacity and four large producing centers. [The company’s productions have been translated into] over 35 languages in over 100 countries.

Besides being home to the most important national and international figures, its products go beyond the screen and become theater, musical, merchandising and licensing hits.

The international business area [represents] one of the most important programming distributors, featuring the most complete catalogue [in] the market. Seeking the active participation of the viewer and always betting on new technology, Telefe develops digital content and strategies through formats such as the web, mobile and second screen.”

—Corporate Communications

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Televisa Internacional ADDRESS: 6355 NW 36 St., Miami, FL 33166, U.S.A. TELEPHONE: (1-786) 265-2500 WEBSITE: www.televisainternacional.tv VP: Fernando Perez-Gavilán GENERAL DIRECTOR, SALES: Carlos Castro CONTACT: Hugo Treviño, htrevino@televisa.com.mx PROGRAMS: Shadows of the Past: 150x60 min., classic telenovela; Ask God for Forgiveness…Not Me: 150x60 min., classic telenovela; The Single Chef: 8x90 min., dating/cooking/ reality; The Assembly Game: 30-45 min. eps., game show; Generation Gap: 30-45 min. eps., game show; Stand Up: 120 min. eps., talent show.

“Grupo Televisa is the largest mass-media company in the Hispanic world, and a major player in the global entertainment industry. The company is involved in TV production and broadcasting, restricted TV signals production, TV programs’ international distribution, direct-to-home satellite TV, cable TV and telecommunication services, magazine publishing and distribution, radio programs’ production and broadcasting, live sports and entertainment events, film production and distribution, a website operation, and it also participates in the game and raffles industry.

It produces more than 90,000 hours of content a year; it transforms universal stories into local successes by creating alliances and performing tailor-made productions. Televisa is a global entertainment company.”

—Corporate Communications

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TM International

I NT E R N AT I O N A L

ADDRESS: Luise-Ullrich-Str. 6, 82031 Gruenwald, Germany TELEPHONE: (49-89) 290-930 WEBSITE: www.tmg.de MANAGING DIRECTOR: Herbert L. Kloiber HEAD, INTERNATIONAL SALES: Carlos Hertel CONTACT: sales@tmg.de PROGRAMS: The Curse of the Falcon: 80x30 min./160x15 min.

HD, kids/mystery/adventure; Hogi: 1x90 min. HD, kids/ documentary/comedy; Sapphire Blue: 1x116 min. HD, kids/mystery/romance/adventure; Ruby Red: 1x122 min. HD, kids/mystery/romance/adventure; Valentine’s Kiss: 2x90 min.

HD, romantic drama; Hubert & Staller: 82x60 min. HD, crime.

“TM International (TMI) was founded in 2008 as the international distribution arm of Tele München Group (TMG). Since then, the program portfolio has continued to grow year on year. Alongside TMG’s own TV productions, such as the much-loved Rosamunde Pilcher adaptions for ZDF or the internationally acclaimed miniseries The Seawolf and Moby Dick, TMI also handles the worldwide distribution of TMGproduced feature films, such as the Precious Stone trilogy from the best-selling novels of the same name by Kerstin Gier (Ruby Red, Sapphire Blue, Emerald Green). In addition, TMI markets acquisitions such as the worldwide hit series Flashpoint and the kids’ mystery series The Curse of the Falcon. On top of all this, TMI is responsible for the overseas distribution of formats and productions from Odeon Entertainment and the Austrian broadcaster ATV, both of which TMG is a major shareholder in. The portfolio is completed by an exciting feature-film catalogue comprising international blockbusters such as Terminator, Rambo I to III, Primary Colors and many more.”

—Corporate Communications

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Tricon Films & Television ADDRESS: 786 King St. W., Toronto, ON M5V 1N6, Canada; 602 Hampton Dr., Venice, CA 90291, U.S.A. TELEPHONE: (1-416) 341-9926 (Canada), (1-310) 450-0101 (U.S.A.) WEBSITE: www.triconfilms.com PRESIDENT: Andrea Gorfolova EXECUTIVE VP, DISTRIBUTION & BUSINESS DEVELOPMENT: Jon Rutherford CONTACT: Lia Dolente, lia@triconfilms.com PROGRAMS: Real Rob: 8x30 min., scripted/comedy; The Divide: 8x60 min., crime/drama; Sensitive Skin: 12x30 min., dramedy; Rock Icons: 10x30 min., documentary; Garfunkel and Oates: 8x30 min., scripted/comedy; Maron: 36x30 min., scripted/comedy; The Expandables: 14x30 min., lifestyle/ home renovation; Custom Built: 26x30 min., lifestyle/home renovation; Off the Map with Shannen & Holly: 6x30 min., travel/reality; Shutterbugs: 52x11 min., preschool/animation.

“Tricon Films & Television is widely recognized as a leading independent producer and distributor in the global marketplace. With offices in both Toronto and Los Angeles, Tricon distributes high-quality, award-winning content to prominent worldwide media companies such as NBCUniversal, Viacom, Apple, Disney, Sony, Discovery, AMC Networks, Bell Media, Netflix, Scripps Networks, RTL Group, Turner, A+E Networks, CANAL+, Foxtel, Google and Sky. The company’s distribution division, Tricon International, has grown a library of almost 3,000 hours of original and acquired programming, including the award-winning sci-fi drama series Sanctuary. The company’s extensive catalogue, which includes prime-time scripted drama and comedy; factual and lifestyle; kids, family and animation; and documentary series and specials, is now seen on over 500 international broadcasters and platforms in over 170 countries. Tricon’s reputation for successful international alliances has led to a number of partnerships, such as our exclusive output agreement with AMC Networks to distribute and represent all of IFC’s original scripted comedies, including the Will Ferrell satire The Spoils of Babylon, Maron and Garfunkel and Oates. The company also launched AMC Studios’ crime thriller The Divide, which is AMC’s sister channel WE tv’s first original scripted drama, to great international success.”

—Jon Rutherford, Executive VP, Distribution & Business Development

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ZDF Enterprises ADDRESS: Erich-Dombrowski-Str. 1, 55127 Mainz, Germany TELEPHONE: (49) 6131-9910 WEBSITE: www.zdf-enterprises.de PRESIDENT & CEO: Alexander Coridass EXECUTIVE VP & COO: Fred Burcksen CONTACT: info@zdf-enterprises.de PROGRAMS: The Invasion: 2x50 min. HD, history/biography; Secrets of the Bible: 13x50 min. HD, history/biography; Apocalypse Neanderthal: 1x90 min./2x50 min. HD, history/biography; Arne Dahl: season 2, 10x60 min./ 5x115 min. HD, crime/suspense; Blochin: The Living and the Dead: 1x90 min. & 4x60 min. HD, crime/suspense; Blue Eyes: 10x60 min. HD, crime/suspense; Captain Flinn and the Pirate Dinosaurs: 52x11 min. HD, preschool/animation; Four and a Half Friends: 26x26 min. HD, kids 6-10/animation; Crime Watch XY: 90 min. eps. HD, reality/crime; Quiz Champion: 150 min. eps. HD, format/quiz show.

“Our four genres each bring their individual highlights to MIPTV: ZDFE.drama offers a new season of Arne Dahl’s popular crime novels about an elite force within the Swedish police.

Crime Watch XY, ZDFE.entertainment’s MIPTV hit, is one of the most successful TV formats on German television, with almost 500 shows aired, and was the first reality show in the world. ZDFE.factual features The Invasion: The Outbreak of World War II, a groundbreaking German-Polish co-production that tells the inside story of the Third Reich in times of peace and war. And ZDFE.junior presents the animated actionadventure comedy series Captain Flinn and the Pirate Dinosaurs, for preschoolers and older children, about four pirate kids who have set sail to fight bossy, pirate dinosaur baddies.

At MIPTV, we are looking for exciting new content, on the one hand to assist our network ZDF in the fulfillment of its program needs, and on the other hand as our own investment opportunity in exchange for distribution rights.”

—Alexander Coridass, President & CEO

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