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DAY 02 05 DEC 2013



Official opening today!


Co-stars Andy Lau and Gordon Lam share the production experience


Challenges faced by successful box office films from Asia

Wi-Fi access in Exhibition Halls B & C is kindly sponsored by MBS.

SSID: atf_ss_market Password: atfssmkt13 Note: Bandwidth is limited and may not be sufficient for streaming of videos.

CONTENTS Editorial & Production Team NG Yuina Eudora CHEW LIM Shibin KHOO Boo Leong NG Ek Heng Shouvik MUKHERJEE Hannah PICHAY Indra GURUNG Tiffany KHOO LIM Yue Feng Andrew LOW LEE Man Tshun

04 06


Project Management Senior Project Director

YEOW Hui Leng

Project Manager

Joyce CHUA

Marketing Senior Marketing Executive

Kas XIE Marketing Executive

LIM Shibin

10 16



Public Relations Senior Manager

NG Yuina Marketing Executive

Eudora CHEW

Buyers Project Sales Executive

Kathy KIM



Project Coordinator

Felicia LIM

Exhibitors & Participants Senior Project Sales Executive

Kathryn NG Project Coordinator

Lynette THNG

Conference Executive Producer

Debe HOO


Theresa LEE







Operations Senior Operations Executive

Jasmine HOO GOH Hui Wen Operations Executive

Shawn HUANG Bryan LAM Published by REED EXHIBITIONS, a division of Reed Elsevier (Singapore) 2008 Pte Ltd












NETWORKING COFFEE & TEA BREAK 11:30am - 11:50am | Level 3, Cassia Ballroom


BUSINESS MATCHING SESSION (TV) 10:30am - 12:30pm Level 1, Singapore Pavilion - H02 (by invitation only)

BUSINESS MATCHING SESSION (FILM) 2:30pm - 4:30pm | Level 1, Singapore Pavilion - H02 (by invitation only)

KISA INTERACTIVE CONTENT 2013 4:00pm - 6:00pm | Level 1, Red Lounge

5:00pm - 6:00pm Level 1, Animation Lab - Hall C

The overall objectives of the event will be to encourage an interactive discussion among the panellists and the audience that addresses questions such as the following: What are the key elements of a Chinese film project that lead to success? What are the unique regulatory and structural characteristics of the Chinese film industry that make producing films in China different from producing them elsewhere, and how can these differences be addressed effectively? Finally, how are the rapidly changing Chinese audience’s taste, and the growing differences between audiences in various regions of Greater China, affecting decisions as to the types of films that get made and released, and the manner in which they are marketed?

OPENING ADDRESS Ellen Eliasoph President & CEO, Village Roadshow Entertainment Group Asia (VREGA), China




This Village Roadshow Entertainment Group Asia-sponsored event will consist of a dialogue among film industry professionals who are engaged in the development, financing, production and marketing and distribution of Chinese films for the Mainland China market and beyond. Topics covered will be project selection and script development; financing and production management; and marketing and distribution.

11:50am - 1:00pm | Level 3, Cassia Ballroom

4:30pm - 5:30pm Level 1, Singapore Pavilion - H02


THE FRENCH COCKTAIL 4:30pm - 6:00pm Level 1, France Pavilion E02 & F02 (by RSVP only)


THE NIGHTINGALE 7:00pm onwards MasterCard Theatres at Marina Bay Sands

Amy Liu Vice President, EntGroup, China




An Xiao Fen, Ann Founder & CEO, Desen International Media, China

Nansun Shi Founder & Chairman, Distribution Workshop (HK) Ltd, Hong Kong


AT Ellen Eliasoph President & CEO, Village Roadshow Entertainment Group Asia (VREGA), China


35 shortl to be pitch over the n

This panel will consist of approximately 40 minutes of discussion among the panellists and 30 minutes set aside for Q&A. Topics to be covered will include sources of stories and scripts; selection of viable genres; the process of writing; considerations in the selection of Chinese co-investors and deal structuring; and means of addressing regulatory issues relating to script approval, shooting and release permits, and banking, tax and foreign exchange.


ABC, BBC, Turner, ZD catch their

Join our other p

ATF Netw 4th & 6th D Anim

BUSINESS MATCHING SESSION (TV & FILM) (by invitation only)

Wang Yizhi Founding Partner, HangZhou Fandao Investment Management Co. Ltd., China

Zhang Wenbo CEO, Bole Marketing, China Previous Vice President, New Classic Media Company, China



Clarence Tsui Senior Film Reviewer, The Hollywood Reporter, Hong Kong

This panel will consist of approximately 40 minutes of discussion among the panellists and 30 minutes set aside for Q&A. Topics to be covered will include the changing tastes of the Chinese audience and what seems to be “working” – and not – in China; the timing and approaches to project positioning in China; the role of social media, events and traditional advertising in the China market; and a case study of a successful marketing campaign for a Chinese film.


THE NIGHTINGALE Catch Li Xiaoran, Yang Xinyi, Philippe Muyl and Steve Rene on the red carpet!




(From left) Koh Lin-Net, CEO, Media Development Authority (MDA); Paul Beh, President, Asia Pacific, Reed Exhibitions; Dr Yaacob Ibrahim, Minister for Communications and Information; Michelle Lim, Managing Director, Reed Exhibitions

Official Opening of Asia TV Forum & Market and ScreenSingapore 2013 At yesterday’s opening ceremony of the Asia TV Forum & Market (ATF) and ScreenSingapore 2013, Dr Yaacob Ibrahim, Minister for Communications and Information, urged international broadcasters, networks and channels looking to produce original Asian stories to be in Singapore, especially with Asia driving global media sector growth.

entertainment industry in Singapore and Asia, Dr Yaacob expressed confidence in continued industry growth. Reflecting his optimism, a week-long event has been planned for end-2014, which will see the returning Singapore International Film Festival and the Asian Television Awards co-located with ATF and ScreenSingapore.

“Not only do we have producers and filmmakers who understand Asian sensibilities, there is strong government support to push for projects that will benefit our film and television sector,” he said.

Also officiating at the opening ceremony were Koh Lin-Net, CEO of the Media Development Authority of Singapore; Paul Beh, President, Asia Pacific, Reed Exhibitions; and Michelle Lim, Managing Director of Reed Exhibitions Singapore.

Praising the growing success and prominence of ATF and ScreenSingapore, and of the overall media and

Dr Yaacob ended his visit at ATF and ScreenSingapore 2013 with a tour of the market floor.



At the press conference for the world premiere of Hong Kong action film Firestorm, producer and star of the film, Andy Lau, said he would do his part to contribute to the industry. He has been investing in new directors, the latest being the director of Firestorm, Alan Yuen. This is Yuen’s directorial debut and Lau indicated that he would like to discover more talents. He said, “As long as they are talented, I will do my part to support them. I saw Ilo Ilo and I was impressed by it. If given the opportunity, I would invest in Singapore’s pool of talented directors, regardless of their experience.”

(From top) Firestorm’s co-stars Andy Lau and Gordon Lam

As a producer and main lead of the movie, Lau shared how he managed his “dual identity”. On set, as an actor, he would listen to the director. Off set, as a producer, the director would have to listen to him.

And Lau said he was impressed by Yuen’s persistence in making the film a 3D one. He himself had not been convinced that Firestorm should be in 3D but was eventually persuaded by Yuen. It would be the first 3D Hong Kong police film. He also took the opportunity to learn and understand more about 3D filming. His co-star, Gordon Lam, who was also at the press conference, said, “Firestorm shows another side of me which no one knew existed”. This was because, while he had been approached by many other directors during his long career to take on a starring role, it was only with Firestorm that he felt more mentally and emotionally prepared and ready to take on the bigger role. Firestorm, an explosive action film, is the opening premiere of ScreenSingapore 2013.

WORLD PREMIERE 04 Dec 2013 Resorts world theatre Resorts world sentosa C








6 December 2013 Marina Bay Sands, SIngapore LOCAL ROOTS, GLOBAL REACH

The Road to Success in Non-scripted Formats and Factual Programming in Asia. Whether you are producing or commissioning programmes, whether you are creating ideas, selling or buying: the international business of entertainment is changing dramatically. But how do you develop an idea ‘from scratch to screen’ and build it into a business?

This 1-day event focuses on the essential ‘How To’ and targets producers and executives from across the entertainment industry who want to learn directly from international industry experts.


SVP, Head of Asia Pacific, International Distribution, Shine International, Singapore

Rob Clark

Director of Global Entertainment Development, FremantleMedia, United Kingdom

10.00am – 10.45am WHAT’S HOT IN NON-SCRIPTED & FACTUAL? Fresh TV from around the world 11.00am – 12.00pm FROM SHOWS TO GLOBAL SUPER BRANDS How to format the show and turn it into a global entertainment business

Ben Hall

Managing Director, Chalkboard TV, United Kingdom

Tom Jennings

Executive Producer, 1895 Films (Tom Jennings Productions), United States

Michael McKay

President, activeTV, Australia

1.00pm – 1.45pm FACTUAL ENTERTAINMENT & DOCUMENTARIES How to develop, finance and pitch factual entertainment 2.00pm – 2.45pm SUCCESS STORIES – FORMAT HITS MADE IN ASIA How to successfully develop & produce local formats

Virginia Mouseler

Na Young Suk

Mikiko Nishiyama

Michel Rodrigue

Ann Christin Siljan

Beryl Yan

CEO, The WIT, Switzerland

CEO & Partner, The Format People, USA

Producer, tvN, CJ E&M, South Korea

Director of Sales & Acquisition, Nordic World, Norway

4.15pm – 5.00pm THE ART OF PITCHING How to prepare the perfect pitch for non-scripted formats 5.15pm – 6.00pm DEALMAKING AND DISTRIBUTION How to navigate co-productions across borders and cultures

Conference programme updated as of 4 November 2013 and subject to change.

Director, International Business Development, Nippon Television Network Corporation, Japan

Head of Programme Strategy Department, R&D Centre, Hunan Satellite TV, China

MIPAcademy is produced by Reed MIDEM (producer of MIPTV & MIPCOM) and Reed Exhibitions Singapore in collaboration with The Entertainment Master Class and will take place in conjunction with Asia TV Forum & Market, in Singapore.

REGISTER FOR MIPACADEMY AT SGD 300* VISIT US AT WWW.ASIATVFORUM.COM FOR MORE INFORMATION *Price listed for MIPACADEMY pass only and is subject to prevailing tax if applicable.

Produced by

3.00pm – 3.45pm THE NEW GAME-CHANGERS: YOUTUBE, SOCIAL TV, SECOND SCREEN, BRANDED CONTENT How to engage audiences across multi-screens and manage multi-stakeholder teams

In collaboration with

Contact us +65 6780 4513

Held in conjunction with





Assistant CEO (Industry) Media Development Authority of Singapore

2013 has been an exceptional year for Singapore’s film and broadcast industry with local content such as Ilo Ilo and Serangoon Road making waves both internationally and locally. This year at the Singapore Pavilion, there continues to be a strong showing of Singapore-made content from more than 70 film, television and animation companies bringing over 600 hours of content for sale and distribution. Specially curated onsite events such as the business matching session and Sneak Peeks aim to help our filmmakers and television producers explore business opportunities and give international buyers and distributors an exclusive preview to local content. The SGFilm Channel ( will also be available at the Singapore Pavilion to give international visitors a taste of our filmmaking capability, through 50 quality made-in-Singapore short films produced by local directors.

Joanne Azzopardi

Vice President of Sales for Australia, New Zealand, Asia Beyond Distribution

For ABC Commercial, the Australian Children’s Television Foundation, and Beyond Distribution, Asia is one of the strongest territories in terms of relationships and breadth of sales. Australia offers strong premium titles with broad appeal and high production value to the Asian market. Our pavilion gives all three companies greater presence at the market as well as a sense of the quality of productions coming from Australia. ATF is the perfect fit for showcasing our flexible catalogue to our valued Asian clients each year. It is a market accessible to broadcasters in Asia and the environment facilitates quality time with clients.


Molly Prabawaty

Director, Film Festival and Exhibition Ministry of Tourism and Creative Economy – Directorate of Film Industry Development

For the first time, Indonesia will have a country pavilion at ATF. Having participated as an observer last year, we want to represent the Indonesian film industry this year to promote Indonesian films and attract foreign film and TV producers to Indonesia. Being at ATF will showcase what Indonesia has to offer – our films and locations available for filming.

Fabia Buenaventura

Managing Director FAPAE Spanish Audiovisual Producers

We believe that the 16 exhibitors in the Spanish delegation – organised by FAPAE, together with The Spanish Institute for Foreign Trade (ICEX) – can maximise their presence better when participating as a national pavilion at a leading media market like ATF. This year, our delegation probably offers one of the best portfolios of products, ideas and business possibilities in the international TV market.

Shingo Saito

Director, Bureau of International Drama Festival in Tokyo

This year, we have the largest delegation ever with 16 companies representing content genres such as formats, documentary, drama, animation, film, entertainment and variety. Since ATF is the biggest content market in Asia, it is also the only venue where our Japanese content holders are present together and where Japanese contents are sold actively. A content market such as ATF with its great presence is one avenue to achieve substantial sales of Asian TV programmes as they are most likely to be distributed to other Asian countries with cultural similarities.



Mathieu Bejot

Executive Director, TV France International

We’ve been attending ATF since day one, and the results of the previous years speak for themselves. A French pavilion at ATF is naturally part of our annual plan as it offers us great exposure and visibility. This year, TV France International is bringing a delegation of 29 companies with a very rich and broad range of programmes: animation and kids’ content, documentaries, drama, feature films, formats, light entertainment, sports, game shows, performing arts, etc. The unique positioning of ATF enables us to meet companies that don’t necessarily attend the Cannes market. It also allows French attendees to get a clearer and more in-depth vision of trends and of the tremendous opportunities in Asia.

Dato’ Sri Ahmad Shabery Cheek

Minister of Communications and Multimedia

Malaysia’s presence at ATF has grown exponentially over the years. This is our 8th year at ATF, and we are showcasing more than 100 world-class contents, including animations, documentaries, TV dramas and feature films. Over the last few years, Malaysia’s local industry has developed a supportive ecosystem that has facilitated creation of creative content. This year, we welcomed the opening of Pinewood Iskandar Malaysia Studios’ stateof-the-art production facility, and we are honoured to have seven feature animations selected as finalists in the inaugural ATF Animation Lab. ScreenSingapore, in association with ATF, has also elected four prominent Malaysian industry leaders to be its ambassadors – Kamil Othman (MDeC), Zainir Aminullah (Ideate Media), Michael Lake (Pinewood Iskandar Malaysia Studios) and Leon Tan (Tripod Entertainment).


Chris Kim

Manager, Korean Film Council (KOFIC)

This year, for the first time, there will be a Korean film pavilion. The Korean Film Council (KOFIC), a government-supported body for promoting Korean film productions, will introduce exciting films from five major production companies – CJ Entertainment, Daisy & Cinergy, Finecut, Niners and M-line Distribution – which will be present to meet with buyers and explore opportunities.

Aaron Won-Ki Chung

Manager, Korea Internet & Security Agency (KISA)

In Korea, our interactive content rating has increased by 250%, interactive viewership by 600%, and interactive user base by 11 times in the past three years. Our interactive services are used by 26% of Korean viewers. That is why we are very excited to be participating for the first time in ATF, presenting cutting-edge interactive contents, formats and systems. There are more actual deals made and a wider range of participants at ATF compared to other markets in Asia.

Martin Lin

Director, Taipei Multimedia Production Association (TMPA)

As an organisation consisting of public and private production and publication companies, we choose ATF for its diverse representation of attendees across Asia and Europe, and we mainly seek buyers and partnerships. The ATF market is relevant as we are more involved in TV programmes, films and animation. We are also interested to discuss mutual cooperation with, and provide details to, those looking to produce TV programmes or films in Taiwan.



Dawn McCarthy-Simpson

Director, Market Development, Producers Alliance for Cinema and Television (PACT)

As UK’s trade body for independent production companies, we represent the commercial interests of 500 British businesses and this is the second year that we are leading a delegation of nine indie companies to ATF. Southeast Asia is one of the major growth markets for UK producers and ATF is one of the key markets for our businesses to sell to regional buyers. Exports of UK productions to the region have grown by 26% in the last year and sales to China grew by 90%. ATF provides a specialised arena for our companies’ interests in the region since Australasia is now the UK’s second biggest market after the USA.

Taiwan External Trade Development Council (TAITRA) For the 6th year, TAITRA, Taiwan’s foremost trade promotion organisation, is bringing a delegation led by the Bureau of Foreign Trade, Ministry of Economic Affairs, to ATF. This year’s delegation comprises 12 exhibitors with diverse specialities and services, representing a wide spectrum of categories ranging from animation and licensing to channel distribution and documentary production.

Jong-Hyun Moon

Director, Seoul Business Agency (SBA)

Sunyoung Kim

Director, Gyeonggi Content Agency (GCA)

The number of participants from Korea at ATF increases every year and many requests have been made to expand the Korean animation pavilion. For government organisations like SBA Seoul Animation Centre and GCA, it is important to satisfy the needs of marketers in the Korean animation industry. With companies like Iconix Entertainment, Electric Circus and SAMG Animation, ATF participants will be able to learn about the amazing new projects Korean animation companies are presenting at ATF.


Modestova Alexandra

Head of Project, RU.C − Russian Cinema

For the first time, there will be a Russian pavilion dedicated to Russian feature films and animation – RU.C or Russian Cinema and Animation – organised with the support of the Ministry of Culture of the Russian Federation. ATF being one of the largest content markets in the region is seen as an important platform for establishing business and creative contacts in Asia because it attracts a large number of experienced professionals from around the world. In fact, some of the exhibitors present at the RU.C pavilion this year are already cooperating with Asian partners. For example, Luxema Film and MercuryGold Production will showcase two movies – My Russian Bride and Villa – that are co-produced with Singapore company Shortman Films.

Zhou Chaofeng

Deputy General Manager, WingsMedia Co Ltd

Authorised by The State Administration of Radio Film and Television (SARFT) of China, WingsMedia has organised the China Pavilion at ATF for several years. China has been basking in its film and television industry boom. In embracing one of the most important strategies for Chinese cultural developments, National Culture Going Out to the World, we hope our presence at Asia’s leading entertainment content festival will show the global market what China has achieved. There are a good number of excellent programmes ready for worldwide distribution. Among those, we are excited to be showcasing, a third-party e-commerce trading platform for entertainment content and media products.

Jaesik Yoon (Ph.D)

Senior Researcher, Korea Creative Content Agency (Kocca)

ATF is an indispensable market for promoting Korea’s content to the world. It is where our 23 participating companies get to talk to many buyers and sellers – more than in other markets – and discover upcoming trends in content production and distribution in this region and globally. Interestingly, our delegation includes 11 learner marketers who are working in the cable TV industry in Korea. They have not kick-started their careers in the content market, but ATF offers them a good opportunity to obtain useful market know-how, especially by attending the professional development workshop.



FROM THE MARKET Diverse local creative ideas pitched at ATF ANIMATION LAB

Taiwan Pavilion Networking Reception Clement Chen, Chief Representative Officer, Taiwan Trade Centre, kicked off the Networking Reception at the Taiwan Pavilion yesterday, inviting both buyers and exhibitors to mingle over wine and canapés. The Taiwan Pavilion, organised by the Taiwan External Trade Development Council (TAITRA), buzzed with newly-forged relationships, and opportunities for great partnerships. Also in attendance were Asian Television Awards nominees Chang Hsiu-Ling (for Best Original Screenplay) and Huang PeiJia (for Best Actress in a Supporting Role) for The Smiling Starlight, and Michelle Lim, Managing Director, Reed Exhibitions, who presented Chen with a token of appreciation for TAITRA’s sustained support for ATF.

Diversity of ideas and creative pitches got the commissioners excited on the first day of the ATF Animation Lab. Over the three days of the Lab, 35 shortlisted projects, out of 45 submissions from Asian producers, will be pitched to international commissioners including Australian Broadcasting Corporation, BBC Worldwide, The Walt Disney Company, Turner International Asia Pacific, Viacom International Media Networks, ZDEF.junior and ZDF German Television. Vishnu Athreya, Executive Director, Programming, Acquisitions & Development, Turner International Asia Pacific said, “It was amazing from a talent perspective. I met new local studios that we generally do not get to meet and saw some incredible ideas, from real local animation to far-outthere futuristic robotic ideas. Our job in this Lab is to help them bridge the gap between their ideas and the successful formats and formulas of television.”

One of the participants, Antonius from Viva Fantasia Production, Indonesia said, “It was really exciting as it was my first overseas pitching. It is the biggest opportunity for a new studio like us to be known in the Southeast Asia region.” Nicole Keeb, Head of International Coproductions and Acquisitions, Children’s and Youth Department, ZDF German Television commented, “It was a very rich, entertaining experience that opens up the mind. We are looking for original true stories but particularly martial art themes that are not too cruel, yet entertaining and are suited to a public channel like ours.”   Looking for co-production partners in Asia, Anand Ramayya from Karmafilm is excited about the next two days at the ATF Animation Lab where he will “get to meet the right people”.







ATF AFTER-HOURS… A series of networking events were held at the Japan, Singapore and UK pavilions yesterday, allowing attendees to network and mingle amid a relaxed and cosy setting, over food and drinks. At the Japan Pavilion, plasma TV screens showed off some of Japan’s best entertainment, including Treasure Box Japan, a project that has brought eight major Japanese broadcasters together, Dragons’ Den and Iron Chef – all huge properties originating from the country. Joachim Ng, Director of Industry Operations at Media Development Authority of Singapore, encouraged guests to unwind as they networked at the Singapore Hour event. Meanwhile, producers, distributors and exhibitors at the UK Indies booth learnt more about the works of Cake, Optimum Television, Espresso TV and more. The sessions marked a relaxed but productive end to the first market day.


Studio 100 Media GmbH has finalised a deal with Disney Junior Asia for its new and highly popular CGI series Maya The Bee. Disney Junior is specially designed for kids aged two to seven and their families. Produced by Paris-based Studio 100 Animation SAS in association with TF1 and ZDF, Maya The Bee (78x12 minutes) is set to premiere on Disney Junior Asia on New Year’s Day. The series will air in Brunei, Cambodia, East Timor, Indonesia, Laos, Malaysia, The Maldives, Mongolia, Myanmar, The Republic of Palau, Papua New Guinea, The Philippines, Singapore, Thailand, Vietnam, Hong Kong and Macau. Maya the Bee has achieved cult status over 35 years, premiering on German TV in September 1976 and broadcast by countless national and international TV stations. The new CGI series has been sold to 150 territories worldwide.



BRAINSTORM MARKS 10TH YEAR To mark its 10th anniversary, special editions of Brainstorm – a tent-pole programme on Shanghai Media Group’s China Business News TV (CBNTV) – will be recorded in the iconic cities of New York and Singapore. Brainstorm will make its production debut in Singapore tomorrow. China’s CBNTV, Singapore’s StarHub Cable TV and MyChinaChannel (MCC) are jointly producing the programme. The two episodes of the Singapore edition of Brainstorm will feature a highlevel financial forum in which experts and scholars from China and Singapore

debate issues of interest and relevance to the Asian business community. They will be broadcast simultaneously on Shanghai CBNTV Channel and Channel 809 of StarHub Cable TV later this month. Discussion topics include recent socioeconomic developments in Asia-Pacific and their impact on existing business models; and how Singapore’s successful urbanisation blueprint can be exported to China. Singapore’s Media Development Authority is supporting the programme under its Production Assistance scheme.

SHOT IN THE ARM FOR KILLER KARAOKE Zodiak Rights has licensed the format of Zodiak Media’s Killer Karaoke to Vietnam, Cambodia, the Philippines and Thailand. Leading local production company BHD Co Ltd will produce the Vietnamese version of the hugely popular extreme singing competition as a 10x60-minute series. Killer Karaoke will debut on VTV3 later this year. Under the first-ever format deal in Cambodia, Hang Meas HDTV will produce and air Killer Karaoke in 2014. In the Philippines, local broadcaster TV5 is producing a 13part series, which will be hosted by well-loved local comedian Michael V. In a fourth deal, the Killer Karaoke format has been licensed to Thai broadcaster, MCOT. Local producer, Heliconia, is producing 24x60-minute episodes. Killer Karaoke’s success after its debut on MCOT in September has led MCOT to commission a second series, which will enter production in 2014. “The [Killer Karaoke] format has a universal appeal which is evidenced by its on-going success in a huge variety of territories and channels,” says Barnaby Shingleton, Head of Entertainment, Zodiak Rights. “We will be producing Killer Karaoke for a primetime slot on VTV3, the largest national commercial TV network in Vietnam,” adds Ngo Thi Bich Hanh, Vice President, Vietnam Media Corp.

THE DIVE CHANNEL’S WOWTV FACTOR The Dive Channel (TDC) is launching on WOWtv, with 600 hours of diving content reaching more than 100 million viewers worldwide, in a partnership with M2B Asia Pacific Pte Ltd, a subsidiary of US-based Amaru Inc. TDC will also debut in the Chinese market in 2014 with a run of 20 documentary series, a dive-related variety show and a sports diving programme. “Bringing The Dive Channel to WOWtv platforms enables us to expand our content catalogue, as well as provide a reach to the channel that is virtually endless,” says Michael Lim, Founder of TDC. “With this new source of content, M2B has cornered all content categories on its platforms, which will showcase on all internet platforms, including internet-

enabled smart devices,” says M2B’s Managing Director and CEO, Percy Chua Soo Lian.


Malaysia’s creative industry dreams big Increased regional interest in what Malaysia’s content and creative industry has to offer and strong ambitions to break into the international market have encouraged the unprecedented participation of 50 Malaysian companies at ATF 2013, said Dato Mohamed Sharil Mohamed Tarmizi, Chairman of the Malaysian Communications and Multimedia Commission. The companies are promoting more than 100 world-class contents at the show. “ATF

Singapore’s Infinite, Indonesia’s Screenplay announce joint venture

& ScreenSingapore have been a great platform for us to reach out to Asian and international buyers,” said Dato Sharil. “It’s been a really good start for us. On the first day alone, we signed two major deals, namely with Singapore’s MediaCorp and Telekom Indonesia. We hope for more of such deals in the next few days.” In the deal with MediaCorp, Malaysian animation production studio Animasia signed a lucrative licensing contract for two football-themed original titles – the 39-episode Supa Strikas and Bola Kampung The Movie – to be played on the Singapore broadcaster’s free-to-air Malay channel Suria. The Malaysian animation industry has certainly made its mark in the world. Programmes such as Upin & Ipin, SeaFood and BoBoiBoy have elevated Malaysia’s international standing in this field.

Singapore’s Infinite Studios, through its sister company PT Kinema, has entered a joint venture with Indonesia’s Screenplay Productions to produce Indonesian theatrical feature films. Aiming to produce six titles per year, the first slate of six movies will be produced with a budget of US$4 million. “There is great potential for the Indonesian movie industry thanks to the deep talent pool and market demand which has not been fully tapped,” said Mike Wiluan, CEO of Infinite Studios, after the MOU signing. “We hope to create movies with great production values that will fill this demand and have broad market appeal to both

Indonesian and international audience.” The joint venture plans to create content that will benefit and sustain the movie industries in both countries. “We want to bring Indonesia’s viewers not just entertainment, but knowledge through innovative, creative, yet trendsetting ways, and now we hope to do it internationally through our films,” said Wicky Olindo, Director of Screenplay. Andri Hadi, Indonesia’s Ambassador to Singapore, and Koh Lin-Net, CEO of the Media Development Authority of Singapore, graced the MOU signing ceremony.



GREAT MINDS SHARE THE POWER OF REAL LIFE STORIES The recent rise of young filmmakers in Asia and their successes mark the beginning of a new chapter in the evolution of Asian films. Yu Dong, CEO and Founder, Bona Film Group, shared his excitement and hopes for these filmmakers at the opening keynote address of ScreenSingapore yesterday. He shared that films produced by the new batch of filmmakers from Taiwan, Hong Kong and China have been well received by audiences, their new forms of expression and filming techniques resulting in high box office takings. From Taiwanese film You Are the Apple of My Eye to Hong Kong’s Unbeatable and most recently, To Our Youth That Is Fading Away by China actress and director Zhao Wei, these films have moved and connected with audiences in their accurate reflection of real lives, emotions and everyday stories.


(From left) Lee Soo Hui, Head of Media Business Unit, StarHub, Singapore; Ng Say Yong, Managing Director, mm2 Entertainment, Singapore

(From left) Choi Yeonu, VP of International Film Financing and Production, CJ Entertainment, South Korea; Shinjiro Nishimura, Producer, Nikkatsu, Japan

Yu Dong, CEO & Founder, Bona Film Group, China

Congratulating Anthony Chen for his Best Feature Film win for Ilo Ilo at the recent Golden Horse Awards, Yu said that this was a huge step for young Singapore filmmakers. He urged them to focus on real life stories and emotions that are true to the people and the local culture, and to continue to move audiences with these unique subject matters. “While it can be difficult for us to compete with large-budget films with special

Attendees gained both practical and strategic advice after attending yesterday’s Southeast Asian Film Financing Panel, which included Choi Yeonu, VP of International Film Financing and Production, CJ Entertainment, South Korea; Shinjiro Nishimura, Producer, Nikkatsu, Japan; Lee Soo Hui, Head of Media Business Unit, StarHub, Singapore; and Ng Say Yong, Managing Director, mm2 Entertainment, Singapore. According to Ng, broadcasters can provide a platform to help promote and market a movie, which eventually will help in box office sales. However, he added that, “At the end of the day, you proceed with a project if you have confidence in the financial package of your project”. Giving the producer’s perspective, CJ Entertainment’s Choi believes that the more pure equity the better as it means less strings attached. From a financiers’ perspective, however, she warns that more equity means more risk. Ideally, 80% of the gross budget should come from pre-sale loans, grants and rebates and the remaining 20% from equity.

effects, we can play up our strengths [with] emotive and honest storytelling,” he said. Yu also commented on the last decade of rapid growth in the China film industry that is reaching new heights today with total box office takings of more than RMB20 billion (US$3.3 billion) so far this year, and the possibility of exceeding RMB22 billion with an upcoming year-end blockbuster. The China film industry is expected to hit box office takings of RMB60 billion by 2018.

She added that although this was an ideal model, it is often hard to achieve. Investor StarHub is looking to support and promote the development of the local film industry, said Lee. The pay TV operator is also the official TV station for successful films such as Ah Boys to Men and Ilo Ilo. She added that when companies come to them for financing, factors such as a good script, brand fit and the expected return on investment are key. Meanwhile, Nishimura shared that in the Japanese market, 60% of the box office films are domestic films. However, recognising that the Japanese population is ageing, he said that producers are eager to start co-production in a new market and so, having an international partner, is very important. Both Choi and Nishimura are interested to collaborate with Southeast Asian companies and aim to meet potential partners at this year’s ATF market.


Ilo Ilo in numbers

Singapore’s family drama, Ilo Ilo, has not only scored critical acclaim but also healthy box office receipts. According to Anthony Chen, director and co-producer of Ilo Ilo, overall earnings for the film is estimated to have reached S$2.8 million (US$2.23 million). Using the industry’s “magic number” – where to make back one’s investment, one would need to earn at least three times of the budget – he is certainly on his way to breaking even and may even earn a profit. Ilo Ilo is the first Singapore film to win four Golden Horse Awards and the Camera d’Or at the Cannes Film Festival. To date, it has won 20 awards from around the world and the film is Singapore’s official nominee to Oscars 2014. “Budget-wise, it’s a modest film with US$500,000 total in investment,” Chen said, with most of the money coming from the Singapore Film Commission, as well as Ngee Ann Polytechnic and four individual investors.

Anthony Chen, Writer, Director & Co-producer of Ilo Ilo, Winner of 2013 Camera d’or at Cannes Film Festival, Singapore

He gave credit to the film’s sales agent, Memento Films, a French boutique film distributor, for the film’s international success. “Today, Ilo Ilo is the longest running and the highest grossing

Singapore film in France, and it’s running in its 12th week on over 100 screens.” Chen further shared that it has earned about 600,000 euros in ticket sales and another 100,000 in TV sales in France alone. Furthermore, Ilo Ilo is one of the best-received Asian feature films in France with 82,980 admissions as of 27 November. In Singapore, the film has earned S$1.04 million (as of 2 December) in box office sales and an additional S$55,000 in TV and DVD sales, making it the second highest grossing movie of the year after Taxi Taxi at S$1.43 million, and third overall behind Ah Boys To Men II (S$7.9 million) and Taxi Taxi. The film is also doing well in places like Hong Kong and Taiwan, and soon it will be released in markets like USA, UK and Europe as well as in China, Malaysia and Latin America. But despite its critical success, the film is only modestly successful in commercial terms, Chen admits. “It wasn’t designed for grand box office success neither for film festivals. It was my first feature film and I really wanted to make it something memorable, something that we can be proud of.”

INTEPRETATION IS KEY TO STORYTELLING “Stories are international. What changes is how you tell it,” said Shekhar Kapur. He shared that fundamentally, stories are the same, but the key difference lies in interpretation. He added that what may be viewed as melodramatic to Westerners is mythic to Asians.

Eastern and Western storytelling was how in Eastern storytelling, many stories are left open-ended such as the famous The Monkey King because of Asian’s ability to comprehend a never-ending story – which is why it is not surprising that Life of Pi was so successful in Asia.

Kapur returned to this year’s ScreenSingapore to share his insights on whether Asian directors need to tell a different story to enter the international market. His answer?

Sharing his latest project Paani, a film based on a future world where wars over water have broken out. The plot revolves around how international corporations use thirst as a weapon of control. The film will be shot in India and overseas, and includes both an Eastern and Western cast.

“I am Asian, so I have to tell my story from [the standpoint of an] Asian”, said Kapur, one of the world’s most renowned film directors, and one of the few directors who have worked extensively in both Bollywood and Hollywood. He added that another difference between

Kapur added that as the Asian cinema industry continues to rise and audiences are developing, the opportunity for Asian filmmakers in the next five years will be huge.

Shekhar Kapur, Award-winning director and producer, India



Two nightmares for Asian filmmakers Currently, budget constraints and increased piracy are two major challenges that the Asian film industry is facing. That is what a panel of leading producers and directors from the region disclosed, as they wrapped up the day at the ScreenSingapore 2013 conferences. “Budget is always the biggest concern,” said veteran Singapore producer Jack Neo. “Nobody is going to give you a blank cheque to produce movies.” (From left) Michael C. Ellis, President and Managing Director, Asia Pacific, Motion Picture Association (MPA) and Motion Picture Association International (MPA-I), Hong Kong; Mike Wiluan, Chief Executive Officer, Infinite Studios, Singapore; Chris Brown, Producer, Pictures in Paradise, Australia; Norman Abdul Halim, Executive President, KRU Group, Malaysia

FLEXIBILITY IN PRODUCTION INCENTIVES NEEDED TO SPUR INDUSTRY GROWTH Opening the session on production incentives yesterday, Michael C. Ellis, President and Managing Director, Asia Pacific, Motion Picture Association (MPA) and Motion Picture Association International (MPA-I), Hong Kong, shared that incentives are all about business. “Production means money but it also means a multiplier of spend going into that state. In America, the reason why the different states are so involved in the incentives is because of the huge amount of economic contribution to the state and its labour market,” said Ellis. Echoing his sentiments on the importance of incentives, Chris Brown, Producer, Pictures in Paradise, Australia said, “Incentives are the bedrock and foundation… for building your production. The point of getting incentives is to raise and leverage the money so as to produce a film that can compete with the American market and be released in major markets.” Moving across to Asia, the production incentives system in many countries, including Singapore, have come a long

way. However, there is still room for improvement, shared Mike Wiluan, CEO of Infinite Studios, Singapore, who believes that the incentives programme should be very much based on growing the industry, so that it can be applied equally to both servicing high quality work and intellectual property ownership. Adding to Wiluan’s comments, Brown said, “The reason why the incentives systems need more flexibility is because we need to create a critical mass as individual nations, making as many films as possible. This is because we learn from our mistakes, so the more films we make, the more we are able to learn.” Capping off the session, Norman Abdul Halim, Executive President, KRU Group, Malaysia, shared that he hopes to see more incentives offered across the different ASEAN markets, like Indonesia, Vietnam, Thailand and Singapore, so that there will be more co-production opportunities. This will then help to elevate the films produced in the region and “allow us to be in a better position to compete at a global level”.

Citing the example of Singapore’s biggest box office hit Ah Boys To Men II, he said, “When I told the investors that I would need S$3 million to produce this movie, they all got shocked. At the end, we all agreed to do the sequel and we squeezed every single cent of the budget to produce the sequel.” For Rangga Maya Barack-Evans, Managing Director of Merantau Films and producer of Indonesian box office hits like The Raid: Redemption and Merantau, return on investment is always the number one question among film investors in Indonesia. “They always ask how much and how quickly they can get their money back with profits,” she said. Kim Minki, CEO of South Korean production company Fine Works, noted that the financing of films involves a lot of risks. “So sometimes, investors and directors become ‘enemies’,” he quipped. He however noted that convincing investors become relatively easier once you are established or have produced a couple of good movies. “We’re very lucky. For example, making Miracle in Cell No. 7, we had investment offers from many potential investors. In fact, we had to select them and take in only a few.” Aside from securing adequate finance for production, post-production and marketing, another big challenge raised by the panellists was piracy. “Piracy is one of the biggest problems in Thailand,” said Banjong Pisanthanakun, Director of Thai box office hits like


(From left) Jack Neo, Film Director, J Team Productions, Singapore; Banjong Pisanthanakun, Director of Pee Mak and Shutter, Thailand; Rangga Maya Barack-Evans, Managing Director, PT Merantau Films, Indonesia; Kim Minki, CEO, Fine Works Co Ltd, South Korea

Pee Mak and Shutter. “[The] lack of strong law enforcement and copyrights [makes it] very challenging to prosecute the offenders.” Sharing an Indonesian experience, BarackEvans said, “We had 60% drop in box revenues overnight in Indonesia when a pirated copy of The Raid: Redemption









went online within the fourth week of the international premiere.” Since piracy is dealt with strongly in Singapore, it is not as big an issue here, noted Jack Neo. However, after the official DVD release of a movie, pirated online copies would be rampant.

“Piracy is not new nor does [it] concern a particular market or individual. It’s probably the biggest problem in the entire film industry today. The nature of [the] problem with piracy is global, syndicated and structural. We need collective and strong enforcement to deal with it,” said Kim.




SPEAK OUT For Animax, we acquired Space Dandy, the new comedic sci-fi anime series from the creative team behind Cowboy Bebop, to premiere on Animax in a January simulcast with Japan. For GEM, our new Asian entertainment channel launching in January 2014 in Vietnam, Chinese period idol drama Prince of Lan Ling stands out as a proven ratings hit in China and Taiwan. We are on the lookout for drama and variety shows from China, Hong Kong, Japan, South Korea and Taiwan for GEM, and anime for Animax.

Virginia Lim

Vice President, Asian Content, Sony Pictures Television Networks, Asia

With its increased dynamism, ATF brings the world closer to Asia and evolves into another prime market to foster the growing business. The appeal of the [content] to Thai audience, production quality and price are what I look out for when acquiring programmes.

ATF provides us with the opportunity to meet with independent distributors from the Asia Pacific region and it is a good follow-up from MIPCOM. For factual entertainment programmes, we look for interesting characters, good production values and unique stories. For dramas, Palakorn Somsuwan, we are looking for storylines that are Managing Director, Bangkok Broadcast and emotive, which would appeal to Lifetime TV Co Ltd (BBTV), Thailand [Channel]’s female-skewing audience and strong female leads.

Angie Yong

Senior Manager, Programme Acquisition, A+E Networks Asia, Singapore

ATF provides many choices with flavours of Asia close to the Indonesian culture or the culture of Islam and Asia, compared with other markets. I attended the ATF conference on Asia’s programme/format success story. It’s priceless! And on top of it all, ATF is a-blink-of-an-eye’s distance from Indonesia so it is very important for mediumsized companies like us.

Dody Jufiprianto

Managing Director, Gemintang Media Teknologi (GMT), Indonesia

Being at one single location, ATF is an easy market to cover in comparison to other markets. Reputed Asian and French companies participating in the event makes it interesting from the buyer’s point of view. Good weather in Singapore and scenic Marina Bay Sands make the experience even more pleasant.

Deepak Sharma

COO, PVR Pictures Limited, India


ATF is a mega event and in comparison to other events, it’s way ahead in terms of providing new business opportunities for potential buyers and sellers from Asia and beyond. I am always on the lookout for drama serials, documentaries, feature films and children programmes.

Saeed Shiraz

Chief Executive, Sterling International, Pakistan

ATF has a less hectic atmosphere, which allows for more quality time with vendors. ATF gives us the opportunity to meet with content providers in the Asia region who might not have travelled to MIPCOM or that we didn’t get a chance to meet in France. I’m on the lookout for immersive, engaging programmes with strong educational elements, and programmes with strong co-viewing potential, and programmes that promote smart fun.

Sarah Kwek

Manager, Programming, Discovery Networks Asia-Pacific, Singapore

ATF provides a great opportunity to Since we started attending ATF get a sense of what the TV industry in 2011, we have met many is “buzzing” about, particularly the producers, distributors, programme channels serving Southeast Asia. We representatives and agents around are always on the lookout for on-brand the globe. ATF is different compared programmes that are distinctive, to other markets we have attended daring and very much catered to Asian because of its flexibility and audiences. This ATF, we are interested convenient location. Equally important in developing original content that are the connections, viability and would serve to complement our networks we have made with the uniquely positioned channels. producers and distributors at ATF.

Ofanny Choi

Executive Vice President, TV Networks, Celestial Tiger Entertainment, Hong Kong

Mariani Abdullah

TV Programme & Film Distributor, DM Don Square Entertainment, Brunei Darussalam

ATF is one of the best and biggest TV markets in world; it is the biggest in Asia. It is a very important market for a TV programme buyer and distributor like us. It is on our yearly agenda. Singapore is very convenient, close to Indonesia and other Asian countries. You can find the same contents as those offered at MIPTV/MIPCOM from all over the world, and even newer and finished programmes. So why do we have to go to Europe or US if we can find contents here at ATF?

Agus Simarmata Managing Director, Onevision Entertainment, Indonesia


FEATURES Over-the-top performance sets stage for broadcasters’ next lap Changing viewer habits and the proliferation of smart internet-connected devices are driving over-the-top (OTT) innovations, such as N-screen and TV Everywhere, which offer broadcasters opportunities to create new revenue streams and expand their subscriber base, domestically and internationally. More than a new delivery platform, like cable in the 1980s, OTT augments existing broadcast services and adds value to video-on-demand (VOD), catch-up TV and interactive applications. Smartphone and tablet users can receive high-quality video streams, even over a 3G or Wi-Fi connection, from an internet browser or a mobile application. Since content is delivered directly from the service provider to the consumer via any available internet service provider’s network, OTT services minimise carriage negotiations and costly end-to-end infrastructure setups.



Couch potato no more For consumers, these technological advances are encouraging new viewing habits. A UK study released early this year by shows that a third of the 2,000 consumers polled would rather watch programmes on a tablet, smartphone or laptop than on a traditional television set. Researchers also found that more than a third of adults watch catch-up TV on the internet. These findings explain BBC’s OTT success. Its iPlayer app for iOS and Android mobile devices has been downloaded more than 20 million times since its launch in 2007, as mobile and tablet TV viewing overtakes TV viewing on PC. The BBC iPlayer online service has been so successful that it was accorded the same status and valued as a linear channel service. BBC iPlayer allows users to access TV and radio programmes from the past week for on-demand or catch-up viewing, and to play ‘live’ BBC programmes on various internet-enabled devices. In September 2013, a record 70 million TV requests came from mobiles and tablets, compared to just 5 million in September 2010. And TV requests from mobile devices now make up 41% of iPlayer requests, compared with just 6% three years ago. “We are thrilled that viewers are increasingly taking their favourite BBC shows with them to watch whenever and wherever they are,” said Dan Taylor, Head of BBC iPlayer for BBC Future Media. “And with tablets at the top of many people’s Christmas lists for 2013, we expect this to continue to grow even further.” To extend its reach globally, BBC Worldwide CEO, Tim Davie, recently revealed that the global iPlayer app, currently testing in 16 countries, could be integrated into over time. will be transformed to include a long-form video player and be the single digital route to the international market for’s partners and advertisers. One of’s main targets will be the global OTT video market, which hit US$8 billion in 2012 and will generate more than US$20 billion by 2015, according to market intelligence company ABI Research. In Asia Pacific, the OTT video market will exceed US$4 billion in revenue by 2016.


In addition, for about US$8 per month, Toggle Prime subscribers get more than 20 premium channels and access to more than 10,000 titles online and on a smartphone, tablet or SmartTV. Another OTT service that has performed well is AOTG, which had garnered over 500,000 views and 400,000 app downloads shortly after it was introduced in May 2012. Kick-starting globalisation efforts, Astro Malaysia Holdings Berhad launched the service early this year in Australia, where almost 150,000 Malaysians are residing. Consumers around the world can register for a free preview of Astro Awani, a 24hour news and information channel, as well as selected ‘live’ sports events on the Astro Arena dedicated sports channel. In Malaysia, Astro customers who subscribe to the AOTG service enjoy 21 linear channels, ‘live’ sports events, catch-up content and VOD for about US$7.95 per month.

Like brand new Asia Pacific broadcasters with their established brands and strong relationships with consumers are well placed to tap this market opportunity and monetise linear channel programmes by delivering OTT services that complement traditional broadcast services. Enabling a personalised TV experience, services such as MediaCorp’s Toggle in Singapore and Astro On-The-Go (AOTG) in Malaysia support multiple mobile and internet devices, reach new audiences and build new viewer communities.

“We have taken our first step to becoming a global brand,” said Dato’ Rohana Rozhan, CEO of Astro, at the launch. “We are leveraging our unique position to provide the best content across all platforms, making Malaysian culture, music and content internationally accessible, not just in Australia, but also the UK, US and wherever Malaysians go in the world. “Our focus remains to strongly execute on our strategic imperatives of achieving growth in customers, ARPU [average revenue per user] and ad expenditure by providing more choices, compelling content, convenience and value for consumers.”

MediaCorp is leveraging its strong brand and legacy content to offer a variety of free ad-based as well as premium subscriptionbased and pay-per-view programmes on its Toggle cross-device OTT service.

All for one, one for all

“Toggle is [an] investment to enable us to stay relevant in the face of new media consumption patterns,” said Shaun Seow, CEO of MediaCorp. “Technology is shrinking the world, which means media companies are no longer competing in specific markets but globally. This presents both a threat, as well as opportunities.”

To ride the OTT wave, broadcasters must also adopt a collaborative culture that breaks down the silos of how they had operated in the past, pointed out MediaCorp’s Seow in an article for AsiaPacific Broadcasting. After all, OTT is the new delivery model not only for TV, but also for radio and print.

With Toggle, viewers may subscribe to their favourite channels and movies or simply register at no cost to watch free local content owned by MediaCorp. The latter includes free-to-air local channels for catch-up viewing, and linear streaming of Channel News Asia.

At the industry level, such a collaborative approach certainly underpins South Korea’s Pooq, an OTT service operated by the Content Alliance Platform (CAPTV) joint venture between SBS (Seoul Broadcasting System) and MBC (Munhwa Broadcasting Corporation) in response to a rapidly

changing IT and broadcasting environment. Together with major content partners KBS (Korean Broadcasting System) and EBS (Educational Broadcasting System), the venture brings together four terrestrial broadcasters for the first time to provide a single media service. Pooq, which delivers 40-odd real-time Korean digital television channels and ondemand content from the broadcasters to any connected SmartTV, computer, tablet or smartphone via the internet, boasts 2.1 million registered users. Out of these, 220,000 are paid subscribers. With a subscription conversion rate of 10.8% and ARPU per month of US$5, Pooq is believed to have been operating profitably since July this year, merely 12 months after its official launch. CAPTV expects the globalisation process for Pooq to begin after it sorts out copyright issues with content producers and establish agreements with Korean telecom companies over the use of their 4G mobile networks. Backed by an enviable supply of highquality content from its co-owners and content partners, Pooq could potentially introduce a variety of specialised channels such as music and travel. Add to that the influence to attract many subscribers and other content players in a short time and maximise the flexibility of its service, Pooq’s future looks bright. More importantly, OTT ventures like Pooq have begun to place under constructive scrutiny, industry paradigms which worked before but whose time may be up. As MediaCorp’s Seow discovered, “We need to be creative in our business approach all over again.”






Since its debut in May this year, Singaporean film Ilo Ilo has bagged a total of 20 awards to date – one of which being the prestigious Camera d’Or prize at the Cannes Film Festival, which recognises the best debut feature film in the competition, and most recently, Best Feature Film at the 2013 Golden Horse Awards. Industry watchers are expecting it to garner even more accolades. To Make An Honest Film The resounding success of the film has taken its director, Anthony Chen, by surprise. “I am indeed surprised, especially since it is a humble Singapore film. The journey has been incredible and I can only be grateful for how the world is receiving our labour of love. It is my first feature film and I wanted very much to make... a very honest film,” says the director. And that is what Chen believes has allowed Ilo Ilo to strike a chord with its international audience. “I think people feel a sense of honesty from within the work,” he says. “There were very universal themes in the film – such as class struggles, family and growing up, economic crisis, migration – that connected easily to people all over.” Ilo Ilo depicts a family impacted by the Asian financial crisis and their evolving relationship with their newly arrived Filipino domestic helper, Teresa. The film is semi-autobiographical and making Ilo Ilo gave Chen the opportunity to reflect on his childhood. “Looking back on childhood at this age allows you to see things differently,” he shares. “You begin to realise that a lot of events and relationships are not as simple as what one would think.”

Fisheye Pictures

But making the film came with challenges. The filmmaker was based in London with his wife when the film was being shot.


Fisheye Pictures, Photo by han

“My wife was incredibly supportive,” Chen adds. “It was difficult for her as she was living in London and with the film being made in Singapore, I was never around and was shuttling back and forth just a couple of times over 3 years. I guess this can be rather stressful since we were newly married when I started the project.

A Tenacious Passion Chen’s commitment to his craft started early. The 29-year-old’s fascination with the world of films began at the tender age of four, when he watched Bernardo Bertolucci’s The Last Emperor with his mother. He has acknowledged that, compared to his peers then, he had “peculiar” taste in films. “I was attracted to the early films of Zhang Yimou when I was growing up, but Ang Lee is really the big hero for me. I respect his dedication to his craft and his generous treatment of his characters. There is so much humility and humanity in his work and one sees a genuine concern for the human condition.” That early passion for films never left and eventually led him to pursue film studies in the face of opposition from his family.

I am rather stubborn and I love and hate with real passion… I can be really obsessive when I make my films, and will try as much as possible to not compromise my vision.

“I am rather stubborn and I love and hate with real passion,” he says. “I think my tenacity comes from an urge to always want more and to push myself to the limits. I can be really obsessive when I make my films, and will try as much as possible to not compromise my vision. I don’t like taking ‘no’ for an answer, without trying it [for myself]. So if someone comes back saying, ‘I can’t find this prop or costume’, I will usually end up getting it myself.”

Early Success, Future Plans It was while he was at the School of Film & Media Studies at Singapore’s Ngee Ann Polytechnic that Chen made his first short film, G-23, which received recognition in numerous countries. “It definitely gave me more confidence to make more shorts and also gave me a certain credibility when sourcing for funding for upcoming projects.” That virtuous cycle is again at work with Ilo Ilo’s success. Chen has been able to plan for upcoming films with greater ease and hopes to play a part in elevating the Singapore film industry. “I am developing several projects in the UK but also keeping my sights on Asia. I believe that a Singaporean filmmaker making it internationally could really open doors for many others in the country.”



PRODUCT NEWS Worst Year Of My Life, Again (Australian Children’s Television Foundation)


Paw Patrol (Viacom International Media Networks, VIMN)


Marry Him If You Dare (KBS Media)

KBS MEDIA MARRY HIM IF YOU DARE | Marry Him If You Dare is a new kind of timeslip drama where a woman meets herself from the future and gets advice for self-development. The series also offers fresh insights into the life and work of people in the entertainment business. It highlights how a woman 32 years of age could find it a little too late to start something new or a little too early to give something up. The protagonist’s ‘future self’ comes to her ‘present self’ and gives advice about life and marriage, hoping to bring about a better life by sending her down a different path in life.

PAW PATROL | Paw Patrol is a CGIanimated action-adventure preschool series starring a pack of six heroic puppies who are led by a tech-savvy 10-year-old boy named Ryder. Using a blend of problem-solving skills, cool vehicles and social skills, Paw Patrol protects Adventure Bay community. From Marshall the firedog to Chase the police pup to Skye, who flies high in her copter, each pup brings its unique personality and skill to the team, modelling the importance of teamwork and good citizenship. They all have special PupPacks on their backs to help them handle anything – from rescuing kittens to saving a train from a rockslide! And no matter how big the adventure, the Paw Patrol always has time for a game, a laugh and an ear scratch from Ryder.

WORST YEAR OF MY LIFE, AGAIN | School days may be the best years of your life. But what if they weren’t? And what if you woke up one morning to discover you had to relive the most excruciating 12 months of high school all over again? Alex King has had a horrible year – humiliated by his teachers, targeted by bullies and embarrassed by attempts to impress the most popular girl in school. So when he wakes up on his birthday to discover that somehow time has reset itself, he can’t believe he must relive every miserable moment of the past 12 months once more. But his friends Simon Birch and Maddy Kent convince him he’s been offered a second chance and maybe this time, he can get it right. (Live-action comedy, 13x24 minutes)

Pythons’ Pit, Ular (Kru Studios)


Stone Bone Rocks (Toonmax Media Co Ltd)

STONE BONE ROCKS | These are the hilarious adventures of Duggy Rocks, just a regular StoneAge kid, his friends and a pet saber-toothed tiger. Stone Bone Rocks tells of a land that time long forgot and where kids live without video games, iPads, smart phones or TV…

PYTHONS’ PIT (ULAR) | A group of lucky-draw winners win a dream vacation on a seemingly idyllic island resort. Yet, all is not what it seems as people start disappearing one by one after the electric fence that has kept the natural habitat and the human visitors apart starts to malfunction. Myra, an entertainment journalist, soon uncovers the reality of them being trapped on an island infested with deadly and hungry pythons. Without access to telecommunications for help, the only way to get off the island is via a passenger boat that is scheduled to arrive in three days.


Airou (Top-Insight International Co Ltd) Good Game (ABC Commercial)


ABC COMMERCIAL GOOD GAME | Good Game is the show for gamers by gamers, dedicated to providing an intelligent and entertaining analysis of games and gaming culture. As well as reviewing the latest games each week, hosts and passionate gamers, Bajo and Hex, offer a unique perspective on what it’s like to be a gamer, in an entertaining format that appeals to a wide audience. The passionate and perceptive discussion, enlightening news and revealing interviews with top games industry figures, and the investigative field stories provided by Gus, the show’s roving reporter, all make for a show that is effortlessly informative and absolutely packed with fun. Most shows about gaming are produced to be niche or are unintentionally non-inclusive. However, with the long-running series Good Game, gamers and non-gamers alike regularly tune in for the warm and witty banter exchanged between the relaxed and personable hosts. Good Game is well positioned to support the growing gaming audience’s hunger for information, with US-based research firm DFC Intelligence estimating that the worldwide video game industry will reach US$70.1 billion by 2015 (up from US$60.4 billion in 2009) with most of the predicted growth happening from 2013 to 2015. Good Game is the only Australian free-to-air TV programme focused exclusively on gaming. Good Game: Spawn Point is a PG-rated sister programme to Good Game – it’s the show for younger gamers by gamers. Primarily targeting boys and girls aged 8 to 15 years, it features a family-friendly mix of reviews, stories about gaming culture and plenty of audience interaction. The two hosts are joined each week by D.A.R.R.E.N. (the Data Analysing Robot for the Ruthless Extermination of Noobs), and roving reporter Goose, for a more quirky and imaginative version of Good Game that doesn’t dumb down game analysis for astute younger viewers.

Kisa Interactive Content (Korea Internet & Security Agency, KISA)

KOREA INTERNET & SECURITY AGENCY (KISA) KISA INTERACTIVE CONTENT | Since 2009, KISA has provided production and localisation support for interactive TV programmes. It will promote these contents at ATF.

2-Eyes Monster (Neon Creation Inc)

NEON CREATION INC 2-EYES MONSTER | 2-Eyes Monster is a combination of crazy characters and offbeat humour, revolving around the misadventures of an average guy who unexpectedly switches between sing-songy positivism and gut-wrenching negativity... all leading to monstrous laughs.

AIROU | Airou is a cat-like character generated from Japan’s top-ranking digital game, “Monster Hunter”, which can understand human language. It assists the main character throughout the hunting process. The cute Airou PSP game was launched in August 2010 and the second generation was launched on Aug 10, 2011. Monster Hunter Diary: Giri Giri Airou Village is a series of animation shorts. To develop the village where Airou and its friends live in, they try their best to get rid of different obstacles and overcome various challenges. It’s a story about friendship, love and commitment.

Almost Extinct (Scrawl Studios Pte Ltd)

SCRAWL STUDIOS PTE LTD ALMOST EXTINCT | Almost Extinct is a fully animated buddy comedy in the vein of Madagascar and Ice Age that puts the spotlight on the irretrievable loss of our planet’s rich biological heritage that we take for granted.


Zerby Derby (Breakthrough Entertainment)

ZERBY DERBY | Zerby Derby is a live-action series about toy-size, remote-controlled cars living and playing in a lifesize forest. Whether they are crossing streams, building dams or exploring a meadow, the Zerbies approach every problem with enthusiasm, and when things go wrong, they happily tackle each setback with their mantra, “Try, try again.”


DREAMWORKS ANIMATION RAA RAA THE NOISY LION | Join Raa Raa and his friends as they go on a journey through the Jingly Jangly Jungle learning and developing their communication skills through the use of Raa Raa’s 4Rs: repetition, rhythm, rhyme and retelling.

Raa Raa The Noisy Lion (Dreamworks Animation)

The Girl Named Feriha (Calinos Entertainment)

CALINOS ENTERTAINMENT THE GIRL NAMED FERIHA | Feriha is a girl who lives in a luxurious neighbourhood. Her mother is a housekeeper. Her father works as a janitor in the apartment block that Feriha and her family live because the manager there kindly provided them a small apartment in the basement. Navigating through her dreams and reality, she earns a full scholarship to a private university. She wears her rich neighbour’s clothes to pose as a rich girl. She quickly becomes the centre of attention for the upper class there, including Emir, who is a rich and handsome playboy! But how long will she be able to keep pretending to be rich? The beautiful daughter of a janitor begins to disregard her own world to build a false world where she is the princess. Alas, this new world that she built will start to consume her and her family. Trapped in her own lies, the real-life struggles of the mother and the daughter will become a battle where there’s no return.

Medical Top Team (MBC)

Oops! I-Kooo (Synergy Media Inc)



OOPS! I-KOOO | A prince named I-Kooo from Peas Planet and his butler robot BB tries to adapt to life on Earth with the help of a girl named Remi. I-Kooo has a prince’s pride but he is as naive as a child, and BB looks perfect but it is not without defects. Also, there is the lingering threat from the Count of Carman Conde seeking to get rid of Prince I-Kooo.

MEDICAL TOP TEAM | This TV miniseries follows the journey of Korea’s best multi-disciplinary medical team and the lives of the doctors in the team. Characters who have different hurts and dilemmas, struggle as they get to work together and gradually learn that healing another person is healing oneself.

ASAHI BROADCASTING CORPORATION BUT RESTAURANT | “Far from the station, but delicious!” “Crumpled restaurant, but delicious!” “Looks tasteless, but delicious!” Although a restaurant may convey a negative first impression, one bite of its food could change everything. But Restaurant not only provides information about the delicacies of extraordinary restaurants, but also the unique features which make them different from others. Popular actress Sawa Suzuki and female comedian Kanako Yanagihara host the show. Be entertained by the unique personalities of Sawa and Kanako as they interact with the local people and hang out in But Restaurant. (20x30 minutes) But Restaurant (Asahi Broadcasting Corporation)



A Good Wife (TTV)

TTV A GOOD WIFE | Someone once told Yi-Jen, “The real happiness is for everyone to find their unique place in life.” In the seventh year of her perfect marriage and prosperous life, Yi-Jen began to grapple with growing perplexity about life in a “doll’s house”. Is there a word other than “wife”, “mother” or “daughter” that defines her? Will there come a day when a loving couple has no more conversation left between them? Is it true that a new-born baby could restore a house back to a home? Mostly, what if the things one has are not the things one desires? As a diary she keeps gets thicker, Yi-Jen finds fewer people listening to her. She’s eager to run away, but where will she go?

A Clinic On The Sea (Fuji Television Network Inc / Fuji Creative Corporation)

FUJI TELEVISION NETWORK INC / FUJI CREATIVE CORPORATION A CLINIC ON THE SEA | A boat clinic plies the Seto Inland Sea, where there are more than 700 islands. Many of the smaller islands are without a doctor or a medical facility to assist residents when in need. So, the boat clinic travels from island to island, providing them with medical aid. The boat clinic has the essential facilities and supplies that any clinic on land has, and it is home to a community of doctors and nurses. A Clinic on the Sea is about the doctors and nurses on board the boat clinic, especially young doctor Kota Sezaki. Despite being a credible doctor, Kota’s weakness is beautiful women. He is easily blinded by love and what’s more, love at first sight is a regular occurrence. On each island he visits, he inevitably falls in love with an attractive woman who comes to seek treatment, only to be turned down each time. Will Kota one day be able to fulfill his dream of leaving the ship to live a happy life with his significant other?



The Winner Is... (Talpa Distribution)

It’s the must-see singing game show that delivers an unbeatable combination of intense qualifying auditions, great vocal duels, instant cash, dramatic decisions… and a big cash prize.

RED ARROW INTERNATIONAL GMBH THE TASTE | ABC’s most successful debut in two years, this innovative cooking competition show boasts four superstar mentors – Nigella Lawson, Anthony Bourdain, Brian Malarkey and Ludo Lefebvre, who will each pick and coach their teams through the show’s episodes. In the first two casting episodes, the mentors choose 16 candidates – four cooks per team – by tasting a spoonful of each cook’s creation. The remaining six shows feature a culinary “Theme of the Week”, such as “Comfort Food”, “The Art of the Sandwich” or “The Perfect Course”. A guest culinary expert, whose own speciality is related to the week’s theme, will appear in each episode. The mentors prepare their teams for the show’s two challenges. In the “The Team Taste”, members of each team cook the same dish and then decide which plate to present to the judges. The winner of “The Team Taste” has an advantage – the help of the guest expert in the next The Taste (Red Arrow International GmbH) challenge: “The Solo Taste”. In that challenge, the mentors judge the dish prepared by each cook. Since the mentors are “blind tasting” the food, they could end up eliminating one of their own protégés. After the 7th show, three cooks will be left to compete in the tasty finale! The Taste is the ideal platform for a wide variety of extensions ranging from sponsors to cookbooks, games and online forums.

Coming soon in 3D

Meet us at ATF stand M 24 - RU.C-RUSSIAN CINEMA To set up a meeting please contact Head of Distribution — Diana Yurinova • Tel: +7(499)201 21 62 •


CONTENT MEDIA CORPORATION SERANGOON ROAD | This ten-part action drama series Serangoon Road is set against the turbulent backdrop of 1960s Singapore, a port city at a crossroads of violence, politics and crime. When her husband is mysteriously killed, Patricia Cheng (Joan Chen – Lust, Caution) enlists the services of enigmatic Australian Sam Callaghan (Don Hany – East West 101) to help her run the Cheng Detective Agency.

Serangoon Road (Content Media Corporation)

The Hit (Warner Bros. International TV Production Ltd)

Shezow (DHX Media)

DHX MEDIA SHEZOW | Twelve-year-old Guy Hamdon is a natural cut-up who fancies himself an extreme dude with his own macho catch phrase, “It’s a GUY thing”. Guy lives the dream of every rough-and-tumble boy when he discovers an awesome power ring which transforms him into a mighty superhero! Pretty cool, huh? Well, there’s just one tiny catch... the ring that gives Guy his amazing super powers was only meant to be worn by a girl and the result is absolutely “she-larious”! Guy must use his super powers to battle mega-villains while sporting an outrageous female superhero costume... which actually ends up helping him tremendously on his own personal journey toward becoming one heck of a super man.

WARNER BROS. INTERNATIONAL TV PRODUCTION LTD THE HIT | It’s the most important pitch of their lives! In every episode of this innovative music competition show, two iconic music stars search for their next great hit from the nation’s unknown songwriters. The stars listen to songs written and performed by the aspiring songwriters before selecting two tracks that they believe can become charttopping songs. The famous artists then work together with the chosen songwriters to develop their tracks, performing only their preferred song in front of a live audience. Which track will they choose to be their next hit? Which star will win the battle for top-selling song of the week? And which track will ultimately be selected as the audience’s favourite in the grand finale?


The Ark (Endemol Asia Limited)

THE ARK | In a tented field hospital on the coast of France, a team of doctors, nurses and women volunteers work together to heal the bodies and souls of men wounded in the trenches. Each episode features patient-led stories of the week as well as stories of the regular characters. The patients include British soldiers, troops from all over the world and even local civilians. These incoming stories bring a rich texture of human life in all its dimensions. The series is executive produced by Emmy Award-winning Anne Pivcevic, and it stars Oona Chaplin, Hermione Norris, Suranne Jones, Kevin Doyle, Kerry Fox and Marianne Oldham.

The Journey: A Voyage (Mediacorp TV Singapore Pte Ltd)

MEDIACORP TV SINGAPORE PTE LTD THE JOURNEY: A VOYAGE | Beset with foreign threats and internal turmoil, China’s concoction of woes compels its citizens to leave for Nanyang in search of a better life. When Shi Tou (Desmond Tan), manages to save enough money after years of working at a tin mine, he returns to marry his childhood sweetheart, Ya Zi (Jeanette Aw). On the return trip, they cross paths with two penniless brothers, Zhang Tian Peng (Li Nan Xing) and Zhang Tian Ying (Chen Yi Lun) with the former becoming Shi Tou’s sworn brother out of gratitude. Framed for robbery and murder, Shi Tou is thrown behind bars while Ya Zi desperately seeks help. Feeling sympathetic towards them, Hui Niang (Joanne Peh) and her stepbrother, Zhang Dong’en (Elvin Ng) proves Shi Tou’s innocence. When he returns back to the mine, Shi Tou is lured into a destructive spiral of gambling by his scheming boss and runs up a huge debt, while his supervisor Hei Long (Pierre Png) lusts after Ya Zi’s beauty and plots to ruin him. When Zhang Tian Ying is apprenticed to an elderly herbalist who passes on to him the fruits of his research, he eventually sets up a highly successful medical firm with his brother. Zhang Guang Da (Terence Cao), Dong’en’s uncle, poisons him and his mother in a bid to take over the family business, leading to her death and Dong’en’s imminent demise. (32x46 minutes, HD)



Battle Of The Super Boyz (Tokyo Broadcasting System Television Inc.)

Beyond Human Boundaries (DRG)

Stars In Danger: The High Dive (Banijay International)

BANIJAY INTERNATIONAL STARS IN DANGER: THE HIGH DIVE | This is the format that got the world diving, the show that literally takes diving to its entertaining best. Brave celebrities take on the challenge of their lives as they compete in a truly nerve-wrecking and dangerous discipline: diving. The stars are introduced through reality segments as they undergo intense training with a top diver. Then, on set at a large swimming pool and in front of a huge live audience, they’ll undertake a range of different dives: high diving, armstand dives, summersaults, back dives, and even synchronised dives. The crowd roars, poolside hosts lead proceedings and expert judges award points for each dive. Only one star will be the winner. Licensed to over 12 countries, this format phenomenon is making waves around the world.

DRG BEYOND HUMAN BOUNDARIES | What happens when an ordinary Western man is stranded at the edge of the world, and only a local mentor can help him survive? Beyond Human Boundaries is a life-affirming series about the triumph of the human spirit. It tells the story of Arman Alizad, an ordinary Western man, who tries to survive in some of the poorest and most exotic places on Earth. Arman’s only chance for survival is the strength and wisdom of his local mentor, who knows how to survive in such extreme circumstances. This is not only a survival show, it’s an emotional story about people who live in some of our planet’s most unforgiving conditions. It’s a story of friendship that crosses all barriers. And every episode has a hopeful and uplifting ending, proving that life prevails even in the farthest corners of the world.


Do You, Andy... (Portico Media Co Ltd)

DO YOU, ANDY... | A short film, which can be expanded into a longer format, gently touches on the subject where two men go in a committed relationship within the confines of a traditional Asian society, but supported by accepting parents.

TOKYO BROADCASTING SYSTEM TELEVISION INC BATTLE OF THE SUPER BOYZ | Never before has a competition created such excitement on screen and among teens and young adults. A legendary competition is reborn with the hottest games and competitors.

Top Designer (Bethel Global Media Contents)

BETHEL GLOBAL MEDIA CONTENTS TOP DESIGNER | Top Designer is a fierce battle amongst the crème of Korea’s up-and-coming fashionista crop. With intense passion and dedication, these young men and women strive to create works beautiful enough to impress the judges and win the chance to make a name for themselves in the world of fashion. But as the weeks wear on, who will be left standing...


Breathless (ITV Global Entertainment Ltd)

BREATHLESS | With Britain on the brink of a sexual revolution, the doctors and nurses of a London gynaecology unit are kept busy. Away from the hospital, however, they are fighting complex personal battles of their own. Admired and envied, charismatic surgeon, Otto, and his wife, Elizabeth, are the perfect couple, but a secret lurks beneath the immaculate surface of their marriage which could ruin them both. Best friend Charlie is starting to buckle under the pressure of keeping the confidences of their shared past while the dream marriage of sexy nurse Jean to ambitious doctor, Richard, is under threat before it has even begun. When Otto’s head is turned by a new arrival at the hospital, will it be temptation and desire – or the lies of the past – that threaten to destroy their delicate social circle?

7-10 April 2014 Palais des Festivals, Cannes, France

F O U R DAYS. 4, 0 0 0 BUYE RS. AL L N EW CONTE NT. The truth is MIPTV welcomes more international buyers than any other content market of the new year. 4,000 buyers from 100 countries gather in Cannes to screen and acquire the freshest content for TV, digital platforms and every screen. This April, MIPTV launches the MIP DIGITAL FRONTS, the NEW international screenings showcase for original online video and multiplatform content. Register by 21 January and save 30%.

MIP TV.C OM F E E D YOU R PASSIO N FO R FRESH CO NT ENT To participate, exhibit, advertise or sponsor please contact Paul Barbaro:

Don’t forget to register for and , the weekend before together, they form the world’s largest gathering for the non-fiction community. Part of the whole experience.




ATF & ScreenSingapore 2013 - Show Daily (Day 2)  

The official Asia TV Forum & Market and ScreenSingapore Show Daily 2