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NEWSLINE REPORT INTERNATIONAL

MIPCOM 2016

OCTOBER 2016

CONTENTS FREDRIK AF MALMBORG, MANAGING DIRECTOR, ECCHO RIGHTS

“We will continue to build on the Turkish drama wave” Expanding its partnerships, the company looks for new content producers. We have recently signed a five series output deal with Turkey’s leading producer Ay Yapim. This are incredibly strong series and we are also taking out

How have evolved the portfolio of clients of Eccho Rights in the last months? Eccho Rights is developing very well at the moment. Our mission is to represent the rights of top

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new series from Surec Film in Turkey. In India, we have just announced a script output deal with the broadcaster Star and, in Korea we have signed a representation deal with CJ Group. We are also launching our first dramas from Western Europe: the success of the season in Holland ‘Flight HS 13’ from Column Film and ‘Sisters’ from Bob Film in Sweden.

Column Film/NPO3 in Holland and ‘Sisters’ from Bob Film/TV4 in Sweden. Then we are also launching ‘La Casa del Mar’ from Direct TV Latin America that was nominated for an International Emmy.

Which is going to be the focus of Eccho Rights for MIPCOM 2016? Which are your expectations towards the show? Our focus at MIP are five brand new drama series. ‘Insider’ from Ay Yapim/Show TV in Turkey, ‘Brave and Beautiful’ from Ay Yapim/Star TV as well as ‘Flight HS 13’ from

series is still very strong. More and more broadcasters are starting to realize the huge importance of online viewers and we are seeing more and more clients on this side.

How do you see the current moment of the Industry? Which do you think is going to be the focus in the future time? The demand for good long running drama

drama producers, and more and more producers start to understand the advantage of having us representing them instead of a traditional distribution to acquire their rights.

Which are the main features that make Eccho Rights a wellknown company in the international market?

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MIPCOM 2016

CONTENTS We have a unique offering to producers who wants to make dramas for the world. Classic distributors are acquiring rights and are then putting them into packages to cover a minimum guarantee. We are working differently. Each series is represented individually and our job is to make them worldwide hits, and give the producer the value they deserve. We are working transparently with the producer, almost like an in-house unit. Which are the must in order to keep the validity in the Industry? The key is to focus and to retain rights from the in-house distributors of the broadcasters/studios. In the new environment, it is important to manage each window of the rights in the proper way. The different VOD win-

dows, the Free TV and then finally the remake rights, but all with the right priority and right order. It is important to be represented by a distributor with a focus on your series and without conflicts of interest. Which are the main challenges of the Industry? We are having a wonderful development at the moment, and we don’t see major hurdles. However, in the mid-term, it is important for the linear broadcasters who today are the bulk of our business to manage the transformation to online. Which are the goals established for the end of 2016 and the beginning of 2017? We will continue to build on the Turkish drama wave in new territories. Most recently, we are seeing

major success with our Turkish series in new countries such as Italy. We will continue this work as well as building relationships with top producers in Western Europe as well as Korea, India and Latin America. More and more producers start to understand the value of our offering.

Extends the representation of Ay Yapim Eccho Rights added new titles from Ay Yapim to its international portfolio. The distributor commercializes ‘Wings of Love’ , ‘ Insider’ and ‘Brave and Beautiful’ , with two additional series, two previous seasons, and three movies. The company closed an exclusive deal with the Turkish producer Ay Yapim. ‘Wings of Love’ was launched on August 22nd in Fox

Fredrik Af Malmborg, Managing Director and Nicola Söderlund, Managing Partner, Eccho Rights

Turkey, where it became the #1 drama of Friday nights. ‘Insider’, stared by Çaðatay Ulusoy, is on air on Show TV since September 19th; and the third title of the package, ‘Brave and

Eccho Rights will provide Netflix with 450 hours The Swedish distributor signed an agreement for Turkish dramas for the worldwide streaming platforms that includes highlight titles like ‘The End’, ‘Kurt Seyit & Sura’ and ‘Winter Sun’. A day after the launch of the Turkish version of Netflix, the OTT platform acquired 450 hours of content, most of them Turkish dramas. The worldwide, but non-exclusive, agreement includes Ay Yapim productions like ‘Ezel’. There are also include shows from Erler Film like ‘Can’t Run From Love’; from Surec Film like ‘Kacak’; or from Endemol Shine Turkey like ‘Winter Sun’. Fredrik af Malmborg, comments on this alliance: “we are really happy of being able to go deeper on our cooperation with Netflix for the worldwide launch of the titles we represent. Being part of the platform is a quality mark that let us reach new audiences. Besides Turkish dramas, the agreement also involves shows like ‘Silver Spoon’ (Russia) or ‘Servant of the People’ (Ukraine), that will have remake in USA by FOX Television Studios.

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Beautiful’ will have its debut on Star TV. Fredrik af Malmborg explains: “We were working closely with Ay Yapim since the global boom of Turkish drama and we are very proud of the collaboration that we made together in order to increase the genre. The Turkish drama gets even stronger and Ay Yapim has

always led the genre”. The additional titles that are part of the agreement will be launched in the next months and the movies are ‘Delibal’, ‘Bir Küçük Eylül Meselesi’ and ‘Dedemin Insanlari’ .

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INCOMPANY

STAFF Year XXV MIPCOM 2016 Edition

9 Story Media Group chooses Alix Wiseman as VP Business Development & Acquisitions, for all the EMEA region. The focus of Wiseman operations will be in the accessibility to new European content, and the beginning of new projects for regional broadcasters. With more than 20 years of experience in the international market, the executive joins the company after years in Aardman Animations. ○

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BBC Worldwide designates David Hanono as General Manager Sales and Digital LATAM and USH. On its new position, David will supervise every content sales of BBC Worldwide Latin America & US Hispanic, that include Digital, TV and formats, at the time that continues leading the publicity sales for all the region. ○

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Fernando Gastón joins NBC Universo as new VP of Production and Development of sport and entertainment channels for the USH market, trying to encourage the ratings growth and the consolidation of the brand. Previously, Gastón was SVP Content of VIACOM International Media Networks channels: MTV, VH1 and Comedy Central Latin America. ○

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María Del Rosario Iregui new VP Strategic Businesses of RCN, in order to be in charge of new businesses for all the alternative media of distribution and content that the company generates and to focus its efforts in the implementation of important developments. The executive has previous steps in Caracol, Telemundo and VIACOM. ○

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Laura Fernandez Espeso joins Grupo Mediapro as Director of International Content, under the lead of Javier Mendez, Director of Content of the Group. Fernandez Espeso will be responsable for the international strategy of the Group, including co-productions, own-production, distribution (Imagina Sales International) and worldwide partnerships.

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Approved by the Administration Council, RTVE promotes Milagros Mayi as Director of the Acquisitions Area. Mayi career in the company began in 1988 and has been mainly related with commercial departments, positions of responsibility in the areas of Sales and Sales of Programs, Cinema and Dubbing, being responsible for the content sales of TVE. ○

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Endemol Shine Group incorporates Ivan Nash Vila as Chief Financial Officer. With more than 20 years of international experience in financial operations, relationships with investors and development of business strategies, the executives arrives in the company after the supervision of the operations in Liberty Global, for Austria and Switzerland and five countries of Central and East Europe. He also had positions in companies like 3G Mobile and Compaq. ○

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eOne promotes Carolyn Newman for the role of VP Scripted Programming. In its new position and coming from Amazon Studios, Newman will be focused on the development of TV projects that might be attractive as eOne continues expanding its business of scripted-TV. She will work with the global scripted development and production teams of the company. ○

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Cyber Group Studios adds Raphaelle Mathieu as new VP Sales, Acquisitions and New Media. Mathieu was General Delegate of the French SEDPA, the professional union of French audiovisual distributors of all the genres, liveaction, factual and documentaries, and also animation. He was also Head of Acquisitions and Sales in Zylo and co-founder of Daydream. ○

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Fernando Blanco leaves the presidency of Pol-ka and only continues as stockholder. Adrián Suar, artistic director and founder of the producer company is in charge of the local and international management of all the projects developed by the company, and Roberto Lorenzi, who was the Administration and Financial Manager, has been promoted as General Manager.

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Bruce Rosenblum joins Disney-ABC Television Group

Disney-ABC Television Group, TV division of The Walt Disney Company, has announced the appointment of the well-known Bruce Rosenblum so as to lead the business operations and reinforce the incomes. The executive will supervise the global distribution, digital media, strategy and other departments for the networks ABC, Disney Channel, Freeform and Disney XD. However, ESPN won’t be part of his operation portfolio. As the new president of Business Operations of Disney-ABC Television Group, Rosenblum will respond directly to Ben Sherwood, president of the Group, who says: “Disney-ABC is the home of some of the most emblematic brands of the television. Today, for the company is more important than ever to establish an operative structure more efficient”. On his behalf, Rosenblum affirms: “During my years in Warner Bros. I closed several successful agreements with the Group, and I’ve witnessed by first-hand the intelligence and creativity that exists in their business operations”.

Armoza Formats makes changes on its structure Armoza Formats announced changes so as to reinforce the structures of Marketing and Strategy. Recently, Yael Phillips, who has led the department of Marketing during the last three years, was appointed as Head of Strategy. At the same time, Paula Schleider joined the company to reinforce the division of Marketing and PR. Phillips has managed the expansion of the brand through her actions of worldwide marketing and communications; and now will supervise the strategic initiatives to incorporate new opportunities of growth, while continues with her responsibilities leading the marketing department. As part of a parallel expansion of the team, Schleider joins to help with the raise of the marketing efforts reach of Armoza. Previously, Paula Schleider was part of Beiersdorf Mexico, working for the Nivea brand.

DIXIT “We don’t think Netflix is eating the world. We don’t think they are trying to put us out of the business. But, there’s also true that they are producing more original content. The OTTs have made the entire world much more competitive and driven up the price of premium content a great deal. With the previous model was possible to go to big markets and have three buyers for content, whereas with the SVOD marketplace there are seven, eight, nine buyers”. Les Moonves, President and CEO, CBS

Philippe Dauman resigns as CEO of Viacom

Viacom announced the resign of its CEO, Phillippe Dauman. The decision was taken in the middle of a legal dispute that the company is having with the family of it biggest stockholder, Sumner Redstone. The agreement with Dauman also puts an end to the legal dispute between the members of the Board of Directors of Viacom and National Amusements, the society that Redstone that has the 80% of the shares with vote right of Viacom and CBS. The ex-CEO was substitute by Thomas Dooley, who had been the General Director Adjunct and who was in the temporary position, until he also resigned.

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CONTENTS IGNACIO SANZ DE ACEDO, CEO AND GENERAL MANAGER, ¡HOLA! TV

Following a traditional brand After three years of operation, the network reaches 16 million households in Latin America. What makes ¡HOLA! TV a different channel? One of the biggest attributes that distinguishes us is the power of the brand. When you talk about ¡HOLA!, any product that has ¡HOLA! brand, it is known that is a high quality product. ¡HOLA! TV has guarantee itself to move those values to the screen, offering the content in a formal, journalistic and elegant way that make it different and turn it into a different channel. How has expanded the presence of ¡HOLA! TV in the last months? During the last time, we have experienced a vertiginous growth in distribution. We started the year in 10 million houses and we are expecting to finish the 2016 near of the 18-20 million. We are lucky to have important agreements with some of the biggest operators of Latin America like Cablevisión, Megacable and Dish México. Nowadays, we are near to the 16 million households. We have just celebrated our third

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anniversary on air and looking at the current situation of the Industry, it is a huge success for us to have that important amount of subscriber since the channel was launched. Where do you see the focus of the Industry? We still look that the trend is on the VOD digital platforms. We are on a point where as a channel, it is very important to have the rights of all the productions and acquisitions, so as they can live in different platforms.

Which are the main challenges that you find in the Industry? We are still growing in the Industry. The distribution will always be a great challenge for us. We will continue commercializing the signal from the publicity side, and our two future challenges will be: first, keep growing ambitiously in the distribution, and second, to establish our publicity structure that guarantee the monetization of the power of ¡HOLA! TV and this big brand.

Which are the keys to get the recognition in the Industry? We produce content that is synchronized with the taste of our audience, but at the same time, we maintain the editorial line of ¡HOLA!.

How is going to be address the business strategy of ¡HOLA! TV for the next months? Since the creation of the channel, our strategy has always been addressed towards those markets where we see more profitability on distribution and publicity. We will still reinforce the distribution of the channel in the USH market and México. On the publicity

We believe that if we make high quality content, there will always be an audience that like that kind of content and our rating levels prove it.

side, we will be focused on the pan-regional, Mexican and Colombian markets, where we think that we could have a bigger return over our incomes.

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MIPCOM 2016

CONTENTS VALERIE CREIGHTON, PRESIDENT, CANADA MEDIA FUND

Supports the creation of convergent television How have evolved the position of CMF in the international Industry? Over the last several months, the CMF has pursued its objective of supporting Canada’s screen-based industries through predictable and stable funding policies, but also through its ongoing promotional efforts at international markets such as MIPCOM. In June we participated at Sunny Side of the Doc, and MIFA, as well as Canadian festivals such as the Banff World Media Festival. In addition to international promotion though participation at the industry’s marquee events, we also continued the development of coproduction incentive agreements. We announced an agreement with Ireland and

Of the variety of projects the CMF funds, coproduction continues to be the top priority. showcased audiovisual content productions and engaged in conversations about the future of digital content. This year focus will be on the wealth and diversity of on- and off-screen talent that allow producers to engage international audiences and reach new markets – an important strategy in today’s world without borders. As consumers can now access content from the four corners of the globe, we’re interested in how producers can leverage talent to develop new opportunities and meet international demand.

innovative Canadian productions and apps inspired by books that can help young viewers embrace the importance of reading.

renewed our agreements with Sao Paulo state in Brazil, as well as Italy.

Canada has had considerable success in creating shows with universal appeal and we look forward to sharing our insight with MIPCOM delegates. We’re also working with MIPJunior to demonstrate how producers can usher in a new era in storytelling by showcasing

and interactive digital media content. Canadian talent continues to make headways in an increasingly competitive international market, and Canadian content continually punches above its weight. Canada is today the third exporter of

How is CMF working on MIPCOM 2016? Which are your expectations towards the show? For the past several years at MIPCOM, the CMF along with several Canadian partners has

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How do you see the current situation of the Industry? The CMF programs and policies are designed to support the creation of convergent television

finished television content in the world, only behind the United States and the United Kingdom. Coproduction is a practice of growing strategic importance in Canada, providing new opportunities for Canadian producers and their international counterparts to share resources and talent and tap into new markets. Canadian content is available through a wellestablished distribution system, and is also finding audiences on new platforms on countless devices. Which are the goals of the company for the near future? Of the variety of projects the CMF funds, coproduction continue to be a top priority. As consumers

have growing access to content from all corners of the world, the production community benefits greatly from working on the international front and sharing expertise, talent and access to markets. Maximizing coproduction is one of our goals for the current year. This is why we are developing and renewing partnerships with other media development agencies in countries around the world. We are looking at ways to continuously align our programs to maintain steady growth for the Canadian industry. Coproduction incentives have been developed or renewed with the Broadcast Authority of Ireland, the Directorate General Cinema of the Italian Ministry of Cultural Heritage, Activities and Tourism (Italy), NZ On Air (New Zealand), Screen Australia, Spcine (Brazil), and Wallimage (Belgium), all through networking and meetings at international events. We are pleased that our productions resonate with world audiences and we hope to see continued growth in this sector over the coming years.

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CONTENTS CISNEROS MEDIA DISTRIBUTION

Worlwide diversity The company offers a wide portfolio with original productions and titles from its partners. From its Stand P-1.C13 at the Palais des Festivals, Cisneros Media Distribution is offering its main titles. The slate of original productions is led by ‘Mary for Mayor’ (14x30’). This dramedy is set in a fictional Southwestern town in the U.S. where divorce is forbidden due to a 150year-old superstition. There, Mary finds herself in an unhappy marriage and runs for mayor to change the law, sending residents into a frenzy. But just as Mary is about to put an end to her marriage, she begins to fall back in love with her husband, who is in fact an imposter hired by the town’s incumbent mayor as part of a conniving plan to win the election. ‘The Sex Sense’ (13x60’) is an original story by Luis Fernandez that presents four very distinct couples on the brink of breakup, struggling to survive. Considering that monogamy is not natural and traditional values have not served to make them happy, these couples try to redefine their relationships through sex, trial, and error, and not without

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drama, gratification, and trauma, to establish new values that are more in harmony with reality and more useful in building stronger relationships that are open, honest, different, and undoubtedly objectionable to some, but envied by all: the couple of the 21st century. ‘Just Looking’ (120 x60’), a coproduction between Cisneros Media Distribution and Venevision, is an innovative, dynamic and groundbreaking format that has the flexibility of being a telenovela or a drama series. In this story, five couples who fall in love in different ways: at first sight, at the first laughter, at the first compliment after years of indifference, after the first divorce, and even during the first hip fracture. These lively and spontaneous characters meet or are reunited when they move into the same building, not knowing a psychopath has installed hidden cameras in every apartment. As part of the LC Barreto slate, CMD is showing ‘Dona Flor and Her Two Husbands’ (110’).

The original film, from 1976, was nominated for a Golden Globe as Best Foreign Film and held the Brazilian national boxoffice record for 35 years. Starring Sonia Braga, the internationally acclaimed film was directed by Bruno Barreto and produced by his parents, Luiz Carlos and Lucy Barreto. From medialand Company there are two different documentaries. ‘In the Holocaust Camps’ (8x30’) discovers the stories of Holocaust survivors currently living in Brazil. On the other hand, ‘Police Operation’ (136x60’) is the first police reality show in Brazil that goes behind the scenes to show the day-to-day routine of the Brazilian police force, including cops on the beat, detectives and the forensics team. After more than year as exclusive representative of Estrella TV, Cisneros Media Distribution has in MIPCOM, ‘Rica Famosa Latina’ (42x60’), the re-

ality show in which the ‘Housewives’ are rich, famous, successful, and Latinas. They broke through the glass ceiling of immigrant triumph, but the traits that launched them to the top

their love relationships. In this flexible format, the client can choose from a narrated version to hosted segment by their own presenters or judging panel or request Mobius Lab to deliver the show

are the same qualities that create barriers to developing true friendships. With stunning production values and million dollar locations, “Rica, Famosa, Latina”, takes audiences on the roller coaster ride along with these Latinas. Last MIPCOM, Cisneros Media was presenting Mobius.Lab Productions. Now, in MIPCOM 2016, the company is distributing three titles develop by the producer. ‘Talk the Walk’ (26x30’) shows the evolution of different Celebrities that achieved International recognition. The show analyzes their fashion style, career and their personal choices from the inception of their careers to the current days. They hosts will judged their clothing, style evolution to their roles that worked and didn’t, in addition to

with new presenters. For children, ‘Funnimals’ (104x30’) is an entertaining children’s show that explores the incredible animal kingdom in an exciting adventure that will take you through the air, water, land, farms, homes, and through time. Last, but no least, Cisneros Media Distribution is handling the rights of ‘XRC, Top Ten’ (13x30’) which showcases the most unbelievable footage that audiences will ever see. It chronicles the ten most outrageous videos of the following categories: extreme weather, car chases, body and dash cams, sports, pranks, dangerous animals, and so much more. The series is currently available with English and Spanish narration; however the script can be adapted to any language.

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CONTENTS DANIEL OTAOLA, CONTENT DISTRIBUTION MANAGER, TELEFE

“We believe in a flexible company” The company presents its new production ‘Love after Love’, still in development. can take advantage of all the opportunities.

How has Telefe developed its businesses in the last months? Telefe businesses have evolved in a great way, overpassing the previous expectations. The Content Distribution area, particularly speaking, continues to confirm new agreements for ‘The Return of Lucas’ that makes the coproduction a success in the pre-sales. On what it means the focus of working, we have launched some news, developed new agreements, planned next year, participated in Industry markets, etc. In the current context of changes and deployment of the industry, we consider that it is important to adapt to the challenges that those changes propose, in a way that we

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Which is your main focus for MIPCOM? We are working on the launch of our new project, ‘Love after Love’. We are also exhibiting last productions, like ‘Educating Nina’ and ‘The Return of Lucas’ . To those titles Telefe is adding its continuous negotiations for all the portfolio. Considering MIPCOM has the biggest opportunity for us to let the people know our great content, we are very excited about this four days in Cannes. What kind of opportunities do you find in the TV Content market? The current situation is still a very interesting moment with huge opportunities, in the development of new productions, because of the interest and greediness of the consumers in the new formats and themes; and in the content distribution area from the chances that come with new technologies and the decrease of prices in its use. During

the next month, I think that the expansion process will continue towards new horizons and the consolidation of current developments. Which are the features that make Telefe a different company in the market? From the experience developing the production of original content, Telefe provides its creativity and its ability on the production for the content that creates; so some of it main features that distinguishes it in the market are related to innovation, flexibility and association capacity. This is why we have a Content Distribution area always alert to look for new opportunities for the product developed by Telefe and so we can maximize its development.

Which are the keys in order to be distinguished in the Industry? We have develop original quality content and since then, we have created strong relationships with clients and partners that let us reach the higher development of the produced programs. Several of our shows and formats have been broadcasted and adapted in most of the countries of the world, so Telefe content has transcended boarders and different cultures, reaching most of the goals. Which are the main challenges for Telefe inside the market? The biggest challenges that we have to deal with are in the content distribution side, related with the diversity of opportunities, needs, contexts, and how to adapt to it. In

an environment where everything is on revision and constantly changing, the challenges for producers and distributors are how we can face the changes and being flexible enough to be able to adapt. How will be oriented your business strategy for the next months? We believe in been flexible, especially in an environment with such an innovation, so as to develop all the options that let us find solutions and answers to our clients’ needs. We have a great portfolio and so many business options that helps us to find new ways of understanding and develop the biggest number of opportunities possible in mutual benefits; in a way that our strategy is focused in better results.

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CONTENTS DIEGO KARGAUER, SALES & ACQUISITIONS MANAGER, POLAR STAR

25 years, and more than 1000 titles “We have the most important independent portfolio available in the market”, states the executive. How has evolved Polar Star’s businesses? We are really focused on the penetration of VOD market, the one with the biggest growth in the region, and Polar Star will be addressing its distribution businesses towards those trends. At MIPCOM we are meeting with a big number of our clients, even though our main idea is the acquisition of new content. Which are the main features that make from Polar Star a unique company in the market? We have a huge portfolio with high quality movies, some of them that are Oscar winners. With more than 1.000

titles, we have rights for all Latin America. It can be said that we have the most important independent portfolio available in the market. During this 25 years, our company has been oriented on acquiring those contents that may attract our clients’ attention in Latin American markets, besides the construction of a wide and varied portfolio that it becomes stronger and stronger, as the time goes by. Which are your goals for the near future? How will you be working in order to fulfill those goals? Our main goal for those months is keep reinforcing our portfolio for next year. We keep an eye on new content that emerges in the market, and we could only do it if we keep travelling to the most important film festivals, and programming. We do also work on having a costumed and direct relationship with our clients.

TOMÁS SILVA, VP INTERNATIONAL SALES, RIVE GAUCHE

“Only the one with the best content will survive” How is it addressed the business strategy of Rive Gauche? Our commitment is the launch of new content, at least twice a year. We are constantly looking for new ideas to develop and produce, and of course some worldwide acquisitions. That’s why we are still evolving next to the market, because if you don’t evolve, you disappear. Which is your focus for MIPCOM? Which are your established goals

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for the market? MIPCOM is a very important market, internationally talking, and maybe more destined to European territories. The attendance of executives who buys content is so high that our agendas are tend to be 100% full. If you add the end of finan-

For the executive, technology moves in a way that makes more difficult to keep on the move. cial year, the market tends to be the last chance to fulfil your annual goals. How do you see the current situation of the market? The Industry is still on its

inexorable metamorphosis, reinventing itself in each change. Technology moves in a way that makes more difficult to keep on the move. We haven’t get used to the analogical turn off yet, and we have to think of the development of new OTT platforms that emerge almost daily. I think that we’re going to see more and more big fishes dominating this field, but only the one with the best content will survive.

How can you describe the uniqueness of Rive Gauche? We are not a studio, we do not have our own channel, but we have a huge portfolio. Rive Gauche keeps an ideal structure and everyone there work so hard, trying to have the best relationship with our clients. The diversity of our portfolio and the participation in most of the international markets make the difference. We try to be a step ahead from similar companies, offering something else to each client.

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CONTENTS TOMAS DARCYL, PRESIDENT, TELEFILMS

“Our line-up has 35-40 premieres per year” Which is Telefilms’ strategy during MIPCOM 2016? At MIPCOM, Telefilms is showing the best films of the independent market. We have a line-up with 35-40 premieres per year, growing so fast. We have successful titles like ‘Bad Moms’, which has reached 150 million dollars in the USA. We are also having a huge success in México, with our original movie, which was launched in Spain, via Diamond Films España. During 2016 we were launching ‘The Nice Guys’, stared by Ryan Gosling and Russell Crowe; besides ‘The Boy’, ‘Dirty Grandpa’ and ‘London Has Fallen’. Our intention is being everywhere and MIPCOM gives us the opportunity to have the world by our side. How is it the development of original productions of the company? The Magic Eye, our producer company of TV-content, is evolving and the first project, ‘Sandro’, was already announced. Also, our last Mexican original movie, produced under the brand of Diamond Films México, ‘¿Qué culpa tiene el niño?’ became the third Mexican movie in the history to reach 5.900.000 admissions. We want to have a slate of high quality original content to offer to the market that

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Shows the results of ‘¿Qué culpa tiene el niño?’ and analyses the evolution of Diamond Films España. came from different parts of the world, where we have operations. How has evolved Diamond Films España? The distributor company has been working for the last five months, and even if we have a smaller line-up, we have in mind to leverage the portfolio level, comparing with the Latin American one, in 24 months. Alfonso Castillo is leading this company, conformed by ten people handling our operations in Spain.

Which are the most profitable platforms towards rights distribution? Everything related to PayTV and SVOD is important for the business. Despite theatrical represents a risk, it also offers a huge opportunity of incomes. Because everything is unify, there is a lot of material in Free-TV. There’s future, nobody knows the direction, but

if you don’t have every kind of rights secured, you’re out of the industry. Which are your goals for the end of 2016 and the beginning of 2017? Telefilms will still look for growth, with a huge expansion in quality and quantity, besides geographical. We have just opened a new Diamond, in Bolivia, so the idea of keep growing will never finish. We founded the seventh Latin American Diamond, which means the eighth worldwide.

Major’s titles for MIPCOM Telefilms is showing its wide new titles portfolio, led by ‘Bad Moms’, stared by Mila Kunis, Kristen Bell, Kathryn Hahn, Annie Mumolo, Kada Pinkett Smith and Christina Applegate. The story directed by Jon Lucas shows three overworked and under-appreciated moms who are

pushed beyond their limits, so they ditch their conventional responsibilities for a jolt of long overdue freedom, fun, and comedic self-indulgence. On the other side, ‘Lion’, from Gareth Davis, is acted by Dev Patel, Rooney Mara, David Wenham and Nicole Kidman. A fiveyear-old Indian boy gets lost on the streets of Calcutta, thousands of kilometers from home. He survives many challenges before being adopted by a couple in Australia; 25 years later, he sets out to find his lost family. Also, Telefilms has the last title directed by Mel Gibson, ‘Hawcksaw Ridge’, stared by Andrew Garfield, Teresa Palmer, Hugo Weaving and Sam Worthington. WWII American Army Medic Desmond T. Doss, who served during the Battle of Okinawa, refuses to kill people and becomes the first Conscientious Objector in American history to be awarded the Medal of Honor. ‘A Monster Calls’ is the third title of J.A Bayona. The production, stared by Liam Neeson and Felicity Jones is based on the award-winning children’s fantasy novel. Connor, a 12-year-old, attempts to deal with his mother’s illness and the bullying of his classmates by escaping into a fantastical world of monsters and fairy tales that explore courage, loss, and faith.

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CONTENTS LEONARDO ARANGUIBEL, DIRECTOR, PRODUCTION, DISNEY MEDIA DISTRIBUTION LATIN AMERICA, THE WALT DISNEY COMPANY LATIN AMERICA

“Relevance and truthfulness of the story is essential” How has evolved the way of producing content? Disney Media Distribution Latin America has made an important change on its line of production when developed its first original series ‘Hasta que te conocí: Juan Gabriel, Mi Historia’ . This doesn’t mean that we are going to stop the chain of successful local and pan regional versions of our portfolio, but we have added an element that complements our work very well. Why did Disney Media Distribution Latin America decide to begin to produce bio-pics? The stories of personal achievements, fight and triumph against the adversity have been presented on our productions for decades. The power of showing our audiences the value of the reward after the effort is something that satisfies us enormously. Which are the main features do you have in mind at the time of picking up the ideal partners for this projects? Disney Media Distribution Latin America privileges working with its strategic partners, the

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After ‘Hasta que te Conocí’, the company continues with the production of new bio-pics. ones with a strong and long-lasting relationship. This kind of productions represent another element of a deep commercial relationship, whose benefits include much more than only the project of local production. On the other side, I’d like to add that these partners also share the same vision of quality and profile of the stories we develop. Which characteristics of the people’s life do you analyze in order to choose them as future bio-pics? Relevance and truthfulness of the story we want to tell are essentials. We prefer to choose those which dramatic value, of entertainment also, is based on real facts. This is the truth power of a bio-pic: that people know that story is genuine an sincere, for anything else there is the fiction. A year after launching the project of ‘Hasta que te conocí’, how do

you analyze the evolution of the project? How was the reception of networks and audiences? In my opinion, ‘Hasta que te conocí’ is already known as a truly success for our region. Numbers and records of audiences in the different markets are stunning and even more the manifestations of the audience through social media. The emotional impact that had caused on the audience was something deeply moving. Which is the role of new technologies in the Content Industry? In this Industry, technology has as role and mission, to find the way, the most direct and comfortable option between content and user. Every time

trends and consumers habits change, technology gives a step ahead to adjust these corrections and confirm its function as communicational link between our audience and us. Which are the keys so as to be highlighted in the market? In an environment even more competitive, with a bigger diversity of options, in content and distribution platforms, the only option that guarantees permanence and recognition is the innovation; to privilege the quality and connection with the soul of our audience. Which are the main challenges do you find in the market? The biggest challenge is the audience spread, due

to the saturation of exhibition networks and the growing diversity of the content offer, with a more homogeneous quality in general. But that is the kind of challenge that gives as life, at least to us, as a company. Which are the key factors that guarantee the success of a content in the international market? No one can tell what ‘guarantees’ the success of a content. It will be like having the Philosophers’ Stone of our millennium. The only thing that can be guarantee, and that’s what we do, is to give until the last drop of sweat in each project, to make the impossible for innovation, to take risk and to provide content with the best quality day after day.

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CONTENTS MANUELA CAPUTI, HEAD OF INTERNATIONAL SALES, MEDIASET

Arrives in Cannes with a solid sales structure The company extends its partnerships with Comarex, Sera Film and Kanal D. Which are Mediaset goals for MIPCOM 2016? For us MIPCOM is an important market, and we face it with a particularly rich catalog of series, but at the same time we are trying to diversify our catalog with new products of unscripted formats and documentaries. On the other hand, we expect to sell and close big deals with important Networks. Which kind of deals have you made in the last months? In the last few months we tried to better organize our distribution network with our key partners in the different territories. We have a big catalogue and we decided to strengthen our partnership with few, trustworthy nationwide sales agent with whom we have already been cooperating for years. For example, we have confirmed our relationship with Comarex for Latin America and extended it to Asia and Africa, and, in the Mena Regions we have closed

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a distribution agreement with Sera Film, that already successfully represented us in the Turkish market for the last 7 years, in joint venture with Turkish Broadcaster Kanal D to be able to count on their strong sales activity in these territories to find new possible markets for our entertainment and fiction catalogue. Having said that, from the Rome headquarter, we focus directly on European markets and keep on coordinating the sales team and negotiate larger packages with major international broadcasters.

How do you see the market nowadays? Actually the present situation seems quite good, with a market recovery and with great opportunities for everybody. There are many channels, many platforms and so it’ growing the demand for new contents. Why is Mediaset different from all the other companies? Our sales structure is very solid, we join all the most important International TV markets and we try to be present in all the regions of the world, both through a direct participation both with our

agents. We have a very rich and distinctive catalog, and we are further investing to reach our customers in even more widespread regions. How can you transcend in the Industry? First al all we are very careful about what clients need. Our main aim is to establish a very long term relationships with our clients by suggesting products that may really fit their program’s schedule. We work hard with passion and we have good contents. When it comes to format and adaption,

we do understand the cultural differences and we know that they must be respected. We want to be sure that our formats are suitable and can be successfully adapted. Which are the main challenges do you find in the Industry? First of all, we would like to keep up with the technological gap that is becoming more and more relevant and it’s becoming an asset in client’s choices. Second, we’d like to present the potentiality of our productions: we’d like to dedicate real time to our clients and give all the information about our programs.

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CONTENTS ANGELA NEILLIS, DIRECTOR OF NON-SCRIPTED, UK, EMEA, ASIA PACIFIC, FREMANTLEMEDIA INTERNATIONAL

With the focus on factual shows Which are the features that a content has to have in order to attract the attention of FremantleMedia International? It’s something difficult to say, because every single program is unique. FremantleMedia International is very interested in shows with special quality, with an interesting and talented cast that attracts international audiences. We are always looking for different things. Which are the main genres you’re looking for, so as to expand your portfolio? As Director of NonScripted, I’m looking for that kind of content, everything related to factual, history and nature and also strong life-style shows and home entertainment content.

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for great factual production companies to create bounds. We need really strong and unique factual content in order to expand our portfolio.

“We are lucky to work with such strong and dynamic production companies worldwide”, says the executive. Jamie Oliver’ shows are some of the most successful titles of your portfolio, why do you think that kind of content has such an impact all over the world? Cooking is something we’re really strong in, as we have been managing Jamie Oliver’ shows for over 10 years. We have also grown in that genre thanks to Nigella shows. Jamie became a brand by himself, because of his unique point of view and diversity; that made him a huge success all

over the world. We spend a lot of time reinforcing the cooking brands in the markets that are emerging. We look for markets like Asia, to find the opportunity to expand the presence of those kind of shows. Which are FremantleMedia goals for MIPCOM 2016? We have a fantastic year with factual entertaining shows, so we’ll be looking for more factual content. We are looking

How do you see the current situation of the Industry? How has evolved it and which is going to be the focus for the next months? FremantleMedia is a big player international, and we are in production in certain countries around the world. When we pick up a show, we are very cautious about it, because we have a lot to do with it, in order to play it. We are always in touch with our factual producers. The combination of tapes and new productions is a key for us, and that leverages our quality. With more than 16 years of experience in the Industry, which are the keys in order to succeed in the Industry? I think that the main feature is to have incredibly strong production relationships. The producers that we work with, as well as our own production companies are very strong, very dynamic. We are very lucky to be working with them and FremantleMedia International

has to have an eye on what the trends are. We have to be in the market and then all the people there will tell you in which direction will be going the Industry. Which are your goals for the end of 2016 and the beginning of 2017? Definitely, we’ll be growing our factual slate, with new reality shows coming through. ‘Fashion Inc’ will be one of our most important shows, from the producers of ‘Project Runway’, and also we’ve acquire a great show called ‘The Naked Truth’ from True North for Channel 4 (UK). We are developing new ways of working in which we try to combine a finished show launch, with a format launch; and this is an extraordinary opportunity to do it. Despite United Kingdom, which are the strongest territories of FremantleMedia? Of course UK and United States are our dominant territories. FremantleMedia International also has great production relationships in Australia. In terms of acquiring rights, it is the UK, where most of the ideas came from too. We are in an incredibly lucky position working with producers worldwide.

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CONTENTS TELEVISA AND POL-KA

Allies to coproduce ‘Love, Divina’ The new teenage Premium fiction will be broadcasted in eltrece and blim.

Televisa, Pol-ka Producciones and Federation Kids & Family have just started the production of ‘Love, Divina’ (60x45’), a diary musical teenage fiction stared by the pop and TV star, Laura Esquivel (‘Patito Feo’). The creative team combines its record hits and its experience in the television world, licensing and music, with the enormous popularity and talent of Esquivel, in order to bring a new generation of Premium fiction for worldwide teenagers. The three co-production partners give ‘Love, Divina’ a unique experience level on content for teenagers and pre-teens. ‘Patito Feo’, Televisa’s copro-

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duction, was broadcasted in more than 40 countries and its audience rating and licenses were record. Esquivel, teenage idol and successful singer, contributed with the success of the show soundtracks, with five Platinum Discs and five Golden Discs in Italy, Spain and Portugal, and 2 million tickets sold for her shows. “Teenage audience has become very demanding, responding to real life stories, and they are not an easy audience to engage”, comments Maca Rotter, General Manager, Televisa Consumer Products. “Televisa begun to create series for teens 15 years ago, and has evolved with the

audience since that time, adding platforms and technologies, and improving the ideal joint of drama, music and humor, which is the basics of our success”, adds the executive. The widen experience of Pol-ka Producciones as a fiction producer company has given the local and international recognition, which let it establish strategic alliances with famous networks, like Disney. Pol-ka was the production studio of ‘Violetta’ and ‘Soy Luna’, two of the preteens most successful series of Disney, which have become in worldwide hits. In a similar way, the romantic comedy ‘Esperanza Mía’

(produced by Pol-ka for eltrece) became a massive success that led all the ratings in Argentina, which derived in live shows, with 70 sold out shows, and a high worldwide distribution. Manuel Martí, Development and International Business Manager, Pol-

ka Producciones, says, “The challenge of this show was to think of it as a multiplatform project, so we had to establish and coordinate several production units for lineal, digital, social media and second screen content. The result is a uniform narrative that exists in several platforms simultaneously, which offers different levels of interaction and creates content that merge a new way of contact with the audience”. David Michel, General Manager, Federation Kids & Family, has produced and coproduced more than 15 children series, including the next diary fiction for teenagers ‘Paris Opera’, a highlevel coproduction with ZDF and ZDF Enterpris-

es. “We are glad to join these respected experts in the international teenage series. With ‘Love, Divina’ we continue with what we have done with ‘The Ollie & Moon Show’. Federation Kids & Family is gaining respect as the newest player in the production and distribution of Premium

Children content”, assures Michel. The first episode of ‘Love, Divina’ will be launched in MIPJunior and tells the story of a sweet and responsible teenager that grew up without a family. With a big knowledge of the street life, Divina takes care of a group of homeless kids. The mysterious Irene, that happens to be the Grandma she lost years ago and wants to be near Divina and solved past errors, adopts the children and takes them to live in her mansion, rescuing them for Social Services. Divina, who dreams to be a pop star, lives with its friends and wealth family, including Felipe, the love of her life, making appear new friendships and unstoppable rivalries. ‘Love, Divina’ will debut in eltrece in Argentina on January 2017, and in the digital platform blim of Televisa, for Mexico and Latin America, during the first months of 2017, followed by its broadcast in the other platforms of the Mexican Group, including the Free TV for Mexico. The European rights are handled by Federation and Televisa, and for the rest of the world by Televisa.

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CONTENTS LUIS VILLANUEVA, PRESIDENT, SOMOS DISTRIBUTION

Offers a portfolio with more than 20.000 hours of programming How do you find the situation of the distribution area in the Industry? The current situation of the Industry is fascinating, products like the trends of globalization and new habits of content consumption audiences are amazing. The internationalization of TV opens new opportunities to so many content, as the audience is more receptive to unconventional stories and formats, when fundamental elements of that content (story, production values, etc) have the highest quality. This opens many opportunities to the indie distribution as content is thought for the international market since the beginning and then

companies are looking for partners, which support the sales work. Other aspect is that genres are broadening, combining comedy elements with drama, and action with romance, for example, trying to reach a bigger audience and with higher levels of quality, and with higher

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The distributor is representing Kanal D, TVN, SIC, J.K Produ and GoQuest. standards for products like super series. We can also see more opportunities for that episodic content, thanks to new habits like ‘binge-watching’. Those behaviors are opening interesting spaced for content in the new ondemand windows. The other area of opportunity is the strength that are gaining options like the content distribution OTT, which impact is extending to new regions. Which were the latest projects of Somos Distribution? SOMOS Distribution has been focused on the expansion of its portfolio with new worldwide succesful drama titles. We are conscious that this genre is leading the programming charts of our clients, like also the reinforcement of the offer in some other aspects of importance for our clients. We have recently signed several distribution agreements, with worldwide

known companies like Kanal D (Turkey), TVN (Poland), SIC (Portugal), J.K Produ (Greece) and GoQuest (India), that gave us a huge volume of dramas that we are launching in MIPCOM. At the same time, we are really proud for the penetration that we have reached with the series ‘Hasta Que Te Conocí’ that has broken audience records in every market where it was broadcasted. Which are the features that make Somos Distribution a different distributor in the international market? I think that what differentiate us is our feature of an indie distributor with an avant-garde attitude

towards the new trends. We are not scared to present new proposals to our clients, because when we do it, we think that they have a space in the market and audience. This has been confirmed for our success in the introduction of Turkish novelas in the region, and now with the addition of dramas, all of them from nontraditional providers, in a key genre for programmers of the region. On the other side, this attitude it is also signed by a diverse and broad portfolio with almost 20 thousand hours of programming, that let us satisfy the need in programming with documentaries, movies, series, formats, sports, variety and other genres.

Which are the goals you have established for Somos Distribution for the next months? Our goals are oriented towards the growth and profitability of the company. In this moment is crucial to have a portfolio renewed, the search of new content, the sales and client service. We have established new solid basis and it is satisfying to see that it is easier to establish alliances with new partners who see us as its commercial arms in a complicated region, but very important in the global industry. This is possible thanks to the function of the results, and to the reputation we have built.

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CONTENTS FIDELA NAVARRO, DIRECTOR OF CONTENT DISTRIBUTION AND INTERNATIONAL CHANNELS, TV AZTECA

“We are changing the way of producing” Continues developing big TV-melodramas of intrigue and action.

How have evolved the operations of TV Azteca in the last months? Under the direction of Benjamín Salinas, TV Azteca is passing for an era of fully reinvention. This has implicated some changes on our internal structure, in the directions of business units, in the corporate strategy and, of course, in the models of businesses and the way of creating, producing, and distributing the content. The results are appearing in all the levels, internal, external and in financial and rating terms. How has evolved the way of producing content? TV Azteca has created a new fiction unit that receives independent projects from all over the world, and analyzes and tests as equal, looking at the quality and originality. The actual model is

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also open to independent producer companies and all kind of formulas that give us more opportunities towards our international partners. In terms of entertainment, our bet is on the creation of our own proposals. Considering the need of giving more varied content to the audiences, is there any chance that TV Azteca form coproduction alliances and new genres? We are open to the presales and TV-series coproduction of 80-120 episodes, with a high quality of production, and with new themes with different narrative and visual style, is the appropriate chance. We are also working hard so as to offer new entertainment formats that can be produced in collaboration with other broadcasters.

Which is the role of new technologies inside the content industry? Technology has demanded us to be the best and fastest in every line of work. This increases and facilitates us the production processes that allows new distribution platforms and makes us interact with live audiences. There’s no doubt that it has a role of promoter and challenger.

Under which strategy is TV Azteca working at MIPCOM2016? During the show we are presenting for the first time those TV-series that will establish a beforeand-after on our production. We are showing news that will be on air, like ‘Entre Correr y Vivir’, and two more that are now on development and that can be seen on the first term of 2017, big melodramas of intrigue and action under the direction of Joshua Mintz. We are also launching a new portfolio and digital apps. How do you find the current situation of the Industry? Which are the challenges for the future time? The main challenge is looking for new formulas of association between media so as to maintain the rhythm of original

productions with high quality standards that demand a higher investment, without losing our own mark. I do also believe that we are going to see a centrifuge movement of those big companies and windows. We have to broaden and sharpen the production and business models in digital content. That is a big challenge for most of the companies and particularly for the distribution content areas. Which are TV Azteca goals facing 2017? Our CEO, Benjamín Salinas has made it clear. We are going to launch distinguishing content, changing the way of producing it, reaching results from the new models of business and recover the TV leadership in a national and international level.

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CONTENTS RAFAEL BARDEM, SVP SALES, PROGRAMS AND LICENSES, RTVE

“Industry has to improve the product in a continuous way” The executive highlights the importance of new habits of consumption. Which is the focus of RTVE for this future months? We are focus on the conclusion of some pan regional agreements with some OTT, and we are preparing the launch of our new shows. That’s why we are bringing as the main title ‘The Sonata of Silence’, a huge series set in the 1940’s Spain with magnificent scripts, made by one of the best teams that can be gathered in the market. How do you find the situation of the Industry? New habits of consumption of TV product are generating a bigger demand of quality productions. We also believe that this demand is going to increase during the next years. Why is RTVE a unique company in the international market? RTVE is a public broadcaster that is more active as time goes by in the international market. We count with an annual volume of pro-

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duction enough to retain our clients. Fortunately, we are investing in a commercialization structure with more power. Which is the role of new platforms in the Industry? How is RTVE working so as to keep prevailing despite the changes? Those platforms are new content distributors that compete directly for the leisure time of lineal audiences. RTVE has been a step ahead in this offer through its service ‘a la cart’. Now we have to reconsider how we will evolve. How can a company be highlighted in the Industry? The main thing is to be attempted to the evolution of the sector so as to improve the product in a continuous way. Which are the main challenges for RTVE in the Industry? RTVE needs to be the engine of our industry and improve the economical returns, essentials so as

to not weaken our bet for the production.

Titles of the historical Spain During the four days of the show, RTVE is presenting in MIPCOM ‘The Sonata of Silence’, a romantic thriller set in Spain in the 1940’s that tells the story of Marta and her daughter Elena, two generations who seek to change a world that imposes extremely rigid social and moral codes of behavior. The daily series, ‘Sis Sisters’ is a story about overcoming hardship, struggles and false appearances and, in particular, focuses on love and matters of the heart. It is set in the Spain of the 1920’s, in a period of great contrasts and featuring many social inequalities. Life is not easy, particularly for women. RTVE is in Cannes with the second season of ‘Víctor Ros’ the series inspired by the novels by Jerónimo Tristante, it tells the story of a young police detective in Madrid in the late 19th century. In the new episodes, the character played by Carles Francino travels to Linares to solve the biggest case of his career. RTVE will use the MIPCOM showcase to continue promoting its international channels: TVE Internacional, 24 Horas, and STAR HD.

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CONTENTS KATRINA NEYLON, EVP INTERNATIONAL SALES AND MARKETING, STUDIOCANAL

Consolidated thanks to its partnerships How has the business of STUDIOCANAL evolved in the last six months? Drama continues to be an important growth area for us and we are delighted to be adding to our slate of high-end, original primetime content through our relationships with many European and US production partners. STUDIOCANAL has extended its production base by linking with leading producers around the world including Spain’s Bambú Producciones, the UK’s Urban Myth Films and Benedict Cumberbatch’s SunnyMarch TV and Final Twist Productions, formed by bestselling author Harlan Coben and RED’s Nicola Shindler. These new partnerships are in addition to the longer term relationships STUDIOCANAL has with leading producers such as Tandem Productions, RED Production Company, Guilty Party Pictures and Denmark’s SAM. These partnerships give us the opportunity to consolidate our position as the go-to studio in the global market for stand-out event drama programming. We have increased our sales team too, and I am delighted that Daniel Rodriguez, based in Miami, has been supporting our sales efforts in the Latin American market. Daniel will be working alongside Beatriz Campos, VP Sales,

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The company is handling a diversity of productions in five different countries worldwide. whose role has expanded to take over sales in Latin America. Beatriz and Daniel will work together to promote and distribute the STUDIOCANAL catalogue across the Latin American territories. Can you analyze the current situation of the Industry? How will this change in the coming months? The global demand for high quality, original event drama with great stories, strong characters and wellknown talent is continuing. There is strong competition among platforms and broadcasters to acquire premium dramas that are channel defining. The range of dramas types that are being produced is also widening to appeal to and be relevant for the different styles of channel that are flourishing around the world. We believe these trends will continue. What are the main features that distinguish the company in the international market? As a subsidiary of the CANAL+ Group, STUDIOCANAL is one of Europe’s

leading distributors and producers of feature films and TV content and is an expert in international coproduction. We are the only studio operating simultaneously in the three main European territories (France, the United Kingdom and Germany as well as in Australia and New Zealand), offering our production partners a flexible and full range of studio services and packaging all the way from coproduction strategy and financing to production and ultimately sales. Why do you think that STUDIOCANAL’s titles are so successful in the world? Audiences around the world are eager to engage with internationally sourced and produced content. Our line-up of truly universal program-

ming, with high-end production values, leading writers, stellar performers and strong and relevant themes means we are able to offer content that transcends cultures and has a global reach. Which are the goals of STUDIOCANAL for the end of 2016 and the beginning of 2017? STUDIOCANAL will continue to build on our successes and focus on expanding our content pipeline to create programming which has the widest possible appeal to multiple platforms around the world. We are also extending our relationships with new channels, broadcasters and streaming services. Getting to know their current and future needs and offering them the opportunity to acquire our diverse content.

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CONTENTS WWE

Content available in more than 180 countries WWE programming reaches more than 650 million homes worldwide in 25 languages. WWE is the integrated media organization and recognized leader in global entertainment. The company consists of a portfolio of businesses that create and deliver original content 52 weeks a year to a global audience. WWE is committed to family friendly entertainment on its television programming, pay-perview, digital media and publishing platforms.

WWE programming reaches more than 650 million homes worldwide in 25 languages. WWE Network, the first-ever 24/7 over-the-top premium network that includes all live pay-per-views, scheduled programming and a massive video-ondemand library, is currently available in more than 180 countries. During MIPCOM 2016, WWE is showing ‘Raw’

(52x60’/52x120’/ 52x180’), the longest running episodic television show in U.S. history. With over 20 years of action and excitement, the show boasts an ongoing legacy of controversial moments and incredible battles that makes WWE’s flagship show the premiere destination for the WWE Universe. ‘SmackDown’ (52x60’/ 52x120’) is a compelling blend of athleticism,

drama, and entertainment that provides an unparalleled atmosphere of action and excitement for the WWE Universe. For nearly two decades, ‘SmackDown’ has served as the platform for a spectacular lineup of WWE Superstars to showcase their incredible abilities and create unforgettable memories each week for viewers the world over. Worldwide audiences can meet real women in ‘Total Divas’ (16x60’). In this show, people go inside wrestler’s personal lives like never before. ‘Total Divas’ tests their relationships and careers are challenged, but through it all, this sisterhood comes out stronger than ever.

‘WWE Main Event’ (52x60’) features incredible in-ring action from the WWE Superstars and Divas of Monday Night Raw and SmackDown LIVE. On this idea, ‘Su-

perstars’ (52x60’) shows the best of the best in matches people will have to see to believe. Last, but no least, ‘WWE Experience’ (52x60’) allows the WWE Universe the chance to catch up on all the storylines and matches from Monday Night RAW and SmackDown LIVE, while getting exclusive updates on all their favorite WWE Superstars.

UNIVERSAL CINERGIA DUBBING

Opens its new headquarters Universal Cinergia Dubbing has made an important contribution of collaboration to all the Turkish distributors and producers for the Latin American market. With more

than 25 titles, almost 3 thousand hours of production made by the end of 2016, between Neutral

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During 2016 the company has worked in more than 25 title and 3.000 hours. Spanish, English and Portuguese. Turkish Content is now opening to different African territories. Filipino, Korean and Chinese content is becoming

bigger and bigger, launching content that goes from drama to animation, so as to be part of the success in Latin America. Universal Cinergia is opening its new headquarters at the end of October. The administration area and some of the operations will be moved, so the company could build more recording studios in order to be able to supply its clients with more effi-

Gemma Lopez, Liliam Hernandez y Elisa Aquino.

ciency in terms of time. Universal Cinergia is in MIPCOM, with its new representative Elisa Aqui-

no, so as to reach more efficiently every territory in the world, mainly in Asia and África.

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CONTENTS MAARTEN MEIJS, MANAGING DIRECTOR, TALPA GLOBAL

“We build big brands with worldwide recognition” The content creator launches the first cocreation with ITV Studios, ‘5 Golden Rings’.

How would you describe the current situation of the Industry? It’s now possible to reach viewers on different platforms and screens, making the market more fragmented than before. As a result, it has become even more important for distributors to air big, connected formats that they can use to strengthen their brand. At Talpa, we call this BIG Content: immersive content experiences that (re)connect the new masses via multiple screens. Synchronized content that has global appeal and local relevance. With ‘Dance Dance Dance’, we’ve

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created a format that sets new standards for a popular genre: this time, the celebrity dance competitions. This format has changed the celebrity dance competition genre by using the latest technology, creating a mind-blowing visual experience. Which are the main features that make Talpa a highlighted company in the international market? We aim to create content that triggers viewers and broadcasters alike, from the passive to the active, the young to the old, the millennials to the traditionals. Talpa has

transitioned from a traditional content creator to a multifaceted company with an infrastructure that is ready for the evolution of content. By activating the audience across multiple touch points, ranging from the traditional screen to apps, events, social media and digital platforms, we’re able to create tailor-made business propositions for our partners. However, we don’t simply settle for add-ons. Extensions are enrichments of our content, enhancing the viewers’ experience and extending our reach. Our slate exists solely out of highquality formats, with our partners worldwide expecting nothing less. With the Netherlands as the perfect testing ground, with both viewers and broadcasters welcoming experimentation, we’re able to test formats at a frequent rate, resulting in a catalogue filled with proven formats and

continuous improvements on existing titles. Which are the keys so as to be in the top of the Industry? In today’s fragmented market, it is increasingly important for broadcasters to have strong formats that can attract both traditionals and millennials. Our connected formats, whether it’s ‘Five Golden Rings’’ digital experience or ‘The Next Boy/ Girl Band’’s social strategy, does exactly that. By offering content across multiple platforms and anticipating trends and developments in the audience’s viewing habits, Talpa is able to create strong content that connects the new masses via multiple screens. There’s always a demand for unique hit game- and talent shows, two genres Talpa is continuously developing new content for, like Five Golden Rings and The Next Boy/Girl Band this MIP. Which are the main challenges that Talpa finds in the Industry? There is a huge need for strong content that can reach both traditionals and millennials. To deal with this new development, we conceptualize the process of new

formats, focusing on appealing to the appropriate target audience of a respective format. The challenge with young viewers is to reach and activate them. To appeal to these hardto-reach young viewers, Talpa formats the activation of our content. By offering strong multichannel experiences across multiple platforms, viewers are turned into fans right from the start. Which are the goals of Talpa for the end of 2016 and the beginning of 2017? We’re thrilled with the development process between Talpa and ITV Studios and are looking forward to develop this creative partnership even further. In addition to our creative cooperation, we’ve also teamed up with ITV Studios to simultaneously reinforce our global network, offering both catalogues under one roof such as the Netherlands, Middle East, Australia, the Nordics, France, and more. As the TV industry is continuously developing, there’s still one aspect of our business that’s the key to success: it’s still all about content. And that’s always been what Talpa stands for: content.

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CONTENTS LENARD D. LIBERMAN, CO-FOUNDER & CEO, LIBERMAN BROADCASTING, INC.

“We are looking for the next big-show” The evolution of Estrella TV, and changes in the ways of production. How have evolved the operations of your main channel Estrella TV in the last time? The ratings of Estrella TV are very elevated, meanwhile the numbers of our competition are still falling. Some of our shows have audience records and on the side of ratings perspective, he have evolved in a much more positive direction. Where is going to be the focus of Estrella TV? Obviously, we will follow the choses of the audience who is the one that guide our decisions. We have always been kind of programmers, and maybe that’s why our competitors trust on telenovelas or extended series. We try to find the niche in which we can stand out and have the attention of

our audience and the general market. ‘Rica Famosa Latina’ (‘Rich, Famous, Latina’) is one of our main productions, a reality of housewives that could find its place in the audience. We also have talent shows and others similar to the Late Night Shows. We’re looking for formats that work in the general market, and that can became the next big-show. ‘Tengo Talento’ (‘I Have Talent’) is the most popular show at this moment. I think that it is a show with big aspirations that have been through all USA. We have reached 26 different cities in USA, where we found talented people with the enthusiasm for showing its qualities and telling their live stories. Which is your opinion about the current situation of the Industry? Actually, we are in a very dynamic industry. It is hard to know, even if you produce content for lineal or digital distribution, how it is going to change the economic situation in the territory. Companies not only have to make

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sure that its content can travel to every platform through different distributions. It is not enough to be tied to a model. The traditional panorama is changing and I think that people focused on telenovela, producing 100 episodes, is beginning to produce something similar to series, because they realized that audiences are not consuming content in the same way. 60% of our audience is consuming video on smartphones, so the changes in consumption are a reality and there’s a need of adapting to this as it is vital in order to survive in the market. Liberman Broadcasting has very clear that the way in which we are doing money this days it’s going to be very different to the way we have to operate in five years. Which are your goals for the last months of the year? During the last months we will be launching new seasons of our series. On the other side, in November we are having the ‘Premios de La Radio’ (‘Radio Awards’), one of our most important live shows of the year, where we have a four-hour transmission and an extra show during the red-carpet.

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MIPCOM 2016

CONTENTS JIMMY VAN DER HEYDEN, SALES MANAGER, CDC UNITED NETWORK

“We have one of the strongest indie portfolios” Which are the trends of the Industry? I think that the key of the industry is hugging the changes, the technological and the trends. I think that every kind of content is relevant and have its space. The important is to know exactly how and where the final user wants

to see your content. We have to identify the changes and adapt ourselves as fast as possible. For example, ours are movies. From the very beginning, we knew that a

big part of the consumption was going to be moved towards the ondemand. We went buying those rights of the movies that we already have, and acquired libraries of titles, looking for alternative genres that make the difference. This strategy worked and I think that now we can say that we have one of the strongest indie portfolios of the market. What kind of challenges do you find in the Industry? The competition between distributors is very ferocious, mainly when it is

The executive assures that if companies do not take risks, it can’t grow.

related to the All Rights acquisition. We would like to buy more, but it is not always possible. The theatrical business is more risky but it is needed to be included so as to dominate the destination of the movie from the beginning to the end. This is

the way to maximize the distribution. The one that do not risk can’t grow. Which is going to be CDC strategy in order to fulfill the established goals for the end of the year and the beginning of 2017? Besides closing new agreements with current

clients, which is our constant goal, we want to increase our network of clients. We are constantly monitoring the market looking for new business opportunities, new clients. We do also have to complete our line up for next year, so at NATPE we can have a renovated offer. We are in the acquisition process, after Toronto Festival and our acquisition team will be at AFM trying to find more news. We are always looking for high budgets All Rights titles for its theatrical distribution and then each window.

JESÚS PIÑANGO, DIRECTOR OF STRATEGIC CONTENT, OLYMPUSAT

Offers more than 100 TV channels How have improved the businesses of Olympusat during the last months? How was the reception of VEMOX in the market? As one of the biggest independent media companies of the United States, Olympusat is constantly growing in the distribution, productions and technical services related to TV content. The company has recently created an alliance with Float Left Interactive for the development of new apps for multiple-TV-platforms, like SmartTVs, mobiles and games consoles. During the last months, we have created some channels for the Flixflyng plat-

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form, like ‘Cine Real’, a channel of contemporaneous movies that offers Latin American and Spanish titles. ‘Pio Pio’ is another channel, with a programming dedicated to children. Also, we have launched ‘Lo Mas’, some micros with a different point of view of luxury in micro-shows that entertain and inform about the fashion world, beauty, and arts.

forum ‘ Show and Tell: Channels & Streaming Platforms’, where we’ll be presenting our channel ‘Ultra Clásico’, dedicated to broadcast restored films of the golden age of Latin American cinema. The movies had been restored by Olympusat, under the artistic standards of international preserva-

Why do you think Olympusat is a unique company in the international market? We have an enormous library, continuously growing with 20 thousand VOD-hours, and the availability of more than 100 TV channels for the Hispanic audience from Central and South America, and channels created in the United States.

Which is going to be the focus of your performance at MIPCOM 2016? Which are your expectations towards this market? MIPCOM has invited Olympusat to be part of the

tion. MIPCOM is a big door for the international market, but especially for the European market, where some of our channels, like Ultra Clásico, can have a great reception because of its high quality.

Which are the main challenges of Olympusat in the Industry? The launching of VEMOX, our OTT Platform sets us some challenges related to the market in terms of waiting for the Inter-

net suppliers to let us access to the wider broadband that allow us a bigger flow of data transmission that results in a faster connection. Our strategy is based on keeping the efficiency in the reception and transmission of the signal to our affiliates, while having our creativity area entertaining our audience that is stricter about the content available.

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MIPCOM 2016

KIDS DENIS DORÉ, PRESIDENT & CO-FOUNDER, SQUEEZE

“Quality is our main concern” After co-developing with several world-known companies, the animation studio launched its first original title. Denis Doré, president and co-Founder; and Patrick Beaulieu, creative director and cofounder

Which are the main features do you think of when you have to plan a new production? Quality is our main concern on any production, whether it is a project developed with a partner or a creation of our own. That means that we will spend a good amount of time thinking of ways to make the most out of a limited budget and timeline. That’s where we need to be creative. Sometimes, it means doing less but doing it better to make sure that we deliver “wow” moments for the audience. How important is to know the audience? As creators, our goal is to bring characters and stories to life that

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will move as many people as possible. To do so, we need to be truly passionate by what we do every day. Hopefully, this passion will shine through and reach a broad audience worldwide. How Squeeze Studio was born? Squeeze started as a service company providing very highquality 3D animation services to video game and film producers. Since the beginning, we worked on major projects, including the blockbuster ‘Transformers 4’ and the ‘Assassin’s Creed 4 Black Flag – Freedom Cry’ trailer, which was designated best video game trailer by the Golden Trailer Award. We still collaborate with renowned

partners such as Disney, Marvel, Mattel, Microsoft, Sony, Samsung, and Ubisoft, as well as local partners. Squeeze was founded in December 2011 in Quebec City. Four years later, the studio employs over 60 talented creators. The company participates in the projects of the most prestigious partners, while developing its own original productions. Our first original project, ‘ Cracké’ , was produced in 2015. Squeeze also gets involved in research and development, and in the training of the best talents, notably with its intensive mentoring program ‘Les Popettes’ . All of this allows the studio

to remain on the cutting edge of technological advances and provides the right environment for its creativity to fully develop. Which are the keys in order to succeed in the Kids Content Industry? We believe that we will succeed if we choose a niche and stay focused on your goals. You can’t be good at everything, but you can master a specific field if you build a team of amazing people and choose the best projects and partners. At Squeeze, we chose to focus on CG characters and animation. How do you see the industry nowadays? Things are changing very quickly, and that

means two things. First, there are a lot of new opportunities for content creators. TV broadcasters and big movie studios are no longer the only content buyers, as multiple digital platforms are now looking for content, like Netflix, Amazon, Hulu, the entire game industry and virtual reality. Second, the Industry needs to be very flexible in order to adapt quickly and seize these opportunities. How has evolved the Children Market in the last five years? The biggest evolution came from the digital platforms that changed the rules, allowing audiences to get in touch with content in new ways

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(on demand, mobile, etc.) while providing new opportunities for content creators and disrupting traditional business models. Kids has adapted better than anybody else to this new trends, they’re growing up with it, and that changes our all established knowledge of this world. Even if it is hard to say, from Squeeze Studio believe that, whatever happens, good content will still be king. Creators who offer amazing stories and creative characters will find their way through all these changes. How is the process of the animation production? Every production starts with a strong concept phase, followed by a preproduction phase. These steps are key for a successful production. Before with jump to 3D, we do a lot of 2D work, like concept arts, character sheets, storyboards and video references. When everything is set, then

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we start working in 3D and from then, our focus is on pushing quality as much as possible. Which are your goals for the future time? Very soon, we will be working on a feature film. Collaborating on major animated films is definitely something we want to pursue in the next few years. That being said, we want to keep creating

great video game trailers, as well as develop new collaborations in the advertising industry. For ‘Cracké’, we will be continuing the international distribution of the TV series, video game and mobile app. ‘Cracké’’s second season is now in development. We are looking for a longer format this time, with a bunch of new and crazy characters in the mix.

Which are the main challenges of the genre? Squeeze has no intention to become the biggest studio. However, as we grow to achieve our goals, we need to keep attracting and retaining the best talents in a very competitive industry. Our artists are key to our work!

The creation of ‘Cracké’ What’s new in Squeeze’s life is the production of ‘Cracké’, its first original creation. ‘Cracké’ is a universal 3D animated slapstick comedy, featuring a very unlucky daddy ostrich who will do everything he can to save his eight eggs from the surrounding dangers. The TV series was developed with the broadcasting partner Teletoon in Canada. The 52 one-minute episodes have been distributed in more than 175 countries and territories, to major broadcasters including Disney, Turner (Boomerang/ Cartoon Network), Nickelodeon, and Canal+. As an integrated brand, ‘Cracké’ also includes a mobile game, Cracké Rush, and an animated comic book app, Cracké Crazy Stories. However, both are only available in Canada at the moment. “It’s always an amazing feeling to realize that our original characters will have the chance to make people laugh, no matter where they come from, or where they live!” says Denis Doré; and adds: “seeing that ‘Cracké’ can travel the world gives our team a wonderful boost of energy for the second season’s creative process that is well under way!”

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KIDS HANS ULRICH STOEF, CEO, M4E AG

“Content will always be the king” ‘Mia and me’, its highlight title, is the hybrid show with live action and animation. How have evolved your titles in the world? We are very happy with the current status of our business. We have a number of shows in production, new developments and new coproductions are signed. ‘Mia and me’ and ‘Wissper’ perform very well and soon we will see first results from our new co-production and distribution venture with Planeta Junior. Some months ago we have taken over more international control on ‘Mia and me’ by acquiring the shares of our former co-production partner Rainbow. We have announced a very important output deal for our new shows and feature films with Universal Pictures Germany for the German-speaking markets, but also with first look options for Benelux, Italy, France, UK and the US. Which is going to be the focus of m4e for MIPJunior and MIPCOM 2016? We are looking to close additional territories for the third season of ‘Mia and me’ and our new preschool series ‘Wissper’ and hope to be able to secure financing and coproduction partnerships for our new developments. Also, we are expecting to meet new clients from the VOD side of the business and to meet with talented people to discuss new concept ideas. How do you see the current situation of the children content industry? Prices are stiff and nothing has changed much since last October. We need to substitute the physical DVD business via all sorts of digital distribution. And the money kissing from the DVD business has not been recouped by the SVOD services.

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Traditional formats for linear-TV need to be adapted to the next generation of entertainment consumption by balancing formats as well as budgets. We are expanding our activities within our digital rights department and we are focusing on our new development slate and are pretty confident to have some very strong answers to the changes in the market.

distribution, L&M up to the ready finished consumer good out of one hand. On top, we have a very strong existing brand with ‘Mia and me’ and the next (‘Wissper’) is on a great way. The joint venture with Planeta Junior extends our access to the European market. We are now able to offer a broad distribution and presence via own offices in eight European countries.

How could you describe de uniqueness of m4e AG? We believe in quality content and are convinced that our shows are better and offer more creativity than the basic offerings on the market. Despite all the changes, it is still simple: content is king. We are one of a few independent production companies who are able to deliver 360 and on all aspects of the business from development, production, financing,

Which are the main challenges for m4e in the industry? As an independent company you always have to fight with the big guys who are having their own distribution in terms of broadcast channels, big resources in terms of financing, deep distribution and other sorts of important issues. We simply have to come up with new ideas such as ‘Mia and me’ (hybrid show with live action and animation) and finding partners who are willing to take some risk.

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MIPCOM 2016

KIDS MARÍA BONARIA FOIS, GENERAL MANAGER, MONDOTV IBEROAMÉRICA

Begun with the coproduction of series The joint of technology investment and deeply understanding as the core business in the Industry.

Which is MondoTV Iberoamérica business strategy for this near future? In a medium and long term, MondoTV Iberoamérica will be focused on the coproduction of teen-fiction series. Of course, we’ll be dedicated to animation series, in the production and distribution of this rich portfolio of properties of MondoTV Group. Our strategy is still the production of competitive content, dynamic and located that let us reach the region with a more attractive proposal to the networks and audiences. On the other side, we believe that it is very important to associate with companies that have brands already consolidated: being in the market with a strong brand to sell to the broadcasters great quality content that helps us to keep it in the screen.

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How can you describe the current situation of the Kids Content market? The economy of the business has changed and evolved a lot in the last years, but the only true is that content in this sector is still the King. With a high quality programming there are more platforms to reach and new markets to conquer. MondoTV Iberoamérica and the whole Group have always established their goals in the chance to offer high quality content that gives values and entertainment, as the pillars of the success. There is not only about technology investment, also about knowing deeply about how to take advantage of each news. Which are the main features that make your content different in the Industry?

We are producing different series, new and attractive ones, with very careful content and with a quality of animation much better than the others and then to put our portfolio into the most competitive products of the market. MondoTV portfolio includes series for kids and pre-teens and teen, covering this big target audience. How was the expansion of your businesses in the last time? Since 2011, our core business was the distribution in Southern Europe of third-party productions, especially teensfiction series produced in Latin America. In 2016 we have begun with the coproduction of the series ‘Heidi, Bienvenida a Casa’ as the main investor, following our expansion and growth plan. Also, we have just launched our new production studio in Tenerife: MondoTV Producciones Canarias. This is a thrilling project,

The return of ‘Heidi’ ‘Heidi, Bienvenida a Casa’ (60x45’), is one of the biggest titles of MondoTV Iberoamérica for MIPCOM. Based in an original idea of the renowned Argentinean author Marcela Citterio, is an original and modern adaptation of the famous story of Heidi. “This is an innovative series that will change the way of our activity and confirms the high quality of our offer” admits Bonaria Fois. Currently on production, the series will be ready to be broadcasted in Latin America in January 2017, followed by the worldwide launch with a special focus in Europe. The portfolio of the company has co-productions like ‘YooHoo & Friends 3D’ (52x11’), of Mondo TV and Aurora World Corporation, a brand with great reception in TV and Licensing. ‘Sissi, The Young Empress’ (52x26’), which first season (26x26’) had great audience numbers, is distributed in more than 30 countries. New episodes of the second season will be available in the spring of 2017. ‘CubyZoo’ (another coproduction between MondoTV and Aurora World Corp.), ‘Invention Story’ and ‘Treasure Island’ are also part of the portfolio of the company for the show.

and we are really happy with the previsions. The new office will take care of the first step of the pre-productions of most of the Group animations so as to, in a near fu-

ture, evaluate other initiatives like the creation of a small 3D studio and the production of the first young series wholly made in Canarias Islands.

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HENRIETTA HURFORD-JONES, DIRECTOR OF CHILDREN’S CONTENT, BBC WORLDWIDE

“We are looking for extra-distribution of our lineal channel” Which are the main features do you think of when you have to plan a new production? We are always looking for important brands, because nobody else has our quality content. CBeebies is a UK brand that is distributed to many regions in the world. That’s why we are looking for fresh ideas. There’s a mixture of content that fits our brand that is outstanding. We have a wide variety of shows, from science and technology, to gardening. We have shows that have different kinds of entertainment. How important is to know your specific audience? I think this is the key of the Industry. However, it is very difficult, because we’re grown-ups now and we have to handle content for those kids. We are constantly thinking on how we can entertain children and how we can transmit our ideas to them. Children are interested on engaging stories and colourful characters. On the other side, our experience as kids and then in the kids’ industry gave us the possibility to choose exactly what they need. Which is the role of new technologies in

The CBeebies APP complements our lineal offer with the whole new content specially developed for the platform. the way of consumption and production of content? Younger children are all much more curious than old people, and that’s why it is easier for them to adapt to new technologies. They also loved to be included as part of the content. This digital world is exploding and children are prepared to explore it. Our CBeebies APP complements our lineal offer with the whole new content specially developed for the platform. Which are the keys in order to succeed in the industry? CBebbies is our youngest channel we are much more focused on Latin American audience, because we’re really interested in seen the growth of this market, as it happened with the USH market. That why we are looking for extra-distribution of our lineal channel in the region, and also new partnerships, in

order to be able to develop original content, specifically destined to those audiences. With your strong experience in the industry, how do you see the children content market in a few years? I think people will continue to work hard on trying to understand how new technologies and platforms can be properly use in order to reach children. Ways of production will evolved too and everyone will be experimenting new tools and sources available. We’ll be able to use the technology in a very positive way. The most important thing is to keep looking for the best way to provide great entertaining programming to children. Which are your goals for the future time? From BBC Worldwide and CBeebies we really want to find new partners, and have some meetings in order to see an increase on our distribution. On the production side, we’ll be with our focus on content in Spanish that gives the chance of learning English. We found out that those audiences want content that teach new languages, for little children.

Content for a worldwide audience

Following the idea of offering more content destined to every children in the world, CBeebies is presenting ‘Hey Duggee’. Launched on August 6th, this is a funny cartooned story that foments physical activity. Duggee is a big dog, which is the leader of a group that exercises. Their adventures encourages children to resolve a problem using their bodies. The third season of ‘Sarah & Duck’ will be premier on December. The characters live in a small house with a small garden. Together, they explore the surrounding world with lots of imagination. The Narrator offers them small advices and takes care of them in each adventure. Produced by the team of ‘Teletubbies’, ‘In the Night Garden’ shows new adorable characters and their new world, in a modern interpretation of a children rhymes’ book. ‘Nina and the Neurons’ is an entertaining and educative series that follows the adventures of this characters who are very interested in constructions. With a catchy mix of songs and information, ‘Nina and the Neurons’ is the series that talks about all the things that can be unify in order to build new structures and that inspires children to discover more things about the amazing world where they live. With its 4th season to be launched in 2017, ‘Swashbuckle’ tells the story of this new adventurous group that will try to recover some jewelry stole by the Hornswogglers. ‘Mister Maker’ had its 3rd season launched on September. ‘Mister Maker’ is an imaginative show of arts and handmade things for preschool children that teaches and entertains in funny and creative ways. ‘Go Jetters’ is the geographical series of CBeebies. This series shows the panoramic views of some of the biggest places in the world, and some curious information about those places.

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KIDS PAULA TABORDA, CONTENT AND PROGRAMMING MANAGER, GLOOB

Production with high value and artistic quality During MIPJunior and MIPCOM, the Brazilian broadcaster is focused on the test of potential projects for co-productions and content sales. Which are the main characteristics do you look for when you have to choose new productions for Gloob? Gloob looks for innovative content, with an appeal for boys and girls from 6 to 11 years old. Humor and adventure are the main genres we try to find, because our audience finds it more attractive; but, there’s no doubt that the key is a content that encourages children, and becomes an open door for imagination.

Which is the key so as to lead successfully the production of Kids Content? There is no doubt that the key is on partnerships. Understanding the main qualities of each producer and promote an environment of constant creative communication is what let us take out the whole potential of a partnership, and of the product. Especially in the international co-productions, where the complexity level is much higher, as the harmonic and respect for the collaboration of each partner are fundamental for the success of a production.

Under which strategy are you working on MIPJunior and MIPCOM 2016? Just like the last edition, this year Gloob is in MIPCOM and MIPJunior with a strategy focused on two sides: first, the tests of potential projects for co-productions and second, content sales. After signing the agreements with international giants like Gaumont, Fandango, RAI, Disney and Millimages, Gloob is still the best Kids Channel so as to co-produce with in Brazil, where we lead the production of original content for this target. The deep knowledge of Brazilian children, associated with the international background acquired through intelligent content purchases, are the things that differentiate us. In Cannes, we are offering to the market more than 200 content hours with new seasons of our hits ‘Blue Buildings Detectives’ and ‘Kids in the Kitchen’, besides our last production ‘Valentins’, a huge live action bet of this year, that promises to catch the attention of the international market, especially in Latin America.

How do you describe the current situation of Kids Content Industry? How has evolved over the last years? My perception is that we are in a very prolific time, especially in Latin America, with a technical and artistic mature of Brazilian, Argentinean, Chilean and Colombian producers. Every year we see more and more quality in Latin American works, setting the region in a distinguished place in the international market. We are being less importers of productions from USA, Japan and France, in order to be recognized as a big fabric of creators and artists able to do their productions with a universal appeal. Recently, one of our production ‘Porto Papel’, developed with the Chilean Zumbástico, Argentinean Paka Paka and Señal Colombia, won some prestigious international awards. That is only another evolution of the Industry with an increase in cultural diversity on its productions.

Which are the attributes of Gloob productions? Besides the productions with high value and artistic quality, I think that what make us different is the ability to deliver safe content from

the pedagogical point of view, but really thrilled and attractive for children. This is a difficult point because the attractive content that tends to gain parents’ trust it is often not interesting for the reality of children. This balance is constantly a challenge that we have to deal with, but that we manage successfully.

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Which is going to be the focus of the Industry in the next years? It is not easy to imagine just only one focus for such a heterogeneous sector, but from my point of view I think that the efforts will be centered in the search of quality over quantity. With a

growing offer of content in every platform, quality won’t be enough to produce excellent content: this has to be unique and highlight. We are talking of properties that transmit passion to children, in a way that they become fans of the products. Entertaining won’t be enough. In which way new technologies and new models of consuming influence Kids Content? From the point of view of the producer, new technologies influence in a positive way in the budge. We live in a scenario in which ‘sky is the limit’ because technology has made the cost much cheaper, especially in animation production. On the ways of consuming, as they are no longer new, we see the perfection and multiplication of OTT services, transforming itself in a more competitive and challenging scenario. As being a young channel, with only four years, we have had an advantage of have born in this context and that’s why all our productions are already set in a 360° strategy, in every screen, and also outside them. Which are the goals of Gloob towards next year? The main goal is to attract and keep contemporaneous children, who are even more connected. That’s why we’ll continue investing on the production of original content, being even more selective and ensuring the right choice of international content, always looking for the excellence on our programming and taking care of our audience.

LICENSING REVIEW PETER KLEINSCHMIDT, COMMERCIAL DIRECTOR, G/A/S, SOUTHERN & EASTERN EUROPE, BALTIC, CIS, LATAM, M4E

“The key is a good balance between story, brand and digital” How was the reception of ‘Wissper’ in the Licensing market? This time in London we are in full gear with our latest production, the preschool brand ‘Wissper’ which is now being successfully broadcast in more than 40 territories. ‘Wissper’ is very successful where it was already launched, as an example, it was the #1 preschool show on UK’s Milkshake! and on several other international channels. The licensing program which is led by EMEA master toy partner Simba Dickie Group and international publishing partner BASTEI Media, is in development, emerging from the Germanspeaking territories, and will be launched in February 2017.

Which are the strengths of your portfolio? How does it differ from the competition? Which are the most important territories for your brands? We are focusing on properties that have a strong potential in all exploitation categories for respective target groups, from TV/home entertainment and digital to merchandising. When looking at our own productions, content is the overall strength of these properties. For being successful at distributing audiovisual and merchandising rights of our properties, the key is to provide a good balance between story, brand and digital. It’s not enough to just create a TV series based

‘Wissper’, its latest production, is on air in more than 40 territories. on a book; you need to add more to it in order to really attract licensees and retailers. That’s why the toy aspect needs to come in right from the beginning as well. In addition to this, we have a broad back catalogue (with over 2,300 episodes) offering many different programs for all target groups. With this, m4e has a strong relevance for all big TV broadcasters and digital platforms. In general we are looking at nearly all important key markets, which is first of all

Europe with countries like Germany, UK, France, Spain or Italy and, of course, North America. Further interesting markets are Latin America, Russia as well as Asia. Which were the main projects of m4e? Which are the biggest partners in your businesses? Our own productions or co-productions are of course our key projects. Since we started creating our own

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content for the international market, we clearly focus on this. But still we are offering our expertise and local reputation to third parties in order to represent their brands in the Germanspeaking territories. One of our key partners from a production point of view is of course Hahn Film from Berlin, Germany. With Gerhard Hahn we created our hit TVseries ‘Mia and me’ and founded the joint

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LICENSING REVIEW venture company Hahn & m4e Productions in order to develop and produce even more content. In terms of production and international distribution, we entered into a joint venture with Planeta Junior from Spain. With the aim of building a leading worldwide business, m4e and Planeta Junior are combining their several teams to a strong international network. The new joint venture is able to offer a broad distribution and presence via own offices in eight European countries including Germany,

Spain, France, Italy, Greece, Turkey, Poland and Benelux. An expansion into other major territories is planned in the medium term. In order to continually strengthen their property portfolios, both partners will jointly acquire rights and make their services available to third party rights owners. And we are obviously cooperating with many international key broadcasters, highlighting two of them: ZDF and KiKA in Germany. ZDF is not only a key broadcaster for many of our

properties, but also a co-production partner who brings in valuable experience. How has evolved the Licensing Industry during the last months? The situation of the licensing industry

during the last months comes from a general evolution of the entertainment business. There are

The success on TV “Our hit TV series ‘Mia and Me’ will get new content in 2017, when season 3 is going to be launched on international markets” says Kleinschmidt. The brand is already an international classic girls brand with more than 160 licensees around the globe and still extremely popular. For example, the current broadcast on Germany’s leading kid’s channel KiKA reaches up to +1 million viewers per day; and Season 4 with 26 more episodes and a feature film are in development at present.

Another successful property of m4e is the preschool brand ‘Tip the Mouse’, with a second season in development. Many key broadcasters are airing the show successfully, such as SUPER RTL (Germany), Disney Channel (LATAM), RAI, France 5, Tiny Pop or TVP abc. The company has new 3rd party brand from Korean CJ E&M in its portfolio, with licensing & merchandising rights for the German-speaking markets: ‘Super Wings’. “Already a huge success in China and Korea in particular, this brand is going to be big in the Western markets as well”, confirms the executive. With the licensing program being launched in the US this fall. In Germany, KiKA is about to broadcast the show in 2017 in a prime time slot.

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more players emerging, offering more content, due to the digitalization of the markets, and all are competing for shelf space that has not increased over the same period. Still the power of the major (Disney, Warner etc.)

is so dominant, also due to their production and release schedule and its marketing power, that all other market participants need to fight for their shares. The digital business is becoming more relevant every year, being a fierce competition for TV as exploitation platform. The markets in Europe are growing closer and closer together, since single territory deals are becoming less attractive and multiterritory deals becoming more and more interesting and important to licensors. Which is going to be the focus of the market for the next months? Looking at our portfolio, one or our core focuses is the expansion of our digital business, placing content on platforms like Netflix and YouTube. Thus our content is available to viewers when and wherever they want to watch and be entertained.

Which are the main challenges and goals of m4e for its brands for the end of 2016 and the beginning of 2017? Being a producer and licensor, we are striving for expanding our brands to international markets. For certain key markets we build up an agent’s network in order to establish and maximize our brand’s presence in those territories (like China, LATAM or Russia). Which are the keys in order to succeed in the Licensing Industry? From our experience it definitely is quality! On one side you have to constantly provide good content, but on the other side you need to be a reliable and trustworthy partner for all of your (potential) partners, such as broadcasters, licensees, retailers etc. Which is the contribution of the company to the Industry? Our contribution to the industry is our company credo at the same time: we are “made for entertainment”. Meaning that our lifeblood is to entertain children and families, with high-quality content and characters that they will fully embrace and take into their hearts. For that reason, nobody gets past m4e, the powerhouse of entertainment brands.

LICENSING REVIEW

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PINDY O’BRIEN, DIRECTOR CHILDREN’S PROGRAMMING & LICENSING, RAYDAR MEDIA

“Securing brand loyalty is a must” Raydar Media wants to be a one-stop shop for its content creator clients. Which are the strengths of your portfolio? How does it differ from the competition? We aim to have a balanced portfolio and try and identify IP which has its own USP. ‘Sydney Sailboat’ is, CGI 3D animation targeted at pre-school boys 2-4 years core and fits within traditional boy play patterns of Vehicle play. ‘Teacup Travels’ is live-action combined with green screen technology and beautiful illustrations from all over the world. It offers viewers Edu-tainment for boys and girls at the upper end of pre-school and young audiences (4-7 years). In the UK it is more of a bridging gap between Cbeebies and CBBC. It is the only show which introduces archaeology and ancient civilization for preschool and early years’ audiences. Then we have the brilliant observational documentary series ‘Our Family’ which builds a direct emotional connection with real families enabling preschoolers and school age kids to venture into the lives of other children their own age and celebrate their similari-

ties and differences. Raydar’s properties have a distinctive quality and all put story telling at their very core ensuring that kids are gripped from start to finish whether an animation, live-action or blend of the two. Which were the main projects of Raydar Media? In terms of Licensing, ‘Sydney Sailboat’ is a hugely commercial property and lends itself very naturally to a broad licensing program. ‘Sydney…’ is already a major success on ABC KIDS in Australia and NBC Sprout. It recently started airing on Hulu in North America and Tiny Pop in the UK. We are now in a position to look at more global licensing opportunities across all key categories. The series easily translates into all the traditional toy categories, arts and crafts, publishing and visually works well on all paper and textile categories. In addition to ‘Sydney…’, we have been working very closely with the hugely talented Scottish Indie Plum Films to develop a solid Licensing program on their highly-acclaimed

adventure edutainment series ‘Teacup Travels’ (with 45 episodes available). The series is both escapist and educational and takes children on adventures into faraway lands they can normally only dream of visiting.

daily lives are ones to watch. Look at Emoji and how much it has built in just a couple of years. These are brands that have never appeared on TV but still have had incredible Licensing success globally.

How has evolved the Licensing Industry during the last months? Which is going to be the focus of the market for the next months? The licensing industry has evolved significantly over the last 12-18

Which are the main challenges of such a competitive industry? Securing brand loyalty is a huge challenge. The arrival of nonlinear platforms has had a two - fold effect. On one hand, it offers brand owners the free-

Which is the contribution of Raydar Media to the Licensing Industry? Raydar Media was set up two years ago but has over 20 years of experience in distribution and Licensing within its team. Raydar Media helps creators and producers develop, finance and distribute their content globally. The team has helped to establish formats and series such as ‘Fifi and the Flower Tots’ over the years and has managed evergreens such as ‘Tree Fu’ and ‘Teletubbies’. We love diversity in

months. Social media and the increasing development of new nonlinear TV platforms offer viewers more content on more devices. ‘Little Baby Bum’ is one example of this with over 15 billion views globally. I think brands interacting with viewers and consumers through various online and digital platforms in their

dom to launch their own channels and content. On the other hand, it has increased fragmentation in the content world and taken eye balls away from traditional platforms. As a result, retailers are presented with hundreds more brands but still have the conundrum of the same limited shelf space to deal with.

storytelling which we try and capture with the IP we acquire and develop. We like to be a one-stop shop for our content creator clients enabling them to develop the right content for the international marketplace, finance and distribute it globally and build its brand values through strategies which include Licensing.

MIPCOM 2016

LICENSING REVIEW STEPHANIE MARLIS KUPPERMAN, DIRECTOR OF BUSINESS DEVELOPMENT, CREATIVE LICENSING CORPORATION

Looking for e-commerce companies The executive highlights the interesting role of Kickstarter in the Licensing Industry.

Which are the news of CLC for Brand Licensing Europe 2016? This year we are bringing a number of new horror films to Brand Licensing. These include the original John Carpenter’s ‘Halloween’, the films from ‘The Puppet Master’ franchise , ‘Creature’, and ‘Parasomnia’. Our portfolio consists of classic film titles exclusively. Films like ‘The Termina-

tor’, and ‘ First Blood’ (Rambo), and ‘Evil Dead 2’ are evergreen and will not fade over time, as opposed to some new releases, which may just make a splash in the pan. How has evolved the Licensing Industry during the last months? Which is going to be the focus of the market for the next months? Kickstarter has become an increasingly inter-

esting way for brands to reach their core audience. For example, just this past summer our ‘Evil Dead 2’ board game exceeded its goal by 1000%. I think we are going to see brands continue to use Kickstarter as not only a marketing tool but also a means to generate additional revenue. Which are the main challenges and goals of CLC in the market? One of our main challenges is figuring out how to work with e-commerce sites that do not have house inventory. These sites, while profitable, operate mainly by using a drop ship, print-on-demand model. Our chal-

lenge is to figure out how to incorporate our classic brands into e-commerce companies that are constantly changing and evolving. We are looking at expanding globally into new markets like Latin America and expanding into new categories like food and beverage and board games. Which are, in your opinion, the keys so as to succeed in the industry?

There are three keys to succeeding in this industry. First, connect with other LIMA members or those affiliated with the licensing industry, second is to remember that each deal between a brand and licensee is a partnership and has to make sense on both sides, and third is to not be afraid to explore new categories because that is where the most opportunity may exist.

AMERICAN GREETING ENTERTAINMENT

37th anniversary of ‘Care Bears’ It also presents the reinvention of the nostalgic ‘Madballs’ for 2017. American Greetings Entertainment brings to the children’s consumer products and entertainment market its crown jewel franchise, ‘Care BearsTM’, so as to celebrate their 35th anniversary in 2017.

MIPCOM 2016

This brand turns up the “aww” factor with nostalgic lifestyle products with top-tier partners. On board for the celebration are ‘Land of Nod’ with a direct to retail program with artist-designed bedding and plush; for a plush, apparel and accessory program for infant girls to tweens and collaboration partners Boy Meets Girl, Wildfox, Freshly Picked and Ironfist for Dolls Kill. Sweetly rounding

out the program will be a collaboration with Sprinkles, Dylan’s Candy Bar, who will create an exclusive Care Bears Donut, which will be available at their flagship Koreatown location in Los Angeles. This evergreen property has been an important part of pop-culture since 1982. Supported through entertainment distributed to more than 450 million households and 50

languages worldwide, these huggable friends can now be seen on the Netflix original series ‘Care Bears & Cousins’; and boasts 200 global licensees with an estimated $5 billion in retail sales around the world. Kooky-comeback kid ‘Madballs’ is ready to gross-out a new generation with more crackup, wacky fun. American Greetings Enter-

tainment and master toy partner Just Play are supporting the consumer products program with a co-production of all-new ‘Madballs’ animated shorts. Spring 2017 will see the launch of blind bags and collectible 3-inch Madballs from Just Play, expanding with even more toys for Fall 2017 at retailers worldwide.

LICENSING REVIEW

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FREMANTLEMEDIA KIDS & FAMILY

Shows its successes on CBeebies

From the stand E55 the company is presenting new titles for 2017. FremantleMedia Kids & Family (FMK) is presenting in Brand Licensing Expo 2016 one of its most successful properties, ‘Kate & Mim-Mim’, which was sold to over 110 territories. Just Play’s new toy range continues apace in US and UK (distributed by Flair in the UK). Autumn activity includes a special appearance at CBeebies Land in Alton Towers as well as various festivals. Book titles from Penguin and Random House rollout in the US and the new Super Kate DVD launches in

the UK alongside a number of DVD titles in the US. An extended TV special, ‘Kate in Oz’, will air on CBeebies ahead of the second series supported by an extensive promotional campaign. Also a marketing campaign with Whipper Snapper will reach over three hundred thousand families with innovative activities placed with a number of leading UK outlets including Thomson, Nuffield Health, Fayre and Square and Wacky Warehouse. ‘Danger Mouse’ continues to wow viewers and critics alike on CBBC and a second series of villainbusting adventures is currently in production. This spring/summer saw the UK roll out of Jazwares’ toy range in

major toy retailers and grocers; inspired book titles from Penguin and the launch of the dangerously exciting monthly Danger Mouse magazine from DC Thomson which has been supported extensively at retail. A digital media advertising campaign is planned to coincide with even more brand new episodes on CBBC this autumn. FremantleMedia Kids & Family is also showing ‘Classic Danger Mouse’, because as new Danger Mouse continues to soar so does the demand for classic Danger Mouse products and all things nostalgic. After strong sales at Mothercare, a refresh on the popular DM Classic Babywear line is set to hit stores this Au-

tumn/Winter 16. Universal is set to launch the repackaged Complete Collection DVD Box Set. Last but not least, the company is experiencing new businesses with ‘Bitz & Bob’ (44x11’). The groundbreaking, new, comedy adventure with a twist, is due to be launched on CBeebies in late 2017. Combining funny and whimsical stories with key principles of STEAM (Science, Technology, Engineering, Arts and Maths) the show follows the animated antics of inventor and creator eight-year-old Bitz and her younger brother Bob and is designed to fascinate, entertain and encourage pre-school viewers to get creative and involved in crafting, engineering, experiments and exploration.

MIPCOM 2016

LICENSING REVIEW RICKY LAI, FOUNDER, CAPSUBEANS

The focus on Millennial and Generation Z consumers Why did you decide to found Capsubeans? Capsubeans has only been launched for a year, with current partnerships including a hotel group called Harbour Plaza Metropolis, Kodak’s largest distributor in Asia Sino Promise, and a T-shirt brand in Hong Kong called Chill Tee. Moreover, Capsubeans has collaborating with Hyaku, a juice brand in Hong Kong, to launch a new line of pressed juice product that will be mass-distributed to convenient stores expecting to sell 100,000 bottles a month in Hong Kong. Later in 2017, Capsubeans will be expanding to Taiwan market too. Above all, we aim to build a strong, fun and diverse IP that provides collaboration opportunity for licensees to develop creative and interesting ideas. How has evolved the Licensing Industry during the last months? During the past few months, changes in licensing agents’ sector have made the industry even more competitive, considering the importance of IP’s ROI starting to be focused on, additional benefits were expected on top of a general collaboration package. Along with this evolution of licensing market, we have been seeking suitable licensing agents

MIPCOM 2016

The company continues developing new projects for social media. with experiences and connections that could bring collaboration opportunities and boost Capsubeans’ popularity. Which is going to be the focus of the market for the next months? Millennial and Generation Z consumers spend a lot of time online, therefore, the main focus of Capsubeans will be building online presence by creating better animations and social media contents. Moreover, we have a number of projects that are currently undergoing the phase of product development. In the following month or two, Capsubeans will be focusing on the launch of merchan-

dises and digital products in Hong Kong, China, Japan and Taiwan. Which are the main challenges for Capsubeans in this Industry? Capsubeans is a very new property, in order to survive in this competitive industry, we need to react promptly to keep up with the trends, and expand to other countries for global opportunities. The licensing market in China is massive and is still growing (with a rate

of 6% increase in licensed sales), and that’s why we have decided to launch Capsubeans into China, despite the challenges of strong competition from local brands and massive market for counterfeits. Our main goal before 2017 is to launch a 15 minutes 2D short film and more creative contents, hoping to get an increase of at least 50% of our current fan base on Facebook and Instagram. Which are the keys in order to be recognized in the industry? Five companies in the Top 10 most valuable brands in 2016 are technology firms, indicating that it is inevitable to incorporate technology and keep up with the trends to standout in this extremely competitive industry. Apart from being innovative and develop fun interaction with the audience, content is the main driver of overall growth.

NEWSLINE REPORT INTERNATIONAL

MIPCOM 2016

OCTOBER 2016