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NEWSLINE REPORT INTERNATIONAL

MIPCOM 2017

OCTOBER 2017

KIDS STUDIO 100 MEDIA / M4E

“Internationally animation seems to travel more easily” Martin Krieger, Head of Global Distribution, explains business strategy after the unification of both brands. How has business of Studio 100 and m4e AG evolved during the last months? Since the Studio 100 Group acquired the majority interest in the m4e AG at the beginning of this year, both companies bundled their marketing and distribution activities in order to combine their strengths. We are now working hand in hand, offering a combined library of more than 17,000 episodes of high quality kids and family entertainment programs. For MIPCOM we are bringing together our key properties though presenting them at two stands: Studio 100 Media at R7.C15, m4e at R7.H3. Our core portfolio has become very strong now, with “Maya the Bee” and “Mia and me”, “Wissper” and “The Wild Adventures of Blinky Bill”, and of course the new series “Arthur and the Minimoys”, now with a full episode at MIPJunior and on our stand. We are sure that we can proceed in establishing one of the leading independent company groups for kids and family en-

MIPCOM 2017

tertainment in Europe and in the world. How does the unification with Studio 100 improve the sales of your portfolio? We are now able to offer a wider and more extensive portfolio with 17,000 episodes of varied programs. This prepares us to meet the needs of more broadcasters, channels or digital platforms with suitable content. What is your view on the Kids industry, and the continuing growth of animation? As Studio 100 Media specializes in kids programming we are skilled in evaluating the trends in the kids’ TV entertainment arena. Over the last few years there has been increased demand for 3-D / CGI-animated kids’ shows; high quality live action programs with great storylines have been in demand as well. Internationally animation seems to travel more easily. Live-action shows are often subject to trends

like fashion, music and stars – in short they always answer strongly to the zeitgeist which might not be a global but a local one – or even only regionally. That gives animation a head start on a worldwide perspective. In general, all content driven major brands are still very strong in the market. TV continues to remain the key medium for establishing high awareness for a property and is thus still vital especially for our merchandising and licensing partners. TV is still very present but it is no longer being watched as selectively as it used to be, this is because kids and teens are using their tablets and smartphones way more. There will be more and more ‘YouTube kids’ and producers will have to react to these trends. How has the industry changed with the appearance of online platforms and multiviewing, towards the monetization of content, and children consumption? A lot has changed. The current situation is absolutely encouraging, especially with the new options that digital players are adding to the industry. Additional platforms mean additional possibilities of exploitation that coexist with the traditional ones often resulting in a broader reach for

our content. For our company the market offers very exciting opportunities for extending existing brands into the digital space. SVOD means additional revenues for us and we do recognize a positive impact. Concerning AVOD we are indeed very carefully evaluating the possibilities of leveraging our content that way. However, we see a high potential there for the purpose of promotion, for example of brand-new shows or regarding our established shows offering a way for fans to ‘stay in touch’ with their heroes anytime they want to. Of course we are showing the content in a limited way, i.e. no full episodes etc. To serve that purpose we’ve created our own

Do you think that there’s a need of re-thinking new content so as to renew the industry and its markets? A producer is always challenged to offer contemporary content fulfilling the desires of viewers. And as the desires change, the producers have to adapt to that – so there is a need to do some thinking when you’re planning new content. That leads in itself to a continuous development of the industry and the markets. But I’m not sure if I would call that a renewal, it is more a natural process of evolution. We at Studio 100 Group are both ‘refreshing’ our highly successful and popular classics as modern CGI versions and produce brandnew animation and live action series, which appeal to

YouTube channels for our brands like “ Maya the Bee” and “Heidi” for example and are also producing exclusive content for these channels. However, looking at the bigger picture it does not always mean incremental revenues. In the last few years we have seen a rise in the amount of players in the market on the nonlinear side, which constantly challenges us to find sophisticated ways of windowing.

all audiences. We carefully consider present day viewing habits making best use of new technology, meeting the expectations of today’s kids and ensuring continuity for future generations. Working on the basis of long-term partnerships as well as project based cooperations we will continue to network with partners and broadcasters from all over the world to provide great content as a global player in the kids’ entertainment industry.

CONTENIDOS

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MIPCOM 2017

KIDS PIERRE SISSMANN, CHAIRMAN & CEO, CYBER GROUP STUDIOS

“Children will become a more active audience” Entertainment can now be consumed in many different ways. What is awesome with the kids industry, and especially in animation, is that there are not only different channels, but there is also an important synergy with videogames and the upcoming virtual reality technology. To me, the trend is set on the ever-growing immersion of children in the various properties and adventures kids entertainment can offer. They won’t be passive audiences anymore and they’ll become more and more active as time goes by.

What things do you take into account when you plan a production? Before the beginning of a production, we have to take into account several things. First of all, we need to have an appropriate organization of the whole production and artistic lines. We need as well to secure a good budget and to find artists and writers that are in sync with the idea of the show. Cyber Group Studios usually plans its productions six months in advance, with several revisions because, as soon as we begin, we want to make sure there will be no quitting nor production hiccups.

There’s another feature important to us. We choose subjects that have never been dealt with before in the same way and we try to find the best techniques, artists and authors to work on these ideas. None of our projects looks the same even though we have one style. That’s probably one of the reasons of Cyber Group Studios’ success, as we constantly try to reinvent ourselves. How has the kids industry changed over the last years? We are living in an incredible era where technology becomes more and more advanced, and content gets more global every day. Globalization and fragmentation happen in a simultaneous way. We are living in a period of concentration of talents and projects, and this is what makes the difference. It’s the same evolution that happened in the music industry several years ago, when supports went from vinyl to CD and then to streaming services.

MIPCOM 2017

How have the consumption and monetization of content evolved with the appearance of digital platforms? Companies always need a great story, and if you don’t have it, you have nothing; but then you have to think of the different applications. I’d say that technology changes are helping the writing. In the last ten years, the evolution of digital software has been massive, and it helps creating better content. What we need today is to tell better, bigger and greater stories that are accessible in different ways. To me, the experience of entertainment is enriched by

The global growth: new offices in the USA In a move to extend and globalize its operations, Cyber Group Studios opened its North American subsidiary, based in Los Angeles, which is run by media specialist and top executive Richard Goldsmith. After a continued string of eleven-year growth, the new subsidiary is part of the global effort of Cyber Group Studios to extend its activity in production and distribution, in addition to all the areas related to digital and merchandise licensing. With over 1200 half hours of animated content, seven series in production for broadcasters and digital platforms worldwide, and over ten more in development, the new affiliate will benefit from a robust start and look for additional opportunities and talent to further its growth.

After 12 years of constant growth, the company is developing CGI, 2D and 3D content addressed to worldwide kids audiences.

CONTENIDOS

the progress of technology as it enables creativity to reach new boundaries. What is the most interesting thing about working for children? I’ve worked a great part of my life for kids. After 12 years at Sony Music, where I was Head of A&R in Europe, I spent 12 years at Disney, and then started my own company which has been running for 12 years now. What I like about animation and the kids industry are the unlimited things you can create. Adults are fascinated by great stories, one example is the success of ‘ Games of Thrones’ (HBO); but they always have boundaries in their minds that obstruct the imagination process. However with kids, everything is possible. You can

create for them stories which will stimulate their imagination which is so exciting as their enthusiasm and imagination are limitless. Which are your goals for the rest of 2017 and 2018? When we look over the last ten years, we realize that our company has evolved in terms of anima-

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New projects for worldwide broadcasters There are three new projects that Cyber Group Studios will be introducing at MIPJunior / MIPCOM 2017. The first one is ‘King of Space’, a comedy series based on the best seller book by Jonny Duddle. The company will also be showing a coproduction with Digital Banana, ‘The Leaflees’, an exciting new adventure/Comedy series, mixing live action shooting in the deep forest and 3D animation. “It’s very ambitious in terms of writing and animation, and it might be the most complicated show we’ve done so far”, says Sissmann. ‘Droners’ (CGI – 2D), is a new animated series in development with TF1 and La Chouette Compagnie. This comedy and adventure animated series, based on an original idea by Pierre de Cabissole and Sylvain dos Santos, will target kids aged 6 to 10 in 26 episodes of 26 minutes. ‘Zak Jinks’ (52x13’ 2D – HD) a daily show comedy and a totally new series is also distributed by Cyber Group Studios. The show is produced by Label Anim it will air on France Télévisions this fall.

tion and storytelling. Each time we create a new series, we aim at improving what has been done on the previous one. We build on the past to go forward. On the long term, we’d like to become a more global company. This year, we have opened new offices in Los Angeles, and we are close to opening other offices in Asia, and Latin America (probably in Argentina or Brazil), so we will be able to better understand the needs of the kids around the world and create content that is relevant for the markets. Producing animated series is like running a marathon, so we need to be able to demonstrate stamina and gather the necessary resources needed to finalize our projects in the long run.

Current development of animation series The company has seven series in production: ‘Gigantosaurus’ (52x11’ HD 2D-CGI) the new pre-school full CGI animated series based on the bestselling book by world renowned author Jonny Duddle, (published by Templar Publishing), will air on Disney Junior Worldwide, excluding India and Taiwan, starting in 2019. ‘Taffy’ (78x7’ 2D-CGI) is a brand-new animated series for Turner’s second flagship kids channel Boomerang. Based on an original creation from Cyber Group Studios and developed with Turner. Cyber Group Studios is also working on the second season of the Boomerang Original series ‘The Happos Family’, this time featuring longer adventures with the loveable Happos characters, as well as a raft of new digital content. Series two, made up of 25 x 7-minute non-dialogue episodes, will launch on the Boomerang channels in January 2018. Also in production: the second season of the Cyber Group Studios series ‘Mini Ninjas’ (104x11’ HD 2D-CGI), Over the last few months, Cyber Group Studios has just begun the production of its new show ‘Tom Sawyer’ (26x22’), a very ambitious series based on the world famous novel by Mark Twain. Also in production ‘The Pirates Next Door’ (52x11’) produced by Cyber Group Studios for France Televisions. The teaser of the series ranked 17 in the MIPJunior’s top 30 most-requested programs in 2016. The first episodes are now available for viewing and the French studio is planning to showcase them in Cannes during the MIPJUNIOR and MIPCOM events. Also in production, the new Cyber Group Studios and Brown Bag series ‘Sadie Sparks’ (52x11’) is aimed at 6-12 years old children. This magical show will air on Disney across EMEA late 2018, early 2019.

MIPCOM 2017

INCOMPANY

STAFF José Bastón will leave the Presidency of Televisa Internacional in October 30th. After thirty years in charge of the worldwide evolution of the Company that started as a traditional media Company, and became a huge media and telco’s corporation. Even he is leaving the chair, Bastón will still be a member of the Council of Administration of Televisa. ○

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FremantleMedia promoted Coty Cagliolo to Managing Director for Mexico. Cagliolo will be responsible for the overall day to day management of the operation, driving the strategic vision of the business and working to reinforce the company’s presence in the region by developing and producing content for the Mexican and Pan-regional market. Based in Mexico City, the executive reports to Sangeeta Desai, FremantleMedia’s COO and CEO, Emerging Markets. ○

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DHX Media announced the joint of Jerry Díaz as Vicepresident of Distribution who will have the responsibility of manage the global business of sales and distribution of the company. Díaz will report to Josh Scherba, EVP Content and Distribution, who has the general responsibility of create and sell Kids and Family content for the company. With more than 30 years of experience, Díaz came from Corus Entertainment. ○

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Marcello Coltro joined NBCUniversal International Networks after living Cisneros Media Distribution, where he handled the distribution business for three years. Now, Coltro is in charge of the media portfolio of the Latin American brands Universal Channel, Studio Universal, Syfy, E! Entertainment and Telemundo Internacional. Since September 18th, the executive reports directly to Klaudia Bermudez-Key, SVP & GM of the company. ○

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Katrina Neylon joined FremantleMedia International as EVP Global Content of FremantleMedia International. From her position, Neylon handles the existing team of Global Content and supervises the programming strategy, both scripted and nonscripted, with a strong view on the creation of useful commercial alliances for each partner. ○

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MIPCOM 2017

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Melissa Pillow is the new sales representative of TV Azteca Internacional in Europe, Israel, United States, New Zealand and Australia. Reporting to Fidela Navarro, Director of TV Azteca Internacional, Pillow will travel with the portfolio of the Mexican company looking for new opportunities of expansion. The executive was part of the team of NBC Universal, over the last 10 years. ○

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ITV Studios Global Entertainment (ITVS GE) informed that Pascal Dalton joined the Company as VP Sales of Global Formats. Dalton came from Endemol Shine Group, and now is responsible for the strategy of global formats of ITVS GE, including the construction of current production alliances and exploring new international opportunities. On the other side, Ella Umansky was promoted as Director of Format Support of ITV Studios. ○

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John Flanagan is the new General Manager of History Japan. Based in Tokyo, Flanagan will be responsible for all the operative businesses, including the incomes, channels programming, production, marketing, financial reports and development of new businesses. The main goal of Flanagan is the lineal and digital growth of THCJ, working with A+E Networks partners, distribution platforms and advertising clients. ○

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Karen Barroeta is VP Senior of Marketing and Creative of Telemundo Networks, leading the strategic development and execution of all the marketing initiatives for the consumer through the company platforms, including the supervision of media purchase and the Experiential Marketing teams. Also, she will collaborate with the Group in Stations, distribution of NBCUniversal and its affiliates. ○

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Studiocanal promoted the ex VP Sales for Iberia, Italy, LATAM & Scandinavia Beatriz Campos to Director of International Sales. Based in London, Campos will lead the activities of international sales for all the TV-series of Studiocanal, including the portfolio of productions of Création Originales CANAL +, as well as third parties acquisitions. ○

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Year XXVI MIPCOM 2017 Edition

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Viacom

“The launch of our services direct-to-consumer describes a completely new strategy of evolution for the company, now that is taking advantage of the amazing opportunity that changing technology gives us so as to make use of our big brands. Now we have the control of a new platform, and the 100% of the usage of our magnificent content.”

X DI

Federico Cuervo is now handling the Production area for VIMN Americas that includes the recently acquired Free TV channel in Argentina, Telefe, as he keeps with his role of Brand Manager of Comedy Central. On the other side, Tiago Worcman who is SVP and Brand Manager of MTV, now is expanding his obligations in order to include the supervision of Paramount Channel in Latin America. Cuervo and Worcman will also work close with the new conjunct company of Porta dos Fundos / VIMN Americas in Brazil, as co-leaders of the Committee of Brand and Content. The intuitive talent of Cuervo in the development of comedy content and the experience of Worcman in the market of Brazilian content, will assure a major expansion and new opportunities for Porta dos Fundos’ content.

continues to evolve its businesses in Latin America

Bob Iger CEO, The Walt Disney Company

Kanal D International

ZEE Studios International was launched in Canada

establishes a co-production division

The Indian content company, Zee Entertainment Enterprises Limited (ZEEL) achieved another milestone by becoming the first Indian broadcaster to set up a production company, ZEE Studios International in Canada. This also marks ZEE’s entry into global production for mainstream audiences which will facilitate production requirement for ZEE’s diverse platforms as well as international markets. Amit Goenka, CEO – International Broadcast Business, said: “Our endeavor through this venture is to produce global content for mainstream audiences across various international markets as well as take care of our domestic requirements”. ZEE Studios International will be headed by Subhadarshi Tripathy who has been with the organization for over 18 years and has championed several of our leading brands. “We are confident that Subhadarshi and his team will grow this division into a formidable business, creating cutting edge content which has immense potential to be adapted throughout the world”, added Goenka.

This new division will be focusing on developing creative business models in coproductions and content investments; including scripted, film, non- scripted, docudramas and mini-series targeted to not only Turkish but also global market. To strengthen this business arm, Nilufer Kuyel, joined Kanal D International as Director of Co-productions and Foreign Investments. The company is currently bringing new business models to co-develop for scripted, non-scripted and creating brand new content for global market with top industry professionals from all over the world. Kuyel will be heading the co-production division and she will be directly working for Ozge Bulut Marasli, CEO – Kanal D & Production Companies. Previously, Kanal D International sealed a co-pro deal with Chile’s Mega and aims to expand its operations both in LATAM and other territories.

MIPCOM 2017

KIDS

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CONTENIDOS

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MIPCOM 2017

KIDS RAINBOW

Unleashes more of its magic

Leading studio Rainbow will be presenting magical new content at MIPJunior and MIPCOM 2017, with three new series. These are new seasons of global smash-hits Maggie & Bianca Fashion Friends and Regal Academy, and the brand new preschool show 44 Cats! 44 Cats is a sumptuous 52 x 13’ CGI preschool comedy series that follows the daily adventures of Lampo, Milady, Pilou, and Polpetta; all of them are part of a music band named The Buffycats. These four kittens are homeless and get shelter in a garage, transforming it in a “Clubhouse” - a place where all cats from the neighborhood get together to have fun and relax! Storylines explore the themes of friendship and altruism: the main characters love helping others and this drives many of their adventures. Regal Academy – the hilarious, fresh and funny show that follows the adventures of Rose Cinderella – is back for a second series, after the first wowed the world. In series one Rose found herself enrolled in the Regal Acade-

MIPCOM 2017

‘Maggie & Bianca Fashion Friends’ arrives to break the market with the whole well-known brands of the Italian company. my – the school for fairytale characters – and enjoyed a host of adventures with new friends Hawk SnowWhite, Travis Beast, Joy LeFrog, Astoria Rapunzel and LingLing Iron Fan. Series two sees Rose return from her summer holidays to find plenty more adventures waiting for her a mysterious new student, a new hero teammate and the evil Snow Queen who wants to trap them all in her Snow Globes! The new series delivers another irresistible mixture of comedy, music and exciting new animation techniques that

the millions of Regal Academy fans - from over 100 countries where the series has been sold - will love! Maggie & Bianca Fashion Friends is the new sensation among pre-teen liveaction shows. With 78 half hours available - and two TV specials set in Lake Como and Paris - it has surpassed the success of the world’s biggest Telenovelas through its utterly compelling mix of fashion, friendship and music. The show tells the story of Maggie - an ordinary American girl with a dream of becoming the world’s greatest fashion designer - who wins a twoyear scholarship at the Milan Fashion Academy. There she meets Bianca, a self-proclaimed Italian ‘princess’, and together they make friends with other students, who all share a passion for fashion and music. In series 3, available for TV broadcasting from fall 2017, the young friends leave Italy to live in America,

where they face difficult choices about their future friendship and relationships. The first two series of the show reached millions, through TV broadcast in Italy, Russia, Brazil, France, Germany, Greece, Poland and Benelux, and on Netflix worldwide – leaving fans clamoring for more! Iginio Straffi, Founder & CEO, Rainbow leads the team attending MIPJunior / MIPCOM 2017 that will also be presenting: ‘World of Winx’ (26x30’), with its two seasons of the story about the Winx, which as talent scouts for WOW!, travel the world searching

for talented kids and preventing the mysterious Talent Thief from kidnapping them. ‘Winx Club Sr.7’ (187x30’) and ‘Winx Club The Mystery of the Abyss’ (1x80’) complete the colorful brand. Rainbow is also presenting ‘Poppixie’ (52x13’) a 2D animation comedy that follows the extraordinary every-day life of the Pixies in Pixieville - a world full of magic creatures that’s waiting to be explored and discovered. The two seasons of ‘Huntik’ (52x30’) complete the portfolio for these markets. This series shows adventurous journeys await across Europe, South America and Africa, where our heroes search for powerful Amulets that will help them to stop the evil Organization.

CONTENIDOS

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MIPCOM 2017

KIDS JÉRÔME ALBY, MANAGING DIRECTOR, MEDIATOON DISTRIBUTION

“In digital, the players take much more risks”

How can you describe the participation of Mediatoon Distribution in MIPJunior/ MIPCOM 2017? The market is treating us great, so in MIPTV we brought to the market two new shows at last MIPTV, and now we are bringing new titles also to MIPJunior / MIPCOM 2017. ‘Little Furry’ is our main focus for this market. This nondialogued pre-school series that it is commissioned by Canal +, RTVF, VRT. The show is already on air and it was also been acquired by Radio Canada (for the French speaking territories), HOP (Israel), Dea Kids (Italy). Another highlight production is ‘Valerian & Laureline’ (40x26'), based on Luc Besson’s ‘Valerian, and the city of thousand planets’. We are very happy to have this title on our catalogue, as it was selected by several VOD platforms. We are also presenting a

MIPCOM 2017

The executive admits that children choose the programming and considers that non-dialogued productions will still be successful worldwide. couple of episodes of the last season of ‘The Minimighty Kids’, as the full season won’t be available up to the end of 2018. We are bringing the second season of ‘Teen Crumpets’ that was on air in Gloob (Brazil) and a Canadian production called ‘MaXi’ (26x11'). Do you consider that non-dialogued content is an advantage in Kid’s industry? Non-dialogued series are definitively an advantage towards the commercialization of children content. Dialogued series have a much more investment on the dubbing process, so it’s great to have nonspeaking content, as it’s an advantage also for the companies that sell the series. In a market that is more and more global and you have so many languages and the boundaries between countries are not

important, languages are the only boundary. When you have a non-dialogued series is much easier to expand the presence of that show, with a much bigger reach. However, the non-dialogued series work either for a very young target, or for an older target. Basically, the non-dialogued is not a format that could be used for every franchise or production. How has Kids Industry evolved over the last years? Definitively there’s been a massive shift from lineal to non-lineal. That is a really key part of the evolution. Non-lineal actors are becoming

channels in each country. Nowadays, there are much more channels, but they’re more centralized, and dedicated to a specific genre, and that’s the case of kids, who have dedicated channels, with massive blocks with 4-5 hours a day. How has monetization and consumption of the genre changed? What is sometimes frustrating is that the

because at the end of the day the kid is who choose the programming. Do you think that children demand new ways of entertainment? We do always have to renovate content. We need to have a clear view of what kids are going to like in the upcoming years, and see how we can make a better offer. For animated series or shows ten years ago, the

standard format was mostly half-an-hour or 11-12 minutes; and now it tends to shorten, because kids want things that go faster.

more and more important. The other thing is the multiplication of screens and clients and networks. If we look at the industry ten years ago, before the digital television arrived, before all the tablets, computers and smartphones, there were much less

amount of the digital market is much less what is paid by the traditional lineal. But on the other hand, what is really good with digital is that some of the programs that are not aired any more, now can be there on digital. In digital, the players take much more risks,

Which are Mediatoon Distribution goals? Definitively we want to make sure that ‘Little Furry’ manages to outperform the market, as it seems it have already started to do. We are also really interested on finding new producers and companies in which we can relied on, and work closer to them on the development of new content.

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MIPCOM 2017

KIDS EONE FAMILY & EONE LICENSING

“There’s a shift with the already installed brands” Olivier Dumont, Managing Director, explains the success of ‘Peppa Pig’ and the licensing program planning. How has evolved the success of ‘Peppa Pig’ over the last year? We are confirming the production of another 117 episodes of ‘Peppa Pig’, so that means that we are going to have twice content on the brand. Discovery Kids Latin America has just started airing the seventh season of the show, so they’ll continue with season 8 when we finished the production. There are a lot of reasons that justify the success of ‘Peppa Pig’. It is a show beyond the quality of writing. I think, the first thing is that is a family content, and when you think in kids, the family is their entire world. The second reason is the humor, so on the layer of humor, you have one layer for children and one for parents, and as a result of that, parents can enjoy watching ‘Peppa Pig’ with their kids or just simply enjoy that their kids are watching it. From that perspective it is a family-show. Which property of eOne seems to be the “next ‘Peppa Pig’”? We have another successful brand growing in the market that is ‘PJ Masks’. In Latin America, Disney Junior has reported us a

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huge performance of the show. It is also going to be launched in México, so we are continuing to negotiate deals with different broadcasters in the whole world. Season one was launched last year, and we are already in the production of the Season two that will be premiere next year, also in Disney Junior. This is such a successful brand for us that we are currently in the development of a third season, so it is going very fast, representing a success in every single part of the world. USA, UK, Italy, France, Spain, and of course Latin America are key territories for the evolution of this title worldwide. How has the Kids’ Industry evolved, related with content consumption? What has really changed is the consumption in digital platforms, so whether is AVOD or SVOD it is still On Demand content. The fact that when you no longer rely on broadcasters to create a hit, gives you the chance to show the brand in different ways. Children can find what they like in school also, and they have to immediately watch what is been recommended in

that moment, and you can find that on several platforms in any moment. Also there’s a shift with the already installed brands. If a kids become a fan of certain show, they don’t have to way to specific moment to see the content, they can continue it immediately. Which are the main features of working for children audiences? It depends on the target demo, because it is different working for pre-school kids, or for school-age kids. The last ones have more autonomy, so the difference is that when we work for them, we have to present a strong offering in terms of visual online and offline games because we need to be able to engage them in different windows. When regards to pre-school kids, the parents participations becomes crucial. We need to keep parents always in mind when we plan a new production. I really enjoy working for that target demo, contrary to the idea that kids are changing. The evolution that is happening right now is the same that has been happening all over the history,

in terms of their own personal development. How does eOne decide each step of the licensing program for its brands? With kids we cannot anticipate too much the demands of each brand, so we don’t want to be too fast on the licensing programs. We are very conservative and careful on not over-push the brand in terms of its marketing. We really like content to speak from itself and guide the demand of new products related with the brand. Which are you worldwide goals for the next months? We’d really want to continue sustaining the success of Peppa, so we are developing a lot of exponential things for the brand outside the TV experience. The strong offering is key in times when we are bitten by digital experiences, is the development of live-experiences where kids can enjoy their favorite brand on a stage-show, or as a theme park. We are also working really hard on the licensing and merchandising program of ‘PJ Masks’ now that has experienced the success of television.

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MIPCOM 2017

KIDS

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CONTENIDOS

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MIPCOM 2017

KIDS CECILIA MENDONÇA, VICEPRESIDENTE & GENERAL MANAGER, DISNEY CHANNEL LATIN AMERICA

“Audiences are especially participative” The executive admits the interaction with social media and the commitment for new regional productions.

Which is the role of original regional content, specially the live-action ones? The commitment of producing regional content grows and sustains because we understand that this is the best way of being close to our audience, as we offer a product that connects to them, that distinguished itself and resounds on their common life. Productions rescue their universal values, but with a special emphasis in the idiosyncrasy and local features, with an optimistic and inclusive view. On this way, we tell a story that can appeal in every part of the world, but with the eye that distinguishes us locally. For example, the successes of ‘Violetta’ and ‘Soy Luna’, made from original ideas have an amazing international projection. ‘Violetta’ became the first Disney franchise created outside the US. Also, the quality of our content and the importance of the

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storytelling are still being fundamental. This offers an original content and gives us the opportunity to explode in the best way possible all the multiplatform experiences that can be given, considering tastes and consumption habits of our audience. Those productions are the ones that add sense and result in a unique and deeper identification with the audience. Which are the modifications occurred in programming regarding new audiences and technological evolution? We understand that the ways of consuming entertainment are a result of each time, and nowadays, with an extreme connectivity, audiences are especially participative, as most of the times they decide the “how” and “where”. Also, we have learnt to listen to the audience in social media so as to know it and take decisions based on this information, and update ourselves on

trends and changes in habits and tastes of the audience. In order to gain the attention of this challenging consumer, we are focusing in the integration of the biggest amount of platforms possible, so we could be able to connect with the viewer wherever he is. For us, it is already evident that multiple experiences generate a bigger desire on the audience in order to be pioneers in the incorporation of talents from digital platforms in our fictions, or that our own talents become influencers. On the other side, the

Which are Disney projects and brands for the next months? We planned a continuation of original ideas development so as to be able to offer new liveaction and animated content for the next years, at the same time we keep betting on regional productions. At the moment, we can just only say that there will be new seasons for all the channels: ‘Soy Luna’ for Disney Channel, ‘O11CE’ for Disney XD and new episodes of Junior Express that keeps as an amazing regional success and a great point of contact with the audience, both

launch of ‘Descendants 2’ have an excellent reception for the audiences of Disney Channel and Disney XD, on its tour in Mexico, Buenos Aires and Brazil with its stars, where its audiences were reinforced by the strong emotional connection of that franchise.

from the screen and on the live-shows. We are also presenting in Disney Junior new adventures of ‘Morko y Mali’, the original production inspired on the Amazonian forest whose characters resolve on each episode different challenges that make them live the funniest adventures.

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MIPCOM 2017

KIDS MATTEL

‘Thomas & Friends’ is screened at MIPJunior The original production debuts at the market and its set to launch in 2018.

The first 2017 MIPJunior World Premiere TV Screening will be ‘Thomas & Friends: Big World! Big Adventures!’ produced and distributed by Mattel Creations. The Junior premiere which is usually reserved for debuting series, will mark the grand unveiling of a huge trans-

formation in content for the world-famous children’s show. ‘Thomas & Friends: Big World! Big Adventures!’ (26x11’) sees iconic train engine Thomas traveling farther than ever before, taking kids on a journey of wonder and curiosity as he adventures around the world to experience new countries, learn about other cultures and, of course, make new international

friends along the way. The show will have a more contemporary feel and increased, global appeal for preschool viewers. In addition to Thomas’ expanded adventures, audiences will also enjoy seeing several aspects of the show that have been evolved to appeal to contemporary viewers: An all-new format series, faster-paced plots, increase in humor, more action and adventurebased storylines with several new fantasy and musical elements. Mattel’s Chief Content Officer, Catherine BalsamSchwaber, says: “We are

delighted to receive a World Premiere TV Screening at Reed MIDEM’s MIPJunior, which is the perfect platform to showcase our newly-refreshed series. The updated format will make Thomas & Friends content more entertaining, inclusive, meaningful and global, whilst ensuring all the favorite characters and storylines that fans around the world love remain at the heart of the action.” Thomas the Tank Engine was created over 70 years ago and that story quickly grew through content to become the award-winning global brand franchise it is today, with multiple

touch-points and formats, including apps; toy consumer products; publishing; live attractions and much more. The exclusive premiere unveils brand-new content from the forthcoming series, as well as a behindthe-scenes peak of the production alongside a Q&A with the creators and producers of the show. MIPJunior delegates will be amongst the first to see the full, remarkable makeover of Thomas & Friends plus many more surprises at the World Premiere on Saturday 14th of October 2017 at 18hs followed by the official opening party.

RAYDAR MEDIA

“There is constant evolution and urgency in the industry” Alison Rayson, CEO, presents probed hits for CBeebies. series Apple Tree House and also for our growing catalogue of children’s properties, which include Channel 4’s ratings-busting animated special We’re Going on a Bear Hunt and CBeebies’ What is the focus of Raydar Media on MIPJunior 2017? Which are the main expectations towards the market? Our focus at MIPJunior is to secure sales both for our new launch titles such as CBeebies new hit live action/mixed media

MIPCOM 2017

historical children’s drama Tea Cup Travels. We also have a number of additional projects in development, which we are keen to discuss with potential co-production partners.

Which is your view on the Kids industry, and the continuing growth of animation? Raydar distributes all genres but there is something very special and unique about the kids’ industry - from the executives who work in it, to the content that we all create. There is a real sense of constant evolution and urgency in the industry, which has become necessary in order to keep up with today’s tech savvy kids. Ultimately it is this challenge that makes be-

ing a Kids’ program maker, distributor and licensing agent so exciting. How has the industry changed with the appearance of online platforms and multiviewing, towards the monetization of content, and children consumption? The industry has been revolutionized in terms of how it does business and also how funders decide what to invest in and acquire. Integrating a digital and social media

strategy into a show’s DNA is now as critical as choosing the right linear platform and these two aspects need to work hand in hand to drive the best outcome. Kids are platform agnostic and will choose different times of their day to either watch repeats of their favorite shows on their tablets and also tune in to scheduled TV and the iplayer for a more social experience with their parents. In order to succeed therefore you need to be available at each of these touch-points.

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KIDS

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MIPCOM 2017

KIDS MONDO TV IBEROAMERICA

Bets on expanding its co-productions How has Mondo TV Iberoamerica’s business evolved in recent months? Business for Grupo Mondo TV Iberoamerica has been really positive. We started the year by entering the stock Exchange market MABEE. The year continued with the successful launch on Nickelodeon Latin America of Heidi, Bienvenida a Casa, the first-ever Mondo TV liveaction show, for which we are co-producer with Alianzas Producciones. Sales of this series are strong across Latin America, and now markets in Europe and the Middle East are opening up. In fact, series two, Heidi, Bienvenida al Show is in production and a third series is planned. However, as visitors to MIPCOM will soon see, there has been continuing success for the Mondo TV Group as a whole. In-house productions – notably Sissi the Young Empress, now in its second series – continue to do well, but recent co-productions in particular have been newsworthy. The witty charming and clever tale of a fox his inventions and his friends and foes, Invention Story (104x11’), arrives next year and Henan York Animation and Mondo TV have already committed to five series. Meanwhile Aurora World Corp and Mondo TV are expecting a strong

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Maria Bonaria Fois, General Manager, announces new series of ‘Heidi Bienvenida’ and some new titles for next year. performance from the ecofriendly adventures of YooHoo & Friends, based on the wildly popular Aurora World line of plush toys. How does ‘Heidi, Bienvenida a Casa’ work in the worldwide market? Are you thinking on the chance of format sales for local versions? The show’s Latin American origins (the cast is from Argentina) gave it a strong market in that region where language was not a problem; it only needed dubbing in Brazil. However, the show has now sold to two Russian stations — one of which is broadcasting already — and one Israeli channel where, again, it is showing at the moment. We’re looking at quite a lot of other opportunities as well. So, yes, format sales are certainly available, but the show in its original form is attracting quite a lot of interest. What is the focus of Mondo TV Iberoamerica on MIPCOM 2017? Which are the main expectations towards

the market? With its success in Latin America and now its inroads into Europe and the Middle East, we have very high hopes for Heidi Bienvenida. Its combination of a classic story with humour, great songs and lovable, slightly eccentric characters, has clearly struck a chord. Of course, as a distributor of Mondo TV output in many markets, Mondo TV Iberoamerica is also promoting a number of other highly attractive properties. The new animated series Invention Story, for example, is a highly innovative concept. It’s the tale of an intelligent, thoughtful and creative fox who, in each episode, comes up with a new invention. The show has plots, conflicts and rivalries as well as funny, eccentric and engaging characters — but it also offers something different. Then there’s the 3D CGI show due soon, Cuby Zoo

(52x11’), about a group of cube-shaped animal toys who come to life — but who also play a vital but secret role in keeping the world in balance. It has strong potential in a number of regions, not to mention licensing categories. What is your view on the kids industry, and the continuing growth of animation? Kids grow up faster today. If we have season one of a show with an audience age range between 4 and 6 years, a year on more 46 year-olds will join them. It’s important that new or returning fans for each new season of a property create a buzz in their communities and inspire more new viewers. Of course serving returning fans while also enticing new audiences is important for our Consumer Products division and licensees of any products related to our IP.

What are Mondo TV Iberoamerica’s goals for the rest of 2017? The second season of the Heidi Bienvenida franchise — called Heidi, Bienvenida al Show — is already in production. This new story is full of colour, magic, music and excitement. Heidi will discover new friendships and new passions she even discovers a talent for creating perfumes! She will also take on a new challenge: to help a friend overcome her fear of singing and dancing in public, and to find and free the artist within. Our own role is continuing to be enhanced. Mondo TV Iberoamerica has a growing role in production as well, of course, as distribution within Mondo TV. In fact, we already have a strong presence in the Spanish, Portuguese and Latin American territories, where we distribute Mondo TV’s animated catalogue. Meanwhile the creation of a new production studio in our region, Mondo TV Producciones Canarias, is already bearing fruit. Based in Tenerife, the new studio will act as a producer and worldwide distributor of animation series and eventually, live drama. All of these developments are driven by a growing demand for Mondo TV’s content and its services.

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NICKELODEON LATIN AMERICA, A VIACOM COMPANY

“For children, content is never enough” Which is the main focus of Nickelodeon for MIPJunior? This year we are presenting our successful portfolio that includes new seasons of wellknown series like ‘Sponge Bob’, ‘The Loud House’ and ‘Henry Danger’, besides ‘Paw Patrol’ and ‘Nella, The Princess Knight’, of Nick Jr., to our partners. We do also like to identify new coproduction opportunities. How has evolved your most recent productions like ‘Vikki RPM’ and ‘Kally’s MashUp’? ‘Vikki RPM’ is actually on air and it’s having a great performance in the channel leading programming in México, Argentina and Brazil. Also, all the content specially created for our digital platforms, like ‘La Velocidad de La Luz’ and ‘MeckaNickeando’, is also between the most viewed of the channel. We are also in the middle of the production of ‘Kally’s MashUp’ in Telefe’ studios in Buenos Aires and we are launching it next Monday, October 23rd. How could you describe Kids’ industry and the growth of this content in the TV Programming? Young and teenage audience has become a niche with a very demanding and important group. They know the

Tatiana Rodriguez, SVP Brand Head, Kids & Family Group, presents new original local titles and analyses the evolution of children consumption. industry and love international productions, but also appreciate local productions. Our response to this has been keep betting and producing more real stories, locals and contemporaneous, trying to represent real-life of this kids in the screen. This helps us to maintain the fidelity of our audience, differentiating from competitors. We are generating more exclusive content each time, for all the platforms that children consume. Content is never enough, when they like something, they consume it really fast and diversify. Do you consider that internationalization of kids’ content is easier than any other kind of content? I don’t think if it’s easier. I think that if available formats are relevant and interesting for local audiences, the development potential of it is huge. If stories and environ-

Tatiana Rodríguez y Migdalis Silva, VP of Programming & Acquisitions

ments are universal, it is easier for the content to cross boundaries. We are very proud of the success of our shows in global markets and happy to keep working with all our partners in the region, so as to offer high quality shows to our audiences. Producing from Latin America to the world was a goal that now became a reality. What is the most attractive feature of working for young audiences? It is a really funny audience, but at the same time is a challenge, because they have no filter. If they like something, they love it, but if they don’t like something they are absolutely hard on it, they tell you, they write you. That’s why it is very important to pay attention to what is happening in markets

in general and to be a step ahead of the latest trends on both lineal platforms and nonlineal, so as to satisfy the needs of the audience in the most effective way. It is a great responsibility to treat content for this audience. How has evolved the industry with digital platforms and multiviewing, regarding the monetization of content and children consumption? It has changed a lot because new consuming platforms go far away from lineal television. Nowadays, Nick has four channels, additional brands like Nick Jr. with two signals and NickToons that is growing so fast in the region and it is focused in classic shows. The brand also has new products like Nick Play, My Nick Jr., Nick First, Noggin, the

SVOD service for preschool, and nickjunior.com. We have more than 40 digital games in all the mobile platforms and we have made our brand the #1 in social media with the biggest ‘engagement’ (source: Shareablee). This achievement is for the direct connection with our audience. Which are the main goals of Nickelodeon towards the next months? We’ll be celebrating our next local editions of the Kids’ Choice Awards in Colombia, Argentina and Brazil (Meus Premios Nick), and on October 23rd we are launching ‘Kally’s MashUp’ our first musical series produced from Buenos Aires. We are also looking for new ways for bringing the brand to the audience and we will continue to build a funnier world for everyone.

MIPCOM 2017

CONTENTS SEAN COHAN, PRESIDENT, INTERNATIONAL & DIGITAL, A+E NETWORKS

“We are living in a creative meritocracy” How has A+E Networks growth worldwide over the last months? Globally, we have continued to keep growing our own destiny. This means, buying some pieces of companies that we do already owned, launching 100% own businesses, making new launches and investments on new businesses. For example, in Germany we bought the 50% of our channel there that we already owned. In Korea we took stake on a public company called IHQ, and launched History and Lifetime there. In Japan, we bought 30% more of our History channel, meaning the possession of 80% of it. During this year we do also launched the first free-to-air channels in the UK andwe are continuing to expand globally, and looking for new territories for our businesses. Over the last 12 months we have also embraced our heritage as a great storyteller. We are really focused on developing content which does live primarily on our lineal channels. That means whether talking about short form content that lives on our own sites or whether we are talking about video content available in Facebook or Snapchat, or a combination of both things. We are really focused on elevating the level of our stories beyond our lineal channels. We are increasingly active on selling our content, exploding our content across platforms.

segment of the population that has a strong desire to History programming. We tend to have lineal channels as well as digital extensions of this brands. Sometimes it is a VOD service, sometimes the website offer and some other ways in which we can monetize our brand. However, one of the key parts of our formula is tend to bring the best global content that we make and we pair it with locally produced acquired content. In addition to have the US hits, we also have a wide range of great local content. While there’s some content that is uniquely local, there’s some piece of content that might travel worldwide on its original version. We will move content around. What has happened and will continue to happen is that we plan international big programming events that may not be necessarily related with what we do in the US. The creative development of several markets is really prolific and what we do with great ideas, gives us the chance to come from everywhere for our global footprint.

A+E Networks operates in most of the countries with different options for each audience.How do you address the international strategy? We tend to have between three-to-five brands in each market around the world. I should say that History is our lead brand outside the US. Everywhere we go there’s a strong

How can you describe the evolution of worldwide content availability? The creative taste of the market and its evolution is amazing. Social media discovered an interrelation between countries and regions, has made the world a much smaller place. I think that a lot of new platforms for the delivery of content

In the era of fragmentation of consumption, the executive considers that companies should adapt the content to each window.

A+E Networks’ strong offer of dramas “‘Roots’ was one of our most beloved projects and we are very proud of its global success. We have historically had great success with drama on the US. We had shows like ‘Vikings’, and most recently ‘Bates Motel’ that have a big impact on the US and also in a worldwide level. What we did some years ago was launching our own studio effort, the A+E Studios, run by Paul Buccieri. Over the last years the studio has taken increasingly ambitious drama projects that have worked really well around the world in terms of viewership and commercial success”, described Cohan. A+E Networks’ portfolio is also compounded by ‘Six’ (10x60’ - History) that on its second season continues to describe the adventures of the Navy Seal Team Six,whose 2010 mission to eliminate a Taliban leader in Afghanistan goes awry when they uncover a US citizen working with the terrorists. ‘Knightfall’ (10x60’) is the story of The Knights Templar, one of the most powerful entities in history, guardians of the Holy Grail and the road to Jerusalem, founders of the modern banking system and inspiration for Arthurian legends and modern-day blockbuster films and books. This epic drama series chronicles the actual events leading up to and following the persecution, downfall and eventual burning at the stake of the Knights Templar on a fateful Friday the 13th, 1307.

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has made it more common for people to see content from elsewhere. The acquisition of great production local companies by the giants of the industry gives the chance to the audience to be able to watch high quality content in a way they may not access otherwise. The creative community is developing really fast in more than 100 countries. So even today, we have great innovation of creative production capability everywhere, from Asia and Africa to Europe. Part of our responsibility is to bring amazing content from every corner of the world to our worldwide audience. We are living a kind of creative meritocracy, a place where great creativity is a little bit unshackled. Great creativity is no longer shackled to a massive language. All the viewers have a world of choice which is no longer defined by their nation and culture. This meansthe creation of competition, but also lots of opportunities for a company like ours. How can you describe the migration of consumption over the last time? I don’t consider that TV is dying, as it all depends on how TV is defined. If we think of video content, people are consum-

ing as much or even more video content as they’ve never had. What is happening is a fragmentation of the consumption. They’re watching some of it in lineal channels, Pay TV set-top-boxes, VOD or SVOD platforms. The challenge there is to make sure companies keep their viewership. I don’t think that TV is dying, as even in the traditional Pay TV context there will always be a place for lineal channels. I also think that digital has afforded companies like ours with great opportunities to reach people not only with content but also with our market brands. Towards the fragmentation of consumption and the constantly emerging new platforms, do you consider there’s a need of re-thinking the content, so as to guarantee the audience and its interest? That’s part of what we are doing. There are different budgets and audiences for each platform. The industry has to think different options of a same production for each window.There are lots of different modes of distribution and when it comes the time of thinking in a new production, it is needed to take all this levels into account. So I absolute think that it gives the imperative opportunity to reimagine how we make content. We are continuing to see an increasing number of broadcasters that are breaking the clock, changing the length of the productions, recognizing that even lineal-TV audiences are time-shifted. In which areas of A+E Networks can be recognized your work? I’ve been in A+E Networks for 13 years and during that period we have a dramatic expansion of our businesses outside the US. Our most recent measures showed us that this is ten times a size as it was initially. One of the places

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when the touch could be seen is on our executive team that now is closer to the different audiences, listening them and next to all the worldwide cultures. We’ve been also living with an experimental and innovative structure that gives us the opportunity to be distinguished all over the territories. We were one of the first companies that launched an HD channel and broadband services globally years ago. Which are A+E Networks main projects and goals for the future months? On a global level, I think that one of the main goals is to dramatically transform our presence outside the US, so as to reach a greater digital position. We want to install our brand services, rather than just only the channels. I do also want to make sure that over the next twelve months we could drive towards a reasonable scale in each market, having three-to-five channels that become profitable and relevant for the market and its clients and audiences. Another goal goes in the way of content and its development. We want to grow substantially on this efforts outside the US, so we need to find the best partner to work with in local,

regional and global programming events, both for lineal and also for non-lineal opportunities.

The digital evolution of the Company “It is funny when the industry debates between digital and lineal, because in some way it is all digital, as it’s all kind of integrated in one big ecosystem. But talking about our businesses outside our lineal channels, I think that over the years we have employed digital platforms as a way of extending our brands. What I think is important to know is that there are two areas that really drive the strategy. Today, digital is a source of revenue profitability; it is also a source for marketing and brand building and it is a great source for both creative and business model R&D (research & development)”, explains Cohan. A+E Networks has been developed its digital business since the beginning. Today the company has a very well developed and trafficked sites which are getting increasingly mobile-friendly, as well as its direct-to-consumer apps, only available in the US and Canada. “We also have a digital content group dedicated to the area, as another one dedicated to our productions for the social media. We do also spend a lot of time and effort taking our content and working closing with partners like Amazon, Hulu and Apple. Digital is part of everything we do. Digital is important in order to drive our business in all the areas mentioned before. We have the largest digital presence is the US, and we hope to expand those results all over the world”, admits the executive.

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CONTENTS TALPA

“We conceptualize the process of new formats” How have evolved the business of Talpa Global during the last months? Which are the most recent deals you’ve made? It has been an exciting first half of 2017. Our recent gameshow 5 Gold Rings launched with great results in the Netherlands and UK earlier this year. The show has already been commissioned to 5 countries, with more to follow soon and a second season confirmed in the UK and the Netherlands. It’s an iconic connected game show that is now also available as stand-alone game. The Big Picture, the unique visual game show has a great track record in The Netherlands, Portugal and Thailand, has recently been successfully launched on FOX Turkey. The touching format The Story of My Life has already reached 10 territories ranging from Brazil to Russia. And our fun-filled game show Cannonball had a flying start in the UK with fantastic ratings for its launch on ITV1. Which is the focus of Talpa Global on MIPCOM 2017? At this MIP we are proud to introduce our ‘House of Game Shows’, which includes The Perfect Question, 5 Gold Rings, The Big Picture and Divided. Now, SBS (recently incorporated in the Netherlands within the group and operates 4 channels) gives us a fantastic platform for introducing new game shows at a fast pace, airing at a set time slot in the coming year; Tuesday Night, Game Show Night. So you can expect us to introduce many new game shows during the year ahead. The first exciting new game show is The Perfect Question, a quiz which turns the contestant into the quiz master. And our dating phenomenon Dating in the Dark, aired in 25 countries, is back. But this time with a giant twist! In Stars Dating in the Dark 1

MIPCOM 2017

Maarten Meijs, Managing Director, assures that growth of entertainment content is a result of the lower costs of production, comparing with scripted.

celeb and 4 singles live on each side of the house. We take stardom and looks out of the equation, because the celebs and singles date in 100% total darkness. When it’s time to flip on the lights, the celebrity needs to choose: pick one of the singles to date or walk away forever. How has the industry changed with the appearance of online platforms and multiviewing, towards the monetization of content? If you look at it from a distributor’s perspective, a global hit show on linear television is still the most lucrative option in terms of finance, for now at least. The business model for distributors on non-linear is still in an ongoing development phase. But for sure in order for them to be competitive in attracting potential global nonscripted successes there needs to be an upside model as well around the exploitation of all related format rights. Part of the allure of unscripted TV content is it costs a fraction of scripted shows. The global scale of the online platforms and their ability for content localization of course offers great opportunities for them to explore multiple local versions of a format. Do you think that there’s a need of re-thinking new content so as to renew the industry and its markets? In today’s fragmented market, it’s increasingly important for broadcasters to have strong formats that can

attract both traditionals and millennials. To deal with this new development, we conceptualize the process of new formats. The challenge with young viewers is not only to reach them, but also to activate, interact and connect with them. Therefore, Talpa develops a thorough activation approach. By developing specific content across multiple platforms and per channel for relevant stability, Talpa is able to create strong content that connects the new masses via multiple screens. This way viewers are turned into fans right from the start. Which are Talpa Global’s goals for the rest of 2017? As always, Talpa’s aim is to continue to strengthen its position as forerunner in connected content. With revolutionary technology and a true multiscreen experience for the connected viewers, ‘5 Gold Rings’ is an outstanding example of our expertise in offering connected content ahead of today’s trends. With a highly creative team in place, Talpa has the ability to introduce new, strong formats each year, with The Story of My Life, where celebs witness the transformation of a lifetime, Cannonball and The Big Picture as prime examples. For the remainder of 2017, we’re looking forward to rolling these and new formats out to more territories globally, as well as continuing on expanding our format catalogue with global successes like The Voice Kids and The Voice, for which we just won our 4th Emmy. This confirms its global appeal and extreme success worldwide since its launch 7 years ago.

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CONTENTS TV AZTECA INTERNACIONAL

« We create and produce the big data of the emotions» Fidela Navarro, Director, explains the importance of being part of the international place as the company hosted a round of the International Emmy Awards.

How important was for the Company the serve as host of a semifinal round of the International Emmy Awards 2017? We have been a very active player in the International Emmy’s, we have travelled a lot in order to discovery new broadcasters, and we have been in another Awards, Conferences and Debates. The goal is to be an active part of international place again so that means that also in the institutions and awards, not only as participants but also as facilitators of processes. Being the host allows us to continue watching content from other territories, to have some feedback and it is a point of reunion with creators that work in other media and are a fundamental part of successful series that represent Mexico around the world. This has been an instruction of our Director Benjamín Salinas who has a wider and global view about the

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business. ‘Rosario Tijeras’, ‘Entre Correr y Vivir’ and ‘La Fiscal de Hierro’ are the titles that have been part of the International Emmys. Despite all the networks can participate with its contents, we have fomented this relationship with the Academy and the most important is that we were in every single action they have done. The selection of the jury was made by us, under the requisites of the Academy; and they are qualifying series all around the world. Having this opportunity of sharing moments like that is fundamental in order to create good television in every part of the world. We know that in this new digital era, audiences will be with those companies that understand better the power of the emotions and its mobilizing dimension. The economy of the attention emerges on our TV Industry that has changed its audiovisual storytelling and has established a new communicative paradigm, a unique system with more distribution platforms. We create and produce the big data of the emotions. Which are the main news of the company for the next months? We are going for a primetime full of new challenges and more differentiate than ever. Now we are betting on ‘Las Malcriadas’, a series with a theme that no one has ever touched. We are getting ready for next year with Epic series, with lots of action,

and a classic telenovela with mystery touches, besides comedy. 2018 is going to be a varied year in terms of content, which could be also consumed in other platforms, not only our channels. I think that this year has been one of the best in TV Azteca, our content is in blim, Netflix, Univision, Telemundo and soon in Amazon; that is something that in terms of content, has never happened before. How do you face the competition with digital windows? We see them as complimentary platforms, where have faced content that works in a platform and has better results that in others. I think that TV consumption is changing a lot and a same content can work in a different way, depending the platform. We have an obligation with specific audiences as Channels, but all our series have more differentiate characters, storytelling that weren’t touched before, so in that sense we are opened to the world with a different view, and that’s what Benjamín Salinas want, a local production with an international view. What is launching TV Azteca at MIPCOM? At MIPCOM we are presenting ‘Las Malcriadas’, and a comedy series that is going to be called ‘Tres Familias’. We’ve come with a classical telenovela under production, and ‘El César’, a coproduction with Disney, in which we handle the distribution of this product in every territory, excepting the Americas. We also have some surprises and testes of what is coming in 2018. One of the most important activities in the show is that we are hosting the Formal Dinner of MIPCOM 2017. With this market we want to start the celebration of the 25th anniversary of TV Azteca.

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MIPCOM 2017

CONTENTS INTER MEDYA

Turkey keeps evolving How have evolved the business of Inter Medya during the last months? In the last few months, we have been very active with drama series and feature films sales and have finalized a number of deals in the MENA region, Latin America and Central and Eastern Europe. In addition to that, one of our most popular game show formats, Join Instant, is currently being prepared to go on air in Pakistan and India. We strongly believe that this format will be a huge success in both territories, which we think will be followed with new sales. Which is the focus of Inter Medya on MIPCOM 2017? Which are the main expectations towards the market? Like every year, this year we are planning to launch several new drama series as well as a number of fresh formats at MIPCOM. One of the drama series that we will be launching is Mrs. Fazilet and Her Daughters. About a mother and her two daughters who live a modest life and dream of becoming rich, this series is produced by Turkey’s Avsar Film. We are planning even more surprises this year. We believe that this year’s market will be busy and fruitful for our company while we also celebrate our 25th anniversary. Our format catalogue is up for some surprises too. A brand new quiz show,

Can Okan, President & CEO, explains that after the success of local dramas, the company is looking for a similarity with its game-shows.

Money Monster presents the contestant with the opportunity to win as much cash as he/she can count in 60 seconds, after each correct answer. Another format is 1 vs. 10, produced by BKM and broadcast on Show TV. In this unusual quiz show, one contestant is asked ten questions but instead of answering these questions, he/she needs to choose the one who he/she believes will answer incorrectly. If the chosen rival answers correctly, the rivals win. If not, the contestant wins! Which is your view on the industry, and the emerging new genres? While television series and feature films are still constantly being produced and watched, we believe that OTT and VOD platforms are going to increase tremendously in the near future, which will be accompanied by a massive development of digital productions. How has change the industry the appearance of online platforms and multi-viewing, towards the monetization of content? We believe that OTT and VOD platforms, developing more and more, will become

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very important for our business in the near future. As you know, we were proud to have sold 4 of our TV series to Netflix, the biggest online platform in the world, only a few months ago and think that this trend will continue to grow in our favour in the coming years. Do you think that there’s a need of re-thinking new content so as to renew the industry and its markets? Nowadays, besides dramas, there are a number of new genres being produced in Turkey, such as dramedies, criminal dramas and actions. Due to the high production quality of Turkish content, we are confident that these new genres will be as successful as our dramas in the international market. Indeed, Hayat, one of our recent dramedies, has attracted a lot of interest from various territories in the last few months and we hope to conclude some new deals soon. Which are Inter Medya’s goals for the rest of 2017? For the rest of 2017, our focus will not only be dedicated to the distribution of our titles in territories where Turkish content has already proved to be successful but to the expansion of our operational area to new regions. With newly diversified titles, our goal for 2017 is to increase our market share in the Russian Federation and enter into Western Europe.

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CONTENTS KANAL D INTERNATIONAL

Expands its Sales Team

Kerim Emrah Turna

Alaa Elabasy

Selim Turkmen

2017 is the year of the revolution for Kanal D. During this year, the company was launched its distribution arm as a separate brand called Kanal D International. As time goes by, the Turkish giant recruited several executives who are handling the international sales of Kanal D and its producer companies’ portfolio. Alaa Elabassy manages the proliferation of content in the MENA region. “Our most successful titles in the MENA region are ‘Forbidden Love’, ‘Time Goes By’, ‘Fatmagul’, ‘Gumus’, and ‘Leaf Cast’. Although most of them are classic titles. Turkey was introduced to the Middle East for the very first time through those titles, that’s why they remain very popular to this day; everyone would still re-watch Forbidden Love no matter how many times it has been aired” explained the executive. Regarding the topics that audiences on that region prefer, Elabassy suggested: “Female oriented viewers same as most I suppose; Therefore mostly passionate romantic love stories. They enjoy the drama I would say, there has to be a struggle within the characters or the idea of an impossible love. They also enjoy the family relationships in the story, as in you get to watch what happens to the rest of the family as well as the main characters”. Directing this Business Development & International Content Sales for MENA region, Europe and Asia is Ezgi Ural who

After creating the distribution arm brand, now the Turkish company is launching its coproduction specific area.

casters. We are now working with TV stations in South Africa, Kenya, Ghana, Ethiopia, Angola, Mozambique and Nigeria. We hope that our content will be well accepted in the region and will create a trend like it has in other regions like LATAM”. Considering the wide variety of cultures and languages in the same territory, Türkem differentiates the continent from the others: “There are so many countries, languages, cultures and values. We shouldn’t consider Africa as a united territory sharing the same audio-visual taste. Drama is generally accepted by all audiences, since it spreads universal emotions and people usually relate to the stories. News is important as well, but I think that sports is the main interest amongst the viewers, football in particular”. Back to the Americas, Mikaela Perez is the sales executive for Latin America. The recently designated executive explained her ideas for the territory: “Latin America is a very strong and competitive market and KANAL D has built very strong tights in the region, we will continue building our long lasting relations and provide the best quality products”. For Perez, the key feature of Turkish Dramas is that “aside from having amazing sceneries and high-quality production, most of the stories take the audience to new cultural experiences, stories that furtherance the classic romantic

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told something unknown for most of the industry that is the availability of Korean formats in Kanal D. “The stories are basic even if the cutlers are different. People relate to the same stories, love and drama. But that’s not the issue, I believe that as long as the story is good people will like it. Kanal D is very good when it comes to this. Having a strong title is what matters”, said Ural. Related to the operations evolution in Europe, Ezgi Ural admitted: “We have sold a lot of our content to Europe before but we recently started working in Western Europe with title for Italy and Spain for instance. This has been our goal for a while now. Turkish drama became very popular the last couple of years, and because Kanal D has the biggest library, and makes high quality dramas, Kanal D is known worldwide. The bottom line is I believe once the title it good, this is enough to maintain the image of the company around the world. Going down on the Globe, Selim Türkmen is the Sales Executive for Africa where the strategy “is to increase our presence in the region by creating long lasting partnerships with major broad-

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Specific area for co-productions’ investments

Alaa Elabasy

Selim Turkmen

concepts inherent in this television genre. In his role of Director, Business Development & International Content Sales, Africa & America, Emrah Turna, coordinates Perez and Türkmen jobs. After 10 years in Kanal D, Turna is one of the factors of the company expansion. The big impact of content in Latin America emerge when Turna was handling the distribution for the territory, and now

he explained the co-production alliances we have been developing over the last monts. “Argentina, Mexico and another cooperation in Chile is in line. We have great partners from Latin America and we think that we share lots of things in our DNA’s. US Hispanic market is of course very important for us and we are closely following up the changes in US Hispanic market”.

Kanal D International frames a new division for international Co-Productions and Content Investments. This new division will be focusing on developing creative business models in co-productions and content investments; including scripted, film, non- scripted, docu-dramas and mini-series targeted to not only for Turkey but also for the global market. To strengthen this business arm, Nilufer Kuyel, joined Kanal D International as Director of Coproductions and Foreign Investments. Kanal D International, being the only player in the Turkish market with a dedicated co-production division, is currently bringing new business models to co-develop for scripted, non-scripted and creating brand new content for global market with top industry professionals from all over the world. Kuyel will be heading the co-production division and she will be directly reporting to Ozge Bulut Marasli, CEO, Kanal D & Production Companies.

HITN

Continues betting on original content Erika Vogt-Lowell, Director Programming and Acquisitions, presents a new production called ‘C-NET’ and describes the multiplatform evolution of the Company.

How have evolved the operations of HITN? HITN is focused on the audience education, that’s why we provide content for the whole family. In this moment, we are developing new content. ‘C-NET’ in a new original production about science and technology with its focus on

the evolution of that industry and different gadgets emerging constantly. ‘C-NET’ is our second big original production that follows the launch of ‘En Foco’ with Neida Sandoval. The production will be on soon on air so we are fully betting on the future result so as to present it internationally. Which are HITN goals towards next year? Obviously we want to keep growing both with content we already have and new productions that might be acquired or in-house productions.

How can you describe the process of multiplatform growth of the Company? We are in the final steps for launching our OTT service, destined to content that make us popular. For this service we are receiving content from different dealers of the market, but always unified under the same family theme where we put our efforts. Kids’ content will also starting to grow on our platform as it is the current trend of the industry. How is HITN programming composed? We have several spaces with different themes on our programming. We have a children programming that helps them to understand the world that surrounds them and the idea of conservation of nature. We also have a slate of Health and Wellness and one of Historical Nature, besides the Technology one, where we have the last two big productions mentioned before.

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CONTENTS TELEFILMS

Arrives with the success of ‘Valerian’ Luc Besson’s movie is the main attraction of the portfolio, but original titles are gaining its space there.

After several markets announcing the launch of ‘ Valerian’ , Telefilms can now add the global success of the title, to the description. ‘ Valerian’ is the main title of Telefilms portfolio for this MIPCOM. Directed by Luc Besson and stared by Cara Delevingne and Dane DeHaan, this story shows a dark force threatens Alpha, a vast metropolis and home to species from a thousand planets. Special operatives Valerian and Laureline must race to identify the marauding menace and safeguard not just Alpha, but the future of the universe. ‘Me gusta pero me asusta’ (‘I like it but it scares me’) is a production of Telefilms Group and Wetzer Films, deals with the life of a young man named Brayan Rodríguez, who has an obligation to expand his family’s business in Mexico City. It stars Minnie West and Alejandro Speitzer and is directed by Beto Gómez. Back to the Hollywood titles, ‘A bad moms’ Christmas’ is another important bet of Telefilms for this MIPCOM. Mila Kunis, Kristen Bell and Kathryn Hahn continue to be the under-appreciated and over-burdened women as they rebel against the challenges and expectations of the Super Bowl for moms: Christmas. And if creating a more perfect holiday for their families wasn’t hard enough, they have

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to do all of that while hosting and entertaining their own mothers. By the end of the journey, our moms will redefine how to make the holidays special for all and discover a closer relationship with their mothers. ‘Suburbicon’ is the new movie directed by George Clooney and stared by Matt Damon, Oscar Isaac and Julianne Moore. A crime mystery set in the quiet family town of Suburbicon during the 1950s, where the best and worst of humanity is hilariously reflected through the deeds of seemingly ordinary people. When a home invasion turns deadly, a picture-perfect family turns to blackmail, revenge and betrayal. Mark Wahlberg and Kevin Spacey are the main attractions of ‘All the money in the World’ where Ridley Scott tells the story after John Paul Getty III is kidnapped, his mother Gail Harris makes a desperate attempt to get the boy’s grandfather to pay the ransom. While that grandfather, oilman John

Paul Getty Sr, is reputed to be the richest man in the world, he initially refuses to pay. Last, but not least, ‘The Nut Job’ brand returns with the second movie of the Surly Squirrel (Will Arnett) and his gang. Directed by Cal Brunker, animals are once again in Oakton where the evil mayor has decided to bulldoze Liberty Park and build a dangerous amusement park in its place. Surly and his ragtag group of animal friends band together to save their home, defeat the mayor, and take back the park.

Continues investing in original productions The Argentinean distributor announced several markets ago a higher step on its evolution. After the creation of The Magic Eye, a producer company of the Group, Telefilms started investing in production for TV. With that in mind, the company has developed the miniseries ‘Sandro’, a biopic of one of the most known singers in Argentina and Latin America. “A year ago we were announcing the beginning of the production, a story that we are sure that will captivate every single viewer since the first scene. Now we can announces its broadcasting in Caracol (Colombia), Telefe (Argentina) and Canal 13 (Chile)”, said Juan Parodi, Director of The Magic Eye and partner of Telefilms. “The more the business changes, the less we do, because we feel the commitment of having a better product. Each time we try to show more commitment and more commercial and prestigious titles. The idea is to keep working on TV projects, always with great director by our side”, explained Tomás Darcyl, President, Telefilms.

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CONTENTS SONY PICTURES TELEVISION

“The human being is attracted by good stories” Alex Marin, EVP International Distribution

How have Sony Picture Television titles worked this year? For us, this year evolution is related to the privileging position that came from the Theatrical Business. Our movies and series for the American networks had such a high quality that they’ve made some noise during the last months. We can assure that this year has been very positive for our business thanks to the quality of our distribution slate. The American series became very important, even though we haven’t finished to confirm the different agreements. ‘Good Doctor’ and ‘S.W.A.T’ have attracted several clients, and ‘Philip K. Dick’s Electric Dreams’ was also pretty much demanded. ‘Spider-Man Homecoming’ is our biggest title this year all over the world, but ‘Baby Driver’, ‘The Emoji Movie’ and ‘The Smurfs’, were also very important for our business. ‘Jumanji’s re-launching is one of our biggest expectations, regarding the importance of the brand and its franchise. Which are the main attractions of your Latin American portfolio? At MIPCOM we can confirm and finish several deals on which we’ve been work-

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ing all over the summer with our clients. We have some titles that will be announced during the market, on the distribution side of our business. Also, we are offering ‘La Bandida’, and as it is on its production process, we are just beginning with the sales strategy of the TV Series made in Mexico. Regarding the productions in Spanish, we are producing scripted and non-scripted content. Our well-known title ‘Shark Tank’ is about to begin its second season in Brazil. This is such a strategic title that will travel all around the world with its different local versions. We have in Mexico ‘Enamorándonos’ (‘Falling in Love’) that is actually the most viewed show in Azteca 13. Also there’s still available ‘Who wants to be a millionaire?’ that will have a new season in Globo, in Brazil. On the scripted slate there’s a lot of work. ‘Falsos Falcificados’ is already done, and we are trying to distribute it. As SPT operates in Latin America and also in the USH market, is it possible to differentiate each audience? It is impossible to differentiate the audiences, and what we have realized thanks to our shows is that what people look for, is a great story. It doesn’t matter if it is related to a specific audience, because if it is a great story, it will work everywhere. We look for a story that appeals everyone, not only one kind of citizenship. The human being is attracted by good stories. Which kind of modifications does new media bring to the industry? New media appears because the consumer wanted to watch in another way. I don’t think that the media dictates the way of consuming to the people. The “on-demand” concept, and watch content whenever they want, has existed from so many years ago, when the Pay-

per-View was a trend. Now, with the arrival of technology and the penetration of Internet, the digital media becomes more and more attractive for the consumer. What it change is the production of content that has the possibility of binge-watching, as people is waiting for the full availability of episodes in-a-row. That’s why we are exploring the chance to produce shorter series, but the challenge is that when you reduce the length, the production is more expensive for episode, and there’s when we need to find a balance on this. The monetization of content becomes harder too. Because art has a cost, this projects have to be well sell and distribute in a way that allows us to monetize it after all. But sometimes it becomes harder. How can you describe the changes in regional productions that imitate the global trend of multi-season titles? The arrival of Spanish franchises is an important thing because the market was not used to it. Now we can talk about titles like ‘El Señor de los Cielos’ and ‘Rosario Tijeras’ with its several seasons, and this is growing because stories are so good, that we need the possibility of continuing with the development. The relationship between brands comes from the Theatrical business that had produced franchises, like it happened to us with ‘Spider-Man’ and ‘Men in Black’. There used to be a remake of telenovelas or TV Series, not a continuation with seasons.

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CANADA MEDIA FUND

“Canadian companies are at the forefront of digital media innovation” Valerie Creighton, President & CEO of the organization highlights the evolution of audiences and the need of something different in the industry. Which were the last funding projects you have deal with? Over the last several months, the Canada Media Fund has pursued its objective of supporting Canada’s screenbased industries through predictable and stable funding policies, but also through its ongoing promotional efforts at international markets such as MIPCOM. The CMF recently renewed coproduction and co-development agreements with funding agencies in seven jurisdictions around the world, all thanks to relationships established at

international markets. Dedicated coproduction incentives have been developed or renewed with Proimágenes (Colombia), the Danish Film Institute, Medienboard Berlin-Brandenburg (Germany), Broadcast Authority of Ireland, The Jerusalem Film Fund (Israel), NZ On Air (New Zealand), and Wallimage (Belgium). Do you see a profitable future for Virtual Reality and Augmented Reality productions? Even if the technology is still quite nascent, augmented and virtual reality are catching on quickly. Consumers are increasingly hungry for content on a growing number or platforms and devices, including VR. In the innovation adoption scale, VR users are increas-

ingly moving out from the “innovator” to the “early adopters” stage. Technology has provided innovative options for sharing stories with audiences from all parts of the world. In this context, the Canada Media Fund has made a strategic decision to invest in an ever-growing number of VR projects as an important part of the funding it provides to Canadian digital media. Canadian companies are at the forefront of digital media innovation. By way of example, Montreal is fast becoming a global center of excellence in VR, rivalling much larger production hubs around the world. Thanks to the reputation of Canadian digital media content, the expertise acquired by producers, and a funding ecosystem that supports innovation and creative storytelling, Canada is well positioned to lead in the promising VR market and to respond to consumer trends. Which is CMF strategy for the next months? Like all funding organizations around the world, the Canada Media Fund is operating in a rapidly-changing media landscape. Our strategy for the rest of year and well into next year reflects the global reality in which we operate: fastdisappearing borders with new and exciting platforms disrupting long-held practices. At the CMF, we feel enthusiastic by these changes. The opportunity for the CMF will be in finding the right balance between adapting to the chang-

ing environment, while remaining a source of stable and predictable funding for the industry. We are confident that our increasingly content-centric, platform-agnostic approach will ensure that Canadian and global audiences will continue to access Canadian content on the screen of their choice. However, in an age of so much abundance of content, promotional efforts are key in helping drive our strategy in 2017. This will ensure that the content we support will continue to be discovered, consumed and enjoyed by audiences around the world. Other key elements of our 2017 strategy include the implementation of initiatives to improve gender balance in Canada’s audiovisual industry, as well as the creation of an Indigenousled screen office, the goal of which will be to support Canadian Indigenous content creators through a more comprehensive approach, in addition to the funding we already provide through our Aboriginal Program. These are fundamental issues that reflect Canada’s diversity and that must be reflected in our industry.

Gaining international presence At MIPJunior, the Canada Media Fund, in association with Telefilm Canada, will feature a curated selection of engaging Canadian short. Participants at the “Canada Big on Shorts” session will discover Anaana’s Tent, a Nunavut production; The Art Show, a show that helps children meet their artistic realization; Beat Bugs, a Canada-Australia coproduction featuring episodes that use the narrative inherent in a Beatles song; and Cracké, a 3D animated series already sold in 175 territories. At MIPCOM, Canada will feature indigenous stories that speak to audiences around the world. A showcase of Aboriginal projects from Canada and Australia will convey successes and insights about reaching more audiences, new audiences, with Indigenous dramatic content. Mohawk Girls will lead the showcase, as it is a comedy on the everyday lives of a group of indigenous women.

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CONTENTS RTVE

Presents CLAN to the World How have evolved the recent launch of new channels? We are really satisfied with the way of our business over the last months. Regarding TV channels distribution, we have completed the packaged of channels with CLAN, the Kids’ signal of RTVE. This portfolio reflects the variety of productions of the Group and shows a complete high quality offer for the whole family. Regarding shows’ distribution, our evolution is also very positive, and we are on an increase of our international sales. The quality of our productions, its appeal and its capability of connection with a global audience help us in that work of spread. Some of our well-known series have been sold all around the world. We have closed relevant deals with the biggest international video platforms that will be available for our international audiences soon. Which is your view of the market and new emerging genres? We are in an interesting moment where it is vital for the success, the quality of content, the visibility, presentation and availability of it, as the immediate knowledge to the response and the behavior of the audience. Besides trends, the

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María Jesús Pérez, Head of Channel Sales & Distribution, describes the new channel of the Group, dedicated to Kids.

audience of fiction is becoming more educated each time in terms of audiovisual, and are always looking for new content, ready to be consumed in every device. The consumer looks for good stories that surprise him and thrilled. And our mission, as a producer, is to work every day so as to offer what they are demanding. How has the industry changed with the growth of online platforms and multi-viewing? New platforms have played and actually play a very significant role in the changes of habits of consumption, especially in Cinema and TV Fiction. It has known how to respond to an existing demand and offer a good service that is likeable for the consumer. They are playing an important role also in the monetiza-

tion of content that returns to the producers. The differentiation that requires its offer and the need of feeding it with high quality products benefits independent producers and aims to look at the future with optimism and to keep working so as to be better. Do you consider there’s a need of re-think the content? Undoubtedly, this is an industry of creators and consumers that moves very fast and it is constantly evolving. There are two possibilities: on you are up-to-date and win or you’re out and die. Which are the goals of RTVE for the rest of 2017? We will consolidate our position, and will be looking for a strengthening on our relationships and alliances with our clients and distributors, so as to reinforce the communication of our news and products and keep growing.

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CONTENTS MISTCO

“We are ready to provide everything the global buyers need” Aysegul Tuzun, VP; Sales & Marketing, market, which is a very domestic one. We have also included a new format in our catalogue. It is called ‘Your Turn’ and it is a song contest format. What makes this format different and entertaining is that, it has 3 types of jurors: 3 celebrities, 20 orchestra members and 5 people among the audiences.

How have evolved the business of MistCo during the last months? Which are the most recent deals you’ve made? First part of 2017 was very fruitful for us. In addition to major deals such as new deals in MENA region for our top titles, we were able to close several deals for our library titles as well. We’re very pleased to see that each title from TRT’s library has still value in all around the world and it is a proof of TRT’s important role in Turkish Media as being one of the biggest TV networks in Turkey. ‘You name it’ is a title we’ve highlighted in every market as a successful production in its genre. Now, we have finalized several deals for this title and we’re confident that new ones will follow in rest of 2017 and 2018. Of course, we cannot count all deals now but it is worth to mention that our driven content Resurrection: Ertugrul has entered into new markets in 2017 and we have closed several deals for Season 4 even the shootings haven’t begun yet. Apart from dramas, we are very glad to expand penetration of our kids’ contents widely. With our high quality animations Pepee and Little Lamb, we managed to enter into the Chinese

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Which is your view on the industry, and the emerging new genres? There will be new genres emerging every year since the production in Turkey never stops. Turkish drama actually stands for highly-produced drama with a great cast and strong story. What we observe in the market is that there is a demand for all genres of Turkish series and it varies according to territories. We’ve concluded several deals for our library titles especially in family drama genres. This actually proved the importance of TRT in Turkish media by showing that each title in TRT library is very valuable and receives interest worldwide. How has change the industry the appearance of online platforms and multi-viewing, towards the monetization of content? Netflix’s entrance into the Turkish market last year is a significant progress for the industry not only in terms of bringing together Turkish dramas and global audience but also in terms of increasing the penetration of content on online platforms. However, in my opinion, although there is an increase of online platforms worldwide, it is very hard to ‘dethrone’ television. The reason is that, many more people have access to regular TV and also many more people are

accustomed to watching TV. In near future, there is a possibility that online subscribers can become as many as TV audiences but it seems we still have time for that. After the boom of Latin American and Turkish content, which is the next ‘key-territory’ for the industry? Actually, it is not easy to locate a specific territory for all the Turkish dramas. In previous years, MENA was the driven territory but now we receive the same amount of interest from Latin America. We cannot locate a new specific ‘key-territory’ now but we have no doubt that Turkish dramas will continue to be the world audience’s number 1 content source for many years with their successful stories and high production qualities. Which are MistCo’s goals for the rest of 2017? As MistCo, in 2017 we will continue representing the most diverse Turkish catalogue and attending all the TV markets worldwide. Clients searching for best Turkish drama, animation, documentaries and TV Movies are more than welcome at TRT stand P-1 N51 to learn details about our titles. At MistCo, we are ready to provide everything the global buyers need.

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CONTENTS CARACOL INTERNACIONAL

«Our productions are much more competitive worldwide» Which is the focus of Caracol Internacional at MIPCOM? Caracol Internacional arrives at MIPCOM with a diversify offer full of surprises. The main focus is to represent out new bets we are bringing for our clients and the successful results of our productions. We hope that our worldwide clients get to know this new offer of productions and the variety of content that we provide of its programming success and to keep being their partners for a long time. Telenovelas like ‘Tarde lo conocí’, ‘La Nocturna’ , ‘La Dinastía, cuando canta el corazón’, super-series like ‘El Bronx’ and ‘Sobreviviendo a Escobar, Alias JJ’, and Entertainment shows like ‘A Otro Nivel’ and ‘Desafío’ are the productions we are bringing for our clients for this MIPCOM.

Lisette Osorio, VP International Sales, highlights the alliances with main digital players. How have evolved the businesses of Caracol Internacional? There’s a great time for Caracol operations, thanks to the successful productions that we bring to each market. The good results of this productions in local and international audiences have been positioning Caracol as one of the main players of the Latin American market and a model for the world. The support gained is a result of the quality of content on series, telenovelas and entertainment formats that are available in Caracol’s portfolio. Thanks to this, we have generated businesses based on the support Caracol’s brand gives to its allies, companies like Netflix, Propagate, Nuevo Mundo and Eccholine, so as to mention a few, that have trusted on our products and have found meaningful results.

How can you describe the market and new genres? The market has been changing over the last years with its focus on a tougher audience, and that’s why Caracol Internacional develops its innovative content with universal stories that captive the audience. Telling local stories in a global way we have managed to adapt ourselves to the dynamism of the market creating a mix of elements that made our productions much more competitive worldwide. Which are your goals for the next months? Caracol Internacional keeps its way so as to be the main content creator of the region and to open the highest amount of doors around the world. We look for innovative stories that excites us and then captivate our worldwide audiences.

SABBATICAL ENTERTAINMENT

Brings short content We have a big net of contacts and possible clients that differentiates from any other new company.

How are you developing the strategy of Sabbatical Entertainment? I decided to create a space for creativity, so as to develop that capability. Sabbatical Entertainment is that opportunity of business infinitively creative, in order to produce tailored shows, with an extraordinary bank of images. Even though we born last December, we have grown a lot and quickly, and that amazes everyone, including us.

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How can you describe your partnership with Univision for the US Hispanic market? Over the last months we have strength our relationship with the network, related with children content. The first production was ‘Kids’ Planet’ (52x25’), an informative production of edutainment and informative. After this announcement we did also sell ‘The world is yours’, another content for children and focused its narrative in the environment and how they interact with it. Regarding our other original productions, we are looking to the next Football World Cup in Russia, and we have developed three short series related with the sports area. ‘Better Half’

Miguel Somoza, CEO, analyzes the new short form productions and the recent alliances with Univision. (30x2’) celebrates footballers’ wives; and ‘Postcards’ (30x2’) describes the main attractions of Russia; while ‘Unforgettable’ rememorize the most iconic events of the competition. Which are the features that distinguishes Sabbatical Entertainment in the market? I do really believe on the efficiency of our content and the business model. We have a great flexibility to create and adapt content tailored for each client. We can resolve any need in programming, distribution and promotion, for every kind of client.

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CONTENTS MANUEL MIGUEZ, EXECUTIVE DIRECTOR LATAM & USH, FNG CONTENT DISTRIBUTION

“People is looking for great content, no matter where it comes from”

How has evolved the presence of FNGCD titles in the region? In general terms, the business continues to grow. We have constantly expand our team, with several offices worldwide. FNGCD turns into a new company, with a new timeline that reflects our great businesses, now that we are handling the whole content of FOX and National Geographic, FOX Life and Baby TV. Our format business is also another area that is really starting to develop with a number of genres like drama, and other titles that present several opportunities. In LATAM for example, one of the most requested titles is ‘ School for Husbands’, and ‘Lucky Ladies’, that keep going very well in the region. This year we launch in Argentina, ‘School for Mothers-inLaw’ a spin-off of ‘School for Husbands’. Our brand gives the guarantee of good-quality, and allows our clients to show the titles in more than 40 languages. This is something that clients appreciate, as they save money with our shows and people knows them. How important is MIPCOM for FNGCD? MIPCOM is always a great market for us, and one of the most

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important for all the Industry. This year we are having a big amount of launches and events than even before. We are extremely proud of the richness of our portfolio, with award-winning content. This year, Courteney Monroe, the CEO of National Geographic Global Networks, is having her keynote at the Grand Auditorium. We are also launching our biggest Turkish title up to now, that is ‘City of Secrets’, a major new drama about a complex, troubled yet charismatic man who flies under the radar and uses covert methods to dish out his own unique style of justice. We are also offering in the market ‘Broken Pieces’, from Martin Scorsese, and ‘The State’ which is a powerful and hardhitting new drama from the award-winning writer/director Peter Kosminsky. A compelling and topical fictional story, based on extensive research, it follows the experiences of four young British men and women who leave their lives behind to join ISIS in Syria. We are focused on the international launching of our original titles made in LATAM, like ‘Run Coyote Run’, made in Mexico, and ‘One against all’, produced in Brazil. ‘Call me Bruna’ is another Brazilian production that worked really great all over LATAM.

Do you consider that Latin American and Turkish content will predominate in the Industry? I think that Latin American and Turkish content have a long way to go. In FNGCD we have separated catalogues for both contents. The idea is to promote the rich content we have in those territories. But there’s also great content in Asia, waiting for the world to consume it, and The company is bringing this also happens in Central Europe. to the worldwide market We’ll start to see new formats and original new content emerging from outside regional productions. the region. Over the past ten years, producers from UK have been producing very rich content, with very good dramas growing all around the world. But in the end, people is looking for great content, no matter where it comes from. How have new platforms influenced in the deployment of the industry? We are operating in an amazing atmosphere. The new SVOD players entering in the market gives us new potential customers for our content, providing new multi-viewing opportunities to show the world what we are doing and to exhibit the quality of our production teams. We have started to create relationships that we need to feed with new content, so as to attract more clients in order to create new long term bonds. I think that in terms of rethinking content, obviously with the growing competence and the constant changes of the industry, content creators have to be very creative. But at the end, I think that is it not a change in the content, but start knowing the audiences and understand what do they like, so as to give them what they are looking for.

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CONTENTS UNIVERSAL CINERGIA DUBBING

Opened its new facilities in Miami Liliam Hernandez, CEO & Founder, explains the evolution of its services.

How many areas are working in the new Studios? This new facilities we launched a few months ago is destined to the logistic operations of our Studios in Mexico, for all the Spanish content. From this center we work on the downloading, uploading, and quality control and we do also have the project managers based there. Besides that, we have established our administrative offices too, where we control every activity of our worldwide based Studios. Which areas are still installed in the other studios? On the other house we actually have eight studios, and we are looking for two more ones so we can launch them in the future months. We have grown a lot thanks to the volume of work brought by our clients, and that obligated us to expand the facilities, and find the way of reinstalled the offices, in a way that everything gets more organically set and facilitates the amount of time. We have triplicated the work done over the last year where we reach an amount of work of 15 simultaneously projects just only in Spanish.

MIPCOM 2017

Which are the main partners Universal Cinergia is working with? We have clients like NBC Universal and FOX. The first one is also adding content for France and over the last months we are negotiating for the whole French territory. On the other side, FOX has also increased the Turkish telenovelas, that

we do already have for the Neutral Spanish and now they are adding the English and Portuguese. One of our main clients that has been in constant evolution and now gained a big recognition in Latin America is Zee Mundo. Last year, we worked in more than 300 hours and now we are expecting to work again with them in the next months.

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CONTENTS OLYMPUSAT

“We are content distribution in every level” hand, we are working on the creation of licensing of content for our platform developed so as to five Christian entertainment of first quality. We hope to increase significantly our spiritual programming for 2019.

Which is the main distinction of Olympusat channels’ offer? There is a change in quality because people demands better qualities. As TV Industry evolved from SD to HD and 4K, people became more demanding in terms of quality. Everything is linked to the status of content that audiences consume in TV. One of the main goals of Olympusat is to fulfill that content. The Hispanics in the USA have access to the same technological consumption that American audiences, and that’s why they result to be more demanding in

quality than any other territories. The same quality gives us the chance to create the Ultra channels. The twelve signals that compose the offer was created five years ago and they came to supply the needs of that audience and to be like the quality of the latest original productions. How has emerged the original content of your offer? Nowadays we are working on several movies in Spanish for our TV channels and VEMOX, the OTT solution of TV Everywhere of Olympusat. On the other

MIPCOM 2017

How is it compound your Channels’ offer? Olympusat has and operates HD channels that under the name Ultra includes Ultra Mex, a channel of Mexican movies, contemporaneous and independent; Ultra Film, an HD channel dedicated to modern global tapes translated to Spanish; Ultra Cine, with original titles and awarded productions from Mexico, Spain and Latin America; and Ultra Clásico, a channel of Mexican and Latin American content from the Golden Age, that has been completely restored digitally in HD. Another channels included in the package are: Ultra Macho, Ultra Docu, Ultra Kidz, Ultra Tainment, Ultra Luna, Ultra Familia, Ultra Cine and Ultra Banda. In which way has Olympusat developed its digital strategy? VEMOX is an OTT Platform that through broadband architectures developed for operators in Latin America and USA. The app has more than 100 HD live-

Jesús Piñango, Director of TV Content Strategy, describes the offer of the company and the evolution over the last 20 years. channels and VOD content, creating an attractive service, customizable and ready to use. This is a kind of content library where each user can make its own programming ‘a-la-carte’, but it also has lineal TV channels. How has evolved the Company over its 20 years? We try to listen what the audience wants, what they give us. This allows us to create content and channels in order to satisfy the quality demands. We have to maintain and take care of quality, among creating high quality content. Now we are going to a vision of Virtual Reality where is going to be another context inside the content. Olympusat is content distribution in every level, and with the goal of have that content created with the highest quality level, and with the joy of people, so they could have an entertaining moment everywhere, watching content distributed by Olympusat.

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CONTENTS GAUMONT

“The disruption of the marketplace is going to continue” How has the business of Gaumont evolved during recent months? Which are the most recent deals you’ve made? Following the enormous success of ‘Narcos’ and ‘F is for Family’ for Netflix, and Hannibal for NBC, we have been working on many program developments in both our U.S. and Paris offices – between the two we have 40 drama series projects in development. These include Steven King’s novella ‘N’, with David F. Sandberg attached to direct the pilot, and Andrew Barrer and Gabe Ferrari serving as writers; and the sci-fi thriller, Red Rush, based on a concept from Academy Award winner Charles Randolph and directed by Rupert Wyatt. We also have a deep library of content that we can develop, the first of these projects is STL (working title) with the direction of Christopher McQuarrie. It’s based on Gaumont’s multiple César Award-nominated feature film, 36 Quai des Orfèvres. Which is the focus of Gaumont on MIPCOM 2017? Which are the main expectations towards the market? In scripted TV dramas, The Art of Crime (6 x 1 hour) is scheduled to debut on France 2 this season, and pairs a hot-headed detective with an art historian from the Louvre, whose relationship grows like fire and ice as they delve into the mysteries that capture French culture and history. Gaumont is also presenting Verizon’s go90 series, Relationship Status (36 x 10' or 13 x 22'), available for the first time internationally. The company will also be presenting its first holiday TV Event, and anticipates strong demand for 48 Christmas Wishes, a heartfelt story about two elves from the North Pole who must find lost “letters to Santa”.

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Vanessa Shapiro, President of Worldwide TV Distribution & Co-Production, announces the production of new titles for digital players. going to be extremely interesting with the millennials being at the forefront of this new age of the TV business.

In the children’s and family space, the live action drama series Hetty Feather (30 x 22’), from CBBC, is based on the best-selling book by Jacqueline Wilson. And in animation, Furiki Wheels (52 x 11’) is a slapstick comedy about a hyperactive sloth. The series will premiere soon on France 3 and Disney XD EMEA. And Trulli Tales (52 x 11’ and 13 x 1’) is part storybook magic with a little Masterchef Jr. and a dash of wizardry. The series was commissioned by Disney Junior EMEA, RAI, Radio Canada and Globosat. Which is your view on the industry, and the emerging new genres? We are living in a very exciting time in the TV industry. The emergence of all the digital platforms worldwide are offering new ways for the audience to access and view content. There are over 400 TV series available right now covering all different genres and targeting different audiences. As a consumer, it will create a world of infinite choices, with the new generation gravitating towards short content online. The next decade is

How is Gaumont working on the production of original content for digital platforms like ‘Narcos’ for Netflix? We have a very successful relationship with Netflix – Narcos is just one of three series we have produced with them. The fact that they renewed seasons three and four at the same time illustrates just how well Narcos has performed around the globe and is a testament to the creativity of the teams at Netflix and Gaumont. Do you think that there’s a need of re-thinking new content so as to renew the industry and its markets? The new age of TV is only starting. The disruption of the marketplace with the arrival of all the digital platforms and new content is only going to continue. The U.S. market has shown the way of the digital era, and the international market is catching up very fast with the globalization of the platforms such as Netflix or Amazon. Which are Gaumont goals for the rest of 2017? We had a very busy year, and we are announcing several more very high profile drama series projects, on the development and distribution side. We are looking forward to closing a number of new deals following our MIPCOM meetings.

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CONTENTS RECORD TV

“We have success because we do always keep updated” Delmar Andrade, Director of International Sales, presents ‘Belaventura’, its first medieval production. Which kind of alliances have Record TV confirmed over the last months? We can highlight the long-term partnership with Univision in the US, which is breaking every single audience rating with our productions. We do also have several new alliances on our way that will be announced soon, as the market goes by. How can you describe the market and its new genres? Record TV keeps always updated, guaranteeing the high level of its portfolio that will work for the needs of the mar-

ket. For us, this is a main condition so as to justify the success, as we’ve been doing this for the last ten years.

‘The Slave Mother’ conquered the Seoul International Drama Awards

Which are Record TV goals for the end of 2017? During this second semester, we are presenting ‘Belaventura’ to the market, our first medieval production. This is a telenovela in an enchanted kingdom with all our production resources. We are also highlighting our biblical telenovela ‘The Rich and Lazarus’ which is gaining the liking of Brazilian audience and promises to conquer every nation with its strong story full of faith.

Record TV’s production was distinguished as the Best Telenovela of 2016, at the Seoul International Drama Awards. The Brazilian title shared the category with Turkish, Colombian, Portuguese and Russian productions, among others. Written by Gustavo Reiz and directed by Ivan Zettel, ‘The Slave Mother’ (158 episodes) is considered the prequel of ‘Isaura the Slave’ broadcasted in 2004 with local and international success. On its launched in Brazil, ‘The Slave Mother’ reached 14 rating points and a 37% or share.

POL-KA PRODUCCIONES

“Nowadays, sales opportunities are very important”

“The international scenery for the commercialization is really fragmented, as in the past the big players were only five or ten, between Free TV and Pay TV all over the world. Nowadays, we have to add the OTTs that offer a payment or revenue share. That is why today the sales opportunities are very important and also in a same territory are more numerous than four years ago”, highlights Manuel Martí, Head of Development and Intl. Business de Pol-ka Producciones.

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The Company faces MIPCOM 2017 with the sale of its telenovela ‘Cunning Girls’ and will begin to commercialize the weekly stared by Adrián Suar and Julieta Díaz, ‘Family Silence’, and the daily ‘Only You’, also stared by Suar with Natalia Oreiro. “This last production is a great bet for us as the brand of the singer and actress Natalia Oreiro is really strong in Russia and Israel”, adds Martí. The executive also comments about the last projects created by the company, in partnerships with big regional players (ElTrece, TNT and Cablevision), like ‘The Fragility of the Bodies’ and ‘El Maestro’, creating with the client a virtuous circle, having the mainstream of the Free TV and the Premium distinction of Pay TV, adding new ways of consumption for the digital platforms.

Manuel Martí, Head of Development and Intl. Business, describes the fragmentation of international commercialization as the competition of Free and Pay TV also has the OTTs. “This kind of co-productions reduces the risks for every partner, as each of us has to participate in the ‘fading production’. Even though there is a more complex negotiation about the windows, territories and participation in sales, the coproduction is convenient everywhere and allows producer companies to have higher costs of production, that can’t be compared with international products but are in the same level for the programming with Hollywood giants”, emphasizes Martí. Regarding ‘El Jardín de Bronce’, describes: “It is an honor to produce once more for HBO Latin America. Also, we are really proud of this series because it becomes the regional original content hit of the year for the company”.

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CONTENTS DCD RIGHTS

“Technology has a massive impact on the demand for programming” How has evolved DCD Rights’ portfolio over the last months? DCD Rights has had an exciting year so far, with a ramp-up in our acquisitions. We have continued some of our successful franchises, such as Real Detective, a crime docu-drama, Aussie Gold, which follows real-life gold prospectors, Bridezillas is back with a bang for an 11th series, and Marriage Bootcamp: Reality Stars returns for its 7th series, where famous couples fight to save their broken relationships. Our new MIPCOM offerings include exciting topical drama Romper Stomper, which takes a thrilling and provocative look at our current polarized society, a third series of female driven political drama Janet King and Acceptable Risk, a thriller centered on corporate corruption. Music has always been an integral part of DCD Rights and at MIPCOM we are launching the third series of Berlin Live, which features the iconic Blondie; legendary musician David Gilmour plays in an incredible Roman amphitheater in David Gilmour: Live in Pompeii; and acclaimed singer-songwriter Paul Simon takes a rapt audience through his extensive song book in Paul Simon: Live in Hyde Park. We have also secured a strong slate of new factual programming, including Best Laid Plans, an ambitious home renovation show and Dangerous Borders: A Journey Across India & Pakistan, an engaging exploration of cultures marking 70 years since partition. Which is your view on the industry, and the emerging new genres? It is an exciting and burgeoning industry. There are increasingly more ways to reach consumers and technology has had a massive impact on the demand for programming. Consumers are able to watch content wherever they are and whenever they please. Programs are also becoming increasingly consumer-led, for example Netflix series where writers are guided by viewer habits and de-

MIPCOM 2017

mands. The new genres emerging are a reflection of this more sophisticated and advanced viewership. What do you think about Virtual Reality and Augmented Reality? Do you see a profitable future for this technology? Potentially, but not in the near future. I think that it is very impressive and a great experience, but it is not something you would look to add into your everyday viewing habits. Although viewers are increasingly watching content alone, there is still a place for TV viewing being a shared experience. VR takes this away as it is a personal experience. I see it being better suited to gaming than to TV or film. There is also something to be said for technology catching up with content or vice versa. If the two don’t match then the experience doesn’t feel right and can take attention away from the content. Watching in 3D is still reserved for specially suited films, and it is not the kind of thing that viewers do so often, despite being older than VR. In my opinion, it will take quite a while for VR and Augmented reality to take off and become mainstream. How has change the industry the appearance of online platforms and multi-viewing, towards the monetization of content? Of course the advancements in technology and the increase in platforms

have had a huge impact on the industry. We are now able to watch content almost whenever we want and wherever we want. Most broadcasters have ondemand services, and SVOD services such as Netflix and Amazon have become modern household necessities. Lenneke de Jong, Sales As our lives get busier, such services are needed to con- Executive, explains the tinue the success of the entertainment industry renovation of the offer and the monetization of that now has more content. If the only way to watch TV was when it hap- than Music titles. pened, there would not be as large a demand for content and viewing figures would suffer. The increase in platforms inevitably increases the possibilities for content, so it can only be seen as a positive and a product of the evolution of both our way of life and new technology. The fact that we are able to watch programs after they have been on air is vital with our lifestyle, and helps to consolidate and popularize programming. Therefore it contributes towards the monetization of content. Which are DCD Rights’ goals for the rest of 2017? Our goals are to continue to add great quality programming to our catalogue, and to do our programs and their producers’ justice in promoting them to our clients. We are lucky to have such a range of content, but also to be a boutique company. This allows us to really focus on the programs we represent and gives us the flexibility to best meet our clients’ needs. We are always looking to collaborate with more producers and broadcasters or platforms and expand upon our already impressive catalogue. We have great expectations for the remainder of 2017, which has already been a successful year for us, and we expect to improve on this success as we continue into 2018.

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OCTOBER 2017