PRODU - Special Edition Turkey - Mipcom 2015

2015 Mipcom - Cannes Special Edition Turkey

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Turkish drama consolidates as a great audience magnet

Diverse cultures are mixed in the country

Flags of Turkey and TRT, public station

“There’s nothing to fear, we doubled the surveillance at the main gates and the protest doesn’t seem to be violent”. This was the message that the chief of security sent to the office of Theodore Kyriakou -CEO at Antenna Group- during a demonstration in the facilities of TV station Ant1, located in Morousi, in the outskirts of Athens, Greece. At that time, October 2013, many protests had developed in different points of the city, some out of control due to the economic belt that the European Community (EC) had proposed in order to tackle the country’s economic crisis.

However, this demonstration was of a different nature: The inflamed crowd consisted of viewers that requested that Ant1 stopped the broadcast of Muhteşem Yüzyıl, a Turkish TV series that most of the country watched and was paralyzed by when it was broadcast. Magnificent Century as it was called in English, was distributed by Global Agency and produced by Tims Productions. With three seasons, was described as the most important series produced by the Turkish industry until now.

Some 300 million people had watched it in more than 50 countries, and it could reach 1.2 billion viewers once it is broadcast in China and other countries that have already bought it. According to Global Agency’s Latin American Sales Director, Iván

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Great monuments enrich landscapes

Sánchez, seven Latin American countries have already bought it at the time this article is being written, giving it the title of Suleiman the Sultan.

THE HAREM The Greeks demonstrating at the doors of the TV station claimed that the series advocated in favor of the Turkish state. As is well known, the Turkish Ottoman Empire conquered and ruled part of Europe, Asia and Africa for 600 years, and Greece was under its control. Sultan Suleiman was the leader of that realm for 46 years, and the series portrays his life, his harem and his interior world. The writer, Meral Okay, presents the great sultan as an ordinary human being, who had illusions, laughed, suffered, made mistakes, but above all, loved. Audiences liked the character and bonded with it, especially because he chose Hürren (or Alexandra), a slave that gave him two sons and made her his wife and sultana, as his favorite harem. The series was so real and humane, so filled with glamour and beauty that it evoked life in the

days under the Ottoman rule. Some of the Greek conservative demonstrators’ banners displayed at the doors of ANT1 had messages like: No to the Turkish propaganda! and No more Muhteşem Yüzyıl!

While these Greeks considered it propaganda, paradoxically, some Turks –lead by Turkish Prime Minister, Recep Tayyip Erdogan- charged at the series producers and broadcasters because of its anti-propaganda nature against the Turkish feeling.

Since childhood, each Turk is taught in school about the heroism of their Ottoman’s sultans, described by the history books as warriors, honor men, strong, righteous, and unchallenged. Nothing to do with this TV sultan played by actor Halit Ergenc, going to bed with different women and behaving as any ordinary mortal.

Erogan called it ‘a disgrace’ and he used all his power to discredit it and even stop it.

But both Turkish and Greek audiences prevailed over political power.

SPECIAL EDITION: TURKEY

High production standards backed by huge budgets

Series are shot with film cameras and lenses

Pakistan was also scenario of protests but of another nature. Local actors and producers surrounded the Geo Kahani TV station claiming for no more Turkish programs, because since they began to broadcast them, they have been laid off.

In Latin America, the Turkish cycle exploded with another series titled: Binbir Gece. It was called the Thousand and One Nights or Arabian Nights of TMC production house, and the scriptwriter was Yildiz Tunç. Most of these series’ scripts are written by women, and, due to their melodramatic features, could be compared with Latin American soap operas, which appeared as a genre more than 60 years ago and somehow influenced Turkish producers. Ahmet Ziyalar, director, manager and partner at ITV Inter Medya –the oldest market distributor, created in 1992-, said that he grew up while at home they watched the Brazilian soap opera La Esclava Isaura (Isaura the Slave).

He pointed out that the budgets available for Turkish dramas start at US$300 thousand per episode, and could reach US$1 million.

TOP PRODUCT A recent Latin American journalists’ tour in Turkey, -sponsored by Istanbul commerce chamber, and in which PRODU took part,- included visiting a studio in Izmit -a town 150 km away from Istanbul, near the

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Ahmet Ziyalar, director, manager and partner at ITV Inter Medya

Black Sea-, where the 2nd season of the series Filinta was being shot with Alexa de Arri cameras. Mehmet Çoban, CEO at the independent production house Maya Coban TV Sinema –co-producers of the series for state TV station TRT-, said in a forum that US$7 million had been invested in set infrastructure recreating a 50.000 m2 19th century city, time when Filinta takes place.

These facilities include stables and training tracks for horses. The Turkish executives emphasized that their dizis –series in Turkish- can’t be compared with soap operas. They consider it a top product compared to the Latin American ones, and nobody argues about it in the region.

The ‘courtship’ between the Arabian Nights and Chilean audience - country that opened the doors to Turkish series-, also has its public anecdotes that prove its success: Many children were named after the leading characters, Onur and Sehrazat, and many Chileans, like other people in the Middle East and the Balkans’ countries –Albania, Bosnia & Herzegovina, Bulgaria, Croatia, Greece, Macedonia, Montenegro, Rumania, Serbia—, are taking holiday packages that include locations where this and other series were filmed.

Latino journalists also witnessed how a newlywed couple –as a wedding presenttook photos with leading actors Berrak

Mehmet Çoban, CEO of Maya Coban TV Sinema

Wedding gift: Have your picture taken with series actors

Tüzünataç and Onur Tuna at Filinta’s super set. Tüzünataç is a well-known actress for her roles in Magnificent Century, Son, Ezel, A handful of Sea, Dragon Trap. ITV Inter Medya is distributor of Filinta. This series is a Sherlock Holmes’ style detective story, but set in the Ottoman Empire.

SPECIAL EDITION: TURKEY

Astonishing stories that result from cultural diversity

The Bosporus canal is part of all Estambul

Everyone agrees that the phenomenon of Turkish entertainment goes back 10 years; exports, seven years; and in Latin America, barely two. PRODU reported about Turkey eight years ago, when the then VP at Sony Pictures Television International, Brendan Fitzgerald, accomplished the great feat of developing the first 360º project: He produced in Istanbul a remake of Party of 5.

Sony Music composed the theme song that sold very well, and -using Sony Electronics cameras- shot a video clip that was shown in movie theaters as a prelude to the release of Spiderman 3, of Sony’s Columbia Pictures. He also produced 300 hours of series adaptations, such as La Niñera, Married… with Children for TRT and Kanal D. Turkey was furthering its international projection as a good content consumer and a production market with a lot of local talent.

One of these talents is the composer Toygar Isikli, who composed theme songs for more than 20 series, such as Ezel, Fatmagül, Son, Karadayi, Kuzey Güney, Tutsak. Toygar, who has been offered a position in a US TV station and to perform music tours in Chile, is known by his promptness and musical execution work for TV. His songs become hits and his scorings add success to productions. In the Latinos’ journalists’ tour, guided by Bahar Toker of ITV Inter Medya, a meeting with Toygar was arranged to show some of the national production talents daily routine. There are 41 TV

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Toygar Isikli, musical composer of many series

stations in Turkey, measured by Katar Media. In a season, 65 dramatic series are broadcast by these TV stations, and the TV advertising share ranges around US$2 billion. Turkey TV audience is estimated to reach 76 million.

POWERFUL INDUSTRY Kanal D is part of the Do an’s media group, and also owns CNN Türk –CNN franchise like CNN Chile- and two other stations, with 35% of audience share. For Emrah Turna, International Sales executive at Kanal D, the Turkish audience is very diverse with different cultures living together in the country: European, Asian, Middle and Far East, and African. “This explains the diversity of our stories and the richness of our dramas. Thanks to having so many TV stations and so much competition, we have been able to develop a powerful industry with high quality products.”

Ankara is Turkey’s official capital, where the Government and bureaucracy are located.

But Istanbul is the capital of Turkish entertainment. Here, almost 15 million people coexist in a city that has grown around the Bosporus, a seaway which endows the city with a unique beauty and divides it in two, marking the boundary between Europe and Asia. “Until recently there were only 3 million of us, this was a village,” said Dr. Arzu Öztürkmen, professor and researcher at Boşaziçi University

Emrah Turna, Sales Exec at Kanal D

Façade of Sultanahmet

referring not only to the recent growth of Istanbul, but also to the entertainment industry. “We used to watch Bonanza, the Lone Ranger, Mission Impossible, and, of course, our first dramatic series, Dallas,” she said in a meeting with journalists about the beginnings of Turkish TV, its history and influences.

SPECIAL EDITION: TURKEY

In Istanbul two continents are merged: Europe and Asia

Asli Serim, Int. Sales Director at Calinos Entertainment

Serpil Yildirim manages the Beykoz Kundura studios

Shooting with boat on the Beykos dock

Entertainment companies have headquarters in both Istanbul -European and Asian-, although it is actually one big city divided by the beautiful Bosporus that has to be crossed through bridges or by boat. In the Asian side is Calinos Entertainment´s head

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Istanbul Europe and Istanbul Asia joined by bridges over the Bosporus

office, a dramatic series distribution company whose main client is now the Latin American market. The name “Calinos” comes from the Greek philosopher who promoted and spread beauty and happiness. Its International sales director, Asli Serim, portrays this principle because she stands out for her beauty, combined with her attire and a hijab silk veil over her head.

In this Mipcom, Asli was going to announce a possible co-production with TV Azteca, project in which Calinos will begin producing once again. They started in Los Angeles, CA in 1997, buying programs to distribute to Turkish TV stations. Then, they created a production division that developed a couple of TV series and feature films, but afterwards the company closed down. They expanded to mining, agriculture and cattle breeding, and are now the Calinos group owned by the entrepreneur Firat Gülgen, and have their own building as head office, and important TV series such as The girl Named Feriha, A Love Story -distributed by Somos Distribution, Calinos’ regional agent-, Dangerous Beauty and The Kadarag Family –part of Comarex catalogue, another Calinos ally in Latin America-.

THE BOSPORUS Also in the Asian side is Beykoz Kundura studios, managed by Serpil Yildirim and her

daughter Buse. It was an old shoe factory that Serpil acquired 10 years ago and has become one of the favourite places for producers to film. Of the 30 current most important TV series, at least 15 have been produced there, the same as some 50 feature films, including those produced by Indian, Iranian and Italian companies. One advantage is its location on the Bosporus seashore, including its own pier to dock boats, which is perfect for marine shots.

There are 10 sets available for the local and international industry, with daily, weekly or monthly package prices. This location was also selected by the journalists’ tour organizers to show the different and diverse production facilities that Istanbul offers.

A second live report made by PRODU about Turkey was in 2009 during the Budapest Discop. It talked about the emergence of a new Turkish distribution company that offered a product that was attracting buyers attention at the point when they were lining up to see it. Ahmet Ziyalar at ITV Inter Medya emphasized that they were the first to create a formal distribution company to offer the Turkish product, starting with neighbor countries –East Europe-, and afterwards with Central Europe, and more recently, worldwide.

SPECIAL EDITION: TURKEY

Chile opened its doors to Turkish products in Latin America

Can Okan, President and CEO of ITV Inter Medya

Actress Berrak Tüzünataç from the series Filinta

ITV and Global Agency offices are located in the elegant quarter of Nişantaşi

film lab in Turkey, and since 1968 they have been involved in film distribution for cinemas. “I carry entertainment in my veins, it is part of my DNA,” Can Okan said to PRODU at his offices in the trendy area of Nişantaşi, located in European Istanbul. And what he says is so real that in this Mipcom he will officially announce that ITV will enter the production of game-show formats, starting with three: a fun quiz show, a cooking show and another one related with sports. “I am confident about these three game-shows because they are really good and attractive for the international market”, he said. Currently, his products are in 76 countries, from which 16 are Latin American. “We’re working hard in Argentina and Mexico to add them to our list. We hope to cover 100 by the end of 2015.” Although ITV entered Latin America barely last year, it has achieved a very rapid market penetration in the region.

CHILE’S MEGA

Onur Tuna, one of the most sought-after leading actors

“We’re the pioneers and the leaders,” he said. In 1992, ITV founded Can Okan, second generation of a family related to production and distribution. For 50 years, the Okans have had the most important

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If anyone has to be acknowledged for paving the way for Turkish products, it is Patricio Hernández, current director at Mega de Chile. Patricio is a developer with good sense and instinct, who knows a lot about the Chilean audience and its market. He told the story in his own words: “When I was Content Programing director at Canal 13 de Chile, I went with my team to MipTV to meet companies we usually discard. So, we came across Global Agency and the story

became history: Arabian Nights. From the beginning the story struck us as very interesting, a soap opera with a strong degree of emotion. Several times I proposed to adapt it to Chile as one of our evening soap operas. But at that time there was plenty of production and the idea didn’t seem appropriate.

Later on, when I became Mega’s executive director, we had to come up with an emergency programming. Most soap opera providers had already closed deals with our rivals and in view of the need and seeing a very cold screen, we remembered the Turkish drama that we wanted to adapt.

Since we didn’t have any production capability, we decided we had to program the can.

The dubbing was an odyssey. After dealing with the distributors we wanted to see the script, and surprise! It wasn’t in English but in Turkish! We had to look for a Turkish translator in Chile, and not only translate it into Spanish, but also do some sort of adaptation to make it look more televisual, and afterwards send it to dubbing. When we released it, we had only dubbed two episodes, so it was really against the clock.

Today, Turkish dramatic series that are or have been on our screen, are distributed with dubbing done in Chile by DINT. We obtain profit from it.”

SPECIAL EDITION: TURKEY

The challenge of dubbing Turkish and doing it so well, it seems originally in Spanish

Technicians in a studio at The Kitchen, which is now dubbing from Turkish

Gigliola Cavada from DINT, famous for her Sherezade voice

by Juan Ignacio Vicente, International Contents manager at Mega, who brought the first episode of a Turkish soap opera for them to watch and dub. After watching it, she realized that it could be a hit. It was something new, with lots of face close ups that filled the screen with emotion. It had nothing to do with Chilean series, and was very different from Brazilian ones. It had a cinematic language and was going to be a success because it was something different arriving at a moment when local soaps were hitting low ratings.

RIGOROUS ADAPTATION

Izzet Pinto, CEO at Global Agency, distributor of One Thousand and One Nights

If Mega is recognized as the door that paved the way for Turkish dizis, DINT based in Chile has the merit of ‘dressing’ the product so it could be broadcast, and even more, so it could travel. After 35 years in the market, Doblajes Internacionales –DINTtook risks. It had never dubbed from Turkish to Spanish before, and in record time.

Patricia Menz, DINT’s general director, said that everything began when she was visited

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Right away she began to put together all the elements and a team to accomplish this new challenge. It was the first time they were dubbing Turkish, which has a totally different rhythm and cadence compared to languages such as English, German or Italian. Most of the words end in “o” or “a”, and synchronizing this with the movement of the lips (lipsync) wasn’t easy, it was a real challenge for actors. “The main point was translation, which has to go through a rigorous adaption.” Later, dubbing actors get used to this new language, after internalizing and performing it. It was hard at the beginning but now actors are sharp.

The series was so well dubbed that it seemed originally spoken in Spanish. In fact, most people today recognize many

terms, they greet, say goodbye, get angry and use Turkish love words.”

Until now DINT has dubbed more than 10 Turkish series and has some more in pre-production. Other dubbing companies have started to offer this service such as: Universal Cinergia Dubbing, owned by Liliam Hernández, and the new Alliance between The Kitchen and Cisneros Media, which began dubbing Magnificent century in Caracas. As a curious fact, some TV stations are requesting the same DINT voices to dub Turkish actors. So actors such as Andrés Scocnic –Onur’s voice in Arabian Nightsand Gigliola Maryangel –Sherezade’s- have become celebrities. “In fact, from Argentina and Peru, TV stations broadcasting them have sent filming teams to interview these actors. “Our voices are traveling very well” explained Menz. For DINT, the Turkish work added 5 more studios, reaching 15 now, “all with state-of-the-art technology.” DINT is also dubbing the first Portuguese soap opera - La única Mujer-, produced by Plural Entertainment, shot in Angola and acquired

by Canal 13 de Chile. Having tried out with a Turkish production has encouraged some developers to work with dramas from other latitudes.

SPECIAL EDITION: TURKEY

The state TV station joins the Turkish momentum by an international news channel in English: TRT World

Ibrahim Eren: New generation at TRT

TRT World will arrive in Latin America in the middle of 2016

end: building after building, factory after factory, harbor after harbor, trucks, industries, public housing sites, ships, and cargo ships waiting to be unloaded and loaded.

They saw a thriving, industrialized, solid and wealthy country. Istanbul: huge, elegant, always alive, a city that never seems to sleep. And where does all this prosperity come from? It is a prosperity that can be also seen in their audiovisual productions: Agriculture, mining, the textile industry, tourism, leadership.

Headquarters of TRT state radio and TV corporation

TRT is in the Ulus, Beşiktaş neighborhood

During the two hours road trip from Istanbul to visit the studio where Filinta’s 2nd season was being shot -described as the biggest Turkish studio-, Latino journalists were impressed by a city that didn’t seem to

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SOMOS DISTRIBUTION “The success of Turkish dramas comes from many sources. One is the intrinsic strength of the country’s economy. Turkey is a G20 member, ranking as the 18th largest economy in the world in terms of GDP (gross domestic product) terms, and with growth rates that have described it as the ‘Turkish Miracle’.” This encourages the advertising industry and investment, which in turn provide to TV production, and that results in the competitiveness and quality levels of Turkish TV –which already has a known history and an international vocation-. Hand in hand with its production capability, is the quality of its stories, and an attractive casting, great production values and a very high quality finished product.

Investment per episode is very high, according to Francisco Villanueva, VP and COO at Somos Distribution, a company that since 2011 has put together a strong

Turkish product catalogue with some 20 titles of the best dramas. “The first one we sold was Ezel, which became a star product. It was placed on almost all markets. Televisa authorized the script for production,” he said.

FAMILY Ezel, as Fatmagül, Karadayi or Kuzey Güney, among the most prominent titles, are produced by Ay Yapim, a family production house owned by Ekrem Catay and his son Kerem Catay. The father is founder and president, and Kerem is the CEO and producer. “We’re strong in stories related to family, with their internal problems, ties, and feelings. I believe this is why we have been successful internationally” said Fatma Sapci, Acquisitions, Sales and Format chief, with more than 20 years working with the Catays. She added that they usually use the same script writers: Ece Yörenc and Melek Gençoglu.

“Women are the main TV series writers because they are the most knowledgeable about the details of Turkish daily life, and know how to describe it and turn it into a dialogue. Men, in turn, are usually at work” Arzu Öztürkmen explained. ““The series are end-to-end classical, with family ties, tragedies, vengeance and with aspiration needs linked to love. That makes it clear there is a vein we haven’t explored but have to return to in order to accomplish more impact and audience loyalty. Tragedy and

SPECIAL EDITION: TURKEY

Mehmet Demirhan from TRT: co-production in the horizon

drama bounded with love is what we do, not with social-political or social-economic issues, as they are exploring in Latin America via drug-trafficking dramas or projects with social profile that we sometimes face in Telefe”, said Tomás Yankelevich, Director of global content and international businesses at Telefe.

There is no doubt that now is the time of Turkish TV programming, which has launched itself into conquering the world.

Even the tough US market has recently bought two Turkish books, one written by Ay Yapim, and other sold by Global Agency. The local industry feels that their time is now and all are presently under preparation. TRT, the state TV station, that this year reached its 51th anniversary, has appointed Ibrahim Eren, as General Deputy director to revamp the station. Eren, a young executive, was formerly working at the private TV station, ATV. He put together a team with experienced executives also from private enterprises, which have already begun the renewal process.

A COLOMBIAN One of the great projects that came with this new generation is TRT World, a 24-hour news channel in English. “TRT World will be launched at the end of the year and will be available for Latin America at mid-year 2016, first by satellite and afterwards by cable systems. Due to Turkey’s location between Europe and Asia and because they cultivate

SPECIAL EDITION: TURKEY

TRT has 14 channels that cover a multi-cultural and international audience

family values similar to those in Latin America, this channel will be of interest to this region. We have a balanced and more humane understanding of world events, which distinguishes us from other global news channels.”

Leading this new news channel is Carlos Vanmeek, a Colombian raised in the US who began his career in American TV stations in Miami and New York. Formerly, he was news chief of Al Jazeera in English, from where Ibrahim ‘stole him away’ in order to give news covering that humane, inspiring and hopeful touch which TRT World founders are aiming for.”

Mehmet Demirhan, Acquisitions, Sales and Co-Productions coordinator -and also member of this new generation- is involved in another interesting project: an online public call to search for new talent and new stories. He has already received more than 900 applications, from which 600 are very appealing. 35 were selected to be produced as TV movies with a US$500,000 initial budget for each one. A package with this finding will be offered during the Mipcom to make it permanent. TRT is also revamping its image aiming to be “sexier”; the premise is that state-owned TV stations don’t have to be lame. Including TRT World, there are 15 public channels within the state TV station which is also betting on the Turkish worldwide entertainment momentum.

Carlos Vanmeek from Colombia will be Information Director of TRT World

Kerem Catay, CEO of Ay Yapim, leading production company

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PRODUCTION qUALITY

Patricia Menz, DINT General Manager

Liliam Hernández, CEO at Universal Cinergia Dubbing

The success phenomenon of Turkish soap operas is amazing.

I believe that this is due to many factors: high quality production, the music, themes having soap opera DNA, its content includes romance, love, suffering, family values, and happiness are always there. All this accompanied by beautiful well-dressed women, and handsome leading actors, that also perform well.

The settings are wonderful; the audiovisual language is perfect, close-ups and Istanbul shots, the Bosporus and its bridges. It is incredible how they make the most of their country’s landscapes and their traditions.

Universal Cinergia Dubbing prides itself of being among the first dubbing studios in endorsing the Turkish product entry to Latin America. For three consecutive years we have supported Turkish producers, distributors and TV stations, in dubbing approximately 3,000 hours of their content. One of the main components of our success –aside from high quality production and incredible stories and plots- is the excellent dubbing performed by talent chosen among the best, great translations and an impeccable production in time. Turkish series are characterized by their themes, which depict the family and its culture both in current and in past times.

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LEADING

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E NjOYABLE

STORIES

H IGHLY

ABOvE AvERAGE

José Escalante, General Manager at Latin Media

Sebastián Snaider, Content Sales VP at FIC Latin America

For a long time we have been witnessing the Turkish phenomenon and we always thought that their stories would be enjoyable for the Latino market.

Of course, just as occurred with the Asian market, we assessed the titles and searched for those with potential to succeed in Latin America. The markets that have been buying more Turkish dramas are Argentina, Peru, Chile, Bolivia, Colombia, Uruguay, Paraguay, Ecuador, and now Mexico and Central America. We have four titles and are in the process of acquiring three more.

Turkish drama quality standards are highly above average, which results from the production investment in each episode.

There is no doubt that Turkey is nowadays the leader in the dramatic genre. Both Latin American and US Hispanic markets are eager about this content type, a phenomenon that became a trend and remains so. That’s why we decided to answer to this growing demand and in the last Natpe edition we included Turkish drama in our catalogue.

The historic market for this type of content has always been Chile, but in recent times it has spread to markets such as Central America, the US Hispanic market, and more recently to Brazil.

SPECIAL EDITION: TURKEY

A PRODUCT AS NEvER SEEN BEFORE Cecilia Gómez de la Torre, Programing Manager at Frecuencia Latina The audience has rewarded having an original product as they have never seen before in our region with themes closely related to our culture, universal themes of the classic melodrama such as love, revenge, the mother that can’t pay for her son’s surgery, the jealous man…

Good stories! Turkish production is conceived in a different way, with series structure and novel narrative, because they plan once a week, 90-minute episodes, but written as in a novel. When you take this product to daily broadcasts, the result is a product that flows very well and where many things happen, and where main and secondary stories are very rich.

High-level actors that are physically very close to our stereotypes. Additionally, production standards allow a great deal of outdoor shots, which add natural beauty and landscapes. I believe that in recent years we hadn’t had any innovations and this allowed for the entry of new products from nontraditional regions.

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v ERY

GOOD DUBBING

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SETTINGS

Karina Medina, Programing Manager at Ecuavisa

Gustavo Vallejo, Programing Manager at Telefuturo, Paraguay

The stories are unique. They have love and other ingredients such as their culture and stunning characters that make them special and different. Also the Spanish dubbing is very good. Currently we’re broadcasting Arabian Nights at our primetime -9:45PM-, it was released on March 24, and to date it has 30% of home share, consolidated among 6 over-theair television channels, leading the schedule. The price we pay for Turkish dramas per episode is the average of what we pay for entire soap operas in the region.

For now we’re only broadcasting Arabian Nights. We began in April at 9pm with very good ratings, with 33% share, leading the time period, being the most watched program since May 2015. We knew about the series in Chile and were fascinated with its success. Later this year, in Natpe, we noticed the frenzy over Turkish dramas and that everyone was after them. We attribute the success of Turkish dramas to the story, the profile of the characters and the incredible views of Turkey. But mainly because it is a product different from the one the audience was used to. It took strongly to the screen, we’re very happy.

C YCLICAL T REND Xavier Aristimuño, Senior VP for Development of International Sales and Digital Media, Telemundo Internacional For many years Turkey has been a market that consumes Latin American telenovelas and many from Telemundo have been aired there with excellent results. In Turkey, as in other European and Asian countries, the trend of the telenovela is cyclical and we are convinced that they will continue to enjoy Latin American content and soon will be airing the most outstanding Hispanic telenovelas. That is why Telemundo Internacional offers the content that is revolutionizing the industry worldwide due to its superiority in production and story value, telenovelas and super series that have led us to consistently be number one in the 10pm slot in the US, above the competition.

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1- David Tirado from Titra, 2- Marlene Dermer from the Los Angeles Latino Film Festival, 3- Iván Sánchez from Global Agency, 4- Bárbara Susterova from Imagina, 5- Emre Görentaş from Calinos, 6- Ziyad Varol from ATV, 7- Ramazan Yirmibeşoşlu from Raya Group, 8- Müge Hanilçi from ATV, 9- Annabelle Aramburu from ITV, 10- Beatriz Cea from ITV, 11- Gema López from Universal Cinergia, 12- Liliam Hernández from Universal Cinergia

Writer Berkun Oya, creator of The End distributed by Eccho Rights

Nazli Güney Uysal from the animation Company Dusyery

Handan Özkubat, Sales and Acquisitions manager at Eccho Rights

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Dr. Arzu Öztürkmen, researcher in the Turkish industry, part of the committee of the country of honor

Burak Hakki, one of the leading actors

Bahar Toker from ITV, on a horse from the Maya TV Sinema studio

Birol Güveb comedy producer at his own studio, Mint

Sema Ergenekon, team writer with Eylem Canpolat

Fatma Şapçi, Head of Acquisitions, Sales and Formats at Ay Yapim

Eylem Canpolat, writer of Karadayi and Kara Para Aşk

Dursun Topçu, Istanbul Chamber of Commerce VP, ICC, supporting the TV industry

SPECIAL EDITION: TURKEY

CONGRATULATIONS TO OUR TURKISH FRIENDS!!!

We are honored and proud to support your success in the Latin American Market

2025102th N.W. 102th Suite #106Miami, Miami, FlFl33172 Phone: 305-594-4548 2025 N.W. Ave.Ave. Suite #106 33172 Phone: 305-594-4548 Email: info@universalcinergia.com • www.universalcinergia.com Email: info@universalcinergia.com • www.universalcinergia.com