Señal Internacional 129

AÑO 16 · 129 · OCTUBRE 2016 FREE DISTRIBUTION MAGAZINE

KEITH LE GOY SONY PICTURES

UKRANIAN NEW PRODUCTION BOOM

SCRIPTED SERIES AS RATINGS DRIVER DOWNLOAD MAGAZINE

UK RA IN E, A N EW P R OD U C T I ON P ER SP EC T I VE

Europe has a new booming market. Ukraine is seeing strong growth in its film and TV production sector; according to the National Television and Radio Broadcasting Council, there will be 35 new films made

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in the country this year, reflecting a trend also seen in the production of TV programming. The country has advocated the need to increase local productions in order to overcome the dominance of Russian content.

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DISTRIBUTION 18 · Eccho Rights and Ay Yapim closed a groundbreaking global deal.

PRODUCTION 48 · Globo invests in innovation for the English and Spanish markets.

INTERVIEW

14 T H E VA LUE OF SRI P T ED SER I ES

A M A Z I NG TI M E F O R S O N Y

This genre boosted more than 60 channels’ market shares in prime time in 13 territories. But today, this market is not about creating the longest ever running series, but rather engaging audiences.

Keith Le Goy, President, International Distribution at Sony Pictures Television, details the landscape for global content distribution, in a very challenging time for the business.

YEAR 16 - EDITION 129 OCTOBER 2016 redacción & diseño: ESI Impreso por: imprenta 2.0 Los artículos firmados no reflejan necesariamente la opinión de los editores. Para la reproducción total o parcial deberá hacerse expresa mención de la fuente.

“Señal Internacional” es marca registrada de Fernando Calviño. Queda hecho el depósito que marca la ley 11.723.

Registro Nacional de Propiedad Intelectual en trámite. Revista Señal Internacional es una publicación bimensual de Editorial Señal Internacional S.R.L.

Editorial Señal Internacional S.R.L. Av. Cabildo 3816 Piso 11 B - Argentina Tel./Fax: (5411) 4704-7171 - www.revistasenal.com

14 · Keith Le Goy explains Sony´s international strategy.

20 · Peter Iacono describes how digital platforms expanded Lionsgate´s business.

30 · Sam Harowitz highlights Fremantle´s goals for Mipcpm 2016.

32 · Katrina Neylon tells the relevance of Latin America for Studiocanal.

38 · Kelly Wright says why Keshet is launching its biggest catalogue ever.

Download the NEW Señal Mobile APP http://revistasenal.com/app

2ble Click “Undressed” format hits the world

20 x 30’ 2

• series will be produced by Magnolia Spain for the free to air channel Dkiss.

• two further seasons of the format from Magnolia Italy, the original creator, have been commissioned by Nove channel.

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million viewers HAVE SEEN the international primetime hit format across all episodes, including repeats

#WORLDWIDE

• “Undressed” WILL HAVE A SECOND SEASON IN TLC UK, AFTER A successful first series. Zodiak Netherlands WILL DO THE SAME for LOCAL TLC, AND ATM Grupa for Poland.

PAUL BUCCIERI TO LEAD A+E STUDIOS

Mondo MISTCO TO DISTRIBUTE THE WHOLE TRT LIBRARY MISTCO and Turkish Radio and Television (TRT) have extended their partnership and the distributor now enriched its catalogue. At Mipcom, it will present the whole drama series, animation, documentaries, mini-series as well as educational programs and TV movies in TRT library.

MISTCO had been the exclusive sales agent for selected dramas, TV movies and mini-series in TRT Library. As a result of this mutual satisfaction and global results, MISTCO is now undertaking the distribution rights of the full TRT contents for global sales.

The executive has been promoted to President of A+E Studios & A+E Networks Portfolio Group, as it was announced by Nancy Dubuc, President & CEO of A+E Networks, to whom Buccieri reports. In his new role, Buccieri will be responsible for A+E Studios and for leveraging the synergies across the A+E Networks brand portfolio including A&E, HISTORY, LIFETIME, FYI and LMN. He will be responsible for all business aspects of the company’s brand portfolio. “Nancy has laid out an ambitious vision and growth plan for A+E Studios and I am grateful to her for trusting me to execute it,” said Buccieri. “I look forward to following in Bob’s esteemed footsteps and partnering with Barry Jossen and the entire Studios’ team on building upon the extraordinary work they have already done”. Buccieri has an extensive experience in worldwide production, distribution, syndication and digital, both in scripted and non-scripted programming.

PLIM PLIM ARRIVES TO MIDDLE EAST AND AFRICA Smilehood Media has concluded a TV license agreement for the successful animated series that has already conquered more than 40 countries in the entire world, with Discovery Networks, for the Middle East and the African territories. The famous hero will be broadcasted from January 1, 2017. Discovery joins other important channels that have already chosen this pre-school award-winning property, such as Discovery Familia in the US, Disney Junior in Latin America, Hop TV in Israel and Turkey, and Netflix in Latin America and the US, among others.

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ENDEMOL SHINE GROUP LAUNCHES “THE BRAIN” IN RUSSIA

GROUPE AB AND TELEVISA TEAM WITH CESAR MILLAN French broadcasting, production and distribution company Groupe AB, teaming with Televisa USA’s Chris Philip, announced that they have signed Cesar Millan to host its first English-language series for the global TV market, “The Messenger”. From AB Productions and renowned wildlife prodco Boréales (producers of the original French version), the new series will be executive produced by Millan, Chris Philip, Frederic Fougea, Richard Maroko and Bob Aniello.

Groupe AB will launch worldwide pre-sales for the series at Mipcom. It will offer six one-hour episodes of the unique wildlife/adventure docutainment format, which combines one major star and one extraordinary animal with a moving and captivating message to save the planet’s most endangered species. To maintain the high quality of the original French version, the new series will be co-produced

by Frederic Fougea’s Boréales, considered to be one of the most prestigious wildlife producers and directors.

The global content creator, producer and distributor Endemol Shine Group has sold “The Brain” to Russia for the first time. Public broadcaster Russia 1 has commissioned 7 prime time episodes.

Produced by Weit Media, Endemol Shine Group’s production company in Russia, the series will be known locally as “Incredible People”. The format was originally developed by Endemol Shine Germany along their joint venture company Herr P and broadcaster ZDF. The deal in Russia marks the eighth launch for “The Brain”: after the debut in Germany, it has been produced in U.S, China, Brazil, Spain, Italy and France.

AZTECA

CBS STUDIOS CLOSED DEAL WITH FOX NETWORKS GROUP IBERIA CBS Studios International finished a multi-season licensing agreement with FOX Networks Group Iberia for the exclusive basic pay TV rights in Spain and Portugal to CBS’s new series “Bull” and “MacGyver”, along with the basic TV rights in Spain for new midseason series “Doubt”.

The agreement also extends FNG Iberia’s licensing rights to the iconic series “CSI: Crime Scene Investigation”, “CSI: Miami”, “Hawaii Five-O” and “NCIS: Los Angeles”. “There is great excitement for our new slate of programming, with ´Bull´ debuting in the U.S. as the season’s #1 new drama and ´Macgyver´the #2 new drama,” said Armando Nuñez, President & CEO, CBS Studios International.

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UNIVERSAL CINERGIA EXPANDS ITS FACILITES The company is about to open its new headquarters in Miami on late October, to increase its production potential and serve clients from all around the world.

“Administration and operations teams are going to be moved to the new offices, and we will continue building new recording studios to supply our customers more efficiently in terms of time”, Liliam Hernandez , President & CEO at Universal Cinergia Dubbing described.

The company has generated a great contribution to the Latin American market, working with all Turkish producers and distributors. Up to 2016, Universal Cinergia did more than 25 titles and about 3,000 hours of content, dubbed in neutral Spanish, English and Portuguese. “The Turkish content is now opening market in African territories”, Liliam Hernandez said. “Philippines, Koreans and Chinese are very strong too. Drama and animation are the drivers of their success in Latin America”, she concluded.

2ble Click

KEY DATA France’s Vivendi Group and Telefonica from Spain have inked an agreement for the giant telco to distribute Vivendi’s Studio Plus in Latin America, which produces short-format, premium international series for mobiles.

#MIPCOM News @ArmozaFormats

It’s almost #MIPCOM and our new lineup has now been revealed! This MIP we are launching a slate of feel-good...

@FLYcontenttv

For those who love the dance #workinprogress #Mipcom2016 #dance #docureality #art #televisionandarts #tvcontent

@FremantleMedia

#MIPCOM Rob Clark introduces our formats slate for @mip!

@CineflixRights

@CineflixRights adds new UK and NZ acquisitions to #MIPCOM slate!

@entonegroup

@eOne_TV #MIPCOM Slate Features New Kiefer Sutherland Drama.

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RIVE GAUCHE CLOSES GLOBAL CONTENT SALES The distributor has sold several of its titles to broadcasters in multiple territories worldwide prior to Mipcom. First, Viasat has picked up “Droned” series for their feeds in Eastern Europe, Scandinavia and Africa as well as TVNZ in New Zealand. The whole bunch os sales includes: TV2 Hungary (“Fix It & Finish It”, “Where Cool Came From” and “Wineroads”), Discovery Netherlands (series), Mediaset Spain (“The Day I Almost Died”, “My Strange Addiction”, “My Crazy Obsession” and “Evil Twins”), TV 4 Sweden (“Wives with Knives”, “Homicide Hunter” and “Ice Cold Killers”), Foxtel Australia (“Wives with Knives”, “Sins & Secrets” and “Ice Cold Killers”), Blue Ant Canada (“Wives with Knives” and “Ice Cold Killers”), Friday TV Russia (“My Strange Addiction”), SKY UK (“Dog Whisperer 7”). “ The market continues to recognize our quality and diverse catalog,” said Jon Kramer, CEO of Rive Gauche.

BIG RATINGS FOR “DANCE DANCE DANCE” IN GERMANY Since its premiere earlier this month, “Dance Dance Dance” on RTL in Germany was by far the number one in its timeslot, with over 2 million viewers tuning in each week. The second season in the Netherlands is securing equally impressive ratings, consistently ranking number one in its timeslot.

The celebrity dance competition with revolutionary technology has reached multiple key territories like the UK, China, and, most recently announced, Italy. With the new introduction of virtual reality for the second season in the Netherlands, they’re thrilled to enhance the viewers’ experience further.

2ble Click

ALL3MEDIA’S “STEP DAVE” SET FOR CEE ADAPTATIONS

MEDIAPRO AND OFICINA BURMAN TO DEVELOP HIGH END DRAMA

two of the most ambitious TV drama producers SEALED a strategic co-development deal for fiction TV series and formats aimed squarely at international markets.

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RTVE arrives to Mipcom with four main drama series “The Sonata of Silence”, “The Department of Time”, “Six Sisters” and the second season of “Víctor Ros” will be the main titles of the Spanish producer for this market in Cannes.

Furthermore, its productions will include “Carlos, Rey Emperador”, “Isabel”, “Acacias 38”, “El Caso, Crónica de Sucesos’” and the movie “La Corona Partida”.

At the same time, RTVE goes to Mipcom to continue promoting its international channels: TVE Internacional, a general-interest channel featuring news and entertainment, a point of reference for the promotion of Spanish culture and lifestyle throughout the world; the news channel 24 Horas, and STAR HD, only available for the Americas, which offers the best fiction and entertainment from RTVE.

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The distributor has licensed its first scripted drama format commission in the CEE region, as Kiev-based FILM. UA picks up adaptation rights for “Step Dave”. The deal sees FILM.UA granting rights to produce the onehour drama format across the CIS territories, with one new 16-episode version produced for Russia’s Channel 1, to air in 2017.

SOMOS to distribute TVN Poland dramas Somos Distribution signed a distribution agreement with TVN Poland, which includes three successful dramatic series. With the addition of Polish dramas, Somos Distribution fortifies its catalogue in this genre, key for its clients in Latin America. Luis Villanueva, CEO of SOMOS Distribution, said that this agreement adds another prestigious partner to the network of relationships already established by the company.

“TVN is a widely recognized network for its popularity in its local market and its aggressive international growth”.

“We hope that our new partner, already experienced in introducing European content to Latin American viewers, will bring its renowned expertise to find a new home for our TV series”, Piotr Korycki, Vice President of TVN said.

hours of programming were sold by Tricon Films & Television to Foxtel Australia, NITV Australia, ZNS Latin America/Bahamas, Bell Media Canada and Thaole Vietnam, as well as inflight sales.

worldwide sales for 9 Story’s “nature cat” The distributor has secured multiple sales for the animated series, including SVT Sweden, TG4 Ireland, SIC Portugal, Canal Panda (Spain), Nick Jr (Italy), E Junior (Middle East) and Hop TV (Israel). The series premiered in November 2015 on PBS KIDS in the U.S. and on Family CHRGD in Canada this past July.

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INTERVIEW

“This an amazing and exciting time for content distribution” Keith Le Goy, President, International Distribution at Sony Pictures Television, details the landscape for global content sales in a very challenging time.

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arlier this year Sony Pictures Television has realigned the leadership of the TV division to have four key units reporting directly to studio chief Michael Lynton. Keith Le Goy, President, International Distribution was promoted and now he oversees all distribution for the studio. In an exclusive interview with Señal Internacional, Le Goy describes the global expansion strategy of the company, in a more challenging industry.

How do you define the landscape for global content distribution?

“I think it’s an amazing and exciting time.

The reason why I think it is exciting is because more than ever consumers have numerous and effective ways to find and enjoy the content they like, wherever they

are in the world. For people who are producing or distributing content, that provides a very exciting opportunity.

On one hand it’s a very challenging time but on the other hand it’s an amazing and exciting time, full of opportunities”.

Which area suffered more changes, production or distribution?

“Everything is changing. When we make what we call a ‘premium service’ we make a show that is going to be somebody’s favorite show. Maybe it is not going to be everybody’s favorite show, but is going to be part of someone’s life. You look at a show like ‘Breaking bad’, ‘Prison Break’ or ‘The Blacklist’, there are people who are passionately engaged with these shows. That passion, on a global basis, determines if the story is going to be a global phenomenon”.

What particular differences do you observe between regions?

“Each country is unique and special.

That requires us to really make sure that the way we are partnering with people in each country delivers the best way of giving out the content. We are looking up a little bit more on the next two or three years to have physical on the ground presence. To truly engage with consumers and partners globally you need to have presence around the world”.

m Notorious

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What are your main distribution goals as the Head of the unit?

“I have a main distribution goal: to ensure our content is seen around the world and that we really reach consumers with our content. You have to make sure that your content is reaching your audience in the most effective way possible. My goal is to

m Keith Le Goy

ensure that each individual piece of content that we have is matching as many relevant audiences as we can, maximizing the value of each individual piece”.

How do you organize the company’s traditional distribution and licensing and the current digital sales boom?

“We have to make sure that we are putting together the pieces in the most effective way to accomplish two things: ensuring every single piece of content finds its audience in the most effective way and finding their proper value. Sometimes that is going to be through global opportunities and sometimes through exploiting the opportunities in every single country. We have to be very communicated and connected”.

Which will be the main launches this Mipcom?

“We are taking everything to the market, as it is the most important one. We can get a first response of our products there. One big highlight will be the launch of ‘The Halcyon’ series, with a big screening. That’s an amazing show with a fantastic cast, a great story, superb production values and tremendous universal appeal” What is the global potential for the new series “Timeless” and “Notorious”?

“They are both incredibly accessible, the themes they talk about are very universal and the characters are incredibly appealing. The other thing I think buyers are very aware of now is that it’s not just about how good the show is, but how the commitment from the US broadcasters is. Buyers love great shows, but they also observe how networks support each title and how committed they are”.

By Diego Alfagemez

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DISTRIBUTION

Eccho Rights & Ay Yapim, a Powerful Association The international distributor and the Turkish producer signed up an exclusive deal which covers five brand new series launching this season. Fredrik af Malmborg, Managing Director of Eccho Rights, describes this new step for the company.

m Fredrik af Malmborg

EMMY NOMINEE ARRIVES TO THE CATALOGUE

m Insider

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ccho Rights opens a new distribution era with its exclusive package deal with Turkey’s leading drama producer Ay Yapim. This new association between these companies covers five brand new series launching this season in Turkey. “Eccho Rights represented Ay Yapim when the Turkish drama wave started, our first project together was ´Ezel´, that since then has been sold to over 150 countries, and been a success all over Latin America. We have also represented a number of other Ay Yapim series in recent years. Apart from ready-made sales, we have also place Ay Yapim scripts in many countries for local remakes. The most interesting one is ´The End´ (Son), that we are adapting in Holland with Column Film. We are also making a version in Spain with Telecinco and Globomedia that will go in production this fall; and in Russia too”, Fredrik af Malmborg, Managing Director of Eccho Rights, said.

The first series, launched in August, “Wings of Love” (Bana Sevmeyi Anlat), currently scoring very strong ratings on FOX Turkey, was premiered the 22nd of August. Eccho Rights has the SVOD and MENA rights of the

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show. “Ay Yapim stands for a majority of the most successful series from Turkey including ´Fatmagul´, ´Ezel´, ´Kara Para Ask´ and ´Endless Love´.

We are looking to find output deal partners in each one of the countries in Latin America. Of course, in some countries, it is too much for one broadcaster to take five series in one deal, but our aim is to go deeper in the co-operation with our clients”, Fredrik af Malmborg described.

BIG SCHEDULE The next series is the highly anticipated “Insider” (İçerde), which was launched on September on Show TV, starring Çağatay Ulusoy. Then, the third series in the package is the major new show “Brave and Beautiful” (Cesur ve Güzel), set to premiere on Star TV later on this fall, with the megastars Kıvanç Tatlıtuğ and Tuba Büyüküstün in the lead roles. “Ay Yapim has really loaded the lineup this fall with the top of the A-list stars in Turkey in five

•After the announcement of the International Emmy Awards nominees, Eccho Rights revealed that they will be handling worldwide distribution for “La Casa Del Mar”, one of the four finalists in the drama category. The drama series, produced by DIRECTV Latin America in association with Storylab and Cisne Films, received great critical acclaim upon release in Latin America, with the first four-part season being immediately recommissioned for a further 8 episodes the same year. “La Casa Del Mar is such an amazing show and this Emmy nomination only confirms what we already knew: that we have a brilliant series on our hands”, Barbora Susterova, Head of Latin America at Eccho Rights .

new series. ´Insider´ on Show TV is an amazing ratings success right now.

The new series ´Brave and Beautiful´, starring Tuba Büyüküstün and Kıvanç Tatlıtuğ is another success. Then Ay Yapim will launch two additional new series in November”, Fredrik af Malmborg projected.

Besides this two additional series that are set to launch in November, are two from previous seasons (“Mothers and Mothers” and “Five Siblings”) and three feature-length movies (“Delibal”, “Bir Küçük Eylül Meselesi” and “Dedemin Insanlari”) are also included in the overall agreement between Ay Yapim and Eccho Rights.

“Those series are of course major investments to produce and Ay Yapim has gathered the very best of talent in Turkey. Our objective is to make those series the number one in each country of Latin America and the whole world”, Fredrik af Malmborg defined.

By Diego Alfagemez

INTERVIEW

m “Graves”

“Competition for eyeballs has ignited SVOD players” Peter Iacono, President International Television and Digital Distribution at Lionsgate, describes the models and consuming platforms that are expanding the company’s business around the world.

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his year, Lionsgate was one of the most active companies in the global industry. First, it has acquired the premium programmer Starz, in a $4.4 billion cash and stock deal. Then, two months later, Lionsgate extended its reach into the video streaming market by teaming with Univision Communications to launch a Spanish-language subscription movie service. After these big deals, Señal Internacional interviewed Peter Iacono, President International Television and Digital Distribution of the company, to describe its renewed goals.

What is the current expansion potentia throughout Latin America?

“As more platforms emerge and more networks delve into the originals business, the Latin American market is at a unique crossroads where there is a tremendous supply of premium content, a growing demand for new and innovative partners, and an appetite to consume the content on cue”.

Which is Lionsgate´s approach in this context?

“With a great deal of competition, it is imperative to stand out from the crowd.

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Distinctive and original programming epitomizes the highly successful Lionsgate brand. Our premium scripted content is able to connect with and captivate audiences via the growing number of emerging platforms, as well as through our traditional broadcast partners. With such a broad portfolio of high-quality programming we have a compelling and diverse offering to benefit all types of distribution outlets”.

What is the influence of Netflix´s consuming patterns in the way shows are sold today?

“With the footprint of Netflix now en-

MIPCOM HIGHLIGHTS • “Graves”: 10 x 30’ comedy that tells the story of a former two-term President of the United States, Richard Graves (Nick Nolte).

• Nightcap”: takes the viewer behind-thescenes of a fictitious late night talk show.

(10 x 30´).

• “Kicking & Screaming”: New competition series, 8 x 60´, that teams 10 expert survivalists with pampered partners to face toughest challenges.

m Peter Iacono

compassing the globe, the landscape of how content is viewed has changed. The competition for eyeballs has ignited the market for other SVOD players globally.

More competition places a company like Lionsgate, which is completely platform and network agnostic, in an enviable position to be able to distribute a wide range of high quality programming to an evergrowing client base. Our aim is to find the right homes to reach more viewers and to maximize each show’s potential”.

Does digital rights transformed the ways content has usually been sold?

“Television landscape is continually shifting and at Lionsgate we work closely with new and emerging platforms throughout the world. We are able to respond quickly and smoothly to meet the needs of all our partners and to create innovative business models”.

What is the global potential of “Graves” series starring Nick Nolte?

“We’re very excited to offer ´Graves´ to our international clients. In addition to the current worldwide interest in the US Presidential election and the personalities involved, there is a strong appetite for well-written and highly produced comedy drama and ´Graves´ fits the bill.

It is produced by Lionsgate, Josh Michael Stern (Swing Vote/Jobs) is the creator/ showrunner, and Academy Award winner Greg Shapiro (The Hurt Locker/Zero Dark Thirty) is the executive producer”.

By Diego Alfagemez

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OVERVIEW

Ukraine, a new production perspective With new government laws and independent players going international, the Ukrainian market has become competitive in the global perspective.

Different voices describe the future for this new emerging territory.

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urope seems to have a new booming market, as Ukraine is seeing strong growth in its film and TV production sector. According to the local National Television and Radio Broadcasting Council, there will be 35 new films made in the country this year, reflecting a trend also seen in the production of TV programming. “After a ban on a majority of Russian produced content and decreasing profits from advertising due to the recent economic and political situation, the demand for content produced in Ukraine definitely has increased in the past two years. You can’t call it a boom however, again due to the general economic downturn. But TV channels nowadays have much more TV series and movies produced either by their in-house production companies or independent producers like ours”, Vladimir Zelenskiy, Co-Founder and Creative Producer at Kvartal 95, described. “Our company produces about 250-300 hours a year. The leading production companies remain the locomotives of the industry, but we see the trend where all main media holdings (TV channels) develop their in-house productions”, he added.

In the last two years, Ukraine has consistently advocated the need to increase local productions on TV screens in order to overcome the dominance of Russian content.

This environment has also actively encouraged film and TV co-productions with foreign partners. The National Council says that there were only 12 feature films produced in Ukraine

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ALEKSANDR TKACHENKO

>> I would call it not a boom, but rather a take-off for a new industry previously represented here

by TV series<<

in 2013. This figure rose to 16 in 2014 and 24 in 2015.

“I would call it not a boom, but rather a take-off for a new industry previously represented here by TV series production. We have a good expertise in Ukraine, although with regard to TV series that were produced specifically for Russia only to be again imported here.

Now, TV series are produced in Ukraine primarily for Ukrainian TV channels, they feature Ukrainian characters and Ukrainian stories, with this being a birth of a real Ukrainian TV Series and film industry”, Aleksandr Tkachenko, CEO at 1+1 Media said. “We produce only for one TV channel, with around 180200 hours a year, which is a very large amount. Our products include long series and miniseries, TV movies, and 24-episode projects. I suppose that at least 500600 hours of TV series are being currently produced in the country for Ukrainian channels”, he stated.

Regarding the most successful genres and programs in the country nowadays, Vladimir Zelenskiy observes that are “TV series and entertainment formats. Ukrainian audience is very used to free TV, which always has been very competitive and high-quality produced, so the culture of watching Pay TV is only developing”.

“Ukraine faces a paradoxical situation: it’s only now when Ukrainian TV channels wish to finally address the rights so that cable operators will pay them for broadcasting. Competition is certainly there, but at this point it is in favor of pay TV in terms of money. In this environment, today TV series, major entertainment shows, and newscasts are the most popular genres”, Aleksandr Tkachenko said.

“Red Queen” (FILM.UA)

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REVOLUTIONARY CHANGE The Ukraine’s parliament has recently adopted a new version of the law on state support of cinema that will radically change the relationship between the state and film and TV producers. According to the new law, it is assumed that the producer of a feature film can apply for 80% state funding of its production budget, as opposed to the previous 50%. However, the revolutionary aspect of the adopted law is that producers of TV series can also qualify for state funding. Indeed, a TV series producer is entitled to up to 50% coverage of their production expenditure as a grant from the state. “For now, it is too early to talk about a real boom. Film and series production is developing, they film a lot nowadays, for the local market included, but the budgets have gone down, and we all have to get used to the new conditions”, Sergey Sozanovsky, Founder at FILM.UA Group explained. “It is also important to remember that film production is not just creative work, it is also an industry. And the present economic situation is not too favorable for swift development of any economic segment. Only one thing is clear: we are living through a very interesting and important period defining our future for many years to come. Now we are laying the foundations, including legislative ones. We hope that the law on cinema will become an important step and the pre-requisite for real change”.

Commenting on the new local law development, Victoria Yarmoshchuk, Executive Director of the Ukrainian Motion Picture Association, said: “For the Ukrainian film industry, the new law on cinema introduces the system of cash rebate (25%) for foreign producers of film and television. It is a huge step forward, because now Ukraine has become competitive in the global co-production market. Now we can offer foreign producers not only our unique

SERGEY SOZANOVSKY

>> The only clear thing is that we are living through a very interesting and important period defining our future for many years to come<<

VLADIMIR ZELENSKIY

“The In-Laws” (Kvartal 95) 25 · SEÑAL INTERNACIONAL

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>> After a ban on the majority of Russian content and the decreasing profits from advertising, the demand for Ukranian content definitely has increased in the past two years<<

“Moskal Sudnyi”

(1+1 Media)

filming locations and professional services, but also an adequate system of returning production costs. We expect a rapid growth in film production in Ukraine in the coming years”.

GOING GLOBAL One of the main examples that shows the expansion of the Ukrainian market happened recently in the biggest entertainment market of the world: Hollywood.

Fox Studios has purchased the option for the political comedy “Servant of the People”, produced Kvartal 95, for an adaptation in the United States. “International expansion is the logical next step for the growing market. Kvartal 95 has already become an active player on the international arena. We regularly participate in market and our projects successfully compete in festivals. Our format ´Crack Them Up´ has been sold to 14 territories, and ´Servant of the People´ has proved to be a huge hit in Eastern Europe. There is also a general rise of interest from international players for content produced in CEE and Ukraine in particular, so international expansion for many Ukrainian companies is inevitable”, Vladimir Zelenskiy emphasized.

“Going global it is the following and necessary step!

But it is essential to understand how to do it right.

However, we’ve been preparing the artistic component for a long time: presently, the content produced by FILM.UA Group has been sold to over 100 territories.

We have initiated the creation of a catalogue with Ukrainian formats, and have been successfully selling it”, Sergey Sozanovsky said. “A good example is ´The Sniffer´ series; its format was sold first to France and then to Japan. Now is in production; its premiere is due in October. We really hope that the law on rebates would work, and the payback of a portion of funds spent by foreign producers will naturally attract cinematographers all over the world. We have things to offer to the global market, and it is not just about the product but about the locations as well. We are putting very high stakes on animation, which is the most universal kind of cinematography. We are convinced that short forms, digital content, and content using breakthrough technologies will lead. This is where creative work, and not budgets, comes first”.

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OVERVIEW

Scripted Series, a Key Element of TV Scheduling This genre boosted more than 60 channels’ market shares in prime time in 13 territories. But today, this market is not about creating the longest ever running series, but rather engaging audiences.

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ast season scripted series boosted more than 60 channels’ market shares in prime time in 13 territories. Moreover, 65% of the series preferred on prime time were local. This particular proportion is bigger in countries where local production is important such as Turkey and South Korea. Considering these two key facts, all TV networks are producing content that reflects society, culture, history… but not only that, they are creating content with a feeling of “belonging”.

Most producers bear in mind that today’s dynamic is more about ha-

ving success after success; therefore, mini-series are today’s vogue. This not only reduces the financial risk, but also gives flexibility to those content producers that have integrated facilities (production & distribution & networks) within their company (ex. Sony, Netflix, among others) to exploit distribution rights as much as possible.

Today’s competitive scripted environment is not about creating the longest ever running series, but rather engaging audiences. Thus, content producers have wisely used talent from the film industry such as show-runners, writers, directors or actors as in the

A GENRE THAT BOOSTS PRIME TIME

+117%

+90%

+73%

Figures based on scripted Series Report 2015 Sept 2014-Jun2015 Source: Eurodata TV Worldwide / Relevant partners - All rights reserved

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recent pilot Amazon series “I Love Dick”. The book-based series, directed by the Emmy Award winning director Jill Soloway, features the US film-actor Kevin Bacon. Producers also adapt films into series, such as the US production “Lethal Weapon”, based on the four films with the same name, and whose movie creator also worked on the series production.

Still, though this use of top quality cinematography talent is costly, producers are carefully choosing the kind of content to create. Indeed, they are relying on elements or actors that people “recognize/identify with” such as the new ABC series “Designated Survivor”, with the well-known actor Kiefer Sutherland who played in the long-running Fox series “24”.

At the same time, producers are creating spin-offs from already known formats such as the Chinese production “Lao Jiu Men”, itself a spin-off of its previous web-series. Likewise, the novel based productions fall into this category such as the US series “Queen Sugar”, recently launched on OWN, whose premiere boosted the audience by nearly 90% among all individuals, or the Middle East fiction “Saq Al Bamboo”, whose book won the International Prize for Arab Fiction (IPAF).

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OVERVIEW

SOCIETY´S ISSUES IMAGE When choosing the plot, content and action as the key elements of any drama, broadcasters have shown increased involvement in displaying social issues through scripted formats such as the upcoming Edward Berger’s production “Eden”, whose plot revolves around Europe’s migration crisis. On the same immigration focus, but with a lighter tone, the UK mockumentary “Borderline” reflected a sort of documentary format mixed with

m Lethal Weapon

m The Secret Agent

fictional events.

Meanwhile, other scripted dramas have reflected social issues with a slight twist by producing period dramas with a feeling of modern times, such as the UK BBC political-thriller “The Secret Agent” whose narrative is set in the past, portraying a terrorism tale which people can identify with in modern times. The custom drama sees Verloc, a secret agent for the Russian government, summoned by them to orchestrate a bombing and provoke a political crackdown by the British.

Likewise, the upcoming Left Bank production “The Halcyon” for ITV contains elements that depict modern day facts such as war by setting the story during WWII, and also the refugee situation through one of its characters.

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Somewhere in Time This game between space and time is more evident in science-fiction dramas, one of the most expensive genres to produce. The US series “Timeless” sees its main characters travel back in time in order to avoid critical consequences for the America we know today. Within the same logic there is “Svet pod Hlavou”, the upcoming Czech adaptation of the UK series “Life on Mars” where the assassination of John F. Kennedy tries to be avoided. Going further, there were even stories that totally reinvented the past, playing with an imaginary turn of events such as the Irish drama “Trial of the Century” where the plot revolves around the imaginary trial of Patrick Pearse, a revolutionary of Ireland’s Independence who was commonly

known as the “First President of Ireland”.

Going back in the past, another undeniable axis in the production of scripted formats was the historical biographical series that were more focused on strong female characters such as the Italian RAI mini-series “Luisa Spagnoli”, revolving around the founder of the fashion company Baci Perugina, whose premiere boosted the audience by more than 40% among all individuals.

Following the same trend are the recent UK ITV production “Victoria”, and the upcoming Russian Star Media production “Mata Hari”; both fictions show strong female characters.

Quality and flexibility, with shorter fictions, were seen in recent launches. For numerous scripted series, the link between the past and present was central for storytelling. Meanwhile, the use of other elements like book adaptations, new stories, recognized actors or spin-offs are also relevant to engage and attract the audience.

By SSiglinde Martínez smartinez@eurodatatv.com Source: Eurodata TV Worldwide - Relevant Partners / Series Report 2015: Sept. 2014-Jun. 2015 / NOTA International TV Trends.

Want to know more about ratings and programming trends in more than 100 territories worldwide?

Stay up-to-date and discover further editorial trends and hit programs in the NOTA Hot Stuff Report.

To find out more about our services, please contact François Lhomme (flhomme@eurodatatv.com) or meet EURODATA at Mipcom Stand P-1 C56.

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INTERVIEW

“There’s Never Been a Better Time to Be in Distribution” Henrik Pabst, Managing Director at Red Arrow International explains why is important for new players to lock in viewers with a constant flow of contents that cannot be found elsewhere.

m Henrik Pabst

international drama with well-written, character-driven stories across an eclectic mix of genres; and to be the home for world-class scripted talent working with the most creative people in our industry”.

m Farang

A

fter recent international highlights such as “Bosch” (Amazon) and “Married at First Sight” (A&E/FYI), Red Arrow International is now focused on increasing its original shows. Henrik Pabst, Managing Director, explained to Señal Internacional the keys of that strategy.

important for the new players to define their space and lock in viewers with a constant flow of original content that cannot be found elsewhere. Even outlets that used to focus on licensing are now investing in original drama series. Therefore, it is important for us to have a strong pipeline of new and original shows in our slate”.

How would you describe the current age for global content distribution?

“We feel that, despite the challenges, there has never been a better time to be in distribution.

New platforms and channels are continually launching worldwide, which leads to increasingly competitive markets.

It’s becoming more and more

How Red Arrow does react to this constant demand of new and original content?

“Our focus has been to listen carefully to our broadcaster and platform partners and their challenges, in order to deliver a broad range of shows that put an emphasis on high production values and creativity. Our aim is to deliver ambitious,

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Why would new Scandi crime drama “Farang” can be an international sales hit? “‘Farang’ is an action-packed international thriller that explores the complicated ties that bind a father with his daughter, and features a stellar cast including Ola Rapace, Louise Nyvall and Yayaying Rhatha Phongam.

This 8 x 1 hour crime thriller takes Scandi noir and places it in a new environment as a former criminal flees Sweden and the old friends he has testified against, to start over in Thailand. Ten years later and still with a price on his head, Rickard knows that a return home would be a death sentence, so when his fifteen-year-old daughter Thyra comes looking for him, Rickard’s self-imposed exile in this gritty paradise is soon under threat”.

What does the investment in production companies like Band of Outsiders and 44 Blue Productions add to the catalogue of Red Arrow?

“Red Arrow has grown considerably in the last 18 months as we continue to build and grow our catalog of shows across all

genres, from both our in-house production companies and third party producers. Red Arrow Entertainment as a group is also growing, and we are now 19 production companies worldwide. With recent companies to join the group including major US-based independent production company 44 Blue Productions, we have an increasing ability to present a greater range of shows to international broadcasters”.

By Diego Alfagemez

MIPCOM HIGHLIGHTS • SCRIPTED “Farang” / “Mata Hari” / “The Romeo Section: Assassins / “Pregau” / “The Glory is Gone” • TV MOVIES “Jack the Ripper” • FORMATS “Married at First Sight” / “Look Me in the Eye” / “The Decision” / “Streetlab” / “Match Factor” / “Kiss Bang Love” • FACTUAL ENTERTAINMENT “Motive to Murder” / “Giant Constructions: The World’s Most Spectacular Bridges” / “Weather or Not” / “Mystery Places” • FACTUAL & COMEDY “Man v. Viral” / “The Cyanide & Happiness Show” / “Billy on the Street” / “Antiques Road Trip”

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INTERVIEW ENTREVISTA

m Katrina Neylon m Midnight Sun

“Studiocanal’s

business is truly global” Katrina Neylon, Executive Vice President, Sales and Marketing at Studiocanal, anticipates the launch of the French-Swedish drama “Midnight Sun” and describes the relevance of Latina America in the international business of the company.

D

uring the year, Studiocanal has made big deals around different regions of the world, with partners like Directv Latin America, Netflix and ITV. Who oversees all this business is Katrina Neylon, EVP Sales & Marketing at Studiocanal, who spoke exclusively with Señal Internacional.

What is the international appeal of the new series “Midnight Sun”?

“Studiocanal will launch this new French-Swedish drama coproduction at Mipcom. It is an 8 x 60´ high-concept thriller from ´Bron/Broen´ creators Måns Mårlind and Björn Stein, based on an idea

by Henrik Jansson-Schweizer and Patrick Nebout. It is produced by Atlantique Productions and Nice Drama for CANAL+ and SVT Sweden, and set in a mining community in northern Sweden. ´Midnight Sun´ is a fresh and intriguing series which takes the Nordic Crime genre to the next, international level. The drama is beautifully filmed with incredibly high production values, where a series of brutal murders contrast starkly with the beauty of the landscape and the constant ethereal daylight of Northern Sweden”.

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What is the current global positioning of Swedish and Nordic drama?

“International drama, including that from Scandinavia, continues to be very much in demand. The growth of channels and streaming services and the increased competition among broadcasters means many are looking for high quality, stand out BIG LAUNCH •To promote the launch of “Midnight Sun”, Studiocanal invited the cast, creators and production team to special press conference on Monday, 17 October at 10.00 AM in the Blue Lounge at the Press Club. “We are delighted to welcome actors Leïla Bekhti, Gustaf Hammarsten, Sofia Jannok; creators & directors Måns Mårlind and Björn Stein and producers Stefan Baron (Nice Drama), Olivier Bibas (Atlantique Productions) to Cannes to introduce the drama to our clients”, Katrina Neylon said.

event series. It is important to create a strong brand to stand out from the crowd. Great storylines with well-developed characters and high production values have the best chance of rising to the top and Scandinavia and the Nordic countries have been delivering these type of series to great effect”.

What does it mean for Studiocanal to reach a new deal with Directv LatAm? “´The Last Panthers´ was shot in the UK, France, Serbia, and Montenegro in three languages and has aired to critical acclaim across Sky’s multi-territories, including the UK, Ireland, Italy, Germany and Austria, and CANAL+ in France. Already sold to more than 122 territories, we are delighted that Directv Latin America has now acquired this provocative drama. Its award winning cast, almost cinematic production values and with opening music by David Bowie, we are confident that Latin American audiences will be riveted by the series’ intensity, emotion and storyline”.

How important is Latin America in the global strategy of Studiocanal?

“Studiocanal’s business is truly global, and Latin America is a key growth area for us.

It’s a thriving market with a large number of channels and platforms, and offers many opportunities for our strong drama content. We have recently increased our sales team, and I am delighted that Daniel Rodriguez, based in Miami, has been supporting our sales efforts in the Latin American market. Daniel will be working alongside Beatriz Campos, VP Sales, whose role has expanded to take over sales in Latin America. Beatriz and Daniel will work together to promote and distribute the Studiocanal catalogue across the Latin American territories”.

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INTERVIEW

“Heidi was The Perfect Project to

Start on Live-Action Production”

Matteo Corradi, CEO of Mondo TV, explains why the company has decided to start producing a new genre and what this new show adds to its well established animation catalogue.

D

uring the last MIPTV, Mondo TV has announced its participation as a co-producer in two new series, but one of them would be a new step for the company: the Live-Action “Heidi, Welcome Home”. Exclesevely for Señal Internacional, Matteo Corradi, CEO of Mondo TV, details how and why he took this decision.

What is the biggest international potential of the new series ‘Heidi’? “´Heidi, Welcome Home’ is being positioned as one of the flagship properties in our catalogue, with major licensing opportunities for 2017 in many areas, from fashion apparel and accessories to publishing and gifts. Mondo TV Iberoamerica manages the licensing rights for the world exceptinn Argentina, Paraguay, Uruguay and Chile, so it’s clear that we have enormous confidence in this series and its prospects globally”.

Why has Mondo decided to be a partner in this huge co-production?

“Our company already has a very strong and solid position in the market, with a catalogue that serves a very big audience of children from pre-school age upwards.

However, we wanted to do more, but it meant finding the right project. ´Heidi´ is perfect. It’s our first-ever live production for teenagers in what has historically been an animated catalogue aimed mainly at children. It’s made through our subsidiary company Mondo TV Iberoamerica, alongside Alianzas Producciones. Mondo TV Iberoamerica brings to the project its strong experience in live-action production and established success in taking hit Latin American series to Europe. To put it very simply, this partnership allows us to widen the range of our offer. With ´Heidi, Welcome Home´ we now serve an audience up to 18 years old”.

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than 35 countries and debuting on air in all of them by autumn 2015. This carried on throughout 2016; several re-runs will be on air in a number of territories this autumn.

We knew from an early stage that we had to build on this success story, so new episodes are coming very soon. We are featuring new set ups and locations, an even stronger emphasis on the fashion aspect, alongside with the strong focus on the spirited Sissi herself”.

m Matteo Corradi

What did Alianzas Producciones and Marcela Citterio add to this project?

“We are delighted to be partnering with Alianzas Producciones. Marcela Citterio, a legendary and very successful author, is someone we are honored to work with. We intend to build on the enormous potential of this property, making it a big success and taking it to a worldwide audience”.

What new features will the second season of ‘Sissi’ present at Mipcom?

“Our first season of ´Sissi The Young Empress´ was a big success, selling into more

What sales goals did you set for ‘YooHoo&Friends 3D’ and ‘Cuby Zoo’?

“We have in place 360° sales plans across TV and licensing for both series. YooHoo&Friends 3D´ and ´Cuby Zoo´ are co-productions with one of the largest Korean toy companies, Aurora World, and tie in to Aurora’s key line up of toys launching in spring and autumn 2017 and 2018. For ´Cuby Zoo´, Aurora’s team secured a premiere on EBS in Korea; the most important educational public channel of the country. New sales are about to be finalized for both, many of which we intend to announce during Mipcom. We’ll also be announcing a number of agency agreements at both shows. We are very honoured to have the chance to work closely with Aurora’s team”.

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DISTRIBUTION

A new era for TV Azteca International With the launch of four original series, a new website and a mobile APP, the company unifies the international division as part of TV Azteca’s reinvention, aimed to an era of converging platforms.

rro m Fidela Nava

L

iving to race”, “Nothing Personal”, “Iron Lady” and “Missing Bride” are the new TV series that TV Azteca will present at Mipcom. The first ones will have a local premiere in Mexico during October, and the rest will air in the next few months, under Joshua Mintz´s executive production. “They are great stories with unprecedented production and acting quality standards, which already represent the company’s new era in terms of fiction”, explains Fidela Navarro, TV Azteca´s International division director.

“They also offer us the opportunity to air and distribute them through an endless number of convenient formulas”.

Another innovation that the company will show at Mipcom is its new internaDIGITAL LAUNCHES • Part of the reinvention of TV Azteca International will be the release of its news digital tools: a brand new website and a state of the art mobile application. Both launches will work as a new way of communication between the company and global content buyers. Among many new features, the website and the APP will offer the complete digital catalogue of the company, the most recent news about its shows and a straight contact with the sales team.

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tional division’s structure and strategy.

Content distribution (AZ Content), pay-TV channels distribution (AZ TV de Paga) and Acquisitions and alliances have already been integrated into TV Azteca´s International Division, headed

by Navarro. “Platforms and business models are increasingly convergent and as part of the reinvention of our company that is taking place under the leadership of Benjamín Salinas, we have decided to inject a new dynamic into our teamwork, with common strategies and goals that will allow us to maximize our results in the international arena, both for us and for our partners”.

NEW FEATURES Through new TV series, an international front, a bold stand design, and a brand new website and mobile APP, TV Azteca International is ready to kick off a new era at Mipcom 2016. “I have an exce-

llent team that will be taking us very far.

Ramón Salomón heads the AZ Content operation, as well as the sales team made up by Berta Orozco, Yonatan Ornelas and Juan Antonio Fernández; Pedro Lascuráin heads Acquisitions, while Jorge Gutiérrez is in charge of Pay-TV channels”. Navarro also confirmed that César Díaz, who has been at the head of USA and Canada Contents until now, would be leaving TV Azteca team. “We thank César for his professionalism and trust, and we wish him nothing but success in his future projects”. Mipcom will be a great window for the company, “so that the world can take a look at the new TV Azteca, ready to face the future and to be offering great content with distribution potential anywhere in the planet”, Fidela Navarro described.

By Diego Alfagemez

Pasiones Premiered “What Women Keep in Silence” • The leading network for telenovelas and drama series in Spanish, has acquired the U.S. rights to the popular Azteca series “What Women Keep in Silence”, which premiered on October 4, at 3pm ET/12pm PT and will air Tuesdays and Thursdays. “What Women Keep in Silence” has been a huge success, especially in Latin America, and we are happy to bring our viewers this empowering series,” said Francisco Gimenez, General Manager of Cable Networks for Hemisphere Media Group, Inc., Pasiones’ parent company.

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INTERVIEW

“We Want To Create A Latin America Inspired Catalogue” Keshet International is taking to Mipcom more contents than ever before, almost 20 new titles aimed to fit clients from all over the world. Kelly Wright, KI’s Head of Latin America, deepens into the company’s strategy.

F

or this year’s Mipcom Keshet International announced its largest and most diverse slate of programming to date: it will offer more than 20 new titles led by the new adventure reality format “Welcome to the Wild”. The broad slate, spanning several distinctive scripted and non-scripted genres, formats and finished series, aims to tap into viewers’ strong demand for high-end drama, proven factual entertainment, true-crime stories and versatile content to suit all platforms. In an interview with Señal Internacional, Kelly Wright, Keshet´s Head for Latin America, deepened into the company’s strategy.

Why is Keshet launching its biggest catalogue ever for Mipcom?

“We’re growing, and we’re growing in a big way. Not just in Israel, in Asia, in Europe or North America but also in Latin America. In order to provide solutions for all of our clients in the world, we thought that it was important to take as much contents as possible into our catalogue. In the past we’ve been focused on contents for our local channel and then on launching them to the international market. This time we still have our shows but also a lot of third party formats from all around the world, from scripted formats to entertainment shows. We’re growing our catalogue

so we can make a wider option for all of our clients, whether they’re in Brazil or in Thailand”.

This expansion also includes business in Latin America?

“We’re launching a production company in Mexico and that’s just a first step for us, because it’s all about localizing the contents. We’ve partnered with producers like Telemundo and Telefe so we can help them to develop local contents and grow not only our distribution business but also help Latin America export more programs to the world. The idea is that those contents have some of Keshet’s DNA and some of the local DNA. We’re growing locally and organically, and that’s our challenge. We came to this region to become Latin”.

In which ways Latin America is similar to your local market?

“We both have a kind of Mediterranean

WILD MIPCOM • Keshet will host an Amazonian cocktail party inspired by their new adventure reality show “Welcome to the Wild”, on Sunday at 6.00pm in Club C21 Grand Hotel Beach.

p Resident

m Kelly Wright

personality. Both cultures are alike and we’re very similar in that way: very warm, social, family oriented and very opposite from a colder kind of culture. I think that’s the biggest analogy when we talk culture, that we can understand each other despite we speak different languages.

And, regarding the things in which we’re different, Israel is really on the forefront of technology; we have a very competitive market but we actually don’t produce a lot of our shows in-house. We also program drama completely different, but in entertainment we’re quite similar”.

What kind of content would you like to add to your catalogue?

“We see more Latin American shows in our future, self-developed and developed by clients or acquisitions from producers or commissioners in Latin America. We really want to create almost like a second Latin America inspired catalogue”.

By Wanda Marzullo

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INTERVIEW

“We have the highest volume of local series produced in

Latin America” Luis Peraza, President of Networks at HBO Latin America, explains how the strategy of expanding local production is working in Latin America and describes what a product needs to suit the HBO style. q O Negocio

H

BO is focused on expanding its original production in Latin America and Brazil. To achieve that goal, the Company has duplicated the number of local shows on screen in comparison to 2015. “We have been significantly increasing the number of HBO’s series in Latin America in the last couple of years. Nowadays, we are at the point that we have the highest volume of original production in US’ history and the highest volume of local series produced in Latin America, especially in Brazil and Mexico, which are our two principal markets in the territory”, Luis Peraza, President of Networks at HBO Latin America commented.

In Brazil, HBO is betting for “A Vida Secre-

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m Luis Peraza

ta Dos Casais”, “O Negocio” and “Magnifica 70”. “Nowadays, Brazil is our principal market. We have a very strong policy of production of content there because it’s quite a competitive and local market.

There is too much appreciation for local production. However, we haven’t been passive as we have the responsibility of producing HBO style in Brazil as well”, the executive stated.

México is also a strong market and HBO knows it, so the company is producing there more content than ever. They have aired a new season of “Sr. Ávila”, developed new stories like “Dios Inc” and ventured in new formats such as

“Chumel con Chumel Torres”, a weekly humoristic show, first of its genre, which depicts Mexico’s politic reality from Mexico to the whole region. “I wouldn’t say ‘Chumel con Chumel Torres’ is an experiment, but it is indeed the first time we launch this kind of content, which is more controversial, with a huge component of opinion and politic humor that might be not well received by many people. But it’s one of those things a company is willing to do to offer something different. We feel this show is going to appeal to younger audiences like the millennials”, the President of Networks at HBO Latin America assured.

NEW LANDS Apart from Brazil and Mexico, HBO is expanding its local production in Colombia and Argentina with the debut of “Guerras Ajenas” and “Jardín de Bronce”, respectively: “We have many active fronts of production right now. We used to have one or two projects under development at the same time, but now we have like five or six. We are looking forward to maintain this pace for the upcoming years”, the executive said.

So, what a show has to have to make it into HBO’s screen?: “It’s quite difficult to name a couple of attributes that a product needs to have to fit the style of HBO. What I could say is it has to be interesting and innovative, something people do not expect to see on their screen”, he expressed.

Peraza believes that, in spite of the fact that a large part of HBO channels´ library is composed of movies from their studios; films are no longer a ground-breaking asset. Instead, he considers what adds value to the brand is the original content. “For instance, to enjoy series like ‘Game of Thrones’ or ‘Sr. Ávila’, there is no other place to find them but HBO. These kinds of series make a difference”, he remarked.

Finally, Peraza concluded: “Our commitment is to keep producing high quality television. We aim to keep making products which make the difference, so we are putting all our efforts and resources to achieve that. So far, the result we could measure has been more than satisfactory because we feel our strategy has worked well, given more added value to the brand and subscriber’s’ fidelity. Those are the things that make HBO strong and powerful as a brand”.

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BUYERS

m Go Jetters

“We are trying to create a family shared experience” Henrietta Hurford-Jones, Director of Children’s BBC Worldwide Content, explains the strategy of the company for one of the most challenging programming arenas: kids. She also describes the next steps for the CBeebies brand and its international expansion.

m Henrietta Hurford-Jones

H

enrietta Hurford-Jones, Director of Children’s BBC Worldwide Content, believes that kids all over the world can relate to the values of CBeebies, a BBC’s channel which is extremely popular in the UK. The brand is now trying to use that local status to expand itself into new markets, like the US Hispanic. Here, Hurford-Jones explains what strategy the brand has adopted to become global.

How would you describe CBeebies’ approach to kids?

“Preschoolers have no preconceptions, they are all trying to learn about the same things: what’s going on the world , the family, how to handle other kids, and emotions. What we are trying to do is teaching but not in a didactic way. Some of the shows are about science, technology or engineering, and some of them are pure entertainment with messages of social and emotional learning, like how

to get along in a preschool group or how to interact and learn about things. In the UK CBeebies has 98% recognition, so it is a huge channel. Part of that is because we do cater for all the different needs of preschoolers. We are trying to make this brand as good as it can be to engage different populations and audiences. We believe that the values of this channel are universal and that is something that all parents really want for their children”.

Do you think that this target has really changed during the recent years?

“Yes and no. Nowadays children have changed a lot compared to past generations. Of course, that has to do with communication and digital technology.

I think by the time a child reaches 5 or 6 years, we’ll lose them to YouTube or anything out there. But at home parents of preschoolers want to control what their kids are watching. And that it is much more difficult for something like YouTube, because a lot of parents still feel certain nervousness around how safe it is or what else might suddenly come up when the child is watching it. My belief is that when kids are 3 or 4 years old, parents are much more aware of where they are and what they are doing. What is interesting about CBeebies is that we still find older siblings watching these younger kid shows too. They won’t admit it, but secretly they really like them”.

How is your current strategy for kids programming on BBC? “We try to get a real balance. In the UK we are extremely established, but everywhere else we are just growing. One of the differences is that we have animation and presenters on screen, with local kids to host the shows. We have found that kids love watching aspirational kids, so we have quite a lot of 6, 7 and 8 years-old kids in live action shows that we produce. So we have some of those stapled BBC value shows, and we add the big animated franchises that we do. We are trying to create something that can be a family shared experience. Co-viewing in this age group is really important”.

What types of programs are you looking to develop?

“It completely depends on where we feel that there is a gap. That will change territory by territory, according to what local needs and likes are. We are always talking about how we can improve for all the audiences we target. We’ve focused mainly on Latin America lately. Now we are really focusing in a big way on US Hispanic. It’s safe to say that is our priority now. We really want to explore this market. It’s about working out what that really is and getting to the heart of that. We have to move in and experience a bit, and we are not scared of that”.

By Diego Alfagemez

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INTERVIEW

m Curvy Supermodel

“Game Shows Are Coming Back

To The Fore”

Avi Armoza, CEO at Armoza Formats, explains what every show needs to become an international hit, and describes how he chooses the right partner for each title. sometimes this will lead us to choose the production companies who have a particular expertise with relevant types of shows, niche broadcasters or the broadcasters with the most reach. Each format is treated individually and with a strategy tailored to it”.

m Avi Armoza

A

rmoza Formats is heading to Mipcom with a wide catalogue and a crystal clear focus: providing broadcasters with feel-good formats with strong dramatic elements. CEO Avi Armoza explains what every show needs to become an international hit, and describes how he chooses the right partner for each title.

How do you pick the best partner for each format?

“It’s not always about going for the biggest broadcaster or the one with the biggest budget, but rather identifying which one will give your format the best home. This is all part of our research when we start to sell a format, and

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How much the company is involved in international adaptations?

“Every audience is unique and requires its own adaptations. This is the first need to which a format should answer to. A key part of our expertise lies in understanding which format elements are adaptable and what are the cultural needs of different audiences, in order to MIPCOM HIGHLIGHTS •“Curvy Supermodel”: on air on Germany’s RTL2, looks to set more realistic standards in the discriminative fashion industry.

• “Born To Be A Chef": on air in TVA Canada, this cooking competition has two acclaimed chefs, each one leading a team of ten young apprentices to find the top talent.

• “The Ex Team”: factual entertainment show that helps one single guy looking to settle down to find love by bringing together 3 of his ex-girlfriends who will try to help him.

know how to adjust the relevant format elements to the culture. We also make sure to work in close cooperation with strong local production companies and broadcasters who also know what their audiences need and to give our partners the freedom to adapt when required”.

What should a format have to appeal global audiences?

“We always prioritize storytelling over international potential. It is important not to focus on creating a show that suits all audiences, but rather to focus on bringing out a strong story, in order to ensure that you don’t run the risk of including too many elements and losing the format’s authenticity. We first ensure that the format meets a real need, and is genuine and compelling for the local audience. The more local and specific the format is, the more universally relatable it will end up being”.

Is digital a must?

“I would not say that digital is a prerequisite. We, as creators, always have to remember that viewers are looking to engage in something they enjoy, so unless the interactivity will help their personal or social experience, they won’t want it.

The most successful interactive show will be the one where digital is part of the program’s DNA, conceived as part of the idea from beginning”.

What do you imagine will be the main trends next year?

“Some trends are coming back to the fore, in particular we are seeing a renewed focus on game shows. They are returning in many countries, including on prime time in the US, and we see from our varied offering of winning game shows that this is a wide-ranging trend. In addition, the search for winning prime time shows and finding the best ways of providing cross-platform content that broadcasters can monetize are still the focus of the industry, with broadcasters trying to bring viewers back to the screens and capture them across other platforms”.

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QUICKIES

“Love After Love”, the next release of Telefe

I

n 2017 Telefe will premiere “Love After Love”, a story of love and pain in two times, starring Mariano Martínez, Isabel Macedo, Eleonora Wexler and Federico Amador.

In “Love After Love”, the friendship between two married couples turns to be the prelude to a forbidden love.

The secret love between the lovers in the past will be mixed with the heartbreak of those cheated on in the present.

This 70 x 60´ telenovela is being totally filmed using 4K technology, resulting in a very high quality work, in

accordance with the demanding standards to insert the product in the international market, thus highlighting Telefe’s technical resources for this new challenge.

Besides, “Love After Love” will be an innovative experience in which the viewer will be able to go further from the main plot, which will spread along three different platforms and will allow users to be very much involved in the story.

The digital experience of “Love After Love” will have a blog and a series online with original contents that will show the audience

the same story from some characters’ points of view.

The main character on the series online will be Laura (Manuela Pal), the wife of Detective Godoy (Michel Noher). Laura is sunk into a very deep depression, but

she will find her way out of it when she begins to investigate one of her husband’s cases. She will carry out a parallel investigation, using her writer’s intuition, and she will do it behind her husband’s back. Laura will find one clue or piece of evidence per episode. The blog will have the format of a literary novel and it will be the space for Laura to tell this passionate story about the two lovers.

The “Feriha” phenomenon goes further

C

alinos Entertainment’s drama “The Girl Named Feriha” has had outstanding ratings in Latin America and, for International Sales Executive Emre Görentaş, that’s because “it is not a drama with hard ingredients; it touches people’s hearts because it is a love story based on white lies”.

During the first semester, Calinos sold this title to Telefe (Argentina), TVN (Panama), Wapa TV (Puerto Rico) and Pasiones (USA). And, in Caracol (Colombia), it has worked even better than other successful Turkish series such as “Fatmagul” and “1001 Nights”. Görentaş explained to Señal Internacional that the reason for that is that Latin American audiences are looking for great love stories with some conflicts. “Except religion and language, Turkish values are really similar to the Latin American ones, and that’s why our series are so successful in this region.

Audiences can find everything they’re familiar with, with better production quali-

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ty”, the executive assured.

Despite all Latin American countries have Turkish dramas in at least one TV channel, for Calinos the focus is now on Mexico and Brazil. Görentaş said that this region still has a lot of interest on Turkish dramas but, however, the boom is over. “When TV channels need to buy something they are checking so many ingredients, and now they know exactly what kind of Turkish dramas would be suitable for their audiences. Besides ‘The Girl Named Feriha´, we have also sold other series to Latin America that haven’t been broadcasted yet. The region has become one of the most important markets for us. When determining our strategy as a company, we’re thinking more about Latin America”, Görentaş concluded.

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PRODUCTION

m Supermax

An emotional bridge, from Brazil to the world

With “Supermax” and “No Tomorrow”, Globo goes forward on the path to becoming an international brand. Raphael Corrêa Netto, Executive Director of International Sales, analyzes the power of that strategy.

m Raphael Correa Neto

“

Supermax” is Globo’s new original series, the first one for the international market, and a high profile co-production, which also involves Teledoce (Uruguay), Mediaset (Spain), TV Azteca (Mexico) and TVP (Argentina). The series mixes reality show and fiction genres, and its plot follow 8 participants in a show hosted in a Maximum Security Prison.

“This show is pretty groundbreaking because of its original concept and also Globo’s production values aimed for the international market”, said Raphael Corrêa Netto, Executive Director of International Sales at Globo.

A very expert partner, Oficina Burman, was in charge of the production of “Supermax”, which began at Globo Studios in Rio de Janeiro and concluded in North Argentina directed by prestigious filmmaker Daniel Burman. “This is the first project in our strategic plan of turning

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Globo into a global brand. We have two clear goals: to expand our business relationships with foreign partners and to approach the creative Spanish-speaking talents”, Corrêa Netto assured.

However, “Supermax” is not the only title impacting the international market: The CW/CBS has adapted the fiction format “Como Aproveitar O Fim do Mundo” for the American market. Under the name of “No Tomorrow”, the series based on the Brasilian original was produced by CBS Television Studios and Warner Bros.

Television in association with Electus, with Ben Silverman (“Betty, la fea”, “The Office”, “Jane The Virgen”) among its showrunners. “It is a very interesting project which once again matches Globo’s creative strength, and connects with other environments, markets and realities. ‘No Tomorrow’ allows us to learn while promoting business and production models between us and the US market to see what kind of stories, ideas and

m No Tomorrow

resources we could use there in the future”, Corrêa Netto explained.

INTERNATIONAL GOALS Despite the adversities suggested by the international economy, just during the first semester Globo concluded 50 sales to 50 countries. And, thanks to the distribution of its international channel and dedicated networks, Corrêa Netto explained that today 35 million people are impacted daily

by Globo’s contents outside Brasil. “Those numbers show that our contents are still appealing for every country in the world.

Globo has managed to leave its footprint in the international market with a variety of contents, channels and experiences.

For example, we believe we can be leaders in Portugal’s Pay TV”, Corrêa Netto assured.

For the executive, Globo has a vital role: to be an emotional bridge for the Brasilian people outside Brasil. “With both titles, ‘Supermax’ for the Spanishspeaking market and ‘No Tomorrow’ for the English-speaking one, we are building a positioning for the future, because good stories can always travel.

Globo still has a huge growth potential, and we’re dedicated to expand that distribution. This year will end up with positive results, even better than last year”, Corrêa Netto concluded.

By Wanda Marzullo /senalint

BUYERS

Looking for Quality Contents and

m Pablo Corona

Groundbreaking Plots Pablo Corona, VP Programming and Acquisitions, explains why AMC Networks’ strategy is currently focused on finding titles which have, at least, the same level of production and investment as their own shows.

A

MC arrives at Mipcom with a solid idea related to its acquisitions: finding quality contents and groundbreaking plots. In an interview with Señal Internacional, Pablo Corona, VP Programming and Acquisitions for AMC Networks International Latin America, explained that the idea is to buy titles which are aligned with their current lineup of production. “Sundance Channel usually has titles from its own studio, Sundance Productions or AMC Studios, so I’m basically focused on European contents for Film&Arts and Europa Europa. Mipcom is the ideal market for those channels. But also I’m always seeking for new trends and possible adaptations that might become series for AMC”, Corona assured.

However, regarding the kind of content, the executive said he tries to keep an open mind. “I already have some negotiations in progress for particular contents

that I’ll finish at Mipcom. But, on the other side, I’m very open to see what’s new. Mipcom has a lot of screenings, so I’m really interested in finding out what’s beeing offered there”, he commented.

For Film&Arts and Europa Europa channels, Corona explained that is essential to find contents that have worked locally. “If a title has already aired in the UK or in markets like France, Italy or northern Europe, we always consider if it was succesful on that local screen, and also if it’s been acquired by other countries or platforms.

Our focus is to offer successful contents, whereas they are mainstream or specialized titles, which might work within Latin American audiences”.

BIG SHOWS Regarding the selection process for AMC, the benchmarks are “Fear The Walking Dead”, “The Night Manager”, “Humans” and “Halt and Catch Fire”. “We want series that

m Animal Kingdom

COMING SOON “Animal Kingdom” “11.22.63” “Ride With Norman Reedus” “Comic Book Men” “Humans” Season 2 “Into The Badlands” Season 3 “Fear The Walking Dead” Season 3

have at least that same level of production and investment, with renowned talents or stories that are different from anything else”, Corona claimed.

Nevertheless, the executive said that it’s not all about the content but also the timing: “It’s a combination of what we’re looking for, what we’re expecting for each channel and the date in which we’re expecting it. We need continuity for our lineup offer during the year, so it all depends on the existing opportunities, how each brand can leverage them and how they fit in our current offer”.

In the future, Corona said that AMC Networks’ strategy will be focused on films, because that’s a very strong asset for Latin American audiences; but mainly on their series. “AMC changed the way series were produced in the US, betting on titles as big as ‘Breaking Bad’, ‘Mad Men’ or ‘The Walking Dead’. Nowadays series fans know that AMC is a warranty, an added value and a referent in the industry. Our aim is to reinforce the brand offering quality contents with groundbreaking plots which are a 100 percent in line with what each of our brands promises”.

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QUICKIES

Unprecedented Titles from Telemundo for Mipcom

T

elemundo Internacional will present an unparalleled catalogue at the market, headlined by the production “La Doña: Lethal Beauty”, scheduled to release in the United States by end of year; the third season of the “Señora Acero” Super Series titled “The Acero Dynasty”; “Without Breasts There Is Paradise”, the sequel to the 2008 hit production “Without Breasts There Is No Paradise”; and the romantic comedy “Rich in Love”.

“La Doña: Lethal Beauty” is one of the main titles Telemundo Internacional will be promoting. The telenovela is starred by Mexican actress Aracely Arámbula and based on the acclaimed novel by Romulo Gallegos, “Doña Barbara”.

“The Acero Dynasty”, the Spanish language program leading ratings in the United States, presents the newest member of the Acero family, Vicenta Rigores.

Then, “Without Breasts There Is Paradise” stars Catherine Siachoque, Fabian Rios, Carolina Gaitán and Juan Pablo Urrego. The show continues the story of “Without Breasts There Is No Paradise”, and is produced by FOX Telecolombia for Telemundo. Also leading ratings in the United States, it has reached an audience of more than one million viewers’ ages 18 to 49.

Telemundo Internacional will also feature HBO Latin America Originals productions “God Inc.”, the drama that tells how a man discovers a dangerous sect and attempts to unmask the group before its following grows exponentially; and “Psi”, the adventures of a psychiatrist who has set out to explore the complexity of clinical enigmas and uncover the existential problems of modern life.

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IndiaCast expands its English and Spanish catalogue

I

ndiaCast is India’s first multi-platform ‘Content Asset Monetization’ entity, jointly owned by Viacom18 & TV18.

Internationally, the company has a portfolio of over 10 channels, including Colors, MTV India International, Rishtey, News 18, 5 Colors regional Services and ETV Telegu, which are viewed in over 80 countries as linear services.

With a content library of 30.000 hours across different genres, IndiaCast syndicate content in over 135 countries in 30+ languages, including Spanish, Hebrew, Russian, Serbian, Bosnian, Albanian, Macedonian, Croatian, Azeri, Kazakh, Swahili and English. Apart from television shows & series, they also have Indian feature films, both Bollywood and regional. On the domestic market, the company manages subscription & placement services for over 49 channels spanning genres including general entertainment (hindi & regional), kids, news (hindi, english, business & regional), music (hindi & international), infotainment, and movies (hindi & english).

For this year´s Mipcom, one of the main highlights of IndiaCast´s catalogue is “Balika Vadhu”, which is now available in English and Spanish. This story follows the life of child bride Anandi from childhood to adulthood.

Married at the tender age of eight, she was forced to accept and accustom herself to a family of strangers. Overnight from a carefree child she becomes a wife, a daughter-in-law and a responsible member of the family, leaving behind the innocence of her childhood. Another highlight for Mipcom will be “Uttaran”, also in English & Spanish, which spans the story of two friends from extreme and opposite backgrounds: Ichcha (the daughter of a maid) and Tapasya (the daughter of a rich man) become best of friends and, as destiny would have it, they fall in love with the same man.

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PRODUCTION

Argentina boosts its audiovisual industry Ralph Haiek, VP of the National Institute of Cinema and Audiovisual Arts, explains how the new public investment program will support local films, TV and Internet contents that seek expansion on the international market.

T

he new Argentinian Government brought huge news for the local entertainment industry with the launch of a public investment program (“Plan de Fomento a la Producción Audiovisual”) promoted by The National Institute of Cinema and Audiovisual Arts (INCAA), the Ministry of Culture and the Federal System of Media and Public Contents. Ralph Haiek, VP at INCAA, explained to Señal International that this new initiative will boost local fiction, docu-fiction, animation and web series. “It is part of a National Audiovisual Plan considered for a three-year period.

The idea is to turn INCAA into a public spot to promote content production focusing on assets that we already have: Argentinian talent, locations

and many production companies, which have different sizes and magnitude”, he began.

“The big challenge is to reach a wider market because, as many other sectors, the local television industry is not big enough. So we have to take a look outside the box and try to export these services and productions. That’s the focus

ARGENTINiAN PRODUCTION

$200 millions of public investment during the first year.

The plan will promote 116 projects: 62 for developing and 54 for production

of the plan: to take all current and future contents and boost national production companies to reach foreign markets”, Haiek added. That way, INCAA will support local initiatives with international appeal, from films to TV series and Internet contents.

BIG INVESTMENT The Plan’s initial investment will embrace $200 millions the first year, while the private sector is expected to add an additional $280 millions. However, one of the main differences between the new program and the old one is that, from now on, the Argentinian Government won’t finance 100% of the projects and retain 100% of the rights, as it used to be during the previous management of the National Institute of Cinema and Audiovisual Arts. “We believe that this change will be

m Argentinean President during the launch of the new national investment plan.

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m Ralph Haiek

more virtuous and sustainable over time”, Haiek stated, and explained that this new model will allow INCAA to support more projects and not only a few lucky ones.

The plan will promote 116 projects through contests: 62 for developing contents and 54 for production. The postulation of the ideas will be the same as it used to be: national production companies will sign in INCAA and introduce their projects, competing for the chance of national funding. “What we aim is that people who want to produce can do so with minimum conditions, and we estimate that this will create around 7600 jobs”, Haiek claimed.

Referring to the potential of the Argentinian industry, Haiek said that the country is one of the most active from Latin America. “As México and Brazil, Argentina has way more creativity and talent than money. One of our biggest problems is that our domestic market is not so vast, which affects distribution revenues and consumption. We believe that the new digital world will supply different solutions for this issue, and we will be able to classify according to where audiences are”, he concluded.

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QUICKIES

CONSTRUIR TV foresees a strategic change

C

onstruir TV is taking to Mipcom a solid catalogue with the main titles aired on its Argentinian channel during the first semester. Among the highlights are “Mi Primer Trabajo”, “Chacareras” and their big bet: “Trabajadores en Riesgo”.

Within the last few months Construir TV’s been focusing locally on contents with a social footprint, and now they’re also expanding that idea to their international business. And, during the next year, the company’s strategy foresees more changes.

“We’re currently producing six 13x26 series per year, but we’re going to reduce that to four series; the rest of the

budget will be used for making one-hour social miniseries and documentaries. We aim to give those productions more time, more resources and more investigation, thinking on the international audiences to upgrade our catalogue”, explained to Señal Internacional Executive Director Alejandra Marano.

“Our series are working well, but we would like to leverage more our narrative regarding the social elements. The work theme is pretty unusual; but the most distinctive thing Construir TV has, even beyond the contents, is that the channel belongs to a strong syndical organization (Argentinian’s UOCRA) and yet it doesn’t have a political view on the matter”, Marano stated.

For the executive, Construir TV aims to revalue the work culture and give a powerful message: countries and societies only evolve through a jointly effort. “There’s no other channel in the world which treats the subject this way and with an international view. We want the world to know that work is society’s basis, and that’s the most groundbreaking thing of our whole approach”, she concluded.

Injaus expands its international services

L

iterary Agency Injaus has expanded its services to offer customers more opportunities to work with its award-winning writers and projects.

And, internationally,

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the company has begun working with new territories that have discovered the high creativity of Latin American writers, such us Turkey, Spain, USA and Portugal.

Aditionally, Injaus has expanded its services to provide customers with a unique opportunity to work with authors interactively.

Thus, in addition to offering successful scripts for remakes and local adaptation, writers can work with producers directly to create new ideas, build stories and develop the final scripts. “Injaus is not looking forward to working as an agent for writers but as facilitator of the ideas flow that should exist between producers 2016

and creators. By not focusing on promoting specific writers, Injaus can offer its customers a more objective position to achieve the success on screen that everyone wants”, said Injaus’ President Pablo Orden.

The international

MIPCOM HIGHLIGHTS: ANGRY WOMEN (60x60’) THE LIONESS (60x60’) SOULLESS DREAMS (13x60’) THE BAD MAN (60x60’) DON’T MESS WITH MY BREASTS (26x30’) CONCEALED REVENGE (60x60’)

catalogue has more than 184 titles by authors from Mexico, Cuba, Argentina, Colombia, Venezuela and Spain. At Mipcom, Injaus will present a selection of almost 20 titles ready for adaptation in any territory.

Nowadays, the company not only offers classic telenovelas, but also teen series, sitcoms, comedies, super series, narco-stories and even sci-fi projects. /senalint

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INTERVIEW

m Arabelle Pouliot

“Formats provide a mirror on

who we are or what we aspire to” Arabelle Pouliot-Di Crescenzo, Managing Director at KABO International, describes the current needs of the industry around the formats business. Elements and details that make a show go global.

K

ABO International is the distribution arm for KABO Family, one of the leading production groups in France.

The company has a catalogue that includes shows like “Cops on the Block”, “Our Crazy Family”, “Ciao Darwin”, and “Who’s Who?”. Towards Mipcom, formats sales are one of its biggest focus; and Arabelle Pouliot-Di Crescenzo, Managing Director at KABO International, describes that strategy.

What is the international potential for formats business?

“The format’s business is going from strength to strength. Formats that tend to succeed, those most in demand by broadcasters, are scripted, game shows, and prime time shiny floor entertainment shows.

One element of a format that is currently of great importance to almost all broadcasters around the world is co-viewing.

There is a lot of demand for formats that can attract a broad range of demos. Broadcasters are interested in acquiring formats with a recipe that is proven to be successful and this will not change especially in an increasingly competitive market place”.

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How the company does react to that particular global trend?

“This is why we acquired the formats ´Who’s Who?´, the entertainment gameshow produced in 10 countries, and ´Ciao Darwin´, the blockbuster prime time entertainment format from Italy, because they have a great track record in attracting a large audience, young demographics and great international appeal”.

What are the main elements for a scripted show to be successful?

“They key ingredients for global expansion are: a new creative voice and at the same time the reflection of human experience and deepest aspirations, and ideally should have success in its home country.

It’s also important to find new ways of combining genres, or reinventing an existing genre. We have done this with our SCRIPTED HIGHLIGHTS •“Cops On The Block” (19 x 44’), a brand new scripted comedy format that was commissioned

by M6 France.

• “Our Crazy Family” - Season 5 has over 200 episodes of 30 minutes.

parent company KABO Family’s in-house production ´Our Crazy Family´. This is an example of a scripted comedy format that has revolutionized and modernized the sitcom genre by offering a unique and highly successful Pick’n Mix format that provides licensees with over 3,500 scripts enabling them to customize their episodes and combine these scripts in any order”.

It is more difficult to work out these concepts for scripted formats?

“You need a strong idea, preferably with a new or clever twist; and success in its home territory, preferably on a major broadcaster and in a strong slot. Then you need lots of episodes; and high production values. In order for a format to be exported successfully, it must be original and importantly it must have at its core a universal story, a raison d’être that resonates and speaks to our human experience on a deeper level. Not all great shows end up as great formats. The shows that become great formats travel because they provide a mirror on who we are or what we aspire to. ´Our Crazy Family´ is on air in Greece on Star TV and also in development in other four countries. It is a great example of a format with a new voice which appeals to today’s audiences and at the same time deals with universal themes like family life we can all relate to”.

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PHOTOGALLERY

NATPE EUROPE The market returned to Budapest to demonstrate its continued belief in the strength and growth of the Central & Eastern European region.

Sold-out viewing boxes, and outstanding meeting tables.

/02

/01

/03

/05

/04

/06

/07 NAMES:

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1. Can Okan (ITV INTER MEDYA), Nele Paves (KANAL 11 Estonia), Amos Neumann (ARMOZA FORMATS) y Girts Licis (MODERN TIMES GROUP).

2. Mario Cerna y Maria Cantalapiedra (ITV STUDIOS) 3. Gordan Bobinac (KIP) y Lina Wacked (RCN) 4. Margherita Zocaro (RAI) 5. Elisa Aquino (UNIVERSAL CINERGIA) y Cristobal Ponte (CISNEROS) 6. Esther Agraso (IMAGINA) 7. Kai Gahler (KANAL 2 Estonia) y Nele Paves (KANAL 11 Estonia) 8. Aysegul Tuzun - Beyza Nur Torun (MIST) 9. Kaia Romer (FREMANTLE)

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NATPE EUROPE

PHOTOGALLERY

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/11

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/13

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/15

/16

10. Hamdi Rashiti (ALSAT Macedonia), Handan Ozkubat, Fredrik af Malmborg y Barbora Susterova (ECCHO RIGHTS) 11. Naomi Koh y Robyn Hurd (A+E) 12. Sonal Gupta y Debkumar Dasgupta (INDIACAST) 13. Ahmet Ziyalar, Leyla Apa, Bea Esteruelas y Can Okan (ITV INTER MEDYA) 14. Francisco Villanueva (SOMOS) 15. Marcel Vinay (COMAREX) 16. Melissa Pillow (TELEMUNDO) 17. Müge Hanilci, Emir Duzel and Yasin Emin Elmacı (ATV)

/17

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PRODUCTION

A New Player Hits the US Market An experienced trio of TV executives had the revolutionary idea of identifying Latin American contents for US adaptations and, therefore, they’re also trying to make a point: Latin America’s potential is no longer just telenovelas.

W

hen it comes to talent, old school style is not always the best, and Crossover Entertainment knows that. The Los Angeles based production company started its business three years ago, when TV and movies actor Jaime Aymerich and his agent George Salinas decided to support Latin American talents and started up an unconventional business: identifying and packaging Latin products for American audiences.

Aymerich, now Crossover’s President, explained to Señal Internacional that he knows the Spanish market, whereas Salinas, current COE, handles the US local business. “We were able to leverage and understand both sides: English and Spanish contents within the TV environment. We started helping out talents and then we decided to start looking for stories to produce in English in the US”, he said.

For that goal there is a third member of the team: Carolina Vargas, the executive in charge of checking stories from all over the world, and selecting the ones which might have potential for the American market. Then, the next step is taking them to the most influential American players and, so far, the company has placed 5 formats: two for FOX, two for CBS and one for Lionsgate.

Despite that usually it all works the other way around (American contents are sold to Latin American markets), the trio identified a huge potential for those

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m Carolina Vargas, George Salinas and Jaime Aymerich

Latin titles within the US, mostly due to the lack of domestic contents to supply the local demand. “The American market has so many channels, so there’s a lot of demand and not a lot of supply.

Studios are lacking of good stories; they need things that are different. And this is where Crossover Entertainment comes in and fills in those worries.

What’s so great about what we do is that we get new TV series and put a great show with the right producer, so we can adapt something that’s been already proven. A bunch of studios are looking for fresh new ideas and that’s how we command: filling those holes”, Salinas assured. “Latin American talents are very creative, so this region is a rich source of contents”, Vargas added.

QUALITY FIRST Regarding the kind of genres and

CROSSOVER’S IN USA •"La Hipocondríaca” - Caracol’s original series sold to FOX with Julie Bowen (Modern Family) • "El Clan" – Telefe’s original title sold to Fox, in an adaptation by Dimitri Lipkin.

• "5 Viudas Sueltas" – Caracol’s original series sold to Lionsgate.

• A Portuguese format sold to CBS. • Their first film, about human traffic, already in production.

stories, the only demand from the US companies is that the content must be outstanding. “We’re looking for good stories, whereas they’re dramas, comedies, thrillers, everything. We’re very open because the most important thing is finding good stories and strong characters with a good development. Americans love lawyers, police and doctors’ stories, but we’re open to good contents which might have something strong, something trendy or something particularly appealing for the US market. Latin Americans are no longer defined only by their telenovelas but for new formats which are catching Americans’ attention”, Vargas explained.

Therefore, when it comes to strategies, Crossover Entertainment guarantees that contents have all the power. “Stories need to have a hook, something unexpected or something we’re not used to see. We, as producers, need to focus on finding good stories, and we’re happy to help Latin Americans to reach the international screen, which is Hollywood”, Aymerich summarized.

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TV in NUMBERS

Insight Data to Understand Current and FutureTrends

THE FUTURE OF PUBLIC BROADCASTING Top 10 Public Broadcasters Ranked by Public Revenue 5056

4807 2553

2334

1820

1570

BBC

NHK

France TV

Doordarshan

ZDF

Rai

CBC/SRC

ABC

729

ARD

756

Deustchland

UK

Japan

France

India

Deustchland

Italy

Canada

Australia

24

7010

22

6010

20

5010

18

4010

16

3010

14

2010

12

1010

10 2011

BBC1

2012

Rai 1

2013

France 2

2014 Das Erste

China

Comparison of Annual Revenues 2014 vs 2015 (¤m)

Average Audience Share of Flagship Channel (%)

2010

676

SRG SSR

5769

2015

10 BBC

ZDF

ARD Public

France TV Advertising

Rai Other

Public Funding Per Capita (2015,¤) 140,00 120,00 100,00 80,00 60,00 40,00 20,00 USA Brazil New Zealand South Africa India Taiwan Poland Latvia Bulgaria Lithuania Romania Turkey Spain Malta Macedonia Greece Serbia Hong Kong Korea Hungary Slovakia Portugal Czech Republic Estonia Cyprus Israel Canada Italy Netherlands Australia Japan Croatia Slovenia France Belgium Ireland Sweden Iceland UK Switzerland Austria Finland Denmark Germany Norway

0,00

Source: The Future of Public Broadcasting: Funding Strategies From Around the World - IHS Technology TV Intelligence

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