ttv //.APRIL /Nº63 / MIPTV 2011

Contents

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Special Report AUDIOVISUAL PRODUCTION IN CHILE

In Good Shape _/14

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ttv ©2011

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Gallery

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NATPE 2011 _/30

January 24-26, Fontainebleau Resort, Miami Beach, US

Interviews Original Production in Your Language _/12 Kees Abrahams, President of International Production at Sony Pictures Television

Business is Changing _/20 Avi Armoza, CEO of Armoza Formats

Constantly Expanding _/24

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Marcos Santana, President of Telemundo Internacional

Raising the Stakes in Co-Production _/28 AngĂŠlica Guerra, International VP at Caracol TV Internacional

Bringing Brands to Life _/32 Matteo Corradi, SVP of Sales & Board Member at Mondo TV

Dori Media Everywhere _/52 Nadav Palti, CEO of Dori Media Group

An Oscar-Winning Strategy _/54

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Stories of Blood and Sand _/58

ttv Special: Telenovelas

A Business Based On Collaboration _/60

Production: Beyond the Telenovela _/40

TomĂĄs Darcyl, President of Grupo Telefilms

Carmi Zlotnik, Managing Director of Starz Media

Stephen Flint, Director of Operations, Worldwide Entertainment at FremantleMedia

Special Report

The Art of Producing _/44 Peter Tinoco, President and CEO of Venevision Productions

ttv ©2011

PRESIDENT / CEO Sebastian Lateulade EXECUTIVE DIRECTOR Soledad Saldías OPERATIONS DIRECTOR Rodrigo Ros SALES AND PRODUCTION MANAGER Dario Aleman EDITORIAL MANAGER Sebastián Amoroso EDITOR Stephanie Biscomb EDITORIAL TEAM Sebastián Torterola Josefina Mezzera Regules IT MANAGER Alejandro Barros IT ASSISTANT Ricardo Pereira DATA OPERATIONS Fernando Moreno Webmaster Nazario Pereira TRANSLATOR Josefina Caviglia FINANCE MANAGER Cr. Michel Schwartz MANAGEMENT Mónica Iriarte ART & DESIGN Unik design info@unikbureau.com www.unikbureau.com Headquarters Aguada Park Paraguay 2141 Of. 403 Ph./Fax: (1) 305 4792772 Montevideo - Uruguay CP 11800 ttv is a monthly publication owned by TodotvMedia. Its distribution is free of charge. The articles reflect the opinions of the individual authors on the topics covered, without implying editorial control or endorsement of the content by the management and ownership of the magazine.

For all purposes, the advertisements and their content are the sole responsibility of the advertiser. Reproduction in whole or in part, in electronic or print form, of the content of this publication, without express written permission of TodotvMedia is strictly prohibited.

6 TTV MAGAZINE

ANNIVERSARY Venevision Turns 50 “God bless you here’s for 50 more,” Gustavo Cisneros said before those present at the cocktail reception held at the Eden Roc hotel on the shores of Miami Beach. The event served as a prelude for NATPE 2011 and was attended by the cast of Venevision’s latest telenovela, ‘Eva Luna’, as well as associates and clients from the company Cisneros leads. Venevisión first started operating back in 1961. Today it is a global entertainment company and its original productions are present in over 104 countries. It owns two major production studios, one in Caracas (Venezuela) and the other in Miami (US). It has also become one of the leading audiovisual content suppliers for the US Hispanic market, with its productions broadcasting on Univision and a wide range of business units: Venevisión International Films, VeneMusic, Siente Music, Venevisión International Publishing, Vene Show, and its latest projects on the Web and mobile market, LatCel and Venevisión Mobile.

LATIN AMERICA

CHILE

With an investment of nearly US$10 million, the company expects to hit hard on one of its main markets: Colombia. Felipe Urdaneta, general manager of Nielsen Colombia, told ttv that “after thoroughly studying our position in the region, we realized it was time to get back to where we were.”

The multinational company is now planning its comeback and aims to become the industry leader. “We bring an innovative project, supported by cutting-edge technology and an experienced crew of technicians. In fact, at this very moment the business is being put in operation,” the executive said. According to Urdaneta the plan is to be operative in the next 4 to 6 months. “First we need to select the master sample and once we close the agreements we have negotiated, we’ll be ready to provide our services. First we’ll do so here in Colombia, where we are in talks to seal a number of deals,” he said. The company’s client base will include all networks operating in the local and international market, as well as advertising agencies, media agencies and some product makers who wish to get first-hand market data. “One of the greatest challenges is to provide a detailed analysis on technology improvements and emerging windows,” Urdaneta said. “Now, we know from the experience of our offices in Europe, for example, what type of information and technical and technological requirements we need. And we are seeking to bring exactly this experience to Latin America.”

Chile’s National Association of Television (Anatel) believes that DTT could reach 90% of the Chilean territory in the next three years. This union brings together the seven broadcast TV channels operating in that country. According to Anatel, the Chilean television industry is ready to complete the transition in less than five years time, which coincides with what the government had estimated. “The simulcast period can be made shorter,” the project manager of Anatel’s digital television program, Juan Agustin Vargas, told the local press. According to Vargas, 250 broadcast stations need to be built all across Chile. Anatel’s analysis says that 50 stations would be required to reach 90% of the territory and the rest would be necessary to bring the signal to remote areas. About US$50 million would be required for this project. “It will receive funds from everybody because the alternative was to do it each one on its own but that would rise up costs,” he said.

Nielsen to Offer Audience Data Once Again

Channels Ready for Digital Transition

NEWS

MEXICO

Enough Space for Two More Channels, Cofetel Says The Mexican television market could take a significant turn in the next two or three years if additional operative licenses are granted to two new broadcast channels. This is the main conclusion in an availability study commissioned by Mexico’s regulating authority, the Federal Telecommunications Committee (Cofetel). As stated by Mony de Swaan, chairman of Cofetel, the license bidding and awarding process could take from 13 to 18 months.

Telecommunications specialist Gabriel Sosa Plata believes the process could be completed during the first half of 2012. This is when recipients should set their investments off to compete with major Mexican networks Televisa and TV Azteca. According to IBOPE figures from 2010, Mexican broadcast television enjoys an 89.9% penetration rate and reaches more than 13 million homes, taking US$5 billion of the annual ad spending pie. Out of the country’s overall TV ad spending, 70% lands in Televisa while TV Azteca takes the remaining 30%.

APPOINTMENT Carlos Alejandro Pérez Dávila is Caracol Televisión’s New President Caracol’s Board of Directors appointed Carlos Alejandro Pérez Dávila as the Colombian channel’s new president after Paulo Laserna Phillips’ resignation. Pérez Dávila is an economist and a political scientist. He holds a Master degree from the University of Cambridge in the UK and has worked for international investment companies Goldman Sachs and S.G. Warburg in the past. The executive had been working as one of the directors of the Santo Domingo group for

APPOINTMENT

Celso Teixeira Appointed National Communications Director at TV Record Brazilian broadcaster TV Record announced the appointment of Celso Teixeira as the company’s new national communications director. Teixera was Record’s communications manager since 2009 and was in charge of the development and optimization of the company’s communications structure.

This is where the broadcaster tends to the press, collaborators and its viewers. A graduate from the Casper Líbero University, Teixeira studied journalism during his postgraduate studies in Spain’s Navarra University. During his 25 years in the business, the newly appointed national communications director worked with SBT and Record. He travelled to 45 countries covering shocking news from all over the world.

He lived in Brasilia from 2006 to 2008, where he worked as a journalist in news show ‘Jornal da Record’ and hosted Record News’ ‘Brasilia ao Vivo’.

several years now and is currently the president of the company’s Board of Directors. “Thanks to Paulo’s commitment to Caracol Televisión, we are now unquestionably recognized as a creative, independent, balanced and

above all trustworthy media outlet,” the new president said. “Caracol will continue with its leadership dynamics in both production and programming of national and international television. It will also continue to strengthen its position among the new platforms that the most cutting-edge technology offers, as well as the channel’s growth and internationalization processes, confirming the Santo Domingo group’s commitment to the company.” Paulo Laserna will continue to be part of Caracol’s talent as partner of the Santo Domingo group in a content production company working for Canal Caracol and the television industry. He will also continue to be in charge of Colombia’s successful adaptation of ‘Who Wants to Be a Millionaire?’ and other journalistic programs.

COLOMBIA ‘Protagonistas de Nuestra Tele’ Becomes Hit Reality Show ‘Protagonistas de Nuestra Tele’ has exceeded the success of previous editions to become the highestrated reality show in Colombian history. The grand finale of ‘Protagonistas de Nuestra Tele’, won by María Angélica Salgado and Cristian Suarez, achieved 21.8 rating points and 54.7% market share. The fourth season was entirely produced in Colombia under the content direction of Promofilm US. It was produced

by RCN Televisión and earned an average rating of 17.3 and 45.5% market share. The same results were yielded by its weekly special emissions on DIRECTV Latin America’s ON DIRECTV channel, recording a 15% increase over the channel’s average ratings. The program also recorded a good performance in product placement with brands like P&G, LG and KIA among others. The show managed to attract over 2.5 million audience votes.

SPAIN TV Ad Spending Grew 3.9% in 2010 Spain’s ad spending on traditional media grew by 3.9%, according to Infoadex’s ad spending report in Spain for 2010. According to this report, estimated real investment nationwide on broadcast TV amounted to almost 2.2 billion euros, 2.3% over the almost 2.1 billion recorded last year. Regional broadcasters concentrated 272.6 million euros of overall investment, growing 14.7% compared to the 237.7 million euros invested in 2009. Pay TV received 65 million euros last year, 30.1% more than in 2009. Ad spending on the Internet sector rose a remarkable 20.7%. Yet, the most growth was reported by the film industry, with investment climbing to 58%. Still, newspapers continue to report a drop in ad spending, 4.2% less than 2009’s investment. Ad spending in magazines fell by 1%.

APPOINTMENT

Robert Bakish Named President and CEO of Viacom International Media Networks Viacom, the company behind BET Networks, MTV Networks and Paramount Pictures, appointed Robert Bakish as the new president and CEO of Viacom International Media Networks. From his new role, Bakish will be in charge of supervising all of Viacom Media Networks’ properties outside the US, including MTV Networks International, BET Networks’ international channels and Paramount’s non-premium brands.

Bakish will continue to work as Chairman of Viacom 18 -the company’s joint initiative in India-, and as a member of Viacom’s committee with BSkyB and Telecom Italia Media. From his office in New York, Bakish will report to the chairman and CEO of MTV Networks Judy McGrath, the chairman of BET Networks Debra Lee and Brad Grad, chairman and CEO of Paramount Pictures. “Developing our international business is our upmost priority and Bob is the ideal choice to lead global change in Viacom’s media network. During his 14 years at the company he’s shown he’s a great strategist and an incredibly capable operations manager. Bob has worked in different leadership roles in our company, including his most recent as president of MTV Networks International. There, he led his team to revitalize our creative production and increase our financial performance. His ample experience in different geographical locations and his understanding of the complexities of global markets will let us search for new expansion opportunities,” said Philippe Dauman, presidente y CEO de Viacom.

VENEZUELA Government Bans More Colombian Content on Private TV Venezuelan telecommunications agency Conatel ordered the private TV broadcaster Televen to “immediately” suspend broadcasts of the Colombian telenovela ‘Chepe Fortuna’ and the game show ‘12 Corazones’, saying they were “degrading” and obscene.

Conatel reported on its website “upon careful analysis, it was found that this content promoted political and racial intolerance, xenophobia and incitement of crime.” ‘12 Corazones’, a dating show broadcast on Televen in the 7:00 PM slot, “exhibited indecent behavior and obscenity, taking love relationships down to mere genital affairs, showcasing women and men as objects,” Conatel said. In the RCN telenovela ‘Chepe Fortuna’ a character known by the name of “Venezuela” is associated with “criminal activities, intervention and vulgarity,” Conatel said. Televen, which has not commented on the decision, removed both programs. This is not the first time that the Venezuelan government intervenes on private channels. In October 2010, Conatel ordered ‘Don Pedro: Story of a Drug Lord’ and ‘Rosario Tijeras’, two Colombian telenovelas on drug trafficking broadcast by Televen and Venevision, to be taken off the air.

BRAZIL Advertising Market Grew 20% in 2010 Brazilian advertising spending grew by an estimated 20% in 2010, according to preliminary data released by Ibope Monitor. Overall gross revenue was US$46 billion between January and November 2010, confirming the country’s growing trend. Young&Rubicam was the top-ranked agency with revenues of US$3.1 billion, closely followed by JWT and Almap BBDO, WMcCann, Euro RSCG Brazil, BorghiErh Lowe, Africa, Z Mais and DM9DDB Neogama.

BRAZIL Casablanca Leads in 3D Capacity Brazilian production company Casablanca aired the inauguration of Brazilian President Dilma Rouseff in HD and 3D on January 1. Casablanca used 14 HD mobile units to record the event for national and international broadcasters.

What’s more, it used nine 3D cameras to capture unique 3D scenes for a special program showing Luiz Inacio Lula da Silva as he ended his eight-year reign as president. Casablanca executives Arlette and Pedro Siaretta attended the event with representatives from all over the world.

ADVERTISING Festival of Media Global 2011 Opens Registrations Organizers of the Festival of Media Global Awards announced the opening of entries for its third edition, to be held in Switzerland on May 8-10. They expect to receive hundreds of submissions of creative campaigns from the global media industry. Sixteen prizes will be awarded including in three new categories: social strategy, media efficiency and use of emerging technologies. Over 600 submissions from 45 countries were entered in 2010, with eight of the countries submitting campaigns for the first time. “As the media industry recovers, we hope to have more participants at the Festival of Media Global Awards in 2011. With new formats such as the iPad and a greater commitment with social media in 2010, we’re sure that we’ll see new and innovative things,” said Charlie Crowe, founder of the festival and CEO of C Squared. The awards will be handed out by over 40 industry professionals. Marketing executives for ABInBev, Cisco, Coca Cola, Ericsson, HSBC, Nestle, Philips, Reebok, Unilever and Volkswagen have joined forces with traditional and independent agency reps to carefully select annual winners since 2009.

TTV MAGAZINE 9

NEWS

APPOINTMENTS

Rive Gauche Seeks to Expand its Business From its headquarters in Los Angeles, Rive Gauche Television, a company dedicated to production, co-production, acquisition and worldwide distribution of films and TV programming, announced it has expanded Marine Ksadzhikyan’s global sales role and promoted two of its executives. Bryan Gabourie is now the company’s new director of international sales while Julie Pifher was promoted to manager of development and acquisitions.

Ksadzhikyan, VP of international sales at the company, has expanded her portfolio and will now handle key international territories such as France, Italy, Benelux, South Africa and Scandinavia.

Bryan Gabourie will be responsible for driving Rive Gauche’s sales initiatives in Central and Eastern Europe, Asia and the Middle East. He will work with Marine Ksadzhikyan and Tomas Silva, reporting to CEO Jon Kramer and the company’s president, David Auerbach.

Gabourie joined the company’s sales team in 2010, serving as sales analyst responsible for providing research and market analysis for the entire team.

In her new role, Julie Pifher will help coordinate Rive Gauche’s development, acquisition and marketing activities.

She will focus on developing new formats and marketing materials as well as monitor the company’s current productions. Before joining the Rive Gauche team in 2009, the executive worked in development at GRB Entertainment and also produced two documentaries that were selected for the Cannes Film Festival.

CO-PRODUCTION DMNLA and TV Azteca Confirm Production of ‘A Corazón Abierto’ for Mexico TV Azteca and Disney Media Networks Latin America (DMNLA) are getting ready to launch their latest adaptation, ‘A Corazón Abierto’, an adaptation of the hit series ‘Grey’s Anatomy’ by Disney’s ABC Studios. “We are very pleased that Azteca 7 has joined Disney Media Networks Latin America’s most successful project to date. This production will be something new and fresh for the Azteca 7 audience,” said Fernando Barbosa, SVP of distribution and production at DMNLA. Produced by Vista Productions for TV Azteca, the Mexican version will follow the lives, emotions and stories of doctors working at a hospital. ‘A Corazón Abierto’ will be directed by acclaimed director Raúl Quintanilla and shot in HD. The adaptation, inspired on the original’s format and scripts, was supervised by screenwriter Fernando Gaitán, author of ‘Yo Soy Betty, la Fea’ (‘Ugly Betty’) and ‘Café con Aroma de Mujer’. The show is a “superseries” made up of 80 daily episodes.

‘A Corazón Abierto’ also features a first-class cast with long careers in the industry, including Ileana Fox, Sergio Bazan, Fabiana Persabal, Rodrigo Abed, Fran Meric, Adrian Rubio, Luis Ernesto Franco, Laura Palma, Carmen Madrid, Luis Miguel Lombana, José Carlos Rodríguez and Angélica Aragón.

CHILE Chilevisión Starts Building New Operations Center Chilevisión will start building a new operations center at the former Machasa factory in April.

The private channel will later move all of its facilities from their four current locations to the new center, which should be operative by mid-2012. Construction will take about 11 months and conditioning the property will take another four. The project includes an office building, a press building, two studios and production facilities, as well as three additional studios in a 55,000 m2 (538,196 ft2) lot. This initiative will allow the channel to stop using the Chilefilms and Exequiel Fernández facilities, saving on rent. Jaime de Aguirre, executive director of Chilevisión, said the move will improve the channel’s operative efficiency. He also said Chilevisión will put the Inés Matte Urrejola facilities up for sale, noting that a housing project or a university could easily be developed there. The property extends for about 10,000 m2 (107,639 ft2) and is located in one of the most valuable areas of the Providencia community.

URUGUAY Local Project between Sony Pictures Television and Canal 10 Uruguayan broadcaster Saeta - Canal 10 partnered with Sony Pictures Television (SPT) and Daniel Gutman’s Pow Wow Media Partners to produce ‘Dance!’, the most ambitious fiction project ever made in that country. The 80-episode kids & teens fiction will require an investment of around US$5 million and the work of a team of 180 people. A 1,000 square meter (10,763 ft2) complex is currently being built for this production. According to Luis Castro, programming manager at Canal 10, the production featuring an international cast is set to premiere first in Uruguay on Canal 10 and later on SPT, both in the region and in the US. ‘Dance!’ will begin shooting in April under the direction of Martin Mariani (‘Flinderella’, ‘Teen Angels’, ‘Rebel’s Way’) and scripts by Patricia Maldonado (‘Tiny Angels’, ‘Rebel’s Way’). “We are very excited. This is the largest television project that has ever been made in Uruguay,” Luis Castro said.

EXECUTIVES

Original Production in Your Language

Sony Pictures Television is ahead in the TV battle. Its troops have conquered key territories, its combat units are versatile and its weak flanks are protected. The company’s best weapons are its “glocal” formats: titles like ‘The Dr. Oz Show’ or ‘Dragon’s Den’ can be adapted in any of its production hubs, from California to Rio de Janeiro and from London to Beirut.

In charge of International Production, Kees Abrahams explains the opportunities for local-language productions around the world.

By Sebastián Torterola “There are tremendous opportunities and a growing appetite for local-language productions around the world.”

Positioned in this landscape and thinking about global viewers, Sony Pictures Television (SPT) brings different content to each market. “There are tremendous opportunities and a growing appetite for local-language productions around the world,” Kees Abrahams, president of

“Most recently, SPT established a new production company to serve the Arabic speaking market. SPT Arabia has offices in Cairo, Beirut and Dubai.”

The Dr. Oz Show Chinese version Genre: Talk show

12 TTV MAGAZINE

I

t’s hard to say if being a major like Sony makes work easier or harder. On the one hand, budgets are more accessible, resources are many and possibilities are only limited by the imagination. Well, and by profits too. On the other hand, there is pressure and the need to fulfill the audience and quality expectations put in a big project.

There is also a permanent demand for territorial expansion that makes the business even more complex: audiences and cultures multiply and you have to furiously compete in dissimilar markets.

international production at SPT, tells ttv. The company, mostly recognized worldwide by its hit US series, looks to cover as much content categories as possible. “We have several projects underway around the world. Suffice to say, our production efforts this year will include a mix of sitcoms, telenovelas, dramas and light entertainment formats,” he adds.

In this regard, formats continue to be the best way of conquering new markets and consolidating successful screens. Abrahams highlights SPT’s flexible production model, both financially and in terms of original content. “Our wide diversity of formats creates compelling viewing that adds value to broadcasters’ schedules. From edgy original concepts to unique financial models, we’re introducing innovative new ideas,” he says.

The company’s formats vary by region: from popular comedies in Russia to original dramas in Latin America. “Talk shows like ‘The Dr. Oz Show’ in China and light entertainment formats such as ‘Dragons’ Den’ in the UK generate stellar ratings,” the executive says.

SPT produced 6,280 hours of original programming or approximately 100 shows (including light entertainment productions in the US) in 2010. According to Abrahams, the key to local success in each international territory depends on the relationships the company holds with strategic partners.

“We seek production partners who can communicate often and honestly, truly collaborate on the creative and operational levels and give us a chance to work together and resolve challenges, both foreseen and otherwise,” he says.

Kees Abrahams,

PRODUCTION HUBS. Some years ago, SPT adopted a guideline axiom for its business: local production plus audience identification is equal to success. In this way -and as many other great players- the company started settling offices and acquiring production houses in various companies. In Latin America, SPT acquired 51% of production company Teleset in Colombia, a successful operation in the region that opened new doors for regional local production. Sony also acquired Brazilian production company Floresta in July 2010. Floresta became the exclusive representative of SPT’s extensive TV entertainment formats portfolio in the country.

“We are very excited about the futures of Teleset and Floresta. Teleset remains one of the few production companies in Latin America with a proven and ongoing record of both scripted and light entertainment production.

Teleset has produced ‘Isa TK+’ for Nickelodeon, ‘Rosario Tijeras’ for RCN and ‘Niñas Mal’ for MTV while at the same time, making ‘Hole in the Wall’ and ‘X Factor’ for RCN. Meanwhile, Floresta is opening new doors for us in Brazil and both companies are positioned to bring a bevy of exciting, innovative and profitable television production for us,” Abrahams says.

These operations are a sample of why Latin America is important to SPT’s global strategy.

“Latin America offers a unique mix of talent, both behind and in front of the camera, competitive cost structures, inquisitive producers, infinitely variable landscapes and cityscapes, and, most importantly, broadcasters committed to the best possible storytelling to surround their ad breaks and drive their subscription base,” the executive says.

Yet SPT’s production hubs aren’t just limited to the Latin American content. The Arab world, for instance, has a lot of potential and the company has taken care of those audiences too. “Most recently, SPT established a new production company to serve the Arabic speaking market. SPT Arabia has offices in Cairo [Egypt], Beirut [Lebanon] and Dubai [UAE] representing SPT’s extensive catalog of scripted and non-scripted programming to broadcast clients in 22 countries spanning Iraq to Morocco,” Abrahams points out.

President of International Production at Sony Pictures Television

“Compelling content brings platforms to life and with so many options available to the viewer, the best content gets the most traction.”

THE YEAR AHEAD. The year 2011 is mostly defined by the TV industry with expressions like “improving world economy” and “strengthened industry outlook”. Despite the global economic recession, last year wasn’t bad for business so it’s hard to imagine a negative atmosphere looming in the months to come. Of course, much of this depends on how each move is played.

SPT remains faithful to one concept.

“Compelling content brings platforms to life and with so many options available to the viewer, the best content gets the most traction,” Abrahams explains. This means it’s senseless to cover every platform without proper content quality. And, certainly, the company’s quality productions enable it to cover a few. “We take a 360 degree approach that capitalizes on several platforms that are available to us. ‘Who Wants to be a Millionaire?’ is a great example as it extends to iPads and iPhone applications, mobile apps and other gaming platforms. 2010 was a challenging year for everyone with the global economic pressures but it was also a great year for television. I, for one, am very optimistic and excited to see what this year brings,” Abrahams concludes. ttv

BRAZIL’S FLORESTA One of Sony Pictures Television’s latest operations in original production was the acquisition of Brazilian independent production company Floresta, which became the exclusive representative of the company’s extensive TV entertainment format portfolio in the country.

SPT’s slate includes classics such as ‘Who Wants to Be a Millionaire?’. Interviewed by ttv, Elisabetta Zenatti (Floresta’s executive director) said: “We will put a lot of effort in ‘The Dr. Oz Show’, a format that has had much international success. We will also develop online fiction series aimed at young audiences, such as ‘Isa TKM’. I would also like to make a sitcom like ‘The Nanny’, because the weekly series is a genre that is just now taking shape in Brazil.”

A NEW HEAD FOR LATIN AMERICA Last month, Kees Abrahams announced the appointment of Donna Cunningham as the company’s new managing director and executive vice president of production for Latin America/US Hispanic. The executive’s new role will be oriented to oversee the company’s production business in the region, including operations in production companies Teleset (Colombia) and Floresta Productions (Brazil). “Donna is a seasoned global television executive who understands our business from the ground up and has a proven track record working with talent and broadcasters,” Abrahams said on the occasion.

Previously, Cunningham was executive vice president of operations for international production, where she headed global operations, strategic planning and business affairs for SPT’s international production group.

TTV MAGAZINE 13

SPECIAL REPORT / AUDIOVISUAL PRODUCTION IN CHILE

InGood

Shape > By Sebastián Torterola and Sebastián Amoroso Under the shadow of other betterknown Latin American production markets like Argentina, Mexico and Brazil, the Chilean audiovisual production sector has garnered international interest due to its technical and artistic standards.

In the following report, ttv outlines a complete picture of Chile’s original content production and its potential worldwide.

Fuga Year: 2006 Genre: Drama Director: Pablo Larraín

B

ehind the stunning Andes mountains a rather special market starts to bloom within the original production business. Chile’s traditional political and economic situation has made it stand out from the rest of the countries in the region, to the point where it is often considered a role model in Latin America. The country enjoys a stable democratic system, a very positive financial landscape -only diminished by the 2009 crisis- and active government intervention.

Land of the Mapuche Indians, Chile currently hosts about 17 million inhabitants spread over a very particular territory. The country is a long narrow land strip with the most diverse scenarios: snowcapped mountains, green plains, islands, deserts and frozen coasts, apart from the famous Easter Island. In macroeconomic terms, the Chilean economy could be considered one of the strongest in the continent and the Chilean peso -its currency- has recently grown stronger, slightly increasing the price of its services for the international market. Despite this, the country has become a platform for foreign investment and many companies in the world have set up their corporate headquarters in Santiago. Meanwhile, in 2010 Chile became the first full South American member of the Organization for Economic Co-operation and Development (OECD) which gathers some of the world’s major industrial economies.

BROADCAST TV: AN ONGOING STRUGGLE. In 2007 the Catholic University of Valparaiso (UCV) celebrated 50 years since its TV channel’s first experimental broadcast. Universities were the first TV industry drivers in Chile and, today, the sector shows high technological development and is about to break into the digital age. What started as a college experience was later followed by the country’s state-owned National Television (TVN, 1969). Finally, in the 90s, private companies ventured into the audiovisual world (1990) and cable and satellite TV broke into the market (1988). There are currently eight broadcast TV channels in Santiago, the capital city, using frequencies 2, 4, 5, 7, 9, 11, 13 and 22. Five of these TV stations are in private hands.

Since the restoration of its constitutional government in 1989, Chile has managed to increase its audiovisual content production with one particular distinctive: remarkable government participation.

TVN, its non-governmental and state-owned broadcast TV channel, leads national ratings with an aggressive strategy based on in-house original production. In Los Dueños de la Palabra (Prometeo, 2009), a book resulting from extensive research carried out by Argentines Martín Becerra and Guillermo Mastrini, the channel is described in the following way: “Its presence in the advertising market is based on the channel’s commitment to finance itself, a goal imposed on TVN by the Chilean Parliament. This questions the television channel’s public nature, resembling Europe’s public audiovisual broadcast TV model. Yet its audience’s strong and sustained support, its management -untarnished by its governmental alignmentand its programming policy set TVN apart from other countries in the region, where channels that are owned and managed by the government are usually controlled by the ruling administration.”

From an industry shareholder’s point of view, the picture is as follows: “There are four major networks: Mega, TVN, Canal 13 and Chilevisión. They are very competitive and take turns in leading the market, both across timeslots and in overall strategy. I would say the two strongest are Chilevisión and TVN. Chilevisión has recently adopted a very interesting low-cost TV business model that targets a large audience. It has worked out very well and constitutes

TTV MAGAZINE 15

SPECIAL REPORT / AUDIOVISUAL PRODUCTION IN CHILE

an example of how TV should be made,” says producer Juan de Dios Larraín from independent production company Fábula. The company was responsible for the original series ‘Prófugos’ for HBO Latin America Group, entirely shot in Chile during 2010.

These four channels concentrate over 96% of ad spending in broadcast TV and over 92% of the total audience. Luksic group, the largest media conglomerate in the country, recently invested US$55 million to acquire 67% of Canal 13, traditionally controlled by Chile’s Catholic University. Growing international interest in the Andean country reached its prime last October when international group Turner Broadcasting System (TBS) acquired Chilevisión, previously owned

by Chile’s current president, Sebastián Piñera. The operation cost TBS about US$155 million according to Juan Carlos Urdaneta, president of TBS Latin America. “A number of converging reasons led us into this acquisition: a very well managed channel with positive growth rates in the Chilean market (...) and a Chilean law that allows a foreign group to own 100% of a TV channel,” Urdaneta told ttv.

ECONOMIC AND ADVERTISING DATA. The latest available statistics on ad spending in Chile show the market’s recovery after the world economic recession. According to the Chilean Association of Advertising Agencies (ACHAP), total investment in 2009 -one of the worst years in the history of the country- amounted to US$869 million.

This number is expected to have increased substantially for 2010.

Television received 51.5% (US$477 million) of overall ad spending, keeping a stable year-on-year position. Ad spending in newspapers and magazines followed the global trend and dropped 14% and 23% respectively, capturing US$225 million and US$20 million each (25.9% and 2.3% of overall billings). Advertising in public spaces also fell (-16%), accounting for 7.6% of the year’s total (US$66 million). Online ad spending grew 18% despite the crisis, with advertisers investing US$24 million (2.8% of overall ad spending). Cable TV received US$17 million or 2% of Chile’s advertising pie, 13% more than the previous year. Ad spending in films also grew (+23%), luring in US$3 million or 0.3% of the total.

The country’s broadcast TV panorama is completed by Mega, the first private TV channel in Chile where Grupo Claro (Ricardo Claro) has a majority stake; Telecanal or channel 2 which is 99% owned by engineer Jaime Cuadro; La Red or channel 4, owned by Mexican businessman Ángel González; UCV or channel 5, the market’s pioneer; Más TV or channel 22, owned by Pabellón de la Construcción; and Canal 54, owned by Televisión América S.A.

“Growth for 2010 is around 5% compared to the previous period and despite the earthquake it seems that business is better. The important thing is to be prepared with the latest technology to meet these continuous changes in perceptions and trends,” Cristián Varela, general manager of Chilefilms, told ttv. Chilefilms is a company that offers production services and counts with facilities in several Latin American countries.

To keep track of Chile’s current programming schedule and audience shares, leading consulting firm Time IBOPE conducts a Daily Top Ten providing relevant data. Results from March 2 rank Mega at the top with ‘Yo Soy’, a talent show focused on impressions co-produced with Endemol Chile. TVN comes in second with its original production ‘Forty Something’ and Canal 13 follows with a taped popcorn movie. Despite its absence from the top three this time, Chilevisión airs several shows that rank as the most-watched programs every day.

LOCAL ORIGINAL PRODUCTION. Despite some differences, original production in Chile follows a similar model to Brazil’s consolidated scene. While Argentina and Colombia are two markets with large independent production companies working closely with broadcast TV channels, both Chile and Brazil own leading networks which are largely self-sufficient, pushing independent production companies away from the screen. “It is a very rare exception to find a production company in direct contact with a broadcast TV channel to develop a specific project together. We tried a few experiments but we have never managed to find a self-sustaining model,” Larraín said.

READY FOR DTT. Chile chose the Japanese ISDB-T standard for its digital TV system in September 2009. This move places Chile within the regional trend as only Colombia went for the European DVB-T standard.

As recently reported by ttv, Chile’s National Association of Television (Anatel) announced that the country’s DTT network would cover 90% of its territory within the next three years. This forecast is two years before the date the government had projected. “We would be reducing the simulcast stage. If regulations continue to move forward and the broadcast plan is revealed, digital TV could reach 90% of the population in three years. It might take a little longer for the rest of the country,” Juan Agustin Vargas, Anatel’s digital TV project manager, told the local press.

According to Vargas, 250 new broadcast stations need to be built all over Chile, a project that requires an investment of around US$50 million.

PAY TV. The country’s subscription TV sector also yields positive numbers and raises expectations for the coming years. According to the Latin American Multichannel Advertising Council (LAMAC), the Chilean market grew 22% from 2009 to 2010 and 55.6% of its households have pay TV, more than half the overall number of households surveyed

by IBOPE. According to Gary McBride, president of LAMAC, countries like Brazil, Mexico and Chile are on their way to achieve penetration levels similar to those in Colombia and Argentina, where almost 80% of households have pay TV. In terms of revenues and subscribers, the sector shows a sort of duopoly led by VTR (a subsidiary of Liberty Media) and Metrópolis (also owned

by Grupo Claro). Both concentrate 90% of the sector. As in many other countries in the subcontinent, satellite TV operators DIRECTV and Sky failed to achieve a considerable number of subscribers in Chile and decided to merge in 2006.

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This landscape stems from the channels’ extensive production capacity, especially TVN and Chilevisión. After the TBS acquisition, Chilevisión announced that it will start building its new headquarters on the grounds of the former Machasa factory in April. There, the private channel will concentrate all of its facilities. Sources from the channel reported that Chilevisión’s new production and broadcast center would be operating by mid-2012 in a 55,000 m2 (538,196 ft2) area and would include an office building, a press building with two studios and three additional production studios.

The new production facility’s strategic goal will be to produce content for TBS Latin America’s channels and third parties, something that could pose new opportunities for local independent producers. “To some extent, it will develop content for other channels and content for export. Other players at Time Warner could be interested in using these facilities. For example, if Warner Bros. produces Spanish-speaking content, the network could consider Machasa as an alternative.

All these ideas are part of a plan that will consolidate in the future,” Urdaneta said.

Meanwhile, TVN’s infrastructure includes a communications center on a 1,742 m2 (18,750 f2) lot divided into nine studios, 600 roofed parking spaces and an array of sets to host locations.

“TVN Chile’s catalog has achieved excellent results with different products like ‘Where is Elisa?’, ‘Siblings’, ‘Someone’s Watching’, ‘The Family Next Door’ and ‘Forty Something’, among others. These are one-of-a-kind products that offer rich telenovela-like drama combined with comedy

SPECIAL REPORT / AUDIOVISUAL PRODUCTION IN CHILE

or mystery as a distinctive feature,” said Marcos Santana, president of Telemundo Internacional, which represents TVN’s catalog for the international market. Chilean productions have “very creative stories, class-A casts and high production quality standards,” the executive said.

“TVN has contributed to innovation in the Chilean television market and promoted changes in the genre among producers. Currently, over 50% of its formats have been reproduced in other regions of the world, including the US,” he added.

As in other countries, the only way independent production companies can financially survive is by producing for the advertising market. Yet a few TV and film projects are made by independent companies every year thanks to government incentives.

A GOOD STATE. There are many government incentives for original production in Chile. The Art and Audiovisual Industry Council -part of the National Council for Culture and the Arts- aims at promoting and protecting local production. In the same line, the Audiovisual Promotion Fund has financed 817 projects through public contests since 2005, granting over US$23 million. “The truth is that without the Audiovisual Fund, we would be lucky to have one film a year. This is an annual contest focused on films and documentaries, in different production categories: production, co-production, post-production, larger projects, etc. It awards about 15 projects a year and its big prize is 50-60% of the film’s budget,” said Larraín, who is also vice president of the Association of Chilean Television Production Companies (APCT).

The Fund can finance any of the following: creation and production of audiovisual pieces (documentaries, fiction and animation in different formats), professional training, research and training, media outreach, exhibition and distribution of local audiovisual pieces and equipment implementation for audiovisual development. “There are two other ways in which to be awarded with public resources. One is the Development Contest, where funding goes toward developing a script and the other is the Distribution Contest, where a project can receive international support. There is also a Cultural Grants Law which is very difficult to implement, yet the Ministry of Culture is working on a new version in order to make it more effective like in Colombia, Brazil and Mexico,” the producer said.

The National Television Council (CNTV) has a Quality Promotion Fund to sponsor, support or subsidize public interest programs. Since 1993 the CNTV Fund grants resources every year for independent production companies and TV channels to produce TV shows. This year, apart from the ten existing categories, two new categories were added: Telefilms and Telenovelas. In 2010 the Fund granted a total amount of 3,105,662,000 million Chilean pesos (US$ 6,521,896 million). Projects awarded in 2010 include two history miniseries, two drama series, four non-fiction series, two regional shows, three kids’ shows, one documentary, two micro-programs and one telenovela (‘Esperanza’).

Three new TV show seasons were also awarded, including ‘Las 80’ -a

successful adaptation of the Spanish format- produced by Andrés Wood (Wood Productions) for Canal 13.

FOREIGN INVESTMENT. “Chile has enough talent behind and in front of the cameras,” Luis Peraza, executive VP of production and acquisitions at HBO Latin America Group, told ttv based on his experience in the production of ‘Prófugos’. After conducting local productions in Argentina, Brazil and Mexico, the programmer ventured into a unique project in the Chilean market with production companies Efe3/Fábula.

The production required six months of shooting. “Production was all across the country and ended in December. Now we’re starting an intense post-production stage in order to have the series ready to air in the second half of 2011,” Peraza said.

The Chilean production sector has progressively matured from a technical and artistic point of view. This combined with several favorable factors to its local business environment -political stability and economic growth- has started to attract investments from international groups.

Multinational operations are not uncommon in Chile. Liberty Media already owns leading cable operator VTR and Turner, which acquired Chilevisión, partnered with VTR in a joint venture for CNN Chile two years ago. Yet a significant milestone in the country’s history took place some months ago: a collaborative partnership between Stargate Studios -Hollywood production company involved in global TV hits like ‘Heroes’,’ The Walking Dead’ and ‘CSI’- and Grupo Chilefilms, a giant nextgeneration production service provider. Foreign movies will now be post-produced in the South American country and local settings may be used for international productions.

Stargate CEO Sam Nicholson and Chilefilms CEO Cristián Varela talked to ttv about this partnership. “We will use the infrastructure that Chilefilms has in each country as well as its business connections. Meanwhile, we will develop custom-made software and hardware for each one of these regions that can be quickly installed.” Nicholson said back then.

Varela preferred to focus on the future of this association. “Our goal is to reproduce this in Chile, Argentina, Brazil, Colombia and Mexico, and to provide additional services where we can have a very attractive competitive advantage for producers. On the one hand, this makes the job much more efficient and lowers costs. On the other hand it also substitutes locations with post-production work where the imagination is the limit,” Varela said.

Stargate has developed an innovative model for special effects, offering virtual locations to film and TV producers. The entire composition work is done in 2D and 3D. Chilefilms is considered one of Latin America’s best audiovisual service providers. The company is engaged in the entertainment industry worldwide through the Cinecolor brand, working in film labs, digital post-production and TV and sound studios, among other production services. It has operations in Chile, Argentina, Brazil, Colombia and Mexico. Its production area has seven studios and six mobile production TV units, two of them with HD technology.

Chilefilms has also worked on its own projects -such as ‘Los Venegas’and has produced telenovelas for Canal 13, TVN, Mega and Chilevisión in Chile and Telefe, Canal 13 and Canal 9 in Argentina. “Audiovisual production in Chile has grown with the country’s development. Today, we have nearly every technology available in the market. Changes in technology have also generated crises and opportunities and we are also searching for new niches where to operate. The world of television has been radically affected by some ownership changes among TV channels. The industry is going through a dramatic restructuring period, which outlines new opportunities to incorporate and demands that we need to learn to fulfill,” Varela said. ttv

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EXECUTIVES

Business is Changing Even though formats continue to connect viewers to screens in every programming slate, the time has come for them to either re-adapt or die. Guided by Avi Armoza, ttv looks into the platforms where this new generation of formats should be present.

By Sebastián Torterola “New platforms are definitely businesses in their own right.

Mobile and internet series and formats are a legitimate and rapidly growing industry.”

Connected 45 x 25’ Factual Entertainment

A

leading representative of what he calls “a multi-billion dollar industry,” Avi Armoza has two essential aims when it comes to formats: to integrate and innovate.

Both scripted and non-scripted formats have been around for a while but he affirms they’re at their peak. “Formats appear on nearly every broadcast channel in the world, captivating audiences from Israel to Indonesia, and their scope continues to widen every year in terms of content and reach,” he says.

Yet this business area wasn’t spared by the entertainment and media market’s technological evolution. Creativity and platform integration have now become a

must. “Right now, our business is in a dramatic time of change. Our audiences are continually receiving new means to consume content and that is changing the entire structure of how we work. We need to adapt our creative skills and incorporate new technologies in order to create the next generation of content, one that will make use of all of these new possibilities and platforms,” he says.

The company defines itself as a multigenre cross-platform content developer with emphasis in cost-effective production.

“Our business model is based on format development and distribution exclusively.

Our creative partners range from broadcasters to production companies to freelance developers and have hundreds of distribution partners around the globe,” Armoza says.

A THREE-SCREEN FOCUS. Most would think that if it’s not TV then it’s definitely “alternative” and new media isn’t yet a cost-effective business by itself. Armoza thinks differently.

“New platforms are definitely businesses in their own right. Mobile and internet series and formats are a legitimate and rapidly growing industry,” he says. The company has already confined its range of action into three main windows: TV, mobile and the internet. “We believe in providing great content through a cross-platform model. Each of these three platforms has its own unique elements that can be used to enhance different aspects of a format, increasing interactivity with audiences and building a strong brand,” the executive says.

So-called new platforms are already unavoidable for global, successful formats or, in other words, successful brands. According to Armoza, ubiquity is the key. “Building a strong brand is all about exposure and presence. A format that

20 TTV MAGAZINE

Avi Armoza,

is everywhere and on every content device will have a greater reach and attract a greater audience. The greater its audience, the more powerful its impact and this cycle helps enhance the format’s longevity for a broadcaster,” he says. Armoza Formats’ reality show ‘The Frame’, game show ‘7-Question Millionaire’ and recently-launched factual entertainment format ‘Connected’ are great examples of this.

Apart from attracting viewers’ attention across various screens, multi-platform formats also increase the possibilities of attracting advertiser wallets. Brand integration is also included in the Armoza combo. “We have many formats with important product placement and sponsorship opportunities attached. Some examples are coaching show ‘Overdraft Family’ (with Israel’s largest bank, Bank HaPoalim and selected as the most effective branded content partnership in 2009); ‘Upgrade’ (with furniture chain LEON’s); ‘The Frame’ and ‘The Package’,” the executive says.

DISTRIBUTION MARKETS. Even though the executive couldn’t comment on any distribution agreements that might have come out of NATPE, he did say that “attendees seemed very enthusiastic to be in beautiful Miami. Many more European companies attended than in previous years, probably due to how close Europe is to the East Coast, as opposed to Las Vegas” .

On the other hand, the MIP markets are truly productive for Armoza Formats, with several sales announced in the past months. “We launched a factual-entertainment format at the last MIPCOM called ‘Connected’ that has generated tremendous buzz around the world. To date we have signed more than 15 agreements for the format, including four license deals with broadcasters TV2 Denmark, 1+1 Russia, 1+1 Ukraine and Kanal D Romania,” he says.

Scripted formats are also doing well. The company recently completed sales for romantic dramas ‘Shall We Kiss’ and ‘Wedding Daze’ and also negotiated the rights to suspense drama ‘The Naked Truth’ with HBO for Eastern Europe and the US. “In the US, Clyde Phillips (‘Dexter’) is writing and producing the show with Lionsgate, so we’re thrilled about that,” Armoza says.

CEO of Armoza Formats

“Formats are a multi-billion dollar industry.”

not ventured into production. “Co-production is something that we have not yet done outside of Israel,” Armoza says. But the executive is definitely open to it, since partnering for coproduction brings “enormous benefits” and there are many examples of “highly successful productions that emerged as the result of the combined production efforts of various global teams,” he says.

“A format that is everywhere and on every content device will have a greater reach and attract a greater audience.”

The company is meanwhile looking into extending its territorial reach and Latin America seems to be an economically attractive region in which to gain new partners and exposure. “We’re very excited about the rapid development of the Latin American market for formats. Apart from Argentina and Brazil, we are now beginning to strengthen ties and see real activity in markets such as Mexico, Uruguay and Colombia,” the executive says.

Hopefully, the end of 2011 will see the first Armoza Format aired in the continent. ttv Upgrade 30-40’ Game Show

The Package 30’ Factual Entertainment

Thinking about May, the Israeli company is betting hard on its new game show ‘Still Standing’. The format will also be available on the company’s MIPTV catalog, accompanied by “a wide range of factual entertainment series,” Armoza says.

CO-PRODUCTIONS AND LATIN AMERICA. Despite the company’s developing and distributing business, Armoza Formats has still

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todotvnews

HIGHLIGHTS

INVESTMENTS

Slim Focuses on Latin America Brazil and Mexico will receive US$6.1 billion while Colombia, Peru, Chile and Argentina will get US$2.14 billion to complete the US$8.3 billion investment in the region. > By Diego Alegre Brazil and Mexico will receive 74% of the overall spending, while Colombia, Peru, Chile and Argentina will trail, according to Slim’s priority ranking.”In Brazil, we have a backlog that forces us to speed up investments to compete against public monopolies. We need to build our own network to compete with them,” said Slim, who owns Embratel in Brazil.

L

atin America’s economic boom is being driven by sound decisions taken before and during the 2008-09 global financial crisis and by Brazil’s stability and rise on the global geopolitical map. This has caught the attention of investors from around the world.

One is Mexico’s Carlos Slim, who on Monday announced a bet on Latin America.

The world’s richest man according to Forbes magazine, Slim said that this year he will invest US$8.3 billion in Latin America. These investments will be distributed across countries where he has interests, with a special focus on Brazil and Mexico. “We will invest in every country where we are currently operating. These are 19 countries where we’ll be investing an overall US$8.3 billion. US$3.66 billion will go to Mexico and US$2.5 billion to Brazil,” Slim said at a press conference in Mexico City.

In Mexico, the mogul said 40% of investments will go to the phone industry. “In 2011 we will invest 44,650 million pesos in Mexico, about US$3.66 billion. Forty percent of it will be invested in the telcos sector,” he said. Of that, US$800 million will go to the Mexican companies Telmex and Telcel to reinforce their high-speed digital networks. As part of a potentially regional project, Slim will invest in infrastructure projects like water treatment plants and hydroelectric dams, roads, mining and the creation of a digital university.

Slim says Latin America is in a “very favorable position within the international landscape” because of its low interest rates and multiple productive investment opportunities.

When asked about violence in Mexico, Slim responded, “Bad things happen all over the globe. Look at the newspapers’ international sections, with violence and other things. It is more important to see that developed countries have serious fiscal deficits, huge unemployment rates and actions taken are mere workarounds.” ttv

APPOINTMENT Francisco Villanueva, SOMOS Distribution’s New SVP of Sales Francisco Villanueva has over 20 years experience in the entertainment industry, from posts in Bertelsmann to Grupo Cisneros.

He has led operations in the Americas, from the US to Mexico, the Caribbean and the Andean region. He is a businessman who now joins his brother Luis Villanueva as shareholder in a new stage of his career. Luis Villanueva, SOMOS Distribution’s chairman, said, “Francisco brings high professionalism and a strong profile to our sales team, which now acquires a level of experience and performance up to the standards of a crossplatform industry in continuous evolution.

Francisco will not only contribute to the sales area but develop new opportunities within the entertainment industry, such as synergies with live shows and among platforms, which are key to our growth plans.” Francisco Villanueva is keen for the challenge. “I am a man of the media and the transformation the entertainment industry is going through opens many opportunities within a 360 concept. We at SOMOS Distribution have a talented team and innovative spirit of service, enhanced by a high-impact programming catalog, which is the result of high profile strategic alliances. This brings high expectations for this NATPE both in the short run and in general or 2011.”

URUGUAY

DTT Broadcasts to Start in September “Our goal is to start testing the signals in spring of 2011,” said the Japanese Ambassador in Uruguay, Kenichi Sakuma, during a visit from a Japanese delegation. The mission was sent to Uruguay to detail the steps needed to adopt the Japanese-Brazilian DTT standard. The first step is prepping Uruguay’s public TV channel (TNU) for broadcasts, making it the country’s main equipment supplier. Yet the objectives are obviously broader and will expand to the rest of the country from there. “The Uruguayan government decided at the end of last year to adopt the JapaneseBrazilian standard and I think this was a difficult decision since the country had already chosen the European standard in 2007. This is why Japan’s government values this decision tremendously and is, from now on, willing to carry out all specific collaborations in this area. Many meetings will surely happen, while we hope that all Mercosur citizens can share the same benefits the Uruguayans will have,” Sakuma said in a press conference. Fumihiko Numata, director of information and communications broadcasts at the digital broadcasting technologies department of Japan’s Ministry of Internal Affairs, explained that 10 South American countries have already adopted the Japanese digital TV standard, including Uruguay. Two more countries have adopted it in the rest of the world, meaning that 560 million people will have access to the system.

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EXECUTIVES

Constantly

Expanding Telemundo Internacional enjoyed great success during 2010.

Over the past year the distribution company handled over 33,000 hours of programming and increased its sales in Latin America by 45%. In 2011, the company led by Marcos Santana launched two original productions into the international market: ‘The Queen of the South’ and ‘Paula for Love or Money’, as well as a renovated portfolio including hit shows

by Chile’s TVN, Imagina, and more.

By Sebastián Amoroso “This year we have a very solid original production catalog headlined

by Telemundo’s most ambitious production to date, ‘The Queen of the South’.”

The Queen of the South 62 x 60’ Telenovela

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atin America’s macroeconomic stability has enabled its TV industry to thrive at a pan-regional and global level. Its consolidated audiovisual production is one of the factors enhancing its content export business, based on great technical expertise and artistic talent.

Telemundo Internacional’s distribution business is following a steady growth pace that is reflected in its sales results. In 2010, the company handled over 33,000 hours of programming and increased its sales in the region by 45%. “The widespread economic crisis that is currently affecting the world has ironically had a meager impact on Latin America. Only countries like Venezuela, Nicaragua and Haiti have reduced their growth.

This creates a highly positive environment for our business, which has grown in number of co-production agreements among different

stakeholders in the region,” Marcos Santana, president of the company, tells ttv.

In 2011 Telemundo Internacional ventured into the market with an aggressive and diverse offer, which stands out for its production level and high-quality storylines.

Its current portfolio includes titles such as ‘The Queen of the South’, ‘Love Again’, ‘Paula for Love or Money’, ‘Aurora’, ‘Forty Something’ and ‘The Family Next Door’. “Thanks to our new offer, we have started this year with excellent results during the first months of the year, exceeding our expectations for the quarter,” Santana says.

ORIGINAL PRODUCTIONS. “This year we have a very solid original production catalog headlined by Telemundo’s most ambitious production to date, ‘The Queen of the South’,” the executive says. This telenovela, starring popular actress Kate del Castillo, was coproduced by Telemundo with Antena 3 and is based on the bestseller by Spanish writer Arturo Pérez-Reverte, which has already been translated into over 32 languages.

“It recorded 8.1 million viewers during its premiere week in the US and was leader in several cities. It became the most watched premiere in the history of Telemundo, forecasting a promising performance around the world,” Santana says.

Telemundo Internacional is currently promoting an even bigger project. ‘Paula for Love or Money’ is a co-production between Telemundo and RTI Productions shot in Colombia. It stars Mario Cimarro and Marlene Favela. “The telenovela had 1.5 million viewers during its premiere, 47% more viewers than

Marcos Santana,

the previous month’s average for its timeslot,” the executive says.

president of Telemundo Internacional

CO-PRODUCTION AS A KEY STRATEGY. The co-production business model plays a key role in Telemundo Internacional’s expansion and growth strategy. “This business model allows us to expand our distribution and sales numbers,” Santana says. This year Telemundo Internacional closed adaptation deals for ‘Missing’ (Telemundo’s version of Chilean ‘Where is Elisa?’ by TVN) with Eyeworks/Cuatro Cabezas in Argentina and Vista Productions in Colombia, where shooting has already started.

‘Where is Elisa?’ has become a true TV phenomenon. The thriller managed to achieve an average of 37 rating points, with up to 57 points during its finale. This highquality story falls under the mystery genre and its performance continues to surprise everybody. “Latin American viewers have become experts in the telenovela genre. This is why different products such as ‘Where is Elisa?’ surprise audiences for their twist on the traditional genre. This telenovela keeps the dramatic elements of the genre but adds touches of suspense and intrigue that make it different to other market products,” the executive says. ‘Missing’ is currently in preproduction in over 15 countries including Brazil, Finland, Germany, Italy, Norway, Philippines, Netherlands, Switzerland and Sweden, among others.

The co-production and adaptation business continues its road to consolidation and Telemundo Internacional is definitely not stopping here. “We are in talks with companies like Disney, Sony, Imagina and others to continue exploring revolutionary new ways of doing business,” Santana says.

Meanwhile, several Latin American channels are adopting the local adaptation model to later sell abroad. One of the factors driving this business model in the region is the possibility of distributing the telenovela genre within a global market. “From an emotional or entertaining point of view, it could be said that this type of fiction also encourages cognitive thinking and communicates a cultural identity.

Audience research shows that most telenovela storylines lead Latin American countries into self-identification and bring up social debates about themselves,” Santana says. “One of the main consequences of producing and distributing telenovelas worldwide is that they are a vehicle to successfully introducing Latin American television into the global cultural industry. This is the case of titles such as, ‘Where Is Elisa?’”

“[The co-production business model] allows us to expand our distribution and sales numbers.”

and promote its original productions. Apart from ‘The Queen of the South’, ‘Paula for Love or Money’ and ‘Aurora’, the distribution company will also promote TVN productions like ‘Forty Something’. The telenovela reached 26 rating points during its premiere in Chile, beating all of its competitors. Telemundo Internacional will also take ‘The Family Next Door’ which became leader of the 8:00 PM timeslot in Chile since its premiere in September, keeping an average rating of 15.1.

Imagina’s latest production, ‘Love Again’, will also be presented. ‘Love Again’ was written by Enrique Torres and is a spin-off of international hit ‘Amarte Así, Frijolito’, starring child actor Alejandro Felipe as Frijolito once again. “At MIPTV we expect to meet new partnerships for our co-production business, new content to add to our portfolio and continue to promote our original productions,” Santana says. ttv Aurora 130 x 60’ Telenovela

“One of the main consequences of producing and distributing telenovelas worldwide is that they are a vehicle to successfully introducing Latin American television into the global cultural industry.

This is the case of titles such as, ‘Where Is Elisa?’”

Paula for Love or Money 130 x 60’ Telenovela

ON THE ROAD TO MIPTV 2011. At this new edition of MIPTV Telemundo Internacional will seek to enhance its co-production business

TTV MAGAZINE 25

EXECUTIVES

Raising the Stakes on Co-production

Colombian distribution company Caracol TV Internacional exported over 16,000 hours of audiovisual content in 2010, 35% more in sales than in 2009. Apart from its taped content and format distribution business, 2011 is looking good in terms of new agreements with at least three co-production and other made-to-order production deals underway.

By Sebastián Amoroso “[In 2010] we closed deals with key partners such as Telemundo and Ecuador’s TC-Gamavisión.

We are moving forward in building on our content’s presence in attractive markets such as Africa, as well as on new platforms.”

W

ith over 50 years of experience in the TV industry, Colombian company Caracol Televisión has produced some of the most innovative and successful TV shows in the country. Today, Caracol stands as a true audiovisual content factory that has expanded its influence worldwide through its international distribution division, led by its international VP Angélica Guerra.

content’s presence in attractive markets such as Africa, as well as on new platforms. In 2011, our focus will be on sealing at least three co-productions and other made-to-order agreements,” Angélica Guerra, VP of Caracol TV Internacional, tells ttv.

From its offices in Miami and Bogota, Caracol TV Internacional distributes telenovelas, series and entertainment formats created by the Colombian channel. These go beyond cultural and language borders, standing out for their excellent results in global markets where they have been broadcast or produced. In 2010, the distribution company exported over 16,000 hours of audiovisual content, raising its international sales by 35%.

The executive considers 2010 as the best year for Caracol Televisión’s international sales, sealing output deals with major players in the region. “We closed deals with key partners such as Telemundo and Ecuador’s TC-Gamavisión. We are moving forward in building on our

CARACOL TELEVISIÓN: AN AUDIOVISUAL FACTORY Caracol Televisión produces 5,200 hours of audiovisual content a year. With over 10,000 hours of original content, its shows have been broadcast in nearly 80 countries across the five continents. Local adaptations of its screenplays have become huge hits worldwide.

Caracol Televisión also provides production services in Colombia to international partners for made-to-order productions or co-productions. This is how it’s developed joint business models with renowned companies such as Telemundo-RTI, TV Azteca and Sony Pictures Television. This Colombian channel owns 11 studios that range from 260 m2 to 800 m2 (2,799 ft2 to 8,611 ft2) in size, built on a 20,000 m2 (215,278 ft2) lot. It also has four other studios and five mobile units that are fully equipped with high definition. “Right now, 100% of our production is made in HD. We have acquired state-of-the-art technology to be up-to-date with our clients’ needs,” Angélica Guerra says.

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The English Teacher / 120 x 60’ / Telenovela

Angélica Guerra,

A STAGE OF CO-PRODUCTIONS. Last February the Colombian channel premiered ‘Love and Fear’, Caracol Televisión’s first coproduction with Sony Pictures Television (SPT). This project was announced in November 2010 and written by Darío “Dago” García. It revolves around the lives of Alicia Aragón Benitez (Diana Hoyos) and Simón Oviedo (Salvador del Solar). Aragón is an active member of a feminist movement in the 50’s while Oviedo is a boxer with the potential to become the country’s first world champion.

Through several tests and tribulations, their complicated love story unfolds with political violence as a backdrop.

This co-production with SPT promises other future alliances. According to the executive, this business model will remain a part of the Colombian channel’s strategy. The executive was not able to confirm these alliances before this magazine went into print but she did announce that Caracol is about to close a long-term agreement to co-produce in Colombia with two major companies in the region. “We are also in advanced talks to form two more partnerships which we hope to be able to announce soon,” Guerra says.

For original productions to improve both locally and internationally, feedback between Caracol Televisión’s international sales and production departments is essential. This feedback also combines two different client views: the Colombian local screen and international sales. “We participate in developing the story by making suggestions on key elements from the get-go, while also providing feedback on the products’ performance abroad,” the executive says.

At MIPTV 2011, Caracol TV Internacional will be presenting about 400 hours of original content, including ‘Love and Fear’ (90 x 60’), romantic comedy ‘The English Teacher’ (120 x 60’) and the miniseries ‘Confidential’ (50 x 60’), five one-hour formats based on real-life events. Sitcom ‘Los Canarios’, featuring five taxi drivers and their stories with passengers, will also be premiered at MIPTV.

International VP at Caracol TV Internacional

THE TV INDUSTRY CYCLE. Asked about her vision on the TV business situation in Latin America, the executive says that “this is a very dynamic and cyclic industry, where only one product may set the standard and turn the programming grid upside down. So we need to innovate and reinvent ourselves all the time to avoid falling behind.”

At the same time, she recognizes two trends that have set the course for the region’s TV industry over the last years. “There is an increasing number of daring and less traditional products in the shape of new formats, dealing with controversial and more appealing matters to the audience,” she says.

“There are also strategic alliances between companies in the region achieving good results that have strengthened the industry as a whole.” ttv

“This is a very dynamic and cyclic industry, where only one product may set the standard and turn the programming grid upside down. So we need to innovate and reinvent ourselves all the time to avoid falling behind.”

“In 2011, our focus will be on sealing at least three co-productions and made-to-order agreements.”

Mariana & Scarlett 120 x 60’ Telenovela

Love and Fear 90 x 60’ Telenovela

DIGITAL MEDIA Faced with the rise of new platforms and digital media, the company has adopted an active attitude aimed at expanding its content distribution business. “We know for sure that digital media will start to become more and more important broadcast platforms for our content,” Guerra says. “In fact, we are about to close two agreements that take Caracol’s products online through globally renowned business platforms.”

TTV MAGAZINE 29

NATPE 2011

January 24-26 – Fontainebleau Resort Miami Beach – US After much buzz and high expectations, the traditional TV and entertainment sales marketplace organized by the National Association of Television Program Executives (NATPE), showed a substantial increase in number of attendees this year. The Latin American market came across as a more important player and new hints on audiovisual content production and distribution strategies were brought into scene. Despite some of its organization-related issues, this time NATPE stood out for the numerous meetings held and agreements closed, as well as for the confirmation of Miami’s leading role in the Americas. Once the event was over, the organization revealed that 25% more people had attended NATPE than in 2010: 4,500 attendees from 67 countries and twice the number of buyers.

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_/04 01. Delmar Andrade and Edson Mendes (Record TV Network).

05. Gabriela López (Ledafilms).

02. Juan Carlos Acosta (MTV Networks Latin America) and Tatiana Rodríguez (Nickelodeon Latin America).

06. Jack Morera, Henri Ringel, Fabiola Bovino, Leonardo Aranguibel and Fernando Barbosa (Disney Media Networks Latin America).

03. Don Browne (Telemundo Communications).

04. The cast of ‘Eva Luna’ with Peter Tinoco (Venevisión Productions), Gustavo Cisneros (Organización Cisneros), Adriana Cisneros of Griffin (Organización Cisneros) and Arquimedes Rivero (Venevisión Productions).

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07. Fernando Szew (MarVista Entertainment).

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08. Pablo Laserna (former president

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of Caracol Televisión) and Angélica Guerra (Caracol TV Internacional).

14. Luis Velo (Telefe), Michelle Wasserman, Fernando Varela, Meca Salado Pizarro, Jesica Stescobich and Diana Coifman (Telefe International).

09. Bernarda Llorente and Claudio Villaruel (ON TV).

15. Frédéric Groll-Bourel (TV5MONDE).

10. Luis Fernández (Univision Studios).

16. Emilio Revelo (World Wrestling Entertainment International).

11. Mariano Elizondo (Ideas del Sur) and Alejandro Parra.

12. Carlos and Diego Kargauer (Polar Star).

13. Ángel Zambrano and Rick Pérez (Turner Broadcasting System Latin America).

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EXECUTIVES

Bringing Brands to Life While everyone talks about multi-platform integration and new digital business models, Mondo TV cleverly takes the “integration” concept and incorporates it to a properly traditional model: co-production alliances on popular brands oriented toward massive distribution of TV rights, licenses and merchandising. Matteo Corradi explains to ttv how this works and why it’s the key for solid international expansion.

> By Sebastián Torterola

I

t’s hard to be innovative in the TV world in these times of saturation, especially when it comes to the new generation. The kids segment is permanently bombed with content from countless platforms, screens and devices. Yet Italian producer, distributor and license agent Mondo TV has developed an effective way of finding the next animation hit: taking a successful character from the licensing world and turning it into a TV series.

This business model leads the developer to keep a close eye on the consumer products’ market and work closely with a particular toy brand once the character is chosen to debut on screens. “The best example we have in our hands right now is ‘Puppy in my Pocket’, a very successful toy brand that’s been in the market for over five years and has now become a TV show. It allows children to connect with the names and stories related to the characters they already own in the form of dolls and stuffed toys,” says Matteo Corradi, the company’s SVP of sales and board member.

Matteo Corradi, SVP of Sales & Board Member at Mondo TV

This also allows Mondo to find the right theme for a future series since the company is able to search and select characters or toy lines according to a pre-established target audience and adapt them to the tone wanted.

This is exactly the case of the next series the company is preparing. “We will be announcing a new TV show at MIPTV 2011. This show was also inspired on a toy line, a very smart and educational one,” is all Corradi can say at the moment.

PRODUCTION IS DISTRIBUTION. According to Corradi, Mondo TV has “a minimum of 120 hours of production series in its pipeline,”

32 TTV MAGAZINE

and that just weeks away from MIPTV they are “in close negotiations to seal a new co-production agreement,” which will be probably be announced in October during MIPCOM. This kind of production alliances have allowed Mondo TV to recently expand its international catalog, which already enjoys strong presence in Europe, lead by Mondo TV Spain and Mondo TV France. The company is now actively seeking to extend its reach onto other important markets such as the US. In January Mondo TV named distributor Showcase TV Syndication its partner in the US, an alliance that started operating during NATPE. The deal has already secured a one-year strategic agreement: Mondo TV’s Angel’s Friends 2D Animation with CG effects Genre: Series + TV Movie

EXECUTIVES

co-produced with MEG and Giochi Preziosi.

It’s set to debut on July 4 on Boomerang in most markets and Cartoon Network in some territories. In Italy, the series will debut on Boomerang in April and on Boing! in June 2011,” the executive says.

“We are expecting more signed contracts for both ‘Angel’s Friends’ and ‘Virus Attack’, both of which are in pipeline negotiations with almost 25 countries. These negotiations should be finalized in Cannes,” Corradi says.

This would expand the shows’ alreadyextensive presence: ‘Angel’s Friends’ is already in 40 countries, ‘Puppy in my Pocket’ was sold in 150 territories and new series ‘Virus Attack’ is already in 25 countries.

Puppy in my Pocket 52 x 13’ HD 2D Animation with CG effects

“Mondo TV has a minimum of 120 hours of production series in the pipeline.” “[‘Puppy in my Pocket’] allows children to connect with the names and stories related to the characters they already own in the form of dolls and stuffed toys.”

Virus Attack 52 x 13’ HD 2D Animation with CG effects

34 TTV MAGAZINE

acquisition of a two-hour slot dedicated to children’s programming on Saturdays 8:0010:00 AM on TV stations belonging to the NBC Plus US circuit. “Initially, the agreement will enable us to reach 30 million households. This slot will broadcast TV animated series ‘Puppy in my Pocket’, ‘Virus Attack’, ‘Angel’s Friends’ and ‘Monsters & Pirates’,” the company announced back then.

Another key distribution agreement was signed between Mondo TV and Turner Broadcasting System (TBS). The latter picked up the rights to broadcast ‘Puppy in my Pocket’ across Europe, the Middle East and Africa, reaching a grand total of 130 countries. “The series are aimed at 4-7 year-old girls and are

FRANCE AND MIPTV. Yet the Italian company doesn’t stray its attention away from the strongest European markets.

France, for instance, is recognized by the executive as “the most important market” for the group. “Mondo TV France -a company managed by Eve Baron- is such an important company in our group. They produce 100% French animation. A sample of this is ‘Lulu Vroumette’, an animated series that is being distributed worldwide by France Television Distribution (FTD). FTD also handles licensing and merchandising for this property which has already reached privileged positions in important channels across Europe and the world, achieving high ratings in France,” Corradi affirms. ‘Lulu Vroumette’ (52 x 13’) is the adaptation of a children’s book series with 200,000 books sold. Its HD/3D animated series stars a turtle and has been sold by FTD in Russia (Channel 1), Italy (RAI), Portugal (RTP), Finland (YLE), Belgium (RTBF) and Switzerland (TSR). “Mondo TV France is also producing ‘Sherlock Yack’, which was picked up by ZDF Germany for worldwide distribution,” he adds.

Other news includes the acquisition of 80% of the ‘Beast Keeper’ series that will be launched at this MIPTV 2011. The series is one of the company’s strong bets for this year. “We really believe in ‘Beast Keeper’. Its Mangastyle of animation is liked and sought-after in various channels due to its traditional high performance on the air. It’s still in its early stages of production and we hope it will be available for international broadcasters by fall 2012,” Corradi says. The 2D-animated TV series is a project undertaken together with the owner of the original property Ponpoko Productions, Starbright -in charge of licensing and merchandising distributionand Kappa Edizioni, the comic editorial company in charge of developing the characters. Mondo TV assumed its executive production and scripts, supervised by CEO Orlando Corradi. Mondo TV will also handle its international home video and TV rights distribution. ttv

Distribution ‘Elena’s Ghost’ Lands in New Latin American Markets The telenovela -starring Elizabeth Gutiérrez, Segundo Cernadas, Ana Layevska and Fabian Ríos- has been sold in over 70 countries including Albania, Poland, Venezuela, Panama, Serbia, Nicaragua, Dominican Republic, Croatia, El Salvador and Costa Rica. ‘Elena’s Ghost’ was produced by Telemundo Studios and has obtained great results in Latin America. The story goes beyond the traditional telenovela genre, featuring two women -one alive and one dead- fighting for love. In the end, only one of them will be victorious. How far are these two women called Elena willing to go when fighting for the love of the same man?

CO-PRODUCTION Sony Pictures Television and Caracol Launch ‘Love and Fear’ After the success of ‘Los Caballeros las Prefieren Brutas’ in 2009, Sony Pictures Television and Caracol Televisión premiered a new joint production that launched on February 21. The official launch of ‘Love and Fear’ was held on February 18 in Bogota, Colombia. The 90-episode telenoveal tells the story of Alicia Aragón Benítex (Diana Hoyos) and Simón Ovideo (Salvador del Solar). Aragón is an active member of a feminist movement in the 50’s while Oviedo is a boxer with the potential to become the country’s first world champion. Through several tests and tribulations, their complicated love story unfolds with political violence as a backdrop.

Argentina

Pol-Ka Producciones Starts the Year with Great Success Distribution

‘The One’ Reaches the International Market With performances from acclaimed Argentine movie and TV stars like Pablo Echarri, Leticia Bredice and Lito Cruz, ‘The One’ tells the story of Andrés, an ambitious and arrogant lawyer that’s awarded a trip to Spain after winning a trial. This trip will change his life forever as he enters a ruthless competition to become partner of the law firm he works in or “The One”. He will feel an irresistible attraction to Mariana, an idealistic lawyer who’s also in the race and both will fall in love. This combination of appealing ingredients makes ‘The One’ reach 40% share in Argentina’s television primetime. The series has also enjoyed great critical and media reception. ‘The One’ premiered on Telefe’s screen on January 17. The series was sold in Nicaragua and, just 40 days after its premiere, in El Salvador and Israel, where it will air by mid-year. Its screenplay is also being adapted for a local version in the US.

During the first few months of 2011, production company Pol-ka harvested excellent ratings with its new fictions.

Comedy ‘Los Únicos’ -produced for Argentine channel El Trece- premiered on February 7 with a 28.1 ratings average and become the most-watched program in the day, Ibope reported. The show also achieved the highest ratings in 2011 so far. Pol-ka’s most recent production for El Trece, ‘Herencia de una Venganza’, also enjoyed an excellent debut on February 17, becoming the mostwatched program of the day in Argentina broadcast TV according to Ibope. El Trece led the day’s ratings with an average of 11.2 points, obtaining numbers that were well over the primetime average and 42% share, largely due to the success of ‘Malparida’ and ‘Telenoche’. Starring Luciano Castro, Romina Gaetani, Marcela Kloosterboer and Federico Amador, ‘Herederos de una Venganza’ (aired in all of Latin America through El Trece Internacional) targets an 18-49 year-old audience from all socio-economic levels, that is mostly female. Pol-ka is also working on a new fiction called ‘El Puntero’. Shooting began in March and the series is set to air in April on El Trece. ‘El Puntero’ is set in Argentina and tells the story of patronage and graft, welfarism and corruption in the implementation of some social policies.

DISTRIBUTION Globo TV International Telenovelas in Puerto Rico, US Hispanic Market After airing the Globo super-production ‘India – A Love Story’, Puerto Rican channel Wapa premiered ‘Paradise City’, a telenovela that has already been sold in 17 countries.

Aired Monday through Friday at 2:00 PM, the telenovela also reaches Latinos living in the US through the channel’s cable TV offering. ‘India – A Love Story’ is also being aired in the US market through Telefutura from the Univision group. The Gloria Perez telenovela is ranked second in this country and recorded an average 500,000 viewers (18-49 year-old adults) during the first months of 2011. Rodrigo Lombardi, the actor who played Raj in the telenovela, travelled to the US to promote it. During his ten day trip, the actor participated in the Hispanic broadcaster’s most popular programs, and presented an award on ‘Lo Nuestro’, a traditional Univisión event which brings together the best of Latin music.

This blockbuster production required the company to invest over US$50 million to produce it, including trips to India and Dubai to shoot some of the scenes. Three sets designed as cities were built at the Central Globo de Produção (Projac - Globo Production Center) in Rio de Janeiro, covering over 10,000 square meters (107,639 square feet).

TTV TELENOVELAS T.

TTV TELENOVELAS | NEWS

DISTRIBUTION Telemundo’s ‘Love Again’ Premieres in Colombia

CHINA The Country Produced 436 Telenovelas in 2010 China’s Central Government Propaganda Department announced that in 2010 the country was the first telenovela and the third movie producer in the world. According to the department’s Vice-Minister, Zhang Zhijun, “income from the local box office was over US$100 million in 2010, leaving foreign productions -which used to dominate the marketbehind.” Growth in the Chinese market isn’t a new phenomenon. Back in 2007, Chinese executives from the TV industry were already revealing resounding numbers: 529 series representing almost 15,000 episodes, almost double the amount recorded in 2000. China counts with 35 film industries, 70 TV production houses, 227 radio stations, 247 TV stations and 293 movie theaters. According to government officials, the country produced 526 movies and 436 telenovelas in 2010. “Chinese cinema and its efficiency in the animation market have improved substantially,” said Zhang Haitao, deputy director of China’s National Audio and Television Administration. Almost 220,000 minutes of animated productions were created in 2005, a number than quadrupled in only five years, leaving imported production way behind. Zhang Haitao explained that radio and television revenue in 2010 achieved an annual average growth rate of 20%, bringing in US$35 billion.

DOMINICAN REPUBLIC

‘All I Need Is Love’ Reaches First Place Broadcast on Antena Latina at 6:00 PM, ‘All I Need is Love’ was launched on March 1 beating direct competitor ‘Primer Impacto’ on Telemicro by 2.4 points. Telesistema’s ‘Cinemanía 1’ came in third with 10.6. “’All I Need Is Love’ is an oldschool love story that makes us daydream today,” said Mauricio Barreto who, along with Andrés Huertas, was responsible for the telenovela’s original idea. This Caracol TV Internacional telenovela tells the story of Juanita Román who makes a living singing on public transportation and decides to get a job to support her family.

T. TTV TELENOVELAS

‘Love Again’, Promofilm’s new telenovela for Telemundo, has already started travelling the world while waiting for its US premiere date on Telemundo. Following its predecessor ‘Beautiful But Unlucky’, the production has landed in several markets with great success, especially in Colombian broadcast TV. Starring Patricia Garza, Eduardo Rodríguez and Alejando Felipe Flores, the telenovela premiered on Caracol on March 1 at 4:00 PM. ‘Love Again’ was shot in Mexico and tells a story of “hope, innocence and love,” according to its synopsis.

VENEVISION INTERNATIONAL

New Premieres, Excellent Ratings for Venezuelan Telenovelas Venevision, the first Venezuelan channel, added a new premiere to its screen: ‘Triumph of Love’.

The story is an original screenplay by Delia Fiallo adapted by Ricardo Diallega and its TV version was in charge of Liliana Abud with Salvador Mejía producing. The channel also launched the telenovela ‘La Viuda Joven’ which was presented in Miami during NATPE. Written by Martin Hahn, the telenovela was premiered in March and obtained excellent audience results. With ample experience in the genre, Venevision is used to producing hits with local and international reach such as ‘Eva Luna’. Its distributor -Venevision International- reported that ‘Eva Luna’ captivated female audiences in Puerto Rico, where the telenovela is aired on Univision at 8:00 PM. ‘Eva Luna’ is leader among Puerto Rican women of all ages: 25.3% share among 18-49 year-olds, 26.3% share for women older than 35 and 28.4% share for women over 49 years old.

“We’re motivated by the national and international success of ‘Eva Luna’,” said César Díaz, VP of sales at Venevision International. ‘Eva Luna’ was originally written by Leonardo Padrón and adapated by Alex Hadad, Nora Sánchez Alemán and Jorge Nuñez.

The telenovela is also extremely popular in the US Hispanic market, leading its primetime timeslot on Univision and watched by 4 million viewers on average, according to Nielsen’s Hispanic Television Index.

TTV TELENOVELAS | Special Report

PRODUCTION Al Fondo Hay Sitio América TV (Peru)

Beyond

the Telenovela

Telenovelas are and always will be the top genre among Latin American TV schedules.

Yet new winds are blowing strong in the region, where producers are gradually being driven by global screens and finding innovative local products that go beyond the region’s traditional genre. > BY DIEGO ALEGRE T. TTV TELENOVELAS

O

ver 50 years of history have ranked telenovelas as the leading genre in Latin American television.

These productions have instilled a complex set of techniques, formulas and production methods in the region, catapulting the Latin American TV industry toward worldwide recognition. Even today the most exotic countries in the global TV market consider telenovelas a valuable product.

Latin American broadcast TV channels schedule telenovelas on their programming grids because of their guaranteed success. Most programming managers and directors in different markets admit to this.

Generally speaking, telenovelas occupy 30% to 60% of programming grids in Latin American broadcast TV stations.

Giants such as Globo, Televisa or Telemundo and powerful channels like TV Azteca, Venevisión, Telefe, Caracol, RCN or Record, among other telenovela producers, have undertaken the mission of taking their telenovelas to regional and global TV screens. From their positions as producers, international distributors and even partners, the genre’s ambassadors have not prevented small growing markets from looking for suitable ways to add value to their screens through original production.

These have responded with innovative telenovelas and fictions that have timidly started to show signs of technical and artistic expertise.

The traditional independent production model -at the producer’s cost and risk- only works for self-sufficient broadcasters. Alternatively, a channel may form a partnership or joint venture with a local production company and an international distribution company. This business model -currently at its peak- opens doors for local productions focused on foreign markets at a shared risk and enhances the entire production process, benefitting both parties by internationalizing content.

In smaller markets 40% to 50% of all broadcast programming is locally produced, while in middle-sized markets the numbers can reach up to 60%-75%. In so-called “large” markets like Brazil, Mexico or Argentina where production volumes are high, local production can be incredibly strong, hoarding up to 80%-90% of the market’s programming schedules.

Telenovelas might take up most of the region’s timeslots but this is no reason to undermine the know-how, infrastructure and technical and artistic skills needed to compete with productions in this genre.

Yet some companies in small markets are exploring new ways to bring

Canal 10 has recently partnered with production company Pow Wow to produce ‘Dance!’, an 80-episode kid and teen series that will require an investment of US$5 million and the work of 180 people. “The genre is booming and growing and it also carries the possibility of related businesses such as live shows, music albums and merchandising. At the same time, this genre is perfect for our screen because this kind of in-house produced product for access primetime has something else to offer,” Castro says. For this production -the first of its magnitude to ever be developed in Uruguay- both partners are building new studios on a 1,200 m2 (12,917 ft2) lot where the series will be shot.

Forty professionals from Pow Wow will also participate in the project, including director Martín Mariani (‘Flinderella’, ‘Teen Angels’, ‘Rebel’s Way’).

‘Dance!’ will be the first kid and teen series ever made by a Uruguayan channel for its distribution across different markets. “We know we need to have an international cast in order to guarantee that the production sells elsewhere,” the executive says. “This production is all about the story.”

This project is the result of the channel’s ongoing efforts to produce local fiction. Based on the format ‘Escenas de Matrimonio’ from Spanish Porque Te Quiero Así SAETA Canal 10 (Uruguay)

Xavier Alvarado Robles Executive President of Ecuavisa (Ecuador)

Eric Jurgensen General Manager of América TV (Peru)

added value to their screens. In line with this drive for local production and globally-oriented co-productions, initiatives by SAETA (Canal 10) in Uruguay, América Televisión in Peru or Ecuavisa’s annual projects in Ecuador are good examples of this spirit.

The three cases escape the international expansion strategy of coproduction currently promoted by large companies as a way to gain new markets. Instead, they follow a business model that fractions risks, maximizes potential and know-how and guarantees global distribution. And all of this is based on a single premise: good stories.

And so, series emerge as the most suitable product for markets that have limited production and investment capacities.

URUGUAY. This is one of Latin America’s smallest markets. According to the Uruguayan Association of Advertising Agencies (AUDAP), annual ad spending in 2010 reached US$225 million. Local broadcast TV enjoys a 48% share in the advertising market, distributed among three private channels and one public broadcaster. “We know that producing fiction in Uruguay only makes sense if it is made for the local screen. And we understand that due to a matter of costs, the local market is too small to sustain large-scale productions,” Luis Castro, production manager of Canal 10, tells ttv.

Luis Castro

Production Manager of SAETA Canal 10 (Uruguay) broadcaster Telecinco, Canal 10 produced ‘Hogar, Dulce Hogar’ back in 2009. Last year it produced a 16-episode comedy show, ‘Porque Te Quiero Así’, featuring a popular international cast and director. The show yielded good audience results and will have a second season with more episodes this year.

A distribution partnership with Frecuencia Latina International, the company that represents Canal 10’s catalog worldwide, was the first step toward this long-term project. And this is only the beginning of Uruguay’s journey toward becoming “a fiction production center for the international TV market,” Castro says.

ECUADOR. Ecuavisa operates in a competitive market which reports an annual ad spending of over US$850 million with broadcast TV enjoying a 60% share, according to data from market researcher IPSA Group.

The channel was Ecuador’s pioneer in local production of telenovelas.

Telenovelas such as ‘Por Amor Propio’, ‘Pura Boca’, ‘Amores que Matan’, ‘La Novela del Cholito’, ‘El Secreto de Toño Palomino’ or ‘She, The Taxi Driver’ -its latest production- are some of the channel’s most popular hits.

Ecuavisa acquires telenovelas mainly from Globo and Telemundo but has also been producing one telenovela per year. In 2010 the channel produced ‘She, The Taxi Driver’. “Ecuavisa has focused on developing

TTV FORMATS T.

TTV TELENOVELAS | Special Report

one 120-episode telenovela per year for five years now,” says Xavier Alvarado Robles, executive president of Ecuavisa. These productions are currently distributed in markets such as Peru, Venezuela, Bolivia and the US by Latin Media Corporation. This is kept in mind by its Content Development Department that works on suitable scripts that will give birth to productions “for both the local and international markets,” the executives says.

Producing 120 episodes is a major challenge for a small and highlycompetitive market that seeks to make its programming special.

“Audiences want to see themselves reflected on their TV screens so we are committed to producing in our country,” Alvarado says. “Ecuavisa’s primetime is made up of locally-produced telenovelas and telenovelas

by Globo and Telemundo. An example of local production is ‘She, The Taxi Driver’,” he says.

Ecuavisa’s two 1,000 m2 (10,764 ft2) studios, three editing units and two mobile units make up the channel’s production capacity.

The company also benefits from an extensive track-record in preproduction, production and post-production, as well as in content development. From its role as producer and broadcaster, the channel spends about US$1.8 million each year to produce a telenovela with international potential, such as ‘She, The Taxi Driver’. “We have been studying some alternatives and there’s interest in Europe and Asia to acquire this script. And opportunities are coming up in Central America and Andean countries as well,” Alvarado says.

are continuing with this broadcaster’s long-term production plans.

“Today, Peru has considerable volumes of TV production. Peruvian products have always been good. Peru has talent in front and behind the cameras,” Eric Jurgensen, CEO of América Televisión, tells ttv.

América Televisión also has a partnership with Televisa that provides the Peruvian broadcaster with telenovelas produced by the Mexican giant. These telenovelas occupy 30%-35% of its programming schedule. “Our schedule is composed of 60% of original production and the remaining part of our line-up is filled with acquisitions in fiction, programming for kids and talk shows,” the executive says. Last year was one of the best in the channel’s history, with seven of its shows among the audience’s top ten during the last three months of 2010. “Telenovelas are very important and Peru is no exception. They are very important programming pillars,” Jurgensen says.

The series ‘Al Fondo hay Sitio’ yielded excellent audience results within the local market. The Peruvian TV broadcaster then teamed up with TV Film International, and international distribution company led by Juan Pablo Carpenter. TV Film International sold the series in Bolivia and Ecuador where it had great reception. “There are other interested markets. Both Telemundo and Televisa have shown interest in producing it and this opportunity is currently under discussion,” the executive says. ‘Al Fondo hay Sitio’ is currently on its third season in Peru.

PERU. This South American country hosts 30 million people and has an annual ad spending of around US$650 million, according to estimates by Peru’s Association of Media Agencies (AAM) for 2010. The TV industry concentrates most of the country’s ad spending, boasting a 51% share. On the air since December 1958, América Televisión is to this day one of Peru’s oldest but most-watched channels.

This year América Televisión also ventured into a new TV project, producing the TV series ‘Tribulación’. “We thought the idea and quality standards were very interesting and we decided to co-produce it,” Jurgensen says. This new production is a crime series co-produced with Peruvian company Creative Tree, shot in high definition and distributed by Venevision International. “Our priority is to produce in-house. If we receive any interesting projects then we work in a coproduction model,” he says.

The channel’s long history in original productions includes telenovelas like ‘Leonela, Muriendo de Amor’ (1997), ‘Luz María’ (1998), ‘María Emilia Querida’ (1999), ‘Pobre Diabla’ and ‘Milagros’ (2000-2001). More recently, miniseries such as ‘Yo No Me Llamo Natacha’ which premiered last January or ‘Al Fondo Hay Sitio’ (2009) and the new TV series ‘Tribulación’

America Televisión has broken into the international content distribution business with its original productions, which have garnered great interest among large companies. “We are about to close a deal with TV Azteca to produce the ‘Al Fondo Hay Sitio’ format,” Jurgensen announces.

After

taking these three cases into consideration, it seems safe to assume that for many companies in small markets, original production is the way to go. Why? Local productions enable these companies to develop niche projects or products that add value to their screens based on audience identification.

This, in turn, provides solid audience and commercial performances that stem from both the local market’s meager numbers and the product’s guaranteed international potential. ttv

Hogar, Dulce Hogar SAETA Canal 10 (Uruguay)

TTV TELENOVELAS | Interview

Peter Tinoco, President and CEO of Venevision Productions

The Art

of Producing Organización Cisneros is one of the world’s main private groups operating media, entertainment, telecommunications and consumer products.

Venevision Productions -its production unitproduces telenovelas that are exclusively broadcast on Univision, the main Hispanic network in the US. Meanwhile, its programming is distributed by Venevision International in more than 90 countries.

> BY SEBASTIÁN AMOROSO “Venevision Productions produces between 1,200 and 1,500 hours a year which are broadcast on Univision in the US and Puerto Rico.”

T. TTV TELENOVELAS

V

Productions is a company that produces programs for Spanish-speaking television.

These programs are then exclusively aired through Univision in the US and Puerto Rico and later distributed by Venevision International to the rest of the world.

In general terms, what is Venevision Productions’ business model? Venevision

What are the main factors Venevision Productions takes into account when producing for TV? General production strategies are decided by directors but must be aligned with the plans set by Venevision’s set of companies. It’s also important to take what Univision needs into account, since we have an ongoing agreement with them until 2017.

enevision Productions deployed cutting-edge studios in Miami and Caracas (Venezuela) to produce high-quality telenovelas for Latino markets in North America. The studios are also in charge of broadcasting the Venevision signal, Venezuela’s most important broadcast and pay TV network, which is celebrating its 50th anniversary this year.

Peter Tinoco, president and CEO of Venevision Productions, talks to ttv about the models and strategies followed by the Organización Cisneros business unit.

Peter Tinoco, President and CEO of Venevision Productions

What are Venevision’s current production capacities for TV? Venevision has studios in Miami and Caracas. Its US facilities include over 20,155 m2 (216,946 ft2) in studios, which are completely equipped with cutting-edge digital technology and provides access to satellite and fiber optic connections. The company’s lot in Venezuela -led by Manuel Fraiz-Grijalba, its executive VP- has 60.000 m2 (645,834 ft2) and holds 11 studios. We not only produce there but broadcast our broadcast TV channel Venevision, which reaches all of Venezuela. Almost 3,700 hours are produced there per year and 1,600 of those hours have exporting potential. Venevision employs more than 2,000 people for its facilities in Caracas and is the leading media outlet in the country.

How many annual TV programming hours does Venevision Productions produce in Miami? Venevision Productions produces between 1,200 and 1,500 hours a year which are broadcast on Univision in the US and Puerto Rico. Most of these hours correspond to dramas and telenovelas, talk shows (‘¿Quién Tiene La Razón?’ and ‘Casos de Familia’) and variety shows (‘Tu Desayuno Alegre’).

What role does co-production have within the company’s current strategy? Coproductions are very important for us but they are not part of our main strategy. We have had and are currently in talks to develop several co-production projects but Venevision Productions has not started to co-produce yet.

What productions is Venevision currently working on? The telenovela ‘Eva Luna’ is currently being produced in Miami.

Completely shot in HD, the telenovela has had excellent ratings since its premiere. We’re also producing ‘La Viuda Joven’ (The young widow) in Venezuela. The telenovela was written by renowned author Martín Hahn and will star Mirangel Ruis and Luis Gerónimo Abreu.

‘Inmenso Mar, Inmenso Amor’ (Vast sea, vast love), a telenovela by Venezuelan screenwriter Alberto Gómez, is also being produced. These two telenovelas join other ongoing comedy programs that usually air on Venevision such as ‘Bet You Laugh!’, ‘Que locuras’ and ‘Battle of the Sexes’.

What are the advantages of producing audiovisual programming in Latin America? Latin America has extraordinary talented professionals from an artistic and a production point of view. The evolution of Latin American productions during the last decade is quite significant, as well as the continent’s growth beyond the telenovela to produce other genres. It’s possible to produce high-quality products

“The telenovela ‘Eva Luna’ is currently being produced in Miami.

Completely shot in HD, the telenovela has had excellent ratings since its premiere.” at very reasonable costs. Argentina, Brazil, Colombia, Venezuela and Mexico are definitely leading the way when it comes to audiovisual content.

What’s your evaluation of 2010 in terms of production? What are your expectations for this year? Last year we had excellent results and the year ended with ‘Eva Luna’, which stood out for its production quality and originality. It was a success from day one. Our main goal is to continue producing original, appealing and relevant content for rapidly-expanding audiences. We’re always alert to opportunities and we’re very aware of the popularity of Latino content and of the telenovela genre. We’re looking into developing multimedia content, capitalizing on the opportunities provided by technology.

“Our main goal is to continue producing original, appealing and relevant content for rapidly-expanding audiences.”

When creating and producing audiovisual content today, one must consider multiple parallel windows. What role do new media play in Venevision Productions’ strategy?

New media enhance TV production. Content creators need to connect with audiences in every sense and interactive media are key elements to achieve this. For us, they represent our audience’s evolution beyond traditional TV. New media are an integral piece within our current and future strategy. ttv

VENEVISION: 50 YEARS OF ENTERTAINMENT Venezuela’s main broadcast TV network, owned by Grupo Cisneros (Gustavo Cisneros), will celebrate its 50th anniversary this year. “This fills us with pride and satisfaction: these five decades of continuously working with the best professionals and the best talent have turned Venevision into one of the region’s leading pay TV channels and have provided the best in entertainment to all audience demos in Venezuela,” Tinoco says. The production unit has already been producing special messages and promos to remember great shows, artists and moments of the Venezuelan channel. “This anniversary has been widely covered in Venezuelan and regional media,” he says. “It’s something that audiences want to remember and that has an emotional connotation. Our programming made history in Venezuela and a part of it was later exported with great success as well,” the executive concludes.

TTV TELENOVELAS T.

TTV telenovelas | IN FOCUS

Delmar Andrade, Head of International Sales, Record TV Network

Berta Orozco, Sales Executive for Asia and Africa for Caracol TV Internacional

Claudio Villarruel, Founder of ON TV

“

“ “ The telenovela ‘River of Intrigues’ has enjoyed great success in Brazil with 25% share. We’ll also be launching ‘Rebelde’ during the first half of 2011. This telenovela’s original version has been a worldwide hit and will now have its own Brazilian version.”

Fernando Gaitán, Vice President of Content and Products at RCN Televisión

In ‘Love and Fear’ we find a classic and dramatic telenovela, in ‘The English Teacher’ we have a lighter plot with a good dose of humor and in ‘Couples Therapy’ we offer one of those anthology-like series that audiences like so much and are suitable to any grid.

With ‘Confidential’ we’re launching a new genre, a five-chapter miniseries about current and international topics that will captivate audiences.”

Ricardo Scalamandré, International Business Director at Globo TV International

Those attending MIPTV will get a clearer picture of the series selected by consulting company The Wit, including ON TV’s new fiction ‘Contra las Cuerdas’. “We’re very happy with the acknowledgments ON TV is receiving internationally.

We’re gradually fulfilling all the objectives set when creating our production company in January 2010.”

Tatiana Rodríguez, SVP of Programming and Creative Strategy at Nickelodeon Latin America

“ “ “ “New productions for 2011 include ‘La Historia de Joe Arroyo’ about a Colombian folklore composer and musician; ‘Correo de Inocentes’ about drug mules; ‘Missing’, co-produced with Disney; ‘Un Sueño Llamado Salsa’ and ‘Retrato de una Mujer’, both co-produced with Fox; the series ‘Allá te Espero’ on Colombian immigrants in the US; and the series ‘Tres Milagros’ and ‘Las Santísimas’ with Sony.”

“Globo TV’s role as a production company is to get everything ready to shoot universal scenes. No doubt about it, a right selection of shooting locations is greatly valued by international buyers, who will bring highbudget productions into their programming grids.”

“We’re very excited about this successful project [‘Sueña Conmigo’] since it’s the first time that one of our live action series will have its theatrical version in Argentina. In this way, audiences that dream with our telenovela will now be able to do so live, at a great show tinged with that magic that the theater usually provides.”

LISTINGs TELENOVELAS This section features companies presenting Telenovela catalogs at MIPTV 2011.

The English Teacher

Caracol Televisión

Dori Media Group

Stand: 09.24

Stand: 12.02

Executives Attending

Angélica Guerra, International VP Lisette Osorio, International Director Camila Reyes, Sales Executive for Eastern Europe Berta Orozco, Sales Executive for Western Europe, Asia and Africa

The English Teacher

(La Teacher de Inglés) (Telenovela – 120 x 60’)

MIPTV

2011

Diggers

When his wife leaves him for a wealthy American, Kike decides to put everything into his company and begins looking for new businesses in the United Sates. To do so, he reaches out to his cousin Luis Fernando, who lives in Miami, and to Pili, the beautiful English teacher with whom he falls in love instantly. What Kike doesn’t know is that Pili has a boyfriend, and Luis Fernando, in trouble with the mob, has hired his lover to help him take over the company. After losing everything, Kike will have to start from scratch in order to compete for business in the United States.

Confidential

Executives Attending

Nadav Palti, President & CEO, Dori Media Group Leora Nir, VP Channels, Dori Media Group Elena Antonini, VP of Sales, Dori Media Distribution Argentina Andres Santos, VP of Sales, Dori Media America Revital Basel, CEO, Dori New Media Tali Fink, Director of Marketing, Dori Media Group

Diggers

(Excavadores) (60 x 30’) Ever since 14-year old Jonathan was left by his mom at a foster home, more than a decade ago, all he longs for is the moment of her return. When he hears of the magical, mysterious Wishing Stone that’s been discovered at the basement of the guarded museum across the street, he decides to secretly dig a tunnel from the foster home to the museum in order to get to the stone that would, so he believes, reunite him with his mother.

Date Blind

(Confidencial) (Drama – 50 x 60’)

(Ciega a Citas) (120 x 60’)

The purpose of the series is to rescue these people from the anonymity in which they live in, since just like us, they suffer and stand known or common circumstances that are generally related with acts of violence or intolerance. The interest that is being sought in the viewer is based on the recognition of the normal urban environment fostered by the news in question and by the melodramatic humanization of the characters involved.

Single and somewhat unattractive, Lucía overhears her mother make a bet with her younger sister that she won’t be able to bring a real boyfriend to her sister’s wedding. Lucía sets out to find a genuine loving boyfriend, knowing all too well that she has only 258 days at her disposal until her sister’s wedding day. ‘Date Blind’ is a co-production of Dori Media Contenidos and Rosstoc.

An International Emmy Awards Nominee 2010; Sold to over 30 countries in 1 year.

Against the Ropes

Frecuencia Latina International Executives Attending

Miki Ivcher, CEO Patricia Jasin, International Sales Director

Cat’s Cradle

Against the Ropes

Globo TV International

Produced by ON TV (Bernarda Llorente & Claudio Villarruel) and directed by Alejandro Maci (‘LaLola’ & ‘The Successful Pells’). The story of a young boxer from a small town who decides to take destiny in his hands when his manager wants to force him to lose a fight which he could win, and he refuses to do it. He runs to the big city where far away from his town and family he has to face new dangers and a new love story. He must survive in a world that he does not know, very different from the one where he was born. He will need not only his intelligence and cleverness.

He will also need his fists.

Stand: A0.01

(Telenovela - Drama / HD - 60 x 60’)

The Way I Love You

(Series - Romantic Comedy / HD - 16 x 60’) Written by the Argentinean Adriana Lorenzón (‘Montecristo’, ‘The Roldans’, ‘Don Pedro: Story of a Drug Lord’), directed by Eduardo Ripari (‘The Successful Pells’ & ‘Montecristo’) and produced in HD, this is the story of a young woman who returns to her home town for a short visit. A loving triangle, a romantic comedy and a contemporary urban story which have achieved best ratings on local screen and now aspires to succeed also in the international market.

Executives Attending

Raphael Correa Netto, Head of International Sales Daniel Djahjah, Sales Manager America Pedro Dombrasas, Sales Executive Europe João Fonseca, Sales Executive Europe Gabriel Rohonyi, Sales Executive Europe Victor Teixeira, Sales Executive Europe

Cat’s Cradle

(Telenovela - 110 x 45’) The twists and turns in the life of Gustavo, a rich and intolerant man, married to Veronica, a vindictive, arrogant and futile woman. Gustavo only discover true love and recover his old values when he meets Rose, a simple, hard-working and down to earth woman who takes care of her four kids with love and dedication.

First Lady

Latin Media Corporation / Worldwide Rights Corporation Stand: 05.19, Malaysian Pavilion

Executives Attending

José Escalante, Executive Director of Latin Media Corporation Farid Khaleeque Ahmad, Executive Director of Worldwide Rights Corporation Guillermo Isturiz, Director of Sales

First Lady

(Primera Dama) (Family drama - 100 x 45’) ‘First Lady’ tells a story about Sabina Astudillo an ordinary, young but ambitious woman who is willing to do anything to seduce Leonardo Sandander, a Presidential candidate of Chile to become the First Lady. However Estrella, Sabina’s mother becomes her moral guardian and insists that she returns Caetano’s stolen money. Sabina also becomes distracted with Mariano, the man she truly desires. Will she succeed in her brutal ambition? Primera Dama – when love faces power.

TTV TELENOVELAS T.

Samson and Delilah

The One

The Queen of the South

Record TV Network

Telefe International

Telemundo Internacional

Stand: 05.02

Stand: RSV 14 (Riviera Sea View)

Stand: A0.21

Executives Attending

Honorilton Gonçalves, CEO Paulo Calil, Director de Adquisicion Delmar Andrade, Director de Ventas Internacionales Edson Mendes, Gerente de Ventas Internacionales

Samson and Delilah Samson is a courageous, fearless man, a Hebrew who keeps to himself the mysterious secret of his strength. He was born as the promise of being the rescuer of his people who were oppressed and persecuted. Delilah is a Philistine woman with exuberant beauty extreme ambition. Prince Inarus gets infuriated, and allows Delilah to persuade Samson in order to discover the secret of his strength. Thus, the stories of Samson and Delilah intersect. Strength and beauty come together in a game of greed, seduction and power.

Executives Attending

Fernando Varela, Director, International Business Area Michelle Wasserman, Head of International Business Programming, Formats & Production Services Diana Coifman, International Business Senior Sales Executive Europe & Brazil Programming, Formats & Production Services Guillermo Borensztein, International Business Executive Asia, Eastern Europe, Africa & Middle East Programming, Formats & Production Services Meca Salado Pizarro, Head of Marketing

The One

(Telenovela - Approx. 150 x 60’) ‘The One’ is starred by successful ‘Montecristo’ couple, Pablo Echarri and Paola Krum. The story of Andrés (Pablo Echarri) an arrogant and ambitious lawyer who, after winning a trial, is awarded a trip to Spain which will change his life forever.

He undertakes a merciless competition with the rest of his colleagues to get to be ‘The One’ as partner in the firm where he works. Mariana, an idealist lawyer to whom he will feel an irresistible attraction is among them. They will inevitably end up falling in love.

Executives Attending

Marcos Santana, President Xavier Aristimuño, VP Sales & International Business Development - Asia Esperanza Garay, Senior VP Sales & Acquisition, Latin America Luis Daniel Capriles, VP International Digital Media Sales Karina Etchison, VP Sales, Europe, Africa, and the Middle East Melissa Pillow, Sales Director, Central & Eastern Europe Alejandra Recasens, VP Marketing & Promotions

The Queen of the South

(Telenovela – 62 x 60’)

‘The Queen of the South’ spans 12 years across three continents and weaves the story of the legendary character Teresa Mendoza.

The story follows Teresa, whose drug smuggling lover has given her a special cell phone. He warned her that if that phone ever rung it will mean he would have been killed and she would be the next target. The dreaded call eventually comes, sending her on a journey that takes her to Spain and through a series of life changing events. She moves to Melilla, a Spanish enclave in the North of Africa, and becomes the girlfriend of another handsome drug runner who teaches her all about boats, navigation and survival on the Straits of Gibraltar. She ends up in a Spanish prison, where her wealthy cellmate turns her into an elegant and educated woman. After her release, she partners up with the Russian mafia and takes the reign of a drug trafficking empire.

Teresa is forced to transform herself from a young innocent girl to a woman tough enough to survive in the ugly and dangerous world of drug trafficking. The woman who emerges surprises those who even know her legend, that of the Queen of the South.

Rafaela

Televisa Internacional Stand: 02 (Riviera Seaview)

Executives Attending

Fernando Pérez Gavilán, Vice President of Televisa Internacional Carlos Castro, General Director of Sales Ricardo Ehrsam, General Director Europe and Asia Claudia Sahab, Director for Europe Elsa García, Business Manager Spain and Portugal Patricia Porto, Business Manager Central and Western Europe Beatriz Rodríguez, Business Manager Eastern Europe Manola Martín, Business Manager Eastern Europe and Nordic Region Pedro Font, General Director of Sales Asia, Africa and Middle East Silvia García, Director of Sales Asia, Africa and Middle East Douglas Welch, Director of Sales Asia, Africa and Middle East Mario Castro, Director of New Businesses Claudia Silva, Director of Sales for Licensed Products José Luis Romero, Director of Formats and New Contents Cecilia Rivera, Director of Marketing

Rafaela

(Traditional - 150 x 60’) Rafaela is a young woman who comes from an underprivileged family and managed with great effort to get a Medical Degree.

Just after graduating, she becomes a resident at Dr. Rafael Antúnez´s hospital, who happens to be Rafaela’s father. All of a sudden, Rafaela is in the middle of a difficult dilemma when she finds out she’s pregnant with José María’s baby. She must decide whether to accept the offer of a generous man, whom she doesn’t love, but is willing to give her child a home and a name; or to fight for the love of her baby’s father, the man who will always be the love of her life.

T. TTV TELENOVELAS

Emperatriz

TV Azteca Stand: LR2.06

Executives Attending

Marcel Vinay Hill, Vice President International Sales Marcel Vinay Jr., CEO Comarex Ana Zaira Sanchez, Head of Operations Carmen Pizano, Sales, Latin America & Spain Martha Contreras, Sales Asia Adela Velasco, Sales Europe & Africa Raul Mendoza, Marketing

Emperatriz

(Drama - 120 X 60’) This is the story of Emperatriz Jurado, a woman that has fallen in love with Armando Mendoza, but he has betrayed her and taken away her new born daughter. Emperatriz swears to herself that she would take revenge against Armando, make him pay for all the damage that he has done and find the way get her daughter back.

Eva Luna

Venevision International Stand: 14.02

Executives Attending

Miguel Dvorak, President & COO of the Cisneros Group of Companies Manuel Pérez, Vice President & CFO of Venevision International Cesar Díaz, Vice President of Sales Miguel Somoza, Regional Sales Director Daniel Rodriguez, Sales Director for Latin America Cristobal Ponte, Exclusive Independent Representative for Europe, Africa & M.E.

Eva Luna

When Night Falls

(Eva Luna) (Telenovela - 120 approx. x 45’)

‘When Night Falls’ is a one-hour thriller series of 24 episodes that explores the world of hidden dangers vibrant in society that come to life when most of us are safely asleep. The series presents stories of those who overstep the limits of daily life as they struggle for survival in an unknown and dangerous world!

When Eva’s father is killed by a hit-and-run driver, she vows to find the culprit. Her life becomes a nightmare when she starts suspecting the man she loves. But there are sinister forces leading her to believe this lie… and she finds herself involved with the real killer, who’ll do anything to have her for himself. [Currently the highest-rated novela in the U.S. general market.]

(Al Caer La Noche) (Suspense/Thriller – 20 x 60’)

todotvnews

HIGHLIGHTS

SPAIN

EVALUATIONS Positive End of Year for The Walt Disney Company

Low-Cost Production Low-cost fever fuels a sector exploring new roads. This changing model follows a clear rule: to produce low-cost content to meet the needs of emerging platforms. > By Rodrigo Ros

T

he phenomenon goes back to two years ago. It has to do with the recent economic crisis, of course, but especially with the need to produce original content for DTT. This content will have to go a long way before its business model consolidates and manages to concentrate a significant amount of overall ad spending.

This simple rule is followed with almost no variations by most emerging production companies: to create original cross-platform content at competitive costs.

Some of these businesses are already established companies. Such is the case of Central Creativa, owned by the ZZJ group.

The group produces about 7000 annual hours of fiction and entertainment programs.

“DTT networks first started reprogramming broadcast TV schedules but they quickly realized their need for original content at lower costs than generalist TV,” says José María Zafra, CEO of the company. “For broadcast TV we have reached 20 to 30% lower budgets compared to regular standards,” Zafra says.

“And DTT budgets are even 10% lower than normal broadcast TV budgets.” This production

company has been responsible for programs such as ‘Invasores’, adapted from popular MTV show ‘Room Raiders’ and released in June 2009 on Neox, Antena3’s DTT network.

Production company Isla has also achieved great success in this area. Founded only two years ago, this young production company was in charge of producing ‘Bicho Malo Nunca Muere’ for Neox and the first season of ‘La pecera de Eva’ (La7), which became an audience hit. This encouraged Telecinco to renew its partnership agreement for new projects.

One of the most recent examples -created earlier this month- is production company enminúscula, a low-cost production company owned by the Sequoia group. This company announced that its goal is “to create and market original audiovisual content to broadcast via all kinds of low-cost distribution platforms, such as new DTT channels.” In this way production is responding to the changing needs of today’s TV market, where television converges with Internet and mobile telephony and DTT implementation multiplies the number of operating channels. This new

The Walt Disney Company’s fourth quarter reports for 2010 showed profits for US$1.3 billion, 54% more than in the same period last year. According to a company statement, a strong cost-reduction policy for distribution, an increase in ad sales for the group’s channels and selling all rights to ‘Toy Story 3’ (with an operating profit of US$312 million after earning US$922 million in DVD sales) were the main reasons behind this result.

According to New York Stock Exchange data, gross income grew 10% during the last quarter, reaching the US$10.7 billion mark. “A 54% rise is a great way to start a new fiscal year,” said Robert Iger, president and CEO of the company. Networks ABC and ESPN earned 11% more than in the same period last year, engrossing US$4.6 billion. The company’s operating results were of US$295 million, more than double than the US$115 million earned in the fourth quarter of 2009. Other key elements were an increase in its theme park’s operating results (25% compared to 2009) and in its film production revenues (54% rise in its operating revenue).

company is led by general director Jacobo Eireos and Sergio Lizarraga, its coordinator of R&D. Another production company that has been in the market for almost two years now is Magnum Contenidos Multimedia (MCM).

The company is focused on “creating quality formats at reasonable prices,” according to Daniel Cubillo, one of its founders and former executives of Cuarzo Producciones, responsible for series like ‘Herederos’ for channel 1 by Televisión Española.

Under this model, production companies operating in this market have managed to consolidate their niche. This is the case of the aforementioned Magnum, with productions such as ‘Los Primeros de la Clase’ (Canal 9) ‘Ahora o Nunca’, or Plural Entertainment’s ‘La Magia de Viajar’, ‘Animalandia’ (TPA) and ‘De Fiesta en Fiesta’ (Canal Extremadura). All these examples mentioned show features in common: a close-up approach, a niche frame, new production models and concentration of resources and, in more general terms, a renewed production and shooting model, the key to low-cost production. In these times of cut-backs this model seems to become a trend. How and when this new model will finally become profitable is yet to be determined. ttv

TTV MAGAZINE 51

EXECUTIVES

Dori Media

Everywhere From interactive reality shows to teen telenovelas -from the US to the Philippines- the Israeli group nurtures its international catalog with 100% original content. Nadav Palti unveils the company’s new ventures: six different dramas, two new projects in Latin America and three realities, including a new season of ‘First Love’.

M

ulti-projects for multi-platforms; that’s how one could define Dori Media Group (DMG) after a half-hour conversation with its president and CEO Nadav Palti.

The company has its headquarters in Israel but counts with offices in four other countries.

It has taken 2011 very seriously and its idea factory is working at full steam. “This year we will have six different dramas in production in Israel. Apart from that, we also plan to start two productions in Latin America, one in Argentina and one in another country from the region,” the executive tells ttv.

By Sebastián Torterola “This year we will have six different dramas in production in Israel [and] two productions in Latin America.”

This variety of original content is a response to good results in ratings -especially in Israeland new demands from the international market. A clear example of this is ‘Diggers’, a 60-episode series recently presented at NATPE 2011. “The first season of ‘Diggers’ is now airing on Channel 6, an Israeli kid’s channel. Its second season will start shooting in September and air in Israel in November.

Our expectations are very high, especially now that we can offer 120 episodes. We think

Diggers 60 x 30’

52 TTV MAGAZINE

it’s a very good choice for an 8-14 year-old target audience, with all the elements of an international, non-violent story,” Palti says.

This production’s approach is partially similar to the one surrounding ‘Split’, which was sold to 60 countries and oriented toward a younger audience. DMG will start producing the third season of the vampire series in June-July in Israel. “It will have 45 episodes in HD and the story will head into a new, unique direction.

It will be available to the international market probably for LA Screenings or DISCOP East,” he says. The drama sextet is completed by two 60-episode and 40-episode primetime series and two 13-episode weekly series, also meant for primetime. “They are not telenovelas but they have similar elements. All of these will be produced in Israel and we’re investing more money in each episode to enhance their quality,” the executive says.

With the NATPE experience still fresh in his mind, Palti welcomed the move from Las Vegas to Miami because “it’s nearer, it’s much more convenient, the weather is better, it cost much less for us and the environment was good,” he says. “For us it was a very good way to open this year. 2009 and 2010 weren’t our best years, largely due to the world recession but we now think the recession is behind us even if the economic situation isn’t the best.

We think this will be a good year, because the Israeli economy is very good and we see that sales have increased in the rest of the world.

This recovery started in NATPE,” Palti says.

LOW BUDGETS FOR NEW GENRES. In regard to international distribution, the company is concentrating its energies on ‘uMan’, an ambitious format launched two years ago. According to the executive, last year was a period in which broadcasters and operators got to know the format. The

Nadav Palti,

company started to sign its first deals and the format is now taking off. Its main strength: platform integration and low-cost production.

“We believe this year ‘uMan’ will grow bigger, based on several agreements we signed that we still can’t announce. It’s a breakthrough year for this title since it took us one year to sell it, produce it and explain how it works.

This year ‘uMan’ will be in at least six countries and in some of them with second and third seasons,” he says.

Even though DMG is widely recognized for its telenovela production, it has actively developed its reality business, mainly focused on cross-platform formats. And this will be a particularly dynamic area in 2011. “We have two new TV realities in Israel this year: ‘Once in a Lifetime’ and ‘Checked in NY’. We also plan to produce a new season of ‘First Love’, a cross-platform, interactive documentary for internet, TVs and mobile phones. The first season of this show was already introduced at NATPE and its second season will air in July in Israel,” Palti points out.

Israel is fertile land for strategic alliances for these kinds of formats because telcos -Cellcom, in the case of ‘First Love’- are larger than TV stations and are very likely to finance productions involving new platforms. “Three years ago we established a DMG subsidiary called Dori New Media, specifically focused on this field. Dori New Media works closely with the company’s production house: Dori Media Darset. We sign all kinds of cooperation alliances through joint ventures: if it’s a drama, the channel can be from TV; if it’s related to new media, a mobile or internet company might be interested. They actually finance everything and we partner 50-50 on intellectual property. Of course, we do keep its worldwide distribution business, which earns us most of its returns,” he says.

The drama cycle is a bit different. “When we produce regular daily or weekly drama for TV -whether for broadcast channels, public broadcasters or cable broadcasters- both partner’s creative teams work together. After pre-production, production and shooting, we air it in Israel. Then both parts also receive an important percentage of distribution rights.

This is how it usually works in Israel,” Palti says.

There is yet another explanation for DMG’s high interest in realities and cross-platform formats. “It’s a segment we push a lot now since the market demands it because of the recession. Production is less expensive, you can get relatively good ratings on primetime and it’s easier to combine new media than dramas and telenovelas,” Palti explains.

NEW MEDIA AUDIENCES. The advantage of being Dori Media Group is that you

president and CEO of Dori Media Group

“This year, ‘uMan’ will be in at least six countries and in some of them with second and third seasons.”

aren’t based in a regular country. In fact, the company takes the Israeli market as a trend thermometer -testing cutting-edge ideas for a tech-savvy public- and then decides whether to include a production or format in its international catalog. “Israeli audiences are very demanding since they are early adopters of technology. But new media is everywhere.

The internet has a global reach, everybody has a new cell phone or smartphone and screens at the workplace and TVs get bigger everyday.

So when you are walking or travelling, you are probably watching something on your iPhone, iPad or on your 22’’ computer screen or at home in your 55’’ TV. Each medium pushes the other medium toward a particular production. Our concept is: Dori Media everywhere,” the executive says.

features because of the internet. In the past, it wasn’t even possible to broadcast Mexican content in Argentina or vice-versa. Today it’s possible because audiences are much more open to new language experiences, both in Spanish and English.” Palti says. As an example, he mentions the US Hispanic market, which continues to receive mostly Mexican content but is slowly incorporating content from other Latin American countries. “These facts can be extrapolated to new media and will bring the Latin American market nearer to the US, with audiences consuming services like Netflix, novebox.com and on demand. Maybe it’s a more conservative market and it will take more time but it’s moving in that direction,” he affirms. ttv uMan 24/7 Genre: Cross-platform reality

So it’s not only Israel. Palti mentions the Turkish example, where ‘uMan’ is on air, apart from other territories keen on following a show through alternative devices and screens. But what about Latin America?

“Latin American audiences will continue to watch telenovelas but the genre will become more sophisticated. In the future there won’t be any ‘novelas’ but redefined ‘new-velas’, a combination of the traditional genre and US dramas. Maybe this isn’t happening at the highest speed but channels are already looking to be more sophisticated. Apart from that, I believe people are more open to new

‘uMAN’ GOES POPULAR The interactive reality show developed by Dori New Media and Cellcom is the top primetime show in TRT Okul, a new channel on Turkish broadcast TV. It’s locally produced by Sinerji Productions, which acquired the format for that market. “’uMan’ airs during one hour in primetime on TV and 24 hours a day live on the internet and on mobile phones,” Nadav Palti explains. The executive expects 2011 to be the format’s “breakthrough year”. Since its debut in July 2009, it has been sold to 15 countries and is set to air in Portugal and Brazil toward the end of the year.

TTV MAGAZINE 53

EXECUTIVES

An Oscar-Winning Strategy Grupo Telefilms celebrated its 50 years in the industry this year with the four Academy Awards won by the film ‘The King’s Speech’, included in Telefilm’s portfolio for Latin America. The distribution company is preparing a great announcement for its traditional cocktail at the LA Screenings 2010. > By Sebastián Amoroso

Tomás Darcyl, President of Grupo Telefilms

N

ow -more than ever- Grupo Telefilms is consolidating its presence in the heart of Hollywood. ‘The King’s Speech’ (2010), one of the major titles that make up the company’s distribution portfolio, won four Oscars at the 83th Academy Awards: best feature film, best director, best actor and best original screenplay.

and we are able to close deals for millions of dollars. This is how the film industry works.

They make the film with our support too.

Many times they ask for a transfer because the film’s production is starting. Somehow, in terms of territory and percentage, many times we become film co-producers. And in exchange for that we get full rights for all of Latin America,” Darcyl says.

“The last film to win in these categories was ‘The Silence of the Lambs’,” Thomas Darcyl, president of Grupo Telefilms tells ttv. “We are proud that we committed to this film from the start. This is the ninth best Academy Award winner in the film category that has been or is distributed by Grupo Telefilms in Latin America,” he says. During these years the distribution company has added eight Academy Award-winning titles to its portfolio: ‘One Flew Over the Cuckoo’s Nest’ (1975), ‘Amadeus’ (1984), ‘Platoon’ (1986), ‘The Last Emperor’ (1987), ‘Driving Miss Daisy’ (1989), ‘Dances with Wolves’ (1990), ‘The Silence of the Lambs’ (1991) and ‘Million Dollar Baby’ (2004), with Tom Hooper’s film completing the winner’s list.

Grupo Telefilms is essentially a TV content distribution company. But when SUN was founded in 2002, its goal shifted into gaining access to all TV movie rights to redistribute them in every Latin American country. “Now our business has once again changed because we, together with producers, are engaging, investing and pre-acquiring blockbuster title rights. And you cannot redistribute these because producers don’t allow it, because they need to maximize the film’s returns. We have no choice but to focus on movies. Today,

AT THE HEART OF HOLLYWOOD. Grupo Telefilms -via SUN, its distribution division in charge of handling these titles- pre-acquired all Latin American distribution rights to ‘The King’s Speech’ in exchange for a percentage of the film’s budget. The executive details how the company ventured into the filmmaking industry, with its executives attending the world’s major film festivals, from Toronto to Berlin and from Cannes and Venice: the American Film Market, MIPTV, MIPCOM, NATPE, LA Screenings, and many others.

“The most important thing is to build an image and meet the producers’ needs. As we have never re-negotiated a penny of the film with producers, today we are a credible company

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Biutiful Director: Alejandro González Iñarritu Stars: Javier Bardem, Maricel Álvarez and Hanaa Bouchaib (2010)

EXECUTIVES

Grupo Telefilms has Diamond Films, its own film distribution company in Argentina. It also has agreements with several local partners in the region, such as Videocine in Mexico and Cine Colombia in Colombia, to name two South American countries. “Each territory is a whole different world. They use their structure and we say what we think is best for the film’s release: copies, marketing, advertising. It is a complicated job with its particular knowhow,” Darcyl stresses.

ON THE WAY TO THE LA SCREENINGS. Next May, Telefilms will be featuring movie releases and re-launches at the LA Screenings 2011.

“On the one hand we have a movie catalog of re-releases and, on the other hand, a catalog with high-rated films. We picked them one by one because these are very dynamic and action-packed films, so they have excellent ratings potential. This year we added a percentage of films to our library including titles such as ‘Amadeus’ (1984), ‘The Mosquito Coast’ (1986), ‘One Flew Over the Cuckoo’s Nest’ (1975), ‘La Femme Nikita’ (1990) and ‘The Fifth Element’ (1997) just to name a few. These films are suitable to be re-launched because they always work well on the screen. And this solves a problem for any broadcaster.

Besides, we are the only company working on volume deals with first-class clients from Latin America,” Darcyl says.

The King’s Speech Director: Tom Hooper Stars: Colin Firth, Geoffrey Rush and Helena Bonham Carter (2010)

our company is not just concentrated in the TV industry but we can bring better films to our TV customers (broadcast, pay and satellite TV) because we also understand the film industry’s know-how,” the executive says. In 2010 Grupo Telefilms invested over US$25 million in SUN to pre-acquire movie rights.

The executive estimates that by 2011 this number will grow by 30%.

The film distribution business also consists of planning how to launch a film in each territory and the number of copies that’ll be released in one particular market. The business also implies studying competition in theaters, setting release dates and planning marketing strategies. “We have learned a lot over the last year; it’s a completely different know-how compared to what we do for TV. But it was necessary for us because it was the way to consolidate the group as the main popcorn movie distributor in Latin America. In this sense, the idea is to emulate major studios in terms of film quality,” the executive says.

THE ACADEMY AWARDS AND TELEFILMS Telefilms’ movie catalog includes a range of Academy Awards nominees and winners.

Apart from ‘The King’s Speech’ Telefilms also represents ‘I Am Love’ (2009), nominated in the best costume design category; ‘Rabbit Hole’ (2010) featuring Nicole Kidman and nominated for best actress; and ‘Biutiful’ (2010), nominated for best foreign language film and in the best actor category (Javier Bardem), directed by Mexican Alejandro González Inarritu.

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Grupo Telefilms is also preparing another great announcement for Los Angeles. All Darcyl could say was that it involves an agreement with a US company that will provide important filmic content. The executive thinks this new alliance will be significant for the company. “It’s a new company. Its owner was the CEO of a major studio for many years. He is a very well-known person in Hollywood and counts with numerous contacts that will definitely join our own. Today, the company holds agreements with several major studios with one key feature in common: its films will not only be distributed in the US but major studios will also have equity rights over these films,” he says. “This doubles the value of each film because when major studios have equity rights over a film they support it in a different way. This is the beauty of this agreement,” the executive says.

The company will also host a luxurious cocktail party during the LA Screenings to celebrate Grupo Telefilms’ 50th anniversary (1961-2011). A presentation on these five decades in the industry will be made during the cocktail. “It’s nice to talk about history but it’s also nice to talk about the present. So apart from this announcement we’re presenting mega-blockbuster ‘The Hanger Games’ for 2012. The movie is based on the trilogy by Suzanne Collins and has a budget of over US$100 million,” Darcyl concludes. ttv

EXECUTIVES

Stories of Blood and Sand When Starz Media decided to produce a series that had been previously rejected, it was hard to foresee the consequences. Now, millions of fans have finished watching the ‘Spartacus: Gods of the Arena’ prequel. And while the world impatiently waits for its second season, the company’s Managing Director talks about the series’ ratings, production, promotional strategies and new initiatives.

By Sebastián Torterola “[‘Spartacus’] had been developed for a US broadcast network and, when they passed, our management at the time saw the opportunity to make it a signature show for Starz.”

“For us the key is finding properties that have recognizable, relatable qualities that help draw in an audience and make our marketing efforts easier.”

T

here are no secrets: when a TV series succeeds in connecting audiences, it works in every territory, channel and screen. Such is the case of global hit ‘Spartacus: Blood and Sand’ which sold to 100 territories worldwide, including most of the major European, Latin American and Asian markets. Carmi Zlotnik, the person who oversees all of Starz Media’s original programming, explains the series’ path to success.

“Starz has been developing an original programming strategy for several years but it really started moving in 2008 when ‘Spartacus’ became available. It had been developed as a series for a US broadcast network and, when they passed, our management at the time saw the opportunity to make it a signature show for Starz,” he says. Bet there is a quite regretful “US broadcast network” right now.

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Spartacus: Blood and Sand Genre: Series Year: 2010

The first season of ‘Spartacus: Blood and Sand’ definitely paid off the company’s risks. In Zlotnik’s words, international and US audiences clearly responded to a show that was “hugely entertaining” and “unlike anything anyone else was doing.” The company estimates that about 6 million cumulative viewers watched each episode of the series through its linear channels and various on-demand services.

FRANCHISE STRATEGY. “When Chris Albrecht joined the company at the start of 2010, just before ‘Spartacus’ premiered, he put his stamp on all of our original programming. He wanted shows that subscribers would be happy to pay for and that would also appeal to international

Carmi Zlotnik,

broadcasters,” the executive says. This way, ‘Spartacus’ established a template for Starz, which the company continues to implement and expand with the prequel ‘Spartacus: Gods of the Arena’ and upcoming series ‘Camelot’ and ‘Torchwood: Miracle Day.’ Regarding the future of the ‘Spartacus’ franchise -the prequel finished its run at the end of February in the US- Starz has recently cast actor Liam McIntyre to star in the second season, which will be produced in the second half of 2011. “We don’t want to give away anything that will detract from the sense of discovery our audience has come to expect from the franchise. I can tell you, though, that with Spartacus and his fellow gladiators now having fought their way out of the House of Batiatus, the next season will look quite different from what we’ve seen when the series was set in the ludus in Capua. Liam is a terrific actor and will bring new qualities to the role of Spartacus,” Zlotnik says.

The first season’s international partners are back for the second one -some even for the entire lifespan of the property- and Starz certainly expects additional partners to enter the arena. “We haven’t announced a premiere date yet but we expect it to air in early 2012 on Starz, with our international partners to follow at various times,” he says. Just like in the first season and the prequel, Starz Media will employ a multi-platform release strategy that includes Blu-Ray, DVD, on-demand, and other media.

The series’ promotional strategy has had a heavy focus on social media and apps, with alliances with companies like Hong Kong’s 6waves. “It’s too early to talk about anything specific about the promotional strategy for the next season of ‘Spartacus’ but given how successful our social media game on Facebook has been -we’re close to 1 million registered users- I’m sure we’ll continue along these lines,” Zlotnik points out. He also highlights the property’s high performance “in pretty much every category,” from Blu-Ray and DVD releases to licensed and promotional merchandising efforts.

RECOGNIZABLE PROPERTIES. Its not a coincidence that both the ‘Camelot’ and ‘Spartacus’ franchises are based on historical-mythical warriors, which have had excellent results in TV and theatres (‘300’, ‘Troy’, ‘Gladiator’). However, this doesn’t restrict Starz’s approach to content. “It’s not a requirement that our original series have to be based on historical figures. For us the key is finding properties that have recognizable, relatable qualities that help draw in an audience and make our marketing efforts easier. It can be an historical figure like Spartacus, a mythical hero like King Arthur or

Managing Director of Starz Media

“We are a strong proponent of international co-productions [which] thinks and acts internationally.”

an expansion of an existing franchise like the one we’re doing with ‘Torchwood: Miracle Day’ in partnership with the BBC. Working with an established star also works, as we’re doing with Kelsey Grammer on our new series ‘Boss’,” the executive remarks.

Indeed, Starz partner GK-tv chose MIPTV for the international launch of ‘Camelot’, which began its run on Starz on April 1. “We have the US rights and we’ll support GK-tv’s efforts in Cannes. We know that viewers are hungry for this kind of programming from the very positive response we got when we offered a sneak peak at the first episode right after the series finale of ‘Spartacus: Gods of the Arena’,” Zlotink says.

These kinds of alliances are a sample of Starz Media’s flexible strategy towards original content production and distribution, which involves international co-production and multi-platform rights. According to Zlotnik, the company models its structure based on each particular property. “With ‘Spartacus’ we own the property outright and control its production and multi-platform distribution.

We are co-producing ‘Camelot’ with a number of international partners and with ‘Torchwood’ we’re licensing the new series from the BBC and BBC Worldwide. We take each one on its particular merits,” he says, defining the company as a “strong proponent of international co-productions” which “thinks and acts internationally.”

Torchwood Genre: Series Year: 2010

Fanatics will have to wait till next year to find out where the new Spartacus will take them and if the series can do without Andy Whitfield. And though fans will continue to miss its blood and sand for a while, Starz still continues to offer high-quality content where they can find their next new warlike hero. ttv

TTV MAGAZINE 59

EXECUTIVES

A Business

Based On Collaboration Stephen Flint was put in charge of FremantleMedia’s Worldwide Entertainment operations last February. Considering the executive’s track-record as an important catalyst in key strategic partnerships worldwide, this move evidences the company’s search to co-develop new brands for global screens.

By Sebastián Torterola “If a partner can make something happen that we cannot achieve alone, we have the beginnings of collaboration.”

“We are hopeful that the success of the shows in production will strengthen our role as successful producers in the [Latin American] region.”

F

remantleMedia’s recently-appointed director of operations for Worldwide Entertainment Stephen Flint has played a key role in developing strategic partnerships for FremantleMedia. “FremantleMedia has a global network of very talented local teams, which allows us to be very effective in rolling out formats worldwide,” he says. That was actually his job when he served as SVP of content partnerships for the same company. “It has been my role to help manage the relationships between FremantleMedia and our creative content owners globally. We have been lucky to have a broad range of format partners to work with and many of the best formats in the world,” he adds.

This work methodology has allowed the format giant to develop long-standing relationships with third party format owners like Syco, 19 and Fuji. At the same time, these alliances have resulted in hits like ‘Idols’, ‘The X Factor’, ‘Got Talent’, ‘The Farmer Wants A Wife’ and ‘Hole in the Wall’, to name a few.

The executive also mentions “some of the less well-reported successes,” referring to Dream School Channel: Channel 4 Country: UK

series such as Gallowgate’s ‘PokerFace’ and Whizzkid’s ‘Let’s Dance’.

Now, in his new role, Flint describes what his work will be like in 2011. “I work handin-hand with our third party format owners.

Working closely with colleagues in Worldwide Entertainment and local production companies, we ensure the same overall vision and passion is transferred in terms of how these formats should be sold and produced.

FremantleMedia manages several primetime entertainment brands and it is important for me to communicate with our format owners to explain how we manage their formats around the world. I would like to grow the long-standing relationships we have and, in future, develop new ones,” he says.

IT’S A FORMAT WORLD. A central point in FremantleMedia’s overall business is to seek for creative developers to partner with and potentially develop strong universal brands.

For example, the Creative Exchange Alliance with Japan’s Fuji TV was behind the creation of ‘Total Blackout’, which will be present at MIPTV. The format was sold in nine territories, aired in Japan and launched in Denmark. “We are also excited about ‘Dream School’ in which well-known experts give teenagers who have failed at school a second chance to be inspired by education,” Flint says.

This business approach is flexible: formats can be co-developed between FremantleMedia and its partner or a third-party format is acquired to then produce locally. According to the executive, “it’s a very collaborative way of working” and the company is careful to “have a shared vision, understand the format’s key elements and share new ideas to evolve the format and keep it fresh”. This way, partners may contribute with their main strength in a particular territory or contribute with on-

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Stephen Flint,

screen or off-screen talent. “If a partner can make something happen that we cannot achieve alone, we have the beginnings of collaboration,” he affirms.

In this line, Flint highlights several significant partnerships for FremantleMedia, such as the one with the National Magazines Company.

This collaboration produced the successful ‘Farmer Wants a Wife’. “The format is in 23 territories and, notably, is a top-ten show in most,” Flint says. “It has often been on air for six or seven series and in the Netherlands, for instance, the present series is the highest-rated entertainment show in the country since 1995,” he adds. As for Britain, FremantleMedia and Gallowgate (production company belonging to UK hosts Ant and Dec) have developed the quiz show ‘PokerFace’, which has particularly captivated Mexican audiences. “We are also excited about new series ‘Push The Button’ which has just launched in the UK and is also due to launch in Latin America,” the executive says.

Latin America has been fertile ground for the company’s expansion goals. FremantleMedia first focused on Mexico and Brazil and has now extended its reach to the most important broadcast TV screens in Argentina (‘Got Talent’ on Telefe), Colombia (‘Hole in the Wall’), Chile (‘The X Factor’ on TVN) and Puerto Rico (‘Idols’ on Wapa TV). And there are more projects on their way. “Latin America is seen as a continent of growth and an area of the world that we are very excited about. We are certainly very busy in the region, with some great productions underway and planned for the rest of the year. Our Brazilian production company has achieved great success with ‘Idols’ and ‘The Apprentice’, among others, and we have several shows set to launch shortly in Mexico. We are hopeful that the success of these shows in production will strengthen our role as successful producers in the region and that our presence in Latin America will continue to thrive,” Flint says.

PRECEDENTS FOR MIP. In regard to FremantleMedia’s line-up for Cannes, the executive emphasized expectations on ‘Dream School’, a “very inspirational series” which was launched “with great success” in UK’s Channel 4. The format will be presented to the international TV industry at MIPTV. Another format, Fuji TV’s ‘Total Blackout’, recently launched on Kanal 5 in Denmark as the channel’s highest-rated show of the day.

The show registered a 10.8% share among adults (15-50), 125% over the broadcaster’s primetime average.

New series ‘Four Rooms’ will also be part of the company’s catalog for MIP. “It’s a new series created and produced by our UK production company, talkbackTHAMES,

Director of Operations, Worldwide Entertainment at FremantleMedia

“[‘Farmer Wants a Wife’] has often been on air for six or seven series and in the Netherlands, for instance, the present series is the highest rated entertainment show in the country since 1995.” for Channel 4. Members of the public with unique goods to sell are faced with four expert traders who want to buy their item but each has different tastes and opinions.

The seller must choose which buyer to visit first and can only visit each room once.

Once an offer is accepted or refused there’s no going back -every deal is final- so they might end up with the deal of a lifetime or find they’ve accepted the smallest offer on the table. They may even end up with no offer at all. It’s a very clever mix of jeopardy, drama and intrigue and the UK series is set to launch in spring,” the executive says.

Idols Brazilian version: ‘Ídolos’ Channel: Rede Record

Evidently, these new shows will join global blockbusters like ‘The X Factor’, ‘Farmer Wants a Wife’, ‘Family Feud’, ‘Idols’ and two of the best performers in 2010: ‘Got Talent’ and ‘Take Me Out’. ttv

FREMANTLEMEDIA IN LATIN AMERICA Going from theory to practice, this is FremantleMedia’s format production landscape in Latin America. CHILE. ‘The X Factor’ (Syco) has recently made its debut on TVN, whereas new format ‘Mi Nombre Es’ (‘My Name Is’, based on an idea by Albert Verlinde and developed by Blue Circle) is set to launch on Channel 13. The second series of ‘Talento Chileno’ (‘Got Talent’, coowned by FremantleMedia and Syco) will launch on Chilevision and ‘Elígeme’ (‘Take Me Out’, FremantleMedia France) has concluded its 2nd season on Mega. ARGENTINA. The 3rd season of ‘Talento Argentino’ (‘Got Talent’) made its debut at the end of 2010 on Telefe and the channel has already agreed to a fourth season. PUERTO RICO. The country’s audiences will see a local version of FremantleMedia/19’s ‘Idols’ format later in the year, as production is now underway for Wapa TV. BRAZIL. FremantleMedia is producing the sixth series of ‘Ídolos Brazil’ (‘Idols’) which will air on TV Record. ‘Mega Senha’ (‘Password’) is also in production and will air on Rede TV. Bandeirantes is getting ready for ‘The Phone’, ‘Password’ and ‘Project Runway’ (Miramax/Fashion Cents) which will star Adriane Galisteu. Next semester, Record will air ‘The Apprentice’ (Mark Burnett) and Globo will air ‘Hole in the Wall’ (Fuji TV). MEXICO. ‘Push The Button’ (Gallowgate) has been recently sold and will air on Sundays. FremantleMedia Mexico is also producing the second series of ‘Password’ which will air on Saturdays. FremantleMedia Mexico will produce a live show for the first time, developed for the national lottery. The company is also producing series IV of ‘PokerFace’ (Gallowgate) set to premiere in the second semester and is continuing with the production of a new series of ‘100 Mexicanos Dijieron’ (‘Family Feud’) and ‘Atínale al Precio’ (‘The Price is Right’).

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todotvnews

HIGHLIGHTS

NEW MEDIA

Webseries Poised for Growth in Latin America With entertainment and reality programs crowding the airwaves in Latin America, a young crop of producers are making fiction series for the internet. This trend is expected to pick up in 2011. > By Charles Newbery

L

atin America is poised for a rise in fiction series made for the internet, as young producers seek outlets beyond television channels crowded with entertainment and reality programs. Webnovelas and webseries, as they are called, started gaining attention in the past few years with the likes of ‘Amistad Perdida’ (Lost Friendship) out of Chile and ‘Amanda O’ out of Argentina. The latter was billed as the first telenovela made for the internet and downloadable to mobile phones.

Israel’s Dori Media Group, which has large operations in Argentina, produced ‘Amanda O’ starring Natalia Oreiro, a seasoned telenovela actress playing just that, a media star.

The reasons for targeting fiction to the internet are many and a few models are taking shape to make it a sustainable business. Argentina, one of the busiest film and TV production markets in the region, is an example of what’s happening in web fiction. “There’s no room for fiction on television in Argentina,” said Juan Paya, a young actor. “It’s filled with gossip and reality programming.”

“Television in Latin America is saturated.

It is very hard to get airtime,” Zanutto said.

“Internet is the media where we can do things so that people can see it.” Faced with this, Paya

and his partners at production house Escena Catorce turned to the internet and wrote ‘Yo Soy Virgen’ (I’m a Virgin). “We wanted to open another door that isn’t explored or exploited yet for fiction,” he said. “The internet offers the possibility of a larger and wider audience than television.” Another reason for webseries is that there are fewer limits on content. “There is more production for the web because you can do something without waiting for the broadcaster to buy it,” said Martin Lavini, the writer and producer of ‘Plan V’, a lesbian sitcom in Argentina.

Yet is it profitable? While the lure of wide audiences is there, the business model isn’t clear. Yet attempts at making a profit are starting to emerge. Escena Catorce is bringing in money from ‘Virgin’ through 40 advertisers.

Paya said it is cheaper to produce for the web but money can be tight because there are no pre-sales deals like for TV programming. Lavini, the producer of ‘Plan V’, said he’s covering costs through donations and proceeds from program-related parties at nightclubs.

Nevertheless, he says the potential for growth is there, saying that ‘Plan V’ is getting 5,000 visits per day and distribution offers from Europe. “We have a loyal audience and this helps to spread the word about the program,” Lavini said. “We can produce without a big company behind us, without waiting for the capital to arrive,” he added. “We are making the series we wanted to make.”

Another business model is to sell a web series to a newspaper for its online edition. Mancha Productora, another young production company in Argentina, is doing this for ‘Combinaciones’ (Combinations), a fiction series about life in the Buenos Aires subway system. La Nacion, a leading daily in Buenos Aires, is running the program Tuesdays and Thursdays on its website and paying Mancha a portion of the ad sales. Producer Leo Zanutto said he expects to cover Mancha’s US$113,000 spending on the series through ad sales and to make a profit by selling it around Latin America for viewing on the internet as well as mobile devices like iPads. He sees potential for not only director-driven content but also for programs made for advertisers to promote brands. ttv

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THE US ITV Studios America to Produce Local Version of Dori Media’s ‘uMan’ Dori Media Group (DMG), in collaboration with Indiemedia, has sold its format ‘uMan’ to ITV Studios America, an ITV Studios subsidiary focused on producing reality and scripted programming in the US. ‘uMan’ is a crossplatform show where eight contestants enter a lab for 21 days during which their every move is controlled by viewers. In order to win, they need to score “life-points”. Viewers, who can watch the program on their mobile phones or on TV, have constant control over how contestants live, what they eat, what they wear and who they sleep with. Since its debut in July 2009, ‘uMan’ has been sold to 15 countries. In 2009 the show won three Accolade Awards - an Award of Excellence for reality programming, an Award of Merit for creativity/originality and another Award of Merit for viewer impact and entertainment value.

BRAZIL

Advertising Market Grew 20% in 2010 Despite its smallish worldwide market share (7.8%), Latin America is growing well. Its annual growth has been strong (12.8%), yielding better growth rates than North America, India, and Asia Pacific in 2010. At least according to IDATE’s latest World Markets TV report, a thermometer measuring TV industry progress worldwide.

Spanish newspaper El Mundo published highlights from the report, emphasizing the world TV market’s recovery. The US for instance -the largest TV market recording 103 billion euros in turnover in 2010- rose 4.5 % compared to 2009 (-0.7%), marking a clearly positive outlook. The second largest regional market, Europe, reported a turnover of 84.4 billion euros in 2010, a 6.6% rise compared to 2009. The UK, Germany and France are the region’s heavyweights and together represent over half (56%) of overall revenue earned in the area. While the UK and France saw an respective increases of 6.2% and 5.3%, Germany is making slower progress (1.2%). The European share of the global market has stagnated at 29%. Asia Pacific recorded a great growth of 9.1% in 2010. Its share of the global market rose by 0.4 points to 22.3%. India and China, the region’s heavyweights, reported 12.2% and 13.3% increases respectively.

The Sing-Off

2waytraffic

(a Sony Pictures Entertainment company) Stand: M5.01

Executives Attending

Ed Louwerse, Managing Director, 2waytraffic Int’l Sarah Edwards, Senior Vice President, Creative Development, 2waytraffic Int’l Jane Dockery, Vice President, Sales, 2waytraffic Int’l Rod Taylor, Vice President, Production Support, 2waytraffic Int’l Lisette van Diepen, Vice President, Acquisitions, 2waytraffic Int’l Stephan Zingg, Vice President, Interactive Media, 2waytraffic Int’l Kate Sioftanou, Production Executive, 2waytraffic Int’l Sarah Walker, Executive Director, International Light Entertainment Marketing & Consumer Publicity, 2waytraffic Int’l Julian Curtis, Director, Sales, 2waytraffic Int’l Selina Nederhand, Director, Sales, 2waytraffic Int’l Graham Spencer, Director, Sales, 2waytraffic Int’l Laura St. Clair, Manager, Sales, 2waytraffic Int’l

The Sing-Off

(Entertainment Format – 60’) This show features ten top a cappella groups performing popular songs like you’ve never heard them before. There’s no lip-synching, back-up band or safety net. The winning group will walk away with the ultimate prize.

Still Standing

Armoza Formats Stand: LR2.03

Executives Attending

Avi Armoza, CEO Mihal Brezis, VP Int’l Relations Anat Lewinsky, Sales Kelly Wright, Sales

Still Standing

(Game Show - 12 x 45’)

The prime-time game show format offers contestants the chance to win $1 million by out-guessing ten opponents in fast-paced and dramatic trivia battles.

TLV

(Docu-Reality Series - 40 x 25’) Four 20-somethings move to the big city, each determined to live their dreams. But to get to the top, they have to start from the bottom.

With this Ring

(Factual-Entertainment - 7 x 40’) ‘With this Ring’ delves into the depths of a marriage, exploring issues from in-laws to infidelity. What does it take to make a marriage work?

Flypaper

Stand: LR2.06

CDC United Network

Executives Attending

Stand: 04.14 - 06.13

Marcel Vinay Hill, Vice President International Sales Marcel Vinay Jr., CEO Comarex Martha Contreras, Sales Asia Adela Velasco, Sales Europe and Africa Raul Mendoza, Marketing

Erik Jensen, Managing Director Jimmy Van Der Heyden, International Sales Executive

The Cop

(Comedy)

(Action - 1 x 100’) In this unique feature all sequences of the special anti-narco squad’s actions were filmed live in real undercover operations.

To participate, Raoul Bova lived with members of the elite task force for one month. ‘The Cop’ thus creates a totally innovative cinematic language where filmed reality interacts and drives a story delivered by a cast of fine actors in total on-the-spot improvisation. The public lives first-hand are unforgettable, revealing and very moving experience.

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ARTEAR

(Arte Radiotelevisivo Argentino S.A.) Stand: 20.18

Executives Attending

International Sales Mariana Fernández, Sales Manager Julieta González, Sales Executive Senior Management Adrian Schwartz Kirzner, Programming Manager Pablo Codevilla, Content Manager Eduardo Fernández, Production Manager Walter Sequeira, Acquisitions Manager

Left on the Shelf

(Para Vestir Santos) (Series - 36 x 60’) The harsh and biting widow Gloria (Blum) suddenly passes away.

Her three spinster daughters, Susi (Toscano), Virgi (Siciliani) and Male (Cid), come to realize that the death of their dreadful mother is absolutely no liberation at all. As if cursed their lives seem to be marked by the fiasco of being unable to connect with the opposite sex… These three beautiful smart and young women, unable to find Mr. Right… have each other to lean on. This intense sitcom boldly confronts frustration and despair in the pursue for something which comes close to happiness.

Endgame

The Cop

Comarex

Left on the Shelf

Executives Attending Flypaper

A hilarious comedy from IT comedy writing team, John Lucas and Scott Moore who wrote ‘The Hangover’, and Peter Safran, the producer who brought you the box-office sensation, ‘Scary Movie’ and ‘Disaster Movie’ (3 M US$ in the Brazilian Box office). When handsome Tripp Kennedy (Patrick Dempsey, star of the popular hit TV series ‘Grey’s Anatomy’, and the huge box office movie ‘Enchanted’ and ‘Made of Honor’), finds himself in the middle of two gangs trying to rob the same bank, one gang slickly pro and the other bumbling buffoons, he must outsmart them, solve a series of mysterious murders, save all the bank customers before they are next -and in the process falls in love with the smart, pretty bank teller who helps him.

Endemol Worldwide Distribution Stand: LR.15 Lerins Hall

Executives attending

Cathy Payne, Chief Executive Matt Creasey, Executive Director Americas, Asia & Australia/NZ

Endgame

(Drama Series - 13 x 60’) An original drama series centering around a brilliant chess master.

Using the skills that made him chess champion of the world, Arkady Balagan solves the crimes that mystify others. Starring Shawn Doyle.

Restoration Home

(Factual Series - 6 x 60’)

Presented by Caroline Quentin, ‘Restoration Home’ follows private owners of crumbling historic buildings as they save them from ruin and restore them into wonderful 21st century homes.

Dream School

Super Eruption

Puppy in My Pocket

FremantleMedia Enterprises

MarVista Entertainment

Mondo TV

Stand: RB1 (Riviera Beach)

Stand: RSV#46 (Riviera Sea View)

Stand: 23.02 / 25.01

Executives Attending

Tony Cohen, CEO, FremantleMedia Group Wolf Bauer, CEO, UFA Film & TV Produktion Gary Carter, COO, FremantleMedia Group Rob Clark, President, Worldwide Entertainment Simon Spalding, Regional CEO, Europe & Asia Pacific Sara Geater, CEO, talkbackTHAMES Monica Galer, CEO Northern and Southern Europe Trish Kinane, Acting President, Worldwide Entertainment Daniela Matei, CEO Nordics, Central Eastern Europe & Balkans Claire Tavernier, SEVP, FMX and Worldwide Drama

Dream School

(Reality)

This innovative format brings together the nation’s most successful and well-known personalities as they attempt to engage and educate a group of young people who have failed in the traditional teaching system and hopefully persuade them to give education a second chance. This inspirational series has launched with great success on UK’s Channel 4.

Executives Attending

Fernando Szew, CEO Joseph Szew, CFO/COO Vanessa Goglio, SVP Worldwide Sales Robby Amar, Director of International Sales Laura Hoffman, Director of Sales and Contract Administration

Super Eruption

(Disaster Movie - 1 x 90’)

When a massive volcano begins to blow under Yellowstone National Park, it’s up to park ranger Charlie Young and volcanologist Kate Brooks to stop it before it destroys the world.

Xtinction: Predator X

(Thriller/Creature Movie - 1 x 90’)

Laura LeCrois must save her boat tour from a recently cloned prehistoric alligator known as the “T-Rex of the ocean” that has been terrorizing the Louisiana swamp where she grew up.

Crash Site: A Family in Danger

(Thriller - 1 x 90’)

Executives Attending

Orlando Corradi, President & CEO Gian Claudio Galatoli, Production Director Matteo Corradi, Senior VP of International Sales Micheline Azoury, Head of International Sales & Brand Manager Roberto Farina, Sales Manager Alessandro Venturi, Sales Manager Theo Kouroglou, Sales Manager Maria B. Fois, General Maganer Mondo TV Spain Guido Berté, Licensing Manager

Puppy in My Pocket

(Full HD 2D animation with CG effects - 52 x 13’) In Pocketville there’s a beautiful kitty princess named Ava who matches new friends, children and pets. One day, by the doing of her envious twin sister Eva, she is accidentally sent to the “real world” while our protagonist, Kate, is sent to Pocketville in her place. In princess Ava’s absence, Kate, together with her recently matched pet friend Magic, will make sure that Ava’s duties of matching children and pets continue to be conducted while Eva will try everything she can to stop them so that she can become the new princess!

The head of a realty company struggles to balance his family and work life when an accident leaves him stranded in the wilderness, fighting for survival.

Killer Women

My Strange Addiction

Pol-Ka Producciones Stand: 20.18

Executives Attending

Fernando Blanco, CEO Partner Alejandro Lagomarsino, International Business Executive.

Virginia Berberian, International Business Executive.

Killer Women

(Drama- Police Serie - 78 episodes) A series based on real events, which reconstructs the most impressive female criminal cases. What’s the difference between men and women who kill? Women don’t stab once, they stab until they run out of strength. Those who believe that women are the “fair sex”, will undoubtedly change their minds once they are acquainted with the real stories reconstructed in these mini-series.

They won’t go back on their steps. Domestic violence, abuse, lovers, greed and unlimited ambition are some of the reasons that will push these women into unleashing their fury on their husbands, couples or friends. Some are mentally ill, some others act intentionally. For most of them things will get out of hand and they will end up in mental hospitals, or in prison. The main characters of this series may have little in common; however, all of them have a yearning desire: a better life. ‘Killer Women’ tells the stories of many women who decided to put an end to their suffering, and for that they had to pay the consequences.

Love in Difficult Times

Radiotelevisión Española (RTVE) Stand: R 36.07

Executives Attending

Rafael Bardem, Head of Sales Raul Molina, Sales Executive Antonio Pérez Bonilla, Sales Executive Mª Jesús Pérez, Head of Channels Sales Rosalía Alcubilla, Sales Executive - Channels Fernando Hernández Berzal, Sales Executive - Channels

Love in Difficult Times

(Series)

A widely viewed daily series which is currently in its sixth season.

Its quality and success has meant that television companies which have already acquired the first series (Argentina, Uruguay and Mexico) are going on to acquire its sequels.

April 14 th. The Republic

Rive Gauche Television Stand: 26.01

Executives attending

Jon Kramer, Chairman & CEO David Auerbach, President Marine Ksadzhikyan, Vice President, International Sales Tomas Silva, International Sales Executive Bryan Gabourie, Director, International Sales Julie Pifher, Manager, Development and Acquisitions

My Strange Addiction

(Reality – 24 x 30’ + 1 x 60’ pilot)

The smash hit series, ‘My Strange Addiction’ documents the shocking stories of people who are battling obsessive behaviors that are on the verge of taking over their lives. Each half hour episode features two individuals who turn to bizarre compulsions to deal with their emotional demons. The strange addictions explored in the series range from women obsessed with eating sofa cushions, household detergent, toilet paper and chalk to people addicted to sleeping with their blow dryer, bleaching their skin and picking their scabs. Follow these compelling characters as they reveal their strange addictions while experts help them explore the reasons they have turned to such extreme measures.

(Series)

This series revives the theme of ‘The Lady’ and tells the tale of a fascinating period full of stories of impossible love.

TTV MAGAZINE 65

William and Kate

Mr. Sunshine

The Voice of ...

SevenOne International

Sony Pictures Television

Talpa Distribution

Stand: H4.12

Stand: M5.01

Stand: LR3.09

Executives Attending

Executives Attending

Jens Richter, Managing Director Axel Boehm, Regional Sales Director / International Fiction Acquisitions Bodo Braun, Regional Sales Director Yan He, Regional Sales Director Caroline Kusser, Regional Sales Director / International Formats Acquisitions Henrik Pabst, Director International Format Acquisition / Regional Sales Director Benelux & Scandinavia Zasha Robles, Director Spiral International Fabiola Flores, Sales Director Latin America / US Gillian Kirby, Sales Director Pan Regional Latin America

Steve Mosko, President, Sony Pictures Television Kees Abrahams, President, International Production Keith Le Goy, President, International Distribution Mike Morley, Executive Vice President & Chief Creative Officer, International Production Mike Wald, Executive Vice President, International Distribution Mr. Eric Kafoe, Director, Acquisitions, International Production Paul Littmann, Senior Vice President, Pay TV & New Media, International Distribution

William & Kate

The self-involved manager of a second-rate sports arena begins to re-evaluate his life on his 40th birthday.

(Event Movie - 1 x 90’)

‘William & Kate’ tells the true story of Prince William’s 9-year romance with Kate Middleton, from the moment the lovely commoner first won his royal heart.

Mr. Sunshine

(Comedy – 13 x 30’)

Breaking In

(Comedy – 7 x 30’)

Isenhart

A group of uniquely skilled oddball geniuses at a security firm take extreme – and often questionable – measures to sell their services.

The first profiler tracking down serial killers in the Middle Ages!

(Comedy – 13 x 30’)

(Action/Adventure Movie - 1 x 125’)

Mad Love

Executives Attending

Maarten Meijs, Managing Director Annelies Noest, Sales Director Gepke Nederlof, Licensing Manager

The Voice Of…

(Talent Show - 17 x 90’) Four well-known artists choose singing talent in a blind audition.

Once chosen, the singers battle against each other in live shows – guided by there celebrity coach.

The Recruits

(Entertainment – 60’) On ‘The Recruits’ the battle is on between the host and a different celebrity guest each week. It’s their mission to find other people to do the dirty work for them! Before they come to the studio the host and his rival are sent to the same town to find people who are insane enough to do the challenges on their behalf. Because even though the celebs take on one challenge themselves the Recruits will be the ones playing the other hilarious funny and edgy games in the studio. Who will recruit the winning team….?

Four friends are at the epicenter of this romantic comedy set in New York City. Two are falling in love and the other two not so much.

RAW The King´s Speech

Telefilms Stand: 09.05

Executives Attending

Tomás Darcyl, President Ricardo Costianovsky, CEO Humberto Delmas, Sales Manager Alfredo Andreoti, Sales Manager Alejandro Carballo, Sales Manager

The King’s Speech This is the true story of King George VI of Britain, the father of the current Queen Elizabeth II in his ascension to the throne. Plagued by a dreaded nervous stammer and considered unfit to be King, a speech therapist helps him be worth it. With Colin Firth, Geoffrey Rush, and Helena Bonham Carter. Academy Awards 2011: Best Picture, Directing (Tom Hooper), Actor in a Leading Role (Colin Firth), and Writing - Original Script (by David Seidler).

Larry Crowne After losing his job, a middle-aged man (Tom Hanks) reinvents himself by going back to college, where he calls his teacher attention (Julia Roberts).

Love’s Kitchen

World Wrestling Entertainment Stand: R31.37

Vision Films Stand: R29.33

Executives Attending

Lise Romanoff, Managing Director/ CEO, Worldwide Distribution Adam Wright, Executive VP, International Sales & Acquisitions Vincent Tola, International Sales & Acquisitions Executive Michele Berman, Director of Marketing

Love’s Kitchen

(Romantic Comedy – 100 minutes) A big city chef gets a new chance at life -and Love- when he opens a new restaurant in the countryside.

Hard Times

(Comedy - 90 minutes) A village once known for its very famous Holy Well, falls victim to a plot by planned by locals to steal a truckload of Viagra and sell it for survival, but instead fall victim to its side effects.

Executives attending

Andrew Whitaker, EVP, WWE International Dominic Hayes, Senior Vice President & Managing Director, International Media Distribution Gillian Hughes, Director, International Digital Sophie Stone, Director, Int’l Media Distribution Marcos Milanez, Manager, Int’l Media Distribution, EMEA Augustine Tan, Director, Int’l Media Distribution, Asia Pacific Denise DeCesare, Director, Global Digital Syndication & Distribution Heather Lubin, Manager, Int’l Media & Affiliate Relations Emilio Revelo, Manager, Int’l Media Distribution, Latin America Kathryn Martino, Coordinator, Int’l Media & Affiliate Relations

Raw

(Sports/Entertainment - 52 x 60’ or 52 x 120’) This live event show is the most exciting and unpredictable actionpacked program on television with Raw featuring an incredible roster of “larger-than-life” Superstars.

SmackDown

(Sports/Entertainment - 52 x 60’ or 52 x 120’) Guaranteed to blow the lid off television worldwide, ‘SmackDown’ is a live-event program with a brilliant array of talent.

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