Todotv | Nº 39 | 2009 | MIPTV

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NOTASBREVES · BRIEFNOTES

BBC Worldwide Americas: Final exitoso para acuerdos iniciados en NATPE BBC Worldwide Americas confirmó el cierre de una serie de ventas de programas musicales en América Latina. De acuerdo a lo informado por la distribuidora las ventas incluyen el primer acuerdo con Rede TV de Brasil, que adquirió ‘BBC Electric Proms: Paul McCartney’. En tanto que ‘Sound’ se vendió a Turner Broadcasting System Latin America para el mercado de habla hispana, y la señal internacional de Globo, GloboSat. La compañía también confirmó que se concedió la licencia de ‘Seven Ages of Rock’ a Señal Colombia.

BBC Worldwide Americas: Successful ending for agreements initiated in NATPE

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BBC Worldwide Americas confirmed the closure of a series of sales of musical programs in Latin America. According to what the distributor announced, the sales include the first agreement with Rede TV from Brazil, which acquired ‘BBC Electric Proms: Paul McCartney’. ‘ Sound’ was sold to Turner Broadcasting Systems Latin America for the Spanish speaking market and the international signal of Globo, Globo Sat. The company also confirmed that the license of ‘Seven Ages of Rock’ was given to Señal Colombia.

Chilevisión estrena formato ‘That 70’s Show’ de Carsey-Werner

BBC adquiere serie infantil ‘Angus & Cheryl’ a BRB Internacional

La sitcom ‘Mis Años Grossos’ es una licencia de la serie estadounidense ‘That 70`s Show’ de Carsey-Werner, y está compuesta por 50 capítulos que narran las desventuras de una familia chilena que debe sortear divertidas situaciones causadas por su protagonista, interpretado por el actor Gonzalo Olave.

‘Angus & Cheryl’, la serie de animación de Screen 21 distribuida por BRB Internacional, ha sido adquirida por CBBC de la estatal británica para TV abierta y paga. A la venta a BBC se suma las adquisiciones de canales de Francia, Italia, Bélgica, Portugal, Escandinavia y Latinoamérica a través de Nickelodeon. BRB confirmó además que la alemana RTL2 amplió su adquisición con más episodios hasta hacerse de toda la temporada gracias al éxito de los primeros ratings, y en Europa del Este TVN de Polonia y Baltic Media Alliance para Lituania, Letonia y Estonia, confirmaron su emisión para 2009.

La sitcom fue producida por Roos Films y se estrenó el 2 de marzo por Chilevisión.

Chilevisión releases format ‘That 70’s Show’

by Carsey- Werner The sitcom ‘Mis Años Grossos’ is a license of the American series ‘That 70’s Show’ by Carsey- Werner, and it consists of 50 episodes which narrate the misfortune of a Chilean family that has to dodge funny situations caused by the main character, played by the actor Gonzalo Olave.

The sitcom was produced

by Roos Films and was released on the 2nd of March

by Chilevisión.

BBC acquires children series ‘Angus & Cheryl’ from BRB International ‘Angus & Cheryl’ , the animated series of Screen 21 distributed by BRB International, has been acquired

by British broadcaster CBBC for Free and Pay TV. To the sale to BBC the acquisitions from channels from France, Italy, Belgium, Portugal, Scandinavian and Latin America through Nickelodeon are added. BRB also confirmed that the German RTL2 is broadening its acquisition with more episodes thanks to the success of the first ratings results, and in Eastern Europe TVN from Poland and Baltic Media Alliance for Lithuania, Leetonia and Estonia, confirming their broadcasting for 2009.

NOTASBREVES · BRIEFNOTES

Comcast acuerda en exclusiva con U2 por conciertos en HD

Comcast agrees to exclusive deal with U2 about concerts in HD The offer consists of almost 50 videos and concerts of the band which will be available for the first time in HD through VOD.

La oferta comprende casi 50 videos y conciertos de la banda que estarán disponibles por primera vez en HD a través de VOD.

The society Comcast with U2, the movies and the new TV series together with other new options in the program planning, are part of the commitment taken on by the company of increasing the option of contents, among them more options in HD, sports, movies and shows for children.

La sociedad de Comcast con U2, las películas y las nuevas series de TV junto con otras nuevas opciones en la programación, son parte del compromiso que asumió la empresa de aumentar la opción de contenidos, entre ellos más opciones en HD, deportes, películas y programas infantiles.

Fox Television Studios prepara adaptación para EE UU de ‘Rebelde Way’ La serie juvenil argentina ‘Rebelde Way’, creada por Cris Morena, ratifica una vez más su condición de fenómeno juvenil televisivo, musical y cinematográfico a nivel mundial. Acaba de abrirse un nuevo mercado con la confirmación de que Fox Television Studios ya prepara la adaptación norteamericana que contará con Jennifer Lopez y Simon Fields (Nuyorican Productions) como productora y con el reconocido guionista Duane Adler. La serie se ha vendido en más de 40 países en su versión original más el formato adquirido en India, Chile, Portugal y México.

Fox Televisión Studios prepares adaptation of ‘Rebelde Way’ for U.S.A The teenage Argentinean series ‘Rebelde Way’ created by Cris Morena, confirms once more its condition of teenage television worldwide phenomenon, musical and cinematographic.

A new market has just opened with the confirmation that Fox Television Studios is already preparing the American version which will rely on Jennifer Lopez and Simon Fields (Nuyorican Productions) as the production company and also the well-known scriptwriter Duane Adler. The series has sold over 40 countries in its original version plus the format acquired in India, Chile, Portugal and Mexico.

Endemol ya tiene responsable mundial de Relaciones Públicas y jefe en Holanda

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Charlie Gardner es el nuevo jefe Global de Relaciones Públicas. En esa posición es responsable de la relación en todo el mundo de Endemol con los medios de comunicación. Trabaja junto a Paul Johnson, jefe de Marketing Global y Alianzas desde marzo. Asimismo, Endemol nombró a Peter Adrichem como director gerente de Endemol Holanda, en reemplazo de Paul Römer, quien dejó esta misma posición en octubre para asumir en enero el cargo de jefe de Programación Mundial.

Endemol already has A worldwide manager responsible for Public Relations IN Holland Charlie Gardner is the new global manager of Public Relations. In that position he is responsible for the Endemol worldwide relation with the media. He works with Paul Johnson, manager of global marketing and Alliances since March. Likewise, Endemol made Peter Adrichem director manager of Endemol Holland, in replacement of Paul Römer, who left that position in October to take on the position of Worldwide Programming manager in January.

Globo TV Sports amplía presencia del deporte brasileño en el mundo

Entre las varias novedades que prepara la compañía para este año, Flor Latina anunció que cuenta con un reel de ‘Buscando a Mamá’, un paper format creado especialmente para el mercado internacional y que se presenta en MIPTV. La creación es de Macarena Producciones.

La división responsable por la distribución en el exterior de eventos deportivos realizados en Brasil cerró y renovó contratos con empresas de África, Europa y América del Norte y del Sur. Los acuerdos incluyen la exhibición de partidos del ‘Brazilian Magic Football’ y de la revista digital ‘FootBrazil’, programa semanal sobre los bastidores del deporte.

Telenovela ‘Buscando a Mamá’, the novelty in the catalogue of Flor Latina for MIPTV

Globo TV Sports broadens presence of Brazilian sport worldwide

Among much of the news the company prepares for this year, Flor Latina announced that has a reel of ‘Buscando a Mamá’, a paper format specially created for the international market and presented in MIPTV. The creation is from Macarena Producciones.

The responsible division for the distribution to the outside of sport events carried out in Brazil closed and renewed contracts with enterprises from Africa, Europe and North and South America. The agreements include the exhibition of the matches of the ‘Brazilian Magic Football’ and of the digital magazine ‘FootBrazil’, weekly program about the backstage of sports.

Nickelodeon Latin America promueve a Tatiana Rodríguez a VP Sénior de Programación y Estrategia Creativa Rodríguez produjo la primera serie de acción en vivo ‘Skimo’ en la ciudad de México y recientemente fue parte fundamental en el lanzamiento de Nick Jr. Latinoamérica, así como de ‘ISA TKM’, la primera telenovela para adolescentes de la cadena.

Nikelodeon Latin America promotes Tatiana Rodríguez to VP Senior of Programming and Creative Strategy Rodríguez produced the first live action series ‘Skimo’ in the city of Mexico and recently was fundamental part of the release of Nick Jr. Latinamerica, as well as in ‘ISA TKM’, the first telenovela for teenagers in the network.

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Telenovela ‘Buscando a Mamá’, la novedad en catálogo de Flor Latina para MIPTV

NOTASBREVES · BRIEFNOTES

Telemundo en TV Globo, ajustando coproducción de El Clon El presidente de Telemundo Studios, Patricio Wills, acompañado de Derek Bond, vicepresidente de Operaciones de Telemundo, encabezaron el equipo que arribó a Brasil donde durante 3 días se reunieron con especialistas de los departamentos de arte, escenografía, vestuario, caracterización, y producción musical, entre otros, que trabajaron en la versión original de la producción. El acuerdo de coproducción establece que las grabaciones comiencen durante el segundo semestre de este año; su exhibición está prevista para inicios de 2010. El elenco estará compuesto por actores hispanos, y será grabada en estudios de Telemundo en Colombia y en exteriores en EE UU y Marruecos.

Telemundo in TV Globo, adjusting co production of ‘El Clon’

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The president of Telemundo Studios, Patricio Wills, together with Derek Bond, Operations vice-president of Telemundo, headed the team which arrived to Brazil where they met for 3 days with specialists from the departments of art, scenography, costumes, characterization, and musical production, among others, who worked in the original version of the production.

The agreement of co production establishes that the shootings start during the second semester of this year; its broadcasting is planned for the beginning of 2010. The cast consists of Hispanic actors and will be shot in Telemundo studios in Colombia and in exteriors in the U.S.A and Morocco.

Distribución internacional de éxitos de Canal 13 de Chile en manos de Telefe International

Talpa Content producirá ‘Dating in The Dark’ para norteamericana ABC

En el marco del pasado NATPE, Telefe International y Canal 13 de Chile cerraron un acuerdo a través del cual Telefe tiene los derechos internacionales de contenidos del catálogo del canal chileno. Estos productos, en sus versiones originales y como formatos también, serán presentados por Telefe International en MIPTV. Entre las propuestas se encuentran ready-mades y formatos. Estos incluyen las telenovelas: ‘Machos’, ‘Love in the 60´s’, ‘Tentación’, ‘Descarado’, ‘Brujas Gatas y Tuercas’, ‘Papi Ricky’, ‘Don Amor’ -en coproducción con Puerto Rico-, y ‘Cuenta Conmigo - Te Amo a Morir’, entre otras.

Talpa Content, parte del grupo de John de Mol, Talpa Media, anunció que recibió la orden de la cadena televisiva de EE UU ABC por la producción del nuevo programa de citas amorosas ‘Dating in The Dark’, desarrollado por De Mol.

International distribution of hits from Channel 13 of Chile by Telefe International Within the framework of the past NATPE, Telefe International and Channel 13 of Chile made an agreement in which Telefe has the international rights of the content catalogue of the Chilean channel. These products, in their original versions and as formats as well, will be presented by Telefe International in MIPTV. Among the proposals there are ready- mades and formats. These include the telenovelas: ‘Machos’, ‘Love in the 60’ s’, ‘Tentación’, ‘Descarado’, ‘Brujas Gatas y Tuercas’, ‘Papi Ricky’, ‘Don Amor’- co produced with Puerto Rico- and ‘Cuenta ConmigoTe amo a morir’, among others.

De acuerdo a lo informado por Talpa, ABC encargó los cinco episodios anteriores, elevando así su orden a seis, incluyendo el piloto.

Talpa Content will produce ‘Dating in The Dark’ for Northamerican ABC Talpa Content, part of the group of John de Mol, Talpa Media, announced to have received the order from the American network ABC for the production of the new dating show ‘Dating in The Dark’, developed

by De Mol. According to what has been informed by Talpa, ABC ordered the five previous episodes, raising its order to six, including the pilot.

EJECUTIVOS · EXECUTIVES

“El próximo blo puede llegar de “The next blockbuster hit could come from anywhere” Endemol es una compañía que se caracteriza por ser global y local. Su cadena producción y distribución es internacional, pero en cada país cuenta con compañías operadoras conducidas por equipos locales de primera línea, con personas cuyo conocimiento de la industria local es amplio y profundo. En 2008, la compañía produjo aproximadamente 36.000 horas de contenido y espera aumentar a cerca de 40.000 horas para este 2009. Endemol is a company with both local and international standing.

Its productions and distribution network is worldwide but in each country it has operating companies run by first class local talent – people who are immersed in the culture and whose knowledge of the local industry is broad and deep. In 2008 they produced approximately 36,000 hours of content and that is set to rise to nearly 40,000 hours in 2009. POR Sebastián Amoroso

Ynon Kreiz,

CEO de Endemol

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O

tra de las características importantes de Endemol, es que, a pesar de su poder de escala global, es una compañía que se mueve rápido, con una mirada totalmente empresarial. “Las decisiones se toman con rapidez y hay un abordaje creativo y dinámico en la forma de negociar. Eso hace que trabajar aquí sea muy placentero”, señala Ynon Kreiz, CEO de Endemol.

El 1 de junio de 2008 usted ingresó a Endemol, proveniente del mundo de las finanzas.

Asimismo, fue socio de Balderton Capital y se destacó como Chairman y CEO de Fox Kids Europe (Jetix Europe). ¿Qué experiencia de sus actividades previas ha volcado a Endemol?

Sin duda, tener una formación y experiencia en finanzas e inversiones ayuda, especialmente en el clima actual. Pero lo más importante es que he sido muy afortunado al trabajar con equipos talentosos y creativos en el correr de los años y eso es lo que hace que una organización como Endemol sobresalga: las personas que la forman y las ideas que surgen de estas.

Usted afirmó que el 2009 será uno de los años más desafiantes de toda la década para el sector. ¿Cuáles son los desafíos para los creadores y productores de contenidos audiovisuales?

Uno de los desafíos es que los presupuestos de los

Another defining characteristic of Endemol is that in spite of its global scale it moves fast and has an extremely entrepreneurial outlook. “Decisions get made quickly and there is a creative and dynamic approach to doing business” says Ynon Kreiz, CEO de Endemol.

On June 1st of 2008 you came to Endemol from the financial world. You were also partners with Balderton Capital and excelled as Chairman and CEO of Fox Kids Europe (Jetix Europe). How does this previous experience help you now with Endemol? It does help to have a background in finance and investment, especially in the current climate. But more importantly, I’ve been extremely fortunate to work with some outstandingly talented and creative people over the years and that’s the thing that really makes an organization like Endemol tick - the people in it and the ideas they create You’ve been quoted as saying that 2009 would be a challenging year for the industry.

Which are the challenges for producers and creators of audiovisual contents? One of the obvious challenges is that broadcasters’ budgets are going to come under pressure as advertising revenues fall. The key here is to deliver quality content at affordable prices. A good example of how we do this is our latest global format Wipeout.

This has an enormously expensive infrastructure

ockbuster

e cualquier parte”

¿Cuáles serán los planes para la denominada “segunda fase” de crecimiento de la empresa?

Estamos enfocados a crecer nuestro principal negocio. Ahora producimos casi 40.000 horas de programación al año, en todos los géneros, incluyendo entretenimiento, reality, game shows, comedia y drama, y es vital que sigamos trabajando ese negocio. Paralelamente, planeamos expandir aún más nuestra presencia geográfica, especialmente en regiones como Europa Central y Europa del Este, y Asia, donde hemos nombrado CEOs regionales para conducir este proceso, así como en América Latina

but we took a risk by investing in an international set in Argentina, from where we produce the show for over 20 countries. This means we can deliver significant cost savings to each broadcaster. I think the industry as a whole will have to start embracing new ways of doing business as current models come under increasing pressure. But I think that if you have a production business that is both global and multiplatform then you are in a strong position to weather the storm and potentially thrive.

Extreme Makeover Home Edition Format

What are the plans for the ‘second phase’ of growth for the company? First of all we are looking to further grow our core business. We now produce nearly 40,000 hours of programming a year across

UN BREVE PANTALLAZO CON VISTAS A MIPTV 2009 A QUICK LOOK TOWARDS MIPTV 2009 “Sin duda, el ambiente en MIPTV estará afectado por el clima económico, y en general las personas van a estar más cautelosas que el año pasado. Por nuestra parte, estamos muy ansiosos por este mercado y creemos que no va a haber una baja en las oportunidades, a pesar de la situación global. En MIPTV, estaremos presentando nuevos productos. También estaremos más activos en buscar contenido de terceros para distribuirlos globalmente”. “The mood is inevitably going to be affected by the economic climate and generally people are going to be feeling more cautious than they were a year ago.

But we are actually feeling bullish about this year’s market and believe there will be no shortage of opportunities in spite of the global downturn. For our part we are bringing several new products to MipTV, which we are very excited about and will be unveiling soon. We are also going to be more active than ever before in seeking out third party content that we can distribute globally”.

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broadcasters van a verse muy presionados a medida que los ingresos de publicidad disminuyan. La clave aquí es ofrecer contenidos de alta calidad a precios accesibles. Un buen ejemplo de cómo Endemol hace esto, es nuestro último formato global ‘Wipeout’.

Tiene una infraestructura sumamente costosa pero nos arriesgamos invirtiendo en un set internacional en Argentina, donde produjimos el programa para más de 20 países. Esto significa que podemos ofrecer un ahorro de costos significativo para cada broadcaster. Creo que la industria como un todo tendrá que comenzar a abarcar nuevas formas de hacer negocios a medida que los modelos actuales se ven cada vez más presionados. Sin embargo, creo que si se tiene un modelo de producción global y multiplataforma, entonces se está en una sólida posición para sobrevivir a la tormenta.

EJECUTIVOS · EXECUTIVES

Deal or No Deal Format

Wipeout USA Format

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y Medio Oriente, donde ya operamos pero creemos que aún se puede crece mucho más. También planeamos incrementar nuestro negocio de programación guionada, que está creciendo año a año, pero nuestra reciente adquisición de Southern Star nos posicionó en las ligas mayores en desarrollo guionado en inglés. Asimismo, nos concentraremos más en la distribución. Antes distribuíamos nuestro contenido, pero ahora buscamos expandir nuestra cadena global representando productos de terceros.

Insisto: la adquisición de Southern Star, una de las distribuidoras independientes más grandes de programación para TV en idioma inglés, representa un gran paso adelante. El crecimiento en medios digitales también es un factor clave de la estrategia. Endemol está a la vanguardia de esta negocio desde hace tiempo, y ahora estamos trabajando con nuevos contenidos, desde dramas online y series reality hasta aplicaciones para juegos de nuestras marcas de TV. El grupo también tiene mucha experiencia en la creación de contenidos de la marca para las mayores marcas y agencias de publicidad del mundo, y esta es otra área en donde vemos oportunidades de crecimiento. Finalmente, estamos explorando nuevas áreas de negocios como el de la programación deportiva.

Por ejemplo, lanzamos un canal digital en Holanda que realiza una cobertura en vivo de los juegos de la Liga Alemana e inauguramos una nueva división de deportes globales.

El grupo tiene un increíble récord de formatos creativos que han establecido un estándar en cuanto a la producción televisiva en los últimos quince años. ¿Cuál es el futuro cercano de los géneros televisivos? De vez en cuando algo sucede que cambia el juego y desarrolla un género totalmente nuevo, como sucedió con ‘Big Brother’ y ‘Deal or no Deal’. Sin embargo, esto es algo muy excepcional. Es imposible afirmar cuándo vendrá el próximo y cómo será. Tenemos una equipos creativos globales que nunca terminan de desarrollar y compartir nuevas ideas, y nuestro próximo éxito mundial podría llegar de cualquier parte. Lo único que se puede saber con certeza es que la demanda

Wreckreation Nation Reality TV

genres including entertainment, reality TV, game shows, comedy and drama and it’s vital that we continue to build on that. Secondly we are planning to further expand our geographical presence, especially in regions such as Central and Eastern Europe and Asia, where we have appointed regional CEOs to drive this process, as well as Latina America and the Middle East where we already have existing operations but believe we can grow much further. Thirdly we plan to significantly increase our scripted programming business. This is already growing each year but our recent acquisition of Southern Star has now taken us into the major leagues in scripted English language output.

We are also going to focus more on distribution. In the past we have mostly distributed our own content but now we are looking to further leverage our global network by representing third party product. Here again, the acquisition of Southern Star, one of the largest independent distributors of English language television programming in the world, represents a big leap forward. Growth in digital media is also a key part of our strategy. Endemol has long been at the forefront of this space and we are building on that with pioneering content ranging from online dramas and reality series to gaming applications around our TV brands. The group also has an exceptional track record in creating branded content for the world’s major advertising agencies and brands are another area where we see growth opportunities. Finally we are exploring entirely new areas of business activity like sports programming. For instance, we have launched a digital channel featuring exclusive live coverage of Dutch Premier League games in the Netherlands and we have opened a new global sports division.

Endemol has a track record of creative formats. Having established a standard in terms of television production for the past 15 years.

How do you view the near future of television genres, trends, demographics? Every now and then something comes along that changes the game and creates a whole new genre – like ‘Big Brother’ and ‘Deal or No Deal’ have done. But that’s very rare

EJECUTIVOS · EXECUTIVES

de contenidos de calidad nunca disminuye. Sin embargo, lo que está cambiando es la cantidad de maneras en que se puede acceder al contenido gracias a la innovación digital. Eso representa tanto un desafío como una oportunidad para todos nosotros. El mayor desafío es seguir reinventándonos y desarrollar ideas que tengan el potencial para convertirse en éxitos globales. Somos muy afortunados al contar con la cadena creativa que tenemos, y para nosotros la clave es seguir nutriéndonos de los mejores talentos creativos. ¿Cuál será el gran y exitoso producto de Endemol? Nuestros dos conocidos gigantes –‘Big Brother’ y ‘Deal or No Deal’– están más fuertes que nunca. Este año ‘Big Brother’ celebra su décimo aniversario, y está en más países que hace cinco años. En el área de formatos tenemos otro blockbuster en la línea de ‘Wipeout’. El programa está dando ratings increíbles en cada país donde se estrena. Ya lo vendimos a 22 países, siguiendo su éxito en EE UU, y hay muchos otros acuerdos en cola. En cuanto a la programación guionada, tenemos exitosas series como ‘The Successful Mr. and Mrs. Pells’, que estamos coproduciendo con Underground, de la cual somos accionistas desde 2008. El programa se estrenó en Telefe en noviembre pasado y se convirtió en el programa más visto en Argentina. Tenemos nuevos productos de diferentes géneros para MIPTV. Como dije anteriormente, tenemos equipos creativos en todo el mundo que están continuamente desarrollando y compartiendo nuevas ideas. El próximo blockbuster puede llegar de cualquier parte.

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The Succesful Mr and Mrs Pells Format

that have the potential to become global hits. We are very fortunate to have the phenomenal creative network that we do and the key for us is to continue to attract and nurture the best creative talent.

indeed. It’s impossible to say when the next one will come along and what it will be. We have a global network of creative teams who never stop developing and sharing new ideas and our next worldwide hit could come from anywhere. The only thing you can say for sure is that the demand for quality content will never diminish. What is changing, however, is the number of ways in which you can access and experience content thanks to digital innovation. That represents both a challenge and an opportunity for all of us. The biggest challenge is to keep reinventing ourselves and develop ideas

What will be Endemol’s next big hit? Our two best known juggernauts – Big Brother and Deal or No Deal – are as strong as ever. ‘Big Brother’ celebrates its 10th anniversary this year and it’s in even more countries than it was five years ago. On the format side we’ve now also got another blockbuster rolling out in the form of Wipeout. The show is getting phenomenal ratings in every country it launches in. We’ve now sold it to 22 territories following its success in the USA and there are plenty more deals in the pipeline. On the scripted side we have breakout new series such as ‘The Successful Mr. and Mrs. Pells’, which we are co-producing with Underground, the multi award winning telenovela producer, which we acquired a stake in last year. The show premiered on Telefe in November 2008, went on to become Argentina’s most watched show and is now rolling out globally. We also have a lineup of new shows in many different genres, which will debut at MipTV. Like I said we have creative teams all over the world who are continuously developing and sharing new ideas. The next blockbuster hit could come from anywhere.

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EJECUTIVOS · EXECUTIVES

La

identidad conquistada The Conquered Identity Lanzada en 2007, Comcast International Media Group, división de Comcast Corporation y responsable de la venta y distribución de contenidos para todas la plataformas, está logrando excelentes resultados tanto en la distribución de canales como en la venta de contenidos. Las señales que distribuye a nivel global (E! Entertainment Television, The Style Network, G4, The Golf Channel y Versus) lograron conquistar a millones de espectadores en todos los continentes. Con fuertes planes para este año, que incluyen aumentar la presencia de señales, aumentar los ingresos publicitarios y buscar nuevas oportunidades de distribución, Comcast apuesta a la digitalización y a sus oportunidades. Comcast International Media Group, a division of ComCast Corporation, launched in 2007 and is responsible for the sale and distribution of multiplatform content, as well as distributing globally the E! Entertainment Television, the Style Network, G4, The Golf Channel and Versus; it’s achieving excellent results in the distribution of channels, and also in the sale of content. The channels conquered millions of viewers on every continent. With strong plans for this year, which include the increase of the presence of its channels and advertising income, looking for new distribution opportunities, ComCast is betting on digitalization and its opportunities. POR ken mandel

D

uccio Donati, vicepresidente sénior de Comcast International Media Group, realiza un exhaustivo análisis de los resultados obtenidos por la compañía y de las actuales tendencias de consumo, al tiempo que adelanta los planes para este año.

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La división fue introducida en MIPCOM 2007, algo más de un año atrás. ¿Cuál es su visión general sobre la experiencia hasta el momento? ¿Ha tenido algunas sorpresas o decepciones que pueda compartir con nosotros? Sorpresas en realidad no, pero puedo comentar que ahora las

Duccio Donati, Vice President Senior of ComCast International Media Group, is making an exhaustive analysis of the results obtained by the company and the current consumption trends, while he talks about this year´s plans.

The division launched at MIPCOM 2007, a little over a year ago, what’s your general overview of the experience so far? Have you had any surprises or disappointments, that maybe you could share with us? I wouldn’t say surprises the great thing is that now people are actually calling us Comcast, which is fantastic. The big challenge is that Comcast is actually the best kept secret in

Duccio Donati,

Vicepresidente Sénior de Comcast International Media Group

¿Entonces resultó positivo el hecho de que no les conocieran? De seguro, estar asociado con la marca E! abrió algunas puertas para ustedes.

Por una parte, las personas están tan focalizadas en E! que las otras marcas tendieron a perderse en el contexto. Cuando éramos E! Networks International, que incluía Style, era un constante desafío, porque las personas se identificaban con E!. Ahora, con el paraguas de la marca Comcast, pudimos forjar la identidad desde el inicio. Dado que al principio no era una marca muy conocida a nivel internacional, pudimos crear la identidad de una marca paraguas que comprende básicamente programación no guionada y que impactará sobre la necesidad de diferentes audiencias. Ése es el mensaje que hemos estado trasmitiendo, ya sea por parte del canal o de las ventas a terceros.

the international market, or was, as a company. We focused at the beginning of the launch to educate the buyers about what Comcast is. A lot of it had to do with letting people know how big and broad Comcast is. But, it was really good for us because we have so many brands under this umbrella that reach so many different audiences. It’s allowed us to get the message across that we are not just E! which is such an overwhelming brand with respect to the others. It’s a very easy brand to understand.

Now that we have E! and we have Style, G4, Versus, Golf, we are able to hit a lot of demographics.

So it was helpful that they didn’t know you?

Surely, being associated with the E! brand opened some doors for you. People are so focused on E! that the other brands tended to fade into the background. When we were E! Networks International which included Style, it was always a challenge as people would identify with E! Now with the umbrella brand of Comcast we’ve been able to create the identity from scratch. Because it was not a well known brand internationally when we started out, we were able to create the identity of an umbrella brand that basically goes to non-scripted programming hitting a variety of audience needs. That’s really been the message that we’ve been out there talking about, both on the channel and on the third party sales side.

Speaking of target groups do you have any projects in terms of the international markets, do you have any plans to address the development of any specific markets in the coming year? Absolu-

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personas nos conocen simplemente como Comcast, y eso es fantástico. El gran desafío es que Comcast en realidad es el secreto mejor guardado en el mercado internacional, o lo fue como compañía. Al inicio del lanzamiento, nos dedicamos a educar a los compradores sobre lo que es Comcast. Mucho de esto tuvo que ver con dejar que las personas supieran cuán grande y amplia es la compañía. Fue algo realmente bueno, porque bajo este paraguas tenemos muchas marcas que llegan a muchas y diversas audiencias. Nos ha permitido difundir el mensaje de que no somos simplemente E!, que es una marca tan avasallante con respecto a las demás.

Es una marca muy fácil de comprender. Ahora que tenemos E!, Style, G4, Versus y Golf, podemos llegar a una gran variedad demográfica.

EJECUTIVOS · EXECUTIVES

tely, on the channel distribution side one of our main focuses will be to wrap up international distribution for the Style Channel, the channel launched at the end of 2007 and we have distribution already in the UK and several European countries, we have almost 10 million subscribers on Style, after a little over one year activity. On the E! network the channel has very strong distribution, we’re almost at 84 million subscribers, we’re in 120 countries. On the E! network we’re going to be focusing on increasing advertising revenues and of course picking up additional distribution. On the Golf channel we’ll be looking for expanding distribution on the channel. On the third party sales side it really is about continuing to expand the sales on the new shows that we have and the current shows working that along side the channels. In every territory it really is different, I think Latin America will do well for us on the Style side, and there’s definitely been a lot of pickup on the male satellite channel.

Is there a distinction in your business model or approach to the different markets in terms of the platforms your content plays on? Is there a difference in terms of marketing to cable versus satellite or IPTV? Latin America is a bit of a unique situation cause we have the channel there. In Latin America now the channel has full distribution, it’s a partnership, so the channel growth there is very strong on the E! Channel side. At NATPE our focus was on third party sales, mostly on Style. We just made a very strong deal with Discovery, one with Fox, so we’re working with a lot of satellite players there. We tend to focus mostly on the satellite, our experience, mostly in the larger territories with cable is that the bill tends to be very local, very GE. Now with IPTV they’re just starting to monetize that in a way that makes sense.

Keeping Up with the Kardashians TV Series

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Hablando de grupos clave, ¿tienen algunos proyectos en relación con los mercados internacionales? ¿Tienen planes para dirigir el desarrollo de mercados específicos en este año? Absolutamente. Con respecto a la distribución del canal, uno de nuestros principales objetivos será lograr la distribución internacional de Style Channel, que lanzamos a fines de 2007 y que ya distribuimos en el Reino Unido y en varios países europeos. Tenemos casi 10 millones de suscriptores en Style, luego de poco más de un año de actividad. En cuanto a E! Network, el canal tiene una distribución muy fuerte.

Tenemos casi 84 millones de suscriptores y estamos en 120 países. En E! Network, nos concentraremos en aumentar los ingresos por publicidad y, por supuesto, en escoger distribución adicional. Para Golf Channel, buscaremos expandir la distribución del canal. Por el lado de la venta a terceros, se trata de seguir aumentando la venta de los nuevos productos que

Is there a regional context to your channel in Latin America? It’s hard to pinpoint but there is definitely a regional context for Latin America.

Going back to the platform, in Latin America the audience is already starting from an E! demographic, they have to have disposable income because they’re subscribing to cable, many of them speak English. We see in Latin America that there’s a strong attachment celebrities both here and the Hollywood glam. Our Latin American partners have done a great job in building that brand. In Canada for example, where we are a free to air network, there we are accessible to a much broader audience.

How has Comcast been handling the transition from analog to digital, are you going towards HD in your programming, are there any other implications for content with your channels and programming? I think the digital switch is going to present some interesting opportunities, as they go from only commercial free to air to granting digital licenses, they’re adding channels to their open offerings. What you’re finding now is that if you have a digital license, you’re not going to be in

EJECUTIVOS · EXECUTIVES

tenemos y de los programas que se trasmiten en la actualidad, así como de los canales. La situación es diferente por país. Creo que América Latina será un buen mercado para Style, y también hay una gran preferencia por el canal satelital para hombres.

Running in Heels Docu-series

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¿Existe alguna diferencia entre su modelo de negocios o el modo en que enfocan los diferentes mercados con respecto a qué plataformas utilizan sus contenidos? ¿Hay diferencia en términos de mercadeo para cable versus satélite o IPTV? América Latina tiene una situación un tan singular, porque tenemos nuestro canal allí. En América Latina, el canal tiene distribución total. Es una alianza.

Entonces, en cuanto al canal E!, el crecimiento es muy fuerte. En NATPE nos enfocamos en concretar a terceros ventas de las otras marcas, principalmente de Style. Acabamos de realizar un acuerdo muy fuerte con Discovery y otro con Fox. Estamos trabajando con muchos players de satelitales en América Latina.

the top one or two channels, and for those channels that survive on advertising, those channels have a chance to be profitable, depending on the country.

With all of these digital licenses being given out you have these digital channels trying to figure out what a viable digital model is for a channel who maybe number four, five or six, in an environment where you have cable and DTT, and you have to survive on advertising. When there’s fragmentation the way to make money is to keep your cost reasonable.

Try to feed a specific audience you have to pick who you are going to go to. That will present a big opportunity for us.

Looking at cross platform content, mobile, online, DVD, is there a need to reformulate programming for new platforms. How do you handle that as a business model, do you have to create new content or can it be a repackaging of content that’s running on the channel? We’re very lucky because we jumped onto the new media, especially with our E! experience we realized the importance of the brand early, we realized that it was important to have our flag planted everywhere. What’s happening more and more, whether you can monetize it or not, audiences, particularly young audiences that are going to transition into being our audience, they’re using multiple screens, they’re watching content on everything from mobile phones to any mobile device that you can mention. In 2001 we started producing original content produced for new media. We have a whole department, called BANC which is our short programming and new media content department.

They produce 120 original segments each week, that vary between two and three minutes or less, much of which is entertainment and Hollywood news, we have a huge amount of offerings for new media and mobile platforms. We have been doing deals both on the broadband side, we launched our own websites internationally in January, we launched in UK, Australia and New Zealand, France, Italy and Germany. France, Italy and Germany are in their language, UK, Australia and New Zealand are right now a mirror of the US site but traffic local ads. In addition to that we have deals with various mobile operators around the world, we’ve been doing VOD. We have been working very hard, particularly with a focus on E! because we produce so much content, it is a natural brand to be online when you have Hollywood entertainment news online, it’s a very snackable form, something easy and good for the viewers to see.

Are there any new original programs that you can tell us about for 2009, for Latin America specifically? Our main release through the channel for Latin America is through the Latin American News and through the E! local True Hollywood Stories.

There are always new programs being produced for the E! Network, but in terms of our original productions this year, we produced a reality show with Victoria Silvstedt, she’s the host of the Wheel of Fortune in Italy and France, a very beautiful

Snoop Dogg´s Father Hood

¿Hay un contexto regional para su canal en América Latina? Es difícil de definir con exactitud, pero definitivamente existe un contexto regional para América Latina. Retomando el tema de las plataformas, en América Latina la audiencia ya está incluida en el grupo demográfico al que apunta E!. Los televidentes deben tener poder adquisitivo porque están suscritos al cable y, aunque no todos, muchos de ellos hablan inglés. La marca es extremadamente fuerte en Latinoamérica debido al interés en las estrellas, tanto locales como de Hollywood.

Nuestros socios latinoamericanos han realizado un excelente trabajo en la promoción de la marca. En Canadá, por ejemplo, donde somos parte de la TV abierta, una audiencia más amplia tiene acceso a nuestra programación. ¿Cómo ha manejado Comcast la transición del sistema analógico al digital? ¿Están trabajando para ser totalmente HD? ¿Hay alguna otra implicación para los contenidos con sus canales y programación? Creo que el cambio digital va

woman who did a reality show that was produced internationally specifically for her. We also produced a series for international called The Sexiest, which has been extremely successful. So we’ve now produced a second series of Sexiest, a countdown show looking at the sexiest men in sports, sexiest bodies, and those are staples, our countdowns are absolute staples. We certainly do have more production planned for 2009, but we haven’t announced those yet, so I can’t really go into that now.

Sport Soup

E! News

Ryan & Giuliana E! News

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Tendemos a concentrarnos más en lo satelital, que es nuestra experiencia, sobre todo en los territorios más grandes con el cable. Es que la oferta tiende a ser muy localizada, muy generalizada. Ahora, con la IPTV están comenzando a monetizar de manera que el negocio tenga sentido.

EJECUTIVOS · EXECUTIVES

cable y TDT, y es necesario facturar publicidad. Esto va a conllevar nuevas oportunidades para señales, como la nuestra, que están dirigidas a audiencias muy específicas, si esos canales tienen soluciones de costo efectivas y mantienen esas audiencias. Para tratar de llegar a un grupo demográfico específico, es necesario seleccionar cuál grupo será. Ésa será nuestra gran oportunidad.

En referencia a los contenidos multiplataforma, ¿existe la necesidad de reformular la programación para las nuevas plataformas? ¿Cómo manejan ustedes este tema como modelo de negocio? ¿Tienen que crear nuevo contenido o pueden adaptar el que transmite el canal? Somos muy afortunados, porque pudimos ingresar en el negocio de new media. Especialmente, con nuestra experiencia de E!, desde muy temprano nos dimos cuenta de la importancia de la marca. Nos percatamos de que es importante tener nuestra bandera izada en todos lados. Lo que sucede cada vez más, se pueda monetizar o no, es que las audiencias -sobre todo las jóvenes, que están por convertirse en las nuestras- están consumiendo múltiples pantallas, acceden al contenido en todas las formas, desde teléfonos móviles hasta desde cualquier otro dispositivo móvil imaginable. En 2001, comenzamos a producir contenido original para new media. Tenemos la división BANC, que se focaliza en programación corta y contenidos de new media. Producimos 120 segmentos originales por semana que varían entre dos y tres minutos, o quizá menos. Hay muchas noticias del entretenimiento o de Hollywood. Tenemos una gran cantidad de ofertas para new media y plataformas móviles. Hemos realizado acuerdos de banda ancha, en enero lanzamos nuestras webs para Reino Unido, Australia, Nueva Zelanda, Francia, Italia y Alemania. Estas últimas tres cada una en su idioma.

Reino Unido, Australia y Nueva Zelanda son en este momento un espejo del sitio estadounidense, pero con publicidad local. Además, tenemos acuerdos con varias operadoras móviles internacionales con las cuales realizamos VOD. Trabajamos muy duro, particularmente enfocados en E!, porque producimos muchos contenidos. Hoy es algo natural estar online.

Cuando se tienen noticias de Hollywood online, es una formula muy exitosa, algo fácil y bueno para que el usuario pueda ver.

The Girls Next Doors TV Show

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a presentar algunas oportunidades interesantes, especialmente porque hay muchos territorios que están pasando de la TV abierta a la concesión de licencias digitales, y agregan así canales a su oferta de TV gratuita. Lo que está sucediendo hoy es que los portadores de una licencia digital no van a estar por encima de uno o dos canales, y para aquellos canales que viven de la publicidad, aquéllos tienen una oportunidad de ser rentables, dependiendo del país. Con estas licencias digitales otorgadas, hay canales que están tratando de determinar un modelo digital factible para un canal que quizá sea el número cuatro, cinco o seis, en un ambiente en donde ya tenemos

¿Qué programación original tienen para América Latina? El principal lanzamiento para América Latina es ‘The Latin American News’ y ‘E! True Hollywood Stories’. Siempre hay nuevos programas producidos para E! Network, pero con respecto a producciones originales, realizamos un reality con Victoria Silvstedt, la conductora de ‘Wheel of Fortune’ en Italia y Francia, una mujer hermosa que realiza un reality producido internacionalmente. También produjimos la serie internacional ‘The Sexiest’, y luego la segunda temporada de ‘The Sexiest’, que es una mirada a los hombres más sexis del deporte.

Tenemos más planes de producción para este año, pero aún no podemos anunciarlos.

poder

EJECUTIVOS · EXECUTIVES

El

de la producción británica

The Power Of British Production Justin Bodle, fundador de Power, ha trabajado en la industria de la TV por más de veinte años. En una década, la compañía se transformó en un productor y distribuidor líder de algunas de las más interesantes producciones británicas. En los últimos tres años, ha consolidado a la compañía como una fuerte plataforma de producciones a escala internacional. Bodle ha sido productor ejecutivo de catorce mini series y doce películas, que incluyen el drama ‘Henry VIII’ (ITV) y ganador del Emmy Internacional, ‘Colditz’ (ITV), ‘Archangel’ (BBC) y ‘Casanova’ (BBC), entre otros. Justin Bodle, founder of Power has been working in the television industry for over 20 years. In only one decade the company became a leader producer and distributor of some of the most interesting British Productions. In the last three years, he positioned the company as a strong platform of international productions. Bodle was Executive Producer for more than fourteen miniseries and twelve films including drama ‘Henry VIII’ (ITV) and International Emmy Awards winner; ‘Colditz’ (ITV), ‘Archangel’ (BBC) and ‘Casanova’ (BBC), among others. POR Sebastián Amoroso

H

oy, Power es una de las productoras y distribuidores independientes número uno de Europa. La compañía provee al mercado internacional de series, mini-series y telefilms de impactante factura y grandes presupuestos. En 2008, Power vendió aproximadamente 70 millones de dólares en programación, de la cual cerca del 40% fueron mini series.

Justin Bodle, CEO de Power

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The Summit

Mini-Series Genre: Action Thriller (Mini Series - 2 x 120)

Today, Power is one of the leading independent production and distribution companies in Europe.

The company supplies series, miniseries and TV movies with strong earnings and big budgets to the international markets. In 2008 Power sold around US$70 million in programming of which about 40% were miniseries.

What is the secret to the success of a miniseries? Which characteristics must it have to satisfy the demand of broadcasters and global audiences? Power is renowned for big-budget miniseries, which perform extremely well worldwide. Once the idea for a show is born we invest heavily in its development – fantastic writers, a great production team and an internationally known cast of talented actors. These factors combine to ensure a satisfied audience in every market worldwide.

Do you take part in the process of selecting and deciding on the development or creation of production and coproduction projects? I do indeed. I’m fully involved in the project from concept to delivery. Each stage of the production is meticulously scrutinized; producing with partners means we must ensure that all parties’ expectations and requirements are met, across the board.

¿Cuál es el secreto para lograr el éxito de una mini-serie? ¿Qué características deben incluir éstas para satisfacer la demanda de las audiencias globales? Power es conocida por sus mini series de alto presupuesto, muy exitosas en el mundo entero. Una vez que la idea para un programa ha sido generada, hacemos una gran inversión para su desarrollo –excelentes escritores, un gran equipo de producción y un elenco internacional de talentosos actores-. Estos factores combinados aseguran una audiencia satisfecha en todos los mercados del mundo. ¿Usted participa al momento de seleccionar y avalar la creación o el desarrollo de los proyectos de producción o coproducción? Si. Soy parte de este proceso. Estoy involucrado en el proyecto desde su concepción hasta su distribución.

Cada etapa de la producción es meticulosamente escudriñada. El hecho de estar produciendo con socios implica que tengamos que asegurar que las expectativas y requerimientos de todos los integrantes se cumplan. ¿Cuáles son los proyectos que están desarrollando para este año? Tenemos varios proyectos en desarrollo para este año. Por ejemplo, ‘ICE’, una serie épica de catástrofe, muy explosiva y con un presupuesto muy elevado. También tenemos ‘The Day of the Triffids’, una mini serie apocalíptica que acerca una mirada contemporánea al bestseller internacional de John Wyndham. Paralelamente, basado en las novelas más vendidas de Alistair Maclean, tenemos ‘Puppet on a Chain’, una mini serie en clave de thriller muy complejo y enérgico acerca de la guerra internacional al narcotráfico. Y varias otras series que incluyen ‘The Catch’, una serie de acción contemporánea, con guiones explosivos, agentes secretos y villanos de dos caras. ¿Qué tecnologías y servicios de producción apoyan la ejecución de estas realizaciones?

Trabajamos con algunas de las casas de posproducción más grandes del mundo. Su experiencia y sus habilidades son esenciales para proporcionarnos la terminación perfecta que demandamos.

Ice TV Movie Mini Series - 2 x 120’

El CGI es un componente esencial para nuestras producciones y es crucial que esté bien realizado.

Insistimos en contar con tecnología de vanguardia para obtener los mejores resultados. Por ejemplo, con ‘Flood’, desarrollamos los efectos acuáticos más avanzados. Además, siempre filmamos en HD. Este formato ofrece la riqueza, el color y la calidad que hacen justicia con nuestras producciones y garantizan que nuestras audiencias siempre reciban películas de alta calidad.

Pinocchio

Formato: Mini Serie Génro: Family drama

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¿Qué inversión anual destinará la compañía para la producción? La compañía planea invertir otros 75 millones de dólares en la creación de nueva programación para el próximo año.

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EJECUTIVOS · EXECUTIVES

What projects are you developing for this year? We have numerous projects in development this year. One of them is ‘ICE’, an explosive, big budget epic disaster series. Also ‘The Day of the Triffids’, a fast paced, apocalyptic miniseries, which is a contemporary take on John Wyndham’s international bestseller. Based on the bestselling novels

by Alistair Maclean we have ‘Puppet on a Chain’, an energetic and complex thriller miniseries focusing on the international war on drug smuggling. And several series including ‘The Catch’, a contemporary action series, with explosive storylines, undercover agents and duplicitous villains.

What technologies and production services support the creation of these Productions? We work with some of the leading postproduction houses around the world; their experience and skills are essential to gaining the high-spec finish we demand. CGI is an essential component to our big shows and getting this right is absolutely crucial.

We insist on cutting edge technology to get the best results, for example – with ‘Flood’, our first feature, we developed the most advanced water effects technology ever used. In addition to this, we always shoot in Full HD. This format delivers the richness, color and quality that does justice to our productions and ensures our audience will be given feature film quality for all our titles.

Crusoe

Aunque el mercado más fuerte para Power es Europa, la compañía ha aumentado su distribución en EE.UU. y América Latina. ¿Cómo ha sido el proceso de penetración en las Américas? Desde que incorporamos a Chris Philip, presidente de Ventas Internacionales, hemos expandido enormemente nuestra actividad en EE.UU.

Formato: Serie Género: Aventura

Primero, mediante la relación que tenemos con NBC, para quienes realizamos ‘Crusoe’, y luego al inaugurar nuestra oficina en Miami, dirigida por

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Knights of Bloodsteel

Mini Series - 2 x 120’

What is the annual investment of the company in the areas of production and coproduction? The company is planning to invest another $75 million in creating new programming for next year.

Power’s strongest market is in Europe; nevertheless has the company increased distribution in the US and Latin America? How has the penetration process been in the Americas? Since appointing Chris Philip as our WorldWide President of Sales, we have enormously expanded our activity in the USA. First with our relationship with NBC, for Out of Control

Formato: TV Movie Género: Thriller

EJECUTIVOS · EXECUTIVES

Flood

Mini Serires - 2 x 120’

The Day of The Triffids Formato: Mini Serie Género: Thriller

Pepe Echegaray. La distribución en América Latina ha crecido notoriamente. Estar cerca de nuestros clientes es invaluable para generar y mantener las relaciones. ¿Cuál es la dimensión que tiene el negocio del Home Entertainment para Power? Desde que expandimos nuestro brazo de Home Entertainment con la incorporación de Andy Schreiber, hemos alcanzado un gran éxito.

El producto de Power es ideal para el mercado del DVD; los grandes títulos, las producciones de alto presupuesto y de alta calidad se venden muy bien.

En tal sentido, ‘Flood’ sigue siendo uno de los DVD más vendidos de 2008 en el Reino Unido.

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¿Cuáles son las proyecciones para el periodo 2009-2010? Los ingresos de Power deberían aumentar a más de 100 millones de dólares en ese periodo como resultado de varios factores clave: nuestra continua inversión en programación de alta calidad, la utilización de estructuras financieras innovadoras y, finalmente, el hecho de que los broadcasters necesiten el mayor impacto con dramas y mini series de gran calidad para atraer a los anunciantes a la TV.

XIII

Formato: Mini Serie Género: Thriller

whom we created ‘Crusoe’, and secondly, opening our Miami office with the appointment of Pepe Echegaray.

Distribution in Latin America has gone from strong to stronger. Being closer to our clients is invaluable for building and maintaining relationships.

What size is the business of Home Entertainment of Power? Which strategies are in development for this area of the business? Since expanding our Home Entertainment arm with the appointment of Andy Schreiber, we’ve had enormous success. Power’s product is ideal for the DVD market, big names, big budgets and high- quality productions sell well. In this sense, ‘Flood’ remains one of the best selling DVDs of 2008 in the UK. What are the projections of the company for the period 2009-2010? Power’s revenues should grow to over $100 million in that period as a result of several key factors. Our continued investment in quality programming, our use of innovative financing structures and finally the fact that broadcasters need the highest impact, top quality drama and miniseries to drive advertisers towards television.

NOTASBREVES

Disney confía a Diego Lerner jefatura de sus negocios en Europa, Medio Oriente y África

Disney trusts Diego Lerner with the leadership of its business in Europe, Middle East and Africa With the aim of speeding up the growth of the enterprise and creating and efficient and more efficient organizational structure, Diego Lerner was designated president of The Walt Disney Company, Europe, Middle East and Africa (EMEA). The promotion of Lerner was announced by Andy Bird, President of Walt Disney International. With this designation, every business line of Disney in EMEA, with the exception of Disneyland Resort Paris and ESPN, will be included in only one operative structure, as it has been done in China, India, Russia, Japan and Latin America. Every business line in EMEA will report to Lerner, responsible for development and strategy, the broadening of the already existing enterprises and the research of new opportunities. The executive will continue being president, giving his support to Disney enterprises in Latin America.

Con el objetivo de acelerar el crecimiento de la empresa y crear una eficiente y racionalizada estructura organizativa, Diego Lerner fue nombrado presidente de The Walt Disney Company, Europa, Oriente Medio y África (EMEA). El ascenso de Lerner fue anunciado por Andy Bird, presidente de Walt Disney Internacional. Con este nombramiento, todas las líneas de negocio de Disney en EMEA, con la excepción de Disneyland Resort París y ESPN, se integrarán en una única estructura operativa, como se ha hecho en China, India, Rusia, Japón y América Latina. Todas las líneas de negocios en EMEA reportarán Lerner, responsable de los desarrollos y estrategias, la ampliación de las empresas existentes y la búsqueda de nuevas oportunidades. El ejecutivo seguirá siendo presidente y dando apoyo a las empresas de Disney en América Latina.

Rive Gauche nombra nuevo presidente para su división de televisión David Auerbach, experimentado ejecutivo de la industria con larga trayectoria en Warner Bros. es el nuevo presidente de Rive Gauche Television. Auerbach tien vasta experiencia en el desarrollo de programación para primetime, cable, primeros acuerdos de sindicación e internet.

Rive Gauche names new president for its televisión division David Auerbach, experienced executive of the industry with a long career in Warner Bros. is the new president of Rive Gauche Television. Auerbach has wide experience in the programming development for primetime, cable, first agreements of syndication and internet.

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Con nuevas reglas del juego y estrenando set –además de más muros y rondas-, Teleset alista para RCN la segunda temporada de ‘Duro Contra el Muro’, integrada por 26 capítulos, la producción general de Juan Francisco Domínguez y la dirección de Pablo Garro. ‘Duro Contra el Muro’ contará de nuevo con Carlos Calero en la conducción.

Telset prepares second season of ‘Duro Contra el Muro’ for RCN With new rules for the game and new set – besides more walls and roundsTelset gets ready for RCN the second season of ‘Duro Contra el Muro’, which consists of 26 episodes, the general production of Juan Francisco Domínguez and the direction of Pablo Garro. ‘Duro Contra el Muro’ will again have Carlos Calero as host.

INFORME ESPECIAL · SPECIAL REPORT

LATINOAMÉRICA

La producción audiovisual gana impulso en la región

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Audiovisual production gains momentum in the region

La producción de ficción en América Latina ha ido acrecentando su presencia en las pantallas de TV de la región y el mundo. Mercados como Argentina, Colombia, Brasil, Chile o México, se han establecido paulatinamente como centros de producción para la región y el exterior, sobre la base de una estructura de servicios de producción audiovisual integral, sólidos estándares técnicos, bajos costos, e ideas creativas.

Fiction production in Latin America has increased its presence on its regional TV screens and the world’s. Markets like Argentina, Colombia, Brazil, Chile and Mexico have gradually emerged as production centers for the region and overseas, based on a services’ structure of integral audiovisual production, solid technological standards, low cost and creative ideas.

POR SEBASTIÁN AMOROSO

COLOMBIA: DESPIERTA EL INTERÉS DE LOS PLAYERS EXTRANJEROS El mercado colombiano ha crecido en un lapso relativamente corto, para convertirse en una plaza respetable y competitiva en la región. El país cuenta con varias particularidades en cuanto a la producción audiovisual, y con el tiempo, sin duda, captará mayor capacidad de producción. Hoy, se están estableciendo centros de producción, y existen varias productoras que desde un tiempo atrás están desarrollando ideas creativas y formatos. Tal es el caso de Si Hay Ideas o Invento. Asimismo, se han establecido las productoras Fox Telecolombia (‘Tiempo Final’), Vista Producciones (‘Amas de Casa

This second issue wants to keep adding visions of how fiction production is in Latin American markets such as: Argentina, Colombia, Chile, Brazil and Uruguay. At the beginning, the production of exportable content was – and still is- the telenovela, a genre which has been the region´s banner for 50 years. This business moves annually near 3.2 billion dollars worldwide. Fictions produced in Latin America represent over 60% of the total, bringing a more than 1.9 billion dollars per year. The current industrial globalization and the future of TV, requires that Latin-American production companies have access to new markets, focusing on production and a knowledge of developmental needs. The value of production, the quality commitment and professionalism are elements which can be found in these markets. Latin America, and in particular, markets like Argentina, Colombia, Brazil, UNDERGROUND CONTENIDOS. El ex director artístico de Ideas del Sur, Sebastián Ortgea, armó la productora argentina Underground en 2006. En estos años realzó grandes éxitos televisivos como ‘El Tiempo no Para’, ‘Amo de Casa’, ‘LaLola’ y ‘Los Exitosos Pells’, entre otros. The ex Artistic Director of Ideas del Sur, Sebastián Ortega, built the Argentinean production company Underground in 2006. During these years creating great televisión hits such as ‘El Tiempo no Para’, ‘Amo de Casa’, ‘LaLola’ and ‘Los Exitosos Pells’, among others.

CRIS MORENA GROUP. Con base en Buenos Aires, esta productora se formó en 2002 por su fundadora, Cris Morena, quien viene creando y produciendo éxitos televisivos, teatrales, discográficos y cinematográficos desde 1991. Hace más de 15 años lidera el segmento de producciones orientadas a niños, jóvenes y adolescentes. Entre sus creaciones destacan: ‘Casi Ángeles’, ‘Chuiquititas’, ‘Florieicnetea’ y ‘Rebelde Way’, entre otras. With its headquarters in Buenos Aires, this production company was formed in 2002 by its founder Cris Morena who has been creating and producing television, theatre, musical and cinematographic hits since 1991. It has been over 15 years since she heads the productions aimed at children, teenagers and youngsters. Among her productions are worth mentioning: Casi Ángeles’, ‘Chuiquititas’, ‘Florieicnetea’ and ‘Rebelde Way’.

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sta segunda entrega pretende seguir sumando visiones de cómo se encuentra la producción de ficción en los mercados de América Latina como: Argentina, Colombia, Chile, Brasil y Uruguay. En un inicio la producción de contenido exportable fue -y aun sigue siendo- la telenovela, género que desde hace 50 años es el estandarte de la región. Este negocio mueve anualmente cerca de 3.225 millones de dólares en el mundo entero. Las ficciones producidas en América Latina representan más del 60% del total, reportando un capital superior a los 1.935 millones de dólares al año. La globalización actual de la industria y el futuro de la TV requiere que compañías productoras latinoamericanas tengan acceso a nuevos mercados, haciendo foco en la producción y las necesidades de desarrollo del conocimiento. Los valores de producción, el compromiso de calidad y el profesionalismo son elementos que pueden encontrarse en estos mercados. América Latina, y en particular, mercados como Argentina, Colombia, Brasil, Chile, Uruguay o México-, están entre las plazas proveedoras de creatividad y factura técnica para exportar contenido. Paralelamente, las empresas llegan a la región buscando ideas o guiones originales para mercados de Europa del Este, Europa o EE UU. Asimismo, estos mercados locales están atendiendo la demanda desde los centros internacionales. Más aún, en épocas de crisis internacional.

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Desesperadas’), Invento (‘La Baby Sister’) o Teleset (‘Los Protegidos’), entre otras. Así, Colombia es un país que sirve al mercado latino y mundial. Una de sus grandes ventajas es su cercanía con EE UU y el lenguaje neutral. Estos componentes hacen de Colombia un mercado en plena ebullición. El esquema de trabajo y el valor de la moneda hacen que se realicen producciones de la mejor calidad a costos muy bajos, lo que vuelve al país un destino muy importante para quienes deseen realizar producciones destinadas a otros mercados.

Chile, Uruguay and Mexico, are among the creativity and technology invoice providers to export contents. Similarly, companies come to the region looking for ideas or original scripts for Eastern Europe, Europe or U.S.A markets. Likewise these local markets are dealing with the requests from international centers. Even more so, in times of international economic crisis.

Sony Pictures Television International (SPTI) agrandó su apuesta de producción en América Latina con la adquisición del 50 de Teleset. Con el paso dado, SPTI le muestra al mercado cuánto le importa la región también como fábrica de contenidos. Ya en los inicios del año comenzó a trascender la probable compra de la mitad de la propiedad de la productora colombiana por parte de SPTI. En Las Vegas, y en el marco de NATPE, ambas compañías sellaron formalmente la operación. La adquisición es parte de la estrategia de expansión del grupo de producción. Aún no se conocen los términos del acuerdo. Teleset tiene un récord de éxitos en Colombia y SPTI planea utilizar la experiencia de la compañía para expandir su propio crecimiento en América Latina y EE UU Hispano.

“Creemos que hay un gran potencial de producción en América Latina, y esperamos que nuestras inversiones en Teleset resulten en productos que puedan viajar a toda la región y al mercado hispano estadounidense”, afirmó T.C. Schultz, VP ejecutivo y director general de SPTI. “Ya tenemos una relación establecida con Teleset y hemos presenciado el éxito del fantástico equipo directivo que ellos tienen”, agregó Brendand Fitzgerald, VP sénior de Producción Internacional de SPTI.

The Colombian market has grown within quite a short time, in order to become a respectable and competitive market in the region. The country has many special features as for audiovisual production and undoubtedly with time, it will grasp more production capacity. Currently, production centres are being settled and there are many production companies which have been developing creative ideas and formats for some time now. This is the case of Si Hay Ideas o Invento. Likewise, Fox Telecolombia production companies have settled (‘Tiempo Final’), Vista Producciones (‘Amas de Casa Desesperadas’), Invento (‘La Baby Sister’) or Teleset (‘Los Protegidos’), among others. So, Colombia is a country which works both for the worldwide and the Latin markets. One of its great advantages is its closeness to the US, and the neutral language.

These components make Colombia a broad active market. The working outline and the currency value, make low-cost, higher quality productions possible, which make the country a very important destination for those who wish to develop productions destined for other markets.

RGB ENTERTAINMENT. La productora argentina crea, produce y comercializa contenidos en Argentina y el mundo entero. Creada en 2000 por Gustavo Yankelevich y Víctor González, realiza negocios que incluyen: creación y realización para TV, cine, discos. y eventos multitudinarios. Fue designada por Disney Media Networks Latin America para realizar la versión latinoamericana del reality ‘The Amazing Race’ para Discovery Channel. The Argentinean production company creates, produces and merchandises contents in Argentina and worldwide. Created in 2000 by Gustavo Yankelevich and Victor González, it runs businesses that include: creation and making for TV, films, music and mass events. It was designated by Disney Media Networks Latin America to make the Latin American version of the reality ‘The Amazing Race’ for Discovery Channel.

ILLUSION STUDIOS. Productora argentina con formato de compañía multimedia.

Una “fábrica de ideas” desarrolladas para generar contenidos de TV, cine, teatro móvil e internet. Tiene una fuerte estructura en lo que hace a la animación, creación de efectos visuales y CGI. Destacan ‘La Maga y el Camino Dorado’, ‘Valentina’ y ‘Allison, Descubrirá tu Secreto’. Argentinean production company with multimedia company format. A ‘factory of ideas’ developed so as to generate content for TV, movies, theatre, mobile and Internet. It has a strong structure as regards to animation, creation of visual effects and CGI. Outstanding productions: ‘La Maga y el Camino Dorado’, ‘Valentina’ and ‘Allison, Descubrirá tu Secreto’.

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QUARK CONTENIDOS. Jorge Nisco, director de trayectoria internacional, creó esta productora argentina dedicada al desarrollo de proyectos y formatos para TV, que contempla diversas alternativas de diseño de producción para distintos tipos de mercados. Asistencia creativa y profesional en todos los procesos del guión, desde la idea, la escritura, y la estrategia de producción. Jorge Nisco, international career Director, created this Argentinean production company devoted to projects and TV formats development that has taken into consideration different alternatives as regards to production design for the diverse markets. Creative and professional assistance in every script process, from the idea, the writing and the strategy of production.

COLOMBIA: RAISES INTEREST OF FOREIGN PLAYERS

Sony Pictures Television International (SPTI) broadened its production commitment in Latin America with the acquisition of 50% of Teleset. With this step taken, SPTI shows to the market how important the region is as a content factory. At the beginning of the year, the possible purchase of half of the Colombian production company by STPI started to leak out. In Las Vegas, at NATPE, both companies formally sealed the deal. The acquisition is part of the expansion strategy of the production group. The terms of the agreement remain unknown. Teleset has a hits record in Colombia and SPTI plans to use the company’s experience to expand its own growth in Latin America and the Hispanic US. ‘We reckon there is a great potential of production in Latin America and we hope our investments in Teleset turn out in products that are able to travel around the region and to the Hispanic north American market’, said T.C Schlutz, VP Executive and General Head of SPTI. ‘We already have an established relation with Teleset and we have witnessed the success of the amazing managing team they have’, added Brendand Fitzgerald, VP Senior of International Production of SPTI. Likewise, another giant like Disney Media Networks Latin America, doubles its bet to the regional talent. The company prepares itself for a big display of local production. In Colombia the local version of ‘Grey’s Anatomy’ is being prepared with the production company Vista Producciones, at first for the Colombian channel RCN. ‘The talent’s casting started in February and the shootings will start in April’, confirmed Leonardo Aranguibel, Production Manager for Disney Media Networks Latin America. The script is in hands of the well-known Colombian writer Fernando Gaitán and also the Venezuelan writer Ibsen Martínez. Similarly, Fox Broadcasting Company confirmed the emission of ‘Mental’, the new one-hour medical and mystery drama series of Fox Television Studios (FtvS). The first of three international co-productions of Fox TV Studios, ‘Mental’ is produced in association with Fox International Channels. The first thirteen episodes of the series were shot in Fox Telecolombia in 2008. So, ‘Mental’ is the first original TV series in English produced in Latin America for the US. After its release in the US it will be broadcast in 35 countries in the territories of Fox International Channels. ‘We are proud of the partnership with FtvS to take on ‘Mental’ and of having collaborated in this new initiative

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Por su parte, otro gigante como Disney Media Networks Latin America, redobla su apuesta hacia el talento de la región. La compañía se prepara para un gran despliegue de producción local. En Colombia prepara la versión local de ‘Grey’s Anatomy’ con la productora Vista Producciones en principio para el canal RCN de Colombia. “En febrero se comenzó a realizar el casting de talento y en abril comenzarían las filmaciones”, confirmó Leonardo Aranguibel, gerente de Producción de Disney Media Network Latin America. El libreto se encuentra a cargo del reconocido escritor colombiano Fernando Gaitán y también por el escritor venezolano Ibsen Martínez. Paralelamente, Fox Broadcasting Company confirmó la emisión de ‘Mental’, la nueva serie dramática médica y de misterio de una hora de Fox Television Studios (FtvS). Primera de tres coproducciones internacionales de Fox TV Studios, ‘Mental’ es producida en asociación con Fox International Channels. Los primeros trece episodios de la serie fueron filmados en Fox Telecolombia en 2008. Así, ‘Mental’ es la primera serie original de TV en inglés producida en América Latina para los EE UU. Luego de su estreno en EE UU, será emitida en 35 países en los territorios de Fox International Channels. “Estamos orgullosos de habernos asociado a FtvS para llevar adelante ‘Mental’ y de haber colaborado en esta nueva iniciativa que nos permitió compartir recursos, talento y el deseo de abrir nuevos caminos en producción para televisión destinada a una audiencia global”, señaló Hernán López, presidente de Fox International Channels. Históricamente, en Hollywood y en la exigente industria audiovisual estadounidense, las reglas no se discutían: cualquier producción para la TV del país se realizaba en territorio nacional, por múltiples razones y exigencias, fundamentalmente por las que tenían que ver con los estándares de calidad, locaciones, la disponibilidad de las estrellas y la compleja logística. Hasta que uno de los grandes de la Meca, Fox, decidió transgredir ese orden. Fue clave en el cambio de visión el hecho de que el gerenciamiento de Fox Television Studios (FtvS) en su headquarter de Los Angeles, por primera vez, estuviera en manos latinas, con el argentino Emiliano Calemzuk, ROSSTOC. Esta productora argentina nace en 2005, dirigida por Gastón Pauls y Alejandro Suaya, con el objetivo de generar contenidos de prestigio, a partir de la producción audiovisual, que contribuyen con el desarrollo social y humano. Para TV ha realizado ‘Pecados Capitales, el que esté libre...’, ‘Mejor Hablar de Ciertas Cosas’, ‘Titulares’ y ‘Todos Contra Juan’. This Argentinean production company was born in 2005, headed by Gastón Pauls and Alejandro Suaya, with the aim of generating prestigious contents starting from audiovisual production, which contribute with the social and human development. For TV it has made: ‘Pecados Capitales, el que esté libre...’, ‘Mejor Hablar de Ciertas Cosas’, ‘Titulares’ and ‘Todos Contra Juan’.

CTV CONTENIDOS. Empresa multimedia especializada en la producción de formatos y contenidos de ficción y entretenimiento. Desde sus sedes en Argentina y España, desarrolla ideas y productos de renombre, entre los que se encuentran: ‘Juanita la Soltera’, ‘Máximo Corazón’ y ‘El Arcángel’. Multimedia company specialized in formats production, fiction and entertainment contents. From its headquarters in Argentina and Spain, it develops ideas and well-known products, for example: ‘Juanita la Soltera’, ‘Máximo Corazón’ and ‘El Arcángel’.

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ALOMI PRODUCCIONES. Compañía dedicada a la producción, realización y distribución nacional e internacional de programas de TV, ya sea con productos terminados, asesorías o formatos. También ofrece asesorías en el rubro de programación. Ha desarrollado el talk show ‘Mónica’ para Telemundo, y luego para Univision, entre otros. Company devoted to the national and international production, making and distribution of TV programs, be that with finished products, consultancy or formats.

It also offers consultancy in the programming field. It has developed the talk show ‘Mónica’ for Telemundo and later for Univision, among others.

which allowed us to share resources, talent and the desire of opening new ways in television production destined to a global audience’, commented Hernán López, President of Fox International Channels.

Historically, in Hollywood and in the demanding north- American audiovisual industry, rules were not discussed: any production for the country’s TV would be shot in national territory because of many reasons and requirements, basically by the ones which had to do with quality standards, locations, star´s availability and complex logistics.

Until one of the big studios, Fox, decided to transgress that order. It was key for the vision to change the fact that FOX Television Studios (Ftvs) managing in its headquarters in Los Angeles, for the first time, was in Latin hands, with the Argentinean Emiliano Calemzuk, President of Fox Television Studios. Other things occurred simultaneously, such as the acquisition of 51% of the studio Telecolombia by Fox International Channels, the signals programming branch of Fox Pay TV, presided over another Argentinean, Hernán López. The control of the Colombian production company, founded by Samuel Duque, was an essential link to renew the airways: Calemzuk and his people’s ideas coincided with new locations and in particular Colombia offered, not only appropriate places to produce but also low cost and talent. This is how this association was born, one which will remain in history as the first one to assume the whole production of a series outside the US, but tailored for the north-American viewer and with the higher requests to ensure the international distribution.

ARGENTINA: A PRODUCTION POLE IN CONSOLIDATION Argentina is at a privileged place as regards to ideas development and production services. A market which works for the region and the world. At first that presence was given by the exportation of readymade telenovelas that, in certain cases, were exported through their scripts. Currently it is marking a 180º turnabout. Like this, production companies have emerged headed by Pol-Ka Producciones (‘Amas de Casa Desesperadas’, ‘Epitafios’), Fox Toma 1, Ideas del Sur (‘Collar de Esmeraldas’), Eyeworks/Cuatro Cabezas (‘CQC’), among many others.

Although fiction is gaining ground, it has not been possible yet to offer a complete service for a particular market. So far, certain products are produced for certain markets. What happens with the production company Pol-Ka, for example, and ‘Mujeres asesinas’, a product which traveled to Italy. The fiction was entirely produced in Argentina, but it was necessary that the director was transferred from Italy because he is the one to decide what the final product should be. That learning, which is a slow process, of analysis, experience sharing, at a certain moment will make Argentina able to produce fiction without any interference from the country which requested it. Nowadays, reality states they travel to Argentina from Europe, Eastern Europe or U.S.A, because the local market is not yet ready to understand the logic of these requesting markets to deliver a finished product. In a short time Argentina will be mature enough to be a market that competes against European or north –American production companies. Nowadays, Argentina is an ideas- provider market with excellent technology and artistic standard, the same way as a low cost production market. Recently, Disney Media Networks Latin America, announced that it has trusted the producer RGB Entertainment with the making of the Latin American version of the successful reality ‘The Amazing Race en Discovery Channel’. RGB Entertainment is one of the most important producers in Argentina, with a strong presence in the international market. Together with Cris Morena Group, they made many television hits which were broadcast on Disney Channel, among those hits worth mentioning are ‘Floricienta’ and currently ‘Casi Ángeles’, one of the biggest teenage hits. Likewise, Pol-Ka Producciones is shooting the series ‘Valientes’ and the unitary ‘Tratame Bien’, which will be soon broadcast in Canal Trece.

ARGENTINA: UN POLO DE PRODUCCIÓN EN CONSOLIDACIÓN Argentina ocupa un sitio privilegiado referido al desarrollo de ideas y servicios de producción. Un mercado que trabaja para la región y el mundo. En un principio esa presencia fue dada por la exportación de latas de telenovelas que, en ciertos casos, fueron exportadas mediante sus guiones. Hoy, está marcando un giro de 180º. Así, han surgido productoras encabezadas por Pol-Ka Producciones (‘Amas de Casa Desesperadas’, ‘Epitafios’), Fox Toma 1, Ideas del Sur (‘Collar de Esmeraldas’), Eyeworks/ Cuatro Cabezas (‘CQC’), entre muchas otras. Si bien la ficción está ganando terreno, aún no se ha logrado ofrecer un servicio completo para un mercado particular. Por el momento, se logra realizar un producto para cierto mercado. Un ejemplo es lo que sucede con la productora Pol-Ka y ‘Mujeres Asesinas’, un producto que viajó a Italia, por ejemplo.

La ficción se produjo íntegramente en Argentina, pero fue necesario que se trasladaran el director desde Italia porque aún deben ser quien decid cómo debe ser el producto final. Ese aprendizaje, que es un proceso que lento, de análisis, de intercambio de experiencias, en determinado momento colocará a Argentina en condiciones de producir ficción sin interferencia del país que la solicita. Hoy, la realidad indica que viajen a Argentina desde Europa, Europa del Este o EE UU, porque el mercado local aún no está maduro para entender la lógica de estos mercados solicitantes para entregar un producto terminado. En un breve lapso de tiempo Argentina estará en madura para ser un mercado que compita con las productoras europeas o estadounidenses. Hoy, Argentina es un mercado proveedor de ideas con un excelente estándar técnico, artístico, así como una plaza con bajos costos de producción. Recientemente, Disney Media Networks Latin America, anunció que le ha confiado a la productora RGB Entertainment la realización de la versión latinoamericana del exitoso reality ‘The Amazing Race en Discovery Channel’. RGB Entertainment es una de las productoras más importantes de Argentina, con una fuerte presencia en el mercado internacional. Junto a Cris Morena Group, realizaron varios éxitos televisivos que se vieron por la pantalla de Disney Channel, entre los cuales se destacan ‘Floricienta’, y en la actualidad, ‘Casi Ángeles’, uno de los mayores sucesos juveniles.

Por su parte, Pol-Ka Producciones está realizando las grabaciones de la serie de ficción ‘Valientes’, y el unitario ‘Tratame Bien’, que se verán muy pronto en Canal Trece.

CHILE: UN MERCADO QUE CRECE A ORILLAS DEL PACÍFICO El mercado chileno ha tenido un crecimiento sostenido en su industria audiovisual, avalado por la constante producción de ficciones, formatos y películas, y el soporte técnico existente en todos los niveles de la cadena de producción de la industria. Con excelentes locaciones, pues el país posee una diversidad geográfica, con desierto, lagos, montañas, playas, bosques, volcanes, Patagonia; bajos costos, infraestructura moderna, factores entre otros, que pueden atraer a productoras internacionales para que desarrollen sus producciones en el país. Existe en Chile soporte técnico integral para la producción audiovisual. Es posible

CHILE: A GROWING MARKET BY THE PACIFIC The Chilean market has shown sustained growth in its audiovisual industry, supported by its constant fiction, formats and film production, and the existing technology support in every level of the production chain of the industry. With excellent locations, because the country has geography diversity, with lakes, deserts, mountains, beaches, woods,

MEDIAMATES. Una productora de contenidos para la TV y medios digitales, dedicada al diseño, creación, producción y postproducción de programas de TV. La compañía forma parte de un holding de productoras con más de 30 años de experiencia. Fue fundada en 2001 por Pedro Torres, reconocido productor y director de TV y publicidad.

Destaca la producción de la serie ‘Mujeres Asesinas’, y los game shows ‘De por Vida’ y ‘Amantes de Café’. A production company of content for TV and digital media, devoted to design, create, produce and post produce TV programs. The company is part of a producers holding with over 30 years of experience. It was founded in 2001 by Pedro Torres, famous TV and publicity producer and director. Outstanding TV series: ‘Mujeres Asesinas’ and game shows : ‘De por Vida’ and ‘Amantes de Café’.

CONSPIRAÇAO FILMES. Desde hace 17 años que esta productora está en el mercado.

Es reconocida como una de las mayores productoras independientes de Brasil. Dedicada a la producción de contenidos para TV, cine, publicidad, móviles e internet. Tiene oficinas en Rio de Janeiro y San Pablo, y ha sido responsable de la series ‘Mandrake’, para HBO Latin America Group, entre otras tantas. For 17 years this production company been in the market. It is known as one of the major independent producers of Brazil.

Devoted to the content production for TV, movies, publicity, mobiles and Internet. It has offices in Rio de Janeiro and Sao Paulo, and has been responsible for the series ‘Mandrake’, for HBO Latin America Group, among many others.

PRODIGO FILMS. Creada en 1995, esta productora brasileña se enfoca en la producción de TV, cine y publicidad. Cuenta con servicios de producción, animación, distribución de contenido televisivo y hogareño. También produce contenido propio como documentales y ficción para TV, cine y DVD. En 2005, realizó el documental ‘O Dia em que o Brasil Esteve Aquí’, emitido por HBO Latin America. Created in 1995, this Brazilian production company focuses on the production of TV, films and publicity.

It has services of production, animation, distribution of TV and home content. It also produces its own content, such as documentaries and fiction for TV, movies and DVD. In 2005, it made the documentary ‘O Dia em que o Brasil Esteve Aquí’, broadcasted by HBO Latin America.

ROOS FILMS. Esta productora chilena fue fundada en 1994. Ha producido gran cantidad de formatos y series de TV. Anualmente, genera más de 400 horas de contenido con calidad primetime. Entre sus producciones para TV destacan: ‘Mi Bella Genio’, ‘Mis Años Grossos’, ‘Aquí no hay Quien Viva’, y ‘Casados con Hijos’. This Chilean production company was founded in 1994. It has produced a great quantity of formats and TV series. Annually, it generates over 400 hours of content with primetime quality.

Among its productions for TV stand out: ‘Mi Bella Genio’, ‘Mis Años Grossos’, ‘Aquí no hay Quien Viva’, and ‘Casados con Hijos’.

CONTENDIOS TV. Esta productora uruguaya nacida en 2004 es responsable del manejo global de cada proyecto audiovisual. Contenidos TV trabaja estrechamente con Canal 12, mediante la realización de programas como ‘Vidas’, ‘Cámara Testigo’, ‘Ciudad Oculta’ y ‘Adicciones’. This Uruguayan production company was born in 2004 and it is responsible for the global management of each audiovisual Project.

Contenidos TV works closely with Canal 12, through the making of programs such as: ‘Vidas’, ‘Cámara Testigo’, ‘Ciudad Oculta’ and ‘Adicciones’.

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presidente de Fox Television Studios. Aparecieron piezas coincidentes como la adquisición del 51% del estudio Telecolombia por parte de Fox International Channels, el brazo programador de señales de TV paga de Fox, presidido por otro argentino, Hernán López. El control de la productora colombiana, fundada por Samuel Duque, fue un eslabón clave para los aires renovadores: coincidían las ideas de Calemzuk y su gente con las nuevas locaciones y las particularidades que ofrecía Colombia tanto en lugares propicios para producir como en costos y talentos. Así nació una asociación que quedará en la historia como la primera en asumir la producción completa de un serial fuera de EE UU, pero hecho a medida del televidente estadounidense, y con las mayores exigencias para asegurar su distribución internacional.

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producir proyectos completos de primera calidad con empresas chilenas.

Recientemente, Chilevisión estrenó ‘Mis Años Grossos’, una licencia de la serie estadounidense ‘That 70`s Show’ de Carsey-Werner. La sitcom fue producida por Roos Films y se estrenó el 2 de marzo por Chilevisión.

“En marzo de 2008, Chilevisión, que había adquirido los derechos de la serie, nos contactó para que desarrolláramos el proyecto partiendo por la adaptación de un episodio, y su grabación como piloto. El piloto fue muy bien recibido en el canal y rápidamente pasamos a desarrollar la adaptación y grabación de 50 episodios que salieron al aire el pasado 2 de marzo”, comentó Ignacio Eyzaguirre de Roos Films. Por su parte, ‘Los Exitosos Pells’, es la remake chilena de la telenovela homónima argentina, producida por TVN, estrenada el 3 de marzo, que compite con la teleserie ‘Cuenta Conmigo’ de Canal 13, estrenada el 2 de marzo, y la ya mencionada ‘Mis Años Grossos’, de Chilevisión.

URUGUAY: UN PEQUEÑO MERCADO QUE SE GLOBALIZA Si bien, Uruguay es un mercado reducido, desde el punto de vista técnico y artístico en el campo audiovisual, el país ha crecido a pasos acelerados, en lo que respecta al desarrollo ideas originales, proyectos de producción con proyección internacional, y claro está, como plaza que brinda servicios de producción atendiendo al mercado internacional. La apuesta entonces es ponerse a tiro con la tendencia que vive la industria a nivel global: el desarrollo de contenido para una industria hambrienta por toda clase de género televisivo. En Uruguay hay talento suficiente para desarrollar proyectos de calidad. En los últimos años, Canal 12 ha apostado con sabiduría a la producción de contenidos originales. Además de la sitcom ‘La Oveja Negra’, ahora es el turno del unitario de ficción ‘Adicciones’, filmado en HD a cargo de la productora Contenidos TV. Asimismo, Canal 10 está preparando la versión de ‘Escenas de Matrimonio’ de Tele 5 de España, que se llamaría ‘Escenas de Familia’, según los rumores que han trascendido a la prensa local. Hoy, las ficciones locales o los formatos de entretenimiento adaptados a la idiosincrasia de cada cultura obtienen los mayores ratings, y esta tendencia, más allá de la baja de presupuestos de los canales, no parece cambiar. Los broadcasters que ya lo vienen haciendo no dejarán de producir, aunque sí lo harán con costos más bajos, buscando ofertas de buena calidad de producción a menores precios. Sin duda, esta crisis provocará cambios de estrategia en todas las pantallas internacionales. Y es aquí donde la oportunidad se abre para el talento latinoamericano. Así, aparecen nuevos players internacionales que ofrecen alternativas interesantes para dar respuestas satisfactorias a los distintos mercados. La crisis de la TV internacional puede convertirse en una amenaza o en una oportunidad. En tal sentido, como proveedor de formatos de ficción, hoy América Latina está entre las alternativas más atractivas.

ZUR INFOTAINMENT. Esta productora uruguaya está dedicada a la producción integral de programas para TV. Sus productos se han convertido en referentes de la pantalla uruguaya por el carácter innovador y profesional de sus propuestas con programas como ‘Zona Urbana’, ‘Pan+Circo’, ‘Bendita TV’ y ‘SIC’. This Uruguayan production company is devoted to the integral production of TV programs. Its products have become references in the Uruguayan screen because of its innovative features and the professionalism of its proposals with programs like ‘Zona Urbana’, ‘Pan+Circo’, ‘Bendita TV’ and ‘SIC’.

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ANIMALADA 3D ANIMATION STUDIO. La productora uruguaya se especializa en la creación de animación computarizada, desarrollo y producción de comerciales y entretenimiento. También es proveedora de servicios de producción. The Uruguayan production company specializes on the creation of computerized animation, development and production of commercials and entertainment. It also provides production services.

volcanoes, Patagonia; low costs, modern infrastructure, elements that among others, can attract international producers for them to develop their productions in the country. There is integral technology support in Chile for audiovisual production. It is possible to produce complete projects of the highest quality with Chilean companies. Recently, Chilevisión released ‘Mis Años Grossos’, a license of the north- American series ‘That 70’s Show’ by Carsey- Werner. The sitcom was produced by Roos Films and was released 2nd March on Chilevisión. ‘In March 2008, Chilevisión, which had acquired the rights of the series, contacted us to develop the project based on the adaptation of one episode and it’s shooting as the pilot. The pilot was welcome by the channel and went quickly to the development of the adaptation and the shooting of 50 episodes which were broadcast last 2nd of March’, commented Ignacio Eyzaguirre from Roos Films. Likewise, ‘Los Exitosos Pells’, is the Chilean remake of the Argentinean homonymous, produced by TVN, released March 3rd, that competes with the tv series ‘Cuenta Conmigo’ from Canal 13, released March 2nd and the already mentioned ‘Mis Años Grossos’, by Chilevisión.

URUGUAY: A SMALL MARKET WHICH IS GLOBALIZING Although Uruguay is a small market, from a technological point of view and artistic in the audiovisual field, the country has grown enormously as regards to the development of original ideas, production projects with international appeal and it is clear that it´s a market that offers production services that meet the international market.

The commitment is then to come near the tendency the industry is living globally: the content development for an industry hungry for any kind of television genre. There is enough talent in Uruguay to develop quality projects. During the last few years, Canal 12 has wisely staked on the production of original contents. Besides the sitcom ‘La Oveja Negra’, now it is the turn of the unitary ‘Adicciones’, shot in HD in hands of the producer Contenidos TV. Likewise, Canal 10 is preparing the version of ‘Escenas de Matrimonio’ of Tele 5 from Spain, which would be called ‘Escenas de Familia’, according to the rumors which have leaked out of the local press. Nowadays, the local fictions or entertaining formats adapted to each culture’s idiosyncrasy obtain the highest ratings, and this tendency, considering the low budgets of the channels, does not seem to be changing. Broadcasters who are already doing it will not stop producing, although they will do it with lower costs, looking for good quality and with cheap prices. Undoubtedly, this economic crisis will provoke strategy changes in every international screen. And it is here where opportunities open up for Latin American talent. In this way the new international players appear to be those who offer interesting alternatives to satisfactorialy respond to the different markets. The crisis of international TV can become a threat or an opportunity. In that sense, as a fiction formats provider, Latin America currently has the most attractive options.

OZ MEDIA. Esta productora uruguaya surgió en 2002, para desarrollar contenidos y brindar servicios de producción audiovisual.

Hoy, es una de las empresas líderes en la creación, producción y realización de programas de TV en Uruguay. También desarrolla servicios de producción. Entre sus producciones destacan ‘The Simple Life’ (Fox), ‘Historia Clínica’ y ‘Tenemos que Hablar’. This Uruguayan production company emerged in 2002 to develop contents and provide with audiovisual production services. Nowadays it´s one of the leading companies as regards to creation, production and making of TV programs in Uruguay. It also develops production services. Among its productions stand out: ‘The Simple Life’ (Fox), ‘Historia Clínica’ and ‘Tenemos que Hablar’.

EJECUTIVOS · EXECUTIVES

oportunidad argentina La

en una TV internacional en crisis

Argentinian opportunity in an international TV crisis La crisis es siempre sinónimo de oportunidad. Que el mundo ha cambiado en los últimos meses nadie lo pone en duda. Pero también es cierto que en la actualidad existen territorios, hasta hace poco en plena expansión, más afectados hoy que los de América Latina. O al menos, que han sufrido más rápido las consecuencias de la conmoción económica internacional que afecta al mundo. Crisis is always a synonym for opportunity. There is no doubt about the world changing during the last few months. But it is also true that there are places which were in development that are being more affected than those in Latin America. Or at least, they have more quickly been challenged by the international economic upheaval the world is going through. POR Sebastián Amoroso

Q

uizá los latinoamericanos, por haber convivido durante casi toda su historia con todo tipo de vaivenes económicos y financieros, hoy se encuentran más preparados para no entrar en pánico, y encontrar maneras de hacer frente a situaciones adversas. Al menos esto está sucediendo en la industria del entretenimiento, que en principio parece ser más la afectada por su exposición, y la que primero termina recuperándose por sus propias características.

Silvana D’Angelo,

CEO de Flor Latina Entertainment Group

“Mientras la bolsa se cae y grandes empresas se declaran en quiebra, el mundo sigue girando. Y

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Alta Montaña

(Teen Novela ) (120 x 60’)

Perhaps, because Latin-Americans have been through financial and economic ups and downs throughout time they are more prepared to stay calm and to find ways to face difficult situations.

This is what is happening in the entertainment industry, which seems to be for now, the most affected because of its exposure and the one which always recovers first because of its own strengths.

‘While the Stock Market is falling and important companies go bankrupt, the world keeps spinning. To different extents, communities try to continue with their lives. Similarly, in spite of the fact that many should postpone the acquisition of a new vehicle or a new house, or even lower the monthly budget for clothing or expensive outings, TV is one of the few pleasures people will be able to continue having this year’, says Silvana D’Angelo, CEO of Flor Latina Entertainment Group.

So, in a contracted market fenced by spending cuts, TV could turn out to be the most attractive way for advertisers, who must keep their products exposed en masse. ‘Channels will continue being very attractive vehicles for those and must keep abreast of the competition to be the choice of the viewers. We know it is not going to be achieved with the repetition of old stocked material. Maybe, they would do it at first in an uncertain context but at least in a prime time and if they wish to continue

Así, en una torta empobrecida por los recortes presupuestarios, la TV podría resultar quizá la vía más atractiva para los anunciantes, quienes deben aún mantener la exposición de sus productos masivamente. “Los canales continuarán siendo vehículos muy atractivos para las marcas, y deberán seguir compitiendo para ser la elección de sus televidentes. Y sabemos que no será justamente con viejas repeticiones de material en stock como lo podrán lograr. Tal vez lo hagan inicialmente en un contexto incierto pero, al menos en el horario primetime y si desean seguir resultando una opción, deberán ofrecer alternativas más atractivas para su audiencia”, agrega la ejecutiva.

Algunos años atrás, la estrategia de enlatados quizá hubiese funcionado por un tiempo en una TV internacional plagada de programas envasados, especialmente en los países cuyos televidentes no habían experimentado aún los beneficios de la producción local. Pero la realidad indica que desde hace cinco años, el mercado de adquisición de formatos de ficción y entretenimiento en el mundo ha sido un boom difícil de revertir. “Hoy, las ficciones locales

being an option, they will have to offer more attractive alternatives for their audience’.

Buscando a Mamá Telenovela (120 x 60’)

Some years ago, the ready- made programs strategy would have worked for a while in an international TV market full of them, especially in those countries in which viewers had not yet experienced the benefits of local production.

The truth is that for five years, the acquisition market of entertainment and fiction formats in the world has been a hit, and would be a difficult reversion. ‘Local fictions or entertainment formats adapted to the idiosyncrasies of each culture obtain higher ratings, and this tendency, in spite of lower budgets, seems unlikely to change. This will continue being the audience’s choice in the

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en diferentes medidas, las comunidades intentan continuar con sus vidas. Paralelamente, si bien hoy muchos deberán postergar la adquisición de un nuevo vehículo o un cambio de vivienda -e inclusive disminuir su presupuesto mensual en indumentaria o en salidas costosas-, la TV es uno de los pocos gustos que las audiencias podrán seguir dándose este año”, afirma Silvana D’Angelo, CEO de Flor Latina Entertainment Group.

The Road Debate Reality

EJECUTIVOS · EXECUTIVES

prime time and may be even more so when it becomes the number one way of entertainment within austerity’, comments D’Angelo adding that‘ the broadcasters which are already doing it will not stop producing, but they will do it with lower costs, looking for offers of less expensive, good quality productions. Undoubtedly, this crisis will provoke changes in the strategies on every international screen. This is where opportunity presents for Argentinean talent’.

If the target of those TV companies continues to be competitive permanence, it will be necessary to analyze the resources available and especially dare to change the model followed up to now. Within that change new international players appear, who offer interesting alternatives in order to respond satisfactory to different markets. Currently, TV’s international crisis can become a threat or an opportunity, if we do not panic and work harder than ever, so that we finally become that successful alternative for many screens of the world’. In that La Oveja Negra Short Series (13 x 60’)

Amo de Casa

Family Daily Comedy (160 x 30’)

La Leyenda

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o los formatos de entretenimiento adaptados a la idiosincrasia de cada cultura obtienen los mayores ratings, y esta tendencia, más allá de la baja de presupuestos de las cadenas, no parece cambiar. Ésta continuará siendo la elección del público en los horarios centrales y quizá más aún cuando se convierta en la vía de esparcimiento número uno en medio de la austeridad”, señala D’Angelo, y agrega que “los broadcasters que ya lo vienen haciendo no dejarán de producir, aunque sí lo harán con costos más bajos, buscando ofertas de buena calidad de producción a menores precios. Sin duda, esta crisis provocará cambios de estrategia en todas las pantallas internacionales. Y es aquí donde la oportunidad se abre para los talentos argentinos”.

Si el objetivo de las empresas de TV sigue siendo la permanencia competitiva, será necesario que analicen los recursos disponibles y que especialmente se atrevan al cambio del modelo seguido hasta hoy. Y en este cambio aparecen nuevos players internacio-

Film Productor: Pampa Films

La Nena Comedy

EJECUTIVOS · EXECUTIVES

Son de Diez

Family Comedy

Serial frank Sitcom (22 x 30’)

nales que ofrecen alternativas interesantes para dar respuestas satisfactorias a los distintos mercados.

“Hoy, la crisis de la TV internacional puede convertirse en una amenaza o en una oportunidad, en la medida en que no entremos en ‘pánico’ y trabajemos con más dedicación que nunca, a fin de convertirnos finalmente en esa alternativa exitosa para muchas pantallas del mundo”. En tal sentido, como proveedor de formatos de ficción, hoy Argentina está entre las alternativas más atractivas. “Es el momento de generar ficciones con visión exportadora, más que nunca. Como semillero de grandes creativos, directores y libretistas que han logrado éxitos internacionales, Argentina puede convertirse en una fuente muy rentable de contenidos para las TV europeas e inclusive las majors estadounidenses. Y es allí donde las productoras y distribuidoras de contenidos argentinos deben enfocar sus esfuerzos”.

El formato más vendido de 2007 fue la serie ‘Lalola’, con venta a más de 50 países por parte de Dori Media Group. Mientras tanto, Pol-Ka colocaba el formato de ‘Mujeres Asesinas’ en Televisa y Eyeworks/Cuatro Cabezas adaptaba el formato de ‘CQC’ en importantes pantallas, entre otros logros de estos nuevos players. Así, los formatos argentinos, y los del resto de América Latina, invadieron las productoras y las pantallas de Rusia, Rumania, España, Grecia y, más tarde, de Italia, Alemania, Bélgica y Francia, entre otros.

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Por esta razón, quienes desde hace tiempo analizan este negocio coinciden en que, con los cambios necesarios para hacer frente a la calidad publicitaria inevitable que está teniendo lugar en casi todas las pantallas del mundo, la TV en general seguirá siendo un referente permanente para los anunciantes, además de ser la base necesaria para generar otros negocios derivados. D’Angelo concluye: “Entre todas las industrias, la de contenidos de TV latinoamericana, y especialmente la argentina, será la que más pueda beneficiarse en un mercado internacional de TV en pleno replanteo de estrategias”.

Voces Anónimas

Segunda Temporada

way, as a fiction formats provider, Argentina is today one of the most attractive alternatives. ‘The moment has come, more than ever, to produce fiction with a vision towards export. As a seed bed of many creators, directors, and writers who have achieved international success, Argentina can become a very profitable source of content for European TV and even major American studios. This is where Argentinean production companies and content distributors should place their efforts’.

The hit format in 2007 was the series ‘Lalola’, which was sold to more than 50 countries by the Dori Media Group. Meanwhile, Pol-Ka placed the format ‘Mujeres Asesinas’ in Televisa and Eyeworks.

Cuatro Cabezas adapted the format of ‘CQC’ on important screens, along with other achievements by these new players. In this way, Argentinean and the rest of Latin American formats invaded the production companies and screens of Russia, Rumania, Spain, Greece, and later, Italy, Germany, Belgium and France, among others.

This is why, those who have been analyzing this business for a long time, agree that with the necessary changes made the inevitable advertising quality which is taking place in almost every screen in the world, TV in general will continue being a permanent utility for advertisers, besides being the necessary foundation to generate other derived business. D’Angelo concludes: ‘Among every industry, the one of Latin American content and especially the Argentinean one, will be the most to benefit in an international TV market where broad new strategies are in consideration’.

EJECUTIVOS · EXECUTIVES

oasis Un

en medio del desierto

An Oasis in the desert E1 Television International es una firma global y compañía distribuidora de TV conocida y respetada. Fundada en 1991, ha logrado una posición prominente en el cine internacional y licencias de TV. Con oficinas en Toronto y Los Angeles, la compañía ha creado importantes lazos con la comunidad internacional del cine y la TV, asegurando acceso a programación de alta calidad que va desde historias guionadas a programación para chicos, animación, reality, factual y películas. E1 Television International is a highly recognizable and respected global film and television distribution company. Launched in 1991, Oasis has established a prominent position in International film and TV licensing. With offices in Toronto and Los Angeles, the company has built strong ties to the international film and television community ensuring continuous access to high quality programming from scripted series to kids’ programming, animation, reality, factual and movies. POR Sebastián Amoroso

Valerie Cabrera,

Vicepresidenta Ejecutiva de E1 Television International

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V

alerie Cabrera es una ejecutiva de negocios y dirección con 16 años en la industria de la televisión y distribución.

“Comencé mi carrera en 1993. He sido parte de Oasis desde el principio”, señala.

La ejecutiva, tiene experiencia en ventas internacionales de programación, adquisiciones, financiación de producción, desarrollo creativo y marketing.

Actualmente, es responsable de las ventas a los mercados de Francia, Benelux, Italia y América Latina. Además de este rol como vicepresidenta ejecutiva de Distribución Internacional, también es responsable del desarrollo de la compañía Blueprint Entertainment. ¿Cómo se estructura la compañía E1 Television International? ¿Cuáles son sus principales áreas de negocios? E1 Television International, conocidos también como Oasis International -junto con otras compañías recientemente adquiridas como Blueprint Entertainment, Barna-Alper Productions, y Contender Entertainment Group)-, son parte de el nuevo estudio independiente E1 Entertainment, una compañía de entretenimiento totalmente integrada, que adquiere los derechos de películas, TV y música, y explota éstos en todos los medios en más de 190 países. Actualmente, la compañía tiene operaciones en Canadá, EE.UU., Reino Unido, Holanda y Bélgica, a través de sus cuatro unidades principales de negocios: E1 Television, E1 Films, E1

Valerie Cabrera is a business and management executive with 16 years in the television and distribution industry. “I began my career in 1993. I have been part of Oasis since its very beginning”, she says. The executive has an extensive background in international programme sales, acquisitions, production financing, creative development and marketing.

She presently handles sales to France, Benelux, Italy and Latin America. In addition to her current role as Executive Vice President of International Distribution, she also does development work for Oasis’ sister company Blueprint Entertainment How is E1 Television International organized?

Which are its main business areas? E1 Television International, formerly known as Oasis International (along with other recently acquired companies such as Blueprint Entertainment, Barna-Alper Productions and Contender Entertainment Group) is now part of the new “indie” studio, E1 Entertainment: a fully integrated entertainment content owner that acquires film, television and music rights and exploits these rights in all media in more than 190 countries.

The company currently operates in Canada, the U.S., the UK, Holland and Belgium through its four primary businesses units: E1 Television, E1 Films, E1 Music and E1 Distribution. These businesses collectively represent E1’s extensive expertise in film

Majority Rules

(Children’s Live Action/Animation) (26 x 30’ HD)

Music y E1 Distribution. Estos negocios en conjunto, representan la experiencia de E1 Television International en la distribución de películas, distribución y producción de TV, contenido para chicos, licencias y distribución. Hoy, E1 Entertainment es la mayor distribuidora de contenidos de entretenimiento en el mercado canadiense.

Usted actualmente es responsable de las ventas para Francia, Benelux, Italia y América Latina. ¿Cómo ha sido el relacionamiento con los mercados de América Latina? ¿Qué posibilidades de

distribution, television and music production/distribution, Kids content, Licensing and Distribution.

Today, E1 Entertainment is the largest distributor of entertainment content on the Canadian market.

Can you tell us about the company’s portfolio? E1 Television International is one of the largest independent distributors in North America. We have an impressive track record of selling an eclectic mix of programming from scripted series to kids’ programming, animation, reality, factual, lifestyle and

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¿En qué consiste el catálogo de productos de la compañía? E1 Television International es una de las distribuidoras independientes más grandes de America del Norte. Tenemos una gran historia en cuanto a la venta de todo clase de programación, desde series guionadas hasta programas para chicos, animación, factual, reality, estilos de vida y películas. Tenemos más de 6.000 horas de programación.

Recientemente, se anunció que E1 se encargará de la distribución internacional de los derechos de la película de CBS/Hallmark Televisión ‘The Courageous Heart of Irena Sendler’, con la ganadora de los premios de la Academia y de un Golden Globe, Anna Paquin. E1 Entertainment, también anunció su producción ‘The Bridge’, escogida por CTV para trasmitirla por CBS, y de cuyos derechos internacionales también será responsable.

EJECUTIVOS · EXECUTIVES

The Courageous Heart TV Film Drama (90’ HD)

movies. We have over 6000 hours of programming.

Most recently, it was announced that E1 will handle the international distribution rights for the CBS/ Hallmark Televisión event movie ‘The Courageous Heart of Irena Sendler’, starring Academy and Golden Globe winner Anna Paquin. E1 Entertainment has also announced its production ‘The Bridge’, which CTV picked up for broadcast by CBS and will handle international rights for the series.

You presently handle sales to France, Benelux, Italy and Latin America. How has your relationship been with Latin American markets? What are the distribution growth opportunities for the company in the region? Because of our diversified mix of programs, along with the fact that we are a one stop shop, Latin America has always been and continues to be a strong market for us.

You also do development work for Oasis’ sister company Blueprint Entertainment. What are the activities of this company? The Los Angeles-based company Blueprint Entertainment is now under the E1 Entertainment umbrella as well as its children’s division -formerly known as Blueprint Kids- which is now referred to as E1 Kids. E1 Entertainment’s growth strategy resulted in the acquisition of Blueprint Entertainment’s titles such as: ‘Kenny vs.

Spenny’ (Comedy Central y Showcase), ‘Testees’ (FX y Showcase), ‘Hung’ (HBO), ‘The Best Years’ (The N), ‘Til Death Do Us Part’ (TruTV), ‘Mail Order Bride’ (Hallmark Channel), ‘Absolution’ (Lifetime), ‘The Wrong Coast’ (AMC), ‘Hey Joel’ (Vh1), ‘Two Kings’ (UPN), ‘Greek’ (ABC Family), and ‘Good Girl Bad Girl’ (Oxygen Channel). crecimiento en distribución de tiene la compañía en la región? Gracias a nuestra gran diversidad de programas, y al hecho de que somos a one stop shop, América Latina siempre ha sido, y continúa siendo, un mercado muy fuerte para nuestro desarrollo.

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También es responsable del desarrollo de la compañía hermana, Blueprint Entertainment. ¿Cuáles son sus actividades? La compañía Blueprint Entertainment tiene base en Los Angeles, y está bajo el paraguas de E1 Entertainment, así como la división para chicos -antes Blueprint Kids-, llamada E1 Kids. La estrategia de crecimiento de E1 Entertainment es el resultado de la adquisición de títulos de Blueprint Entertainment tales como: ‘Kenny vs.

Spenny’ (Comedy Central y Showcase), ‘Testees’ (FX y Showcase), ‘Hung’ (HBO), ‘The Best Years’ (The N), ‘Til Death Do Us Part’ (TruTV), ‘Mail Order Bride’ (Hallmark Channel), ‘Absolution’ (Lifetime), ‘The Wrong Coast’ (AMC), ‘Hey Joel’ (Vh1), ‘Two Kings’ (UPN), ‘Greek’ (ABC Family), y ‘Good Girl Bad Girl’ (Oxygen Channel). ¿Qué expectativas tiene para un año tan particular como este? Esta crisis financiera y

económica está afectando a todos en todas partes.

Sin embargo, yo soy optimista en que el impacto no será tan severo como anticipamos. Quiero verle el lado positivo, y pensar que en todo caso, esta crisis será una oportunidad para aprender nuevas técnicas de comercialización, y de explorar nuevas posibilidades. ¿Qué contenidos presentarán en MIPTV? Estamos muy ansiosos por presentar este año nuestros productos en MIPTV. Como destacados present aremos ‘The Bridge’, una serie dramática originaria de CBS y CTV. Asimismo, ‘Majority Rules’, una serie de acción en vivo y animación. La película ‘The Courageous Heart of Irena Sendler’, con la interpretación de Anna Pacquin, Marcia Gay Harden y Goran Visnjic, y basada en la gran historia de Irena Sendler, una trabajadora social católica que brindó asistencia a los judíos durante la II Guerra Mundial, y sobre cómo rescató a más de 2.500 niños prisioneros del Gueto de Varsovia, y de los campos de concentración y exterminio. También tendremos la película ‘The Deadliest Sea’, interpretada por Greg Bryk (‘Saw V’), Peter Outerbridge (‘ReGenesis’), y Kristen HoldenRied (‘The Tudors’), entre otros títulos.

What are your expectations for this particular year? Of course this crisis is affecting everyone everywhere; however I am optimistic that the impact won’t be as severe as we anticipate. I would like to see the upside and that if anything, it is an opportunity to learn new sales techniques and explore new possibilities.

What contents will you be launching in MIPTV? We are very excited about our product line up for MIPTV this year. As our highlights we have CBS and CTV original drama series ‘The Bridge’.

Live action/animation series ‘Majority Rules’. A film starring Anna Pacquin, Marcia Gay Harden and Goran Visnjic titled ‘The Courageous Heart of Irena Sendler’, based on the remarkable true story of Irena Sendler, a Catholic social worker who provided aid to the Jews imprisoned in the Warsaw Ghetto during World War II, and how she rescued over 2,500 children from the Ghetto and concentration Camps.

As well we will have a film titled ‘The Deadliest Sea’, Starring: Greg Bryk (‘Saw V’), Peter Outerbridge (‘ReGenesis’) and Kristen Holden-Ried (‘The Tudors’), among other titles.

NATPE

2009

Febrero 26 - 29 · Mandalay Bay Resort, Las Vegas, EE UU Sensaciones ambivalentes al cierre: La crisis diezmó la asistencia esperada de Europa y Asia; los latinoamericanos, a contramano, hicieron trabajar a destajo a productores y distribuidores. Balances desiguales; satisfacción de los independientes latinos. Ambivalent sensations towards the end: The crisis decimated the expected attendance from Europe and Asia; Latin-Americans, on the other hand, made producers and distributors work hard. Unequal balances; satisfaction of Latin Independents.

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04 01. Joysette Rivera, Xavier Aristimuño y Karen Barroeta (Telemundo Internacional)

05. Tatiana Rodríguez (Nickelodeon Latin America)

02. Marc Cherry (escritor y productor de ‘Desperate Houswives’) y Anne Sweeney (Disney Media Network / Disney-ABC Television Group)

07. Leonardo Aranguibel (Disney Media Networks Latin America)

06. René Lee y Marcel Vinay Hill (TV Azteca)

03. Patricia Jasim (Frecuencia Latina International) 04. Pedro Leda, Gabriela López y Moira Mc Namara (Ledafilms)

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08. Angélica Guerra, Mariela Del Rosario Iregui y Lisette Osorio (Caracol TV International)

13. Michelle Wasserman, Alejandro Parra y Jesica Stescobich (Telefe International)

09. Helen Jurado y Gustavo Scheideroff (BBC Worldwide Americas)

14. T.C. Schultz (SPTI), José Antonio de Brigard (Teleset), Felipe Boshell (Teleset), Brendan Fitzgerald (SPTI) y Juan Pablo Gaviria (Teleset)

10. Sebastián Darcyl y Ricardo Costaniovsky (Telefilms) 11. Silvana D’Angelo (Flor Latina Entertainment Group) 12. Marcelo Tamburri (TruTV y TCM Classic Entertainment)

15. Marcel Granier (RCTV International) 16. Juan Pablo Gaviria (Teleset)

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EJECUTIVOS · EXECUTIVES

proyecta Telefe International

logros cosechados en 2008

Telefe International projects a harvest of achievement for 2008 La distribuidora argentina cerró un 2008 en el que logró el primer Emmy Internacional de la televisión hispana. Su programa ‘Televisión por la Identidad’ fue distinguido durante la entrega de premios en la ciudad de Nueva York. Por su parte, las producciones ‘Vidas Robas’ y ‘Los Exitosos Pells’ se convirtieron en verdaderos fenómenos en la televisión argentina. Este año, Telefe International busca consolidar estos triunfos y proyectarse globalmente como una compañía con contenidos innovadores, de altos valores técnicos y destacados talentos artísticos. The Argentinean broadcaster finished the year 2008 winning its first Emmy International of Hispanic television. Its program ‘Televisión por la identidad’ was distinguished during the award ceremony in New York. Also, the productions ‘Vidas Robadas’ y ‘Los Exitosos Pells’ became big hits on Argentinean television. This year, Telefe International wants to strengthen these hits projecting itself globally as a company with innovative content, with high technology value and outstanding artistic talent. POR Sebastián Amoroso

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Alejandro Parra

Director de Ventas Internacionales de Telefe International

n la siguiente nota, Alejandro Parra, director de Ventas Internacionales de Telefe International, comenta los resultados obtenidos hasta ahora y los proyectos para este año que recién comienza.

En NATPE, Telefe International y Canal 13 de Chile sellaron un acuerdo de distribución a través del cual Telefe tiene los derechos internacionales de los productos más destacados del canal chileno. ¿Cómo alcanzaron este acuerdo?

Las conversaciones se iniciaron para demostrar si encontrábamos un potencial interés en el catálogo de Canal 13 en la base de clientes que tiene Telefe

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Tiempo Final Serie

In the following press release, Alejandro Parra, Internacional Sales Head of Telefe International, comments on the obtained results and the projects for this year which has just begun.

At NATPE, Telefe International and Canal 13 from Chile sealed a distribution agreement through which Telefe obtained the international rights of the most outstanding products of the Chilean channel. Which content was included in the Telefe International catalogue? The conversations were initiated in order to show whether we could find a potential interest in Canal 13’s catalogue from the client base Telefe International has. We analyzed the attributes and they made sense. The idea is to work together and see how they develop in the international market. Our relation with Canal 13 is very good and we wanted to do business together. This is the first step towards that business. On Telefe International’s side, we are honored that Canal 13 trusts us with the distribution of their fiction products.

One of the main offerings of Telefe International catalogue is ‘Los Exitosos Pells’, a production which has become a great success in Argentina.

What are the characteristics that make this story so attractive? ‘Los Exitosos Pells’ is a very original fiction. An extremely entertaining comedy for all. I believe that it’s main distinction is in regard to the original concept and idea. It is a story which perfectly fits what the market is looking for. It is a story which

Los Exitosos Pells Romantic Comedy (150 x 60’)

Herencia de Amor Telenovela (120 x 60’)

International. Analizamos las propiedades y les encontramos mucho sentido. La idea es transitar unidos para ver cómo resultan en el mercado internacional. La relación con Canal 13 es muy buena y estábamos con ganas de hacer negocios juntos. Éste puede ser un primer paso hacia esos negocios. Por el lado de Telefe International, estamos muy honrados en que Canal 13 deposite su confianza para que distribuyamos sus productos de ficción.

¿La crisis financiera modificará la adquisición de latas y formatos durante este 2009? ¿Cuál es su opinión al respecto? La lógica parecería indicar que, en un mercado con retracción económica, quizá en muchos países se desiste de producir y el enfoque se pase más al mercado del enlatado. Por lo tanto, ahí se podría recuperar más la lata en ciertos territorios que eran más bien productores. Por otra parte,

EL AÑO 2008 FINALIZÓ CON UN EMMY INTERNACIONAL 2008 FINISHED WITH AN INTERNATIONAL EMMY Durante 2008 Telefe International superó en un 18% las expectativas que tenía el presupuesto de la distribuidora argentina. La compañía desarrolló excelentes productos como ‘Vidas Robadas’ y ‘Los Exitosos Pells’, que fueron bien recibidos por el mercado internacional. Paralelamente, otros contenidos colaboraron para posicionar a Telefe International en el concierto mundial. El año pasado, con ‘Televisión por la Identidad’, ganó el primer Emmy International de la TV hispana. In 2008 Telefe International excedede by 18% the expectations that the Argentinean broadcaster had projected. The company developed excellent products such as ‘Vidas Robadas’ and ‘Los Exitosos Pells’ which were welcome by the international market. Similarly, other content contributed to place Telefe Internacional on the worldwide stage. Last year with ‘Televisión por la Identidad’, it won the first International Emmy for Hispanic TV.

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Uno de los platos fuertes del catálogo de Telefe Intenernational son ‘Los Existosos Pells’, una producción que ha logrado gran éxito al aire en Argentina. ¿Qué características tiene esta historia que la hace tan atractiva? ‘Los Exitosos Pells’ es una ficción muy original. Una comedia extremadamente entretenida para todo público. Yo creo que ése es el principal distintivo con respecto al concepto e idea original. Es una historia que encaja perfectamente con lo que mercado está buscando. Es una historia que muestra cómo es la TV por dentro, con situaciones muy originales y personajes muy bien logrados, como es el caso de las fantásticas actuaciones de Mike Amigorena y Carla Peterson. Para el caso donde se comercialice el formato, es una historia muy original con muchos giros que dejan siempre al espectador al vilo de lo que está sucediendo.

EJECUTIVOS · EXECUTIVES

shows the behind the scene reality of the TV industry, with unique situations, excellent performances, such as the great acting of Mike Amigorena and Carla Peterson. In cases where the format is being sold, it is a very original story with many turns, always leaving the audience on tenderhooks.

Casi Ángeles

Teen Telenovela (166 x 60’)

creo que los mercados que siguen produciendo se concentrarán en productos más seguros con mayor factibilidad de éxito y, por consecuencia, con menor riesgo. Asimismo, creo que el concepto de que hay personas que están buscando producciones baratas es un tanto difícil de sostener.

Creo que hay que concentrarse en los buenos productos y -quizá- se podría regular los valores de producción para de alguna manera manejar el costo de producción. No creo que la tendencia sea buscar formatos más baratos de producir, porque es una apuesta que no tiene mucho futuro. Es más fácil regular los valores de producción que buscar un formato que sea más barato de producir. ¿Qué expectativas tiene para este año? La ventaja que tenemos en el mercado es que contamos con una estructura consolidada que nos permite ofrecer latas y formatos de forma integral al cliente.

Creo que nos podemos adaptar muy bien a las situaciones que atraviesa el mercado internacional. Por ejemplo, acompañamos el crecimiento de un mercado como el de Rusia, un país que era netamente comprador de latas, y que al tiempo pasó a adquirir formatos. Y allí estuvimos en ambos períodos. Logramos evolucionar junto a ciertos mercados y este año seguiremos marcando ese rumbo.

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En Telefe International tenemos ready mades -latas y formatos- muy novedosos para el mercado.

Por eso que creo que -si bien va a ser un año complicado- estamos bien posicionados para afrontarlo.

El foco de la compañía también seguirán siendo los servicios de producción. Esto significa que reafirmamos nuestra vocación de exportadores de contenidos y también la de ofrecer servicios diferenciales a nuestros clientes internacionales.

Will the financial crisis modify the acquisition of ready made programs during 2009? What is your opinion about that? Logic would indicate that in a market with financial problems many countries might quit producing and be more focused on readymade programs. In this way, ready- made programs should grow in certain territories. However, I think that the markets which continue producing will focus on safer products with more success, feasibility and as a consequence less risk. Likewise, I think the concept of people looking for cheap productions is hard to sustain. I believe we have to concentrate on good product, production values can be adjusted at times in some ways to adjust the costs of production.

I don’t believe that the tendency of looking for formats which are cheaper will strengthen because there is not much future there. It’s easier to adjust production values than to look for a format which is cheaper to produce.

What are your expectations for this year? The advantage we have in the market is that we have a consolidated structure which allows us to offer ready- made programs and formats to the client in an integral way. We can adapt very well to the situations the international market is presenting us.

For instance, we are fostering the growth of a market such as Russia, a country which was only a ready –made programs’ buyer and which with time, started acquiring formats. We were there during both periods.

We have been evolving together with certain markets and this year we will continue in this way. In Telefe International we have new ready- mades and formats for the market. That is why I think that – even though it will be a hard year- we are in a good position to face it. The aim of the company will continue being production services. This means we will reassert our vocation as content exporters and offer distinguished services to our international clients.

INFORME ESPECIAL

Alfonso Mardones, Director de Operaciones del Grupo Arbol

Mercedes Gamero, Directora de Adquisiciones y Ventas de Antena3

Adaptaciones de ficción en España:

modelo para armar Fiction Adaptations in Spain: A Model to Follow

Cuando hace algún tiempo atrás hablábamos de las adaptaciones de formatos de ficción en España, la reacción no podía invitar menos que a la prudencia. Análisis riguroso del formato, del mercado, de los potenciales socios, de las capacidades de producción, de los riesgos y de la historia: éstos eran algunos de los elementos claves a la hora de negociar. Hoy no han cambiado. Sin embargo, una clara afirmación de este procedimiento de la adaptación como esquema de producción, así como un aumento de las capacidades técnicas y creativas, tienden a consolidar una convergencia cada vez más evidente de socios y saberes en un mismo mercado. A while ago when people spoke about the adaptations of fiction formats in Spain, the emotion evoked was prudence. A rigorous analysis of the format, the market, the potencial partners, the production capability, the risks, and of course, the story were some of the key elements when negotiating deals. Today, this hasn’t changed. A clear affirmation of this procedure of adaptation as a production scheme, as well as an increase in the technical and creative capabilities, consolidates a convergence increasingly more evident of partners with the knowledge in the same market. Por Rodrigo Ros

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la creciente saturación de propuestas, se opone una rigurosa selección de nuevos proyectos. Éste es el caso de la cadena española Antena3, que acaba de firmar, entre otros, un acuerdo de adaptación de la telenovela argentina ‘Bella y Bestia’. En este caso, y a modo de receta, podríamos decir que a una conocida telenovela, producida para Argentina entre Telefe y Cris Morena, se la asocia, por un lado, al talento de producción del argentino Sebastián Ortega, por otro, a la experiencia de una productora como la española Globomedia, y, finalmente, a la magnitud de un líder del sector como Televisa de México, para lograr así un excelente acuerdo de adaptación de ese original argentino en una cadena española: Antena3.

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En este sentido vemos que, cada vez más, comprender los acuerdos de adaptación local requerirá también de la comprensión de nuevos «modos de empleo», cada vez más complejos e importantes en número de indicaciones, prescripciones, normativas y participación de actores y de expertos. En cuanto al resultado, podemos encontrarnos como en este caso con una tira diaria que no sólo será adaptada para transformarse en una serie semanal, sino que incorporará varias notas innovadoras que, dentro de esta nueva adaptación local en territorio

Against the growing saturation of offers there’s a rigorous selection of new projects. This is the case of the Spanish network Antena3, which just signed, among others, an adaptation agreement for the Argentinean telenovela ‘Bella y Bestia’. In this case, and as a recipe, we could say that a popular telenovela produced for Argentina by Telefe and Cris Morena y associated, with the production talent of Argentinean Sebastián Ortega, and the experience of a producer like Spanish Globomedia, and finally, by the of a leader of the sector of such magnitude as Televisa from Mexico, in this way should accomplish an excellent adaptation agreement of the Argentinean original in a Spanish network: Antena3.

In order to understand those local adaptation agreements we require an understanding of the new modus operandi, each time more complex and important in the number of indicators, prescriptions, guidelines and participation of actors and experts. In regards to the outcome, we can find, like in this case, a daily strip that will not only be adapted to be transformed into a weekly series, but it will also include several innovative notes that, within this new local adaptation in Spanish territory, will be able to turn it into an original series within the musical sitcom genre.

Es perceptible que a grandes rasgos la tendencia es hacia la reunión de grupos y capacidades para la producción de contenidos. ¿Cómo se inscribe dentro de esta tendencia la alianza con Televisa, y qué se busca lograr con ella dentro del mercado español? A.M.: Para Televisa somos el socio natural en España, pues ya somos socios en La Sexta en un proyecto que está creciendo mucho y con cuyo desarrollo estamos muy contentos. En cuanto a la producción, el interés de Televisa es producir localmente sus contenidos, y eso también nos abre una puerta en la que no estamos muy especializados. Normalmente, nosotros hacemos series de televisión en primetime, originales, que luego se venden muy bien en Europa, como ha sucedido en los últimos años. Lo que puede aportarnos Televisa es una serie de formatos, de ideas, de propiedades que ellos tienen y que ahora mismo se están adaptando muy bien en el mercado español y constituyen para nosotros también una vía de crecimiento en la producción. ¿Cuál es el aporte que buscan por parte de Televisa? A.M.: Yo creo que las historias son lo más importante en este sentido. A nivel general, creo que hay que pensar globalmente y actuar localmente, es decir, que no olvidemos que nuestro cliente es en este caso Antena3, y que la serie que se produzca será una serie para el mercado español, por lo que deberá tener una gran adaptación, porque obviamente los terrenos culturales no coinciden. Entonces, lo que buscamos son buenas ideas y buenos conceptos que puedan adaptarse bien a los gustos de los espectadores.

M.G.: Lo que más priorizamos al momento de buscar un partner es evidentemente su experiencia en este tipo de programación diaria dentro del género, pero al final es sin duda la combinación de la experiencia de varios partners la que enriquece al producto. Nosotros vamos a supervisar y crear la serie como hacemos con cualquier serie nuestra. Sólo que evidentemente tenemos que tomar los textos que ya existen, reescribirlos y adaptarlos al gusto local y a las necesidades del público español. ¿Cómo ven esta tendencia a la adaptación de formatos en general? M.G.: Nosotros estamos siendo muy activos en cuanto a la adaptación de formatos de ficción, porque efectivamente este género es uno de los pilares de nuestra programación. Creo que debemos seguir probando por esta vía, ya que además tenemos la posibilidad de combinar la fuerza de producción de ciertas productoras con la originalidad de algunos formatos internacionales. Por otra parte, creo que frente a la fragmentación del mercado que estamos viviendo, hoy en día es importante poder encontrar este tipo de productos lo suficientemente amplios como para poder alcanzar a un mayor número de espectadores y que, a su vez, éstos puedan encontrarse frente al televisor todos juntos en un mismo momento.

A.M.: En el caso de España, creo que lo que ha pasado hasta ahora es que ha sobresalido en lo que respecta a la producción de formatos originales de las productoras. Pero ahora estamos frente a una situación de crecimiento enorme, en la que nos encontramos con cerca de cuarenta proyectos entre series diarias y de primetime para esta temporada en el país: veinte que vienen de temporadas anteriores y veinte nuevos.

Esto muestra la gran cantidad de producción que hay actualmente. Por otra parte, es cierto que la industria ha crecido, que hay muchos más escritores, pero también está sucediendo que muchos conceptos que pueden ser interesantes desde el punto de vista del marketing se están adaptando en España. Se han adaptado ‘Betty la Fea’, ‘LaLola’, ‘Sin Tetas No Hay Paraíso’, y se adaptará la serie inglesa ‘Life on Mars’.

It’s perceptible that the trend is going towards gathering groups and capabilities for content production. How is this trend illustrated by this alliance with Televisa, and what are your goals within the Spanish market? A.M.: For Televisa we are the natural partner in Spain, because we are already partners with La Sexta in a project that’s growing a lot, and we are very pleased with its development . Regarding production, Televisa’s interest is to produce content locally, and that also opens a door for us in an area which we’re not very specialized in yet. We normally make original primetime television series, which are sold quite successfully in Europe, that’s been happening in the last few years, and what Televisa can provide for us is a series of formats, ideas, properties they have and that right now are being adapted in the Spanish market very well, and to us, that’s a way to make our production grow.

What’s the contribution you are seeking from Televisa? A.M.: I believe the stories are the most important thing, but at a general level, I think we need to think globally and act locally, I mean, we can’t forget that our client is in this case Antena3, and the series produced will be aimed at the Spanish market, so it’s going to have to be very adaptable because obviously the cultural grounds don’t match, and then what we need are good ideas and good concepts that can be adapted to our audience.

M.G.: Out top priority when considering a partner is evidently his/her experience in this type of daily programming within the genre, but at the end is, undoubtedly, the combination of the experience of several partners which enriches the product. We are going to supervise and create the series the way we do with any one of our series. Just that we’ll obviously use the scripts that are already written, re-write them and adapt them to the local taste and needs of the Spanish audience.

M.G.: The musical adaptation is one of the harder things. We are considering how to do it and this is another reason why we decided to do it weekly, because it’s very difficult to sustain a series like this one with such a strong musical component.

How do you see this trend towards adaptation of formats in general? M.G.: We are truly active in terms of adaptation of fiction formats, because this genre is effectively one of the bases of our programming, and I believe we need to keep trying this way, because we also have the possibility of combining the production force of certain producers with the originality of some international formats. I also think that in the face of the fragmentation we are currently living with today, it’s very important to see ample products of this kind, being able to reach the greatest number of viewers who can be in front of the television set all together at a certain time.

A.M.: In the case of Spain, I think what happened so far is that Spain has gained ground in regards to the production of original formats from producers. But now we are in front of a huge growing proccess, in which we find, for example, that there are nearly 40 projects, such as daily series, primetime series for this new season in Spain. Twenty that come from previous seasons and twenty new ones. This shows the enormous amount of production we currently have going on. It’s true that the industry’s grown, that there are much more scriptwriters, but it’s also true that many are adapting concepts that could be interesting from a marketing point of view. We’ve already adapted ‘Betty La Fea’, ‘LaLola’, ‘Sin Tetas No Hay Paraíso’, and we’re going to adapt the British series ‘Life on Mars’.

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español, podrán convertirla en una original serie dentro del género del sitcom musical.

EJECUTIVOS · EXECUTIVES

gigante británico Un

A British Giant ITV Global Entertainment Ltd. es una de las distribuidoras de TV más grandes de Europa. La compañía distribuye programas creados por equipos de ITV Productions, y de productoras independientes a más de 3.000 broadcasters y partners de Home Entertainment de más de 200 países. Su alcance es global, ya que cuenta con un equipo global de ventas y oficinas en Londres, Los Angeles, Sydney, Hong Kong y Río de Janeiro. ITV Global Entertainment Ltd. is one of the largest and most successful commercial television distributors in Europe. Made by the talented teams at ITV Productions and leading independent producers, we distribute programs to over 3,000 broadcasters and Home Entertainment partners in more than 200 countries worldwide. They have global reach, with an experienced sales team covering every territory of the world and offices in London, Los Angeles, Sydney, Hong Kong and Rio de Janeiro. POR Sebastián Amoroso

Tobi de Graaff,

Director de Distribución Global de TV, ITV Global Entertainment

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l portafolio cubre todos los géneros, desde películas para TV de Hollywood, y la mayor librería de filmes británicos, hasta lo mejor en drama, entretenimiento, infantiles, factual, aventura y formatos. ITV Global Entertainment es parte de ITV, que comprende el broadcaster ITV1 de Reino Unido, y la mayor compañía británica de producción de TV. La trayectoria de la británica ITV a lo largo de estos 50 años es impactante. Como división de distribución de ITV Worldwide, ¿cuál ha sido el posicionamiento de la compañía en esta primera década del siglo XXI? ¿Qué hechos destacaría como los más trascendentes? Somos una proveedora de formatos y contenidos de alta calidad líder en el mundo, que abarca dramas muy populares y aclamados, entretenimiento factual, documentales, estilos de vida, comedia, largometrajes, y películas para chicos. La llegada de la TV digital y de propuestas multiplataforma ha sido muy importante para nosotros. La TV digital ha significado una explosión de canales especializados, y eso permite que nuestro contenido sea adquirido y comisionado en importantes volúmenes. Así, las televisoras pueden ofrecer contenidos como paquetes diferentes, dramas de larga duración, como ‘Morse’, y entretenimiento factual como ‘Hell’s Kitchen’ o ‘60 Minute Makeover’.

El negocio multiplataforma también es fascinante, y nuestro contenido es considerado irresistible tanto en la TV como en dispositivos móviles, DVD, Blu-ray, descargas de internet y VOD.

Their catalog covers every possible genre, from Hollywood TV Movies and the largest British feature film library in the world, to the very best in drama, entertainment, kids, factual, wildlife and formatted programing. ITV Global Entertainment is part of major media company ITV, which includes the UK’s leading commercial broadcaster ITV1 and the largest commercial TV production company in Britain.

ITV’s success over the past 50 years has been really impressive. As a division for ITV Global Entertainment, how is the company positioning itself in this first decade of the new century? What would you highlight as the most significant events of the last 10 years?

We are one of the world’s leading providers of high quality formats and content, spanning hugely popular and critically acclaimed drama, factual entertainment, documentary, lifestyle, comedy, children’s and feature length films. The arrival of digital television and multi-platform propositions has been very significant for us.

Digital TV has meant an explosion of specialized channels worldwide, meaning that our content is being acquired and commissioned in large volumes. Allowing broadcasters to schedule content as stripped and stranded programming, such as long running catalog drama, such as Morse, and factual entertainment hits like ‘Hell’s Kitchen’ o ‘60 Minute Makeover’. Multi-platform is equally

Este 2009 es uno de los años más desafiantes para el sector de la TV y el entretenimiento a nivel mundial. En esta coyuntura, ¿cuáles son los desafíos para los creadores, productores y distribuidores de programación? La mayor parte de las compañías comerciales está desconfiada de tomar riesgos durante este tiempo de cambios económicos.

Somos privilegiados al tener un portafolio de éxitos globales como ‘Agatha Christie Marple and Poirot’, ‘Hell’s Kitchen’ y ‘Come Dine with Me’. Éstos ya han sido desarrollados para el mercado, son producciones atractivas para todo el mundo, así como de relevancia para las audiencias locales.

En tal sentido, ¿cuántas horas produjo y cuántas adquirió la compañía en 2008 y cuáles son las proyecciones para 2009? Como partner en la distribución de compañías productoras independientes, como Chorion (‘Marple’) y Mammoth Screen (‘Lost in Austen’), representamos el 50% de la programación adquirida y el 50% del contenido de los estudios de ITV. Como un gran broadcaster, comprendemos las necesidades de nuestros compradores, lo cual nos permite recomendar y distribuir los programas que mejor van con nuestros clientes.

También tenemos una muy buena comprensión en cuanto al recorte de presupuestos, lo que nos permite trabajar de forma eficiente con nuestros clientes, y así poder incluir coproducciones y acuerdos de producción. ¿Cómo está conformado el catálogo de contenidos de ITV Global Entertainment? ¿Con qué géneros trabajan y cuáles son los que tienen mayor demanda en la actualidad? Somos un distribuidor general de todos los géneros. Representamos una gran variedad de contenidos, que incluyen el nuevo drama de AMC e ITV Studios ‘The Prisoner’, la nueva serie de entretenimiento factual ‘Marco Pierre White’s Chopping Block’, que se estrenará en NBC este verano, el game-show de ITV ‘The Colour of Money’, junto con títulos factuales, como ‘In the Womb’.

En un futuro no tan lejano, ¿qué medio cree que será el que predomine en cuanto al consumo de contenido audiovisual? El contenido siempre será el rey. Ése es el punto de partida más importante. Actualmente, la TV es el medio más común de distribuir los contenidos a la mayor parte de las audiencias. No obstante, proveedores especializados

as exciting and our content is being watched as part of ‘must see viewing’ through TV along with on-the-go, as part of peoples lives on DVD, Bluray, mobile, download and through VOD. 2009 looks to be one of the most challenging years in the industry for television and entertainment worldwide. What will be the challenges for creators, producers and distributors of audiovisual programming? Most commercial companies are particularly worried about taking risks during a time of economic change. We’re privileged to have a wide portfolio of proven global hits, such as ‘Agatha Christie Marple and Poirot’, ‘Hell’s Kitchen’ and ‘Come Dine with Me’. These have all already been developed

The Prisioner Drama (6 x 60’)

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¿Cómo desarrollaron el negocio del Home Enterteinment? El negocio de Distribución Internacional de TV trabajó en conjunto con la división de Home Entertainment de ITV Global, dirigida por Steve Gallant, que incluye la división DVD de ITV en el Reino Unido. Esto permitió a los compradores licenciar y estrenar nuestros programas en sus outlets de TV, y luego en DVD, Blu-ray, y productos VOD, para de esta forma ofrecer a los televidentes una relación mucho más profunda y duradera con nuestros programas.

EJECUTIVOS · EXECUTIVES

for the market place, have universal appeal and are highly relevant to local audiences.

How many hours of programming did the company produce and acquire in 2008 and what are your projections for this year? As a distribution partner to leading independent productions companies around the world, such as Chorion (‘Marple’) and Mammoth Screen (‘Lost in Austen’), we represent 50% acquired programming and 50% ITV Studios content. As a major broadcaster we understand the requirements of our buyers, which enable us to recommend and distribute the best suited shows to our clients. We also have a very good understanding of budget briefs, enabling us to work very efficiently with our clients, which can include co-productions and out-put deals.

How would you describe the catalog of content of ITV Global Entertainment? What genres do you focus on and which ones are currently most in demand? We are a full-service, all-genre general distributor. Representing a wide range of world-class content, including the new AMC and ITV Studios drama ‘The Prisoner’, the new factual entertainment series ‘Marco Pierre White’s Chopping Block’, which is set to premier on NBC this summer, smash hit ITV game-show ‘The Colour of Money’, alongside high-end factual titles such as ‘In the Womb’ The Colour of Money

como las descargas a través de dispositivos de Apple, WebTV y VOD en teléfonos celulares, permiten, tanto a nosotros como a nuestros clientes, llegar a nuestros fanáticos mientras éstos están en la calle, y así crear una lealtad aún más fuerte.

Format

¿Qué expectativas de crecimiento tiene para los próximos dos años? Nuestra meta es seguir creciendo y fortaleciendo nuestra marca y reputación como una de las distribuidoras de TV más conocidas del mundo. Como parte de nuestra estrategia, nuestra misión está enfocada en ser número uno en distribución de formatos en el mundo entero, reconocidos por representar lo mejor de la TV y el cine de producción independiente.

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The Edge of the World

Billy Connolly Journey

How is the Home Entertainment business being developed? Our International TV distribution business works collaboratively with ITV Global’s Home Entertainment division led by Steve Gallant, which includes ITV DVD in the UK, enabling buyers to license and premiere our great shows on their TV outlets, followed on by DVD, Blu-ray and VOD product; giving viewers a much deeper and longer lasting relationship with of our shows.

In the near future, which platforms do you think will prevail in terms of consumption of audiovisual content? Content will always be king – that is the most important starting point. Currently, television is the most common way for delivering your content for the widest reaching audience.

However, specialist outlets such as download on Apple mobile devices, streaming on PC laptops and VOD on mobile are all enabling us and our clients to reach our core TV audiences while on the go, deepening those relationships and building viewer loyalty even further.

What are your growth expectations over the next couple of years? Our goal is to continue growing our footprint and reputation as one of the world’s most popular TV distribution businesses.

As part of this strategy our mission is to be the number 1 format distributor in all regions of the world – recognized for representing the very best of independently produced television and film.

EJECUTIVOS · EXECUTIVES

Expandiendo oferta de programación global Expanding the offer for global programming En 2008, la compañía Bender Media Services se ha posicionando como una marca viable entre las compañías independientes. Su extensa trayectoria, sumado a un enriquecido portafolio de programación, ha proporcionado a sus clientes una muy buena programación en una gran variedad de géneros. In 2008 Bender Media Services was positioned as a viable entity among Independent Companies.

Their long time relationship with their client base, in addition to their catalog of programs, has afforded their customers a wide variety of different genres in the programs they represent. POR Sebastián Amoroso

B

ender Media Services expandió su base de productos al mundo entero, debido a que varios productores independientes le solicitaron que profundizaran en la internalización de su contenido. “Mi carrera en esta industria comenzó en 1974, cuando trabajé para Metromedia Producers Corporation, con la venta internacional de ‘Dynasty’, ‘Charlie’s Angels’, y ‘Starsky & Hutch’. Mantuve estas relaciones durante años, entonces cuando apenas se me pedía que considerara llevar los productos al ámbito internacional, decidí retornar a aquellos días de mi carrera”, confiesa Susan Bender, presidente & CEO de Distribución Global de Televisión de Bender Media Services.

Susan Bender,

Presidente & CEO de Worldwide Television Distribution de Bender Media Services

Así las cosas, además de estar especializada desde 2006 en la distribución de contenidos en América Latina, la compañía proyecta expandir sus servicios de distribución e incluir a los grandes mercados mundiales. “Buscamos satisfacer las necesidades particulares de programación de nicho de los

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Beach Heart Serie

Bender Media Services expanded its product base to include Worldwide, as it was approached by several Independent Producers to handle their products on an international basis. “My career in this industry began in 1974, working for Metromedia Producers Corporation, handling the International Sales of ‘Dynasty’, ‘Charlie’s Angels’, y ‘Starsky & Hutch’. I maintained these relationships over the years, so when I was recently asked to consider handling product on a Worldwide basis, I decided to return to the original days of my career’ says Susan Bender, president & CEO, Worldwide Television Distribution of Bender Media Services.

So, apart from focusing since 2006 on the distribution of content in Latin America the company has projects to expand its distribution services to the other major markets in the world. “We are looking to fill particular needs of the channels for niche programming. Obviously, in the Latin American Market we will continue our efforts to place our wide library of programs that cross all genres. Regarding ‘The Travel Guy’, we will be concentrating our efforts, at the moment, in The Middle East, The Far East, Australia, New Zealand, and Latin America. On ‘Aire Yoga’, we are looking for possibilities worldwide.

With ‘Kid Guides’, we are concentrating on looking for co-production opportunities, as well as Format Sales, around the World” she says.

Latin America Bender Media Services represents companies such as: Guinness World Records, Global Telemedia Inc., Liberation Entertainment, Bennett Media Worldwide, AFL Productions, Pristine Entertainment, and Quartet International. Internationally they represent V-Me, TGTV Inc., and Argo Productions, Inc. These three companies are the ones that represent ‘Aire Yoga’, ‘The Travel Guy’, and ‘Kid Guides’.

canales. Obviamente, en el mercado latinoamericano vamos a seguir con nuestros esfuerzos por ubicar una amplia variedad de programas de todos los géneros. En relación con ‘The Travel Guy’, vamos a concentrarnos, por el momento, en Medio Oriente, Lejano Oriente, Australia, Nueva Zelanda y América Latina. En el caso de ‘Aire Yoga’, estamos buscando oportunidades en el mundo entero. Por su parte, para ‘Kid Guides’, vamos a buscar oportunidades de coproducción y de ventas del formato también en el mundo entero”, subraya.

Para el mercado de América Latina, Bender Media Services representa a compañías como: Guinness World Records, Global Telemedia Inc., Liberation Entertainment, Bennett Media Worldwide, AFL Productions, Pristine Entertainment, y Quartet International.

Para el resto del mundo, representa a V-Me, TGTV Inc. y Argo Productions, Inc., las cuales representan a ‘Aire Yoga’, ‘The Travel Guy’, y ‘Kid Guides’.

En 2009, Bender Media Services continuará siendo selectiva a la hora de buscar y de representar productos. “Seguiremos con nuestras operaciones de ventas en otros territorios del mundo. Asimismo, estamos trabajando sobre la venta mundial de formatos y sobre una posible venta y coproducción de productos de Star Media, la productora número uno de telenovelas en los mercados de Rusia y Ucrania”, concluye Bender.

The MEN7Show TV Series

Wolverine and X Men

En MIPTV, la compañía presentará muchas ofertas de programación para América Latina, entre las que destacan: ‘The 7th Annual Visual Effects Society Awards’, ‘The Young Legends Series’, que incluye ‘Young Alexander’, ‘Young Cleopatra’ y ‘Young Dracula’; también ‘Animal Allies’, ‘Animal X’, ‘Fat Cat’, ‘The Kangaroo Creek Gang’; y los documentales ‘Secret Treasure of the Kremlin’ y ‘Lost Princess’. Asimismo, nuevos episodios de ‘Bikini Destinations’, y de ‘The DNA of Sports’, entre otros. In MIPTV, the company will have many new exciting program offerings for Latin America, which include: ‘The 7th Annual Visual Effects Society Awards’, ‘The Young Legends Series’, including ‘Young Alexander’, ‘Young Cleopatra’, and ‘Young Dracula’; also ‘Animal Allies’, ‘Animal X’, ‘Fat Cat’, ‘The Kangaroo Creek Gang’; and docs ‘Secret Treasure of the Kremlin’ and ‘Lost Princess’. As well, they will have new episodes of ‘Bikini Destinations’, and ‘The DNA of Sports’, among other new programs.

Animated Series

In 2009, Bender Media Services will continue to be selective while looking for, and representing product, that is unique. “We intend to continue our sales efforts into other Territories around the World. We are also looking at doing Format Sales Worldwide, and pursuing possible co-production and joint venture sales of product from STAR Media. We represent this Company, which is the top producer of Telenovelas in the Russian and Ukrainian Television Markets”.

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OBJETIVO: MIPTV OBJECTIVE: MIPTV

EJECUTIVOS · EXECUTIVES

Globo

diversifica su portafolio de productos

Globo diversifies its product portfolio Globo TV International ha modificado su portafolio de programación.

Además de incluir las clásicas y deslumbrantes telenovelas que el mercado internacional está acostumbrado a ver, este año la distribuidora brasileña apuesta a reposicionarse con contenidos multiprogramación. Globo TV International has modified its programming portfolio. Besides including the classic and astonishing telenovelas that the international market is used to witnessing, this year, the Brazilian distributor hopes to reposition itself with multiprogramming content. POR Sebastián Amoroso

Raphael Corrêa Netto,

Director de Ventas Internacionales de Globo TV International

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“Hace unos años, pensamos en el posicionamiento que queríamos tener en el mercado internacional.

Sabíamos que el mercado es dinámico, por lo tanto buscamos reposicionarnos”, señala Rapahel Corrêa Netto, Director de Ventas Internacionales de Globo TV International. En tal sentido, la distribuidora comenzó un trabajo muy fuerte, con el objetivo de transformarse en una distribuidora de multiprogramación.

“Aunque seamos reconocidos con destacados premios por nuestras telenovelas, Globo también tiene la capacidad creativa para el desarrollo de otros géneros, como la ficción o la no ficción”.

“Some years ago we thought about the positioning we wanted to have in the international market. We knew that the market was dynamic, so we tried to reposition ourselves” says Raphael Corrêa Netto, Head of International Sales of Globo International. The distributor started working hard with the aim of transforming itself into a multiprogramming distributor. “Although we are recognised for our telenovelas with important awards, Globo also has the creative capacity to develop other genres such as fiction and nonfiction”.

Así, la compañía comenzó a trabajar en tres frentes complementarios. Por un lado, el desarrollo de productos, buscando en el banco de producción de Globo en Brasil contenidos a los que pudieran adaptar para el mercado internacional. Paralelamente, comunicar ese esfuerzo de manera clara y seductora, con el objetivo de generar el interés de nuevos compradores, y por último, pero no menos trascendente, diseñando un equipo de ventas solvente y equilibrado.

This is the way things are, the company started working with three complementary fronts. First, the development of products, trying to find in the production library of Globo in Brasil content which could be adapted to the international market. Then, to communicate that effort in a clear and attractive way, with the aim of making the buyers interested and last but not least, to design a well balanced trustworthy sales team.

“Para 2009 seguiremos muy fuertes en el área de la distribución. No tenemos ninguna clase de dudas de que el catálogo tiene que ser aún más diversificado, con más productos, sobre todo para cumplir dos claros objetivos: en aquellos clientes o mercados donde ya estamos presentes, ser los proveedores con una oferta más complementaria para las estrategias de programación, y para los nuevos mercados -donde a lo mejor no adquieren telenovelas-, tener productos que nos permitan abrir estos mercados con series de ficción, comedias, documentales o con la incorporación de formatos”, explica Corrêa Netto.

“In 2009 we will continue being strong in the distribution area. We have no doubt about the fact that the catalogue should be even more diversified, with more products so as to achieve two clear targets: For those clients or markets where we already are, being the providers with a more complementary offer for the programming strategies.

And for the new markets- where maybe telenovelas are acquired- having new products which allow us to open these markets with fiction series, comedies, documentaries or with the incorporation of formats”, explains Corrêa Netto.

La distribuidora ha alcanzado mucho éxito -además del histórico en América Latina, donde Globo es una marca de referencia- en países donde no estaba presente, como España y Francia donde ha vendido sus productos para los nuevos canales digitales.

Asimismo, en el norte de Europa, abrieron el mercado de los países escandinavos con sus telenovelas, series de ficción y ahora con sus documentales.

Por su parte, en África -donde ya estaban presentes en los países de lengua portuguesa, inglesa y francesa-, a fines de 2008 alcanzaron dos oportunidades de distribución de contenidos en lengua inglesa. En tanto, en Asia, sus producciones ya están emitiéndose en más de diez países, desde el norte asiático hacia al sudeste pacífico. “Estamos presentes en Japón, Corea, Taiwán, China, India, Macao, Australia, Malasia y Singapur”, enumera Corrêa Netto.

“La oferta de mayores productos refuerza la marca Globo como referencia de una gran productora de contenidos de calidad, y como una gran creadora e innovadora con respecto a nuevos contenidos”, concluye.

Globo TV International wants to be present in every market of the world. As illustration, the executive highlights that in 2007 “ we licensed content for 60 countries. In 2008 we licensed content for 138 countries. There is effort in the product, effort in communication and sales, which allow us to reach more markets with a larger volume of commercialized hours an opening of new sales”.

Camino a la India Telenovela

The distributor has become successful- besides being Globo a reference point in Latin America- , in countries where it was not present, such as Spain and France it sell its products to the new digital channels. Likewise, in Northern Europe, the Scandinavian market was opened with the telenovelas, fiction series and now also with documentaries.

In Africa, where they were already present in the Portuguese, French and English speaking countries, they had two opportunities to distribute contents in English, in the late 2008. As in Asia, its productions are already on air in more than ten countries, from Northern Asia to Southeast Pacific.

“We are present in Japan, Korea, Taiwan, China, India, Macao, Australia, Malasia and Singapore”, comments Corrêa Netto.

“The offer of more products strengthens Globo as a reference as a great distributor of quality content and as a major creator and innovator for new content” he concludes.

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Globo TV International busca estar presente en todos los mercados mundiales. Como ilustración, el ejecutivo destaca: “En 2007 licenciamos contenidos para 60 países. En 2008, licenciamos contenidos a 138 países. Hay un esfuerzo de producto, de comunicación y de ventas, que nos permite llegar a más mercados con un mayor volumen de horas comercializadas y apertura de nuevas ventanas”.

Amor Ciego

2waytraffic

Chaotic: Marrillan Invasion

B.F.F. – Best Friends Forever

Booth. R32.241

4Kids Entertainment

AB International Distribution

EXECUTIVES ATTENDING

Booth. R32.241

Booth. 22.01 Tel. 33-1 0492998312

Kees Abrahams, CEO Mike Morley, CCO Ed Louwerse, MD 2waytraffic international

You’re Hired ‘You’re Hired’ is a feel-good programme that puts people back to work and a chance for a better life.

Amor Ciego A beautiful young woman, capable of enchanting any men, and 20 candidates, real men, all far from being the conventional handsome guys and who represent the different male profiles of the country.

Ba Ba Boom 10 models, 20 hands. 17 hands are empty, 3 hands contain coins.

Stay away from the coin and win Euro 100,000.

EXECUTIVES ATTENDING

Brian Lacey, Executive VP, International Jennifer Askin, Manager, Inter. Broadcast and Digital Sales Gia DeLaney, Vice President, International Program Sales Erin Silber, Consultant, International Program Sales, Asia Pacific, Midd le East, Israel Sandra Vauthier-Cellier, Co-Managing Director, International Sales Laura Smith, Marketing Assistant

EXECUTIVES ATTENDING

Chaotic: Marrillan Invasion

Pahé is the story of two precocious nine-year-old boys, one of which is very outspoken, for whom the world is an enormous adventure to be discovered right now! Sebastian is European while Pahé is African. These two cultures meet and are each enriched through an honest and mutual friendship.

(26 New Episodes) (26 x 30’)

Now Chaotic’s got a fierce new look: it’s all-out anime action for every blistering Battle, every Creature clash and every slammin’ Scan Quest. As Tom and Kaz delve deeper into Chaotic, they quickly confront freaky new Creatures, uncover strange new Locations and scan awesome new BattleGear and Mugic.

But their games take a shocking, world-rocking turn when a mysterious new tribe is accidentally unleashed. Will the force of their mega-mental powers let them conquer the Tribes and rule Perim?

Valerie Vleeschhouwer, Managing Director Julien Leroux, International Sales Manager Nathalie Hadjadj, Marketing Manager

B.F.F. – Best Friends Forever (Animation – 74 x 7’)

Adrenaline Rush Hour

Alfred Haber Distribution

Steven Seagal Lawman

AETN International Booth. 22.01 Tel.: 04 92 99 85 65

EXECUTIVES ATTENDING

Michael Katz, Vice President Programming & Production Dirk Hoogstra, Vice President, Development & Programming, History Elaine Frontain Bryant, Vice President, Non-Fiction and Alternative Programming A&E Network Jonathan South, Director of International Content Sales, EMEA Ling-Sze Gan, Content Sales, Asia Joss Duffield, Program Sales Executive, EMEA Fabienne Fourquet, Director of International Digital Media Rod Caird, Acquisitions Executive

Steven Seagal Lawman

(Real-Life - Shot in HD - 10 x 30’)

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His movies have grossed more than $2 billion worldwide. He is an expert martial artist, with a 7th-degree black belt in aikido. He’s considered to be in the same class of action heroes as Sylvester Stallone, Arnold Schwarzenegger, Jean-Claude Van Damme, and Chuck Norris. But it turns out that Steven Seagal isn’t just an action hero in the movies. For the past 17 years, Seagal has been working as a fully-commissioned deputy sheriff in Jefferson Parish, Louisiana. When he’s in town, he gears up and rides with his fellow deputies on “hot calls” - violent crimes in progress. He also works with homicide detectives and trains rookie officers in marksmanship and hand-to-hand combat.

Wild & Crazy

AFL PRODUCTIONS Booth. A0.13

EXECUTIVES ATTENDING

Yuri Volodarsky, Head Development and Distribution Lana Berezovsky, VP Acquisition Julia Ziuz, Sales Manager, CIS

Wild & Crazy (12 x 30’)

This is a mind-blowing new prime-time series! It brings together unique footage caught on tape over the last 10 years! Shots include: an enraged bull attack, a suicide-jump from a skyscraper, the burning of an entire village, horrific auto race accidents, and so much more! Brace yourself because these are the scariest, wildest, funniest, and craziest videos to have ever come from Russia and the former USSR!

Booth. 19.01 Tel.: 33 4 9299 8237

EXECUTIVES ATTENDING

Alfred Haber, Founder Andrew Haber, Vice President, International Sales Adam Haber, Vice President, International Sales Edward O’Donnell, Director, International Sales Christopher Brouder, Director, International Sales Steven Weiser, Vice President, Domestic & International Sales Patricia Villagran, International Sales Executive

Adrenaline Rush Hour (13 x 60’)

Can’t get enough of chaos? Discovery Channel’s primetime series is an hour-long roller coaster ride that places viewers on the fast track for heart-stopping action.

El Dorado

American Cinema International Booth. 21.12 Tel. 1.818.355.1083

EXECUTIVES ATTENDING

George Shamieh, CEO Chevonne O’Shaughnessy, President Laura Voros, Vice President Foreign Sales

El Dorado After his friend dies in an explosion, Shane West (‘ER’) stars as Jack Wilder who embarks on an expedition to find The Golden Calendar, but is pursued by an ex-military Col. Sam Grissom staring Luke Goss (‘Hellboy II’, ‘Blade II’), which in turn leads Wilder to be reunited with his ex-lover Maria staring Natalie Martinez (‘Death Race’) and a topographic analyst played by Elden Henson (‘Butterfly Effect’) on an action-packed journey filled with adventure to The Lost City of Gold.

More Than Partners

ARTEAR

Seconde Chance

Booth. 20.18

Bavaria Media Television

EXECUTIVES ATTENDING

Booth. 20.01

Walter Sequeira, Acquisitions Manager Bernadette Delmas, Acquisitions Executive Mariana Fernández, Sales Manager Luciana Egurrola, Senior Sales Executive

More Than Partners (Series - 22 x 60’)

A dramatic comedy about three women, all of them lawyers, who go into a partnership to start business together. The three of them are common people whose everyday problems will be constantly mixed with files and legal issues. In each episode a new case will be taken to court and dealt with, while, at the same time, the story will focus on some specific situation in the life of the main characters.

EXECUTIVES ATTENDING

Oliver Kreuter, Head of Bavaria Media Television Helge Köhnen, Director Sales, Head of Eastern European Affairs Stefanie Fritz, International Sales Bojan Ritan, Marketing Manager Dana Höfinger, Acquisition Manager Nina Seidel, Sales Assistants

Seconde Chance (Series HD - 180 x 22’) Language: French

Abandoned by her husband after 18 years of marriage, Alice has to fend for herself and her two adolescent children for the first time in her life. Thanks to an old friend, she finds a job in an advertising agency where she has to fight in order to survive, and face every challenge if she wants to be a winner.

Wolverine and the X-Men

BBC Worldwide Booth. G3.40

EXECUTIVES ATTENDING

Helen Jurado, Regional Sales Director Latin America, BBC Worldwide Americas

Life

(10 x 50’) When their very existence is threatened, animals and plants react in extraordinary ways. This natural history TV blockbuster, shot in HD, reveals the wonderful ingenuity and incredible strategies of living things, in the endless struggle to survive.

Free Agents (6 x 30’)

Free Agents is an outrageous, razor-sharp yet surprisingly warmhearted romcom starring Stephen Mangan, Sharon Horgan and Anthony Head.

Bender Media Services Booth. 7907

EXECUTIVES ATTENDING

Susan Bender, President and CEO Sally Treibel, Executive Vice President

Wolverine and the X-Men (Animated Series – 26 x 30’)

This series is set to takes its rightful place in the Marvel hall of fame. The story centers around the most popular of the X-Men, Wolverine, as he and his super- power brethren battle to save the Planet from oblivion. Classic super-hero animation and comedic edge, the series features all of the famous X-Men characters with special guest appearances from Marvel favorites such as Nick Fury and the Incredible Hulk!

Ultimate Guinness World Record (Entertainment - 52 x 30’)

The wildest and most amazing clips from Guinness World Records programming around the Globe.

Fishtronaut

Breakthrough Entertainment Booth. 00.01

EXECUTIVES ATTENDING

Ira Levy, Executive Producer Nat Abraham, Head of Distribution Marina Cordoni, Head of Sales & Business Development Craig McGillivray, Sales Executive

Fishtronaut

(Animation Series - 52 x 11’ / 26 x 30’) A fun-filled animated, adventure series following Fishtronaut, a secret agent as he goes on slimy, furry and gooey adventures with his best friends, gal pal Marina and Zeek, a tween-age monkey. Kids are encouraged to engage interactively by tapping and clapping along with Fishtronaut and his friends. The series explores the world’s many mysteries above and below the water in a unique and entertaining way.

Stay Tooned

(Factual Entertainment Series - 13 x 30’) A live-action factual entertainment series about the world of television animation that takes viewers back to revisit the Saturday morning animated programs that defined our popular culture. Each episode will be an entertaining, comical mix of interviews from experts, celebrities and fans, along with cartoon clips and behind-the-scenes footage. The series celebrates how ‘toons shaped and reflected our culture - then and now.

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Life

The Big Five Challenge

CABLEready

Roman X 2

Booth. R31.17

Caracol Televisión Internacional

CCI Entertainment

EXECUTIVES ATTENDING

Booth. 09.24

Booth. No. 4 La Croisette, 1st Floor 06400 Cannes Booth. 2.10

Gary Lico, President & CEO Lou Occhicone, SVP of Operations Sabrina Toleda, VP of Sales & Marketing Liz Levenson, Manager of Programming

The Big Five Challenge (6 x 60’)

Six contestants from all over the world are faced with the biggest challenge of their lives: track and locate the “Big 5” animals on an African safari. The animals are Elephant, Buffalo, Lion, Rhino, and Leopard, and, on foot, contestants must get within 50 meters of each and remain there for 10 minutes. Join in on a fast-paced, emotional and exciting adventure into a world of emotional turmoil as the contestants who have never been into the African wilderness have to deal with the brutal reality of life and death in the wild.

EXECUTIVES ATTENDING

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

EXECUTIVES ATTENDING

Roman X 2 (Muñoz Vale X 2)

Turbo Dogs

(20 x 60’)

Roman Munoz is a serious man, responsible, hard working and extremely reserved. He avoids relating with his neighbors, is careful not to bring any coworkers home and discusses little or nothing with his family about work. He is 42 years old and for 20 of those years, he has been a private bodyguard for one of the most powerful business men in the country. Being a bodyguard has allowed him to hide a great secret, which is also the motor of this story. For the last 19 years, Roman has been the head of two families living in two different neighborhoods; he cares for two wives and provides for the teenage children he has with them.

D-War

CDC United Network Booth. 11.16.

Rev up your engines for ‘Turbo Dogs’, the 3D Animated series based on the books by Bob Kolar featuring over-the-top racing action, comedic hijinx and rules for the road of life. Set in Racerville - a world filled with dogs of all different shapes, sizes, temperaments and pedigrees - the stories focus on ageappropriate social-emotional themes like cooperation and fair play, and ground them in stories that are fast, funny and just a little furry.

Running In Heels

Labou

Comcast International Media Group Booth. G3.14

Erik Jensen, Managing Director Jimmy van der Heyden, International Sales Executive

Booth. 5914

EXECUTIVES ATTENDING

D-War

Marcel Vinay Hill, VP International Sales Representative Marcel Vinay Melgar, CEO of Comarex Adela Velasco, Marta Contreras, Carmen Pizano, International Sales

(Action Movie) Dragon appears in Los Angeles, in search for a girl named Sarah. While investigating one of the disaster sites, a TV reporter Ethan realizes that he is an ancient warrior who was re-born to protect Sarah from the evil dragons and save the city from total destruction.

Deadline

(Movie Thriller)

TodoTV

Arnie Zipursky, CEO and Co-Chairman Charles Falzon, Co-Chairman Jill Keenleyside, Executive Vice-President of Distribution Rekha Shah, Director of Sales

COMAREX

EXECUTIVES ATTENDING

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Turbo Dogs

Alice, a writer recovering from a psychological breakdown retreats to a remote Victorian house to focus on finishing her screenplay in time. Shortly after her arrival, mysterious noises cause her imagination to run wild. Alice gathers the courage to go down into the cold attic where she finds a shoe box filled with mini-dv tapes. The terrifying secret that lies within the tapes will unravel Alice’s dark past.

EXECUTIVES ATTENDING

Labou (Movie)

Three friends start a fantastic voyage in search for the fearsome ghost of Captain LeRouge, in order to find his treasure, rumored to be lost in a Louisiana bay over 200 years ago. A magic movie full of hope and action.

Avalanche (Movie)

At one of the highest points of the Alps is the Vent ski resort.

Marc, a Vent native, returns home after abandoning his girlfriend Anne, 9 years ago. Seeing Marc for the first time after almost a decade, Anne feels pain and fear. Tension is in the air.

Kevin MacLellan, President, CIMG Duccio Donati, SVP, CIMG Cheryl McDermott SVP, Business Operations, CIMG Gracia Waverly, SVP, International Networks, CIMG Lee Raftery, VP, Marketing, CIMG Jene Elzie, VP, Sales & Strategic Planning, CIMG Brad Wald, Managing Director, EMEA, CIMG Christine Fellowes, Managing Director, Asia, CIMG David Ball, Director, Program Planning & Acquisitions, EMEA, CIMG Leilani Farinas, Executive Director, Marketing, CIMG

Candy Girls

(8 x 30’) (E! Entertainment Television) E! gives viewers a never-before-seen look inside the explosive and sexy world of some of the most successful and desirable hip hop video divas and uncovers just how cutthroat and competitive their lives really are.

Running In Heels

(6 x 30’ / 2 x 60’) (The Style Network) The docu-series takes viewers inside both the workings of the fast-paced, high-stressed, glossy environment of Marie Claire magazine and its staff, as well as the private lives of the women who work there.

Tales From Cryptville

Champs 12

The Bridge

Cookie Jar Entertainment

Dori Media Group

E1 Television International

Booth. 17.01 Tel.. 33(0)4 92 99 8245

Booth. 12.02

Booth. RSV.14

EXECUTIVES ATTENDING

EXECUTIVES ATTENDING

Nadav Palti, President & CEO of Dori Media Group Leora Nir, VP of TV Channels, Dori Media Group Michal Nashiv, President & CEO of Dori Media Contenidos; President & CEO of Dori Media Distribution Argentina; President of Dori Media Central Studios José Escalante, CEO & President, Dori Media America; President & General Manager, Dori Media Distribution Celine Amadeo, CEO, Dori Media Central Studios & VP Production, Dori Media Contenidos Elena Antonini, VP of Sales, Dori Media Distribution Argentina Juan Fernández, VP of Sales, Dori Media America Andrés Santos, VP of Sales, Dori Media America Tali Fink, Director of Marketing, Dori Media Group

EXECUTIVES ATTENDING

Michael Hirsh, CEO Toper Taylor, COO & President Jean-Michel Ciszewski, SVP International Sales & Co-Productions Ann Austen, SVP, Development and TV/Video Sales John Vandervelde, SVP Co-Productions Alison Warner, VP Distribution UK and Scandinavia Julie Ninomiya, VP Sales Asia Wiebke Hoefer, VP Sales Eastern Europe Clive Jordan, VP Distribution Nadia Chevallard, Sales Manager Europe

Tales From Cryptville (1 x 90’)

This adaptation of the EC horror comic book ‘Tales from the Crypt’ tells the story of a teenager who moves to a small town where he stumbles upon a decades old mystery.

Champs 12

Peter Emerson, President Valerie Cabrera, Executive Vice President Prentiss Holman, Vice President, Head of Sales Ben Bishop, Sales Executive & Acquisitions Manager Lisa Wookey, Director, Marketing & Communications

The Bridge (13 x 60’)

Inspired by the insights of a veteran insider, The Bridge lays bear the struggles of a charismatic police union leader out to who not only battles criminals on the street but sometimes his own bosses and police force corruption, in order to protect his fellow officers and ultimately society.

(150 x 60’)

Charlotte is determined to take revenge on Gonzalo, who once humiliated her, and acquires the soccer club, of which he’s the star. She makes his life miserable until love changes her plans.

Farsantes

Someone’s Gotta Go

Endemol International Booth. H4.32

EXECUTIVES ATTENDING

Ynon Kreiz, CEO Marco Bassetti, COO Paul Johnson, Global Head of Marketing and Branded Partnerships Matt Creasey, Director of Sales, Distribution Caroline Torrance, Executive Director of Scripted Programming & Distribution Paul Romer, Global Head of Programming Lisette van Diepen, Director of Acquisitions Adam Valkin, Global Head of Digital Media Patrick Bird, Head of Astrology & Auction TV Camila Da Silva Valim, Head Of Marketing and Research

Someone’s Gotta Go (Entertainment)

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‘Someone’s Gotta Go’ is an extreme form of workplace therapy with a gameshow twist. Each episode sees a group of work colleagues, from a different workplace per week, face their true feelings about each other in order to win money.

Flor Latin Entertainment Group Tinga Tinga Tales

Entertainment Rights Plc Booth. H4.20

EXECUTIVES ATTENDING

Chloe Van den Berg, Executive Director International, Entertainment Rights Plc

Tinga Tinga Tales (52 x 11’)

Making its debut at market is ‘Tinga Tinga Tales’, a funny, educational and vibrant show for preschool kids that celebrates traditional storytelling and brings to life African folk tales about the origins of different animal species that have been passed down from generation to generation. The brand-new animated series is being produced by Tiger Aspect productions and is set to air in Spring 2010 on leading children’s broadcast partners CBeebies (UK) and Playhouse Disney (US). The show’s beautifully produced imagery is hand-painted by local artists, based on the famous Tinga Tinga art of Tanzania and expertly computer-animated to produce a wonderful and unique visual experience. Quirky animal characters, beautiful locations, timeless fables, and uplifting Tanzanian music make this new show one with truly global appeal.

EXECUTIVES ATTENDING

Silvana D’Angelo, President & CEO Nora Seoane, Acquisitions & Sales Director, Europe & Africa Carolina García, Content Development & Sales Director, Asia & Middle East

Alta Montaña

(Teen Novela - 120 x 60’) Young people of different origins have been chosen to work in the recovery of a hotel located in idyllic enclave. Music, mystery and great landscapes.

Farsantes

(Intrigue/Short Series - 13 x 60’) Leo and Vicky should’ve been a perfect con artist couple, the only inconvenience is that they’re total opposites and can’t stand each other. A plot loaded with unexpected twists that will astonish the viewer time and again. With endless mistakes, in a world where lies are the truth, it’ll be hard to tell the truth apart.

Recipes of Love

Merlin

The Spelling Game

Frecuencia Latina International

FremantleMedia Enterprises

Globo TV International

EXECUTIVES ATTENDING

Booth. RB1, FremantleMedia Village, Riviera Beach

Booth. A0.01

EXECUTIVES ATTENDING

EXECUTIVES ATTENDING

Patricia Jasin, International Sales Director

Recipes of Love (Sitcom - 21 x 60’)

A crowded and popular restaurant is not only the place where the best dishes are made, but it is also where the lives of four beautiful women meet, all with opposite personalities, but who share a common goal: to find the perfect recipe for their lives. Chef Maria Dolores, pastry cook Chiara, waitress Talia and public relations officer for the five star restaurant Pina become inseparable friends and learn to overcome together surprises, crises and serious conflicts all modern women must face. These seven fun characters combine their giddy and demanding jobs with hilarious situations that will constantly interrupt their routine and add certain details of sensuality and craziness. In a world constantly craving for pleasure, there will always be temptations. Brought to you from the same producers as ‘My Problem With Women’.

David Ellender, CEO Mark Gray, VP Programming Pete Kalhan, SVP Home Entertainment & Archive Mary Beer, Director of Marketing Sheila Aguirre, VP Sales & Development, Latin America & Hispanic USA Veronika Gracher, VP Sales, German-speaking Europe & Eastern Europe Justin Hatfield, VP Sales, Benelux, Scandinavia, UK & Ireland Lisa Honig, VP Program Distribution, USA & Canada Jamie Lynn, VP Middle East, Israel, Greece, Turkey, Cyprus & Africa Shane Murphy, Head of Acquisitions and Development, UK Mark Newton, EVP Licensing, EMEA Daryl O’Connor, SVP Home Entertainment Australia Jon Penn, SVP Licensing, Asia PacificGanesh Rajaram, VP Sales, Asia Paul Ridley, SVP International Distribution, Asia Pacific Jeff Siegel, VP Home Entertainment, The Americas Amrita Sindhu, VP, FremantleMedia Licensing & Home Entertainment, AsiaJeff Tahler, VP Acquisitions & Development Richard Tulk-Hart, VP Sales EMEA, Home Entertainment Hendrik Van Daalen, VP Sales French and Italian speaking Europe and Iberia

Merlin

(Series 2 Coming Soon)

Raphael Correa, International Sales Director Marcelo Mattar, Sales Manager Africa, Western Europe, Middle East, Russia and Bulgaria Hugo Aloy, Sales Manager Portugal and Asia Pacific João Fonsec, Sales Executive Pedro Dombrasas, Sales Executive Eastern Europe, Germany, Turkey and Greece Alejandra Moreno, International Marketing Manager Claudine Bayma, Marketing Coordinator EMEA Fernanda Vio, PR Coordinator

Maysa

(Miniserie - 8 x 45’) At seventeen, filled with dreams and hopes, Maysa marries the love of her life, Andre Matarazzo, an industry titan with whom she has her only son, Jayme Monjardim. The strictness of life in the family mansion, however, contrasts with the festive and artistic environment in which she grew up. Despite Andre’s opposition, Maysa’s superb voice lands her an invitation to record an album, and her music becomes an instant success. Maysa’s new, demanding career results in the collapse of her marriage and takes a toll on her relationship with Jayme. In search of professional achievement, she risks everything and immerses her body and soul into singing. She earns standing ovations while crisscrossing the globe. Once divorced, she engages in turbulent relationships. She breaks taboos and defies conventions. And she dies tragically and prematurely

Merlin has already cast his spell over critics and audiences alike; Series 2 promises more magical adventures to enchant and entertain the whole family.

Deepak Chopra

GAIAM Booth. Under the Umbrella 01.02 (I.F.T.A) Phone Number. 33 4 92 99 8207

EXECUTIVES ATTENDING

Myriam Diaz, Director International Sales

Deepak Chopra (DVD Set – 2 x 57’)

The Prisoner The Red Eagle

Life Moments Buff Brides, Buff Moms, Butt Mom’s to Be

Imagina International Sales

Fitness DVD’s Inspired by Sue Flemming’s much-acclaimed Buff book series.

Booth. R 32.31

(45’)

Groovin’ with the Groobaloos (DVD’s – 3 x 75’ / 3 x 90’ / 3 x 68’)

Dance moves that everyone can move to – award winning Dancer/Choreographer Bradley “Shooz” Rapier & his electrifying dance troupe The Groovaloos, break down all the coolest dance moves.

EXECUTIVES ATTENDING

Jose Huertas, CEO Geraldine Gonard, Sales Director Laura Minarro, Sales Manager Barbora Susterova, Sales Executive Iván Agenjo, Sales Executive María José Camacho, Sales Coordinator Lorena Molloy, Marketing Manager

The Red Eagle (Series – 13 x 60’)

A series full of adventure, intrigue and romance set in the XVII century.

ITV Global Entertainment Ltd

(formerly Granada International) Booth. R38.01

EXECUTIVES ATTENDING

Peter Iacono, President & Managing Director Tobias de Graaff, Director Of Global TV Distribution Flavio Medeiros, Senior Sales Executive, Latin America Emmanuelle Namiech, Director of Acquisitions and Co-productions

The Prisoner

(Drama - 6 x 1 hour) The Prisoner is a re-interpretation of the British 1960s cult hit series, starring Jim Caviezel as “Number Six” and Ian McKellen as “Number Two”.

91 TodoTV

Renowned author, speaker, and spiritual teacher Deepak Chopra offers us a powerful approach to possessing happiness in groundbreaking work.

An American Werewolf in London

One Water

Crash

Lakeshore Entertainment

Lightworks Program Distribution

Booth. RB.40

Booth. R33.11 Tel. +33 (0)4 92 99 8854

Booth. R29.17

EXECUTIVES ATTENDING

EXECUTIVES ATTENDING

Elisabeth Costa de Beauregard Rose, Senior Vice President, International Sales Jonathan Deckter, Senior Vice President, International Sales Jason Buckley, Coordinator, International Sales

An American Werewolf in London (Horror / Science Fiction – 1 x 120’)

David and Jack travel to Northern England for their college vacation. One night they become in the desolate, rainy English moors, and in the staggered darkness huge beastly animals jump out and attack Jack. Three weeks later David awakens to a new nightmare: Jack, who was killed, returns to warn David that a werewolf was their assailant and that David has become the last of the werewolves.

EXECUTIVES ATTENDING

David Dreilinger, President and CEO Lightworks Enterprises, Inc. John Cuddihy, President and Managing Director Barbara Ann Toffolo, Marketing Director Jamie Gao, Director of Sales Asia Nadia Sarmova, Director of Sales Central and Eastern Europe

One Water

(Documentary HD – 1 x 60’) A film that celebrates the ways water has touched humanity around the globe, shedding light on the polarity of its abundance-from those struggling to find water for basic needs to those thoughtlessly squandering this most precious resource.

Lionsgate Kevin Beggs, President, TV Programming & Production Craig Cegielski, EVP, Programming & Sales Int’l TV Amanda Cordner, VP, Int’l TV Sales Teri Fleming, VP, Marketing Int’l TV Tim Stuart, VP, Asia Pacific TV Sales Hiedi Willemsen, VP, Business Affairs Int’l TV Sales Tori Crotts, Director, Marketing Int’l TV Hana Zidek, Director, Central & Eastern European TV Sales Wendy Reeds, International Home Entertainment Sales, Mandate International

Crash

(Drama - 13 x 60’) Inspired by the Academy Award -winning Best Motion Picture, ‘Crash’ is a provocative new drama series that stars an ensemble cast led by film icon Dennis Hopper. Set in Los Angeles, the series explores the complexities of social and racial tolerance and the meaning of the American dream through characters whose lives intersect and collide as they strive to achieve that dream.

Dan’s Detour of Life Who killed Maggie?

Marathon Booth. LR4.02 Tel.. +33 492 998 933

Booth. RSV 46

EXECUTIVES ATTENDING

Fernando Szew, CEO Joseph Szew, CFO/COO Michael Jacobs, President George Port, Executive Vice President Vanessa Goglio, Senior Vice President, International Sales Marc Lorber, Senior Vice President, Production

Emmanuelle Bouilhaguet, Managing Director International Sarah Brémond, VP International Sales Catherine Couriat, VP International Sales Monica Lévy, VP International Sales Victoire de Monès, VP French Sales Alexandre Piel, VP Coproduction and Sales Valérie Tailland, Head of Communication

Who killed Maggie?

(Documentary – 52’)

TodoTV

92

MarVista Entertainment

Margaret Thatcher, the first and only woman Prime Minister of the United Kingdom has been one of the most admired, yet one of the most reviled contemporary political figures. It is said she has been politically stabbed in the back by her own Ministers, Secretaries of State, advisors, campaign managers and cabinet secretary. Told by the “conspirators” of her political downfall, ‘Who killed Maggie?’ is the amazing story of the final days in power of Margaret Thatcher. World renowned William Karel has been awarded a prestigious FIPA d’Argent at the Festival de Luchon 2009 for his accurate, uncompromising documentary.

EXECUTIVES ATTENDING

Dan’s Detour of Life (Dramedy Series - 30’)

A comical, yet sincere look at a modern-day family adjusting to life with newly separated parents.

In Real Life

(Reality Series – 60’) 18 kid-contestants race and compete in a series of thrilling real-life tasks, and discover the skills, strength, and stamina it takes to make it in real life!

Before You Say I Do (Comedy – 90’)

When his fiancée bolts before their wedding, a man travels back in time 10 years to undo her past - so they can have a future.

It’s Organic

MDA

(Media Development Authority of Singapore) Booth. 07.19 (Level 01)

EXECUTIVES ATTENDING

Chan Yeng Kit, Permanent Secretary, Ministry of Information, Communications and the Arts Christopher Chia, Chief Executive Officer, Media Development Authority of Singapore Yeo Chun Cheng, Chief Information Officer and Programme Director, Multi-Platform Content, Media Development Authority of Singapore Cassandra Tay, Director, Communications and Community & International Relations

The Little Nyonya

(Drama Series – 34 x 60’) Peranakan heritage and culture takes centre-stage in this 34-episode Chinese period drama blockbuster.

It’s Organic

(Lifestyle Series – 8 x 30’) It’s Organic tells the stories of organic apparel designers, farmers, grocers, restaurateurs, hoteliers and communities of organic “citizens.”

Quantum of Solace

MGM International Television Distribution Booth. RSV 24

EXECUTIVES ATTENDING

Gary Marenzi, co-President, Worldwide Television Distribution Bruce Tuchman, President, MGM Networks Jeff Pryor, Executive Vice President, Corporate Communications Gerald Ament, Executive Vice President, Worldwide Television and Legal Affairs Chris Ottinger, Executive Vice President, International Television Distribution Charles Farmer, Senior Vice President, MGM International Television Lawrence Szabo, Senior Vice President, MGM International Television Ian Hogg, Senior Vice President, International Television Distribution & Pay Television Barry Gurstein, Vice President, Marketing, Worldwide Television Distribution

Quantum of Solace In ‘Quantum of Solace’ Daniel Craig reprises his role as Ian Fleming’s James Bond 007. Starring alongside Craig is an impressive international cast led by the critically acclaimed French actor Mathieu Amalric as the sinister villain, and the Ukranian actress Olga Kurylenko who plays 007’s leading lady. Judi Dench returns in her role as M from Casino Royale, Jeffrey Wright as Felix Leiter and Giancarlo Giannini as Mathis.

Newcomer to the Bond franchise, Gemma Arterton, plays the role of MI6 Agent Fields.

Angel’s Friends - The Secret World Around You

Mondo TV S.p.a.

Booth. 01.23 / 01.25

EXECUTIVES ATTENDING

Orlando Corradi, President and CEO Matteo Corradi, COO Gian Claudio Galatoli, Production Director Micheline Azoury, International Sales Roberto Farina, International Sales Alessandro Venturi, International Sales Theo Kouroglou, International Sales Geneviève Duchene, Sales for French Speaking Area Jacqueline L. Silvero, Sales for Latin America Guglielmo Marchetti, CEO of Mondo Home Group Michael Bartels, CEO of Mondo Home Germany Maria B. Fois, General Manager of MOndo TV Spain

Angel’s Friends - The Secret World Around You Our five young Angels - Gabi, Urié, Raf, Dolce and Ang-Li — live in the crowded Metropolis of Angels, called Angie Town, where they attend the special class at the school , to become 100% Angels. For that reason they should go through a “stage” period on Planet Earth among “human” in a beautiful city; therefore, they arrive on Earth with their nice mascots, in order to obtain the missing 1%, which will make them real guardian Angels.

Their mission consists in following five lively “Earthlings” in their everyday life adventures. But they are not alone also five irresistible 99% devils are coming up to the Earth with the same reasons.

Geronimo Stilton

MOONSCOOP Booth. R27.18

EXECUTIVES ATTENDING

Christophe Di Sabatino, Co-Chairman Group Benoît Di Sabatino, Co-Chairman Group Axel Dauchez, CEO Group Nicolas Atlan, co-CEO Group Mike Young, co-CEO, MoonScoop LLC Lionel Marty, President, Worldwide Distribution Marie Conge, Sr. Vice President, International Sales Mevelyn Noriega, Sr. Vice President, Sales Administration

Geronimo Stilton (26 x 22’)

New animated series brings to life the adventures of Geronimo Stilton, editor of Mouse Island’s newspaper and head of a media empire, who gets involved in far-away, marvelously humorous capers with his younger sister Thea Stilton, cousin Trap Stilton, and favorite nephew, nine-year-old Benjamin Stilton. Based on the popular book series.

Hot Wheels: Battle Force 5

NELVENA ENTERPRISES Booth. N6.04

Kings

Inside Guantanamo

National Geographic Television International Booth. R29.41 Tel.. + 33 (0) 4 9299 8862

EXECUTIVES ATTENDING

TodoTV

94

Maurice van Sabben, President Chris Fletcher, Acting Head of Acquisitions & Co-productions Veronique Heim, Acting Head of Sales Joanna Rowley, Sales Manager Roz Parker, Sales Manager Margaret Yoshida, Sales Consultant Michelle Waldron, VP Marketing & Communications

Inside Guantanamo (HD - 1 x 52’)

NGT was granted exclusive access to film in this controversial facility. Inside Guantanamo looks at what it’s like to work here and be an inmate in the most famous prison in the world.

NBC Universal International Television Distribution Booth. H4.05 Tel. + 33 (0) 492 99 87 91/2/3

EXECUTIVES ATTENDING

Belinda Menendez, President, NBC Universal International Television Distribution

Kings

(Drama - 1 x 120’ / 11 x 60’) Golden Globe winner Ian McShane stars in this inspired exploration of the timeless David vs. Goliath struggle from writer Michael Green (‘Heroes’) and film director Francis Lawrence (‘I Am Legend’). Kings is an intricate, compelling new drama that is both classic in its inspiration and inventive in execution.

EXECUTIVES ATTENDING

Colin Bohm, Vice President and Managing Director Lynn Chadwick, Vice President, Worldwide Sales and Distribution Peter Maule, Vice President, Worldwide Home Entertainment and Digital Media Antoine Erligmann, Vice President, Licensing, Europe Sylvie Didierjean, Director, Sales, France, French-speaking Europe & Africa, Italy, Scandinavia, & Benelux Jaap Joost (JJ) Breijinck, Sales Representative, Germany & Eastern Europe Kerry Novick, Sales Representative, Australasia Sarah Sakr, Licensing and Marketing Coordinator, Europe

Hot Wheels: Battle Force 5 ‘Hot Wheels: Battle Force 5’ is a series featuring CGI animation

by Nelvana Studio and Nerd Corps Entertainment based on the #1 vehicle property in the U.S. from Mattel, Inc. The Battle Force 5 is an elite team of teen drivers with five super-cool, ultra-fast and battle-ready vehicles. The team must guide their vehicles to smash and bash their enemies until only one side is left standing, with the fate of our planet hanging in the balance. The series is set to premiere fall 2009 in Canada on TeleToon and on Cartoon Network in the U.S. as part of its top-rated Saturday morning lineup. The series will include 26 22-minute episodes and will be supported by a comprehensive worldwide marketing and merchandising program that includes toy, licensing and online initiatives.

Megaminimals

Extinction Sucks

The Day of The Triffids

Neptuno Films

OFF THE FENCE BV

POWER

Booth. R29-26

Booth. H4.27

Booth. R35.18

EXECUTIVES ATTENDING

EXECUTIVES ATTENDING

EXECUTIVES ATTENDING

Cristina Brandner, Managing Director Montse Capón, Managing Assistant

Megaminimals (104 x 6’)

‘Megaminimals’ is set in a nursery school for very young animals. We join them as they learn and play together; sharing their friendships and the fun they have on their trips out. Each episode is a funny, enchanting story, full of situations and characters with which preschool children will easily identify.

Pim & Pam (130 x 5’)

Astronaut with a mermaid’s tail? A brother and sister use a little magic to play a memory game, matching the two halves of picture cards. If they get it wrong, the results can be hilarious.

In this interactive series, viewers can join in, and play a game that stimulates the development of two key cognitive skills: memory and the ability to recognize connections.

The Gloops (104 x 3’)

Speaking a universal language, ‘The Gloops’ play guessing games through sounds, for the viewers to join stimulating their imagination. It stars a lovable family of aliens that are poised to invade planet earth.

Ellen Windemuth, CEO Darrel James, Chief Operation Officer Bo Stehmeier, Director of Sales Gerbrig Blanksma, Sales Executive Marije Plaum, Senior Sales and Co-production Manager Rosie Flynn, Senior Sales Manager Tony Chow, Managing Director, OTF Singapore Sanne Van Buijtenen, Sales Assistant Alexa Dubard, Sales Executive

Extinction Sucks (6 X 30’ – HD)

‘Extinction Sucks’ follows the real life adventures of two remarkable girls who’ll try anything to bamboozle people into parting with their money. It’s all in a good cause – the girls spend every penny they raise helping endangered animals, proving that people who are crazy enough to think they can save the world, are often the ones who can.

The Decider (1 x 60’)

“I’m the decider and I decide what’s best”. As George W. Bush prepares to leave the White House this documentary takes a hard look at his legacy. Beginning with 9-11 and now ending with chapter 11 for many Americans, the Bush presidency was marked by war and crisis. We’ll deconstruct the Decider’s decisions and their ongoing consequences.

Justin Bodle, Chairman and Chief Executive Eloise Tooke, Managing Director Chris Philip, President, Worldwide Sales Ewa Radwamska, Head of Drama Andrew Schreiber, Sr. VP, Worldwide DVD/Video Sales and Distribution Mark Dineley, VP, Digital Media Sales and Strategy George Sakkalli, VP, Sales and Distribution, Asia José “Pepe” Echegaray, VP, Sales and Distribution, Latin America Eric Muller, VP, International Sales Adrew Whiteman, Sales Controller Sara Holt, Senior Marketing Executive Julia Cafferkey, Senior Marketing Assistant

Knights of Bloodsteel (Mini Series - 2 x 120’)

In the world of Mirabilis, the most valuable element is an empowering, magical ore called Dragonsteel. It has caused a new “Gold Rush” in the mining town Black Roc Keep, drawing the attention of Dragon-Eye, an insurgent who needs the ore for world domination. A marvel of imagination that creates an awe-inspiring new mythology, Knights of Bloodsteel is a grand new sword-and-sorcery adventure for the ages. Starring: David James Elliot and Christopher Lloyd.

Tork

(104 x 7’)

Calle Luna Calle Sol Tricks of Love

RCN Televisión Booth. 14.17

EXECUTIVES ATTENDING

María Lucia Hernández, International Sales Director Lina Waked, International Sales Assistant

Tricks of Love

(Telenovela – 120 x 60’) Mariana Solano, a talented young lawyer gets a job as head of legal at a prestigious security corporation; the downside; she has to work with Alejandro, her ex boyfriend who three years ago left her right before their marriage. Feeling cheated and betrayed she’s unaware that Alejandro was imprisoned within a Spanish jail paying for a crime he did not commit. Alejandro has returned to find who’s really responsible for the crimes he paid and above all to recover Mariana´s love. In the midst of this quest Alejandro will discover that his real enemy is his cousin Lorenzo, the same person that has now given him a job and has him under his power.

RCTV International Booth. 18.01

EXECUTIVES ATTENDING

Marcel Granier, President & CEO Daniel Bergami, CEO Guadalupe D’Agostino, Vice President and General Manager Marc Paneque, International Sales Executive Laura Mejias, International Sales Executive Vincent Wongvalle, International Sales Executive Amina Galdo, Director of Marketing & Public Relations

Calle Luna Calle Sol

(Telenovela - In Production, 120 hours) Maria Esperanza, a working class but ambitious student is sexually assaulted. She must find her assailant and bring him to justice. In the process, she falls in love with Manuel Augusto, a young businessman and later discovers that he is somehow entangled in the violent crime, which transformed her life forever. Danger lurks in the shadows and love and passion are relentless on steamy Moon Street, Sun Street.

95 TodoTV

‘Tork’ is a tiny elf who travels many miles as a free gift in a packet of snacks, small enough to fit in the palm of a child’s hand. He ends in a small garden where he is brought to life by Iris the fairy. He will soon make friends among the insects and will experience adventures in a world of nature and magic with Iris and Battery, a happy-go-lucky toy alien.

The series combines extraordinary live footage of a real garden and its real inhabitants with 3D animation of the fairy, the elf and the toy alien freely interacting with real animals and insects.

Flames of Life

Stupid Criminals

Record TV Network

Rive Gauche Television

SevenOne InternationaL

Booth. 05.02.

Booth. 26.01

EXECUTIVES ATTENDING

EXECUTIVES ATTENDING

Booth. 11.10/13.09 Tel. & Fax: + 33 (0) 492 99 8087

Delmar Andrade, International Sales Director Edson Mendes, International Sales Coordinator

Flames of Life

(Telenovela - In exhibition) Pedro, like many others, saw his father as his hero. Captain Rodrigo, a firefighter rewarded by his braveness, died tragically, in company of his wife, during a criminal fire, and whose responsibility has not yet been discovered. Since his parent’s death, Pedro took the responsibility to keep the house and raise his siblings.

He is the “brother-father” of Antônio, Vivi, e Rafa.

Summer in Venice (Telenovela – 120 x 60’)

The moment Rossy Romero started feeling “the balance of justice” leaning towards her, that moment when her sought for dream of becoming the legal owner to the Venice estate was about to become true; and just as she felt she was to become free from all the ghosts from her past, Leticia Toledo comes to claim the land both her and her children had dedicated a whole lives worth. Leticia arrives with her three children and her husband, Miguel Toledo, the first and only love of Rossy. Upon seeing he, memories of pain and the treason came back but also feelings re-appeared, feelings that she kept in her heart for a long time, she understands that life has given her the opportunity of getting back on all the blows received and that it is the moment of getting back the love she lost twenty-three years ago.

Dorothy Crompton, Senior Vice President, International Sales Gary MacKinney, Vice President, International Sales Jeff Houser, Vice President, Emerging Businesses Development Jon Kramer, Chairman & CEO David Auerbach, President, Rive Gauche Television Mark Rafalowski, President of Acquisitions & Production Jason Bourgault, Executive Producer, Sr. VP Production Edwin Zane, Vice President Development & Production

Stupid Criminals (Reality - 6 x 60’)

There are clip shows about crime there are clip shows about funny video finally we have a clip show that brings both crime and comedy into one program. This weekly series follows some of the most insane, outrageous criminals ever caught on tape.

From wildly reckless drivers to robbers that use trash bags as disguises, audiences will be on the floor laughing at these clueless crooks.

Z-Rock

The Crash Testers

Si Hay Ideas Booth. 1210

EXECUTIVES ATTENDING Juan Pablo Gaviria, VP Camila Misas, Creative Director

The Crash Testers (Format)

TodoTV

96

Cloud Chasers

Humour contest where three trios get a discharge of funny questions they will have to answer in order to go on to the physical tests, where, wearing outfits made of Velcro, they must aim at specific targets where the amount of money accumulated in the questions, can be multiplied, but at the same time, they will suffer the most painful and the funniest blows. In The Pain Game the only danger will be to die of laughter, while the contestants are attacked by the most amazing projectiles.

EXECUTIVES ATTENDING

Jens Richter, Managing Director Caroline Kusser, Sales Manager Yan He, Sales Manager Axel Boehm, Sales Manager Bodo Braun, Sales Manager Zasha Robles, Director Spiral International Fabiola Flores, Sales Director Latin America / US Gillian Kirby, Sales Director Pan Regional Latin America

Cloud Chasers

(Catastrophe - 1 x 90’) After facing a mysterious weather phenomenon and losing her job, pilot Andrea frantically searches against all odds for the existence of the “super cells” – sudden, violent storms capable of causing a plane to crash.

Legacy of Passion

Starz Media

Telefe International

Booth. Riviera, Seaview 25 Tel.: 33 (0) 4 92 99 89 26

Booth. A 0.07 / Level 0

EXECUTIVES ATTENDING

EXECUTIVES ATTENDING

Gene George, Executive Vice President, Worldwide Distribution Alisha Serold, Vice President, Television and Family Entertainmnt Cynthia Burnett, Director of Sales & Operations Todd Bartoo, Manager of Sales Marc DeBevoise, Senior Vice President, Digital Media, Business Development & Strategy Ferrell McDonald, Senior Vice President, Worldwide Marketing Jonathan Taylor, Vice President, Public Relations

Alejandro Parra, Director International Business Direction Michelle Wasserman, Head of International Distribution Programming, Formats & Production Services Diana Coifman, Senior Sales Executive Programming & Formats Jesica Stescobich, Sales Executive Programming & Formats Guillermo Borensztein, Sales Executive Programming & Formats Guillermo Henrich, Project Leader Meca Salado Pizarro, Head of Marketing

Head Case

Legacy of Passion

(Half-Hour Comedy - 23 x 30’) Dr. Elizabeth Goode is judgmental, unconventional and could use a good shrink herself. Her days are filled with a who’s-who client list from the world of entertainment, sports and music.

Z-Rock

(Semi-Scripted Comedy Series - 20 x 30’) By night they’re a hard-partying rock band and by day they’re a Wiggles-style kids’ party band. ‘Z-Rock’ is loosely based on the real lives of its three New York based stars, and their actual band, Z02, giving a satirical look at the dark underbelly of the rock n’ roll dream. Now in its second season.

(Telenovela - 120 x 60’)

Telefe International presents the new evening telenovela ‘Legacy of Passion’. It will be aired in one of the most prominent evening spots of Telefe. ‘Legacy of Passion’ is the story of two young Brothers who will fight for their father’s inheritance, and despite carrying the same blood, for each such inheritance represents a different and opposing thing: For Lautaro it is power and money and for Pedro, the love of the lands where they live and family. Besides, they will be confronted by the love for the same woman.

The Wrestler

Telefilms

Analia

Dare to Dream

Booth. 17.08

Telemundo Internacional

Televisa Internacional

EXECUTIVES ATTENDING

Booth. A0.21

Booth. RSV.02

EXECUTIVES ATTENDING

EXECUTIVES ATTENDING

Tomás Darcyl, President Sebastián Darcyl, President Ricardo Costianovsky, CEO Alfredo Andreotti, Sales Manager Humberto Delmas, Sales Manager Alejandro Carballo, Sales Manager Luis Andreotti, Sales Manager

The Wrestler

(Action/Comedy/Drama/Sport) A drama centered on retired professional wrestler Randy “The Ram” Robinson as he makes his way through the independent circuit, trying to get back in the game for one final showdown with his former rival.

Traveling

(Romantic/Drama) Eckhart will play a widower whose book about grieving turns him into a phenomenon. Reinvented as a charismatic self-help guru, he falls for a woman at a seminar and is forced to confront the fact that he hasn’t come to grips with his own loss.

Marcos Sanatana, President Karina Etchinson, VP Sales Europe, Africa & Middle East Esperanza Garay, Senior VP Sales & Acquisition Latin America Xavier Aristimuño, VP Sales & International Business Development Asia Melissa Pillow, Sales Manager Europe Karen Barroeta, VP Marketing & Promotions

Analia

(Telenovela - 130 x 60’) Analía is a riveting story of how ambition, revenge, and the criminal world intertwine to conspire against Mariana Andrade, a successful businesswoman who discovers that her husband is having an affair with her cousin Sara. She is a dangerous woman bound to the drug trafficking mafia; capable of anything, including murder. When Mariana discovers the truth, she leaves her house only to meet face to face with a woman who has been sent to kill her. After an attempt on her life and a car accident that leaves her disfigured, Mariana is rescued by a scientist who reconstructs her face in the wrong image; forever changing the course of her life. Unable to remember anything from her past, and now with Analia, the woman who tried to kill her, Mariana is forced to confront the dark and dangerous past of her “murderer.” From this moment, she will live a double life that unleashes a battle between love and her desire for revenge.

Fernando Perez Gavilan, Vice President Carlos Castro, General Director of Sales Claudia Sahab, Director of Sales, Europe Beatriz Rodriguez, Business Manager, Eastern Europe Manola Martin, Business Manager, Eastern Europe & Nordic Region Patricia Porto, Business Manager, Central & Western Europe Elsa Garcia, Business Manager, Spain & Portugal Pedro Font, GMD Asia, Africa and Middle East Silvia Garcia, GMD Asia, Africa and Middle East Arturo Casares, Director of Sales, China Mario Castro, Director of New Business Claudia Silva, Director of Sales Licensed Products and Pay TV Jose Luis Romero. Director of Formats and New Content

Dare to Dream

(Telenovela - 150 x 60’) This is the cutest story ever told. Patito is a sweet girl that has never met her father because Ana, Patito’s mother, has kept his identity a secret. But destiny soon reunites both girls with whom they consider to be their impossible loves: Ana with Rodrigo, the love of her life and her daughter’s father; and Patito with Mateo, her first love. These encounters will embark Patito on a great adventure to pursue her dearest dreams: to meet her father, to become a famous singer, and to conquer Mateo’s love.

Run or Die

Booth. R35.03

EXECUTIVES ATTENDING

Larry Higgs, President Ron Alexander, Director of International Sales Nancy Epstein, Manager of Program Acquisitions Amanda Rockwell, Manager of Program Development

Run or Die: The Fernando Araujo Story (Docudrama – 90’)

A ragged, gaunt and sunburned man staggered out of the Montes de Maria wilderness and identified himself as Fernando Araujo, the long-lost former minister of economic development, who was kidnapped by the FARC in December, 2000. His nearmiraculous escape made headlines around the world because Fernando was the first high-profile hostage to break free from the FARC and live to tell about it. Within weeks of his homecoming, Fernando Araujo made the headlines again when he was appointed foreign minister of Colombia and began traveling the world to advocate for the freedom of hostages everywhere.

Filmed in HD in location in Cartagena, Bogota and in the jungles of northern Colombia, ‘Run or Die’ is a 90-minute docudrama narrated, in part, by Fernando Araujo himself, with dramatic recreations of his shocking abduction, brutal captivity, and harrowing escape from FARC guerillas.

Eternamente Tuya

TV AZTECA Booth. LR 2.06

EXECUTIVES ATTENDING

Marcel Vinay Hill, VP de Ventas Internacionales Marcel Vinay Jr., CEO Comarex Carmen Pizano, Ventas Latinoamérica Ana Z. Sánchez, Jefe Operaciones Martha Contreras, Ventas Asia Adela Velasco, Ventas Europa Maxim Slavik, Ventas Europa Raúl Mendoza, Gerente de Nuevos Medios

Eternamente Tuya This is the story of two girls as opposite as day and night. One is poor, rebel, but happy and free. The other one is born from a rich family, lonely, and sad as a rainy afternoon. They had nothing in common… But fate will join them to make a pact as friends, a pact with blood which will end when love arrives. Now the girls are 21. One is still in town and has been waiting 4 long years waiting for her friend who has been studying in Switzerland by orders of her aunt, who has made all in her power to keep them apart. What they don’t know is what fate has prepared for them, they are not only sisters, but they will become rivals in love. Both will seek love in the same man, who will be torn apart by these two women.

My Life Me

TV-Loonland Booth. 09.19

EXECUTIVES ATTENDING

Simon Flamank, CEO Olivier Dumont, Managing Director Business Development & Coproductions Justine Bannister, Head of International Distribution Bernd Conrad, Head of Licensing & Merchandising DamienTromel, Head of Creative Affaires, Development and Acquisitions

My Life Me (52 x 11’)

This Comedy series full of off-beat visual effects is about a group of four mismatched tweens thrown together and experiencing the usual embarrassment of growing up

Mister Otter (52 x 1.30’’)

A delightfully eccentric approach of learning: Discover a whole new miscellany of fascinating cultural facts and momentous moments in history presented by the world´s first globetrotting Otter!

97 TodoTV

TeleProductions International

Lie to Me

For a Lifetime

The Dukes

Twentieth Century Fox Television Distribution

Venevision International

Booth. R29.33

Booth. E3.01 Tel. + 33 (0)4 92 99 8507

Booth. 01.23 / 01.25

EXECUTIVES ATTENDING

EXECUTIVES ATTENDING

Luis Villanueva, President and CEO Manuel Pérez, CFO César Díaz, Vice President of Sales José Antonio Espinal, Vice President, Entertainment Cristobal Ponte, Exclusive Independent Representative for Europe, Africa & M.E. Miguel Somoza, Director of Sales for Asia and North America Daniel Rodríguez, Director of Sales for Latin America Hector Beltran, Director of Formats & Production Services

Mark Kaner, President, Twentieth Century Fox Television Distribution Marion Edwards, President, International Television, Twentieth Century Fox Television Distribution Jamie McCabe, Executive Vice President, Worldwide Pay-Per-View, Video-On-Demand & Electronic Sell-Through Gina Brogi, Senior Vice President, Worldwide Pay Television Gerard Grant, Senior Vice President, Sales Europe Richard Samuels, Senior Vice President, Managing Dir. of Sales Asia

Lie to Me A dramatic series about a former police officer who is a “human lie detector,” that is, an expert in reading facial and body language that gives away deception. He partners with a female clinical psychologist and opens up an agency that offers private investigation and crime solving.

Sons of Anarchy A drama from ‘The Shield’ writer/executive producer Kurt Sutter which is set in the world of motorcycle clubs.

EXECUTIVES ATTENDING

For a Lifetime

(Telenovela - 120 approx. x 45’)

Vision Films Lise Romanoff, Managing Director, Worldwide Distribution Andre Relis, Managing Partner, International Sales and Acquisitions Vincent Tola, Sales Executive and Acquisitions Brittany Mullikin, Sales Executive and Contract Admin

The Dukes

(Family/Drama/Comedy – 96’) The story of The Dukes, a once famous Doo Wop group now desperate for work tries to pull over a gold heist only to find out that what’s most important in life is not fame or money, but love, family and dignity.

A brilliant communications student and a famous journalist become involved as she writes her thesis on his career and although they’re complete opposites, passion flourishes. A fresh and original story set in a glamorous women’s magazine.

Untamed Soul

(Telenovela - 120 approx. x 45’) Poor, wild, and uneducated, the beautiful Alma is a diamond in the rough. While Juan Pablo polishes her into a precious gem, he becomes the love of her life but fate will bring them huge surprises when she finds fame as a supermodel and discovers her true parentage.

RAW

World Wrestling Entertainment Booth. R31.37

EXECUTIVES ATTENDING The Harder They Come

VISION MUSIC Booth. R29.33 Tel.. + 33 (0) 4 9299 8862

EXECUTIVES ATTENDING

Lise Romanoff, Managing Director, Worldwide Distribution Andre Relis, Managing Partner, International Sales and Acquisitions Vincent Tola, Sales Executive and Acquisitions Brittany Mullikin, Sales Executive and Contract Admin

The Harder They Come (Theatrical Feature Film – 105’)

TodoTV

98

Based on a true story, a Reggae performer comes to the city to make it big, but is taken advantage of and soon falls victim to drugs and crime. The cult classic that made Reggae a worldwide phenomenon.

Warped!

(Documentary & Concert -2 DVD Set) The best of 15 years of The Warped Tour - showcasing the music, the culture, the community, the attitude and freedom of an entire generation with concert performances of over 20 of the top bands.

Globetrotting

World Wide Entertainment Booth. 08:37

EXECUTIVES ATTENDING

Jonathan Hutchings, CEO Jason Thompson, COO Carolyn Rainey, Senior Company Executive & International Business Manager, Asia & Italy Kylie Seaman, Head of Acquisitions & International Business Manager, Europe Samuel Thompson, International Business Manager, Middle East, Eastern Europe, Turkey & Greece Liza De Marchi, International Business Manager, Indian Subcontinent, Germany, Austria & Switzerland Ratidzo Mambo, International Business Manager, Africa

Globetrotting

(13 x 30’ also available as 65 x 5’) Designed to appeal to the adventurer in all of us, we take you ‘Globetrotting’ to some of the hottest places on earth! Globetrotting simplifies the travel experience by showing viewers where to go and what to see, as well as providing useful information on local history, key attractions and destination trivia.

Andrew Whitaker, President, WWE Europe, Middle East & Africa Dominic Hayes, VP & Managing Director, Int’l TV & EMEA Jonathan Sully, President, WWE Asia Pacific Sophie Stone, Manager, International Television EMEA Andrew Cronyn, Director, Media Strategy and Digital Sales Kathryn Martino, Affiliate Relations Coordinator Emilio Revelo, Representative, Int’l TV & Affiliate Relations

Raw

(52 x 60’ / 52 x 120’) This live event show is the most exciting and unpredictable action-packed program on television. Raw features an incredible roster of “larger-than-life” Superstars.

SmackDown

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

ECW

(52 x 60’) ECW is a live event show showcasing the exciting action of the ECW Superstars, the world’s most extreme athletes.