World Screen Distributor's Guide 2010

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Distributors Guide 2010

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Contents A Note from the Editor . . . .6 Interviews . . . . . . . . . . . . .7 Distributors . . . . . . . . . . .31 Event Calendar . . . . . . . .114

Publisher Ricardo Seguin Guise Editor Anna Carugati

Ricardo Seguin Guise President

Executive Editor Mansha Daswani

Anna Carugati Executive VP and Group Editorial Director

Production and Design Director Lauren M. Uda

Mansha Daswani VP of Strategic Development

Managing Editor Kristin Brzoznowski

World Screen Š 2010 WSN INC. 1123 Broadway, #1207 New York, NY 10010

Sales and Marketing Director Tatiana Rozza

Phone: (212) 924-7620 Fax: (212) 924-6940

Sales and Marketing Manager Kelly Quiroz

Website: www.worldscreen.com No part of this publication can be used, reprinted, copied or stored in any medium without the publisher’s authorization. For a free subscription to our newsletters, please visit WorldScreen.com/pages/newsletter

Business Affairs Manager Rae Matthew Sales and Marketing Coordinator Cesar Suero

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A Note from the Editor For decades the international television business has been based on the simple transaction of selling and buying programming. The business reached its first peak during the ’80s, when deregulation of the television industry in Europe gave rise to commercial networks, each one in great need of programming. Those networks became mature and started to produce more of their own programming, but opportunities for distributors of programming continued to arise—from cable and satellite platforms launching in Latin America,Asia and Central and Eastern Europe.Years later, with the advent of digital terrestrial, even more outlets popped up—but all of them were linear television. If you fast-forward to today, traditional TV is hardly the only game in town. Nonlinear is the new kid on the block and he morphs into various incarnations:on demand on TV,on demand online, catch-up TV, iTunes, Hulu—some of these you get for free and have to watch the commercials, others you pay for and are commercial free. Nielsen’s most recent Three Screen Report showed that while 99 percent of video content in the U.S. is viewed on traditional TV, online video usage is up by 34.9 percent. Among the current nonlinear offerings is Comcast, the largest cable operator in the U.S., which has some 17,000 hours of movies and series available on demand. In the U.K., the BBC provides its massive amount of programming online—TV and radio shows are available for seven days. Last year, the RTL Group in Europe had 136 million video views with its catch-up service RTL Now in Germany, 148 million with M6 Replay in France and 185 million with RTL Gemist in the Netherlands. The increasing plethora of channels and platforms are giving programming distributors many outlets for their fare, but that original buying and selling transaction on which the business is based has become much more complex.The companies in this guide are successfully navigating today’s linear and nonlinear television worlds. —Anna Carugati 6

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Interviews

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Jeffrey Bewkes Chairman and CEO Time Warner WS: What synergies are there between Warner Bros. and Turner Broadcasting? BEWKES: Warner is Turner’s lead supplier and Turner is Warner’s biggest customer.TNT and TBS’s acquired programming leads all the other networks.And that is because they have the reach and financial income, from fees and ads, to be able to pay the highest license fees for hits produced for the big networks. Warner Bros. is the biggest producer of hit TV series. It’s in the business of making hits and selling them to the highest bidder, so we are able to sell a certain amount to our own networks. But we also need to sell a fair amount of our hit TV series to competitors, because if we didn’t, then we would no longer be able to be the leading producer or seller. Warner Bros. is so big in making films and TV shows that we need to have open-supply relations with all networks. For example, the runner-up network to carry The Sopranos in basic cable was TNT, but it was not perfect for TNT, given the originals they wanted to do.And A&E Network wanted to pay much more for it. So we made the decision to sell it there, which had two benefits. One is, we made more money. And the second is, it keeps alive and healthy the desire for other networks to look to us for programming, because you can’t be the world’s biggest maker of TV series if you don’t sell to anybody outside your own house. WS: Your cable channels are doing very well with original

programming. BEWKES: TNT has more original programming in develop-

ment than it’s ever had before. A TNT show is not necessarily going to be made, cast and shaped the same way as you would shape a broadcast series that aims for the widest possible audience.We’re not aiming for that. Because we are able to look for programming that fits the brand of our network, the economic risk involved in having hits and misses goes down. So we can take more risks, because we have permission from our viewers. They want to see exciting new things. They want to see us push the envelope on the promise we’ve made to give them new drama forms, not just the old ones. 8

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James Murdoch Chairman and Chief Executive for Europe and Asia, News Corporation WS: How are your customers watching programming? MURDOCH: Ultimately, customers are very comfortable with a much more fluid interaction with content and programming than we might think they are.They will watch television on a TV screen, [but] in a different situation, if the TV screen is not convenient, they’ll watch on their laptop, or they’ll take a clip from their iPhone app and watch that. And they are reasonably comfortable switching back and forth, so it’s not a zero sum game between screens. It’s about giving customers the flexibility to consume content the way that they would like to.And it’s about being a step ahead of them and offering content and services they really want. Obviously, the majority of the television business remains on the TV screen. But it’s not necessarily right to think of these screens as one replacing the other; it’s going to be much a more a fluid mix. WS: How important is HD? MURDOCH: As far as the television business goes, the two things

that can really transform the experience for customers are the breadth and quality of the HD programming we can offer, and the PVR [personal video recorder].The MySKY platform in Italy or Sky+ in the U.K., which are developed through Sky and NDS, are world leaders in PVR technology. When you combine that with HD and with what we are doing in the U.K. and soon in Italy, which is to provide a VOD service on those same platforms, it’s a tremendous experience. And you don’t have to dig up the road to do it. It’s simply a box and a broadcast system and it works very, very well.The breadth of HD programming was something that we were worried about a number of years ago. We had to invest quite a lot and work to get third-party channels to really focus on it. If you look at the offering we have in Italy or in the U.K. and how fast it’s growing, and even in Germany, where we introduced seven high-definition channels with the launch of Sky Deutschland, that’s really transformational. HD is going to be a big part of the story, and establishing HD as a mass-market proposition is going to be fundamental for us. 9

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Gerhard Zeiler CEO RTL Group WS: What contributions has RTL Tele-

vision made to the German TV market? ZEILER: RTL Television has essentially

rewritten the rulebook for German television. Before RTL came on the scene, there was a completely different way of thinking about TV. It was about education and a lot of programming reflected the personal tastes of the producer.Then RTL came along, and RTL has always put viewers at the heart of its efforts.That’s the reason why it has continuously set new trends across many genres. WS: Given the circumstances today, is broadcasting still a good business to be in? ZEILER: Yes, definitely, because TV is still the leading medium, and it will continue to be, even in the digital future. Whether you talk to consumers, viewers or advertisers, without TV, there is no growth in advertising, and TV is still the best medium for reaching a mass audience, especially now that there are so many distribution channels and small target audiences. And that is why broadcasting is still an excellent business to be in. WS: What growth do you still see in broadcasting? ZEILER: RTL Group will be seeing growth in many different

areas. We are not only a broadcasting group, we also have FremantleMedia, our international production arm. FremantleMedia generates 1.2 billion euros in revenues, and has excellent growth prospects.“Can’t-afford-to-miss” content is becoming ever more valuable in the digital age as every new platform or distribution channel needs exciting content to attract consumers. Secondly, of course, the audience is constantly changing. One of our slogans is,“We move with our audience,” and as we continue to invest more in digital and online viewing, there will be growth in the digital arena, as well.Thirdly, we believe that once the present worldwide economic downturn ends, advertising will grow again—and we, the TV industry, will benefit from that. 10

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Anne Sweeney Co-chair, Disney Media Networks President, Disney/ABC Television Group WS: When you are creating a franchise,

do you think of the international audience as well? SWEENEY: When you run a global business, you have to think globally, and the international marketplace has been a part of every conversation and every plan for every project from the beginning. For example, Latin America was one of the strongest markets for High School Musical (HSM), and EMEA [Europe, the Middle East and Africa] has continued to grow the Hannah Montana and the HSM businesses. For the London premiere of Camp Rock, we had the rollout plans that really set the stage for the rest of the world and for the way we treated franchises like this going forward.And we maximize not only our channels but also the freeTV windows that are available to us. WS: Is television still where viewers sample a program first, or is

that changing? SWEENEY: The good news is that TV still rules by a mile. People

have really increased the hours of TV viewing from last year, more than they increased viewing online. Probably the biggest contributor to this is the DVR, because it has provided viewers with so much convenience. And homes with DVRs watch more primetime television than homes that don’t have DVRs. We’ve found that people use abc.com to catch up on episodes that they missed. It’s interesting to note that the average age of the person watching our shows on abc.com is about 15 years younger than a person who would watch the shows on ABC in prime time. WS: How are advertisers responding to people viewing online? SWEENEY: We created Ad Lab to look at the impact of inter-

activity in online ads, the effect of changing the creative process across the pods, and how we would run the creative. We are working with some of our clients and we’re testing a pretty wide variety of formats and creative executions, so we can go back to advertisers and say, This works extremely well, we know it is going to deliver for you, we know people will remember the product or have a high intent to buy. 11

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Ynon Kreiz Chairman and CEO Endemol WS: What do you see as your main

growth areas? KREIZ: We are looking at different

vectors of growth: We are looking to continue to grow our core business, that is our first priority, then we are looking to expand geographically into new regions. We are looking at growing in Asia, Central and Eastern Europe, the Middle East and Latin America.We remain bullish and we are big believers in digital growth.This is a company that historically has been very oriented toward the digital domain. We are still very proactive in the digital space and we are seeing quite a lot of exciting opportunities that we are looking to build [on] and commercialize. WS: What are the most important challenges Endemol must face in order to maintain its competitive edge in the format business? KREIZ: First and foremost, we have to remain very focused on our core business, which is the creation and production of great television shows.This is what we are best at.The beginning, the middle and the end for us is about making great television shows. On top of that, we are taking a number of initiatives to maintain our competitive advantage, including geographical expansion, diversifying our business, establishing our distribution platform, expanding our scripted drama activity and building our digital business. WS: How do you ensure that a large company like Endemol

remains flexible enough to be able to react to broadcasters’ needs? KREIZ: The key to our strategy is to combine a very largescale organization, which is in more than 25 countries now, while remaining very local and close to our broadcasting partners.That is what enables us to deliver to the broadcasters, to reach their audiences at a budget that is commercially viable.That combination is really what makes us flexible and competitive. 12

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Tony Cohen CEO FremantleMedia WS: What have been FremantleMedia’s

biggest contributions to the international television business? COHEN: We have contributed in four different ways.The first is our production of huge, mostly prime-time, very successful entertainment and drama formats that have in many ways changed the TV landscape. The second would be about the quality of our production.The number of shows that we have which are number one or number two around the world and come back, year after year, are proof of that quality. The third point is thinking about our programs as brands. In addition to being programs, they have enormous ability to attract engagement from audiences offscreen as well as on-screen. And lastly, there is our investment in creativity.We have a very connected worldwide creative network, which enables us to both create and roll out new material. It’s a collaborative effort across the territories. WS: Has FremantleMedia made the studios rethink their busi-

ness models? COHEN: It’s made them, along with U.S. broadcasters, far more

open to material that comes from outside the U.S. Many of the leading TV executives come to places like London in the weeks before MIPTV and MIPCOM to see what the local market is generating, because the material is very powerful and, in particular, the U.K. market has been the leading exporter of entertainment and reality formats for many years. The U.S. is now drawing level with it. It’s opened their eyes to what’s possible, but it has also intrigued and whetted their appetites as to what the potential of operating locally in markets around Europe might be.The only issue with that is that the execution of those ambitions can be very tricky, because in each of the local markets around the world you need credibility and relationships, the same as you do in the U.S., to make a really strong business. One of the reasons why FremantleMedia has been so successful is the strength of its local companies. They do have that credibility in the local markets, and that’s a real challenge for the Hollywood studios. 13

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Roberto Irineu Marinho President Organizações Globo WS: What are Organizações Globo’s main growth areas? MARINHO: We try not to anticipate the needs and habits of media consumers, and we want to guarantee that our content works like a meeting point—a common language that allows for healthy relationships with everyone. In this regard, there are four growth areas. First, expansion of free TV—we believe that will continue to be the biggest media outlet in Brazil—revamped by digital technology, with mobility, quality and interactivity. Second, a [more diversified] content offering, satisfying the interests of different groups and [segments of the audience]. Third, to be bold in the digital world, offering content in different ways, with different formats and languages, allowing greater interaction with clients. Finally, to develop international co-productions that combine our expertise with some types of content, like novelas, with the knowledge of local tastes. WS: What have you learned from managing the company in

these tough economic times? MARINHO: Organizações Globo has many decades of experi-

ence with financial instability. Our directives went through a radical change after the 2001–2002 financial crisis, and from then we began to adopt very conservative financial measures.We’re now comfortably positioned to face this unstable scenario. Our goal is to continue making necessary investments in technology, rights and talent to increase the quality of our content.We also want to be ready to leverage market opportunities that arise and that make sense for our media business. WS: What are TV Globo’s strengths versus the competition? MARINHO: Brazil’s TV market has always been competitive.

There’s nothing to hold viewers back from changing channels to find better programming. Our recipe has been to maintain quality content throughout the entire slate, looking always to find new formats.Thirty-eight years of Rede Globo’s absolute leadership in viewership proves that the formula works. 14

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Joe Uva CEO Univision Communications WS: What are some of the strengths of Univision’s schedule? UVA: Univision Network is one of America’s top networks, regardless of language and, in major markets across the nation, many nights beating CBS, NBS, FOX and ABC. At the local level, Univision stations consistently out-deliver other stations, regardless of language. WS: What is Univision doing to reach out to young Hispanics who are growing up bilingual and watching English-language channels? UVA: Univision offers content that is innovative and culturally relevant to Hispanic Americans, regardless of their proficiency in English. Nearly three-fourths of our television audience live in a home where both English and Spanish are spoken, and the top 25 most-watched shows in those bilingual homes are on Univision. Bilingual Hispanics in particular come to Univision for content that doesn’t translate into English. News coverage on Spanishlanguage television, radio and online covers topics that are specifically of interest to Hispanics; sports coverage offers the best of soccer; and novelas are a unique formula that have proven to be uniquely successful in Spanish. Interestingly, our strongest demographic performance is among 18- to 34-year-olds. Certainly, a growing number of this segment is bilingual, yet, according to the Nielsen ratings,they are choosing to seek out and watch Univision. WS: What do you have to say to advertisers about the importance of continuing to advertise during an economic downturn? UVA: The Hispanic population continues to be the nation’s fastest-growing consumer segment, estimated to be more than 45 million, which makes every dollar invested in the Hispanic market a dollar invested in growth. Hispanics over-index in many categories, and given that they are highly brand loyal, focusing on this segment during times like these is key. We are the number one brand for Hispanic Americans, with a connection to our audience which allows us to provide advertisers deep insight into the U.S. Hispanic population—helping them create more relevant offerings to grow their businesses. 15

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Shigeo Fukuchi President NHK WS: How are you coping with the challenges of investing in high-quality programs today as a public broadcaster? FUKUCHI: It is important to economize on any unnecessary expenses, but we have no intention of cutting costs when it comes to news coverage and production of quality programming. Many viewers want more higher-quality programs. Because a single TV network faces constraints on budget and production capacity in making major series, international joint production involving multiple broadcasters is one important approach. Moving forward, we want to account for the demands of overseas markets and international perspectives right from the program-development stage, with our goal being to make programs that will be more appealing to the global market. WS: How is NHK participating in the transition to digital ter-

restrial broadcasting? FUKUCHI: The transition to terrestrial digital broadcasting is a

matter of national policy in Japan.As a public broadcaster, I believe that NHK has a great responsibility to help the viewing public avoid confusion in the transition to digital. In anticipation of the complete switchover to terrestrial digital broadcasting in July 2011, we are upgrading our relay transmitters for digital,renovating community reception facilities, and offering expert advice through our Reception Consultation Center, among other initiatives. WS: How have you extended the NHK brand to digital platforms? FUKUCHI: We announced a three-year corporate plan covering

the period from April 2009 onward. It incorporates our aim to connect the public with NHK through “three screens�:TV, PCs and mobile phones.We set up an on-demand service that allows, for a fee, access via the Net to previously broadcast programs.We launched a mobile news site that sends news reports to mobile phones. In this era of digital convergence between various media, NHK as a public broadcaster has a vital obligation to craft an environment that allows our news and programming to be viewed on mobile phones, PCs and other devices. 16

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Andreas Bartl Managing Director for German Free TV ProSiebenSat.1 Media WS: ProSieben is known for highquality mini-series and event movies. Do those continue to be important? BARTL: There is an economic crisis, but our viewers don’t want to see the crisis on-screen. They expect us to continue to offer strong programming and we cannot disappoint them.Therefore, even facing a crisis, we are producing TV events that draw automatic attention from the audiences because we cannot let go of these programs. WS: How are you offering your content on other platforms? BARTL: TV on demand is a very important trend among

viewers and will continue to be so over the next years. It’s not as big in Germany yet as it is in the U.S. But viewers, and especially young viewers, have grown up with the Internet and have become accustomed to having what they want immediately, anytime and anyplace. Maxdome [the on-demand portal] is number one in video views online by far, and we call this concept TV 3.0, which means that TV content will be watched on three screens: the big TV screen, the laptop screen and also, and this will be very important very soon, the mobile screen on smart phones like the iPhone. We are ready for this development, and we take it very seriously. And as a TV group, we see it as a chance to grab some share of the online advertising business by [extending] our core business, which is showing movies and programming [to the online and mobile worlds]. WS: How do the ProSiebenSat.1 brands complement each other? BARTL: The complementary nature of our brands and of their

schedules is part of the recent success of our German free-TV channels, which have been dynamically growing their ratings. And it partly comes, from my point of view, from the fact that the general managers of the channels are working closer together than they have in the past. We have a much higher coordination of our strategy in our programming, and many departments are centralized now. So it’s much easier now to bring the brands on to the screen in a complementary manner. 17

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George Bodenheimer President, ESPN, Inc. and ABC Sports Co-Chair, Disney Media Networks WS: What is ESPN’s general strategy

when acquiring sports rights? BODENHEIMER: The big game remains

a social touchstone. Our FIFA World Cup football coverage resonated with fans in 2006 and we expect South Africa to be a major event of interest amongst fans. We have secured long-term rights agreements with the NBA, Major League Baseball, NASCAR, major college football and basketball conferences, and more. As part of the rights/value exchange, we negotiate for a wide range of multimedia, digital and international rights.We also know that we can’t own it all.We passed on U.S.TV deals for the NHL and PGA Tour golf. However, they wanted to stay involved with ESPN and did digital and international rights deals with us. WS: How important are the international channels to ESPN’s

total business and revenues? BODENHEIMER: I now think of ESPN as a global sports media

company and not a U.S. sports TV company. Our international and digital media businesses will be key drivers of ESPN’s future growth. They are both areas we continue to invest in through product development, organic growth and acquisitions. We have 33 TV networks outside of the U.S., which are complemented by radio, online, broadband, print and wireless in various markets. Our goal for each of our networks regardless of location is to serve fans. Our ever-growing SportsCenter franchise, which now has 14 international editions of the show, is our best example of how we have really evolved in this area recently. WS: What has contributed to the ongoing strength of the ESPN brand? BODENHEIMER: What I find amazing today is that 30 couples have told us they named their babies after ESPN with variations like “Espen.”Very few companies can claim this affinity with their customers or as we like to say—fans. Several factors contribute to this fan loyalty. Not only were we the first to provide an all-sports national television channel, we continually focus on our mission to serve fans better tomorrow than we do today. 18

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Bonnie Hammer President, NBC Universal Cable Entertainment and Universal Cable Productions WS: How have USA Network and Syfy

been models for change in the way shows are produced and aired? HAMMER: The key for both of those channels and to their success is the clarity of the brand and what we call a brand filter. Everything we do—whether it’s the pilots we greenlight, the tone of a marketing campaign or an on-air campaign, or our choices for content for digital or mobile—has to go through a very clear filter that specifies the qualities of each of the channels. WS: Can the broadcast networks learn from the model of branded cable channels? HAMMER: Cable channels have … grown up in a world where brand is extremely important and the shows supported the brand. We live now in a really fragmented world that is no longer just about linear programming and appointment scheduling. We’re programming for regular television but also digitally, on the web and on mobile, and we have to be prepared for the world of DVRs and time-shifting.When you see your shows all over the place, yes, you have to have good content and good shows, but it’s your brand which is going to hold it all together in a cohesive way. We as cablers developed a certain programming savvy and learned how to come up with a level of quality that the networks have had for all these years. Now, I think it’s time for the networks to turn around and learn a little bit more about promoting and marketing from a brand-centric point of view. WS: What are your priorities for the cable studio? HAMMER: The goal is to create a lot of quality content that has

a long tail. Because now that we own the studio, when we make decisions for USA or for Syfy, we’re not only thinking how will the programming succeed in terms of ratings. We will ask, Will this series be five, six, seven, eight seasons long? Can it sell as a DVD? Can we distribute it internationally and domestically? We look at the franchise as a whole, or what I call “ultimate profit by project,” as opposed to just looking at the license fee a program can generate. 19

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John de Mol Founder Talpa Media Group WS: In what way did your shows, including Big Brother, change the TV landscape? DE MOL: In the year 2000, Big Brother was an almost instant success that conquered the world thanks, in part, to the enormous attention the show attracted in the international news media. And, of course, it deserved a lot of attention because it was completely new. I am a modest man, but you may say that Big Brother [paved the way] for a new genre in television and helped to modernize the TV landscape. WS: When developing formats, how important is it to include some level of interactivity with the audience? DE MOL: The media landscape has become more diverse, which we see as a challenge, as it brings in more opportunities to create content on different platforms and it may bring more business for all parties involved. But, of course, it’s not that easy. Interactivity has to be an organic part of the format and not simply added on. WS: With more companies developing formats, is it more difficult to find new ideas that will stand out? DE MOL: There are not many companies that have a total focus on content creation like Talpa has. Apart from developing formats, the execution is essential as well in order to keep a close eye on quality. Within Talpa we produce all our formats in-house, where the development of the format is key, while production and distribution play a secondary role. Besides this,Talpa is in the position to easily fund the production of pilots, if necessary. WS: How do you foster creativity among your team? DE MOL: Within Talpa it’s all about content creation for all dif-

ferent platforms with a more centralized focus on television. With Talpa Content we have an experienced full-force creative team that I am personally very much involved with.We develop premium content, produce all developed formats in-house and, because of our extensive network nationally and internationally, are able to position our titles efficiently in the market. 20

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Jon Feltheimer Co-chairman & CEO Lionsgate WS: Why is it important to have both

film and television operations? FELTHEIMER: The old adage is that

diversification helps you weather the cyclicality of individual businesses. I had worked in television, so it made a lot of sense for me to enter that business at Lionsgate. My background not only included doing studio shows for networks in the U.S. but also producing indigenous and formatted content for international platforms and content for cable networks. At Lionsgate our thought was that we could retain this same focus on alternative buyers and take a similarly entrepreneurial approach to the marketplace at a time when there were a lot of branded cable networks starting to invest in branded content.We believed that we were the perfect supplier for them, so there was both an opportunity and a necessity, and it made perfect sense to go into that business. WS: How do hits like Weeds and Mad Men affect the growth of your TV division? FELTHEIMER: Those shows are great calling cards for our Lionsgate television brand. There is no question these shows told both international and domestic buyers that we were serious about our content, that we were going to provide an alternative to studio offerings and that we were willing to invest in our business. WS: Tell me about your channel business. FELTHEIMER: We’ve looked at digital distribution as a very viable

form of creating channel platforms, so we started with FEARnet, which has an on-demand as well as an online component. We think that is a great brand and it’s consistent with one of our most dominant content brands, which is horror. We invested in Break.com. [We launched] EPIX, because there was an opportunity in the marketplace to do something a little different in terms of a premium channel, and we have two great partners in Paramount and MGM.With the TV Guide Network, we are making a large investment. It will be the first time that we have actually controlled the infrastructure and all of the operations. 21

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Wadah Khanfar Director General Al Jazeera WS: What impact has Al Jazeera’s independent journalism had on the viewers and the governments of the Arab world? KHANFAR: At the beginning, the viewers were skeptical about what they were seeing because they thought Al Jazeera might be a new venture that was controlled or initiated by the government, or by certain kinds of groups, in order to influence Arab opinion. But when they found that Al Jazeera is really and truly independent and there is no political agenda behind what it is doing, the people in the Arab world embraced it and Al Jazeera became the most credible source of information for most of the Arabs in the Arab world. As for the governments, they did not welcome Al Jazeera’s presence, since Al Jazeera started to adopt a style of journalism that was alien to the culture that governments wanted to install in the Arab world. Suddenly, opposition figures and leaders had access to the audience by appearing on-screen, and issues related to corruption, democracy and the big authoritarian style of government that we have in the Arab world, all of these issues were discussed on the screen. So most of the Arab governments actually did not welcome Al Jazeera! They started at times to threaten our journalists, close down our bureaus, or withdraw their embassies from Qatar or put pressure on Qatar to close down Al Jazeera or at least to contain its reporting. Of course, that did not work. Al Jazeera gained much more credibility because when most of these authoritarian governments stood against Al Jazeera, the public embraced it more and believed in it more, and that gave us the [confidence] that what we were doing was sound and founded on the very deep roots of the relationship between us and our audience. WS: Why was it important to launch Al Jazeera English? KHANFAR: Since Al Jazeera is located in the Middle East and has

an excellent understanding of this region, and even a very good reputation, it has definitely developed a very recognized brand internationally. We thought an English-language channel would be very important for us, first, since the region is hosting the most complicated hot spots in the world, and we have much better access in these areas than others. 22

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Adrian Sarbu President and CEO Central European Media Enterprises WS: How did the Time Warner invest-

ment in CME come about? SARBU: Since the end of 2007 we had

been contemplating a partnership with Time Warner because we both thought it could be mutually beneficial. We would gain a partner in our business that is so strong in content and is not involved in managing broadcasting assets in Europe.And Time Warner would have a partner in CEE [Central and Eastern Europe] which is the leading broadcaster in the region and also has a strong content division—these assets could complement their needs, their stance in the region and also in Europe. The Time Warner investment strengthens our liquidity position, supports our strategic view of channel development and also promises to bring resources to our content strategy.We see joining efforts [as a way] to develop high-quality local and regional television and cinema content for CEE, which can be sold around the world. WS: What are the major strengths of the CME stations? SARBU: We are quite confident in our strengths. We have the

best people. We’ve trained our people over the last 15 years since we began operating our stations. Our management teams are local, promoted from the rank and file, and they are young. The average age of our management is 33 years old. And that doesn’t mean they have been working for us only two or three years. Some of them have been working with us for ten years and more. One of the pillars of our business model has been to develop and produce our own content—and that’s not only news but also local nonfiction and especially local fiction. Our local content sets us apart from the competition because it delivers such good ratings for us. Our newscasts are leaders in the market. Our big entertainment shows, the dancing shows, reality or even smaller shows, are very popular, and our fiction is the key driver of our ratings. In addition, over the last 15 years, we have succeeded in changing the whole perception of commercial television. 23

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Steve Mosko President Sony Pictures Television WS: What creative advantages does Sony

Pictures Television have in pursuing programming opportunities? MOSKO: As an independent studio, there are a couple of advantages. One is, the word independent means that it gives a lot of freedom to the people we do business with. While some people think that not being associated with a network is a negative, we and the people we work with view it as a positive. We can work with everybody; we’re Switzerland. If you come up with an idea, we’ll develop it with you and then we’ll go sell it to the network that makes the most sense. Another advantage is we make money as our partners make money, so we are fully invested in every single show we do. WS: Sony was one of the first studios to develop original

series for cable. MOSKO: Fortunately, we did see that there was an opportunity

years ago when the basic cable networks decided to do original programming.What was interesting is that there wasn’t a legacy as to how these shows were produced.You had a blank piece of paper and you had to figure out what it would cost to produce these series. If you look at cable shows versus the broadcast network shows, the quality is pretty much the same.And in fact, the quality of the actors and writers and producers who are doing business on basic cable is outstanding. Cable has a lot of appeal for them, and certainly a lot of the cable networks are generating broadcastnetwork-type ratings. WS: This must help you now in this difficult economic climate. MOSKO: Years ago as a company we went through a restructur-

ing, which turned us into a lean mean operation in which we put together our syndication and cable television businesses with our broadcast network business. So way back when, we put our businesses together and created efficiencies that are paying off for us today.We recognized that the business was changing and in order for us to compete as an independent studio, we had to make sure we were running an efficient business. 24

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Bruce Rosenblum President Warner Bros. Television Group WS: What creative climate does a TV

writer or producer find at Warner Bros.? ROSENBLUM: We pride ourselves on

fostering a highly supportive and creative environment in which we empower our writers and producers to pursue their artistic passions, while we find the best home for their TV shows. Because Warner Bros. is not aligned with one of the big four broadcast networks, we have the ability to match projects with the outlet—whether it’s a broadcast or cable network—that will provide the best creative home, as opposed to being an in-house producer with only one real buyer. WS: How does Warner Bros. keep the quality on-screen and still

make the business model work? ROSENBLUM: In this economic environment, it is absolutely

incumbent on us to look at costs closely and to be prudent. Of course, this is not a new concept for us. In 2006, we launched Warner Horizon Television (WHTV), which is not only the home for our unscripted prime-time programming, but also the division in which we developed a new business model for producing scripted series specifically for cable. We’ve applied that scrutiny of looking at costs carefully and diligently across all of our businesses. So, we look at every possible cost and ways to produce our programming more efficiently in order to be able to put every penny on the screen and deliver compelling shows with the high-quality production values viewers expect from us. WS: Do you have plans to grow the business of producing shows based on formats? ROSENBLUM: We’re in search of compelling ideas for shows and don’t care where a great idea comes from.We are scouring everywhere for ideas, including acquiring international formats. We have been in the local-production business from a licensing standpoint for a long time. Going forward, we are now looking to align ourselves with select local production companies and hope to take a more hands-on approach with more control over locally produced series. 25

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Dawn Airey Chair and Chief Executive Five WS: What have you done to turn Five around? AIREY: We brought in a new creative team. We’ve been commissioning a lot of fast-turnaround documentaries, which get us noticed and make a lot of noise fast. And we’ve announced a whole host of key entertainment and talent announcements. And we’ve done all of that against the backdrop of the worst entertainment economy that I have seen in my 25 years of work in broadcasting. We had to take an aggressive review of the overhead, a consequence of which was losing 25 percent of the staff.We’ve also had to substantially reduce the program budget, but we’ve done that through renegotiating the contracts, and taking money out of nonkey areas of the schedule and focusing it on prime time. We’ve done all that and, interestingly, the results are quite spectacular.We are the only family of channels to have grown its share of viewing year to date. So I’m pretty pleased with our performance. WS: Are U.S. shows still important to your family of channels? AIREY: Five has always had, right from the beginning, really good

U.S. series and films. We’ve got the top-rated U.S. series in the U.K.: the CSI franchise, NCIS, The Mentalist. So we will continue with our preeminence of U.S. product.And Five USA, the digital channel…is exclusively devoted to U.S. programming and it plays a key role in our overall performance.Actually, U.S. acquisitions are important for Fiver as well.Fiver and Five USA are delivering yearon-year growth figures and are doing spectacularly well. WS: What have you learned about how your viewers are watching Five’s programming? AIREY: The rump of it is still free-to-air—it’s still in the broadcast space, which is good, because that is where we charge a premium for our advertising. But audiences increasingly expect their content, “whenever, wherever, on whatever,” and that is usually online. But 95 percent of the viewing is still from the old-fashioned broadcast stream—some of it is recorded on DVRs and played back the same day. 26

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Sophie Turner Laing Managing Director for Entertainment and News BSkyB WS: How have you put entertainment at the heart of Sky’s content? TURNER LAING: Sky offers the most fantastic array of different genres that make the day never dull! Because our news and sports programming are physically made on the premises here at Sky, there is a huge group of people living, breathing, making content for those two particular genres. [But] for entertainment, which is an equally huge area, we commissioned via third-party production companies through the independents. So entertainment didn’t necessarily have the same focus and impetus that I felt was a very important part of the whole ecology we have here at Sky, which is offering a real breadth of programming. So we’ve had to focus on originating our own programming. Alongside entertainment in the truest definition of the word on Sky1, we’ve been refocusing Sky Arts, adding channels, moving to HD and relaunching Sky Real Lives. WS: How are you keeping your customers satisfied? TURNER LAING: As far as entertainment goes, it’s about dif-

ferentiating Sky from what is available on the other platforms. So for me the big challenge is, How do we create clear blue water between the free TV broadcasters and us? Now, obviously, in sport and news we absolutely drive the difference. So what we needed were some very key hooks for the other channels.An example is how successful we’ve been with repositioning Sky Arts as not a niche channel that only three people who watch opera want to watch, but actually as a very broad-based arts channel, so that anybody, any age can enjoy the programming. If we go back to value, there are a lot of things that are very easy to demonstrate.The viewing experience we provide is an example of a way of delivering value and satisfaction. And we’re making an enormous push into HD, because high definition is something that we feel incredibly passionately and strongly about. And what is so interesting about HD is that it’s absolutely brilliant at highlighting what we’re fantastic at. 27

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Ron Howard Director and Producer WS: What were the elements that led you to believe that Parenthood could go from a two-hour feature film to an extended-run TV series? HOWARD: There is a great tradition of TV shows exploring family dynamics, more so than in a movie, really, in terms of putting the members under a microscope. It always seemed logical to us. We had talked about gathering that cast together and doing a sequel. We even tried it once—a couple of years after the movie had been released—but it just was not quite the right tone and not quite the right circumstance and timing for it. Then Jason Katims, who does the television version of Friday Night Lights, came to Brian [Grazer] and me about a year ago. He said that he wanted to do not a halfhour sitcom version of Parenthood—which is what we had tried before—but an hour dramedy. He wanted to apply his own tone and his own sensibility but continue to use the family dynamics that the film had framed for the audience to develop a new series. I’m very proud of this latest iteration of this idea of ours from all those years ago. It’s not copying anything. It’s taking some inspiration from it and Jason is applying his voice.There is no imitation; it’s kind of an evolution. It’s a couple of decades later, so the sensibilities have changed.The details of the circumstances that surround a modern family are somewhat different and he acknowledges that in ways that are very interesting. WS: With the success of franchises like Harry Potter or Spider-Man, is it more difficult nowadays to break through with a movie that is based on an original idea? HOWARD: I think it’s proving to be, yes, because it’s more competitive and audiences are looking for familiar titles, subjects that are immediately enticing. It reminds me a little bit of television in its network heyday, when they wanted these preachy, high-concept shows and a 15-second promo had to convince people to sample them. Then the first few minutes of the show had to [instantly] hook the audience because they were channel surfing and [could be easily distracted]. It reminds me of that.All that said, [the opportunities the current film business offers are] pretty encouraging to me. 28

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Matt Groening Creator The Simpsons WS: Would you ever have imagined

that the show would be so successful? GROENING: I thought it would be a

smash hit from the very beginning; I was that naïve! But I did not know what that really meant and certainly didn’t think that it would last 20 years. I’m not surprised by the success 20 years ago, because there was nothing else like it on TV and I thought this was the kind of show I would have liked to watch when I was a kid. So again, naïveté, arrogance, I don’t know. But I didn’t think how that would extend over the years.That aspect of it is very surprising. WS: What has made the show so successful internationally? GROENING: I think that stupidity is a universal character trait.

Everybody enjoys seeing somebody make mistakes and act in a completely misguided way. There may be some laughing at American culture, which is fully intentional on our part, so maybe there is a little bit of superiority in the laughter.At heart, The Simpsons is a family show, and even though the escapades the characters get into are fairly outlandish, there is a core emotional reality to the show, which has made it last as long as it has. WS: The show has so many levels of humor. How did all that multilayering come about? GROENING: The density of the scripts on the show are due partly to insecurity and just thinking maybe this joke doesn’t work, but if we throw three more jokes in there, that will help, and partly because that just became our signature—we tried to do jokes for everybody watching. That is, there are jokes that are very broad and silly for kids, a lot of physical humor, which we like. And we love animation, and with animation you take advantage of exaggeration and mayhem. And then we put in really smart jokes for people who have read a few books and seen a few films. And it turns out that it doesn’t matter if you don’t get every joke.You can still enjoy the jokes that you do understand.There is a secret goal in all of this, which is to make the show watchable more than one time. 29

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Jamie Oliver Celebrity Chef and TV Personality WS: What do you want to offer viewers with your cooking and food shows? OLIVER: I always try to make my shows different because I know the public would get bored of seeing the same thing over and over again. So I did The Naked Chef and then followed that with the documentary about setting up Fifteen [Jamie’s Kitchen] and then the travel series about Italy [Jamie’s Great Italian Escape] and then School Dinners and so on. I try to shake it up and keep it fresh. So with this American Road Trip series, for example, I’ve not gone for the obvious places or the typical types of American food. I’ve dug under the surface and found some amazing food and some amazing people and it’s a wonderful, fascinating series. WS: You say that Jamie’s Ministry of Food is the most important

show you ever worked on.Why is that? OLIVER: When I was doing School Dinners, I went into a lot of

the kids’ homes and I saw them eating such rubbish. I realized that there’s a whole generation who can’t cook and so their kids aren’t eating any home-cooked food. So it’s important because if we’ve got people growing up eating rubbish every day and never learning to cook for themselves, the situation can only get worse over the next generation and the one after. But there’s a real desire for people to learn to cook—you can tell because the Ministry of Food centre in Rotherham is booked up months in advance with people wanting to attend classes. I think councils all over Britain are starting to realize that there’s a real need for this type of thing. WS: Is having a personal connection with your fans through your website important to you? OLIVER: Absolutely. The website and Twitter are very important in keeping people informed about what I’m up to. But I also like dipping into the website forums and seeing what other people are up to. It’s like we’re all friends, even though some of us have never met. 30

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AFL Productions ADDRESS: 1519 37 Ave., San Francisco, CA 94122, U.S.A. TELEPHONE: (1-415) 661-6146 FAX: (1-415) 661-7581 WEBSITE: www.aflproductions.com HEAD, DEVELOPMENT & DISTRIBUTION: Yuri Volodarsky VP, ACQUISITIONS: Lana Berezovsky SALES DIRECTOR: Julia Belova CONTACT: volax@netwiz.net PROGRAMS: Naked & Funny: 180x30 min.; Funny, But Not

Naked: 75x30 min.; Camera of Laughs: 100x30 min.; Theory of Catastrophes: 4x1 hr.; The Most Shocking Videos 1 & 2. Location: Russia!, 2x45 min.; Outrageous & Hilarious: 1x45 min.; Wild & Crazy: Caught on Tape: 12x30 min.; Police Patrol:The Movie: 16x104 min.; The Pisa Tower:The Movie: 1x94 min., romantic comedy; Animal Wars:The Game: 1x74 min. “AFL Productions is a developer, producer and distributor of comedy and entertainment shows and formats. Our footage archive contains over 5,000 hours of television programs and formats. Taking into consideration a new era of television, we have recently concentrated our efforts on creating, developing, producing and distributing only programs and formats that grab the target audience’s immediate attention and send them soaring through a world that they have never experienced before. The ratings and shares of our programs during the time of their premieres have been exceptionally high, and therefore, they all have great potential and a profitable lifespan in reruns and worldwide distribution.” —Yuri Volodarsky, Head, Development & Distribution

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ALL3MEDIA International ADDRESS: Berkshire House, 168-173 High Holborn, London WC1V 7AA, U.K. TELEPHONE: (44-20) 7845-4350 FAX: (44-20) 7845-4360 WEBSITE: www.all3mediainternational.com MANAGING DIRECTOR: Louise Pedersen VP, SALES: Stephen Driscoll CONTACT: Rachel Glaister, rachel.glaister@all3media.com PROGRAMS: Cash at Your Door: format, game show; Alexandria: 1x1 hr., factual; Going Postal: 2x2 hrs., drama; Derren Brown: The Events: 3x1 hr., entertainment; Children’s Hospital: 12x30 min., factual; The Cube: format, game show; Pete Vs. Life, 5x30 min., comedy; Crash: 12x30 min., drama; Accused: 6x1 hr., drama; Hold Tight: format, game show.

“ALL3MEDIA International is one of the U.K.’s leading independent distribution companies. Highlights of the catalogue include dramas, such as Midsomer Murders and Wild at Heart; long-running documentary series, such as Fifth Gear and Airport; factual specials, including The First Emperor: The Man Who Made China and Love Me Love My Doll; the successful BBC children’s Serious… franchise; entertainment in The Orange British Academy Film Awards and the gameshow formats Cash Cab, which is now celebrating over 1,000 episodes in production around the world, Let Me Entertain You and Lingo. ALL3MEDIA International is committed to providing the best possible service to producers and buyers. We distribute programs from a wide range of producers and broadcasters in the U.K., such as BBC,Tiger Aspect and World Productions as well as from companies within the ALL3MEDIA group. Our aim is to work closely with producers to develop, finance and distribute internationally appealing programs and formats and to fully exploit their international sales potential.” —Louise Pedersen, Managing Director

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Armoza Formats ADDRESS: 16 Ha’Arba’a St., 3/Fl.,Tel Aviv 64739, Israel TELEPHONE: (972-3) 540-8333 FAX: (972-3) 543-5752 WEBSITE: www.armozaformats.com CEO: Avi Armoza CONTACT: Kelly Wright, info@armozaformats.com PROGRAMS: The Frame: bi-weeklyx1 hr. & 24 hrs. online,

cross-platform reality format; The Bubble: 30 min., gameshow format; The Ran Quadruplets: 29x30 min., drama format; Upgrade: 30 min., game-show format; The Naked Truth: 16x35 min., drama format; Comedians at Work: 1 hr., comedy format; Buzz Off: 30 min., dating format; Overdraft Family: 1 hr., factual-entertainment format; The Package: 30 min., factualentertainment format; Foreplay, 30 min., dating format.

“Armoza Formats is a global TV format development and distribution company dedicated to entertainment formats. As a formats boutique, we cherry-pick all of our shows to bring you the most original, innovative and successful programming in all genres, from reality to factual entertainment to scripted dramas to game shows. See what we have to offer at armozaformats.com.You won’t want to miss it!” —Avi Armoza, CEO

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Australian Children’s Television Foundation ADDRESS: Level 3, 145 Smith St., Fitzroy,Victoria 3065,Australia TELEPHONE: (61-3) 9419-8800 FAX: (61-3) 9419-0660 WEBSITE: www.actf.com.au CEO: Jenny Buckland INTERNATIONAL SALES EXECUTIVES: Roberta Di Vito &

Tim Hegarty CONTACT: roberta.divito@actf.com.au PROGRAMS: My Place: 13x24 min., drama; Lockie Leonard: Season 2: 26x24 min., comedy; Lockie Leonard: Season 1: 26x24 min., comedy; Deadly: 13x24 min., action/comedy; Mortified: 26x24 min., comedy; Double Trouble: 13x24 min., comedy/drama; Worst Best Friends: 13x24 min., comedy; Holly’s Heroes: 26x24 min., comedy/drama; Noah & Saskia: 13x24 min comedy; Round the Twist: 52x24 min., comedy. “The Australian Children’s Television Foundation was established in 1982 to ensure that children have access to high-quality media created especially for them. Today, we produce and distribute children’s television drama, feature films and educational resources, working with major international broadcasters and production companies. We also distribute children’s programming created by other Australian producers. Our programs include over 300 hours of Australia’s best children’s programming, covering all ages from preschool to teenagers, and presented in a range of formats and genres, including live-action series drama, animated series drama, telemovies and documentaries.” —Jenny Buckland, CEO

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Austrian Broadcasting Corporation (ORF) ADDRESS: ORF Program Sales,Würzburggasse 30, A-1136 Vienna, Austria TELEPHONE: (43-1) 87878-13030 FAX: (43-1) 87878-12757 WEBSITE: tvsales.orf.at GENERAL DIRECTOR: Dr. Alexander Wrabetz HEAD, SALES & ACQUISITIONS: Beatrice Riesenfelder CONTACT: Sabrina Schwarz, sabrina.schwarz@orf.at PROGRAMS: 3-D Planet: 12x26 min., people & places; 3-D Mega Shark: 1x50 min., people & places; Humus—Forgotten Climate Aid: 1x50 min., environment & globalization; African Safari Live—The Ultimate Experience During the Soccer World Cup 2010: 30x1 hr., people & places; Dragonflies—Flying Jewels: 1x50 min., wildlife & nature; The Voynich Mystery— The World’s Most Mysterious Manuscript: 1x50 min. special; When the Sun Stands Still—Kepler, Galileo and the Heavens: 1x1 hr., history & biographies; The Dare: 1x90 min., drama; Operas 2010: music/operas; The 21st Century Tenors: 1x1 hr.80 min., special/concert.

“As the distributor of the Austrian Broadcasting Corporation, the ORF sales team can offer an extensive range of top-notch programs of all genres. Our team is operating worldwide—with a main office in Vienna and sales representatives in various territories.This structure allows us to understand better the requirements of each market and customize our offers for you. Because service is our success!” —Beatrice Riesenfelder, Head, Sales & Acquisitions

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BBC Worldwide ADDRESS: Media Centre, 201 Wood Lane, London W12 7TQ, U.K. TELEPHONE: (44-20) 8433-2000 FAX: (44-20) 8749-0538 WEBSITE: www.bbcworldwide.com CHIEF EXECUTIVE: John Smith MANAGING DIRECTOR, SALES & DISTRIBUTION:

Steve Macallister PROGRAMS: Atlantis: 1x90 min., history; Zingzillas: 52x22 min., children’s; Seven Wonders of the Solar System: 5x50 min., science; Strike Back: 3x90 min., drama; Luther, 6x50 min., drama; Human Planet: 8x50 min., natural history; Rolling Stones: Exile on Main Street: 1x1 hr., music; Lennon: Naked: 1x90 min., drama; Daughters: 3x50 min., drama; Invisible Worlds: 3x50 min., science.

“BBC Worldwide Sales & Distribution is responsible for licensing British programs to customers around the world on behalf of the BBC and independent production companies.As the largest exporter of television programs outside of the U.S. studios, this business manages a catalogue of around 50,000 hours spanning all genres, including drama, factual children’s, comedy, entertainment and natural history. It also runs BBC Showcase, the world’s biggest program trade fair organized by a single distributor.” —Corporate Communications

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Beyond Distribution ADDRESS: 109 Reserve Rd., Artarmon, New South Wales 2064, Australia TELEPHONE: (61-2) 9437-2000 FAX: (61-2) 9437-2017 WEBSITE: www.beyond.com.au GENERAL MANAGER: Fiona Crago HEAD, SALES: Munia Kanna-Konsek CONTACT: munia_kanna-konsek@beyond.com.au PROGRAMS: Six Degrees of TV: 26x30 min., factual entertainment; MovieStar: 104x30 min., factual entertainment; Psychic Private Eyes: 25x1 hr., 1x94 min., crime & investigation; Stop. Rewind: 13x30 min., science & technology; Wild Animal Baby Explorers: 52x15 min., children & family; Rush TV: 26x30 min., children & family; Let’s Talk About Pep: 8x30 min., factual entertainment; Highway Patrol: 10x30 min., factual entertainment; Hot Cities: 8x1 hr., people & society.

“We are very proud that Beyond Distribution continues to be recognized as a worldwide leading independent distributor. With offices around the world, we are able to keep our finger on the pulse across all territories by building and maintaining relationships with producers, broadcasters and industry representatives. In addition to attending the major markets such as MIPTV, MIPDoc, MIPCOM, MIP Junior, DISCOP, ATF and WAEA, our sales team focus heavily on territory sales trips. Beyond Distribution’s name is synonymous with programs of mass appeal and our current international sales catalogue boasts over 5,000 hours of top quality and multi-award winning programming.We have over 25 years of experience in distributing to the international marketplace and our highly experienced and knowledgeable team are crucial to the company’s longevity and reputation. Some of our recent international success stories include Mythbusters, Numberjacks, Kid Detectives, Milly Molly, Backyard Science, Taboo, Lonely Planet: Six Degrees and Deadly Women.” —Fiona Crago, General Manager

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Breakthrough Entertainment ADDRESS: 122 Sherbourne St.,Toronto M5A 2R4, Canada TELEPHONE: (1-416) 366-6588, ext. 112 FAX: (1-416) 363-9726 WEBSITE: www.breakthroughfilms.com PARTNER: Ira Levy PARTNER: Peter Williamson HEAD, DISTRIBUTION: Nat Abraham CONTACT: Jodi Mackie, jmackie@breakthroughfilms.com PROGRAMS: Fishtronaut: 52x11 min., 26x30 min., animation;

Producing Parker: 26x30 min., adult animation; The ReInventors: 35x30 min., factual; Stay Tooned: 13x30 min., factual; Greatest Tank Battles: 10x1 hr., documentary; Battlefield Mysteries: 4x1 hr., documentary; The Science of the Senses: 4x1 hr., documentary; Combat Forces: 26x30 min., documentary; Future Revealed: 10x30 min., documentary; Less Than Kind: 26x30 min., drama.

“Toronto-based Breakthrough Entertainment Inc. (BEI) is the distribution arm for Breakthrough Films & Television, Breakthrough Animation and third-party independent producers, including Partners in Motion. As one of Canada’s largest television distribution companies BEI has licensed programs to major broadcasters in over 200 territories. With a catalogue of over 2,100 half-hours of programming, BEI handles distribution as well as worldwide presales, co-productions and third-party acquisitions.” —Nat Abraham, Head, Distribution

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CABLEready ADDRESS: 98 East Ave., Norwalk, CT 06851, U.S.A. TELEPHONE: (1-203) 855-7979 FAX: (1-203) 855-8370 WEBSITE: www.cableready.net PRESIDENT & CEO: Gary Lico VP, SALES & MARKETING: Sabrina Ayala CONTACT: sabrina@cableready.net PROGRAMS: Intersections: 13x30 min., science & technology;

World Party: 8x30 min., lifestyle/travel; Wine Portfolio: 10x30 min., lifestyle/travel; Forensic Files: 378x30 min., crime & investigation; Tony Awards: 1x80 min., 1x1 hr., 1x90 min., entertainment; Inside the Actors Studio: 70x1 hr., 15x2 hrs., entertainment; Spotlight: 52x30 min., entertainment; Women Behind Bars: 36x1 hr., crime & investigation; Dominick Dunne’s Power, Privilege and Justice: 58x1 hr., crime & investigation; Into the Wild: 46x30 min., wildlife.

“CABLEready is the television industry’s premier independent program representation firm with clients located across the globe. Established in 1992 to represent existing program libraries, develop original program ideas and series franchises, CABLEready has licensed more programs to U.S. cable networks than any other program distributor. Our successes include Inside the Actors Studio, a hit on Bravo in the U.S. and airing in more than 100 countries worldwide; Forensic Files, truTV’s top-rated and longest-running series; and countless other series and specials. CABLEready is the exclusive international distributor for such global programming brands as The New York Times and ReelzChannel. CABLEready also distributes programs on behalf of Lionsgate, Weather Channel and truTV. Inc. Magazine named CABLEready as one of America’s 5,000 fastest growing private companies and the highest-ranked TV programming company in 2007, 2008 and 2009.” —Gary Lico, President & CEO

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CAKE ADDRESS: 76 Charlotte St., London W1T 4QS, U.K. TELEPHONE: (44-20) 7307-3230 FAX: (44-20) 7307-3239 WEBSITE: www.cakeentertainment.com PARTNER & CREATIVE DIRECTOR: Tom van Waveren PARTNER & COMMERCIAL DIRECTOR: Genevieve Dexter MANAGING DIRECTOR, DISTRIBUTION: Edward Galton CONTACT: egalton@cakeentertainment.com PROGRAMS: Ooohhhasis: 78x7 min., kids 6 to 11/animation;

Dead Gorgeous: 26x24 min., kids 8 to 12/live action; Angelo Rules: 78x7 min., kids 6 to 11/animation; Hareport: 26x11 min., kids 6 to 11/animation; Stoked: 52x26 min., kids 8 to 12/animation; Total Drama World Tour, Total Drama Action & Total Drama Island: 78x30 min., kids 8 to 12/animation; Aifric: 26x30 min., kids 8 to 12/live action; The Razzberry Jazzberry Jam: 26x22 min., kids 4 to 7/animation; Aesop’s Theater: 39x10 min., kids 4 to 7/animation; Eliot Kid: 52x13 min., kids 6 to 9/animation; Skunk Fu!: 52x13 min., kids 6 to 11/animation; Loopdidoo: 52x6.5 min., kids 3 to 7/animation. “CAKE Entertainment is one of the world’s leading kids’ and family entertainment specialists. The London-based company, created in 2002, works with animation and live-action production companies from around the world to develop, produce, commercially position and manage their IP propositions for the international market. CAKE is owned and directed by Genevieve Dexter and Tom van Waveren and is now established as the meeting place for a growing family of producers of high-end content for the current and future media environment.The company has now completed and acquired a wide range of programming. Recent successes include Fresh TV’s Total Drama Island and Total Drama Action, Cartoon Saloon’s Skunk Fu! (BAFTA nominated), Coolabi and Neptuno’s King Arthur’s Disasters (BAFTA nominated) and Star Farm’s Edgar & Ellen—all which have achieved phenomenal ratings success in the U.S.A., U.K. and many other territories.” —Edward Galton, Managing Director, Distribution

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Cineflix International ADDRESS: The Barley Mow Centre, 10 Barley Mow Passage, London W4 4PH, U.K. TELEPHONE: (44-20) 8996-1810 FAX: (44-20) 8996-1811 WEBSITE: www.cineflixinternational.com PRESIDENT & MANAGING DIRECTOR: Paul Heaney HEAD, SALES: Kate Llewellyn-Jones & Sandra Piha CONTACT: Lucy Rawson, sales@cineflix.com PROGRAMS: Delinquent Gourmet: 13x30 min., food & travel; Nazi Hunters: 8x1 hr., history; Weird or What: 10x1 hr., science; Campus PD: 2 seasons, 20x30 min., crime/docusoap; The Opener: 6x1 hr., food & travel; Property Virgins: 6 seasons, 117x 30 min., home & design; Pitchin’ In: 13x30 min., food & travel; House Poor: 13x30 min., home & design; Cold Blood: 2 seasons, 23x1 hr., crime; The Cupcake Girls: 13x30 min., food & travel.

“Cineflix International is a leading global distributor of non-fiction entertainment with a successful track record of exploiting rights and building international TV brands. Featuring over 1,000 hours of new and popular programming with genres as diverse as entertainment, factual entertainment, reality, documentary, drama doc and specialist factual, our expanding catalogue offers programs the world wants to watch. A solid partner, Cineflix International has the experience and resources to sell your programs and expand your business globally. We are focused on meeting the individual needs of each producer and every buyer. Our strategy is designed to help you prosper through the evolving market demands of production and broadcasting. Stay up to date with all our new and exciting programs at cineflixinternational.com, or come meet us at one of the major trade shows.” —Paul Heaney, President & Managing Director

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Classic Media ADDRESS: Royalty House, 72-74 Dean St., 3/Fl. London W1D 3SG, U.K. TELEPHONE: (44-20) 8762-6200 FAX: (44-20) 8762-6299 WEBSITE: www.classicmedia.tv CO-CEO: Eric Ellenbogen CO-CEO: John Engelman EXECUTIVE VP, INTERNATIONAL: Chloe van den Berg EXECUTIVE VP, PRODUCTION & PROGRAM SALES:

Doug Schwalbe CONTACT: chloe.vandenberg@classicmedia.tv PROGRAMS: Tinga Tinga Tales: 52x11 min., animated preschool; Guess with Jess: 52x10 min., animated preschool; Postman Pat SDS: 26x15 min., animated preschool; Shelldon: 26x30 min., animated; Kung Fu Magoo: 1x80 min., animated; My Life Me: 52x11 min., animated; Nan & Lili: 200x3 min., animated preschool; Tracy Beaker Returns: 13x25 min., live action; Ooglies: 26x15 min., animated; Casper’s Scare School: 26x30 min., 1x75 min. special, animated. “Classic Media is one of the world’s largest independent entertainment companies and is a leader in reinventing the classics of yesterday and creating the entertainment classics of tomorrow. The company boasts a catalogue encompassing over 3,600 hours of programming that is distributed in more than 170 territories worldwide and showcased in multiple formats, including TV, film, home video, consumer products, publishing, digital and music.We are proud to own and manage a fantastic portfolio of much loved brands, including popular classics Postman Pat, Kung Fu Magoo, Casper the Friendly Ghost, The Lone Ranger; newly launched global brands Tinga Tinga Tales and Guess with Jess; and our most recently acquired brands Nan & Lili, My Life Me and Ooglies.” —Chloe van den Berg, Executive VP, International

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Claxson ADDRESS: Avenida Melián 2780, C.P. 1430, Buenos Aires,

Argentina TELEPHONE: (54-11) 4851-3700 FAX: (54-11) 4851-3700 WEBSITE: www.claxson.com EXECUTIVE VP & GENERAL MANAGER: Mariano Varela COMMERCIAL DIRECTOR: Fernando Adad CONTACT: contacto@claxson.com PROGRAMS: All That Show: The Trip: 6x24 min., lifestyle;

Sounds of Freedom: 10x24 min.; In the Deep: 9x24 min., 2x1 hr., lifestyle; Living the Dream: Polynesia: 13x24 min., lifestyle; The Influencers: 8x24 min., documentary; Jazmine’s Touch, 10x24 min., 3x48 min., adult; Bunny World: 10x24 min., 6x24 min., adult; Racing Curves: 12x24 min., adult; Room Service: 12x24 min., adult; Surfing Attraction: 12x24 min.

“Claxson is a multimedia company that produces and distributes high-quality entertainment. It combines assets on cable TV, Internet and mobile platforms in order to offer a wide variety of the leading brands in adult entertainment and lifestyle. Its content is available through multiple distribution platforms. The portfolio for adults includes Playboy TV Latin America & Iberia,Venus, Private and FOR MAN. Claxson has also created LifeStyle TV, the first TV channel that shows lifestyles through real stories and constitutes the inspiration source to set the trends in the world of fashion and design, art, gastronomy, innovation, business and exotic destinations.” —Corporate Communications

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Comcast International Media Group ADDRESS: 5750 Wilshire Blvd., Los Angeles, CA 90036, U.S.A. TELEPHONE: (1-323) 692-4396 FAX: (1-323) 954-2991 WEBSITE: www.comcastintl.com PRESIDENT, COMCAST INTERNATIONAL MEDIA GROUP & COMCAST ENTERTAINMENT PRODUCTIONS: Kevin MacLellan EXECUTIVE VP: Duccio Donati CONTACT: Gary Forsyth, gforsyth@comcastnets.com PROGRAMS: Pretty Wild: 9x30 min., reality; Kendra: 10x30

min., reality; Holly’s World: 8x30 min., reality; Jerseylicious: 8x1 hr., reality; Tacky House: 7x30 min., 3x1 hr., lifestyle; What I Hate About Me: 10x1 hr., 1x30 min., reality; Haney Project: Ray Romano: 8x30 min., reality; Being John Daly: 7x30 min., 1x1 hr., reality; Donald J Trump’s Fabulous World of Golf: 6x1 hr., reality; Destination Golf: 7x30 min., lifestyle.

“2010 is poised to be one of the most exciting and dynamic years in CIMG’s evolution. In addition to our solid program-sales activities and expanding channel properties, this year we’re focused on growing our global formats division, offering up such successful reality titles as Baggage, Perfect Catch, Reality Hell,What I Hate About Me, Instant Beauty Pageant and Fake or Real to international buyers. In 2010, we’re committed to developing our E! Everywhere platform on an international scale, an initiative that first launched domestically in 2004, making our content available anywhere, any time and on all platforms, from traditional TV, radio and VOD, to mobile and online.” —Duccio Donati, Executive VP

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Cookie Jar Entertainment ADDRESS: 266 King St.W., 2/Fl.,Toronto, ON, M5V 1H8,

Canada TELEPHONE: (1-416) 977-3238 FAX: (1-416) 977-4526 WEBSITE: www.cjar.com CEO: Michael Hirsh PRESIDENT & COO: Toper Taylor SENIOR VP, TV & HOME ENTERTAINMENT: Jean-Michel Ciszewski CONTACT: jmc@cjar.com PROGRAMS: Doodlebops Rockin’ Road Show: 52x11 min., ani-

mated preschool; Metajets: 40x30 min., animated actionadventure; Kung Fu Dino Posse: 40x30 min., animated actionadventure; Busytown Mysteries: 52x30 min., animated preschool; Noonbory & the Super 7: 26x30 min., animated preschool; Johnny Test: 65x30 min., animated action-comedy; Caillou: 91x30 min., animated preschool; Arthur: 165x30 min., animated preschool; Magi-Nation: 52x30 min., animated action-adventure.

“The Cookie Jar Group of Companies is one of the world’s leading independent entertainment, consumer products and education companies with 16 offices around the globe. Cookie Jar Entertainment is a leader in the creation, production and marketing of animated and live-action programming. Its library of 6,000 half-hour episodes of television features some of the world’s most recognizable series, including Caillou, Inspector Gadget, Arthur, The Doodlebops and Johnny Test. The company controls Cookie Jar TV, the weekend morning block on CBS, and has a one-third interest in international children’s television channel KidsCo. Cookie Jar Entertainment’s Jaroo.com is the premiere web video destination for kids with the largest independent selection of full-length children’s TV series and movies online. Copyright Promotions Licensing Group (CPLG), Cookie Jar’s full-service international licensing agency, represents numerous entertainment, sport and design brands such as Strawberry Shortcake, Richard Scarry, St. Andrews Links, Lucha Libre AAA and Skelanimals. CarsonDellosa Publishing is one of North America’s largest providers of supplemental education materials, reaching nearly 2,000 teachers across the United States.” —Corporate Communications 60

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Dori Media International ADDRESS: Hochhaus zur Palme, Bleicherweg 33, CH-8002 Zurich, Switzerland TELEPHONE: (41-43) 817-7050 FAX: (41-43) 817-7055 WEBSITE: www.dorimedia.com PRESIDENT & CEO, DORI MEDIA GROUP: Nadav Palti VP, SALES, DORI MEDIA AMERICA: Andres Santos VP, SALES, DORI MEDIA AMERICA: Juan Fernandez VP, SALES, DORI MEDIA DISTRIBUTION ARGENTINA:

Elena Antonini CONTACT: Keren Segal, keren@dorimedia.com PROGRAMS: Ladronas: 26x1 hr., action; Ciega a Citas (Date Blind): 120x1 hr., romantic comedy; Mia: Mi Amiga Invisible (Mia: My Invisible Friend): 120x1 hr., all-family telenovela; Split: 2 seasons, 90x30 min., teen vampire daily drama; Money Time: 70x35 min., daily drama; Pilots’Wives: 125x35 min., daily drama; uMan: 21 days, 24 hrs. a day, 7 days a week, multiplatform control game; Cupido: El Negocio del Amor (Cupid:The Business of Love): 120x1 hr., romantic comedy; Champs 12: 150x1 hr., teen telenovela; Amanda O: 120x7 min., 19x1 hr., 500x3 min., multiplatform telenovela.

“Dori Media Distribution is a subsidiary of Dori Media Group that is active in the international television market, specializing in the various business aspects of the telenovela genre. Despite the worldwide economical situation, Dori Media Distribution succeeded in expanding the current distribution in 2009 by selling many titles worldwide, such as Split, which was sold to 35 countries in nine months; Amanda O, which was sold to 36 countries in 18 months; Champs 12, which was sold to 19 countries and Lalola, which was sold to more than 70 countries in two years. In 2010 the company will continue to deepen its penetration in existing markets like the U.S., Asia and Africa and also open new markets with new products such as the multiplatform control game uMan, which was already sold to seven countries in seven months; the new romantic comedy Ciega a Citas (Date Blind), which was sold to seven countries in four months and much more telenovelas with universal appeal.” —Nadav Palti, President & CEO, Dori Media Group 62

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Endemol Worldwide Distribution ADDRESS: Shepherds Building Central, Charecroft Way, London W14 0EE, U.K. TELEPHONE: (44-870) 333-1700 FAX: (44-20) 8222-4186 WEBSITE: www.endemolworldwidedistribution.com CHIEF EXECUTIVE: Cathy Payne EXECUTIVE DIRECTOR, SALES, AMERICAS, ASIA, AUSTRALIA, NEW ZEALAND: Matt Creasey EXECUTIVE DIRECTOR, SALES, EUROPE: Veronique Verges CONTACT: Shannon Becker, Shannon.becker@endemol.com PROGRAMS: Spirited: 8x1 hr., drama; Ladies of Letters: Season 2,

10x30 min., drama; Secret Diary of a Call Girl: Season 3: 8x30 min., drama; The Successful Mr. and Mrs. Perez: 85x1 hr., drama; My Kitchen Rules: 15x1 hr., entertainment; Football’s Next Star: 7x1 hr., entertainment; Tsunami Caught on Camera: 1x90 min., factual special; Detroit Plane Bombing:The Untold Story: 1x1 hr., factual special; Unusual Suspects: 13x1 hr., factual series; Meteorite Men: 7x1 hr., factual series.

“Endemol Worldwide Distribution is a global, independent distributor operating from offices in London, Los Angeles, Sydney, Madrid, Paris and Hong Kong representing major international shows such as Home and Away, Extreme Makeover Home Edition, Wipeout, McLeod’s Daughters, Rush, Secret Diary of a Call Girl, Hi5, Blue Water High and Jerry Seinfeld’s The Marriage Ref, which launched early 2010 on NBC. The Endemol Worldwide Distribution catalogue comprises over 20,000 hours of programming, including drama, lifestyle, infotainment, children’s/family live action and animation, reality and factual. At MIPTV 2010, as well as showcasing our new releases, we will be highlighting the catalogue of Darlow Smithson, Tiger Aspect and Tigress after Endemol Group’s recent acquisition of these three leading international production companies with a combined portfolio spanning drama, comedy, animation, children’s programming, entertainment, documentaries, docudramas, features and feature films.” —Cathy Payne, Chief Executive

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Europe Images International ADDRESS: 24 quai le Gallo, 92513 Boulogne Billancourt, France TELEPHONE: (33-1) 4074-7676 FAX: (33-1) 4074-7679 WEBSITE: www.europeimages.com CEO: Frank Soloveicik INTERNATIONAL SALES MANAGER: Bertrand Lossignol VP, SALES & CO-PRODUCTIONS: Catherine Alvaresse CONTACT: Marie-Hélène Briand,

mariehelene.briand@europeimages.com PROGRAMS: The Destiny of Rome: 2x52 min., history; The

Odyssey of the Continents: 5x52 min., science; Is the Magnetic Pole About to Flip?: 1x52 min., science; Unfinished Business: Copenhagen Climate Talks 2009: 1x90 min., current affairs; You Cannot Start Without Me—Valery Gergiev Maestro: 1x90 min., 1x52 min., portrait; Mandela: In the Name of Freedom: 1x90 min., 1x52 min., portrait; Marion Mazzano: 6x52 min., detective drama; Nouvelle Maud (working title): 6x52 min., drama/comedy; Survival Kit: 52x4 min., family/animated; Grenadine & Peppermint: 78x7 min., animated/comedy. “At MIPTV, Europe Images, a distribution arm of Lagardère Entertainment, is finalizing the prefinancing of an exciting new slate of documentary, animation, fiction and performing arts programming. Documentaries—from history and science and nature to travel and discovery—feature a number of eagerly awaited titles, including The Destiny of Rome and The Odyssey of the Continents for delivery in late 2010. In the fiction arena, three new mini-series and five new TV movies are on offer. Two animation series are also in production: Grenadine & Peppermint and Survival Kit, a fun and irreverent series for teens. In animation and fiction as well as documentaries, our emphasis is on multiplatform programming covering a full range of traditional and new media. We’re committed to investing in ambitious projects, working with the most innovative co-production partners in the international marketplace.” —Bertrand Lossignol, International Sales Manager 66

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Fireworks International ADDRESS: 19 Heddon St., London W1B 4BG, U.K. TELEPHONE: (44-20) 7851-6500 FAX: (44-20) 7851-6504 WEBSITE: www.contentfilm.com PRESIDENT: Greg Phillips EXECUTIVE VP, WORLDWIDE DISTRIBUTION: Saralo MacGregor CONTACT: firstname.surname@contentfilm.com PROGRAMS: Republic of Doyle: 12x1 hr., drama; Shadow Island

Mysteries: 2x2 hrs.,TV movie; Heartland: Season 4, 69x1 hr., drama; Wildlife Rescue Africa: 12x1 hr., non-fiction; Fly Girls: 8x30 min., non-fiction; Guys Choice Awards: 1x2 hrs., awards show; 4th and Long: 10x1 hr., reality; Splatter: 10x10 min., multiplatform thriller; Dimensions: 11x5 min., multiplatform sci-fi thriller; Girl Number 9: 6x5 min., multiplatform thriller/drama. “Fireworks International is ContentFilm’s international television distribution division with over 3,000 hours of high-quality and commercially appealing programming, including an extensive slate of major drama series, non-fiction entertainment, kids’ live-action comedy and drama series, TV movies, miniseries and special event programming. Recent additions include detective drama series Republic of Doyle, prime-time drama series The Border and heart-warming family drama series Heartland; non-fiction documentary specials Hunting the Lost Symbol and I Know What I Saw; U.S. tween comedy The Assistants, high-definition multiplatform thriller series Valemont, children’s programs Half Moon Investigations and Family Biz as well as the classic anime series Robotech. There’s also over 200 U.S. network mini-series,TV movies and specials, including the annual U.S. Primetime Emmy Awards show.This new product is combined with the large and valuable Fireworks library catalogue, which is complemented by a raft of formidable television shows, including Gene Roddenberry’s Andromeda, Mutant X and Relic Hunter.” —Saralo MacGregor, Executive VP,Worldwide Distribution

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TROUBLE IS HIS BUSINESS AND BUSINESS IS GOOD.

One Hour Drama Series MIPTV Stand RB.44, Riviera Beach Hall FIREWORKS INTERNATIONAL www.contentfilm.com

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Globo TV International ADDRESS: Rua Evandro Carlos de Andrade, 160/7º andar, Vila Cordeiro, São Paulo 04583-115, Brazil TELEPHONE: (55-11) 5112-4295 FAX: (55-11) 5112-4305 WEBSITE: www.globotvinternational.com HEAD, INTERNATIONAL BUSINESS: Ricardo Scalamandré HEAD, INTERNATIONAL SALES: Raphael Corrêa Netto CONTACT: Marcos Milanez, marcos.milanez@tvglobo.com.br PROGRAMS: India: A Love Story: 160x45 min., telenovela; Seize the Day: 160x45 min., telenovela; Watercolors of Love: 140x45 min., telenovela; Paradise City: 120x45 min., telenovela; Internal Affairs: 12x26 min., series; Sound & Fury: 2x90 min., mini-series; Sketch it Out: format; Profession Reporter: format; Brazilian Beats: 6x45 min., music special; GloboDOC: 7x45 min., documentary.

“During MIPTV we will present 13 new products, including formats, telenovelas, series, mini-series, documentaries and music specials. We will continue to diversify our portfolio, which allows us to support different types of programmers and reach new clients in different platforms. The formats are still a big bet. This year we’re launching two innovative formats: Profession Reporter and Sketch It Out.Another attraction in our new catalogue is the second season of GloboDOC. Seven new documentaries will be presented to the market in different categories, such as wildlife, culture, science and technology and personalities. Apart from this, one of the main highlights this year is India: A Love Story, the Globo TV International telenovela that won an International Emmy Award in 2009 and which was written by the consecrated author Gloria Perez, who also wrote The Clone.” —Raphael Corrêa Netto, Head, International Sales

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GMA Worldwide ADDRESS: GMA Network Center, EDSA corner Timog Ave. Diliman, 10/Fl., Quezon City, Philippines 1103 TELEPHONE: (63-2) 928-5072 FAX: (63-2) 928-5065 WEBSITE: www.igma.tv VP: Roxanne J. Barcelona ASSISTANT VP: Jocelyn D. Go CONTACTS: RJBarcelona@gmanetwork.com, JDGo@gmanetwork.com PROGRAMS: A Mother’s Sacrifice: 43x45 min., contemporary drama; Full House: 73x45 min., contemporary drama; Darna: 32x45 min., fantasy drama; Diva: 38x45 min., contemporary drama; First Time: 40x45 min., contemporary drama; Secret Affairs: 40x45 min., contemporary drama; Stairway to Heaven: 30x45 min., contemporary drama; The Last Prince: 40x45 min., fantasy drama; To Love You: 44x45 min., contemporary drama; Panday Kids: 40x45 min., fantasy drama.

“GMA Worldwide, Inc. (GWI) is a whollyowned subsidiary of GMA Network, Inc., the Philippines’ leading broadcaster. GWI is responsible for acquiring all canned program content, formats and clips for use by Channel 7 and its second channel, QTV 11. It is also the worldwide distributor of GMA’s local productions. Over the years, GWI has sustained strong business relationships with clients in Malaysia, Singapore, the U.S.A., Cambodia and Indonesia. Furthermore, with the success of syndication sales of GMA programs to free-TV stations in Tanzania, Kenya and Uganda in East Africa and lifestyle programs to numerous airlines, GWI has realized a 104-percent growth in 2009 sales and expects an even better performance in 2010.” —Roxanne J. Barcelona,VP

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Inspidea ADDRESS: G-G-03A Glomac Square, Jalan SS6/16A Kelana Jaya, 47301 Petaling Jaya, Malaysia TELEPHONE: (60-3) 7880-9934 FAX: (60-3) 7880-9932 WEBSITE: www.inspidea.com MANAGING DIRECTOR: Andrew Ooi SALES & MARKETING DIRECTOR: CJ See CONTACT: findoutmore@inspidea.com PROGRAMS: Boo & Me: 13x2 min., education/green; Mat Kacau: 26x2 min., comedy; Happy Together: 52x1 min., comedy; Mustang Mama X3: 26x2 min., comedy; Mustang Mama Diehard Sports Fan: 26x2 min., comedy; Mustang Mama Football Fever: 26x2 min., comedy; Johan,The Young Scientist: 26x12 min., education/science.

“Letting the kid out is fun and easy to do. But most adults won’t spontaneously do it. So we use herd mentality and peer pressure to get people to do it. It’s sneaky but it does the trick. The hard part is stopping it! The great thing is that all this play is translated into a diverse content that we produce and distribute, from classic titles, like Johan, The Young Scientist and Mustang Mama, to the brand-new shows. Boo & Me, our entertaining shorts on the environment, is targeted at children. Happy Together, our edgy comedy shorts made to satisfy our crazy-eccentric side, is for teens and adults. Finally, we have Mat Kacau, about an overexcited prankster we developed for Astro Ceria—Malaysia’s number one channel for children—for the entire family. So three new shows for almost everyone.We let the kid out to take over the world!” —Andrew Ooi, Managing Director

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Janson Media ADDRESS: 88 Semmens Rd., Harrington Park, NJ 07640, U.S.A. TELEPHONE: (1-201) 784-8488 FAX: (1-201) 784-3993 WEBSITE: www.janson.com PRESIDENT: Stephen Janson DIRECTOR, SALES & MARKETING: Betsy Van Ost CONTACT: Lynne Warshavsky, lynne@janson.com PROGRAMS: Expo: Magic of the White City: 1x2 hrs., history/doc-

umentary; Blood and Oil:The Middle East in World War I: 1x112 min., history/documentary; Pawns of Paradise: Inside The Kashmir Conflict: 1x54 min., current affairs; Independent Intervention: Breaking Silence: 1x1 hr., current affairs; Pure:A Bouldering Flick by Chuck Fryberger: 1x67 min., extreme sports; Warriors of the Night: The Air War Over Europe in WWII: 4x50 min., history/documentary; Halifax at War:The Story of a Bomber: 1x71 min., history/documentary; Heavy Metal:The Evolution of the Naval Warship: 2x50 min., history/documentary; Barbecue America:The World Tour: 23x30 min., cooking; The Jesus Diaries: Every Day Life in the Time of Messiah: 1x90 min., docu-drama/religion. “Established in 1989, Janson Media is an independent content production and distribution company based in the United States, with a catalogue of 1,500-plus hours of exclusive programming available for licensing to worldwide television,VOD, DVD/video, non-theatric and emerging new-media markets.The company has licensed programming to virtually every country in the world, and its clients include nearly every major broadcaster or media company, as well as a wide range of DVD labels and distributors. Our rights portfolio is continually updated with new releases, and includes documentaries and children’s programming, music and performance, lifestyle, nature and wildlife, science, health, sport, travel, adventure, how-to, history, current affairs, dramas and features.The company’s home-entertainment division publishes and manufactures DVDs and distributes them directly through its network of wholesalers and sub-distributors into a marketplace that ultimately includes over 15,000 public libraries, over 25,000 retailers, including video stores, museum gift shops, supermarkets, bookstores and home-electronics stores.” —Stephen Janson, President 76

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Latin Media Corporation ADDRESS: 8725 NW 18 Terrace, Suite 405, Miami, Fl 33172,

U.S.A. TELEPHONE: (1-305) 974-1765 FAX: (1-305) 974-1769 WEBSITE: www.latinmediacorp.net COMPANY DIRECTOR: José Escalante HEAD, SALES: Farid K. Ahmad CONTACT: JEscalante@latinmediacorp.net PROGRAMS: Bola Cinta: 30x1 hr., teen drama; Huaiquiman y

Tolosa: 24x1 hr., drama; Amango: Seasons 1-3, 12x43 min., 12x50 min., 8x50 min., teen; Maruman The Chosen: 26x25 min., teen; Pesona Kasih (Temptation of Love): 26x45 min., 26x45 min. (2011), drama. “Latin Media distributes the catalogue of Canal 13, Chile, Ecuavisa from Ecuador, and a few other independent producers from Venezuela, Peru, Argentina and Colombia, comprised of telenovelas, teen drama, kids’ stories and animation. Along with its partner, Worldwide Rights Corporation (WRC), Latin Media Corporation recently partnered with RTM of Malaysia to produce two telenovela-style Malaysian dramas for the international market. Latin Media Corporation manages distribution rights for Europe, Latin America and North America.” —José Escalante, Director, Latin Media Corporation, partner to Worldwide Rights Corporation

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Wƌ ŽŐ ƌ Ă ŵ > ĞŶŐ ƚ Ś͗ ϭϮϯdž ϰϯ͛ 'ĞŶƌ Ğ͗ & Ă ŵŝ ů LJ ƌ Ă ŵĂ d ŚĞ ƚ ƌ ŝ Ă ů Ɛ Ă ŶĚ ƚ ƌ ŝ ďƵů Ă ƟŽŶƐ ŽĨ Ă Ɛ ŝ ŶŐ ů Ğ Ĩ Ă ƚ ŚĞƌ Ă ŶĚ Śŝ Ɛ ŽŶů LJ ĚĂ ƵŐ Śƚ Ğƌ ͘

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DĂ ƌ ƵŵĂ Ŷ d ŚĞ ŚŽƐ ĞŶ

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EĂ Ěŝ Ğ DĞ ŶƟĞŶĚĞ

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d ŚĞ ŽĐ

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Wƌ ŽŐ ƌ Ă ŵ > ĞŶŐ ƚ Ś͗ ^ ĞĂ Ɛ ŽŶ ϭ ϭϯdž Ϯϱ͛ ^ ĞĂ Ɛ ŽŶ Ϯ Ϯϰdž Ϯϱ͛ 'ĞŶƌ Ğ͗ d ĞĞŶ ƌ Ă ŵĂ & ĞŶĂ ŝ Ɛ Ă ƚ ĞĞŶĂ Ő Ğƌ ǁŚŽ ďĞů ŝ Ğǀ ĞƐ ŝ Ŷ ů Žǀ Ğ Ă ŶĚ Ĩ ƌ ŝ ĞŶĚƐ Śŝ Ɖ͘ & Žů ů Žǁ ŚĞƌ ďů ŽŐ ͊

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Marvel Animation ADDRESS: 1600 Rosecrans Ave., Bldg. 7, Suite 110, Manhattan Beach, CA 90266, U.S.A. TELEPHONE: (1-310) 220-8996 FAX: (1-310) 536-0415 WEBSITE: www.marvel.com PRESIDENT: Eric Rollman CONTACT: erollman@marvel.com PROGRAMS: Marvel Knights: 52x22 min., action; The Avengers: Earth’s Mightiest Heroes: 52x22 min., action; The Super Hero Squad Show: 52x22 min., action/comedy; Ultimate SpiderMan: 26x22 min., action.

“Marvel Animation is the world’s most prolific producer of action-adventure animation. From Marvel’s library of over 5,000 characters and 70 years of brand awareness, Marvel Animation produces classic and cutting-edge television series and direct-to-DVD feature animation in various styles for new and loyal fans of all ages. From hugely successful international co-productions like Iron Man: Armored Adventures and Wolverine & the X-Men, two of the highest rated original premiere series on Nicktoons Network in the U.S., to People Magazine naming The Super Hero Squad Show (Cartoon Network) one of the year’s best kids’ shows of 2009, Marvel Animation’s shows deliver heroic ratings to networks around the world. While Marvel Animation can be found on Disney XD, Nicktoons Network, and Cartoon Network in the U.S. with over 40 hours of combined programming on air every week, there is an intense focus on the international marketplace with branded blocks in many territories and a focus on growing brand awareness in emerging markets through localized animation initiatives. Marvel continues the ride with over 300 episodes of television animation currently in production including: The Avengers: Earth’s Mightiest Heroes, Marvel Anime, Ultimate Spider-Man and the prime-time animation initiative Marvel Knights. Marvel Entertainment’s core strategy is to leverage its franchises in a growing array of global opportunities, including feature films, animation, consumer products, toys, video games, publishing and online.” —Eric Rollman, President 80

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Visit us at Booth #R30.33 TM & © 2010 Marvel.

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For more information please contact: À V , > U *Àià `i Ì] >ÀÛi >Ì Î£ä ÓÓä n äx U iÀ > J >ÀÛi °V

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Media Entertainment Group (MEG) ADDRESS: Dannebrogsgade 1, 1 TV, 1660 Copenhagen, Denmark TELEPHONE: (45-33) 86-2600 FAX: (45-33) 86-2601 WEBSITE: www.megnetwork.com CEO: Peter Greén VP, MEG FORMATS: Sarah Coursey CONTACT: sales@megnetwork.com PROGRAMS: Smile.TV: 20x25 min., comedy; World’s Funniest

Home Video Clips: 20,000x1 min., comedy; Bluffing—Hidden Camera: 10x25 min., comedy; World’s Funniest Videos: 39x25 min., comedy; Number 1 Soap Fan: format, game show; Catch Me!: format, dating; Miss Lingerie Model: format, reality; Camping With the In-Laws: format, reality game show; Ghost Hunting With…: format, paranormal; Extreme Make Over— Homeless Edition: format, reality. “MEG is a Scandinavian-based distribution company with more than 20 years of knowledge and experience in the funny-clip business. With brands like Bluffing, Smile.TV, World’s Funniest Home Video Clips and World’s Funniest Videos, MEG has become the number one funny-short supplier in the world. We constantly work to expand and refine our available clip, gag and sketch libraries to meet the many different needs of our clients—on all platforms. This year we are very proud to announce the launch of our new formats division, MEG Formats.With the acquisition of successful formats like Camping With the In-Laws, Catch Me!, Miss Lingerie Model, Ghost Hunting With… and This Is Your Fridge, we have already begun to supply top-notch entertainment to our clients. MEG Formats will announce a range of new and successful formats at every market and our ambition is to become the number one boutique format supplier in the world.” —Peter Greén, CEO

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MediaCorp ADDRESS: Caldecott Broadcast Centre, Andrew Rd., Singapore 299939 TELEPHONE: (65) 6350-3086 FAX: (65) 6253-3780 WEBSITE: www.mediacorp.sg/contentdistribution CEO: Lucas Chow SENIOR VP: Doreen Neo CONTACT: Content_Dist@mediacorp.com.sg PROGRAMS: Village Help—Buffaloes for the People: 1x52 min., documentary; Royal Feast of India: 1x52 min., documentary; The Icemen—Angadias of India: 1x52 min., documentary; For the Love of Shakespeare: 1x52 min., documentary; A Farmer’s Struggle: 1x52 min., documentary; A Weaver’s Tale: 1x52 min., documentary; Asian Diaspora—The Chinese: 4x30 min., documentary; Design by Love: 8x30 min., documentary; Hooked on Huayu: 8x30 min., information/education; Asia’s Wonder Kids: 6x30 min., information/education.

“MediaCorp is Singapore’s leading media company with the most complete range of platforms, spanning television, radio, newspapers, magazines, movies, digital and out-of-home media. Today, MediaCorp has over 50 products and brands in four languages (English, Mandarin, Malay and Tamil), reaching out to all adults in Singapore every week. MediaCorp is an active regional player through co-productions in TV dramas and movies, magazines publishing, as well as Channel NewsAsia International, the only Asian-owned English news channel. Our financial and strategic relationships in the region since 2007 include a venture with Indonesia’s most integrated media company PT Media Nusantara Citra and its parent, Global Mediacom, and International Media Corporation in Vietnam, set up to develop and produce television entertainment and economic news content. Winner of numerous international awards and accolades including Asia Television’s Broadcaster of the Year, MediaCorp’s vision is to become Asia’s top media company, delivering valued content to the world.” —Doreen Neo, Senior VP 84

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National Geographic Channels International ADDRESS: 1145 17 St., NW,Washington, D.C. 20036, U.S.A. TELEPHONE: (1-202) 912-6775 FAX: (1-202) 912-6694 WEBSITE: www.ngcimedia.com EXECUTIVE VP, CONTENT: Sydney Suissa VP, CONTENT SYNDICATION: Germaine Deagan Sweet CONTACT: Shirley Bowers, shbowers@ngs.org PROGRAMS: The Known Universe 2: 6x1 hr.; Richard

Hammond’s Engineering Connections: 10x1 hr.; Britain’s Greatest Machines with Chris Barrie: 8x1 hr.; Megafactories: 9x1 hr.; Waking the Baby Mammoth: 1x2 hrs., 1x1 hr.; Shark Men: 10x1 hr.; Cruise Ship Diaries: 6x1 hr.

“National Geographic Channels International (NGCI) invites viewers to live curious through its smart, innovative programming that questions what we know, how we view the world and what drives us forward. A business enterprise owned by National Geographic Television (NGT) and FOX Entertainment Group, NGCI contributes to the National Geographic Society’s commitment to exploration, conservation and education through its six channels: National Geographic Channel, National Geographic Channel HD, Nat Geo Wild, Nat Geo Wild HD, Nat Geo Adventure and Nat Geo Music. Globally, National Geographic Channel (including NGC U.S., which is a joint venture of NGT and Fox Cable Networks Group) is available in more than 320 million homes in 166 countries and 34 languages.” —Corporate Communications

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NHK Enterprises ADDRESS: NR Bldg., 5-5 Kamiyama-cho, 3/Fl., Shibuya-ku, Tokyo 150-0047, Japan TELEPHONE: (81-3) 5453-5260 FAX: (81-3) 3466-9530 WEBSITE: www.nhk-ep.co.jp/index_en.html PRESIDENT & CEO: Naoji Ono SENIOR CORPORATE OFFICER, INTERNATIONAL SALES, INTERNATIONAL BUSINESS DEPARTMENT: Yasuaki Nishimura CONTACT: Jin Imaizumi, info-w@nhk-ep.co.jp PROGRAMS: The Cosmic Code Breakers: 1x48 min., science & tech-

nology; Engraved in the Earth: 1x49 min., current affairs; Nuclear Revival: Decommissioning Nuclear Power Plants: 1x58 min., current affairs; Car Revolution—Small Hundreds: Emerging Powers: 1x49 min., current affairs; WILDLIFE—Life on the Savannah: Big Cats: 1x49 min., nature; WILDLIFE—King of the Prairie: Bison: 1x49 min., nature; Prison Dogs: 1x49 min., culture & tradition; China Power: Dragon Over Africa: 1x49 min., current affairs; The Rise and Fall of Power in Nagatacho: Political Testimonies—1993-1995 New Coalitions: Behind their Birth and Collapse: 1x68 min., current affairs; A Few More Months: 1x58 min., culture & tradition.

“NHK Enterprises, or NEP, is one of Japan’s leading integrated media companies. It produces internationally renowned TV programs in diverse genres, including drama, entertainment, documentaries and animation for NHK and other broadcasters. It also produces movies, plans and organizes events, markets character goods, publishes DVDs and other packaged media, and creates content for websites, mobile devices and digital signage. Merging in April 2010 with Media International Corporation (MICO), the well-known international business arm of NHK will aim to leverage the resulting synergy in the following areas: international co-production encompassing TV, cinema and digital deployment; rights business targeting the international market; and access to Japan for overseas producers. The new NEP will make its debut and announce international co-production projects at the MIPTV international media market.” —Naoji Ono, President & CEO 88

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NHU AFRICA ADDRESS: PO BOX 12317, Mill St., Cape Town 8010, South Africa TELEPHONE: (27-21) 422-0154 FAX: (27-21) 422-0012 WEBSITE: www.nhuafrica.com COMMISSIONING EDITOR: Sophie Vartan CONTACT: sophie@nhuafrica.com PROGRAMS: Into the Dragon’s Lair: 1x52 min., wildlife documentary; Troop: 13x24 min., wildlife documentary; Animal Nation: 1x52 min., wildlife documentary; Iceman—The Lewis Gordon Pugh Story: 1x52 min., documentary; Nature of Life: 1x52 min., documentary; The Search for the Knysna Elephants: 1x48 min., wildlife documentary; A Kalahari Tail: 1x52 min., wildlife documentary; Antarctica—Journey into the White Desert: 1x52 min., documentary; The Cheetah Diaries: 2 seasons, 26x24 min., wildlife documentary; Gorillas: A Journey for Survival: 1x52 min., wildlife documentary.

“NHU AFRICA (Natural History Unit of Africa) commissions, co-produces and distributes wildlife documentaries for both local and international broadcasters, and has produced over 100 hours of programming to date. The programs are innovative, inspirational, with never before seen footage and many of the programs have a unique South African stamp on them. We are looking forward to showcasing our collection of unique HD wildlife productions to worldwide audiences at MIPDoc and MIPTV and are also positive about developing co-production relationships with new broadcasters, whilst continuing to build on existing broadcaster relationships already established. Other NHU AFRICA initiatives include the Wild Talk Africa film festival and conference, which attracts the global wildlife filmmaking industry, offering seminars, workshops, film screenings and networking opportunities over a fourday event, and the Wildlife Film Academy, where students spend a month in a game reserve learning the art of wildlife filmmaking.” —Sophie Vartan, Commissioning Editor 90

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Into the Dragon’s Lair: A journey into the darkest underwaters of the Okavango Delta. Marine photographer Roger Horrocks, along with veteran diver Didier Noirot, follow the giant Nile crocodile into what most would consider a death-trap.Their almost obsessive drive to connect with this ancient creature will mean facing a host of dangerous encounters. Troop: Amidst the contrast of urban sprawl and majestic African coastline live the energetic and entertaining Cape Peninsula baboons. This unique primate soap series chronicles the escapades of this troop and reveals the ups and downs of some special characters that playfully wreak havoc amongst their human neighbors. Animal Nation: We live in a cacophony of man-made stimulation—entertainment, city noises and instantaneous communication. However, some people silence the distractions of life, and tap into the voices of the natural world. This coming-of-age film takes a much-needed look at what this exploration can mean to us. Iceman—The Lewis Gordon Pugh Story: Lewis Gordon Pugh stands in his speedo, puts on his goggles and then plunges into the freezing Arctic Ocean, and completes a 1km symbolic swim across an open patch of sea in the North Pole. This film encapsulates the incredible journey of Lewis Gordon Pugh, a long-distance swimmer who undertakes to swim in the extreme conditions of the Antarctic and Arctic seas to raise awareness for global climate change. The Cheetah Diaries, Season 2: Following the popular first season, The Cheetah Diaries’ second series picks up on the lives of the well-loved characters profiled in the successful first series as well as introducing a whole new gang of cheetah cubs, caracals, jackals, a meerkat and other animals. The Cheetah Outreach organization is constantly expanding and searching for new ways to make a difference in conservation, and The Cheetah Diaries is there to capture all the exciting additions.

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Nu Image/ Millennium Films ADDRESS: 6423 Wilshire Blvd., Los Angeles, CA 90048, U.S.A. TELEPHONE: (1-310) 388-6900 FAX: (1-310) 388-6901 WEBSITE: www.nuimage.net CEO, NU IMAGE: Danny Dimbort PRESIDENT, INTERNATIONAL SALES, NU IMAGE:

Christian Mercuri CONTACT: info@nuimage.net PROGRAMS: Son of No One: action/crime/thriller; Elephant White: action; Trust: drama; Conan: action/adventure/fantasy; The Mechanic: action; Drive Angry 3D: action.

“Nu Image is a full-service production company and distributor servicing both domestic and international markets. We offer a wide variety of films. A large portion of our library is dedicated to action and thriller genres and, as an emerging studio, we also produce a large portion of our films. In 1986, Avi Lerner founded the Nu Metro Entertainment Group, the largest entertainment company in South Africa. Nu Metro owned and operated 35 theatre locations with a total of 140 screens. It was later sold. Then, in 1992, Lerner moved to Los Angeles and founded Nu Image together with [myself],Trevor Short and Danny Lerner. In 1996, Nu Image formed Millennium Films to address the market’s growing need for quality art films and higher budget action features, while Nu Image continued to cater to the lucrative world home-video market. Between the two divisions, over 200 films have been produced since 1992. Nu Image and Millennium Films continue to grow, with the company producing more than 20 pictures annually. Many of our latest films feature top box-office stars and are released by major motion-picture studios.” —Danny Dimbort, CEO, Nu Image

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ohm:tv ADDRESS: Kastanienallee 5, 50968 Cologne, Germany TELEPHONE: (49-221) 759-1455 FAX: (49-221) 759-1456 WEBSITE: www.ohmtv.com CEO & CO-FOUNDER: Hans Spielthenner CEO & CO-FOUNDER: Joris Eckelkamp CONTACT: Barbara Heider, b.heider@ohmtv.com PROGRAMS: The Prettiest Girl in the Class: 1 hr. format, reality;

Date Your Neighbour: 30 min. format, dating/romance/reality; Hit Me, I’m a Celebrity: 1 hr. format, celebrity/reality; The Talestrotter: 26x13 min. format, children & family; Living With the Enemies: 1 hr. format, reality; Six Degrees of Separation: cross-media format, reality; Pinly & Flau: 6x2-3 min., animation/comedy; Petey & Jaydee: 130x1 min., animation/comedy; The Pig is Dead: 11x2-3 min., thriller; Judas & Jesus: 12x1-2 min., animation/comedy. “ohm:tv is an international distributor of entertainment formats and mobile content. Capturing audiences worldwide, ohm:tv has established itself as a leader in its field since 2003. Providing content and programming, ohm:tv is at the forefront in bringing powerful, cutting edge and unique ideas, designed for TV, Internet, IPTV, mobile and narrowcasting platforms to a global scale. Specializing in format and brand development, portal design and content management services, we have forged strong relationships with clients in over 50 countries. Constantly striving to meet the demands of a continuously evolving industry, ohm:tv offers turn key solutions for content producers and format developers.” —Joris Eckelkamp, CEO & Co-founder

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Playboy TV International ADDRESS: 2706 Media Center Dr., Los Angeles, CA 90065,

U.S.A. TELEPHONE: (1-323) 276-4260 FAX: (1-323) 276-4505 WEBSITE: www.ptvioriginals.com MANAGING DIRECTOR: Steve Smith SENIOR SALES MANAGER: Marisa Tamburro CONTACT: mtamburro@playboy.com PROGRAMS: Jazmin’s Touch: 13x30 min., adult/drama; Room

Service: 12x30 min., adult/drama; Summer in Love: 10x30 min., adult/drama; Shoot Out: 11x30 min., adult/reality; Sex Lives: 6x30 min., adult/reality; Kiki’s Big Adventure: 10x30 min., adult/reality; Action Girls:Water & Fitness 2: 1x1 hr., girl special; 69 Sexy Things to Do Before You Die: 23x30 min., adult/magazine; e-Rotic: 10x30 min., adult/magazine. “Playboy TV International (PTVI) develops and operates television networks worldwide and licenses content to international broadcasters looking to add Playboy’s distinct brand, style and highest quality adult entertainment to their lineup. We are proud to bring to market, our first of what hopes to be many co-productions with Claxson, our partners in Latin America. Jazmin’s Touch is a dramatic series about a beautiful women’s ability to see deep inside a mind’s wildest sexual fantasies. Filled with stylized imagery, pulsating music and a gorgeous cast of exotic Latinas, it has the power to turn every viewer into a hardcore believer. Another exciting series is Playboy-produced Shoot Out, our sexy reality competition show.We’re judging 10 photographers and 10 models to see who is worthy of Playboy stardom! Our future looks bright; we have many promising projects in the pipeline. From radio, variety, docu-dramas, realty shows and much more that can be enjoyed by couples. Later in the year we look forward to premiering season four of our wildly popular reality series Foursome.” —Marisa Tamburro, Senior Sales Manager

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SevenOne International ADDRESS: Medienallee 7, 85774 Unterfoehring, Germany TELEPHONE: (49-89) 9507-2320 FAX: (49-89) 9507-2321 WEBSITE: www.71int.com MANAGING DIRECTOR: Jens Richter CONTACT: sales@71int.com PROGRAMS: The Frontier: 1x2 hrs., action/thriller; Fugitives:

2x90 min., action/thriller; The Secret of Loch Ness II: 1x90 min., family entertainment; Blackout: 1x90 min., catastrophe; The Village: 1x90 min., mystery; Beat your Host!: format, game show; Schiller Street: format, improv. comedy show; Funny Farm: format, variety game show; Love Bites: format, dating; Galileo: format, sciencetainment magazine.

“SevenOne International stands for entertainment at its best—regarding formats as well as fiction. We have first-class fiction programming like catastrophe movies, audience-drawing romantic comedies, long-running TV series and high-budgeted, CGI-loaded TV events.We are also playing an increasing role as an investor, using our own capital to finance and co-produce major international events.When it comes to entertainment shows, our portfolio offers many quality formats with high international potential. Think of international smash hits like Beat your Host! and The Next Uri Geller.We are excited to present the first formats co-produced by RedSeven Entertainment and The Gurin Company like Funny Farm and cannot wait to introduce the next Dick de Rijk hit.” —Jens Richter, Managing Director

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Shaftesbury ADDRESS: 163 Queen St. E., Suite 100,Toronto M5A 1S1,

Canada TELEPHONE: (1-416) 363-1411 FAX: (1-416) 363-1428 WEBSITE: www.shaftesbury.ca CHAIRMAN & CEO: Christina Jennings VP, SALES, MARKETING & DIGITAL MEDIA: Shane Kinnear CONTACT: Ryan St Peters, rstpeters@shaftesbury.ca PROGRAMS: Vacation With Derek: 1x90 min.; Baxter: 13x30

min.; Overruled!: 39x30 min.; Connor Undercover: 39x30 min.; Life With Derek: 70x30 min.; Booky Trilogy: 3x90 min.; Good Dog: 13x30 min.; Bloodletting and Miraculous Cures: 8x1 hr.; The Listener: 26x1 hr.; Murdoch Mysteries: 39x1 hr.

“Shaftesbury produces and distributes onehour series, kids’ programming and television movies. Shaftesbury makes original multiplatform content for online premiere deployment. New for Shaftesbury Kids in 2010 is the series Baxter, following kids in a school for the arts, and Vacation With Derek, the movie follow-up to the very popular Life With Derek.” —Shane Kinnear,VP, Sales, Marketing & Digital Media

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Skywriter Media & Entertainment Group ADDRESS: 1450-250 Bloor St. E.,Toronto, Ontario M4W 1E6, Canada TELEPHONE: (1-416) 966-4759 FAX: (1-416) 966-4624 WEBSITE: www.skywritermedia.com EXECUTIVE PRODUCER & CEO: Kevin Gillis VP, DISTRIBUTION & ACQUISITIONS: Paula McLaren CONTACT: paula@skywritermedia.com PROGRAMS: Live From Earth: 26x30 min., tween/live action/comedy; Vivi: 52x11 min., 104x5 min., kids 5 to 7/2D & cut-out animation with online component; Echo Planet: 13x30 min., kids 8 to 12/factual/environmental science mash-up; Mean Mr. Claus (working title): 30 min., family/animated holiday special; Nanalan: 41x30 min., preschool/puppets; Izzy: 13x30 min., women 16 to 24/animated comedy; Phobic Family: 26x11 min., kids 12+/animated comedy; The Raccoons: 65x30 min. & 4 specials, kids 6 to 12/animation.

“Skywriter finances, develops, produces, acquires and distributes world-class animation, factual, and live-action family entertainment on a global basis in all forms of media. We have updated the traditional production/distribution business model, providing unique strategic options to profitably place content on three screens—broadcast, broadband and mobile—by bringing exclusive multinational advertising relationships to the benefit of our broadcast and program partners.” —Kevin Gillis, Executive Producer & CEO

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Studio100 Media ADDRESS: Nymphenburger Strasse 82, D-80636 Munich,

Germany TELEPHONE: (49-89) 960-8550 FAX: (49-89) 960-855104 WEBSITE: www.studio100media.com MANAGING DIRECTOR: Patrick Elmendorff CONTACT: Nicole Braun, nicole.braun@studio100media.com PROGRAMS: Enyo: 26x24 min., fantasy/adventure; Florrie’s

Dragons: 52x10 min. (in production), animation; Amika: 52x12 min., 26x25 min., children’s telenovela; Kerwhizz: 26x22 min., multiplatform quiz show; Zeke’s Pad: 26x24 min., comedy; Big & Small: 52x11 min., puppetry; Titipangpangrescue: 52x11 min. (in production), action/comedy; The House of Anubis: 2 seasons, 114x12 min., live action/mystery/teen soap.

“Studio100 Media is an international production and distribution company within the children’s and family entertainment sector. Based in Munich, Germany, the company is a 100-percent subsidiary of Belgian firm Studio100.The company develops and acquires new formats, is active as a co-producer and is also responsible for the global marketing of its own rights portfolio, as well as of third-party programming. With the acquisition of EM.Entertainment and Junior.TV in July 2008, the Studio100 Group succeeded in adding sustainable strength to its position within the production and distribution sectors. In marketing its license rights the company pursues a global strategy within sectors ranging from licensing and merchandising, home entertainment through to stage shows and theme parks.” —Patrick Elmendorff, Managing Director

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Terranoa ADDRESS: 155 Rue De Charonne, 75 011 Paris, France TELEPHONE: (33-1) 5525-5942 FAX: (33-1) 5525-5903 WEBSITE: www.terranoa.com GENERAL MANAGER: Emmanuelle Jouanole HEAD, INTERNATIONAL SALES & ACQUISTIONS: Isabelle Graziadey CONTACT: igraziadey@terranoa.com PROGRAMS: Green: 1x48 min., documentary/environment;

Making Mao: 1x52 min., documentary/current affairs; Troy’s Lost Treasure: 1x52 min., documentary/ancient history; I Have Seen the Earth Change: 15x52 min., documentary/environment; The Birth of a First Lady: 1x90 min., 1x52 min., documentary/current affairs; Rivers of the World: 7x43 min., 7x26 min., documentary/travel; Crafting Elegance: 7x26 min., documentary/arts; Killer Volcano: 1x90 min., 2x45 min., documentary/science fiction; Waking Up Around the World: 16x13 min., documentary/travel; Mission Exploration: 58x52 min., documentary/travel/adventure.

“Terranoa is a benchmark distributor for innovative, high-profile factual productions to broadcasters worldwide. Each year the productions distributed by Terranoa are awarded internationally. Founded by three prominent producers— Boréales, Gedeon and 95°West—it is one of the fastest growing distribution companies, which has attracted outside producers who share the values and quality of our brand (Bonne Pioche, Doclab, Galafilm...). Today with a catalogue of over 750 hours covering science and history, nature and environment, travel and adventure, social issues and sports, we supply broadcasters and other multimedia platforms worldwide with an attractive choice of blue-chip programs and a ten-year expertise in the world of factual productions. Celebrating at MIPDoc this year its 10th birthday,Terranoa is thrilled to launch its state-of-the-art online screening room, with all our catalogue available to screen in full length.” —Isabelle Graziadey, Head, International Sales & Acquisitions

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Your Family Entertainment ADDRESS: Nordendstr. 64, 80801 Munich, Germany TELEPHONE: (49-89) 997-2710 FAX: (49-89) 997-27191 WEBSITE: www.yf-e.com CEO: Stefan Piech SENIOR VP, PROGRAM SALES & MARKETING: Markus Andorfer CONTACT: Shakira Hoffmann, (49-89) 997-27113 PROGRAMS: Oscar the Balloonist: 26x12 min.; Dragon Hunters:

Seasons 1 & 2: 26x24 min., 26x24 min.; Altair in Starland: 52x12 min.; Shadow of the Elves: 26x24 min.; Adventures Masters of Time: 26x22 min.; Mission Odyssey: 26x24 min.; Wakkaville: 26x24 min.; Li’L Larikkins: 26x24 min.; My Dad Is an Evil Genius: 52x12 min.; Ninjured: 52x12 min.

“Your Family Entertainment is one of Germany’s long-established TV and film production companies, providing entertainment programs for children, teens and families. Since 2008, Your Family Entertainment (YFE) has distributed its huge program catalogue and brand-new shows worldwide under its own label and name.YFE covers all kinds of existing rights—from free TV and home entertainment to merchandising. Your Family Entertainment is presenting a lot of new shows at MIPTV, like Wakkaville, Li’L Larikkins, My Dad Is an Evil Genius, Ninjured, Adventures Masters of Time, Shadow of the Elves and Oscar the Balloonist. Today,Your Family Entertainment boasts more than 3,500 half-hour programs and has plenty of rights for versions in different languages. YFE offers education-orientated viewing. It conveys values, provides a treasure trove of fun and laughter, entertains and inspires. Since 2007,Your Family Entertainment has been running its own pay-TV channel, yourfamilyentertainment, in Germanspeaking territories.” —Markus Andorfer, Senior VP, Program Sales & Marketing

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ZDF Enterprises ADDRESS: Lise-Meitner-Str. 9, 55129 Mainz, Germany TELEPHONE: (49-61) 3199-1280 FAX: (49-61) 3199-1259 WEBSITE: www.zdf-enterprises.de PRESIDENT & CEO: Alexander Coridass VP, SALES, MERCHANDISING & CO-PRODUCTIONS: Fred Burcksen CONTACT: programinfo@zdf.de PROGRAMS: Flemming: 5x45 min., 1x90 min. (pilot), crime &

suspense; The Killing: Season 2, 10x1 hr., crime & suspense; Whiteout: 2x90 min.,TV movie/crime & suspense; The Secret of the Whales: 2x90 min.,TV movie/drama; Hope: 2x90 min., TV movie/drama; Dance Academy: 52x26 min., children’s; The Biblical Plagues: 3x52 min., documentary/history & biography; Islam and the West: 3x52 min., documentary/history & biography; South Africa—The Land of Hope: 3x52 min., documentary/history & biography; The Antarctica Challenge: 1x52 min., documentary/wildlife & nature.

“Considering the many new police thrillers, history documentaries and romances we have, we’ve decided to bundle these programs into special thematic collections. History to Go spotlights documentaries on archaeology, South Africa and America before Columbus; and takes groundbreaking looks at Islam and the Biblical Plagues. Prime Crime showcases the new police psychologist series Flemming, the latest addition to our city-based procedurals Stuttgart Homicide, and the second season of the hit Danish series The Killing, along with new seasons of long-running series such as Hamburg Dockland and The Criminalist.The Spring Feelings portfolio features new seasons of the popular Rosamunde Pilcher and Inga Lindström cycles, as well as Dream Voyage and Cruise into Cloud Nine. New to our library are Joanna Trollope, whose books will form the basis of a new cycle, and the Summer in... collection, which features romance in exotic sites—and always in the summer.” —Alexander Coridass, President & CEO

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Visit us at MIPTV 2010: Booth No. 21.02 â&#x20AC;&#x201C; 23.01 Sales, Merchandising and Coproductions | Lise-Meitner-Str. 9 | 55129 Mainz | Germany programinfo@zdf.de | www.zdf-enterprises.de | Phone: +49 (0) 6131 - 991 281 | Fax: +49 (0) 6131 - 991 259

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Years of Excellence

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Calendar of Events HotDocs April 29-May 9 Toronto, Canada www.hotdocs.ca

DISCOP Africa September 1-3 Nairobi, Kenya www.discop.com

The Cable Show May 11-13 Los Angeles, California, U.S.A. 2010.thecableshow.com

Brand Licensing Europe September 29-30 London, U.K. www.brandlicensing.eu MIP Junior October 2-3 Cannes, France www.mipjunior.com

Cannes Film Festival May 12-23 Cannes, France www.festival-cannes.com

MIPCOM October 4-8 Cannes, France www.mipcom.com

L.A. Screenings May 18-26 Los Angeles, California, U.S.A. www.lascreenings.org

SPORTEL Monaco October 11-14 Monaco www.sportelmonaco.com

Licensing International Expo June 8-10 Las Vegas, Nevada, U.S.A. www.licensingexpo.com

CASBAA October 25-28 Hong Kong, China www.casbaa.com

Banff World Television Festival June 13-16 Banff, Alberta, Canada www.banff2010.com

American Film Market November 3-10 Santa Monica, California, U.S.A. www.ifta-online.org/afm

DISCOP East June 22-25 Budapest, Hungary www.discop.com

Asia TV Forum December 8-10 Singapore www.asiatvforum.com

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Our weekly newsletters provide profiles, analysis of industry trends and video reports. For a free subscription, visit www.worldscreen.com/pages/newsletter

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