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TV formats

Distributors GUIDE 2011/2012

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Contents A Note from the Editor . . . .4 Interviews . . . . . . . . . . . . .5 Distributors . . . . . . . . . . .15

Publisher Ricardo Seguin Guise Editor Anna Carugati

Ricardo Seguin Guise President

Executive Editor Mansha Daswani

Anna Carugati Executive VP and Group Editorial Director

Managing Editor Kristin Brzoznowski

Mansha Daswani VP of Strategic Development

Editorial Assistant Marissa Graziadio

TV Formats Š 2011 WSN INC. 1123 Broadway, #1207 New York, NY 10010, U.S.A.

Production & Design Director Craig Brown

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

Online Director Simon Weaver


Sales & Marketing Director Cesar Suero Business Affairs Manager Terry Acunzo

No part of this publication can be used, reprinted, copied or stored in any medium without the publisher’s authorization.

Sales & Marketing Assistant Vanessa Brand

For a free subscription to our daily newsletters, please visit


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A Note from the Editor Distributors rejoice: TV viewing is on the rise. Nielsen’s latest Cross Platform Report shows that overall traditional TV viewership increased by 22 minutes per month per person over last year in the U.S. In the U.K., average viewing increased by 17 minutes in 2010, according to Television: International Key Facts 2011, published by IP Network. The same rings true in a number of other TV markets as well. Formats have played a key role in these gains. The IP Network research found that audience growth has been driven by the shift to digital as well as three core areas of content: scripted dramas, global entertainment formats and sports. Talent shows, whose Internet interactivity increase viewership, were shown to be the most successful entertainment formats. The report also found that the U.K. has strengthened its dominance in the global entertainment format market, accounting for 44 percent of all entertainment formats to travel in 2010. However, over the last year we at TV Formats have seen a number of countries, such as Spain and Israel, emerging as hotbeds for creative concepts that travel well globally. We’ve also noticed that formats are becoming even more interactive, as game shows and reality series stray away from the traditional paradigm and contestants, creators and viewers are switching roles. Nowadays, viewers can play along with their favorite shows, interact with hosts and participants, and ultimately affect the outcome of the series. This crossplatform presence makes for higher engagement in the program, ultimately feeding back into the show’s TV ratings. Big audiences, wide demographic reach and flexible scheduling potential are just a few of the pluses formats can offer broadcasters. For the companies in this guide, some are banking on tried-and-tested concepts to drum up further sales, while others are looking to launch brand-new ideas. All of them are hoping that their MIPCOM catalogue contains the next big global hit. —Kristin Brzoznowski 4

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Simon Cowell Creator The X Factor & Got Talent TV FORMATS: If we look at American Idol and The X Factor, what can you say about their ability to reinvigorate a broadcast network? COWELL: I think the honest answer is what you do for each other because when you first walk in the door, you need the broadcasters a lot more than they need you. Then you reach a point where the relationship becomes a lot more balanced. My attitude has been, with any broadcaster you work with, it has to work as a partnership and if it’s not a partnership, it won’t work. And you’ve got to stay loyal to that partner, and as we’ve shown over the years, we’ve pretty much stayed with the same network, unless they didn’t want one of our shows and we’ve gone elsewhere. It’s a people business and I like the people at ITV and FOX. I’m genuinely happy with what they have given me and I’m incredibly grateful, daily, I’m grateful! TV FORMATS: In talent competition shows, at times the

interaction between judges overshadows the performances of the contestants. What do you feel is the proper role for a judge? COWELL: You make a very good point there. We have gotten into the habit, and obviously I’m partly responsible for this, of the judges’ personalities being talked about more than the contestants, and therefore the new judges are going into these roles as kind of bad actors rather than what we should be doing for a living. For me the most important criteria for sitting on a judging panel is, do you actually know what you are talking about? That should be the most important thing. I’m finding more and more now that a lot of celebrities, because they are too nervous to be outspoken, are actually quite boring compared to people who don’t care. In other words, I don’t want to be lectured by people, I’m actually curious as to what real people have got to say and I’m finding that more and more now. 6


Mark Burnett President Mark Burnett Productions TV FORMATS: How do you get natural

behavior from contestants on your shows even with the cameras rolling? BURNETT: The main reason that there are natural behaviors on camera is because the contestants are mainly in a competitive environment and they are more worried about beating each other and dealing with so much in such a short time. On Survivor, within about an hour they have forgotten about the cameras because a) they have to build shelter and find food, b) they are learning how to deal with each other and c) they are trying not to get voted off the show. On The Apprentice, they’ve got Donald Trump to deal with and they’re going around New York City trying to win the tasks they are given.They don’t have time for grandstanding, they just have time to try to win and that overrides hamming for the cameras. TV FORMATS: How do you strike a balance between observa-

tional documentary style and building the narrative of a show in the editing room? BURNETT: All the good shows start the editing process knowing the outcome—it’s already been shot. So they edit the show backwards, because clearly someone who is going to get eliminated in the show needs to have some sort of story in the first act. Everybody has a story, we can cut the show 20 different ways depending on who we focus on, but clearly we need to choose a few characters per episode, because you can’t be telling the stories of 20 people in one episode.You need to focus down on manageable story lines the audience can follow along and enjoy. TV FORMATS: Are there any lessons that you learned when you

first started out in television that you still use today? BURNETT: The one thing to remember for me and I think for

anybody is if you need to be 100-percent sure and have everything lined up perfectly, the show won’t happen. If you need it all figured out and you want to be certain it’s going to be OK, you’ll never start anything. 7


John de Mol Founder Talpa Media Group TV FORMATS: What’s been the strategy

behind Talpa’s joint ventures and programming alliances? DE MOL: Fifteen years ago with Endemol, we acquired companies and bought stakes in companies and added them to the Endemol Group country by country. So when I set up Talpa Content, I started looking in the same direction. I was looking at all the important markets where I wanted to be present and found out that in nine out of ten markets, there were no opportunities to buy the right companies anymore because they were just not there. So with Talpa, I decided to go for a different model. Country by country I looked at the markets where I wanted to be present and picked the production companies I considered to be ideal partners for each territory. I didn’t have to buy a stake in the company. All I had to do was propose a joint venture, which [gave] them the opportunity to exclusively represent the Talpa formats in their market, create a joint venture, produce together for that market and split the profits. The moment we changed to that model, in seven or eight months we had joint ventures in a dozen countries. TV FORMATS: Some companies feel they must have 10 or 12 new formats to present to buyers at the markets. Do you share that view? DE MOL: My slogan is it’s more about quality than quantity, so I don’t think the numbers count. Quality and originality count and if there is a market where you are lucky enough to have six, seven or eight new shows, which in our case is not an exception, you could even consider the question: Do you want to pitch them all at one market or do you want to hold back a few? If a show starts in Holland in September, three weeks later at MIPCOM it’s too early to bring that show. I’d rather wait eight or nine weeks to make sure we have a success and then, to be quite honest, you don’t need MIPCOM anymore to establish quick sales in 20 territories. 8


Tony Cohen CEO FremantleMedia Group TV FORMATS: What does a format need

in order to travel? COHEN: A format has got to be great

entertainment, clearly formatted and well structured. At its best, it’s got to be something that will play in different forms, so it can be a daily, a weekly or a strip, and in terms of sales, if it’s got a demonstrable track record already, if it’s been sold and been a success in the U.K. and the U.S., for example, it will travel the world pretty consistently. And, of course, the FremantleMedia network is built on that trend. TV FORMATS: How has FremantleMedia been extending the TV viewing experience onto new-media platforms? COHEN: FremantleMedia has been a pioneer in using newmedia platforms and new technology to extend our relationship with audiences beyond the primary TV transmission. The reason we do that is because people are finding new ways to consume entertainment and therefore we want to follow our audience and our consumers. The main things we’ve done include extending the key elements of a format onto other platforms. Examples of that would be what we’ve done with our iconic game shows like Family Feud. Over the last few years we’ve done SMS games, we have console games, we’ve got iPhone and iPad apps. We will continue to invest in the casual games and social-gaming opportunities that our game shows and other formats give us.We extend the live experience around our talent shows using social media. There is an enormous amount that goes on around The X Factor and Got Talent and Idols, but a couple of examples would be the America’s Got Talent virtual audition, which has run on both MySpace and on YouTube over the last few years. In fact, for some of our shows, in the U.K for example, on The X Factor and Britain’s Got Talent, we actually have a dedicated social-media editor who manages all the Facebook and Twitter accounts. 9


Jeff Schlesinger President Warner Bros. International Television TV FORMATS: Tell us about Warner

Bros. International Television Production. SCHLESINGER: Our goal is to buy or

build production companies in the top ten markets of the world just as Endemol and FremantleMedia have done, and be a local producer that will develop local ideas and produce them. We will also plan to take our shows that are formatable, like The Bachelor, and produce local versions of them. Thirdly, we hope to find or develop ideas that we can produce locally and then bring back to the U.S. The first step was to buy Shed Media, which is one of the top independent production companies in the U.K. We are now looking at buying production companies in several other territories with the goal of developing a network. One of the things we got when we bought Shed was a group of people who are experts in licensing and selling formats. However, we only intend to license our formats in countries where we do not own production companies. Where a WB company operates, they will have the rights to develop and produce local versions of our shows. TV FORMATS: What production expertise does Warner Bros.

bring to the business? SCHLESINGER: We certainly have expertise in the U.S. and we

are going to acquire local expertise, but what I think we have that [companies like FremantleMedia and Endemol] don’t is a factory of IP here in Los Angeles. Any single independent production company might have a very good business. If they are part of a network of companies where there is a U.K., French, German, Spanish, Italian company and they are able to circulate successful shows around, that is much better. If you anchor that network of companies together with a studio, like we have here, that is constantly creating both scripted and unscripted programs and has tons of concepts, treatments and pilots that never even make it to the screen available for development, you then have a pretty good combination. 10


David Frank Chief Executive Zodiak Media Group TV FORMATS: What was the strategy behind the formation of Zodiak Media Group? FRANK: It is a group that was built from about 2008, when our majority shareholder, the De Agostini Group, embarked upon a project to position themselves in the content business.They began with the acquisition of Magnolia Group in Italy and Spain. Next was the acquisition of Marathon Group in France, followed by Zodiak Television, a publicly listed group headquartered in Stockholm. At the point at which Lorenzo Pellicioli [the CEO of the De Agostini Group] got into a dialogue with me at RDF, there was clearly a fairly substantial hole in their ambitions to be a global content player because they didn’t have a meaningful presence in the U.K. or in the U.S. When looking for the final piece of the puzzle...that’s what we had. TV FORMATS: Is there a challenge to get individual companies to share know-how and best practices? FRANK: I would say the creative challenge is absolutely central to the success or otherwise of this group over the next five years. I’ve got a team at HQ that is working on all aspects of what I call creative renewals. One element of that is how can we position ourselves so we understand better the audiences that we are trying to serve.We are putting in place a significant program for the exchange of expertise.There is a huge array of ways people stimulate creativity at the local level with development teams and brainstorms and the methods they use—there is a lot to be shared in that area— and in production techniques, particularly in an environment where cost is becoming absolutely paramount. A production group that puts a premium on its ability to be flexible and embrace new technology enables us to deliver high-quality programs at a slightly different rate and that’s a huge competitive advantage to have. If we can identify some of those practices in one place in the group, we can then transfer them very rapidly to other areas in the group because we can control that communication. 11


Jan Frouman Managing Director Red Arrow Entertainment Group TV FORMATS: What has been your

strategy for finding formats from many different territories? FROUMAN: We tend to have three primary sources for formats.The first would be the production companies within our group. We have looked for partners and production companies where local development is very much a part of the company’s DNA. We are not simply interested in having an execution house in a territory that waits for new shows to get delivered.We want to see ideas come out of those companies as well.The other place we’ve been sourcing product is with exclusive development deals, primarily the deal we did with Dick de Rijk [the creator of Deal or No Deal]. We’re finding creative partners who we believe can really put some gas in the tank. We also have a development partner in Israel, a very young, creative, comedy-focused executive named Omri Marcus, and we’re seeing that some of his formats are already generating discussions among our production companies.The third source is from third parties. Producers don’t get buried in our catalogue.They’re taken care of in a proper way and they don’t bump into our agenda elsewhere, whether it be in the production space or the broadcast space. TV FORMATS: Having a station group behind you and a distribution company in place must be very convenient. FROUMAN: Yes, they underpinned a lot of the strategic thinking from the get-go. When we launched the company, we said, we’re no longer just a German group. We’re a 12-country, 25-channel group. We are already in the distribution business. We are already, to a certain degree, in the production business. Does it not make sense to start making more strategic moves with respect to development, production and distribution? And that’s why we set up Red Arrow.We basically took SevenOne and brought it into Red Arrow. It’s the sales house and the anchor for the group. We also took our existing production companies and brought them under the roof, and then started to build out. 12


Kees Abrahams President, International Production Sony Pictures Television TV FORMATS: What do you look for in a production company if you’re thinking about buying or partnering with them? ABRAHAMS: There are three criteria that are absolutely key for us. We’re looking for local partners who can sell our shows to the local clients, the broadcast networks and the cable stations. Someone that has a good track record and has been in the business for a long period of time and has consistently sold original TV shows to local clients is someone we would eye.We would also eye that person or that company or joint-venture partner if they have a proven track record of creating new intellectual property rights. And then, obviously, if we find that the creative slate of such an individual or such a company has the opportunity to travel somewhere else, then we are even more keen. The third criterion is that we’re looking for people who produce high-quality shows. TV FORMATS: What are the greatest challenges you see going forward, and what are the greatest opportunities? ABRAHAMS: You see an additional demand for daytime television rather than just the demand for prime-time signature shows.The budgets are slightly opening up again, which is good for game shows, good for shows like Dr. Oz and other talkmagazine formats.You see more and more brands wanting to directly invest in television production. And last but certainly not least, if you look at the digital world, there’s a raft of opportunities there. Off the air, there’s a lot you can do with your content, and we’re only scratching the surface. The challenge we have is increased competition. There’s consolidation taking place in Europe among TV production companies, and the usual suspects are continuing to hunt talent, like we do. In addition, we’re all competing for the same time slots. But I’m quite confident that, as we have a very good creative slate in both scripted and non-scripted and we have a nice balanced catalogue, and digital opportunities, we’re well positioned. 13


Stephen Lambert CEO Studio Lambert TV FORMATS: How much of an advan-

tage is it to have production offices in both the U.K. and the U.S.? LAMBERT: If your focus is to make programs in America, then to have a pipeline of ideas coming from the U.K. makes all the difference. I think that Britain is the best place in the world to sell a paper idea for a format, probably because of the way in which British broadcasting has developed over the last 30 or 40 years.There’s a great pressure to innovate, and broadcasters expect to buy formats from paper. Also, because of the way in which the relationship between the independent producers and the broadcasters has developed, the rights situation on those ideas is very good for the independents. They’re in a position where they can then take those format rights and sell them around the world, and if you have production capacity in the States, you can then make those formats in the States. It’s a tremendous advantage for producers in the U.S. who have that connection to the U.K., compared to producers in America who don’t. If you’re developing a paper format in the U.S. and pitch to American buyers, they’re pretty resistant to recognizing a paper format as a format. TV FORMATS: What are the greatest differences between the British and American adaptations of your formats? LAMBERT: In terms of adapting, there are obvious stylistic differences. Broadcast networks in America generally don’t like having commentary, with a narrator explaining what’s going on. They like to have the characters tell their own stories. The programs are also shorter, so consequently they have to move that much faster. And there are more commercial breaks, so there’s a greater need to have cliff-hangers that will take you across those ad breaks.When adapting formats for American TV, everything in the show has to be directly communicated to the audience; there’s less tolerance of ambiguity in America. It has to be very clear as to what point, factual or emotional, that you’re trying to make. 14

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Lisette van Diepen EXECUTIVE VP & CHIEF CREATIVE OFFICER, INTERNATIONAL PRODUCTION: Mike Morley PROGRAMS: The Substitute: 1 hr., game show, MTV, U.S.A.;

Cover Me: 1 hr., entertainment, TROS, Netherlands; Who Wants to Be a Millionaire?: 30 min.-1 hr., game show, ITV, U.K.; Dragons’ Den: 1 hr., entertainment, BBC Two, U.K.; The Dr. Oz Show: 1 hr., lifestyle, U.S. syndication, Sony Pictures Television/Harpo Productions, U.S.A.

“2waytraffic is a global leader in the development, distribution and brand management of light-entertainment content across multiple platforms, including television, mobile, interactive and consumer products. The company is an integral part of Sony Pictures Television’s (SPT) production business, which has a presence in key territories around the world, including the U.S., U.K., Germany, France, Italy, the Netherlands, Russia, Brazil, the Middle East and Hong Kong. As part of the SPT family, 2waytraffic has access to one of the largest and most diverse light-entertainment catalogues in the world.This high-quality catalogue includes the classic Who Wants to Be a Millionaire?, Dragons’ Den, Brainiest andThe Dating Game, as well as new hits such as Stand Out from the Crowd, The Duellists and Plain Jane.” —Corporate Communications



The Substitute: A stand-in teacher ambushes a high school class: “You’re on a game show and you’re about to compete for $5,000!” Twenty students are whittled down to five finalists in a series of head-to-head trivia challenges. The top student and a challenger chosen by the class both give answers to the comedian host’s questions.Their responses must try to match the most popular answers already given by 100 high school kids. If the challenger wins, the whole class shares the cash. Cover Me: Two music stars, worlds apart in age and taste, have seven days to bridge their generation gap and create new hits based on each other’s work. Cover Me is hosted by an established rap music star who challenges contemporary performers to cover iconic pop hits by major artists from very different eras and genres. At the same time, those veteran stars are challenged to leave their comfort zones and make a musical connection with a modern-day hit that is totally alien to them. Who Wants to Be a Millionaire?: Ten hopefuls face Fastest Finger First, where they must race to rearrange four answers into the correct order. In the high-pressure Hot Seat, the fastest contestant faces 15 general-knowledge multiple-choice questions. After the first five, the prize for each question doubles until the final challenge, worth a million.The contestant has three Lifelines: Phone a Friend, Ask the Audience and 50/50, and two “safe havens,” where money they’ve earned is protected. At any point, having viewed a question, the contestant can choose to walk away with any money they’ve won. Dragons’ Den: Entrepreneurs pitch bold new ideas and inventions to five hard-nosed multimillionaires, the Dragons.They must convince one or more of the Dragons to invest a specific amount of their own money—or they fail. If the Dragons are impressed by a pitch, they negotiate aggressively to own the biggest possible share in the venture in exchange for their cash. The Dr. Oz Show: This fast-moving magazine talk show is full of audience participation and viewer interaction, with its highly qualified medical host and team of specialist advisers serving up daily plans and challenges for ordinary people. At the heart of the show is the quest to help viewers live a longer, happier and healthier life. It’s playable as a stripped daily or major weekly event and is designed to appeal equally to male and female demographics. 17


ALL3MEDIA International ADDRESS: Berkshire House, 168-173 High Holborn, London,

WC1V 7AA, U.K. TELEPHONE: (44-207) 845-4350 WEBSITE: MANAGING DIRECTOR: Louise Pedersen EXECUTIVE VP, FORMAT SALES: Stephanie Hartog PROGRAMS: Safe Breakers: 1 hr., factual entertainment,

Maverick Television, U.K.; Worth a Fortune: 1 hr., entertainment, Studio Lambert, U.K.; Dating Pool: 1 hr., entertainment, Zoo Productions, U.S.A.; Desperate Neighbours: 1 hr., entertainment, Studio Lambert, U.K.; The Cube: 1 hr., entertainment, Objective Productions, U.K.; 8 Weeks to Happiness: 1 hr., factual entertainment, Heiress Films, Australia; Four in a Bed: 30 min., entertainment, Studio Lambert, U.K.; Cash at Your Door: 30 min., entertainment, Matar Productions, Israel; Cases of Doubt: 1 hr., entertainment/prompted reality, Filmpool, Germany; Expat Seeks Love: 1 hr., entertainment, MME Germany, Germany. “A diverse and dynamic range of formats are on offer from ALL3MEDIA International—from brand-new game shows like Worth a Fortune and the all-new Lingo USA with its multiplatform opportunities, to new construction challenges for motor-heads in Safe Breakers and a twist on the romance game in Dating Pool. We only work with the best—acclaimed producers who are leaders in their field, who in turn will work closely with local producers to ensure that local productions are of the highest quality.” —Corporate Communications


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Armoza Formats ADDRESS: 16 Ha’Arba’a St., Tel Aviv 64739, Israel TELEPHONE: (972-3) 540-8333 WEBSITE: CEO: Avi Armoza VP, INTERNATIONAL RELATIONS: Mihal Brezis HEAD, DEVELOPMENT: Mika Almog CONTACT: PROGRAMS: 24/7 Love Lab: 30x1 hr., reality, Channel 10,

Israel; The Real Chat House: 1 hr., reality; The Sky is the Limit: 1 hr., game show; 2.3 Per Week: 35x30 min., scripted, Channel 10, Israel; The Green Project: 20x30 min., sketch comedy, HOT Comedy, Israel; Still Standing: 36x45 min., game show, Channel 10, Israel; Upgrade: 100+x25 min., game show, TV2, Norway/V, Canada; Connected: 45x25 min., factual entertainment, HOT 3, Israel; The Frame: 1 hr., reality, The CW, U.S.A.; Comedians at Work: 100x1 hr., comedy, Reshet Channel 2, Israel/RTL, Germany/TV2, Norway. “Armoza Formats is dedicated to developing and distributing fresh and innovative entertainment formats for the global community. We represent formats across a wide range of genres, including game shows (Still Standing, The Bubble), reality (The Frame, 24/7 Love Lab), comedy (Comedians at Work), factual entertainment (Connected, The Package) and scripted drama (The Naked Truth). Our content philosophy is simple: tell good stories, ensure cost-effective and high-quality production values, and reach audiences on every device, wherever they are, with unique cross-platform elements.” —Avi Armoza, CEO


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Banijay International ADDRESS: Mosedalvej 14 - 2500 Valby, Denmark TELEPHONE: (45) 3618-8484 WEBSITE: MANAGING DIRECTOR: Karoline Spodsberg HEAD, SALES, SOUTHERN EUROPE, MIDDLE EAST, AFRICA & SOUTH AMERICA: Jonathan Tuovinen HEAD, SALES, NORTHERN EUROPE, U.S.A, CANADA & ASIA:

Sebastian Burkhardt HEAD, SALES, U.K., AUSTRALIA, NEW ZEALAND & EASTERN EUROPE: Luci Burnley GLOBAL ACQUISITIONS EXECUTIVE: Fanny Baudry CONTACT: PROGRAMS: Tempted: 1 hr., reality, TV3, Nordisk Film TV,

Denmark & Norway; We’ll Always Be Mum & Dad: 1 hr., factual entertainment, Keshet, Israel; Love Games: 1 hr., reality, Oxygen, Bunim/Murray Productions, U.S.A.; It Takes Two: 1 hr., factual entertainment, Direct 8, Banijay Productions France, France; Faces: 1 hr., game show, Nelonen, Solar TV, Finland; Celebrity Stand-Up: 30 min., entertainment, TV2 Zulu, Respirator, Denmark.

“Banijay International is the global sales and acquisitions arm of the Banijay Group, a production powerhouse present in eight countries. We’re uniquely positioned within the market— as a young, fresh and vibrant company with a solid corporate backing, we pair the one-to-one sales approach of a bespoke distributor with the muscle of a large group structure. Right now our focus is on growing while retaining our distinct identity. We’re doing that by expanding our sights internationally and investing in the best ideas from third-party producers in places like Israel, Scandinavia, North America and the U.K. We’re also making the most of our Banijay Group family, where the focus is always on creativity, presenting in-house-developed formats like Tempted. We’re excited to be heading to our fourth MIP with our biggest team and best catalogue ever, full of ideas that are bold, a little risky, and like nothing you’ve seen before—just like Banijay International itself.” —Karoline Spodsberg, Managing Director


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beActive Entertainment ADDRESS: Avenida Dr. João Canavarro, 345, 3/Fl., office 36,

4480-668 Vila do Conde, Portugal TELEPHONE: (351-22) 400-1535 WEBSITE: GENERAL MANAGER: Nuno Bernardo HEAD, INTERNATIONAL BUSINESS DEVELOPMENT: Isabel Lopes CONTACT: PROGRAMS: Yes I Can: 4x30 min., factual, Setanta Sports,

Ireland; 350 South: 6x30 min., online adventure documentary; The Club: 6x24 min., factual, Setanta Sports, Ireland; Final Punishment: 4x22 min./1x90 min., transmedia thriller, OI TV, Brazil; Flatmates: 240x5 min./48x25 min., transmedia drama, RTP &, Portugal; Aisling’s Diary: 16x14 min./ 2x90 min., teen drama, RTE, Ireland; Beat Generation: 5 min. daily eps./25 min. weekly eps., factual/lifestyle, TVI &, Portugal; Collider: 6x30 min., transmedia sci-fi; Beat Girl: 6x30 min., transmedia.

“beActive is becoming a major player in the multiplatform entertainment market. As a production company and also a distribution outlet, beActive supplies the international market with content and formats developed to answer the needs of broadcasters, cable TV operators and telecommunications companies. Audiences are now on different platforms, adopting more on-demand experiences and abandoning the traditional linear broadcast experience.This evolution is creating a challenge for our industry. This is one of the reasons that since the beginning, all beActive productions and programming are developed with the aim of being distributed on several platforms, creating a more engaging and inclusive experience for today’s audiences. At MIPCOM 2011, beActive is introducing 350 South, the first transmedia adventure documentary that is being shot in North, Central and South America; Yes I Can, a factual TV show featuring disabled people participating in extreme sports; The Club, an inside view about feminine Gaelic Football; and our multiplatform scripted shows Beat Girl and Collider.” —Nuno Bernardo, General Manager


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DRG (Digital Rights Group) ADDRESS: 65 Chandos Place, Covent Garden, London


Andrea Jackson CONTACT: PROGRAMS: Never Ever Do This at Home: 30 min., factual entertainment, NRK1, NRK, Norway; Celebrity Babysitter: 30 min., factual entertainment, NRK1, Limelight Film & TV, Norway; My Celebrity Boyfriend: 30 min., factual entertainment, NRK3, NRK, Norway; Antiques Road Trip: 30 min.-1 hr., factual entertainment, BBC Two, STV Productions, U.K.; Don’t Tell the Bride: 1 hr., factual entertainment, BBC Three, Renegade Pictures, U.K.; The Generation Show: 1 hr., entertainment, VRT Een, De TV Makers, Belgium; Secret Fortune: 1 hr., entertainment, BBC One, Wild Rover, U.K.; Extreme Parental Guidance: 1 hr., factual entertainment, Channel 4, Outline Productions, U.K.; Wedding Wars: 1 hr., factual entertainment,VH1, 495 Productions, U.S.A.; Urban Suburban: 30 min., factual entertainment, HGTV, Force Four Entertainment, Canada. “DRG is a leading independent distributor of content throughout the world. We are proud of our independence, as we do not own production companies and we are not owned by a broadcaster, so we are uniquely positioned to sell every program in our catalogue on its own merit. This also means that we do not operate in a competitive environment with the producers that we represent. Through our exclusive formats representation deal with NRK (Norway), we are delighted to bring some of their top factualentertainment formats [to MIPCOM]. These include the daring Never Ever Do This at Home and the insightful My Celebrity Boyfriend. Separately, from our exclusive deal with Titan Television (Sweden), we will be presenting the challenging Celebrity Babysitter, produced by Limelight Film & TV.” —Andrea Jackson, Managing Director, Acquisitions & Formats 26

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FremantleMedia ADDRESS: 1 Stephen St., London, W1T 1AL, U.K. TELEPHONE: (44-207) 691-6000 WEBSITE: CEO: Tony Cohen ACTING PRESIDENT, WORLDWIDE ENTERTAINMENT:

Trish Kinane SENIOR VP, FORMAT ACQUISITIONS: Vasha Wallace CONTACT: PROGRAMS: Hidden Stars: entertainment, DR1, Blu, Denmark;

Excess Baggage: reality, Channel 9, FremantleMedia Australia, Australia; Don’t Stop Me Now: entertainment, Sky 1, Magnum Media, U.K.; Body Bowling: game show, Fuji TV, Japan; The Villa: reality, RTL 5, Talent Television, Netherlands; Through the Keyhole: game show, BBC/ITV/Channel 5/Sky, David Paradine Productions, U.K.; Scrooged: factual entertainment, NED 3, Blue Circle, Netherlands; Hotel Stories: reality, laSexta, Globomedia, Spain.

“FremantleMedia is one of the leading creators and producers of entertainment brands in the world. FremantleMedia is part of the RTL Group, Europe’s largest television and radio broadcast company, which is in turn 90-percent owned by Bertelsmann AG. FremantleMedia’s worldwide production arm is responsible for many of the world’s highest rated prime-time entertainment, drama, serial drama and factual-entertainment programs. FremantleMedia Enterprises is the brand-extension arm of FremantleMedia, offering a one-stop shop for all licensing, distribution and home entertainment. The FremantleMedia Group (which includes FremantleMedia North America, UFA, talkbackTHAMES, FremantleMedia Australia and Original Productions, amongst others) has operations in 22 countries, one of the most comprehensive global networks, creating nearly 10,000 hours of programming a year, rolling out more than 60 formats and managing over 300 individual titles. FremantleMedia has some of the world’s most sought after and long-running formats in its catalogue, and globally produces such programs as Idols (with 19 Productions in the U.S.), Hole in the Wall, Got Talent (with Syco in the U.K. and U.S.), The X Factor (with Syco in the U.K. and U.S.), Take Me Out, Family Feud, The Price is Right, The Farmer Wants A Wife, Gute Zeiten Schlechte Zeiten and Neighbours.” —Corporate Communications 28

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Imagina International Sales ADDRESS: Ctra. Fuencarral-Alcobendas Km. 12,450, 28049

Madrid, Spain TELEPHONE: (34-91) 728-5738 CEO: José Huertas SALES DIRECTOR: Géraldine Gonard PROGRAMS: The Boat, on Course to the Unknown (El Barco, Rumbo

a lo Desconocido): 9x70 min., reality/adventure, Antena 3, Globomedia, Spain; The Boat (El Barco): 26x70 min./36x50 min., adventure/mystery, Antena 3, Globomedia, Spain; Scarlet Shore (Punta Escarlata): 12x50 min./9x70 min., thriller/mystery, Cuatro, Globomedia, Spain; Four Doors (BuenAgente): 19x45 min., sitcom, laSexta, Globomedia, Spain; Mountain Challenge (El Conquistador del Aconcagua): 28x50 min., reality/ adventure, ETB, Hostoil, Spain; Look at My Neighborhood (Este Es Mi Barrio): 40x45 min., factual entertainment, laSexta, Globomedia, Spain; Country Roads (Carreteras Secundarias): 45x45 min., factual entertainment, laSexta, Globomedia, Spain; Fish & Chips: 50x30 min., game show, TV3, Triacom, Spain; Beast (Bestial): 85x45 min., factual entertainment, laSexta2, Media 3.14, Spain; Who Lives There? (¿Quién vive ahí?): 39x45 min., factual entertainment, laSexta, Globomedia, Spain. “With more than 9,600 programming hours and 200 titles, Imagina International Sales’ catalogue covers all genres: from the most successful TV series and formats, to high-profile commercial and art-house films and TV movies, animation, documentaries, music, theatre and related products from the Imagina group and other affiliated companies. With this sales structure, Imagina IS increases its competitiveness in the domestic and international market and strengthens its commercial structure by handling the international rights of its partners. Our products have worked out really good for international clients and we are proud that important international broadcasters and production companies keep trusting our titles. With Imagina International Sales, buyers can find innovative products, which are going to make the difference in their channel.” —Géraldine Gonard, Sales Director 30

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Mediaset Distribution ADDRESS: Via Aurelia Antica 422, 00165 Rome, Italy TELEPHONE: (39-06) 639-0566 WEBSITE: HEAD, SALES: Patricio Teubal CONTACT: PROGRAMS: Follow Your Dreams: 12x50 min., scripted/family;

Beyond the Lake: 12x50 min., scripted/family; Girlfriends: 12x50 min., scripted/comedy; The Mall: 230x30 min., scripted/ soap opera; Police District: 24x50 min., scripted/police; Antimafia Squad: 12x50 min., scripted/mafia; Intelligence: 6x100 min., scripted/action; Maternity Ward: 26x50 min., scripted/light drama; About My Brother: 6x100 min., scripted/ soft crime; Young Enough: 20x30 min., scripted/sitcom.

“Mediaset Distribution is the international distribution branch of the Italian group Mediaset. With a catalogue of more than 500 titles and a yearly investment in new drama productions of over 200 million euros, Mediaset Distribution is the leading distribution company of Italian TV programs and scripted formats. A worldwide network of contacts enables Mediaset Distribution to reach and do business with every television market on the planet, providing programming and scripted formats in all genres to leading broadcasters, production companies and videogram distributors, our everyday clients, in each country. In addition to our vast ready-made catalogue, we have increased notably our new scripted formats business and after three years of activity we have closed options and adaptations in 11 different countries (including France and the U.S.). Our company has proved to be not only a supplier of ready-made programs, but also a provider of successful and profitable stories and ideas for producers. In a few years we have reached many markets with our scripted formats and are the first company in nonEnglish speaking Europe to have closed deals for a U.S. adaptation (four options with three different companies). We will work hard in order to maintain this trend.” —Patricio Teubal, Head, Sales


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Pura Vida Paprika ADDRESS: San Jose/Golfito, Costa Rica TELEPHONE: (506) 8701-50504 WEBSITE: CEO: Peter Marschall HEAD, SALES & CLIENT SERVICE: Silviu Epure HEAD, OPERATIONS & FINANCES: Andras Szabo HEAD, PRODUCTION: Clarisa Pinnola CONTACT:

“Set up in the midst of Central America, Costa Rica, Pura Vida Paprika intends to become one of the most efficient location service providers for exotic reality shows in the world. Formats such as Survivor, Paradise Hotel, Desafio, I’m a Celebrity Get me Out of Here, The Bachelor, Top Model are just a few of the titles that are expected to find a long-term home in the newly established production hub. Made up of a perfect mixture of wild jungle lands, pristine beaches, as well as paradisiacal exotic resorts, Costa Rica reveals itself as a fully functional open-air studio, with countless production opportunities. Supported by great logistical and infrastructural elements, safety and ease of doing business, Pura Vida Paprika presents all the right premises to be highly successful in its goals. In addition, the company enjoys full support from Costa Rican governmental representatives, an aspect that highly contributes to the efficiency, reliability and velocity with which it can operate in the region. Pura Vida Paprika is a subsidiary company of Paprika Latino Holding, a multinational producer with over ten years of experience in providing quality programming solutions for European broadcasters. Using the valuable resources and insightful know-how of Paprika Latino, as well as the combined force of a mix team of European and Latin American professionals, Pura Vida Paprika is prepared to offer services that uphold the highest European quality standards in reality-TV production and service provision.” —Peter Marschall, CEO


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Rive Gauche Television ADDRESS: 15300 Ventura Blvd., Suite 507, Sherman Oaks,

CA 91403, U.S.A. TELEPHONE: (1-818) 784-9912 WEBSITE: PRESIDENT: David Auerbach VP, DEVELOPMENT: Beth Belew CONTACT: Liz Levenson, PROGRAMS: Ca$h & Carry: 1 hr., studio game show, Rive

Gauche Television & Tremendous! Entertainment, U.S.A.; Do You Know What You Did Last Night?: 30 min., reality/comedy/ game show, Rive Gauche Television & 25/7 Productions, U.S.A.; I Almost Accidentally Killed Myself: 1 hr., reality, Rive Gauche Television & TigerDog Television, U.S.A.

“Our mission is to work with the best producers in the U.S. and around the world to develop original formats. Our goal is to provide broadcasters with fresh and innovative ideas and enable producers to retain the rights to their intellectual property. I can tell by how quickly my MIPCOM schedule filled up that Cyber Smarts, Hunch and Style Diva proved to be great calling cards and increased awareness for Rive Gauche as a supplier of original formats. We are introducing three exciting new formats at this market: Ca$h & Carry, Do You Know What You Did Last Night? and I Almost Accidentally Killed Myself. These formats are clear, promotable and entertaining concepts. I am looking forward to my MIPCOM meetings and expect to get some great reactions.” —David Auerbach, President


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SevenOne International ADDRESS: Medienallee 7, 85774 Unterfoehring, Germany TELEPHONE: (49-89) 9507-2320 WEBSITE: MANAGING DIRECTOR: Jens Richter DIRECTOR, INTERNATIONAL FORMAT ACQUISITIONS/REGIONAL SALES DIRECTOR, BENELUX & SCANDINAVIA: Henrik Pabst CONTACT: PROGRAMS: You Deserve It: 45 min., game show, ABC, Dick

de Rijk Productions for Red Arrow Entertainment Group/Kinetic Content, Germany/U.S.A.; My Man Can: game show, Sat.1, Redseven Entertainment, Germany; Clever! The Quiz Show that Makes Science Fun: 45 min., game show, Sat.1, Constantin Entertainment, Germany; Kiddy Contest: talent show, ORF, Sony Music, Austria; What If?: 30 min., sketch comedy, 2BE, SHELTER, Belgium; Benidorm Bastards: 30 min., hidden camera, 2BE, SHELTER, Belgium; Schiller Street: 45 min., improv. comedy, Sat.1, Hurricane Fernsehproduktion, Germany; Galileo: 1 hr., sciencetainment, ProSieben, Germany; The Insiders: 45 min., sciencetainment, Sat.1, Redseven Entertainment, Germany; Love Bites: 45 min., reality, ProSieben, blue eyes Film & Television, Germany. “SevenOne International is the worldwide programming sales company of Red Arrow Entertainment Group, a ProSiebenSat.1 Group company. Red Arrow combines a dynamic and growing group of international television production companies with powerful creative partnerships, alongside SevenOne International. SevenOne International offers an extensive portfolio of TV events,TV movies, telenovelas, prime-time series and mini-series, as well as magazine shows and entertainment formats. In addition, SevenOne International markets and co-finances the programs of third-party producers.” —Corporate Communications


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Shine International ADDRESS: 1741 Ivar Ave., Los Angeles, CA 90028, U.S.A. TELEPHONE: (1-323) 790-8000, (44-207) 985-7000 WEBSITE: VP, LATIN AMERICA & U.S. DISTRIBUTION: Matt Vassallo VP & HEAD, EMEA: Ruth Clarke SENIOR VP, ACQUISITIONS: Noel Hedges CONTACT: PROGRAMS: Mobbed: 8x1 hr./1x1 hr., entertainment, FOX, Alevy

Productions/Angel City Factory, U.S.A.; One Born Every Minute: Season 1, 8x1 hr./Season 2, 12x1 hr./Season 3, 14x1 hr., Channel 4, Dragonfly Film and Television Productions, U.K.; MasterChef: entertainment, BBC, Shine TV in association with Ziji Productions, U.K.; The Biggest Loser: factual entertainment, NBC, Reveille Productions, 3Ball Productions, 25/7 Productions, U.S.A.; The Date Machine: 10x1 hr., entertainment, Sky Living, Princess Productions, U.K.; Too Hot for Love: Season 1, 12x1 hr./Season 2, 13x1 hr., entertainment, TV3 Puls, Metronome Productions, Denmark; The Renovators: 12x1 hr., Network Ten, Shine Australia, Australia; Clash of the Choirs: entertainment, NBC, Friday TV/BBC Worldwide, U.S.A.; The Magicians: 5x1 hr., entertainment, BBC One, Shine TV, U.K.; 24 Hrs in A&E: 14x1 hr., factual entertainment, Channel 4, The Garden Productions, U.K. “Shine International, the international sales and distribution division of Shine Group, continues to deliver as one of the world’s leading independent distributors of content.The company represents over 3,000 hours of high-quality programming from both third-party independent producers and the Shine Group portfolio of production companies, including Reveille, Kudos, Shine TV, Dragonfly, Princess Productions, Brown Eyed Boy, Metronome Film & Television and format specialists Friday TV. Shine International specializes in the distribution of finished programming and is a leader in the licensing of global rights for television formats, including global hits MasterChef, The Biggest Loser and One Born Every Minute.” —Corporate Communications


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Televisa Internacional ADDRESS: Blvd. Adolfo López Mateos #2551, Col. Lomas de

San Ángel Inn, Mexico, D.F., 01790 TELEPHONE: (52-55) 5728-3999 WEBSITE: VP: Fernando Pérez Gavilán GENERAL DIRECTOR, SALES: Carlos Castro DIRECTOR, FORMATS & NEW CONTENTS: José Luis Romero CONTACT: Fernanda Abraham, Senior Manager PROGRAMS: The One Who Couldn’t Love: 1 hr., telenovela,

Televisa, U.S.A.; Double Life: 1 hr., telenovela, Televisa, U.S.A.; Hoping Heart: 1 hr., telenovela, Televisa, U.S.A.; Darling Sweetheart: 1 hr., comedy/telenovela, Televisa, U.S.A.; Pequeños Gigantes: 2 hrs., light entertainment, Televisa, U.S.A.

“Grupo Televisa is the largest media company in the Spanishspeaking world and a major participant in the international entertainment business. It has interests in television production and broadcasting, production of pay-television networks, international distribution of television programming, direct-to-home satellite services, cable television and telecommunication services, magazine publishing and distribution, radio production and broadcasting, professional sports and live entertainment, feature-film production and distribution, the operation of an Internet portal, and gaming. Televisa Internacional, the international distributor of content for Grupo Televisa, is the world’s leading distributor of Spanishlanguage programming and formats. For over 50 years, our telenovelas have become international hits and today we continue our legacy by offering to more than 100 countries worldwide our HD and digital TV programming, which includes series, reality shows, animation and movies. We also have an innovative catalogue of original formats [with] guaranteed success. Our sales offices are strategically located in Miami, New York, Mexico City, Buenos Aires, Madrid and Beijing.” —Corporate Communications


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TVN S.A. ADDRESS: Wiertnicza 166, 02-952 Warsaw, Poland TELEPHONE: (48-22) 856-6777 WEBSITE: HEAD, DRAMA PRODUCTION DEPARTMENT: Dariusz Gasiorowski HEAD, ACQUISITIONS: Renata Mecina CONTACT: PROGRAMS: Diamond Deal: 13x1 hr., comedy/drama/detective;

Recipe for Life: 26x1 hr., drama; Marked: 13x1 hr., mystery; Crime Detectives: 101x1 hr., detective; Face to Face: 25x1 hr., crime/drama; Love and Dance: 1x118 min., dance; Insiders: 13x1 hr., crime; Magda M.: 55x1 hr., drama; 39,5: 40x1 hr., comedy; Now or Never: 26x1 hr., drama. “TVN Group is Poland’s leading integrated media group, owning ten television channels, including Poles’ favorite free-to-air TVN channel, Polish major online company and the most technologically advanced digital payable satellite television “n”. Furthermore, TVN Group is internationally recognized provider of diverse ready-made productions: featured films, TV series, documentaries, with a growing library of scripted formats covering all genres of the entertainment spectrum with the focus on modern drama, crime and mystery TV series. TVN Group’s offer during this year’s MIPCOM not only includes our trusted formats such as Crime Detectives, but also the second season of our tasty drama series Recipe for Life and a brand-new crime series with a touch of humor, Diamond Deal.” —Renata Mecina, Head, Acquisitions


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Twentieth Century Fox Television Distribution ADDRESS: P.O. Box 900, Los Angeles, CA 90213, U.S.A. TELEPHONE: (1-310) 369-1000 WEBSITE: PRESIDENT, INTERNATIONAL TELEVISION: Marion Edwards VP, CREATIVE AFFAIRS, CURRENT PROGRAMMING, TWENTIETH CENTURY FOX TELEVISION: Steve Sicherman PROGRAMS: Modern Family: 30 min., scripted comedy; Bones:

1 hr., scripted drama; How I Met Your Mother: 30 min., scripted comedy; Prison Break: 1 hr., scripted drama; Marchlands: 1 hr., scripted drama; Malcolm in the Middle: 30 min., scripted comedy; Dharma & Greg: 30 min., scripted comedy; Murder One: 1 hr., scripted drama; My Name is Earl: 30 min., scripted comedy; It’s Always Sunny in Philadelphia: 30 min., scripted comedy.

“At Twentieth Century Fox, our goal is to bring the storytelling and creative powerhouse that is Twentieth Century Fox Television to our clients and provide them the opportunity to produce exciting local hit series for their audiences.” —Marion Edwards, President, International Television


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Zodiak Rights ADDRESS: Beaumont House, Kensington Village, Avonmore Rd.,

London W14 8TS, U.K. TELEPHONE: (44-207) 013-4400 WEBSITE: MANAGING DIRECTOR: Jane Millichip HEAD, ENTERTAINMENT: Barnaby Shingleton VP, ENTERTAINMENT: Paul Martin HEAD, FORMAT ACQUISITIONS: Ilan Astrug HEAD, OPERATIONS: Liliana Lombardo PROGRAMS: Water Wars: 1 hr., entertainment, Jaraowskij, Sweden;

You’ve Got to Be Kidding Me: 1 hr., entertainment, i&u TV Productions, Germany; The Stage: 1 hr./90 min./2 hrs., entertainment, Zodiak Finland, Finland; Restaurant Race: 1 hr., lifestyle, Palm Plus, Netherlands; The Secret Millionaire: 1 hr., factual entertainment, RDF Television, U.K.; So You Think You Can Dance: 1 hr., entertainment, 19 Entertainment/dick clark productions, U.S.A.; Fort Boyard: 45 min.-100 min., entertainment, Adventure Line Productions, France; Wife Swap, 1 hr., factual entertainment, RDF Television, U.K.

“Zodiak Rights is the international rights business of Zodiak Media Group. The company specializes in worldwide television and home-entertainment distribution and all aspects of licensing, with highly experienced sales teams in London and Paris. The business is split into three divisions: Zodiak Rights (London), Zodiak Rights (Paris) and Zodiak Kids. Zodiak Rights (London) covers drama, entertainment and factual programming, and the business is a mix of finished programming and format distribution.With an active catalogue of around 10,000 hours, ZRL represents both Zodiak Media Group programming and formats and a substantial catalogue of third-party independent programming from around the world. Zodiak Rights (Paris) specializes in drama, theatrical and documentary distribution, working closely with the London team. Zodiak Rights’ highlights include the global smash hit Wife Swap; Fort Boyard, the adventure game show which has celebrated its 20th anniversary; The Secret Millionaire, Channel 4’s philanthropic hit; the world’s favorite dance competition So You Think You Can Dance; The Best Singers, the new Swedish prime-time format; and Location Location Location, the U.K.’s premier property brand.” —Corporate Communications 48

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November 21, 2011 New York, New York, U.S.A. MYCONTENT November 30-December 3, 2011

Dubai International Convention & Exhibition Centre Dubai, U.A.E. ASIA TV FORUM

December 7-9, 2011 Marina Bay Sands, Singapore NATPE 2012 CONFERENCE & EXHIBITION

January 23-25, 2012 Fontainebleau Resort, Miami Beach, Florida, U.S.A. MIPTV

April 1-4, 2012 Cannes, France MONTE-CARLO TELEVISION FESTIVAL

June 10-14, 2012 Grimaldi Forum, Monte Carlo BANFF WORLD MEDIA FESTIVAL

June 10-13 Banff, Alberta, Canada NATPE BUDAPEST

June 26-28, 2012 Budapest, Hungary


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TV Formats Distributors Guide 2011/2012  

TV Formats Distributors Guide 2011/2012

TV Formats Distributors Guide 2011/2012  

TV Formats Distributors Guide 2011/2012