International Emmy Almanac by World Screen

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INTERNATIONAL EMMY ALMANAC

Table of Contents

President’s Report: Bruce Paisner

Directorate Award: Prof. Markus Schächter

Founders Award: Sir David Frost

Gala Chair: Blair Westlake

About The Academy

International Academy Map

International Emmy News Panel & Medal Ceremony

Academy Panelists

International Academy Foundation

Thank You Semi-Final Hosts

2009 International Emmy Awards Judging Season

2009 International Emmy Award Nominees

Competing in The Digital Space

2009 Judging Participants

Navigating The Television Business in Troubled Economic Times

108

Directory of Members

129

List of Advertisers

2009 International Digital Emmy Awards at MIPTV

130

Masthead

This Almanac was produced by WSN INC., publishers of World Screen. For a free subscription to our newsletters, please visit www.worldscreen.com/pages/newsletter

International Emmy Almanac 2009/2010

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INTERNATIONAL ACADEMY OF TELEVISION ARTS & SCIENCES

President’s Report As I complete a third term as President of the Academy, it is rewarding to look back and see how far we have come and challenging to think about the future, with so much left to do. The International Academy increasingly has become a significant presence in the international television community. We are recognized for the International Emmys, of course, but also for the panels, forums and Academy Days we and our partners present around the world. And that world changes every year, as television, and all the related media, become stronger and more original. It has been a particular pleasure for me to watch old and new friends from countries as diverse as Brazil, China, India and Russia join their colleagues from Western Europe, North America and Australia at our meetings and, with increasing frequency, on our stage. The International Academy is open to all who work in our industry and have an interest in what goes on beyond the borders of the U.S. Our participants include not only heads of state and leaders of powerful media conglomerates, but also producers, executives and new media professionals from over 60 countries.

hen we began the year 2009, we were deeply concerned, as were most people around the globe, about the state of the economy and how that might negatively affect our activities and our finances. I am pleased to report, as the year draws to a close, that the Academy remains in excellent shape both programmatically and financially. Fittingly enough, our March board meeting featured a panel on the economy moderated by Josh Steiner, the new co-President of Quadrangle Group. Josh and his panelists presented a picture of what would happen over the rest of the year, and it has turned out to be remarkably accurate. In September, we presented a panel on news gathering in a troubled world which featured our nominees for the International News Emmy and was moderated by Neal Shapiro, the President and CEO of WNET.ORG in New York and a director of the Academy. During the year, we sponsored a special program for our members at CES and we presented a well attended panel on “Competing in the Digital Space” at NATPE. Meanwhile, interest in The International Emmy Awards continues to build with 20 member companies hosting semi-final rounds of judging. This year, we had 788 entries from 48 countries for our International Emmys. One concession we made to the economic situation was to defer consideration of the next International Academy Day. 4

This innovative program, which began five years ago with an International Academy Day in Mexico City, has since led to popular and very well attended Academy Days in Beijing and Rio de Janeiro. But we understood that our members’ travel budgets this year were severely restricted, and we thought it would be best to wait to hold the next Academy Day until the economy improves a bit. Our staff is now scouting several locations for an Academy Day in late 2010 or early 2011. As noted before, and unlike many other non-profit organizations, the Academy’s finances are in good shape despite the economic climate. We owe this encouraging result to our directors and members, of course, and also to our par tners who give us both programmatic and financial help and whose key personnel are valued and trusted counselors to me. I par ticularly want to thank Phoenix Satellite Television and Liu Changle; TV Globo and Roberto Irineu Marinho and Amauri Soares; Microsoft and Blair Westlake; Dori Media and Nadav Palti; HBO and Simon Sutton; and Reed MIDEM and Paul Zilk. During the year, and after many years of faithful service to our organization, Donald Taffner, Sr. resigned as Secretary, although he remains on the Executive Committee. To my delight, Simon Sutton agreed to serve as Secretary, and Kevin Beggs of Lionsgate joined the Executive Committee. Perhaps the greatest credit for steering our organization through these troubled times goes to our key staff personnel, International Emmy Almanac 2009/2010

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who work tirelessly to promote the interest and the aspirations of the International Academy. In particular, Camille Bidermann-Roizen, our Senior Vice President and Executive Director throughout my time as President, manages to coordinate superbly the slightly opposed tasks of promoting the Academy’s mission and programs around the world while at the same time keeping our finances under control. She is a master at this balancing act. Camille and her talented, loyal staff are essential to the success of our organization, and we all thank them. I also want to express my thanks to my long-time friend, Fred Cohen, who is Chairman of the Academy and to our col-

leagues, John Shaffner and Alan Perris at the Television Academy in Los Angeles, and Herb Granath at the National Television Academy in New York. I also want to thank Frank A. Bennack, Jr., the Vice Chairman and Chief Executive Officer of Hearst Corporation for his support of the International Academy and of my role in it. Frank believes deeply in the importance of organizations like ours, and he puts his beliefs to work every day. I thank him for his encouragement and support. When we announced that Blair Westlake of Microsoft would be the Chairman of this year’s Gala, I said,“As a senior executive at Microsoft, Blair is on the front line of the revolution taking place in our industry.We welcome him as chair of this year’s Gala, both as a long-time friend and supporter of the International Academy, and as a sign of the Academy’s broadening mandate in our changing media world.” It is now our responsibility and our mission to be sure that the International Academy lives up to this mandate. In such a complex world, it will indeed be a challenge. But as everything else with the International Academy, above all it will be a lot of fun.

Bruce Paisner, President & CEO of The International Academy of Television Arts & Sciences

International Emmy Almanac 2009/2010

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INTERNATIONAL EMMY DIRECTORATE AWARD

Prof. Markus Schächter The International Emmy Directorate Award is presented to Prof. Markus Schächter, Director General of ZDF, for his outstanding leadership of ZDF and to commemorate the 60th Anniversary of the founding of the Federal Republic of Germany.

ver the last 25 years, Markus Schächter has been instrumental in positioning ZDF as a leader both in the highly competitive German television market and throughout the world. He also provided leadership for ZDF’s par ticipation in the digital transformation. Prof. Schächter’s career at ZDF (Zweites Deutsches Fernsehen) spans over 25 years, with a succession of key roles in production, programming and management. He was elected Director General by ZDF’s governing body,The Television Council, in 2002 and has since overseen the group’s operations, which include the main channel and three special interest channels in its digital bouquet, as well as cable and satellite channels 3sat, ARTE, Kinderkanal and PHOENIX. Based in Mainz, ZDF is operating a unique network of bureaus in all of the Länder capitals, and has major editorial and production capacity in Berlin. As one of Europe’s largest broadcasters, ZDF German Television is a strong player in the international field: longestablished bilateral and multilateral partnerships and exchanges, especially with fellow members of the European Broadcasting Union (EBU), are complemented by numerous individual cooperation agreements with broadcasters around the world. Fur thermore, ZDF shows a par ticular international commitment to news and information by maintaining 19 foreign bureaus and an even higher number of foreign correspondents based wherever news coverage is needed. As a public-service broadcaster, ZDF has a mandate to provide information, education and entertainment in its programming, reaching viewers of all ages and in all parts of Germany. Complementing a focus on news and current affairs, ZDF is also par ticularly successful with documentaries, fiction and sports 6

programs, and has proved able to defend a leading position in the highly competitive environment of currently over 50 German public or commercial free-to-air TV channels.

International Emmy Almanac 2009/2010

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INTERNATIONAL EMMY FOUNDERS AWARD

Sir David Frost The International Emmy Founders Award is presented to Sir David Frost, one of the preeminent television figures of the 20th century—not to mention the 21st! Sir David’s interviews with President Richard Nixon were immortalized in last year’s Oscar-nominated movie Frost/Nixon.

ir David has been producing and hosting his own shows for more than 40 years and began his four th year of hosting and producing Frost Over The World for Al Jazeera English this September. The program is received in more than 140 million homes in over 100 countries. Over the years, Frost has interviewed hundreds of celebrities and newsmakers. He is the only person to have interviewed all seven British prime ministers serving between 1964 and 2009 and the seven U.S. presidents in office between 1969 and 2008. His ground-breaking satirical show That Was The Week That Was and its follow-up, The Frost Report, ser ved as a launch pad for many modern British comics (including most of the cast of Monty Python’s Flying Circus) and propelled Frost into the limelight. By the end of the 1960s he was producing shows in England and the U.S., and enjoying as much celebrity as those he was inter viewing on TV. Sir David received the Golden Rose of Montreux for The Frost Report in 1967 and two U.S. Emmy Awards for The David Frost Show in 1970 and 1971. He also co-founded two U.K. network companies, London Weekend Television and TV-am. From the late ’60s and during the ’70s and ’80s he became known as a high-profile interviewer, enhanced by the series of 1977 televised inter views with International Emmy Almanac 2009/2010

former U.S. president Richard Nixon. He was knighted by Her Majesty the Queen in the New Year’s Honours List in Januar y 1993, and received from BAFTA (The British Academy of Film and Television Ar ts) their highest honor, the BAFTA Fellowship, in 2005.

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GALA CHAIR

Blair Westlake Corporate VP, Microsoft’s Media & Entertainment Group What does being the 2009 Gala Chair mean to you? For me, the honor of being Gala Chair is that I can be a par t of recognizing a field that impacts lives across the globe.The International Academy is instrumental in inspiring global news and enter tainment that touches audiences worldwide. It’s also an honor to be par t of the tradition of the Academy, as so many of the people who have held this position before are people I admire.This year’s world-class list of presenters includes names like former Secretary of State Henry Kissinger, and the groundbreaking work of this year’s nominees underscore the Academy’s impor tance.

phones, for example, are reaching people millions who never owned a television. We’ve been able to take this approach and make many business models work in a way that consumers enjoy, but there are other models—particularly advertising-supported models—that can be more challenging to implement. The next pioneers will be the ones who can adapt traditional business models to bring content to people across the globe in new ways.

Can you tell us about Microsoft’s most recent initiatives with broadcasters and content creators around the world? With such amazing content being produced, Microsoft is always working on new technologies and partnerships to bring news and entertainment even closer to people worldwide. We recently closed agreements with BSkyB in the U.K. and Canal+ Group in France to bring custom regional content from these providers to Xbox LIVE customers in Europe. The Sky agreement was an industry-first by delivering live TV on Xbox 360. We also recently announced that the Zune video library will be coming to 17 international markets. Yet Microsoft has an international reach that hasn’t been fully tapped on behalf of our international broadcaster and content partners, even with the recent announcements. Xbox is sold in 30 countries in the world, and Windows phones in over 50. You will see Microsoft develop and expand par tnerships to reach even more people worldwide in new and flexible ways. What do you think will be the biggest challenges for our industry in the coming years? There is a tremendous amount of change occurring in the media and entertainment industry right now, and new technologies have presented us challenges and opportunities. At Microsoft, we see our role as providing technology that delivers content to previously underserved audiences, and we think this type of oppor tunity is enormous for others as well. Mobile 8

International Emmy Almanac 2009/2010

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ABOUT THE ACADEMY

The International Academy of Television Arts & Sciences Connecting the world’s leading media and entertainment professionals he strength of the International Academy undoubtedly lies in the composition of its membership: a “Who’s Who” of international television encompassing over 500 companies and key media figures from all sectors of television, including Internet, Mobile and Technology. The Academy was founded in 1969 and chartered with a mission to recognize excellence in television programming produced outside of the United States. It is a unique, independent organization whose members come together to exchange ideas, discuss common issues and promote new strategies for the future development Ugly Betty’s Judith Light arriving on the Red Carpet at The 2008 International Emmy Awards of quality television programming. The International Academy is best known worldwide for presenting the International Emmy in television produced outside of the United States and Awards. Ever y November, over 1,000 television profesto network with their peers from the international telesionals gather at the black-tie Gala to celebrate excellence vision community. International Emmy Awards are given in fifteen categories, including: Ar ts Programming; Best Performance by an Actor ; Best Performance by an Actress; Children & Young People; Comedy; Current Affairs; Digital Program: Children & Young People; Digital Program: Fiction; Digital Program: Non-Fiction; Documentar y; Drama Series; News; NonScripted Enter tainment; Telenovela; TV Movie/Mini-Series. However, the Academy’s activities extend well beyond awards.The Academy is a membership-based organization with year-round activities for its Members including: Panels & Board Meetings, The International Emmy World Television Festival and International Academy Day. For more information and a calendar of upcoming events go to the InterTV Globo Jornal Nacional’s Anchor, William Bonner, speaks on International Emmy News Panel national Academy’s website, www.iemmys.tv. International Emmy Almanac 2009/2010

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2009 NOMINEES

Arts Programming

BRAZIL

UNITED KINGDOM

JAPAN

POLAND

MAMONAS ASSASSINAS ALL MY LIFE

THE MONA LISA CURSE

ODE TO JOY: 10,000 VOICES RESOUND!

SEVEN GATES OF JERUSALEM

Mainichi Broadcasting System, Inc.

TVP SA / Platige Image

TV Globo Executive Producer: Roberto Câmara Production Director: Alexandre Ishikawa Musical Producer: João Paulo Mendonça Director: José Luiz Villamarim General Director: Ricardo Waddington Musical Director: Mariozinho Rocha Writers: Maria Camargo, George Moura Host: Fernanda Lima Principal Cast: Fabrízio Teixeira, Flavio Pardal, Anderson Lau, Douglas Rosa, Rômulo Estrela All My Life tells the story of the five members of Mamonas Assassinas, a band who won Brazil’s heart in 1995 with their first record but died in a tragic plane accident shortly after.The program is a combination of archive footage, dramatizations and testimonials from close friends, family and the professionals who followed the musicians’ careers. 12

Oxford Film & Television for Channel 4 Executive Producer: Nick Kent Producer: Mandy Chang Director: Mandy Chang Internationally renowned art critic Robert Hughes examines how the Mona Lisa came to influence the art world and tells the story of the rise of contemporary art by exploring the changes in museums, production, and consumption of art over the past 50 years. The Mona Lisa Curse features Hughes’ reflections on a life spent talking and writing about the art he loves, and often loathes. Starting with a thriving American art scene in the 1960s, he recounts its demise in the 1980s by an art market bloated with excess, and infiltrated by investors.

Producer: Satoru Ochi Director: Yuzuna Endo Maestro: Yutaka Sado Each year in Osaka, Japan, a concert of Beethoven’s 9th symphony is held with a chorus of 10,000 singers. Men and women, young and old, professional and amateur, from all over the country and all walks of life join Maestro Yutaka Sado to share a musical and human experience. Since the first concert in 1983, the performance has become even more a reflection of the happenings of each year, resonating Beethoven’s message:“Alle Menschen werden Bruder,” all men shall be brothers.

Producers: Katarzyna Gramse-Matusiak, Miroslaw Lasota, Marcin Kobylecki Directors: Jaroslaw Minkowicz,Tomasz Baginski Writer: Jaroslaw Minkowicz Concept: Halina Bisztyga Featuring: Krzysztof Penderecki, Izabela Matula, Izabela Klosinska, Agnieszka Rehlis, Adam Zdunikowski, Romuald Tesarowicz, Boris Carmeli, Elzbieta SzlufikPantak, Grzegorz Pantak Seven Gates of Jerusalem is the seventh symphony composed by Krzysztof Penderecki, Poland’s leading contemporary composer. The program features the Polish National Opera Chorus and Orchestra directed by the composer himself. On-stage dances are combined with the specially produced computer animation created under the supervision of director Tomasz Bagin´ski.

International Emmy Almanac 2009/2010

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2009 NOMINEES

Best Performance by an Actor

THE NETHERLANDS

PR CHINA

MEXICO

UNITED KINGDOM

ROBERT DE HOOG

CHEN LI

ÓSCAR OLIVARES

BEN WHISHAW

as Frankie Epstein Skin

as Liu Wu Ultimate Rescue

as Antonia Capadocia

as Ben Coulter Criminal Justice

Humanist Broadcasting Foundation / IJswater Films

China Movie Channel

HBO Latin America Originals

BBC

Taxi driver Liu Wu has a nightmare of a day. As he is worrying about his professional life and his relationship with his girlfriend, a young couple enters his cab with their one-year-old son.The boy has a chicken bone lodged in his throat and must be taken for surgery in another city, 150 kilometers away, as quickly as possible. During the drive, Liu Wu and the couple must rely on the assistance of a radio show, a doctor, the police, and many other warm-hearted citizens in order to save the boy.

Antonia, a post-operation transsexual, is arrested for the theft of intimate garments in a department store. Sentenced to time in a male penitentiary, Antonia, not safe around the male inmates, fights to be transferred to Capadocia, an innovative women’s prison facility in Mexico City.

Ben is a regular 21-year-old with a sensitive nature and a trusting, happy-go-lucky outlook. At the end of an uncharacteristic drug- and drink-fueled night out, he finds himself charged with murder. Unable to recall what transpired and with all the evidence pointing at him, Ben finds himself facing a life sentence. He thinks if he tells the truth, he will be believed. His legal team, however, know otherwise.

Skin is based on true events that occurred in The Netherlands in the late seventies. Eighteen-year-old Frankie is the son of Simon Epstein, an Auschwitz survivor. He wishes he could sympathize with his father, who is too busy struggling with his traumatic past to be available to his son.When Frankie’s mother, Anna, is hospitalized and ultimately dies of cancer, Frankie turns away from his father, who once again is unable to set aside his own suffering and deal with the situation, leading Frankie to seek refuge among a group of Dutch Neo Nazi skinheads.

International Emmy Almanac 2009/2010

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2009 NOMINEES

Best Performance by an Actress

FRANCE

THE PHILIPPINES

MEXICO

UNITED KINGDOM

EMMA DE CAUNES

ANGEL LOCSIN

CECILIA SUÁREZ

JULIE WALTERS

as Marie Manikowski Night Birds

as Lyka The Wolf

as La Bambi Capadocia

as Dr. Anne Turner A Short Stay in Switzerland

CHEZ WAM

ABS-CBN Broadcasting Corporation

HBO Latin America Originals

BBC

With a dual and extremist personality,“La Bambi” can be just as cruel as she is sensitive. After being sentenced to time for a minor crime, her sole goal is to survive inside prison, the only stable environment she knows. In doing so, she will eventually become the leader of Capadocia, an innovative women’s prison facility in Mexico City.

A Short Stay in Switzerland explores the controversial issue of euthanasia through the story of Dr. Anne Turner, whose assisted suicide in a Zurich clinic makes headline news. Having just witnessed the death of her husband Jack from an incurable neurological disease, Anne is diagnosed with a near-identical illness.With determined rationality, she decides that once her illness has reached a critical point, she will take her own life.

Marie is a defiant young woman, full of energy.With her steely determination, she confronts unimaginable obstacles head on as she lives through difficult and moving experiences. A prominent figure on the fictional Parisian scene in the eighties, she tries to find her footing as a gutsy singer, a housewife, a high-rolling DJ,TV presenter and improvised artistic mentor. Marie lives her life to the fullest, notching up jobs, drugs and men.

Lyka, a cheerful and compassionate woman, dreams of becoming a renowned fashion designer. However, she is haunted by her past, in which her mother struggled and gave up love to fulfill a mysterious life given to her as a wolf. Lyka inherits this power and comes to accept her life as a wolf, fighting to save her race together with Noah, her childhood love.

International Emmy Almanac 2009/2010

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2009 NOMINEES

Children & Young People Still photographer: Agnete Schichtkrull

All rights: DR Fiktion

UNITED KINGDOM

THAILAND

DUSTBIN BABY

LHARN PHOO KOO E-JOO THE LITTLE EMPEROR’S CHRISTMAS Bangkok Broadcasting &

Kindle Entertainment Executive Producers: Anne Brogan, Melanie Stokes, Sue Nott Producer: Julia Ouston Director: Juliet May Writers: Helen Blakeman Principal Cast: Juliet Stevenson, Dakota Blue Richards, David Haig Dustbin Baby tells the story of April, an adopted teenager, who sets out to find where she came from and, on the way, discovers where she belongs. On her 14th birthday, April argues with her foster mother, Marion, and leaves, determined to find out the truth about her past and why she has been abandoned in a dustbin as a newborn. As Marion searches frantically for her, their journeys take them on a course that will change their lives forever.

T.V. Co., Ltd / Workpoint Entertainment Public Company Limited Executive Producer: Rungthum Pumsinil Producer:Tassaneeya Chalerypis Director:Tepparit Wongwanichwattana Writers: Khachongrit Sirilalitanand, Pongtanit Chompu, Duangmanee Kusolsaktawee Host: Phanya Nirunkul Lharn Phoo Koo E-Joo is a game show, which has grandparents and their grandchildren playing together to win prizes.They have to work as a team, teach and learn from each other and bond together in order to get through the given challenges. One challenge sees the grandfather assigned to identify his grandchild’s English-speaking teacher.After this is accomplished, the grandfather must learn to speak English in order to ask the teacher questions and get the correct information from her.

International Emmy Almanac 2009/2010

BRAZIL

TV Globo Executive Producer: Rita Canavello Production Director: Aluízio Aguento Production Coordinators: Silvana Gabbardo, Reinaldo Meirelles General Director: Luiz Henrique Rios Directors: Flavia Lacerda,Allan Fitermam, Denise Saraceni Writer: Péricles Barros Principal Cast: Aracy Balabaniam,Guilherme Weber,Luiz Carlos de Vasconcellos,Reynaldo Giannecchini,Guilhermo Hundade,João Ramos,Sergio Brito, Fernanda Montenegro,Lenine At nine years old, Pedro II is already the emperor of a great nation but he feels very lonely, he longs for a real family and to be free to play like every other child. One day during a horseback ride he meets Dito, a young slave who is unaware that Pedro is the emperor. The Little Emperor’s Christmas follows the friendship that develops between the two boys.

DENMARK

MILLE Danish Broadcasting Corporation Executive Producer: Ingolf Gabold Producer: David C.H. Østerbøg Director: Poul Berg Writers: Poul Berg, Karina Dam Principal Cast: Mathilde Arcel Fock, Lærke Winther, Michelle Bjørn-Andersen, Lucas Munk Billing, Emilie Kadziola,Torben Zeller, David Rousing Twelve-year-old Mille struggles to deal with the accidental death of her best friend and tries to open up to others. Meanwhile, her mother Leila fights to keep the family’s coffee shop from going bankrupt and her colorful and romantic grandmother is searching for love.

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2009 NOMINEES

Comedy © NHK

JAPAN

UNITED KINGDOM

BRAZIL

GERMANY

HOSHI SHINICHI’S SHORT SHORTS

PETER KAY’S BRITAIN’S GOT THE POP FACTOR…

THE SLUM

TURKISH FOR BEGINNERS

TV Globo / Dueto Filmes

Telecom Staff for NHK in association with NHK Enterprises

Phil McIntyre / Goodnight Vienna Productions for Channel 4

Executive Producers: Yoji Watanabe,Toshio Nakanishi, Akemi Yamamoto Director: Kazuho Mochizuki Writers/Animators: Kazuho Mochizuki,Tayuta Mikage,Yusuke Sakamoto, Kazuo Ebisawa,Wataru Ono, Pantograph Artists: Fujio Tanabe,Toshiaki Hanzaki Principal Cast: Yuichiro Nakayama, Kei Tanaka

Producer: Lucy Ansbro Director: Peter Kay Writer: Peter Kay Principal Cast: Peter Kay, Sir Paul McCartney, Cat Deeley

Executive Producer: Rômulo Marinho Producer: Augusto Casé Production Director: Bial Caldas Production Coordinator: Regina Monteiro Musical Producer: Luiz Brasil Director: Carolina Jabor General Director: Monique Gardenberg Writers: Guel Arraes, Jorge Furtado Principal Cast: Lázaro Ramos, Matheus Nachtergaele, Stênio Garcia, Erico Brás, Tânia Toko

Bayerischer Rundfunk / Norddeutscher Rundfunk / Westdeutscher Rundfunk / ARD-Werbung / Hofmann & Voges Entertainment GmbH

Author Hoshi Shinichi, one of Japan's most original and clever writers, has written over 1,000 short stories filled with offbeat humor and trenchant wit.These are tales of lives and imaginary universes, told in the space of a breath. More than a decade after his death, his ever popular “grownup fairytales” find new life at the hands of younger artists in an array of media, which includes animation and live action. 16

Comedian Peter Kay presents a one-off spoof show, which sends up pretty much every talent show in Britain over the past five years. Peter Kay’s Britain’s Got the Pop Factor…and Possibly a New Celebrity Jesus Christ Soapstar Superstar Strictly on Ice features cringe worthy auditions, the ubiquitous judging panel, and the unavoidable nail-biting “live” final. Kay impersonates finalist Geraldine who competes against R Wayne and the distinctive band 2 up 2 down.

Neusão manages the most popular bar in a slum in Salvador, Brazil.The bar regulars are the people who live in the neighborhood: Mrs. Joana, a vexing and devout Pentecostal; Roque, the singer/songwriter, and his girlfriend, Dandara; Reginaldo, the cab driver who, despite being married, has an affair with his transvestite neighbor; and Baiana, an old lady who sells street food.

Executive Producers: Bettina Reitz, Bernhard Gleim, Caren Toennissen Producers: Philip Voges, Alban Rehnitz, Bora Dagtekin Directors: Edzard Onneken, Oliver Schmitz Writers: Bora Dagtekin, Fabian Wiemker Principal Cast: Josefine Preuß,Anna Stieblich,Adnan Maral, Elyas M'Barek, Pegah Ferydoni, Katharina Kaali,Arnel Taci, Carl Heinz Choynski Newly graduated, Lena, Cem and Yagmur are now facing life after surviving their stressful teenage years. But Doris and Metin would be fools to believe that their children will inevitably find their path to happiness. Lena’s studies are a disaster, Cem has flunked his final year in school and Yagmur attempts to plan her future with Costa.

International Emmy Almanac 2009/2010

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2009 NOMINEES

Documentary

UNITED KINGDOM

GERMANY

ARGENTINA

QATAR

THE ASCENT OF MONEY

CITYBOY – THE LIFE OF INVESTMENT BANKER GERAINT ANDERSON

PANCHO VILLA: AQUI Y ALLI

SHOOTING THE MESSENGER

The History Channel Latin America / Anima Films

Al Jazeera English

Chimerica Media Limited / Education Broadcasting Corporation for Channel 4 Executive Producers: Simon Berthon,William Grant, Stephen Segalle Producer: Melanie Fall Director: Adrian Pennink Host: Professor Niall Ferguson Professor Niall Ferguson goes on a tour of world finance and demonstrates that behind every great historical phenomenon – empires and republics, wars and revolutions – there lies a financial secret.The evolution of credit and debt has been as important as any technological innovation in the rise of civilization, from ancient Babylon to present-day, Professor Ferguson explains the origins of credit and debt and why credit networks are indispensable to any civilization.

United Docs / ECO Media / WDR Executive Producers: Jorge Bogalho, Jörg Kunkel Director: Stephan Lamby Writer: Stephan Lamby The economic crisis of 2008 has shaken the financial world – and Geraint Anderson has long seen it coming. At 35, he has had a rapid career as a star analyst for a London investment bank. But after experiencing all the insider trading, drugs, sex, greed, bad speculation and panic of the profession, he breaks its code of silence. Cityboy tells the story of a banker amid the ruthless business ethics in the City of London.

International Emmy Almanac 2009/2010

Executive Producers: Miguel Brailovsky, Sebastian Gamba, Julian Rousso Producers: Julian Rousso, Sebastian Gamba, Matías Gueilburt Director: Matías Gueilburt Writers: Paco Ignacio Taibo II, Nicolás Gueilburt Host/Narrator: Paco Ignacio Taibo II Pancho Villa, the Centaur of the North: for some a bandit; to others a great revolutionary leader. Hosted by author Paco Ignacio Taibo II, this documentary retraces the life and legacy of one of the most important symbols of Mexican history.

Executive Producer: Mike Dillon Producer: Ian Stuttard Director: Ian Stuttard Writers: Michael Nicholson, Ian Stuttard, Mike Dillon Host: Michael Nicholson In Shooting the Messenger, Mike Nicholson and Ian Stuttard, two veteran conflict reporters, undertake a journey into what they claim is the deliberate targeting of journalists and film crews in conflict zones.With archive footage and in-depth interviews, the film tracks journalists and camera operators who courageously risk their lives on a daily basis to witness, record, and share the stories that no one else dares.

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2009 NOMINEES

Drama Series Photographer: Mike Kollöffel All rights: DR Fiktion

MEXICO

SOUTH KOREA

DENMARK

SOUTH AFRICA

UNITED KINGDOM

CAPADOCIA

THE LAND OF WIND

THE PROTECTORS

SPOOKS

HBO Latin America Originals

Korean Broadcasting System

Paw Paw Films

Executive Producers: Luis F Peraza, Epigmenio Ibarra,Veronica Velazco Producers: Andres Tagliavini, Jorge Aragon Directors: Carlos Carrera, Pedro Pablo Ybarra, Javier Patron “Fox” Writers: Guillermo Rios, Laura Sosa, Leticia Lopez, Carmen Madrid, Silvia Pasternac Principal Cast: Ana de la Reguera,Cecilia Suarez, Dolores Heredia, Juan Manuel Bernal,Alejandro Camacho

Executive Producer: Ji-Young Choi Producer: So-San Moon Directors: Il-Soo Kang, Byung-Hyun Ji Writers: Jin-Ok Jung, Jin-Woo Park Principal Cast: IlGook Song, Jin-Young Jung, Gun-Hyung Park, Jung-Won Choi

Danish Broadcasting Corporation in association with ZDF / NRK / SVT

SOKHULU & PARTNERS

Executive Producers: Jane Featherstone, Simon Crawford Collins,Andrew Woodhead Producer: Katie Swinden Directors: Colm McCarthy, Peter Hoar, Edward Hall, Sam Miller Writers: Neil Cross, Ben Richards, Russell Lewis, Richard McBrien, Christian Spurrier, David Farr, James Moran Principal Cast: Rupert Penry-Jones, Richard Armitage, Peter Firth, Hermione Norris

Capadocia is an innovative women’s prison in Mexico City, created as a result of political interest and power struggles.Two projects converge there: one for the comprehensive rehabilitation of imprisoned women; the other to benefit from cheap labor, under the guise of teaching the prisoners a skill that will reintegrate them into society. 18

The Land of Wind takes place in Goguryeo (today’s Korea), 2,000 years ago.The epic drama portrays the history of a small citynation in Jolbon, which grows into a powerful kingdom.This historical adventure describes the life of Muhyul, later known as the Great Warrior King, who paved the way toward the 700-year long splendid civilization.

Executive Producer: Ingolf Gabold Producer: Sven Clausen Director: Mikkel Serup Writers: Peter Thorsboe, Mai Brostrøm Principal Cast: Cecilie Stenspil, Søren Vejby,André Babikian,Thomas W. Gabrielsson, Ditte Gråbøl, Tommy Kenter, Rasmus Bjerg, Ellen Hillingsø The Protectors follows a special unit from the Danish Security and Intelligence Service, and the endeavors of this unit to protect the fundamental idea of democracy in a changing and unstable world.Through them, their work and their friendship, the dramatics of the current era are reflected as they attempt to prevent crimes that reduce human lives to symbols.

Creative Producers: Portia Gumede, Roberta Durrant Director: Thabang Moleya Writers: Dennis Venter, Bongi Ndaba, Neil McCarthy, Portia Gumede, Zamo Mkhwanazi Principal Cast: Melusi Yeni,Thami Africa, Linda Sokhulu, Busi Lurayi Sokhulu & Partners dramatizes key court cases that have come before South Africa’s Constitutional Court since South Africa adopted its new constitution in 1996. Meanwhile, the two partners in the law firm, brothers Mabuto and Zweli Sohkulu, face challenges in both their professional and personal lives.Will they hold fast to their principles in their quest to protect the rights of those they serve?

Kudos Film and TV Ltd

In a world where Russia is rapidly regaining its superpower status, and the prospect of a new Cold War becoming increasingly real, the Spooks team finds itself up against the most menacing of modern threats.The resulting story delves into classic espionage territory, where no one can be trusted and nothing is secure.

International Emmy Almanac 2009/2010

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2009 NOMINEES

Non-Scripted Entertainment Credit: AXN Asia

SINGAPORE

ARGENTINA

UNITED KINGDOM

THE NETHERLANDS

THE AMAZING RACE ASIA

HISTORIA EXTREMA

THE PHONE

Amazing Race Productions Inc. / ABC Studios / SPE Networks – Asia Pte Ltd (AXN Asia) / Sony Pictures Television / ActiveTV Asia Pte Ltd / ActiveTV Pty Ltd

The History Channel Latin America / Endemol Argentina

I’M A CELEBRITY…GET ME OUT OF HERE! ITV Studios

Executive Producers: Willem Brom, Adriaan Demenint, Marc Bennink, Beau van Erven Dorens Producers: Rosanne Surie, Nancy Pronk, Janine Roozemond, Meike Sliepenbeek, Joost Rentema, Jitze Jaap Osinga, Ellen Tax, Frank Baarda Directors: Bart Buiter, Jan Michiel den Boogaard Writers: Adriaan Demenint,Willem Brom Host: Frederik Brom

Executive Producers: Marie Jacobson, Frank Sutera, Michael McKay Production Director: Derek Wong Producers: Serena Lau, Ariel White, Sharon Pereira, Priscilla Yeo, Kylie Washington, Michael Miller, Bicha Gholam, Zabrina Fernandez, Mylena Deluchi, Kimberly James, Denis Harvey, Krishnendu Bose, Shabry Fuard Director: Michael McKay Creators: Elise Doganieri, Bertram van Munster Host: Allan Wu The Amazing Race Asia features the trials and tribulation of 10 teams as they travel and compete in grueling challenges across Asia.The challenges, designed with the team's relationships in mind, are created to push their limits. It’s no longer when the teams will be eliminated, but when they will quit!

Executive Producers: Miguel Brailovsky, Alfredo Cartoy Producer: Raul Slonimsky Director: Diego Palacio Writer: Pina Di Toto Host: Julio Bracho Historia Extrema mixes team challenges with historic adventure.Three teams compete to recreate the conditions faced in 1817 by General José de San Martin when he set out to cross the Andes with an army of 5,200 to liberate Chile from Spanish dominion.The human factor is as much of a challenge as altitude, extreme temperature, lack of food and adequate shelter. How will these men and women compare to the 19th century heroes?

International Emmy Almanac 2009/2010

Executive Producers: Richard Cowles, Chris Brogden, Beth Hart, Natalka Znak Producers: Becca Walker, Rachel Watson, Marty Benson Director: Chris Power Writers: Mark Busk-Cowley, Andrew Milligan Hosts: Anthony McPartlin, Declan Donnelly In I'm A Celebrity...Get Me Out of Here! a stellar cast of celebrities, including Martina Navratilova and George Takei, are the latest to head for the Australian rainforest. For three weeks these stars must endure everything the jungle can throw at them hardships, hunger, terrifying Bushtucker Trials and, worst of all, each other.The public is in control from the start, nominating a celebrity to face a Bushtucker Trial every day and ultimately choosing the king or queen of the jungle.

Park Lane TV Productions

Two phones are hidden in public locations and each rings until someone takes the call.The people who pick up the phone become contestants in a game.Transported to a world only seen in spy movies, the contestants have the chance to win money should the missions they are assigned be successful.

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2009 NOMINEES

Telenovela

BRAZIL

THE PHILIPPINES

FRANCE

THE PHILIPPINES

INDIA – A LOVE STORY

MAGDUSA KA

SECOND CHANCE

A TIME FOR US

TV Globo

GMA Network, Inc.

TF1 Production / Fontana

Executive Producer: Érika da Matta Production Director: Flavio Nascimento Director: Marcos Shechtman Writer: Gloria Perez Principal Cast: Juliana Paes, Marcio Garcia, Rodrigo Lombardi,Tony Ramos, Lima Duarte, Christiane Torloni, Debora Bloch, Letícia Sabatella, Alexandre Borges, Humberto Martins, Antonio Caloni

Executive Producer: Camille Gomba-Montaño Producers: Wilma Galvante, Lilybeth Rasonable, Redgynn Alba Directors: Maryo J. delos Reyes, Rado Peru Writers: Aloy Adlawan, Dinno Erece, Luningning Ribay, Angeli delos Reyes, Joseph Balboa, Glaiza Ramirez, Cheryl Narvasa Principal Cast: Dennis Trillo, Katrina Halili, Iwa Moto

Executive Producer: Edouard Boccon-Gibod Directors: Vincent Giovanni, Philippe Dajoux, Philippe Proteau Writers: Nathalie Abdelnour, Elodie Namer, Elsa Marpeau, Mathieu Missoffe Principal Cast: Caroline Veyt, Pascale Michaud, Sébastien Courivaud, Isabelle Vitari

ABS-CBN Broadcasting Corporation / Double Vision SDN BHD

The untouchable Bahuan was raised by a Brahmin. He is in love with Maya, but knows that the girl’s family will be against their wedding if they find out the truth. He suggests that they run off in the United States and Maya agrees, despite the fact that her hand is promised to another man.

Magdusa Ka revolves around Christine, a poor young woman raised with love and care by her mother, who dreams of rising from poverty to put an end to the hardships they endure. She relies on her boyfriend Rod to help her with the situation.

A second chance, a new beginning... Abandoned by her husband after 18 years of marriage, Alice has to fend for herself and her two adolescent children for the first time in her life.Thanks to an old college friend, she finds a job in an advertising agency where she has to fight in order to survive, and face every challenge if she wants to be a winner.When she accepts the job, she has no idea this so-called friend hates her and only hired her so she can put the poor Alice through hell.

Executive Producers: Malou N. Santos, Ginny M. Ocampo, Des D.Tanwangco, Peggie Lim, Eric Ong Producers: Sabrina Prince, GG Mood Noor Directors: Gilbert G. Perez, Jerry Lopez-Sineneng Writers: Henry King Quitain, Denise O'Hara Principal Cast: Jericho Rosales, Carmen Soo, Christopher de Leon,Albert Martinez, Louisa Chong,Awal Ashaari, Soosan Hoh A Time for Us follows Rocky, a Philippine Drug Enforcement Agency agent, in pursuit of justice for his father’s death, and Garie, a rich girl in search of her long-lost father. Good fortune plays its part when they meet again after years, broken and jaded.They discover that they might actually have parallel objectives and may just be the key to each other's predicament.

International Emmy Almanac 2009/2010

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2009 NOMINEES

TV Movie/Mini-Series © CMC

BRAZIL

UNITED KINGDOM

PR CHINA

GERMANY

MAYSA – WHEN THE HEART SINGS

THE SHOOTING OF THOMAS HURNDALL

ULTIMATE RESCUE

THE WOLVES OF BERLIN

China Movie Channel

TV Globo

Talkback Thames for Channel 4

Executive Producer: Xiaoming Yan Producers: Yang Yue,Tiejun Mu, Xiaoli Lin Director: Sheng Kong Writer: Kexin Zhu Principal Cast: Chen Li

Ziegler Film GmbH & Co. KG / ZDF

Executive Producer: Claudia Braga Production Director: Guilherme Bokel Musical Producers: Marcus Vianna, PH Castanheira Director: Jayme Monjardim Musical Director: Mariozinho Rocha Writers: Manoel Carlos, Ângela Alves Principal Cast: Larissa Maciel, Mateus Solano, Eduardo Semergian, Denise Weinberg, Priscilla Rosembaum Maysa - When the Heart Sings focuses on the life, career and loves of Maysa Monjardim Matarazzo, one of the most famous Brazilian singer/songwriters of the 1970s, who challenged the social standards of her era, before her untimely death in a car crash at the age of 40.This is the story of a woman ahead of her time, who gave herself to life and to love with the same intensity as she composed and performed.

Executive Producer: Charles Furneaux Producer: Barney Reisz Director: Rowan Joffe Writer: Simon Block Principal Cast: Stephen Dillane After their son Thomas is shot in the head in Gaza, Anthony and Jocelyn Hurndall arrive in Israel wanting to know how it could have happened.They expect sympathy and co-operation from the Israeli authorities, but are instead met with an official explanation that fails to tally with any eye-witness accounts.The Hurndalls decide the only way to establish the truth is to launch their own investigation into the shooting, a process which brings them face to face with both the open fire regulations of the Israeli army in Gaza, and the soldier who pulled the trigger.

International Emmy Almanac 2009/2010

Executive Producer: Regina Ziegler Producers: Regina Ziegler, Heiner Gatzemeier, Guido Knopp Director: Friedemann Fromm Writers: Friedemann Fromm, Christoph Fromm Principal Cast: Henriette Confurius, Nina Gummich, Vincent Redetzki, Neel Fehler, Annett Renneberg, Stefanie Stappenbeck, Florian Lukas, Florian Stetter After the introduction of the Deutschmark in the western sector of Berlin, the roads between East and West are closed by Soviet troops. Between debris, power outages, curfews and raisin bombers, a group of young people meet. Under the motto “Nothing can separate us, not even death,” they create a gang:“The Wolves.” The Wolves of Berlin tells their story starting in 1948 and follows them through the fall of the Berlin Wall in 1989. 21

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congratulates

Markus Schachter of ZDF Â¨ 2009 International Emmy Directorate Award Honoree ÂŽ

Sir David Frost 2009 International Emmy Founders Award Honoree

and our friends and partners at HISTORY Latin America. TM

Pancho Villa: Aqui y Alli HISTORY Latin America Anima Films, Argentina 2009 International Emmy Nominee Best Documentary

Historia Extrema HISTORY Latin America Endemol, Argentina 2009 International Emmy Nominee Best Non-Scripted Entertainment Program

We salute all the International Emmy Award nominees.

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2009 NATPE PANEL

Competing in the Digital Space January 26, NATPE, Las Vegas Moderator: Catherine Warren (President, FanTrust Entertainment Strategies) Panelists: Janet Balis (President/Founder, Digital Media Strategies, Inc.), Peter Blacker (EVP, Digital Media & Emerging Businesses, Telemundo), Fernando del Granado (VP, Marketing, HBO Latin America Networks), Nadav Palti (CEO & President, Dori Media Group, Managing Director, Dori Media International) The International Academy of Television Arts & Sciences kicked off its 2009 series of panels with its annual presentation hosted at NATPE, on January 26th.The Panel launched the NATPE Conference program the day before the exhibit floor opened with an audience of over 200 television professionals in attendance.

Moderator Catherine Warren introduces the Panelists

Telemundoâ&#x20AC;&#x2122;s mun2.com and holamun2.com websites offer young viewers the opportunity to interact with artists via webcam-enabled social networking and blogs

International Emmy Almanac 2009/2010

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Alice, a Brazilian program produced by HBO Latin America, allows the audience to enter the main character’s world using social networks like MSN, blogs and chat rooms

Executives from Digital Media Strategies, Dori Media Group, HBO Latin America Networks and Telemundo discussed their digital strategies and presented examples of successful programs distributed via mobile and Internet as the burgeoning world of multiplatform distribution is facing major challenges, such as monetization and scale. Academy Member Catherine Warren, President of consulting firm FanTrust Entertainment Strategies, moderated the panel and launched the discussion by commenting that digital revenue is expected to reach $152 billion by 2011 and by 2020, 80 percent of all media consumed will be digital.“There’s a lot of sex appeal when talking about cross-platform but there are several challenges, including the tremendous amount of operational savvy required to pull these things off. Mobile is even slower to develop,” added Janet Balis, President and Founder of Digital Media Strategies. 26

HBO Latin America’s main character Alice, played by Andréia Horta

International Emmy Almanac 2009/2010

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This program gives the opportunity to young viewers to talk directly with music bands or solo artists for 45 minutes at a time. HBO Latin America Group’s Fernando Del Granado presented the example of original production Alice in Brazil, which allows the audience to enter the main character’s world by accessing a behind-the-scenes view, beyond the television set.The program used Alice, the main character, and social networks like MSN and others through her own blog and chat room. Dori Media CEO Nadav Palti used Amanda O as an example of producing directly for the Internet which was monetized by syndication. Dori Media recently launched novebox.com, a website specifically dedicated to telenovelas and their fans. The Panel concluded with a Q&A.

Speaking about sponsorship of digital content, she added, “I think the tolerance of putting a named brand into an experience, particularly digital media in the United States, is definitely waning, particularly at the moment when the focus is on ROI.” Balis claimed her clients are looking at more integrated solutions where brands are built into story lines. The comments came as executives compared strategies to keep ahead of the digital curve. Peter Blacker, EVP of Digital Media and Emerging Businesses at Telemundo, used the example of Hot Webcam Action, a project from Hispanic youth cable network mun2, to demonstrate a way the company has overcome rights issues. 28

Amanda O from Dori Media is an example of a cross-platform production for the Internet, Cellular and TV

International Emmy Almanac 2009/2010

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2009 MARCH BOARD MEETING PANEL

Navigating the TV Business in Troubled Economic Times March 13, New York City Moderator: Joshua Steiner (Co-President & Managing Principal, Quadrangle Group LLC) Panelists: Gary Ginsberg (Executive Vice President of Global Marketing & Corporate Affairs, News Corporation), Johnathan Knee (Senior Managing Director, Evercore) STEINER: So I want to start with something specific which is,you usually talk about what’s happening in the media world and you usually talk about it in the abstract and people go from panels and sit and pontificate about the future of online video. I find it a little bit more interesting to talk about what would you actually like to do with your career? So let me start with a question which is:if you had to be the CEO of Hulu, or Netflix, which started off in the DVD business and is now moving aggressively into online, or CBS, which obviously has a big broadcasting business (radio, outdoor, etc.), which job would you pick and why would you pick it? And talk both about the strategic positioning of that business, but you can’t think about it outside the context of evaluation because knowing these guys, they would be incredibly avaricious about the options they’d want and where those options were struck. So, talk about it both in terms of the operations, the strategic positioning, but also the evaluation of the business. And why don’t we start with you, Jonathan? KNEE: Well, you know, that actually was on the list of questions and the first thing that jumped out at me is that the question is about where would you rather be the CEO. It was not,“Where would you rather be an investor? Where do you

think there’s going to be more value created?” And it struck me because one of the things that is a little bit weird about the media business vis-à-vis other industries in general is the extent to which there is a complete disconnect between the discussion about the businesses and the discussion about how value is created. And so the question often is,“Where would it be cool or fun to work?” and the fact that these businesses have underperformed the market for as long as they have does not mean they were not wonderful places to be CEOs for all of that period of time. It was a great party. So, I want to take the literal question, which is,“Where would I rather be the CEO?” So, it’s interesting.These are three very distinct options: One of them, you’re working for an elderly, controlling shareholder, who I think spends most of his time not at the office, so that’s good and bad. So there’s a board, but really, at the end of the day you’re probably free, but you’re subject to some very serious constraints. One is, you’re working for two big corporate bureaucracies with additionally, I believe, some private equity in the mix as well that puts some constraints on…it’s small, but it is what it is. So, you’re essentially working for two guys, and you know, there’s a lot of precedent for that, so you’d want to go around and talk to Larry Aidem, who for years ran Sundance.And there are advantages to that because no one can make a decision because everyone’s in charge and no one’s in charge, so you might say that that could work. And the third one is, you’ve just got a board and it’s a public company. So, that’s one thing that I would spend a lot of time thinking about.

Moderator Joshua Steiner, with Panelists Gary Ginsberg and Jonathan Knee

International Emmy Almanac 2009/2010

STEINER: But let’s just talk about the business model. Let me go to Gary because Jonathan is obviously dodging the question.Which business model do you like? KNEE: CBS. CBS is my vote. GINSBERG: Okay, I think you can clearly rule out CBS right now. When Sumner [Redstone] divided those two businesses, I don’t think he realized what he was doing, which is essentially creating a toxic bank in a good bank. And he essentially took all of his toxic assets and put them under one roof. 31

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Evercore’s Jonathan Knee

STEINER: So let’s just be clear: the Fox business is toxic? GINSBERG: No no, what I’m saying is, right now in this environment, anything that’s advertising based is suffering obviously quite dramatically. So, when you have one company that is based primarily on broadcast revenue and local station revenue as well as radio revenue, and then as a kicker, book revenue, it’s not a great company to be in right now. And the reason why it’s not toxic for us is that we can counterbalance it with assets that are fast-growing, including cable, satellite, internet—things that can still grow in an economy like this. So, I think CBS, for at least the near term—as long as you can’t see an advertising recovery in the near term— it’s obviously not a company that you want to come into unless you say to yourself,“There’s not a lot of downside.” At $2.5 billion of market cap,the stock price at $4.00,you could argue it’s a pretty good time to come in there because if you get an advertising recovery, you can certainly grow the television revenue substantially from where it is today; radio, I think you can get some growth from;and book publishing is,I think,more of a question mark.Hulu, I think,is a really interesting business model.It’s actually grown spectacularly. It’s the second most visited video website today behind only YouTube. KNEE: So what’s the revenue of that again? Just offhand? GINSBERG: We don’t break it out. STEINER:Very good plan. GINSBERG: But what’s interesting is that clearly users love it. Now, do our cable and television executives love it? Well that’s, I think, yet to be decided because as more and more viewers migrate to Hulu, it obviously will have an impact on our ratings. But for now, we look at it as a great experience. Clearly the users like it. There is a simplicity to its use; it’s a very clean site. Advertisers actually do like it.We are generating advertising revenue, we’ll be able to generate more advertising revenue as we build out the social networking side of the business—which we’ve just announced—so that we can actually hyper-target users. 32

STEINER: So, you want to be CEO of a 50-revenue fast-growing business? GINSBERG: Well look,I think that there could be mile there. I think it’s yet to be decided. Where I was going is, Netflix right now is actually, I think, a really solid business. I mean, if you look at their stock, it’s at a 52 week high, it’s got a market cap that’s equal to slightly below CBS, which is pretty remarkable. It has ease of use: you know, for $9.99 I can get my DVD, I can return it whenever I want and not worry about late fees. We’re not giving them A-list titles yet; we tend to give them much older, shelf titles than some of our competitors. But for now, I think it’s a very sustainable business model. I think the risk for Netflix is that if we start to play around with the windows and the VOD window gets shrunk and we go day and date, in some cases with our theatrical releases, then the ease of use really goes out the window and you’re much more apt to just turn on your television set and do a VOD. STEINER: So, when I’m describing the industry for you, it’s an industry which is dominated by a few small players and each market has incredible market share, huge advertising revenue, great brand loyalty. And then suddenly, very diminishing advertising revenues. It’s a newspaper industry, but am I also describing the broadcast television industry? Because you go through it and you say to yourself,“Okay, what did the newspaper industry do?”They said,“Oh I’ve got a good idea. Internet’s coming, we’ll put our content up on the web.” And if you’d been at this panel six years ago and you’d gotten the CEO of one of the leading newspaper companies, he’d say, “Look we’ve got this great product. We’re putting it on the web. It’s the second-fastest growing. I’ll tell you one thing: the users love it.They love it.And I don’t know if there’s a revenue model in there or not—sound a little familiar?—but they love it.” And he had a lot of conviction, or she had a lot of conviction, and today his or her business model is entirely threatened. So Jonathan, listen to Gary talk about Hulu: does this feel like déjà vu all over again? And if you just describe exactly what happened in the newspaper industry? KNEE: Look, so if you think about Netflix in the middle, CBS on the one end, and Hulu on the other—in terms of old-fashioned moving towards newfangled—he wants to be CEO of the hot growth business and I want to be the CEO of the older business. And Netflix is interesting, because the part of Netflix that makes money is very old-fashioned.Why they’ve got competitive advantage in economies of scale and various entry is that they’ve got big fixed costs associated with 60 facilities that they do incredibly well, and they are distributing DVDs. And they have this new product— GINSBERG: Yeah, the streaming. International Emmy Almanac 2009/2010

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AM AM

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KNEE: Absolutely. It’s quite similar and the barriers are going down: electronic is the friend of the user, not the friend of the business. But there is a difference.There is a significant difference between a monopoly and an oligopoly, because the key to a monopoly is just the fixed costs and the other barriers that are keeping you as a monopoly.The key to an oligopoly is a regime of informal and highly legal cooperation amongst them. And in the U.S. it’s quite interesting because the fact is media moguls in general, they don’t get along too well; it’s very hard to get them to cooperate. But in the broadcasting industry, for years, the reason why it has worked so well is a bunch of structural mechanisms from the upfront going down a long list where they have essentially cooperated. And indeed the brilliance of the mechanism by which Rupert entered with Fox was to signal loud and clear he was going to play by the rules. He didn’t price insanely, he didn’t bid away stars… STEINER: Well he bid away sports in a big way. KNEE: That was later.That was later and that was stupid. People think that’s what was brilliant; it destroyed the business. But I think in terms of entering, he entered by setting off a flare saying,“Do not worry. I’m going to hire Joan Rivers, I’m going to do Studs and Married with Children;I’m going to do stuff you don’t want.I’m going to charge exactly 20 percent less than rate card,which is not…you don’t need to worry about me.” That regime of cooperation is falling apart and the thing that accelerated it falling apart was indeed Rupert getting tired of being second tier and going ahead and everything from sports to…

News Corporation’s Gary Ginsberg

KNEE: —this exciting new product, which will be a mediocre business because they have nothing special there, and everybody knows that. Just like Hulu has nothing special except who their shareholders are.That is, the value is going to accrue to the person who’s got the stuff that’s valuable, right? And if Hulu was independent and you did a deal with them and you said it was an exclusive deal, and maybe the right answer is to cooperate, and indeed the business models that have worked well, where does the competitive advantage come from? What are the barriers to entry? In newspapers…there’s something quite different between broadcasting and newspapers,and again this is a country by country thing because of the structure of the market…but in the U.S.,newspapers have tended to be natural monopolies with high fixed costs in the local markets.And it’s the printing and distribution infrastructure that because of those fixed costs, you basically couldn’t have a second guy and that’s why you can have 30-40 percent margins. Now people are saying,“the sky is falling”, which is right…

STEINER: You want to look? The good news is you own both newspapers and television. GINSBERG: Right. Well before we write the obituary of television, I think let’s look at the bright side of television. First of all, there’s still no better way to create and drive a brand than television. And I think for the next 10 to 20 years, live sports and live news,premiere events like the Super Bowl, like the Oscars, like American Idol (whether it’s the finale or even the final 13), will still command a much bigger share of audience than any other medium in the marketplace today. And so, as long as an advertiser has a way to aggregate eyeballs and get a share of market that’s meaningful, and by that I’m talking about, let’s say a 20 share or more, which television can still do on good nights—particularly for Fox with Idol— it’s still the only way to move product and advertisers are going to appreciate that and continue to pay us a lot of money. Now, on the local level, I think it’s really a challenge right now, a downturn, and we really have to rescale the business because the cost structure in our business was tailored to a business that was earning two and a half, three times what we’re going to likely earn today in a recessionary environment. So what we’re doing is we’re remodeling the local television business and we’re remodeling it for the next 10 years so that we can survive economic downturns like we’re experiencing now. So what are we doing? We’re sharing costs like we’ve never done before.Where we have duopolies—

“There’s still no better way to create and drive a brand than television.” —Gary Ginsberg

STEINER: That’s exactly what I’m saying. But John, that’s exactly like the broadcasters.You’ve got local oligopolies, which had 40-50 percent margins, right? And very similar market dynamics, so explain to me why, with Hulu, it isn’t doing exactly the same thing that online newspaper properties did to the newspaper industry? International Emmy Almanac 2009/2010

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model on the web? You know we all ran away from the paid model a few years ago when it appeared that no one would pay for anything. Do we go back to it? I think it’s an open question. I think The New York Times is certainly looking at it now and I think they have to because they’ve got $200 million in fixed costs for their journalists, and they’re not getting any revenue. Can you charge a fixed rate of $2.00-$3.00 a month for their 20 million uniques? It’s a lot of money.

Asian Food Network’s Maria Brown and David Parker

we have channels 5 and 9 in New York—we’ve had two newscasts going at the exact same time since we got the second station. Why did we do that? Does it make sense? It’s not rational, so we just started, for example, running the same sportscast on the two channels.We’re sharing helicopters now with our competitors.Why do we need four choppers in the air covering the FDR gridlock? So we’re going to rescale it.We may not earn the record numbers that we were earning two years ago, but it’ll continue to be a sustainable business model. With our 25 stations now, you know we’ll earn hundreds of millions of dollars. It’s still a good business and if advertising returns in any way, given our rescaling, we’re going to grow our margins.With newspapers, it’s a problem and we are very hard at work trying to remodel right now: do we go to a paid

STEINER: So when people look back, 20 to 30 years from now, and they say, “Let’s just think about this: we have the largest cable company controlled by the Roberts family; we have News Corp. which is controlled by the Murdoch family; we have Viacom and CBS which is controlled by Sumner Redstone.” You go through the list, alright? And you have the Mays’s controlling Clear Channel.You have these huge media companies that are controlled either entirely economically or by dual class voting shares—Hearst Trust controlling these things. Are people going to look back and say, “Wow. But for those families, these people never would have invested and never would have done the things they needed to do for longterm health because they would have been so consumed with quarterly earnings that they never would have done the right investments?”—that would be Gary’s answer. Or,“Have these guys been running these things as vanity projects buying, you know, dying industries like the newspaper business, in order to satisfy some ambition which is inconsistent with their fiduciary options, I mean their responsibilities?”And whether that’s your belief or not Jonathan, why don’t you take that position and

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then Gary can describe to us why in fact, but for family ownership, we’d be in a lot worse shape today. KNEE: Well actually, if you think about the newspaper example that’s just around this issue, there’s sort of another slightly ephemeral constituency which is the journalistic world which kind of from the outside has said, you know,“This is important.This is a public trust. This is something special. This is something that should be treated differently”, which is a little bit inconsistent with the sorts of things that the lawyer at the board meeting says to the directors that they’re supposed to be thinking about.

port”? I would feel safer if it was being controlled in the corporate headquarters in suburban D.C. rather than it being controlled by a local family who is the same country club member of the person who’s likely to try to put that sort of pressure on it. Maybe, maybe not, but it’s not obvious and again, the facts on the ground as to who has been willing to invest, the facts on the ground as to who has been more protective, you know it’s not clear. Some of the best where clearly families, but some of the absolute worst were clearly families in situations exactly like what I’ve just described. GINSBERG: Okay look, I think you can point to examples that are both good and bad for family ownership of media companies. I think in the case of News Corp., which I’m obviously most familiar with, I think it has served the shareholders very well over the years. Maybe not at this particular moment, but over time, I think but for the fact that we had a 40 percent owner of our voting shares and an 18-percent equity interest, we never would have started something like the Fox News channel because the ramp up to profitability was so far out that shareholders just would never have tolerated it. Likewise, don’t much tolerate the Wall Street Journal, but I think that when you have an owner like Rupert Murdoch, he’s willing to take long-term bets based on a very strongly held conviction that it will pay off over the long-term.And frankly, he doesn’t care about guys who tell him that he’s got to drive quarterly earnings. He doesn’t care about these 25-year-old

“Electronic is the friend of the user, not the business.” —Jonathan Knee

STEINER: So putting sports in the Wall Street Journal,that’s Rupert’s fiduciary duty? I mean, not just public-service duty? KNEE: But let’s look at, in fact, of all of those families and of all the newspaper companies in the U.S., who has done the biggest investment of a new property that did not exist before, cash on the barrel? That would be one of the two or three broadly held public companies that spent a billion dollars over a decade, while it was losing money, creating USA Today.The rest of these were preexisting properties. So just as a factual matter, in terms of where investment came from, who was willing to do that, it actually wasn’t those guys. It wasn’t and for those who think it’s important and valuable to have local folks controlling the local media, when you think about it, who are you worried about calling up and saying,“Hey don’t write that op-ed or that investigative re-

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analysts who tell him he has to focus on things that generate profitability on Day 1. He’s far more “big picture” and for the most part, the bets he’s made have worked. And that’s why News Corp.’s the largest media company in the world,using various metrics. So I think if you’re looking for a near-term profit, if you’re looking for quarterly growth—although we’ve given it—we’re probably not the best bet. But if you’re looking for a company that will be diversified and well-thought out and poised for long-term growth and you want a family ownership. STEINER: So if you think about the media business, it has been remarkably domestic, right? And so as we’ve been talking about, whether it’s Comcast or CBS or Viacom or Disney—Disney’s probably the best exception which is to say they export a lot of product, but they also have theme parks around the world, right? A little bit. For the most part, these are extraordinarily domestic businesses, right? And if you look over here on the other side and you say, what’s happened on the internet? Facebook, MySpace, everyone else recognized immediately that you’ve got to go international. They’ve figured out that you got to do it quickly.There are exceptions. Brazil has its own social networking site, which is better than some of the U.S. ones. But they—these media companies, these new-media companies—caught on immediately that there was an opportunity internationally, they exploited it quickly. Why is it that the traditional media companies have been so incapable of building true, domestic, indigenous businesses whereas the internet companies have done it virtually overnight and viewed it as essential to their long-term success? Jonathan? KNEE: I guess I disagree with pretty much every part of that. So let’s start with whether it’s really true about the internet and we can go kind of vertical by vertical. All the employment sites, the largest employment site in the U.K. doesn’t even exist in the U.S. to the extent that Monster does own a site somewhere else— they bought it.There were no competitive advantages; those were basically local business.Whether that’s different in social networking or not, we can talk about.We can also talk about how big that business is from a revenue point of view. But in general, the short answer is these are local businesses; that’s where the barriers to entry are. Now, News Corp. is different from the rest of these companies in that they’ve twice as much international revenue than the next big conglomerate, but they’ve followed a strategy—that on this we’ll agree—is a very smart strategy which is not an international strategy; it is a multi-local strategy, okay? They have people who run those markets.The high points and the low points of News Corp. are reflected by this, where they’ve got the joke that it was a local strategy, a local context that had nothing to do with anything they were doing elsewhere like BSkyB. It was a function of the Quadrangle’s Josh Steiner 40

structure of that market coming in there doing that,where you say, “Okay, gee it worked there. I’ll do satellite in the U.S. or I’ll do it in Asia” maybe not so much because you have to focus on it on exactly that way so if you do it that way, it can work. In general, unless you have somebody as brilliant and global as Rupert, that’s not going to be your competitive advantage: figuring out the local context in the country that’s not yours. STEINER: These are basically domestic businesses. KNEE: They’re basically local businesses. Overwhelmingly that is the case. It’s sort of like in my business—I’m in M&A—when somebody gives you a pitch book and says,“Don’t worry, Google will buy you or Microsoft will buy you.”Whenever somebody gives you a corporate pension, where’s the growth? “International, we’re going to go international.” That’s the place that they know least about have the least competitive advantages,have the least opportunity to maintain margins, and hold your wallet tight. GINSBERG: That’s 100 percent right.You’re wrong. STEINER: I asked a question! GINSBERG: I’ll just give you one example briefly, which is STAR. We bought it in the early 90s, 93. It lost money for 7 or 8 years, but the reason why we suddenly turned profitable is because a light bulb went off and said, to your point John, which is that people want local programming.They don’t want Hollywood fare. Seinfeld or a Hollywood movie isn’t going to resonate as much as a local-language TV show or a local-language film. So we decided to completely revamp the programming, and particularly in India we went to Indian programming and it just took off.And we suddenly became profitable until the recent EC declines and now we’re not so profitable, but I think to your point, whenever we go into a market, we do put a distinctly local patina on, whether it’s at SKY Italia, where we have primarily Italian executives who are making the programming decisions, or BSkyB, which is an indigenous operation which is hugely successful, or newspapers, etc. It has to be tailored to the local audience in order for it to work and that’s what we realized early on.

International Emmy Almanac 2009/2010

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Academy Members Rainer Siek, Mara Sternthal and guest

STEINER: I don’t want to belabor this, but I think what you’ve done is proven my point and I’m grateful to both of you. So I’ll just include though, I would say that what you’ve both said which I think is right is that there isn’t an international strategy per say; there needs to be a local strategy.What is surprising is that for the most part, the major media companies haven’t figured out how to do that, right? So they have to decide how to do it; there is a way to do it. GINSBERG: Well it’s much more costly and much more timeconsuming to actually create local businesses. STEINER: No I agree. I’m saying there is a choice to do it and they’ve chosen not to do it. Let me switch gears for sec. KNEE: And just to say, it’s not clear they are in the best position to do it. That is, if you’ve a declining but protecting industry domestically—and remember, I’m the guy that wants to be CEO of a multi-billion dollar revenue company that still has 20-30 percent margins, [Gary] wants to be the CEO of a business that loses money and has under $100 million in revenue—but if it’s declining, the question is what do you do with that cash? My answer is give it back to the shareholders, don’t invest it in countries that you don’t know a goddamn thing about, or give it to somebody who does. STEINER: Generally speaking, it’s hard to argue with “don’t do something you don’t know anything about,” but Wall Street is proving that they’re willing to do that, which is a perfect segue into the second part of our discussion, which is Wall Street. So let me ask you a very simple question and I’ll make it open-ended since I know you guys don’t deal well with complexity. Jonathan is a relationship banker, which on Wall Street talk means that he actually knows something about the industry, gets along well with people, and really doesn’t like looking at thick documents and spreadsheets. It’s a reminder that there was a Saturday Night Live skit years ago where Gerald Ford is up there and Chevy Chase is playing Gerald Ford and they say to him, “Mr. President, what do you plan to do about the budget deficit?” which as you know, has gone up to, in those days, a $100 billion, or some assuming miniscule 42

amount now. And you see Chevy Chase goes and he says,“It was my understanding that there would be no math questions.” So I promised these guys that there would be no math questions on this panel, so I’m going to make this very simple.At the time that Lehman Brothers—may it rest in peace—went out of business, let’s just imagine that that’s a 50 out of a scale of 100 of a financial crisis. Just possibly that’s the minimum. Great Depression is 100, 2007 a period of seemingly great prosperity zero—whatever we want to call it. So you’re Lehman Brothers. Where are we today? Gary you can start.Are things worse now that when Lehman Brothers went out of business, and how much closer are we to a huge crisis, or are they better today? GINSBERG: We’re about an 80, I think actually. It was bad in September and for advertising-based businesses, newspapers, and television, it’s gone from, I’d say a 50 to an 80.And it’s somewhat stabilized. I mean the only good news I can say is that some of the markets where we were seeing precipitous declines in December and January whether it was in DVD sales or in advertising at the local stations, they seem to have stabilized. Now they’re stabilizing at low levels, but they’re not getting worse. So, are we on the path to 90? I don’t think so. I think we’ll stick at 80, but it’s a pretty scary moment for all of us. I mean, as I say, all we can do right now is try to rescale our businesses and cut everything we can and hope to ride it out. Increase market share and wait for a better time, but we don’t see it yet.There’s no transparency. No one’s buying early and all the indices are, as they say, stable but down. KNEE: 80 sounds like a good number to me. I guess what I would say is that the extent to which this radical rationalization of cost structures is going to happen and continue to be happening. I mean the only thing that is really different about this recession or depression or whatever the hell it is is that productivity in that first quarter where it was happening, which is the fourth-quarter of last year, was increasing.There were lining people up from day one and shooting and cutting, and cutting and shooting—which is very unusual when GDP is going down you don’t have productivity going up, but people are doing it and doing it aggressively and doing it early. So, I think that there are a couple implications for that and how that plays out for the businesses I don’t exactly know. I think earnings are going to be better than people expect because I don’t think people expected the cutting to be this fast, this ruthless, and this relentless. But that cutting is going to flow through to a permanent state of spending that isn’t that high. GINSBERG: But the comps aren’t going to work John, for a while. I mean, in a year we’re going to keep going down until we cycle through the year. KNEE: I think relative to expectations,earnings are going to come back earlier than people expect because of the extent to which the productivity increases flow through. My fear is that even after you get some stabilization, you’re going to have a permanent unemployment rate that’s way higher than anybody imagines. International Emmy Almanac 2009/2010

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To all of tonightâ&#x20AC;&#x2122;s winners and nominees, your work is an inspiration. From your friends at

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DIGITAL EMMY AWARDS

2009 International Digital Emmy Awards at MIPTV March 30, 2009, Cannes The International Digital Emmy Awards were once again a highlight of MIPTV’s five-day market with a VIP Red Carpet cocktail in Cannes, France, during the trade show’s Opening Night.The awards ceremony was attended by over 200 international executives from the television, broadband and mobile industries and sponsored by Zillion TV. Presenters included William Petersen (CSI: Crime Scene Investigation), Said Serhan and Gretta Al-Rayess (Al Jazeera Children’s Channel), Charlie Hunnam (Sons of Anarchy) and Nigerian singer Asa. Australia made history by winning its first International Digital Emmy in the Fiction category with Scorched, a futuristic interactive online drama set in a 2012 world, ravaged by climate change.The U.K. won the Non-Fiction and Children & Young People awards. Britain From Above, a joint tele-

vision and online project using technology to present a unique bird’s eye view of the nation, won for Non-Fiction. Battlefront, a cross-platform project that follows 20 teenagers running campaigns to change the world, won for Children & Young People. In addition to the presentation of the Digital Awards, the Academy presented Nokia, Inc. with a Pioneer Prize. Niklas Savander, Member of the Nokia Group Executive Board and EVP, Nokia Services, accepted the award on behalf of the company. “We are delighted to accept this prestigious award,” commented Nokia, Inc.’s Niklas Savander. “As consumers’ digital consumption habits are increasingly going mobile, Nokia and the mobility industry at large is excited by the business opportunity it presents for us together with our content partners.”

The International Digital Emmy Awards, sponsored by Zillion TV, took place at Cannes Majestic Hotel

International Emmy Almanac 2009/2010

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WINDOWS VS WALLS This epic struggle explains why we make what we make and do what we do. The thing that gets us out of bed every day is the prospect of creating pathways through walls. To start a dialogue between hundreds of devices, billions of people and a world of ideas.

To lift up the smallest of us. And catapult the most audacious of us. But, most importantly,

to connect all of us to the four corners of our own digital lives and to each other.

This is more than software. It’s an

approach to life. An approach dedicated to engineering the absence of anything that might stand in the way…of life. ®

Today, more than one billion people worldwide have Windows. Which is just another way of saying we have each other.

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CSI star William Petersen on the Red Carpet with wife, Gina Cirone

The 2009 International Digital Emmy Awards

Digital Program: Fiction

Scorched Firelight Productions in association with Goalpost Pictures / Essential Media and Entertainment Australia Director/Producer: Marcus Gillezeau Producer: Ellenor Cox Co-Producer/Writer: Michael O’Neill Writer/Editor: Brad Hayward Scorched is set in 2012 in a climate change-ravaged world. Sydney has run out of water and is surrounded by raging bushfires. Over a three month period, 2 million Australians entered this “future” world without water and engaged in a “what-if ” disaster movie and interactive online drama. The Scorched universe consisted of a star-studded telefeature, an integrated episodic online prequel and sequel drama, as well as an online news network with extensive bulletins and weather reports from 2012. The experience was further enhanced through three dedicated YouTube channels, four ancillary faux websites, 20 social networking profiles, numerous forums and over 20 minutes of user- generated videos. International Emmy Almanac 2009/2010

Reed MIDEM’s Paul Zilk & Laurine Garaude join the Academy’s Bruce Paisner & Camille Bidermann-Roizen on the Red Carpet

Scorched Director/Producer Marcus Gillezeau Wins Digital Program: Fiction Category

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Digital Program: Children & Young People

Battlefront RAW TV / Airlock for Channel 4 United Kingdom Executive Producer, TV & Web: Lucy Willis Digital Director, Web: Chris Mair Project Producer, Web: Joanna Woolf Battlefront is a new cross-platform project that follows 20 teenagers running campaigns to change the world. Central to the project is a TV series featuring five of these campaigners. Their issues range from fighting gun and knife crime to protesting against â&#x20AC;?size-zeroâ&#x20AC;? models. Complementing the TV series is a comprehensive Battlefront website featuring content from the campaigners including blogs, video diaries and short films.Viewers are encouraged to interact with campaigners on the site by leaving messages of support and ideas.

Digital Program: Children & Young People Winners for Battlefront, Matt Locke and Lucy Willis

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TMG CONGRATULATES ALL THE INTERNATIONAL EMMY NOMINEES AND WINNERS.

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Digital Program: Non-Fiction

Britain From Above

television and online project. The website allows viewers to watch all the films from the programs, exclusive material, including rewinds through time at 16 different locations, rough cuts of magic moments behind the scenes and aerial images in the photography section.

BBC / Lion United Kingdom Executive Producer, Multiplatform (BBC): Nick Cohen Head of Interactive (Lion Television): Kirsty Hunter Senior Interactive Designer (Lion Television): Eddie Gachegua Executive Producer (Lion Television): Nick Catliff From a birdâ&#x20AC;&#x2122;s eye view of the nation, Britain looks very different. Its inner workings, cities, landscape and people are revealed and rediscovered in new and extraordinary ways. Cutting-edge technology allows the audience to see through cloud cover, navigate the landscape and witness familiar sights as never seen before. Britain From Above took the idea of multiplatform production to new heights: the entire project was commissioned, planned, scripted and shot as one joint

Digital Program: Non Fiction Winners for Britain from Above, Kirsty Hunter and Nick Cohen

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Pioneer Prize - Presented to Nokia, Inc. The 2009 Pioneer Prize was presented to Nokia, Inc. for its innovative contributions to the field of digital television and video broadcasting on a mobile device. Niklas Savander, Member of the Nokia Group Executive Board and EVP, accepted the award on behalf of his company. “As consumers’ digital consumption habits are increasingly going mobile, Nokia and the mobility industr y at large is excited by the business oppor tunity it presents for us together with our content par tners,” commented Niklas Savander. “Ser vices like the groundbreaking Comes With Music service and the Ovi Store media distribution network are pushing the boundaries of what is possible in mobile enter tainment.” Al Jazeera Children’s Channel Hosts Gretta Al-Rayess and Said Serhan

Niklas Savander accepts the 2009 Pioneer Prize on behalf of Nokia

Sons of Anarchy’s Charlie Hunnam

CSI’s William Petersen

International Emmy Almanac 2009/2010

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2009 SEPTEMBER BOARD MEETING PANEL

News Nominees September 21, New York City Moderator: Neal Shapiro (President & CEO,WNET.ORG) Panelists: William Bonner (Anchorman & Editor in Chief,TV Globo), Jonah Hull (Correspondent, Al Jazeera English), Bill Neely (International Editor, ITV News), Ruslan Iarmoliuk (Special Correspondent, Inter TV Channel) SHAPIRO: There are some things all good journalism has in common, which is finding compelling stories and trying to bring something extra to the viewer. First question, anything in particular, any particular anecdote that stays with you? And how important are those stories when you tell what’s happening? HULL: It’s not possible to cover a war without covering what happens to people on the ground caught in the middle of that war. It’s not about governments, it’s not about the military. It is about ordinary people.They are the people profoundly, most profoundly affected. Georgia was no different. Georgia was a situation that evolved very, very quickly over a very manageable geographic space in order to cover. It was, of course, difficult, as it always is, to cross lines but it was easy to get from place to place on one side and see what was going on. And there were a lot

of people who were very profoundly affected by that war: ordinary people, peasants—for want of a better word, farmers, people living a very rural, poor life who lost what very little they had.And so that provided a lot of compelling material, just to get to the point, which was a particular anecdote. And that would certainly be the story of a little girl. She was seven. We were in a town called Gori, when it was bombed from the air by Russian planes.That was the first incursion into Georgia proper by the Russians. And we found her being pulled out of a crater. And she’d lost her mother and she’d lost both siblings and a grandmother and there was a father, but the father was a drunk so the father was not really available to help. And we went back a couple of weeks later and found her in a hospital with terrible burns but she’d survived and she’d found extended relatives who were going to look after her. And a year later we went back and found her again, by this time reunited with the father who was still a drunk. And that was rather depressing. So this was a little kid who had survived the worst but who had a deeply uncertain future. But that was a future that was very tied into all of the issues that were going on on the ground in that story.

WNET.ORG’s President & CEO, Neal Shapiro, introduces the Panel

International Emmy Almanac 2009/2010

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Al Jazeera English’s Jonah Hull

SHAPIRO: Ruslan, I want to turn to you. In a story that’s shifting so much, when you tell the story day by day do you try to tell what happened that day or do you try to tell a bigger story? IARMOLIUK: It’s very difficult to be objective covering the war because you are seeing the people who are suffering [and the first thing you really want to do] is give support to them and their families… In a family we met, there were three children and a lonely mother.There was a young girl who was really afraid of the war and [it was] her dream to [own] a white dress. So what happened was after half a year the family was in a very bad condition, without money and definitely couldn’t afford [a dress, so we] bought that present for her. It’s what we could do as humans, not just journalists… For that moment she really forgot what war was. SHAPIRO: Bill, I want to turn to you on the notion that talking about emotion, you saw such horrific pictures in China and came across horrific stories. Is it difficult to communicate those stories and also keep your own feelings in check? NEELY: It’s very difficult. In the story I did in the Sichuan Middle School there were 1,300, mostly students, who died and as they dug up classroom after classroom you were left with just a grotesque tableau of children caught in the most appalling positions.They would pull them out and none of that you can show… How do you convey the horror of a school where 1,300 pupils have died and put it on an evening television broadcast? This is immensely difficult. Emotionally, of course it’s difficult, but I often think back to a surgeon I met when I started journalism. He said, “Look, the hardest thing to do is to operate on children and sometimes they die. But I’m a surgeon. I just have to disconnect my emotions from what I’m doing at the time.” We largely have to do that. But of course as journalists you want to put something human in there. So it is a difficult balancing act.And the other difficult thing, rather like a war, is—in the case of the China earthquake—how do you show something that’s so vast, that kills 80,000 people, that has created 35 artificial lakes within days? Often the technique we use, of course, is to go for the family or the individual. And yes, there are always very emotional things in microcosm like that. International Emmy Almanac 2009/2010

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SHAPIRO: I think it’s true that we as viewers tend to need a single story to latch onto and sometimes single stories expose a larger story.The story that William and TV Globo did was astounding. Just to briefly recap it, because I’m going to move to something else now, the story is—and correct me if I get this wrong—there are two teenagers being held hostage.The police or the rescue team goes in to rescue them.The police claim they heard a gunshot. They go and do the rescue. And then, through incredible sort of detective work, analyzing audio tapes and so forth, the real question that gets unraveled is: did the police really hear a gunshot or did they go in? And by the time they get there one teenager is killed and the other one is wounded. So let me first ask you, do you think that story worked because of who they were? If those were not teenagers, if it were not—as we in the States would call it—a kind of a sexy, interesting story, do you think it would have gripped the country as much as it did? BONNER: No, I really don’t think so. Of course, when you have teenagers studying for a test in the college, suddenly someone steps inside with a gun and it’s the exboyfriend, he’s crazy and jealous… you have a good story. But if you imagine it were two old or elder people, you know, a grandma, the drama is the same.The problem for us was not exactly the fact that there were two girls [but that one girl was released and managed to re-enter]. An absurd policeman allowed

her to [re-enter] during negotiation. She was wounded.The other one, the main hostage, was killed. But I think the very first mistake of Brazilian police in this case was the fact that they allowed the second girl to [re-enter]… on the third day, I think. In all, the story lasted five days. On the fifth day policemen used explosives, live. We had cameras there.We had three cameras recording all the time. It was really a circus, a media circus… Some networks were broadcasting live, some broadcasting phone calls to the boy with the gun. It was incredible. He had a gun and he was talking on the phone. And he could see, he could watch on TV everything around, the movement of the policemen. So this is the story. And after that, when Eloá the girl, the main hostage, was killed—actually, she died two days later—but after she died everyone asked: how could it happen? And we decided to [commence] the investigation, taking our recordings and presenting them to experts.That work of investigation, I think, is the most important part of all. Because it was a kind of a proof of the kind of training our policemen have in Brazil… [it was] the most important part of it all.

“My one great regret at this minute is how poorly American networks cover the world.” —Bill Neely

SHAPIRO: Well, and let me lead you to a discussion, which I think all of us can take part in, which is: to what degree as a reporter, do you trust the information you get in the field? And then how do you make judgments about whether you believe it or

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IARMOLIUK: Well, it was really challenging covering that in Ossetia because the Ossetians were quite eager to [broadcast] the real quantity of the victims. But there were [a lot Russian sources acting], to some extent, to conceal the actual figures. So it was, again, the double information… we could talk to the head of the hospital about how many people died in that particular hospital, how many wounded. BONNER: Our colleague who covered the siege in Brazil, it reminds me of the siege in Beslan, which was a much bigger scale. The difference between the two, of course, is that you had International Academy President & CEO, Bruce Paisner, talking to Panelists from Inter TV (Ukraine) and the cameras rolling and were able to conduct an investigation. TV Globo (Brazil) We still don’t know how the terrible denouement of Beslan happened and we will never know not?… Bill, clearly the Chinese government had an agenda to what the shot was. Or did the Spetsnaz forces simply lose paprove that they were in charge. How did that affect your reporttience? So I suppose the important lesson for us as journalists is, ing and the things you were hearing? NEELY: Well, I covered the Armenian earthquake, which was you know, number one: Be there. Get as close as possible. And keep the cameras rolling. then the Soviet Union.When the Soviet Union said that 25,000 people died across Armenia in 1989, 25,000 died in one small SHAPIRO: I wanted to ask you, as this story unfolded, it’s clear area of Spitak, one small town in Armenia. So right from the beas I watched it, there are several press conferences where ginning my template was, you know, governments might lie. All the rescue forces keep repeating their story, which turns out not governments, even our own, will be inclined to twist the truth. to be true. Did you feel pressure from any quarters not to purSo you simply have to approach it like that. As a journalist you sue the story or any pressure from the government not to pursimply have to be skeptical, if not cynical. sue it? I have to say, my experience of the Chinese was that they BONNER: No, no, fortunately not. We have a democracy in were willing to be honest about casualty figures.What subseBrazil now. The problem is that police don’t want to recognize quently they have not been honest about is that so many of they made a mistake.They said,“No, no, we heard a shot inside those casualties were caused because of corruption in the and decided to go in”… So had to hear the same shot with building industry. In any of these towns during the earthquake three different recordings and we didn’t.The first noise you can you would look around and you would see the town hall hear is the explosion in the door.After that, two shots or three. standing and the library standing and some civic buildings And the girls wounded and after that one of them died. So no standing and the school was dust. And there was a good reathere was no pressure on us—only an effort to hide the truth son for that, because the Education Department had been by the part of the policemen in Brazil. That’s all. part of a process of corruption. The Chinese government was very, very reluctant, and still is SHAPIRO: Jonah, in your stories I recall when you’re watching today, to admit that. Apart from that, I have to say, I was actually the evacuations… How do you know who to believe and how pleasantly surprised. I went to China, not only without a cameradid you know where to go? What told you to stay or go? man, without a producer, without an editor, but on a tourist visa— HULL: Instinct. But just to pick up on the previous question and got in and ended up, well, as we said, marching with the Red leading into this one, who to believe. I think—correct me Army.We had a tape confiscated once. But apart from that, I was if I’m wrong—a lot of the time you have to accept that you actually very pleasantly surprised by the ease of access. just can’t believe anybody and that there is no substitute for, where possible, being on the ground and seeing it for SHAPIRO: Ruslan, so let me ask you, sometimes in your yourself. The advantage we had in the Russia/Georgia situreporting, I remember you would come across an incident, ation or the difficulty in the Russia/Georgia situation was a tank that was smoldering or a building that was in that both sides were lying, just crassly and shamelessly and flames—and someone said,“I did this” or “The Russians did this.” How did you figure out who you could believe and distorting the facts and the truth. And the advantage that who you could trust? we had as a channel was that we were in early and we able 62

International Emmy Almanac 2009/2010

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ITV’s Bill Neely

to see for ourselves.We were actually there when it began, quite literally, when the Georgians were firing rockets over our heads into the capital of South Ossetia, completely indiscriminately, using a weapon that we knew could not be accurately targeted, which was something that for days afterwards the Georgians denied ever having done. They blamed the Russians for having started it, for having moved in first. It was very clear to us that there was no return of fire, which suggested that there was no well equipped army on the other side. We were also able to witness the Georgian tanks trundling in great numbers into South Ossetia, right past our position, which again, their official spokesman completely denied ever happened.And we were then able to watch them coming out several hours later in panic and fear, having realized that the Russians had, in the meantime, arrived, which the Russians denied ever happened. So, you know, what we had was the advantage of being there and being able to watch these events—almost comical, in a way, because they happened so quickly.This was a conflict that took five days. So we were able to see it all.We were actually alone in most of those cases so there was no other reporting from the scene and that gave us an enormous advantage. In terms of the direction, in terms of knowing where to go, it was pretty clear.You know, there was one road which the Russians were going to use to come into Georgia.There was one town which the Russians were going to bomb first if they were ever going to bomb anywhere.You knew. After that it spread and became more difficult. But the substance of what was going on followed a fairly linear geographical map path. SHAPIRO: So let me be a critic now. Some would say,“As reporters, you get these compelling human stories but you miss the larger picture.” Because reviewers were just so taken with the suffering or the running or the bang, bang, as they say. How do you get to the larger story? And is that a fair criticism or do 64

you think we actually do get to it? Bill, let me start with you. NEELY: It is very difficult. You know, how do you...I was in Afghanistan last week. I mean, how do you sum up or explain all the intricacies of the Afghan war to a largely skeptical public who is fed up with eight years of war, anyway? I mean, when has India ever been mentioned in coverage of the Afghan war on a TV nightly broadcast? But actually, India is very impor tant to what’s happening in Afghanistan. For Pakistan—that’s their enemy. And they think the Indians are meddling in Afghanistan, and the Indians are. But I spent last week with the 82nd Airborne’s Combat Division. How could I possibly talk about the wider picture? Now, I know maps are boring, but sometimes you need maps and you need to say to the public,“Just give me 20 seconds.This may bore you but it’s actually quite important.” We’re very scared to do that because we want—and I as a journalist want—I mean, I want to get my audience by the collar and hold on for a minute and a half.That’s what you want.You want to keep their attention. And sometimes some of this stuff is boring but necessary. So for Ossetia, Georgia, you know, what’s that about? The first war I covered in the Soviet Union was Armenia/Azerbaijan over a territory called Nagorno-Karabakh. It was important but, you know, if you write an introduction that says,“Now for news of Nagorno-Karabakh,” I’m sorry, you’re going to lose people right there. SHAPIRO: Ruslan, I notice even in your stories that many times they would go back to the studio for long sections with maps and people explaining where things were. In the States we would call it the back story. Do you think your audience is more willing to listen to that? Are they more curious? And do you think it works? IARMOLIUK: [We were fortunate with our] TV news program because we had different crews working different areas, both in Ossetia and in Georgia.And it’s definitely quite impossible to show how the tanks are moving, so the only way is really to show the maps. If there is no other way, there is no other way... SHAPIRO: Now, the thing about your story William, is that as I watched your reporting, I never really saw someone on the air—you or any of the reporters—say,“What they’re telling you, the audience, isn’t true”.Though when you put what they said next to the facts it sort of became clear what was true. Do you think it’s ever a journalist’s job to say,“That’s not true, that’s a lie”? Should someone come out and say that? International Emmy Almanac 2009/2010

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BONNER: Yeah. Our story was not a war but the first victim in war is truth, right? It was impossible to believe the [police’s version of what went on] but we had to test it. It’s different from believing they were wrong.We suspected they were wrong but we had to try their version of the facts.And I think we were very objective. SHAPIRO: And I think that’s true in your reporting.You seem to be testing their theory. I want to talk to the gentleman out in the field because that’s a different situation. Jonah, what’s the line for you—and I think there are some times in your reporting where you said, you know, it’s incredulous to believe that this was a targeted...you know, when a hospital is hit or something.To what degree, do you think...What’s the line when you see something is a lie? What’s your obligation to say it and how firmly do you say it? HULL: I mean, that’s a tricky one because how do you ever really know the truth unless it’s right in front of you? You know, in terms of the responsibility that we have as journalists and as media in general to correct falsehoods where we see them and know them to be falsehoods, you know, for sure we have that responsibility. Our work is not just about informing and illuminating the lives of dark corners of the planet for Mr. and Mrs. Smith.We’re also watched, to differing degrees, by different decision-makers and important people who watch because we’re there and very often because we’re able to ascertain truths that official mouthpieces don’t give out. I mean, you have to be absolutely certain, don’t you? And again, that comes down to being there and knowing what you see with your own eyes to be different to what you’re being told by official spokespeople.And if that’s the case, sure, you say it. I think it’s fine to show a healthy amount of skepticism, cynicism perhaps. You attribute. If this is what you’re being told by a government or by an official you believe might not be a 100 percent true, well, I think it’s okay to suggest that that be taken with a bit of caution. NEELY: Well, our viewers aren’t stupid. Present them with the facts and let them make up their own minds.You don’t have to label someone a liar. I mean, my mind went back to another siege, to Waco,Texas. And I sat in front of the then-Attorney General, Janet Reno, as she presented her report into that siege.And it was, for all intents and purposes, an absolute whitewash of the government agencies that had been involved in that but it was very difficult to call Janet Reno a liar.You simply present what you recorded at the time and what she says in her official report.You can then editorialize, if you like, in your piece to camera but people are grown up enough to make their own mind up, really. SHAPIRO: Ruslan, in your story there were some times people telling you things that you suspected weren’t true, that they were exaggerating in one way or the other. Is that something you feel you need to provide context for the viewer, to explain that you’re not really sure who to trust? IARMOLIUK: It shows there were quite a lot of occasions when we suspected something was untrue. There was quite a good example of that when the Russian reports were telling that a day before the mission of OSCE left Ossetia totally and didn’t warn the people and didn’t let them to be evacuated, didn’t let them know that there was an option to do that. And for instance, there was a lot of that kind of information when the Georgians first used the term “invading”, they were invading this town, about the way the Ossetian civilians were murdered. It wasn’t really [true at all and the information supports this]. International Emmy Almanac 2009/2010

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SHAPIRO: All of you, your reporting, a lot was done with technology that wasn’t available 10 or 15 years ago. More and more you can get places you couldn’t get before.You can get your stories back in ways you couldn’t before.We can use the internet in ways that really couldn’t have been done before. So is journalism better today than it was before because of that or not? Bill? NEELY: No. [Laughter] It means that, like 9/11, there may well be more images of what happened but that still leaves you with the conundrum of sorting out why it happened, how it happened, exactly what happened. You know, who piloted the planes? Why did this happen? In the story that I did, the most graphic bit of it was provided by a civilian who filmed the Sichuan earthquake from 20 seconds after it began and continued filming for an hour. None of our cameramen filmed that. My job was—I was given this one hour of video—was to sort out what was happening. When did he film it? Who did he see? Where did he go? What does it mean? So that I had the raw material but the job of journalism remains the same. In fact, it may be even more difficult now because you’ve got videos potentially from all over the place. You may have hundreds of them from all different points of view. And you may, in certain circumstances, be given videos that are absolutely false—

Hitler diaries on video.We do have to watch about the danger of being manipulated by very clever governments. SHAPIRO: Let me do a follow-up just about that video because I remember seeing it. It’s incredibly powerful. Now, certainly in the States, the word “exclusive” is something we all have chased after. Is that kind of competition ultimately destructive or is it good? Because we’re trying to get the best things we can get that nobody else has? NEELY: I think it’s good. I mean, British television, where I work, is a tremendously competitive area. You know, we at ITN are up against two much bigger rivals—the BBC, which is massively funded through public money, and Sky, which is funded by Ruper t Murdoch. And we are the little guy, you know, trying to compete against those giants. I think it’s a good thing. I think it keeps us sharp. I have the greatest respect for my colleagues at the BBC and Sky. I think it does make for better public knowledge.

“The first victim in war is truth.” —William Bonner

SHAPIRO: Competition—how much do you feel it when you’re out there? And are we better off today than we were 10 years ago? HULL: Well, I would echo what Bill says. I mean, the competition makes us sharper but not necessarily better as journalists. And certainly the evolution of technology, which has

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Ukrainian TV Crew interviewing Academy President & CEO, Bruce Paisner

been so rapid, particularly in the last couple of years, now means that you can put a television news report together and send it in a matter of a couple of hours. The faster that you are able to do that and the more technology that you have at your disposal to allow you to be able to send this stuff quicker to the news rooms, the greater the appetite is to get it quicker. And that sometimes means that good journalism is cut. So, you know, that’s a note of caution. But it certainly means you can get a lot more stuff out there and a lot quicker. And that means people are informed quicker and I suppose that’s a good thing. SHAPIRO: And William, has journalism gotten better or worse? BONNER: It’s interesting because as Bill said, “We have to be there and we have to get the cameras rolling”… But if you ask me if journalism is better now, my experience as a journalist in a Third World country? Yes. Because today, with internet technology we can be present in so many places.We are there, as Bill said.We are there in many, many, many countries. So we have in Jornal Nacional, at Globo TV in Brazil, conditions to make more and better journalism nowadays. If we [succeed in doing that], that’s another question. SHAPIRO: All right.And I’ll go around the table one more time and then we’ll open up for a few questions. So let’s go.William, I’ll begin with you. Is there any story or any area of the world that you think we’re not covering enough? What are we missing? What could we be doing better at that we’re doing? BONNER: I’d say in Brazil we try to cover [specific] themes and the needs of Brazilian people.We have lots of problems— health, education, transportation—and we try but Brazil is a very large country.And I’d say we are trying to do our best for making a new idea of a new country. I don’t know what you in the 70

U.S. and all over the world think about Brazil today.We have a good feeling about Brazil. A friend of mine was saying that it seems to be a very good moment for Brazil but [while that’s true] we have problems there and our challenge [is to find a solution] to our real issues, like these I mentioned here. SHAPIRO: Ruslan, for you is there any issue, either in your part of the world, in things you’ve covered, or anything that you think needs more attention and that we as journalists could be doing a better job in covering? IARMOLIUK: There are stories which are important in the Ukraine that highlight striking problems.We have corruption in the courts and among high-level authorities. There is a story that I am personally covering on our channel about a member of Parliament who, during a hunting trip, actually killed someone. We covered half of the story but he is somewhere in exile—he escaped.That’s the story I would love to finish and broadcast. SHAPIRO: Bill, you can wave a magic wand.You can go anywhere or do anything. What’s the one area of the world or a specific story we’re not paying enough attention to? NEELY: I would find that very difficult to answer. Each country looks at the area of the world that it cares most about. When the terrible events were going on in Algeria 10 years ago, French television would lead on that story most nights. Just across the Channel, in Britain, we rarely covered it. I’m going to say something slightly controversial here. My one great regret at this minute is how poorly American networks cover the world. I am stunned how often we go to places and there is no one from CBS there. And with the greatest respect to my cousins at NBC, who I love dearly, you know, we are in places and I look around and think, Where the hell are they? Why aren’t they here? So, you know, maybe the great danger International Emmy Almanac 2009/2010

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for a country is when it just stops caring about other places because I think that’s a disservice to the whole people. And, you know, as international journalists we’ve got to hang onto that responsibility to cover the world, whatever slice of it we think. Just briefly to answer your question, I often think in British television, South America is the Lost Continent. There’s very, very little news of South America that gets on British TV. And that’s a shame. SHAPIRO: Jonah, you’ve got the magic wand. It’s your turn. HULL: Yeah, that should probably have been the full stop on the whole day, actually. I mean, for me personally I am African and I come Academy Chairman Fred Cohen from Africa. If I could be anywhere for the next 6 to 12 months I would be in Zimbabwe because IARMOLIUK: It’s absolutely difficult to make this line, to measI think it’s a fascinating country. It’s where I was born and posure this line. It’s really painful to see when people you respect, the sibly beginning a very, very long and slow walk to recovery. people you are talking to, are suffering and you’re becoming a kind But I think Africa in general would be my area that is most of co-participant. But that’s difficult that there’s a task to become under-covered and written off and considered unimportant not a participant, not a co-participant, but just the witness and and stereotyped and put in a box. And I think that that’s uneven the viewer, to remember that you are the viewer, first of all. fair and I think that that’s shortsighted. An extraordinary conIt’s easier [in theory than in practice]. tinent with massive resources and potential, and a continent, in fact, that, you know, the United States quite possibly is bumSHAPIRO: Bill, even in your story there are parts I think you bling its way into another conflict in Somalia—I know conflict couldn’t have told without explaining you were moving with is a big word, but a very difficult situation in Somalia, and many, the troops. So by definition you told the story but sort of, your many stories like that that deserve a lot more coverage. movements are a part of the story so you understand the cast. NEELY: I think when there’s a plethora of news sources and a SHAPIRO: I think we have time for just a few questions from video around, it is sometimes important to show the viewer that the floor. I have a question right here. you are actually there witnessing these things. But obviously, if Q: In our country we have a cable network and stations that you do that too much you may get in the way. I mean, the idea take a very strong anti-government attitude and editorialize. Do is that you are transparent, you know, that the viewer can see you think this is appropriate and would this be tolerated? through you, through your eyes, but you’re not in the way. But I HULL: Well, you know, this gives me an opportunity to talk think, yes, it is important to show you’re there. about Al Jazeera, [chuckles] which, you know, I’m sure is a favorite subject. One of the great advantages of a channel like Q: With the Georgian/Russian war there are always or there Al Jazeera—and I don’t know how many of you have seen it, have been preconceived notions and moral judgments in the the English version, so that you could actually understand countries that you are working for. How do you deal with this what’s being said—but the great advantage that Al Jazeera has, as a reporter? I believe, is that we don’t have a national agenda. We don’t HULL: It’s probably a better question for Ruslan, since at the belong to a national government. We don’t, therefore, have time there was an awful lot of rumor and talk that if Russia got an onus to concentrate on things of specific national interest, away with what it was doing in Georgia that Ukraine would be where there is the sort of criticism that you talk about. The next. Again, I would throw to my comments earlier, that I didn’t likes of the BBC and others do—CNN, FOX News, in partichave preconceived judgments on behalf of either my channel or ular.We don’t and I think that that’s a great liberating factor to any sort of, you know, audience specific interests that my chanthe way we do things. nel might have. SHAPIRO: Anybody else? Yes, over there. Q: I’m just curious to know, how do you navigate the lines between reporting on a story and becoming a part of the story, especially where your participation and involvement can lead to a deterioration of a situation or circumstance? International Emmy Almanac 2009/2010

SHAPIRO: Well, as broadcast journalists we all understand deadlines. We were told an hour and I’m happy to say we’re going to come in under, just barely. I want to warmly welcome and thank you to the whole panel, who did a great job. [Applause] Just fantastic, gentlemen, and thank you all for coming. 75

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The 2009 International Emmy Award News Nominees: NEWS: Al Jazeera News Hour – Russia/Georgia War Al Jazeera English, Qatar Al Jazeera English is on the ground covering the Russia-Georgia war. The channel’s Moscow bureau mobilizes on the story three days before fighting begins and travels to the South Ossetian border where, on Friday, August 8, 2008, they witness the outbreak of hostilities.The channel deploys journalists across the region, feeding live updates and cut International Emmy News & Current Affairs Nominees packages from the front lines.This program comprises of four packages from Gori,Tskhinvali and South Ossetia the-life observation of two schools under Israeli occupation. In adand a live update from Tiblisi. dition to all the usual stresses of running a school and facing exams, teachers and students have to live under siege and the constant ITV News – China Earthquake threat of violence, arrests by the Israeli army and oppressive restrictions on their movement.This is a story of trials and triumphs. ITV News, UK On May 12, 2008, the biggest earthquake in China in 30 years Dispatches – Saving Africa’s Witch Children strikes the country’s Sichuan Province.The story dominates ITV A Red Rebel Films and Southern Star News programs for the following ten days. International Editor Bill Factual co-production Neely obtains footage of the earthquake, capturing its full force Channel 4, UK and the terrifying ordeal of the survivors.He also marches with the In some of the poorest parts of Nigeria, where evangelical reliRed Army to the epicenter. China Correspondent John Ray gious fervor is combined with a belief in sorcery and black magic, reaches the city of Beichuan, where a school has collapsed on many thousands of children are being blamed for catastrophes, 3,000 pupils.He shows survivors pulled from the wreckage before death and famine - and branded witches. Denounced as Satan reporting from Hongbai, close to the epicenter. made flesh by powerful pastors and prophetesses, these children are abandoned, tortured, starved and murdered—all in the name Details – South Ossetian War of Jesus Christ.This Dispatches Special follows the work of one Inter TV Channel, Ukraine Englishman, 29-year-old Gary Foxcroft, who has devoted his life to From the first day of the bloodshed of the South Ossetian War, helping these desperate and vulnerable children. Inter TV crews cover the conflict from Tskhinvali (Southern Ossetia), Gori war zone (Georgia),Tbilisi, the capital of Georgia, and ARD exclusive – Kindersklaven later from Abkhazia. Witnesses, news specialists, victims and Westerdeutscher Rundfunk, Germany refugees all tell their stories.This newscast features main stories ARD exclusiv – Kindersklaven is a journalistic documentary within the first four days of the conflict. series about child slaves. Jornal Nacional – Eloá’s Story TV Globo, Brazil The Team One hundred hours after a young man holds his ex-girlfriend Eloá Eyeworks Cuatro Cabezas, Argentina and her best friend hostage, elite troops storm the apartment— A team of reporters delve deep into the most pressing issues of in full view of the cameras.The abductor comes out unscathed; the day, examining one topic from different angles.They submerge however, both Eloá and Nayara have been shot. Only the latter themselves into situations, struggling to find the truth, but often survives. Police state that action took place only after a shot was realizing that many truths exist. they walk the streets, they talk and heard from inside. But an independent criminal and forensic exlisten to the people, they experience reality firsthand, they ask pert contacted by TV Globo concludes the shots were fired only questions, and they get answers. after police went in.The truth comes out when Nayara, the survivor, confirms the expert’s findings. CURRENT AFFAIRS: Witness Special – Return to Nablus Al Jazeera/Flashback Television, Qatar Witness returns to the Palestinian town of Nablus where the cameras go inside Hajja Rushda girls’ school and King Talal boys’ school for the final months of the academic year, to complete the year-inInternational Emmy Almanac 2009/2010

News ITV News – China Earthquake Current Affairs Dispatches – Saving Africa’s Witch Children 77

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2009 PANELISTS

Academy Panelists The International Academy would like to thank all the panelists and moderators who have participated in its 2009 events. Janet Balis President/Founder Digital Media Strategies, Inc., USA

Johnathan Knee Senior Managing Director Evercore, USA

Peter Blacker EVP, Digital Media & Emerging Businesses Telemundo, USA

Bill Neely International Editor ITV News, United Kingdom

William Bonner Anchorman & Editor in Chief Jornal Nacional TV Globo, Brazil

Nadav Palti CEO & President Dori Media Group Managing Director Dori Media International, Israel

Sir David Frost Journalist & Producer United Kingdom

Emmanuel Saint Martin US Correpondent, France 24 France

Ghida Fhakry-Khane News Anchor Al Jazeera English Qatar

Neal Shapiro President & CEO WNET.ORG, USA

Gary Ginsberg Global Marketing & EVP, Corporate Affairs News Corporation, USA Fernando del Granado VP, Marketing HBO Latin America Networks Mexico

Joshua Steiner Co-President & Managing Principal, Quadrangle Group, LLC., USA Catherine Warren President FanTrust Entertainment Strategies, Canada Carlos Watson MSNBC Host USA

Jonah Hull Correspondent Al Jazeera English, Qatar Ruslan Iarmoliuk Special Correspondent Inter TV Channel, Ukraine

Simon Wilson Washington Bureau Chief BBC News United Kingdom

International Emmy Almanac 2009/2010

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INTERNATIONAL ACADEMY FOUNDATION

The International Academy of Television Arts & Sciences Foundation Created in 1989, The Foundation organizes and administers the educational programs of The International Academy of Television Arts & Sciences.

ach year, The Foundation administers the Sir Peter Ustinov Television Scriptwriting Award. The competition is designed to motivate non-American novice writers under the age of 30, and offer them the recognition and encouragement that might lead to a successful career in television scriptwriting. Entrants are asked to create a completed half-hour to onehour English-language television drama script for a family audience. The award winner receives $2,500, a trip to New York City, and an invitation to the International Emmy Awards Gala in November. The 2009 winning script, Me & Mine, by Claire Tonkin of Australia, was read by professional actors in front of an audience at The International Emmy World Television Festival. The proceeds of the yearly Silent Auction, held during the cocktail at The International Emmy Awards Gala, benefit the Foundation and its activities. Special thanks to the 2009 Ustinov Jurors Mark Arywitz, NYU Robert Beveridge, Edinburgh Napier University Laurence Bowen, Feelgood Fiction Ltd. Louisa Burns-Bisogno, Penwright Productions Felicity Carpenter Gillian Carr, Mood Street Kids Pty Ltd. Caterina De Nave,TV 3 Ltd. Richard Dubin, Syracuse University Roberta Durrant, Penguin Films Jorge Espirito Santo, GNT Brazil Jez Freedman, Screenwriting on the Blog David Garrett, Columbia University Jennifer Klein Cynthia Link, National Academy of Television Arts & Sciences Member Rick Maier, Network Ten Helena Medina, European Television.net Samantha Morris-Mastai, CTV Michael Murphy, Rockabill Media Kethiwe Ngcobo, SABC 82

Actors performing the winning script

Ashley Pharoah, Kudos Film & TV Ltd. Julie Pool,Writers Guild of America East Member Jared Rappaport, 2008 Sir Peter Ustinov Television California State, Northridge Scriptwriting Award Winner Nimer Rashed Jez Friedman Gil Ribeiro, GNT Brazil Jennie Ripps,Talent Resources Cameron Roach, BBC Michael Russnow, Ram Productions International Michaela Seemann, ORF - Austrian Broadcasting Corporation Susan Shapiro Barash, NYWET Mark Evan Schwartz, LMU/LA School of Film & TV Sita Williams, ITV Simon Winstone, Red Planet Pictures International Emmy Almanac 2009/2010

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JURORS AND HOSTS

The 2009 International Emmy Awards Judging Season his summer, thanks to the 20 member companies who hosted Semi-Final Rounds of Judging for The 2009 International Emmy Awards, the International Academyâ&#x20AC;&#x2122;s judging department traveled to 19 judging sites in:Australia,The Czech Republic, Denmark, France, Ghana, Germany, Hungary, India, Mexico, South Africa, United Arab Emirates and The United States. Semi-Final Rounds of Judging are a great networking opportunity both for the Host and for Jurors invited to participate in the competition. Jurors, selected by The International Academy in collaboration with the Host, are all involved in different segments of the television industry and production process.They include producers, buyers, directors of programming, network

executives,TV journalists, casting directors, actors, etcâ&#x20AC;Ś specialized in a certain category and region. A complete directory of the 2009 judging hosts and participants follow in this section. International television professionals interested in participating in the competition can apply on the Academy website www.iemmys.tv to become a juror for the 2010 season. Academy Members interested in getting more involved in the judging process are encouraged to judge and also to become semi-final hosts. To be considered as a host for the 2010 Semi-Final round of judging, please contact Nathaniel Brendel, Director, Emmy Judging.

Nathaniel Brendel (second from right), Director Emmy Judging, with Jurors at Semi-Final Round of Judging in Accra

International Emmy Almanac 2009/2010

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Semi-Final Round of Judging in Miami hosted by HBO Latin America

Semi-Final Round of Judging in Melbourne hosted by Festcom

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Semi-Final Round of Judging in Copenhagen hosted by DR (Danish Broadcasting Corporation)

Semi-Final Round of Judging in Mumbai hosted by IndianTelevision.com

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Semi-Final Round of Judging in Abu Dhabi hosted by The Frame

Metro TV crew follows the Jurors during a visit in Accra

Semi-Final Judging in Cologne hosted by BROADVIEW TV GMBH, FFP New Media GMBH and ZDF

International Emmy Almanac 2009/2010

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Semi-Final Round of Judging in Paris hosted by Canal+

Semi-Final Round of Judging in Budapest hosted by MTVHungarian Television

Semi-Final Round of Judging in Mexico City hosted by TV UNAM

International Emmy Almanac 2009/2010

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2009 JUDGING PARTICIPANTS

Jurors 2009 International Emmy Awards Larry Bass Managing Director Screentime Shinawil Ltd. Ireland

Tony Cavanaugh Writer/Producer Liberty Films Australia

Dominique Farrugia CEO Barbès Films Compagnie France

Caroline Behar Head of Acquisitions and International Co-Productions France Televisions France

Mary Chan VP, Production, Asia Sony Pictures Television Hong Kong, China

Talal Fattal CEO Metro TV Ghana

Eva-Maria Berger Producer Austria

Peggy Ching Senior Executive Producer Radio Television Hong Kong Hong Kong, China

Xiaoning Feng Senior Director China Film Group P.R. China

Jaime Kuri Aiza Director/Producer Mexico

Piv Bernth Producer Danish Broadcasting Corporation Denmark

Ofanny Choi Head of Operations Celestial Movie Channel Ltd. Hong Kong, China

Cynthia Fenneman President & CEO American Public Television USA

Biola Alabi Managing Director M-Net Africa Nigeria

Andrew Blaxland Managing Director Millennium Pictures Pty. Ltd. Australia

David Collins Producer/Managing Director Samson Films Ireland

Cristián de la Fuente Producer/Actor Efetres Chile/USA

Susan Alexander Production Executive, Drama Content Canwest Broadcasting Canada

Heather Blumenthal Director/Producer Spirit Sister Productions (PTY) Ltd. South Africa

Guido Corso President RAI Corporation Italy

Flavio Garcia da Rocha Content Adviser TV Globo Network Brazil

Vanessa Alexander Writer/Director/Producer Collective Vision New Zealand

Bonnie Lee Bouman Casting Director Bonnie Lee Bouman Casting Studio South Africa

Stuart Coxe President Antica Productions Canada

Lauren Gellert SVP RDF USA USA

Kathleen Anderson Drama Commissioner TVNZ New Zealand

Andrea Brown Writer Germany

Jose D’Amato CEO Promofilm Argentina Argentina

Subhash Ghai Chairman Managing Director Mukta Arts Ltd. India

Pedro Damian Executive Producer Televisa, S.A. DE C.V. Mexico

Hian Goh Managing Director AFC Network Pte. Singapore

Sebastián Darcyl Manager Click Studios S.A. Argentina

Zaheer Goodman-Bhyat President Spier Films South Africa

Caterina De Nave EP Comedy & Drama SBS Australia

Sofie Gråbøl Actress Denmark

Final Round of Judging Herval Abreu Director Herval Abreu Producciones Ltd. Chile Pablo Morales Ahumada Director of Content & Production Chilevision Chile

Patricia Arriaga Creative Head Nao Films Mexico Winston Azzopardi Chairman Latina Pictures Malta Andres Badra Director of Television Corporación Medcom Panamá, S.A. Panama Carlos Barba President & CEO Caribevision USA/Latin America

Barry Alexander Brown Editor/Director/Producer USA Ernesto Velásquez Briseño, General Director TV UNAM Mexico Wolf-Deitrich Bruecker Commisioning Editor Westdeutscher Rundfunk Germany Adelaida Trujillo Caceido Director Citurna Ltda. Colombia Adeelah Carrim Producer D Media South Africa

International Emmy Almanac 2009/2010

Roberta Durrant Creative Producer Penguin Films South Africa

Emmanuelle Guilbart VP,Television, France and International Lagardère Active France

Carla Estrada Producer Televisa Mexico 95

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Romulo Guardia-Granier Chief Creative Officer The Angostura Film Company Venezuela

Alejandra Leon de la Barra General Director ALB Communication Mexico

Nadav Palti President & CEO Dori Media Group Israel

Linda Saffire Producer I got the Shot Productions USA

Robert Hagen Producer/Director Arts and Entertainment Productions Ltd. New Zealand

Scarlett Li CEO & Co-Founder Zebra Media P.R. China

Christopher Papakaliatis Actor/Writer/Director Greece

Luis Felipe Salamanca Writer & Producer Luis Felipe Salamanca & Associates Colombia

John Hipwell Producer/Director Hipwell International Production Services Australia Ranka Horvat Editor-Buyer, Drama Series & Mini-Series HRT-Croatian TV Croatia Ioannis Iatsios General Director of Programming ANT 1 TV Greece Daisy Irani VP MediaCorp Pte. Ltd. Singapore Prabhakar Jayakumar CEO Toonz Animation India Pvt Ltd. India Marcela Kadanka Senior Executive in Charge of Movies CBC English Television Canada Linda Kahn President Linda Kahn Media USA Anthony Kavanagh Actor/Comedian, President Kavaland France Oliver Kent Series Producer BBC Drama United Kingdom Fabienne Larouche Writer/Producer Aetios Productions Inc. Canada Thean-Jean Lee Director of Development and Production Film Formations Singapore Piotr Lenarczyk Managing Director Telewizja Polska S.A. Poland

Natalia Licovich Head of Programming Pramer SCA Argentina Mok Choy Lin Director of Regional Production National Geographic Channel Asia Singapore Roek Lips Channel Manager, Ned 3 NPO The Netherlands Todd Lituchy Media Executive China/United Kingdom Karl Markovics Actor Austria Vishwa Mohan Deputy Territory Head ZEE TV Africa South Africa Tony Morphett Director of Development & Production Morphett and Hunter Australia Khaled Abol Naga Actor/Director/Producer TEAM Cairo Egypt German Perez Nahim General Manager VP Corporacion Televen, C.A. Venezuela Mauricio Navas Writer/Director La Productora de Mauricio Navas SAS Colombia Vatiswa Ndara Actress SABC South Africa Kezzy Omoni-Kimani Programming Manager Nation Media Group Limited Kenya Peter Outerbridge Actor Canada

Jorge Granier Phelps Partner The Angostura Film Company Venezuela/USA Leanne Pooley Producer/Director Spacific Films New Zealand Anjasmara Prasetya Actor & Executive Producer Multivision Plus Indonesia Surang Prempree Managing Director Bangkok Broadcasting & Television Thailand

Blanche Salant Artistic Director Atelier Blanche Salant & Paul Weaver USA/France Esther Sanchez Head of Formats Telecinco Spain Anuj Saxena CEO Maverick Productions Pvt. Ltd. India Dan Setton Producer/Director SET Productions Israel Israel

Michael Prupas President Muse Entertainment Enterprises Inc. Canada

Darren Smith Managing Director Kite Entertainment Ireland

Marlon Quintero VP Development and Current Sony Pictures Television Latin America/USA

Chul-Hoon Song Producer KBS South Korea

Rainer Retzlik CEO Beckoffice Germany

Avrill Stark Creative Director Flying Bark Productions Pty Ltd. Australia

Thure Riefenstein Actor SMILE PICTURES Filmproduction Germany

Jeannette Sundby Head of Drama Nordisk Film & TV A/S Norway

Mazen A. Rifka Head of Acquisition & External Productions Al-Jazeera Children’s Channel Qatar Paul Römer Chief Creative Officer Endemol Group The Netherlands Gabriel Rosenberg JCS Group President & CEO Jerusalem Capital Studios Ltd. Israel Amy Rowan Casting Director Amy Rowan Casting Ireland Eduardo Ruiz EVP & General Manager A&E Ole Networks USA/Latin America

Victor Tevah Director of Production Pol-ka Producciones S.A. Argentina Kirk Tougas Director of Photography IMAGE Canada Lilia Trapani Casting Director Studio T Italy Tamara Tunie Actress USA Maria Urquiaga General Manager and SVP Castalia Communications Corp. Mexicanal Network Mexico

International Emmy Almanac 2009/2010

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Sandro Vakhtangov Film Director/Owner Sandro Vakhtangov Production Georgia Gerrie Van Rompaey Screenwriter/President Het Eiland Pen/Scenaristengilde Belgium Luis Villanueva President & CEO Somos TV Venezuela/USA Claudio Villarruel Director of Programming and Contents Telefe Argentina Robert Walden Actor/Adjunct Professor New School for Drama USA Petter Wallace Head of Commissioning NRK Broadcasting Norway Christian Wikander Head of Drama & Entertainment SVT Sweden Izabella Wiley SVP, General Manager MTV Networks Poland Opa Williams Producer Opa Williams Studios Nigeria Vivian Wu President MARdeORO Films Inc. P.R. China/USA Geraldine Zivic Actress Colombia Itati Cantoral Zucchi Actress Mexico Semi-Final Round of Judging Samer Adel Abu Hawwash Abu Dhabi Authority for Culture and Heritage United Arab Emirates Voyelle Acker France Televisions France George Adams Media Risk Management Australia

Abi Adatsi Producer Ghana

Abdulai Awudu Multi TV Ghana

Kofi Adjorlolo Venus Film Production Ghana

Aroub Hassan Azzee MBC United Arab Emirates

Sarah Al Jarman Dubai One United Arab Emirates

Beathur Baker Producer/Director South Africa

Mohamed Ali Al Mulla Etisalat United Arab Emirates

Andrew Bampfield Writer France

Jamal Al Sharif Dubai Studio City United Arab Emirates

Gábor Bányai LaRella Production Hungary

Adnan Omar Al-Obthani Qanawat FZ LLC United Arab Emirates

Csaba Bartha Romanian Television Romania

Paula Aluarez-Jaccaro Pinball London United Kingdom

Nivedita Basu Colosceum Media Pvt Ltd. India

Santiago Amigorena Writer Argentina/France

Anita Kaul Basu Synergy Adlabs India

King Ampaw Afromovies Ltd. Ghana

Anna Bateman Circe Films Australia

Thomas Anargyros Cipango France

Giacomo Battiato Film Director Italy

Lisa Andræ SVT Sweden

Steven Bawol Helion Pictures United Kingdom/France

Annabelle Aramburu Picasso Ocean Communications Spain

Karola Bayr MTV Networks Germany

Leonardo Aranguibel Disney Media Networks Venezuela/USA

Caroline Benjo Haut et Court France

Juan Carlos Arciniegas CNN en Español Colombia/USA

Simon Bennett South Pacific Pictures New Zealand

Neil Arksey Global Drama Productions United Kingdom

Alexander Berkel ZDF Germany

Mish Armstrong Movie Mischief Australia

Vera Bertram BROADVIEW TV GmbH Germany

Juliet Asante Eagle Productions Ltd. Ghana

Lois Bianchi USA

William Kusi Asare Producer/Director Ghana Lizzette Atkins Circe Films Australia Nana Adjoa Awindor Premier Productions Ltd. Ghana

International Emmy Almanac 2009/2010

Alexander Bicke ZDF Germany Sara Blecher Cinga Productions South Africa Pierre Boffety Director of Photography France

Nicolas Bonard Discovery Enterprises International United Kingdom Rachid Bouchareb Tessalit France Marlene Braga A&E Television Networks USA Jana Brandt MDR Germany Nadeshda Brennicke Actress Germany Thandi Brewer Tunc Productions South Africa Astrid Bscher Filmfritz GmbH Germany Patrick Buckley Writer/Producer/Freelance United Kingdom Charles Kofi Bucknor Focalpoint Ltd. Ghana Yunus Bukhari Artery Fx India Jan-Willem Bult Netherlands Public Broadcasting The Netherlands Gisele Burnett Freelance United Kingdom Flavio Caballero Resplandor Corp. Colombia Gitte Calmeyer NRK Norway Delia Camasca Lifetime Television USA Georges Campana Breakout Films France David Campbell David Campbell Productions Australia Victor Carrera Brusotto TV3 - Televisió de Catalunya Spain Michael Casey Green Park Films United Kingdom Marisa Cespedes Televisa Mexico/USA

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Darren Chau Foxtel Australia

Leesa Dillon News 12 USA

Rodrigo Flores Alonso Efetres Chile

Nimrod Geva SABC South Africa

Kumud Chaudhary Sahara One India

David Dontoh Kaurifire Arts Foundation Ghana

Tony Forrest Movie Network Channels Australia

Tarek Ghattas Twofour54 United Arab Emirates

Claude Chelli Capa Drama France

Florence Dormoy Scarlett Production France

Jorge Franco Writer Colombia

Hassan Ghoul Tevido LLC United Arab Emirates

Vijaya Susan Cherian Digital Studio, ITP United Arab Emirates

Tala Dowlatshahi Reporters Without Borders USA

Bruce Frankel TF1 USA/France

Christopher Gist South Pacific Pictures New Zealand

Marcello Coltro MGM Networks Latin America Latin America/USA

Allison Dowzell Creative Business Wales United Kingdom

Nina Franoszek The Connectress Germany/USA

Josef Goehlen ZDF Germany

Jérôme Cornuau Film Director France

Yvane Dreant Chief Editor France

Michael Frenschkowski Akkord Film Germany

Jane Gogan RTE Ireland

Layth Dajani The Content Factory United Arab Emirates

Birte Dronsek ZDF Germany

Beth Frey Circe Films Australia

Stella Damasus SDA Productions Nigeria

Claudia Droste-Deselaers Filmstiftung NRW Germany

Shirley Frimpong-Manso Sparrow Productions Ltd. Ghana

Dr. Maya Götz Bavarian Broadcasting / Prix Jeunesse Germany

Jo Haney Daniel Seven Network Australia USA/Australia

Lillian Dube Lillian Dube Productions South Africa

Michaela Frings BROADVIEW TV GmbH Germany

Constanze Darschin HPR Künstler & Medien GmbH Germany

Gai Dunlop Festcom Australia

Kalle Fürst Nordisk Film Norway

Sam Davis Endemol Deutschland Germany

Graham Dunster Auckland Actors Ltd. New Zealand

Ingolf Gabold Danish Broadcasting Corporation Denmark

Anne Davis SABC South Africa

Jean-Marie Durand Les Inrockuptibles France

John A. García Warner Bros. Latin America Latin America/USA

Maria Angela de Jesus HBO Latin America Group Brazil

Akofa Edjeani Asiedu Cabalash Images Ghana

Sabine de Mardt Cologne Film Germany

Nouredine Essadi French Embassy in Mexico France

Alberto Garcia Ferrer Asociación de las Televisiones Educativas y Culturales Iberoamericanas Spain

Maria del Carmen De Lara Rangel Calacas y Palomas Mexico

Treva Etienne Actor/Producer USA

Marie-Odile Demay Modemay Entertainment Canada Eszter Déri Hungarian Television Hungary Anang Desai Actor India Nicole Devilaine France 2 Television France Julien Dewolf M6 France

Wolfgang Fandrich MDR Germany Susanne Feikes WDR Germany Mary Ferreira United Nations USA Christoph Fey Unverzagt - von Have Germany Stefan Fjeldmark Zentropa Denmark

International Emmy Almanac 2009/2010

Krijay Govender Director/Comedian/Actress South Africa Andreas Grabel HMR International Germany David Gregg Bell-Phillip Television Productions, Inc. USA Sue Griffith Channel 4 United Kingdom Marie Guillaumond TF1 France Dharam Gulati Deep Focus India

David Garland Pires Actor USA

Portia Gumede Paw Paw Films South Africa

José Luis Gascue 20th Century Fox Latin America/USA

Gabor Gundel-Takacs MTV Hungary Hungary

Beata Gàsiorowska TVN S.A. Poland

Julio César Guzmán El Tiempo Colombia

György Gát DYN Entertainment Zrt. Hungary

Hana Hadêikariç United Docs GmbH Germany

Andile Genge SABC South Africa

Robin Hague European Television Guild United Kingdom

Rale Gerhardt The Walt Disney Company Germany

Steven F. Hall CNBC Arabiya United Arab Emirates

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Ronald Halpern Studio Canal France

Rachel Jean Mediaworks New Zealand

Mathias Kremin WDR Germany

Nicole Maamary Abu Dhabi Media Company United Arab Emirates

Butheina Hamed Kazim Noor Dubai TV Arab Media Group United Arab Emirates

Gunilla Jensen Peyron Swedish Television Sweden

Oliver Kreuter CBS Studios International Germany

Eric Macinnes Thomson Foundation United Arab Emirates

Yongyu Ji Phoenix Satellite Television Hong Kong, P.R. China/USA

Gábor Krigler Fade In Script Consulting Hungary

Samia Mahmoud Issa Dubai Media Inc. United Arab Emirates

Sandra Jobling Coastal Productions Ltd. United Kingdom

Marta Laluk Opció Film Ltd. Hungary

Robyn Malcolm Actress New Zealand

Jan Hanãil Academy of Performing Arts Czech Republic

Maggie Jones Australian Broadcasting Corporation Australia/USA

Claudia Landsberger Holland Film The Netherlands

Meghna Malik Actor India

Declan Hannigan Jam Film Hungary

Tamas Kalamar Magyar Grundy UFA Hungary

Mbali Langa Brainmatter Media South Africa

Gargi Malwankar Swastik Pictures India

Paul W. Hazen MarVista Entertainment USA

Ahmed Kamel MBC / Al Arabiya Group Channels United Arab Emirates

Gabrielle Lazure Actress France

Anupama Mandloi Star Plus India

François-Charles Le Goff Saya France

Laure Marsac Actress France

Sebastian Leda Ledafilms / Independent International Television USA

Tonie Marshall Tabo Tabo Films France

Mark Hamlyn Screenworld Australia Chris Hampson ScreenWorks Ltd. New Zealand

Sam Heard Network Ten Australia/USA Andrew Hefler Freelance Director Hungary Thomas Heinesen Nordisk Film Denmark Daniela Hernandez Misero Prospero Hungary Nina Hetzer BROADVIEW TV GmbH Germany Leopold Hoesch BROADVIEW TV GmbH Germany Chris Hunt IMZ United Kingdom Irina Ignatiew Telepool Germany Emeka Ike CIS Movies and Entertainment Nigeria Alejandra Islas Rabacanda Films Mexico Rola Jaber Ashorooq TV United Arab Emirates Kevin Jackson BBC Northern Ireland United Kingdom Darshan V. Jariwalla Leela Theatres India 100

Uwe Kammann Grimme-Institut Germany Vandad Kashefi Kalapos Gyik Kft. Hungary Ingrid Kasper United Nations Television USA Bettina Kasten ZDF Germany Murray Keane South Pacific Pictures New Zealand Oliver Kent BBC Drama United Kingdom Dan Kermah Studio One Ltd. Ghana Uwe Kersken Gruppe 5 Germany Michael Kessler Actor,Writer Germany Marlene Key The Key to Polo Enterprises, Corp. USA Amelie V. Kienlin Telepool GmbH Germany Dr. Kailashnath Koppikar Miditech Pvt Ltd. India

Jeannette Lehr Actress Latin America/USA

Robin Massee Massee Productions France/USA

Kim Leona Danish Film Institute Denmark Denis Leroy Warner Bros. International France Palesa Letlaka-Nkosi SABC South Africa Genna Lewis Clive Morris Productions South Africa Jutta Lieck-Klenke Network Movie Germany Cuz Lindsay Black Brain Pictures South Africa Alethea Lindsay Goldfish Films South Africa Stephen Lorenzo Engage Entertainment South Africa Judith Louis France Televisions France

Marie Masmonteil Elzévir Films France

Khalo Matabane Refugee Films South Africa Ivo Mathé Academy of Performing Arts Czech Republic Emeka May-Nzeribe Jack & Ideas Ltd. Nigeria Eileen McCarthy KidsCo United Kingdom Michael McKay Active TV Australia Tina McLaren Television New Zealand New Zealand Stuart Menzies Australian Broadcasting Corporation Australia Kofi Middleton-Mends National Film and Television Institute Ghana

International Emmy Almanac 2009/2010

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We thank the International Academy for giving us the opportunity to produce their Almanac for eight years in a row.

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Radu Mihaileanu Oï Oï Oï Productions France

May Nassour Abu Dhabi Media Company United Arab Emirates

Cecilia Persson Turner Broadcasting United Kingdom

Sabine Rollberg WDR/Arte Germany

Lesedi Moche Producer/Researcher South Africa

Mandla Ndimande Black Brain Pictures South Africa

Ruth Pfletschinger IMZ Austria

Antony Root Sony Pictures Television United Kingdom

Richard Mofe-Damijo White Water Ltd. Nigeria

Mamadou Niang France 2 Television France/USA

Jacqui Pickering Writer South Africa

Adam Rozgonyi Corti Studio Hungary

Jerry Mofokeng J. Mofokeng & Associates South Africa

Evi Nicopoulos ITV Studios Global Entertainment United Kingdom

Sophie Pierson Reporter France/USA

Dr. Zoltán Rudi Hungarian Television Hungary

Oscar Provencal Zoomlion Ghana Ltd. Ghana

Saeed Mohmid Saeed Alketbi Lon Media United Arab Emirates

Inga Pudenz Agentur Scenario Germany

Fiona Samuel Murmur Films New Zealand

Alison Quigan Actress New Zealand

Don Samulenok Crawford Productions Australia

Marlon Quintero Sony Pictures Television Latin America/USA

Ignacio Sanz de Acedo E! Entertainment Latin America/USA

Joey Rasdien JR Entertainment South Africa

Tarif Sayed The Frame United Arab Emirates

Ingelise Rasmussen Danish Broadcasting Corporation Denmark

Javed Sayyed Editor/Director India

Katja Raths Clasart Classic Germany

Michael Schelp Fujisankei Communications International USA/Japan

Akiedah Mohamed Writer/Director South Africa Haidar Mohamed Ali Qanawat FZ LLC United Arab Emirates Martin Möller Writer Germany Vincent Moloi Hamoloi Pictures South Africa András Monory Mész Hungarian Television Hungary Guillermo Montemayor Gómez La Red A.C. Mexico

Rina Nienaber Izigi Productions South Africa Anthony Nwigbo Can Entertainment House Ghana André Odendaal Director South Africa Jacques Ouaniche Noé Productions France Anita Owusu Metro TV Ghana Cristina Padiglione O Estado de São Paulo Brazil

Alpheus N. Montso Free Motion Production South Africa

Jahnavi Pal Indian Television India

Reiner E. Moritz Poorhouse International United Kingdom

Valentina Parraga Writer Venezuela

Jürgen Moritz Friedrich Ebert Foundation Mexico

Zynab Ayesha Passah XYZ Agency Ghana

Deema Moukayed MBC United Arab Emirates

Franz Patay IMZ Austria

Omelga Mthiyane O films South Africa

Yash Patnaik Beyond Dreams Entertainment Ltd. India

Susanne Mueller ZDF Enterprises Germany E. Neil Mundy Copperplate Film & TV Ltd. United Kingdom Ian Mune Actor/Director New Zealand John Nadler Variety Hungary Rola Najem The Frame United Arab Emirates

François-Pier Pélinard-Lambert Le Film Français France Huw Penallt Jones De Lane Lea United Kingdom Luis F. Peraza HBO Latin America Group Venezuela/USA Philippe Perebinossoff California State University Fullerton USA

International Emmy Almanac 2009/2010

Elke Reid Zieglerfilm Köln GmbH Germany Rainer Retzlik Beckoffice Germany Adam Rezek Czech Television Czech Republic César Antonio Ricaurte Péres Ecuavisa Ecuador Philipp Riccabona e.clips Fernsehen GmbH Germany Roberto Rios HBO Latin America Group Latin America/USA

Prof. Dr.Andreas Scheuermann BrainPool TV GmbH Germany José Vicente Scheuren Cinemat Inc. USA Minky Schlesinger Writer/Director South Africa Bruno Schmetz EVS Middle East Belgium/UAE Gerhard Schmidt Gemini-Film Germany Jochen Schmidt-Hambrock Germany

Marcia Rock New York University USA

Karin Schockweiler Film Fund Luxembourg Luxembourg

Carlos Rodero Misero Prospero Hungary

Marlene Schönecker n-tv Nachrichtenfernsehen Germany

Carlo Rola Moovie Germany

Pearl Shahi Spellbound Production India

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Namit Sharma Wizcraft Television India

R.D.Tailang Writer India

Andrew Shaw PRS for Music United Kingdom

Claudia Tajes HBO Brazil Brazil

Ana Josefa Silva La Segunda Chile

Elisabeth Tanner Artmedia France

B.P. Singh Fireworks India

Micha Terjung Cologne Film Germany

Kwaku Sintim-Misa Sapphirz Ltd. Ghana

Veronica Tetteh-Ashong Ghana Broadcasting Corp. Ghana

Pablo Sirvén La Nación Argentina

Siddharth Kumar Tewary Swastik Pictures India

Ulla Skoglund Fitz + Skoglund Agents Germany

Antonín Trs Czech Television Czech Republic

Marcelo Oscar Slavich Writer Argentina

Beate Uhrmeister-Barz Media Expert Germany

Walter Slavich Writer Argentina

Aurelio Valcárcel Telemundo Studios Latin America/USA

Brett Sleigh SBS Television Australia

Fabiola Velasquez Camila Films Latin America/USA

Tim Smith Straightman P/L Australia

Michael Vetter MV Productions Mexico

Beatriz Solis Leree Universidad Autonoma Metropolitana Mexico

Tita von Hardenberg Kobalt Productions Germany

James Williamson Canadian Broadcasting Corporation Canada Ged Wood Elbow Grease Australia Hazel Wright Hazel Wright Media Ltd. United Kingdom Andreas Wunn ZDF Germany Leena Yadav Film Writer, Director, Editor India Ahmad Zahzah Baynounah Media Company United Arab Emirates Luis Emilio Zelkowicz ZG Media Group Latin America/USA

Laura Blum Film Festival Today USA Ronald H. Blumer Middlemarch Films USA Natascha Bodemann USA

Dean Broadhurst MTV Networks Latin America USA

Preliminary Round of Judging

Lucy Bruell L.A. Bruell Inc. USA Chris Bryson Lion TV USA

Peter R. Speciale USA

Alexander von Hohenthal Opal Filmproduktion GmbH Germany

Jennifer Askin 4Kids Entertainment USA

Andrew Steele BBC News United Kingdom/USA

Phillipp von Schulthess Actor Germany

Maria Badillo ¡Sorpresa! Network USA

Greg Stevens Magyar Grundy UFA Hungary

Mark Walton The Africa Channel USA

Zane Bair Seven Network Australia Australia/USA

Pavel Stingl K2 Czech Republic

Tony Watts Reel Rights Ltd. United Kingdom

Susan Shapiro Barash Author/Professor USA

David Studer Canadian Broadcasting Corporation Canada

Ronald L.Weaver Bell-Phillip Television Productions, Inc. USA

Estee Bardanashvili Sesame Workshop USA

Cecilia Suárez Actress Mexico

Larry Weinstein Rhombus Media Canada

Sam Summerlin Hollywood Stars USA

Eric Welbers Beta Film GmbH Germany

Lotte Svendsen Director Denmark

Mark M.West Communicorp Group Ireland/Hungary

104

Hilary Blecher Cinga Productions USA/South Africa

Brady Brim-DeForest Tubefilter Inc. USA

Maria Luz Zucchella Perro Blanco Films Latin America/USA

W. Stanford Bian PMC Consulting USA

Jonathan Blank Wildform USA

Marlene Braga A&E Television Networks USA

Dennenesch Zoudé Actress Germany

Catherine Berclaz Magena Productions USA

Phyllis M.G. Bishop Bishop Group P.R. USA

Jean Bodon University of Alabama at Birmingham USA

Tanja Ziegler Ziegler Film Germany

Rita Basmagian RAI Corporation Italy/USA

Lois Bianchi USA

Peggy Cafferty Dahooma Productions USA William C. Cammack III Video Editor USA Jacqueline Cantore USA David Caravello NetNewsgroup USA Spiro Carras Cineguild Entertainment Group USA Madeleine Carter National Geographic Channels International USA Alana Cash Annie’s Egg Company Inc. USA

International Emmy Almanac 2009/2010

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Laurie Chock Three Graces Productions USA

Rebekah Fisk The Paley Center for Media USA

Camille Hickman Lincoln Center Theater USA

Herb Lazarus Carsey-Werner Distribution USA

Adrianna Cohen McKinsey & Company USA

John Fitzgerald DLT Entertainment Ltd. USA

Tish Hill NYU Tisch School of the Arts USA

Pedro Leda Ledafilms S.A. Argentina/USA

Marcello Coltro MGM Networks Latin America Latin America/USA

Molly Fowler Point Made Films USA

Elias Hofman Exim Licensing Group USA

Kate Livo BBC Worldwide Americas USA

Kathleen Conkey Law Offices of Kathleen Conkey USA

Mikhail Galkin Overseas Media Russia/USA

Vesna Loney Terra Entertainment Inc. USA

Karen Copeland Crystal Pyramid Productions Inc. USA

Tom Garrett University of Tampa USA

Makiko Ito Fujisankei Communications International Inc. Japan/USA

Jeff Cotugno DLT Entertainment Ltd. USA

Jack Genero Liberty Films USA

Marc Danon Lionsgate USA

D.B. Gilles New York University USA

Jacques de Suze Woods TV France/USA

Marcalan Glassberg Islip Pavilion USA

Beth Dembitzer Arena Pictures Inc. USA

Fabio Golombek F.J.Productions Inc. USA

William Dennis Zanymation International USA

Jorge Granier Phelps The Angostura Film Company Latin America/USA

David Derrick Comedy Central USA

Bill Grantham Greenberg Traurig LLP USA

Nicole Devilaine France 2 Television France

Katie Griffin Casting Director USA

Tala Dowlatshahi Reporters Without Borders USA

Maritza Guimet Florida Media Market USA/Peru

Mark E. Downie Ryamar Productions USA

Ruth A. Gutman Ruth A. Gutman Productions USA

David A. Dreilinger Lightworks Enterprises Inc. USA

Austin Haeberle Listen Up! USA

Mellicent Dyane Dyane*Foster Film and Casting USA

Rasheea Hall Fox Broadcasting Company USA

Josh Elbaum Media Investment Group USA

Azusa Hasegawa East River Films Japan

David Kleeman American Center for Children and Media USA

Michael Moran Larry Levinson Productions USA

Treva Etienne Etienne Films USA

Paul W. Hazen MarVista Entertainment USA

Ricardo Korda Hu-man Films USA

Norm Fein News 12 Networks / Cablevision USA

Alejandro Heiber Subcultura USA

Dr. Claus Mueller International Film & Television Exchange Inc. Germany/USA

Nadine Koval Ashby Televideo International USA

Jeannette Hektoen JH Media & Marketing, USA

Keiichiro Kubota Japan/USA

Mary Louise Ferreira United Nations USA

International Emmy Almanac 2009/2010

Maggie Jones Australian Broadcasting Corporation Australia/USA Pamela Jones Law Offices of Pamela C. Jones USA Naomi Joseph The Walt Disney Company Ltd. United Kingdom Ingrid Kasper United Nations Television Germany/USA Virginia Kassel USA Martha C. Kattan Univision Latin America/USA Kerry Kazokas Freedom Art Productions USA Erin Keating IFC TV USA Nicole Kempskie The Paley Center for Media USA Heidi R. Klaimitz New York Venture Philanthropy Fund USA Joerg Klebe Transtel USA

Vincent Longobardo Vinnie Longobardo Productions USA Marc B. Lorber Marvista Entertainment USA James Lum Hearst-Argyle Television USA David Lyle Fox Reality Channel USA Margaret Mardirossian Anaid Productions Canada Russ McCarrol History Channel USA Penny McDonald Whizbang Films Inc. Canada Theodore A. McFarland Pacific Skies Ltd. USA Lynne McVeigh New York University USA Ambalika Misra Freeland Broadcaster USA Lucila Moctezuma Independent Media Arts Consultant Mexico/USA Amanda Moore USA

Regina Nemni Actress Italy/USA Billy Neo Little Magic Films USA

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Mamadou Niang France 2 Television France/USA

Gillian Rose WNET.org USA

Kersti Niebruegge BBC Worldwide Americas USA

Freddie Ross Hancock Freddie Ross & Associates USA/United Kingdom

Barbara Nikonorow USA

J.D. Roth 3 Ball Productions USA

Candace TenBrink USA Christina Thomas BAFTA East Coast USA/UK Frederick Thomas MHz Networks USA

Kay Rothman USA

Heather Thomas HBO USA

Jorg Nowak Univision Interactive Latin America/USA

Laurie Scheer Flashpoint Academy USA

Claudio A.Tona Buttercat Inc. USA

Sue Oscar Filmakers Library USA

Michael Schelp Fujisankei Communications International USA/Japan

Beatrice Uerlings German National TV and Radio Germany/USA

Cherrie Shepherd Cherrie Shepherd Media & Entertainment USA

Pablo F. Urquiza Producer/Director/Writer USA

Desiree Nosbusch Actress USA

Karen Parks BBC Worldwide Americas USA Judith Pearlman Cliofilm USA Philippe Perebinossoff California State U Fullerton USA Marco Perez Union Editorial Italy/USA David Garland Pires Actor USA Christian Poccard Eurochannel Inc. Brazil/USA Linda Porto ABC-TV USA Beth Preminger BSP Associates USA Ellen Rand Universal Cable Productions USA Dan Reed Kaiju Productions USA Cathy Reyes Mega TV USA Felipe M. Rodriguez Cognitec Systems Corporation Brazil/USA Damon Romine SAG USA Annerys Rosario Univision Networks USA

Ron Simon Paley Center for Media USA Roberto Soto Imaginus USA Andrea D. Sporer Scholastic Media USA Randal Stanley News 12 New Jersey USA Tsu Tsu Stanton Tsu Tsu Unlimited USA Bruce Starin International Television Format Consultants USA Cassis Birgit Staudt Cassis Vision USA Sam Summerlin Hollywood Stars II Inc. USA

Dennis Young Glocal Media USA Mary Ann Zimmer Media Ventures International Ltd. USA Angela Zubrzycki United Nations Television USA Maria Luz Zucchell Perro Blanco Films LLC Latin America/USA

Jorge Vaillant AVM-Perspectives21 Argentina/USA Michael Valaire ERI Classic Media USA Gaston Virkel Boomerang Latin America USA Diane Wai Producer USA Elaine E.Warner Producer/Director USA Steven N.Weinberg News 12 Networks USA Aimee White BBC Worldwide Americas USA Timberly Whitfield USA Dewey Wigod SFM Entertainment USA

Javier Szerman Fox Latin American Channels Argentina/USA

Cheryl R.Williams USA

Donald Taffner, Jr. DLT Entertainment Ltd. USA

Heather Winters Studio-On-Hudson USA

Catherine Tait Duopoly Inc. USA

Thomas Xenakis Ikseni Productions Greece/France

Jean Tait USA

Leonard Yanovsky Intra Communications Inc. USA

Paul Telegdy NBC & Universal Media Studios USA

International Emmy Almanac 2009/2010

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DIRECTORY

Members The International Academy of Television Arts & Sciences

Executive Committee Bruce Paisner President & CEO Advisor Hearst Corporation, Cosmopolitan TV USA Fred Cohen Chairman Chairman, Foundation The International Academy of Television Arts & Sciences USA Larry Gershman Vice Chairman, U.S. & Co-Chair, Emmy Committee Chairman & CEO World International Network LLC USA Michael Lynton Treasurer Chairman & CEO Sony Pictures Entertainment USA Simon Sutton Secretary President, Programming Distribution and International Home Box Office USA Rainer Siek Chairman, Nominating Committee President MT.NY USA Ralph Baruch Executive Member USA Kevin Beggs Executive Member President of Television Programming & Production Lionsgate USA

108

John Cassaday Executive Member President & CEO Corus Entertainment Canada Gary Marenzi Executive Member Co-President,Worldwide Television Metro-Goldwyn-Mayer Worldwide TV Distribution USA Steve Ronson Executive Member Executive VP, Enterprises A&E Television Networks USA Don Taffner, Sr. Executive Member Chairman DLT Entertainment Ltd. USA Blair Westlake Executive Member Corporate VP, Media & Entertainment Group Microsoft Corporation USA Camille Bidermann-Roizen Senior VP & Executive Director The International Academy of Television Arts & Sciences USA

Emmy Committee Members Larry Gershman Vice Chairman, U.S. & Co-Chair, Emmy Committee Chairman & CEO World International Network LLC USA Catherine Mackay Co-Chair, Emmy Committee CEO Hotels Made Simple, LLC USA

Talal Al-Haj (Al-Arabiya News Channel) Zane Bair (Seven Network Australia, LA Bureau) Gabor Banyai (Independent Producer) Steven Bawol (Helion Pictures) Maggie Jones (Australian Broadcasting Corporation) Michael Schelp (Fujisankei Communications International) Eileen Slater-Cohen (A2Z Media) Jorge Vaillant (AVM Corporation)

Nominating Committee Members Rainer Siek Chairman, Nominating Committee President MT.NY USA Guido Corso (RAI Corporation) Tom Devlin (Entertainment Studios) Armando Nu単ez, Jr. (CBS Studios International) Jerry Petry (NBC Universal Television) Simon Pollock (AETN International)

Special Awards Committee Members Jim Rosenfield Chairman, Special Awards Committee JHR & Associates USA Kevin Beggs (Lionsgate) Fred Cohen (The International Academy of Television Arts & Sciences) Bruce Paisner (Hearst Corporation)

Ambassadors Gabor Banyai Hungary Producer Interaktiv Ltd. Hungary Steven Bawol United Kingdom Managing Director Helion Pictures United Kingdom Sebastian Darcyl Argentina President Telefilms Argentina Gai Dunlop Australia CEO Festcom Australia Roberta Durrant South Africa CEO Penguin Films South Africa Jose Escalante Venezuela Managing Director Latin Media Corporation USA Talal Fattal Ghana CEO Metro TV Ghana Andy Hadjicostis Cyprus Managing Director Sigma Television Cyprus Leopold Hoesch Germany Managing Director BROADVIEW TV GmbH Germany

International Emmy Almanac 2009/2010

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Brian Seth Hurst Global Digital Ambassador CEO The Opportunity Management Company USA Alejandra Leon de la Barra Mexico Founder & CEO ALB Comunicacion y Relaciones Publicas Mexico Gabriel Rosenberg Israel Group President & CEO Jerusalem Capital Studios Ltd. Israel Hans Rossiné Norway Programsjef/Head of Drama NRK Norway Tarif Sayed United Arab Emirates Managing Director The Frame UAE Alexander Shustorovich Russia President Fashion TV Russia, Ltd. Russia

Directors Name Title Company Country Jose Antonio Baston Corporate VP,Television Televisa Mexico Kevin Beggs President of Television Programming & Production Lionsgate Television USA Rodolphe Belmer CEO Canal+ France Jana Bennett Director of BBC Vision BBC United Kingdom

Mitchell Berman CEO Zillion TV USA

Herbert Granath Chairman Emeritus ESPN USA

Pavel Korchagin CEO Studio 2V Russia

Giuliano Berretta CEO & Chairman, Management Board Eutelsat S.A. France

Lars Grarup Managing Director Danish Broadcasting Corporation (DR TV) Denmark

Pedro Felix Leda President Ledafilms S.A. Argentina

Camille Bidermann-Roizen SVP & Executive Director The International Academy of Television Arts & Sciences USA

Stephen Greenberg President Incendo Media Canada

Scott Borden Head of Television Laureus World Sports Awards United Kingdom John Cassaday President & CEO Corus Entertainment Canada Rick Cotton EVP & General Counsel NBC Universal USA Xavier Couture EVP, Content Orange France Patrick de Carolis President France Televisions France Thomas Ebeling CEO ProSiebenSat.1 Media Germany David Ellender Global CEO FremantleMedia Enterprises United Kingdom Konstantin Ernst General Director Channel One Russia Russia Robert Friedman President, Media & Entertainment Radical Media USA Shigeo Fukuchi President NHK Broadcasting Corporation Japan Michael Grade United Kingdom

International Emmy Almanac 2009/2010

Michael Grindon President, International Sony Pictures Television USA Andy Hadjicostis Managing Director Sigma-TV Cyprus Robert Halmi, Jr. President & CEO RHI Entertainment USA Hisashi Hieda Chairman Fuji Television Network, Inc. Japan Hans-Holger Albrecht President & CEO Modern Times Group/ Viasat Broadcasting United Kingdom Stanley Hubbard Chairman Hubbard Broadcasting Co., Inc. USA Hiroshi Inoue President Tokyo Broadcasting System Japan Paula Kerger President & CEO PBS USA Masao Kimiwada President TV Asahi Corporation Japan Herbert Kloiber Managing Director Tele-München Group (TMG) Germany

Mikel Lejarza Ortiz General Manager Antena 3 Television Spain Giancarlo Leone Executive Vice President RAI Italy Ruigang Li President Shanghai Media Group PR China Changle Liu Chairman & CEO Phoenix Satellite TV Holdings Ltd. PR China Michael Lynton Chairman & CEO Sony Pictures Entertainment USA Bernard Majani Director of Acquisitions M6-Métropole Télévision France Roberto Irineu Marinho President Globo Group of Companies Brazil Pat Mitchell President & CEO The Paley Center for Media USA Steve Mosko President Sony Pictures Television USA Ivica Mudrinic President & CEO Croatian Telecom Croatia Armando Nuñez, Jr. President CBS Studios International USA Ahmet Oren CEO Ihlas Media Holdings USA/Turkey

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Hiroshi Oto President & COO Fujisankei Communications International USA Lucio Pagliaro General Director Artear Argentina, Clarin Group Argentina Bruce Paisner Advisor Hearst Corporation, Cosmopolitan TV USA Alan Perris COO Academy of Television Arts & Sciences USA Roman Petrenko CEO OJSC TNT Broadcasting Network Russia Jerry Petry EVP of Administration NBC Universal Television USA Surang Prempree Managing Director Bangkok Broadcasting & Television Thailand Abbe Raven President & CEO A&E Television Networks USA Udo Reiter Intendant Mitteldeutscher Rundfunk Germany Jean Reveillon Director General European Broadcasting Union (EBU) Switzerland Alexander Rodnyansky Member of the Board of Directors CTC Media Russia Bill Roedy Vice-Chairman MTV Networks United Kingdom Steve Ronson EVP, Enterprises A&E Television Networks USA

110

Gabriel Rosenberg President & CEO Jerusalem Capital Studios Ltd. Israel Sylvia Rothblum SVP & Managing Director, German Territories Warner Bros. Int’l Television Distribution Germany Carlo Sartori CEO NewCo Rai International Spa Italy

Katharina Trebitsch President Trebitsch Entertainment GmbH Germany

Guido Corso President RAI Corporation USA (Giancarlo Leone, Carlo Sartori)

Luis Villanueva President & CEO Venevision International USA

Harold Crump VP, Corporate Relations Hubbard Broadcasting USA (Stanley Hubbard)

Annie Wegelius Director of Programs SVT Sweden

Markus Schächter Director General ZDF German Television Germany

Blair Westlake Corporate VP, Media & Entertainment Group Microsoft Corporation USA

Henry Schleiff President & General Manager Investigation Discovery USA

Andrea Wong President & CEO Lifetime Networks USA

Jeffrey Schlesinger President Warner Bros. International Television USA

Alan Yentob Creative Director BBC United Kingdom

Mark Scott Managing Director Australian Broadcasting Corporation (ABC) Australia John Shaffner Chairman & CEO Academy of Television Arts & Sciences USA Neal Shapiro President & CEO WNET.ORG USA Zafar Siddiqi Chairman & CEO CNBC Arabiya UAE Simon Sutton President, Programming Distribution and International Home Box Office USA Donald Taffner, Sr. Chairman DLT Entertainment Ltd. USA

Nicole Devilaine Director France 2 Television France (Patrick de Carolis) Cesar Diaz Vice President, Sales Venevision International USA (Luis Villanueva) Alexander Faifman General Producer Channel One Russia Russia (Konstantin Ernst) Michael Feeney VP, Public Relations & Corporate Affairs A&E Television Networks USA (Abbe Raven)

Gerhard Zeiler CEO RTL Group Luxembourg

Harry Forbes Director, Office for Film & Broadcasting U.S. Conference of Catholic Bishops USA (Pat Mitchell)

Paul Zilk CEO Reed MIDEM France

Alternates Name Title Company Country (Alternate for) Antonio Alonso General Manager, Planning Televisa Mexico (Jose Antonio Baston) Jean Bureau President Incendo Productions Canada (Stephen Greenberg) Craig Cegielski EVP, Programming & Sales Lionsgate Television USA (Kevin Beggs)

Maggie Jones Representative Australian Broadcasting Corporation USA (Mark Scott) Junichi Kitasei President, North American News Operations TV Asahi America USA (Masao Kimiwada) Klaus Lehmann President Creative International Activities USA (Pedro Felix Leda) Mark Levine MTV Networks International USA (Bill Roedy)

International Emmy Almanac 2009/2010

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David Lewis Assistant Director General, Spokesman and Head of Governance European Broadcasting Union (EBU) Switzerland (Jean Reveillon) Susanne Mueller Head of Development & Coproductions ZDF Enterprises GmbH Germany (Markus Schächter) Fumio Narashima Head of Int’l Program Development NHK (Japan Broadcasting Corporation) Japan (Shigeo Fukuchi) Takaharu Okamoto President TBS International USA (Hiroshi Inoue) Zongqin Ruan Deputy General Manager Int’l Operations Phoenix Satellite Television Co Ltd PR China (Changle Liu) Ronald Samuel COO Eutelsat S.A. USA (Giuliano Berretta) Liz Seidner Davidoff Senior Vice President, Global Marketing Zillion TV USA (Mitchell Berman) Rainer Siek President MT.NY USA (Gabriel Rosenberg, Sylvia Rothblum, Gerhard Zeiler) Eileen Slater-Cohen A2Z Media USA (Katharina Trebitsch) Amauri Soares CEO Globo International New York USA (Roberto Irineu Marinho)

112

Angie Stephenson BBC USA (Alan Yentob) Donald L. Taffner, Jr. President DLT Entertainment Ltd. USA (Donald Taffner, Sr.) Clifford T. Tendler USA (Zafar Siddiqi) Jorge E. Vaillant President AVM Corporation USA (Lucio Pagliaro) Jim Wesley CFO Lifetime Television USA (Andrea Wong) Ed Wierzbowski President Global American Television USA (Pavel Korchagin)

Members Kees Abrahams President, International Production Sony Pictures TV/2waytraffic Netherlands Osa Sonny Adun President/CEO/Head of Television DBN Television Nigeria Sheila Hall Aguirre VP, Sales & Development, Latin America & Hispanic USA FremantleMedia Latin America USA Walid Al Awadi CEO CSky Pictures Kuwait Nashwa Al Ruwaini CEO Pyramedia UAE Talal Al-Haj New York / UN Bureau Chief Al-Arabiya News Channel USA

Bidzina Baratashvili Imedi TV Rep. of Georgia

Raul Alarcon Jr. President & CEO Mega TV - Spanish Broadcasting System USA Mauro Alencar Professor University of São Paulo Brazil Rolando Javier Almirante Castillo Filmmaker Sandra Carter Productions USA/Cuba Ricky Anderson Attorney Anderson & Smith, PC USA Lucia Araújo General Manager Futura Channel Brazil Portia Archer VP, International on Demand HBO USA Jimmy Arteaga General Manager Alomi Producciones Puerto Rico, USA Yolanda Ausin Castaneda Managing Director Telemadrid Spain Randa Ayoubi Founder & CEO Rubicon Jordan Andres Badra Corporacion Medcom Panama Panama Zane Bair US Representative Seven Network Australia, LA Bureau USA Gabor Banyai Independent Producer LaRella Productions - MTV Hungary Barak Bar-Cohen SVP, Business Development KIT Digital USA

Carlos Barba Barba Television USA Fernando Barbosa Senior Vice President Walt Disney Television Latin America USA John Barnett Managing Director South Pacific Pictures Ltd. New Zealand Patrick Barry VP, Connected TV Yahoo, Inc. USA Nivedita Basu VP, Scripted Programming Colosceum Media Pvt. Ltd India Ludwig Bauer CEO ATV Privat-TV Services AG Austria Rola Bauer Managing Director Tandem Communications Germany Wolf Bauer CEO UFA Film & TV Produktion GmbH Germany Steven Bawol Managing Director Helion Pictures United Kingdom Fatema Bayat Senior Vice President Ariana Radio & Television USA Kakha Bekauri Other Entertainment Rep. of Georgia Yury Belenkiy Art Director/Producer Creative Television Association Russia Gregory P. Bellon President Bellon Entertainment USA

International Emmy Almanac 2009/2010

EMMY_1109_113 Page 1 11/5/09 5:12 PM

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Simon Bennett Head of Drama South Pacific Pictures New Zealand

Julie Boucher Artistic Manager Les Productions Clebs France

Ross Bentley CEO Rights Tracker United Kingdom

Marlene Braga Director, Programming History/AETN USA

Oliver Berben CEO Constantin Film Produktion GmbH Germany

Emilio Braun Burillo Executive Vice President CaribeVision USA

Hilde Berg Producer Norsk Filmproduksjon AS Norway Boris Bergant BorBER Slovenia Josh Berger President & Managing Director Warner Bros. Entertainment UK, Ireland & Spain United Kingdom Ira Bernstein Co-President Debmar-Mercury USA Piv Bernth Producer Danish Broadcasting Corporation (DR TV) Denmark Lynn Beveridge USA Subroto Bhattacharya Territory Head of the Americas Zee TV USA USA Herman Binge Executive Director Waterfront Television South Africa Alexander Bogutsky General Manager Internation Commercial TV & Radio/CICTV Ukraine Jordi Bosch Deputy President Endemol Espana Holding Spain

Deirdre Brennan Director of Programming Nickelodeon Australia Australia Julie Bristow Executive Director, Factual Entertainment CBC Canada Pierre Brosseau CEO RNC Media Canada Maria Brown Managing Director, Acquisitions & Programming Asian Food Channel Singapore John Brunton President & CEO Insight Production Company Ltd. Canada Brian Buchanan Online Operations Manager Herald & Weekly Times Australia Brandon Burgess CEO ION Media Networks USA Takis Candilis CEO Lagardere Entertainment France LinLin Cao Mastermind Producer Beijing Twinfish Motion Picture & Visual Arts Communication Corp. P.R. China Gillian Carr Executive Producer Moody Street Kids Pty Ltd. Australia

International Emmy Almanac 2009/2010

Terrell Cass USA Donovan Castillo-Mohlman VP, Program Strategy & Development Star Group Ltd. P.R. China Michelle Castillo-Mohlman Regional Producer, Content Dev. Star Group Ltd. P.R. China Tapaas Chakravarti CEO DQ Entertainment International India Sompan Charumilinda Executive Vice Chairman True Visions Public Company Ltd. Thailand Yoram Chertok CEO D&C TV Ltd. Israel Christopher Chia CEO Media Development Authority of Singapore Singapore Sang Y. Chun President & CEO SBS International Inc. USA Donald Ciaramella EVP, Corporate Communications The Lippin Group USA Sven Clausen Executive Producer Danish Broadcasting Corporation (DR TV) Denmark Chris Coelen CEO RDF America USA Sean Cohan SVP, International A&E Television Networks USA Gaston Comas CEO HBO Latin America Group USA

Vince Commisso CEO 9 Story Entertainment Canada Jose Miguel Contreras Tejera Socio Consejero Globomedia Spain Alexander Coridass President & CEO ZDF Enterprises Germany Patrice Courtaban COO TV5 USA USA John Cresswell Director ITV plc United Kingdom John Cuddihy President & Managing Director Lightworks Program Distribution USA Megan Cunningham Founder & CEO Magnet Media Inc. USA Enrique Cusco CEO Ole Communications USA Jose D’Amato CEO Promofilm Argentina Argentina Beathe Daae Head of Children’s Programming TV2 Norway Norway Stella Damasus-Nzeribe SDA Productions Ltd. Nigeria Alexander Dannenberg CEO Cinemakers Germany Sebastian Darcyl President Telefilms Argentina Kunal Dasgupta India

115

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Jamie Davis President Versus USA

Gai Dunlop CEO Festcom Australia

Segisnando Ferreira de Alencar TV Radio Clube de Teresina SA Brazil

Urban Frye Managing Director Rose d’Or AG Switzerland

Stephen Davis President Hasbro Studios USA

Roberta Durrant CEO Penguin Films South Africa

Stanley Fertig Senior Vice President HBO International USA

Mikhail Galkin VP, Acquisitions & Programming Overseas Media, Inc. USA

Guido De Angelis Producer DAP Italy SRL Italy

Abdel Latif El Menawy Head of News Sector Egyptian Media Ministry Egypt

Christoph Fey Attorney at Law Unverzagt von Have Germany

Flavio Garcia da Rocha Director of International Content Globo TV Brazil

Stephanie de Bodinat USA

Peter C. Emerson President E1 Television International Canada

Paul Field Managing Director The Wiggles Pty Limited Australia

Michael Garin Vice Chairman of the Board Central European Media Enterprises (CME) United Kingdom

Jose Escalante Managing Director Latin Media Corporation USA

Jay Firestone Prodigy Pictures Inc. Canada

Jacques de Suze Director of International Development Woods Communications USA Edouard de Vesinne Producer Cipango France

Matthias Esche Germany

Mark DeAngelis USA

Francesc Escribano General Manager Televisio de Catalunya Spain

Robert DeBitetto President & General Manager A&E Network and BIO Channel USA Tom Devlin President, International Sales Entertainment Studios USA

Juan Carlos Eserski Executive Vice President Telecorporación Salvadoreña El Salvador

Michael Rene Yves Doury United Kingdom

Dato Ahmad Farid Ridzuan Group CEO, Television Networks Media Prima Berhad Malaysia

Allison Dowzell Development Manager Creative Business Wales United Kingdom

Talal Fattal CEO Metro TV Ghana

David Dreilinger President & CEO Lightworks Enterprises, Inc. USA

Rick Feldman President & CEO NATPE USA

Claudia Droste-Deselaers Head of Production Support Filmstiftung NRW Germany

Cynthia Fenneman President & CEO American Public TV USA

Nancy Dubuc EVP & General Manager The History Channel USA

Andrey Feofanov General Director Boheme Music Russia

Ho Anh Dung Director General Vietnam TV Vietnam

Flavio Ferrari CEO IBOPE Media Brazil

116

Juan Pablo Gaviria VP, Creative Development & Production Si Hay Ideas / Teleset Colombia

Terry Fitzpatrick EVP, Distribution Sesame Workshop USA Pedro Font President & CEO Global Media Distribution USA Tony Forrest CEO Movie Network Channels Australia Deborah Forte President Scholastic Media USA

Patty Geneste CEO & President Absolutely Independent Netherlands Marcus Gillezeau Producer & Director Firelight Productions Australia Christopher Gist Head of Development South Pacific Pictures New Zealand

Paolo Francia Gesport Italy Frank-Dieter Freiling SVP, International Affairs ZDF German Television Network Germany Thomas Friedl CEO UFA Cinema GmbH Germany Clifford Friedman Senior Managing Director Constellation Growth Capital USA Mary Frost USA

Anthony Geffen CEO Atlantic Productions United Kingdom

Hian Goh Managing Director Asian Food Channel Singapore Sveinung Golimo Managing Director & Producer Filmkameratene AS Norway Fabio Golombek President & CEO F.J. Productions, Inc. USA Carlos Gonzalez Managing Director, Latin America & US Hispanic Market FremantleMedia Latin America USA

International Emmy Almanac 2009/2010

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Michael Gordon Co-Founder & Chief Strategy Officer Limelight Networks USA James Graham Oak House United Kingdom James Grandahl VP, Content Distribution MediaXstream USA Jorge Granier Phelps Director, New Business Dev. RCTV International USA Chris Grant President Shine International USA David Gregg Vice President, International Publicity Bell-Phillip Television Productions, Inc. USA James Griffin Head Writer South Pacific Pictures New Zealand Harold Gronenthal Senior Vice President Rainbow International USA Beatrice Grossmann Conforti Responsabile affari commerciali & Head Business Affairs Radiotelexisione Switzerland Diego Guebel CEO Cuatro Cabezas Argentina Pradeep Guha Venture Advisor Nexus India Capital India Ricardo Guise President & Publisher World Screen USA Dietmar G端ntsche CEO & Managing Director Neue Bioskop Film Produktions & Vertriebs GmbH Germany

Ferdinand Habsburg Managing Director Da Vinci Media GmbH Germany

Leopold Hoesch Managing Director BROADVIEW TV GmbH Germany

Bassam Hajjawi President & CEO International Distribution Agency Jordan

Nico Hofmann Managing Director teamWorx Television & Film GmbH Germany

Carl Hall CEO Parthenon Entertainment United Kingdom

Richard Hofstetter Frankfurt Kurnit Klein & Selz USA

Lasse Hallberg Senior Vice President Metronome Film & Television AB Norway Vladimir Hanumyan COO CTC Media Russia Helena Harris Australia Trace Harris SVP, Strategy & Development - US Vivendi, S.A. USA Alejandro Harrison CEO Pramer S.C.A. Argentina Dalen Harrison CEO Ensequence USA J.J. Harting CEO Roos Film Chile Taro Hashimoto CEO Broadmedia Corporation Japan Vanessa Henneman CEO Henneman Agency Netherlands Thomas Heurlin Producer Koncern TV & Filmproduktion APS Denmark Andy Heyward Chairman & CEO A Squared Entertainment USA

International Emmy Almanac 2009/2010

Ian Hogg CEO FremantleMedia Australia Australia Lisa Honig VP, Sales, USA & Canada FremantleMedia Enterprises USA Tim Horan EVP, Programming TV Numeric France Robin Houcken Managing Director Studio Hamburg GmbH Germany Jacob Houlind General Manager Nordisk Film Denmark Chris Hunt President IMZ Austria Brian Seth Hurst CEO The Opportunity Management Company USA Edward Hynes Director, Media Solutions Logicalis - U.S. USA Peter Iacono USA Elena Imamova General Director Creative Television Association Russia Duncan Irvine COO ABN South Africa

George Isakadze CEO Georgian Media Production Group Rep. of Georgia Igor Ivanov Deputy Director TV Channel Russia Russia Mary Ellen Iwata Vice President Scripps Networks International USA John Jacobsen Owner & Producer Filmkameratene AS Norway Hermann Joha CEO action concept Films GmbH Germany Bruce Johnson President & CEO PorchLight Entertainment USA Tsuguhiko Kadokawa Chairman & CEO Kadokawa Group Holdings, Inc. Japan Russell J. Kagan Managing Director International Program Consultants, Inc. USA Jareuk Kaljareuk Chairman of the Executive Committee Kantana Group Public Company Ltd. Thailand Tayeb Kamali Director The Institute of Media, United Arab Emirates UAE Ahmed Kamel Film Director MBC and Al-Arabiya TV Group UAE Andy Kaplan President of International Networks Sony Pictures Television USA

117

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Dheeraj K. Kapuria World Media Connect USA

Steve Kram Content Partners, LLC USA

Uwe Kersken Managing Director Gruppe 5 Filmproduktion GmbH Germany

Andreas Krautscheid Minister for European, Federal Affairs & Media State of North-RhineWestphalia/Media Ministry Germany

Yvonne Kgame General Manager, Content SABC South Africa Riz Khan USA Firdaus Kharas Producer & Director Chocolate Moose Media, Inc. Canada Shane Kinnear VP, Sales, Marketing & Digital Media Shaftesbury Films Inc. Canada

Raul Krislavin President UP Contenidos Argentina Lars Kristiansen Head of Factual Programs NRK Norway Reinhard Krug Executive, Director General’s Office Mitteldeutscher Rundfunk Germany

Yan Li CEO Beauty Media Inc. PR China

Iryna Lysenko Programming Director New Channel Ukraine

Scarlett Li Founder & CEO Zebra Media P.R. China

José Machado Community Manager International TV Professionals Portugal

Alexander Liegl Partner Noerr Stiefenhofer Lutz Germany

Catherine Mackay CEO Hotels Made Simple, LLC USA

Dick Lippin Chairman, Chief Executive, & Founder The Lippin Group USA

Jamila Majidova Information Agensy “Asri Navin” Tajikistan

Todd Lituchy New Media Vision United Kingdom

Ashish Kulkarni BIG Animation (I) Pvt. Ltd. India

Cristina Loglio Int’l Marketing Manager, Americas & Asia/Pacific RAI Italy

Gary Knell President & CEO Sesame Workshop USA

William Kunkel Partner Two Horns Entertainment Group USA

Giorgi Lominadze The First Deputy of the General Director Imedi TV Rep. of Georgia

Toni Knight President Worldlink USA

John Laing Founder & CEO Rigel Entertainment USA

Eugenio Lopez III Chairman & President ABS-CBN Broadcasting Corporation Philippines

Tom Koch Director PBS International USA

Mei Land Head of International Affairs Beijing Guoding Deming Culture Dev. Co. P.R. China

Juan Carlos Lopez Villameriel Managing Director 3KOMA Spain

Eivind Landsverk Director of Programming TV Norge Norway

Alice Lorenzi Urbim Producer Manager RBS TV Brazil

Rich Lappenbusch USA

Darcy Lorincz CEO Origin Digital USA

Evgeni Kiselev Russia

Dmitry Kotelenets General Director Savik Shuster Studios Ukraine Panos Kouanis General Manager, Programming, Finances, & New Media Hellenic Parliament Television Greece Kirill Kozakov Producer/Director Kirill Kozakov Company Russia Ivar Køhn Commissioning Editor Norwegian Filmfund Norway

118

Charles Lei President Thunder Communications International PR China Alejandra Leon de la Barra Founder & CEO ALB Comunicacion y Relaciones Publicas Mexico

Iqbal Malhotra Chairman & Producer AIM Television, Pvt. Ltd. India David Malone CEO, Sports Investment Fox Sports Australia Australia Shu Sum Man Managing Director MediaCorp Raintree Pictures Singapore Marcos Mandarano Monteiro Product Manager, Media & Broadcast Services British Telecom - Latin America Brazil Simos Manganis CEO/Producer Green Olive Films Cyprus Margaret Mardirossian President Anaid Productions Canada

Georges Luks Executive Director GFK Audience Research Bulgaria Bulgaria Martin Luna General Director, Estudios Azteca TV Azteca Mexico

James Makawa CEO The Africa Channel USA

Gary Marenzi Co-President,Worldwide Television Metro-Goldwyn-Mayer Worldwide TV Distribution USA Carolyn Maze United Kingdom Khalipha Eddie Mbalo CEO National Film and Video Foundation South Africa

International Emmy Almanac 2009/2010

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Eileen McCarthy Program Director KidsCo United Kingdom

Laurence Mitchell Film Commissioner Cape Film Commission South Africa

Alaa Nemeh Chairman Abu Dhabi Art House UAE

Michael McKay President Active TV Pty Ltd Australia

Alexander Mitroshenkov President Junior TV Russia

Qondisa Ngwenya Group Managing Director Octagon South Africa

David McKillop SVP, Programming & Development History USA

Phil Molefe General Manager, SABC International Affairs SABC Corporation Limited South Africa

Armando Nuñez, Sr. President Nun.TV USA

John McMahon President & Managing Director, Europe Sony Pictures Television United Kingdom

John Momoh Chairman & CEO Channels Television Nigeria

Zarina Mehta Director UTV Software Communication Ltd. India Sharone Melamed President SM Media USA Belinda Menendez President NBC Universal International Television Distribution USA Lorne Michaels Chairman of the Board Broadway Video USA Laura Michalchyshyn President & General Manager Planet Green USA James Miller Co-Founder, Chairman, & CEO AaaHaa Media Ltd. P.R. China Peggy Miles President Intervox Communications, Inc. USA Beth Minehart EVP, New Media International Distribution NBC Universal USA Rene Mioch CEO & Producer FCCE/New Haven Productions Netherlands

120

Robert Montgomery CEO Achilles Media Canada John Morayniss President E1 Entertainment USA

Rotimi Pedro Group CEO Optima Sports Management International United Kingdom Luis Francisco Peraza Executive VP, Acquisitions & Original Production HBO Latin America Group USA Ricardo Pereira General Manager, Europe TV Globo International Italy

Emeka Nzeribe Jack & Ideas Ltd. Nigeria

Cecilia Persson VP, Programming, Acquisitions & Presentation Cartoon Network UK United Kingdom

Glenn Oakley General Manager VOOM HD USA

Chris Philip Chairman & CEO Engine Entertainment USA

Olav Oen CEO Monster Film AS Norway

Yuriy Morozov Russia

Charles Ogilvie Executive Director, China Panasonic US Executive Offices USA

Greg Phillips President Fireworks International - A ContentFilm Company United Kingdom

Sheila Morris Founder, President & CEO Morris Marketing USA

Jon Ola Sand Commissioning Executive NRK Norway

Jeremy Pink President & Managing Director CNBC Asia Singapore

Javad Mottaghi Director Asian-Pacific Institute of B’cast Dev. Malaysia

Miguel Oliva VP, Corporate Affairs Latin America HBO Latin America Group USA

Graham Pitman European Television Guild United Kingdom

Greg Moyer President Scripps Network International USA

Katherine Oliver Commissioner City of New York, Mayor’s Office, Film & B’cast USA

Claus Mueller President International Film and Television Exchange USA Michael Murphy Director Windmill Lane Pictures Ireland Takashi Nakamoto Senior Director, International Relations Fuji Television Network Japan

Nadav Palti President & CEO Dori Media Group Israel Christoforos Papakaliatis Greece Franz Patay Secretary General IMZ Austria Catherine Payne CEO Endemol Worldwide Distribution Australia

Adina Pitt VP, Content Acquisitions & Co-Productions Cartoon Network USA Rodrigo Piza President Content One, Inc. Canada Gary Podorowsky Senior Vice President Sony Corporation of America USA George Pofantis Content Development Manager Antenna TV S.A. Greece Simon Pollock VP, Managing Director, Europe & Asia AETN International United Kingdom

International Emmy Almanac 2009/2010

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Linda Porto Director of Sales Screenings ABC TV USA

Bill Roberts President & CEO S-VOX Trust Canada

Ernesto Sandler General Manager Utilisima Satelital Argentina

Douglas Schwalbe Executive Vice President Classic Media USA

Franz Prenner CEO Mediaprint Zeitungs und Zeitschriftenverlag Austria

Tracey Robertson CEO Hoodlum Active Australia

Marcos Santana CEO Telemundo Internacional USA

Teri Schwartz Dean, School of Film & Television UCLA USA

Javier Robles de Acuna CEO BRB Internacional Spain

Donatella Saroli Head of Client Services RAI Corporation USA

Laurence Schwarz CEO Animation Collective USA

Anette Romer Head of Acquisitions & Formats Division TV2 Denmark Program Dept. Denmark

Remy Sautter CEO RTL Ediradio France

Arthur Schweitzer CEO Cinevest Interactive USA

Anuj Saxena CEO Maverick Productions Pvt. Ltd. India

Ronnie Screwvala Chairman UTV Software Communications India

Tarif Sayed Managing Director The Frame UAE

Yutaka Seino Senior Vice President Fujisankei Communications International USA

Richard Price Joint CEO RPTA/The Performance Company United Kingdom Chris Pye Chairman 2WayTraffic Netherlands Marlon Quintero VP, Development & Current Programs Sony Pictures Television USA Abdul Rahman Ahmad Group Managing Director & CEO Media Prima Berhad Malaysia John Ranelagh Director of Acquisitions TV2 Norway Norway Peter Reichenbach Producer C-Films AG Switzerland Eric Reid COO Lakeshore Entertainment Group USA Rainer Retzlik Managing Director BECKOFFICE Germany Jens Richter Managing Director SevenOne International Germany

Antony Root SVP, European Production Sony Pictures Television United Kingdom Shawn Rosengarten Manager, International TV Sales Just for Laughs Canada Hans Rossiné Programsjef/Head of Drama NRK Norway Emilio Rubio President, Distribution & Media Development HBO Latin America Group USA Zoltan Rudi President Hungarian Television Ltd Hungary Eduardo Ruiz EVP & General Manager A&E Ole Networks USA Eduard Sagalaev President National Association of TV & Radio Broadcasters Russia

Robert Riesenberg President & CEO Full Circle Entertainment USA

Humaid Rashid Sahoo CEO Emirates Cable TV & Multimedia/E-Vision UAE

Mazen Rifka Head of Acquisition & External Productions Al Jazeera Children’s Channel Qatar

Les Sampson Director of Acquisitions, Daytime Programming & Daytime TV Nine Network Australia Australia

122

Michael Schelp Director, Business Development Fujisankei Communications Int’l USA Gerhard Schmidt CEO Gemini Filmproduktion GmbH Germany John Schmidt Co-Chief Executive Officer ContentFilm Plc. United Kingdom Norbert Schneider Director Media Authority of NRW Germany Jeff Schon Partner The Cheyenne Group USA

Bob Sender Vice President HBO International USA Adam Shaheen President Cuppa Coffee Studios Canada Otar Shamatava General Producer Imedi TV Rep. of Georgia Andrew Shaw Managing Director, Broadcast & Online PRS for Music United Kingdom Maryna Shkuropat Ukraine Hugo Shong Executive Vice President International Data Group USA

Charles Schreger President, International Distribution HBO International USA Werner Schwaderlapp Director Media & Entertainment Management Institute Germany

Anurradha Shukla Prasad Managing Director B.A.G. Films India Alexander Shustorovich President Fashion TV Russia, Ltd Russia

International Emmy Almanac 2009/2010

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Ben Silverman Founder & CEO Electus USA Jamnan Siritan Managing Director JSL Company Ltd. Thailand Sergei V. Skvortsov Phoenix Film USA Michael Smeaton CEO/Produzent FFP New Media GmbH Germany Steve Smith Managing Director Playboy TV International USA Elizabeth Smith Secretary General Commonwealth Broadcasting Association United Kingdom Rainer Soehnlein CEO Berliner Film Companie GmbH Germany Christian Sommer CEO Cinemedia AG Germany Michael Souvignier Managing Director Zeitsprung Entertainment GmbH Germany Sergiy Sozanovsky Chairman of the Board Nationwide TV Channel “INTER” Ukraine Silke Spahr General Manager German United Distributors Germany Mariam Sparsiashvili Vice President I-Medi TV Rep. of Georgia Carrie Stein USA Bruce Steinberg Non-Executive Chairman Bragster.com United Kingdom

Mara Sternthal SVP, Business Development, Global Media Exchange Ascent Media USA Eduardo Stigol CEO Inter Venezuela Jean Stock Chairman & CEO DVL.TV S.A. / LUXE.TV Luxembourg Kathy Styponias General Manager, Media & Entertainment Microsoft Corporation USA Julie Sultan EVP, International Theatrical Film Sales Peace Arch Entertainment USA Tai Quan Sun President Beauty Media Inc. PR China Xu Sun Producer Beijing Television Station PR China Patrick Svensk CEO & President Zodiak Television Sweden Fernando Szew CEO MarVista Entertainment USA Jeffrey Tahler VP, Acquisitions FremantleMedia Enterprises USA Fuad Takruri Managing Director MadaMedia Jordan Akifumi Takuma Director, Business Development Fuji Television Network Japan Vladimir Taller President TVM Group Russia

International Emmy Almanac 2009/2010

Grace Hui Tang Partner PricewaterhouseCoopers PR China Cassandra Tay Director, Communications and Community & Int’l Relations Media Development Authority of Singapore Singapore Christina Thomas President Jigsaw Communications: CEO, BAFTA East USA Frederick Thomas Chief Executive MHz Networks USA Lyndsey Thompson Producer & CEO LocatioNZ New Zealand Tom Toumazis Chief Commercial Officer Endemol United Kingdom

Alexander Vakhtangov President & Founder Sandro Vakhtangov Production Rep. of Georgia Oleg Valuyskov PolyEkran Production Company Ukraine Sytze van der Laan CEO Studio Hamburg Produktion Germany Maxim Varlamov General Director “Studio 1+1” Ukraine Rose Marie Vega VP, Int’l Dist. Spain, Portugal, & Latin America HBO Enterprises USA Olivier-Rene Veillon Director Ile-de-France Film Commission France Ernesto Velazquez Briseno Director General TV UNAM Mexico

Bruce Tuchman President MGM Networks USA

Colin Vickery Australia

Bessie Tugwana General Manager, SABC Africa SABC2 South Africa

Marcel Vinay Hill VP, International Sales TV Azteca, S. A. Mexico

Simon Twiston Davies CEO CASBAA P.R. China

Marcel Vinay, Jr. Director General & CEO Comarex Mexico

George Twumasi Founder APBF United Kingdom

Roberto Vivo Chaneton Chairman & CEO Claxson Interactive Group Argentina

Tetsu Uemura Managing Executive Officer Tohokushinsha Film Corporation Japan

Alexander von Hohenthal General Manager Opal Filmproduktion Germany

Maria Urquiaga General Manager Mexicanal Network USA Bernard Vaillot Founder Galaxie Presse France

Petter Wallace Head of Commissioning NRK Norway Brian Walsh Executive Director,Television & Marketing Foxtel Management Australia

123

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Anil Wanvari Founder & CEO Indian Television Dot Com Pvt. Ltd. India Catherine Warren President FanTrust Entertainment Strategies Canada Tony Watts President Reel Rights United Kingdom Andrew Whitaker President World Wrestling Entertainment (International) Ltd. United Kingdom Izabella Wiley SVP & General Manager MTV Polska Poland Anette With Head of Planning TV2 Norway Norway

Jose Maria Zafra Benjumea Managing Director ZZJ S.A. Spain Charles Zamaria Ryerson University Canada Renata Zamith Afonso de Almeida CEO TV TEM Brazil Regina Ziegler Executive Producer Ziegler Film GmbH & Co. KG Germany Tanja Ziegler Producer Ziegler Film GmbH & Co. KG Germany Anton Zlatopolsky Deputy Director General TV Channel Russia Russia

Michael J. Wolf Farallon Point USA

Carmi Zlotnik Head, Global Media Operations IMG Entertainment USA

Thomas Woods President Woods Communications USA

Fawaz Zuâ&#x20AC;&#x2122;bi Chairman Rubicon Jordan

Tim Worner Director of Programming & Production Seven Network Australia Australia

Fellows

Paul Wylie Chief Financial Officer Movie Network Channels Australia Leonard Yanovsky President Intra Communications, Inc. Russia Galen Yeo CEO & Creative Director The Moving Visuals Company Singapore Jay Yogeshwar Director, Media & Entertainment Hitachi Data Systems USA

Bill Baker Journalist in Residence Fordham University USA Ralph Baruch USA Edward Bleier Warner Bros. (ret.) USA Richard Carlton USA Murray Chercover President Chercover Communications Canada Bruce Christensen President, KSL TV, Senior V.P., Bonneville Salt Lake Media Group USA

International Emmy Almanac 2009/2010

Bert Cohen USA

Sam Nilsson Sweden

Fred Cohen Chairman The International Academy of Television Arts & Sciences USA

Bob Oâ&#x20AC;&#x2122;Reilly Canada

Mark Cohen USA George Dessart CEO Dessart Communications USA Sonny Fox President Sonny Fox Consultants USA Ralph Franklin USA Larry Gershman Chairman & CEO World International Network, LLC USA Karl Honeystein President KH Strategy Corp. USA Norman Horowitz President Norman Horowitz Company USA

Robert W. Phillis Chief Executive Guardian Media Group United Kingdom Felipe Rodriguez CEO & President Cognitec Systems Corp. USA Tom Rogers CEO & President TiVO USA Jim Rosenfield JHR & Associates USA Dietrich Schwarzkopf Germany Rainer Siek President MT.NY USA Dieter Stolte Axel Springer Company Germany Helmut Thoma Germany

Gene F. Jankowski Chairman Jankowski Communications, Inc. USA Arthur F. Kane Managing Editor WordCrafters USA Kay Koplovitz Principal Koplovitz & Company USA Georges Leclere LGMA USA Len Mauger Consultant Nine Network Australia Australia Horst Mueller Greece

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We are proud to serve as counsel to the International Academy of Television Arts & Sciences

EMMY_1109_128 Page 1 11/5/09 5:18 PM

.!40% 1UESTIONNAIRE

N0 01252010

/NE SIMPLE QUESTION TO DETERMINE IF YOU BELONG AT .!40%

Things to do at NATPE 2010: (Check all that apply)

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s .EW DAYS -ONDAY *ANUARY 7EDNESDAY *ANUARY s #ONVENIENT .EW -ARKETPLACE FLOOR s 7ORLD S BEST ORIGINAL MULTIPLATFORM VIDEO CONTENT ON DISPLAY s "EST PLACE TO NETWORK WITH TOP 5 3 #ANADIAN ,ATIN !MERICAN 46 EXECUTIVES s !ND THE PARTIES

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ADVERTISERS

Almanac Advertisers Index AETN International . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22-23

Metro TV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

ABC Australian Broadcasting Corporation . . . . . . . . . . . . . 36

MGM Studios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Academy of Television Arts & Sciences . . . . . . . . . . . . . . . 114

MHz Networks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Al Arabiya News Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Microsoft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Ascent Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

NATPE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Bangkok Broadcasting & TV Company. . . . . . . . . . . . . . . . . 56

Nespresso USA, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Bell-Phillip Television Productions Inc. . . . . . . . . . . . . . . . . . 37

NHK Japan Broadcasting Corporation. . . . . . . . . . . . . . . . . 39

Brightcove . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54-55

Origin Digital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Canal Futura . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

PBS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

CBS Studios International . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Peabody Awards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

CES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Phoenix TV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Channels Television. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Pramer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Cologne Conference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Reed MIDEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Comcast International Media Group . . . . . . . . . . . . . . . . . . 43

RHI Entertainment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Constantin Film. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Rose dâ&#x20AC;&#x2122;Or . . . . . . . . . . . . . . . . . . . . . . . . . . . Inside Back Cover

Danish Broadcasting Corporation . . . . . . . . . . . . . . . . . . . . 48

RS Owens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Dori Media Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Seven Network Australia. . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

ESPN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Scandinavian Locations/Western Norway Film Commission . . . 67

Ernst & Young . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Sofitel N.Y. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Euro Television Guild . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Sony Pictures Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Filmstiftung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Telemunchen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Frankfurt Kurnit Klein & Selz . . . . . . . . . . . . . . . . . . . . . . . . 127

Telewizja Polska S.A. . . . . . . . . . . . . . . . . . . . . . . . . . 65 and 90

Fujisankei Communications International. . . . . . . . . . . . . . . 33

The History Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Globo TV Network

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

The Hollywood Reporter . . . . . . . . . . . . . . . . . . . . . . . . . . 113

GMA Network, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Todo TV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

HBO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

twofour54 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Back Cover

Hearst/Cosmopolitan TV. . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Variety . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Hubbard Broadcasting, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Veria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Kadokawa Group Holdings, Inc. . . . . . . . . . . . . . . . . . . . . . . 72

Warner Bros. International TV . . . . . . . . . . . . . . . . . . . . . . . 44

LfM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

World Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Lippin Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Zillion TV Corporation. . . . . . . . . . . . . . . . Inside Front Cover

International Emmy Almanac 2009/2010

129

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MASTHEAD

Administration Camille Bidermann-Roizen Senior Vice President & Executive Director Tracy Oliver General Manager AurĂŠlie Dauphin Office Coordinator Shakima Jones Bookkeeper

Membership

Gala

Kim Howard Director, Membership

Chip Quigley Co-Executive Producer, Kingdom Entertainment

International Emmy World Television Festival Janice Platt Manager

The International Emmy Almanac Publisher

Emmy Judging Nathaniel Brendel Director, Emmy Judging Anikka Sellz Coordinator, Emmy Judging Jessica Franco Assistant to the Director, Emmy Judging

World Screen Ricardo Guise Anna Carugati Mansha Daswani Kristin Brzoznowski Lauren M. Uda Elizabeth Bowen-Tombari Simon Weaver

Marketing & PR Eva Obadia Director, Marketing & PR

Tatiana Rozza

Jennifer Langusch Manager, Marketing & Web

Rae Matthew

Gerry Brahney Director, Advertising Don Ciaramella Matt Biscuiti Public Relations:The Lippin Group Jeremy Saunders Almanac Cover Design PSG Wire Photography 130

Rafael Blanco Kelly Quiroz Cesar Suero Editorial Directors & Associate Publisher Eva Obadia Jennifer Langusch Gerry Brahney

Mark Friedman Producer Lori Levine Talent Relations, Flying Television Productions Melissa Hess Clips Producer Academy Interns Nandini Balial Aurore Balsan Claudia Di Mambro Ding Ding Edouard Houilliez Raquel Merilus Randy Wagenheim Fiona Wozniak Arthur Wybrands Ernst & Young LLP Ballot tabulations

888 Seventh Avenue 5th Floor New York, NY 10019 USA Tel: +1-212-489-6969 Fax: +1-212-489-6557 www.iemmys.tv info@iemmys.tv International Emmy Almanac 2009/2010

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