TV Drama Guide 2016-17

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GUIDE 2016/2017

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Contents A Note from the Editor . . . . . . . . . . . . . 6 Talent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Executives . . . . . . . . . . . . . . . . . . . . . . . 15 Distributors . . . . . . . . . . . . . . . . . . . . . . 21

Publisher Ricardo Seguin Guise Group Editorial Director Anna Carugati

Ricardo Seguin Guise President

Editor Mansha Daswani Executive Editor and Editor, English-Language Guides Kristin Brzoznowski Production Director Victor L. Cuevas

Anna Carugati Executive VP Mansha Daswani VP of Strategic Development and Associate Publisher Š 2016 WSN INC.

Managing Editor Joanna Padovano

1123 Broadway, #1207 New York, NY 10010

Associate Editor Sara Alessi

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

Online Director Simon Weaver

Website: www.tvdrama.ws

Senior Sales and Marketing Manager Dana Mattison Sales and Marketing Manager Elizabeth Walsh

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

Business Affairs Manager Andrea Moreno

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A Note from the Editor Kristin Brzoznowski

It has happened to most of us: a cozy evening in catching up on our favorite TV shows turns into an all-night watchathon of back-to-back episodes, promising “Just one more!” after each. Binge-viewing was once widely considered a guilty pleasure.

Now, the practice of tearing through multiple episodes (or an entire season) of a series in one sitting has become the new norm for some viewers.

Dramas, of course, have proven to be oh so binge-worthy; however, not all shows are enjoyed the same way. This summer, Netflix unveiled “The Binge Scale,” revealing which shows viewers devour and which they savor. For example, series with high-energy narratives are more likely to be devoured, while thought-provoking dramas are savored.

Elements of horror and thrillers, which often evoke visceral reactions, put dramas such as The Walking Dead and The Fall toward the devour end of the scale. Sci-fi series like Sense8 and Ascension, which indulge the senses, are also harder for viewers to pull themselves away from. Meanwhile, the complex narratives of political dramas—among them Homeland and House of Cards—are more often savored at an unhurried pace. Also on the savor end of the spectrum are historical dramas such as Narcos; superhero shows, the likes of Gotham and Marvel’s Jessica Jones; and crime series, in the vein of Better Call Saul and Bloodline.

Serialized storytelling lends itself quite organically to the binge-viewing format, but procedurals should not be counted out. Networks and viewers around the world love the easy-toschedule, easy-to-view flexibility offered by these closed-ended dramas, which are in high demand globally as the U.S. has created fewer of them in recent years.

Whether they are serialized or procedural, the type that is savored or devoured, dramas today are at a level of quality that many TV executives will argue is unlike any seen before. The companies featured in this edition of the TV Drama Guide are offering series that are testament to this so-called golden age of drama.

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TALENT

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Damian Lewis Actor Billions TV DRAMA: What appealed to you about Billions?

LEWIS: I was drawn to it because I feel there is a place on TV for finding subject matter that can become bigger than the TV show itself, so that the conversation can extend into the news pages. A show like Billions [is like that because] it explores contemporary financial culture, which is something that we’ve all become more familiar with. Since the crisis of 2007–2008, people have a bit more of an understanding of what happened.

Some people are angry, others are just fascinated by that world and what drives those people. We haven’t really had that story told, and it seemed a good opportunity to tell it. People have preconceptions about hedge-fund billionaires, so I think we had an opportunity to explore the world those people live in and to explore the individual as well, and to just get people to think about it in a less black-and-white way.

TV DRAMA: What’s driving the influx of film talent to television?

LEWIS: The TV landscape has shifted entirely. It’s unrecognizable now as an art form. Once the way in which we got our content changed, and we started having library viewing and bingeviewing and people being able to watch episodes back to back, it wasn’t so important to come to the TV once a week. As a result, the way the stories could be told changed. It was a happy coincidence that lots of things shifted at the same time. I think people were finding it harder to make intelligent independent films and to get them financed and seen. They found that there were storytelling opportunities in TV. At the same time, the studios saw a chance to monetize TV in a way they hadn’t before.

It truly became this global industry. Foreign markets were so important to the sales of TV shows, and as a result, people like me got really lucky. I feel incredibly fortunate. There is still the opportunity to make films, but there is also the opportunity to make things like Billions and Homeland, in which you get to really tease out a story, in a more novelistic way, over 12 hours.

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James Spader Actor The Blacklist TV DRAMA: How did you help further develop the character of Raymond “Red” Reddington after reading the pilot?

SPADER: When I read the pilot, I saw the possibility of bringing a sort of quirkiness and a sense of humor and an irreverence to the character and therefore to the proceedings. I loved the fact that even though you’d spent a certain amount of time with him and he had revealed this and that, you actually knew less about him at the end of the pilot than you knew at the beginning. I like the idea of a character about whom the more you learn, the less you know. The things you learn just pose questions and make you curious about something else that has arisen. That has developed during the course of the series. This is someone who will be very revealing about very personal tidbits about his past and so on, but ultimately they tell you nothing. They only give you a sense of character; all the facts and figures are left out. So we’ve been able to play with that a lot and continue to. He’s still very enigmatic to me, and I like that.

TV DRAMA: What’s your involvement beyond being the star of the show?

SPADER: It’s been a collaborative partnership with [executive producers] Jon Bokenkamp and John Eisendrath from the very beginning. We talk every day about all different aspects of the show. Sometimes it’s the nuts and bolts of an upcoming episode and other times it’s three episodes away. Sometimes it’s an arc for the year or an arc for a specific character, and sometimes it’s for the back half of the season. But I’m not conceiving of story lines on a week-to-week basis with the writers. I talk to them in general terms. Then during the actual conception of the story lines, I start getting involved in the outline process. My involvement is much more concentrated once we get to script form, from draft to draft, from revision to revision. So it’s fairly comprehensive, but I’m certainly not in the writers’ room. The writers’ room is in Los Angeles; I’m not on speakerphone breaking stories and such.

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Michael Sheen Actor Masters of Sex TV DRAMA: What research did you do into the role of Bill Masters?

SHEEN: This is the first time I’ve played a character where the context is so different from anything else I’ve done. Twelve hours per season is a very new process for me, rather than a film or a play or a TV film where you have the entire story from the start. My process is usually knowing what the whole story is, having a script, and then working out what the journey of the character is. With Masters of Sex, I didn’t have that. I had a pilot script to decide if I was going to be a part of it or not, and because it’s based on a real person, I also had materials about him to get a sense of the facts of his life and his career. Then it was about talking to Michelle Ashford, the show’s creator and head writer, about what sort of show we thought we would be able to explore, what sort of character we thought this man might be, where he might go and what were the things that I was interested in.

TV DRAMA: Is it easier to play characters based on people who lived in real life?

SHEEN: It’s easier in some ways and it’s harder in some ways.

Playing Bill Masters, even people who have heard of him or know about what he did certainly don’t look at me on the show and think, Bill didn’t look like that. That’s different from playing someone like Tony Blair or David Frost, who are much more familiar to the audience. There’s usually a lot of material and video [to draw from], and with the internet now there is all kinds of stuff you can look at. That gives you things that are tangible that you can work with, as opposed to a totally fictional character where there are more choices and more freedom. Having that structure can be really great. But with someone like Bill Masters, where there are certain things that are known and there is structure to work on, we have to invent because there is so little known about the private life and what was really going on inside him. So by necessity we have to invent and there is a freedom in that as well.

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Wagner Moura Actor Narcos TV DRAMA: How did you first hear about the prospect of playing Pablo Escobar in Narcos?

MOURA: It came from my friend José Padilha, who is the director of the show. He asked me what I thought about playing Escobar. He hadn’t spoken with Netflix when he invited me to do it. I said, I’d love to. Right after I spoke with him I flew to Medellín, because I felt I had to be there. The show was supposed to be in English at the time, but even so, I thought I had to go to Colombia and learn Spanish. So that’s how it began. I actually didn’t know much about Pablo Escobar. I remember very clearly the image of him dead on a rooftop when he was killed. And I remember seeing the bombings in Bogotá on TV and the war between the Cali and Medellín [cartels]. So I went to Medellín to study Spanish and live in the city where Pablo grew up. It was a very intense experience. I spent two years living in Colombia. I gained 40 pounds [for the role]. It was a very intense and important period of my life.

TV DRAMA: How did you go about trying to understand who he was and what his motivations were?

MOURA: Everybody in Colombia knows someone who knows someone who knew Pablo or wrote a book about him. There are a lot of books about Escobar. Books by journalists—very accurate biographies—and by people who knew him, which are fun to read because they give a more intimate [perspective]. I honestly think I read everything written about Pablo Escobar and modern Colombian history. But I did all of that in order to then forget it and create my own version of Pablo. I think at the end of the day that’s what actors do. It’s the way you connect your emotions and feelings with a character. I didn’t try to imitate him or walk like him or talk like him.

You can watch a lot of footage of Pablo Escobar on YouTube, but I decided I had to create my own Pablo. And that’s what I did.

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Greg Berlanti Executive Producer Arrow, Blindspot,The Flash, Legends of Tomorrow,Supergirl TV DRAMA: How have you built a company that allows you to make so many quality shows at the same time?

BERLANTI: I work with a lot of the same creators, showrunners and individuals.

We’ve developed a shorthand. For some of the new showrunners and creators that have come on, the process of making a pilot with them [has allowed me] to develop a shorthand with them as well. Everyone is equally hardworking and incredibly intelligent and passionate about the stories they are telling. That is my litmus test. The main thing that allows me to do multiple projects is that everyone involved in each show pulls their own weight and doesn’t expect me to do their job for them.

That being said, it’s my job to make sure that everyone on the different shows—whether they are independent of one another or have some connective tissue between them—is rowing in the same direction.

TV DRAMA: What have you found to be the best way to reach millennials with your shows on The CW? BERLANTI: We are dealing with characters that are loved across generations. We have a built-in brand with a lot of millennials and that’s incredibly helpful. We are re-introducing these characters to a new generation, but we are not introducing these characters to the world. Some of the burden is off of us because there is real name recognition. Like their parents and grandparents, millennials are incredibly savvy and you can’t ever write down to anybody. You have to presume they are intelligent. The final thing I would say is that they are an incredibly open generation. They want shows that are colorblind and deal with things that they are dealing with. [They want characters that] look the way they and their friends look, and that’s a wonderful thing. It allows us to play with changes, sometimes in gender, sometimes in sexual orientation and sometimes in the race of characters that have previously existed as white guys.

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Noah Hawley Creator & Showrunner Fargo TV DRAMA: How did Joel and Ethan Coen’s Fargo come to be a series for FX? HAWLEY: FX and MGM had had a conversation about doing it. There was no writer attached. I had worked at FX before, and they asked me what I thought about turning Fargo into a series. I thought about it and said, “I don’t think it’s a television series because of the way the movie ended.

Marge [Gunderson, the local police chief in the movie] solved this crazy Coen brothers case and then tomorrow was going to be her reward, so if she woke up tomorrow and there was another crazy Coen brothers case, it would lose its poignancy, and you also wouldn’t be able to call it a true story.” I said it could be an anthology series, where every year is a truth-is-stranger-thanfiction story. They liked that idea.

TV DRAMA: Season three is not set to air till 2017, more than a year after season two wrapped. Why was it important to give yourself that long gap between seasons?

HAWLEY: We found this recipe for making the show in the first year that we repeated the second year: we break the show and write it entirely before it’s filmed. That’s essential. Every step is leading toward the end of the story. Because our second year of production moved to February and we didn’t wrap till June, we just didn’t have time to write and prep the show to shoot last winter. And winter is an important component. So I said, “We need to take the year and make the show as good as it can be.” Luckily, the network agreed. If it is an anthology series, if it is an event and it’s not a television series in the way that everything else is a television series, then you don’t have to hit that same airdate every year. The minute you are hitting that same airdate every year, how are you not just a television series? We’re going to take our time. It was crazy that we made something the first year that people loved and crazier that we managed to do it again by doing something completely different. The degree of difficulty just gets harder, so why wouldn’t you take the time to get it right?

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David Alpert Executive Producer, Outcast President, Skybound TV DRAMA: How did Outcast, and the partnership with Fox Networks Group, come about?

ALPERT: Robert Kirkman and I at Skybound were trying to figure out what was going to be our next project. The Walking Dead had become this big hit. A big portion of its global success was due to our partnership with Fox Networks Group (FNG). We were at an AFI Awards luncheon and Sharon [Tal Yguado, executive VP of scripted programming and original content at FNG] turned to us and said, “What are we going to do next?” Robert said we’d been kicking around this idea of trying to treat the genre of demons and exorcism with the same degree of respect and care as we did zombies.

And Sharon, in her typical fashion, said, “We’re doing it!”

TV DRAMA: Demonic possession has been explored in film before, rarely in television.

ALPERT: Most of the world believes that demonic possession is real. In a way, that sets the bar higher for us in that we have to treat this [subject with] even more respect and have to be more factual and diligent in our research. We’re [asking] the questions that I would want asked. If touching [a possessed person] with a cross makes the demon howl in pain, why is that? There should be a reason for that. Is it a metal cross? Is it a wooden cross? Is it crossed fingers? What about that actually works?

Why does holy water work? Is it the blessing in and of itself? If the blessing is rendered in Latin, does the pronunciation of the Latin matter? Since Latin is a dead language, can we know that someone actually rendered the blessing correctly? These are questions I have when I watch exorcism movies—everything from The Exorcist to The Conjuring, two movies I absolutely love. I always have those questions. How are those things possible? What degree of them being possible makes sense? We really examine that. And then slowly, because it’s Robert, the mythology itself is going to evolve to have its own consistency within the Outcast world.

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EXECUTIVES

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Darren Throop President & CEO Entertainment One (eOne) TV DRAMA: What has been the approach to expanding your business in the U.S.?

THROOP: In one word, it’s partnerships.

We’ve been growing the U.S. [activities] through continued development of partnerships with some of the best creative talent in the world, and that permeates our entire strategy. We partnered with the guys at Anonymous Content and Participant Media to deliver this year’s Academy Award winner for best picture, Spotlight.

We’ve been doing all kinds of strategic partnerships: Amblin Partners, The Mark Gordon Company, Sierra Pictures, Renegade 83, Dualtone Music Group and on and on. So we’ve really been busy. What we can offer through our partnerships is our huge international-distribution infrastructure, which is unparalleled, quite frankly, for an independent. That’s very attractive to content producers and creators, who can access our international-sales organization both on the feature-film side and on the television side, and on the music and family licensing sides, too. So [our strategy has] really been about developing and nurturing relationships with the highest quality producers in the world.

TV DRAMA: What has been your strategy for scripted content?

THROOP: We’ve had a lot of great success, and we’ve really been augmenting our scripted team. We brought in Pancho Mansfield last year to lead our scripted television division. Our scripted business is anchored by high-quality English-language content, and we focus on the U.S., the U.K., Australia and Canada. We have offices in all of those territories, and we have relationships with the key broadcasters as well as with so many producers in each of those territories. That’s been important for us. It really comes down to what I said about partnerships: finding the best creative minds and offering up our global footprint. We have a lot of shows going—a lot of renewals but also exciting new shows. A lot is going on in scripted, which is great. It’s a core competency for us here at eOne. 16

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Jan Frouman Chairman & CEO Red Arrow Entertainment Group TV DRAMA: How has your scripted strategy been progressing?

FROUMAN: In the last few years, we’ve made good headway in scripted. We’re probably producing more scripted than we ever expected to at this point.

And yet, success feeds appetite—we want to have access to more. That’s where the balance comes in between being commercially disciplined and creatively brave. We are trying to find smart ways of building partnerships to access promising content.

TV DRAMA: Tell us about some of the investments you’ve been making to expand your scripted portfolio, such as Cove Pictures.

FROUMAN: Cove is a production group based in the U.K. and the U.S. They have a creative alliance with Eon Productions, the producers of the James Bond franchise. Thus, Cove brings a new dimension of projects and talent into the group.

When we first started to talk with Cove, we went through some of the projects that they had cooking, and they told us: We’ve got this project with this many scripts and this talent potentially attached. Is that sufficient to take it out? And we were like: Are you kidding? Where do we sign? For talent, there is now a complete blurring of the lines between film and TV, and companies like Cove Pictures are capitalizing on that.

TV DRAMA: What do you look for in setting up partnerships with production companies?

FROUMAN: Once the financials of the deal are done, we have to want to talk to each other and collaborate. We need partners who are going to keep their passion, their excitement and their enthusiasm for the next couple of years. If that’s not there, a deal is not going to work out. With our existing partners, we put a lot of time up front into discussing how we can further develop our relationships. We are always aiming for partnerships that add value to both sides of the couple.

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Lionel Uzan Co-Founder & Managing Director Federation Entertainment TV DRAMA: How much have OTT platforms changed the way you finance and distribute drama?

UZAN: It’s shifted in a big way, with some clear advantages, and some things that are just more difficult to address. [Having] more buyers is always good! It creates competition, which is good. What’s difficult is how to organize your windows.

That’s becoming complex. OTT platforms started buying locally and now it’s about buying global rights. So what does it mean for a distributor in terms of windowing?

What do you favor in terms of deals? Is it good to do a global deal? Is it better to sell territory by territory? What do you do if you get an offer out of Germany from a broadcaster, but you know if you make that sale then maybe a deal with a platform that wants to have the major European territories might be at stake? It’s that complexity we have to address. And I think it’s going to be more and more complex.

TV DRAMA: What’s the potential for more cross-European co-pros?

UZAN: For English-language shows it’s all the rage. And partnership has become the flavor of the month, which is great.

English-speaking European dramas meant to be co-produced— in the sense that they need artistic input or co-financing— is a big trend and I don’t see that going down. It’s also interesting to see some of the U.S. studios, mini studios, interested in being involved in purely European dramas.

On the co-productions where one of the languages is dominant, let’s say a Franco-German co-production purely in French or purely in German, it is a bit more difficult. I see the interest of people who want to make a project like that, but it’s difficult to find the right subjects. You need to have it in the artistic DNA of the project. If you try to force it, it just doesn’t work.

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Can Okan President & CEO ITV Inter Medya TV DRAMA: What impact has Turkey’s new ratings system had on the country’s TV landscape and the local production sector?

OKAN: Due to the change in the ratings system in Turkey, producers are creating dramas that interest local audiences; hence there are now fewer dramas that meet the requirements of the international market. Despite this change, Turkish dramas still receive high interest abroad.

Black Money Love, which recently had its finale in Turkey, has been sold for broadcast in more than 100 countries. Also, Endless Love, which was just launched this season, has already been sold in nearly 50 countries. We are aiming to have Endless Love broadcast in at least as many countries as Black Money Love.

TV DRAMA: In which territories do you see new opportunities emerging for Turkish dramas?

OKAN: Recently we have entered into new territories in central Asia and the Far East. We have also started receiving a lot of interest from sub-Saharan Africa, which we believe will become an important market for us.

We are already working closely with Hispanic channels in the U.S. Our dramas are receiving great results in Latin America as well.

We have started receiving offers from international SVOD companies, including [those in] the U.S. We hope that soon Turkish dramas will also be broadcast in the U.S. in the English language.

TV DRAMA: Do feature films remain a viable part of ITV Inter Medya’s business?

OKAN: Our company was set up 25 years ago to distribute feature films, so feature films hold great importance for us. Feature films that have the same actors from successful Turkish dramas receive great attention. The production companies we work with are the ones that produce the biggest blockbusters in Turkey. We have recently closed package deals for feature films in the MENA region, China, Kazakhstan and Indonesia. We are expecting the number of territories to rise in the coming months.

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Rebecca Eaton Executive Producer Masterpiece TV DRAMA: What do you look for when assessing new projects?

EATON: It is the unanswerable question!

You can put together the recipe and collect the ingredients, and yet the soufflé can fall flat. I look at the team that presents a project to us. I look for a plot and the [quality of the] writing. It has to be writing with wit and with heart and with substance. If I get a script that has all three, it has a team and the plot moves like a freight train, then I’m comfortable and we can move on to the other things. The next hurdle is the casting. Whoever is doing the casting must have the sensibility that matches this witty, heartfelt, substantial script.

And then you’re setting production values and the rest of it.

TV DRAMA: With so many American channels and platforms now in the market for British drama, is it harder for you to access the projects you want?

EATON: People understand that we have a very solid audience who will watch anything we put on at 9 o’clock on Sunday night. We have a reputation as being a good, respectful partner. I really believe that these projects are made by some of the best producers in the world. The best thing to do is leave them to it. Money talks, and if there is a project that HBO—which has very deep pockets— wants, or somebody with a lot of money goes after a project, we can’t compete. But there is enough to go around at this point.

TV DRAMA: Is the volume of scripted coming out of the U.K. overwhelming?

EATON: My eyeballs are spinning freely in my head from reading scripts! Will there come a time when there just aren’t enough hours in a day and enough eyeballs to support all this drama?

There is a limited amount of time you can spend watching television. What will be the fate of all this product? How will the audience, even with time shifting, be able to manage it? I don’t know.

With all this drama, I don’t know how anybody can keep up in the numbers we need them to keep up.

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DISTRIBUTORS

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all3media International ADDRESS: Berkshire House, 168-173 High Holborn, London WC1V 7AA, U.K. TELEPHONE: (44-20) 7845-4350 WEBSITE: www.all3mediainternational.com EXECUTIVE VP, CONTENT: Maartje Horchner PROGRAMS: Close to the Enemy: 7x60 min., period drama/ history, Little Island Productions, BBC Two, U.K.; National Treasure: 4x60 min., contemporary/family life, The Forge, Channel 4, U.K.; The Missing: season 2, 8x60 min., crime, New Pictures, BBC One, U.K.; Midsomer Murders: 6x120 min., crime/detective, Bentley Productions, ITV, U.K.; Fleabag: 6x30 min., comedy/romance, Two Brother Pictures, BBC Three, U.K.; Inspector George Gently: 4x120 min., crime/detective/period drama, Company Pictures, BBC One, U.K.; Brokenwood Mysteries: 4x120 min., crime/detective, South Pacific Pictures; Westside: 10x60 min., comedy, South Pacific Pictures, TV3, New Zealand; Witless: 5x30 min., comedy, Objective Media Group, BBC Three, U.K. “Our drama slate has grown significantly in the past few years. The all3media Group has made strong investments in the acquisition of drama companies such as Neal Street and New Pictures and here in International we have expanded our horizon by closing first-look deals with companies like Two Brothers Pictures, The Forge, Vox, Balloon Entertainment and Little Island Productions. These first-look deals have allowed us to work closer with the creative teams at production companies not belonging to the group and provide direct feedback from international buyers to the development teams at the individual companies.

We have become bolder in our investment strategy with development funding available for book options, treatments, scripts and bibles. The budgets on U.K.-based dramas have increased quite a lot and our investment power to meet the deficits has risen equally.”

—Maartje Horchner, Executive VP, Content

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ATV ADDRESS: Barbaros Bulvari, Cam Han No:153 Kat:8, Beşiktaş, 34353 Istanbul, Turkey TELEPHONE: (90-212) 381-2848 WEBSITE: www.atvdistribution.com GENERAL MANAGER: Metin Ergen LICENSING & DIGITAL MANAGER, ACQUISITIONS, SALES, PLATFORMS: Muhammed Ziyad Varol CONTACT: info@atvdistribution.com PROGRAMS: Orphan Flowers: 50x120 min. HD; Bandits: 40x120 min. HD; Wedlock: 24x120 min. HD; Torn Apart: 22x120 min. HD; Stolen Life: 37x90 min. HD; She Was Pretty: 12x120 min.

“Turkuvaz Media Group (TMG), Turkey’s second-largest media group, operates in television and radio broadcasting, newspaper and magazine publication and printing. Its flagship TV channel, ATV, was launched in 1993. Throughout the years, ATV has followed its motto to be at the top, without sacrificing quality, thus becoming a jewel in the crown of Turkuvaz Media Group.

ATV is renowned for its enthralling dramas, hilarious comedies, action-packed series and engaging sitcoms, all of which are produced at the highest quality.

With its creative and pioneering outlook, ATV successfully produces many unique and original programs, bringing an abundance of fabulous stories and first-rate actors into [viewers’] homes via the TV screen.

Furthermore, ATV’s distribution unit provides a vast range of choices and diversity, offering over 40,000 hours of TV series as well as movies. The popular TV channel’s contentsales department is one of the key figures of the Turkish distribution industry, exporting the highest-quality drama series to over 60 countries worldwide.”

—Corporate Communications

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Orphan Flowers: Eylül is tired of her stepfather’s abuse and tells her mother about the situation. Her mother gives Eylül to an orphanage instead of leaving her husband. Eylül makes different types of friends in the orphanage, which has opened in the middle of a luxurious neighborhood. These girls, who are excluded from society, are humiliated and slandered by the rich people in the area. When none of the public schools accept the girls because of this slander, the dormitory principal registers them for the luxurious private college of the neighborhood. Now, life is more difficult for Eylül and her three friends among the rich and spoiled people in their new school. Eylül and her friends try to stand up against the college board and spoiled students who are looking for an opportunity to expel them. At the same time, they try to find their families and solve life’s problems.

Bandits: Hizir Çakirbeyli climbs to the top of the Mafia world.

Each man who enters the underground world vows to revolt against injustice. As he becomes more powerful and rich, Hizir becomes the source of this injustice himself. No one talks about this or puts it into words, but he becomes a charitable person as atonement for the crimes he committed. The government thinks that Hizir makes a good candidate to carry out the illegal activities that it wants to control. The top Mafia boss, who notices that the government promised Hizir his own position, converts his surroundings into a network woven with treason.

Wedlock: Aylin is married to a famous brain surgeon, Yekta Harmanli. Yekta is an obsessive man who wants everything to be perfect. Aylin’s life turns into a nightmare when she finds out her husband’s true character. Their first child, Kaan, is becoming a violent person like his father. When Aylin learns that she is pregnant with her second child, she comes up with a plan. She fakes her second child’s death during the delivery and gives the baby to her brother and his wife. Five years pass and Aylin manages to save enough money to run away from her husband. That plan fails when Yekta finds the money. Her brother’s wife then gets frustrated when she does not get the financial support promised by Aylin, and she shares the secret about the baby with her lover. This lover wants money from Yekta and tells him that his child is alive. Aylin’s life is turned upside down when Yekta finds out this secret.

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Comarex ADDRESS: Bosque de Duraznos #69–905, Col. Bosques de las Lomas, CP 11700 Mexico City, Mexico TELEPHONE: (52-55) 5251-1410 WEBSITE: www.comarex.tv PRESIDENT: Marcel Vinay, Sr. CEO: Marcel Vinay, Jr. CONTACT: sales@comarex.tv PROGRAMS: Preciosas (Runaways): 100x60 min., drama, Canal 13, Chile; Call Me Francesco: 2x100 min., drama, Taodue; A Sicilian Story: 80x50 min., drama/thriller, Mediaset; Friendly Fire Hero for Love (TF45): 16x45 min., drama/thriller, Mediaset.

“Comarex is a leading international distributor of Hispanic media and programming, including digital content distribution.

Founded over 30 years ago, the company has quickly learned the art of adapting and has evolved, bringing new technologies and advancements to the entertainment industry.

Offering the best content, the company distributes more than 42,000 hours annually in over 110 countries. Comarex’s catalog is composed of a wide selection of genres, including telenovelas, feature films, documentaries, game shows, sports, children’s programming, news, music entertainment, series, reality shows and mobile content. In addition to its content library, Comarex is the exclusive sales agent for various production companies, including Canal 13 from Chile and Canal 11 from Mexico (worldwide) and in Latin America and the U.S. Hispanic [market] for Studio 100 Media and Dicon Media, as well as Mediaset Distribution in Asia, Africa and Latin America.”

—Marcel Vinay, Jr., CEO

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Dynamic Television ADDRESS: 145 S. Fairfax Ave., Suite 404, Los Angeles, CA 90036, U.S.A. TELEPHONE: (1-323) 433-0100 WEBSITE: www.dynamictelevision.com MANAGING PARTNER: Dan March MANAGING PARTNER: Klaus Zimmermann SENIOR VP, CONTENT: Holly Hines PROGRAMS: Madiba: 6x60 min., drama, Blue Ice Pictures/Out of Africa Entertainment/Left Bank Pictures, BET Networks, U.S.A.; East Los High: 60x30 min., teen drama, Wise Entertainment, Hulu, U.S.A.; Wynonna Earp: 23x60 min., sci-fi, SEVEN24 Films/IDW Entertainment, Syfy, U.S.A.; Van Helsing: 13x60 min., sci-fi, Nomadic Pictures, Syfy, U.S.A.; Trapped: 20x60 min., crime, RVK Studios, Iceland; Z Nation: 43x60 min., sci-fi, The Asylum, Syfy, U.S.A.; Black Box: 13x60 min., medical drama, Bold Films/Bad Hat Harry, ABC, U.S.A. “Dynamic Television is a production, financing and distribution company with a global strategy to bring premium television programming to worldwide audiences. With series productions in the U.S., Canada, Scandinavia, South Africa and Europe, Dynamic Television is on the forefront of facilitating new development and production models for original dramas and is a leader in sales, marketing and distribution.”

—Corporate Communications

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Eccho Rights ADDRESS: Gamla Brogatan 26, 111 20 Stockholm, Sweden TELEPHONE: (46-8) 5560-9380 WEBSITE: www.ecchorights.com MANAGING DIRECTOR: Fredrik af Malmborg DRAMA DEVELOPMENT EXECUTIVE: Karin Strandberg Blom CONTACT: info@ecchorights.com PROGRAMS: Insider: 45 min. eps., drama, Ay Yapim, Show TV, Turkey; Wings of Love: 45 min. eps., drama, Ay Yapim, FOX, Turkey; Brave and Beautiful: 45 min. eps., drama, Ay Yapim, Star TV, Turkey; Flight HS13: 45 min. eps., drama, Column Film/ Ay Yapim, KRO-NCRV, Netherlands; Sisters: 30 min. eps., drama, Bob Film/Yellow Film & TV, TV4, Sweden; Elif: 45 min. eps., drama, Green Yapim, Kanal 7, Turkey; Winter Sun: 45 min. eps., drama, Endemol Shine Turkey/KBS, Show TV, Turkey; Gonul: 45 min. eps., drama, Most Production, Star TV, Turkey; Snowdrop: 45 min. eps., drama, Ukraina/CJ E&M, Ukraina, Ukraine; Servant of the People: 30 min. eps., drama, Studio Kvartal 95, Ukraina, Ukraine.

“We are thrilled to announce such a strong drama lineup for MIPCOM. Our landmark agreement with Ay Yapim allows us to bring three brand-new, top series featuring the biggest names in Turkish drama, while we continue to innovate with other titles from alternative territories.

Eccho Rights is developing very rapidly in the world of Western drama. For this MIPCOM we have the brandnew series Flight HS13 from Column Film in the Netherlands, the hit of the season on KRO-NCRV. In October we [are also] premiering our first new drama from Sweden, Sisters, which is set for 20 episodes on TV4, produced by Bob Film.

In addition to traditional drama, we have a wonderful comedic series, Servant of the People, the scripts for which [were] the subject of a major bidding war between some of the biggest studios in the U.S. Looking forward, we are keen to maintain our position as the go-to distribution partner for creative and progressive producers.”

—Fredrik af Malmborg, Managing Director

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Escapade Media ADDRESS: Level 2, Building 61, Fox Studios Australia, 38 Driver Ave., Moore Park, NSW 2021, Australia TELEPHONE: (61-2) 8353-2793 WEBSITE: www.escapademedia.com.au MANAGING DIRECTOR: Natalie Lawley SALES & ACQUISITIONS: Hamish Lewis CONTACT: natalie@escapademedia.com.au PROGRAMS: The Art of Killing: 6x60 min. HD, war drama, Enjoy Entertainment/Mam Tor Productions, U.K.; When We Go to War: 6x60 min. HD, crime/thriller, Jump Film & TV, TVNZ, New Zealand; Tomorrow When the War Began: 6x45 min. HD, Ambience Entertainment, ABC ME, Australia (Asian rights only).

“When Escapade formed, our ambition was to develop and represent very distinctive projects.

In relation to developing content, Escapade’s strategy is to secure executive-producer roles and seek financing and creatives. The Art of Killing, from Australian producer Phillip Bowman, has secured development funding whereby U.K. writers Paul Duane and Rob Cawley (writers of the critically acclaimed Amber), Sarah Smith (co-writer and producer of Dripping with Chocolate) and U.K. producer Tally Garner have joined the project. Not only does this series present perfect co-production opportunities, being set between the U.K. and Australia, it also appeals to the current demand for crime drama, where revenge and past lives have created an artistic serial killer.

Escapade has received enormous interest in this title, with discussions with broadcasters in flow.

Escapade is privileged to represent Robin Scholes’ first television series, When We Go to War. It’s timeless, presents war from a very unique point of view and this topic is relevant globally—all of which meet our criteria. Ensuring that content appeals to an international audience is a key component for all our titles and Tomorrow When the War Began, commissioned by ABC3 [now ABC ME] and produced by Ambience Entertainment, complies perfectly. Escapade Media is excited to hold Asian rights for this project.”

—Natalie Lawley, Managing Director

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Federation Entertainment ADDRESS: 10 rue Royale, 75008 Paris, France TELEPHONE: (33-1) 8417-6528 WEBSITE: www.fedent.com CEO: Pascal Breton MANAGING DIRECTOR: Lionel Uzan HEAD, DRAMA: Thierry Sorel PROGRAMS: The Bureau: 30x60 min., spy thriller, TOP—The Oligarchs Productions/Federation Entertainment, Canal+, France; Bordertown: 11x52 min., Scandi crime, Fisher King Production/Federation Entertainment, YLE, Finland; The Break: 20x60 min., thriller, Helicotronc/RTBF, RTBF, Belgium; Marseille: 8x40 min., drama, Federation Entertainment, Netflix, France; Hostages: 22x45 min., thriller, Yezirah Ivrit/Federation Entertainment, Channel 10, Israel; Replacements: 12x60 min., medical drama, Fisher King Production/Federation Entertainment, Nelonen, Finland.

“With offices in Paris and Los Angeles, Federation Entertainment heralds a new model for the creation, production, distribution and marketing of high-quality original television series programming for the global marketplace. A fully integrated television studio, Federation Entertainment is comprised of exclusive partnerships with several of the industry’s most celebrated executives, producers and showrunners. Established by leading French entertainment executive Pascal Breton, Federation is run by managing director and partner Lionel Uzan and founding partners David Michel, Stéphane Sperry and Serge Hayat.”

—Corporate Communications

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Fox Networks Group Content Distribution ADDRESS: 10 Hammersmith Grove, London W6 7AP, U.K. TELEPHONE: (44-203) 426-7000 WEBSITE: www.fngcontentdistribution.com SENIOR VP, GLOBAL HEAD, CONTENT SALES: Prentiss Fraser VP, CONTENT & MARKETING: Connie Hodson CONTACT: contentsales@fox.com PROGRAMS: Atlanta: 10x30 min., comedy, FX Productions, Fox Networks Group; Wayward Pines: season 2, 10x60 min., thriller, FX Productions, Fox Networks Group; Outcast: 10x60 min., suspense/horror, FOX International Studios, Cinemax, U.S.A./Fox Networks Group; The Walking Dead: season 7, 16x60 min., suspense/horror, AMC Studios, AMC, U.S.A./Fox Networks Group; Killing Reagan: 1x120 min., historical drama, Scott Free Productions, National Geographic Channel; Wings of Love: 13x110 min., drama, Ay Yapim, Fox Networks Group, Turkey; Heartbeat: 13x110 min., drama, Film Evi Productions, Fox Networks Group, Turkey; No. 309: 13x110 min., romantic comedy, Gold Yapim, Fox Networks Group, Turkey; That is My Life: season 4, 13x110 min., drama, Pastel Film, Fox Networks Group, Turkey; El Capo: 60x60 min., crime, Estudios TeleMexico/Grupo Imagen Multimedia, Fox Networks Group, Mexico.

“We are the leading global distributor for FOX and National Geographic Channels, representing high-quality scripted and unscripted programming and formats. We manage a library of over 16,000 hours of award-winning, exclusive and top-rated signature series and specials owned, developed and produced by FOX, National Geographic, 24Kitchen, Fox Life, Voyage and BabyTV channels, as well as many independent producers from around the world.

Our drama slate comprises international hits, including Wayward Pines and Outcast, factual dramas such as Killing Reagan and a pipeline of successful local-language content from Turkey and Latin America.

Our international positioning gives us access to multiplelanguage versions, as well as locally created series and formats produced across Latin America, Europe and the Asia Pacific. With dedicated sales and creative teams across 62 hubs worldwide, Fox Networks Group Content Distribution is strongly positioned to service its compelling content to multimedia clients and offer independent producers an allencompassing distribution service.”

—Prentiss Fraser, Senior VP, Global Head, Content Sales 38

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Global Agency ADDRESS: Abdi Ipekci Caddesi, Park 19, K:3 Nisantasi, Sisli, Istanbul, Turkey TELEPHONE: (90-212) 240-5769 WEBSITE: www.theglobalagency.tv CEO: Izzet Pinto HEAD, DRAMA ACQUISITIONS: Senay Filiztekin CONTACT: Fahriye Senturk, fahriye@theglobalagency.tv PROGRAMS: High Society: ongoing, drama, Star TV, Turkey; 46: 13x60 min., psychological thriller, Star TV, Turkey; Perfect Groom: 20x60 min., dramedy, Star TV, Turkey; Broken Pieces: season 1, 83x60 min./season 2, 122x60 min./season 3 in prod., drama, Star TV, Turkey; A Part of Me: season 1, 103x60 min./ season 2, 45x60 min., drama, Star TV, Turkey; Love for Rent: season 1, 148x60 min./season 2 in prod., dramedy, Star TV, Turkey; Time of Departure: 43x60 min., drama, Star TV, Turkey.

“Established in 2006, Global Agency is the world’s leading independent TV content distributor of TV series, formats and films for global markets. Global Agency was founded in the second half of 2006 with only one project and a team of two people. It now has 150 projects and a team of 25 people. Our company slogan is ‘Content that Creates Buzz’ and we live up to it through the distribution of our hit content, including Magnificent Century, 1001 Nights, Keep Your Light Shining, Perfect Bride and Shopping Monsters.

At Global Agency, we are committed to acquiring the highest quality, most original new content through our partnerships with leading broadcasters and production companies in all the major territories. With an international team and bases in Turkey, the U.K. and the U.S., our knowledge of the global entertainment industry allows us to find and sell cutting-edge formats that can be adapted in territories around the world.”

—Corporate Communications

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Global Screen ADDRESS: Sonnenstrasse 21, 80331 Munich, Germany TELEPHONE: (49-89) 2441295-500 WEBSITE: www.globalscreen.de CEO: Thomas Weymar HEAD, TV SALES & ACQUISITIONS: Alexandra Heidrich CONTACT: alexandra.heidrich@globalscreen.de PROGRAMS: Charité: 6x48 min., historical drama, UFA Fiction/MIA Film, ARD/Das Erste, Germany; Fangar—Prisoners: 6x50 min., family drama, Mystery Productions, Icelandic National Broadcasting Service (RUV)/Vesturport, Iceland; Rivals Forever—The Sneaker Battle: 2x90 min./4x45 min., event miniseries, Wiedemann & Berg Television, ARD Degeto/Das Erste, Germany; Naked Among Wolves: 1x100 min., UFA Fiction/ MDR, ARD Degeto/WDR/SWR/BR, Germany; Storm of Love: 2,670x50 min., telenovela, Bavaria Fernsehproduktion, ARD/Das Erste, Germany; The Weissensee Saga: 18x48 min., Ziegler Film, ARD Degeto, Germany; Finest Fairy Tales: 42x60 min., fairy-tale collection, ARD Degeto, Germany; Sherazade—The Untold Stories: 26x24 min., animation/family entertainment, Hahn Film/Chocolate Liberation Front/Toonz Entertainment, ARD/RBB/Network Ten, Germany; Hidden Identity: 2x90 min., thriller, ConradFilm, Bavaria Fernsehproduktion, ARD, Germany; A Minute’s Silence: 1x90 min., romance, Moovie, ZDF, Germany.

“Global Screen is a joint venture between Bavaria Film and Telepool. Our company is one of the largest world-sales outfits in Europe and has a catalog containing more than 15,000 titles: TV movies, feature films, series, documentaries and formats. We have output deals with most of the German public ARD broadcasters. In addition, we acquire German-language and international programs around the world such as, most recently, the Scandinavian event miniseries Fangar—Prisoners by Mystery Productions from Iceland. Among Global Screen’s most successful titles is the hit telenovela Storm of Love, one of the most successful long-running European drama series to date. With Finest Fairy Tales, a high-value movie collection of classic fairy tales, and Sherazade, an animated series of untold stories, we have established our brand as one of the leading distributors for family entertainment and high-value drama. The current fiction slate includes Charité, a miniseries set in an early-20thcentury hospital in Berlin; Rivals Forever—The Sneaker Battle and the fantasy series Arman’s Secret.”

—Alexandra Heidrich, Head, TV Sales & Acquisitions 42

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Globo ADDRESS: Rua Evandro Carlos de Andrade, 160 / 7º andar, Vila Cordeiro 04583-115, São Paulo, Brazil TELEPHONE: (55-11) 5112-4559 WEBSITE: www.globo.com/licensing HEAD, INTERNATIONAL BUSINESS: Ricardo Scalamandré EXECUTIVE DIRECTOR, INTERNATIONAL BUSINESS: Raphael Corrêa Netto CONTACT: Daniel Djahjah, daniel.djahjah@tvglobo.com.br PROGRAMS: Total Dreamer: 130x60 min., telenovela, Globo; Time After Time: 100x60 min., telenovela, Globo; Forever and Ever: 120x60 min., telenovela, Globo; Hidden Truths: 50x60 min., telenovela, Globo; Parts of Me: 75x60 min., telenovela, Globo; Rules of the Game: 150x60 min., telenovela, Globo; Ambitious Women: 110x60 min., telenovela, Globo; Alemão— Both Sides of the Operation: 3x60 min., miniseries, Globo; Dangerous Liaisons: 8x60 min., miniseries, Globo; Happily Ever After?: 8x60 min., miniseries, Globo.

“We’ll present two original telenovelas that will delight the European market. The romantic comedy Total Dreamer, a huge hit in Brazil and Portugal, is a modern fairy tale in which a humble girl turns into a successful model and finds true love. It also stood out due to the multiplatform actions before, during and after the broadcast. Time After Time is divided into two phases and tells the tale of a forbidden love that will survive time. We’ll also bring the miniseries Dangerous Liaisons, inspired by the French classic Les Liaisons Dangereuses, which stands out for its film quality, as well as production and post-production in 4K; and Alemão—Both Sides of the Operation, an electrifying fictional work about five undercover cops in a violent neighborhood of Rio de Janeiro who fight to survive after the main local drug dealer finds out about them. This exciting story features actual Globo TV journalism footage, which won the 2011 International Emmy Award in the news category.”

—Raphael Corrêa Netto, Executive Director, International Business

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Incendo ADDRESS: 1 Westmount Square, Suite 850, Westmount, QC H3Z 2P9, Canada TELEPHONE: (1-514) 937-3333 WEBSITE: www.incendo.ca PRESIDENT: Jean Bureau HEAD, INTERNATIONAL SALES & CO-PRODUCTIONS: Gavin Reardon HEAD, PRODUCTION & DEVELOPMENT: Ian Whitehead PROGRAMS: Versailles: 10x60 min., series, Incendo/Zodiak Fiction/Canal+/CAPA Drama, France/Canada; Versailles II: 10x60 min., series, Incendo/Zodiak Fiction/Canal+/CAPA Drama, France/Canada; Los Juniors: 8x60 min. in dvpmt., series, Incendo; Brace for Impact: 1x90 min., TV movie, Incendo, Canada; Run to Me: 1x90 min., TV movie, Incendo, Canada; Serialized: 1x90 min., TV movie, Incendo, Canada; FANatic: 1x90 min., TV movie, Incendo, Canada; Girls’ Night Out: 1x90 min., TV movie, Incendo, Canada.

“Incendo is a Canadian company that specializes in the production and international distribution of high-quality television programming for the worldwide marketplace.

Since its inception in 2001, the company has produced compelling movies, television series as well as documentaries that have been sold throughout the world. Through its joint venture with Twentieth Century Fox International Television (Fox/Incendo), Incendo is the leading television distribution company in Canada and also handles theatrical distribution in Québec for Paramount. This year, the company has produced five made-for-television movies and is currently in post-production on the second season of Versailles, a co-production with CAPA Drama and Zodiak Fiction. Incendo’s priorities for MIPCOM include the reality series Divorce Court, the limited drama series Los Juniors (in development), the drama series Versailles (seasons one and two) and the TV movies Brace for Impact, Run to Me, Serialized, FANatic and Girls’ Night Out.” —Jean Bureau, President

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ITV Inter Medya ADDRESS: Valikonagi Caddesi 26/3, Nisantasi, 34367 Istanbul, Turkey TELEPHONE: (90-212) 231-0102 WEBSITE: www.itv-intermedya.com PRESIDENT & CEO: Can Okan MANAGING DIRECTOR: Ahmet Ziyalar CONTACT: info@itv-intermedya.com PROGRAMS: Hayat: HD, Bi Yapim, Turkey; Endless Love: 114x45 min. HD, Ay Yapim, Turkey; In Between (Fatih Harbiye): 126x45 min. HD, Koliba Film, Turkey.

“ITV Inter Medya started out as a filmdistribution company serving the Turkish film sector. In the course of our first ten years as a company, our basic market structure remained more or less the same. As global developments picked up speed, we soon found ourselves operating both inbound and outbound. Soon after, beginning in 2001, we expanded our range to cover Central and Eastern European markets, Russia and the CIS countries, Central Asia and the Baltic States.

The nature of the content we provide also radically changed: telenovelas ‘Made in Turkey,’ TV series and, to a lesser extent, Turkish feature films, started to draw broad interest from all markets, including the Middle East and North Africa. We are now aiming to gain footholds in Asia, Western Europe and the Americas.

This year, we observe and celebrate the 24th anniversary of our company. In these perfect years of service, we never failed to underscore the global transformations structurally changing our markets and deeply affecting how we serve our clients. We have earned our clients’ trust and loyalty: a satisfactory and sustained service record with a library that always manages to stay current.”

—Can Okan, President & CEO

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Hayat: Murat is a handsome, cool perfectionist. He is a meticulous young man who took over responsibility for a big company at a young age. Hayat is a clumsy, irritable but joyful, beautiful young girl who knows how to enjoy life.

On the one hand, there is a world ruled by money and greed; on the other, a world ruled by friendship and sacrifice. The indestructible bridge that will bring together these two worlds is love. Both happiness and sorrow will build this bridge.

Murat and Hayat will nurture their love as much as they will allow pride to come between them.

Endless Love: Kemal is one of three children from a middleclass family. His only aim in life is to make a living and survive.

It’s his senior year as a mine-engineering student. He doesn’t believe in miracles, especially those related to love. But his world turns upside down when Nihan comes into his monotonous life. From a wealthy family, Nihan lives in an affluent area of the neighborhood. However, she finds herself removed from the values of her environment and distant from her own world.

Though it’s almost impossible, Kemal and Nihan’s love surpasses their differences and they manage to stay together until Kemal has to leave Istanbul to work in a mine. He then accepts that he and Nihan belong to two very different worlds. Along with this big life lesson, he buries his sorrows and moves to Zonguldak. What he doesn’t know is that Nihan, too, has a secret that she needed to bury with her love.

Kemal and Nihan are now apart, as their worlds and their love is truly impossible. Nihan marries a wealthy businessman, Emir Kozcuoglu, who has been in love with her since his childhood. Although their marriage looks perfect from the outside, for Nihan there is no greater love than Kemal. Heartbroken, Kemal turns to his job.

Five years later, an unexpected mining accident sets a brandnew path in front of him; one that will take the completely changed Kemal back to Istanbul to confront Nihan, Emir and everything else that made him turn away. His destiny will force him to complete his unfinished business.

In Between (Fatih Harbiye): Neriman, who lost her mother as a little girl, is a traditional young woman who lives with her father, Faiz, and her aunt, Gülter, in the suburbs. Although she grew up in a modest environment, her dreams are very big. Şinasi, who is known in the neighborhood as an educated, decent young man, proclaims his love for Neriman every chance he gets. The relationship between Şinasi and Neriman, who grew up together and are expected to get married, starts to crack.

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Kanal D ADDRESS: Dogan TV Center, 34204 Bagcilar, Istanbul, Turkey TELEPHONE: (90-212) 413-5666 WEBSITE: sales.kanald.com.tr HEAD, DRAMA DIVISION & DEPUTY GENERAL MANAGER: Hulya Vural EXECUTIVE VP, INTERNATIONAL SALES & CORPORATE STRATEGY: Ozge Bulut Marasli CONTACT: sales@kanald.com.tr PROGRAMS: Flames of Desire: 20x130 min. HD; For My Son: 62x135 min./181x45 min. HD; Secrets; Sweet Revenge: 24x140 min. HD; Waiting for the Sun: 54x95 min. HD; War of the Roses.

“Kanal D International Sales—the international business arm of Kanal D, the largest media organization in Turkey—is the leading worldwide distributor of mainly Turkish content. Dogan Media Company, which owns Kanal D, operates a valuable portfolio of news and entertainment networks, significant television production operations, a leading television and radio stations group, and [recently] a new OTT platform called BluTV that turned into the leading SVOD service in Turkey shortly after its launch. The group also operates D-Smart, a direct-broadcast satellite service provider.”

—Corporate Communications

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Keshet International ADDRESS: 12 Raul Valenberg St., P.O.B. 58151, 6158101 Tel Aviv, Israel TELEPHONE: (972-3) 767-6031 WEBSITE: www.keshetinternational.com CEO: Alon Shtruzman COO & PRESIDENT, DISTRIBUTION: Keren Shahar CONTACT: info@keshetinternational.com PROGRAMS: The Paper: 12x50 min., crime, Drugi Plan, HTV1, Croatia; Residents: 7x50 min., docudrama, Koda Communications, Keshet Broadcasting, Israel; Clues: 9x35 min., comedy, Artza Productions, Keshet Broadcasting, Israel; The Fare (Santo Forte): 13x45 min., thriller, Moonshot Pictures/Sony Pictures Television Network, AXN, Brazil; Aces: 10x22 min. & 10x8 min. web series, comedy, Keshet Broadcasting, Israel; Cold: 10x12 min., thriller, New Form Digital, Verizon’s go90, U.S.A.; Miss 2059: 12x10 min., action/sci-fi, New Form Digital, Verizon’s go90, U.S.A.; Mr. Student Body President: 10x12 min., comedy, New Form Digital, Verizon’s go90, U.S.A.; The A Word: 6x60 min., drama, Fifty Fathoms/Keshet UK, BBC One, U.K.; The Baker and the Beauty: season 1, 10x30 min./season 2, 10x30 min., romantic comedy, Endemol Israel, Keshet Broadcasting, Israel.

“Keshet International (KI) is Keshet Media Group’s global distribution and production arm.

It includes Keshet’s local production outposts (Keshet UK, Keshet Asia and Keshet Studios in the U.S.) as well as its global distribution arm.

KI’s catalog consists of over 70 tried-andtested properties that appeal to audiences worldwide, spanning all genres.

Highlights include the hit drama Prisoners of War, the original Israeli version of the Primetime Emmy winner Homeland; the gripping espionage thriller False Flag; the touching family drama The A Word; the high-octane game show BOOM!; the hit interactive talent show Rising Star and the children’s talent show Master Class; the reality dating format Girlfri3nds; and the ‘buddy comedy’ Traffic Light, winner of an International Emmy Award.”

—Alon Shtruzman, CEO

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MISTCO ADDRESS: Murat Reis Mah, Yeni Ocak Sokak, No. 35 Uskudar, Istanbul, Turkey TELEPHONE: (90-21) 6695-1300 WEBSITE: www.mistco.tv VP, SALES & MARKETING: Aysegul Tuzun SALES & MARKETING MANAGER: Beyza Nur Torun CONTACT: beyzanur.torun@mistco.tv PROGRAMS: Resurrection (Ertugrul): 179x45 min., action, Tekden Film, TRT, Turkey; Filinta: 149x45 min., action, Es Film, TRT, Turkey; Yunus Emre: The Journey of Love: 45x60 min., drama, Tekden Film, TRT, Turkey; What Happens To My Family: 41x100 min., drama, MF Yapim, TRT, Turkey; A Century Old Seal: 15x90 min., miniseries, Galibarda Fikir Sanat, TRT, Turkey; Memories Still Hurt: 26x80 min., drama, TIMS Productions, TRT, Turkey; Love Me As I Am: 89x100 min., drama, BSK Yapim, TRT, Turkey; Subat: 32x90 min., drama, Eflatun Film, TRT, Turkey; Please Don’t Go: 54x75 min., drama, NTC Medya, TRT, Turkey; Blue Butterflies: 90x26 min., drama, Sinevizyon, TRT, Turkey.

“MISTCO has extended its partnership with Turkish Radio and Television (TRT) as a result of mutual satisfaction. MISTCO has now enriched its catalog and at MIPCOM it will present all drama series in the TRT library, which attracts interest from broadcasters around the world. We are proud to extend our partnership with TRT. Among the titles that we represent, there will be brand-new titles to be announced at MIPCOM. Our highlights include Resurrection, which is the most-viewed Turkish drama series for two years and we believe that with the launch of the third season in October it will [maintain] and increase its success. Another highlight, Filinta, will continue its [next] season with a new story. The other series from TRT’s library are Love Me As I Am, Subat, Memories Still Hurt and The Golden Apple. There are also miniseries and TV movies produced as a special project. With our extended catalog consisting of dramas appealing to all target groups, our aim is to strengthen our position at the market. As our new library offers the widest range of content in terms of Turkish drama, we are sure to provide everything [our clients] need!”

—Aysegul Tuzun, VP, Sales & Marketing

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Record TV Network ADDRESS: Rua da Várzea, 240, 01140-080 São Paulo-SP, Brazil TELEPHONE: (55-11) 3300-4227 WEBSITE: www.recordtvnetwork.com ARTISTIC & PRODUCTION VP: Marcelo Silva INTERNATIONAL SALES DIRECTOR: Delmar Andrade HEAD, ACQUISITIONS: Moysés Bezerra PROGRAMS: The Promised Land (La Tierra Prometida): 130x50 min. HD, soap opera; The Slave Mother (La Esclava Madre): 140x60 min. 4K, soap opera; Moses and the Ten Commandments (Moisés y los Diez Mandamientos): 242x60 min. HD, soap opera; The Miracles of Jesus (Los Milagros de Jesús): 35x50 min. HD, series; Victory! (¡Victoria!): 208x45 min. HD, soap opera; Joseph from Egypt: 38x60 min.

HD, series.

“Record TV Network was created in September 1953. Back then, Record was one of the broadcasters that helped popular Brazilian music evolve and its history is made up of a series of successful shows. The company’s initiatives help Brazil’s society and culture. Record TV Network is today the oldest broadcaster in Brazil, still scoring excellent ratings and extending its market share in the Brazilian landscape. Record TV Network has strengthened its performance in the international market by giving foreign clients and viewers some of the highest quality products from Brazil. The company’s list of products features telenovelas, series and documentaries, [synonymous with] information, entertainment, culture, diversity and tremendous success.”

—Corporate Communications

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Red Arrow International ADDRESS: Medienallee 7, 85774 Unterfoehring, Germany TELEPHONE: (49-89) 9507-2320 WEBSITE: www.redarrowinternational.tv MANAGING DIRECTOR: Henrik Pabst SENIOR VP, GLOBAL SALES: Bo Stehmeier SENIOR VP, SCRIPTED ACQUISITIONS & CO-PRODUCTIONS: Amelie von Kienlin CONTACT: info@redarrowinternational.tv PROGRAMS: Mata Hari: 12x60 min., drama, Star Media/ Channel One/Inter, Russia/Ukraine; Farang: 8x60 min., thriller, Warner Bros., C More/TV4, Sweden; The Romeo Section: Assassins: 10x60 min., thriller, Haddock Entertainment, CBC, Canada; Pregau: 4x120 min./8x60 min., crime, Mona Film/Tivoli Film/ARD Degeto/ORF; Bosch: season 2, 10x60 min., crime, Fabrik Entertainment, Amazon Studios; Cleverman: 6x60 min., genre drama, Goalpost Pictures/Pukeko Pictures/SundanceTV/Red Arrow International/ Screen Australia/Screen NSW/New Zealand Screen Production Grant, ABC, Australia/SundanceTV, U.S.A.; Falco: season 4, 8x60 min., crime, Beaubourg Audiovisuel, TF1, France.

“Red Arrow International is a world-leading TV distributor of scripted, factual and formatted shows from a global network of in-house production companies, outstanding third-party producers and digital-content partners.

Red Arrow International is a major coproducer of global entertainment, providing substantial production financing for scripted and non-scripted projects. Recent international highlights include Bosch (Amazon) and Married at First Sight (A&E/FYI).

With offices in Munich, London, New York and Hong Kong, Red Arrow International has a truly global reach and distributes acclaimed, quality content to over 200 territories worldwide.

Red Arrow International is part of Red Arrow Entertainment Group, made up of 19 production companies across seven countries. The group’s significant production output includes scripted, non-scripted and factual television programs; feature films; and digital content for an array of global networks and platforms. In addition, Red Arrow has creative partnerships and joint ventures with Studio71, STV Productions, The Imaginarium Studios and Sync Media.

Red Arrow Entertainment Group is part of ProSiebenSat.1 Media, one of Europe’s leading media groups.”

—Henrik Pabst, Managing Director 58

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Russia Television and Radio/Sovtelexport ADDRESS: 37 Shabolovka str., Moscow 115162, Russia TELEPHONE: (7-495) 955-8920 WEBSITE: sales.vgtrk.com DIRECTOR, SOVTELEXPORT: Julia Matiash HEAD, INTERNATIONAL SALES (WORLDWIDE, EXCEPT CIS & BALTIC STATES): Maria Dorokhina CONTACT: ref.ste@vgtrk.com PROGRAMS: Ekaterina: season 1, 10x37-62 min./season 2, 12x52 min. HD, historical drama; And Quiet Flows the Don: 14x41-45 min., classical drama; Anna Karenina: 8x44-50 min.

HD, classical drama; Sophia: 8x52 min. HD, historical drama; Russian Beauty: 11x44 min. HD, drama; Ash: 10x44 min., thriller; Demons: 4x44 min., classical drama; Life and Fate: 6x90 min.

HD, historical drama; The White Guard: 8x44 min. HD, classical drama; Fyodor Dostoevsky: 8x44 min. HD, classical drama.

“Russia Television and Radio is the largest media corporation in Russia. Sovtelexport is the distribution arm of Russia Television and Radio, promoting the content of Russia Television and Radio and other major production companies. The catalog contains over 25,000 hours of the latest programming in various genres: feature films, drama series, documentaries, TV shows, concerts and children’s shows.

Every year, Sovtelexport’s content is showcased at major international markets and prestigious TV and film festivals.”

—Julia Matiash, Director, Sovtelexport

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Star Media ADDRESS: 31, Bld.1, Nizhnie Polya str., 109 382 Moscow, Russia; 22, Zakrevskogo str., 02222 Kiev, Ukraine TELEPHONE: (7-499) 356-5400; (38-044) 390-5060 WEBSITE: www.starmediafilm.com FOUNDER & CEO: Vlad Ryashin VP, SALES, CO-PRODUCTIONS & FORMATS: Maria Grechishnikova HEAD, INTERNATIONAL PROJECTS DEPARTMENT: Nadia Rekhter INTERNATIONAL SALES CONSULTANT: William J. Peck CONTACT: info@starmediafilm.com PROGRAMS: Mata Hari: 12 eps., historical drama, Russia/ Ukraine/Portugal; Oriental Sweets: 24 eps., melodrama, Ukraine; Maestro: 12 eps., adventure drama, Ukraine; Ancestral Land: 16 eps., drama, Russia; Under Correction: 12 eps., adventure drama, Russia/Ukraine; Detective Anna: 56 eps., drama/sci-fi, Ukraine/Russia; Life After Life: 16 eps., drama, Russia/Ukraine; Sorge: 12 eps., historical drama, Russia/ Ukraine/China.

“Star Media Group was founded in 2006. Star Media produces and distributes theatrical movies, TV series and docudramas of the highest quality. Since 2013, Star Media Group has been a leader in the production of TV content and feature films for the major Russian and Ukrainian broadcasters. Today, Star Media produces content not only for its local market, but also projects for worldwide distribution in the English language.”

—Vlad Ryashin, Founder & CEO

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Starz ADDRESS: 9242 Beverly Blvd., Suite 200, Beverly Hills, CA 90210, U.S.A. TELEPHONE: (1-424) 204-4102 WEBSITE: www.starzglobal.com MANAGING DIRECTOR: Carmi Zlotnik EXECUTIVE VP, WORLDWIDE DISTRIBUTION: Gene George PROGRAMS: My Summer Prince: 1x90 min., romance/ comedy, Hallmark, U.S.A.; Ash vs Evil Dead: season 2, 10x30 min., horror/comedy, Renaissance Pictures/Starz, Starz, U.S.A.; Insomnia: 8x60 min., drama, U.S.A.; Power: season 3, 10x60 min., drama, CBS Television Studios/Starz, Starz, U.S.A.; Survivor’s Remorse: season 3, 10x30 min., comedy/drama, CarseyWerner Company/Starz, Starz, U.S.A.; Grey Lady: 1x90 min., thriller/drama, Starz, U.S.A.; The White Princess: 8x60 min., drama, Company Pictures/Playground Entertainment/Starz, Starz, U.S.A.; Destruction: LA: 1x90 min., disaster/action, U.S.A.

“Starz is a leading integrated global media and entertainment company with operating units that provide premium subscription video programming on domestic U.S. pay-television channels (Starz Networks) and global content distribution (Starz Distribution). Starz Distribution is comprised of home video, digital media (Starz Digital) and worldwide distribution (Starz Worldwide Distribution) business units. Starz Digital is the global digital and on-demand licensing arm of Starz and a leading multiplatform distributor of independent feature films in North America. Starz Digital distributes Starz original series and entertainment programming for select media companies, including The Weinstein Company and AMC Networks. Starz Worldwide Distribution is the global television-licensing arm of Starz. Starz Worldwide Distribution licenses Starz original series and is a leading distributor of other owned and licensed third-party programming, including movies, television series, documentaries, children’s programming and other video content.”

—Corporate Communications

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Zee Entertainment Enterprises Limited ADDRESS: 18/Fl., Marathon Futurex, N M Joshi Marg, Lower Parel East, Mumbai 400013, India TELEPHONE: (91-22) 7106-1465 WEBSITE: www.zeebollyworld.com CHIEF BUSINESS OFFICER, INTERNATIONAL AD SALES, GLOBAL SYNDICATION & PRODUCTION: Sunita Uchil CONTACT: sunita.uchil@atl.esselgroup.com PROGRAMS: Kumkum Bhagya (Wedding Bells): 660x30 min.

HD, family drama; Gangaa: 400x30 min. HD, family/social drama; Ek Tha Raja, Ek Thi Rani (Once Upon a Time, There Lived a King & Queen): 300x30 min. HD, period drama.

“ZEE Bollyworld is the world’s biggest compilation of premium Indian entertainment content. [It is] a one-point source that gives access to over 222,000 hours of premium programming that ranges from family sitcoms, social dramas, romantic stories, comedies and thrillers to reality and talk shows as well as formats, youth- and kids-based shows, food, travel and lifestyle programs, and much more. With rights to more than 3,818 movie titles from top Indian studios, featuring iconic film stars, Zee Entertainment Enterprises Limited houses the world’s largest Hindi film library.

What makes ZEE Bollyworld the biggest [source] for Indian entertainment content is the fact that it comes from India’s largest media and entertainment group: ZEE, with a reach of over 1 billion viewers on five continents and in 171 countries.

We offer original HD content and our services include movies and television serials with dubbed or subtitled versions in many foreign languages, which are readily available in English, French, Arabic, Russian, Mandarin and Melayu-Bahasa.”

—Corporate Communications

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