TV Drama Guide 2017/2018

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GUIDE 2017/2018

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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 2017 WSN INC.

Managing Editor Joanna Padovano Tong

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 Assistant Nathalia Lopez

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

The term “peak TV” was famously coined

by FX Networks CEO John Landgraf in 2015 when he was describing the massive glut of scripted TV shows on the air, declaring that there was simply “too much.” Yet the numbers keep rising, and as of today, peak TV still hasn’t quite peaked.

FX Networks research reported that there were 455 original scripted shows on U.S. television in 2016, up from 421 in 2015 and 266 in 2011. Now, Landgraf says the market is “heading from an optimal number of shows to an unmanageable number of shows.”

One of the shifts that has been driving this swell in scripted series is all of the original commissioning being done by streaming services. Global players, like Amazon and Netflix, have been pumping money into high-profile dramas for a few years. Netflix has also been stepping up its European originals as of late. Local players, such as Scandinavia’s Viaplay, have moved into the original-drama arena as well. Apple is plotting a big push into making its own shows, hiring a pair of longtime Sony Pictures Television executives to lead the charge. Facebook recently launched its Watch video service and is reportedly planning an investment of as much as $1 billion to put toward originals.

On-demand digital services have also had a profound impact on the way international scripted series can seamlessly cross borders.

The British on-demand platform Walter Presents, which is devoted to foreign-language drama, has made its way Stateside with a U.S. SVOD launch, bringing with it an array of acquired Spanish thrillers, Danish crime series, Israeli dramedies and then some. American fans of Korean dramas and K-pop are getting a new streaming-video option in Kocowa, which comes from the three biggest broadcasters in Korea.

Never before has so much high-quality drama from such a wide array of countries been available on so many different platforms.

Is the amount “unmanageable” though? Certainly not in the eyes of the viewers; their appetite for premium drama seems insatiable.

The TV Drama Guide contains information on a wealth of drama series from all corners of the globe ready to satisfy this craving.

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TALENT

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Shonda Rhimes Creator Grey ’s Anatomy, Scandal TV DRAMA: Are you able to write anywhere?

RHIMES: I can write anywhere, and I’ve trained myself that way, simply because when you have small children and when you travel and when there are so many shows at so many different lots and locations, you have to figure out a way to write anywhere. So basically, my Pavlovian reflex is that as long as I have headphones on my head and music in my ears, I can write wherever I am, it doesn’t matter. I don’t have to be in a specific place; the headphones are sort of the thing that transports me.

TV DRAMA: Do you enjoy writing?

RHIMES: I do enjoy writing. I think there was a time when I didn’t, when I dreaded the getting there, the forcing myself to access the place where the writing could happen. But I enjoy the writing process now. I think that because it’s been such a habit and because I have to do so much of it and because there’s not a lot of time to think about how much I don’t want to do it—there are too many scripts to be written. I enjoy getting to sit in the world of the hospital, I enjoy getting to be Meredith Grey for a while, I enjoy getting to be Fitz [president Fitzgerald Grant in Scandal] or getting to be Liv [Olivia Pope in Scandal] or getting to be any of those characters. It’s fun.

My assistants will tell you—bless their hearts, I’m glad none of them have recorded this—I say all the dialogue aloud while I am writing, very passionately. I act it all out, and it’s embarrassing. I don’t hear it because I’m wearing headphones and there’s music playing, and Betsy Beers makes fun of me because she’s in the office across the way. But it’s important to me to make sure that it feels right and everything acts out well. I think that it’s a little bit of playacting, it’s a lot of fun for me. When I was a kid, I used to hang out in the pantry of my kitchen and play with the cans in there, and it’s still a little bit of hanging out in the pantry playing with cans and pretending that they’re doing things. I enjoy it a great deal.

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Mark Gordon Producer The Mark Gordon Company TV DRAMA: Tell us about Designated Survivor and how it came about.

GORDON: Designated Survivor was one of those rare occurrences when someone hands you a script and it’s really good.

Simon Kinberg [producer of the X-Men franchise] and David Guggenheim picked up the phone and said, “We have a script we think is really interesting.” I read it. I was completely knocked out by it.

TV DRAMA: What opportunities do you see in the international market?

GORDON: For quite some time I’ve been comfortable in the international market. Years ago I had a company, Mutual Film Company, and we did international sales as well as had international finance and distribution partners, including BBC, Tele München, UGC in France and Toho-Towa in Japan. So I have been an early adopter, if you will, of how incredibly important the international marketplace is. And I was fortunate enough to have the opportunity to get together with Entertainment One (eOne) and say, The world is changing, and there is an opportunity for an independent studio. It doesn’t have to be about making 14 or 18 shows, but, as I used to say to ABC when they were doing things in a very traditional way, your crumbs are worth billions of dollars to us [as an independent studio]. [There are projects] you won’t do and can’t do because of the fact that you are a large corporation. I have the opportunity to finance and produce these shows, to finance other producers’ shows, as in the case of Simon Kinberg’s Designated Survivor, and to aggregate really good content and then go out to the marketplace and sell it. At the same time, as a seasoned television producer, I have the opportunity to guide some of these people who haven’t worked in television but are interested in it, and it’s been a great opportunity. And the people at eOne are fantastic partners. They are both incredibly helpful and also leave me to do what I do without interfering; I am calling them much more for their help and guidance than they are calling me to check in on me.

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Andrew Lincoln Actor The Walking Dead TV DRAMA: Heading into season eight, where is the character of Rick Grimes at mentally and emotionally?

LINCOLN: He’s ready to kick some ass! He’s got his swagger and strut back. One of the great satisfactions about playing this guy is that they keep recalibrating what it is to be a leader. One of his strengths is the fact that he listens to a lot of people and takes council. I think that’s why people follow him. In the 100th episode, you see a man ready to go to war, a man who will stop at nothing until [his nemesis] Negan is defeated.

TV DRAMA: Has the atmosphere on set shifted, as the group prepares for war?

LINCOLN: There is a real palpable sense this season that is reminiscent of the earlier seasons. We’re doing some incredibly thrilling set pieces, and there’s a lot of action. It’s very much thriving through the original characters, or at least a lot of characters that were in seasons one, two and three. Also, the crew members are the most vital unsung heroes in all of this. A large amount of the crew has been on this job just as long as I have. They read the scripts just as voraciously as we do when we get them. They suffer with you! Now that there’s a sense of purpose and strength in the people that have been beaten down for quite a long time, everybody else [on the crew] feels excited about it. Going to work and doing crazy action sequences is fun for everybody!

TV DRAMA: Do you have an idea of how you’d like the series to wrap up?

LINCOLN: One of the extraordinary things about this show is that it has a narrative that keeps going forward and keeps changing. It keeps evolving with new cast members. The most painful part— actually, the only painful part—of doing this job is the fact that you say goodbye to very dear friends every year. It’s also possibly one of the reasons why it’s lasted. With the phoenix rising from the ashes each time, the show changes and adapts. I certainly don't see the show finishing any time soon.

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Pierce Brosnan Actor The Son TV DRAMA: What appealed to you about The Son? BROSNAN: What appealed to me was the character of Eli. I identified strongly with this man as a father, as someone who is a survivalist, and as someone who, in his case, was burnished by violence and the loss of three families by the age of 40.

There was something of an archetypal American hero about him. Against all odds, he’s bringing his family into the 20th century. He’s a forward-thinking man. And the writing appealed to me—Philipp Meyer’s writing is so glorious! We had him on the set with us every day and that was a luxury unto itself.

TV DRAMA: Is it hard to inhabit a character whose traits are very different from your own?

BROSNAN: That’s my job as an actor—to interpret that violence and that malevolence of mankind. There is a great release and satisfaction in portraying these types of characters and walking a tightrope with the audience, so you don’t lose them. You’re toying with the emotions of an audience, or you’re trying to take them to a place that might be uncomfortable for them without losing them. That’s part of the challenge of playing Eli, but what softens him is his granddaughter, so there is a theatrical device there that you can use. He is a good man, he loves his sons, he has the greatest love for his family and he is of good heart. But he will let nothing stand in the way of getting what he wants.

TV DRAMA: The television industry has changed enormously since you starred in Remington Steele. Did you see a difference in the way The Son was produced and shot?

BROSNAN: It’s like making a 10-hour feature film, really. I sat with the producers beforehand, and they showed me the technicians and the people they were using and their credentials were impeccable. It’s a TV schedule, so it’s fast, which I like because that’s how I was trained when I came to America back in 1981 and I did Remington Steele.

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Kyle MacLachlan Actor Twin Peaks: The Return TV DRAMA: How did this new Twin Peaks come about? Had you been in contact with David Lynch over the years?

MACLACHLAN: Yes, David and I live very close to each other in Los Angeles. I’d visit him and I would ask, do you ever think about going back to Twin Peaks? But I would couch it very casually. He would say, I don’t really know. I think in his mind it was finished and he’d put it to bed and that was it. I was just waiting to see if he was going to write something that I would be right for. Then he called me one day, really out of the blue, and said, I want to talk to you about something, but I can’t do it over the phone. So we met in person, and that’s how he told me that he and Mark [Frost] had been working on preliminary ideas, and would I be interested. And I said, Absolutely, of course I would! It’s the greatest character I’ve ever played and the most memorable and complex and interesting, so I said yes without any real idea of what direction we were going in.

TV DRAMA: Was it difficult to reinhabit the character after so many years, or was it like riding a bike?

MACLACHLAN: Kind of both. I felt pretty comfortable in the suit, to be honest. But the character was going in different directions, so I was excited as an actor. It was Cooper, but there were other elements going on. It was very much a gift. No one has ever asked me to play a character like that before—neither the dark character nor the light character. I knew I was capable of doing both and I was excited because David was going to be my director. I knew I’d have the kind of caretaking that’s necessary when you do characters that are that extreme. You need someone there that you absolutely trust to keep you going in the right direction.

TV DRAMA: Tell us about working with David Lynch.

MACLACHLAN: Directors of that level, of his quality, share a joy for the creative process. It’s an absolute love of the performers, the actors, creating an environment on set that is conducive to great work.

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Tom Cullen Actor Knightfall TV DRAMA: Why did you want to be part of Knightfall?

CULLEN: Honestly, it’s my dream job. It’s something that as a kid I always wanted to do—play a knight and ride horses and fight with a sword. It’s an exciting, thrilling, high-octane piece of television that I think will appeal to a lot of people.

And I know it would appeal to me if I weren’t in it. It’s about the Knights Templar, which I’m sure a lot of people have a lot of information and their own ideas about. The show is about the deconstruction of that history. It’s not set during the Crusades; it’s set in Paris 15 years after they lost Acre, their last stronghold in the Holy Land.

And it’s about the fall of the Templars. The series will at some point reach Friday the 13th [of October, 1307], which is when the Templars in Paris were dissolved. I play Landry, who is unexpectedly thrust into becoming the leader of the Templars.

It’s about his journey. He’s a guy who is struggling with his faith and his position inside the Templars. He blames himself for losing the Holy Grail and the Holy Land, and has spent 15 years looking for some kind of retribution or redemption, and he’s unable to do that. And suddenly it’s whispered that the Holy Grail is still around, so he goes on a hunt to try to find it while also battling his inner conflicts.

TV DRAMA: What was the preparation process like for you, both in terms of historical research and the physical training?

CULLEN: When doing a historical piece like this, you have to do a lot of groundwork. You have to know the territory you’re standing on. You have to be very respectful of that history.

That was a fascinating process. I often wondered if it would be grueling, but it wasn’t. It was incredibly fun delving into the world of these men. Physically it was very tough. I had to wear chain mail nearly every day—I can’t even tell you how heavy it is. So physically I had to be very prepared. But I also had to learn how to horse ride and swordfight and carry myself like a man who has been to war since the age of 10.

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Bryan Fuller Co-Creator & Executive Producer American Gods TV DRAMA: How did you approach writing the script and devising a look for the series?

FULLER: It’s very loyal to the novel [by Neil Gaiman]. We began with page one of the book and started going from there. As we progressed further into the story, there were characters that had relatively minor roles in the novel and we started asking ourselves, Wouldn’t it be cool to see what they were doing when they weren’t being covered in the pages?

We came into this imagining how to tell the story and how many seasons it would take and how to divvy up the story to spread it out over those seasons. We were not necessarily just thinking about season one, but about the approach to covering this book and where we deviate. Where do we remain absolutely loyal to the word on the page? How do we expand storylines to fill up a TV season and make it about a lot of characters, not just Wednesday and Shadow?

TV DRAMA: What themes from the book do you think are most applicable to this very strange and disturbing political time we’re living in?

FULLER: The book is based on the notion of thoughtform: that if you believe in something enough you can manifest it into reality.

There’s something about that idea that feels very fair and honest with regard to the equality of faiths. It’s exciting for us to be able to tell stories about faith that are mythological and magical and yet somehow very human. That feels like a rich place to explore, not only for themes of immigration and religion and race and homophobia and just the general fear of the other, but it’s also something that is uniquely celebratory of America’s reputation as a melting pot, where people can come and celebrate their differences as opposed to walls being built between them.

So many themes sprout beneath the umbrella of that immigration headline. It feels like they all boil down to people trying to find their way in a place that is not their home and that they are trying to make their home. Who can’t relate to that?

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EXECUTIVES

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Christophe Riandee Vice CEO Gaumont TV DRAMA: What’s been your strategy in building your TV business?

RIANDEE: As part of Gaumont, the oldest film company in the world, we were producing a few feature films in the U.S. a number of years ago, and the talent we were working with were constantly saying that they were interested in doing TV. This was the start of everything, and we decided to work with a new straight-toseries model in order to bring the independent-movie-financing model to the scripted series business. This is what we offered the market, which was very new at the time. Netflix had just started producing its original series the same year as we started our TV business. There was no Amazon, no Hulu and everyone else was doing pilots. Since we already had a TV business in France, producing for the local market, we decided that our U.S. TV business would be more international in scope.

TV DRAMA: Is the straight-to-series model your preferred model?

RIANDEE: Yes, but since the inception of the company, there have been many more scripted shows produced in the market, so there is much more competition. We still prefer the straightto-series model because that is the way the platforms are operating now most of the time, but we are exploring other models like pilots when they are required or financed by broadcasters, or backdoor pilots.

TV DRAMA: What lessons have been learned from Narcos’s success?

RIANDEE: The worldwide success of Narcos was unexpected, but the lesson of this success is that borders are totally disappearing and our world is much more globalized. Nobody sees Narcos as a Latin American show. It’s seen as an American show even though most of the time the actors are speaking in Spanish. Not only [are shows traveling] from the U.S. to the world but also from every other country to global audiences. This provides a lot of opportunity for everyone because a niche show can reach a very large worldwide audience.

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Gina Brogi President, Global Distribution Twentieth Century Fox Television Distribution TV DRAMA: Do SVOD platforms look for different types of series than free-TV broadcasters?

BROGI: It’s a different viewing experience, and I think consumers have come to expect the ability to binge on an SVOD service. As a result, SVOD services are drawn more toward those serialized shows that really feed the binge. Free-toair clients have traditionally catered to a viewer who just wants to check in week after week—or however it is that they watch—so logic tells us that [that type of viewing] lends itself more to procedurals. As more free-to-air or ad-supported services, which historically have been linear-focused, offer ondemand experiences to their customers, these [programming differentiations] become less and less clear. Do SVOD services buy procedurals, and do free-to-air services buy serialized shows? Yes, to both. Do they lean toward one or the other? Yes, they do that as well, as we would expect. But the lines are blurring.

TV DRAMA: Are limited series being well received?

BROGI: Limited series are a relatively new thing for the U.S. It’s interesting to note that limited series aren’t that new for Europe, and for the U.K. in particular. A lot is made of the whole limited-series concept, but it’s one that is not altogether unfamiliar to the international community. They’ve been fun for us to play with. I know that for our production studios, limited series give them enormous freedom, especially with casting and with talent altogether. It allows the creative people to explore [a programming genre] that previously hasn’t been able to be explored in a television environment.

TV DRAMA: Are you still seeing a strong demand for procedurals?

BROGI: There is huge demand internationally for procedurals. And we are certainly doing our best to meet the demand, though also with an eye toward great storytelling and characters. Our production studios [are committed to] great storytelling first and foremost, and we’ve certainly communicated that there’s desire for procedurals in the international community.

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Jane Turton CEO all3media TV DRAMA: How is all3media filling the demand for drama?

TURTON: Drama has always been really important for us. We maintain a roughly fifty-fifty balance between scripted and unscripted programming. If you add in the secondary exploitation, we exceed 50 percent scripted. So scripted is huge for us, and a lot of the acquisitions and startup activity [we have done recently] have been to make sure we’ve got the strongest scripted talent. What is interesting is that our American experience with scripted to date has tended to be more with co-production and presales, rather than original made-in-America for American broadcasters. We are beginning to look at that and consider bigger deficit-funded deals in America. As well as looking at indigenous scripted development for the American market, we continue to invest in the IP-creating British and German businesses that develop and produce such a strong slate of drama. Drama is a hugely valuable asset in sales terms. It’s the staple of so many broadcasters’ schedules. It’s super important strategically and from a profile perspective. We’ve got new players like the streamers and the OTTs coming into the market; that’s even more exciting because suddenly there is incremental revenue coming from them, too.

TV DRAMA: In this ever-changing market, how do you measure success?

TURTON: Ratings and audience size matter hugely for us. Still, every single day we look at those and we think, Wow, that’s brilliant! We also look at the bottom line. We’re a commercial operation, so, like most businesses, I’m happy to admit that in part we measure success based on economics. Most important, we look at the quality of our talent and the productivity of our talent and the new ideas coming through. And returning series, when one of your programs is recommissioned, that has to be one of the biggest accolades, isn’t it?

That means that the idea was good, you produced it well, the audience liked it, so someone’s recommissioned it. We do more laps of honor on a recommission or a program’s success than anything.

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Can Okan Founder & CEO Inter Medya TV DRAMA: How has the Turkish dramadistribution business evolved over the last few years?

OKAN: The increase in sales prices, hand in hand with the economic status of the MENA region where Turkish drama series first gained popularity, have definitely been a trigger in the exportation of Turkish content. The marketing and advertising efforts that we carry out together with other Turkish distribution companies, as well as our expansion into Central and Eastern Europe and Central Asia, have also tremendously increased the number of territories where Turkish content was sold to. This number is still increasing every day. Of course, in the past couple of years, the opening of the Latin American market to Turkish content and the expansion of Turkish drama series in that region has been an important factor, too.

TV DRAMA: What have been your best markets?

OKAN: Even though local productions have increased in this territory, the MENA region is still a major market for us. In addition to that, Latin America also became one of our most important markets in a short amount of time. Although there have been some declines from time to time, Central and Eastern Europe and Central Asia are still territories where good quality productions always find a buyer.

Recently, we started to receive a lot of interest from Southeast Asia and Sub-Saharan Africa.

TV DRAMA: How did you start building relationships with Turkey’s top drama producers?

OKAN: Before I established Inter Medya, I [was] general manager at our family company Fono Film, which is Turkey’s most advanced post-production facility. Almost all of Turkey’s production houses were using Fono Film’s services and I knew them quite well, so started to work with them again. This time, however, instead of providing them with post-production services and taking their money for it, I was making them earn more money by distributing their TV series and feature films in the international market.

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Walter Iuzzolino Founder & Curator Walter Presents TV DRAMA: What qualities do you look for in potential acquisitions?

IUZZOLINO: The principles are: mainstream, shiny, glossy, not elitist and not art-house; we want to bring subtitles into the mainstream. The shows need to be hits in their country of origin. We want writing, acting and directing quality of the utmost value. And then award winners, nationally and internationally.

I’m quite proud that we created a big international profile for some shows that would have never been noticed otherwise. We were the first to show Israeli, Spanish and Polish programming in prime time on Channel 4.

TV DRAMA: What’s your approach to curation?

IUZZOLINO: Curation is the founding principle of everything. It’s the strength of the proposition. There’s foreign drama everywhere, and there are enormous supermarkets selling you whatever you want. So the big question would be, is there a need for an extra SVOD channel? Yes! You go to the supermarket for your staples— water, bread, basic stuff—but if you want something special, someone to recommend stuff to you, you go to a lovely deli, you go to a Dean & DeLuca. I would love to think that we are the Dean & DeLuca of drama! You know someone has sampled every single slice of charcuterie or cheese. In a world that curates by algorithm, we curate by individual. It’s me! I watch everything. I stop when a series is bad at episode three. There are some great shows that mature like great novels, so episode one starts slow and grows on you and becomes un-missable. Very often the best shows are the ones that grow and mature across the series, and some shows that peak immediately become quite boring by episode four or five. So the curation is essential for us—it’s the notion of quality over quantity, handpicked by an individual you can learn to trust. When you become familiar with a brand and its language, it invites you to sample more because it broadens your palette. Hopefully, the brand creates a space where viewers feel empowered to sample as much as possible because they trust the curation.

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DISTRIBUTORS

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all3media international ADDRESS: 168–173 High Holborn, London WC1V 7AA, U.K. TELEPHONE: (44-207) 845-4350 WEBSITE: www.all3mediainternational.com CEO: Louise Pedersen EXECUTIVE VP, CONTENT: Maartje Horchner CONTACT: Stephen Driscoll, stephen.driscoll@all3media.com PROGRAMS: Liar: 6x60 min., thriller; Rellik: 6x60 min., thriller; Kiri (working title): 4 eps., mystery; Love, Lies and Records: 6x60 min., contemporary drama; Game Face: 6x30 min., comedic; The Miniaturist: 3x60 min./2x90 min., period thriller; Safe House: The Crow; Innocent; The Truth; Ackley Bridge.

“all3media international is continuing to cement itself as one of the top distributors of quality drama. With compelling and gripping psychological thrillers like Liar and Rellik, intelligent and entertaining contemporary comedies like Bucket and Game Face, and the popular long-running crime dramas Midsomer Murders and Brokenwood Mysteries, our varied slate shows our commitment to providing the best dramas for our buyers. By continuing to work with acclaimed creators, including Harry and Jack Williams (Two Brothers), as well as New Pictures, The Forge and Rollem Productions, we are ensuring all3media international continues to be the go-to distributor for hit contemporary prime-time drama, and we are looking forward to seeing the success of our titles grow as we showcase them to the international market this MIPCOM.” —Maartje Horchner, Executive VP, Content

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Banijay Rights ADDRESS: Gloucester Building, Kensington Village, Avonmore Rd., London W14 8RF, U.K. TELEPHONE: (44-20) 7013-4000 WEBSITE: www.banijayrights.com CEO: Tim Mutimer HEAD, SCRIPTED: Caroline Torrance VP, SALES (U.K. & EIRE) & ACQUISITIONS: Chris Stewart PROGRAMS: The Restaurant: 10x60 min., scripted, Jarowskij in collaboration w/SVT/Viaplay/Film i Väst, Sweden; Bang: 8x60 min., crime, Joio/Artists Studio, S4C, U.K.; Occupied: S2 8x45 min., political thriller, Yellow Bird Norge, Viaplay/ARTE, Norway; Wolf Creek: S2 6x60 min., horror/thriller, Screentime, Stan, Australia; Secret Daughter: S2 6x60 min., scripted, Screentime, Seven Network, Australia; Jean: 1x90 min., scripted, Lippy Pictures, TVNZ, New Zealand; Resolve: 1x90 min., scripted, Screentime, TVNZ, New Zealand; Rebecka Martinsson: 8x45 min./4x90 min., crime, Yellow Bird, TV4/ARD Degeto, Sweden; Versailles: S2 10x60 min., scripted, Capa Drama/Zodiak Fiction/Incendo, Canal+, France; Don’t Worry Be Happy: 6x60 min., comedic, GAZELLE & Cie/Banijay Studios France, M6, France.

“Banijay Rights is the international distribution division of Banijay Group, a leading creator and producer of TV content worldwide. Banijay Rights represents quality, excellence and experience in the business of television and ancillary sales across all platforms.

It is one of the world’s biggest independent distributors, with a catalog of more than 20,000 hours of globally best-selling content across all genres, including drama, formats, factual, entertainment and theatrical. Fifty percent of the catalog is third-party programming from independent producers and networks throughout the world.”

—Corporate Communications

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Calinos Entertainment ADDRESS: Kavacik Mah, Ekinciler Cad, Necip Fazil Sok, Calinos Plaza No:6 Beykoz, Istanbul, Turkey TELEPHONE: (90-216) 999-4999 WEBSITE: www.calinosentertainment.com CHAIRMAN: Firat Gulgen DEPUTY GENERAL MANAGER: Ismail Dursunov INTERNATIONAL SALES DIRECTOR: Asli Serim Guliyev CONTACT: Goryana Vasileva, marketing@calinos.com PROGRAMS: Our Story: drama, MEDYAPIM, Turkey; Woman: drama, MF Yapim, Turkey.

“Established in 1997, Calinos Entertainment was the first company to sell Turkish TV series and films overseas, which eventually led to a phenomenon all around the world. The company appeals to a large audience with its selection from world cinema. The company also acquires home video and TV rights for titles to reach a broader audience.

Calinos Entertainment, with its modern vision, is aiming to pioneer the improvement and innovation of the media sector by bringing the developments of the future to [present] day. Calinos is in pursuit of excellence in every industry with its young and talented team of professionals. With management that believes the secret to success lies within team spirit, Calinos is carrying its brand to the next level as the new era’s innovative company.”

—Firat Gulgen, Chairman

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Our Story: Filiz (Hazal Kaya) has been struggling to survive in one of the poorest neighborhoods in Istanbul. She is the typical big sister, who has become the mother of the family.

She has to look after her five younger siblings and her useless alcoholic father (Fikri). Filiz’s brothers are strong, upright, diverse children, a bit ridiculous from time to time, who have never learned to look after themselves. Filiz’s best friend Tulay is a troublesome girl who earns her money from day-today affairs. Filiz thinks that there is no place for love in her life up until the day she meets Baris. He is in love with Filiz and will do anything to become a part of the family. Furthermore, there is Cengiz, an overprotective cop, who has been in love with Filiz for years. Things will not be easy for Baris. His mysterious identity and dark past will put their relationship in danger. The six siblings will try to keep a positive and happy outlook on life, despite their drunk father. Each of them will find themself at a crossroads as their life takes them on a new rollercoaster every day. Adapted from the award-winning TV series Shameless, this Turkish drama is full of energy, real stories and passion, present in every corner of the world.

Woman: The story of Bahar, a young woman living alone with her two children. Bahar, who was abandoned by her mother when she was 8 years old, later suffers deeply when she loses her grandparents too. Just when she thinks she is all alone in the world, she meets Sarp, whom she falls madly in love with. They lead a happy and blissful life, full of beautiful moments and memories. One day, Sarp unexpectedly dies and Bahar is once again alone, now spending her days struggling for survival but nonetheless is full of determination to raise her children well, holding on to the happy memories of her beloved husband. This is up until the sudden appearance of her mother and extremely eclectic sisters, opening a door to unexpected events.

While Bahar’s story is told in the forefront, Woman also follows the lives of other women: Hatice, who chose between her two daughters, leaving one behind and choosing to have a new life for herself; Yeliz, who always needs a man to survive; Jale, who decides that motherhood is not for her and turns her back on her son, dedicating herself to her career; and Jülide, who is a victim of her beauty and addicted to excitement. This is a story of love, passions and human nature and the drama surrounding these women, who sometimes support and other times sabotage each other.

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Caracol Internacional TELEPHONE: (1-305) 960-2018 WEBSITE: www.caracolinternacional.com/en VP, INTERNATIONAL SALES: Lisette Osorio SALES EXECUTIVE, EUROPE & AFRICA: Paloma García SALES EXECUTIVE, EUROPE & MIDDLE EAST: Jesus Iriepar SALES EXECUTIVE, ASIA: Maria Estrella CONTACT: sales@caracoltv.com.co PROGRAMS: One Way Out: 60x60 min., super series; The Goddess: 88x60 min., telenovela; Night School: 60x60 min., telenovela; Dynasty: 74x60 min., telenovela.

“Caracol Televisión is a privately operated national television network that has produced many of Colombia’s most innovative and successful television programs. Today, Caracol TV has become a true powerhouse, expanding its influence beyond Colombia through its world-class international channel and international distribution division, Caracol Internacional.

Operating offices in Miami, Madrid and Bogotá, Caracol Internacional distributes Caracol’s original and cutting-edge telenovelas, series and entertainment formats. These programs have reached several continents, crossed cultural and linguistic barriers, and obtained international recognition for their outstanding ratings throughout the globe. With 50 years of experience in the television industry, Caracol currently produces 5,200 hours of audiovisual content per year and has more than 10,000 hours of original programming. Its programs have been broadcast in nearly 80 countries throughout five continents, and local adaptations of its scripts have become great worldwide successes.”

—Corporate Communications

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Dori Media Group ADDRESS: 2 Raul Wallenberg St., Tel Aviv 6971901, Israel TELEPHONE: (972-3) 647-8185 WEBSITE: www.dorimedia.com PRESIDENT & CEO: Nadav Palti VP, SALES: Revital Basel CONTACT: revital@dorimedia.com PROGRAMS: 5 Stars (Las Estrellas): 120x60 min., romantic comedy, Pol-ka Producciones/Dori Media International, Canal 13, Argentina; The Road to Calvary: 13x45 min., drama, NTV Broadcasting Company/Russian World Studio, NTV Channel, Russia; Dumb: 50x35 min., crime, Dori Media Darset, HOT, Israel; Complicated: 10x30 min., crime, Dori Media Darset, Channel 10, Israel; The Outsider (El Marginal): 13x45 min., crime, Underground Producciones/TV Publica, TV Publica, Argentina; Loving You (Por Amarte Asi): 60x60min., telenovela, Kuarzo Endemol Argentina/CTV Contenidos/Azteka Films, Telefe, Argentina; Full Moon: 100x30 min., daily drama, Dori Media Darset/Slutzky Communications, HOT, Israel; My Lovely Hope (Esperanza Mia): 180x45 min., romantic comedy, Pol-ka Producciones/Dori Media International, Canal 13, Argentina; Game Over: 6x30 min., comedic, Pre2Post, Channel 10, Israel; Cata: 115x60 min., kids, Yair Dori, Canal 7, Argentina.

“We see that the trend for scripted shows continues growing, both for weekly primetime and daily shows. Therefore, the key to success is to meet the market demand with the many new productions produced and planned for 2018.

The main challenge for content creators today is glocalization: to create a format that works very well locally but at the same time is global—that can travel and be successful worldwide. Dori Media’s catalog consists of content that travels worldwide. The ideas, concepts, storylines and even the looks of the casts in our dramas can be suitable all over the world.”

—Revital Basel, VP, Sales

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Dutch Features Global Entertainment ADDRESS: Hogeweg 56D, 2042GJ Zandvoort, Netherlands TELEPHONE: (31-23) 888-0168 WEBSITE: www.dutchfeatures.com CEO & PRESIDENT: Pim van Collem SALES EXECUTIVE: Françoise Nieto-Fong ACQUISITIONS & MARKETING EXECUTIVE: Fulko Kuindersma CONTACT: sales@dutchfeatures.com PROGRAMS: Black Tulip: 2 seasons, 24x45 min., crime, NL Film; The Fix: 8x45 min., crime, JoCo Media; The Swell: 6x45 min., event, JoCo Media; The Body Collector: 3x50 min., crime thriller, NL Film; Meyer’s Law: 4x45 min., prime-time miniseries, Dutch Mountain; The Godless: 4 seasons, 31x50 min., crime thriller, Pupkin Film; The Force: 3 seasons, 30x50 min., action, Pupkin Film; Riphagen: 3x50 min., thriller, Pupkin Film; Bellicher: Cell: 6x45 min., thriller, Pupkin Film; Bellicher: The Power of Mr. Miller: 4x45 min., thriller, Pupkin Film.

“Dutch Features Global Entertainment, Holland’s leading sales agency, is a specialized sales and distribution company based in the Netherlands, known for marketing and selling high-concept thrillers, European features, award-winning family films and acclaimed television drama series.

The unrivaled roster includes a unique selection of box-office hits and award-winning films realized by some of Europe’s most innovative producers and boasts a high-quality family-film catalog with proven brand names.

Dutch Features distributes an exclusive catalog of highprofile miniseries and Emmy Award-winning TV movies and series such as the long-running success Best Friends (tenth season), the ratings-winning police drama The Force (third season) and award-winning anthology The Godless (fourth season).”

—Pim van Collem, CEO & President

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Eccho Rights ADDRESS: Kungsgatan 48, 111 35 Stockholm, Sweden TELEPHONE: (46-08) 5560-9380 WEBSITE: www.ecchorights.com MANAGING DIRECTOR: Fredrik af Malmborg MANAGING PARTNER: Nicola Söderlund HEAD, ISTANBUL OFFICE: Handan Özkubat DIRECTOR, CO-PRODUCTION & SCRIPTED: Laura Miñarro DRAMA DEVELOPMENT EXECUTIVE: Karin Strandberg Blom CONTACT: info@ecchorights.com PROGRAMS: Heaven: 45 min. eps., drama, Sürec Film, ATV, Turkey; Phi: 45 min. eps., drama, Ay Yapim, Puhu TV, Turkey; Trotsky: 60 min. eps., drama, Sreda Production Company, Channel One, Russia; Broken Hearts: 45 min. eps., drama, Star India; Amla: 45 min. eps., drama, Star India; Elif: 45 min. eps., drama, Green Yapim, Kanal 7, Turkey; New Bride: 45 min. eps., comedic, Sürec Film, Show TV, Turkey; Heart of the City: 45 min. eps., drama, Ay Yapim, ATV, Turkey; Brave and Beautiful: 45 min. eps., drama, Ay Yapim, Star TV, Turkey; Insider: 45 min. eps., drama, Ay Yapim, Show TV, Turkey.

“Eccho Rights is bringing the best in drama from all over the world to MIPCOM. We have the top series from the most renowned producers in Turkey that continue to dominate global sales. We continue to increase the breadth of our catalog with producers from India, Korea, Russia and across Europe, and are always looking to develop new projects that have promise for the global market.”

—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 CONTACT: natalie@escapademedia.com.au PROGRAMS: Undocumented: 10x30 min. 4K, comedic, 412 Entertainment; The Art of Killing: 6x60 min. HD, crime, Enjoy Entertainment/Mam Tor, U.K.; When We Go to War: 6x60 min. HD, war, Jump Films, TVNZ, New Zealand; Tomorrow When the War Began: 6x45 min. HD, drama, Ambience Entertainment, ABC3, Australia.

“When Escapade formed, our ambition was to develop and represent very distinct projects with strong commercial appeal. We also wanted to work with partners and creative teams developing dramas with strong and diverse characters at their center.”

—Natalie Lawley, Managing Director

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Gaumont ADDRESS: 750 N. San Vicente Blvd., #1550, West Hollywood, CA 90069, U.S.A. TELEPHONE: (1-424) 281-5200 WEBSITE: www.gaumonttelevision.com VICE CEO: Christophe Riandee PRESIDENT, WORLDWIDE TELEVISION DISTRIBUTION & CO-PRODUCTION: Vanessa Shapiro CONTACT: sales@gaumont.com PROGRAMS: 48 Christmas Wishes: 1x85 min., family/holiday; Hetty Feather: 30x22 min., children’s; The Art of Crime: 6x60 min., drama; Narcos: 30x60 min., drama; Relationship Status: 36x10 min./13x22 min., drama; F is for Family: 16x30 min., adult animation/comedic; The Frozen Dead: 6x60 min., drama; Hannibal: 39x60 min., drama; Hemlock Grove: 33x60 min., drama; Hotel de la Plage: 12x60 min., drama.

“Gaumont is a producer and distributor of high-quality programming for the U.S. and international markets and part of the motion picture studio Gaumont. We have some exciting programming on offer at MIPCOM. Our drama series include the Emmy- and Golden Globe-nominated Narcos, currently in preproduction for season four for Netflix; the Emmynominated Hannibal; Hemlock Grove; The Frozen Dead, which debuted earlier this year on M6 with very strong ratings; and The Art of Crime, which will debut on France 2 later this year. At the market, we will also be premiering a family holiday movie, 48 Christmas Wishes, and a new children’s television drama series, Hetty Feather, from CBBC. And for millennials, we will be launching the Go90 series Relationship Status, starring and produced by Milo Ventimiglia (This Is Us, Gilmore Girls, Heroes), in which an interweaving cast of twenty- and thirtysomethings navigate the complexities of dating and relationships in the modern age of social media.”

—Vanessa Shapiro, President, Worldwide Television Distribution & Co-Production

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Global Agency ADDRESS: Abdi Ipekci Caddesi, Park 19, K3, 34367 Nisantasi, Sisli, Istanbul, Turkey TELEPHONE: (90-212) 240-5769 WEBSITE: www.theglobalagency.tv FOUNDER & CEO: Izzet Pinto HEAD, DRAMA ACQUISITIONS: Senay Filiztekin CONTACT: Fahriye Senturk, fahriye@theglobalagency.tv PROGRAMS: Queens: 9x60 min., period drama, YouMore Productions; Mercy Street: 12x60 min., period drama, Scott Free Productions, PBS, U.S.A.; Firefly: dramedy, Mia Yapim, Star TV, Turkey; Bitter Sweet: dramedy, MED Yapim, Star TV, Turkey; Heartbeat: medical, MF Yapim, Show TV, Turkey; Dream: drama, Gold Film, Show TV, Turkey; Intersection: 99x60 min., drama, Endemol Shine Turkey, FOX, Turkey; Black Pearl: drama, Gold Film, Star TV, Turkey.

“Established in 2006, Global Agency is the world’s leading independent TV content distributor of 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 120 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, Broken Pieces, Keep Your Light Shining, Perfect Bride and Shopping Monsters.

In just a few short years, we have become one of the fastestgrowing distributors in the industry, thanks to our strong lineup of content and our experienced team. Our catalog includes formats and series from around the world, and due to our longestablished relationships with some of the world’s most creative individuals and companies, we are able to offer buyers the hottest new content throughout the year.

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.

We have built a reputation for our dynamic and high-profile marketing strategy. Attending over 12 international markets a year is a major part of our global reach. We also sign exclusive sponsorship deals with the markets, including media communications, branding, advertising, promotional activities and events. Global Agency is also well-known for its parties, which are some of the most-talked-about events of the year, raising brand awareness for the company and its key content.”

—Corporate Communications 40

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Global Screen ADDRESS: Sonnenstrasse 21, 80331 Munich, Germany TELEPHONE: (49-89) 2441295-500 WEBSITE: www.globalscreen.de MANAGING DIRECTOR: Anke Beining-Wellhausen HEAD, TV SALES & ACQUISITIONS: Alexandra Heidrich CONTACT: alexandra.heidrich@globalscreen.de PROGRAMS: Dementia: 10x45 min., thriller, Blueprint Original Content, Azteca America, U.S.A.; e-Legal: 10x52 min., crime, To Do Today Productions, RTBF, Belgium; The Weissensee Saga: 24x48 min., drama/romance, Ziegler Film, ARD/Das Erste, Germany; Zenith: 7x25 min., dramedy, Lemming Film, VPRO/ZAPP, Netherlands; ZombieLars: 26x15 min., dramedy, Tordenfilm, NRK Super, Norway; Charité: 6x48 min., historical, UFA Fiction/MIA Film, ARD/Das Erste, Germany; Fangar— Prisoners: 6x50 min., family, Mystery Productions, RUV/ Vesturport, Iceland; Rivals Forever—The Sneaker Battle: 2x90 min./4x45 min., historical, Wiedemann & Berg Television, ARD/Das Erste, Germany.

“Global Screen delivers high-quality entertainment for adults and kids alike, with fiction and documentary programs for optimal exploitation on TV, video and online.

Our dedicated acquisition team is constantly on the lookout for new programs with strong market potential—from Germany and the rest of the world. We focus on unique series that enable broadcasters and platforms to satisfy their audiences’ demand for high-quality entertainment. Most recently, we acquired these series to be presented at MIPCOM: e-Legal, from Belgium, a classic legal series taken to a new level with a team of three that solves cyber-crime cases and if need be hacks into the dark web; Dementia, from Mexico, a psychothriller series about a young journalist seeking to unearth the truth about her grandmother’s inexplicable death inside a haunted clinic; and Zenith, an entertaining and meaningful family series from the Netherlands, about two full-time working parents who replace themselves with lookalike robots.”

—Alexandra Heidrich, Head, TV Sales & Acquisitions

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GMA Worldwide ADDRESS: 10/Fl., GMA Network Center, EDSA corner Timog Ave., Diliman, Quezon City 1103, Philippines TELEPHONE: (632) 982-7777 WEBSITE: www.gmaworldwide.tv VP: Roxanne J. Barcelona SENIOR SALES MANAGER: Manuel Paolo Laurena VP, DRAMA, ENTERTAINMENT TV GROUP: Redgie A. Magno FIRST VP, PROGRAM MANAGEMENT DEPARTMENT: Jose Mari R. Abacan CONTACTS: mjlaurena@gmanetwork.com; gwi@gmanetwork.com PROGRAMS: My Korean Jagiya: 45x45 min. in prod., contemporary drama/romantic comedy, GMA Entertainment TV, GMA Network, Philippines; I Heart Davao: 21x45 min., contemporary drama/romantic comedy, GMA News and Public Affairs, GMA Network, Philippines; My Love from the Star: 31x45 min., contemporary drama/romantic comedy, GMA Entertainment TV, GMA Network, Philippines; Bow of Justice 2: 45x45 min. in prod., fantasy/adventure, GMA Entertainment TV, GMA Network, Philippines; Impostora: 45x45 min. in prod., contemporary drama, GMA Entertainment TV, GMA Network, Philippines; Angela: 45x45 min. in prod., fantasy/adventure, GMA Entertainment TV, GMA Network, Philippines; Mulawin Vs. Ravena: 45x45 min. in prod., fantasy/adventure, GMA Entertainment TV, GMA Network, Philippines; A Woman Scorned: 193x45 min. in prod., contemporary drama, GMA Entertainment TV, GMA Network, Philippines; Super Ma’am: 45x45 min. in prod., fantasy/adventure, GMA Entertainment TV, GMA Network, Philippines; Encantadia: 129x45 min., fantasy/ adventure, GMA Entertainment TV, GMA Network, Philippines.

“GMA Worldwide enlivens the TV landscape with its lineup of breakthrough shows meant to keep the viewer awed, entertained and inspired. GMA’s dramas are known for stories that push the boundaries of the imagination or explore daring, uncharted themes, while offering the audience a rich array of emotional experiences. Our latest dramas include Super Ma’am, in which a clumsy history teacher survives the bite of the Visayan mythical shapeshifters called Tamawos and becomes a Tamawo slayer by night and a devoted teacher by day. Cain and Abel is about two brothers separated at a tender age and raised differently. An unfortunate incident brings them together, putting to the test their blood relationship.”

—Redgie A. Magno, VP, Drama, Entertainment TV Group 44

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Inter Medya ADDRESS: Istanbloom, Kore Sehitler Caddesi, 16/1 Zincirlikuyu, 34394 Istanbul, Turkey TELEPHONE: (90-212) 231-0102 WEBSITE: www.intermedya.tv FOUNDER & CEO: Can Okan COO: Ahmet Ziyalar CONTACT: info@intermedya.tv PROGRAMS: Mrs. Fazilet and Her Daughters: drama, Avşar Film; Hayat: 102x45 min. HD, dramedy, Bi Yapim; In Between: 126x45 min. HD, drama, Koliba Film.

“Founded in 1992, Inter Medya has established itself as one of the most successful content distributors in Turkey. Specializing in the sales of Turkish TV series and feature films, the company has also recently started to develop and produce entertainment and reality formats, taking important steps to becoming a significant content distributor in the field.

The company managed to earn its clients’ trust and loyalty through a satisfactory and sustained service record and a library that always manages to stay current. Consistently and reliably spreading the Turkish TV, film and format industry to the foreign market, the company is adamant on developing and increasing this contribution in the coming years.”

—Can Okan, Founder & CEO

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Kanal D International ADDRESS: Dogan TV Center, 34204 Bagcilar, Istanbul, Turkey TELEPHONE: (90-212) 413-5666 WEBSITE: kanald.international CEO, KANAL D: Özge Bulut Maraşli CONTACT: sales@kanald.com.tr PROGRAMS: Wounded Love: 130 min./45 min. eps., historical, O3 Productions; Tales of Innocence: 130 min. eps., drama, TMC; Price of Passion: drama, D Productions; Innocent: 45 min. eps., crime, D Productions; Flames of Desire: 140 min./45 min. eps., drama, Most Production; Family Secrets: 140 min./45 min. eps., drama, Gold Production.

“Our strengths in programming come from our experience of over 20 years. The most important thing is that we are the trendsetter of the media sector, and we know what the audience wants.”

—Özge Bulut Maraşli, CEO, Kanal D

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Keshet International ADDRESS: 12 Raul Valenburg St., P.O.B. 58151, 6158101 Tel Aviv, Israel TELEPHONE: (972-3) 767-6031 WEBSITE: www.keshetinternational.com COO & PRESIDENT, DISTRIBUTION: Keren Shahar CONTACT: info@keshetinternational.com PROGRAMS: The Brave: 13x60 min. & format, drama; The A Word: S2 6x60 min. & format, drama; Commandments: S1 11x40 min., S2 5x40 min. & format, drama; Generation B: 6x35 min., comedic.

“Keshet International (KI) is Keshet Media Group’s global distribution and production arm. Headed by CEO Alon Shtruzman, it includes KI’s local production subsidiaries (Keshet UK, Keshet Studios in the U.S., Keshet Asia, Keshet MX in Mexico, Keshet India and Tresor Produktions in Germany), as well as Keshet Digital Studios, Keshet Films, Keshet International Gaming and its global distribution arm. KI’s catalog spans all genres, including drama, comedy, game shows, talent shows, documentaries, factual entertainment/reality dating and kids, and includes both original content developed within the KI network of companies and third-party IP. Highlights include the hit interactive talent show Rising Star, the high-octane game show BOOM!, the children’s talent show Master Class, the hidden-camera game show Deal with It, BBC One’s family drama The A Word, Channel 4’s comedy drama Loaded, the gripping espionage thriller False Flag and the international hit Prisoners of War, upon which the Primetime Emmy winner Homeland is based.”

—Corporate Communications

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Kew Media Group ADDRESS: 19 Heddon St., London W1B 4BG, U.K. TELEPHONE: (44-207) 851-6500 WEBSITE: www.kewmedia.com PRESIDENT, DISTRIBUTION: Greg Phillips EXECUTIVE VP, SALES, DISTRIBUTION: Jonathan Ford EXECUTIVE VP, TELEVISION ACQUISITIONS & DEVELOPMENT, DISTRIBUTION: Saralo MacGregor CONTACT: info@kewmedia.com PROGRAMS: Frankie Drake Mysteries: 11x60 min., detective, Shaftesbury, CBC, Canada; Crawford: 12x30 min., comedic, Rabbit Square Productions, CBC, Canada; Date My Dad: 10x60 min., drama, 50 Degrees North Productions, UP TV, U.S.A.; 21 Thunder: 8x60 min., drama, PMA Productions/Generic Productions, CBC, Canada; Line of Duty: S4 6x60 min., 22x60 min. & 1x90 min., drama, World Productions, BBC One, U.K.; Smalltown: 3x60 min., drama, Blank Page Productions/TV3, TV3, Ireland; Can’t Cope, Won’t Cope: 6x30 min., comedic, Deadpan Pictures, RTÉ2, Ireland; Slasher 2: Guilty Party: 8x60 min., thriller, Shaftesbury, Netflix/TVA, Canada; Starhunter: S1 & 2 44x60 min., S3 Starhunter Transformation to come, sci-fi, Starfield Indie, Space/TMN/Canal+/Super Écran, Canada.

“Kew Media Group produces and acquires more than 1,000 new hours of premium content every year and distributes Kew’s catalog of film, television and digital assets to more than 150 countries worldwide on almost every available viewing platform. Kew Media Group’s library contains over 275 theatrical feature titles and rights to more than 6,500 hours of TV and digital content, including major drama series, nonfiction entertainment, special event programming, kids’ series, TV movies and miniseries. Kew Media Group’s distribution arm was formerly known as Content Media Corporation.”

—Corporate Communications

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MarVista Entertainment ADDRESS: 10877 Wilshire Blvd., 10/Fl., Los Angeles, CA 90024, U.S.A. TELEPHONE: (1-424) 274-3000 WEBSITE: www.marvista.net CEO: Fernando Szew DIRECTOR, WORLDWIDE DISTRIBUTION: Rod Rodrigo DIRECTOR, WORLDWIDE DISTRIBUTION: Andrew Whiteman EXECUTIVE VP, CO-PRODUCTIONS & ACQUISITIONS: Stephanie Slack CONTACT: Grace Jo, gjo@marvista.net PROGRAMS: Mom Wars: 1x90 min., thriller, MarVista Entertainment; Eruption LA: 1x90 min., disaster, MarVista Entertainment.

“Founded in 2003, Los Angeles-based MarVista Entertainment is a leading independent entertainment studio that produces, acquires and distributes premium film and television content worldwide. With a library showcasing nearly 2,500 hours of content and with approximately 40 new movies per year added to the company’s distribution pipeline, MarVista has become one of the largest suppliers of movies to the worldwide marketplace. MarVista has an expansive distribution footprint spanning more than 125 global territories and has grown to become a preeminent supplier of programming to major cable networks in the U.S., including Disney Channel/ Disney XD, Lifetime, Hallmark Channel, NBCUniversal, Nickelodeon and MTV networks, as well as key international broadcasters, cable networks and digital platforms. MarVista’s recent projects include Bitch, the first film in its partnership with Elijah Wood’s Company X/Spectrevision; Rebel, the dramatic BET series from executive producer John Singleton; and the live-action King Kong series currently in development.”

—Corporate Communications

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MISTCO ADDRESS: Murat Reis Mah, Yeni Ocak Sok, No:35 34664 Uskudar, Istanbul, Turkey TELEPHONE: (90-216) 695-1300 WEBSITE: www.mistco.tv VP, SALES & MARKETING: Aysegul Tuzun CONTACT: info@mistco.tv PROGRAMS: You Name It: 180x45 min., romance, Birsel Film, TRT, Turkey; High School Patrol: 33x45 min., youth, ARC Film, TRT, Turkey; The Last Emperor: 51x45 min., epic, Es Film, TRT, Turkey; Resurrection “Ertugrul”: 270x45 min., epic, Tekden Film, TRT, Turkey; Filinta: 149x45 min., epic, Es Film, TRT, Turkey; What Happens to My Family: 66x120 min., dramedy, MF Yapim, TRT, Turkey; We All Fall in Love: 40x120 min., dramedy, BSK, TRT, Turkey; Yunus Emre: 45x60 min., history, Tekden Film, TRT, Turkey; The Legend of Destan: 5x90 min., epic, BKM/Tomris Giritlioglu, TRT, Turkey; A Century Old Seal: 15x60-90 min., epic, Galibarda Fikir Sanat, TRT, Turkey.

“As the foremost distribution agency of Turkish content, MISTCO represents all of the drama titles in the TRT library. In this huge catalog, we have over 50 drama series, consisting of epic dramas, dramedies, comedies and thrillers as well as miniseries.

TRT by far has the most extensive knowhow in epic-drama storytelling and producing.

This year, another new epic drama will be on air. The series will focus on a young man named Mehmet and his impressive life. It is expected to become a hit title. Of course, TRT is assertive in other genres as well, and the best example of it is our modern drama You Name It, which is a successful series with an international story.

We are so proud to distribute such a high-quality and wideranging catalog worldwide.”

—Aysegul Tuzun, VP, Sales & Marketing

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Record TV ADDRESS: Rua da Varzea, 240, Barra Funda, São Paulo–SP, Brazil TELEPHONE: (55-11) 3300-4022 WEBSITE: www.recordtvnetwork.r7.com INTERNATIONAL SALES DIRECTOR: Delmar Andrade CONTACT: dandrade@recordtv.com.br PROGRAMS: Belaventura: 150x50 min. HD, soap opera, Brazil; The Rich and Lazarus (El Rico y Lázaro): 170x50 min. HD, soap opera/biblical, Brazil; The Promised Land (La Tierra Prometida): 179x50 min. HD, soap opera/biblical, Brazil; The Slave Mother (La Esclava Madre): 159x60 min. 4K, soap opera, Brazil; Moses and the Ten Commandments (Moisés y los Diez Mandamientos): 242x60 min. HD, soap opera, Brazil; The Miracles of Jesus (Los Milagros de Jesús): 35x50 min. HD, biblical, Brazil; Joseph from Egypt (José del Egipto): 38x60 min.

HD, biblical, Brazil.

“Record TV 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 is today the oldest broadcaster in Brazil, still scoring excellent ratings and extending its market share in the Brazilian landscape. Record TV 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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Sky Vision ADDRESS: Sky Central, 1/Fl., Grant Way, Isleworth TW7 5QD, U.K. TELEPHONE: (44-207) 032-3000 WEBSITE: sky.com/skyvision MANAGING DIRECTOR: Jane Millichip DIRECTOR, SALES: Leona Connell DIRECTOR, DRAMA & COMEDY: Jason Simms CONTACT: skyvisionmarketingmailbox@sky.uk PROGRAMS: Britannia: 1x90 min. & 8x60 min., drama, Vertigo Films/Neal Street Productions, Sky Atlantic/Amazon, U.K./U.S.A.; Save Me: 6x60 min., drama, World Productions, Sky Atlantic, U.K.; Sick Note: S1 1x60 min. & 5x30 min., S2 6x30 min., comedic, King Bert Productions, Sky 1, U.K.; The Plague: 6x60 min., drama, Movistar+, Spain; Tin Star: 10x60 min., drama, Kudos, Sky Atlantic, U.K.; Bad Blood: 6x60 min., drama, New Metric Media/Sphère Média Plus, City/FX, Canada.

“Sky Vision is the U.K.’s fastest-growing production and distribution business. Our production portfolio comprises nine production companies in the U.K. and U.S., and our distribution division represents around 6,000 hours of high-quality new hours across drama, entertainment and all forms of factual programs and formats. We are one of the biggest investors in U.K. drama and support both Sky original productions and independent producers in the funding and co-production of their drama slates. At MIPCOM 2017, we are presenting a fantastically diverse slate of quality and returnable drama series: the MIPCOM World Premiere TV Screening for Britannia (Sky Atlantic and Amazon Prime); the acclaimed Tim Roth helmer Tin Star (Sky Atlantic and Amazon Prime); Movistar+’s most ambitious drama to date, The Plague (La Peste); the true-life-inspired Mafia thriller Bad Blood (FX Canada); and the razor-sharp comedy drama Sick Note 2 (Sky 1). Sky Vision was launched in 2012 and is wholly owned by Sky.” —Jason Simms, Director, Drama & Comedy

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Star Media ADDRESS: 31, Bld.1, Nizhnie Polya St., 109 382 Moscow, Russia; 22, Zakrevskogo str., 02222 Kiev, Ukraine TELEPHONE: (7-499) 356-5400; (38-044) 390-5060 WEBSITE: www.starmediafilm.com VP, SALES & INTERNATIONAL PROJECTS: Maria Grechishnikova HEAD, INTERNATIONAL PROJECTS DEPARTMENT: Nadia Rekhter INTERNATIONAL SALES CONSULTANT: William J. Peck GENERAL PRODUCER: Vlad Ryashin CONTACT: office@starmediafilm.com PROGRAMS: Mata Hari: 12 eps., historical, Russia/Ukraine/ Portugal; Oriental Sweets: 24 eps., melodrama, Ukraine; Maestro: 12 eps., adventure, Ukraine; Ancestral Land: 16 eps., drama, Russia; The Russian Revolution: 8 eps., docudrama, Russia; Detective Anna: 56 eps., drama w/sci-fi elements, Ukraine/Russia; Lenin: 12 eps., docudrama, Russia; Richard Sorge. Master Spy: 12 eps., historical, Russia/Ukraine/China; The Experts: 20 eps., detective, Ukraine; Forgotten Leaders: 8 eps., docudrama, Russia.

“Star Media Group was founded in 2006. It became 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, General Producer

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Twentieth Century Fox Television Distribution ADDRESS: P.O. Box 900, Beverly Hills, CA 90213-0900, U.S.A. TELEPHONE: (1-310) 369-1000 WEBSITE: www.foxfast.com PRESIDENT, GLOBAL DISTRIBUTION & INTERNATIONAL STRATEGY: Mark Kaner PRESIDENT, GLOBAL DISTRIBUTION: Gina Brogi CONTACT: foxtvd@fox.com PROGRAMS: The Orville: 60 min. eps., sci-fi/comedic, 20th Century Fox Television, FOX, U.S.A.; The Gifted: 60 min. eps., drama, 20th Century Fox Television in association w/Marvel Television, FOX, U.S.A.; The Resident: 60 min. eps., drama, 20th Century Fox Television/3 Arts Entertainment/ Up-Island Films/Fuqua Films, FOX, U.S.A. “We’re very fortunate at Twentieth Century Fox Television Distribution that the series we’re delivering to audiences around the world this year are all rooted in compelling and unique storytelling. From The Orville, a groundbreaking sci-fi comedic drama unlike anything on television right now; to the familiar excitement of the action-adventure series set in the X-Men universe with The Gifted; to The Resident, a classic medical drama that pulls back the curtain on what really happens in modern-day medicine. Each drama series has a clear voice from its acclaimed creators, narratives with strong points of view, and universal themes that will engage viewers on many levels.”

—Gina Brogi, President, Global Distribution

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ZDF Enterprises ADDRESS: Erich-Dombrowski-Str. 1, 55127 Mainz, Germany TELEPHONE: (49-6131) 991-1601 WEBSITE: www.zdf-enterprises.de PRESIDENT & CEO: Alexander Coridass EXECUTIVE VP & COO: Fred Burcksen VP, ZDFE.DRAMA: Robert Franke CONTACT: programinfo@zdf-enterprises.de PROGRAMS: Tabula Rasa: 9x50 min., psychological thriller; Bron/Broen IV—The Final Season: 10x60 min., crime/ suspense; Summertime Madness: 6x30 min., drama; Jack Irish: 3x90 min., crime/suspense; Living with My Ex: 12x45 min., family; Death of a Girl: 2x90 min., crime/suspense; Never Too Late for Justice: 23x45 min., crime/suspense.

“As a global player with a German home base, we are responsible for worldwide program sales, the making of international coproductions, the acquisition of licenses as well as the merchandising of strong program brands in our own name, for our shareholder ZDF and for third parties. ZDF Enterprises has successfully established itself as an independent market player on the German and international stage.

Bound into a strong group, the company manages the largest German-language stock of programs in the world and a continuously growing portfolio of international productions consisting of series and miniseries, TV movies, documentaries and children’s programs. ZDF Enterprises can provide a comprehensive, full-service offering and covers every step in the chain of origin and exploitation of successful TV programs, from development to production and up to the marketing of TV licenses, merchandising rights, online rights and much more.

Our ZDFE.drama highlights for this MIPCOM market are the psychological thriller Tabula Rasa, the final season of Bron/Broen and the drama Summertime Madness.”

—Fred Burcksen, Executive VP & COO

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