TV Formats Distributors Guide 2010/2011

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TV formats

Distributors GUIDE 2010/2011

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Join them on a road trip to remember Series 5: 30 x half hour Series 1-4: 140 x half hour Also available as a format

MIPCOM Stand No: R38.01 www.itvstudios.com

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Contents A Note from the Editor . . . .6 Interviews . . . . . . . . . . . . .7 Distributors . . . . . . . . . . .17

A publication from Publisher Ricardo Seguin Guise Editor Anna Carugati

Ricardo Seguin Guise President

Executive Editor Mansha Daswani

Anna Carugati Executive VP and Group Editorial Director

Managing Editor Kristin Brzoznowski

Mansha Daswani VP of Strategic Development

Production & Design Director Matthew Rippetoe

TV Formats Š 2010 WSN INC. 1123 Broadway, #1207 New York, NY 10010

Online Director Simon Weaver

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

Sales & Marketing Manager Kelly Quiroz

Website: www.tvformats.ws

Business Affairs Manager Erica Antoine-Cole

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

Sales & Marketing Coordinator Cesar Suero Sales and Marketing Assistant Alyssa Menard

For a free subscription to our daily newsletters, please visit www.worldscreen.com

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A Note from the Editor If you look across the dial of some of the world’s biggest broadcasters, you’ll notice that formats are still a mighty force in prime time. Be it game shows, dancing and singing competitions or straight reality fare, the formats market has held its own against the resurgence of sophisticated dramas and high-profile comedies.

Formats’ popularity has been rising steadily over the last decade. The genre even got a boost during the economic crisis, when risk-averse buyers went looking for low-cost programming that had been tried-and-tested. The number of traded formats internationally has substantially increased.

FRAPA (the Format Recognition and Protection Association) reports that some 445 original formats made their way to international screens between 2006 and 2008, whereas in its first study on the format trade, covering 2002 to 2004, there were just 259. The production volume generated by traded formats has grown as well, from €6.4 billion ($8.24 billion) for the years 2002 to 2004 to approximately €9.3 billion ($11.9 billion) for the period from 2006 to 2008.

Yet the landscape has been changing, as the global format heavyweights face increased competition from new players angling for their share of the approximately €3-billion ($3.8-billion) format business up for grabs each year. Most recently, a number of U.S. studios have thrown their hat into the ring, investing heavily in local production abroad as well as in their format distribution businesses. It also used to be that only the major players owned local production hubs in many of the key international territories, but now a number of companies have started to build up sizeable networks of production facilities. While the format behemoths have been busy buying up smaller companies to build global powerhouses, the small to mid-sized format players have been finding new ways to grow their own businesses.

The companies listed in this guide come from both sides of the fence. All are heading to MIPCOM hoping that their catalogue contains the next big hit format that will travel the globe for seasons to come.

—Kristin Brzoznowski 6

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Interviews

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John de Mol Owner Talpa Media Group TV FORMATS: When developing formats, how important is it to include some level of interactivity with the audience?

DE MOL: The media landscape has become more diverse, which we see as a challenge, as it brings in more opportunities to create content on different platforms and it may bring more business for all parties involved. But, of course, it’s not that easy. Interactivity has to be an organic part of the format and not simply added on.

TV FORMATS: What challenges is the reality genre facing today?

DE MOL: In general, the same challenges that all genres are

facing. Within Talpa we develop new ideas for different TV genres, and “new ideas” is the name of the game. When it comes to reality, we look at possible ways to find a mix with scripted programming.

TV FORMATS: With more companies developing formats, is it more difficult to find new ideas that will stand out?

DE MOL: There are not many companies that have a total focus on content creation like Talpa has. Apart from developing formats, the execution is essential as well in order to keep a close eye on quality.Within Talpa we produce all our formats in-house, where the development of the format is key, while production and distribution play a secondary role. Besides this,Talpa is in the position to easily fund the production of pilots, if necessary.

TV FORMATS: How do you foster creativity among your team?

DE MOL: Within Talpa it’s all about content creation for all

different platforms with a more centralized focus on television. With Talpa Content we have an experienced full-force creative team that I am personally very much involved with.

We develop premium content, produce all developed formats in-house and, because of our extensive network nationally and internationally, are able to position our titles efficiently in the market.

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Elisabeth Murdoch Chairman & CEO Shine Group TV FORMATS: How do you manage and

nurture creativity?

MURDOCH: Managing any successful business is really about what your cultural environment is and how you look after the people who are the lifeblood of your company. If we could pay our way to making hit shows, that would be very easy and we’d all be very successful quickly. I see my job as empowering and enabling people to do their very best work, and working with people who believe that together, we can surpass our own ambitions. I think bureaucracy destroys creativity, I think hierarchical behavior destroys creativity. We put the idea and the creative people first and give them the tools and sometimes the rigor and the guidance to allow that talent to come up to the surface.

TV FORMATS: Shine has expanded so much recently.Are there any

other territories that you’re looking at in particular?

MURDOCH: We have grown a lot. We have about 25 produc-

tion labels in ten countries. We have the largest big production group in the Nordic territories, we have four companies in the U.K., we have Reveille [in the U.S.]. And we’ve started in Germany, France and Australia. What we’ve done is not expand for the sake of expansion. That is a recipe for disaster in the creative business. I really look for people who share the same DNA as us. They usually tend to be creative entrepreneurs, who have very deep and broad connections with our buyers in whichever market we’re in, who have a reputation for creative excellence and execution. That’s the strategy. To find blue-chip, world-class people like that, it takes time.You have to respect and understand each market.Yes there will be more territories. It might be an acquisition, it might be a start-up, but it is first and foremost about the people.

We won’t move into a territory for the sake of scale. We’re not the kind of company which is only run by a business imperative to show that cash flow is getting bigger. It’s a much more purposeful, legacy-building company that we all believe in at Shine.

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Tom Toumazis Chief Commercial Officer Endemol TV FORMATS: What challenges and op-

portunities do you see in the next 12 to 24 months?

TOUMAZIS: We’re putting a lot of effort and energy into game shows because we have seen a lot of demand for access prime-time game shows. We’re also excited about what we’ve achieved at Endemol Sport. It’s the fastest-growing sports media company in Europe.

We have relationships with the International Rugby Board, Manchester City, with Eredivisie Live, our Dutch football channel, Ajax, Inter Milan, Goodwood and Superleague Formula. I would also point out our continued commitment to original digital productions.

TV FORMATS: You’ve pioneered the use of production hubs.

TOUMAZIS: One of the things we think is giving us a com-

petitive advantage is the production-hub approach and the work we’ve done in Buenos Aires with Endemol Argentina to produce a number of very exciting shows. We did that first with Wipeout. These production hubs allow us to invest heavily in the show’s infrastructure and deliver high-quality programming that you wouldn’t otherwise be able to replicate country by country. We’ve proven that with Wipeout and we are now [using the hubs for] 101 Ways to Leave a Gameshow, which was co-developed by Endemol USA and U.K and XXS [Extra Extra Small], which is an Endemol Argentina property.

TV FORMATS: The production model in Argentina is unique.

TOUMAZIS: It is the kind of approach that creates strong tele -

vision at more affordable prices around the world. We can put more on the screen than we would be able to if we built the same set in each country, and many broadcasters just wouldn’t be able to do it. We put significant capital investment into these shows because they are huge sets. I can tell you that for 101 Ways to Leave a Gameshow we constructed a building that allows us to shoot the game show on three different floors, and the top floor at the highest point is 75 feet.

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Rob Clark President of Worldwide Entertainment FremantleMedia TV FORMATS: What kinds of formats are broadcasters looking for?

CLARK: Broadcasters may be under increased economic restraints but the end product is that they still want the same thing—they still need viewers and they still need target audiences. In prime time, they’re still looking for relatively big budget, big shows that will attract a full family audiences—X Factor, Idols, Got Talent. Those three big blockbuster talent formats are still selling and are still on air in every major territory. The other area is outside of prime time, where they are looking for, in terms of pure entertainment, is stripped daily shows. An area that I think will become increasingly important is factual entertainment, because it is relatively budget conscious and does attract audiences.

TV FORMATS: Are buyers also looking for flexibility?

CLARK: I think broadcasters are looking for flexibility in two

areas. Broadcasters do want shows that have no defined run.

So they can run them over six weeks or 13 weeks or if they work, they can run them all the time. That’s one area of flexibility. The other area is, not every broadcaster wants a show in the same slot. We’ve got to be careful that the same show can play in different sorts of slots, depending on how we tweak it—a daily strip half-hour, daily hour, weekly hour, weekly half-hour, big event.

TV FORMATS: What gives classic formats, like The Price is Right, their longevity?

CLARK: Whilst I would argue that formats have a living, breathing space about them, they’re not defined by their age.

When they’re appropriate and when they’re made appropriately, they fit in perfectly to a broadcast schedule.

Catalogues are very valuable and they should be cared for.

The knowledge of who makes them has to be passed down from one producer to the other. The bibles that govern these shows have to be constantly refreshed and constantly renewed.

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Mike Morley Executive VP & Chief Creative Officer, International Production, Sony Pictures Television TV FORMATS: What are the challenges with adapting game shows across borders?

MORLEY: The tricky part is tuning the format into the local culture and at the same time not altering the format’s unique selling points. Local humor, traditions and practices sometimes conspire to dilute a format’s potency, so you have to work creatively to improve the global product to get a good local fit. Localizing shows is one of the things we do best and it’s key that we do it in a cost-effective way. Our team of producers and creators, who have years of experience, can advise clients on how our formats brands will work best and have solutions to address the budgetary pressures that broadcasters are feeling.

TV FORMATS: How important is interactivity with game shows?

MORLEY: Interactivity is hugely important.Ten or 20 years ago, the

only demand on a format was that it needed to be a good show. Now a show must be a 360-degree proposition—in other words, we must be able to package it so that viewers can enjoy it not just on TV but also online and on mobile—something we’ve done very successfully with WhoWants to Be a Millionaire? We’ve also enabled consumers to interact with our brands through physical and digital merchandise such as DVDs, board games, mobile games, ring tones and mobile wallpapers, which are all part of our game-show portfolio.

TV FORMATS: To what do you attribute Who Wants to Be a Mil-

lionaire?’s popularity?

MORLEY: Two major factors in the worldwide popularity of Who

Wants to Be a Millionaire? are that we have been able to successfully localize the show while remaining true to the format and the brand, and our ability to keep it fresh.What has appealed to people worldwide is that the concept of the show is very simple, yet the audience and viewers at home are on the edge of their seats as the excitement and tension builds.We’ve demonstrated our ability to take our format brands to a global audience not only with Who Wants to Be a Millionaire? but with other successful shows such as Mr & Mrs, Dragons’ Den and The Dating Game.

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Paul Telegdy Executive VP, Alternative Programming NBC & Universal Media Studios TV FORMATS: When you are evaluating new concepts, what do you look for?

TELEGDY: Reality programming is no longer a genre that the audience in the U.S. sees as new and groundbreaking. So we still look for ingenuity and innovation as part of the basic concept because even if our audience hasn’t seen the specific twist of a show, our research shows that they will tell you they have already heard of the concept, even if they haven’t. So that means shows need to loom very bright in the area of ingenuity.

TV FORMATS: Why has the U.K. become such a major source for entertainment ideas?

TELEGDY: Light entertainment—big shiny studio shows, primetime entertainment other than scripted drama and comedy—has been a mainstay of British television for 40 years and it never went away.That was out of economic necessity, because the BBC or ITV and, lastly, Channel 4, couldn’t afford to have just drama and comedy on, they had to do all sorts of different things. That heritage, both from a developmental and a practical point of view, never went away.

When American television changed to a more similar economic model [less reliant on expensive scripted dramas and comedies] the main source for ideas, in a short space of time, happened to be the U.K. But the U.K. now faces its own issues, which are similar to the issues the U.S. is facing. Having big hit franchises means there is limited real estate for innovation on those big shows, so you don’t see a lot of new ideas coming through.

TV FORMATS: Are there other markets you look at as well?

TELEGDY: Yes, we take pitches from producers all over the world.

No market mirrors exactly another market in terms of fragmentation or distribution.The U.S. is nothing like Germany, where there are 20 terrestrial networks, but there is a huge [number] of big cable players in America. So you can’t look [at a show] and say that was a hit there and therefore it will be a hit here.... But you can look at concepts that feel like they’ve had either pop-culture traction or that you just loved because you loved watching it.

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François de Brugada Executive VP Banijay Entertainment TV FORMATS: What differentiates Banijay from other companies in the format business?

DE BRUGADA: I think what makes us slightly different is the fact that we are a young organization and everybody is on the same level. Each of the companies that have joined us in the last two years are basically on a totally equal level.There is no history of big existing blocks that have to merge.

And I’d say if you compare us to some other players, our system is very healthy, there are no ego clashes. Everybody is really happy to be part of this club.There’s a real appetite to create something together.Anytime we gather our companies together we have this tremendous feeling that there’s a real desire for working together and jointly developing the successes of tomorrow.

TV FORMATS: Banijay very quickly became a major player in the format business. How did you achieve this rapid growth?

DE BRUGADA: When we started, lots of smart, creative local companies everywhere in the world were thinking, well maybe one day I should be part of an international group.The way we were building the company, on a fairly equal basis for every partner, with people who have had this experience of being independent and part of an international group, was a very convincing story for the people who ended up deciding to sell their company to Banijay.

TV FORMATS: What are your greatest challenges and opportunities

going forward?

DE BRUGADA: We can keep on growing but the big difference will

be, are we able to come up with one, two, or three worldwide blockbusters? We have lots of formats that have been around in four, five, six, eight territories but everybody in the company is really looking for a real worldwide blockbuster that will be a success in 40 territories.That’s our key challenge, to make sure we gather more creative people, put them in the best conditions to work in, planting as many seeds as possible, taking care of each of those seeds, looking for the better-looking sprouts and making sure we find the best ground for this little sprout to become a success.

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Fernando Gaitán Creator Yo soy Betty, la fea TV FORMATS: How did you start out

writing for television?

GAITÁN: I started out as an investigative

journalist and writer and I’ve always been keen on writing stories. A friend of mine told me a television producer wanted to meet me because writing entertaining stories came naturally to me. But at 22, I had never seen what a script looked like. My friend then gave me scripts tossed out by actors at studios after filming, and I began to study them. I put a project together and I showed it to Bernardo Romero Pereiro, who at the time was the grandmaster of all screenwriters in Colombia. He liked what I wrote and gave me a stint on a comedy that aired at noon and that’s how I got started in television.

TV FORMATS: Where did the inspiration to create Yo soy Betty, la

fea come from?

GAITÁN: Yo soy Betty, la fea came from observing women, observing

the people at Canal RCN, the models, actresses, female anchors, the most glamorous and beautiful women, the world of beauty. These women coexist with secretaries, messengers and chauffeurs. It’s a very unique place because they all live in the same environment.

Once I saw how cruel a boss was to his secretary. She wasn’t very pretty and one day she got fed up and quit. Her boss felt his world crumble because his entire life was in her date book: his appointments, contacts, et cetera.That was the starting point for a series of events I began writing that eventually became Yo soy Betty, la fea.

TV FORMATS: Are you involved in the production of local versions?

GAITÁN: No, and it would be impossible because every version,

except for the American one, is more than 100 hours long.There are production guidelines producers have to follow in different parts of the world. Theses guidelines are very flexible and allow every Betty to adapt accordingly, or to customize situations or characters to the cultural context where the story is taking place.

This has given the property tremendous freedom. What we do require is respect for the spirit of the story and the character.This has been done around the world with much success.

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Nicola Söderlund President Sparks Network TV FORMATS: What are buyers looking for in today’s economy?

SÖDERLUND: I believe that this industry has to consider all possible means of ensuring the quality of programs while at the same time keeping budgets down. One way of doing this is through co-productions.

The trick is to keep the local flavor while sharing resources. Sparks Network is… able to provide this to the broadcasters.We are working on several projects where a local edition is offered to the broadcaster, but where a big part of the production is shared between several territories.As our members are present in their local markets, they can adapt quickly to new situations and demands from their clients.

TV FORMATS: How has Sparks managed to remain competitive

against larger format companies?

SÖDERLUND: We are constantly growing our business. Our unique

business model has proved our strength as we combine a local presence through our members with a more traditional distribution arm.

The local members scan their markets for new formats. This is a world-searching machine, which together with the development of formats from the member companies guarantees a great output of some of the most successful formats in the market.

TV FORMATS: What benefits do your member companies derive

from being part of the Sparks Network?

SÖDERLUND: Our members get connected to a constant flow of

proven and successful formats that they have the right to access first.

Our sales organization is getting stronger by the day, and we are now a very respected format supplier in the market. But there are also other values; being part of a creative community where your ideas are tested and filtered is a very useful tool and a benchmark of your creativity.We meet four times a year and have two days of creative discussions about the trends in the market where members pitch their new ideas to each other.We also have constant discussions on all aspects of running a production company, from a business, legal and a creative aspect.

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Distributors

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2waytraffic ADDRESS: 64 New Cavendish St., London W1G8TB, U.K. TELEPHONE: (44-20) 7908-5076 WEBSITES: www.spti.com / www.2waytraffic.com PRESIDENT, INTERNATIONAL PRODUCTION, SPT: Kees Abrahams MANAGING DIRECTOR, 2WAYTRAFFIC INTERNATIONAL, SPT:

Ed Louwerse EXECUTIVE VP & CHIEF CREATIVE OFFICER, INTERNATIONAL PRODUCTION, SPT: Mike Morley VP, ACQUISITIONS, 2WAYTRAFFIC INTERNATIONAL, SPT:

Lisette Van Diepen CONTACT: Sarah Walker, sarah.walker@2waytraffic.com PROGRAMS: The Dr. Oz Show: 1 hr., lifestyle, U.S. syndication, SPT, U.S.; The Nate Berkus Show: 1 hr., lifestyle, U.S. syndication, SPT, U.S.; Stand Out From the Crowd: 30 min.-1 hr., game show, Lietuvos Rytas TV, Lithuania; Plain Jane: 1 hr., non-scripted entertainment, The CW, SPT, U.S.; Dancing Nation: 1 hr., nonscripted entertainment, El Trece, Ideas Del Sur, Argentina; The Duellists: 1 hr., entertainment, Rai Uno, Italy; The Sing-Off: 1 hr., non-scripted entertainment, NBC, SPT, U.S.; On the Spot: 10 min., game show,VTM, Belgium; Who Wants to Be a Millionaire? Hot Seat: 1 hr., game show, Nine Network, Australia; Dragons’ Den: 1 hr., non-scripted entertainment, BBC Two, U.K. “2waytraffic, part of Sony Pictures Television (SPT), comes to MIPCOM 2010 with the strongest-ever slate of winning formats.This year, the company is leading the market in the magazine talk show genre with two exciting formats: The Dr. Oz Show, from the phenomenally successful U.S. show, which is already a hit in Russia and the Middle East; and the home-design and improvement talk show The Nate Berkus Show. Launching for the very first time as a format at this year’s market, The Nate Berkus Show explores a broad range of entertaining topics from stories of personal transformation to interesting guests to the best design tips and secrets. 2waytraffic has one of the most extensive catalogues of game-show content in the world and is taking this genre to a whole new level at MIPCOM with a highly unusual big-screen quiz show Stand Out From the Crowd.”

—Mike Morley, Executive VP & Chief Creative Officer, International Production, SPT 18

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ALL3MEDIA International ADDRESS: Berkshire House, 168-173 High Holborn, London WC1V 7AA, U.K. TELEPHONE: (44-20) 7845-4350 FAX: (44-20) 7845-4360 WEBSITE: www.all3mediainternational.com MANAGING DIRECTOR: Louise Pedersen EXECUTIVE VP, FORMAT SALES: Stephanie Hartog CONTACT: rachel.glaister@all3media.com PROGRAMS: The Cube: 1 hr., game show, ITV1, Objective Productions, U.K.; Undercover Boss: 1 hr., factual entertainment, Channel 4, Studio Lambert, U.K.; Lingo: 30 min., game show, Nederland 3, IDTV, Netherlands; Village on a Diet: 1 hr., factual entertainment, SF1, Allcomm Productions, Switzerland; Undercover Princes: 1 hr., factual entertainment, BBC Three, Objective Productions, U.K.; The Fairy Jobmother: 1 hr., factual entertainment, Channel 4, Studio Lambert, U.K.; Families at the Crossroads: 1 hr., reality, RTL, Filmpool, Germany; Cases of Doubt: 1 hr., reality, RTL, Filmpool, Germany; Cash at Your Door: 30 min., game show, Channel 10, Matar Productions, Israel; Three in a Bed: 1 hr., factual entertainment, Channel 4, Studio Lambert, U.K.; Cash Cab: 30 min., game show, ITV, Lion TV, U.K.

“ALL3MEDIA International is a global leader in the formats arena, collaborating with top creative talent within the ALL3MEDIA group of companies and the world’s best independent producers to develop and deliver innovative new programming. The portfolio spans a diverse range of genres, from hit game show Lingo, Emmy Awardwinning Cash Cab and prime-time entertainment show The Cube, to the best in factual entertainment, such as Undercover Princes, the brand-new The Fairy Jobmother, Mum’s On Strike and ratings-winning Undercover Boss from Studio Lambert.

Recent successes include the creation of the scripted reality genre with German producer Filmpool on Cases of Doubt and Families at the Crossroads; new game show Cash atYour Door with Israel’s Matar Productions; factual-entertainment format Village on a Diet with Switzerland’s Allcomm Productions and popular eco-format Wa$ted with Fumes TV in New Zealand.”

—Stephanie Hartog, Executive VP, International Formats

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Armoza Formats ADDRESS: 16 Ha’Arba’a St., 3/Fl., Tel Aviv 64739, Israel TELEPHONE: (972-3) 540-8333 FAX: (972-3) 562-1353 WEBSITE: www.armozaformats.com CEO: Avi Armoza SALES, EUROPE: Anat Lewinsky SALES: Kelly Wright DEVELOPMENT: Metin Bilman CONTACT: info@armozaformats.com PROGRAMS: Connected: 25 min., factual entertainment, HOT3,

Israel; 7-Question Millionaire: 45 min., game show; Restart: 30 min., cross-platform drama, Orange, Israel; The Frame: 30 min.-90 min., cross-platform reality format, Antena 3, Spain; Comedians at Work: 45 min., comedy, Channel 2, Israel; Upgrade, 25 min., game show, Prima TV, Romania; The Bubble: 30 min., game show, Channel 10, Israel; Extreme Wedding Album: 45 min., reality game show, Channel 10, Israel; The Common Denominator: 30 min., game show; The Ran Quadruplets: 30 min., drama, yes Stars, Israel.

“In the TV business, we are constantly searching for the ‘next big thing’ and the ‘future of TV.’ Here at Armoza Formats, it’s our mission to introduce the formats of the future, today.

This October at MIPCOM, we’re really looking forward to building on the success of our MIPTV releases and expanding our portfolio of cross-platform formats, anchored by reality show The Frame, which we launched in April.

The Frame’s worldwide success is based on the format’s ability to intelligently incorporate interactive elements into a wholly multi-screen concept headlined by a major, primetime reality TV show.

We’re taking this theme even further at MIPCOM with our three new launches, which are all cross-platform in structure: Connected (factual entertainment), 7-Question Millionaire (game show) and Restart (TV/web drama).”

—Avi Armoza, CEO

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Banijay International ADDRESS: 5, rue François 1er, 75008 Paris, France TELEPHONE: (33-1) 4318-9191 WEBSITE: www.banijayinternational.com MANAGING DIRECTOR: Karoline Spodsberg CONTACT: Jonathan Tuovinen,

j.tuovinen@banijayinternational.com PROGRAMS: Superstar Ding Dong: 1 hr., game show, TV3,Vision

Independent Productions, Ireland; Project Family 2011: 8x1 hr., factual entertainment, Nordisk Film TV, Norway; Dilemma: 64x45 min. + 8x2 hrs., reality competition, W9, ALJ Productions, France; 71 Degrees North: 8x1 hr., reality competition, TV Norge, Nordisk Film TV, Norway; My Parents are Gonna Love You: 9x1 hr., entertainment, NRJ12, JES Productions, France.

“At Banijay International our formats are always on the pulse of TV trends, such as My Parents are Gonna Love You and Superstar Ding Dong, which combine traditional TV entertainment genres with the current appetite for celebrities and pop music. This doesn’t only apply to content. With Dilemma, we embraced the opportunities offered by the proliferation of digital television, and created a hit for the platform: the first season of Dilemma was a runaway success for France’s W9, the highest-ever rated digital launch in France and regularly out-rating analogue terrestrials. Our formats have staying power, too. Take 71 Degrees North, the extreme celebrity-reality competition.The series has had 12 successful seasons in its native Norway and continues to be reversioned around the world, most recently on ITV1 in the U.K. Our next big thing is Project Family 2011, the family-experiment format launching in Cannes. See you there!”

—Karoline Spodsberg, Managing Director

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Comcast International Media Group ADDRESS: 5750 Wilshire Blvd., Los Angeles, CA 90036, U.S.A. TELEPHONE: (1-323) 692-6572 FAX: (1-323) 954-2657 WEBSITE: www.comcastintl.com PRESIDENT, COMCAST INTERNATIONAL MEDIA GROUP & COMCAST ENTERTAINMENT PRODUCTIONS: Kevin MacLellan EXECUTIVE VP: Duccio Donati CONTACT: Jene Elzie, jelzie@comcastnets.com PROGRAMS: Baggage: 30 min., game show, Comcast

Entertainment Studios, U.S.; Bridalplasty: 10x1 hr., reality competition, U.S.

“We have been pleased with the results from our format sales, which is a relatively new area for CIMG. Our most recent successes include Baggage, which was produced by our in-house production group Comcast Entertainment Studios and has been licensed in the U.K., Sweden, France and Spain, among others. We have drafted off of the unprecedented ratings success of the Jerry Springer-hosted U.S. version (airing on GSN) and we will continue to see the interest grow internationally as local versions go to air Building on this momentum, we are pleased to bring Bridalplasty to the market. The series, premiering on E! in the U.S. this November, will see the age-old pursuit of perfection paired with the wildly popular wedding genre. Like Baggage, the reason this format works so well is—in this case, the perfect wedding and the perfect body.”

—Jene Elzie, VP, International Sales & Strategic Planning

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Endemol Group ADDRESS: MediArena 1, 1099 CZ Duivendrecht, Amsterdam

Zuid Oost, Netherlands TELEPHONE: (31-20) 893-9000 WEBSITE: www.endemol.com CHIEF CREATIVE OFFICER: Paul Römer HEAD, FORMAT DISTRIBUTION: Ana Langenberg DIRECTOR, ACQUISITIONS: Grant Ross CONTACT: sales@endemol.com PROGRAMS: Zoon: social media reality show, Endemol

Germany; Timeline: reality game show, Endemol Argentina; Stuck in a Gameshow: reality game show, co-developed with French TV; The Money Drop: game show, Remarkable Television, U.K.; The Marriage Ref: entertainment; 101 Ways to Leave a Gameshow: game show, Endemol UK & Endemol USA; XXS: game show, Endemol Argentina; The Whole 19 Yards: game show, Endemol Argentina.

“This MIPCOM Endemol proudly presents a lineup of ground-breaking ‘hybrid’ formats that cross over program genres and media platforms. Here’s a taste: Timeline combines traditional reality TV with a classic gameshow format. Zoom fuses TV and social media in the same way that Big Brother did for TV and the Internet. Stuck in a Game Show is a cross over between a daily reality show and a daily game show. The Money Drop is the nail-biting TV game show that you can simultaneously play online at home. It’s a smash hit in the U.K. and is rapidly rolling out to major markets around the world.”

—Paul Römer, Chief Creative Officer

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Global Agency ADDRESS: Abdi Ipekci cad. Arman Palas #7/17, Nisantasi 34367 Istanbul, Turkey TELEPHONE: (90-533) 766-1525 FAX: (90-212) 296-6053 WEBSITE: www.theglobalagency.tv FOUNDER & CEO: Izzet Pinto HEAD, SALES: Gila Kantar HEAD, ACQUISITIONS: Andrew Sime PROGRAMS: The Perfect Bride: 13 weeks, dailyx45 min., wedding reality; My Ex is My Witness!: 13 weeks, dailyx45 min., wedding reality; The Big Challenge: 13 weeks, weeklyx2 hrs., reality; Rent-a-Mama: 13 weeks, dailyx45 min., reality; Choosing My Religion: 10 weeks, weeklyx2 hrs., reality; The King’s Jungle, 16 weeks, dailyx45 min., reality; Forbidden Love, 79x90 min., scripted drama.

“Renowned for its controversial formats, Global Agency offers exciting and original content to its clients year after year. Bringing on the buzz at MIPCOM is the sensational hit drama Forbidden Love, which achieved a whopping 73.7-percent ratings share. Adventure format The Big Challenge is one of the highlights for MIPCOM, as well as the huge reality show The King’s Jungle.

Worldwide rights are available for this great format, along with a complete production package on Mango Island in India. The Perfect Bride is a groundbreaking reality show that achieved a staggering 71.7-percent share. My Ex is My Witness! is a hot new property that is expected to be licensed to over 40 territories in the next 18 months. Our projects are sure to boost your ratings!”

—Izzet Pinto, Founder & CEO

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Globo TV International ADDRESS: Rua Evandro Carlos de Andrade, 160/7º andar, Vila Cordeiro, São Paulo 04583-115, Brazil TELEPHONE: (55-11) 5112-4295 FAX: (55-11) 5112-4305 WEBSITE: www.globotvinternational.com HEAD, INTERNATIONAL SALES: Raphael Corrêa Netto PROGRAMS: Sketch it Out: comedy; Profession Reporter: journalism/reality; Wreckovery; Laugh-O-Meter; The Video Game: daily, quiz show; Xtreme Connection: game show; The Spelling Game: game show.

“The formats continue to be our biggest bet.

This year we launched two innovative formats: Profession Reporter and Sketch it Out. Profession Reporter is an original groundbreaking journalistic-reality format, which goes behind the scenes of news stories. Sketch it Out was a success during Brazilian prime time and was on air for eight years. All programmers look for products that have good ratings in their home countries. Globo formats are leaders in their time slots.

TV Globo has the advantage of being a company that creates, produces and exhibits in very fast time frame. This allows the company to have a quick audience response similar to that of telenovelas.

Apart from this, we pay a lot of attention to detail, and this is the TV Globo way, as is its commitment to deliver products of the highest quality and that include creative and production values.”

—Raphael Corrêa Netto, Head, International Sales

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ITV Studios Global Entertainment ADDRESS: The London Television Centre, Upper Ground,

London, U.K. TELEPHONE: (44-20) 7491-1441 WEBSITE: www.globalent.itv.com CREATIVE DIRECTOR, ITV STUDIOS: John Whiston INTERNATIONAL FORMAT CONSULTANT: Merrily Ross HEAD, ENTERTAINMENT DEVELOPMENT, FORMATS: Joe Mace PRODUCTION EXECUTIVE: Jane Smith FORMATS MANAGER: Holly Daniels PROGRAMS: Coach Trip: 30 min., reality, Channel 4, 12 Yard

Productions, U.K.; Four Weddings: 1 hr., entertainment, LIVING, ITV Studios, U.K.; May the Best House Win: 1 hr., factual entertainment, ITV1, ITV Studios, U.K.; The Chase: 1 hr., game show, ITV1, ITV Studios, U.K.; Come Dine With Me: 30 min. or 1 hr., factual entertainment, Channel 4, ITV Studios, U.K.; Party Wars: 1 hr., entertainment, LIVING, ITV Studios, U.K.; The Parent Trip: 1 hr., factual, ITV2, ITV Studios, U.K.; All Aboard the Love Bus: 30 min., dating, Fiver, Carbon Media, U.K.; Talkin’ ‘Bout Your Generation: 30 min., game show, Network Ten, Granada Media Australia, Australia; Popstar to Operastar: 1 hr., entertainment, ITV1, ITV Studios, U.K. “ITV Studios Global Entertainment is one of the world’s leading international TV distribution, home-entertainment, merchandising and licensing businesses. ITV Studios Global Entertainment proudly represents a world-class portfolio from ITV Studios, Granada and over 200 leading independent producers. Showcasing more than 35,000 hours of critically celebrated and hugely-popular original and formatted programming, including all-new Hell’s Kitchen, Come Dine With Me, Four Weddings, Dancing on Ice, I’m a Celebrity Get Me Out of Here!, Saturday Night Takeaway, Coach Trip, May the Best House Win and The Chase.”

—Corporate Communications

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Coach Trip: Seven pairs of strangers, all from different backgrounds, become constant traveling companions on a sixweek bus tour, taking in the famous sights of Europe. But as the trip progresses, some of the tour group must go home, and the travelers themselves must decide who that will be.

The voting will take place each evening in a face-to-face meeting, allowing the travelers to air all the grievances that build up over a busy day of traveling.

Four Weddings: With four competitive brides and their four different nuptials, Four Weddings is an entertaining journey through the thrills and spills of each bride’s special day. While one contestant is getting hitched, the other three guest brides have to cast judgment and secretly score each special day. The bride with the highest score at the end of each episode wins a five-star dream honeymoon.

May the Best House Win: When four very different homeowners take turns to host a tour of their homes, we’ll find out just how accurate saying ‘you are where you live’ actually is. The other contestants will get a chance to snoop around before rating the home, each hoping that at the end it’s their house which will come out on top.

The Chase: The Chase isn’t just a quiz, it’s a race, where the players must ensure they stay one step ahead of the chaser, one of the finest quiz brains in the country. Four contestants will face tough quick-fire questions to build up their prize money, but if they allow the chaser to catch up to them, they are out of the game.Working as a team, the players will then unite before the common enemy. Stay ahead of the chaser and they share the pot, get caught and they lose the lot.

Come Dine With Me: The Come Dine With Me format has established itself as one of the world’s most successful television format exports, currently produced into over 2,800 episodes across 11 languages. The unscripted factual-entertainment format follows amateur chefs competing against each other by hosting a dinner party for the other contestants. Each competitor then rates the host’s performance and the winner is rewarded with the ‘ultimate dinner party host’ title and a cash prize.

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Mediaset Distribution ADDRESS: Via Aurelia Antica 422, 00165 Rome, Italy TELEPHONE: (39-06) 6639-0566 FAX: (39-06) 6639-0560 WEBSITE: www.mediasetdistribution.com HEAD, SALES: Patricio Teubal CONTACT: internationalsales@mediaset.it PROGRAMS: About My Brother: 6x100 min., scripted/soft

crime; My Daughters: season 1, 8x50 min./season 2, 12x50 min./season 3, 16x50 min., scripted drama; Family Storm: seasons 1,3,4, 8x50 min./season 2, 12x50 min., scripted comedy; Young Enough: 16 seasons, 20x30 min., scripted sitcom; Police District: seasons 1-2, 24x50 min./seasons 3-9, 26x50 min., scripted/police series; 48 Hours: 3 seasons, 12x50 min. or 6x100 min., scripted/crime; Girlfriends: 12x50 min., comedy; Antimafia Squad: 12x50 min., mafia.

“In addition to our vast ready-made catalogue, we have increased notably our new scriptedformats business, and after two years of activity we have closed options and adaptations in 11 different countries, including France and the U.S. Our company has proved to be not only a supplier of ready-made programs, but also a provider of successful and profitable stories and ideas for producers. In a few years we have reached many markets with our scripted formats and are the first company in non-Englishspeaking Europe to have closed deals for a U.S. adaptation (four options with three different companies). We will work hard in order to maintain this trend.”

—Patricio Teubal, Head, Sales

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SBT (Sistema Brasileiro de Televisão) ADDRESS: Av. Das Comunicações, nº 4, Vila Jaraguá, Município de Osasco, São Paulo, Brazil TELEPHONE: (55-11) 3687-4572 FAX: (55-11) 3601-0360 WEBSITE: www.sbt.com.br EXECUTIVE DIRECTOR: Daniela Beyruti INTERNATIONAL SALES EXECUTIVE: Carolina Scheinberg PROGRAMS: Bound or Rebound: 1 hr., game show, SBT, Brazil; Building a Dream: 45 min., reality, SBT, Brazil; Jump If You Dare: 20 min., game show, SBT, Brazil; Animal TV: 45 min., variety show, SBT, Brazil; Family Matters: 1 hr., talk show, SBT, Brazil; Opposites Attract: 1 hr., reality game show, SBT, Brazil.

“SBT is about to complete three decades of bringing the best in entertainment to all Brazilian homes. Our television programs have become an integral part of family gatherings nationwide, and we’re proud to have garnered such a loyal and demographically diverse audience across the country.

With a proven track record in Brazil, SBT is now looking for new audiences overseas, and is very excited to offer our shows to clients internationally. Some of our successful highlights this year include Opposites Attract, a hilarious reality game show about human behavior with a lot of humor, celebrities and relationships; Jump If You Dare, a challenging, adrenaline-pumping game show centered on a mysterious swimming pool where only the quickest survive; and Animal TV, a variety show for all the animal lovers out there filled with new ideas, intriguing information and exotic looks—a must see!

Many more thrilling titles are in the pipeline and SBT is eager to share it all with the rest of the world.”

—Daniela Beyruti, Executive Director

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SevenOne International ADDRESS: Medienallee 7, 85774 Unterfoehring, Germany TELEPHONE: (49-89) 9507-2320 FAX: (49-89) 9507-2321 WEBSITE: www.71int.com MANAGING DIRECTOR: Jens Richter REGIONAL SALES DIRECTOR & HEAD, INTERNATIONAL FORMAT ACQUISITIONS: Caroline Kusser CONTACT: sales@71int.com PROGRAMS: Benidorm Bastards: 30 min., hidden camera, 2BE,

SHELTER, Belgium; My Man Can: 90 min., game show, Sat.1, Redseven Entertainment, Germany; The Insider : 45 min., sciencetainment, Sat.1, Redseven Entertainment, Germany; Love Bites: 45 min., reality, ProSieben, blue eyes Film & Television, Germany; Culture Shock: Norway: 45 min., reality, TV Norge, Monster Entertainment, Norway; Money Trap: 90 min., game show, ProSieben, Redseven Entertainment, Germany; Beat your Host!: game show, ProSieben, BRAINPOOL, Germany; Schiller Street: 45 min., improv. comedy, Sat.1, Hurricane Fernsehproduktion, Germany; Clever!: The Quiz Show that Makes Science Fun: 45 min., game show, Sat.1, Constantin Entertainment, Germany; Galileo: 1 hr., sciencetainment, ProSieben, Germany.

“SevenOne International is the worldwide programming distribution house of ProSiebenSat.1 Media’s Red Arrow Entertainment Group. Red Arrow combines a dynamic and growing group of international television production companies with powerful creative partnerships, alongside SevenOne International. ProSiebenSat.1 Media is the second-largest broadcasting group in Europe, reaching more than 78 million TV households. SevenOne International offers an extensive portfolio of TV events, TV movies, telenovelas, prime-time series and mini-series, as well as magazines show and entertainment formats. In addition, SevenOne International markets and co-finances the programs of third-party producers.

The company’s headquarters is located in Munich.”

—Corporate Communications

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Sparks Network ADDRESS: Kungsgatan 48, 2/Fl., 111 35 Stockholm, Sweden TELEPHONE: (46-8) 5560-9380 FAX: (46-8) 5560-9389 WEBSITE: www.sparksnetwork.com MANAGING DIRECTOR: Fredrik af Malmborg PRESIDENT: Nicola Söderlund PROJECT MANAGER: Nathalie Bylund PROGRAMS: Just Married: weeklyx1 hr. with daily updates,

reality, MBC, Everyshow, Korea; Tourist Guides: dailyx30 min., work-place reality, Nelonen, Susamuru, Finland; Ezel: season 1, 33x90 min./season 2, 35x90 min., scripted drama, ATV, Ay Yapim, Turkey; No Frontiers: 30 min.-1 hr. weekly, travel doc., TV Asturias, Zebra Producciones, Spain; Battle of the Blades: 90 min. weekly, reality/ice-sports competition, CBC, Insight Productions, Canada; How to Become a Millionaire: 1 hr. weekly, reality, TV6, OTW Entertainment, Sweden; Lakis: 90 min. weekly, drama/comedy, Mega TV, Kapa Studios, Greece; Love Bus: 1 hr. weekly, adventure reality, Fuji TV, Japan; Back in Wedding Shape: 1 hr. weekly, factual entertainment, VTM, Belgium.

“Sparks Network is one of the world’s leading distributors and development networks of television formats and television programs. We have a global reach and a unique experience in creating the best value for the rights holders that we represent. As a rights holder, you can trust Sparks to develop your property in the best possible way and as a TV channel or produce, you can count on Sparks as a top of the line partner for either local adaptations of formats or for acquisitions of ready programs.”

—Fredrik af Malmborg, Managing Director

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Telefe International ADDRESS: Pavón 2444, Buenos Aires 1248, Argentina TELEPHONE: (54-11) 4102-5810 FAX: (54-11) 4308-6848 WEBSITE: www.telefeinternational.com.ar DIRECTOR: Alejandro Parra HEAD, INTERNATIONAL DISTRIBUTION, PROGRAMMING, FORMATS & PRODUCTION SERVICES: Michelle Wasserman PROGRAMS: WAGs, Love for the Game: 134x1 hr., action/sus-

pense, Telefe, Underground/Endemol/Telefe Internacional, Argentina; The Successful Mr. and Mrs. Pells: 160x1 hr., romantic comedy, Telefe, Telefe Internacional/Endemol Argentina/ Underground, Argentina; Montecristo: 145x1 hr., telenovela, Telefe, Telefe Internacional, Argentina; Love’s Guard: 210x1 hr., telenovela,Telefe,Telefe Internacional, Argentina; Everybody Against Juan: seasons 1-2, 13x1 hr., season 1 America TV/season 2 Telefe, Rosstoc/Fox Television Studios, Argentina; Brothers, Detectives & Co.: 10x1 hr., mini-series, Telefe, Telefe Internacional, Argentina; Pretenders: season 1, 13x1 hr./season 2, 11x1 hr., Telefe, Telefe Internacional, Argentina; Turning Points: 13x1 hr., drama, Channel 7, Casanova Producciones, Argentina; 3, 2, 1 Let’s Win!, 120x1 hr., entertainment, Telefe, Telefe Internacional/ON TV, Argentina; Just in Time: season 1, 175x1 hr./season 2, 100x1 hr., Telefe, Telefe Internacional/WIN TV.

“Telefe’s entertainment-format offerings for MIPCOM are simple, original and easy entertainment shows to be produced either for access prime or prime time, targeting the whole family.

These shows combine originality, a nice appeal for the viewers and light humor in different presentations that are easy for the audience to understand and simple to produce for the broadcaster/production company. The formats come along with a strong adaptation experience in different countries.

Our telenovelas—far from the traditional books and away from the ‘pink telenovelas’—are prime-time stories that have captivated and still are captivating a wide target (teens, young adults and adults) that reflects reality for the viewers through the aspirational sense.”

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Telemundo Internacional ADDRESS: 2745 Ponce De Leon Blvd., Coral Gables, FL 33134, U.S.A. TELEPHONE: (1-305) 774-0033 FAX: (1-305) 774-7372 WEBSITE: telemundointernacional.com PRESIDENT: Marcos Santana VP, SALES EUROPE, MIDDLE EAST & AFRICA: Karina Etchison VP SALES & INTERNATIONAL BUSINESS DEVELOPMENT, ASIA:

Xavier Aristimuño SENIOR VP, SALES & ACQUISITIONS, LATIN AMERICA: Esperanza

Garay PROGRAMS: Where is Elisa?: 64x1 hr., telenovela, TVN, Chile;

Behind Every Woman: 120x1 hr., telenovela, Argos Comunicación, Mexico; Falling Angel: 182x1 hr., telenovela, Telemundo Studios, U.S.; Count Vrolok: 100x1 hr., telenovela, TVN, Chile.

“Telemundo Internacional has a diverse catalogue of successful formats, including Where is Elisa?, Behind Every Woman, Falling Angel and Count Vrolok.

Where is Elisa? has achieved phenomenal success worldwide. The Chilean version, which reached 57 ratings points during its final episode, won a Banff World Television Festival Rockie Award and is nominated for a Seoul Drama Award. The U.S. Hispanic adaptation, nominated for a Rose d’Or, became Telemundo’s highest rated telenovela. Where is Elisa? has been sold as a format in Argentina, Colombia, Brazil, Indonesia, the Philippines and Turkey, among other countries.

Falling Angel, sold in more than 70 countries, has become a smash hit, becoming number one in its time slot in more than 15 countries.

Behind Every Woman is a fusion between a series and a telenovela, which narrates the adventures of a family that is cursed with tragedy: all the women end up becoming widows.

Count Vrolok intrigued viewers in Chile, obtaining an average of 44 ratings points with peaks of 54 points during its debut, making it the channel’s most successful premiere.”

—Karina Etchison, VP, Sales, Europe, Middle East & Africa

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Televisa Internacional ADDRESS: 6355 NW 36th St., Miami, FL 33166, U.S.A. TELEPHONE: (1-786) 265-2500 FAX: (1-786) 265-2269 WEBSITE: www.televisainternacional.tv GENERAL DIRECTOR, NEW CONTENT & FORMATS: Eduardo

Clemesha DIRECTOR, NEW CONTENT & FORMATS: Jose Luis Romero PROGRAMS: Decades: 13x3 hrs., reality, Televisa, U.S.; Teresa: 150x1 hr., drama/telenovela, Televisa, U.S.; Timeless Love: 150x1 hr., drama/telenovela, Televisa, U.S.; A Woman of Steel: 135x1 hr., drama/telenovela, Televisa, U.S.; I’m Searching For…: 4x1 hr., reality, Televisa, U.S.; Make Me Laugh!: 8x3 hrs., reality, Televisa, U.S.; The Show of Dreams: 13x3 hrs., reality, Televisa, U.S.

“Televisa Internacional, the international distributor of content for Grupo Televisa, is the world’s leading distributor of Spanish-language programming and formats. For over 50 years, our telenovelas have become international hits and today we continue our legacy by offering to more than 100 countries worldwide our HD and digital TV programming which includes series, reality shows, animation and movies.

We also have an innovative catalogue of original formats for telenovelas, series, game and reality shows of guaranteed success and backed by the expertise and talent of our experts in production and marketing. Our sales offices are strategically located in Miami, New York, Mexico City, Buenos Aires, Madrid and Beijing.”

—Corporate Communications

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TOAC ADDRESS: Encinas del Paular 6, 28224 Pozuelo de Alarcón,

Madrid, Spain TELEPHONE: (34-91) 799-0981 FAX: (34-91) 799-0982 WEBSITE: www.toac.tv CEO: Secundino F. Velasco CEO: Rubén Llavona PROGRAMS: Remember When (Cuéntame): 200x70 min., drama, TVE, Spain; Married Bliss (Escenas de matrimonio): 400+x30 min., sitcom, Telecinco, Spain; The Bold and the Beautiful: 6,000+x30 min., daily drama, CBS, U.S.; Gabriel: 12x2 hrs., miniseries/drama, Mega TV, Greece; The Million Game: 900+x30 min., game show, Telecinco, Spain; Breakout: 37+x1 hr.-2 hrs., reality; Bet For Life: 37+x45 min.-2 hrs., reality/emotainment; Snow Rescue: 37+x45 min.-2 hrs., extreme reality.

“TOAC is a new international television production and distribution company. Our aim is to be flexible, concentrating on a limited number of very special formats. Our focus is on high-profitability international hits. Our intention is to be the essence of our industry. Our aim is to put together a small catalogue of great formats that become international hits. We will achieve our aim with the support of a team who has been producing television for 20 years, plus our analysis of the market’s needs.We apply our passion to achieve our aims.We create and develop formats based on the analysis of what society wants in each moment. We select formats with great international value for its distribution and production. We produce in those countries where we have natural access and where we find the right partner who shares our philosophy.”

—Secundino F. Velasco & Rubén Llavona, Co-CEOs

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Twentieth Century Fox Television Distribution ADDRESS: P.O. Box 900, Los Angeles, CA 90213, U.S.A. TELEPHONE: (1-310) 369-1000 FAX: (1-310) 369-8877 WEBSITE: www.FoxFormats.com PRESIDENT, INTERNATIONAL TELEVISION: Marion Edwards SENIOR VP, INTERNATIONAL DEVELOPMENT & SALES:

Yoni Cohen VP, CREATIVE AFFAIRS, CURRENT PROGRAMMING, TWENTIETH CENTURY FOX TELEVISION: Steve Sicherman PROGRAMS: Bones: 1 hr., scripted drama; Dharma & Greg: 30

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

“At Twentieth Century Fox, our goal is to bring the storytelling and creative powerhouse that is Fox Television to our clients and provide them the opportunity to produce the most innovative and globally dynamic franchise series available. Partnering with production companies who have a strong fit with the particular material, we focus on maintaining the integrity of the original series as it is developed for the local market. For example, we recently partnered with Channel One, the leading broadcaster in Russia who also has a distinguished track record in drama production, to develop a Russian version of the hit Fox drama series Prison Break. Also in Russia, we have partnered with CTC, one of the leading networks with a long history of producing successful comedy series, to produce 40 episodes of Fox’s hit ensemble comedy series How I Met Your Mother. In addition to focusing on our franchise shows, we are committed to actively pursuing quality programming by leveraging broken pilots like The Oaks, which is currently in production with ITV in the U.K. as part of a Fox/ITV on-going international production partnership.”

—Marion Edwards, President, International Television

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E

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Years of Excellence

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