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Distributors GUIDE 2012/2013
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Contents A Note from the Editor . . .10 Interviews . . . . . . . . . . . .11 Distributors . . . . . . . . . . .25 Channels to Watch . . . . .105
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 and Editor, English-Language Guides Kristin Brzoznowski
Mansha Daswani VP of Strategic Development and Associate Publisher
Production Directors Meredith Miller Chris Carline
World Screen ÂŠ 2012 WSN INC. 1123 Broadway, #1207 New York, NY 10010 U.S.A.
Online Director Simon Weaver Associate Editor Joanna Padovano
Phone: (212) 924-7620 Fax: (212) 924-6940
Sales and Marketing Director Cesar Suero
Website: www.worldscreen.com No part of this publication can be used, reprinted, copied or stored in any medium without the publisherâ€™s authorization. For a free subscription to our newsletters, please visit WorldScreen.com/pages/newsletter
Business Affairs Manager Terry Acunzo Sales and Marketing Manager Vanessa Brand
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KGUIDE_1012_COLUMN_KGUIDE_1008_EDITORIAL 9/10/12 5:39 PM Page 1
A Note from the Editor I’ve been suffering from a great deal of nostalgia lately, looking at my grown-up son and teenage daughter and longing for when they were little. I remember them seated on the rug watching TV, their small heads covered in silky curls, drinking from juice boxes, snacking on peanut-butterand-jelly sandwiches, often with a favorite plush doll or toy next to them. And their hands were always sticky! Nowadays, “sticky” has been given a whole new meaning by the children’s television business—a business that has changed enormously in the last two decades. Back then there were simply “TV shows.” Then came the term “property,” as producers and distributors realized the potential bonanza that could be made from a wealth of consumer products, video games and home video.Today, the property has to be sticky, meaning capture children’s attention, secure their affection so that they want to make its characters part of their daily lives. As in the past,TV shows can originate from books or toys or feature films, but they can also come from online shorts or video games. All, however, require a detailed, comprehensive merchandising plan, because without those ancillary revenues, license fees would never be enough to cover the cost of making the shows. Technology has undoubtedly had an impact on the children’s television business, but perhaps an even greater influence on the ways properties are produced and rolled out is children’s expectations. They want to watch their shows whenever they want. They expect to find games and activities online. They know to look for toys, clothes and backpacks in store aisles and they are master multitaskers; they want it all and all at once. Toddlers can operate tablets with an ease that puts us grownups to shame. Preschoolers can work a remote control and navigate multiple channels. The digital world is their playground as much as the sandbox, jungle gym and swing sets. Children are fickle viewers, knowing from a very young age what they like and what they don’t like, but once they latch on to a show, they remain attached for a long time. The distributors featured in this guide know a thing or two about sticky properties that attract loyal viewership. —Anna Carugati 10
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KGUIDE_1012_INTERVIEWS_DIST_1207_INTERVIEWS 9/10/12 6:01 PM Page 1
Anne Sweeney Co-chairman, Disney Media Networks President, Disney/ABC Television Group TV KIDS: How do you seek out and develop new talent and shows? SWEENEY: What Gary Marsh [the president and chief creative officer of Disney Channels Worldwide] and his team have done so artfully is find the right stories and pair them with the right stars all in an effort to enrich kids’ and families’ lives.These are great stories with relatable characters, and on the production side, this strategy has also provided wonderful opportunities for some very talented performers to follow their dreams across multiple Disney businesses.There have been many wonderful successes. We have an amazing casting team that searches for talent every single day. Diversity is always at the forefront of their efforts because we really want viewers to see themselves.We want them to see their families and their cultures on television, so we look for talent all over the world to create content that’s global as well as localized for our 100-plus channels out there. TV KIDS: How are you reaching kids beyond linear platforms? SWEENEY: The first thing we do is put them first.The reason we
have done well is that we put our viewers ahead of our business model, and really learn how they’re using our content. The strategy plays out in different ways based on the content of the target audience and our goals. The premiere of the Disney Channel original movie Phineas and Ferb: Across the 2nd Dimension is a perfect example of how we leverage content across multiple platforms to maximize our performance. We made previews of the movie available a couple of days before the TV premiere through our Disney on Demand VOD service. When the movie officially premiered on Disney Channel, it did so with a video simulcast on Sprint and Mobitv mobile devices. Several months before the premiere, DisneyChannel.com and DisneyXD.com had invited users to visit an enhanced Phineas and Ferb supersite.We were operating on multiple platforms, not just to create excitement for the movie, but also to continue the excitement through the premiere and after the premiere. 12
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Stan Lee Chairman & Chief Creative Officer POW! Entertainment TV KIDS: What was your approach to
creating some of the characteristics of your classic superheroes? LEE: I’m very scientific minded. For example, I didn’t just have SpiderMan gain a spider power miraculously, I did it as scientifically as possible—he was bitten by a radioactive spider. It could have happened to anybody. When the Hulk became the Hulk, it just didn’t happen casually—there was a gamma-ray bomb that exploded. I can give you a very clear and definite understanding as to why I and the people at POW! and at Marvel are so much more scientific than the competition. Here’s the example. You’ve seen Superman flying on the screen, haven’t you? He doesn’t have a jet engine, there’s nothing pushing him, he just sort of assumes a horizontal position, lies on the air and off he goes. When I wanted a character to fly, such as the Silver Surfer, I gave him a flying surfboard— perfectly scientific, perfectly understandable, and not the least bit as frustrating as wondering how Superman does it. So as you can see, science is really something I’m very much into and every factor of our stories is as scientifically accurate as I can make them. TV KIDS: Can you tell us about some of the new international superheroes you’re creating? LEE: We’ve [started with] a superhero who is Chinese. His story will bring him to America and the climax of the story takes place back in China. This is not a movie merely for the Chinese audiences—it’s a movie for people worldwide. What we are trying to do, and I think we’re accomplishing it magnificently, is to get heroes who are not all Americans. [We want them to] represent people from all over and show not only that any person of any nationality or any race can be a superhero, but we can make these stories [compelling] enough that people around the world will be interested in them. 13
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Stephen Davis President Hasbro Studios TV KIDS: What is the process for mining that huge portfolio of Hasbro properties? DAVIS: It’s wonderful because Hasbro has over 1,500 brands, so obviously we have a lot to choose from. We spend a considerable amount of time as a senior leadership team, both within Hasbro and working with Margaret Loesch, who runs The Hub, and her team to really align Hasbro’s brand priorities with The Hub’s programming priorities to reimagine, reinvent and reignite the Hasbro brands for TV. We have some very good, healthy debates about the various brands that’ll break through for television. Having a wealth of brands to choose from, we can actually plan pretty far forward, which is a great position to be in. We can also be very nimble because we own and control a majority of our brands, so we only have ourselves to come to when we want to make changes on the fly as one has to do. We also believe strongly in the voices of our creative stewards, our show runners.We’re pleased that we’ve been able to work with a number of A-list talent in our business. TV KIDS: Do you see toy brands having a larger role in the global children’s content market? DAVIS: Brands themselves will continue to have a significant impact irrespective of where those brands may come from. We live in an increasingly cluttered and fragmented entertainment market: lots of great ideas, lots of creativity, lots of competition. Everybody is looking for a way to cut through that clutter—they’re looking for self-promoting brands, they’re looking for IP that people can respond to. Ultimately you may respond to a terrific brand but we also have to deliver from a storytelling perspective—I’m not sure everybody understands that. It’s not enough to say you have wellrecognized IP; beyond that you have to reignite it in a significant way, create stickiness around the series and create viewer loyalty. That’s the real challenge. 14
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Sander Schwartz President, Kids & Family Entertainment FremantleMedia Enterprises TV KIDS: What factors have driven the
growth of the kids and family entertainment division? SCHWARTZ: The commitment of FME to support the business has been paramount to what we’ve been able to achieve. Secondly, the reputation of FME as a great packager, producer and distributor of shows, as well as a world-class distributor of the ancillary rights, this attracts talent and potential partners. On top of that, I’ve learned a little something about kids’ content in my 30 years of business...and that experience, coupled with many long-term relationships, has given us an advantage. Putting those three factors together we were able to quickly assemble a portfolio of projects with key producers and networks, such as the BBC in the U.K., ABC in Australia, and Nickelodeon and Disney in the U.S. TV KIDS: What opportunities do you in the current kids’
content market? SCHWARTZ: From all of the dislocations and changes in
recent years, there have come great opportunities for directors, writers, creators, producers, to sell their shows. Never has it been easier to get a show seen by an audience because there are more channels than ever before. On the other hand, financing those shows is more challenging than ever, as a more fractured audience means more fractured license fees, and [as a result] funding new series [is] more complicated. For those who can figure out how to put together the patchwork quilt of funding required to finance television series today, there is great opportunity. The future of the business as a whole is quite bright and I believe has turned a corner. It’s up to the creative community out there to rise to the challenge and to get as creative on the business side of the equation as they have always been on the creative side of production. 15
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Claude Schmit CEO Super RTL TV KIDS: In the last few years, you have
been transforming Super RTL from a linear channel to a cross-media brand. Why has this been important? SCHMIT: It is important for two reasons. The first one is, running a TV channel is very expensive. We became the market leader in 1998 and we were very proud of that. Unfortunately, we were still losing tons of money in those days, and that is not a very good condition to be in, especially if you consider the reaction of your shareholders! So we created our cross-media strategy, which helped us generate more money and transform Super RTL into a very profitable business. We had to develop more sources of revenue to make the company profitable. The other reason is that we believed that TV alone is not the model of the future—I think everybody agrees with that. The difference is that we were already pioneering this idea 10 to 15 years ago, and in those days we were really the first ones because everybody else was saying, “Yes, cross media might be the sum between Internet and TV,” and we said, “No, it’s much more than simply that.” It’s really covering all media, 360 degrees.We always say we are not a typical TV operator, we are more like a marketing company and we have to be present wherever our target group is. We also discovered that our customers—the advertisers—were looking for ways to get their marketing messages across. And they didn’t care if they used the Internet, pigeons or other animals! They were just considering how they could get their message across properly and they really loved our cross-media approach. TV KIDS: And children today are using multiple media. SCHMIT: We see that especially with the Internet. If you consider,
for example, the 10-to-13 age group, their Internet usage is equal to their TV usage. That is something that is going to translate downward to younger children in coming years, and we have to take that into account. So if you want to address the older children you cannot do it with TV alone. 16
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Hans Bourlon & Gert Verhulst Founders, Studio 100 TV KIDS: Tell us about Studio 100’s hit series House of Anubis. VERHULST: The original show was made for Nickelodeon in Holland and we started in September 2006 with the first episode. The first season was very, very successful and we made a second season. Because of the huge success in Holland and Belgium, we produced a version for Nickelodeon in Germany, which was also very successful. That is why the executives from Nickelodeon in New York decided to make the show for the States. TV KIDS: What is it about the show that is able to appeal to chil-
dren from different countries? BOURLON: First of all, there are recognizable characters and some
very recognizable relationships, love histories and so on. But the most important thing is the mystery, which is in all of the series, and young people always like mysterious stories that unfold. TV KIDS: What are the challenges, as writers and creators, to keep
the series fresh year after year? VERHULST: The series is a mix of soap and mystery. We try to
keep the soap interesting by adding some new characters, not too many, and to add new love stories.We also try to find new mysteries. It’s not always easy but I think we have succeeded. TV KIDS: Besides your strong catalogue, are there other factors that have made Studio 100 successful in today’s very competitive market? VERHULST: In terms of turnover, television is only about 15 percent of our business. We also make theater productions. We are very active in producing songs and musicals. We have a graphic division; we write a lot of graphic books and novels. We make feature films, we have made about 20 up to now. And the most specific thing is that we own and exploit, for the moment, five theme parks in Europe, which are [based on] our characters. 17
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Nancy Kanter Senior VP, Original Programming & General Manager, Disney Junior Worldwide TV KIDS: Tell us about the rebranding and rollout for Disney Junior. KANTER: We transitioned what had been Playhouse Disney to Disney Junior. Playhouse Disney was already a 24hour stand-alone channel around the world, but in the U.S., we were just a programming block on Disney Channel. From a brand perspective, there was an opportunity to think about what we wanted to be for preschoolers and for their families, to redefine our image and our message.We wanted to make it crystal clear that what set Disney Junior apart from every other preschool service was the essence of Disney, the part of Disney that makes it so unique, the characters, and, really importantly, storytelling with heart. So we transitioned the name and the look and extended our demo a bit to include 2- to 7-year-olds, offering more programming that the whole family can enjoy together. We redid our look to really reflect all the Disney heritage and magic and recognized that in the U.S., we had the opportunity to be more than just a block. The audience was there. We’d certainly heard many times in focus groups and talking to moms, “I wish we had Disney programming on throughout the day, not just in the morning and the early afternoon.” TV KIDS: What core values do you look for when introduc-
ing a new Disney Junior character? KANTER: The most important thing when we’re looking at
developing a new show is the quality, the depth and the richness of the characters and the storytelling. That’s really what defines Disney. It is that very special kind of storytelling that has an emotional connection. You leave that experience thinking about those characters and being touched by them.Whether it’s an older heritage character or a brand-new original character, we want to see if we can imagine telling multiple stories around this world and how we will build those stories into something that will really resonate for a child. 18
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Sebastian Debertin Head, Fiction, Acquisitions & Co-Productions KiKA TV KIDS: What are KiKA’s strengths? DEBERTIN: KiKA is extremely success-
ful. We have developed the channel into one of the most well-known brands. Every kid and every parent knows what KiKA is, and that makes us strong. Our two wonderful parent companies also make us strong. Normally parents can be a nightmare for a kid! But for KiKA, ARD and ZDF are very nice and caring parents and have helped us grow the brand to where it is now. Our innovation makes us strong, not only in animation, or live-action drama, or comedy, but also by being able to bring the whole variety of television to kids. Daily news—who can afford to do that? We can, because we have ZDF and their world network of correspondents. I can lean on that and create shows on a daily basis to give news to kids. TV KIDS: How are you reaching the tween audience? DEBERTIN: You have to understand where they are nowadays.
When we started the channel, we had them, but times change; so have technologies over the last decade. Therefore [we reach out to tweens] with shows that on one hand try to be great drama, mostly live action, because it better reflects where tweens are in life than animation ever could. There are live-action shows… which bring glamour and glossy elements together with good storytelling. We have developed our own crime series, Krimi.de. These shows are key to getting these older kids back because they see their own problems and own lives and hear their own music. TV KIDS: When is it desirable to commission a show versus
entering into a co-production or buying something as a finished product? DEBERTIN: If you can co-produce or buy signature shows like H2O: Just Add Water you get great value for your investment while entertaining with great production values. To cover the local issues of kids here, producing locally is a must. 19
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Michael Carrington Chief Content Officer Turner Broadcasting EMEA TV KIDS: What prompted the decision to expand the reach of Cartoonito? CARRINGTON: Cartoonito had just existed in the U.K. as a dedicated preschool channel. It’s been running for a few years now and…we’ve seen a real connection with it; audiences are really starting to believe in it and we’re seeing parents have faith in the channel and kids coming to the programs. We’ve seen audiences grow, which is fantastic. [Cartoon Network is] in all the European territories, all of Africa and the Middle East, and when we looked at taking a portfolio approach, we didn’t have a dedicated preschool block or channel outside the U.K. So we figured that we could take all the knowledge that we have [from the U.K.] as well as most of the programming and take the channel out into the wider world. TV KIDS: How do you work with your international colleagues
on joint-programming initiatives? CARRINGTON: Ninety percent of our original production comes
out of our studio in Burbank, [which is headed by] Rob Sorcher [the chief content officer at Cartoon Network U.S.]. Each of our four regions has a Rob Sorcher. So I’m responsible in EMEA; Mark Eyers is responsible in Asia Pacific and Pablo Zuccarino is responsible for Latin America.The four of us...talk with each other all the time.We [offer] input into Rob’s programming development strategy and his production strategy; we actually work with him and his creative executives on the shows. Outside of the original production, there are of course coproductions and acquisitions, and likewise each of us has an acquisition and co-production team and they [all talk to each other] very regularly. They discuss what’s in the market, what the trends are, what the gaps are in their own territories and regions. We will always look globally first. If we can’t make something work globally we look internationally—outside of the U.S. If we can’t make something work internationally then it goes into the regions and then territory by territory. 20
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Jeffrey Conrad President & Chief Creative Officer American Greetings Properties TV KIDS: What kinds of content do
you want American Greetings Properties to be known for? CONRAD: We stick within the kids’ entertainment realm. [We have been] pretty much in the soft and cuddly side of things with Care Bears and Strawberry Shortcake. Obviously those are very big and strong properties for us, they’re great brands. Going forward, we’re trying to diversify the library we have. We have some cool action stuff for boys and we have some things for the whole family. There’s a lot of comedy that we’re working on. We want to create an awesome storytelling group of characters that have relevance and leave a legacy. That’s a big job. TV KIDS: Are you developing concepts in-house at the company or reaching out for pitches from the broader kids’ creative community? CONRAD: Almost all of our content originates organically here through our creative developers. We have something here called the Living Wall. We started it around 2007 and the idea was that any idea that was pitched—for consumer products, toys or animated shows—never died. The wall has over 500 concepts. We are constantly mining [the Living Wall] and constantly adding new concepts to it as well. TV KIDS: How do you draw from the intellectual property
of the broader American Greetings Corporation? CONRAD: There are other creatives in the studio that are
constantly putting out amazing content that I can harvest. I [oversee] some of the creative studios [for greeting cards]. I have one that makes alternative or funny cards. That output is somewhere in the range of 2,500 to 3,000 cards a year. Every card is a little story. Every day I get to look at these amazing one-off funny jokes. We’ve already looked at some of them as potential for an app or as a show concept. 21
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Barry Koch Senior VP & General Manager, Cartoon Network, Boomerang & Tooncast Latin America TV KIDS: What are the strengths of your channels and what differentiates them from the competition? KOCH: A huge differentiator is original content. Right now we have a trio of shows—Adventure Time, The Amazing World of Gumball and the Regular Show—which we’re actually referring to internally as our new “Rat Pack” on Cartoon Network. [Our strengths are having] good, strong comedy shows…tapping into that historical irreverence that we’ve had. Those shows are really doing exceptionally well around the region and in Brazil. Ben 10 is one of those shows that comes around every so often. In the history of kids’ television over the last 20 years, there’s a very small club of shows like Ben 10. You’ve got an amazing character that just resonates with kids and boys, and is an enduring property on the channel—where ratings are strong—and in the consumer-product space, with all of the licensed merchandise. Ben 10, after having a great run, remains the most popular boys’ property in Latin America from a TV point of view and from a licensing point of view, which is outstanding. Games are remarkably popular around the world in different types of formats, whether it’s casual gaming on a PC or handheld gaming, and Ben 10 is a wonderful game character. TV KIDS: You recently launched an HD feed for Cartoon Network in Brazil. What are your plans for HD in the rest of the region? KOCH: We’re waiting a little bit longer until we go out wide again, until we have some distribution in place. Clearly, when you have great original new content produced in HD and you can deliver a higher quality signal, there’s an advantage. Where we have partners who are interested and have the bandwidth to launch HD, where it makes financial sense for us to be able to incur the cost, I would love to be able to have HD. 22
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Vince Commisso President & CEO 9 Story Entertainment TV KIDS: What are some of the greatest shifts you have noticed in the kids’ industry over the last decade? COMMISSO: The entire media landscape has been shifted a great deal by the devices and the platforms that have come on the scene. Obviously distribution means different things today than it used to.That has a tremendous trickle-down effect in everything you do in regards to actually being able to monetize your content. That’s starting as a process for us as an international kids’ distributor, but it’s going to be even more impactful as we go forward. TV KIDS: How has the company evolved since its inception? COMMISSO: Almost Naked Animals kind of revolutionized the way
that we produce here, the way that we make our shows.We’re fortunate to have a lot of colleagues that work at studios, both as our clients and as our friends.We really listen to them intently as to the process by which they produce their shows and how they make them hit the quality levels that they do. We really worked hard at developing best practices here about how to improve the quality of the show as we’re producing it. TV KIDS: How has 9 Story embraced using digital platforms to
extend IP? COMMISSO: There is a tremendous opportunity to understand
now how our target demo consumes content.When we develop a show, we used to sit at a table and say, How is this going to work from a story standpoint and from a storytelling standpoint? That’s critical and that will never go away. But now we think, How can we expand that storytelling experience into an interactive application that is either a game or an app, and how do we do that as we do production? How can we use the production-house assets to facilitate that objective? What that will allow us to do in the future is pre-introduce the IP to the audience in an interactive way that is compelling, that will build brand equity before the television show goes to air. 23
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Dan Povenmire & Jeff “Swampy” Marsh Creators, Phineas and Ferb TV KIDS: How did the idea for the
show come about? POVENMIRE: Swampy and I were writ-
ing a show together in 1993 and we wanted to continue to write together, so we were trying to come up with another show idea so we could do that. MARSH: We thought, here’s a simple idea, we’ll create another show, sell the show and keep working together. POVENMIRE: And then it just took 14 years. But I actually drew the first Phineas on some butcher paper on a table in a restaurant where they give you a little can of crayons to doodle with while you’re waiting for your food. I actually tore it out, took it home and brought it to work. TV KIDS: How have you kept the show fresh? MARSH: We have a lot of help. We’ve got a crew that one could
only dream of, and they have come up with so much stuff and taken our characters in places that, quite frankly, we never imagined when we first started the show.And that’s been really exciting and rewarding to see these characters that we created and watch people take them and really surprise you with them.We’re lucky. POVENMIRE: I don’t think there is a finite number of ideas that any person has. I think that the more different ideas you come up with on a subject, you’re sort of stretching muscles and it becomes easier to come up with more ideas.When they first said we were doing 16 episodes for the first season, we thought, “Sixteen episodes? That’s like 32 stories. How are we gonna come up with 32 stories?” And now we’ve done [a lot of] episodes, so it becomes easier as it goes. TV KIDS: Have you been influenced at all by the various digital platforms that are available? POVENMIRE: We’re just trying to make the best story possible, the way we would have done it had all this other stuff not been there, but it’s nice to know that that stuff is there for exploiting… for lack of a better word. 24
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41 Entertainment ADDRESS: 500 W. Putnam Ave., Suite 400, Greenwich,
CT 06830, U.S.A. TELEPHONE: (1-203) 542-7308 WEBSITE: www.41e.tv MANAGING DIRECTOR: Allen Bohbot SALES DIRECTOR: Nancy Koff SALES MANAGER: Kiersten Morsanutto CONTACTS: email@example.com;
firstname.lastname@example.org PROGRAMS: PAC-MAN and the Ghostly Adventures: 26x22 min.,
5- to 10-year-olds, 2D & 3D animation, comedy; Blake: Double Identity: 26x22 min., 6- to 11-year-olds, 2D & 3D animation, action/comedy; Funny Little Cars: 52x7 min., 3- to 7-year-olds, 3D animation, comedy/educational.
“41 Entertainment focuses on worldwide animation development, production, distribution, licensing and merchandising. Operating globally in the creation and distribution of children’s original proprietary characters and intellectual property, we invest in each production and own all rights, including proprietary character IPs such as Blake: Double Identity and worldwide rights to iconic established properties such as PAC-MAN and the Ghostly Adventures. Not only do we secure the best exposure through our network of major broadcasters and distributors worldwide, but we also look for the best licensing-and-merchandising partners for our brands though an in-house licensing-andmerchandising division. [The company is] managed by experienced individuals with extensive knowledge in animation production, distribution, sales, marketing, legal and business affairs, copyright and trademark protection, and general contract administration. 41 Entertainment believes that market success is not based on the quantity of projects, but rather in the careful exploitation of a few high-quality intellectual-property projects for global consumption.” —Allen Bohbot, Managing Director
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PAC-MAN and the Ghostly Adventures: Follow the daily events of Pac as he saves PacWorld. Together with his friends Cyli and Spiral, Pac and his buds face the issues of being teenagers while also protecting PacWorld from a ghostly army led by evil Sir Cular. Sir Cular’s brother, Sir Cumference, doesn’t want his brother and ghostly minions returning from Netherworld and wreaking havoc. So, he teaches the teens a legend prophesizing a round yellow PacWorlder rescuing the planet. Pac, the only round yellow citizen, is the man for the job. Each adventure follows Pac and his friends as they try to return the ghosts to Netherworld, saving PacWorld. Blake: Double Identity: An animated TV series following the adventures of action-hero twins Justin and Tatiana (friends call her “T”) Blake, and their two friends who have been recruited by an international government organization. By hiring twin secret agents, the organization has a strike team stronger than has ever been seen! Criminals have moved on as technology progresses. Old brute force tactics no longer work—it’s time for the next generation of agents to step in. The twins—who think and act as one—are the perfect crime-fighting weapons. Armed with the latest gadgets, super intelligence, and the skills to match— they combat the greatest threats the world has ever seen. Funny Little Cars: The series tells the story of Grady, a journalist who tries to educate his neighbors about the importance of ecology using technological inventions while trying to rid the town of criminals. Being the leader of the ecological movement, Grady strives to bring back good times to his small river town, Oasis, that has been destroyed by underground oil-tankers. But, he is having a difficult time doing so since General’s gang came into town taking control of the Oasis and forcing citizens to leave. Since the towns’ folk are cars, boats and scooters, they meet a lot of bumps along the way as they fight to get Oasis back and restore the town.
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9 Story Entertainment ADDRESS: 23 Fraser Ave., Toronto, ON M6K 1Y7, Canada TELEPHONE: (1-416) 530-9900 WEBSITE: 9story.com PRESIDENT & CEO: Vince Commisso EXECUTIVE VP, BUSINESS DEVELOPMENT: Natalie Osborne PROGRAMS: Fugget About It: 26x22 min., 18-year-olds+, 2D
animation, comedy; Almost Naked Animals: 52x22 min. or 104x11 min., 6- to 11-year-olds, 2D animation, comedy; Daniel Tiger’s Neighborhood: 40x22 min. or 80x11 min., preschool, 2D animation; Camp Lakebottom: 26x22 min. or 52x11 min., 6- to 11-year-olds, 2D animation, comedy; Arthur: 20x22 min. or 40x11 min., 4- to 9-year-olds, 2D animation; Wild Kratts: 66x22 min., 4- to 9-year-olds, 2D animation, adventure/comedy; Numb Chucks: 26x22 min. or 52x11 min., 6- to 11-year-olds, 2D animation, comedy; Making Stuff: 104x5 min., 4- to 7-year-olds, live action, factual.
“Celebrating our tenth anniversary, 9 Story Entertainment is one of the industry’s leading creators, producers and distributors of awardwinning animated and live-action content for young audiences around the world. With an extensive animation studio in Toronto, we have 200 creative and production staff, and have produced over 600 half-hours of quality children’s and family programming, seen on some of the most respected children’s channels and platforms around the world. Our distribution arm, 9 Story Enterprises, offers a rapidly growing catalogue, which includes several beloved brands such as Wibbly Pig, Harriet the Spy: Blog Wars, Wild Kratts, Almost Naked Animals, and we are pleased to be presenting a digitally refreshed 16th season of Arthur. Our new shows include Daniel Tiger’s Neighborhood, Camp Lakebottom and the prime-time animated comedy Fugget About It.” —Natalie Osborne, Executive VP, Business Development
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A Squared Entertainment ADDRESS: 9401 Wilshire Blvd., #608, Beverly Hills,
CA 90212, U.S.A. TELEPHONE: (1-310) 273-4222 WEBSITE: www.a2entertain.com CO-CEO: Andy Heyward CO-CEO: Amy Heyward CONTACT: email@example.com PROGRAMS: Secret Millionaires Club: 26x30 min. & 26x3-4 min.,
7- to 11-year-olds, 2D animation, comedy/edutainment; Stan Lee & the Mighty 7 (SLAM7): 1x75 min. & 26x30 min., 7- to 11-year-olds, 2D animation, action/comedy; Rainbow Valley Heroes (RV Heroes): 13x30 min., preschool, 2D animation, edutainment; Thomas Edison’s Secret Lab: 52x30 min., 7- to 11-year-olds, 2D animation, comedy/ edutainment; The Governator: 1x75 min., young adults, 2D animation, action/comedy; Gisele & the Green Team: 26x3-4 min., 7- to 11-year-olds/girls, 2D animation, action/edutainment; Martha & Friends: 6x30 min. & 26x3-4 min., 7- to 11-year-olds/girls, 2D animation, creative/instructional.
“A Squared (A2) Entertainment creates, produces, acquires and distributes digital entertainment in all formats across all channels. Headquartered in Los Angeles, the company is committed to ‘content with a purpose,’ meaning interactive entertainment experiences that are as enriching as they are entertaining for kids. Current brands include adventures in business with Warren Buffett in Secret Millionaires Club; a fun-loving fleet of rescue vehicles who teach about safety in RV Heroes; a new portfolio of superheroes created by Stan Lee, the first to be released being Stan Lee & the Mighty 7; a new science comedy called Thomas Edison’s Secret Lab; a 75-minute animated action comedy with Arnold Schwarzenegger called The Governator; environmental female superheroes who save the planet in Gisele & the Green Team with Gisele Bündchen; and an animated do-it-yourself show created with Martha Stewart called Martha & Friends.” —Andy Heyward, Co-CEO 30
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American Greetings Properties ADDRESS: One American Rd., Cleveland, OH 44144, U.S.A. TELEPHONE: (1-212) 386-7331 WEBSITE: www.agpbrands.com PRESIDENT: Jeffrey Conrad VP, PROGRAM SALES: Gia DeLaney PROGRAMS: Care Bears New CGI Series—Welcome to
Care-a-Lot: 26x22 min., animation; Strawberry Shortcake— Berry Bitty Adventures: Season 1, 26x22 min./Season 2, 13x22 min./Season 3, 13x22 min., animation; The WotWots: 78x11 min. or 39x22 min., animation; Care Bears CGI Specials: 4x72 min. or 12x22 min., animation.
“American Greetings Properties is the home of many of the world’s most beloved evergreen brands, including Care Bears and Strawberry Shortcake. Strawberry Shortcake made her TV debut on The Hub in the U.S. and, in its second season, continues to rank as a top-rated show for girls ages 2 to 5. Especially exciting was the introduction of a new character, Cherry Jam, who brought her musical talents to Berry Bitty City, along with 13 brand-new episodes for season three to be produced this fall. In 2012, celebrate 30 years of ‘Caring’ with the relaunch of the Care Bears! Just in time for [the brand’s] 30th-anniversary celebration,The Hub debuted a brand-new CGI animated TV series, Care Bears: Welcome to Care-a-Lot, which features an all-new huggable character, Wonderheart Bear. The series is a top performer for girls and kids 2 to 5 and girls 2 to 11.” —Gia DeLaney, VP, Program Sales
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Animation from Spain ADDRESS: Instituto Español de Comercio Exterior (ICEX),
Paseo de la Castellana, 14-16, 28046 Madrid, Spain TELEPHONE: (34-91) 349-1986 WEBSITE: www.audiovisualfromspain.com HEAD, INFORMATION & COMMUNICATIONS TECHNOLOGY & DIGITAL CONTENT: Isabel Espuelas Peñalva CONTACT: firstname.lastname@example.org PROGRAMS: All animation programs and companies from
Spain are represented under the Animation from Spain brand.
“Animation from Spain is the umbrella brand of the Spanish animation companies outside of Spain. The brand is [backed] by the Spanish Institute for Foreign Commerce, Instituto Español de Comercio Exterior (ICEX), and the Spanish Federation of Audiovisual Producers, Federación de Asociaciones de Productores Audiovisuales (FAPAE), as well as other regional and national institutions. All international business, trade and promotion of Spanish companies is supported and promoted by Audiovisual from Spain, and in the special case of the cartoon industry, companies are supported under the Animation from Spain brand. The Spanish industry has one of the best portfolios of the international animation TV market.The variety making up the Spanish catalogue is extensive and goes from classic animation to the latest technology in 3D as well as products for transmedia exploitation.” —Isabel Espuelas Peñalva, Head, Information & Communications Technology & Digital Content
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Atlantyca Entertainment ADDRESS: Via Leopardi, 8, 20123 Milan, Italy TELEPHONE: (39-02) 430-0101 FAX: (39-02) 430-01020 WEBSITE: www.atlantyca.com CHAIRMAN: Pietro Marietti CEO: Claudia Mazzucco HEAD, ANIMATION DEPARTMENT & EXECUTIVE PRODUCER:
Caterina Vacchi SALES REPRESENTATIVE: Pedro Citaristi EXECUTIVE PRODUCER: Niccolò Sacchi PRODUCTION MANAGER: Lucia Scott CONTACT: email@example.com PROGRAMS: Geronimo Stilton: 52x23 min. HD, 6-year-olds+,
2D animation; Bat Pat: 52x11 min. HD, 6-year-olds+, 2D animation; Dive Olly Dive: 104x11 min. HD, preschool, CGI 3D animation; Monkey King: 52x23 min., 6-year-olds+.
“A transmedia entertainment company with production and distribution, licensing, publishing and foreign-rights sales divisions, Atlantyca has produced, along with French partner Moonscoop, Geronimo Stilton, the animated series that follows the adventures of the most famous mouse journalist, which has been sold in more than 100 countries around the world. Atlantyca is a co-production partner and distributor (Italy only) for Dive Olly Dive (season two), an animated series which is currently successfully broadcasting on Cartoonito in Italy. Atlantyca’s animation-and-distribution department is currently preselling the series Bat Pat (Atlantyca, Imira and Inspidea), is the agent of CCTV China’s Monkey King and is currently negotiating a distribution agreement with a major international partner. The company’s licensing division manages the internationallicensing initiatives for all the Geronimo Stilton brands and all of its character spin-offs, and is the Italian licensing agent for Moonscoop’s Code Lyoko and Dive Olly Dive; and FitzRoy Media’s Funny Face. Atlantyca’s foreign-rights sales department is responsible for the translation-rights sales of Geronimo Stilton books, among others.” —Pedro Citaristi, Sales Representative 36
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Australian Children’s Television Foundation ADDRESS: 145 Smith St., 3/Fl., Fitzroy, VIC 3065, Australia TELEPHONE: (61-3) 9419-8800 WEBSITE: www.actf.com.au CEO: Jenny Buckland INTERNATIONAL SALES EXECUTIVE: Roberta Di Vito INTERNATIONAL SALES EXECUTIVE: Tim Hegarty PROGRAMS: Bushwhacked: 13x24 min., 8- to 14-year-olds,
live action, documentary/adventure; Dancing Down Under: 10x24 min., live action, observational documentary; You’re Skitting Me: 13x24 min., 8- to 14-year-olds, live action, comedy; Mal.com: 13x12 min., 8- to 14-year-olds, live action, comedy; Flea-Bitten!: 52x12 min. or 26x24 min., 6- to 12-year-olds, 2D animation, comedy; Dukes of Broxstonia: Season 1, 10x45 sec./Season 2, 10x3 min., 8- to 14-year-olds, 2D animation, comedy; Horace in Slow Motion: 30x45 sec., 8- to 14-year-olds, 3D animation, comedy; My Place: 26x24 min., 8- to 14-year-olds, live action, drama; Lockie Leonard: 52x24 min., 8- to 14-year-olds, live action, comedy; Mortified: 26x24 min., 8- to 14-year-olds, live action, comedy.
“Established in 1982, the Australian Children’s Television Foundation is committed to providing Australian children with entertaining media made especially for them. We produce and distribute children’s television programs, working with major international broadcasters and production companies.We also distribute children’s programming created by other Australian producers. Our catalogue covers over 400 hours of Australia’s best children’s programming, presented in a range of formats and genres, including live action, animated series, shorts, early childhood, telemovies and documentaries. Our programs have screened in over 100 countries and have won over 95 local and international awards. [Our] television series include hits such as Mortified, Lockie Leonard and Round the Twist. A rich legacy of Australian children’s drama has engaged and entertained children for three decades.” —Jenny Buckland, CEO
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Beyond Distribution ADDRESS: 109 Reserve Rd., Artarmon, Sydney,
NSW 2064, Australia TELEPHONE: (61-2) 9437-2000 FAX: (61-2) 9437-2017 WEBSITE: www.beyond.com.au GENERAL MANAGER: Fiona Crago HEAD, SALES: Munia Kanna-Konsek HEAD, CO-PRODUCTIONS & ACQUISITIONS: Yvonne Body CONTACT: firstname.lastname@example.org PROGRAMS: Steam Punks: 40x30 min., tween, live action;
Buzzy Bee & Friends: 52x7 min. HD, 2- to 6-year-olds, 3D animation & live action; The Twitch: 13x30 min. HD, tween, 3D animation & live action; Toybox: 245x30 min., 2- to 5-year-olds, live action; Lab Rats Challenge: 130x30 min. HD, tween, live action; Dick ‘n’ Dom Go Wild!: 40x30 min. HD, tween, live action; Wild Animal Baby Explorers: 80x15 min. HD, 2- to 5-year-olds, 3D animation & live action; Iconicles: 26x30 min. HD, 3- to 6-year-olds, 2D/3D animation & live action; Get Squiggling!: 50x15 min. HD, 2- to 5-year-olds, 2D animation & live action; Rush TV: 78x30 min. HD, teen, live action.
“Beyond Distribution continues to be recognized as a worldwide leading independent distributor. With offices around the world, we are able to keep our finger on the pulse across all territories by building and maintaining relationships with producers, broadcasters and industry representatives. In addition to attending the major markets, our sales teams focus heavily on territory sales trips. We have over 25 years of experience in distributing to the international marketplace and our highly experienced and knowledgeable team is crucial towards the company’s longevity and reputation. At MIPCOM we are excited to be launching our new series Steam Punks, a quirky science quiz show set in an underground bizarre steam-punk world. New series of Buzzy Bee & Friends and Toybox will also be released.” —Fiona Crago, General Manager
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BRB Internacional ADDRESS: Autovía Fuencarral-Alcobendas, Km 12,220. Ed. Auge I., 28049 Madrid, Spain TELEPHONE: (34-91) 771-1400 WEBSITE: www.brb.es CEO: Carlos Biern SALES EXECUTIVE: Emilie Pasquet CONTACT: email@example.com PROGRAMS: InviZimals: 26x30 min. HD, 6- to 10-year-olds, animation, action/adventure; Mica, Mica: 52x7 min. HD, preschool, 3D animation, action/fantasy; Canimals: 52x7 min. HD, girls, CGI animation with real-world scenes, comedy; Kambu: 52x7 min. or 26x15 min. HD, preschool, CGI animation, slapstick comedy/adventure; Zoobabu: 104x2 min. HD, preschool, CGI animation, action/comedy; Khuda-Yana: 26x30 min. HD, girls, 2D animation, action/comedy; Bernard: 156x3 min. HD, family, CGI animation, slapstick comedy/action; Suckers: 104x2 min. HD, 8- to 12-year-olds, CGI animation, slapstick comedy; Angus & Cheryl: 104x2 min. HD, family, CGI animation, slapstick comedy; Imp: 65x90 min. HD, young adults, CGI animation, comedy.
“We are [celebrating] our 40th anniversary. We believe that along with featuring classics through theatrical distribution, we are now able to turn worldwide brands into TV hits with workable budgets and great production values. Month after month our production teams know how to use new technical approaches to animation like augmented reality or stereoscopic, not just with the TV shows but also within the interactive department we have at our studio, Screen 21. More and better applications will be coming onto tablets and smartphones worldwide. On the other side, our distribution department is jumping into more and more worldwide territories and audiences with more brbplay.com and IPTV deals being announced, many times with advertising agencies giving support to the brands from the beginning.” —Carlos Biern, CEO
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CAKE ADDRESS: 76 Charlotte St., London W1T 4QS, U.K. TELEPHONE: (44-20) 7307-3230 FAX: (44-20) 7307-3239 WEBSITE: www.cakeentertainment.com CEO & CREATIVE DIRECTOR: Tom van Waveren CHIEF COMMERCIAL OFFICER & MANAGING DIRECTOR:
Edward Galton CONTACT: firstname.lastname@example.org PROGRAMS: Clay Kids: 52x11 min., 3- to 6-year-olds, claymation; Get Well Soon: 30x11 min., 3- to 6-year-olds, factual; Dear Dracula: 1x45 min., 6- to 12-year-olds, animation; Abominable Christmas: 1x45 min., 6- to 12-year-olds, animation; Angelo Rules: Season 2, 46x11 min. & 3x22 min., 4- to 7-year-olds, animation; Fleabag Monkeyface: 52x11 min., 7- to 12-year-olds, animation; Raa Raa the Noisy Lion: 52x10 min., 3- to 6-year-olds, animation; Little Charley Bear: 52x7 min., 3- to 6-year-olds, animation; Roary the Racing Car: 104x10 min., 3- to 6-year-olds, animation; Fifi and the Flowertots: 117x10 min., 3- to 6-year-olds, animation.
“CAKE is one of the world’s leading kids’ and family entertainment specialists. Since 2002, the London-based company has worked with animation and live-action producers from around the world to develop, create, commercially position and manage their IP propositions for the international market. CAKE also prides itself on being a wellestablished meeting place for a growing family of globally recognized producers. CAKE offers a diverse and distinctive range of animated and live-action programming, from the wonderfully gross Fleabag Monkeyface and eco-comedy Plankton Invasion to the acclaimed reality-TV parody series Total Drama and global hit Pocoyo. New titles for MIPCOM 2012 include the witty claymation series Clay Kids, kids’ health show Get Well Soon, the two top-notch seasonal specials Dear Dracula and Abominable Christmas and a second season of Angelo Rules. CAKE also looks after Chapman Entertainment’s Raa Raa the Noisy Lion, Little Charley Bear, Roary the Racing Car and Fifi and the Flowertots.” —Edward Galton, Chief Commercial Officer & Managing Director 44
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Cookie Jar Entertainment ADDRESS: 266 King St. W., 2/Fl.,Toronto,
ON M5V 1H8, Canada TELEPHONE: (1-416) 977-3238 WEBSITE: www.cjar.com CEO: Michael Hirsh COO & PRESIDENT: Toper Taylor CONTACT: email@example.com PROGRAMS: The Adventures of Paddington Bear: 39x30 min.,
animation; Adventures of Super Mario Bros.: 26x30 min., animation; Hurray for Huckle: animation; Caillou’s Holiday Movie: 1x90 min., animation; Horseland: 39x30 min., animation; Inspector Gadget: 86x30 min., animation; Johnny Test: 117x30 min., animation; Mudpit: 26x30 min., animation; Sabrina, The Animated Series: 65x30 min., animation; Sonic the Hedgehog: 26x30 min.
“It’s an exciting time and the demand for content has never been greater. We are frequently acquiring, distributing and merchandising new properties such as Scan 2 Go and Danger Rangers. We have great momentum. I’m thrilled by the growth we are experiencing in digital media distribution and traditional media in emerging markets. Our library is so vast that we are often the first port of call for companies launching their own consumer platforms such as Netflix, Blockbuster, Tata, Airtel, LOVEFiLM, Orange and others all over the globe. Companies and consumers alike recognize the strength of a powerful library, endearing characters and great storytelling. Now we are putting our relationships to work for content owners so they may enjoy the growth we are experiencing. Cookie Jar is seeking great content to distribute so that we may provide critical cash flow for independent companies that cannot afford the expenses associated with distribution. Team Cookie Jar is looking forward to new partnerships while nourishing existing ones.” —Toper Taylor, COO & President
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Cyber Group Studios ADDRESS: 7 rue Letellier, 75015 Paris, France TELEPHONE: (33-1) 4058-1443 WEBSITE: www.cybergroupstudios.com CEO: Pierre Sissmann HEAD, INTERNATIONAL SALES & ACQUISITIONS: Carole Brin CONTACT: firstname.lastname@example.org PROGRAMS: Animalia: 40x24 min. HD, 6- to 12-year-olds,
CGI animation, adventure; Cloud Bread: 156x7 min., 2- to 6-year-olds, CGI & 3D stereoscopic animation; Grenadine & Peppermint: 78x7 min. HD, 6- to 10-year-olds, 2D animation, comedy; Mademoiselle Zazie: 78x7 min. HD, 5- to 8-year-olds, CGI animation; My Goldfish Is Evil: 26x24 min., 6- to 12-year-olds, CGI animation, adventure; Nina Patalo: 78x7 min. HD, 6- to 10-year-olds, 2D animation, comedy; Nutri Ventures: 26x22 min. HD, 6- to 10-year-olds, 2D animation, educational/adventure; Patch Pillows: 78x7 min. HD, 2- to 6-year-olds, CGI animation; Tales of Tatonka: 52x13 min. HD, 4- to 8-year-olds, CGI animation, educational/adventure; Zou: 52x11 min. HD, 3- to 6-year-olds, CGI animation.
“Cyber Group Studios is a multi-awardwinning independent producer and distributor specialized in top-quality kids’ programming with strong international appeal. Cyber Group Studios has become one of the leaders in youth programming. The company has built a catalogue of series representing 368 half-hours of HD programming, targeted at children aged 2 to 14, tweens and families. Cyber Group Studios’ mission is to bring to children and families around the world the best quality entertainment experience, thanks to the company’s pool of international top creative talent, its breakthrough technology enabling it to bring theatrical animation quality to TV, new digital platforms and its distribution organization giving access to top broadcasters worldwide. Cyber Group Studios seeks partnership opportunities (coproductions, distribution) with other producers around the world [that share] its values.” —Carole Brin, Head, International Sales & Acquisitions 48
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Distribution360 ADDRESS: 74 Fraser Ave., Suite 100, Toronto,
ON M6K 3E1, Canada TELEPHONE: (1-647) 955-3600 WEBSITE: www.distribution360.com SENIOR SALES EXECUTIVE: Kirsten Hurd PROGRAMS: Splatalot: 52x30 min., 8- to 12-year-olds, live
action, game show/comedy; Olive the Ostrich: 52x5 min. or 13x30 min., 3- to 6-year-olds, animation; This is Scarlett and Isaiah: 52x6 min., 3- to 6-year-olds, live action; This is Daniel Cook: 131x6 min. or 26x30 min., 3- to 6-year-olds, live action; This is Emily Yeung: 65x6 min. & 2x30 min., 3- to 6-year-olds, live action; Skatoony: 26x30 min. (Canada, English & French)/39x30 min. (U.K., English)/13x30 min. (German), 8- to 12-year-olds, 2D animation & live action, game show/comedy; Ambition Skatecamp: 8x30 min., teen, live action, documentary; Puppy SOS: 13x30 min., family, live action, lifestyle; Figaro Pho: 13x30 min. or 39x7 min. (Canada), 8- to 12-year-olds, animation, comedy.
“Distribution360 is a forward-thinking distribution company that focuses on traditional media sales, while actively pursuing growth in the digital space. Its mandate is the full monetization of television and interactive content on traditional and emerging platforms worldwide, with a focus on kids, drama and factual programming. Distribution360 was co-founded by two of Canada’s foremost production companies, marblemedia and SEVEN24 Films.” —Kirsten Hurd, Senior Sales Executive
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Edebé Audiovisual Licensing ADDRESS: C/ Josep Irla I Bosch 1-3, 6ºB,
08034 Barcelona, Spain TELEPHONE: (34-93) 205-4315 WEBSITE: www.edebeaudiovisual.com MANAGING DIRECTOR: Eva Fontanals SALES DIRECTOR: Ivan Agenjo CONTACT: email@example.com PROGRAMS: Edebits: 26x13 min., 4- to 8-year-olds, 2D
animation, edutainment; 4 Angies: 76x11 min., 6- to 10-year-olds/ girls, 3D animation, comedy; TaKaT the Dog: 52x3 min. & 13x9 min., family, 2D Flash animation; Stoneboy: 24x3min., family, 2D Flash animation, slapstick comedy; Jonas—The Imaginary Adventures: 104x5 min., 4- to 9-year-olds, 2D Flash animation, comedy; Snails: 39x6 min., preschool, stop-motion animation, edutainment; Never Ending Tales: 26x10 min., 3- to 9-year-olds, stop-motion animation, edutainment; Four and a Half Friends: 26x26 min., 6- to 12-year-olds, 2D animation, adventure/comedy; Wilbur Willmore: 52x11 min., 7- to 11-year-olds, 2D animation, comedy; Cocorico: 26x13 min., preschool, stop-motion animation, edutainment.
“We are a young company, operating only since 2007, but already have settled down as an important Spanish supplier of animation for children. Moreover, we have a catalogue with a special characteristic: we create content that balances kids’ entertainment and educational needs.We really believe that learning and entertaining are totally compatible and use all the power of new technologies to achieve this goal. Therefore, we always think of projects as a 360-degree strategy, incorporating all divisions of the group: publishing, licensing and merchandising or the digital department for apps.We do not create just animation: we build branded entertainment.” —Ivan Agenjo, Sales Director
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FremantleMedia Enterprises ADDRESS: 1 Stephen St., London W1T 1AL, U.K. TELEPHONE: (44-20) 7691-5242 WEBSITE: www.fmekids.com PRESIDENT, KIDS & FAMILY ENTERTAINMENT: Sander Schwartz PRESIDENT, DISTRIBUTION, KIDS & FAMILY ENTERTAINMENT:
Andrew Berman CONTACT: firstname.lastname@example.org PROGRAMS: Wizards vs. Aliens: Season 1, 12x30 min./Season 2, 14x30 min., 6- to 12-year-olds, live action, action/adventure/ sci-fi; Grojband: 26x30 min., 6- to 11-year-olds, animation, musical comedy; Strange Hill High: 13x30 min., 6- to 11-yearolds, animation, action/comedy/adventure; Tree Fu Tom: Season 1, 26x30 min./Season 2, 26x30 min., 3- to 5-year-olds, CGI 3D animation, adventure; Monsuno: Season 1, 26x30 min./Season 2, 26x30 min., 6- to 11-year-olds/boys, animation, action/ adventure; My Babysitter’s a Vampire: Season 1, 13x30 min./ Season 2, 13x30 min./1x90 min., 9- to 13-year-olds, live action with CGI effects, action/comedy; The Aquabats! Supershow: 13x30 min., 6- to 13-year-olds, live action, musical comedy/ action/adventure; Max Steel: 26x30 min., 6- to 11-year-olds/ boys, CGI animation, action/adventure/comedy; The Revolting World of Stanley Brown: 13x30 min., 6- to 11-year-olds, live action, comedy; Bindi’s Bootcamp: 26x30 min., 4- to 9-year-olds/ girls, live action, wildlife/adventure/game show.
“This MIP Junior marks the three-year anniversary of FremantleMedia Enterprises’ kids and family entertainment division. During this period, we have been focused on becoming one of the world’s leading independent producers and distributors of kids’ and family content, and our series are now broadcast to over 150 territories. In the U.S., titles that we have co-produced can be found in the lineups of all the major kids networks, including Nickelodeon, Cartoon Network, Disney Channel and The Hub. In other key territories, we have established successful working relationships with broadcasters such as the BBC, CITV,YTV, the ABC (Australia), Lagardère, ZDF and RTVE. We also work very closely with major toy companies, including Mattel, JAKKS Pacific and Giochi Preziosi.” —Sander Schwartz, President, Kids & Family Entertainment 54
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Gaiam Vivendi Entertainment ADDRESS: 833 W. South Boulder Rd., Louisville,
CO 80027, U.S.A. TELEPHONE: (1-818) 432-8010 WEBSITE: www.gaiam.com PRESIDENT: William Sondheim HEAD, BUSINESS DEVELOPMENT & DIGITAL DISTRIBUTION:
Yolanda Macias VP, CONTENT & ACQUISITIONS: Sam Toles DIRECTOR, CONTENT & ACQUISITIONS: Terry Kalagian CONTACT: email@example.com PROGRAMS: Puss In Boots, A Furry Tale: 1x41 min., animation;
Chop Kick Panda: 1x41 min., animation; Tappy Toes: 1x45 min., animation; GT Media Animated Classics: 39x40 min., animation; GT Media Greatest Heroes & Legends of the Bible: 13x50 min., animation.
“Gaiam continues to transform itself into one of the world’s most dynamic distribution companies. Already the market leader in topquality fitness programming, Gaiam enjoys broad penetration in both the lifestyle category and in family-friendly film and television. We are uniquely positioned to enjoy continued success through new, exciting opportunities in the fast-growing digital space and our strong position in traditional media-distribution businesses. The organization is aggressively expanding our library. We continue to offer our international buyers top-quality programs that will appeal to viewers and consumers of all ages.” —William Sondheim, President
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Hoho Rights ADDRESS: 26 Cross St., Islington, London N1 2BG, U.K. TELEPHONE: (44-20) 7682-3154 WEBSITE: www.hohoentertainment.com JOINT MANAGING DIRECTOR: Helen Howells JOINT MANAGING DIRECTOR: Oliver Ellis HEAD, SALES & ACQUISITIONS: Danielle Davies CONTACT: firstname.lastname@example.org PROGRAMS: Cloudbabies: 52x10 min., 2- to 5-year-olds,
CG animation; Abadas: 52x11 min., 2- to 5-year-olds, 2D/3D/vector animation & live action; Everybody Loves a Moose: 52x7 min., 6- to 10-year-olds, 2D animation, comedy.
“Hoho Rights is a wholly owned subsidiary of Hoho Entertainment, a children’s production and rights-management company dedicated to developing intellectual properties that are designed to be seen and experienced on all media platforms. Hoho Rights actively manages all its own in-house-developed brands and also offers TV distribution, licensing and merchandising services to third-party companies. It recently picked up the worldwide rights for Abadas, a 52x11-minute preschool animated series, and Everybody Loves a Moose, a 52x7-minute animated comedy series for 6- to 10-year-olds. Hoho Productions is currently producing Cloudbabies, a 52x10-minute CG animated show for CBeebies. Worldwide rights are represented by Hoho Rights.” —Helen Howells & Oliver Ellis, Joint Managing Directors
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Cloudbabies: A delightful 52x10-minute CG-animated preschool series about four enchanting, childlike characters—Baba Pink, Baba Blue, Baba Yellow and Baba Green—whose job is to look after the sky and their Sky Friends—Sun, Moon, Rainbow, Fuffa Cloud and Little Star.They live together with Bobo White, a mischievous little imp, in a house on a big fluffy cloud. Every morning, they jump on their Skyhorsies and begin their day’s work, making sure everything is as it should be in the sky. Cloudbabies teaches children about caring for others and the world around them and introduces them to the wonder of the sky and the concepts of day and night, sun and moon and rainbows and stars. Abadas: A 52x11-minute mixed-media animation and liveaction series that introduces preschoolers to language through play. When 6-year-old narrator Ben opens his cherished pop-up book, out of its pages leap three delightful animated characters: Hari the Hippo, Ela the Fox and Seren the Bat. Known as the Abadas, they live on an enchanted island in the middle of the book. At the start of each episode Ben introduces an object and then helps the characters as they travel through the magical landscapes of the Abadas world in search of the word of the day. Abadas is produced by Dinamo Productions and the series is being distributed by Hoho Rights. Everybody Loves A Moose: A 52x7-minute fast-paced, anarchic, slapstick-comedy series that takes us back to the golden age of cartoon capers, full of quick-fire action, antics and antlers. It’s a buddy series about a kid and a moose, except the moose always screws it up for his pal, despite his best intentions.The show features a series of simple gag-based stories, in which a kid with ambition does his best (but always fails) to offload an irritant moose. You’ll root for Jack Jumble, but you’ll also love that moose. This series will run... and run... and run.
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The Jim Henson Company ADDRESS: 1416 North La Brea Ave., Hollywood,
CA 90028, U.S.A. TELEPHONE: (1-323) 802-1500 WEBSITE: www.henson.com PRESIDENT & COO: Peter Schube EXECUTIVE VP, GLOBAL DISTRIBUTION: Richard Goldsmith CONTACT: email@example.com PROGRAMS: Doozers: 52x11 min., preschool, CG animation;
Pajanimals: 52x11 min., preschool, live action, puppetry; Dinosaur Train: 66x30 min. or 132x11 min., preschool, CG animation; Sid the Science Kid: 66x30 min., preschool, CG animation; Sid the Science Kid—The Movie: 1x75 min., CG animation; Fraggle Rock: 96x30 min., live action, puppetry; The Wubbulous World of Dr. Seuss: 40x30 min., live action, puppetry; The Dark Crystal: 1x92 min., live action, fantasy; Labyrinth: 1x102 min., live action, fantasy.
“The Jim Henson Company has remained an established leader in family and sci-fi/fantasy entertainment for over 50 years and is recognized worldwide as an innovator in puppetry, animatronics and digital animation. Best known as creators of the world famous Muppets, Henson has received over 50 Emmy Awards and nine Grammy Awards. Recent credits include the Emmy-nominated Sid the Science Kid, Dinosaur Train, Wilson & Ditch: Digging America and Pajanimals. Features include The Dark Crystal and Labyrinth, and television productions include Fraggle Rock and The Wubbulous World of Dr. Seuss. With additional locations in New York and London, The Jim Henson Company is headquartered in Los Angeles on the historic Charlie Chaplin lot, complete with soundstage and postproduction facilities. Independently owned and operated by the five adult children of founder Jim Henson, the company is also home to Jim Henson’s Creature Shop, a pre-eminent characterbuilding and visual-effects group with international film, television and advertising clients, as well as Henson Recording Studios, one of the music industry’s top recording facilities, known for its world-class blend of state-of-the-art and vintage equipment.” —Richard Goldsmith, Executive VP, Global Distribution 62
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Mediatoon Distribution ADDRESS: 15/27 rue Moussorgski, 75018 Paris, France TELEPHONE: (33-1) 5326-3100 WEBSITE: mid.mediatoon.com DEPUTY GENERAL MANAGER: Jérôme Alby INTERNATIONAL SALES MANAGER: Jessica Delahaie CONTACT: firstname.lastname@example.org PROGRAMS: Little Spirou: 78x7 min., 2D animation, comedy;
The Darwinners: 40x3 min., teen & family, 2D animation, comedy; The Garfield Show: 156x11 min., CGI 3D animation, comedy; Chicken Town: 39x8 min., CGI 3D animation, comedy; Yakari: 104x13 min., 2D animation, adventure/ edutainment; Tintin: 39x30 min., 2D animation, adventure; The Magic Roundabout: 104x11 min., preschool, CGI 3D animation, comedy; Contraptus: 78x8 min., CGI 3D animation, comedy; Quiz Time: 104x4 min., CGI 3D animation, edutainment; Cedric: 156x13 min., 2D animation, comedy.
“Mediatoon belongs to the Média-Participations group, which offers content to a large variety of audiences. Through its production companies (Belvision, Dargaud Media, Dupuis, Ellipsanime and Storimages), Média-Participations is the leading producer of animated films in Europe and offers an incomparable catalogue of quality shows and series. Mediatoon Distribution markets the audiovisual rights of Média-Participations’ animation studios. Its library is rich with over 1,500 hours of youth programming, including legendary series such as Tintin, Lucky Luke, Mr. Men, Yakari, as well as the group’s more recent successes such as The Magic Roundabout, Quiz Time, Contraptus and the award-winning The Garfield Show. Mediatoon also enriches its catalogue with independent thirdparty producers such as 4.21, Haut et Court, Bayard, Les Films du Triangle, as well as with Asian producers of quality manga successes such as Keroro, Fairy Tail and Naruto.” —Jérôme Alby, Deputy General Manager
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MNet ADDRESS: 137 Bram Fischer Dr., Randburg 2194,
South Africa TELEPHONE: (27-11) 686-6000 WEBSITE: www.mnetsales.com DIRECTOR, MNET GROUP, CONTENT SERVICES DIVISION:
Jan du Plessis HEAD, MNET SALES, ACQUISITIONS & BUSINESS DEVELOPMENT:
Mandy Roger CONTACT: (27-11) 686-6205 PROGRAMS: Koowee: 52 eps., 1- to 6-year-olds; Peekiboo: 52x15 min.; Glub Glub: 52x15 min.; Froggies: 52x15 min.; Lappies: 52x15 min.; Tjiff & Tjaff: 52x15 min.; Rat-Tat-Tat: 52x15 min.; Matilda: 52x15 min.; Thembi & Themba: 52x15 min.; Teddies: 52x15 min.; Bundu Buddies: 52x15 min.; Trixi: 52x15 min.
“MNet is dedicated to showcasing rich African content to the global market and our portfolio of high-quality children’s content is a testament to this. There is always a demand for new and diverse children’s programming and we believe that our portfolio meets the demands of this key audience. The properties in our catalogue are a perfect reflection of Africa’s ever-growing children’s production industry and we are looking forward to taking this content to MIP Junior and presenting it to the global market.” —Mandy Roger, Head, MNet Sales, Acquisitions & Business Development
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Mondo TV S.p.A. ADDRESS: Via Brenta, 11, 00198 Rome, Italy TELEPHONE: (39-06) 8632-3293 FAX: (39-06) 8620-9836 WEBSITE: www.mondotv.it PRESIDENT & CEO: Orlando Corradi SENIOR VP, INTERNATIONAL SALES: Matteo Corradi HEAD, INTERNATIONAL SALES & BRAND MANAGER:
Micheline Azoury CONTACT: email@example.com PROGRAMS: Gormiti—The New Adventure: 52x26 min. HD, CGI 3D animation; Dinofroz: 26x26 min. HD, 2D animation with CG effects; Beast Keeper: 52x13 min. HD, 7- to 12-year-olds, 2D animation; Cat Leopold: 78x5 min. or 26x13 min. HD, 2D animation with CG effects; Partidei: 26x26 min. HD, 2D animation with CG effects; Puppy in My Pocket: 52x13 min. HD, 2D animation with CG effects; Playtime Buddies: 52x13 min. HD, 3- to 5-year-olds, 2D animation with CG effects; Angel’s Friends—The Secret World Around You: Season 1, 52x13 min./Season 2, 52x13 min., 5- to 12-year-olds, 2D animation with CG effects; Virus Attack: 52x13 min. HD, 7- to 13-year-olds, 2D animation with CG effects; Monsters & Pirates: 26x13 min., 6- to 10year-olds, 2D animation.
“Mondo TV is a leader in Italy and among the primary European operators in the production and distribution of animated TV series and full-length feature films for TV and cinema. It owns one of the largest animation libraries, consisting of more than 1,600 episodes of television series together with more than 75 animated movies for video and theatrical release. The headquarters is in Rome and it is made up of an active international sales team headed by Micheline Azoury, who takes care of French-speaking territories worldwide as well as the Middle East, Africa, Europe, Australia and Asia, and Alessandro Venturi, who handles Eastern Europe. In order to support the sales activities in the Eastern European markets, the group assigned a direct sales manager for Greece, Cyprus and exYugoslavia, Theo Kouroglou.” —Corporate Communications
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Moonscoop ADDRESS: 14 rue Alexandre Parodi, 75010 Paris, France TELEPHONE: (33-1) 5335-9090 WEBSITE: www.moonscoop.com GROUP EXECUTIVE CHAIRMAN: Christophe di Sabatino GROUP EXECUTIVE CHAIRMAN: Benoît di Sabatino PRESIDENT, WORLDWIDE DISTRIBUTION: Lionel Marty PROGRAMS: Code Lyoko Evolution: 26x30 min., 8-year-olds+,
CGI 3D animation & live action, action/adventure; Chloe’s Closet: Season 2, 104x11 min., preschool, CGI 2D/3D animation, fantasy/discovery; Sabrina: 26x26 min., 8-year-olds+; Tara Duncan: 26x26 min., 6-year-olds+, CGI 2D/3D animation, comedy/adventure; Casper: Season 2, 104x13 min., 4- to 9-year-olds, CGI 3D animation, comedy; Geronimo Stilton: Season 2, 52x26 min., 6- to 10-year-olds, 2D animation, adventure/comedy; Hero:108: 104x13 min., 6- to 10-year-olds, 2D Flash animation, comedy/action/adventure.
“Moonscoop is a leading worldwide kids’ production, distribution, brand-management and entertainment company, focused on producing original projects and building brands with international appeal and longevity. Its rights library combines many of the most successful programs and best-loved animated creations in the global television market and includes over 3,000 half-hours of programming airing in more than 160 territories worldwide. Key brands include Tara Duncan, The Davincibles, Code Lyoko, Fantastic Four, Titeuf (Tootuff ) the series and feature film, Chloe’s Closet, Pet Alien, Hero:108, Dive Olly Dive!, Geronimo Stilton and Casper, which are licensed in markets around the world. Moonscoop’s production slate currently includes Code Lyoko Evolution, Hero:108 season two, My Phone Genie, Casper season two and Ava Riko Teo season two.” —Corporate Communications
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Nerd Corps Entertainment ADDRESS: 1256 E. 6th Ave., 3/Fl., Vancouver,
BC V5T 1E7, Canada TELEPHONE: (1-604) 484-0266 WEBSITE: www.nerdcorps.com PRESIDENT: Ken Faier CONTACT: firstname.lastname@example.org PROGRAMS: Slugterra: 39x30 min., 6- to 11-year-olds, 3D
animation, action/comedy; Endangered Species: 26x22 min. or 52x11 min., 6- to 11-year-olds, 3D animation, comedy; League of Super Evil: 52x22 min. or 104x11 min., 6- to 11-yearolds, 3D animation, comedy; Rated A for Awesome: 26x22 min. or 52x11 min., 6- to 11-year-olds, 3D animation, comedy.
“Nerd Corps Entertainment is a creator, developer, investor and producer of animated intellectual properties for the kids’ market. Our business is based on the creation of visually innovative animation for global children’s audiences, and we now boast an in-house distribution entity, interactive division and global consumer-products division. Nerd Corps is focusing on its fourth original property, Slugterra, an action-comedy adventure for boys ages 6 to 11.The television series will debut on Disney XD this fall, and the first phase of the toy line developed by partner JAKKS Pacific will appear on shelves in spring 2013. Disney XD has pay-TV rights to the series throughout most of the world and Nerd Corps is selling free-TV and home-entertainment rights and signing international licensing partners. Nerd Corps is currently preselling its slate of original IP in development and preproduction, including Endangered Species, and continuing to conduct sales for the award-winning series League of Super Evil and Rated A for Awesome in key markets.” —Ken Faier, el Presidente
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PGS Entertainment ADDRESS: 6, rue Galilée, 75116 Paris, France TELEPHONE: (33-1) 8364-3464 WEBSITE: www.pgsentertainment.com PRESIDENT: Philippe Soutter HEAD, INTERNATIONAL SALES: Guillaume Soutter CONTACT: email@example.com PROGRAMS: Heroes United: 104x11 min. HD, 4- to 8-year-olds,
CGI 3D animation, comedy/adventure; The Little Prince: 78x30 min. HD, kids & family, CGI 3D animation, adventure; The Jungle Bunch: 1x1 hr./26x1.5 min./52x11 min. HD, kids & family, CGI animation, comedy/adventure; 1001 Nights: 52x11 min., 2D digital animation, comedy; Marsupilami Hoobah Hoobah Hop!: 78x30 min. HD, 6- to 10-year-olds, 2D animation, comedy; Iron Man: Armored Adventures: 52x30 min. HD, 6- to 12-year-olds, CGI animation, action/adventure; Spike 2: 1x35 min., CGI animation, comedy; Chaplin & Co: 104x6 min. or 26x30 min. HD, kids & family, CGI 3D animation, slapstick comedy; One Minute Before: 223x1.5 min., teen+, 2D animation & cut-outs, comedy/satire; Gees: 52x3 min., 6- to 10-year-olds, CGI animation, comedy.
“PGS Entertainment is a leading international brand-management company, exclusively dedicated to kids’ and family entertainment and targeting media fields of broadcast, home entertainment, mobile, online, licensing, merchandising and music publishing.” —Philippe Soutter, President
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Rainbow S.r.l. ADDRESS: Via Brecce, 60025 Loreto (AN), Italy TELEPHONE: (39-071) 7506-7500 WEBSITE: www.rbw.it CEO: Iginio Straffi COO: Joanne Lee PROGRAMS: Winx Club: Season 5, 26x30 min., CGI 2D
animation; Winx Club TV movies: 4x45 min., 2D animation; PopPixie: 52x13 min., 2D animation; Huntik: Season 2, 26x30 min., 2D animation; Gon: 52x11 min., CGI animation; Winx Club: Seasons 1-4, 104x30 min., 2D animation; Winx Club 3D—Magical Adventure: 1x80 min., 3D animation; Mia and Me: 26x30 min., live action & CGI animation; My American Friend: 26x30 min., tween, live action.
“Today Rainbow is an international leader in the animation industry, both as a production studio and as a licensing agency. This record is the result of the constant day-to-day work we have done over the last 18 years, showing our strength in anticipating the market demands and always accepting new and exciting challenges. An example of this strategy is the decision to create an entirely in-house structure that covers all the main businesses from every angle. Rainbow, in fact, manages its distribution arms out of its head office based in Loreto, Italy, and in Milan, Spain, Amsterdam and Singapore, including a theatrical CG-production studio based in Rome, a video-game production company based in Singapore, a toy company based in Hong Kong and, most recently, a theme-park company operating Italy’s largest theme park, Rainbow MagicLand.” —Iginio Straffi, CEO
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Saban Brands ADDRESS: 10100 Santa Monica Blvd., Suite 600, Los Angeles,
CA 90067, U.S.A. TELEPHONE: (1-310) 557-5230 WEBSITE: www.sabanbrands.com PRESIDENT: Elie Dekel VP, DISTRIBUTION: Frederic Soulie CONTACT: firstname.lastname@example.org PROGRAMS: Power Rangers Megaforce: 40x30 min., 6- to 11-
year-olds, live action, action/adventure; Julius Jr.: 26x30 min. or 52x11 min., 4- to 7-year-olds, 2D animation; Digimon Fusion: 26x30 min., 6- to 11-year-olds, 2D animation, action/adventure.
“Formed in 2010 as a subsidiary of Saban Capital Group, Saban Brands was established to acquire and develop a world-class portfolio of properties and capitalize on the company’s experience, track record and capabilities in growing and monetizing consumer brands. Saban Brands applies a strategic transmedia management approach to enhancing and extending its brands in markets worldwide and to consumers of all ages.The company provides full-service management, marketing, promotion and strategic business development for its intellectual properties, including comprehensive strategies unique to each brand, trademark and copyright management and enforcement, creative design, retail development, direct-to-consumer initiatives and specialized property extensions. Saban Brands is led by a superior management team with decades of experience in media, content creation, branding, licensing, marketing and finance.” —Elie Dekel, President
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Sesame Workshop ADDRESS: 1900 Broadway, New York, NY 10023, U.S.A. WEBSITE: www.sesameworkshop.org VP, INTERNATIONAL TV DISTRIBUTION: Renee Mascara CONTACT: Philip Toscano, email@example.com PROGRAMS: Elmo the Musical: 15x6 min.; Super Grover 2.0:
13x6 min.; Abby’s Flying Fairy School: 13x9 min.; 3-2-1 Let’s Go: 78x30 min.; Sesame Street ½ Hour: various formats.
“Sesame Workshop is the nonprofit educational organization that revolutionized children’s television programming with the landmark Sesame Street. The Workshop produces local Sesame Street programs seen in over 150 countries, and other acclaimed shows to help bridge the literacy gap, including The Electric Company. Beyond television, the Workshop produces content for multiple media platforms on a wide range of issues, including literacy, health and military deployment. Initiatives meet specific needs to help young children and families develop critical skills, acquire healthy habits and build emotional strength to prepare them for lifelong learning.” —Corporate Communications
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Shaftesbury ADDRESS: 163 Queen St. E., Suite 100, Toronto,
ON M5A 1S1, Canada TELEPHONE: (1-416) 363-1411 WEBSITE: www.shaftesbury.ca VP, CHILDREN’S & FAMILY PROGRAMMING: Suzanne French SENIOR VP, SALES & MARKETING: Shane Kinnear DIRECTOR, SALES: Ryan St. Peters CONTACT: Tanya Koivusalo PROGRAMS: Mighty Mighty Monsters: 2x44 min., 8- to 12-
year-olds/boys, animation, comedy; Totally Amp’d: 10x6 min., 8- to 12-year-olds/girls, musical comedy; Unlikely Heroes: 8x5 min., 8- to 12-year-olds, comedy; Life with Derek: 70x30 min., 6- to 14-year-olds, comedy; Connor Undercover: 39x30 min., 8- to 12-year-olds/boys,adventure; Overrruled!: 39x30 min., 8- to 12-year-olds, comedy.
“Shaftesbury’s new titles offer a range of content for a variety of younger demographics across the multiple platforms that they can be found on, including broadcast, mobile and web. New projects include Mighty Mighty Monsters, two animated specials from Bron Animation that revolve around a group of classic movie monster kids—Frankenstein, Dracula and Wolfman— who are expelled from monster school and sent to a human immersion program at a ‘normal’ middle school, where they must try to fit in. We’re also offering a number of new digital kids’ series to buyers this market from our digital division, Smokebomb Entertainment, including Unlikely Heroes. Written by Tim Burns (My Babysitter’s a Vampire), this comedy series focuses on a rag-tag team of teens who uncover a new civilization during one action-packed summer. We’re looking forward to launching our expanded slate of digital projects to international buyers this MIP Junior and MIPCOM.” —Shane Kinnear, Senior VP, Sales & Marketing
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Studio 100 Media ADDRESS: Nymphenburger Str. 82, 80636 Munich, Germany TELEPHONE: (49-89) 960-8550 FAX: (49-89) 960-855104 WEBSITE: www.studio100media.com MANAGING DIRECTOR: Patrick Elmendorff CONTACT: Nicole Braun, firstname.lastname@example.org PROGRAMS: Hotel 13: 120x12 min., 8- to 14-year-olds,
live action, teen telenovela; Maya the Bee: 78x11 min., 4- to 7-year-olds & family, CGI 3D animation; Vicky the Viking: 78x12 min., 5- to 8-year-olds, CGI 3D animation; Woodlies the Film: 1x75 min., 6- to 11-year-olds, 2D/3D animation, comedy; The House of Anubis: Season 1, 60x12 min./Season 2, 90x12 min./Season 3, 40x12 min./1x110 min., 8- to 14-yearolds, live action, teen telenovela; Galaxy Park: 52x12 min., 10- to 14-year-olds, live action; Rox: Season 1, 13x25 min./ Season 2, 13x25 min., 5- to 8-year-olds, live action, adventure; Hello K3: Season 1, 13x25 min./Season 2, 13x25 min./ Season 3, 13x25 min., 6- to 11-year-olds, live action; Florrie’s Dragons: 52x10 min., 3- to 6-year-olds, animation; Kerwhizz: Season 1, 26x22 min./Season 2, 15x22 min., 4- to 6-year-olds, CGI 3D animation & live action, multiplatform quiz show.
“Studio 100 Media is an international productionand-distribution company within the children’s and family entertainment sector. Based in Munich, Germany the company is a 100-percent subsidiary of Belgian firm Studio 100.The company develops and acquires new content, engages in co-production and co-financing activities and is also responsible for the international distribution of its own and third-party rights. Studio 100 Media is now kick-starting its production strategy and movie distribution with the inauguration of a new movie, The House of Anubis, and the movie Maya the Bee. It is the objective of Studio 100 Media to produce, distribute and place high-quality, positive, non-violent and, most importantly, entertaining children’s programs and content through long-term partnerships and project-based co-operations.” —Patrick Elmendorff, Managing Director 84
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Suzy’s Zoo ADDRESS: P.O. Box 80816, San Diego, CA 92138, U.S.A. TELEPHONE: (1-619) 640-2355 WEBSITE: www.suzyszoo.com CREATOR & CEO: Suzy Spafford PRESIDENT, LAWELESS ENTERTAINMENT: Catherine Malatesta CONTACT: email@example.com
“Suzy’s Zoo was created in 1968 as a line of note cards and since then grew to feature over 200 named characters on a wide range of socialexpression products. In its 44-year history to date, more than 250 million Suzy’s Zoo greeting cards alone have been sold worldwide. The brand includes three character sets— Little Suzy’s Zoo, Duckport and Wags and Whiskers—and is appealing to all demographics. For over 44 years, [I have] been doing what [I] love: drawing and laughing. My life’s purpose is to make people happy, and to share the joy experienced when one remembers what it is like to be a child. Suzy’s Zoo is a major licensed consumer brand with over 4,000 products by more than 100 licensees on sale worldwide. Additionally, a television series consisting of 52 11-minute episodes is fully developed.” —Suzy Spafford, Creator & CEO
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tastytrade ADDRESS: 62 W. Huron, Chicago, IL 60654, U.S.A. TELEPHONE: (1-312) 274-1072 WEBSITE: www.tastytrade.com PRESIDENT: Kristi Ross CONTACT: firstname.lastname@example.org PROGRAMS: Chasin’ Warren: 13x13 min., 8- to 14-year-olds/
girls, live action, educational/comedy; Sneek and the Geek: 15x25 min., 18- to 22-year-olds, live action, game show/comedy.
“tastytrade is a real financial network with a fresh perspective that takes boring financial chatter and turns it into something fresh and actionable. With our wide range of programming targeting tweens through retirement, shows like Chasin’ Warren and Sneek and the Geek are revolutionary in making finance fun. Chasin’ Warren is an action-packed show for our tastytrade tweens introducing financial basics and empowering kids to take control of their financial futures. The tastytrade network is validated by years of experience in the world of finance and is paving the way for kids by challenging, inspiring and having fun while watching. Sneek and the Geek is a knowledge-packed game show demonstrating how college-aged kids can connect in-class math concepts to the real world of trading and investing. Student contestants compete head to head for the grand prize, all while gaining a deeper understanding of financial concepts.” —Kristi Ross, President
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Toon Goggles ADDRESS: 20251 Ventura Blvd., #B, Woodland Hills,
CA 91364, U.S.A. TELEPHONE: (1-818) 206-1225 WEBSITE: www.toongoggles.com MANAGING DIRECTOR: Stephen Hodge CREATIVE DIRECTOR: Brendan Pollitz
“The Toon Goggles platform introduces cartoons in English from all over the world. Toon Goggles’ newest content partners include Millimages, BRB Internacional, Cyboars International, Animasia Studio, Backbone Entertainment and Your Family Entertainment (YFE), among many others. The Toon Goggles team will be attending MIPCOM to promote the distribution service to children’s content producers and distributors. Toon Goggles recently expanded its distribution, partnering with Techno Source to embed the Toon Goggles app on the kidfriendly Kurio7 Android tablet, and teaming up with Toon Boom Animation to develop apps that will allow children to create and netcast their own animations on their newly launched category, ‘Boom Goggles.’ Toon Goggles’ more than 1,000 hours of cartoons made their IPTV debut in June in the U.S. and Canada on Panasonic’s VIERA Connect-enabled HDTVs. Toon Goggles is also available on all smartphones and tablet computers for viewing anywhere, at any time.Toon Goggles iOS app is available for download in the iTunes App Store and for the Sony Tablet S in the Google Play Store.” —Stephen Hodge, Managing Director
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ToonBox Entertainment ADDRESS: 26 Richardson St., Toronto, ON M5A 4J9, Canada TELEPHONE: (1-416) 362-8783 WEBSITE: www.toonboxent.com PRESIDENT: Hong Kim VP, BUSINESS DEVELOPMENT & SALES: Thom Chapman CONTACT: Nahleena Tye, email@example.com PROGRAMS: The Beet Party: 104x2 min. HD, 4- to 6-year-olds,
3D stereoscopic animation, musical comedy/dialogue free/ interactive; The Nut Job: 1x90 min. HD, family, 3D/4D stereoscopic animation, comedy/adventure; Bolts & Blip: 26x22 min. HD, 7- to 11-year-olds, 3D stereoscopic animation, comedy/action/adventure; Bolts & Blip—Battle of the Lunar League: 1x75 min. HD, family, 3D stereoscopic animation, comedy/action/adventure; Bana Royale: 1x90 min., family, 3D/4D stereoscopic animation, sci-fi/comedy/adventure; Bolts and Blip—Quest of the Battle-Bots: iPad & iPhone game; The Nut Job: 52x11 min. HD, 6- to 11-year-olds, 3D stereoscopic animation, comedy/adventure.
“ToonBox Entertainment brings to life original content for film, television and interactive media and has the ability to produce Hollywoodquality content on an independent production budget. Bolts & Blip, ToonBox’s original production and the world’s first 3D stereoscopic animated series, was nominated for a Gemini and Youth Media Alliance Award. The show has aired in over 70 territories in 2D as well as 3D stereoscopy on major 3D channels, including 3net (U.S.A.), BSkyB (U.K.) and Skylife (Korea). ToonBox’s first iOS app, Bolts and Blip: Quest of the Battle-Bots, won first place for Best App for Kids at the Cynopsis Kids’ Imagination Awards 2012. The Nut Job, starring our dynamic duo Surly Squirrel and Buddy the rat, is ToonBox’s first stereoscopic animated feature film and will be released in 2013. An Animago and Prestige Film Award were given to the short film Nuts & Robbers, which introduces our charismatic characters.” —Thom Chapman, VP, Business Development & Sales
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Toonzone Studios ADDRESS: 3450 Cahuenga Blvd. W., Unit 804, Los Angeles,
CA 90068, U.S.A. TELEPHONE: (1-323) 315-7900 WEBSITE: www.toonzonestudios.com CEO: Konnie Kwak CONTACT: Barbara Kahn, firstname.lastname@example.org PROGRAMS: YooHoo & Friends: 52x11 min., 6- to 12-year-olds,
2D animation, environmental/action/comedy; Tiny Warriors: 26x22 min., 6- to 12-year-olds, 2D animation, martial arts/action/comedy; Missy Heart: 52x11 min., 6- to 12-year-olds, 2D animation, adventure/comedy; Bigfoot Littlefoot: 13x22 min., 6- to 12-year-olds, 2D animation, comedy.
“Los Angeles-based Toonzone Studios (TZ) is a unique, full-service facility that develops, produces and markets both animation and liveaction productions. With our global presence and wealth of talent, TZ brings together worldclass animators, writers, web designers, marketers and producers, literally all under one roof. Here’s what we have cookin’ at TZ: the 2D martial arts animated series Tiny Warriors; the eco-action comedy and $148 million worldwide toy success YooHoo & Friends, starring rap legend Flavor Flav and five furry, funny, friends who embark on global adventures to save the Earth; the heart-powered friendship adventure project Missy Heart; and from the mind of David Feiss, Bigfoot Littlefoot, the adventures of Bigfoot and his lesser known little brother.We’re thrilled that the worldwide animation community is embracing all of these projects.” —Konnie Kwak, CEO
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V&S Entertainment ADDRESS: V&S House, Ballinger Rd., Lee Common, Great Missenden, Buckinghamshire HP16 9LA, U.K. TELEPHONE: (44-1494) 837-881 WEBSITE: www.vandsent.com MANAGING DIRECTOR: Vickie Corner DIRECTOR, PROGRAMMING: Kirstie Brandon PROGRAMS: Everything’s Rosie: 78x11 min. HD, 3- to 6-year-olds, CGI animation; Ebb and Flo: 26x5 min., 2- to 6-year-olds, 2D animation; Blanche: 26x6 min., 3- to 6-year-olds, 2D animation; Batfink: 100x5 min., 6- to 12-year-olds, 2D animation; Sergeant Stripes: 26x10 min., 2- to 6-year-olds, 2D animation.
“At V&S Entertainment we pride ourselves on producing, co-producing and distributing quality children’s programming. Everything’s Rosie is our own production and flagship series, airing in 150 countries and attracting top ratings. Working closely with major broadcast partners internationally, our company is characterized by our commitment to delivering the highest quality children’s programming and we have built a strong reputation based on our excellence in distributing worldwide. Everything’s Rosie has taken the company to a new level and we are driven to continue developing new series, bringing fresh adventures to children around the world and further developing our portfolio of children’s programming.” —Vickie Corner, Managing Director
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Vision Films ADDRESS: 14945 Ventura Blvd., Suite 306, Sherman Oaks, CA 91403, U.S.A. TELEPHONE: (1-818) 784-1702 FAX: (1-818) 788-3715 WEBSITE: www.visionfilms.net MANAGING DIRECTOR & CEO, WORLDWIDE DISTRIBUTION:
Lise Romanoff EXECUTIVE VP, SALES & ACQUISITIONS: Adam Wright INTERNATIONAL SALES EXECUTIVE: Vincent Tola CONTACT: Jennifer Schultz, email@example.com PROGRAMS: 12 Dogs of Christmas: The Great Puppy Rescue:
1x103 min., family; Elf-Man: 1x90 min., family, comedy; The Illusionauts: 1x82 min., family, 3D animation, adventure; Captain Scarlet: 26x30 min., animation, adventure; Puppet Theater 3D: 3x30 min.; One Direction: All for One: 1x1 hr., biography; Valentina: 1x65 min., teen, animation; Diamond Dog Caper: 1x90 min., family, adventure; Gooby: 1x99 min., family; The Holiday Collection: 9x30 min., family, claymation; The Adventures of Mark Twain: 1x90min., family, claymation.
“Vision Films is proud to enter the world of family and kids’ programming representing some of the most talented animators and filmmakers in the world. This includes Aronnax Studios, which just completed a full-length animated 3D movie called the The Illusionauts, a fantasy-filled adventure into the literary mind of Jules Verne, and Illusion Studios’ Boogie in 3D and Valentina. Gerry Anderson’s new Captain Scarlet (of Thunderbirds fame) is a 26-part animated TV series and Will Vinton brings us a groundbreaking full-length family feature filmed entirely in claymation, The Adventures of Mark Twain, which will be released by Magnolia on TV and DVD in the U.S.A. this winter. In addition, Vision has acquired a brand-new slate of familyfriendly TV movies.We had great success with TV movies such as Diamond Dog Caper, The Velveteen Rabbit and Elle: A Modern Cinderella Tale. This year we are offering two Christmas movies, 12 Dogs of Christmas: The Great Puppy Rescue and Elf-Man, which play to a broader audience, as they are fun for the adults as well as the kids.” —Lise Romanoff, Managing Director & CEO,Worldwide Distribution 98
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Your Family Entertainment ADDRESS: Nordendstrasse 64, 80801 Munich, Germany TELEPHONE: (49-89) 9972-7121 WEBSITE: www.yf-e.com CEO: Dr. Stefan Piech EXECUTIVE VP, SALES & LEGAL: Klaus Forch CONTACT: firstname.lastname@example.org PROGRAMS: Agi Bagi: 13x7 min., fantasy; Bob’s Beach:
52x12 min., adventure/comedy; Duddels: 15x5 min., fantasy; Ferdy: 52x25 min., adventure; Heroes of the City: 26x14 min., comedy; Little Edo: 26x26 min., adventure; Magical Tooth Fairies: 26x13 min., fantasy; Oscar the Balloonist: 26x12 min., adventure/edutainment; Return to Treasure Island: 1x90 min., pirate adventure; Robo Roach: 52x24 min., comedy.
“Your Family Entertainment (YFE) is one of Europe’s leading independent production and distribution companies for kids’, youth and family entertainment. Founded more than 30 years ago, the company operates the award-winning TV channel yourfamily and has just launched its brand-new free-TV channel RIC. The programs Agi Bagi, Little Edo and Heroes of the City (season two) are currently in production and available for co-production and worldwide licensing.The wonderful comedy series Bob’s Beach is now available as a European first-release program. Highlights such as Oscar the Balloonist, MP4orce and Heroes of the City (season one) continue their success stories around the globe. In this capacity YFE can deliver highest quality programs for individual licensing or complete programming for new channels.” —Klaus Forch, Executive VP, Sales & Legal
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Magical Tooth Fairies: Kids from around the world know the story of the magical tooth fairies. Do they really? There have been tooth fairies for thousands of years. They are as old as mankind, collecting milk teeth from kids around the world to grind them into magical dust filled with all the dreams, wishes and hopes of the children. This power will be used by the fairies on their missions to stop McCavity, who tries to poison the town with sweets. Little Edo: This co-production with RAI is inviting the young viewer to join Edo, a young nobleman from the 18th century, and his friends to trace the roots of well- or not-so well-known legends and myths from around the world with them. Sneaking into the library of his father, Little Edo always finds the inspiration he needs to start his new adventures. Oscar the Balloonist: The series has been an instant success since it first broadcast on KiKA in Germany in December 2010. Since then, the adventurous 8-year-old Oscar and his nervous friend, Spike the Cactus, have not stopped their voyage around the world. During this journey of discovery, which takes them on fascinating adventures in their hot air balloon, they constantly meet new animal friends in all sorts of climates and on all continents. Heroes of the City: After the worldwide sales success of season one, season two of Heroes of the City is now in production. Pauline Police Car, Fiona Fire Engine and their friends experience new, fantastic adventures and, in their heart-warming way, document they are the real ‘heroes of the city.’ Agi Bagi: A brand-new series about the fantastic adventures of Bodjo and Zibi. They live on the planet Agi Bagi, inhabited by two species: the Agingas and Bagingas. They come together to create a particular ecosystem, and together they tend to the upper and lower parts of the plants. In every episode, Bodjo and Zibi work to restore the balance of the planet’s dual ecosystems.
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Channels to Watch
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Disney Junior COUNTRY: U.S.A. LAUNCH DATE: March 2012 OWNERSHIP: The Walt Disney Company DISTRIBUTION: The channel is available in approximately 55
million U.S. homes, while the Disney Junior block is available in more than 99 million homes in the country. PRESIDENT & CHIEF CREATIVE OFFICER, DISNEY CHANNELS WORLDWIDE: Gary Marsh SENIOR VP, ORIGINAL PROGRAMMING & GENERAL MANAGER, DISNEY JUNIOR WORLDWIDE: Nancy Kanter SENIOR VP, PROGRAMMING STRATEGY, DISNEY CHANNELS WORLDWIDE: Paul DeBenedittis WEBSITE: www.disneyjunior.com
DESCRIPTION: Disney Junior reflects the emotional connection generations of consumers have to Disney storytelling and Disney characters, both classic and contemporary. PROGRAMMING STRATEGY: Rebranded from Playhouse Disney, Disney Junior is available globally in 22 languages in 149 countries. In March, the daily Disney Junior block that had been running on Disney Channel in the U.S. was transitioned into its own stand-alone service, bringing the total number of channels worldwide to 30. Aimed at children 2 to 7 and their families, Disney Junior aims to present magical, musical and heartfelt stories and characters. The programming also incorporates specific learning and development themes. “Disney Junior’s series blend Disney’s unparalleled storytelling and characters kids love deeply with learning, including early math, language skills, healthy eating and lifestyles and social skills,” says Nancy Kanter, the senior VP of original programming and general manager of Disney Junior Worldwide. Less than 30 percent of the Disney Junior schedule, for both the channel and block, is made up of acquired programs. Notable titles include The Octonauts, Chuggington and Gaspard and Lisa. The lion’s share is Disney originals, including Little Einsteins, Handy Manny, Jungle Junction and Special Agent Oso. The original show Doc McStuffins is cable’s number one series for preschoolers. Other top performers include Mickey Mouse Clubhouse and Jake and the Never Land Pirates.
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Gloob COUNTRY: Brazil LAUNCH DATE: June 2012 OWNERSHIP: Globosat Programadora (Globo Media Group) DISTRIBUTION: 7.3 million households DIRECTOR: Paulo Marinho HEAD, CONTENT & PROGRAMMING: Paula Taborda dos Guaranys MARKETING MANAGER: Luciane Neno PLANNING & NEW BUSINESS MANAGER: Sabrina Freitas PRODUCT & DEVELOPMENT COORDINATOR: Flavia Costa WEBSITE: mundogloob.com.br
DESCRIPTION: As the first Brazilian-born commercial children’s pay-TV channel, Gloob is focused on the interests and needs of kids throughout Brazil. PROGRAMMING STRATEGY: Marking the first kids’ channel in
the Globosat bouquet, Gloob was considered “the missing piece” in the company’s offerings for Brazil. The service launched this summer, targeting boys and girls 5 to 8 years old. The channel also built in a special track of classics from the ’80s and ’90s in an effort to bring parents to the screen. “The channel’s content includes themes such as friendship, companionship, courage, peace, respect for differences and diversity, among others—always delivered with great humor, adventure, imagination and joy,” says Paulo Marinho, the director of Gloob. “Modern and dynamic, Gloob will bring to the screen animation, live-action series and movies, [featuring content that is] contemporary, interactive and [has a] creative language highly suited to children and widely supported by parents.” Gloob’s content has been acquired from different countries, such as France, Germany, the U.S., Canada and Italy, among others. The channel also features Brazilian music, fillers and its first national production: Blue Building Detectives (D.P.A.: Detetives do Prédio Azul), which was produced in partnership with Conspiração Filmes. “We certainly consider Blue Building Detectives our most important flagship,” says Marinho. “The show is about three friends that get together in a secret club to investigate the mysteries in their building.” Marinho says that the intention is, over time, to increase the amount of Brazilian programming on Gloob. 107
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The Hub COUNTRY: U.S.A. LAUNCH DATE: October 2010 OWNERSHIP: Discovery Communications & Hasbro DISTRIBUTION: 64 million homes PRESIDENT & CEO: Margaret Loesch VP, SCHEDULING, ACQUISITIONS & PLANNING: Lou Fazio WEBSITE: www.hubworld.com
DESCRIPTION: The multiplatform joint venture from Discovery and Hasbro has a mission to entertain and educate its young viewers. PROGRAMMING STRATEGY: A signature stamp of the content on The Hub is that of rich storytelling with active, multidimensional characters and unexpected heroes. Flagship brands include friendship-themed comedies (My Little Pony Friendship is Magic, Strawberry Shortcake’s Berry Bitty Adventures, Pound Puppies, Care Bears: Welcome to Care-a-Lot) and action adventure (Transformers Prime, Transformers Rescue Bots, R.L. Stine’s The Haunting Hour: The Series, Family Game Night). Around 40 percent of the schedule is original or co-produced. There are many series on the network that have been adapted from existing brands in the Hasbro library, as well as programming that was popular for Discovery Kids, which the channel took the place of with its launch. “Currently we are acquiring very little from the international marketplace, unless it’s a well-known brand here in the U.S.,” says Lou Fazio, The Hub’s VP of scheduling, acquisitions and planning. “Being a new mid-sized network we have limited marketing and promotional resources, so a branded title can often attract viewers without a lot of promotion behind it.” The channel is, however, buying from within the U.S. Examples include The Super Hero Squad Show (from Marvel) and Batman: The Animated Series (from Warner Bros.). “In addition, we acquire movies from all the major studios.” Among them Garfield, Air Bud, E.T.: The Extraterrestrial and Charlie and the Chocolate Factory. Fazio says that the channel is currently on the lookout to buy “animated comedies that appeal to kids 2 to 11, but…with branded characters.”
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Nickelodeon Latin America COUNTRY: 25 countries across Latin America LAUNCH DATE: December 1996 OWNERSHIP: Viacom International Media Networks DISTRIBUTION: 40 million households on basic-cable tiers SENIOR VP, PROGRAMMING & CREATIVE STRATEGY:
Tatiana Rodriguez SENIOR VP, CFO & EXECUTIVE IN CHARGE OF PRODUCTION, VIACOM INTERNATIONAL MEDIA NETWORKS, THE AMERICAS:
J.C. Acosta SENIOR DIRECTOR, PROGRAMMING & ACQUISITIONS:
Migdalis Silva WEBSITE: www.mundonick.com
DESCRIPTION: A counterpart to the American Nickelodeon network, Nickelodeon Latin America has its own original and Latin programming to cater to its local audience. PROGRAMMING STRATEGY: Kids 4 to 6, teens 7 to 14 and parents all have their place within the programming targets of Nickelodeon Latin America. This mix includes animation, live action, sitcoms and original productions, including telenovelas made exclusively for kids. “We put kids first,” says Migdalis Silva, the senior director of programming and acquisitions at the network.“We provide fresh, innovative programming and original series specifically tailored to kids. We embrace families, champion creativity, listen and learn. We are diverse, inclusive, break rules and take risks.” Around 75 percent of its programming is Nickelodeon U.S. originals, with 10 percent being local originals and the remaining 15 percent acquired. Since 2005, a total of nine local original productions have been produced, including the telenovelas Isa TKM, Sueña Conmigo and three seasons of Grachi. Other top performing local originals include Skimo, Miss XV and Julie and the Phantoms. A number of the channel’s other top-performing titles come from the U.S. Nickelodeon channel, including SpongeBob SquarePants, iCarly and Big Time Rush. “We acquire animated shows, live action, sitcoms and movies from distributors all over the world,” notes Silva. She cites Power Rangers Samurai and Life with Boys as two of the acquired shows that have been the biggest hits with viewers.
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Piwi+ COUNTRY: France LAUNCH DATE: December 2003 OWNERSHIP: CANAL+ Group DISTRIBUTION: 4.7 million households HEAD, CHILDREN’S DEPARTMENT, CANAL+ GROUP:
Laurence Blaevoet HEAD, ACQUISITIONS, CHILDREN’S DEPARTMENT, CANAL+ GROUP: Geraldine Soto HEAD, CO-PRODUCTIONS, CHILDREN’S DEPARTMENT, CANAL+ GROUP: Sophie Boe HEAD, PRODUCTION, CHILDREN’S DEPARTMENT, CANAL+ GROUP: Nathalie Leffray WEBSITE: piwiplus.fr
DESCRIPTION: The channel works to create an environment that
is like a “garden of discovery” to satisfy and enchant youngsters’ curiosity about the world around them. PROGRAMMING STRATEGY: Gentle yet stimulating is how the
programming mix at Piwi+ is described. From the CANAL+ Group’s bouquet of kids’ channels, Piwi+ is firmly focused on preschoolers, targeting 3- to 6-year-olds. “The editorial line is different from that of our competitors,” says Laurence Blaevoet, the head of the children’s department at the CANAL+ Group. “We provide tender and funny stories with lovely, friendly heroes. The point is to be a good storyteller with strong and catchy brands. Piwi+ is very fond of new, progressive and innovative graphics, original and unique characters, offering the preschoolers a nurturing, safe environment enhancing their learning capacity and creativity, willing to tickle all their senses.” Around 90 percent of the schedule comes from acquisitions. In France, there is a mandate that 60 percent of the programming must be European, and from that 40 percent must be French.The rest is culled from territories such as Canada, the U.S., Asia and Australia. The channel has sourced programming from such distributors as 9 Story Entertainment, DHX Media, The Jim Henson Company, AG Properties, Studio 100 and others. Top performing acquired series include Fireman Sam, Angelina Ballerina, Stella and Sam and Dinosaur Train. Original productions include Zac & Zig, a live show, and Au pays des signes, which teaches viewers sign language. 110
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TV Kids Weekly
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In your inbox every Tuesday For a free subscription, visit www.worldscreen.com/pages/newsletter
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TELETOON COUNTRY: Canada LAUNCH DATE: October 1997 OWNERSHIP: Astral Media & Corus Entertainment DISTRIBUTION: More than 7.5 million households in English
and French PRESIDENT: Len Cochrane VP, BUSINESS OPERATIONS: Trent Locke VP, PROGRAMMING: Carole Bonneau DIRECTOR, ORIGINAL CONTENT: Alan Gregg VP, MARKETING: Russell Ward WEBSITE: www.teletoon.com
DESCRIPTION: The channel aims to offer the best in animated and animation-related entertainment. PROGRAMMING STRATEGY: TELETOON is the flagship in a bouquet of five Canadian specialty channels, alongside Cartoon Network, TELETOON Retro and the French-language TÉLÉTOON and TÉLÉTOON Rétro. While the primary focus is kids 6 to 11, TELETOON does target adults 18 to 49 with its content in the evenings, with TELETOON at Night taking over post-9 p.m. Around 60 percent of TELETOON’s total schedule is made up of Canadian original programming.The network has worked with Canadian production companies such as Fresh TV, marblemedia, Nelvana and Breakthrough. “We need our original Canadian content to perform alongside big foreign imports and, thanks to our many producers, it does,” says Alan Gregg, the director of original content. Johnny Test and Total Drama are among the signature original series for TELETOON, as is the new mystery comedy Detenionaire. The remaining part of the grid is from international acquisitions. TELETOON Canada works with all the major studios, according to Gregg, and has partnerships in place with Cartoon Network, Warner Bros., Lucasfilm and Marvel. Some of the top acquisitions for the network include Ninjago, The Looney Tunes Show, Tom and Jerry Tales, Ben 10: Ultimate Alien and Adventure Time. “Co-productions or co-ventures are an attractive model for TELETOON; they reduce our license fee and CMF spend,” Gregg notes. He points to Totally Spies! as an example of a past success.
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t n e t n o Cyground
The leading website for the business of childrenâ€™s programming
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TFOU COUNTRY: France LAUNCH DATE: September 1997 OWNERSHIP: TF1 CHAIRMAN & CHIEF EXECUTIVE, TF1 GROUP: Nonce Paolini EXECUTIVE VP, BROADCASTING, PROGRAMS & PRODUCTION, TF1 GROUP: Jean-François Lancelier DEPUTY DIRECTOR, PROGRAMS, NON-SCRIPTED, ARTISTIC ACQUISITIONS & YOUTH: Fabrice Bailly HEAD, YOUTH PROGRAMS: Yann Labasque DEPUTY DIRECTOR, YOUTH PROGRAMS: Nathalie Pinguet WEBSITE: www.tfou.fr
DESCRIPTION: The TFOU youth block on TF1 is a favorite among kids under 10 in France. Humor is its main line. PROGRAMMING STRATEGY: From January to May 2012, TFOU,
TF1’s youth programming block, gathered an average 24 percent market share, confirming its leadership with kids 4 to 10, according to Médiamétrie. “TFOU has always been strongly established in the preschool segment,” says Yann Labasque, the head of youth programs at TF1. “Our daily weekday morning slots are the only ones able to reach more than 300,000 children before school, which we will continue to grow thanks to very famous heroes like the new Maya the Bee or Calimero.” Other flagship preschool programs include Dora the Explorer, Franklin and Friends, Chuggington and Mike the Knight. Aging up, TFOU’s hit shows with 5- to 8-year-olds include The Mini-Avengers and The Jungle Book. Totally Spies! and Kung Fu Panda are among the top performers with those 6 to 10. Labasque says that TFOU plans to put more effort in the coming year toward strengthening its offerings for the 6-to-10 set. Under its mandate, TF1 must broadcast a minimum of 1,000 hours of kids’ programming a year.The TFOU kids’ programming block accounts for the majority of these hours, the others being family feature films or some afternoon live-action youth series. Around two-thirds of the programming comes from coproductions and pre-buys, leaving around one-third of the grid to be stocked with acquisitions. “We co-produce or pre-buy an average of six to ten new programs per year,” Labasque notes. For the 2012-13 season, new co-pros include The Mysterious Cities of Gold (Blue Spirit Animation). 114
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