TV Novelas at DISCOP 2010

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Telenovelas in Eastern Europe TV Azteca’s Mario San Román Bandeirantes’ João Carlos Saad www.tvnovelas.ws

DISCOP EDITION THE MAGAZINE OF TELENOVELAS

JUNE/JULY 2010

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Artear www.artear.com • • • • •

More Than Partners

Be Kind to Me More Than Partners Gypsy Blood Patagonia, Flavors from the End of the World Boutique Wineries

IN THIS ISSUE Passion Returns Telenovela distributors continue to find slots for their productions in Central and Eastern Europe 8

A tale of star-crossed love, the 250-episode Gypsy Blood headlines the telenovela offerings from Argentina’s Artear.

The company has, however, dramatically expanded its portfolio beyond novela fare. On offer are drama series like Be Kind to Me, about a couple coming to grips with their relationship after 22 years of marriage. More Than Partners, meanwhile, is a legal dramedy about three female friends who decide to team up and open their own law firm.

Bringing Argentina to the world, the 13-part series Patagonia, Flavors from the End of the World showcases the cuisine of this famed destination, while the 15-part Boutique Wineries travels through a series of vineyards in Argentina. Rounding out Artear’s DISCOP highlights is the eight-part documentary series Fantastic Biographies, delivering profiles of notable fictional characters, among them Madame Bovary’s Emmy Bovary, The Seven Madmen’s Remo Erdosain and The Metamorphosis’s Gregor Samsa.

Interviews TV Azteca’s Mario San Román 12 Bandeirantes Group’s João Carlos Saad 14

Ricardo Seguin Guise

Publisher Anna Carugati

Group Editorial Director Mansha Daswani

Executive Editor Kristin Brzoznowski

Managing Editor Be Kind to Me

Jen Gilbert

Production and Design Director Simon Weaver

Online Director Phyllis Q. Busell

Art Director

Caracol Television

Kelly Quiroz

Sales and Marketing Manager

www.caracolinternacional.com

Erica Antoine-Cole

Business Affairs Manager

• The Cartel 2 • All I Need Is Love • Mariana & Scarlett • The Beautiful Ceci and Mr. Indiscreet • The Mafia Dolls

Cesar Suero

Sales and Marketing Coordinator

“ We believe

Last year, Caracol Television’s biggest hit was The Cartel, which sold to more than 15 territories ahead of its Colombian premiere, according to Camila Reyes, the company’s sales executive for Eastern Europe. “In just two weeks it became one of the most successful export products in the history of Colombia television, being sold to 50 territories around the world in nine different languages.”

A second season of the series is on offer at DISCOP, alongside the 58-episode The Mafia Dolls. Also being showcased at the market are Mariana & Scarlett, The Beautiful and Mr. Indiscreet and All I Need Is Love.

Commenting on her expectations for the market this year, Reyes says, “We want to implement new marketing strategies that will allow us to reach out to countries and regions that still don’t know our products. [We aim to] create new demand, continue to deliver high-quality products to our current customers and solidify even more the international name of Caracol productions.”

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that the same success that our novelas have had in other countries can be achieved in new markets.

Ricardo Seguin Guise

President Anna Carugati

Executive VP and Group Editorial Director

”

Mansha Daswani

—Camila Reyes

VP of Strategic Development

The Beautiful Ceci and Mr. Indiscreet

TV Novelas © 2010 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website:

www.tvnovelas.ws

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Televisa Internacional www.televisainternacional.tv • Fill Me with Love • A Woman of Steel • A Double Identity • A New Beginning • Dream of Me

In the midst of the challenging economic environment last year, Televisa Internacional was able to increase its sales in Europe by 25 percent, according to Claudia Sahab, the company’s director for Europe. In that light,Televisa is feeling optimistic as it heads into DISCOP. “We expect to grow a little more this year, or at least to maintain the number of hours we are distributing in Europe,” Sahab says.

For Central and Eastern European buyers there are a host of telenovelas available in a range of different styles.

Fill Me with Love focuses on an overweight girl who, after losing her parents, is forced to live with an evil aunt and she falls in love with her cousin. A Woman of Steel is about a beautiful but bitter woman who must learn how to love again. In A Double Identity, a woman invents a twin brother in order to get a job at a law firm.

Rounding out the slate are A New Beginning and the teen series Dream of Me.

“We have a very high-quality

—Claudia Sahab

Fill Me with Love

TV Azteca www.comarex.tv • Torn Apart • Fierce Angel • The Force of Destiny • Daniela • Grachi

Through its exclusive worldwide distributor, Comarex, TV Azteca has been expanding its Mexican novelas out across Central and Eastern Europe for years. Most recently, the company has found particular interest from buyers for Daniela and The Force of Destiny, both of which are on the slate for DISCOP this year, says Marcel Vinay, Comarex’s CEO. “We’re confident that La loba [Fierce Angel] and Infamia [Torn Apart] will do as well or even better,” Vinay adds, referring to two new series available at the market.

Vinay continues, “We think that Grachi [a novela for Nickelodeon Latin America] is going to be a very important youth telenovela for the Eastern bloc countries. It’s going to have a lot of success in the different territories.”

Overall, Vinay expects a positive DISCOP, given the signs of an economic recovery seen at MIPTV and the L.A. Screenings. “If that gets repeated at DISCOP, it’s going to be a very good market as well.”

”

product and a very secure one.

“ The need for telenovelas is still there [in Central and Eastern Europe].

”

—Marcel Vinay Fierce Angel

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Televisa Internacional’s A Woman of Steel.

Passion

Returns

Telenovela distributors are holding on to the slots they’ve secured in Central and Eastern Europe, and are angling to secure more as the region’s economy improves.

point to telenovelas in Central and Eastern Europe having found their comfort zone again.

“The desire [from broadcasters] to air telenovelas is still there,” reports Marcel Vinay, the CEO of Comarex, which distributes TV Azteca’s programming worldwide.“Certain countries, where they had almost completely stopped their telenovelas, are back airing them—we’re really happy about that.”

HEARTFELT REMINDER

By Mansha Daswani Any good telenovela has its fair share of ups and downs, high and lows, victories and losses. Such has been the story of the genre in Central and Eastern Europe, from its heady early days, when new channels, eager to build up audiences, turned to the reliability of daily dramas to entice viewers.Then came a glut of product and the rise of local productions as markets, and broadcasters, matured. When the recession hit, meanwhile, buying across the board froze as cash-strapped networks found ways to do more with less. Today, amid a slew of reports that advertising in the region is improving and buyers are cautiously opening their wallets again, all signs 58

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The signs of the genre’s return to its earlier status in Central and Eastern Europe have also been seen by Claudia Sahab, the director for Europe at Televisa Internacional. “For example, Hungary, which stopped broadcasting telenovelas for a while, came back to us last year. So we are reopening some slots that [broadcasters had stopped using for telenovelas] for some time.”

Indeed, the weakened ad market, which put pressure on local production budgets, has, in some ways, been a benefit to distributors of telenovelas.“The Eastern European markets…were doing much more local production, but because of the cutoff of the budgets, now they’re coming back [to buy novelas],” Sahab says. “We have a very high-quality product and a very secure one.You know that if a telenovela works, you can for6/10

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get about that slot for a month or so—that’s great for the proIn each of our traditional markets in Europe we have a gramming department.” volume deal with one of the main broadcasters. And then, Nonetheless, Central and Eastern Europe are not out of as we have so much product, we are able to continue selltheir troubles yet. Some broadcasters are still relying on ing to the other broadcasters.” inventory or are airing repeats, notes Michelle Wasserman, At DISCOP, Televisa will be showcasing the new telenothe head of international distribution, programming, for- velas Fill Me with Love, A Woman of Steel, A Double Identity and mats and production services at Telefe International. On A New Beginning, among others. the bright side, she adds, “the novela is like a way out when you’re limited in your budget.”

FOR BETTER OR WORSE Telefe’s Wasserman similarly is focused on maintaining her “We expect that the representatives who will arrive at company’s business, and finding opportunities wherever they DISCOP will be anxious to buy universal products that are can be found.Telefe has already had success in CEE with titles cost-effective,” concurs Elena Antonini, the VP of sales at Dori Media Distribution Argentina. The breadth of the company’s like Love’s Guard and Montecristo. On offer at DISCOP will be the teen telenovela The Resistance and the catalogue, she says, enables buyers “to fulfill this exact need— meaning, find telenovelas and daily dramas which have the soccer-themed WAGs, Love for the Game. The goal with these shows and others, she says, is “to keep the deals we have, to ability to generate high ratings at a relatively low cost.”

Distributors are therefore feeling guardedly upbeat as they keep the slots we have conquered—not to let them go to head to Budapest this month. And all are stressing their ability repeats or stock or with our competition.”

For Telefe’s slate of completed shows, Wasserman notes to deliver high-quality products that will fill broadcasters’ needs on a budget. “The search for quality has increased,” says that the company’s lead markets have included Bulgaria, Romania and Poland. In Russia, meanwhile, Telefe has Raphael Corrêa Netto, the head of international sales at Globo placed much of its efforts on format adaptations. A format TV International.“The market is more mature, with less space, option is already in place on WAGs, Love for the Game, allowing only quality products to find a foothold.”

Headlining Globo’s offering is the International among other titles, Wasserman says.

Comarex’s Vinay also points to the importance of drivEmmy–winning telenovela India: A Love Story, which has ing both completed program sales and format sales in Cenalready been licensed into 90 territories worldwide, and Seize the Day, which was filmed in Israel and Paris, among other tral and Eastern Europe. Reflecting on the changes in the locations. These shows, Corrêa Netto says, will build on novela market over the last year, Vinay says, “There’s more Globo’s already substantial business in Central and Eastern of a mix between locally produced and foreign-produced Europe, where some of its biggest hits have included Terra Nostra, The Clone and Shades of Sin. Historically, Globo’s biggest market in the region has been Romania, but it has been steadily increasing its geographic presence.

“This year we’re returning to Russia, the Ukraine, Lithuania and Latvia. We also have important deals in Hungary and Poland. The market as a whole is very important for the international distribution of Globo and we’re interested in increasing and improving our current deals.”

Maintaining relationships is a key priority for distributors as they head into the market this year.

“We increased our sales in Europe by 25 percent [last year],” says Televisa’s Sahab. “We expect to grow a little more this year, or at least to maintain the number of hours we The game of love: Telefe International is heading to DISCOP with a broad slate that encompasses, among other titles, the footballare distributing in Europe. themed telenovela WAGs, Love for the Game.

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A scene to remember: Petra, Jerusalem and Paris are among the backdrops featured in Globo TV International’s new telenovela Seize the Day, one of the Brazilian distributor’s top properties for DISCOP in Budapest.

telenovelas. Some countries have experimented with local production, other countries that were 100-percent local production are now [buying] completed series. So we’re focused on both, depending on the territory.”

At DISCOP, Comarex’s sales team will be showcasing new titles like Fierce Angel, Torn Apart and the recently announced Nickelodeon Latin America teen series Grachi. These shows, Vinay expects, will fare as well in the region as recent successes Daniela and The Force of Destiny. “The larger territories, like Russia, Hungary, Czech Republic, Romania, are our biggest clients,” he continues.

A VIBRANT MIX

“We are focused on selling both the canned product and the format/script,” states Camila Reyes, sales executive for Eastern Europe at Caracol Television. “Each country is different and each client has their special needs, so we work with the programming team trying to find what works best for them. This is a strategy that has worked for Caracol, Reyes notes, pointing out that the company experienced a considerable increase 60

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in its business in the region last year.Telenovelas that the company is showcasing this year include Mariana & Scarlett and The Beautiful Ceci and Mr. Indiscreet.

“Currently our biggest markets are Romania and Bulgaria, and we have identified new opportunities that offer important growth in countries such as Poland, Serbia and Hungary, where the demand of finished product is growing,” Reyes says.

Dori Media, too, is keenly pursuing finished and format sales on its portfolio, which at DISCOP includes the romantic comedy Date Blind, the soccer-themed Money Time and the younger-skewing Mia: My Invisible Friend, Champs 12 and Split.

“The biggest markets in the region in terms of format sales are Russia, Poland, Turkey and Greece,” says Antonini.

“However, in terms of opportunities, we foresee some changes within the market generated mainly by the macroeconomic situation. After the crisis, format sales decreased while the finished product sales increased. While the market was reestablishing, format opportunities were back on the table, but this time with new and different negotiation terms that 6/10

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stressed flexibility in many aspects. Our main focus while distributing our titles is understanding the client’s need and trying to find the most suitable title for them.”

Antonini says that, given the still challenging environment in Central and Eastern Europe, being able to deliver a varied catalogue is crucial. From “dramatic, epic, modern-style” telenovelas to series with comedic twists, the titles from Dori Media, Antonini says, also appeal to a range of demographics—kids, teens and adults. “Even though the classic stories are still the most requested titles as finished programs, producers are more open to new [trends] and more unique stories,” she says.

novelas from other parts of Europe. “Turkish telenovelas suddenly became very popular last summer, a new ‘fashion’ which has spread through the Balkan territories since then,” Telemundo’s Pillow says. “However, these titles are finding their own places in prime time in these territories and are no longer replacing telenovelas from Latin America. Other new players include Ukrainian telenovelas, which seem to cross borders with more ease than their Russian counterparts.”

Ultimately,Wasserman says,“It’s not just [about selling] novelas or game shows. It’s a combination of everything.”

Sister act: The Caracol telenovela Mariana & Scarlett focuses on sisters working in the fashion industry.

CHANGING THE FORMULA

Globo’s Corrêa Netto adds that broadcasters are eager to try shows outside of the cookie-cutter telenovela format.

“Romantic stories always stand out, but the market is open to new titles and new stories,” he says. “All the genres have their space, but we realize that the programmers have invested in works with high production values, that can bring value to their programming timetable.”

Another trend perceived by novela distributors is the increasing demand from IPTV platforms. As Melissa Pillow, the director of sales for Europe at Telemundo Internacional, explains, “IPTV rights in addition to free-TV or pay-TV rights are becoming a common request from many broadcasters.VOD is also becoming more and more popular for the retransmission of telenovelas, and we are seeing a clear increase in negotiations for this media.”

Telemundo will be at DISCOP with Cruel Love and Where Is Elisa?—which is also being showcased as a format—and the new series Behind Every Woman.“The telenovela is a staple genre for the companies with whom we meet at DISCOP, and the economic crisis has not changed their needs,” Pillow says.

While forecasts for the novela market are upbeat, Latin American distributors are not being complacent—instead, they are broadening their portfolios into drama, comedy and unscripted entertainment.Telefe’s DISCOP catalogue includes a smattering of game-show and entertainment formats.“We’ve discovered we can do more than fiction,” Wasserman says, “in a very good way, a cheap way, an easier way.”

MORE THAN NOVELAS

Televisa has licensed the talent competition format Dancing for a Dream across Central and Eastern Europe, and driving sales on further entertainment series is a priority for the company, Sahab says. One of its newest variety series is Decades.

Globo will be at DISCOP with drama series like Internal Affairs, unscripted formats such as Profession Reporter, and a slate of documentaries, including Brazilian Beats and GloboDOC. “We’re putting a lot of faith in the documentaries about Brazilian culture and personalities made exclusively for the international market,” Corrêa Netto says. “With these highlights we hope to be able to do good business with programmers of the region.”

Artear, meanwhile, is highlighting the telenovela Gypsy Blood alongside the series Be Kind to Me and More Than Partners, the documentary Patagonia, Flavors from the End of the World and the lifestyle/travel series Boutique Wineries.

And Dori Media has high hopes for its reality format uMan, which has been sold to 14 countries in less than a year.

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Mexico was one of the hardest hit markets during last year’s global economic downturn. Nevertheless, TV Azteca posted an 11-percent increase in net sales in the first quarter of 2010 and achieved a 41-percent share in its target audience. In this exclusive interview, Mario San Román, the CEO of the broadcasting group TV Azteca, talks about working with advertisers in difficult economic times, while always focusing on quality programming.

obviously we will offer a greater amount of content to our consumers.

TV NOVELAS: In the past year you announced a co-production venture with Globo TV International. Are you looking for other co-production partners?

SAN ROMÁN: We are open to working with other companies, provided they are top-level companies. We [have signed a co-production deal] with The Walt Disney Company in Colombia for the show Grey’s Anatomy, and with Globo we are doing the telenovela Loco Amor, which will start production at the end of the year. We are open to seeing what other co-production possibilities there are, but for the moment we don’t have any other agreements lined up.

The Importance of Innovation

TV Azteca’s Mario San Román

By Elizabeth Bowen-Tombari

TV NOVELAS: The Mexican TV market is one of the most competitive in the world. What are TV Azteca’s strengths and its strategy for growth?

SAN ROMÁN: Throughout the years, TV Azteca has been extremely careful to produce the highest quality product, from both a visual standpoint, which is most important for viewers, using new technologies, new lighting techniques and new styles of directing, as well as from the standpoint of new plot lines. We are betting on new types of content and on new ideas [and not just relying on new versions of existing productions].

TV NOVELAS:

You are inaugurating new telenovela studios.

Tell us about your plans to produce more programming.

SAN ROMÁN: Last year we announced a large investment in a new studio complex, which will be connected to the production facilities we already have. This will give us a significant increase in the number of studios we have as well as an increase in the potential number of hours we will be able to produce. The new studios will be ready in 2011. It would be great if we already had them and if we could already be producing more.

TV NOVELAS: What differentiates TV Azteca’s novelas

from others on the market?

TV NOVELAS: Despite the difficult economy, to what do

SAN ROMÁN: The difference between our content and

you attribute TV Azteca’s positive financial results, and how did you work with your advertisers during the recession?

SAN ROMÁN: You can face an economic crisis in one of two ways. You can let the wave overtake you and you drown, or you can surf the wave and make the best of it. In Mexico we are used to working through times of crisis. We know that in Latin America we are always living through crises in one way or another. Obviously you have to come up with the right strategies for all your clients so that they can maximize their investments, because no matter what, clients need to move their products. Some clients will move products one way, while other clients will move them another way. But always, in times of crisis, there are clients who are willing to take a risk in order to gain market share.

Competition in Mexico continues to be very open in many advertising categories. Some categories in the market lost a lot, while others were able to strongly maintain their competitive edge.

that of other broadcasters is that we pay such close attention to quality. We deal with topics that touch the hearts of people today. There is a tendency nowadays to make the same novelas that have already been seen, which definitely is a valid choice and strategy. But we want to bet on new things, obviously respecting the telenovela genre, because we know our market. But in all the markets where we sell, the telenovela is the number one product.

TV NOVELAS: With the growth of digital television, are you seeing more opportunities to launch new channels?

SAN ROMÁN: We have launched a digital terrestrial system in Mexico called Hi-tv. We are offering a package of 12 free-TV channels to consumers who have limited economic resources. We believe that as digitization advances there will be a greater number of channels and services, and 62

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TV NOVELAS: What are TV Azteca’s programming strengths in 2010?

SAN ROMÁN: We have many plans that we will implement, including a new generation of novelas. As you know, novelas are the number one product, but we are going to have a good amount of new drama productions that we believe will work very well. We will also have a range of competition shows.

We are changing some of our entertainment shows, which have worked very well for many years, but now [we are refreshing them]. I believe this is our strength—having the ability to constantly change and renew.

Nowadays television is a medium where one cannot be static, where viewers tire quickly of seeing the same thing.

It’s not the way it used to be when you could keep the same program on air for a long time. Today, you either keep the same program, but you have to change and vary it, or you schedule new shows.

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Keeping Pace with Progress

Bandeirantes’ João Carlos Saad The Brazilian media conglomerate Grupo Bandeirantes de Comunicação owns two freeTV stations, five payTV channels, more than ten radio stations and two newspapers in Brazil. It also operates channels overseas. As the group’s president, João Carlos Saad, explains, Bandeirantes is positioning itself for the future by converting its stations to highdefinition, experimenting in 3-D, and looking to produce novelas in Spanish in an effort to open more markets to its product.

By Elizabeth Bowen- TV NOVELAS: What differentiates Brazilian novelas from Tombari those in the rest of Latin America?

SAAD: Brazilian telenovelas have a very strong reputation around the world. Brazilian viewers have the habit of watching novelas, and this habit has created a demand for highquality production values and story lines. This demand has forced broadcasters to invest more and more in the content and production values of novelas, and this formula can clearly be seen on the screen. Novela writers create stories that require very sophisticated productions with the best possible directing and acting. And such high investments and efforts yield impeccable results, which allow novelas to gain, more and more, a unique position in the Latin American and European markets.

TV NOVELAS: When do you plan to start producing

content in Spanish?

SAAD: We are thinking about starting to produce in

Spanish. We are at the stage of developing the means, and I believe that in more or less four years we will have our first products on the market.

TV NOVELAS: TV broadcasters in Brazil will face numer-

ous challenges covering major sports events in the coming years. How are you preparing and investing for this, and what will set Bandeirantes apart from the competition?

SAAD: We have been preparing for this for more than two years, investing in equipment as well as in technical and production personnel. Bandeirantes is betting on and firmly believes in major sports events. We have realized a dream we’ve had for 25 years by securing the rights to the beginning of the 2010 season of Formula Indy in Brazil, which 64

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was completely produced by the Grupo Bandeirantes. Our entire group joined forces to achieve impeccable television coverage of the event, which was unique in Brazil, and obtained high audience shares.

We are also in a very special year because of the FIFA World Cup, and our channel holds an important role in giving Brazilian viewers all the games, with the best technology.

One way that we differentiate ourselves is by offering exclusive sports content.

Our investment in economic terms has been of more than $50 million in two years, because we have completely upgraded our stations to HD and we have been the first to broadcast events entirely in HD. And we have already started experimenting with 3-D transmissions in our coverage of the Formula Indy. We have achieved surprising results, which fill us with joy, and [we] hope that we will be able to make the leap into this new revolution in worldwide television.

TV NOVELAS: How do you envision the rollout of HD in Brazil and in the rest of Latin America?

SAAD: Almost 100 percent of Band’s content is broadcast in HD. In the last three years, we invested in technology, personnel and training in order to expand the amount of the schedule that is produced in high-definition. We started broadcasting in HD in five major cities in Brazil and we are extending this technology to more than 20 important cities.

The process of converting to digital and HD is constant and growing. In Brazil, 60 percent of the population already has access to digital television, and in Latin America five countries have already adopted the Japanese/Brazilian system of digital television.

TV NOVELAS: Do you have plans for launching more chan-

nels, and what plans do you have for expansion in other areas of the company?

SAAD: We always have plans for more channels, and since the economic crisis was not very strong in Brazil and it’s already over, there is significant opportunity for us with channels in the areas of economy and finance. Our plans for growth now involve converting all our pay channels to HD. TV NOVELAS: How have the channels in the U.S., Band

International and BandNews International, been performing? And what plans do you have for expansion particularly in Africa and Europe?

SAAD: Band International and BandNews International are distributed in the U.S. by DIRECTV and Comcast, and they are performing well despite the difficult economy in America.

By the end of 2009 we were already in Africa through UAU! TV in Angola, and soon we will be on another platform in Angola and Mozambique. We are also negotiating in Portugal.

Our strengths now lie in creating local content in the countries or cities where our channels are received.

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