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CONTENTS A Note from the Editor . . . . . . .8 Executives . . . . . . . . . . . . . . . .9 Talent . . . . . . . . . . . . . . . . . .37 Distributors . . . . . . . . . . . . . .47

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 Production Director Victor L. Cuevas

Mansha Daswani VP of Strategic Development and Associate Publisher

Associate Editor Joanna Padovano

World Screen Š 2014 WSN INC.

Assistant Editor Joel Marino

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Online Director Simon Weaver

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Sales and Marketing Director Cesar Suero


Sales and Marketing Assistant Faustyna Hariasz

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Business Affairs Manager Terry Acunzo

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WSDIST_414_ED_KGUIDE_1008_EDITORIAL 3/10/14 5:26 PM Page 1

A Note from the Editor Kristin Brzoznowski

Binge viewing of TV shows is no longer seen as the way of the future—it’s the present. Largely defined as watching between two to six episodes of the same show in one sitting, bingeing on TV programming has become the new normal. A recent survey conducted by Harris Interactive on behalf of Netflix among nearly 1,500 TV streamers (U.S. online adults who stream TV shows at least once a week) found that binge watching is a widespread behavior among this group, with 61 percent binge watching regularly. Even though streaming services such as Netflix, Hulu, Amazon Prime and the like have popularized this trend, the usage of the term “binge watch” can be traced as far back as the ’90s, when DVD sets first delivered the chance to get back-to-back-to-back episodes of past seasons of hit shows. While many in the industry initially viewed this trend as disruptive, broadcast and cable networks have now begun to capitalize on the binge-viewing phenomenon. From offering catch-up sessions on their websites to launching authenticated online portals à la HBO GO, this area stands to benefit networks, consumers and content owners. The passive coach potato has now transformed into an active viewer, one who is engaged. Rather than tuning out,TV watchers are plugging in to keep track of complex plots, characters and motivations. In some cases, they are also looking to interact with programs.There’s been a sharp rise in the usage of so-called second screens, with many turning to their computers, tablets and smartphones to engage further with the content they’re seeing on the TV screen or to chat with friends and fans about it. Passionate, loyal and engaged viewers are exactly the type of audiences that broadcasters and SVOD outlets hope for. This also bodes well for those who produce and distribute programming. The companies featured in this edition of the World Screen Distributors Guide are presenting the market with everything from high-quality dramas suitable for bingeing on to shiny-floor entertainment shows that beg to be watched live week after week. All are hoping they have the next big global hit on their hands. 8

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Philippe Dauman President & CEO Viacom WS: What has changed Wall Street’s view of media companies? DAUMAN: Some people—particularly a lot of new players, short-term investors or hedge-fund types who really don’t have historical perspective—underestimate the importance of content. In addition, people are spending more time consuming content and there is more ability to access content in more places. We’ve always viewed technology as a longterm opportunity and it has been so over many decades. There has been technological change all along, but now it’s of a different kind, a very exciting kind. Every time there is a new platform or way of delivering content to consumers, whether it’s a Netflix or an Amazon or others, they understand that they need to have access to great content.They come to Viacom and to the other companies. That creates opportunity, and it’s not just in the U.S., it’s around the world. We’re in conversations with a lot of the players; in some cases they are relatively small companies that are looking to expand into other countries and we’ll work with them. That gives us more rapid access to certain markets than we were able to get before. Investors also saw that media companies did relatively well in a recessionary environment. Ad sales are obviously cyclical because they are affected by the general economy, but there are certain parts of our business that are less affected. As an industry, we’re not recessionproof, but we are recession-resistant. WS: How have some of your brands attracted young viewers and maintained relationships with them? DAUMAN: We have to do a lot of research to stay on top of what they are doing. We know that they are very social. We know they are heavy mobile users. They like to enjoy content on different platforms, so we try to appeal to all of those. All our brands are rolling out apps. We see a lot of potential in mobile in general. We find more and more usage of the second screen while younger people are watching television. 10


Jeffrey Katzenberg CEO & Director DreamWorks Animation WS: What new opportunities is the digital world offering? KATZENBERG: There is a whole new platform that is very quickly revealing itself as a new form of engagement for audiences. In the 1950s, television came along and it filled these very big gaps that existed in all our lives, meaning, What do you do before you go to school, before you go to work, while a housewife is doing chores around the house, when you come home after work, after dinner, on weekends? Television—the linear experience—filled these gaps.Then, about four or five years ago, a confluence of things happened that started to reveal that in addition to these gaps that people have in their lives, they also have smaller spaces—the in-betweens.The in-between is when you are waiting for an appointment, or when you’re on a bus, or you are waiting for a friend outside a store. Suddenly, a portable device comes along that allows you to fill those in-between moments. I think people are going to be surprised by what starts to happen in these spaces. I will not be surprised if three or four years from now there is a series as compelling and as exciting to me as Homeland is, for which I get a 5-minute episode every day, and pay for it. WS: What have you found to be some of the best ways to nurture creativity and to inspire great storytelling? KATZENBERG: This company exists to celebrate creativity and storytelling.We work very hard here to ensure that people actually love their work—not like it, love it. If people love their work and they love coming to work, then we win. I wish I had understood many years ago what I understand today. I’m certain that if I have an epitaph it will likely be,“If you don’t come to work on Saturday, don’t bother coming on Sunday.” I have to say I did say those words; I’m guilty. And I also have to say that when I said them, I actually meant them! But I was not as smart then as I am today. I’m not saying that hard work isn’t great, but I don’t consider what I do work. It doesn’t feel like work because I love what I do so much. And that is what we try to create for people here. 11


Guillaume de Posch Co-CEO RTL Group WS: The concept of a brand as a destination that delivers a certain type of entertainment experience is key for a media company today, isn’t it? DE POSCH: We consider ourselves to be a video provider in the broader sense, whether the video is provided through linear TV or on other nonlinear platforms. Our goal is to recreate the virtuous circle of the traditional broadcast business in the online world: offering the best content, attracting the biggest audiences and having the most effective distribution and monetization platform. It’s vital to be present on all new platforms, which is why we’ve invested in the multichannel network BroadbandTV, which is TV-like content broadcast online via YouTube. This investment is an important step in the implementation of our strategic plan, “Broadcast, Content, Digital.” It significantly accelerates our expansion in the online-video market. WS: Is online viewing still accretive to linear viewing? DE POSCH: It is accretive. If you look at viewers’ TV

has increased across nonlinear channels over the past ten years. PVR, time-shifted and online viewing—representing around 2 to 3 percent of total viewing, at least in our footprint—is in addition to, not instead of, linear viewing. Over the long term, we believe nonlinear viewing could represent up to 15 percent of total viewing. It’s unclear whether this will be additional viewing time, or whether it will take away from linear viewing. As a consequence, we are focusing on developing our offerings on both terrains. That way, if viewers migrate from one territory to the other, they can stay with RTL. WS: Is the RTL model of operating a family of channels an advantage when the economy takes a downturn? DE POSCH: I definitely think so. It allows each channel to target a specific group, and enables advertising spend to target individual channels, enabling better allocation of advertising budgets across channels. 12


Thomas Bellut Director General ZDF WS: In what unique ways has ZDF con-

tributed to the German TV landscape? BELLUT: We are Germany’s national

public-service broadcaster. Our counterpart is the ARD, which has one main network and nine regional state broadcasters. Our name stands above all for good fiction, entertainment and information.This is why we started attending the international markets very early on. In the 1970s and ’80s, ZDF aired many American television series for the first time in Germany. Today, news and information programs play a very important role.With nearly 50 percent of our programming devoted to information—we have the highest proportion of all TV broadcasters in Germany—[we] are still market leaders. But we also have a soft spot for laughter: we air the funniest political comedy. WS: What is your vision for public-service broadcasting? BELLUT: Public-service media are very important for the public

debate on politics, economy and social topics in Germany. You can completely forget commercial TV here. We provide [an] arena for the major and minor debates of our society in our independent political and economic magazine shows, documentaries, talk shows and the comprehensive coverage of elections. We offer all of this in the digital world as well. Next to online portals, our ZDFMediathek is our most important platform. WS: What has been the strategy behind ZDF’s digital channels? BELLUT: Here we’re in a competition the likes of which you

won’t find anywhere else in the world. It’s impossible to reach the entire society with one single channel. It’s easier with the additional digital channels. ZDFneo, for example, targets the 30- to 50-year-olds. And it works! We schedule popular younger formats. We test new formats, and [conduct] experiments that would be impossible on the main [network]. We produce and purchase more economically. And it’s paying off. 13

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David Zaslav President & CEO Discovery Communications WS: There was speculation in the press

that Discovery might acquire Scripps Networks. Would Discovery be interested in buying a channel group? ZASLAV: First, Discovery is primarily an organic growth company, and we see tremendous growth opportunities in our existing business. We don’t need to buy to continue to grow. We are opportunistic, but highly selective when evaluating acquisition opportunities. Potential acquisitions that give us additional opportunities to grow or position us for long-term success are attractive. Last year, we made the largest acquisition in company history with the purchase of SBS Nordic, a channel group in the Nordics, in addition to other deals, such as Switchover Media, a channel group in Italy. Both of those transactions were accretive from day one and gave us a larger presence in important markets, which helps us drive more value with advertisers and distributors. If similar opportunities came up in other markets, which offered those same types of benefits, we would certainly take a look. WS: What are the major issues facing the U.S. cable industry? ZASLAV: In the U.S. and other mature markets, the primary

issues are lack of subscriber growth and changing viewing habits. U.S. cable subscriptions are flat, which means the only way to grow is to take market share from competitors. In addition, the landscape is changing; younger viewers are utilizing new platforms. The industry needs to continue evolving and responding to viewer patterns, without sacrificing the strong economic model that allows for significant investments in content. Outside of the U.S., in a number of markets, cable penetration is still low and there is tremendous room for growth from adding new subscribers. The key in these markets is having a presence, and that is where Discovery is uniquely positioned, with more channels in more markets than any other media company. 14


Ted Sarandos Chief Content Officer Netflix WS: What factors had to be in place for

Netflix to invest in originals? SARANDOS: Scale. We needed a large

enough subscriber base so it would make sense for us to program for our own base. I don’t think we could have built a big audience from scratch for originals, but once we achieved a big enough audience, programming originals for them felt much more like a natural step. WS: Netflix premieres many episodes all at once. What kind of creative freedom does that give writers? SARANDOS: It really depends on the material. In the case of Arrested Development, every episode has a different running time. There are 15 episodes, which is kind of a funky episode count by TV standards. In the case of House of Cards, they are relatively uniform running times but none of the episodes contain traditional cliffhangers. We certainly don’t have the commercial-break cliffhangers either. So it really gives storytellers the freedom to tell their stories without worrying whether or not the audience remembers what they watched last week. That also frees up 10 or 15 percent of the show’s running time to create much richer characters and denser plot lines. Those cliffhangers trick you into coming back after each commercial or after each episode. When you strip all of those out of each episode, you find it creates a very different rhythm to the show. WS: Netflix is present in a number of international territories.

What factors do you look for in a country before launching? SARANDOS: I won’t give you the whole list for competitive

reasons [laughs], but we do look for well-developed Internet infrastructure, strong tastes for Western content, mostly because we think that is our current expertise, and an ecosystem where people conduct business online. I strongly believe that those things will be in place around the world over time. 15


Jeffrey Schlesinger President Warner Bros. Worldwide Television Distribution WS: What kind of input does Warner Bros. Television want from your division? SCHLESINGER: Money! First of all, I think Peter Roth [the president of Warner Bros. Television] is the most talented television executive that I have ever worked with. He is a magnet for talent and delivers us high-quality, globally appealing shows every year. But, let’s remember that first and foremost Peter is making programming for the needs of the U.S. networks. However, there is a recognition of the international market, and while it’s not that a show will or will not get made because we think it will or will not be successful internationally, the attractiveness of the show internationally will have an impact on the amount of money we are willing to spend to cover the deficit. Where we come in is mainly in the financial structuring of the show, which may impact the casting or how much action can be done. We are always looking to put as much money on the screen as we can, so if we feel confident [about the sales potential of a show], Peter will then have more ability to create a bigger, better, stronger show by enhancing the casting or action sequences. WS: How is the Branded Services unit doing? SCHLESINGER: With Branded Services we have two linear chan-

nels.We have the Warner Channel in Latin America, which is doing phenomenally well, and we have the Warner Channel in Asia, which has been on the air since 2010 and is growing. And we still have a number of branded services that are SVOD zones that we’ve done with many digital platforms. But what’s really changed things is the entrance of big multinational SVOD players like Netflix and Amazon. The money that is being paid for our product on an exclusive basis in SVOD is so compelling that our strategy has been changing from one of creating and scheduling branded SVOD areas with our product to licensing our product to these major players for very significant amounts of money. So the Branded Services agenda is really in a state of change because of technology, competition and deep pockets. 16


Armando Nuñez President & CEO CBS Global Distribution Group WS: You oversee both domestic and inter-

national distribution. Where do you see potential for growth? NUÑEZ: In the U.S., I think we are just starting to scratch the surface given how digital platforms are evolving and how content is going to be monetized on those platforms. Cable channels in the U.S. are always going to need both our library content and our hugely successful off-network content. When it comes to syndication, we are by far the number one syndication company in the U.S. with Entertainment Tonight and Dr. Phil and Judge Judy. These are big, big shows in the U.S. and in many places around the world as well. WS: What opportunities are you finding with digital platforms? NUÑEZ: Incredible opportunities.We have been very active with

Netflix and Amazon and Hulu in Japan.Those are the U.S. players everybody talks to, but we’ve also done deals with local digital players like BT and Vivendi in Germany and Avex Entertainment in Japan and mobile SVOD players. We’re in business with all these platforms. From our perspective, the issue isn’t doing business with them, it’s doing business in a smart strategic way, which at the end of the day doesn’t hurt the value of the programming in the market, but adds value. We’re not taking money from one pocket to the other; it’s incremental revenue to us. It’s a strategic view of windowed licensing. WS: You’re making programming available to multiple outlets without cannibalizing any of them. NUÑEZ: Absolutely. Digital platforms are just another outlet now to sell content to. And where SVOD falls into the [entire sequence of windows] is a function of pricing.You want to look at it in a strategic and holistic way so that you are not just grabbing a few dollars here and forsaking the value of the programming. Don’t forget, especially on new shows—you need the traditional platforms to create these brands for you. 17

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Gerhard Zeiler President Turner Broadcasting System International WS: What was the goal of restructur-

ing Turner Broadcasting System International? ZEILER: It wasn’t only about saving costs. Even more, it is about changing our mindset. We had to challenge our old operating models and our traditional thinking as we built a structure to meet the needs of our current business rather than an organically evolved old structure. In the two regions where we did the restructure, in Europe, Middle East and Africa on one hand and in the Asia-Pacific region on the other hand, we still had a very centralized structure, whereas in pay TV now there is the need to go local. There is the English word “devolution”: when the king gave more power to Scotland and to Wales, that was the process of devolution. And that is what I would like to compare our restructure to—we gave more power, more responsibility and more accountability to the local management, whether it was the U.K., Germany, Spain and Italy, or Indonesia, the Philippines, Thailand, India and Japan. That is a change in mindset, almost a cultural change in the organization. WS: What opportunities are there for Turner Broadcasting

to work with its sister companies? ZEILER: When you look at Time Warner today and you

compare it to five years ago, there is a huge difference. Today there are only four divisions: HBO, Warner Bros., Turner and Time Inc. and in the not so distant future it will be only HBO, Warner Bros. and Turner. So it is only natural that we cooperate much more closely. We really care about each other, about each other’s successes. Jeffrey Schlesinger [president of Warner Bros. Worldwide Television Distribution], Simon Sutton [president of HBO International and Content Distribution] and I are talking regularly [about] how we can work together in a way that helps the whole of Time Warner. 18

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Hernan Lopez President & CEO FOX International Channels WS: FIC is one of the fastest-growing international channel groups. It seems that FIC has “zigged” where many other groups have “zagged.” What has been FIC’s approach to the channel business? Has it been different from other channel groups, and what factors have fueled FIC’s success? LOPEZ: I actually believe we have more in common with our peers than we have differences, but it is true that there are some places where we’ve taken a different approach. Organizationally, I think we were the first ones to spread out power and knowledge throughout the world, in a network that now has 64 offices, more than anyone else. That comes at a cost—an organization of 4,000 empowered people spread out geographically is not as easy to manage as, say, if it were 1,000 people more concentrated in a few hubs. But the effort and the cost, I believe, are worth the benefit. I also believe we were the first ones to launch an entertainment series worldwide in near day-anddate with The Walking Dead four years ago. And The Walking Dead itself is an example of going against the tide, as many other networks had passed on the show before we picked up international rights. WS: What are some of the innovative financing models

FIC has used to make some of its popular shows? LOPEZ: Producing is expensive—yes, it is. We concentrate

our bets on the places where we believe we can get a return. For global series, we partner with other content producers at an early stage, as we did with AMC on The Walking Dead, or we’re about to do with Cinemax on Outcast, the new series from Walking Dead creator Robert Kirkman, and we explore different models, allowing all parties to mitigate risk and share the upside, but we bring something unique to the table: a guarantee that we are able to launch a show worldwide, giving it a great promotional platform. 19

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Carlos Henrique Schroder CEO Globo WS: How has terrestrial TV in Brazil

been able to keep its audience share from decreasing? SCHRODER: In the U.S., there are 100 million cable subscribers, so there is no significant distinction between people that subscribe to pay TV and people watching free-to-air TV. In Brazil, with 17 million subscribers, pay TV reaches only 29 percent of the population. So there is a lot of room for growth in the pay-TV sector. For it to grow further it will depend on the economy. In the U.S.,TV is very inexpensive and you can have pay TV for just $30 a month. In Brazil, only if economic conditions are strong and if there is growth in consumption will this model work. During the month of May, with the drop in consumer spending in Brazil, we had for the first time in years a reduction in pay-TV subscriptions. Why? Because the moment that there is a tightening in the economy, pay TV is still considered superfluous. More economic growth equals more pay-TV growth. Pay TV also helps in the transmission of the signal, especially with high definition. It’s a different quality of transmission. There are people living in certain geographic areas who are not able to receive good quality over-the-air TV, so pay TV is very helpful. But 60 percent of what they watch on pay TV is terrestrial channels. So they continue watching free TV in a pay-TV environment. WS: How is Globo satisfying the demand for online content? SCHRODER: We are working to be closer to the viewer, wherever

he is, and whichever way he wishes.The arrival of digital television increased television viewing outside the household. Our content is now watched on smartphones and tablets. Our programs are also watched every month by more than 60 million passengers in buses, trains, airplanes and subway trains. In addition, we have the Globo TV app.We [have] had our first experience with VOD, with Globo TV+, which, along with the programs on our linear channel, offers archival materials and historic moments in Brazilian soccer. We’re also working on several second-screen projects. 20

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Jørgen Madsen Lindemann President & CEO Modern Times Group WS: Tell us about MTGx, the group’s initiative to accelerate digital growth and innovation. MADSEN LINDEMANN: It was very important for us to reach new target groups and more people with our content, and now there is the possibility to do that through online as well. First of all, we have our existing formats and we have made sure that the formats we have on our linear free-TV channels are, to a large extent, converted so that they have an online component. It keeps viewer interest in the program alive throughout the week, in between episodes, and hopefully creates even more interest when the program is aired again.We have a wide range of extraordinary content that is only available online. MTGx was set up because we want to make sure that we also create dedicated content for the online world, as well as explore other growth possibilities in the digital environment. A part of MTGx is called xCreations, and focuses on development of online content. It is a way for us to reach out to many more customers than we do with our free-TV or pay-TV channels. WS: Is online viewing complementary to the linear viewing? MADSEN LINDEMANN: We believe that long term, linear

channels will be there, no doubt about that. But we also see that a lot of the younger audiences like the way we are serving content online; that is what they are embracing.That is why we see it as incremental. WS: As you look across your portfolio, where do you see

growth—launching channels in the countries where you are already present or also expanding into new territories? MADSEN LINDEMANN: Both. We [launched new channels in Norway and the Czech Republic]. At the same time, we are looking at new countries.We would like to expand our business model into more countries, particularly in Eastern Europe and in Africa; those are the areas where we would like to grow our businesses. 21

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Cecile Frot-Coutaz CEO FremantleMedia WS: Tell us about the new structure at FremantleMedia. FROT-COUTAZ: We used to have our production businesses on the one hand, and then we had one division called FremantleMedia Enterprises, which was our distribution company, our kids’ company, and then digital, sponsorship, live events and consumer products. That was managed as its own business, separately from the creation and the production of the shows. In today’s day and age, you need your digital people and your sponsorship people to be close to the people who are creating and producing the shows. Now that we are in the digital business and we have the capabilities, it was time to move the people who know about digital and know about sponsorship close to the creators of the shows. The reason being, if you’re either managing an existing franchise, for example The X Factor or Idol, as the person who manages that franchise you need to have the holistic view of the whole picture, not, Oh, I’m just doing the production; somebody else is doing the rest. It all needs to be together and to work hand in hand. And likewise, if you’re creating a new show, today you can’t create a new show without thinking about digital in particular, and brands, and how brands might fit into the show. You need to have a holistic view of your market and you need all the people who work in the company to be pointing in the same direction and to have one goal. WS: Is there shared know-how among FremantleMedia’s network of production companies? FROT-COUTAZ: Our network is our life and blood. Fremantle is really about those people who are on the ground every day, who run [the businesses in] local markets. One of the things that make us who we are today is connecting creativity.We do that at the markets twice a year, we do that outside of the markets; we have global teams who make sure we share best practices, who make sure we share the IP, and who make sure that we stay close, as a company, to what’s happening on the ground. 22

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Just Spee CEO Endemol WS: Why was it important for Endemol

to get into scripted programming? SPEE: Firstly, we recognized that if

you want to be successful in this business you can’t stay only in unscripted. If you want to be a supplier of choice to many broadcasters you need to be involved in both scripted and unscripted. Secondly, if you go back in time, Endemol’s original operation in the Netherlands has always been in scripted, as have the companies that we acquired in the early days, like in Italy and in Spain. But until a few years ago, our scripted business was only local, and it was nonEnglish language. We said, If we want to really grow scripted, then we have to go into the U.S., because that is obviously where the biggest opportunities are. So we needed to try to use our leverage more on an international scale and not only on the local level. To that [end], we acquired some companies in the U.K. and we also set up Endemol Studios in the U.S. In order to leverage the Endemol network, we created Endemol Worldwide Distribution [EWD], which has close ties to our English-language scripted business, particularly in the U.S. and in the U.K. and sells that output internationally. WS: What has been Endemol’s digital strategy? SPEE: We are all about content. The more channels there are

out there, traditional or nontraditional, the better it is for us. We want our content to travel to those channels. What we have to do is learn to adapt the ways we produce, and adapt to specific consumer needs as they relate to those specific channels. So we have different approaches in different markets. One thing that is here to stay is online video. Nonlinear programming will be very, very big whatever form it takes. In the meantime, we stay in touch with all the parties out there, work with them, supply them with either original content or remakes of what we already have available. 23

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Sophie Turner Laing Managing Director of Content Sky WS: As Sky celebrates its 25th anniver-

sary this year, what would you say are its major accomplishments? TURNER LAING: At our heart, we still think of ourselves as the truculent young teenager. It’s always brilliant in these kinds of occasions to slightly turn the clock back. If you think about when we started in 1989, there were just four TV channels and a handful of news bulletins at fixed times and occasional live sport. Now, obviously spin forward 25 years, the explosion of channels and choice and delivery methods and different screens is just phenomenal. The other thing that’s important to remember about Sky is that we’ve grown beyond just being a TV business. We maximize our content through technology innovation and we’ve indeed grown into the wider communications business with Sky Broadband and Sky Talk. So it’s a very different world 25 years on. And I’m sure just as exciting as it was then. WS: Sky has a partnership with HBO, which you have recently expanded. TURNER LAING: We have extended it to 2020, a very longterm deal for all of us, which is brilliant! It’s been a totally terrific partnership, literally from day one, as two pay operators with very aligned goals, very similar tastes, very focused on delivering the best. Obviously HBO has been going for slightly longer than us in really high-end drama—we’ve had a lot of learning from them. The important bit for me with the HBO deal is the co-production element that we added to it. So, as well as extending the deal, where we remain the home of HBO till 2020, there is also a very large commitment to co-producing a number of what I would say are epic-scale miniseries. HBO has got this fabulous reputation. If you think Game of Thrones, Band of Brothers, that’s what we’re going to work incredibly hard on, with Mike Lombardo, the president of HBO programming, in how we take content to yet another level. 24

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Alex Mahon CEO Shine Group WS: What has been the Shine Group’s growth strategy? MAHON: What we’ve been looking for in the people we’ve been building companies with are creative entrepreneurs. Ideally, in every country we’re finding the best talented, creative individuals who are able to generate new ideas and build companies around them. The idea is if you are able to bring enough of those together you’ll be able to create the next wave of globally successful shows in both scripted and unscripted. If you look at some of the people we’ve partnered with, we’re taking people who are absolutely top of their game in creating scripted or unscripted ideas and then bringing them together [and attracting the] best talent to create a new breed of group. We put a lot of effort in making sure that Shine has the right culture, that our companies are allowed to be individual and unique and have their own brands and offices and their own style and people. The overarching tenets of the Shine Group are about believing in creativity and ideas. You can have those principles in common between several very different companies but you’ve equally got to aspire to be the absolute best at what you do. You must start with thinking of something brilliant that makes audiences tune in and makes people desperate to tell their friends about it and can’t wait until the next episode.You’ve got to go back to basics, working only with people who want to create the best stories, and those are the principles that are the same between the different Shine companies. WS: In which genres or geographic areas do you see potential for growth? MAHON: We started kids’ programming with Andrew Davenport, who co-created Teletubbies and In the Night Garden. That is a new area for us.We’ll do more in comedy and there is plenty going on in terms of new genres already within the company. 25

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Tim Davie CEO BBC Worldwide WS: How do you envision better exploit-

ing BBC brands? DAVIE: First and foremost, quality is of

absolute, paramount importance in whatever we do. In terms of growing the business, my assumption is that we’ll keep driving up the premium nature of our content and differentiate ourselves in the market, rather than going purely for volume. Having said that, our catalogue will remain on a scale that is largely unparalleled.To do that, we need to ensure that we are working with two types of partners in a more integrated way. First, with the BBC inhouse productions base, you’ll see Worldwide continue to be a very active partner editorially as well as commercially. Second, we have the opportunity to keep nurturing and developing our business with the independent sector, particularly in the U.K., but also with [international] partners. WS: As a public broadcaster, the BBC has a responsibility to its license-fee payers, and on the other hand BBC Worldwide must operate as a commercial entity. How do you reconcile these two duties? DAVIE: It’s absolutely clear that the first priority of the BBC is to the payers of license fees in the U.K., and what is sacrosanct is to ensure that the U.K. services, free from advertising, remain the key platform that everything else at the BBC must follow. Having said that, I think it’s absolutely appropriate that beyond the U.K. public services, internationally and in things like the sale of physical goods in the U.K., we make money to reinvest in programming. What I don’t buy is that we have to editorially skew things away from what works in the public service in order to deliver commercial success. Interestingly, the things like Doctor Who or the natural-history landmarks that have been the most successful commercially are the things that sit well with the BBC and its public-service remit. As an old-fashioned brand guy, [I believe] one of the things that is critical is protecting and building your brand reputation, not just chasing the nearest buck. 26

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Kevin Lygo Managing Director ITV Studios WS: What’s your strategy for develop-

ing dramas that will resonate at home and abroad? LYGO: The short answer is you’re sailing into danger if you try and prescribe a hit for everybody in the world. It’s not advisable to try and conceive of something that almost by algorithm will satisfy nations all over the world. You must always first go with the writer, the producer, the person who’s got the idea and the passion to make a really good show. Some dramas might perform brilliantly in your own market and go nowhere internationally; others might be OK in your own market and really succeed elsewhere. First off, you’ve got to deal with the ideas that emerge through the creative process and then think tactically and cleverly about how they could be best adapted to work in other countries. WS: Tell us about ITV Studios’ development process. LYGO: We make a lot of entertainment pilots as part of our devel-

opment process and sometimes we do this in conjunction with our network. With studio-based shows, you’re mad not to pilot them first. It’s much better to spend the budget needed to try something and then say,“Whoops, it doesn’t work!” than to submit to ten parts and then just wince every week as it airs. In entertainment, we do invest in piloting shows, and that’s vital and crucial. With drama, there isn’t really a tradition in the U.K. of piloting like they do in the States, because of the costs.We spend a lot of time, money and effort working with writers on scripts. At any one time we will have 30 or 40 scripts being written for both our own network and external networks. And then we move from there. Sometimes you might have a drama idea that lends itself to starting as a two-part on-air pilot. It will look to the viewer as an interesting program on television that night. But we’re looking at it as producers and broadcasters, assessing whether there is a series in it. If people, understandably, are nervous about committing straight to series, then one approach—which is slightly slower and more cautious— is to try a one-off or a two-parter or perhaps a three-parter on air. 27

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Herbert Kloiber Chairman Tele München Group WS: Is Germany still the European mar-

ket with the best production of episodic television? KLOIBER: Germany has traditionally been weak in creating sitcoms. Yes, it produces quite a lot of soap operas, but its strength has always been in one-hour dramas and particularly in the crime genre. There are at least 20 titles that have generated 100 to 200 episodes. These series have sold really well, obviously outside the Anglo-Saxon world, because they are shot in German. But they are well-crafted and well-written, and their budget is around $1 million an hour. Germany has a track record with long-running series. WS: Have you seen an increase in demand for product from digital platforms? KLOIBER: Oh yes, we have heavy competition in the market now with WATCHEVER [the streaming video subscription service from Vivendi] and with LOVEFiLM. This has triggered a healthy reaction from Sky Deutschland, which is in a much more aggressive mode now that they are breaking even. And we do a lot of business with the cable operators, like Unitymedia, Kable Deutschland or Telekom Austria for their on-demand offerings. The take-up rates are not really sensational. The disappointment is that there are thousands of titles on the on-demand platforms, but the revenue flow is still very small. WS: Tele München produces TV movies and miniseries. KLOIBER: We do lots of movies, even more 2x90 minutes and

4x90 minutes.The budgets far exceed what one single territory like Germany can afford to pay. [There are productions where] you’ve got $8 million, $10 million, $12 million budgets and more, and maybe Germany will cover 25 percent. And then you go with your hat in hand and call on Hallmark or Showtime and broadcasters in the U.K. and Italy and usually get it done. 28

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Jan Mojto CEO Beta Film WS: How is the co-production landscape today different from what it was in the ’90s? MOJTO: Today we are in a completely different world. The players on one side are still European public broadcasters, but also commercial networks and the Netflixes of this world. The players today do not have the same objectives. The public broadcasters in the ’90s, notwithstanding all their differences, were ruled by certain basic principles, which were accepted by all of them. Now with this mix of Internet channels, classic public television and commercial networks, it’s much more complicated. It’s more work to bring those together. You need to finance the production before you start. In terms of program format, the ’90s were very much dominated by miniseries and TV movies, and today it’s series, 12 episodes, like Borgia, for example. Not so many subjects these days are based on literature, or if they are, it’s a different kind of literature. It’s not Tolstoy; it’s more commercial, works that are more easily accessible to the viewer. WS: If the partners now are so varied, is it harder to find

common ground on the subject matter? MOJTO: Strangely enough, it’s not, because given all those

differences, if you have the right elements, such as the right subject and the right showrunner, you can bring the partners together. This is a completely new element in TV coproduction. Who the showrunner is may be the determining factor in putting together the financial package. In the ’90s, it was very, very rare that we had U.S. partners. Today, in order to complete the financing, you often have to also take into consideration the requirements of the American market. And that means their style of storytelling. The essential, and quite often the only necessary element is the showrunner, and perhaps the cast. 29

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Carmi Zlotnik Managing Director Starz WS: What are the keys to good co-

production partnerships? ZLOTNIK: Creative alignment has to be

there in order for a co-production to work effectively. When I say creative alignment, I mean that everybody is trying to make the same type of show in the same way. When you have that, you avoid the tugs of war that you hear about as the horror stories of co-production. WS: Are you looking for international partners on projects that

Starz is developing internally? ZLOTNIK: It always comes down to philosophical alignment.

There have been projects like Black Sails where we’ve been open to international partners, but unless we find the right situation, we’re happy to produce the show and then have examples of finished episodes to show and sell it to territories on that basis. WS: What have been the major changes you’ve witnessed in the

co-production landscape? ZLOTNIK: There are so many broadcasters trying to do high-end

drama. In order to finance it there’s going to be a continual process of partnerships. It spreads around the risk. It also capitalizes on unique capabilities. When we tap into [international producing partners], we’re tapping a creative and production capability that allows us to work in territories at a higher level of competence than we would otherwise.These are people who have grown up in the territory—they know all the people, they know all the actors. It’s quite a benefit. WS: You work with so many different models. How do you determine which is the best one for each project? ZLOTNIK: It’s a bit like having a cupboard full of different ingredients and trying to bake a cake. You have to figure out what ingredients to mix in the bowl. And experience helps! There are a few recipes for how things have been put together successfully— we try to follow those. 30

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John Morayniss CEO Entertainment One Television WS: What opportunities are you seeing

across the TV landscape? MORAYNISS: We’re growing our scripted

business because we think there are a lot of opportunities in North America.There are now more than 30 networks in the U.S. that are commissioning original scripted programming. In the international market there are also networks that are commissioning original scripted programming. You’re also seeing more coproductions, co-financing models, just more partnerships. Part of it has to do with digital platforms that are growing over-the-top services like Netflix. So we’re seeing more demand for high-end programming and we want to meet that demand. WS: Are you able to find the talent you need for your projects? MORAYNISS: Part of it has to do with our reputation; part has

to do with the shows that we’re involved in. Obviously, good scripts, good auspices attract talent. I also think that the U.S. marketplace is more open to global talent: writers out of the U.K., out of Canada, out of the rest of Europe, and the same with [actors]. So we’re seeing more and more British writers and Canadian writers working on American shows. Same with the talent. While it’s more competitive, there are more opportunities to source talent from around the world. WS: Are you still using co-financing models? MORAYNISS:Yes.“Co-finance” is such a broad term, but generally

speaking, as an independent, we’re all about partnerships, we’re all about co-production models, co-financing models. So almost everything we do has some component of that. Our goal is, obviously, to hold on to the international distribution rights. So how we get those rights can take on many different forms. Yes, more and more we see these opportunities to co-finance, co-produce, and partly it’s how the shows originate.They’re coming from financing entities, just other distributors that want to partner with us, production companies that want to get involved in the financing. 31

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Rola Bauer President Tandem Communications WS: How has the international coproduction landscape evolved since you started doing them? BAUER: It has certainly become more crowded. A lot of people think coproduction is very easy and just jump on the bandwagon, not understanding how incredibly complicated it is. In some ways that hurts this business. The broadcasters take risks when they step away from their very secure way of acquiring a program or producing domestic shows in their own language. When these broadcasters say, “In my schedule I’d like some color of international programming, where I’m not paying for the full freight of it but I have some voice in it,” and then [the co-production] isn’t done well, that hurts all of us. There has been this explosion of, “Let’s all do international co-productions!” The reason is clear—there is an economic drive for it. There’s an economic benefit for the broadcasters. Their programming pot of money has not gotten bigger, they just have to handle it differently. People are looking at coproduction as an alternative programming source. WS: There does seem to be a movable definition of what a co-

production is. BAUER: A lot of people are going into it with a different

approach.We’re saying, Let’s develop this idea together, and let’s look at how we make it work for your network. That’s been Tandem’s mandate. If you look at the majority of the shows Tandem has done, they’ve each been primarily produced with a key programming partner. We produce for them. We are developing ideas, developing scripts. We work with them on the casting, we work with them during the production, we work with them in post and the editing, and we’re there to help them with the launch. That’s been our USP [unique selling point] because we’re literally here, in Munich, going to Paris, going to London. We’re always here to know what partners are looking for and what they want to develop. 32

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Christophe Riandée Vice CEO Gaumont WS: What motivated the decision to open a studio in Los Angeles? RIANDÉE: It was very simple. Sidonie Dumas, the CEO of the company, and I decided [about] five years ago to relaunch the TV business of Gaumont. We realized quite quickly that if we wanted to have a long-term view we needed to produce and distribute programs all over the world. To do that, they needed to be English language, and English language means American. It was clear in our minds that if we wanted to do something really significant, we needed to set up an American company. WS: What has been your approach to the American market? RIANDÉE: We have approached the market with a financing

model that is completely different from the standard pilot system in the U.S. Basically, we are reproducing the independent-movie financing model, by combining the money coming from the U.S. with soft money and international presales. Hannibal was the first one to be done under this model. WS: Is this international co-financing a model you want to use on

other projects as well? RIANDÉE: Yes. More and more broadcasters all over the world are

looking for original content. It’s not a question of owning the content, but controlling it in one way or another, partially or totally. That is exactly what Netflix has done on Hemlock Grove.That is also what we are doing with CANAL+ on Barbarella. WS: What is your strategy for Gaumont’s television business over the next two years? RIANDÉE: Our strategy is to produce a little bit more. I’d say we are able to produce three to five series a year, but there will probably be years with two or three and, I hope, years with five. But the key to the future of our business is being global. In this hyperconnected world, we need to be global, not only American or international, but global. And global is my obsession! 33

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Rohana Rozhan CEO Astro Malaysia WS: What led to the launch of Astro B.yond, delivering value-added services like HD and PVRs? ROZHAN: We felt that we had to transition our product and content proposition to actually stay relevant to not only households, but individuals within the households, especially in such a young country like Malaysia. We have just under 3 million customers on the Astro B.yond platform—1.7 million are HD customers—that’s up by 500,000 on the year earlier—and just under 600,000 are PVR customers, which is double from the year earlier. Our super packs, bundles which are tailor-made for the different ethnicities, are very popular in our marketplace. WS: How has response been to your over-the-top service, Astro on the Go? ROZHAN: We’re in the initial stages, but we have all these encouraging statistics. Quarter on quarter, year on year, we’re seeing increased take-up. We provide 30 of our linear channels and about 5,000 hours of VOD and catch-up content. Weekly viewing was about 35 minutes in the first year, it’s now over 75 minutes. It’s challenging to transition from a pure linear broadcaster using satellite or an IP pipe to actually going over the top.You have to cater to different customers viewing over different devices and over the different bandwidths and try to optimize the individual experience, not to mention the cost. We’re doing that from a technology and platform perspective. Our customer and content groups try to understand behavior— what resonates? Who are our OTT potential customers, and what do they want to watch? I think we will be missing the plot completely if all we do is replicate what we do on our linear broadcast platform.We now have to embrace the more personal, individual experience in addition to the household experience. We have to build a fit-for-purpose portfolio of content, products and services to cater to each and every individual on the go. 34

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Felipe L. Gozon Chairman & CEO GMA Network WS: What’s driving GMA’s ratings gains? GOZON: I think it is our innovative and

quality content. If the programs are not worth watching, viewers will simply change channels or turn the TV off. As we are faced with more and more media options, it is imperative that we are able to provide our viewers with strong, refreshing and differentiated program offerings. This is the reason why GMA continues to invest heavily in original programming that is relevant to all Filipino viewers whenever and wherever they are. We are fortunate that our afternoon soaps continue to dominate the national ratings and our news and public-affairs programs [are seen as highly credible among viewers]. We place great value on innovation. We must be able to keep the audience interested by offering something fresh every time— whether it is an innovation to a format or a story not yet tackled in a soap opera or a fresh casting combination. GMA has always been known for trailblazing formats and concepts. But more importantly, we make sure that in every program that we create, we are able to connect with the hearts of our viewers, i.e., that our viewers are able to empathize with our stories and our characters and that we [establish] an emotional bond with them. WS: What are the greatest opportunities for expansion going forward? GOZON: We need to be consistently best-in-class in what we do to be able to remain dominant and relevant to our market. The challenges (aggressive competition, slow economy, etc.) we are faced with now will not go away and we anticipate them—they keep us on our toes and make us raise the bar higher. If print media is said to be a sunset industry worldwide, we believe television is still at high noon. But sunset may also be down the line. That is why we are thinking seriously about new media, and planning for the future. New media and the Internet offer a wide variety of opportunities and possible directions for our core business, TV content. 35

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Irfan Sahin CEO Dogan TV WS: What have been some of the TV programs and formats Kanal D has introduced to Turkish viewers? SAHIN: At Kanal D, we’re not merely a distributor and broadcaster of content, but also we’re in the business of making content from scratch.We have an effective and dominant role in every step of production; we make the final decisions at script writing, storytelling, casting, direction and music.We’re developing projects with these principles either in-house or together with independent production companies.This way we can be proactive and set the trends for programming in the market. Last but not least, we strive to understand the global and local Zeitgeist and turn it into program offerings that can perfectly tap into the needs and tastes of the audience. Having this all in the same melting pot, we’ve come up with phenomenal stories,TV series and TV shows in the last decade. WS: What makes Kanal D’s dramas so successful in regions as different as the Middle East, the Balkans and the Far East? SAHIN: The success of Turkish TV production is stimulated by the high competition in the prime-time slots of the commercial freeto-air TV market. Every commercial TV station airs at least one locally produced drama series. There is a great preproduction process in which the producers and the scriptwriters work hard on the story, the scripts and the cast.The series are shot in HD and in internationally accepted high-quality standards. All these factors inevitably bring higher quality and popularity. Turkish TV is not any different than other [TV] in many aspects. In Turkey, local production, especially drama, is very important. [At first it appears that] Turkish dramas are local, but the stories have universal elements that can be enjoyed everywhere in the world. People in Turkey and in countries from regions like MENA, Central and Eastern Europe and Central Asia come from similar backgrounds.We share similar values.Viewers in these countries can relate directly to the stories, cast—basically, to the majority of things they see in our TV series. 36

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James Spader Actor The Black List WS: How did you prepare for the role

of Red? SPADER: All of my prep is really script-

based and imagination, and I read the paper every day. It’s funny, I’ve never been one to read a lot of crime novels or thrillers or espionage. I’ve read a couple of John le Carré novels over the years, but beyond that I’ve never really read that genre very much. But I love to read about [crime] in the papers. That world fascinates me and I follow it closely. Throughout your life you meet people who have lived in and out of those worlds. WS: Is acting in a television series different from acting in a movie? SPADER: In television, one of the tricks is to try to find a way to

allow the characters to evolve, develop and change over time and still be true to themselves. In terms of performance, at least for me, you are absolutely committed to the role that you are playing right then and there, in the same way that you are in your life, where you are decisive and committed to what you’re doing.You’re surprised in life by what comes down the road and you have to assimilate that. But within the context of everyday performing, ultimately you’re performing no matter what you are doing, whether it’s a television show or film. For a play, you’re performing those scenes in that moment on that day and for me I just connect to that. In a television show, there is a conversation about how you get to the next place or the next episode or 20 episodes later, and that is just a process in terms of story. But you just have to commit to all of that with conviction and sincerity. WS: Do you see scripts ahead of time, or does the story unfold

episode by episode? SPADER: I tend to see some ahead but I also like surprise; that is

one of the fun things about doing a television show. I am cautious about not asking too many questions. I like surprises in life and in work, so I appreciate that aspect of a television show, I really love that. It’s one of the things that is unique about it and exciting. 38

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Claire Danes Actress Homeland WS: What appealed to you about Homeland? DANES: The pilot was immediately gripping. It was obviously a piece of excellent writing, which one doesn’t come across very often. I was intimidated by it. It was ambitious and this character was and still is incredibly dynamic and complex and a little difficult. When I get just a little bit afraid, I think, Gosh, OK, fine, I think I have to do it! The pilot was terribly engaging and I wanted to read the next episode. I believed that other people would feel the same way. WS: How did you prepare for the role of Carrie? I imagine you did a lot of research into bipolar disease and the CIA? DANES: It was a very interesting little syllabus I put together for myself before the first season. I did delve into both of those subjects and found them to be incredibly riveting. I have to tune up every so often; I have to go to that material and remember what I had studied so intensely before we started. But I kind of get it now. It was about seeing her through all these various adventures with as much integrity as possible. These are both subjects that happen to naturally appeal to me. I am interested in psychology. I thought I would be a therapist, actually, if I wasn’t going to be an actor, and I studied a lot of that in college.And the world of espionage is almost by definition totally fascinating, and not entirely unrelated to the world of theater. It’s about role playing and being perceptive. WS: Homeland has sold so well in a lot of countries around the

world. Is it all the themes it presents that make it so appealing to viewers in all these countries? DANES: Yes, I think so. We are talking about these characters as being flawed and vulnerable, and I think by extension our country as being flawed and vulnerable. Obviously, something we still honor in the show and still celebrate in the show is the value of our country, but I think that’s not so common, it’s not so usual, and I think that’s appealing to international audiences, too. 39

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Andrew Lincoln Actor The Walking Dead WS: Did you have any idea early on that the show was going to become this pop-culture phenomenon? LINCOLN: When my agent sent me the script, this is what happened: it said, AMC, and I was like, Woo! Because I love the channel, I love Breaking Bad and Mad Men. And then it said Frank Darabont, and I was like, Oh my lord! And then it said Gale Anne Hurd, and I was like, Holy crap! And then it said The Walking Dead, and I said, What a title! And then it said zombie, survival, horror. And that’s when I called my agent and said, Really? It’s zombies now? I’ve been working for 19 years and we’re doing zombies? Then I read the pilot episode and it was remarkable—spare, almost a distillation of humanity. That’s when I started to get incredibly excited. [The team behind it] had the courage to say, Let’s try and make a family drama set in hell. The zombies sort of become incidental to a lot of the character scenes, which is brilliant, because character should always drive plot. WS: How does the high character turnover affect this small, close-knit cast? LINCOLN: We’ve become [very close] by virtue of the subject matter, how we work, where we work—it’s our own little bubble in the South, away from lots of cell phones; they don’t work there, everybody just has to learn their lines and fight zombies! And everybody fights for each other and works for each other. So when we lose a family member, we have a death dinner. And no one stops being in The Walking Dead family. The beauty of it is it’s almost like we’re a moving target—the show keeps changing, it keeps evolving. While a death irrecoverably changes the group dynamic, other characters come forward. New characters, new blood, new ideas, they keep regenerating the show. I hope that will be the enduring strength of the series. 40

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Kevin Bacon Actor The Following WS: Had you been looking to do episodic

television? BACON: I had been looking for about

three or four years. I had different layers of snobbiness and resistance to the whole idea, based on the fact that when I started out as an actor, I had done a soap opera and my attitude was, once you say goodbye to television you don’t go back unless things are really not going well for you. That’s an antiquated notion of the industry based on the late ’70s, which is when I started. Then I saw Kyra’s experience on The Closer [Kyra Sedgwick, Bacon’s wife, starred in the TNT cable drama] and I started to adjust my thinking about it.We were at the dawn of a new age of television, going back to The Wire and The Sopranos and all these television shows that were having such a major impact on popular culture. The writing was so good and the performances were so exceptional that I started to say, Hey, maybe I should be part of that. I read one amazing script after another and was totally jazzed about the idea of finding the right thing. I was also very resistant to the idea of network television because I felt like the schedule was going to be too long and the quality wouldn’t be as good as, say, on premium cable.Then I read The Following and it had all the things that I was looking for. WS: A lot of the scenes are really intense and violent. Are those

scenes as emotionally demanding for actors as they are for us as viewers? BACON: They are. They are emotionally demanding. While we have an extremely positive and energetic set, I wouldn’t say it’s a set of frivolity and goofing around and it’s one big party; there’s no pranking going on. Because of the nature of the material, we really have to hit the ground running, focus on it and get our work done. Yeah, if you are dying or killing or crying or screaming or fighting—I know actors who are able to turn it on and off like a faucet, [but] I don’t happen to be one of them. It’s a dark place to go to work for sure, but it’s also exhilarating and I love it. 41

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Andrew Davies Screenwriter War and Peace WS: What is your impression of period drama today? DAVIES: Broadcasters like to have famous worldwide recognizable titles and it’s more difficult to get a show under way if the original source material is one of the less popular novels.They have a tendency to do Oliver Twist, Great Expectations and A Tale of Two Cities over and over again, which I find a little bit frustrating as a writer because I’d like to break fresh ground. But at the moment I am feeling enormously good about the state of drama. Mostly I have been writing for BBC or ITV. Generally the BBC always wants high production values but with a small budget; there is this desperate struggle to make it look expensive! But recently, with things like War and Peace, you’ve got big money from co-producers like HBO. People are saying to me, “Don’t be afraid to write it really big, Andrew! Spend some of our money! Let’s start with a bang! Let’s have thousands and thousands of people!” And I think, Bloody hell, this is a big change from trying to do a battle with the same six soldiers running around and around! WS: When you are adapting these classics, are you thinking of ways of bringing in younger viewers, who perhaps haven’t read the books yet? DAVIES: Yes, I am, especially when adapting one of these great classics. There are a lot of kids in school and college who are studying these books and a lot of kids who just like a good story. Obviously, I do want to make them use my television adaptation as an entrance to the novel because often these 19th-century novels are very daunting to read and the language is quite difficult. But one advantage is that the principal characters in these great novels are often very young. They are people at formative stages of their lives and there is a tremendous amount of comingof-age stories and growing-up stories and young people falling in love and so on, which, whatever the period, are immediately attractive to young people, who are either in that situation or looking forward to being in that situation themselves. 42

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Steven Moffat Showrunner, Doctor Who Co-Creator, Sherlock WS: When you took over as head writer

and showrunner of Doctor Who, was it intimidating, being responsible for such an iconic television franchise? MOFFAT: You don’t really feel much pressure at the beginning because you’re just making a home movie in a big shed! Towards April 3, 2010 [the British premiere date for Moffat’s first season as head writer], I started to feel the pressure a little bit. We were doing Sherlock at the time as well, and Matt Smith’s Doctor for the first time. I remember thinking, If these two things screw up, I’m finished! I just thought,What if they’re rubbish? This could be a really terrible year. I could crash Doctor Who and screw up Sherlock Holmes, and if I’d just shot Daniel Craig in the face I’d have ended all of British culture. But it didn’t work out that way. [Laughs] WS: Why did you want to put Sherlock Holmes in a modern-day setting? MOFFAT: Mark Gatiss [the British actor and screenwriter] and I are huge Sherlock Holmes fans. Going back and forth from [filming] Doctor Who, we were talking on the train about Sherlock Holmes. We got to talking about the many wonderful movies and the many terrible movies, which are almost more entertaining.We admitted shyly to each other that our favorites were the updated Basil Rathbone and Nigel Bruce movies [produced in the U.S. in the 1940s]. They somehow seemed to capture more of the pulpy fun of the original stories. So what we said to each other was, “Someday, someone is going to think of doing that again.” My wife, Sue, who is also a television producer, said, “Why don’t you just do it?” Most of the adaptations have become about the Victoriana, but the original stories, there’s nothing in them that’s particularly Victorian. They are stories that are mysteries. The setting is just the world that Arthur Conan Doyle could see outside his window. I think by updating it you move the character closer to the audience.You move all the sepia-toned dusty Victoriana out of the way and you see him clearly again. 43

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Armando Iannucci Creator Veep WS: How do you and your collabora-

tors research topics or characters? IANNUCCI: When I go to D.C. I meet

up with people who work in these departments and in these buildings and I say to them, Look, it’s not a documentary, I’m not out to expose great scandal or anything. I just want to get the details right and therefore I want to know the boring stuff: What time do you get in in the morning; what time do you get home at night; what’s the thing that takes up most of your day; if a call comes through from the Washington Post, the editor of this, or the presenter of that, who would take the call? And as you wander around these buildings, you realize they are much more shoddily laid out inside than they look from the outside.You gradually pick up a picture of how D.C. works. Also, when I am speaking to these people I am aware of how they speak and how they act. WS: Having first worked in the British system of producing television, how did you transition into the U.S. model? IANNUCCI: On my show The Thick of It, we had eight writers and it was a team-written show, so I had half absorbed the U.S. system there. I was very much the showrunner of The Thick of It, which is not a role that is common in U.K. television. Similarly, working at HBO reminded me a lot of doing stuff for the BBC, because HBO is different from the big networks—they want to protect the creator, so they give a lot of autonomy to the showrunner and to the writers. It’s not a huge season order; it’s only ten episodes. In many ways it reminded me of the protectiveness that I got when I was working for the BBC. But there were things to learn, many more resources at your disposal than you have when you do U.K. television, which is both a good thing and a bad thing, because what you don’t want is this big monster that you have to control—we try to keep the show as streamlined as possible. 44

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Alec Baldwin Actor, 30 Rock On-Air Presenter, A Night of Exploration WS: What led to your association with National Geographic? BALDWIN: I don’t get to watch a lot of TV. If I’m not watching by appointment a ball game or the news or 60 Minutes or something that I’m fond of, I think the only channel I can put on that I’m guaranteed there’s going to be something I want to watch is the National Geographic Channel. So I’ve admired them and what they’ve done. I get approached all the time. Many major, very serious cable [channels] would come to me and say, Would you do this program on camera or voice-over? I would say no because I was on TV for six and a half years [on 30 Rock], then the show went into syndication, and now I do these commercials for Capital One to fund my foundation (we give all the money away to charity). When they came [for A Night of Exploration], I told my agent, “I’m authorizing you that the answer now is no. I just can’t do it.” And she said, “Well, National Geographic wants you to host their program for their 125th anniversary,” and I was like, Damn! [Laughs] I had to say yes! I did, and I am an admirer of theirs and I am a fan of Nat Geo and Nat Geo WILD. And the National Geographic Channel is in 170-plus countries around the world, so it was an opportunity I couldn’t pass up. WS: How did 30 Rock get away with so much? BALDWIN: Lorne Michaels [was 30 Rock’s] protector. Lorne is

a person who has the ear of the people right at the top. And what Lorne did was say, Tina [Fey] is going to go off on this little island of hers with her writing staff and their kind of crazy and funny view of the world and they need to be left alone. I’m sure that 30 Rock would have made more money, it would have been more profitable, and a lot of cuts would have been made, if the network had been more intrusive and more customary in the way that they dealt with [writers and producers]. But they didn’t. Lorne protected Tina. 45

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David Suchet Actor Agatha Christie’s Poirot WS: Why do you think the series has

resonated with audiences in so many territories? SUCHET: I’ve been told that Poirot has been sold in every single country in the world, which I find quite extraordinary. What is it about him? Is it the fact that he can get on with everybody? Is it the fact that he’s a foreigner in England and therefore can mix with all strata of English society? He’s very charming, he’s very polite. He can be very angry. But I think perhaps what makes him very enduring and endearing for people is that he’s a great moral compass. People feel very safe with him. He’s not going to do anything that’s going to upset you by any aggression or anything immoral.You know that he’s right in his world and that he’s got his world sorted. He’s also lonely, and I think that’s quite attractive to people, to see a man like that, obviously without any love life. I get people writing to me saying, “I wish he was married” and things like that—they get very involved with him! The other thing is, he’s a wonderful listener. Very often Agatha Christie actually describes the way Poirot listens—what she says is that when you’re with Poirot, you are aware of him listening to you very hard. He’s not only listening to you and what you say, he’s hearing what you mean. In other words, his eyes are right on you, looking for anything that will give him some indication of what is behind what you’re saying. WS: What is it about the genre that appeals to you? SUCHET: Period drama takes you out of yourself and into

another world. It’s also very interesting from an actor’s point of view, because you have to learn about that world. But you don’t have to just learn what your world is; you have to learn how you fit into the whole of that world. You have to learn about their manners, you have to learn about their art, you have to learn about their music, you have to learn about their politics and attitudes toward the opposite sex. You have to go back in time and you have to enter that world. 46

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9 Story Entertainment ADDRESS: 23 Fraser Ave., Toronto, ON, M6K 1Y7, Canada TELEPHONE: (1-416) 530-9900 WEBSITE: PRESIDENT & CEO: Vince Commisso MANAGING DIRECTOR: Natalie Osborne CONTACTS: Stephen Kelley, Federico Vargas PROGRAMS: Get Ace: 52x11 min., kids 6 to 11/2D animation/

comedy; Cache Craze: 20x22 min., kids 8+ & family/live action/ game show; Nerds and Monsters: 40x11 min., kids 6 to 11/ 2D animation/comedy; Monkey See, Monkey Do: 26x11 min., preschool/3D animation/live action; Extreme Babysitting: 35x22 min., kids 8+ & family/live action/prank; Numb Chucks: 52x11 min., kids 6 to 11/2D animation/comedy; Peg + Cat: 80x12 min., kids 2 to 5/2D animation; Camp Lakebottom: 52x11 min., kids 6 to 11/2D animation/comedy; Daniel Tiger’s Neighbourhood: 130x11 min., kids 2 to 5/2D animation.

“9 Story Entertainment is one of the industry’s leading creators, producers and distributors of award-winning animated and live-action content for young audiences around the world. With one of North America’s largest animation studios based in Toronto, 9 Story has over 200 creative and production staff members, and has produced over 800 half-hours of quality children’s and family programming, seen on some of the most respected children’s channels around the world across multiple platforms. The company’s distribution arm, 9 Story Enterprises, represents a growing catalogue, which includes several beloved brands such as Arthur, Wibbly Pig, Harriet the Spy: Blog Wars, Wild Kratts and Almost Naked Animals in addition to exciting new series such as Numb Chucks, Camp Lakebottom, Cache Craze, Daniel Tiger’s Neighbourhood and Nerds and Monsters. The company recently acquired CCI Kids, the family-content division of CCI Entertainment, increasing 9 Story’s portfolio to over 1,800 halfhours of content with popular shows such as Guess How Much I Love You?, Joe & Jack, Artzooka! and Extreme Babysitting.” —Natalie Osborne, Managing Director


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ABC Commercial ADDRESS: 700 Harris St., Ultimo NSW 2007, Australia TELEPHONE: (61-2) 8333-5351 WEBSITE: HEAD, ABC SALES & BUSINESS DEVELOPMENT:

Sharon Ramsay-Luck CONTACT: PROGRAMS: 72 Dangerous Animals Australia: 12x45 min. HD, factual/natural history; Boomtown: 6x27 min. HD, factual; Enigma Man: A Stone Age Mystery: 1x57 min. HD, factual/ science; Fashion Asia: 13x30 min. HD, lifestyle; Kids on Speed: 3x55 min. HD, factual; Carmen on the Harbour: 1x142 min. HD, arts/music; Parer’s War: 1x100 min. HD, drama/TV movie; Stone Cold Justice: 1x45 min. HD, current affairs; Thai Street Food with David Thompson: 13x30 min. HD, lifestyle; The Flying Winemaker: 13x30 min. HD, lifestyle.

“ABC Commercial represents a diverse slate of quality programming, spanning multiple genres, subject matters and rights (including format sales). We optimize opportunities with targeted marketing and sales of content, and by closely aligning content offers with scheduling interests. We prioritize client service and ensure that we have a keen understanding of the needs of our clients and partners. Our sales team has substantial experience across all traditional and emerging platforms, from our offices in Sydney and London. We promote content and activate sales via our website, territory trips, tailored communications and attendance at all major markets. We work closely with Australian and international producers and remain committed to expanding our rights portfolio and delivering strong sales results for a wide range of programs with global appeal.” —Sharon Ramsay-Luck, Head, ABC Sales & Business Development


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AFL Productions ADDRESS: 1519 37 Ave., San Francisco, CA 94122, U.S.A. TELEPHONE: (1-415) 661-6146 WEBSITE: HEAD, DEVELOPMENT: Yuri Volodarsky VP, INTERNATIONAL SALES: Scott Hanock SALES DIRECTOR, RUSSIA & CIS: Julia Belova CONTACTS:; PROGRAMS: Outrageous and Hilarious: 26x30 min. HD, gags &

bloopers/non-dialogue; Naked & Funny: 300x30 min. & 40 specials HD, hidden camera/gags/adult/non-dialogue; Crazy TV Pranks: 75x30 min. HD, hidden camera/gags/non-dialogue; 2Rude4UTube: 136x30 min. HD, clips/adult/non-dialogue; Painfully Funny: 52x30 min., home video/bloopers; Shelarious: 52x30 min., bloopers; Curse of the Diamonds: 4x60 min. HD, drama/history.

“AFL Productions is a successful independent global production and distribution company that has built its reputation by producing and delivering high-quality reality, comedy and drama series with the intent of giving audiences what they want and broadcasters what they need to keep ratings high and everybody happy. The company is best known for is its international hit series Naked & Funny, a beautifully shot, deliciously spicy, eye-popping hidden-camera-style comedy series that keeps viewers tuned to their TV sets laughing and ogling for hours, all without a word of dialogue. During this year’s market, the company is promoting a branded block of programs in order to Keep Your Viewers Up All Night utilizing not only its hit Naked & Funny but also the company’s other well-known comedy series 2Rude4UTube, Painfully Funny and Crazy TV Pranks. This is a spectacular way for stations to capitalize on late-night time slots, earn great revenues, localize their productions, and keep audiences tuned into AFL’s various, but always hilarious, shows. AFL has built two- and four-hour programming blocks for daily and weekly airing to help broadcasters utilize these potentially lucrative late-night time slots.” —Scott Hanock, VP, International Sales 52

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ARTE Sales ADDRESS: 8 rue Marceau, F 92785 Issy-les-Moulineaux


Alec Herrmann CONTACT: PROGRAMS: A Season at the Juilliard School: 6x26 min. HD, performing arts; World Medicine: 20x26 min. HD, travel/adventure; In Search of Secret Splendours: 20x26 min. HD, travel/adventure; Evolution on the Move: 3x52 min. HD, animals; Beyond Beauty: 5x52 min. HD, fashion; Looking for Kate: 1x52 min. HD, fashion; Soviet Underground: 1x52 min. HD, contemporary history; Korea Divided: 2x55 min. HD, contemporary history; Will We Soon Be Eating In Vitro Meat?: 1x52 min. HD, green issues; Hope for Alcoholism: Baclofen: 1x52 min. HD, green issues.

“ARTE Sales is the international programsales unit of the European public channel ARTE. Our catalogue features over 2,000 hours of documentaries, co-produced by ARTE in association with the most prestigious production companies worldwide. The programs on offer cover a wide range of fields, such as history, society, discovery, science, music and the arts. Imbued with the channel’s daring and creative spirit, ARTE Distribution has become a key international partner. ARTE Sales is present across all media and negotiates broadcasting rights as well as licenses for DVD editors and institutions. It also has a vast catalogue of online rights. Our team also finds international funds for projects initiated by the channel and developed by independent producers. We aim to provide our partners keys to understanding the world today. Our commitment is to enlighten, inform and entertain!” —Cédric Hazard, Head, International Distribution


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Artist View Entertainment ADDRESS: 4425 Irvine Ave., Studio City, CA 91602, U.S.A. TELEPHONE: (1-818) 752-2480 WEBSITE: PRESIDENT: Scott Jones VP, WORLDWIDE SALES: Jay Joyce CONTACT: PROGRAMS: Nowhere Safe: 1x90 min., drama; Fatal Instinct:

1x90 min., thriller; The Beautiful Beast: 1x90 min., family/ romance; IQ Supremacy: 1x90 min., sci-fi; Siren: 1x90 min., thriller; April Rain: 1x90 min., action; West End: 1x90 min., thriller; Ice Agent: 1x94 min., action; Assassins Tale: 1x90 min., action; After Midnight: 1x90 min., thriller.

“Artist View has continued to provide both our buyers and our producers with a high level of service.The company boasts a large catalogue of feature films with a nice variety of titles for each genre, including an impressive selection of titles available in HD. This wide variety makes it easy for today’s buyer to focus in on the genre they are looking for and feel that there will be a solid selection to choose from in that category. Artist View is very proud of the long-term relationship it has with high-level independent producers and buyers worldwide. As we move into this new era of entertainment and digital technology, the business motto is simple, ‘Adapt or perish’—and we have every intention of adapting.” —Scott Jones, President


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Audiovisual from Spain ADDRESS: Paseo de la Castellana, 14-16, 28046 Madrid, Spain TELEPHONE: (34-91) 349-6479 WEBSITE: CONTACT: Marta Villarreal, PROGRAMS: Ex Life on Sale (Phileas Productions): 30-45 min.

eps., factual entertainment/format; Come Live with Us (Phileas Productions): 30-45 min. eps., reality/format; El Principe (Mediaset España): 13x70 min., crime/drama; B&B (Mediaset España): 16x70 min., drama; No Identity (Atresmedia): 10x70 min., drama/thriller; Sing Along (Atresmedia): season 2, 13x70 min., dramedy; Lucky Fred (Imira Entertainment): 104x12 min., animation/comedy/ adventure; Larva (Imira Entertainment): season 1, 104x2 min./ season 2, 52x4 min., animation/comedy; Australia: A Journey Through Evolution (Explora Films): 1x52 min., documentary; Talking Tom and Friends (BRB Internacional): 52x15 min., animation/comedy/sitcom.

“Audiovisual from Spain is the umbrella brand used to promote the Spanish content industry in all the international TV trade shows and any other promotional and commercial activity of Spanish companies worldwide. All the promotional actions under this brand are sponsored by ICEX Spain Trade and Investment and FAPAE Spanish Audiovisual Producers Confederation. The variety of genres that make up the Spanish catalogue is extensive and includes everything from classic entertainment to the latest technology in 3D as well as products for the new transmedia business. Audiovisual from Spain is focused on supporting the Spanish companies but also on promoting their success around the world. On an every day basis, Spanish content is performing better than ever and we are very pleased to share it with all the professionals attending the market. We are proud to work on promoting quality entertainment and to highlight, with the occasion of MIPTV, the novelties of our catalogue.” —Corporate Communications


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Australian Children’s Television Foundation ADDRESS: 145 Smith St., 3/Fl., Fitzroy, Victoria 3065,

Australia TELEPHONE: (61-3) 9200-5500 WEBSITE: CEO: Jenny Buckland INTERNATIONAL SALES MANAGER: Tim Hegarty CONTACT: PROGRAMS: MY:24: 13x24 min./26x12 min., factual

entertainment; Bushwhacked!: season 2, 13x26 min., documentary/adventure; Worst Year of My Life Again!: 13x24 min., live action/comedy; World Animal Championships (WAC ): 52x24 min., wildlife; You’re Skitting Me: season 2, 13x24 min., sketch comedy; Handball Heroes: 20x5 min., short-form documentary; Dukes of Broxstonia: season 3, 10x3 min., animation/comedy.

“The ACTF has been producing and distributing Australia’s highest quality children’s media and television content for over 30 years. Our library contains over 400 hours of programming covering all ages, from preschool to teenagers, and presented in a range of formats and genres, including live-action comedy/drama series, animation, short-form, telemovies and documentaries. We work with major international and local broadcasters and production companies and can proudly boast a catalogue of award-winning shows, including Round the Twist, Mortified and My Place. Our programs have been enormously successful around the world, attracting large audiences for broadcasters. The ACTF will continue to provide the best children’s content that Australia has to offer. At MIPTV we’re excited about the prospects for a number of our latest shows, including Worst Year of My Life Again!, MY:24 and Bushwhacked! season two.” —Tim Hegarty, International Sales Manager


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Azteca ADDRESS: Periferico Sur #4121, Col. Fuentes del Pedregal, CP 14141 Mexico City, Mexico TELEPHONE: (52-55) 5251-1410 WEBSITE: CEO: Mario San Román VP, INTERNATIONAL SALES: Marcel Vinay Hill CONTACT: Raul Mendoza, PROGRAMS: Siempre Tuya… Acapulco (Acapulco… Forever Yours): 120x60 min., drama/telenovela; Corazon en Condominio (Lucky Me): 140x60 min., drama; La Academia Kids: 17 weeks, reality; Prohibido Amar (Forbidden Love): 90x60 min., drama/ telenovela; Hombre Tenias Que Ser (The Agency): 105x60 min., drama; Destino (Destiny): 105x60 min., drama/telenovela; Vivir a Destiempo (Timeless Love): 150x60 min., drama/telenovela; Confesiones del Más Allá (Confessions from the Beyond): 13x60 min., drama; La Otra Cara del Alma (The Other Side of the Soul): 124x60 min., drama/telenovela; Los Rey (The Kings): 125x60 min., drama/telenovela.

“Azteca is one of the world’s largest producers of Spanish-language television programming. Generating over 10,000 hours of content per year, the company operates two national television networks through its 300-plus owned stations. Its national channels are the familydriven Azteca 13 and the mid- to highincome and youth-focused Azteca 7, covering 97 percent and 95 percent of Mexican television households, respectively. Recently, the company began operations of Proyecto 40, an over-the-air UHF channel, which brings the most noted cultural, social, economic and political Mexican opinion leaders together. Azteca also owns Azteca America, the fastest-growing Hispanic television network in the United States, with a presence in 67 markets and home to 89 percent of U.S. Hispanic households. In addition, Azteca also owns and operates three pay-TV networks—Azteca Internacional, Azteca HD and Azteca Novelas—reaching audiences in Latin America, Canada and Europe.” —Marcel Vinay Hill, VP, International Sales


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Beta Film ADDRESS: Gruenwalder Weg 28d, 82041 Oberhaching, Munich, Germany TELEPHONE: (49-89) 6734-6980 WEBSITE: CEO: Jan Mojto MANAGING DIRECTOR: Eric Welbers CONTACT: PROGRAMS: Velvet: 18x60 min., drama; Wonderland: season 2, 44x60 min., drama; Borgia: season 3, 38x60 min., drama; Mammon: 12x60 min., drama; The Pilgrim: 2x120 min., drama; The Wagner-Clan: 2x120 min., drama; Sarajevo: 1x120 min., drama; June in January: 1x120 min., drama; The Hong Kong Affair: 1x120 min., drama; Bornholmer Strasse: 1x120 min., drama.

“Beta Film continues to extend its coproduction, co-financing and licensing activities with partners from all over the world. Among the highlights of the current lineup are top-of-the-line European productions such as the Spanish Velvet (from Bambu Producciones, the producer of Grand Hotel ), set in the glorious ’60s in a famous Madrid fashion gallery; the Norwegian Mammon in the spirit of All the President’s Men; and The Pilgrim (from the producer of Generation War), based on the best-selling novel by Iny Lorentz, author of medievalera hit The Wandering Harlot. From down under comes Wonderland, which revolves around young couples living at the doorstep of one of Australia’s most beautiful beaches, and from the U.S. comes heartwarming Hallmark movies such as June in January. International buyers are eager to watch the first finished episodes of Gomorrah, the breathtaking series from Cattleya for Sky Italia that has been presold to numerous territories worldwide.” —Eric Welbers, Managing Director


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Beyond Distribution ADDRESS: 41/42 Berners St., London W1T 3NB, U.K. TELEPHONE: (44-207) 323-3444 WEBSITE: GENERAL MANAGER: Michael Murphy HEAD, SALES: Munia Kanna-Konsek HEAD, ACQUISITIONS: Yvonne Body CONTACT: PROGRAMS: Airshow: 8x60 min. HD, factual; Hillbilly Preppers:

Atlanta: 6x30 min. HD, factual; Manufactured: 13x30 min. HD, science & technology; 3 Chefs, 1 City: 13x30 min. HD, factual; Asia Rising: 10x30 min. HD, people & society; Myth or Science: Quest for Perfection: 1x60 min. HD, science; BBQ Crawl: season 2, 13x30 min. HD, factual entertainment; Fatal Vows: season 2, 13x60 min. HD, crime & investigation; Dark Minds: season 2, 5x60 min. & 1x120 min. HD, crime & investigation; Income Property: season 8, 13x60 min. HD, lifestyle.

“Beyond Distribution is one of the world’s leading independent distributors with offices in London, Dublin and Sydney. This year we bring a compelling and diversified slate of new series to MIPTV, including Airshow, Manufactured, Hillbilly Preppers: Atlanta, 3 Chefs, 1 City and Asia Rising. The strength of our brands is reflected in 11 returning series at the market, covering everything from science and food to property and crime. Beyond’s catalogue of 4,000 hours meets all programming needs, encompassing children’s and family, crime and investigation, drama and telemovies, factual entertainment, health and medicine, history, lifestyle, people and society, wildlife and natural history, and feature films.” —Michael Murphy, General Manager


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Breakthrough Entertainment ADDRESS: 122 Sherbourne St., Toronto, ON,

M5A 2R4, Canada TELEPHONE: (1-416) 366-6588, ext. 234 WEBSITE: EXECUTIVE PRODUCER & PARTNER: Ira Levy SENIOR DEVELOPMENT EXECUTIVE: Diane Boehme PRESIDENT, DISTRIBUTION: Nat Abraham CONTACT: PROGRAMS: Brojects: 13x30 min. HD, lifestyle; Boundless: season 2,

10x60 min. HD, lifestyle; Rustic Adventures: Argentina: 8x30 min. HD, lifestyle; The Chef’s Bar: 10x30 min. HD, lifestyle; Hard Rock Medical: 13x30 min. HD, drama; Stand: 1x60 min. HD, factual; The Motherload: 1x60 min. HD, factual; The Adventures of Napkin Man: 26x12 min. HD, kids/animation; Mother Up!: 13x30 min. HD, prime-time animation; The True Heroines: 9x5 min. HD, web series.

“Headquartered in Toronto, Breakthrough Entertainment Inc. (BEI) is a world-class studio, being a leading global producer and distributor of acclaimed prime-time comedy and drama series, as well as factual entertainment, documentaries, television movies, feature films, family entertainment and children’s animation. As one of Canada’s largest television production and distribution companies, BEI has licensed programs to major broadcasters in over 200 territories. With a catalogue of over 3,000 half-hours of programming, the company handles distribution as well as worldwide presales, co-productions and third-party acquisitions. In addition to its dedicated program development, production and distribution divisions, Breakthrough’s digital media division ranks among one of the industry’s most respected producers of high-quality digital entertainment, including e-books, webisodes and online and mobile games.” —Corporate Communications


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Edward Galton CONTACT: PROGRAMS: Ella Bella Bingo: 78x7 min., preschool/animation; Space Racers: 50x11 min., preschool/animation; Wanda & the Alien: 52x10 min., preschool/animation; Dennis the Menace & Gnasher: 52x11 min., kids 6 to 12/animation; Total Drama Pahkitew Island: 26x22 min., kids 6 to 12/animation; Trunk Train: 52x11 min., kids 6 to 12/animation; Incredible Crew: 13x30 min., live action.

“CAKE is one of the world’s leading kids’ and family entertainment distributors. Since 2002, the London-based company has worked with animation and live-action producers from around the world to develop, co-produce, commercially position and manage their IP propositions for the international market. We handle everything from traditional television rights to digital, online and ancillary commercial rights. CAKE also prides itself on being a well-established meeting place for a growing family of globally recognized producers. CAKE looks after a diverse and distinctive range of animated and live-action programming from the critically acclaimed TV-parody series Total Drama and the smart and savvy Angelo Rules to the laugh-out-loud Incredible Crew. Other titles include the out-of-this-world Space Racers, comic classic Dennis the Menace & Gnasher and happy-golucky Ella Bella Bingo.” —Edward Galton, Chief Commercial Officer & Managing Director


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Cyber Group Studios ADDRESS: 44B quai de Jemmapes, 75010 Paris, France TELEPHONE: (33-1) 5556-3232 WEBSITE: CEO & PRESIDENT: Pierre Sissmann VP, INTERNATIONAL SALES & ACQUISITIONS: Carole Brin CONTACTS:; Asta

Valancauskaite, PROGRAMS: Zou: 104x11 min. HD, kids 3 to 6/CGI; Mini

Ninjas: 52x11 min. HD, kids 6 to 12/CGI/action; Zorro the Chronicles: 26x22 min. HD, kids 6 to 12/CGI/adventure; Mia: 39x11 min. HD, kids 2 to 6/CGI; Mademoiselle Zazie: 78x7 min. HD, kids 5 to 8/CGI/adventure; Adam’s Bakery: 52x13 min. HD, kids 4 to 8/CGI/adventure; Pom Pom and Friends: 78x7 min. HD, kids 2 to 5/CGI; Cloud Bread: 156x7 min. HD, kids 2 to 6/CGI; My Goldfish is Evil: 26x24 min. HD, kids 6 to 12/CGI/adventure; Tales of Tatonka: 52x13 min., kids 4 to 8/CGI/adventure/educational.

“Cyber Group Studios is a multi-awarded independent French producer and distributor specialized in top-quality kids’ programming with strong international appeal. The company has built a catalogue of series (all HD, 2D, 3D or CGI) representing 1,000 half-hours targeted at children aged 2 to 14, tweens and family. Cyber Group Studios distributes through its international network its own series as well as carefully selected third-party series.The company’s distribution [business] is focusing on the international market and has programs on air on the biggest terrestrial channels worldwide. 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 and 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 sharing its values.” —Carole Brin,VP, International Sales & Acquisitions 72

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Dori Media Group ADDRESS: Seefeldstrasse 133, CH-8008 Zurich, Switzerland TELEPHONE: (972-3) 647-8185 WEBSITE: PRESIDENT & CEO: Nadav Palti VP, SALES: Revital Basel CONTACT: PROGRAMS: AHA! Experience: studio game show; Power

Couple: reality/format; Taste of Love: dating/cooking show; Shtisel: 12x45 min., drama; Minimum Wage: 18x35 min., weekly drama; Little Mom: 13x30 min., comedy; Win the Crowd: outdoor talent show; Invisible Man: studio show; Enigma: 150x30 min./75x60 min., telenovela; Galis 2: 116x30 min., teen series.

“The new formats we are presenting show how we are succeeding in diversifying our catalogue into new genres, in line with our strategy to be innovative. Dori Media’s portfolio now has a broad range of shows outside the telenovela genre, and has had great success over the past year, with shows such as Duel Games, Little Mom and Smart Face performing well internationally.” —Revital Basel, VP, Sales


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Electus International ADDRESS: 8800 W. Sunset Blvd., West Hollywood, CA 90069, U.S.A. TELEPHONE: (1-310) 360-3457 WEBSITE: PRESIDENT: John Pollak CONTACT: PROGRAMS: Food Fighters: 8x60 min., reality; Bet On Your Baby: season 1, 8x60 min./season 2, 8x60 min., reality; King of the Nerds: season 1, 8x60 min./season 2, 8x60 min., reality; Dog and Beth: season 1, 1x120 min. & 1x90 min. & 21x60 min./ season 2, 11x60 min., reality; Mob Wives: season 1, 11x60 min./ season 2, 19x60 min. & 7x30 min./season 3, 14x60 min./ season 4 (New Blood), 13x60 min./Mob Wives Chicago, 11x60 min., reality; Years of Living Dangerously: 9x60 min., factual; Online Dating Rituals of the Modern Male: 6x60 min., reality; America Unearthed: season 1, 13x60 min./season 2, 13x60 min./season 3, 13x60 min., factual; Lone Star Legend: 12x30 min., reality; Francis of Buenos Aires: 1x60 min., documentary.

“With an aim of delivering a steady flow of the best English-language content to our buyers, we’re beyond excited to unveil an incredibly diverse and dependable slate of new and returning titles at this upcoming MIPTV. With series coming from NBC, ABC, Showtime, Bravo, HISTORY and Nat Geo, to name just a few top tier U.S. broadcasters, our slate continues to expand and progress, allowing for us to provide content to every partner, regardless of platform or distribution capabilities. Formats such as Food Fighters (NBC) and Bet On Your Baby (ABC) have already delivered substantial success across the globe, and one-of-a-kind finished programming such as Online Dating Rituals of the Modern Male (Bravo) and Years of Living Dangerously (Showtime) will deliver the viewers that help define networks. Our strong slate of network formats and cable series allows Electus International to maintain our position as a leader in international program distribution.” —John Pollak, President


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Endemol Worldwide Distribution ADDRESS: Shepherds Building Central, Charecroft Way, London W14 0EE, U.K. TELEPHONE: (44-870) 333-1700 WEBSITE: CEO: Cathy Payne SENIOR VP, SALES & ACQUISITIONS, AMERICAS, ASIA, AUSTRALIA & NEW ZEALAND: Matt Creasey CONTACT: Shannon Becker, PROGRAMS: The Fall: season 2, 6x60 min., drama; The Crimson

Field: 6x60 min., drama; Fat Tony & Co.: 9x60 min., drama; Kirstie: 12x30 min., sitcom; Jennifer Falls: 12x30 min., sitcom; Criss Angel BeLIEve: 10x60 min., entertainment; Morgan Spurlock: Inside Man: 16x60 min., factual; Anthony Bourdain: Parts Unknown: 24x60 min., factual; Tattoo Titans: 8x60 min., reality; Hairy Legs: 52x12 min., children’s/animation.

“Endemol is the largest independent television and digital production company in the world. It comprises a global network of around 90 companies in more than 30 countries and is headquartered in Amsterdam, the Netherlands. Endemol Worldwide Distribution is a strong, independent, global distributor, with the catalogue currently ranked as one of the largest English-language programming libraries outside of the U.S. studios distributing over 33,000 hours of programming. Following the 2009 acquisition of Southern Star, the distribution division has doubled its turnover. Endemol Worldwide Distribution’s catalogue comprises an equal balance of Endemol-produced product and that acquired from third-party producers. Key third-party titles include Home and Away, Hot in Cleveland, The Block, My Kitchen Rules, The Crimson Field, Jonathan Strange and Mr Norrell and the recently acquired The Fall season two, Anthony Bourdain and Morgan Spurlock CNN franchises.” —Corporate Communications


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Entertainment One Television International ADDRESS: 145 King St. E., 3/Fl., Toronto, ON, M5C 2Y7, Canada TELEPHONE: (1-416) 309-4200 WEBSITE: CEO, ENTERTAINMENT ONE: Darren Throop SENIOR VP, WORLDWIDE SALES & ACQUISITIONS: Prentiss Fraser CONTACT: PROGRAMS: Turn: 10x60 min., drama; Halt and Catch Fire: 10x60 min., drama; The Red Road: 6x60 min., drama; Matador: 13x60 min., action; Close Up Kings: 8x60 min., street magic; Sophie and Shannon: 8x30 min., reality; Cars That Rock with Brian Johnson: 6x60 min., factual entertainment; 50 Ways to Kill Your Lover: 8x60 min., true crime; Cook Your Ass Off: 13x60 min., food competition; One Night Stand: 6x30 min., travel/food.

“Entertainment One (eOne) continues to make great television available to networks worldwide. Through exclusive, top-tier output agreements, our robust slate includes the highly anticipated scripted dramas Halt and Catch Fire, Turn and The Red Road from AMC and Sundance TV, and Matador from Robert Rodriguez’s El Rey Network. Our diverse lineup is further strengthened by engaging unscripted series like Close Up Kings, Shannon and Sophie, Cook Your Ass Off and Cars That Rock with music legend Brian Johnson. We offer a first-class distribution service with full access to our localized sales and acquisition teams as well as direct home entertainment and digital distribution in the U.S., Canada, the U.K., Germany, Spain, France, Benelux, Scandinavia, Australia, New Zealand, South Africa and Korea.” —Prentiss Fraser, Senior VP, Worldwide Sales & Acquisitions


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The Funny Shorts Company ADDRESS: 20 Poul Mollersvej, 5230 Odense, Denmark TELEPHONE: (45) 4016-1450 WEBSITE: CEO: Mads Dirckinck-Holmfeld CONTACT: PROGRAMS: The Stunt Comedy Show: 13x30 min., action/

comedy/non-dialogue; CARAMBA: Hidden Camera: 60x30 min., comedy/reality/non-dialogue; Funny Home Videos: comedy/reality.

“We recently launched The Stunt Comedy Show on a mission to give the popular nonverbal comedy genre a fresh and funny new twist. The show consists of sketches in a cartoonish style. With a team of professional stuntmen/women, we have created 130 fastpaced segments, and packaged these as 13 halfhour episodes. It’s a show directed at kids and teens, but anyone who has hung on to their juvenile mindset will enjoy it too! It’s good family fun! We are very proud of this show, which has been nominated for Best Comedy at several festivals around the world, and won first prize for Best Non-Verbal Comedy at the prestigious Montreux Comedy Festival this year. So, whether you need comedy for fillers or full episodes, on your digital platform, CCTV operation or as inserts in your original production, we have the audiencepleasing content you need.” —Mads Dirckinck-Holmfeld, CEO


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GMA Worldwide ADDRESS: GMA Network Center, 10/Fl., EDSA Cor.Timog Ave., Diliman, Quezon City 1103, Philippines TELEPHONE: (632) 982-7777, ext. 9382/9383 WEBSITE: VP: Roxanne J. Barcelona ASSISTANT VP: Jocelyn D. Go CONTACT: PROGRAMS: Carmela: 35x45 min., melodrama; Rhodora X: 35x45 min., mystery/suspense/melodrama; The Borrowed Wife: 35x45 min., contemporary drama; My Paradise: 35x45 min., contemporary drama; Wealth and Passion: 45x45 min., contemporary drama; The Dormitory: 10x45 min., teen drama/suspense/mystery; Innamorata: 35x45 min., fantasy drama; Perfect Vengeance: 38x45 min., contemporary drama; Love Sonata: 21x45 min., melodrama; My Husband’s Lover: 50x45 min., contemporary drama.

“GMA Worldwide is dedicated to extending Filipino creativity and entertainment worldwide. With its programs presently seen in over 26 countries on four continents, GMA Worldwide continues to spread its values of quality, honest service and loyalty to its growing roster of business partners. These values keep GMA in the lead as the most-awarded broadcast network in the Philippines. As such, GMA Worldwide is recognized as a dependable distributor of content and the chief source of great Filipino programming. Having licensed over 60 titles worldwide on every platform, GMA Worldwide’s goal is to reach more and more viewers around the world via channel sales, online services and program syndication. Producing over 26 new dramas a year, our clients and partners can expect even better crafted programs featuring the Philippines’ greatest and brightest stars.” —Roxanne J. Barcelona, VP


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Hoho Rights ADDRESS: Business Design Centre, 52 Upper St., Suite 109c, London N1 0QH, U.K. TELEPHONE: (44-207) 682-3154 WEBSITE: MANAGING DIRECTOR: Oliver Ellis MANAGING DIRECTOR: Helen Howells HEAD, SALES & ACQUISITIONS: Danielle Davies CONTACT: PROGRAMS: Cloudbabies: 52x10 min., CG/preschool/animation; Abadas: 52x11 min., 2D/3D/preschool/animation/live action; Everybody Loves a Moose: 52x7 min., comedy/animation.

“Hoho Rights is a wholly owned subsidiary of Hoho Entertainment, a children’s production and rights-management company dedicated to developing intellectual properties for kids. Hoho Rights manages its own in-house developed brands while also offering TV distribution, licensing and merchandising services to content owners. Now in our fourth year, we are continuing to expand on our existing portfolio with new acquisitions and have recently concluded an exclusive firstlook deal with a third-party producer that will provide a pipeline of content for the future. We pride ourselves on the fact that we are a boutique operation that offers a focused and strategic approach to rights owners. At MIPTV this year we will be actively looking to establish new partnerships and acquire more new content to bolster our catalogue.” —Danielle Davies, Head, Sales & Acquisitions


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ITV-Inter Medya ADDRESS: Valikonagi Caddesi 26/3, Nisantasi, 34367 Istanbul, Turkey TELEPHONE: (90-212) 231-0102 WEBSITE: PRESIDENT & CEO: Can Okan HEAD, SALES: Ahmet Ziyalar CONTACT: Bahar Toker, PROGRAMS: Black Money Love (Kara Para Ask): HD, drama; Law of the Land (Adini Kalbime Yazdim): HD, drama; The Cost of Love (Askin Bedeli): HD, drama; Stolen Life (O Hayat Benim): HD, drama; In Between (Fatih Harbiye): HD, drama; 20 Minutes (20 Dakika): 65x45 min. HD, drama.

“ITV-Inter Medya started out as a filmdistribution company serving the Turkish film sector solely within the domestic market. In the course of our first ten years as a company, our basic market structure remained more or less the same. But as global developments picked up speed and gained on depth, we soon found ourselves operating both inbound and outbound. Soon after, beginning with 2001, we expanded our range to cover Central and Eastern European markets, Russia and the CIS countries, Central Asia and Baltic States. The nature of the content we provide also radically changed: telenovelas ‘Made in Turkey,’ TV series and, to a lesser extent, Turkish feature films started to draw broad interest from all markets as well as the Middle East and North Africa. With solid market demands both local and international, and accompanied by strong government support, the Turkish film industry and TV content production business are most likely to develop more and gain further stature. This being the basis of our projection, we are now aiming to gain footholds in Asia,Western Europe, as well as Americas, especially the birthplace of telenovelas—the South American market. This year, 2014, we observe and celebrate the 22nd anniversary of our company. In these 22 perfect years of service, we never failed to underscore the global transformations structurally changing our markets and deeply affecting how we serve our clients. We have earned our clients’ trust and loyalty: a satisfactory and sustained service record with a library that always manages to stay current.” —Can Okan, President & CEO 88

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

London SE1 9LT, U.K. TELEPHONE: (44-20) 7157-3000 WEBSITE: MANAGING DIRECTOR: Maria Kyriacou DIRECTOR, GLOBAL TELEVISION DISTRIBUTION: Tobias de Graaff PROGRAMS: The Great Fire: 4x60 min., drama; Mr Selfridge:

season 1, 1x90 min. & 9x60 min./season 2, 10x60 min., drama; Rectify: season 1, 6x60 min./season 2, 10x60 min., drama; The Doctor Blake Mysteries: season 1, 10x60 min./ season 2, 10x60 min., drama; Autopsy: The Last Hours of…: 3x60 min., factual; Rocky Mountain Bounty Hunters: 6x60 min., factual entertainment; Jo Frost Family Matters: 35x60 min., talk show; Game of Chefs: format; The Guess List: format; Pressure Pad: format.

“We have a strong slate of new content for MIPTV, particularly in the premium drama, formats, entertainment and factual genres. Our drama highlight is The Great Fire (Ecosse Films). This is a spectacular, high-budget, event miniseries that tells the compelling human stories of the people caught up in the tragedy, from the humble baker to the king. In formats, we’re bringing Game of Chefs, a new prime-time competitive cookery show developed by The Lab, ITV Studios’ joint venture with Israeli broadcaster Reshet. Food reality is a hugely popular genre and Game of Chefs offers a fresh twist, turning cooking into a large-scale studio show. One of our new factual titles is Autopsy:The Last Hours of… (Potato), which is a fascinating investigation into how the autopsy documents reveal the truth behind the tragic deaths of three of the world’s biggest celebrities, Michael Jackson, Whitney Houston and Anna Nicole Smith.” —Tobias de Graaff, Director, Global Television Distribution


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Kanal D ADDRESS: 100. Yil Mahallesi, Dogan TV Center, Bagcilar, Istanbul 34204, Turkey TELEPHONE: (90-212) 413-5289 WEBSITE: CEO, DOGAN TV: Irfan Sahin HEAD, ACQUISITIONS & SALES: Ozlem Ozsumbul CONTACT: Emrah Turna, PROGRAMS: Waiting for the Sun (Gunesi Beklerken): 30+x95 min., drama; Mercy (Merhamet): 30+x90 min., drama; Secrets (Kayip): 18x95 min., drama; Kuzey Guney: 80x90 min., drama; Fatmagul (Fatmagül’ün Suçu Ne?): 80x90 min., drama.

“Dogan TV Holding (DTVH) is Turkey’s largest broadcasting group, focusing on free-to-air TV and radio broadcasting, production and digital platform operations with a pioneering role in implementing multiscreen strategies with the latest technologies on multimedia platforms, the Internet and mobile. Dogan TV Holding operates the leading mainstream entertainment channel Kanal D; the leading news channel CNN Turk; the second largest DTVH digital platform, D-Smart; the leading drama production company DProductions; the leading music production company DMC; three national radio [stations]; and many thematic channels. Dogan TV Holding is the broadcasting arm of Dogan Group, which is one of the largest diversified conglomerates in Turkey, with operations in publishing, energy, retail, tourism and trade. Dogan TV Holding reaches millions of Turkish audiences through its owned and commissioned high-quality content, as well as more than 100 million viewers in 73 countries in Eastern Europe, the Middle East and Eurasia through its own dramas. DTVH believes the core code of the media business is creating good content and distributing it in the right way to reach all.” —Corporate Communications


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Keshet International ADDRESS: 12 Raul Valenberg St., P.O.B. 58151, 61580 Tel Aviv, Israel TELEPHONE: (972-3) 767-6031 WEBSITE: CEO: Alon Shtruzman HEAD, DISTRIBUTION & ACQUISITIONS: Keren Shahar CONTACT: Limor Gott Ronen, PROGRAMS: Boom: format, entertainment/game show; Rising Star: format & 10x60 min. U.S. version, entertainment/talent show; Master Class: format, entertainment/talent show; Dear Neighbors: format, docu-reality; Deal with It (U.S.): 18x30 min., hidden camera/game show; Easy Money: format, comedy; Prisoners of War: format & 24x45 min., drama; She’s with Me: format, romantic comedy; The A Word: format & finished 23x35 min., drama; Sure or Insure: format, entertainment/ game show.

“2014 is a very exciting year for us, as it sees many of our international partners launching Rising Star in their local markets and we are determined for each version to be as successful as the original. The U.S. version of the show will launch in the summer on ABC and is looking spectacular. This is available to buyers as a ten-episode series. This MIPTV, we are launching a surprising, high-tension, physical, studio game show that has a sense of fun and humor that we feel can be lacking in the genre. It will demonstrate what we’re all about: diversity, disruption and unpredictable entertainment. We will continue to leverage Keshet’s tools and expertise from developing shows like Prisoners of War (a.k.a. Homeland ), Dig and False Flag internationally to collaborating with new partners. Keshet has more shows in development than its schedule can accommodate, broadcasting only four days a week in Israel, so we are keen to expand our international partnerships.” —Alon Shtruzman, CEO


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Lightning International ADDRESS: Khuan Ying Building, 85 Wellington St., 11/Fl.,

Central, Hong Kong TELEPHONE: (852) 2815-7481 WEBSITE: CEO: James Ross CONTACT: PROGRAMS: Bloomberg Game Changers: 21x30 min., documentary;

Japan’s Next Beauty: 8x60 min., reality; The Apartment: season 1, 6x60 min./season 2, 10x60 min./season 3, 10x60 min., reality; The Challenger Muay Thai: 13x60 min., reality; K-Pop Star Hunt: season 1, 8x60 min./season 2, 12x60 min./season 3, 8x60 min., reality; The Workers: 50x30 min., kids; Men’s Fashion Insider: 13x26 min., entertainment; Wrestla-Girl: 13x23 min., sports entertainment; Go Greek with Patricia: 8x30 min., food & travel; Essence of India: 6x30 min., food & travel.

“Lightning International is based in Hong Kong. We distribute programs and movies of all kinds. Our focus is on acquiring high-quality content from Asia and distributing it globally. Similarly, we represent content from Europe and North America, distributing it to our network of broadcasters and other platforms across the Asia-Pacific region. Our experience is focused on the countries of the AsiaPacific region, from China to India, Japan to Australia, Korea to Singapore, and everywhere in between. Our staff comes from many of the world’s biggest broadcasters, including the BBC, Foxtel, ITV, Turner, Bloomberg TV and ATV. We are looking to build relationships with Asian content owners who are interested in reaching a global audience and European or North American producers and distributors who would like to extend their reach into Asia. We also offer representation and consulting services to companies who don’t yet have an office in Asia.” —James Ross, CEO


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m4e/Telescreen ADDRESS: Hoge Naarderweg 42, 1217 AG Hilversum, Netherlands TELEPHONE: (31-35) 6299-999 WEBSITES:; CEO, M4E: Hans Ulrich Stoef GENERAL MANAGER, TELESCREEN: Sjoerd Raemakers CONTACT: PROGRAMS: Mia and me: 26x23 min., live action/3D animation/fantasy/adventure/girls 6 to 12; Mia and me: season 2, 26x23 min., live action/3D animation/fantasy/ adventure/girls 6 to 12; Tip the Mouse: 52x7 min., 3D animation/preschool/kids 3 to 6; Conni: 26x11.5 min., animation/kids 3 to 6; Pixi and the Magic Wall: 27x12 min., animation/family/edutainment/kids 5 to 8; Ask Lara: 26x11 min., 2D animation/comedy/kids 9 to 13; The Cramp Twins: 104x24 min., animation/comedy/kids 8 to 12; Moomin: 104x24 min. & 1x74 min. feature film, 2D animation/adventure/kids 5+; Frog & Friends: 26x7 min., 2D animation/preschool/kids 4 to 7; Rudolf: 52x3 min., 2D animation/comedy.

“Telescreen B.V. belongs to the m4e Group, which is an international brand-management and media company for children’s and family entertainment content. m4e is a leader in the creation, production, distribution and marketing of animated and live-action programming. Its library of nearly 2,200 episodes features some of the most recognizable brands, such as Mia and me, Lizzie McGuire, Miffy, Rainbow Fish, Conni and Tip the Mouse. With our knowledge in animation production, we concentrate on the creation and development of high-quality animation series. Our main objective is the development of series that can be successfully exploited in all media forms all over the world. Furthermore, we act as the international-distribution arm for TV and home-entertainment rights within m4e’s organization. Apart from own productions, we represent a wide range of international producers and broadcasters, selling and distributing high-quality programs to all major TV channels in the world.” —Sjoerd Raemakers, General Manager, Telescreen 98

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Mannam Media ADDRESS: 3530 Wilshire Blvd., Suite 670, Los Angeles, CA 90010, U.S.A. TELEPHONE: (1-213) 505-5575 WEBSITE: PRESIDENT: Sebastian Choy DIRECTOR: Sean Oh CONTACT: PROGRAMS: Generation of Youth: 24x70 min., romance/ drama; The Full Sun: 16x70 min., drama; Very Good Times: 50x70 min., drama; Empress Ki: 50x70 min., historical drama; Flame of Desire: 50x70 min., drama.

“[Mannam Media is] the first premium Korean content aggregator in the U.S. to successfully combine the biggest Korean content providers under one roof, from blockbuster movies to current dramas and from documentaries to hit reality series. Our vast library consists of over 500,000 hours of Korean content, all at your fingertips and all in one stop.” —Corporate Communications


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Multicom Entertainment Group ADDRESS: 1575 Westwood Blvd., Suite 300, Los Angeles, CA 90024, U.S.A. TELEPHONE: (1-310) 445-0700 WEBSITE: CHAIRMAN: Irv Holender PRESIDENT: Darrin Holender PROGRAMS: John Paul II, A Man, A Saint: 1x98 min., drama; Golden Age of Television Series: 700+ hrs., drama; Two Wall to Wall Action Films (Send No Flowers & The Night Never Sleeps): 1x75 min. & 1x95 min., action/crime/drama; Factual, History, Biography, Documentaries Package: 3,000+x60 min., factual/ history/documentary/biography/music; International Family Classics: 15x90 min., animation; Religions of the World: 13x60 min., documentary; Network Mini-Series: 3-88x60 min., action/ drama; Phenomenon Archives: 14x60 min., drama; Cult Classic Films: action/horror/suspense/comedy; Kushner-Locke Library of Films & Network Series: 1,000+ titles, comedy/drama/horror/ action/adventure.

“Multicom Entertainment Group is an independent distribution and licensing company with over 2,500 hours of proprietary highquality film and television content. With relationships all over the globe on multiple media platforms, Multicom’s content is now being distributed through major broadcast networks, premium digital platforms and direct physical distribution outlets. With major brand-name television series and film properties, Multicom’s principals have been successful in both traditional and new-media markets; with derivative works based on Multicom properties currently in distribution with companies like Paramount, Sony and Disney; in development with companies like TNT; along with newly completed original films, series and formats available for the worldwide market. Highlights of the library include classic series Peter Gunn and The Invisible Man, cult films Freeway and House on Sorority Row, documentaries and specials Religions of the World and Gipsy Kings Live, and new features like Pope John Paul II, A Saint, A Man.” —Irv Holender, Chairman 102

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New Dominion Pictures ADDRESS: 1000 Film Way, Suffolk, VA 23434, U.S.A. TELEPHONE: (1-757) 923-1300 WEBSITE: CEO: Nicolas Valcour SENIOR VP, INTERNATIONAL DISTRIBUTION: Kristen Eppley CONTACT: PROGRAMS: FantomWorks: 18x60 min. HD, reality; A Haunting:

69x60 min. HD, docudrama; Jump Shipp: 10x30 min. HD, reality; Surf Life: 1x60 min. & 5x30 min. HD, docu-reality; The R.I.P. Files: 10x30 min. HD, docu-reality; Drum Heads: 5x30 min. HD, reality; FireZone: 4x30 min. HD, docu-reality; Tainted Love: 34x30 min. HD, docuseries; Haunted Texas: 7x30 min. HD; The Unroad Trip: 4x60 min. HD, docu-reality.

“New Dominion Pictures has produced and distributed over 600 hours of factual, reality and scripted drama programming in the last two decades. Co-production partners have included Discovery Channel, Velocity, Destination America, HISTORY, National Geographic, Discovery Health, TLC and Channel 5. New Dominion’s programs air in more than 100 countries worldwide.While The New Detectives, The FBI Files and A Haunting established New Dominion Pictures’ reputation as the industry-leading producer of true-crime and paranormal docudramas, our ability to produce a broad range of programs allows New Dominion to deliver highquality programming regardless of genre. Our extensive international distribution network provides attractive co-production opportunities and delivers programming to viewers throughout the world.” —Corporate Communications


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Nordic World ADDRESS: co/TV2, Karl Johans Gate 14, 0154 Oslo, Norway TELEPHONE: (47) 2281-4288 WEBSITE: CEO: Espen Huseby COO & SALES DIRECTOR: Jan Salling CONTACT: PROGRAMS: Craftmaster: format/entertainment; Away with a

Stranger: format/reality/entertainment; Voice of the Nation: format/factual entertainment; Guerilla Gourmet: format/ factual entertainment; In the Dark: format/entertainment; The Seaside Hotel: 12 eps., drama; In Search of Northern Lights: 2x40 min.; To the South Pole and Back: 1x51 min.; A Norway Passage: 1x55 min.; The Nile Quest: 3x45 min.

“Nordic World has massive growth momentum, both inside and outside the Nordic region. We are proud to represent the best producers and rights owners from the Nordics. But our goal is clear: we want to be the home of the best third-party content on the market— no matter where it comes from.” —Jan Salling, COO & Sales Director


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Off the Fence ADDRESS: Herengracht 105–107, 1015 BE Amsterdam, Netherlands TELEPHONE: (31-20) 520-0222 WEBSITE: CEO: Ellen Windemuth MANAGING DIRECTOR, DISTRIBUTION: Bo Stehmeier CONTACT: PROGRAMS: Your Inner Fish: 3x60 min., science & technology; Joan and Melissa: Joan Knows Best?: 34x60 min., lifestyle; World’s Wildest Cities: Manaus: 13x30 min., nature & wildlife; Barinia: 16x30 min., travel & adventure; Bible Hunters: 2x60 min., history; Serial Swindlers: 13x30 min., people/places/culture; Elizabeth I: War on Terror: 1x60 min., history; Saving Concordia: 1x60 min., science & technology; The Mystery of the Lost Ship: 1x60 min., history.

“2014 is a big year for Off the Fence, as we celebrate our 20th anniversary. For this year’s MIPTV, we are taking our most-diverse catalogue to date, totaling over 6,000 hours of outstanding nonfiction programming that we know audiences will love. Our portfolio ranges from lifestyle and travel through to natural history and science, comprising exceptional titles from our independent producer and broadcaster partners and our own production slate. Debuting at the market will be Your Inner Fish from Tangled Bank Studios, the latest season of WE tv’s Joan and Melissa: Joan Knows Best? and World’s Wildest Cities: Manaus from Off the Fence Productions’ successful Wildest franchise.” —Bo Stehmeier, Managing Director


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ORF-Enterprise ADDRESS: Europlaza, Building A, Am Europlatz 1, 1120 Vienna, Austria TELEPHONE: (43-1) 87878–13030 WEBSITE: MANAGING DIRECTOR & CFO: Beatrice Cox-Riesenfelder HEAD, CONTENT SALES INTERNATIONAL:

Marion Camus-Oberdorfer CONTACT: Kordula Prenner, PROGRAMS: Janus: 7x45 min., crime; Yummy: Cooking with Kids: 32x15 min., children & youth/edutainment; Polt V - Polt.: 1x90 min., TV movie/crime; Wild Venice: 1x52 min., documentary/nature & wildlife; Hunting Buddies: 1x52 min., documentary/nature & wildlife; Secrets of Bumblebees: 1x50 min., documentary/nature & wildlife; Planet Sparrow: 1x52 min., documentary/nature & wildlife; Mistresses of the Vienna Congress: Sex, Lies and Diplomacy: 1x52 min., documentary/ history; Africa’s Wild West: The Horses of the Namib Desert: 1x52 min., documentary/nature & wildlife; Triumph of the Tomato: 1x52 min., documentary/nature.

“ORF-Enterprise—Content Sales International again will surprise and touch with high-quality nature and wildlife documentaries. ORF’s UNIVERSUM strand will come up with its first production in 4K: the extraordinary documentary Wild Venice features the spectacular wildlife of the famous lagoon, capturing the impressive setting of Venice in overwhelming 4K shots. With Hunting Buddies: How Dogs Discovered Man, a different and touching view of dogs’ domestication, and Secrets of Bumblebees, a stunning portrait of the big furry sister of our honey-bee, ORFEnterprise—Content Sales International offers two jewels of wildlife and animal behavior film. Planet Sparrow continues our fascinating selection of internationally acknowledged bird portraits, and Triumph of the Tomato visualizes the cultural history of tomatoes, revealing many unknown facts of cultivation farming. On behalf of the 200th anniversary of the Vienna Congress, the UNIVERSUM HISTORY strand presents the thrilling documentary Mistresses of the Vienna Congress: Sex, Lies and Diplomacy.” —Marion Camus-Oberdorfer, Head, Content Sales International 110

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Passion Distribution ADDRESS: Elsinore House, 77 Fulham Palace Rd., London W6 8JA, U.K. TELEPHONE: (44-207) 981-9801 WEBSITE: CEO: Sally Miles DIRECTOR, SALES: Emma Simpkins CONTACT: Fraser Cameron, PROGRAMS: Cold Water Cowboys: 10x60 min., factual entertainment; The Customer Is Always Right: 4x60 min., factual entertainment; Vanilla Ice Goes Amish: seasons 1 & 2, 11x30 min., factual entertainment; Building Invincible: 3x60 min., factual; Eat Street: season 5, 26x30 min./total, 93x30 min. & 1x60 min., factual entertainment; Fat Guys in the Woods: 8x60 min., factual entertainment; Skin Wars: 8x60 min., reality/ competition; Toy Hunter: season 4, 13x30 min./total, 52x30 min. & 3x60 min., factual entertainment; Houston Beauty School: 9x60 min., factual entertainment; The Writers Room: season 2, 6x30 min./total, 12x30 min., factual entertainment.

“Passion Distribution was officially launched by its founder and CEO, Sally Miles, in 2008. In November 2012, Passion Distribution became part of the Tinopolis Group, merging with Mentorn International and increasing the catalogue to over 8,000 hours. London-based Passion Distribution now specializes in popular, quality programming and formats in genres such as factual entertainment, reality, documentaries, lifestyle, drama, comedy and game shows. Passion Distribution has exclusive distribution agreements with many U.S. broadcasters and production companies, including Scripps Networks International, Sundance TV, OWN: Oprah Winfrey Network, The Weather Channel and World of Wonder, and will also benefit from the relationships with all Tinopolis Group companies, including Firecracker Films, Mentorn Media, A. Smith & Co. Productions, Daybreak Pictures and Pioneer Productions. The company is active in preselling, finding co-pro partners and deficit-funding third-party content.” —Corporate Communications


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Rainbow ADDRESS: Via Brecce, 60025, Loreto (AN), Italy TELEPHONE: (39-071) 7506-7500 WEBSITE: PRESIDENT & CEO: Iginio Straffi COO: Joanne Lee HEAD, SALES, TV: Luana Perrero CONTACT: PROGRAMS: Winx Club 6: 26x30 min., 2D/3D/CGI/animation/

comedy/action; Winx Club 7: 26x30 min. ready in 2015, 2D animation/comedy/action; Royal Academy: 26x30 min. HD, 2D animation/CGI/comedy; My American Friend: 26x20 min., live action; R.I.P.: 26x30 min. HD, 2D animation/comedy; Winx Club 3D Magical Adventure: 3D animation/feature film/comedy/ action; Mia and me: seasons 1 & 2, 52x30 min., live action/ 3D/CGI/animation; GON: 52x11 min., 3D/CGI/animation/ comedy; PopPixie: 52x13 min., 2D animation/comedy; Huntik: seasons 1 & 2, 52x30 min., 2D animation/adventure/comedy.

“Rainbow is a world leader in the kids’ entertainment industry, dedicated to TV and feature-film productions, along with managing business activities from concept to production to global distribution. Rainbow’s successful distribution of its content in diverse media—including TV, theater and the Internet, as well as in the consumer-products industry—has led to the company being ranked on the top of the yearly global licensor list worldwide, and first in Europe. Rainbow’s property list includes: Tommy & Oscar, Prezzy, Monster Allergy, Winx Club, Huntik: Secret and Seekers, PopPixie, Maya Fox, Gladiators of Rome and a number of third-party properties, including Mia and me and GON. The company is headquartered in Italy, with subsidiaries in Moscow, Hong Kong and Singapore.” —Corporate Communications


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Red Arrow International ADDRESS: Medienallee 7, 85774 Unterfoehring, Germany TELEPHONE: (49-89) 9507-2320 WEBSITE: MANAGING DIRECTOR: Jens Richter MANAGING DIRECTOR, GLOBAL SCRIPTED DISTRIBUTION:

Irina Ignatiew MANAGING DIRECTOR, GLOBAL FORMAT & FACTUAL DISTRIBUTION: Henrik Pabst CONTACT: PROGRAMS: Remedy: 10x45 min., drama; Bosch: 12x45 min.,

crime; Lilyhammer: 16x45 min., dramedy; 100 Code: 12x45 min., crime; Roald Dahl’s Esio Trot: 1x90 min., family entertainment; Off Their Rockers: U.S. version, 46x25 min./U.K. version, 13x30 min./Australian version, 8x25 min., comedy; The Lie: format/quiz show; Safety First: 8x25 min., format/ comedy; House Rules: format/reality; The Taste: format/ cooking competition.

“Red Arrow International is a leading distributor with an extensive slate of scripted, factual and format designs, guaranteeing a strong portfolio with programs by Red Arrow Entertainment Group and third-party producers. Red Arrow International has a unique expertise in packaging, co-financing and co-producing international drama, such as Netflix’s first original drama Lilyhammer and Jo, starring Jean Reno. Red Arrow International boasts a strong track record in building format franchises such as Benidorm Bastards with 25 local versions, including NBC’s Betty White’s Off Their Rockers, and ABC’s The Taste. Red Arrow International has a global reach with offices in Munich, Los Angeles and Hong Kong and making sales in over 150 territories. Red Arrow International is part of Red Arrow Entertainment Group, incorporating 14 TV production companies spanning nine countries. Red Arrow Entertainment Group belongs to ProSiebenSat.1 Group, one of Europe’s leading media groups.” —Corporate Communications


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Russia Television and Radio/Sovteleexport ADDRESS: 37 Shabolovka St., Moscow 115162, Russia TELEPHONE: (7-495) 955-8920 WEBSITE: DIRECTOR, SOVTELEEXPORT: Julia Matiash HEAD, INTERNATIONAL SALES, WORLDWIDE, EXCLUDING CIS & BALTICS: Maria Dorokhina HEAD, SALES, CIS & BALTICS: Ekaterina Grigorieva CONTACT: PROGRAMS: Ash: 10x44 min. HD, thriller; Demons: 4x44 min.

HD, classic drama; Einstein: The Theory of Love: 4x44 min. HD, drama; Tank Biathlon: 5x52 min. HD; Water: A Living Force: 1x60 min. HD, documentary/investigation; Held Captive by Rubbish: 1x48 min. HD, documentary/investigation; Kamchatka:The Edge of the Earth: 1x31 min. HD, documentary/ investigation.

“Russia Television and Radio is Russia’s largest media company and public broadcaster that creates and distributes industry-leading content to virtually every home in the country. Sovteleexport is an exclusive distributor representing more than 20,000 hours of the very best content produced by Russia Television and Radio and other Russian studios. The catalogue includes feature films, TV movies, serials, telenovelas, documentaries and entertainment shows.” —Julia Matiash, Director, Sovteleexport


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Shaftesbury/ Smokebomb Entertainment ADDRESS: 163 Queen St. E., Suite 100, Toronto, ON M5A 1S1, Canada TELEPHONE: (1-416) 363-1411 WEBSITE: CHAIRMAN & CEO: Christina Jennings VP, SALES & BUSINESS DEVELOPMENT: Ryan St. Peters CONTACT: PROGRAMS: Backpackers: 10x11 min., comedy; State of Syn: 8x5 min., sci-fi; Good God: 23x30 min., comedy; Long Story, Short: 11x5 min., drama; Unlikely Heroes: 8x5 min., kids/comedy; Totally Amp’d: 10x6 min., kids/musical comedy; Romeos & Juliets: 1x60 min., documentary; Why Men Cheat: 1x60 min., documentary; Who’s Sorry Now?: 1x60 min., documentary; From Spain with Love with Annie Sibonney: 13x30 min., food & travel.

“With offices in Toronto and Los Angeles, Shaftesbury is a global thought leader and innovator of original content for all platforms in more than 120 countries. Shaftesbury’s slate includes five seasons of The Listener for CTV and FOX International Channels; seven seasons of Murdoch Mysteries for Citytv, UKTV, ITV Studios Global Entertainment and CBC; and the hit kids’ series Life with Derek. Shaftesbury’s awardwinning digital media division, Smokebomb Entertainment, creates convergent extensions for television and original transmedia content, including the comedy series Backpackers for CTV and CW Seed; tween series Totally Amp’d and Unlikely Heroes for and Hulu; 3D science-fiction series State of Syn for Hulu and Google Glass; and the International Emmy-nominated Murdoch Mysteries: The Curse of the Lost Pharaohs.” —Corporate Communications


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Shine International ADDRESS: 109 Regents Park Rd., London NW1 8UR, U.K. TELEPHONE: (44-207) 985-7000 WEBSITE: CEO: Nadine Nohr SENIOR VP, EMEA: Katrina Neylon SENIOR VP, ASIA PACIFIC: Matthew Ashcroft SENIOR VP, SALES & ACQUISITIONS, NORTH AMERICA:

Tania Jacobson SENIOR VP, U.S.A. & LATIN AMERICA: Matt Vassallo CONTACT: PROGRAMS: The Smoke: 8x60 min. HD, scripted; From There to

Here: 3x60 min. HD, scripted; Third Eye: 10x60 min. HD, scripted; INXS: Never Tear Us Apart: 4x60 min. HD, scripted; In the Flesh 2: 6x60 min. HD, scripted; The Biggest Loser: 19x60 min. HD, factual entertainment; Classic Cars: 7x60 min. HD, factual entertainment; The French Collection: 15x60 min. HD, factual entertainment; Island of Lost Blokes: 5x60 min. HD, factual entertainment; Vets in the Disaster Zone: 1x60 min., documentary.

“At Shine International, we are all incredibly proud of our trusted name in original and high-quality programming and formats.We are your dedicated team of sales and distribution specialists, located in London, Paris, Los Angeles, Sydney and Singapore. Through our global network of relationships, Shine International’s programming captures the hearts and imaginations of millions of viewers every day in over 240 territories. Our passionate sales team has been able to achieve its unique success because at the center of everything we do is truly exceptional programming, knowledge and creativity.” —Nadine Nohr, CEO


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Starz Worldwide Distribution ADDRESS: 9242 Beverly Blvd., Suite 200, Beverly Hills,

CA 90210, U.S.A. TELEPHONE: (1-424) 204-4110 WEBSITE: CEO, STARZ: Chris Albrecht EXECUTIVE VP: Gene George CONTACT: PROGRAMS: Power: 8x60 min., drama; Black Sails: 8x60 min.,

drama; Hit the Floor: season 2, 12x60 min., drama; The White Queen: 10x60 min., drama; Far from Home: 1x88 min., drama/family feature; The Dog Who Saved Easter: 1x90 min., holiday/family feature; Dear Secret Santa: 1x90 min., holiday/family feature; Category 5: 1x90 min., action/disaster; Revenge: 1x90 min., thriller; Hidden Away: 1x90 min., thriller.

“MIPTV 2014 is going to be an amazing market for Starz Worldwide Distribution. We will be having the official MIPTV World Premiere Screening of our next Starz original series, Power. The contemporary series comes to Starz with Curtis ‘50 Cent’ Jackson as an executive producer. Power was created by Courtney Kemp Agboh (The Good Wife) and stars Omari Hardwick. Curtis, Courtney, Omari and executive producer Mark Canton will all be with us at MIPTV 2014—a remarkable level of presence for the company. Starz Worldwide Distribution will also have our just released epic series Black Sails, from executive producer Michael Bay. This series launched on Starz in the U.S.A. in January and was the highest new series debut in our channel’s history. International launches were very strong. Black Sails is the number one series in many countries and we are very excited that season two is already in production.” —Gene George, Executive VP


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Studio 100 Media ADDRESS: Sapporobogen 6-8, 80637 Munich, Germany TELEPHONE: (49-89) 960-8550 WEBSITE: MANAGING DIRECTOR: Patrick Elmendorff HEAD, TV SALES, INTERNATIONAL: Martin Krieger CONTACT: Cristina Lück, PROGRAMS: Heidi: 39x24 min., CGI/3D animation; Tashi:

52x11 min., CGI w/2D elements; K3: 52x13 min., 2D animation; Trains: season 1, 46x5 min./season 2, 46x5 min., animation; Knietzsche: 26x3 min., 2D animation; The Eggsperts: 11x7 min., CGI/edutainment; Maya the Bee: 78x12 min., CGI/3D animation; Vic the Viking: 78x12 min., CGI/3D animation; Hotel 13: season 1, 120x12 min./season 2, 56x12 min. & 1x60 min. special, live action; Galaxy Park: season 1, 52x12 min./season 2, 52x12 min., live action.

“Studio 100 Media is an international production and distribution company within the children’s and family entertainment sector. Based in Munich, Germany, the company is a 100 percent subsidiary of the Belgian firm Studio 100. The company develops and acquires new content, engages in co-production and cofinancing activities and is also responsible for the international distribution of its own and third-party rights. With a new film division under the banner Studio 100 Film, a 100 percent subsidiary of Studio 100 Media, the company has stepped into worldwide cinematic film sales. Studio 100 Media’s business model is the perfect vertical and horizontal integration of its IP. In marketing its license rights, the company pursues a global strategy within sectors ranging from licensing and merchandising, TV sales, home entertainment, games and interactive right through to theatrical movies, stage shows and theme parks.” —Patrick Elmendorff, Managing Director


© Studio 100 Animation - Heidi productions Pty. Ltd.

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MIPTV 2014 R7.C1

Studio 100 Media GmbH Sapporobogen 6-8 80637 Munich – Germany T: +49 (0)89 96 08 55-0

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Tandem Communications ADDRESS: Sonnenstr. 14, 6/Fl., 80331 Munich, Germany TELEPHONE: (49-89) 9622-8300 WEBSITE: PRESIDENT & PARTNER: Rola Bauer VP, SALES: Randall Broman CONTACT: Mirela Nastase, PROGRAMS: Crossing Lines: seasons 1 & 2, 22x45 min.,

action/thriller; Pirate’s Passage: 1x90 min., animation; Sex, Lies & Handwriting: 12x60 min., procedural crime.

“Tandem Communications develops, finances, produces and distributes prime-time programs for the worldwide market. Emmy- and Gemini Award-winning and Golden Globenominated The Pillars of the Earth and World Without End are just two examples of Tandem’s award-winning and critically acclaimed productions. In addition to distributing its programs worldwide, Tandem also distributes quality third-party productions. STUDIOCANAL’s majority stake, taken in 2011, effectively made Tandem the television production and distribution arm of the European studio. This enabled Tandem to strengthen its one-hour series strategy, leading to Tandem’s production of the one-hour procedural crime series Crossing Lines, in production on its second season. Tandem Communications, based in Munich, Germany, was founded by president Rola Bauer and COO Tim Halkin, both company partners. Executive VP Jonas Bauer became a partner in the company in 2007.” —Corporate Communications


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Telefe ADDRESS: Prilidiano Pueyrredón 2989, 2/Fl. (B1640ILA),

Martinez, Buenos Aires, Argentina TELEPHONE: (54-11) 4102-5810 WEBSITE: INTERNATIONAL BUSINESS DIRECTOR: Claudio Ipolitti CONTENT DISTRIBUTION MANAGER: Daniel Otaola CONTACT: PROGRAMS: Dear Daddies: 120x60 min., dramatic comedy; We

Are Family: 150x60 min., family comedy; Taxxi, Crossed Hearts: 66x60 min., telenovela; Allies: 40x60 min., teen telenovela; Neighbors at War: 146x60 min., family comedy; Candy Love: 120x60 min., telenovela; Graduates: 180x60 min., romantic comedy.

“Telefe, a tireless originator of content and huge stars, [operates] in an increasingly demanding and constantly evolving market. [It has established] itself as one of the most important and renowned Spanish-speaking content-production poles, with around 70 percent of its catalogue comprised of its own productions. There are 5,100 hours of Telefe’s own content, coming from four large producing centers. Its programming has been translated into more than 35 languages in over 100 countries. Besides being home to the most important national and international figures, its products go beyond the screen and become theatrical, musical, merchandising and licensing hits. Telefe’s international business area is one of the most important programming distributors, featuring the most complete catalogue for the market. Seeking the active participation of the viewer and always betting on new technology,Telefe develops digital content and strategies through formats such as the web, mobile and second screens.” —Corporate Communications


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Televisa Internacional ADDRESS: 6355 N.W. 36 St., Miami, FL 33166, U.S.A. TELEPHONE: (1-786) 265-2500 WEBSITE: VP: Fernando Pérez Gavilán GENERAL SALES DIRECTOR: Carlos Castro PROGRAMS: Loving You is All I Want: 150x60 min., classic

telenovela; The One That Couldn’t Love: 162x60 min., classic telenovela; Dancegerous: 120 min. eps., format/light entertainment; Los Gonzalez: 20 min. eps., format/fiction/hidden camera; Playback: 70 min. eps., format/talent show; Sing It, Sell It: 30 min. eps., format/entertainment; Ale Hop!: 100 min. eps., format/talent show.

“According to its market capitalization, Grupo Televisa is the largest mass-media company in the Hispanic world and a major player in the global entertainment industry. The company is involved in TV production and broadcasting, restricted TV signals production, TV programs international distribution, directto-home satellite TV, cable TV and telecommunication services, magazine publishing and distribution, radio programs production and broadcasting, live sports and entertainment events, film production and distribution, a website operation, and it also participates in the game and raffles industry. It produces more than 90,000 hours of content a year. It transforms universal stories into local successes by creating alliances and performing tailor-made productions. Televisa is a global entertainment company.” —Corporate Communications


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Televisión Nacional de Chile ADDRESS: Bellavista 0990, Providencia, Santiago, Chile TELEPHONE: (562) 2707-7240 WEBSITES:; EXECUTIVE DIRECTOR: Mauro Valdés SENIOR VP, INTERNATIONAL SALES: Ernesto Lombardi CONTACT: PROGRAMS: Separados: 100x60 min., telenovela; Los Carmona:

120x60 min., telenovela; Calle 7: daily, entertainment/format; Apuesto Por Ti: weekly, entertainment/format; Juga2: weekly, entertainment/format; Bim Bam Bum: 8x60 min.; La Canción de Tú Vida: 8x60 min.; Los Archivos del Cardenal: 24x60 min.

“Televisión Nacional de Chile (TVN) is the public network in Chile. TVN is the leader in production of original programming. Unlike other public broadcasters around the world that are subsidized or fully funded by the state, Televisión Nacional de Chile is 100 percent self-sustained and all revenues (advertisements and sales of content) are generated by competing in the Chilean TV industry. With approximately 1,300 employees, TVN produces over 5,000 hours annually of original programming that includes six telenovelas. During the past few years, TVN has been one of the most important suppliers of original formats in the region. Working together with Telemundo Internacional, our exclusive agent, more than 17 different telenovela formats have been sold worldwide. Hits like Dónde Está Elisa?, Amores de Mercado, Los Treinta and La Familia del Lado are a few examples of our great library of scripts that have been produced in faraway places such as the Philippines, Indonesia, Greece, Russia, Spain, Italy, Colombia, Turkey, Portugal, the United States and Mexico. Recently, our new entertainment format Calle 7 is a success in Paraguay, Ecuador and Honduras, where it is the leader in ratings. Also, the new format Apuesto Por Ti is being produced in Ecuador, Peru and shortly in Spain. TVN also has an international channel, TV Chile Internacional, which has over 15 million subscribers around the world.” —Ernesto Lombardi, Senior VP, International Sales 134

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Terranoa ADDRESS: 155 Rue de Charonne, 75011 Paris, France TELEPHONE: (33-1) 5525-5942 WEBSITE: GENERAL MANAGER: Emmanuelle Jouanole HEAD, INTERNATIONAL SALES & ACQUISITIONS:

Isabelle Graziadey CONTACT: PROGRAMS: +/- 5 Meters: 5x52 min., wildlife; Mission Rosetta: Comet Chaser: 1x52 min., science; The Beat of the Moon: 1x90 min. & 2x52 min., science; Brazil’s Coastlines: 5x52 min. & 40x5 min., travel; Animal Doctors: 1x52 min., science; Digital Memory Gatekeepers: 1x52 min., science & technology; Inside a Trader’s Brain: 1x52 min., science & technology; Picasso, the Legacy: 1x52 min., arts & culture; Fundamentalism: Is There a Way Back?: 1x52 min., current affairs; Lost Rivers: 1x72 min. & 1x52 min., society.

“Terranoa is a benchmark distributor for innovative, high-profile factual productions. With an eclectic catalogue of over 1,000 hours and a decade of successful programs sold internationally, Terranoa has attracted producers who share the values and quality of our brand. Our catalogue is open to a wide range of topics, from nature, travel and adventure to history and science, including pop culture, social affairs and sports. With a true expertise in factual content, we supply broadcasters and platforms worldwide with the best factual productions around the world.” —Isabelle Graziadey, Head, International Sales & Acquisitions


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TM International ADDRESS: Luise-Ullrich-Str. 6, 82031 Gruenwald, Germany TELEPHONE: (49-89) 290-93-0 WEBSITE: MANAGING DIRECTOR: Herbert L. Kloiber HEAD, INTERNATIONAL SALES: Carlos Hertel CONTACT: PROGRAMS: Hubert & Staller: 66x60 min. HD, crime; Unknown

Heart: 2x90 min. HD, romantic drama; Ruby Red: 1x122 min. HD, mystery/romance; Cosmos: 16x60 min. HD, documentary/ wildlife; The Other Wife: 2x90 min. HD, romantic drama.

“TM International is the world sales arm of Tele München Group (TMG). The media group has been successfully operating in the entertainment market for more than 40 years and its activities include, among others, the production, acquisition and distribution of feature films, TV productions and classical music programs. TM International distributes all in-house productions in the theatrical and television segments, such as the latest feature film productions Ruby Red and Sapphire Blue, based on the best-selling novels of the same name; an extensive Rosamunde Pilcher collection of sweeping female dramas such as Unknown Heart; as well as the international hit CBS series Flashpoint.TM International also offers an exciting feature film catalogue, ranging from Terminator, Basic Instinct and Rambo I through III to Hard Rain, Wonder Boys and Primary Colors.” —Corporate Communications


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Turkish Radio & Television Corporation ADDRESS: TRT Genel, Mudurlugu, A Block, 6/Fl., No: 602,

06450 Oran Ankara, Turkey TELEPHONE: (90-312) 463-2400 WEBSITE: DEPUTY HEAD, TV DEPARTMENT & ACQUISITIONS, SALES & COPRODUCTION COORDINATOR: Mehmet Demirhan CONTACT: PROGRAMS: The Golden Apple: 13x90 min. HD, drama; A Tale

of Yusuf: 13x90 min. HD, drama; Old Story: 17x90 min. HD, drama; Love Me As I Am: 39x100 min. HD, drama; Maysa Girl and the Cloud: 27x10 min. HD, 2D animation; Pirdino: 13x13 min. HD, 3D animation; Hey-Sis: 39x7 min. HD, 3D animation; Ciciki: 13x13 min. HD, 3D animation; Fatih the Conqueror: 8x30 min. HD, documentary.

“With its wide range of content, the Turkish Radio and Television Corporation is the national public broadcaster of Turkey, founded in 1964. TRT is functioning with 15 TV channels, 18 radio channels and a webpage in 36 languages, and is broadcasting to nearly all over the world. TRT—with its documentaries in the fields of nature, history, religion and culture; its animations, one more entertaining and didactic than the other; and its popular drama series—has already made a name in Europe, the Balkans and the Middle East.” —Mehmet Demirhan, Deputy Head, TV Department & Acquisitions, Sales & Co-Production Coordinator


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Twentieth Century Fox Television Distribution ADDRESS: P.O. Box 900, Beverly Hills, CA 90213, U.S.A. TELEPHONE: (1-310) 369-1000 WEBSITE: PRESIDENT: Mark Kaner PRESIDENT, INTERNATIONAL TELEVISION: Marion Edwards CONTACT: Mahnaz Landers, PROGRAMS: Tyrant: 10x60 min., drama; The Strain: 13x60 min.,

thriller; 24: Live Another Day: 12x60 min., action/drama.

“A division of 21st Century Fox, Twentieth Century Fox Television Distribution is the exclusive distributor for all FOX-produced or acquired programming. Areas of responsibility include U.S. network feature film sales, international television broadcast and cable television, worldwide pay TV, DTT (digital terrestrial television), FOD (free on demand), SVOD (subscription video on demand), long-form content for mobile telephone platforms, and overseeing ownership interests in movie channels in Australia, Latin America and Brazil. An additional area of responsibility includes Fox’s scripted format sales for local productions of popular FOX franchises such as Glee, Modern Family, How I Met Your Mother, Prison Break and Bones. The division sells to clients in over 200 countries and has experienced sales, marketing and servicing executives located all over the world. On the leading edge of technology and distribution, FTVD is moving into the digital world, providing broadcast-quality digital files of FOX series and feature films to their entire broadcast client base, saving distribution time and resources while increasing content security. Twentieth Century Fox Television Distribution is a strategic marketing partner utilizing the vast resources of 20th Century Fox to provide broadcasters and pay-television platforms with everything they need to build winning marketing campaigns.” —Corporate Communications


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Twofour Rights ADDRESS: Twofour Studios, Estover, Plymouth PL6 7RG, U.K. TELEPHONE: (44-1752) 727-400 WEBSITE: GROUP COMMERCIAL DIRECTOR: Anthony Hughes HEAD, SALES: Anthony Appell CONTACT: PROGRAMS: Born to Kill?: 48x60 min., crime/factual; Killing

Spree: 12x60 min., crime/factual; Compulsive Shoppers: 1x60 min., factual; Marines: 8x60 min., factual; Harry’s South Pole Heroes: 13 Days of Hell: 2x60 min., factual; Cooks’ Questions: format & 6x60 min., factual entertainment; World’s Greatest Markets: 3x60 min., factual entertainment; Tom Daley Goes Global: 6x60 min., factual entertainment; The Jump: format, entertainment.

“Twofour is an award-winning producer of original programming, and Twofour Rights, our in-house rights arm, is a global supplier of premium content. The boundaries between producing and distributing are blurred, providing our clients with a critical understanding of the international television market. We have a dedicated, multilingual sales team with strong broadcaster relationships, who deliver new and creative ways of maximizing revenue across all platforms and media. Every hour in the catalogue is equally important to us, and our broad slate of features, factual and entertainment provides more than 450 hours of content that works across all territories. Twofour recently merged with Boom Pictures, providing Twofour Rights with an exciting new central forum of productions and world-class programming.” —Corporate Communications


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ZDF Enterprises ADDRESS: Erich-Dombrowski-Str. 1, 55127 Mainz, Germany TELEPHONE: (49) 6131-9910 WEBSITE: PRESIDENT & CEO: Alexander Coridass EXECUTIVE VP & CFO: Stephan Adrian EXECUTIVE VP & COO: Fred Burcksen PROGRAMS: Nature’s Greatest Secret:The Coral Triangle: 3x50 min.

HD, wildlife/nature; Women Who Made History: 6x50 min. HD, history/biography; Infestation: 4x50 min. HD, science/knowledge; Thicker Than Water: 10x60 min. HD, crime/suspense; Cecelia Ahern: 2x90 min. HD, romance; The Team: 8x60 min. HD, crime/suspense; Knight Rusty: 52x13 min. HD, 3D animation; Sam Fox: Extreme Adventures: 26x26 min. HD, live action; Dalli Dalli: 60 min. eps./90 min. eps., format/quiz; Your Song: 16x25 min. & 1x100 min., format/music.

“Among the first factual highlights for 2014 are new wildlife and nature programs within the Nature Now! package: Nature’s Greatest Secret:The Coral Triangle, Wild Berlin, Lusatia and other topics. Knight Rusty, an animated series for kids 6 to 10 years of age with a lovable scrap-metal knight as its clumsy hero, is the highlight of ZDFE.junior’s catalogue. In the drama sector, our Scandinavian co-production Thicker Than Water has a quirky premise: Before dying, the owner of a popular B&B stipulates that her quarrelsome children run the place together for a year, or there’s no inheritance. Among our entertainment highlights are timeless formats such as the classic Wanna Bet? or Dalli Dalli, which bring teams of two celebrities together in competitions full of laughter and suspense. All our programs boast top-quality production values, but we’re also looking for landmark shows that will still be selling in 10 and 20 years from now—on all platforms. Last but not least, we are proud to present our new website, where logged-in users can screen full-length programs, share their playlists and much more. As of MIPTV, our app for iPhone and iPad is available in the Apple store, and the Android version will follow shortly.” —Alexander Coridass, President & CEO 146

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World Screen Distributors Guide 2014  
World Screen Distributors Guide 2014