World Screen Distributors Guide 2012

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Distributors Guide 2012

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Contents A Note from the Editor . . .10 Interviews . . . . . . . . . . . .11 Distributors . . . . . . . . . . .31

Publisher Ricardo Seguin Guise Editor Anna Carugati Ricardo Seguin Guise President

Executive Editor Mansha Daswani

Anna Carugati Executive VP and Group Editorial Director

Managing Editor Kristin Brzoznowski

Mansha Daswani VP of Strategic Development and Associate Publisher

Production Director Meredith Miller Online Director Simon Weaver

World Screen Š 2012 WSN INC. 1123 Broadway, #1207 New York, NY 10010

Editorial Assistant Marissa Graziadio

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

Sales and Marketing Director Cesar Suero

Website: www.worldscreen.com

Business Affairs Manager Terry Acunzo

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

For a free subscription to our newsletters, please visit WorldScreen.com/pages/newsletter

Sales and Marketing Assistant Vanessa Brand

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HUNDREDS OF SCREENING ROOMS THOUSANDS OF VIDEO CLIPS ONE DESTINATION

The video portal for the entertainment industry.

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A Note from the Editor In the last few years, the TV industry has certainly learned that today’s status quo will undoubtedly be turned on its heels tomorrow by some new device or screen.

First iTunes, then Netflix, Hulu and a slew of other online streaming and catchup TV services have blown wide open the options we have as viewers to watch the programming we love.These services have certainly wreaked havoc on traditional business models, and Netflix’s in-your-face challenge to channels and pay-TV services by jumping into original programming has drawn huge attention and created considerable anxiety among programming chiefs.Yet, in all the upheaval of the status quo, one factor is emerging as a constant: viewers love the convenience of online viewing, whether on Netflix, other streaming sites or broadcasters’ own catch-up TV services.While this is good news for distributors, who have more places to sell their programming, new research from Knowledge Networks shows that this is also good news for networks and channels that may have felt threatened by online streaming.The study, TV’s Web Connections 2012, finds that 42 percent of respondents say that having video online makes them think more highly of a TV network, up from 30 percent reported in 2008. The study also shows that 22 percent would never have watched some shows if they hadn’t been accessible online, compared to 10 percent in 2009. Twenty percent report that they spent more time watching a network’s content after it went up online, up from 2008’s 9 percent.The study also shows that, among people who view programming online, TV network sites are the preferred source of network content.

Let’s not forget, however, that online viewing still amounts to minutes per day compared to hours a day for live TV viewing.

What’s the engine powering all this viewing? Appealing programs, whether fiction or factual, with compelling stories, relatable characters and newsworthy topics. As all the distributors in this guide will attest, no matter how much the TV landscape changes, the key to profitable linear or nonlinear services is in providing quality shows.

—Anna Carugati 10

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Interviews

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Jeffrey Bewkes Chairman & CEO Time Warner WS: What opportunities do you see for your channels internationally?

BEWKES: HBO is the number one payTV channel in all of Eastern Europe, Latin America and Southeast Asia. CNN is the number one English-language news channel all around the world, and is a leader in online and mobile. Cartoon Network is number one or number two in a number of countries. TNT is gaining market share in South America. If you look at Latin America, from Mexico through Argentina, the Time Warner channels are the leading channel package. We have earnings of $500 million a year from our international networks business, which we think will double in the next three to four years.

WS: With viewers increasingly watching programming on demand, what do linear channels have to do to maintain their relevance?

BEWKES: Linear channels have already become branded environments. What branded linear channels have to do is take the programming that makes them a branded environment—a clear voice—and offer it on demand. If you like the channel and like the shows, and you have the shows on demand, you’ll tend to watch them when you want to watch them.And if you ask, well, what are Apple or YouTube? They are distinguished by being on-demand, not by what content they have.There is no content on Amazon or Apple that isn’t already available on an NBC, an HBO, etcetera.

They don’t have new or exclusive content. It’s usually older and it’s available somewhere else on a network with higher viewership, with a more engaged audience.The reason that some of the new services are getting traction is that they are offering ondemand and the existing branded linear channels have not been fast to do so, with the exception of HBO and CNN. You can now watch the broadband-delivered CNN; increasingly you are going to be able to watch CNN video feeds for free if you have CNN in your house, which about 95 percent of Americans do.

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Philippe Dauman President & CEO Viacom WS: How much have digital revenues

contributed to Viacom’s financials?

DAUMAN: Viacom has enjoyed a substan-

tial boost in incremental revenues from new and renewed digital-distribution agreements. These digital deals—which include both media networks and motionpicture titles—come with very high margins and, fortunately for us, we own the majority of our content, so there is a lot more room for incremental growth in this area, both in the U.S. and internationally. All of this digital distribution is layered on top of the transactional revenue we already receive from platforms like iTunes or Amazon.

WS: How are over-the-top (OTT) services helping you revitalize

your library sales?

DAUMAN: There are distributors of scale out there who are pre-

pared to pay substantial dollars for library content. And our content is incredibly valuable to their future success.These arrangements also allow us to avoid some of the complexities that arise when we are making digital deals for current programming. This is an area of great opportunity in the U.S., but also internationally, where for regulatory or other reasons, we haven’t been able to introduce our content through traditional television networks.

WS: How are you seeing competition in digital distribution increase internationally, and how is that affecting your bottom line?

DAUMAN: Competition is a great thing for a content company and, yes, we are seeing more of it in the international market.

We’ve seen interest in digital delivery of our content climb substantially in Canada, Latin America and Europe, and we expect to see more in Asia as well. This provides healthy incentive for competitive distribution partners to make compelling investments in quality content, and we know that our television and film libraries are very much in demand. I do expect that you will see more of these deals with a wide variety of players, big and small, throughout the world.

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Anne Sweeney Co-chairman, Disney Media Networks President, Disney/ABC Television Group WS: How are retransmission and affiliate

license fees making broadcast TV healthier?

SWEENEY: The retransmission consent

fees, the fees from affiliates, have made the broadcast-television business a multirevenue-stream business for the first time in history. Operators now recognize the value of our broadcast content with cash compensation for retransmission. We’ve also reinvented our relationship with our ABC affiliates.We really have established an unprecedented level of collaboration with them and our recent agreements with our affiliates across the country ensure that we’ll realize greater revenue from their success going forward as well.

WS: Can over-the-top services be a friend to a broadcaster or a cable network?

SWEENEY: The key is really to be experimental, and when getting into a deal with Netflix, making sure we give ourselves the ability to do shorter-term deals that allow us to look at the results and to study our consumers and see how they’re using these services. So as a content provider we see any viable method of commercially and securely delivering our content to consumers as good. So the key going forward is establishing business models that provide us with a fair return on our investment, and we’ve been very careful about determining which content to experiment with on these platforms.

WS: How have the economics of daytime network TVchanged?

SWEENEY: We’ve been watching the ongoing evolution of

viewers’ appetite and quite frankly this evolution brought a lot of challenges to our established schedule.The audience for daytime dramas had diminished dramatically and they just weren’t at a level where we could sustain that kind of programming.We looked at the success of The View and we did a lot of research about what viewers of daytime television really want. So we shifted our daytime business accordingly and have developed programming that we believe will help viewers have a path to a better life.

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Leslie Moonves President & CEO CBS Corporation WS: How important are international sales for CBS Corporation?

MOONVES: They are very, very important.They were important many years ago and, frankly, the growth in the marketplace has been terrific.

When we have a show that we produce, we look at it globally.We look at what we are going to get from a network, we look at what we are going to get internationally, and it enables us to produce it at the highest quality level, knowing we will get rewarded both domestically and internationally.

WS: What has made the development process so good at CBS? MOONVES: It comes down to a) the people who provide a

good creative environment for our producers and writers, and b) knowledgeable people to schedule and market. It really is a team effort, and the fact that this solid group of executives has won for many years, and does it year after year, leads us to feel like [the system is working]. It’s a team effort throughout the whole process: it’s development, it’s casting, it’s finding the right people, it’s knowing who the up-and-coming good people are.

WS: In today’s media landscape, how many revenue streams are there for a hit show?

MOONVES: As proud as we are of broadcast, it’s not to say we could stand still and put our feet in the mud and just say broadcasting is all that matters.A few years back there were a limited number of revenue streams. But now the world has changed so much with online viewing and iTunes and CBS.com and Hulu and all the different platforms where you can put your content. So the idea is, yes, the network is still the mother lode and it’s still our focal point, but people are watching our shows all over the place on a lot of different platforms.As long as we get paid appropriately for them and it’s not hurting our main forms of revenue, we’re now getting paid 14 or 15 ways for the same piece of content.

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Jon Feltheimer Co-chairman & CEO Lionsgate WS: Lionsgate has demonstrated a willing-

ness to embrace new platforms, perhaps more so than other studios.

FELTHEIMER: We want to position ourselves as an industry leader in each of the four ways we look at the digital marketplace: One, we are creating new content specifically for digital platforms. Two, we are monetizing our content on these digital platforms both domestically and internationally.Three, we have formed distribution partnerships. EPIX is a good example of that.The EPIX deal with Netflix gave us a way to layer both new and traditional distribution partners in what I think is a new business paradigm for the paytelevision business. And the fourth thing that digital does for us is it allows us to experiment with windows and variable pricing in ways that we weren’t able to explore before.

WS: You have said that producers and distributors shouldn’t shape content to the distribution model, but shape the distribution model around the content. How have you been doing that?

FELTHEIMER: Content creation drives the whole value chain.You take something that reaches an audience and has long-lasting value and then you build a distribution pattern and a business model around it.You can’t create a deal and then look for content that fits the deal. Fragmentation within the digital marketplace fits our business model of targeting large niche audiences, and that has changed the game for us.A lot of shows, particularly cable and pay-television shows, can generate really significant profits in a digital world by aggregating lots of revenue from lots of platforms without attracting the tens of millions of eyeballs that broadcast-network shows do. A show like Mad Men, whose loyal audience isn’t that broad but is really deep and continues to increase on a long-term basis, can air on multiple platforms over a long period of time and become a very, very valuable franchise.When you have shows with a deep audience, and platforms like Netflix that recognize the value of these deep affinity audiences, you can generate really significant dollars.

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Phil Kent Chairman & CEO Turner Broadcasting System WS: There is still disparity between ad

rates for scripted cable shows and scripted network shows.What can be done to close the gap?

KENT: The gap is narrowing. But with two-thirds of viewing going to cable networks and only one-third of the dollars, there’s [a lot] of opportunity for cable networks.We are well positioned to take more than our fair share on the strength of our brands, the quality of our programming, and the innovation and leadership of our advertising-sales effort driving growth in ad dollars to our company.

WS: What have been the keys to TNT and TBS producing highquality scripted shows at lower costs than broadcast network fare?

KENT: It starts with hiring the right people: showrunners who embrace the opportunity to create great television within our budget models.We focus on genres built on strong characters and storytelling, as opposed to expansive set pieces and elaborate special effects. The Closer and Rizzoli & Isles draw huge audiences as character-rich procedural dramas produced within our budgets.

WS: As more and more viewers find TV shows on services like Netflix, will the value of off-network shows decrease?

KENT: The marketplace will continue to determine the value of content.We are beginning to see the impact of Internet exposure on some programming coming into the syndication market. Exclusivity is a differentiator for our brands.We’ll continue to be aggressive bidders for content that has high value to us.

WS: Why is the concept of authentication, as in the TV Every-

where model, important?

KENT: Authentication rewards consumers with more access to

content on more platforms, and it protects the value of premium content to and for networks, advertisers and distributors. It both expands the consumer experience and ensures the continued health of the multichannel ecosystem.

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Abbe Raven President & CEO A+E Networks WS: How has the portfolio of channels

maintained loyal viewing?

RAVEN: We have demonstrated resilience

first and foremost through our programming.We consider ourselves a global media content company and we have a strong commitment to investing in original programming. That is what people want to watch and that’s why they come to television.And that’s why television is still such a strong medium.We have been able to continue to grow in that vein because of our creative team.We have an extremely talented group of programming executives across all our brands who are very busy developing innovative, cutting-edge programs that viewers want to watch. A+E is extremely fortunate to have some of the biggest hits in cable.

We continue to live by the belief that traditional television is the main driver for viewership and we recognize the need to make our brands and programs available on other platforms, but our focus is TV. No matter what the platform, if you are not developing compelling programming, the viewers won’t turn up.

WS: What are some ways you’ve embraced new-media platforms?

RAVEN: One thing that we look at very carefully is how this new

platform or device helps support our core brands.We recognize the need to make sure that our brands and our programming are available on multiple platforms. One way that we’ve done that is we have focused on our own websites to make sure they are robust. But we have taken a leap in a couple of different areas.

We launched something called History Here, which is an app for the Microsoft Windows Phone 7.We have created a mobile travel guide that lets users experience the historical context of their surroundings, no matter where they are.We have about 7,000 locations nationwide which allow you to find where you are through your phone. It has exclusive video, it may have audio of a famous speech that was given there, maybe some narratives from key moments in history that took place there, maps, pictures. So it’s a little different from creating traditional television programming.

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John Hendricks Founder & Chairman Discovery Communications WS: Discovery was one of the first companies to launch internationally. Are those businesses still very important today, and do you see considerable growth in international markets?

HENDRICKS: Yes, absolutely. International for us is key, and we’re so glad we took that gamble back in the late ’80s and early ’90s to first launch in Europe and then to go worldwide. At the time, there were a lot of people who doubted the wisdom of that, but we were always convinced that multichannel television would just sweep the planet.We knew that in some instances it would be via cable, in other instances it would be via satellite direct to the home. But everywhere, whether in China, Korea,Austria, you name it, people would want their sports channel; they would want a Discovery-type service. So, we were fortunate to get there first and claim that shelf space.

We think the international marketplace is where the U.S. marketplace might have been ten years ago or even more.There’s so much penetration growth that’s going to happen over the next 10 to 15 years internationally, and we’re going to ride that wave with all of our services. So international is critical to us. I think it’s one of the defining advantages of Discovery Communications.

WS: What is Discovery’s philosophy for extending the viewing

experience onto other devices?

HENDRICKS: If you think about our business at Discovery as fun-

damentally helping people satisfy their curiosity, we want to do that in all forms of visual media.Television is certainly our first target, but we know that people are able to access video on demand on their personal viewing devices, whether it’s their iPad or their PC, and we want to be there with our content.There’s certainly going to be competition to the iPad, from Samsung and Motorola, and all the others that are coming out with tablet devices.And these are devices that uniquely mix text, video, audio resources, interactive resources, so [we’re] making a big strategic move into programming for the tablet devices.

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Roberto Irineu Marinho President Organizações Globo WS: How has the strong economy stimu-

lated the growth of pay TV in Brazil?

MARINHO: The last few years have been

excellent for pay TV in Brazil. After a long period of sluggish growth, which lasted till the beginning of this decade, several factors contributed to the growth of the pay-TV subscriber base: the growth in infrastructure, the entry into the market of new DTH operators, the growth in families’ disposable income, the greater participation of the C Class in the market and the perception of pay TV as an aspirational product.

WS: How is Globo preparing to cover the FIFA World Cup in 2014 and the Olympics in 2016?

MARINHO: For Globo, the FIFA World Cup and the Olympics are not two isolated events.They are reference points to what will happen in Brazilian sports throughout the next decade.They will trigger expansion in the program schedules in our free-TV, pay-TV and events businesses throughout this entire period. But more than this, they will be symbolic of Brazil’s new presence on the world stage, and also provide opportunities to cover related topics, such as ecology and diversification. Consequently the role of Organizações Globo in these events transcends its teams of sports journalists. Coverage of these events involves our entire group and all its divisions.

WS: Can product placement and product integration help combat the habit of skipping through commercials?

MARINHO: It’s important to remember that free TV is now, and will continue to be for a long time, the dominant media platform in Brazil.This fact is reflected by the audience dominance of free-TV networks, as well as cable and satellite channels. Live TV events will continue to be very relevant, both in news and in sports.Advertising will continue to be an integral part of these events. Other forms of integrated advertising are already being used in telenovelas, miniseries and reality shows.The efforts of advertisers and producers of content will take integrated advertising to an even higher plateau.

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Anke Schäferkordt Co-CEO RTL Group WS: What have been some of the keys to the success of RTL Deutschland’s free-TV stations?

SCHÄFERKORDT: Our flagship channel, RTL, increased its audience shares for the third year in a row. The success of RTL is based on its variety of programs. It is the market leader in entertainment as well as in information. The success of VOX is based mainly on three strong pillars: U.S. feature films, U.S. series, and nonfiction productions. Super RTL is the clear market leader in children’s programs and N-TV has substantially increased its audience shares in its core area of news and business information.

WS: How are you diversifying revenues at RTL Deutschland?

SCHÄFERKORDT: We have a long history of offering all kinds

of merchandising related to our strong brands. In addition, our shows provide a huge variety of call-in and voting opportunities.

With Universum Film, our Munich-based subsidiary, we have the strongest independent supplier of home entertainment through DVDs and electronic sales. Furthermore, our online and mobile offers are highly successful and are steadily increasing their contributions to the core business. Last, but in no way least, our pay channels add a smile to our faces!

WS: What opportunities for growth do you see?

SCHÄFERKORDT: We have reached record audience shares and

have continued to increase our leadership over our main competitor, so further growth in ratings on a group level will be tough to achieve. For RTL, which is so dominant in the German market, our target is to defend this strong position. For VOX and Super RTL we see further growth potential. Since we have not yet capitalized on our ratings growth in the advertising market, there is potential to increase our share of advertising over the next years. And of course, our online and mobile activities will add further growth potential.

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Barry Meyer Chairman & CEO Warner Bros. Entertainment WS: What factors have contributed to

Warner Bros.’s ability to produce such a broad slate of TV shows?

MEYER: At our heart, we’re storytellers— it’s in our DNA, it’s what Warner Bros. has been doing since the 1920s.We create the stories audiences want to watch.We’re also smart and fortunate enough to work with the best in the business and to have an incredible TV group led by Bruce Rosenblum and Peter Roth.

We’re also strategic in how we allocate risk, which increases our opportunities for success.We produce content for multiple television platforms and spread our investments over a slate of demographic opportunities within each of these platforms. It’s this allocation of risk that mitigates the volatility inherent in our business. And in a business that has been traditionally based on deficit financing, most of our dramas are profitable from day one through our network licensing fee, international revenue and homeentertainment exploitation (digital and physical product).

WS: What environment do writers and producers find at Warner Bros.?

MEYER: Open dialogue in working with creative people is where you start, and I think every studio would agree with that.What does give us a competitive advantage is the executive stability across all divisions that is a hallmark of Warner Bros., as well as our status as such a robust, diverse and independent supplier of programming.

WS: Can the broadcast networks learn anything from the cable model, which produces quality shows with smaller budgets?

MEYER: Everyone is conscious of producing shows on tight budgets—it’s a reality of doing business today. Our TV-production people work with our partners to help find the right creative solutions, whatever their financial appetite.We launched Warner Horizon Television a few years back with an eye toward creating compelling programming under a different economic model, and it’s working quite well.

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Hernán López President & CEO FOX International Channels WS: What has fueled the growth within the FOX International Channels bouquet?

LÓPEZ: It’s down to four things: great brands, great content, great people and good timing. Great brands because we have some of the world’s most recognizable brands in entertainment and factual, such as the FOX brands and National Geographic Channel. Great content because we supplement the best Hollywood movies and series with local original productions and global original productions that you can’t see anywhere else on television usually for a long period of time.

Great people because we are lucky. We have hired very talented people in each of the local markets and in each of the larger regions of Asia, Europe and Latin America. And good timing because at the end of the day, you can do all these things but if your timing is off then it’s not going to result in growth.We were actually arguably late entering many of these markets. If you think about it, Discovery was in many of our markets many years before Nat Geo was.Turner and HBO were in a substantial number of markets before we were, so we had a lot of catching up [to do]. And we still learn a lot from our competitors about what they do better in each of our markets as well as in the U.S. WS: How do you decide if you have enough channels in a given market or if you should launch more?

LÓPEZ: It starts with platforms. We have to find consensus between a number of platforms about the need to cover a specific niche.We talk informally to them to see whether any of the ideas they put to us tie into our core company. At what point do you stop? It’s the hardest question in the business. There is the argument that platforms want each of their channels to be stronger and they don’t want the brand to dilute its content across several windows.You can over-expand.There are many examples of that in our world. But when you have core strengths in a certain genre that have to be sufficiently leveraged, it’s always more economic to have more than one channel in the same content genre.

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John Smith CEO BBC Worldwide WS: What is the strategy for increasing BBC Worldwide’s global presence?

SMITH: Becoming more international is one of our strategic priorities. Our first priority is growing our market share in the U.S. and Australia—as the major English-speaking markets. We’re also developing plans on a market-bymarket basis—for example for India.

And to help drive international growth, we’ve appointed executives to develop business opportunities in Asia, EMEA and Latin America, in addition to existing positions for North America and for Australia and New Zealand.

WS: What are your plans for the global iPlayer?

SMITH: It’s long been an ambition for BBC Worldwide to

launch its own international VOD service, and I believe we’re able to offer something unique. What sets us apart is that this is an editorially curated service that directs international audiences to a mix of current and classic high-quality entertainment online. This service is an important step forward for BBC Worldwide and the U.K. creative industry as a whole. It’s a great way for audiences to access great U.K. shows on the latest devices via a stylish, simple and contemporary user experience.

WS: Will having programming available on the iPlayer affect

the way BBC Worldwide licenses its programming?

SMITH: No, that’s not the way our business works. Our sales-

and-distribution arm and our portfolio of international channels are both thriving businesses and they work closely together very successfully to decide the best windowing strategies for our programs, and the global BBC iPlayer will operate within that mix. We have incredibly important relationships with broadcasters all around the world whose audiences really rate our shows—and that is certainly not going to change. The evidence to date indicates that online viewing is additive, so we see this service as an “and,” not an “instead of.”

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Sophie Turner Laing Managing Director, Entertainment & News BSkyB WS: What has been Sky’s strategy for original productions?

TURNER LAING: Sky is one of the biggest investors in homegrown content. By 2014, Sky will be directly investing £600 million ($940 million) a year in origination. Where we’ve really come on in great leaps and bounds is scripted. We’ve been the home in the U.K. for the best of U.S. programming for a very long time and that still remains a very, very important genre for our customers. But there is no doubt that locally produced content also resonates in a totally different way with our customers, with familiar surroundings, familiar actors, familiar themes.

WS: And that’s the key of the whole offering?

TURNER LAING: Yes, absolutely. If you look at pay offerings

around the world—whether it be Starz chomping on the heels of Showtime and HBO to DIRECTV getting involved in programming, albeit in a small way—pay channels have got to stand out above the crowd. So it’s very important to us that we deliver these kinds of big event pieces alongside the week-in, week-out content staples. The channels are greedy beasts and we need a lot of carbohydrates for them to survive on!

WS: You have also revamped your entertainment lineup.

TURNER LAING: When Sky initially launched we were

absolutely focused on sport, movies and news, all of which were not as well served by the free-to-air broadcasters. That goes to the heart of Sky, which is we want to give our customers the very best choice of content. We have delivered fantastic supertankers in sport, movies and news, but it’s fair to say that our entertainment offering was not nearly as strong as it should have been. We bought the Virgin channels, which included Sky Living. We did the deal with HBO, which then spawned Sky Atlantic, and we committed to giving much more support and attention to Sky Arts.

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Hans-Holger Albrecht President & CEO Modern Times Group WS: In the markets in which you operate,

is television still commanding the largest share of the advertising market?

ALBRECHT: In Scandinavia television has a stable market share on a national level.

There is, however, much room to grow in the regional ad markets, which are very big, particularly in Scandinavia where they constitute 40 percent to 60 percent of the total advertisement market.We are subsequently moving into this space by expanding our regional presence, starting in Sweden.TV viewing is much higher in the emerging markets than in Scandinavia, but the advertising spend per capita is significantly lower, rendering a significant growth potential.The emerging markets are subsequently growing much faster than they are in Western Europe.

WS: How have your investments in content helped your free-TV and pay-TV businesses?

ALBRECHT: A strong content strategy underpins our multichannel media-house strategy where we position our channels in order to cater to particular audience groups. On the pay-TV side, we are clearly the premium content provider of choice.We have throughout the years built a very strong content platform that delivers entertainment at your command. A good example of how we can combine this for both free and pay TV is the groundbreaking deal we made with Twentieth Century Fox that covers the broadcasting rights to a range of blockbuster movies and hit TV series not only on our Scandinavian free-TV channels but also on [the on-demand platform] Viaplay.

WS: How has Viaplay been received in Scandinavia?

ALBRECHT: Viaplay is rapidly gaining momentum, as it offers

viewers a unique proposition they can’t find anywhere else.We are continuously working on further developing the service, adding new content and making it available across more platforms—all in line with our ambition to offer premium content anytime, anywhere and on any device.

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Kevin Crull COO CTVglobemedia WS: What are the strengths of CTV’s programming strategy?

CRULL: The depth and breadth of our schedule—all genres, all timeslots, all days—is unmatched anywhere.We schedule prime time throughout our schedule, [with marquee, highly-rated programs not only in prime time, but also in daytime and late night].We are always looking for strategic opportunities with new formats and with creative brand partnerships and we don’t follow trends—rather we seek great content that will resonate with the Canadian audience. Our schedule is organic—programming is more an art than a science. Due to the availability of the American networks in Canada, maintaining the perfect schedule is a 24/7 challenge.Today we are number one in news, number one in sports, and number one in entertainment, but we behave like we’re number two.We know how fast leadership can slip.

WS: How important is Canadian content to CTV? CRULL: We remain committed to original production and ded-

icated to telling fresh Canadian stories and building homegrown talent. CTV’s robust slate of critically acclaimed, award-winning original productions includes The Borgias, Flashpoint [and] The Listener.

WS: How will CTV ensure that its audience still has access to a plu-

rality of views and that independent producers still have the opportunity to pitch their story ideas to programming executives?

CRULL: As always, CTV is fundamentally committed to finding our best stories that will resonate with the diverse audience that makes up the rich tapestry of Canada. Independent producers have always played a big role in the development of our top-rated indigenous programs.We remain an open door to the creative community and will continue to draw from this well of talent as we push into the future. Combined with our unparalleled communications and promotional expertise, we are confident that the most compelling and entertaining programs will continue to deliver big audiences across all of our platforms.

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James Cameron Co-Chairman, Cameron-Pace Group Chairman & CEO, Lightstorm Entertainment WS: Is every movie genre suitable to 3D or are some more so than others?

CAMERON: Conventional wisdom in the last few years has been that the big expensive animated films, the big expensive science-fiction and fantasy live-action films are the natural subjects for 3D. I would submit that there is another way of looking at this. The $100-million to $200-million films are going be spectacular with or without 3D. You take the 3D out of it, they’re still great movies. Where I think 3D has so much to offer is when you are doing just a straight drama—two people sitting in a room talking, or sitting in a car, or wherever the drama takes place—because the 3D really electrifies that experience. It makes us feel like we are physically present watching it happen.The most interesting thing to watch in 3D are people in all their infinite colors. I think [the industry is] going to wake up over the next couple of years and see that 3D is really for things that people historically have not thought 3D was for. This will be the next revolution in cinema 3D. I think the next revolution in 3D overall is going to be the widescale adoption for broadcast.

WS: How do you feel about viewers watching epic movies like

Titanic and Avatar on a small portable screen?

CAMERON: It’s a different experience. Look, let’s face it, in a movie

theater you are more surrounded, you are more submersed [in the movie]; you are going to be more emotionally impacted by it, but that’s true of any movie, whether it’s 2D or 3D or whether it’s Avatar or any other film.That’s just the nature of entertainment in our world today. Some people choose the immediacy of watching on a tablet versus the special experience of watching a movie in the theater. I think Avatar, since its release, did a lot to lure people back to an appreciation of the cinematic experience. Having watched the film on smaller screens, meaning either a 40-inch home TV or even right down to a laptop, I don’t feel that the story is negatively impacted at all.

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Ted Sarandos Chief Content Officer Netflix WS: What’s your approach to acquiring

content for Netflix’s customer base?

SARANDOS: The thing that we have done

to address the diversity of the audience on Netflix has been to algorithmically figure out [what subscribers want to watch]. If I had editors trying to figure this out they’d be wrong as often as they’re right, and people bring their own preconceived notions and prejudices to the way they program.

This is a very democratized system of getting great content in front of viewers and it takes into consideration what you’ve watched, what you’ve loved. What’s beautiful is in [every international territory] it’ll work the same way. In Latin America right now, you can watch The Godfather on Netflix in English, Spanish or Portuguese, subtitled or dubbed and in any combination of the two. So you can just pick which language track you want, pick which subtitle track you want and enjoy.

WS: What led to the move into original programming?

SARANDOS: We’re trying to give our subscribers what they want.

They like these highly serialized one-hour dramas—shows like Breaking Bad, Mad Men, Weeds and Dexter. People love this connection with content in a way that they can binge and watch multiple episodes in one sitting. The economics for those shows are challenged: DVD sales have slowed dramatically on box sets and it’s difficult to syndicate a serialized show. These shows would not be made for commercial television and pay television—HBO, Showtime, Starz—is unlikely to want to sell to us. If we [are] going to bring this content to our customers, we have to develop the muscle to do it with producers instead.While I would’ve much rather had the last couple years of True Blood, we’re excited to jump in the fray and do a show like House of Cards. [It] would’ve been a perfect show to go to HBO in the first window, but instead we’ll spend a lot more bringing it to Netflix in the first window. It kind of forced us into a competitive space with them where I don’t think we needed to be, but if it turns out to be successful, then it’ll be an efficient way for us to spend programming dollars.

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Jon Hamm Actor Mad Men WS: What appealed to you about the show and the character you play?

HAMM: When we started making the first episode of Mad Men, it was for a very tiny network in the U.S. that no one had really ever heard of and that did not have a history of making original programming. We all took a risk as actors signing on for this. But what the script had going for it was that it was tremendously well written by Matthew Weiner, who was coming off one of the greatest shows in the history of television, The Sopranos. So we all decided we love this show. We don’t care that it’s not on some huge network, that it’s not got some huge studio behind it. We all were basically these little engines that could. And we decided that this is such a different show, and such an interesting piece of television that we wanted to be a part of it. And we created something that we were very proud of. For me it was just that I was tremendously attracted to the script and the character and how different it was. It was something to really be proud of as an actor.

WS: How much do you know in advance about where the season is heading?

HAMM: We don’t know anything in advance! I usually sit with Matt before he starts writing the show.We sit down to lunch for two or three hours and we talk about possibilities of where the next season is going. It’s a great, very loose, very unstructured conversation. We don’t sit down to map anything out or write anything down, although he does take notes sometimes. It’s great because I get to have some kind of input, and it just feels like a very familiar conversation. But I don’t think many of us get to see where we’re going. In fact, if we go into the writer’s room, they generally cover things up and don’t want us to see—and I don’t want to see, either. I don’t want to play the end of the story. You want to just come across things, as you would in life.

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Distributors

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AFL Productions ADDRESS: 1519 37 Ave., San Francisco, CA 94122, U.S.A. TELEPHONE: (1-415) 661-6146 WEBSITE: www.aflproductions.com HEAD, DEVELOPMENT & DISTRIBUTION: Yuri Volodarsky VP, ACQUISITIONS: Lana Berezovsky SALES DIRECTOR: Julia Belova SALES MANAGER: Elena Lesnyak CONTACT: volax@netwiz.net PROGRAMS: 2Rude4UTube: 96x30 min., comedy; Crazy TV

Pranks/Funny & Funnier: 36x1 hr./72x30 min., hidden camera; Naked & Funny: 260x30 min., hidden camera; Caught on Tape: clip shows & formats; It Only Hurts When I Laugh: 47x30 min., entertainment; Cookies: 158x6 min., entertainment; Police Patrol: 16x104 min., action/crime; OKNA (Windows): 698x45 min., talk show; Military Justice: 220x45 min., reality/courtroom; Cities From Above...And Beyond: approx. 500 clips.

“We proudly announce that 234 half-hour episodes of our worldwide hit Naked & Funny, our hilarious hidden-camera show with an erotic twist, are now available for delivery, with 26 more half-hour episodes in production for 2012. We’re also currently making 40 new Naked & Funny thematic specials at the request of our international clients.

Our new series 2Rude4UTube scored excellent ratings on DTV in Russia and TV Puls in Poland. This series grabs attention first with its title and second with its excellent content. Modern computer graphics smoothly and [with great sophistication] wrap numerous short user-generated clips in one solid rocket, which will be certain to boost broadcasters’ late-night ratings.

Our unique hidden-camera series Crazy TV Pranks debuted to a large Japanese audience in July of 2011 on the World Great TV series in prime time.The same series was introduced to enthusiastic American audiences by iN Demand starting in October of 2011. There are currently 50 half-hour episodes available for television as well as digital distribution.”

—Yuri Volodarsky, Head, Development & Distribution

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ALL3MEDIA International ADDRESS: Berkshire House, 168-173 High Holborn,

London WC1V 7AA, U.K. TELEPHONE: (44-207) 845-4350 FAX: (44-207) 845-4360 WEBSITE: www.all3mediainternational.com MANAGING DIRECTOR: Louise Pedersen CONTACT: Rachel Glaister, rachel.glaister@all3media.com PROGRAMS: Miss Fisher’s Murder Mysteries: 13x1 hr., drama;

Accused: 6x1 hr., drama; The Almighty Johnsons: 10x1 hr., drama; Wild at Heart: 64x1 hr., drama; Golden: 6x30 min., drama; The Cube: 37x1 hr. & format, entertainment; Undercover Boss: 89x1 hr. & format, entertainment; The Only Way is Essex: 50x30 min. & format, entertainment; Diamond Divers: 6x1 hr., factual entertainment; Venice 24/7: 6x30 min., factual entertainment.

“2012 will see the ALL3MEDIA International catalogue expand to over 6,000 hours and we are delighted to be working with over 2,500 buyers in over 230 territories. In the last year we have concluded major deals with new platforms such as Hulu and Netflix as our formats have broken into new markets such as Peru and Kazakhstan. Our shows, from the companies within the ALL3MEDIA Group as well as third-party, award-winning independent producers, have won numerous awards: BAFTAs, Emmys and FRAPAs, to name just a few. We ourselves won Broadcast magazine’s Best International Programme Launch for Undercover Boss and renewed our position as number one in the Distributors Peer Poll. At MIPTV we have over ten major drama series slated, over 800 hours of quality factual and entertainment programming to launch and over 60 proven, active formats.”

—Corporate Communications

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Artist View Entertainment ADDRESS: 4425 Irvine Ave., Studio City, CA 91602, U.S.A. TELEPHONE: (1-818) 752-2480 FAX: (1-818) 752-9339 WEBSITE: www.artistviewent.com PRESIDENT: Scott Jones VP: Jay Joyce CONTACT: info@artistviewent.com PROGRAMS: Profile of a Killer: 1x90 min., thriller; She Wants

Me: 1x90 min., comedy; Shadow Witness: 1x90 min., thriller; National Lampoon Presents RoboDoc: 1x90 min., comedy; Flight of the Swan: 1x90 min., thriller; Hunted By Night: 1x90 min., action; Samuel Bleak: 1x90 min., drama/suspense; Trophy Kids: 1x90 min., comedy; The Misadventures of the Dunderheads: 1x90 min., adventure; Creep Van: 1x90 min., horror.

“Founded in 1991 by its president, Scott J. Jones, Artist View has been a stable force in the independent entertainment community for over 20 years.

The company boasts a large catalogue of feature films with a great variety of titles for each genre, including an impressive selection of titles available in HD. The company is very proud of the long-term relationship it has with some of the top buyers and independent producers in the world.

As we move into this new era of entertainment and technology the plan is simple: We believe our success will continue as long as we continue to provide both our buyers and our producers with the highest level of service in the industry.”

—Jay Joyce, VP

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Atlantyca Entertainment ADDRESS: Via Leopardi, 8, 20123 Milano, Italy TELEPHONE: (39-02) 430-0101 FAX: (39-02) 430-01020 WEBSITE: www.atlantyca.com CHAIRMAN: Pietro Marietti CEO: Claudia Mazzucco SENIOR MANAGER & EXECUTIVE PRODUCER: Caterina Vacchi SALES MANAGER: Luana Perrero PRODUCTION MANAGER & SUPERVISING PRODUCER:

Niccolò Sacchi CONTACT: distribution@atlantyca.it PROGRAMS: Bat Pat: 52x11 min., animation; Ulysses Moore— Quest of the Portal Keepers: 26x23 min., tween; Geronimo Stilton: 52x23 min., animation; Dive Olly Dive: 104x11 min., preschool; Monkey King: 52x23 min., animation.

“A transmedia entertainment company, Atlantyca Entertainment was launched in 2006 by former executives of Edizioni Piemme, the largest children’s publisher in Italy.

Housing production and distribution, licensing, publishing and foreign-rights sales divisions, Atlantyca is the producer of, along with French partner Moonscoop, two seasons of Geronimo Stilton. The series features the adventures of the most famous mouse journalist and currently has been sold to more than 100 countries around the world. Atlantyca is a co-production partner and distributor (Italy only) for Dive Olly Dive (season two); the animated series is currently broadcast on Cartoonito in Italy.

Our animation and distribution department has just completed development of Ulysses Moore (Atlantyca, Studio 100) and Bat Pat (Atlantyca, Imira and Inspidea) and we are attending MIPTV seeking co-production partners and presales for the two new series.

The company’s licensing division manages the international licensing initiatives for all the Geronimo Stilton brands and all of its character spin-offs, and is the Italian licensing agent for Moonscoop’s Code Lyoko, Dive Olly Dive and for both the classic and animated Le Petit Prince.”

—Luana Perrero, Sales Manager

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Audiovisual from Spain ADDRESS: Instituto Español de Comercio Exterior (ICEX),

Paseo de la Castellana 14-16, 28046 Madrid, Spain TELEPHONE: (34-91) 349-1986 WEBSITE: www.audiovisualfromspain.com HEAD, CONTENT INDUSTRIES DEPARTMENT:

Isabel Espuelas Peñalva CONTACT: info@audiovisualfromspain.tv PROGRAMS: All audiovisual programs and genres produced

by Spanish companies are represented under the Audiovisual from Spain brand.

“Audiovisual from Spain is the umbrella brand of the Spanish companies of the movie and television sector outside of Spain. The brand is patronized by the Spanish Institute of Foreign Commerce, Instituto Español de Comercio Exterior (ICEX) and the Federación de Asociaciones de Productores Audiovisuales (FAPAE), as well as other regional and national institutions.

Spain is one of the largest TV content producers in Europe; the extensive portfolio represented by the Spanish distributors attending all international markets include ready-made programs, scripted and non-scripted formats as well as fiction and animation from traditional and digital media producers and developers.

The present and the future of the audiovisual industry in Spain is really export-oriented and therefore Audiovisual from Spain ensures to give greater visibility and commercial opportunities to Spanish content and distributors in the global marketplace.”

—Isabel Espuelas Peñalva, Head, Content Industries Department

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BBC Worldwide ADDRESS: Media Centre, 201 Wood Lane,

London W12 7TQ, U.K. TELEPHONE: (44-20) 8433-2000 WEBSITE: www.bbcworldwide.com CHIEF EXECUTIVE: John Smith PRESIDENT & MANAGING DIRECTOR, SALES & DISTRIBUTION:

Steve Macallister PROGRAMS: Ripper Street: 8x1 hr., drama; Sinbad: 12x45 min., drama; Parade’s End: 5x1 hr./6x45 min./3x90 min., drama; World’s Toughest Truckers: 8x45 min., lifestyle & factual entertainment; History of the World: 8x50 min., history; Brazil with Michael Palin: 4x55 min., documentary; Andy’s Wild Adventures: 40x15 min., documentary; Top Gear: Season 18, 7x50 min. & 1x90 min., lifestyle & factual entertainment; Attenborough’s Life Stories: 3x50 min., natural history; Beyoncé: Live at Roseland: 1x85 min., music.

“We’re excited to be taking another fantastic lineup of shows to MIPTV this year.

Highlights of our drama slate include Sinbad, a modern take on the Arabian Nights legend, from the makers of Primeval. We also have Parade’s End, an adaptation of Ford Madox Ford’s novel set in Edwardian England, written by Oscar-winner Sir Tom Stoppard and starring Benedict Cumberbatch and Rebecca Hall. Factual is always a popular genre, and one of our new acquisitions is World’s Toughest Truckers, a subject that has proved really popular internationally. Co-productions like Parade’s End are a good indication of where our business is headed—we’ll be bringing more and more big, ambitious dramas to market.

We’re also continuing to bolster our factual catalogue, especially in the area of lifestyle.”

—Steve Macallister, President & Managing Director, Sales & Distribution

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Ripper Street: A period procedural police series, centered around H Division, the police station charged with keeping order in the chaotic slums of Victorian Whitechapel. Detective Inspector Reid is an old hand in the Whitechapel underworld, a man with a troubled past. His investigations will throw open every aspect of life: brothels, opium dens, the teeming docks, and the wealth and excess of the neighboring city banks.

Sinbad: When Sinbad inadvertently kills a man and causes the death of his beloved brother, he is cursed and escapes to sea as a stowaway. But a terrible storm ensues, killing many on board the ship. The few survivors—sensitive young doctor Anwar, Viking warrior Gunnar, beautiful but aloof Nala, feisty street thief Rina, the calm and insightful Cook, and Sinbad—find themselves thrown together on a spellbinding voyage of discovery.

Parade’s End: As the comfortable certainties of Edwardian England give way to chaos and destruction, English aristocrat Christopher Tietjens finds himself marrying Sylvia, a beautiful but cruel socialite who is pregnant with a child who may or may not be his. Christopher is determined to remain loyal to his wife, despite her string of infidelities, but his life is transformed the day he meets Valentine Wannop, a fearless young suffragette.

World’s Toughest Truckers: Eight road-hardened truckers from around the world go wheel-to-wheel on eight of the planet’s most treacherous truck journeys to discover who’s all talk and who’s the toughest trucker of them all! From hauling wild cattle in Australia to adventures in the Amazon and hairpin bends in the Himalayas, the men tackle an unrelenting sequence of challenges that will drive them to despair, as they power huge vehicles through places they never thought possible.

History of the World: Bringing 70,000 years of human history to life, this epic series travels through time to the big stories of history. It is a human story populated with big characters in the places where the big events really happened. It is the story of civilizations, cultures, successes and crashing failures; a story that charts progress and development through the centuries. Each film explores a crucial turning point in history, featuring dramatic reconstruction, computer graphics and gripping storytelling.

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Beyond Distribution ADDRESS: 109 Reserve Rd., Artarmon, Sydney,

NSW 2064, Australia TELEPHONE: (61-2) 9437-2000 FAX: (61-2) 9437-2017 WEBSITE: www.beyond.com.au GENERAL MANAGER: Fiona Crago HEAD, SALES: Munia Kanna-Konsek CONTACT: distribution@beyond.com.au PROGRAMS: Chuck’s Week Off: Mexico: 8x30 min., factual

entertainment; The Twitch: 13x30 min., children & family; World’s Weirdest Restaurants: 13x30 min., factual entertainment; Highway Cops: 10x30 min., factual entertainment; Vintage Hunter: 6x1 hr., factual entertainment; Obsessions: 6x30 min., factual entertainment; Hero Dogs: 1x1 hr., documentary; Programmed to Be Fat?: 1x1 hr., people & society; Generation Boomerang: 1x1 hr., people & society; Gallipoli from Above: 1x1 hr., history.

“Beyond Distribution continues to be recognized as a worldwide leading independent distributor. With offices around the world, we are able to keep our finger on the pulse across all territories by building and maintaining relationships with producers, broadcasters and industry representatives. In addition to attending the major markets, our sales teams focus heavily on territory sales trips. We have over 25 years of experience in distributing to the international marketplace and our highly experienced and knowledgeable team is crucial towards the company’s longevity and reputation. Program highlights for 2012 include World’s Weirdest Restaurants, Chuck’s Week Off: Mexico, This Vs That, Dark Minds, Iconicles, Tati’s Hotel, Monster Bug Wars and Behind Mansion Walls.”

—Fiona Crago, General Manager

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

M5A 2R4, Canada TELEPHONE: (1-416) 366-6588, x133 FAX: (1-416) 363-9726 WEBSITE: www.breakthroughentertainment.com EXECUTIVE PRODUCER/PARTNER: Ira Levy EXECUTIVE PRODUCER/PARTNER: Peter Williamson PRESIDENT, DISTRIBUTION: Nat Abraham CONTACT: Sara Schmidt,

sschmidt@breakthroughentertainment.com PROGRAMS: Raw Opium: 2x1 hr./1x90 min., documentary; Diamond Road: 3x1 hr./1x90 min., documentary; Operation Unplugged: 6x1 hr., lifestyle/reality; Edge of War: 6x1 hr., factual; David Rocco’s Amalfi Getaway: 6x30 min., lifestyle/ reality; Opening: Campagnolo & Opening: Bestellen: 16x30 min., lifestyle/reality; Customer (Dis)service: 1x1 hr., factual; The Sacred Balance: 4x1 hr., factual; Clash of Cultures: China & the West: 1x1 hr., documentary; The House of Tomorrow: 1x1 hr./1x90 min., documentary.

“Breakthrough Entertainment is a leading producer and distributor of acclaimed prime-time comedy and drama series, as well as factual entertainment, documentaries, television movies, family entertainment and children’s animation. The distribution arm of Breakthrough Entertainment covers a wide range of genres, from the award-winning comedy Less Than Kind (HBO) to the action-packed CGI-animated factual series Greatest Tank Battles (History) to the clever and hilarious animation Crash Canyon (MTV) and popular third-party productions.”

—Corporate Communications

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CABLEready ADDRESS: 98 East Ave., Norwalk, CT 06851, U.S.A. TELEPHONE: (1-203) 855-7979 FAX: (1-203) 855-8370 WEBSITE: www.cableready.net PRESIDENT & CEO: Gary Lico CONTACT: Lou Occhicone PROGRAMS: The Countdown: 30 min. weekly, entertainment;

Inside the Actors Studio: 55x1 hr. & 11x2 hrs., entertainment/ interview; Wedding Dress Wars: 2x1 hr., lifestyle/entertainment/ reality; Reelz Specials: 72x30 min., entertainment; Deals from the Dark Side: 13x30 min., entertainment/reality/lifestyle; Saw Dogs: 10x30 min., entertainment/reality/lifestyle; Esther Extraordinaire: 14x30 min., lifestyle/entertainment/reality; Food Trip with Todd English: 11x30 min., lifestyle/travel/food; Avec Eric: 23x30 min., lifestyle/travel/food; Forensic Files/ Medical Detectives: 399x30 min., crime & investigation.

“CABLEready, based in Norwalk, CT, is the television industry’s premier independent program representation firm with clients located across the globe. Established in 1992 to represent existing program libraries, develop original program ideas and series franchises, CABLEready has licensed more programs to U.S. cable networks than any other program distributor. Its successes include Inside the Actors Studio, a hit on Bravo in the U.S. and airing in more than 125 countries worldwide; Forensic Files, truTV’s toprated and longest-running series; and countless other series and specials. CABLEready is the exclusive international distributor for such global factual programming brands as New York Times and TV Guide Network. Inc. magazine named CABLEready as one of America’s 5,000 fastest-growing private companies and the highest-ranked TV programming company in 2007.”

—Corporate Communications

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CAKE ADDRESS: 76 Charlotte St., London W1T 4QS, U.K. TELEPHONE: (44-20) 7307-3230 FAX: (44-20) 7307-3239 WEBSITE: www.cakeentertainment.com CEO & CREATIVE DIRECTOR: Tom van Waveren CHIEF COMMERCIAL OFFICER & MANAGING DIRECTOR:

Edward Galton CONTACT: egalton@cakeentertainment.com PROGRAMS: Fleabag Monkeyface: 26x26 min., animation; Let’s Go Pocoyo: 52x7 min., animation; Plankton Invasion: 78x7 min., animation; Total Drama: Revenge of the Island: 13x22 min., animation; Tom & the Slice of Bread with Strawberry Jam & Honey: 52x5 min., animation; The Sparticle Mystery: 13x30 min., drama; Poppy Cat: 52x11 min., animation; Oscar’s Oasis: 78x7 min., animation; Angelo Rules: 78x7 min. & 30x1 min., animation; Dead Gorgeous: 13x24 min., drama.

“CAKE is one of the world’s leading kids’ and family entertainment specialists. Since 2002, the London-based company has worked with animation and live-action producers from around the world to develop, create, commercially position and manage their IP propositions for 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 offers a diverse and distinctive range of animated and live-action programming, from the wonderfully gross Fleabag Monkeyface, global hit Let’s Go Pocoyo and eco-comedy Plankton Invasion to the fourth installment of reality TV parody Total Drama. Other titles include the beautifully rendered Oscar’s Oasis and sci-fi adventure The Sparticle Mystery, delightful preschool series Poppy Cat, ghostly drama Dead Gorgeous, the smart and savvy Angelo Rules and the unmistakable Tom & the Slice of Bread with Strawberry Jam & Honey.”

—Edward Galton, Chief Commercial Officer & Managing Director

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Cyber Group Studios ADDRESS: 7 rue Letellier, 75015 Paris, France TELEPHONE: (33-1) 4058-1443 WEBSITE: www.cybergroupstudios.com CHAIRMAN & CEO: Pierre Sissmann HEAD, INTERNATIONAL SALES & ACQUISITIONS: Carole Brin CONTACT: sales@cybergroupstudios.com PROGRAMS: Zou: 52x11 min., animation; Patch Pillows: 78x7

min., animation; Nutri Ventures: 26x22 min., animation; Nina Patalo: 39x7 min., animation; Tales of Tatonka: 52x13 min., animation; My Goldfish is Evil: 26x22 min., animation; Cloud Bread: 78x7 min., animation; Manon: 52x7 min., animation; Grenadine & Peppermint: 78x7 min., animation; Ozie Boo Save the Planet: 78x5 min., animation.

“Cyber Group Studios is a multi-awarded independent producer and distributor specialized in top-quality kids’ programming with strong international appeal. The company was created in 2005 by a team of top executives with more than 30 years of experience with industry leaders such as The Walt Disney Company, Sony, BBC and Virgin.

Cyber Group Studios has become one of the leaders in youth programming. The company has built a catalogue of series representing 368 half hours of HD programming, targeted at children aged 2 to 14, tweens and family. In 2010, with 27 hours of new productions, Cyber Group Studios was ranked number one on the list of 27 most active French producers, [compiled] by the CNC. Cyber Group Studios’ mission is to bring to children and families around the world the best quality entertainment experience, thanks to the company’s pool of international top creative talent, its breakthrough technology enabling it to bring theatrical animation quality to TV, new digital platforms and its distribution organization giving access to top broadcasters worldwide.

Cyber Group Studios seeks partnership opportunities (coproductions, distribution) with other producers around the world that share its values.”

—Carole Brin, Head, International Sales & Acquisitions

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Gaiam ADDRESS: 350 Madison Ave., Suite 1700, New York,

NY 10017, U.S.A. TELEPHONE: (1-212) 951-2320 WEBSITE: www.gaiam.com PRESIDENT: William Sondheim DIRECTOR, INTERNATIONAL SALES: Myriam Diaz CONTACT: myriam.diaz@gaiam.com PROGRAMS: Tappy Toes: 1x41 min., animation; Puss in Boots: 1x41

min., animation; Chop Kick Panda: 1x45 min., animation; Animated Catalogue: 45 min. each; Mind-Body programming block: 25x30 min., yoga/pilates/stretch/mediation.

“Gaiam is one of North America’s most dynamic distribution companies, with penetration across the spectrum of content exploitation, including DVD, digital and broadcast. We have always run a fiscally sound organization, which enables us to leverage a very healthy balance sheet and strong positive cash flow at a time when other independents are struggling to remain viable. We are aggressively looking to expand our library through both in-house production and content acquisition. We continue to offer our international buyers top-quality programs in the fitness and lifestyle categories. We are also very excited to announce three brand-new animated titles, crafted to achieve maximum consumer and audience interest from the broadest possible range of territories.Whether you’re buying for your territory or a rights holder looking for the strongest company to exploit your programs in North America, Gaiam should be on your MIPTV agenda.”

—William Sondheim, President

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GMA Worldwide ADDRESS: GMA Network Center, 10/Fl.,

EDSA Cor. Timog Ave., Diliman, Quezon City 1103, Philippines TELEPHONE: (632) 928-7777 FAX: (632) 928-5065 WEBSITE: www.gmanetwork.com VP: Roxanne J. Barcelona ASSISTANT VP: Jocelyn D. Go CONTACT: gwi@gmanetwork.com PROGRAMS: My Beloved: 55x45 min., contemporary drama; Legacy: 50x45 min., contemporary drama; Broken Vow: 45x45 min., contemporary drama; Losing Heaven: 46x45 min., contemporary drama; The Road: 1x130 min., feature film; Little Heiress: 87x45 min., contemporary drama; Amaya: 81x45 min., historical epic drama; The Good Daughter: 40x45 min., contemporary drama; Sinner or Saint: 36x45 min., contemporary drama; My House Husband: 1x149 min., feature film.

“GMA Worldwide, Inc. (GWI) is the content acquisition and distribution subsidiary of GMA Network, the leading media broadcasting company in the Philippines. GWI acquires canned programs for the network’s two free-to-air channels and handles worldwide distribution of the network’s television programs of various genres, feature films and footage. Over the years, GWI has sustained strong business relationships with clients across the globe.”

—Roxanne J. Barcelona, VP

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The Jim Henson Company ADDRESS: 1416 North La Brea Ave., Hollywood,

CA 90028, U.S.A. TELEPHONE: (1-323) 802-1500 FAX: (1-323) 802-1825 WEBSITE: www.henson.com PRESIDENT & COO: Peter Schube EXECUTIVE VP, GLOBAL DISTRIBUTION: Richard Goldsmith CONTACT: Andrew Thomas, athomas@henson.com PROGRAMS: Doozers: 52x11 min., preschool; Pajanimals: 52x11

min., preschool; Dinosaur Train: 66x30 min./132x11 min., preschool; Sid the Science Kid: 66x30 min., preschool; Sid the Science Kid: The Movie: 1x75 min., feature film; Fraggle Rock: 96x30 min., puppetry; Farscape: 88x1 hr., sci-fi; Dark Crystal: 1x92 min., fantasy; Labyrinth: 1x102 min., fantasy.

“The Jim Henson Company’s priority for MIPTV this year is our new critically-acclaimed preschool puppet series Pajanimals. This musicfilled series, which has already secured TV sales in many global markets, has been referred to as ‘mom’s best helper,’ and we believe it will continue to be a big hit with buyers this year.We are also excited to debut Sid the Science Kid: The Movie, our company’s first animated feature film produced in both 2D and 3D formats. The movie will reach new audiences in territories not yet airing the television series. Finally, we are continuing to grow our production roster of new series with the latest being the CGI-animated preschool series produced with DHX Media slated for 2013, Doozers, which is a spin-off from our classic Fraggle Rock franchise.”

—Richard Goldsmith, Executive VP, Global Distribution

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M-Net Sales ADDRESS: 137 Bram Fischer Dr., Randburg 2194, South Africa TELEPHONE: (27-11) 686-6000 FAX: (27-86) 211-4756 WEBSITE: www.mnetsales.com CEO: Patricia van Rooyen HEAD, SALES & LIBRARY ACQUISITIONS: Mike Dearham CONTACT: Mandy Roger, mandy.roger@mnet.co.za PROGRAMS: The Wild: 208x24 min., drama; Jacob’s Cross:

104x48 min., drama; Crimes Uncovered: 13x44 min., docu-drama; Cooking with Siba: 39x24 min., cooking; Great Africans: 5x52 min., documentary.

“M-Net’s international sales department, a division of the M-Net Group content services, is responsible for the sale and distribution of M-Net-owned African content across all media platforms, with a specific focus on global television broadcast, DVD rental and sell-through outlets, in-flight entertainment, broadband Internet and mobile platforms. Formed in 2009, the M-Net Sales department has developed a strong network of buyers who sublicense M-Net content for further use in their respective territories.

M-Net launched a vast acquisition campaign with a focus on purchasing African film rights over the course of the last few years. The M-Net catalogue includes the African Film Library (AFL), the world’s largest collection of award-winning African films with over 700 African features, documentaries and short films. M-Net continually produces and acquires television content sourced from across a range of different genres: feature films, dramas, reality shows, talk shows and documentaries. The library covers a wide range of themes and topics, which include African music and culture, drama, entertainment, history and arts. The M-Net library sales department is a division of M-Net, responsible for managing the sale and distribution of M-Net-owned content for use across all distribution platforms.”

—Mike Dearham, Head, Sales & Library Acquisitions

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NordicWorld ADDRESS: Karl Johansgate 14, 0154 Oslo, PO. Box 14,

Sentrum, Norway TELEPHONE: (47) 9161-5500 WEBSITE: www.nordicworld.tv CEO: Espen S. Huseby COO & SALES DIRECTOR: Jan Salling CONTACT: Camilla Nordsveen,

camilla.nordsveen@nordicworld.tv PROGRAMS: Taxi: 4x45 min., drama; Dag: 20x23 min., drama; The Press: 12x45 min., drama; River: 12x42 min., drama; The Afghan Nightmare: 1x54 min., documentary; The Exorcist in the 21st Century: 1x80 min./1x52 min., documentary; The Measure of Man: 1x56 min., documentary; Nickel City Smiler: 1x54 min., documentary; A Deep Secret: 1x29 min., documentary; Treasure from the Deep: 1x40 min., documentary.

“NordicWorld is a sales cooperation between most of the major Nordic broadcasters and the best independent producers in the Nordic region.

Our business is to create value by selling the best finished programs and the best formats from the Nordic region to the rest of the world.

We are proud to show the diversity and quality of Nordic productions and believe that Nordic creativity should secure Nordic growth.”

—Espen S. Huseby, CEO

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Nottingham Forest Media Advisors ADDRESS: Calle Sagasta 23, 1º Izquierda,

28004 Madrid, Spain TELEPHONE: (34-91) 446-7300 WEBSITE: www.nottinghamforest.es DIRECTOR, SALES & BUSINESS DEVELOPMENT:

David Pérez Andrés HEAD, INTERNATIONAL SALES: Laura García Ortega CONTACT: laura.garcia@nottinghamforest.es PROGRAMS: Champions: 26x11 min., animation; Laland: 52x7

min., animation; Written in Stone: 4x30 min., animation; Jokebox: 13x26 min., animation.

“Nottingham Forest manages brands based on content and structure financing, and commercially promotes audiovisual products. It also advises and provides strategic management to compete in the transmedia entertainment market.

The group also acts as a partner for producers in providing strategy and execution on the creative and business parts of a project. It aims to transform great ideas into powerful entertainment brands.

Nottingham Forest’s projects include animated children’s and adult TV series, interactive entertainment through video games, online games and apps and the marketing positioning of new brands.

The group currently has three divisions: marketing and production, distribution and licensing and development of interactive content. Nottingham Forest will be present throughout 2012 in the main international markets for content, licensing and different product categories such as books, games, toys and so on.”

—David Pérez Andrés, Director, Sales & Business Development

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ORF-Enterprise ADDRESS: Würzburggasse 30, 1136 Vienna, Austria TELEPHONE: (43-1) 87878-13030 FAX: (43-1) 87878-12757 WEBSITE: contentsales.orf.at, enterprise.orf.at HEAD, CONTENT SALES INTERNATIONAL:

Marion Camus-Oberdorfer SALES DIRECTOR, TV: Armin Luttenberger CONTACT: Diane Mitsche, diane.mitsche@orf.at PROGRAMS: Fast Forward: 40x45 min., comedy/crime; Gustav Klimt: The Kiss—Commercial Success of a Painting: 1x30 min., documentary; Radioactive Wolves: 1x52 min., documentary; Mystery of the Fairy Circles: 1x50 min., documentary; Wild Nairobi: 1x50 min., documentary; Alpine Meltdown: 1x50 min., documentary; Limits of Light: 1x50 min., documentary; Little Monsters 3D: 1x50 min., documentary; Gas Monopoly: 1x90 min., documentary; Cathedrals of Volatility: 1x52 min., documentary.

“As international distributor on behalf of Austrian Broadcasting Corporation (ORF), ORF-Enterprise—Content Sales International offers an extensive range of top programs of all genres, addressing TV and media professionals worldwide. With a main office in Vienna and sales agents in various territories, our sales team successfully operates around the globe. Our main target is the close understanding of special market requirements per territory and the intimate knowledge of our customer’s needs and feeds. Because service is our success!”

—Marion Camus-Oberdorfer, Head, Content Sales International

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Panini Media ADDRESS: Viale Emilio PO. 380, 41126 Modena, Italy TELEPHONE: (39-059) 382-111 FAX: (39-059) 382-363 WEBSITE: www.thelicensingmachine.com LICENSING DIRECTOR, PANINI GROUP: Peter Warsop TV, HOME VIDEO & DIGITAL SALES & SERVICES MANAGER:

Bruno Zarka CONTACT: bzarka@panini.it PROGRAMS: Metal Hurlant Chronicles: 6x26 min., sci-fi/fantasy; Signs: 13x1 hr., drama; Jordskott—Tales of Silverhodj: Seasons 1 & 2, 6x45 min. & 6x45 min. + prequel, crime & mystery; The New Adventures of Poly: 26x26 min., fiction; Inside F.D.N.Y. Training Center: 1x1 hr. & 1x26 min., documentary; Napoleon Without Concession: 10x1 hr., historical fiction; History Secrets: 18x90 min./25x52 min., format; Kokomon: 52x13 min., preschool; Pikaboo: 26x11 min., preschool; Tic Tac Tales: 39x7 min., live action & animation.

“Panini Media is aiming to become a globally recognized provider of quality family entertainment.

Celebrating its 50th birthday last year, the Panini Group is the worldwide leader in the collectibles and trading-cards sector and a very significant publisher of magazines and comics.

Panini Media operates as part of The Licensing Machine (TLM), the Panini Group’s licensing agency, and is now concentrating on extending its successful legacy into supplying quality programming into the TV distribution arena.

Panini Media has developed a portfolio of titles that are extending its activity into all vibrant areas of broadcasting and currently includes anime series, sci-fi/fantasy, drama and documentaries. Being supported is a limited number of high-profile producers to bring unique projects and productions to a wide variety of international markets. The quality of the programs within Panini Media’s portfolio speaks for itself and means [it’s going to be] an especially exciting and busy period.”

—Bruno Zarka, TV, Home Video & Digital Sales & Services Manager

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Passion Distribution ADDRESS: 182 Hercules Rd., London SE1 7LD, U.K. TELEPHONE: (44-207) 981-9801 FAX: (44-207) 401-7801 WEBSITE: www.passiondistribution.com CEO: Sally Miles DIRECTOR, SALES: Janice Strangward CONTACT: Fraser Cameron,

frasercameron@passiondistribution.com PROGRAMS: Weekend Aristocrats: 6x1 hr., factual entertainment; Strictly Soulmates: 4x1 hr., factual; Push Girls: 14x30 min., factual entertainment; Garden ER: 14x30 min., factual entertainment; Lost and Found: 8x1 hr., factual; Oprah: Behind the Scenes: 31x1 hr., factual entertainment; Million Dollar Contractor: 13x30 min., factual entertainment; RuPaul’s Drag Race: Season 5, 14x1 hr., reality; Cupcake Wars: Seasons 4 & 5, 26x1 hr., factual entertainment; Man Vs. Food Nation: Seasons 1 & 2, 24x30 min., factual entertainment.

“Passion Distribution was officially launched by its founder and CEO, Sally Miles, in 2008. This unique, boutique and intimate style international distribution business represents great content and formats on behalf of U.K. and North American producers and broadcasters.

London-based Passion Distribution specializes in popular quality programming and formats in genres including factual entertainment, reality, documentaries, lifestyle and game shows.

Passion Distribution has exclusive distribution agreements with several U.S. broadcasters and production companies, including Scripps Networks International, Sundance Channel and World of Wonder, and works with many companies both in the U.K. and North America.

Passion Distribution has built a catalogue of over 3,000 hours in [a short time].The company is active in preselling, finding copro partners and deficit funding.”

—Corporate Communications

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Power ADDRESS: 34 Gresse St., London W1T 1QX, U.K. TELEPHONE: (44-207) 323-0070 FAX: (44-207) 323-0060 WEBSITE: www.powcorp.com CEO: Susan Waddell HEAD, SALES PLANNING & OPERATIONS: Andrew Whiteman CONTACT: andrew@powcorp.com PROGRAMS: Treasure Island: 2x2 hrs., action/adventure;

Neverland: 2x2 hrs., fantasy/adventure; 7 Below: 1x2 hrs., thriller; Blood Money: 1x2 hrs., action; Blackout: 2x2 hrs., action; Camelot: 10x1 hr., action/adventure; Surfing Soweto: 1x90 min., factual/human story; The World’s Most Fashionable Prison: 1x1 hr., factual/human story; Dragon’s 3D: 1x1 hr., factual/wildlife; The Cheetah Diaries: Seasons 1-4, 13x30 min., factual/wildlife.

“Power is one of the U.K.’s leading independent distributors of television programming, providing content across multiple platforms worldwide. Founded in 1995, Power’s library extends to well over 1,000 hours of unique and premium-quality product, covering all major genres under the categories of factual and drama.

This year’s drama slate includes the bold new adaptation of seminal pirate adventure Treasure Island, starring Eddie Izzard and Elijah Wood; Neverland, a magical prequel to the much-loved story of Peter Pan featuring Rhys Ifans and Kiera Knightley; 7 Below, a supernatural thriller starring Val Kilmer, Ving Rhames and Luke Goss; and cyber-terrorism action-thriller Blackout, starring James Brolin and Billy Zane.

Power’s newest factual programming includes the ambitious 3D crocodile documentary Dragon’s 3D; seasons one through four of The Cheetah Diaries; award-winning film Surfing Soweto, documenting the deadly sport of train surfing; and The World’s Most Fashionable Prison, revealing the world’s most unconventional fashion show.”

—Susan Waddell, CEO

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Record TV Network ADDRESS: Rua da Várzea, 240 Barra Funda, São Paulo-SP,

Brazil, CEP: 01140-080 TELEPHONE: (55-11) 3300-5468 FAX: (55-11) 3300-5200 WEBSITE: www.recordtvnetwork.com CEO: Honorilton Gonçalves INTERNATIONAL SALES DIRECTOR: Delmar Andrade CONTACT: Edson Mendes, emendes@sp.rederecord.com.br PROGRAMS: David, the King: 29 eps., series; Jackpot!: 45 min.

eps., soap opera; River of Intrigues: 250x45 min., soap opera; Another Power: 237x45 min., soap opera; The Law and the Crime: 21x1 hr., series; Samson and Delilah: 18x50 min., series; Esther, the Queen: 10x1 hr., series; Flames of Life: 253x45 min., soap opera; Opposite Lives: 240x45 min., soap opera; The Slave Isaura: 167x45 min., telenovela.

“For 2012 we will double our amount of series production, and will be filming a new product.

Thus, this year we have a lot of production hours, including for Jackpot!, Rebel Rio, River of Intrigues, David, the King, Máscaras and a new soap opera and another series.

Our soap operas are written following national and international trends. Also, we use national and international locations to keep the most proximity to reality. Our city scenery uses high-tech features to make our productions unforgettable.”

—Delmar Andrade, International Sales Director

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RTVE ADDRESS: Avda. de la Radiotelevisión nº 4, 28223 Pozuelo de Alarcón, Madrid, Spain TELEPHONE: (34-91) 581-7000 WEBSITE: www.rtve.es COMMERCIAL DIRECTOR: Rodolfo Domínguez CONTACTS: Jesús Pérez Gómez, mjesus.perez@rtve.es; Rafael Bardem Aguado; rafael.bardem@rtve.es PROGRAMS: Elizabeth: 13x70 min., historical fiction; Real Madrid—The Best Club of the World: 6x42 min., documentary; Love in Difficult Times: 1,465x45 min., soap opera; Remember When…: 216x70 min., fiction; Vintage: 26x70 min., fiction; April 14th The Republic: 13x50 min., fiction; Mom Detective: 26x70 min., detective comedy; Lady: 39x70 min., fiction; Killing Carrero: 2x75 min., TV movie; Operation Checkmate: 2x75 min., TV movie.

“The corporation’s big bet for this season will continue to be the current pillars of TVE’s programming, which include informative current events and debate programs (Los Desayunos de TVE, La Mañana de la 1 or 59 Segundos) and fiction series that have given such success and prestige to Televisión Española (Águila Roja, Cuéntame, Amar en Tiempos Revueltos, Gran Reserva, Los Misterios de Laura, etc.).

A selection of the company’s more outstanding productions will also be included within these pillars: entertainment (La Hora de José Mota), documentaries and travel (Españoles por el Mundo), cultural (Un País Para Comérselo), educational (Redes) and children’s programs (Clanners).

The premiere of other series and mini-series will also occur and add to our great broadcasting success.”

—Corporate Communications

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SevenOne International ADDRESS: Medienallee 7, 85774 Unterfoehring, Germany TELEPHONE: (49-89) 9507-2320 FAX: (49-89) 9507-2321 WEBSITE: www.71int.com MANAGING DIRECTOR: Jens Richter CONTACT: sales@71int.com PROGRAMS: Lilyhammer: 8x45 min., dramedy; The Last Cop:

39x45 min., dramedy; Betty White’s Off Their Rockers: 12x25 min., comedy; The Revenge of the Traveling Whore: 1x2 hrs., event drama; You Deserve It!: format, game show; My Man Can: format, game show; Ten Ladies Luck: format, game show; What If?: sketch comedy; Galileo: format, sciencetainment magazine; The Indestructibles: 10x1 hr., near-death experiences.

“SevenOne International stands for entertainment at its best— regarding formats as well as fiction.We have first-class fiction programming like catastrophe movies, audience-drawing romantic comedies, long-running TV series and high-budgeted, CGIloaded TV events. We are also playing an increasing role as an investor, using our own capital to finance and co-produce major international events.When it comes to entertainment shows, our portfolio offers many quality formats with proven track records and high international potential. Being part of Red Arrow Entertainment, we constantly receive fresh ideas from our partnerships with the world’s top creative minds—exemplified by Omri Marcus and Dick de Rijk, the man behind the global hit Deal or No Deal.”

—Corporate Communications

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Shine International ADDRESS: Primrose Studios, 109 Regents Park Rd.,

London NW1 8UR, U.K. TELEPHONE: (44-207) 985-7000 FAX: (44-207) 985-7001 WEBSITE: www.shineinternational.com CEO: Camilla Hammer SENIOR VP, U.K. & EMEA: Ruth Clarke SENIOR VP, ASIA PACIFIC & AUSTRALIA: Matt Ashcroft VP, U.S., CANADA & LATIN AMERICA: Matt Vassallo CONTACT: David Reiss, david.reiss@shinegroup.tv PROGRAMS: Hunted: 8x1 hr., drama; Real Humans: 10x1 hr.,

drama; The Hour: Season 2, 6x1 hr., drama; MasterChef: The Professionals: format; The Date Machine: 10x1 hr., entertainment; Secret Street Crew: 7x1 hr., entertainment; Got To Dance 3: 9x1 hr. & 1x2 hrs., entertainment; Around the World in 80 Plates: 10x1 hr., factual entertainment; Bear Grylls Wild Weekends: 2x1 hr., factual entertainment; A Chance To Dance: 7x1 hr., factual entertainment.

“We are looking forward to presenting Shine International’s The Programme Catalogue 2012, showcasing TV’s most trusted and celebrated producers, spanning scripted, entertainment, factual entertainment and documentaries.

Through our global network of relationships, our programming and formats capture the hearts and imaginations of millions of viewers, every day, in over 200 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.

In 2012 we will bring you even more pioneering entertainment and factual breakout successes and long-running super brands, together with ‘your new world of storytelling,’ which features the very best in prime-time drama.

At MIPTV 2012 we will world-premiere the spectacular new action-drama Hunted (BBC One, HBO/Cinemax) and preview our thrilling Nordic noir Real Humans; along with the second season of the three-time Golden Globe-nominated The Hour.”

—Camilla Hammer, CEO 80

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Solid Entertainment ADDRESS: 15840 Ventura Blvd., Suite 306, Encino,

CA 91436, U.S.A. TELEPHONE: (1-818) 990-4300 FAX: (1-818) 990-4320 WEBSITE: www.solidentertainment.com DIRECTOR, INTERNATIONAL LICENSING: Richard Propper CONTACT: info@solidpgms.com PROGRAMS: Under the Boardwalk: The Monopoly Story: 1x50

min. & 1x88 min., documentary; Back Door Channels: 1x55 min. & 1x96 min., documentary; Minutemen: Don’t F*ck with My Freedom: 1x55 min. & 1x82 min., documentary; Dressed: 1x50 min. & 1x77 min., documentary; Rally On!: 8x24 min., lifestyle; Chasing Classic Cars: 36x24 min., lifestyle; The Quest: 1x52 min. & 1x84 min., documentary; Still Screaming: The Ultimate Scary Movie Retrospective: 1x50 min. & 1x93 min., documentary; White Water, Black Gold: 1x54 min., documentary; Coral Sea Dreaming: 1x50 min. & 1x87 min., documentary.

“Solid Entertainment has supplied awardwinning, highly rated programming to the broadcast marketplace since 1994. Great TV is not an accident; it’s the combined effort of creators and distributors to bring forth carefully prepared programming. Our Los Angeles location has allowed us to cultivate longstanding relationships with nonfiction production companies of all shapes and sizes.We work closely with those content makers to ensure that our programs translate to all markets worldwide. I’m particularly excited about the slate of new titles that Solid Entertainment is bringing to MIPDoc and MIPTV this year; from compelling political documentaries like Back Door Channels (a look into previously untold stories from the Camp David peace process between Egypt and Israel) to history programs such as The Quest (the true story of how the winning Corvette from the 1960 Le Mans race was discovered after its decades-long disappearance).

Solid Entertainment remains dedicated to bringing the best nonfiction content to the international broadcast market.”

—Richard Propper, Director, International Licensing

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Sparks Network ADDRESS: Kungsgatan 48, 111 35 Stockholm, Sweden TELEPHONE: (46-8) 5560-9382 WEBSITE: www.sparksnetwork.com MANAGING DIRECTOR: Fredrik af Malmborg PRESIDENT: Nicola Söderlund CONTACT: info@sparksnetwork.com PROGRAMS: The End: 35x90 min., drama; Secret Celebrity: for-

mat, reality; Exotic Love: format, factual; The Last Reality Show: 10 eps., drama; My 5,000 Friends: format, reality; Ezel: 71x45 min., drama; The Vine: 16x45 min.; Everyday Heroes: format, factual.

“Sparks Network is one of the world’s leading distributors of formats and ready-mades. We work with a wide range of rights holders worldwide, both from our network and elsewhere, and our target is to be a modern and efficient team ready to maximize the value of the property that we represent. Through our offices in Stockholm, Hong Kong, Amsterdam, London and Los Angeles, we are ready to handle any project in a powerful way. We empower creativity worldwide.”

—Fredrik af Malmborg, Managing Director

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Studio 100 Media ADDRESS: Nymphenburger Str. 82, 80636 Munich, Germany TELEPHONE: (49-89) 960-8550 FAX: (49-89) 960-855104 WEBSITE: www.studio100media.com MANAGING DIRECTOR: Patrick Elmendorff PROGRAMS: Maya the Bee: 78x11 min., animation; Vicky the

Viking: 78x11 min., animation; The House of Anubis: Seasons 1 & 2, 60x12 min. & 90x12 min., live action; Woodlies: 26x24 min., animation; Rox: Seasons 1 & 2, 13x25 min. & 13x25 min., live action; Galaxy Park: 52x12 min., live action; Florrie’s Dragons: 52x10 min., animation; Kerwhizz: Seasons 1 & 2, 26x22 min. & 15x22 min., multiplatform quiz show; Big & Small: Seasons 1 & 2, 52x11 min. & 26x11 min., puppetry; Hello K3: Seasons 1-3, 13x25 min. & 13x25 min. & 13x25 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 100percent subsidiary of Belgian firm Studio 100.

The company develops and acquires new content, engages in co-production and co-financing activities and is also responsible for the international distribution of its own and third-party rights. Studio 100 Media is now kick-starting its production strategy and international movie distribution with the inauguration of a new House of Anubis movie and the movie Maya the Bee. With its own pay-TV channel, Junior TV, the company has a presence on Sky in Germany and on all UPC platforms in Switzerland.

Studio 100 Media’s business model is the perfect vertical and horizontal integration of its IP. With the acquisition of EM.Entertainment in 2008, Studio 100 fulfilled its international ambition. 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 through to theatrical movies, stage shows and theme parks.”

—Patrick Elmendorff, Managing Director

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Telefe International ADDRESS: Prilidiano Pueyrredón 2989 2/Fl.,

B1640ILA Martinez, Buenos Aires, Argentina TELEPHONE: (54-11) 4102-5810 FAX: (54-11) 4587-4349 WEBSITE: www.telefeinternational.com CEO: Juan Waehner INTERNATIONAL BUSINESS DIRECTOR: Fernando Varela CONTACTS: Michelle Wasserman, mwasserman@telefe.com.ar;

Guillermo Borensztein, gborensztein@telefe.com.ar; Diana Coifman, dcoifman@telefe.com.ar; Maria Eugenia Costa, mcosta@telefe.com.ar; Maria del Rosario Cosentino, mcosentino@telefe.com.ar; Meca Salado Pizarro, esaladopizarro@telefe.com.ar PROGRAMS: Graduates: 120x1 hr., comedy; Candy Love: 150x1 hr., telenovela; Z TV—A Last Generation TV Network: 150x1 hr., children’s; The Man of Your Dreams: Seasons 1 & 2, 13x1 hr. & 11x1 hr., comedy; Mistreated: 13x1 hr., drama; The One: 154x1 hr., telenovela; When You Smile: 100x1 hr., romantic sitcom.

“Telefe International, Telefe’s international business division, offers a wide variety of proposals, which include program and format sales, scripts and production services, aimed at the international market.

Telefe International is currently among the most important programming distributors in Latin America and has become a leader in the distribution of Latin fiction formats, having more than 15 years of experience in the global television market.

Thus, Telefe International provides a comprehensive consulting service, through our business platforms, searching for styles, spaces and original markets for this industry.”

—Corporate Communications

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Televisa Internacional ADDRESS: Blvd. Adolfo López Mateos 2551, Col. Lomas de

San Ángel Inn, 01790 México, D.F., Mexico TELEPHONE: (52-55) 5728-3999 WEBSITE: www.televisainternacional.tv VP: Fernando Pérez Gavilán GENERAL DIRECTOR, SALES: Carlos Castro CONTACT: Fernanda Abraham PROGRAMS: Abyss of Passion: 150x1 hr., telenovela; A Shelter

for Love: 150x1 hr., telenovela; CQ: 80x30 min., teen comedy; Miss XV: 150x1 hr., children’s/teen.

“Grupo Televisa is the largest media company in the Spanishspeaking world and a major participant in the international entertainment business. It has interests in television production and broadcasting, production of pay-television networks, international distribution of television programming, direct-to-home satellite services, cable-television and telecommunication services, magazine publishing and distribution, radio production and broadcasting, professional sports and live entertainment, featurefilm production and distribution, the operation of an Internet portal and gaming.

Televisa Internacional, the international distributor of content for Grupo Televisa, is the world’s leading distributor of Spanishlanguage programming and formats. For over 50 years, our telenovelas have become international hits and today we continue our legacy by offering to more than 100 countries worldwide our HD and digital TV programming, which includes series, reality shows, animation and movies. We also have an innovative catalogue of original formats of guaranteed success. Our sales offices are strategically located in Miami, New York, Mexico City, Buenos Aires, Madrid and Beijing.”

—Corporate Communications

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Televisión Nacional de Chile ADDRESS: Bellavista 0990, Providencia, Santiago, Chile TELEPHONE: (56-2) 707-7240 FAX: (56-2) 707-7771 WEBSITE: www.tvn.cl CEO: Mauro Valdes VP, INTERNATIONAL BUSINESS: Ernesto Lombardi CONTACTS: ernesto.lombardi@tvn.cl; alexis.piwonka@tvn.cl PROGRAMS: Aqui mando yo: 100x1 hr.; Donde Está Elisa?: 80x1

hr.; El Laberinto de Alicia: 80x1 hr.; Conde Vrolok: 100x1 hr.; La Familia de al Lado: 80x1 hr.; 40 y tantos: 80x1 hr.

“Televisión Nacional de Chile is the undisputed leader in free TV in Chile and also has a leading pay-TV news channel in the country (Canal 24 Horas) and an international feed (TV Chile), which has successful distribution in America, Europe and Oceania. It produces more than 4,000 original hours a year in diverse genres such as novelas, fiction, reality and news. Since its beginnings in 1969, it has tried to attract audiences to the social, cultural and political aspects of the country and overseas.

Thanks to assertive programming, family-oriented, reliable information and its safe entertainment with the showcasing of sports and culture, TVN has remained a leader among audiences in the TV industry, reaching milestones in the history of Chilean telecommunications. One of its strengths is novela productions, with six productions a year in the 80x1-hour format.TVN’s telenovelas and scripts are sold around the world and have been aired and adapted in over 30 countries worldwide.”

—Ernesto Lombardi, VP, International Business

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Terranoa ADDRESS: 155 rue de Charonne, 75011 Paris, France TELEPHONE: (33-1) 5525-5942 FAX: (33-1) 5525-5903 WEBSITE: www.terranoa.com GENERAL MANAGER: Emmanuelle Jouanole HEAD, INTERNATIONAL SALES & ACQUISITIONS:

Isabelle Graziadey CONTACT: igraziadey@terranoa.com PROGRAMS: Alps from Above: 10x52 min., travel; Saved from Extinction?: 6x52 min., wildlife & environment; Twilight of Civilizations: 2x52 min., history; The Diaper Dilemma: 1x52 min., society; Stuck on Chew!: 1x52 min., pop culture; Madagascar, the Lost Makay: 1x90 min. & 1x52 min., wildlife & environment; France from Above: 1x90 min., travel; DNA—The Brain Boosting Magazine: 243x6 min., science; Architects of Change: 20x52 min. & 20x23 min. & 20x3 min., society; The New Faces of Nouvelle Couture: 8x52 min., arts & cultures.

“Terranoa is a benchmark distributor for innovative, high-profile factual productions. Each year the productions we distribute are awarded internationally, such as the acclaimed Volcano Devils or Green, which remains the most awarded wildlife doc of the past year. With an eclectic catalogue of over 950 hours and a decade of successful programs sold internationally, Terranoa has attracted numerous 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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ToonBox Entertainment ADDRESS: 26 Richardson St., Toronto, ON M5A 4J9, Canada TELEPHONE: (1-416) 362-8783 FAX: (1-416) 362-7914 WEBSITE: www.toonboxent.com PRESIDENT: Hong Kim VP: Thom Chapman CONTACT: Nahleena Tye, n.tye@toonboxent.com PROGRAMS: Bolts & Blip: 26x22 min., comic action adventure;

The Beet Party: 104x2 min., musical comedy; The Nut Job: 52x11 min., comic adventure; Bolts & Blip: The Lunar League: 1x90 min., comic action adventure; The Nut Job: 1x90 min., comic family adventure.

“ToonBox Entertainment brings to life original content for film, television and interactive media with concepts derived from captivating character designs and story lines. With leading-edge stereoscopic technology, ToonBox elevates its creations into the next generation of entertainment.

Bolts & Blip, ToonBox’s original production, is the world’s first 3D stereoscopic animated series. BFFs Bolts and Blip are average robots that want to be Battle-Bots and play on the Robotic Sports Team. The show focuses on friendship, teamwork, and self-esteem. Nominated for a Gemini and Youth Media Alliance Award, the show currently airs in over 70 territories.

The Nut Job, ToonBox’s first stereoscopic animated feature, is scheduled to be released in 2013. The film is winning awards ahead of its debut. An Animago Award was given to the short film Nuts & Robbers, based on the characters Surly Squirrel and Buddy the Rat, who will also be starring in The Nut Job.” —Thom Chapman, VP

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TPI ADDRESS: 14020 Thunderbolt Place, Suite 200,

Chantilly, VA 20151, U.S.A. TELEPHONE: (1-703) 222-2408 FAX: (1-703) 222-3964 PRESIDENT: Ron Alexander EXECUTIVE PRODUCER: Kate Sweeney MANAGER, PROGRAM ACQUISITIONS: Nancy Epstein DIRECTOR, MARKETING: Aaron Spring SALES MANAGER, LATIN AMERICA: Amanda Rockwell SALES MANAGER, TPI MIDDLE EAST: Haldun Zirkli PROGRAMS: Call of the White: 1x46 min., adventure; The Nip Tuck

Trip: 1x45 min., world cultures; Silent Bombs: 1x44 min./1x82 min., world issues; Libya: The Path to Freedom: 1x46 min., world issues; Cart Man’s Great Adventure: 1x52 min., adventure; Pablo’s Hippos: 1x1 hr./1x80 min., world issues; The Story of a Book Trafficker: 1x68 min., world cultures; Liberia ’77: 1x74 min. & 1x57 min., world issues; I Am Jesus: 1x75 min., world issues; Kids of the Majestic: 1x52 min., world issues.

“TPI is an international production and distribution company with a focus on factual content which explores the world around us—from people overcoming the odds to amazing places—of interest to audiences in all regions of the world. We have over 20 years of experience working with international partners to produce and distribute distinctive, popular and successful programming to our clients.”

—Ron Alexander, President

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