World Screen Distributors Guide 2011

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Distributors Guide 2011

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

Publisher Ricardo Seguin Guise Editor Anna Carugati Executive Editor Mansha Daswani

Ricardo Seguin Guise President

Managing Editor Kristin Brzoznowski

Anna Carugati Executive VP and Group Editorial Director

Production and Design Director Matthew Rippetoe

Mansha Daswani VP of Strategic Development World Screen Š 2011 WSN INC. 1123 Broadway, #1207 New York, NY 10010

Online Director Simon Weaver Editorial Assistant Morgan Grice

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

Sales and Marketing Manager Cesar Suero

Website: www.worldscreen.com 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

Business Affairs Manager Terry Acunzo Sales and Marketing Assistant Alyssa Menard

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A Note from the Editor To paraphrase Mark Twain, rumors of the demise of television have been greatly exaggerated. In fact, the medium is thriving as never before. Channels continue to be launched in territories around the world. TV viewing levels are at all-time highs in most countries.

Producers young and old are creating more and more programming. Some shows originate from unknown individuals toiling away at their computers making shorts for the Internet, others are produced in the conventional way through development and expensive pilots at major networks. Whatever its origins, popular programming is attracting advertisers who continue to use the medium as their most important vehicle to launch new brands.

Now it’s true that a few years ago, many in the media industry thought television was a dinosaur, destined to be brought to its knees by the Internet just as the music industry was. But no, smart producers and broadcasters took their lessons from what happened to record companies and embraced the Internet, making programming available on their own websites and on other platforms. Broadcasters have created very successful catch-up TV services, just look at BBC iPlayer or RTL NOW or CBS.com, to name a few— all are boasting significant usage and they all drive viewers back to the linear channels.

Granted, monetizing content on the web is still a learning process for media companies large and small. And it seems every day technology is serving up some new platform or device that consumers quickly embrace as the next big thing.

The latest really big thing is the iPad, and many producers and broadcasters are already creating apps for it and other tablets.

What all of this means is a world of choice for consumers and so many ways to deepen the connection with their favorite TV shows and brands. What it means for distributors, and many of the most important on a global basis are included in this guide, is a growing number of platforms where they can sell their product, alongside the most important one— good ol’ television.

—Anna Carugati 10

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Interviews

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Howard Stringer Chairman, CEO & President Sony Corporation WS: Why is developing 3D so important

for Sony at this point?

STRINGER: We believe that 3D is the

next great consumer-entertainment experience, both in theaters and in the home. Sony is the only company in the world that can bring together all of the critical assets to create the very best 3D experience. Our not-so-secret weapon in the battle to develop this market globally is a deep reservoir of expertise and experience across Sony—from consumer and professional electronics to software to content in the form of movies, video games and music. For 3D to be successful, it’s imperative that the customer experiences great 3D, and Sony is aggressively doing everything it can, internally and externally, across all of our companies, to ensure that that happens.

WS: Is 3D only for large-screen TVs or would it also work for smaller devices, and how will 3D affect the production of films and television programs at the studio?

STRINGER: Sony currently has TVs, Blu-ray players, PS3s and digital still cameras that offer 3D. And we’re working on some other 3D devices that we think consumers will like. You will see 3D become even more prevalent with the addition of 3D-capable computers and mobile displays.

Michael Lynton, the chairman and CEO of Sony Pictures Entertainment, recently said that when filmmakers begin planning a new film, they now ask, “3D, or not 3D? That is the question.”

And more and more frequently, the answer is “yes.” So, clearly, 3D is having a significant impact on film and TV production.

The number of 3D films Hollywood is releasing will expand from 16 in 2009 to at least 31 in 2011. And the number of 3D screens worldwide is growing—from 7,000 [in 2009] to 23,000 in 2012. In the short term, 3D content will be but one aspect of the range of programs and films we produce at Sony Pictures. As 3D distribution opportunities grow with digital 3D theaters, 3D TVs and other devices, the ratio of 3D to 2D content and the rate of production will increase.

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Chase Carey Deputy Chairman, President & COO News Corporation WS: Is the cable model of a dual-revenue

stream better suited than the broadcasting ad-supported model in today’s media environment?

CAREY: Without question. In many ways broadcasting competes more and more head-to-head with cable channels for content and for audiences. We’ve seen some content like major sporting events already move to cable channels. Certainly, cable channels are more aggressive in original programming. Broadcast channels are competing with them and competing with a single-revenue business against a dual-revenue business. It’s like competing with one hand tied behind your back.

Clearly the dual-revenue stream provides a much stronger revenue base and a much more stable one.The subscription side of the business has much more long-term predictability to it as opposed to the volatility that can exist in the ad markets, not to mention the challenges of audience fragmentation.

WS: What can your broadcast network learn from cable about how shows are promoted and developed?

CAREY: I would actually say we hope that both of those businesses learn from each other. Both those businesses are going to go through changes that are driven as much as anything by the digital revolution, such as changes in windows and in how consumers access shows.We have to be opportunistic and smart about picking the best of both, developing those businesses and maximizing the value of our content across multiple platforms.

WS: Do you still see a lot of growth potential internationally?

CAREY: We truly believe we are the most global amongst the

major companies we compete with. In many ways I think the growth opportunities outside the U.S. will exceed those inside the U.S. The obvious reasons simply being that there is so much growth yet to happen overseas, whereas the U.S. is more mature in areas like subscription television.We think there are great opportunities and we will continue to be aggressive and opportunistic around the world in places where we can build businesses.

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Gerhard Zeiler CEO RTL Group WS: Is free TV still a viable business in

Europe?

ZEILER: Not only is free TV a viable

business in Europe, but I believe 100 percent in the free-to-air industry. The fundamentals of our business remain strong: people are watching more TV than ever before. Not all of them on TV screens, not all of them linear, but they are watching what we as an industry produce. TV is still the best medium for reaching a mass audience, for building brands and promoting new products—especially in the digitalmedia world with its many distribution channels and small target audiences.

WS: How do you face the challenges of fragmenting audiences,

declining ad revenues and increasing production costs?

ZEILER: I don’t believe that the broadcasting industry will return

to the level of advertising revenues we had in the years 2006 to 2008.We therefore have to continue being cost-conscious without losing audience share. This includes not allowing production costs to increase as they have in America.

Second, we have to make a real business out of the growing nonlinear TV habits of our viewers.We all know that in the future a significant portion of the time people spend watching TV will be nonlinear. And we have to get the business model right. We can clearly see that we’re building attractive offers for advertising clients.We will also have to identify which part of our on-demand offer is so exclusive and unique that people would be willing to pay a small amount to watch it: on the computer, on the TV, or on any mobile set where it will be possible.

Third, we need to establish a second revenue stream so that all the platforms—cable, satellite, IPTV—pay for the signal and the content we deliver.

Fourth, we have huge, important and strong channel brands and program brands. Exploiting them better than we have in the past is a priority for the future. Fifth, we must continue to invest further in content, with FremantleMedia, and also online.

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Markus Schächter Director-General ZDF WS: What contribution do public-service broadcasters make in today’s multichannel, multiplatform world?

SCHÄCHTER: The deluge of digital information is making it increasingly difficult for an individual to judge the reliability of news on the Internet. As a public-service broadcaster, we’re independent of both political and commercial influence. Our mission is to offer the public a picture of reality that is as objective as possible. In a world of information overload, we offer guidance and stand for credibility. The fact that our core funding comes from the license fee gives us a large degree of independence from developments in the economy. So in times of economic and financial crisis, we’re able to maintain a healthy production budget. This also means we’re lending stability to the wider content-production sector and a whole range of cultural activities that would have no chance without the public-service broadcasters.

WS: What services and programming does ZDF offer viewers that they can’t get elsewhere?

SCHÄCHTER: Information-centered programs account for around 50 percent of ZDF’s total output. No other broadcaster can claim such a large share. We show roughly 500 documentaries a year, focusing on science, technology, history, politics and society. For the performing arts, we offer something that is unique worldwide: our digital ZDFtheaterkanal, which puts a wealth of stage productions on television and, by recording performances, also saves them for posterity. Together with the other public-service broadcaster in Germany, the ARD network, we run KI.KA, a children’s channel that is kept free of advertising and violence. We also offer an ad-free online service and, of course, the ZDF Mediathek, our platform for delivering high-quality, subscription-free and, again, ad-free VOD. And then there’s heute journal: ZDF’s flagship evening news magazine is the most successful in Germany.

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Jon Feltheimer Co-Chairman & CEO Lionsgate WS: What helped you pull through the

economic downturn?

FELTHEIMER: We have always been

diversified, with revenue coming from films, TV and our home-entertainment business. So we have quite a few businesses and when one isn’t performing exactly right, hopefully the others will pick it up, almost like a sports team.

Of course, there is the library, which has always been critical. Having that evergreen cash helps pay people’s salaries and covers our operating cash needs even at times when some of our businesses aren’t performing.The last piece I would mention is that, unlike virtually all the other independents, we’re a public company, and that gives us a lot of options to raise capital and do it in a lot of different ways.

We may have been a bit prescient about the recession. First of all, after the TV Guide Network acquisition, we didn’t start any other new corporate acquisitions other than to continue growing EPIX [the premium channel operated with Viacom and MGM].

Secondly, we started Tiger Gate, but rather than solely fund the negative cash flow ourselves, we brought in the Saban Capital Group as a partner.The third thing we did was to continue to keep an eye on overhead. And the last thing we did was cut back our theatrical slate. So we did a number of things to preserve cash and to be sensitive to the fact that the consumer wasn’t going to be spending too much discretionary income.

WS: Shows like Mad Men and Weeds have set the bar so high now,

how does that challenge your team to do even better?

FELTHEIMER: I’ve had a strong feeling going back to The Wonder

Years and continuing all the way through Mad Men that “me, too” television doesn’t work. But I’m not a snob about what makes the best television. It’s copycat television that doesn’t work. You’re always challenging yourself and your executives to figure out what’s the next thing. It’s about making great original television, but it’s also about being very clear who the audience is for different shows.

You can only build a profitable model, as in any business, when you know your audience.

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Haim Saban Chairman & CEO Saban Capital Group WS:

You sold your stakes in ProSiebenSat.1 and in Keshet Broadcasting in Israel. Are you more interested in short-term strategic investments rather than building a media conglomerate?

SABAN: Saban Capital Group is an investment entity. Even though we are active in private equity, we are not a classic private-equity firm because we don’t have LPs (limited partners). We work with our own money. We have been very blessed because all of our investments in private equity today have been extremely profitable.

I wouldn’t like to set up a rule that says we would always sell or we would never sell. We act in an opportunistic manner. With ProSiebenSat.1, somebody stepped up and made us an offer that gave our partners and us a significant profit and we decided to do it and go forward and sell it. There are no preset rules that say that once we are at two times or three times the investment, we sell. That is not the case at all. Every investment stands on its own merit and we’ll decide on a case-by-case basis.

WS: So if an opportunity arose to acquire a broadcast channel or

a group in the U.S. or internationally, might that interest you?

SABAN: The answer is we will be opportunistic, be it broadcast,

cable, satellite or telecom. We are in the telecommunications investment business and we will be opportunistic.

WS: Tell us about Tiger Gate, the joint venture with Lionsgate to

launch channels in Asia.

SABAN: It’s an area we understand. Lionsgate as content suppliers

are great partners, and we also happen to have a great personal relationship with [co-chairman and CEO] Jon Feltheimer and his team. Asia is a fast-growing market. So when you put all these elements together, when this opportunity presented itself to us we said yes, that is our sweet spot, if you will. And all the stars aligned and we went forward.

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David Zaslav President & CEO Discovery Communications WS: What does Discovery want to offer its viewers today?

ZASLAV: Discovery really hasn’t changed, nor do we think it needs to, from John Hendricks’s original vision, which is quality content that satisfies curiosity and that we can take all over the world. It’s a simple concept. Discovery now is the number one TV brand in the world, and when we do great storytelling, and offer quality content that really satisfies curiosity, it works everywhere in the world.

WS: How much has your international business grown in the last

few years?

ZASLAV: It’s been a huge growth engine for us. There are some

markets that are mature, like the U.S., the U.K., Italy, France or Spain. But there are a number of markets that are like the U.S. was ten years ago: Russia, Romania, Poland, India and a lot of Asia.

Many of the emerging markets are showing great strength. Those markets are now starting to really grow. We get the benefit of the growth in subscribers and subscriber fees, and as cable grows in those markets, more and more advertisers come over.

WS: How big of a driver has HD been, and what plans do you have for 3D? ZASLAV: HD, particularly in the last year, has been a big driver for us because when people buy HD sets they tend to spend time in the HD tier.We went out two and a half years ago and spent a lot of money on HD content. We have already seen, and in the next few years we’re going to see, a lot of growth from that.And we have rolled out HD in more than 45 countries.We were very early and very aggressive because we think the consumers are going to be driving more and more for a better viewing experience and a closer-to-real viewing experience, and HD provides that.

That’s one of the reasons why we’ve been so aggressive about pursuing 3D. We were lucky to get together with Sony and IMAX for [3net], the first 24-hours-a-day, seven-days-aweek 3D channel.

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Bill Nelson Chairman & CEO Home Box Office (HBO) WS: What role do feature films still play in the HBO schedule?

NELSON: We still see theatrical films as a significant part of our pay-service offering.

They make up about 70 percent of our schedule and are significant attributes to [our on-demand platforms]. Hollywood movies have always been exploited before the pay-TV window, but there is still a strong desire among our subscribers for uninterrupted, unedited Hollywood movies. Our research tells us that the very people who like to watch a film at the theater, or during the VOD window, or even those who buy DVDs, are the same people who rank HBO as the highest price-value pay-TV offering. Film still plays a very, very important role for us and still brings value to our subscribers.

WS: How important has HBO On Demand been?

NELSON: Subscribers of HBO On Demand watch more of our

programming and therefore they are more satisfied with their subscription. The quality and quantity of our programming on demand actually lets the consumer impulse-view what’s attractive to them on a very convenient basis, so on-demand immediately exposes the depth and breadth of the network’s programming inventory. It’s a paradigm that lifts our brand above the competition because the superiority of the content becomes instantly clear to the consumer. And that supports the power of our brand, the programming offering, and makes the price-value proposition that much stronger.

WS: How are you using the Internet?

NELSON: It’s a very strong promotional vehicle. Fans of HBO

love to immerse themselves in [hbo.com], whether to partake in community message boards, watch video clips or search our schedule. Also, we make video material available across a variety of platforms, including YouTube, iTunes, Facebook and MySpace. These sampling opportunities then result in new subscribers, or purchases of our DVDs, and ultimately translate into more revenue.

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Abbe Raven President & CEO A&E Television Networks (AETN) WS: What has driven the success of HISTORY and A&E? RAVEN: It’s all about original programming. It’s been a key to our success. It’s who we are, and it’s having an extraordinarily terrific, stable group of cable executives. Each network has its own voice in the marketplace, and our programming teams have really tapped into what the target audience of each network wants. And I think that’s what we do really well. I’m extremely proud that HISTORY is the only network that has ever gone from below a top ten network into the top five networks in cable. It’s remarkable; it has surpassed Discovery as the number one nonfiction network in the U.S. as well as around the world. And A&E has done a fantastic job of combining the work that they are doing on the nonfiction side with drama. So those two networks will just continue to grow.

We absolutely love the Lifetime brand. It has incredible potential, incredible equity in its brand value.We are building ownership of original content for Lifetime.We believe that Lifetime will continue to be an incredible part of the AETN portfolio.

WS: How have you been able to maintain AETN’s very solid

advertising business?

RAVEN: We’ve been very fortunate that our portfolio has

offered such strength to our advertisers. We have the top male network with HISTORY. We have the top female network in Lifetime and one of the top five adult networks in A&E. So by continuing to grow the audience as we have over the past several years (and if you look at which channels have grown in the past year and which haven’t, our portfolio is way ahead of everyone else), we have been able to make sure that we offer great value. Clearly, cable offers great value for advertisers.

Cable has taken audience share from broadcasters, and for us it’s really about being the most attractive portfolio for advertisers. The nice thing is that right now we have this portfolio that provides one-stop shopping: advertisers can reach women, men and a dual audience.

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Chris Albrecht President & CEO Starz WS: What role do original productions play at Starz?

ALBRECHT: Original programs [are] certainly part of the mix, although they’re not the only choice. What matters is standing out from the competition. At one point, you could do that with original series.

Starz has had years of strong subscriber growth, due to a great degree to a lineup of big movies from our studio partners, and from embracing new technologies.

We’ve managed to keep up with the changing needs and desires of our subscribers, and so far they’ve rewarded us with their business.

Starz has had a luxury that not all channels have had: the move into originals was made by choice, not necessity. Our 16 Starz and Encore channels in the U.S. are filled with feature films that satisfy the demands of a very diverse subscriber base, so we’re free to only order programs that we like or that serve a particular strategic need.

WS: How important are on-demand offerings?

ALBRECHT: For Starz, on-demand has been very important.

But our efforts also include embracing a whole range of new technologies, giving our customers hit movies in HD, ondemand and via broadband services. Back in 2004, Starz was the first to offer online subscription movie services, an offering the company has been tweaking ever since. And now we’re using that knowledge to work with our distribution partners in the U.S. to deliver programming to millions of consumers via broadband channels. We have also begun initiatives in online distribution of our proprietary programming around the world. TV audiences increasingly insist on having far more control over how, when and in what form their programming is made available than was ever the case previously. The enthusiasm our subscribers showed toward our efforts in on-demand programming and in particular our leadership role in introducing HD on-demand proved that. Our objective now, therefore, is to give viewers choices among different programming delivery services, choices in the kinds of movies we offer, variety in the content we provide to our subscribers.

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Jeremy Darroch Chief Executive & Executive Director BSkyB WS: What have you learned about what

your subscribers expect from Sky? DARROCH: We are and have always been

relentless about putting customers at the heart of what we do. Because of that we’ve got a real focus on what our customers want, ensuring we invest where our customers will get the most value. First of all, we want to offer the very best content.

Secondly, we want to innovate to enable our customers to get value out of their subscription package and to let them watch what they want, whenever they want to watch. Thirdly, we look to provide great service, whether that’s from our contact centers or our installers.

And finally, we want to offer great-value prices and to help our customers save money through our home communication services. These are all ways that we can really add value to our service.

WS: What growth areas do you see in the next 18 to 24 months?

DARROCH: Pay-TV penetration in the U.K. is still only 50 per-

cent, so around half of the marketplace has not yet chosen to upgrade to some form of paid-for service. I think there is a lot of room for growth there.

Home entertainment generally will continue to be an area where customers remain willing to pay for high-quality services, particularly as the gap between the free and pay experience widens. And I think that HD will continue to be the leading trend in television, with the number of HD-ready TV sets continuing to grow. We are also going to start to see the emergence of 3D as a trend not just in television but in other home-entertainment areas as well, particularly in games and, of course, movies.We have to wait and see how big that trend ends up being; it will kick off when 3Dready TV sets start hitting the high street from the spring onwards.

And then, while the majority of people continue to watch linear channels, new platforms and new solutions across the industry will increase choice and flexibility for viewers.

We are well placed as a business to capitalize on all of those trends. It will require us to keep investing, changing and doing new things.

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Michael Fries President & CEO Liberty Global WS: As viewers can increasingly find programming they want online, what challenges does this present the cable industry?

FRIES: It’s more an opportunity than a challenge. People are watching more television, not less. There is no question that the frequency of online video is increasing, but in reality the vast majority of that time is spent snacking on 2- to 3-minute videos. It appears that is not necessarily taking away from the experience consumers are having with traditional television today. So the opportunity we have as an industry is to create a seamless integration for consumers on the television set. If you look at what we are doing with our next generation set-top box, we are creating an entirely new user interface that will allow consumers to not only network their content within their home, but seamlessly integrate web content, on-demand content, recorded content and live content and to do that on the TV screen in their living room. Secondly, cable operators are spending a fair amount of time creating what in the U.S. is called the TV Everywhere concept, where if you subscribe to cable you’ll be able to view your favorite content online for free.

This new application in my view could do to online video what the cable and satellite industries did to TiVo, essentially embed the functionality in their offering and by doing so give consumers a great experience that they don’t need to search for anywhere else.

WS: How important is on-demand for a cable company?

FRIES: VOD is a tremendous application. The number one issue

for rolling out VOD is not technology—it’s content. We’re approaching the tipping point where broadcasters in our core markets realize the benefits of an on-demand cable-TV platform for their content. Number one, we protect their content. When you put your TV online you take a risk as to whether or not your content is protected. Number two, we pay our programming partners, whereas when you put your content online it’s free and the advertising is spotty. Number three, we are able to put the content in an environment where it is very easy for consumers to watch it.

Catch-up TV is one of the killer apps on our digital platforms.

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Hisashi Hieda Chairman & CEO Fuji Television WS: What have been the keys to Fuji’s success over the past five decades?

HIEDA: Our corporate culture is fresh, bright and flexible.Without fear of failure, Fuji Television has never stopped taking part in the development of software and businesses that lay paths to new eras. I believe that another important key to our success is the fact that we have always made it our policy that human resource is the most important asset for our company.

WS: What policies did you put in place to weather Japan’s financial storm?

HIEDA: With the downward trend in ad sales, in order to secure profit, we try to efficiently operate costs through a comprehensive inspection of program production costs as well as other areas. At the same time, our policy is to focus our goals on strengthening non-advertisement-related businesses that are less subject to the economy.

[We have done this by] making good use of our strong skills in content production. Fuji Television was among the first broadcasters in Japan to take part in non-broadcasting businesses such as motion-picture production and live events, achieving a huge success in various genres. Our current focus is expanding operating revenues in new fields such as mobile phones, the Internet and IPTV. In particular, the on-demand service of Fuji Television programs is witnessing a steady growth in sales, and will soon contribute to our company’s profits.

WS: How have you been able to retain your leading position

in the market?

HIEDA: I think it’s all in our strong content-production skills. No

matter what kind of new media were to emerge, the content to be shown on that media will no doubt play a significant role. That is why I am confident that Fuji Television’s position as Japan’s most powerful content producer will never waver, no matter what kind of media emerges.

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Kim In-Kyu President & CEO KBS WS: What role does KBS play as the pub-

lic broadcaster in Korea?

KIM: In this fiercely competitive and

increasingly commercial media world, KBS has made strenuous efforts to ensure fairness and exclude sexually suggestive and violent content.

Fairness equals life for a public broadcaster and it requires truth and impartiality. KBS has brought fact-based and objective reporting in a balanced and equitable manner so that viewers are exposed to a diversity of viewpoints. KBS has also carried out its public responsibility as a public broadcaster by eliminating sexually explicit and violent content in the programs, differentiating itself from commercial broadcasters.

WS: How did KBS cope with the contractions in the adver-

tising market?

KIM: KBS has made tremendous efforts to overcome financial

difficulties by downsizing, freezing salaries, outsourcing noncore areas of work and cutting down expenses. While taking measures to rationalize management, KBS has continued to focus on creating high-quality content. As a result, we have seen some good responses from viewers and an increase in advertising revenues, which put us on track to rise. However, the ad market is expected to see fiercer competition [with the launch of new cable channels].

WS: What other challenges do you face in financing KBS? KIM: The biggest challenge we face is the unreasonable tele-

vision license fee that has been frozen for the last 30 years.

The license fee is a major source of revenue for a public broadcaster. We cannot ensure financial stability with the current license fee. This could lead to a higher dependence on advertising income, making it hard for a public broadcaster to deliver the values it is committed to. I believe financial independence is just as important as political independence for a noncommercial broadcaster.

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Al Gore Co-Founder & Chairman Current Media WS: What sparked the idea for Current as a multiplatform company?

GORE: I have long believed that television plays a far more important role in shaping our democracy than most realize and that any of us think about very much. With the rise of the Internet and ever better and more affordable video cameras and editing software, it seemed that the time was right to empower the viewers to create their own content. Current was really intended as an effort to democratize the medium of television and to explore the boundaries between television and the Internet, with an eye to giving people an ability to connect with one another, tell the stories that are important to them, and use information as a source of self-determination in our democracy.

The new technology brought by the Internet makes it possible to connect to the television medium with very low entry barriers for individuals and to reinvigorate democracy by bringing the conversation of democracy into the TV medium. That was really the initial impetus for Current.

WS: Why is investigative journalism important to Current?

GORE: With the [demise] of newspaper business plans and the

slow emergence of a new standard model that throws off enough revenue in the Internet space to support investigative journalism, we wanted to make certain that we had a strong and well-funded commitment to the highest quality investigative journalism.

WS: Are voters getting shortchanged by television news nowadays?

GORE: Voters are being shortchanged. The public-interest stan-

dard, which played a more prominent role in television, has been slighted in recent decades and the public has suffered as a result.

With the exception of 60 Minutes and Frontline and the work of a few other journalists, and I’m proud to include the Vanguard team in that small circle, the kind of in-depth investigative journalism that democracy depends upon has been in short supply in recent years.

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Jerry Bruckheimer Producer WS: Are pilots the best way to develop and present a series?

BRUCKHEIMER: I haven’t seen a better way yet. They’ve done shorter versions of pilots. They’ve done presentations. But I think it depends on the talent. If you have a concept that you really love and a script that you love and a team—producer, showrunner, director—that you have real faith in, sometimes the network will take a leap. But it’s hard because there are a lot of variables that come into making a successful show and you never know. We’ve made pilots that fortunately for us have done quite well. But in the past, I’m sure the networks were disappointed with things so it’s silly for them to make a huge commitment of six or 13 shows, which is a lot of money, based on just being convinced that they have a good script and a good team.

WS: How do you manage to get a cinematic look on the small

screen while containing costs?

BRUCKHEIMER: It’s all about planning and working with your

showrunners. Our production people talk regularly.They will read a script and say, for example, Look, if you find this and that we wouldn’t have to move locations. We figure out ways to cut corners without cutting things on the screen. If you put a good team together—our people in the office and our executive producers who actually have to deal with production work with Warner Bros.—they can figure out ways to cut corners.

WS: What is your level of involvement in your series?

BRUCKHEIMER: I’ll be pitched the concepts of the shows and if

there is anything written I’ll comment on that and then Jonathan Littman [the president of Jerry Bruckheimer Television] goes out and pitches to the various networks. I’ll get involved in the actual pilot script when it comes in. I’ll give them notes on that. I’ll get involved in picking the director and the actors and cast. I’ll get involved in the editing of the pilot. I’ll read every single script as it comes in and watch every episode and make comments. I’ll be involved in picking the showrunner along with the network.

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Ridley Scott Director & Producer WS: What appeals to you about working

in television?

SCOTT: When you are working in televi-

sion, whether you are working on a series or mini-series, you can expand on the characters and the story in a way that can’t be done in a feature film. Feature film will always be a slimmed-down edition, especially if it’s an epic, which is quite difficult because you are trying to pin a feature film within the confines of two and a half hours. It starts to get very challenging if a film goes beyond two and a half or three hours, right? Whereas in TV, a mini-series of eight hours, or better still a series which goes on five or six years, is great because you get a real evolution of the characters and of the story as it’s happening and you create a universe in a way that you can’t really do in film.

WS: You pay incredible attention to detail. Where did that come from?

SCOTT: I think it came from a natural source, which is my love of painting. I guess I was fairly advanced: I was painting from the age of five or six. I spent seven years in art school and then attended the Royal College of Art. I got my degree and followed a route in design, which would take me to the BBC and, eventually, I found myself directing. The detail comes from my love of looking at paintings and photographs. I got into quite a high level of photography at the Royal College. All my work was so compacted, everything was always very detailed, that’s the way I saw everything.

My success in advertising was because I brought what I thought were film sensibilities to television commercials. I think I’ve got what they call an eye, and with an eye you don’t need a set, you just need a camera, because your set, frankly, is when you step out the door. Whether you walk onto a set that is being constructed, or you walk into a room or you walk through a park, it’s all got to do with your eye—give me a shot. I’ve always been able to do that and, in fact, I’ve been criticized for that. But as Hitchcock said, at the end of the day this is not a radio play, dude, we’re talking about pictures here!

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Hugh Laurie Actor House WS: What appealed to you about the character of Gregory House?

LAURIE: I thought he was fascinating and at the time, as far as I could tell, a unique combination of wit and dissidence and unease and a whole list of qualities that I hadn’t seen combined in a single character, particularly not at the center of a drama. One could argue that there have been characters a little bit like House here and there, but they were usually peripheral characters. The hero was always a solid upright citizen, usually with blond hair and a dog, and they would do the right thing. This is a rather troubled and conflicted, damaged character who presented this problem for the audience, I suppose, which is that here is a man that has a gift with which he can heal. He can help mankind and yet the gift comes at a cost—it comes at a cost to him and it comes at a cost to any of the people around him. He’s always asking the question, “Am I worth the cost?” and it’s a constantly interesting question, and I grew to like him immediately. I felt within a couple of pages I really liked this guy. It doesn’t mean I think he’s a good guy or a nice guy, but I like him.

WS: What stretch as an actor does the role present to you?

LAURIE: Most of the stretching I find is of a mechanical

kind—it’s the volume of work you’re having to do and the number of decisions you are having to make in a day to actually keep something real and true and funny—to keep it alive.

This is not something a stage actor does, you can’t just go and do this thing for two hours and be done. This is something you are having to think about and very actively think about, for 14, 15 hours a day for nine, ten months of the year. And it’s those mechanical things, the volume of it—dealing with the actors and dealing with the physical disability and all those sorts of things that are actually harder than the emotional side, which I always felt, I can’t say that I found it easy, but I felt that I understood it. From the moment I first read the script I had a very clear sound in my head of how it should feel.

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Felipe Gozon Chairman & CEO GMA Network WS: How are you serving viewers in the

Philippines with your two channels?

GOZON: Over the years, we have con-

firmed that Filipino viewers have diverse and fast-changing tastes and preferences when it comes to television programs.

Having two free-to-air TV channels to program has given us the opportunity and the advantage we need to be able to deliver differentiated content which caters to such varied audience preferences. With our increased reach and improved signal we are now able to serve more audiences not only in the Philippines, but also worldwide.

WS: How have you expanded GMA into new media?

GOZON: We [have] aggressively expanded our efforts in digital

media by undertaking more video broadband initiatives and strategic alliances with top telecommunications companies in the mobile distribution of our proprietary content. GMA New Media has also partnered with YouTube for myGMA.com.ph, the network’s Internet TV service.

WS: What are your broad goals for the company?

GOZON: Our goal is to advance further in the ratings race and gain

the number one position nationwide. We shall complete the improvement of our facilities. We have more TV transmitter projects to complete. We have seen the benefits of this project in our regional TV [ad] sales performance. We are shifting our focus to building our brand and expanding our audience base outside Mega Manila through intensive promotional activities.We are repositioning our QTV Channel to take advantage of the channel’s full potential and expanding its appeal through changes in programming.We have also been increasingly expanding the distribution of our content abroad. We shall continue to pursue new initiatives to achieve further growth from our national and international operations, film ventures, film and program syndication and other businesses.We have reason to be optimistic about the future, given that the Philippines’ economy is on the road to recovery and that economic growth has started to gain momentum.

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Distributors

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4Kids Entertainment ADDRESS: 53 W. 23 St., 11/Fl., New York, NY 10010, U.S.A. TELEPHONE: (1-212) 590-2100 FAX: (1-212) 727-8933 WEBSITE: www.4kidsentertainment.com EXECUTIVE VP, INTERNATIONAL: Brian Lacey CONTACT: blacey@4kidsent.com PROGRAMS: Rocket Monkeys: 26x30 min./52x11 min., comedy;

Yu-Gi-Oh! 5Ds—Road to Destiny: 90x30 min., fantasy/adventure; Tai Chi Chasers: 39x30 min., action/adventure; Yu-Gi-Oh! 3D— Bonds Beyond Time: 1x1 hr., fantasy/action; Yu-Gi-Oh!: 236x30 min., fantasy/adventure Yu-Gi-Oh! GX: 155x30 min., fantasy/adventure; Yu-Gi-Oh! 5Ds: 64x30 min., fantasy/adventure; Chaotic: 79x30 min., fantasy/adventure; Dinosaur King: 77x30 min., fantasy/adventure; Viva Piñata: 52x30 min./104x11 min., comedy.

“The MIPTV 2011 market should be robust for 4Kids Entertainment, by virtue of a strong slate of entirely new content introduced at the market. Among these are Yu-Gi-Oh!—Bonds Beyond Time, a 60-minute movie produced in visually stunning 3D which brings together for the first time the three iconic heroes from the hugely popular Yu-Gi-Oh! trilogy; Rocket Monkeys, the much-anticipated fresh and smart comedy series produced in association with Breakthrough Entertainment and TELETOON of Canada; Yu-Gi-Oh! 5Ds—Road to Destiny, another season from the fast-paced final chapter of the Yu-Gi-Oh! trilogy; and Tai Chi Chasers, a fantasy-adventure series that involves a suspense search for ancient tai chi symbols to bring peace to the world.

In addition, the catalogue of returning programs continues to perform well for broadcasters and kid viewers around the world, most notably Yu-Gi-Oh!, Yu-Gi-Oh! GX, Chaotic and Dinosaur King.”

—Corporate Communications

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AFL Productions ADDRESS: 1519 37 Ave., San Francisco, CA 94122, U.S.A. TELEPHONE: (1-415) 661-6146 FAX: (1-415) 661-7581 WEBSITE: www.aflproductions.com HEAD, DEVELOPMENT & DISTRIBUTION: Yuri Volodarsky SALES DIRECTOR: Julia Belova SALES MANAGER: Elena Lesnyak CONTACT: el@aflproductions.com PROGRAMS: Cookies: 158x6 min., entertainment; The Tower of Pisa:

1x94 min., romantic comedy; Police Patrol: 16x104 min., feature; Animal Wars: 1x74 min., animation; Funny & Funnier: 50x30 min., entertainment; Naked & Funny: 180x30 min., entertainment; Theory of Catastrophes: 4x1 hr., factual; The Most Shocking Videos 1 & 2. Location: Russia!: 2x45 min., specials; Okna: 698x45 min.; It’s Hard to Believe: 149x45 min., entertainment.

“AFL Productions is a developer, producer and distributor of high-rating and [quality] content.

The first event we’d like to emphasize is the start of production on the eighth season of our bestselling project Naked & Funny. [In addition,] we’re [continuing with] our collection of entertainment programs and formats. For example, this market we brought the new spicy cooking show Cookies. In addition to the entertainment content, we are working on expanding our catalogue with documentary titles.Therefore in 2011 we’ll release new episodes of our successful series Theory of Catastrophes. Moreover, buyers can expect new titles in our Russian footage archive.

We can’t overlook the replacement of over-the-air broadcast analogue television by digital television. AFL Productions moves with the times and creates all-new content in digital format, including HD, [to meet] the highest possible standards.”

—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: Village on a Diet Canada: 10x1 hr., factual entertainment; Justice: 5x1 hr., drama; Making Australia Happy: 3x1 hr., factual entertainment; Monty Don’s Italian Gardens: 4x1 hr., factual entertainment; Royal Upstairs Downstairs: 20x30 min., factual entertainment; The Only Way is Essex: 12x30 min., factual entertainment; Road Cops: 10x30 min., factual entertainment; Wild River Journeys: 5x1 hr., factual entertainment; Skins 5: 8x1 hr., drama; Four in a Bed: 20x30 min., factual entertainment.

“ALL3MEDIA International is one of the U.K.’s leading independent television programming distributors, offering programming to broadcasters around the world. In 2009 we were awarded the Queen’s Award for Enterprise in recognition of our growth and our sales service.

Our catalogue of approximately 2,000 hours covers all major genres, with a focus on drama, factual programming and formats.

We actively license quality programming to over 1,000 broadcasters around the world, offering the best from the independent sector. Our programs include top-selling drama series such as Midsomer Murders, Wild at Heart, Hollyoaks and Skins; factual series such as Fifth Gear, Homes Under the Hammer, Top Trumps and Rough Guide; and formats like Cash Cab, Wasted and Lingo.

We are one of the U.K.’s leading drama distributors. Midsomer Murders and Wild at Heart have both been the U.K.’s leading drama exports within the last three years (PACT/DCMS export figures), with Midsomer Murders airing in over 200 countries worldwide.”

—Corporate Communications

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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 brand Audiovisual from Spain.

“Audiovisual from Spain is the umbrella brand for Spanish companies in 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 Federation of Audiovisual Producers Associations, Federación de Asociaciones de Productores Audiovisuales (FAPAE), as well as other regional and national institutions.

All international business, trade and promotion of Spanish companies is supported and promoted by Audiovisual from Spain. The Spanish industry has one of the best portfolios of the international TV market. The variety of genres that make up the Spanish catalogue is extensive and includes [everything] from classic entertainment to the latest technology in 3D, as well as products for transmedia exploitation.

We are proud to work on promoting quality entertainment through TV movies, premium [content], mini-series, series, animation and documentaries, not to mention very well-known films and entertainment or fiction formats with great success worldwide.

One of our main aims is that programmers and buyers identify the brand Audiovisual from Spain as one of the best options of the international market on the basis of variety and quality.”

—Isabel Espuelas Peñalva, Head, Content Industries Department

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Beyond Distribution ADDRESS: 109 Reserve Rd., Artarmon, New South Wales 2064,

Australia TELEPHONE: (61-2) 9437-2000 FAX: (61-2) 9437-2017 WEBSITE: www.beyond.com.au GENERAL MANAGER: Fiona Crago HEAD, SALES: Munia Kanna-Konsek HEAD, ACQUISITIONS: Yvonne Body CONTACTS: fiona_crago@beyond.com.au; munia_kanna-

konsek@beyond.com.au; yvonne_body@beyond.com.au PROGRAMS: Monster Bug Wars: 6x1 hr., wildlife/natural history; Behind Mansion Walls: 13x1 hr., factual entertainment; Design DNA: 13x30 min., factual entertainment; Rodeo: 8x1 hr., factual entertainment; The Hunks: 6x1 hr., factual entertainment; Iconicles: 26x30 min., children & family; Tati’s Hotel: 26x15 min., children & family; SAS:The Search for Warriors: 2x1 hr., factual entertainment; Burn My Mortgage: 13x30 min., factual entertainment; Dick ‘n’ Dom Go Wild: 20x30 min., children & family.

“We are very proud that 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 such as MIPTV, MIPDOC, MIPCOM, MIP Junior, DISCOP, ATF and WAEA, our sales team focuses heavily on territory sales trips. Beyond Distribution’s name is synonymous with programs of mass appeal and our current international sales catalogue boasts over 5,000 hours of top-quality and multi-award winning programming. 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.

Some of our recent international success stories include Mythbusters, Numberjacks, Kid Detectives, Milly Molly, Backyard Science, Taboo, Lonely Planet: Six Degrees, The Will: Family Secrets Revealed and Deadly Women. Program highlights in 2011 include Iconicles, Tati’s Hotel, Monster Bug Wars and Behind Mansion Walls.”

—Fiona Crago, General Manager 40

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Breakthrough Entertainment ADDRESS: 35 Britain St., Toronto, Ontario M5A 1R7, Canada TELEPHONE: (1-416) 366-6588, x112 FAX: (1-416) 363-9726 WEBSITE: www.breakthroughentertainment.com EXECUTIVE PRODUCER & PARTNER: Ira Levy EXECUTIVE PRODUCER & PARTNER: Peter Williamson VP, DISTRIBUTION: Nat Abraham CONTACT: nabraham@breakthroughentertainment.com PROGRAMS: The Truth About Shoplifting: 1x1 hr., factual;

Crackberry’d—The Truth About Information Overload: 1x1 hr., factual; Hollywood’s 10 Best: 99x30 min., Hollywood profile; Innovation Nation: 6x30 min., factual; Crash Canyon: 26x30 min., animation; The Future Revealed: 10x30 min., factual; Greatest Tank Battles: Season 2, 20x1 hr., factual; Plastic Makes Perfect: 39x30 min., lifestyle; My Big Big Friend: 52x11 min./26x30 min., animation; The Mooh Brothers: 26x11 min., animation.

“Breakthrough Entertainment is a major producer and distributor of popular drama, factual and lifestyle programming, as well as children’s live-action and animated series. Over the past 25 years producers Ira Levy and Peter Williamson have built a creative partnership and established themselves as one of Canada’s most prolific providers of television programming by collaborating with key broadcasters from all over the world.

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 Jimmy Two-Shoes (Disney XD) and popular thirdparty productions.”

—Nat Abraham,VP, Distribution

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CABLEready Corporation 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: gary@cableready.net PROGRAMS: Rescue Helicopter: 48x30 min., HD, factual/documen-

tary; Clunkers: 9x30 min., HD, entertainment/sitcom; Forensic Files/Medical Detectives: 399x30 min., HD, crime & investigation/medical/technology; Tony Awards: 3 hrs., HD, entertainment/live event; Inside the Actors Studio: 73x1 hr. & 15x2 hrs., HD, entertainment; Women Behind Bars: 36x1 hr., 6x1 hr. in production, HD, crime & investigation; Hollywood’s Top Ten: 150x30 min., new daily eps., HD, entertainment; First Date: 52x30 min., HD, lifestyle/entertainment; Northwest Wild: 7x30 min., HD, lifestyle/adventure; TV with TV’s Jonathan Torrens: 65x30 min., HD, entertainment.

“CABLEready 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. Our successes include Inside the Actors Studio, a hit on Bravo in the U.S. and airing in more than 100 countries worldwide; Forensic Files, truTV’s top-rated and longestrunning series; and countless other series and specials.

CABLEready is the exclusive international distributor for such global programming brands as The New York Times and ReelzChannel. CABLEready also distributes programs on behalf of Lionsgate, Weather Channel and truTV. Inc. Magazine named CABLEready as one of America’s 5,000 fastest-growing private companies and the highest-ranked TV programming company in 2007, 2008, 2009 and 2010.”

—Gary Lico, President & CEO

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

Edward Galton CONTACT: egalton@cakeentertainment.com PROGRAMS: Tom & the Slice of Bread with Strawberry Jam & Honey: 52x5 min., animation/3- to 6-year-olds; The Sparticle Mystery: 13x30 min., drama/6- to 9-year-olds; Poppy Cat: 52x11 min., animation/3- to 5-year-olds; Oscar’s Oasis: 78x7 min., animation/6to 11-year-olds; Angelo Rules: 78x7 min. & 30x1 min., animation/8- to 12-year-olds; Eliot Kid: 104x13 min., animation/6- to 9-year-olds; Dead Gorgeous: 26x24 min., drama/8- to 12-year-olds; Total Drama World Tour, Total Drama Action & Total Drama Island: 78x22 min., animation/8- to 12-year-olds.

“CAKE is one of the world’s leading kids’ and family entertainment specialists. Since 2002, the London-based company has worked with animation and live-action producers from around the world to develop, create, commercially position and manage their IP propositions for the international market. 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 range of programming, from the animated reality TV parody Total Drama, beautifully rendered cartoon caper Oscar’s Oasis and sci-fi adventure The Sparticle Mystery, to the cute and cuddly preschool series Poppy Cat, based on the international best-selling books by Lara Jones, 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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Cineflix International ADDRESS: Barley Mow Centre, 10 Barley Mow Passage, London

W4 4PH, U.K. TELEPHONE: (44-208) 996-1810 FAX: (44-208) 996-1811 WEBSITE: www.cineflixinternational.com PRESIDENT & MANAGING DIRECTOR: Paul Heaney HEAD, SALES: Kate Llewellyn-Jones HEAD, SALES: Sandra Piha CONTACT: sales@cineflix.com PROGRAMS: Cash & Cari: 26x30 min., entertainment; Cash

Cowboys: 13x1 hr., entertainment; Conviction Kitchen Australia: 8x1 hr., reality; Dussault Inc.: 32x30 min., docu-soap; Extreme Poodles: 1x1 hr., entertainment; In-Law Wedding Wars: 13x1 hr., lifestyle; Instant Cash: 26x30 min., entertainment; Nothing Personal: Murder for Hire: 6x1 hr., crime; Python Hunters: 9x1 hr., natural history; Remote Control Star: 10x30 min., entertainment.

“Cineflix International is a leading independent distributor in the global television industry, working closely with major international broadcast partners and producers to provide brands and formats that have worldwide appeal. With over 1,500 hours of quality programming in our library, including factual, factual entertainment, formats and a soon-to-be-featured catalogue of scripted shows, our new programming is expanding at a rate of 600 hours every year.”

—Paul Heaney, President & Managing Director

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Content Television ADDRESS: 19 Heddon St., London, W1B 4BG, U.K. TELEPHONE: (44-207) 851-6500 FAX: (44-207) 851-6504 WEBSITE: www.contentmediacorp.com PRESIDENT, TELEVISION & DIGITAL DIVISIONS: Greg Phillips EXECUTIVE VP, WORLDWIDE DISTRIBUTION, TELEVISION DIVISION: Saralo MacGregor CONTACT: firstname.surname@contentmediacorp.com PROGRAMS: Republic of Doyle: 38x1 hr., HD, drama; Heartland:

87x1 hr., HD, drama; Nuclear Family: 15x5-7 min. & 1x90 min., multiplatform/thriller; The Cut: 40x30 min./200x5 min., HD, multiplatform/drama; Anna’s Wild Life: 8x30 min., nonfiction; Wild Wales: 3x1 hr., HD, nonfiction; The Secret Life of Birds: 5x30 min., HD, nonfiction; Whites: 6x30 min., HD, drama; Thorne: 6x1 hr., HD, drama;The Orange British Academy Film Awards: 1x2 hrs., HD, awards show.

“Content Television, a division of Content Media Corporation, distributes a catalogue of over 3,200 hours of high-quality and commercially appealing programming, including an extensive slate of major drama series, nonfiction entertainment, kids’ live-action comedy and drama series, TV movies, mini-series and special event programming. Recent additions include the highly anticipated new crime thriller Thorne; hilarious BBC comedy series Whites; Freak Encounters, a unique blend of horror and reality; innovative new multiplatform dramas such as Nuclear Family, Pretty Tough and The Booth at the End from leading U.S. studio Vuguru; plus over 200 U.S. network mini-series and TV movies; and specials, including the U.S. Primetime Emmy Awards show, the prestigious BAFTA entertainment portfolio and the premier Hollywood event The Critics’ Choice Movie Awards. This new product is combined with the large and valuable Fireworks library catalogue, which is complemented by a raft of formidable television shows, including Gene Roddenberry’s Andromeda, Mutant X and Relic Hunter.”

—Greg Phillips, President,Television & Digital Divisions

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Cyber Group Studios ADDRESS: 7 rue Letellier, 75015 Paris, France TELEPHONE: (33-1) 4058-1443 FAX: (33-1) 4058-1433 WEBSITE: www.cybergroupstudios.com PRESIDENT & CEO: Pierre Sissmann VP, INTERNATIONAL SALES & ACQUISITIONS: Carole Brin PROGRAMS: ZOU: 52x11 min., animation/3- to 6-year-olds;

Fish ‘n Chips: 52x13 min., animation/6- to 10-year-olds; Nina Patalo: 39x7 min., animation/6- to 10-year-olds; Tales of Tatonka: 52x13 min., animation/4- to 8-year-olds; Grenadine & Peppermint: 78x7 min., animation/6- to 10-year-olds; Ozie Boo Save the Planet: 78x5 min., animation/2- to 6-year-olds; Guess What?: 52x7 min., animation/2- to 6-year-olds; Cloud Bread: 78x7 min., animation/2- to 6-year-olds; Raju: 78x7 min., animation/2- to 6-year-olds; Manon: 52x7 min., animation/2to 6-year-olds.

“Cyber Group Studios is a French independent multi-awarded company, which produces and distributes its own and third-party audiovisual productions and brands with strong international appeal targeted to kids and families in particular.

[There are] 3D CGI and 2D HD animation products (TV series and movies) targeted at 2to 12-year-old kids and tweens; and HD liveaction and animation series for ‘Triple Play’ broadcast (web, mobile phones, TV) targeted at teenagers and young adults.

Cyber Group Studios also develops consumer-products licensing businesses based on its own and third-party characters.

Our mission is to bring the best quality entertainment to kids and families, associating with the best creative talent we can find around the world and developing breakthrough technology to enhance our productions. It is also [our mission] to associate [with] other top producers in the world to help bring them to market, through our distribution network, what we feel are outstanding new productions.”

—Carole Brin,VP, International Sales & Acquisitions

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Gaiam ADDRESS: 350 Madison Ave., Suite 1700, NewYork, NY 10017, U.S.A. TELEPHONE: (1-212) 951-2320 FAX: (1-212) 951-2363 WEBSITE: www.gaiam.com PRESIDENT, ENTERTAINMENT & WORLDWIDE DISTRIBUTION:

William Sondheim DIRECTOR, INTERNATIONAL SALES: Myriam Diaz PROGRAMS: Chop Kick Panda: 1x45 min., animation; Tappy Toes

Penguin: 1x45 min., animation; Puss in Boots (working title); Animated Catalogue: 46 titles, 45 min. each.

“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. In 2011, 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, Entertainment & Worldwide Distribution

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Global Agency ADDRESS: Abdi Ipekci cad. Arman palas, 7/17 Nisantasi 34367 Istanbul, Turkey TELEPHONE: (90-533) 766-1525 FAX: (90-212) 296-6053 WEBSITE: www.theglobalagency.tv CEO: Izzet Pinto SALES EXECUTIVE: Catherine Stryker CONTACT: catherine@theglobalagency.tv PROGRAMS: 1001 Nights: 180x42 min., drama; The Island: 26x45 min., drama; Secrets of Eden: 620x45 min., telenovela; The Perfect Bride: 13 weeks, 45 min. daily eps., wedding/reality; The Big Challenge: 13 weeks, 2 hr. weekly eps., adventure/reality; Rent-a-Mama: 13 weeks, 45 min. daily eps., adventure/reality; Choosing My Religion: 10 weeks, 2 hr. weekly eps., reality; The King’s Jungle: 16 weeks, 45 min. daily eps., reality; Forbidden Love: 79x90 min., scripted drama.

“In less than five years, Global Agency has become one of the fastest-growing distributors in the industry thanks to its strong content lineup and dedicated professional team. An original pioneer for Turkish series in Central and Eastern Europe, Global Agency represents phenomenal series such as 1001 Nights.The agency continues to source fresh and exciting content and format ideas from all over the world.The wedding format The Perfect Bride has moved quickly into new territories, including China, Indonesia, Serbia, Bulgaria, Russia and Ukraine. Global Agency’s front-running format for 2011 is the much talked about My Ex is My Witness! The agency is also proud to represent The Island in selected territories. This series is the most expensive production in Greek television history, and is based on the international best-seller by Victoria Hislop. It is set to be another highlight at MIPTV.” —Izzet Pinto, CEO

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GMA Worldwide ADDRESS: GMA Network Center, 10/Fl., EDSA corner Timog Ave., Diliman, Quezon City 1103, Philippines TELEPHONE: (63-2) 928-5072 FAX: (63-2) 928-5065 WEBSITE: www.igma.tv/gwi VP: Roxanne J. Barcelona ASSISTANT VP: Joy D. Go CONTACT: GWI@gmanetwork.com PROGRAMS: Marimar: 77x45 min., contemporary drama; Full House: 32x45 min., contemporary drama; The Impostor: 39x45 min., contemporary drama; Until Forever: 36x45 min., contemporary drama; Beauty Queen: 33x45 min., contemporary drama; Little Trudis: 38x45 min., contemporary drama; Golden Heart: 35x45 min., contemporary drama; Grazilda: 39x45 min., fantasy drama; Jenna: 33x45 min., contemporary drama; Amaya: historical epic drama.

“GMA Worldwide, Inc. (GWI) is the content acquisition and distribution subsidiary of GMA Network, Inc., the leading media broadcasting company in the Philippines. GWI acquires canned programs for the network’s two free-toair channels and handles worldwide distribution of the network’s television programs of various genres, footage and feature films. Over the years, GWI has sustained strong business relationships with clients across the globe. Our programs are dubbed or subtitled in different languages, and are viewed in China, Cambodia, Indonesia, Malaysia, Hawaii, Canada, the U.S., Singapore, Vietnam, Korea, New Zealand, the Middle East, Brunei, and the African territories of Tanzania, Kenya, Nigeria and Uganda. Our lifestyle and infotainment programs can also be enjoyed aboard numerous airline carriers. GWI has also inked a deal with an IPTV company that carries over 2,500 hours of our archived programs available to worldwide subscribers.”

—Roxanne J. Barcelona,VP

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Jelly Bean Films & Distribution ADDRESS: 555 Pilgrim Dr., Suite C., Foster City, CA 94404,

U.S.A. TELEPHONE: (1-650) 212-0261 FAX: (1-650) 212-0265 WEBSITE: www.jellybeanfilm.com PRESIDENT: Sabrina Chen-Louie CONTACT: sabrina@jellybeanfilm.com PROGRAMS: Burma—A Human Tragedy: documentary; Life, Death,

& Reincarnation with The Dalai Lama: documentary; Heaven Burial: documentary; Mani City: documentary: Joseph Rock and His Horse Tribe: documentary; Myth of Zhanli: documentary; The Deity Puppet: documentary; Finding Tea: documentary; Cave Living: documentary; The Cross Upon the Hill: documentary.

“In 2006, Jelly Bean Films & Distribution started working with new writers, producers and directors in Asia to creatively and jointly produce documentaries about China. In two years of production, four wonderful stories were told in unique styles and the landscapes were beautifully captured. With the wonderful success of these documentaries, six more are on the way.

Last year was a good year for us. We were very fortunate to have interviewed ‘His Holiness’ The Dalai Lama in a 48-minute documentary about life, death and reincarnation. We also traveled to Burma to personally interview ‘The Lady’ Daw Aung San Suu Kyi for our 85-minute documentary film. Our dream and passion is to take good stories and produce them into different media so everyone around the world can share and learn about the East and the West.”

—Sabrina Chen-Louie, President

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Motion Pictures ADDRESS: Reina Victoria, 8. 08021 Barcelona, Spain TELEPHONE: (34-93) 200-2500 FAX: (34-93) 200-4061 WEBSITE: www.motionpic.com MANAGING DIRECTOR: Alberto Uviedo SALES DIRECTOR: Tony Albert CONTACT: alberto@motionpic.com PROGRAMS: LMN’s: 52x13 min., animation/adventure; Glumpers:

104x90 sec., animation/slapstick; Van Dogh: 104x4 min., animation/preschool; Boom & Reds: 104x4 min., animation/preschool; Telmo & Tula—Little Cooks: 52x7 min., animation/edutainment; Telmo & Tula—Arts and Crafts: 52x7 min., animation/edutainment; Zumbers: 150x3 min., animation/preschool; Alex: 104x4 min., animation/edutainment; Green Light: 26x5 min., animation/edutainment; Hero Kids: 26x5 min., animation/adventure.

“Our priority is to develop and produce the most interesting ideas and concepts in order to fit the TV networks around the world the best.

With our knowledge of the market, we firmly believe in the idea as the key prior to success.

Because of that, we are wide open to finance, develop and/or produce the ideas that can combine originality and simplicity in the best way.

According to this mentality, during the last two years we have become the first Spanish production company in number of series and length of minutes produced, combining 3D and 2D and always in HD, sold to the main territories and networks worldwide.”

—Tony Albert, Sales Director

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National Geographic Channels ADDRESS: 1145 17 St. NW, Washington, D.C. 20036, U.S.A. TELEPHONE: (1-202) 912-6503 FAX: (1-202) 912-6694 WEBSITE: www.ngcimedia.com EXECUTIVE VP, GLOBAL PROGRAMMING: Steve Burns VP, GLOBAL CONTENT SALES: Germaine Deagan Sweet CONTACT: Germaine Deagan Sweet PROGRAMS: Restrepo—Outpost Afghanistan: 1x2 hrs. & 1x1 hr., HD,

special; Inside the State Department: 1x1 hr., HD, special; Swamp Men: 10x1 hr., HD, wildlife; The Truth Behind Zombies: 1x1 hr., HD, science; Chilean Miners—Buried Alive: 1x1 hr., special; Warrior Road Trip: 3x1 hr., HD, adventure/travel; Clash of the Continents: 2x1 hr., HD, science; Shark Men: 20x1 hr. & 1x1 hr., HD, wildlife; Megafactories: 20x1 hr., HD, science; Beast Man: 5x1 hr., HD, wildlife.

“National Geographic Channels invites viewers to live curious through its smart, innovative programming that questions what we know, how we view the world and what drives us forward. With a broad range of factual programming, from science and technology, natural disasters, current affairs, adventure and wildlife, National Geographic Channels’ programming is as entertaining as it is relevant.”

—Corporate Communications

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NHU Africa ADDRESS: Block A, Longkloof Studios, Darter’s Rd., Gardens,

8001 Cape Town, South Africa TELEPHONE: (27-21) 422-0154 FAX: (27-21) 422-0012 WEBSITE: www.nhuafrica.com CEO: Sophie Vartan PRODUCER & EDITOR: Lailah Orrie CONTACT: lailah@nhuafrica.com PROGRAMS: Into the Dragon’s Lair: 1x52 min., HD, wildlife/docu-

mentary; Touching the Dragon: 1x52 min., HD, wildlife/documentary; Dragon’s Feast 3D: 1x52 min., 3D, wildlife/documentary; Saving Rhino Phila: 1x52 min., HD, wildlife/documentary; Sharon and Mugabe’s Elephants: 1x52 min., HD, wildlife/documentary; Ambush Alley: 1x52 min., HD, wildlife/documentary; A Leopard on My Branch: 1x52 min., HD, wildlife/documentary; Paseka the Easter Elephant: 1x52 min., HD, wildlife/documentary; Chameleons: 1x52 min. & 3x24 min., HD, wildlife/documentary; The Cheetah Diaries: Season 2, 13x24 min., HD, wildlife/documentary.

“Natural History Unit of Africa (NHU Africa) commissions, co-produces and distributes wildlife and natural-history documentaries.

Programming highlights include, in development, Sharon and Mugabe’s Elephants, one woman’s ten-year battle to save a herd of elephants; and Saving Rhino Phila, the story of a young black rhino and the current epidemic of rhino poaching in South Africa. Currently in production [are] Dragon’s Feast 3D, [in which] divers swim amongst a group of frenzy feeding Nile crocodiles; Touching the Dragon, [asking the question] can a man have a friend in a crocodile?; Stranded, an emotional insight into 12 hours on a beach with 55 stranded whales; Paseka the Easter Elephant, an intimate portrait of the survival of a baby elephant; and Cheetah Diaries 2, a feel-good series about a group dedicated to the plight of the cheetah.

NHU Africa is looking towards commissioning more compelling stories about the connection between man and the natural world and becoming a port of first call for creative ideas from African wildlife documentary makers.”

—Sophie Vartan, CEO

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Into the Dragon’s Lair: Marine photographer Roger Horrocks is on a personal quest to understand the relationship between man and beast. He travels to Costa Rica to meet Chito, who after a saving a young crocodile, forms an uncanny friendship with the reptile.

Witnessing the incredible relationship Chito shares with the crocodile, forces Roger to reassess his understanding of the nature of crocodiles.

Dragon’s Feast 3D: Roger’s adventures throughout the series are brought to a conclusion, this time in 3D. Roger returns to the Okavango, taking the plunge, diving and filming among a group of frenzy feeding Nile crocodiles. No one who has ever been caught in the wake of a gang of hungry crocodiles has survived to tell the tale, let alone come back with 3D footage.

Saving Rhino Phila: The dramatic story of a young black rhino called Phila, who has survived being shot 11 times in two separate poaching attempts. Through the visual and narrative reconstruction of Phila’s story, the film will shed light on the current rhinopoaching epidemic sweeping through South Africa. The controversial issues addressed in this film and its original storytelling will make this film stand out.

Paseka the Easter Elephant: On Easter morning, a baby elephant is mysteriously abandoned by her herd in the wilds of Botswana’s Okavango Delta. Saved from certain death by a bizarre chain of events, she forces herself into a very unusual, captive elephant herd.

This is Paseka’s story. We follow her first year in this spectacular African wilderness, learning daily what it means to be an elephant.

Buyers will be moved by this tale, which will appeal to a very wide audience.

Leopard on My Branch: Set in the wilderness of the Kalahari, this account follows the struggle of one particular leopard and her cubs. She is under constant threat from predators, including the most dangerous cat in the Kalahari, the lion, and she seeks sanctuary in the branches of the Acacia Tree. Can a lion breach the protective embrace of the Acacia’s branches and if so what will be the outcome for our leopard and her cubs?

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Opus Distribution ADDRESS: 4132 Greenbrier Lane, Tarzana, CA 91356, U.S.A. TELEPHONE: (1-818) 708-8278 FAX: (1-818) 708-8278 WEBSITE: www.opusdistribution.com PRESIDENT: Ken DuBow PROGRAMS: Deadly Sibling Rivalry: 1x85 min.; Truth About Kerry:

1x85 min.; Love at First Lie: 1x98 min.; The Christmas Bunny: 1x90 min.; The Dead Undead: 1x85 min.; Eyeborgs: 1x102 min.; Boilermaker: 1x90 min.

“Opus Distribution is a boutique film distributor specializing in movies ideally suited for broadcasters.With over 30 years of distribution experience, Opus’s expertise in world markets serves both the needs of producers and buyers for sales and co-productions.”

—Corporate Communications

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ORF-Enterprise ADDRESS: Wuerzburggasse 30, 1136 Vienna, Austria TELEPHONE: (43-1) 87878-13030 FAX: (43-1) 87878-12757 WEBSITE: contentsales.orf.at CFO & HEAD, CONTENT SALES: Beatrice Riesenfelder CONTACT: contentsales@orf.at PROGRAMS: Sky Hunters—The World of the Dragonfly: 1x50 min.,

nature/wildlife; First on Everest: 1x50 min./1x90 min., nature/wildlife; Secrets of the Flooded Forest: 1x50 min., nature/wildlife; Lynx Liaison: 1x50 min., nature/wildlife; Silverado: 1x50 min., history; Retribution: 1x90 min., crime; The Best Selling Monks—A Miracle with Side Effects: 1x52 min., music/documentary; The World in a Ball: 1x52 min., social/documentary; Molly & Mops 2 & 3: 87 min. each, romantic comedy; White Beauty: 13x50 min., drama.

“ORF-Enterprise is the commercial arm of the Austrian Broadcasting Corporation, and as such the program-sales department, CS-I (Content Sales International), is able to also act independently from the broadcaster’s portfolio. Thus, we sell content of all genres and [from] different countries, although our main focus still lies in German-language programming.The best-selling brand, however, is UNIVERSUM, the natural-history slate of ORF with more than 15 blue-chip docs in the market every year.

At MIPDOC, we will present ten new wildlife and history docs, featuring, among others Radioactive Wolves, Sky Hunters—The World of the Dragonfly, Sea of Creepy Monsters, In Bed with Wolves, Lynx Liaison, First on Mount Everest and Silverado.

Moreover, at MIPTV we will introduce a new romantic TV series, White Beauty, a drama dealing with the business of breeding the famous Lipizzan horses. The series will be accompanied by several documentaries about the majestic white horses, ideal for a supporting programming.”

—Beatrice Riesenfelder, CFO & Head, Content Sales

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Parthenon Entertainment ADDRESS: Parthenon House, Station Approach, Chorleywood,

Hertfordshire WD3 5PF, U.K. TELEPHONE: (44-19) 2328-6886 FAX: (44-19) 2328-6686 WEBSITE: www.parthenonentertainment.com CEO: Carl Hall DIRECTOR, GLOBAL SALES & ACQUISITIONS: Leona Connell CONTACT: Sean Harris, sean.harris@parthenonentertainment.com PROGRAMS: Alone Against the Tasman: 1x1 hr., HD; Caught in the

Act III: 6x1 hr., HD; Croc Ganglands: 1x1 hr., HD; Hitler’s Heroes: 2x1 hr., HD; Last Stand of the Templars: 1x1 hr., HD; Mystery Files: Season 2, 13x30 min., HD; Return to the Wild: 13x30 min.; Viking Wilderness: 4x1 hr., HD; Wild Amazon: 2x1 hr., HD; Zoo Babies: 10x30 min., HD. “Parthenon Entertainment is a multimedia rights management company, which develops, produces and distributes a diverse portfolio of high-quality factual and children’s properties for the global marketplace.

Founded in 2002 by Carl Hall, former managing director of HIT Wildlife, Parthenon is ranked amongst the top independent U.K. producers and distributors and has built a reputation for delivering high-rating series and specials for clients around the world.

With operations in Europe and North America, Parthenon’s international reach provides a presence across all key territories for the exploitation of its content and a platform for continued growth and development.”

—Leona Connell, Director, Global Sales & Acquisitions

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Rive Gauche Television ADDRESS: 15442 Ventura Blvd., Sherman Oaks, CA 91403, U.S.A. TELEPHONE: (1-818) 784-9912 FAX: (1-818) 784-9916 WEBSITE: www.rivegauchetelevision.com PRESIDENT: David Auerbach CONTACT: Julie Pifher, Julie@rgitv.com PROGRAMS: Cyber Smarts: format, game show; Style Diva: format,

game show; Hunch: format, game show; Big Chef Slimdown: format, weight-loss competition/cooking; My Strange Addiction: format, docu-series; Scare Tactics: format, hidden camera.

“Rive Gauche Television has built its reputation by delivering innovative, unscripted programming and has developed strong relationships with broadcasters around the world by helping them build global brands. As a boutique distributor, we are selective in choosing the projects we get behind and are passionate about them once we do. Our strategy is the same with regard to formats. Our goal is to work with the best producers to develop simple, clear and promotable formats that will enable our partners to produce low-cost, original programming that will deliver ratings and key demos in their markets. While Rive Gauche is relatively new to the formats business, I’m fortunate to have been involved in creating a wide variety of successful formats during my 17 years at Warner Bros.The early reactions to Cyber Smarts, Style Diva and Hunch have all been extremely positive and confirm that we’re on the right track.”

—David Auerbach, President

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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: William & Kate: 1x90 min., event movie; Isenhart:

1x90 min., action-adventure movie; Russian Roulette: 2x90 min., thriller; Danni Lowinski: 26x45 min., dramedy; You Deserve It!: format, game show; My Man Can: format, game show; Beat your Host!: format, game show; Benidorm Bastards: format, hidden camera; Schiller Street: format, comedy improv.; Galileo: format, sciencetainment magazine.

“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 highbudget, CGI-loaded 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.Think of international smash hits like Beat your Host!, Benidorm Bastards and The Next Uri Geller.

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.”

—Jens Richter, Managing Director

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Skywriter Media & Entertainment Group ADDRESS: 250 Bloor St. W., Suite 1450, Toronto, Ontario M4W 1E6, Canada TELEPHONE: (1-416) 966-4759 FAX: (1-416) 966-4624 WEBSITE: www.skywritermedia.com EXECUTIVE PRODUCER & CEO: Kevin Gillis VP, DISTRIBUTION & ACQUISITIONS: Gwen Jones McCauley CONTACT: Ashley Rite, arite@skywritermedia.com PROGRAMS: Crash Addicts: 26x30 min., documentary; INK: 10x30 min., documentary; Crimes of Passion: 16x30 min., documentary; Pretty Dangerous: 13x30 min., documentary; Tow Biz: 13x30 min., documentary; Camp Lakebottom: 52x11 min., kids & family; Vivi: 52x11 min., kids & family; The Wumblers: 26x11 min., kids & family; Atomic Betty: 78x30 min., kids & family; Planet Echo: 13x30 min. & 13x30 min., kids & family.

“Skywriter Media & Entertainment Group was launched in 2009 as a fully integrated producer and distributor of original programming and content for all forms of traditional and digital media worldwide. In the company’s second year, we continue to bring our industry experience and creativity to present high-quality international animation and live-action programming, as well as excel in new endeavors in the expanding digital marketplace.

The company has grown its catalogue to include over a thousand hours of lifestyle, documentary and natural-history programming to complement its strong base of family programming and animation.We recently launched Skyreader, an interactive ereader technology that is transforming traditional books and programs into interactive apps for multiplatform use. Furthermore, Skywriter works with partners, broadcasters and publishers to create, produce and repurpose intellectual property for digital platforms. Skywriter’s goal is to be the ‘go-to’ leader in the creation of high-quality content for all genres and platforms.”

—Kevin Gillis, Executive Producer & CEO

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Starz Media ADDRESS: 2950 N. Hollywood Way, 3/Fl., Burbank, CA 91505,

U.S.A. TELEPHONE: (1-818) 748-4160 FAX: (1-818) 748-4611 WEBSITE: starzglobal.com CEO: Chris Albrecht EXECUTIVE VP, WORLDWIDE SALES: Gene George CONTACT: Gene.george@starz.com PROGRAMS: Spartacus: Gods of the Arena: 6x1 hr., action/drama;

Dan Vs.: 22x30 min., animation/comedy; Waiting for Forever: 1x94 min., romantic comedy; A Valentine’s Date: 1x85 min., romantic comedy; The Dog Who Saved Christmas Vacation: 1x90 min., family/holiday; Stolen Child: 1x90 min., suspense/thriller.

“Starz Media is a full-service production and distribution company, creating proprietary intellectual properties as well as content created under contract for other media companies, and distributing however and wherever entertainment consumers want it, around the world. It is the production-and-distribution sibling of the 16 Starz and Encore premium entertainment channels in the U.S.” —Corporate Communications

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Studio100 Media ADDRESS: Nymphenburger Str. 82, 80636 Munich, Germany TELEPHONE: (49-89) 960-8550 FAX: (49-89) 960-855104 WEBSITE: www.studio100media.com MANAGING DIRECTOR: Patrick Elmendorff CONTACT: Nicole Braun, nicole.braun@studio100media.com PROGRAMS: The House of Anubis: 60x12 min., live action; Maya the

Bee: 78x11 min., 3D, animation; Woodlies: 26x24 min., 3D/2D, animation; Florrie’s Dragons: 52x10 min., animation; Enyo: 26x24 min., 3D, animation/fantasy/adventure; Dobus: 60x8 min., live action; Kerwhizz: 39x22 min., multiplatform quiz show; VIPO Season II (Surviving Time Island): 26x11 min., 3D, animation; Titipangpangrescue: 52x11 min., animation/action/comedy.

“Studio100 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 Studio100.

The company develops and acquires new formats, is active as a co-producer and is also responsible for the global marketing of its own rights portfolio, as well as of third-party programming.

In marketing its license rights, the company pursues a global strategy within sectors ranging from licensing and merchandising, home entertainment through to stage shows and theme parks.

With its consolidated commitment to children’s programming, Studio100 Media is focusing on modernizing and reviving several of its classic brands such as Maya the Bee, Vicky the Viking and Heidi by producing new animation series using state-of-theart technology. In addition, the company is also responsible for producing the hit mystery teen series The House of Anubis, which was originally produced by Studio100 for Nick Holland. In cooperation with Nick Germany, the German version followed in 2009, the U.S. version [launched] on Nick U.S. in 2011 and subsequently the series [heads to] the U.K. and Australia.”

—Patrick Elmendorff, Managing Director

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Televisa Internacional ADDRESS: 6355 NW 36 St., Miami, FL 33166, U.S.A. TELEPHONE: (1-786) 265-2500 FAX: (1-786) 265-2269 WEBSITE: www.televisainternacional.tv VP: Fernando Perez Gavilan GENERAL DIRECTOR, SALES: Carlos Castro CONTACTS: Cecilia Rivera, crivera@televisa.com.mx; Maria

Fernanda Abraham, mabrahamf@televisa.com.mx PROGRAMS: Rafaela: 150x1 hr. & format, telenovela; Triumph of

Love: 150x1 hr. & format, telenovela; Teresa: 150x1 hr. & format, telenovela; Decades: 26x3 hrs., light entertainment/variety format; Dream with Me: 120x1 hr. & format, telenovela.

“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 for telenovelas, series, games and reality shows of guaranteed success and backed by the expertise and talent of our experts in production and marketing. Our sales offices are strategically located in Miami, New York, Mexico City, Buenos Aires, Madrid and Beijing.”

—Corporate Communications

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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: The New Faces of Nouvelle Couture: 8x52 min., arts & crafts; In the Footsteps of Tintin: 5x52 min., world culture; Baltic Coastlines: 15x52 min. & 6x26 min., travel; Facing the Killer Volcano: 1x90 min. & 1x75 min., factual drama; SoLa—Louisiana Water Stories: 1x52 min., environment; Tipping Point: 1x52 min., environment; Men & Biodiversity—A Work in Progress: 1x52 min., environment; Solar Impulse—The Wings of the Sun: 1x52 min., engineering; 300 Days on an Island: 1x52 min., travel/adventure; DNA: 230x5 min., science magazine.

“Terranoa is a benchmark distributor for innovative, high-profile factual productions. Each year the productions we distribute are awarded internationally, such as the acclaimed film Green, which remains the most-awarded wildlife doc of the past year. With an eclectic catalogue of over 800 hours and a decade of successful programs sold internationally, such as Europe’s Coastlines from Above, Great Sporting Duels and Rivers of the World, Terranoa has attracted numerous producers who share the values and quality of our brand. Gedeon Programmes and Boréales are among the founders of this brand, which covers 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 other multimedia platforms worldwide with an attractive choice of innovative forms and quality content. Our full-length programs are available to screen online at terranoa.com.”

—Isabelle Graziadey, Head, International Sales & Acquisitions

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The Licensing Machine ADDRESS: Viale Emilio Po, 380, 41126 Modena, Italy TELEPHONE: (39-059) 382111 FAX: (39-059) 382363 WEBSITE: www.thelicensingmachine.com LICENSING DIRECTOR: Peter Warsop TV, HOME VIDEO & DIGITAL SALES & SERVICES MANAGER:

Bruno Zarka CONTACT: bzarka@panini.it PROGRAMS: Kokomom: 52x13 min., CGI, animation/preschool; Pikaboo: 26x11 min., animation/preschool; Tic Tac Tales: 39x7 min., live action & animation/4- to 6-year-olds; D Team: 26x26 min., animation/6- to 10-year-olds; Naruto: 400+x26 min., anime/ages 12+; Fullmetal Alchemist Brotherhood: 63x26 min., anime/ages 13+; Ranetki: 20x42 min., sitcom/10- to 14-year-olds; Metal Hurlant Chronicles: 6x26 min., sci-fi; Possessed: 10x70 min., crime & investigation.

“The Licensing Machine (TLM) is the media and brand licensing division of the Panini Group, dedicated to the management of TV, home video, promotional and merchandise rights.TLM’s portfolio of franchises ranges from TV content to brands, characters and arts. In the continuity of the legacy of the Panini Group, which celebrates its 50th anniversary in 2011 and is considered as a global family entertainment group, TLM aims to build and develop a family-oriented media catalogue. From children’s programs up to family programs, including sports content,TLM aims to bring our clients new quality programs to support their daily programming strategies and their audience development.TLM has also developed a strong media management service [that is] fully digitalized, based in London and integrated to serve our clients at a high-quality level from media management to delivery. Since 2006, TLM has delivered to its clients in Europe more than 800 half-hour episodes in about 27 countries.”

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

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Toonzone Studios ADDRESS: 3450 Cahuenga Blvd. W., Unit 804, Los Angeles, CA 90068, U.S.A. TELEPHONE: (1-323) 315-7900 FAX: (1-323) 874-2101 WEBSITE: www.toonzonestudios.com CEO: Konnie Kwak VP: Lee Adams CONTACT: lee@toonzonestudios.com PROGRAMS: Action Dad: 26x22 min., action/comedy/family; Tiny Warriors: 26x22 min., action/comedy; YooHoo & Friends: 52x11 min., eco-action/comedy.

“Los Angeles-based Toonzone Studios (TZ) is a highly unique, full-service facility that develops, produces and markets animation for both film and television. Founded in 2007,TZ specializes in bringing together award-winning animators, writers, directors, producers, web designers and marketers, all under one roof…literally.

Our current flagship projects include the eco-adventure series YooHoo & Friends, with David Feiss, creator of Cow & Chicken, as well as Thomas Krajewski, writer of The Fairly Odd Parents, at the helm; Action Dad, the super-spy family comedy about two teenagers whose parents are spies at competing agencies, written by Henry Gilroy from Star Wars:The Clone Wars and directed by animation veteran John Kafka; and we’ve just begun production on our martial-arts series Tiny Warriors, with our Brazilian co-pro partner.

So we’ve got a lot of exciting projects in production, but we’re always looking for new opportunities and new partners with our same passion.”

—Konnie Kwak, CEO

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TV Chile ADDRESS: Bellavista 0990, Providencia, Santiago, Chile TELEPHONE: (56-2) 707-7240 FAX: (56-2) 707-7771 WEBSITE: www.tvchile.cl INTERNATIONAL BUSINESS MANAGER: Ernesto Lombardi DEPUTY DIRECTOR, INTERNATIONAL: Alexis Piwonka CONTACTS: ernesto.lombardi@tvn.cl; alexis.piwonka@tvn.cl PROGRAMS: Los 80: series; Buscando América: travel; Témpano:

telenovela; Conecta2: magazine; Lo Mejor de Mi Tierra: magazine; El laberinto de Alicia: telenovela; Expedición Chile: adventure tourism; Innova: science & technology; Campeonato Nacional de Futbol: sports; Voy y Vuelvo: travel.

“With an engaged Latin audience,TV Chile and its renovated on-air presence looks to captivate English-speaking audiences with its flagship programming with English subtitles. Programming highlights in 2011 offer viewers new seasons of successful shows such as Buscando América and Expedición Chile.

Our international drama productions, which have conquered in different markets, pave the way for our new shows Témpano and El laberinto de Alicia that will surely enchant prime-time audiences during the first half of the year.

Millions around the world followed our newscasts during breaking-news events in Chile in 2010 (the earthquake and tsunami and the miner rescue). Viewers prefer TV Chile, with breaking live-news feeds that keep them informed and up to date.

TV Chile offers the world the best of our television.”

—Ernesto Lombardi, International Business Manager

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Venevision International ADDRESS: 121 Alhambra Plaza, Suite 1400, Coral Gables, FL 33134, U.S.A. TELEPHONE: (1-305) 442-3411 FAX: (1-305) 446-4743 WEBSITE: www.venevisioninternational.com PRESIDENT & COO, CISNEROS GROUP OF COMPANIES:

Miguel Dvorak VP & CFO: Manuel Perez VP, SALES: Cesar Diaz CONTACTS: Daniel Rodriguez, drodriguez@cisneros.com; Miguel Somoza, msomoza@cisneros.com; Hector Beltran, hbeltran@cisneros.com; Cristobal Ponte, cponte@saharamgt.com.

PROGRAMS: La Viuda Joven (The Black Widow): 120x45 min., telenovela; Eva Luna: 120x45 min., telenovela; La Mujer Perfecta (The Perfect Woman): 120x45 min.; XRC—Xtreme Reality Clips: 400 hrs., reality; NPS—No Puede Ser! (OMG—Oh My God!): 50x30 min.; Sacrificio de Mujer (A Woman’s Sacrifice): 101x45 min., telenovela; Tribulación—La Batalla Antes del Fin (Tribulation—The Battle Before the End): 13x1 hr., sci-fi/action; Desafío de Genios (Work of Genius): 13x1 hr., reality; A Que Te Ríes (BetYou’ll Laugh): 52x45 min., comedy; Kandela: 100x35 min., telenovela; LOL— Laughing Out Loud: 13x30 min., comedy; Reino Animal (Animal Atlas): 156x30 min., series; Safari (Safari Tracks): 52x30 min., series.

“Throughout its exceptional history of more than 35 years, Venevision International has continually enhanced its position among the world’s leading providers of Hispanic-based entertainment content through innovation, integration of the latest technology and embracing the era of new media and mobile consumers. As part of the Cisneros Group of Companies, Venevision International represents the products of Venevision Productions, the largest independent producer of Spanish-language programming in the United States, and Venevision, the leading broadcaster in Venezuela, currently celebrating its 50th anniversary, in addition to the catalogues of other key independent producers, as well as the interests of its vast and diverse business units, from music labels and publishing company to Internet and mobile content producers and aggregators.”

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Your Family Entertainment ADDRESS: Nordendstrasse 64, 80801 Munich, Germany TELEPHONE: (49-89) 997271-11 FAX: (49-89) 997271-91 WEBSITE: www.yf-e.com CEO: Dr. Stefan Piëch EXECUTIVE VP, SALES & LEGAL: Klaus Forch CONTACT: info@yfe-ag.com PROGRAMS: Air Bud: 1x93 min., live action/comedy; Altair in

Starland: 52x12 min., animation/fantasy/comedy; Crocadoo: 26x24 min., animation/adventure; Enid Blyton Secret Series: 20x26 min./5x90 min., live action/detective; Gloria’s House: 26x24 min., animation/comedy; Gnarfs: 13x24 min., animation/comedy; The Magic Pudding: 1x75 min., animation/fantasy/adventure; Mission Odyssey: 26x24 min., animation/fantasy/action; Oscar the Balloonist: 26x12 min., animation/adventure/edutainment; Wakkaville: 26x24 min., Maya 3D animation/comedy.

“Your Family Entertainment (YFE) produces and distributes non-violent family-oriented TV programs that parents trust. The company, formerly known as RTV Family Entertainment, has its roots in the traditional games and book editor Ravensburger AG. Since 1980 YFE has built a library of over 3,500 half-hours of animation and family classics.

The Country Mouse and the City Mouse, Fix & Foxi, Urmel, Enid Blyton are evergreens that most stations with a focus on both quality and high ratings request. For us quality is the most important factor in the equation.

Oscar the Balloonist, a co-production with ZDF, is now ready for delivery in HD.” —Dr. Stefan Piëch, CEO

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ZDF Enterprises ADDRESS: Erich-Dombrowski-Str. 1, 55127 Mainz, Germany TELEPHONE: (49-6131) 991-1601 FAX: (49-6131) 991-2601 WEBSITE: www.zdf-enterprises.de PRESIDENT & CEO: Alexander Coridass VP, SALES, MERCHANDISING & CO-PRODUCTIONS: Fred Burcksen CONTACT: programinfo@zdf-enterprises.de PROGRAMS: Flickering Hearts: 100x44 min., HD, drama; Sherlock

Yack—Zoo Detective: 52x13 min., HD, animation; Repossessed!: 10x50 min., HD, factual; Jack of Diamonds: 1x90 min., HD, drama; The Protectors: Season 2, 10x1 hr./5x100 min., HD, drama/crime & suspense; Sebastian Bergmann: 2x100 min., HD, drama/crime & suspense; 9/11—Science and Conspiracy: 1x95 min., HD, factual/current affairs & social issues; Hard Time: 6x50 min., HD, factual; Dawn of the Ocean: 1x90 min. & 3x50 min., HD, factual/science & knowledge; The Hunt for Hannibal’s Treasure: 1x2 hrs., HD, live action.

“Topping ZDF Enterprises’ MIPTV slate this spring are factual series, a raw and powerful new collection of in-your-face documentary entertainment that includes forays into prison life (Hard Time) and into the dangerous work of repo men (Repossessed). Other exciting docs tackle the so-called 9/11 lie (9/11: Science and Conspiracy) and the history of the seas (Dawn of the Ocean).

Buyers can also expect top-of-the-line drama in the second explosive season of The Protectors, the sophisticated robber caper Jack of Diamonds and the Sebastian Bergman police thrillers showcasing Sweden’s top profiler. Female audiences can look forward to love, passion, intrigue and broken hearts in need of mending in the absorbing new medical daily Flickering Hearts. Coming up for youngsters is the new live-action adventure film The Hunt for Hannibal’s Treasure and a sweetly loopy and wonderfully witty animated series about Sherlock Yack—Zoo Detective.”

—Alexander Coridass, President & CEO

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