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TV formats
Distributors GUIDE 2013/2014
FGUIDE_1013_TOC_Index 9/6/13 5:50 PM Page 1
CONTENTS A Note from the Editor . . . . . . .4 Interviews . . . . . . . . . . . . . . . .5 Distributors . . . . . . . . . . . . . .21 Event Calendar . . . . . . . . . . . .50
Publisher Ricardo Seguin Guise Editor Anna Carugati
Ricardo Seguin Guise President
Executive Editor Mansha Daswani
Anna Carugati Executive VP and Group Editorial Director
Managing Editor and Editor, English-Language Guides Kristin Brzoznowski
Mansha Daswani VP of Strategic Development and Associate Publisher
Production Director Victor L. Cuevas Associate Editor Joanna Padovano
Š 2013 WSN INC. 1123 Broadway, #1207 New York, NY 10010
Online Director Simon Weaver
Phone: (212) 924-7620 Fax: (212) 924-6940
Sales and Marketing Director Cesar Suero
Website: www.tvformats.ws No part of this publication can be used, reprinted, copied or stored in any medium without the publisher’s authorization. For a free subscription to our newsletters, please visit WorldScreen.com/pages/newsletter
Sales and Marketing Manager Vanessa Brand Business Affairs Manager Terry Acunzo
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A Note from the Editor Kristin Brzoznowski
There’s no question that OTT, VOD and so-called “binge viewing” have transformed consumers’ media diets. However, even with all the licensed content and original programming that digital services like Netflix, iTunes, Hulu Plus and the like now offer, there’s one supersized variable still drawing millions of viewers to traditional linear television: live events. Indeed, live events dominated when it came to wooing U.S. viewers in 2012, thanks in large part to shows based on formats. Reality competition formats continued to garner high ratings, with American Idol, Dancing with the Stars and The Voice all making Nielsen’s top 10 list for prime-time regularly scheduled programming. In the U.K., BARB data ranked Britain’s Got Talent, The Voice U.K., I’m a Celebrity…Get Me Out of Here!, Strictly Come Dancing and The X Factor in the top 20 most-viewed TV programs of the year. Between dancing, singing, cooking, modeling, fashion design and general overall talents, competition formats have become appointment viewing in many markets across the globe. Of course, there’s still a strong appetite for more straightforward reality formats—the Big Brothers of the world. And scripted continues to make its mark, with successes such as Homeland, based on the Israeli format Prisoners of War, and the Hollywood studios increasingly exporting their hits overseas for local versions. There’s also a new hybrid genre of format, constructed reality—which blends the high drama of scripted programming with the authenticity of reality shows—that is rising in popularity worldwide, particularly in Central and Eastern Europe. Even still, when you ask a producer or distributor what the most-requested type of format is by broadcasters globally, they say two things: something that is fresh and something that is original. Networks want something that they haven’t seen before, or at least haven’t seen done in quite the same way. Perhaps that newest global success story is contained among the listings in this edition of the TV Formats Distributors Guide. 4
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INTERVIEWS
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Ryan Seacrest Founder & Chairman Ryan Seacrest Productions TV FORMATS: What has American Idol
meant to your career? SEACREST: American Idol is such a huge
part of my life now—after 12 seasons, though, you start losing track of all the time that has passed. But I can’t really imagine my days without it. I suppose that I’ve been one of the constants on the show, since there have been [different] judges and format adjustments along the way. However, there are countless other people involved with the show. The people behind the scenes that have been with Idol from the start—passionate producers, crew and FOX executives—really deserve most of the credit for its perennial success. TV FORMATS: How has American Idol changed television in
the U.S.? SEACREST: That’s an interesting question. For one thing, other than American Bandstand, I don’t believe there has been any other program that has sparked the careers of major stars such as Kelly Clarkson, Carrie Underwood, Phillip Phillips and so many others. But the other thing the show has done is to push the popularity of the music competition format around the world, which is evidenced by all the other shows on the air now, although none have quite reached the audience and success of Idol. TV FORMATS: How does having a majority stake in the
marketing-services agency Civic Entertainment Group (CEG) fit into your portfolio of businesses? SEACREST: Having CEG as part of our portfolio brings together content creation with emerging media/tech platforms and integrated marketing services. Many have talked about connecting content, clients and brand activation across media. Our combination can achieve that vision, offering something genuinely unique. For example, CEG is already working on an activation for American Idol for FOX, and will likely be working with Ford, one of my brand partners. 6
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Gordon Ramsay Executive Producer & TV Personality Kitchen Nightmares, MasterChef, Hotel Hell TV FORMATS: Why did you want to do
Hotel Hell? RAMSAY: It’s another string in my bow.
Have you any idea how many hotels I’ve stayed in? Having spent hundreds and hundreds of nights, [even] thousands, at hotels over the last decade, and having my own boutique hotel in London, the York & Albany, I just started getting really frustrated with the level of complacency. I was in New York staying at a hotel. It was $450 a night. We were filming Kitchen Nightmares and I got back late that night and heard the room hadn’t been [cleaned]. They said there were problems with the staff, the chambermaid had fallen sick. When you’ve been doing a 14-, 15-hour day and you come back and the room’s not made, the fridge has defrosted all over the carpet, the air conditioner has broken down…it was a disaster. I thought, this is crazy, this hotel is like living in hell. And that’s how it started. TV FORMATS: Why do you think MasterChef has struck a chord with audiences? RAMSAY: The obesity issue is an epidemic. It’s a problem globally. I’m always frustrated when the targets are the children.The issue is the parents. And a lot of them are in the position to eat healthily. There’s a really strong passion [for home cooking]. I think it [has] to do with the amount of cooking people are doing at home, and the availability [of information from] the Internet and food programs. And we’ve made it sexy. It’s not the rock-and-roll, let’s-go-crazy attitude, but I think it’s a really cool thing to learn how to cook. TV FORMATS: Are there major differences working in the U.S. as compared with the U.K.? RAMSAY: I think the pressure is far more [in the U.S.]. If it doesn’t work then you’re gone, you’re history. When a show gets canned [in the U.S.], you get panned. I absolutely work hard at everything I do and I never take it for granted. 7
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Guillaume de Posch Co-CEO RTL Group TV FORMATS: What have been some of
FremantleMedia’s strengths, first in identifying local tastes and catering to them, and second in finding programs that can travel from one country to another? DE POSCH: It’s a combination of two factors: big worldwide formats, and local formats that can be exported. First, FremantleMedia is very much focused on rolling out worldwide franchises, from The X Factor, Got Talent, Idols to The Farmer Wants a Wife. These are formats fitting for a big rollout in multiple countries: up to 55 countries, in the case of Got Talent. Of course, FremantleMedia ensures each show is adapted to suit local tastes. In addition—and this has been a more recent development in the company’s history—FremantleMedia tries to create shows that are successful locally, which they can subsequently export. Let me give you two examples. Take Me Out is a dating show that was originally piloted in France, was then exported, and later reimported. In fact, the digital channel W9 will be airing the show in the autumn. The other example is a fiction program called Wentworth, which is a very successful drama that aired on Foxtel in Australia. As a local show, Wentworth wasn’t initially intended to be a worldwide format, but FremantleMedia believes it has the capability and the strength to be exported. To summarize, FremantleMedia’s success comes from a combination of big worldwide formats, and local formats that have the potential to be exported. TV FORMATS: How would you like to expand international productions even further? DE POSCH: We will continue growing our content arm through a combination of organic growth and acquisition. FremantleMedia will focus its investments on two goals: fueling its pipeline of intellectual property across a broad range of genres and serving new digital audiences, for example with YouTube channels or gaming. 8
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Just Spee CEO Endemol TV FORMATS: What is fueling the creativ-
ity and productivity of Endemol’s companies outside the U.K. and the Netherlands? SPEE: It makes no difference to us where the creativity comes from.We are as happy with a show coming out of Spain—like our most recent hit Your Face Sounds Familiar—as with a show coming out of the U.K. or the U.S. It’s in the DNA of the company to be a network of creative entrepreneurs. So we nurture that in every country that we’re in. Traditionally the incubators of our formats have been the Netherlands, the U.K. and the U.S. And we still have big shows coming out of those countries. To name just one, The Money Drop, from the U.K., which we launched just a few years ago, is a very successful show around the world. We have sold it to more than 50 territories, which by any standard is a great success. It proves that our model of local creativity is the right one. So I am happy that the latest shows are now coming out of Spain, Italy and Germany. Looking ahead, although we are not there yet, we hope that someday soon big international shows will come from India or maybe from China, because that is what the Endemol model is all about. TV FORMATS: How has Endemol USA developed and what has been the approach to the U.S. market? SPEE: When I look at the U.S. there is always one thing at the back of my mind: it’s the largest market in the world today and we believe it will be for a long time to come. It is very high on our priority list. The way we have dealt with the complexity of the U.S. market is by having a number of companies there that are all slightly different from each other and that address the different needs of the market. For instance, Original Media is in New York and produces reality and drama for cable. It’s different from Endemol USA in Los Angeles, which deals more with the networks and offers the big shiny-floor shows that networks like. So the heart of the approach is to have different companies and different people for different demands in the market. 9
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John de Mol Founder Talpa Media Group TV FORMATS: Do you start thinking of
digital and second-screen opportunities during the development process of a show? DE MOL: We think of digital at very early stages. In the last five years, at least in my experience, digital opportunities were seen as an extension of the program. But that has changed, due to the importance of the lasting connection you want to create with the viewers, not only as a producer and a broadcaster but also given the changing advertising business models and how they contribute to shows. We see many opportunities in the digital area for connected formats, so now our content department and our digital team are joining forces and working at the same time on the development of new ideas. On the other hand, I want to be clear that we are not automatically creating digital applications for our formats. They have to make sense. They have to be a logical extension and have to be of use to the viewer or to the user. Sometimes you see examples of digital applications and you can’t help but ask, what is the use if it doesn’t strengthen the format or strengthen the connection with the viewer in any way? So you have to be careful that you’re not doing it just for the sake of doing it. TV FORMATS: Can digital applications also drive viewers back to the linear channel? DE MOL: Absolutely. On The Voice we have plenty of those examples. The HomeCoach app, which is renewed every year with new elements, is creating a huge connection with viewers. If you [use] the HomeCoach app you are absolutely going to watch the show. A new Talpa game show that launched in Holland earlier this year, called What Do I Know?!, has an app that has been downloaded 1.2 million times, and that is quite a number for a country with some 16 million people. 10
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Mark Burnett President One Three Media TV FORMATS: You are very hands on with your shows—how do you manage such a large slate? BURNETT: The last couple of years have been amazing.We have Celebrity Apprentice, The Voice, Survivor, Shark Tank. Constant renewals require maintaining a very high quality. In order to maintain that quality, it’s imperative to have a great team around you, which we do, from a corporate standpoint and with the showrunners we hire for each series. The fundamental answer, however, relates to quality. We have always held high standards, and they’ve been achieved by having a very focused team to maintain quality. Making great shows is what I love doing, so I can’t imagine ever feeling burdened by increasing the volume as long as the shows are great. TV FORMATS: Survivor remains a ratings stalwart on CBS. To
what do you attribute its longevity, and how have you been able to keep it fresh over the years? BURNETT: Survivor has an incredible fan base. Longevity is completely dependent upon high quality, great characters and compelling story lines. Jeff Probst has been the anchor of this series since day one of season one. Every season we add small twists, but it always remains true to the core values of the format. When you watch Survivor, it’s a familiar experience, but you always get something a little different. That’s the key. TV FORMATS: What attracted you to adapting The Voice for the
U.S. market? BURNETT: Yes, it’s another music show, but it’s entirely fresh
and causes a reversal of power, whereby unknown, unproven singers are being pitched to join the teams of music superstars. It’s human nature for the masses to love seeing the little guy have some power. It’s a great hook and to evaluate someone solely on the strength of his or her voice was something I knew the American public would respond to. 11
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Cecile Frot-Coutaz CEO FremantleMedia TV FORMATS: What are the essential ingredients that make shows like American Idol, Got Talent or The X Factor hits? FROT-COUTAZ: First of all, they are big events, and if you really boil it down, they tell a story of the search for that one person that gets anointed at the end. It’s almost like a feature film that extends over three months. You start with a search, but you know that by the end you will have your winner. That’s a very universal story. It works everywhere. But above and beyond that, what’s made a big difference was introducing the voting component when Idols started. That was pretty groundbreaking. It really made that winner the people’s winner. Voting empowers viewers, it makes them relate to the show and connect with it. These shows connect very deeply with their audiences, like no other shows do. And music is very universal, but it’s not only about the music, it’s about that rags-to-riches story. What sets these shows apart is that they are very real. TV FORMATS: Has social media increased the engagement that viewers have with big shows? FROT-COUTAZ: Social media has become a must, but as with everything, it’s much more complex than that. It’s very easy to say you have to do social media. Of course you have to do social media, the question really is how do you do social media. If you really want to use social media to further the engagement viewers have with a show, it has to be compelling and it has to actually engage viewers. It’s not enough to just generate conversations around the show, you have to understand the nature of the conversations and why they’re taking place…. The thing about Twitter in particular is that it’s almost like a live research tool. When we’re doing a show like The X Factor and people are telling you in real time what they think of what you’re doing, it’s really interesting for us as producers. 12
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Alex Mahon CEO Shine Group TV FORMATS: What has made The Bridge such a successful scripted format? MAHON: The Bridge is a really interesting example of how a scripted concept can travel and remain unique. It’s a brilliant, simple conceit for creating a multilayered story across two countries. In each of the places where we are doing it, the opening scene is a body on a bridge that is on the border between two countries and a body is laying over the border line, so when they come to pick up the body it’s in two halves. It’s a story about how two police forces from two different countries have to work together. And each time we do it comes a stand-alone story with a different cultural impact and different factors to it.... It’s exciting to see how with a scripted rollout you can carve something completely different for different countries. TV FORMATS: Are you seeing a demand for formats that can
live on multiple screens? MAHON: There is a demand for the second-screen opportunity.
We all sit in front of the TV with our iPhone and want extra content about a show or wonder, how can I find out more about this? Once something is expected by viewers it naturally becomes part of shows. We have yet to see an outstanding scripted format that really works for a two-screen experience. TV FORMATS: Tell us about Shine’s deal with Nigel Lythgoe. MAHON: He knows we are completely focused on the biggest
shiny-floor studio shows of the highest quality and caliber. I think what he was excited about was coming into a place that is quite entrepreneurial, quite nimble, quite fast-paced and quite excited about rolling out shows internationally. So working with someone like Nigel is huge for us because he is an onscreen star and he is a creator and he believes in global talent hits. We’ve got quite a few shows in development with him. He is quite typical of the people we go after—big talent and people we believe are best in class. 13
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Bertram van Munster Co-Creator The Amazing Race TV FORMATS: How are you able to capture contestants’ genuine emotions? VAN MUNSTER: They forget [the camera is there] within the first two minutes because of the technique I’m using. [Contestants] are used to cameras, but there’s so much pressure on them, they have no time to think about the cameras. If you’re in a studio and you see nothing but cameras and people looking at you, yes you’ll [act for the cameras]. For me, a reality show is [where the] camera is the least visible thing. In other reality shows, the camera is the most visible thing in many ways. It should be completely fly on the wall, and that’s how we do it and how we’ve done it for many, many years. The contestants are the most important part. People have to win this race on their own power, whether it’s physical or mental. That’s what makes this show, and also why there’s such longevity in the show. People see that and they realize, I could potentially do this. TV FORMATS: When the discussions about formatting the show began, were you concerned about how they would stand up to the production quality you’ve set for the CBS version? VAN MUNSTER: We have a very close working relationship with our distributor [Disney Media Distribution]. And we have very close relationships with the people that produce these shows. Actually, most of the [adaptations] we produce ourselves. Yes, [production quality] is a concern, and people that tried to do it on their own ran into trouble. Why would you do this? We had our troubles ten years ago, why repeat [those same] troubles because you think you know it better? [The format] has been a huge success. We got the International Emmy for the show we did in Australia, and in China they produced a version and they’ve won an award for best format adaptation. We all keep a very close eye on each other and we support each other as much as we can. 14
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Kevin Lygo Managing Director ITV Studios TV FORMATS: What’s your overall strategy for developing entertainment properties that will translate well to other markets? LYGO: There’s a pragmatic challenge for people coming up with new ideas; if it can be done on a modest budget and it’s still a fresh new idea then it’s a very good thing. Come Dine with Me is in 36 countries, whereas I’m a Celebrity...Get Me Out of Here!, which is a huge show that we make here, is only in a few countries because it’s much more expensive to make. Almost every nation in the world could afford to make its own version of Come Dine with Me.When we’re looking at formats we’re thinking, be pragmatic here: can Serbia afford its own version? It shouldn’t shape the idea but it helps us in thinking how much we want to invest in a particular new format. These ideas are few and far between and the most important thing is to create an environment where creative people feel enabled to muck around, try crazy things, have resources to pilot little things, have the comfort that a failure is not a terrible thing at the piloting and development stage. Our job as a production house is to allow creative, interesting people to have the space to try things out and fail and succeed with equal measure. TV FORMATS: How do the ITV Studios production businesses
around the world contribute to your format development and rollout process? LYGO: We have ITV Studios production businesses in the U.S., France, Germany, Australia and the Nordic countries. As well as developing their own shows they have all had success producing our U.K.-originated formats for their own markets. For example I’m a Celebrity...Get Me Out of Here! and Four Weddings in Germany, Come Dine with Me Australia, Four Weddings and Coach Trip France and Come Dine with Me across the Nordics. Eleven seasons on, Hell’s Kitchen continues to be a hit in the U.S. and the U.S. team has produced The Chase, which is a very successful quiz show in the U.K., for GSN.We want to keep doing more of this. 15
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Ran Tellem VP, Programming Keshet TV FORMATS: What do you look for
when acquiring international formats? TELLEM: A good show.There’s no math to
that, there’s no bible to that—it’s just something that you feel in your stomach. We usually look for a show that would make a difference. When you’re a big broadcaster, you would like to make the biggest show of the evening. So you would like to make the show that makes people say, “Let’s [turn on the] TV at 9 o’clock, there’s something interesting to watch.”That’s what we’re looking for. TV FORMATS: What makes Israel such a strong creative hub? TELLEM: First of all, I think it’s the Israeli market. The Israeli
viewer is a good viewer. He’s impatient, he’s a quick adapter, he likes the bar raised every time. So the TV viewers in Israel are good testing grounds because they want to be entertained, they want to be surprised; every season they want something new to amaze them. On the other hand, the budgets in Israel are limited. And usually when you have no budgets, you have to be brilliant in your creative work. That is something that’s common to most Israeli creators; they tend to think out of the box for a reason, not just for a way of thinking. Thirdly, there’s something about Israeli creation that makes it a startup nation; we like the invention part of it.We like to make something that is new, that is edgy, that is taking the envelope to another place—that’s something that you’ll find in Israel. TV FORMATS: How is Keshet using interactivity to enhance its
shows? TELLEM: I think [it has to be] a part of the show. It’s not
something you add on to it. So when we think of a show, it’s always, What’s the 360? What do you do to get connected to it? What do you put on the web? It’s part of the package. I cannot imagine us thinking about a show without immediately thinking how it’s going to get to you on the other screens. 16
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Gideon Raff Creator & Director Prisoners of War TV FORMATS: What was the inspiration
for Prisoners of War? RAFF: The moment I came up with the
idea I was absolutely shocked that no one had done it before in Israel. That was part of my curiosity—why had no one done it? What are we so afraid of? In my research I discovered a world of drama that nobody had tapped into. There are about 1,500 former prisoners of war who live in Israel. We know a lot about their time in captivity. We know a lot about the campaign to get them back. Nobody talks about what happens to them from the moment they’re back home.The idea of making a show where they return in the first episode, not the last one, was a bit innovative in Israel. TV FORMATS: How did the discussions about an American adaptation begin? RAFF: Avi Nir [the CEO of Keshet] pitched it to Rick Rosen at WME and Rick said, I love this idea and I have the perfect partners for you. I translated the pilot episode to English and sent it to Howard Gordon and Alex Gansa. They read it, they loved it and they asked me to translate the rest of the series, and I did. Then we started meeting in Los Angeles and discussing the differences between our cultures and how to best adapt this story to America. I told them, I wrote this show during the Iraq war and during the Afghanistan war and I never saw pictures of coffins on the news. American prisoners of war were never discussed on a national level. In Israel, [prisoners of war are] a huge issue. Israel negotiates for their prisoners of war, so [the prisoners in the Israeli series] came back after a long negotiation. The U.S. does not negotiate with terrorists, and that’s why Brody [Homeland’s returned POW] was released in a military operation. The focus of Homeland is very much on the interrogation; it’s very much on the thriller. In the Israeli show, the family drama is just as important as the secrets they are hiding. 17
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Izzet Pinto CEO Global Agency TV FORMATS: What has been the strategy behind the company’s aggressive expansion? PINTO: It is mainly because I am addicted to growth. I am never satisfied with the position we reach and always have bigger goals. Each time we attend major markets I get ambitious and set bigger goals for every year. These goals include hiring more people, having bigger space at the markets, spending more on marketing and achieving greater sales. As you know, the sky is the limit, so we keep aiming to be one of the most important distributors in the market. When I founded the company, we had only one format. After a while, we had five formats. The format business was growing but I wanted to have a new division, so I opened a film section to export Turkish movies abroad. It went pretty well, and later on we opened a series-distribution division. The success was bigger than I had expected. We decided to move into factual entertainment. We acquired the well-established brand World Wide Entertainment from Australia. In the coming years, we may go into kids’ programming. Also, digital rights are growing these days, so we will be focusing on digital platforms. We prefer to grow carefully, so we would like to step into new genres every two years. TV FORMATS: Have partnerships also been essential to the
company’s expansion? PINTO: We have partnered with Coyote from France,
Miditech from India, Zucchero Media from Romania, Costantin from Germany and SBT from Brazil. We became the exclusive distributor of their formats. These deals with well-known international companies help us not only to grow in numbers but to also have a better reputation in the market. We have always wanted to be a global company, so these partnerships make us a global distributor rather than a local one. 18
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Avi Armoza CEO Armoza Formats TV FORMATS: What are some of the
challenges facing the formats market? ARMOZA: The biggest challenge is to
stand out in the crowd. I always tell our creative team that when you launch a new show, you’re not only competing against other new formats, but all existing shows, too. This is why they need to be fresh and bring a new story. We’re very much focusing on the storytelling of each of our formats.We are trying to develop two levels of story. One is the story within the format, that there is something there that is emotional or life-changing or dramatic, no matter what the genre is. The other story is our story—why did we pick this format, what is the reason for this format to exist in this large world of entertainment? If we have those two in place, then we are pretty sure that we can sell those formats. We were lucky enough to be a pioneer in taking formats out of Israel to the international market.We were able to gain a leading position and are working very hard to keep this leading position. Of course we knew that once we were successful we’d have competition, and we do have competition now, but competition is a positive thing. It is something that is giving us the energy to work harder. TV FORMATS: What territories are you targeting for sales efforts? ARMOZA: It has been very important for us to get into the U.K.
and the U.S. markets. Those are major markets and the level of production there is quite high. If you are able to start producing in those markets, there’s a good chance that [the series] can travel elsewhere. The only thing that you need is good product. We managed to place our first show in Korea, and have had a show on air in China, with a few more in production there. We have three shows in India, so things are moving quite well there, too. The next market for us is South America. We already have a show on the air in Brazil. The market in Latin America is more open for formats now, and we want to be there. 19
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Louise Pedersen Managing Director all3media international TV FORMATS: Tell us about your factual and factual-entertainment catalogue. PEDERSEN: We have a great lineup of factual, including more series of Undercover Boss. We launched all3media America earlier this year, which is a hub for our all3media companies to develop their business in the U.S., led by Stephen Lambert (Wife Swap, Undercover Boss) and Eli Holzman (Project Runway, Undercover Boss). We are beginning to see shows coming from that operation. The Insider is a great show for us; it’s another version of people going undercover to try and get a job, which has worked very well. Gogglebox, from Stephen Lambert, is a good show for us. Factual, factual entertainment, reality—there is still a market for them. We have a major new entertainment show that launched in May on BBC One in prime time called Reflex. We’re really excited about that. Big Saturday night entertainment shows for BBC One don’t come along often, so that is a big focus for us. TV FORMATS: How has business been for you in Central and
Eastern Europe? PEDERSEN: It’s been a really fantastic market for us in
terms of our constructed reality and scripted reality shows. We are probably coming up to 1,000 episodes of the German scripted reality shows—Families at the Crossroads, Cases of Doubt, Berlin: Day & Night—in production in Central and Eastern Europe. So for us it’s been all about the format business. There is a very real demand for programming; probably 80 percent of our business has been in formats in that territory, as opposed to the finished-program sales business. It’s been good for us. We’ve had 90-episode renewals on scripted reality in Hungary, 50 episodes more in Russia. You’ve got volume deals; that is extremely valuable. The license fees might be a bit lower, but since you get volume, it’s helpful. 20
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DISTRIBUTORS
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Armoza Formats ADDRESS: 16 Ha’Arba’a St., 3/Fl., Tel Aviv 64739, Israel TELEPHONE: (972-3) 540-8333 WEBSITE: www.armozaformats.com FOUNDER & CEO: Avi Armoza SALES MANAGER: Anat Lewinsky SALES MANAGER: Ana Paula Szewkies SALES MANAGER: Sharon Levi HEAD, DEVELOPMENT: Nehama Cohen CONTACT: info@armozaformats.com PROGRAMS: Hostages: 40 min., suspense/drama, Yezira Ivrit,
Channel 10, Israel/CBS, U.S.A.; I Can Do That: 60 min., prime time/entertainment, Armoza Formats, JSBC, China; Guys in Disguise: 30-60 min., dating, Artza Productions; Prove Me You Love Me: 60 min., studio entertainment, Oz Media, Channel 10, Uruguay; The Gran Plan: 45-60 min., comedy/factual entertainment, Artza Productions, Channel 10, Israel; Connected: 30 min., factual entertainment, Koda Communications, HOT3, Israel; Still Standing: 60 min., prime-time game show, July-August Productions, Channel 10, Israel; We Believe in You: 30-45 min., studio game show, Kanal D,Turkey; Catch: 30-60 min., studio game show; Darset Productions & Armoza Formats; The Naked Truth: 30 min., suspense/drama, JCS Productions, Channel 10, Israel.
“Armoza Formats specializes in bringing the best of Israel’s unique TV formats to the international market. Creativity is at the heart of our beliefs, and by combining this creativity with the needs of the international market we are able to bring longterm and successful format brands to the market. With over 60 formats in our catalogue and a wide range of global partnerships, Armoza has a proven track record across all genres, from the game show Still Standing, which has now aired more than 1,000 episodes globally, to the docu-reality format Connected, which is on air in over ten territories.We are proud to be adding Hostages, soon-to-be aired in both the U.S. and Israel, to our scripted-drama portfolio. Above all this, we know that the world is looking for the next big primetime show and this MIPCOM this is what we will be bringing with our prime-time entertainment format I Can Do That.” —Avi Armoza, Founder & CEO 22
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Banijay International ADDRESS: 1 Sekforde St., London EC1R 0BE, U.K. WEBSITE: www.banijayinternational.com MANAGING DIRECTOR: Karoline Spodsberg HEAD, SALES: Sebastian Burkhardt GLOBAL ACQUISITIONS MANAGER: Fanny Baudry CONTACT: sales@banijayinternational.com PROGRAMS: Mentor: 60 min., entertainment/talent show, Nordisk
Film TV, DR1, Denmark; Family Taste: 60 min., entertainment, Ambra Multimedia, Rai Uno, Italy; Hands Off, Chef!: 30 min., entertainment, Air Productions, France 2, France; The Thing: 30 min., game show, Ambra Multimedia; Stars in Danger—The High Dive: 60 min., entertainment, Brainpool, ProSieben, Germany; Opposite Worlds: 60 min., reality, Canal 13 Chile, Canal 13, Chile; Beat Your Host: 60 min., entertainment, Brainpool, ProSieben, Germany; Absolute Majority: 60 min., factual entertainment, Brainpool, ProSieben, Germany; Popstars: 60 min., entertainment, Screentime, TV2, New Zealand.
“We are excited to be bringing a truly brandnew and groundbreaking entertainment show to MIPCOM with Mentor. This is the talentshow format that turns everything upside down, as for the first time it’s the professionals, and not the talented amateurs, who put themselves on the line and risk being voted off by the audience. It’s time for coaches and judges to take responsibility for the vital role they play in nurturing new talent. We salute DR for taking a risk with a completely new idea, for having faith in their audience that it would respond to this inspirational, emotional and nail-biting show. We’re sure audiences around the world will be the same way!” —Karoline Spodsberg, Managing Director
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Canal 13 SudMedia ADDRESS: Ines Matte Urrejola, 0848 Providencia, Santiago 7530131, Chile TELEPHONE: (56-2) 2630-2883 WEBSITE: www.13.cl/ventasinternacionales CEO: David Belmar HEAD, INTERNATIONAL SALES: Marina Del Canto HEAD, PROGRAMMING: Patricio Hernandez DIRECTOR, CORPORATE DEVELOPMENT: Julian Herman PROGRAMS: Sueño XL: 14x50 min., docu-reality, Canal 13 Chile; Vertigo: 15x60 min., game show, Canal 13 Chile; Mama Mechona: 100x45 min., fiction, Canal 13 Chile; Las Vega’s: 85x45 min., fiction, Canal 13 Chile; En su Propia Trampa: 60 min., factual, Canal 13 Chile.
“Canal 13 Chile, with 54 years of history, is one of the main multimedia organizations in the country. Leadership, quality and innovation are signs of its permanent dialogue with the audience. Canal 13 Chile offers a wide variety of formats: game shows, talk shows, reality shows and TV series that are sold all over the world. It is a holding which combines the number one TV channel in the country; five radio stations; one of the most popular local cable channels, 13C; and its website, 13.cl. This year, 13 SudMedia makes its grand debut as a distribution company offering a great variety of content: documentaries, feature films and animated series, among others.” —Marina Del Canto, Head, International Sales
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CJ E&M Corporation ADDRESS: CJ E&M Center, 11/Fl., Sangam-Dong 1606 Mapo-Gu, Seoul 121-270, South Korea TELEPHONE: (82-2) 371-6307 WEBSITE: lineup.cjenm.com HEAD, INTERNATIONAL SALES & ACQUISITIONS: Jangho Seo SENIOR SALES MANAGER: Alex Oe SENIOR ACQUISITIONS MANAGER: Jin Park CONTACT: alexoe@cj.net PROGRAMS: The Genius Game: 45 min., reality/game show, Jung Jong-yun & Kim Han-kyu, tvN, South Korea; Crazy Market: 45 min., game show, O’live, South Korea; Dancing 9: 120 min., competition, Kim Young-bum, Mnet, South Korea; Grandpas Over Flower: 45 min., reality, Na Young-suk, tvN, South Korea; Girl Gear: 10 min., reality, INSITE TV (online), South Korea; Three Idiots: 45 min., reality/multimedia, Lee Myung-hwan, tvN, South Korea; Super Diva: 60 min., competition, Cho Sang-bum, tvN, South Korea; Get it Beauty: 45 min., talk show, On Style, South Korea; Comedy Big League: 90 min., competition, Kim Suk-hyun, tvN, South Korea; Track Down X Boyfriend: 45 min., reality, Mnet, South Korea.
“CJ E&M’s main focus is to successfully land our footprint in the format world. This year we have launched our format Super Star K in China and the ratings were superb. We have finalized deals with previous titles Three Idiots in Europe and Super Diva in Southeast Asia. For MIPCOM, we have new programs that will work in many territories as we bring fresh and bright ideas.We are new to formats, but there will be gems in our ideas.” —Alex Oe, Senior Sales Manager
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Electus International ADDRESS: 8800 W. Sunset Blvd., West Hollywood,
CA 90069, U.S.A. TELEPHONE: (1-310) 360-3457 WEBSITE: www.electus.com/international PRESIDENT: John Pollak CONTACT: Darah Wagner, darah.wagner@electus.com PROGRAMS: Fashion Star: 10x60 min., reality, Electus & 5x5 Media & Magical Elves, NBC, U.S.A.; Get Out Alive: 8x60 min., reality, Electus, NBC, U.S.A.; The Hero: 8x60 min., reality, Electus & 5x5 Media, TNT, U.S.A.; Food Fighters: 8x60 min., reality, Electus & Universal Television, NBC, U.S.A.; Bet on Your Baby: 8x60 min., reality, Electus & 5x5 Media, ABC, U.S.A.; King of the Nerds: 8x60 min., reality, Electus & 5x5 Media, TBS, U.S.A.
“Electus International is the Electus global-sales division, selling programming and formats—both created in-house by Electus and acquired from third parties—to television, motion picture and digital platforms worldwide. Headed up by John Pollak, our dedicated team is committed to providing a level of service that is second to none, both through our personal relationships with clients and with quality content. We aim to bring you, our partners, the absolute best content in the distribution business, and to ensure that our finished product and formats are partnered with the best producers, the best broadcasters and the best platforms around the world, enabling us to continue the success that has helped shape our business since its inception.” —Corporate Communications
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Global Agency ADDRESS: Abdi Ipekci Cad., Arman Palas, 7/17 Nisantasi,
Istanbul, Turkey TELEPHONE: (90-212) 296-6154 WEBSITE: www.theglobalagency.tv CEO: Izzet Pinto HEAD, SALES: Catherine Stryker DIRECTOR, DEVELOPMENT: Farrell Meisel ACQUISITIONS MANAGER: Umay Ayaz CONTACT: info@theglobalagency.tv PROGRAMS: Battle of the Restaurants: 60 min., cooking/competi-
tion, Israel; Keep Your Light Shining: 60 min., talent show, Turkey; Guess Who?: 30 min., game show, Spain; My Best Friend’s Date: 30 min., dating, Italy; Grannies Hit the Road!: 60 min., reality/ entertainment, Turkey; Shopping Monsters: 60 min., style, Turkey; Catch the Answer: 60 min., quiz show, Turkey; Don’t Say It Bring It: 30 min., urban game show, Spain; Rivals-inLaw: 60 min., cooking/competition,Turkey; Fashion Icon: 60 min., style, Turkey.
“After just a few short years, Global Agency has proven to be one of the fastest-growing distributors in the industry, thanks to our strong lineup of diverse content. With a constantly expanding team of experts in the industry, we have a close eye on the latest trends and fresh ideas. And due to our longestablished relationships with some of the world’s most creative individuals and companies, we are able to offer buyers the hottest new content throughout the year. We aim to continue this great growth year after year!” —Izzet Pinto, CEO
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ITV Studios Global Entertainment ADDRESS: The London Television Centre, Upper Ground, London SE1 9LT, U.K. TELEPHONE: (44-20) 7157-3000 WEBSITE: www.itvstudios.com MANAGING DIRECTOR: Maria Kyriacou DIRECTOR, INTERNATIONAL FORMATS, ITV STUDIOS: Mike Beale DIRECTOR, GLOBAL TV DISTRIBUTION: Tobi de Graaff DIRECTOR, ACQUISITIONS & CO-PRODUCTIONS: Ruth Clarke PROGRAMS: Stepping Out: 90 min., prime time/entertainment, ITV Studios, ITV, U.K.; Tricked: 60 min., entertainment, ITV Studios, ITV2, U.K.; Big Star’s Little Star: 60 min., game show, 12 Yard, ITV, U.K.; Take on the Twisters: 60 min., game show, 12 Yard, ITV, U.K.; Face of the Year: 30 min., reality, ITV Studios Nordic, TV2/Bliss, Norway; Keeping the Nation Alive: 60 min., factual entertainment, The Garden, BBC Two, U.K.; Boom Town: 30 min., structured reality, Knickerbockerglory, BBC Three, U.K.; Saturday Night Takeaway: 80 min., prime time/entertainment, ITV Studios, ITV, U.K.; The Chase: 60 min., game show, ITV Studios, ITV, U.K.; Hell’s Kitchen: 60 min., factual entertainment, ITV Studios, ITV, U.K.
“ITV Studios represents an enormous breadth of world-leading formats and has a strong record of creating and distributing ideas which travel widely and are recommissioned multiple times. At MIPCOM, we will be introducing some new formats that will have recently aired in the U.K. They include Stepping Out, a Saturday night dance series, which showcases celebrities’ relationships with their real-life partners; Tricked, a hidden-camera magic show; Big Star’s Little Star, which sees stars team up with their young children to win money for charity; and Take on the Twisters, a nail-biting quiz show. These join our diverse catalogue of formats, including the structured reality show Boom Town from Knickerbockerglory and the medical observational documentary Keeping the Nation Alive from The Garden (now part of ITV), both of which we launched at MIPTV and are now discussing offers in multiple countries, and The Chase, which was recently recommissioned in the U.K., U.S.A., Germany and Russia.” —Mike Beale, Director, International Formats, ITV Studios 34
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Keshet International ADDRESS: 12 Raul Valenberg St., P.O.B. 58151,
Tel Aviv 61580, Israel TELEPHONE: (972-3) 767-6412 WEBSITE: www.keshetinternational.com MANAGING DIRECTOR: Alon Shtruzman HEAD, DISTRIBUTION & ACQUISITIONS: Keren Shahar CONTACT: Limor Gott Ronen, limor.got@keshet-tv.com PROGRAMS: Rising Star: 22x90 min., talent show, Tedy
Productions, Keshet Broadcasting, Israel; Marathon: 5x45 min., Endemol, Keshet Broadcasting, Israel; Face to Face: 2x60 min., studio dating show, Keshet; Pick a Pocket: 1x30 min., street game show, Keshet; Girlfri3nds: 60 min., dating/reality, Studio Lambert, ITV2, U.K.; Deal with It: 6x30 min., hidden camera/ game show, Alevy Productions & Banca Studio & Keshet International & Lionsgate Television, TBS, U.S.A.; She’s with Me: 10x30 min., romantic comedy, Endemol Israel, Keshet Broadcasting, Israel; Sure or Insure: 5x60 min., game show, Keshet; What Happens In…: 15x50 min., scripted reality, Keshet; Easy Money: 12x30 min., comedy, T.H. Productions, Keshet Broadcasting, Israel.
“With a diverse, award-winning catalogue of over 60 formats, we have something for everyone.We provide great shows with a proven track record both critically and having topped the rating charts. Whether it’s reality shows, game shows, drama or comedy, Keshet has it, tested on our network or on the other broadcasters airing our formats around world.The ubiquitous international success of Homeland, Deal with It, Girlfri3nds and more prove that our storytelling travels everywhere. And there’s more to come, as we’re launching this MIPCOM a whole fresh output. Highlights include the hit drama Prisoners of War, the original Israeli version of Primetime Emmy Award-winner Homeland; docu-reality format Dear Neighbors, Help Our Daughter Find Love; talent show Master Class; cross-platform format 50 Things You Have to Know; reality dating format Girlfri3nds; game show The Vault; and buddy comedy Traffic Light, winner of the International Emmy Award.” —Alon Shtruzman, Managing Director 36
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Passion Distribution ADDRESS: Elsinore House, 77 Fulham Palace Rd., London W6 8JA, U.K. TELEPHONE: (44-207) 981-9801 WEBSITE: www.passiondistribution.com CEO: Sally Miles DIRECTOR, SALES: Emma Simpkins CONTACT: Fraser Cameron, frasercameron@passiondistribution.com PROGRAMS: Divorce Hotel: 60 min., factual entertainment, A. Smith & Co. Productions, FOX, U.S.A.; Save Our Business: 60 min., factual entertainment, A. Smith & Co. Productions, TNT, U.S.A.; Hotel of Mum and Dad: 60 min., factual entertainment, Mentorn Media, BBC Three, U.K.; Drag Race: 60 min., competition/entertainment, World of Wonder, Logo, U.S.A.; Cupcake Wars: 60 min., food/competition, Food Network, U.S.A.; The Great Food Truck Race: 60 min., food/competition, Food Network, U.S.A.; Paradise Hotel: 60 min., reality, Mentorn Media, FOX, U.S.A.; The Newlywed Game: 30 min., game show/competition, GSN, U.S.A.
“Passion Distribution was officially launched in 2008. In November 2012, Passion Distribution became part of the Tinopolis Group, merging with Mentorn International and increasing the catalogue to over 8,000 hours. London-based Passion Distribution now specializes in popular quality programming and formats in genres including factual entertainment, reality, documentaries, lifestyle, drama, comedy and game shows. Passion Distribution has exclusive distribution agreements with many U.S. broadcasters and production companies, including Scripps Networks International, Sundance Channel, OWN: Oprah Winfrey Network, The Weather Channel and World of Wonder, and will also benefit from the relationship with all Tinopolis Group companies, including Firecracker Films, Mentorn Media, A. Smith & Co. Productions, Daybreak Pictures and Pioneer Productions. The company is active in pre-selling, finding co-pro partners and deficit-funding third-party content.” —Sally Miles, CEO
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Red Arrow International ADDRESS: Medienallee 7, 85774 Unterfoehring, Germany TELEPHONE: (49-89) 9507-2320 WEBSITE: www.redarrowinternational.tv MANAGING DIRECTOR: Jens Richter SENIOR VP, FORMATS: Henrik Pabst PROGRAMS: House Rules: 45 min., reality, Seven Network,
Australia; Married at First Sight: 40 min., reality, DR3, Denmark; The Taste: 60 min./120 min., cooking/competition, ABC, U.S.A.; What If?: 30 min., sketch comedy, 2BE, Belgium; A League of Their Own: 30 min./60 min., entertainment, Sky1, U.K.; Anti Social Network: 45 min., prank show, ProSieben, Germany; My Man Can: 90 min., game show, Sat.1, Germany; Fake Reaction: 35 min., game show, ITV2, U.K.; Shoot to Thrill: 25 min., clip show, 2BE, Belgium; Benidorm Bastards: 30 min., hidden camera, 2BE, Belgium.
“Red Arrow International is a leading distributor with an extensive scripted, factual and format slate, guaranteeing a strong portfolio with programs by Red Arrow Entertainment Group and third-party producers. Red Arrow International has a unique expertise in packaging, co-financing and coproducing international drama, such as Netflix’s first original drama Lilyhammer, and Jo, starring Jean Reno. Red Arrow International boasts a strong track record in building format franchises like Benidorm Bastards with 25 local versions, including NBC’s Betty White’s Off Their Rockers, and ABC’s The Taste. Red Arrow International has a global reach with sales to over 150 territories and offices in Munich, Los Angeles and Hong Kong. Red Arrow International is part of Red Arrow Entertainment Group, incorporating 17 TV production companies spanning nine countries. Red Arrow Entertainment Group belongs to ProSiebenSat.1 Group, one of Europe’s leading media groups.” —Jens Richter, Managing Director
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Shine International ADDRESS: Primrose Studios, 109 Regents Park Rd.,
London NW1 8UR, U.K. TELEPHONE: (44-207) 985-7000 WEBSITE: www.shineinternational.com CEO: Nadine Nohr SENIOR VP, SALES & ACQUISITIONS, NORTH AMERICA:
Tania Jacobson SENIOR VP, SALES, EMEA: Katrina Neylon SENIOR VP, SALES, ASIA PACIFIC: Matthew Ashcroft DIRECTOR, ACQUISITIONS: Georgia Brown VP, MARKETING & PUBLICITY: David Reiss CONTACT: info@shineinternational.com PROGRAMS: The Bridge: scripted, FX, U.S.A.; Broadchurch:
scripted, ITV, U.K./FOX, U.S.A.; Real Humans: scripted, SVT, Sweden; Anything Goes: entertainment, TF1, France; Don’t Lose the Money: entertainment, RTL, Germany; MasterChef Junior: entertainment; Best Bakery: factual entertainment, ITV, U.K./M6, France; One Born Every Minute: factual entertainment, Channel 4, U.K./TF1, France; The Biggest Loser: factual entertainment; Village Cook Off: factual entertainment, SVT, Sweden.
“Shine International is a market leader in formatted programming, spanning scripted, entertainment and factual programming. MIPCOM will see the official launch of The Tunnel, the Sky Atlantic HD and Canal+ remake of the iconic Scandinavian drama Bron, produced by the makers of Broadchurch and starring Clémence Poésy and Stephen Dillane. All-new entertainment launches will include The Face (Sky Living HD), executive produced by and starring Naomi Campbell, in which three supermodels compete to find ‘the face’ of the U.K. The studio format Anything Goes returns, as ten new international commissions launch. TV’s toughest competition will serve up the next generation of culinary masters in the all-new FOX series and format MasterChef Junior. Life-changing amounts of money are ready to be won in the adrenaline-fueled and entertainment-packed challenge show Don’t Lose the Money (RTL).” —Nadine Nohr, CEO
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Talpa International ADDRESS: Zevenend 45, 1251 RL, Laren, Netherlands TELEPHONE: (31-35) 533-3333 WEBSITE: www.talpa.tv MANAGING DIRECTOR: Maarten Meijs HEAD, SALES: Gepke Nederlof PROGRAMS: The Voice: 75 min., talent show, Talpa Productions,
RTL 4, Netherlands; The Voice Kids: 75 min., talent show, Talpa Productions, RTL 4, Netherlands; The Winner Is…: 75 min., singing/game show, Talpa Productions, SBS 6, Netherlands; Beat the Best: 75 min., variety/talent show, Talpa Productions, RTL 4, Netherlands; What Do I Know?!: 75 min., game show, Talpa Productions, RTL 4, Netherlands; I Love My Country: 75 min., entertainment, Talpa Productions, RTL 4, Netherlands; Divorce: 45 min., scripted, Talpa Productions, RTL 4, Netherlands; Doris: 25 min., scripted,Talpa Productions, Net 5, Netherlands; Down with a Dream: 50 min., entertainment, Talpa Productions, RTL 4, Netherlands; Nation’s Number One: 75 min., talent show, Talpa Productions, SBS 6, Netherlands.
“Talpa is a full-service development and production company built around creativity. We develop ideas for all media platforms with a strong focus on television. Our creative unit, Talpa Content, is the heart of the group; here we develop our ideas into formats. Genres include reality, entertainment, daily and weekly infotainment magazines, variety, game shows, talent, scripted and comedy. Talpa Productions is the group’s own TV production unit. Our initial clients are the broadcasters in the Netherlands. If a format is successful in this country, we introduce it to the international market.Talpa International is dedicated to the worldwide licensing of Talpa Content’s formats and finished series. Well-known examples of our formats are I Love My Country, The Winner Is…, Beat the Best, What Do I Know?! and, of course, The Voice Kids and The Voice, the purest vocal talent competition ever.” —Maarten Meijs, Managing Director
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Televisa Internacional ADDRESS: 6355 NW. 36 St., Suite 101, Miami, FL 33166, U.S.A. TELEPHONE: (1-786) 265-2500 WEBSITE: www.televisainternacional.tv HEAD, FORMATS DIVISION: Richard Ehrsam PROGRAMS: Los Gonzalez: 20 min., sitcom/hidden camera, La
Competencia, Televisa, Mexico; Playback: 70 min., comedy/talent show, La Competencia, Televisa, Mexico; Sing It Sell It: 30 min., entertainment, La Competencia, Televisa, Mexico; Ale Hop: 100 min., talent show, La Competencia, Televisa, Mexico; My Pet is Better Than Yours: 70 min., animal talent show, La Competencia, Televisa, Mexico; Look Who’s Asking: 60 min., game show, La Competencia, Televisa, Mexico; Everybody and Their Brother: 70 min., comedy/hidden camera/entertainment, La Competencia, Televisa, Mexico; Parodying: 150 min., talent show,Televisa, Mexico; Dreaming to Sing: 150 min., talent show, Ideas del sur,Televisa, Mexico; Angry Words: 45 min., quiz show, La Competencia, Televisa, Mexico.
“According to its market capitalization, Grupo Televisa is the largest mass-media company in the Hispanic world, and a major player in the global entertainment industry. The company is involved in TV production and broadcasting, restricted TV signals production, TV programs’ international distribution, direct-to-home satellite TV, cable TV and telecommunication services, magazine publishing and distribution, radio programs production and broadcasting, live sports and entertainment events, film production and distribution, a website operation, and it also participates in the game and raffles industry. It produces more than 90,000 hours of content a year; it transforms universal stories into local successes by creating alliances and performing tailor-made productions. Televisa is a global entertainment company.” —Corporate Communications
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Twentieth Century Fox Television Distribution ADDRESS: P.O. Box 900, Beverly Hills, CA 90213, U.S.A. TELEPHONE: (1-310) 369-1000 WEBSITE: www.foxfast.com SENIOR VP, INTERNATIONAL DEVELOPMENT & SALES:
Yoni Cohen SENIOR VP, CREATIVE AFFAIRS, CURRENT PROGRAMMING:
Steve Sicherman CONTACT: foxformats@fox.com PROGRAMS: Burn Notice: 60 min., scripted drama; White Collar: 60 min., scripted drama; Modern Family: 30 min., scripted comedy; Bones: 60 min., scripted drama; How I Met Your Mother: 30 min., scripted comedy; Prison Break: 60 min., scripted drama; Marchlands: 60 min., scripted drama; Malcolm in the Middle: 30 min., scripted comedy; My Name is Earl: 30 min., scripted comedy; It’s Always Sunny in Philadelphia: 30 min., scripted comedy.
“Twentieth Century Fox’s premium television and feature-film content continues to resonate with a global audience. We are a world leader in entertainment that thrives on working in local markets internationally. Fox totally understands that each market is completely different and that audiences vary enormously. This is the reason why we want to build successful partnerships with the most creative and talented people in these individual territories. Fox owns and has access to some of the world’s most successful and award-winning formats from its vast store of intellectual property. We want to develop and nurture these world-class brands into local success stories with our partners. We are very excited about the upcoming productions of It’s Always Sunny in Philadelphia in Russia, Prison Break in the Middle East, Glee in China and 24 in India.” —Yoni Cohen, Senior VP, International Development & Sales
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Event Calendar INTV November 4-5 Jerusalem, Israel DISCOP AFRICA November 6-8 Johannesburg, South Africa AMERICAN FILM MARKET November 6-13 Santa Monica, CA, U.S.A. INTERNATIONAL EMMY WORLD TELEVISION FESTIVAL November 23-24 New York, NY, U.S.A. INTERNATIONAL EMMY AWARDS November 25 New York, NY, U.S.A. ASIA TV FORUM & SCREENSINGAPORE December 4-7 Marina Bay Sands, Singapore REALSCREEN SUMMIT January 26-29, 2014 Washington, D.C., U.S.A. NATPE MIAMI January 27-29, 2014 Miami Beach, FL, U.S.A. DISCOP WEST ASIA March 4-6, 2014 Istanbul, Turkey MIPTV April 7-10, 2014 Cannes, France
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