NEWSLINE REPORT INTERNATIONAL

MIPCOM 2016

OCTOBER 2016

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FREDRIK AF MALMBORG, MANAGING DIRECTOR, ECCHO RIGHTS

We will continue to build on

the Turkish drama wave
Expanding its
partnerships, the
company looks for
new content
producers.
We have recently
signed a five series
output deal with
Turkeys leading
producer Ay Yapim.
This are incredibly
strong series and we
are also taking out

How have evolved the

portfolio of clients of
Eccho Rights in the
last months?
Eccho Rights is
developing very well at
the moment. Our
mission is to represent
the rights of top

MIPCOM 2016

new series from Surec

Film in Turkey. In
India, we have just
announced a script
output deal with the
broadcaster Star and,
in Korea we have
signed a representation
deal with CJ Group. We
are also launching our
first dramas from
Western Europe: the
success of the season in
Holland Flight HS 13
from Column Film and
Sisters from Bob Film
in Sweden.

Column Film/NPO3 in
Holland and Sisters
from Bob Film/TV4 in
Sweden. Then we are
also launching La Casa
del Mar from Direct TV
Latin America that was
nominated for an
International Emmy.

Which is going to be
the focus of Eccho
Rights for MIPCOM
2016? Which are your
expectations towards
the show?
Our focus at MIP are
five brand new drama
series. Insider from Ay
Yapim/Show TV in
Turkey, Brave and
Beautiful from Ay
Yapim/Star TV as well
as Flight HS 13 from

series is still very strong.

More and more broadcasters are starting to
realize the huge
importance of online
viewers and we are
seeing more and more
clients on this side.

How do you see the

current moment of the
Industry? Which do you
think is going to be the
focus in the future time?
The demand for good
long running drama

drama producers, and

more and more
producers start to
understand the
advantage of having
us representing them
instead of a traditional distribution to
acquire their rights.

Which are the main

features that make
Eccho Rights a wellknown company in the
international market?

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MIPCOM 2016

CONTENTS
We have a unique
offering to producers
who wants to make
dramas for the world.
Classic distributors
are acquiring rights
and are then putting
them into packages to
cover a minimum
guarantee. We are
working differently.
Each series is represented individually and
our job is to make
them worldwide hits,
and give the producer
the value they deserve.
We are working
transparently with the
producer, almost like
an in-house unit.
Which are the must
in order to keep
the validity in the
Industry?
The key is to focus
and to retain rights
from the in-house
distributors of the
broadcasters/studios.
In the new environment, it is important
to manage each
window of the rights
in the proper way. The
different VOD win-

dows, the Free TV and

then finally the
remake rights, but all
with the right priority
and right order. It is
important to be
represented by a
distributor with a
focus on your series
and without conflicts
of interest.
Which are the
main challenges of
the Industry?
We are having a
wonderful development
at the moment, and we
dont see major
hurdles. However, in
the mid-term, it is
important for the
linear broadcasters
who today are the bulk
of our business to
manage the transformation to online.
Which are the goals
established for the end
of 2016 and the
beginning of 2017?
We will continue to
build on the Turkish
drama wave in new
territories. Most
recently, we are seeing

major success with our

Turkish series in new
countries such as Italy.
We will continue this
work as well as
building relationships
with top producers in
Western Europe as well
as Korea, India and
Latin America. More
and more producers
start to understand
the value of our
offering.

Extends the
representation
of Ay Yapim
Eccho Rights added
new titles from Ay
Yapim to its international portfolio. The
distributor commercializes Wings of
Love , Insider and
Brave and Beautiful ,
with two additional
series, two previous
seasons, and three
movies.
The company closed an
exclusive deal with the
Turkish producer Ay
Yapim. Wings of Love
was launched on
August 22nd in Fox

Fredrik Af Malmborg,
Managing Director and Nicola Sderlund, Managing
Partner, Eccho Rights

Turkey, where it
became the #1 drama
of Friday nights.
Insider, stared by
aatay Ulusoy, is on
air on Show TV since
September 19th; and
the third title of the
package, Brave and

Eccho Rights will provide Netflix with 450 hours

The Swedish distributor signed an agreement for
Turkish dramas for the worldwide streaming platforms that includes highlight titles like The End,
Kurt Seyit & Sura and Winter Sun.
A day after the launch of the Turkish version of
Netflix, the OTT platform acquired 450 hours of
content, most of them Turkish dramas. The worldwide, but non-exclusive, agreement includes Ay
Yapim productions like Ezel. There are also include shows from Erler Film like Cant Run From
Love; from Surec Film like Kacak; or from Endemol Shine Turkey like Winter Sun.
Fredrik af Malmborg, comments on this alliance: we are really happy of being able to go
deeper on our cooperation with Netflix for the worldwide launch of the titles we represent. Being part of
the platform is a quality mark that let us reach new audiences.
Besides Turkish dramas, the agreement also involves shows like Silver Spoon (Russia) or Servant of the
People (Ukraine), that will have remake in USA by FOX Television Studios.

MIPCOM 2016

Beautiful will have its

debut on Star TV.
Fredrik af Malmborg
explains: We were
working closely with
Ay Yapim since the
global boom of
Turkish drama and
we are very proud of
the collaboration
that we made
together in order to
increase the genre.
The Turkish drama
gets even stronger
and Ay Yapim has

always led the

genre.
The additional titles
that are part of the
agreement will be
launched in the next
months and the
movies are Delibal,
Bir Kk Eyll
Meselesi and Dedemin Insanlari .

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MIPCOM 2016

INCOMPANY

STAFF
Year XXV
MIPCOM 2016 Edition

9 Story Media Group chooses Alix Wiseman as VP Business Development &

Acquisitions, for all the EMEA region.
The focus of Wiseman operations will
be in the accessibility to new European
content, and the beginning of new
projects for regional broadcasters. With
more than 20 years of experience in the international market, the executive joins the company after years in Aardman Animations.

BBC Worldwide designates David

Hanono as General Manager Sales
and Digital LATAM and USH. On its
new position, David will supervise every content sales of BBC Worldwide
Latin America & US Hispanic, that
include Digital, TV and formats, at
the time that continues leading the publicity sales for
all the region.

Fernando Gastn joins NBC Universo as new VP of Production and Development of sport and entertainment
channels for the USH market, trying
to encourage the ratings growth and
the consolidation of the brand. Previously, Gastn was SVP Content of VIACOM International Media Networks channels: MTV, VH1
and Comedy Central Latin America.

Mara Del Rosario Iregui new VP Strategic Businesses of RCN, in order to

be in charge of new businesses for all
the alternative media of distribution
and content that the company generates and to focus its efforts in the
implementation of important developments. The executive has previous steps in Caracol,
Telemundo and VIACOM.

Laura Fernandez Espeso joins Grupo Mediapro as Director of International Content, under the lead
of Javier Mendez, Director of Content of the Group. Fernandez Espeso will be responsable for the international strategy of the Group,
including co-productions, own-production, distribution (Imagina Sales International) and worldwide
partnerships.

MIPCOM 2016

Approved by the Administration Council, RTVE promotes Milagros Mayi as

Director of the Acquisitions Area. Mayi
career in the company began in 1988
and has been mainly related with commercial departments, positions of responsibility in the areas of Sales and
Sales of Programs, Cinema and Dubbing, being responsible for the content sales of TVE.

Endemol Shine Group incorporates

Ivan Nash Vila as Chief Financial Officer. With more than 20 years of international experience in financial
operations, relationships with investors and development of business
strategies, the executives arrives in
the company after the supervision of the operations in
Liberty Global, for Austria and Switzerland and five countries of Central and East Europe. He also had positions in
companies like 3G Mobile and Compaq.

eOne promotes Carolyn Newman for

the role of VP Scripted Programming.
In its new position and coming from
Amazon Studios, Newman will be focused on the development of TV
projects that might be attractive as
eOne continues expanding its business
of scripted-TV. She will work with the global scripted
development and production teams of the company.

Cyber Group Studios adds Raphaelle

Mathieu as new VP Sales, Acquisitions
and New Media. Mathieu was General
Delegate of the French SEDPA, the
professional union of French audiovisual distributors of all the genres, liveaction, factual and documentaries,
and also animation. He was also Head of Acquisitions
and Sales in Zylo and co-founder of Daydream.

Fernando Blanco leaves the presidency of Pol-ka and only continues as

stockholder. Adrin Suar, artistic director and founder of the producer company is in charge of the local and international management of all the
projects developed by the company, and
Roberto Lorenzi, who was the Administration and Financial
Manager, has been promoted as General Manager.

Editors Directors
Rafael Val
Mara Pa Pazzaglini
Editorial Departament
Mara Alejandra Sturiza
Jos Luis Fajn
Aldo Bianchi
Pablo Garcia
Damin Martnez
Ailn Scapolan
Commercial Departament
Rafael Aboy
Javier Fiorellino
Franco Aboy
Design
ADNOW
www.adnow.com.ar
Printing House
Grfica Pinter
info@graficapinter.com.ar

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Bruce Rosenblum
joins Disney-ABC Television Group

Disney-ABC Television Group, TV division of The Walt

Disney Company, has announced the appointment of the
well-known Bruce Rosenblum so as to lead the business
operations and reinforce the incomes.
The executive will supervise the global distribution, digital
media, strategy and other departments for the networks ABC,
Disney Channel, Freeform and Disney XD. However,
ESPN wont be part of his operation portfolio.
As the new president of Business Operations of Disney-ABC
Television Group, Rosenblum will respond directly to Ben
Sherwood, president of the Group, who says: Disney-ABC is
the home of some of the most emblematic brands of the
television. Today, for the company is more important than
ever to establish an operative structure more efficient.
On his behalf, Rosenblum affirms: During my years in Warner
Bros. I closed several successful agreements with the Group,
and Ive witnessed by first-hand the intelligence and creativity that exists in their business operations.

Armoza Formats makes changes on its structure

Armoza Formats
announced changes
so as to reinforce the
structures of Marketing and Strategy. Recently, Yael Phillips, who has led the
department of Marketing during the last
three years, was appointed as Head of Strategy. At the same time, Paula
Schleider joined the company to reinforce the division of
Marketing and PR. Phillips has managed the expansion of the
brand through her actions of worldwide marketing and communications; and now will supervise the strategic initiatives
to incorporate new opportunities of growth, while continues
with her responsibilities leading the marketing department.
As part of a parallel expansion of the team, Schleider joins to
help with the raise of the marketing efforts reach of Armoza.
Previously, Paula Schleider was part of Beiersdorf Mexico,
working for the Nivea brand.

DIXIT
We dont think Netflix is eating the world. We dont think they
are trying to put us out of the business. But, theres also true
that they are producing more original content. The OTTs have
made the entire world much more competitive and driven up
the price of premium content a great deal. With the previous
model was possible to go to big markets and have three buyers
for content, whereas with the SVOD marketplace there are seven, eight, nine buyers.
Les Moonves, President and CEO, CBS

Philippe Dauman resigns as CEO of Viacom

Viacom announced the resign of its CEO, Phillippe Dauman.

The decision was taken in the middle of a legal dispute that the
company is having with the family of it biggest stockholder,
Sumner Redstone.
The agreement with Dauman also puts an end to the legal dispute between the members of the Board of Directors of Viacom
and National Amusements, the society that Redstone that has
the 80% of the shares with vote right of Viacom and CBS.
The ex-CEO was substitute by Thomas Dooley, who had been
the General Director Adjunct and who was in the temporary
position, until he also resigned.

MIPCOM 2016

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MIPCOM 2016

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IGNACIO SANZ DE ACEDO, CEO AND GENERAL MANAGER, HOLA! TV

Following a traditional brand

After three years
of operation, the
network reaches
16 million households in Latin
America.
What makes HOLA! TV
a different channel?
One of the biggest
attributes that
distinguishes us is the
power of the brand.
When you talk about
HOLA!, any product
that has HOLA! brand,
it is known that is a
high quality product.
HOLA! TV has guarantee itself to move those
values to the screen,
offering the content in
a formal, journalistic
and elegant way that
make it different and
turn it into a different
channel.
How has expanded the
presence of HOLA! TV
in the last months?
During the last time, we
have experienced a
vertiginous growth in
distribution. We started
the year in 10 million
houses and we are
expecting to finish the
2016 near of the 18-20
million. We are lucky to
have important
agreements with some
of the biggest operators
of Latin America like
Cablevisin, Megacable and Dish Mxico.
Nowadays, we are near
to the 16 million
households. We have
just celebrated our third

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MIPCOM 2016

anniversary on air and

looking at the current
situation of the
Industry, it is a huge
success for us to have
that important amount
of subscriber since the
channel was launched.
Where do you see the
focus of the Industry?
We still look that the
trend is on the VOD
digital platforms. We
are on a point where as
a channel, it is very
important to have the
rights of all the
productions and
acquisitions, so as they
can live in different
platforms.

Which are the main

challenges that you
find in the Industry?
We are still growing in
the Industry. The
distribution will
always be a great
challenge for us. We
will continue commercializing the signal
from the publicity
side, and our two
future challenges will
be: first, keep growing
ambitiously in the
distribution, and
second, to establish
our publicity structure
that guarantee the
monetization of the
power of HOLA! TV
and this big brand.

Which are the keys to

get the recognition in
the Industry?
We produce content that
is synchronized with the
taste of our audience,
but at the same time,
we maintain the
editorial line of HOLA!.

How is going to be
address the business
strategy of HOLA! TV
for the next months?
Since the creation of
the channel, our
strategy has always
been addressed
towards those markets
where we see more
profitability on
distribution and
publicity. We will still
reinforce the distribution of the channel in
the USH market and
Mxico. On the publicity

We believe that if we
make high quality
content, there will
always be an audience
that like that kind of
content and our rating
levels prove it.

side, we will be focused

on the pan-regional,
Mexican and Colombian
markets, where we
think that we could
have a bigger return
over our incomes.

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VALERIE CREIGHTON, PRESIDENT, CANADA MEDIA FUND

Supports the creation of

convergent television
How have evolved the
position of CMF in the
international Industry?
Over the last several
months, the CMF has
pursued its objective of
supporting Canadas
screen-based industries
through predictable and
stable funding policies,
but also through its
ongoing promotional
efforts at international
markets such as
MIPCOM. In June we
participated at Sunny
Side of the Doc, and
MIFA, as well as
Canadian festivals such
as the Banff World
Media Festival. In
addition to international promotion though
participation at the
industrys marquee
events, we also continued the development of
coproduction incentive
agreements. We
announced an agreement with Ireland and

Of the variety of
projects the CMF
funds, coproduction continues to
be the top priority.
showcased audiovisual
content productions and
engaged in conversations
about the future of
digital content. This year
focus will be on the
wealth and diversity of
on- and off-screen talent
that allow producers to
engage international
audiences and reach new
markets an important
strategy in todays world
without borders. As
consumers can now
access content from the
four corners of the globe,
were interested in how
producers can leverage
talent to develop new
opportunities and meet
international demand.

innovative Canadian
productions and apps
inspired by books that
can help young viewers
embrace the importance of reading.

renewed our agreements

with Sao Paulo state in
Brazil, as well as Italy.

Canada has had

considerable success in
creating shows with
universal appeal and we
look forward to sharing
our insight with MIPCOM
delegates. Were also
working with MIPJunior to
demonstrate how
producers can usher in
a new era in storytelling by showcasing

and interactive digital

media content.
Canadian talent
continues to make
headways in an
increasingly competitive
international market,
and Canadian content
continually punches
above its weight.
Canada is today the
third exporter of

How is CMF working on

MIPCOM 2016? Which
are your expectations
towards the show?
For the past several years
at MIPCOM, the CMF
along with several
Canadian partners has

12

MIPCOM 2016

How do you see the

current situation of
the Industry?
The CMF programs and
policies are designed to
support the creation of
convergent television

finished television
content in the world,
only behind the United
States and the United
Kingdom. Coproduction
is a practice of growing
strategic importance in
Canada, providing new
opportunities for
Canadian producers
and their international
counterparts to share
resources and talent
and tap into new
markets. Canadian
content is available
through a wellestablished distribution
system, and is also
finding audiences on
new platforms on
countless devices.
Which are the goals
of the company for the
near future?
Of the variety of
projects the CMF
funds, coproduction
continue to be a top
priority. As consumers

have growing access to

content from all
corners of the world,
the production
community benefits
greatly from working
on the international
front and sharing
expertise, talent and
access to markets.
Maximizing coproduction is one of our goals
for the current year.
This is why we are
developing and
renewing partnerships
with other media
development agencies
in countries around the
world. We are looking
at ways to continuously
align our programs to
maintain steady
growth for the Canadian industry.
Coproduction incentives
have been developed or
renewed with the
Broadcast Authority of
Ireland, the Directorate
General Cinema of the
Italian Ministry of
Cultural Heritage,
Activities and Tourism
(Italy), NZ On Air (New
Zealand), Screen
Australia, Spcine
(Brazil), and Wallimage
(Belgium), all through
networking and meetings at international
events. We are pleased
that our productions
resonate with world
audiences and we hope
to see continued growth
in this sector over the
coming years.

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MIPCOM 2016

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CISNEROS MEDIA DISTRIBUTION

Worlwide diversity
The company
offers a wide
portfolio with
original productions and titles
from its partners.
From its Stand P-1.C13
at the Palais des Festivals, Cisneros Media
Distribution is offering
its main titles. The slate
of original productions
is led by Mary for Mayor (14x30). This dramedy is set in a fictional
Southwestern town in
the U.S. where divorce is
forbidden due to a 150year-old superstition.
There, Mary finds herself
in an unhappy marriage
and runs for mayor to
change the law, sending
residents into a frenzy.
But just as Mary is
about to put an end to
her marriage, she begins to fall back in love
with her husband, who
is in fact an imposter
hired by the towns incumbent mayor as part
of a conniving plan to
win the election.
The Sex Sense (13x60)
is an original story by
Luis Fernandez that presents four very distinct
couples on the brink of
breakup, struggling to
survive. Considering
that monogamy is not
natural and traditional
values have not served to
make them happy, these
couples try to redefine
their relationships
through sex, trial, and
error, and not without

14

MIPCOM 2016

drama, gratification,
and trauma, to establish new values that are
more in harmony with
reality and more useful
in building stronger relationships that are
open, honest, different,
and undoubtedly objectionable to some, but
envied by all: the couple
of the 21st century.
Just Looking (120 x60),
a coproduction between
Cisneros Media Distribution and Venevision, is an
innovative, dynamic and
groundbreaking format
that has the flexibility of
being a telenovela or a
drama series. In this story, five couples who fall
in love in different ways:
at first sight, at the first
laughter, at the first
compliment after years of
indifference, after the
first divorce, and even
during the first hip fracture. These lively and
spontaneous characters
meet or are reunited when
they move into the same
building, not knowing a
psychopath has installed
hidden cameras in every
apartment.
As part of the LC Barreto slate, CMD is showing Dona Flor and Her
Two Husbands (110).

The original
film,
from
1976,
was
nominated for
a Golden Globe
as Best Foreign
Film and held
the Brazilian
national boxoffice record
for 35 years.
Starring Sonia Braga,
the internationally acclaimed film was directed by Bruno Barreto and produced by his
parents, Luiz Carlos
and Lucy Barreto.
From medialand Company there are two different
documentaries. In the
Holocaust
Camps
(8x30) discovers the stories of Holocaust survivors
currently living in Brazil.
On the other hand, Police Operation (136x60)
is the first police reality
show in Brazil that goes
behind the scenes to show
the day-to-day routine of
the Brazilian police force,
including cops on the
beat, detectives and the
forensics team.
After more than year as
exclusive representative
of Estrella TV, Cisneros
Media Distribution has in
MIPCOM, Rica Famosa
Latina (42x60), the re-

ality show in which the

Housewives are rich, famous, successful, and
Latinas. They broke
through the glass ceiling
of immigrant triumph,
but the traits that
launched them to the top

their love relationships. In

this flexible format, the
client can choose from a
narrated version to hosted segment by their own
presenters or judging
panel or request Mobius
Lab to deliver the show

are the same qualities

that create barriers to
developing true friendships. With stunning production values and million dollar locations,
Rica, Famosa, Latina,
takes audiences on the
roller coaster ride along
with these Latinas.
Last MIPCOM, Cisneros
Media was presenting
Mobius.Lab Productions.
Now, in MIPCOM 2016, the
company is distributing
three titles develop by the
producer. Talk the Walk
(26x30) shows the evolution of different Celebrities that achieved International recognition. The
show analyzes their fashion style, career and their
personal choices from the
inception of their careers
to the current days. They
hosts will judged their
clothing, style evolution
to their roles that worked
and didnt, in addition to

with new presenters.

For children, Funnimals
(104x30) is an entertaining childrens show
that explores the incredible animal kingdom in an
exciting adventure that
will take you through the
air, water, land, farms,
homes, and through time.
Last, but no least, Cisneros Media Distribution is
handling the rights of
XRC, Top Ten (13x30)
which showcases the
most unbelievable footage
that audiences will ever
see. It chronicles the ten
most outrageous videos of
the following categories:
extreme weather, car
chases, body and dash
cams, sports, pranks,
dangerous animals, and
so much more. The series
is currently available with
English and Spanish narration; however the script
can be adapted to any
language.

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DANIEL OTAOLA, CONTENT DISTRIBUTION MANAGER, TELEFE

We believe in a flexible
company
The company
presents its new
production Love
after Love, still in
development.
can take advantage of all
the opportunities.

How has Telefe

developed its businesses in the last
months?
Telefe businesses have
evolved in a great way,
overpassing the previous
expectations. The Content
Distribution area, particularly speaking, continues to confirm new agreements for The Return of
Lucas that makes the
coproduction a success in
the pre-sales. On what it
means the focus of working, we have launched
some news, developed new
agreements, planned next
year, participated in Industry markets, etc. In
the current context of
changes and deployment
of the industry, we consider that it is important
to adapt to the challenges that those changes
propose, in a way that we

16

MIPCOM 2016

Which is your main

focus for MIPCOM?
We are working on the
launch of our new project,
Love after Love. We are
also exhibiting last productions, like Educating
Nina and The Return of
Lucas . To those titles
Telefe is adding its continuous negotiations for
all the portfolio. Considering MIPCOM has the
biggest opportunity for
us to let the people know
our great content, we are
very excited about this
four days in Cannes.
What kind of opportunities do you find in
the TV Content market?
The current situation is
still a very interesting
moment with huge opportunities, in the development of new productions, because of the interest and greediness of
the consumers in the
new formats and
themes; and in the content distribution area
from the chances that
come with new technologies and the decrease of
prices in its use. During

the next month, I think

that the expansion process will continue towards new horizons and
the consolidation of current developments.
Which are the features
that make Telefe a
different company in
the market?
From the experience developing the production
of original content, Telefe
provides its creativity
and its ability on the production for the content
that creates; so some of
it main features that distinguishes it in the market are related to innovation, flexibility and association capacity. This is
why we have a Content
Distribution area always
alert to look for new opportunities for the product developed by Telefe
and so we can maximize
its development.

Which are the keys in

order to be distinguished in the Industry?
We have develop original
quality content and since
then, we have created
strong relationships with
clients and partners that
let us reach the higher
development of the produced programs. Several
of our shows and formats
have been broadcasted
and adapted in most of
the countries of the world,
so Telefe content has
transcended boarders and
different cultures, reaching most of the goals.
Which are the main
challenges for Telefe
inside the market?
The biggest challenges
that we have to deal with
are in the content distribution side, related with
the diversity of opportunities, needs, contexts,
and how to adapt to it. In

an environment where
everything is on revision
and constantly changing, the challenges for
producers and distributors are how we can face
the changes and being
flexible enough to be
able to adapt.
How will be oriented
your business strategy
for the next months?
We believe in been flexible, especially in an environment with such an innovation, so as to develop
all the options that let us
find solutions and answers to our clients needs.
We have a great portfolio
and so many business options that helps us to find
new ways of understanding and develop the biggest number of opportunities possible in mutual
benefits; in a way that our
strategy is focused in better results.

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DIEGO KARGAUER, SALES & ACQUISITIONS MANAGER, POLAR STAR

25 years, and more

than 1000 titles
We have the most important independent portfolio available in
the market, states the executive.
How has evolved Polar
Stars businesses?
We are really focused on
the penetration of VOD
market, the one with the
biggest growth in the region, and Polar Star will
be addressing its distribution businesses towards those trends. At MIPCOM we
are meeting with a big number of our clients, even though
our main idea is the acquisition of new content.
Which are the main features that make from Polar
Star a unique company in the market?
We have a huge portfolio with high quality movies, some
of them that are Oscar winners. With more than 1.000

titles, we have rights for all Latin America. It can be said

that we have the most important independent portfolio
available in the market. During this 25 years, our company
has been oriented on acquiring those contents that may
attract our clients attention in Latin American markets,
besides the construction of a wide and varied portfolio
that it becomes stronger and stronger, as the time goes by.
Which are your goals for the near future? How will
you be working in order to fulfill those goals?
Our main goal for those months is keep reinforcing our
portfolio for next year. We keep an eye on new content that
emerges in the market, and we could only do it if we keep
travelling to the most important film festivals, and programming. We do also work on having a costumed and
direct relationship with our clients.

TOMS SILVA, VP INTERNATIONAL SALES, RIVE GAUCHE

Only the one with the best

content will survive
How is it addressed
the business strategy
of Rive Gauche?
Our commitment is the
launch of new content, at
least twice a year. We are
constantly looking for new
ideas to develop and produce, and of course some
worldwide acquisitions.
Thats why we are still
evolving next to the market, because if you dont
evolve, you disappear.
Which is your focus for
MIPCOM? Which are
your established goals

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MIPCOM 2016

for the market?

MIPCOM is a very important
market, internationally talking, and maybe more destined to European territories. The attendance of executives who buys content
is so high that our agendas
are tend to be 100% full. If
you add the end of finan-

For the executive,

technology moves
in a way that
makes more
difficult to keep
on the move.
cial year, the market tends
to be the last chance to fulfil your annual goals.
How do you see the
current situation of the
market?
The Industry is still on its

inexorable metamorphosis, reinventing itself in

each change. Technology
moves in a way that
makes more difficult to
keep on the move. We
havent get used to the
analogical turn off yet,
and we have to think of
the development of new
OTT platforms that
emerge almost daily. I
think that were going to
see more and more big
fishes dominating this
field, but only the one
with the best content
will survive.

How can you describe

the uniqueness of
Rive Gauche?
We are not a studio, we do
not have our own channel,
but we have a huge portfolio. Rive Gauche keeps an
ideal structure and everyone
there work so hard, trying to
have the best relationship
with our clients. The diversity of our portfolio and the
participation in most of the
international markets make
the difference. We try to be a
step ahead from similar
companies, offering something else to each client.

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TOMAS DARCYL, PRESIDENT, TELEFILMS

Our line-up has 35-40

premieres per year
Which is Telefilms
strategy during
MIPCOM 2016?
At MIPCOM, Telefilms is
showing the best films of
the independent market.
We have a line-up with
35-40 premieres per year,
growing so fast. We have
successful titles like Bad
Moms, which has
reached 150 million dollars in the USA. We are
also having a huge success in Mxico, with our
original movie, which was
launched in Spain, via
Diamond Films Espaa.
During 2016 we were
launching The Nice
Guys, stared by Ryan
Gosling and Russell
Crowe; besides The Boy,
Dirty Grandpa and London Has Fallen. Our intention is being everywhere and MIPCOM gives
us the opportunity to have
the world by our side.
How is it the development of original
productions of the
company?
The Magic Eye, our producer company of TV-content, is evolving and the
first project, Sandro, was
already announced. Also,
our last Mexican original
movie, produced under the
brand of Diamond Films
Mxico, Qu culpa tiene
el nio? became the third
Mexican movie in the history to reach 5.900.000
admissions. We want to
have a slate of high quality original content to offer to the market that

20

MIPCOM 2016

Shows the results

of Qu culpa
tiene el nio? and
analyses the
evolution of
Diamond Films
Espaa.
came from different parts
of the world, where we
have operations.
How has evolved
Diamond Films Espaa?
The distributor company
has been working for the
last five months, and
even if we have a smaller
line-up, we have in mind
to leverage the portfolio
level, comparing with the
Latin American one, in 24
months. Alfonso Castillo is leading this company, conformed by ten people handling our operations in Spain.

Which are the most

profitable platforms
towards rights
distribution?
Everything related to PayTV and SVOD is important for the business.
Despite theatrical represents a risk, it also offers
a huge opportunity of incomes. Because everything is unify, there is a
lot of material in Free-TV.
Theres future, nobody
knows the direction, but

if you dont have every kind

of rights secured, youre
out of the industry.
Which are your goals
for the end of 2016 and
the beginning of 2017?
Telefilms will still look for
growth, with a huge expansion in quality and
quantity, besides geographical. We have just
opened a new Diamond,
in Bolivia, so the idea of
keep growing will never
finish. We founded the
seventh Latin American
Diamond, which means
the eighth worldwide.

Majors titles
for MIPCOM
Telefilms is showing its
wide new titles portfolio,
led by Bad Moms, stared
by Mila Kunis, Kristen Bell,
Kathryn Hahn, Annie Mumolo, Kada Pinkett Smith
and Christina Applegate.
The story directed by Jon
Lucas shows three overworked and under-appreciated moms who are

pushed beyond their limits, so they ditch their conventional responsibilities

for a jolt of long overdue
freedom, fun, and comedic self-indulgence.
On the other side, Lion,
from Gareth Davis, is acted by Dev Patel, Rooney
Mara, David Wenham and
Nicole Kidman. A fiveyear-old Indian boy gets
lost on the streets of Calcutta, thousands of kilometers from home. He
survives many challenges before being adopted
by a couple in Australia;
25 years later, he sets out
to find his lost family.
Also, Telefilms has the
last title directed by Mel
Gibson, Hawcksaw
Ridge, stared by Andrew
Garfield, Teresa Palmer,
Hugo Weaving and Sam
Worthington. WWII American Army Medic Desmond
T. Doss, who served during
the Battle of Okinawa, refuses to kill people and
becomes the first Conscientious Objector in American history to be awarded
the Medal of Honor.
A Monster Calls is the
third title of J.A Bayona.
The production, stared by
Liam Neeson and Felicity
Jones is based on the
award-winning childrens
fantasy novel. Connor, a
12-year-old, attempts to
deal with his mothers illness and the bullying of
his classmates by escaping into a fantastical
world of monsters and
fairy tales that explore
courage, loss, and faith.

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LEONARDO ARANGUIBEL, DIRECTOR, PRODUCTION, DISNEY MEDIA DISTRIBUTION
LATIN AMERICA, THE WALT DISNEY COMPANY LATIN AMERICA

Relevance and truthfulness

of the story is essential
How has evolved the
way of producing
content?
Disney Media Distribution
Latin America has made
an important change on
its line of production
when developed its first
original series Hasta que
te conoc: Juan Gabriel, Mi
Historia . This doesnt
mean that we are going
to stop the chain of successful local and pan regional versions of our
portfolio, but we have
added an element that
complements our work
very well.
Why did Disney
Media Distribution
Latin America decide
to begin to produce
bio-pics?
The stories of personal
achievements, fight and
triumph against the adversity have been presented on our productions for
decades. The power of
showing our audiences
the value of the reward
after the effort is something that satisfies us
enormously.
Which are the main
features do you have
in mind at the time of
picking up the ideal
partners for this
projects?
Disney Media Distribution Latin America privileges working with its
strategic partners, the

24

MIPCOM 2016

After Hasta que

te Conoc, the
company continues with the
production of new
bio-pics.
ones with a strong and
long-lasting relationship. This kind of productions represent another
element of a deep commercial relationship,
whose benefits include
much more than only the
project of local production. On the other side,
Id like to add that these
partners also share the
same vision of quality
and profile of the stories
we develop.
Which characteristics
of the peoples life do
you analyze in order
to choose them as
future bio-pics?
Relevance and truthfulness of the story we want
to tell are essentials. We
prefer to choose those
which dramatic value, of
entertainment also, is
based on real facts. This
is the truth power of a
bio-pic: that people know
that story is genuine an
sincere, for anything else
there is the fiction.
A year after launching
the project of Hasta
que te conoc, how do

you analyze the

evolution of the
project? How was the
reception of networks
and audiences?
In my opinion, Hasta que
te conoc is already
known as a truly success
for our region. Numbers
and records of audiences in the different markets are stunning and
even more the manifestations of the audience
through social media.
The emotional impact
that had caused on the
audience was something
deeply moving.
Which is the role of
new technologies in
the Content Industry?
In this Industry, technology has as role and mission, to find the way, the
most direct and comfortable option between content and user. Every time

trends and consumers

habits change, technology gives a step ahead
to adjust these corrections and confirm its
function as communicational link between our
audience and us.
Which are the keys so
as to be highlighted in
the market?
In an environment even
more competitive, with a
bigger diversity of options, in content and distribution platforms, the
only option that guarantees permanence and recognition is the innovation; to privilege the quality and connection with
the soul of our audience.
Which are the main
challenges do you find
in the market?
The biggest challenge is
the audience spread, due

to the saturation of exhibition networks and the

growing diversity of the
content offer, with a more
homogeneous quality in
general. But that is the
kind of challenge that
gives as life, at least to
us, as a company.
Which are the key
factors that guarantee
the success of a
content in the international market?
No one can tell what
guarantees the success
of a content. It will be like
having the Philosophers
Stone of our millennium.
The only thing that can
be guarantee, and thats
what we do, is to give until
the last drop of sweat in
each project, to make the
impossible for innovation,
to take risk and to provide content with the best
quality day after day.

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MANUELA CAPUTI, HEAD OF INTERNATIONAL SALES, MEDIASET

Arrives in Cannes with

a solid sales structure
The company
extends its partnerships with
Comarex, Sera
Film and Kanal D.
Which are Mediaset
goals for MIPCOM
2016?
For us MIPCOM is an important market, and we
face it with a particularly
rich catalog of series,
but at the same time we
are trying to diversify our
catalog with new products of unscripted formats and documentaries. On the other hand,
we expect to sell and
close big deals with important Networks.
Which kind of deals
have you made in the
last months?
In the last few months
we tried to better organize our distribution
network with our key
partners in the different
territories. We have a
big catalogue and we
decided to strengthen
our partnership with
few, trustworthy nationwide sales agent with
whom we have already
been cooperating for
years. For example, we
have confirmed our relationship with Comarex for Latin America and
extended it to Asia and
Africa, and, in the Mena
Regions we have closed

26

MIPCOM 2016

a distribution agreement with Sera Film,

that already successfully represented us in the
Turkish market for the
last 7 years, in joint venture with Turkish Broadcaster Kanal D to be
able to count on their
strong sales activity in
these territories to find
new possible markets
for our entertainment
and fiction catalogue.
Having said that, from
the Rome headquarter,
we focus directly on European markets and
keep on coordinating the
sales team and negotiate larger packages with
major international
broadcasters.

How do you see the

market nowadays?
Actually the present situation seems quite good,
with a market recovery
and with great opportunities for everybody.
There are many channels, many platforms and
so it growing the demand for new contents.
Why is Mediaset
different from all the
other companies?
Our sales structure is
very solid, we join all the
most important International TV markets and we
try to be present in all the
regions of the world, both
through a direct participation both with our

agents. We have a very

rich and distinctive catalog, and we are further
investing to reach our
customers in even more
widespread regions.
How can you transcend
in the Industry?
First al all we are very
careful about what clients need. Our main aim
is to establish a very long
term relationships with
our clients by suggesting
products that may really
fit their programs
schedule.
We work hard with passion and we have good
contents. When it comes
to format and adaption,

we do understand the
cultural differences and
we know that they must
be respected. We want to
be sure that our formats
are suitable and can be
successfully adapted.
Which are the main
challenges do you find
in the Industry?
First of all, we would like
to keep up with the technological gap that is becoming more and more
relevant and its becoming an asset in clients
choices. Second, wed like
to present the potentiality of our productions:
wed like to dedicate real
time to our clients and
give all the information
about our programs.

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ANGELA NEILLIS, DIRECTOR OF NON-SCRIPTED, UK, EMEA, ASIA PACIFIC,
FREMANTLEMEDIA INTERNATIONAL

With the focus on factual shows

Which are the features
that a content has to
have in order to attract
the attention of
FremantleMedia
International?
Its something difficult
to say, because every
single program is
unique. FremantleMedia International is very
interested in shows with
special quality, with an
interesting and talented
cast that attracts
international audiences.
We are always looking
for different things.
Which are the main
genres youre looking
for, so as to expand
your portfolio?
As Director of NonScripted, Im looking
for that kind of
content, everything
related to factual,
history and nature and
also strong life-style
shows and home
entertainment content.

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MIPCOM 2016

for great factual

production companies to
create bounds. We need
really strong and unique
factual content in order
to expand our portfolio.

We are lucky to
work with such
strong and dynamic production
companies worldwide, says the
executive.
Jamie Oliver shows
are some of the
most successful titles
of your portfolio, why
do you think that
kind of content has
such an impact all
over the world?
Cooking is something
were really strong in, as
we have been managing
Jamie Oliver shows for
over 10 years. We have
also grown in that genre
thanks to Nigella shows.
Jamie became a brand
by himself, because of
his unique point of view
and diversity; that made
him a huge success all

over the world. We spend

a lot of time reinforcing
the cooking brands in
the markets that are
emerging. We look for
markets like Asia, to
find the opportunity to
expand the presence of
those kind of shows.
Which are FremantleMedia goals for
MIPCOM 2016?
We have a fantastic year
with factual entertaining shows, so well be
looking for more factual
content. We are looking

How do you see the

current situation of the
Industry? How has
evolved it and which is
going to be the focus
for the next months?
FremantleMedia is a
big player international, and we are in
production in certain
countries around the
world. When we pick up
a show, we are very
cautious about it,
because we have a lot
to do with it, in order to
play it. We are always
in touch with our
factual producers. The
combination of tapes
and new productions is
a key for us, and that
leverages our quality.
With more than 16
years of experience in
the Industry, which are
the keys in order to
succeed in the
Industry?
I think that the main
feature is to have
incredibly strong
production relationships. The producers
that we work with, as
well as our own
production companies
are very strong, very
dynamic. We are very
lucky to be working with
them and FremantleMedia International

has to have an eye on

what the trends are. We
have to be in the market
and then all the people
there will tell you in
which direction will be
going the Industry.
Which are your goals
for the end of 2016 and
the beginning of 2017?
Definitely, well be
growing our factual
slate, with new reality
shows coming through.
Fashion Inc will be one
of our most important
shows, from the
producers of Project
Runway, and also weve
acquire a great show
called The Naked Truth
from True North for
Channel 4 (UK). We are
developing new ways of
working in which we try
to combine a finished
show launch, with a
format launch; and this
is an extraordinary
opportunity to do it.
Despite United
Kingdom, which are the
strongest territories of
FremantleMedia?
Of course UK and United
States are our dominant
territories. FremantleMedia International
also has great production relationships in
Australia. In terms of
acquiring rights, it is
the UK, where most of
the ideas came from
too. We are in an
incredibly lucky position
working with producers
worldwide.

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TELEVISA AND POL-KA

Allies to coproduce Love, Divina

The new teenage Premium fiction will be broadcasted
in eltrece and blim.

Televisa, Pol-ka
Producciones and
Federation Kids &
Family have just started
the production of Love,
Divina (60x45), a diary
musical teenage fiction
stared by the pop and
TV star, Laura Esquivel
(Patito Feo). The
creative team combines
its record hits and its
experience in the
television world,
licensing and music,
with the enormous
popularity and talent of
Esquivel, in order to
bring a new generation
of Premium fiction for
worldwide teenagers.
The three co-production
partners give Love,
Divina a unique
experience level on
content for teenagers
and pre-teens. Patito
Feo, Televisas copro-

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MIPCOM 2016

duction, was broadcasted in more than 40

countries and its
audience rating and
licenses were record.
Esquivel, teenage idol
and successful singer,
contributed with the
success of the show
soundtracks, with five
Platinum Discs and five
Golden Discs in Italy,
Spain and Portugal, and
2 million tickets sold for
her shows.
Teenage audience has
become very demanding,
responding to real life
stories, and they are not
an easy audience to
engage, comments
Maca Rotter, General
Manager, Televisa
Consumer Products.
Televisa begun to
create series for teens
15 years ago, and has
evolved with the

audience since that

time, adding platforms
and technologies, and
improving the ideal
joint of drama, music
and humor, which is the
basics of our success,
adds the executive.
The widen experience of
Pol-ka Producciones
as a fiction producer
company has given the
local and international
recognition, which let it
establish strategic
alliances with famous
networks, like Disney.
Pol-ka was the
production studio of
Violetta and Soy
Luna, two of the preteens most successful
series of Disney, which
have become in
worldwide hits. In a
similar way, the
romantic comedy
Esperanza Ma

(produced by Pol-ka for

eltrece) became a
massive success that
led all the ratings in
Argentina, which
derived in live shows,
with 70 sold out shows,
and a high worldwide
distribution.
Manuel Mart, Development and International
Business Manager, Pol-

ka Producciones, says,
The challenge of this
show was to think of it
as a multiplatform
project, so we had to
establish and coordinate several production
units for lineal, digital,
social media and second
screen content. The
result is a uniform
narrative that exists in
several platforms
simultaneously, which
offers different levels of
interaction and creates
content that merge a
new way of contact with
the audience.
David Michel, General
Manager, Federation
Kids & Family, has
produced and coproduced more than 15
children series,
including the next diary
fiction for teenagers
Paris Opera, a highlevel coproduction with
ZDF and ZDF Enterpris-

es. We are glad to join

these respected experts
in the international
teenage series. With
Love, Divina we
continue with what we
have done with The
Ollie & Moon Show.
Federation Kids &
Family is gaining respect
as the newest player in
the production and
distribution of Premium

Children content,
assures Michel.
The first episode of
Love, Divina will be
launched in MIPJunior
and tells the story of a
sweet and responsible
teenager that grew up
without a family. With a
big knowledge of the
street life, Divina takes
care of a group of homeless kids. The mysterious Irene, that happens
to be the Grandma she
lost years ago and
wants to be near Divina
and solved past errors,
adopts the children and
takes them to live in her
mansion, rescuing them
for Social Services.
Divina, who dreams to
be a pop star, lives with
its friends and wealth
family, including Felipe,
the love of her life,
making appear new
friendships and
unstoppable rivalries.
Love, Divina will debut
in eltrece in Argentina
on January 2017, and in
the digital platform
blim of Televisa, for
Mexico and Latin
America, during the
first months of 2017,
followed by its broadcast in the other
platforms of the
Mexican Group,
including the Free TV for
Mexico. The European
rights are handled by
Federation and
Televisa, and for the rest
of the world by Televisa.

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LUIS VILLANUEVA, PRESIDENT, SOMOS DISTRIBUTION

Offers a portfolio with more than

20.000 hours of programming
How do you find the
situation of the
distribution area in the
Industry?
The current situation of
the Industry is fascinating, products like
the trends of globalization and new habits of
content consumption
audiences are amazing.
The internationalization
of TV opens new
opportunities to so
many content, as the
audience is more
receptive to unconventional stories
and formats, when
fundamental elements
of that content (story,
production values, etc)
have the highest
quality. This opens
many opportunities to
the indie distribution
as content is thought
for the international
market since the
beginning and then

companies are looking

for partners, which
support the sales work.
Other aspect is that
genres are broadening,
combining comedy
elements with drama,
and action with
romance, for example,
trying to reach a bigger
audience and with
higher levels of quality,
and with higher

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MIPCOM 2016

The distributor is
representing
Kanal D, TVN, SIC,
J.K Produ and
GoQuest.
standards for products
like super series.
We can also see more
opportunities for that
episodic content, thanks
to new habits like
binge-watching. Those
behaviors are opening
interesting spaced for
content in the new ondemand windows.
The other area of
opportunity is the
strength that are
gaining options like the
content distribution OTT,
which impact is
extending to new regions.
Which were the latest
projects of Somos
Distribution?
SOMOS Distribution has
been focused on the
expansion of its
portfolio with new
worldwide succesful
drama titles. We are
conscious that this
genre is leading the
programming charts of
our clients, like also the
reinforcement of the
offer in some other
aspects of importance
for our clients. We have
recently signed several
distribution agreements, with worldwide

known companies like

Kanal D (Turkey), TVN
(Poland), SIC (Portugal), J.K Produ
(Greece) and GoQuest
(India), that gave us a
huge volume of dramas
that we are launching in
MIPCOM.
At the same time, we
are really proud for the
penetration that we
have reached with the
series Hasta Que Te
Conoc that has broken
audience records in
every market where it
was broadcasted.
Which are the features
that make Somos
Distribution a different
distributor in the
international market?
I think that what
differentiate us is our
feature of an indie
distributor with an
avant-garde attitude

towards the new trends.

We are not scared to
present new proposals
to our clients, because
when we do it, we think
that they have a space
in the market and
audience.
This has been confirmed
for our success in the
introduction of Turkish
novelas in the region,
and now with the
addition of dramas, all
of them from nontraditional providers, in
a key genre for programmers of the region. On
the other side, this
attitude it is also signed
by a diverse and broad
portfolio with almost 20
thousand hours of
programming, that let
us satisfy the need in
programming with
documentaries, movies,
series, formats, sports,
variety and other genres.

Which are the

goals you have
established for Somos
Distribution for the
next months?
Our goals are oriented
towards the growth and
profitability of the
company. In this
moment is crucial to
have a portfolio
renewed, the search of
new content, the sales
and client service. We
have established new
solid basis and it is
satisfying to see that it
is easier to establish
alliances with new
partners who see us as
its commercial arms
in a complicated
region, but very
important in the
global industry. This is
possible thanks to the
function of the results,
and to the reputation we
have built.

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FIDELA NAVARRO, DIRECTOR OF CONTENT DISTRIBUTION
AND INTERNATIONAL CHANNELS, TV AZTECA

We are changing the way

of producing
Continues developing big TV-melodramas
of intrigue and action.

How have evolved the

operations of TV Azteca
in the last months?
Under the direction of
Benjamn Salinas, TV Azteca is passing for an era
of fully reinvention. This
has implicated some
changes on our internal
structure, in the directions
of business units, in the
corporate strategy and, of
course, in the models of
businesses and the way of
creating, producing, and
distributing the content.
The results are appearing
in all the levels, internal,
external and in financial
and rating terms.
How has evolved the way
of producing content?
TV Azteca has created a
new fiction unit that receives independent
projects from all over the
world, and analyzes and
tests as equal, looking at
the quality and originality. The actual model is

34

MIPCOM 2016

also open to independent

producer companies and
all kind of formulas that
give us more opportunities towards our international partners. In terms
of entertainment, our bet
is on the creation of our
own proposals.
Considering the need of
giving more varied
content to the audiences, is there any chance
that TV Azteca form coproduction alliances
and new genres?
We are open to the presales and TV-series coproduction of 80-120 episodes, with a high quality of production, and
with new themes with different narrative and visual style, is the appropriate chance. We are also
working hard so as to offer new entertainment
formats that can be produced in collaboration
with other broadcasters.

Which is the role of

new technologies
inside the content
industry?
Technology has demanded us to be the
best and fastest in every line of work. This
increases and facilitates us the production
processes that allows
new distribution platforms and makes us interact with live audiences. Theres no doubt
that it has a role of promoter and challenger.

Under which strategy

is TV Azteca working at
MIPCOM2016?
During the show we are
presenting for the first
time those TV-series that
will establish a beforeand-after on our production. We are showing news
that will be on air, like
Entre Correr y Vivir, and
two more that are now on
development and that can
be seen on the first term
of 2017, big melodramas
of intrigue and action under the direction of Joshua
Mintz. We are also launching a new portfolio and
digital apps.
How do you find the
current situation of the
Industry? Which are
the challenges for the
future time?
The main challenge is
looking for new formulas
of association between
media so as to maintain
the rhythm of original

productions with high

quality standards that
demand a higher investment, without losing our
own mark. I do also believe that we are going to
see a centrifuge movement of those big companies and windows. We
have to broaden and
sharpen the production
and business models in
digital content. That is a
big challenge for most of
the companies and particularly for the distribution content areas.
Which are TV Azteca
goals facing 2017?
Our CEO, Benjamn Salinas has made it clear.
We are going to launch
distinguishing content,
changing the way of producing it, reaching results from the new models of business and recover the TV leadership
in a national and international level.

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RAFAEL BARDEM, SVP SALES, PROGRAMS AND LICENSES, RTVE

Industry has to improve the

product in a continuous way
The executive
highlights the
importance of
new habits of
consumption.
Which is the focus
of RTVE for this future
months?
We are focus on the conclusion of some pan regional agreements with
some OTT, and we are preparing the launch of our
new shows. Thats why we
are bringing as the main
title The Sonata of Silence, a huge series set
in the 1940s Spain with
magnificent scripts,
made by one of the best
teams that can be gathered in the market.
How do you find
the situation of the
Industry?
New habits of consumption of TV product are
generating a bigger demand of quality productions. We also believe
that this demand is going to increase during
the next years.
Why is RTVE a unique
company in the
international market?
RTVE is a public broadcaster that is more active as time goes by in
the international market. We count with an
annual volume of pro-

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MIPCOM 2016

duction enough to retain

our clients. Fortunately,
we are investing in a
commercialization structure with more power.
Which is the role of
new platforms in the
Industry? How is RTVE
working so as to
keep prevailing despite
the changes?
Those platforms are new
content distributors
that compete directly for
the leisure time of lineal audiences. RTVE has
been a step ahead in
this offer through its
service a la cart. Now
we have to reconsider
how we will evolve.
How can a company be
highlighted in the
Industry?
The main thing is to be
attempted to the evolution of the sector so as to
improve the product in a
continuous way.
Which are the main
challenges for RTVE in
the Industry?
RTVE needs to be the engine of our industry and
improve the economical
returns, essentials so as

to not weaken our bet for

the production.

Titles of the historical Spain

During the four days of the show, RTVE is presenting in MIPCOM The Sonata of Silence, a
romantic thriller set in Spain in the 1940s that
tells the story of Marta and her daughter Elena, two generations who seek to change a
world that imposes extremely rigid social and
moral codes of behavior.
The daily series, Sis Sisters is a story about
overcoming hardship, struggles and false appearances and, in particular, focuses on love
and matters of the heart. It is set in the Spain
of the 1920s, in a period of great contrasts
and featuring many social inequalities. Life is
not easy, particularly for women.
RTVE is in Cannes with the second season of
Vctor Ros the series inspired by the novels
by Jernimo Tristante, it tells the story of a
young police detective in Madrid in the late
19th century. In the new episodes, the character played by Carles Francino travels to Linares
to solve the biggest case of his career.
RTVE will use the MIPCOM showcase to continue promoting its international channels: TVE
Internacional, 24 Horas, and STAR HD.

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KATRINA NEYLON, EVP INTERNATIONAL SALES AND MARKETING, STUDIOCANAL

Consolidated thanks to its

partnerships
How has the business
of STUDIOCANAL evolved
in the last six months?
Drama continues to be an
important growth area
for us and we are delighted to be adding to our
slate of high-end, original primetime content
through our relationships
with many European and
US production partners.
STUDIOCANAL has extended its production
base by linking with leading producers around the
world including Spains
Bamb Producciones,
the UKs Urban Myth
Films and Benedict
Cumberbatchs SunnyMarch TV and Final Twist
Productions, formed by
bestselling author Harlan
Coben and REDs Nicola
Shindler. These new partnerships are in addition
to the longer term relationships STUDIOCANAL
has with leading producers such as Tandem Productions, RED Production Company, Guilty
Party Pictures and Denmarks SAM. These partnerships give us the opportunity to consolidate
our position as the go-to
studio in the global market for stand-out event
drama programming.
We have increased our
sales team too, and I am
delighted that Daniel Rodriguez, based in Miami,
has been supporting our
sales efforts in the Latin
American market. Daniel
will be working alongside
Beatriz Campos, VP Sales,

40

MIPCOM 2016

The company is
handling a diversity of productions in five
different countries worldwide.
whose role has expanded
to take over sales in Latin
America. Beatriz and
Daniel will work together
to promote and distribute
the STUDIOCANAL catalogue across the Latin
American territories.
Can you analyze the
current situation of the
Industry? How will this
change in the coming
months?
The global demand for high
quality, original event drama with great stories,
strong characters and wellknown talent is continuing.
There is strong competition
among platforms and
broadcasters to acquire
premium dramas that are
channel defining. The
range of dramas types that
are being produced is also
widening to appeal to and
be relevant for the different styles of channel that
are flourishing around the
world. We believe these
trends will continue.
What are the main
features that distinguish
the company in the
international market?
As a subsidiary of the CANAL+ Group, STUDIOCANAL is one of Europes

leading distributors and

producers of feature films
and TV content and is an
expert in international coproduction. We are the only
studio operating simultaneously in the three main
European territories
(France, the United Kingdom and Germany as well
as in Australia and New
Zealand), offering our
production partners a flexible and full range of studio services and packaging all the way from coproduction strategy and
financing to production
and ultimately sales.
Why do you think
that STUDIOCANALs
titles are so successful in the world?
Audiences around the
world are eager to engage
with internationally
sourced and produced
content. Our line-up of
truly universal program-

ming, with high-end production values, leading

writers, stellar performers and strong and relevant themes means we are
able to offer content that
transcends cultures and
has a global reach.
Which are the goals of
STUDIOCANAL for the
end of 2016 and the
beginning of 2017?
STUDIOCANAL will continue to build on our successes and focus on expanding our content pipeline to
create programming
which has the widest possible appeal to multiple
platforms around the
world. We are also extending our relationships with
new channels, broadcasters and streaming services. Getting to know their
current and future needs
and offering them the opportunity to acquire our diverse content.

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CONTENTS
WWE

Content available in more

than 180 countries
WWE programming reaches
more than 650
million homes
worldwide in 25
languages.
WWE is the integrated
media organization and
recognized leader in global entertainment. The
company consists of a
portfolio of businesses
that create and deliver
original content 52 weeks
a year to a global audience. WWE is committed
to family friendly entertainment on its television
programming, pay-perview, digital media and
publishing platforms.

WWE
programming
reaches more than 650
million homes worldwide
in 25 languages. WWE
Network, the first-ever
24/7 over-the-top premium network that includes
all live pay-per-views,
scheduled programming
and a massive video-ondemand library, is currently available in more
than 180 countries.
During MIPCOM 2016,
WWE is showing Raw

(52x60/52x120/
52x180), the longest
running episodic television show in U.S. history.
With over 20 years of action and excitement, the
show boasts an ongoing
legacy of controversial
moments and incredible
battles that makes WWEs
flagship show the premiere destination for the
WWE Universe.
SmackDown (52x60/
52x120) is a compelling
blend of athleticism,

drama, and entertainment that provides an

unparalleled atmosphere of action and excitement for the WWE
Universe. For nearly two
decades, SmackDown
has served as the platform for a spectacular
lineup of WWE Superstars to showcase their
incredible abilities and
create unforgettable
memories each week for
viewers the world over.
Worldwide audiences can
meet real women in Total
Divas (16x60). In this
show, people go inside
wrestlers personal lives
like never before. Total
Divas tests their relationships and careers are
challenged, but through it
all, this sisterhood comes
out stronger than ever.

WWE Main Event

(52x60) features incredible in-ring action from
the WWE Superstars and
Divas of Monday Night
Raw and SmackDown
LIVE. On this idea, Su-

perstars (52x60) shows

the best of the best in
matches people will have
to see to believe.
Last, but no least, WWE
Experience (52x60) allows the WWE Universe
the chance to catch up
on all the storylines and
matches from Monday
Night RAW and SmackDown LIVE, while getting
exclusive updates on all
their favorite WWE Superstars.

UNIVERSAL CINERGIA DUBBING

Opens its new headquarters

Universal Cinergia Dubbing has made an important contribution of collaboration to all the Turkish distributors and producers for the Latin American market. With more

than 25 titles, almost 3

thousand hours of production made by the end of
2016, between Neutral

42

MIPCOM 2016

During 2016 the

company has
worked in more
than 25 title and
3.000 hours.
Spanish, English and Portuguese. Turkish Content
is now opening to different African territories.
Filipino, Korean and Chinese content is becoming

bigger and bigger, launching content that goes

from drama to animation,
so as to be part of the success in Latin America.
Universal Cinergia is
opening its new headquarters at the end of October. The administration
area and some of the operations will be moved, so
the company could build
more recording studios in
order to be able to supply
its clients with more effi-

Gemma Lopez, Liliam Hernandez y Elisa Aquino.

ciency in terms of time.

Universal Cinergia is in
MIPCOM, with its new
representative Elisa Aqui-

no, so as to reach more

efficiently every territory
in the world, mainly in
Asia and frica.

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CONTENTS
MAARTEN MEIJS, MANAGING DIRECTOR, TALPA GLOBAL

We build big brands with

worldwide recognition
The content
creator launches
the first cocreation with ITV
Studios, 5 Golden
Rings.

How would you

describe the current
situation of the
Industry?
Its now possible to
reach viewers on
different platforms and
screens, making the
market more fragmented than before. As a
result, it has become
even more important for
distributors to air big,
connected formats that
they can use to
strengthen their brand.
At Talpa, we call this
BIG Content: immersive
content experiences that
(re)connect the new
masses via multiple
screens. Synchronized
content that has global
appeal and local
relevance. With Dance
Dance Dance, weve

44

MIPCOM 2016

created a format that

sets new standards for
a popular genre: this
time, the celebrity
dance competitions.
This format has
changed the celebrity
dance competition genre
by using the latest
technology, creating a
mind-blowing visual
experience.
Which are the main
features that make
Talpa a highlighted
company in the
international market?
We aim to create
content that triggers
viewers and broadcasters alike, from the
passive to the active,
the young to the old, the
millennials to the
traditionals. Talpa has

transitioned from a
traditional content
creator to a multifaceted company with
an infrastructure that
is ready for the
evolution of content. By
activating the audience
across multiple touch
points, ranging from the
traditional screen to
apps, events, social
media and digital
platforms, were able to
create tailor-made
business propositions
for our partners.
However, we dont simply
settle for add-ons.
Extensions are enrichments of our content,
enhancing the viewers
experience and extending our reach. Our slate
exists solely out of highquality formats, with
our partners worldwide
expecting nothing less.
With the Netherlands as
the perfect testing
ground, with both
viewers and broadcasters welcoming experimentation, were able to
test formats at a
frequent rate, resulting
in a catalogue filled
with proven formats and

continuous improvements on existing titles.

Which are the keys so
as to be in the top of
the Industry?
In todays fragmented
market, it is increasingly important for
broadcasters to have
strong formats that can
attract both traditionals and millennials. Our
connected formats,
whether its Five Golden
Rings digital experience or The Next Boy/
Girl Bands social
strategy, does exactly
that. By offering
content across multiple
platforms and anticipating trends and
developments in the
audiences viewing
habits, Talpa is able to
create strong content
that connects the new
masses via multiple
screens. Theres always
a demand for unique hit
game- and talent
shows, two genres Talpa
is continuously developing new content for, like
Five Golden Rings and
The Next Boy/Girl Band
this MIP.
Which are the main
challenges that Talpa
finds in the Industry?
There is a huge need for
strong content that can
reach both traditionals
and millennials. To deal
with this new development, we conceptualize
the process of new

formats, focusing on
appealing to the
appropriate target
audience of a respective
format. The challenge
with young viewers is to
reach and activate them.
To appeal to these hardto-reach young viewers,
Talpa formats the
activation of our content.
By offering strong multichannel experiences
across multiple platforms, viewers are
turned into fans right
from the start.
Which are the goals of
Talpa for the end of
2016 and the beginning
of 2017?
Were thrilled with the
development process
between Talpa and ITV
Studios and are looking
forward to develop this
creative partnership
even further. In addition
to our creative cooperation, weve also teamed
up with ITV Studios to
simultaneously reinforce
our global network,
offering both catalogues
under one roof such as
the Netherlands, Middle
East, Australia, the
Nordics, France, and
more. As the TV industry
is continuously developing, theres still one
aspect of our business
thats the key to
success: its still all
about content. And
thats always been what
Talpa stands for:
content.

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CONTENTS
LENARD D. LIBERMAN, CO-FOUNDER & CEO, LIBERMAN BROADCASTING, INC.

We are looking for the

next big-show
The evolution of Estrella TV, and changes
in the ways of production.
How have evolved the operations of your main
channel Estrella TV in the last time?
The ratings of Estrella TV are very elevated, meanwhile the
numbers of our competition are still falling. Some of our shows
have audience records and on the side of ratings perspective,
he have evolved in a much more positive direction.
Where is going to be the focus of Estrella TV?
Obviously, we will follow the choses of the audience who is
the one that guide our decisions. We have always been kind
of programmers, and maybe thats why our competitors
trust on telenovelas or extended series. We try to find the
niche in which we can stand out and have the attention of

our audience and the general market. Rica Famosa Latina (Rich, Famous, Latina) is one of our main productions, a reality of housewives that could find its place in
the audience. We also have talent shows and others similar to the Late Night Shows. Were looking for formats that
work in the general market, and that can became the next
big-show. Tengo Talento (I Have Talent) is the most popular show at this moment. I think that it is a show with big
aspirations that have been through all USA. We have
reached 26 different cities in USA, where we found talented people with the enthusiasm for showing its qualities
and telling their live stories.
Which is your opinion about the current situation
of the Industry?
Actually, we are in a very dynamic industry. It is hard to
know, even if you produce content for lineal or digital
distribution, how it is going to change the economic situation in the territory. Companies not only have to make

46

MIPCOM 2016

sure that its content can travel to every platform through

different distributions. It is not enough to be tied to a
model. The traditional panorama is changing and I think
that people focused on telenovela, producing 100 episodes, is beginning to produce something similar to series, because they realized that audiences are not consuming content in the same way. 60% of our audience is
consuming video on smartphones, so the changes in consumption are a reality and theres a need of adapting to
this as it is vital in order to survive in the market. Liberman Broadcasting has very clear that the way in which
we are doing money this days its going to be very different to the way we have to operate in five years.
Which are your goals for the last months
of the year?
During the last months we will be launching new seasons of
our series. On the other side, in November we are having the
Premios de La Radio (Radio Awards), one of our most
important live shows of the year, where we have a four-hour
transmission and an extra show during the red-carpet.

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CONTENTS
JIMMY VAN DER HEYDEN, SALES MANAGER, CDC UNITED NETWORK

We have one of the strongest

indie portfolios
Which are the trends
of the Industry?
I think that the key of the
industry is hugging the
changes, the technological and the trends. I think
that every kind of content
is relevant and have its
space. The important is to
know exactly how and
where the final user wants

to see your content. We

have to identify the
changes and adapt ourselves as fast as possible.
For example, ours are
movies. From the very beginning, we knew that a

big part of the consumption was going to be

moved towards the ondemand. We went buying
those rights of the movies that we already have,
and acquired libraries of
titles, looking for alternative genres that make
the difference. This
strategy worked and I
think that now we can say
that we have one of the
strongest indie portfolios of the market.
What kind of challenges do you find in the
Industry?
The competition between
distributors is very ferocious, mainly when it is

The executive
assures that if
companies do
not take risks,
it cant grow.

related to the All Rights

acquisition. We would like
to buy more, but it is not
always possible. The theatrical business is more
risky but it is needed to
be included so as to dominate the destination of
the movie from the beginning to the end. This is

the way to maximize the

distribution. The one that
do not risk cant grow.
Which is going to be
CDC strategy in order
to fulfill the established goals for the
end of the year and the
beginning of 2017?
Besides closing new
agreements with current

clients, which is our

constant goal, we want
to increase our network
of clients. We are constantly monitoring the
market looking for new
business opportunities,
new clients.
We do also have to complete our line up for next
year, so at NATPE we can
have a renovated offer.
We are in the acquisition
process, after Toronto
Festival and our acquisition team will be at AFM
trying to find more news.
We are always looking for
high budgets All Rights
titles for its theatrical
distribution and then
each window.

JESS PIANGO, DIRECTOR OF STRATEGIC CONTENT, OLYMPUSAT

Offers more than 100 TV channels

How have improved the
businesses of Olympusat during the last
months? How was the
reception of VEMOX in
the market?
As one of the biggest independent media companies
of the United States, Olympusat is constantly growing in the distribution, productions and technical
services related to TV content. The company has recently created an alliance
with Float Left Interactive
for the development of new
apps for multiple-TV-platforms, like SmartTVs, mobiles and games consoles.
During the last months, we
have created some channels for the Flixflyng plat-

48

MIPCOM 2016

form, like Cine Real, a

channel of contemporaneous movies that offers Latin American and Spanish
titles. Pio Pio is another
channel, with a programming dedicated to children.
Also, we have launched Lo
Mas, some micros with a
different point of view of
luxury in micro-shows that
entertain and inform
about the fashion world,
beauty, and arts.

forum Show and Tell:

Channels & Streaming
Platforms, where well be
presenting our channel
Ultra Clsico, dedicated
to broadcast restored
films of the golden age of
Latin American cinema.
The movies had been restored by Olympusat, under the artistic standards
of international preserva-

Why do you think

Olympusat is a unique
company in the
international market?
We have an enormous library, continuously growing with 20 thousand
VOD-hours, and the availability of more than 100
TV channels for the Hispanic audience from Central and South America,
and channels created in
the United States.

Which is going to be
the focus of your
performance at
MIPCOM 2016? Which
are your expectations
towards this market?
MIPCOM has invited Olympusat to be part of the

tion. MIPCOM is a big door

for the international market, but especially for the
European market, where
some of our channels, like
Ultra Clsico, can have a
great reception because of
its high quality.

Which are the main

challenges of Olympusat in the Industry?
The launching of VEMOX,
our OTT Platform sets us
some challenges related
to the market in terms
of waiting for the Inter-

net suppliers to let us

access to the wider
broadband that allow us
a bigger flow of data
transmission that results in a faster connection. Our strategy is based
on keeping the efficiency
in the reception and
transmission of the signal to our affiliates, while
having our creativity area
entertaining our audience
that is stricter about the
content available.

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KIDS
DENIS DOR, PRESIDENT & CO-FOUNDER, SQUEEZE

Quality is our main concern

After co-developing with several
world-known
companies, the
animation studio
launched its first
original title.
Denis Dor, president
and co-Founder; and
Patrick Beaulieu,
creative director and cofounder

Which are the main

features do you think
of when you have to
plan a new production?
Quality is our main
concern on any
production, whether it
is a project developed
with a partner or a
creation of our own.
That means that we
will spend a good
amount of time
thinking of ways to
make the most out of a
limited budget and
timeline. Thats where
we need to be creative.
Sometimes, it means
doing less but doing it
better to make sure
that we deliver wow
moments for the
audience.
How important is to
know the audience?
As creators, our goal is
to bring characters
and stories to life that

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MIPCOM 2016

will move as many

people as possible. To
do so, we need to be
truly passionate by
what we do every day.
Hopefully, this passion
will shine through and
reach a broad audience worldwide.
How Squeeze Studio
was born?
Squeeze started as a
service company
providing very highquality 3D animation
services to video game
and film producers.
Since the beginning, we
worked on major
projects, including the
blockbuster Transformers 4 and the Assassins Creed 4 Black Flag
Freedom Cry trailer,
which was designated
best video game trailer
by the Golden Trailer
Award. We still collaborate with renowned

partners such as
Disney, Marvel, Mattel,
Microsoft, Sony,
Samsung, and Ubisoft,
as well as local
partners.
Squeeze was founded
in December 2011 in
Quebec City. Four
years later, the studio
employs over 60
talented creators. The
company participates
in the projects of the
most prestigious
partners, while
developing its own
original productions.
Our first original
project, Crack , was
produced in 2015.
Squeeze also gets
involved in research
and development, and
in the training of the
best talents, notably
with its intensive
mentoring program
Les Popettes . All of
this allows the studio

to remain on the
cutting edge of
technological advances and provides
the right environment
for its creativity to
fully develop.
Which are the keys in
order to succeed in the
Kids Content Industry?
We believe that we will
succeed if we choose a
niche and stay focused
on your goals. You cant
be good at everything,
but you can master a
specific field if you
build a team of amazing
people and choose the
best projects and
partners. At Squeeze,
we chose to focus on CG
characters and
animation.
How do you see the
industry nowadays?
Things are changing
very quickly, and that

means two things.

First, there are a lot of
new opportunities for
content creators. TV
broadcasters and big
movie studios are no
longer the only content
buyers, as multiple
digital platforms are
now looking for
content, like Netflix,
Amazon, Hulu, the
entire game industry
and virtual reality.
Second, the Industry
needs to be very
flexible in order to
adapt quickly and seize
these opportunities.
How has evolved the
Children Market in the
last five years?
The biggest evolution
came from the digital
platforms that
changed the rules,
allowing audiences to
get in touch with
content in new ways

MIP JR

(on demand, mobile,

etc.) while providing
new opportunities for
content creators and
disrupting traditional
business models. Kids
has adapted better
than anybody else to
this new trends,
theyre growing up
with it, and that
changes our all
established knowledge
of this world.
Even if it is hard to say,
from Squeeze Studio
believe that, whatever
happens, good content
will still be king.
Creators who offer
amazing stories and
creative characters will
find their way through
all these changes.
How is the process
of the animation
production?
Every production
starts with a strong
concept phase,
followed by a preproduction phase.
These steps are key for
a successful production. Before with jump
to 3D, we do a lot of
2D work, like concept
arts, character sheets,
storyboards and video
references. When
everything is set, then

@ newslinereport

we start working in 3D
and from then, our
focus is on pushing
quality as much as
possible.
Which are your goals
for the future time?
Very soon, we will be
working on a feature
film. Collaborating on
major animated films
is definitely something
we want to pursue in
the next few years.
That being said, we
want to keep creating

great video game

trailers, as well as
develop new collaborations in the advertising
industry.
For Crack, we will be
continuing the
international distribution of the TV series,
video game and mobile
app. Cracks second
season is now in
development. We are
looking for a longer
format this time, with a
bunch of new and crazy
characters in the mix.

Which are the

main challenges of
the genre?
Squeeze has no
intention to become the
biggest studio. However,
as we grow to achieve
our goals, we need to
keep attracting and
retaining the best
talents in a very
competitive industry.
Our artists are key to
our work!

The creation of Crack

Whats new in Squeezes life is the production of
Crack, its first original creation. Crack is a universal 3D animated slapstick comedy, featuring a
very unlucky daddy ostrich who will do everything
he can to save his eight eggs from the surrounding
dangers. The TV series was developed with the
broadcasting partner Teletoon in Canada. The 52
one-minute episodes have been distributed in more
than 175 countries and territories, to major broadcasters including Disney, Turner (Boomerang/
Cartoon Network), Nickelodeon, and Canal+.
As an integrated brand, Crack also includes a mobile
game, Crack Rush, and an animated comic book app,
Crack Crazy Stories. However, both are only available
in Canada at the moment. Its always an amazing feeling to realize that our original characters will have the
chance to make people laugh, no matter where they
come from, or where they live! says Denis Dor; and
adds: seeing that Crack can travel the world gives
our team a wonderful boost of energy for the second
seasons creative process that is well under way!

MIPCOM 2016

51

KIDS
HANS ULRICH STOEF, CEO, M4E AG

Content will always

be the king
Mia and me, its highlight title,
is the hybrid show with live action
and animation.
How have evolved your titles in the world?
We are very happy with the current status of
our business. We have a number of shows in
production, new developments and new coproductions are signed. Mia and me and
Wissper perform very well and soon we will
see first results from our new co-production
and distribution venture with Planeta
Junior. Some months ago we have taken
over more international control on Mia and
me by acquiring the shares of our former
co-production partner Rainbow. We have
announced a very important output deal for
our new shows and feature films with
Universal Pictures Germany for the
German-speaking markets, but also with
first look options for Benelux, Italy, France,
UK and the US.
Which is going to be the focus of m4e for
MIPJunior and MIPCOM 2016?
We are looking to close additional territories
for the third season of Mia and me and
our new preschool series Wissper and hope
to be able to secure financing and coproduction partnerships for our new
developments. Also, we are expecting to
meet new clients from the VOD side of the
business and to meet with talented people
to discuss new concept ideas.
How do you see the current situation of
the children content industry?
Prices are stiff and nothing has changed
much since last October. We need to
substitute the physical DVD business via
all sorts of digital distribution. And the
money kissing from the DVD business has
not been recouped by the SVOD services.

52

MIPCOM 2016

Traditional formats for linear-TV need to

be adapted to the next generation of
entertainment consumption by balancing
formats as well as budgets. We are
expanding our activities within our digital
rights department and we are focusing on
our new development slate and are pretty
confident to have some very strong
answers to the changes in the market.

distribution, L&M up to the ready finished

consumer good out of one hand. On top, we
have a very strong existing brand with Mia
and me and the next (Wissper) is on a
great way. The joint venture with Planeta
Junior extends our access to the European
market. We are now able to offer a broad
distribution and presence via own offices in
eight European countries.

How could you describe de

uniqueness of m4e AG?
We believe in quality content and are
convinced that our shows are better and
offer more creativity than the basic
offerings on the market. Despite all the
changes, it is still simple: content is king.
We are one of a few independent production
companies who are able to deliver 360 and
on all aspects of the business from
development, production, financing,

Which are the main challenges for

m4e in the industry?
As an independent company you always have
to fight with the big guys who are having their
own distribution in terms of broadcast
channels, big resources in terms of financing,
deep distribution and other sorts of important
issues. We simply have to come up with new
ideas such as Mia and me (hybrid show with
live action and animation) and finding
partners who are willing to take some risk.

MIP JR

@ newslinereport

MIPCOM 2016

53

KIDS
MARA BONARIA FOIS, GENERAL MANAGER, MONDOTV IBEROAMRICA

Begun with the coproduction

of series
The joint of technology investment
and deeply understanding as the
core business in
the Industry.

Which is MondoTV
Iberoamrica business
strategy for this near
future?
In a medium and long term,
MondoTV Iberoamrica
will be focused on the coproduction of teen-fiction
series. Of course, well be
dedicated to animation
series, in the production
and distribution of this
rich portfolio of properties
of MondoTV Group.
Our strategy is still the
production of competitive
content, dynamic and located that let us reach
the region with a more
attractive proposal to the
networks and audiences.
On the other side, we believe that it is very important to associate with
companies that have
brands already consolidated: being in the market with a strong brand
to sell to the broadcasters great quality content
that helps us to keep it in
the screen.

54

MIPCOM 2016

How can you describe

the current situation of
the Kids Content
market?
The economy of the business has changed and
evolved a lot in the last
years, but the only true is
that content in this sector is still the King. With
a high quality programming there are more platforms to reach and new
markets to conquer. MondoTV Iberoamrica and
the whole Group have always established their
goals in the chance to
offer high quality content
that gives values and entertainment, as the pillars of the success. There
is not only about technology investment, also
about knowing deeply
about how to take advantage of each news.
Which are the main
features that make
your content different
in the Industry?

We are producing different series, new and

attractive ones, with
very careful content and
with a quality of animation much better than
the others and then to
put our portfolio into
the most competitive
products of the market.
MondoTV portfolio includes series for kids
and pre-teens and teen,
covering this big target
audience.
How was the expansion
of your businesses in
the last time?
Since 2011, our core business was the distribution in Southern Europe
of third-party productions, especially teensfiction series produced
in Latin America. In
2016 we have begun
with the coproduction of
the series Heidi, Bienvenida a Casa as the
main investor, following
our expansion and
growth plan. Also, we
have just launched our
new production studio in
Tenerife: MondoTV Producciones Canarias.
This is a thrilling project,

The return of Heidi

Heidi, Bienvenida a Casa (60x45), is one of
the biggest titles of MondoTV Iberoamrica for MIPCOM. Based in an original idea of
the renowned Argentinean author Marcela
Citterio, is an original and modern adaptation of the famous story of Heidi. This is an
innovative series that will change the way of
our activity and confirms the high quality of
our offer admits Bonaria Fois. Currently on
production, the series will be ready to be broadcasted in Latin America in January 2017, followed by the worldwide launch with a special
focus in Europe.
The portfolio of the company has co-productions
like YooHoo & Friends 3D (52x11), of Mondo
TV and Aurora World Corporation, a brand
with great reception in TV and Licensing.
Sissi, The Young Empress (52x26), which first
season (26x26) had great audience numbers,
is distributed in more than 30 countries. New
episodes of the second season will be available in the spring of 2017.
CubyZoo (another coproduction between
MondoTV and Aurora World Corp.), Invention Story and Treasure Island are also part
of the portfolio of the company for the show.

and we are really happy

with the previsions. The
new office will take care
of the first step of the
pre-productions of most
of the Group animations
so as to, in a near fu-

ture, evaluate other initiatives like the creation

of a small 3D studio and
the production of the
first young series wholly
made in Canarias Islands.

MIP JR

@ newslinereport

HENRIETTA HURFORD-JONES, DIRECTOR OF CHILDRENS CONTENT, BBC WORLDWIDE

We are looking
for extra-distribution
of our lineal channel
Which are the main
features do you think
of when you have to
plan a new production?
We are always looking for
important brands, because nobody else has our
quality content. CBeebies is a UK brand that is
distributed to many regions in the world. Thats
why we are looking for
fresh ideas. Theres a mixture of content that fits
our brand that is outstanding. We have a wide
variety of shows, from
science and technology,
to gardening. We have
shows that have different
kinds of entertainment.
How important is to
know your specific
audience?
I think this is the key of
the Industry. However, it is
very difficult, because
were grown-ups now and
we have to handle content
for those kids. We are constantly thinking on how we
can entertain children
and how we can transmit
our ideas to them. Children are interested on engaging stories and colourful characters. On the
other side, our experience
as kids and then in the
kids industry gave us the
possibility to choose exactly what they need.
Which is the role of
new technologies in

The CBeebies APP

complements our
lineal offer with
the whole new
content specially
developed for the
platform.
the way of consumption and production of
content?
Younger children are all
much more curious than
old people, and thats why
it is easier for them to
adapt to new technologies. They also loved to be
included as part of the
content. This digital
world is exploding and
children are prepared to
explore it. Our CBeebies
APP complements our
lineal offer with the whole
new content specially developed for the platform.
Which are the keys in
order to succeed in the
industry?
CBebbies is our youngest
channel we are much more
focused on Latin American
audience, because were
really interested in seen
the growth of this market,
as it happened with the
USH market. That why we
are looking for extra-distribution of our lineal
channel in the region, and
also new partnerships, in

order to be able to develop

original content, specifically destined to those audiences.
With your strong
experience in the
industry, how do you
see the children
content market in a
few years?
I think people will continue to work hard on trying
to understand how new
technologies and platforms can be properly use
in order to reach children.
Ways of production will
evolved too and everyone
will be experimenting new
tools and sources available. Well be able to use
the technology in a very
positive way. The most
important thing is to
keep looking for the best
way to provide great entertaining programming
to children.
Which are your goals
for the future time?
From BBC Worldwide and
CBeebies we really want to
find new partners, and
have some meetings in order to see an increase on
our distribution. On the
production side, well be
with our focus on content
in Spanish that gives the
chance of learning English. We found out that
those audiences want content that teach new languages, for little children.

Content for a worldwide audience

Following the idea of offering more content destined

to every children in the world, CBeebies is presenting
Hey Duggee. Launched on August 6th, this is a funny
cartooned story that foments physical activity. Duggee is a big dog, which is the leader of a group that
exercises. Their adventures encourages children to
resolve a problem using their bodies.
The third season of Sarah & Duck will be premier on
December. The characters live in a small house with a
small garden. Together, they explore the surrounding
world with lots of imagination. The Narrator offers them
small advices and takes care of them in each adventure.
Produced by the team of Teletubbies, In the Night
Garden shows new adorable characters and their
new world, in a modern interpretation of a children rhymes book.
Nina and the Neurons is an entertaining and educative series that follows the adventures of this characters who are very interested in constructions. With
a catchy mix of songs and information, Nina and the
Neurons is the series that talks about all the things
that can be unify in order to build new structures and
that inspires children to discover more things about
the amazing world where they live.
With its 4th season to be launched in 2017, Swashbuckle tells the story of this new adventurous group
that will try to recover some jewelry stole by the
Hornswogglers.
Mister Maker had its 3rd season launched on September. Mister Maker is an imaginative show of arts
and handmade things for preschool children that
teaches and entertains in funny and creative ways.
Go Jetters is the geographical series of CBeebies.
This series shows the panoramic views of some of the
biggest places in the world, and some curious information about those places.

MIPCOM 2016

55

KIDS
PAULA TABORDA, CONTENT AND PROGRAMMING MANAGER, GLOOB

Production with high value

and artistic quality
During MIPJunior and MIPCOM,
the Brazilian broadcaster is
focused on the test of potential
projects for co-productions and
content sales.
Which are the main characteristics do you
look for when you have to choose new
productions for Gloob?
Gloob looks for innovative content, with an
appeal for boys and girls from 6 to 11 years
old. Humor and adventure are the main genres
we try to find, because our audience finds it
more attractive; but, theres no doubt that the
key is a content that encourages children, and
becomes an open door for imagination.

Which is the key so as to lead successfully the production of Kids Content?

There is no doubt that the key is on partnerships. Understanding the main qualities of each
producer and promote an environment of constant creative communication is what let us
take out the whole potential of a partnership,
and of the product. Especially in the international co-productions, where the complexity level is much higher, as the harmonic and respect
for the collaboration of each partner are fundamental for the success of a production.

Under which strategy are you working on

MIPJunior and MIPCOM 2016?
Just like the last edition, this year Gloob is in
MIPCOM and MIPJunior with a strategy focused
on two sides: first, the tests of potential projects
for co-productions and second, content sales.
After signing the agreements with international
giants like Gaumont, Fandango, RAI, Disney
and Millimages, Gloob is still the best Kids
Channel so as to co-produce with in Brazil,
where we lead the production of original content for this target. The deep knowledge of
Brazilian children, associated with the international background acquired through intelligent content purchases, are the things that
differentiate us. In Cannes, we are offering to
the market more than 200 content hours with
new seasons of our hits Blue Buildings Detectives and Kids in the Kitchen, besides our
last production Valentins, a huge live action
bet of this year, that promises to catch the
attention of the international market, especially in Latin America.

How do you describe the current situation

of Kids Content Industry? How has evolved
over the last years?
My perception is that we are in a very prolific
time, especially in Latin America, with a technical and artistic mature of Brazilian, Argentinean, Chilean and Colombian producers.
Every year we see more and more quality in
Latin American works, setting the region in a
distinguished place in the international market. We are being less importers of productions from USA, Japan and France, in order to
be recognized as a big fabric of creators and
artists able to do their productions with a universal appeal. Recently, one of our production
Porto Papel, developed with the Chilean Zumbstico, Argentinean Paka Paka and Seal
Colombia, won some prestigious international awards. That is only another evolution of the
Industry with an increase in cultural diversity
on its productions.

Which are the attributes of Gloob productions?

Besides the productions with high value and
artistic quality, I think that what make us different is the ability to deliver safe content from

56

the pedagogical point of view, but really thrilled

and attractive for children. This is a difficult
point because the attractive content that tends
to gain parents trust it is often not interesting for the reality of children. This balance is
constantly a challenge that we have to deal
with, but that we manage successfully.

MIPCOM 2016

Which is going to be the focus of the

Industry in the next years?
It is not easy to imagine just only one focus for
such a heterogeneous sector, but from my point
of view I think that the efforts will be centered
in the search of quality over quantity. With a

growing offer of content in every platform, quality wont be enough to produce excellent content: this has to be unique and highlight. We
are talking of properties that transmit passion
to children, in a way that they become fans of
the products. Entertaining wont be enough.
In which way new technologies and new
models of consuming influence Kids
Content?
From the point of view of the producer, new
technologies influence in a positive way in the
budge. We live in a scenario in which sky is the
limit because technology has made the cost
much cheaper, especially in animation production. On the ways of consuming, as they are no
longer new, we see the perfection and multiplication of OTT services, transforming itself
in a more competitive and challenging scenario. As being a young channel, with only four
years, we have had an advantage of have born
in this context and thats why all our productions are already set in a 360 strategy, in
every screen, and also outside them.
Which are the goals of Gloob towards next
year?
The main goal is to attract and keep contemporaneous children, who are even more connected. Thats why well continue investing on
the production of original content, being even
more selective and ensuring the right choice
of international content, always looking for the
excellence on our programming and taking care
of our audience.

LICENSING REVIEW
PETER KLEINSCHMIDT, COMMERCIAL DIRECTOR, G/A/S, SOUTHERN & EASTERN EUROPE, BALTIC, CIS, LATAM, M4E

The key is a good balance between

story, brand and digital
How was the reception
of Wissper in the
Licensing market?
This time in London we
are in full gear with our
latest production, the
preschool brand
Wissper which is now
being successfully
broadcast in more than
40 territories. Wissper
is very successful where
it was already launched,
as an example, it was
the #1 preschool show
on UKs Milkshake! and
on several other
international channels.
The licensing program
which is led by EMEA
master toy partner
Simba Dickie Group
and international
publishing partner
BASTEI Media, is in
development, emerging
from the Germanspeaking territories,
and will be launched in
February 2017.

Which are the

strengths of your
portfolio? How does it
differ from the
competition? Which
are the most important territories for
your brands?
We are focusing on
properties that have a
strong potential in all
exploitation categories for respective
target groups, from
TV/home entertainment and digital to
merchandising.
When looking at our own
productions, content is
the overall strength of
these properties. For
being successful at
distributing audiovisual
and merchandising
rights of our properties,
the key is to provide a
good balance between
story, brand and digital.
Its not enough to just
create a TV series based

Wissper, its
latest production,
is on air in more
than 40 territories.
on a book; you need to
add more to it in order
to really attract
licensees and retailers.
Thats why the toy
aspect needs to come in
right from the beginning as well.
In addition to this, we
have a broad back
catalogue (with over
2,300 episodes)
offering many different
programs for all target
groups. With this, m4e
has a strong relevance
for all big TV broadcasters and digital
platforms.
In general we are
looking at nearly all
important key markets,
which is first of all

Europe with countries

like Germany, UK,
France, Spain or Italy
and, of course, North
America. Further
interesting markets are
Latin America, Russia
as well as Asia.
Which were the main
projects of m4e?
Which are the biggest
partners in your
businesses?
Our own productions or
co-productions are of
course our key projects.
Since we started
creating our own

58

MIPCOM 2016

content for the

international market,
we clearly focus on
this. But still we are
offering our expertise
and local reputation to
third parties in order
to represent their
brands in the Germanspeaking territories.
One of our key partners
from a production
point of view is of
course Hahn Film from
Berlin, Germany. With
Gerhard Hahn we
created our hit TVseries Mia and me
and founded the joint

LICENSING REVIEW

@ newslinereport

MIPCOM 2016

59

LICENSING REVIEW
venture company Hahn
& m4e Productions in
order to develop and
produce even more
content. In terms of
production and
international distribution, we entered into a
joint venture with
Planeta Junior from
Spain. With the aim of
building a leading
worldwide business,
m4e and Planeta
Junior are combining
their several teams to
a strong international
network. The new joint
venture is able to offer
a broad distribution
and presence via own
offices in eight
European countries
including Germany,

Spain, France, Italy,

Greece, Turkey, Poland
and Benelux. An
expansion into other
major territories is
planned in the medium
term. In order to
continually strengthen
their property portfolios, both partners will
jointly acquire rights
and make their
services available to
third party rights
owners.
And we are obviously
cooperating with many
international key
broadcasters, highlighting two of them:
ZDF and KiKA in
Germany. ZDF is not
only a key broadcaster
for many of our

properties, but also a

co-production partner
who brings in valuable
experience.
How has evolved
the Licensing
Industry during the
last months?
The situation of the
licensing industry

during the last

months comes from a
general evolution of
the entertainment
business. There are

The success on TV
Our hit TV series Mia and Me will get new content in 2017, when season
3 is going to be launched on international markets says Kleinschmidt.
The brand is already an international classic girls brand with more than 160
licensees around the globe and still extremely popular. For example, the
current broadcast on Germanys leading kids channel KiKA reaches up to
+1 million viewers per day; and Season 4 with 26 more episodes and a
feature film are in development at present.

Another successful property of m4e is the preschool brand Tip the Mouse,
with a second season in development. Many key broadcasters are airing the
show successfully, such as SUPER RTL (Germany), Disney Channel
(LATAM), RAI, France 5, Tiny Pop or TVP abc.
The company has new 3rd party brand from Korean CJ E&M in its portfolio,
with licensing & merchandising rights for the German-speaking markets:
Super Wings. Already a huge success in China and Korea in particular, this
brand is going to be big in the Western markets as well, confirms the
executive. With the licensing program being launched in the US this fall. In
Germany, KiKA is about to broadcast the show in 2017 in a prime time slot.

60

MIPCOM 2016

more players emerging, offering more

content, due to the
digitalization of the
markets, and all are
competing for shelf
space that has not
increased over the
same period. Still the
power of the major
(Disney, Warner etc.)

is so dominant, also
due to their production and release
schedule and its
marketing power, that
all other market
participants need to
fight for their shares.
The digital business is
becoming more
relevant every year,
being a fierce competition for TV as exploitation platform.
The markets in Europe
are growing closer and
closer together, since
single territory deals
are becoming less
attractive and multiterritory deals becoming more and more
interesting and
important to licensors.
Which is going to be
the focus of the
market for the next
months?
Looking at our portfolio,
one or our core focuses
is the expansion of our
digital business,
placing content on
platforms like Netflix
and YouTube. Thus our
content is available to
viewers when and
wherever they want to
watch and be entertained.

Which are the main

challenges and
goals of m4e for its
brands for the end
of 2016 and the
beginning of 2017?
Being a producer and
licensor, we are
striving for expanding
our brands to international markets. For
certain key markets
we build up an
agents network in
order to establish and
maximize our brands
presence in those
territories (like China,
LATAM or Russia).
Which are the
keys in order to
succeed in the
Licensing Industry?
From our experience it
definitely is quality!
On one side you have
to constantly provide
good content, but on
the other side you
need to be a reliable
and trustworthy
partner for all of your
(potential) partners,
such as broadcasters,
licensees, retailers etc.
Which is the
contribution of the
company to the
Industry?
Our contribution to
the industry is our
company credo at the
same time: we are
made for entertainment. Meaning that
our lifeblood is to
entertain children
and families, with
high-quality content
and characters that
they will fully embrace and take into
their hearts. For that
reason, nobody gets
past m4e, the
powerhouse of
entertainment
brands.

LICENSING REVIEW

@ newslinereport

PINDY OBRIEN, DIRECTOR CHILDRENS PROGRAMMING & LICENSING, RAYDAR MEDIA

Securing brand loyalty is a must

Raydar Media
wants to be a
one-stop shop for
its content creator clients.
Which are the
strengths of your
portfolio? How does it
differ from the
competition?
We aim to have a balanced portfolio and try
and identify IP which has
its own USP. Sydney Sailboat is, CGI 3D animation targeted at pre-school
boys 2-4 years core and
fits within traditional boy
play patterns of Vehicle
play. Teacup Travels is
live-action combined with
green screen technology
and beautiful illustrations from all over the
world. It offers viewers
Edu-tainment for boys
and girls at the upper end
of pre-school and young
audiences (4-7 years). In
the UK it is more of a
bridging gap between
Cbeebies and CBBC. It is
the only show which introduces archaeology and
ancient civilization for preschool and early years
audiences. Then we have
the brilliant observational documentary series
Our Family which builds
a direct emotional connection with real families enabling preschoolers and
school age kids to venture
into the lives of other children their own age and
celebrate their similari-

ties and differences.

Raydars properties have
a distinctive quality and
all put story telling at their
very core ensuring that
kids are gripped from
start to finish whether an
animation, live-action or
blend of the two.
Which were the
main projects of
Raydar Media?
In terms of Licensing,
Sydney Sailboat is a
hugely commercial property and lends itself very
naturally to a broad licensing program. Sydney is already a major
success on ABC KIDS in
Australia and NBC
Sprout. It recently started airing on Hulu in North
America and Tiny Pop in
the UK. We are now in a
position to look at more
global licensing opportunities across all key categories. The series easily
translates into all the
traditional toy categories,
arts and crafts, publishing and visually works
well on all paper and textile categories.
In addition to Sydney,
we have been working very
closely with the hugely
talented Scottish Indie
Plum Films to develop a
solid Licensing program
on their highly-acclaimed

adventure edutainment
series Teacup Travels
(with 45 episodes available). The series is both
escapist and educational and takes children on
adventures into faraway
lands they can normally
only dream of visiting.

daily lives are ones to

watch. Look at Emoji and
how much it has built in
just a couple of years.
These are brands that
have never appeared on
TV but still have had incredible Licensing success globally.

How has evolved the

Licensing Industry
during the last months?
Which is going to be the
focus of the market for
the next months?
The licensing industry
has evolved significantly
over the last 12-18

Which are the main

challenges of such a
competitive industry?
Securing brand loyalty is
a huge challenge. The arrival of nonlinear platforms has had a two - fold
effect. On one hand, it offers brand owners the free-

Which is the contribution of Raydar Media to

the Licensing Industry?
Raydar Media was set up
two years ago but has over
20 years of experience in
distribution and Licensing
within its team. Raydar
Media helps creators and
producers develop, finance
and distribute their content globally. The team has
helped to establish formats and series such as
Fifi and the Flower Tots
over the years and has
managed evergreens such
as Tree Fu and Teletubbies. We love diversity in

months. Social media and

the increasing development of new nonlinear TV
platforms offer viewers
more content on more devices. Little Baby Bum
is one example of this with
over 15 billion views globally. I think brands interacting with viewers
and consumers through
various online and digital platforms in their

dom to launch their own

channels and content. On
the other hand, it has increased fragmentation in
the content world and taken eye balls away from traditional platforms. As a
result, retailers are presented with hundreds
more brands but still have
the conundrum of the
same limited shelf space
to deal with.

storytelling which we try

and capture with the IP we
acquire and develop. We
like to be a one-stop shop
for our content creator clients enabling them to develop the right content for
the international marketplace, finance and distribute it globally and
build its brand values
through strategies which
include Licensing.

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LICENSING REVIEW
STEPHANIE MARLIS KUPPERMAN, DIRECTOR OF BUSINESS DEVELOPMENT, CREATIVE LICENSING CORPORATION

Looking for e-commerce companies

The executive
highlights the
interesting role of
Kickstarter in the
Licensing Industry.

Which are the news

of CLC for Brand
Licensing Europe 2016?
This year we are bringing
a number of new horror
films to Brand Licensing.
These include the original
John Carpenters Halloween, the films from
The Puppet Master franchise , Creature, and
Parasomnia. Our portfolio consists of classic
film titles exclusively.
Films like The Termina-

tor, and First Blood

(Rambo), and Evil Dead
2 are evergreen and will
not fade over time, as
opposed to some new releases, which may just
make a splash in the pan.
How has evolved the
Licensing Industry
during the last
months? Which is
going to be the focus
of the market for the
next months?
Kickstarter has become
an increasingly inter-

esting way for brands to

reach their core audience. For example, just
this past summer our
Evil Dead 2 board
game exceeded its goal
by 1000%. I think we
are going to see brands
continue to use Kickstarter as not only a
marketing tool but also
a means to generate
additional revenue.
Which are the main
challenges and goals
of CLC in the market?
One of our main challenges is figuring out how
to work with e-commerce
sites that do not have
house inventory. These
sites, while profitable,
operate mainly by using
a drop ship, print-on-demand model. Our chal-

lenge is to figure out how

to incorporate our classic
brands into e-commerce
companies that are constantly changing and
evolving. We are looking
at expanding globally into
new markets like Latin
America and expanding
into new categories like
food and beverage and
board games.
Which are, in your
opinion, the keys so
as to succeed in the
industry?

There are three keys to

succeeding in this industry. First, connect
with other LIMA members or those affiliated
with the licensing industry, second is to remember that each deal
between a brand and
licensee is a partnership and has to make
sense on both sides,
and third is to not be
afraid to explore new
categories because that
is where the most opportunity may exist.

AMERICAN GREETING ENTERTAINMENT

37th anniversary of Care Bears

It also presents the
reinvention of the
nostalgic Madballs for 2017.
American Greetings Entertainment brings to the
childrens consumer products and entertainment
market its crown jewel
franchise, Care BearsTM,
so as to celebrate their
35th anniversary in 2017.

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MIPCOM 2016

This brand turns up the

aww factor with nostalgic lifestyle products with
top-tier partners. On board
for the celebration are
Land of Nod with a direct
to retail program with artist-designed bedding and
plush; for a plush, apparel
and accessory program for
infant girls to tweens and
collaboration partners Boy
Meets Girl, Wildfox, Freshly
Picked and Ironfist for
Dolls Kill. Sweetly rounding

out the program will be a

collaboration with Sprinkles, Dylans Candy Bar,
who will create an exclusive Care Bears Donut,
which will be available at
their flagship Koreatown
location in Los Angeles.
This evergreen property
has been an important
part of pop-culture since
1982. Supported through
entertainment distributed to more than 450 million households and 50

languages worldwide,
these huggable friends
can now be seen on the
Netflix original series
Care Bears & Cousins;
and boasts 200 global
licensees with an estimated $5 billion in retail
sales around the world.
Kooky-comeback kid
Madballs is ready to
gross-out a new generation with more crackup, wacky fun. American Greetings Enter-

tainment and master

toy partner Just Play are
supporting the consumer products program
with a co-production of
all-new Madballs animated shorts. Spring
2017 will see the launch
of blind bags and collectible 3-inch Madballs
from Just Play, expanding with even more toys
for Fall 2017 at retailers worldwide.

LICENSING REVIEW

@ newslinereport

FREMANTLEMEDIA KIDS & FAMILY

Shows its successes

on CBeebies

From the stand

E55 the company
is presenting new
titles for 2017.
FremantleMedia Kids &
Family (FMK) is presenting in Brand Licensing
Expo 2016 one of its most
successful properties,
Kate & Mim-Mim, which
was sold to over 110 territories. Just Plays new
toy range continues
apace in US and UK (distributed by Flair in the
UK). Autumn activity includes a special appearance at CBeebies Land
in Alton Towers as well as
various festivals. Book
titles from Penguin and
Random House rollout in
the US and the new Super Kate DVD launches in

the UK alongside a number of DVD titles in the

US. An extended TV special, Kate in Oz, will air
on CBeebies ahead of
the second series supported by an extensive promotional campaign. Also a
marketing campaign
with Whipper Snapper will
reach over three hundred
thousand families with
innovative activities
placed with a number of
leading UK outlets including Thomson, Nuffield
Health, Fayre and Square
and Wacky Warehouse.
Danger Mouse continues to wow viewers and
critics alike on CBBC and
a second series of villainbusting adventures is
currently in production.
This spring/summer saw
the UK roll out of
Jazwares toy range in

major toy retailers and

grocers; inspired book titles from Penguin and the
launch of the dangerously exciting monthly Danger Mouse magazine
from DC Thomson which
has been supported extensively at retail. A digital media advertising
campaign is planned to
coincide with even more
brand new episodes on
CBBC this autumn.
FremantleMedia Kids &
Family is also showing
Classic Danger Mouse,
because as new Danger
Mouse continues to soar
so does the demand for
classic Danger Mouse
products and all things
nostalgic. After strong
sales at Mothercare, a
refresh on the popular DM
Classic Babywear line is
set to hit stores this Au-

tumn/Winter 16. Universal is set to launch the

repackaged Complete
Collection DVD Box Set.
Last but not least, the company is experiencing new
businesses with Bitz &
Bob (44x11). The groundbreaking, new, comedy adventure with a twist, is due
to be launched on CBeebies in late 2017. Combining funny and whimsical
stories with key principles
of STEAM (Science, Technology, Engineering, Arts
and Maths) the show follows the animated antics
of inventor and creator
eight-year-old Bitz and her
younger brother Bob and
is designed to fascinate,
entertain and encourage
pre-school viewers to get
creative and involved in
crafting, engineering, experiments and exploration.

MIPCOM 2016

63

LICENSING REVIEW
RICKY LAI, FOUNDER, CAPSUBEANS

The focus on Millennial and

Generation Z consumers
Why did you decide to
found Capsubeans?
Capsubeans has only
been launched for a year,
with current partnerships
including a hotel group
called Harbour Plaza Metropolis, Kodaks largest
distributor in Asia Sino
Promise, and a T-shirt
brand in Hong Kong
called Chill Tee. Moreover, Capsubeans has
collaborating with Hyaku,
a juice brand in Hong
Kong, to launch a new line
of pressed juice product
that will be mass-distributed to convenient stores
expecting to sell 100,000
bottles a month in Hong
Kong. Later in 2017, Capsubeans will be expanding to Taiwan market too.
Above all, we aim to build
a strong, fun and diverse
IP that provides collaboration opportunity for licensees to develop creative
and interesting ideas.
How has evolved the
Licensing Industry
during the last months?
During the past few
months, changes in licensing agents sector
have made the industry
even more competitive,
considering the importance of IPs ROI starting
to be focused on, additional benefits were expected on top of a general collaboration package.
Along with this evolution
of licensing market, we
have been seeking suitable licensing agents

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MIPCOM 2016

The company
continues developing new projects
for social media.
with experiences and connections that could bring
collaboration opportunities and boost Capsubeans popularity.
Which is going to be
the focus of the market
for the next months?
Millennial and Generation
Z consumers spend a lot
of time online, therefore,
the main focus of Capsubeans will be building
online presence by creating better animations
and social media contents. Moreover, we have
a number of projects that
are currently undergoing
the phase of product development. In the following month or two, Capsubeans will be focusing on
the launch of merchan-

dises and digital products in Hong Kong, China, Japan and Taiwan.
Which are the main
challenges for Capsubeans in this Industry?
Capsubeans is a very new
property, in order to survive in this competitive
industry, we need to react promptly to keep up
with the trends, and expand to other countries
for global opportunities.
The licensing market in
China is massive and is
still growing (with a rate

of 6% increase in licensed
sales), and thats why we
have decided to launch
Capsubeans into China,
despite the challenges of
strong competition from
local brands and massive
market for counterfeits.
Our main goal before
2017 is to launch a 15
minutes 2D short film and
more creative contents,
hoping to get an increase
of at least 50% of our current fan base on Facebook
and Instagram.
Which are the keys in
order to be recognized
in the industry?
Five companies in the Top
10 most valuable brands
in 2016 are technology
firms, indicating that it
is inevitable to incorporate technology and keep
up with the trends to
standout in this extremely competitive industry.
Apart from being innovative and develop fun interaction with the audience, content is the main
driver of overall growth.

NEWSLINE REPORT INTERNATIONAL

MIPCOM 2016

OCTOBER 2016