NEWSLINE REPORT INTERNATIONAL MIPCOM 2017 OCTOBER 2017
KIDS
STUDIO 100 MEDIA / M4E
Internationally animation seems
to travel more easily
Martin Krieger,
Head of Global
Distribution,
explains business
strategy after the
unification of both
brands.
How has business of
Studio 100 and m4e tertainment in Europe
AG evolved during the and in the world.
last months?
Since the Studio 100 How does the unifica-
Group acquired the major- tion with Studio 100
ity interest in the m4e AG improve the sales of
at the beginning of this your portfolio?
year, both companies bun- We are now able to offer
dled their marketing and a wider and more exten-
distribution activities in sive portfolio with 17,000
order to combine their episodes of varied pro-
strengths. We are now work- grams. This prepares us
ing hand in hand, offering to meet the needs of more
a combined library of more broadcasters, channels
than 17,000 episodes of or digital platforms with
high quality kids and fam- suitable content.
ily entertainment pro-
grams. For MIPCOM we are What is your view on
bringing together our key the Kids industry, and
properties though present- the continuing growth
ing them at two stands: of animation?
Studio 100 Media at As Studio 100 Media spe-
R7.C15, m4e at R7.H3. cializes in kids program-
Our core portfolio has be- ming we are skilled in eval-
come very strong now, with uating the trends in the
Maya the Bee and Mia kids TV entertainment consumption?
and me, Wissper and arena. Over the last few A lot has changed. The
The Wild Adventures of years there has been in-
Blinky Bill, and of course creased demand for 3-D /
the new series Arthur and CGI-animated kids
the Minimoys, now with a shows; high quality live
full episode at MIPJunior action programs with
and on our stand. great storylines have been
We are sure that we can in demand as well.
proceed in establishing Internationally animation
one of the leading inde- seems to travel more eas-
pendent company groups ily. Live-action shows are
for kids and family en- often subject to trends
MIPCOM 2017
like fashion, music and
stars in short they al-
ways answer strongly to
the zeitgeist which might
not be a global but a local
one or even only region-
ally. That gives animation
a head start on a world-
wide perspective.
In general, all content driv-
en major brands are still
very strong in the market.
TV continues to remain the
key medium for establish-
ing high awareness for a
property and is thus still
vital especially for our mer-
chandising and licensing
partners. TV is still very
present but it is no longer
being watched as selec-
tively as it used to be, this
is because kids and teens
are using their tablets
and smartphones way
more. There will be more
and more YouTube kids
and producers will have to
react to these trends.
How has the industry
changed with the
appearance of online
platforms and multi-
viewing, towards the
monetization of
content, and children
ducing exclusive content
for these channels.
current situation is ab-
solutely encouraging, es-
pecially with the new op-
tions that digital players
are adding to the indus-
try. Additional platforms
mean additional possibil-
ities of exploitation that
coexist with the tradi-
tional ones often result-
ing in a broader reach for
our content. For our com- Do you think that theres
pany the market offers a need of re-thinking
very exciting opportuni- new content so as to
ties for extending exist- renew the industry and
ing brands into the digi- its markets?
tal space. A producer is always chal-
SVOD means additional lenged to offer contempo-
revenues for us and we do rary content fulfilling the
recognize a positive im- desires of viewers. And as
pact. Concerning AVOD the desires change, the
we are indeed very care- producers have to adapt to
fully evaluating the pos- that so there is a need to
sibilities of leveraging our do some thinking when
content that way. Howev- youre planning new con-
er, we see a high poten- tent. That leads in itself to
tial there for the purpose a continuous development
of promotion, for example of the industry and the
of brand-new shows or markets. But Im not sure
regarding our estab- if I would call that a re-
lished shows offering a newal, it is more a natural
way for fans to stay in process of evolution.
touch with their heroes We at Studio 100 Group are
anytime they want to. Of both refreshing our highly
course we are showing successful and popular
the content in a limited classics as modern CGI ver-
way, i.e. no full episodes sions and produce brand-
etc. To serve that purpose new animation and live ac-
weve created our own tion series, which appeal to
YouTube channels for our all audiences. We carefully
brands like Maya the consider present day view-
Bee and Heidi for ex- ing habits making best use
ample and are also pro- of new technology, meeting
the expectations of todays
kids and ensuring continu-
However, looking at the ity for future generations.
bigger picture it does not Working on the basis of
always mean incremental long-term partnerships as
revenues. In the last few well as project based co-
years we have seen a rise operations we will contin-
in the amount of players ue to network with partners
in the market on the non- and broadcasters from all
linear side, which con- over the world to provide
stantly challenges us to great content as a global
find sophisticated ways of player in the kids enter-
windowing. tainment industry.
CONTENIDOS @ newslinereport

MIPCOM 2017 1
 KIDS
What things do you take into account when
you plan a production?
Before the beginning of a production, we have to take
into account several things. First of all, we need to
have an appropriate organization of the whole
production and artistic lines. We need as well to
secure a good budget and to find artists and writers
that are in sync with the idea of the show. Cyber
Group Studios usually plans its productions six
months in advance, with several revisions because, as
soon as we begin, we want to make sure there will be
no quitting nor production hiccups.
Theres another feature important to us. We choose
subjects that have never been dealt with before in the
same way and we try to find the best techniques, artists
and authors to work on these ideas. None of our projects
looks the same even though we have one style. Thats
probably one of the reasons of Cyber Group Studios
success, as we constantly try to reinvent ourselves.
How has the kids industry changed over
the last years?
We are living in an incredible era where technology
becomes more and more advanced, and content gets
more global every day. Globalization and fragmentation
happen in a simultaneous way. We are living in a period
of concentration of talents and projects, and this is
what makes the difference.
Its the same evolution that happened in the music
industry several years ago, when supports went
from vinyl to CD and then to streaming services.
2 MIPCOM 2017
PIERRE SISSMANN, CHAIRMAN & CEO, CYBER GROUP STUDIOS
Children will become a
more active audience
Entertainment can now be consumed in many After 12 years of
different ways. What is awesome with the kids
industry, and especially in animation, is that there constant growth,
are not only different channels, but there is also
an important synergy with videogames and the
the company is
upcoming virtual reality technology. To me, the developing CGI,
trend is set on the ever-growing immersion of
children in the various properties and adventures 2D and 3D content
kids entertainment can offer. They wont be addressed to
passive audiences anymore and theyll become
more and more active as time goes by. worldwide kids
How have the consumption and
audiences.
monetization of content evolved with the
appearance of digital platforms?
Companies always need a great story, and if you
dont have it, you have nothing; but then you have to
think of the different applications. Id say that
technology changes are helping the writing. In the
last ten years, the evolution of digital software has
been massive, and it helps creating better content.
What we need today is to tell better, bigger and
greater stories that are accessible in different ways.
To me, the experience of entertainment is enriched by
The global growth: new offices in the USA
In a move to extend
and globalize its oper-
ations, Cyber Group
Studios opened its
North American subsid-
iary, based in Los An-
geles, which is run by
media specialist and
top executive Richard
Goldsmith. After a continued string of elev-
en-year growth, the new subsidiary is part of
the global effort of Cyber Group Studios to
extend its activity in production and distribu-
tion, in addition to all the areas related to dig-
ital and merchandise licensing. With over 1200
half hours of animated content, seven series in
production for broadcasters and digital plat-
forms worldwide, and over ten more in devel-
opment, the new affiliate will benefit from a
robust start and look for additional opportuni-
ties and talent to further its growth.
CONTENIDOS @ newslinereport

the progress of technology as it enables creativity to New projects for worldwide broadcasters
reach new boundaries.
There are three new projects that Cyber Group Studios will be introducing
What is the most interesting thing about
at MIPJunior / MIPCOM 2017.
working for children?
The first one is King of Space, a comedy series based on the best seller book
Ive worked a great part of my life for kids. After 12
by Jonny Duddle. The company will also be showing a coproduction with
years at Sony Music, where I was Head of A&R in
Digital Banana, The Leaflees, an exciting new adventure/Comedy series,
Europe, I spent 12 years at Disney, and then
mixing live action shooting in the deep forest and 3D animation. Its very
started my own company which has been running
ambitious in terms of writing and animation, and it might be the most compli-
for 12 years now. What I like about animation and
cated show weve done so far, says Sissmann.
the kids industry are the unlimited things you can
Droners (CGI 2D), is a new animated series in development with TF1 and
create. Adults are fascinated by great stories, one
La Chouette Compagnie. This comedy and adventure animated series,
example is the success of Games of Thrones
based on an original idea by Pierre de Cabissole and Sylvain dos San-
(HBO); but they always have boundaries in their
tos, will target kids aged 6 to 10 in 26 episodes of 26 minutes.
minds that obstruct the imagination process.
Zak Jinks (52x13 2D HD) a daily show comedy and a totally new series is
However with kids, everything is possible. You can
also distributed by Cyber Group Studios. The show is produced by Label
Anim it will air on France Tlvisions this fall.

tion and storytelling.

create for them stories which will stimulate their
imagination which is so exciting as their enthusi-
asm and imagination are limitless.
Which are your goals for the rest of 2017
and 2018?
When we look over the last ten years, we realize
that our company has evolved in terms of anima-
Each time we create a new series, we aim at improving
what has been done on the previous one. We build on
the past to go forward.
On the long term, wed like to become a more global
company. This year, we have opened new offices in Los
Angeles, and we are close to opening other offices in
Asia, and Latin America (probably in Argentina or
Brazil), so we will be able to better understand the
needs of the kids around the world and create content
that is relevant for the markets.
Producing animated series is like running a marathon,
so we need to be able to demonstrate stamina and
gather the necessary resources needed to finalize our
projects in the long run.

Current development of animation series

The company has seven series in production: Gigantosau-
rus (52x11 HD 2D-CGI) the new pre-school full CGI animat-
ed series based on the bestselling book by world renowned
author Jonny Duddle, (published by Templar Publishing), will
air on Disney Junior Worldwide, excluding India and Tai-
wan, starting in 2019.
Taffy (78x7 2D-CGI) is a brand-new animated series for Turn-
ers second flagship kids channel Boomerang. Based on an
original creation from Cyber Group Studios and developed
with Turner. Cyber Group Studios is also working on the
second season of the Boomerang Original series The Hap-
pos Family, this time featuring longer adventures with the
loveable Happos characters, as well as a raft of new digital
content. Series two, made up of 25 x 7-minute non-dialogue
episodes, will launch on the Boomerang channels in January
2018. Also in production: the second season of the Cyber Group Studios series Mini Ninjas (104x11 HD 2D-CGI), Over the last few
months, Cyber Group Studios has just begun the production of its new show Tom Sawyer (26x22), a very ambitious series based on
the world famous novel by Mark Twain. Also in production The Pirates Next Door (52x11) produced by Cyber Group Studios for France
Televisions. The teaser of the series ranked 17 in the MIPJuniors top 30 most-requested programs in 2016. The first episodes are now
available for viewing and the French studio is planning to showcase them in Cannes during the MIPJUNIOR and MIPCOM events.
Also in production, the new Cyber Group Studios and Brown Bag series Sadie Sparks (52x11) is aimed at 6-12 years old children. This
magical show will air on Disney across EMEA late 2018, early 2019.

MIPCOM 2017 3
 INCOMPANY

STAFF

Jos Bastn will leave the Presidency Melissa Pillow is the new sales rep- Year XXVI
of Televisa Internacional in October resentative of TV Azteca Internacio- MIPCOM 2017 Edition
30th. After thirty years in charge of the nal in Europe, Israel, United States,
worldwide evolution of the Company New Zealand and Australia. Report-
that started as a traditional media ing to Fidela Navarro, Director of TV Editors Directors
Company, and became a huge media Azteca Internacional, Pillow will trav- Rafael Val
and telcos corporation. Even he is el with the portfolio of the Mexican Mara Pa Pazzaglini
leaving the chair, Bastn will still be a member of the company looking for new opportunities of expansion.
Council of Administration of Televisa. The executive was part of the team of NBC Universal, Editorial Departament

over the last 10 years. Mara Alejandra Sturiza

Jos Luis Fajn
FremantleMedia promoted Coty Ca-

Aldo Bianchi
gliolo to Managing Director for Mexi- ITV Studios Global Entertainment
Pablo Garcia
co. Cagliolo will be responsible for the (ITVS GE) informed that Pascal Dal- Damin Martnez
overall day to day management of the ton joined the Company as VP Sales Ailn Scapolan
operation, driving the strategic vision of Global Formats. Dalton came from
of the business and working to rein- Endemol Shine Group, and now is re- Commercial Departament
force the companys presence in the sponsible for the strategy of global formats of ITVS GE, Rafael Aboy
region by developing and producing content for the Mex- including the construction of current production allianc- Javier Fiorellino
ican and Pan-regional market. Based in Mexico City, the es and exploring new international opportunities. On the Franco Aboy
executive reports to Sangeeta Desai, FremantleMedias other side, Ella Umansky was promoted as Director of
COO and CEO, Emerging Markets. Format Support of ITV Studios. Design
ADNOW
www.adnow.com.ar
DHX Media announced the joint of John Flanagan is the new General
Jerry Daz as Vicepresident of Distri- Manager of History Japan. Based in Printing House
bution who will have the responsibili- Tokyo, Flanagan will be responsible for Grfica Pinter
ty of manage the global business of all the operative businesses, includ- info@graficapinter.com.ar
sales and distribution of the compa- ing the incomes, channels program-
ny. Daz will report to Josh Scherba, ming, production, marketing, finan-
EVP Content and Distribution, who cial reports and development of new Editorial Office
has the general responsibility of create and sell Kids and businesses. The main goal of Flanagan is the lineal and Moreno 769 5th floor
Family content for the company. With more than 30 years digital growth of THCJ, working with A+E Networks part-
C.P. C1091AAO
of experience, Daz came from Corus Entertainment. ners, distribution platforms and advertising clients.
Buenos Aires
Marcello Coltro joined NBCUniversal Karen Barroeta is VP Senior of Mar- Argentina
International Networks after living Cis- keting and Creative of Telemundo Phone/Fax: +54(11) 4115 7610
neros Media Distribution, where he han- Networks, leading the strategic de- info@newslinereport.com
dled the distribution business for three velopment and execution of all the www.newslinereport.com
years. Now, Coltro is in charge of the marketing initiatives for the consum-
media portfolio of the Latin American er through the company platforms, in-
brands Universal Channel, Studio Uni- cluding the supervision of media pur- Newsline Report
versal, Syfy, E! Entertainment and Telemundo Internacio- chase and the Experiential Marketing teams. Also, she is a monthly
nal. Since September 18th, the executive reports directly to will collaborate with the Group in Stations, distribution publication of
Klaudia Bermudez-Key, SVP & GM of the company. of NBCUniversal and its affiliates. Avant Garde

Ediciones S.A.
Katrina Neylon joined FremantleMe- Studiocanal promoted the ex VP Sales Newsline Report
dia International as EVP Global Con- for Iberia, Italy, LATAM & Scandinavia
is a trademark.
tent of FremantleMedia Internation- Beatriz Campos to Director of Inter-
national Sales. Based in London, Cam- Intellectual
al. From her position, Neylon handles
the existing team of Global Content pos will lead the activities of interna- property registration
and supervises the programming tional sales for all the TV-series of Stu- N 214.136.
strategy, both scripted and non- diocanal, including the portfolio of
scripted, with a strong view on the creation of useful productions of Cration Originales CANAL +, as well as Printed in Argentina.
commercial alliances for each partner. third parties acquisitions.

4 MIPCOM 2017
 @ newslinereport

Viacom
continues to evolve its businesses in Latin America
Federico Cuervo is
now handling the Produc-
tion area for VIMN Amer-
icas that includes the re-
cently acquired Free TV
channel in Argentina,
Telefe, as he keeps with
his role of Brand Manag-
er of Comedy Central. On
the other side, Tiago
Worcman who is SVP
and Brand Manager of

IT
MTV, now is expanding
The launch of our services direct-to-consumer
his obligations in order to
describes a completely new strategy of evolu-
include the supervision of
tion for the company, now that is taking advan-
Paramount Channel in
tage of the amazing opportunity that changing
Latin America. Cuervo
technology gives us so as to make use of our big
and Worcman will also work close with the new conjunct
company of Porta dos Fundos / VIMN Americas in Brazil, as
co-leaders of the Committee of Brand and Content. The intu-
itive talent of Cuervo in the development of comedy content
and the experience of Worcman in the market of Brazilian
content, will assure a major expansion and new opportuni-
X
DI brands. Now we have the control of a new
platform, and the 100% of the usage of our
magnificent content.

Bob Iger
CEO, The Walt Disney Company
ties for Porta dos Fundos content.

Kanal D International ZEE Studios International was launched in Canada

establishes a co-production division The Indian content compa-

This new division will be fo-
cusing on developing cre-
ative business models in co-
productions and content in-
vestments; including script-
ed, film, non- scripted, docu-
dramas and mini-series tar-
geted to not only Turkish but
also global market.
To strengthen this business
arm, Nilufer Kuyel, joined
Kanal D International as
Director of Co-productions and Foreign Investments. The com-
pany is currently bringing new business models to co-develop
for scripted, non-scripted and creating brand new content for
global market with top industry professionals from all over
the world. Kuyel will be heading the co-production division
and she will be directly working for Ozge Bulut Marasli,
CEO Kanal D & Production Companies.
Previously, Kanal D International sealed a co-pro deal with
Chiles Mega and aims to expand its operations both in LATAM
and other territories.
ny, Zee Entertainment
Enterprises Limited
(ZEEL) achieved another
milestone by becoming the
first Indian broadcaster to
set up a production compa-
ny, ZEE Studios Interna-
tional in Canada. This also
marks ZEEs entry into glo-
bal production for mainstream audiences which will facilitate
production requirement for ZEEs diverse platforms as well
as international markets. Amit Goenka, CEO Internation-
al Broadcast Business, said: Our endeavor through this ven-
ture is to produce global content for mainstream audiences
across various international markets as well as take care of
our domestic requirements.
ZEE Studios International will be headed by Subhadarshi
Tripathy who has been with the organization for over 18
years and has championed several of our leading brands. We
are confident that Subhadarshi and his team will grow this
division into a formidable business, creating cutting edge
content which has immense potential to be adapted through-
out the world, added Goenka.

MIPCOM 2017 5
 KIDS

6 MIPCOM 2017
CONTENIDOS @ newslinereport

MIPCOM 2017 7
 KIDS
RAINBOW
Unleashes more of its magic
Leading studio Rainbow
will be presenting magical
new content at MIPJunior
and MIPCOM 2017, with
three new series. These are
new seasons of global
smash-hits Maggie & Bi-
anca Fashion Friends and
Regal Academy,
and the brand
new preschool
show 44 Cats!
44 Cats is a
sumptuous 52
x 13 CGI preschool come- days to find plenty more ad-
dy series that follows the
daily adventures of Lam-
po, Milady, Pilou, and Pol-
petta; all of them are part
of a music band named The
Buffycats. These four kit-
tens are homeless and get
shelter in a garage, trans-
forming it in a Club- dy, music and exciting new
house - a place where all animation techniques that
cats from the neighbor-
hood get together to have
fun and relax! Storylines
explore the themes of
friendship and altruism:
the main characters love
helping others and this
drives many of their adven-
tures.
Regal Academy the hi-
larious, fresh and funny
show that follows the ad-
ventures of Rose Cinderel-
la is back for a second
series, after the first
wowed the world. In series
one Rose found herself en-
rolled in the Regal Acade-
8 MIPCOM 2017
Maggie & Bianca
Fashion Friends
arrives to break the
market with the
whole well-known
brands of the
Italian company.
my the school for
fairytale characters and
enjoyed a host of adven-
tures with new friends
Hawk SnowWhite, Travis
Beast, Joy LeFrog, Astoria
Rapunzel and
LingLing Iron
Fan. Series two
sees Rose re-
turn from her
summer holi-
ventures waiting for her -
a mysterious new student,
a new hero teammate and
the evil Snow Queen who
wants to trap them all in
her Snow Globes! The new
series delivers another ir-
resistible mixture of come-
the millions of Regal Acad-
emy fans - from over 100
countries where the series
has been sold - will love!
Maggie & Bianca Fashion
Friends is the new sensa-
tion among pre-teen live-
action shows. With 78 half
hours available - and two
TV specials set in Lake
Como and Paris - it has
surpassed the success of
the worlds biggest Telen-
ovelas through its utterly where they face difficult for talented kids and pre-
compelling mix of fashion, choices about their future venting the mysterious Tal-
friendship and music. The friendship and relation- ent Thief from kidnapping
show tells the story of ships. The first two series them. Winx Club Sr.7
Maggie - an ordinary of the show reached mil- (187x30) and Winx Club
American girl with a lions, through TV broad- The Mystery of the Abyss
dream of becoming the cast in Italy, Russia, Bra- (1x80) complete the col-
worlds greatest fashion zil, France, Germany, orful brand.
designer - who wins a two- Greece, Poland and Rainbow is also presenting
year scholarship at the Benelux, and on Netflix Poppixie (52x13) a 2D
Milan Fashion Academy. worldwide leaving fans animation comedy that
There she meets Bianca, clamoring for more! follows the extraordinary
a self-proclaimed Italian Iginio Straffi, Founder & every-day life of the Pixies
princess, and together CEO, Rainbow leads the in Pixieville - a world full
they make friends with team attending MIPJunior of magic creatures thats
other students, who all / MIPCOM 2017 that will waiting to be explored and
share a passion for fash- also be presenting: discovered.
ion and music. In series World of Winx (26x30), The two seasons of Hunt-
3, available for TV broad- with its two seasons of the ik (52x30) complete the
casting from fall 2017, story about the Winx, which portfolio for these markets.
the young friends leave as talent scouts for WOW!, This series shows adventur-
Italy to live in America, travel the world searching ous journeys await across
Europe, South America and
Africa, where our heroes
search for powerful Amu-
lets that will help them to
stop the evil Organization.
CONTENIDOS @ newslinereport

MIPCOM 2017 9
 KIDS

JRME ALBY, MANAGING DIRECTOR, MEDIATOON DISTRIBUTION

In digital, the players take

much more risks
The executive important, languages are channels in each because at the end of the
the only boundary. When country. Nowadays, there day the kid is who choose
admits that chil- you have a non-dialogued are much more channels, the programming.
series is much easier to but theyre more
dren choose the expand the presence of centralized, and Do you think that
programming and that show, with a much dedicated to a specific children demand
bigger reach. However, genre, and thats the new ways of enter-
considers that the non-dialogued series case of kids, who have tainment?
non-dialogued work either for a very dedicated channels, with We do always have to
young target, or for an massive blocks with 4-5 renovate content. We
productions will older target. Basically, hours a day. need to have a clear view
the non-dialogued is not of what kids are going to
still be successful a format that could be How has monetization like in the upcoming
How can you describe worldwide. used for every franchise and consumption of years, and see how we
the participation of or production. the genre changed? can make a better offer.
Mediatoon Distribu- couple of episodes of What is sometimes For animated series or
tion in MIPJunior/ the last season of The How has Kids frustrating is that the shows ten years ago, the
MIPCOM 2017? Minimighty Kids, as the Industry evolved over
The market is treating full season wont be the last years?
us great, so in MIPTV we available up to the end Definitively theres been
brought to the market of 2018. We are a massive shift from
two new shows at last bringing the second lineal to non-lineal. That
MIPTV, and now we are season of Teen Crum- is a really key part of the
bringing new titles also pets that was on air in evolution. Non-lineal
to MIPJunior / MIPCOM Gloob (Brazil) and a actors are becoming
2017. Little Furry is Canadian production
our main focus for this called MaXi (26x11').
market. This non-
dialogued pre-school Do you consider that standard format was
series that it is commis- non-dialogued mostly half-an-hour or
sioned by Canal +, content is an advanta- 11-12 minutes; and now
RTVF, VRT. The show is ge in Kids industry? it tends to shorten,
already on air and it Non-dialogued series are because kids want
was also been acquired definitively an advantage things that go faster.
by Radio Canada (for towards the commercial-
the French speaking ization of children Which are Mediatoon
territories), HOP content. Dialogued series Distribution goals?
(Israel), Dea Kids (Italy). have a much more Definitively we want to
Another highlight investment on the make sure that Little
production is Valerian dubbing process, so its more and more impor- amount of the digital Furry manages to
& Laureline (40x26'), great to have non- tant. The other thing is market is much less what outperform the market,
based on Luc Bessons speaking content, as its the multiplication of is paid by the traditional as it seems it have
Valerian, and the city an advantage also for screens and clients and lineal. But on the other already started to do. We
of thousand planets. the companies that sell networks. If we look at hand, what is really good are also really interested
We are very happy to the series. the industry ten years with digital is that some on finding new produc-
have this title on our In a market that is more ago, before the digital of the programs that are ers and companies in
catalogue, as it was and more global and you television arrived, before not aired any more, now which we can relied on,
selected by several VOD have so many languages all the tablets, comput- can be there on digital. and work closer to them
platforms. and the boundaries ers and smartphones, In digital, the players on the development of
We are also presenting a between countries are not there were much less take much more risks, new content.

10 MIPCOM 2017
CONTENIDOS @ newslinereport

MIPCOM 2017 11
 KIDS
EONE FAMILY & EONE LICENSING
Theres a shift with the already
installed brands
How has evolved the
success of Peppa Pig
over the last year?
We are confirming the pro-
duction of another 117 epi-
sodes of Peppa Pig, so that
means that we are going to
have twice content on the
brand. Discovery Kids Lat-
in America has just started
airing the seventh season of
the show, so theyll continue
with season 8 when we fin-
ished the production.
There are a lot of reasons
that justify the success of
Peppa Pig. It is a show
beyond the quality of writ-
ing. I think, the first thing
is that is a family content,
and when you think in kids,
the family is their entire
world. The second reason is
the humor, so on the layer
of humor, you have one lay-
er for children and one for
parents, and as a result of
that, parents can enjoy
watching Peppa Pig with
their kids or just simply en-
joy that their kids are
watching it. From that per-
spective it is a family-show.
Which property of
eOne seems to be the
next Peppa Pig? chance to show the brand
We have another success-
ful brand growing in the
market that is PJ Masks.
In Latin America, Disney
Junior has reported us a
12 MIPCOM 2017
Olivier Dumont,
Managing Director,
explains the suc-
cess of Peppa Pig
and the licensing
program planning.
huge performance of the
show. It is also going to be
launched in Mxico, so we
are continuing to negoti-
ate deals with different
broadcasters in the whole
world. Season one was
launched last year, and we
are already in the produc-
tion of the Season two that
will be premiere next year,
also in Disney Junior. This
is such a successful brand
for us that we are currently
in the development of a
third season, so it is going
very fast, representing a
success in every single part
of the world. USA, UK, Italy,
France, Spain, and of
course Latin America are key
territories for the evolution
of this title worldwide.
How has the Kids
Industry evolved,
related with content
consumption?
What has really changed is
the consumption in digital
platforms, so whether is
AVOD or SVOD it is still On
Demand content. The fact
that when you no longer
rely on broadcasters to cre-
ate a hit, gives you the
demo, contrary to the idea
in different ways. Children
can find what they like in
school also, and they have
to immediately watch what
is been recommended in
that moment, and you can in terms of their own per-
find that on several plat- sonal development.
forms in any moment.
Also theres a shift with How does eOne
the already installed decide each step of
brands. If a kids become the licensing pro-
a fan of certain show, gram for its brands?
they dont have to way to With kids we cannot antic-
specific moment to see ipate too much the de-
the content, they can con- mands of each brand, so
tinue it immediately. we dont want to be too
fast on the licensing pro-
Which are the main grams. We are very conser-
features of working for vative and careful on not
children audiences? over-push the brand in
It depends on the target terms of its marketing. We
demo, because it is differ- really like content to speak
ent working for pre-school from itself and guide the
kids, or for school-age demand of new products
kids. The last ones have related with the brand.
more autonomy, so the dif-
ference is that when we Which are you
work for them, we have to worldwide goals for
present a strong offering the next months?
in terms of visual online Wed really want to continue
and offline games because sustaining the success of
we need to be able to en- Peppa, so we are developing
gage them in different a lot of exponential things
windows. When regards to for the brand outside the TV
pre-school kids, the par- experience. The strong offer-
ents participations be- ing is key in times when we
comes crucial. We need to are bitten by digital experi-
keep parents always in ences, is the development of
mind when we plan a new live-experiences where kids
production. I really enjoy can enjoy their favorite
working for that target brand on a stage-show, or
as a theme park. We are
that kids are changing. also working really hard on
The evolution that is hap- the licensing and merchan-
pening right now is the dising program of PJ Masks
same that has been hap- now that has experienced
pening all over the history, the success of television.
CONTENIDOS @ newslinereport

MIPCOM 2017 13
 KIDS

14 MIPCOM 2017
CONTENIDOS @ newslinereport

MIPCOM 2017 15
 KIDS
CECILIA MENDONA, VICEPRESIDENTE & GENERAL MANAGER,
DISNEY CHANNEL LATIN AMERICA
Audiences are especially
participative
Which is the role of
original regional
content, specially the
live-action ones?
The commitment of
producing regional
content grows and
sustains because we
understand that this is
the best way of being
close to our audience, as
we offer a product that
connects to them, that
distinguished itself and
resounds on their common
life. Productions rescue
their universal values, but
with a special emphasis
in the idiosyncrasy and
local features, with an
optimistic and inclusive
view. On this way, we tell
a story that can appeal in
every part of the world,
but with the eye that
distinguishes us locally.
For example, the success-
es of Violetta and Soy participative, as most of
Luna, made from original the times they decide the
ideas have an amazing
international projection.
Violetta became the first to the audience in social
Disney franchise created
outside the US. Also, the
quality of our content and
the importance of the
16 MIPCOM 2017
The executive
admits the inter-
action with social
media and the
commitment for
new regional
productions.
storytelling are still being
fundamental. This offers
an original content and
gives us the opportunity to
explode in the best way
possible all the multiplat-
form experiences that can
be given, considering
tastes and consumption
habits of our audience.
Those productions are the
ones that add sense and
result in a unique and
deeper identification with
the audience.
Which are the modifi-
cations occurred in
programming regar-
ding new audiences
and technological
evolution?
We understand that the
ways of consuming
entertainment are a
result of each time, and
nowadays, with an
extreme connectivity,
audiences are especially
audiences of Disney
Channel and Disney XD,
how and where. Also, on its tour in Mexico,
we have learnt to listen
with its stars, where its
media so as to know it
and take decisions based
on this information, and
update ourselves on
trends and changes in Which are Disney
habits and tastes of the projects and brands
audience. In order to for the next months?
gain the attention of We planned a continua-
this challenging tion of original ideas
consumer, we are development so as to be
focusing in the integra- able to offer new live-
tion of the biggest action and animated
amount of platforms content for the next years,
possible, so we could be at the same time we keep
able to connect with the betting on regional
viewer wherever he is. For productions. At the
us, it is already evident moment, we can just only
that multiple experiences say that there will be new
generate a bigger desire seasons for all the
on the audience in order channels: Soy Luna for
to be pioneers in the Disney Channel, O11CE
incorporation of talents for Disney XD and new
from digital platforms in episodes of Junior Express
our fictions, or that our that keeps as an amazing
own talents become regional success and a
influencers. great point of contact
On the other side, the with the audience, both
launch of Descendants from the screen and on
2 have an excellent the live-shows.
reception for the We are also presenting in
Disney Junior new
adventures of Morko y
Mali, the original
Buenos Aires and Brazil production inspired on the
Amazonian forest whose
audiences were rein- characters resolve on each
forced by the strong episode different challeng-
emotional connection of es that make them live the
that franchise. funniest adventures.
CONTENIDOS @ newslinereport

MIPCOM 2017 17
 KIDS
MATTEL
Thomas & Friends is screened at MIPJunior
The original produc-
tion debuts at the
market and its set
to launch in 2018.
formation in content for
the world-famous chil-
drens show.
Thomas & Friends: Big
The first 2017 MIPJunior World! Big Adventures!
World Premiere TV Screen- (26x11) sees iconic train
ing will be Thomas & engine Thomas traveling
Friends: Big World! Big farther than ever before,
Adventures! produced taking kids on a journey of
and distributed by Mattel wonder and curiosity as he
Creations. The Junior pre- adventures around the
miere which is usually re- world to experience new
served for debuting series, countries, learn about oth-
will mark the grand un- er cultures and, of course,
veiling of a huge trans- make new international
RAYDAR MEDIA
There is constant evolution and
urgency in the industry
Alison Rayson, CEO, presents probed hits for CBeebies.
series Apple Tree House
and also for our growing
catalogue of childrens
properties, which include
Channel 4s ratings-bust-
ing animated special
Were Going on a Bear
Hunt and CBeebies
What is the focus of
Raydar Media on
MIPJunior 2017?
Which are the main
expectations towards historical childrens drama
the market? Tea Cup Travels. We also
Our focus at MIPJunior is have a number of addition-
to secure sales both for al projects in development,
our new launch titles which we are keen to dis-
such as CBeebies new hit cuss with potential co-pro-
live action/mixed media duction partners.
18 MIPCOM 2017
friends along the way. The
show will have a more con-
temporary feel and in-
creased, global appeal for
preschool viewers.
In addition to Thomas ex-
panded adventures, au-
diences will also enjoy
seeing several aspects of
the show that have been
evolved to appeal to con-
temporary viewers: An
all-new format series,
faster-paced plots, in-
crease in humor, more
action and adventure-
based storylines with
several new fantasy and
musical elements.
Mattels Chief Content Of-
ficer, Catherine Balsam-
Schwaber, says: We are
Which is your view on
the Kids industry, and
the continuing growth
of animation?
Raydar distributes all
genres but there is some-
thing very special and
unique about the kids in- platforms and multi-
dustry - from the execu-
tives who work in it, to the
content that we all cre-
ate. There is a real sense
of constant evolution and
urgency in the industry,
which has become neces-
sary in order to keep up
with todays tech savvy
kids. Ultimately it is this
challenge that makes be-
delighted to receive a
World Premiere TV Screen-
ing at Reed MIDEMs MIP-
Junior, which is the perfect
platform to showcase our
newly-refreshed series. The
updated format will make
Thomas & Friends content
more entertaining, inclu-
sive, meaningful and glo-
bal, whilst ensuring all the
favorite characters and
storylines that fans around
the world love remain at
the heart of the action.
Thomas the Tank Engine
was created over 70 years
ago and that story quickly
grew through content to
become the award-winning
global brand franchise it
is today, with multiple
ing a Kids program mak-
er, distributor and licens-
ing agent so exciting.
How has the industry
changed with the
appearance of online
form agnostic and will
viewing, towards the
monetization of
content, and children
consumption?
The industry has been
revolutionized in terms of
how it does business and
also how funders decide
what to invest in and ac-
quire. Integrating a digi-
tal and social media
touch-points and formats,
including apps; toy con-
sumer products; publish-
ing; live attractions and
much more.
The exclusive premiere un-
veils brand-new content
from the forthcoming se-
ries, as well as a behind-
the-scenes peak of the pro-
duction alongside a Q&A
with the creators and pro-
ducers of the show. MIP-
Junior delegates will be
amongst the first to see the
full, remarkable makeover
of Thomas & Friends plus
many more surprises at the
World Premiere on Satur-
day 14th of October 2017
at 18hs followed by the of-
ficial opening party.
strategy into a shows DNA
is now as critical as
choosing the right linear
platform and these two
aspects need to work hand
in hand to drive the best
outcome. Kids are plat-
choose different times of
their day to either watch
repeats of their favorite
shows on their tablets and
also tune in to scheduled
TV and the iplayer for a more
social experience with their
parents. In order to succeed
therefore you need to be
available at each of these
touch-points.
CONTENIDOS @ newslinereport

MIPCOM 2017 19
 KIDS

20 MIPCOM 2017
CONTENIDOS @ newslinereport

MIPCOM 2017 21
 KIDS
MONDO TV IBEROAMERICA
Bets on expanding its co-productions
How has Mondo TV
Iberoamericas
business evolved in
recent months?
Business for Grupo
Mondo TV Iberoamerica
has been really positive.
We started the year by
entering the stock
Exchange market MAB-
EE. The year continued
with the successful
launch on Nickelodeon
Latin America of Heidi,
Bienvenida a Casa, the
first-ever Mondo TV live-
action show, for which we
are co-producer with
Alianzas Producciones.
Sales of this series are
strong across Latin
America, and now
markets in Europe and
the Middle East are
opening up. In fact,
series two, Heidi,
Bienvenida al Show is in
production and a third
series is planned.
However, as visitors to
MIPCOM will soon see,
there has been continu-
ing success for the
Mondo TV Group as a
whole. In-house produc-
tions notably Sissi the stations one of which
Young Empress, now in
its second series
continue to do well, but
recent co-productions in
particular have been
newsworthy. The witty
charming and clever tale
of a fox his inventions and
his friends and foes,
Invention Story (104x11), form is attracting quite a
arrives next year and
Henan York Animation
and Mondo TV have
already committed to five
series. Meanwhile Aurora
World Corp and Mondo TV
are expecting a strong
22 MIPCOM 2017
Maria Bonaria
Fois, General
Manager, an-
nounces new
series of Heidi
Bienvenida and
some new titles
for next year.
performance from the eco-
friendly adventures of
YooHoo & Friends, based on
the wildly popular Aurora
World line of plush toys.
How does Heidi,
Bienvenida a Casa
work in the worldwide
market? Are you
thinking on the chance
of format sales for
local versions?
The shows Latin American
origins (the cast is from
Argentina) gave it a
strong market in that
region where language
was not a problem; it only
needed dubbing in Brazil.
However, the show has now
sold to two Russian
other highly attractive
is broadcasting already
and one Israeli channel animated series Inven-
where, again, it is showing
at the moment. Were
looking at quite a lot of
other opportunities as
well. So, yes, format sales
are certainly available, but
the show in its original
lot of interest.
What is the focus of
Mondo TV Iberoameri-
ca on MIPCOM 2017?
Which are the main
expectations towards
the market? (52x11), about a group
With its success in Latin of cube-shaped animal
America and now its toys who come to life
inroads into Europe and but who also play a vital
the Middle East, we have but secret role in keeping
very high hopes for Heidi the world in balance. It
Bienvenida. Its combina- has strong potential in a
tion of a classic story number of regions, not to
with humour, great songs mention licensing
and lovable, slightly categories.
eccentric characters, has
clearly struck a chord. Of What is your view on
course, as a distributor the kids industry, and
of Mondo TV output in the continuing growth
many markets, Mondo TV of animation?
Iberoamerica is also Kids grow up faster today.
promoting a number of If we have season one of a
show with an audience
properties. The new age range between 4 and
6 years, a year on more 4-
tion Story, for example, is 6 year-olds will join them.
a highly innovative Its important that new or
concept. Its the tale of returning fans for each
an intelligent, thoughtful new season of a property
and creative fox who, in create a buzz in their
each episode, comes up communities and inspire
with a new invention. The more new viewers. Of
show has plots, conflicts course serving return-
and rivalries as well as ing fans while also
funny, eccentric and enticing new audiences
engaging characters is important for our
but it also offers Consumer Products
something different. division and licensees
Then theres the 3D CGI of any products related
show due soon, Cuby Zoo to our IP.
What are Mondo TV
Iberoamericas goals
for the rest of 2017?
The second season of
the Heidi Bienvenida
franchise called
Heidi, Bienvenida al
Show is already in
production. This new
story is full of colour,
magic, music and
excitement. Heidi will
discover new friend-
ships and new passions
she even discovers a
talent for creating
perfumes! She will also
take on a new chal-
lenge: to help a friend
overcome her fear of
singing and dancing in
public, and to find and
free the artist within.
Our own role is continu-
ing to be enhanced.
Mondo TV Iberoamerica
has a growing role in
production as well, of
course, as distribution
within Mondo TV. In
fact, we already have a
strong presence in the
Spanish, Portuguese
and Latin American
territories, where we
distribute Mondo TVs
animated catalogue.
Meanwhile the creation
of a new production
studio in our region,
Mondo TV Produc-
ciones Canarias, is
already bearing fruit.
Based in Tenerife, the
new studio will act as a
producer and worldwide
distributor of animation
series and eventually,
live drama. All of these
developments are driven
by a growing demand
for Mondo TVs content
and its services.
CONTENIDOS @ newslinereport

NICKELODEON LATIN AMERICA, A VIACOM COMPANY

For children, content is never enough

Which is the main Tatiana Rodriguez,
focus of Nickelodeon
for MIPJunior? SVP Brand Head,
This year we are present-
ing our successful
Kids & Family
portfolio that includes Group, presents
new seasons of well-
known series like Sponge new original local
Bob, The Loud House titles and analyses
and Henry Danger,
besides Paw Patrol and the evolution of
Nella, The Princess
Knight, of Nick Jr., to our
children con-
partners. We do also like sumption.
to identify new co-
production opportunities. industry and love
international produc-
How has evolved your tions, but also appreciate Tatiana Rodrguez y Migdalis Silva, VP of Programming & Acquisitions
most recent produc- local productions. Our
tions like Vikki RPM response to this has been ments are universal, it in general and to be a SVOD service for pre-
and Kallys MashUp? keep betting and is easier for the content step ahead of the latest school, and
Vikki RPM is actually on producing more real to cross boundaries. We trends on both lineal nickjunior.com. We have
air and its having a stories, locals and are very proud of the platforms and non- more than 40 digital
great performance in the contemporaneous, trying success of our shows in lineal, so as to satisfy games in all the mobile
channel leading pro- to represent real-life of global markets and the needs of the platforms and we have
gramming in Mxico, this kids in the screen. happy to keep working audience in the most made our brand the #1 in
Argentina and Brazil. This helps us to maintain with all our partners in effective way. It is a social media with the
Also, all the content the fidelity of our the region, so as to great responsibility to biggest engagement
specially created for our audience, differentiating offer high quality shows treat content for this (source: Shareablee).
digital platforms, like La from competitors. We are to our audiences. audience. This achievement is for
Velocidad de La Luz and generating more Producing from Latin the direct connection
MeckaNickeando, is also exclusive content each America to the world How has evolved the with our audience.
between the most viewed time, for all the plat- was a goal that now industry with digital
of the channel. forms that children became a reality. platforms and multi- Which are the main
We are also in the middle consume. Content is viewing, regarding goals of Nickelodeon
of the production of never enough, when they What is the most the monetization of towards the next
Kallys MashUp in like something, they attractive feature of content and children months?
Telefe studios in Buenos consume it really fast working for young consumption? Well be celebrating our
Aires and we are and diversify. audiences? It has changed a lot next local editions of the
launching it next Monday, It is a really funny because new consuming Kids Choice Awards in
October 23rd. Do you consider that audience, but at the platforms go far away Colombia, Argentina and
internationalization same time is a chal- from lineal television. Brazil (Meus Premios
How could you of kids content is lenge, because they Nowadays, Nick has four Nick), and on October
describe Kids easier than any other have no filter. If they channels, additional 23rd we are launching
industry and the kind of content? like something, they brands like Nick Jr. with Kallys MashUp our first
growth of this content I dont think if its love it, but if they dont two signals and Nick- musical series produced
in the TV Program- easier. I think that if like something they are Toons that is growing so from Buenos Aires. We
ming? available formats are absolutely hard on it, fast in the region and it are also looking for new
Young and teenage relevant and interest- they tell you, they write is focused in classic ways for bringing the
audience has become a ing for local audiences, you. Thats why it is very shows. The brand also brand to the audience
niche with a very the development important to pay has new products like and we will continue to
demanding and impor- potential of it is huge. attention to what is Nick Play, My Nick Jr., build a funnier world for
tant group. They know the If stories and environ- happening in markets Nick First, Noggin, the everyone.

MIPCOM 2017 23
 CONTENTS

SEAN COHAN, PRESIDENT, INTERNATIONAL & DIGITAL, A+E NETWORKS

We are living in a creative meritocracy

How has A+E Networks growth
worldwide over the last months?
Globally, we have continued to keep grow-
ing our own destiny. This means, buying
some pieces of companies that we do al-
ready owned, launching 100% own busi-
nesses, making new launches and invest-
ments on new businesses. For example, in
Germany we bought the 50% of our chan-
nel there that we already owned. In Korea
we took stake on a public company called
IHQ, and launched History and Lifetime
there. In Japan, we bought 30% more of
our History channel, meaning the posses-
sion of 80% of it. During this year we do
also launched the first free-to-air chan-
nels in the UK andwe are continuing to
expand globally, and looking for new terri-
tories for our businesses. Over the last 12 months we have
also embraced our heritage as a great storyteller. We are really
focused on developing content which does live primarily on our
lineal channels. That means whether talking about short form
content that lives on our own sites or whether we are talking
about video content available in Facebook or Snapchat, or a
combination of both things. We are really focused on elevating
the level of our stories beyond our lineal channels.
We are increasingly active on selling our content, exploding
our content across platforms.
In the era of fragmentation of
consumption, the executive con-
siders that companies should
adapt the content to each window.
segment of the population that has a
strong desire to History programming.
We tend to have lineal channels as well
as digital extensions of this brands. Some-
times it is a VOD service, sometimes the
website offer and some other ways in
which we can monetize our brand. How-
ever, one of the key parts of our formula
is tend to bring the best global content
that we make and we pair it with locally
produced acquired content. In addition
to have the US hits, we also have a wide range of great local
content. While theres some content that is uniquely local,
theres some piece of content that might travel worldwide on
its original version. We will move content around. What has
happened and will continue to happen is that we plan inter-
national big programming events that may not be necessar-
ily related with what we do in the US. The creative develop-
ment of several markets is really prolific and what we do
with great ideas, gives us the chance to come from every-
where for our global footprint.

A+E Networks operates in most of the countries with
different options for each audience.How do you
address the international strategy?
We tend to have between three-to-five brands in each mar-
ket around the world. I should say that History is our lead
brand outside the US. Everywhere we go theres a strong
How can you describe the evolution of worldwide
content availability?
The creative taste of the market and its evolution is amaz-
ing. Social media discovered an interrelation between coun-
tries and regions, has made the world a much smaller place.
I think that a lot of new platforms for the delivery of content

A+E Networks strong offer of dramas

Roots was one of our most beloved projects and we are very proud of its global success. We have
historically had great success with drama on the US. We had shows like Vikings, and most recently Bates
Motel that have a big impact on the US and also in a worldwide level. What we did some years ago was
launching our own studio effort, the A+E Studios, run by Paul Buccieri. Over the last years the studio
has taken increasingly ambitious drama projects that have worked really well around the world in terms
of viewership and commercial success, described Cohan.
A+E Networks portfolio is also compounded by Six (10x60 - History) that on its second season
continues to describe the adventures of the Navy Seal Team Six,whose 2010 mission to eliminate a Taliban
leader in Afghanistan goes awry when they uncover a US citizen working with the terrorists.
Knightfall (10x60) is the story of The Knights Templar, one of the most powerful entities in history, guardians of the Holy Grail and the
road to Jerusalem, founders of the modern banking system and inspiration for Arthurian legends and modern-day blockbuster films and
books. This epic drama series chronicles the actual events leading up to and following the persecution, downfall and eventual burning at
the stake of the Knights Templar on a fateful Friday the 13th, 1307.

24 MIPCOM 2017
CONTENIDOS
has made it more common for people to see content from
elsewhere. The acquisition of great production local compa-
nies by the giants of the industry gives the chance to the
audience to be able to watch high quality
content in a way they may not access other-
wise. The creative community is developing
really fast in more than 100 countries. So
even today, we have great innovation of cre-
ative production capability everywhere, from
Asia and Africa to Europe. Part of our re-
sponsibility is to bring amazing content from every corner of
the world to our worldwide audience. We are living a kind of
creative meritocracy, a place where great creativity is a little
bit unshackled. Great creativity is no longer shackled to a
massive language. All the viewers have a world of choice
which is no longer defined by their nation and culture. This
meansthe creation of competition, but also lots of opportu-
nities for a company like ours.
How can you describe the migration of consumption
over the last time?
I dont consider that TV is dying, as it all depends on how TV
is defined. If we think of video content, people are consum-
ing as much or even more video content as theyve never
had. What is happening is a fragmentation of the consump-
tion. Theyre watching some of it in lineal channels, Pay TV
set-top-boxes, VOD or SVOD platforms. The challenge there
is to make sure companies keep their viewership. I dont
think that TV is dying, as even in the traditional Pay TV
context there will always be a place for lineal channels. I also
think that digital has afforded companies like ours with
great opportunities to reach people not only with content but
also with our market brands.
Towards the fragmentation of consumption and the
constantly emerging new platforms, do you consi-
der theres a need of re-thinking the content, so as
to guarantee the audience and its interest?
Thats part of what we are doing. There are different budgets
and audiences for each platform. The industry has to think
different options of a same production for each window.There
are lots of different modes of distribution and when it comes
the time of thinking in a new production, it is needed to take
all this levels into account. So I absolute think that it gives
the imperative opportunity to reimagine how we make con-
tent. We are continuing to see an increasing number of broad-
casters that are breaking the clock, changing the length of
the productions, recognizing that even lineal-TV audiences
are time-shifted.
In which areas of A+E Networks can be
recognized your work?
Ive been in A+E Networks for 13 years and during that
period we have a dramatic expansion of our businesses
outside the US. Our most recent measures showed us that
this is ten times a size as it was initially. One of the places
@ newslinereport
when the touch could be seen is on our executive team that
now is closer to the different audiences, listening them
and next to all the worldwide cultures. Weve been also
living with an experimental and innova-
tive structure that gives us the opportu-
nity to be distinguished all over the terri-
tories. We were one of the first companies
that launched an HD channel and broad-
band services globally years ago.
Which are A+E Networks main projects and goals
for the future months?
On a global level, I think that one of the main goals is to
dramatically transform our presence outside the US, so as to
reach a greater digital position. We want to install our brand
services, rather than just only the channels.
I do also want to make sure that over the next twelve months
we could drive towards a reasonable scale in each market,
having three-to-five channels that become profitable and rel-
evant for the market and its clients and audiences.
Another goal goes in the way of content and its development.
We want to grow substantially on this efforts outside the US,
so we need to find the best partner to work with in local,
regional and global programming events, both for lineal and
also for non-lineal opportunities.
The digital evolution of the Company
It is funny when the in-
dustry debates between
digital and lineal, because
in some way it is all digi-
tal, as its all kind of inte-
grated in one big ecosys-
tem. But talking about our
businesses outside our lin-
eal channels, I think that over the years we have employed digital plat-
forms as a way of extending our brands. What I think is important to
know is that there are two areas that really drive the strategy. Today,
digital is a source of revenue profitability; it is also a source for market-
ing and brand building and it is a great source for both creative and
business model R&D (research & development), explains Cohan.
A+E Networks has been developed its digital business since the
beginning. Today the company has a very well developed and traf-
ficked sites which are getting increasingly mobile-friendly, as well as
its direct-to-consumer apps, only available in the US and Canada.
We also have a digital content group dedicated to the area, as
another one dedicated to our productions for the social media. We do
also spend a lot of time and effort taking our content and working
closing with partners like Amazon, Hulu and Apple. Digital is part
of everything we do. Digital is important in order to drive our busi-
ness in all the areas mentioned before. We have the largest digital
presence is the US, and we hope to expand those results all over the
world, admits the executive.
MIPCOM 2017 25
 CONTENTS

26 MIPCOM 2017
CONTENIDOS @ newslinereport

MIPCOM 2017 27
 CONTENTS
TALPA
We conceptualize the process
of new formats
How have evolved the business
of Talpa Global during the last
months? Which are the most
recent deals youve made?
It has been an exciting first half of
2017. Our recent gameshow 5 Gold
Rings launched with great results in
the Netherlands and UK earlier this
year. The show has already been
commissioned to 5 countries, with
more to follow soon and a second
season confirmed in the UK and the
Netherlands. Its an iconic connected
game show that is now also available
as stand-alone game.
The Big Picture, the unique visual
game show has a great track record
in The Netherlands, Portugal and
Thailand, has recently been success-
fully launched on FOX Turkey.
The touching format The Story of My
Life has already reached 10
territories ranging from Brazil to
Russia. And our fun-filled game
show Cannonball had a flying start
in the UK with fantastic ratings for
its launch on ITV1.
Which is the focus of Talpa
Global on MIPCOM 2017?
At this MIP we are proud to introduce
our House of Game Shows, which
includes The Perfect Question, 5 Gold
Rings, The Big Picture and Divided.
Now, SBS (recently incorporated in the
Netherlands within the group and
operates 4 channels) gives us a
fantastic platform for introducing
new game shows at a fast pace,
airing at a set time slot in the coming
year; Tuesday Night, Game Show
Night. So you can expect us to
introduce many new game shows
during the year ahead. The first
exciting new game show is The Perfect
Question, a quiz which turns the
contestant into the quiz master.
And our dating phenomenon Dating
in the Dark, aired in 25 countries, is
back. But this time with a giant
twist! In Stars Dating in the Dark 1
28 MIPCOM 2017
celeb and 4 singles live on each side
of the house. We take stardom and
looks out of the equation, because
the celebs and singles date in 100%
total darkness. When its time to flip
on the lights, the celebrity needs to
choose: pick one of the singles to
date or walk away forever.
How has the industry changed
with the appearance of
online platforms and multi-
viewing, towards the monetiza-
tion of content?
If you look at it from a distributors
perspective, a global hit show on linear
television is still the most lucrative
option in terms of finance, for now at
least. The business model for distribu-
tors on non-linear is still in an ongoing
development phase. But for sure in
order for them to be competitive in
attracting potential global non-
scripted successes there needs to be
an upside model as well around the
exploitation of all related format
rights. Part of the allure of unscripted
TV content is it costs a fraction of
scripted shows. The global scale of the
online platforms and their ability for
content localization of course offers
great opportunities for them to explore
multiple local versions of a format.
Do you think that theres a
need of re-thinking new
content so as to renew the
industry and its markets?
In todays fragmented market, its
increasingly important for broadcast-
ers to have strong formats that can
Maarten Meijs, Managing Director,
assures that growth of entertainment
content is a result of the lower costs of
production, comparing with scripted.
attract both traditionals and
millennials. To deal with this new
development, we conceptualize the
process of new formats. The challenge
with young viewers is not only to reach
them, but also to activate, interact
and connect with them. Therefore,
Talpa develops a thorough activation
approach. By developing specific
content across multiple platforms
and per channel for relevant stability,
Talpa is able to create strong content
that connects the new masses via
multiple screens. This way viewers are
turned into fans right from the start.
Which are Talpa Globals goals
for the rest of 2017?
As always, Talpas aim is to continue
to strengthen its position as forerun-
ner in connected content. With
revolutionary technology and a true
multiscreen experience for the
connected viewers, 5 Gold Rings is
an outstanding example of our
expertise in offering connected
content ahead of todays trends. With
a highly creative team in place, Talpa
has the ability to introduce new,
strong formats each year, with The
Story of My Life, where celebs witness
the transformation of a lifetime,
Cannonball and The Big Picture as
prime examples. For the remainder of
2017, were looking forward to rolling
these and new formats out to more
territories globally, as well as
continuing on expanding our format
catalogue with global successes like
The Voice Kids and The Voice, for
which we just won our 4th Emmy. This
confirms its global appeal and
extreme success worldwide since its
launch 7 years ago.
CONTENIDOS @ newslinereport

MIPCOM 2017 29
 CONTENTS
TV AZTECA INTERNACIONAL
We create and produce the big
data of the emotions
How important was for the
Company the serve as host of a
semifinal round of the Interna-
tional Emmy Awards 2017?
We have been a very active player in
the International Emmys, we have
travelled a lot in order to discovery
new broadcasters, and we have been
in another Awards, Conferences and
Debates. The goal is to be an active
part of international place again so
that means that also in the institu-
tions and awards, not only as
participants but also as facilitators
of processes. Being the host allows us
to continue watching content from
other territories, to have some
feedback and it is a point of reunion
with creators that work in other media
and are a fundamental part of
successful series that represent
Mexico around the world.
This has been an instruction of our
Director Benjamn Salinas who has a
wider and global view about the
30 MIPCOM 2017
Fidela Navarro, Director,
explains the importance
of being part of the
international place as
the company hosted a
round of the International
Emmy Awards.
business. Rosario Tijeras, Entre
Correr y Vivir and La Fiscal de Hierro
are the titles that have been part of
the International Emmys. Despite all
the networks can participate with its
contents, we have fomented this
relationship with the Academy and the
most important is that we were in
every single action they have done.
The selection of the jury was made by
us, under the requisites of the
Academy; and they are qualifying
series all around the world.
Having this opportunity of sharing
moments like that is fundamental in
order to create good television in every
part of the world. We know that in this
new digital era, audiences will be with
those companies that understand
better the power of the emotions and
its mobilizing dimension. The economy
of the attention emerges on our TV
Industry that has changed its
audiovisual storytelling and has
established a new communicative
paradigm, a unique system with more
distribution platforms. We create and
produce the big data of the emotions.
Which are the main news of the
company for the next months?
We are going for a primetime full of
new challenges and more differenti-
ate than ever. Now we are betting on
Las Malcriadas, a series with a
theme that no one has ever touched.
We are getting ready for next year
with Epic series, with lots of action,
and a classic telenovela with
mystery touches, besides comedy.
2018 is going to be a varied year in
terms of content, which could be
also consumed in other platforms,
not only our channels.
I think that this year has been one of
the best in TV Azteca, our content is
in blim, Netflix, Univision, Telemundo
and soon in Amazon; that is some-
thing that in terms of content, has
never happened before.
How do you face the competition
with digital windows?
We see them as complimentary
platforms, where have faced content
that works in a platform and has
better results that in others. I think
that TV consumption is changing a lot
and a same content can work in a
different way, depending the plat-
form. We have an obligation with
specific audiences as Channels, but
all our series have more differentiate
characters, storytelling that werent
touched before, so in that sense we
are opened to the world with a
different view, and thats what
Benjamn Salinas want, a local
production with an international view.
What is launching TV Azteca
at MIPCOM?
At MIPCOM we are presenting Las
Malcriadas, and a comedy series that
is going to be called Tres Familias.
Weve come with a classical telenovela
under production, and El Csar, a
coproduction with Disney, in which we
handle the distribution of this
product in every territory, excepting
the Americas. We also have some
surprises and testes of what is
coming in 2018. One of the most
important activities in the show is
that we are hosting the Formal Dinner
of MIPCOM 2017. With this market we
want to start the celebration of the
25th anniversary of TV Azteca.
CONTENIDOS @ newslinereport

MIPCOM 2017 31
 CONTENTS
INTER MEDYA
Turkey keeps evolving
How have evolved the business
of Inter Medya during the last
months?
In the last few months, we have been
very active with drama series and fea-
ture films sales and have finalized a
number of deals in the MENA region,
Latin America and Central and Eastern
Europe. In addition to that, one of our
most popular game show formats, Join
Instant, is currently being prepared to
go on air in Pakistan and India. We
strongly believe that this format will be
a huge success in both territories, which
we think will be followed with new sales.
Which is the focus of Inter
Medya on MIPCOM 2017? Which
are the main expectations
towards the market?
Like every year, this year we are plan-
ning to launch several new drama se-
ries as well as a number of fresh for-
mats at MIPCOM. One of the drama
series that we will be launching is Mrs.
Fazilet and Her Daughters. About a
mother and her two daughters who live
a modest life and dream of becoming
rich, this series is produced by Turkeys
Avsar Film. We are planning even more
surprises this year. We believe that this
years market will be busy and fruitful
for our company while we also celebrate
our 25th anniversary.
Our format catalogue is up for some
surprises too. A brand new quiz show,
32 MIPCOM 2017
Money Monster presents the contestant
with the opportunity to win as much
cash as he/she can count in 60 sec-
onds, after each correct answer. Anoth-
er format is 1 vs. 10, produced by BKM
and broadcast on Show TV. In this un-
usual quiz show, one contestant is asked
ten questions but instead of answering
these questions, he/she needs to choose
the one who he/she believes will
answer incorrectly. If the chosen rival
answers correctly, the rivals win. If not,
the contestant wins!
Which is your view on the
industry, and the emerging
new genres?
While television series and feature films
are still constantly being produced and
watched, we believe that OTT and VOD
platforms are going to increase tremen-
dously in the near future, which will be
accompanied by a massive development
of digital productions.
How has change the industry the
appearance of online platforms
and multi-viewing, towards the
monetization of content?
We believe that OTT and VOD platforms,
developing more and more, will become
Can Okan, President &
CEO, explains that after
the success of local
dramas, the company is
looking for a similarity
with its game-shows.
very important
for our business
in the near fu-
ture. As you
know, we were
proud to have
sold 4 of our TV
series to Netflix,
the biggest on-
line platform in
the world, only a
few months ago
and think that this trend will continue
to grow in our favour in the coming years.
Do you think that theres a
need of re-thinking new content
so as to renew the industry and
its markets?
Nowadays, besides dramas, there are a
number of new genres being produced
in Turkey, such as dramedies, criminal
dramas and actions. Due to the high
production quality of Turkish content, we
are confident that these new genres will
be as successful as our dramas in the
international market. Indeed, Hayat, one
of our recent dramedies, has attracted a
lot of interest from various territories in
the last few months and we hope to con-
clude some new deals soon.
Which are Inter Medyas goals
for the rest of 2017?
For the rest of 2017, our focus will not only
be dedicated to the distribution of our
titles in territories where Turkish content
has already proved to be successful but
to the expansion of our operational area
to new regions. With newly diversified ti-
tles, our goal for 2017 is to increase our
market share in the Russian Federation
and enter into Western Europe.
CONTENIDOS @ newslinereport

MIPCOM 2017 33
 CONTENTS
KANAL D INTERNATIONAL
Expands its Sales Team
Kerim Emrah Turna
2017 is the year of the revolution for Ka-
nal D. During this year, the company was
launched its distribution arm as a sepa-
rate brand called Kanal D International.
As time goes by, the Turkish giant recruit-
ed several executives who are handling
the international sales of Kanal D and its
producer companies portfolio.
Alaa Elabassy manages the prolifera-
tion of content in the MENA region. Our
most successful titles in the MENA re-
gion are Forbidden Love, Time Goes
By, Fatmagul, Gumus, and Leaf and drama. But thats not the issue, I
Cast. Although most of them are clas-
sic titles. Turkey was introduced to the
Middle East for the very first time
through those titles, thats why they
remain very popular to this day; every-
one would still re-watch Forbidden Love
no matter how many times it has been
aired explained the executive.
Regarding the topics that audiences on
that region prefer, Elabassy suggest-
ed: Female oriented viewers same as
most I suppose; Therefore mostly pas-
sionate romantic love stories. They en-
joy the drama I would say, there has to
be a struggle within the characters or
the idea of an impossible love. They also
enjoy the family relationships in the
story, as in you get to watch what hap-
pens to the rest of the family as well as
the main characters.
Directing this Business Development &
International Content Sales for MENA
region, Europe and Asia is Ezgi Ural who
34 MIPCOM 2017
Alaa Elabasy
After creating the distribu-
tion arm brand, now the Turk-
ish company is launching its
coproduction specific area.
told something unknown for most of the
industry that is the availability of Kore-
an formats in Kanal D. The stories are
basic even if the cutlers are different.
People relate to the same stories, love countries, languages, cultures and val-
ues. We shouldnt consider Africa as a
believe that as long as the story is good
people will like it. Kanal D is very good
when it comes to this. Having a strong
title is what matters, said Ural.
Related to the operations evolution in
Europe, Ezgi Ural admitted: We have
sold a lot of our content to Europe be-
fore but we recently started working in
Western Europe with title for Italy and
Spain for instance. This has been our
goal for a while now. Turkish drama be-
came very popular the last couple of
years, and because Kanal D has the big-
gest library, and makes high quality dra-
mas, Kanal D is known worldwide. The
bottom line is I believe once the title it
good, this is enough to maintain the
image of the company around the world.
Going down on the Globe, Selim Trk-
men is the Sales Executive for Africa
where the strategy is to increase our
presence in the region by creating long
lasting partnerships with major broad-
Selim Turkmen
casters. We are now working with TV
stations in South Africa, Kenya, Ghana,
Ethiopia, Angola, Mozambique and Ni-
geria. We hope that our content will be
well accepted in the region and will cre-
ate a trend like it has in other regions
like LATAM.
Considering the wide variety of cultures
and languages in the same territory,
Trkem differentiates the continent
from the others: There are so many
united territory sharing the same au-
dio-visual taste. Drama is generally
accepted by all audiences, since it
spreads universal emotions and people
usually relate to the stories. News is
important as well, but I think that sports
is the main interest amongst the view-
ers, football in particular.
Back to the Americas, Mikaela Perez is
the sales executive for Latin America.
The recently designated executive ex-
plained her ideas for the territory: Lat-
in America is a very strong and compet-
itive market and KANAL D has built very
strong tights in the region, we will con-
tinue building our long lasting relations
and provide the best quality products.
For Perez, the key feature of Turkish Dra-
mas is that aside from having amaz-
ing sceneries and high-quality produc-
tion, most of the stories take the audi-
ence to new cultural experiences, stories
that furtherance the classic romantic
CONTENIDOS
Alaa Elabasy
concepts inherent in this television genre.
In his role of Director, Business Devel-
opment & International Content Sales,
Africa & America, Emrah Turna, coor-
dinates Perez and Trkmen jobs. After
10 years in Kanal D, Turna is one of the
factors of the company expansion. The
big impact of content in Latin America
emerge when Turna was handling the
distribution for the territory, and now
HITN
Continues betting on original content
How have evolved the opera-
tions of HITN?
HITN is focused on the audience
education, thats why we provide
content for the whole family. In
this moment, we are developing
new content. C-NET in a new
original production about science
and technology with its focus on
Selim Turkmen
he explained the co-production allianc-
es we have been developing over the
last monts. Argentina, Mexico and an-
other cooperation in Chile is in line. We
have great partners from Latin Ameri-
ca and we think that we share lots of
things in our DNAs. US Hispanic mar-
ket is of course very important for us
and we are closely following up the
changes in US Hispanic market.
Erika Vogt-Lowell, Director
Programming and Acquisi-
tions, presents a new pro-
duction called C-NET and
describes the multiplatform
evolution of the Company.
the evolution of that industry and
different gadgets emerging
constantly.
C-NET is our second big original
production that follows the launch
of En Foco with Neida Sandoval.
The production will be on soon on
air so we are fully betting on the
future result so as to present it
internationally.
Which are HITN goals towards
next year?
Obviously we want to keep growing
both with content we already have and
new productions that might be
acquired or in-house productions.
@ newslinereport
Specific area for co-productions investments
Kanal D International frames a new division
for international Co-Productions and Content In-
vestments. This new division will be focusing on
developing creative business models in co-pro-
ductions and content investments; including script-
ed, film, non- scripted, docu-dramas and mini-se-
ries targeted to not only for Turkey but also for the
global market.
To strengthen this business arm, Nilufer Kuyel,
joined Kanal D International as Director of Co-
productions and Foreign Investments. Kanal D In-
ternational, being the only player in the Turkish
market with a dedicated co-production division, is
currently bringing new business models to co-de-
velop for scripted, non-scripted and creating brand
new content for global market with top industry
professionals from all over the world. Kuyel will be
heading the co-production division and she will be
directly reporting to Ozge Bulut Marasli, CEO,
Kanal D & Production Companies.
How can you describe the
process of multiplatform growth
of the Company?
We are in the final steps for launch-
ing our OTT service, destined to
content that make us popular. For this
service we are receiving content from
different dealers of the market, but
always unified under the same family
theme where we put our efforts. Kids
content will also starting to grow on
our platform as it is the current trend
of the industry.
How is HITN programming
composed?
We have several spaces with
different themes on our program-
ming. We have a children program-
ming that helps them to understand
the world that surrounds them and
the idea of conservation of nature.
We also have a slate of Health and
Wellness and one of Historical
Nature, besides the Technology one,
where we have the last two big
productions mentioned before.
MIPCOM 2017 35
 CONTENTS

36 MIPCOM 2017
CONTENIDOS @ newslinereport

MIPCOM 2017 37
 CONTENTS
TELEFILMS
Arrives with the success of Valerian
After several markets announcing the
launch of Valerian , Telefilms can
now add the global success of the ti-
tle, to the description. Valerian is
the main title of Telefilms portfolio
for this MIPCOM. Directed by Luc
Besson and stared by Cara Delev-
ingne and Dane DeHaan, this story
shows a dark force threatens Alpha,
a vast metropolis and home to spe-
cies from a thousand planets. Spe-
cial operatives Valerian and Laure-
line must race to identify the maraud-
ing menace and safeguard not just
Alpha, but the future of the universe.
Me gusta pero me asusta (I like it but
it scares me) is a production of Tele-
films Group and Wetzer Films, deals
with the life of a young man named
Brayan Rodrguez, who has an obliga-
tion to expand his familys business in
Mexico City. It stars Minnie West and
Alejandro Speitzer and is directed by
Beto Gmez.
Back to the Hollywood titles, A bad
moms Christmas is another impor-
tant bet of Telefilms for this MIPCOM.
Mila Kunis, Kristen Bell and Kathryn
Hahn continue to be the under-ap-
preciated and over-burdened women
as they rebel against the challenges
and expectations of the Super Bowl
for moms: Christmas. And if creating
a more perfect holiday for their fam-
ilies wasnt hard enough, they have
38 MIPCOM 2017
to do all of that while hosting and
entertaining their own mothers. By the
end of the journey, our moms will re-
define how to make the holidays spe-
cial for all and discover a closer rela-
tionship with their mothers.
Suburbicon is the new movie direct-
ed by George Clooney and stared by
Matt Damon, Oscar Isaac and
Julianne Moore. A crime mystery set
in the quiet family town of Suburbi-
con during the 1950s, where the best
and worst of humanity is hilariously
reflected through the deeds of seem-
ingly ordinary people. When a home
invasion turns deadly, a picture-per-
fect family turns to blackmail, revenge
and betrayal.
Mark Wahlberg and Kevin Spacey are
the main attractions of All the mon-
ey in the World where Ridley Scott
tells the story after John Paul Getty III
is kidnapped, his mother Gail Harris
makes a desperate attempt to get the
boys grandfather to pay the ransom.
While that grandfather, oilman John
Luc Bessons movie is the
main attraction of the
portfolio, but original titles
are gaining its space there.
Paul Getty Sr, is reputed to be the
richest man in the world, he initially
refuses to pay.
Last, but not least, The Nut Job
brand returns with the second movie
of the Surly Squirrel (Will Arnett) and
his gang. Directed by Cal Brunker,
animals are once again in Oakton
where the evil mayor has decided to
bulldoze Liberty Park and build a dan-
gerous amusement park in its place.
Surly and his ragtag group of animal
friends band together to save their
home, defeat the mayor, and take
back the park.
Continues investing in
original productions
The Argentinean distributor announced
several markets ago a higher step on
its evolution. After the creation of The
Magic Eye, a producer company of the
Group, Telefilms started investing in
production for TV. With that in mind,
the company has developed the minis-
eries Sandro, a biopic of one of the
most known singers in Argentina and
Latin America. A year ago we were an-
nouncing the beginning of the produc-
tion, a story that we are sure that will
captivate every single viewer since the
first scene. Now we can announces its
broadcasting in Caracol (Colombia),
Telefe (Argentina) and Canal 13
(Chile), said Juan Parodi, Director of
The Magic Eye and partner of Telefilms.
The more the business changes, the
less we do, because we feel the com-
mitment of having a better product.
Each time we try to show more com-
mitment and more commercial and
prestigious titles. The idea is to keep
working on TV projects, always with
great director by our side, explained
Toms Darcyl, President, Telefilms.
CONTENIDOS @ newslinereport

MIPCOM 2017 39
 CONTENTS
SONY PICTURES TELEVISION
The human being is attracted
by good stories
Alex Marin, EVP International Distribution
How have Sony Picture Televi-
sion titles worked this year?
For us, this year evolution is related to
the privileging position that came from
the Theatrical Business. Our movies and
series for the American networks had
such a high quality that theyve made
some noise during the last months. We
can assure that this year has been very
positive for our business thanks to the
quality of our distribution slate.
The American series became very im-
portant, even though we havent fin-
ished to confirm the different agree-
ments. Good Doctor and S.W.A.T have
attracted several clients, and Philip K.
Dicks Electric Dreams was also pretty
much demanded.
Spider-Man Homecoming is our big-
gest title this year all over the world,
but Baby Driver, The Emoji Movie and
The Smurfs, were also very important
for our business.
Jumanjis re-launching is one of our big-
gest expectations, regarding the impor-
tance of the brand and its franchise.
Which are the main attractions of
your Latin American portfolio?
At MIPCOM we can confirm and finish
several deals on which weve been work-
40 MIPCOM 2017
ing all over the summer with our cli-
ents. We have some titles that will be
announced during the market, on the
distribution side of our business. Also,
we are offering La Bandida, and as it
is on its production process, we are just
beginning with the sales strategy of the
TV Series made in Mexico. Regarding
the productions in Spanish, we are pro-
ducing scripted and non-scripted con-
tent. Our well-known title Shark Tank
is about to begin its second season in
Brazil. This is such a strategic title that
will travel all around the world with its
different local versions. We have in Mex-
ico Enamorndonos (Falling in Love)
that is actually the most viewed show in
Azteca 13. Also theres still available Who
wants to be a millionaire? that will have
a new season in Globo, in Brazil.
On the scripted slate theres a lot of
work. Falsos Falcificados is already
done, and we are trying to distribute it.
As SPT operates in Latin
America and also in the USH
market, is it possible to differen-
tiate each audience?
It is impossible to differentiate the au-
diences, and what we have realized
thanks to our shows is that what people
look for, is a great story. It doesnt mat-
ter if it is related to a specific audi-
ence, because if it is a great story, it
will work everywhere. We look for a story
that appeals everyone, not only one kind
of citizenship. The human being is at-
tracted by good stories.
Which kind of modifications does
new media bring to the industry?
New media appears because the con-
sumer wanted to watch in another way.
I dont think that the media dictates
the way of consuming to the people. The
on-demand concept, and watch con-
tent whenever they want, has existed
from so many years ago, when the Pay-
per-View was a trend. Now, with the ar-
rival of technology and the penetration
of Internet, the digital media becomes
more and more attractive for the con-
sumer. What it change is the produc-
tion of content that has the possibility
of binge-watching, as people is waiting
for the full availability of
episodes in-a-row. Thats
why we are exploring the
chance to produce shorter
series, but the challenge is
that when you reduce the
length, the production is
more expensive for episode,
and theres when we need
to find a balance on this.
The monetization of content
becomes harder too. Be-
cause art has a cost, this
projects have to be well sell
and distribute in a way that
allows us to monetize it after all. But
sometimes it becomes harder.
How can you describe the
changes in regional productions
that imitate the global trend of
multi-season titles?
The arrival of Spanish franchises is an
important thing because the market
was not used to it. Now we can talk
about titles like El Seor de los Cielos
and Rosario Tijeras with its several
seasons, and this is growing because
stories are so good, that we need the
possibility of continuing with the de-
velopment. The relationship between
brands comes from the Theatrical busi-
ness that had produced franchises, like
it happened to us with Spider-Man and
Men in Black. There used to be a re-
make of telenovelas or TV Series, not a
continuation with seasons.
CONTENIDOS
CANADA MEDIA FUND
Canadian companies are at the
forefront of digital media innovation
Valerie Creighton, Presi-
dent & CEO of the organi-
zation highlights the evolu-
tion of audiences and the
need of something differ-
ent in the industry.
Which were the last funding
projects you have deal with?
Over the last several months, the Can-
ada Media Fund has pursued its objec-
tive of supporting Canadas screen-
based industries through predictable
and stable funding policies, but also
through its ongoing promotional efforts
at international markets such as MIP-
COM. The CMF recently renewed copro-
duction and co-development agree-
ments with funding agencies in seven
jurisdictions around the world, all
thanks to relationships established at
international markets.
Dedicated coproduction incentives have
been developed or renewed with Proim-
genes (Colombia), the Danish Film In-
stitute, Medienboard Berlin-Branden-
burg (Germany), Broadcast Authority of
Ireland, The Jerusalem Film Fund (Isra-
el), NZ On Air (New Zealand), and Wal-
limage (Belgium).
Do you see a profitable future for
Virtual Reality and Augmented
Reality productions?
Even if the technology is still quite na-
scent, augmented and virtual reality
are catching on quickly. Consumers are
increasingly hungry for content on a
growing number or platforms and de-
vices, including VR. In the innovation
adoption scale, VR users are increas-
ingly moving out from the innovator
to the early adopters stage. Technolo-
gy has provided innovative options for
sharing stories with audiences from all
parts of the world. In this context, the
Canada Media Fund has made a stra-
tegic decision to invest in an ever-grow-
ing number of VR projects as an impor-
tant part of the funding it provides to
Canadian digital media.
Canadian companies are at the fore-
front of digital media innovation. By
way of example, Montreal is fast be-
coming a global center of excellence in
VR, rivalling much larger production
hubs around the world. Thanks to the
reputation of Canadian digital media
content, the expertise acquired by pro-
ducers, and a funding ecosystem that
supports innovation and creative story-
telling, Canada is well positioned to lead
in the promising VR market and to re-
spond to consumer trends.
Which is CMF strategy for the
next months?
Like all funding organizations around
the world, the Canada Media Fund is
operating in a rapidly-changing media
landscape. Our strategy for the rest of
year and well into next year reflects the
global reality in which we operate: fast-
disappearing borders with new and ex-
citing platforms disrupting long-held
practices. At the CMF, we feel enthusi-
astic by these changes. The opportunity
for the CMF will be in finding the right
balance between adapting to the chang-
@ newslinereport
ing environment, while remaining a
source of stable and predictable fund-
ing for the industry. We are confident
that our increasingly content-centric,
platform-agnostic approach will ensure
that Canadian and global audiences
will continue to access Canadian con-
tent on the screen of their choice. How-
ever, in an age of so much abundance
of content, promotional efforts are key
in helping drive our strategy in 2017.
This will ensure that the content we sup-
port will continue to be discovered, con-
sumed and enjoyed by audiences around
the world. Other key elements of our
2017 strategy include the implementa-
tion of initiatives to improve gender bal-
ance in Canadas audiovisual industry,
as well as the creation of an Indigenous-
led screen office, the goal of which will be
to support Canadian Indigenous content
creators through a more comprehensive
approach, in addition to the funding we
already provide through our Aboriginal
Program. These are fundamental issues
that reflect Canadas diversity and that
must be reflected in our industry.
Gaining international presence
At MIPJunior, the Canada Media Fund, in associ-
ation with Telefilm Canada, will feature a curat-
ed selection of engaging Canadian short. Partici-
pants at the Canada Big on Shorts session will
discover Anaanas Tent, a Nunavut production; The
Art Show, a show that helps children meet their
artistic realization; Beat Bugs, a Canada-Australia
coproduction featuring episodes that use the nar-
rative inherent in a Beatles song; and Crack, a 3-
D animated series already sold in 175 territories.
At MIPCOM, Canada will feature indigenous sto-
ries that speak to audiences around the world. A
showcase of Aboriginal projects from Canada and
Australia will convey successes and insights about
reaching more audiences, new audiences, with In-
digenous dramatic content. Mohawk Girls will lead
the showcase, as it is a comedy on the everyday
lives of a group of indigenous women.
MIPCOM 2017 41
 CONTENTS
RTVE
Presents CLAN to the World
How have evolved the recent
launch of new channels?
We are really satisfied with the way of
our business over the last months.
Regarding TV channels distribution,
we have completed the packaged of
channels with CLAN, the Kids signal
of RTVE. This portfolio reflects the
variety of productions of the Group
and shows a complete high quality
offer for the whole family. Regarding
shows distribution, our evolution is
also very positive, and we are on an
increase of our international
sales. The quality of our
productions, its appeal and
its capability of connection
with a global audience help
us in that work of spread.
Some of our well-known series have
been sold all around the world. We
have closed relevant deals with the
biggest international video platforms
that will be available for our interna-
tional audiences soon.
Which is your view of the market
and new emerging genres?
We are in an interesting moment
where it is vital for the success, the
quality of content, the visibility,
presentation and availability of it, as
the immediate knowledge to the
response and the behavior of the
audience. Besides trends, the
42 MIPCOM 2017
audience of fiction is becoming more
educated each time in terms of
audiovisual, and are always
looking for new content, ready
to be consumed in every
device. The consumer looks
for good stories that
surprise him and thrilled. And
our mission, as a producer, is to work
every day so as to offer what they are
demanding.
How has the industry changed
with the growth of online
platforms and multi-viewing?
New platforms have played and
actually play a very significant role in
the changes of habits of consumption,
especially in Cinema and TV Fiction. It
has known how to respond to an
existing demand and offer a good
service that is likeable for the
consumer. They are playing an
important role also in the monetiza-
Mara Jess Prez, Head
of Channel Sales & Distri-
bution, describes the new
channel of the Group,
dedicated to Kids.
tion of content that returns to the
producers. The differentiation that
requires its offer and the need of
feeding it with high quality products
benefits independent producers and
aims to look at the future with
optimism and to keep working so as to
be better.
Do you consider theres a need of
re-think the content?
Undoubtedly, this is an industry of
creators and consumers that moves
very fast and it is constantly evolving.
There are two possibilities: on you are
up-to-date and win or youre out and
die.
Which are the goals of RTVE for
the rest of 2017?
We will consolidate our position, and
will be looking for a strengthening on
our relationships and alliances with
our clients and distributors, so as to
reinforce the communication of our
news and products and keep growing.
CONTENIDOS @ newslinereport

MIPCOM 2017 43
 CONTENTS
MISTCO
We are ready to provide everything
the global buyers need
How have evolved the business
of MistCo during the last mon-
ths? Which are the most recent
deals youve made?
First part of 2017 was very fruitful for
us. In addition to major deals such as
new deals in MENA region for our top
titles, we were able to close several
deals for our library titles as well.
Were very pleased to see that each
title from TRTs library has still
value in all around the world and it
is a proof of TRTs important role in
Turkish Media as being one of the
biggest TV networks in Turkey.
You name it is a title weve
highlighted in every market as a
successful production in its genre.
Now, we have finalized several deals
for this title and were confident
that new ones will follow in rest of
2017 and 2018.
Of course, we cannot count all deals
now but it is worth to mention that
our driven content Resurrection:
Ertugrul has entered into new
markets in 2017 and we have closed
several deals for Season 4 even the
shootings havent begun yet.
Apart from dramas, we are very glad
to expand penetration of our kids
contents widely. With our high quality
animations Pepee and Little Lamb, we
managed to enter into the Chinese
44 MIPCOM 2017
Aysegul Tuzun, VP; Sales & Marketing,
market, which is a very domestic one.
We have also included a new format
in our catalogue. It is called Your
Turn and it is a song contest format.
What makes this format different
and entertaining is that, it has 3
types of jurors: 3 celebrities, 20
orchestra members and 5 people
among the audiences.
Which is your view on the
industry, and the emerging
new genres?
There will be new genres emerging
every year since the production in
Turkey never stops. Turkish drama
actually stands for highly-produced
drama with a great cast and strong
story. What we observe in the market
is that there is a demand for all
genres of Turkish series and it varies
according to territories.
Weve concluded several deals for our
library titles especially in family
drama genres. This actually proved
the importance of TRT in Turkish
media by showing that each title in
TRT library is very valuable and
receives interest worldwide.
How has change the industry the
appearance of online platforms
and multi-viewing, towards the
monetization of content?
Netflixs entrance into the Turkish
market last year is a significant
progress for the industry not only in
terms of bringing together Turkish
dramas and global audience but also
in terms of increasing the penetration
of content on online platforms.
However, in my opinion, although there
is an increase of online platforms
worldwide, it is very hard to dethrone
television. The reason is that, many
more people have access to regular TV
and also many more people are
accustomed to watching TV. In near
future, there is a possibility that
online subscribers can become as
many as TV audiences but it seems we
still have time for that.
After the boom of Latin
American and Turkish content,
which is the next key-territory
for the industry?
Actually, it is not easy to locate a
specific territory for all the Turkish
dramas. In previous years, MENA was
the driven territory but now we receive
the same amount of interest from
Latin America. We cannot locate a
new specific key-territory now but we
have no doubt that Turkish dramas
will continue to be the world audi-
ences number 1 content source for
many years with their successful
stories and high production qualities.
Which are MistCos goals for
the rest of 2017?
As MistCo, in 2017 we will continue
representing the most diverse Turkish
catalogue and attending all the TV
markets worldwide. Clients searching
for best Turkish drama, animation,
documentaries and TV Movies are
more than welcome at TRT stand P-1
N51 to learn details about our titles.
At MistCo, we are ready to provide
everything the global buyers need.
CONTENIDOS @ newslinereport

MIPCOM 2017 45
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46 MIPCOM 2017
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MIPCOM 2017 47
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CARACOL INTERNACIONAL
Our productions are much
more competitive worldwide
Which is the
focus of
Caracol
Internacional
at MIPCOM?
Caracol Interna-
cional arrives at
MIPCOM with a
diversify offer full of surprises. The main
focus is to represent out new bets we are
bringing for our clients and the success-
ful results of our productions. We hope
that our worldwide clients get to know
this new offer of productions and the
variety of content that we provide of its
programming success and to keep be-
ing their partners for a long time. Telen-
ovelas like Tarde lo conoc, La Noctur- portfolio. Thanks to this, we have gener-
na , La Dinasta, cuando canta el ated businesses based on the support
corazn, super-series like El Bronx and Caracols brand gives to its allies, com-
Sobreviviendo a Escobar, Alias JJ, and
Entertainment shows like A Otro Nivel
and Desafo are the productions we are a few, that have trusted on our products
bringing for our clients for this MIPCOM.
SABBATICAL ENTERTAINMENT
Brings short content
How are you developing
the strategy of Sabbatical
Entertainment?
I decided to create a space for creativity,
so as to develop that capability. Sab-
batical Entertainment is that opportu-
nity of business infinitively creative, in
order to produce tailored shows, with an
extraordinary bank of images.
Even though we born last December, we
have grown a lot and quickly, and that
amazes everyone, including us.
48 MIPCOM 2017
Lisette Osorio, VP International Sales, highlights the alli-
ances with main digital players.
How have evolved the businesses How can you describe the market
of Caracol Internacional? and new genres?
Theres a great time for Caracol opera- The market has been changing over the last
tions, thanks to the successful produc- years with its focus on a tougher audience,
tions that we bring to each market. The and thats why Caracol Internacional devel-
good results of this productions in local ops its innovative content with universal sto-
and international audiences have been ries that captive the audience. Telling local
positioning Caracol as one of the main stories in a global way we have managed to
players of the Latin American market and adapt ourselves to the dynamism of the mar-
a model for the world. The support gained ket creating a mix of elements that made our
is a result of the quality of content on productions much more competitive worldwide.
series, telenovelas and entertainment
formats that are available in Caracols Which are your goals for the next
months?
Caracol Internacional keeps its way so as
to be the main content creator of the region
panies like Netflix, Propagate, Nuevo and to open the highest amount of doors
Mundo and Eccholine, so as to mention around the world. We look for innovative sto-
ries that excites us and then captivate our
and have found meaningful results. worldwide audiences.
We have a big net of contacts and pos- Miguel Somoza, CEO, ana-
sible clients that differentiates from
any other new company. lyzes the new short form pro-
How can you describe your
ductions and the recent alli-
partnership with Univision for ances with Univision.
the US Hispanic market?
Over the last months we have strength (30x2) celebrates footballers wives;
our relationship with the network, re- and Postcards (30x2) describes the
lated with children content. The first main attractions of Russia; while Un-
production was Kids Planet (52x25), forgettable rememorize the most icon-
an informative production of edutain- ic events of the competition.
ment and informative. After this an-
nouncement we did also sell The world Which are the features that
is yours, another content for children distinguishes Sabbatical
and focused its narrative in the envi- Entertainment in the market?
ronment and how they interact with it. I do really believe on the efficiency of our
Regarding our other original produc- content and the business model. We have
tions, we are looking to the next Foot- a great flexibility to create and adapt con-
ball World Cup in Russia, and we have tent tailored for each client. We can resolve
developed three short series related any need in programming, distribution and
with the sports area. Better Half promotion, for every kind of client.
CONTENIDOS @ newslinereport

MIPCOM 2017 49
 CONTENTS
MANUEL MIGUEZ, EXECUTIVE DIRECTOR LATAM & USH, FNG CONTENT DISTRIBUTION
People is looking for great content,
no matter where it comes from
How has evolved the presence of
FNGCD titles in the region?
In general terms, the business contin-
ues to grow. We have constantly expand
our team, with several offices world-
wide. FNGCD turns into a new compa-
ny, with a new timeline that reflects
our great businesses, now that we are
handling the whole content of FOX and
National Geographic, FOX Life and
Baby TV. Our format business is also
another area that is really starting to
develop with a number of genres like
drama, and other titles that present
several opportunities.
In LATAM for example, one of the most
requested titles is School for Hus-
bands, and Lucky Ladies, that
keep going very well in the re-
gion. This year we launch in Ar-
gentina, School for Mothers-in-
Law a spin-off of School for
Husbands. Our brand gives the
guarantee of good-quality, and
allows our clients to show the
titles in more than 40 languag-
es. This is something that cli-
ents appreciate, as they save
money with our shows and peo-
ple knows them.
How important is MIPCOM
for FNGCD?
MIPCOM is always a great mar-
ket for us, and one of the most
50 MIPCOM 2017
important for all the Industry. This year
we are having a big amount of launch-
es and events than even before. We are
extremely proud of the richness of our
portfolio, with award-winning content.
This year, Courteney Monroe, the CEO
of National Geographic Global Net-
works, is having her keynote at the
Grand Auditorium. We are also launch-
ing our biggest Turkish title up to now,
that is City of Secrets, a major new
drama about a complex, troubled yet
charismatic man who flies under the
radar and uses covert methods to dish
out his own unique style of justice. We
are also offering in the market Broken
Pieces, from Martin Scorsese, and The
State which is a powerful and hard-
hitting new drama from the award-win-
ning writer/director Peter Kosminsky.
A compelling and topical fictional sto-
ry, based on extensive research, it fol-
lows the experiences of four young Brit-
ish men and women who leave their lives
behind to join ISIS in Syria. We are fo-
cused on the international launching of
our original titles made in LATAM, like
Run Coyote Run, made in Mexico, and
One against all, produced in Brazil.
Call me Bruna is another Brazilian
production that worked really great all
over LATAM.
Do you consider that Latin
American and Turkish content
will predominate in the Industry?
I think that Latin American and Turkish
content have a long way to go. In FNGCD
we have separated catalogues for both
contents. The idea is to promote the rich
content we have in those territories. But
theres also great content in Asia, wait-
ing for the world to
consume it, and The company is bringing
this also happens in
Central Europe. to the worldwide market
Well start to see
new content emerg-
new formats and original
ing from outside regional productions.
the region. Over the
past ten years, producers from UK have
been producing very rich content, with
very good dramas growing all around
the world. But in the end, people is look-
ing for great content, no matter where
it comes from.
How have new platforms
influenced in the deployment
of the industry?
We are operating in an amazing atmo-
sphere. The new SVOD players entering
in the market gives us new potential cus-
tomers for our content, providing new
multi-viewing opportunities to show the
world what we are doing and to
exhibit the quality of our produc-
tion teams. We have started to
create relationships that we need
to feed with new content, so as to
attract more clients in order to
create new long term bonds.
I think that in terms of rethink-
ing content, obviously with the
growing competence and the
constant changes of the indus-
try, content creators have to be
very creative. But at the end, I
think that is it not a change in
the content, but start knowing
the audiences and understand
what do they like, so as to give
them what they are looking for.
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MIPCOM 2017 51
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52 MIPCOM 2017
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MIPCOM 2017 53
 CONTENTS

UNIVERSAL CINERGIA DUBBING

Opened its new facilities in Miami

Liliam Hernandez, CEO & Founder, explains the evolution of its services.

How many areas are working in

the new Studios?
This new facilities we launched a few
months ago is destined to the logistic
operations of our Studios in Mexico, for
all the Spanish content. From this cen- Which are the main we do already have for the Neutral Span-
ter we work on the downloading, up- partners Universal Cinergia ish and now they are adding the En-
loading, and quality control and we do is working with? glish and Portuguese.
also have the project managers based We have clients like NBC Universal and One of our main clients that has been in
there. Besides that, we have estab- FOX. The first one is also adding con- constant evolution and now gained a big
lished our administrative offices too, tent for France and over the last months recognition in Latin America is Zee Mun-
where we control every activity of our we are negotiating for the whole French do. Last year, we worked in more than
worldwide based Studios. territory. On the other side, FOX has also 300 hours and now we are expecting to
increased the Turkish telenovelas, that work again with them in the next months.
Which areas are still installed in
the other studios?
On the other house we actually have
eight studios, and we are looking for
two more ones so we can launch them
in the future months. We have grown a
lot thanks to the volume of work
brought by our clients, and that obli-
gated us to expand the facilities, and
find the way of reinstalled the offices,
in a way that everything gets more or-
ganically set and facilitates the amount
of time. We have triplicated the work
done over the last year where we reach
an amount of work of 15 simultaneous-
ly projects just only in Spanish.

54 MIPCOM 2017
CONTENIDOS @ newslinereport

MIPCOM 2017 55
 CONTENTS
OLYMPUSAT
We are content distribution
in every level
Which is the main distinction of
Olympusat channels offer?
There is a change in quality because
people demands better qualities. As TV
Industry evolved from SD to HD and 4K,
people became more demanding in
terms of quality. Everything is linked to
the status of content that audiences
consume in TV. One of the main goals of
Olympusat is to fulfill that content. The
Hispanics in the USA have access to
the same technological consumption
that American audiences, and thats why
they result to be more demanding in
quality than any other territories. The
same quality gives us the chance to cre-
ate the Ultra channels. The twelve sig-
nals that compose the offer was creat-
ed five years ago and they came to sup-
ply the needs of that audience and to
be like the quality of the latest original
productions.
How has emerged the original
content of your offer?
Nowadays we are working on several
movies in Spanish for our TV channels
and VEMOX, the OTT solution of TV Ev-
erywhere of Olympusat. On the other
56 MIPCOM 2017
hand, we are working on the creation of
licensing of content for our platform
developed so as to five Christian enter-
tainment of first quality. We hope to
increase significantly our spiritual pro-
gramming for 2019.
How is it compound your Chan-
nels offer?
Olympusat has and operates HD chan-
nels that under the name Ultra includes
Ultra Mex, a channel of Mexican mov-
ies, contemporaneous and independent;
Ultra Film, an HD channel dedicated to
modern global tapes translated to Span-
ish; Ultra Cine, with original titles and
awarded productions from Mexico,
Spain and Latin America; and Ultra
Clsico, a channel of Mexican and Lat-
in American content from the Golden
Age, that has been completely restored
digitally in HD. Another channels in-
cluded in the package are: Ultra Ma-
cho, Ultra Docu, Ultra Kidz, Ultra Tain-
ment, Ultra Luna, Ultra Familia, Ultra
Cine and Ultra Banda.
In which way has Olympusat
developed its digital strategy?
VEMOX is an OTT Platform that through
broadband architectures developed for
operators in Latin America and USA.
The app has more than 100 HD live-
Jess Piango, Director of
TV Content Strategy, de-
scribes the offer of the
company and the evolution
over the last 20 years.
channels and VOD content, creating an
attractive service, customizable and
ready to use. This is a kind of content
library where each user can make its
own programming a-la-carte, but it
also has lineal TV channels.
How has evolved the Company
over its 20 years?
We try to listen what the audience
wants, what they give us. This allows us
to create content and channels in order
to satisfy the quality demands. We have
to maintain and take care of quality,
among creating high quality content.
Now we are going to a vision of Virtual
Reality where is going to be another con-
text inside the content. Olympusat is con-
tent distribution in every level, and with
the goal of have that content created with
the highest quality level, and with the joy
of people, so they could have an enter-
taining moment everywhere, watching
content distributed by Olympusat.
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MIPCOM 2017 57
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58 MIPCOM 2017
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MIPCOM 2017 59
 CONTENTS
GAUMONT
The disruption of the marketplace
is going to continue
How has the business of Gau-
mont evolved during recent
months? Which are the most
recent deals youve made?
Following the enormous success of
Narcos and F is for Family for
Netflix, and Hannibal for NBC, we
have been working on many program
developments in both our U.S. and
Paris offices between the two we
have 40 drama series projects in
development. These include Steven
Kings novella N, with David F.
Sandberg attached to direct the
pilot, and Andrew Barrer and Gabe
Ferrari serving as writers; and the
sci-fi thriller, Red Rush, based on a
concept from Academy Award winner
Charles Randolph and directed by
Rupert Wyatt. We also have a deep
library of content that we can
develop, the first of these projects
is STL (working title) with the
direction of Christopher McQuarrie.
Its based on Gaumonts multiple
Csar Award-nominated feature
film, 36 Quai des Orfvres.
Which is the focus of Gaumont
on MIPCOM 2017? Which are
the main expectations towards
the market?
In scripted TV dramas, The Art of
Crime (6 x 1 hour) is scheduled to
debut on France 2 this season, and
pairs a hot-headed detective with an
art historian from the Louvre, whose
relationship grows like fire and ice
as they delve into the mysteries that
capture French culture and history.
Gaumont is also presenting Verizons
go90 series, Relationship Status (36
x 10' or 13 x 22'), available for the
first time internationally. The
company will also be presenting its
first holiday TV Event, and antici-
pates strong demand for 48 Christ-
mas Wishes, a heartfelt story about
two elves from the North Pole who
must find lost letters to Santa.
60 MIPCOM 2017
es the production of new ti-
In the childrens and family space, the
live action drama series Hetty Feather
(30 x 22), from CBBC, is based on
the best-selling book by Jacqueline
Wilson. And in animation, Furiki
Wheels (52 x 11) is a slapstick
comedy about a hyperactive sloth. The
series will premiere soon on France 3
and Disney XD EMEA. And Trulli Tales
(52 x 11 and 13 x 1) is part story-
book magic with a little Masterchef Jr.
and a dash of wizardry. The series was
commissioned by Disney Junior EMEA,
RAI, Radio Canada and Globosat.
Which is your view on the
industry, and the emerging
new genres?
We are living in a very exciting time in
the TV industry. The emergence of all
the digital platforms worldwide are
offering new ways for the audience to
access and view content. There are
over 400 TV series available right now
covering all different genres and
targeting different audiences. As a
consumer, it will create a world of
infinite choices, with the new
generation gravitating towards short
content online. The next decade is
Vanessa Shapiro, President
of Worldwide TV Distribution
& Co-Production, announc-
tles for digital players.
going to be extremely interesting with
the millennials being at the forefront
of this new age of the TV business.
How is Gaumont working on
the production of original
content for digital platforms
like Narcos for Netflix?
We have a very successful relationship
with Netflix Narcos is just one of
three series we have produced with
them. The fact that they renewed
seasons three and four at the same
time illustrates just how well Narcos
has performed around the globe and
is a testament to the creativity of the
teams at Netflix and Gaumont.
Do you think that theres a need
of re-thinking new content so as
to renew the industry and its
markets?
The new age of TV is only starting. The
disruption of the marketplace with
the arrival of all the digital platforms
and new content is only going to
continue. The U.S. market has shown
the way of the digital era, and the
international market is catching up
very fast with the globalization of the
platforms such as Netflix or Amazon.
Which are Gaumont goals for
the rest of 2017?
We had a very busy year, and we are
announcing several more very high
profile drama series projects, on the
development and distribution side. We
are looking forward to closing a
number of new deals following our
MIPCOM meetings.
CONTENIDOS @ newslinereport

MIPCOM 2017 61
 CONTENTS
RECORD TV
We have success because we
do always keep updated
Delmar Andrade, Director of International Sales, presents Belaventura,
its first medieval production.
Which kind of alliances have
Record TV confirmed over the
last months?
We can highlight the long-term part-
nership with Univision in the US, which
is breaking every single audience rat-
ing with our productions. We do also
have several new alliances on our way
that will be announced soon, as the
market goes by.
How can you describe the market
and its new genres?
Record TV keeps always updated, guar-
anteeing the high level of its portfolio
that will work for the needs of the mar-
POL-KA PRODUCCIONES
Nowadays, sales opportunities
are very important
The international scenery for the com-
mercialization is really fragmented, as
in the past the big players were only five
or ten, between Free TV and Pay TV all
over the world. Nowadays, we have to
add the OTTs that offer a payment or
revenue share. That is why today the sales
opportunities are very important and also
in a same territory are more numerous
than four years ago, highlights Manuel
Mart, Head of Development and Intl.
Business de Pol-ka Producciones.
62 MIPCOM 2017
ket. For us, this is a main condition so
as to justify the success, as weve been
doing this for the last ten years.
Which are Record TV goals for
the end of 2017?
During this second semester, we are
presenting Belaventura to the mar-
ket, our first medieval production. This
is a telenovela in an enchanted king-
dom with all our production resources.
We are also highlighting our biblical
telenovela The Rich and Lazarus which
is gaining the liking of Brazilian audi-
ence and promises to conquer every na-
tion with its strong story full of faith.
The Company faces MIPCOM 2017 with
the sale of its telenovela Cunning Girls
and will begin to commercialize the week-
ly stared by Adrin Suar and Julieta Daz,
Family Silence, and the daily Only You,
also stared by Suar with Natalia Oreiro.
This last production is a great bet for
us as the brand of the singer and ac-
tress Natalia Oreiro is really strong in
Russia and Israel, adds Mart.
The executive also comments about the
last projects created by the company,
in partnerships with big regional play-
ers (ElTrece, TNT and Cablevision), like
The Fragility of the Bodies and El Mae-
stro, creating with the client a virtuous
circle, having the mainstream of the
Free TV and the Premium distinction of
Pay TV, adding new ways of consump-
tion for the digital platforms.
The Slave Mother conquered the Seoul International
Drama Awards
Record TVs production was distinguished as the
Best Telenovela of 2016, at the Seoul International
Drama Awards. The Brazilian title shared the cate-
gory with Turkish, Colombian, Portuguese and Rus-
sian productions, among others.
Written by Gustavo Reiz and directed by Ivan
Zettel, The Slave Mother (158 episodes) is con-
sidered the prequel of Isaura the Slave broadcast-
ed in 2004 with local and international success.
On its launched in Brazil, The Slave Mother reached
14 rating points and a 37% or share.
Manuel Mart, Head of Development and Intl.
Business, describes the fragmentation of
international commercialization as the com-
petition of Free and Pay TV also has the OTTs.
This kind of co-productions reduces the risks for every
partner, as each of us has to participate in the fading
production. Even though there is a more complex negotia-
tion about the windows, territories and participation in
sales, the coproduction is convenient everywhere and al-
lows producer companies to have higher costs of produc-
tion, that cant be compared with international products
but are in the same level for the programming with Holly-
wood giants, emphasizes Mart.
Regarding El Jardn de Bronce, describes: It is an honor to
produce once more for HBO Latin America. Also, we are really
proud of this series because it becomes the regional original
content hit of the year for the company.
CONTENIDOS @ newslinereport

MIPCOM 2017 63
 CONTENTS
DCD RIGHTS
Technology has a massive impact
on the demand for programming
How has evolved DCD Rights
portfolio over the last months?
DCD Rights has had an exciting year so
far, with a ramp-up in our acquisitions.
We have continued some of our success-
ful franchises, such as Real Detective,
a crime docu-drama, Aussie Gold, which
follows real-life gold prospectors, Bri-
dezillas is back with a bang for an 11th
series, and Marriage Bootcamp: Reali-
ty Stars returns for its 7th series, where
famous couples fight to save their bro-
ken relationships.
Our new MIPCOM offerings include excit-
ing topical drama Romper Stomper, which
takes a thrilling and provocative look at
our current polarized society, a third se-
ries of female driven political drama Jan-
et King and Acceptable Risk, a thriller
centered on corporate corruption.
Music has always been an integral part of
DCD Rights and at MIPCOM we are launch-
ing the third series of Berlin Live, which
features the iconic Blondie; legendary
musician David Gilmour plays in an in-
credible Roman amphitheater in David
Gilmour: Live in Pompeii; and acclaimed
singer-songwriter Paul Simon takes a rapt
audience through his extensive song book
in Paul Simon: Live in Hyde Park.
We have also secured a strong slate of
new factual programming, including
Best Laid Plans, an ambitious home
renovation show and Dangerous Bor-
ders: A Journey Across India & Pakistan,
an engaging exploration of cultures
marking 70 years since partition.
Which is your view on the industry,
and the emerging new genres?
It is an exciting and burgeoning indus-
try. There are increasingly more ways to
reach consumers and technology has
had a massive impact on the demand
for programming. Consumers are able
to watch content wherever they are and
whenever they please. Programs are also
becoming increasingly consumer-led,
for example Netflix series where writers
are guided by viewer habits and de-
64 MIPCOM 2017
mands. The new genres emerging are a
reflection of this more sophisticated and
advanced viewership.
What do you think about Virtual
Reality and Augmented Reality?
Do you see a profitable future for
this technology?
Potentially, but not in the near future. I
think that it is very impressive and a
great experience, but it is not some-
thing you would look to add into your
everyday viewing habits. Although view-
ers are increasingly watching content
alone, there is still a place for TV view-
ing being a shared experience. VR takes
this away as it is a personal experience.
I see it being better suited to gaming
than to TV or film.
There is also something to be said for
technology catching up with content or
vice versa. If the two dont match then
the experience doesnt feel right and
can take attention away from the con-
tent. Watching in 3D is still reserved
for specially suited films, and it is not
the kind of thing that viewers do so of-
ten, despite being older than VR. In my
opinion, it will take quite a while for VR
and Augmented reality to take off and
become mainstream.
How has change the industry the
appearance of online platforms
and multi-viewing, towards the
monetization of content?
Of course the advancements in tech-
nology and the increase in platforms
have had a huge impact on the indus-
try. We are now able to watch content
almost whenever we want and wherever
we want. Most broadcasters have on-
demand services, and SVOD services
such as Netflix and Amazon have be-
come modern household
necessities.
As our lives get busier, such
Lenneke de Jong, Sales
services are needed to con- Executive, explains the
tinue the success of the
entertainment industry renovation of the offer
and the monetization of that now has more
content. If the only way to
watch TV was when it hap- than Music titles.
pened, there would not be
as large a demand for content and view-
ing figures would suffer. The increase
in platforms inevitably increases the
possibilities for content, so it can only
be seen as a positive and a product of
the evolution of both our way of life and
new technology.
The fact that we are able to watch pro-
grams after they have been on air is
vital with our lifestyle, and helps to con-
solidate and popularize programming.
Therefore it contributes towards the
monetization of content.
Which are DCD Rights goals for
the rest of 2017?
Our goals are to continue to add great
quality programming to our catalogue,
and to do our programs and their pro-
ducers justice in promoting them to
our clients. We are lucky to have such a
range of content, but also to be a bou-
tique company. This allows us to really
focus on the programs we represent and
gives us the flexibility to best meet our
clients needs. We are always looking to
collaborate with more producers and
broadcasters or platforms and expand
upon our already impressive catalogue.
We have great expectations for the re-
mainder of 2017, which has already
been a successful year for us, and we
expect to improve on this success as we
continue into 2018.
NEWSLINE REPORT INTERNATIONAL MIPCOM 2017 OCTOBER 2017