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NEWSLINE REPORT INTERNATIONAL MIPCOM 2018 OCTOBER 2018

MIPTV 2017 1
C

over story


OCTOBER 2018



YEAR XXVI /SPECIAL EDITION MIPCOM



www.newslinereport.com


NELVANA ENTERPRISES

The need for alliances in an increasingly proliferated industry


How has evolved the business of Pam Westman, Head of bution platform that has reached across the tra-
Nelvana over the last months? ditional broadcast boundaries. I think that the
Nelvana is the distribution and animation studio the Company
Company,, an- Kids’ industry is now dealing with an audience
of Corus Entertainment
Entertainment, one of the largest me- that can see content from all different parts of
dia companies in Canada, but we are its interna-
nounced a new joint- the world and they’re no longer bound to their
tional arm, and people try to monetize our content venture with Discovery own culture and broadcasters restrictions.
internationally, outside of Canada. I think this is a very exciting time for us, so as
We are focusing on two different areas in order to Kids Latin America. to look at content from any part of the world
evolve the revenues of the company. One is to be a and how we can adapt it for many different
licensing agency in North America and in France. We have eOne properties audiences. For example, we have just closed a deal with UP Stu-

associated in ‘PJ Masks’ and ‘Sesame Street’, and the most recent addition dios in China for the distribution of their first show ‘Super BOOMi’.

of Mattel’s ‘Thomas & Friends’ into our licensing agency portfolio.



We also are embarking into several strategic partnerships. The Which is the influence of technology in the way that

one that was recently announced is the one with Discovery Kids children consume the content, and in the kind of

Latin America content they watch?


America. This is going to be a joint-venture that will open


the doors of Latam to us, so we’ll be joining different points of The new platforms that we’ve embraced - both Netflix and YouTube
view in order to develop new IPs. We’ll be announcing soon our - have changed the way kids consume content. They definitively want
first project, as well as the name of the joint-venture. to see the content when they want it, and they have such a huge
variety of productions to choose. It has allowed us to tell stories in
How could you describe the current situation of the Kids’ many different ways and lengths. We have created content specifi-
industry and the expansion of content internalization? cally for YouTube, and with SVOD platforms, and we create content
Over the last couple of years, there’s a globalization of content that I for the traditional lineal platforms. This is the way that we can tell
think that really comes from the expansion of YouT ube and that distri-
ouTube different stories, perhaps that we couldn’t have told in a traditional

2 MIPTV 2017
@ newslinereport

format of half hour. This is also a huge way of increasing our pro-


The alliance with Mattel


duction slate. We have launched our show ‘Miss Persona’ and we


developed it for the digital platforms, and it is now on YouTube, with


goes beyond


more than 20.000 views on its first couple of days.


Also, when it comes the time to expand our slate, every single



production that we start developing has a digital strategy and sup-
Nelvana has closed a Canadian licensing and broadcas-


port the brand with different ways of storytelling on the different


ting partnership with renowned toy and entertainment com-


platforms, as kids want to see content everywhere.
pany Mattel for its iconic ‘Thomas & Friends’ property.



Nelvana becomes the exclusive Canadian licensing agent for


Do you consider that the proliferation of new platforms
Thomas & Friends across multiple merchandise categories ex-


makes easier the monetization of content worldwide?


cluding toys, which are manufactured and marketed by the


I think that monetization with digital platforms is difficult and very
master toy licensee. Treehouse, the country’s #1 preschool


challenging, as they certainly don’t pay the same as a production for


channel*, becomes the new hub for the long-running Thomas


the lineal channels. So, what happens is that you have to make content
& Friends series, which will be available across the network’s


in a very creative way to make it expandable, with special qualities


traditional and non-linear platforms, including Treehouse on


that will allow kids to engage. YouTube doesn’t pay and monetize
Demand, Treehouse Classic, and the TreehouseGO App.


content in a way that allows us to keep the traditional ways of doing it.


* Source: Numeris PPM Data, BY17-18 (Aug 28/17 – Aug


26/18), confirmed data, M-Su 2a-2a, K2-11, K2-5, AMA (000,

How will you be driven your Original Programming

CDN SPEC DIG ENG – Kids SPEC only, Total Canada.

strategy for 2019? ○

We have on our Original Programming slate different programs



that we’ve put into production worldwide. We need to try to maxi-


mize the different platforms, and the different looks-and-feels of



our productions. For example, we have one of our shows ‘P.U.R.S.T.








Agent Binky’, a 3D pre-school production, and we are also creat-



ing a 2D show called ‘Mr. King’, both based of very well-known


books. We are working on expensive stories to be able to tell



stories in different ways. For us, the availability of many platforms


that exploit content, allows us to be absolutely on board to create ries ‘Esme & Roy’; we are working with Sony Pictures to create

some amazing shows to put on those. ‘Hotel Transylvania, Season 2’. We are really looking for partner-

ships on a global point of view and trying to bring the best studios

How are you expanding the strategic partnerships all


creative talent and stories on board.


around the world?


For us, partnerships are extremely important, not only does it allows Which are your goals for the last term of the year?

us to get some great creative talent for different parts of the world into After MIPCOM, we’ll be focused on the holiday season in retail in

our productions, but it also mitigates the financial risks in a very Canada, France and the United States for all our licensing part-

expensive kids’ series, which is really important in today’s world. So ners. We are also trying to make sure that we are setting the stage

you get great talent and both share the risks and the profitability. for a successful 2019. We have three major productions that are

Aside the joint venture with Discovery Kids Latin America, we are greenlighted and that we’ll be delivering next year, and we are

working with Sesame Workshop


Workshop, on creating the animated se- really excited of what 2019 is offering us.

‘Hotel Transylvania’ expands its brand experience


The animated series renewal and upcoming home entertainment release of ‘Hotel
Transylvania 3’ builds on Sony Pictures Entertainment’s commitment to make
the brand a 365 day experience. The second-season of the hit animated comedy will be
available at Disney Channel in the U.S. and their global territories, and TELETOON
Canada, a network owned by Nelvana parent company Corus Entertainment.
In its first season, Hotel Transylvania: The Series was among Disney Channel’s top
three animated series among Kids 6-11 (340,000/1.4 rating), Girls 6-11 (221,000/1.9
rating), Kids 6-14 (430,000/1.2 rating) and Girls 6-14 (285,000/1.6 rating). Hotel Transyl-
vania: The Series is currently available on Disney Channels Worldwide, TELETOON Canada and Super RTL in Germany. The series’
first season also premiered on Netflix in the U.S. in June and will continue to roll out throughout the world starting fall 2018.

MIPCOM 2018 3
INCOMPANY

STAFF

Year XXVII
MIPCOM 2018 Edition

Mauricio Correa joins Mediapro in Autentic Distribution announced the Editors • Directors
Latin America. With experience in Win hiring of Mirjam Strasser as Sales Di- Rafael Val
Sports, Sky Latin America and rector. With experience in companies like María Pía Pazzaglini
Telmex, the executive will be in charge Sky Vision, Parthenon Entertainment,
of the Rights Management in the re- Telcast or Discovery, she will strengthen Editorial Departament
gion. On this role, Correa will “sup- the team from Munich and will oversee Aldo Bianchi
port the networks in the Latin Ameri- the GST region in particular. Pablo Garcia
can region, besides working also on the consolidation of ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

Rocío Scapolan
the Group in the continent”. ITV Studios Global Entertainment
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

(ITVS GE) has appointed NBCU’s Dav-


MGM Worldwide Television Distribu- id Wilcox as Senior Vice President, Commercial Departament
Rafael Aboy
tion hired Tomas Davison as Senior Sales, EMEA. Wilcox returns to ITVS GE,
Javier Fiorellino
Vice President, International Television having spent nine years with the com-
Distribution, Latin America and U.S. pany prior to being appointed by NBCU
Hispanic. Based in Miami, Davison will in 2014. Wilcox will report in to Greg Design
be responsible for sales in Latin Amer- Johnson, EVP, EMEA & Americas, who completes his senior ADNOW
ica and U.S. Hispanic, reporting to team after taking up the role at the beginning of the year.
Matt Vassallo, Senior Vice President, International Tele- ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

Printing House
vision Distribution, Latin America, Asia Pacific & Global Laura Miñarro joins Atresmedia Stu- Gráfica Pinter
Formats. dios as responsible of the Internation- info@graficapinter.com.ar
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

al Business. The executive came from


A+E Networks has named Patricio Eccho Rights, and will report directly
Teubal as the new General Manager to Ignacio Corrales, General Director Editorial Office
of A+E Networks Italy, starting in of the Company. Sonia Martínez, also
Moreno 769 5th floor
December. In his new role, Teubal will director of fictional of Atresmedia, will
C.P. C1091AAO
oversee A+E Networks Italy and its be in charge of the editorial direction of Atresmedia Stu-
three channel brands History, dios; while Nacho Manubens assumes the role of Con- Buenos Aires
Crime+Investigation, and Blaze and tent Director of the company. Argentina
lead the growth of the SKY Italia partnership, while de- ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
Phone/Fax: +54(11) 4115 7610
veloping new opportunities in Italy. Christie Fleischer joins Netflix, as info@newslinereport.com
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Global Head of Consumer Products, www.newslinereport.com


James Baker is the new COO of Red overseeing retail and licensee part-
Arrow Studios. The executive will over- nerships, publishing, interactive
see the operations of the company, and games, merchandising and experien- Newsline Report
every division of distribution. The tial events. In her role, Fleischer leads is a monthly
Group is compound by 20 production a team focusing on developing the publication of
companies on six territories. Based in consumer products portfolio across all categories for Net- Avant Garde
London, Baker will report directly to flix original series and films. Ediciones S.A.
Jan Frouman, chairman & CEO of the company. ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

Newsline Report
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Mattel, elected Adriana Cisneros,


is a trademark.
Starz, a Lionsgate company, adds CEO of Cisneros Group, and Roger
Darren Nielson and Jeff Cooke to In- Lynch, President and CEO of Pan- Intellectual
ternational Digital Networks team. dora Media, to the company’s Board property registration
Nielson will have the position of Se- of Directors. “As we continue to Nº 214.136.
nior Vice President of Distribution and transform Mattel into an IP-driven,
Business Development while Cooke high-performing toy company, we
assumes the role of Vice President of are also taking action to further strengthen and de-
Programming to the International Digital Networks team velop our Board of Directors,” said Ynon Kreiz, Chair-
led by Executive Vice President Superna Kalle. man and CEO of Mattel. Printed in Argentina
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

4 MIPCOM 2018
@ newslinereport

VIMEO
abandons the competition against YouTube
For several years, Vimeo tried
to make a place in the industry
as a new online video service.
However, in recent days, Anjali
Sud, CEO of the company, an-
nounced that this strategy was
left aside, so as to focus on the
sale of software tools to its huge
community of creators.
For the executive, the market
for video consumption platforms became saturated, turning
too competitive, so they decided to bet on a simpler market

I T
and where new opportunities could arise, such as software
“With the worldwide launch of Watch, we support pub-
as a service (SaaS). Oriented originally to independent film-
lishers and creators worldwide in two critical areas: help-
makers, Vimeo came to analyze the possibility of contributing
ing them make money with their videos on Facebook
on original content and even launch a subscription model
and better understand how their content is performing.
similar to YouTube Premium. But this initiative was dis-
Watch’s internationalization action also generates new
carded after assuming that the company could not offer the
opportunities to expand the Ad Breaks service to mone-
same values as YouTube or Facebook to invest in original
tize content. The service is already available in the Unit-
content and compete for the attention of viewers.
ed Kingdom, Ireland, Australia and New Zealand; be-
Now Vimeo will focus on generating revenue through ‘Vimeo
Stock’, a software tool for creators, similar to Getty or Shut-
terstock; which includes a vast video library; in addition to
X sides the United States; and in 21 other countries, in-
cluding France, Germany, Spain, Argentina, Colombia,
El Salvador, Guatemala and Thailand.
content optimization tools that allow uploading videos to
This is a really important moment for us. It has been a
different social platforms.
year of real progress for Watch. Each month, more than
50 million people in the United States go to Watch, and
D I

the total time spent on the service has increased 14


times since the beginning of 2018".
Apple concluded the Fidji Simo
VicePresident, Video of Facebook
purchase of Shazam
Apple now owns the Shazam applica-
tion, which plans to make the music rec- Comcast acquired the 100% of Sky
ognition service available without ads
to consumers soon. Comcast surpassed 21st
“Apple and Shazam have a long history Century Fox in the auction
together, Shazam was one of the first for the acquisition of the
apps available when we launched the European company, Sky. In
App Store and it has become a favorite the operation mediated by
among music fans around the world,” said Apple’s VP of mu- the UK Acquisition Panel,
sic, Oliver Schusser. “With a love shared by music and Comcast offered around
innovation, we are delighted to bring our teams together to USD 39 billion, which repre-
offer users even more fantastic ways to discover, experience sents USD 22.57 per share,
and enjoy music.” Apple announced its intention to acquire against the USD 15.67 offered by Fox. Both companies fight
Shazam at the end of last year and although the amount has for 61% of Sky, from which 21st Century Fox owned the re-
not been confirmed, it would have paid an amount of USD maining 39%. However, the day after the operation was an-
400 million, according to some reports. The European Union nounced, 21st Century Fox declared that it would sell to Com-
gave Apple the green light for the acquisition of Shazam, cast its 39% stake in Sky. In this way, the US giant will control
based in the United Kingdom, earlier this month. the entire British company.
Shazam was founded in 1999 as a mobile music recognition ser- The day of the announcement, Sky shares on Monday climbed
vice. After initially requiring users to call a certain number to iden- up to 9%, placing it near the Comcast offer. However, Sky’s
tify a song, the company finally launched a mobile application that board recommended its shareholders not rush to make deci-
has since been downloaded more than a billion times. The applica- sive decisions.
tion is still used to identify songs more than 20 million times a day.

MIPCOM 2018 5
KIDS

BBC STUDIOS

“We need to build new


ways to tell stories”
develop back-stories, further
Henrietta Hurford- develop characters and give our
audience more of what they love.
Jones, Director of
How are you expanding
Children’s Content, your partnerships all around
tells that CBeebies the world?
The launch of Bluey marks a new
will expand its pres- partnership for us with the ABC
ence thanks to a Australia and Australian producer
Ludo Studios. Whilst we already
recent deal with partner on a number of our titles, this
is our first full partnership together
iQiyi in China. and we are thrilled with the initial
response to Bluey, which premiered in
through but to truly succeed the its home market this month.
industry increasingly need to think We continue to work with several
beyond the broadcast window and studios from around the world in
How has the business of meet the expectations of audiences developing content but are also
BBC Studios - Kids evolved over across an increasing number of very focused on working with BBC
the last months? touchpoints and platforms. Children’s, our in-house partner,
With the continued growth and in providing global brands such
success of our key children’s brands, What is the influence of as Go Jetters and core content for
such as Hey Duggee and Go Jetters, technology in the way that our CBeebies international
there is an increasing focus on children consume the branded services.
children’s titles within BBC Studios content, and in the kind of Additionally we are looking to build the
this year to bring additional ambition content they watch? reach of those branded services by
to our portfolio of award-winning We look for a breadth of ideas and expanding platform partnerships such
content. We also continue to increase experiences in everything we do and as our recent deal with iQiyi in China,
the reach of our CBeebies branded all of our content is available across bringing a CBeebies branded area to
services globally and commission multiple platforms and formats. With the digital platform.
content that supports these unique children consuming content in so
pre-school brands. At MIPJunior and many ways, it is important that as Which is going to be
MIPCOM we are launching Kit & Pup, creators, broadcasters and distribu- your strategy of business
Yakka Dee and My World Kitchen. We tors we take advantage of this and for next year?
will also be launching Bluey, our new build new ways to tell stories We will continue to work toward
co-commission with ABC Australia, alongside our core content offering. strengthening our content and IP
from Ludo Studios in Brisbane. In the Our most successful brands are pipeline, build and grow our key
age six to twelve space we are based on creator driven concepts with franchise brands Hey Duggee, Go
premiering Logan High. distinctive design, strong characters Jetters and Sarah & Duck as well as
and compelling storytelling, and that successfully land our new franchise
How could you describe will never change whatever the brand BLUEY internationally.
the current situation of technological advances.
the kids industry and the We are looking to new digital What are your goals for
expansion of content platforms and formats to grow the end of 2018?
internationalization? these worlds. With both HeyDuggee To drive the reach and revenue for our
Audiences worldwide expect to find and Go Jetters we are developing franchise titles as well as look to
their shows when and where they want, short-form content that remains increase the reach of our CBeebies
be that on CBeebies, iPlayer Kids, true to the spirit of the long-form branded services globally and
Netflix or YouTube. Great shows, like series but which allows us to tailor commission content that supports this
Hey Duggee, will continue to cut content for particular markets, unique pre-school channel brand.

6 MIPCOM 2018
KIDS @ newslinereport

MIPCOM 2018 7
KIDS

RAINBOW

“We must adapt to the new


entertainment landscape”
Iginio Straffi, CEO, wants to
transform the company into an
international content provider
with a 360° reach.

dictated kids viewing habits. Instead, kids have huge choice


– in both the content they choose to watch and when they
choose to watch it. The effect of this is to create a more
fragmented audience, which makes it more difficult to
produce shows that really grab kids’ and persuade them to
How has evolved the business of Rainbow watch for the whole episode, or more. As a content creator,
over the last months? we must adapt to this new entertainment landscape, whilst
Over the last few months, we have continued to put greater not forgetting that quality content based on solid concepts
focus on expansion into international markets, by delivering is vital in a multiplatform world.
more quality content to more territories through a
multimedia and multi-genre strategy. How has it worked your property ’44 Cats’,
This has been enabled through our acquisition launch next year; and the evolution of ‘Maggie
of Bardel and Iven Group, which have signifi- & Bianca’ with its concerts?
cantly boosted our production capacity. We are 44 Cats was first revealed to the industry at a
now able to take a production from initial MipJunior screening last year, and since then
sketches right through to the final frame, and produce partnerships have been agreed across the world, with many
different types of content, genres and target demograph- major broadcasters. The show will debut in Italy in November
ics. All this while retaining quality. on Rai Yoyo, and then worldwide from 2019. A licensing
Having Bardel as part of Rainbow Group means we now programme is also underway, with Toy Plus signed up as
have a strong presence in the North American animation master toy partner, whilst global baby care leader Artsana will
services business and further afield – as this is a company develop a range of 44 Cats-themed educational toys, as well
with a formidable international reputation for innovation as apparel, an accessories collection, and a nursing line.
and quality, which in turn gives us greater power in Maggie and Bianca Fashion Friends is a major global
targeting global markets. success, reaching millions of fans, through TV broadcast in
With Iven Group, we have invested in a group that takes in Italy, Russia, Brazil, France, Germany, Greece, Poland and
film and TV production, as well as artistic management and
talent management. Combined with Rainbow’s own
strengths, thus has created an entertainment giant that
can make and distribute quality content to all demographics
– from pre-schoolers up to adults. Thanks to this new
alliance, we are planning more investment in the live action
sector – building on the success we have already enjoyed
with Maggie and Bianca Fashion Friends.

How could you describe the Kids Industry?


Do you think that technology has influenced
on the way kids consume the content, and in
the production of that content?
The rise of multichannel content and SVOD has had a
massive effect on the kids’ entertainment industry, as it has
completely changed the way children access and consume
content. Gone are the days when broadcasting schedules

8 MIPCOM 2018
KIDS @ newslinereport

We will also be exploring multiple co-production opportuni-


ties, as we see partnerships as a strong method of develop-
ing global TV series and brands. The combination of two
Benelux, and on Netflix worldwide. A new series will enter major partners – and all the experience, innovative thinking
production soon. Also, the live concerts featuring The and resources that results from it – can lead to the
MoodBoards – the band from the show – sold out across all creation, distribution and licensing of even stronger content
dates, so we are now planning a new tour. than would be possible individually.

Why do you think that Rainbow titles are so well- Which are your goals for the last term of 2018?
known all over the world? We are working towards our ultimate goal of becoming an
Our overall content strategy is to keep our brands fresh and international content provider with a 360° reach – deliver-
relevant, as it is vital to develop new content to maintain fans’ ing shows to all age groups and through many formats,
interest. We devote a huge amount of time and resources to including animation and live action, and through both TV
production, as we know that we can’t just sit on our laurels and shows and films. So the last few months of this year will see
expect existing content to do the job for us. This requires a lot of us working towards the global growth of Rainbow.
hard work and attention to detail, but this is what is needed to
keep a global audience interested and engaged. Rick Mischel is the new CEO of Bardel Entertainment
Which are the main features you take into account
when it comes the development of a new brand?
The biggest factor is to look at the target market and
assess what will appeal to it. With 44 Cats, for example,
we concentrate on the key themes of friendship and
altruism – as well as using lots of music - as young
children can easily relate to this and it gives the show
strong appeal. And these are universal themes, so the
show can work in any territory across the world. Rick Mischel is a renowned industry profes-
sional, with a strong background that includes
Which is going to be the business strategy executive positions at some of the world’s best-
for next year? known companies in animation, games and fam-
This will see us building on the potential offered to us by our ily entertainment. As the new CEO of Bardel En-
acquisitions of Bardel and Iven Group. This has expanded tertainment, Mischel will build on the compa-
our reach across Europe, Asia and North America and we will ny’s strong reputation for quality, creativity and
be building on this next year with a string of new properties, innovation to develop a new business strategy
as well as exploring production opportunities across live by exploring new opportunities.
action, animation, comedy and drama.

MIPCOM 2018 9
KIDS

9 STORY MEDIA GROUP

Looks for the expansion of its


business in China
Federico Vargas, Senior Director, Distri-
bution, explains that the company has
some of its shows dubbed into over 20
different languages.

forms, short form content is incredibly I Love You, Grace Beside Me), Italy (Mon-
popular and kids are not just watching ica Chef), Brazil (Haunted Tales, Vivi),
scripted high end television, but also Canada (Nerds & Monsters, My Friend
lower budget productions like game play Bubbles, Finding Stuff Out, Anne of
and unboxing videos. Watching digitally Green Gables) and the U.S. (Kiss & Cry,
often means less opportunity for co-view- Garfield and Friends, Barney).
ing, so the parents don’t always have In terms of broadcast partnerships, we
the same degree of input into what their have direct relationships in almost ev-
How could you describe the kids are consuming. Digital trends can ery territory in the world and service over
expansion of content internatio- also affect our acquisitions strategy. 9 200 broadcasters and digital platforms
nalization on the kids industry? Story’s recent acquisition of the app worldwide. We have longstanding rela-
Kids content, and animation in particu- based series Dr. Panda is an example of tionships with global players in the kids
lar, has always travelled well interna- capitalizing on digital trends in new and family space including Discovery
tionally and it continues to do so. Sever- ways. The 2D series is based on a suc- Kids, Disney, Cartoon Network and Nick-
al of our shows have been sold to over cessful global app franchise that has elodeon. We also have direct relation-
150 countries and have been dubbed already seen over 95 million downloads. ships with key digital platforms includ-
into over 20 different languages. 9 Sto- ing Netflix, YouTube, Hulu, Amazon, Al-
ry Distribution specifically looks for pro- How is 9 Story expanding ibaba and Youku.
grams which will have a universal ap- its partnerships all around
peal. What has changed has been that the world? How will you be driven your
some of the global OTT players are snap- When searching for the best quality con- strategy for 2019?
ping up a given program across all ter- tent that will complement 9 Story’s li- 9 Story is looking to produce more of its
ritories, meaning you don’t always have brary and appeal to an international own IP, which we can then distribute in-
first window rights available to sell terri- audience, our acquisitions team has ternationally and manage global M&L
tory by territory anymore. 9 Story tries to acquired content from all over the world. rights. For distribution we are focused
balance off the number of shows that get Examples of content partnerships far on a few key growth areas, including ex-
made this way with ones that are commis- and wide include deals with China (Luo panding our business in China, and
sioned by one or a handful of linear broad- Bao Bei, Dr. Panda), Spain (The Diary of building momentum in growing territo-
casters, for example our new shows Let’s Bita & Cora), Australia (Guess How Much ries like Russia and India.
Go Luna! and Xavier Riddle and the Secret
Museum which were both commissioned
by PBS KIDS in the U.S. and are now avail-
able for the rest of the world.

Which is the influence of techno-


logy in the way that children
consume the content?
Technology has had a huge impact on
how and where kids are watching their
favorite shows. They might be watching
it on lineal TV, via DVR, on YouTube, or
OTT. On YouTube and other online plat-

10 MIPCOM 2018
KIDS @ newslinereport

MIPCOM 2018 11
KIDS

CYBER GROUP STUDIOS & BEE PROD

Start developing new IPs for the


international market
Under a new part-
nership, the compa-
nies expand the
slate of properties
with the studios in
France and USA.
Pierre Belaisch Pierre Sissmann

Under the terms of a signed partner- erties will be targeting various po- Pierre Belaïsch and join our talents for
ship, Pierre Belaïsch founder of Bee tential clients and consumer seg- the development of new international
Prod, will supervise the creative depart- ments on all continents. IP’s, as we have worked together already
ment of Cyber Group Studios in France, Together with the Studio division of Cy- for over ten years in the past, develop-
and will also work with Cyber Group ber Group, headed by Olivier Lelardoux, ing award-winning properties. With this
Studios USA development team to cre- Cyber Group Studios’ development innovative partnership in France and Ira
ate joint global properties. teams and Bee Prod are committed to Singerman in the US, Cyber Group Stu-
Both Cyber Group Studios’ develop- bring ground-breaking stories and im- dios is clearly well positioned to address
ment units are currently working on ages to an always more demanding the creative future of the animation in-
a slate of over fifteen new IP’s. From public throughout the world. dustry”, declared Pierre Sissmann, CEO
preschool to kids & family, these prop- “I’m very proud of this partnership with of Cyber Group Studios.

MATTEL

Launches New Theatrical


Film Division
Mattel has created Mattel Films, a new
division of the Company focused on de- Robbie Brenner
veloping and producing motion pictures
based on the Company’s iconic and glo- joins as Head of
bally-recognized franchises. Academy Mattel Films.
Award-nominated producer Robbie
Brenner has been appointed to lead
Mattel Films as Executive Producer, re- Robbie is a gifted storyteller and a highly
porting to Ynon Kreiz, Mattel’s Chair- respected filmmaker with deep relation- al connections to Mattel’s brands and
man and CEO. ships in entertainment. She is the per- characters. There are so many stories to
“Mattel is home to one of the world’s great- fect leader to bring our celebrated brands be told and so many imaginations to be
est portfolios of beloved franchises, and to life”, said Mr. Kreiz. captured by these iconic brands, and I
the creation of Mattel Films will allow us “Generations of children around the look forward to working with Ynon and
to unlock significant value across our IP. world have grown up with deep emotion- his team to do so”, concluded Brenner.

12 MIPCOM 2018
KIDS @ newslinereport

SQUEEZE STUDIOS

“Technology has empowered


the audience”
forms like Netflix, Amazon and Hulu are
Denis Dore, CEO & now well-established and they are forc-
ing traditional broadcaster to innovate
Founder, describes in order to please the audience that now
has the power to choose. New players
the relationship be- (and not the least) like Apple and Face-
tween tech and the book are joining the battle for content.
The appetite for kids’ content is huge.
consuming behavior That means a lot of new opportunities
of children. for us to form win-win partnerships. But
ability to get in touch directly with audi- at the end of the day, the quality of the
ences through online platforms such as content is all that really matters”.
“Technology has empowered the audi- Youtube. Being connected to audiences Regarding the strategy of business for
ence, and especially kids who quickly provides us invaluable data that “we 2019, Squeeze Studio will be focused more
adopted the digital world, by giving ev- couldn’t even dream of a few years back. and more on world-class projects requir-
erybody the power to choose what they A true dialogue can take place between ing top-of-the-line CGI animation, mainly
want to watch and how and when they the fans and the creators which is great. feature films, high profile TV series and
are going to watch it. And this is good Knowing what the fans think of each sto- theme park animated content. “And we
news. Because when people got to choose ry and character and why is a precious intend to do just that with our very own
the content, then they stick to it and chunk of info that we add in our ‘creative original creations as well. More Cracké
want more. Our challenge is to provide mix’ when we start brainstorming for new crazy slapstick content is coming next year
the content that they want,” establish- episodes or new shows”, confirms Dore. along with some groundbreaking action-
es Denis Dore, CEO & Founder of Continuing on the relationship between adventure cg animation with our new show
Squeeze Studio. However, the executive technology and consuming behavior, Dore Jax. A show that we promise to be nothing
admits that technology also gave the explains that “the major digital plat- but outstanding,” concludes Dore.

DHX MEDIA

Licensed 10 Kids’ shows to


Amazon Prime Video
DHX Media signed a new agreement duction capabilities, DHX Media contin-
providing Prime Video’s U.S. streaming ues to be a one-stop-shop for streaming
service with Spanish versions of 10 kids’ platforms looking for both original and
shows, including Strawberry Shortcake: classic content that kids’ and families
Sky’s the Limit, Bob the Builder, Fire- love to watch.”
man Sam, Busy World of Richard Scar- DHX Media titles newly available on
ry, Sonic the Hedgehog, Super Mario Amazon Prime Video in the U.S. in Span-
World, Madeline and more. The new con- ish: ‘Bob the Builder, season 2’ (52 x
tent was launched for U.S. Prime Video 11’); ‘Bob the Builder: Mega Machines’
members on October 4, 2018. (movie) (1 x 60’); ‘Fireman Sam, season
“We’re delighted to provide Amazon 7’ (13 x 11’); ‘Strawberry Shortcake: Sky’s
Prime Video with Spanish versions of the Limit’ (movie) (1 x 70’); ‘Sonic the 30’); ‘Madeline, season 1’ (6 x 30’); ‘Pad-
these popular kids’ shows,” said Jerry Hedgehog, season 1’ (13 x 30’); ‘Super dington’s Birthday Bonanza’ (special)
Diaz, VP of Distribution at DHX Media. Mario World, season 1’ (7 x 30’); ‘Busy (1 x 30’); and ‘Sabrina, the Animated
“With our deep library and strong pro- World of Richard Scarry, season 5’ (13 x Series, season 2’ (13 x 30’).

MIPCOM 2018 13
KIDS

MONDO TV IBEROAMÉRICA

Focused on the Mexican


& Caribbean market
Maria Bonaria Fois, General Manager,
announces the launch of a new series,
with a target audience different from
what they are used to.

How has evolved the expansion of ferent from the usual for us, which is a easily internationally. Always interest-
your brand ‘Heidi Bienvenida’? major challenge. ing, always challenging, the animation
Our flagship product, Heidi Bienvenida, As a Group, Mondo TV is also present- market continues to attract many of the
is evolving very well. The first season ing MeteoHeroes, the latest 2D anima- biggest international players every year,
was broadcast on the main internation- tion series in co-production with presti- who bring their own approaches and in-
al channels and operators with a great gious partners such as the Italian me- fluence both trends and styles. This
reception by the audience. We are about teorological society MOPI (Meteo Opera- makes us always attentive and sensi-
to launch the second season (Heidi, Bi- tions Italia). Obviously, we are also fo- tive to new trends.
envenida al Show) and we have a great cused on leading titles in our animation
expectation due to the great results we catalog like ‘Invention Story’ (104x11'), What are the goals of Mondo TV
are getting in the Italian market, where a co-production between Mondo TV and Iberoamérica for this 2018?
the audience of the RAI Gulp channel is York Animation, and the third season Our goal for the rest of the year and for
very positive and we have an extensive in 3D of ‘Sissi, The Young Empress’ the future is to generate new alliances
licensing program in progress. (52x11'). Another title is Robot Trains, in the region of Mexico, Central America
Other agreements with some of the main an animation series produced with CJ and the Caribbean, strengthen the ex-
international players are under negotia- E&M of Korea. Mondo TV Iberoamérica isting current, and to be well positioned
tion; very soon we can announce a major manages television distri-
issue agreement for Heidi. Thanks to the bution in the Iberian mar-
television exhibition we are able to build ket, and the first season,
a solid licensing and merchandising pro- already released throughout
gram to ensure the strength of the brand. Europe, has 32 episodes of
Following the good reception of the se- 11 minutes, and it is expect-
ries and to give continuity and time to ed that the 52 episodes of
the licensing program to develop, we the second season will ar-
decided to launch a film based on Heidi rive at the beginning of
under a co-production partnership, an- 2019. The series has recent-
nounced the past MIPTV. ly made its entry into the
market of Portugal (Canal
Which are Mondo TV Panda) and Spain, where it
Iberoamerica main titles is being broadcast on Clan
for this MIPCOM 2018? TV since last August. in the market as a strategic partner for
Our main focus is to continue making Internationally, we also highlight Yoo- original productions, as well as increas-
original, attractive series, proposing a Hoo to the Rescue, a Netflix original se- ing the distribution of the rich Mondo
great innovation in the formats, as well ries. Also, ‘The Treasure Island’ is at- TV catalog, which has around 2000 hours
as in the content that is what our part- tracting great interest in several opera- of programming.
ners are looking for. We are currently tors of public television in LATAM, as it One of the most interesting news for
very excited about a special project that is high-level co-production between Mon- 2019 will be our intention to expand
we are announcing during the days of do TV and RAI Fiction. the target of our productions to inter-
MIPCOM. It is a fiction series that has cept new audiences and new market
a high quality production, in collabo- Which are the advantages of dynamics. I think we have to adjust to
ration with international partners of children’s content when it comes the new patterns of consumption by
the caliber of VIP 2000 TV and Casa- the time to commercialize it? producing more and more original con-
blanca, destined to a target quite dif- Children’s content seems to travel more tent and acquiring it.

14 MIPCOM 2018
KIDS @ newslinereport

MIPCOM 2018 15
KIDS

GLOOB/GLOOBINHO

“Remaining relevant as a content


producer is a major challenge”
Paula Taborda dos
Garanys, Director of
Content and Pro-
gramming, assures
that it is a challenge
to create a narrative
that will travel among
linear and nonlinear.

How do you describe the new business opportunities, both locally The major challenge is that while
current situation of the kids and internationally, through co- Gloob communicates directly with
industry and the expansion of productions and partnerships such as children, Gloobinho talks to parents
content internationally? these. Gloob has made several copro- and caregivers. What both have in
In a scenario of high competition in ductions since its debut in 2012 and we common is depicting children as
the audiovisual industry, especially in are proud to bring Gloob’s premium protagonists in all our stories.
the children’s segment, with new content to countries such as Sweden,
players and business models emerging China, Uruguay, Angola, Italy, Israel Which is going to be your strate-
every year, remaining relevant as a and to regions such as the Middle East. gy of business for next year?
content producer is a major challenge, Gloob’s strategy will be focused on the
but it also brings opportunities. Today, Which is the influence of techno- consolidation of its growth which has
producing successful content requires logy in children’s behavior achieved 49% of audience CAGR since
not just an excellent capacity to towards global content? its launch. We need to pursue our
narrate and create good stories, but Children have a huge variety of track of great storytellers, amazing
also a global perspective that entertainment options and they can Brazilian stories, which are made to
broadens possibilities for the returns consume content through all screens work globally as laugh and kindness
from this investment. and devices they have. You need to will always remain global. Original
offer a great storytelling considering premium content is on the rise and we
Which are the key features all available touch points. It is a are looking for innovation. Gloob is
for global content? challenge to create a narrative that setting a trend within Latin America.
It is essential for content to be viable in will travel among linear and nonlinear. We were able to generate a huge
multiple countries, but it also needs to Technology is out there. Our target is impact in our audience through live-
transit perfectly across all content digital native. No one would be action shows, animations, CP and
windows currently offered to end surprised to see a kid sliding his or digital content. We want to grow our
consumers. Developing projects in her finger on the TV screen. audience and firmly establish Gloob as
partnership with international players the second favorite among children by
with different business model (broad- This October 17th will be the first the end of 2018. To achieve that, we
cast TV, PayTVs, OTTs, digital media) anniversary of Gloobinho? How continue to invest in strong brands
could be a smart solution for attaining do you analyze this year of your such as Miraculous and Blue Building
this fundamental diversity of perspec- latest bet on pre-school kids? Detectives, which in addition to the
tive. In the end, the content comes to Gloobinho continues to grow in terms new episodes, will gain a sequel for
life in complementary windows and of distribution and programming the big screen scheduled for the
countries that do not compete with each lineup. We expect it to reach the holiday season. We will also have the
other. The Children’s Unit of Globo relevance of Gloob in a short time, debut of our new major production,
Group has been creatively opening up within the target of two to five years. ‘Genius School’.

16 MIPCOM 2018
KIDS @ newslinereport

MIPCOM 2018 17
KIDS

EONE

“Traditional TV remains as the key platform


for driving preschool awareness”
become more sophisticated, so too has
Monica Candiani, the way they engage with brands. Tra-
ditional TV remains the key platform
EVP Content Sales, for driving preschool awareness but we
have to think beyond that and new
Family & Brands, media can be a very effective way to
launches ‘Ricky offer new content and to support exist-
ing content. We’ve never had so many
Zoom’, as the heir of touchpoints for kids to access our con-
‘PJ Masks’. tent and that’s a huge advantage. How-
ever, there’s also a proliferation of con-
tent so it’s important we anchor our
to PJ Masks and we hope audiences will properties with robust marketing and
love our new properties too. digital support to cut through the noise.
We have a strategic focus on live events
In your opinion, what is the most and experiential to drive fan engage-
influential factor of technology ment and redirect interest back to
in the way that children consume broadcast. Fresh content is also key to
How has eOne Family & Brands content, and the kind of content maintaining interest as kids consume
evolved the business over the they watch? content at a much faster rate on VOD
last months? As is true for technology globally, digi- platforms. Both Peppa Pig and PJ Masks
This year we’ve seen huge success for tal platforms and mobile devices have have new episodes in production that
our preschool property PJ Masks which had a big impact on consumer behav- will ensure there is a pipeline of fresh
was introduced to the market on Dis- iour and as kids viewing habits have content for several years to come.
covery Kids two years ago and launched
at retail in the LATAM market in 2017.
Series 1 heads to Netflix in December
this year and we’re celebrating great
sales figures. Our new series Cupcake &
Dino is set to launch on Disney Channel
in Brazil in November following the glo-
bal launch on Netflix earlier this year.
Peppa Pig is maturing into an evergreen
preschool property which led us to open
a dedicated office in São Paulo to
strengthen our business in Brazil and
maximise long term opportunities for
growth. We’re now launching a new pre-
school property called Ricky Zoom which
comes from the producers behind PJ Masks
and it will begin airing on Discovery Kids
in Latin America in 2019. We are really
pleased with how the market has taken

18 MIPCOM 2018
KIDS @ newslinereport

THE JIM HENSON COMPANY

Appoints Claudia Balzer Scott-Hansen


for the Global Distribution
As Senior Vice President, the executive will
lead Global Sales of the Company’s Titles
Across all Platforms and Genres.

mendous interest worldwide to exploit Splash and Bubbles, airing in the U.S.
them across multiple platforms,” com- on PBS KIDS; Doozers, a Hulu original
mented Scott-Hansen. “In particular, the series (also available on Universal Kids
all-new season of the iconic Dinosaur in the U.S.) featuring the wildly popular
Train, a favorite of mine and my own characters from the classic Henson se-
children, as well as children and fami- ries Fraggle Rock; and the Emmy®-nom-
lies around the world, is sure to be a hit inated Sid the Science Kid, airing in the
at MIP Junior and MIPCOM.” U.S on PBS KIDS. Classic television pro-
Scott-Hansen and her team - including ductions include the internationally be-
veteran Henson executive Anna Moore- loved Fraggle Rock, now available in HD
field, Vice President of Global Distribu- for a whole new legion of fans, Jim Hen-
tion - will focus their efforts on licens- son’s popular The Storyteller, and the
The Jim Henson Company has appoint- ing television, digital and DVD rights sci-fi cult classic series Farscape.
ed Claudia Balzer Scott-Hansen to the across the Company’s classic and more Claudia Scott-Hansen is an accom-
role of Senior Vice President, Global Dis- recent offerings of children’s, fantasy plished media professional with over 20
tribution, reporting to Chris Lytton, the and sci-fi programming that collective- years-experience in media rights distri-
Company’s COO & Executive Vice Presi- ly have amassed over 50 Emmy Awards. bution and global franchise develop-
dent of Strategy and Business Affairs. Headlining the slate is the new Season ment. Since September 2015, Claudia
“Claudia has a rich knowledge of the 5 of the six-time EMMY®-nominated and served as Vice President, Business De-
media landscape and a deep under- Parents’ Choice Silver Honor series Di- velopment, at 9 Story Media Group. In
standing of the ever-changing opportu- nosaur Train, to air in the U.S. on PBS that role, she led the company’s global
nities for innovative content producers KIDS®. The new season’s 11 colorful partnerships, as well as the strategic
like The Jim Henson Company,” com- CG-animated half-hour episodes (or 22 management of the Digital and Con-
mented Lytton. “Her expertise in the glo- x 11’ episodes) continue the exploration sumer Products divisions and worked to
bal market with both traditional and of natural science with an emphasis on align development and co-production
new outlets will be extremely valuable adventure, discovery, new inventions and partners to finance the production of
as we continue to reach international traveling outside our comfort zone with new properties. Previously, the executive
audiences with classic and contempo- Buddy the young tyrannosaurus and his was SVP/Group Director Broadcast,
rary award-winning programming In- adoptive family of Pteranodons. Americas and EMEA at HIT Entertain-
cluding educational, fantasy, and Additional titles include Dot., the digi- ment (owned by Mattel since 2012). Pri-
primetime genres.” tal citizenship series for preschoolers or to joining HIT in 2006, Claudia was
“The Jim Henson Company has built a about to debut its second season in the the Head of Formats and Head of South-
robust and diverse library of new and U.S. on Universal Kids and Hulu; the ern European Distribution at BBC
established properties, and there is tre- marine biology-themed animated series Worldwide, based in London.

MIPCOM 2018 19
KIDS

IMIRA ENTERTAINMENT

Launches ‘Mondo Yan’ for the


international market
How are you expanding
Paul Robinson, CEO, is looking for your partnerships all
around the world?
new agents and partners for markets We are also looking for new agents
with specific local needs. and partners to help with the distri-
bution of content, particularly in mar-
kets where there are specific local
lona, Telegael, and Toonz and to- phones) has revolutionized the ac- needs and building partnerships with
gether we have created something cess that kids have to content and broadcasters and the new non lineal
special. It is also wonderful to see rendered the TV remote and the and digital platforms to meet their
Spanish writers and creators craft- family TV in the living room in- increasing and changing needs.
ing something that will delight creasingly less and less important.
kids around the world. Kids now have the ability to watch Which are your goals for the
whatever they want, at anytime, last term of the year?
How has evolved the ‘Mondo Which is the influence of anywhere, which puts a new re- Our goals are to secure lots of part-
Yan’ project? technology in the way that sponsibility on platforms and con- ners for our new shows, including
Mondo Yan is a fantastic show that children consume the tent producers and distributors to Mondo Yan, Miniforce X, Sindbad &
has heart, great story telling and content, and in the kind of provide wonderful entertaining and the 7 Galaxies, Bookwork GoGo, Dee
characters that kids’ will relate to. content they watch? educational content for kids that Dee the Little Sorceress and Spy Pen-
We have got much closer to our The availability of connected por- is also age appropriate and en- guin and to have a fantastic end to
partners on the show, TV3 Barce- table devices (tablets and smart- courages positive behaviors. the year that we can celebrate.

XILAM

Celebrates the 20th anniversary


of ‘Oggy and the Cockroaches’
Leyla Formoso, SVP Media Distribution at Latin America,
MEA & Southern Europe, admits that the renewal of clas-
sic IPs allows the success of brands.
“We are producing new seasons of tion at Latin America, EMEA & Hispanic Facebook page launched launched the first Oggy mobile
our globally successfully series Southern Europe of Xilam. in August 2017 has already game that has notched up over
Oggy and the Cockroaches and Zig On the expansion of its animated notched up almost 120k fans. 3.9M downloads across India, Lat-
& Sharko. In addition, we’re con- series, the company is licensing ‘Mr There’s also been more than 6.5m in America and Southern East Asia.
tinuing to diversify our portfolio and Magoo’, based on the hugely suc- impressions and 230k likes on the “It’s also a hugely exciting time for
have recently added our first se- cessful 1960s cartoon. Xilam has page. The Hispanic community of Xilam as we celebrate Oggy’s 20th
ries for preschoolers, Paprika , already secured over a dozen of the brand on YouTube and Insta- anniversary this year. Starting from
which will launch in Latin America presales worldwide for the new se- gram is also rising significantly this October, we have a fantastic
this October on Disney Junior. We ries, which will be fully delivered increasingly. Thanks to the brand’s line-up of activity planned in France
are also in production of a new for July 2019. success on Facebook, the public – the brand’s home territory – that
series, Coach Me if You Can, that Continuing on classic IPs, the com- broadcaster in Peru, IPE, acquired includes the opening of a branded
is in the same humorous vein as pany has ‘Oggy and the Cock- Oggy and the Cockroaches for its escape room, museum partner-
our other TV shows,” explains Ley- roaches’ that continues to achieve kids’ channel. Boosting the ships, a road show across France
la Formoso, SVP Media Distribu- huge figures on social media. The brand’s digital presence, Nazara and social media campaigns.

20 MIPCOM 2018
KIDS @ newslinereport

MIPCOM 2018 21
by Alejandro J. Rojas
Regional Director
PARROT ANALYTICS ale@parrotanalytics.com

IS YOUR
CONTENT RELEVANT
TO YOUR AUDIENCE?
When it comes the time to choose programming, digital
services and networks are looking at the prevailing themes
of the local audiences that are being targeted.

In the era of abundance of con- during the last 3 years and the The explosive growth
tent where more TV shows are expectation for 2018 at the be- of space-themed TV
competing for limited attention, it ginning of the year: This growth permeated to the TV
is becoming crucial to stay rele- A quick glance tells it all: “space” industry as demonstrated by the
vant for audiences. as a theme is gaining traction given amount of new productions about
This year we have seen some the explosive growth observed in space premiered between the end
examples of how content creators 2017 and expected in 2018. of last year and the beginning of
are choosing to address themes
that resonate with audiences.
One strategy is to observe trends
Fig. 1.
in adjacent areas, not necessa-
Demand for Space Related Content in the US
rily entertainment, which may
have an impact on pop culture:
For example, take a look at the
completed missions by SpaceX

Table 1.
Chronology of completed
missions by SpaceX

Number of
YoY
completed Missions
Growth
by SpaceX

2018E 30 67%
2017 18 125%
2016 8 33%
2015 6 0%

22
parrotanalytics.com

this year. Monthly average demand Fig. 3. Global demand for ‘Suits’ and ‘The Crown’ in May 2018
for content related to space has
quadrupled from January 2017 to
April 2018.
Another strategy is to look at the
prevailing themes of the local au-
diences that are being targeted.

Local audiences reveal


preferences for political
drama in Brazil
For example, in Brazil the “Lavo
Jato” case created a political tur-
moil that extended well into this
year, an electoral year in Brazil
where political tensions were ex-
pected to rise.
This expectation has also influen-
ced the TV content that is being
made available. Since early 2018, Brazil Demand for Political Drama global audiences flocked to con-
Brazilians have increased their Content in Demand Expressions tent related to it.
demand for shows within the “Po- A third strategy is banking on exter- Meghan’s presence in “Suits” led to
litical Drama” genre, demand that nal events that can lead audiences a 60% global increase in demand
peaked in late March with the pre- to go after your content. during the day of the wedding on
miere of “O Mecanismo”, a Netflix May 19, 2018. Similarly, the same
original series based on the “Lavo Banking on external events day, global demand for The Crown,
Jato” case. Since this premiere, An example of this externality effect a Netflix original series about Bri-
monthly average demand for this was observed during the royal tish Royalty, jumped 46%.
genre has remained within a range wedding of Meghan Markle, now
that is two to four times as high as Duchess of Sussex. Given the noto- The question of staying relevant for
the range seen in 2017. riety of the event around the world, audiences is gaining significance
as TV industry players reassess the
value that original content brings to
their business.
Fig. 2. Demand for Political Drama Content in Brazil And as major content IP owners
like Disney move to target con-
sumers directly, the rest of the
industry is on a quest to find the
right balance between investing in
and strengthening its distribution or
increasing its original content.
Achieving the right balance will
require a deeper and broader
understanding of what makes au-
diences tick and new metrics and
analytics to foresee market dyna-
mics, ahead of the competition.

23
PRODUCTION

HBO LATIN AMERICA

“Genuine and quality content


tends to be universal”
Roberto Rios, CVP, Original Productions, explains
which are the key factors for the creation of original
content in the region, and the celebration of 15
years since the launch of its first title.

was already happening; to 4K, UHD and HDR complex, genuine and tridimensional
that provide more colors and contrasts. characters. It doesn’t mean that the
storytelling is aggressive or disorganized.
How has evolved HBO’s arm of original With several years since the But intense, real and genuine elements are
Productions over this 15 years? production of some of your titles, the ones that add value to our audience.
During this time, HBO has been by side of the they are still contemporaries, why
industry since we went out to look for several do you think that this happens? Which are HBO goals for this
formats for the original production in Latin Allowing myself a moment of modesty, it’s last part of the year, in terms
America, as in that moment there wasn’t any because of our concern on the quality of our of Productions?
independent production company in the elements. We don’t only have strong stories, We are having a huge amount of original
regional, as there was only content generated but also directors, actors and process of productions, beginning with the launch of
for Free TV channels. At the beginning, it was scripts writing in which we put all our time and the third and last season of ‘Magnifica 70’;
really hard to find this productive ability to energy, particularly with original stories. finishing the shooting of ‘Sr. Avila’ and
develop very particular content, that didn’t look Another very important component is the ‘Psi’ that will be launch next year, and in
like a telenovela or any other format of the Free technology used to keep a same look-and-feel the middle of the shooting of ‘Mil Colmil-
TV and that could be related to a theatrical and sound that remains the transition. That’s los’, besides the second season of ‘Jardin
experience, but divided into episodes. why we want to stay a step ahead in technolo- de Bronce’ in Argentina.
Since our first production: ‘Epitafios’, made gy, so as to avoid being obsolete immediately. On the side of miniseries, we have just
in Argentina, or ‘Mandrake’ and ‘Hijos del This shows our commitment with quality and finished ‘Huésped Americano’, and we are
Carnaval’ in Brazil, and ‘Capadocia’ in several elements in order to make HBO a well- finishing ‘Santos Dumont’. We are also
Mexico, we have made a great journey across known company worldwide, as they add value to beginning with the second season of ‘La
Latin America, and came back now to the storytelling, and turn it into more attractive vida secreta de las parejas’. During the
Argentina to produce ‘Jardin de Bronce’ on its to a wider and more universal audience. next couple of months we’ll be announcing
second season, and the production of our first new projects. These 15 years have been a
title in Colombia: ‘Mil Colmillos’. Which are the features that you very important frame in the creation of
We are also pioneers on the tech area as we look in a project so as to be part of the Latin American content that it didn’t exist
evolved from the production of HD content Original Productions of HBO? before and looking into the future, we’d like
when the migration of SD to High Definition It has to be a unique and original story, with to have more products.

24 MIPCOM 2018
PRODUCTION @ newslinereport

MIPCOM 2018 25
PRODUCTION

DICK CLARK PRODUCTIONS

Achieved significant milestones in China


TV shows on their phones, they were ahead of
Mark Rafalowski, EVP In- the curve, and the rest of the world is following
ternational Distribution, suit now. People lifestyles are on the move, so
they are getting used to watching on
analyses the success of devices. There will always be theaters and al-
the alliance with FIFA. ways big TV screens in homes, but people will
watch more and more on devices”.
Based on Dick Clark Productions’ plans for the
assures that ‘The Football Show’ “is very well future, the EVP International Distribution, con-
received, we announced at MIP, but realistically cludes: “We’ll still be working on the continued
it was always a MIPCOM rollout, it launches on growth which we have had since the inception
“Working on a long term relationship with FIFA, Sky at the end of September then will go out of dcp international in 2014, with some signif-
extending our business with Jukin Media and around the world after that premiere. It’s a very icant milestones achieved in China this year
also extending relationships within China to iconic show, a very positive take on football and after many patient years of foundation setting.
produce localized programming. We need to find footballers and the worldwide impact. Zig Zag We are looking at things now from a bit differ-
the right partners to fit the project. You have to productions delivered a beautifully shot show, ent viewpoint as we are part of Valence Media,
be overly patient with all your agendas, the time we look forward to being able to expand on this which includes MRC (House of Cards, Ozark,
is not always right to get what you want done in the future, potentially with FIFA involvement, Counterpart) and also Billboard/The Hollywood
when you want it, but with perseverance, you maybe a bit similar to ESPN’s 30 for 30”. Reporter. This is a great combination of cre-
can ultimately achieve your goals,” explains Regarding the influence of technology when it ativity and access to talent. We want to make
Mark Rafalowski, EVP International Distribu- comes the time for the audience to consume its the right moves, with process over speed, but
tion, Dick Clark Productions. content, Rafalowski describes: “It was evident Valence has great promise and we hope to be
Describing the alliance with FIFA, the executive in China years ago that people were consuming able to show that in 2019”.

SONY PICTURES TELEVISION LATIN AMERICA

“We continue to focus on development”


How has the area of SPT Original
Productions evolved in the last time?
Ana Bond, SVP & Man-
In Latin America, it has been a very fast growth. aging Director, Interna-
Last year there were about 1000 hours of con-
tent between Mexico and Colombia, which is a tional Production, says
lot. Sony has managed to position itself in the that during 2017, the
market in a very strong way working with all the
channels, relevant creators in the region, as company had produced
well as growing local talent whether they are 1000 hours between
writers, directors, etc.
Mexico and Colombia.
Why do you think that SPT productions
are so well-known in regional and
international level? Are you considering the chance of
Sony’s productions in the region, regardless of continuing with the development of
gender, have always been characterized by high content for digital platforms, as they did Which are SPT’s goals for this last
quality on screen, a very well achieved look and with ‘El Rey de Valle’, for Claro Video? quarter of the year?
feel as a result of been seeking to have excellent Yeah of course. In fact there are a couple We continue to focus on development before any-
production elements, equipment, directors and of short projects that we hope to announce thing else, continuing that work of ants to find
creators that take care of the product. Without soon. They are project in a tone also of the stories that the audience wants, relevant
a doubt it is all a team effort. comedy or dramedy . and varied content.

26 MIPCOM 2018
PRODUCTION @ newslinereport

ENDEMOL SHINE LATINO

Nowadays has 29 formats on air


Michelle Wasserman, SVP, Format
Licensing & Content Development,
confirms that the company will
have more than 40 formats in dif-
ferent LATAM territories.

How has the business of Endemol Shine evolved over nated, or even end up mutating to even more valuable ideas.
the last couple of months? How have your formats Particularly in the Latin American region, the Group has shown
worked in the region? through its different local operations, and distribution arms
The 2018 was a great year. We will end the year having issued to its local partners a strength as a company, consistency in
more than 40 formats in territories where we do not have a local the creation of new content and business opportunities, and
operation. We currently have 29 formats on air in the region, not has generated content that has triumphed by those results
counting the contents originally produced by the production hous- and loyalty to the viewer. The presence is precisely the result of
es of Brazil (ESB) and Mexico (ESBoomdog), which will include this trajectory of content and professionalism with which the
more than a dozen additional shows, in addition to the tape representative team in the region works and manages its as-
shows distributed by Endemol Shine International. sets: contents, relationships and what is generated from it.
The main titles in Latin America during 2018 have been: ‘Mas-
terChef’, ‘The Wall’, ‘Your face sounds Familiar’, ‘My name is’, Are you thinking about producing special formats
‘Money Drop’, ‘Family Food Fight’ and ‘Don’t lose the Money’. for digital platforms?
Yes of course, we are not only thinking on it, but also we are
Why do you think Endemol Shine formats are so already working on it. In the case of dedicated channels, such
successful all over the world? as MasterChef that has its exclusive channels and original
I think the group has a unique formula. In fact, it was one content in Brazil, it is already a fact that has generated more
of the things that most captivated me when they offered to than 2 million subscribers on Facebook and another 2 million
be part of it. It has presence in 23 countries, with 120 on YouTube. We are currently working on original content for
production companies, 4,321 registered formats, and 2.7 large digital platforms that we will soon announce.
million monthly views. These seems only numbers, but the
most interesting fact is that they are built from a coopera- How will you be addressing your strategy for next year?
tive of associated producers whose creative assets are Working on digital opportunities, although we are already trav-
shared ideas enhancing the work in an incredible way. By eling in an interesting way, there’s still much more to learn,
exchanging ideas and improving them from the knowledge and a lot of business to work with, not only at the economic
and experience of colleagues and professionals, these ideas level, but also at cross-promotions with other platforms, and
may end up in a different place from where they are origi- to give more power and push to the scripted genre.

MIPCOM 2018 27
DISTRIBUTION

DORI MEDIA GROUP

Offers a catalogue with more


than 100 titles
How have evolved the commercia- all. Each episode takes you to a limit of
lization of Dori Media titles during tension and alert which is exciting. It is a
the last months? glimpse to an outsider world, a jail, full of
2018 was a great year for Dori Media in criminals, with their own stories in which
terms sales (scripted and non-scripted), the good or bad is no longer a discussion.
production, co-productions and awards. Fol- Representing the invisible outsider peo-
lowing are a few examples of the success: ple, in an outsider place, with outsider
‘The Road to Calvary’ is now streaming on rules in which you have to decide whether
Netflix following the sale to Greece, and is to fight to survive, die, or kill. All deci-
nominated to the Content Innovation sions are to the limit. El Marginal is
Awards 2018. The second season of ‘El Mar- unique, is risky, it is a content diamond.
ginal’, continues the success of the first Due to the success of season 1 and 2 we see
one, reaching 24,4% share, increasing time a big interest in the title and therefore we
slot by 500%. The show was sold to US, have many deals in negotiation that we will
France (Canal+), Latin America, UK, Spain, Nadav Palti, Presi- announce when signed, for both seasons.
Portugal, Israel, Poland, Uruguay and Tur- dent & CEO, ex-
key. Also, ‘Dumb’ became a huge success Are you thinking on the production
on HOT in Israel, with its third season in plains that through or co-production of content only
production for beginning 2019. for the digital platforms?
On our entertainment format side, Power
its MeMeMe Studios, Regarding the digital platforms we stick
Couple is an international success. Its the company man- to two main rules, first to keep production
third season in Germany reached 17,5% low focusing on great ideas and talent and
on RTL’s prime time, and 2.8 million ages 15 channels nor on production value, as in this way we
watched the final episode. The second reaching 440 million can create a lot of content and still remain
season debut in Hungary was marked by a profitable. Second, try anything but kill all
24.1% share, and its final episode, 24.2% monthly views. that is not bringing results. We don’t fall
- that is a huge success, and so was the in love with our ideas if they don’t work
whole season, it never went below 20%, even if we think they are brilliant.
which is very good on the Hungarian market. In Brazil it was
also a huge success reaching 12.6% share on TV Record. How will you be addressing your strategy
for the next year?
How have you been working at your MeMeMe Studios? Our goal for Q4 2018-2019 is to focus on production, co-
We started our relationship with YouTube as early as 2009 when production and digital. We see a continuing growing trend for
we uploaded our back catalog of Spanish telenovelas, estab- scripted shows, both for weekly prime time and daily shows.
lishing our status as a MCN and building our knowledge in the Because of the change in the way viewers watch the series, the
YouTube eco system. In 2014 we founded MeMeMe Studios as demand for scripted shows is growing. Also, the new OTT plat-
a classic MCN, managing third party content but very early we forms increased the demand for content, mainly scripted one.
understood that without creating our own IP we will not build Therefore the key to success is to meet
a lasting value. So we developed a new production pipeline to the market demand. This world trend
create content for USD 300-500 per minute, trying many ideas has a good effect on Dori Media as a
and kill those who don’t grow fast enough. Today we manage big producer of high quality content.
15 channels reaching 440 million monthly views. We are also focusing on increasing
co-productions and distribution col-
After the success of the first season of ‘El Marginal’, laborations worldwide, following the
and the recent finalization of its second season in past years’ success. And last, the Dori
Argentina, which are the next steps of your latest hit? Media sales team will continue to of-
As mentioned, season 2 continues the success of season 1, fer buyers a very strong and diverse
and the title is attractive for many reasons: the production slate, both scripted and non-scripted
quality is amazing, shot in a real jail, with huge actors, and formats form our catalogue that con-
remarkable directors and production team. It is violent, edgy, sist of above 100 titles offering each
realistic, mixed emotions for the viewer that cannot relax at client the best solution for his needs.

28 MIPCOM 2018
DISTRIBUTION @ newslinereport

MIPCOM 2018 29
DISTRIBUTION

TALPA GLOBAL

“Our volume of distribution of formats


tripled in the last three years”
Annelies Noest,
Head of Formats,
describes the bet on
Senior formats.

have eye contact with their family


member that is auditioning. Also we’re
developing different digital spin-off
formats related to the brand, that are
available to our licensees.

Do you think that OTT platforms will


How have evolved the business ters with interesting life stories that ap- affect the way audiences consume
of Talpa Global? peal to a broad audience. entertainment formats, like it did
It has been a busy year so far with quite a And in Asia our business is booming. We with the scripted shows?
few highlights. In June the first season of are currently the number three player in Yes absolutely. With the OTT platforms,
Utopia, the longest running reality show the Asian format sales market. Our for- audiences can then choose what they
ever on Dutch televison, came to an end mat distribution volume almost tripled want to watch and when they will watch
after being on air non-stop for 4-5 years. over the past three years, with Talpa shows it. Watching a show on an OTT platform
It was immediately followed by season 2 reaching new markets like Singapore, Ma- is a conscious decision of the consumer,
the next Monday with a news cast and on laysia and Mongolia to name a few. rather than accidentally tuning into the
a new location, and again continues to show on linear tv. With some OTT plat-
be a steady pillar for the channel in the Why do you think that your forms like Facebook Watch for example,
access time slot. With an average market formats are so successful on there is also the opportunity to make the
share of 11.9% (20-49) and 504.000 their local versions? entertainment shows more interactive for
viewers per episode, season 2 of Utopia We create content with a global appeal audiences, which in turn is generating
is even outperforming Utopia series 1. and a local relevance. Our formats are
And we just finished the first season of always evolving and are being adapted
The Voice Senior in the Netherlands. The for local markets.
show consisted of just 4 episodes and With full focus and dedication, we con-
scored stellar ratings each week in all tinuously improve formats with new
age demos. People genuinely enjoyed the elements to keep it fresh and relevant,
warm and positive vibe of the show. It in order to guarantee the longevity of
has already been commissioned in sev- our formats. We have a team of flying
eral other territories. producers, our Global Productions
This proves again that the trend of fea- team, to look after this. We are in-
turing elderly in TV formats is working volved in the entire process from start
really well. Our formats ‘Around the to finish of producing the shows. Look-
World with 80-year-olds’ and ‘The World ing at our flagship format The Voice, (more) data for the OTT platforms itself
According to 80-year-olds’ have also we always update this format with new that they can use for profiling.
scored well and have been picked up by elements to keep it fresh, like the re- At the same time, we see that those few
several other territories. In Germany, the cently introduced ‘Family room’. Dur- strong big family skewing shows like The
first season of Around the World with ing the blind auditions the relatives Voice are stronger than ever all over the
80-year-olds scored fantastic ratings of the candidate are standing behind world. Apparently, there remains a
and has already been re-commissioned a glass window (in the Netherlands) strong appetite for this type of consum-
for a second season. It continues to or under the stands (rest of the world) ing entertainment on linear basis, as
prove that they are fascinating charac- so they can see the performance and long as it is relevant.

30 MIPCOM 2018
DISTRIBUTION @ newslinereport

How do you see the current Which is going to be the tent across multiple platforms that
situation of the industry? strategy of Talpa Global connects the new masses. We want
Digital is changing how and where peo- for next year? to create formats that everybody
ple consume and create content, and it is Our plans in general are always to grow, stays home for to watch, leading to
causing advertisers to move a growing expand and continue to bring innova- a ‘Watercooler moment’; content
percentage of their advertising spend to tive new formats to the world! The me- that people will talk about the next
digital and mobile platforms. Consum- dia world is changing rapidly, which of- day in the office.
ers need to be reached on different touch- fers great new oppor-
points, and the smaller media compa- tunities for us to work
nies are facing heavy competition of the with new clients and
FAANG’s (Facebook, Apple, Amazon, Net- new players in the
flix and Google) and their Asian counter- market, parallel to
parts like Alibaba, Line and Tencent. At growing our business
Talpa Media we make big, premium con- with our existing net-
tent that activates and engages users work of clients.
across multiple touchpoints, while at the
same time it triggers new revenue Which are your
streams. In doing so, we cater to the needs goals for the last
of our clients. For example our latest new term of the 2018?
format House of Talent was created as a We are furthering our
perfect solution for consumers in today’s ambition to continue developing big con- Besides the linear platforms, we will also
media landscape. The show reaches the tent with global appeal and local rele- focus on the new players, the OTT players.
young audience with music, social and vance. We take good care of our existing We have high expectations for this mar-
reality tv elements across all different brands, making sure they are refreshed ket and are very excited to showcase our
platforms. It is not just enjoyed on the with new elements and maintain a long broad range of formats. From The Voice
big screen, but will keep the audience life, while at the same time we bring Senior to Dance as One, we’re launching
engaged on all available screens. Social new and innovative shows. formats from multiple genres targeting
media is fully integrated in the format. Plus, we will continue to develop con- different audiences.

ECCHO RIGHTS

Multiplatform Turkish content


Barbora Suster, Head of Latin
America and Iberia,

that “as an independent distributor we are able to choose care-


fully the projects that we want to work with, and at the same
time we are lucky to be in a position to meet with many fine
independent producers. We understand an increasing trend that
a story can be successful regardless of where it comes from. As
Eccho Rights continues to be very strong in Turkish Drama. long as it speaks to people and their emotions then a series can
Representing over 20 hours per week of series on air this au- find a home on channels and platforms anywhere in the world”.
tumn, its catalogue from Turkey continues to grow and develop Regarding the business strategy for 2019, Suster admits that
at a great rate. At the same time they are growing its business the company is “very focused on getting more content to global
in Western Europe, and have a number of top premium titles and regional OTT platforms. We have made a number of major
from the region, including ‘El Accidente’ from Spain and ‘Con- deals with Netflix but we are also working with local players in
spiracy of Silence’ from Sweden. “We are also growing the Asia, Latin America and across Europe. While of course we will
number of adaptations coming from scripted formats we rep- continue our very strong relationships with linear broadcast-
resent. In the past two years we have had 20 remakes of script- ers providing them the top content”.
ed titles from our catalogue and demand for formats from At MIPCOM, Eccho Rights is offering a good stock of returning
around the world continues to grow”, explains Barbora Suster, titles from Turkish producers, as the second season of Stiletto
Head or Latin America and Iberia of Eccho Rights. Vendetta, the third of New Bride and Prisoner of Love and the
On the success of its diverse portfolio, the executive assures fifth season of Elif.

MIPCOM 2018 31
DISTRIBUTION

MEDIASET DISTRIBUTION

“Scripted drama is our main focus”


and now Mediaset’s catalogue is in good aired by Canale 5 next fall. The other
as MGE is distributing our catalogue in title, over anticipated, is the second sea-
LATAM and US Hispanic. son of the crime
Crime series ‘Code Name Solo’ has been series ‘ Code Manuela Caputi,
optioned for a local adaptation in Turkey Name Solo’
and police-series ‘Antimafia Squad’ will (8x50’ produced Head of International
have its local version in Latam and US by Taodue), in
Hispanic by W Studios, the independent which the police
Sales, describes the
production arm of Televisa and Univi- agent Marco will alliance with MGE.
sion. We also sold MGE telenovelas ‘For- continue with
give our sins’ to Poland to Pulse TV and his undercover mission and will do his
there is a big interest for the unscripted best to find the young boss’ daughter
reality ‘Would you take your ex back?’. on the run at the end of season 1.

Where is focused the strategy of How will you drive the operations
How could you describe your Mediaset Distribution? during 2019?
alliance with MGE? We have been focusing on drama and on Scripted drama is our main focus now and
We are very happy to share this impor- the last series launched by our flagship we have a very big range of dramas to offer
tant joint-venture since MGE choose us Canale 5 in prime time. Good series with by concentrating our efforts on this grow-
for the distribution of their long-running a high quality production value and big ing genre. Scripted drama has discovered
catalogue in Europe, recognizing the im- stars-actors. Now at MIPCOM we are an incredible explosion and it an impor-
portance of the group in Easter Europe. launching the drama series: ‘Ultimo – tant business for us. We are now concen-
We worked together developing the strong Chasing Narcos’ (4x50’ produced by Tao- trated on the possibility to sell the format
work made by Esperenza Garay in LATAM due) as the new miniseries that will be rights or our series for other adaptions.

KANAL D INTERNATIONAL

Distributes more than 100.000 hours


of programs
Which is the reason why
Kanal D dramas are so
Emrah Turna, Head of Sales successful all over the world?
and Business Development, Turkish series are still in the process
of expanding into new territories. In
assumes that Turkish series are most territories, like in LatAm our
still in the process of expanding series are aired on prime time be-
cause of their success. They have be-
into new territories. come an important role player in their
program scheduling.

Do you consider that language is no longer How could you describe the
a barrier for productions? current situation of the industry and the expansion
We as Kanal D International place importance to distribute of content internationalization?
universal content that global viewers can empathize with. Also The current situation is, that nearly every broadcaster is trying
dubbing overrides the barrier for productions. Kanal D Interna- to produce localized and global fitting content. The most im-
tional has over 100.000 hours of programs and 60.000 epi- portant thing is to create or adapt series or formats to target
sodes, reaching audiences in more than 150 countries and ter- multiple cultures. Transnational adaptation is important in
ritories, including Europe, America, Africa, Asia, MENA region. the contemporary tv industry.

32 MIPCOM 2018
DISTRIBUTION @ newslinereport

MIPCOM 2018 33
DISTRIBUTION

FRANCE TV DISTRIBUTION

The expansion of French


content worldwide
shown that European fiction can have
the power to travel to markets all over
Catherine Bernard, the world, like it was the case with our
COO, and Julia drama series The Chalet and Call My
Agent, two recent global releases. But
Schulte, SVP Inter- they have also created the appeal of
national Sales, ex- the consumers for this type of creative
and ambitious contents, and this
plain the new inter- seems to put some pressure on any se-
ries creator in Europe.
national strategy of
the company. Which is the strategy for
the commercialization of
your content?
already creating a lot of interest. Other As any distributor, we have to finely de-
positive evolutions concern certain key fine our distribution strategy to each
territories, like China that that are in- genre, each project and of course each
credibly increasing and where our local territory with its culture and customs.
strategies start to pay, especially in our The trend is to work earlier and closer
How have evolved the business animation business. The documentary dis- with the producers, to advise early
of France TV Distribution over the tribution has been taken to another level enough to be able to adapt each project
last months? as well, with our key brand Apocalypse and to the different markets and media by
With our strong new line-up of French the two new series: Apocalypse War of the proposing different versions for exam-
Drama productions we are part of the Worlds and Apocalypse Never-Ending War ple. And to be a partner not only in dis-
growing success and increasing export presold in many territories and the contin- tribution, but in financing, helping to
market of French fiction first of all. There uation of Real War of Thrones. find the right co-producers, the right
is a real dynamic and a new appeal of pre-buyers or financers in every region
channels and platforms from Europe and How can you describe the interna- based on the projects need.
from all around the world for the cre- tionalization of French content? Did
ative talent and the quality of the new SVOD platforms help on this issue? Which are your goals for the last
French drama productions. As the lat- The internationalization is of course first term of 2018?
est study from the French distributors of all based on highly creative, ambi- We would like to continue in this dynam-
association TVFI shows, French drama tious French producers imagining new ic of course, pushing the sales during
export numbers increased by 28% be- ways of story-telling, having new ambi- the important markets like MIPCOM, ATF
tween 2016 and 2017. At the same time tions to propose interesting projects to in Singapore, and starting to prepare
our own export figures for French drama their national broadcasters. But in the the upcoming 2019 projects in terms of
productions almost doubled. And the changing environment they are also presales to international partners. We
trend continues due to a strong lineup: more focused on international markets have high ambitions for the end of the
our propositions like the new 6x52’ se- and international audiences to be able year in each of the genre: fiction, ani-
ries Inside or our newly launched and to close financial gaps and have a wid- mation, drama aiming continuous
highly successful daily drama series er income perspective. The SVOD plat- growth, so we also rely on developing
Chronicles of The Sun (260x22’) launched forms have contributed to this dynamic new opportunities and business until the
in access Primetime on France 2 are in two ways in my opinion: They have last months of 2018.

34 MIPCOM 2018
DISTRIBUTION @ newslinereport

GAUMONT

“We want to ramp up production


of local drama content”
Now you have acquired the
Vanessa Shapiro, distribution rights of ‘El Chapo’,
how will you addressing your
President, World- narco-content strategy? Will you
be selling the full package of
wide TV Distribution content related?
and Co-Productions, We now have four seasons of Narcos to
present to our partners. The series over-
admits that the all looks at the rise and fall of the drug
company is able to trade across multiple cartel factions
lead by the most dangerous and power-
get involved quite ful criminals in the world. The first two
seasons highlighted Pablo Escobar’s Co-
early in the process lombian empire which upon his ultimate
of local productions. demise, led to the rise of the equally
violent Cali cartel, featured in season
3. And now in season 4, we explore the
How are you expanding your Mexican drug trafficking world. While the
How has Gaumont’s business partnerships all around the world? location has changed for the fourth sea-
evolved over the last months? Having boots on the ground in the form son, the theme remains consistent to
Our strategy is to ramp up production of local offices lead by some of the in- the DNA of the series.
of local drama content, including co- dustry’s top executives is a key focus for El Chapo, which is a three season Univi-
productions. In fact, Latin America is Gaumont. With offices in Paris, Los An- sion series produced in the Spanish-
a prime focus for us. We have several geles, the UK, Germany and Buenos language is about the rise and ulti-
TV co-productions in the works, and Aires, we are primed and ready to take mate capture of another of the world’s
we expect to announce our first one in advantage of all possible opportunities. most notorious drug lords making it
the coming weeks. Outside of the re- Agility is an important factor in any com- the perfect companion to Narcos. We
gion, we have expanded our footprint pany’s ability to be successful. At believe the two shows exemplify our
in Europe. We opened our first UK and Gaumont, given our global presence, we continued commitment to expand our
German offices this summer are able to get involved quite early in efforts throughout the Latin American
with Alison Jackson, serving as Pres- the process and have meaningful con- market through both the acquisition of
ident of Gaumont UK, and Sabine de versations in order to identify projects high-quality Spanish-language series
Mardt, serving as President to develop, which makes us an optimal and upcoming co-productions in the
of Gaumont Germany. partner for local production companies market, the first which will be an-
who can attach top talent. nounced soon.
Which is the influence of techno-
logy in the way that people
consume content?
Platforms such as Netflix, Amazon
and Hulu produced a new consumer –
the binge viewer – moving the drama
trend away from procedurals to seri-
alized series. Add to that the multi-
tude of devices that we can now view
programming on – from mobile
phones to Smart TVs, tablets, lap top
computers, etc. — the industry is tran-
sitioning to an on-demand world,
where viewers can watch programming
whenever and wherever they want to.

MIPCOM 2018 35
DISTRIBUTION

ALL3MEDIA INTERNATIONAL

Scores early presales for ‘The Bisexual’


The comedy pro-
duced by Hoote-
nanny will be avail-
able in Channel 4,
Hulu, CANAL+
Group, Sky Network
and Stan.

The independent distributor all3media extremely candid portrait of sex and Nick Forward, Stan Chief Content
international has signed major identity and we’re incredibly proud to Officer said “Desiree Akhaven is an
presales for its new contemporary be presenting her unique take on extraordinary talent, and her unique
comedy The Bisexual. The six-part series contemporary dating to audiences in take on the complications of modern
is written, directed and stars Iranian- France, New Zealand and Australia.” dating is incredibly timely. We’re
American filmmaker and Sundance Louise Pedersen, CEO at all3media looking forward to bringing The
Grand Jury Prize Winner Desiree international, commented, “In The Bisexual to Audiences at the same
Akhavan. Produced by Hootenanny – a Bisexual, Desiree Akhavan gives us a time as its worldwide premiere.”
Sister Pictures company – for Channel unique and very honest view of The Bisexual also stars Eva Birthistle
4, UK and Hulu in the USA, The contemporary dating. It’s a testament (The Last Kingdom, Brooklyn), John
Bisexual, which is currently in post- to the quality of the show that major Dagliesh (Justice League, Sunny
production, has been secured by broadcast partners CANAL+ and Stan Afternoon, The Monuments Men),
CANAL+ Group to be broadcast in have come on board at such an early Naomi Ackie (Lady Macbeth, Yardie,
France and all its territories, while Sky stage alongside Channel 4 and Hulu, Star Wars:Episode 9), Niamh Algar
Network in New Zealand has acquired and we look forward to further deals (The Virtues) and newcomers Saskia
exclusive rights to the series.Stan, over the coming months.” Chana and Michelle Guillot.
Australia also has exclusive rights.
Set to debut on Channel 4 and Hulu,
The Bisexual is a six-part comedy
drama exploring the differences
between dating men and women
from the perspective of a person who
finds herself – for the first time -
doing both. BAFTA-nominated
Maxine Peake (Peterloo Three Girls,
Funny Cow) and Brian Gleeson
(Hellboy, Phantom Thread,
Stonemouth) star alongside ac-
claimed screenwriter, director and
actress Desiree Akhavan (The
Miseducation of Cameron Post,
Appropriate Behaviour) in her first
television project.
Naomi De Pear, Executive Producer,
said, “Desi is a singular talent who
has lent her distinct wit, authorial
voice and unflinching director’s vision
to the ‘last taboo’ – the result is The
Bisexual, an intimate, funny and

36 MIPCOM 2018
DISTRIBUTION

TELEFILMS

“90% of what it works in the US


also works in Latin America”
Tomas Darcyl, CEO,
maintains that the
public recognizes
quality products and
attractive stories.

Which are the trends you’ve been


watching in the different Interna-
tional Festivals?
There is a lot of interest in the ‘Me-Too’,
In which stage is your thing specific, as we think about the where women are protagonists. Also real
original production both of future. Of the 35 films that we currently stories like Greenbook, which continue
movies and series? have, I can highlight the winner at the to work great as they are relevant and
While our core business is the 35 Amer- Toronto Festival (TIFF), Greebook, star- interesting stories. Animation is also
ican films that are being distributed in ring Viggo Mortensen and Mahershala interesting as well as the genre of terror
the United States, today there is an ex- Ali, which is very commercial and will in Latin America. Even in the TIFF we
plosion of production in our Group both have its awards track. We also have Ben acquired the film In Fabric, which is
of movies and series. In this sense, to- is Back, starring Julia Roberts; At Eter- small but with a great potential. And
gether with THR3 Media Group, we are nity’s Gate, where Williem Dafoe plays we had good results with Hereditary,
producing five Mexican films per year Vincent van Gogh. Among many films, which will surely get an Oscar, like it
and several series. This action will be we are premiering Mile 22 throughout happened with ‘Get Out’. The trends in
replicated in the rest of Latin America, Latin America with great success, ex- cinema are changing very fast, with a
taking care of Brazil, Mexico and Argen- ceeding one million spectators in Mexi- great entertainment frontier.
tina. Although we add much more work, co. We have a lot of work and we already
this task is very interesting because we have over 200 people in the Diamond How would you define the
are in a process of rebirth in all this Group, which is expanding to Spain and characteristics of your titles
work and learning. THR3 Media will be Portugal to take all of Latin America. so as to be recognize at the
dedicated to Mexican products, with the regional level, beyond interna-
possibility of jumping to the Latin mar- Are you looking for ways tional success?
ket in the United States; in the rest of to co-produce originals to It is a combination. The success of the
the territories surely The Magic Eye will market them in the regions United States does not always augur a
support us, as in Argentina and Brazil. where they operate? success in Latin America but it does in
Taking into account the giants and The issue of co-production is delicate 90% of the cases. The public recognizes
those companies established in the because of the combination since they quality products and attractive stories.
market, the only way to move forward must first work in the territories where That’s why we believe in commercial films,
in this business is to grow and also it was created. It is difficult for a film pop-corn, with a high budget and script
continue to invest in Hollywood. The made in a certain Latin American ter- that is the structure and basis of the
combination of factors will allow us to ritory to travel to other places in the film. For this you have to read it and un-
survive and grow in the market. region. The impact is usually in the derstand it, and then make the decisions.
country where it occurs. In addition That’s why today our strategy is to pro-
How could you describe there are not many examples of co-pro- duce the pending projects and acquire
the presence of the company ductions of films between countries the best films. As a service company, we
in Mipcom? that work equally in the two territories. offer this explosive combination of the
In the different markets of Television and It’s something risky, as if we produce best original and Hollywood products to
Cinema we acquire films and make long- originally we do it for a certain market, the big operators, solving the critical
term agreements. The markets today are and then it will be welcome if it travels mass not only with Hollywood tanks but
an excuse, since we don’t take some- to other places. also with local production.

38 MIPCOM 2018
DISTRIBUTION @ newslinereport

SABBATICAL ENTERTAINMENT

More than 200 hours in less than 2 years


Miguel Somoza, President & CEO, des- How have Sabbatical
alliances evolved in an
cribes the evolution of Sabbatical Sports. international perspective?
We firmly believe that borders do
A few months after the launch gagement with sports fans, who not exist thanks to technology, so
of Sabbatical Sports, how was were enthusiastic, participated and we can work remotely with who we
the reception of the market to were redirected to our channel to want. Our content is universal, so
this new sports offer? have access to more information. it is consistent that we join forc-
Extraordinary Innovation has been So some of the capsules could be es with teams in all parts of the
the key to the success of our sports seen on FB, others on our channel, world, from all disciplines and
content, both at the conceptual and on mobile apps and even on TV chan- cultures. We are working with
at an esthetic level. We created vi- nels where they were broadcasted. distribution, since we have three start-ups or Sabbatical Stations,
gnettes with impressive images, children series on the air with E/I as we like to call the production
written by specialists in the sub- How have Sabbatical’s certification in Univision: Planet of houses full of young profession-
ject, where information is condensed businesses evolved in children, The world is yours and als who are in different places:
and presented in a very dynamic the last time? Human Nature, as well as five ex- Barcelona, Bogota, Buenos Aires,
way, with an attractive and contem- Our evolution has been exponential clusive documentaries that we have Mexico, São Paulo. We have con-
porary language. In addition, the in every way. Both in the creation broadcast on CNN in Spanish, for ceived an alliance model that al-
first outreach platform that we used and production of original content, all the Spanish-speaking public of lows us to associate with them in
to attract consumer traffic to our since in less than 2 years we have the United States, as for the CNNE an efficient formula to win = win,
channel was the social network Fa- made more than 200 hours of pro- signal for Latin America, from Mex- which transcends the limits we
cebook, where we achieved high en- gramming, as well as in sales and ico to the Patagonia had imagined.

TONDERO

Celebrates its first 10 years


How has Tondero evolved in Cecilia Gómez de la Torre, General
these ten years?
Tondero started 10 years ago as a Manager of the Distribution area,
representation company of the most
important actors in Peru. Then it
analyses the growth of Peruvian pro-
went on to generate great shows for ductions worldwide.
theaters, and in 2012 it made a
great bet on films production, hav-
ing created a great change in the ity to a world standard and to a spe- constancy in our production, as we
production and commercialization of cialization of the team. Nowadays, are increasing the number of pro-
the Peruvian Cinema, with national we are generating many innovative ductions and the quality of them.
cinematographic successes; as well proposals on a creative level, and
as important author films of great most importantly, and take the de- Which are Tondero’s goals for
success in international festivals. cision to open soon management in the last quarter of the year?
But in this time, the company went Mexico, Colombia and Spain. The main goal is to overcome the
further more. It has added a strate- results of the previous year with
gic area, Tondero Distribución, and América TV of Peru, with great re- Why do you think that Peru- the Premiere of Asu Mare 3 and
there’s when I joined the partner- sults in a short time. vian content grew so fast over generate through this a new para-
ship, so as to expand the third par- the last couple of years? digm in our Cinema. We are aware
ties and to start an interesting fic- How did the company’s port- I think it has to do first with the that the challenge is high, since it
tion co-production process for dif- folio migrate with the incor- proposal of original contents, then is not easy to get back 3 million
ferent platforms. This new company poration of original produc- with the level of our productions, viewers like the first two ones, but
is in charge of the local distribution tions and co-productions? also the fact that the Peruvian the whole team has been working
and international sale of movies, This has been a great challenge, accent is very neutral, that it col- on it and great strategies have
documentaries, series and novels of since it has led us to raise our qual- laborates a lot and finally a great been generated to achieve it.

MIPCOM 2018 39
DISTRIBUTION

KESHET INTERNATIONAL

“Finished content sales is a growing


part of our business”
Kelly Wright, VP Distribution and New Business, boosts high-profile
TV and film projects through the KI Content Fund.

How have you evolved the business thriller such as When Heroes Fly, or a love
of Keshet International? story with a scripted ending such as Tele-
This has been a big year for Keshet Inter- visa’s current adaptation of Mythological
national across the globe. We acquired a Ex. It’s our job to keep exploring new worlds
majority stake in Greenbird Media guar- with viewers, exploring the boundary be-
anteeing us a new pipeline of English lan- tween local and global, and continuing to
guage finished tape and formats from bring to the world an innovative new line-
some of the UK’s top indie producers, in- up of content each year, without losing
cluding Crackit Productions and Tues- what is familiar, popular, and beloved.
day’s Child. Finished content sales is a
growing part of our business and we have How do you see the current
excellent titles on our slate from interna- situation of the industry?
tional dramas to high quality factual. We No matter in what part of the industry
also launched our $55M KI Content Fund you work, we are all facing massive chal-
in March to bring more high-profile TV and film projects to the lenges to what has been the steady business model for de-
market, closely followed by our first project – Ecosse Films’ The cades. With technological growth comes both organizational
Trials of Christine Keeler for BBC One. So, we’re really looking challenges and global spread. We are all expanding our au-
to deficit fund similar commissioned, high-end drama projects diences from the borders of our own territories to the global
with global appeal this year. stage, and how do you service such a massive global audi-
ence, while reflecting the local plots inside of the universal
Why do you think that your formats are so successful truths that make each series so unique and relevant? We’re
in their local versions? facing a paradigm shift in perspective, and organizations
I believe there are three factors, and the first is scalabil- need to work hard to make a tricky 180-degree turn from
ity. Israeli budgets sit in the middle, towards the lower being inward-facing to outward-looking, while continuing to
end of global television budgets, and can be scaled up or strengthen their core business pillars. Some will topple while
down, which suits 95% of TV production models. The sec- making that turn, and they won’t be able to pick themselves
ond thing is creativity. Being a nation of immigrants, up. Others will gracefully rebound, and they’ll thrive. The
Israelis have always had to contend with an audience that next 5 years will see a “natural selection” amongst compet-
watches global content, with the challenge being to com- itors – the strongest will survive.
pete against content and strike a chord with local audi-
ences. Those unique elements – whether humor, clever Which is going to be the strategy of Keshet Interna-
plot twists, or innovative storytelling methods – are not tional for next year?
just unique in Israel, but unique in the global market, An important message we want to get across this year and
and therefore worthy of replication on a local level. The moving forward is that we are not just about formats, even
third factor is partnerships. At Keshet, we are quite flex- though we’ve had huge success here in the past. We have
ible format owners, and we understand that partners need production capabilities around the world and are also able to
the freedom to adapt. We work hand-in-hand with part- finance original properties we believe in. We are committed to
ners on local development, ensuring a hybrid product that creating a diverse slate of quality finished tape. From high-
both retains the structural integrity of the original, but is end dramas like Autonomies, which premiered at Series Mania
imbued with the local flavor of the host country. in May and Stockholm, which debuted to critical acclaim this
month at the Toronto International Film Festival (TIFF), to Crac-
How are you working with your drama strategy? kit Productions’ docu-reality Bad Habits, Holy Orders, finished
At KI, we continue to develop, produce and acquire compelling content sales across all genres are now as important to us as
dramas on both a local and a global level. Our viewers can formats. One of our aims is to become a key destination for
easily escape into a fantasy of their choice, whether it’s a every buyer of finished content globally.

40 MIPCOM 2018
DISTRIBUTION @ newslinereport

MIPCOM 2018 41
DISTRIBUTION

A+E NETWORKS

Launches its first programming event


for Crime+Investigation
Valley, a pastoral and devout corner
Sean Cohan, of what was once America’s western
frontier, where worldly and funda-
President, Interna- mentalist ideas of faith clash. With
some beliefs affecting literal life and
tional & Digital Me- death consequences, in a domain
dia, explains that where church and state lines blur,
child fatalities linked to faith healing
during seven days, and medical neglect occur largely
the channel will without scrutiny. Parents who refuse
medical care for their children in the
have special pro- name of God are immune from
prosecution, and religious freedom is
ductions all around elevated above all else.
the world. ‘Cults and Extreme Belief’ (9x60’)
features Emmy Award-winning
journalist Elizabeth Vargas, who
Building on its rich, 20+ year legacy Crime+Investigation channels has traveled the world reporting in-
in the true crime space, A+E focuses on cults and twisted faith depth investigations and conducting
Networks announces Twisted Faith, around the world. The weeklong newsmaker interviews. Now, in this
its first Primetime programming initiative will premiere new hours of explosive series, she lifts the lid on
event across its global flagship programming headlined by A&E life inside some of the world’s most
channel Crime+ Investigation. The Indie Film No Greater Law; as well controversial organizations, exposing
seven-day block will feature a strong as new episodes of the original their manipulative tactics and
lineup of original content, new investigative series Cults and destructive belief systems. From the
season premieres of continuing Extreme Belief featuring Emmy®
series and locally produced long- Award-winning journalist Elizabeth
and short form content. Vargas; as well as local originals
Crime+Investigation channels from Italy, Germany and the UK.
around the world will kick off the The event will air in over 100 territo-
event the week of November 18, ries around the world including in the
2018 on the 40th anniversary of the U.S., Canada, the UK, Poland, South
Jonestown massacre. The announce- Africa, Italy, Spain, Portugal, and self-help group NXIVM and the
ment was made by Sean Cohan, Southeast Asia. In Germany, Twisted Twelve Tribes to the United Nation of
President, International & Digital Faith will premiere on A&E Network. Islam, Jehovah’s Witnesses, and The
Media, A+E Networks. Headlining the event in the UK is a Family, each episode takes an
“Twisted Faith was created for locally commissioned Special – Cults, immersive look at one group through
Crime+Investigation’s highly Taboos and Twisted Faith – produced the eyes of past devotees and gets
engaged, loyal viewers, many of whom by Phoenix TV and bringing together perspective from believers and
represent life’s investigators – smart, British cult survivors, victims and leaders who are still inside.
curious students of human behavior,” family members, some of whom are ‘Escaping Polygamy, Season Three’
said Cohan. “The event is an optimal talking for the first time about the (10x60’) begins more than 10 years
platform to exploit the channel’s trauma of indoctrination and escape after four sisters escape from “the
strong pipeline of cults and twisted from cults and fringe groups and how Order,” a secretive polygamous cult
faith related programming, while it’s impacted their lives. The special is in Salt Lake City. Now Andrea,
providing significant opportunities for produced by local UK production Jessica, Shannell, and Kollene
localization as we present investiga- company Phoenix TV and Executive devote their lives to helping other
tions of universal and broader themes Produced for the network by Di Carter. young men, women, and children
across the week.” Twisted Faith global premieres are break free from polygamous groups
This first-ever global programming compounded by ‘No Greater Law’ and adjust to life on the outside. In
event created for (120’) that explores Idaho’s Treasure Season 3, the women continue their

42 MIPCOM 2018
DISTRIBUTION @ newslinereport

dangerous mission, with Jessica


even taking a public and political
stance against polygamy in a
controversial hearing before Utah’s
legislature.

Last but not least, ‘Leah Remini:


Scientology and the Aftermath: The
Jehovah’s Witnesses’ (120’) features
Leah Remini and Mike Rinder as they
shine a light on the Jehovah’s
Witnesses, giving voice to former
members who share their stories of
trauma and survival.

MISTCO

Shows two new drama series of TRT


Mipcom this year. Hold My Hand
‘Hold My Hand’ adopts both a romantic and a
tragic main story. And thus, we
and ‘Two Parts One believe that the success it reached
in Turkey will be reflected globally
Love’ are destined and the series will receive great
to be the new flag- interest from all around the world
especially from Latin America.
ship titles. Right after the launch of the show,
there are deals we are about to
close. As the leader of family
grandma Mrs. Feride try to impose drama production, TRT produces
upon him. One day Mrs. Feride meets the best family drama series and
Azra and adores her, so she decides to Two Parts One Love has proven to
assign Azra as her new and only be one of them with its ratings
heiress. That’s how the bound of Azra result so far. It is a great choice
and Cenk starts to be formed. for the global partners who are
The second drama series to be searching for fun on their screen.”
launched is a family drama named
TRT and MistCo are bringing two new Two Parts One Love. The series has a
drama series to Mipcom this year. very emotional and entertaining
One of these series is named Hold My story. Deniz and Zeynep are two
Hand, premiered on TRT this July, young people coming from the most
and remains as the N°1 TV show on distant regions of the country.
Sunday nights in all target groups. Zeynep is a newly graduated girl and
Following two main characters, Azra she lives with her father. Deniz is a
and Cenk, the story focuses on the young man living with his mother
crossing lives of these two young and he wants to establish his
people. Azra is a beautiful, well- business. However, Deniz and Zeynep
educated girl who mysteriously loses start to work for the same company
her father and finds herself out in and their parents end up having two
the streets with no money or shelter restaurants across each other as
all of a sudden. Things get more competitors in a small town.
complex when Azra’s brother goes Aysegul Tuzun, VP, Sales &
missing. Cenk is a very handsome boy Marketing, MistCo, comments: “We
coming from a wealthy family. He are very honored to announce these
rejects to live the traditional life his two successful launches for

MIPCOM 2018 43
DISTRIBUTION

BBC STUDIOS LATIN AMERICA - USH

“There is an enormous opportunity


offered by new technologies”
David Hanono, SVP,
Sales & Digital, seeks
to innovate in the re-
gion and its partners
like the key players of
Free TV and Pay TV.

have evolved satisfactorily. We reached an


agreement with Endemol Shine Brasil and
Which was the reception of the Chile, Cablevisión in Argentina and Glo- MB Produções de Murilo Benício and Débo-
market to BBC Studios’ main bo in Brazil so as to name a few. At BBC ra Falabella to produce a Brazilian version
formats as is the case of ‘Bake Off Studios our partners are instrumental of Doctor Foster. This will be the debut of
...’ in Latin America? How could and we always look for new opportuni- the BBC within the segment of dramatic
you describe the success of the ties while we follow up and continue to series based on script in Brazil.
formats both as tapes and present businesses. We have established partnerships and
adapted local versions? worked very closely with our transmit-
The reception has been very good, Bake Do you think that technological ting partners (Discovery, Globo, SBT,
Off Brazil - Mão na Massa entered its evolution influences the develo- RecordTV, Univision) and our OTT part-
fourth season in August, the first sea- pment and consumption of ners (Netflix, Amazon, Sony Crackle, Cla-
son of Bake Off Argentina, El Gran productions? ro Video, Looke, TV Cultura, Netflix, En-
Pastelero was a success obtaining a Of course, as we know, the growth of the terplay, VTR, Antel , etc.). We support
growth of almost 35% in ratings week OTT is forcing the broadcasters to ex- the development of innovative platforms
by week. The success of this format in pand their catch-up and digital offer. for our clients, such as VTR Chile or the
Argentina opened the way to Bake Off In addition, there are many DDT that Cablevision Flow multiplatform service
Chile, El Gran Pastelero , the second are emerging and looking for content in Argentina, expanding and creating a
adaptation of the format in Spanish, that is not the traditional one. We offer dedicated offer of BBC On Demand.
which also premiered in Chilevision in content for all types of platforms and
August and has caused a phenomenon when we are in production we have al- What are the goals of BBC
in social networks and in the audience. ready planned it in another way taking Studios for this last quarter?
The success essentially lies in the fact into account all the platforms. For ex- We want to distribute the largest amount
that a good story, of good quality always ample, our emblematic series that pre- of BBC content on all existing platforms.
travels and especially this kind of format miered this year, Blue Planet II, this series One of the main focuses of attention
that touches audiences so personally with also had content in short format so that it are the telcos, they are requesting short
childhood memories of the kitchen, the can be used in mobile or online. This al- and long term content. We believe that
challenges that we all live to make a cake lows an optimization of the productions we will open new business models with
and that in the background it reaches and the ability to link with our series in any companies such as Telcel in Mexico or
the hearts of the viewers. environment. I see an enormous opportu- Vivo in Brazil, for example. It is a fact
nity offered by new technologies. that today audiences are seeing content
How have BBC Studios busines- in all kinds of devices, so you have to
ses evolved in the last time? How do the alliances of BBC target those areas. We have to be cre-
The balance has been very positive, fo- Studios evolve with their main ative and recognize all the opportuni-
cused on supporting our partners by of- international players? ties we have for our titles to be con-
fering them the right content for their We continue working with the great in- sumed. Blue Planet II, for example, gives
needs. Our team is divided to cover dif- ternational players like Netflix and Am- endless content that can be shared,
ferent genres and clients. In recent azon of course, but we also seek to inno- arouses emotions and it is material that
times, we have closed agreements with vate in the region and our partners like people want to share on their social net-
Discovery in Latin America, VTR in the big ones of open TV and Pay. They works or see on their cellphones.

44 MIPCOM 2018
DISTRIBUTION @ newslinereport

LEDAFILMS

Starts investing in co-production projects


Which were the first results of challenge today is that nothing
‘Everybody Knows’ after its Moira Mc Nama- is rigid anymore, it is impossible
premiere in the main cinemas? to speak of a standardization in
It has been a pride for us to have ra, Sales Manager, distribution, each production,
a title like ‘Everybody Knows’ of each negotiation is unique in
Asghar Farhadi, not only because
announces that itself and this permanent
this was the title that opened the the company is change requires a dynamic,
last Cannes Festival but also proactive direction and is always
because it is also reaping excellent going to venture oriented to create and develop
reviews and very good results from into the North new opportunities of business.
viewers in the territories where it
has released to date. In addition American market. What are the goals of Ledafil-
to the great director, the cast of ms for this last quarter?
luxury formed by: Penélope Cruz, We have several co-production
Ricardo Darín and Javier Bardem lion on a farm in South Africa and attentive to the needs of different projects under development and we
are important attractions for the The Queen’s Corgi that tells the screens as not everyone is looking hope to be able to advance in them
public in Latin America. adventures of the favorite dog of for the same content time. in the coming months to be able to
the Queen of England when comment on news about them soon.
How have the Ledafilms busi- leaving Buckingham Palace must How do Ledafilms alliances Go back to venture into production,
ness evolved in the last time? learn to be a true Top Dog. evolve with you main as well as enter the North American
We are very satisfied with the international partners? market, is one of the objectives in
results we have had in the last How would you describe Fortunately, we work with several which we are working at full speed.
time. Not only by agreements that the current situation of the of the largest and most recog- Also, we have several titles coming
we have specified and the content industry? nized players in the industry. Each to premiere in cinemas like: ‘I Still
attractiveness of the titles that The present is a great moment for agreement is unique, but what we See you’, ‘Replicas’ and ‘Playmobil:
have been incorporated into our content. The audience has shown can discuss is that titles and The Movie’.
catalog, but also by the new like never before that when the projects of the highest quality are
business units in which we are content is good, it likes a lot. There the tools that help us in the
venturing. During the last years is a great feedback of screens and assembly of each of the negotia-
we have premiered a large social networks. People want to tions with our different clients.
number of titles in cinemas share their experience when they
throughout Latin America in like content and that forces us to How will be managed
partnership with local partners be in constant search and the Ledafilms operations
and now we are going to venture analysis of the tastes, themes, for 2019?
into the North American market genres and trends that are being Ledafilms has more than 45
with the titles: Mia And The White required by the viewer. In the years of experience and through-
Lion with Mélanie Laurent, current context it is very important out our history we have been
Langley Kirkwood, Tessa Jubber to identify attractive content that characterized by our flexibility
about a girl who develops an can reach as many people as when dealing with the different
incredible friendship with a white possible. You have to be very changes in the industry. The

MIPCOM 2018 45
DISTRIBUTION

SONAR ENTERTAINMENT

“Development is key to our strategy”


How has Sonar’s business Andres Santos, VP,
evolved recently?
Investment into our own development International Distri-
together with collaborating with third
party content creators has enabled us
bution, Latin Ameri-
to build a strong development portfolio ca, Brazil & Hispan-
of ‘high end drama’. These third party
creative relationships vary from ‘first ic North America,
look’ deals with Smokehouse (George describes the differ-
Clooney), Team Downey (Robert
Downey Jr) and MTG (Geyer Kosinski) to ent alliances estab-
a number of ‘multi project’ deals with
the likes of Scott Free UK (Ridley
lished with several
Scott) and Monkey Paw (Jordan Peele) companies.
plus we are building additional
relationships with creators in Europe,
specifically UK & Italy, plus Asia. changing marketplace. Now as a
Development is key to our strategy as producer/distributor you have to extract
we are financing the option on IP value from projects in different ways
rights, we then attach and fund a (through co-production, co-financing
writer to execute a script and treat- models, soft monies, tax funds) which
ment then subsequently we package then become more IP building invest-
the project. In order to elevate the ment and a production play. Being a drama’ that attracts great talent
content above the surfeit of other relatively small indie we can be nimble, which is content that is most sort
competing drama projects in the agile and flexible in responding to the after by all platforms and networks.
marketplace we look to secure a ‘name shifts to the industry while continuing On the sales side we will continue to
showrunner’ or ‘feature director’ and to be a collaborative partner to both maintain and build closer relation-
then make the material undeniable creative partners and distribution ships in all markets globally.
with top level casting. platforms & networks.
What are Sonar’s objectives
How would you describe How will Sonar’s operations for this last quarter?
the current situation of the be managed for 2019? Our objective, of course, in the last
content industry? We will continue to focus on finding quarter is to meet our 2018 budget.
The international distribution business great stories and storytellers plus Additionally, we will start the process
in the last 24 months has changed finding brands, franchise and great at Mipcom, then Mip Cancun and in
immensely and that change is being talent – we are looking to create shows Singapore at ATF to engage with our
felt nowhere more keenly than in the with market cut through. We will buyers in early discussions about our
drama creation sector. Mass consolida- adapt to the needs of the market and new drama projects that will com-
tion and the rise of streamers taking the consumer. We are not part of a mence production in the next 6
global licenses means there are broadcaster/platform led vertically months. It’s becoming increasingly
arguably fewer sources of IP to draw integrated structure (BBC Studios/ important to have our clients involved
from and a requirement to pay higher BBC, ITV Studios/ITV Network, All 3/ with projects at the earliest possible
prices to buy into shows earlier in their Liberty, Red Arrow/ProSieben, Studio moment as drama series take shape
lifecycle. Traditional deal structures are Canal/Canal Plus, plus all the US (we have an episode one script and
now outdated and business that once consolidation Lionsgate/Starz, Disney/ series bible). Early engagement is now
relied on sales of finished tape are Fox and Comcast/Sky etc.) so we have a necessity for both producer, distribu-
having to move fast to adapt to the to maintain our focus on ‘high end tor and platform partners.

46 MIPCOM 2018
DISTRIBUTION @ newslinereport

MEGA GLOBAL ENTERTAINMENT

“Digital platforms let us knock down


barriers and reduce distances”
Esperanza Garay,
CEO, presents a
different kind of
content that could
travel easily.

How do you describe the moment


of production in Latin America?
Latin American production is
growing and we have high levels of
quality, so that we can’t envy any
producer of the world. Today, Latin
After the launch of MGE in LA other territories. We have an alliance America has become a producer that
Screenings, how was the recep- with Zona A of Colombia, which supplies its own regional signals but
tion of the industry towards this provides formats and different its contents created in the region
new distributor? genres of telenovelas, movies, and are being consumed internationally.
The first experiences of MGE were short and long series, besides several Digital platforms allow us to break
satisfactory, thanks to having biopics. We have a portfolio that down barriers and shorten distances
content that they like a lot and a allows us to offer all our customers a for globalization. This allows the
different genre that can travel easily. variety of content. content to travel without any
The customers were very receptive restriction and has been very
with the strong content of Mega, Which is the strategy behind the favorable for the industry.
especially because they were very partnerships you have made?
impressed by the excellent perfor- With globalization we intend to do a What will you be presenting
mance in a competitive Chilean double-sided marketing. Just as we during the last term of the year?
market. In addition to Mega’s want our content to travel internation- At Mipcom we are presenting the
portfolio, the company has the ally, we bring foreign content to the contents and fiction formats of
distribution of ATF Korea, which Mediaset for Latin America for the
introduced Korean telenovelas in first time, as well as showcasing
Latin America through “Escalera al the latest products and launches
cielo” that opened the doors to this we have to offer to the market. We
genre in the region, and the catalog region because that distribution is will also attend MipCancun where
of short series from Mediaset, with exclusively for Latin America. In the we will focus on the Korean ATF
whom we have a two-way relationship case of Zona A, we have their formats product, heading the portfolio with
(MGE represents Mediaset content in available for everyone. But both Gift of God , and the Mediaset
Latin America, while Mediaset carries Mediaset and ATF are destined to Latin series. For Natpe Miami 219, we
the MGE catalog to Europe). We also America. The Koreans have offered the will be having an important launch
made a strategic alliance with market a short novel format, which can with new contents of MGE and all
Caracol to represent us in Africa and include between 20 and 30 episodes. our represented.

MIPCOM 2018 47
DISTRIBUTION

DRG

The importance of having sub-titled


and dubbed content
How is it working your most recent
alliance with The Format Factory? Scott Kirkpatrick,
So far we’re off to a strong start. For-
mats continue to work even as the plat- SVP North & South
forms in which we’re brokering deals con-
tinue to change. As a UK based interna-
America, says that
tionally minded organization, we make the company needs
a major point to find format-table con-
tent that stands a great chance to reach- people to help deliv-
ing wide global. Subjects like dating, er its evolving con-
cooking or game shows have not been
exhausted, despite what some people tent strategy.
say. The Format Factory is an entity that
can do exactly that. To help people fur-
ther find formats that work for them we what the need. We no longer just recruit
have adapted our catalogue to focus on sales executives – people need to be
genres such as reality, crime and talent more rounded. Both Jess and Lucy join direct with their content objectives. So
shows. In this way the format ideas us with tremendous formats experience my strategy is simply to listen, to hear
stand out more and our clients can more – and this too is a major strategic focus about their content and audience goals
readily find what they are looking for if this year. We have a newly re-focused and provide the titles that meet their
there is a gap in their schedules. formats catalogue – with more than 150 needs and help digital platforms be
titles, including a number of new ones successful in the US, or for those plat-
How have evolved the business of to be launched at MIPCOM and we are forms branching out globally.
DRG over the last couple of months? keen to be seen as a leading formats
TV distribution is a constantly evolving partner worldwide. Which are your goals for the end
sector and I like to think DRG is lead- of the year?
ing the way. Over the past few months How did it work your dubbed offer Formats is a key focus for the business
we have undertaken new partnerships for the Latin American territories? internationally and I want to bring more
with a range of producers, we are more We’ve just secured two seasons of our formats to Latin America. Our most suc-
integrally involved at the outset of a hit Baby Animals franchise with a chan- cessful format, The Farm, is doing phe-
production than ever before – from both nel in Costa Rica and are currently ne- nomenal business in Brazil but it can
a financial and creative standpoint – gotiating a major deal on our Nat Geo easily work elsewhere in Latin America.
and significantly, with Manson’s Blood- series Genius; both of these opportuni- I’ll be pushing strong formats both
line, we undertook our very first com- ties would have been impossible with- scripted—such as Shameless (recently
mission. We are moving our business out the library of dubs we’re remade in Turkey) and Melk— and fac-
to sit at the very heart of content and creating. Having a library of both sub- tual/factual entertainment formats at
distributing it internationally will just titled and dubbed content has opened both MIPCOM and MIPCancun. New for-
be one aspect of what we do. doors of opportunity for DRG and we’re mats for launch at MIPCOM include
continuing down that path. Ready, Set, Go!, a brilliant, wacky new
With the expansion of your team sports quiz; Top Ten, a primetime music
of international sales, how will How are you working with the show where celebrities have to reveal the
you be addressing your strategy digital platforms around the top ten hits of a given year and Ridicu-
for the next year? world? Which kind of content are lously Smart , an innovative format
We’re bringing in sharp talent from you trying to introduce into them? whereby stand-up comedians are tasked
strong companies: Lucy Roberts joined I tend to let the digital platforms sim- with learning about a new field of scien-
us from All3Media, Jess Khanom joined ply tell me what they need. Digital enti- tific research and then delivering a hi-
us from Fox. We need people to help de- ties have more access to consumer/user larious stand-up show on the subject –
liver our evolving content strategy and data than anyone on the broadcast side all within five days. I hope to sign with
who can work with our broadcaster and could ever hope to see. They know exact- broadcasters or independent producers
platform clients – as well as producer ly what programming tends to drive looking to develop and produce formats
contacts – to make sure everyone gets numbers and have no qualms in being for Latin American audiences.

48 MIPCOM 2018
DISTRIBUTION @ newslinereport

MIPCOM 2018 49
DIGITAL

AMAZON PRIME VIDEO LATIN AMERICA

“We do not have a unique model”


Pablo Iacoviello,
Head of Contents
Acquisitions, de-
scribes the bet for
original content in
the region, provid-
ing new chances for
creatives with inno-
vative ideas.

Through Amazon Originals, Amazon that person. Amazon gives that open- America and finally on TNT, while El
Prime Video continues to feed its cata- ing to the Premium and at the same César premiered at the beginning of the
log with original productions in Latin time popular content, to which the fi- year, first on TNT and then we went on a
America, being Mexico one of the most nal client responds favorably when it’s second window together with TV Azteca.
important markets, as it has already fin- shown something local, as it feels iden- Each model is different and we try to
ished its first two series: ‘A strange en- tified. The international content is al- adapt to the structure that might be
emy’ and ‘LOL: Last One Laughing’, star- ways very good and they attract a lot necessary, so that all participants feel
ring Eugenio Derbez and that will be re- of attention, but when you give the comfortable and have what they need. “
leased in December. public well done content in their re- Regarding the benefit of inserting lo-
“The way Amazon sees the product is gion, they enjoys it a lot and that good cal and original content, Iacoviello,
because of the value we are offering. response makes the difference.” highlights: “The benefit of the original
By acquiring a Prime membership, us- “The ideals and goal are to build a cre- content depends on where you see it,
ers have a lot of exclusive services in ative and pleasant environment for the we have three important pillars to pro-
Mexico, as Latin America does not have director and producer to have all their duce: the creative, friendly environ-
them yet. 2018 was focused on search- potential. An example of this is the se- ment, with a push and a strong mar-
ing and accommodating the product: ries A strange enemy that we made with keting action, as well as a global exhi-
we duplicate the content, thinking Televisa and Gabriel Ripstein. We be- bition. Diablo Guardian was presented
about the taste of the local audience. came very involved in each of the stag- in more than 200 countries and had an
At the company we listen to the cus- es, as we followed everything in a very incredible impact. Maradona is a very
tomer’s comments and we see what closely way and generated a great at- interesting case, because it is a prod-
kind of content they’re looking for. The mosphere for bright talent, it is a great uct that was thought for Latin Ameri-
Amazon Originals are the access door”, story that deals with the massacre of ca, and other countries began to ask
comments Pablo Iacoviello, head of 1968. We do not have a unique model, for more participation, so it turns to be
contents Acquisitions of Amazon Prime we analyze each project independently a very ambitious production that is
Video Latin America. and use it differently. Amazon comes being recorded in Spain, Italy and Ar-
On the way to choose content, as well from an origin of experimental innova- gentina, with great talent “.
as the news and objectives of the com- tion and from there it is transmitted to “Another project that is coming is LOL:
pany for the next months, the execu- the video, to bring the best contents to Last One Laughing, a co-production with
tive said: “We are working in two ways, the platform “. Eugenio Derbez and his production house
first adding and updating the con- The executive adds that: “It is impor- 3Pas Studios, together with Endemol
tent, looking for local production, what tant to adapt to different structures and Shine Boomdog. It is an adaptation of
we are doing is approaching to the business models, we sometimes bet on the Japanese series of Hitoshi Matsu-
producers and creators, looking for a license, we agreed on an original se- moto. The premiere is scheduled in De-
that kind of differential content that ries or hybrids. In the case of Falco, where cember, and we hope to have repercus-
is unique, fresh and innovative ideas we participated in the scripts and the sions in more than 200 countries, for
that did not have an opportunity in creative stage, it came out first in Tele- the talent and acceptance of Derbez in
other places, the fashion project of mundo, then via streaming in Latin the public,” concludes.

50 MIPCOM 2018
DIGITAL @ newslinereport

OLYMPUSAT

“The content industry is


experiencing its best moment
of transformation”
How have Aurora Bacquerie, VP, Channel Rela-
Olympusat’s busi-
nesses evolved in tionships & Content, describes VEMOX,
the last time?
Olympusat is one of the
its platform that offers access to more
independent media than 50 live channels in Spanish.
conglomerates in
Spanish and English
specialized in owner- ces the development that can be accessed through
ship, distribution and and consumption of platforms like Vemox.
technical services productions? To the extent that the broadband of the
related to television content, through The content industry is experiencing Internet becomes much wider, the
a group of companies such as: Ocean its best moment of transformation to spectrum of consumption will expand to
Communications, Olympusat, Inc., offer the viewer the opportunity to a larger audience eager to be able to
Olympusat Telecom, Olympusat choose from a variety of alternatives experience what it entertains visually.
Entertainment, Ocean Distribution, the best of the options tailored to
Ocean New Media, Hatch Entertain- personal taste. Technology has How will be driven the operational
ment, Magicorp and Road 8 Entertain- opened the possibility of opening strategy of Olympusat for 2019?
ment, all managed under the philoso- windows to experience visual enter- Both for the last quarter of this year,
phy of constant innovation and tainment in a way never before seen and for the rest of 2019, the goal is to
implementation of new technologies in the past and it is only the begin- increase the daily addition of up to 30
adapted to communication. ning of a virtual world that is hours of content on our platforms,
One of the achievements of this new prepared every day to provide a much including 15 original fiction series,
times has been Vemox, a platform that more vivid experience of emotions adding new channels of direct
combines technology with content, through series of fiction, competi- transmission to Vemox, expand content
offering access to more than 50 live tions and even documentaries. distribution partners, add new devices
channels in Spanish, as well as Alternatives can be found in the to existing ones in order to reach a
thousands of hours of movies and a la diversity of channels that Olympusat larger number of national and
carte series. VEMOX is available on operates, in which all genres are international audiences, as well as
Amazon Fire TV Stick, Amazon Fire TV, accommodated for the whole family: include content and channels in
Google Play, Apple Store and on some large, medium and small live English to meet the demand of the
smart TVs, such as Samsung and LG. television viewers or content libraries English-speaking community.
At a time when content production is a
reference for companies like Olympu-
sat, agreements have been estab-
lished with producers in Europe and
Asia to jointly produce original titles
from those countries to be dubbed into
Spanish by our dubbing subsidiary
located in Mexico City. The same thing
applies to media companies in Latin
America, with whom agreements have
been signed to create content.

How would you describe the


current situation of the content
industry? Do you think that
technological evolution influen-

MIPCOM 2018 51
PAY TV

RTVE

“There has been an explosion of


content producers worldwide”
María Jesús Pérez, Head of Interna-
tional, admits that CLAN is very close
to be launch in North America.
already reaches an important penetration in America that is
increased every month. It is currently present in Mexico and
almost all the countries of Central America, Colombia, Peru,
Bolivia, Ecuador, Argentina and Chile and is very close to be-
ing launched in North America. Playz, with its hits in fiction
and entertainment for young people, is also making its name
and its place in the industry.
How have the businesses of RTVE evolved
in the last time? What was the reception of the industry to the titles
We have worked hard in the diversification of products and presented in your Showcase held in the month of June?
deepened in the new options that the digital world offers, It was a great success, which has resulted in new sales and co-
so we are in line with the transformations that the industry production agreements that are giving us many satisfactions.
is experiencing and the new forms of consumption of televi- For next year we are designing an even more special event
sion entertainment. based on emotion and interaction with buyers to create an
indelible mark on them.
How would you describe the current situation of the
content industry? What are the goals of RTVE for this last quarter
It is an industry that is experiencing a very interesting moment of the year?
in which several factors are taking part: 1) the consumer is Grow the international distribution of STAR, which has been
increasingly demanding quality, quantity, gender and mode of available worldwide for several days; keep going on the Ameri-
consumption, 2) new players have appeared in the market, can distribution of CLAN and consolidate the positioning of TVE
and have yet to appear more, that are very agile in meeting the and 24 HOURS, to which news on programming and design are
user’s demand. 3) the technical development of the digital coming to contribute. All this on the side of the RTVE channels.
world allows unthinkable features and really innovative qual- Regarding our shows, TVE productions are increasingly recog-
ities. 4) There has been an explosion of content producers nized internationally for their quality and connection with the
worldwide 5) who creates with a global perspective and 6) audience. Our series for the prime time, such as Estoy Vivo,
those are able to reach a wide international audience, which whose 2nd Season is being premiered this week, Cuéntame,
favors 7) the transfer of professionals and talents. which goes for its Season 19, The Continental, The Other Look,
Fugitive, Betrayal, Sonata Del Silencio or Bonuses, are conquer-
A year after the international presentation of CLAN ing an international public. In the field of the weekly series, I
and PLAYZ, what was the reception of the market, and would like to highlight the success of Acacias 38, Servir y Prote-
how has the penetration of both brands evolved? ger or Medical Center, currently on air both in Spain and in other
We are very satisfied with the welcome and recognition that countries. Our main goals are to close a record year of interna-
our new products are having. Especially happy with Clan, which tional sales of the own productions of the RTVE Corporation.

52 MIPCOM 2018
PAY TV @ newslinereport

CISNEROS MEDIA

“We will start the 2019 a step ahead”


Carlos Cabrera, VP of opportunities of collaboration”.
The executive also believes that the
Sales, Pay TV, sug- market is having such a movement,
“not only on the consolidation of impor-
gests that User Gen- tant players or in the acquisition of soft-
erated Content is ware by the MSOs, as this it quiet fore-
seeable in a mature industry. The most
gaining an important interesting and dynamic thing we could
share against tradi- find it in the preference of the consum-
Cisneros Media is having a very posi- ers, now that they have a bigger offer of
tive 2018, as most of its relevant mea- tional offering. content than a couple of years ago, not
sures are showing its growth: subscrib- only from the formal production com-
ers, audience, affiliates, advertisers and panies, but also the User Generated
also the amount of original hours pro- growing our ad sales business”. Content is gaining an important share
duced. Based on this factors, Carlos Regarding the chance of international in terms of time on screens”.
Cabrera, VP of Sales, Pay TV, exclaims: alliances, Cabrera suggests that “on As a conclusion, Cabrera says that Cis-
“We have many reasons to celebrate and Cisneros side we perfectly understand neros “has some pending agreements
to start the 2019 a step ahead. We’ll the need to give some more value to our to close related to the distribution in key
still be working on the original produc- affiliates and clients in every territory territories. We are working so as to
tions so as to reinforce the program- where we are operative. The idea is to achieve them as soon as possible and to
ming of all our networks, in order to in- keep working on their needs so as to ex- reach even more homes both in Latin
crease our reception even more, and pand the partnerships and create new America and the USA”.

AZ TV DE PAGA

Celebrates its 4th anniversary


The company reaches 17 countries with its
portfolio compound by AZ Mundo, AZ
Corazón, AZ Clic and AZ Cinema.
The business unit AZ TV de Paga cele- strategy. This allows us to face the great
brates its four years since the launch of challenges presented by today’s televi-
its brand and its new portfolio of chan- sion industry and thus continue with the
nels, with distribution in more than 17 growth curve we have experienced during
countries, thanks to the creation of new these first four years. This new stage will
signals, the generation of original and find us more competitive in the offer of that the alliances are much stronger when Patricia
exclusive content under a new produc- contents and more ambitious in quality you make equipment. Today we have not Jasin y Jorge
tion model, the adaptation of the tech- and business models,” said Patricia Ja- only covered the expectations of our cli- Gutiérrez
nological infrastructure and a direct sin, VP of TV Azteca International. ents and audiences, we continue propos- de Azteca
sales and customer service. “Launching a network to the internation- ing new work schemes that support and
“We are happy to celebrate a new anni- al market is not so simple, it requires a strengthen the changing scenario of pay
versary of our channel portfolio AZ Mun- specialized vision of the industry and its TV in the world, we owe it to all of us,
do, AZ Corazón, AZ Clic and AZ Cinema. audiences, of proposing and betting 4 thanks to the AZ TV de Paga team that
We celebrate in the best way we know how years ago we are committed to becoming has made this journey possible, thanks
to do it, which is renewing our commit- the preferred network in Latin America to our customers for believing in our con-
ment with the audience and with our ca- with the greatest growth in the region, tent and products and thanks to the au-
ble-operators partners and customers based on its programmatic offer and its dience for preferring us and for enjoying
through a solid offer of contents linked to negotiation flexibility, we adapt to the what we do, “commented Jorge Gutiér-
a dynamic and innovative commercial needs of the market and we understand rez, Director of AZ TV de Paga.

MIPCOM 2018 53
BUSINESS

PROMÉXICO

“In 2017, Mexico had a


production of 175 films”
César Fragozo, Head of the
Sectorial Development Unit,
describes the functions of the
promoter agency.

Which are your main functions as


a promoter agency?
The main function of ProMéxico is to contribute to the
conduction, coordination and execution of the actions in
matters of promotion to the foreign trade, and the attrac-
tion of direct foreign investment for the dependencies
and entities of the federal public administration.
The range of services and supports provided by ProMéxico
has served to orient and empower small and medium-
sized enterprises, especially when they explore the possi-
bilities of venturing out of the country and decide on the
conquest of new markets. ProMéxico has a team of multi-
disciplinary experts in sectorial development, international
markets and business intelligence. and markets for different disciplines of the audiovi-
sual and at the same time we decided to concentrate
How has evolved the performance of the more our resources and efforts in MIPCancun. Howev-
audiovisual content industry in Mexico? er, some companies in the sector made us see the
In 2016, creative industries accounted for 4.8% of total GDP importance of maintaining a country presence in MI-
and since then a promising upward trend has been observed. PCOM, being the world forum per excellence for TV
The content created by Mexican television companies is seen and OTT content. That is why we join efforts to open a
by more than one billion people in more than 100 countries space under the Mexico brand to support as federal
around the world. In addition, Mexico has distinguished itself government the activities of the companies that make
as one of the leading exporters of creative products in Latin up the Mexican delegation at the event.
America and an important exporter of animation, video games,
software and digital content on a global scale. Which are your short and medium term projects?
During 2017, Mexico had a production of 175 films, which In the short term we want to continue detecting compa-
placed the country in the 18th place among the main film nies with enough maturity to export, to make strategic
producers. In addition, in terms of attendance, the coun- partnerships and to propose quality coproduction projects
try is the fourth largest film market in the world. with a global relevance. At the same time, we want to
Mexico has an ecosystem of leading audiovisual industry com- support emerging companies of content and services re-
panies in the region supported by factors such as: its creative lated to production so that they arrive ready to pitch in the
talent offer, the most competitive digital creation costs in the big markets and ensure their success.
region, strategic location, attractive offer of locations, audiovi- This can be extended to companies of video games, digital
sual production infrastructure class global and digital anima- animation and virtual and augmented reality that have
tion companies, VFX and videogames, globally competitive. great potential, not only in the entertainment market, but
also in education, culture and health.
In the same way, ProMéxico is a promoter In the medium term, we would like to see a greater scale
organization in MIPCOM, supporting the Mexican and level of participation in markets and strategic fairs,
Delegation, how do you do it and who are they because in such an internationally competitive business
leading this 2018 participation? environment, a strong and solid presence backed by the
After our participation as Country of Honor in MIP- federal government guarantees benefits in terms of busi-
COM 2014, we began to diversify into other events ness and foreign direct investment.

54 MIPCOM 2018
BUSINESS @ newslinereport

MIPCOM 2018 55
SERVICES

UNIVERSAL CINERGIA DUBBING

Global attendance for a leading


position in the market
Universal Cinergia Dubbing begins The Company will
the fall season by attending the main
content markets and consolidating its sponsor the Interna-
position as one of the leading dub-
bing studios worldwide in the indus-
tional Emmy Awards
try. The studio offers dubbing and sub- for the first time.
titling in Spanish, Portuguese, English
and French to distributors, digital real, The Crown, That is My Life, Pope-
platforms, networks, content aggre- The most powerful man in history, Man-
gators and indie-producers. The com- hattan, Deadbeat, The Royals, Nash-
pany’s client portfolio includes Fox, ville, Anger Management, Hidden Truths, versal Cinergia will sponsor the Inter- Gemma Lopez,
NBC, Lionsgate, Deluxe, Televisa, Broken Pieces and Wings of Love. national Emmy Awards for the first time. Liliam Hernan-
Telemundo-NBC, RCN, Caracol and “Attending the markets throughout the “Being a sponsor of the International dez y Elisa
Nippon TV, among others. year is a very effective way to establish Emmy Awards puts us in a unique posi- Aquino
The recently renovated studios in São new contacts and find our customers, tion to reach and connect with the main
Paulo, Brazil, have been working non- we continue to be at the forefront with production and distribution companies
stop in Portuguese with a highly effi- Turkish productions, working with most worldwide. We are the first dubbing stu-
cient response time. The studios in Mex- of Turkish distributors, among which are dio to join the prestigious group of com-
ico are working at full capacity, which Eccho Rights, Kanal D, Calinos, Inter- panies sponsoring the event, and we are
gives rise to the possibility of opening medya, Rayas, TRT, ATV Global Agency”, proud to have a presence at the next
new studios in Mexico City. Examples of says Liliam Hernández, CEO. International Emmy Festival in New
titles dubbed by the company are: Un- As part of its marketing strategy, Uni- York,” says Hernandez.

56 MIPCOM 2018
NEWSLINE REPORT INTERNATIONAL MIPCOM 2018 OCTOBER 2018