Foreign Series Take Root in US Soil

Transcripción

THE BUSINESS JOURNAL OF FILM, BROADCASTING, BROADBAND, PRODUCTION, DISTRIBUTION
MAY 2008 VOL. 28 NO. 3 $9.75
L.A.
Screenings
®
Guide
www.videoage.org
Foreign Series Take
Root in U.S. Soil
Challenges As Opportunities:
Writers Strike Benefited Indies
BY ERIN SOMERS
I
While many have speculated that fewer
his year, the pilot process is pilots might become the norm during
somewhat different. It had to future pilot seasons, others believe that
be, what with the time next year, things will go back to the way
constraints imposed by the they were in a pre-strike world. The big
lengthy Writers Guild of
(Continued on Page 54)
America strike in
the U.S.
Last year, the U.S. TV
networks commissioned
their typical number of
pilots (ABC had 29; CBS, BY LEVI SHAPIRO
21; CW, 12; Fox, 24; and
enry Luce, the founder of Time Magazine, once
NBC, 20). This year, the
famously remarked, “There is no such thing as
numbers
are
notably
different (as of press time,
a China expert, only varying degrees of
ABC had 17; CBS, 14; CW,
ignorance.” The same could be said about
4; Fox, 14; and NBC had Western content owners selling their programming to
already greenlit 13 shows at local Chinese television stations. Because of economic,
its early mini-upfront).
BY LEAH HOCHBAUM ROSNER
n the industry all are well aware of the Hollywood writers strike’s effects on
upcoming TV seasons worldwide and the changes to the U.S. television industry.
It remains to be seen if these changes are going to be permanent, as predicted,
or just temporary, as hoped.
However, little has been said about
the effects –– one way or another ––
of the strike on the U.S.
independents and foreign television
production and distribution companies.
At first sight, many independents seemed
to have come out of the strike unscathed,
and a lucky few even saw some benefits.
VideoAge spoke to a cross-section of
independent companies to find out if and
why David fared better than Goliath
during the writers’ crisis, which engulfed
TV networks, studios, producers,
distributors and even cities.
T
China’s Foreign TV Content
Viewed With Contempt
H
Latin America’s Top
Guns Shoot For
Region’s Top Show
F
orum Brasil is fast becoming Latin
America’s premier TV trade show.
This year’s ninth edition promises
improvements, and, next year,
there’s an even more drastic plan to move
the event from its traditional São Paulo
location to Rio de Janeiro. These changes
are viewed as a signal to the international
TV sector to get an early jump on the
bandwagon in order to secure a more
privileged standing in the future.
Forum Brasil, which will take place
June 3-5 in São Paulo, will bring
EN ESPAÑOL
• DISCOP Africa
• Hollywood apunta
al EST
• Dólares de los
L.A. Screenings
• Evaluando los daños
post-huelga
ONTENTS
C
V I D E O A G E • N o. 3 • M a y 2 0 0 8
Cover stories:
Comparing TV Seasons. This time foreign
series take root in U.S. soil for reel
17.
• Indie Programming
Selection. When Fare is Fair
Brasil TV Forum: Latin America’s top guns
shoot for region’s top TV trade show
4.
Official L.A. Screenings Guide
• Where, When and Who is
screening
Local Sino TV: China’s foreign TV
content viewed with contempt
• Parties & Events
Challenges and opportunities: Hollywood writers
strike benefited indies and foreign producers
• 2008-2009 new season TV
series. Yes, that’s all there is!
• Capturing the moment. Photopage
World: U.K., Afghanistan, Australia, U.S., China
Plus: Famous Quotes, Letters
• Studio sales team. They’re the stars’ stars
• Key acquisition executives. Always nice to see y’all.
43.
8.
Sección en Español:
• Dólares de los L.A. Screenings para Los Angeles
Book Review: Schulz’s life
in the unfunny pages. Not
just a few peanuts for
Peanuts
• DISCOP Africa: la última frontera de la TV
• Evaluando los
daños posthuelga. La calma
luego de la
tormenta
• Hollywood
apunta al EST
12.
58.
MIP-TV Review: Few
parties, many deals.
Eco-friendliness now a
plus
60.
Conferences & Events News. Plus, your usual portion
of dates and places
My 2¢. To dis-cuss or not to dis a cuss
(like the “F” word on television)
FremantleMedia Enterprises
is pleased to announce
MERLIN
A YOUNG MAN WITH AN EXTRAORDINARY FUTURE
DRAMA 13 x 1 HOUR
Coming soon in primetime
to the BBC and NBC
www.fidtv.com
1 Stephen Street, London W1T 1AL, UK
E: fi[email protected]
Movies Pirated
Before Premiere
A
l Pacino thriller 88 Minutes
opened in U.S. theaters on
April 18. But according to
Bloomberg.com, prior to its
debut, SurfTheChannel.com had
already played the film roughly 51,000
times.
A new danger in the Web piracy arena,
SurfTheChannel links to a number of
other sites, including Tudou.com,
56.com and many sites around the globe.
Streaming technology makes movies and
TV shows instantly available on Web
browsers and hides viewers’ identities,
making it nearly impossible for anyone
to stop them. The site uses an Internet
service to hide its location and links to
sites that make copyrighted material
available. According to a site spokesman,
it’s legal because the content doesn’t
reside on SurfTheChannel’s network.
Sony’s 88 Minutes is just one of
95,000 titles on Stockholm-based
SurfTheChannel, which boasts about
650,000 viewers a month. The site offers
films that are still in theaters, as well as
movies that aren’t out yet, such as Time
Warner Inc.’s Good Chemistry.
Online piracy cost the movie biz $7.1
billion in 2005 and, according to the
Motion Picture Association of America,
is the fastest-growing threat to the film
industry
A host of other sites, including
QuickSilverScreen.com, Joox.net and
SideReel.com provide similar services.
SurfTheChannel even had a page on
MySpace.com, a social networking site
owned by News Corp. The page was
blocked after the company learned of its
existence.
Sweden has recently started cracking
down on pirates, though. In March, the
government began focusing on file
sharing after the International
Federation of the Phonographic
Industry registered complaints against
PirateBay.com, which locates pirated
material — just like SurfTheChannel
does.
Afghan Clerics
Anti Indian Soaps
I
ndian soap operas have caused
outrage in Afghanistan in recent
months. In April, a Muslim
movement opposing the scandalous
programs gained steam when members
of Parliament, backed by the national
Ministry of Information and Culture,
issued a statement demanding that
private TV channels stop broadcasting
five of the controversial shows. Since
they hit the airwaves, the soaps have
provoked protests from conservative
Muslim clerics and politicians.
Opponents object to the shows because
men and women are portrayed together,
the Hindu religion is prominently
featured and women are dressed
“immodestly.”
Following the demise of the Taliban in
2001, a dozen or so private television
stations emerged and began to broadcast
the soaps to eager subscribers. A
spokesman for Tolo TV, the country’s
leading private channel, dismissed the
parliamentary declaration, claiming it
was against the law. However, many of
Kabul’s most influential Muslim leaders
have taken up the campaign and have
vowed to resort to violence if the shows
are not removed.
U.S. Video Game
Sales Hit The Roof
T
he ailing U.S. economy has not
affected video game sales,
according to industry data
released on April 17. March video
game sales in the U.S. were up 57
percent from 2007, reaching $1.7
billion. Nintendo, which led the boom
with its Wii console sales, boasted its
biggest non-holiday month ever.
The sudden popularity of Nintendo
Wii accessories has been attributed to
the release of the “Super Smash Bros.
Brawl” game. The company reported
720,000 Wiis sold, and an additional
2.7 million copies of the hit game. “Wii
Fit,” an innovative game that encourages
couch potatoes to get some exercise, hits
the shelves in May. Nintendo is
confident that, with the help of the new
game, its strong showing will continue.
Sony’s PS3 game console also took off
in March, with figures doubling from
M AY 2 0 0 8
If you think it’s tough at the top in Hollywood –
you’ve never been at the bottom!
STARRING: BRENDAN PENNY, BRITT IRVIN, ZAK SANTIAGO, MEAGHAN RATH, MICHAEL B. JORDAN
Series: 13 x
1/
2
hour
LA SCREENINGS CONTACTS:
Saralo MacGregor, Executive Vice-President Worldwide, saralo.macgregor@contentfilm.com
Melissa Wohl, Senior Vice-President, melissa.wohl@contentfilm.com
Diana Zakis, Vice-President, diana.zakis@contentfilm.com
1337 Third Street Promenade, Suite 302, Santa Monica, CA 90401, USA.
T: +1 310 576 1059, F: +1 310 576 1859, www.contentfilm.com
figures for Nintendo and Sony. As
Nintendo’s ability to keep Wiis in stock
improved, sales hit new heights. Though
Nintendo is still dealing with pockets of
shortages, it has become much more
adept at handling supply issues.
(Continued from Page 4)
2007. The company expects sales to
continue to rise, with the premiere of
such games as “Metal Gear Solid 4” and
“Gran Turismo 5 Prologue” in the
coming months. Additionally, Xbox 360
and Nintendo DS games sales have
shown improvement, along with
handheld units from a variety of makers.
Sales on games and consoles are also
going up due to a recent increase in
supply. Previously, retail shortages of
systems throughout the U.S. damaged
U.K. To Review
BBC Funding
O
fcom, Britain’s media regulator, is
considering requiring the British
Broadcasting Corp. (BBC) to
share its annual license fees with
commercial broadcasters that offer
public service programs. The proposal
was one of many under consideration by
the regulator, as it began its second major
review of the sector.
The BBC opposes the idea of sharing
the license fee with its rivals and has said
that a cut in funding would hurt its
ability to fulfill its public service
requirements.
One choice is to invite commercial
broadcasters to bid for “long-term
funding to provide public service
competition to the BBC.” The license
fee is one way to finance it, according to
Ofcom. Other options are government
funding from a number of different
sources or industry levies.
Putting a stop to the BBC’s exclusive
access to public funds would pressure it
to reduce spending. In October, the BBC
announced that it would cut 2,500 jobs,
sell its London headquarters and produce
fewer programs because the government
refused to increase the license fee by the
amount it had requested.
The BBC is financed through a
mandatory fee paid by all British
households with a TV set.
Downloads
Down Under
A
unique struggle has begun down
under for the rights to the “last
mile” of broadband cabling. The
term refers to the last 10 meters
of wiring between the front door of a
house and the owner’s television.
Though it may seem trivial, control of
this digital gateway will dictate who gets
a piece of the Internet-streaming pie
that could end up being worth billions.
A variety of diverse companies,
including Internet service providers,
cable companies and game console
makers, have all joined the competition.
Australia faces an unusual obstacle in
terms of Internet-based television
services, in that monthly download
limits are much lower than in other
countries. This both inhibits the amount
of programming users can access, and
caps the amount of revenue available to
companies. The winner of the “last mile”
would be able to exclude its own content
from a subscriber’s download cap, and
thus exclusively serve a large audience.
One of the major players in the
running is broadband service provider
Telstra Big Pond, which owns rights to
distribute Fox News and coverage of the
Bejing Olympics. Its biggest competitor
for the final 10 meters is provider
SingTel Optus, which is partnering with
MTV and Disney.
Letter to the
Editor
Great piece on TV/Radio Age. I found it
especially amusing about how you were
considered kind of weird because you
knew how to work the telex. I had the
same experience with the fax machine
and the computer (not to mention
using an electric typewriter!). Keep up
the great work.
Les Luchter
LL Communications, New York
Famous Quotes
Charlotte TV stations should run
cartoons instead of local news. They are
more entertaining and just as
informative.
The Charlotte Observer, April 27, 2008
North Carolina
M AY 2 0 0 8
A FAMILY RANCH... A HORSE WHISPERER...
...A FIGHT TO SAVE A DREAM...
Drama Series: 31 x 1 hour
Book Review
Schulz’s Life In The
Unfunny Pages
G
enerations of comics readers
and TV watchers view Peanuts
as merely a kind-hearted
cartoon, rife with gently
humorous observations about
human nature. Yet, in the 50
years of his life in print,
Charlie Brown did a whole lot more than
tickle the funny bone of those perusing
the Sunday papers. Though his character
was forever thwarted in his attempts to
kick a football, Schulz succeeded in
creating a media empire that spanned
print, TV and merchandising, and
generated millions of dollars.
In biography Schulz and Peanuts
(2007, HarperCollins, 655 pages, U.S.
$34.95), author David Michaelis looks
to the comic strip for insights into the
life of its creator and the intricacies of his
relationship with television.
Schulz himself was quoted as saying, “If
somebody reads my strip every day, they’ll
know me for sure — they’ll know exactly
what I am.” However, despite Michaelis’
impressive breadth of research and
painstakingly thorough (and at times
absurd) analysis of the comic strip that
both catalogued and drove Schulz’s life, the
artist and media mogul remains elusive.
Success was hard won for Schulz,
despite his singular talent and
determination. Trained only by a
correspondence drawing course, Schulz
worked diligently and suffered many
rejections in seeking to get his strip picked
up by a syndicate. However, his skill was
undeniable, and when United Features
Syndicate finally premiered his strip on
October 2, 1950, he was off and running.
It was not long before Peanuts outgrew
newsprint. Merchandisers came knocking,
looking to slap Snoopy’s recognizable mug
on everything from linens to plush toys,
and the entertainment industry soon
followed suit. However, Schulz was
reluctant to lend his characters to film and
TV projects. “There are some greater
things in the world than animated
cartoons” became his mantra over the next
10 years. Schulz’s real fear was that
Hollywood would swoop in and change
his characters’ “essential qualities.”
But by 1965, when CBS and CocaCola offered to fund a Peanuts
Christmas special, a producer named
Lee Mendelson had earned Schulz’s trust
through collaboration on a handful of
commercials. Schulz was confident that
Mendelson and his selected director, Bill
Melendez, would preserve the look of his
uncluttered drawings and the integrity
of his vision. He was ready to make his
8
VIDEO • AGE
Although author Michaelis dutifully
recounts the particulars of Schulz’s
professional success and personal life, he
neglects to fully assess his impact on the
entertainment industry. Charlie Brown and
his friends changed the way people thought
about comics. Suddenly, two-dimensional
drawings could become TV stars, sell cars
and insurance, and work their charm in
countless languages. Though the world saw
Schulz simply as Charlie Brown’s human
incarnation, he was, in truth, an
entertainment and marketing genius.
Charles Monroe Schulz was born on
November 26, 1922, in St. Paul,
Minnesota to a German immigrant and
his Norwegian-American bride. Schulz
was dubbed “Sparky” by one of his many
boisterous Scandinavian relatives while
still in infancy. The nickname became
ever more contradictory as Schulz grew
up — he was a reticent child and an
insecure adult. But it nevertheless stuck,
contributing to the “Average Joe” image
that made him likeable to the public
despite the phenomenal wealth he
eventually accrued.
Michaelis delights in pointing out
similarities between young Schulz and
Charlie Brown. Both had barbers for
fathers, an affinity for little red-haired girls,
and a love-hate relationship with a “dog that
thought he was a human.” Throughout the
book, landmarks from Schulz’s upbringing
and childhood friends pop up in the
abundant strips that accompany the text.
However, the most poignant resemblance of
the illustrator to his round-headed drawing
is the loser mentality, the shared fixation on
being a “bland, stupid-looking kid”
unworthy of love or recognition. For
Charlie Brown, it was a trait that would
draw millions of sympathetic readers to the
strip. But for Schulz, it represented a deeper
struggle with neuroses and undiagnosed
depression.
magnum opus.
Throughout his life, Schulz was
determined and willful, but never were
these traits so apparent as during the
development of A Charlie Brown
Christmas. Melendez recalled that the
illustrator “was very sensitive and
[collaborators] had to be very careful”
when dealing with him.
In spite of objections from his director
and producer, Schulz was insistent that
the special be a condemnation of the
holiday season’s materialistic side.
Surprisingly, Michaelis fails to call
attention to the irony of Schulz’s eagerness
to comment on commercialism. He had
made millions licensing his characters into
merchandizing and endorsement deals
and would go on to make a Peanuts
special for every holiday including,
laughably, Arbor Day. The director and
producer voiced their objections to
Schulz’s offbeat ideas, but the artist would
have his way, and Charlie Brown’s quest
for the true meaning of Christmas
became the special’s centerpiece.
When A Charlie Brown Christmas was
finally presented to CBS executives, one
week before it was scheduled to air and
$25,000 over the miniscule $150,000
budget, the suits were baffled. The
movie had a melancholy jazz score by
Vince Guaraldi, lacked the laugh track
that was standard in cartoons of the day,
was voiced by children rather than
professionals and featured Linus reciting
a biblical passage at the climax. All of
these were Schulz’s touches. Expecting
the worst, they broadcast the quirky film
on December 9, 1965. The movie was
an instant hit, declared a “Yule classic,”
and nominated for prestigious TV
awards. Letters poured into CBS,
thanking the network and the man of
the hour, Charle Schulz. Money-wise, A
Charlie Brown Christmas continues to be
a gift that keeps on giving for CBS,
which re-airs the special each year.
Charles Schulz passed away in 2000.
His contribution to the world of comics is
immeasurable, and the sheer joy he has
brought to the public cannot be denied.
Michaelis’ book pays tribute to the
adventures of Schulz’s iconic characters in
their famed holiday specials and on the
printed page. However, when it debuted,
Michaelis was denounced by Schulz’s
surviving family members. They accused
him of deliberately portraying the icon in
an unfavorable light, and calling attention
to his crippling social deficiencies and
greed. But Michaelis’ account is nothing if
not balanced.
The book’s shortcomings occur not
because the analysis is biased, but rather
because its focus is off. Michaelis uses
Schulz strips to explain the inner
workings of Schulz’s psyche, which,
coming from an author and not a
psychoanalyst, seems presumptuous and
irrelevant. Surely, not every strip Schulz
ever created reflected his inner turmoil.
The intriguing part of Schulz’s story is
not in his unknowable emotions, but his
impact on comics, entertainment,
merchandizing and even holidays, the
world over. ES
M AY 2 0 0 8
IN A WORLD DIVIDED BY FEAR,
THEY HOLD THE LINE
STARRING JAMES MCGOWAN AND SOFIA MILOS
Drama Series: 26 x 1 hour
MIP-TV Review
Few Parties, Many Deals.
Eco-Friendliness A Plus
F
ewer parties (but an abundance
of celebs), the rise of African
television, and an attempt at
honest-to-goodness
ecofriendliness in the Palais des
Festivals. This could summarize
MIP-TV 2008, which took
place in Cannes, France in April.
Many companies, including Lionsgate
and U.K.-based Fireworks, opted to ditch
the confines of the convention center’s
“bunker,” instead choosing outdoor
terrace areas alongside such luminaries as
Disney-ABC and FremantleMedia.
On some executives’ minds were Webbased TV series — in fact, a keynote
delivered by Hulu CEO Jason Kilar was
one of the best attended at the market,
on par with a keynote given by Shine
Group’s Elisabeth Murdoch. Execs were
also talking about the ever-increasing
price of oil, and whether or not these
petrodollars from the Middle East will
soon be making their way to Hollywood,
as predicted by The New York Times.
Since the L.A. Screenings were right
around the corner, the U.S. pilots with
early buzz attached to them also had
buyers talking. Yet unsurprisingly, it was
those people who couldn’t get to Cannes
who really had tongues wagging. A
number of (former) industry bigwigs,
including Drew Levin and Noel Cronin
of Team Communications Group and
Harel
Goldstein
of
Hilltop
Entertainment, were arrested prior to
the market for various white-collar
Dori Media’s Nadav Palti
infractions. But while these many topics
kept people entertained and informed at
the conference, it was business as usual
for most companies, with deals a-plenty
announced throughout the event.
Comcast International Media Group
announced that its E! Entertainment
Television will debut an observational
documentary series about Hollywood
icon Pamela Anderson. Produced by
World of Wonder Productions, the halfhour series, Pamela (working title), will
debut summer 2008. The series will focus
on Anderson and will not feature her
children with ex-husband Tommy Lee.
“Pamela Anderson is one of the most
captivating personalities in pop culture
today,” said Lisa Berger, executive vice
president, Original Programming and
Series Development for E! “It’s going to
be a wild ride.” Duccio Donati, senior
vice president, Comcast International
Media Group, concurred. “This MIP-TV
has been a big show for us. Because of the
strike, a lot of programmers have holes in
their schedules,” he said. “And it’s a bit of
a perfect storm for us that we have
programming to fill those schedules.” In
addition to Pamela, Comcast was also
promoting its previously announced
docu-series Living Lohan, which
chronicles Lindsay Lohan’s mom Dina as
she grooms younger daughter Ali for
super stardom, and Denise Richards: It’s
Complicated, which follows the actress as
she navigates Hollywood.
Other deals also made at the market
included Starz Media and Tandem
Communications’ announcement that,
beginning immediately and continuing
through 2009, Tandem will handle
worldwide TV sales of several key Starz
series and collections, including the
Fantasy/Adventure Collection and the
new Ladies Out Collection; Germanybased Bavaria Media Television’s
announcement that it sold three 90-
This MIP-TV has
been a big show for
us. Because of the
strike, a lot of
programmers have
holes in their
schedules,” he said.
“And it’s a bit of a
perfect storm for us
that we have
programming to fill
those schedules.
Comcast’s Duccio Donati and Leilani Farinas
— Comcast’s Duccio Donati
12
VIDEO • AGE
Power’s Chris Philip and Eloise Tooke
minute episodes of international crime
series Aspe to German public broadcaster
ZDF, and Italy-based RAI Trade’s sales of
its Viceroys to Russia’s Film Depot,
Bulgaria’s BNT, Benelux’s AMedia, Czech
TV, Romania’s TVR and Sweden’s NoStop. MGM Networks said that it would
soon launch a high-definition version of
The MGM Channel to subscribers in
Israel. Like the standard definition
channel, it will be subtitled in Hebrew.
Argentina’s Telefe and Colombia’s RCN
were at MIP fresh off of celebrating the
opening of their joint office in Russia.
Through the Moscow office, run by
Russian specialist Anastasia Korchagina,
both companies are seeking to increase
their presences in the region through the
distribution of programs, telenovelas and
formats. “Being in Russia allows us to
closely monitor the needs of such a
competitive market,” said Alejandro
Parra, director of Telefe International,
adding that “the Russian market has
grown 15 to 20 percent over the last two
years.” RCN’s Maria Lucia Hernandez
Frieri echoed Parra’s sentiments. “The
possibilities are endless,” she said.
Nigerian TV companies had planned to
be at the market in full force, but
unfortunately, things went awry when the
majority of the delegation from the three
exhibiting companies was held at the
border due to visa problems. Despite this,
the delegates who did manage to make it to
Cannes made an impact. With DISCOP
Africa premiering in February 2009 in
Senegal, the continent is being hailed as an
emerging market. Toyin Subair of Nigeria’s
HiTV, one of Africa’s first commercial payTV companies, said: “Africa is the only
market now that needs to be expanded,”
pointing out that TV has taken off
throughout Eastern Europe and Asia,
regions which were previously assumed to
be barren wastelands of television.
This year’s MIP-TV was a more ecofriendly affair than previous incarnations
of the international television market.
“All of the carpeting in the main areas [in
the Palais] is recyclable,” said Paul
Johnson of ReedMidem, which organizes
MIP-TV, before adding that all of Reed’s
print production was also on recycled
paper.” Japanese broadcaster NHK was
the recipient of the Green World Award,
which recognized the network’s
M AY 2 0 0 8
of this unexpected development.
Serafini pointed out that the studios
might keep buyers in their screening
rooms for fewer hours, leaving them
ample time to spend with independents.
“This year, buyers will have more time to
visit independents at their hotels,” said
Pedro Leda of Ledafilms. “It will be a very
good year for independent product.”
MIP-TV Review
MIP-TV Power Women: Mediaset’s Nella Allegretti, SPI’s Revi Benshohsan, Rai Trade’s Marilena
Avola and Rita Lombardi, Funwood Media’s Almudena Campo, Zebracom’s Amanda Garay
Sarasti, Sonaecom’s Susanna Barbato, Telemundo’s Esperanza Garay
Launch -pad for Philip Mazzei, a film by Francesco Fulcini (left) to be produced by Buskin
Film’s Roberto Bessi, here with Bavaria Media Italia’s Giuseppe Proietti (right)
Court TV (launching its new rebrand as
truTV) and the Singapore Media
Development Agency hosted some
bashes. Regardless of the dearth of gettogethers, the stars were out in full force.
Actors Shirley MacLaine, Derek Jacobi
and Sam Neill graced the hallowed halls
of the Palais with their presences. Simon
Beaufoy, writer of The Full Monty, was
also on hand to meet and greet.
MIP-TV Power Women II: Sony’s Hayley Babcock, NBC Universal’s Pauline Bohm, Channel Four’s
Ruby Kuraishe, Programs4Media’s Tracy Vaughan, Granada’s Jennifer Harrington,
NBC Universal’s Lara Ingle, Outline Productions’ Helen Veale, Promofilm’s Marcela Campos,
NBC Universal’s Millie Savinon, Mediaset’s Nella Allegretti, International Emmys’ Camille
Bidermann, Debmar-Mercury’s Beata Hegedus
continued commitment to raising public
awareness on environmental issues.
“They’ve been [trying to raise awareness]
for over 50 years — way before it was
even cool or trendy,” said Johnson.
Teri Fleming, vp, Marketing, for Santa
Monica, California-based Lionsgate, also
took it upon herself to ensure that her
company’s new booth and location were
as green as possible. “The decking is all
reusable,” she said. She also brought
biodegradable cups and reused walls
from Lionsgate’s old booth. “We’re just
trying to be as eco-friendly as possible,”
she said. Being eco-friendly is less
expensive for new booths. Re-fitting
older booths can be quite pricey,
however. Plus, it seems that the new
trend is having a booth with terrace
16
VIDEO • AGE
At VideoAge’s traditional MIP-TV
breakfast, held at the Plage Royale in
Cannes, editor Dom Serafini told a crowd
of 20 executives that this year’s L.A.
Screenings could finally be the break that
independents have been waiting for. “This
is a unique opportunity simply because
the studios have fewer pilots this year,”
said Serafini, alluding to the after-effects
of the writers strike. “The independents
need to capitalize on this.” Representatives
from such indies as Ledafilms, Televisa,
CDC United Network, RCN, Globo TV
and RAI Trade were present looking for
suggestions on how best to take advantage
The L.A. Screenings were on many
executives’ minds at MIP. “Like everyone
else, we’re still recovering from the hit of
the strike,” said Henri Ringel, vice
president of Sales for Walt Disney
Television International (Latin America).
“But if anything, that’s only given us
more strength.” Keith LeGoy, executive
vice president, Distribution, Sony
Pictures Television International, said that
he believes the Screenings will be “pretty
much the same as any year.” But he did
mention that he thinks the Screenings
might be shorter this year. “The real
difficulty for buyers will be how to
evaluate a series that has been picked up
straight from a script,” said LeGoy.
On the seminars side, there were a total
of 51 seminars, including keynotes, pitch
sessions and master classes.
MIP-TV 2008 drew 13,360 participants
up from 13,311 in 2007. Some 4,551
companies from 111 countries took part in
the market. MIP-TV 2009 will take place
March 30-April 3.
space, which offers lots of natural
sunlight.
And while entertainment companies
were successful in their attempts at being
green
(meaning
environmentally
conscious), it seemed that they were
holding onto their greenbacks (as dollars
and other currencies are sometimes
called) this year. Lavish parties are
usually a large part of MIP-TV, but this
year, they were few and far between. Of
course, there was the traditional opening
night gala provided by Reed Midem.
This year’s had a Japanese theme
complete with paper lanterns and ladies
dressed in traditional kimonos. Also on
the first night, Granada, Portman and
Distraction all threw their own shindigs.
On the second day of MIP, Dori Media,
Turkish Power lunch: Antalya Fest’s Ziya Temeltas, Comcast’s Nazan Giasson
and Regent’s Merve Berker discuss how to best promote the Antalya Film Fest.
M AY 2 0 0 8
®
L.A. Screenings
Guide 2008
VISION FILMS & VISION MUSIC
LOOK FORWARD TO SEEING YOU AT LA SCREENINGS • CENTURY PLAZA SUITE 1730
F E A T U R E
F I L M S
• Indie
Program
Offerings
• Who's Screening
and Where
DIAMOND DOG CAPER
MAMA, I WANT TO SING!
T V
EXIT SPEED
BRUCE LEE & JACKIE CHAN
FILM PACKAGE
S E R I E S
• New Season
Pilots
• Photo Gallery
EXTREME SPORTS PACKAGE
42 x 1/2 hr
FASCINATION: THE HISTORY OF
MERCEDES-BENZ 6 x 1hr
EGYPT: NEW DISCOVERIES
HIGH DEFINITION 7 x 1hr
CONQUEST OF THE SKY:
THE HISTORY OF AVIATION
2 x 1hr
M U S I C
• Studios’ Teams
• Acquisition
Executives in L.A.
IN CONCERT
430 Episodes
LEGENDS IN CONCERT
30 x 1hr
BEYOND THE MUSIC
10 x 1/2 hr
BOB MARLEY:
FREEDOM ROAD
VISIT OUR WEBSITE AT WWW.VISIONFILMS.NET
14945 VENTURA BLVD. STE. 306, SHERMAN OAKS, CA 91403, USA
PHONE: 818-784-1702 FAX: 818-788-3715 [email protected] WWW.VISIONFILMS.NET
L.A. SCREENINGS
2
0
0
8
Indie Programming Guide
1. Artear’s Socias
2. Cube’s Pangea
3. DIC’s Dino Squad
4. Caracol’s The Snitch Cartel
5. CCI’s Frankstein’s Cat
6. Dori Media’s Lalola
7. ACI’s Jack Hunter: The Lost Treasure of
Ugarit
8. Granada’s Headcases
1
AMERICAN CINEMA
INTERNATIONAL
1563 Victory Blvd.
Van Nuys, CA 91406
T: (818) 907-8700 F: (818) 907-8719
www.aci-americancinema.com
Jack Hunter: The Lost Treasure of Ugarit
Action movie about a treasure hunter who
journeys to an ancient city.
Jack Hunter: The Quest For Akhenaton’s
Tomb
The adventurer’s journey continues, this time
with a pharaoh’s fortune at stake.
The Boxer
An ex-con redeems himself with the help of
his mentor.
T h e L o s t S a m a r itan
When a passerby stops to help two car accident victims, he becomes the target of deadly
assassins.
Fatal Rescue
A boy’s mysterious disappearance into a magical well brings his divorced parents back
together.
Las t Chanc e
Sci-fi film set in the future in which humanity faces ecological disaster.
80 Minutes
After being injected with lethal poison, Alex
has 80 minutes to save his own life.
ARTEAR/PREMIUM MEDIA
Lima 1261, C1138ACA
Buenos Aires, Argentina
T: (54 11) 4370 1234
F: (54 11) 4370 1403
www.mki.artear.com.ar
More Than Par tners (Socias)
Dramedy about three female lawyers who
open a firm together.
Nobody’s Women (Mujeres de Nadie)
Telenovela set at a hospital following the lives
of a trio of women.
Jam Session
Acclaimed Latin guitarist Diego Mizrahi
hosts a music program that incorporates
guest performances, interviews with musicians and footage from live concerts.
Killer Women ( Mujeres A sesinas)
This series dramatizes the stories of different
women who have committed jaw-dropping
crimes, including murder.
CARACOL TELEVISION
2100 Coral Way, Ste 602
Miami, FL 33145
T: (305) 960-2018 F: (305) 960-2017
www.caracolinternacional.com
Accomplices
When a wealthy foreigner sets out in search
of his birth family, nine con artists take
advantage of his naiveté with an elaborate
ruse.
Overdrawn Love
A man is torn between his fiancé and an
intriguing woman who appears in his life.
A Branch of Heaven
Telenovela set in 1971 that tells the story of
two families coping with the cultural
changes of the times.
New Rich, New Poor
Brayan and Andres join forces to try to make
it in the business world.
Who Will Love Maria?
Maria’s self-imposed deadline to have a child
is fast approaching and she doesn’t even have
a boyfriend. She sets out to find a mate that
has the ideal genetic material.
The Snitch Car tel
A group of friends rise through the ranks of
a drug cartel. But when they get to the top,
betrayal and violence ruin their lives.
CCI ENTERTAINMENT
18 Dupont St.
Toronto, Canada M5R 1V2
T: (416) 964-8750 F: (416) 964-1980
www.ccientertainment.com
Harr y and His Bucket Full of Dinosaurs
Animated children’s show in which a little
boy’s dinosaurs are much more than toys.
When no one is looking, his prehistoric pals
come to life and join him.
Frankenstein’s Cat
Named Nine for the number of ill-fated
felines that went into making him, this cat is
a monstrous pet.
Erky Perky
Two silly bugs are taken from their hotdog
cart home and transplanted to a squeaky
clean suburban kitchen.
Beautiful Dreamer
A story about love in wartime.
Sticks and Stones
Based on the true story of a Canadian peewee hockey team that organized a tournament to make amends for the ill treatment of
a U.S. team during a visit to Canada.
In Dreams
In each episode two guests reveal their most
haunting and memorable dreams.
CUBE INTERNATIONAL
1330 West 165 North, Ste B-3
Orem, Utah 84057
T: (801) 722-1000
www.cubeinternational.com
Pangea
Stop-motion animation brings the ancient
super-continent of Pangea to life.
T h e L i g h t B e f o r e Chr i s t m a s
Holiday special incorporating the classic tale
The Night Before Christmas.
Spooky Bats and Scaredy Cats
Two friends take a haunted Halloween journey that leads them through swamps, cemeteries and forests.
The Mysterious Origins of Man:
Re-writing Human Histor y
Charlton Heston hosts a documentary investigating the validity of startling evidence that
indicates that humans and dinosaurs co-existed.
Dark Secret of the Black Sea
Ancient legends of the mysterious body of
water, including its possible connection to
the Bible.
About Face
The story of young Jewish immigrants who
fled Europe during the Holocaust and then
enlisted in the Allied forces to fight Hitler.
The Secret: Evidence We Are Not Alone
Science-fiction program centering on the
U.S. government’s position on UFOs.
DIC ENTERTAINMENT
4100 W. Alameda Ave.
Burbank, CA 91505
T: (818) 955-5400 F: (818) 955-5409
www.dicentertainment.com
Dino Squad
Five adolescent misfits discover they have the
ability to transform into crime-fighting
dinosaurs. Together, they use their powers to
defeat an evil velociraptor.
Sushi Pack
An animated series that follows five superhero
sushi rolls as they protect Wharf City from a
slew of evil villains.
Horseland
Horses and kids can talk to each other at the
world’s most amazing stable.
Cake
A live-action/reality series starring 13 Going
On 30’s Christa B. Allen that centers on a teen
2
4
8
3
5
18
VIDEO • AGE
6
7
M AY 2 0 0 8
L.A. SCREENINGS 2008
7
6
4
1
3
1.
2.
3.
4.
5.
6.
7.
8.
9.
2
Fireworks’ The Border
Lionsgate’s Mad Men
FremantleMedia’s Oprah’s Big Give
Power’s XIII: The Conspiracy
Latin Flower’s Urban Tales
Telefilms’ Dan In Real Life
Ledafilms’ Blonde Ambition
Mediaset’s Corleone
Telefe’s Talking Lives
8
5
with her own cable access show.
DORI MEDIA GROUP
2 Raul Wallenberg St.
Ramat Hachayal, Tel Aviv, Israel 69719
T: 972 3 647 8185 F: 972 3 647 8491
www.dorimedia.com
The Wizardess (La Maga)
Classic tale The Wizard of Oz is revamped
into a modern teen series.
Olivia & I (Olivia y Yo)
A timid cartoonist falls in love with her studio manager. To cope with her feelings, she
creates an animated proxy who ends up
doing more harm than good.
Screenz (Pantallaz)
Drama about relationships formed on the
Internet.
Mannequins (Maniquiz)
The cutthroat world of modeling is revealed
in this drama series.
Lalola
A spurned girlfriend takes revenge on her
philandering ex by magically turning him
into a woman.
FIREWORKS INTERNATIONAL
19 Heddon Street
London, U.K. W19 8HR
T: (44) 20 7034 3410
F: (44) 20 7851 6504
www.contentfilm.com
The Border
Agents of the Immigration and Customs
Security Squad investigate terrorism and trafficking at the Mexican border.
Hear tland
Hi-def drama series about a family that owns
a horse ranch in the rugged Rocky
Mountains.
The Assistants
Four Hollywood underlings slave away
under their eccentric producer boss.
Dating Confidential
Documentary exploring the lengths to which
people go to find a mate.
Wine Confidential
Takes viewers behind the scenes of the intoxicating world of wine production.
Gardening Confidential
The history of the popular leisure activity
with some surprising modern twists.
ABC WID DA MOB
Animated adult comedy that lampoons
20
VIDEO • AGE
Mafioso stereotypes.
FRECUENCIA L ATINA
1250 East Hallandale Beach Blvd, Ste 606
Hallandale, FL 33009
T: (954) 457-1200 F: (954) 457-1213
www.flinternational.tv
La Pre
The son of a famous singer, who died tragically in a car accident, wants to follow in his
father’s footsteps and enrolls in an exclusive
performing arts school.
El Otro Plano
A show about the paranormal world. Does
life exist after death? Can the dead communicate with the living?
Amores en Conflicto
Raul and Veronica, a therapist and a lawyer,
join forces to open a couples-therapy practice. But they can’t seem to keep from getting
involved in their clients’ lives.
Mi Problema Con las Mujeres
Jose undergoes a special therapy treatment, in
which he has to revisit the problems of past
relationships.
Sexo Con…Sentido
Talk show exploring all aspects of sex in modern life.
Diablos A zules
A group of kids with a passion for soccer help
each other grow up and overcome problems.
(THE) FREMANTLE CORPORATION
23 Lesmill Rd, Ste 201
Toronto, Canada M3B 3P6
T: (416) 443-9200 F: (416) 443-8685
www.fremantlecorp.com
Spor ts Extreme and Wrestling
A variety of titles including Wrestling Titans,
Lucha Mania, Tactical Paintball and monster
truck and motocross competitions.
ZombieFest
Made up of seven gory horror flicks.
Hot Pursuit
Feature film jammed with car races.
All My Children
Classic soap now in its 38th season.
Documania
Edgy documentary series featuring Impaler,
Snuff, Risk Takers, Kidnapped, and many
more.
Christmas Holiday Fare
The Alpha-Bots Christmas Special and two
other holiday cartoons.
Bikini Beach
Hi-def series full of bathing beauties and sunkissed celebrities.
FREMANTLEMEDIA ENTERPRISES
1 Stephen Street
London, U.K. W1T 1 AL
T: (44) 20 7691 6000
F: (44) 20 7691 6100
www.fremantlemedia.com
DEA
Viewers are invited along as special agents
from Detroit’s Drug Enforcement Agency do
battle in the war on drugs.
Anthony Bourdain No Reser vations
The prestigious chef and food writer travels
the world tasting local fare.
Bizarre Foods With Andrew Zimmern
No dish is too exotic for this globetrotting
chef, who will consume anything.
She’s Got the Look
Reality series featuring supermodel Kim
Alexis in her search for the next up-and-coming top model.
Oprah’s Big Give
Ten contestants compete to see who can do
the most to help perfect strangers.
The Best Years
Set at a university in Boston, this drama
series chronicles the lives of college students
as they cope with their love lives and plan for
the future.
Falcon Beach
A teenage drama set in a seaside town in the
off season.
GRANADA INTERNATIONAL
The London Television Centre,
Upper Ground
London, U.K. SE1 9LT
T: (44 20) 7491 1441 F: (44 20) 7493 7677
www.granadamedia.com/international
The Colour of Money
Gameshow where contestants battle a super
cash machine to try to win a fortune.
The Pinky & Perky Show
Two cuddly piglets host a variety show with
hilarious stunts, crazy cartoons and a ton of
celeb guests.
Lost in A u s t e n
Modern remake of Jane Austen’s classic Pride
and Prejudice.
Headcases
An animated series that skewers public fig-
9
ures and pop culture icons including Gordon
Brown, Victoria Beckham and Vladimir
Putin.
The Murdoch Mysteries
Period drama series about a 19th century
detective and his cutting-edge forensic techniques
(THE) L ATIN FLOWER COMPANY
Julio a Roca 590, 12th Floor
1067 Cap. Fed.
T: (54) 911 5025 9521
www.thelatinflowercompany.com
Living on the Edge (El Tiempo No Pa r a)
A group of thirtysomethings is reunited by an
old friend’s suicide.
My Beloved Housekeeper (Amo de Casa)
When Alberto loses his job, his wife decides to
return to the workforce to support the family.
The Black Sheep (Oveja Negra)
Family comedy about a married couple with
opposite personalities and their spirited
teenage children.
Urban Tales ( Voces Anonimas)
Suspense series that travels the globe in search
of chilling urban legends and hair-raising
modern myths.
Social Slaves ( Adicciones)
Series dealing with 13 different kinds of
addictions and their consequences.
High Mountain (Breaking Limits)
(Alta Montaña)
Teen series set in breathtaking Patagonia,
Argentina about a group of young people
from different walks of life who work together to restore a hotel.
Swindlers ( Farstantes)
Two very different con artists team up to
become the perfect crime duo.
LEDAFILMS
Virrey Olaguer Feliu 2462, 3rd Floor
C1426EBB Buenos Aires, Argentina
T: (54 11) 4788 5215
F: (54 11) 4788 5220
www.ledafilms.com
B londe Ambition
An innocent country girl takes on big city
executives in this feature film starring Jessica
Simpson.
Home of the Brave
Four American soldiers face their final tour of
duty in Iraq.
My Mom’s New Boyfriend
Meg Ryan, Antonio Banderas and Colin
Hanks star in this action comedy about an
FBI agent and his lovelorn mother.
I Know Who K illed Me
Aubrey Fleming (Lindsay Lohan) escapes the
clutches of a sadistic serial killer. But she is not
out of danger yet…
Lost City Raiders
When a series of radical natural disasters flood
the continents, a group of adventurers roam
the high seas in submarines searching for relics
of lost civilizations.
M AY 2 0 0 8
CONTINUING A TRADITION SINCE 1952
NETWORK
ANIMATION
HORROR FEATURES
MOVIE COLLECTION
FAMILY CLASSICS
(ABC)
AWARDS
®
(CBS)
(CBS)
(SHOWTIME)
(TBA)
WRESTLING TITANS
Emerald
24movie
collection
100 X 30 MIN.
BLACK
Beauty
104 X 30 MIN.
2
1
4
1.
2.
3.
4.
Televisa’s Soul of Steel
Vision’s Diamond Dog Caper
Telemundo’s Betrayed
Venevision’s Poor Millionaire
3
Masters of Horror 2
An anthology series featuring 13 new
thrillers from an all-star group of horror
directors.
Planet’s Funniest Animals
A clip show made up of home videos, bloopers and commercials featuring hilarious creatures.
LIONSGATE
2700 Colorado Avenue, Ste 200
Santa Monica, CA 90404
T: (310) 255-3700 F: (310) 255-3880
www.lionsgate.com
Fear Itself
Horror anthology show featuring the genre’s
premier writers and directors.
Crash
Series based on the Oscar-winning feature
dealing with race issues in Los Angeles.
Mad Men
Drama series set in the world of ad executives
on Madison Avenue in the ’60s.
Weeds
Dramedy about a suburban mom who
resorts to dealing marijuana to support her
family after the death of her husband.
Chandon Pictures
Sitcom following an over-ambitious wedding
videographer.
Speed Racer: The Next Generation
Animated series that builds on the classic cartoon.
Dir ty Dancing UK: The Time of Your Life
Reality competition in which 16 dancers battle it out for the grand prize.
MEDIASET DISTRIBUTION
Via Aurelia Antica 422
Rome, Italy 00165
T: (39) 06 66390566
F: (39) 06 66390650
www.mediasetdistribution.com
Corelone: Il Capo dei Capi
Miniseries depicting the life of notorious
Italian mob boss Totó Riina.
Nasiriyah: A True Stor y From Iraq
Based on a true story, this dramatic miniseries follows a unit of Italian soldiers on a
dangerous peace-keeping mission in Iraq.
Teacher in the Hood
Pietro teaches remedial students with troubled homes and ties to organized crime.
Teaching the Future: The True Life of
Maria Montessori
The true-life story of the Nobel Prize-winner
who revolutionized early education.
What I f S a n t a C l a u s … A g a i n ?
22
VIDEO • AGE
TV movie about a thief who wreaks havoc on
toy stores just two days before Christmas.
POWER
34 Gresse St.
London, U.K. W1T 1QX
T: (44) 20 7323 0070
F: (44) 20 7323 0060
www.powcorp.com
Crusoe
A castaway is marooned on a desert island in
this adaptation of the classic adventure novel
by Daniel Defoe.
XIII: T h e C o n s p i r a c y
A miniseries following a man with a mysterious neck tattoo and a bad case of amnesia.
T h e Summit
Desperate for retribution, a mother turns to
biological weapons to avenge her son’s death.
The Changeling
Heroine Sorrow is caught between the cruel
city of Metropolis and the world of the
Faeries in this sci-fi/fantasy series.
Pinocchio
The timeless classic about a puppet turned
real boy gets a modern makeover.
The Catch
Ex-cons become government agents to bust
an underground crime ring.
The Devil’s Mistress
Angelica Fanshawe manipulates and exploits
everyone in her way in a period drama about
lust and ambition.
TELEFE INTERNATIONAL
Pavón 2495 (1248) Cap. Fed.
T: (54 11) 4308 4496
F: (54 11) 4774 6848
www.telefeinternacional.com.ar
Don Juan and His Fair Lady
Telenovela about a lothario who fears commitment and the woman who reforms him.
Taking Lives
Telenovela dealing with forensics and peopletrafficking.
Dazzled
Teen telenovela about a girl with humble
roots who has one chance to make a splash in
the film industry.
Teenangels
Series for teens centering on a group of adolescents who live together in a home.
Cool Daddy
Family comedy about a widower with three
teenage daughters and a world of relationship
problems.
Countdown
Each episode takes place in real time and follows different people during the most sus-
penseful hour of their lives.
B&B
A ballet dancer and a rock musician team up
to open an arts school. They soon discover
they have undeniable chemistry.
TELEFILMS S.A.
Avda. Del Libertador 1068, Piso 11,
C1112 ABN Buenos Aires, Argentina
T: (54) 11 5032 6000
F: (54) 11 5032 6099
www.telefilms.com.ar
Che
Academy Award winner Benicio del Toro
stars as Che Guevara in this gripping movie
about the famous revolutionary.
3:10 To Yuma
Rusell Crowe stars in this Western about a
small town rancher who is enlisted to escort
an outlaw on a train ride.
Dan In Real Life
Dan Burns (Steve Carell) is a single father
who is devoted soley to his children, but his
life is changed when he meets Marie (Juliette
Binoche) in a bookstore.
The Other Boleyn Girl
Period drama featuring Natalie Portman and
Scarlett Johansson as sisters who compete for
the affections of King Henry VIII (Eric
Bana).
Eastern Promises
Viggo Mortensen stars as Nikolai, a member
of one of the most feared crime families in
London. Naomi Watts plays the woman who
gets involved with him and risks destroying
the organization.
Butter fly on a Wheel
Suspense film starring Pierce Brosnan and
Maria Bello about a family threatened by kidnappers.
In Bruges
Follows the adventures of two hired killers
(Colin Farrell and Brendan Gleeson) who are
exiled to Bruges, Belgium.
TELEMUNDO INTERNACIONAL
2745 Ponce de Leon Blvd.
Coral Gables, FL 33134
T: (305) 774-0033 F: (305) 774-7372
www.telemundointernacional.com
Secret Lies (El Juramento)
The story of a man who will stop at nothing
to avenge his brother’s death, based on classic
novela La Mentira.
Victoria
Telenovela about a middle-aged woman who
gets a second shot at love after a turbulent
failed marriage.
Happy Widow (Viuda Alegre)
When Beatriz’s fourth husband passes away,
she begins to realize that she may be the carrier of a deadly curse.
Dance Dance Dance
Shot in hi-def, this musical telenovela follows
aspiring dancers in São Paulo, Brazil.
Betrayed (La Traición)
Twin brothers are torn apart by a rivalry over
a beautiful woman.
My Husband’s Lover ( La Mujer de mi
Esposo)
Telenovela set in Korea about a woman who
conducts an affair with her best friend’s husband.
Aqualarre
Only female babies have been born in a small
town for the last 30 years. A doctor goes to
investigate the phenomenon.
TELEVISA INTERNACIONAL
6355 NW 36th St.
Miami, FL 33166
T: (786) 265-2500 F: (786) 265-2269
www.televisainternacional.tv
Dear Enemy (Querida Enemiga)
Two sisters turn on each other when they discover that one is inheriting a fortune.
Dumb Girls Don’t Go to Heaven
(Las Tontas No Van al Cielo)
Telenovela about a woman who finds her husband in her sister’s arms and decides to begin
her life afresh.
Soul of Steel (Alma de Hierro)
Jose’s world is turned upside down when his
wife’s prosperous ex-boyfriend returns to
town.
Burning For Revenge (Fuego en la Sangre)
Three brothers set out to avenge their sister’s
death by any means necessary.
The Panther (El Pantera)
After five years behind bars for a crime he didn’t commit, Gervasio breaks out to search for
his fiancé’s murderer.
Searching for Timbiriche, the New Band
(Buscando a la Nueva Banda Timbiriche)
Reality show in which hopefuls compete to
become part of a band.
Code FAME (Código FAMA)
Viewers decide the winner of this talent competition.
VENEVISION INTERNATIONAL
121 Alhambra Plaza, Ste 1400
Coral Gables, FL
T: (305) 442-3411 F:(305) 446-4743
www.venevisioninternational.com
Valeria
Telenovela in which a woman’s past comes
back to haunt her.
Reach for the Stars (Te Llegue a Querer)
Six young musicians struggle to make it to the
top.
Torrent of Passions ( Torrente)
Love and motherhood tear two lifelong
friends apart.
China Through the Yangtze River ( China a
Través del Rio Yangtz e)
Documentary revealing the many natural
wonders of China.
Poor Millionaire (Pobre Millonaria)
The Panama Canal provides the lush, tropical
setting for a story of love and betrayal.
Love Contract (Amor Comprado)
Telenovela in which a young couple’s relationship is constantly thwarted by their financial
situation.
VISION FILMS/VISION MUSIC
14945 Ventura Blvd., Ste 306
Sherman Oaks, CA 91403
T: (818) 784-1702 F: (818) 788-3715
www.visionfilms.net
Exit Speed
A bus full of passengers is attacked by a vicious
motorcycle gang.
Diamond Dog Caper
A clever kid takes on a gang of crooks to save
the dog being used in a heist.
Mama, I Want to Sing!
Patti LaBelle, Billy Zane and singer Ciara star
in a drama about a young girl who dreams of
a musical career.
Necessar y Evil
Thriller about a young journalist who
encounters paranormal events while investigating a mysterious psychiatric institute.
What We Do Is Secret
Biopic starring Shane West and Bijou Phillips
about the hectic life of Darby Crash, lead
singer of The Germs.
National Lampoon’s TV: The Movie
The Jackass gang spoof popular reality shows.
Jackie Chan & Bruce Lee Film Package
Anthology of martial arts films showcasing the
two masters from the years 1973 – 1983.
Legends in Concer t
Features performances by Elvis Presley, Frank
Sinatra, Johnny Cash and many more.
M AY 2 0 0 8
L.A. SCREENINGS
2
0
0
8
Who’s Screening
20th Century Fox TV Distribution
Fox Studios
10201 W. Pico Blvd., Beverly Hills
Tel: (310) 369-8870
Adness Entertainment
Intercontinental Hotel, Ste 914
GranCine
Century Plaza Hotel, Ste 1716
Cube International
Phill Catherall
HBO
Alebrije Entertainment
DIC Entertainment
Dan Waite, Daniel Uribe
Alfred Haber Distribution
Discovery
Alomi Productions
Disney-ABC International Television
The Walt Disney Studios
500 South Buena Vista Street
Burbank
Tel: (818) 460-7960
America Video Films
American Cinema International
Chevonne O’Shaughnessy
Distraction Formats
Invision Entertainment
Laguna Productions
Lain International
Latele Novela Network
(The) Latin Flower Company
Silvana D’Angelo, Carolina Garcia
Ledafilms
Pedro F. Leda, Sebastian Leda, Moira
McNamara, Fernando Paduczak
Bender Media Services
Dori Media
Nadav Palti, Michal Nashiv, Celina Amadeo,
Jose Escalante, Juan Fernandez, Elena
Antonini, Andres Santos, Tali Fink
Beta Films
Endemol
Lightworks Program Distribution/SCG
Beverly Hills Entertainment
Entertainment Studios
Caracol Television
Angelica Guerra, Lisette Osorio, Pedro Davila,
Monica Ramon
Film Independent
Intercontinental Hotel, Mezzanine 207
Lionsgate
Craig Cegielski, Amanda Cordner, Tim Stuart,
Hana Zidek, Teri Fleming, Tori Crotts
2700 Colorado Avenue, Ste 200
Santa Monica
Tel: (310) 255-3700
BBC Worldwide
Century Plaza Hotel, Suite 660
Carsey-Werner International
Fireworks International
Greg Phillips, Saralo MacGregor, Melissa
Wohl, Diana Zakis
1337 Third Street Promenade, Ste 302
Santa Monica
Tel: (310) 576-1059
CBS Paramount Int’l TV
Paramount Studios
5555 Melrose Avenue, Hollywood
Tel: (323) 956-5000
Frecuencia Latina International Limited
Miki Ivcher, Patricia Jasin
CCI Entertainment
Fred Vargas
(The) Fremantle Corporation
Irv Holender
CDC
FremantleMedia Enterprises
Sheila Aguirre
ChinaTV
Comarex/TV Azteca
Comcast/E! Networks
24
Cookie Jar Entertainment
VIDEO • AGE
Globo TV International
Liberman Broadcasting
LucasFilms
Mediaset Distribution
c/o Comarex
Mel Giniger & Associates
MGM International TV
10250 Constellation Blvd.
Los Angeles Tel: (310) 449-3376
Mondo TV Spain
Maria Bonaria Fois, Migdalia Inocencio,
Jacqueline Lopez Silvero
Granada International
Flavio Medeiros
M AY 2 0 0 8
Todos Vuelos Internacionales
Con más que 500 horas de programaciíon en más que
130 países y 22 idiomas...estarán sorprendidos de donde les podemos llevar.
Visit us at the Intercontinental Hotel – Century City, Suite 1221
Contact Information: World Wrestling Entertainment, Inc.
1241 East Main Street Stamford, CT USA
(T) +(203) 352.7098 (F) +1 (203) 353.2983
[email protected]
World Wrestling Entertainment®
TELEVISION
|
ON DEMAND
|
PAY-PER-VIEW
|
LIVE EVENTS
|
FILMS
|
MOBILE
|
HOME VIDEO
|
PUBLISHING
|
MUSIC
|
LICENSED PRODUCTS
|
ONLINE
All WWE programming, talent names, images, likenesses, slogans, wrestling moves, trademarks, logos and copyrights are the exclusive property of World Wrestling Entertainment, Inc. and its subsidiaries..
All other trademarks, logos and copyrights are the property of their respective owners. © 2008 World Wrestling Entertainment, Inc. All Rights Reserved.
Intercontinental Exhibitors at a Glance
Adness Ent.
Ste 914
Nelvana
Ste 721
Alfred Haber Distr.
Ste 1208
Polar Star
Ste 916
America Video Films
Ste 1216
Rai Trade
Ste 1424
CCI Entertainment
Ste 918
Rive Gauche/Dinter
Ste 1725
ChinaTV
Ste 727
Sony Pictures TV Int’l Ste 1416
Cube International
Ste 1214
Spiral International
Ste 718
Discovery
Ste 1418
Tandem Studios
Ste 1214
Distraction
Ste 1022
Toei Animation
Ste 1427
World Wide Ent.
Ste 1014
World Wrestling Ent.
Ste 1221
Film Independent
Mezz 207
(The) Fremantle Corp
Ste 1421
Invision Ent.
Ste 1005
Laguna Productions
Ste 1021
Lain
Ste 908
Latele Novela Net
Ste 927
Ledafilms
Ste 716
Lightworks/SCG
Ste 921
LucasFilms
Ste 1018
Mel Giniger & Assoc.
Ste 1214
Century Plaza Exhibitors at a Glance
Alebrije Ent.
Ste 1711
Alomi Productions
Ste 1705
ACI
Ste 1707
BBC Worldwide
Ste 660
Bender Media
Ste 860
Beta Films
Ste 1923
Beverly Hills Ent.
Ste 1901
Caracol Television
Ste 1909
Carsey-Werner
Ste 1260
CBS Paramount Int’l TV Ste 1402
CDC
Ste 1910
Comarex/TV Azteca
Ste 1924
Comcast/E! Networks Ste 1921
Cookie Jar Ent.
Ste 1713
DIC Entertainment
Ste 1760
Disney Latin America Ste 1917
Dori Media
Ste 1160
Endemol
Ste 1706
Entertainment Studios Ste 1708
Frecuencia Latina
Ste 902
FremantleMedia
Ste 1722
Ste 1860
Globo TV Int’l
Granada Int’l
Ste 1102
GranCine
Ste 1716
HBO
Ste 1757
The Latin Flower Co. Ste 960
Liberman Broad.
Ste 1721
MGM TV
Ste 1002
MondoTV Spain
Ste 1723
Ste 1202
MTV Networks
NBC Universal Int’l TV Ste 1460
Power
Ste 1928
Premium Media/Artear Ste 1660
RCN
Ste 1906
RCTV International
Ste 1905
Record TV Network
Ste 1502
Rose Entertainment
Ste 1560
Salsa Entertainment Ste 1717
South Winds
Ste 1414
Telefe International
Ste 1802
Telefilms
Ste 1902
Ste 1918
Telemundo Intl
Televisa
Ste 1915
Televix
Ste 1907
TV Film Int’l
Ste 802
Venevision Intl
Ste 1701
VIP 2000
Ste 1728
Vision Films/ KO Films Ste 1730
WHO’S
SCREENING
MTV Networks
NBC Universal Int’l Television
Universal Studios
100 Universal City Plaza, Universal City
Tel: (818) 777-4534
Nelvana Enterprises
Polar Star
Latin Screenings,
Parties & Events
May 14
• Premium Media/Artear
(7:30 pm)
• Venevision International
(6:00 pm-8:00 pm)
May 15
• Dreamworks-Ledafilms Latin
America Screenings
• CEO Meetings Wine Tasting
(6:00 pm-8:00 pm) Intercontinental
• Dori Media Cocktail Party
(8:00 pm)
May 16-17
• Café Ole (8:00 am-4:00 pm)
Intercontinental
May 16
• Twentieth Century Fox Latin
America Screenings
• VideoAge Breakfast Meeting
(9:15 am) Intercontinental
• Telenoveleros Party
(7:00 pm-10:00 pm)
May 17
• CBS-Paramount Latin
America Screenings
• Telefé Party (8:00 pm)
May 18
• NBC Universal Latin America Screenings
May 19
• Warner Bros. Latin America Screenings
May 21
• Disney-ABC Latin America Screenings
26
VIDEO • AGE
Power
Pepe Echegaray, Ericka Arango-Rojas
Premium Media/Artear
Blanca Ponce, Luciana Egurrola,
Natalia Affranchino
RAI Trade
RCN
RCTV International
Record TV Network
Rive Gauche/Dinter
Rose Entertainment
Salsa Entertainment
Sony Pictures TV Int’l
Sony Pictures Studios
10202 West Washington Blvd.
Culver City
Tel: (310) 244-3977
Intercontinental Hotel, Suite 1416
South Winds
Spiral International
Tandem Motion Picture Studios
Telefe International
Alejandro Parra, Michelle Wasserman,
Diana Coifman, Jesica Stescobich,
Gonzalo Cilley, Guillermo Henrich,
Meca Salado Pizarro
Telefilms S.A.
Tomás Darcyl, Ricardo Costianovsky,
Alfredo Andreotti, Humberto Delmás,
Alejandro Carballo
Telemundo International
Marcos Santana, Xavier Aristimuño,
Carlos Bardasano, Karen Barroeta,
Mariano Calasso, Luis Daniel Capriles,
Esperanza Garay, Adriana Ibañez,
Joysette Rivera, Eddy Vivas
Televisa Internacional
Fernando Perez Gavilan, Carlos Castro,
Claudia Sahab, Mario Castro, Jose Luis
Romero, Oscar Belaich, Cecilia
Galeana
TV Film International
Venevision International
Luis Villanueva, Cesar Diaz, Jose
Antonio Espinal, Cristobal Ponte,
Miguel Somoza, Daniel Rodriguez
VIP 2000
Century Plaza Hotel, Suite 1728
Vision Films/KO Films
Brittany Mullikin, Lise Romanoff
Warner Bros. International TV
4000 Warner Blvd., Burbank
Tel: (818) 954-600
World Wide Entertainment
Intercontinental Hotel, Suite 1014
World Wrestling Entertainment
VideoAge Information Desk
Intercontinental Hotel Lobby
Tel: (310) 444-3189
[email protected]
Hyatt Regency Century Plaza Hotel
2025 Ave of the Stars
Los Angeles • Tel: (310) 228-1234
Televix
Toei Animation
Intercontinental Hotel
2151 Ave of the Stars
Los Angeles • Tel: (310) 284-6500
M AY 2 0 0 8
Fever Pitch
Original commission for ITV1, UK
ITV Productions
Relentless
Original commission for Channel 4, UK
A Zig Zag production
The Rich List
The Colour Of Money
Original commission for BBC1, UK
A 12 Yard production
Original commission for ITV1, UK. A 12 Yard production
LA Screenings
Granada International
Century Suite Room 1102
Hyatt Regency Century Plaza, Los Angeles
www.granadamedia.com/international
Flavio Medeiros
Tel: +55 21 3204 4065
Email: [email protected]
L.A. SCREENINGS
2
0
0
8
2008-09 Season’s New Series
By International
Distribution Company
Please note that this list includes
only ABC, CBS, NBC, the CW and
cable network pilots. In the May 19
issue of VideoAge the list will be
updated to reflect the announcements made at the Fox upfronts.
CBS PARAMOUNT
INTERNATIONAL TV
90210 (CW)
Production Team: Gabe Sachs, Jeff
Judah, Mark Piznarski
Format: One-hour drama
Contemporary spinoff of the
Aaron Spelling classic.
Kath & Kim (NBC)
Production Team: Michelle Nader,
Paul Feig, Wil Calhoun, Mark
Koops, Howard Owens, Gina
Riley, Jane Turner, Rick McKenna
Format: Half-hour comedy
About a 40-something divorced
mom and her self-absorbed
daughter.
Harper’s Island (CBS) (midseason)
Production Team: Jon Turteltaub
Murder mystery that unfolds as
friends attend a destination wedding on a secluded island.
Kings (NBC)
Production Team: Michael Green,
Francis Lawrence, Erwin Stoff
David and Goliath set in a meta
modern world.
Stylista (CW)
Production Team: Tyra Banks, Ken
Mok, Eli Holzman, Desiree Gruber,
Jane Cha
Format: One-hour reality
Aspiring fashion assistants vie for
an editorial job with Elle magazine.
Knight Rider (NBC)
Production Team: David Bartis,
Doug
Liman,
Gary
Scott
Thompson
A modern take on the original
series with a brand-new KITT and
cast.
Worst Week (CBS)
Production Team: Matt Tarses,
Jimmy Mulville
About a man who’ll do anything
to please his girlfriend’s parents.
My Own Worst Enemy (NBC)
Production Team: Jason Smilovic,
David Semel
An executive lives a double life as
a government agent.
DISNEY-ABC INT’L TV
Project Gary (CBS)
Production Team: Ed Yeager, Ric
Swartzlander
Dad tries to navigate new waters
with his kids, his ex and his newfound romantic life.
The Office Spinoff (NBC)
Production Team: Greg Daniels
Spinoff of the hugely successful
sitcom.
FREMANTLEMEDIA
ENTERPRISES
America’s Toughest Jobs (NBC)
Production Team: Thom Beers, Gail
Berman, Lloyd Braun
Twelve people leave their safe jobs
for demanding ones.
Merlin (NBC)
Production Team: Julian Murphy,
Johnny Capps, Jake Michie, Julian
Jones
Fantasy series set in Camelot.
Shark Taggers (NBC)
Production Team: Thom Beers, Gail
Berman, Lloyd Braun
Marine biologists track down and
investigate ocean predators.
30
NBC UNIVERSAL INT’L
TELEVISION DISTRIBUTION
Date My Ex (Bravo)
Production Team: Douglas Ross,
Gregory Stewart, Kathleen French
Follows a Real Housewives of
Orange County alum as she looks
for love in Los Angeles.
VIDEO • AGE
The Philanthropist (NBC)
Production Team: Charlie Corwin
About a billionaire who uses his
resources to help those in need.
The Rachel Zoe Project (Bravo)
Production Team: Charlie Corwin,
Jamie Patricof, Rachel Zoe
Celebrity stylist Zoe gives viewers
a fly-on-the-wall look at how she
juggles it all.
The Real Housewives of New
Jersey (Bravo)
Production Team: Sirens Media
Showcases the McMansions and
lavish lifestyles of some of New
Jersey’s wealthiest wives.
POWER
Crusoe (NBC)
Production Team: Justin Bodle,
Michael
Prupas,
Genevieve
Hofmeyr
New twist on Daniel Defoe’s classic
tale.
SHAFTESBURY FILMS
The Listener (NBC)
Production
Team:
Christina
Jennings, Scott Garvie, Michael
Amo, Russ Cochrane, Glen Davis,
Bill Laurin
A suspenseful series that follows a
paramedic who can read people’s
minds.
Production Team: Joss Whedon
From the mind of Joss Whedon
comes this action series about a
female Jason Bourne who is
stripped of her memories after
completing missions.
The Ex List (CBS)
Production
Team:
Diane
Ruggiero, Jonathan Levin
Focuses on a woman who is surprised to learn from a psychic that
she’s already dated her future
husband.
WARNER BROS.
INTERNATIONAL TV
Eleventh Hour (CBS)
Production
Team:
Jerry
Bruckheimer, Jonathan Littman,
Danny Cannon, Cyris Voris, Ethan
Reiff, Mick Davis, Paul Buccieri
Focuses on a government agent
who investigates scientific crises
and oddities.
The Goode Family (ABC) (midseason)
Production Team: Mike Judge,
David Krinsky, John Altschuler,
Michael Rotenberg, Tom Lassaly.
Animated comedy from creator
Mike Judge about a family
obsessed with doing the “right”
thing whether it’s environmentally, politically or socially.
Man vs. Cartoon (truTV)
Production Team: Craig Piligian
Real humans attempt stunts like
those done by Looney Tunes characters.
Leverage (TNT)
Production Team: Dean Devlin
Timothy Hutton stars as a former
insurance investigator who turns
against corporate America.
The Mentalist (CBS)
Production Team: David Nutter,
Bruno Heller
About a former celebrity psychicturned-detective, who uses his
skills of observation to “read”
people and solve crimes.
Life on Mars (ABC)
Production
Team:
Josh
Applebaum, Andre Nemec, Scott
Rosenberg, Jane Featherstone,
Stephen Garrett, David E. Kelley
Adaptation of a BBC series about
a cop who wakes up 30 years in
the past.
Surviving the Filthy Rich (CW)
Production Team: Rina Mimoun,
Leslie Morgenstein, Bob Levy
Tells the tale of a recently fired
tabloid journalist who is offered a
position as a tutor for twin 16year-old billionaire sisters.
Momma’s Boys (NBC)
Production Team: Ryan Seacrest,
Andrew Glassman
Moms select brides for their complacent sons.
Truth in Advertising (TNT)
Production Team: Greer Shephard,
Michael M. Robin, John Coveny,
Hunt Baldwin
About two talented ad men whose
jobs and friendship are increasingly on the line.
INTERNATIONAL DISTRIBUTOR
TBA
Chopping Block (NBC)
Production Team: David Barbour,
Julian Cress
Couples are tested in various
restaurant challenges.
Dollhouse (FOX)
Opportunity Knocks (ABC)
Production
Team:
Ashton
Kutcher, Jason Goldberg, Karey
Burke, J.D. Roth, Todd A. Nelson
A game show that shows up on
America’s doorstep.
Raising the Bar (TNT)
Production Team: Steven Bochco
A public defender tries to help
the down and out.
Untitled Ashton Kutcher/
Tyra Banks Project (ABC)
Production
Team:
Ashton
Kutcher, Tyra Banks
A beauty pageant unlike all others.
M AY 2 0 0 8
L.A. SCREENINGS
2
1
2
0
0
8
3
1. Kicking off the Latin L.A. Screenings was the first ever Hispanic TV Conference, held in Miami, Florida. Pictured are:
conference organizer Amanda Ospina, Disney-ABC Latin America’s Leonardo Aranguibel, Telemundo’s Perla Farias, TV Venezolano’s
Luis Zelkowicz and Argentinean scriptwriter Marcela Citterio. 2. Lionsgate’s Craig Cegielski and Amanda Cordner. 3. The Latin
Flower’s Silvana D’Angelo. 4. The Intercontinental team, including GM Raymond Vermolen and CEO Meetings & Conferences’ Neal
Lloyd, welcomes L.A. Screenings participants. 5. Century Plaza’s Heather Humphries and Carly Weinstein in front of the X Bar, a
hotspot for L.A. Screenings attendees. 6. Carsey-Werner’s Herb Lazarus. 7. Prez of Entertainment Dawn Ostroff at the CW upfront
presentation in New York City. 8. RAI Trade’s Sabrina Eleuteri is exhibiting at the Intercontinental.
5
4
6
34
7
VIDEO • AGE
8
M AY 2 0 0 8
MEDIASET GROUP Creative and Image Coordination Department
THE TRUE STORY
DRAMA MINISERIES/SERIES 6x100’ or 12x50’
BEST FICTION
Century Plaza Suite # 1924
Latin American Distribution
mediasetdistribution.com
[email protected]
TV-MOVIES SERIES MINI-SERIES SOAP OPERAS CLASSIC FILMS SITCOMS
L.A. SCREENINGS
2
0
0
8
STUDIOS’ SALES TEAMS
CBS Paramount International Television
Disney-ABC International Television
May 17, May 19-May 22
May 19-May 22
Sue Akens, EVP, Business Affairs
Joe Lucas, EVP, Sales and Marketing
Barry Chamberlain, SVP, Sales
Paul Gilbert, SVP, International Formats
Isis Moussa, SVP, Marketing
Stephen Tague, SVP, European Sales
Cece Braun, VP, Finance
Chrissy De Pauw, VP, Sales Administration
Rob Haiat, VP, Business Operations
Scott Michels, VP, Sales Operation and Administration
Catherine Molinier, Managing Director
Stephanie Pacheco, Managing Director, Latin America
Michelle Payne, VP, European Sales
Giovanni Pedde, VP, European Operations
Guy Petty, VP, Business Development
Bruce Swanson, VP and General Manager
Jennifer Weingroff, VP, Communications
Stephen White, VP, Managing Director, Asia Pacific
Sarah Clarke, Sr. Director of Sales, Canada
Mie Horasawa, Director of Sales, Northeast Asia
Roxanne Lettman, Director, International Sales and Production
Eric Mueller, Executive Director of Sales, Latin America
Amelia Plant, Sales Manager
Nicole Sinclair, Director of Sales, Asia Pacific
Tim Wright, Director of Sales
A rm a n d o N u ñ e z , J r.
P re s i d e n t
Paramount Theater
Paramount Studios
5555 Melrose Avenue
Hollywood
Tel: (323) 956-5000
Tom Toumazis, EVP & Managing Director, EMEA & Canada
Paul Candland, EVP & Managing Director, Japan
Rob Gilby, SVP & Managing Director, Asia-Pacific
Fernando Barbosa, SVP, Sales, Latin America
Catherine Powell, SVP, Program Distribution, EMEA (North)
Francesca Tauriello, SVP, Program Distribution EMEA (South)
Maria Kyriacou, SVP, New Media Distribution, EMEA
Orest Olijnyk, SVP, Sales, Canada
Greg Johnson, VP, Sales, Asia-Pacific
Harry Tanaka, VP, Sales, Japan
Henri Ringel, VP, Sales, Latin America
Carsten Fink, VP, Sales & Distribution, Germany
Alexandre Moussard, VP, Sales, French-Speaking Europe
David Nogueira, VP, TV Sales & Distribution, Spain
Tatjana Vucanvoic, VP, Sales, Central & Eastern Europe &
Africa
NBC Universal International TV Distribution
Sony Pictures Television International
May 18-May 23
May 19-May 23
Haydn Arndt, SVP, Sales Liaison, Australia and New Zealand
Liz Avery, Director, Sales Liaison, U.K. and Eire
Rob Bell, VP, Digital Platforms
Justin Che, SVP, Sales, International New Media
Rajiv Dhawn, VP, Sales Liaison, Asia
Vimish Gandesha, VP, Sales Liaison, Scandinavia, Benelux, Israel, S. Africa
Marwan Helayel, Director, Sales Liaison, Middle East
Kerry Hutson, Director, Sales, International New Media
Sonya Joo, VP, Branded On Demand Development
Don McGregor, SVP, Sales Liaison, UK, Northern Europe, CEE, CIX,
Baltics, S. Africa, & Middle East
Maxim Mikailov, Director, Liaison, CIS, Baltic States & Turkey
Beth Minehart, EVP, Sales, International New Media
Tamara Misert, Director, Sales Liaison, Spain & Portugal
Atsushi Miyasaka, VP, Sales Liaison
Allan Navarrete, VP, Sales Liaison, Latin America
Sven Noth, Director, Sales Liaison, Germany
Maria Rodriguez, Director, Sales Liaison, Australia
Maria Sanchez, SVP, Liaison, Spain, Portugal & Latin America
Anne-Lorraine Villeroy, Director, Sales Liaison, France, Italy & N. Africa
Belinda Menendez
P re s i d e n t
Universal Studios Lot
100 Universal City
Plaza
Universal City
Tel: (818) 777-4534
John McMahon, President and Managing Director, Europe
John Migicovsky, President, Columbia TriStar Media Group of Canada
Ken Munekata, President, Sony Pictures Entertainment, Japan
Stuart Baxter, EVP, European Distribution
Jack Ford, EVP and Managing Director, Australia and New Zealand
Keith Le Goy, EVP, Distribution
Todd Miller, EVP and Managing Director, Asia
TC Schultz, EVP and Managing Director, Latin America
John Fukunaga, SVP, Distribution
Danny Goldman, SVP, Sales
Angel Orengo, SVP, Distribution, Latin America & Caribbean
Ross Pollack, SVP, Distribution, Asia
Mike Wald, SVP, Pay TV and New Media Distribution
Noémie Weisse, SVP, Sales, France
Marco Cingoli, VP, Sales and Production, Italy
Kerstin Gühne, VP, Distribution, Germany
Masaki Ushiroku, VP, TV Licensing, Japan
Kylie Munnich, Director, Sales, Australia & New Zealand
Maria Valenzuela, Director, Sales, Spain
Twentieth Century Fox TV Distribution
Warner Bros. International Television
May 16-May 23
May 19-May 23
Marion Edwards, President, International Television
Jamie McCabe, EVP, PPV VOD EST
Richard Samuels, SVP Sales, Asia
Brendan Zauner, VP Sales, Asia
Elie Wahba, SVP Sales, Latin America
Jose Luis Gascue, VP Sales, Florida
Ricardo Rubini, VP Sales, Latin America
Michael Murphy, SVP Sales, Canada
David Heath, VP Sales, Canada
Jean Vezina, Director Sales, French Canada
Gerard Grant, SVP Sales, France
Martine Bazin, VP Sales, France
Denis Cantin, Director, Format Sales, Europe
Steve Cornish, SVP Sales, U.K.
Yoni Cohen, VP Sales, U.K.
Steve Turney, Director Sales, U.K.
Sylvie Lebosse, European Operations
Roderick Molinare, European Operations
Jose Abad, SVP & Managing Director, Southern Europe
Robert Blair, SVP, Northern Europe
Jim Brehm, SVP, Sales, Canada, Latin America and Asia
Tony Cornish, Sales Director
Tomas Davison, Director of Sales
Malcolm Dudley-Smith, EVP, Branded Services —
Business Management
John Garcia, VP & General Manager – Latin America
Enrique Juarez, Director, Sales – Latin America
Ted Lai, VP, International Television
Caroline Lang, VP & Managing Director, France
Chris Law, SVP & Managing Director, UK Television &
Digital Distribution
Juan Mayne, Director of Sales
Joanna Murchie, Sales Director, Central and Eastern Europe
Mitsuru Oda, VP & General Manager
Roni Patel, Director, Benelux/Middle East
Rosario Ponzio, Managing Director, Italy
Greg Robertson, SVP & Managing Director
Sylvia Rothblum, Managing Director, German-Speaking Territories
Mickie Steinmann, VP & General Manager, Canada
Nicky Wood, VP, Scandinavia & Eastern Europe
36
VIDEO • AGE
Mark Kaner
P re s i d e n t
Fox Studios
10201 W. Pico Blvd.
Bldg. 310
Beverly Hills
Tel: (310) 369-8870
Ben Pyne
P re s i d e n t
Global Distribution
The Walt Disney
Studios
500 S. Buena Vista
Street
Burbank
Tel: (818) 460-7960
Michael Grindon
P re s i d e n t
Sony Pictures
Studios
10202 West
Washington Blvd.
Culver City
Tel: (310) 244-3977
J e ff re y R . S c h l e s i n g e r
P re s i d e n t
Steven J. Ross
Theater
Warner Bros. Studios
4000 Warner Blvd.
Burbank
Tel: (818) 954-6000
M AY 2 0 0 8
s
ing 2
en 70
cre e 1
. S suit
L.A za,
the la
at y P
us ntur
See Ce
att
Hy
L.A. SCREENINGS
2
0
0
8
KEY ACQUISITION EXECUTIVES
ARGENTINA
Artear: Walter Sequeira, Bernardette Del
Mas
Playboy: Ariel Taboada
Telefe: Claudio Villaruel, Bernarda
Llorente, Julian Rodriguez Montero
AUSTRALIA
Foxtel: Stephen Baldwin, Jamie Campbell,
Deb Darby, Duane Hatherly, Brian Walsh,
Penny Win
Seven: Tim Worner, John Stephens, Angus
Ross, Zane Bair
Showtime: Tony Pollitt, Peter Rose, Glen
Kinging
Ten: David Mott, Beverley McGarvey, Peter
Andrews
TV1: Justin Arnall, Selena Crowley, Peter
Hudson, Danielle Rowland
AUSTRIA
ORF: Andrea Bogad-Radatz, Alexander
Wrabetz, Wolfgang Hoefer, Elisabeth
Mayerhoffer, Werner Taibon
BELGIUM
Comedy: Evert van der Veer, Maurice
Hols, Victor Coolman (MTV)
NBC Uni: Jon Farrar, Martin Heaton
Cooper
RTBF: Valerie Lardinois, Emmanuel Tourpe
RTL-TVI: Stephane Rosenblatt, Erwin
Lapraille, Patrick Vandenbosch, Maria Pia
Defourny
SBS: Esther van den Brink
Skynet: Ingrid De Coninck, Didier Lupfer,
Ramzi Malouki
Telenet: Piero Cavaliere, Paty Colemont,
Anouk Mertens
VMMA: Luc Janssens, Nico Nulens
VRT: Hilde Debackere, Jean-Luc Sterckx
BOLIVIA
ATB: Daniel Cruz, Jose Luis Penaranda,
Carlos Villazon
ECOR: Ernesto Monasterio, Carlos Novaro,
Alberto Wichtendal
Red Uno: Jessica Kuljis, Julio Romero
BRAZIL
Bandeirantes: Goyo Garcia
Globo TV: Roberto Buzzoni, Suzy Ubing
Globosat: Claudia Macedo, Wilson Cuhna
NBC Uni: Paulo Barata, Andre Audler
Record: Paulo Calil, Honorilton Costa,
Tereza Franco, Rosana Oliveira, Manoel
Silva
Rede TV: Marcelo Carvalho, Luciana
Gimenez, Monica Pimentel
SBT: Nelson Akira Sato
Teleamazonas: Maria Eulalia Eguiguren,
Margarita Davalos
CANADA
Corus: Joanna Webb, Ted Ellis
CTV: Michael Murphy
Global: Leonard Asper, Errol Da-Re, Kathy
Gardner, Andrew Janik, Walter Levitt, Phil
Piazza, Arthur Reinstein, Michael Serafini,
Christine Shipton, Peter Viner, Barbara
Williams, Cathy Young
Highway: Adam Ivers, Michael
McLaughlin, Sherry O’Neil
NTV: Jesse Stirling, Judith Stirling, Scott
Stirling
Rogers: Hayden Mindell, Dawn Morden,
Leslie Sole, Alain Strati, Tony Viner
Skibo: Jim Reid, Paul Sweeney
Sun TV: Don Gaudet, Jim Nelles
Superchannel: Malcolm Knox, Dandy
Perkins
TeleAstral: Dominique Bazay, Judith
Brosseau, Di-Ann Laurier, Jacques Mathieu,
Josee Mignault, Elaine Mourez, Pierre Roy
TLN: Aldo DiFelice
TVA: Maxine Bissonette, Claude Foisy,
Sylvie Gaudreault, Sophie Henault, Claire
Syril Monteleone, Sylvie Tremblay
Vision: Beverley Shenken
CHILE
Chilevision: Jaime de Aguirre, Pablo
Morales, Sebastian Pinera
Megavision: Alfredo Escobar, Francisco
Henriquez, Baltazar Sanchez
TVN: Vicente Sabatini, Eduardo Tironi
Univ Catholica: Maea Garcia, Carmen
Gloria Lopez, Paulo Ramirez
VRT: Ana Maria Nuñez Toledo
CHINA
Shanghai Media: Chen Lei, Sun Wei,
Wang Yan, Jimmy Zhang
COLOMBIA
City: Olga Navarro, Lorencita Santamaria
Provideo: Luis Stipanovic, Andres
Marulanda Botero
Recall: Juan Jorge Jaeckel
COSTA RICA
Teletica: Rene Picado, Sr., Rene Picado, Jr.,
Zaida Jimenez, Mario Gonzalez, Luis Castro
CROATIA
Nova: Nina Mikola, Drazan Mavric, Zranka
Jankoev
RTL: Christoph Mainusch, Eckard Stressig
CYPRUS
Lumiere: George Xinaris
CZECH REPUBLIC
Czech TV: Alena Blahosova-Polednakova,
Michael Malek
Prima: Hannes Nothegger
DENMARK
DR: Steen Salomonsen, Kaare Schmidt
SBS: Tina Moreton
TV2: Anette Romer, Feline Munck
TV3: Peter Slot
DOMINICAN REPUBLIC
Colmed: Nicolas Rodriguez, Jordan
Rodriguez, Michael Rodriguez
ECUADOR
Gamavision: Iti Donoso, Nicolas Vega
EL SALVADOR
Canal 2: Juan Carlos Eserski, Salvador
Gadala
Canal 12: Raimundo Alonso, Pedro
Cabanas
ESTONIA
Kanal 2: Olle Mirme
FINLAND
Ch 4: Pirjo Airaksinen, Tiina Karo,
Karoliina Kytomaa, Elina Pentinsaari
MTV3: Jani Hartikainen, Marko Karvo,
Liisa Stenberg, Jorma Sairanen
YLE: Tarmo Kivikallio, Johanna Salmela
FRANCE
AB: Fabrice Bailly, Nathalie Biancolli,
Xavier Gandon, Richard Maroko
ARTE: Nicholas Deschamps
BETV: Christian Loiseau, Alexandrine Duez
Canal+: Sandra Ouaiss, Franck Legrand,
Rene Saal, Laurence Blaevoet, Catherine
Comte (Jimmy), Diane Reunald, François
Mergier
Canal J: Julia Tenret
Double V: Vincent Desforges, Valerie
Peschels
France2: Cecile Negrier, Helene Goujet
France3: Caroline Got
France4: Frederic Prallet-Dujols
M6: Bernard Majani, Remi Jiminez,
Berangere Terouanne
MCM: Olivier Richard, Cecile Mercier
NBC Uni: Laurent Dumeau, Pauline
Dauvin, Francois Roux
NRJ12: Gerald Brice Viret, Olivier
Fernandez, Julien Figue
Telecom: Mark Cutten, Bernard Tani
TF1: Mara Sorbera, Andre Beraud,
Elisabeth Durand, Remi Jacquelin,
Capucine Lallemand, Sophie Levaux
TF6: Vincent Broussard, Thomas Crosson,
Christine Hodanger
GERMANY
ATV: Martin Gastinger, Roman Rinner
AXN: Ute Reichel, Robert Niemann
Beta: Christian Gockel, Patrick Keller,
Nataly Kudiabor, Peter Norrenbert, Stefan
Raiser, Claudia Sihler-Rosei, Eric Welbers
Degeto: Kristina Dubin, Hans-Wolfgang
Jurgan, Thomas Weymar, Jana Brandt,
Barbara Dusek, Marc Gabizon, Angela
Gilbert, Claudia Grassel, Benny Kiser,
Whitney Oliver, Conrad Schoeffter, Corinna
Scholz, Oliver Schuendler, Gunter Struve,
Philippe Van Doornick, Hubert von Spreti,
Rosemarie Wintgen, Jessica Young, Doris
Zander
DMax: Michael Grubinger, Katja HofemBest
Grundy-UFA: Rainer Wemcken
ITTC: Katie Caprio, Klaus Hallig, Cornelia
Liebig-Marciniak
Kabel1: Guido Bolten, Karin Bombe
Kinowelt: Achim Apell
MTV: Catherine Muehlemann, Stephan
Schwarzer, Elmar Giglinger (Comedy),
Karin Schrader (Comedy)
NBC Uni: Roger Schneider
Plus TV: Dominik Kaiser, Torsten Prenter
Polyphon: Hubertus Meyer-Burckhardt
Premiere: Hans Seger, Rainer Ingber,
Martin Calsow, Sebastian Lau
ProSieben: Andreas Bartl, Thilo Proff,
Juergen Hoerner
ProSiebenSat1: Guillaume De Posch, Jan
Frouman, Ruediger Boess, Thomas Lasarzik,
Claudia Ruehl
RTL: Kaspar Pflueger, Holger Andersen,
Klaus Henning, Manuela Huhn, Dirk
Schweitzer, Christoph Mainusch, Eckhard
Stressig
RTL2: Jochen Starke, Axel Kuehn, Minea
Bauer, Claudia Schorr
Sat1: Matthias Alberti, Frank Schnelle
SuperRTL: Claude Schmidt, Carsten
Goettel, Frank Dietz
TeleMuenchen: Thomas Augsberger,
Herbert Kloiber, Bernd Schloetterer
Turner: Anke Greifeneder, Hannes
Heyelmann
UFA: Thomas-Peter Friedl (Cinema), Joerg
Winger
Universum: Anja Pallasch
Vox: Ladya Van Eeden
ZDF: Thomas Bellut, Norbert Himmler,
Klaus Bassiner, Hans Juergen Steimer,
Alexander Coridass, Susanne Mueller,
Reinhold Elschot, Jutta Lieck-Klenke,
Daniel Fiedler
GREECE
Alpha: Bokolis Panagiotis
Alter: Costas Giannikos, Alexandra
Theodoris
Antenna: Lindy Isherwood, Athina
Kyriakou, John Latsios, George Levendis
JTTV: John Triantafyllis
Mega: Nassos Katakouzinos, Dennis
Kinigos
Skai: Dimitris Koliodimos, Elpida Kallinteri
Star: Gina Dimitriadi, Eleni Paschalidou
GUATEMALA
Latitud TV: Alejandro Botran, Pamela
Urrutia
HONDURAS
Canal 11: Cinthia Nehring, Gabriela
Rodriguez, Cesar Rosenthal, Erika Seevers
Televicentro: Anamaria Kafati, Rosina
Pastor, Rafael Villeda
HONG KONG
Promo: Lanny Albina Huang, Ko Ping
Yeung
Star: Donovan Castillo, Todd Lituchy
TV Broadcast: Cecilia Tan, Nancy Lai
HUNGARY:
AXN: Katalin Joboru, Marietta Temesvari
HBO: Judit Minda
MTV: Attila Lengyel
RTL Klub: Dirk Gerkens, Peter Kolosi, Tibor
Forizs, Tamas Rakosi
TV2: Zoltan Vardy, Bence Gyongyossy
ICELAND
365: Palmi Gidmundsson, Skarphedinn
Gudmundsson
RUV: Erna Kettler, Gudmundur Ingi
Kristjansson
INDIA
Entv: Ajay Trigunayat
Inx: Richard Platt, Indrani Mukerajea
Zee: Deblina Chakravarti
INDONESIA
Indosiar: Triandy Suyatman
LPP: Yon Anwar, Antar Merau Sianturi
RCTI: Nana Putra
SCTV: Soemijato Muin, Vita Intan
IRELAND
Channel 6: Michael Murphy
RTE: Dermot Horan, Brian Walsh, Andrew
Fitzpatrick
TG4: Deirbhile Ni Churraighin, Lis Ni
Dhalaigh
TV3: Ben Frow, Catherine Mackin, David
McRedmond
ISRAEL
DBS: Ron Eilon, Yona Wiesenthal, Danna
Stern
Hot: Karni Ziv, Simone Hesselberg
Keshet: Avi Nir, Muli Segev
Orange: Shay Gissin, Erez Paz, Yael Scop
ITALY
All Music: Giovanni Brasca, Elisa
Ambanelli, Antonio Visca
AXN: Susanna Vitelli, Andrea Paoletti
Babelgum: Gabriella Ballabio
Comedy: Eve Navarro
Fox: Paola Acquaviva, Laura Carafoli,
Maria Laura Mozzetti, Fabrizio Salini,
Agata Spatola, Mauro Torrente, Diego
Londono
Jimmy: Antonella Attenni, Giusto Toni
La 7: Alfredo Moroni, Gianluca Foschi,
Alberto Rossini
NBC Uni: Luca Cadura, Giorgina di Santo
RAI: Giorgio Buscaglia, Patrizia Cardelli,
Adriano Coni, Guido Corso, Paolo Del
Brocco, Francesco Di Pace, Erika Esposito,
Cesare Genolini, Vincenza Gentile, Luca
Macciocca, Bianca Maria Pontillo, Guido
Pugnetti, Donatella Saroli, Angelo Teodoli,
Cristina Villoresi
RTI: Guido Barbieri, Francesco Mozzetti,
Zelda Stewart, Sonia Danieli, Lucia Del
38
VIDEO • AGE
M AY 2 0 0 8
HISTORIAS AL DESCUBIERTO
La misión de CCI Entertainment es crear una
programación de televisión extraordinaria,
una televisión que divierta, deleite y estimule
nuestras mentes y corazones; Una televisión que
haga volar tu imaginación!
ERKY PERKY
FRANKENSTEIN’S CAT
GHOST TRACKERS
HARRY & HIS BUCKET
FULL OF DINOSAURS
www.ccientertainment.com
Visite Federico Vargas, Ejecutivo de Ventas y Adquisiciones, en el Suite 918
InterContinental Los Angeles, Century City, 2151 Avenue of the Stars
teléfono +1.416.578.7890
ACQUISITION
EXECUTIVES
Prete, Imma Petrosino, Maurizio Colombo, Aldo
Romersa, Marco Costa, Piercarlo Guglielmi, Paolo
Paggetta, Carlo Panzeri
Sky: Luisa Borella, Stefano Orsucci, Kathryn Fink
JAPAN
AXN: Masato Ito, Satoko Minagawa, Hiroko
Ozawa
Broadmedia: Ai Morizane, Naoki Nakamura,
Yoshihiro Seki, Shu Watanabe, Akiko Yoshikawa
Cente: Sonoko Fuji, Taka Ito, Manabu Kameya,
Shizuka Koike, Kousuke Mihara, Takayuki
Terashima
Dentsu: Daisuke Fukuoka, Shoichiro Ishiwatari
Hanaro: Stephen Kim, Sangsu Park
Jupiter: Yuko Hirota, Hiroyuki Nakatani
Medianet: Fuminori Isono
Mico: Chie Muto
NHK: Yukihiro Shibata, Kiyoshi Umibe
Nikkatsu: Yusuke Kurokawa
NTV: Koji Kashiwagi, Hajime Takeuchi
Super: Tatsuo Suzuki, Kiyoshi Tokumaru
Toei: Hideyuki Baba, Masayoshi Endo, Masahiro
Kimura, Taro Minami, Natsuko Morita, Yusei
Nagamastsu, Yumiko Sato
TFC: Ryuji Hayashi, Masato Kashiwagi, Kyoko
Kato, Keiichi Kosaka, Hiromichi Sato, Kazuki
Tokunaga
Wowow: Aya Kawaguchi, Keiko Nakazono,
Tetsuya Nasuno
YTV: Takeshi Kita
KOREA
Asia TV: May Leung, KK Leung
CJ Media: Shang Hwi Ahn, Chul Yeon Kim, Won
Pil Shim, Ae Sohn
Dramanet: Tae-Hui Kim, Gyeong-Min Moon, InCheol Som
Fox: Sung-uk Cho, Sofia Kim, Taehee Kim
KBC: Hyun Jeong Hong, Jun Bum Park
KBS: John-Sun Na, Seung-Jae Suh
Kim: Se Ung Kim
MBC: Kwang-Han Ahn, Ji-Sou Kim
OBS: Dong-Ho Choi, Hayeon Shin
Orion: Dae Hyun Cho, In Hee Choi, Eun Jeong
Kim, Hyun Sung Kim, Jey Hyun Kim, Choong Hyo
Lee
SBSI: Sangsu Kim, Kevin Kim,
LITHUANIA
Viasat: Leva Govedaite
MALAYSIA
Gama Taktik: Illi Nadiah Ibrahim, Nik Razali
Jusoh, Mohd Azhar Khalid
Juita Viden: Peter Foo, Francis Foo, Daphne Lim
RTM: Jamal Abdullah, Zainal Abidin Asri
Solimac: Jaslinda Ahmad
TV3: Dato Amrin Awaluddin, Dato Anthony
Bujang, Lam Swee Kim, Ahmad Izham Omar,
Shareen Ooi, Farisha Pawanteh, Dato Ahmad
Farid Ridzuan, Airin Zainul
Vision Plus: Lim Beng Teck, Ho Poh Lin
MEXICO
Cadena 3: Ernesto Rivera, Roberto Salmeron,
Erik Zuckerman
En Pantalla: Rodrigo Ruiz, Julio Ruiz
MVS: Alejandro Vazquez-Vela, Claudia Morales
Televisa: Alberto Ciurana, Adrian Ortega, Carlos
Sandoval
TV Azteca: Rodrigo Fernandez, Pedro Lascurain,
Martin Luna, Erika Macin, Mario San Roman,
Guillermo Zubiaur
Tycoon: Benito Villarreal, Rosinda Garcia
(THE) NETHERLANDS
NPB: Frank Mulder, John van der Klauw, Paul
van der Niet, Timo van der Niet, Mignon
Huisman
RTL: Inge Lubsen, Harold Oomes, Gijs Tulleken
SBS: Rozan Hamaker
NEW ZEALAND
SKY: Karen Bieleski, Travis Dunbar, John Fellet
TV3: Kelly Martin, Jan Gubbins, Mark Caulton,
Rick Friesen, Andrew Szusterman, Brent
Impey
TVNZ: Rick Ellis, John Kelly, Jeff Latch, Andrew
Shaw, James Wilson
NICARAGUA
40
VIDEO • AGE
Televicentro: Octavio Sacasa, Marta Sacasa,
Alejandro Sacasa
NORWAY
NRK: Fredrik Luihn, Trine Fossan, Elisabeth Mjoes
TV2: Nils Ketil Andresen, John Ranelagh, Anette
With, Dennis de Alme Visscher, Pat Quinn,
Marianne Boge
TV3: Trygve Ronningen
TV Norge: Nina Lorgen Flemmen, Bente
Engebretsen
PANAMA
Medcom: Yolanda Eleta, Maria Helena Paniza,
Lorena Sanchez, Michelle Simons, Magali Urrutia
Televideo: Analida Lopez, Ignacio Barrera
TV Nacional: Armando Guerra, Laura Lan,
Sandra Motta, Luis Mouynes, Analisa Ortega
PERU
America TV: Luis Guillermo Camacho, Kimberly
Jurgensen, Eric Jurgensen
Frecuencia: Alberto Cabello, Cecilia Gomez,
Baruch Ivcher, Ricardo Tokuda
PHILIPPINES
ABS-CBN: Leonardo Katigbak, Evelyn Raymundo,
Robert Labayen, Richard Reynante, Carlos Mori
Rodriguez, Maria Cecilia Imperial, Ronald
Arguelles, Jose Ramon Olives
CPI: Macie Imperial, Monchet Olives
GMA: Roxanne Barcelona, Manuel Quiogue, Joel
Jimenez, Vicky Pacis, Marivin Arayata, Lilybeth
Rasonable, Gigi Santiago-Lara
NBN: Rosario Alberto, Maria Gatan
RMN: Eric Canoy, Manolito Cruz, Roger Oriel
Solar: Cora Adorador, Neenu Khemlani, Peter
Chan Liong, Tess Pascual, Edel Pepito, Gidget
Policarpio, Ronald Tieng
POLAND
ITI: Maciey Sojka, Tim Horan, Grzegorz Pfaza
MTV: Monika Chojnacka, Daniel Reska
TVN: Anna Borys, Renata Mecina
TVP: Slawomir Cyra, Katarzyna Bojarska,
Magdalena Chajewska, Jacek Kozlowski
TV Puls: Kasia Bukowska, Dariusz Dabski, Piotr
Radziszewski
PORTUGAL
RTP: Fatima Cavaco, Helena Torres, Jorge
Wemans, Bruno Santos
SIC: Pedro Boucherie Mendes, Nuno Santos,
Vanessa Tierno
TV1: Margarida Victoria Pereira, Jose Eduardo
Moniz, Maria Ana Borges de Sousa, Paulo Soares
PUERTO RICO
Telemundo: Hilary Hattler, Ibra Morales, Ileana
Santiago
WAPA: Jimmy Arteaga, Alan Sokol
ROMANIA
ABC Plus: Anamaria Diaconu, Dan Diaconu,
Larisa Mohut, Carmen Purle
Kanal D: Hatice Kolat, Romana Suciu
Prima: Veronica Sorescu, Ioana Popescu
Zone Vision: Alina Florea
RUSSIA
Amedia: Tatjana Belichenko, Mikhail
Bondarenko, Eleanor Safonova, Diana Shishkina
Channel One: Konstantin Ernest
Cinemotion: Pavel Lipanovsky, Kate Martynova,
Dmitry Nesterov
CTC: Alexander Rodnyansky, Vyacheslav
Murugov, Oleksiy Zyunkin, Anastasia
Byalobzheskaya, Natalia Myshkina, Evguenia
Belyaeva, Bogatyrev Vasily
MTV: Nikolay Golovin, Olga Tsygankova
NTV: Zoya Bado, Inga Koshavtseva, Ilya Ognev
Ren TV: Stanislav Pribylov, Alexander Marchenko
Report: Svetlana Litvinova, Pavel Tsarvoulanov
RTR: Ekaterina Efanova, Olga Koshkarova,
Alexander Koushaev
TNT: Alexander Dulerayn
TV3: Alexander Karpov, Julia Vinokurova,
Serguei Spiridonov, Julia Mirnaya
SINGAPORE
AXN: Yan Jong Wong
MediaCorp: Chang Long Jong, Kenneth Liang,
Joy Olby-Tan
Singapore Comm: Selena Ho, Katheryn Lim
SLOVAKIA
Joj: Zuzana Aichova, Eva Dzurovcinova, Erika
Tothova
STV: Alica Cincarova
SLOVENIA
Pop TV: Tomaz Krzicnik, Gorazd Slak
SOUTH AFRICA
MNET: Jan Du Plessis, Pauline Cunningham,
Helen Smit
SPAIN
Antena 3: Mercedes Gamero, Mikel Lejarza
AXN: Carlos Herran, Natalia Lorenzo
Canal Sur: Lidia Lorente
Cosmopolitan: Laura Abril, David Nunez
ETB: Jesus Higuera, Jose Luis Blanco
Fox: Pilar Jimenez, Gonzalo Moura, Jesus
Perezagua, Pablo Vinuales
FRM: Adolfo Fernandez Martinez
IB3: Olga Vizcaino
La Mancha: Carmen Summers
La Sexta: Sergio Ramos, Andres Varela, Luis
Fernambuco
NBC Uni: Carolina Godayol, Rocio Centurion
Sogecable: Ignacio Campo, Alejandro Florez,
Fernando Jerez, Silvia Lama, Angel Lopez, Miguel
Salvat, Elena Sanchez
Telecinco: Ghislain Barrois, Alberto Carullo,
Gemma Cuadripanis, Patricia Marco
Telefonica: Lali Bachs, Alberto Ennis, Vicente
Munoz, Alfonso Pajuelo, Pedro Rolla
Telemadrid: Yolanda Ausin, Sandra Gayarre
Teuve: Fernando Riera, Daniel Perez, Adria
Mones
Turner: Domingo Corral, Guillermo Farre, Rafael
Portela
TV Aragon: Jaime Fontan, Elisabeth Lopez
TV Asturias: Arturo Somoano
TV Catalunya: Carles Blanch, Carme Baste
TVE: Jose Antonio Anton, Carlos Fernandez, Lola
Molina, Javier Pons
TV Galicia: Encina Ramos, Benigno Sanchez,
Jesus Iglesias, Jose Rey-Cabarcos
TV Valenciana: Vicente Suberviola, Michael
Koven, Jose Angel Quintanilla
VEO: Jaime Gutiererz Colomer, Melchor Miralles,
Fernando Quintela, Miguel Torrente
SRI LANKA
Vanguard: Lakshaman Bandaranayake
SWEDEN
Canal Plus: Line Mykland, Mats Orbrink
Kanal5: Karin Krafft, Katarina Eriksson
SVT: Goran Danasten, Thomas Nilsson, Agneta
Perman, Gunnar Carlsson, Per Ogren
TV3: Anders Knave
TV4: Clara Scherman, Helena Forsman, Asa
Sjoberg
SWITZERLAND
RTSI: Silvana Carminati, Gea Marina-Montorfani
TSR: Yves Menestrier, Isabell HagemannPouliquen, Barbara Karkin, Alix Nicole
TAIWAN
Tempo: James Chang, Nancy Zee
THAILAND
UBC: Arthit Prompasit, Attaphon Na Bangxiong
TRINIDAD
CNC3: Cyntra Achong
TV6: Rhonda Ottley
TURKEY
CNBC: Asli Arihan, Cem Aydin, Pinar Rayon,
Gorkem Yasayan
Digiturk: Ezgi Inci Ozer, Esra Ozaral
Fox: Yadigar Belbuken
Turner: Sarp Batur, Efe Onbilgin
UAE
Dubai Media: Najla Al Awadhi, Sarah Al
Jarman, Lina Matta
EVision: Humaid Sahoo, Kamal Nassif
MBC: Jemma Yates
Showtime: Carlie Goode, Pia Maria Hakka, Eric
Preven, George Sayegh
UKRAINE
ICTV: Elena Belik-Sakhatskaya, Viacheslav
Ostapenko
Inter: Alexander Bilkun, Sergiy Demyanchuk
New Channel: Olexander Bohutskyy, Victoria
Levchenko, Iryna Lysenko, Olga Zadorozhna
TET TV: Iryna Chernyak, Maria Pinchuk, Grygory
Tychnya
U.K.
AXN: Tom Davidson, Ross Hair
BBC: George McGhee, Sue Deeks, Jana Bennett,
Jane Trantor, Danny Cohen, George Dixo, Angie
Stephenson, Paul Telegdy
BSkyB: Sophie Turner-Laing, Richard Woolfe,
David Smyth, Rebecca Segal, Jason Jacob
BT: Kate Dean, Michael Barry
Channel Four: Jeff Ford, Kevin Lygo, Crispin
Leuser
Comedy: Jill Offman, Matt Tombs, Sarah
Mahoney
Five: Hannah Barnes, Vanessa Brookman, Katie
Keenan
Fox: Jason Thorp, Jason Simms, Toby Etheridge,
Emma Mason
ITV: Jay Kandola, Jonathan Vandermeer, Zai
Bennett, Emma Tennant, Dave Fewings
MTV: Heather Jones, David Booth, Louise
Benham, Philip Sissons (EMEA),
NBC Uni: Roma Khanna, Mark Lawrence, Greg
Matson, Colin McLeod
Nickelodeon: Jules Borkent, Debbie Macdonald,
Howard Litton
Programs4Media: Nicole Schlagman, Michael
Schlagman, Michael Stolerman
Tiscali: Jonathan Sykes, Hugh Williams
U.K. TV: Sarah Wright, Christian Drobnyk, Steve
North
Viasat: Alexander Holland, Jakob Mejihede,
Camilla Hammer, Camilla Thornberg Drenos, Ilze
Korjusa, Joe Lupo, Elvyra DunauskaiteGaideliene, Max Taylor
Virgin: Amy Barham, Claudia Rosencrantz,
Johnny Webb, Chris Collie, Daniella Newman
URUGUAY
Ch. 10: Lucia De Feo, Gabriel Inchausti, Cecilia
Presto
Montecarlo: Alberto Gossweiler, Hugo Lorenzo
Romay, Marcelo Viscarret
Teledoce: Eduardo Radio, Eugenio Restano
U.S.
AFN: Larry Marotta
Arief: Dato Raun Atmosumarto, Eling Raun
Fox Lat Am: Emiliano Saccone, Mauricio Rios,
Patricia Daujotas, Gonzalo Fiure, Katia Murgel,
Diana Puentes, Gabriela Gil
HBO Lat Am: William Benshimol, Helena
Bernardi, Gaston Comas, Gustavo Grossman, Jose
Manuel Pagani, Luis Peraza, Roberto Rios,
Alexander Salas
LAPTV: Richard Rohrbach
LATTV: Jaime Penaranda
NBC Uni: Steve Patscheck, Angel Gomez, Fabian
Vasques
Nickelodeon: Tatiana Rodriguez, Migdalis Silva
Ole: Eddy Ruis, Daniel Alvarez, Beatriz O’Higgins,
Isabel Quintero
Skyrider: Sharone Melamed, Katie Callahan
Turner: Rick Perez, Angel Zambrano, Cindy Kerr,
Pablo Corona, Marcelo Tamburri, Joy Ross,
Mariano Cesar
VH1: Dean Broadhurst
Warner: Alfredo Duran, Wilma Maciel, Kyrenia
Saavedra
VENEZUELA
Televen: German Perez Nahim
Venevision: Miguel Dvorak, Manuel FraizGrijalba, Carlos Noguera, Soledad Leiva, Karolina
Carrillo
VIETNAM
Thaole: Hong Ling Phan
• An updated list of international acquisitions and programming executives in attendance at the L.A. Screenings will be published in VideoAge’s May 19 issue.
M AY 2 0 0 8
NewCo Rai
International
Your New Global Italian Partner For:
• Rai Italia (formerly Rai International), Italy’s flagship TV channel
• Thematic channels from the best of Rai (where quality meets quantity)
• Extended platforms - Cable/satellite, IPTV, MobileTV, WebTV
• Expanded target audiences with multiple-language transmissions
• World coverage - Adding Europe to Rai Italia's global reach
• Partnerships and co-ventures under innovative revenue models
Today, when you think of Italy, think of
NewCo Rai International !
NewCo
N
ewCo Rai International:
Viale Mazzini, 14
Rome, Italy 00195
Tel. + 39-06-321- 9695
www.international.rai.it (Rai Italia’s web site)
Pier Luigi Malesani, Chairman
Carlo Sartori, CEO
Piero Badaloni, Channel Director
THE BUSINESS JOURNAL OF FILM, BROADCASTING, CABLE TV, PAY TV, VOD, DBS, IPTV, PRODUCTION, DISTRIBUTION
MAYO 2008 VOL. 28 NO. 3 $9.75
Sección
en
Español
®
www.videoagelatino.com
Dólares de los L.A.
Screenings para L.A.
Africa: La última frontera de la TV.
DISCOP Africa está lista
ahora. El primer país es Nigeria, y el
ay un país que tiene mas del Segundo es Camerún.
doble de la superficie de
Ambos son típicos países de Africa - un
California con un PBI de
continente
que prácticamente no ha sido
USD300 billones, posee una
de las mayores reservas de tocado por la televisión, incluso en el
petróleo del mundo, con una Siglo XXI. Africa es la última frontera de
(Continuación a la pàgina 44)
población de 135 millones de
personas que poseen mas de
32 millones de teléfonos
celulares, pero que tiene solo
tres estaciones de TV- dos
estatales. ¿Adivinan dónde
está?
i bien la amarga negociación del Sindicato de
Aquí una pista. Es la
guionistas ha pasado, las nuevas luchas en la
puerta lindera con otro país,
industria de la TV están solo por comenzar. La
un poco más grande que
huelga del Sindicato de Guionistas de AméricaCalifornia, pero que tiene
solo un canal de Televisión. SGA (The Writers Guild of America-WGA) contra la
No, no es Europa en los asociación de productores llegó a su fin el 12 de
años 60, pero sí es Africa Febrero cuando el Sindicato aceptó oficialmente el
POR DAVID SHORT
POR DOM SERAFINI
M
ucha atención ha sido dada al hecho de que Los Angeles
perdía cerca de USD23 millones diarios durante la huelga de los
guionistas. Durante
esos penosos días,
ciertas consideraciones
fueron realizadas sobre
los L.A. Screenings.
¿Los Estudios lo llevarán a cabo o no?
Si los Estudios hubieran optado por
cancelar o incluso posponer los L.A.
Screening, la consecuencia estratégica
hubiera sido reforzar el rol de MIPTV (y realmente sus organizadores
estaban preparados para esa
eventualidad) y de cambiar el
calendario de los mercados del año,
que tradicionalmente comienza con
Hollywood
apunta al EST
POR LEVI SHAPIRO
E
l guionista William Goldman
remarcó famosamente que en
Hollywood “nadie sabe nada”.
Mientras que la mayoría interpretó
que quiso decir “que la mayoría de los
ejecutivos de los Estudios son
(expletivo),” Goldman estaba en realidad
describiendo la dificultad en predecir un
éxito. Hoy, esa frase fácilmente podría ser
aplicable a la venta de video por descarga
de Internet, conocida como EST
(Electronic-Sell-Through). Por el
momento, Estudios y cadenas de TV
usan EST como una plataforma de
Medios complementaria.
Entre las grandes cadenas de TV
americanas, ABC fue la primera en área.
Desde octubre 2005, ABC ha vendido
cerca de 35 millones de episodios de TV
vía iTunes. Karen Hobson, vp de la
Corporate Communications en Disney
ABC Television Group, describió la
estrategia de ABC como la combinación
de distintas plataformas de entrega. “El
consumidor que paga (EST) vive en
armonía junto con nuestro soporte de
contenidos en ABC.com. No hay ningún
tipo de publicidad en iTunes, y el precio
H
Evaluando los daños
post-huelga
S
billones chinos no se detienen con el
petróleo. Está reconstruyendo la
infraestructura africana, mientras que la
ayuda de Occidente está restringida a la
asistencia alimenticia y otros temas
humanitarios. China está reconstruyendo
rutas en Etiopía y Mozambique y
hospitales y escuelas en Liberia. Además,
China está reconstruyendo la magnífica
vía férrea de Benguela que iba desde el
Atlántico sur hasta el Océano Indico.
DISCOP
Africa
(Continuación de la pàgina 43)
la TV. Incluso Sudáfrica, el único país
desarrollado del continente, ha tenido
TV solo desde hace 30 años. Pero hay
una compañía que piensa que habrá un
gran cambio. La gente detrás de
DISCOP, el mercado de TV para el
centro y el Este de Europa, que lanzará
DISCOP Africa el año entrante.
DISCOP Africa
será lanzado
oficialmente en MIP, expresó Patrick
Jucaud. “Será un evento con base en un
hotel en Dakar, Senegal, desde el 25 al 27
de febrero del año próximo. Esperamos
que concurran más de 250 estaciones de
televisión africanas de casi todos los
países de Africa. Incluso estaciones de
Zimbabwe han demostrado interés.
Nunca han participado de MIP o de
NATPE (asociados a DISCOP). Solo dos
países, Libia y Túnez, son reacios a
participar de DISCOP Africa.”
¿Un mercado de TV en Africa? La
mayoría de la gente en el mundo
Occidental piensa que son afortunados los
que subsisten día a día en África. ¿Tienen
tiempo para relajarse y ver un episodio de
JAG antes de ir a dormir? ¿Está Jucaud
loco? No. De hecho, según Jucaud, eso es
exactamente lo que dijo la gente cuando
fueron anunciados los planes originales
para DISCOP. Luego de 50 años de
comunismo y dominación Soviética, poca
gente sabía algo acerca de estos renovados
y abiertos países. ¿Desearían los obreros
checoslovacos de las fábricas de tranvías,
los peones húngaros, los mineros
rumanos, los tractoristas ucranianos o los
esclavos de las fábricas de zapatos búlgaros
realmente ver un episodio de L.A. Law,
Murphy Brown, Seinfeld o Jerry Springer? Y
si así lo desearan, ¿cómo los pagarían?
“Ellos decían que lo pagarían con Vodka y
mujeres, que no había dinero.” Sostuvo
Jucaud. Bien, como sabe la industria de
TV ahora, esto no fue cierto. En los años
90, las estaciones de TV comerciales
surgieron a lo largo y lo ancho de toda la
Europa central, todas ávidas de
contenidos.
Ahora, dijo Jucaud, 15 años después
del primer DISCOP, ese mercado está
valuado en “varios cientos de millones de
dólares habiendo comenzado de la
nada.” El estímulo para ese crecimiento,
por supuesto, fue el acelerado
lanzamiento de estaciones comerciales
en la región con la caída del comunismo.
El principal pionero fue CME (Central
European Media Enterprises), fundado
por el multimillonario de la cosmética,
Ronald Lauder. Recuerdo perfectamente
el vertiginoso ritmo de los lanzamientos
de CME. Todavía conservo la remera
desteñida con la leyenda ‘CME Central
European Tour’ escrita en la espalda. La
lista cuenta la jadeante historia:
República Checa- Febrero del 94,
Rumania-Diciembre del 95, Eslovenia-
44
VIDEO • AGE
Patrick Jucaud
Diciembre del 95, Eslovaquia-Diciembre
del 96, Ucrania-Septiembre del 97 y
Polonia en Octubre del 97. CME se
convirtió en una máquina de hacer
dinero. Su estación Checa, Nova TV
recuperó el costo de su lanzamiento de
USD10 millones al primer año.
¿Cuál será la chispa que encienda a la
TV africana? Jucaud puede que esté en lo
correcto cuando dice que el crecimiento
ya ha comenzado. “Hemos tenido un
increíble interés por contenidos de TV y
de distribuidores de formatos, también
de agencias de publicidad africanas que
sostienen que sus clientes necesitan
mejor programación si van a invertir mas
dinero.” Los datos del tamaño del
marcado de la TV africana son duros,
señaló Jucaud, pero sostuvo que “las
estaciones de TV africanas están deseosas
de hacer dinero, ya sea ahora o en el
futuro. Es un mercado que no ha sido
explotado.” Nuevas estaciones están
siendo lanzadas por todos lados”, apuntó
Jucaud.
¿Pero porqué?
Bien, todo aquel que sabe hoy algo de
Africa, debe susurrar solo una palabra:
China.
El nivel de inversión de China en
Africa ha realmente cambiado el
continente. Y esto ha sido así por años
sin que Occidente fuera consciente de
ello, que recientemente ha descubierto
los intereses de China en Sudán y solo
cuando esto fue noticia en febrero. En los
meses siguientes, Steven Spielberg se
alejó de su rol como asesor artístico de las
olimpíadas de Beijing, persuadido por
Mia Farrow y otras celebridades que
apoyan la Coalición para salvar a Darfur
(Save Darfur Coalition)
Para ese entonces, China ya llevaba
invertidos unos USD200 millones en la
región de Darfur para llevar mas de
400.000 barriles diarios de petróleo, por
medio de un oleoducto de 1000 millas,
desde el sur de Sudán hasta el Mar Rojo,
sin haber presionado en absoluto al
gobierno sudanés para detener la miseria
humana de Darfur.
El petróleo es la llave. Un tercio del
petróleo que llega a China viene de
Africa. Fuera de Sudán, China ha
invertido USD1.4 billones en zonas
petroleras de Angola, el segundo
productor de petróleo de África. Pero lo
Africa
se
está
convirtiendo
rápidamente en el campo de juego
industrial de China, con total interés en
ellos mismos. Este interés en ellos
mismos incluye el relanzamiento de la
industria televisiva africana. DISCOP
Africa trabaja conjuntamente con la
televisión estatal China y otros entes,
dijo Jucaud. “Tenemos clientes chinos y
clientes rusos. Tenemos un socio chino
trabajando actualmente para nosotros en
Beijing.”
No hay premios para aquel que
adivine que país puede ser el abastecedor
de televisores baratos para los nuevos
espectadores africanos sentados en sus
sofás. La TV necesita además de
electricidad, que siempre es pobremente
abastecida en Africa. Simplemente miren
en el mapa de Google Earth cómo se ve
África de noche. Fuera de Sudáfrica, es
realmente el continente negro. ¿Quién
proveerá y manejará las estaciones de
electricidad?
Según Jucaud: “Ya hay unos 20
millones de chinos en 13 países
africanos.” Pero por más alentador que
parezca el panorama para la TV en
Africa, inevitablemente habrá problemas.
No todo fue color de rosa en Europa
central en los años 90. CME y otras
compañías tuvieron dificultades con sus
asociados locales llevándolos con gusto al
mercado libre y ayudando a millones.
Vladimir Zeleny, el licenciatario de Nova
TV, estuvo preso en una cárcel checa y
otros como él en la región cayeron
profundamente.
Africa es famosa por sus sobornos y su
corrupción. Jucaud ya lo ha probado. Su
primera elección fue lógicamente la
capital de Nigeria, Lagos. El Este de
África verá el más anticipado y rápido
crecimiento del negocio de la TV en el
continente. Tiene la población más
grande, la mayor economía fuera de
Sudáfrica
y
es
políticamente,
relativamente estable.
Pero, dijo Jucaud, demasiadas
personas en Lagos deseaban demasiados
sobornos. Luego de especular con Cape
Town en Sudáfrica como alternativa,
decidió que el show debe quedar en el
Este de África. Por lo tanto, será Senegal.
Allí hablan francés y Dakar está al borde
del océano. En ese extraño lugar llamado
África, esos dos elementos al menos,
¡serán familiares para los que usualmente
atienden MIP!
Hollywood apunta
al EST
va desde USD1.99 por episodio hasta
USD34.99 para toda la temporada.”
En enero, ofreciendo iTunes Movie
Rentals, Apple aumentó su oferta de
video. El servicio incluye más de 1000
títulos, con costos desde USD2.99 para
los títulos de catálogo y USD3.99 para los
estrenos. NBC podría haber retirado sus
shows de TV de iTunes el año pasado,
pero su compañía hermana, Universal
Pictures, continúa siendo socia de Apple.
Michael Bonner, svp de NBC Universal
Digital Distribution, “los próximos años
serán los de la convergencia de la TV con
la PC. NBC está buscando socios que
sean flexibles al momento de desarrollar
modelos novedosos de paquetes y precios.
Hemos lanzado en Amazon hace ocho
meses un modelo con siete marcas
diferentes y 90 series de televisión.
Queremos que nuestros contenidos
tengan la mayor llegada posible mientras
al mismo tiempo protegemos el centro de
nuestro negocio.
Desde 1999, el centro del negocio de la
compañía de distribución de video digital
CinemaNow, ubicada en California, ha
sido el EST. Curt Marvis, CEO de
CinemaNow aprendió por el camino
duro lo que debe recorrer la industria para
que el mercado crezca. “Dos cosas deben
suceder,” comentó Marvis. “Presencia de
contenidos y precio amigable para el
consumidor. Ese es el Santo Grial y
tendrá lugar dentro de dos a cuatro años.”
Pero ese tiempo no fue lo
suficientemente rápido para el servicio de
video-on-demand
por
Web
de
MovieLink, que reclutó USD100
millones de Warner Brothers, MGM,
Paramount, Universal y Sony, pero fue
vendida el año pasado a Blockbuster por
menos
de
USD20
millones.
Recientemente Blockbusters apuntó
USD2 millones a la Paramount durante el
período de la Navidad, para disponer de
una ventana de 10 días en la que podía
ofrecer Jackass 2.5. Según Alex Carloss,
EVP de Digital Media en Paramount
Pictures Digital Entertainment, “Esta fue
una jugada ganadora para ambas
compañías.
Excedimos
nuestras
proyecciones de descargas. Jackass 2.5
ocupó el primer lugar en el ranking de
descargas de iTunes durante varias
semanas. Hemos descubierto que el EST
es otra manera de llegar al público joven.
Fue excelente con los films de catálogo
como Zoolander, School of Rock, Mean
Girls and Jackass.”
Mientras los Estudios y las cadenas de
TV siguen experimentando con el EST,
otros continúan ganando subscripciones y
modelos de negocios para publicidad.
Bob Green, el evp de Starz Entertainment
para Advanced Services, cree que “el
M AY 2 0 0 8
The Snitch Cartel
SERIES (40 x 1h)
100% HD & 100% EXTERIORS
U.S.A.
LISSETE OSORIO
2100 Coral Way # 602 Miami, FL 33145
Tel: +1 (305) 960 2018
[email protected]
COLOMBIA
PEDRO DÁVILA
Cll 103 No. 69b - 43, Bogotá D.C.
Tel: +57 (1) 6 430 430 ext. 1319
[email protected]
[email protected] / www.caracolinternacional.com
Hollywood apunta
al EST
sistema por suscripción seguirá siendo el
mecanismo dominante para contenidos
de larga duración como las películas.
Con el tiempo irá creciendo, pero en este
momento EST es solo un punto de luz
en la pantalla del radar que influye sobre
los dueños de los contenidos.” Dos años
atrás, Green supervisó el lanzamiento de
Vongo, un servicio por suscripción que
envía películas y contenido de videos a la
PC y accesorios portátiles. “El mercado
ha evolucionado rápidamente. En
Evaluando los
daños
post-huelga
contrato ofrecido por los estudios.
Comenzada a inicios de noviembre, la
huelga detuvo casi toda la producción
tanto de TV como de films por casi tres
meses infligiendo un descalabro
financiero a lo largo de toda la industria
y a Los Angeles en particular. De todas
maneras, a pesar del hecho que la
producción
ha
comenzado
su
reanudación lenta pero segura, ni los
guionistas ni los estudios podrán
respirar aliviados hasta que a largo plazo
no se perciban las consecuencias de la
huelga.
Pasadas 15 semanas de huelga, ambas
partes estaban deseosas de llegar a un
acuerdo. La amenaza combinada de la
cancelación de la entrega de los Oscars y
la puesta en peligro de la temporada de
pilotos del 2008, empujaron a los
adversarios a salir del callejón sin salida
en el que estaban. Además de que si la
huelga se prolongaba hasta junio,
cuando el contrato con el Sindicato de
Actores finaliza, estaba la amenaza de
que este Sindicato que prometió
oficialmente sumarse al piquete del
conflicto.
La mayor parte de las demandas de la
SGA se vieron reducidas hasta acelerar el
acuerdo. El sindicato renunció a su
demanda que los escritores de
animaciones y reality TV shows fueran
permitidos sumarse al Sindicato y
también redujeron sus demandas de
pagos por emisiones diferidas por
46
VIDEO • AGE
realidad es todo una cuestión de
interoperabilidad… proveyendo la
simple utilización de un producto
invisible de DRM (Digital Rights
Management).”
Hulu
y
Joost
adoptaron
conjuntamente una manera de
promocionarse. “No podemos realmente
competir con el sistema abierto,” dice
Christina Lee, Directora de Corporate
Communications del servicio VOD de
Hulu. Lanzado en una versión beta
privada el último octubre como un
proyecto conjunto entre Newscorp y
NBC, Hulu ofrece contenido Premium
de exitosos TV shows, como también
films de Sony y MGM, que incluye la
inserción de comerciales.
“Estamos tratando de agregar todo el
contenido Premium del mundo,
haciéndolo fácilmente disponible para el
Internet. En el acuerdo final, al
Sindicato le fue garantizado un pago fijo
de U$D1300 por contenido en Internet
y un 2% de las ganancias brutas por
distribución en diferido luego de un
período de dos años. La SGA también
hizo una concesión en su reclamo de
incrementar los beneficios de regalías
por DVD’s.
La producción se reanudó el 15 de
febrero, pocos días después de que el
contrato fuera ratificado. Nuevos
episodios de Sitcoms de fácil realización
fueron producidos en cuestión de
semanas. NBC Saturday Night Live, que
fuera una de las primeros en salir del
aire, lideró el regreso de de casi todos el
23 de febrero. Comedias y dramas de
una sola cámara tomaron mas tiempo en
ser producidos que los de 3 cámaras en
estudios y los ejecutivos de las cadenas
predijeron que retornarían en abril. En
su mayoría, las cadenas se centran en
completar la mayor cantidad de “hit
series” posibles. Shows que no son
considerados un éxito deberán esperar y
muchos ni siquiera regresarán hasta el
otoño.
Si bien los efectos inmediatos retrasos de temporada y cancelacionesse han observado, llevará meses develar
los efectos finales de la huelga. El primer
síntoma de lo que serán efectos a largo
plazo golpearon incluso antes de que la
huelga finalice con dramáticos anuncios
de los grandes Estudios. Los majors
NBC, ABC, y FOX se adelantaron a
mitad de enero para anunciar recortes
extremos en la cantidad de pilotos que
producirán para la temporada de otoño.
La semana siguiente en NATPE, Jeff
Zucker, Presidente y CEO de NBC
Universal, explicó en su discurso que, a
pesar de la perdida de ingresos, su
compañía veía la huelga con una actitud
positiva y sugirió que la misma pudo
usuario,” Hulu puede ser visto por
medio de socios tales como MSN,
MySpace, AOL, Yahoo, Comcast
Fancast, así también el servicio de uso
individual como los blogs. “La televisión
tradicional ha demostrado que la gente
está interesada en ver los anuncios
publicitarios en un contenido Premium.
Tenemos nuestro propio equipo de
ventas de publicidad que trabaja con
anunciantes y reciben las respuestas de
los consumidores. Esto es mas Sillicon
Valley que Hollywood,” dijo Lee,
marcando que el CEO de Hulu, Jason
Kilar, provino de Amazon. Puede que sea
cierto que en el tema del EST, “nadie
sepa nada.” Lo que es claro, es que el
consumidor contribuirá en las
discusiones de cuál será el nuevo modelo
de negocios.
haber servido para “limpiar los
cimientos y robustecer el crecimiento.”
Zucker pasó a demarcar que con su
grilla limpia (de programas) NBC
planea reestructurar su estrategia de
desarrollo de nuevas series. Con el
nuevo sistema, NBC aspira a reducir la
pérdida de millones de dólares. En el
pasado su cadena vertía dinero en casi
80 pilotos, con solo un 10% llegando al
aire. De ese 10% solo uno o dos podían
ser considerados un “hit”. Al comienzo
del otoño, NBC va a producir solo unos
pocos pilotos, el resto del line up serán
programas en vivo. “Esto no tiene que
ver con hacer menos programas,” dijo
Zucker, “Esto tiene que ver con hacer
menos derroche.” Los guionistas pueden
ver en este cambio una cachetada en sus
rostros luego de la dura batalla
contractual que pelearon, las cadenas
garantizan que el cambio es puramente
una decisión financiera.
Sin embargo, a pesar del dinero que
posiblemente ahorren las cadenas, el
nuevo sistema de pilotos causará bajas
en los escritores. Muchos de ellos son
escépticos con respecto al plan de NBC,
aduciendo que las cadenas de TV se
están pegando un tiro en el pié al
eliminar la investigación y el desarrollo y
están seguros que el viejo sistema
regresará en corto tiempo. Pero si el
nuevo sistema se afirma, reduciendo la
producción de pilotos en un 90% o más
como fue propuesto, esto reducirá
también el número de guionistas que
tendrán la posibilidad de ver sus show
realizados. Luego del tembloroso
comienzo del 2008, con la que parecía
ser una huelga interminable y poniendo
en peligro sus contratos, los escritores
deben prepararse para otro posible
golpe. Las producciones también han
sido aceleradas como precaución a una
posible huelga de actores. Esta situación
Curt Marvis de Cinema Now
ha creado más dificultades laborales que
exacerban todavía más aún el desarrollo
de la nueva temporada.
Hacia fines de febrero, NBC anunció
otro cambio en su forma de proceder,
esta vez relacionada en la manera en que
presenta su contenido a los anunciantes.
En vez de la tradicional presentación
anticipada (upfront), NBC realizará un
evento en el que presentará su completo
line-up de 52 semanas. El objetivo del
nuevo sistema es el de dar una imagen
completa de la estrategia de
programación de NBC, y de sacar parte
de la presión que tiene el prime time
como principal atractivo para los
anunciantes.
Marion
Edwards,
Presidenta de International Television
para 20th Century Fox Distribution,
acuerda que si bien “será bueno ver cómo
no se escriben pilotos por 50, 60 o 70
mil dólares,” la nueva estrategia de NBC
está lejos de ser adoptada por todos.
Edwards sugiere que el futuro de la
industria es, por el momento, totalmente
impredecible y, en lo que se refiere a
estrategias de desarrollo, habrá mucho de
prueba y error hasta dar con la estrategia
correcta. “Estamos como en el Lejano
Oeste en este instante,” señaló Edwards,
es prematuro poder decir que funcionará
y que no.”
Mientras que un sistema a prueba de
fallas tomará su tiempo, los ejecutivos de
los Estudios concuerdan en un punto: el
sistema de pilotos de los años recientes
no es más viable. “Todos nos
beneficiaremos de un modelo de
negocios mas eficiente,” dijo Edwards.
Sin embargo, agregó cautelosa, que
ordenar siete episodios para una
temporada y verlo fracasar no es
sustancialmente diferente al antiguo
sistema de pilotos. En cambio, Edwards
sugirió que la Internet puede ser un lugar
perfecto para “incubar” nuevos
M AY 2 0 0 8
Dólares de los
L.A. Screenings
los L.A. Screenings y culmina con MIPTV. Naturalmente, los Estudios no
hubieran
tomado
esa
decisión
unilateralmente, dado que las fechas en
Mayo de los L.A. Screnings están ligadas
a las nuevas presentaciones que hacen las
cadenas de TV en Nueva York.
Una vez llegado al acuerdo con los
guionistas, las cadenas de TV
programaron sus presentaciones para
agencias de publicidad y clientes y los
Estudios los siguieron con los L.A.
Screenings. A pesar de que las cadenas
consideraban descartar las presentaciones,
aún contaban con el implícito beneficio de
la buena publicidad que recibía la nueva
grilla de programación. Un zumbido
positivo trasladado a más CPM (valor de
los anuncios).
Finalmente, para las fechas del
calendario de ambos eventos, las
presentaciones en Nueva York y los L.A.
Screenings, la huelga de los guionistas
tuvo cero efecto. Lo que sí se vio
afectado por la huelga es la cantidad de
programas piloto que los compradores
internacionales podrán ver en Los
Angeles del 15 al 23 de Mayo. Pero sobre
este tema regresaremos luego.
Algo que no fue tomado en cuenta,
entre las varios escenarios barajados de
tipo ‘día del juicio final’, es qué habría
perdido Los Angeles si los L.A.
Screenings hubieran sido cancelados.
Para los Estudios, la distribución
internacional de TV es un negocio anual.
Sin embargo, muchos convenios se
cierran durante los L.A. Screenings. Se
estima que en condiciones normales,
para los Estudios los L.A. Screenings
pueden llegar a representar el 60% de sus
ingresos, aún teniendo en cuenta que
algunos acuerdos pueden tomar varias
semanas o meses hasta ser cerrados.
Pero en esta gran vasija de oro, hay
muchas mas pepitas para tomar, tales
como el valor para la prensa, asesores,
coordinadores y para la ciudad en sí
misma.
Relativo a este último punto, de
acuerdo a la estimación de VideoAge, los
nueve días del evento aportan al menos
USD7 millones a la economía local. Este
número fue obtenido teniendo en cuenta
el pico de participación de 2000
personas,
multiplicado
por
la
permanencia de cada delegado (cinco
días), multiplicado por el promedio de
gasto diario por delegado (USD350, que
incluyen alojamiento, transporte,
comida, shopping, etc.) y esto
multiplicando ese valor por el factor
1.64, lo que da un total cercano a
USD5.74
millones.
El
factor
multiplicador depende del perfil del
evento y puede variar de 1.5 a 1.64.
48
VIDEO • AGE
La fórmula fue desarrollada por la
empresa
Destination
Marketing
Association International (anteriormente
conocida como International Association
of Convention and Visitor Bureaus)
ubicada en Washington D. C., tal cual
como fue informada en la publicación
Meetings & Conventions. De todas
maneras, esas cifras no incluyen los
gastos de los Estudios, de las fiestas de
algunos distribuidores independientes,
regalos, material promocional y similar y
los informes que encargan los
compradores a asesores locales. Todo eso
habría llevado la cifra a mas de USD7
millones. ¡Nada mal para un mercado
que ni siquiera ha sido organizado!
En los L.A. Screenings, el tiempo de
permanencia por delegado es mucho más
extenso que el promedio usual (que, de
acuerdo a un estudio, es de 3.5 días por
mercado) debido a la naturaleza del evento,
que exige proyecciones diarias seguidas de
negociaciones y fiestas de fin del día. La
parte de los L.A. Screenings que más dinero
aporta a la ecuación de la economía local es
la creación de pilotos para la nueva
temporada americana. De acuerdo al
altamente publicitado comentario realizado
por el CEO de NBC-Universal, Jeff
Zucker, el broaadcaster americano puede
ahorrar hasta USD50 millones si redujera
su dependencia de costosos pilotos. Esto se
traslada a un ahorro acumulado para las
grandes cadenas de TV cercanos a los
USD200 millones por año. Aún cuando
no sea claro cuánto de este ahorro afectaría
la economía local de Los Angeles, el
impacto es de todas maneras substancial.
Zucker dijo que actualmente, cada
piloto cuesta hasta USD7 millones
(habiendo subido de USD3 millones en
2005) y algunos no llegan nunca al aire.
El último enero, ABC abandonó cerca de
40 guiones, dejando caer la mayoría de
los proyectos para cualquier cadena
americana. Con 29 pilotos el año pasado,
ABC financió la mayor cantidad de
pilotos, seguida por FOX (25), CBS
(21), NBC (20) y CW (12). De estos
107 pilotos, las cadenas tomaron 66: un
porcentaje del 61%. Este año, con
conversaciones que hablan de acotar el
número de pilotos a la mitad, se podrían
estar viendo 50 pilotos, pero con un
porcentaje mayor de aceptación. En años
recientes, para ahorrar dinero, muchas
cadenas, en lugar de pilotos comenzaron
a usar la estrategia de un sistema de SerieDirecta o requiriendo la presentación de
los pilotos en video (que son menos
pulidos, mas cortos y menos costosos que
los pilotos regulares)
Según se informa, Moonlight de CBS,
que fue estrenado la temporada pasada, fue
comandado como una presentación. De la
misma manera, la serie de larga data,
Judging Amy, fue también el resultado de
una presentación. De todas maneras, por
extraño que parezca, ya que las cadenas
poseen sus propios estudios, estos prefieren
hacer pilotos en lugar que presentaciones,
ya que reciben un pago más elevado.
Otra solución posible para ahorrar
dinero para las cadenas y los estudios es
seguir la estrategia de MGM de producir
pilotos encubiertos (backdoor pilots), que
son películas con el potencial de devenir
en series de TV. Así es, que en febrero
último, NBC sacó al aire Knight Rider
como una película de TV de dos horas de
duración que podría servir de piloto.
Mientras los L.A. Screenings van
cobrando forma, uno podría esperar que
debido a la escasez de desarrollo, muchos
de los shows de la actual temporada sean
repetidos este otoño. Además, como
muchos nuevos shows van a ser
producidos con tiempos acotados (por
ejemplo: cuando hay menos tiempo para
una orden de trabajo, cast, filmación de
pilotos o presentaciones) los estudios
puede que no tengan material de esas
series
para
los
compradores
internacionales.
Sin embargo, si los broadcasters reducen
el número de nuevas series, siempre están
las cadenas de Cable, que acelerarán las
presentaciones de sus temporadas
iniciando sus encuentros con agencias de
publicidad al comienzo de febrero.
Incluso cuando los estudios están
contentos cuando las cadenas ordenan
realizar pilotos, mucho mas apreciados son
las órdenes para producir episodios. Pero,
debido a todas las medidas de recortes en
los costos implementadas por las cadenas
americanas, los estudios están reacios a
aceptar series de seis episodios, pujando en
cambio para que sean al menos 13 en la
orden inicial, que son también bien
apreciados a nivel internacional.
Para poder navegar por la maraña de la
nueva
terminología
de
los
estudios/networks de TV, Gary Marenzi,
co-presidente
de
MGM
TV
Distribution, se ofreció a explicar como
tradicionalmente las networks realizaban
sus pedidos:
Orden de Script: El script de un piloto
más una “Biblia” con las sinopsis de
varios episodios. Usualmente la cadena
paga el 100%.
Orden de Piloto: Un video del piloto o
una presentación extendida para decidir si
el concepto del script funciona. La cadena
televisiva usualmente paga un costo
acordado de antemano por esta tarea.
Orden de Series: Si a la cadena le agrada
el piloto, ordenará la serie (usualmente de
seis a trece episodios) y la pondrá en su
grilla. Esos son los shows que serán
presentados en los L.A. Screenings.
Pickup: Esto significa que la cadena
extiende la orden inicial de producir 22
episodios de la primera temporada (lo
usual). Si la orden inicial fue de 13
episodios esto también se denomina
“Pickup de nueve” (13+9=22).
Renovación: Esto significa ordenar
una segunda temporada de un show
(pasados los 22 episodios originales o
cuantos haya tenido)
En términos de tiempos de producción,
la temporada de pilotos comienza en
febrero y concluye cerca del 15 de abril.
La temporada de episodios, por otro lado,
comienza después del 4 de julio, toma
ímpetu en la mitad de agosto, y va hasta
las fiestas terminado en Navidad. Hay
algunos episodios que se emiten todo el
año, especialmente en el Cable.
Evaluando los
daños post-huelga
materiales, tal como lo está haciendo la
20th Century Fox con sus serie Iris
Expanding en la Web.
De manera similar como lo reportara
VideoAge en su nota de tapa, Patric M.
Verrone, presidente de la SGA Oeste,
comentó que el legado de la huelga será
que los guionistas verán incrementada su
competencia con la distribución tipo doit-yourself en la Internet. Durante el
transcurso de la huelga, escritores
desempleados utilizaron la Internet para
presentar sus desalentadoras aptitudes.
Parodias y videos ácidos sobre la huelga
escritos por huelguistas aparecieron por
toda la Internet. En su discurso en
NATPE, Jeff Zucker expresó que las
cadenas de TV deben aprender la manera
de incorporar de una forma mejor la
Internet y la tecnología móvil en sus
planes de negocios. Quizás esta es su
oportunidad.
Puntos centrales del contrato de 3 años
con los guionistas:
En su lista inicial de demandas, la SGA
deseaba ganar la jurisdicción sobre los
escritores de animaciones y realty TV
shows. Pero finalmente debieron retirar
esta demanda de las negociaciones. La
SGA se concentrará en organizar estas
áreas fuera del contrato.
Los guionistas pedían un incremento
en las regalías por DVD’s que les paga
aproximadamente un 4% por venta. No
podrán incrementar ese porcentaje sobre
los DVD’s en este contrato. Los escritores
inicialmente solicitaban regalías de un
2.5% de paga por emisiones en Internet y
aceptaron cambiar esto por una fórmula
fija a pedido de los conglomerados de
medios. En el nuevo contrato, los
guionistas recibirán una paga fija durante
los dos primeros años (para un programa
de una hora la paga será de USD654 en el
primer año y de USD677 en el segundo
año) En el tercer año del contrato,
recibirán el 2% de las ganancias brutas
El contrato reconoce a la SGA la
representatividad exclusiva para negociar
la escritura de guiones para los nuevos
sistemas de Medios. También establece
pagos mínimos para quienes escriban en
nuevos Medios. El contrato permite
aumentos salariales anuales de 3% a 3.5%
a la mayoría de los autores.
M AY 2 0 0 8
worse, “95 percent of the time they want
you to pay for the dubbing,” said Michael
Polin. Added Maggie Zhou of Shanghai
Media Group: “most deals are fee-paying
in the form of a one-time payment. There
can be a minimum guarantee or revenue
share but barter is seldom used unless the
sponsor requires it.” Given these
unfavorable economics, most major
production companies tend to forego the
Chinese market.
China’s
Foreign TV
(Continued from Cover)
cultural and regulatory challenges,
precious little programming from
“Hollywood” and other nations finds its
way to the 370 million TV households
in the Middle Kingdom (as China is
sometimes called). Understanding those
challenges, and applying a hybrid model
toward monetization, can help foreign
content owners build long-term
profitability in China.
The television industry in China is
booming. According to Beijing-based
research firm China Media Monitor
Intelligence (CMM-I), an independent
business-to-business
intelligence
resource for Chinese media, viewers
watch 135 minutes of the boob tube on
workdays and 175.7 minutes on days
off. Revenue is also soaring. The Annual
Media & Entertainment Report from
PriceWaterhouse Coopers noted faster
annual growth in China (15.7 percent)
than any other territory in Asia. That
represents $5.1 billion and a forecasted
annual growth rate of 13.4 percent
through 2011.
Chinese audiences crave sappy
dramas. According to Beijing-based
CVSC-SOFRES Media, an audience
measurement
company,
dramas
accounted for 24.1 percent of the
content broadcast on all TV channels
last year and 33.9 percent of audience
ratings. This mirrors the results for
2006, with 22.9 percent of the content
and 32.3 percent of the audience
devoted to dramas. Of course, there are
differences for age and gender. While
female audiences prefer entertainment
and drama programs, the guys prefer
military, news and financial programs.
CCTV is the only network with a
national footprint (Shanghai Media
Group is the second-largest media
group), and has 15 distinct national
SpongeBob SquarePants:
Banned in primetime
50
VIDEO • AGE
Equally important are the cultural
preferences of the Chinese audience.
Beginning in 1999 with dramas like Jewel
in the Palace and Winter Sonata, Korean
dramas connected with Chinese viewers.
These shows had less character
development and more sentimentality
than American serials like Desperate
Housewives.
The stars of Desperate Housewives
channels. Unfortunately for foreign
content owners, CCTV is particularly
conservative. “The one thing the
government doesn’t want is for people to
be ‘Americanized.’ The government
prefers non-offensive content, like
Discovery and National Geographic,”
said Michael Polin, a Chinese media
consultant and author of the DVD-series
Teach Me China. Most of the remaining
3,000 local TV stations have a limited
reach and extremely limited acquisition
budgets. One exception is the Shanghai
Media Group, which acquired a number
of stations in the affluent Shanghai
region. The satellite channels with the
largest reach in China are depicted in the
chart on page 54.
closures with a rigid new set of
restrictions on TV talent shows. For
example, no reality shows between 7:30
p.m. and 10:30 p.m., no voting via
mobile phone or the Internet,
competitions cannot run for more than
two months, and each episode must
finish within 90 minutes. In 2008, the
central government gave the green light
to several new talent shows: Jiangsu TV’s
Absolute Singers, Beijing TV’s The
Disciple and Zhejiang Satellite TV’s
competition to select the cast for the TV
remake of the classic Journey to the West.
One potentially profitable approach
for foreign rights holders is licensing
formats for local productions. Hunan
However, before scheduling sales
meetings at Beijing’s Great Wall Sheraton
hotel, it is important to know that all
content and programming in the Middle
Kingdom is regulated by the State
Administration of Radio, Film and
Television (SARFT). These bureaucrats
are so tough they even went after
animated SpongeBob SquarePants.
China Entertainment TV’s Anthony Tse
Rather than showing one episode per
week, Desperate Housewives aired four
episodes per day for six consecutive days.
Polin, the Chinese media consultant,
who has been doing business in China
for over 20 years, recommends comedy.
“I Love Lucy is great. The Chinese love
Seinfeld but it isn’t what you think…they
are actually laughing at Kramer’s physical
comedy.”
Beginning this May 1, all foreign
cartoons were banned from the 5-9 p.m.
slot. SARFT Director Wang Taihua
promised to “provide a favorable
environment for the innovation of
China’s cartoon industry,” by increasing
the daily broadcast ratio to 7:3 for
Chinese-made cartoons and foreign
product.
Since local stations are limited in the
amount of foreign programming they
can show, there has been an increase in
locally produced, original content. The
most popular weekly show in Chinese
television history was SuperGirl, a
localized version of Pop Idol produced by
Hunan Satellite TV. The finale of the
2005 season attained an audience of 400
million viewers. Two weeks later, SARFT
banned the show.
Granada’s James Ross
Several popular shows, including
Chongqing TV’s First Heart-Throb,
Guangdong TV’s Date with Beauty and
Shenzhen TV’s Super Date were removed
by the authorities. SARFT followed these
Selling original content directly to
local TV stations is much less lucrative
than other foreign markets with fees
from the local stations around 10
percent of international prices. Even
TV scored big ratings in January with a
local version of Granada’s Saturday
Night Take-Away, renamed Happy
2008. James Ross, regional director at
Granada International, cited “making
local versions of our entertainment
shows as part of our strategy to develop
our presence in China.”
I Love Lucy and Seinfeld are examples
of a branding platform upon which to
monetize video assets in China. Because
acquisition budgets are 90 percent lower
than international rates, it may actually
be a better long-term strategy to give the
content away for free to local TV stations
and make the money on the back-end.
That includes merchandising, mobile,
retail, etc. According to Polin “Once they
know the brand, you can convert money
from short, funny clips. There are 650
million cell phone users growing at 50
million per year. If I have a partner that
can reach that audience, how much do I
have to charge for a download? A nickel
or a dime is enough. I just give them 500
clips, ask them to post on their site and
then promote virally.”
Monetizing on the back-end is risky,
but ultimately China is a volume story.
Practically speaking, “you cannot shop
around a show to 3,000 different
M AY 2 0 0 8
Introducing…
Digital Delivery of VideoAge
VideoAge now offers
you the opportunity to
receive and read each
issue right on your
computer.
The digital edition has
the same look and feel
of the printed one. For
our print advertisers,
the electronic version
offers added visibility.
After each Issue has been received by our subscribers via snail mail, an alert
signaling that VideoAge's electronic edition is online, will be e-mailed to
VideoAge's 7,000 addresses that currently receive our online VIDEONEWSletter
and our daily e-Beat reports. To be added to our mailing list, simply send your
e-mail to: [email protected] or log on to www.VideoAge.org and
click on “Current Issue.”
• Instant viewing and easy reading
• Select only the page(s) you want
• Quick downloading for off-line reading
• Pages can be enlarged on the screen and/or printed
• No software needed
• Hotlinks to advertiser sites
• All print ads receive added visibility
Latin America’s
Top Guns
Flavio Medeiros of Granada
together broadcasters and producers
from more than 30 countries to
network, share experiences and find
product.
The event began simply enough as a
conference for the local television
industry. But two years ago, organizers
expanded it into an international
market. “There are many changes this
year,” said Forum Brasil’s André
Mermelstein. First, the Forum is moving
to a different floor at the Frei Caneca
Convention Center, which will double
last year’s exhibition space. Second, the
Forum will, for the first time, offer a
lounge where TV executives can have
meetings and stop for coffee. And third,
this year’s Forum will also present the
Portuguese-Speaking
Broadcasters
Meeting. Broadcasters hailing from
Portuguese-speaking territories around
the world will gather on June 6 (the day
after the Forum ends) to discuss
technological innovations and coproduction opportunities.
should also be in attendance in droves
since there are currently a number of
Brazil-Canada co-productions in the
works.
But, being that it is still mainly a
Brazil-centric market, TV Globo, which
is also an associated partner of the event,
will be there in full force. “This year, we
are going to present our main products
to the international market, as well as our
new visual identity,” said a Globo rep.
“As in previous editions of Brasil TV
Forum, our executives will participate in
lectures and roundtables, debating
subjects related to the production and
distribution of content. As the biggest
broadcaster in Brazil, TV Globo is always
aiming to be present at events such as
these, specifically ones where the
production and distribution of content is
to be discussed.”
U.K.-based Granada International will
also be present at the Forum. “We go
there to meet local clients so we can
better understand local trends and
market changes,” said Flavio Medeiros,
senior sales executive for Granada. “It’s a
well-attended event and Granada would
like to foster local relationships to
acquire and co-produce local content.”
Granada will not, however, have a stand,
because, as Medeiros pointed out, “it’s
not a distribution event per se.” As for
why it’s important for Granada to be
there, Medeiros pointed to the fact that
Brazil is “the biggest market in Latin
America, with a strong and fast-growing
media sector. Any major company
should have a strong presence” at the
Forum. But he did suggest a few things
that could be done to improve the event.
Mermelstein expects roughly 1,500
people to attend the Forum this year.
“Last year we had about 900 people,” he
said. “But we’re growing. It takes a while
for word of mouth to spread.” A
majority of attendees will still be
Brazilian, but Mermelstein said the
event should also draw execs from other
Latin American countries, the U.S., and
Europe, specifically from regions like
Portugal, Spain and France. Canadians
52
VIDEO • AGE
This year’s ninth
edition promises
improvements, and,
next year, there’s an
even more drastic
plan to move the
event from its
traditional São
Paulo location to
Rio de Janeiro.
give tax credits for co-productions.
Forum Brasil will also offer attendees
the opportunity to pitch a project to the
Discovery Channel, with a U.S.$20,000
prize for the best documentary.
Screenings of programs and pilots
throughout the market will be relatively
easy, due to a fully automated system that
should help even the least tech-savvy of
industry execs.
“
Minutes With…” sessions have included
HBO, Canal Futura, National
Geographic, Discovery, Canal + and
Channel 4.
“This meeting is especially interesting
because Portuguese is not spoken in all
that many territories,” said Mermelstein.
“So it’s a great opportunity for producers
to do business with these countries.”
In addition, the Forum is putting in
its best efforts to lure buyers by paying
for
their
flights
and
hotel
accommodations.
Forum Brasil 2007
Forum Brasil’s André Mermelstein
“Make it more international,” he said.
“And keep the guest speakers and the
focus on production.”
In addition to the new additions, the
market will feature “30 Minutes
With…” sessions in which directors
from around the globe can discuss their
programming and acquisition policies,
as well as offer tips for producers and
distributors on how best to pitch
projects to acquisition execs. Participants
in previous editions of the Forum’s “30
The event will also play host to
approximately 15 seminars designed to
foster the knowledge bases of those in
the television industry. Topics include
the international market for Latin
American productions, the challenges
of international co-productions,
mechanisms for financing production
and these methods’ impact on local and
international markets, the changing
face of TV as telecom operators enter
the video services arena, programming
trends (the rise of formats and
documentaries), and the advance of
new distribution platforms such as
IPTV, Web TV and mobile phones.
“It’s a good moment for the Brazilian
economy, and therefore, a good time for
local production,” said Mermelstein. He
went on to say that Brazilian
government funds established for TV
production should soon inject a lot of
money into the arena. “Local
productions are definitely going to
boom,” he said. “These funds can be
used to make TV series, animated
programming or co-productions.”
Another bill in Brazil’s Congress would
“For producers, the Forum is a great
opportunity to be part of a growing
market,” said Mermelstein. “Brazil was
never very open to the international
market, but now, that’s changing. Globo
is entering the documentary world. And
many companies are selling formats and
scripts rather than telenovelas that have
already been produced. And for
broadcasters, the event, obviously, offers
them the opportunity to sell their
content. And if they’re looking for
original programming outside of major
U.S. studios, the Forum is a great place to
search for new content.”
Mermelstein went on to say that
industry insiders looking to break into
the Brazilian market should come on
down. “The Forum is not like NATPE or
MIPCOM, where you know what you’re
getting,” he said. “It’s something new.”
Next year, the event will move to Rio,
which, Mermelstein said, “should make it
more attractive for visitors.” LHR
Forum Brasil 2007
M AY 2 0 0 8
Foreign Series
question still unanswered is therefore:
Will this unusual pilot season become
usual or will this year be forever viewed
as an unfortunate anomaly?
In addition to the vastly divergent
pilot process, it seems that Hollywood
studios are, more forcefully than ever,
reworking series that have already
worked for international broadcasters. In
fact, shows based on foreign
programming were all over the truncated
2008-2009 pilot list, showing once again
that it doesn’t take a “Made in the USA”
tag to guarantee small screen success.
We’ve come a long way from the 2003
season in which NBC’s Americanized
version of British hit Coupling tanked
quicker than anyone could say: “I told
you so.” In recent years, the success of
shows based on international series —
such as NBC’s The Office, which
borrowed whole scripts from its U.K.
predecessor and ABC’s Ugly Betty, which
was modeled on Colombian telenovela
Yo Soy Betty, La Fea — have been an
indication to programmers that mining
foreign depths is the new not-so-secret
secret to primetime success.
This year, quite a few pilots were loosely
or wholly adapted from shows around the
globe. ABC drama Life on Mars, about a
cop who wakes up 30 years in the past, is
super-producer David E. Kelley’s
adaptation of a BBC series. An as yet
untitled ABC drama from Veronica Mars
showrunner Rob Thomas tells the tale of a
matriarch of a family of criminals who
decides it’s time for her brood to go
straight is based on a New Zealand format
called Outrageous Fortune. CBS comedy
Worst Week is a U.S. version of BBC series
The Worst Week of My Life, which
chronicled the lives of a young couple who
must survive their soon-to-be in-laws,
while drama The Eleventh Hour, which
focuses on a government agent who
protects people from scientific abuses, is
also based on a British show. Another CBS
drama, Mythological X, is a new take on an
Israeli series, and tells the tale of a woman
who is told by her psychic that she has
already dated the man she is destined to
marry. Fox laffer Outnumbered, about a
family struggling to raise three overly
intelligent and highly rambunctious kids,
is also based on a U.K. format.
Keith LeGoy, executive vice president,
Distribution, Sony Pictures Television
International, believes that due to the fact
that many U.S. broadcasters simply didn’t
have the usual amount of time to cast or
produce their pilots, that there will be a
second wave of new series for midseason,
which will probably hit in September or
October. “That will provide a fresh
opportunity for everyone to take a look at
54
VIDEO • AGE
Keith LeGoy, evp, Distribution, Sony Pictures
Television International
Marion Edwards, president, International
Television, Twentieth Century Fox
even more new U.S. series,” said LeGoy.
Marion
Edwards,
president,
International Television at Twentieth
Century Fox, concurred with LeGoy. “It
seems like we’re having two development
seasons this year,” she said. “A number of
pilots were shot prior to the strike. But
for a lot of the pilots [that were picked
up post-strike], there’s no real time to
cast and shoot them in a typical time
frame. I foresee more midseason shows.”
But for now, everyone’s focused on the
regular-season shows. In addition to
overseas series gaining traction on U.S.
soil, another big trend is taking what’s
worked in the past and trying to make it
work now. In February, NBC aired Knight
Rider, a two-hour modern take on the
original series about a talking car and the
man who drives it. The backdoor pilot has
already been picked up as a series, and
many insiders speculated that this was
what NBC Universal president Jeff Zucker
meant when he told audiences at NATPE
that instead of pouring the studio’s
resources into 80 or so pilots, as it typically
does, that it would change up the pilot
process. Knight Rider, which garnered
decent ratings for the peacock net, might
simply have been a one-off movie-of-theweek that did well with viewers.
At NATPE, Zucker also told eager
listeners that his station planned on
ordering a number of series straight to air.
He’s kept his promise, picking up Kath
and Kim, a comedy about a divorced
mother and her self-absorbed daughter, as
well as dramas Crusoe, The Listener and
The Philanthropist, without ever seeing a
pilot for any of them. In April, NBC held
a mini upfront event for advertisers in
which the network revealed its a complete
52-week programming strategy — a full
month before the studios’ usual upfronts.
Other blasts from the past trying to
make their way into the future include
ABC’s Cupid, a revamped version of a
short-lived 1998 series about a man who
thinks he’s been sent by Zeus to unite 100
romantically challenged couples, and an
untitled reality competition series based
on Disney juggernaut High School
Musical in which contestants live together
at a music conservatory and are
eliminated one by one until one is
eventually crowned America’s best
performer. Based on the runaway success
of its flagship show, Gossip Girl, about the
lives and times of spoiled rich girls on
New York’s Upper East Side, comes the
CW’s newest potential hit, How to Teach
Filthy Rich Girls. Based on the book of the
same name by Zoey Dean, the show
follows a Yale graduate who is hired by a
wealthy man to be a live-in tutor and life
coach for his granddaughters. And based
on Daniel Defoe’s masterpiece “Robinson
Crusoe” comes NBC’s Crusoe. The 13part series from the U.K.’s Power is an
ambitious update of the classic novel.
“This deal is the first for nearly 40 years
where a leading British producer has
received an order directly from a U.S.
network,” said Justin Bodle, founder and
CEO of Power, in a statement.
Also in fashion this year are science
fiction series. From the mind of Buffy the
Vampire Slayer creator and cult hero Joss
Whedon comes Fox’s Dollhouse, a heavyon-action series about a female spy who is
stripped of her memories after
completing missions. Another show on
tap for Fox is Fringe, a sci-fi series about
an FBI agent, an institutionalized
scientist and a certified genius who team
up to identify paranormal activity, and
The Oaks, a drama that follows one house
and the families that live in it through
several decades. NBC’s The Listener tells
the tale of a man who struggles to lead an
ordinary life while using his extraordinary
powers of telepathy to help others. CBS
pilot The Mentalist focuses on a mentalist
who uses his abilities to solve crimes. And
ABC’s Section 8 is a sci-fi drama from XMen writer Zak Penn.
Other common themes include the
always in-vogue police, lawyer and
doctor shows. ABC is offering an as yet
untitled show from Dave Hemingson
about a law school graduate with a
Rank
1
2
3
4
5
Channel
middle-class background who goes to
work for a boutique firm in Los Angeles;
Castle, a drama about a horror novelist
working for the New York Police
Department homicide unit; and The
Unusuals, about a New York police
precinct. CBS has Can Openers, about
female physicians fighting to survive the
doctors’ boys club and Exit 19, a pilot
presentation about a quirky homicide
detective balancing her job and her single
mom status. The CW has Austin Golden
Hour, about a group of young emergency
room surgeons and EMTs and Wrecking
Ball, about a young attorney and scion of
a famous political dynasty who joins
forces with a newly graduated law student
to start a law firm. Fox has another law
show, Courtroom K, a dark drama about a
judge, a public defender and a prosecutor
in a Milwaukee, Wisconsin courtroom.
There may be fewer pilots to choose
from this year. But until the upfronts,
there’s no way to know for sure which of
these shows will see the light of day and
which will end up in the scrap heap. Yet it
seems clear that despite reports to the
contrary, pilot season is alive and kicking
in Los Angeles.
China’s
Foreign TV
stations,” said Lilly Zhou, president of
Content Asia Network. “You need local
partners with expertise and “guanxi” (or
relationships). One person with oodles of
guanxi is Anthony Tse, president of
China Entertainment Television, which
is part of Hong Kong billionaire Li KaShing’s Tom Group. Anthony spoke on a
panel at the NATPE conference last
January and commented on how foreign
rights holders can monetize in China.
“Initially, you will earn less on a per deal
basis in China than in the United States.
But there are many, many stations and
most do not require exclusivity. Choose
the right local partners and eventually
your brand will grow.” If you lose heart,
take comfort in the old Confucian
proverb, “With time and patience, the
mulberry leaf becomes satin.”
Reach-Persons
(Millions)
Shandong Satellite TV
826.1
Zhejiang Satellite TV
798.3
Anhui Satellite TV
769.9
Hunan Satellite TV
755.3
Sichuan Satellite TV
732.1
Reach-Households
(Millions)
241.0
232.9
224.6
220.3
213.5
Reach %
65.2
63.0
60.7
59.6
57.7
M AY 2 0 0 8
Challenges
As
Opportunities
The city of Los Angeles lost an
estimated $2.2 billion over the course of
the 14-week industry-wide shutdown.
After the walkout, it took months to get
scripted programming back up and
running. Los Angeles-based industry
veteran Irv Holender, who recently took
the helm at Toronto-based Fremantle
Corp., provided an overview of the
strike’s effects. Overall, he said, “no one
was immune to the shutdown because
companies lost the momentum and
continuity they were building when
shows were put on hiatus.”
But in contrast to the millions lost by
the networks during the three-month
hiatus, the cost to independent
companies was far less drastic. Still,
Holender explained, indie-wise, the
consequences of the strike varied from
company to company. How a production
company fared in the drought depended
on product inventory, he said. “If you
had plenty of product in the pipeline,
you didn’t suffer.” He also pointed out
that U.S.-based independent distributors
with off-network products were in a
good position to sell, as the stations were
looking to fill holes in their schedules.
Herb Lazarus, president of CarseyWerner International, cited the nature of
his company as the reason it avoided
catastrophe. Carsey-Werner’s properties
are all syndicated shows, mostly classic
sitcoms, and thus the firm requires no new
content. “If you weren’t producing any
programming, there was no effect,” he
said. “The library that we deal with just
keeps turning over and over whether there
is a strike or not.” Lazarus also pointed out
that the fact that some series did not
return to the airwaves after the strike was
a plus for small distributors. The shows
that perished left gaps to be filled by
syndicated shows or international content.
A non-American TV executive who
wished to remain nameless concurred
that non-U.S. companies also profited
from the strike. He suggested that the
dearth of content from the U.S. gave
foreign production houses the
opportunity to step in and serve local
audiences. “Some of the locallyproduced shows took off,” said the
source, “And [TV] stations realized that
they don’t have to spend so much money
on American content when what they
make domestically is just as popular.”
Some companies, like Toronto-based
Cookie Jar Entertainment –– which
employs predominantly Canadian writers
who report to their own national union,
the Writers Guild of Canada –– were able to
avoid the WGA blackout. “We definitely
hire some American writers and we had
some live-action series that were put on
hold during the strike,” said Ann Austin,
head of Development for Cookie Jar. But
because it had a lot of product in the can,
Cookie Jar “wasn’t in a place where the
three-month delay affected it drastically.”
Additionally, because Cookie Jar’s
programming is comprised mostly of
animation, it was more or less business as
usual.
Greg Phillips, president of Londonbased Fireworks International, pointed
out that the industry is already bouncing
back, and that, thankfully, “the strike did
not go on long enough to have any major
negative effects on the way business is
conducted.” On the up side, he said, “it
highlighted for the buyers an opportunity
to give more serious consideration to
non-U.S. network and non-U.S. major
product.” Phillips summed up the
consequences as “a qualified positive,”
because although the industry as a whole
suffered, it allowed high-quality content
from indies and foreign producers to get
some much-deserved attention.
Additionally, Phillips called attention
to the fact that everyone knew the strike
was coming and no one was blindsided by
it. The shrewd foreign company, he said,
took advantage of this knowledge and
prepared accordingly by “setting the bar
higher, carefully examining what the U.S.
market needed and engaging itself fully
with what the market required.”
Dan Waite, vp, International Sales for
Burbank, California-based DIC, said his
company also experienced minimal strike
fallout. “We’ve been moving on as we
normally do,” he said. Waite went on to
explain that since DIC is a children’s
animation studio, and animation writers
are not covered by the WGA, it was able
to continue work without interruption.
Plus, he added, “we have our scripts done
well ahead of time.”
Waite also added that, although his
company emerged from the strike
unharmed, the walkout had no positive
effects whatsoever outside of the writers
getting an agreeable contract. “I don’t
think there have been any positives for
anybody,” he said. “Any pluses pale in
comparison to the amount of suffering
everyone in L.A. underwent.”
Indeed, the industry was greatly
harmed by the three-month stoppage. It
was reported that $10 million were lost
due to the cancellation of the Golden
Globes alone. And that was only one
night. However, for some indies, there
was an undeniable silver lining.
From the beginning of the strike, it has
been the norm that many TV executives,
wishing to steer clear of the sensitive
issue, have kept mum about the strike,
and a number of companies contacted by
VideoAge refused to comment, for fear of
stepping on writers’ or studios’ toes.
However, no matter how diplomatic the
indies are being, studio paralysis during
the strike created opportunities for the
little guy. At this year’s L.A. Screenings,
with studio content occupying only two
or three hours of the buyers’ time, rather
than whole days, perhaps the indies will
get one last chance to take advantage of
the strike.
M AY 2 0 0 8
Drive your content business forward
MIPCOM - The world’s audiovisual content market
13 - 17 October 2008
Palais des Festivals, Cannes, France
www.mipcom.com
MONTE CARLO TV FESTIVAL
Conferences & Events News
OPEN SKIES & CLOSED
WALLETS
With the new Open Skies policy
between the U.S. and E.U., the airline
industry is hoping that people will open
up their wallets and start flying more.
Open Skies allows European carriers to
fly passengers to any U.S. city and vice
versa. Prior to March, when the
agreement came into effect, carriers had
to stop in their home countries before
dropping passengers in other locales.
Open Skies will increase competition
and reduce costs, which will make more
passengers willing to travel. Wallets,
however, will remain closed if airlines
continue to offer high-chair sized seats
to adult passengers.
JUNE 8-12
Monte Carlo, Monaco
T E L : (377) 9310 4060
FA X : (377) 9350 7014
www.tvfestival.com
VideoAge bonus distribution
CANNES FILM FESTIVAL
FORUM BRAZIL
MAY 14-25
JUNE 3-5
Cannes, France
T E L : (33 1) 5359 6100
FA X : (33 1) 5359 6110
www.festival-cannes.fr
São Paulo, Brazil
T E L : (55 11) 3138 4648
FA X : (55 11) 3257 5910
www.forumbrasiltv.com
NCTA CABLE SHOW
BANFF WORLD TV FESTIVAL
MAY 18-20
New Orleans, U.S.
T E L : (202) 222-2430
FA X : (202) 222-2431
www.thecableshow.com
LICENSING INT’L EXPO
JUNE 10-12
New York City, U.S.
T E L : (212) 532-1660
FA X : (212) 951-6749
www.licensingexpo.com
JUNE 8-11
Banff, Canada
T E L : (403) 678-1216
FA X : (403) 678-3357
www.banff2008.com
PROMAX
JUNE 17-19
New York City, U.S.
T E L : (310) 789-1509
FA X : (310) 788-7616
www.promax.tv
DISCOP
JUNE 18-20
Budapest, Hungary
T E L : (33 1) 4229 3224
FA X : (33 1) 4229 3474
www.discop.com
SUNNY SIDE OF THE DOC
JUNE 24-27
SOULS ON THE RUN
(TV MOVIE) 156’
La Rochelle, France
T E L : (33 1) 7735 5300
FA X : (33 1) 7238 9858
www.sunnysideofthedoc.com
MONTREAL WORLD FILM
FESTIVAL
AUGUST 21 – SEPTEMBER 1
WOMEN PORTRAYING ART
(DOCUMENTARY) 29’
Montreal, Canada
T E L : (514) 848-3883
FA X : (514) 848-3886
www.ffm-montreal.org
VENICE FILM FESTIVAL
AUGUST 27-SEPTEMBER 6
Venice, Italy
T E L : (39 041) 521 8882
FA X : (39 041) 522 7539
www.labiennale.org
TORONTO FILM FESTIVAL
SEPTEMBER 4-13
CROMOSOMICS
(VIDEODANCE) 15’
Toronto, Canada
T E L : (416) 967-7371
FA X : (416) 967-9277
www.torontointernationalfilmfestival.ca
VideoAge participation
LE RENDEZ-VOUS
SEPTEMBER 8-12
TWINS - OUTSIDE THE LINE
(DOCUMENTARY) 30’
Biarritz, France
T E L : (33 1) 4053 2300
FA X : (33 1) 4053 2301
www.tvfrance-intl.com
My Two Cents
MAIN OFFICES
216 EAST 75TH STREET
NEW YORK, NY 10021
TEL: (212) 288-3933
FAX: (212) 734-9033
VIDEO AGE WEBSITES:
www.videoage.org
www.videoagelatino.com
I’
m not a religious fundamentalist of any creed, but this U.S. controversy over “decency” on
television is becoming indecent. Let me rephrase: The debate over TV “indecency” that
went all the way up to the U.S. Supreme Court, is, in my view, really misguided.
At the heart of the matter is U.S. TV regulator, the Federal Communications
Commission’s (FCC) ruling that punishes broadcasters for airing “fleeting expletives.”
The New York Times came out with an editorial against such a ruling, stating: “We hope
the Supreme Court does not authorize the FCC to return to its censorial policies.”
Well, I disagree with the way the Times sees the crux of the matter.
You aliens (everyone not from the U.S. is considered an alien by the U.S. Government)
and spacewalkers have to understand that, to Americans, expletives are not just funny, but
hysterical. For this reason, many comics, would-be comedians and aspiring humorous
people, when stuck with a boring gig (aka, a dud), resort to expletives. One could easily
test this truth by simply watching cable/satellite channels, which are not policed by the
FCC’s “wash-your-mouth policy.” At the most, some of the more family-friendly channels
subscribe to a “watch-your-mouth” doctrine.
As soon as stand-up comedians realize that they’re entering into the Pierrot-zone (the reaction obtained with sad, sob stories),
they start spitting out expletives as if they were pyrotechnics. And, guess what? People start laughing! Usually, it involves the “F”
word. Just say it and the audience, which, until a few minutes earlier was quietly minding its own business (often nursing bottles
of beer), will explode in a roar.
At this point, once the ball is rolling, the resuscitated comedian starts using the “F” word every other word, managing to make
a dull story duller, but apparently more fun.
My disagreement with The New York Times derives from the conviction that proxies like the “F” word should not overtake
language creativity and a good sense of humor.
In this case, the FCC should become not only
the interpreter of Congressional laws, but also the
Viagra of the creative process. If left to corporate
suits, creativity will be reduced to shouting
matches among cursing, cussing and swearing (the
English language is very rich with these types of
terms) individuals. Just see what happened with
those unregulated financial institutions involved
with sub-rate mortgages! (They flooded the
market with “F”-rated bonds).
Now, one could argue, why is only broadcast
television stuck with this decency of indecency?
Indeed, it shouldn’t be. Cable networks that
profess to be family channels and have the
privilege of being part of basic packages, should
fall under this FCC jurisdiction as well. All other
networks that are addressing “mature” audiences,
and therefore require special subscriber orders,
could use all the “F” words they want to entertain
their immature audiences. In this case, it is to be
expected that “F” word creators are paid by the
“I’m looking for a fun, F-word-free comedy act.”
number of “F” words they manage to insert in one
sentence. Basically, they should be likened to “B”
movie artists who are judged by the number of car
crashes, blow-ups and the amount of brain matter spattered around by bullets.
I’m not impressed by The New York Times’ rationale either. The whole thing started with the broadcast of the 2002 Billboard
Music Awards, when singer Cher accepted the prize uttering an expletive, which, as you could imagine, got much laughter.
Writers of such shows took note of the response and, predictably, at the next few occasions, managed to get the now infamously
famous “F” word into telecasts. Unfortunately, the “F” word stratagem worked, making subsequent awards ceremonies much
more laughable than the 2008 Oscars.
But while the American public was being entertained by the “F” word, the FCC people were enraged by it, if not outright
cussing at it, and declared that, in the future, broadcasting “fleeting expletives” could lead to sizable fines. Clearly, the FCC
doesn’t like American people enjoying themselves! At this point, the broadcasters went crying all the way to the U.S. Federal
Appeals court, which struck down the FCC’s no “F” word rule. This rule was considered harsh because, in lieu of more creative
material, it prevented laughter and, according to The New York Times, it has “done serious damage to free speech.”
Recently, the FCC petitioned the Supreme Court to review the Appeals Court ruling and the Court agreed to review it. The
FCC rationale is that the indecency rule reflects community standards, but, in my view, it would be more poignant if the FCC
would argue before the Court that it should not uphold the ruling in order to protect the public right to be entertained by
Dom Serafini
squeezing some creative juice out of –– as any spent comedian would say –– that F-- Hollywood.
60
VIDEO • AGE
www.videoage.it
P.O. BOX 25282
LOS ANGELES, CA 90025
TEL: (310) 914-4450
FAX: (310) 444-3189
VIALE ABRUZZI 30
20123 MILAN, ITALY
TEL/FAX: (39 02) 204 3029
YUKARI MEDIA
YMI BLDG. 3-3-4, UCHIHIRANOMACHI
CHUO-KU, OSAKA JAPAN
TEL: (816) 4790-2222
EDITOR
DOM SERAFINI
ONLINE EDITOR
LEAH HOCHBAUM ROSNER
ASSISTANT EDITOR
ERIN SOMERS
EDITORIAL CONTRIBUTORS
DIETER BROCKMEYER (GERMANY)
ENZO CHIARULLO
MARINA DEL RIVERO
JANET FINE
CARLOS GUROVICH
BOB JENKINS (U.K.)
AKIKO KOBAYACHI (JAPAN)
VALERIE MILANO
LEVI SHAPIRO
DAVID SHORT (EASTERN EUROPE)
LIANNE STEWART
KATHY TRACY
CORPORATE AND
CIRCULATION OFFICE
216 EAST 75TH STREET
NEW YORK, NY 10021
TEL: (212) 288-3933
FAX: (212) 734-9033
PUBLISHER
MONICA GORGHETTO
BUSINESS OFFICE
LEN FINKEL
LEGAL OFFICE
ROBERT ACKERMANN
STEVE SCHIFFMAN
WEB MANAGER
MIKE FAIVRE
DESIGN/LAYOUT
CARMINE RASPAOLO
ILLUSTRATIONS
BOB SCHOCHET
FOUNDED IN 1981
MEMBER OF NBCA
(CIRCULATION)
VIDEO AGE INTERNATIONAL (ISSN 0278-5013 USPS 601-230) IS
PUBLISHED EIGHT TIMES A YEAR: JANUARY, FEBRUARY/MARCH, APRIL,
MAY, JUNE/JULY, SEPTEMBER, OCTOBER AND NOVEMBER/DECEMBER.
PLUS DAILIES BY TV TRADE MEDIA, INC. SINGLE COPY U.S.$9.75.
YEARLY SUBSCRIPTION U.S.$45 (U.S., CANADA, MEXICO); U.S.$60 (U.K.
AND EUROPE).
© TV TRADE MEDIA INC. 2008. THE ENTIRE CONTENTS OF VIDEO AGE
INTERNATIONAL ARE PROTECTED BY COPYRIGHT IN THE U.S., U.K., AND
ALL COUNTRIES SIGNATORY TO THE BERNE CONVENTION AND THE
PAN-AMERICAN CONVENTION. SEND ADDRESS CHANGES TO VIDEO
AGE INTERNATIONAL, 216 EAST 75TH STREET, SUITE PW, NEW YORK,
NY 10021, U.S.A.
PURSUANT TO THE U.S. COPYRIGHTS ACT OF 1976, THE RIGHTS OF ALL
CONTENT DONE ON ASSIGNMENT FOR ALL VIDEOAGE PUBLICATIONS ARE
HELD BY THE PUBLISHER OF VIDEOAGE, WHICH COMMISSIONED THEM.
M AY 2 0 0 8

Foreign Series Take Root in US Soil

Transcripción

Documentos relacionados

04-24-2016 - Mother of Our Redeemer

January 12, 2014 Baptism of our Lord

Resurrection Catholic Church