THE BUSINESS JOURNAL OF FILM, BROADCASTING, BROADBAND, PRODUCTION, DISTRIBUTION NOV/DECEMBER 2011 VOL. 31 NO. 6 $9.75 In This Issue: Inside Idol AFM Review MIPCOM’s Praises Trade Print Vs. Web ® www.videoage.org

LAM Local Production: Miami Success Brings Added Opportunity For Growth Costs To NATPE Exhibitors

BY DOM SERAFINI BY ERIN SOMERS a more tolerable 15-20 minutes. One atin America is known for its telenovelas, which are successfully exported within s early as last month, the suggestion is to move the overflow to the and outside the region both in finished form and as formats. But another form cards were dealt for NATPE adjacent Eden Roc Hotel. of production has now reached critical mass: Versions of U.S. series produced 2012. The Tresor Tower at Set to kick off January 23-25, the exclusively for a particular Latin territory or for a pan-regional network. the Fontainebleau Hotel, Latin-focused event will return to the All U.S. studios have the market’s site in Miami (Continued on Page 22) jumped on the LAM Beach, Florida, local production will house fewer bandwagon and mini-majors, such exhibitors and only one ATF’s Latin Presence Is ofA the major U.S. studios, Las FremantleMedia and A+E, are in pursuit. LAM local productions are thus greatly alleviating the Drastically Declining so successful that studios are now past elevator problems by But the market is still viable exporting them into other regions. reducing the number of BY SARA ALESSI For example, in Turkey a local people using them. The next fter Eastern Europe, the Asian marketplace version of Desperate Housewives is challenge for the NATPE became a boom for Latin American organizers is to reduce currently on the air. television companies, and they responded the waiting time for valet Elie Wahba, SVP Latin in kind by flooding Singapore’s Asia TV parking at the Fontainebleau, America & Caribbean for 20th “It’s the new set for our telenovela” Forum (ATF). However, with the region bringing it down from a Century Fox Distribution, 60-plus minute wait to increasingly closing off to telenovelas, Latin (Continued on Page 24) A (Continued on Page 18) Summit Focuses on Telenovelas’ Future

he talk was about telenovelas and where they’re heading, and the hope was that the genre would continue Tto be the main programming staple of the Latin networks well into the future. That’s how the ninth annual Cumbre Mundial de la Industria de la Telenovela y Series de Ficción, or Telenovela Summit, began and ended early last month at the JW Marriott in Miami, Florida. Organized by the indomitable Amanda Ospina, publisher and editor of the Miami-based TV Mas magazine, the Cumbre registered some 150 Latin TV executives from the U.S., Latin America and Europe. Over a three-day period, some 33 panelists touched on subjects such as licensing and merchandising, Hispanic (Spanish-language viewers in the U.S.) audiences, acquisitions and scriptwriting, among other topics. Disney’s Leonardo Aranguibel spoke about co-productions and adaptations in Latin America, Telemundo Network’s Leonor Sotillo touched on the subject of Web channels, Ecuavisa’s Ana Cecilia Alvarado discussed the power of drama series in Ecuador, Telefutura’s German Perez-

(Continued on Page 18)

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Cover stories: 10. MIPCOM Review. Latin America’s local TV production: Cannes finds TV no Equal opportunity growth for studios longer in a defensive and indies alike posture. Latin America imposes its presence A summit becomes a cumbre in Miami Cwhen the future of telenovelas is in question Miami success brings added costs to NATPE exhibitors, who happily grumble

The Latin presence at Singapore’s Asia TV Forum is drastically declining. But the market is still viable

14. American Film Market Review. No question about it, challenges are the bread and butter of indie film biz

4. World: U.S., Poland, Argentina, Philippines, Monte- 28. Conferences, markets calendar of events, travel news Carlo

8. Book Review. The Secrets Of 30. My 2¢. Trade print publications and Web trade media American Idol: Plenty of are compatible but not comparable gossip is an added bonus include a tax break that allowed companies take root within the state. to deduct immediately all laboratory- Like the U.S., Canada is offering big based research and experimentation costs. subsidies, too, hoping to lure video game The government expanded the tax break companies over the U.S.-Canadian in 1969 so that corporations could also border. Montreal offers these companies deduct the cost of software development. a tax credit equal to 37.5 percent of These tax breaks now apply to video their payroll. Reportedly, Ontario game makers, especially since most of provided one video game company a their costs fall under the category of tax incentive of over C$321,000 to software development. relocate from the U.S. Game Makers’ those that manufacture video games. Plus, in 1981, the U.S. Congress In fact, video game production is created an additional credit intended for Big Tax Breaks now one of the most highly subsidized companies that increased their research More TV Sets businesses in the U.S. due to these very and development activities. Thus, ccording to the Joint same tax incentives, because companies even though the type of research and In Polish HH Committee on Taxation, that develop video games have their development implemented by video game in 2010, the United hands in a number of cookie jars: software developers rarely benefits anyone besides ccording to the results of States federal government development, the entertainment industry the company itself, these companies still a survey by London-based handed out $123 billion and online retailing, making them qualify for the tax deduction. TGI Millward Brown, the in tax incentives to various eligible for combined tax incentives. And tax incentives are spreading. number of television sets in corporations. Among the Even though the U.S. video game Currently, over 20 states dangle Polish homes is growing. The companies that took advantage of the industry didn’t exist until the early 1970s, tax breaks in front of video game survey indicates that over five A million Polish households U.S. government tax incentives were in 1954, Congress rewrote the tax code to manufacturers to encourage them to A(HH) have at least two television sets. This translates to 38 percent of all households, or 5.3 million households, with more than one television. Additionally, one million households in Poland have three or more TVs, a figure that has nearly doubled in the past 10 years. In 2001, there were only 700,000 Polish homes with three or more TV sets. Now, the number has climbed to 1,207,080 households. Not only is the number of TV sets in Polish HH growing, but the size of TV screens is increasing as well. More than four million households have sets with panels that are 30 inches (76.2 cm) or larger, and according to Nielsen Audience Measurement Polska data for 2010, 33 percent of all TV sets in Poland are flat LCD TVs. It is also significant that TVs are now being kept in rooms other than the living room, as more than one million households have additional TV sets located in bedrooms and kitchens.

Argentina’s Second FyMTI

he second iteration of the International TV Fiction Festival and Market, or the Festival y Mercado de TV-Ficción Internacional (FyMTI) was held November 25-27 at the InterContinental Hotel Nordelta,T Tigre, Buenos Aires, Argentina. Organized by Sergio Crescenzi and Ruben Nieves, owners of FyMTI, an active member of Argentinean Audiovisual Exporters Chamber, there are three main elements to the event: The Festival (the Official Competition, premieres and launches, tributes, etc.), the Market (business meetings and workshops) and the Forum (conferences, debates, master classes and presentations). The event is dedicated to broadcast TV, pay-TV, digital TV, web TV and IPTV content, formats and production services, and offers audiovisual screenings, business meetings, a forum and awards ceremony.

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broker deals, get up-to-date with Six video channels and two radio set-top box, which is provided gratis with industry trends and more. channels will be featured as part of subscription to the package. Filipino This year’s event featured 100 drama the Filipino Plus TV entertainment Plus will be available via Filipino dealers titles, 15 conferences, 90 business package. The channels — Kapatid in various European cities. meetings, 50 accredited journalists and TV5, Aksyon TV, GMA Pinoy TV, 50 guest speakers from Latin America, GMA Life TV, Pinoy Extreme, M&L the U.S., Europe and Asia for a total of TV, DZBB and DWLS-FM — will 500 attendees. show a broad spectrum of content (Continued from Page 4) including sports, variety shows, movies, and radio channels. The market’s objective is to emphasize “We’re delighted to be doing this with the value of TV drama, to reward quality Filipino Plus TV2Moro, which is a successful IPTV products and to promote co-production. TV in Europe platform in the U.S. dealing with ethnic Argentina is considered one of the world’s channels,” said Emad Morcos, OSN’s largest producers and exporters of TV wing to the launch of vice president Strategic & Business TV2Moro’s CEO Elie Kawakabani and content and formats, airing TV shows Filipino Plus from Orbit Development. “This is an extension of in 80 countries, and having sold 40,000 OSN’s vice president Strategic & Business Showtime Network (OSN) their business and our relationship with Development Emad Morcos hours of programming in the past year. and TV2MORO, premium them. The distribution will be right Argentina’s audiovisual industry consists and exclusive content from across Europe focusing on Scandinavia of more than 410 companies. the Philippines will now and Western Europe,” he added. SPORTEL Raced FyMTI provides attendees with the be available to the Filipino The programming will be delivered via Through Monaco chance to test pilots and launch new Ocommunity in Europe as a pay-TV IPTV, which requires only a broadband shows, present co-production projects, entertainment package. connection and the Filipino Plus IPTV mparo DiFede, recently appointed administrative director of Monaco’s Sportel, declared the 22nd annual sports market a great success. According to DiFede, this ALWAYS year 2,330 participants from A970 companies, representing 67 countries took part. This translates to a 10 percent increase in participation over 2010, making 2011 the biggest market in 10 years. The participants filled the Grimaldi Forum with 183 stands, representing a 30 ready percent increase in floor space. Organized by Monaco Principality’s Mediax, the market kicked off on October 10. A variety of events were packed into the four-day convention, including a symposium examining the following question: “Smart TV: Added Value for Sport?” In anticipation of the 2012 Summer Olympic Games in London, international 18x60 11x30 conference “Olympic Games – The Lean Forward Revolution in Sports” looked into how leading sports broadcasters are innovating by making content omnipresent on various consumer devices and platforms and by creating sports services that complement the television broadcast. Another notable event was the press event titled, “World Judo Championships, Paris 2011 and Its Media Coverage.” The Georges Bertellotti Golden Podium 13x30 10x30 Awards honored directors of the world’s best sports TV images. This year, the jury for the awards ceremony included writer director Régis Wargnier, sailor Olivier de Kersauson, sailor Philippe Monnet, F1 consultant Patrick Tambay and cyclist champion Alexandre Vinokourov. SPORTEL will host its next market March 12-14, 2012 in Rio de Janeiro, Brazil and will return to Monte Carlo 55x60, 10x120 48x30 175x30 in October. actionlifestylereality entertainmentcrime

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register now! e: [email protected] t: +65 6780 4672 www.asiatvforum.com quote from season four winner Carrie Underwood in the book’s epigraph. This is the last the reader sees of Book Review Underwood’s direct words. One of the book’s strengths lies in Rushfield’s dedication to the topic, American Idol, which becomes clear immediately in the Acknowledgements section, when Rushfield calls working with the show his “rendezvous with The Secrets Of American Idol: destiny.” As could be expected from Rushfield’s enthusiasm, he explores the Idol gossip and drama in a serious manner Gossip Is An Added Bonus that could only be appreciated by a true fan of the show. Indeed, the cover boasts that the book deals with “the rivalries, the ince it first hit America’s it, Rushfield cites reputed general meltdowns, and the departures,” playing TV airwaves in 2002, FOX’s news and entertainment news sources into the drama associated with Idol, and American Idol, an adaptation throughout the book, proving that he drawing the attention of its viewers. of FremantleMedia’s Pop is well read on the topic, and dedicated However, his fan status is also a Idol in the U.K., established to the news surrounding it. His use of detrimental weakness. While the itself as an empire, currently quotes and headlines from newspapers author’s enthusiastic tone underscores attracting an average of 25.2 and magazines reawakens the urgency his devotion to American Idol, it is millionS U.S. viewers per episode. of particular events for the reader, who also, at times, far too sentimental Reporter Richard Rushfield, who might remember what it was like when for a book about a reality television Tamyra Gray, season one’s frontrunner, covered the reality singing competition singing competition. He writes that was unexpectedly eliminated. Recreating show for the Los Angeles Times for three the fact that Jennifer Hudson (who the controversy, Rushfield reprints the years, and continues to write about finished eighth in season three) won New York Post headline, “New Idol Idol for The Daily Beast, explores the an Academy Award, and that other Boot a Shocker,” and an excerpt from phenomenon of American Idol in his new finalists have made successful albums, the Toronto Star’s story about “‘outraged book from Hyperion, American Idol: The is proof that, “all the contenders who cries for vengeful boycotts and petitions’” Untold Story (267 pages, $24.99). took part in this annual adventure against Gray’s elimination. Rushfield starts at the very beginning had won a place in the nation’s heart.” However, despite the fact that the author of the Idol story by providing background He implies that Idol viewers — and includes quotes from those involved in the on creator Simon Fuller, a talent manager apparently even non-Idol viewers — show and claims to be telling the “untold and TV producer. He then offers an are so enamored with the competition story,” the reader should question whether overview of each of the seasons, reminds to compartmentalize Simon because…if and its contestants that they’ll embrace Rushfield is actually telling the “untold readers of the many amusing singer- you don’t learn how to compartmentalize those who did not win. Even the last story” or whether he is, throughout most turned-judge Paula Abdul incidents and him it will freak you out.’” paragraph of the book is dripping with of the book, merely recounting what describes life in the “Bubble” for The reader also gets the inside story sentimentality, with its hopeful look Idol many devoted Idol fans already know — contestants who are cut off from family, from those involved with Idol behind toward the future: “Somewhere in one especially since he often quotes stories that of those crowds [of people waiting to friends and the rest of the world during the scenes. For instance, stage manager have already been covered by the media. their Idol runs. Debbie Williams divulges that season audition for Idol], lined up into the For instance, Rushfield quotes an distance before sunrise, there may have Naturally, quintessential “nasty judge” five winner Taylor Hicks “‘would come article from US Weekly stating that Idol stood the person who would change the and co-producer Simon Cowell, a record to me secretly sometimes’” with special routines he wanted to use in the show, was considering singer Jessica Simpson show…and keep the dream alive for yet executive, is a topic of discussion. and others as possible replacements for but didn’t want to give away during another generation of dreamers.” Rushfield also dedicates an entire chapter Abdul. This is not news to many Idol fans. rehearsal. This information is intriguing Perhaps the most shocking depiction titled The Exile to former co-host, Brian It’s also hard to believe that no one knew to true Idol fans, as it’s something they of the author’s overzealous tone is when Dunkleman, who caused a stir after about the “What is Paula on?” drama that likely wouldn’t have known if not for he describes Idol as “The country’s most leaving a show as popular as Idol. Plus, resulted from her disorganized critiques Rushfield’s book. beloved pastime.” In making such a bold Rushfield explores Idol’s so-called of the Idol performers and other offstage statement, Rushfield gives the show too public enemy number one, Dave Della At times, Rushfield inserts himself incidents — such as contestant Corey much gravitas and asks too much of the Terza, who launched the “Vote for the into the narrative, further emphasizing Clark’s claim that he and Abdul were reader: it’s difficult to swallow the idea Worst” website, which encourages Idol ’s his proximity to Idol. Toward the end involved in a romantic relationship — or that a singing competition could hold detractors to vote for contestants the of the book, he reveals that when the detailed accounts Rushfield provides this title, which, historically, belongs to website deems to be the least talented, Abdul’s contract was up for renewal about each season of the show. and perhaps the strangest. in 2009, he himself was contacted by the national pastime, baseball. On the front cover, the book is billed David Sonenberg, the head of Abdul’s When Richard Rushfield sat down to The author sets about telling the as one that tells the story of Idol through management team, who called to express write this book, he was, undoubtedly, “untold story” by sharing comments “the stars in their own words,” but even writing for American Idol fans much from former Idol contestants, illustrating frustration with the fact that Abdul’s though Rushfield includes quotes from like himself. While the book is lively his involvement with the show and its salary remained miniscule compared various Idol contestants, he fails to and informs readers about the show, it’s participants. In the book’s more fiery to that of Cowell. Any doubts about include the insights of Idol ’s more well moments, the reader learns firsthand Rushfield’s Idol knowledge and clout known contestants (i.e. the winners unlikely to hold the interest of anyone from contestants what it felt like to be are erased at this moment. Abdul’s or other popular contestants), which but the most devoted fans. critiqued by Cowell, who once told a team would never have leaked this story would have made the book far more Nevertheless, for fans looking to singer, “‘You’re a beautiful girl, but you’re to Rushfield if he weren’t considered a interesting. In fact, Rushfield misleads relive past moments, and for those who ugly when you perform.’” Season two key chronicler of Idol happenings. the reader into thinking he’ll share don’t watch the show but want to see competitor Kimberley Locke recalls that Further demonstrating his familiarity the views of Idol ’s biggest stars within what they’ve missed, Rushfield’s book it was vital for contestants to learn “‘how with the show and the news surrounding the body of his work by including a is a good place to turn. SA

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MIPCOM Review Cannes Finds TV No Longer At MIPCOM’s “Personality of the Year” dinner at the Carlton Hotel in Cannes honoring Disney’s co-chairman Anne Sweeney: MIPCOM’s Anne In A Defensive Posture de Kerckhove, Vanessa Williams, VideoAge’s Latin America imposes its presence Dom Serafini and Sweeney.

et’s start by stating that Lionsgate dominated the market in last October’s MIPCOM terms of product, traffic, sales and in Cannes, France, was attention. successful due to great The fact that all of the key front audiovisual content sales. cover stories in VideoAge’s three Dailies No TV trade show can be at MIPCOM focused on the studios successful without the “sales” and mini-majors, in addition to the Lelement, no matter how exuberant aforementioned conferences, is indicative the associated conferences and special of the important role they played in the events may be. Then, it’s by fortuitous market. The Daily also reported on coincidence that MIPCOM’s peripheral the rebranding and changing structure activities were also appealing. Even the of German television’s international weather complemented the great event distribution, the depressed state of with sunny, hot, summer-like market television in Italy, the preparations for days, which contributed to an upbeat the NATPE TV market in Miami next mood and the overall triumph of the January and the imposing presence of market. the Russian Bear, consisting of a large And with such accolades this feature Disney Media Networks Latin America’s Leonardo Aranguibel, Gustavo Sorotski, Jack number of production, distribution may have said it all already, if it weren’t Morera, Fernando Barbosa, Fabiola Bovino, Henri Ringel and broadcasting companies headed for the numerous details still left to by Channel One Russia. This bear report. statement, he said, “New technology a stir with its $100 million original awoke at Focus on Russia with a big Starting with conferences: The revolves around TV products… It turns production House of Cards, starring roar that included an opening night fortunate few who actually found time out that the next big thing is going to Kevin Spacey, to compensate for the party, a series of breakfasts, luncheons to participate had an array of timely include the same old big thing: TV.” fact that companies such as “HBO and and conferences in their large Russia subjects from which to choose. Earlier, Reilly told VideoAge Daily that Starz don’t really want to sell to us,” House tent, plus a closing party, which unfortunately conflicted with the Disney’s co-chairman Anne Sweeney television is “not in a defensive posture according to Sarandos, and studios MIPCOM “Personality of the Year” spoke about the fact that “digital didn’t anymore.” would only sell them library product. soiree. That event honored Disney’s weaken the power of television, it Then, Mark Teitell from DECE, Moving from the conference rooms Sweeney, the first woman to receive the unleashed it,” adding that, “television the UltraViolet (UV) consortium, and to the exhibition halls (which were market’s top award. is the medium around which all others Warner Bros.’ Justin Herz explained the sold out), the first thought that came revolve.” UV digital delivery “cloud” as a system to mind was how relatively empty the In addition to the special Russia House, this year’s exhibition floor Kevin Reilly, president of by which consumers can view content corridors were and by contrast, how played host to a new China Pavilion, Entertainment at FOX Broadcasting, without the constraints of physical crowded the U.S. studios’ large tents housing 52 Chinese companies and spoke about creativity in television and media, location, TV display and time. and expansive floors were. Indeed, representing a 56 percent increase over how he uses social networks to preview Ted Sarandos, CCO of Netflix, both the U.S. studios and mini-majors last year. Animation companies were new shows. Expanding on Sweeney’s was also on hand. Netflix is causing like FremantleMedia, Starz, eOne and (Continued on Page 12)

Record TV’s Marcelo Cardoso, Delmar Andrade, Edson Mendes Telefe’s Diana Coifman, Fernando Varela

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Record TV Network’s Delmar Andrade had this to say about his company’s success at the market: “Even though Europe is passing through a Azteca’s Raul Mendoza, Carmen Pizano difficult moment regarding its economy, we cannot complain regarding our when he said: “It’s been a very busy European customers. We believe that at market.” the end of 2012, the European broadcast But, despite this success, MIPCOM market will return to normal.” Likewise, is plagued by an ongoing issue with SBT’s Carolina Scheinberg found that the MIP-TV dates. This Achilles Heel “in the past, we had more meetings, but stems from the fact that the U.S. studios they resulted in fewer deals. [This year] are unhappy with the April dates. The we found that we had fewer meetings, studios want MIP-TV to be moved to but the meetings we had turned out late February-early March, because, as more deals,” she said. far as they’re concerned, mid-winter is Caracol’s Monica Ramon noted that a good mid-season calendar date for Caracol met with “Latins, Europeans, U.S. content, Cannes offers the perfect winter break for sellers and buyers Reed Midem’s Laurine Garaude, Paul Zilk, Russian filmmaker Olga Fon Frantskevich, Africans, Americans and Asians,” and Channel One Russia’s CEO Konstantin Ernst, Ambassador of Russia in France Alexander the company brought “a sales agent for alike, and there are no conflicting Orlov, Channel One Russia’s Deputy CEO Alexander Fayfman, Vice Consul of Russia in each area.” markets — with the exception of the France Alexey Popov, Reed Midem’s Ted Baracos. BBC Screenings, which could easily be Cesar Diaz at Venevision International moved to April. particularly visible at the Pavilion. about 120 covering all major territories stated, “At this market, we focus our If MIP is not receptive to their needs, The Daily also covered MIPJunior and the pan-regionals. attention on the non-Latin world.” However, he was quick to add that the the studios are contemplating two with a report on the growth of The stars were out in full force options: Creating their own localized company did have appointments with children’s television around the world, (with approximately 20 showing up multi-city mid-winter screenings, or Latin buyers at MIPCOM. which offered some contrasting views on the Croisette), as were a number teaming up with NATPE to extend summarized by the headline: “Kids TV of executive producers and writers, In contrast, RCN Television’s Maria the Miami, Florida market in January Growth a Sure Maybe.” with Ashley Judd and cast members Jose Ramos said, “I specifically work to buyers outside the traditional Latin The strong Latin American presence Cliff Curtis and Adriano Giannini with Latin buyers…but there have been American contingent. Meanwhile, MIP at MIPCOM crowned it the third attending the world premiere screening fewer Latin buyers here than there is slowly inching toward March with its most important market after the L.A. of Disney Media Distribution’s drama are at NATPE.” Ramos expressed a 2012 dates set for March 30-April 4. desire to see more Latin buyers attend Screenings and NATPE. However, in series Missing. Keifer Sutherland also To conclude, there are the mandatory MIPCOM. Although, she mentioned terms of participation, with about 170 took the stage to promote Fox’s Touch. market figures also used to gauge the that buyers from Latin American companies from 10 countries, MIPCOM The cast of eOne and Endemol’s new success of the trade show compared drew by far the largest contingent from post-American Civil War drama Hell countries such as Chile, Argentina, to previous years: This year there were Latin America, compared to the L.A. On Wheels, including Anson Mount, Perú and Venezuela did attend. 12,500 participants representing 4,211 Screenings and NATPE combined. But, Common, Dominique McElligott and Tomas Darcyl of Telefilms reported, companies from 102 countries and outside the U.S. studios and other mini- Colm Meaney, graced MIPCOM’s “We came here to see our clients, [which] 1,524 booths, with each of the many majors’ Latin divisions, Latin American red carpet and were present at eOne’s are Latin American companies,” and he umbrella groups counting as one booth. indies with booths at MIPCOM cocktail party. Fran Drescher, writer, conceded that “there are more clients at This represents an overall growth of numbered 24 from five countries. As for producer and star of Happily Divorced, NATPE, but our biggest clients are [at four percent compared to MIPCOM the number of LAM buyers, all studios made an appearance on behalf of MIPCOM].” Jose Escalante at Latin 2010. Next year, the market will be reported the same number as last year, Endemol as well. Media Corporation summed it up best held October 8-12.

Sony Pictures’ Alexander Marin, Angel Orengo, Kevin Byles Caracol’s Berta Orozco, Roberto Corrente, Monica Ramon

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But, even though official figures like to stress that they’re on “par with last year,” the reality is that, this year, distributors were able to get exhibition AFM Review suites at the Loews Hotel just a few days prior to the market’s opening day on November 2. And even so, a few suites on the second floor of the seven-story Loews Hotel remained empty. This is despite an aggressive marketing campaign that involved the Challenges Are Bread And U.S. consulates and embassies in key countries, including Argentina. Perhaps because the AFM is an Butter Of Indie Film Biz appointment-only market, the corridors on the various floors were rather empty. But floor traffic has rarely been a virtue he good news: The indie buyers will still flock to the market to of the AFM, especially considering that movie business is getting scope out American films. buyers have to attend screenings as well, healthier. The bad news: Nevertheless, for now the AFM is with a total of 415 films on the list. The sick patient is now the seen as the only viable international AFM, which is considered The smaller number of buyers film market, since Berlin is considered from Italy, Spain and Greece, which by many observers to be the an art-house film market and Toronto is world’s only marketplace contributed to the poor floor traffic, mainly a festival with a small, scattered was more than compensated for by for commercial films. Emblematic market. On the other hand, the AFM Tof the problems facing AFM is a those from China (up 61 percent from has a good marketplace despite the 2010) and Germany (up 38 percent). petition circulating among participants fact that it takes place late in the Plus, Japan, a traditional buyer of threatening to pull out of the market calendar year, following the increasingly movies (more so than TV programs) if it moves from its current location successful MIPCOM in Cannes and at seems to be recuperating from the in Santa Monica to downtown Los the end of the budget cycle. Angeles. disasters of this past March, with the In addition, the AFM maintains a prediction that, ultimately for this year, If, as the saying goes, “business is different business model for distributors. business,” the location should matter theatrical losses would total only a While MIPCOM is seen as a broadcast small percentage compared to 2010. In very little. However, when a market market, the AFM is more of an “all- shows signs of erosion, the three rules addition, the strengthening of the yen RAI Sales’ Bruce Rabinowitz rights” market, even playing host to of real estate usually apply: Location, against the dollar has improved sales some theatrical business, especially from location, location. lose an event as rich as the AFM, which to Japan, to the point that, once again, reportedly brings $16 million a year in Russia, as reported by Steve Arroyave of film imports rank above exports. At The NATPE experience proves that direct spending to the city. Canada’s Arrow Entertainment. Plus, AFM, acquisition company TWA alone location can make all the difference. as The Fremantle Corp’s Irv Holender bought six titles for Japan in the first For that market, participants threatened For its part, the AFM is trying to stated, AFM is a “pick-up and filler four days of the market. to pull out if it did not move from its contain increasing cost demands from market,” meaning that buyers are cherry Other active Asian countries were former Las Vegas location. Eventually, the Loews Hotel, the market’s key picking theatrical titles to fill holes in NATPE organizers relented and moved exhibition spot. Escalating hotel costs their TV schedules. Others see the AFM Thailand, whose government sponsored the January event to Miami Beach, are becoming an issue for many suite- as fostering good follow-up negotiations a Thai Night soiree, and Hong Kong, Florida, where it’s thriving once again. based markets, to the point that some initiated at MIPCOM. However, ACI’s whose Trade Development Council organized both an umbrella stand for 14 The fact that AFM is struggling could trade show organizers are even asking Chevonne O’Shaughnessy pointed out companies and a “Hong Kong Day” on be detected from an unusual letter that the press to print negative stories and that her company will premiere certain Santa Monica Mayor Richard Bloom reports of participants pulling out. film titles at the AFM but not at the second day of the market, featuring a gave to all AFM participants in their Naturally, for Los Angeles-based MIPCOM, because producers want series of seminars and a cocktail party. registration bag, extolling the virtues of companies, exhibiting at the AFM is their movies to be associated with what On the seller side, in contrast to the his town and hoping that they would inexpensive compared to overseas trade is perceived as a film market rather than fewer buyers from Spain, there was return. Santa Monica recently lost the shows, and even if a few non-U.S. a broadcast market. On top of all this, a large group of exhibitors under the Google office to the Venice section of companies decide to skip the AFM there is the fact that some movie buyers FAPAE umbrella, the Federation of Los Angeles and surely cannot afford to because of the undesirable location, attend AFM and not MIPCOM. Spanish audiovisual companies. (Continued on Page 16)

Lobby at the Loews Hotel, AFM headquarters Film Export’s Roberto Di Girolamo (Photo by Alexandra Wyman/Getty Images for AFM)

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an associated film festival (the AFI Fest held Nov. 3-10 in Los Angeles), the AFM managed to keep people away AFM (Continued) from the corridors and suites with so many “distractions” from the business of buying and selling. (Continued from Page 14) LIFE ISAnother factor aiding the indie film business is that the U.S. studios have pulled out of international film The conference was sold out, with acquisition in favor of larger projects, more than 700 attendees — including leaving the $50 million business to the CEOs, filmmakers, financiers and independents. On the other hand, big studio executives — exploring the movies tend to lose value on cable, since current state of independent film its window is so far down the road, financing and looking to pinpoint giving a boost to the lesser-exploited Tanya McQueen where the money is. PICKER indie features. And this is without In addition to the aforementioned SISTERS MOVIES CRIME LIFESTYLE ENTERTAINMENTcounting the increased BIOGRAPHYsales due to ENTEfinance conference, there were new players such as “Incos” (Internet RTAINING pitch seminars, and conferences for companies like Netflix and Google). production, marketing, agents, packaging, distribution and new Finally, A-list actors, such as George platforms, with a total of nine Clooney, are now betting on indie films conferences held in a five-day period for more credibility and international at the Fairmont Hotel. Plus, there were acclaim. And some of Hollywood’s six “Industry Conversations” with biggest stars, like Rob Reiner, are actors, directors, producers and writers actually participating in the market. The Fremantle Corporation’s Irv Holender held at the Loews. In the view of one Reiner delivered a presentation for the exhibitor, with all those seminars and “Industry Conversations” series. From Italy, RAI registered without At the AFM, Film Export not only a suite. Bruce Rabinowitz from its rented a suite, but also filled the trades New York City sales office was present, with ads for its Dario Argento 3D while theatrical acquisitions were made movie Dracula. It also booked several by two RAI executives from Rome. screening rooms at nearby theaters; In the television sphere, a few of the something extremely rare for Italian usual Italian agents that RAI utilizes entertainment companies, which are attended. Mediaset sent only one of its not known for their marketing savvy. buyers for television, while Mediaset’s The fact that the indie film business Medusa Films handled theatrical is becoming more robust (giving the buying and selling as one of the three AFM a much-needed insulin injection) Italian exhibitors at the AFM. is indicated by the flow of money that is returning to the sector with In the view of Rome-based Film private-equity firms once again active, Export’s Roberto Di Girolamo, the and approximately seven companies emergence of Roma Cinema Fest — among the most aggressive at the which has a small market and is held AFM. Banks are also returning to a few days prior to the AFM — has AFM, with some renting suites. The little to do with Italians not going to improving business aspect for indie “Production, Financing and Distribution of Independent Film” seminar at the Fairmont Santa Monica. “The problem is,” said film companies was highlighted at Hotel. (Photo by Alexandra Wyman/Getty Images for AFM Di Girolamo, “that Italy no longer the AFM with a two-part Finance produces movies for the international Conference on day three of the eight- market.” day market, at the Fairmont Hotel. The AFM in Facts & Figures The American Film Market wrapped up its 2011 edition, seeing an eight percent increase in buying companies from 664 in 2010 to 718 this year. The number of acquisitions executives was also Gene Simmons on the rise, climbing seven percent to 1,523 from 1,417. Overall GENE SIMMONS attendance grew by four percent to 7,988 versus 7,695 in 2010. TM Countries that sent more individuals from buying companies FAMILY JEWELS to the AFM this year included China (+61 percent, 37 vs. 23), Germany (+38 percent, 109 vs. 79), the U.K. (+16 percent, 73 vs. 63), South Korea (+15 percent, 116 vs. 101) and Japan (+11 percent, 128 vs. 115). Regionally, the number of buying companies from the Middle East increased by 35 percent, from 31 to 42; while Asia grew 17 percent, from 348 to 407. China registered the most growth for buying companies (+50 percent, 21 vs. 14) then Germany (+39 percent, 46 vs. 33) and France (+18 percent, 40 vs. 34). The U.S. increased eight percent from 127 to 137. There was a four percent increase in exhibiting companies as Jean Prewitt, president of IFTA, the AFM organizer; director Rob Reiner and AFM’s well (356 vs. 343). Managing Director Jonathan Wolf at the “Industry Conversation” held at the Loews. (Photo by Alexandra Wyman/Getty Images for AFM) Rick Harrison ®

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Nahim moderated a seminar on various such as NATPE, producers and distributors began scaling business models and Latin Media’s Jose Scriptwriter Delia Fiallo was in attendance. A down their ATF participation and total of 33 panelists participated in Cumbre the Cumbre Escalante presided over talks about sending junior executives to the three- production and content supply. An brings to light new day market, which begins on December entire day was devoted to scriptwriting, too few commercial TV outlets. 7 this year. and Cuban-born, Miami-based Delia Peruvian TV director Dan Relayze challenges facing At the market’s zenith, there were over Fiallo, one of Latin America’s most well Gerhardt illustrated the Peruvian known telenovela writers, received an Latin America’s 20 Latin stands, which amounted to 22 experience with telenovela production percent of the total, in addition to those award for a prolific career. that began in 1959. “During the initial most celebrated from Spanish and Portuguese companies. Televisa’s Martha Zavaleta offered period,” explained Gerhardt, “they Now, Latin distribution companies an artistic view of telenovelas at the became very popular, but later their serialized dramas event, illustrating the need for new popularity declined. Today, however, constitute approximately 5.5 percent of actors in the TV sector by comparing the Peruvian public is rediscovering the and offers top-level the ATF exhibition stands, occupying a star to a leader. “Nowadays the work genre and stations are broadcasting up only five out of a total of 90 stands. schedules of the top actors are absurd to five telenovelas per day.” Latin TV industry The companies are: Azteca from Mexico, and the stars cannot keep up with the Mexican TV director Jorge Rios executives the Colombia’s Caracol, Brazil’s Globo TV pace. This is why the industry needs Villanuevas pointed out that those who International, Latin Media from Florida more stars,” she explained. Zavaleta publicly say that they only watch news and Miami-based Televisa Internacional. also pointed out that, at times, TV unique opportunity and sports are, in reality, all telenovela The aforementioned companies stars lose their leadership roles due to viewers. to mingle in a cozy attended the event last year as well, but an awkward attitude or troublesome circumstances. Over time, some actors But telenovelas weren’t the only topic environment — a the numbers have decreased by one since become too passionate on camera, being discussed at the event. At times, 2010, since Telemundo Internacional, appearing unnatural and unbelievable, the equally interesting conversations rare treat despite which participated in 2010, opted not to she said. fell outside the scheduled program. make the trip to Singapore this year. In For example MGM Networks’ Marcelo their close proximity 2009, seven Latin companies exhibited Venevision’s Cesar Diaz explained Coltro spoke about En Busca De La the changing world of international at the ATF, including Argentina’s Telefe Nueva Diva, a reality show that searches to one another. content distribution, touching on Internacional. There were no Latin for the next diva or estrella (star). the challenges facing telenovela sales buyers registered for this year’s event at cleverly dubbed “The Delia Fiallo internationally. After Europe — first The Cumbre is a creation out of press time. Awards.” Participants witnessed a very Western Europe and later Eastern the fertile mind of TV Mas’ Amanda heartwarming and emotional ceremony VideoAge caught up with some of the Europe — then moving to countries Ospina, who tenaciously and, at times Latin distribution companies planning single-handedly, managed to bring it recognizing this living giant of the such as Romania and Russia, telenovela to set up shop at the ATF this year to to its ninth edition. The Cumbre began telenovela industry. sales boomed in Asia, especially during gauge their expectations for the market. the 1990s. Nevertheless, each territory in 2003 right here in Miami, in the Although it’s a relatively small event in the region presented its own unique very same location where the 2011 in comparison to other markets such as Azteca has been attending for the past challenge, since, for example, kissing edition was held. After its inaugural“ NATPE, the Cumbre brings to light new 11 years (the market is only in its 12th couldn’t be shown in India, and in year, it took place in Spain (two years in challenges facing Latin America’s most year). This December, Martha Contreras, Indonesia no violence is allowed on Madrid and two in Barcelona); Buenos celebrated serialized dramas and offers Sales Asia, Comarex/Azteca will be in screen. Today’s challenge, according to Aires, Argentina; Bogotá, Colombia, top-level Latin TV industry executives Singapore along with Comarex’s CEO, Diaz, is represented by territories such and in 2010 it was held in Lima, Perú. the unique opportunity to mingle in a Marcel Vinay. Contreras noted that as Italy, Turkey and Greece. As far as This year, the Cumbre returned to its cozy environment — a rare treat despite ATF is a valuable market because it Africa is concerned, the continent is a birthplace in Miami where, curiously, their close proximity to one another. gives the company the “opportunity Babel of languages, key channels are it honored the same person whom it Ospina, a former telenovela actor- to meet with all the key players in the government-controlled and there are honored in 2003. The awards were turned-publisher, is not known for her region.” She added, “Over the years we meticulous organizational skills, and have established an important business even though each Cumbre is often relationship in several countries such considered the result of a miracle, the as Thailand, Malaysia, Indonesia and fact remains that her devotion and Singapore. We are always looking to dedication to the Latin American TV target and work in new territories.” industry — and telenovelas in particular And they will certainly have a chance — are well appreciated by participants to interact with Asian buyers. Reed and sponsors alike. Many may at first Exhibitions’ Yeow Hui Leng, Project resent her persistent sales pitches, but director of ATF 2011, noted that organizers ultimately they relent and let Ospina be are “pleased to host group delegations Ospina, helping her Cumbre succeed. from China, Finland, Japan, Malaysia, VideoAge has never been involved in South Korea, Taiwan, France and Spain Cumbre’s event structure or organization, this year.” She continued, “We are also but over the years it’s been one of the seeing increased buyer participation from few international TV trade publications [countries in] the region including Korea, to give Ospina its support, reporting on Thailand, Vietnam, Malaysia, Indonesia, the summit’s outcomes. Hong Kong [and] Taiwan, with new Claudia Romani contributed to this entries such as Myanmar, Kyrgyzstan, report from Miami. Pakistan and New Zealand.”

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Sales, noted that the pay-TV market in Asia is growing, and it’s not surprising ATF’s Latin In addition to that, like the other Latin distributors, the company is “continuing to bet big Presence being Asia’s media on the telenovelas Passione and Cat’s hub, Singapore’s Cradle,” which will be on display at the market. (Continued from Page 18) officials are striving Globo TV has been attending the Azteca’s Contreras expects to build ATF for over six years, and will send two on the company’s success, “secure to make the city- executives this year. Correa Netto said new territories, and keep our presence the company has found that the market growing in the region.” state appealing for provides “a chance for relationship According to Leng, the most popular genres sold at the ATF are animation technical facilities building, to search for an ever-deepening and children’s programs because they understanding of the countries, clients, are “universal in appeal…rising above culture and mainly the market.” He went Azteca’s Martha Contreras and services, and language and cultural differences.” She on to say, “We’re consolidating ourselves also noted that, “Next on the list will be already attended ATF with Latin Media more and more in South Korea, Macau, dramas. With their soft and easy-to-digest offering financial twice, but has personally participated Timor and Singapore, and looking for content, they have wide support among in the market on many other occasions, growth opportunities in India, Japan, the general Asian viewers. Formats, which characterized the ATF as “a booming incentives to can be easily adapted across borders into China and Australia.” market for the television industry.” He successful local programs, also remain told VideoAge that the Asian market is producers and According to ATF organizer Reed popular among our buyers.” “coming up with new and refreshing Exhibitions’ Leng, over 850 companies That’s where many Latin distributors formats” and “adapting telenovelas distributors for from more than 53 countries attended tend to fit in, due to their large supply of in [their] purest traditional form.” the ATF in 2010, representing a 15 telenovelas. Azteca’s Contreras offered Escalante went on to say, “Production their productions. percent increase in the number of proof of Leng’s statement regarding is in full swing in this part of the world, participating companies compared to telenovelas and formats: “The reality and therefore, in the telenovela genre, show La Academia, a singing contest in the year before. This year, organizers we can learn from them and offer our end, you have to place your product,” search [of] the next pop idol, has been successful formats as well.” Escalante explained. expect to draw 3,500 attendees. produced all over Southeast Asia with excellent results and is still going very He is looking to sell a host of Colombia’s Caracol will send only In addition to being Asia’s media strong. Also the series What Women telenovelas, including Pushovers; She, one executive. Roberto Corrente, Sales hub, Singapore’s officials are striving Keep In Silence (Lo Que Callamos Las the Taxi Driver; Cholito; Bola Cinta; executive for Eastern Europe and to make the city-state appealing for Pessonah Kassih and First Lady. In Asia, reported that the company is Mujeres) has had a long run in Asia and technical facilities and services, and addition, Latin Media’s slate will “targeting not only our consolidated is produced locally in countries like are offering financial incentives to Malaysia and Indonesia.” include a number of series such as Back Asian territories, but we are also to Me, Life After Life and reality show aiming to expand our presence in this producers and distributors for their In terms of new product, Azteca is Year Zero. “region by exploring, connecting and productions. A good number of Western looking to capitalize on the popularity understanding each territory’s content of telenovelas in the region, and will “The telenovela format is selling media companies maintain offices in needs.” Caracol has attended ATF since introduce the following telenovelas to very well. Series and animations are Singapore, including NBC Universal. 2005, and Corrente has found that Asia for the first time: Under a Red Sky also becoming strong in the area,” said “For us, the genre [that] sells best in This year, ATF will be held at the (Cielo Rojo) and Empress (Emperatriz). Escalante. the region is without a doubt classical Sands Expo and Convention Centre The company is also presenting its newest He and his company will be targeting drama.” However, he noted that “as at Marina Bay Sands for the first time. telenovela, Trading Lives (Huerfanas). major Asian markets, including viewers’ tastes are evolving, we are also This marks the third venue change Like Azteca, Latin Media Corporation Singapore, Malaysia, China, South witnessing preferences moving towards in the market’s history. The theme is also sending two executives: Korea, Japan, Indonesia, the Philippines a more ‘down to earth drama,’ closer to Managing directors Jose Escalante and and UEA, just to name a few. “All the our audience’s real day-to-day lives, in for 2011 is: “Evolve, Explore and Farid K. Ahmad. Escalante, who has markets are important, because in the which there is always space for humor Experience.” and laughs.” He remarked that a similar switch occurred in Latin America 10 years ago. To meet Asian audiences’ programming desires, Corrente will be at the market with a number of telenovelas and series on display, including telenovelas The Secretary (El Secretario) and Yellow Team (Los Canarios) and series Broken Promises (La Promesa) and Infiltrated (Infiltrados). Expectations for these products are high, as Corrente said the company hopes to, “above everything else… ‘surprise’ our clients, and to move our viewers with productions that won’t leave anyone indifferent.” Globo TV International’s Raphael Off the Fence’s Tony Chow, Health & Lifestyle Channel’s Robert Chua VideoAge presence at ATF Correa Netto, head of International

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K of NATPE is very good for us, the distributors. It requires a lot less setup and is very comfortable. But I do feel for the buyers. It would ultimately be Miami Success good for everyone to figure out a better solution.” Lia Dolente, manager of International Sales & Publicity at Toronto-based (Continued from Cover) Tricon Films and Television, said the company will be using the market to Fontainebleau, a sprawling Miami Beach “establish and foster relationships in venue, for the second year in a row. The Latin America and the U.S., which hope is that the hotel will become a are both key markets for Tricon.” She permanent home for the event, provided added, “It’s also a very good market NATPE manages to keep costs down. for introducing new programming.” As it is, TV executives are complaining Dolente expressed satisfaction with said of the market, “NATPE has always that organizers are milking exhibitors last year’s market, but also looked been a top contender on our list of with added expenditures, capitalizing forward to this year’s improvements. conventions that we attend each year. on the renewed success of the market, best: “We love it, it’s fantastic. Get “We [attended] last year,” she said, As it takes place early in the year, but blaming those expenditures on the those elevators fixed.” Feldman added “and NATPE has made a number this market is ideally suited for us to hotel’s increased costs. that organizers are working on ways of key changes this year to improve introduce our Latin American clientele The 2011 edition of the market boasted to logistically handle the even bigger the ‘growing pains’ of moving to to our lineup of new products for the crowd that is expected in 2012. One 4,500 attendees, including 702 buyers. Miami, a move we are very happy year.” The move to Miami boosted overall such tactic involves cutting down the with.” Additionally, noted Dolente, As for improvements to the 2012 participation by adding about 1,000 number of exhibitors in the Tresor “We find it to be a slightly less hectic event, Diaz, like many, mentioned the participants, which, some observed, Tower by about half and distributing and more casual market, offering more went a long way toward reviving the suites among the hotel’s three other opportunities for impromptu meetings elevators. “However,” he noted, “the ailing market. The influx of attendees towers. “It’ll be more balanced,” said with potential buyers, unlike the larger [2011] event itself was a major success included not only broader participation Feldman, “it should make the elevator markets where meetings need to be in as far as meetings, social events, and from Latin America, but also the return issues a lot less of a problem.” planned months in advance. Also, as networking were concerned. No doubt of many Europeans who had opted out Indeed, this year the major U.S. there are generally fewer international having the convention in a tropical of the market in recent years. Organizers studios will be scattered among the broadcasters in attendance at NATPE, setting such as Miami was a welcome predicted this trend will continue at the four towers with Fox at the Sorrento, we can focus on our U.S. and Latin change of pace from Las Vegas. The 2012 market, as new companies from CBS at the Chateau, NBC Universal American relationships.” only other perfect idea would be to previously under-represented regions and Warner Bros. at the Versailles, For Los Angeles-based Eyeworks have everyone and every activity under such as France, India, Iran, Turkey and Sony Pictures at the Marina like last Distribution, 2011 marked the one big roof — much like the good old a number of African countries, have year, and Disney at the Tresor. This company’s first foray at NATPE. days of the one convention floor when already registered. allocation will bring much needed relief Ted Bookstaver, the firm’s director of to the Tresor, especially considering all exhibitors used display booths.” The success of NATPE 2011 was International Sales, said the market the increased presence of the studios, Attendees can expect a bustling widely attributed to the change of “proved to be quite positive, and NATPE which, in the case of NBC Universal, market. Parties in the suites and venue. After several markets in Las will definitely be in our long-term Vegas, NATPE set up shop in Miami will occupy an entire floor of the throughout Miami Beach will Versailles Tower. plans.” Asked to suggest advancements for the third time, including the 1994 for this year’s event, Bookstaver noted, be plentiful. Social events will also event. And although, for the most part, Yet, most of the telenoveleros will “better consolidation of the buyer/ include, as usual, NATPE’s Brandon things ran smoothly, there were still remain at the Tresor, with only Televisa distributor population is never a bad Tartikoff Legacy Award, honoring a few kinks to work out. Long lines opting for the conference facility next idea, especially for a three-day market excellence in television leadership, and at the elevator banks in the Tresor to the registration and floor areas. with 30-minute meeting slots.” an accompanying gala on Tuesday, day Tower, which housed the suites, held Other distributors will be using stands two of the market. This year, NATPE on the exhibition floor. In total, over Bookstaver and his team plan to up a number of meetings and, at will honor FremantleMedia North times, trapped some participants in 250 companies are expected to exhibit. use NATPE to finalize deals begun at America’s CEO Cecile Frot-Coutaz; the stacked elevators. Meanwhile, the MIPCOM. “The timing of NATPE is Where the conference program is great in that regard,” he said, adding, Fernando Gaitán, VP of Production and stands exhibition, located far away from concerned, participants can expect a “we also hope to continue extending Content for RCN TV; Dennis Swanson, the Tresor, wanted for foot traffic, to streamlined schedule, with an emphasis Eyeworks’ global reach by establishing president of Station Operations for the detriment of the small and medium on business. Feldman stated, “Some and fortifying relationships with clients FOX Television Stations; and Matthew sized companies that opted for booths. people think we do too much. So we cut that we might not see in Cannes, such This time around, organizers have down on what we’re doing at lunchtime, Weiner, creator and executive producer as those from several Latin American ironed out the bumps in the road so people don’t feel conflicted. We’re of Mad Men as recipients of the territories.” with a handful of strategies. NATPE’s going to take a ‘less is more’ approach.” Tartikoff Award. Additionally, the president Rick Feldman summed up However, seminars, panels and Naturally, Latin American distributors NATPE Digital Luminary Awards will the general attitude toward the market keynotes will focus on content creation, will be out in full force at NATPE 2012. be followed by a champagne toast on distribution and financing for multiple Cesar Diaz, vice president of Sales at Wednesday. The Luminary Awards, platforms, as usual. Miami-based Venevision International, now in its third year, acknowledges the Mayra Bracer, Latin America innovative people and companies who Television Sales executive at New York- are catalysts in the content revolution. based A+E Networks, was enthusiastic Honoree suggestions were accepted up about the market. She and her team until November 4, and honorees were had a positive experience at the 2011 chosen from those suggestions as well event. “I loved it last year,” she said, “It as those made by the NATPE staff. was a nicer venue to be in, particularly NATPE will announce the honorees for my market. Everyone was in a really in mid-December. The market will good mood and it felt like a really comfortable setting.” On the elevator kick off with a pre-opening party on situation, Bracer was pragmatic. “It is Sunday, sponsored by Venevision. The an unfortunate reality that the hotels NATPE-organized opening party will are not designed to handle that many follow on Monday, while other parties people,” she said. “The suite format are in the works.

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K America. In Mexico, for instance, we produce game shows like Pokerface, Password and others, while in Brazil we LAM Local produce shows like Idols, which is now Production up to its sixth series, as well as Project Runway and Password. In Chile, we have Take Me Out, a second season of Got Talent, the premiere season of the (Continued from Cover) X Factor, and seasons one and two of My Name Is on the way. Got Talent also said that, “Fox has entered into this aired a third season in Argentina and [LAM local production] business this we have a growing number of programs year having in full production the on air elsewhere in the region.” Colombian version of Wonder Years, FME covers a wide range of formats, a pilot of Dharma & Greg, a contract from musical to fashion design, art, on How I Met Your Mother, and is in and traditional game shows. “We have negotiation for other shows.” At present, formats for all tastes and needs,” Aguirre Fox productions are for local networks, added, expanding, “We work with and genres consist of comedies and Sheila Aguirre, SVP, Sales and Development, Latin America and Hispanic USA pan-regional cable, and have a strong dramas from original scripts only, while for FremantleMedia emphasis on local business. We produce Fox’s formats are now handled by Shine in several territories including Brazil, International. Brazilian network Band TV signed are co-productions.” Mexico and the U.S. In recent years a three-year co-production deal to Since 2006, five versions of Disney Wahba also explained that, “Fox we have worked mostly out of Latin produce three primetime sitcoms that Media Networks Latin America’s for now is not in the co-production America, but this year we produced will premiere on Band. Floresta will Desperate Housewives, or Amas De Casa business, but may be in the future.” All Project Runway Latin America out of produce the co-productions, and the Desesperadas, have been produced in of Fox’s local productions are completed the U.S.” first sitcom scheduled to be made is the region. The Argentinean version in Latin America in the country that a local version of U.S hit comedy The Aguirre said that local LAM has acquired them. If they are for a is broadcast in Argentina, Uruguay Nanny. The 180 episodes of the series and Paraguay; the Colombian and productions can also be co-productions Spanish-language country, the accent will air Monday through Friday next and “a good example is Idol Puerto used is neutral. Dubbing is used if Ecuadorian versions air in Colombia, year. The remaining two co-productions Ecuador, Venezuela and Panama, Rico, which we are co-producing with needed. On the other hand, talent is will be either local versions of formats and have been sold to Japan; the U.S. WAPA with great results. We look selected by the network and presented from SPT’s scripted format catalogue, Hispanic version is broadcast in the to make it the best local production to Fox for approval and/or suggestions. or original productions. After running U.S., Mexico, Puerto Rico and the possible — first and foremost, it must Wahba expects “finished products to on CBS in the U.S. for six years, Dominican Republic; and the Brazilian be successful in its original market.” local versions of The Nanny have been travel at least throughout Latin America version (Donas De Casa Desesperadas) “Talent and participants use their produced in nine countries, including and the U.S. Hispanic world, but we airs in Portuguese in Brazil. native accents. It is important that local feel that the adaptations can have good Argentina, Chile, Ecuador, Mexico and Early this year, DMNLA signed productions have local personalities,” reception in other parts of the world, Russia. a three-year agreement with Turner Aguirre explained. too.” As for genres, SPT is making a strong Broadcasting System for the third season She went on to say, “We look for push toward “teleseries,” an emerging A Sony Pictures Television (SPT) of The Amazing Race for TBS’s SPACE talent that makes great television. genre combining storytelling elements spokesperson reported that, “To date channel. Based in Argentina, SPACE Where we license a format, rather than from both novelas and series into daily we have focused on quality, long-form carries the reality show exclusively for produce it, we do mandate approval shows with a 60-to-90-episode run, scripted content production. We have all of Latin America. The Amazing over certain talent for specific formats. while also focusing on sitcoms, classic also committed ourselves to light Race was first produced for Discovery We are not necessarily looking for the novelas, dramedies or straight drama entertainment production throughout Channel. ‘Latino Simon Cowell or Paula Abdul.’ the region. Currently, Floresta [SPT’s series. On the unscripted side, SPT Additionally, an adaptation of Disney- We want to be sure that the talent is São Paulo, Brazil-based company] is continues to develop successful formats ABC’s Grey’s Anatomy, titled Corazón right for the role, and that he or she producing a local version of the U.S. in the region, including Dancing Nation Abierto, was made for Colombia’s RCN, brings something uniquely special to talk show The Dr. Oz Show, which was in Brazil. Productions are generated and DMNLA produced Millionario, the program. We want to ensure that recently extended for an additional 44 both from formats and original scripts the Latin version of Who Wants To the talent chosen has the right expertise episodes following its successful debut and are mostly for local networks. Be A Millionaire for Mexico’s Azteca to carry out the role with credibility. in Brazil.” SPT’s spokesperson explained that, 7. Plus, an adaptation of Touchstone’s We need to be certain that when they Additionally, SPT’s Floresta and “Our local LAM productions are classic sitcom The Golden Girls has been are brought together, all talent on the primarily produced in Latin America. produced in Venezuela. Called Los Años program creates the right environment The region offers an unbeatable mix of Dorados, it airs on cable and broadcast — whether it is camaraderie, rivalry or talent — both behind and in front of the TV throughout Latin America. A otherwise, they need that driving force camera — competitive cost structures, second version, Las Chicas de Oro, was where they can play off of each other inquisitive producers, infinitely variable produced for Spain’s TVE and was also and have good rapport.” landscapes and cityscapes, and, most broadcast in Latin America. importantly, broadcasters committed Finally, when VideoAge asked if local to the best possible storytelling.” She Leonardo Aranguibel and Fernando LAM productions travel well across various also added that, “there are tremendous Barbosa serve as executive producers territories as finished products, Aguirre opportunities for co-productions in for DMNLA. answered, “In general, we do not distribute the region. Building on our successful Sheila Aguirre, SVP, Sales and the local versions across territories, but relationship with Caracol Televisión Development, Latin America and it really does depend on the product, in Colombia, we recently signed a Hispanic USA for FremantleMedia and in some cases they do travel. For three-year co-production agreement, said, “We’ve seen a great increase in the example, the Mexican and U.S. Spanish- combining our expertise in creating production of our formats across the language versions of Family Feud traveled and producing high-quality Spanish- region. FremantleMedia has a global well. Likewise, the Argentine productions language telenovelas and teleseries and network of production companies generally travel to Uruguay.” distributing them around the world. which includes Mexico and Brazil, and Eddy Ruiz, EVP and general manager Some of our most popular shows such we work with broadcasters in other of A+E Ole Network said that, “We Claudio Villarruel, co-founder of ON-TV as Amar y Temer, (Caracol), Rosario territories to ensure a high quality continue to increase year to year the Tijeras (Telefutura) and La Pola (RCN) rollout of our shows all across Latin number of original production hours that

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On Bio we produce biographies and other formats such as I Survived. In addition to these genres of programming, LAM Local we produce web exclusive content for all Production of our productions.” Ruiz also explained, “the majority of our productions are intended for the entire region, but others are market- (Continued from Page 24) specific,” and that productions are generated from a combination of formats we produce in the region. The amount of from A+E Networks or others, as well as hours varies by network. Our ability to original scripted and non-scripted series. program our networks by feed gives us the He then added: “We have our production flexibility to segment our programming team based out of Buenos Aires. All of to individual countries or regions.” our productions are produced locally in Ruiz added that genres vary by network, the region, not in the U.S. “For History we produce documentaries, Eddy Ruiz, EVP and general manager of A+E Ole Network “We do casting calls in search of new reality type competition, docu-drama, talent or depending on the production, Elie Wahba, SVP Latin America & Caribbean travel and others. For A+E we are producing we may decide to go after a locally for 20th Century Fox Distribution crime/police unscripted, scripted drama, El Luchador. This is a reality series based recognizable individual that fits the realities such as Intervention, Hoarders and on the day-to-day life of four well known product and the targeted demographic… neutral a Spanish as possible,” he said. now our latest production out of Mexico, ‘Lucha Libre’ [wrestling] personalities. [and] we do make an effort to use as In terms of co-production, Ruiz said, “We have done numerous co-productions. We have in place a number of agreements with local production houses that co-produce product for us.” However, when asked if local LAM productions travel well as finished products, he answered: “In my experience it has been very difficult to find local productions that travel well throughout the region. The first major hurdle in our territory is Brazil. Not only is there a language difference, but a cultural difference as well. Then you add the cultural differences between Mexico and, say, Argentina or even Chile, and the chances of success diminish.” LAM’s local production is now open to indie producers as well. Claudio Villarruel, a former in-house producer for Telefe, is the co-founder of ON-TV, a Buenos Aires-based independent production company that has seen success with various programming genres. He is also in charge of the content for 360tv, one of the first digital channels to air in Argentina. “The core of our production is drama. We have been producing series (13 episodes) and telenovelas (60-150 episodes) [in recent] years,” said Villarruel, adding, “Our Contra las Cuerdas (Against The Ropes) has been nominated for best telenovela at the International Emmy Awards. A local version of Against The Ropes is being produced in Colombia. We have also produced game shows like 3,2,1 Win, whose local version is now on the air in Colombia,” he said. Villarruel explained that, right now ON-TV’s main focus is on local networks, with programs produced in Latin America that can also travel across the region as finished product. As far as the type of Spanish accent his productions use, Villarruel stated, “We produce with the Spanish accent of the country where we produce and select local talent, based on the story we want to tell.”

26 VIDEO • AGE D ECEMBER 2 0 1 1 Formats Music

Children’s Series Beauty Pageants

Action Series

A world of entertainment just a touch away

Documentaries

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Films Telenovelas

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www.venevisioninternational.com DISCOP ISTANBUL FEBRUARY 28-MARCH 1 Conferences & Events News Istanbul, Turkey Tel: (33 1) 4229 3224 Fax: (33 1) 4229 3474 TRAVELERS GET NO RESPECT www.discop.com A recent survey found that U.S. business executives ASIA TV FORUM SUNDANCE FILM FESTIVAL rank rude hotel staff, intrusive security procedures BERLIN FILM FESTIVAL and “steerage-like treatment” on crowded planes as DECEMBER 7-9 JANUARY 19-29, 2012 the worst aspects of traveling for business, but it’s FEBRUARY 9-19 even worse for the “chicken or pasta” crowd. Singapore, Republic of Singapore Park City, Utah, U.S. Asked to pick the things they hate most about Tel: (65) 6780 4697 Tel: (310) 360-1981 Berlin, Germany travel, 86 percent of travelers said airport security screenings, 76 percent checked dirty commercial Fax: (65) 6588 3798 Fax: (310) 360-1969 Tel: (49 30) 259 200 planes and 74 percent said impersonal treatment www.asiatvforum.com www.sundance.org/festival Fax: (49 30) 259 20299 by the staff, according to a survey of about 3,000 business executives by Vitesse Worldwide, an VideoAge Bonus Distribution www.berlinale.de executive travel firm in Connecticut. NATPE Hotel rates and airfares have been climbing for DUBAI FILM FESTIVAL JANUARY 23-25 several months, with travel demand on the rise and CABSAT airlines cutting capacity by eliminating routes and DECEMBER 7-14 Miami Beach, FL, U.S. retiring older planes. And those prices are likely to Dubai, UAE Tel: (310) 453-4440 FEBRUARY 28-MARCH 1 keep rising. Dubai, UAE Average airfares and hotel rates will jump as much Tel: (97 14) 391 3378 Fax: (310) 453-5258 as five percent in 2012, according to a survey of more Fax: (97 14) 391 4616 www.natpe.org Tel: (97 14) 308 6077 than 300 travel managers by the Global Business Travel Assn., a Virginia trade group for travel managers. www.dubaifilmfest.com VideoAge Bonus Distribution Fax: (97 14) 318 8607 www.cabsat.com

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28 VIDEO • AGE D ECEMBER 2 0 1 1 A full week of opportunities!

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MIPTV_VideoAge_270x360_v2.indd 1 27/10/11 23:03 My Two Cents MAIN OFFICES 216 EAST 75TH STREET NEW YORK, NY 10021 TEL: (212) 288-3933 FAX: (212) 288-3424 VIDEO AGE WEBSITES: www.videoage.org llow me to explain why print media will survive the test of time. I’ll do so with two www.videoagelatino.com personal anecdotes. Years ago, before launching VideoAge, I was the International www.videoage.it Editor of Television/RadioAge, one of the first U.S. trade publications for the P.O. BOX 25282 entertainment industry, created in New York City by the legendary Sol J. Paul in LOS ANGELES, CA 90025 1953 and closed in 1989. VIALE ABRUZZI 30 The publication came out twice a month (a biweekly, which is often confused with 20123 MILAN, ITALY a bimonthly, which comes out every other month), and competed with the weekly YUKARI MEDIA Variety in New York, Broadcasting in Washington D.C., AdvertisingAge in Chicago, and the A YMI BLDG. 3-3-4, UCHIHIRANOMACHI daily The Hollywood Reporter in Los Angeles. CHUO-KU, OSAKA JAPAN TV/RadioAge was considered the “bible” of the radio and television industry. It covered TEL: (816) 4790-2222 every single aspect of the various sectors, including advertising, spot sales, national sales, EDITOR production, ratings, legislature, syndication, trade shows, international television and DOM SERAFINI more — over 20 sectors, each with many topics to cover. Plus, Paul insisted that every EDITORIAL ASSISTANT article had to be detailed. This resulted in a publication that averaged 180 pages per issue. SARA ALESSI It was literally the size of a bible! Yes, everything was there — the magazine contained every single bit of information, but was too heavy to carry, and too time-consuming to read. EDITORIAL CONTRIBUTORS ENZO CHIARULLO (ITALY) It was around 1979 that I reported to Paul that the entertainment executives whom he’d sent me to interview in their offices LUCY COHEN BLATTER had copies of TV/RadioAge piled up on their desks, each with several bookmarks indicating important stories to read when the CARLOS GUROVICH time allowed. LEAH HOCHBAUM ROSNER The problem — I was told — was that the extra time never came and other important news overlapped, resulting in an old BOB JENKINS (U.K.) pile of copies of TV/RadioAge that was quickly disposed of — with only a few of the hundreds of published articles actually AKIKO KOBAYACHI (JAPAN) read — and replaced with a new pile. LORENA SANCHEZ (ARGENTINA) LEVI SHAPIRO Just about that time, a new weekly publication was launched from New York and Chicago: Electronic Media,* published DAVID SHORT (AFRICA) by the folks at AdvertisingAge. EM was a skinny, ERIN SOMERS tabloid-format (VideoAge’s size) trade that used MARIA ZUPPELLO (BRAZIL) to make Paul chuckle for its superficiality. But CORPORATE AND what Paul did not understand was that, just CIRCULATION OFFICE by scanning EM’s headlines and reading a few 216 EAST 75TH STREET paragraphs, executives could gather the most NEW YORK, NY 10021 important news of the week. Granted, the EM TEL: (212) 288-3933 journalists did not know the industry as well as FAX: (212) 734-9033 those at TV/RadioAge, but the EM editors were PUBLISHER smart enough to show busy readers that their MONICA GORGHETTO publication contained the few essential news stories. BUSINESS OFFICE LEN FINKEL Now on to the second anecdote. Earlier this year, VideoAge was approached by the promotion LEGAL OFFICE executives at Argentina’s Telefilms to explore the ROBERT ACKERMANN STEVE SCHIFFMAN possibility of reporting on their 50th anniversary. We promptly offered a series of online features WEB MANAGER that were just as promptly rejected in favor of a MIKE FAIVRE “Nowdays on TV news we see all the news that’s not fit to print!” print report (which goes online anyway). DESIGN/LAYOUT And this is the essence of why print media will CARMINE RASPAOLO resist a Web tsunami. Not only is an online report perceived as having less commercial value than a printed one, but the Web ILLUSTRATIONS has now become a sort of TV/RadioAge of the Internet: Too much information to digest, too time-consuming to read, too BOB SHOCHET confusing to follow, too fast-changing to appreciate and too cheap to value. FOUNDED IN 1981 On the other hand, when you have a print copy of VideoAge (or any other similarly informative trade) in your hand, you can MEMBER OF NBCA be assured that those few, short printed stories will give you a picture of what is most important. We never abuse your time (CIRCULATION) or make our publication difficult to read or carry, and, at trade shows, we publish dailies that require even less time to scan. VIDEO AGE INTERNATIONAL (ISSN 0278-5013 USPS 601-230) IS PUBLISHED SEVEN TIMES A YEAR: JANUARY, MARCH/APRIL, MAY, Nowadays, time is a commodity: Costly, hard to come by and difficult to manage. This is why a Web-style TV/RadioAge will JUNE, JULY, OCTOBER AND NOVEMBER/DECEMBER. PLUS DAILIES BY TV TRADE MEDIA, INC. SINGLE COPY U.S.$9.75. YEARLY SUBSCRIPTION not — at least in the short run — replace a print EM-style publication. U.S.$45 (U.S., CANADA, MEXICO); U.S.$60 (U.K. AND EUROPE). © TV TRADE MEDIA INC. 2011. THE ENTIRE CONTENTS OF VIDEO AGE * If you’re wondering why EM eventually closed, the answer is twofold: First, their advertising universe fell with deregulation, INTERNATIONAL ARE PROTECTED BY COPYRIGHT IN THE U.S., U.K., AND ALL COUNTRIES SIGNATORY TO THE BERNE CONVENTIO AND THE consolidation and the resulting elimination of the syndication market in the U.S., and, second, the publication was never able PAN-AMERICAN CONVENTION. SEND ADDRESS CHANGES TO VIDEO to expand internationally. AGE INTERNATIONAL, 216 EAST 75TH STREET, SUITE PW, NEW YORK, NY 10021, U.S.A. Dom Serafini 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.

30 VIDEO • AGE D ECEMBER 2 0 1 1 www.VideoAge.org www.VideoAgeDaily.com “ It’s incredibly important for all of us to come together at this event. We have a very quickly changing media landscape. We need to take the time to get together and share insights,

lessons learned and best practices.” CESAR CONDE

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