DOCSLIB.ORG

Tbivision.Com August/September 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

TBI Interview: Amazon: Endemol Shine's originals assessed Perrin on formats Page 4 Page 6 TBIvision.com August/September 2017 pOFC TBI AugSep17.indd 1 21/08/2017 18:15 presents pIFC Go-N TBI AugSep17.indd 1 17/08/2017 11:44 CONTENTS AUGUST/SEPTEMBER 2017 6 4 10 4 Monitor: Amazon Is Amazon’s original programming strategy a recipe for success or disaster? Kaltrina Bylykbashi talks with producers and analysts to find out 6 TBI interview: Lisa Perrin How do you go about overseeing indie format television’s largest catalogue? Endemol Shine Creative Networks chief executive Lisa Perrin reveals the key challenges to Jesse Whittock 16 10 Children’s Media Conference review The UK event revealed the growing impact of kids video-on-demand services from Sky and Virgin Media, plus the latest shopping lists from the established, linear players. Jesse Whittock reports 16 Kids Hot Picks A series dubbed “Total Wipeout meets Power Rangers”, a preschool cartoon featuring an autistic lead and talent, and a TV version of the online Badanamu brand feature in our round up 22 22 Talking drama TBI hears about three quirky scripted series set to hit the international market – including a BBC period medical comedy, an apocalytic Neil Cross drama and an Australian millennials dramedy 28 Content Innovation Awards 2017 preview Television’s hottest ticket is back: we run down the runners and riderds at our annual content-meets- tech awards ceremony as the CIAs turn three Regulars 2 Ed Note • 32 Last Word: Harry Gamsu, Red Arrow 28 For the latest in TV programming news visit TBIVISION.COM TBI August/September 2017 1 p01 Contents TBI AugSep17KBjw.indd 3 21/08/2017 18:19 EDITOR’S NOTE JESSE WHITTOCK t’s all getting a bit confusing, isn’t it? One minute Disney is buying of kids TV in the UK. Pay TV platforms Sky and Virgin Media have Netflix, the next the Mouse House is pulling all of its content from both launched on-demand services that are commissioning original I the SVOD giant in order to launch a rival over-the-top service. kids content, and they’re now battling against Amazon, Netflix and the Then you’ve got Netflix hitting back by poaching Disney’s most BBC for the hearts, minds and eyeballs of British children. prolific showrunner, Shonda Rhimes, and Robert Kirkman is both Meanwhile, MIPCOM and its younger sibling MIPJunior are on the joining Amazon Studios and suing AMC, the network that turned his horizon, so we run down a number of news kids TV series headed zombie comic book series into cable’s biggest show, The Walking Dead. for market in Cannes, plus take a look at new scripted series from Not only that, but Netflix has moved into acquisitions for the first Australia and the UK. time by acquiring Millarworld, a comic book publisher that plays in The French town will once again play host to our annual the same pool as Disney’s Marvel Entertainment and Warner Bros.- programming-meets-tech awards ceremony, the Content Innovation owned DC Entertainment. Awards, and this year it’s bigger and more competitive than ever. You’ll The theory here is that with Disney removing its superhero content, find a run-down of the runners and riders in our preview feature. Netflix will make its own movie and television franchises based on In this crazy, complex web of content owners, buyers and suppliers Mark Millar’s creations, which includes the Kick-Ass and Kingsman it’s good to recognise the quality of the product out there, regardless brands. The approach is similar to the original route Netflix and of where you find it. Amazon are already taking, but with more overall IP control. The truth is the battle between digital upstarts and established linear channels have never been fiercer, or more vital. In our lead news analysis, we look at how Amazon’s original content strategy is working, and assess whether its approach will end in victory or defeat. We also look at how video-on-demand players are changing the face Editor Jesse Whittock • [email protected] Published by KNect365 TMT, Maple House, Direct line +44 (0) 20 7017 5809 Twitter @TBI_Jesse 149 Tottenham Court Road, London W1T 7AD Tel: +44 (0)20 7017 5000 Deputy editor Kaltrina Bylykbashi • [email protected] e-mail: [email protected] web: www.tbivision.com Printed in England by Wyndeham Grange Ltd, Southwick, West Sussex BN4 4EJ. Direct line +44 (0) 20 7017 5390 Twitter @bylykbashi Television Business International (USPS 003-807) is published bi-monthly (Jan, Mar, Apr, Sales manager Michael Callan • [email protected] Jun, Aug and Oct) by KNect365 TMT, Maple House, 149 Tottenham Court Road, London, Direct line +44 (0) 20 7017 5295 W1T 7AD. The 2006 US Institutional subscription price is $255. Airfreight and mailing in the USA by Agent named Air Business, C/O Priority Airfreight NY Ltd, 147-29 182nd Art director Matthew Humberstone • [email protected] Street, Jamaica, NY11413. Periodical postage paid at Jamaica NY 11431. US Postmaster: Direct line +44 (0) 20 7017 5336 Send address changes to Television Business International, C/O Air Business Ltd / Priority Airfreight NY Ltd, 147-29 182nd Street, Jamaica, NY11413. Subscription records are Marketing manager Marita Eleftheriadou • [email protected] maintained at KNect365 TMT, Maple House, 149 Tottenham Court Road, London W1T Direct line +44 (0) 20 7017 3533 7AD, United Kingdom. Air Business Ltd is acting as our mailing agent. Commercial director Patricia Arescy • [email protected] © 2017 Informa UK Ltd All rights reserved Direct line +44 (0) 20 7017 5320 Reproduction without permission is prohibited @TBImagazine 2 TBI August/September 2017 For the latest in TV programming news visit TBIVISION.COM p02 TBI Ed Note AugSep17KBjw.indd 8 21/08/2017 18:29 Come see us at MIPCOM stand R7. B16 www.beyonddistribution.com p03 Beyond TBI AugSep17.indd 1 17/08/2017 11:40 BEYOND_LOVE IT OR LIST IT AUSTRALIA_TBI AD_AW.indd 1 15/08/2017 10:12 MONITOR AMAZON Making Amazon tick Amazon’s original content strategy is a risk, but could pay off in a big way, analysts and producers say. Kaltrina Bylykbashi reports ver the last year Amazon has 2017, the e-retail giant will have spent a total Olsavsky vowed to triple Amazon’s originals bolstered its video content between US$500 million and US$1 billion on compared to those it had created by the end library through investment original programming alone. of 2015. Since January 2016, it has launched in both acquisitions as well This falls in line with the company’s wider originals such as The Man in the High Castle, as original programming. ambitions to dominate the video content space. The Grand Tour, Mad Dogs, Sneaky Pete and OAmpere Analysis estimates that by the end of This time last year, Amazon chief Brian T. Patriot. In addition, it has ordered comedies 4 TBI August/September 2017 For the latest in TV programming news visit TBIVISION.COM p04-05 Amazon TBI AugSep17KBjw.indd 4 21/08/2017 17:00 MONITOR AMAZON Tick (pictured) and neo-Victorian drama Homecoming, which had a pre-established Carnival Row. audience as a podcast series, and Ripper Street, The question remains, however, what the which was brought back by Amazon Prime platform is getting back for its investment. Video for a new season after being axed by the Daniel Gadher, Ampere’s senior analyst, tells BBC in 2014, are others examples of this. TBI that the revenue generated from Amazon’s Amazon has also signed a first-look video subscriptions is not yet at a level to sustain development deal with The Walking Dead such high levels of investment in content. creator Robert Kirkman and his Skybound “However, Amazon can use its vast retail Entertainment compatriot David Alpert, a revenue to supplement its content investment major coup that came as Netflix poached strategy,” he says. “Ultimately, developing a Shonda Rhimes from ABC Studios. strong content library helps to add further value The service has also zoned in on key markets. to the Amazon Prime subscription and drive Since launching Amazon Prime in India in consumers towards its retail platform.” December 2016, it has ordered 18 original So, while Amazon may not be getting direct Indian titles, including Their, an original drama financial benefit from these investments, pilot starring Anil Kapoor from V Productions. it certainly sees opportunity in connecting The SVOD service says debut original Inside with the audiences it draws in. That differs Edge is one of the most-watched titles on its to Netflix, which has invested even more localised service. heavily in originals only to drive subscriptions The strategy may be working. Over the (though this may change with the acquisition past twelve months Amazon Prime Video of Millarworld and the launch of an L&M arm). subscribers have grown by close to 75% globally, This was further reflected in Amazon’s Q3 according to Ampere. financial results this year, where it announced In addition, viewers specifically tuning into that it would up content spend again. originals on the platform are growing. Statista The strategy also offers an explanation as shows that in the US those viewing originals to why Amazon has made certain content have jumped from 16% to 31% from December investments. Take the example of The Tick: 2015 to 2016. its producers tell TBI that although they have The Tick’s creators – Ben Edlund (the original had a very positive relationship with the SVOD concept creator), Barry Josephson and Fury platform from the get-go, and that the show’s – tell TBI that Amazon’s approach differs to already-established audience was key to it being those that they had worked with before.
Recommended publications
  • Annual Report 2012

    Annual Report 2012

    NEWS CORP. ANNU AL REPO RT 2012 NEWSANNUAL REPORT 2012 1211 Avenue of the Americas New York, NY 10036 www.newscorp.com C O RP. 425667.COVER.CX.CS5.indd 1 8/29/12 5:21 PM OUR AIM IS TO UNLOCK MORE VALUE FOR OUR STOCKHOLDERS 425667.COVER.CS5.indd 2 8/31/12 9:58 AM WE HAVE NO INTENTION OF RESTING ON OUR LAURELS WE ARE ALWAYS INVESTING IN THE NEXT GENERATION 425667.TEXT.CS5.indd 2 8/28/12 5:10 PM 425667.TEXT.CS5.indd 3 8/27/12 8:44 PM The World’s LEADER IN QUALITY JOURNALISM 425667.TEXT.CS5.indd 4 8/28/12 5:11 PM A LETTER FROM Rupert Murdoch It takes no special genius to post good earnings in a booming economy. It’s the special company that delivers in a bad economic environment. At a time when the U.S. has been weighed down by its slowest recovery since the Great Depression, when Europe’s currency threatens its union and, I might add when our critics flood the field with stories that refuse to move beyond the misdeeds at two of our papers in Britain, I am delighted to report something about News Corporation you Rupert Murdoch, Chairman and Chief Executive Officer might not know from the headlines: News Corporation In 2012, for the second year in a row, we have brought our stockholders double-digit growth in total segment operating income. FOR THE SECOND We accomplished this because we do not consider ourselves a conventional YEAR IN A ROW, company.
  • KANG-THESIS.Pdf (614.4Kb)

    KANG-THESIS.Pdf (614.4Kb)

    Copyright by Jennifer Minsoo Kang 2012 The Thesis Committee for Jennifer Minsoo Kang Certifies that this is the approved version of the following thesis: From Illegal Copying to Licensed Formats: An Overview of Imported Format Flows into Korea 1999-2011 APPROVED BY SUPERVISING COMMITTEE: Supervisor: Joseph D. Straubhaar Karin G. Wilkins From Illegal Copying to Licensed Formats: An Overview of Imported Format Flows into Korea 1999-2011 by Jennifer Minsoo Kang, B.A.; M.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2012 Dedication To my family; my parents, sister and brother Abstract From Illegal Copying to Licensed Formats: An Overview of Imported Format Flows into Korea 1999-2011 Jennifer Minsoo Kang, M.A. The University of Texas at Austin, 2012 Supervisor: Joseph D. Straubhaar The format program trade has grown rapidly in the past decade and has become an important part of the global television market. This study aimed to give an understanding of this phenomenon by examining how global formats enter and become incorporated into the national media market through a case study analysis on the Korean format market. Analyses were done to see how the historical background influenced the imported format flows, how the format flows changed after the media liberalization period, and how the format uses changed from illegal copying to partial formats to whole licensed formats. Overall, the results of this study suggest that the global format program flows are different from the whole ‘canned’ program flows because of the adaptation processes, which is a form of hybridity, the formats go through.
  • Birth and Evolution of Korean Reality Show Formats

    Birth and Evolution of Korean Reality Show Formats

    Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Dissertations School of Film, Media & Theatre Spring 5-6-2019 Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats Soo keung Jung [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/fmt_dissertations Recommended Citation Jung, Soo keung, "Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats." Dissertation, Georgia State University, 2019. https://scholarworks.gsu.edu/fmt_dissertations/7 This Dissertation is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. DYNAMICS OF A PERIPHERY TV INDUSTRY: BIRTH AND EVOLUTION OF KOREAN REALITY SHOW FORMATS by SOOKEUNG JUNG Under the Direction of Ethan Tussey and Sharon Shahaf, PhD ABSTRACT Television format, a tradable program package, has allowed Korean television the new opportunity to be recognized globally. The booming transnational production of Korean reality formats have transformed the production culture, aesthetics and structure of the local television. This study, using a historical and practical approach to the evolution of the Korean reality formats, examines the dynamic relations between producer, industry and text in the
  • POPULAR COMMUNICATIONS Weathering the Storñl Stations Kee Ransmitting

    POPULAR COMMUNICATIONS Weathering the Storñl Stations Kee Ransmitting

    POPULAR COMMUNICATIONS Weathering The Storñl Stations Kee ransmitting Scanning Ai Communications, Checked. Out: Grundig On the cover: Destruction of Yacht Boy 400 Receiver WCIX Channel 6 by Hurricane Andrew, Miami, FL. Spring Shortwave English -u*ki, Language Broadcasts , rates, Satellite Antennas and 74HVM1'0'Ul,'513"11113111111 www.americanradiohistory.com At Your F AOR, LTD. 2-6-4 \ lisuji, Taito-Ku, Iuk o Ill Japan (c) 1995AOR,LTD. Licensed under US. Pat. 4,270,217 f Specifications No other receiver on today's market offers Frequency Range 100kHz - 2036MHz* (Cell Blocked) so much...Wide frequency range, continuous cov- Frequency Readout 8 digit, 100Hz, Digital Display Frequency Resolution 50Hz increments from erage communication receiver with 400 channel 50Hz - 999.95kHz (All Modes ) memory, digital read-out and push-button control. Frequency Stability +5 ppm from -10oC to +50oC Compact size 85cu. inch., 32oz. Low power con- Antenna Impedance 50ohm sumption. 12VDC, 300mA. Bands covered are VHF Receiving System Triple Conversion ( USB / LSB Low Band, Aircraft, Marine, Business, FM Broad- /CW/AMINFM) cast, Amateur Radio, Emergency Services, Govern- Quadruple Conversion (WFM ) ment, and Television. Scanning, featuring full scan, Selectivity 2.4kHz/ -6dB, 4.5kHz/ -60dB programmed scan, mode selected scan, memory ( USB / LSB /CW) channel scan, auto write programmed scan, and 12 kHz/ -6dB, 15kHz/ -70dB (AM/NFM) priority scan. Allows external selection of frequency 180kHz/ -6dB, 800kHz/ -50dB and mode by a serial data port for user friendly, com- (WFM) puter interface. Also SDU5000 compatible. Electronic Distributors 325 Mill St. Vienna, VA. 22180 Ph: 703 938 8105 FAX: 703 938 4525 Exclusive North & South American DistributoPg www.americanradiohistory.com i EEB TWO SALE..
  • France's Banijay Group Buys Endemol Shine to Create European Production Giant

    France's Banijay Group Buys Endemol Shine to Create European Production Giant

    Publication date: 28 Oct 2019 Author: Tim Westcott Director, Research and Analysis, Programming France's Banijay Group buys Endemol Shine to create European production giant Brought to you by Informa Tech France's Banijay Group buys Endemol Shine to 1 create European production giant France-based production company Banijay Group has reached agreement to acquire Endemol Shine Group from Walt Disney Company and US hedge fund Apollo Global Management. The price for the deal was not disclosed but is widely reported to be $2.2 billion. A statement from the group said the deal will be financed through a capital increase of Banijay Group and debt. On closure, subject to regulatory clearances and employee consultations. Post-closing, the combined group will be majority owned (67.1%) by LDH, the holding company controlled by Stephane Courbit's LOV Group, and Vivendi (32.9%), which invested in Banijay in 2014. The merged group said it will own almost 200 production companies in 23 territories and the rights for close to 100,000 hours of content, adding that total pro-forma revenue of the combined group is expected to be €3 billion ($3.3 billion) this year. Endemol Shine Group is jointly owned by Disney, which acquired its 50% stake as part of its acquisition of 21st Century Fox last year, and funds managed by affiliates of Apollo Global Management. Endemol Shine has 120 production labels and owns 66,000 hours of scripted and non- scripted programming and over 4,300 registered formats. Our analysis Endemol Shine Group has been up for sale since last year, and Banijay Group appears to be have been the only potential buyer to have made an offer, despite reported interest from All3Media, RTL Group-owned Fremantle and others.
  • Wonder Wheel Metropole Press Kit.Pdf

    Wonder Wheel Metropole Press Kit.Pdf

    Amazon Studios présente En association avec Gravier Productions Une production Perdido Durée : 1h41 AU CINÉMA DÈS LE 15 DÉCEMBRE DISTRIBUTION PRESSE MÉTROPOLE FILMS STAR PR 5360 St-Laurent Bonne Smith Montréal, QC H1T 2S1 Tel: 416-488-4436 Twitter: info@métropolefilms.com Bonne@starpr2 [email protected] Photos, vidéos et dossier de presse téléchargeables sur www.métropolefilms.com SYNOPSIS WONDER WHEEL croise les trajectoires de quatre personnages, dans l’effervescence du parc d’attraction de Coney Island, dans les années 50 : Ginny, ex-actrice lunatique reconvertie serveuse ; Humpty, opérateur de manège marié à Ginny ; Mickey, séduisant maître- nageur aspirant à devenir dramaturge ; et Carolina, fille de Humpty longtemps disparue de la circulation qui se réfugie chez son père pour fuir les gangsters à ses trousses. NOTES DE PRODUCTION Woody Allen a toujours éprouvé une grande tendresse pour Coney Island. des situations, à la fois complexes, profondes, intenses, déroutantes et fortes. Ce n’est d’ailleurs pas un hasard si, dans ANNIE HALL, le petit Alvy Singer Je me suis toujours intéressé aux problèmes des femmes. Au fil des siècles, les grandit à proximité du parc d’attraction. Le cinéaste en garde des souvenirs hommes ont eu tendance à exprimer moins volontiers leurs souffrances : le d’enfance joyeux : « Quand je suis né, l’époque florissante de Coney Island était mot d’ordre masculin consiste à ne pas avouer qu’on souffre. C’est comme dans déjà révolue depuis un bon moment, mais c’était encore un endroit magique le base-ball où, quand un “batteur” est touché par un “lanceur”, il est censé ne pour moi, confie-t-il.
  • Experience Life in the Digital World

    Experience Life in the Digital World

    EXPERIENCE LIFE // // LIFE EXPERIENCE linknv.be ANNUAL REPORT 0 KEY FIGURES 2005 2006 2007 2008 2009 2010 // P&L Highlights in million euro Revenue 733.5 813.5 931.9 1,018.8 1,197.4 1,299.0 20 Cost of services provided (456.7) (510.7) (553.5) (589.3) (688.9) (735.8) Gross profit 276.8 302.8 378.4 429.6 508.5 563.2 T Selling, general and administrative expenses (145.6) (159.0) (173.1) (190.8) (210.0) (218.7) E L Operating profit 131.2 143.7 205.3 238.7 298.5 344.5 E 10 Net finance expense (193.2) (101.0) (211.7) (191.3) (153.6) (197.6) N Share of the loss of equity accounted investees - - (0.3) (0.3) (0.5) (0.4) E T Profit (loss) before income tax (62.0) 42.8 (6.7) 47.1 144.4 146.5 // ANNUAL REPORT REPORT ANNUAL // Income tax benefit (expense) (15.0) (34.3) 27.4 (62.3) 88.7 (57.2) Profit (loss) for the period (77.0) 8.5 20.7 (15.2) 233.1 89.3 // Cash Flow Highlights in million euro Experience life Profit (loss) for the period (76.7) (1) 5.5 (1) 20.7 (15.2) 233.1 89.3 Depreciation, amortization and impairment 206.3 222.9 237.6 261.6 302.8 313.8 Working capital changes and other non cash items 33.8 20.7 20.3 (0.3) (45.6) (17.0) in the Digital World Income tax expense (benefit) 14.9 34.2 (29.8) 62.3 (89.0) 57.5 Net interest expense and foreign exchange loss 170.4 65.8 99.6 158.3 132.8 150.7 Net loss (gain) on derivative financial instruments (25.8) 8.9 25.5 33.0 20.9 39.0 Loss on extinguishment of debt 13.7 21.4 86.7 - - 7.9 Cash interest expenses and cash derivatives (124.0) (68.0) (253.2) (147.7) (114.2) (137.4) Net cash provided by operating activities 212.6 311.4 207.4 352.0 440.8 503.8 20 Cash capex (183.0) (207.9) (193.9) (230.8) (273.9) (246.0) 10 Acquisitions of subsidiaries and affiliates, net of cash acquired (1.4) (183.6) (0.3) (205.1) (6.4) (2.3) Other 0.5 0.1 0.0 2.4 0.7 0.3 Net cash used in investing activities (184.0) (391.4) (194.2) (433.5) (279.6) (248.0) Net debt redemptions (212.7) (60.4) 677.5 77.1 5.0 526.2 Payment of shareholder disbursement - - (654.9) (0.8) (55.8) (249.8) MORE INFO Other financing activities (incl.
  • Page 1 of 2 Icangarden.Com

    Page 1 of 2 Icangarden.Com

    ICanGarden.com - Gardening Resource Site Page 1 of 2 EMAIL SEARCH THE SITE Forgot my Password? MEMBERS AREA EVENTS PIX GARDENS CLUBS KIDS CORNER ARTICLES BOOKS SUPPLIERS LINKS HELP 0 Documents: Latest From: Art Drysdale: Removing Recurring Roots & Animals Digging for Grubs Can anything be done about recurring roots from a Honeylocust tree; and the problem of animals digging for grubs is spreading in Canada! by Art Drysdale by Art Drysdale email: [email protected] Art Drysdale, a life-long resident of Toronto and a horticulturist well known all across Canada, is now a resident of Parksville, British Columbia on Vancouver Island, just north of Nanaimo. He has renovated an old home and has a new garden there. His radio gardening vignettes are heard in south-western Ontario over two radio stations: Easy 101 FM out of Tillsonburg at 2 PM weekdays and CD98.9 FM out of Norfolk County at 11:40 AM weekdays. Art also has his own website at http://www.artdrysdale.com August 26, 2012 This past week Marjorie Casselton from the Simcoe area of Ontario wrote about a problem Landscaping which is now very difficult to solve if one is going to abide by Ontario’s cosmetic pesticide Sod bylaw—but then who says you have to abide by that ridiculous legislation! Here is her letter. Looking to Spruce Up Your “I always hear you speaking on our local radio station, CD 98.9 Simcoe, Ontario. The reason that I need your assistance is that we used to have a Honey Locust tree in our back yard.
  • Trends in TV Production Ofcom, December 2015 Contents

    Trends in TV Production Ofcom, December 2015 Contents

    Trends in TV Production Ofcom, December 2015 Contents 1. Summary 2. What were the original aims of intervention? 3. The UK production market 4. How many companies are active in the market? 5. How easy is it to enter? 6. Production sector revenue and flow of funds 7. Production sector consolidation 8. Quotas 9. Regionality 10. Historical context of the US market Summary – the questions asked This pack aims to confirm (or dispel) many of the widely held beliefs about the UK television production sector. Among the questions it seeks to answer are: • What is the intervention (regulation of the sector) meant to do? • How has commissioning developed over time? • How has the number of producers changed over time? • Is it harder to get into the market? • How do terms of trade work? • How has the sector grown? • What has consolidation looked like? • How do quotas work? • How does the sector operate regionally? 3 Summary – caveats This report was produced for Ofcom by Oliver & Ohlbaum Associates Ltd (“O&O”). The views expressed in this report are those of O&O and do not necessarily represent the views of Ofcom. While care has been taken to represent numbers in this report as accurately as possible based on available sources there may be inaccuracies and they may not correspond with Ofcom’s view of the market and cannot be taken as officially representative of Ofcom data. 4 Summary - data sources used • Oliver & Ohlbaum Producer Database, 2006-2015 ₋ BARB data supplied by Attentional and further coded by O&O to include production companies and their status as qualifying or no-qualifying producers, plus their respective turnover bands.
  • AYELET GIL-EFRAT Editor

    AYELET GIL-EFRAT Editor

    AYELET GIL-EFRAT Editor Feature Films: THE OVEN - NEM Corp – Jake Paltrow, director; Oren Moverman, producer DOOSRA – Ramesh Deo Productions – Abhinay Deo, director LUST LIFE LOVE – 1091 Pictures – Stephanie Sellar & Ben Feuer, directors Berlin International Film Festival, World Premiere HARMONIA – KESHET – Ori Sivan, director Jerusalem International Film Festival Winner, Jewish Experience Award NO EXIT – Cia.La Salamandra – Dror Sabu, director Jerusalem International Film Festival Winner, Best Film Television: SMALL MONSTERS – Reshet – director, Dani Sirkin LOST IN ASIA – YES Cable Network– Yuval Shefferman, director THE PLAGUE – HOT Cable Network– Yami Wisler, director LOST IN ASIA – YES Cable Network– Yuval Shefferman, director EAGLES (NEVELOT) – HOT Cable Network– Dror Sabu, director BAREFOOT – HOT Cable Network– Ori Sivan, director THE FIRST FAMILY – HOT Cable Network– Alon Bennary, director THE SADDEST SKETCH SHOW IN THE WORLD – Channel 10 – Yammi Wisler, director UNTIL THE WEDDING – Channel 2 / RESHET – Daphna Levin & Oded Lotan, directors NOT IN FRONT OF THE CHILDREN – Channel 10 – Eyal Sella, director I NEVER PROMISED YOU –YES Cable Network–Gabi Biblyovich & Ophir Babayof, directors Unscripted: 90 HIGHWAY – Channel 8 – director, Anat Seltzer PAIRS – Channel 3 / HOT Cable Network – director, Adva Sheffer Y AT TEN – YES Cable Network – various directors Y PROJECT – YES Cable Network – director, Dror Sabu Documentaries: ALEX IN WONDERLAND – Channel 8 – director, Ori Sivan STRUDEL WITH TAHINI – YES Cable Network – director, Tomer Shani & Ran Landau IN THE JEWISH STATE – Channel 1 – directors, Gabi Biblyovich, Anat Seltzer, & Moish Goldberg MOTHER OF THE BAND – Channel 3 / HOT Cable Network – directors, Shahar Magen & Ayelet Gil-Efrat VOICE OF THE LAND – Channel 10 – director, Eyal Halfon RED DAYS – Channel 2 / TELAD – director, Dror Sabu 9465 Wilshire Blvd.
  • Performance Against BBC Statements of Programme Policy 2008/09 Performance Against Statement of Programme Policy Conditions 2008/09

    Performance Against BBC Statements of Programme Policy 2008/09 Performance Against Statement of Programme Policy Conditions 2008/09

    Performance against BBC Statements of Programme Policy 2008/09 PERFORMANCE AGAINST STATEMENT OF PROGRAMME POLICY CONDITIONS 2008/09/ PERFORMANCE AGAINST STATEMENT OF PROGRAMME POLICY CONDITIONS 2008/09/ STATEMENTS OF PROGRAMME POLICY (SOPPS) ARE ANNUAL PROMISES TO LICENCE FEE PAYERS FROM THE BBC WHICH SHOWCASE SOME OF THE WAYS THAT EACH OF OUR SERVICES MEETS ITS SERVICE LICENCE COMMITMENTS AND DELIVERS HIGH QUALITY, CREATIVE AND MEMORABLE CONTENT TO THEM AS VIEWERS, LISTENERS AND USERS. SOPPS ARE AN OFCOM COMMITMENT, AppROVED BY THE BBC TRUST. The following pages summarise performance against SoPPs 2008/09. Unless otherwise stated, all commitments are minimum hours or %s and include originations, repeats and acquisitions. New service BBC ALBA launched in September 2008 and has no priorities or conditions to report on for the period under review. Similarly, BBC Red Button has no priorities or conditions to report on for the period, and CBeebies and Radio nan Gàidheal have no conditions for the period (their priorities are given on the following pages). SoPPs for the year ahead, including those for new services, can be found at www.bbc.co.uk/info/statements2009 S1 PERFORMANCE AGAINST STATEMENT OF PROGRAMME POLICY CONDITIONS 2008/09/ TELEVISION BBC Television services also have a statutory regulatory requirement to meet Tier 2 quotas, agreed annually with Ofcom, for independent production, regional programme making, news and current affairs programmes, levels of original production, and regional programming. Performance against Tier 2 quotas is reported in Part Two of the BBC’s Annual Report. BBC ONE Priorities Distinctive mix of popular journalism from around the UK The ONE Show continued to grow its audiences; Watchdog was refreshed creatively and Missing returned.
  • Bassetti's Banijay

    Bassetti's Banijay

    Television Business International Bassetti’s Banijay: ‘We won’t pay insane prices for prodcos’ by Jesse Whittock July 8, 2014 Marco Bassetti, who became CEO of Paris-based production group Banijay in April 2013, tells Jesse Whittock why his company won’t be part of the mega-consolidation currently enveloping the international TV market and about where he is focusing efforts instead. TBI: You’ve now been in the job for more than a year, and have had time to assess the Banijay business. What did you feel needed to be done when you first came in? Sometimes it’s not easy to identify what you need to look at. The company was very well managed before I arrived by [founder] Stephane Courbit and [COO] Francois de Brudaga; in terms of performance on investment, this company has done very well. Banijay is not a big company with a big infrastructure and a big footprint, but is already active in the all genres in the TV business. We’re probably better known outside of France – everybody knows Bunim/Murray in the US and in Europe, [Germany’s] Brainpool is very well known across the continent. The company is really solid in the market in Germany, France, Belgium, the Nordic countries and Spain, but I thought we could change the mindset so that we are strong in local territories while at the same time being a little more focused on international TV. You must always be successful in the local market, but the storytelling needs to be international too. You can make much more money that way, and with a truly international hit you can create your identity too.