Video Age International December 2014

I N T E R N A T I O N A L www.V i deoAge.org © 2014 Flying Bark Productions Pty Ltd, Telegael Teoranta, Discreet Arts Productions LLP, Screen NSW and Screen Australia 52 x 11‘ Studio 100Media GmbH Sapporobogen 6-8 80637 Munich – Germany T: +49 (0)89 96 08 55-0 info@studio100media.com www.studio100media.com Visit us at atf Singapore Booth No A21 141021_S100M_ATF14_Tashi_VideoAge_185x160_Front_cover_RZ.indd 1 22.10.14 10:46 THE BUSINESS JOURNAL OF FILM, BROADCASTING, BROADBAND, PRODUCTION, DISTRIBUTION December 2014 - VOL. 34 NO. 7 - $9.75 (Continued on Page 22) After two Latin American countries have been recognized as Country of Honor at MIPCOM recently, the Paris-based Reed MIDEM has expanded its presence in LATAM with the well-timed launch of MIP Cancun, its first regional summit for Latin American buyers, held at the JW Marriott Hotel in Cancun, Mexico, November 19-21, 2014. As a “gathering of buyers,” the new exhibition from the organizers of MIP-TV and MIPCOM in Cannes, France, aims to provide a filmTV content sales and buying Cannes-cun: TheMove From Cannes toCancun My 2¢: Print media’s demise is only in the minds of publishers LATAM’s Jornadas shows South Cone’s TV strength Road to NATPE paved with Cannes-cun and RealScreen MIPCOM Review: Good till the last drop of heavy rain Page 26 Page 16 Page 14 Page 10 The organizers of Asia TV Forum and Market (ATF) are trying all expedients to make the event Southeast Asia’s premier TV trade show. In a sense, Reed Exhibitions, the event organizer, has succeeded. Indeed, Peggy Tong, program manager of Hong Kong’s Asian Buyers Can’t Resist ATF’s Siren Call (Continued on Page 18) AFM: Producers Trade Pitching Art for Selling Art “AFM takes place in Los Angeles, [and] every wanna-be writer, producer, director in town is there hocking their shlock,” commented Stan Spry, a producer at The Cartel. Indeed, producers who attended the AFM, held November 5-12, flocked to the Loews Santa Monica Hotel (the film market exhibition headquarters), and had to come up with savvy strategies to keep themselves afloat in an everevolving global market. Some 2,000 producers from all over the world (or a whopping 25 percent of total participants) gathered at the 34th annual AFM, and the market offered a good lineup of seminars, conferences and how-to guides, including how to pitch projects, production incentives around the world and product placement. AFM organizers are well aware of producers’ bloodline (i.e., money) and have courted a good number of film investors. Amongthemanyrecommendations (Continued on Page 20) Producers Distributors

MAIN OFFICES 216 EAST 75TH STREET NEW YORK, NY 10021 TEL: (212) 288-3933 FAX: (212) 288-3424 WWW.VIDEOAGE.ORG WWW.VIDEOAGELATINO.COM WWW.VIDEOAGE.IT P.O. BOX 25282 LOS ANGELES, CA 90025 VIALE ABRUZZI 30 20123 MILAN, ITALY YUKARI MEDIA YMI BLDG. 3-3-4, UCHIHIRANOMACHI CHUO-KU, OSAKA JAPAN TEL: (816) 4790-2222 EDITOR DOM SERAFINI ASSISTANT EDITOR SARA ALESSI EDITORIAL CONTRIBUTORS SHERIF AWAD (MIDDLE EAST) ISME BENNIE (CANADA) ENZO CHIARULLO (ITALY) LUCY COHEN BLATTER CARLOS GUROVICH LEAH HOCHBAUM ROSNER SUSAN HORNIK (L.A.) BOB JENKINS (U.K.) AKIKO KOBAYACHI (JAPAN) DAVID SHORT (AFRICA) MARIA ZUPPELLO (BRAZIL) PUBLISHER MONICA GORGHETTO BUSINESS OFFICE LEN FINKEL LEGAL OFFICE ROBERT ACKERMANN, STEVE SCHIFFMAN WEB MANAGER MIKE FAIVRE DESIGN/LAYOUT CARMINE RASPAOLO ILLUSTRATIONS BOB SHOCHET VIDEO AGE INTERNATIONAL (ISSN 0278-5013 USPS 601-230) IS PUBLISHED SEVEN TIMES A YEAR: JANUARY, MARCH/APRIL, MAY, JUNE, JULY, OCTOBER AND NOVEMBER/DECEMBER. PLUS DAILIES BY TV TRADE MEDIA, INC. © TV TRADE MEDIA INC. 2014. THE ENTIRE CONTENTS OF VIDEO AGE INTERNATIONAL ARE PROTECTED BY COPYRIGHT IN THE U.S., U.K., AND ALL COUNTRIES SIGNATORY TO THE BERNE CONVENTIO AND THE PAN-AMERICAN CONVENTION. SEND ADDRESS CHANGES TO VIDEO AGE INTERNATIONAL, 216 EAST 75TH STREET, SUITE PW, NEW YORK, NY 10021, U.S.A. PURSUANT TO THE U.S. COPYRIGHTS ACT OF 1976, THE RIGHTS OF ALL CONTENT DONE ON ASSIGNMENT FOR ALL VIDEOAGE PUBLICATIONS ARE HELD BY THE PUBLISHER OF VIDEOAGE, WHICH COMMISSIONED THEM 6. CCW+SATCON now under the NAB umbrella promises a more promising outlook 16. Jornadas Internacionales: LATAM’s South Cone TV Event Shows Its Strength News 4. World: U.S., China 8. Book Review: (In)famous American movie director Elia Kazan as revealed by his very own letters 10. Market Review: A predicted successful outcome with plenty of sales, new shows, parties and stars at MIPCOM 14. Road to NATPE: Between a rock (MIP Cancun) and a hard place (Realscreen) 24: Calendar and travel news: Western airlines are not the world’s best airlines, plus events for the rest of 2014 At the AFM producers exchange the art of pitching for the art of selling ATF gets help from Reed MIDEM, and Asian buyers can’t resist the siren’s call Cannes-cun: Reed MIDEM’s strategic move from Cannes to Cancun The publishers’ share of faults is hard to swallow, but at least print media should stop commiserating its ills. Page 26 Features Cover Stories

4 December 2014 World China Limits Online TV Imports Amongthemanylimitations on foreign media content imports, China is also imposing a limit on the number of television programs from foreign sources available online. The new requirement came from China’s regulatory agency, the State Administration of Press, Publication, Radio, Film and Television. Since last April, foreign series have been required to get approval before being shown online. Now regulations require that streamed foreign TV shows, which are very popular, be reduced from the current 50 percent to no more than 30 percent of total TV content on Chinese video-streaming sites. Reportedly, shows such as The Big Bang Theory drew more than 120 million views a month on the Sohu.com site before the Chinese regulators pulled the show (and three others) off the Internet last April. According to a report in The Wall Street Journal, the limit is measured according to the number of titles, not the number of episodes per title. Nevertheless, the limit is reducing revenues from digital rights, which today reach some $683 million a year. U.S. Cable TVNets Now Live Online Later this year, 22 of Viacom’s cable channels, including MTV, Nickelodeon and Comedy Central, will be streamed on the Sony online network subscription-based service. Viacom is the first of many other TV channel operators — such as Discovery and Starz — that are expected to join the Sony online network. Currently, Sony’s online network reaches 75 million households in the U.S. with its PlayStation and webconnected TV sets. Viacom’s offering consists of live and ondemand services. The monthly subscription fee for the Sony service is expected to range from $15 to $30. This compares to an average $90 per month that households pay for cable or satellite services. www.grbtv.com•sales@grbtv.com STAND C33 11.12.2014 JUNIOR PAGE_ 7.284”x 9.055” VIDEO AGE (for Asian Television Forum) 26x30 3x60 10x30 7x60 The Best in Factual Entertainment While Hollywood studios collect 50 cents for each U.S. box office dollar, overseas the financial arrangements with movie theaters are less favorable. Therefore, high foreign revenues don’t compensate for lower U.S. box office receipts. Reportedly, last summer in the U.S. and Canada, BO sales were down by 15 percent compared to 2013. In China, where American movies are very popular, Hollywood’s take is 25 or 27 cents for each box office dollar. In addition, this low BO share is not compensated for by ancillary rights since in China DVDs are not bought legally and TV distribution sales are minimal while digital sales have been reduced (see adjacent story). Therefore in China, U.S. studios can count mostly on the BO cut. Fortunately, marketing costs tend to be lower overseas, because in countries like China, government restrictions permit only limited studio-sponsored advertising. Conversely, according toThe Wall Street Journal, in the U.S., with its robust ancillary market, $1 at the BO for the studios translates into $1.75 of total revenue over a decade. Similarly, over a decade Russia generates about 65 cents per BO dollar, South Korea brings in 55 cents, Japan 83 cents and the U.K. $1.30. High Foreign Box Office $$ Don’t Compensate For Low U.S. BO $$

t 4I6.766.6588 f 416.363.9726 35 Britain Street, Toronto, Ontario, Canada M5A 1R7 distribution@breakthroughentertainment.com JOIN US IN THE PARTICIPANT’S LOUNGE ASuccess INOVER 80 TERRITORIES WORLDWIDE Kate Blank, Director, Int’l Distribution

6 by the Washington, D.C.- based National Association of Broadcasters (NAB) last December, the joint events are assuming an added importance both in the U.S. and internationally. In addition to representing local TV stations and TV networks in the U.S., the NAB organizes the annual NAB Show in Las Vegas, which boasts more than 1,500 exhibitors and attracts close to 100,000 participants from over 150 countries. According to exclusive information fromNAB, Satellite Communications Conference & Expo (SATCON) was launched in 2002 by the Connecticutbased JDEvents, a company that specializes in the creation and administration of trade events founded the same year by Joel Davis, a former executive with Reed Exhibitions. After selling CCW+SATCON to NAB for an undisclosed amount, JD Events is now running trade shows for the healthcare, audio and music technology and consumer marketing businesses. In 2006, JD Events launched HD World for suppliers of HighDefinition-related equipment and service industry, while Content and Communications World (CCW) was created by JD Events in 2010, integrating HD World (which was subsequently re-branded as 3D World) and SATCON. The events are designed as two side-by-side co-located events, each with its own exhibition floor and related conference program, but requiring only one registration. The two events are tied together by proximity and a set of general sessions that address the issues affecting the broader media and communications sector. Even though “content” is part of the event’s brand, this aspect of the audiovisual business has been largely ignored. Now, however, under the NAB administration, CCW+SATCON will introduce post-production conferences, including “Media for Creative Professionals,” with the aim of getting closer to the content aspect of the industry. On November 12-13, New York City will host the annual CCW+SATCON conference and market. The event, held at the Javits Convention Center in Manhattan, has been popular with communications technology personnel for CCW and with satellite communications executives for SATCON. Combined, the two parallel events attract some 6,800 attendees and 300 exhibitors. Considering the good number of participants, the events up to now have been under the radar of the international TV trade media and most of the world’s television industry. Indeed, online research about the origin of the events does not yield any results. However, with the acquisition of CCW+SATCON’s assets With NAB, CCW+SATCON Events Get International Attention December 2014 Tech Talk WORKS DESCRIPTIVE VIDEO WORKS AN INTERNATIONAL DIGITAL MEDIA COMPANY Opening the entertainment experience to the blind and par@ally sighted through descrip@ve video www.descriptivevideoworks.com 1 866 818 3897 We are proud to have described over 10,000shows and800films

www.VideoAge.org At ATFVideoAgehelps me to navigate the market, and Asian TV buyers. Robert Chua Producer-Distributor, Hong Kong

8 December 2014 Book Review Elia Kazan As Revealed By His Very Own Letters While Elia Kazan was undoubtedly one of the most influential directors in Hollywood history — helming such classic fare as East of Eden, On the Waterfront and A Streetcar Named Desire — he’s probably most commonly remembered as a onetime Communist who named names before the U.S.’s House UnAmerican Activities Committee (HUAC) in 1952. Revered by some for his work and reviled by others for his personal politics, Kazan has long been considered a controversial figure, which makes him all the more fascinating. In The Selected Letters of Elia Kazan (Alfred A. Knopf, 649 pages, $27.26), edited by Albert J. Devlin with Marlene J. Devlin, readers are privy to nearly 300 letters that the late, great director sent to everyone fromhis first wife to playwrights Arthur Miller and Tennessee Williams to actors like Marlon Brando and Jessica Tandy. And he never minced words. Each and every dispatch is peppered with Kazan’s unique charm and startling honesty. Whether it was telling his wife he thought it best for them to divorce or telling a writer that he completely disagreed with his vision, Kazan always made sure to get his point across — no matter how harsh or abrupt it might seem, and regardless of whether the person on the other end would despise him for it. In one memorable missive, after his wife of nearly 10 years, Molly Day Thacher, learned of his affair with actress Constance Dowling, Kazan — who one might think would be remorseful and apologetic — instead wrote: “I had plenty of chances to be promiscuous. But I never in my life slept with a whore, and I really only had one other affair. The rest never came off, one way or another. What am I telling you anything for I don’t know. I know I love you. I want you. You think I’m a shit.” Two years later, he wrote Molly to tell her that he’d started the affair up again. “I’m going with Constance again. I enjoy it. It’s not as deep a well or as wide as a church door, but twill serve. She’s tender and simple and uncomplicated. She’s loving and graceful. Put it this way: she has no problem with me, except the fundamental one, whether she really has me or not… Divorce me. Make other friends. Let’s take the stew which is spoiled and throw it out. Then anything we feel and anything we really actually want of each other, we’ll have of each other.” This is almost the equivalent of a modern-day break-up text message. What kind of husband writes a letter to his wife, the mother of his children, to tell her not only of an indiscretion but also of a desire to break up, to destroy the family and the life they built together? It seems heartless…but it also seems unquestionably Kazan-esque — simultaneously full of himself and filled with self-hatred. And the fact is that Molly actually stayed with Kazan another 20 years — through other affairs, including one with doomed starlet Marilyn Monroe — until her sudden death of a cerebral hemorrhage in 1956. And it wasn’t just his wife who was on the receiving end of this brutal brand of honesty. In a 1963 letter to Warren Beatty, he told the famed pretty-boy that he needed to stop being sodifficult on sets or he’d soon find himself unemployable. “It’s very regrettable that so many people think of you as a special problem,” he wrote. And in a 1967 letter to Marlon Brando, he called the actor “terribly overweight.” He also used letters to convey his thoughts on how certain plays that he directed ought to be staged and what specific changes he felt needed to be made with regard to casting, rewriting or set changes on movies he worked on. He seems to have put pen to paper to commemorate nearly every waking thought he had — be it related to life or work. Nowadays, it seems that people — especially those Hollywood types who’ve received some type of media training — know never to put anything inwriting that might eventually be used against them. Although he might have benefited from such media training, watching his every word would have fundamentally changed Kazan from the candid straight-shooter that he was into something lesser — something unlike himself. These letters portray the director as a flawed but truthful individual, with a commitment to honesty that might seem at odds in a man who cheated on his spouse at every turn. The letters are also an unmistakable product of their time with a casual racism and homophobia that would be considered despicable today. Words like “fairy” and “queer” are thrown around carelessly. But Kazan seems to have actually been a relatively open-minded guy, as many drama lovers are. He doesn’t appear to hold people’s race or orientation against them. He just makes mention of it more than an open-minded, enlightened individual would in today’s more progressive, more tolerant, more free-thinking world. A few of the letters touch on the HUAC controversy, but seeing as how many people picking up this book — this reviewer included — would probably be more familiar with his testimony than with his actual body of work, it might have been better to include more information on the scandal. Then again, maybe there simply weren’t many letters in which Kazan even alluded to the incident. Maybe he was more embarrassed by it than he let on. Maybe he just wanted the dust to settle, the talk to die down. He lost more than a few friends for so willingly collaborating with the committee. In one memorable note to screenwriter and producer Budd Schulberg, he wrote about his feelings regarding his testimony, “I’ve been a little depressed now and then, but every time I go over things, I feel I did right, so there is nothing to do but go on and do my work.” That line almost perfectly encapsulates what made Elia Kazan who he was. He had definite ideas about how things should look, how things should be, and he didn’t hesitate to share his thoughts. He might occasionally regret what he’d done, but that passed quickly and he continued on as usual. But others in Hollywood never could find a way to get past what they saw as an act of betrayal. In fact, in 1999 — nearly five decades after the initial controversy, when Kazan was awarded an honorary Oscar at the 71st annual Academy Awards — many in the audience remained silent and refused to clap for him. While his bluntness definitely made for a fascinating group of letters for modern-day readers to enjoy, those folks who actually received letters from Kazan might not have been as jazzed to read them as we are. After all, would you want your husband to tell you of his affair and intention to leave you via the postal service? I should think not. The editors of the book might have been wise to try and track down a few of the responses sent back to Kazan. It would have been nice to know that he got as good as he gave. Or at the very least that his wife wrote him back a nasty, expletive-filled letter or two that told him what she really thought about him. LHR

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10 Surely there was lots of rain, normal for MIPTV in April, but unusual for MIPCOM in October. Nevertheless, the market was — for the exhibitors VideoAge contacted — good till the last drop of rain, which mercifully ended on the third day of the event. Though the rain ended on Wednesday, the trading continued throughout Thursday, the last day of the market, having started on Sunday, the day before the market officially began. Since the event was shortened by one day, many distributors are now taking advantage of Sunday to stage their cocktails, red-carpet runs, photo shoots and meetings at hotels or rented apartments. As far as business is concerned, Fred Haber, a veteran of TV trade shows who runs his namesake distribution company, summarized this year’s MIPCOM as “the strongest market as far as I can remember.” He called it “A stealth market; totally unexpected, the reverse of a perfect storm with new clients, existing clients and new territories.” “We were so busy, you wouldn’t believe it,” said Peter Iacono, Lionsgate’s president of International. He reported that the team was booked through Thursday, adding, “The rain did not keep people away.” Likewise, Audrey Kamga, Sales manager at Arte France stated, “It’s been a while since we’ve been this busy [at MIPCOM]. We were fully booked, and it seems that people are returning to MIPCOM in a big way.” This was a very valuable market for Pepe Echegaray of Power, who said, “In each meeting this time around, clients came in to actually buy, not just to see what we have to offer.” Echegaray was happy to report that he conducted meetings with clients from Brazil, Argentina, Mexico, Colombia, pan regional cable and digital platforms. Thomas Davison, director of International Sales at APT Worldwide agreed that this particular market was very strong, saying, “We had a number of excellent meetings and even walk-by traffic. There were many new buyers, as well as buyers with whom we have established relationships that we always seek to enrich at MIPCOM.” The same was true for Armoza Formats, whose founder and CEO Avi Armoza reported that “All nine sales executives had a new meeting every hour,” and they even conducted meetings during lunch to maximize their time in Cannes. Off The Fence came with a large delegation of over 20 people this year to mark the company’s anniversary, and Sales executive Anouk van Dijk was happy to report that the company had a “very busy market with very few no-shows.” Georgina Eyre, head of Acquisitions at Off The Fence added, “MIPCOM is a very important market, and we do a good percentage of our business here.” However, Herb Lazarus, president of CarseyWerner (which this time returned to MIPCOM with a stand), downplayed the attendance figures reported by the organizers at a record 13,700 from 112 countries. He noted that what actually counts is the number of acquisition executives and the ratio between sellers and buyers. Lazarus also decried the large number of seminars, which tend to syphon off buyers from the exhibition floors. A Market Good Till the Last Drop Rain Didn’t Dampen Content Sales December 2014 MIPCOM Review SBS’s Krijn Helmer with Breakthrough Entertainment’s Jodi Mackie, Nat Abraham and Kate Blank Record TV Network’s Delmar Andrade and Edson Pfutzenreiter Mendes Donald Sutherlandwas inCannes for Tandem’sPirate’s Passage (Continued on Page 12)

12 Indeed, this year’s MIPCOM beat any previous record as far as the number of parties (35), the number of seminars and conferences (85), the number of personalities (50) that even challenged the Cannes Film Festival — and for which the market was nicknamed MIPCANNES — and the number of exhibitors (2,098). Perhaps because this time the four-day market started a week later and ended on October 16, the event was besieged by autumn rain at times so heavy that at one point it muffled the voice of Ben Pyne, president of Global Distribution, Disney Media Network, who was making a presentation at a press luncheon and was forced to speak without a microphone due to a power outage. Next year, MIPCOMwill return to its traditional early (and hopefully sunny) days, October 5-8, since Yom Kippur will fall in the month of September. This MIPCOM also represented a cash windfall for the organizer, Reed MIDEM, especially due to the relocation of MIPJunior, the pre-MIPCOM market for children’s content, which moved from a hotel setting to the Palm Beach location, on the far-western port of Cannes. While the hotel a lower cost than the hotels where MIPJunior has been held in the past. The selection of Mexico as Country of Honor also gave an extra boost to the market, attracting a record 125 Mexican companies and, considering the country’s $20 billion a year TV market, it was celebratedwith luncheons and dinners sponsored by appreciative international distribution companies. The Country of Honor for MIPCOM 2015 will be Turkey, breaking with the tradition of focusing on Latin America for the last two consecutive years — first Argentina, then Mexico — and moving to a strategic position in Europe, with a view of the Middle East. The choice of Malaysia as the Country of Honor for MIPCOM 2016 was also strategic, moving from the East to the Far East. December 2014 MIPCOM Review Televisa’s Mauricio Bailon, Javier Perez-Teuffer, Vicente Zarazua, Carlos Castro, Barbara Albert Moreno, Hugo Treviño The entrance to MIPJunior at the Palm Beach was open to badge-holders only. “The rain did not keep people away.” – Peter Iacono Elie Wahba, Hernan Lopez and James Murdoch at the Fox International ChannelsWayward Pinesparty Mexico was the Country of Honor this year. Pictured are Ambassador to France Agustin Garcia-Lopez Loaeza, Reed MIDEM’s Paul Zilk, Laurine Garaude, ProMexico’s Francisco Gonzalez Diaz setting allowed buyers and sellers to meet in the lobby without purchasing entry badges, entry to the new location required paid registration for sellers and non-buying participants. In addition, the Palm Beach reportedly offered Reed MIDEM (Continued from Page 10)

THE MOVIE CHANNEL FROM THE MOVIE MAKERS

14 Without a doubt, NATPE is the premier TV trade show for Latin American (LATAM) territories. Perhaps just a notch above the L.A. Screenings, but surely much larger than any other LATAM TV market worldwide. Being number one, however, is risky since, as the Japanese proverb goes, the nail that sticks out gets hammered down. Hammering down NATPE these days are several factors: Increased costs due to the arrangements at the Fontainebleau, where the hotel seems dedicated to squeezing every penny out of theparticipants; competition fromCanada’s publishing house Brunico, which organizes two TV markets, one in Washington, D.C. (January 27-30) just after NATPE (January 20-22) and the other in Miami a month later (February 23-26); and now Reed MIDEMwith its MIP Cancun event in November (see front cover story). Another factor challengingNATPEorganizers is the limited growth area, now restricted to LATAM business, that needs to expand to other territories like Europe and/or Asia. This limitation is due to the hotel-style arrangement demanded by much of the international TV industry, especially the U.S. studios. Nevertheless, European companies, such as France’s TVFI and possibly Italy’s APT, are planning to attend NATPE 2015 with pavilions, like the British and Spanish. Pavilions attract multiple distribution companies, and indeed, at the upcoming NATPE the European presence will increase to more than 15 percent compared to the 2014 edition. A large increase is expected from Asian countries as well, in addition to the usual large Canadian contingent. While other organizations are trying to erode NATPE’s premier status in the LATAM market, NATPEisattemptingtoenter theEuropeanmarket with NATPE Europe, though unfortunately in the month of June, which is already packed with the largest number of TV-related trade shows compared to any other month of the year (20 key trade shows over 58 cumulative days in 10 different countries). Even though Europe presents a challenge for NATPE, the market has benefited from NATPE Europe in June to spread its brand, and in particular its NATPE Miami brand, beyond Western Europe. NATPE 2015 will start on a Tuesday instead of its traditional Monday in order to avoid Martin Luther King Day. Even though it’s a national holiday, small companies tend to remain open, therefore it’s expected that some recreational and sales activities will occur on Monday, in addition to preparations to ready the hotel suites and stands for the next day. Big companies, which have to respect the holiday, will set up their offices at the hotel suites and poolside cabanas on Sunday. As usual, the hospitality suites will be spread among the hotel’s four towers (Tresor, Sorrento, Chateau and Versailles), the market floor will house the stands, while the cabanas will predictably be used as a meeting place in order to avoid the wait at the elevator banks, which is much improved since the first year in Miami in 2011, but is still congested, especially at the Tresor Tower. This year’s Brandon Tartikoff Legacy Award will recognize Linda Bell Blue (executive producer of Entertainment Tonight for 19 years), Gustavo Cisneros (chairman of The Cisneros Group), Adriana Cisneros (Gustavo’s daughter and CEO and vice chairman of Cisneros), Jay Leno (former host of The Tonight Show with Jay Leno), Jonathan Murray (chairman of Bunim/Murray Productions) and Ted Sarandos (chief content officer at Netflix). They will be honored at the 12th annual Brandon Tartikoff Legacy Award reception hosted by Craig Ferguson (host of The Late Late Show with Craig Ferguson) on January 21. The award recognizes a select group of television professionalswho exhibit extraordinary passion, leadership, independence and vision in the process of creating television programming. This year, the conferenceswill fall under several categories: the Platforms Accelerated Track, which among other related topics will explore how to monetize the fragmentation of delivery platforms; the Access to Insight Track, a series of master classes and conversations (attendance is limited); the Game Changers Track, during which top broadcast, digital platform, advertiser and production companies offer insight into how they grow their businesses; and the NATPE Reality Track. On January 20, NATPE is launching a separate strand of sessions under the banner NATPE Reality. This group of sessions will offer participants the opportunity to connect to reality executives to gain insight into reality programming. The Reality and Formats Day was developed in close collaboration with NATPE’s Reality and Formats Advisory Board, headed by Phil Gurin and Hans Schiff. In addition to the conference lineup, a PRO Pitch event will give participants the chance to pitch their ideas directly to top reality and formats development executives from broadcast, cable, syndicated TV and domestic and international distributors. NATPE is also launching the NATPE Reality Breakthrough Awards during a networkingmixer and luncheon that will honor the most innovative reality content across five categories — Reality, Reality Competition, Game Shows, Docusoaps and Factual. Confirmed session speakers include Mike Beale of ITV Studios, Ricardo Ehrsam from Televisa Internacional, Grant Ross from Zodiak Media Group, Michael Schmidt of Red Arrow Entertainment Group, Mark Linsey from BBC and Jennifer Dettman of CBC Television. A second panel focusing on reality shows in syndication will include Stephen Brown of Fox Television Stations, Lonnie Burstein of Debmar-Mercury, Hilary Estey McLoughlin from CBS Television Distribution and Valerie Schaer of NBCUniversal Domestic Television Distribution. There will also be a case study on ABC’sShark Tank, featuring executive producer Clay Newbill. Yes, There Are Many Challenges, But The Market Still Ranks No. 1 in LATAM December 2014 NATPE Preview Canada’s Moses Znaimer and John Thornton Miami Beach Mayor Philip Levine with NATPE president and CEO Rod Perth at the opening night reception Telemundo Internacional’s press conference at NATPE 2014

2014 WINNERS RADIO MUSIC COMPOSED WORK Klockrent - A Very Large Concert (SR, Sweden) PROGRAM ABOUT MUSIC Wagner’s Ring According to Kristian Leth (DR, Denmark) TV PERFORMING ARTS PERFORMING ARTS Off Ground (NPO, The Netherlands) SPECIAL MENTION Einstein on the Beach (France 2, France) MUSIC AND ARTS DOCUMENTARIES Revealing Dalí (TVE, Spain) RADIO DOCUMENTARY OVERALL QUALITY The Final Journey - Part 2 (SR, Sweden) EXTRAORDINARY ORIGINALITY AND/OR INNOVATION I Want More (PR, Poland) SPECIAL MENTION Colette’s Podcast (Arte Radio, France) TV DOCUMENTARY CULTURAL AND GENERAL INTEREST The Missing Picture (Arte France, France) SPECIAL MENTION No Burqas Behind Bars (SVT, Sweden) CURRENT AFFAIRS Exit (NRK, Norway) RADIO DRAMA ORIGINAL DRAMA Following Redundancy (DR, Denmark) ADAPTED DRAMA Hostilities (Radio France, France) TV DRAMA TV MOVIES AND MINISERIES Southcliffe (CH4, United Kingdom) SERIES AND SERIALS Marsman (VRT, Belgium) WEB BEST TRANS-MEDIA EXPERIENCE Build It Up! (DR, Denmark) http://www.dr.dk/bygdetop BEST DIGITAL STORY-TELLING Rwanda 20 Years On (La Stampa, Italy) http://www.lastampa.it/medialab/webdoc/ruanda SPECIAL MENTION Punk Me! (Radio France, France) http://punk.lemouv.fr SPECIAL PRIZE FOR AN OUTSTANDING INNOVATIVE/CREATIVE PROJECT Generation What? (France Télévisions, France) http://generation-quoi.france2.fr SPECIAL PRIZE EXPO 2015 FEEDING THE PLANET, ENERGY FOR LIFE (for Prix Italia Members) Solar Mamas (DR, Denmark) SPECIAL PRIZE EXPO 2015 FEEDING YOUR PLANET (for Young Film-Makers) Grow Up Feed The Planet (by Juan Francisco Scassa, Italy) SPECIAL PRIZE OF THE PRESIDENT OF THE ITALIAN REPUBLIC Spot “Greenpeace” Campaign “A dirty game” to safeguard the planet SPECIAL PRIZE SIGNIS The Missing Picture (Arte France, France)

16 Talk radio programs in Buenos Aires, Argentina, like to parody Pope Francisco. Indeed, the Pope is not only a religious leader, but also a personality, and this was reflected in the 24th annual Jornadas de Cable (now Jornadas Internacionales or International Cable Days) conference and market, held at the Hilton Hotel in Buenos Aires, where programs about the Argentinean Pope abounded to promote various channels’ cable carriage. But at almost U.S.$4 for a small cappuccino, the prices at the Hilton Hotel in the popular Puerto Madero area of Buenos Aires were not too far from those charged at the Palais in Cannes. And this despite aworsening exchange rate of 15 pesos to one U.S. dollar — when the optimal rate should have been nine pesos — due to the fact that Argentina is technically in default because it cannot pay government bonds held by “vulture” funds. Nevertheless, attendingJornadas Internacionales 2014 was worthwhile, especially to salute the Asociación Argentina de Television por Cable’s 50th anniversary, which also marks 50 years of cable television in the country. ATVC organizes Jornadas together with CAPPSA, the Argentinean association of TV signal distributors. The president of CAPPSA is Sergio Veiga, SVP and general manager of FOX International Channels, while the president of ATVC is a former cable executive, Walter Burzaco. In effect, Jornadas marries cable operators and signal (content) distributors. Indeed, there were mostly signal distributors spanning the South Cone of Latin America including Telefe, Telearte and Claxson, but also distributors from the U.S. (like HBO, AMC, Disney and ESPN and FOX) and other parts of LATAM (such as Azteca and Televisa), Europe (France 24, Deutsche Welle and RTVE), Japan’s NHK and Russia’s RT, considering that Argentina is getting closer to Russia selling its meat and importing Russian films. Missing among the European exhibitors were BBC and RAI. Also reduced was the presence of hardware manufacturers, that had been very prominent in past editions, thus establishing Jornadas mostly as a content event. These distributors use Jornadas to meet with cable, satellite and online operators, this year as far away as Peru. In addition, the event serves to find companies in remote communities that sell satellite dishes to receive channels in areas where the broadcast TV signal doesn’t reach (areas without repeaters) or that are not served by cable operators. According to Eduaro Suárez, general manager of CAPPSA, “the conference presents a balance between exhibitors of audiovisual content and technology providers and services.” Officially, there were 23 conferences, 59 exhibitors and 4,000 total participants, however many more signal distributors (such as Artear and RAI Italia’s distributor, All TV) were in attendance without stands. The event is also a magnet for the LATAM TV trade press, which was present with some 10 publications. This in addition to international TV magazines such as VideoAge. Jornadas also attracts local and regional political leaders such as Mauricio Macri, the mayor of Buenos Aires’s federal district, who is a potential presidential candidate, and national politicians such as Member of Parliament Sergio Massa, who spoke about the tax disadvantages of cable versus satellite operators. “Technology is from the 21st century, while regulations are those in the 19th century,” he commented. Security and streaming were some of the topics discussed, while ATVC’s official publication emphasized piracy as a major issue. Indeed, the author association, Argentores, promoted its Sin autor no hay obra (Without An Author You Don’t Have a Job) theme, while FOX LATAM pushed its Pirateria Cero 0 (Piracy Zero 0), with editorial and ads, La pirateria se roba lo major de tu negocio (Piracy Steals Most of Your Business). But just as important were the topics whispered informally during the conference breaks, like the subsidies that government agency INCAA is considering for co-productions and the possibility that Spain’s Telefonica might be forced to sell its TV network, Telefe, and a potential buyer could be Warner Bros. One characteristic of the all Spanish-language Jornadas was that the market-cum-conference became more lively on the second day of the three-day event that started September 17, just before the beginning of South America’s spring, when the opening ribbon was officially cut. The mood on the basement level of the Hilton Hotel was somber and business-oriented with little or no recreational activities on the schedule. A local curiosity is the fact that this particular Hilton Hotel property was built by the late Alberto Gonzalez, a pioneer of Argentinean satellite TV channels (and is still ownedby the family).Another curious observation is that in the exhibition aisles, the TV networks were branded by the old numbers on the dial, which no longer reflect the actual channel. For example, Canal 9 is now on channel 13, Channel 11 (Telefe) is on channel 10 and Channel 13 (Artear) is now on channel 12, Canal 7 is now on channel 11 and America is now on channel 9. LATAM’s Premier South Cone TV Event Shows Its Strength December 2014 Jornadas Internacionales Telefe’s Nancy Rolon and Daniel Otaola One of the 23 conferences held at Jornadas Canal 9’s Horario Romairone, Felicia Areco, Maria Dominguez

18 December 2014 ATF’s Siren Call TVBI, sees ATF’s venue as very convenient and the market as the “biggest compared to other [content] markets in Asia.” Only a few distributors exhibiting at past editions of ATF, which this year takes place December 9-12 at the usual Sands Expo in Singapore (pictured on the cover), have indicated some disappointment with content sales. This is despite great participation, at least officially, of buyers from the Southeast Asian region, comprising 52 percent of the total 800 acquisitions executives in attendance, with an additional 35 percent coming from North Asian territories and just seven percent from South Asia. With the help of the powerful and influential Media Development Authority (MDA), Singapore’s city-state marketing and promotion agency, ATF is intended as the key attraction among a group of other media events, such as ScreenSingapore, the Asia Television Awards and Singapore International Film Festival, all of which increase the number of participants, though not necessarily the type of buyers needed by all exhibitors. According to official reports, to accommodate the increased participation, the ATF exhibition area is now moving from the traditional ground level to the fifth floor of the Sands. Similarly, the hospitality suites (rented mostly by the U.S. studios) are moving from the third floor to the fifth floor, while the conferences, typically held on the third floor, will move to the fourth floor. This arrangement will save organizers some money, but it could create bottleneck at the escalator banks. Understandably, ATF is very popular with local program distributors. Fiona Chu, president of Singapore’s Antares International Media commented, “ATF is the right market to access SEA territories. I have attended ATF for eight years as a buyer and a seller. It’s the market to meet buyers, especially fromIndonesia, VietnamandThailand.” Recently, the ATF organizers have turned to sister company Reed MIDEM for some help with MIPAcademy, a conference for format experts, while ATF has developed the Animation Lab for animation producers and ScreenSingapore will coordinate one seminar on December 10. meetings with our clients.” She also likes the fact that, “it is focused exclusively on the AsiaPacific region, so it is much more specific than many other markets.” Estefanía Arteaga of Caracol explained, “ATF is one of our key markets because ATF does a great job of covering all the key Asian territories for us; we’ve been able to tap into untapped markets by attending.” Arteaga noted that many of the deals closed at ATF are ones whose negotiations began at other markets or via email or phone, emphasizing the value of meeting with clients face-to-face in a market setting. 9 Story Media Group attended ATF for the first time last year, and returns this year. Federico Vargas described ATF as, “a very strong market for us. Asia [is] a key growth area for our company and we are allocating additional resources towards developing this important territory. ATF allows us to forge relationships with new buyers while also providing an additional touch point with existing ones.” Patrick Elmendorff of Studio 100 Media stated that ATF is a vital market because it is a place where the company can meet with “a number of broadcasters who don’t go to MIP-TV or MIPCOM.” While he noted that Studio 100 partakes both in ATF and individual office visits throughout Asia, ATF is a market where the company can do business on a global scale, and the company is present at the market with two delegates on the distribution side. He also noted that in past years Studio 100 has revived classic brands such as Heidi, Maya The Bee and Vic The Viking, and these brands do very well in Asia. Hyeonza Hong, senior vice president of Sales, Asia, at ITV Studios Global Entertainment, appreciates the regional focus, saying, “The ATF market is a great opportunity for us to meet all our Southeast Asian clients at one time and in the same place.” Hong also values the timing, noting, “Holding the market in December allows us to get a good feel for the market dynamics in the coming year.” This is a sentiment echoed by MGM’s Edwards, who sees the timing as ideal since “it means we can progress any discussions started at MIPCOM and set up deals for the new year.” By Sara Alessi Overall, more than 4,300 participants are expected for the 15th annual ATF event. They hail from 60 countries to mingle with more than 590 exhibiting companies, most of which are part of the 16 pavilions. On top of that, ATF is an efficient and wellorganized event with many conferences and seminars, and it offers a one-stop shop for small content distributors who cannot afford the cost or take the time to travel across a vast Pacific Ocean area (for example, it’s an eight-hour flight to reach Singapore from seemingly nearby Tokyo). But still, some distributors, after giving ATF a try, have returned to personal visits to clients in the region. Pinpointing exactly what is needed to make ATF a complete success — as it deserves to be — is difficult because all the right elements seem to fall into place. And even if FTA and pay-TV sales in Asia are not fruitful for independent companies because of output deals with the big studios, digital rights are in demand for the region’s highly developed online streaming video services. But Multicom’s Irv Holender cautioned, “digital rights are not yet enough to replace falling traditional TV sales.” It is possible that the large number of seminars keep participants off the market floor, rendering it uncrowded, even though meetings are taking place in the booths. Another possibility is that many Asian TV buyers may prefer to use their travel time to visit Cannes for MIP-TV and MIPCOM (at times, it takes the same number of hours to go to Europe as it does to travel within the region). One aspect of the market that needs to be analyzed is the low advertising and market resources many exhibitors reserve for the ATF. Motives vary, but the often-cited reason is that the “market is too small,” and that it’s preferable to save the budget for NATPE or MIP-TV. Nevertheless, there are many good reasons to attend ATF. Caroline Edwards, VP of International Television Distribution, Asia Pacific Region at MGM really values the fact that, “it is a little slower and more relaxed than MIPCOM, which means we can have longer (Continued from Cover) Singapore-based Bomanbridge Media is attending ATF with a stand. Pictured above are Sonia Fleck, Gyeong Min Moon, Josephine Lim, Gayatri Singh Studio 100 Media’s Patrick Elmendorff GRB Entertainment is attending ATF. Pictured here are Michael Lolato, Benn Watson, Liz Levenson

December 2014 20 AFM Preview that AFM offered to producers was to be prepared with their sales and marketing strategy, aspects often neglected by producers. One aspect that producers tend toneglect—and it’s not emphasized by the AFM how-to guide— is to take advantage of the 300 or so international distribution companies that traditionally exhibit at the market. If properly leveraged with presales incentives, these exhibitors — in perennial search of new content to feed their distribution pipes — could be of great help to producers, giving them a respite from the task of finding additional funds. But Daniel Zirilli, a producer at Popart Film Factory, who primarily makes films in the action genre as well as family films, knows how to leverage the market. “As a director/producer, I go to the AFM every year to meet briefly with the foreign sales companies selling my films, gathering intel on what names buyers are asking for and occasionally pitching new films. I structure a variety of eight to 10 action sequences in my films, working with sales companies and buyers to find casts with international appeal. The goal is keeping my films fresh, interesting and commercial for worldwide audiences,” he said. The Cartel’s Stan Spry noted the AFM is, “One of the last markets of the year, so a lot of terrible content is being peddled. The studios and stronger independents [are] able to broker some deals, but there are many buyers and international distributors that don’t even waste their time coming to AFM anymore.” Still, there is a bright side. “We are entering a new age of filmmaking, an online digital age where Netflix, Hulu and Crackle are the new cable premium channels and spearheading a revolution in howwe watch TV,” said Brian Skiba, a producer at Victory Angel Films. “With shows like Orange Is The New Black andHouse of Cards, we’re seeing a huge trend toward on-demand programming. “So [at] this AFM, I [wasn’t] surprised [to] see more producers with serialized concepts ready for internet consumption. Buyers from around the world would be remorseful if they missed the opportunity to acquire these projects while the cost is at a minimum. In the next few years, this type of programing will become the norm and the cost will run at a premium,” Skiba noted. “The era of the AFM pre-sale is over. Successful producers combine tax credits, equity and preand buyers have more choices to choose from. Most buyers and distributors are looking for star-driven genre films: action, thriller and suspense. There’s a divide in the marketplace of whether horrors are selling or not. Quality above all else is still king. Stars like John Cusak, Nic Cage and Jason Statham are still helping drive a healthy foreign and VoD marketplace, with many distributors looking for VoD/theatrical day-anddate releases so they can put the ‘in theaters now’ stamp on their VoD titles. Again, these movies are more star-driven,” he said. Victory Angel Films’ Skiba added, “Also, we see buyers who are even more specific about the content they are buying, who’s in it, who’s directing it and who’s distributing it domestically. If you want to be a successful producer at this film market, you really need to garner projects with a strong cast for the type of project you’re producing and don’t cast your film with an actor who’s not keen for your genre.” Finding the right genre to produce a film is also key. “Horror might be rebounding strong enough at this market and it may surpass action,” said Skiba. “But it’s got to be smart horror like The Awakening. I believe the Asylum [Entertainment] model is wearing out, slasher movies are dead and zombie flicks are overdone. We need a new horror that chills to the bone: let’s be afraid again of the dark but for new reasons.” Technology has also helped Popart Film Factory’s Zirilli’s production strategy. “With technology finally catching up to the speed my team and I can shoot, we are delivering better action films with bigger stunts for less money — safely. For example, with my film, Reflex, I shot in Thailand and had high falls, people fighting on fire, boat chases, parkour and a car flip, and it was shot in 12 days on a budget. Next time, if I add bigger names with those stunts and hooks, it’s a winning combination for international sales. All territories/countries can relate to that type of action. Now for me, the key is to continue to work with dramatic actors in action, not just the few action names that keep coming up. I am hoping to help break out names known for drama into action so the acting quality is better.” By Susan L. Hornik sale partnerships prior to AFM, then arrive with finished films,” said Cord Douglas, a producer at Goldstein Douglas Entertainment. “Producers who lack the relationships to finance their films prior to AFM [don’t] have the confidence of legitimate buyers to generate pre-sales at the market,” he said. Due to a dramatic increase in VoD revenues over the past four years, Douglas has seen a significant increase in the number of action and horror titles that used todominateAFMofferings in years past. “Five years ago, the demise of DVD as a viable revenue platform had decimated the low-budget ‘direct-to-video’ action film market. Producers rallied by producing TV movie titles that thrive on broadcast sales alone. Unfortunately, not all of the direct-to-video producers were as adept at producing more story-driven, actor-dependent product. The quickly growing VoD market is more fully replacing home video revenues that were lost when DVD collapsed.” The main trends from all the markets this year have tended to be a shift away from low budget straight-to-DVD fare, acknowledged The Cartel’s Spry. “That business is dying quickly as audiences (Continued from Cover) Victory Angel Films’ Brian Skiba One aspect that producers tend to neglect — and it’s not emphasized by the AFM howto guide — is to take advantage of the 300 or so international distribution companies that traditionally exhibit at the market.

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