RETNI N A T OI N A L ww w.V i de gAo .e org BUSINESS JOURNAL OF FILM, BROADCASTING, BROADBAND, PRODUCTION, DISTRIBUTION MAY 2013 - VOL. 33 NO. 3 - $9.75 (Continued on Page 10) (Continued on Page 34) Though the buzz at the L.A. Screenings — which celebratesits50thanniversary thisyear—isgenerallyabout thenew fall U.S. TV season, the studios aren’t the only attraction in Hollywood, and VideoAge connected with a cross-section of indie companies to find out their plans for the L.A. Screenings and the programs they have on tap this year. “Our expectations are high,” said Estrella TV’s Andy Weir. “Last year was the first time Estrella TV made its program catalog available to the international market. One year later, we have a higher awareness Indies Ride the Screenings Tide Residuals have long been a source of contention between the writers’, actors’ and directors’ guilds (unions) and the producers/studios that own (and exploit) TV and film content. And virtually every strike against the Hollywood studios in the last Residuals Are as Easy to Explain as Difficult to Calculate page 24 page 22 Who’s screening in Los Angeles and where page 20 New U.S. network pilots in contention New TV program offerings from indie distributors page 13 Sección en Español: Segunda pantalla, compradores, Europa The L.A. Screenings’ Fascinating History Helped, ChallengedMIP The British arrived in L.A. with the BBC and ITV in 1967, followed by the Australians as the third and fourth groups to join the “Screenings,” while Japan was the fifth country, with the earliest record of their participation in 1972. Even though it is difficult to pinpoint exactly when the L.A. Screenings started, some retired TV executives designate 1963 as the year in which Canadian broadcasters began making the trip to Los Angeles, not in May, but in … February. In 1964, when Jack Singer, then at ABC International, and Michael J. Solomon of MCA got the Latins involved, the event did not have a name. Later, it was referred to as the “Screenings,” which became the “May Screenings” when in 1978 it was moved to the month of May. In 1983, VideoAge began calling the event the L.A. Screenings, a name that thereafter became accepted worldwide. (Continued on Page 28) “This jobwouldn’t be bad if it weren’t for the unions”
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 ISME BENNIE (CANADA) ENZO CHIARULLO (ITALY) LUCY COHEN BLATTER CARLOS GUROVICH LEAH HOCHBAUM ROSNER 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. 2013. 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 Cover Stories International distribution business is ignored by academia, history books, trade publications and forgotten by old-timers page 38 24Indie distributors’ new TV offerings 22Who’s screening in Los Angeles and where 20New U.S. TV season pilots on the docket L.A. Screenings 36Calendar of events and travel news 6 Mart Review: A partly sunny 50th celebration at MIP-TV 4 World: Argentina, Canada, Colombia 18La segunda pantalla viene al rescate de la primera pantalla Sección en Español 14Cuando a los vendedores les va mal con los compradores 13Europa mira a Sudamérica para hacer crecer el mercado de TV L.A. Screenings’ fascinating 50-year history has helped and challenged MIP-TV L.A. Screenings Preview: Old season shows are discounted at the Century Plaza, making room for the new season’s arrivals Residuals are as easy to explain as difficult to calculate Features RETNI N A T OI N A L ww w.Vide gAo .e org BUSINESS JOURNALOF FILM,BROADCASTING,BROADBAND,PRODUCTION,DISTRIBUTION MAY 2013 -VOL.33NO.3 - $9.75 (Continued onPage 10) (Continued onPage34) Though the buzz at the L.A. Screenings — which celebratesits50thanniversary thisyear—isgenerallyaboutthenew fallU.S.TVseason, thestudiosaren’t the only attraction in Hollywood, and VideoAge connected with a cross-section of indie companies to find out their plans for the L.A. Screenings and the programs they haveon tap thisyear. “Our expectations are high,” said Estrella TV’s AndyWeir. “Last year was the first timeEstrellaTVmade its program catalog available to the internationalmarket.One year later, we have a higher awareness IndiesRide the ScreeningsTide Residuals have long been a source of contention between the writers’, actors’ and directors’ guilds (unions) and the producers/studios that own (and exploit) TV and film content. And virtually every strike against the Hollywood studios in the last ResidualsAreas EasytoExplainas DifficulttoCalculate page24 page22 Who’s screening in LosAngeles andwhere page20 NewU.S.network pilots in contention New TV program offerings from indie distributors page13 Sección en Español: Segunda pantalla, compradores,Europa TheL.A.Screenings’Fascinating HistoryHelped,ChallengedMIP TheBritisharrived inL.A.withthe BBCand ITV in1967, followedbythe Australians as the third and fourth groups to join the “Screenings,” while Japanwas the fifth country, with the earliest record of their participation in 1972. Even though it is difficult to pinpoint exactly when the L.A.Screeningsstarted,some retired TV executives designate 1963 as the year inwhichCanadian broadcasters beganmaking the trip toLosAngeles,not inMay,but in… February. In 1964, when Jack Singer, then at ABC International, andMichael J. Solomon ofMCA got the Latins involved, the event did not have a name. Later, it was referred to as the “Screenings,” which became the “May Screenings”when in 1978 itwasmoved to themonth ofMay. In 1983, VideoAge began calling the event the L.A. Screenings, a name that thereafter became accepted worldwide. (Continued onPage28) “This jobwouldn’tbebad if it weren’tfortheunions” aaaMay_2013_FR.indd 1 5/7/13 2:10:17PM
May 2013 4 World The Jornadas (days) of cable conferences and exhibition held annually in Buenos Aires, Argentina, will return to the Hilton Hotel September 25-27. This year Jornadas Internacionales will celebrate 50 years of cable TV in Argentina. Pictured at the right during the announcement are (from right): Walter Burzaco, president of the Association of Cable Television Argentina (ATVC), which organizes the event, with Eduardo Suárez, general manager of Argentina Chamber of Producers and Programmers Audiovisual Signals (CAPPSA). Also pictured is ATVC manager Laura Antoniazzo. In addition to the conference component, Jornadas will have its usual exposition area with 80 stands. Of the 20 seminars on the program, most concern the presentation of technical papers. The non-technical session topics span from regulations to piracy. The exhibition area will include such companies as Artear, BBC, Disney, Fox, HBO, RTVE, Telefe and Televisa, among other international TV content organizations. ATVC’sJornadasSets Calendar Date Pay-TV in LATAM Colombia has the highest pay-TV penetration rate in Latin America, with eight out of 10 households subscribing to cable service, said Miami, Florida-based Latin American Multichannel Advertising Council (LAMAC) in a report. Pay-TV grew 23 percent in the past five years in Colombia, reaching 84.4 percent of the population, the study reported based on figures from the IBOPE market research firm. Argentina, the former leader in LATAM,isnownumbertwo,with a penetration rate of 83 percent of households; followed by Chile, with 60 percent; Mexico, with 44 percent; and Brazil, with a 40 percent penetration rate. On average, the pay-TV penetrationrate inLatinAmerica as a whole is around 50 percent. Cable television customers have been growing in Latin America due to competition between cable providers, opening the way formore offerings andaffordable pricing, LAMAC reported. Colombia has experienced its highest growth in pay-TV subscribers in the middle and lower socioeconomic segments of the market. Channels Seek Basic Carriage Last month, the Canadian Radio-television and Te l e commun i c a t i on s Commissionstarteda two-week period of hearings from over 20 companies seeking “mustcarry” status, i.e. mandatory placement for their channels in basic digital cable packages so that they will be guaranteed subscriber fees. The main contenders include Sun News, a channel featuring “hard news and straight talk” that has been suffering heavy losses; Vision Television, whose programming has, according to its critics, seemingly moved away from its original faithbased mandate; and Starlight, a proposed new channel asking Canadian subscribers to pay 43 cents per month for a channel dedicated completely to Canadian cinema.
(Continued on Page 8) 6 The 50th anniversary celebration of MIPTV (that ended April 11) took place under cool and sometimes rainy weather conditions. But even if the unstable weather was to be expected at that time of year, expectations for the event were a few degrees higher than in the past. Ultimately, the market turned out to be somewhat of a mixed bag, with some participants finding floor traffic down and others basking in the glow of the celebrations and the satisfaction of a decent market. In fact, the partly sunny weather with occasional rain showers was somewhat of a mirror for the market itself. “ThispastMIPwasaveryexcitingmarketforus,” said Natalie Osborne of 9 Story Entertainment. Not least of all because the company announced its deal to represent CCI Entertainment’s children’s library. Ivan Sanchez of Global Agency told VideoAge that on a scale of zero to 10, he would rate this MIP-TV an 8.5. “It went really well and we were very busy,” he said. “We were productively busy,” said Echo Bridge Entertainment’s Emilia Nuccio, making a distinction between being busy and actually accomplishing business. “Our clients came to see our new offerings, and the entire sales team was quite busy with clients from all over the world.” Yet, she added, “We did see fewer new people than in the past. There were fewer people who simply stopped by, but we were still busy with the appointments we arranged before the market.” The same was true for Esther vanMessel of First HandFilms: “Wehadahigh turnout for screenings during MIPDoc and our meetings throughout the rest of the market proved extremely productive,” she said. Though she too found that “the market this year did seem a bit slower than usual, but probably more from the perspective of ‘traffic’ in the Palais, because for us, we had back-to-backmeetings, so we didn’t feel [the slowdown] personally. Our schedule was more than fully booked with 60 meetings in three days, and our clients showed up for 99 percent of thosemeetings,” she said. Record TV Network’s Delmar Andrade also noticed that there were “fewer people around.” But he was quick to point out that “all of the meetings we scheduled in advance took place, so we have no complaints. We also had walk-ins, particularly from Asian territories, on Tuesday and Wednesday, and the floor traffic picked up little by little as the days went on. Ever since the company began focusing on epic series, our productions have become more attractive to the marketplace.” Plus, he added, “We truly believe that little by little the market is returning to normal.” For Jon Rutherford of Tricon Films & Television, MIP was “fantastic. We all noticed a drop in attendees, but because we represent so many genres, we were busy. Though we were booked, we always make time for last-minute walk-ins, as we cut into our lunch time, or tack on time later in the day,” he said. “We were busy,” said ITV – Inter Medya’s Can Okan. “But I understand in general it was very sparse.” However, he noted, “For us, the market was very successful. We sold a telenovela to VIP 2000 for distribution in Latin America, and we had a number of very productive meetings with the potential for format deals in Latin America.” Reportedly, the low floor traffic was due to the absence of many U.S. studios, and even though theofficial numbers indicate strongparticipation on par with past years, these numbers are said to reflect increasing sideline events such as MIPCube and other similar activities that have little to do with the actual buying and selling of TV content. In effect, MIP became a two-day market out of the four days allocated. On the market floor, opening day was slow in the morning, though it did pick up in the afternoon. Meanwhile, the second day was fairly busy all day long. The third day was busy in the morning, but slowed down by the afternoon. The fourth day was essentially closing time. One nice new perk on the market floor was the Veria Wellness Lounge, where MIP attendees could get free massages. And on the occasion of MIP’s 50th anniversary, there were plenty of parties. On Reed MIDEM’s end, the opening party kept guests entertained with performances, a birthday cake-cutting ceremony (with scrumptious cake) and fireworks on the A Partly Sunny 50th Celebration A good convention, but a questionable market that felt the studios’ reduced presence May 2013 MIP-TV Review Lionsgate’s president Jim Packer with M6’s Bernard Majani andVideoAge’s Monica Gorghetto Telefe’s Meca Salado Pizarro, Claudio Ipolitti, Julian Rodriguez Montero, Guillermo Borensztein, Maria Eugenia Costa, Dario Turovelzky CBS’s team at the Médaille d’Honneur Gala
©2013 A&E Television Networks, LLC. All rights reserved. 0542. Suite #1712 Hyatt Regency Century Plaza Descubra nuevas oportunidades de7 Días de Amor en su mercado ellen.lovejoy@aenetworks.com mayra.bracer@aenetworks.com ENVUÉLVETE EN LA PASION Nuestros formatos ofrecen una programación llena de entretenimiento atrevido y cautivador que apasiona nuestra audiencia. Tenemos una química especial con nuestros televidentes y cada día es más apasionante. SERIE ACTUALMENTE EN: ALEMANIA AUSTRIA DINAMARCA NORUEGA F O R M AT O S P O R : AMOR
8 beach sponsored by the Cannes municipality. On Tuesday morning, there was a small 50th anniversary celebration outside the Palais with desserts and Champagne. Wednesday night’s Médaille d’Honneur (Medal of Honor) Gala at the Carlton Hotel, which recognized Armando Nuñez, Jr., president and CEO of CBS Global Distribution Group; his father ArmandoNuñez,Sr.,whoworkedatITC;BetaFilm CEO Jan Mojto; Nicolas de Tavernost, chairman of M6; Sophie Turner Laing, managing director of Content BSkyB; and Masao Takiyama, executive officer and SVP of Sony Pictures Entertainment Japan, was elegant and enjoyable. Among the approximately 350 guests was Bernard Chevry, founder of MIP-TV. Other highlights included a number of celebrity appearances on the red carpet on opening night and during individual companies’ cocktail parties. Legendary rock star and current reality TV star Gene Simmons took a larger role in the market, participating in a Media Mastermind Keynote with Darren Throop, CEO of Entertainment One, on opening day. eOne also brought actress Thandie Newton, the lead in its thriller titledRogue. AnotherbignameontheCroisettewascomedian, movie star and producer Kevin Hart, who was in Cannes on behalf of Viacom International Media Networks for its new faux reality/comedy series Real Husbands of Hollywood. Plus, StarzWorldwideDistributionbrought actor Max Irons, the lead of the new STARZ Original Series The White Queen, as well as bestselling author Philippa Gregory, who wrote the novels on which the series is based. One interesting trendVideoAgenoticed this year was something we’ve dubbed “MIP-cutting” (a MIP-specific brand of cost-cutting). While in the past companies went to great lengths to ensure accommodations at top hotels such as the Carlton and the Martinez, today those same companies brag about the fact that they’re staying in threestar hotels in Cannes. Saving on accommodations seems to be the new hot thing. But in other ways, some aspects of the market seem unchanged. The competition with Monte Carlo and NATPE is history, but the challenges presented by the upcoming L.A. Screenings in May are on the rise, and the event represents a real threat for MIP-TV, which is less willing to change, while the L.A. Screenings is flexible and has adapted well to the new business environment. Next year, MIP-TV will be held in Cannes April 7-10. SA May 2013 MIP-TV Review ( Co n t i n u e d ) MIP-TV founder Bernard Chevry with Armando Nunez, Jr., president and CEO of CBS Global Distribution Group at the Médaille d’Honneur Gala Twelve PR executives out of 24 independent companies at MIP gathered to have coffee withVideoAge, where we unveiled our new look Delmar Andrade of Record TV Network 9 Story’s Vince Commisso, Natalie Osborne, Stephen Kelly, Candice Chambers with CCI’s Arnie Zipursky, Charles Falzon, Jill Keenleyside, Federico Vargas The market turned out to be somewhat of a mixed bag, with some participants finding floor traffic down and others basking in the glow of the celebrations
FEATURING: MATTHEW MODINE STEVEN WEBER JULIA ORMOND MICHAEL VARTAN SETH GREEN TERRY O’QUINN TREAT WILLIAMS DAVID JAMES ELLIOTT LA SCREENINGS PENTHOUSE SUITE 1928 WWW.POWCORP.COM 2x2 HOURS
May 2013 10 Indies Ride the Tide among program buyers and expect more interest in our content. We are hoping to reach the key buying prospects fromLatinAmerica and develop relationships with potential sub-distributors.” He noted, “As an independent exhibitor, I am expecting the same level of attendance as last year from Latin American buyers, which are our primary focus.” Entertainment One’s Valerie Cabrera also expects “the same turnout as last year” as far as Latin buyers go. But, she added, “Most new buyers are coming from all sectors, and more from digital this year than last year.” Marielle Zuccarelli of A+E Networks said that her company attends the Screenings “with a major focus on Latin America, and executives plan to meet with all buyers from every country in the region.” “Since so many Latin American buyers skip MIP-TV in early April, it’s great for us to be able to catch up at the Screenings. It gives us a chance to connect with buyers and plan a few market trips for early summer,” Zuccarelli added. Pepe Echegaray of Power concurred with Weir and Cabrera: “I don’t believe we’ll see much of a difference from last year. There should be a similar or larger presence.” However, he added, “The difference is that people can’t be out of their offices for 10 days for the Screenings. Buyers are shortening their trips, arriving a bit later and spending less time, and when they spend less time in L.A., the indie distributors really have to juggle for their time and attention. “At this point I’m at the same level of scheduled meetings as I was last year, which was slower than in past years, and the reason is that although as many buyers, or perhaps more, are coming, the number of days they are staying has decreased,” he said “NPN has been in business for 15 years, and it continues to generate programming in the consumer, cultural and health related fields, and we’re expanding that internationally,” said John Cuddihy of NPN Media. “The goal internationally is to continue to provide high quality video content, and we’re rapidly moving in that direction both in Latin America and China.” Executives also shared their thoughts on the length of the Screenings. “This year’s entire L.A. Dates. eOne will also host a cocktail party. According to Power’s Echegaray, “Primarily, our slate will be the same as at MIP. We’re really focusing on our end-of-the-world series, which launched very successfully during MIP as a package of five miniseries. The great thing about the package is that the miniseries are already dubbed, so we can close deals in no time at all.” In addition to the miniseries package, Power will have its production Air Force One Is Down and factual programming including documentaries The Birdman Chronicles and Two Wings, Many Prayers. Another title that’s in production is Message from Mandela. In the wildlife category, Power is offering The Animal Communicator and All the President’s Elephants. A+E’s Zuccarelli echoed Echegaray’s comment about dubbed programs, noting that “the programs A+E focuses on are generally fully dubbed into Spanish to showcase versions that are ready to be broadcast.” She added, “Our newest titles that premiere in Cannes at MIP are not always available immediately in Latin America, so we make sure we bring a mix of titles. We also have a strong back catalog of evergreen programs including big history titles that we always make available to our clients.” FremantleMedia International’s Sheila Aguirre noted that the company will “utilize the L.A. Screenings as an opportunity to further showcase our MIP-TV titles, but we may showcase something above and beyond, too.” She elaborated that in L.A.: “We’ll be unveiling some fantastic new formats,” such as Dutch dance format Everybody Dance Now, innovative crossgenre format Perfect Score, dating format The Year of Making Love and more, includingBang! Bang!, family singing show Family Harmony, factual entertainment format The Internand studio game show The Noise. Finished titles include period drama The Making of a Lady, Tattoo Nightmares, Lily Cole’s Art Matters and children’s adventure comedy series Strange Hill High. Record TV Network’s Delmar Andrade noted that his company will “present Joseph, our fourth epic series,” as well as a new telenovela the company is currently producing. “At the L.A. Screenings, we will be making the official presentation of El Señor de los cielos and we will be bringing the products that were presented at MIP-TV, but this time with greater informationtoshare,”saidTelemundo’sEtchison. “For this market, we will have performance results of our newest titles and those that have premiered since [MIP-TV].” As for the future of the Screenings, Multicom’s Holender noted that “the direction of the Screenings is going digital; more digital buyers are starting to attend, and they’re looking for broader catalog rights.” According to Power’s Echegaray, “the interesting thing about [digital] is [the rights] are not exclusive, so we can sell the same product to several buyers, which is different from selling to cable.” But he also pointed out that “not all countries in Latin America are ready for digital, so the digital platforms are discovering that there’s business and a future in it, but it’s not as easy as they thought it would be.” (By Sara Alessi) Screenings is about two weeks long. Perhaps the L.A. Screenings could be organized more comprehensively, giving clients the opportunity to screen and have individual meetings with sellers over the span of [the event], just as is possible at NATPE, MIPCOM and MIP-TV,” said Karina Etchison of Telemundo Internacional. “As Los Angeles is home to the major studios, there will always be attendance, but the decision of adding these extra days may not be as effective, considering that it also coincides with the week of the Upfronts in New York.” Irv Holender of Multicom Entertainment Group also commented about the organic nature of the Screenings, saying that the indie portion of the market is “too short a period. Four days is not long enough. Six or seven days would give everyone the time to acclimate themselves and to not only keep appointments, but also have longer appointments. Last year, we had a lot of missed and canceled appointments because buyers were going off to the studios.” Due to the close proximity of MIP-TV and the L.A. Screenings on the calendar, VideoAge wondered whether indie distributors’ slates would look similar to the ones in Cannes, or whether they would feature new titles. “We continue to bring new programming to everymarket we attend and the L.A. Screenings is no exception,” said Echo Bridge Entertainment’s Emilia Nuccio. Echo Bridge is presenting The Apartment and The Challenger, as well as documentaries Jeff and I’m Carolyn Parker. At the Screenings, Estrella will “be making [its] latest primetime hit, Noches con Platanito, available for the first time,” according to Weir. “As part of Starz Worldwide Distribution’s new initiative to expand its distribution slate, we are expecting to add even more third-party content to our distribution slate,” said Gene George of Starz. “The recently announced one-hour scripted series Hit The Floor from VH1 will be a terrific new addition for us.” Starz will also have the initial episodes of the second season of STARZ Original Series Magic City. Cabrera of eOne noted that the company brings “the same offering as [MIP-TV],” including the upcoming drama series starring Thandie Newton, Rogue; half-hour comedy series, Seed; holiday television movie, The Carpenter’s Miracle; factual documentary series, Perfect Storms; and a new drama series, A+E’s Christopher Barry, Sean Cohan, Marielle Zuccarelli, Dean Possenniskie, Christian Murphy eOne’s Valerie Cabrera and Peter Emerson (Continued from Cover)
RETNI N A T OI N A L ww w.V i de gAo .e org BUSINESS JOURNAL OF FILM, BROADCASTING, BROADBAND, PRODUCTION, DISTRIBUTION MAYO 2013 - VOL. 33 NO. 3 Octubre 31 Septiembre 30 Junio 20 Mayo 18 Edición de AFM: Foco en el Movie Biz Edición de MIPCOM: Foco en Argentina Edición de NATPE Budapest y Jornadas/ATVC Guía de L.A. Screenings – Estudios (Continuación a la página 18) (Continuación a la página 16) (Continuación a la página 14) “Un buen distribuidor es alguien que comprende el mercado local y está dispuesto a trabajar con los programadores ayudándolos a resolver sus necesidades de programación”, dijo Dough Smith, VP y Gerente General de ventas para CanadádeCBSStudios International (CBSSI). La programadora Ellen Baine estuvo de acuerdo. “Comprender las necesidades del comprador es crítico. No se debe tratar de imponer Cuando a los vendedores les va mal con los compradores En estos tiempos, la tradicional televisión linear combate la fragmentación, disrupción, decrecimientodeganancias,desafíos legales, tecnológicos y regulatorios y el incremento de costos. Pero no hay que temer, lo que la tecnología quita, la tecnología devuelve. Si las nuevas tecnologías han encabezado Lasegundapantalla vieneal rescatede laprimerapantalla TV AND VIDEO An analysis of evolving consumer habits Ň$ %ņ Históricamente, Sudamérica ha sido una región difícil de descifrar y penetrar para las compañías europeas. Sin embargo, actualmente, el territorio está tomando una creciente importancia, dado que las economías regionales florecen y nuevos actores — especialmente en la arena digital — ofrecen oportunidades para una amplia gama de contenidos. Para descifrar y penetrar este mercado, los ejecutivos han descubierto que es necesario tener presencia en el lugar. “Sudamérica es un mercado importante, y es uno al que hemos prestadoatencióndesdelaformación de SevenOne en 2005, (ahora llamada Red Arrow International)”, dijo Jens Richter, Director General de Red Arrow International, Alemania. “Siempre ha sido un buen mercado para nosotros dado que nuestro portafolio siempre ha tenido gran cantidad de películas para TV y miniseries, que son dos géneros que históricamente han funcionado bien en la región”. Europamira a Sudamérica para hacer crecer elmercadode TV SECCIÓN EN ESPAÑOL 150 Central Park South Suite 310 New York, NY 10019 phone 212 707 8244 email susan@bendermediaservices.net DISTRIBUTED BY L AT I N AME R I C A N T E L E V I S I O N R E P R E S E N TAT I O N bender media services
May 2013 14 algo al comprador que no es apropiado”. La VP de programación del grupo de canal de películas Hollywood Suite agregó que los distribuidores no siempre hacer sus tareas previas. Ella no puede transmitir animaciones ya que las condiciones de su licencia no se lo permiten. “¿Por lo tanto, para qué perder el tiempo ofreciéndomelas a mí? Preguntó. De manera similar, de acuerdo a Johanna Salmela, una compradora de YLE de Finlandia, y Riitta Pihlajamäki, Encargada de cuatro canales de YLE, los grandes errores que realizan los vendedores son “no conocer nuestro mercado. Nos encontramos con nuevos distribuidores, siendo curiosos acerca de sus catálogos (solamente) para que nos ofrezcan shows que están totalmente fuera del rango de nuestro género”. Internacionalmente, YLE compra cerca de 2500 horas anuales y estudia con cuidado a los distribuidores antes de que sus compradores acuerden mantener una reunión. Según Guido Pugnetti, a cargo del área de Adquisiciones y Derechos de TV de la RAI Italiana, el mayor problema con algunos de los distribuidores es su falta de visión. “Son los que tienden a ver beneficios inmediatos, en lugar de establecer una relación larga y duradera. Para mí, propuestas y sugerencias son siempre bienvenidas y compartir conocimientos es necesario, pero presionar es contra productivo”. En Atenas, John Triantafyllis, que trabaja “para distribuidores que venden sus programas en Grecia y Chipre”, dijo, “uno de los mayores errores que realizan (los vendedores) es no ser conscientes de la situación económica de un país y de las restricciones a las que se enfrentan los compradores de programas”. Desde la región norte de América hasta los países del norte y sur de Europa, el lamento de los compradores de programas parece estar sincronizado: Por favor entiendan nuestras necesidades. Parte de los requerimientos actuales de los compradores de televisión pueden ser subtitulado y descripción del video, y derechos tales como streaming y VOD. Smith de CBSSI define a un buen comprador a “aquel que comprende cuáles son los derechos y elementos centrales que componen un acuerdo y cómo evaluarlos de manera apropiada”. “Vengan a nosotros bien informados acerca de lo que necesitamos, cuales son los derechos disponibles, que materiales están disponibles, y si hay derechos de resiliencia u otros costos involucrados”, dijoBaine deHollywoodSuite. Ella encuentra distribuidores que no siempre buscan las oportunidades o explotan sus derechos. Ella debe tener una actitud proactiva para encontrar films canadienses clásicos. Kevin Keeley, ex ejecutivo de ventas de la Paramount canadiense elaboró: “Un buen distribuidor debe conocer su inventario, ydebe ser capaz de evaluar los programas vendidos, buenos o malos. Ser honesto con respecto al producto, o Bregman. La productora/directora Wendy Watson de Zap Productions en Toronto fue en la dirección contraria. “Como compañía independiente de producción con acceso limitado a los mercados locales e internacionales, probablemente no habríamos realizado muchas ventas si no hubiésemos contratado a un distribuidor, no sólo por suexperiencia, si no tambiénpor sus contactos en la industria”. Ella lo resumió de la siguiente manera: “Sin un distribuidor, habríamos estado perdidos”. Ir con un especialista puede tener sus ventajas. Natalie Osborne es la VP Ejecutiva de Desarrollo de Negocios de 9 Story Entertainment, una productora y distribuidora de Toronto cuya actividad principal es el contenido de animación infantil de calidad. Ella dijo que especialmente el espacio infantil, dada su naturaleza, requiere particular atención y experiencia. Su compañía posee “la experiencia para dar un superservicio a las necesidades de nuestros clientes comenzando por el desarrollo y la producción, pasando por la distribución y el apoyo del marketing”. Cowley de CBC resumió la interacción entre el comprador y vendedor de programas, diciendo: “Una relación exitosa en el negocio está basada en la paciencia; un buen distribuidor dedicará tiempo a conocer qué es lo que realmente gustas, lo que realmente necesitas; de esta manera, no pierdes el tiempo”. Pero también existen esos raros momentos que ocurren debido a que el entendimiento y la confianza entre comprador y vendedor está bien definida y se ha pasado la prueba del tiempo, y es cuando un comprador desea meterse en un embrollo y ocuparse de algo que está fuera de su alcance. El vendedor puede que escuche las palabrasmágicas“tieneustedrazón”.Lehapasado a quien escribe, capturando internacionalmente a Degrassi por primera vez muchos años atrás. ¿Quién había escuchado hablar de programas para pre-adolescentes en aquel momento? IB Con contribuciones de USA y Europa. este le volverá en contra persiguiéndolo”. Además de consideraciones prácticas, ser un buen vendedor significa ser un buen programador. “Considero realmente a un buen distribuidor como a un socio en la programación; los mejores se toman el tiempo y hacen foco en lo que queremos o necesitamos. Tirar a la pesca una gran red de contenidos para canales nicho no es una buena estrategia para el éxito”, dijo Bruce Cowley, responsable creativo de los canales digitales de la CBC Network Programming. “No dispongo de tiempo para ver material que me envían de manera ciega”. Agregó. Sandy Perkins, VP de programación de Superchannel con base en Alberta, estuvo de acuerdo. “Un buen distribuidor se toma su tiempo para comprender cuáles son nuestras prioridades y arma a medida una lista de contenidos que nos sirva”, dijo ella. “Nunca mandan pilas de DVD para ver- especulando a que nosotros veamos y busquemos material y les llamemos si es que hay alguna posibilidad. Rachel Goldstein-Couto, Directora de programación especial, comedias y dramas para Bell Media, advirtió: “No pierdas el registro de lo que ya me has ofrecido y a que producto ya le dicho que no”. Agregó, “y continúa dando servicio a tu producto luego de haber concretado el acuerdo”. Goldstein-Couto espera de un buen distribuidor mantenerla al tanto de las fechas de inicio y prioridades, de brindar información sobre cada episodio y especialmente, oportunidades de promoción, publicidad y ventas integradas. “Los programadores en estos tiempos tienen una gran presión por mostrar retorno en la inversión por lo tanto hay una gran carga sobre el distribuidor a sacar el máximo provecho del producto. ¿La ventaja? Más Retorno de Inversión significa más dinero para gastar el año siguiente”. Conocer la grilla de programación de los broadcasters, y donde podrían estar sus agujeros, sus ciclos de compras, que es lo que la competencia está vendiendo, y mantenerse al día con el cambiante mundo de los Medios, hacen que el distribuidor disponga de una buena caja de herramientas. Sin embargo, algunas veces no importa cuan buena es la información, cuan detallada es la investigación del mercado y el target de la programación, la oferta a un comprador puede terminar en un agujero negro, aguardando al menos un “no gracias” de cortesía por los esfuerzos realizados. Neil Bregman, Presidente de la productora Sound Venture International con base en Ottawa, que ha decidido distribuir por su propia cuenta, entiende la interacción del mercado. Con suficiente volumen y un catálogo especializado en artes, performances y programas documentales, ha tenidoventas exitosas, quedándoseconel 100% de las ganancias, encontrando esto ventajoso financieramente al hacerlo por sí mismo. “Ir a los mercados internacionales me da la perspectiva de las tendencias, precios y necesidades”, dijo Vendedores y Compradores (Continuación de la página 13) Una relación exitosa en el negocio está basada en la paciencia; un buen distribuidor dedicará tiempo a conocer qué es lo que realmente gustas
May 2013 16 Europa Mira a Sudamérica Además del producto adecuado, Richter da crédito a la “estrecha colaboración” con Spiral, compañía con base en Miami — y, en particular, consuDirectorGeneral ZashaRobles—queayuda de Red Arrow a conectarse con el territorio. De manera similar, Studio 100, una compañía productora y distribuidora con base en Bélgica y con su oficina principal de ventas en Alemania, utiliza a Comarex de México como su representante en Latinoamérica. En 2012 por primera vez, ITV Studios Global Entertainment organizó un evento “showcase” en México City. Ilustrando el rápido crecimiento del negocio de la diversidad de contenidos en Sudamérica, el evento, que tuvo lugar en agosto, estuvo dedicado solamente a compradores de México,yatrajoaproximadamentea40ejecutivos, los cuales FlavioMedeiros, VP de ventas de Latino Salling, COO y Director de ventas de Nordic World, que calificó a Sudamérica como “un importante mercadoquedebemosdescifrarypenetrar”,admitió que, “es algo que todavía no hemos conseguido hacer”. Salling marcó una serie de razones para la relativa falta de éxito de Nordic World “al sur de la frontera”. Una razón central es la ausencia de un socio local. “Sudamérica está lejos de Escandinavia, ynos es importante contar conalguienenel terreno. Alguien que entiende nuestro catálogo, y se sienta apasionado por él”, dijo. En realidad, Nordic tuvo una representación local, pero canceló el acuerdo ante la falta de resultados. Pero también fue muy claro al marcar quehayotrosdesafíos paraNordic enSudamérica. “Es cierto, que somos un distribuidor boutique de Escandinavia y la simple verdad es que gran parte de nuestro catálogo no es adecuado para la audiencia sudamericana”. La nación europea que, por razones evidentes, siempre ha tenido la mayor presencia en América del Sur, es España. La dimensión en la cual España se encuentra sola por encima del resto de Europa en la región es enfatizada por los comentarios de Came Puig, Coordinadora del departamento internacional de Catalan Films & TV, quien, dando la bienvenida a la nueva plataforma digital como un “plus”, dijo que “los objetivos principales de las compañías de distribución españolas siguen siendo las ventas de films y programas de televisión”. Puig también describió los desafíos más importantes que enfrentan las compañías españolasenLatinoAméricatales comolostemasde“coproducción, especialmente en lo que hace al apoyo con deducciones fiscales, que viene siendo desarrollado en la mayoría de los países sudamericanos”. Para Jack Alfandary, SVP de FremantleMedia Latin America & U.S. Hispanic, “Sudamérica ha sido siempre importante para FremantleMedia, y ciertamente nosotros vemos el incrementode oportunidades. Es un mercado sumamente vibrante”. Alfandary explicó que FremantleMedia Latin America posee facilidades de producción en México y Brasil, con personal local en esas oficinas y trabajando en producciones como Idols Brasil, o Password en México. “También tenemos equipos trabajando en Miami en producciones Panamericanas en conjunto con programación para el mercado hispano americano”, agregó. FremantleMedia también produce en Colombia y Puerto Rico. BJ América y USA hispana denominó, “canales mexicanos de la capital y regionales”. Enfatizandolacrecientegamadeoportunidades disponibles para proveedores de programación en elmercado sudamericano endesarrollo,Medeiros dijo que: “dramas, películas, entretenimiento informativo y formatos se venden bien”. Medeiros también espera, “anunciar a la brevedad un acuerdo importante de formatos tanto en Brasil y Colombia”. Todo lo que funciona bien en USA tiende a funcionar bien en Sudamérica, y, informó Richter, “uno de los mejores aspectos del mercado sudamericano es que posee un importante presencia en el Pay-Per-View. Haciéndose eco de muchos de los puntos marcados tanto por Richter como porMedeiros, Jan (Continuación de la página 13)
May 2013 18 mientras usan al mismo tiempo otra pantalla. En el informe de 2nd Screen, ellos ponen una cifra más modesta de tan sólo el 40%. Ahora bien, si el informe que indica que el 62% de los espectadores miran TV mientras utilizan tablets, smartphones o laptops es correcto, uno podría pensar que no habla muy bien de la calidad de los programas vistos. Si uno observa cómo los niños y los jóvenes consumen televisión, cuando miran algo que les interesa, ellos hacen foco solamente en el programa. Por otra parte, cuando holgazanean en el sofá mientras la TV está encendida con un programa que no les interesa en particular, inmediatamente pasan a usar la segunda pantalla. No es así, dijo Parker, marcando que durante el último Super Bowl en febrero transmitido por CBS que representó lejos, ser la emisión de TV con una plétora de problemas para la pantalla de TV, las nuevas tecnologías están ahora viniendo al rescate con una segunda pantalla. Tal como lo explicó Chuck Parker de 2nd Screen Society, la televisión tradicional puede volver a capturar la atenciónde los espectadores al hacerlos participar por medio de una segunda pantalla, sea un smartphone, una tablet o una laptop. 2nd Screen Society se creó en Port Washington, Nueva York, el junio último, y cuenta ahora con 40 miembros con Guy Finley como su Director Ejecutivo y Chuck Parker como Presidente del directorio. La empresa ha producido un informe de 252páginasdisponiblepor$2.995dólares,mientras que es posible obtener un resumen ejecutivo del mismo de 95 páginas por $495 dólares. De acuerdo al informe The Consumer Lab 2012 de Ericcson, 62% de los espectadores miran TV mayorparticipaciónsocial, conunaactividadtotal de 52.5 millones de participaciones realizadas por 24 millones de personas. Cerca del 56% de esta audiencia “involucrada” fueron hombres y un 44% mujeres, utilizando aparatos móviles (88%) y la Web (un 12%). Durante la reciente ceremonia de los Oscars, la Academia de Artes y Ciencias Cinematográficas y la NBC Network proveyeron una segunda pantalla a los espectadores con una oferta digital “Oscar All Access” que acompañaba la emisión en vivo. También recientemente, la Fox Broadcasting Company (FOX) lanzó una nueva network de sindicación que distribuirá de manera sync-tobroadcast experiencias de FOX hechas a medida — actualmente disponibles exclusivamente en la FOX NOWapps—laotrasegundapantalladeproveedores de aplicaciones de TV. Por lo tanto, no sólo la segunda pantalla es necesaria para recapturar espectadores, si no que también representa una creciente fuente de ingresos por $409 millones de dólares por año invertidos hasta el momento a nivel global, llegando a unos estimados $5.9 billones de dólares para el año 2017, monetizando tanto publicidad como comercio por telefonía móvil. Generalmente, la segunda pantalla es considerada la versión del siglo XXI del diario impreso mientras se mira TV. Pero Parker rechaza esta analogía porque la lectura del diario es “chata,” mientras que estar involucrado con una segunda pantalla es “como leer los titulares cambiantes o tres artículos diferentes”. Sin embargo, uno podría definir la segunda pantalla como la segunda fase de la interactividad (ahora llamada “involucrada”) concebida para la pantalla de TV, que fue vista, hasta hace solo dos años atrás, como un centro multimedia. Si las encuestas son precisas, ver televisión se ha vuelto nuevamente una “actividad social”,aunquedeunanaturaleza diferente a la tradicional de hace décadas atrás, la familia mirando TV. Actualmente la actividad social de mirar TV es a nivel individual, interactuando con otros individuos por medio de una segunda pantalla, incluyendo redes sociales, tales como Facebook y Twitter. Es posible que, actualmente, una familia pueda estar viendo un mismo programa de televisión, mientras que cada miembro está involucrado con su propio dispositivo. La Segunda Pantalla (Continuación de la página 13)
2013-14 Network-Commissioned Pilots A B C - COMEDY Back in the Game A recently divorced single mother moves in with her estranged father, a former baseball player. Bad Management In a luxury department store, the boss’s son has plans to sex up the place. The Crazy Gene Karey is the straight-arrow black sheep in a family of petty thieves and drug addicts. Divorce: A Love Story Based on an Israeli format about a recently divorced couple who can’t stay out of each other’s lives. The Goldbergs Inspired by writer-producer Adam F. Goldberg’s dysfunctional childhood. King John Based on comedian John Leguizamo’s life. A Bronx-born man marries into a privileged lifestyle. Middle Age Rage A fed-up middle-aged mom begins to speak up and demand respect. Mixology New York City singles looking for love — over the course of one night. Pulling Based on a British series, about three single, 30-something women. Spy Based on a British series, the father of a highly intelligent and verbal son inadvertently takes a job at the Secret Service. Super Fun Night Three nerdy female friends’ quest to have “super fun” every Friday night. Trophy Wife A reformed party girl falls for a man with three children and two difficult ex-wives. ABC - DRAMA Betrayal A female photographer begins an affair with a lawyer for a powerful family who is connected to her husband. Big Thunder A brilliant, late-19th-century New York doctor relocates to a frontier mining town. Doubt A former cop-turned-low-rent-lawyer uses his street smarts to work the system. Gothica A sexy gothic soap set in present day that incorporates the legends of Dracula, Jekyll and Hyde and Dorian Gray. Influence Two brothers head a unique agency designed to use the science of human motivation and manipulation. Killer Women Based on Argentinean series Mujeres Asesinas , the drama revolves around the only woman in the Texas Rangers. Lucky 7 Seven employees of a service station in Queens win the lottery. Marvel’s Agents of S.H.I.E.L.D. Based on Marvel Comics’s secret intelligence organization. Murder in Manhattan A dramedy about a mother-daughter amateur sleuthing team. Reckless After his wife is unjustly imprisoned overseas, a man turns to less-than-legal options. The Returned A supernatural thriller where people see their dead loved ones returning. Westside A soap about two rival families from Venice, California. C B S - COMEDY Bad Teacher Based on the 2011 film about a morally corrupt teacher. The Crazy Ones A workplace comedy set in the advertising world, starring a brilliant but crazy dad and his more practical daughter. Ex Men A young guy finds camaraderie living in a short-term rental complex. Friends with Better Lives A group of 30-something friends who each think the other has it better. Gaffigan A semi-autobiographical comedy about the stand-up comic and his five kids. Jacked Up A recently retired baseball player has trouble adjusting to retirement. The McCarthys A family comedy about a dysfunctional Irish Catholic sports-crazed Boston clan. Mom A newly sober single mom tries to pull her life back together in Napa Valley. Super Clyde Centers on a meek, unassuming fast food worker who becomes a superhero. Unauthorized Greg Garcia project A recently divorced man’s life is complicated when his parents move in. Untitled Julie Rottenberg and Elisa Zuritsky project Based on Israeli format Mother’s Day, a mom of three struggles to balance family, life and work. Untitled Tad Quill project A recently widowed father raises his son while jumping back into dating. CBS - DRAMA The Advocates A lawyer and an ex-con go to the very edge of the law for the underdogs. Anatomy of Violence A criminal psychologist partners with a female detective with a difficult past. Backstrom A surly detective tries, and fails, to change his self-destructive behavior. Beverly Hills Cop Continuation of the movie franchise, focusing on Axel Foley’s police officer son in the tony California neighborhood. Hostages A Washington, D.C., surgeon is thrown into a political conspiracy after being chosen to operate on the U.S. president. Intelligence The U.S. Cyber Command unit is created around one agent with a microchip implanted in his brain. NCIS: Red Spin-off to popular series about a mobile team of agents. The Ordained The son of a famous political family leaves the priesthood and becomes a lawyer. Reckless A sultry legal show set in Charleston, S.C., about a Yankee litigator and a Southern city attorney. Second Sight A gothic psychological thriller about a detective with a virus that causes hallucinations reflective of his subconscious. The Surgeon General A medical show centered on America’s top doctor. C W - DRAMA Blink A family patriarch is in a coma, he can’t speak or move, but can see and hear. Company Town Chronicles the aftermath of a scandal at a Navy base. The Hundred After a nuclear war destroys civilization, 100 juvenile delinquents are sent back to Earth. The Originals* A spin-off of The Vampire Diaries , about the Original family in New Orleans. Oxygen Nine secret aliens are integrated into a suburban high school. Reign The tale of Mary Queen of Scots’ rise to power. The Selection Set 300 years in the future, a young woman is chosen to participate in a competition for the Royal Prince’s hand. The Tomorrow People Based on a U.K. series, young people across the globe represent the next stage in human evolution, with special powers. F O X - COMEDY Brooklyn Nine-Nine Revolves around a diverse group of detectives at a New York police precinct. Dads* From Seth MacFarlane, a comedy that centers on two successful guys in their 30s and their nightmare dads. Enlisted Follows three very different brothers working together at a small army base. Us & Them* Adaptation of BBC series Gavin & Stacey,about a new couple trying to maintain their long-distance relationship. The Gabriels Centers on a neurotic family of introverts that tries to fit into their Midwest town. I Suck at Girls A story about a boy becoming a man, and a man becoming a father. Murder Police* Animated series about a dedicated but inept detective and his colleagues. Two Wrongs Two star-crossed lovers must contend with friends and family’s disapproval. Untitled Sherry Bilsing-Graham/Ellen Kreamer project Assistants at a big New York law firm band together to cope with their obnoxious, overbearing bosses. FOX - DRAMA Boomerang Focuses on the drama surrounding a family of assassins for the U.S. government. Delirium Set in a world where love is deemed illegal and is eradicated with procedures. Gang Related A gang member infiltrates the San Francisco Police Department’s Gang Task Force. Human Set in the near future, LAPD cops are partnered with human-line androids. The List A U.S. marshal leads the hunt for the person who stole a file with identities of the Witness Security Program. Rake* Based on an Australian series about a brilliant but self-destructive criminal defense lawyer. Sleepy Hollow A modern-day supernatural thriller based on the legend. N B C - COMEDY About a Boy An adaptation of the novel and film about the relationship between an immature bachelor and a young boy. Assistance An idealistic assistant attempts to find balance in her life. Brenda Forever Stories from the past and present of Brenda Miller’s life. Downtowners Revolves around the trials and tribulations of dating in your 20s. Family Guide An immature single mom of two grows closer to her blind ex-husband. Gates Based on the British comedy of the same name, the show is set at the gates of an elementary school. Holding Patterns Ensemble comedy about a group of friends who survive a plane crash. Joe & Joe & Jane A children’s book author is caught in an ongoing tug of war between his wife and his co-author/best friend. The Michael J. Fox Show* Inspired by Michael J. Fox’s life with Parkinson’s. Mr. Robinson A talented musician adjusts to his new life as a middle school music teacher. Mulaney An ensemble comedy loosely based on the life of John Mulaney. Sean Saves The World A guy must parent his 14-year-old daughter while juggling his tough boss. Undateable A “bromantic comedy” about a couple of friends who are terrible with women. Welcome to the Family Two families are bound together by their teenage children’s unplanned pregnancy. NBC - DRAMA After Hours An ensemble medical show following army doctors working the late shift. Believe An unlikely relationship blooms between a young girl with unusual powers and a man sprung from prison. The Blacklist A master criminal turns himself in and works with a newly minted FBI agent. Bloodlines An orphaned young girl is caught in a struggle between two warring families. Crisis The president’s son and his schoolmates are kidnapped. Dracula Dracula lives a double life in London as an American businessman. The Gilded Age A period drama about the millionaires of 1880s New York, by the creator of Downton Abbey. The Hatfields & McCoys Places the legendary family feud in modern day Pittsburgh. I Am Victor A high-powered divorce attorney with a unique view of relationships. Ironside A remake of the 1960s series about a tough wheelchair-bound police detective. The Secret Lives of Husband and Wives A drama about the secrets exposed after a murder in suburban California. The Sixth Gun Based on a supernatural Western graphic novel about six mythical guns. 20 *Ordered to series as of May 6 May 2013
RkJQdWJsaXNoZXIy MTI4OTA5