34 May 2015 Buyers’ Wish List Similarly, Pedro Lascurain of Mexico’s Azteca said, “If the one-hour series promises to last at least two seasons, then I want to see the whole episode. For all the rest I’d rather watch a 10-minute promo.” And Jorge Garro of Costa Rica’s Teletica likes to “watch one full comedy and one full drama and the rest just promo reels.” A buyer from Chile who did not want to be named said, “For a drama series it’s best to watch full episodes, but for sitcoms I’d just go with short five-to-seven minute reels,” while for Cida Goncalves from Brazil’s buying agent 8 Star, “promo reels provide a good insight. Full episodes could be provided per request.” A major LATAM buyer who also did not want to be named explained, “I would prefer to see promo reels for comedies, 15 or 20 minutes of some dramas and one or two full episodes of the highlight drama series. Some of the presentations are too long. In general, it would be better if they could fit [all of the screenings] in the morning.” The Chilean buyer we polled also prefers mornings: “This way we have time for personal meetings in the afternoons,” he said. The same answer was given by Saeta TV’s Daujotas, and Azteca’s Lascurain was of a similar mind. Teletica’s Garro, too, prefers the mornings and early afternoons. The mornings are also generally the Europeans’ and Asians favorites. Said Horan, “The mornings are better at the beginning of the market as the jet-lag often kicks in by midafternoon.” Added Huang, “Of course [I like to screen] in the morning. In the afternoon, the jetlag [sets in] and after lunch [buyers] can be very sleepy.” Then there are the added features — like meeting with the stars and becoming familiar Pilots tell you much about a show, but not necessarily where the story is going.” But France’s Majani opined, “It should be limited to the series that you like.” Conversely, a buyer from LATAM commented: “It’s not important to know the creative process behind the series. That time could be used to screen more product in less time.” The buyer from Chile concurred and Daujotas added, “I do not find any interest in producers talking about the shows.” Mexico’s Lascurain explained: “Unfortunately, [not too many buyers] really care what was the process they went through.” And Brazil’s Goncalves summed it up, saying “Usually, time is quite limited.” Invariably, though, all the buyers interviewed like to mingle with the stars and enjoy breakfasts and luncheons. “I never say no to a meal,” concluded Steinsrud. By Dom Serafini with the creative process by talking or listening to showrunners and/or screenwriters’ general presentations. To Mediaset’s Stewart it is important to know the creative process behind each new series: “Meeting Peter Roth at Warner Bros. and Disney’s producers over the years has given us a true insight into this process,” she said. For Huang of Promo TV, knowing the creative process, “surprisingly helps to make buyers decide which [show] to acquire.” Garro concurred: “I still remember the conversation between the president of NBC and the producer of the Cop series that resulted in Miami Vice.” Steinsrud added, “[It is] always interesting to hear about the creative process, but much better done in conversation than as a presentation.” To Horan, “hearing from the producers, the writers and the show-runners is really useful. (Continued from Page 32) Seeing and talking to a lot of stars at luncheons is a nice perk. Breakfasts and luncheons are always appreciated. At one time, the longer screenings offered a break during the Memorial Day holiday weekend, which was used for backyard barbecues at sellers’ houses and football (a.k.a. soccer) matches between sellers and buyers. Meeting studio executives at luncheons is a great networking opportunity.
RkJQdWJsaXNoZXIy MTI4OTA5