V I D E O • A G E OC T O B E R 2 0 1 1 30 Hollywood’s biggest international TV sales bash is without a doubt the L.A. Screenings, where the studios show their newest promising hits, parade their most bankable stars and stage their finest parties for buyers from all over the world. Of the more than 1,500 international acquisition executives, over 300 (or 20 percent), come from Latin America. If one includes other Latin territories, like Spain and Portugal — which the studios are starting to place under their Latin American TV divisions — the number increases to 380 buyers (25 percent), making it the largest contingent at the Screenings in Los Angeles in May. With these kinds of references, it’s no wonder that Latins in L.A. dominate the scene with their own Screenings, their own luncheons and their own parties, like the one organized by Telefilms to celebrate its 50th anniversary, and fellow indies Venevision and Telefe. In terms of importance to Latin buyers, the L.A. Screenings are currently almost on par with NATPE — now that it takes place in Miami, Florida — even though MIPCOM is becoming increasingly important to Latin American acquisition executives, representing their third largest market. However, in terms of participation, with about 170 companies from 10 countries, MIPCOM draws by far the largest continent from Latin America, compared to the L.A. Screenings and NATPE combined. While to most Latin sellers MIPCOM is a good venue to target European buyers, to some Latin distributors, like Telefilms and VIP2000, MIPCOM is crucial as a place to acquire new product for Latin American distribution. These are activities that are usually not done at the L.A. Screenings, where the focus for all distribution companies is on sales. At MIPCOM, in addition to their new season product, the studios’ Latin divisions will be offering their local productions, many of which are now in their third season, like Disney Media Network Latin America’s The Amazing Race. Telefilms president Tomas Darcyl said MIPCOM is particularly valuable because, as opposed to other markets, it is “a market that is focused not only on sales but on seeing products.” For Jose Escalante, director at Latin Media Corporation, “MIPCOM is important if you want your programs to be successful in Western Europe, just as NATPE and L.A. Screenings are important for the Latin American markets, or DISCOP for Africa and Eastern Europe.” At Telefe Internacional, Michelle Wasserman said that MIPCOM is the “biggest market for us, and covers worldwide clients: Europeans, Asians, Africans, Americans and Latins as well” — all territories that Telefe targets. Caracol Television, too, is targeting Asian, Eastern European and Middle Eastern markets. Caracol Television’s Lisette Osorio called MIPCOM a “great window for the audiovisual market,” and noted: “We look forward [to the fact] that at MIPCOM, we can explore new markets that can lead us to make new negotiations.” According to director of International Sales at Record TV Network Delmar Andrade, MIPCOM is the “most important [TV] fair in Europe.” And Cesar Diaz, vice president of Sales at Venevision International, agreed that it is a “tremendously important market” because it allows the company to meet with clients from European, Asian and Middle Eastern territories. Both Wasserman and Diaz pointed to the timing as one of MIPCOM’s strengths. According to Diaz, “The fact that it takes place in October gives us an opportunity to highlight any new programs that have just made their debut during the past months or will premiere during the fall or before the year’s end, in addition to giving preliminary announcements of what shows we may have ready for NATPE.” Wasserman noted that while Telefe arrives in Cannes with “several advanced deals,” they planned to complete, they also have their eyes open for new potential deals. “We usually close the biggest deals of the year at MIPCOM,” due to the timing, Wasserman said. Likewise, Telefilms’ Darcyl honed in on the market’s timing, as well as its significance for particular territories. MIPCOM is “a little more important for clients in Latin America than MIPTV,” he said — particularly because it’s the last sales market of the year. FremantleMedia Enterprises SVP, Sales and Development, Latin America and Hispanic USA Sheila Aguirre anticipated “a very good turnout…our schedule is already filling up fast,” she said in late August. She went on to say that MIPCOM has become even more important because of an increase in Latin American participation. Roxana Rotundo, CEO of VIP 2000 TV, offered a different perspective: “MIPCOM is the festival where I go to acquire the content I will sell at NATPE,” she said. Rotundo travels to MIPCOM alone, and does not have a stand to exhibit product, in contrast with NATPE and the L.A. Screenings, where she exhibits. Elie Wahba, vice president, Twentieth Century Fox Distribution for Latin America, is putting the spotlight on American Horror Family and other shows that were presented at the L.A. Screenings, but haven’t been sold yet. Specifically he’s targeting Latin countries “that participate in the market: Argentina, Brazil, Chile, Colombia and Mexico.” MIPCOM’s Vital Latin Component L . A . Sc r een i ngs i n Cannes Disney Media Network Latin America: Henri Ringel, Fabiola Bovino, Jack Morera, Fernando Barbosa, Leonardo Aranguibel, Gustavo Sorotski Telefilms’ Alfredo Andreotti, Tomas Darcyl Rede Globo’s Paula Miranda and FME’s Sheila Aguirre Sony Pictures’ Latin Screenings
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