I N T E R N A T I O N A L www.V i deoAge.org THE BUSINESS JOURNAL OF FILM, BROADCASTING, BROADBAND, PRODUCTION, DISTRIBUTION September/October 2014 - VOL. 34 NO. 6 - $9.75 (Continued on Page 52) There is a growing belief that — as the TV universe splinters and viewing options multiply — large audiences can only be generated from live events such as sports, as the SPORTEL and MIPCOM TV markets on the Cote d’Azur can attest. The “irrational bidding” for sports rights, per some Canadian TV analysts, will drive up prices and limit consumer choice, as costs will be passed on to the viewer. According to the CRTC, the Canadian Radio-television and Big Fights For Sports TV Audiences Local production versus content acquisition Looking beyond the future of television Cannes In October: Playa-ground For Latin American Television Report on Italian TV: Rai Fiction, Rainbow and more Page 48 Pages 38, 40, 44, 46 Page 32 Pages 22, 24 When VideoAge first reported on Zodiak in April 2009 and later in October 2010, the company was a time-bomb with a group of volatile, strong-willed executives at its core as a result of multiple rapid international acquisitions. When D’Halluin’s Zodiak Takes A New Path (Continued on Page 54) Doing LunchAt TheMajor U.S. Studios For The L.A. Screenings At the 51st annual L.A. Screenings, 1,700 buyers (as confirmed by Warner Bros.) from 70 countries converged in Los Angeles at their own expense with walletsinhandtovisittheHollywood studios that sell new U.S. TV series. In return, the studios provided them with great TV content, refreshments and local transportation. Buyers were picked up at their hotels at 8 a.m., served breakfast and lunch on the lots and then brought back to their hotels, usually at 5 p.m. so they could rest before the evening’s festivities — either at the studios, in the executives’ homes or at famous restaurants for private dinners. Although the breakfasts are sumptuous and healthy, the lunches are the highlight of the day —when the stars of the new series greet and interact with buyers. Due to the importance of the main meals during the L.A. Screenings, VideoAge analyzed the relationship between the new series and the gastronomic offerings presented (Continued on Page 56)
SONS OF LIBERTY 3 x 2 hrs or 6 x 1 hr Starring Ben Barnes and Rafe Spall A defiant and radical group of young men band together to make America a nation. Produced by A+E Studios and Stephen David Entertainment Starring Maria Bello and Olympia Dukakis From a story by Stephen King, a young novelist is hell-bent on revenge after she is brutally attacked. Produced by Ostar Productions BIG DRIVER 1 x 2 hrs INTRODUCING A new destination for original dramas, miniseries and movies commissioned by our top-rated networks – HISTORY®, A&E® and Lifetime®.
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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 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 14. TCA Review: U.S. nets’ top brass discuss changes 36. Having a laugh is good for the TV biz — seriously 38. Programming is king, but brand is queen 40. TV re-windowing 44. Sunday is the new Thursday 46. TV and the evolution of the smartphone 22. Italian TV: RAI, when the drama of fiction enters politics 24. Italian TV: Rainbow, Europe’s largest animation house 28. U.S. Summit of TV and Radio Giants 34. Having offices around the world is not a status symbol 48. Europe’s shrinking production budgets Territories 6. World: Croatia’s NEM 8. Tech Talk: 4K, DTTV 12. Book Review: Sammy Davis, Jr. 16. Mart Report: At NATPE Europe comparison with Budapest is unavoidable 30. Movie Biz: AFM attendees looking for $ sign 32. Mart Preview: MIPCOM 50. Programming: A buyer’s perspective 60. Calendar of events Doing lunch at the major U.S. studios for the L.A. Screenings Big fights for sports TV audiences Marc-Antoine d’Halluin’s Zodiak Takes A New Path The market bags of yesteryear were practical and useful. Today’s bags get discarded in hotel rooms as soon as the contents are emptied. Page 62 News Features Cover Stories
THE DEEPER YOU DIG, THE FURTHER YOU GET FROM THE TRUTH. F ROM T HE E X ECU T I VE P RODUCE R S OF HOME L AND AND HE ROE S JASON ISAACS ANNE HECHE
October 2014 6 World www.grbtv.com•sales@grbtv.com STAND R7. K17 09.19.2014 JUNIOR PAGE_ 7.284”x 9.055” VIDEO AGE AD 2 1O0x30 13x30 52x30 36x60 The first day of the market opened with an electrical problem that left part of the conference and exhibition area in the dark for a few hours, delaying some of the panels, which were rescheduled for later in the week. Panels were held every day with topics ranging from the “Future of TV Channels,” to “The Success of European Drama in the U.S.,” to “The Next Step For TV Formats.” Unfortunately, some of the big-name panelists canceled, however the keynote was delivered as scheduled by AMC/ Sundance Channel Global’s Bruce Tuchman. Events included an HBO party for its Game of Thrones, a series that is filmed in Dubrovnik. Plus, Scandinavian broadcaster Viasat sponsored the opening cocktail, and the organizers held a party for the World Cup opening match, featuring Brazil vs. Croatia. This was VideoAge’s first time atthemarket,andourimpression was that its potential is limited to Croatia and surrounding countries. It appears that the bulk of entertainment companies wanting to reach the CEE market, and the Balkans in particular, opted for NATPE Europe, held a week later in Prague (see report on page 16). RTL Croatia’s Dragana Kos is a supporter of the event since it’s held in her home country, but told us she was hoping for a larger number of distributors. The isolated location of the market venue likely worked against it. Plus, normally, marketgoers prefer to have markets start on weekends (rather than on a Tuesday as NEM did), but this is impractical in a city like Dubrovnik, where 50,000 tourists from five or six huge cruise liners anchor in town during the weekend, and the city becomes dysfunctional even for the locals. Also, the fact that June is a crowded month for TV-related markets (there were 20 trade shows in 10 countries) does not help NEM, despite the fact that Dubrovnik could be the perfect spot to attract buyers from true emerging countries like the Balkans, more so than the already matured Prague (though cost-wise the two cities are on par). To NEM organizers, VideoAge raised the question of merging with NATPE Europe. “It’s premature to talk about partnership since this is only the second edition and [the market] saw a lot of growth from last year,” they said. The four-day New Europe Market (NEM) opened last June in the Croatian city of Dubrovnik for about 450 TV executives from an estimated 30 countries. This marked the second edition of the market-cum-conference. This year it was headquartered in a wing of the Radisson Blu Hotel, a stunning resort with beautiful views of the Adriatic Sea, that’s somewhat inconvenient: It’s an approximately 20-minute drive from the historical city center, where shops, restaurants and most other hotels are located. Market organizers provided limited shuttle bus service to take participants around. The market floor housed meeting tables for 15 exhibitors, including RTL Croatia, FremantleMedia andNEMorganizerMediavision, a Croatian company. CBS Studios International and Disney exhibited in separate suites next to the registration area while Eutelsat had the only stand. A Good Second Try For Dubrovnik’s NEM, But The Market Grows Slowly
8 October 2014 Tech Talk 52 X 11’ CANADA PAVILION P-1 A.0 the first all-4K channel, UMAX. It offers 40 original programs, including films, documentaries and animation. And on April 26, Sky Deutschland transmitted the football match between FC Bayern Munich and SV Werder Bremen live over satellite inUHD. However, the first time 4K productions were used at a major world sporting event was at the Sochi Winter Olympics, where cable MSO Comcast (NBCUniversal’s parent company) captured parts of the Games, including the opening ceremony, in 4K. In Russia, pay-TV operator NTV-Plus transmitted 4K content to select public areas throughout Russia. Traditionally, sports have been used as launching pads for new TV technology. The 1968 Summer Olympics in Mexico were the first Games to be broadcast in color; the 2008 Summer Olympics in Beijing were the first tobe transmitted in 1080p HD; the 2010 FIFA World Cup in South Africa recorded the initial 3D broadcast. But the real showcase for 4K will be at the 2016 Summer Olympics in Brazil, where major broadcasters around the world will most likely be offering some 4K coverage. Looking ahead, Panasonic reported that they will test 8K broadcast during the 2020 Summer Olympics in Tokyo, while NHK has stated that for the Tokyo Olympics they will be ready to broadcast in 8K. Provincial DTTV Expands in Thailand As of last June, 11 provinces in Thailand were fully covered by digital terrestrial television signals from both public and commercial channels. This DTTV coverage represents 50 percent of the country’s 22 million TVHH. In April, Bangkok and three provinces (out of the country’s 76) were the first to receive DTTV from the 24 commercial TV channels and from some of the country’s 12 public stations. Under the “must carry” rule of Thailand’s broadcast authority (NBTC), cable and satellite TV subscribersarealsoabletoreceive digital terrestrial TV signals. Some of the matches of the 2014 World Cup football (soccer) tournament held in Brazil were produced in 4K, a TV technology that allows four times the screen resolution of standard HD TV. Sony and FIFA, the global football organization, collaborated on a range of 4K initiatives for the production of the official 2014 FIFA World Cup film that included a selection of games and three full matches: the June 28 match (selected from a round of 16), the quarter-final on July 4 and the final on July 13 at the Estadio Maracaña in Rio de Janeiro. The 4K productions are still in the realm of experimental television and therefore were not broadcast, but 4K-TV set owners were able to view the footage after the tournament. The BBC streamed the matches in 4K to a small number of special TV sets in the U.K., while in Japan, the 4K productions were available for viewing at Sony showrooms and Sony stores. Yet, on April 10, South Korean content aggregator Homechoice launched Brazil’s World Cup Helps 4K-TV
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STARZ and related channels and service marks are the property of Starz Entertainment,LLC.Survivors Remorse © 2014 Starz Entertainment,LLC.All rights reserved.HitThe Floor © 2014Viacom International Inc.All Rights Reserved. AT MIPCOM 2014 | R9.A32 (Formerly RSV 25) AMERICA’S SUMMER SMASH HIT SERIES! SEASON 1 – 10 X 60 MINS. SEASON 2 – 12 X 60 MINS. SEASON 3 – ANNOUNCED FOR 2015! A NEW AND ORIGINAL HALF-HOUR COMEDY SERIES! 6 X 30 MINS. Follow us on: starzglobal.com
STARZ and related channels and service marks are the property of Starz Entertainment,LLC.Black Sails © 2014 Starz Entertainment,LLC.All rights reserved.Power © 2014 Starz Entertainment,LLC.All rights reserved. AT MIPCOM 2014 | R9.A32 (Formerly RSV 25) SEASON 1 – 8 X 60 MINS. SEASON 2 – 10 X 60 MINS. (NOW IN PRODUCTION) SEASON 1 – 8 X 60 MINS. SEASON 2 – 10 X 60 MINS. (NOW IN POST-PRODUCTION) Follow us on: starzglobal.com
12 October 2014 Book Review Multitalented artist Sammy Davis, Jr. was an unlikely superstar. A short, AfricanAmerican, one-eyed Jew, Davis was cut from a different cloth than many of his celebrity contemporaries, but somehow he made it all work for him. He was a triple threat, who sang, danced and acted for more than 60 years — until his untimely death in 1990 of complications from throat cancer. In Sammy Davis, Jr.: A Personal Journey with My Father (Running Press, 207 pages, $22.68), his 53-year-old daughter, Tracey Davis (along with screenwriter Nina Bunche Pierce), tells her beloved dad’s life story — from his early days ducking truant officers so he could perform on the vaudeville circuit alongside his father to the 1954 car accident that cost him his left eye, to his close friendship with fellow Rat Packer Frank Sinatra to the cancer that eventually stole his gold mine of a voice — following a series of conversations while Mr. Show Business (as he was affectionately called in his day) lay dying. “After getting throat cancer, my father became particularly nostalgic about the past,” writes Tracey. “In the last four months of his life, from February to May 16, 1990, my father deeply reflected on his life. He was dying and I was pregnant with his grandson, Sam Michael Garner. Pop was determined to live long enough to see the birth of his grandson, despite the doctor’s prognosis that he would not.” That ticking clock — did he or didn’t he live to see his grandson? — lends both a sense of urgency and a much-needed air of mystery to a book that could easily have been just another humdrum look at the life of a famous person told by an adoring relative. You want to find out the answer. You want him to beat the odds. Still, while the narrative is compelling — if a bit amateurishly written by a daughter clearly in awe of her father’s many accomplishments—it’s the photos that really tell the story. From rare shots of Davis in very early performances with his dad to never-before-shared pictures with his ex-wife (he had three wives in total) and children, to snapshots of the star goofing off backstage and on set with other celebs — including Sinatra, Dean Martin, Peter Lawford and more — it’s the photos that really show readers how theman lived his life. Although he certainly looks content in the family pictures, it’s when he performed that Davis unmistakably came to life. With his arms wide open, his eyes shut and his head leaning back, it’s clear that on stage was where Sammy felt most at home. After all, he never lived a normal life — never attended school or made friends his own age while playing with neighborhood children. Performing was all he knew. “What have I got?” he often asked his daughter. “No looks, no money, no education, just talent.” Yes, talent he had to spare. Tracey Davis expertly lists her dad’s many accomplishments. He appeared in multiple Broadway shows, including “Mr. Wonderful” and “Golden Boy,” made countless television appearances on such shows as I Dream of Jeannie, The Jeffersons and Charlie’s Angels, as well as a memorable turn on All in the Family in which he famously kissed the bigoted Archie Bunker on the cheek. He released nearly 50 albums, including 1961’s “The Wham of Sam” and 1968’s “I’ve Gotta Be Me,” and toured constantly to promote them. He also made several feature films with his fellow Rat Packers — the aforementioned Sinatra, Martin, Lawford and Joey Bishop — including Ocean’s Eleven in 1960 andRobin and the Seven Hoods in 1964. According to his daughter, it was even his talent that saved him from the racist sentiment that dominated his era—both in the performing world and the military. Davis served in the United States Army during World War II and quickly learned that on stage, his father had protected him from the discrimination that so many others like him had to face every day. He was repeatedly beaten in the Army, and suffered further indignities such as having the N-word smeared across his bare chest in white paint and being served a bottle of warm urine when he was expecting a cold beer. What saved him was being transferred to the entertainment division, where he was free to be his natural, hammy, spotlight-loving self. “Prejudiced white men admired and respected my performances,” he told his daughter. “The spotlight lessened the prejudice. For me, it was a revelation. My talent was the weapon, the power, the way for me to fight. It was the oneway Imight hope to affect a man’s thinking. From then on, deep in my heart, soul and spirit, I knew I had to be a star.” And so, after being discharged from the military, that’s just what he set out to be. At first he rejoined his father’s act, the Will Mastin Trio (named after the third member of the act) and continued to play clubs. But his unique, almost otherworldly performance abilities quickly gained him a following and he was hastily swallowed up by the Hollywood machine, recording albums, dancing on Broadway and becoming a member of the famed Rat Pack. He had become the star he had set out to be. But just barely. In 1954, he got into a car accident en route to a gig in California that almost cost him his dreams —and his life. He lost his left eye, and was forced towear an eye patch for a number ofmonths until he was fitted for the glass eye he would wear for the rest of his life. Davis was terrified. Would he be able to dance again with just the one eye? Would his balance forever be off? As it turns out, yes, he could and no, it wouldn’t. As Davis continued to fight discrimination from his perch high atop the audience who adored him, he also did so privately, marrying a Swedish actress (discovered by two Italian producers) named May Britt in 1960 — with whom he eventually had biological daughter Tracey, as well as adopted two sons. At the time, interracial marriages were outlawed in 31 U.S. states and the marriage upset John F. Kennedy’s presidential campaign staff, who wanted the wedding to be postponed until after the presidential elections because of their close affiliation with Davis, Jr. In 1961, Davis formally converted to Judaism, which he had become interested in while recuperating from his car accident. “Pop always combated horror with humor, and continued to joke onstage about being the only ‘black, PuertoRican, one-eyed Jewish entertainer’ in the world,” writes his daughter. But people loved Sammy, and so they accepted him — a black, Jewish man with a white wife — wholly and completely, and maybe even loved him a bit more for refusing to kowtow to society’s expectations. He was a testament to the fact that love knows no skin color and no religion, that talent can help you rise above the rest of the pack. So did he or didn’t he live to see the birth of his first grandson? You’ll have to read the book to find out. But whether or not he lived long enough to make an impression on the baby is ultimately irrelevant because he lived long enough to make an impact on the world. As his daughter writes, “My dad left the world of show business bereft of a pioneer whose vast talent shined in the face of racial adversity and opened the door for so many upcoming artists of color. Sammy Davis, Jr. touched generations of performers — beyond color barriers — with his talent and determination.” WhileAPersonal JourneywithMy Fatherdoesn’t always dig deep enough into Davis’s psyche to truly understand the motivations behind many of his actions, it’s understandable. After all, most fathers aren’t going to give their daughters a completely accurate account of their involvement in the excesses of Hollywood or their suffering at the hands of ignorant bigots. They’re going to paint the rosiest picture they can, especially late in life. And that’s what this book is — a rosy-hued look at the life and times of a man who set out to be a star and became one. In the eyes of his daughter and in the eyes of the world. LHR The Life and Times of Sammy Davis, Jr. as Told By His Daughter
14 At last summer’s TV Critics Press Tour, the biannual event that brings together celebrities, journalists, producers and executives for a two-week plethora of press conferences, cocktail parties and special events, U.S. TV networks’ top programming executives discussed the ever-evolving face of television at the Hilton Hotel in Beverly Hills, Calif. “We’ve been saying for years the business is evolving, and we are embracing those changes in so many new and very positive ways,” said chairman of CBS Entertainment Nina Tassler. “And our dialogue is changing too. We now have VOD, L3 (live plus three extra days), C3 (commercial viewership measurement of one live day plus three extra days), L7, AVOD, SVOD. It’s a lot of letters. But it all adds up to big numbers in terms of total viewers and revenue. As a viewer and as a programmer, I really love this era of television. We’re a part of the business where creative deal-making and new technologies are supporting more original programming and more platforms on which to watch them. The winners here are content creators, viewers and the company bottomline,” she said. “More quality shows are being produced. There is more choice for the audience. New services, such as Netflix and Amazon, have expanded our syndication market with their high demand for programming. There are many examples that illustrate how all parts of this new ecosystem are working together to support hit shows. These platforms aren’t replacing each other. They’re complementing one another and enhancing the value of the content as it moves from window to window.” Tassler continued: “We also look at our primetime schedule on a year-round basis. The term ‘midseason’ has been retired, and we programthroughout the summer. Event series like Under the DomeandExtant are both supported by licensing deals with Amazon and international revenue that makes these shows profitable from the first episode. Dome was the number one show last summer, a big hit internationally, and the number one show on Amazon, too. The premiere of Extant was the most-watched show on television and it opened to record streaming levels for Amazon in the U.K. It’s a model that’s a great business for CBS and delivers more original programming for the audience.” She added: “Or how about The Good Wife and Blue Bloods, two top-quality, very popular shows? You won’t find them at the top of any 1849 charts, but they generate terrific total viewer numbers on CBS, and both have scored very lucrative syndication deals. This all adds up to a very robust TV world where the audience has abundant choices from a variety of voices. There are many different ways for the viewer to engage and for us to get paid. It’s an exciting time in our business — year-round programming, new business models, with the network front and center, providing content creators an even bigger stage on which to tell their stories.” FOX’s big news was the creation of the Fox Television Group, with Dana Walden and Gary Newman. “This is a new structure for us,” said Peter Rice, chairman and CEO, Fox Networks Group. “It’s been over a decade since we were structured in this way, and it’s very exciting to align our studio and our network. We’ve been the odd man out in terms of how the other networks were aligned, and as competition for talent becomes more and more intense, having a big, powerful studio and a network aligned with each other is going to be a really good thing for our business.” Rice feels that Newman and Walden have an “amazing” track record. “Fifteen years of creating hits on multiple networks, including FOX, and that’s why this is the right thing for us to do, to align our companies. But it’s important to us that we operate them separately and that we’re open for business throughout the town. We obviously buy from all of the other studios, and we sell to all of the other networks, and that’s important for us to continue doing,” Rice said. “We are ultimately in the talent business, and having a network, which has to react to the things that other studios are bringing in, put us at a disadvantage. So we are excited to be more directly engaged with the network, with the studio, with the talent community,” he added. His predecessor, Kevin Reilly, had said that pilot season was dead (VideoAge mentioned this presentation in our March/April 2014 Issue). “Kevin had a big cemetery stone with the pilot season. That was a little misinterpreted. A lot of people felt that Kevin was saying he wouldn’t make pilots anymore, and that wasn’t his intention,” Rice said. “We talked about it a lot before he made the statement, and I agreed with him completely. Trying to have a singular development process, which is very rigid, isn’t good for the creative product. You hear 500 pitches in June, July, August; they’re written in September, October and November; we read them in December; we order up 20 pilots in January; and everyone in town makes them in the same four-to-six-week period in February and March. So trying to be more flexible so that creative people can be as ambitious as they need to be cannot exist within a rigid system. Newman and Walden and I have talked about that, and we’re going to be very flexible. We will make pilots. Sometimes we’ll go straight to series. We will make pilots in February. But sometimes we’ll make them in September. We’re looking for the best projects. We’re looking to encourage the most creative people to come to FOX, and we have to be open to making television year-round.” Diversity was a frequent topic of discussion at the press tour. British-born ABC Entertainment president Paul Lee discussed his network’s efforts and criticized the prevalence of series with all-white casts. “America doesn’t look like that anymore,” he said. “When I came here, I wanted to find shows that reflected America. That’s our job.” Shows with all-white casts “feel dated,” added Lee, who noted that there were many factors that contributed to ABC’s more diverse primetime lineup. “You need storytellers and you need executives…who truly reflect America as it is and we have a very diverse group of people,” Lee said. “When they come in with real specificity…when they bring you authentic, relatable stories, you By Susan Hornik U.S. TV Nets’ Top Brass Discuss How Changes Affect Production, Volume October 2014 TCA Review Nina Tassler, chairman of CBS Entertainment Paul Lee, president of ABC Entertainment (Continued on Page 30)
(Continued on Page 18) 16 The event resembled the Prague Spring of 1968, but instead of young people coming from various parts of Europe to support the Czechs against the Russians, this time there were mature TV executives from all over the world welcoming Russians and other CEE buyers. Nevertheless, there were battle scars at NATPE Europe—visible amongst those participants who converged in Prague after a very busy June that encompassed 20 other TV trade shows, including Monte Carlo TV Festival, Banff Media Festival, Promax (New York City), NEM (in Dubrovnik, see report on page 6), E3 (Los Angeles) and Licensing Expo (Las Vegas). This does not include the U.S. studio executives who traveled throughout Europe for their own spring screenings road shows. In any case, to face the former Warsaw Pact buyers, the U.S. studios and indie distributors brought their heavy artillery to Prague in the form of a high quantity of quality new content — and the response was mixed. Prague was a new venue for both the Los Angeles-based organizers and the 800 participants from 65 countries (excluding those who attended the market without registering, hanging around the non-restricted areas of the hotel). Traditionally, NATPE doesn’t release attendance figures, therefore the above numbers reflect VideoAge’s own estimates. For the past 22 years — during which time it was called DISCOP and considered a TV market for emerging territories — the event was held in Budapest. Now that most of the territories are prospering, the market has lost its “emerging” moniker and evolved into a mature TV trade event. Including all companies with stands, viewing boxes, meeting tables and suites, there were 132 exhibitors at the first NATPE Europe held in Prague. The majority of the companies were from the U.S. (25) followed by the U.K. There were three Russian exhibitors as well, which is surprising, considering that the 1968 Russian intervention to quell the nascent democracy is still felt in the Czech Republic. Indeed Prague, a city that values its rich history, has managed to completely remove every remembrance of its Russian-dominated past. As a taxi driver commented, “We have tourists from all over the world and, unfortunately, from Russia as well.” Nevertheless, at NATPE Europe there were 17 Russian buyers and, surprisingly, 15 buyers from the troubled Ukraine. VideoAge even met two buyers from Uzbekistan. So, howdidPrague compare toBudapest, where the market was held last year, also during the third week of June? “There are no differences,” reported ITV’s Can Okan. As far as costs are concerned, the two cities are a match: not much of a bargain. As for the venue, The Hilton Prague — with 760 rooms — is huge compared to the Sofitel in Budapest. One could even say that, more than a hotel, The Hilton Prague resembles a cruise ship. Plus, as Global Screen’s Helge Koehnen commented, while the Sofitel was conveniently located near every amenity, The Hilton is in a relatively isolated area of Prague with poor pedestrian paths to boot. Finally, at $26 per day, the Wi-Fi service for all areas (including the market space) and rooms (except for the lobby, where it’s free), was considered too expensive and generated some grumbling among participants. As for the layout, The Hilton has the same arrangement as the Sofitel, with a big atrium and suites overlooking the indoor space, while stands, tables and viewing boxes were located in the basement or “Market Level,” which is also accessible from the street. However, the new setup looked more like a convention center than the previous venue, with the first floor housing 40 suites and the eighth floor with six more. Even the party area was an improvement, with a nightclub-type lounge called Cloud 9 on the ninth (top) floor of the hotel. The opening night party was held at Cloud 9, while, on Wednesday, June 25, the closing party took place in the large floor space of the Atrium. Also on Wednesday, a luncheon was held at Cloud 9 to “Celebrate Polish TV Programming.” A prior conference was held on the lobby level and was preceded by a “light breakfast.” As for the opening party, never before was a NATPE Europe party sowell donewith drinks and hors d’oeuvres, a good sign that the organizers are really investing in the success of the market and the venue. In fact, NATPE’s CEO Rod Perth stated that the market will once again be held in Comparison With Budapest Unavoidable. New Venue: Four Stars, Biz: Three October 2014 NATPE Europe Report NATPE’s Rod Perth at the Polish TV luncheon, introducing Polish filmmaker Agnieszka Holland ITV’s Ahmet Ziyalar, Can Okan CBSSI’s Michelle Payne, Julie Aletti de Gely, Myfanwy New, Noelia Nicolás, Ben Lassman
18 October 2014 NATPE Europe Report Prague next year. Tuesdaywas abigday forU.S. studio screenings. CBS kicked off the day with theirs at the nearby theater, Atlas Cinema, at 8 a.m., attracting about 50 buyers. Fox followed at 11 a.m. using two meeting rooms at the Hilton and reporting about 35 buyers. NBCUniversal’s screenings started at 1 p.m. in two hotel meeting rooms. At Lionsgate’s screenings in the hotel the next morning there were about 25 buyers. Wednesday was also the day when the indies got a lot of attention. In the late morning the market floor — where the stands, viewing boxes and tables were located — seemed much busier than the first floor, where the suites were, though it is possible that meetings took place inside the suites, accounting for the light floor traffic. As for business, Carsey-Werner’s Alexandra Taylor commented that the Czech Republic has a more “vibrant TV market than Hungary,” which makes NATPE Europe in Prague a better locale than Budapest. Studio Hamburg’s Christiane Wittich said that she came to evaluate whether they will be participating as exhibitors next year, but assured VideoAge that the company would attend in some form. Starz’s Meggan Kimberley prized the large presence of Polish buyers, who were sorely missed in Budapest. Similarly, DreamWorks’ Isabel Pascual commended the participation of major CEE territories like Poland, the Czech Republic, Hungary and Russia. Armoza’s Anat Lewinsky reported that CEE countries are in need of formats, which meant her schedule was “fully booked.” For India’s Zee TV, NATPE Europe was their first CEE market and Sunita Uchil was “testing the waters” for continued future participation. Certainly, the political, economic and social instability in the Ukraine and Russia were on the minds of some buyers and sellers, considering that it was starting to affect the TV advertising market in both countries, but overall this first NATPE Europe could be considered a glass half full. A final note: At restaurants in Prague, it’s more sensible to ask for the “bill,” not the “check.” We’ll know for next time. (Continued from Page 16) Scene at the opening night party at Cloud 9 Meeting tables in the market level Elevator area on the first floor of the exhibitor suites Viewing boxes in the market area Lionsgate’s Holly Cowdery and Kevin Brader Studio Hamburg’s Christiane Wittich, Christine Klinker Now that most of the territories are prospering, the market has lost its “emerging” moniker and evolved into a mature TV trade event.
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22 The first reaction of some independent Italian producers — who were asked by VideoAge for their opinion on Eleonora (Tinny) Andreatta, managing director of Rai Fiction — was amazement that she actually received a visitor and a journalist to boot. Rai Fiction is the production and co-production arm of RAI, Italy’s state broadcaster: a powerful division that provides the most original programming to eight of RAI’s 14 national TV channels, including drama and animation. During the interview, this VideoAge reporter was bewildered by Andreatta’s surprising questions about whether Rai Fiction was required to pay for the resulting article and why certain basic business details about her division (such as distribution rights) were of concern toVideoAge’s readers. Even though the 50-year-oldAndreattahas been with RAI since 1995, she only recently became a favorite topic of Italian (and now international) print and online media, not only because she controls an annual production budget recently reduced to 220 million euro (U.S.$300 million), but also because she’s rumored as the next potential director general of RAI. Nonetheless, she remains mysterious to the Italian press, especially in regards to her private life, and is often portrayed as unpredictable and prone to mood swings. This is the first time she has given an interview to an international publication as far as it’s known, and her uneasiness with an approach different from the Italian one was evident. However, as with everything in Italy, her Italian press reports are never balanced, with the left-leaning media (such as laRepubblica and L’Espresso) elevating her to a state close to sainthood, and the right (such as the daily Il Giornale) criticizinghermostly for theentitlement offered by her lineage, since she’s the daughter of a late senator of the Italian Parliament who also held three different ministerial positions. The current political environment is fueling the extra attention on Andreatta since she’s close to the new center-left Prime Minister, Matteo Renzi, who will soon be de-facto designator of RAI’s next director general. To her credit, in the two years that Andreatta has been running Rai Fiction, she has managed to keep her division — one of RAI’s three money and power centers, which include Rai Cinema and Rai Pubblicitá — out of inquiries and scandals. With an annual budget of 200 million euro, Rai Cinema is in charge of film production (60 million euro or $80 million), domestic film distribution and international TV rights acquisition excluding sports (140 million euro or $190 million). Rai Pubblicitá is the ad sales arm of RAI and generates annually 680 million euro ($920 million). Since its creation in 1997, Rai Fiction, now with a staff of 40 people, has been responsible for production of series, TV movies, sitcoms, soaps, animation and international co-productions, while format acquisitions and talk show productions are in the realm of individual RAI TV channels. During her tenure, Andreatta has ably managed to maintain a steady amount of production, despite her reduced budget and commissioned programs that became national successes, albeit with little international sales results. However, that predicament has existed since 1990, after Biagio Agnes left RAI’s top post. In addition, the fact that there are about 60 film-TV production companies in Italy (of which 30 are the largest) and, reportedly, Rai Fiction tends to assign projects to only a handful (dubbed by the Italian press as the “The happy five”), is causing some concern and grumbling, even though it is said that she inherited that ingrained business practice from past administrations. Andreatta explained to VideoAge that, by law, Rai Fictionhas toassignproduction to independent Italian companies. The challenge is that even though Rai Fiction’s budget is assigned later in the year, she uses previous parameters to determine the number of original production hours for a current season in order to meet development, production timelines (which from pre-production to post-production take 18 months per program) and scheduling by RAI’s three main TV channels. Even though Andreatta was reluctant to explain the mechanisms of internal development and production phases, VideoAge was able to put together a general picture thanks to interjections from Rai Fiction’s deputy director Luca Milano. The operating mechanism starts when a RAI TV channel (e.g., Rai-1) requests a series orRai Fiction proposes a series to a RAI channel. If the theme of the series is of a pure domestic nature, Rai Fiction assigns the production to an independent Italian company. If the series has international elements, in addition to the independent Italian company, Rai Fiction shops around for one or more coproduction partners, which are then introduced to the assigned Italian production company. News accounts indicate that, currently, Rai Fiction’s financial contribution for a TV series can reach 600,000 euro ($815,000) per hour, while for TV movies it can go up to 850,000 euro ($1.15 million) per hour, which allows the division to provide RAI channels up to an estimated 500 original programming hours per year. These represent about 15 percent of the some 3,500 hours of drama that RAI channels broadcast yearly, of which 20 percent are repeats. The balance of 2,300 hours comes from imported drama at an average cost of 52,000 euro per hour. In addition, Rai Fiction can originate a project and/or take pitches from independent producers (both domestic and international). As far as international exploitation rights are concerned, depending on the financial contribution level, they can be shared between Rai Fiction and the domestic Italian production company. For example, in the case of children’s animation series Winx, produced by the Italian company Rainbow for Rai2, Rai Fiction contributed 25 percent of its budget in exchange for all television rights in Italy and a share of ancillary revenues for 15 years. However, Rainbow retained international distribution rights (for more on Rainbow, see page 24). Lorenzo Miele, managing director of FremantleMedia Italia, co-produced with Rai Fiction the long-running primetime soap, Un Posto al Sole. Reportedly, the budget for the annual 250, 25-minute episode series is 3.170 million euro. “The partnership is well tested andworks verywell. It is a true co-production, shot inside RAI’s studios using RAI’s crew,” he said, “Nowwe have two series in development with Rai Fiction. They will likely be co-productions with mixed financing and rights ownership. Both projects have benefited from a strong commitment by Andreatta. She is bringing a good change in Rai Fiction’s approach, and that is verywelcome. In tougheconomic times, it’s not easy to find the right balance between a conservative approach and the need to invest in new content. “Unfortunately, I also have to say RAI’s Kafkaesque bureaucracy has previously made it complicated for producers to work with the pubcaster, but current management seems to understand this and are willing to work on more efficient organization and procedures.” If Rai Fiction pays for the full production cost, it retains worldwide distribution rights (which go to Rai Commercial for sales). According to Andreatta, Rai Fiction’s business model is similar to the German model. When the Drama of Fiction Enters Politics, It Turns Into a RAI Sitcom October 2014 Italian TV Report Rai Fiction’s deputy director Luca Milano with Rainbow’s chairman and CEO Iginio Straffi Eleonora (Tinny) Andreatta, managing director of Rai Fiction Rai Fiction’s financial contribution for a TV series can reach 600,000 euro ($815,000) per hour.
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24 Outside the town of Loreto, smack in the middle of Italy, and far from any known city, in a large, modern building surrounded by fields of sunflowers, stands Magic Town, the headquarters of Rainbow, Europe’s largest animation company. It is also the most talked-about company — both in Italy and in the U.S. — in terms of finances, creativity, coproductions and co-ventures. According to the May 2014 edition of License! magazine, Rainbow now ranks 12th among the world’s top 150 licensors, aboveDreamWorks (16th) and just below Hasbro (11th). With merchandising revenues (on a retail level) of U.S.$4.1 billion in 2013, Rainbowhas built around key propertyWinx Club, several enterprises that include amusement parks and movie and TV productions. Recently, Il Messaggero, one of Italy’s largest daily newspapers, devoted a full page to Rainbow describing “Winx’s long march” to success on the eve of its third theatrical feature release, The Mystery of the Abyss. But, talking about that particular article, Iginio Straffi, the company’s 49-year-old founder, chairman and CEO, decried several factual errors. Straffi said that, starting with the annual revenues, the figure of 50 million euro (U.S.$67 million) cited by the Italian paper reflects only the Rainbow Animation division and not the whole group. He pointed out that the actual number for animation is 52million euro. Straffi added that up to 10 million euro are generated by the editorial and DVD division, which in Italy alone sells 55,000 copies per month of its Winx Magazine, which has 25 million readers worldwide, and sells 22 million DVDs. In addition, 43 million euro are generated by the theme park and some 50 million euro come from licensing. Regarding the licensing division, Straffi explained that out of the merchandising retail value of three billion euro, Rainbow’s take averages 10 percent, with lows in the order of five percent and highs in the 12 percent range from some 356 licensees in the 150 countries that broadcastWinx Club, for a total of 6,000 products, ranging from bracelets to bicycles. Rainbow’s amusement park division also features live shows — Winx Power Music Show and Winx on Ice — that hold 50 tours per year for a cumulative audience of 350,000 fans, generating 15 million euro annually. Currently, the 600,000 sq. meter Rainbow MagicLand Park with 36 attractions is located in Valmontone, outside Rome, and run by Italian theme park company Alfapark. Two more are in the planning stages in Malaysia and China. In 2011, 16 years after Straffi founded Rainbow, Viacom gained 30 percent ownership of the animation division by acquiring the shares of his partners for 62 million euro ($83 million), thus valuing the company at $277 million. And here’s where the deal takes an Italian twist. According to the May 24, 2014 edition of the Italian financial paper ItaliaOggi, the 2013 value of Rainbow’s animation business on Viacom’s books has been reduced to 40.35 million euro and even so, this amount was reported to be overvalued by 28.5 million euro, which brings the real value of Viacom’s equity share down to 11.85 million euro. But the paper pointed out that Viacom expects the value to grow in the future. Still, it brings the current valuation of Rainbow animation down to $54 million from the original $277 million of 2011. The same paper reported that in 2013 Rainbow’s net profit was 3.2 million euro with an EBITDA of 22.1 million and revenues of 50.5 million. Considering all the revenues that Straffi enumerated above for VideoAge, the Group generates annually over 155 million euro, which makes Rainbow Group one of Europe’s largest media companies, and overall the largest in animation. Viacom’s interest in Rainbow Animation also brings to light how complicated business in Italy is. Indeed, Viacom set up Viacom International Media Networks Italia, which in turn founded Milano Design, the company that actually acquired stakes in Rainbow. Straffi’s life story is also material for a TV show. His passion for comic book drawing bloomed at age 13 and after finishing school he went to Milan to work for Sergio Bonelli Editore, a famous Italian cartoonist. At age 27, Straffi accepted a job in Paris but three years later he moved back to his native Marche Region to found Rainbow together with Giuseppe Casali and Lamberto Pigini, a local priest who was also an entrepreneur. Casali and Pigini later sold their shares to Viacom. Initially, Rainbow provided creative services for other companies and just a year later, in 1995, it produced its first animation, Tommy and Oscar. Other cartoon series followed, including Prezzy, Monster Allergy, Huntik, PopPixie and even a cartoon documentary, The Dark Side of the Sun. Another series, Mia and Me, is a 22-minute, 52-episode co-production with Lucky Punch/M4. It’s a hybrid CGI animation intersected with eight minutes of live action, which is now shown in 80 territories around the world (a second season is planned for early 2015). A unique element of these series is that they were produced without any government subsidies. Creative, pre- and post-production work for the TV series is generated at Rainbow’s headquarters, which boast 130 employees, of which 30 are artists. However animation work is farmed out to companies in South Korea, China and India. Feature films are fully produced in Rainbow’s CGI facilities in Rome (with 90 employees), which, when not being used for internal projects, are rented out. Rainbow’s marketing and sales divisions are in Milan, and the group is considering opening up an office in Canada. Straffi’s most popular creation, which catapulted Rainbow to Europe’s number one spot, is Winx, a co-production with RAI, Italy’s state broadcaster, which made Straffi rich and produced multiple dividends for RAI. Season six of the 10-year-old Winx Club series brought the total number of episodes to 156, while season seven is in development. In the feature film area, Rainbow has three Winx Club CGI movies and Gladiators of Rome; another yet-to-be-named feature is scheduled for 2016. Excluding the recent release, the previous three movies generated $80 million at the box office worldwide. In his personal life, Straffi has a baby with his wife Joanne, whom he met in 1997 at a TV trade show in her native Singapore. She’s now Rainbow’s vice president. Straffi was quoted in a magazine article as saying, “I’m the creative one, Joanne is in charge of the rest.” Straffi’s Rainbow: Europe’s Largest Animation House Has Growing Pains October 2014 Italian TV Report -TRX IL:12/07/14 22:04-NOTE: -MSGR -20CITTA - 18 - 13/07/14-N: 18 Domenica13Luglio2014 www.ilmessaggero.it Società `STELLA Lafatadelsoleedellaluna. Figliaunicadelreedellaregina diSolaria,nondisdegnai ragazzieamavestirsiallamoda `MUSA Lafatadellamusica.Suona qualunquestrumento,ilflauto sututti,eballaognitipodiritmo: hip-hop,disco,rap,techno `AISHA Lafatadeifluidi.Ultima arrivatanelgruppoWinx,èla principessadelpianeta Andros.Appassionatadisport `BLOOM Lafatadelfuoco.Lasuavita cambiaquandoincontraStella: perdifenderladauntroll, scopriràdiaverepoterimagici `FLORA Lafatadeifiori.Dalsuopianeta d’origine,Linphea,ha imparatoadapprezzarela natura.E’un’allievadiligente `TECNA Lafatadellatecnologia.Nel tempoliberoinventae progettanuovimarchingegnio sicimentaconivideogiochi ILRITORNO LORETO Tornanolefatinemadein Italy.LeWinxsarannonei cinemail4settembreprotagonistedelnuovocartoon Il mistero degli abissi, poisbarcherannoinCina dovelatvpubblicatrasmetterà leseriechedal2004furoreggianonelmondointero.«Nonpotevofesteggiareinmondomiglioreidieciannidellemiecreature»,sorrideIginioStraffi,l’exfumettistadi Macerata, 48 anni, unamogliediShangaieunafigliadiunanno:èluichehainventatolefatineanimateecoloratissime,adoratedallebambine.PiùcheuncartoonleWinx sonounamoda,unfenomenodi costume,unbusinessglobale.«E pensare»,racconta,«cheiprimi tempimidavanodelpazzoperchéosavosfidareigigantiamericaniegiapponesidell’animazione...». Oggila”follia”diStraffièuna realtàtuttaitalianachecompete adarmiparioquasiconicartoonhollywoodianieconimanga. SichiamaRainbow,arcobaleno. E’ilpiùgrandestudioeuropeodi animazionetelevisivaecinematograficaehaprodottoseiserie tv,quattrofilm(tredelleWinxe Gladiatori di Roma), musical, spettacolisulghiaccioeparchia tema:unogiàesisteaValmontone,altriaprirannoinMalesiaea Singapore. I ricavi? Circa cinquantamilionidieuroall’anno mentrenellostessoarcoditempoilmerchandisinggenera3,5 miliardididollari.Finora,per darel’idea,sisonovendutecinquantamilionidibambole. LASEDE Tuttoènatonel2004,quandola serieWinxClubinondasullereteiRaisbancògliascolti(magià Tommy Oscar, realizzata da Straffinel1997,avevaavutoun enormesuccesso).Aisha,Flora, Bloom,Tecna,Stella,Musa,cioè lesiefatinedaicorpiaffusolatie dallook”ditendenza”hannopoi conquistato150Paesi.«Leserie hannosuperato,perspettatori, perfinoLaPiovra»,giuraStraffi. Maqualèilsegretodiquesto successoglobale?«Rispettoagli altricartoon,leWinxhannocaratteritiche nuove: personaggi dalcarattereforte,segnografico originaleecolonnasonorapop», spiega il patron di Raimbow. «Cambianopiùvolteabitieacconciature.Rispettanoivalorie l’ecosistema,difendonoideboli, credononelsacrificio.Sonoindipendentiesannocosavogliono: qualunqueragazzinapuòidentificarsiinloro». Seilvolumed’affarièkolossal,lafilosofiadilavorosembra amisuraumana.Bastavisitare lasedediRainbow,traLoretoe Recanati,perrenderseneconto: incastonato nelle dolci colline marchigiane,unedificiotuttoin vetroelegnochiaroaccogliei 130dipendenti(altri90lavorano aRoma),etàmedia31annieper metàdonne,chegestisconogli aspetti creativi, produttivi e il marketing. L’energia viene dai pannellisolari,cisonopalestra, piscina e tutti a fine giornata hannodirittoacorsidiyogae ballo. MAGHIESTILISTE Qui,tradisegnatoriestiliste,sceneggiatoriemaghidelsoftware nasconoinuovicartoon,siscelgonoilookdellefatine,sicreano sofisticatissimiprogrammidigitaliperanimarelestorie.Ilrepartoeditorialesforna25pubblicazionienelgrandeshowroom sonoallineativestiti,accessorie giocattoli.Noncredechelefatinefunzionerebberoancheincarneeossa?«Perunfilmdifiction aspettolastoriagiustadall’America»,rispondeIginio.QualiattriciinterpreterannoMusa,Tecna, Bloom,Flora,Aisha,Stella?Sonogiàapertelescommesse. GloriaSatta ©RIPRODUZIONERISERVATA AVVENTURA Dueannidilavoro,unbudget didodicimilioniemezzodi euro, tecnologia di ultima gereazione,400tecnicicoinvolti: WinxClub,ilmisterodegli abissi3DèlanuovaimpresaanimatadiIginioStraffi.Ilfilm,che verràdistribuitodaRaiCinema, èunafavolaecologistaincuile seifatinealatedevonoriportare l’equilibrionell’ecosistemamarinomessoinpericolodall’inquinamento. Nel corso della missione Aisha,Flora,Stella,Bloom,TecnaeMusadovrannovedersela peròconlenemichedisempre, leperfideTrinx,maancheconil malvagioTritannusePolitea,la ninfa rinnegata e maledetta a causadellasuasmisurataavidità.Eperriportarelapacenegli abissi,leWinxdovrannorecuperareunoggettomagicodotatodi unenormepotere,laPerladelle Profondità. «Rispetto ai primi due film delleWinx, Ilsegretodelregno perduto e Magica avventura», spiegaStraffi,«questavoltaabbiamopuntatodipiùsullacommedia.Epersensibilizzareigiovanissimispettatorialrispetto dell’ambiente abbiamo preso spuntodallacatastrofeavvenuta nelGolfodelMessicoquattroannifa,quandomilionidilitridi greggiofinironoinmarecreandodanniincalcolabiliaifondali eailoroabitanti.Ilfilmsiproponedidivertirelefamigliemanellostessotempocontieneunmessaggioeducativomoltoforte». L’ANIMAZIONE L’animazionedelcartoon,realizzataattraversoipiùmoderni procedimentidellaCGI(computer grafica) è stata particolarmentecomplessa:soprattuttole scenesottomarinein3Dhanno richiestomigliaiadioredilavoroel’interventodicentinaiadi storyboardartist,animatori,modellatori,textureartist,programmatoriespertissimicomeildirettorediproduzioneFrancesco Mastrofini,ilproduttoreesecutivoJoanneLee,l’artdirectorVincenzoNisco. Quattro saranno le canzoni originalicomposteperilfilmma Straffiprometteancheuna«sorpresamusicale»dialtolivello. L’ideazionedelfilmèavvenuta nellacasamadrediLoreto,malo studiotecnicodovel’animazionedeifilmRaimbowvienenormalmenterealizzatasitrovadal 2006aRoma. Gl.S. ©RIPRODUZIONERISERVATA MONDOFATATO Dall’altoinsenso orario,IginioStraffi,unascena delnuovofilmWinxClubeun disegnatoreallavoro Il“papà”delleWinx,IginioStraffi,svelainuovipianidellepopolarifatineperillorodecennale.Unfilm moltoecologico,ambientatonelleprofonditàdelmare,nellesaleasettembre.ElosbarcoinCinadellaserietv Winx, la lunga marcia CON130DIPENDENTI PERMETÀDONNE ETÀMEDIA31ANNI LARAINBOWÈ LOSTUDIODIANIMAZIONE PIÙGRANDED’EUROPA UNAFIABA AMBIENTALISTA DA12MILIONIEMEZZO DIEUROACUI HANNOLAVORATO 400TECNICI Inarrivodue nuoviparchi atemain Malesiaea Singapore Lasquadra Untuffo negliabissi conlaforza del3D The full-page article about Winx featured in the daily Il Messaggero Rainbow’s Iginio Straffi, right, receiving aVideoAgevisitor at his headquarters.
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