TV Formats Distributors Guide 2012/2013

Distributorsformats GUIDE 2012/2013TV

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A Note from the Editor . . . .6

Interviews . . . . . . . . . . . . .7

Distributors . . . . . . . . . . .21

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Contents

Ricardo Seguin GuisePresident

Anna CarugatiExecutive VP and

Group Editorial Director

Mansha DaswaniVP of Strategic Development

and Associate Publisher

World Screen© 2012 WSN INC.

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PublisherRicardo Seguin Guise

Editor Anna Carugati

Executive Editor Mansha Daswani

Managing Editor and Editor,English-Language Guides

Kristin Brzoznowski

Production DirectorsMeredith MillerChris Carline

Online DirectorSimon Weaver

Associate Editor Joanna Padovano

Sales and Marketing Director

Cesar Suero

Business Affairs Manager

Terry Acunzo

Sales and Marketing Manager

Vanessa Brand

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A Note from the Editor

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This year marks the tenth anniversary ofTV Formats. One might think that inten years great seismic shifts wouldhave shaken up and drastically changedthe format landscape, but upon closerinspection there’s actually quite a bit thathas remained the same. A decade ago, real-ity television had already been on the rise,with the popularity of Big Brother, whichhit U.S. screens in 2000. That same year,Survivor captured the attention of

American viewers, ushering in a new style of competition series.American Idol surged onto the airwaves in 2002 and the talent-search genre caught ablaze. All three of these shows are, in fact, still on the air and as pop-ular as ever. The reality, competition and talent-search genrescontinue to be top sellers as well. However, the last ten years havebrought about great innovation in the format industry, asproducers have breathed new life into these and otherentertainment genres by incorporating fresh twists. Fromfood to celebrities, feel-good stories to obstacle-course elimi-nations, the new elements added to established genres havekept TV formats doing big business. The value created by the 50 major formats last year was$2.02 billion for 98 channels across 16 European territories,according to the TV Formats in Europe report by Digital TVResearch. The U.K. was the format powerhouse of Europe. Thecountry not only screened the highest number of format hours,it was home to a number of major format producers and dis-tributors. Among them ITV Studios Global Entertainment,whose Come Dine with Me was the most-screened TV format inEurope in 2011. Endemol’s The Money Drop, Sony PicturesTelevision’s Who Wants to Be a Millionaire?, BBC Worldwide’sDancing with the Stars and FremantleMedia’s Got Talent roundedout the top five most-screened formats of 2011. What new genres and innovative twists will come about inthe next ten years? Only time will tell. The distributors featuredin this TV Formats Distributors Guide have a wealth of offeringsthat may just spark the next global TV formats craze.

—Kristin Brzoznowski

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Interviews

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TV FORMATS: The third season of MasterChef was its highest rated so far.Why do you think audiences areresponding so strongly?RAMSAY: MasterChef is part of [a] phe-nomenon because it’s made [cooking] lessintimidating, it’s made it more enjoyable.And people are watching it, thinking,Hey, I can compete with that. There’s noservice, there’s no restaurant to run.

There were some contestants this yearthat were embarrassed to tell their parents that they were keento cook rather than go study law. It’s so wrong! How snobby dowe have to be to think that it’s a second-class citizenship tobecome a chef? Just learning how to cook for yourself can erase50 percent of [the] obesity issue. How many times do we gettold how important [going to the] gym is and how we’ve got tokeep fit, keep active? Cooking is exactly the same.

TV FORMATS: Why did you want to be involved with theAmerican version of the format?RAMSAY: Lis Murdoch [the chairman of the Shine Group] saidto me three years ago, MasterChef is a phenomenon in the U.K.,what do you think about doing it in America? I said, as long aswe can continue running the competitions and FOX runs theshow. It’s like with Hell’s Kitchen—FOX lets me run a restau-rant, they run the show. So we understand our parameters andwhere not to overstep the mark.

We’ve also got a bigger chance on MasterChef, more than anyother program anywhere in the world, to actually mentor theseindividuals. Yes, you see a 42-minute sequence edited. We’ll film 12or 14 hours for that. But we have our sessions in the prep kitchenwhere we [demonstrate dishes]. Each and every one of us who isgiving reprimands and compliments can step down off our highhorse and absolutely perfect what we’re talking about in front ofthem. They’re gaining that knowledge on a daily basis, not just aweekly basis. But we really do push them to the extent that they getso much better and I think it’s starting to show.

Gordon RamsayExecutive Producer & JudgeMasterChef U.S.

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TV FORMATS: What are the qualitiesyou look for when evaluating interna-tional ideas for the U.S.?BURNETT: I look for the same thingsfrom an international format that I dofor a U.S. format: solid storytellingand something unique. The projectsthat appeal to me have worldwideappeal. The Apprentice is a three-month televised job interview. Mostpeople have thought about what it

would be like to have a big job with a dynamic figure at ahuge salary. This series is something everyone can relate to.Are You Smarter Than a 5th Grader? has great humor. Whatparent hasn’t been helping their kids with their homeworkand realized they could not remember the simplest thingsfrom their school days? These kinds of hooks make a showrelatable to a worldwide audience.

TV FORMATS: Can you tell us about your own developmentprocess, and the projects you’re generating in house?BURNETT:We have a great in-house team who are generat-ing ideas across multiple genres. The most important quali-ties to me are that shows be thoroughly developed, true toour brand, and most of all, tell a great story. There are threethings to remember in developing shows: story, story, story.

TV FORMATS: What do you see as the major shifts that havetaken place in the format business in the last decade? BURNETT: Technology has made the global marketplacemuch smaller. It makes the exchange of ideas so muchfaster. Smart international broadcasters have started jumpingin and acquir ing formats and shows much more quicklythan they used to.

We’re also starting to see international broadcasters bemore willing to take a chance on a new format idea, notneeding to wait until it’s made in the U.S. or U.K. first.That’s very encouraging.

Mark BurnettPresidentOne Three Media

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TV FORMATS:The U.S. was the first mar-ket to launch its own version of The Voicefollowing its Dutch success. Why did youdecide to take a chance on the format?TELEGDY: The Netherlands is the intel-lectual property generator story of the last25 years. Holland’s unique evolution hasallowed for an intense level of competitionin a very small market, with people whowere smart enough to make the kind ofshows they could afford to make, but do so

with high stakes in the ratings. There are certain markets that willgive you a false read on whether something will work or not. Butfrankly, it wasn’t even the Dutch ratings story. Just seeing the showitself, its spirit, and obviously the very marketable, easy-to-hang-on-to visual and dinner theater aspect of the first round [of blind audi-tions, where the judges can’t see the performers]. It just immediatelyappealed to me as a viewer.

TV FORMATS: Can you tell us about your initiatives to developconcepts in-house that your colleagues at NBCUniversal Interna-tional can then sell on as formats worldwide?TELEGDY: Let’s go through the recent catalogue of big reality onNBC. The oldest standing player on our network is The Apprentice:that was on NBC first before it went anywhere else around theworld. The Biggest Loser: on NBC first and then it went everywherein the world.... The financial decision to be more in the content-ownership business should not be presented as some kind of crazylogic. It’s just business. If I’m paying a premium for a bright ideafrom someone else who has tested it in 20 countries, I’m happy todo that, we’re in that business. If we’re taking a big swing on a pieceof content like The Voice from one of television’s great creators, ifwe’re tinkering away for months and months, working with topproducers to come up with ideas, we’ll do it any which way. Wewould like to own a bit more of what we do, and yes [Comcast] hasmade it clear that they don’t just want to be publishers, they want tobe publishers and distributors, and that content creation is absolutelya core building block of NBCUniversal.

Paul TelegdyPresident, Alternative & Late-NightProgramming, NBC

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TV FORMATS:What are the major chal-lenges and opportunities you see that lieahead for FremantleMedia?FROT-COUTAZ: A key focus is on get-ting IP into the pipeline, across a broadrange of genres. Strengthening thedevelopment effort globally continues tobe a top priority, along with looking atdifferent kinds of partnerships. Anotherfocus is on digital, and this is crucial.New technologies, new platforms and

new digital audiences open up enormous opportunities for acompany like FremantleMedia. On a more short-term tacticallevel, there are a lot of markets around the world that are enter-ing recession, and we always have to bear that in mind as welook at the next couple of years. But if Europe is having a toughtime, that’s counterbalanced by markets like Brazil or India thatare real growth markets. That’s the good news about having aglobal company.

TV FORMATS: Are there specific ways to look for the next bighit, or does it just happen when it happens?FROT-COUTAZ: If there were, there would be a lot more bighits! What we’re finding is that the reality genre has reallymatured. I don’t know if you remember ten years ago, but everyweek you’d read about a new reality show, and there was a lotof creativity and a lot of invention because the genre was com-pletely new. It isn’t new anymore, so now we’re in a differentplace. If you talk to me or to any of our competitors, the bigquestion is, where is the next big hit going to come from?Nobody’s got a crystal ball, so all you can do is try a lot of dif-ferent things: have really talented people on your team, join inpartnerships, take some risks, look globally. And if you doenough things and if you try enough times, hopefully you’llfind something that works. Ultimately, there is no prescriptiveway to approach development, other than establishing a culturethat nurtures creativity and being fairly agnostic and flexibleabout how you approach it.

Cecile Frot-CoutazCEOFremantleMedia

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TV FORMATS: How have live talent-competition shows evolved in the lastten years? What has the audiencecome to expect from these shows?LYTHGOE:They’ve come to expect thevery best talent and the very worthiesttalent. They still enjoy those auditionsthat show the deluded contestants thatcome along and have been told all theirlife that they are a good singer and theyare absolutely tone deaf! The audience

enjoys that in the first part of the competition, but at the end ofthe day, they just want really great talent. It’s a bit like horse rac-ing: you bet on your favorite and you continually vote for thatperson; you are invested in them and you are invested in howthey develop across the series. People ask me all the time, “Will reality television remain?”

Absolutely, it’s part of our television diet.

TV FORMATS:What are the secrets to the success of So YouThink You Can Dance?LYTHGOE: It is about the art of dancing. People have come torealize just how wonderful dance is and how it has progressedover the years. It has a new integrity to it, it’s athletic, and Ithink people are actually loving the fact that choreographers arecreating these wonderful numbers as well. So it comes from dif-ferent angles. It comes from obviously a judging angle. It comesfrom the young dancers attempting stuff that is not in theirgenre, and succeeding most of the time, and it comes from theartistic choreographer.

TV FORMATS: What has contributed to the success andlongevity of American Idol?LYTHGOE: I think it’s the very strong talent that is in America.It’s the fact that we’ve grabbed an audience that loves to feel thatthey are a part of giving somebody the break of their life andturning them into a star. Obviously, Simon Cowell was a majorpart of it when we originated the show.

Nigel LythgoeCreator & Executive Producer, So You ThinkYou Can Dance, Producer, American Idol

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TV FORMATS: Are you seeing an uptickin scripted formats?WONG: Yes, we are seeing an uptick inthem and our studio is very, very goodat adapting American sitcoms andAmerican scripted formats successfully.It requires an amount of consultingand time and effort to ensure that weboth maintain the heart of what theseries is and yet localize it so that aRussian audience will enjoy Everybody

Loves Raymond, for example. We put in a significant amountof time and effort. It’s push and pull, and somehow we’vebeen able to really get that mix right.

TV FORMATS: As there is increased consolidation of productioncompanies in several countries, is there competition for the sametalent in some of these markets? What advantage does Sony offeran actor, a writer, a producer? WONG: There’s always competition, but the great advantageof being part of Sony is that the Sony brand is extremelystrong around the world. We have a huge catalogue, which isalso a big advantage. In addition, we also offer a creativeperson the opportunity to share know-how with our globalcreative council, to share with our other production compa-nies and to know that what they create has a great Sonynetwork to launch shows throughout the world.

TV FORMATS:Are you seeing commonalities in what peoplewant from television and from programming?WONG: I am, and [speaking] to emotional resonance—people are fundamentally the same. The same things res-onate emotionally with them…whether it’s falling in loveor raising your children. They have the same desires, thesame needs, the same worries, no matter what culturethey’re from. So if you look at those commonalities, I thinkthat’s a great base to start thinking about developing con-tent. I just see so much opportunity. So it’s an exciting time.

Andrea WongPresident, International ProductionSony Pictures Television

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TV FORMATS: How important areancillary products and interactive fea-tures for formats?SPODSBERG:They’re becoming increas-ingly important and something thateverybody is watching: the producer, thedistributor, the broadcaster. Now thedemand is for formats that have a verybig potential within the secondary rev-enue streams. What has changed in the market, due

to technological evolution, is how we measure success. For abroadcaster, before it was really only about the ratings in yourfirst run and how many viewers you could pull in for your slotcompared to last year. Now, the success measurement is differ-ent. You are measuring your viewers in your first run, yoursecondary run is becoming increasingly important, but thenall the different touch points that you have with the viewers—the traffic that you can generate through your brand—arebecoming really important.

TV FORMATS: What is your strategy for third-party acquisitions?SPODSBERG: Our third-party relationships continue to beextremely important for us. We are still a new player in themarket. We are not working toward having a big catalogue,we are working toward having the best catalogue. For that weabsolutely need to create relationships with the strongest cre-ative people from all over the world. With our subsidiaries within the group, they all have a

strong position in each of their markets. We have a verystrong factual catalogue coming out of the Nordic territories.We have a very strong game-show catalogue coming outmainly from the French territories. Our fantastic company inthe U.S., Bunim-Murray, is extremely strong within realityand character-driven programming. We are closely relatedwith all of them in figuring out what it takes to bring some-thing to the international market and where it is we need tofocus to make it into an international hit.

Karoline SpodsbergManaging DirectorBanijay International

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TV FORMATS: What has contributed toIsrael’s strength in the creative sector?ARMOZA: It’s a combination of twokey elements. One is the maturity ofthe market. It is, in television terms,quite a young market. Commercial tele-vision in Israel was only launched in1993, so in the last few years the markethas matured and become very sophisti-cated. Also, Israel is a melting pot ofcreativity. It’s a country of immigrants

and this all contributes to being a very creative society. It’s also a small country with very limited television budg-

ets, and when you operate with a limited budget, it calls foradded creative value because the demands for productionquality are still high. It’s an open Western society and every-body’s looking at the American level of television and tryingto meet that level. What makes us different is really that limitedbudget, which renders all formats relatively cost-effective toreproduce. What we can’t pay for in production costs, we canmake up for in creativity, so we need to focus on the story andthe characters and creative elements, making each uniquebecause you can’t just spend money and make it big. The other element that is part of our work at Armoza For-

mats is that we were able to create a distribution platform tobring this Israeli creativity into the international market andmake it known.

TV FORMATS:What’s been the approach to incorporatingmultiplatform elements into your formats?ARMOZA: Our cross-platform philosophy begins with astrong content brand. Once that is in place, you need to cre-ate a presence on every possible platform with the goal ofgenerating traffic from one platform to another. The brandneeds to have a solid, independent presence on each of theplatforms, giving the viewer the ability to watch the show orfollow the brand wherever they are and on whichever devicethey choose.

Avi ArmozaCEO Armoza Formats

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TV FORMATS: How are Turkish dra-mas selling as formats?PINTO: The Turkish series are doingvery well as finished episodes, but it’snot that easy to exploit the rights asscripted formats. It is possible. We rep-resent Forbidden Love, which was oneof the biggest series in Turkey.

TV FORMATS: What can GlobalAgency offer producers who are look-

ing for a home for their ideas?PINTO: If I were a creator, I would not give my stuff to thebig companies. At each market they have 50 to 100 newthings and only 25 minutes to make the perfect pitch to aclient. How many projects can you pitch in that time?Maybe three or four? If you as a creator give your [show] tothe big companies, it could [end up in their] library. Withus, there are eight people on the sales team, so that’s eightpeople pitching the same thing to hundreds of clients. It hasa higher chance of getting sales. It makes sense for a creatorto work with a smaller, boutique-style agency.

TV FORMATS:What are your long-term goals for continuingto grow the company?PINTO: My plan is to focus on acquisitions and sales. We aresearching for great formats from Croatia, Serbia, Australia,the U.K., all over the world. We have a slogan, “Content That Creates Buzz.” We want

to stick to our image and to our slogan, so we are lookingfor formats that everyone is talking about. We would like tohave more clients, more product, more sales—this is how Iwant to progress. I want to keep growing 100 percent a year. Our goal is to become a much bigger distr ibutor, but

always be a boutique, where we have not too many ideas butat each market we have four or five great formats and a cou-ple of series. We want to focus on quality and giving thebest service to our clients.

Izzet PintoCEO Global Agency

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TV FORMATS:What is driving the suc-cess of the scripted-format catalogue?AF MALMBORG:The development ofscripted formats is really exciting atthe moment. Producers and broadcast-ers have realized more and more thatinstead of always writing your ownscript, it is easier to take a successfulscript from somewhere else. We’vebeen selling scripted formats for quitesome time. Most recently, we’ve had a

[lot of] success with a Turkish drama series called Ezel. We’vesold the ready-mades and now we’re starting to make thefirst format deals. We’ve been approached by a number ofsmaller countries that we didn’t think could afford to makesuch a high-end series. For example, we did a deal withShant TV in Armenia for Ezel. They made five episodes perday, based on the sales script, with some small modifications.It scored around a 70-percent share in its daily slot. It’s amassive success.

TV FORMATS: How do you compare the value in producing ascripted format versus a non-scripted format?AF MALMBORG:The value is higher for a scripted format than anon-scripted one. The script is so important in a drama series. Ifyou have a success, [the volume of scripts can create value thatlasts a long time]. Obviously, it may [be different] if you have ashorter series that you start to adapt. In that case, you may have tostart to write your own scripts. Even still, writing the plot, writingthe first season, making the character descriptions, those are thedifficult parts. With a scripted format, that is done already. In Western Europe, the Middle East and CIS there are

around 800 million people that are watching dubbed drama.They have accepted watching it in prime time and it’s a bigsuccess. Therefore, it doesn’t matter if the original comesfrom Los Angeles, Istanbul, Stockholm or wherever, as longas it’s good. It’s a sign of globalization. Tastes are gettingmore similar.

Fredrik af MalmborgManaging DirectorEccho Rights

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TV FORMATS: So many of yourproperties have been formatted in theU.S. How were you able to crack thischallenging market?NIR: It started by getting to know RickRosen from what was then Endeavorand now WME. Rick learned of Keshetfrom getting to know our head ofdrama at the time, Hagai Levi, who did Be’Tipul [which would becomeHBO’s] In Treatment. Then I started

coming to the U.S. more frequently and just showed ourproduct. It spoke for itself! Each year we produce four or fivenew drama or comedy franchises and three or four newunscripted shows. [We’re] very prolific. We’ve come tounderstand the way the U.S. market operates and what’sexpected from someone who is coming from abroad, how tocooperate with the studios.

TV FORMATS: Why do you think Israel has become such ahotbed of creativity?NIR: The start-up culture of Israel is part of the companyDNA. This constant state of looking and not finding—I canspeak for Keshet, and maybe this is right for Israel—is a partof that start-up culture. I think we share a strong urge toexpress ourselves and a constant state of neurotic dissatisfac-tion. It’s a good state [to be in] in order to create.

TV FORMATS: Prisoners of War was the basis for the hit U.S. dramaHomeland on Showtime. How important was Prisoners of War inelevating the profile of Israeli content on the global stage?NIR: Very important. On the one hand it was as Israeli atheme as you could think of. But on the other hand, theadaptation done by the American creators with our GideonRaff [who wrote and directed the original Israeli Prisoners ofWar] was so compelling, so strong, so American. [It showedthat] local creativity, local themes and pains, can be trans-formed to various nations and cultures.

Avi NirCEO Keshet Media Group

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TV FORMATS: How would youdescribe the creative climate in theNordic region?SALLING: The Nordic region has alwaysbeen a creative hub, at least for the past 20years or so, which is the time frame whenwe have had competitive channels andcommercial channels in our region. Imust say that once in a while [the popu-larity] pops up again, that the Nordicregion is a creative hot spot; you’re riding

on the wave. And right now we’re on top of that wave. Something that paved the way is the huge successes with

drama series coming out of the Nordic region; the public-service channel DR has ser ies that win one award afteranother. Then when Stieg Larsson and the Millennium trilogycame along, everything sort of peaked. That attracted allkinds of business to the Nordic region.

Usually the Netherlands was just on the heels of the U.K.Now it seems like the Nordic region is just on the heels of theU.K. and the Netherlands is a bit behind. So that’s good, butwe’re on the top of a wave and it will go down again and thenwill resurface again.

TV FORMATS: When did Nordic World make its foray intothe format arena?SALLING: We launched our format division at MIPTV 2011. Thestrategy is to take the best from the Nordic region to the rest ofthe world. We work with all the independent producers in theScandinavian region. The independents that are struggling so hardto survive, competing with the super-indies, we help them. Thoseare the rights that we can cherry-pick from and bring to the mar-ket. The beauty about that is, when we find little gems amongthese independent producers, we, Nordic World, are just a distrib-utor. We do not have any production hubs, production interests,co-production interests, or anything like that. We just take the bestwe can find and bring it to the world; there are no productioninterests, everything we provide to the market is for sale.

Jan SallingCOO & Sales DirectorNordic World

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Distributors

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“One of our primary goals this year is tobuild more awareness about our format cata-logue so that broadcasters immediately lookto A+E Networks when they think ‘top for-mats.’ We have an incredible selection thatincludes Pawn Stars, Intervention and I Survived,which have all proven to be extremely suc-cessful internationally.”

—Marielle Zuccarelli, Managing Director,International Content Distribution

ADDRESS: 235 E. 45 St., New York, NY 10017, U.S.A.TELEPHONE: (1-212) 210-1400WEBSITE: www.aetninternational.comMANAGING DIRECTOR, INTERNATIONAL CONTENT DISTRIBUTION:Marielle ZuccarelliVP, INTERNATIONAL CONTENT DISTRIBUTION: Ellen LovejoyCONTACTS: Kerri Tarmey, [email protected];Shannon Kerr, [email protected] PROGRAMS: 7 Days of Sex: 1 hr., real life/change, Shed Media,Lifetime Television, U.S.A.; 24 Hour Catwalk: 1 hr., entertain-ment, Jane Street Entertainment, Lifetime Television, U.S.A.;American Pickers: 1 hr., real life/character, Leftfield Pictures,Lifetime Television, U.S.A.; Dance Moms: 1 hr., CollinsAvenue Entertainment, Lifetime Television, U.S.A.; Hoarders:1 hr., real life/change, Screaming Flea Productions, A&ENetwork, U.S.A.; Intervention: 1 hr., real life/change, GRBEntertainment, A&E Network, U.S.A; I Survived: 1 hr., reallife/change, NHNZ, BIO, U.S.A.; Monster In-Laws: 30 min.,Leftfield Pictures, A&E Network, U.S.A.; My Ghost Story: 1 hr., paranormal/unexplained, Mark Phillips Philms &Telephision, BIO, U.S.A.; Pawn Stars: 30 min., real life/character, Leftfield Pictures, HISTORY, U.S.A.

A+E Networks

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“Here at Armoza Formats, we’re dedicated todeveloping and distributing fresh and innovativeentertainment formats for the global community.We represent formats across a wide range of gen-res, including game shows (Still Standing,Upgrade), factual entertainment (Connected, ThePackage), comedy (Comedians at Work) and scripteddramas (The Naked Truth, Life Isn’t Everything).

Our content philosophy is simple: tell good stories, ensure cost-effective and high-quality production values, and interact withaudiences on every device, wherever they are, with unique cross-platform concepts.”

—Avi Armoza, CEO

ADDRESS: 16 Ha’Arba’a St., Tel Aviv 64739, IsraelTELEPHONE: (972-3) 540-8333FAX: (972-3) 543-5752WEBSITE: www.armozaformats.comCEO: Avi ArmozaVP & SALES: Mihal Brezis SALES: Anat Lewinsky SALES: Kelly Wright SALES: Ronit Shuler DEVELOPMENT: Elad Adelman CONTACT: [email protected]: Guys in Disguise: 30 min., dating show; ShuttleBattle: 30 min. or 1 hr., game show; Back to the Date: 30 min.,factual entertainment; House Call: 1 hr., weekly prime time,United Studios, Channel 10, Israel; Exposed: 30 min., scripteddaily drama, Koda Communications, Hot3, Israel.

Armoza Formats

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“The evolving Banijay International catalogueconsistently provides our broadcast clients withformats that will help them build a strong,coherent brand and a large and loyal viewerbase. Formats need an impressive track recordand a strong universal viewer appeal, but theymust also allow broadcasters to adapt them totheir local culture—the key to ratings success.

In sourcing, we are lucky to have access to the very creativeBanijay Group production companies, which constantly feed usnew ideas. We are also committed to searching the globe to find the bestthird-party formats. This is the philosophy behind our recentexpansion, which has seen us relocate our headquarters toLondon and set up an acquisitions base in Los Angeles. We arealready reaping the rewards of this new structure, with the likesof hot new reality format Opposite Worlds, a massive ratings hiton Canal 13 in Chile, launching at MIPCOM.”

—Karoline Spodsberg, Managing Director

ADDRESS: 395 Goswell Rd., London EC1V 7JL, U.K.WEBSITE: www.banijayinternational.comMANAGING DIRECTOR: Karoline SpodsbergHEAD, SALES: Sebastian BurkhardtCONTACT: Emily Brookes,[email protected]: Trust: 30 min. or 1 hr., game show, BanijayCreative Factory & Air Productions; Opposite Worlds: 1 hr.,reality, Canal 13, Chile; Art of Survival: 1 hr., reality,Illuminations Media; Popstars: 1 hr., reality, Screentime; Ghetto Riders: 30 min., factual entertainment, Respirator.

Banijay International


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“Cineflix Rights is one of the U.K.’s mostdynamic independent distributors of TV pro-gramming, offering new and original content tobroadcasters and media platforms in more than180 territories worldwide. We distribute selectcontent from leading international producers,new producers with top-notch talent, and fromour own producers at Cineflix Media, who spe-

cialize in scripted and unscripted TV series. Our portfolio includes2,800 active hours of multi-genre properties, including factual, fac-tual entertainment, formats, children’s and scripted series, withmore than 700 hours of fresh content added each year.Cineflix Rights has consistently held its position in the top ten

distributor surveys, and is esteemed by producers and peers. Ourinternational structure, sales expertise, strong marketing supportand quality service have earned us a track record of solid returnsthat intellectual-property owners and program producers rely on.”

—Chris Bonney, CEO, Rights, Cineflix Media

ADDRESS: 1 Lorenzo St., 1/Fl., London WC1X 9DJ, U.K.TELEPHONE: (44-20) 3179-5050WEBSITE: www.cineflixrights.comCEO, RIGHTS, CINEFLIX MEDIA: Chris BonneyCONTACT: [email protected]: Undercover Mad (The World’s Maddest Job Interview):13x1 hr., entertainment, Cineflix Productions, Channel 4,U.K.; Claimed & Shamed: 10x30 min., crime/entertainment,Cineflix Productions, BBC, U.K.; Pet School: 10x30 min.,entertainment, Cineflix Productions, BBC, U.K.; Bigger BetterFaster Stronger: 10x30 min., science/entertainment, TheDownlow Concept, TV3, New Zealand; Instant Cash: 65x30 min., entertainment/game show, Cineflix Productions,TVtropolis, Canada; Buying & Selling: 13x1 hr., home &design, Cineflix Productions, HGTV, U.S.A.; House Hazards:14x30 min., science/entertainment, Cineflix Productions,HGTV, Canada; Conviction Kitchen: 16x1 hr., entertainment,Cineflix Productions, Rogers, Canada/Planet Green, U.S.A.;Property Virgins: 169x30 min., home & design, CineflixProductions, HGTV, Canada & U.S.A.; My House Your Money:52x30 min., home & design, Cineflix Productions, W Network, Canada.

Cineflix Rights

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“Global Agency has become one of the fastest-growing companies in the industry, due to ourdedication to providing buyers with fresh andoriginal formats. At this MIPCOM, we arelaunching two unique new formats, Fashion Iconand Blind Taste, which we’re sure will be hitswith audiences worldwide. Fashion Icon featuresa nationwide search for the country’s most

stylish women, and Blind Taste is a cooking show with an excit-ing twist! Our hot style format Shopping Monsters has alreadybecome a huge success internationally, having been sold to 20territories—and it is still spreading! As a result of our attention tothe industry’s needs, Global Agency has also just acquired WorldWide Entertainment, allowing us to now offer the best in bothcompleted content and high-quality formats.”

—Izzet Pinto, CEO

ADDRESS: Abdi Ipekci cad., Arman palas 7/17 Nisantasi,Istanbul, TurkeyTELEPHONE: (90-212) 296-6154WEBSITE: www.theglobalagency.tvCEO: Izzet PintoHEAD, SALES: Catherine StrykerHEAD, ACQUISITIONS: Andrew SimeCONTACT: [email protected]: Shopping Monsters: 1 hr. daily, style, Kanal D,Turkey; Fashion Icon: 1 hr. daily, style, Show TV, Turkey;Blind Taste: 1 hr. daily, cooking; Let’s Play Hangman: 1 hr.weekly, game show, SBT, Brazil; Perfect Bride: 1 hr. daily, wedding/reality, Show TV, Turkey; The Gift: 1 hr. daily, decorating, Star TV, Turkey; Truth Hunter: 1 hr. weekly, celebrity/factualentertainment, Prima TV, Romania; Home Buy Now: 1 hr.weekly, factual entertainment, Channel 2, Israel; Rise or Fall:1 hr. weekly, talent show, PRVA, Serbia.

Global Agency


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“ITV Studios is the largest and most successful commercialproduction company in the U.K., creating over 3,500 hoursof original programming each year for local and interna-tional broadcasters. Building on a heritage of over 50 years of quality program-

making, ITV Studios produces across a wide range of genres,from drama and entertainment to factual and lifestyle across theU.K. broadcasters. [Programs include] Coronation Street, I’m ACelebrity…Get Me Out of Here!, Emmerdale, Dancing on Ice, ComeDine with Me and Four Weddings.”

—Corporate Communications

ADDRESS: London Television Centre, Upper Ground, London SE1 9LT, U.K.TELEPHONE: (44-20) 7157-3000WEBSITE: www.itvstudios.comDIRECTOR, INTERNATIONAL FORMATS, ITV STUDIOS: Mike BealeVP, FORMAT SALES: Merrily RossCONTACT:Tessa McHughPROGRAMS: Red or Black?: 90 min., game & quiz show, SycoEntertainment & ITV Studios, ITV1, U.K.; Surprise Surprise:1 hr., entertainment, ITV Studios, ITV1, U.K.; The Audience:1 hr., factual entertainment, The Garden, Channel 4, U.K.;Come Date with Me: 1 hr., factual entertainment, ITV Studios,Channel 4, U.K.; Don’t Blow the Inheritance: 1 hr., game &quiz show, 12 Yard Productions, ITV1, U.K.; Top Dog Model:1 hr., reality, ITV Studios, ITV1, U.K.; Real Life—The Musical:1 hr., factual entertainment, ITV Studios America, OWN,U.S.A.; Fool…: 30 min., entertainment, ITV Studios, ITV1,U.K.; Marry Me: 1 hr., factual entertainment, The Garden,ITV1, U.K.; The Chase: 1 hr., game & quiz show, ITVStudios, ITV1, U.K.

ITV Studios Global Entertainment


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“We’re [focusing] this year on our scripted andunscripted formats business that has been, untilnow, quite a success, having closed options andadaptations in many different countries, includ-ing the U.S.A. We look to promote andstrengthen the market perception of ourcompany as not only a supplier of ready-made programs but also as a provider of great

entertainment and successful stories.” —Manuela Caputi, International Sales Manager

ADDRESS:Via Aurelia Antica 422, 00165 Rome, ItalyTELEPHONE: (39-6) 6639-0566WEBSITE: www.mediasetdistribution.comHEAD, SALES: Francesco MozzettiINTERNATIONAL SALES MANAGER: Clare McArdleINTERNATIONAL SALES MANAGER: Manuela CaputiCONTACT: [email protected]: The Chosen: 12x50 min., scripted/suspense/thriller; Tuscan Passion: 12x90 min. or 24x45 min.,scripted/drama; The Anti-Talent Show: weekly prime time, talent show; You’ve Got Mail: weekly prime time, sentimental;Date Me!: daily daytime, dating show; That’s Talent!: daily daytime & weekly prime time, talent show; Donnavventura:weekly daytime, docu-reality.

Mediaset Distribution


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“These formats incorporate a little bit of ourculture and diversity. Even with the SouthAfrican flavor, the concepts are easy to translate,as most countries out there are becoming sodiversified and the formats appeal to andembrace that change.” —Mandy Roger, Head, Sales, Acquisitions &

Business Development

ADDRESS: 137 Bram Fischer Dr., Randburg 2194, South Africa TELEPHONE: (27-11) 686-6000WEBSITE: www.mnet.co.zaDIRECTOR, GROUP CONTENT SERVICES: Jan du PlessisHEAD, SALES, ACQUISITIONS & BUSINESS DEVELOPMENT:Mandy RogerCOMMISSIONING EDITOR: Anne DavidsPROGRAMS: Comedy Character: 1 hr., sketch comedy, MNet,South Africa; Duet Date: 30 min., dating show, MNet, South Africa; Pop Part: 1 hr., talent competition/reality,MNet, South Africa; To Be Continued: 2x1 hr. & 26x30 min.,reality/competition, MNet, South Africa.

MNet


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“Passion Distribution was officially launched in2008. This unique, boutique and intimate-styleinternational-distribution business representsgreat content and formats on behalf of U.K. andNorth American producers and broadcasters. London-based Passion Distribution special-

izes in popular quality programming and for-mats in genres including factual entertainment,

reality, documentaries, lifestyle and game shows. PassionDistribution has exclusive distribution agreements with severalU.S. broadcasters and production companies, including ScrippsNetworks International, Sundance Channel and World ofWonder and works with many companies, both in the U.K. andNorth America. Passion Distribution has built a catalogue of over 3,000 hours

in three years. The company is active in preselling, finding co-propartners and deficit funding.”

—Sally Miles, CEO

ADDRESS: 182 Hercules Rd., London SE1 7LD, U.K. TELEPHONE: (44-20) 7981-9801WEBSITE: www.passiondistribution.com CEO: Sally MilesDIRECTOR, SALES: Emma SimpkinsCONTACT: Fraser Cameron, [email protected]: The Great Food Truck Race: 1 hr., food/competi-tion, Food Network, U.S.A.; The Mortified Sessions: 30 min.,factual entertainment/biography, Sundance Channel, U.S.A.;Restaurant Stakeout: 1 hr., factual entertainment, FoodNetwork, U.S.A.; Cupcake Wars: 1 hr., food/competition,Food Network, U.S.A.; Extreme Clutter: 1 hr., factual entertainment, OWN, U.S.A.; Baggage Battles: 30 min., factual entertainment, Travel Channel, U.S.A.; Dealers—Put Your Money Where Your Mouth Is: 1 hr., factual entertainment, Reef Television, BBC One, U.K.

Passion Distribution


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“Red Arrow International (formerly SevenOneInternational) is the worldwide programming-sales company of Red Arrow EntertainmentGroup. By marketing the group’s projects andthird-party producers, Red Arrow Internationaloffers an extensive portfolio of fictional and fac-tual programming, plus a strong format lineup.Red Arrow International is a gap financier

and secures international co-production and co-financing part-ners. Launched in January 2010, Red Arrow EntertainmentGroup combines a dynamic and growing group of 18 TV pro-duction companies spanning nine countries, with powerful cre-ative partnerships, including Dick de Rijk (You Deserve It, Dealor No Deal) and Omri Marcus (Eye Contact). Red ArrowEntertainment Group is a ProSiebenSat.1 Group company, [oneof] Europe’s leading media groups, reaching more than 62 mil-lion TV households.”

—Jens Richter, Managing Director

ADDRESS: Medienallee 6, 85774 Unterfoehring, Germany TELEPHONE: (49-89) 9507-2320WEBSITE: www.redarrowinternational.tvMANAGING DIRECTOR: Jens RichterCONTACT: [email protected]: The Taste: 1 hr., food/competition, KineticContent, ABC, U.S.A.; A League of Their Own: 1 hr., enter-tainment, CPL Productions, Sky1, U.K.; What If?: 30 min.,sketch comedy, SHELTER, 2BE, Belgium; Ten Ladies Luck:30 min. or 1 hr., game show, Dick de Rijk; The Anti SocialNetwork: 30 min., prank show, NERD, ProSieben, Germany;Fake Reaction: 30 min., game show, Kinetic Content, ITV2,U.K.; Firing Mom & Dad: 1 hr., reality, Kinetic Content &NERD, Kabel Eins, Germany; Heroes of the Internet: 30 min.,comedy clip show, SHELTER, 2BE, Belgium; My Man Can:1 hr., game show, Redseven Entertainment, Sat.1, Germany;Game of Love: 1 hr., dating show, SEO Entertainment.

Red Arrow International


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“Shine International represents over 3,700hours of prime-time commissioned program-ming and market-leading formats. Featuring aworld-class portfolio of content spanningscripted, entertainment, factual entertainmentand documentaries, each title [was] createdand produced by a host of TV’s biggest, mosttrusted and innovative names.

Shine International’s sales team is based in London, Paris, LosAngeles, Sydney and Singapore and through a global network ofrelationships, its programming captures the hearts and imagina-tions of millions of viewers in over 200 territories every day. In 2012, Shine International will world premiere new enter-

tainment formats Britain’s Best Bakery (ITV1), which comesfreshly made from the production company behind MasterChefin the U.K., and the hilarious family-sports competition GoldenGoal, created by Rubicon for TV2. [There are] returning seasonsof the top-rated entertainment formats MasterChef (BBC One),The Date Machine (Sky Living), Australia’s Beauty & The Geek(Seven) and Secret Street Crew (Sky1).”

—Nadine Nohr, CEO

ADDRESS: Primrose Studios, 109 Regents Park Rd.,London NW1 8UR, U.K. TELEPHONE: (44-20) 7985-7000WEBSITE: www.shineinternational.comCEO: Nadine NohrPRESIDENT, SHINE NETWORK: Mark FennessyDIRECTOR, ACQUISITIONS: Georgia BrownCONTACT: [email protected]: Britain’s Best Bakery: Shine TV, ITV1, U.K.;Jewish Mum of the Year: Shine TV, Channel 4, U.K.; Golden Goal:Rubicon, TV2, Norway; Hellstrom’s Kitchen Legacy: Rubicon,TV3, Norway; Beauty & The Geek: Shine Australia, Seven,Australia; Battle of the Brides: Dragonfly, Sky Living, U.K.;The Date Machine: Princess Productions, Sky Living, U.K.;MasterChef All Stars: Shine Australia, Seven, Australia;Minute to Win It: Friday TV, CCTV-1, China.

Shine International


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“Eccho Rights is the new distribution arm ofSparks Eccho that works alongside SparksNetwork and Eccholine to empower creativityworldwide. We have working relationshipswith all broadcasters in the world and areworking closely with the rights-holders thatwe represent in a modern and transparentway. We are the ideal partner for any inde-

pendent creative in any genre.”—Fredrik af Malmborg, Managing Director, Eccho Rights

ADDRESS: Kungsgatan 48, 111 25 Stockholm, SwedenTELEPHONE: (46-8) 5560-9382WEBSITE: www.ecchorights.comMANAGING DIRECTOR, ECCHO RIGHTS: Fredrik af MalmborgDIRECTOR, SALES & ACQUISITIONS, ECCHO RIGHTS:Mia EngströmSALES EXECUTIVE, ECCHO RIGHTS: Michelle HarbottleCONTACT: [email protected]: Exit: reality/game show; My Way: entertainment/reality; Peking Express: adventure/reality; Cover Me Canada:entertainment/reality; The End: drama; Dangerous Beauty: drama.

Sparks Eccho


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“Talpa is a full-service development and pro-duction company built around creativity. Wedevelop ideas for all media platforms with astrong focus on television. Our creative unit,Talpa Content, is the heart of the group; here,we develop our ideas into formats. Genresinclude reality, daily and weekly infotainmentmagazines, variety, game shows, fiction and

comedy. Talpa Productions is the group’s own TV-productionunit. Our initial clients are the broadcasters in the Netherlands.If a format is successful in this country, we try to bring it tothe attention of media companies in other markets. TalpaDistribution is dedicated to the worldwide licensing of TalpaContent’s formats and finished series. Well-known examples ofour formats are I Love My Country, Dating in the Dark, Sing It,The Winner Is…, Divided and, of course, The Voice, the purestvocal talent competition ever.”

—Maarten Meijs, Managing Director

ADDRESS: Zevenend 45, 1251 RL Laren, The NetherlandsTELEPHONE: (31-35) 533-3333WEBSITE: www.talpa.tvMANAGING DIRECTOR: Maarten MeijsPROGRAMS: The Voice: 80 min., talent show; I Love My Country:1 hr. or 90 min., entertainment; The Winner Is...: 80 min.,talent show/game show; Divided: 30 min., game show; Beat the Best: 80 min., talent show; Dating in the Dark: 30 min., dating show/reality; Battle of the Sexes: 1 hr., enter-tainment; The Greatest Hit: 1 hr., entertainment.

Talpa Distribution


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“One of the priorities of Televisa is the develop-ment of formats and products created to reach[wider] audiences.Our production experience gives us the tools

to create amusing and appealing formats likeParodiando and Little Giants, two of our newestformats in the catalogue that involve humor andparody, as well as family entertainment.

The main goal is to create content that the whole family willbe able to enjoy, since the audience has trusted us for decades. Wework hard providing a huge variety of content, from the Dancingfor a Dream and Singing for a Dream franchise, passing throughgame shows, reality, series and, of course, telenovelas.The main creative task for Televisa is to reinforce our product

catalogue with pure entertainment formats for everyone.”—José Luis Romero, Director, Formats & New Content

ADDRESS: 6355 NW 36 St., Miami, FL 33166, U.S.A.TELEPHONE: (1-786) 265-2500FAX: (1-786) 265-2269WEBSITE: www.televisainternacional.tvVP: Fernando Pérez GavilánHEAD, NEW CONTENT: Eduardo ClemeshaDIRECTOR, FORMATS & NEW CONTENT: José Luis RomeroPROGRAMS: True Love: 1 hr., telenovela; Crown of Tears: 1 hr., telenovela; Hollywood Heights: 1 hr., telenovela; Carousel: 1 hr., children’s; Little Giants: reality.

Televisa Internacional


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“Twentieth Century Fox is dedicated to work-ing with the most creative talent, deliveringfeatures and series that have thrived in theinternational market.This remains our goal inthe international format-production business—to have creative and business partnershipsaround the world. The needs of each territoryand their audiences vary enormously, but are

rarely met better than with locally produced shows. We provideoriginal development, short- and long-running series, by tappinginto the studio’s vast store of ever-growing intellectual property.As ITV in the U.K. follows its hugely successful Marchlands withLightfields, the audience remains unaware that both started fromDavid Schulner’s extraordinary script The Oaks (originally forFOX). The Wonder Years (Colombia) has made a seamless transi-tion to more modern times and a completely local sensibility. Weare thrilled with upcoming productions of Malcolm in the Middle,Bones, It’s Always Sunny In Philadelphia, Modern Family, 24 andmore, around the globe—a proud continuation of the studio’sextraordinary success.”

—Yoni Cohen, Senior VP, International Development & Sales

ADDRESS: P.O. Box 900, Los Angeles, CA 90213, U.S.A. TELEPHONE: (1-310) 369-1000WEBSITE: www.foxformats.comSENIOR VP, INTERNATIONAL DEVELOPMENT & SALES:Yoni CohenVP, CREATIVE AFFAIRS & CURRENT PROGRAMMING,TWENTIETH CENTURY FOX TELEVISION: Steve SichermanCONTACT: [email protected]: Glee: 1 hr., scripted comedy; White Collar: 1 hr.,scripted drama; Modern Family: 30 min., scripted comedy;Bones: 1 hr., scripted drama; How I Met Your Mother: 30 min.,scripted comedy; Prison Break: 1 hr., scripted drama;Marchlands: 1 hr., scripted drama; Malcolm in the Middle: 30 min., scripted comedy; My Name is Earl: 30 min., scripted comedy; It’s Always Sunny in Philadelphia: 30 min.,scripted comedy.

Twentieth Century Fox Television Distribution


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Documents

TV Formats Distributors Guide 2012/2013