VideoAge International: What are your plans for DISCOP?
Cesar Diaz: For DISCOP East, Venevision International, and its sales representatives, will continue to offer cost effective programming of superior quality and high production value. During this conference, we will build on old business relationships, while exploring new opportunities and ventures.
Prentiss Fraser: We’re excited to meet new and existing clients at the market and offer high-quality premium content starring talent previously seen in shows such as Californication, True Blood, X-Men, Heroes and 24.
Marine Ksadzhikyan: Our programming continues to do well and open up in Central and Eastern Europe. DISCOP gives us an opportunity to meet with key broadcasters we don’t get to see at MIP and MIPCOM.
VAI: What product will you be bringing to the market?
CD: Headlining our vast and varied proposal for DISCOP East are three new productions: a trio of novelas: Sacrificio de mujer (A Woman’s Sacrifice), Pecadora (Sinner), and Salvador de mujeres (Salvador: A Knockout Lover). The latter two have already proven themselves in territories throughout Latin America, while the first is still in production.
PF: E1 will be introducing new drama and comedy series such as Call Me Fitz, starring Jason Priestley (Beverly Hills 90210). This hilarious half-hour comedy premieres in Canada Fall 2010 and has already been renewed for a second season by TMN, ahead of the premiere containing 13 episodes in each season. E1 will also be bringing new one-hour dramas, such as Rookie Blue, a primetime US Network drama series centered on a group of young hot cops fresh out of the academy premieres in the US on ABC during DISCOP (June 24).
MK: We’re bringing a catalogue of versatile and adaptable programming. We’re bringing The Dog Whisperer, which has a proven track record and airs in over 150 territories. We recently did a sale to Russia and hopefully that will be the first of many in the territory. The franchise is still going strong. Additionally, Tracey Morgan has agreed to be involved with Scare Tactics Season 4.
VAI: What territories will you be focusing on in particular?
CD: All territories within Central and Eastern Europe are viable markets. However we will focus much of our attention on such countries as Bulgaria, Albania, Macedonia, Serbia, Bosnia, Hungary, and Poland.
PF: E1’s catalogue is suitable for broadcasters throughout the regions attending DISCOP. With the continued emergence of new channels in Central Eastern Europe and DTT platforms requiring content, we’re excited to be meeting new clients as well as continuing our business with current clients. At this market we’ll really be targeting free TV buyers throughout Eastern Europe.
MK: For us, all territories are equal all around the board. All of them are as important as the next one. From the Baltics to Russia and beyond.
VAI: Is there still a strong demand for telenovelas in Eastern Europe? Any other predictions for trends at the market?
CD: It’s safe to say that there is still a steady demand for telenovelas in Eastern Europe.  In the past years, however, we have also seen a strong demand for non-scripted formats as they continue to grow in popularity.
PF: The TV market in Central Eastern Europe is still developing and broadcasters have to offer a variety of content and channels to its viewers in order to maintain ratings against their competitors. With the increase of HD Channels, for example, and requirements for HD from broadcasters, E1’s pleased to offer the majority of the newest content all available in HD. Other trends and hot topics will likely include 3D programming and the shift from format purchase back to acquired content.
MK: Clip shows are number one. They provide great filler. Our catalogue is filled with them and they are really adaptable, especially for these regions. And the best part of them is they can actually be localized for a specific territory.

An estimated 1,300 delegates will be gathering in the Pest part of Budapest June 23-25 for the 18th edition of DISCOP East. With the TV business in Eastern Europe showing signs of recovery after a difficult 2009, the market promises to be full of returning attendees and new faces alike. VideoAge caught up with a handful of market newbies and seasoned veterans to find out what to expect out of this year’s event, and whether the telenovela still reigns supreme in Central and Eastern Europe. For more complete DISCOP coverage, please see VideoAge’s June/July Issue, which will receive bonus distribution at the Budapest’s event.
           Guillermo Isturiz of Miami, Florida-based Latin Media will be at DISCOP for the first time, along with another first-timer, British format and light entertainment specialist, Hat Trick International, who will be attending with a viewing box. Director of Sales Sarah Tong explained: “Central and Eastern Europe is becoming more important to Hat Trick International as our programming has been selling very well in the region lately, and we also discussed the importance of DISCOP with other distributors, and the success they have historically had here, which is why we decided to come this year."
           Much the same reasoning has attracted China’s Fantawild Animation to DISCOP East for the very first time. “In the past,” explained Sales director Daisy Shang, “Our programming has sold mostly in Asia and the Middle East, but recently we have started to have success in the C.I.S. (the Commonwealth of Independent States, formerly the Soviet Union) and so we have decided to attend DISCOP East. It enjoys great popularity amongst the Eastern European content industry, and so it seemed to us to be the best place to develop long-term relationships in the region.”
           The appearance of new companies at a market is always a positive sign, and there are other indications that things might be looking up. 
           Axel Bohm, Regional Sales Director and International Fiction Acquisitions for Germany’s SevenOne accepted that the recession has had a big impact over the past 24 months, but insisted, “there are signs of improvement, several channels in Central and Eastern Europe are performing more strongly than last year, and the Russian ad market is definitely picking up again.” And while he is also adamant that, “There is definitely a demand for fresh ideas and high quality,” he went on to caution that, “Buyers, however, are quite risk-adverse in their choices, preferring to rely on shows with proven international track records. And they also want cost effective shows with reduced budgets, which is one reason why so many regional broadcasters are currently so keen on stripped shows.”
            Of course, telenovelas have been popular in the Central and Eastern Europe region for some time, reflecting the regional importance of the female audience. Bohm noted that, “The rollout of digital channels in countries such as The Czech Republic, Slovakia, Poland and Russia, has led to the launch of an increasing number of themed channels focusing on clear demographics, which, quite often is the female demographic.”
           This is a trend also noted by Joss Duffield, Program Sales Executive EMEA, at AETN, who notes “with the proliferation of new digital channels there is an increasing demand for female skewing programming, a demand which is very well met by the addition of the Lifetime programming to our catalogue.” And she also insisted that this process means, “We no longer regard Central and Eastern Europe as an emerging market.”

VideoAge International: What's new at the market this year?
Patrick Jucaud: Since last year’s DISCOP East, the region has seen the launch of a staggering 51 new channels and television platforms. Viasat has launched new sports and nature channels in the Baltic region, Chello has launched two new sports channels in the region, and Romania has seen the launch of food channel TV Paprika. In the Ukraine, Digital Fly has launched a 70-channel pay platform. Later this year CTC Russia will launch Galileo, a factual channel it has already dubbed, “the Russian Discovery Channel,” while Polsat Film started broadcasting in Poland on 2 October 2009; and there are many, many, more. VOD is burgeoning too; Remfu Media has launched Kengurua TV, a VOD platform for Ukraine and Russia while in Hungary, Budapest Film has launched a range of new VOD services, at www.port.hu. In fact, across the region, new content outlets are springing up everywhere. And, even if, such rapid expansion is likely to be followed by a period of consolidation, all these new launches must still be good news. We certainly think so anyway. Which is why 36 of these new channels and platforms will be here at this year’s DISCOP, and, at the time of writing, discussions were ongoing with all the others.
VAI: All companies are looking to save money. What are the organizers doing to help exhibiting companies save money at the market?
PJ: We have considerably improved the quality of all of our pre-market organizational services in order to allow our participants to add at least two hours worth of meetings per each market day. We have also increased the number of low-cost exhibits. We have brought together two new national pavilions that were not at DISCOP East last year, one from Argentine and another one from Serbia, in order to help independent producers attend our market. Also, it is important to note that this is the fourth consecutive year that we have not increased our prices.
VAI: What are organizers doing to help exhibitors make money and promote their products this year?
PJ: We will be launching DISCOP Tube, a free online video library open to content buyers representing TV stations and other distribution platforms across Central, Eastern Europe, Central Asia, the Middle East and Africa. The DISCOP Tube online video library will showcase content offered at the various DISCOP markets and will be accessible all year round via DISCOP’s website. During the markets themselves, buyers will be able to access the DISCOP Tube platform in a restricted lounge open at all times during the course of the three-day market.
           The DISCOP Tube streaming and uploading services will be powered by Mediapeers, one of the world’s leading developers of secured online, business-to-business viewing environments. While face-to-face meetings are central to the development of television content business in the 101 countries covered by DISCOP events, we are also responding to economical and technological factors encouraging online viewing practices.
           Fueled by new territorial licensing opportunities combined with a worldwide, ongoing digital switchover revolution for content suppliers, the number of potential “prospects” has grown exponentially in the last three years, and with it, the costs to properly service every single one of them. Using premium postal services to rush physical DVDs around the world, after or before a sales-centric market no longer makes sense. Helping buyers and sellers to travel “light” is a major priority for us, as is the spontaneous networking that can be derived from online environments.  We are sure that DISCOP Tube will be a huge benefit to our attendees, before, during and after each of our markets.”
VAI: How many buyers are you expecting? How many sellers?
PJ: We are expecting approximately 350 companies to attend as content sellers and about 500 companies as content buyers (TV Stations, Pay-TV platforms, territorial agents, home video distributors and other alternative content distribution platforms). Most important, we hope to increase the average number of “useful” meetings between participants by 20 percent this year, and we have been much more rigorous in the pre-registration process in order to only bring to the market companies interested in doing business on the spot. With four weeks to go before the opening of the next DISCOP market, 300 international content suppliers and 435 TV Stations, other content distribution platforms and territorial agents from Central and Eastern Europe are already registered.
           In 2009, DISCOP events brought together a combined number of 2160 participants, a 33 percent increase from 2008, demonstrating the growing importance of world regions such as Central and Eastern Europe, Central Asia and Africa for audiovisual content business. Between all DISCOP events scheduled during 2010, we expect to bring a total of 2500 participants this year.
VAI: Do you have any predictions for which markets/regions will be increasing their presence or becoming more aggressive this year?
PJ: We see Turkey as becoming a major player in Central and Eastern Europe, both as a growingly important supplier of dramas and as a country with many television operators ready to acquire content from companies attending DISCOP East18. Turkey will host our DISCOP East 18 Welcome Party.
VAI:  How has the Budapest location worked for DISCOP? Have you ever considered making it an itinerant market and holding it in other locations in Eastern Europe such as Romania or Bulgaria?
PJ: We are very happy with Budapest and 95 percent of our participants are happy with the venue that we will be using for the 18th year now. We have often considered changing the location but we have always come back to the golden principle in our business: “Don’t change a venue that works”.

Most distributors at the L.A. Screenings fall into one of two categories: indies and studios. But what about the companies that fall somewhere in the middle? VideoAge caught up with Sheila Aguirre, senior vice president of Sales and Development, Latin America and Hispanic U.S.A. for format powerhouse FremantleMedia Enterprises, and, to some extent, Gabriela Lopez, senior vice president of Argentina-based Ledafilms –– which distributes content to Latin America from U.S. studios –– to find what the L.A. Screenings are like for mini-majors.
           Aguirre was buoyant about the event. “We’re looking forward to being at L.A. Screenings this year, as always,” she said, “It gives us a great opportunity to tie up deals started at MIP-TV and catch up with clients that weren’t in Cannes.”
           Where product is concerned, Aguirre and company are focusing on finished series including Motor City Motors, Michelin Stars: The Pressure For Perfection and brand new cooking show Annabel Langbein: The Free Range Cook. Added Aguirre: “We have some of the best returning series and franchises that broadcasters can rely on.” Such returning shows include She’s Got the Look, Celebrity Apprentice, and the Martha Stewart Catalogue.
           In addition to the formats Fremantle launched at MIP-TV, Aguirre’s team is also bringing a host of game show formats. Titles include The Price Is Right, Let’s Make a Deal, Family Feud and Five Against Quizmaster.
           Asked about programming trends to expect at the Screenings, Aguirre remarked that the pan-regional channels in Latin America are expanding their programming grids. “There has been a particular rise in demand for factual and lifestyle programs,” she said.
           Ledafilms walks the line between studio and indie in the sense that it acts as a sales agent for Paramount Pictures-Dreamworks as well as independent companies like Los Angeles-based Lucasfilm. Gabriela Lopez said that, although a good number of companies her firm represents are focused primarily on Latin America, her team has other goals for the Screenings as well. “We’re also launching a new animated production project in association with Miami-based Exim and Italy’s Mondo TV,” she said. “It’s called Bondiband, and it will have worldwide distribution plus licensing and merchandising.”
           Lopez also predicted that although some sales will go to the independents, the Latins will get most of their product from the studios. “It’s very difficult to estimate a percentage,” she said, “But there is no doubt that the main amount of product acquired by the Latin networks comes from major studios and the largest independent Hollywood producers.”
           The full L.A. Screenings report will be available in the May 18 edition of VideoAge, first distributed in Los Angeles and later, mailed and posted online.

There are different ways to curtail a free and open press: Censorship, threats, blackmail, well-orchestrated deceits, licensing journalists, etc. But, besides being killed as happened in Mexico (just in 2009, seven journalists were slain), the most hideous of all is using a court of law as a tool to silence speech, especially when it’s not a criminal court but a civil court — just to extract pecuniary awards. This aspect is even more hideous than withholding advertising support to the offending media, when published stories are known to be accurate.
           Recently, Great Britain has come under fire for its frivolous libel laws, better known as “libel-tourism” because it refers to court cases tried in London, even if none of the litigants (or the offending media) is based there.
           Using defamation as a tool to silence the press is a common occurrence in Italy, but I was totally surprised that such things could happen in Britain.
           In Italy, defamation laws always existed, but were confined to the criminal court. Only recently this type of case moved to the civil court for multimillion euro awards. On average, every year there are more than 400 libel suits against the press in Italy, for awards in the order of 15 million euro.
           This predicament made the Italian press shy away from investigative reports. In addition, the huge monetary settlements silenced the independent media, since only large corporations can afford to go to a court trial (libel insurance is not available). At times, it is a sufficiently subtle threat made by a rich subject to silence a story from a small media outlet. Technically, in Italy a journalist can be sued for libel by saying that so-and-so “doesn’t know the Italian Constitution” (by the way, the Constitution doesn’t explicitly protect freedom of the press). A further deterrent introduced in Italy, is “privacy violation,” intended purely as a tool to protect public figures who don’t want to be under scrutiny.
           With 259 libel tourist cases in 2008, Britain is not too far off from Italy. But the U.K. has the added reputation as the most attractive place to sue someone (especially in England and Wales). There are reports of an Australian newspaper killing an interview with a British scientist, for fear of being sued in London. A Danish radiologist was sued in London by a U.S. company because of a speech he delivered at Oxford. A British cardiologist was taken to court in London because of an interview he gave in Washington, D.C. A few years ago, Richard Perle, an adviser to President George W. Bush, threatened to sue investigative reporter Seymour Hersh in London, because of critical articles about him. A U.S. writer was sued in London by a Saudi billionaire because her book was available in Britain. A U.S. film star took U.S. tabloid the National Enquirer to court in London because of an unappreciated story that appeared on the paper’s website (available to British readers). A French resident won a libel suit in London again American Vanity Fair, while a Russian oligarch won a libel suite in London against the U.S. business magazine, Forbes.
           Perhaps, because of these abuses and absurdities, British Justice Secretary Jack Straw recently announced a sweeping review of the libel law. In 2008, the U.S. House of Representatives passed a bill that prohibits U.S. courts from enforcing foreign libel judgments. A similar bill was introduced in the U.S. Senate last year. Several U.S. states already have anti-libel tourism laws. It is expected that the federal Congress would act soon.
           In the U.S., if a libel suit is considered frivolous (as long as the food industry isn’t involved), the judge throws it out, and can even ask the claimant to compensate the court for the time and effort it took to throw it out.
           Any American public figure bringing a libel action has to prove that what was written was not only untrue but published maliciously and recklessly.
           However, pre-emptive censorship is not just a problem for Italy or Britain, but for the entire EU, which, unfortunately doesn’t have the power, the will or the leadership to tackle it.
           Fortunately Iceland is coming to the rescue with a proposal of an “off-shore” haven for press freedom, especially for investigative journalism (Iceland Modern Media Initiative).
           Reykjavik is expected to pass a law for press protection for media based there. It’s a good idea both for Iceland and the world. Silencing the press with money or the courts is a great defeat to those who have interest in silencing the press. Unfortunately, there is not yet a solution for those who use the power of the gun.

Christian Wittich, head of International Sales, Studio Hamburg

“We expect this MIP-TV to be more encouraging than last year’s MIPCOM. Business is still being influenced by the worldwide financial crisis, but both parties — buyers and sellers — are finding models of cooperation. Besides this, it’s always cheaper to buy than to produce content — that’s the opportunity for sellers.
          Our focus for the market is all of Europe. But of course we use MIP as a chance to continue and renew already established business contact all over the world and start new business relationships. Thirty years of wildlife programming makes us one of the most respected suppliers of this program genre.

Patrick Elmendorff, managing director Studio 100 Media

“Studio 100 Media has an extensive library of new and existing programming which we are offering to buyers and we expect to sell our key properties into an increasing number of European markets and beyond.
           MIP-TV is important for our company as it gives us the opportunity to meet with clients from all over the world. We not only have the chance to initiate and to close deals, but to present all our new programs—from development to post-production stages, and the market itself enables us to contact potential partners for future co-productions or talk to licensors regarding possible agency agreements.
           At MIP we’ll continue with our sales activities, network with our existing partners, meet with new customers, establish co-production and co-financing partners for new projects and productions and pursue third-party content.”

By Monica Gorghetto

There were mixed results at the recently concluded third edition of the Kids Licensing Forum, which coincided with the 47th annual Bologna Children's Book Fair.
           Held in Bologna, Italy, March 23-26, with 1,200 exhibitors from 60 countries and some 4,600 participants, the much larger Book Fair once again housed the Kids Forum, which in addition to licensing and merchandising, included sales of children’s TV programs.
           More than 30 companies exhibited with stands in Hall 31, a dedicated area within the Book Fair premises. Among them: France’s Marathon; Italy’s Mediaset, RaiTrade and Atlantyca; Canada’s E1 and Nickelodeon from the U.S.
           There were also six “showcases” of companies without a booth, such as that of Disney Italia. Some of the participating companies were also able to screen their products in a general screening room.
           The Forum is the only Italian trade event organized in cooperation with LIMA, the worldwide organization for the licensing industry, and president Charles Riotto was in attendancce.
           On the conference side, 20 well-attended seminars dealt with an array of subjects, including copyrights and subsidiary rights, licensing contracts, and the videogame market.
           Overall, workshops and seminars held during the three day event focused on the legal aspects of international licensing and the role of sports brands and licensing in the fashion business, in addition to several properties previews.
           Among the most significant news conferences, executives from Italian animation festival, Cartoons on the Bay announced a new award in this year’s competition (to be held in Rapallo, Italy April 15-18) — the Arlecchino Award  –– to be bestowed on the best animation production based on a literary work.
           Although some attendees complained of low attendance, the Kids Forum took off on the second day, and participants VideoAge contacted reported good business.

VideoAge International: What are your company’s plans for MIP-TV?
Marcel Vinay Junior: Just like every year we are bringing a different variety of new shows to MIP-TV. TVAzteca has made a huge investment on talented writers and the results have been amazing. For example, for the first time at MIP-TV we are bringing La Loba, a telenovela that sold to more than 14 countries in Latin America on the first day of NATPE 2010. We are eager to present this amazing telenovela to the rest of the world at MIP-TV.
Beth Orozco: Our purpose has always been the same, to be in contact with our clients, to have the opportunity to develop partnerships with them and to continue positioning ourselves in the international market. This personal contact with people is crucial to achieve the above.

VAI: What new product/titles are you bringing to the market?
MVJ: We are presenting [a total of] three new telenovelas, which have been superbly written and skillfully produced. Infamia (Torn Apart) is a remarkable drama about identical twin sisters living two very different lives who are separated at birth by their villainous grandmother. We are also offering La Loba (Fierce Angel), a great story about a girl who in order to save her life was given away at birth. And finally, another excellent story is La Fuerza del Destino (Force of Destiny), which has been a huge success in countries such as Venezuela and Turkey, and will run in the rest of Latin America later this year.
BO: We’re bringing three new released productions, each quite different. The first is a telenovela with a touch of comedy, the second is more classical and dramatic, and the third is a musical (All I need is Love, Mariana & Scarlett, Pretty Ceci and Mr. Indiscreet). All are very good shows that sure are going to captivate clients’ interest. And of course, all of them are suitable for their sales as format or as readymade.

VAI: In light of the state of the economy, what do you expect attendance to be like at this year’s MIP?
MVJ: We started the year with a very successful market at NATPE so we expect this MIP-TV to be even better. Along with our new programming we are returning with shows that have been very well received by our clients for example the series A Cada Quien Su Santo has in just one year become the number one show in its time slot in countries like Venezuela and the rest of Latin America.
BO: The television industry is in a recovery; they need new and different content to get over this economic situation. We feel that good content at a good prices is the best formula for clients in times like this and that is exactly what we offer.

VAI: How important is MIP-TV to your company?
MVJ: MIP-TV is an important market because it brings together programmers from all over the world, especially from continents like Africa, Asia and of course Europe.

VAI: MIP-TV falls two weeks later than usual this year. Is that good or bad for your company?
BO: I actually don’t think that this delay makes a quite big different for us, in fact, it gives us the chance to have new releases productions which couldn’t be presented in other market like NATPE.

Jose Escalante: Latin Media has partnered with WRC to coproduce Telenovelas in Malaysia. Under the accord, WRC is also distributing LMC’s content in Asia, Africa and the Middle East.

VA: Recently, both LMC and WRC teamed up with FINAS of Malaysia to produce two telenovela-style Malaysian dramas for the international market, can you explain what FINAS is?
JE: FINAS is a department of the Ministry of Communication of Malaysia.

VA: Can you elaborate about the telenovelas?
JE: WRC and Latin Media will be producing two Telenovelas for the government owned TV networks RTM.

In March we started to produce the first drama, Bola Cinta. The first season comprises 30 one-hour episodes and the second season will consist of 30 more hours. It will be entirely produced in Bahasa, Malaysia, with a Malysian cast. It’s final cost is estimated to be between 80,000 - 90,000 Ringits (U.S.$24,000- $27,000) per one hour episode.

VA: How will the international distribution rights be divided?
JE: Bola Cinta will be distributed in Asia, Africa and the Middle East by WRC, and in the  rest of the world by LMC.

VA: In addition to Malaysia's programs, what other content is LMC distributing?
JE: Currently, Latin Media distributes the catalogue from Channel 13, Chile; Ecuavisa, Ecuador, and other independent producers from Latin America. Latin Media is also distributing Asian content to Latin America and Hispanic TV in the U.S.

VA: At MIP-TV will you be exhibiting as LMC?
JE: Yes, LMC will be at the Palais at stand 5-19.

VA: Will LMC be attending the L.A. Screenings?
JE: Yes, LMC will attend the Los Angeles Screenings.

By Monica Gorghetto

Cartoons on the Bay is the 14-year old children’s TV festival organized by Italy’s RaiTrade, RAI’s program sales division. For the second consecutive year, the four-day event will be held in Portofino starting on April 15, just before the conclusion of MIP-TV. Portofino and the other event’s venues (Rapallo and S. Margherita Ligure) are a two-hour car ride from Cannes.

To get a sense of this year’s Cartoons on the Bay from a business perspective, VideoAge asked five pointed questions to the festival’s  artistic director Roberto Genovesi.

VideoAge: In your view, why is a children’s TV festival more important than a TV market?

Roberto Genovesi: It depends how the festival is conceived. If it has a classic structure, its importance should be determined by the contents. Cartoons on the Bay has both an artistic and market-oriented structure, which is important because it allows executives to see both sides of the world of animation.

VA: What does Cartoons on the Bay offer that other kids fests don’t offer?

RG: First of all, it is the first cross-media animation festival, and one of the first ones to have entirely opened to other sectors related to animation, like videogames and comics, which are crucial for future scenarios of this industry. These sectors, on our opinion, are very open-minded, and this is how we want to be. It is not possible to be close-minded anymore.

VA: What is the monetary value (or added value) for a producer and/or a program distributor of participating at Cartoons on the Bay?

RG: At Cartoons you are able to confront worlds other than animation, and confront professionals and sectors that can bring much to the final product; we are talking about different worlds influencing each other.

VA: How does Cartoons on the Bay facilitate business interactions among participants?

RG: This year’s edition of the festival will have, for the first time, an area exclusively open to business, where participants can network and tie up new business relationships. Moreover, the largest delegation of Chinese television and animation producers will be there.

VA: In one sentence, why is important for executives in the children’s TV biz to be at Cartoons on the Bay?

RG: At Cartoons, you will get a clear a complete view of animation today, from both artistic and commercial point of view.