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DISCOP LINK NEWSLETTER Contents and Format Business in CEE

EDITORIAL Publishers: Basic Lead & Media Art Service International

IT HAS BEEN A GREAT YEAR FOR DISCOP! By Patrick Jucaud

Publishing Director: Patrick JUCAUD Basic Lead 18 Rue Jose Maria de Heredia 75007 Paris, France T + 33 1 42 29 32 24 F + 33 1 42 29 34 74 [email protected] Executive Editor: Rastislav DURMAN Bul. M. Pupina 6/VI, 21000 Novi Sad, Vojvodina, Serbia & Montenegro T/F + 381 21 420 900 [email protected] Contributing Editor: Bob JENKINS T + 44 203 22 00 188 M + 44 781 42 42 405 [email protected] Contributors: Danica A]IMOVI], Ed BAUMNEISTER, Daniela COMAN, Eva DEKANOVSKA, Jelena MILOJKOVI], Anna NJEMOGA KOLAR, Stamos PROTOPSALTIS, Olivera POPOV-OBRENOV, Spas SPASOV, Dragana STANI], Verica VUKOVI] ART & DESIGN Emil OTRUP^AK, Christine DUFOUR & Sr|an GULIN SALES Booking Manager: Aurele RIVET Basic Lead 18 Rue Jose Maria de Heredia 75007 Paris, France T + 33 1 42 29 32 24 F + 33 1 42 29 34 74 [email protected] MAILING LIST ADDITIONS Marta CSIZMADIA T + 33 1 42 29 32 24 F + 33 1 42 29 34 74 [email protected]

© Basic Lead & Media Art 2005. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any information storage or retrieval system without the express prior written consent of the publisher. Printed by: Maxima Graf, Petrovaradin, Serbia & Montenegro ISSN 1452-1016

COBISS.SR-ID 204927751 04

ith 750 programming, acquisitions, production and advertising executives operating in Central & Eastern Europe and close to 300 international content sales organizations in attendance - including 75 distributors who had never attended our market in the past! - this 14th edition of DISCOP is once again going to be much stronger than the previous one. These numbers reflect the fact that international content business in Central & Eastern Europe is getting more and more dynamic, but also more competitive as the number of broadcasters, thematic channels, DVD distributors and co-productions keeps growing. These numbers also reflect the fact that programming trends in the region are also undergoing profound changes - like in many other parts of the world - while at the same time multi-platform content distribution is making strong inroads in many Central & Eastern European countries.

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The relationship between television stations and advertisers will also be at the centre of our 3-day market thanks to our DISCOP CAMPUS 06 conference titled #THINK OUTSIDE THE BOX!$ and which will explain how television stations can take advantage of these new content distribution platforms to remain the medium of choice for media-buying agencies and advertisers. Have a great market! Regards, Patrick Jucaud Founding Manager THE DISCOP ORGANIZATION

WELCOME TO DISCOP 06! By Rick Feldman

s you probably know, at this January's NATPE convention in Las Vegas it was announced that the DISCOP organization and NATPE had joined forces. The idea is that both organizations would be stronger and better able to serve the needs of content buyers and sellers from all over the world by working together and combining our expertise to create superior environments for our clients. The intimacy of the DISCOP market is an important ingredient in it's success. We all aim to keep it that way. Hopefully, you will only see slight changes to the market and we hope that what you do see will only add to the DISCOP experience.

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NATPE has 43 years of experience in television content business. We hope and expect that tour support of DISCOP will allow for the growth and opportunity that works for all involved. Best wishes from L.A. Have a great time! Regards, Rick Feldman President | CEO NATPE DISCOP LINK • #5 • JUNE 06

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GENERAL PROGRAM WEDNESDAY 21 JUNE 10:30 EUROPEAN TELEVISION DIALOGUE 06 Budapest GERBEAUD CAFE

REGISTRATION

11:00 EUROPEAN TELEVISION DIALOGUE 06 Budapest GERBEAUD CAFE

CONFERENCE OPENING

15:00 DISCOP 06 SOFITEL HOTEL

REGISTRATION

17:00 EUROPEAN TELEVISION DIALOGUE 06 Budapest GERBEAUD CAFE

COCKTAIL

Sofitel ***** 1051 Budapest, Roosevelt ter 2. Tel: + 36 1-266 1234 Fax: + 36 1-266 9101 www.sofitel-budapest.com

21 :00 DISCOP 06 SOFITEL HOTEL

END OF REGISTRATION

Intercontinental ***** 1368 Budapest Apaczai Csere J.u. 12-14 Tel: +36 1 327 63 33 Fax: +36 1 327 63 57 www.budapest.intercontinental.com

THURSDAY 22 JUNE 07:00 DISCOP 06 SOFITEL HOTEL

REGISTRATION

09:00 DISCOP 06

1ST MARKET DAY 12:00 #ABOUT FREEDOM'S FURY$ - a film by THE SIBS SOFITEL HOTEL

OPENING OF

SOFITEL HOTEL

HOTELSCREENING

14:00 #THINK OUTSIDE THE BOX$ SOFITEL HOTEL

DISCOP CAMPUS CONFERENCE

1ST DAY

19:00 DISCOP 06

SOFITEL HOTEL CLOSING OF 1ST MARKET DAY 19:30 DISCOP 06 WELCOME PARTY sponsored by ACT GERBEAUD CAFE

BY INVITATION ONLY

FRIDAY 23 JUNE 07:00 DISCOP 06 SOFITEL HOTEL

2ND MARKET DAY 10:00 #THINK OUTSIDE THE BOX$ SOFITEL HOTEL DISCOP CAMPUS CONFERENCE 2ND DAY 12:30 COCKTAIL offered by THE KOREAN BROADCASTING COMMISSION SOFITEL HOTEL

OPENING OF

SOFITEL HOTEL

BY INVITATION ONLY

19:00 DISCOP 06

SOFITEL HOTEL CLOSING OF 2ND MARKET DAY 20:00 TELENOVELAS GALA EVENING sponsored by ZONE VISION'S ROMANTICA CHANNEL and BY DORI MEDIA'S VIVA CHANNEL BY INVITATION ONLY

22:00 HBO BOAT PARTY EUROPA BOAT

BY INVITATION ONLY

SATURDAY 24 JUNE 09:00 DISCOP 06 SOFITEL HOTEL

REGISTRATION

10:00 DISCOP 06 SOFITEL HOTEL

OPENING OF LAST MARKET DAY

10:00 #ELEPHANT TALES$ presented by PRO-FOUR SOFITEL HOTEL

Taverna **** 1052 Budapest V·ci utca 20. Tel: + 36 1 485 31 00 Fax: + 36 1 485 31 11 www.hoteltaverna.hu

REGISTRATION

09:00 DISCOP 06

GERBEAUD CAFE

Art'otel **** superior 1011 Budapest Bem rakpart 16-19 Tel : + 36 1 487 94 08 Fax:+ 36 1 487 94 05 www.artotel.hu

Mercure Korona **** 1053 Budapest Kecskemeti u.14 Tel: + 36 1-486-88 00 Fax: + 36 1-318-38 67 www.mercure-korona.hu Erzsebet *** 1053 Budapest, Karolyi Mihaly u.11-15. Tel: + 36 1-889-37 10 Fax: +36 1-889-3763 www.danubiushotels Mercure Duna *** 1095 Budapest Soroksari ut 12 Tel: + 36 1 455-83 00 Fax: + 36 1 455-83 85 www.hotels.hu/mercure-duna

SCREENING

16:00 DISCOP 06 SOFITEL HOTEL

DISCOP LINK • #5 • JUNE 06

CLOSING OF LAST MARKET DAY

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DISCOP 06 CONTENT SELLERS 10 FRANCS | FRANCE 2001 AUDIOVISUEL - GROUPE TELFRANCE | FRANCE 3DD | UNITED KINGDOM 4 KIDS ENTERTAINMENT | USA

A AB INTERNATIONAL DISTRIBUTION | FRANCE ABS-CBN BROADCASTING CORPORATION | PHILIPPINES ABSOLUTELY INDEPENDENT | NETHERLANDS ACID SPORT | FRANCE ACT - ASSOCIATION OF COMMERCIAL TELEVISION IN EUROPE | BELGIUM ADDP ASLANIS | GREECE AIM TELEVISION | INDIA ALAIN SIRITZKY PRODUCTIONS / DREAM ENTERTAINMENT | USA ALCATEL | FRANCE ALFRED HABER DISTRIBUTION | USA ALL3MEDIA INTERNATIONAL | UNITED KINGDOM ALL RUSSIAN TV CHANNEL SPORT / PLANETA SPORT | RUSSIA ALPHANIM | FRANCE AMEDIA | RUSSIA AMOS SPACECOM | ISRAEL AP TELEVISION NEWS | UNITED KINGDOM ARTE FRANCE | FRANCE ATM GRUPA SA | POLAND AVALON INTERNATIONAL | UNITED KINGDOM B BAVARIA MEDIA TELEVISION | GERMANY BBC WORLDWIDE | UNITED KINGDOM BECKMANN INTERNATIONAL | UNITED KINGDOM BEJUBA ENTERTAINMENT | CANADA BUENA VISTA INTERNATIONAL TV | UNITED KINGDOM BEYOND DISTRIBUTION | UNITED KINGDOM BLOOMBERG LP | UNITED KINGDOM BOLLYWOOD EROS NETWORK | INDIA BOLLYWOOD OPTION | RUSSIA BRB INTERNACIONAL | SPAIN BREAKTHROUGH ENTERTAINMENT INC. | CANADA BULLSEYE DISTRIBUTION | UNITED KINGDOM C CABLE READY | USA CALINOS ENTERTAINMENT | TURKEY CANAL FRANCE INTERNATIONAL | FRANCE CAPRICORN PROGRAMS LTD | UNITED KINGDOM CARACOL TV | USA CARRERE GROUP | FRANCE CARSEY WERNER DISTRIBUTION | UNITED KINGDOM CBS CHRISTIAN BROADCASTING SYSTEM | KOREA CBS PARAMOUNT TELEVISION | UNITED KINGDOM CCI ENTERTAINMENT LTD | CANADA CELLULOID DREAMS | FRANCE CENTRAL PARTNERSHIP | RUSSIA CENTRE FILMS MEDIA SALES | UNITED KINGDOM CHANNEL 4 INTERNATIONAL | UNITED KINGDOM CHANNEL 4 LEARNING | UNITED KINGDOM CINETEL FILMS | USA CJ MEDIA | KOREA CLASSIC MEDIA | USA CLAXSON | USA CNDP - SCEREN | FRANCE 06

COOKIE JAR ENTERTAINMENT | CANADA CZECH TELEVISION | CZECH REPUBLIC

D DARGAUD DISTRIBUTION | FRANCE DARO FILM DISTRIBUTION | MONACO DEUTSCHE WELLE / TRANSTEL | GERMANY DIC ENTERTAINMENT | USA DIGITAL CLASSICS / NBD TV | UNITED KINGDOM DISCOVERY CHANNEL GERMANY | GERMANY DISTRACTION FORMATS | UNITED KINGDOM DLT ENTERTAINMENT UK | UNITED KINGDOM DORI MEDIA CONTENIDOS | ARGENTINA DORI MEDIA GROUP | ISRAEL DORI MEDIA INTERNATIONAL | SWITZERLAND DR TV - DANISH BROADCASTING | DENMARK DREAM ON | FRANCE DUKE INTERNATIONAL | UNITED KINGDOM E EACEA | BELGIUM EAST SILVER FILM MARKET | CZECH REPUBLIC EBS (KOREA EDUCATIONAL SYSTEM) | KOREA EEAP EASTERN EUROPEAN ACQUISITION POOL | GERMANY EITB DISTRIBUTION | SPAIN ELLIS ENTERTAINMENT | CANADA EM ENTERTAINMENT GMBH | GERMANY ENCYCLOPEDIA CHANNEL / VISIT AGENCY | UKRAINE ENDEMOL INTERNATIONAL | NETHERLANDS ENTERTAINMENT RIGHTS | UNITED KINGDOM ERT TV - HELLENIC BROADCASTING CORPORATION | GREECE ESPRESSO TV | UNITED KINGDOM EUROPE IMAGES INTERNATIONAL / M5 | FRANCE EUROPRODUCCIONES TV | SPAIN EVERGREEN ENTERTAINMENT | UNITED KINGDOM F FCCE | NETHERLANDS FIGHTING SPIRIT DISTRIBUTION | FRANCE FILMAX INTERNATIONAL | SPAIN FILMEXPORT GROUP | ITALY FINZIONI ENTERTAINMENT| ITALY FIRST LOOK MEDIA | USA FORTMEDIA | RUSSIA FRANCE TELEVISIONS DISTRIBUTION | FRANCE FREMANTLEMEDIA | UNITED KINGDOM FRIES FILM GROUP | USA FUTURIKON | FRANCE G GA & A | ITALY GDH K.K. | JAPAN GERMAN UNITED DISTRIBUTORS | GERMANY GERTIE | ITALY GLOBO TV INTERNATIONAL | BRAZIL GRANADA INTERNATIONAL | UNITED KINGDOM GREENLIGHT TELEVISION | UNITED KINGDOM GRUPO PI | SPAIN GUANGZHOU BEAUTY CULTURE COMMUNICATION | CHINA GUINNESS WORLD RECORDS | UNITED KINGDOM

DISCOP LINK • #5 • JUNE 06

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DORI MEDIA GROUP @ DISCOP 06 FOR THE FIRST TIME By Bob Jenkins

adav Palti, managing director of Israeli's Dori Media Group, specialists in telenovelas, especially for the children and youth market, is proud that his company is now a 'telenovela in the round' operation. #Dori media has had an extensive experience, not only as a producer of telenovelas,$ explains Nadav, “but also as a consumer of the genre on our telenovela dedicated channels, and now, with the announcement of the formation of Dori Media Distribution we are also a major distributor of telenovelas.$ Until the recent announcement of the formation of Dori Media Distribution, the company's telenovelas were distributed by Telefe International. However, since Dori began production in 2002, it has delivered close to 3000 hours of telenovelas and now feels that this library is sufficient to sustain an in-house distribution operation. The new company will also distribute third party telenovelas, and,

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Nadav Palti, Managing Director, DORI MEDIA GROUP reveals Nadav “negotiations are ongoing with several producers to join the Dori catalogue.$ Nadav sees significant opportnity all around the world for the increasingly popular telenovela form. Describing Asia as, #telenovelas' land of opportunity,$ he goes on to point out that, #the potential in the CEE is not yet tapped, even though it is the only region in the world to have a dedicated

EAST MEETS WEST

telenovela channel other than Dori's,$ and he notes, #their presence has even been increasing in Europe, which offers tremendous potential.$ One reason Nadav believes lies behind the increasing popularity of the form is that as the audiovisual market around the world increasingly fragments, channels, and advertisers are increasingly looking for programming that generates significant viewer loyalty, and, says Nadav, #there is almost no greater loyalty generating content than daily melodramas like the telenovelas$. And, he continues, #once a country develops a taste for the telenovela, the next logical step is to launch a dedicated telenovela channel, which is what has already happened in Israel with our Viva and Viva Platina, Eastern Europe with Romantica and in Asia with Televiva Indo} nesia.$ DORI MEDIA GROUP WILL BE IN SUITE # 320 @ DISCOP 06

COMPANIES REPRESENTED UNDER THE KOREAN BROADCASTING COMMISSION PAVILION WILL BE IN SUITES # 329-330-331-332 @ DISCOP 06

By Bob Jenkins

n 1994 TVFI launched the first ever Pavilion at DISCOP, and since then the idea has been attracting more and more interest as every year passes. This year, in addition to the French TV France International Pavilion - which will be home to a total of 24 companies - there will also be an Italian Pavilion organized by ISTITUTO COMMERCIO ESTERO, and, for the first time Pavilions from Korea and Taiwan. It seems as if the French foresight has paid off for them too. Mathieu Bejot, managing director of TV France

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DISCOP LINK • #5 • JUNE 06

International, organisers of the French Pavilion, reports that in 2004 Central and Eastern Europe represented 8% of all French audiovisual exports, and that sales to the region are on the increase, "mainly," says Bejot, "due to increasing sales to Russia and the CIS which accounts for over half of all audiovisual exports to the region." French animation house Moonscoop is attending for the second year , and, for the second year will be on the French Pavilion. "We decided to attend DISCOP last year," explains sales manager Marie Conge because of the growing importance of the region, and we decided to use the French Pavilion because TVFI are so efficient." Italy followed the French example with a Pavilion of their own last year, and, reports Italian Trade Commissioner to Hungary, Alessio Ponz De Leon,

"from the feedback we got from the nine companies who participated, it is hard not to draw the conclusion that this is an area fast growing in importance." The Korean Broadcasting Commission has organised a Korean Pavilion for the first time this year, booking four rooms in the expectation that eight companies will participate two sharing one room each. Also participating with a first time pavilion is the TAIPEI HSIEN COMPUTER ASSOCIATION. And, if any further evidence of the concept's popularity were needed DISCOP general manager, Patrick Jucaud reveals that the organisation, "is already working on the possibility of Brazilian and Israeli Pavilions at DISCOP 2007," which, explains Jucaud, "we see as a reflection of the universal appeal, and growing importance of } Central and Eastern Europe." 07

networking @ DISCOP 06 H HARMONY GOLD | USA HAT TRICK INTERNATIONAL | UNITED KINGDOM HEADWAY INTERNATIONAL | FRANCE HIGH POINT FILMS & TELEVISION LTD. | UNITED KINGDOM HIT ENTERTAINMENT | UNITED KINGDOM I ID DISTRIBUTION | UNITED KINGDOM IMC VISION | UNITED KINGDOM INDEPENDENT MEDIA SUPPORT / IMS | UNITED KINGDOM INDIGO FILM & TELEVISION | UNITED KINGDOM INTACT PRODUCTION / LA DOLCE VITA | ROMANIA INTELSAT | USA INTERACTIVE TELEVISION ENTERTAINMENT | DENMARK INTRAMOVIES SRL | ITALY ISTITUTO COMMERCIO ESTERO | ITALY ISTITUTO LUCE | ITALY J JEI TV / JEI ENGLISH TV | KOREA JETIX EUROPE | UNITED KINGDOM K KAZAKH CINEMA DISTRIBUTION | KAZAKHSTAN KBS MEDIA | KOREA KOREAN BROADCASTING COMMISSION / KBC | KOREA L LAKESHORE INTERNATIONAL | USA LEOPARD INTERNATIONAL | UNITED KINGDOM LIBERATION ENTERTAINMENT | USA LIGHTWORKS PROGRAM DISTRIBUTION | USA LIONSGATE | USA LUX VIDE | ITALY M M6 DROITS AUDIOVISUELS | FRANCE MAINLINE RELEASING / LIGHTING ENTERTAINMENT | USA MARATHON | FRANCE MARC DORCEL | FRANCE MARKETGRAPH BV | NETHERLANDS MARVISTA ENTERTAINMENT | USA MBC (MUNHWA BROADCSTING CORP) | KOREA MEDIAMETRIE / EURODATA TV | FRANCE MEDIATRADE - RTI | ITALY MICO | JAPAN MILCAP MEDIA GROUP | SPAIN MILLIMAGES UK | UNITED KINGDOM MINISTERIO DE TURISMO DEL ECUADOR | ECUADOR MK2 | FRANCE MOBIBASE | FRANCE MONDO TV | ITALY MONSTER DISTRIBUTES | IRELAND MOONSCOOP - TAFFY ENTERTAINMENT | FRANCE MOTION AVENUE INTERNATIONAL | FINLAND MOVIETIME | ITALY MTV NETWORKS INTERNATIONAL | UNITED KINGDOM N NATIONAL FILM BOARD OF CANADA | CANADA NATPE / BASIC LEAD | USA NBC UNIVERSAL TELEVISION DISTRIBUTION | USA

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NEPTUNO FILMS | SPAIN NEW FILMS INTERNATIONAL | USA NOKIA CORPORATION | FINLAND NONSTOP SALES AB | SWEDEN NORDICWORLD PROGRAMME SALES / TV2 NORWAY | NORWAY NTV BROADCASTING COMPANY | RUSSIA O OASIS INTERNATIONAL | CANADA OFF THE FENCE BV | NETHERLANDS ORF - OESTERREICHISCHER RUNDFUNK | AUSTRIA P PARTHENON ENTERTAINMENT / S4C | UNITED KINGDOM PHOENIX FILM | RUSSIA PILOT FILM AND TV PRODUCTIONS | UNITED KINGDOM PORCHLIGHT ENTERTAINMENT | USA PORTFOLIO ENTERTAINMENT | CANADA POWER | UNITED KINGDOM PREMIUM MEDIA | ARGENTINA PRIME ENTERTAINMENT GROUP | FRANCE PRO TV S.A | ROMANIA PRO-FOUR BT | HUNGARY PROOPTIKI | GREECE R RADIO TELEVISION ESPANOLA RTVE | SPAIN RCN TELEVISION | COLOMBIA RCTV INTERNATIONAL | USA RDF RIGHTS | UNITED KINGDOM REGENT ENTERTAINMENT | USA REVERSE ENTERTAINMENT | USA RHI FILMS | UNITED KINGDOM RIVE GAUCHE INTERNATIONAL TELEVISION | USA ROSEGARDEN STUDIOS | NETHERLANDS RTBF | BELGIUM RTL 2 FERNSEHEN GMBH & CO. KG | GERMANY RTL KLUB / M-RTL | HUNGARY RUSCICO / RUSSIAN CINEMA COUNCIL | RUSSIA S SANDRA CARTER GLOBAL, INC. | USA SBS PRODUCTIONS | KOREA SCREEN MEDIA VENTURES | USA SCREENTIME PARTNERS | UNITED KINGDOM SESAME WORKSHOP | USA SEVENONE INTERNATIONAL | GERMANY SHOWCASE ENTERTAINMENT | USA SITCOM | ITALY SMARTJOG | FRANCE SONY PICTURES TELEVISION INTERNATIONAL - EUROPE | UNITED KINGDOM SOUTHERN STAR INTERNATIONAL LTD | UNITED KINGDOM SPORTSBRAND MEDIA GROUP | UNITED KINGDOM SPOTLIGHT PICTURES | USA STRAWBERRY ENTERTAINMENT | UNITED KINGDOM SULLIVAN ENTERTAINMENT | UNITED KINGDOM SUMMERHILL INTERNATIONAL | CANADA SUNSET & VINE | UNITED KINGDOM SVENSK FILMINDUSTRI AB | SWEDEN SYSTEM TV | FRANCE

DISCOP LINK • #5 • JUNE 06

T TAIPEI HSIEN COMPUTER ASSOCIATION | TAIWAN TARGET ENTERTAINMENT LTD | UNITED KINGDOM TASKOVSKI FIMS | UNITED KINGDOM TELCAST MEDIA GROUP | GERMANY TELE IMAGES INTERNATIONAL | FRANCE TELECOMS TV | UNITED KINGDOM TELEFE INTERNATIONAL | ARGENTINA TELEMEDIA INTERAKTIV | HUNGARY TELEPOOL | GERMANY TELESCREEN BV | NETHERLANDS TELEVISA ESTUDIOS | MEXICO TEPUY INTERNATIONAL | SPAIN TERRANOA | FRANCE TF1 INTERNATIONAL | FRANCE THE TELEVISION SYNDICATION COMPANY | USA THE WIT | FRANCE TPI | USA TV AZTECA | MEXICO TV FRANCE INTERNATIONAL | FRANCE TV LOONLAND UK | UNITED KINGDOM TV3 - TELEVISIO DE CATALUNYA | SPAIN TVF INTERNATIONAL | UNITED KINGDOM TWENTIETH CENTURY FOX TV DISTRIBUTION | USA TWI | UNITED KINGDOM

W WARNER BROS. INTERNATIONAL TELEVISION DISTRIBUTION | USA WGBH INTERNATIONAL | USA WILLIAM J PECK | UNITED KINGDOM WINDFALL.TV GMBH | GERMANY WORLD POKER MEDIA NETWORK | USA WORLD WIDE ENTERTAINMENT | AUSTRALIA WORLD WRESTLING ENT. | USA WTW FILMS LTD | UNITED KINGDOM X XILAM ANIMATION | FRANCE XYSTUS-TELENOVELAS | USA Y YORK ENTERTAINMENT | USA Z ZDF ENTERPRISES | GERMANY ZED | FRANCE ZODIAK TELEVISION WORLD | DENMARK ZONE VISION NETWORKS | UNITED KINGDOM ZZJ | SPAIN

V VARIETY COMMUNICATIONS | ITALY VENEVISION INTERNATIONAL AND AFFILIATES | USA VERBASCUM | CZECH REPUBLIC VISION FILMS / VISION MUSIC | USA VIVAVISION | CANADA

FOUR NATIONAL PAVILIONS @ DISCOP 06! By Bob Jenkins

n 1994 TVFI launched the first ever Pavilion at DISCOP, and since then the idea has been attracting more and more interest as every year passes. This year, in addition to the French TV France International Pavilion - which will be home to a total of 24 companies - there will also be an Italian Pavilion organized by ISTITUTO COMMERCIO ESTERO, and, for the first time Pavilions from Korea and Taiwan. It seems as if the French foresight has paid off for them too. Mathieu Bejot, managing director of TV France International, organisers of the French Pavilion, reports that in 2004 Central and Eastern Europe represented 8% of all French audiovisual exports, and that sales to the region are on the increase, “mainly,”

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DISCOP LINK • #5 • JUNE 06

says Bejot, “due to increasing sales to Russia and the CIS which accounts for over half of all audiovisual exports to the region.” French animation house Moonscoop is attending for the second year, and, for the second year will be on the French Pavilion. “We decided to attend DISCOP last year,” explains sales manager Marie Conge because of the growing importance of the region, “and we decided to use the French Pavilion because TVFI are so efficient.” Italy followed the French example with a Pavilion of their own last year, and, reports Italian Trade Commissioner to Hungary, Alessio Ponz De Leon, “from the feedback we got from the nine companies who participated, it is hard not to draw the

conclusion that this is an area fast growing in importance.” The Korean Broadcasting Commission has organised a Korean Pavilion for the first time this year, booking four rooms in the expectation that eight companies will participate two sharing one room each. Also participating with a first time pavilion is the TAIPEI HSIEN COMPUTER ASSOCIATION. And, if any further evidence of the concept's popularity were needed DISCOP general manager, Patrick Jucaud reveals that the organisation, “is already working on the possibility of Brazilian and Israeli Pavilions at DISCOP 2007,” which, explains Jucaud, “we see as a reflection of the universal appeal, and growing importance } of Central and Eastern Europe.”

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A GOOD FRIEND: BARRY CUPPLES By Bob Jenkins mnicom's Managing Director for Central and Eastern Europe, Barry Cupples has a very strong claim to the title 'A Good Friend' to the region, having been one of the key figures in building the advertising business as it currently exists. “I have been involved in the region for eleven years,” recalls Cupples, adding, “I was resident in Budapest for the first six of these years, and, since 2001, although resident in London, I have been travelling to the area four or five days a week most weeks.” Do the maths, and this statement leads you to the conclusion that Cupples started in the CEE in 1995 - and that would be the correct conclusion. Cupples started with DDB in 1995 with a brief to launch Optimum Media as an independent media arm on behalf of the company, with the subsequent aim of bringing into this arrangement the BBDO and TBWA media departments. The first of these goals was achieved in 1997 with the integration of BBDO, and two years later TBWA was integrated into what by then was known as OMD, and was already occupying the number one spot as Hungary's leading media agency, a proud position it has held for eight consecutive years. Viviane Prat appointed Cupples Head of CEE International in 1998, and in 2001 Colin Gottlieb and Joe Uva offered him the position of CEO of all territories from Austria to Siberia, an offer Cupples felt he couldn't refuse. Since then seven new OMD operations have been launched under his watch, with three more due to be finalised by the end of 2007, at which time OMD will have twenty markets reporting directly to Cupples in London from the CEE region. In reaching these already impressive achievements, Cupples, by his own admission overcame, “many challenges,” but, he says, “the most absorbing was the advent of commercial television and the arrival of the currency of trading. But,” he insists, “the level of competence and intelligence in the region is extremely high,” and he is especially keen to single out what he describes as, “the star teams at RTL, MTG and CME,” which says Cupples are, “driving and innovating in difficult situations.” In the immediate future, Cupples believes, “the key challenge revolves around the area of convergence, and where this will be fought in the CEE.” For Cupples, “developments in broadband, interactivity and connectivity, as well as consumer choice, mean the landscape will alter dramatically, changing forever the existing face of the world of media. Cross-platform capacity and content ownership will be the leading drivers shaping the media world of the future, and it will be interesting to see how each medium in

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the CEE evolves to meet the challenges facing their advertisers.” Interestingly, Cupples believes that, “EU accession was never a Holy Grail,” although he does accept that, “for those countries that have acceded it has generally been a healthy and worthwhile process.” One of the big changes he sees it having brought about is the creation of rural wealth, “we see,” reports Cupples, “many retailers scrambling to open stores and grab the cash of the newly wealthy ruralists whose export of agricultural product, for example Polish milk exports, have been excellent in 2004 and 2005.” One of the many things his long involvement in the CEE has taught him, says Cupples, is “that there is no such place! To talk of the CEE is,” he insists, “as crass as talking of Western Europe. There are,” in his view, “six regions in Central and Eastern Europe,” which he defines as, “Central, Baltics, Balkans West, Balkans East, Russia, the CIS, and Eastern, which he defines as including countries such as the Ukraine, Belarus Caucasus and others.” If Cupples was to be asked to brief a new executive approaching the region's advertising market for the first time, he suggests that his advice would be, “to ponder a long time the reality of where the returns lie, the fact that the weakest link in the chain often defines the network need for consistency and also the need for consistency and approach across all regions,” which Cupples sees as being, “crucial,” adding, “we have long strived for and achieved this for all markets and do not focus only on the usual suspects, but support all our markets with as even a hand as is feasible.” Which he believes is why, “the region has delivered incredible growth and results for the past seven years and continues to be the jewel in OMD Europe's crown.” } DISCOP LINK • #5 • JUNE 06

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RUSSIAN SCREENINGS™ TO BE LAUNCHED AT DISCOP 06! ollowing a huge interest and demand for Russian series and movies, the RUSSIAN SCREENINGS™ will present the most popular television shows available today in Russia and already licensed in over 20 countries!

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Tim Horan, Executive VP, AMEDIA This year, DISCOP 06 will host the first ever RUSSIAN SCREENINGS™ to be co-organized by Paris-based BASIC LEAD at the Sofitel Atrium in Budapest from June 22-24. There has been a huge increase in interest and demand for Russian series and movies due to the international success of the NIGHT WATCH franchise movies and POOR ANASTASIA and MASTER AND MARGARITA series. The latter two series are produced by AMEDIA and Central Partnership who are the two premier producers of series in Russia today and who are the joint participants in the first RUSSIAN SCREENINGS™ at DISCOP 06. Initially, four years ago Russian series like BRIGADE, THE IDIOT and THE BANDITS OF ST PETERSBURG began to dominate prime time on the Russian networks. Today, not only Russian mini-series but also long running series account for 90 per cent of prime time, and these series are rapidly gaining international appeal. POOR ANASTASIA has been licensed in over 20 countries including Spain, China, Greece, the Middle East and most of the countries of Central DISCOP LINK • #5 • JUNE 06

and Eastern Europe; MASTER AND MARGARITA, THE GOLDEN CALF and FOR TSAR AND COUNTRY have already been sold to over 10 countries, including the largest market, Poland. On the film side, NIGHT WATCH has generated $16 million in international receipts including $4.5 million in Germany. The budgets of Russian series are the largest in Central and Eastern Europe and the production values are mirroring those of the more illustrious US series. When first shown in the US, American producers commented that POOR ANASTASIA - shot on high definition - was unlike anything seen before on US network television. MASTER AND MARGARITA, HERO OF OUR TIME, DOCTOR ZHIVAGO and FOR TSAR AND COUNTRY continue this tradition. AMEDIA and Central Partnership will be headlining the following series at RUSSIAN SCREENINGS™. From AMEDIA, there will be two long-running series of 80 episodes which run on First Channel in Russia, FOR TSAR AND COUNTRY, an epic tale of romance, espionage and intrigue set in Napoleonic times; and ‘L’ FOR LOVE, a contemporary family saga based on the most successful television programme in Poland for the last 4 years and produced in association with Telewizja Polska. Central Partnership will be offering most recent adaptations of the Russian classics, Michael Bulgakov's MASTER AND MARGARITA which had all time record ratings back in December 2005 when run on RTR Channel in Russia, Lermontov's A HERO OF OUR TIME to be run on the First Channel in Russia and the first Russian production of Pasternak's epic DOCTOR ZHIVAGO currently showing on NTV, in addition to the comedy mini-series, GOLDEN CALF, based on an early 20th century classic novel and the thrillers, IN THE SERVICE OF MY COUNTRY and YOUNG WOLFHOUND the prequel of highly anticipated future film WOLFHOUND, the sale of which will be launched by Central Partnership during this current Cannes Film Market.

Respected industry professional Bill Peck will be representing series from both companies as a Londonbased consultant. AMEDIA's Executive Vice President Tim Horan commented that, #DISCOP 06 is the ideal environment to launch the Russian Screenings as although Russian programmes are selling in every Continent, Central and Eastern Europe is the primary market. It is also a natural extension for DISCOP to target more local product to Central and Eastern Europe.$ Central Partnership's VP of Intl. Sales and Co-Production, Armen Dishdishyan added that, #We have had a great success in selling to international distributors our future films since last Cannes where we launched our International Sales Department. We just closed WOLFHOUND for Eastern Europe and looking forward to close many more territories during this Cannes. Therefore, it is natural of our expectations that our high quality mini-series should enjoy the same success. And DISCOP 06 is the perfect place to start.$ The RUSSIAN SCREENINGS™ umbrella will be located in the BASEMENT AREA nearby the #DISCOP 06 Welcome Desks$. TV Series and film presented during DISCOP 06 will also be available for viewing on www.russianscreenings.com, a video centered web site designed by } BASIC LEAD.

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networking @ DISCOP 06

DISCOP CAMPUS 06 CONFERENCE

“THINK OUTSIDE THE s we all know, most television stations have to rely upon advertising as a means for generating income that pays for content, marketing and operating expenses. However, the success of broadband TV through cable and IPTV, the fact that mobile broadcasting services are expected to be the next big application in mobile communications and the formidable popularity of peer-to-peer sharing of video files, are contributing to the emergence of new advertising models aggressively competing against the traditional 30 second spot.Television is going to become a more personalized environment, enabling targeted one-to-one marketing and the accurate collection of customer information and preferences. As users increasingly have control over what type of advertising they want to see, word of mouth aided by technology will also become essential.

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With this revolution going on before our eyes, #THINK OUTSIDE THE BOX$ will address the principal reasons why television stations should broaden their horizons if they wish to remain relevant for advertisers: consumers will increasingly choose what they want to see, when they want to see it, on whatever device they want to see it; and every new stream of programming is potentially a new source of revenue as these new distribution platforms will create more value for content. To be moderated by Chris DZIADUL, Publisher of BROADBAND TV NEWS CENTRAL EUROPE and Bob JENKINS, Contributing Editor of DISCOP LINK #THINK OUTSIDE THE BOX$ will also bring together strategists and visionaries behind unique business models and innovative technologies forging new relationships between advertisers and television stations. }

THURSDAY 22 JUNE 2PM - WHAT ADVERTISERS WANT? Chaired by Patrick JUCAUD, Founding Manager, DISCOP ORGANIZATION. Speakers will also include Barry CUPPLES, Manager Central & Eastern Europe, OMNICOM; Fabrice GUENEAU, President, DREAM ON; Tim HORAN, Executive VP, A MEDIA; Jakub BIERZYNISKI, General Manager, OMD POLSKA; Malgorzata GRATYS, Commercial Director, TVN Poland. With new content distribution platforms aggressively competing for 'eye-balls' and on demand services enabling viewers to skip over commercials, the relationship between broadcasters and advertisers is changing, making it increasingly difficult for the later to continue to use the traditional 30-second spot. Indeed, in the last few months, the number of electronic devices and screens competing to serve eyes and ears in different ways, at home, office or on the go has proliferated with a speed unprecedented in media annals. 3PM - HOW CAN MOBILE SERVICESHELP? Chaired by Juha RONKAINEN, Manager Global Business, NOKIA. Speakers will also include Marcus WILDING, Vice President, CARAT 14

INTERNATIONAL; Alexandra BEZPALCOVA, Programming Manager, TV NOVA; Iemke ROOS, CEO, ROSEGARDEN STUDIOS. As content that already incorporates advertising makes its way to mobile phones, brands and entertainment content providers are beginning to see the value of presenting full multimedia ads with programs. From 2005 when the nascent market garnered Euros 220 million in Europe and in the US, mobile marketing and advertising in these two geographical areas will grow to exceed Euros 800 million in 2009 - provided certain elements fall into place. With the emergence of mobile broadcast solutions, issues who still need to be resolved include business models and revenue share, the type, length and frequency of ads, consumer attitudes and many others. 4PM - HOW CAN ON-DEMAND SERVICES HELP? Chaired by Simon MCGRATH, Director Strategy and Development, ON DEMAND GROUP. Business models for advertising around television on-demand are still being worked out! Will it be 3 Euros with advertisements of 6 Euros without? Or will it be advertising on-

demand? There is some evidence that people do like to go specifically to watch a compelling advert - particularly if it is funny or if there is an ongoing story. Another potential business model is to use these on-demand services as a way of conducting remote market research to test interest in new products, a very cost effective and rapid way of gaining feedback from potential customers. One thing is sure, on-demand services will dramatically change the television landscape turning it into a powerful, addressable, and measurable advertising medium. 5PM - THE AGENT IN AMERICA: PUTTING IT TOGETHER! Rick FELDMAN, President of NATPE, and Mark ITKIN, Executive Vice President of The William Morris Agency in Los Angeles, will chat 'one on one' on what it takes to put a TV Show together and make it successful for advertisers and broadcasters in an environment where everybody is competing for “eyeballs”. 7PM - WELCOME COCKTAIL PARTY OFFERED BY THE ASSOCATION OF COMMERCIAL TELEVISION IN EUROPE (GERBEAUD CAFE).

DISCOP DISCOPLINK LINK• •#5 #5 • JUNE 06

networking @ DISCOP 06

BOX”

22-23 JUNE SOFITEL ATRIUM HOTEL | BUDAPEST

FRIDAY 23 JUNE 10AM - SMS-TV: TURNING OFF-PRIME TIME PROGRAMMING INTO LUCRATIVE BUSINESS OPPORTUNITIES Chaired by Kim LINDHOLM, Director ITV, MOTION AVENUE. Speakers will also include Jaron MILLNER, Head of Interactive TV, MTV3 Finland; Jeno TOROCSIK, President, TELEMEDIA; Robert BLAGMAN, Chairman, WORLD POKER MEDIA NETWORK. Integrating SMS-based interactivity into off-prime time television shows can generate significant revenues from viewers who pay to send messages via their mobile phones. To get in front the TV set, recent studies show for instance that teenagers capturing the teenage demographic is a primary concern for marketers looking to stamp their product with a cool image - want to have fun, want to customize products, want to play games and want to socialize. All of that using mobile text message services as it helps them to be in control. 11AM - KOREA: THE FUTURE OF MOBILE BROADCASTING IS NOW! Chaired by Christophe AUDRAN, New Business Manager, DISCOP ORGANIZATION. Speakers will include Keon Sik OH, Director of Broadcasting Technology Department, SBS / SEOUL BROADCASTING SYSTEM; Heetae SHIN, Manager Global Business, TU MEDIA. Korea is an example to follow. As of this past February and according to recent reports, the number of Satellite Digital Multimedia Broadcasting (S-DMB) subscribers has reached 580,000 since the service was launched in May of last year, while the number of Terrestrial Digital Multimedia Broadcasting (T-DMB) subscribers has reached 625,000 since that service was launched this past December. T-DMB service is offered at no charge, allowing users with DMB device to freely watch TV programs on their handsets. 12:30 PM - COCKTAIL LUNCH OFFERED BY KOREAN BROADCASTING COMMISSION DISCOP LINK • #5 • JUNE 06

2PM - TV STATIONS STRIKE BACK! Video presentation of the most innovative television content presented by Olivier LEVET, Research Manager, THE WIT. 3PM - HOW CAN THE INTERNET HELP? Chaired by Dan RADU, Regional Sales Manager, INTELSAT. Speakers will also include Patrice FOURNIER, Interactive Consultant, BASIC LEAD; Attila GAZDAG, Managing Director, WALT DISNEY INTERNET GROUP; Joanna SZYBIST, Regional Sales Manager, EURODATA TV / MEDIAMETRIE. It is hard to ignore that the Internet can now come in as a substitute for broadcast and that it is good enough to use an alternative to traditional television. Thousands of movies and popular TV shows are already being delivered to broadband users and AOL's broadcast of the LIVE 8 concerts last summer proved that the Internet is ready to handle live shows. Major studies have also established that the move to the Internet has been spurred by consumer's growing demand to pick the time and the place to watch what they want; and that in 10 years from now only 30% to 35% of the time will people be having a shared common experience watching something while it's live. 4PM - THE FUTURE IMPACT OF CROSS PLATFORM MARKETING Chaired by Matt WEST, VP Media Worldwide, ALCATEL. Speakers will also include Sergei PLOTNIKOV, MTU INTEL / STREAM TV Russia; Laura VAITKUVIENE, IPTV Project Manager, TEO LT AB Lithuania; Christopher TAUBMAN, Expert Banker Media Sector, EBRD. The notion of a central idea working across multiple media channels is nothing new, but it has gained importance in recent years because media consumption habits are changing. There are more media choices open to consumers than before and these numerous alternatives contribute to a

severe fragmentation of audiences. In this environment, between television, the Internet and mobiles, content producers and advertisers now all have an opportunity to sit in the driver's seat with respect to generating demand for cross-platform marketing solutions that effectively target a wide spectrum of consumers - from different angles and with different objectives in mind. Crossplatform strategies can meet advertisers' unique needs by drawing on the strengths of multiple media platforms with a great mix of on-air, mobile and online marketing - but not without facing obstacles. 5PM - WHAT'S NEXT: BRANDED ENTERTAINMENT AND PRODUCT PLACEMENT? Chaired by Richard SIBILSKI, General Manager, ENDEMOL POLSKA. Speakers will also include Jim HELFGOTT, VP Marketing & Sales, HBO Central Europe; Ross BIGGAM, Director General, ASSOCIATION OF COMMERCIAL TELEVISION IN EUROPE; Didier STOESSEL, Executive Chairman & CEO, APACE MEDIA; Tim WOOD, Sales Manager, SUNSET & VINE; Dragan KREMER, Media Advisor, IREX PROMEDIA. For decades, television stations have urged advertisers to buy time during commercial breaks. Nowadays, television stations and content producers are working almost as hard to promote the opportunities inside their shows as outside them. Those opportunities come in the form of what is called branded entertainment or product placement. They include mentioning brands in lines of dialogue, placing products in scenes so they are visible to viewers, and giving advertisers role in plots of shows, whether it is a desperate housewife showing off a Buick at a shopping mall or a would-be apprentice trying to sell a new flavor of Colgate toothpaste. And in that new environment will there still be barter arrangements between television stations, advertisers and content producers? 22PM - HBO BOAT PARTY (EUROPA BOAT) 15

networking @ DISCOP 06

HBO THE PARTY PLANNER! By Bob Jenkins

hose, who attend to DISCOP regularly know that if it is the Friday night of the market, then it is the HBO Party - a place to be - on the Danube! Last year HBO moved the party and invited its guests to the high energy and great views of the river boat EUROPA, the nicest and biggest boat in the Hungarian capital. This year, once again DISCOP O6 attendees will be able to enjoy the World Heritage view of the two sides of Budapest, taking in all the sights and sounds of this great city and the mighty Danube. Whether or not you were able to join HBO party last year, we look forward to seeing you on the Danube for the fun this year. The Friday night party and fun begins at 10 pm. We know we will see many people dancing bare foot this year from 10 pm - 3 am at the HBO Party. See you soon on the EUROPA!

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Discop 05 party But who is behind the scenes? Let us introduce you HBO in Central Europe, the company that year after year ensures our superb entertainment on Friday night at DISCOP. Home Box Office, Inc. (HBO) began its programming service in 1972 in the United States of America. HBO, one of the world's leading pay-TV channels, is the premium television programming subsidiary of Time Warner Inc. HBO reaches approximately 39 million subscribers in the US via cable and satellite delivery. Additionally, HBO's international joint ventures bring HBO-branded services to more than 50 countries around the globe, reaching over 19 million subs16

cribers. Currently, HBO International has interests in HBO services in Latin America, Asia and Central Europe. Home Box Office arrived in the Central European Region in 1991.Now it provides basic and premium pay television entertainment channels for platforms such as Cable TV, Direct-toHome and MMDS. HBO in Central Europe currently provides channels to 10 countries in the region including Hungary, the Czech Republic, Slovakia, Poland, Romania, Bulgaria, Moldova, Slovenia, Croatia and most recently Serbia. HBO Central Europe is owned by Home Box Office Inc., Sony Pictures Television International / Columbia Tri-Star and Disney's Buena Vista International Television. HBO Central Europe is headquartered in Budapest, Hungary. In Central Europe the main programming pillar of HBO is the Hollywood blockbuster movies, which add up to 90% of the programming of the channel. The rest of the programs are series (many of which are HBO original productions), special events and local productions, for example NA STOJAKA in Poland, the Czech Republic and Slovakia and FINAL CUT in Poland. HBO offers a unique programming line-up that holds something for everyone in the family. Its signature original series from the past were The SOPRANOS and SEX AND THE CITY, whilst in the present ROME is the signature HBO Original series. HBO is a commercial free channel, which is highly appreciated by its viewers. In 2003 HBO launched its first multiplex channel, HBO 2. In addition to the leading premium pay movie channel, HBO in Central Europe launched its second pay, movie channel CINEMAX in 2005 , in 5 countries (Hungary, the Czech Republic, Poland, Romania and Bulgaria). CINEMAX, is a channel for real movie lovers, offering movies that may not have had big theatrical releases, all time movie favourites, International / European films and film festival hits. CINEMAX 2, as the multiplex of CINEMAX was launched also in 2005.

The Europa boat on the Danube With the four channels in one package (HBO, HBO2, Cinemax and Cinemax2) - called the HBO MAXPAK subscribers now have more choice, more variety, more value and more convenience.

HBO CENTRAL EUROPE REPRESENTATIVES ATTENDING DISCOP 06 INCLUDE: John ROSSITER, VP New Business Development Judit MINDA, VP Programming Krisztine ORR, Head of Acquisitions and Business Affairs Claudia ANDROSOVITS, Acquisitions Manager Katalin BOER, Acquisitions Manager Krisztina MILLER, Acquisitions Manager Eniko HARSANYI, Acquisitions Coordinator

The HBO family also offers two basics channel, SPEKTRUM TELEVISON the top rated documentary channel in Hungary and the Czech Republic and Slovakia and AXN, Sony Pictures Television International's action and adventure channel which was launched in 2003 in the following countries: Hungary, Poland, the Czech Republic, Slovakia, Romania and Bulgaria. AXN now services in more than 5 million households. HBO products and channels are research driven, highly tailored and fully language-customized for local markets in Central Europe. On top of the customized language, some movies are also available in their original language on the HBO channels. } DISCOP LINK • #5 • JUNE 06

networking @ DISCOP 06

DISCOP CELEBRATES 15 YEARS OF SUCCESSFUL TELENOVELAS PROGRAMMING By Bob Jenkins n 23 June, DISCOP 06 will celebrate 15 years of successful Telenovelas programming in Central & Eastern Europe by organizing a Gala Evening in association with World Screen and co-sponsored by Dori Media Group's VIVA channel and by Zone Vision's ROMANTICA channel. Telenovelas have been a successful fiction genre across all Central & Eastern European television marketplaces since the first DISCOP market took place in Warsaw in the early nineties! 15 years later, Telenovelas are still drawing vast audiences throughout Central & Eastern Europe with original series produced not only in Latin America but also in Russia, SerbiaMontenegro, the United Kingdom, Israel, Spain and Germany. #The Telenovela genre has become hugely popular in Central and Eastern Europe$ says Nadav PALTI, President and CEO of Dori Media Group's VIVA channel, #It is a very promising market for us and we are delighted to co-sponsor the 'Telenovelas Gala Evening' in Budapest. This event is an excellent opportunity for all Telenovelas professionals in the region and for Dori Media Group to exchange ideas and present its high quality TV content and channels.$ Viva was launched by the Dori Media Group in 1999, and since its inception enjoyed a vast popularity to become Israel's fifth most watched television channel and thesecond most popular among the country's cable and satellite channels. At anyone time the channel is running seven different telenovelas. The channel schedules these telenovelas in such a way as to give the viewer many opportunities to watch the favourite story unfold, and each telenovela is programmed daily five days a week. In deference to the many religious viewers the channel has, the weekends are reserved only for repeats, so that they may observe the Sabbath, without missing a single episode or any vital story line development. Viva is a basic tier channel, and, since it only shows repeats at the weekend, and most viewers watch the tele-

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novelas during the week, Dori saw a need for a pay supplement for their highly popular channel. This need was met by the introduction of Viva Platina, a pay version of Viva, which only operates from Thursday evening, until late on Saturday and shows additional first run Telenovelas. In addition to telenovelas, Viva Platina also runs mini-series, and both telenovela and mini-series are scheduled in batches of three back-toback episodes. Viva Platina is available on both cable and satellite, and enjoys a loyal following amongst its many viewers. Kathy Fairbairn, head of programme acquisition for Romantica and Club, is, #thrilled to be co-sponsoring the second DISCOP Gala dinner celebrating the hugely popular genre of the Telenovela,$ adding, #and where better to celebrate the Telenovela than the romantic city of Budapest.$ The telenovela form is very important to Romantica, which Fairbairn describes as a #drama and entertainment channel for women, in which telenovelas make up a very significant part of our schedule.$ And DISCOP is, #a very important market for us because all the telenovela sellers are her,$ explains Fairbairn. She goes on, #the other important aspect of DISCOP is that it is a market at which you get time to talk to sellers, which is very important when buying telenovelas. It is very important to be able to form a clear idea of what the highlights of the story are, where else it has worked and why it might work for Romantica. And to do that, you simply have to have the time to sit and chat with the seller.$ She believes that the Telenovela popularity in the CEE is something on an historical accident. #I think,$ she insists, #that twenty to thirty years ago when they were first bought by stations in the region, they were bought because they were cheap and there was a lot of them. They were used as daytime fillers, but gradually grew in popularity. Now, of course, she adds, #there's an entire generation for whom the telenovela has always been an important part of their television landscape.$ Aside from their undoubted popularity with audiences in the region, the

telenovela form offers many attractions for broadcasters as well. #The biggest attraction,$ admits Fairbairn, #is that once an audience has hooked into a telenovela, as a broadcaster you have created an appointment to view that will run five days a week for a minimum of six months, and possibly as long as twelve or fourteen depending on the length of the telenovela. Whereas in the case of a standard series of twentytwo episodes, you essentially have to go out and sell each episode to your audience all over again every week.$ Although she does admit that this can also be a disadvantage, #if your audience just does not buy into a telenovela then you are stuck with poor ratings in that slot for as long as it runs.$ This is because having a story with a beginning, middle and end, is, in Fairbairn's view, #one of the three key elements of a telenovela.$ The other two being, #in addition to having a beginning, middle and end, a true telenovela also has a finite number of episodes and a love story as its central story line.$ Another of Fairbairn's theories concerning telenovelas is that, #there are essentially three storylines, the classic Cinderella story, the more modern story, often involving a career woman experiencing difficulties at work, and one with a teenage protagonist, aimed at a younger audience.$ Scheduling telenovelas is, reveals Fairbairn, #mostly about getting the mix right. While it is true that there is essentially only one telenovela plot, boy meets girl, they fall in love, have all sorts of problems, and end up walking off into the sunset, this story is set against a number of different back drops,$ she explains, #and so,$ she continues, #it is important to get a balance between the settings. Also, there is a core group of actors who appear in almost all the telenovelas and so, when scheduling, it is important to pay attention to the casting of the telenovelas. If, for example, the same actor is playing the father of two different characters in to different telenovelas, you would not want to play them one after the other. Finally,$ she concludes, #different countries have very different looks, different colour palettes, directoDISCOP LINK • #5 • JUNE 06

networking @ DISCOP 06

IS CEE READY FOR POKER? By Bob Jenkins

ith his eyes set on Central & Eastern Europe, Robert Blagman, co-founder of World Poker Media Network, explains why 'poker themed' advertising can bring new fortunes to TV stations ready to take a sure bet.

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Robert Blagman, Co-Manager, WORLD POKER MEDIA NETWORK For more years than many of us care to recall the word 'convergence' has bandied around this business like an eerie echo in an empty valley. But, you don't need me to tell you that now, that eco is starting to take substantial form. DISCOP 2006, will provide many examples of this, one of which will be the arrival at the market of World Poker Media Network. World Poker Media Network were co-founded by Robert Blagman and his partner Michael Raounas. If you'd like to know what the companies do, then it's simple, and then again it isn't, because, as Robert Blagman says, #The World Poker Media Network doesn't really represent poker companies - but then in one sense it does.$ Ending his enigmatic approach, Blagman explains, #the World Poker Media Network is a combination of broadcast, cable and satellite networks worldwide brought together to for an 'unwired' network offering a one stop solution for international 'poker themed' advertisers. Within this umbrella, the World Poker Media Network will present and offer both poker, casino and gaming programming and advertising.$ And this is not a business that should be sniffed at. #There are,$ reveals Blagman, #over twenty major poker and casino sites on the Internet which, between 20

them, dominate the online gambling market. Last year, these sights between them spent over $250 million advertising their sights in the US alone.$ And, he continues, #it is estimated that, worldwide online gambling sites have spent between then them, somewhere in the region of $750 million to $1 billion. Our goal, is to bring a slice of that business to the CEE.$ It would not be an unreasonable question to ask, 'why?' And Blagman is very honest in his response. #The opportunity,$ he reveals, #has become more of a reality recently as fewer media outlets in the US are prepared to carry advertising for poker sites, or other forms of online casinos.$ Blagman attributes this to two factors. #It is,$ he asserts, #due to the changing nature of legislation, and also to the attitude some broadcasters have to the online gaming community. Consequently,$ he asserts, #there is a need for these companies to further expand their exposure outside the United States.$ And, it would seem, meeting this ambition of expanding outside the U.S. is not necessarily some thing that is that difficult to do. #We already have a contracted agreement,$ reveals Blagman, #with Skyline and Cool TV$ which operate on Europe's Hot Bird, and are there fore also available in the Middle East and Africa. Both networks,$ says Blagman, #carry approximately 120 million homes top our clients, adding, #the stations in the CEE will add to that, and we will be able to offer close to 100% new revenue to the region, and to its stations.$ Blagman estimates that, #well over sixty-percent of the companies we represent would be willing to advertise on broadcasters and other platforms in the CEE,$ and that, #we are looking to represent CEE stations to the advertisers. So, we hope to sign representation agreements with these stations when we are at DISCOP 06, but, whether these agreements are exclusive or non-exclusive will vary from case to case.$ #The World Poker Media Network,$ reveals Blagman #is currently researching the likely size of the CEE market for poker room sites,$ and he hopes, #will have this research ready by the time we visit DISCOP 06.$

Two things, however can, in Blagman's view be said with certainty. The first is that, #it is impossible to provide a reliable estimate of how much this business is actually worth as the majority of these sites are privately owned,$ and the second is that, #if you look at the recent spate of UK floatations of such sites, they are clearly generating millions per year in } net profit.$ WORLD POKER MEDIA NETWORK WILL BE IN SUITE # 315 @ DISCOP 06

WORLD POKER TOUR @ DISCOP O6 Intriguing people. Exotic places. Players eliminated one by one in dramatic face-offs where TV audiences can feel their angst... and see their cards. It's #SURVIVOR$ meets #THE MILLIONAIRE.$ WORLD POKER TOUR, the phenomenal primetime reality series that is singlehandedly turning poker into America's most compelling new television spectator sport will be represented at DISCOP 06 by Alfred Haber Distribution. The highest rated series, ever, on the Travel Channel in the US, WORLD POKER TOUR's success is best encapsulated in the following Sports Illustrated review: Can six people sitting around a table make for compelling television? You bet. And bet they do on the Travel Channel's addictive WORLD POKER TOUR, which concluded its 13-week run with a $3 million championship from Las Vegas. Filmed before live audiences in places like Aruba and Paris, the WPT is engrossing not only because huge fortunes are won and lost but also because of the Hole Card Cam. The game is Texas Hold 'Em, and thanks to tiny cameras, viewers see the players' hole cards - the first two cards of a hand, which face down - and thus get unfettered insight into who's bluffing and who's not. The show's announcers steer viewers smoothly through the nomenclature of the game. #We've managed to put the audience in the seat,$ says Steve Lipscomb, founder of the WPT. #When you're watching you feel like you're the one making the million-dollar decision.$ When you add WORLD POKER TOUR's sixteen cameras, a #Millionaire$ style set, a live audience, and play-byplay analysis, poker becomes as exciting to television viewers as it is to the players. ALFRED HABER DISTRIBUTION WILL BE IN SUITE # 326 @ DISCOP 06

DISCOP LINK • #5 • JUNE 06

interview

ARE YOU READY FOR GOOGLEVISION? By Frank ROSE © WIRED OOGLE VIDEO's Peter Chane on the future of 30-second spots, competing with iTunes, and the joys of fart-lighting videos. No one thinks small at the GOOGLEPLEX last year, the company rolled out GOOGLE VIDEO in an effort to make visual media as accessible as the rest of the world's information. The site, still in beta, is an anarchic bazaar where video producers of any stripe can post their work for view or sale. Other sites are selective; not GOOGLE. It hosts a sprawling array of submissions, from 20-second clips shot on a phonecam to prime-time hits from CBS. Peter CHANE, the former Microsoft exec in charge, says they're just getting started. What's the goal here? We're trying to create a platform for the world's video to live on the Web. I think it would be pretty amazing to be able to access all of it, and search and customize and personalize it. Do you have any idea how much video that would be? Not offhand, but a lot. We're just scratching the surface today. Compared with Apple's store, where every video is professionally made and almost all of them cost $1.99, Google Video seems totally random. We're trying to create an open marketplace. No matter if you're a big media company or an individual, you should be able to sell your video on our site. We also believe in open pricing. I don't know what the right price should be. I've seen videos sell where I said, “Wow, why would people want to buy that?” So we put the content provider in charge. Reviewers have called Google Video chaotic and frustrating. We tend to ship products earlier than other companies because we want to see how people use them. We

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were very keen to find out what would sell. We've made changes in response. I think users see us as a group that has a living product and cares what people think. Why are fart-lighting videos so popular? Some of them are very funny. What else do people like? They like to watch ads, which really surprised me. We don't take advertising on Google Video yet, so this is a great opportunity for advertisers to reach users for free. I'm bullish on them using the Web to test concepts. So is Google Video going to be the savior of the 30-second spot? That's a TV concept. We don't have 30-second spots. We have 30second videos. Will Google Video transform TV? TV is ephemeral, and as more TV goes online, users can say, “I know this show was on a week ago - maybe online is the way to get it.” Maybe shows that can't get carriage on a major network could survive online. Who's your competition? iTunes? YouTube? Yahoo? I'm not viewing those as competitors. I think the competition is content providers that haven't looked at online as a distribution channel. Google Video and these other sites are saying, “Hey, you can make money online!” What's on the horizon? I think we'll see users program the video equivalent of a play list and share it. Does professionalism matter? I don't know, but if you watch a video on the Web and you don't get it within a few seconds, you go to something else because it's so easy. The Chinese kids doing the “Backstreet Boys” parodies - that's a good example of something made for the medium. You're entertained very, very quickly. I wish those two would do more projects. You guys should find them. }

DISCOP 06 SCREENING ABOUT FREEDOM'S FURY A film by THE SIBS THURSDAY 22 JUNE@ 12:00 AT THE SOFITEL HOTEL DISCOP 06 is proud to host a special screening of FREEDOM'S FURY, a fascinating new documentary by The SIBS about one of the most politicized sports matches ever played - when the Hungarian water polo team collided with the world class Russian team in the 1956 Olympic Games. It will be 50 years this November when the people of Hungary took to the streets in revolt, asserting their independence from Soviet rule under the Iron Curtain at a time when Hungary had just experienced a brief period of freedom before being overtaken by Soviet tanks. Two weeks after the popular uprising was crushed, the Hungarian water polo team was set to defend their gold medal in the Olympic Games taking place in Australia. The events of that fateful fall unfold with precision in Colin KEITH GRAY's hard-hitting film. Film clips of the Hungarian Revolution and the Olympic games are interwoven with interviews of surviving participants of both events in a fascinating study of the human spirit. And as we witness the collapse of Communism in 1989, it is clear that all those who resisted in 1956, be they marchers or sportsmen, were instrumental in bringing hope for freedom to all those around the world fighting oppression. Co-produced by Lucy LIU, Amy SOMMER, Quentin TARANTINO and Andrew G. VAJNA, narrated with surprising skill by Mark SPITZ, FREEDOM'S FURY is a straight forward documentary consisting of talking-head interviews and archival footage of both water polo matches, peaceful protests and, later, violence in Hungary, specifically at the student center in Budapest, where the brief revolution began.

MORE INFO ON WWW.FREEDOMSFURY.NET FOR MORE INFORMATION Steven C. Beer | GREENBERG TRAURIG 200 Park Avenue New York, New York 10166 - USA T + 1 212 801 9200 [email protected] Oliver Shiflish | BEST HOLLYWOOD Tusnadi u. 19. 1125 Budapest - HUNGARY T + 36 1 202 1449 [email protected]

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WHEELER DEALER By Bob Jenkins

he BBC have been busy in the region having recently followed up deals made in April for BLEAK HOUSE, HUSTLE, LIFE IN THE UNDERGROWTH and THE PRIVATE LIFE OF A MASTER PIECE to TVR Romania, and a branded block, BBC Wild to HRT Croatia with more recent deals in Poland, where Telewizja Polska picked up a package that included BLEAK HOUSE, SHARPE'S CHALLENGE, police procedural WAKING THE DEAD and EGYPT, and to TVN Style, who bought fashion format WHAT NOT TO WEAR, while super-hero spoof MY HERO sold to GTV Bulgaria. The past few weeks have also seen the pub caster's commercial arm, BBC Worldwide, close a package with Kultura Channel Russia, which included BLACKBEARD, an adaptation of Thomas Hardy's classic UNDER THE GREENWOOD TREE, SHARPE'S CHALLENGE, SNOW QUEEN, Dickens' legal tale BLEAK HOUSE, as well as a selection from its long running science strand, HORIZON, and BIG BEAR DIARY. Kultura's sister channel in Poland has been active in the market too, bagging a positive orchestra of music specials from 3DD, including; BJORK: LIVE IN CONCERT - HOMOGENOUS, LOU REED: SPANISH FLY, LOU REED AND JOHN CALE: SONGS FOR DRELLA, MOLOKO: 11,000 CLICKS, THE WHO & SPECIAL GUESTS: LIVE AT THE ROYAL ALBERT HALL, and sever-

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al others. Also singing the praises of the 3DD catalogue is REN TV Russia, acquiring ROBBIE WILLIAMS: LIVE IN BERLIN and FASHION ROCKS, 2005. While 4TV Hungary reminded everyone that although a music specialist, 3DD does have other programming, by lining up CARY GRANT: A CLASS APART and A CONVERSATION WITH GREGORY PECK. Granada, the British company with a Spanish name, has slid in to Russia with two format deals with state broadcaster TV Channel Russia. DANCING ON ICE, the hot new format that's proving to be a cool ratings win-

THE ENGLISH HAREM (Target Entertainment) ner is one of two format deals between the two companies, the other is SOAPSTAR SUPERSTAR in which stars of a country's most popular soaps showcase their singing ability or lack of it, in front of a live studio audience and three sharp tongued judges.

BLEAK HOUSE (BBC) Rive Gauche, the US company with a French name which means 'left bank', has been right on the money with sales of two hours of reality series, HIGH SPEED PURSUITS and a one-hour special of another reality show ANIMAL HEROES to Czech's Nova TV. While Russia's AFL Productions have acquired the 13 x 1 hour series THE WORLD'S WILDEST COMMERCIALS for all of the former CIS territories and Intra communications, which had previously licensed the Russian Free TV rights to SECRETS OF WAR have now acquired Russian Pay TV rights for all the series' 26 hour episodes. Target Entertainment have been hitting the spot with Prava / Prevodi who have acquired all rights for Bosnia, Serbia and Macedonia to the two-hour special, THE ENGLISH HAREM; seasons 1 and 2, totalling 39 hours of MILE HIGH, 189 hours, 138 half-hours and a 90-minute special of Sky One's footballing hit DREAM TEAM. THE ENGLISH HAREM is a provocative and witty cross-cultural strong love story starring Martine McCutcheon (LOVE ACTUALLY, SPOOKS) and Art Malik (JEWEL IN THE CROWN, TRUE LIES) and was a hit for ITV 1; MILE HIGH is a potent mix of fastpaced drama and comedy, centring on the lives of six airline cabin crew, while DREAM TEAM is a drama featuring the fortunes of a fictional British Premiership Club. Finally, UK pre-school specialist HIT Entertainment has sold 78 halfhour episodes of THOMAS THE TANK ENGINE and 39 half hours of BOB THE BUILDER to Digital Alb in Albania. } DISCOP LINK • #5 • JUNE 06

region

FULL OF WESTERN PROMISE By Bob Jenkins OFFO! TINSELTOWEN'S BOMBS AND BLOCKBUSTERS is a new offering from Granada International. BOFFO is Variety's slang for doing great box-office, and this 75 minute HBO production, which is an official entry out of competition at this year's Cannes Film Festival, examines the minutiae of what makes a blockbuster hit, and what contributes to a golden turkey. Featuring interviews with the

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a famous mad scientist. Igor has dreams of becoming a great, and possibly unhinged, scientist himself, but who comes to realise that being evil isn't all it's cracked up to be. cience has come to dominate our increasingly high-tech world, and Breakthrough Films And Television is developing COLLAPSE, a 2 x 60 minute docudrama demonstrating we are all living on the edge as it illustrates the events that unfold as this high-tech world begins to collapse under a major worldwide crisis. Using entirely plausible and disturbing scenarios, backed up by groundbreaking scientific research, COLLAPSE demonstrates what it would be required to survive in a major modern city without electricity, water, food or fuel. The results are as real as they are shocking.

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ne thing you would need in order to survive under that scenario is a few good friends. And that's what Talent TV has more of now that the BBC has commissioned a further 20 half-hour episodes of Talent's hit kids' series BEST OF FRIENDS. The show, which tests just how far a group of ten year olds are prepared to go in order to prove the depth of their friendship is now in its third season, and the new commission also includes two sports themed specials which the BBC will air in the run-up to Sport Relief Saturday, 15th July. The commissioning of these specials follows the huge success of two BEST OF FRIENDS specials filmed

last year in South Africa and aired summer 2005 as part of the BBC's 'Africa Lives On The BBC season'. ut at just its third season BEST OF FRIENDS has someway to go to catch up with LATER WITH JOOLS HOLLAND, the twenty-seventh season of which is part of the latest offerings from 3DD. Other titles in the slate

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O great and the good of Hollywood such as George Clooney, Steven Spielberg, Sydney Pollack, Pierce Brosnan, Danny DeVito, Charlize Theron, Sherry Lansing and others, the conclusion reached is that there is no magic formula, no right way and wrong way to build box-office success. Instead, with clips from famous, favourite and flopped films, BOFFO is a celebration of movies, and their unique grip on the public's imagination. he Weinstein Company will also be at the Cannes Film Festival this year, hoping that Exodus' CGI animated comedy feature IGOR will be BOFFO. Written by Chris McKenna (AMERICAN DAD), and produced by John D. Eraklis and Max Howard (THE LION KING, ALADDIN SPACE JAME), IGOR tells the story of the eponymous Igor, the hunchbacked lad assistant to

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Corine Bailey Rea

Sean Paul include LONDON LIVE, AN EVENING WITH JAMES BLUNT, GORILLAZ: DEMON DAYS LIVE AT THE MANCHESTER OPERA HOUSE, and v2006. ut from a historical perspective one of the most interesting new offerings has to be from the UK's ITN. The news organisation has just uncovered unique archive footage of Sting and Stewart Copeland putting up posters for their first ever single, FALL OUT/NOTHING ACHIEVING, which POLICE released on their own label, Illegal Records in May 1977. The footage was shot by an ITN cameraman looking for footage of Punks in London's Kings Road. }

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news

TV 2010 - DIGITAL & BEYOND

round 180 delegates from the EU institutions and the television business gathered for the ACT Conference “TV 2010 - Digital & Beyond”, organised in Brussels on 27 April 2006. Why did we organise this event? Well, EU officials and politicians are currently taking decisions which will have a direct impact on the business of everyone who reads this magazine. Here are some of the items on their agenda: - Should producers and broadcasters be allowed to use product placement in programming? - How much advertising should a broadcaster be allowed to show, and how long should the breaks be? - Should there be quotas for EU, independent, and foreign content online? - What is the future of exclusive sports rights deals? - How do we regulate new media players? These are all important decisions. But the people taking these decisions do not have the time to attend industry gatherings - you will not meet many MEPs at DISCOP, NATPE or the Edinburgh Television Festival, even though there are always important debates in the margins of these markets. So the ACT decided to stage a mini-version of these debates in the EU's backyard. Nicolas de Tavernost, President of the ACT, opened the day by stressing the unprecedented pace of change in the media business. His company, M6, had undergone more transformation in the previous five years than in the preceding fifteen. Throughout the day, broadcasters confirmed that the information society could not be designed without attractive content. “Commercial media are and will remain one of the key guarantors of quality programme production in Europe. So any restriction on broadcasters' revenues will have a direct impact on programming,” the ACT President pointed out. Referring to the arrival of new competition, Nicolas de Tavernost

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called for technological neutrality in European regulation in the fast-moving new world of non-linear distribution of audiovisual content. “Broadcasters do not want favourable treatment, we just want an end to discriminatory regulation against our businesses,” he commented. The current environment had restricted the possibilities for companies to grow beyond their national markets, which was, however, the only way for the European broadcasters to become globally significant players. Mr de Tavernost added that, “the apparent hostility of 13 EU Member States to the principle of the country of origin in the Audiovisual Media Services Directive - and in practice therefore to transfrontier television itself - is in this context extremely worrying.” Commercial television companies clearly understood that they needed to reinvent their business models for the digital age. But this could not be done without a corresponding revision of outdated regulation. We then organised a series of presentations from companies active in developing new services, from HDTV to IP-TV. A common theme emerging from these presentations was that it was not technological change which was driving new services, but above all consumer demand. Would content really be king in the new era? Or would it be the consumer? Moving from technology to programming, TVN from Poland and TVI from Portugal explained their programming strategies. TVN had innovated by launching Poland's first 24hour news channel. And TVI had transformed Portuguese television by investing in original drama to counter the popular Brazilian telenovelas on

competing channels. In the course of a few years, TVI had proved that Portuguese viewers - like viewers pretty much anywhere else - prefer to watch locally-produced programmes that reflect their own lives. EU policymakers liked this example - it illustrates perfectly that European producers and talent can compete with larger global players, given the chance. And from the point of view of European commercial TV, it was great that this had been achieved not through quotas or public funding, but through a broadcaster having the courage to take risks. In the afternoon, there were further debates on advertising and programming, on consumer expectations, and on competition. Earlier in the day, Commissioner Viviane Reding, who is responsible for EU media legislation, reminded broadcasters that apart from the EU Commission, Member States and MEPs had to be convinced of the case for modernising the EU regulatory framework for television. Negotiations with Member States and MEPs were proving tough. And it was important for the television industry to get behind the Commissioner's proposals on advertising, product placement, and retaining the rule that broadcasters are regulated and licensed by one country alone. Together with a closing speech from Ruth Hieronymi, the MEP who is leading the European Parliament work on the directive, this amounted to a clear call for European television operators to engage in the political process. The ACT and our member companies have understood that if we fail to do so, we will not get the flexible, forward-looking regulation that our businesses need. } 27

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BENEATH THE RADAR By Bob Jenkins entral European Enterprises (CME) announced first quarter results that were a very mixed bag. Revenues rose a very healthy 148%, hitting US$ 119.8 million, but on the negative side losses widened from US$7.9 million, to US$ 18.3 million. Announcing the results CEO Michael Garin noted, "restructuring activities to further improve performance in our Czech and Slovak operations have commenced and are on track to power CME's continued EBITDA growth over the coming years." TV Nova, the recent prized addition to CME's portfolio, posted revenues of US$ 40.5 million, while in Croatia Nova TV's revenue fell from US$5 million to just US $3.8 million; revenues were also down in the Slovak Republic where Markiza TV's revenue fell from US$12.6 million to US$11.2 million. However , there was good news too: in Romania, PopTV saw revenues rise from US$19.6 million to 29.9 million; Kanal A, Slovenia, saw revenues rise from US$9.9 million to 10.2 million; in the Ukraine Studio 1+1 posted a near doubling of revenue to US$25.9 million.

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ony Pictures Television International's action adventure channel AXN has tapped Stephen White to succeed Tom Davidson as general manager of its Central European oper-

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ations. Based in Budapest, White assumes responsibility for the channels day-to-day operational management and responsibility for expanding the channel distribution on Poland, The Czech Republic, Slovakia, Hungary, Romania and Bulgaria. Additionally, White will have the responsibility of expanding the networks ad sales in Poland and Romania as well as developing other opportunities in neighbouring territories. utch format giant Endemol has announced the closure of Endemol UK Productions, and its replacement with a dedicated factual arm, Cheetah Productions. The new entity which already has commissions in place from BBC, ITV and Discovery, will be headed by Nikki Cheetham, formerly managing director of Endemol Productions UK who now becomes MD of the new company. She will be joined at the top table by Sara Ramsden, who assumes the role of creative director.

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ingapore's MediaCorp Studios and Malaysia's Media Prima Berhad, have announced an agreement to produce a slate of Chinese language dramas and variety shows over the next three years. The first fruit of this collaboration will be the thirty-episode THE BEGINNING which has just started shooting in locations across Kuala Lumpur and Selangor. Production is expected to be completed by mid-July.

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n much the same locations the BBC, HBO Films, and Kudos Films and Television have commenced shooting on TSUNAMI, a two-part drama based on the devastating effects of the giant wave on Thailand's Andaman coast in December 2004. Among others, the cast includes Tim Roth (DARK WATER), Chiwetel Ejiofor (DIRTY PRETTY THINGS) and Sophie Okonedo (HOTEL RWANDA). TSUNAMI is scheduled to air on HBO and BBC2 later this year.

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Nikki Cheetham, Managing Director, Cheetah Television (on the right) and Sara Ramsden, Creative Director, Cheetah Television 28

Jamie's School Dinners remantle Archive Sales, the clip division of format factory Fremantle Media, has announced an agreement with Fresh One Productions, the production company owned by British celebrity, extraordinary chef Jamie Oliver, to represent clip sales of JAMIE'S SCHOOL DINNERS and JAMIE'S GREAT ITALIAN ESCAPE, worldwide. JAMIE'S SCHOOL DINNERS and JAMIE'S GREAT ITALIAN ESCAPE will join the existing portfolio of Fresh One Productions programming already represented by Fremantle Archive Sales, which includes JAMIE'S KITCHEN and OLIVER'S TWIST.

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ntertainment Rights has announced that Nardis Roscoe has joined as senior brand manager for Entertainment Right's classic property, RUPERT BEAR. Roscoe will oversee the strategic development of the new pre-school Rupert show, RUPERT BEAR - FOLLOW THE MAGIC, which the company has produced for the UK's Five. }

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REBELLION OF THE AUDIENCE AGAINST REALITY SHOW By Anna Nemoga Kolar ast year, screens of Slovakian televisions were flooded by a pompously announced, supported by massive advertising campaign, wave of reality shows. Although these programmes are included in the programme scheme with delay, comparing to televisions of many countries in Europe and the USA, the first serial of this programme has beaten records, and great companies have fought for space in commercial brakes. Some worried individuals have expressed their fear that these programmes would make spiritual wasteland and have consequences for the mental health of the nation. Some members of the Catholic Church (with a tacit support of church notables) from TV JOJ that had bought the license for VALO VILAG (THE CHOSEN) from Hungarian TV, demanded that they gave up broadcasting of that programme, or to broadcast it after 10 p.m. In some churches, participants of popular CHANGING WAVES of TV Markiza were publicly condemned. Saturation was reached very soon. (The untouchable leader, TV Markiza had given up broadcasting of BIG BROTHER after the first serial of broadcasting). Interest for the second serial of these programmes is generally for a quarter less than for the first one. This trend confirms multiplied decrease of SMS votes that the audience had sent to the participants of the two most successful show programmes - SLOVAKIA CHOOSES A SUPERSTAR (this format is known as POP IDOL in some countries), and programme THE CHOSEN. TV stations have invested a lot of money in reality show programmes, hoping for long-run profits, and engaged numerous teams for their preparation, so that saturation which soon followed was obviously unexpected for them. There are two main reasons for the trend. For a relatively short time, programmes of three

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A GIRL FOR A MILLIONAIRE (TV Markiza) national TVs have included about ten reality shows. At least 20% of Slovakian audience watch programmes of the neighbouring countries (Czech and Hungarian), with similar, and often completely identical programmes, so it is clear why people are not so interested in this kind of programming. The second, and maybe more important reason for lacking interest, is that some reality shows are included in the programme schemes without good ideas and preparations, so the final product is far behind the professional standard that audience is used to. We are speaking about domestic programmes that have elements which the audience has already seen in programmes of other countries. These not so well thought-up moves were a reaction to reality show SLOVAKIA CHOOSES A SUPERSTAR that was included in the programming of the Slovakian public TV (STV). This programming began to seriously jeopardize leadership of TV Markiza. This programming is professionally prepared, both in visual and technical terms. However, it is less successful when speaking about its content.

During the programme, audience could hear a lot of out-of-tune tones, and it is not strange that SUPERSTAR has become a comet that had burned down before it succeeded to shine on the music sky. (A goal was not to find new talents, but to compete with commercial TVs). There are some other reasons for such short success of reality shows in Slovakia. For instance, spectators were very sensitive to the revealed manipulation attempts with the SMS votes. Confidence of the audience was also disgracefully lost when in the finals of the famous show THE BACHELOR (in Slovakia it is broadcast as A GIRL FOR A MILLIONAIRE as the "most romantic show") was included a girl who had appeared in a porn film, and the participants physically attacked one another. Managers of the Slovakian TVs have a dilemma what to include in their programme schemes to be interesting enough for the audience, and also to attract advertisers. TV Markiza has returned to the proved programming and regained its leading position. The other two televisions are still thinking over the right solution. } DISCOP LINK • #5 • JUNE 06

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REAL TV IN ARMENIA: BIG MISTAKE OR GREAT SUCCESS? By Anna Satyan he advertisement of the first domestic reality show in Armenia said: “The biggest sensation and the most talked about phenomenon in Armenia is the CUBE reality show broadcasting on TV5. Sixteen intelligent, articulate, sexy, uninhibited and dynamic young people are locked up in a luxurious living space, stylized after and paying homage to the art of Salvador Dali…”, this is the advertisement of the first domestic reality show in Armenia. Wow! Ten years since the genre became a sensation all over the world, the Armenia audience long deprived of the joy of voyeurism now have their very own 'reality TV' programme. To be honest, this is not exactly the very first reality show in here. Three years ago people were just very surprised and interested by a show called ALFRED'S ROOM which was aired 3 times a day and was characterized by critics as a “good example of cultural imperialism in the transitional period in Armenia”. Apparently 9 young adults (boys and girls) were placed in an apartment and were video-taped 24 hours, even in the washroom, where they were taking their baths with bathing suits on. The prize was one million Armenian drams that makes about US$1,750. Now, the last throw of the dice is US$4,500. About three months ago one of the local channels, TV5, has started broadcasting this pretty controversial programme called CUBE. The first issue was a “Dali Version”, the follow-

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ing ones were based on the arts of other famous artists like Chagall and Martiros Saryan. During 30 days the contestants have to get along with each other - totally unknown people. Participants have all the facilities including separate boy's and girl's bedrooms and bathrooms, showers, even Jacuzzis, a full-equipped gym, an entertainment centre with a big screen and nice kitchen. Twenty-four cameras assure that nothing is missed, whether it is gossip about other group member or lovers' heated arguments. At the end of each day, tension level rises up in CUBE studio because participants take a pellet pistol, aim it at fellow contestant photographs, and “shoot” the person to be “fired” from the group. At the end of the week, the person whose photo is most bullet-riddled is dismissed. And from that moment the only thing left for him/her is to wait for the voters' calls. They decide which one stays and which one has to leave. It is also important to note that CUBE: “Chagall Version” includes Armenians from the Diaspora - the USA, Europe, Russia, Ukraine, Belarus, and Georgia. And here we have one of the sharpest aspects of that show - the clash of sometimes com-

pletely different mentalities, ways of thinking. Participants are selected by the board of the Armenia TV, which is the organizer of the game. The main criteria are the appearance, good looks, and social skills of the candidates. Fluency in Russian is also required, since almost always there are some Armenians from the Diaspora, particularly Russia. The show host is Mark Saghatelyan, a very popular showman and producer in Armenia. In one of his last interviews he said that the aim of CUBE was to show “the real human nature” in different situations. The objective of the contestants is something pretty far from such philosophical approach: they are competing for the Grand Prize of US$4,500. Though the interest in CUBE show is very high, a certain part of audience is outraged and even angry about all this stuff. Viewer Meline Khachatryan, 25year old, says that CUBE is the biggest mistake of the local TV market. “As an Armenian girl I am ashamed when I see my compatriots with half naked breasts walking before cameras. Participants' lack of education is evident, just listen to their jargon… I don't let my kids watch it.” Mher Mkhitaryan, 21 year old student, argues with Meline saying that CUBE is the real deal. “Go to any café or disco club, the same thing goes on there. Russians had such shows long ago and it is cool that we also have got one at once. I would love to take part in it.” }

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SERBIA AND “BIG BROTHER” By Dejan Pralica, MA

s in many other countries, the BIG BROTHER show programme will be broadcast in Serbia, starting in autumn. That is how it should be. Although in the beginning there was a great interest for this show - thousands of people were on auditions in Serbia, Bosnia and Herzegovina, and Montenegro, the delay of broadcasting has reduced the interest. The “Emotion” production house, that has exclusive rights on this programme, has briefly announced that, “due to technical problems the start of the broadcasting has been delayed.” After the problems had been solved, it was clear that the final show of BIG BROTHER would fall in the middle of summer. Therefore, the organizers have decided to postpone the show for autumn, hoping for better ratios. The organizers have made one more (un)intentional omission. At the same time, the third season of BIG BROTHER on RTL Croatia is going to begin. This show is very popular in Serbia, and it potentially jeopardizes the ratios of the Serbian version. This reality show began in 1999, and as for the territory of former Yugoslavia it first came to Croatia in 2004. It is interesting to know the rules of BIG BROTHER. Some of them are: return to basic human instincts; participants are completely cut-off from the outside world; all that happens in the house is recorded 24 hours a day; participants are expelled from the house by nomination; the winner of the Serbian BIG BROTHER receives €100,000 in dinars. What does the TV audience think about reality shows? Could the audience learn anything from the show, or they just have fun? Answers to these and many other questions are provided by Annette Hill, Professor at the Westminster University, in her book “Reality TV - Audiences and Popular Factual Television (London, New York 2005). What are the advantages for the advertisers? There are many. There is only one kind of bottled water that the

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participants drink, only one mega market from which the participants order groceries. In Serbian BIG BROTHER these issues were not absolutely clear. For months, as a sponsor was advertised one Croatian non-carbonated water producer. Without explanation, this role was taken over by a domestic manufacturer of bottled water. We can assume how the participants would react if they, besides so many domestic waters, have to drink a foreign one. Yet, it seems that the greatest economic gain from this programme have, of course, TV stations that broadcast BIG BROTHER and a mobile network through which people vote which participants should be expelled, and who will be the winner in the final show. It is not a secret that weeks before voting, relatives and friends of participants buy pre-paid cards and then send a lot of messages to help them. It is still not known which mobile network will be chosen for sending messages from Montenegro and Bosnia, where Serbian BIG BROTHER will also be broadcast, and which will also include the participants from these states too. What will the chosen tenants, whose names are kept in greatest secrecy, get? They will get a relative comfort without privacy - they are filmed even when they use the bathroom, but the organizer says that this footage won't be shown. Tenants will

live isolated from the outside world, without any media, in the luxurious house of 600 sq. metres, with the pool and the backyard surrounded with high walls, for three months. The house has got a huge living room, a kitchen, male and female bedrooms, a pantry, a confessional (where they speak with “Big Brother”), and only one bathroom and a shower cabin. The house is located in Belgrade. The winner will become richer for €100 000. Will the audience enjoy? Psychologists agree that in every one of us there is a little voyeur (peeping Tom). Most of us would like to know what happens at somebody else's house. There is no person in the world that has never thought about the life of a neighbour or somebody who is close to him/her, and what is going on behind the walls of somebody else's house. Will 'the naked truth' of this show programme reveal the real face of Serbian citizens will be known in autumn. Though disputed, glorified, cruel and intriguing, this reality show, unique in the world, will broadcast in a soft variant in our country, Montenegro and Bosnia and Herzegovina. You can imagine what will happen in the following seasons. If we survive this autumn. The spy is dead! The BIG BROTHER is coming. Everybody will watch it at least once, just as telenovelas. } DISCOP LINK • #5 • JUNE 06

interview

FUTURE PROJECTS FOR YOUNG JOURNALISTS AND FILM WORKERS By Bojana Janusevic

ierre-Emmanuel Pessemier, Attache for Audio-Visual Media, Embassy of the Republic of France, came to Belgrade by the end of last year. He is one of 13 Regional Attaches for Audio-Visual Media France has deployed throughout the world. He is in charge of co-operation with those media on the Balkans, and is responsible for all the countries on the territory of the former Yugoslavia, except for Slovenia, but also for Albania and Bulgaria. “I am representing French media or other institutions connected with the audio-video sector - RFI, TV5, TV Arte, Franch TV, National Board for A/V and some others. I administrate some funds dedicated to the regional projects in the domain of audio and video. For example, France is supporting Serbian Public TV Service, especially its Audio-Visual Archive. We are also supporting co-operation between Albanian ATA Agency and Beta Agency from Belgrade. In Tirana we had equipped a radio studio for ATA,” says Pessemier.

In August and September, in cooperation with the Media Plan Institute, there will be organised in Sarajevo, Bosnia and Herzegovina, the Factual Production Seminar at which young journalists from the whole region will take part. Pressemier has announced that for the associations of Francophil journalists there will be organised study tours to the media in France. Co-operation with the Serbian TV Public Service is, he remarks, continuing. According to the proposal by OSCE, public service journalists and reporters will be invited to make programmes using the Audio-Visual Archive, and a TV crew involved in their production will be sent to France, also for advanced training. In addition to those projects, says Pessemier, the Audio-Visual Media Department of the French Embassy has also been engaged in permanent projects such as the distribution of French feature films. Along with the famous film festivals like FEST, it is possible to organise, in co-operation with the French Cultural Centres. smaller-

Festivals are an ideal way of documentary film promotion, and creating loyal audience and image in media. I am convinced that TV is the best transmitter of documentary films. Why? Because documentary film diffusion has followed the appearance of new TV channels... So, a documentary film has become more important by channel multiplication, and ways of broadcasting have multiplied too. Satellite and cable TVs offer unbelievable choice of different topics. There are channels for certain professional areas, and that has opened a huge space for production of documentaries. We have mentioned difficulties with documentaries financing for several times. Besides, the price of final documentaries has fallen. On the

West European market, for example, prices are lower ten times. The price of production has also fallen. In return, we have digital equipment that contributes to cheaper production. It is obvious that channels broadcast documentaries more than before, in the terms in which we are not used to watching them. In prime time, at 20.30! That highlights current problems. The phenomena of copyright, the authors call - sale of their films. Since supply has considerably increased, it is more difficult to sell a film and, of course, to get the financial resources for making a new one.

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(Pierre-Emmanuel Pessemier, Tribune "Documentary Film as Merchandise", Media Centre, Belgrade, April 2006)

Pierre-Emmanuel Pessemier scope festivals where French films will be screened. “France is making efforts to help televisions that are public services and not national televisions. The difference if very important because public services are more independent. I came here to help Serbia in my domain of work to come closer to the European Union. The more Serbia will be turning to Europe, the more specific our cooperation will become.” Pessemier announced that in November in Novi Sad will be open the “Varan Atelier”, a documentary film workshop, in which 12 young authors from the region will take part. This project is, in fact, a continuation of the action launched two years ago in Serbia by famous French documentary filmmakers (followers of the school established by Jean Rouch). During several months of work through seminars and workshops, twelve participants were trained, and as many films were shot which after that went to a number of European festivals. “Preparations are under way and, for the time being, I may only say that for this project significant funds have already been provided,” concludes Pierre-Emmanuel Pessemier. } DISCOP LINK • #5 • JUNE 06

interview

PROGRAMME EDITING IN THE PAST AND NOWADAYS By Dragana Stanic

n the former Yugoslavia, public service - Radio Television Belgrade - dictated standards for programme production and broadcasting. Editing concept was unambiguous, and competition in the region did not exist. Programmes were chosen carefully, and the key role of television was to inform, educate and entertain. We are speaking with Radoslav Zelenovic, the former editor of RTB programmes and present director of the Yugoslav Film Archives, about programme editing in the 80s. “During the time when I was an editor, programmes were acquired based on the Rosi scale. By that scale, it was strictly known which slot and how many of them (total of 52 per year) belong to whom. So, Zagreb and Belgrade had 13 each, Vojvodina 6, Bosnia and Herzegovina 4, etc. Based on that, we acquired programming that we could pay for. On the market, films and serials were mostly offered. This principle is not longer respected

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by anyone; films are paid according to agreement, or even stolen and broadcast by pirates. Foreigners have profited again, since we used to pay for the whole Yugoslav market ($2,500 per film), and today every former republic pays separately,” Zelenovic says. Are there any differences in programme editing by public service and commercial televisions? “Differences exist, but the principle has to remain the same. TV programme has to protect the interests of the audience that watch it. If I were an editor on a commercial TV, I would not miss the opportunity to emphasize the facts that are important for a certain film, serial, or author. This is the standard that has to be respected on every TV. You have to remind the young who Zika Pavlovic is, why Bunuel is important, why Mencl and Mihalkov are important. The purpose of public service is to remind, but it has to produce new serials too. Nevertheless, it is important to have in mind what is required for public service, and what are the possibilities of a local TV. People will, whether they like it or not, watch the programme broadcast by public service, while local TV will be watched by people who it is intended for.” What criteria are important for programme selection? “It is very important to know which target group watches our programme; it is a huge mistake if the programme is not of current interest. I have noticed that one film you can watch nine times during one week, on different TVs. Programme editing, especially when film programmes are concerned, is of the highest quality when there are film cycles included

Radoslav Zelenovic was a film amateur with the Belgrade "Youth Centre" Film Club since 1968. From 1971 until 1979, he was editor of the Film Programme with the Belgrade "Youth Centre"; from 1979 until 1992 - editor of TV Belgrade Film Programme. He was one of the founders and editors of Channel 3, TV Belgrade. He was editor-in-chief and one of founders of the "YU video" magazine; editor of many film programmes and manifestations; director of the Palic Film Festival; member of the FEST Council and selector of FEST and the Spot Film Festival.

which, in addition to a film, also present its author and stress his importance. On Serbian TVs there are many domestic movies, which is good, but you can never find out how and why those films were important for the film industry development in our country. Films need to have historical verification. TV acts as some kind of educator. Broadcasting films and serials at random is not editing, and it can not be called high quality acquisition either.” There was a tender for broadcasting licenses in Serbia and some foreign companies won a chance to work here. Will they jeopardize or disturbe domestic market in any way when they start their operations? “The rules of the game must be established at the very beginning, the market will be revived, and healthy competition will appear. Audience's needs must be satisfied, and if it is a foreign or domestic broadcaster, it is not important. The kind of competition that appears through the reduction of broadcasters is promising. Big and powerful systems come on our market, and the audience may only benefit from such competition.” } DISCOP LINK • #5 • JUNE 06

region

CZECH TELEVISION IN THE SERVICE OF PUBLIC By Anna Nemoga Kolar zech Television (CT) is one of the European public televisions with good reputation among the domestic audience and with international relations. CT Spokesman Martin Kraftl says that production and broadcasting of many genres is a basic goal of CT, which is a television of full format. There are CT1, with universal programmes, and CT2, with special programmes. CT24 is a news channel, and the forth channel is CT 4 SPORT. “When selecting foreign programming,” Kraftl says, “people in CT have in mind the commitments that are defined by the Act on Czech Television and the Czech Television Code, controlled by the Board of CT and CT Broadcasting Council.” The law demands broadcasting of European programming in more than a half of broadcasting time on each channel. CT has the obligation to give at least 10% of time to independent European producers, and to include at least 10% production from the past five years at these terms. How does CT fulfil its obligations? “The EUROPEAN FILM cycle with the production from the nearest neighbours is the example of participation in international co-operation and exchange,” says Kraftl. When speaking about films, the base of the programme are Czech films and authors, and in addition to that, the audience can watch THE FILM CLUB - where international films are broadcasting, and late at night, there is THE NIGHT FILM CLUB on. Film cycles offer complete programming, i.e. films of individual authors or national film industries, for example, Japanese film industry of the 50s and 60s; Andrej Tarkovskij, Robert Altman, Andrzej Wajda, Federico Fellini, Miklos Jancso, Woody Allen, Luis Bunuel, Carlos Saura, Aki Kaurismaki, Jean-Luc Godard, Krzysztof Zanussi, Alain Resnais, Ingmar Bergman, Jean Renoir, Zhang Yimou; 100 Years of Cinematography; American Independent Summer; New Zeland Films; New Cuban Films; Hungarian Films of the 90s; and Iranian Films. Within these cycles CT broadcasts films of exceptional artistic level rewarded at international festivals. Some films broadcast in prime time are seen by 'only' 600,000 people. This number is unacceptable from the viewpoint of commercial TVs. However, we believe that we

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Martin Kraftl, Spokesman CT have offered an interesting alternative to a significant number of people. The example of a very successful acquisition in the documentary film area was the film FLIGHT 11, the British reconstruction of the last dramatic minutes of the flight that caused the fall of the first building of the New York Twins, on 11th September, 2001. The decision to broadcast the film in prime time on the first channel on the day of commemoration was supported by 1,385,000 people. This 50-minute documentary was watched by almost the third of adults and 17% of audience aged 4-14. The documentary film TITANIC: SECRET REVELATION, broadcast in the end of 2005 was watched by 637,000 people. Great attention is devoted to the purchase of children's feature and animated serials. Here is the responsibility of the CT dramaturges the greatest. In a wide supply they search for programmes that are not only interesting, but also refined. It is an important alternative for supply of commercial TV stations, Kraftl says. In the area of educational programming, CT buys foreign programmes that have universal values. Investments in foreign high quality acquisitions have better effect than production of own programmes, and they enrich programme supply. Examples are WONDER PLANET, SCIENCE AND THE CASE and THE PANAMA CANAL. Of course, we want films that are attractive for the audience to broadcast in prime time on CT1. But, their price is not the only determining factor. Distributors also sell TV films, new and old serials, and serials and films from the archives. Our purchasing capabilities are reduced this way. Nevertheless, CT is still a significant partner on the Czech market for many great distributors. When speaking about foreign serials, a lot about our criteria and the taste of our audience is shown by the fact that watching THE FORSYTE SAGA was considered as a priority by million of people, says Kraftl! The greatest responsibility for the selection and purchase of programmes that are produced in the Czech Republic and abroad rests upon the Programme Acquisitions Department. If you watch programmes on CT, you may see what the selection criteria of this department are, says Martin Kraftl. } DISCOP LINK • #5 • JUNE 06

region

ON THE EUROPEAN TRACK By Marijana Bojanic itizens of Montenegro voted for independence on 21st May, and this is the end of the State Union Serbia & Montenegro. It will change many relations between the independent states. About relations in media sphere, for Link is speaking Zeljko Rutovic, Ministry of Culture, Montenegro, responsible for the media. Montenegro will become a member of EBU, Council of Europe and other institutions. Will you change something in the media strategy? Accepting the Charter of Media Freedom, adopted in 2000 in Salonika, Montenegro carries out initiatives and solutions that guarantee media freedom, support the development of professional journalism, and transform electronic media according to the international standards. In Montenegro is implemented a set of media laws. According to these laws, media system is being reformed, in accordance with the European Convention on Human Rights Protection, and the practice of European Court for Human Rights. Independent Montenegro will continue to develop its media strategy on high European standards, references and principles that guarantee media freedom. At the same time, our permanent imperative is to respect and free public word that Montenegro media laws provide. This is a basic condition for an open society concept. From the aspect of broadcasting activities, our strategy is based on international conventions and documents of human rights and freedom, technical regulations, plans for frequencies and technological development. Media strategy is and will be outlined on the highest scopes and standards of EU media policy. The fact that Montenegro will be a member of EBU, Council of Europe, and the like convinces us that it is necessary to follow trends of media regulations development in Europe, and to implement them in Montenegro. What status will have the broadcasters from Serbia that broadcast

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(or would like to broadcast) programme in Montenegro? Article 32 of the Broadcasting Act says: “a holder of license for transmission and broadcasting signals can be domestic or foreign, person or company that is registered for production, transmission and broadcasting of radio and TV programmes and has residence on the territory of the Republic.” So, broadcasters from Serbia, as all other interested parties, will have equal position as broadcasters from Montenegro, with the respect to media laws. Televisions from Montenegro have closely co-operated with houses from Serbia (distribution houses, for example). Will something be changed? Or will Montenegro stimulate the continuation of the co-operation? The change of the national status of Montenegro will not affect the cooperation with all interested people from media sphere in Serbia. On the contrary, our attitude is that we should stimulate the existing co-operation, not only with people from Serbia, but with all interested parties, on the basis of healthy partnership and mutual interests. TV signal that comes from Serbia will soon become signal from abroad. How will Montenegro react to that? Montenegro and Serbia already were separate members of the International Telecommunication Union, and a delegation from Serbia and a delegation from Montenegro participated on the Second Session of the Regional Radiocommunication Conference (RRC 04/06) in Geneva. It is necessary to state that there are no unsettled matters between us. Will there be any changes on the media market in Montenegro? All changes in media, and not only on the media market are exclusively related to the harmonization with the European standards and criteria, which means that ambition of our country is to produce programmes that can survive trial and discrimination of the developed markets. As a

Podgorica, the day after member of the European family, we want to promote ourselves in all areas, and television is one of the most transparent. We see a chance and challenge there, for the presentation of our advantages and new investments and development of the European sustainable system. What will Montenegro as a state do for TV business development in sense of strategy, in the following months? Adopted strategy of broadcasting development in Montenegro is a stable framework for future development in this area. In accordance with that and the media laws, Montenegro has created and will complete legal ambience for competition and pluralism development. It will continue to stimulate TV and radio business development that will operate on economic sustainable principles, and these are all commercial broadcasting services. The Broadcasting Act also recognizes public broadcasting services (local and national services) that beside their commercial base also have obligatory programming financed from the budget of Montenegro. How will Montenegro promote its TV business (programme offers, locations renting, co-productions etc.)? All programmes of high quality and rich production will find its place on the sophisticated world market. In this context, by inducing partnership and co-production development, Montenegro will patiently and persistently stimulate the quality and development of TV business. The advantages of this industry are natural and tourist resources of Montenegro, especially cultural and historical values, and traditional openness of this area. These are incentives for entrepreneurship innovations and networking of TV industries, with the aim of joint promotion of programme. } DISCOP LINK • #5 • JUNE 06

region

TV IN ROMANIA - MAY 2006 By Daniela Coman omanians are great TV consumers, maybe because they were deprived of this kind of entertainment before 1989. At that time, in Romania there was only one TV, a state station that had only two hours of programme in a week, between 8pm and 10pm, including the news about Nikolae Ceausescu, or megalomaniac performances about 'the great leader'. On Sundays there were four hours of the same programme. Films were seldom on, always Romanian, and always with the communists. It can be said that during the communist regime in Romania, TV audience did not exist, since no one was interested in such TV offer. Romanians have even started learning Bulgarian, Serbian or Hungarian (depending on the part of the country they lived in), since they have watched television programmes of the neighbouring countries. After the fall of the communist regime, TV began with its development, and it attracted mostly the young, though many of them had been prepared for other professions. Maybe it is the reason why the journalism in Romania is so strong today - in press, TV, radio, and newspaper agencies. In Romania, journalism inspires more fear than the police or administration of justice, and the journalists have managed to discover various irregularities done by politicians or businessmen. When they watch TV, people may say that there are too many domestic TVs. Public national TV has 4 channels: TVR1 - main common programme; TVR2 - programme for the young, documentaries, and serials; TVR Kultura - cultural channel; TVR Internacionalna - programme for Romanians who live abroad. Besides state television there are a lot of private TVs that are constituent parts of big trusts, together with commercial FM radios, magazines, newspapers, and publishing.

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INTAKT trust that belongs to the Vojkulesku family (who have businesses in different domains, whereas the head of the family, Dan Vojkulesku, is the leader of the Conservative Party, and Senator) contains the following: Antena 1 - common commercial channel; Antena 3 - news channel; and Euphoria - fashion and female channel. MEDIAPRO trust that belongs to the businessman Adrian Serbu (he was obscure film director and owner of great film studios) has Akasa TV television for home movies and serials; PROSinema - film channel; and the trust is a partial owner of TV Sport. Realitatea TV - the first news television; from the same trust is Money Channel - launched in April 2006 and intended for business news and economics programming. Both belong to the controversial businessman Sorino Ovidio Vento, whose name is connected to the famous scandal - the failure of the Investment Fund that was just a pyramid game leaving many people in the street. He was interrogated, but his guilt has never been proven. Nacinalna Medija Trust Centre belongs to the Mikula brothers, who are successful in the market of refreshing drinks of their own production. They have also developed business in other domains. The Trust comprises: National TV - common commercial channel: N 24 - news channel; one station for Romanian folk music. OTV - scandal TV. It was suspended for some time by RDA. It is owned by a journalist who had a carrier in written journalism, and who did not have financial power, yet he managed to launch huge scandals from the politics and the lives of rich and famous people. Specialty of the house is a kind of talk show with popular controversial persons. The owner of the television, Dan Djakonesku, who hosts the show, has a lot of lawsuits for slander. Trust of the businessman Silvio Prigoan, operating in the domain of social health, real estate and the like,

owns a station of Romanian folk music ETNO TV, and a part of Sport TV. Prima TV and B1 TV have been existing for several years, but the number of people who watch them is decreasing. The best journalists from both TVs have gone to more successful or new televisions. The owners of the former TVs do not have intention to invest in them anymore. Last year, situation on the TV market did not change a lot. Commercial stations PRO TV and Antena 1, together with the state television TVR1, had the largest audience share. For some entertaining programmes that have been successful for several years on these stations are responsible masters of programmes, who have become national stars and also earned a lot of money. Also successful are informative televisions (three of them). Although they are not in the sphere of interest of commercial TVs' audience, they have managed to attract their own distinguished audience who are more educated and richer than the former. Realitatea TV was founded three years ago when no one predicted it a long life. TV N24 has not yet found the formula for success and is far below its competitors - by rating and by the quality of its programmes. In addition to all these TVs, there are three more Romanian channels that broadcast Romanian and international pop, rock, and dance music. Also, cable providers take over many foreign televisions, offering 40 - 70 channels in the package that each client gets. I could risk a proper explanation of this unusual development on the Romanian TV market: occupation that television offers is all that the most of the Romanians can afford. A lot of us can not afford to dine in a restaurant, to have fun in clubs, or to go on vacation. During the past few years, however, more and more people can afford going out. This pushes TV aside in favour of other activities. } DISCOP LINK • #5 • JUNE 06

region

CEE TV VIEWER WANTS TO BE A MILLIONAIRE hat is going on with entertaining shows and games in the CEE? DISCOP Link's network of journalists had researched the position of the genre in some countries of the region. In May issue we wrote about Armenia, The Cezch Republic, Greece and Romania.

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BOSNIA AND HERZEGOVINA Televisions in Bosnia and Herzegovina, without exception, and regardless of whether they are private or commercial ones, broadcast quiz shows. The avalanche was caused by a quiz-show created for HRT by Josko Lukas. The show was titled QUESTIONNAIRE and it shook both the Croatian television and those who watched it. Josko did an excellent job, he earned a nice sum of money, the quiz-show was interesting, and it was a nice opportunity to have fun and make money. The same show soon came to Bosnia and Herzegovina on one commercial TV. It was not as good as Josko's, but it was still good enough. The hosts were two popular TV actors from Sarajevo. The two of them soon went away, while other BiH televisions were soon flooded with quiz-shows. Most of them are boring, made in a stereotyped way, their hosts are young and inexperienced, yet the whole idea continued to exist because of the two facts: the show is not expensive and it fills the slot - which is good for any television. Sooner or later they pay off and the spectators are satisfied. Current shows are far from the show created by Josko Lukas several years ago known as QUESTIONNAIRE. Quiz-shows are also created in private production, and are primarily created by the televisions which also broadcast them.

BULGARIA The most popular television games in Bulgaria are THE GOLDEN RUSH and QUICK MONEY on BTV (News Corp. Group) and HOME, HELLO and DEAL OR NO DEAL on Nova TV (Antenna Group). THE GOLDEN RUSH broadcasts on work days at 11.00am as a five50

minute show; at 3.15pm live as a 15minute show; and at 5.55pm live, again as a five-minute show. The purpose of the 11 o'clock show is to clarify and inform. Every Monday one player takes part in the PYRAMID (a variant of a pin-ball) fighting for the Super Jackpot whose stake is currently about €150,000 (the average salary being €170). QUICK MONEY is an overall TV auction in which viewers participate by SMS bids. They suggest a price for a certain product item expressed in hundredths and tenths of the lev. The calculation is a bit complicated, but the goal is to keep the price as low as possible, and no one should repeat already proposed sum. Number of participations is not limited, and auction participants receive a return SMS telling them whether their proposal is unique and the lowest possible, and what are better proposals, if any. Awards include home items like a TV set, camera, cell phone, refrigerator etc. Nova TV's HOME, HELLO is a show where a lot of money is given. Game rules are very simple - every evening a hostess presents one or more games. Every viewer may win the amount specified on the TV screen, if he/she dials a given phone number or sends SMS. In another game on Nova TV DEAL OR NO DEAL 22 participants from 22 different towns of Bulgaria are chosen. Each of them receives a “case full of cash”. Only one of them, however, takes part in the show. He is chosen by choosing the correct answer to the question from the provided answers. The player carries only his “cash-case” containing from 10 hundredths of the lev (0.05 euro) to 75,000 lev (some €35,000). Nobody knows for sure what is in the case. The most difficult decision for the player is whether to keep the case or to sell it for the largest possible amount of money. When they start opening the cases, it is up to the participant how he will answer the following question: Deal or no deal?

CROATIA Situation in Croatia is somewhat different. Almost every television in Croatia broadcasts at least one quizshow, whether it is a great licensed game or short one made in local production. For the time being, THE WEAKEST LINK and very popular WHO WANTS TO BE A MILLIONAIRE broadcast on the HRT national television. THE MILLIONAIRE runs its fifth season. Ten years ago, domestically produced quizyes were on HRT. The most popular among them was QUESTIONNAIRE which started its public life in Croatia which is the cradle of very good quiz-shows. Let us also remember the unmatched KVISKOTEKA. When talking to the HRT programme editors, we were told that quiz-shows, being a format which audience like to watch, will broadcast in future as well, but will be based on proven international licenses instead of domestic ones.

FRY MACEDONIA In the very first issue of the “Antena” RTV supplement (in the most popular daily in Macedonia) there is a poll conducted on the topic 'which TV shows should be back on TV screens?'. The majority of votes account for the following quiz shows: KVISKOTEKA produced by the former TV Zagreb, IT STILL SPINS AROUND, and CROSSWORD PUZZLE, created and broadcast by Macedonian TV ten years ago. Audience, TV workers and critics all agree that the total TV offer in this country lacks an overall quiz project, with a modern concept and quality production. During the past five-six yeas, there were a number of attempts, both on local and national TV channels, to offer a quiz show/project to the audience, but they were (more or less) an unsuccessful.What is the current situation regarding quizshows? The programming of the most popular TV A1 includes the Macedonian version of the international project and quiz-show format WHO (Continued on page 52) DISCOP LINK • #5 • JUNE 06

news (Continued from page 50) WANTS TO BE A MILLIONAIRE. The show is hosted by a renowned publicist, graduated sociologist, Saso Macanovski Trendo The majority of competitors successfully pass the first level of the competition which grants them the award of 5,000 denars (some €80) after answering easy questions. After two years of broadcasting on TV A1, only a dozen participants in the MILLIONAIRE won the sum of some €5,700, and even that sum is far from the main premium of some €50,000. However, the MILLIONAIRE is for months on the top of the rating list for the overall TV offer in Macedonia (with the audience share of some 28%). The quiz-show is more popular than the Champion League football matches, and the National EuroSong Contest, and certainly more than any news programme. Premiere broadcasting of the MILLIONAIRE is on Thursdays at 9pm, and its second showing is on Sundays at 4pm, and its duration is 60 minutes. Telma TV broadcasts ENIGMA, the shortened form of legendary KVISKOTEKA. The main prize is Skoda Fabia which could be won after at least three winnings in the finals (followed by the super-finals). The ENIGMA rating is more modest, some 5%; premiere broadcasting on Telma is Fridays at 10.20pm, and its second showing is on Sundays at 8.30pm, and its duration is 55 minutes. Macedonian TV broadcasts a 30minute quiz-show every work day, starting at 4.30pm on the First Channel, with second showing after midnight (0.45am).The show is titled 60 SECONDS. The awards makes modest amount plus a cell phone, as is its rating with an audience share of 3%.

POLAND The most elite Polish station, TVN, currently does not broadcast any quizshow. “For several years we have recorded success with the MILLIONAIRE,” says Radoslav Ziolek from the TVN Research Department. “For the time being, the greatest rating is achieved by TVN's DANCE WITH STARS in which spectators participate by SMS voting for their favourite dance 52

couple. We also broadcast shows of the 'call-TV' type where spectators may get money by guessing given words or terms. Powerful Polsat still sticks to a 'television for masses'. Quiz-shows are well represented on TV screens. The most popular is DEAL OR NO DEAL. People in TVN's PR Department say that the quiz has a bright future, judging by its audience share. The host is very popular Zigmunt Chajzer. Another show is BLIND GAME, a show hosted by Krzysztof Ibisz. The lady we talked to pointed out that Polsat does not neglect call-TV either. They have their QUIZ-MANIA and, in late hours, GIRLS IN BIKINIS, a quiz-show without a particular host, in which viewers have to guess a word or term given to them by 'mere beautiful girls'.

SLOVAKIA Barbara Stubanova, Vice-President at STV 1 told us that STV currently broadcasts two quiz-shows A DUEL (work days at 5pm) and SUPER QUIZ JUNIOR (Sunday at 10am). A DUEL has a rating of 10% - 18% audience share; SUPER QUIZ JUNIOR has a rating of 2% - 15% of audience share. Both shows are produced by STV in co-operation with independent European producers. By its audience share A DUEL successfully competes with foreign formats, and it has only started. One should be patient. SUPER QUIZ JUNIOR is out of competition because it is the only quiz intended for school children. As for advertising, SUPER QUIZ JUNIOR is interesting for advertisers and their campaigns aimed at the young and children. More information on quiz-shows broadcast on Markiza was provided by Darina Kyselova from Programme Analysis: “At the moment we broadcast two quiz-shows. In March, the MILLIONAIRE has an average rating /audience share of 12+. The quiz from our own production, TRIAL also had an average rating/audience share of 12+ in March. The data clearly show that our own quiz was successful when competing with one of the most popular foreign formats. Advertisers find both shows very interesting, and both shows are market winners in their TV time in the Slovak Republic.”

SERBIA During the past few years, a quizshow as a genre is gaining popularity in Serbia. All large, but also small, local televisions broadcast at least one quiz-show. The shows are different in form and genre. Some of them are focused on knowledge, and others are far from that, yet they generate easy money. The national television has been broadcasting TV PUZZLE for twelve years now, a quiz-show with the longest tradition in our parts. The show attracts an ever increasing number of viewers. This is supported by the statistics which shows that the show is for ten years among the top ten TV shows on all TV stations in our country. More than 4,500 participants went through the show. No less popular are shows famous MILLIONAIRE, whose exclusive license has been granted to BK TV (not broadcasting at moment of writing this article, and nobody knows if that station will be on air again following the license tender process in Serbia), and BBC's THE WEAKEST LINK, also broadcast on BK TV. When speaking of quiz-shows, B92 also joined the club. Recently, they started broadcasting a half-hour quiz-show QUESTIONS FOR A CHAMPION with questions in the field of common knowledge. Seven participants compete in four rounds. There is only one winner and he obtains one million dinars (€11,000; the average salary is €200). QUESTIONS FOR A CHAMPION is a quiz-show that has been successfully broadcasting in the UK and some other countries. The most popular commercial television in Serbia, TV Pink was once the leader in broadcasting quiz-shows. Currently they broadcast BRAIN-TEASER, a new show launched by Nikola Neskovic, the creator of a popular TV PUZZLE. BRAINTEASER is identical to the traditional TV PUZZLE, except for its name. Another difference is that viewers may also compete in BRAIN-TEASER, together with the competitors. Small TV stations in Serbia broadcast own-produced quiz-shows, in addition to few licensed quiz-shows. Recently, there is a mention of the new quiz-show HIT A ROAD which is over a year being developed by the Advance production house whose ambitions are to place it on the international market. } DISCOP LINK • #5 • JUNE 06

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TV ACROSS EUROPE: AN OVERVIEW OF EUROPEAN BROADCASTING

lthough the Internet and other new media platforms were seen as a threat to the popularity of television, it has managed to defend its leading position in terms of media consumption. However, in 2002, in the aftermath of the global economic slow-down after the terrorist attacks on New York on 11 September 2001, national television networks started also to experience an economic downturn, while niche players, such as thematic channels, pay-TV or teleshopping channels, are enjoying economic growth, albeit from a much smaller base. Despite fragmentation of viewership after the liberalisation of television markets, the bulk of audience at the national level is still attracted by up to three national players.

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TELEVISION AUDIENCES HOW MUCH TIME EUROPEANS SPEND NEAR TV SET? Average number of minutes near TV set, MondaySunday, Adults, data per 2003 Bulgaria

185

Croatia

254

Czech Republic

214

Estonia

239

France

213

FRY Macedonia

259

Hungary

274

Germany

217

Italy

245

Letonia

207

Lithuania

210

Poland

250

Romania

235

Serbia & Montenegro

278

Slovakia

235

Slovenia

178

Turkey

224

UK

239

AVERAGE (18 countries)

219

Source: International Marketing Committee

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Some media pundits saw the end of television coming with the Internet boom a few years ago. They argued that viewers would be more attracted by the interactivity offered by the Internet than by television's traditionally passive mode of consumption. However, despite the rapid expansion of the Internet, television has maintained its massive appeal to viewers worldwide. Over the past ten years, television-watching has been on the rise, and in 2003 the average viewing time in Europe was more than three hours per day (see Table 1). In Western Europe, the average viewing time for adults increased from 195 minutes in 1995 to 217 in 2003, and in CEE from 208 minutes in 2000 to 228 minutes in 2003.8 Among Central and Eastern Europeans, Serbians and Hungarians are the most avid viewers. In Western Europe, the south (Italy) has always been riding high in television watching, while the Nordic countries (Denmark, Sweden and Finland) have always had the lowest viewing rates, averaging only 162 minutes in 2003. Besides a general increase in viewing time, each country presents specific viewing habits depending on local culture, the offer of programmes and the political, social and cultural events in the country. In Germany, for example, well over a decade after unification, there are still differences in watching time, with former East Germans, who are more affected by unemployment, tending to watch more television than former West Germans - 249 minutes compared to 217 minutes per day, according to 2004 data. Usually, large sporting events such as the Olympic Games or world championships tend to beef up the viewing time. Political events, especially major crises, but also less dramatic, although still important

The reports were jointly produced by the Open Society Institute's EU Monitoring and Advocacy Programme (EUMAP) and Network Media Program (NMP). The complete reports are available, in English and in translation, at www.eumap.org. Hard copies of the reports can also be ordered here.

events, such as elections similarly draw big audiences. In the Republic of Macedonia, for example, television viewing rocketed from around 259 minutes to 325 minutes per day during the armed insurgency by Albanian rebel groups during spring and summer 2001. In general, although in some countries overall trust in the media has declined in recent years, all country reports in this research confirm that television is still the main source of information for the population. Indeed, the presence of television in everyday life is pervasive. In Bulgaria, televisionwatching is the most important leisure activity. According to recent data, in Romania and Slovakia, television is the main source of general information for 73 per cent and 76.9 per cent of the population, respectively, while in Estonia, television is the primary source of both international and national news for the majority of the audience. Another fact confirmed far and wide is that public service television remains the main source of news for the largest part of the population in most of the countries covered by this report. Only in a few countries, such as the Czech Republic, Slovakia and Hungary, do private channels attract more viewers for newscasts. } DISCOP LINK • #5 • JUNE 06