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The show made its U. He also points to Vegas as a company highlight. The optimism is high at Cineflix Rights, which is celebrating its tenth anniversary. House Hazards takes a look at everyday household dangers, using state-of-the-art technology to explore the sometimes disastrous results of human error. Wives with Knives features the stories of women who have committed violent crimes against their husbands or lovers.

He adds that the company is eager to further relations with third-party producers in the scripted, unscripted and format genres. The Scapegoat, based on a book by Daphne du Maurier of the same name, is a two-hour-long feature starring Matthew Rhys and Eileen Atkins. The film, which takes place in , is about two men who decide to trade lives after discovering they have the same face. The Bletchley Circle, a three-hour original thriller starring Anna Maxwell Martin, tells the story of four women who wind up investigating a number of murders in London after World War II.

The five-hour thriller The Fall stars Gillian Anderson as a detective hunting down a serial killer. Daro Film Distribution www. This year brings much cause for celebration at Daro Film Distribution, as the company is celebrating its 30th birthday. Taken Back: Finding Haley is a female-led thriller produced for Lifetime.

The plot centers on a woman in jeopardy. For buyers after holiday fare, the company offers A Christmas Wedding Date. Deutsche Welle DW leaves no stone unturned when it comes to addressing topics of global interest. Art Beats highlights alternative arts and those who create them. It would also be hard to imagine life without the beauty that nature bestows upon the eye. All three of these shows highlight different aspects of popular topics and provide new insights for how we view the world.

This market will be the launch pad for the all-new season two of Splatalot for Distribution The success of the brand in the digital arena has also made Distribution eager to explore more opportunities with emerging platforms. Broadcasters looking for preschool fare can turn to Distribution for its Olive the Ostrich series. In addition, all are unique in their genres and thus are standing out among the other alternatives buyers and programmers have. New World. The Walking Dead is back with a third season, following the aftermath of a zombie apocalypse. The network commissioned Cordell Jigsaw, creators of Bondi Rescue, to produce the special MegaTruckers, which is currently being developed as a series.

SoHo is a channel dedicated to the discerning drama fan. The Newsroom launched on the network in August. The LifeStyle Channel launched in , positioned as a one-stop destination for premium global and local lifestyle content. Signature shows include Grand Designs Australia. FremantleMedia Enterprises www. As the U. Globo TV International www. The series, with an average share of 68 percent, is being offered to the global market from Globo TV International.

The company also highlights the novela The Enchanted Tale, a love story. The novela Irrational Heart, meanwhile, has been a leader in prime time on Teledoce in Uruguay since it premiered in April. The story follows the difficult history of two brothers, Pedro and Leo. Contemporary dramas are a large part of the offerings from GMA Worldwide. As the content acquisition and distribution subsidiary of GMA Network, the outfit can offer the international community titles from one of the leading broadcasters in the Philippines. Roxanne J. Barcelona, theVP of GMA Worldwide, points out that global buyers have the chance to purchase shows that are among the highest-rated prime-time and afternoon prime programming on Filipino TV.

This includes such titles as One True Love, a contemporary drama that tells the story of Ellen, who falls in love with a married man, Carlos, and gets pregnant. Another contemporary drama, Together Again, centers on Leilani, who blames Martin for the death of her father. The first of these series features two amateur wedding enthusiasts who help couples plan exciting and surprising weddings. Similarly, The Proposal features hosts who help people plan outrageous marriage proposals.

International broadcasters are always enticed by shows that have performed well on a U. Do or Die was produced for Investigation Discovery in the U. American Greed: Incendo has been delivering high-concept and highquality television movies to international broadcasters for the past ten years. Our clients have come to rely on the Incendo thriller brand as a staple in their programming schedule. We have always enjoyed a close relationship with the international buyers, perhaps because our films have always overperformed for them.

Willed to Kill and The Surrogacy Trap are the two latest examples of Incendo doing what it does best, well-produced female thrillers. Surprise Surprise is a shiny-floor format that is suitable for family audiences. Eastern European, Middle Eastern and Asian viewers have already fallen in love with Turkish drama series, according to Ozlem Ozsumbul, the head of sales and acquisitions at Kanal D.

The company is hoping to reach new territories with its high-quality Turkish productions as well. The first is inspired by the novel of the same name by Orhan Kemal. Alongside tent-pole programs such as Weeds and Mad Men, Lionsgate has a slate of diverse new offerings for buyers. Lionsgate is also offering shows that have already proven themselves.

Anger Management just completed its initial ten-episode run and is headed back into production for 90 more. There is a second season of Boss, starring Kelsey Grammer, who won the Golden Globe Award for best actor for his performance in the drama. Grammer plays a fictional Chicago mayor who holds sway over just about everything in the city. Offerings include Cirque Berzerk, a two-hour circus special, featuring acrobatics, contortionists, burlesque dancers and fire-breathing clowns.

Along with Cirque Berzerk, Mance Media is presenting Fit Nation, a series that examines several different approaches to working out. The show, with host Jonathan Legg, takes viewers around the world to provide a look at popular exercise trends. Bikini Destinations follows the international travels of swimsuit models. The series is filmed in HD, with 2D and 3D episodes available. In the run-up to the holiday season, broadcasters are often searching for family-friendly Christmas-themed content.

It is one of 12 new TV movies the company has to offer, along with the disaster thriller Collision Course. In a different vein, the telefilm Pop Star takes viewers on an emotional and comical journey filled with romance, betrayal and heartbreak. As an entertainment-business agent, MediaBiz is always on the lookout for the chance to form new alliances and enter co-production opportunities. The company wants to get the word out about the assistance it can offer with project development for international companies that would like to produce in Latin America.

As a distributor, MediaBiz has a number of series to offer, among them telenovelas that are both comedic and dramatic. Nine Moons, for example, is a dramatic telenovela about two obstetricians who must deal with complex cases, all while a relationship between them grows. Breaking Codes, which has a second installment available, is a telenovela heavy on action and comedy. It follows three security officers who risk their lives in bizarre situations.

Left on the Shelf is a dramatic comedy series about three sisters who have lost their mother and seem to have bad luck with love. MediaCorp www. These docs are from India, South Korea and Malaysia, respectively. An Idiot Abroad, which is part travelogue and part comedy, has the added appeal of featuring the well-known comedian Ricky Gervais, alongside Stephen Merchant and Karl Pilkington. MGM Television is keen to showcase the drama series Vikings. The Miramax library contains many Hollywood favorites and cult classics. Patrick says that the company is going to be paying considerable attention to the new opportunities opening up in the SVOD space.

Mission Pictures International www. Mission Pictures International has carved a niche for itself in the market as a leading supplier of high-quality family and faith-based entertainment. The company is looking to continue its success in these genres by closing new sales for titles such as October Baby, a family drama film. The story features a college freshman whose world is shaken up when she learns that she is the adopted survivor of an attempted abortion. John Schneider and Rachel Hendrix star.

In the same genre, Last Ounce of Courage is a heartwarming movie that tells the story of a local war hero whose son goes off to war. The series features 26 minute episodes. The company is also highlighting Finding Hope, about a teenaged runaway who escapes a polygamist cult and must readjust to life. Set against the backdrop of the s during World War II, Bomb Girls re-creates the experiences of women who traded in their lives baking pies in the home for making bombs in munition factories. New scientific testing has been done that revealed fresh insight into the truth about the intriguing figure.

His story is full of romance, battles, political intrigue, heartbreak and betrayal. The sounds filling the small clubs and street corners are incorporating jazz rhythms and rock beats for a new sounds. Several territories have already been closed for the series, including the CIS, France and the Baltics. NonStop will also be speaking to buyers about Uncle Hank. The crime comedy feature has already proved itself with a record audience when it aired in Holland last May. The thriller Over the Edge, which keeps the viewer guessing about who is guilty, caps off the offerings.

Mark Burnett is headed to Cannes this year, on board to deliver a Media Mastermind keynote. The ten-hour dramatic series tells the stories of the Old and New Testaments. ORF-Enterprise contentsales. The company is looking to build on this momentum with series such as Paul Kemp: No Big Deal. Light and Dark, which completes a three-episode cycle.

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Chronicles is a great example of how original comic-book stories can translate into magnificent liveaction adaptations. Peace Point Rights www. Under the banner Peace Point Rights, the outfit has a wealth of fresh lifestyle, reality, food and fitness titles to offer, alongside a slate of fiction. In the way of reality programming, there is The Bulloch Family Ranch. Reality-based series continue to be a focus for Playboy Plus Entertainment.

Brazzers is the world leader in online adult content and now its vast library is available for all TV rights. For buyers across Central and Eastern Europe and Latin America, Power presents the disaster miniseries Eve of Destruction, which follows the consequences when eco-terrorists hijack an experiment that aims to uncover a source of unlimited energy.

For the same territories, the company is offering Delete, in which the web turns against humanity. The six-hour drama mini-series Bomb Girls is based around a group of women drafted into a munitions factory during World War II. Red Arrow International www. This is the first market where Red Arrow International, formerly SevenOne International, will be exhibiting under its new name.

He also highlights the crime series Jo, which marks the return of Jean Reno to television. Over the course of six installments, Real Madrid: The Best Football Club charts the victories and stories of one of the biggest soccer teams in history. Mom Detective is a detective comedy about a woman balancing her personal life with her professional career. She is a brilliant police inspector whose boss is her ex-husband.

Each chapter features a crime that gets resolved, but the series is also set up like a family comedy. The 4x1-hour Kingdom of Plants, produced by Atlantic Productions, features a new dimension in the lives of plants. Also a 4x1-hour production, Galapagos, produced by Colossus Productions, tells the story of how these islands were formed.

Sky Vision is also making its debut with Forensic Firsts, produced by StoryHouse Productions and spotlighting the hidden world of forensic science. Forensic science is at the core of many popular movies and TV shows out there today, and Smithsonian Channel has taken note, delivering its six-hour HD series Forensic Firsts. Starz Entertainment Group www. Magic City is a drama about mobsters in Miami following the Cuban Revolution during the late s.

As we build new partnerships and expand our deals with current broadcasters, we are very happy that international partners want to work with Starz. Sullivan Entertainment www. We have all the copyright to all of our works, plus all the trademarks to Anne and all the related properties. I thought it would be really interesting to develop that world at one of the high points of its inception in the 20th century.

Tandem Communications www. Event programming has become the hallmark of Tandem Communications over the years, delivering programs such as The Pillars of the Earth and World Without End and mini-series like Labyrinth. The company continues to deliver on this legacy with its new offerings. He also highlights the strengths of the one-hour series Flashpoint.

As part of the Televisa Networks bouquet, Telehit offers a balanced mix of entertainment and music programming, airing series that focus on the youth market. The channel airs exclusive shows, videos and successful musicals in Spanish and English as well as concerts, interviews and the latest news from the world of music. Current series on Telehit include Picnic as well as Guerra de chistes, which features Eduardo Manzano, Juan Carlos Casasola, el Borrego Nava, Mariana Echeverria and special guests each week who face off in a battle to make the audience laugh.

On Videos con Claudio, the eponymous host dedicates a half hour to showcasing the very best in U. The show also provides information on top artists, video fun facts and info to keep the viewers up to date on the rock music scene. Two new characters arrive on Telehit with Las Lavanderas. The series centers on two irreverent washerwomen who bring on special guests in each program.

Televisa Internacional www. All celebrations aside, Televisa will be focused intently on sales for its telenovelas, formats and kidtargeted content. Hollywood Heights, also a novela, is about a shy teenager who falls in love with a rock star at the top of his career. Together, they learn that the road to love and stardom can get bumpy at times. Focused on young audiences is Carrossel, which features boys and girls from different backgrounds together in the same classroom, led by a teacher who preaches about unity and equality.

Little Giants is a reality show from Televisa, showcasing the singing, dancing, acting and comedic talents of little kids. Among the offerings are Tested on Humans, a magazine series that has three seasons, each with 11 hour-long episodes. Bedtime Stories is a x7-minute show that delivers stories and songs to give children sweet dreams. One Out of 2 is a scripted series that looks at life and love after someone in a relationship has cheated.

Both seasons—which each include a minute special—are available in English and Arabic. The company offers one-, two- and three-hour versions of RAW to international broadcasters looking to add some wrestling action to their lineups. All the weekly programs within the strand are rated PG, allowing younger ones to get into the ringside action.

With around hours of new content to offer, Zodiak Rights is particularly excited to showcase the hour-long series Switch, a comedy-drama about four witches. It has been enjoying success in Germany and was recently commissioned in the U. The quiz show Tipping Point gives contestants the opportunity to win a large cash prize from an arcade-style machine. He quickly rose up the management ladder. He was only 29 years old. Because of his young age, many in the media business doubted that he could lead the company, particularly since Televisa was facing considerable challenges, burdened by debt and inefficiencies.

He surrounded himself with a group of loyal, young, ambitious managers, just as dedicated as he was to moving the company forward, and focused on a number of key goals. His team forged partnerships with key production and media companies in major territories and broadened the range of programming genres sold around the world. And they recognized the importance of creating multiplatform program franchises. The strategy paid off. In Mexico, its channels regularly garner average audience shares of 70 percent. The company also offers quadruple-play services though its cable holdings.

It is a leading Spanishlanguage magazine publisher and owns gaming and interactive media businesses as well as soccer teams. We also renegotiated our programming license agreement, which provides Univision with access to practically all of our audiovisual content, in exchange for a royalty of close to 12 percent of their television and online revenues.

Through Univision, we have a unique opportunity to benefit from the growing appeal of this demographic to the advertising clients, and also from their continued loyalty and preference for our content. Televisa closed a deal with Net-. Setting the stage: How important is the U. The Hispanic market in the U. There are more than 50 million Hispanics in the U. Televisa is undoubtedly the best cultural link between these people and their home country. We are the link to their traditions, their language and their values.

Hispanics are already a prominent demographic in all aspects of American life. That is likely to continue. Not only that. Hispanics are young. Their median age is 28 years, nine years younger than the total market median age. Univision is the leader in this segment. During the second quarter of , Univision finished as the number three network in the country among adults—regardless of language—and on Friday nights, it earned the title of number one network among young adults.

During the quarter, three of our productions were among the top ten watched serialized programs transmitted in prime time, also regardless of language. Why was this an important deal? The agreement with Netflix expands the availability of Televisa programming in Latin America, Brazil and the Caribbean, where Netflix can make it available via subscription streaming. With this deal we expand the reach of our content. Since the beginning of our company, we have adapted to every emerging distribution platform.

Today, Netflix represents one of the growing distribution alternatives in which we want to participate. Under the terms of this agreement,Televisa makes available to Netflix on a non-exclusive basis around 3, hours annually of telenovelas, series, and other general entertainment programming from its extensive library.

As part of the agreement, current content is made available to Netflix one year after it is broadcast on over-the-air television. We have more than 50, hours of content ready for digital distribution, so this agreement is a really good way to get started monetizing the value of this content. In terms of. What can Televisa contribute to it? The U.

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English-language market is the largest and most dynamic content market in the world. Televisa is a global player and we know that we have a competitive edge to compete in this market. We are storytellers; we develop stories with universal appeal. Additionally, no one in the world dominates the telenovela format as we do.

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Televisa USA launched with multiple broadcastnetwork deals, including the joint venture with Lionsgate, to develop new content for television audiences all over the U. Our daily series will allow U. This venture is an opportunity for Televisa to bring its successful business model, and great storytelling, to the English-language market in the United States.

What factors have been driving the success of. The look of luxury: Televisa Networks? What international expansion do you see for Televisa Networks? As of the end of the second quarter, our pay-TV network business reached 32 million subscribers around the world, carrying on average six networks each. Close to 9 million of these subscribers are in Mexico, where most of our subscribers get at least 14 of our networks.

Of the balance, approximately 26 million, the large majority, are in Latin America where we reach 19 countries, but we also have a presence in Europe and the United States. Our most popular network in the region is by far our general-entertainment pay-TV network, but we have other channels with very strong appeal in the region, including our classic telenovelas channel, our movie channel, and our classic-entertainment channel.

Also, we have strong success with two of our music and lifestyle channels. The timing is perfect for our pay-TV network business. We have a solid and well-rounded portfolio of networks targeting almost every demographic, and we also have the right environment: But the opportunity for us in this business comes not only from growing pay-TV adoption. It also results from the fact that higher pay-TV penetration is allowing many of our networks to reach the critical mass necessary to become attractive advertising vehicles for our clients.

In addition, the growing popularity of our networks is allowing us to increase the number of channels per. Ladies night: Picnic is among the series airing on Telehit, one of a vast array of cable and satellite channels operated by Televisa Networks in Mexico and around the world. Some analysts in the U. We believe that over-the-air television will play an important role in Mexican households for many years.

Not everyone will be able to afford pay TV, and not everyone will want to. Prices of pay-television packages in Mexico are rock bottom, which explains the fast growth in pay-TV adoption. But the quality of over-the-air television also plays a role. Our over-the-air channels provide some of the best content available on television, including our most successful telenovelas, entertainment shows, newscasts, and many of the most important sporting events. Fortunately for us, we also have the ability to reach the pay-TV viewer through many of our pay-TV networks, which are among the highest rated on pay television.

If that pay-TV customer is also a customer of one of our cable companies, then we also have an opportunity to capture a revenue stream coming from voice. This is where the expansion beyond content, and into distribution, plays an important role for the purpose of diversifying our revenue base. Over the last few years we have been working hard on protecting the value of our content, and on finding ways to expand its reach.

We have gone from a mostly domestic, advertisingdriven business model, to one that maximizes the value of our content by tapping its multiple sources of revenue, from advertising, to streaming, to licensing, to subscription revenue. We also made some inroads in the export of our business model to places as far as China. We continue to believe that our expertise in the production of content is best put to work when doing so together with experts in each of the markets that we access, and we are fortunate to have as our partners some of the most capable companies in the media industry.

I am very proud of the progress we have made and excited about the prospects for our business. As a screenwriter, producer and playwright, Aaron Sorkin, whose works include A Few Good Men, The American President, Sports Night and Moneyball, has dealt with topics such as justice, the use and abuse of power, the media and sports. It brings to life the world of television journalism and the pressures faced by reporters, producers and management charged with covering the news while fighting for their principles.

Why did you choose TV news as a topic to explore in a TV series? I like writing working stories and workplace families. I like writing romantically and idealistically. A TV newsroom felt like a good place to do that. Who or what served as inspiration for the lead characters? All the characters on the show are fictional. The show looks and sounds real, but the aspiration of its characters—and every once in a while the outcome—are out of a fairy tale.

What research did you do before or while writing. On one hand, too much of television news today is fluff; on the other, there are hour news channels that are guided more by political ideology than by a desire to give real context and analysis to news events. What does this all mean for the democratic process in America? All of my education, training and experience has been in playwriting and screenwriting.

I think everyone can agree that a well-informed electorate is crucial to the success of a democracy. HBO is known for giving writers freedom to fol-. Do you feel you could not have done The Newsroom for a broadcast network? What did you set out to accomplish with The West Wing?

Were you trying to advance the drama genre? Terry keeps raising that bar. The West Wing offered viewers intellectually challenging, rapid-fire dialogue. In the beginning of the series, were you concerned that such an ambitious show might not find an audience, especially on broadcast TV? I try to write something that I like and that I think my friends would like and that I think my parents would like, and then I keep my fingers crossed that enough other people will like it that I can earn a living.

I also had a series of meetings with some of the top people in American journalism.

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Sometimes they were oneon-one and sometimes they were rowdy roundtables. I asked a ton of questions but mostly let them do the talking. What are some of the different creative challenges between writing a feature-film screenplay and writing for TV? The biggest difference is time. You initially trained as an actor. What made you want to become a writer? And when did you discover you had an ear for dialogue? Can you tell us about that process? I start arguments in my head between two characters, and if.

You have said your next project is a movie based on. You have already written movies that are adaptations of books. How do you plan on approaching this screenplay and what creative challenges does it present? But it was in fact the s iteration of Junior MasterChef that gave Ramsay his television break. The success of both shows in the U. Three years ago, Ramsay was enlisted by Elisabeth Murdoch, the chairman of the Shine Group, to serve as the face of the American version of MasterChef. In its recently wrapped third season, the show, which Ramsay executive produces, received its highest-ever ratings and routinely won its time slot, particularly among the key 18 to 49 segment.

He has written some 20 books and is behind a line of branded kitchen appliances. Why did you want to do Hotel Hell? Working on improving hotels is a bit of a departure for you. I was in New York staying at a hotel. They said there were problems with the staff, the chambermaid had fallen sick. I thought, this is crazy, this hotel is like living in hell.

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Channel 4 is really excited about doing it, as a. Two months before I arrive there are secret sleepers—people who go in and have a look at the scenario. We really do our research on these restaurants and hotels. The issue is the parents. And a lot of them are in the position to eat healthily. The passion and the determination are extraordinary. I was in Washington last December, minus four degrees at 5: Food Network has a lot to answer for that.

Do your best, but find your passion. So you graduate with an A-level [a standardized test used as qualification for entrance to universities in the U. Then I see him cooking. He made lasagna last night. He was in the fridge. I worked on Hotel Hell in the U. These are big hotels—from country lodges in upstate New York to room hotels in San Diego.

The place in San Diego was designed by [the Italian car design firm] Pininfarina, because the owner was obsessed with Ferraris. The third season of MasterChef was its highest rated so far. Why do you think audiences are responding so strongly? The obesity issue is an epidemic. I want to make the lasagna spicy. He minced the onions, caramelized the onions, set down the chorizo. All of a sudden, the transformation—how happy he was because he was cooking. And people are watching it, thinking, Hey, I can compete with that.

There were some contestants this year that were embarrassed to tell their parents that they were keen to cook rather than go study law. Just learning how to cook for yourself can erase 50 percent of this obesity issue. Cooking is exactly the same. Why did you want to be involved with the American version of the format? I said, as long as we can continue running the competitions and FOX runs the show. So we understand our parameters and where not to overstep the mark. Yes, you see a minute sequence edited. But we have our sessions in the prep kitchen where we [demonstrate dishes].

I was so excited I got asked to be a guest judge on this program. Are there major differences working in the U. I think the pressure is far more [in the U. When a show gets canned [in the U. I absolutely work hard at everything I do and I never take it for granted. That comes with a lot of flack and I get a lot of shit for that. At the end of the day, it is what it is.

The tough attitude you have with. Recipe for success: Yeah, times 20! Marco White, a phenomenon, he put food on a plate like an absolute genius. Albert Roux was a flavor profiles man—so focused on flavor, proper French classic cuisine. Guy Savoy, who had that amazing lightness. Pierre Koffman, phenomenal flavors. Alain Ducasse, incredible Mediterranean lightness. If I was going to flip burgers and dress Caesar salad,. Raw emotion: I would have maxed out 12 years ago.

Every time I took a new job, I went straight to the bottom of the pile again to work my way back up. Every time, I stepped back into the realm of the basic kitchen commis [an apprentice or junior chef] and climbed up. How are you managing this huge TV slate along-. Stu Gillies is our managing director [of Gordon Ramsay Holdings]. We have just under 1, staff in the U. We have three executive chefs that travel and work on our research-anddevelopment team. No matter what happens, I always need direction. Do I know more about food than him?

Yes, of course. Does he know more about TV than me? Yes, of course he does. Can I take direction? Of course I can. Do I make mistakes? Of course. Every time I look at Boiling Point, I shit myself. I was getting sued by the owners [of the restaurant Aubergine] because I had decided to leave. Unfortunately We were going through some pretty horrific times. All I wanted was to get to the top of the tree.

My ambition was to get three Michelin stars. And whoever was in the way was going to get trampled. I was not going to take the foot off the gas. I had to put the family on the back burner and I had to become selfish. At the same time this little guy Jamie Oliver was launching—the darling of the nation at 21 years of age. Boiling Point was a documentary that saw me traveling with that hunger and determination. It was like competing for a gold medal in cooking. My big mouth got me into trouble when I exposed that [judges from] Michelin were having dinner [at my restaurant].

I still have that sensation down the back of my spine when someone says hey, Boiling Point, loved it! Jesus, really? You did! That taught me how not to behave on television. Did you have any inkling at the time that you would become one of the most recognizable chefs in the world? I see it on Facebook and Twitter. We do know how to make capellini; we can make risotto. Even with my team yesterday the tastings went wrong and it was a bad rehearsal. So you cancel everything else on the day and you batten down the hatches and you kick all the cameras out and we have our chef time.

We came out of it seven hours later with an immaculate menu. I always need to scratch beneath the surface and disappear into the realms of the hard-core part of TV. Going into prisons and doing that documentary—I was filming it last year at the same time as Hotel Hell, so it was two weeks in my restaurants, two weeks in Hotel Hell and two weeks in prison, and then a rest in between. I could level with prisoners. The man behind the intensely vivid drama is Vince Gilligan, a former writer-producer on The X-Files who is a self-described control freak.

As the show has now wrapped the first half of its fifth and final season, Gilligan talks to World Screen about putting the finishing touches on his tale of transformation. Most of the characters have undergone dramatic personality shifts. Did you have these arcs planned out from the inception or did the twists happen organically?

The one that I will take credit for, as it had been planned from the get-go, at least in broad strokes, was Walter White. When I was first pitching this show the original [idea] was: In other words, we were going to tell a story of personal transformation, in which our good guy main character would, through sheer force of will, decide to be a bad guy and will himself into such a way of living and way of thinking.

That was indeed planned out from the beginning. With these ensemble characters that revolve around Walt we realized that we could put them through their paces evolution-wise. There was On a really good day, when things are clipping along, the characters themselves are telling us the story. That takes you to some very dark places. We just transcribe it.

Other days the opposite is true and we come to grief for it. We try to tell the story. Having said that, if we let the chips fall where they may, Walt is capable of great darkness and great evil and that has become more and more apparent as the seasons have progressed. How did you come to map out the condensed pac-. It is indeed quite condensed. That felt right to us for a couple of reasons.

In the pilot, when he is diagnosed, Walt is told that he has 18 months to live; that clock was put on his life. We figured that Walt should do an awful lot of living in a short span of time. Walt does an awful lot of smart criminality, but you figure eventually the other shoe is going to fall. Law enforcement is going to finally catch wind of who this guy is. Did you know you wanted this show on cable, or.

If it had gone on to a network it would not remotely resemble the show you see now. It would be bowdlerized. How does it feel to know the show is coming to an end? The wiser part of me knows that we have told most of our story. The worst thing you can do on a TV show, it seems to me, is just tread water creatively.

I would rather leave this particular party too soon than too late. This truly has been lightning in a bottle. Sony Pictures Television was my initial partner as a studio, and we went together to find a broadcast home for this show. I knew that if we were going to find one, it would have to be on cable.

A show. Where or who do you get your inspiration from?

I have never tried meth and I have never tried. I was thinking more in terms of mid-life crisis. I was about to turn 40 years old when I came up with this story. Seeing green: But for the producers to the north— in Canada—that work stoppage created opportunities that they are still benefiting from today. With gaps that had to be filled with content, the U.

For many veterans of the Canadian media business, their success internationally has much do with incentives and funds that have allowed producers to deliver high-quality content on budgets that would be hard to achieve in other major markets. One of the primary reasons is the ability of Canadian producers to access tax credits. The tax credits have been the lifeblood of the industry. They are very bankable in the international market. It keeps a. That creates a very fertile broadcast market for presales.

If you can leverage that you can generally become, as we have, producers of high-quality entertainment. Cineflix Media, which has become a significant provider of factual shows to U. Having a leg up when doing business on the international market is particularly useful now as Canadian producers face a challenging landscape at home.

Many express some concern about what effects the media consolidation over the last year will have on the production-and-distribution sector. That creates, for a period,. Flights of fancy: Cineflix has a slate of factual shows that were co-produced by U. Conquering new land: Breakthrough Entertainment is expanding its distribution business to include independent features such as Summerhood.

International buyers that are going to spend money on scripted programming need to have some volume to put the advertising dollars behind. You need to have some guarantee of multiple seasons. Having more partners to start with gives you that option. Entertainment One eOne has developed an expertise in putting. Tax credits have given the Canadian production community a fantastic opportunity to go and compete with the best producers in the world. Also on the slate at Muse is the eight-part King Tut. Sullivan Entertainment has also built a strong scripted business in working with American partners, particularly on period dramas like the Anne of Green Gables franchise.

More shows are greenlit. That can also work as a plus, because if you have a good relationship with a network, you can often move within their family. Horsing around: Sullivan Entertainment is reinvigorating its period-drama business with the new series Polo, set in the s and s. Keeping pace: The amount of shows being produced is really dictated by the dollars available. The company is also looking to expand its client base to factual broadcasters with Out of the Shadows.

First produced as a feature-length special about a Dutch art historian who has found hidden works of art in a host of masterpieces around the world, Out of the Shadows is now being developed as a full series. Canada is our home market, as is the U. K-originated factual content.

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We have a number of targets now, U. Sullivan Entertainment, with its extensive studio facility outside of Toronto, is keen to start expanding its period drama again, beginning with the series Polo, which is currently in development. To that end, it has sealed a deal with the U. Since acquiring Smokebomb Entertainment, Shaftesbury has been aggressively developing concepts that can work on digital platforms as well as on linear TV. Unlikely Heroes and Backpackers. Our trend has been, make this great show, produce it for our domestic broadcaster and sell it all around the world. The first one sits on a shelf in your library and no one is doing anything about trying to extract [more] value from it.

In [a series of ] 52 episodes we have over 2 million frames that we can repurpose. Entertainment One has posted some very good financial results, despite the difficult economy in many territories. What has been fueling this good performance? A number of things.

Our various divisions have been performing very well. We had an excellent year last year with our television programming. We had a number of season two, season three and even season four [commissions] for Rookie Blue and Call Me Fitz that are driving our TV numbers. On the film side we released films theatrically last year, some very small, some very big, but overall we increased our performance in the film business and doubled our digital revenue.

And, finally, there is our family division, led by Peppa Pig and other key brands that are doing quite well internationally. That sets us up to launch successful licensing and merchandising campaigns. On top of that, of course, we invest heavily in content, so we do expect growth. What have been the drivers of your TV business? In March we relocated [Peter Emer-. Entertainment One eOne is a leading independent content company with a focus on acquiring and releasing theatrical films as well as producing and distributing television series, movies and family fare.

With companies in Canada, the U. Again to broaden our distribution network and give us greater access to premium television content around the globe. This gives us closer relationships with European broadcasters, European producers and European picture makers. We are trying to broaden our reach and extend our relationships with both the producers and the broadcasters. We just want to continue to build on our successful partnerships and co-financing models. Our team is exceptionally innovative in putting together co-productions with international partners, both on the broadcast side and on the creative side, and financing them in such a way that it is helpful for the broadcaster and for the producer.

You mentioned Peppa Pig earlier. It certainly is. It speaks to the global economy. The family business is really about licensing and mer-. You need the broadcast platform to drive brand awareness and then a well-thought-out and carefully executed licensing-and-merchandising program. However, the disposable income that most families have is under pressure, to say the least. We are very mindful and careful about the way we roll out properties like Peppa Pig in different territories.

We build viewership slowly, and once it hits a critical point, then we will slowly roll out licensing and merchandising. Of course, we need that broadcast window, but again, those windows are changing and a lot of preschoolers and kids are watching more and more content online. A 2-year-old can now navigate an iPad. We are really strategic in the way we roll our properties out. Because the Canadian market is relatively small, Canadian companies have always been among the most internationally minded, having to partner with many in order to keep their businesses alive and vibrant.

It certainly has. Overall, Canada competes very well on a global stage. We do because we have very, very talented people in the production community and we came to the realization many years ago that English-speaking content can resonate in any English-speaking territory.

As we look out 12 to 24 months, what do you see. The ebbs and flows in the global economy may prove to be a challenge in the months and years ahead. However, the changes in viewing habits give us, as a nimble, small independent, the ability to change with the consumers, and be very opportunistic with these developments in technology and the way people are interfacing with our content.

I also believe that further consolidation across the media space globally will continue to present opportunities for us across all divisions. Scripted mix: Through a range of co-production and third-party distribution partnerships, eOne has amassed a TV portfolio that includes, from top to bottom, Hell on Wheels, Primeval: What factors have contributed to these results? Inaugurating seven new Azteca Novelas studios during the summer aligns with this vision. These new digital studios are undoubtedly the most technologically advanced in Latin America.

Of the main mass media outlets: What is the advertising forecast in Mexico for this year? The rest of the media is smaller and less significant. Azteca is recognized worldwide as a producer of. As founder and chairman of the board of Grupo Salinas, Ricardo B. Salinas Pliego built upon the foundations of a family-owned business.

What started in as a furniture factory and was followed in by Grupo Elektra, a radioand television-set manufacturer, grew into a diversified group whose businesses range from television and online to specialized retail, financial services and telecommunications. Hispanic market; Grupo Elektra, a leading Latin American financial-services and specialty-retail company, with sale points in Mexico, the U. Now you can leverage that name with your own services for the ultimate winwin selling proposition.

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