THE INTERNATIONAL SALES AND DISTRIBUTION BUSINESS FILM AND

THE INTERNATIONAL SALES AND DISTRIBUTION BUSINESS FILM AND TV Cristina Sala EICTV – Cuba

1. The Distribution Procedure 2. Theatrical Film Distribution (Relationship between producer, co-producer, financier and sales agent. Territory forecasts/ Sales Estimates, MG’s and Actual sales, etc) 3. TV Distribution (Territory forecasts/ Sales Estimates, MG’s and Actual sales, Windows etc) 4. Festival and Markets 5. Packaging your project 6. International Trade Magazines 7. Producer’s own estimates 8. Producer’s own projects 2

1. The Distribution Procedure Film/TV Distributors: • Wholesalers • Big power and impact on independent films • Influence script changes, casting decisions, final edits and marketing strategies • Financing of the film/TV 3

2. Theatrical Film Distribution 4

Theatrical Film Distribution • • Traditional windows Key Players in North America ROW Latin America Distribution Agreements Revenue Flows Other Sources of Income Distributor / Sales Agents as Financier for Independent Producers 5

Traditional windows Theatrical Films: • Production (Financing) • Distributor • Theatrical (Exhibitor) • Home Video • Pay TV (terrestrial, cable, satellite) • Free TV • Digital rights (SVOD, TVOD, AVOD, FVOD, EST, DTR) 6

Theatrical Distribution and Exhibition Key Players North America- USA and Canada Mayors • Walt Disney Pictures (Touchstone Pictures) • Columbia Pictures (Sony) • 20 th Century Fox (News Corp. ) • Paramount Pictures (Viacom) • Warner Bros Pictures • Universal Pictures (Comcast /General Electric) 7

• • • • • Mini Mayors and independents: Dream. Works Lions Gate Entertainment Metro-Goldwyn-Mayer Relativity Media Starz Media The Weinstein Company e. One Entertainment One (Canada) Alliance Films (Canada) Brightlight Pictures (Canada) Maple Pictures (Canada) Mongrel Media (Canada) Rhombus Media (Canada) Teletoon (Canada) CBS Films IFC (Sundance) Magnolia Pictures Myriad Pictures Revolver Entertainment 8

Non USA market – theatrical distribution: USA studios and mini- mayors own local distribution arms internationally: • • Stand Alone Subsidiaries Joint Ventures with local players Sub-distribution agreements Majors account for 67% of local market share 9

WORLDWIDE BOX OFFICE IS UPUSA DOWN 10

Latin America massive growth 11

Latin America Film Distributors Argentina: e. g. American Video Films, Diamond Films, Buena Vista International, Warner Bros, Sony, Fox, Pachamama Cine, Alfa Films, Leda Films, Primer Plano Film Group, Columbia Pictures, United International Pictures, CDI Films, Polar Star, Distribution Company , Filmsharks International , Tren Zeta Films etc 12

Latin America Film Distributors Brazil: e. g. Art Films, Brazil Buena Vista International , Warner Bros, Sony, Fox , Europa filmes Imagem filmes distribuidora , Swen Filmes Flashstar filmes Paris filmes Playarte , Focus filmes, Amazonas filmes, Som livre , California filmes , Casablanca filmes , Alpha Filmes, Graça filmes, Columbia Pictures , United International Pictures, Elo Audiovisual, Imovision, Reserva Cultural, Telecine Programacao de Filmes, Vinny Filmes, Play Arte Pictures, Conquest Films, Esfera films, Providence Filmes , Telecine , Five Star Distribuidora de Filmes , Mares Filmes, Paris Filmes etc 13

Latin America Film Distributors Chile: e. g. Interior Films, BF Distribution, Warner Chile, Distribuidora de Cine y Espectaculo, Bazuca Films etc Colombia: e. g. Babila Cine, Cine Colombia, Cineplex, Proimagenes Colombia , V. O. Cine, CIE SA 14

Latin America Film Distributors Mexico: e. g. Gussi, Alameda Films, Interior 13 Cine, Cinepolis , MVS Distribution, Filmex, Frontera Films, Televicine Videocine (owned by Televisa), Cinemas Nueva Era , Cine Video y TV S. A. , Cine y Entretenimiento, Z David Distribucion, Corazon Films, Quality Films, En Pantalla Produciones 15

Latin America Film Distributors Peru: e. g. Delta Films , Eurofilms Peru, Star Films Uruguay: e. g. San Distribution Group Venezuela: e. g. C. A. Cinematografica Blancica 16

Distribution agreements Films 1. Production/ Finance Distribution PDF Agreement studio hires production company. Production company dependent agent. Studio has all world distribution rights. 2. Pre-sale Agreement a distribution agreement for several territories entered prior to completion and/or commencement of production. Foreign distributor commits to pay fixed amount (Advance or MG minimum guarantee). 17

3. License Agreement Grant of rights to a film, with the owner retaining the rights. Rights ranging from one day VOD rights to worldwide rights 4. Sales Agent Agreement Sales agent acts as film owner’s agent in exchange for a commission to be paid to the agent. If agent has exclusivity, sales agent resembles a licensee. 5. Distribution Agreement Refers to grant of rights (licensees) or creates an agent relationship. 18

6. Output Agreement Commits a licensee to acquire particular rights to a specified number of films produced in the future. 7. Co-production between two film companies in two different countries qualifying for certain quotas and tax benefits in each country. Co-production agreement can also refer to an agreement between two film companies relating to production and ownership. 8. Split Rights Deal Multiple international distributors forming a cooperative to acquire foreign independent/ big budget film rights from USA major studio. Distributor finance 50% of film budget. Producer becomes one of co-producers becomes entitled to genuine profit interest. 19

Revenue Flow • Net Profits = Gross Receipts – Costs • 30% distribution fee charge (bigger films) • Distributor advances the funds for distribution costs (prints, trailers, advertising etc ) • Distributor recovers costs before making payment to producer (Net Profit) 20

• Gross deal (low budget movie- more profitable for independent producer) • Distributor is not reimbursed for distribution expenses, but instead retains distribution fees (50% to 70%) • Distribution expenses are recouped from higher fees, producers receives the rest 21

Revenues and Costs for a Major theatrical release Gross revenue Subject to 30% distribution fee: Theatrical film rental (US , Canada) 50, 000 TV (pay and network) 13, 000 Digital rights e. g. SVOD/TVOD Total 10, 000 63, 010, 000 Subject to 40% distribution fee: ROW (Thatrical) Digital rights SVOD/TVOD Home Vdeo TV (pay and free) ROW Total 20, 000 50000 200000 5, 000 25, 250, 000 Subject to 15% distribution fee Merchandise Royalties Advertising Sales Total gross revenues 950, 000 1, 000 89, 260, 000 Distribution Fees 30% 63, 010, 000 18, 903, 000 40% 25, 250, 000 10, 100, 000 15% 1, 000 150, 000 Total distribution fee 29, 153, 000 Balance 60, 107, 000 22

Other source of income Ø Independent producers attempt to negotiate the formulation of rights and revenue definitions to be retained for themselves outside the country of origin: Pay TV , free TV, home ent and digital, etc Ø Note: USA studios are reluctant to allow these rights. 23

Distributor/Sales Agent as Financier – for Independent Producers Pre-sales Advance on Distribution Minimum Guarantee 24

1. Outright sales • • Presales Rights are sold indefinitely or for a long period for specific territories for a flat fee. Rights are sold to worldwide distribution company or directly to a local one. 2. Advance Pre- sales • • Rights are sold for a pre-defined period against a recoupable fee. Profits are shared between the producer and the distributor. Distributor keeps commission of 15 % to 35% and reverts the rest to producer. Fees and distribution expenses are to be recouped. Costs can be capped at %. 25

Ø Outright pre-sale favourable when small flow of receipts are expected. Ø Advanced pre-sale more convenient when potential is higher. 26

Advance on Distribution • Sales Agent commits to an advance from future sales (territories and rights). • Advance payable on delivery of the film and recoupable from first sales receipts. • Sales agent recoups distribution expenses. • After recoupment of the advance, sales agent remuneration is sales commission. 27

Minimum Guarantee (MG) • Sales Agent guarantees a definite amount after receipt of film, or certain date. • All sales done by the sales agent prior to maturity date are deducted from MG. Upon maturity date , if the sales have not reached the MG; sales agent will pay the difference. Sales agent is allowed to recoup from future sales. • If MG is reached prior to maturity date , sales agent is only allowed to keep sales commissions. 28

Relationship between producer, coproducer, financier and sales agent • Co-producer are important for producer to be able to get national , regional funding, finances and pre-sales from another country. • Sales Estimates are calculated with help of sales agent, so that producer can get financing locally and internationally: e. g. bank loan and funding from financiers. • Sales Agent becomes like an ‘executive producer’ 29

Sales Estimates= Territory forecast Theatrical Film • Ask (or High) and Take (Low) Prices • Ask - disregarded by banks and gap financiers • Take- reasonably cautious assumptions , but are not minimum values. The minimum value can in fact be 0. • Sales agent establishes with producer early on sales estimates. • Sales agent often gets under pressure by the producer in financing process. (Financing plan does not add up). • If financing cannot be raised by realistic estimates, than it is a signal, that the project is too expensive. 30

Example of sales estimates and actual sales e. One Film • Wrecked (1 x 90’) with Adrian Brody 31

WRECKED Territory Forecast= Sales Estimates Territory Sold? x Airlines x x Argentina, Chile, Paraguay & Uruguay Australia x x ASK TAKE SALE PRICE (MG) 150, 000 80, 000 100, 000 Jaguar 15, 000 7, 000 see Latin America California Filmes 300, 000 150, 000 see UK Universal Austria 20, 000 10, 000 see Germany Universum Baltic States 10, 000 5, 000 200, 000 100, 000 see UK Universal Brazil 80, 000 40, 000 see Latin America California Filmes Bulgaria 10, 000 5, 000 see Romania New Films Intl Benelux China 20, 000 10, 000 5, 000 Beijing Xiang Yihua Films & TV Culture Communication Ltd Colombia 10, 000 5, 000 see Latin America California Filmes Czech Republic/Slovak Republic 25, 000 10, 000 Former Yugoslavia 10, 000 5, 000 8, 500 Karantanija France 500, 000 225, 000 175, 000 Bac Films Germany 525, 000 250, 000 150, 000 Universum x x x Company

WRECKED Territory Forecast= Sales Estimates Territory Sold? ASK TAKE SALE PRICE (MG) Greece/Cyprus 40, 000 20, 000 Hong Kong 20, 000 10, 000 x Hungary 25, 000 10, 000 x Iceland x India 20, 000 x Indonesia x Company 32, 000 Hollywood 2, 500 Ristretto see UK Universal 10, 000 Picture Works 20, 000 14, 000 Pt Parkit Israel 25, 000 10, 000 13, 000 Italy 225, 000 90, 000 200, 000 90, 000 20, 000 80, 000 40, 000 125, 000 California Filmes 20, 000 10, 000 x Japan Latin American PTV Malaysia Mexico & Central America United King Europictures (hv and tv) Transformer 78, 000 45, 000 see Latin America California Filmes x Middle East 60, 000 30, 000 x Peru, Ecuador & Bolivia 10, 000 Philippines 25, 000 x x x 22, 500 Shooting Stars 5, 000 see Latin America California Filmes 12, 000 13, 000 Viva 33 Entertainment

WRECKED Territory Forecast= Sales Estimates Territory Sold? x x x x ASK TAKE SALE PRICE (MG) Company Poland 50, 000 20, 000 35, 000 Portugal 60, 000 30, 000 25, 000 Romania 10, 000 5, 000 Russia/CIS 125, 000 50, 000 Terminated deal w/ VC Multimedia New Films 10, 000 International (also Bulgaria) 75, 000 Maywin Scandinavia 175, 000 80, 000 see UK Universal Singapore 20, 000 13, 000 MVP South Africa 30, 000 15, 000 South Korea 50, 000 25, 000 125, 000 40, 000 Spain Hagi see UK for South Universal (Terminated Africa deal Okhma) Terminated deal Issue Entertainment Chello Multicanal € 5, 500 Iberia x Switzerland 30, 000 15, 000 see Germany Universum x Taiwan 25, 000 12, 000 11, 000 Catchplay x Thailand 20, 000 10, 000 8, 000 M Pictures x Turkey 50, 000 25, 000 40, 000 Calinos x UK 475, 000 225, 000 300, 000 Universal x USA 1, 250, 000 650, 000 350, 000 IFC 10, 000 5, 000 see Latin America California Filmes 34 x Venezuela

WRECKED • MG • PAID BY EONE to PRODUCER: $ 500, 000 • ACTUAL INTERNATIONAL SALES • THEATRICAL, TV, HOME VIDEO and ALL RIGHTS: $ 1, 100, 000 35

3. TV Distribution 36

3. TV Distribution • • • Importance of TV Distribution Top distribution companies (UK) Latin American distributors Studios TV Distribution Business Breakdown Best selling genres Third party producers Current challenges in the market Territory forecasts/ Sales Estimates, MG’s and Actual sales for TV • Sales Estimates Creation • Elements that determine a pre-sale of a film or TV product to international distributor • Examples of sales estimates and actual sales 37

Importance of Distribution in TV • TV distribution = largest source of revenue for production company. • Key player in audiovisual production= TV distribution • Sales of film rights or TV productions handled by international distributors. • Production company (films or TV) will choose to work with a particular distributor, depending on genre. 38

The UK’s Top Distributors £ 231 million (Top Gear, Robin Hood and Doctor Who) - 50, 000 hours £ 215 million (Wimbledon, PGA European Tour) - 19, 000 hours £ 152 million (Merlin, American Idol, Satisfaction) – 20, 000 hours £ 131 million (Poirot, Marple, Hells Kitchen) – 35, 000 hours £ 62 million (Thomas & Friends, Sam) – 1500 hours £ 43 million – (Home and Away, Extreme Makeover Home Edition) 20, 000 hours £ 34 million (Moment of Truth, Masterchef) – 3000 hours 39

The UK’s Top Distributors Cont. £ 30 million (So You Think You Can Dance) – 5500 hours £ 22 million (Singing Bee) – 7500 hours £ 21. 5 million (Midsommer Murder) – 2650 hours £ 17 million (Air Crash Investigation) – 980 hours : : Fireworks International £ 15 million (Heartland) – 3000 hrs 40

Latin America Top TV Distributors Argentina: e. g. American Video Films, Argentina Audiovisual, Artear Argentina (Grupo Clarin), Civisa Media, Endemol Argentina, Eyeworks 4 K Group Argentina, Illusion Studios, Kafilms Sales Agency, Leda Films, Polar Star, Pramer SA, Smilehood, Telefe Internacional, Telefilms, The Walt Disney Company, Trinity Distribucion y Produccion, Uno Medios, etc 41

Latin America Top TV Distributors Brazil: e. g. Brazilian TV Producers Association, Elo. Company, Globo TV Internacional (Canal Futura, Globo), Endemol Brazil, Flamma, Martinelli Films, Media Mundi Brazil, Peteka, Radio e TV Bandeirantes, Record TV Network, Synapse TV Rights and Content, TV SBT Canal 4, Zeppelin Filmes, Zodiak Brazil 42

Latin America Top TV Distributors Chile: e. g. Bowen/ DDrio, Canal 13, Chile Pro. Chile, Christian Leighton Cerda, Efetres, Endemol Chile, Megavision, My Friend, Telefilms Chile, Television Nacional de Chile, etc Colombia: e. g. Caracol TV, Compania Internacional de Comunicaciones, Foxtelecolombia, Proexport Colombia, Provideo, RCN, Tele VVD, Televideo, Zodiak Latino 43

Latin America Top TV Distributors Mexico: e. g. Canal 22, Cine y Video TV SA de CV, Caaliope, Direccion General de Television Educativa, En Pantalla Produciones Internacionales, Gyroscopik Studios, Lizard Studios, MVS, Once TV Mexico, Productora y Comercializadora de Television, Televisa, TV Azteca, Unmundus, etc 44

Latin America Top TV Distributors Peru: e. g. Cia Peruada de Radiodifusion Uruguay: e. g. Ducal Global, Mircrotime Productions, Nepal Filmes, Todo Tv Media Venezuela: e. g. C. A. Think Tank Venezuela 45

Studios 46

TV Distribution Business Breakdown 47

TV Best Selling Genres 48

Third Party Producers (% in catalogue of UK distributors) 49

Current challenges in the market • Recession Did downturn in production in 2015 in EU mean less available EU content for distribution? Distribution companies with higher % of USA/ UK shows will feel not this impact. • Budget cuts EU Buyers more hesitant in 2015: budget cuts • Drama Bubble in USA? 400 USA fiction series produced in 2015 • Competition All major international TV distributors chasing content in key English speaking territories: USA, Canada, UK & Australia • Risk Investment & lower commission • Broadcaster Budgets Distributors expected to deficit finance. 50

Sales Estimates Creation • High and Low Numbers • In depth territory by territory knowledge: taste/ culture / needs • Is the film documentary going to be exploited in all widows/rights e. g. Straight to home video/ digital or TV ? • Each window/ right and territory have a different value • What shelf-life does the product have ? 51

• • Elements that determine a pre-sale of a film or TV product to international distributor Director Cast Script Tone Genre Originality of Story Language- English has a much higher chance for international distribution 52

Examples of sales estimates and actual sales • TV Fiction Series 1. The Walking Dead 2. Nini • TV Factual 1. The Woman Who Wasn’t There 53

TWD S 1 – Territory Forecast= Sales Estimates Territory Low Moderate UK $80, 000 $250, 000 France $80, 000 $250, 000 Germany $80, 000 $250, 000 Italy $60, 000 $150, 000 Spain / Portugal $60, 000 $150, 000 Eastern Europe $30, 000 $80, 000 Benelux $30, 000 $60, 000 Scandinavia $30, 000 $60, 000 Latin America $30, 000 $60, 000 Australia/NZ $20, 000 $70, 000 Rest of Asia $15, 000 $40, 000 Japan $15, 000 $40, 000 Korea $5, 000 $20, 000 Middle East $5, 000. 00 $10, 000. 00 Israel $4, 000. 00 $8, 000. 00 Africa $5, 000. 00 $8, 000. 00 $549, 000 $1, 506, 000 Total 54

TWD- S 1 MGS 1 PER EP. PAID BY EONE to FOX: $ 350, 000 ACTUAL INTERNATIONAL SALES S 1 PER EP. TV and HOME VIDEO : $926, 000

Nini • MG • S 1 PER EP. PAID BY EWD to Endemol Argentina: $ 0. • ACTUAL INTERNATIONAL SALES • S 1 PER EP. TV and HOME VIDEO : $ 1, 266, 000 56

Nini (120 x 60’) Territory Forecast= Sales Estimates Central America (Panama Costa Rica, Domenican Republic , Honduras Nicaragua, Guatemala El Salvador) Standard TV (free TV) USD 120, 000 Venezuela Standard TV (free TV) USD 72, 000 Colombia Standard TV (free TV) USD 240, 000 All Latin America Non – Standard TV (pay TV) USD 720, 000 Italy Free and pay TV USD 250, 000 Spain Free and pay TV USD 250, 000 Germany Free and pay TV USD 0 UK Free and pay TV USD 0 France Free and pay TV USD 0 Total USD 1, 652, 000

Nini (120 x 60’)- Actual Sales Licensee Rights Primary Terr's License Fee Per Episode USD NOTES TVN Standard TV (free) Panamá USD 72, 000 Start date Canal 4, 6 y 11 (Belville Repretel) Standard TV (free) Costa Rica USD 15, 000 Start date Ecuavisa Standard TV (free) Ecuador USD 264, 000 Start date Red Pat Standard TV (free) Bolivia USD 54, 000 Canal 2 y 1 (Belville) Standard TV (free) Dominican Republic USD 24, 000 Start date Canal 3 (Belville) Standard TV (free) Honduras USD 12, 000 Start date Canal 4 (Belville) Standard TV (free) Nicaragua USD 12, 000 Start date Canal 3 (Belville) Standard TV (free) Guatemala USD 15, 000 Start date: Canal 2 y 6 (Belville) Standard TV (free) El Salvador USD 15, 000 Start date: Caracol Standard TV (free) Colombia USD 120, 000 Start date Canal 11 (Belville) Standard TV (free) Peru USD 54, 000 Start date: Canal 5 (Belville) Standard TV (free) Paraguay USD 15, 000 Start date: Teledoce Standard TV (free) Uruguay USD 48, 000 Disney Standard TV (free) Spain Euro 240, 000 Disney Pay TV (non- standard) Italy Euro 240, 000 Disney Pay TV (non- standard) Bulgaria Euro 30, 000 Disney Pay TV (non- standard) Ukraine Euro 24, 000 NO SALE Pay TV (non- standard) Latin America 0 Tiin (Televisa Networks) Pay TV (non standard) Mexico USD 60, 000 Start date 01/03/2011 58

The Woman Who Wasn’t There • MG • PAID BY EONE USD 25, 000 • ACTUAL INTERNATIONAL SALES • PAY AND FREE TV : USD 122, 000 59

The Woman Who Wasn’t There Territory Forecast= Sales Estimates Territory UK France Low $15, 500 $10, 500 Moderate $19, 000. 00 $15, 000 Germany $2, 600 $43, 000 Italy $1, 600 $13, 000 Spain / Portugal $1, 600 $13, 000 Eastern Europe $8, 000 $15, 000 Benelux Scandinavia Latin America Australia/NZ Rest of Asia Japan Korea $2, 500 $3, 000 $5, 000 $2, 500 $4, 500 $9, 000 $12, 000 0 $ 7, 500 0 $7, 500 Middle East $2, 000. 00 $5, 000. 00 Israel $400. 00 $1, 000. 00 Africa $2, 000. 00 $5, 000. 00 Total $78, 000 $308, 850

The Woman Who Wasn’t There Actual Sales Licensee Rights Primary Territory License fee per Episode Notes National Geo. Pay TV UK USD 12, 000 1 st Sept. Channel. Free TV UK USD 56, 600 1 st of July National Geo. Pay TV Germany USD 6, 000 1 st Sept. National Geo. Pay TV France USD 6, 000 1 st Sept. National Geo. Pay TV Italy USD 3, 000 1 st Sept. National Geo. Pay TV Spain/ Portugal USD 3, 000 1 st Sept. La Sexta Free TV Spain USD 15, 000 30 th June National Geo. Pay TV Scandinavia USD 3, 000 1 st Sept. National Geo. Pay TV CEE USD 3, 000 1 st Sept. MTVA Free TV Hungary USD 2, 000 1 st August National Geo. Pay TV Benelux USD 3, 000 1 st Sept. National Geo. Pay TV Greece, Israel, Turkey USD 3, 000 1 st Sept. National Geo. Pay TV Latin America USD 6, 000 1 st Sept National Geo. Pay TV Asia USD 7, 500 1 st Sept National Geo. Pay TV Middle East USD 3, 000 1 st Sept. National Geo Pay TV Africa USD 2, 000 1 st Sept. Total USD 122, 000

Traditional Television Windows Pay TV Cab/Sat Free DDT Premium Pay TV Cab/Sat Free TV / Free DDT

New Model For Television Windows TVOD Pay TV Cab/Sat AVO D Free TV AVO D SVO D Free TV SVO D Premium Pay TV Free DDT Cab/Sat AVO D Cab/Sat Free TV / Free DDT

Digital Strategy • This Used To Be A Very Basic Business - now It’s Increasingly Complex

What Does This Shift in Digital Consumption Mean to Broadcast Clients? Past: Present: Owned & Operated OTT Services

RIGHTS - TV and Digital Rights LICENSED RIGHTS L = Licensed H = Holdback O = Option ANCILLARY • Airline • Armed Forces • Ship • Hotel 66

FREE TV • Analog Terrestrial Free TV • Digital Terrestrial Free TV (Free DTT) • Cable Free TV (Basic Cable) • Satellite Free TV (Basic Sat) 67

PAY TV • Analog Terrestrial Pay TV • Digital Terrestrial Pay TV (Pay DTT) • Cable Pay TV (Premium Cable) • Satellite Pay TV (Premium Sat) 68

INTERNET/DIGITAL • Internet Download: Electronic Sell-Thru (EST, DTO) = i. Tunes, Vudu, Xbox Live Video • Internet Download: Electronic Rental (ER, DTR) = i. Tunes, Vudu, Xbox Live Video 69

INTERNET/ DIGITAL • Internet Streaming: Catch-Up TV Public Video • Internet Streaming: Simulcasting • Mobile Streaming: Simulcasting 70

CLOSED NETWORK • Closed Network Download: Electronic Sell. Thru • Closed Network Download: Electronic Rental • Closed Network Streaming: Transactional • Closed Network Streaming: Subscription • Closed Network Streaming: Advertiser. Funded 71

• Internet Streaming: Transactional (Internet TVOD) = You. Tube Movies, Ustream • Internet Streaming: Subscription (Internet SVOD) = Netflix, Love Film, Amazon Instant TV, Ameba. TV • Internet Streaming: Ad-Funded/Free (Internet AVOD/FVOD) = Hulu, You. Tube 72

VOD /PAY PER VIEW (Broadcst) • Pay-Per-View (PPV) Viewers Choice PPV • Near-Video-on-Demand (NVOD) In Demand PPV • Video-On-Demand: Transactional (Broadcast TVOD) (Rogers on demand) • Video-On-Demand: Subscription (Broadcast SVOD) TMN on Demand, MPIX on Demand • Video-On-Demand: Advertiser- Funded (Broadcast AVOD) Rogers on Demand free movies with ads 73

4. Festivals and Markets • Toronto International Film Festival Sept 6 -16, Toronto, ON • West. Doc Conference Sept 9 -12, California • Ottawa Animation Festival Sept 19 -23, Ottawa • San Sebastian Sept 21 -29, San Sebastian • Roma Fiction Fest Oct. 1 – Oct. 3. Roma • MIPjr October 6 -7, Cannes • MIPCOM October 8 -11, Cannes • Sportel Monaco October Monaco • DICOP AFRICA Oct 31 -Nov • AFM Oct 31 -Nov 7 Santa Monica • IDFA Nov 14 -25, Amsterdam Johannesburg 74

4. Festivals and Markets • • • Ventana Sur ARD CES Show NATPE Real Screen Summit Berlinale Kidscreen Primetime in Ottawa DISCOP Istanbul MIPDOC MIPFormats Nov. 30 - 3 December 5 -7 January 8 -11, January 21 -23, January 27 -30, February 7 -17, Feb. March 6 -8 March 5 -7 April 6 -7, Buenos Aires Singapore Las Vegas Miami, Florida Washington, DC Berlin NYC Ottawa, CA Istanbul Cannes 75

4. Festivals and Markets • • • MIPTV MIPCube Hot Docs LA Screenings Cannes Film Festival APEX/WAEA TV Market next. Media Banff Forum Brasil Discop East (NATPE Budapest) Docsbarcelona April 8 -11, April 6 -7, April/May May. Jun-13 June- Cannes Toronto Los Angeles Cannes Madrid Banff Sao Paolo Budapest Barcelona • Etc, etc 76

5. Packaging your project I. Quality II. Commerciality III. International Appeal IV. Credible Finance Plan V. Credible Professional Producer VI. Other Factors (Completion Bond)

I. Quality • A sales agent has tough competition in the market place and only the best films are the best quality TV series, documentaries, etc are of interest for international buyers. 78

II. Commerciality • A Film can have limited specialist audience, if it is made for the right budget. • There must be a clear potential audience (in practice, not every film succeeds in reaching that audience ) it is down to how the finished film turns out. • Many projects have no chance from the outset, and the aim is to weed these out. 79

III. International Appeal • Certain projects fit very well for one territory, but do not travel (for example, that is very often the case with comedies -- humour can be very local). Such projects tend not to require a sales agent. • What makes a project international? (i) a good concept/script with universal themes (ii) a credible director (iii) universally known cast (iv) English language helps. e. One is not limited to English language projects, but most of its projects tend to be. • Ideally sales agent would like projects would have all of the above, or at least the first three. 80

IV. Credible Finance Plan • A project should be at a stage where it has a script, a director, cast or at least credible casting ideas, and a realistic finance plan. • Sales Agent can then help to put that finance plan into reality -- beginning with sales estimates to validate certain sources of finance. • Often the end result will turn out differently; but there must be a clearly feasible project. 81

V. Credible Professional Producer • A good producer is one of the most important factors. Someone who clearly knows what they are doing, is more likely to achieve the above four criteria. • A sales agent will be minded to engage earlier in a project, even if some of the criteria are only partially met, when it knows there is someone with the ability to achieve what is needed. 82

VI. Other Factors • Occasionally other factors can put a borderline project into play, even if not all the above criteria are ideally covered. • Such factors could be relationship reasons, e. g. with previous, trusted partners; or in order to establish a new promising relationship • Projects that meet the above criteria tend to have a completion bond as a matter of course. 83

Completion Bond= Guarantees The Completion • Major international project without a completion bond is almost unthinkable – • The typical financiers on serious projects insist on a bond. • Sales Agent also insist. • Completion Bond brings benefits, including to the producer. • In addition to its main role and benefit (guaranteeing the completion), it brings a discipline to the project, both on the finance side (the strike price having to be met creates a definitive point in time when the finance is closed, avoiding the horror stories of financiers falling out half way through the shoot); and creatively (sometimes the producer will be quite happy to have an outside agent to hide behind, when the latest request by the director has to be denied…). 84

E-mail introduction 1. Research who you are writing to! 2. Send brief information in the body of the Email of the your amazing project with one pager per attachment. 3. Ask for a personal meeting. 4. At a second stage send more detailed information and your packaged project. 85

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Flyer 87

• Wrecked 112 Minutes Genre: Thriller Production Year: 2011 Program Type: Film Language: English Plot Summary A man awakens in a mangled car-wreck at the bottom of a steep clif. Injured and trapped inside, with no memory of how he got there or who he is, he must rely on his most primal instincts to survive. But as he attempts to free himself from the carnage and escape an impossible situation, a darker side is revealed. Even if he manages to survive, the man may have to face the horrible consequences of an earlier, forgotten life. 88

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• The Walking Dead Drama Series, 2012 35 Episodes x 60 Minutes AMC’s hit series is back with its highly-anticipated third season. Plot Summary As police officer Rick Grimes and his group of survivors continue their travels in this apocalyptic war zone, their lives will be changed by the realization that those who survive can be far more dangerous than the hordes of zombies roaming the earth. Cast: Andrew Lincoln (Strike Back), Sarah Wayne Callies (Prison Break), Norman Reedus (Hawaii Five-0), David Morrissey (The Other Boleyn Girl), Danai Gurira (Law & Order) 91

The Woman Who Wasn’t There 92

• The Woman Who Wasn't There Documentary Feature, 2012 Psychological- Suspense - Crime. Feature DOC US- broadcaster: Discovery ID 68 Minutes The terror attacks of 2001 created many victims, heroes and survivors. And few survivors' accounts seemed as tragic as Tania Head's. She described her ordeal of being badly burned as she crawled from the World Trade Centre's South Tower only to discover that her fiancée had died in the North Tower. She was recognized by New York Mayors Rudolph Giuliani and Michael Bloomberg and became president of the World Trade Centre Survivors' Network. When the New York Times journalist began poking around for details, Head's entire story quickly unravelled. She didn't escape the buildings that day; she wasn't even in the United States. Her entire story was a hoax. The magnitude of her deception continues to roil survivors and haunt New York City. This film began as a documentary about 9/11 survivors, and its makers approached Head before they learned of her bizarre hoax. From director Angelo J. Guglielmo Jr. and produced in part by Meredith Vieira Productions, The Woman Who Wasn’t There is a shocking look at a woman so desperate to be important that she fabricated a detailed life at the heart of Ground Zero. 93

Tool Kit 94

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6. International Trade Magazines • • www. c 21 media. net http: //tbivision. com www. hollywoodreporter. com www. cineytele. com www. mediabiz. de www. broadcastnow. co. uk http: //playbackonline. ca 96

7. Producer’s own estimates • Please prepare your own sales estimates (highs and lows) of your own project 97

8. Producer’s own projects • Please present me your own project and I will revise if it is good to go to be good to be presented to financiers or sales agents. 98