How to Work the Film & TV Markets A Guide for Content Creators

How to Work the Film & TV Markets takes independent filmmakers, television and digital content creators on a virtual tour of the entertainment industry’s trade shows — the circulatory system of the entire global media landscape. This book highlights the most significant annual events around the world, details a dossier of all the players that frequent them and examines all the elements that drive the market value and profitability of entertainment properties. In-the-trenches insights from our modern, real-world marketplace arecontextualized into immediately implementablepractical advice. Make the most of your finite investments of funds, time and creative energy to optimize your odds for success within the mainstream, business-to-business circuit but learn how to select, apply and scale prudent, proven principles to drive your own Do-It-Yourself/Direct-to-the-Consuming-Crowd fundraising, distribution and promotional success. Heather Hale demystifies these markets, making them less intimidating, less confusing and less overwhelming. She shows you how to navigate these events, making them far more accessible, productive — and fun! This creative guide offers: An in-depth survey of the most significant film, TV and digital content trade shows around the world; An overview of the co-production market circuit that offers financing and development support to independent producers; An outline of the market-like festivals and key awards shows; A breakdown of who’s who at all these events — and how to network with them; Hot Tips on how to prepare for, execute and follow up on these prime opportunities; Low-budget key art samples and game plans; A social media speed tour with a wealth of audience engagement ideas. Visit the book’s space on www.HeatherHale.com for additional resources and up-to-date information on all these events.

Introduction This Guidebook = Orientation + Compendium + Almanac + "How-To" Manual Who this Book Is For The Goal of this Book PART I THE MARKETS Chapter 1 What Is a Market? Market Establishing Shot Exhibition Space Screenings Educational and Networking Opportunities What’s the Difference Between a Market and a Festival? Confusion Abounds Festivals Versus Markets Should You Go to Either? Both? Why? Aren’t Film and Television Totally Different Industries? You Might Be an Independent If . . . PART II THE GLOBAL FILM INDUSTRY Chapter 2 To Hollywood, Bollywood, Nollywood — and Beyond! Hollywood Bollywood Nollywood Hollywood’s Oligopoly The Big Six The Mini Majors Fierce Film Competition Chapter 3 The Players on the Film Market Stage Film Distributors International (Film) Sales Agents (ISAs) Aggregators Producer’s Representatives Collection Agents Exhibitors Market Makers THE FILM MARKETS Chapter 4 Le Marché du Film (The Cannes Film Market) International Profile The Producers Workshop The Producers Network "Goes to Cannes" Works in Progress Screenings Cannes Investors Club The Village International NEXT Pavilion Marché Mixers Doc Corner Cinando Chapter 5 The European Film Market (EFM) Venues Potsdamer Platz First Timers EFM Industry Debates EFM Drama Series Days American Independents in Berlin Creative Europe Media (Media-stands.eu) EFM Asia LOLA at Berlinale EFM Startups Meet the Docs Meet the Festivals Chapter 6 The American Film Market (AFM) AFM Conference Series Roundtables MyAFM Exhibitors The Film Catalogue Buyers The Independent Film & Television Alliance® (IFTA) Don’t Be a Lobby Lizard Chapter 7 Regional Film Markets Hong Kong FILMART Hong Kong-Asia Film Financing Forum Business of IP (BIP) Zone Expo Hong Kong Asian Film Market Korean Blockbusters Tokyo International Film Festival Content Market (TIFFCOM) Ventana Sur London Screenings PART III THE WORLDWIDE TELEVISION AND DIGITAL MEDIA BUSINESS Chapter 8 Mise en Scène The UK and the US Germany The BRIC Block Brazil Russia India China Turkey Africa Chapter 9 The Studio Scene: LA Screenings, the Upfronts (and NewFronts) The LA Screenings The Upfronts The NewFronts Staggering Odds of Scripted TV Chapter 10 The Players on the TV Market Stage Distributors Broadcast Networks Cable Networks Satellite TV Telcos and ISPs Over the Top Television (OTT)/Internet Networks Syndicators The Coveted 100th Episode Strip Shows Deficit Financing Time Buy or Barter Syndication (Client Supplied Programming) Station Groups Aggregators Exhibitors Market Makers THE TV MARKETS Chapter 11 The MIP Markets The MIPs Back at the Palais Access to it all via MyMIP and Mobile Apps MIPTV Welcome to the Club(s)! MIPDigital Fronts MIPFormats MIPDoc MIPCOM MIPJunior MIPCancun (the Latam TV Buyers Summit) Asia TV Forum & Market (ATF) Chapter 12 National Association of Television Program Executives (NATPE) Professional Pitch Opportunities First Show of the Year NAPTE Hotels Live Stream Virtual NATPE Content Without Borders: NATPE Europe Awards Chapter 13 Realscreen Realscreen Summit Luncheon Roundtables Meet a Mentor Meet an Expert Speed Pitching: Now You’re Talking — FAST! 30 Minutes With . . . Master Classes Summit Showdown Pitching Contest Awards Realscreen West Realscreen London Realscreen Magazine RealXchange Kidscreen Summit BCON Expo Stream Market Chapter 14 Regional TV and Serialized Video Content Markets Bogota Audiovisual Market (BAM) DISCOPs 115 DISCOP Africa DISCOP Abidjan DISCOP Johannesburg DISCOP Istanbul DISCOP Dubai Hong Kong FILMART MYCONTENT TIFFCOM World Content Market PART IV CO-PRODUCTION MARKETS Chapter 15 CineMart (IFF Rotterdam Co-Production Market) Rotterdam Lab Chapter 16 Berlinale Co-Production Market Berlinale Co-Production Market Producer’s Lounge Berlinale Directors Rotterdam-Berlinale Express CoPro Series (Drama Days) Books at Berlinale World Cinema Fund Countries in Focus Chapter 17 Other Major Co-Production Markets Asian Project Market Beijing Film Market Boat Meeting CPH:FORUM CineLink Co-Production Market DISCOPRO Europe–Latin America Co-Production Forum Frontières International Co-Production Market Holland Film Meeting Co-Production Platform IFP No Borders International Co-Production Market IDFA Forum (Docs for Sale/IDF Amsterdam) Moscow Business Square Paris Co-Production Village Arc 1950 Coproduction Village Sofia Meetings and Balkan Screenings TorinoFilmLab PART V BEFORE: PREPARATION Chapter 18 Start with the End in Mind Why Are You Going? What Can You Realistically Accomplish at This Market? But What If I’m Not Really Ready Yet? Chapter 19 Know Your Product High Concept Format, Genre and Subgenre Sitcoms, One-Hour Dramas and Dramedies Scripted Serial Renaissance Reality Formats Protect Your Reality Format Chapter 20 Know Your Target Audience(s) But my film/TV show is for everyone . . . Demographics Four-Quadrant Film Psychographics Binge Watching and Time Shifting Chapter 21 Polish Your Pitch and Marketing Materials Great Title Terrific Logline Additive Tagline Succinct Synopsis Excellent Script Should I Bring Scripts to the Market? "Send the Script" Edutainment Story: The Courage to Love Chapter 22 Develop Key Art Key Art Versus Concept Art Placeholder Key Art Low-Budget Key Art Strategies Teasers vs. Payoffs Key Art Before Actors Are Attached Raw Assets Key Art Comps Focus Groups and Gender Preferences Good, Fast, Cheap: Pick Two Facebook and Twitter Banners and Avatars One Sheets Market Catalog Video Trailers Screeners Sizzle Reels Talent Reels Presentation Tape/Completed Scenes Proof of Concept Pilot Rip-O-Matics Animatics Vision Statement Awesome Verbal Pitch Share Your Passion Pitch Perfect: Water Cooler 101 Chapter 23 What Goes Into a Pitch Package? Cast Wish Lists Bios Executive Summary Let’s Talk about Comps, Man Analyze Your Comps Schedule Budget Production Budget has Zero Correlation to Box Office Prints and Advertising Think Outside the Schedule and Budget Box Sales Estimates Pre-Sales Waterfalls Production Budget has No Correlation to Box Office TV Cash Flow Analysis The Do’s and Don’ts of Reality Show Pitch Proposals Chapter 24 Gearing Up For Each Event Research the Event Who Are You Looking to Meet? Research Your Prospects Research the Other Attendees Create Your Hit List Start Doing Research Study Each Company’s Website The Right Titles for Your Hit List Finding the Right Sales Agent for Your Project Sort, Rank, and Order Your List Plan and Prioritize Your Market Goals and Schedule in Advance Badge Buying Advice Business Cards PART VI DURING: AT THE MARKET Chapter 25 Prudent Market Scheduling and Logistics Review Your Hit List Pay Attention to Badge Clues Don’t Ignore Your Own Badge . . . Ice-Breaking Wardrobe Ice-Breaking Props Market First Timers: Don’t Be Nervous Chapter 26 Taking Meetings at the Market Respect the Exhibitor’s Space and Time 236 Befriend the Gatekeepers Establish Your Credibility Define the Purpose of Each Meeting Negotiating A Word of Caution: Bifurcating the Rights A Word of Caution: Check Those Definitions! What to Leave Behind (If Anything) Always Have an Answer For: "What Else Have You Got?" Post-Meeting Housekeeping PART VII AFTER: FOLLOW-UP Chapter 27 Gauging Success Deal or No Deal? Year-Round Networking PART VIII IMPORTANT ANNUAL ANCILLARY EVENTS Chapter 28 Top Ten Market-Like Film Festivals Festival de Cannes Opportunities Toronto International Film Festival Opportunities Market-Like Elements Support for Canadian Films Sundance Film Festival Opportunities Sundance Institute Labs Venice Film Festival Berlinale (Berlin International Film Festival) Berlinale Talents Market Hub SXSW (South by Southwest) Tribeca Film Festival International Film Festival Rotterdam Sofia International Film Festival Palm Springs International Film Festival Palm Springs Shortfest and Market Chapter 29 Globally Significant, Pedigree-Building Film Festivals AFI FEST Austin International Film Festival BANFF Beijing International Film Festival Buenos Aires International

Heather Hale isa film and TVdirector, producer and screenwriter of original programming, including the indie comedy Rolling Romance (2018),the thriller Absolute Killers (2011), the Lifetime Original Movie The Courage to Love (2000), as well as several award-winning syndicated series and two Emmy-winning PBS series. She was the Independent Film and Television Alliance’s Industry Liaison for the 2013 American Film Market as well as the Vice President of Event Programming for theNational Association of Television Program Executives, where she helped design and launch the TV Producers' Boot Camp. She often serves as NATPE’s official pitch prep consultant, preparing producers to pitch to financiers and distribution executives. Heather speaks and consults around the world, customizing retreats and workshopsand is always writing, producing, directing and raising funds for film and television projects. Stay up-to-date with Heather and Heather Hale Productions at www.HeatherHale.com