Asia TV Forum Preview: Buyer Profiles

Ahead of the Asia TV Forum in Singapore next month, World Screen Weekly catches up with some of the region’s top buyers about their acquisitions remits.

ABS-CBN, The Philippines

Leng Raymundo, the VP and head of program acquisitions for Filipino media giant ABS-CBN Broadcasting Corporation, uses a word bandied about by a number of buyers these days: “selective.”

For its general-entertainment networks, ABS-CBN acquires a broad variety; recent buys include the Korean series Boys over Flowers (which Raymundo describes as the “runaway ‘Asianovela’ hit this year”), the Taiwanese series Hot Shot and the Mexican novela Cuidado con el angel (Don’t Mess with the Angel) from Televisa Internacional.

“We are more selective on the programs that we acquire,” Raymundo notes. “Our greatest challenge is the one-TV household phenomenon in the Philippines—we try to find the right mix of different genres that will complement our local programs. Looking for content that can attract the full range of viewers from children to teens to adults is very critical in our buying strategy.”

Raymundo is seeking out imports that “offer something different but still have the fundamental elements that will connect with the local audience in terms of acceptability and affinity. We are prioritizing dramas that are compelling and have good narrative and casting. Game and reality shows that have interesting concepts have consistently engaged our viewers. Children’s and teen programs are also important in our overall mix.”

A particular focus, Raymundo continues, will be filling weekday early-prime-time slots with “idol dramas”—Asian series built around young, attractive personalities—“with international appeal. Well-executed format franchises that appeal and engage the whole family are also good to have.”

Indeed, formats play a “significant” role in ABS-CBN’s mandate, Raymundo says. She also notes that she is looking at co-production opportunities, after teaming with the Malaysian producer Double Vision for the drama Kahit Isang Saglit (Even for Just One Moment). “We are open to the possibility of co-production given the right material, story line and casting,” Raymundo says. “It’s one way for us to learn from our Asian neighbors and share best practices. Format franchises also allow us to work with the producers and consultants, who are the experts of the program, and this has become a very good opportunity to work well with our foreign counterparts.”

GMA Network, The Philippines

Format adaptations have been very important to GMA Network. Recent hits for GMA-7 have included its versions of Hole in the Wall, Power of 10, Family Feud and Celebrity Duets, according to Roxanne Barcelona, the VP of GMA Worldwide, the company’s acquisition and distribution arm.

Discussing her acquisitions strategy for this year, Barcelona says, “We only buy what we can use. This year, even if the Philippines is not really that affected by the global economic downturn, the amount of acquisitions has dropped since we are producing more and more local content.”

While the GMA schedule is well stocked through the end of the year, Barcelona is keeping her eye out for new dramas from Korea, as well as formats out of Europe or the U.S., particularly for late-afternoon and prime-time slots. “We acquire content throughout the year,” Barcelona says, “as long as the price is right and there is an available slot for a particular title.”

Beyond local fare, Korean and Japanese dramas lead GMA’s top ten shows, Barcelona says, including Money War, 1 Litre of Tears and Cruel Love.

MediaCorp, Singapore

MediaCorp’s Channel U targets a Chinese-language audience. Korean series have done well for the network, with Boys over Flowers scoring a a 38.5-percent share of the 15-to-24 set. According to Ho Soo Fung, the VP of programming and operations for Channel U (and Channel 8), other hit shows on the network have included the Korean drama Likable or Not and the Taiwanese variety shows Million Singer and Diamond Club.

Drama, variety and infotainment from East Asia lead Channel U’s acquisitions remit, she says, adding, “Due to cost constraints, we have to be very selective, to ensure the programs we acquired will be able to achieve our target ratings.”

For Channel U’s English-language sister network, Channel 5, the biggest news this year is the return of Singapore Idol after a three-year absence. But Idol is not the only major international format on the Channel 5 grid.

“Most of our tent-pole shows have been popular entertainment formats that help to anchor our schedule during prime time,” says Joy Olby-Tan, the VP of network acquisitions at the channel, citing Who Wants to Be a Millionaire?, Deal or No Deal, Don’t Forget the Lyrics! and Singapore Idol. “We are constantly looking for new formats that have massive appeal across all demographics.”

American dramas play an equally important role on Channel 5’s schedule. The network scooped up the first-window rights for new Disney-ABC drama FlashForward. “We plan to air FlashForward within a week of the U.S. telecast to tap into the currency and associated buzz,” Olby-Tan explains. “In providing this compelling and legitimate viewing option on our free-to-air platform, we hope to dissuade the minority who might be considering viewing illegal online content. FlashForward will also be provided on a free online catch-up basis on MediaCorp’s MobTV platform, Singapore’s first SVOD service.”

ntv7, Malaysia

The Malaysian terrestrial channel ntv7 has a diverse schedule with a mix of Chinese and Malay dramas and Hollywood series. According to Airin Zainul, the channel’s general manager, the most successful acquisitions recently have included Chinese-language dramas from the Hong Kong broadcaster TVB, the CBS series The Mentalist from Warner Bros. and Twentieth Century Fox’s Lie to Me.

Like many of the buyers surveyed here, Zainul says that she has become more selective in her buying cycle, and that budget limitations have resulted in a reduced volume of acquisitions. Nonetheless, she is still seeking out dramas, variety series and other light entertainment, and is particularly keen to score shows for mid-afternoon and early prime-time slots. Formats are also part of the mix, but Zainul notes, “We like to add a range of variety, game shows, light entertainment to our schedule, but we can only afford to do one format every two years, due to time lines, planning, logistics.”

CTN, Cambodia

Cambodia Television Network (CTN) has moved formats up on its priority list, according to Glen Felgate, the broadcaster’s general manager. The channel has recently drawn big numbers for Korean dramas as well as football action with the Barclays Premier League, Felgate adds. CTN is still buying drama series, he notes, and is searching for “interactive content and formats that we can produce locally.” Slots that the channel is looking to fill include “prime-time fringe: weekdays 6 p.m. and 10 p.m.”

Felgate says that the downturn hasn’t affected the channel’s acquisition of content, but “has curtailed the number of TV specials and concerts that we have done. We have only done one premier international kickboxing event this year where normally we would have done two. Likewise we have only staged one music concert—with Sean Kingston.”