L.A. Story: Indies Fared Well, Studios Said Farewell to Biz as Usual.

While U.S. TV networks engaged in their usual battles to conquer the 18-49 demographic through new programming, ad agencies tried to make some sense out of the 200 1-2002 upfront market. Studio execs decided on a sales strategy after the rollercoaster ride of the network announcements, while the independents calmly discussed the program for the next L.A. Screenings.

Indeed, many veterans of the 37-year-old annual Los Angeles Screenings could not recall such a discombobulated event where networks reneged on at least one new season commitment and kept producers in the dark about pickups until the last possible minute. As if these problems weren't enough, studio execs were confused about which distributors would sell some shows internationally, since many new programs were the result of intricate co-financing arrangements. Rather than release incorrect information, studios preferred to keep silent, wreaking havoc on the press. For example, in its L.A. Screenings Special Issue, The Hollywood Reporter listed each of five different titles under two different distributors.

For most of the 25 people who attended the third annual VideoAge breakfast meeting at the Park Hyatt Hotel on May 20, the key problems for the L.A. Screenings concerned organization, marketing and marked presence. At a round table discussion, where 15 companies represented seven countries, the persisting question was how to make buyers aware of the independent screenings. For the second consecutive year, the indie screenings began two days before the studios' screenings which, this year, started on Sunday, May 20 -- a departure from the traditional weekend break.

Liberty Int'l Irv Holender, one of the founders of the AFM, recalled: "We had a similar problem [with the AEM] in the early days. [The L.A. Screenings] is a much older market and it's for every level of buyer: stations, cable, satellite -- and I've even seen video buyers." Holender also reminded the participants that it's a down-sloping year for the studios as well. "They are having their difficulties... They're not doing so well. We still don't have an upfront market in the advertising side of the business, that's how bad and screwed up the market is this year." Opening up better lines of cooperation, coordination and communication is vital. "It might be slow in the beginning but, once it proves that it can work, it can get a recognition for everybody at this table and other distributors and buyers as well."

According to TV Azteca's Marcel Vinay, since the studios announce their screenings for the Latin American buyers during NATPE in January, the independents don't have to wait for the VideoAge breakfast meeting at MIP-TV to decide on their screening dates. In this respect, he suggested that VideoAge organize a meeting during NATPE so an earlier decision could be made, providing ample time to be publicized among the buyers.

"Once we have the dates," commented Fernando Szew of Whamo Entertainment, "if we can get the top ten companies to commit to come early, I think we can get everyone to come early."

A few participants, including Silvia Curutchet of Argentina's Ledafilms and Janka Lichardova of Slovakia's Top-TV, focused on incentives for buyers to come to the screenings a few days before the studios screenings. Alexander Fiore of Global Entertainment Media asked Park Hyatt Hotel sales manager, John Crosier, if the hotel could offer buyers who arrive early, discounts on rooms, beverages and meals.

Among the ideas offered to attract buyers and better publicize the independent screenings, Mel Giniger of MG&A suggested that the independent party, this year held on May 22, be used as a kick-off for the L.A. Screenings, providing an added reason for buyers to come early. "This might be an added incentive for the buyers to take notice -- it's more formal," he said.

Mercedes Alvarez Molina of Canada's Cinar pointed out that, due to the increasing success of Ledafilms screenings, they could be held on the independents' opening day, giving yet more buyers a reason to get to Los Angeles earlier.

According to Nelson Duarte (a former Columbia TV exec) of Brazil's Destiny Int'l, the opening day should also feature a seminar with a panel of attention-grabbing TV executives, perhaps organized by NATPE.

Carsey-Werner's Sheila Hall-Aguirre agreed that a party could serve as an attractive showcase. "You will find that we all agree that getting the clients to come is a major problem here...And like Mel [Giniger] said, I think they need an incentive...because several of them simply don't want to come beforehand." Hall-Aguirre also stressed the importance of getting information about the screenings out as early as possible: "It's always last minute so they don't always know who is going to be there and when," but she acknowledged that the screening dates are, in part, out of the hands of the independents because they hinge on when the up-fronts start.

Paolo Noseda of Italy's RAlTrade urged greater access among participants through a centralized message center or message board. "Because it's not a working market but a market by appointment, in some cases for us it's difficult to arrange appointments," he concluded.

Emilia Nuccio of Itsy Bitsy pointed out that simple touches, such as badges could greatly increase efficiency. A shuttle service between two or three key hotels was another topic that received attention in addition to the possibility for the independents to start the screenings three days before the studios, instead of the current two.

Overall, most distributors were happy with the switch from the nearby Century Plaza and the accommodations offered by the Park Hyatt and pledged to return next year. Tom Devlin of Hearst Entertainment described it as "a market in transition." Out of the more than 100 companies that were screening in Los Angeles, 91 exhibited at the hotels. In comparison, last year there were 120 companies, but 89 set up shop at the hotels, the rest screened in their offices. This year, most of the exhibitors were at the Park Hyatt, with only four at the Century Plaza, previously considered the "official" L.A. Screenings hotel. This switch occured due to the unorganized nature of the L.A. Screenings: The Century Plaza was overbooked for other concurrent conventions by the time the indies tried to book rooms.

At the Park Hyatt, which is walking distance from the Century Plaza, Neal Lloyd of CEO Conferences, blocked a large number of rooms which were subsequently rented exclusively to L.A. Screenings exhibitors. Even though, prior to the L.A. Screenings opening days, Lloyd fell under sharp criticism from distributors who were accustomed to the way that the Century Plaza handled the reservations, at the VideoAge meeting most comments were in praise of the Park Hyatt, appreciation to Lloyd for securing the rooms as well as the high cost of a cup of coffee ($4.50) and over-priced lunches.

It was also indicated that the hotel staff was responsive to the screeners' needs. Through a spokesperson, Cormac O'Modhrain, general manager of the Park Hyatt Hotel, expressed his "pleasure to once again welcome L.A. Screenings to our hotel, particularly because we are now the primary hotel provider for this event. While I want this event to have a permanent home here I do want to make sure that we are continuing to meet the changing needs of your business."

In the end, 33 sitcoms made the U.S. networks' selection followed by 28 dramas and 23 reality/documentary series. Plus three new shows for MTV that still defy classification. The large number of reality series were developed to front the looming possibility of an actor strike. This year cable networks such as MTV, E!, USA, FX and Showtime really flexed their programming muscles with 22 new series. In addition, U.S. Spanish TV network Univision unveiled its own season with a few gems for some of the 850 international buyers (versus 610 last year) attending the L.A. Screenings.