week 41 - rtl group‘superfans’ of shows such as got talent, the x factoror idols. tony also used...

UK / Germany

New joint drama initiative

Hungary

RTL Most, first catch-up service in the country

The Netherlands

Celebrating 20 years on air

Luxembourg

RTL Group’s communications officers met in Brussels

Rethinking ProductionTony Cohen outlining the future of the production industryat the 2009 Mipcom

week 41

8 October 2009

2

week 4

COVER:Tony Cohen, CEO of FremantleMedia

the RTL Group intranetweek 41

3

France - 5 October 2009

With the TV advertising markets decliningsignificantly throughout Europe, Backstage hasreported comprehensively how RTL Group isresponding to the new market realities. Againstthis challenging economic background, decision-makers from the TV, film, digital media andadvertising industries are gathering this week inCannes, France, for the 2009 Micpom tradeshowand conference which calls itself “the world’sentertainment content market.”

As CEO of FremantleMedia, one of the largest TVproduction groups worldwide, Tony Cohendelivered an instructive keynote entitled“Rethinking Production” on 5 October 2009. Thespeech centred on one fundamental question: “Isthere a future for the television productionindustry?”. To explain why he believes that TV

production does indeed have a future, “perhapseven a rather good one,” Tony addressed threemajor topics: new opportunities in the onlineworld, current trends in TV viewing habits andpromising future strategies for productioncompanies when it comes to fostering creativity,increasing engagement with its audiences andsecuring funding.

Talking about audiences for online content, Tonyshared his experiences from FremantleMedia’svarious online projects. These range from thecasting portal Yourchance.de in Germany tocomedy like Toyboize in the UK and low-costdramas for online platforms such as Freak on MySpace in the UK. “Exercises like this are teachingus a lot about what works online and whatdoesn’t,” he said.

“A new form ofcollaboration”Speaking at Mipcom, Tony Cohen reviewed thestate of the production industry today and alsooutlined a new form of collaboration betweenproducers and broadcasters.

Tony Cohen at the podium during his Mipcom keynote

TV viewing is going up


The insights gained are clear and straightforward:viewers don’t mind the length of online videosand they don’t want to be “manically interactive.”Instead, most people still just want to sit backand watch. “Viewers also don’t want to decidethe plot lines and what should happen to thecharacters. Professional writers do a much betterjob. What viewers really wanted wasengagement,” summarised Tony.

In terms of funding for online video productions,Tony said that the entertainment skills ofproducers make them a perfect partner foradvertisers who want audiences totally engagedin their advertising and therefore with theirproduct. He also advocated again for thepotential of micro-payments – an approach

which could be applied to TV content like catch-up, exclusive previews and special material for‘superfans’ of shows such as Got Talent,The X Factor or Idols.

Tony also used his keynote to present Sun QuizLive, the world’s first live online pay-to-play gameshow. The project was launched this week on thewebsite of the UK tabloid The Sun and is built ona micro-charging model. “You can watch theQuiz for free or pay to play. It’s quite addictive, ifI say so myself. And this show only costs EUR300 an hour to make,” Tony explained.

While clearly being optimistic about the potentialfor TV output online, he also made it very clear:

“I believe that for the foreseeable future weshould focus on what has for so long been ourcore business. By this I mean production forbroadcasters and the distribution andexploitation of our programming brands.”

And indeed, the fundamentals of this corebusiness remain strong: TV viewing is going up inEurope as well as in North America. The claimthat young people are deserting TV is a myth asyoung adults in the US still spend 90 per cent oftheir viewing time watching traditional scheduledTV. American teenagers are actually watching 6per cent more TV overall than they were fiveyears ago. In a nutshell, “young people want towatch television, almost as much as everyoneelse.”

Citing the rising audience figures of popularFremantleMedia shows such as Got Talent, TheFarmer Wants A Wife or the UK version of TheApprentice, Tony explained that “blockbusterentertainment” currently works best for everyone– for broadcasters because they are “big, provenand live”, for producers because they workeverywhere in the world. “And audiences lovethem because they can identify with thecontestants and their journey. The shows buildsuch large audiences that they become nationalevents that generate that watercooler chatter wewere told we’d never hear again.” However, onthe other side, more and more smaller showsstruggle to find an audience.

4

Audiences of FremantleMedia’s blockbuster shows also go up series on series


Based on the current state of the industry, Tonyoutlined successful future strategies forproducers, always sharing concrete experiencesfrom FremantleMedia’s international operations.First, extending the scope of the most popularshows. These brand extensions can happen inseveral ways, for example by uploading newcontent to special websites, even when theshows are off the air. Or, as in the case with theiconic US game show The Price Is Right, byboard games, DVDs, online and mobile games oreven a live theatre show in Las Vegas that hasrun six days a week for the last two and a halfyears. Addressing the ‘superfans’ of The X Factoror Idols helped FremantleMedia to developconsiderable ancillary revenues – withmerchandising activities, live tours and TheAmerican Idol Experience at Walt Disney WorldResort, Florida.

Secondly, Tony turned to the specific challengesof producing drama today as reality andentertainments shows have taken over manynarrative elements such as heroes, villains,conflict or raw emotion. “There are things that wecan do to make drama able to thrive in the newrealities. Viewers are demanding a much moreintense experience than they used to. Mostdramas already consume a great deal more storythan they did even five years ago. However, wecan still shoot more scenes and cut them faster.We can improve production quality by moving tohigh definition, and upgrading sets, costumesand music. In the writing we can increase theemotional stakes,” he explained.

Thirdly, Tony addressed thebiggest challenge of all – funding.Referring to FremantleMedia’ssuccessful German-British co-production Soko Leipzig/The Bill (seealso page 6 on the new joint dramadevelopment unit), he said: “We’ve all got tosqueeze more value out of the resources we havethat are too inefficiently spread throughout whatis a very fragmented industry.” In addition,producers can achieve significant cost savings,without affecting the viewers’ perception of theshow. Concrete measures could includeadopting more efficient technology like low-costand low-energy LED lights, remaking the rules forthe writing to save on actor time, make up andcostume or trying harder “to stand up tocustomers who demand expensive changesafter a show’s already been cut”.

Tony concluded by calling for a new form ofcollaboration between producers and their oldestpartners, the broadcasters. “Would broadcastershand over a share of advertising revenue andgive more control to producers if we took onmore risk and helped fund their programmes?Would producers give up some of their rights tohelp broadcasters expand their channels andonline services? Can we together create contentthat we can launch across multiple platforms tocreate compelling new brands? I am very open todiscussion on this. I think we all need to be.”

5

The brand extensions for The Price Is Right generate considerable ancillary revenues

“We need

to be open to

discussion”


New UK/German joint drama initiativeTalkback Thames and UFA Fernsehproduktion, the UK and German productioncompanies of FremantleMedia, are to form a joint Drama Development Unit. Germany / United Kingdom - 6 October 2009

The Drama Development Unit, based in Berlin,will be jointly managed by Gary Carter (ChiefOperating Officer, FremantleMedia), NorbertSauer (Chief Operating Officer, UFAFernsehproduktion) and Lorraine Heggessey(Managing Director, Talkback Thames). Theoperative management will be ensured byJohnathan Young (Head of Drama, TalkbackThames) and Jörg Winger (Executive Producer,UFA Fernsehproduktion). The unit will focusprimarily on producing dramas for the UK andGerman television markets with a view toexpanding internationally and into the digitalmedia market in the future.

This follows a successful collaborationbetween Talkback Thames and UFAFernsehproduktion last year on The Bill andSoko Leipzig, successful prime-time policedramas in Britain and Germany respectively.The unique partnership saw producers fromboth companies work together to develop aspecial two-part story-line which featured inboth shows. In a ground breaking Europeanfirst, filming took place in London and Leipzig,using the characters from both programmesand was broadcast on ITV in the UK and ZDF inGermany.

Tony Cohen, CEO FremantleMedia, said: “Thisinitiative is a great example of how

FremantleMedia is working across ourworldwide network of companies to leverageour shared experience and expertise, andcreate unique opportunities in the globalmarket. The creation of this unit also representsour strong commitment to drama and reflectsthe investment that we continue to make in ourglobal businesses around the world."

Lorraine Heggessey, CEO Talkback Thamescommented: “We are very excited about thisinitiative and to work again with our Germansister company. Our success with The Bill andSoko Leipzig collaboration has taught us thatwe have a lot of common ground and a strongcreative partnership with our Germancounterparts that we can build on. With thecurrent challenges in the drama arena and theshifting media landscape it is more importantthan ever that we find new ways to funddrama.”

Norbert Sauer, Managing Director UFAFernsehproduktion, added: “We hope that thisinitiative will broaden our range of dramaproduction bringing an international aspect thatwe didn’t have before. We believe that dramaformats programmes which are successful intwo European markets can also be sold andexploited in more markets, and this new unitwill help us achieve this goal.”

6

The Bill and SOKO Lepzig


Communication in timesof crisisRTL Group’s communications officers recentlymet in Brussels for the fourth ‘CommunicationsNetwork Meeting’. In addition to a number ofwork-related subjects, the communicationsprofessionals also explored the repercussionsand implications of the economic downturn.Luxembourg - 8 September 2009

Since 2006, RTL Group’s communicationsexecutives have met once a year for the‘Communications Network Meeting’. Thisyear’s meeting, held last week in Brussels,clearly showed how important it is, especially intimes of crisis, to network across Profit Centreborders in a trustworthy atmosphere andbroaden one’s horizons beyond the day-to-daybusiness.

In all, 32 press officers from the TV and radiostations, production firms and from Corporatemet at the ‘RTL House’ in Brussels, including –for the first time – colleagues from Alpha TVand IP Network. The meeting once againreceived active support from RTL Group’s topmanagement: CEO Gerhard Zeiler provided afirst-hand report of the state of the Group andhow it is responding to the crisis. PhilippeDelusinne, CEO of this year’s host RTLBelgium, provided an impressivedemonstration of the central role played by the‘RTL’ brand in the French-speaking part of thecountry, and of how the company meets thesocial responsibility that arises from this fact.

The participants spent two days discussingprofessional issues and recent developments inthe Group, and swapping notes, e.g. abouttheir experiences with communications for thedigital special-interest channels. The ongoingeconomic downturn was also an ongoing topicof conversation. In his welcome speech, OliverHerrgesell, Head of CorporateCommunications at RTL Group, expressed hisgladness at the continued high attendance

rate: “Last year, we spoke about elements offear which overshadowed our day-to-day work.This year, we are riding the storm. All of us havehad to cut our budgets significantly. At thesame time, the management’s demand forprofessional communications remains high,and the expectations of our stakeholders havehardly lessened.”

In his opening presentation, Gerhard Zeilermade it clear that he doesn’t expect to see aquick recovery of the TV advertising markets,which makes it necessary to continue cuttingcosts in the core business. At the same time,he was careful to emphasise that “our strongbrands are our most important assets –protecting and cultivating them isCommunications’ job. We will not call that intoquestion.”

As in prior years, the meeting served todisseminate useful professional knowledge,including and especially by outside speakers.Utta Tuttlies of the European Association ofCommercial Television (ACT) explained whyongoing public relations directed at EUinstitutions is essential for the heavily regulatedmedium of television – after all, theseregulations are primarily decided in Brussels. “Ifyou don’t make your voice heard, yourcompetitor will,” said Tuttlies. This proactiveapproach was supported both by GerhardZeiler and by Philippe Delusinne, who wasrecently elected President of the ACT asreported.

7

Cover of the Communications Network Meeting 2009 brochure


A presentation on ‘Agenda-Setting’ by BMW’sformer Chief of Communications Richard Gaulwas very well received. Gaul, one of Germany’smost senior PR experts, urged RTL Group’spress officers not to merely strive for maximumattention for their programming. Theprogrammes should be embedded in largerpublic discourse early on – in fact, ideally theyshould trigger public discourse, thereby“setting the agenda”. For instance, intensivemedia relations pertaining to matters ofparenting in general could have helped aformat like Super-Nanny achieve larger-scaleacceptance in the lead-up to its broadcast.This “second currency” in media relations, asGaul called it, would in turn help to improve theoverall image of commercial television.

The meeting ended with a competition onFriday morning, organised by Rupert Younger,Director of the Oxford Centre for CorporateReputation. He was assisted by two experts inyouth marketing, Rupert Brankin-Frisby ofFremantleMedia’s UK subsidiary TalkbackThames, and Yannis Kavounis of The FuturesCompany, a trend consultancy. Participantswere split up into three groups and given verylittle time to outline a communication conceptfor the Talkback Thames production CelebrityJuice, focusing especially on what tools theywould use to reach the format’s young targetaudiences. Following a brief and entertainingpresentation of the results, the jury of threeexperts picked the winning concept.

The fast-paced programme of the event wentdown very well with the communicationsprofessionals: in a feedback questionnaire, 72per cent of participants indicated that themeeting was “likely” or “very likely” to have apositive impact on their daily work.

8

RTL Group communications officers support for few instants the game show contestants of Touch My Car (see page 12)


Travelling formats – a growing businessThe Format Recognition and ProtectionAssociation (Frapa) has published theinternational Frapa Report 2009 – TV Formats to the World, analysing the TV format businessworldwide.Germany - 8 September 2009

On 6 October 2009, the international tradeassociation Frapa presented at this year’sMipcom the new Frapa Report 2009 – TVFormats to the World, compiled in associationwith the global TV research agency The WITand TV Sisters, a journalistic office thatprovides international programme research. 14countries comprise the focus of the report:Argentina, Australia, Canada, France, Germany,Italy, Japan, The Netherlands, Spain, UK, USAand three Nordic countries, Denmark, Norwayand Sweden.

Formats such as Deal or No Deal, Hole in theWall and the telenovela Lalola travel around theworld inspiring millions of people. 445 originalformats found their way to foreign countriesfrom 2006 to 2008. The number nearly doubledfrom the first report made on behalf of Frapa,which analysed the formats traded from 2002to 2004.

The production volume generated by tradedformats has grown to EUR 9.3 billion for theyears 2006 to 2008. This is an enormousincrease of 45 per cent in comparison to thefirst report. The UK still leads in the number ofexported formats, followed by the USA, TheNetherlands and Argentina. Countries such asGermany, Spain and Italy started to improvetheir format business.

Ute Biernat, Chairman of Frapaand CEO of Grundy LightEntertainment, a subsidiary ofUFA, points out theimportance of the newreport: “We very proudlypresent the impressiveresults of the new FrapaReport. Once more it showsthe impact of the formatbusiness on the media industryand the relevance of theprotection of format rights, whichbecomes more and more obvious.”

Frapa was founded in 2000 and is theinternational format industry associationdedicated to the protection of formats. UteBiernat has served as chairman of Frapa since2005. The association represents more than100 companies in the television industry. Itsmembers include FremantleMedia, GrundyLight Entertainment, Endemol and others.

9

Ute Biernat

Visit

www.frapa.org


The East has outdoneParis On Monday evening M6 served audiences thegreatest cooking competition finale ever seenon French TV, a tournament that placed M6 inthe number one spot with viewers under 50. France - 7 October 2009

Un dîner presque parfait: le combat des regions(Come Dine With Me: the battle of the regions)crowned Grégory the grand champion whiledelighting the taste buds of 4.5 million viewerson average for the entire evening – a totalaudience share of 22.4 per cent. Throughoutthis national grand finale the four candidateswent from one surprise to the next with threemajor original challenges, featuring judges likechefs Cyril Lignac, Laurent and JacquesPourcel for the southern region, Georges Blancfor the East, Jean-François Piège for Paris-Ilede France, and Marc Meurin for the northernand western regions.

For the first challenge they headed for a largeParisian market in the midst of which they hadto prepare a dish worthy of a finale beforecurious and amused bystanders. The secondchallenge was just as original, because thistime the contestants had to cook for awedding. In a majestic setting, each contestanthad one afternoon to prepare a cocktail partyfor 150 guests with five different recipes. It wasa huge gamble because they were judged notonly by the chefs but the wedding couple andtheir guests as well.

For the finale in the second part of the evening,the show went live. In the space of one hour,the two remaining finalists had to prepare twodishes worthy of great restaurant chefs.Between Flore from Paris-Ile-de-France andGrégory, representing the East, it was the latter,

by three tenths of a point, who won theapproval of Cyril Lignac and the five otherchefs. The very emotional Grégory was handeda cheque in the amount of EUR 10,000 as areward.

Since five weeks that M6 is broadcasting in theevenings this spin-off of Un dîner presqueparfait, the programme outperformed in thesecond part of the evening four times thecompetition, knowing that TF1 wasbroadcasting at that time the top US seriesDr. House. On Monday, Le combat des régionscame to end by gathering at 22:35 4.6 millionviewers – a total audience share of 35.8 percent – making M6 the clear number onechannel among the total audience during thistime slot.

10

Georges Blanc (left), Grégory’s three-star “godfather”, is proud of his protégé

The Pourcel brothers, two top chefs among the six who judge the series of culinary challenges


Celebrating 20 years on air On 2 October 1989, RTL Nederland started out as the Netherlands’ first commercialbroadcaster under the name RTL Véronique.The Netherlands - 2 October 2009

The pioneering channel was soon renamedRTL 4 and grew into the Netherlands’ largestcommercial TV channel, becoming a subsidiaryof an all-round media company, RTLNederland. And not only will RTL Nederlandspend October looking back at its beginningsand the programmes it has aired down theyears; it will also be launching a fifth, special-interest channel called RTL Lounge.

RTL Nederland CEO Bert Habets said: “In just20 years, RTL has grown from a pioneeringchannel into an all-round media company thatis firmly anchored in the heart of Dutch society.We’ve pulled that off thanks to the efforts andpassion shown, both on the screen and off it,by our staff members down the years. Thejewel in our crown is the trust of our viewersand advertisers. So I’d really like to thankeveryone who has a soft spot for RTL and hascontributed to its achievements over the past20 years”.

On RTL 4, the anniversary month started on2 October with a special edition of De TVKantine: 20 Jaar RTL (The TV Canteen: 20Years of RTL). On 3 October there was adaytime review of the popular children’sprogramme Telekids. Starting on Sunday 11October there will be four totally new episodes

of the nostalgic game show Rad Van Fortuin(Wheel of Fortune), whereas Friday 23 Octoberwill mark the start of the nine-part Typisch RTL(Typically RTL), showcasing the broadcaster’sbest, most striking memories. The grand finalewill be on Saturday 24 October, with Ik Hou VanHolland Viert 20 Jaar RTL (I Love HollandCelebrate 20 years of RTL) in which teams ofwell-known RTL faces will celebrate RTL’smilestone together with Linda de Mol.

Not just RTL’s programmes, but above all itsviewers, will play a central role in celebratingthe broadcaster’s 20 years on the air. To thisend, viewers will be able to use a specialwebsite to vote for their favourite RTLprogramme over the last 20 years. Votingopened on Friday 2 October and will close onSaturday 24 October. The results will beannounced on RTL Boulevard towards the endof October.

On RTL’s birthday in the Netherlands, viewerswill also be able to tune in for the first time toRTL Lounge. This new special-interest channelwill broadcast round the clock, showing dramaand lifestyle programmes aimed at today’syoung women. RTL Lounge is available throughthe UPC and Ziggo digital packages.

11

Carlo Boszhard and Irene Moors in De TV Kantine: 20 Jaar RTL


12

Hand on car for almost62 hours Last week, David Antoine presented the newshow Touch My Car live on Plug RTL from thecourtyard of the RTL House in Brussels. Belgium - 5 October 2009

A total of 15 candidates with the necessaryamount of control over mind and bodyappeared on the show hoping to win a brand-new car. They had to withstand every adversitythrown at them and keep their hand as long aspossible on the car. To check this, thecandidates were given an electronic glove towear, which determined whether theyconstantly kept one hand on the car or brokecontact at any point. A referee was on handaround the clock to ensure they stuck to therules. Each time they let go without permissionthe candidate was given a yellow card. Five ofthese meant they were out. Every hour theywere given a five-minute break plus a half-hourbreak every six hours.

On Friday afternoon, after 36 hours ofcompeting and two cold, rainy nights, only fiveof the original 15 candidates were left: threemen and two women. Exhausted, theystruggled on for a few more hours, knowingthat the car, a Ford Fiesta Econetic, was “withinreach”. Despite being cheered on by manyBelgian artists and celebrities on location,Ludivine stopped on Saturday morning. Afterexactly 61 hours and 52 minutes, Maxime wasdeclared the winner of the car.

While the candidates were connected to thecar, viewers and Internet users could also win aFord Fiesta Econetic by correctly guessing thetotal duration of the contest and sending anSMS to RTL. Plug RTL’s Website wasbroadcasting the whole game live whileContact Radio was a partner of the adventure.

David Antoine and the candidates – Maxime is the front candidate on the right


RTL Most is here!RTL Klub has launched RTL Most, the first catch-up TV service in the Hungarianmarket. At present, all domestic programmes are available online shortly after theyair on TV, including Hungary’s most popular series, Barátok közt.Hungary - 5 October 2009

“We are planning to make our foreign seriesand films available at a later stage,” says PéterKolosi, RTL Klub Programme Manager. “Wealso intend to make some programmesavailable to our registered online users evenbefore they are broadcast on television,” Kolosiadds.

The RTL Most website offers viewers RTLKlub’s own productions in high quality andsoon after their TV broadcast. So if someonemisses the midday episode of Híradó, Fókusz,Fábry Showder or Barátok közt, they can ‘catchup’ anytime, anywhere. Users can even puttogether a collection of their favourite videos,add personal notes to them and rate thecontents.

Registered RTL Most users receive advancenotification about online programmes or seriesalong with several other benefits. And thoselooking for even better viewing quality can lookforward to November, when a Silverlightapplication will make RTL Most’s contentavailable in enhanced quality.

Simultaneously with the start of RTL Most, RTLhas begun the relaunch of RTLKlub.hu as partof the transformation of its online portfolio. Theonline developments are being implemented byBlogter and Konzorcia, and the launch of RTLMost is accompanied by on-air, print and onlinecampaigns featuring a character known as ‘thechicken guy’.

13

RTL Most


14

Léon is a hit on W9W9 registered a record audience among all DTT channels with 1.1 million viewers for the film Léon bradcast on Sunday 27 September. The channel also confirmed its status for September as number one among DTT channels with DTT-equippedviewers under 50.France - 2 October 2009

An outstanding start to the season Mediengruppe RTL Deutschland’s channels attracted 35.1 per cent of the 14- to 49-year-old viewer market in September, which puts them more than four percentagepoints ahead of the ProSiebenSat.1 group, which scored 31.0 per cent.Germany - 2 October 2009

Connecting to the outside world at any moment RTL Belgium’s news site RTLInfo.be can now be consulted from any mobile telephonewith internet access. Belgium - 2 October 2009

RTL Belgium reports brilliant season kick-offSeptember 2009 marked the most successful start to a TV season for RTL Belgium’sfamily of channels since the introduction of modern audience ratings measurement in1997, scoring a 35.3 per cent share of the total audience market.Belgium - 5 October 2009


15

If you knew what your future held, what would you do? With an average of 3.2 million viewers on 28 September, followed by 3.3 million this Monday, the gripping new US series FlashForward is a hit on Five.United Kingdom - 8 October 2009

A voyage of discovery to mysterious depths unknown On 4 February 2010, Unsere Ozeane, the German edition of the French naturedocumentary Océans will open in box offices across Germany – distributed by theRTL Group subsidiary Universum Film.Germany - 8 October 2009

Tension, excitement, and surprises The iconic format Name That Tune is to return to British Television with a brand new,updated version of the classic series, to air exclusively on Five. United Kingdom - 6 October 2009

Wireless tariff for social network users launched inGermany WKW-Mobil gives users unlimited Internet access via their mobile phones and theycan also phone and text other members all over Germany as much as they want forno extra charge. Germany - 6 October 2009


16

People News

Suzanne Lopez Germany - 5 October 2009

On 17 September 2009, Chief Executive OfficerCécile Frot-Coutaz announced the nominationof Suzanne Lopez as Executive Vice President,Business and Legal Affairs for FremantleMediaNorth America.

Suzanne Lopez, who previously served as thedepartment’s senior vice president, willcontinue to oversee all business and legalaffairs for FMNA, the US production arm ofglobal media giant FremantleMedia. She willreport to Donna Redier-Linsk, who was recentlynamed Chief Operating Officer forFremantleMedia North America (FMNA).

“Suzanne’s expertise has played a key role inhelping build our U.S. division,” said CécileFrot-Coutaz in making the announcement.“This promotion exemplifies our regard for herdedication and enthusiasm for the job at hand,and I’m thrilled that she continues to be anintegral part of our team.”

Suzanne Lopez


17

People News

Matthias Dang Germany - 7 October 2009

Matthias Dang has been appointed DeputyManaging Director of IP Deutschland witheffect from 15 October 2009.

In his new role, Matthias Dang (42) will continueto supervise the Sales department, which hehas headed since June 2004.

Martin Krapf, Managing Director of IPDeutschland, comments: “Matthias Dangunderstands TV marketing like few others, andwas formative in developing this field at IPDeutschland over the past few years. Hisappointment as Deputy Managing Director isnot least an expression of our appreciation forthis achievement. I very much look forward toour continued work together.”

After studying business administration inMainz, Matthias Dang began his career in 1993as Marketing Assistant RTL at IP Deutschland.After further stints in marketing, he was SalesDirector from 1998 to 2002. From 2003 to 2004,he moved back into marketing as a businessmanager, before taking over as Director Salesin June 2004

Matthias Dang

http://backstage.rtlgroup.frhttp://backstage.rtlgroup.comhttp://backstage.rtlgroup.de

PublisherRTL Group

45, Bd Pierre Frieden

L-1543 Luxembourg

Editor, Design, Production

RTL Group

Corporate Communications and Marketing

week 41 - rtl group‘superfans’ of shows such as got talent, the x factoror idols. tony also used...

Documents