2009/5/27
Brent Friedman
Hey Peter, great to hear from you. The next installment of AW has been long-gestating. We are a small company that got sidetracked on Gemini Division, along with our two upcoming webseries - Woke Up Dead and Valemont (both of which go into production in June/July.) Our hope is to have more AW, in a slightly altered form, available by year's end. Time will tell if that's possible...
As for DVD release, the show will be packaged in that form in some territories. Since Sony is distributing the project worldwide it's their decision, and I'm not sure what their plan is for Australia.
Best,
Brent
Wednesday, May 27, 2009
Saturday, August 30, 2008
Gemini Division ... disappointment !!!
well I have finally got around to visiting the Gemini Division and guess what you can only view inside the good old USA ... top stuff ... well I suppose you have to protect your rights, I was hoping that this series would be a global release but hey it's all about the money
Tuesday, April 1, 2008
Sony Pictures Television Announces Mobile Game Slate
as posted on PRNewswire
Six New Titles To Be Released in 2008
LAS VEGAS, March 31 /PRNewswire/ -- Sony Pictures Television (SPT) announced a slate of six new mobile games to be released in 2008 today at the CTIA convention in Las Vegas. The games, based on some of the studio's feature films and television shows, and PSP(R) (PlayStation(R)Portable) system games, are scheduled to come out from June through November of this year. Other titles, not yet announced, may also join the line up.
"We are extremely proud of this slate and thrilled to offer our mobile partners more of the high-quality games they've come to expect from us and that consumers love to play," said Eric Berger, senior vice president, mobile, SPT.
The titles released today are:
Hancock: The Mobile Game, based on the feature film starring Will Smith, Jason Bateman, and Charlize Theron to be released July 2, is a "one button" game designed for a broad casual audience. Hancock soars through Los Angeles in pursuit of criminals, saving people in danger, while keeping damage to a minimum. Players use Hancock's superhuman strength to set the situation right.
Afterworld Global Contact is the first mobile game to be developed from a multi-platform series with an established community. An adventure game where players travel the world in search of their families, confront challenges and try to reestablish global communications, Afterworld Global Contact includes an online component that rewards players with exclusive web content.
Rock & Roll Jeopardy! is a musical sequel to the mobile game Jeopardy! Deluxe, based on the hugely popular syndicated game show. This rock n' roll version features specialized content, thematic artwork and gameplay enhancement, where players compete against two AI players for virtual cash.
Wheel of Fortune Road Trip is an extension of the Wheel of Fortune Deluxe video game, based on American's favorite game show. Incorporating new features and a sense of adventure, each game will be themed to a city as players complete their journeys.
Quantum of Solace, released to coincide with the film of the same name, brings back Her Majesty's Secret Service agent James Bond in an exciting 2D action game for mobile phones. Capturing the essence of Agent 007's style, players of Quantum of Solace chase down enemy agents, engage in intense firefights and escape dangerous situations that only Bond could survive.
LocoRoco(TM) is back in an authentic mobile adaptation of the incredibly successful PSP(R) system videogame. Tilt and jump LocoRoco past obstacles, find LocoRoco's friends the MuiMuis and grow LocoRoco to find hidden areas in levels.
as posted on PRNewswire
Six New Titles To Be Released in 2008
LAS VEGAS, March 31 /PRNewswire/ -- Sony Pictures Television (SPT) announced a slate of six new mobile games to be released in 2008 today at the CTIA convention in Las Vegas. The games, based on some of the studio's feature films and television shows, and PSP(R) (PlayStation(R)Portable) system games, are scheduled to come out from June through November of this year. Other titles, not yet announced, may also join the line up.
"We are extremely proud of this slate and thrilled to offer our mobile partners more of the high-quality games they've come to expect from us and that consumers love to play," said Eric Berger, senior vice president, mobile, SPT.
The titles released today are:
Hancock: The Mobile Game, based on the feature film starring Will Smith, Jason Bateman, and Charlize Theron to be released July 2, is a "one button" game designed for a broad casual audience. Hancock soars through Los Angeles in pursuit of criminals, saving people in danger, while keeping damage to a minimum. Players use Hancock's superhuman strength to set the situation right.
Afterworld Global Contact is the first mobile game to be developed from a multi-platform series with an established community. An adventure game where players travel the world in search of their families, confront challenges and try to reestablish global communications, Afterworld Global Contact includes an online component that rewards players with exclusive web content.
Rock & Roll Jeopardy! is a musical sequel to the mobile game Jeopardy! Deluxe, based on the hugely popular syndicated game show. This rock n' roll version features specialized content, thematic artwork and gameplay enhancement, where players compete against two AI players for virtual cash.
Wheel of Fortune Road Trip is an extension of the Wheel of Fortune Deluxe video game, based on American's favorite game show. Incorporating new features and a sense of adventure, each game will be themed to a city as players complete their journeys.
Quantum of Solace, released to coincide with the film of the same name, brings back Her Majesty's Secret Service agent James Bond in an exciting 2D action game for mobile phones. Capturing the essence of Agent 007's style, players of Quantum of Solace chase down enemy agents, engage in intense firefights and escape dangerous situations that only Bond could survive.
LocoRoco(TM) is back in an authentic mobile adaptation of the incredibly successful PSP(R) system videogame. Tilt and jump LocoRoco past obstacles, find LocoRoco's friends the MuiMuis and grow LocoRoco to find hidden areas in levels.
as posted on PRNewswire
Wednesday, March 19, 2008
Saturday, March 1, 2008
TV tangled up in web
as posted on Variety
Internet fare struggles to land solid base
By DIANE GARRETT
"Quarterlife," beacon of dreams for many a scribe, has yet to make a dime online. The web skein has found a steady aud since its early November launch, but its viewership is tiny compared with online sensations such as "The Landlord" and "I'm (bleeping) Ben Affleck," last week's answer to "I'm (bleeping) Matt Damon."
Marshall Herskovitz and Ed Zwick's twentysomething serial, which bowed on NBC last week to miniscule ratings, isn't alone. Programmers are still trying to figure out how to build -- and retain -- an aud for serialized shows online. Last week, Disney-ABC Television Group launched Stage 9 Digital Media, an experimental new media division, bowing the comedy skein "Squeegees" on Feb. 28.
Web mavens like to compare the medium's programming to television circa 1947, when networks were still trying to figure out what would translate on the smallscreen. To gauge what works best online, they are experimenting with episode length, series duration and frequency.
After all, primetime doesn't exist online; nor do runtime restrictions nor minimum series orders. Comedy tends to work best, but other genres have gotten some traction online, most notably Michael Eisner's "Prom Queen" thriller and the sci-fi "Afterworld."
So far, there's one general rule of thumb: Shorter is better -- but it's got to be good, or viewers will quickly bail.
"I haven't seen a lot of regular programming that has really taken off yet," says former Mouse House TV and UPN topper Dean Valentine, who launched Comedy.com a couple of weeks ago. "There's very little that has burned up the broadband wires."
He believes the real money won't start flowing into Web programming until someone manages to create a brand online, but concedes that isn't an easy task given the untamed nature of the Internet.
"It's like evaluating what worked after the first season of network television," says Brent Weinstein, who runs 60Frames, an agency developing a variety of web series with artists including Joel and Ethan Coen.
At this point, the biggest online hits tend to be viral one-offs rather than episodes from ongoing skeins. "The Landlord," starring Will Ferrell and Adam McKay's foul-mouthed two-year-old, has racked up more than 50 million viewings since its debut on FunnyorDie.com last April, and Sarah Silverman's "I'm (bleeping) Matt Damon," which originally aired on b.f. Jimmy Kimmel's latenight talker, got roughly 8 million viewings in a few weeks. "I'm (bleeping) Ben Affleck," Kimmel's "We Are the World" style response featuring cameos by Brad Pitt, Cameron Diaz and Robin Williams, was viewed by millions online a few days after it aired on his show Oscar night.
Web skeins, on the other hand, are lucky to nab 200,000 viewings per episode. "Quarterlife" maintained a relatively healthy aud of 100,000 an episode as the skein unfolded; its producers say total viewership amounted to 6 million viewings, with 4 million coming from MySpace and 1 million from the show's dedicated website. (It drew a little over 3 million on Feb. 26 in its first -- and likely only -- airing on NBC).
The trick to establishing a web series, all agree, is to build a property that viewers want to return to, like they do with a newspaper or favorite TV show. Otherwise, programming won't break through the many offerings online.
"People are still conditioned to one-offs rather than shows," says Drew Reifenberger, who heads Turner's Super Deluxe site. "It's a definite challenge for us."
The site has had more luck with self-contained comedy bits than with series incorporating ongoing plots. For instance, the last three installments in "Derek & Simon," a web skein created by Bob Odenkirk, struggled a bit for that reason. Super Deluxe reworked upcoming skeins to make episodes stand alone better.
Through experimentation, "Afterworld" creator Stan Rogow determined that Web crawlers want episodes short -- 3-minute installments worked best -- and they want them updated daily. He said it took him and his co-creators a long time to map out the 130-episode sci-fi show, which was a popular skein on MySpace, spending north of $3 million to produce it. Although he says they will "do OK" financially, Electric Farm decided that 130 episodes were too many and will do 50 at a time going forward. Their next skein, "Gemini Division," stars Rosario Dawson.
Online video consumption is soaring -- topping 10 billion views Stateside in December, according to ComScore. The org determined that the average online video viewed lasted 2.8 minutes and that Google, which owns YouTube, accounted for 32.6% of the activity.
However, advertising, while also growing, is lagging. And it definitely doesn't cover the cost of production for most of the Web series popping up online. To help underwrite the costs, producers are lining up sponsors, but even they don't necessarily cover costs.
In November, Eisner told the New York Times that "Prom Queen" cost $3,000 per 90 seconds, that it made a couple thousand dollars and that the sequel lost money. "Quarterlife," meanwhile, cost north of $80,000 per 8-minute episode; sponsorships by Toyota and Pepsi didn't fully cover the costs.
"The amount of money some entrants are spending would never allow them to make money," says Jim Moloshok, exec chair of GoFish, a network of children's content and veteran of HBO, Yahoo and Warners. "I don't think anybody is making any money yet. It's a business that is supported by venture capitalists and investors trying to build for the future."
Digital tenpercenters say they advised the scribes streaming into their offices during the strike that anything designed for online better be a passion project, because a big payday would be unlikely. They say plenty of writers remain excited about the ownership and creativity that online programming promises.
Undeterred by the fact "Quarterlife" has yet to make money, Herskovitz is actively seeking another series to mount alone.
"I'm dealing with the same frustrations everyone's dealing with scripted online programming," Herskovitz said in the wake of "Quarterlife's" "disappointing" bow. "The numbers aren't there yet. That's just a fact of life."
The good news, Reifenberger says, is that Net crawlers stumble on their programming every day, causing some unusual spikes in activity. And because it's still a relatively small business, the stakes are lower, opening programming up to more experimentation.
"This is truly the fun part, because we are in a state of constant reinvention in terms of the business models and the entertainment business itself," Rogow says.
"It's still the early stages," Reifenberger concurs. "Anybody that tells you they've got it all figured out is fooling themselves."
as posted on Variety
Internet fare struggles to land solid base
By DIANE GARRETT
"Quarterlife," beacon of dreams for many a scribe, has yet to make a dime online. The web skein has found a steady aud since its early November launch, but its viewership is tiny compared with online sensations such as "The Landlord" and "I'm (bleeping) Ben Affleck," last week's answer to "I'm (bleeping) Matt Damon."
Marshall Herskovitz and Ed Zwick's twentysomething serial, which bowed on NBC last week to miniscule ratings, isn't alone. Programmers are still trying to figure out how to build -- and retain -- an aud for serialized shows online. Last week, Disney-ABC Television Group launched Stage 9 Digital Media, an experimental new media division, bowing the comedy skein "Squeegees" on Feb. 28.
Web mavens like to compare the medium's programming to television circa 1947, when networks were still trying to figure out what would translate on the smallscreen. To gauge what works best online, they are experimenting with episode length, series duration and frequency.
After all, primetime doesn't exist online; nor do runtime restrictions nor minimum series orders. Comedy tends to work best, but other genres have gotten some traction online, most notably Michael Eisner's "Prom Queen" thriller and the sci-fi "Afterworld."
So far, there's one general rule of thumb: Shorter is better -- but it's got to be good, or viewers will quickly bail.
"I haven't seen a lot of regular programming that has really taken off yet," says former Mouse House TV and UPN topper Dean Valentine, who launched Comedy.com a couple of weeks ago. "There's very little that has burned up the broadband wires."
He believes the real money won't start flowing into Web programming until someone manages to create a brand online, but concedes that isn't an easy task given the untamed nature of the Internet.
"It's like evaluating what worked after the first season of network television," says Brent Weinstein, who runs 60Frames, an agency developing a variety of web series with artists including Joel and Ethan Coen.
At this point, the biggest online hits tend to be viral one-offs rather than episodes from ongoing skeins. "The Landlord," starring Will Ferrell and Adam McKay's foul-mouthed two-year-old, has racked up more than 50 million viewings since its debut on FunnyorDie.com last April, and Sarah Silverman's "I'm (bleeping) Matt Damon," which originally aired on b.f. Jimmy Kimmel's latenight talker, got roughly 8 million viewings in a few weeks. "I'm (bleeping) Ben Affleck," Kimmel's "We Are the World" style response featuring cameos by Brad Pitt, Cameron Diaz and Robin Williams, was viewed by millions online a few days after it aired on his show Oscar night.
Web skeins, on the other hand, are lucky to nab 200,000 viewings per episode. "Quarterlife" maintained a relatively healthy aud of 100,000 an episode as the skein unfolded; its producers say total viewership amounted to 6 million viewings, with 4 million coming from MySpace and 1 million from the show's dedicated website. (It drew a little over 3 million on Feb. 26 in its first -- and likely only -- airing on NBC).
The trick to establishing a web series, all agree, is to build a property that viewers want to return to, like they do with a newspaper or favorite TV show. Otherwise, programming won't break through the many offerings online.
"People are still conditioned to one-offs rather than shows," says Drew Reifenberger, who heads Turner's Super Deluxe site. "It's a definite challenge for us."
The site has had more luck with self-contained comedy bits than with series incorporating ongoing plots. For instance, the last three installments in "Derek & Simon," a web skein created by Bob Odenkirk, struggled a bit for that reason. Super Deluxe reworked upcoming skeins to make episodes stand alone better.
Through experimentation, "Afterworld" creator Stan Rogow determined that Web crawlers want episodes short -- 3-minute installments worked best -- and they want them updated daily. He said it took him and his co-creators a long time to map out the 130-episode sci-fi show, which was a popular skein on MySpace, spending north of $3 million to produce it. Although he says they will "do OK" financially, Electric Farm decided that 130 episodes were too many and will do 50 at a time going forward. Their next skein, "Gemini Division," stars Rosario Dawson.
Online video consumption is soaring -- topping 10 billion views Stateside in December, according to ComScore. The org determined that the average online video viewed lasted 2.8 minutes and that Google, which owns YouTube, accounted for 32.6% of the activity.
However, advertising, while also growing, is lagging. And it definitely doesn't cover the cost of production for most of the Web series popping up online. To help underwrite the costs, producers are lining up sponsors, but even they don't necessarily cover costs.
In November, Eisner told the New York Times that "Prom Queen" cost $3,000 per 90 seconds, that it made a couple thousand dollars and that the sequel lost money. "Quarterlife," meanwhile, cost north of $80,000 per 8-minute episode; sponsorships by Toyota and Pepsi didn't fully cover the costs.
"The amount of money some entrants are spending would never allow them to make money," says Jim Moloshok, exec chair of GoFish, a network of children's content and veteran of HBO, Yahoo and Warners. "I don't think anybody is making any money yet. It's a business that is supported by venture capitalists and investors trying to build for the future."
Digital tenpercenters say they advised the scribes streaming into their offices during the strike that anything designed for online better be a passion project, because a big payday would be unlikely. They say plenty of writers remain excited about the ownership and creativity that online programming promises.
Undeterred by the fact "Quarterlife" has yet to make money, Herskovitz is actively seeking another series to mount alone.
"I'm dealing with the same frustrations everyone's dealing with scripted online programming," Herskovitz said in the wake of "Quarterlife's" "disappointing" bow. "The numbers aren't there yet. That's just a fact of life."
The good news, Reifenberger says, is that Net crawlers stumble on their programming every day, causing some unusual spikes in activity. And because it's still a relatively small business, the stakes are lower, opening programming up to more experimentation.
"This is truly the fun part, because we are in a state of constant reinvention in terms of the business models and the entertainment business itself," Rogow says.
"It's still the early stages," Reifenberger concurs. "Anybody that tells you they've got it all figured out is fooling themselves."
as posted on Variety
Saturday, February 23, 2008
Season 2 Contest
Our friends over at Afterworldtheories.com have had a great idea to start a contest, so I thought that I'd share the info.
This is their contest, so please e-mail Ranger Sergeant at info@afterworldtheories.com if you have questions about this. I don't know anymore than what is here (like what the deadline is), but I am working on my uber-theory.
With the downtime between the end of Season One and the Beginning of Season Two the Afterworld Theories website is running a contest with the Grand Prize being either a $25 Starbucks gift card or $25 cash (winner's choice). (We're a fan site and we're poor...if you don't like $25 you're more than welcome to go back to watching Hello Kitty's Adventure World)
Rules:
1) Based on Afterworld Season One (Episodes 01 - 130) create a theory on what you believe is going to happen in Season Two.
2) Post that Theory on the Afterworld Word Wall or email it to info@afterworldtheories.com. All entries for this contest must be received and recorded one week before the first airing of Season Two episode one.
3) Whomever has the theory closest to what occurs in Season Two wins.It's easy, it's simple, it's $25 for whomever is closest to predicting what happens to Russell.
This is their contest, so please e-mail Ranger Sergeant at info@afterworldtheories.com if you have questions about this. I don't know anymore than what is here (like what the deadline is), but I am working on my uber-theory.
With the downtime between the end of Season One and the Beginning of Season Two the Afterworld Theories website is running a contest with the Grand Prize being either a $25 Starbucks gift card or $25 cash (winner's choice). (We're a fan site and we're poor...if you don't like $25 you're more than welcome to go back to watching Hello Kitty's Adventure World)
Rules:
1) Based on Afterworld Season One (Episodes 01 - 130) create a theory on what you believe is going to happen in Season Two.
2) Post that Theory on the Afterworld Word Wall or email it to info@afterworldtheories.com. All entries for this contest must be received and recorded one week before the first airing of Season Two episode one.
3) Whomever has the theory closest to what occurs in Season Two wins.It's easy, it's simple, it's $25 for whomever is closest to predicting what happens to Russell.
Thursday, February 14, 2008
Sony Pictures Television International Networks Group Promotes Pamela Parker to Senior Vice President, Business Affairs and Acquisitions
as posted on EarthTimesORG
CULVER CITY, Calif., Feb. 12 /PRNewswire/ -- Sony Pictures Television International (SPTI) announced today that Pamela Parker has been promoted to senior vice president, business affairs and acquisitions of its international networks group. The announcement was made today by Marie Jacobson, SPTI's executive vice president of programming and production, international networks.
"Pamela's significant contributions to the international networks group have fueled the expansion of our network portfolio and the overall breadth and depth of our programming," said Jacobson. "Pamela has proven her ability to steer multiple priority projects across the line at any given time, from big ticket acquisitions, to format adaptations, to talent and production deals. Pamela is widely respected both in the industry and by her team to be a no nonsense negotiator and passionate supporter of network initiatives."
Based at SPTI's worldwide headquarters in Culver City, California, Parker heads acquisitions and business affairs for the international networks group. She is also actively involved in the local execution of several of SPTI Networks' light entertainment franchises, including Six Degrees of X, Brazil's Next Top Model and The Amazing Race Asia, and SPTI's increasing investment in the multi-platform digital content space. Additionally, she negotiates and drafts multi-territory acquisitions for SPTI's approximately 50 television channels outside the United States, including AXN, Sony Entertainment Television (SET) and Animax.
Prior to her promotion, she had been vice president, business affairs and acquisitions, since 2001. She played a vital role in the negotiation of Afterworld, a co-production between SPTI and Electric Farm Entertainment and continues to spearhead acquisitions for Animax Mobile, SPTI's latest venture in the branded wireless space. Under her leadership, SPTI's international networks group has been able to acquire rights to air such hit U.S. series as Damages, CSI, Lost, Desperate Housewives, House, The Shield, 'Til Death, countless studio and independent movie packages, as well as the rights to adapt numerous international hit formats into local language versions, such as American Idol on SET Latin America and Indian Idol on SET India; and The Amazing Race Asia, which airs on AXN Asia.
Parker joined SPTI in 1999 as director, business affairs and acquisitions. Before joining SPTI, she worked as an entertainment and corporate attorney for the law firm of Christensen, Miller, Fink, Jacobs, Glaser, Weil & Shapiro, LLP in Los Angeles. Prior to earning her J.D. from New York University School of Law, Parker worked in film and television production with several independent production houses in NY.
About Sony Pictures Television International
Sony Pictures Television International (SPTI) is the division of Sony Pictures Entertainment (SPE) responsible for all television business outside of the United States. SPTI operates three complementary lines of business: 1) distribution of SPE's feature films and television programming to television, mobile and digital content delivery outlets around the world, 2) local television production in key international markets, and 3) international television networks. In addition to being a leader in the distribution of current and classic U.S. and international films and television product worldwide, SPTI produces high profile, locally produced television in local languages. With dedicated offices in France, Germany, Hong Kong, Italy, Miami (Latin America), the People's Republic of China, Russia, Spain and the United Kingdom, SPTI currently oversees production in nine regions of the world and is the leader in international television production among all major Hollywood studios. SPTI's worldwide television networks portfolio is a key strategy in the SPE's long-range commitment to the global marketplace, with almost 50 networks in more than 130 countries reaching more than 300 million households worldwide. SPTI is a Sony Pictures Entertainment company.
Contacts: Ron Sato Sony Pictures Television International +1 310 244 4687 ron_sato@spe.sony.com Gabriella Alaimo Thomas Sony Pictures Television International +1 310 244-3538 gabriella_alaimo@spe.sony.com
Sony Pictures Television International
as posted on EarthTimesORG
CULVER CITY, Calif., Feb. 12 /PRNewswire/ -- Sony Pictures Television International (SPTI) announced today that Pamela Parker has been promoted to senior vice president, business affairs and acquisitions of its international networks group. The announcement was made today by Marie Jacobson, SPTI's executive vice president of programming and production, international networks.
"Pamela's significant contributions to the international networks group have fueled the expansion of our network portfolio and the overall breadth and depth of our programming," said Jacobson. "Pamela has proven her ability to steer multiple priority projects across the line at any given time, from big ticket acquisitions, to format adaptations, to talent and production deals. Pamela is widely respected both in the industry and by her team to be a no nonsense negotiator and passionate supporter of network initiatives."
Based at SPTI's worldwide headquarters in Culver City, California, Parker heads acquisitions and business affairs for the international networks group. She is also actively involved in the local execution of several of SPTI Networks' light entertainment franchises, including Six Degrees of X, Brazil's Next Top Model and The Amazing Race Asia, and SPTI's increasing investment in the multi-platform digital content space. Additionally, she negotiates and drafts multi-territory acquisitions for SPTI's approximately 50 television channels outside the United States, including AXN, Sony Entertainment Television (SET) and Animax.
Prior to her promotion, she had been vice president, business affairs and acquisitions, since 2001. She played a vital role in the negotiation of Afterworld, a co-production between SPTI and Electric Farm Entertainment and continues to spearhead acquisitions for Animax Mobile, SPTI's latest venture in the branded wireless space. Under her leadership, SPTI's international networks group has been able to acquire rights to air such hit U.S. series as Damages, CSI, Lost, Desperate Housewives, House, The Shield, 'Til Death, countless studio and independent movie packages, as well as the rights to adapt numerous international hit formats into local language versions, such as American Idol on SET Latin America and Indian Idol on SET India; and The Amazing Race Asia, which airs on AXN Asia.
Parker joined SPTI in 1999 as director, business affairs and acquisitions. Before joining SPTI, she worked as an entertainment and corporate attorney for the law firm of Christensen, Miller, Fink, Jacobs, Glaser, Weil & Shapiro, LLP in Los Angeles. Prior to earning her J.D. from New York University School of Law, Parker worked in film and television production with several independent production houses in NY.
About Sony Pictures Television International
Sony Pictures Television International (SPTI) is the division of Sony Pictures Entertainment (SPE) responsible for all television business outside of the United States. SPTI operates three complementary lines of business: 1) distribution of SPE's feature films and television programming to television, mobile and digital content delivery outlets around the world, 2) local television production in key international markets, and 3) international television networks. In addition to being a leader in the distribution of current and classic U.S. and international films and television product worldwide, SPTI produces high profile, locally produced television in local languages. With dedicated offices in France, Germany, Hong Kong, Italy, Miami (Latin America), the People's Republic of China, Russia, Spain and the United Kingdom, SPTI currently oversees production in nine regions of the world and is the leader in international television production among all major Hollywood studios. SPTI's worldwide television networks portfolio is a key strategy in the SPE's long-range commitment to the global marketplace, with almost 50 networks in more than 130 countries reaching more than 300 million households worldwide. SPTI is a Sony Pictures Entertainment company.
Contacts: Ron Sato Sony Pictures Television International +1 310 244 4687 ron_sato@spe.sony.com Gabriella Alaimo Thomas Sony Pictures Television International +1 310 244-3538 gabriella_alaimo@spe.sony.com
Sony Pictures Television International
as posted on EarthTimesORG
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