Amanda Ospina, Executive Director during her visit to the Eastern Europe countries.

Even though telenovelas remain at top-quality level and highly esteemed by audiences from all over the world, realities and other kinds of formats are winning over audiences and generating social effects.
How to increase audiences is programmers’ greatest challenge, but when it comes to producers, the challenge must go beyond, assuming the responsibility that programs also have the capacity of winning loyalty; and of being durable and high-quality products. 
And who are the major players that are on the alert so they can get back to the audience with products that suit the increasingly demanding requirements of a market that is shaken by prices and oversupply?  
The World Summit of the Telenovela and Fiction Industry, which has taken place for the last three years and will have its fourth version this year, is precisely the most original tool designed to facilitate the way towards new business highways generated by globalization.
Mexican Televisa and TV Azteca, Colombian Caracol and RCN, Venezuelan Venevision and RCTV, Argentinean Telefe and Artear, Brazilian Globo and Rede Record, as well as United States’ Telemundo, are among the companies that have more possibilities of winning the rating battle with their productions anywhere in the world. And why? Just because they have a wide experience and make large financial investments to create and develop their programs and formats. 
These companies, based on creativity and development, have been victoriously trying out the contrast between short and long production success.
At the last Summit in Madrid, we could notice the purchasers’ –that is programmers– need not only for short fictions, but also for those that can be broadcasted for more than 400 episodes. Likewise, the brilliant prospect for the format market in Spain and in most of the European and Asian countries was noticeable.
Format success is almost as significant as the successful performance of telenovelas. Channels have found a golden mine consisting of contests, realities and some telenovelas that enter the international market as formats. Format trade generated about 2.5 billion euros in 2004, an extremely important figure similar to that of the telenovela industry.
Knowing that countries like the United States, Germany and France control the business today, there is also an opportunity in the well established Latin American industry.
I would like to make one comment. It is very clear that the format demand points to entertainment and recreation, but beware of the fact that programmers also seek products that fit in this better world that man wants to build. It is not about relinquishing entertainment, but designing and creating formats of their own centered in social and cultural values, and immersed in the everyday reality that overwhelms the citizens of today.
And all of this is possible simply because the fiction world offers a great number of possibilities: from the stories of Sherezade to The Count of Montecristo and Shakespeare, among others..