MIPCOM NEWS 3

mipcom nEWs ®

Day

Wednesday October 5 2011

www.mipcom.com

03

personality of the year

‘The most powerful woman in entertainment’ (The Hollywood Reporter) Anne Sweeney, co-chair of Disney Media Networks and president of Disney/ABC Television Group, is honoured at MIPCOM today and gives a keynote address at 16.00 in the Grand Auditorium. More on page 45

euroVision tV lab

Nederland 3’s Roek Lips and Absolutely Independent’s Patty Geneste show how to increase your channel’s audience outreach. Today at 10.15 in Audi A

russian fiction fresh tV

Don’t miss the opportunity to see the hottest properties in Russia, presented by The Wit, today at 12.30 in Audi A

asian content exchange

Network with leading producers and buyers from Asia. Awards will be given for Japanese drama

meet the russians

Celebrity host Vladimir Pozner meets top Russian media leaders in The Talk Show at 14.45 in the Esterel

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y o b d a b a e iv g u o y n e h w What happens ? ld r o w e th to t e k c ti n e p chef an o As he explores every corner of the globe on his Emmy® award-winning series, Anthony Bourdain encounters the weird, wild and downright outrageous personalities and places that help define the international cultural landscape. He dives head first into life’s colourful and rich pageant on a journey of discovery of both far-out and familiar places - of the world and of the palate.

LIFESTYLE | Series 8: Coming soon Series 7: 16 x 1 hour Series 4-6: 62 x 1 hour |

MIPCOM Stand RB1 Riviera Beach . Cannes www.fmescreenings.com

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Produced by Zero Point Zero Productions for Travel Channel (U.S.).

mipcom

Contents mipcom neWs 3 ®

The official MIPCOM daily newspaper Wednesday 5 October 2011 Director of Publications Paul Zilk EDITOrIal DEParTMEnT Editor in Chief Julian Newby Technical Editor in Chief Herve Traisnel Deputy Technical Editor in Chief Frederic Beauseigneur Graphic Designers Carole Peres, Veronique Duthille, Muriel Betrancourt Deputy Editor Debbie Lincoln Sub Editors Sarah Kovandzich, Max Leonard reporters Marlene Edmunds, Andy Fry, Emelia Jones, Juliana Koranteng, Rachel Murrell, Gary Smith, Joanna Stephens, Chris White, Nigel Willmott Head of Photographers Yann Coatsaliou / 360 Media Photographers Christian Alminana, Georges Auclaire, Olivier Houeix, Michel Johner Editorial Management Boutique Editions.

nEWS 6 Market news

Deals made in Cannes; product news; and forthcoming events

people 10 Kiefer Sutherland

The Hollywood actor and TV star talks about Touch, writer Tim Kring’s new series for Fox

17 Ashley Judd

In Cannes for the World Premiere TV Screening of Disney/ABC’s Missing

17

PrODuCTIOn DEParTMEnT Content Director Jean-Marc Andre Publications Production and Development Manager Martin Screpel Publishing Product Manager Chealsy Choquette Publishing Co-ordinators Emilie Lambert, Amrane Lamiri, David Le Chapelain Productions assistant Veronica Pirim Production assistant, Cannes Office Eric Laurent Printer Riccobono Imprimeurs, Le Muy (France). aDVErTISInG COnTaCT In CannES Christine Mendes 01 41 90 49 89 christine.mendes@reedmidem.com ManaGEMEnT, MarkETInG & SalES TEaM Director of the Entertainment Division Anne de Kerckhove Director of the Television Division Laurine Garaude Director of Market Development Ted Baracos Sales Director Sabine Chemaly Marketing Director Stephane Gambetta Programme Director Tania Dugaro Managing Director (uk / australia / new Zealand) Peter Rhodes OBE Sales Manager Elizabeth Delaney Vice President Sales and Business Development, americas Robert Marking Vice President Business Development, north america JP Bommel Executive Sales Director, north america MJ Sorenson Sales Executive Panayiota Pagoulatos regional Sales Director Fabienne Germond Sales Managers Paul Barbaro, Nathalie Gastone, Samira Haddi Sales Executives Liliane Dacruz, Cyril Szczerbakow Digital Media Sales Manager Nancy Denole australia and new Zealand representative Natalie Apostolou China representative Anke Redl CIS representative Alexandra Modestova English Speaking africa representative Arnaud de Nanteuil India representative Anil Wanvari Israel representative Guy Martinovsky Japan representative Lily Ono latin america representative Elisa Aquino Middle-East representative Bassil Hajjar Poland representative Monika Bednarek South korea representative Sunny Kim Taiwan representative Irene Liu Germany representative (Digital Media Sector) Renate Radke Adam.

Published by reed MIDEM, BP 572, 11 rue du Colonel Pierre Avia, 75726 Paris Cedex 15, France. Contents © 2011, Reed MIDEM Market Publications, Publication registered 4th quarter 2011. ISSN 1962-9974.

Printed on FSC certified paper The MIPCOM news team is located in the Press & news Hub next to the Palais des Festivals

DON’T miss tomorrow’s early Focus On Russia Breakfast Session (Thursday, 08.45, Russia House, Azur Hall). It deals with the place of professionally produced content in social media and UGC environments, focusing on how the industry can move from confrontation to co-operation when monetising content.

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feature 45 Anne Sweeney

MIPCOM’s Personality Of The Year talks to Julian Newby about her career and the industry she loves

45 YOUTUBE, The Next Generation promises to reveal exciting developments at the world’s favourite online video platform, of interest to all producers and rights holders (Today, 13.00, Esterel, with a buffet from 12.30). Expect plans to capture new audiences and revenue sources, and YouTube Next presented – how the company will engage in content development.

TONiGhT’s inaugural World screen Trendsetter Content Award (Grand Auditorium, level 1, 17.00-18.00, after the Acquisition super Panel) honours leading acquisitions executives.

These are: Mike Cosentino (CTV Networks, Canada); sarah Wright (BskyB, UK); Carlos sandoval (Televisa, Mexico); and Jeff Ford (Channel 5, UK).

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VISIT US A AT T MIPCOM ST STAND TA AND G3.40 bbcw bbcworldwidesales.com orldwidesales.com

mipcom

neWs INSIDE THE RUSSIAN CONTENT MINDSET DELEGATES were treated to an insight into Russian content strategies during Meet The Russian Buyers, yesterday in Russia House.

Vitaly Sizov, head of acquisitions at Channel One Russia, said his main priorities were studio movies and high quality drama series, both acquired and reversioned: “Lie To Me was a big favourite in Russia and Sherlock from the UK was exceptional.

We adapted Prison Break — which secured a 20% share and has been renewed for season two.”

Ilya Krivitsky, chief creative officer at Red Square Group, works with big international producers on high-quality local adaptations of shows like Wipeout, Singing Bee and Russia’s Got Talent.

“Shows like ‘Got Talent’ are very important because they do well year after year,” he said.

CTC Media was represented by two executives — CTC Network programming director Alexander Pronin and CTC Media head of acquisitions Irina Panfilova. Pronin provided an insight into the company’s family of free-to-air channels (CTC, Domashny and DTV) before Panfilova talked about format successes like The Boarding School, Brainiest and That’s My Kid. Asked what was top of her shopping list, she said: “I’d like another really strong non-scripted family format like Zodiak’s That’s My Kid.”

Television ‘still calls the shots’ amid technological revolution “IT TURNS out that the next big

thing is going to include the same old big thing: TV,” Kevin Reilly, Fox Broadcasting Company’s president, entertainment told MIPCOM delegates in a powerful keynote defence of the medium and the creativity that drives it.

“For all the upheaval, the web — in both content, creation and advertising — is showing its limitations, which has reaffirmed the value of premium TV content,” he said.

“There is nothing better than a television programme to create an emotional connection with a viewer. And there is simply no better platform to create and drive global brands than a television network.”

He added: “We’re no longer in a place where content gives way to technology … The future isn’t either traditional or digital, it’s a feedback loop between the two.

And that’s exciting.”

He described how “we shifted our mind-set” to use social media to support TV, with the examples of

Glee, where the show was streamed on Hulu before TV transmission, and a new comedy, New Girl.

“Even before we aired the pilot, we pre-released the full episode on iTunes and VOD. We had over two million downloads prior to

air. Twitter and Facebook spiked both viewer awareness and intent to view.”

He concluded: “Linear storytelling is not a thing of the past.

The technological battle is now around the TV set, not the PC.”

Kevin Reilly

Eco-warrior offers Hope for future WHEN photographer, film-

maker, environmentalist and eco-activist Yann ArthusBertrand was born in 1946, there were two billion people on the planet. By the end of this month, the world’s population will have topped seven billion.

“We are moving into an unknown world of climate change, food poverty, vanishing resources and overpopulation,” Arthus-Bertrand said at the launch of his latest eco-project — a sustainable-development production company called Hope Production. “But I’m an optimist and I believe the solutions will be found in those seven billion brains.”

Arthus-Bertrand’s contribution to the fight will be to produce

environmental movies and TV content that people want to watch, that broadcasters want to schedule and that spread “a message of hope rather than just ringing the alarm bell”, said Hope Production co-founder, Nicolas Coppermann, managing director of Robin&Co. The new non-profit-making joint venture aims to reinvest any profits in sustainabledevelopment projects and NGOs. Hope Production’s first three projects are already in development: including the 90-minute film The Water We Share, which pleads for a radical change in our attitude to our most valuable resource.

Yann Arthus-Bertrand

Ilya Krivitsky

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mipcom

neWs @morvan

@Miramax

Shazam’s @evankraus : 62% of TV viewers pick up the phone as soon as TV ad break starts #mipcom

NEWS: Miramax CEO Mike Lang @_mip_: “The future had to be innovate or die.”

Follow #mipblog! mipblog

More information on: http://blog.mipworld.com

Entertainment majors ready to unleash Ultraviolet’s potential Reed MIDEM’S Anne de Kerckhove: “a space where the audience is the hero”

MIPCUBE TO EXPLORE THE FUTURE OF TV MIPCUBE: Architects Of The Future is the re-branded Connected Creativity forum. It will form a part of MIPTV 2012, providing a discovery space for delegates to experience the future of content in all its forms.

“This innovative forum will be bigger and better than our launch last year,” said Anne de Kerckhove, director of Reed MIDEM’s entertainment division.

“MIPCube will continue to showcase our innovative ‘live learning’ concept, which gives content creators and technology players a chance both to experience and share the best mix of new technologies available, and actively explore the future of TV.” MIPCube complements MIPFormats and MIPDoc, as a space where the audience is central to its success. “We wanted to create a space where the audience is the hero, where they can interact with one another and be part of more focused matchmaking sessions and networking events,” de Kerckhove said. “We want MIPCube to be a global forum where the future of TV is architected right there and then among the participants.”

THE ENTERTAINMENT industry’s biggest collective effort yet to crack the digital market and jumpstart sagging home entertainment sales begins next Tuesday, with the release of Warner Bros.’

Horrible Bosses on the new Ultraviolet platform.

From next week buyers of selected Blu-ray/DVDs will also obtain the right to a digital copy to download or stream any time, anywhere and any place, tackling the lack of ownership felt by consumers of digital content.

Justin Herz, Warner’s general manager, advanced digital services, told the Tales From The Cloud: Here Comes Ultraviolet panel session: “We expect by this time next year more than 50% of product will be within the Ultraviolet offering.”

Herz showed clips of the ads that will screen in the US in the run-up to the release of Horrible Bosses and other Warner Bros. Ultraviolet titles, including Harry Potter and Friends With Benefits.

The Ultraviolet alliance is backed by nearly 70 companies, including major Hollywood studios, major technology companies such as Intel, Microsoft and Nokia, and retailers including Blockbuster and Tesco. The main absentees are Disney and Apple, but Herz said they remain in close contact on the project.

Ultraviolet provides a common file format that will play on a full range of UV computers, phones and other devices that are now coming on to the market. A central database of digital rights will allow registered users — High-powered panel: Mark Teitell (left), executive director, DECE, LLC; Daniel Saunders, head of and their households — to access content services Samsung Electronics Europe; Robert Price, managing director, Twentieth Century Fox content stored in the vast databanks Home Entertainment, UK; Justin Herz; Steven Chester, vice-president for film, Akamai; and Rodolphe Buet, executive vice-president, international distribution and new business, StudioCanal of the cloud.

Producers find fund of knowledge COMMISSIONERS and funding experts from Europe and North America met producers from around the globe looking for financing money to back new projects at the Breakfast With The Film Commissioners yesterday.

La Vision’s Haiyi Wang (left) talks to Ile de France’s Olivier Rene Veillon.

Waiting his turn is Inspire Media’s Asmot Ali

Michela Ritondo, a senior Belgian tax official, said a company wishing to invest in audiovisual could deduct from its taxable profits 150% of the taxes invested. Olivier Rene Veillon of the Ile de France Film Commission said he believed the fact that Woody Allen’s Midnight In Paris racked up some $130m in box office was partially due to the fact that the shoot itself took place in Paris.

Elena Romanova, head of international at the Russian Cinema Fund said the support structures in Russia for film producers were new, but they were growing, including recent co-production funds.

Kira Saksaganskaya, producer for Rock Films in Russia, and Olga Aylarova, head of international for Rock Films, said they came to the breakfast simply to meet film commissioners and talk to other producers.

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Produced by

DRAMA

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10 x 1 hour

MIPCOM Stand RB1 Riviera Beach . Cannes www.fmescreenings.com

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people

mipcom

“24 changed everything for me” Kiefer Sutherland is back in Touch, another sure-fire hit series for Fox. He told Julian Newby how landing the part of Jack Bauer in 24 changed his life

A

CTOR Kiefer Sutherland was unenthusiastic when Fox first told him about Touch.

The series 24 had confirmed his global Alist status, he was in the midst of his Broadway debut, and had no desire to do another long-running television series. “I got a call from Kevin (Reilly) and I got a call from Peter Chernin and they both asked me to take a look at the script. They said, ‘Trust me, just read it.’ And I remember, I was on page 25 and I put it down and I took a deep breath, and I went ‘Shit!’

I called this person who I’ve been working with for 20 or some odd years and I said... ‘We have to do it, there’s no way around this, right? And she said ‘Pretty much’.”

Sutherland described writer Tim Kring’s Touch as “a genius concept”.

In the series he plays the single father to Jake, a mute 11-year old boy who is capable of spotting patterns within numbers, that connect seemingly unrelated events, giving him special powers of perception. “It’s a very intimate, personal story that has a thrilling aspect to it. You witness this father in this position with his son who can’t speak to him, and he’s trying to find ways to communicate with him — and there’s sad humour in that as well. It has everything.”

Kring told Sutherland that he wanted Touch to be “unabashedly emotional”. “My job in 24 was actually to hold all of that emotion back,” he said. “So to hear that, as an actor, was such an open door for me.”

Sutherland said that television today is attracting great writers and A-list performers, and remembers when his father Donald Sutherland started out. “If you did television, it was over. You would never do features again.

But that’s all based on this (he points to an iPhone,) and cable, and HBO. When I was 16-years-old and wanted to watch a Paul Newman movie, I had to stand in line to watch a Paul Newman movie. I turn on the cable now and I can find Paul Newman in three different spots, at home.”

The movie industry changed too. “They stopped spending $20m a movie and started spending $150m, and everything became high-concept and the films I wanted to watch... evaporated. Instead they became The Sopranos, Heroes, The Wire, 24 — that’s where I was getting my fix as a viewer.

“I was very lucky to have landed 24 when I did because it was literally right after the success of 24 that you started to watch unbelievable actors crossing over to television. It’s a real muscle. If I was a runner and I wanted to make the Olympics, I’d train every day. And yet when I started out, we were told as actors: ‘Do one-and-a-half movies every three years.’ How the fuck are you going to get better like that? So When I started doing 24 and I started working 12, 14, hours-a-day, five days-a-week, 10 months at a time, it changed everything for me. My life changed.”

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ADVERTORIAL

BAVARIA MEDIA TV PRESENTS "VARES" AT THIS YEAR’S MIPCOM, BAVARIA MEDIA TV WELCOMED NOT ONLY MANY BUYERS AND COLLEAGUES, BUT ALSO SOME VERY SPECIAL GUESTS ATTACHED TO ITS PROGRAM HIGHLIGHT VARES, A FINNISH CRIME CYCLE BASED ON THE BESTSELLING NOVELS BY REIJO MÄKI: ACTOR ANTTI REINI, DIRECTOR ANDERS ENGSTRÖM AND SOLAR FILMS PRODUCER JUKKA HELLE.

Philipp Kreuzer, the Vice President International and Co-Production of Bavaria Media TV, Jukka Helle, producer and managing director of Solar Films, actor Antti Reini and director Anders Engström

Lead actor Antti Reini

Krzysztof Bartlomiej Jaworski, International Sales Executive TVP, Maria Nadolna, Managing Director TVP, Helge Köhnen, Sales Manager Bavaria Media Television and Agata Ziomek, International Sales Manager TVP

Sven van Lokeren, Acquisition Manager Series VRT and Stefanie Fritz, Director Sales Bavaria Media Television

Francis Humble, TV3, Iowanka Sanchez Sprehe, Junior Sales Manager Bavaria Media Television and Philipp Kreuzer, Bavaria Media Television

ADVERTORIAL_BAVARIA_TV.indd 1

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mipcom

neWs PIONEERS OF THE RUSH TO RUSSIA

Russian experts convene for co-production summit

SOVTELEXPORT’s Yulia Matyash recently sealed a creative joint venture with Discovery George Leclere, centre, directs the panel

WITH the Russian TV economy growing rapidly, it’s no surprise that the potential for coproductions is moving up the agenda. This was the hot topic debated in Focus On Russia: Co-production Case Studies.

Speaking to MIPCOM News, George Leclere, session moderator and chairman of

War & Peace Media Group, USA, said there were still commercial and editorial obstacles to working with Russia but that “Russians are eager to learn and our panel was wellplaced to explain the opportunities”. Panelists included War & Peace Russia general manager Vitaly Fedko, who has

years of experience putting together co-productions with organisations including ARTE and ZDF. Also from Russia was Yulia Matyash, director of RTR’s distribution arm Sovtelexport, whose recent activities have included a joint venture with Discovery.

Leclere said the panel benefited from non-Russian experts too.

“Patrick Hoerl, managing director of Autentic, used to be CEO of Discovery Germany and has a lot of experience with Russia. Arnaud Frilley, CEO of B-tween in France, co-produced the movie Rasputin using Russian locations.” That project proved a good case study, explained Leclere. “Arnaud got access to great locations in St Petersburg, which helps with the authenticity of the film,” he said. “But he also talked about the need to be editorially sensitive if you want Russian co-operation on subjects which recount their history.”

Projects honed at Russia get-together

B-TWEEN’s Arnaud Frilley co-produced Rasputin with Russian partners

WAR & PEACE’s Vitaly Fedko has years of experience co-producing factual projects

M

IPCOM delegates met Russian producers this week to discuss opportunities for creative collaboration.

Among the Russian companies taking part in the session entitled Focus On Russia: Co-production Matchmaking were Star Media, Russian World Studios, War & Peace and Masterfilm Studios. Sitting across the pitching table were more than 20 companies including Arrow Entertainment, Can’t Stop Media, DRG, Electric Sky, CCI Entertainment and Constantin Entertainment.

The session, which saw companies discuss scripted and

Cinema Fund Russia’s Elena Romanova (centre) talks co-productions

unscripted projects, was put together by Simon Preston, managing director of Creatives Loop, with expert input from media lawyer Leila Neiman.

Also hosting and supporting the

event was Cinema Fund Russia, whose head of international department, Elena Romanova, said MIPCOM was “a good opportunity to discuss international co-productions”.

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OFFICIAL O FFICIAL C CONFERENCES ONFERENCES & E EVENTS VENTS

N NETWORKING ETWORKING B BREAKFAST REAKFAST 8 .00 – 9 .30 8.00 9.30 M ajestic Hotel, Hotel, Salon Salon Marta Marta Majestic Sponsored Sponsored b byy FFeatured eatured Speaker ■ Mar Marcc W Welinski elinski ((photo), photo), Dir Director ector o off Marketing and C Commercial ommercial SStrategy, trategy, Eutelsat Eutelsat,, FFrance rance Hosted By ■ JJanine anine Stein, Stein, EEditorial ditorial Dir Director, ectorr, C Content ontent Asia Asia,, Sing Singapore apore

C ROWDFUNDING : CROWDFUNDING N EW R EVENUE S OURCES FOR FOR PRODUCERS PRODUCERS ?

NEW REVENUE SOURCES 9 .30 – 1 0.30 9.30 10.30 C alifornie T heatre, LLevel evel 5 Californie Theatre, Moder ator Moderator ■P at FFerns, erns, Pr esident /Executive Pr oducer, FFerns erns Pat President/Executive Producer, Pr oductions Inc Productions Inc.,., Canada @patferns @patferns Speakers Speakers Slava ■ Sla va Rubin, Rubin, Founder Founder & CEO, CEO, IndieGoGo,, USA IndieGoGo @GoGoSla va @GoGoSlava ■ Barbar To onelli, Acquisition Acquisition Director Director & Barbaraa Tonelli, France Co-Founder, T o ouscoprod, France Co-Founder, Touscoprod, @br @brujitaroja ujitarojja Peter ■P eter Wintonick Wintonick ((photo), photo), International Producer, Pr oducer, EEyesteelfilm yesteelfilm – Necessary Illusions,, Canada Illusions

WEST WEST MEETS MEETS EAST EAST BUYER BUYER PANEL PANEL 10.15 – 11.45 11.45 10.15 Esterel, Level Level 5 Esterel, Moderator Moderator (photo), Ex ecutive ■ Mathieu Bejot (photo), Executive rance International rance Director, Director, TV FFrance International,, FFrance Speakers Speaker rs xandra But ormats A cquisition ■ Ale Alexandra But,, FFormats Acquisition Manager, CJSC Russian W orld S tudios, Manager, World Studios, Russia ■ Badih FFattouh, attouh, Group Group Director Director of of C ontent, MBC FZ FZ LLC Content, LLC,, UAE @bfattouh @bfattouh UAE ■ Virginia Virginia Mouseler CEO, The WIT, WIT, FFrance rance Mouseler,, CEO, @TheWitFreshTV @TheW itFreshTV Dragan Managing Director Director & Partner, Partner, ■ Dr agan Petrovic, Petrovic, Managing V Visionary isionary Thinking Thinking,, Serbia Konstanze Manager TV, ■K onstanze Welz, Welz, Project Projject Manag er TV V, German FFilms ilms Marketing gmbh,, German Germanyy Mark eting & Service gmbh

Followed Followed by by the the Asian Asian Content Content Exchange Exchange Cocktail Cocktail

Networking Br Breakfast eakfast welcome EEverybody verryybody w elcome

11.00 - 12.00 International and Russian FFormats ormats Showcase.

Channel One R Russia ussia and Red Red Square Group Showcasing Sq uarre Gr ro oup Sho Sh wcasing International In ternational and R Russian ussian fformats. o orrm mats.

PParticipants: articipants:

TOWARDS TOWARDS THE THE NEXT NEXT GENERATION GENERATION OF MUST SEE SEE TV TV – THE THE KILLING KILLING OF MUST 11.30 11.30 – 12.15 12.15 Auditorium Auditorium A, A, Level Level 3 Moderator Moderator Peter White ditor, T eelevision Business ■ Peter White,, Deputy EEditor, Television International International,, UK

EUROVISION EUROVISION T TV V LLAB AB C CONCEPT ONCEPT C CASE ASE STUDY STUDY 10.15 11.15 1 0.15 – 1 1.15 Auditorium A,, LLevel A uditorium A evel 3

Speakers Speakers ■ Piv Bernth (photo), (photo), Pr Producer, oducer, Danish Broadcasting Br oadcasting C Corporation, orporation, Denmark ■ Sue Deeks, Deeks, Head of of Pr ogramme Programme Acquisitions, Acquisitions, BBC BBC,, UK

Moder Moderator ator ■ Da vid LLyle, yle CEO National Geo y David Geographic yle, graphic Channels (US) and Programming, Geographic Channels,, Global Pr ogramming, National Geo graphic Channels USA Speakerss Speaker Brinkmann, off Enter Entertainment, ■ Bettina Br inkmann, Head o tainment, FFiction iction and Arts, European Broadcasting Union,, SSwitzerland Ar ts, Eur opean Br oadcasting Union witzerland Patty Geneste,, CEO & Pr President, Absolutely ■P atty Geneste esident, Abs olutely Independent,, The Netherlands Independent @formatagency @formatagency ■ Natalija Gor scak, Senior Editor/Producer, Editor/Producer, RTV RTV Slovenia Slovenia Gorscak, ■ Roek Roek Lips ((photo), photo), Channel Manag Manager er Netherlands 3, NPO, NPO, The Netherlands ■ FFrank rank Z Zervos, ervos, Head of of Development, Development, ZDF ZDF,, German Germanyy @ZDFneo @ZDFneo

10.00 - 11.00

RUSSIA

Red Red Squar Squaree Gr Group; oup; Endemol; FFremantleMedia; remantleMedia; Shine International.

14.00 - 14.30 Advertising A dvertising Market in Russia.

A Advertising dvertising mark market et overview overview byy Video b Video i International.

International.

RUSSIAN R USSIAN FICTION: FICTION: FRESH FRESH TV TV 12.30 – 13.15 13.15 12.30 Auditorium Auditorium A, A, Level Level 3 In partnership partnership with Mouseler, CEO, CEO, The WIT, WIT, ■ Virginia Virrginia Mouseler, France France @TheWitFreshTV @TheWitFreshTV

RUSSIA

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Wednesday W ednesday 5 October October

OFFICIAL CONFERENCES & EVENTS

Y YOUTUBE OUTUBE -T THE HE N NEXT EXT G GENERATION ENERATION 13.00 13.00 – 14.00 14.00 Esterel, Esterel, Level Level 5 LUNCH LUNCH BUFFET BUFFET SERVED SERVED FROM FROM 12.30 12.30 Spons ored by by Sponsored Pr esenter Presenter ■P Patrick atrick W Walker, alker, Senior Dir Director, ector, Content Content PPartnerships artnerrsships Y YouTube ouT o Tu ube EMEA EMEA,, Goo Google, gle, UK

T THE HE LLATIN ATIN TOUCH: TOUCH: LATEST LATEST ORIGINAL ORIGINAL PRODUCTIONS AMERICA PRODUCTIONS FFROM ROM LATIN LATIN AMERICA 14.00 15.00 1 4.00 – 1 5.00 Auditorium A,, LLevel A uditorium A evel 3 Moderator Moderator hez (photo), (photo), Business ■ Alejandr o Sánc Alejandro Sánchez er, T o odoTV Media Dev elopment Manag Development Manager, TodoTV Media,, Ur uguay Uruguay

THE THE RUSSIAN RUSSIAN TALK TALK SHOW SHOW 14.45 14.45 – 15.45 15.45 Esterel, Esterel, Level Level 5

RUSSIA

Host ■ Vladimir P Pozner ozner (photo), (photo), author and host of of P Pozner o ozner Sho Show w, Russia @vladryashin @vladry ashin

14.45 - 15.45

Speakers Speakerrs ■ Konstantin Ernst,, CEO, Konstantin Ernst CEO, Channel One Russia, Russia ■ Alexander General Alexander Fayfman, Fayfman, FFirst irrst Deputy CEO and Gener al Producer, Producer, Channel One Russia, Russia ■ Alexander consultant, Director Alexander Kostyuk, Kostyuk, Media consul tant, EX TV Dir ector (TNS (TNS Russia), Russia ■ Anton Kudryashov, Officer, CTC Media,, Kudryashov, Chief Executive Executive Of ficer, CT C Media Inc., Inc ., Russia ■ Mark Lolo, President, Central Partnership, Lolo, Pr esident, C entral P artnership, Russia ■ Maxim Osipov, International,, Russia Osipov, Video Video International ■ Maria Vice President General Director, Maria Smirnova, Smirnova, V ice Pr esident and Gener al Dir ector, Sony Productions Russia,, Russia Sony Pictures Pictures Television Teelevision Pr oductions Russia

Talk-show T aalk-show Pozner. with Vladimir Pozner.

Esterel /Palais des Festivals.

Esterel/Palais Festivals.

All you you have have ever ever wanted All wanted to to orking know about about w o ork with know working R ussia. Join Join a p anel of lleading eading Russia. panel specialists and ask them an ny q uestions yyou ou u need tto o any questions your path path h tto o suc cess smooth your success Russia. in Russia.

PParticipants: aarticipants: Channel One Russia;

Speaker Speakerss ■ Leonar do Ar anguibel, Production Production Leonardo Aranguibel, Dir ector, Disne y Media Netw orks, USA Director, Disney Networks, @leoaranguibel @leoaranguibel Producer, Bossa No va Films, Films, Brazil Brazil ■ Denise Gomes Gomes,, Producer, Nova Creative Dir ector, Endemol Latam & Martin Kweller, Director, ■ Mar tin K weller, Creative Chairman, Endemol Ar Argentina Argentina, rgentina, Argentina President, RTI, RTI, Colombia Colombia ■P atricio Wills, Wills, President, Patricio

Red Red Square Square Group; Group;

MIPCOM MIPCOM PERSONALITY PERSONALITY OF THE YEAR KEYNOTE OF T HE Y EAR K EYNOTE 16.00 16.00 – 16.45 16.45 Grand Grand Auditorium, Auditorium, Level Level 1

CTC CT TC Channel;

■ Anne S weeney ((photo), o-Chair, Disne y Sweeney photo), C Co-Chair, Disney Media Netw orks and Pr esident, Disne yNetworks President, DisneyABC Television Tele e vision Group, Group, USA ■ Q&A Chaired Chaired by: by: Anna Carugati, Carugati, Editorial Editorial Dir ector, World World Screen, Screen, USA Director,

Sony Sony Pictures Pictures Television Tele eelevision Productions Productions Russia; Central Central Partnership, Partnership, Video Video International.

16.30 - 17.30 New Media in Russia.

M MEET EET THE THE ASIAN ASIAN ANIMATION ANIMATION FINANCIERS FINANCIERS 14.30 – 15.30 15.30 14.30 Californie Theatre, Theatre, Level Level 5 Californie Moderator Moderator ■ Ramin Zahed (photo), (photo), Editor Editor in Chief, Chief, Animation Magazine, Magazine, USA @animag

■ ■ ■ ■ ■

Speakers Speakers ■S Steven teven Ching Ching,, CEO, CEO, Agogo Agogo Entertainment Enter tainment Ltd, Ltd, Hong K Kong ong Erica Erica Lee, Manager, Manager, International Marketing, Marketing, Br Bright ight Ideas Design Co., Co., Ltd., Ltd., T Taiwan aaiwan Eric Eric Mika, Mika, CEO, CEO, Magic Magic Storm Storm Enter Entertainment, tainment, Hong Kong Kong Jyotirmoy Saha, CEO, Jyotirmoy CEO, August August Media Holdings Pte LLtd, td, Singapore Singapore See, Sales & Marketing Director, CJ See, Director, Inspidea Sdn Bhd Bhd,, Malaysia Malaysia @joochinsee @joochinsee Lifeng Wang, Wang, President, President, Xing Xing Dig ital C orporation, Lifeng Digital Corporation, China

1 5.30 – 1 6.00 15.30 16.00 N EW: M EET THE THE SPEAKERS SPEAKERS SESSION! SESSION! NEW: MEET Don’t Don ’t forget forrget your your business car cards! ds!

A CQUISITION S ACQUISITION SUPER UPER PANEL PANEL – W HAT D O BUYERS BUYERS WANT? WANT? WHAT DO 17.00 – 18.00 18.00 17.00 G rand Auditorium, Auditorium, Level Level 1 Grand

VOD, V OD, IPTV, O IPTV, Internet Internet TV TV Landscape.

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Chair ■ Anna Car Carugati ugati ((photo), photo), EEditorial ditorial Dir Director, ector, W World orld Screen, Scr een, USA

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Speaker Speakers rs Mikee C Cosentino, Vice-President, Programming, ■ Mik osentino, Senior V ice-President, Pr ogramming , Networks, Inc,, Canada CTV Netw orks, Bell Media Inc @macosentino ector o ogrammes, Jeff FFord, ord, Dir ■ Jeff Director off Pr Programmes, Channel 5 5,, UK val, Gener al Manag er of of ■ Carlos Sando Sandoval, General Manager ideo and Business Acquisitions, A cquisitions, Online V Video CV, Development, Dev elopment, TELEVISA SA DE CV, Mexico Controller, A cquisitions Enter tainment, ■ Sar Sarah ah W Wright, right, Controller, Acquisitions Entertainment, BSkyB, BSkyB, UK

Now.ru.

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W ORLD S CREEN C ONTENT WORLD SCREEN CONTENT T RENDSETTER A WARD TRENDSETTER AWARD In par partnership tnerrsship with

CTC CT TC Media;

17.30 - 18.30 Pay Pay TV in Russia.

V mark et Overview Overview of p pay ay TTV market op channels given giv en b byy ttop chan channels..

PParticipants: aarticipants: Channel One Russia Worldwide; Worldwide; The Walt Walt Disney Disney C Company ompany CIS LLC; Red Red Media; J’son & Partners Partners C onsulting .

J’son Consulting.

Th Thee wo world’s rld’s entertainment entert ainment content ma market rket

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OTHER EVENTS TODAY

PwC Strategy Forum: The Future Of Media — Are You Up For The Leadership Challenge?

09.00 – 10.30 Majestic – Royan I By invitation only MIPCOM

Eurovision TV Lab: The New Experiment 11.30 – 13.00 Eurovision TV Stand G3.01 By invitation only EuROPEaN BROaDCaSTINg uNION

Asian Content Exchange Lunch & MIPCOM Buyers’ Award in partnership with the Bureau of International Drama Festival in Tokyo

11.45 – 13.00 Verriere Californie, level 5 MIPCOM

World Screen Content Trendsetter Award After-party in association with MIPCOM

18.15 – 20.00 Verriere Auditorium Louis Lumiere By invitation only WORLD SCREEN

Personality Of The Year Gala Dinner 20.00 Carlton hotel– Grand Salon and La Cote By invitation only MIPCOM

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“The pleasure was in the people” Disney/ABC’s fast-paced drama series Missing sees an ensemble of actors move through some of the most beautiful cities in Europe towards a thrilling conclusion. MIPCOM News asked how it was for them

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SHLEY Judd, who has starred in some 20 films and is currently headlining the cast of the new Disney/ABC thriller Missing, has a surprising secret.

“I’m a reluctant actor,” she told the MIPCOM News, musing on the journey that has led her from a childhood home “where feelings were not necessarily welcomed” to Hollywood A-list status in a “world where emotions are sanctioned, desired, paid-for and rewarded in multiple ways”.

She was talking about the intense, challenging and at times draining experience of filming Missing, where her character, Becca Winstone, is a devoted mother who has walked away from a dangerous career in the CIA, only to be drawn back into a world of treachery and intrigue when her only child disappears while studying in Rome.

“I enjoy a challenge,” Judd said. “Many of the characters I’ve played share an intensity and it’s the kind of work I prefer. At heart I’m more a character actor. But Missing, with its simple, compelling and unforgettable premise of a mother searching for her son, was also extraordinary depleting.”

Judd said that she accepted the part of Becca for “a series of calculated reasons” after a period when her focus has been largely on humanitarian work and fulfilling a long-held dream of attending graduate school. “But Missing seemed like a risk worth taking,” she added, “especially now that television is having this Golden Age.” In terms of the close friendships forged during Missing’s four-and-a-half-month shoot, the risk has paid off. “The pleasure was definitely in the people and the relationships,” Judd said. “I loved coming in day after day and seeing the cast and crew.”

Italian star Adriano Giannini, who plays an Interpol agent with a complicated romantic history with Becca, agrees. “It was very easy to act with such great actors. You just have to watch them and react.”

For New Zealand actor Cliff Curtis, who plays a retired CIA agent faced with the dilemma of helping Becca and putting his career on the line or obeying his masters and abandoning a friend, the travel was a particular delight. Each episode of the series is shot in a different European city, including Prague, Ravello, Dubrovnik and Istanbul. “In a sense, Europe is the other character in the show,” Curtis said.

There is talk of Missing’s next series being shot on a different continent, but Curtis was tight-lipped about the twists and turns of the plot: “Let’s just say there’s a definite sense of closure at the end of this first series. I can’t tell you what it is but I can assure you that it’ll be satisfying. And season two will be a whole new adventure.”

Ashley Judd

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The MIPCOM Online Database helps deals get done: 5,000 people have logged in, generating 17,600 leads and 36,000 messages. There have been 272,500 company profile views. Log in now and update your profile to ensure the best visibility and do deals at MIPCOM. mipcom

PwC cites collaboration as key to reaching digital consumers

More information on: www.mipworld.com/database-screenings

Event-led cinema is strong focus COMPELLING shows will drive audiences into the theatres to watch 3D event cinema, declared Austin Shaw, director of Omniverse Vision, at the MIPCOM 3D TV event, 3D New Cinema Content. Shaw, whose company specialises in distributing alternative content at cinemas, said: “Event cinema is a growing business. Last year, we did the 25th anniversary of [stage musical] Les Miserables, which was on 1,300 screens.

This year’s 25th anniversary of The Phantom Of The Opera will be on 2,000 screens. As the roll-out continues, I am confident the opportunities for 3D content will match 2D.”

Omniverse Vision’s Austin Shaw: “a growing business”

Tennis partners promise more 3D

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dvertisers should collaborate with digital experts to understand what tomorrow’s consumers are prepared to pay for in the digital space, according to findings from accountancy giant PricewaterhouseCoopers (PwC).

Marcel Fenez, global leader, entertainment and media, unveiled the conclusions during his presentation of the PwC Global Entertainment & Media Outlook 2011-2015 study.

He advised future media companies to position themselves as collaborative digital enterprises, who are prepared to work with others to

PwC’s Marcel Fenez: new generation prepared to pay

reach consumers.

“Those who have digital collaboration in their DNA… will be the frontrunners of the entertainment and media industry in 2015,” he said.

That year will also see China overtake Japan as the world’s second largest TV advertisement market, with Russia not far behind.

Speaking about digitally empowered individuals, he added: “The consumer has never had it so good.”

Although they take free content for granted, Fenez said the new generation is prepared to pay for quality, convenience, sharing and participating in content.

DAVID Bush, Sony Europe’s marketing director, disclosed there would be more 3D tennis on TV next year.

Speaking at the 3D Sports conference, Bush said that his company’s partnership with the All England Lawn Tennis Club, the Wimbledon Championships’ organiser, was being extended.

Matches at this year’s tournament had been transmitted by 10 broadcasters and in 175 cinema theatres in 22 countries. “We’ve agreed an initial three-year partnership with Wimbledon. And there’s an appetite for even more broadcasters to take it up next year,” he added.

Revolution in 3D filming under way

Sony Pictures Entertainment’s Chris Cookson

PORTABLE and cheaper equipment will soon improve the experience of shooting in 3D, which is still cumbersome, said freelance UK cameraman Graham Howe at the 3D Production session yesterday. Howe recently used the shoulder-mounted Sony TD300 camcorder for the first time. Initially unsure that it would match the quality of heavy mirror rigs, he said the new generation of cameras “will revolutionise shooting 3D”. Sony Pictures Entertainment president, technologies, Chris Cookson lent his support.

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mipcom

Fox finds magic in Cloudstreet The adaptation of much-loved Australian novel, Cloudstreet, enchanted its domestic audiences, and was the first non-US show acquired by Sky Atlantic. One of its stars, Kerry Fox, tells Rachel Murrell why it’s so special

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EW ZEALAND actor Kerry Fox was in Cannes this week to launch Cloudstreet (5 x 60 mins and 1 x 90 mins), an epic mini-series from Screentime.

Based on the modern-classic novel by award-winning Australian author Tim Hinton, the drama tells the story of two working class families who live together in a rambling old house after separate family tragedies.

Fox plays Oriel Lamb, the matriarch of one of the families.

“My character is powerful, driven.

She loses her faith in God, yet she has faith in love, family,” Fox says.

“She starts off seeing the world in black and white. And over the course of the novel, she gets to know the grey.”

Asked why Oriel chooses to live in a tent in the garden, Fox smiles. “She just does. This is a magical realist story. There’s a pig that speaks and a cockatoo that shits shillings.”

And yet for all its allegory, Fox maintains that Cloudstreet is a story about real life.

“It’s about what makes families work, how people suffer, how they struggle. And I really feel that people want to watch these kinds of dramas.”

With two films coming up — Iain Softley’s Trap For Cinderella, and Juan Carlos Fresnadillo’s Intruders — Cloudstreet is a rare return to television for Fox. It’s clear she’s proud of what she’s achieved.

“It’s one of the best things I’ve ever done,” she says. “I enjoyed every minute of filming, and it’s changed the way I work. Working with joy and playfulness, and being in a situation where people aren’t trying to control each other, meant we achieved something really special.”

Adapted by Winton himself, with Ellen Fontana, the mini-series was produced by Screentime for Showtime Australia’s showcase channel. It is distributed by Target Entertainment.

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HighTV finds fertile ground for its 3D programming and support

noMInATIons THE NOMINATIONS for the 39th International Emmy Awards were announced at MIPCOM. They included categories for Telenovela and TV Movie / Mini-Series.

Nominees are: Telenovela Contra Las Cuerdas ON TV Llorente and Villarruel Contenidos Argentina

Destiny River TV Globo Brazil

Eric Klein: riding high

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IGHTV 3D has found MIPCOM to be fertile ground for growing its new network, which it describes as the first global 3D channel.

The company, which launched its general-entertainment service in April, is in Cannes to find potential distributors.

It had already signed a deal with UPC Romania, the country’s second largest cable TV operator, just before MIPCOM, CEO Eric Klein said. HighTV has also completed deals with two new platforms in East and Central Europe at MIPCOM, and is confident of concluding more within the week.

“Starting your own 3D channel is very expensive and there is a scarcity of [3D] content. We have eight production teams that produce 95% of the content on our channel, and we have the global rights,” Klein said. “By taking our service, platform operators don’t need to create 3D channels from scratch.”

Klein added that HighTV is set up to produce 400 hours of 3D content a year.

Lacos De Sangue (Blood Ties) TV Globo / SIC / SP Televisao Portugal

Precious Hearts Romances Presents: Impostor ABS-CBN Broadcasting Corporation The Philippines

Millennium

Mo ITV Studios for Channel 4 UK

Operation Checkmate TVE / Pentagrama Films / Paraiso Films / Caracol TV Colombia

Shoe-Shine Boy TV Tokyo CorporaTion / Toho Co

Japan

Cindy Lin

Cindy Lin is CEO of Infotainment China Media, an international film sales agent in mainland China, and a production services company with deep knowledge of how to film in China

What brings you to MIPCOM?

“I have had 20 years experience working in China’s entertainment industry, and working for Universal Studios, Disney, Kodak, and Virgin Radio.

With Infotainment China, I co-produced four feature films including Memory Of Love with TF1 and Witchville with Syfy channel, and acquired about 20 feature films for mainland China distribution.

“We are the rare Chinese buyer who spends real money hiring law firms for anti-piracy legal actions in China, before we go out to sell the acquired intellectual property from overseas.”

sECUrE DIGITAL DIsTrIBUTIon

TV Movie / Mini-Series Yellow Bird / SVT / ZDF / Nordisk Film Sweden

MIPCOM newcomer

Celebrating a MIPCoM deal are, from the left: DQ Entertainment’s Manoj Mishra, Global TV’s David Fernando Audy, DQ Entertainment’s Tapaas Chakravarti, rouhini Jaswal and shona Chakravarti

Caspar joins Iron Man in Indonesia DQ ENTERTAINMENT (DQE)

has concluded a four-year deal with terrestrial network Global TV Indonesia for three titles: 5 And It; and the second series of both Iron Man and Caspar The Friendly Ghost.

Tapaas Chakravarti, chairman and CEO of DQE, said: “The deal brings these much-loved iconic brands to children in this region and we are sure that it will drive further licensing opportunities for

other Southeast Asian markets.

5 And It is a 52 x 11 mins 3D CGI series adapted from the classic book, Five Children And It, by E Nesbit. It is set to be released in 2012.

Global TV president director David Fernando Audy said that the partnership would bring three new animation titles to the network from a company with a reputation for adapting classic kids properties and quality brands.

WORLD Content Pole (WCP), a Swiss company specialising in storing and distributing digital content has chosen Swisscom, for its secure data storage centres.

WCP takes content supplied

by TV networks and movie studios, then encrypts and stores it at Swisscom’s data centres, before distributing it on digital platforms.

“We know Swisscom’s data centres are secure because it provides services for banks,” said Chicca Pancaldi, WCP’s vicepresident of worldwide sales and commercial director.

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High Point picks up rights to Godforsaken series HIGH Point

Andrew Schreiber

Andrew Schreiber is president of sales, Fun World Media, a US company that produces and distributes family oriented programming Tell us about Fun World Media

“Fun World Media is an international entertainment and media enterprise specialising in cuttingedge family oriented programming. As a distributor, we also represent third-party content spanning sports, action, adventure and drama.”

What drew you to MIPCOM? “For us it is the perfect opportunity to introduce our company.

Our strongest selling points are our content and flexibility.

Production of our content is based out of our fully owned production facility in Las Vegas, and we control every aspect of our own productions.”

What partnerships are you looking for?

Television, the TV sales arm of High Point Media Group, has picked up worldwide rights for crime thriller series Godforsaken: True Killers, produced

by Amsterdam-based company Pupkin Film.

A ratings hit for public broadcaster BNN, each self-contained episode has its plot rooted in a genuine murder case, focusing on circumstances and events, largely from the killer’s point of view and leading up to the fatal crime.

Nine episodes are

already in the bag, with 10 more currently in production and airing March 2012.

“In tone and execution True Killers calls to mind the compelling darkness of recent shows like The Killing,” High Point’s managing director Carey Fitzgerald, said.

“Without making excuses for what they end up doing, each episode takes us as far as it can into the mind of a murderer, a fully engrossing whydunnit rather than whodunnit, if you like.”

“As a new company we are looking to partner with broadcasters, local and regional distributors, and merchandisers in order to build our franchises across media platforms and licensing businesses.”

How has business been in the last 12 months?

“Twelve months ago Fun World Media was an idea — and now it’s a reality. Our first television series, The Jadagrace Show, is in production and we have two more series in pre-production. We have also aligned ourselves with two very strong sports programming franchises, Superior Cage Combat and Season On The Edge.”

Godforsaken: True Killers, a ratings hit for BNN

ZHEJIANG Huace Film & TV of The deal includes Blue Love, a Huace Film and TV, which has China has inked a new partnership Chinese romantic drama series that pioneered the development of new with Latin Media Corporation will initially air in Ecuador, Peru media, was listed on the Chinese aimed at distributing domestic and Venezuela, with other stock market last October. Over programming in Latin America. territories to follow. Zhejiang the last couple of years Zhejiang Province has increasingly become engaged in media inside China and internationally.

“Latin Media is very happy with the new relationship we have established with Huace,” Jose Escalante, managing director, Latin Media Corporation, said. “We believe there is Celebrating the deal in Cannes were: Zheijiang Department of Commerce’s Blossom Zhao (left); Reed MIDEM’s Paul Barbaro; a potential for Chinese director of Zhejiang Provincial Radio, Film and Television Bureau Zhang Baogui; Latin Media Corporation’s Jose Escalante; dramas in Latin Zheijiang Huace Film & TV Co’s Sharon Leung; Reed MIDEM’s Laurine Garaude; Zheijang Department of Commerce’s Ju YaLian; and Hangzhou China International Cartoon & Animation Festival Exhibition Co’s Yin Mingqing America.”

ORANGE DEAL FOR VERTICE FRENCH mobile operator Orange has acquired World Cities 3D, shot in 3D by D4D, from Spain’s Vertice Sales for its VOD platform. The deal — the first between Vertice and Orange — covers France, Spain, Africa, Poland and Belgium for both Orange’s VOD and SVOD services.

Salvador Puig Oloriz of D4D (left), Ghislaine le Rhun-Gautier of Orange and Gonzalo Sagardia of Vertice Sales

VENEVISION TAKES CARE OF ANGELS VENEVISION International has signed a deal with Sierralta Entertainment, to distribute Sierralta’s new travel and beauty show, Latin Angels, as well as its entertainment magazine programme Show Business TV.

BOXATRICKS OPEN FOR BUSINESS THE TEAM that brought Who Wants To Be A Millionaire? to the global market has relaunched as Boxatricks.

John Gough, the start-up’s newly appointed director of international, is on the hunt for licence deals for Millionaire creator David Briggs’ portfolio of game-show titles.

“Concepts from a team with such a strong track record are guaranteed to generate interest,” Gough said. “All the right potential production partners are here at MIPCOM and we have already embarked on several serious discussions.”

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Protect your formats, says FRAPA: 2011 report gives producers advice

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V FORMATS are being protected by the laws of copyright, unfair competition, passing off and breach of confidence, according to the FRAPA Report 2011, launched yesterday at MIPCOM. Protecting Format Rights, prepared by law firm Olswang, surveyed 14 territories, examining more than 40 judgments made under a suite of laws.

In most of these, format creators succeeded in enforcing their rights.

The report also revealed that legal inconsistencies may result in a format being protected in one territory but not another.

However, though format imitators may succeed in copying, they will struggle to distribute their copycat formats internationally, significantly reducing the value of the imitation.

FRAPA board member David Lyle, CEO of National Geographic Channels, said: “It’s a handy guide to how format creators can build in protection

Dominic Saville CEO, 3DD Productions

DAY IN THE LIFE OF SAMUEL L JACKSON

FRAPA’s Ute Biernat and David Lyle launch The FRAPA Report 2011: Protecting Format Rights

at all stages of development.

What’s really interesting is that the most effective protection is often to be found not under copyright law but under unfair competition, passing off and

breach of confidence. That means there are practical things you can do in the early days of pitching your concept when your creation is at its most vulnerable.”

Look out for Jack the Ripper drama UK INDEPENDENT media rights company Lookout Point’s executive

Backing talent: Lookout Point’s Simon Vaughan

producer, Simon Vaughan, is in Cannes for financial discussions with potential partners on several projects.

These include his new one-hour drama series Ripper Street, a co-production with UK indie Tiger Aspect.

Vaughan is executive producer on 4 x 60 mins mini-series Titanic, distributed by ITV Studios Global Entertainment, and the BBC/HBO adaptation of Ford Maddox Ford’s Parade’s End, among other dramas.

British writer Sir Tom Stoppard is

also in Cannes to launch Parade’s End. “Our company strategy is about finding the best talent and then backing them in a way that remains faithful to their creativity,” Vaughan said.

New BBC One drama Ripper Street is a police procedural set in the notorious H Division, the station in charge of keeping order in the chaotic slums of Victorian Whitechapel in 1888.

“This is a cop show set in the aftermath of the Ripper murders during a time when one of the greatest manhunts in the world was taking place,” Vaughan said.

INTERNATIONAL stars and their personal projects are the focus of a pilot, Day In The Life, from 3DD Productions.

Sundance Channel Global is on board for the project, and a further five episodes are scheduled.

The first Day In The Life subject is award-winning actor Samuel L Jackson (Pulp Fiction). It was filmed in June, during his golf charity event Shooting Stars Benefit, which supports up to 30 charities. Tim Roth (Reservoir Dogs, Pulp Fiction) is the series’ second subject, which focuses on Roth’s passion for photography.

3DD Productions CEO Dominic Saville said: “Day In The Life is a new production strand for the company — 3DD is looking to produce more original programming with new interesting angles. Day In The Life is the ideal vehicle for stars from the film and arts industry to present another side of themselves.

We are in discussions with a number of interesting people for the next episodes.”

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Kung Fu Panda leads fight back for teen-targeted animation ViaCoM International

Pogo Films’ Olivier Lauchenauer (left) and Body in Balance TV’s Greg Roselli

POGO dances TO BOdY In BaLance UK-BASED 3D production studio Pogo Films has sold A 3D Guide To Belly Dancing, a six-part series, to cable-and-satellite network Body in Balance TV. A 3D Guide To Belly Dancing teaches viewers how to belly dance, but also educates them on the dance’s history, the different styles and the music used. It will be transmitted on Body in Balance TV in the UK, Germany, Switzerland and Austria. Although the series will be in standard 2D on Body In Balance, the company will be marketing the show in 3D on Blu-ray.

“It sits well on our network and, being in 3D, gives us a new marketing angle,” Greg Roselli, managing director of Body in Balance, said.

UK-based Cornerstone Media International will distribute the 3D Blu-ray in the UK, and Pogo Films is seeking other physical distributors worldwide.

Electric Sky holds the international 3D broadcast rights.

Further 3D dance titles, including burlesque and Bollywood, are planned.

Media Networks (VIMN) has agreed multiple international pre-sales for Kung Fu Panda: Legends Of Awesomeness, a series adapted from the 2008 film and the latest CGI animated comedy to result from Nickelodeon’s partnership with DreamWorks Animation SKG. These pre-sales include: Belgium (Viewcom), Bolivia (ATB), Brazil (TV Globo), Ecuador (Teleamazonas), Malaysia (NTV7), Nicaragua (Telenica), Singapore (MediaCorp okto), Spain (TVE), Sweden (TV4) and Thailand (BBTV7).

In a year that celebrates the 15th anniversary of groundbreaking South Park, animation titles remain highly sought

after for 2011 and beyond.

“Despite the current pre-eminence of live-action series in the teen TV market, there has been a significant rise in animation offerings, with 166 hours of new Nickelodeon shows on sale for 2011,” Caroline Beaton, VIMN’s senior vice-president, of programme sales, said.

“Live action, of course, remains a big priority for us, and generally as a company we are very focused on the teen audience. But I believe that the imminent return of Beavis & Butthead, and shows like Penguins and Kung Fu Panda, will significantly strengthen the presence of animation for the millennial demographic.”

caroline Beaton: VIMn’s senior vice-president of programme sales

shine and discovery in big Latin deal Shine international

(SI), the sales and distribution arm of Shine Group, has agreed a deal with Discovery Networks Latin America/US Hispanic (DLA/USH) channels, for over 200 hours of programming.

The deal includes finished episodes of primetime global franchises MasterChef, The Biggest Loser and One Born Every Minute.

DLA/USH has also ordered returning series including seasons seven (36 x 60 mins) and eight (25.5 x 60 mins) of the US version of The Biggest Loser, plus season three of factual TLC series Hoarding: Buried Alive (9 x 60 mins).

Now seen by more than 100 million viewers globally, The Biggest Loser format has been produced in over 25 countries around the world, including local versions in Brazil, Mexico and Colombia. Launched in the UK in 2010, factual format One Born Every Minute became that year’s highestrated new series for Channel 4.

“Discovery Networks Latin America continues to be a great partner for Shine International, and we’re thrilled to sign our largest content deal to date with them,” said Matt Vassallo, vice-president in charge of Latin America and US Distribution at Shine International.

The Biggest Loser host in the UK. davina Mccall

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Re-commision and licensing roll-out

“WE CAN produce the same quality programmes for half the cost in theUK or Germany,” said Hubert Ornass-Kubacki, of Polish producer and productionservices company, Multimedia Bank.

Dan drives his Story Train to a second CBeebies series

The Warsaw-based company’s clients include local producers and broadcasters such as TVN, TVP and Polsat, but it has also worked on productions for international networks such as Discovery and Orange.

Ornass-Kubacki believes that many international companies still see East and Central European producers “through the Soviet perspective”, and he added that they do not have the marketing budgets to change that perspective. But he said that Multimedia Bank’s 8,000 hours of material produced over the last 12 years “proves the high quality of our programmes”.

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SECOND series of popular pre-school property Driver Dan’s Story Train has been commissioned by CBeebies, following consistently high ratings since its UK launch in January 2010.

Produced by 3Line Media in association with Blink Studios and twofour54 Abu Dhabi, the 50 new episodes debut on CBeebies in November in the coveted 17.30 time slot. The series will feature a new character, Bippity the Robot, and two fun new environments – the Play Park and the Forest.

“Our commercial roll-out continues to build, with a great range of high-quality toys from Golden Bear supporting our existing publishing range from Macmillan,” said Jane Smith, general manager, Ibtikar

Commercial, which distributes the property for twofour54 Abu Dhabi.

International broadcasters currently airing Driver Dan’s Story Train include Sprout (US), ABC (Australia) and Baraem (Middle East and Europe).

Universal Pictures International Entertainment handles the DVDs, and as well as the many master toy licenses, Nintendo DS and PC activity games are planned for Easter 2012.

Driver Dan’s Story Train: new friends and settings

Global Agency’s drama and shopping SULEIMAN the Magnificent and women from his harem have been seen strolling the halls at MIPCOM, courtesy of Global Agency, in celebration of its hit Turkish primetime series Magnificent Century. The series, which recreates the lavish days of the Ottoman Empire, scooped a range of major awards earlier this year, winning best period drama, best art direction, best actor and best drama series at the Turkish

Suleiman and his harem in Cannes

Television Awards ceremony. It was also chosen for The Wit at MIPTV 2011.

The Turkish company has also optioned its Shopping Monsters format to 11 territories since the format launched at MIPTV 2011. German channel Vox has commissioned a broadcast pilot to air next month, and other pilots have been ordered for later in the year in the USA and Belgium.

Shopping Monster: going to 11 territories

NINE AUSTRALIA TAKES PARADE’S END DRAMA PARADE’S End, Sir Tom Stoppard’s TV adaptation of Ford Madox Ford’s critically-acclaimed drama set in the late Edwardian era and during World War I, will premiere on the Nine Network in Australia in 2013. This follows a MIPCOM deal with BBC Worldwide Australia.

Parade’s End is a co-production between the BBC, HBO, Mammoth Screen and Lookout Point.

SMARTCLIP TO SELL ADS ON ICONCERTS SMARTCLIP, one of Europe’s leading online video advertising companies, has signed a pan-European partnership with iConcerts, a multi-platform live music channel, to integrate video adverts into its inventory.

The new partnership will see Smartclip working with iConcerts as the preferred advertising partner to sell video ads on multi-platform apps. iConcerts is an HDTV channel and a video platform with more than 1,000 concerts and live performances by the world’s top-selling artists.

GINX TRAVELS TO AFRICA WITH ZUKU ZUKU, the three-in-one cable, DTH and online platform package from Wananchi, has become the first African broadcaster to introduce the videogaming channel Ginx. In a three-year MIPCOM deal, Ginx will be included in all Zuku channel packages, as part of Zuku’s continuing drive to offer an increasingly demanding African audience exciting new content.

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neWs VIEWPOINT

Tony Kelly, CEO of OnDemandGroup

Keshet sticks with The Box to keep game show viewers glued LEADING Israeli broadcaster Keshet and Tel-Aviv-based advertising company The Box have set up a joint venture — Screenz — to deliver cutting-edge digital content to support television programmes from broadcasters, producers and distributors around the world.

“Across the globe, everyone’s facing the same problem,” said Keshet’s director Yuval Natan. “Viewers aren’t watching in real time. So we design and deliver digital content that brings the viewer to the television in real time.”

“We have a lot of international experience,” said Eli Uzan, CEO, The Box. “And all our work is based on sound research and a deep knowledge of viewing habits. We approach games as television and commercials people, not technologists.”

Uzan previously made games for Don’t Drop The Million (the Israeli version of Million Pound Drop) that were played by around one fifth of viewers. His first client for Screenz is a major European broadcaster who needs a multi-screen play-along game to accompany a new show.

Screenz’ Yuval Natan (left) and Eli Uzan

I

T’S AN age old phrase that works — always put the customer first. What content do they want and how do they want to view it? The way in which people consume content is changing as we see huge developments in the way that on-demand video content is delivered.

A recent rise in connected TV sales has meant that consumers have the ability to access the likes of BBC iPlayer, YouTube, LoveFilm and social networking platforms, from their living rooms. Fuelled by the continued proliferation and access to high-quality smartphones, connected TVs and tablet devices, users can now reap the benefits of watching on-demand programming whenever and wherever they want.

We have seen first hand that consumers no longer want to be tied to linear schedules and prefer not only to choose what they watch, but also where and when they watch it.

In the not-so-distant future we will see viewers pausing programmes on their TV and resuming at the same point via a mobile or tablet.

Convergence of devices has long been the dream for service providers, who are continually strengthening the triple and quad play services, and it will soon become the de-facto choice for those wishing to provide a competitive edge over their rivals. What content creators must remember is that video content must be as enjoyable on a mobile or tablet device as on a TV set, whilst at the same time ensuring that it doesn’t remain device dependent.

As the race for eyeballs continues unabated, the key here will be to ensure that we do not lose sight of the customer. This will ensure continued delivery of compelling entertainment across a range of platforms well into the future.

Moncaut in call for cheaper 3D LOW-COST 3D is essential if the new viewing format is to take off as predicted, said Jean Moncaut, CEO of Paris-based production house Only Lifestyle, which has brought 3D content to MIPCOM for the first time.

The company, which has been producing and marketing 2D lifestyle TV programming at Cannes since 2007, has made its debut in the 3D sector by creating a portfolio of 50 six-minute lifestyle vignettes in the format.

“3D is part of the future and there is a demand for it, so we’re trying to test the market this year at MIPCOM,” Moncaut said. “After pornography and animation, lifestyle is the third most watched content genre. We’re here to prove lifestyle content suits 3D.” Only Lifestyle’s Jean Moncaut (left) and Severin Delpon

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in pictures Stars took to the red carpet for Monday night’s glittering Opening Night Party, and took time out during the day for some more relaxed photo opportunities

Director Anders Engstrom (left) and actor Antti Reini attending the Vares photocall at the Majestic hotel. Reini plays private eye and die-hard law student, Jussi Vares, in six feature films including The Kiss Of Evil and Garter Snake

FCCE’s Justus Verkerk (left) with Paul Verhoeven and Rene Mioch. Verhoeven is currently involved in FCCE’s multi-platform project The Entertainment Experience

Lasse Hallberg (left) of Rubicon, the producer of drama series Lilyhammer, with actor and musician Steven Van Zandt and distributor SevenOne International’s Jens Richter

Anson Mount (left), Dominique McElligott and Common star in Hell On Wheels which was developed by Endemol USA and is produced by Entertainment One and Nomadic Pictures

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Fran Drescher (left) and Peter Marc Jacobson are the stars of the new sitcom Happily Divorced. The show is about a man who, after 18 years of marriage, suddenly announces that he is gay. They remain in the same house and begin to work it all out

Multi-award-winning Australian food and wine expert Lyndey Milan was in Cannes to promote her range of cooking programmes including Lyndey And Blair’s Taste Of Greece, a trip through the Peloponnese with Lyndey and her actor son Blair

RHI Entertainment launched the two-part mini-series Treasure Island, starring actor Eddie Izzard, with a MIPCOM party. RHI’s David Salzman (left) and Stewart Till, Eddie Izzard, director Steve Barron and RHI’s Mike Corrigan

In The Exes, Kristen Johnston plays a divorce attorney who ignores the problems in her own relationship while helping three divorced men who live in an apartment across the hall get back on track

Disney/ABC’s drama series, and MIPCOM World Premiere TV Screening, Missing’s writer and executive producer Greg Poirier, with executive producers Gina Matthews and Grant Scharbo

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neWs VIEWPOINT

Jonathan Coad is director of the International Format Lawyers Association and partner in the Media Brands and Technology Group of Lewis Silkin. He is at MIPCOM to advise format rights owners and developers.

T

HE BBC format Strictly/Dancing With The Stars is a phenomenon; licensed to 32 countries and the world’s most popular programme in 2006/7.

It was therefore no surprise that BBC Worldwide began a breach of copyright action against Mediaset over its rival show.

Such is the profile of this dispute that Silvio Berlusconi himself has commented on it, claiming that you are allowed to “copy ideas”.

The law has long had to determine where inspiration (the re-use of ideas) ends and plagiarism (the copying of the expression of those ideas) begins. Nowhere is that exercise harder than in reality television formats, which is why organisations like the International Format Lawyers Association and FRAPA were formed.

The buying and selling of reality formats at MIPCOM

Jonathan Coad

will generate many millions of euros, but if the purchase of a format licence does not secure a monopoly then its value is severely diminished.

The BBC believes its licences must be supported by protective action. With Richard Desmond spending twice as much on a five-year licence for a reality programme (Big Brother) as he did for a British terrestrial broadcaster (Channel 5), the rights in such formats are well worth the investment to protect them.

MDA changes funding framework to help companies exploit their rights SINGAPORE’s Media Development Authority (MDA) has unveiled details of recent funding changes aimed at becoming more user-friendly in the areas of development, talent, marketing, MDA’s Yeo Chun Cheng: strengthening development production and innovation.

The MDA is in Cannes with a delegation of 17 companies and some 48 programme titles covering more than 400 hours of factual, drama and animation content. Some 30% of participants are first-time attendees at MIPCOM. The MDA recently changed its funding schemes from 46 to five. “We changed our procedures from co-investment to a grant system to make it easier for the companies to exploit their own rights,” said Yeo Chun Cheng, MDA director of broadcast animation, film and music.

Among the schemes is a grant aimed at development. “We wanted to strengthen development by making sure that scriptwriters were paid properly,” said Yeo. Grants of up to $50,000 are now available for script development.

Another grant focuses on assisting companies in developing talent. “We have a significant grant aimed at allowing companies to bring in international or regional talent to help train their people in a specific area,” said Yeo.

Octopus gives EMC new digital arm

A NEW series that introduces children to the world of healthy eating has been unveiled by Cyber Group Studios and Nutri Ventures Corporation.

Aimed at six- to 10-year-olds, Nutri Ventures (26 x 22 mins) is a coproduction between Nutri Ventures Corporation and Radio e Televisao de Portugal (RTP). Pictured celebrating the launch of the series, which has already been pre-sold to Canal Panda, are Cyber Group Studios’ Pierre Sissmann (left) and Carole Brin, RTP’s Fatima Cavaco and Nutri Ventures’ Rui Lima Miranda.

THE ENTERTAINMENT Master Class (EMC), the executive education programme launched in Cannes four years ago, has entered into a partnership with the cloudbased video-content management platform Octopus Media Technology.

The deal underpins the EMC’s move into the provision of digital services, said director of studies and EMC cofounder, Christoph Fey. These include the e-learning channel EMC TV, video-on-demand, live streaming, and digital courier, screening and archive services.

“The EMC is in a key position to understand the real needs of the entertainment industry,” Fey added. “This initiative is designed to offer a suite of relevant support services to the EMC’s participants and alumni, and the entertainment industry in general.”

Octopus CEO Andrew Eborn will serve as the EMC’s director of technology and Digital link-up: EMC’s Christoph Fey (left) and John Gough digital content. (right) with Octopus’ Andrew Eborn

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Fine Living Network deals out lifestyle tips MAKING MONEY FROM MOBILE ISRAEL’s Keshet Broadcasting and mobile technology provider Applicaster are at MIPCOM to share their findings having just completed field trials designed to deliver profitable mobile TV applications.

The research succeeded in showing that the most effective mobile TV applications are those which offer engaging and interactive experiences: “As mobile and online video viewing increases, new revenues for broadcasters and content owners become feasible,” said Zohar Alon, chief technology officer of Keshet Broadcasting.

“However, videostreaming alone will not revolutionise the business.

Offering deep, engaging and complementary experiences is the primary trajectory needed for this industry. We’ve learned this through our experience and through our relationship with Applicaster.”

The kind of business models explored by Keshet and Applicaster were ad-based, freemium and paid-for content across live, on-demand, socially driven and second screen experiences.

Overall, said Applicaster CEO Jonathan Laor, the development of rich services led to greater mobile usage by consumers: “I think the accumulated body of knowledge after 18 months of successful field trials is exceptional,” he said. “It opens up exciting revenue opportunities for broadcasters and content owners.”

Fine Living Network’s Nick Thorogood: appealing to unique tastes

FINE Living Network has completed significant deals for nearly 500 hours of new lifestyle content for its internationally distributed channel.

From January 2012, Fine Living Network will help coach its

global audiences to get in shape from the inside out with programming that includes feng shui, aromatherapy and healthy cooking practices. A new license agreement has been signed with website Veria for over 180 hours of HD lifestyle programming.

Highlights include titles such as Feng Shui Living, Everyday Nose and Fed Up. “As we program Fine Living Network internationally, we look for content that upholds the lifestyle brand’s integrity and appeals to the unique tastes of local audiences,” Nick Thorogood, managing director of Fine Living EMEA, said.

“That’s what we’ve found in these exciting acquisitions. We look forward to working with Veria to offer them to our global viewers.”

Additional programming, culled from Scripps Networks’ five US channels and scheduled to return in early 2012 with new seasons, include House Hunters International and State of Style.

Skinny Dip set to travel

The Skinny Dip: broadening appeal

BEST Boy Entertainment has

sold the travel/adventure series The Skinny Dip (8 x 30 mins/HD) to Travel Channel across Europe, Africa, Middle East and Asia Pacific territories.

“We are delighted that The Skinny Dip will be part of Travel Channel’s impressive schedule, available over an extensive reach

of key territories and look forward to a new, long-term relationship,” said Robert Evans, vice-president distribution, marketing and interactive, Best Boy Entertainment.

“This original and highly entertaining format broadens our appeal and stays true to our remit of broadcasting the most engaging travel-themed programming,” added Steve Fright, Travel Channel’s director of broadcasting.

The Skinny Dip follows gutsy globetrotter Eve Kelly, as she searches for skinny-dipping bliss, recruiting strangers to join her as she treks across wild terrain via boat, dog sled, kayak, horse and camel, to find the destinations.

Lee Clow, the mastermind behind Apple’s Think Different ad campaign

PBS MAKES SPACE FOR ADS DOC PBS International is to distribute the 2011 Emmy Award Winner for Outstanding Arts & Culture Programming, Art & Copy (1 x 60 mins/90 mins HD).

The documentary reveals the work of some of the most influential advertising creatives — virtually unknown outside their industry — who exhibit a rebellious spirit in a business more often associated with mediocrity or manipulation. Featured creatives include: George Lois (I Want My MTV), Mary Wells (I Love New York), Dan Wieden (Just Do It), Lee Clow (Think Different), and Rich Silverstein and Jeff Goodby (Got Milk?).

PBS also has Stanley Nelson’s Freedom Riders (1 x 90 mins HD) at MIPCOM, the story behind a courageous band of civil rights activists who in 1961 challenged segregation in the American South — simply by travelling together on a bus. This film garnered three Emmy Awards including Exceptional Merit in Nonfiction Filmmaking and Outstanding Writing for Nonfiction Programming.

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neWs WHEEL DEAL FOR AMC/SUNDANCE ONE OF MIPCOM 2011’s most talked-about series, Hell On Wheels (10 x 60 mins), has been acquired

by AMC/Sundance Channel Global and is set to debut this autumn on AMC in the US premiere window.

The western, set in the American Civil War, stars Anson Mount (City By The Sea, Cook County) as a former confederate soldier whose quest for vengeance has led him to the railroads out West.

Also starring in the series, developed by Endemol USA and produced by Entertainment One, are hip-hop artist Common, Dominique McElligott and Colm Meaney.

AMC/Sundance Channel Global has also acquired the critically acclaimed dramas Breaking Bad and The Slap for Sundance Channel, and the non-fiction series Shannen Says for WE tv.

Harold Gronenthal, senior vice-president and general manager of AMC/ Sundance Channel, said the “robust line-up” reinforced his company’s commitment to quality programming across multiple platforms. “We see shows of this calibre as great entry points for audiences around the world to better access our channels,” he added.

Sales on a roll: Hell On Wheels (Entertainment One/Endemol USA)

Rosie outlook for V&S as buyers line up for pre-school animation

From left; France Television’s Patricia Adane, Claire Heinrich and Christine Reinaudo, V&S’s Stephen Corner and Vickie Corner, and Francine Laprade and Lisa Savard of SRC (Canada)

V&S ENTERTAINMENT had plenty to celebrate at its dinner for buyers of its pre-school HD CGI show Everything’s Rosie (52 x 11 mins).

Chairman Stephen Corner announced a sale to Spanishlanguage network V-me in the US. Everything’s Rosie will air on the US broadcaster’s daily four-hour pre-school block V-me

V-me Media’s Doris Vogelmann (centre), with Stephen Corner and Vickie Corner

Nino, and its 24-hour cable channel V-me Kids.

And Corner told guests that — together with their co-production partner Al Jazeera Children’s Channel (JCC) — V&S will be making a third season of the show, bringing to 78 the total number of episodes.

“The quality of the animation in Everything’s Rosie has been

recognised worldwide,” said Corner. “With 52 episodes currently available, and 26 more by first quarter 2013, the global broadcast footprint is continuing to expand into new markets.”

Other broadcasters to license the show include France Televisions, Canal Panda (Portugal) and RTVE (Spain) for its 24-hour channel Clan TV.

DCD RIGHTS has sold format rights for magic entertainment show Penn & Teller: Fool Us (9 x 60 mins) to STB Ukraine, which expects to broadcast the show in 2012. Starring the well-known double act, each episode sees aspiring magicians perform their most mystifying trick to try to fool the duo. And, if any illusionist manages to perplex them they win a five-star trip to Las Vegas to perform as the opening act in Penn & Teller’s show at the Rio Hotel & Casino. Celebrating the MIPCOM signing are: Michael Jackson (left), senior sales executive, DCD Rights; Kateryna Naumova, head of acquisitions, STB Ukraine; and Rick Barker, head of sales, DCD Rights

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Co-production activity boosts formats business for Fuji Television Network

F

UJI Television Network is pleased at how well its new formats are doing and how buyers have shown such great interest at MIPCOM, reported Koichi Minato, executive managing director.

It brought eight new formats to Cannes, including physical challenge, quiz reality and true-life.

Co-production has given its formats business a boost. Total Blackout was the first developed through its Creative Exchange Alliance with FremantleMedia, now in its second year.

The game show, in which contestants are thrust into a room of total darkness to compete in a series of outrageous challenges, has been sold to 14 countries including four this year, recently launching on VT4 in Belgium and Kanal 5 in Denmark.

Fuji Television is hoping to find similar success with the latest collaboration Troubleshooter, a comedy game show that sees

contestants publicly airing and attempting to settle their disputes with the help of a judge, jury and oversized games.

“We have also worked hard to develop new formats by collaborating with Japanese talent agencies and Emmy-award winning producers in the US, to target the global market,” Minato said. “We have rapidly expanded our co-production in Asian markets, especially in China, where we are currently co-producing several programmes, scripted and unscripted, with top broadcasters.”

Fuji Television is already enjoying great success with formats around the world including Iron Chef and Hole In The Wall. Many Asian countries are showing interest in Iron Chef, which has been a big revenue earner in North America. “We feel the format will enjoy a renaissance and are confident it will have a second wind,” Minato said.

In addition, Fuji Television has launched a production supervision and consultation

Fuji Television Network’s Koichi Minato: great interest in new formats

service in both China and the US. “It gives new value and superior quality to our programmes,” Minato said.

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neWs Korean portal opens up for business in Cannes

MIPCOM newcomer

Tales From Journey To The West (Jin Ding Animation Studio)

Ding Zhi, company secretary and CEO assistant, Jin Ding Animation Studio, based in Beijing, China Tell us about Jin Ding Animation Studio “The creative team is composed of talented young artists guided by senior artists with decades of experience. We believe that originality is the highest form of creative capital, and are committed to portraying unique and interesting characters. Our TV series, Tales From Journey To The West demonstrates our ability.”

What drew you to MIPCOM? “MIPCOM is one of the biggest markets and a major trading platform.

Besides looking for financing and co-production partners, we are looking forward to learning current and future trends, to see successful projects, and draw inspiration not only from their style, but also

from effective marketing models.”

What partnerships are you looking for?

“We hope to find a co-production partner who has the ability to contribute in post-production with translation, dubbing and sound, and exploring opportunities for publication and new media.”

How has business been in the past 12 months?

“Most new Chinese animations are influenced

by Western or Japanese style. Animations that reflect Chinese artistic style have not been attempted for over two decades. We decided to explore a unique artistic expression to illustrate this five-century-old Chinese story. We have seen proof that our risk was not in vain.”

“We judge whether a particular format is successful or not by viewer reaction,” said Jin Ki Hong, president and CEO of Contentlab. “We can establish the exact factors that grab attention, based on these ratings.”

Hong added: “Ultimately we can improve not only the competitiveness of the programme but also efficiency in production as we forecast the effects of the format based on the analysis.”

Vicky The Viking (Studio100)

STUDIO100 REVIVES ClASSIC AnImATIOnS STUDIO 100 Media, a subsidiary of Belgium’s Studio100 group, has signed a deal with French/Swiss broadcaster RTS (Radio Television Suisse) for free-to-air rights for three newly re-mastered animation series; Maya The Bee (78 x 11 mins), Vicky The Viking (78 x 11 mins ); and Heidi (78 x 11 mins), and also the Pippi Longstocking series (26 x 24 mins).

Spotlight on Seoul drama awards

The eponymous heroes of these series all have television careers spanning more than 30 years, but are being revitalised in 3D by Studio100 Animation. It is working on Maya The Bee in association with TF1 and ZDF, and with Flying Bark Productions on Vicky The Viking and Heidi.

HE SEOUL International Drama Awards [SDA] moves into its seventh year in 2012 and is in Cannes to help expand its network of international advisors and partners.

The festival, which takes place every year at the end of August, “has enjoyed considerable growth,” said Yeo Do Kwan, who has just stepped up to the position of managing director of the awards organising committee. This

Patrick Elmendorff, managing director, Studio100 Media said: “We are delighted to have strengthened our successful and long lasting relationship with RTS and will be able to offer audiences in French-speaking Switzerland these truly amazing and vibrant shows.”

T SDA’s Yeo Do Kwan

SOUTH Korean global media content portal Contentlab has made its MIPCOM debut.

The company gathers information about the global programming market and analyses it for Korean companies and producers so they can produce more effective programming in the future.

Contentlab was established in 2009 to collate viewing information about news, drama, entertainment and other genres of programming.

Contentlab’s Gahui Kim and Jin Ki Hong: analysing viewers’ ratings

year, the festival had some 200 entries from 37 countries.

Yeo added: “We already have some partnerships with different companies across the globe but we now plan on expanding our network to include media experts and international stars.

“What we believe is that the network will ensure that we stay ahead of the curve when it comes to what is happening across the globe in the world of drama,” he adds.

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Digital delivers boost to television viewing

MIPCOM newcomer

Peter Hartogs

Peter Hartogs is CEO, executive producer, Landmark Media Productions, based in Virginia, US Tell us about Landmark Media Productions “We’re an emerging production company with over 30 years of experience behind it. Our mission is to make programmes of the highest quality that are enjoyable, innovative and easy on the eyes. We will tell stories, and tell them well. It is our goal and our passion.”

What drew you to MIPCOM? “There was no question this would be the place to make our entrance into the international market. We are trying to meet with as many relevant people as we can in order to get the message out about the series we are producing, Golf Courses Of The British Isles.”

What partnerships are you looking for?

“We’re looking for a production partner, broadcast pre-sales or a commissioning of this great series. I know we belong here and are a perfect fit for this market.

We’ve got big plans and expect to grow exponentially in the coming years.”

What has been the most important industry development over the last 12 months?

“The continued evolution to digital formats makes it necessary to be even more flexible in how one considers not only producing, but selling and airing products. What’s great is there are even more platforms and opportunities for people to see your work.”

Amandine Cassi and Jacques Braun of Eurodata TV Worldwide

THE EXPLOSION of digital equipment is the catalyst for the renewed dynamism in international broadcasting markets, according to a new report, Audience Engagement Beyond TV, from leading audience research firm Eurodata TV Worldwide.

Contrary to widespread predictions that growing internet use would lead to a reduction in television viewing, Eurodata TV Worldwide’s new report Audience Engagement Beyond TV demonstrates that daily viewing time is actually increasing due to web and mobile offers, and time-shifting.

“Young adults are also watching more TV,” said Amandine Cassi, head of research at French media research company

Eurodata TV Worldwide.

“Eight extra minutes in Italy, to make two hours 53 minutes a day among 15- to 34-year-olds, and an extra two minutes a day in Germany, for a daily total of two hours 27 minutes among 14- to 29-year-olds.”

“There is no globalisation of content either,” said Jacques Braun, vice-president of Eurodata TV Worldwide. “Our research shows that national content remains popular.”

Cassi added: “Television is no longer a passive linear experience. As television channels extend their content online, the popularity of the internet and social networks is reinforcing the power of television.”

Switchover has new take on brands

I Switchover Media’s Giuliano Tranquilli: exciting creative possibilities

TALIAN kids’ broadcaster Switchover Media is on a mission this market to leverage its brands K2 and Frisbee through new operation Switchover Licensing.

The in-house division, launched in June, will develop licensing, sponsorship and brand marketing activities related to all programming on the channels, which have a daily reach of 1.5 million children.

“We can provide added value for both the audience and the brands with whom we work, through multiplatform marketing,” Giuliano Tranquilli, Switchover Media programming & content development

partner, said. “Alongside that, there are so many different ways to deepen our relationship with the audience and many ways for them to interact with our programme characters and brands. These include Fairly Odd Parents, a show that we have been working with for nine years, which I believe is, like many properties these days, underexploited.”

Tranquilli also said that he sees brand/programming partnerships as a market differentiator: “The creative possibilities opened up by our licensing operation, such as live interaction with animated characters through a proprietary website, are very exciting.”

NAUTICAL CHANNEL TO MAKE A SPLASH WATER sports enthusiasts across Europe will be catered for by the December 5 launch of new pay-TV service, Nautical Channel, dedicated to activities such as yachting, windsurfing and kite-flying.

The channel was created by yachtsman and TV executive Laurence Hopper last November.

Director of programming Andrew Miller said: “We are launching in 25 countries in Europe with an initial 15 million subscribers. Nautical Channel has taken over the existing distribution network of Italian company Yacht & Sail and will initially be broadcasting in English, French, Italian and German.”

Miller added: “Yachting and other sea-related activities have been underserved by broadcasters in the past and we are filling that niche. Among the deals we have negotiated are coverage of the Americas Cup World Series, and we are on the look-out for good documentaries and series at MIPCOM.”

SIDELINE SEEKS NEW PARTNERS DUBLIN-based Sideline Productions is at MIPCOM looking to form creative and commercial partnerships with the US, Canada, the UK, China and Australia. Sideline produces various reality series and studio entertainment shows for an Irish audience including FremantleMedia’s Take Me Out and Family Fortunes, and BBC World’s Mastermind, as well as factual, lifestyle, online, entertainment and comedy shows for broadcasters in Ireland and the UK.

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neWs SINGAPORE AND JAPAN ANIMATE SINGAPORE’s Sparky Animation is producing a CGI series based on the Japanese series of books One Stormy Night, in conjunction with three Japanese companies, Duckbill Entertainment, Baku Enterprise and Bandai Visual.

One Stormy Night (52 x 11 mins), features an unlikely friendship between a goat and a wolf, and explores themes of acceptance and loyalty despite differences, sending the message that those from different cultures can become best friends.

The show will be directed by veteran anime director Amino Tetsurou and is set to premiere on Tokyo TV in April 2012. The books have sold more than 3.5 million copies in Japan.

Sparky is also working with Drawiz Singapore, the first overseas studio of Tokyo-based Drawiz, to develop a 50 x 5 mins series called Tocori The Ghost, which explores the growing friendship between a boy and a ghost.

Electric Sky sells to Sky Italia and opens Hong Kong office

From left: Sky Italia’s Cosetta Lagani; Kirim’s Tania Daniela Tarli; Sharon McCulloch of Electric Sky

E

LECTRIC Sky has licensed almost 100 hours of content to Sky Italia. The deal includes two of Electric Sky Productions’ 3D titles, Wonders and Wildebeest Migration.

Wildebeest Migration, currently in production, captures for the first time in 3D the annual migration of wildebeest across the Serengeti. Wonders, for 3net, explores the world’s greatest cities and natural landmarks.

Sky Italia has also taken four series of A Place In The Sun, the

Freeform Productions overseas property show, which has been an afternoon stalwart on the UK’s Channel 4.

The UK-based distributor has also announced it is opening a new branch, in Hong Kong. It has appointed Nuno I, once Endemol’s Asia sales and licensing manager, to focus on increasing its distribution and content acquisition from Asian territories. CEO David Pounds said: “This is the first of some planned initiatives to make Electric Sky more region-centric.”

NICE takes Audio Network in music deal

MUSIC publisher Audio Sparky Animations recent Network has co-productions include been named as Dinosaur Train, with the the preferred The Jim Henson music supplier Company, and Mr Moon, to the NICE with the UK’s Skaramoosh Group (Nordic and Canada’s Title Independent Entertainment.

Creative Entertainment).

From left: Audio Network’s Jean Paul Ditmarsch and Ebona Eastmond-Henry, with NICE 038_SPACETOON_N3_COM__ 30/09/11 17:43 Majholm Page1 of Gong NICE Group, member Joachim formerly known as the Northern Spacetoon Media Hub Sdn. Bhd. Alliance Group, was formed in 2008 and consists of production companies in four countries across the Nordic On day, when a rookie “data packet” driver, region.

Danny and his co-driver Bill are going off for “Audio Network has a high quality work, they stumbled upon a lethal virus product that offers simple solutions outbreak at the very heart of AV Headquarters and fulfils the needs of producers which caused all AV Troopers and cyber-citizens worldwide,” Audio Network Holland’s to freeze. business development director, Jean Contact : Normah Shaari / Markeeting & Sales Manager Paul Ditmarsch, said. “We’re delighted Email : normah@spacetoon.com.my Tel : +605 527 4820 / 40 to be able to service independent and www.spacetoon.com.my creatively driven television companies like those within the NICE Group.”

NetWorks!

FALLUJA: DIRTY SECRETS OF WAR THE TRUE nature of the showdown in Falluja in 2004, when American soldiers battled Iraqi insurgents, is the focus of extensive investigation in a documentary brought to MIPCOM. The dreadful, consequences of the conflict, which at the time received worldwide media coverage, are put under the spotlight by Falluja, A Lost Generation? (1 x 60 mins), produced by Baozi Production for Canal+, and distributed by France’s Ampersand.

Several years later, babies in the city are being born with malformations, kids are developing leukemia and the incidence of cancers generally has multiplied many times. In the US, Marines who fought in the conflict are also developing strange diseases. What weapons were used? White phosphorus, depleted uranium … or worse?

Director Feurat Alani, whose family come from Falluja, has investigated the dirty nuclear secrets of the besieged city, talking to Iraqi doctors, US soldiers, international weapon specialists, and other officials connected with the conflict.

CHEF COOKS WITH PASSION IN ASIA THE MAVERICK Chef, a 6 x 30 mins food show from Singapore’s Ochre Pictures, is being distributed at MIPCOM

by London-based Passion Distribution.

Chef Alvin Leung, one of a new breed of molecular gastronomists, trained as an engineer and puts that to good use in analysing and reinventing Asian dishes while visiting different cities in Asia.

The series airs on Li, Life Inspired channel, a 24-hour Asia-wide HD lifestyle channel.

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MIPCOM newcomers

Domenico Ciolfi (left) and Jader Giraldi

Director Domenico Ciolfi, founder of Mr. Arkadin Film and producer Jader Giraldi, founder of Zeranta Edutainment, from Italy Tell us about Mr. Arkadin Film and Zeranta Entertainment

“Mr. Arkadin Film produces films and TV formats. Zeranta Edutainment develops and produces crossmedia content in the fields of educational and edutainment. Our structure can manage the entire production process.”

What drew you to MIPCOM? “We are taking part in MIPCOM to present a catalogue of 10 original projects with international scope, aiming to establish a network of partners to develop these and other formats.”

What is your unique selling point?

“We are a dynamic reality, willing to experiment with new forms of narration and language. This is the question we pose to ourselves every time we think of a new project: Is there a different way to tell this story?”

Cho stands up for comedy in Cannes MARGARET Cho is attending MIPCOM with Beyond Distribution, promoting her new release, Cho Dependent.

She performed at Beyond’s cocktail party, and appeared on the Red Carpet at the Opening Night Party in the Martinez.

Cho is one of America’s leading stand-up comics, famed for her in-yourface style. As one of America’s most visible Asian Americans, she has a unique

perspective on identity and acceptance and brings her empowering voice to her adoring fans. Currently touring the world with her show, Cho admits to having started stand-up as a form of therapy: “As a kid I was borderline autistic, but one particular teacher, who was gay, really helped me and encouraged me to communicate.

When I heard that he’d been killed by rednecks I left school and started my stand-up career.”

How has business been in the past 12 months?

“Today it’s necessary to realise productions with reduced costs. The Adventures Of Sally, the kids’ series we have produced over the last year, embodies this philosophy. It is based on an original liveaction format, produced with contained costs, and it teaches the values of honesty, friendship, saving and sustainable economy.”

VIAP OFFERS TAG TEChNOLOGY DIGITAL start-up VIAP comes to MIPCOM with an interactive platform that allows any piece of content to be tagged, enabling users to access a complementary transactional or information-based experience.

Sydney-based CEO David McGrath said: “VIAP, which stands for Viewer Interactive Application Platform, merges the best of the internet with aspirational content to offer price competitive goods and services to viewers, wherever they live.”

Margaret Cho (Beyond International)

Method screens Chaplin revival

M

Left to right: Philippe Soutter of PGS, Celine Limorato of France Televisions, Anton Soumache of Method Animation and Guillaume Soutter of PGS

VIAP’s David McGrath

ETHOD Animation, the makers of Chaplin & Co, the new animated version of Hollywood legend Charlie Chaplin’s works, are at MIPCOM with three completed episodes to show. The CGI stories of the tramp character will debut on France 3 later this year.

“We didn’t think it would be as hard as it was to do a show without dialogue,” said producer Aton Soumache of Method Animation. “We wanted to be true to the films, but non-speaking human characters are quite a challenge in animation. It took us a year to find our characters, and get the music and sound right.”

The show was produced by Method and MK2, commissioned by France Televisions, and is distributed by PGS Entertainment.

The company, which was founded six months ago, combines UK technological and encoding expertise with European funding and offices in Los Angeles and London. This last development is a reflection of the enthusiastic response from Hollywood’s film and TV community to VIAP’s patent-protected technology, which launches next month.

“Our solution is not in your face nor a beacon flashing ‘buy-me’, but is complementary to the entertainment experience being delivered,” McGrath said. “We want to enhance creativity, not cannibalise it.”

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mipcom

neWs Sky arts receives Ovation

SONY’S trIO OF SCrIPtED SaLES

RG has closed a deal with Sky Arts, selling four specials and a six-part series from the Ovation catalogue.

The deal includes Jeff Koons: Beyond Heaven, an hour-long documentary exploring the life of the superstar artist, as well as the series Art And The City, hosted by LA Times travel and culture writer David Keeps.

“I have a great admiration for what BSkyB has done with its arts

In Israel, SPT has licensed the format for Married… With Children to Keshet, with 50 episodes of the show set to air on Channel 2.

D

channel, said Ovation’s senior vicepresident of programming, Kris Slava.

The deal was brokered by UK distributor DRG, which represents the arts and culture multi-platform network’s original programming library. Patrick Roberts, DRG’s senior vice-president of international sales said: “The Sky Arts 1 deal is the latest in an impressive list of worldwide sales for the Ovation catalogue, confirming there is still commitment and demand for outstanding arts programming globally.”

From left: Ovation’s Chad Gutstein; Julia Stuart of BSkyB (for Sky arts); DrG’s Patrick roberts and Ovation’s Kris Slava

Icon Distribution’s Greg Hughes and HanWay Film’s Mark Lane

FILM ODYSSEY travELS tO Oz DISTRIBUTOR HanWay Films has clinched a deal with Icon Distribution for Marc Cousins’ The Story Of Film: An Odyssey.

Under the terms of the deal, Icon will manage the property across TV, cinema and home entertainment in Australia and New Zealand.

The Story Of Film: An Odyssey is a 15-part tour of the greatest movies ever made. Shot over five years on six continents, covering 12 decades and a thousand films, it tells the history of cinema from the silent era to the digital age, visiting key cinematic landmarks, from Hollywood to Mumbai. In the UK, it will air on Channel 4 and More4 for 15 weeks later this year.

Other HanWay titles at MIPCOM include the Whoopi Goldbergnarrated Being Elmo and Jamie Foxx’s presentation Thunder Soul, which is pitched as a real life Glee.

Also on the slate is movie Life In A Day from Academy Award-winner Kevin Macdonald, which was produced by Scott Free and YouTube and features hundreds of user-generated clips.

US Prime Suspect is global hit

SONY Pictures Television (SPT) has made deals at MIPCOM for three of its most popular scripted formats.

SPT Productions Russia has concluded a deal with broadcaster CTC to produce 40 episodes of sitcom The King Of Queens. This marks SPT’s first local language version of the format.

And in Bulgaria, SPT has made its first scripted format deal in the territory, following an agreement with Viasat to license Married… With Children. Viasat will produce 120 local episodes of the sitcom for its Bulgarian network, Nova.

SPT will also provide consultancy.

Prime Suspects, from left: Jayne redpath of Itv Studios Global Entertainment; tv3’s Ben Frow, Damian O’Hara and Fintan Maguire; Itv Studios Global Entertainment’s Maria Kyriacou and Paul Buccieri of Itv Studios

TV3 (IRELAND) is one of 30

broadcasters to buy the new US version of Prime Suspect, which premiered on NBC in September.

ITV Studios Global Entertainment has licensed the show to broadcasters including Nine (Australia), TVNZ (New Zealand), Diva Universal (Asia including Singapore, Malaysia, Philippines, Hong Kong and Taiwan) and Kanal 5 (Sweden). In Norway, Fox International and NRK will share a window.

Based on Lynda La Plante’s bestselling novels, and derived from

the critically acclaimed British television series, the new drama was co-produced by ITV Studios America and Universal Media Studios. It stars Maria Bello (A History Of Violence) as Detective Jane Timoney, pitting her wits against criminals and male colleagues alike in New York.

Maria Kyriacou, managing director, ITV Studios Global Entertainment, said: “Prime Suspect was one of the most highly anticipated shows of the US autumn season.” Paul Buccieri, president and CEO of ITV Studios America, co-executive produced.

VERALIA’s Carlo Boserman Dema (left) and Sparks Network’s Nicola Soderlund shake on a format deal for Lady Burlesque, a reality talent competition based on the art of striptease without nudity. Sparks has acquired the worldwide rights to the Sky/Veralia format, excluding France, Spain, Italy and the US.

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A full week of opportunities!

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mipcom

PERSONALITY OF THE YEAR

“We are privileged to work in an industry that constantly changes” Anne Sweeney, MIPCOM 2011 Personality Of The Year, has been dubbed “the most powerful woman in entertainment”, “one of the 50 most powerful women in the business” and “one of the world’s 100 most powerful women”. But the president of Disney/ABC Television Group and co-chair of Disney Media Networks feels she is still learning. Interview by Julian Newby How does it feel to be the 2011 MIPCOM Personality Of The Year?

This award is a great honour on two fronts; certainly personally, but also just to have the ability to represent our company and acknowledge all the great work that Disney has done in the marketplace and all the wonderful work that our employees have done.

You’ve joined an impressive line-up of honourees. Is it significant to you that you’re the first woman to be recognised?

There are so many great women who have preceded me at MIPCOM. My exposure to MIPCOM was really because of Geraldine Laybourne [Oxygen Media] and Linda Khan [Scholastic Media], who were the two people who

took me to MIPCOM for the first time and showed me the ropes and introduced me to the marketplace.

So in my mind I’m not the first woman — I’m one of many women that have been privileged to be a part of this marketplace.

What’s dominating your working life at the moment?

We have the fall launch of ABC, which is very exciting, and we have brought many of those new series to the market. And we’re just wrapping up ABC Family’s season. They premiered their new product in the summertime, and that’s also been wildly exciting. Disney Channel has just been on fire this summer — especially Disney Junior — so it’s been really thrilling to watch our studio, our channels and our television network just firing on all cylinders.

You have been credited with numerous digital developments during your time at Disney and have always been ahead of the game in terms of technology...

You’re right about being ahead in technology. Bob Iger [president and CEO of The Walt Disney Company] called me one day and said Steve Jobs [Apple co-founder and chief executive] would like to talk to me, which was a wonderful phone call to get.

And the phone call with Steve was about providing ABC and Disney Channel series as items to be played on the video iPod. I think it was that moment with the video iPod that opened our eyes to how technology can be used to reach viewers. But almost more importantly, it made us understand ourselves as a media and technology company because what we did immediately following that was to launch ABC.com.

I work with a very talented team — a very exciting group of people who are always thinking about new ways to reach our viewers. It’s very much the mindset of our company that not only do we make wonderful programming, but we’re always thinking about new ways to deliver it to the people who distribute it and

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Anne Sweeney at the World Premiere TV Screening of Disney/ABC Missing, with Ashley Judd, star of the series

PORTRAIT OF A SECRET ARTIST Something very few people know is that I paint — in acrylics. The results have been… OK, not fantastic. I’ve done a bit of landscape painting, but I’m truly obsessed with portraiture, so that’s been my focus for the last couple of years. I don’t exhibit or sell my paintings — it’s a very personal thing.

They are oftentimes gifts to family or friends.

to our consumers.

buy, they’ll be able to see it on any piece of technology…

One major concern is how to monetise in the digital space. But you seem to have got a grip on that too…

We do understand that consumers see this as a value proposition and our sister company ESPN is actually already engaged in this. Some months ago we signed a deal with Time Warner and part of it involved authenticating, which you’ve probably been hearing more and more about. So people who are subscribers to Time Warner cable can now type in their code and are able to access ESPN on multiple devices. They can go to Central Park and watch ESPN on their iPad. I think it’s a very good idea and it’s something that we are pursuing. Someday you’ll see Disney Channel and our other services appearing on multiple devices.

I believe we have a business model that is continuing to evolve. We didn’t expect to have everything lined up from the beginning. We had a lot of learning to do about the technology, how we could protect our programming from piracy using technology, and how we could get our technology and programming on to different devices — because an iPhone is not a video iPod is not an iPad is not a television set is not your computer. We also had a lot of learning around how advertising could be used on these different platforms. It wasn’t as easy as, “Oh and we’ll run commercials…” It provides a whole new opportunity for advertisers that we’re still deeply engaged in figuring out with them. That’s a very exciting area for me.

You mentioned watching video on a range of devices. It seems to be a hurdle to convince the consumer that whatever they

It’s been really thrilling to watch our studio, our channels and our television network firing on all cylinders

There seem to be numerous start-ups looking at this issue, which may not help the consumer…

Exactly. After we did the iTunes deal, which is now six years ago, I got calls the day after from all of these new start-up platforms.

Everyone wanted our content — everyone wanted to do what Apple was doing — and we explained

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A TRUE VISIONARY Congratulations to Anne Sweeney on being named MIPCOM 2011 Personality of the Year.

Your leadership and vision inspire us all.

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feature that, in order to work with us, there were several things you needed to do. Number one, we had to be able to do a good deal for our company. Number two, we wanted to work with companies that had a strong relationship with their consumers and weren’t just using our shows to build a relationship. And we wanted to work with companies that protected us from piracy because, as you know, that’s a huge, huge problem for all media companies.

Also, we wanted to work with brands and we wanted to work with people who were actually investing in their companies and investing in the people who use their devices. That’s what made the Apple decision easy — because we were all Mac users and we all had our iPods, it wasn’t that big a leap to think of what Apple would do with our content.

Apple is a strong brand — as is Disney. To hold on and maintain such a brand globally is a real achievement. How much influence does this have on your strategy?

It’s part of our everyday life. Bob Iger is fierce about the Disney brand, the ABC brand and the ESPN brand. We all understand that the brand is, quite simply, the relationship we have with our consumers.

We need to make sure that that relationship is relevant, that it’s inspiring and that it’s everything you would expect from a great friend who’s reliable, trustworthy, entertaining, protective… These are all things that we think about when we think about our brands.

A strong brand is also a great weapon against piracy, isn’t it?

It does help, yes. And hopefully, technology will help even more.

How do you see this industry, and your role within it, evolving over the next five to 10 years?

I think the next five to 10 years will require us to focus on the personalisation of media. I think this has been pointed out to us by the devices that people are using and how they’re using them. I noticed recently in a focus group with children that, when they were asked whether they had a phone or a laptop or a computer of some kind, they started talking with their hands — talking as though they were hitting a touch screen. That was very instructive to me because it made me realise that I do that myself. I use my iPad probably 80% of the time and the computer at my desk the remaining 20%. There are days when I’ve put my finger on the computer screen and have had to remember to use the mouse here.

But watching those kids talk with their hands and fingers made me think about how we should be presenting programming to them going forward for the devices that they’ll be using. And it’s not a

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MISSING MISSION We are pleased with Missing for many reasons. We’re a global company, producing content for global audience and we’re committed to creating entertainment that is relevant to viewers wherever they live. Shot in Prague, Dubrovnik and Istanbul with a truly international cast, Missing is a perfect example of this. It also happens to be a great show!

stretch to think about what we should be doing for adults as well — how deep we need to make the experience, how available we need to make the experience and how well we need to know the people who are watching our shows, or how can we say to people, “You love desperate housewives, so you’re going to love Good Christian Belles…”

Three years ago, there was a sense of doom over the industry. Would you agree that that has largely disappeared?

I would. We are so privileged to work in an industry that constantly changes. If something doesn’t work, hopefully we figure out why and move on very quickly.

I think that’s what I’ve always loved about television — its ability to shed what doesn’t work and go for the next great idea.

Looking ahead, there are many new business models.

What’s your prediction for how the industry might change?

I think there’ll always be a role for the television in the home, because there are certain things that we all want to watch on a larger screen. But once we realised that we could be mobile with our content, it changed not only the way we look at it but it also offered us a couple of new business models. One is the subscription model; another is subscription with advertising; another is advertising only. I think it will take a while longer to realise what content and what business models work best together. I think that’s just part of the learning curve.

What does MIPCOM mean for you?

Generally, it’s a very, very busy marketplace — I’ve never been at MIPCOM or MIPTV when I haven’t been booked straight through. One of the things I’ve always treasured is the walk along the beach to the Palais in the morning. I think to myself how lucky we are to walk along the Mediterranean to work. So I always look forward to those moments — and I really look forward to seeing people that I’ve known for many years and who have been great teachers.

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Deals get done.

GOING CLUBBING AT MIPCOM! Find the right place to go

The Participants’ Club Designed for participants without a stand. Meeting area. Wi-Fi. Coffee.

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Open to VIP pass holder delegates.

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Complimentary refreshments. Wi-Fi. Hostess assistance. Message board.

The Press and News Hub Designed for press participants.

Editorial room. Wi-Fi. Complimentary refreshments. Interview lounge area.

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