MIPCOM 2010 NEWS N°1

Monday

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MIPCOM News #1

4 October 2010

www.mipcom.com

MAD MEN

A NEW episode of Mad Men will be unveiled today at the firstever MIPCOM World Premiere TV Screening, which takes place at 18.00 in the Grand Auditorium. Attending the event are cast members Elisabeth Moss, who plays Peggy Olson in the hit drama from Lionsgate about the world of New York advertising, and Jonathan Hamm, who plays suave ad man Don Draper See page 16

LUKE PERRY FORMER Beverley Hills, 90210 heartthrob Luke Perry has ridden into town to promote his latest TV project — a western for Hallmark Movie Channel about a hard-living circuit-court judge with a penchant for saloon life See page 22

ROBERT REDFORD ACTOR, director, producer and indie-film champion Robert Redford is in Cannes to help celebrate the first anniversary of Sundance Channel in France. MIPCOM is a great opportunity to “get inspired”, he tells MIPCOM News See page 50

KEYNOTES: MASTERMIND SERIES SPEAKING at today’s PricewaterhouseCoopers’ Industry Outlook are Nonce Paolini, chairman and CEO of TF1, and John Smith, CEO of BBC Worldwide. Find out how two major media players are tackling the challenge of consumer migration to digital platforms at 16.00 in the Grand Auditorium

TF1’s Nonce Paolini

BBC Worldwide’s John Smith

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TIME IS THE ULTIMATE TEST OF FAME

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Pop culture junkies will love this look back at some of the most famous faces in entertainment. From how they got their start to how their careers evolved, we’ll reveal exclusive inside info plus show all the shocking transformations—good and bad.

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©2010 E! Entertainment Television, Inc. All Rights Reserved.

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CONTENTS

FOX INTERNATIONAL Channels and Entertainment One have joined forces to internationally distribute AMC’s new survival zombie series, The Walking Dead. Stars Andrew Lincoln (Love Actually) and Sarah Wayne Callies (Prison Break) arrived in Cannes to promote the series, directed by Frank Darabont (The Shawshank Redemption, The Green Mile). “The special effects make-up designer, Greg Nicotero, is like Willy Wonka for the gore industry,” said Lincoln, “The Walking Dead really captures a feeling of general malaise.” Sarah Wayne Callies added: “I have never been in an environment where people have worked so hard and with such courage and creativity.”

MIPCOM News 1 The Official MIPCOM Daily News publication Monday, October 4, 2010 Director of publications: Paul Zilk Editorial Department: Editor in Chief: Julian Newby • Deputy Editor: Debbie Lincoln • Sub Editors: Max Leonard, Phil Sommerich • Reporters: Daniela Burnham, Marlene Edmunds, Andy Fry, Emelia Jones, Juliana Koranteng, Rachel Murrell, Gary Smith, Joanna Stephens • Technical Editor in Chief: Herve Traisnel • Deputy Technical Editor in Chief: Frederic Beauseigneur • Graphic Designer: Carole Peres • Editorial Management: Boutique Editions Ltd. Production Department: Content Director: Jean-Marc Andre • Publications Production and Development Manager: Martin Screpel • Publishing Coordinators: Amrane Lamiri, Bruno Piauger • Production Assistants: Emilie Lambert, David Le Chapelain • Production Assistant, Cannes Office: Eric Laurent • Printer: Riccobono Imprimeurs • Le Muy (France) Management, Marketing & Sales Team: Director of the Television Division: Laurine Garaude • Director of Digital Media: Ted Baracos • Sales Director: Sabine Chemaly • Communications and Partnerships Manager: Dee Perryman • 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 • Sales Manager: Paul Barbaro • Sales Executive: Liliane Dacruz Sales Manager: Nathalie Gastone • International Sales Managers: Fabienne Germond, Olivia Screpel • Sales Manager: Samira Haddi • Digital Media Sales Manager: Nancy Denole • Australia and New Zealand Representative: Natalie Apostolou • China Representative: Anke Redl • CIS Representative: Alexandra Modestova • Czech Republic and Slovakia Representative: Milan Stritesky • 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 Mobile & Music Representative: Renate Radke Adam • Germany Advertising Representative: Nathalie Daube

MIPCOM BY NUMBERS MIPCOM 2010 has not only drawn screen stars from around the world, but it is also welcoming more than 12,000 participants and 4,000 buyers, from over 100 countries NEWS

CONFERENCE AND EVENTS 72

PRODUCT NEWS Content for sale at MIPCOM

52

All today's conferences and special events at a glance

FEATURES France’s TRIP tax rebate Animation co-productions 3D: a new dimension DTT: a new buying force

86 92 102 108

www.mipcom.com Published by Reed MIDEM BP 572 • 11, rue du Colonel Pierre Avia 75726 Paris Cedex 15 • Contents © 2010, Reed MIDEM Market Publications • Publication Registered: 4th quarter 2010

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NEWS

MAD MEN FRENZY CANNES will go crazy today at MIPCOM’s World Premiere TV Screenings. An unaired episode of Mad Men, Lionsgate’s hit drama, will be screened exclusively in the Grand Auditorium. Cast members of the cult programme, which is aired in more than 100 countries, will attend the screening.

Additionally, delegates can expect the first international preview of an episode from much-anticipated romantic comedy Running Wilde.

US, Korea and Japan join forces to host Opening Night Party COMPANIES from the US, South Korea and Japan have joined forces to host tonight’s MIPCOM Opening Night Party at the Hotel Martinez.

Saban Brands, part of the Saban Capital Group, and its distributor, MarVista Entertainment, are cosponsoring the event to celebrate the relaunch of children’s franchise

Power Rangers in the international TV marketplace.

Saban, which had sold the franchise to the Walt Disney Company for $5.2bn in 2001, recently bought back the business, including its existing 17 series. The 18th season premieres on Nickelodeon US next year.

The Power Rangers characters will be

HOT BRANDS EVERYTHING to know about the future of branded content is disclosed at MIPCOM’s Branded Entertainment Summit tomorrow. An invitation-only halfday VIP summit at the Majestic Hotel brings together experts in advertising and entertainment.

A one-hour session open to all delegates follows in the afternoon at the Esterel.

STRIKING MATCHES MIPCOM’s matchmaking events bring together funding experts and producers at two sessions today. Production Incentives In France, focuses on content financing in France and the tax rebate law, which benefited international hits such as the BBC’s Merlin and Hollywood film Inception. Meet The Film Commissions & Media Funds brings together producers needing cost-effective, stunning locations and the commissioners who make that happen. Both sessions are in the Conference Networking Room, Level 5 of the Palais.

The Hotel Martinez – venue for tonight’s party

part of the night’s entertainment, joining the drama, animation and concert (see page 20) supplied by cosponsor the Korea Creative Content Agency (KOCCA).

Jae-woong Lee, KOCCA’s president/CEO, recently said the agency sees MIPCOM as an excellent opportunity to introduce Korean content producers to international buyers.

The Opening Night Party’s triumvirate of sponsors is completed by Japan’s International Drama Festival in Tokyo, which takes place October 25-28 this year.

At tonight’s party, the festival’s organisers will be presenting the MIPCOM Buyer Award for Japanese Drama.

The festival’s vice-chairman and executive producer, Hajime Shigemura, said that while attending MIPTV in April, he had realised that “Japanese programme makers can learn a lot at MIPCOM, by observing foreign productions and exchanging ideas with foreign programme makers”.

Spotlight is on innovative Australia A COUNTRY at the leading edge of the digital and multi-platform revolutions comes under detailed examination tomorrow as MIPCOM marks Spotlight On Australia day.

The dramatic widening of Australia’s TV landscape with the launch of digital channels and the resilience of the country’s economy in the face of global recession will be examined as MIPCOM welcomes more than 250 antipodean entertainment executives and a firsttime visit from Tourism Australia with its new broadcasting initiative.

Ned Kelly director Gregor Jordan gives the opening keynote, marking the launch of of transmedia project Smashcut, which he has co-produced

with The Project Factory.

Cross-Platform Content & Alternative Revenue is the title of a session that kicks off with a panel chaired by Marcus Gillezeau, executive producer, Firelight Productions, chairing a panel giving case histories of Australian innovation.

Mike Conway, The Wiggles, will talk about the children’s entertainment phenomenon’s 20th anniversary.

Ian Hogg, FremantleMedia Australia CEO, will explain the making of global powerhouse hits such as The X Factor, and — following the Australia lunch — Screen Australia’s Fiona Cameron will launch new co-production guidelines aimed at bringing even more work Down Under.

Gregor Jordan: blazing a transmedia trail with Smashcut project

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MIPJUNIOR offered delegates a range of opportunities to hear from — and talk to — licensing agents, licensors and licensees.

The In Conversation With… strand featured Stan Clutton (pictured), senior vice-president, licensing and new business at Mattel, Maura Regan of Sesame Workshop and Sandra Vauthier-Cellier of 4Kids, who noted a growing move towards interacting with the consumer at every possible moment of their day.

As a pre-school specialist, Clutton said that interactivity is not much on his radar for the kids he serves. “However, we use social networking and ‘mom-blogging’ to influence parents.”

LE PETIT PRINCE IS GIVEN A REGAL LAUNCH THE PARTNERS involved in new series Le Petit Prince assembled to celebrate its launch at a special screening at the end of MIPJunior. They are, (left to right), PGS Entertainment’s Philippe Soutter, Sony Corporation‘s Tony Ishizuka, TSR’s Izabela Rieben, Rai’s Annalisa Lieberi, WDR’s Siegmund Grewenig and Brigitta Muehlenbeck, France Televisions’ Celine Limorato and Julien Borde, Saint-Exupery-D’Agay Estate’s Olivier D’Agay and Method Animation’s Aton Soumache. The screening — and the closing night cocktail that followed — were sponsored by Method Animation, PGS Entertainment and Sony Pictures Television

THE KOREA Creative Content Agency (KOCCA) created a morning of networking opportunities for Korean children’s producers at MIPJunior. What’s New In Korea was the focal point for delegates wishing to meet Korean content creators to discover new partnership, co-production and content opportunities.

Poryes explains how to create a Hannah MICHAEL Poryes, co-creator and executive producer of the worldwide teen hit musical series Hannah Montana, gave the MIPJunior 2010 keynote yesterday. Speaking with MIPCOM News editor Julian Newby, he told delegates that getting inside the minds of teenage girls was a straightforward process.

“Writing a show with a girl in the centre is interesting to me because girls put their feelings out there,” he said. “I take a guy, I strip away all the BS and the macho stuff, and I’ve got a girl!”

Poryes said that when trying to choose the actress to play Hannah Montana — aka Mylie Stewart — there was a safe choice and a “risky” choice, Mylie Cyrus being the latter. “She was a 10-year-old spitfire,” Poryes said. “And in the end the head of the Disney Channel, Gary Marsh, went

courageous and pushed for Miley. You need courage. You don’t go the safe way. Go the way your gut’s telling you to go to survive in this market.”

Next from Poryes is Life With Boys, about a girl who lives with all brothers and her single father. “It’s something I’ve always had in my gut,” Poryes said. “Something without a huge hook, that can expand toward character definition, with story arcs … an examination of both girls and boys on an equal plane.

And it’s given me the ability to finally have a vehicle where a boy will be able to explain why he drinks out of the milk carton, with chocolate in his mouth, and leaves his underwear on the floor.”

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Michael Poryes: “Girls put their feelings out there”

05:15

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NEWS

PITCHING IS CHILD’S PLAY “WHEN you pitch a project, do it visually,” said David Michel, general manager of Marathon Media. He was one of the dozen executives giving advice to more than 100 producers at the pitching workshop, the traditional opening event of MIPJunior. “Use lots of sensory adjectives to outline your main characters,” he continued. “And narrate your funniest or most exciting storyline.”

Olivier Dumont, managing director of Entertainment One Family, warned pitchers to do their homework before a meeting. “Know the person’s schedule,” he said. “Then ask them what shows they like, and what they’re looking for. That’s information you can use to finetune your pitch.”

Other tutors were Lynn Chadwick of Nelvana Enterprises; Henrietta HurfordJones of BBC Worldwide; Heather Kenyon of Starz Animation; Jon Rutherford of Tricon Films & Television; Larry Schwarz of HandMade Films and Animation Collective; Josh Selig of Little Airplane Productions; Barbara Uecker of the Australian Broadcasting Corporation; and Spin Master’s Matt Wexler.

Marathon Media’s David Michel: “Pitch visually”

Kids have their say as select 15 are scrutinised by jury Finalists, jurors, Reed MIDEM’s Laurine Garaude and the CreaCon Entertainment team, together with cast members from City Of Friends

TWENTY children from the local international school chose their favourites from 15 of the new programmes screened at MIPJunior this year.

The winner of the Pre-school (threeto six-year-old) category was Polly Pocket Music Video from Mattel (US).

Canimals from BRB Internacional

(Spain) won the Kids (seven- to 10year-old) age group, while the Pre-teen (11- to 14-year-old) winner was World Kids News from Peru’s Kids News Network.

“The kids’ jury makes a valuable contribution to MIPJunior,” said Julien Borde, head of children and youth

programmes at France Televisions, who co-presented the session with Christophe Erbes of Media (C)nsulting and TF1’s kids TV presenter Billy.

The awards were presented at a cocktail hosted by CreaCon Entertainment, makers of the new animated show City Of Friends.

Cops and robots win licensing battle ROBOCAR Poli, a Korean CGI animation, has won the seventh annual MIPJunior Licensing Challenge. The show combines three obsessions of its target audience of three- to five-yearold boys — robots, cars and police.

In an emotional acceptance speech, Lee Jun-woo, senior manager of ROI Visual, said Robocar Poli was inspired by its producer’s two sons. Her prize includes mentoring from members of the jury, plus a booth at the Licensing International Expo in Las Vegas in June 2011.

“Robocar Poli was judged to have the most potential for an extendable merchandising programme,” said jury president Holly Stein, who is vicepresident, licensing acquisitions, at Mattel.

The other five finalists — chosen from more than 80 entrants — were: 1001 Nights from Canada’s Big BadBoo;

Canimals from Aardman Animation, BRB Internacional - Screen 21 and Voozclub (UK/Spain/Korea); Dibidogs from FutureCode (Finland); Earth To Luna from TV PinGuim (Brazil); and Melody Street from Melody Street (US).

Serving on the jury were: Marathon Media’s Patricia de Wilde; Jennifer Lawlor

from Nickelodeon Consumer Products International; Maura Regan of Sesame Workshop; Mary Carmen Rotter of Televisa International; and Sandra Sheppard of WNET.ORG/ Thirteen.

KOCCA — the Korea Creative Content Agency — sponsored the networking session that followed the event.

Jurors and finalists of the MIPJunior Licensing Challenge with winner Lee Jun-woo (front row, centre right)

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NEWS

Live action tops wishlist at kids Buyers’ Summit JULIEN Borde, head of children and youth programmes at France Televisions, is obsessed with hybrid formats.

Speaking at the MIPJunior Buyers’ Summit on Saturday, he said that mixing live action and animation, or animation and documentary, works for older viewers. “Kids switch to live action as they get older,” he said. “Hybrid formats can help us keep them.”

Borde is also looking for evergreen animation, live action for tweens, animated movies for Wednesday mornings, upper pre-school shows, and animated series for six- to eight-year-olds.

“We’re looking for strong live action,” said Nicole Keeb, head of international co-productions and acquisitions, ZDF. “Our focus used to be anima-

tion, but with the success of H2O, Dance Academy and Elephant Princess, we’re increasingly looking for live action.”

Oliver Schablitzki, vice-president, Nickelodeon Germany, wanted live action too. “I’m looking for groundbreaking live-action shows that are truly innovative. They could be soaps or telenovelas. And I wouldn’t rule out drama.”

“For us, the Holy Grail is animated comedy like Phineas & Ferb,” said David Levine, vice-president worldwide programming strategy, acquisitions and co-productions, Disney Channels Worldwide.

Disney is rebranding Playhouse Disney as Disney Junior, and extending

France Televisions’ Julien Borde: obsessed with hybrids

00:00

05:15

PLAY Watch this conference in full video, only on blog.mipworld.com

the channel’s target age group to include seven-year-olds. “Disney Junior will be ‘pre-school plus’,” said Levine.

“Interactivity and education will be part of the storytelling.”

“CBeebies is looking for stand-out projects with great content, great ideas and

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real passion,” said Kay Benbow, controller, CBeebies. “We’re looking for live-action pre-school shows. And you see a lot of children in our shows because we want children to see themselves on screen.”

The session was moderated by Linda Kahn, president, Linda Kahn Media.

AT THE MarVista Entertainment/Saban Brands MIPJunior lunch on Saturday were Elie Dekel, president of Saban Brands (left), and Fernando Szew, CEO of MarVista Entertainment, plus the Power Rangers Samurai team

Crossing over with New Content Creators AS CONVENTIONAL funding dries up for kids television, producers are turning to consumer products companies for cash to make their shows.

Kristen Van Cott, senior vice-president of creative development at Skechers Entertainment, produced the $8m animated adventure series Zevo-3 with money from the shoe brand. The show launches on Nicktoons this month.

“Nobody expects genuinely creative Skechers Entertainment’s Kristen Van Cott: “High production values”

content from branded entertainment,” said Van Cott at the MIPJunior New Content Creators Case Studies session.

“But with Zevo-3, high production values and the ethic of the company were integral to the show.”

Van Cott rejected suggestions that Zevo-3 is advertising rather than programming. “The lead characters don’t get their powers from their shoes,” she said. “They don’t even wear special shoes.”

Naif Al-Mutuwa, CEO of Teshkeel

Media Group, explained how – in the wake of the second Iraq war – he set out to create positive images of Muslims in his kids’ series, The 99.

The Kuwaiti writer and producer took elements of ancient Arabic stories, gave them a core set of contemporary multi-racial superheroes, and hired US scriptwriters and show runners to inject pace and power. Endemol came on board to distribute in 2007, and the series airs on The Hub. “Holy crossover, Batman!” he joked.

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Peggy and Don are in Cannes Jonathan Hamm and Elisabeth Moss, who respectively play Don Draper and Peggy Olson in Lionsgate’s TV sensation Mad Men, are in Cannes for the MIPCOM World Premiere TV Screening of an new episode from the fourth series. They spoke to Julian Newby ahead of the red carpet event Did you expect this level of success when you first started working on Mad Men? JH: The fact that this show has sold so amazingly is humbling and an honour, but its also very strange if you think about it — I can’t believe that it’s done that. We started on this five years ago for a tiny network that no one had really heard of in the States. The success has been other-worldly.

EM: I think we all loved it, we thought it was very good and different and something special. But everybody knows that sometimes this business can be very tough, and so we hoped for the best and

tried to make it as good as we could. But you can’t anticipate this — we didn’t think about sitting here in Cannes today, while we were making the pilot.

Peggy was a critical character at the start of the first series, as a victim of the sexism and political incorrectness of the era EM: I just fell in love with the character from the very beginning. It just happened to be in the Sixties — I never imagined I’d become so immersed in that era, an era I had nothing to do with, so for me its been great to discover things and learn things.

When we first started all the guys were

reticent to say these [sexist] things, but now we’ve all got used to it.

JH: The show was ostensibly about Don’s world at the start, but what we discover is that more and more it’s about Peg, because she’s the generation that’s coming up. That in my opinion is where the show is going — it’s about the next generation. I was born in 1971, so just outside of that, but very close to it.

Has the theme of the show informed you about the advertising industry?

EM: A lot of people talk to me about advertising, and think I really know

about advertising — and I don’t.

JH: People always say, ‘advertising doesn’t work on me’ but of course advertising works on everybody. I’ve always been aware of it, the art and the power of it, and I’ve always been impressed by it, so it’s nice to have the opportunity to learn more about it through this show.

Have you heard of Donabees?

Young professional men who dress in sharp Sixties suits, and slick back their hair — Don Draper style?

JH: I’ve not heard that. That’s fantastic. I’m gonna steal that. I’m a Donabee myself!

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TODAY’S CLASS IS ON THE MONEY TODAY’s Entertainment Master Class (EMC) workshop, How To Lower The Costs For Expensive Format Productions, is one of the centrepiece events of the second Producers Forum — and, according to EMC director of studies Christoph Fey, is a central plank in MIPCOM’s drive to “move closer to the creative core of the business, tap into market intelligence and access the hottest new talent”.

EMC’s Christoph Fey

Fey, who is hosting today’s session alongside Kanal 5’s Sara Goldensohn, TV Norge & FEM’s Eivind Landsverk, 4mat4media’s Ludo Poppe and SBS TV’s Maria Thastum, will be examining back-to-back and multi-territory format coproduction. Fey is also celebrating the EMC’s latest round of EU MEDIA funding, which has been awarded in recognition of the executive education programme’s “international impact and outreach”, specifically in relation to its forthcoming entertainmentmanagement module, which takes place in Cape Town, South Africa, next month.

Wonder Girls amaze US – but Korea says there’s more to come

Wonder Girls: breaking into the Billboard charts

KOCCA’s Choon Keun Lee: “The key is long-term investment”

KOREAN executives are in Cannes in unprecedented numbers, including a performance at the MIPCOM Opening Night party by Wonder Girls, one of the hottest girl bands Korea’s K-pop wave has produced.

Wonder Girls is brought to MIPCOM

by KOCCA, the Korean Creative Content Agency. The KOCCA pavilion is home to a record 54 companies, 25 in the area of TV broadcasting and production, and another 29 in anime.

KOCCA executive director Choon Keun Lee said Wonder Girls is an example not only of what Korea has to

and broadcasting industries.”

KOCCA’s content production has broken barriers over the last decade with dramas such as Jewel In The Palace, documentaries like Asian Corridor In Heaven, and anime series Perera, but the aim now is to take it to the next level, and that is global, he said.

“The key is long-term investment and the creation of content that fundamentally teaches and moves people’s minds. Korean drama, as an example, has wide appeal because it has solid storylines, deals with ordinary people and universal subjects.”

offer in the way of talent, culture and content, but also where it intends to go in taking those qualities to the global market. The Wonder Girls concert will be part of possibly the largest mass-networking event ever officially to take place at MIPCOM. “Wonder Girls is one of the few K-pop groups to have actively embarked on a US career. Last year it became the first Asian group to cross into the Billboard Hot 100 chart in the last 30 years,” Lee said. “They have achieved unprecedented accomplishments by breaking down the barriers between the music

Tags allow sneak Spartacus preview STARZ Media is using Microsoft tags to give users exclusive access to clips and information relating to the forthcoming Starz Originals prequel series Spartacus: Gods Of The Arena. Starz Media’s adoption of the tags at MIPCOM is believed to be their first such use at a TV trade show.

The tags allow anyone at MIPCOM with a camera-equipped smartphone to connect directly to video clips and other augmented media by clicking on images in trade ads, posters, panels and other media in Cannes.

The user downloads the app — from

http://gettag.mobi — and then points the phone’s camera at the tag. Depending on which poster or print ad is being scanned, it will automatically open the video or other content on the phone. It’s as simple as that.

“The media business is changing rapidly, and it is important for us to be proactive and look for new ways to provide our broadcast partners with the most enhanced experience possible during the market,” Starz Media executive vice-president, worldwide distribution, Gene George, said. “Starz Media will be utilising the technology

throughout MIPCOM because Spartacus is a perfect series for this type of cutting-edge technology.”

Spartacus: Gods Of The Arena (Starz Media)

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Here comes the judge Luke Perry has ridden into Cannes to spread the word about his latest project — a two-hour TV western for Hallmark Movie Channel, distributed by E1 Entertainment.

Called Goodnight For Justice, the film is directed by Perry’s former Beverley Hills, 90210 co-star, Jason Priestley. It is based on an original idea by Perry, in collaboration with screenwriters Tippi and Neal Dobrofsky. He talks to Joanna Stephens

A western directed by Jason Priestley, conceived by you and filmed in Vancouver… How did that happen?

First, I love westerns because they can tell any kind of story. Second, I’ve been abusing Jason for decades now, and this was no exception. Also, because of the film’s financial paradigm, it needed to be filmed in Canada and directed by a Canadian — and Jason is my Canadian of choice. Plus he’d never directed a western and had always wanted to, so it all came together nicely.

day, our court process is very long and drawn out, which is probably good in that it helps to get to the truth. But in those days, one man would serve as judge, jury and executioner. He’d get on his horse, ride into town, mete out justice, get back on his horse and head off to the next town, where another five or six offenders would be waiting for him. It seemed to me amazing that one guy would be encumbered with that much responsibility and it struck me as a really neat idea for a movie.

Tell us more about the storyline…

What’s John Goodnight like?

It’s the story of John William Goodnight, who’s a circuit court judge out west in the 1870s. From a legal point of view, those were interesting times. To-

He’s a man of the law, but he’s also very real, very human. When he’s not sitting on the bench, he’s on a barstool.

He spends a lot of time in saloons,

smoking, drinking, playing cards, talking to girls. He’s a man’s man and I really liked that. I didn’t want to play a guy with the Bible in one hand and a law book in the other. I wanted him to have faults and cracks, and I wanted him to make mistakes.

So did you get to hang some villains?

Do you think the film has international appeal?

Are you happy with the end product?

I think the idea of somebody doing their best to do right is a universal theme. John Goodnight might not conform to the letter of the law, but he always tries to do the right thing. And he’s very clear about the weight of human life and the need to protect people who can’t protect themselves. All those qualities have international resonance.

Oh yes, I got to stretch a few necks and make a few gentlemen respect women.

I also got to be dragged by a galloping horse for 35 metres — and did in my back in the process.

You always wish you’d had more time and more money, but yes — I’m very pleased. We had a great time making Goodnight For Justice. We laughed every day for three weeks.

We told the crew, ‘Look, we’re not reinventing the wheel here; this isn’t brain surgery. Let’s just enjoy it and make a great western.’ So that’s what we did.

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Variety thrives as digital switchover’s benefits outweigh costs in Japan IN LESS than a year, Japan will have completed its digital switchover. Yet even now, the process has already increased the variety of programming being produced and aired, according to Michisada Hirose, president of the National Association of Commercial Broadcasters in Japan.

He said the industry had been forced to spend large amounts on the move to digital and, although there had recently been an upturn in revenue, broadcasters and producers were still far from recovering their investment in the new technology.

The good news, though, is that producers are responding to the challenges of new technologies and a multi-platform environment with a greater diversity of programming.

“There will be more and more types of programmes due to digitalisation, and the wide possibilities offered by the advanced technologies,” he said.

National Association of Commercial Broadcasters in Japan’s Michisada Hirose

“At the same time there will be serious competition because of the competitive digital-media developments.”

The cost of investing in new technologies would also foster international partnerships, an area in which Japan has been increasingly active. “The move to the multimedia system is the same all over the world, it does not allow anybody to recuperate the programme-production cost in their own country. There will be more and more need for international collaboration at the programme-production stage.”

Yet despite the present costs, Hirose believed the longer-term industry prospects were bright. “I still believe there will be no change, that television will stay at the centre of the media world,” he said. “And in order to do so, we are now required to have an even greater variety of ideas about how to make and provide programmes.”

NHK and JCC forge collaboration DISCOVER Science is the first series coproduced by NHK, NHK Educational Corporation (NED) and Al Jazeera Children’s Channel (JCC). An innovative educational show, it is the first of many projected collaborations between Japan’s public broadcaster and the panArabian entertainment channel.

The series uses NHK’s latest visual techniques and creative filming to explain the scientific theories through spectacular experiments — taking science out of the lab and into the real world.

Several international broadcasters are already showing interest. Since April, when the call went out for international co-production partners, German broadcaster SWR, UR Sweden and EBS

Korea have signed deals to come on board. Astro will also broadcast the series in Malaysia and Brunei.

Kenichi Murakami, NED’s president and chief executive, is encouraged that broadcasters have pledged support at such an early stage. “We believe this shows how much need there is for good science programmes presented in a fun way,” he said.

Mahmoud Bouneb, JCC’s executive general manager, added: “We are pleased to see the fruit of our co-production with NHK and NED being positively received by broadcasters around the world for both English and Arabic versions.

We are also looking forward to

more co-productions with NHK on science, technology and the environment.”

Now that 26 episodes are complete,

NHK, NED and JCC are looking to expand into new territories. NHK Enterprises (NEP) has been appointed as the official distributor.

Educational partnership: Al Jazeera Children’s Channel’s Mahmoud Bouneb (left) and NHK Educational Corporation’s Kenichi Murakami

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ZDF Enterprises | Sales, Merchandising and Coproductions | Erich-Dombrowski-Str. 1 | 55127 Mainz | Germany programinfo@zdf-enterprises.de | www.sales.zdf-enterprises.de | Phone: +49 (0) 6131 - 991 1601 | Fax: +49 (0) 6131 - 991 1612

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©BBC

David Walliams and Matt Lucas in Come Fly With Me

Walliams and Lucas fly in to Cannes Matt Lucas and David Walliams, the British comedy duo famous for the Little Britain series, are in Cannes to promote a new six-part series, Come Fly With Me. Produced in mockdocumentary style, the series is set in an airport and stars Lucas and Walliams in various roles, interacting with staff and public. The series, launched on BBC1, Christmas Day, is coproduced by the BBC and Little Britain Productions. Walliams spoke with Julian Newby on set Are there a lot of restrictions filming in a real airport?

We’ve been filming in Stansted Airport (Essex, UK) and also Robin Hood airport in Doncaster, and yes it’s hard to film in such a busy environment, but it does add a much-needed realism to it, because it’s a very hard thing to do, fake an airport. We knew that viewers were going to know if it didn’t look right, and it would undermine the reality of the show. So we’ve been trying to do it guerrilla-style, so in the background in a lot of the shots you will see real people. If we are filming ‘air side’, we have got to go through security, and that takes a lot of time. Also we have to keep showing our passports and a lot of the time we don’t look like anything we do in our passport photographs because, for example, we might have

heavy prosthetics on. We have to have chaperones with us all the time too, because of security issues. Logistically it has been tough but we knew we had to make it as real as possible. We knew that unless you saw a real airport, the whole thing would look quite fake.

You have some big names in the show, celebrities who just happen to be at the airport.

Yes we do have some international stars, as you sometimes do in those real documentaries about airports. I remember watching the real Airport (UK reality series about day-to-day life in an airport) and Quincy Jones came walking through, and one of the people in the film is saying ‘I’ve never heard of him!’

We did want to reflect that. So every week we’ll have a special guest star.

Little Britain was a huge success in the UK and abroad. Is it a hard act to follow?

Yes, and we do have to consider that. But also, we are still the same people, we still feel that we are able to deliver laughs to an audience, so we are not too worried about it. I think it was time to deliver something totally fresh, and also not have any connection to any of the Little Britain characters. We considered that but then we thought it would be good to have a complete break from Little Britain and give the audience something totally new. And we have done that. We’ve created a completely new cast of characters.

Do you consider overseas audiences when writing and performing?

You can’t worry too much when you are doing each individual scene — like saying, ‘Right, how is this going to play

in Botswana?’. You just have to do what you think is funny. When I, as a British person, watch an American show – Seinfeld or something – I might not get every reference but I still kind of enjoy it. So we just follow our instincts as to what we think is funny, in the hope that other people find it funny too.

I’ve seen Vicky Pollard dubbed in German, and Japanese too. It’s amazing.

You create this character of a teenager from Bristol and a few years later you see it being dubbed into Japanese. And you think, people sitting in Tokyo can’t possibly understand the references.

A lot of them wouldn’t even have heard of (south west British city) Bristol, would they? Or know what an ASBO (Anti-social Behaviour Order) is? But somehow they just enjoy her and you can’t really argue with that.

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SCRIPPS ENJOYS KITCHEN HEAT A YEAR after launching its first lifestyle channel outside the US, Scripps Networks International (SNI) has unveiled plans for its first original series commission in the UK — a show for Food Network UK called Andy Bates’ Street Food.

The decision to move so quickly to original content is a response to the success of Food Network UK on pay-TV platform Sky, said SNI president Greg Moyer: “The channel has proved to be Sky’s most successful lifestyle launch in the past four years. It has doubled its average audience since the start of 2010 and is the third-most-viewed lifestyle channel for female viewers in Sky homes.”

Food Network’s success in the UK has been replicated in other markets. It has launched in 29 territories, mostly via a jointventure agreement with Chello Zone. Recent moves include a high-definition feed for EMEA and this week’s launch of Food Network Asia in Malaysia.

ZDF Enterprises agrees to join New Adventures Of Peter Pan

ZDFE’s Alexander Coridass (left), and DQE’s Tapaas Chakravarti

ZDF ENTERPRISES (ZDFE) is backing DQ Entertainment’s (DQE) $13.8m The New Adventures Of Peter Pan as a major co-production and distribution partner.

ZDF Enterprises CEO and president Alexander Coridass said the German

group “is joining an enthusiastic team with the same goal of creating programmes that touch the hearts, minds and souls of worldwide audiences”.

The deal gives ZDFE editorial and distribution rights for all German-speaking territories, the UK, Ireland, South Africa,

and Latin America.

DQE also signed a deal with Italian film, TV and media group De Agostini Editore for exclusive pay TV, VOD and L&M rights.

ATV in Turkey also came on board to join France Television and Method Animation as partners in the 26 x 22 mins series, which is set for broadcast in 2011.

ZDFE also inked a deal with DQE to become a co-production partner on Lassie. Tapaas Chakravarti, chairman and CEO of the DQE Group, said the company is moving forward with its strategic plans “to produce high-quality branded content for multiple platforms”.

Shine wins Million Dollar Mind Game Million Dollar Mind Game (Shine International)

Shine’s Chris Grant: “Third-party content is a huge piece of our business”

SNI’s Greg Moyer and Mary Ellen Iwata: rapid expansion

SHINE International has signed a global distribution deal for ABC primetime game show Million Dollar Mind Game, based on What? Where?

When? — one of the longest-running and most successful entertainment shows in Russian television history.

Chris Grant, president of Shine International, said production on the adaptation for ABC in the US was completed in July, with Vernon Kay hosting.

What? Where? When? has aired since 1975, challenging contestants to answer questions that require nothing more than basic faculties of reasoning and logic.

Grant said the deal exemplified one of his priorities. “My principal challenges are to grow the distribution business, to make sure that both our distribution company and our production company not only have internal content, but external content. Third-party content is a huge piece of our business.”

Hit series MasterChef had proved to be the recipe for surviving the recession, he added. In times of crisis, producers must “offer an opportunity to a broadcaster that is more than just a television show”. MasterChef “is a show that can exist on multiple plat-

forms, that can start a line of food products, that can launch a publishing line or an online site. That show is more than just a television show — it's an entire business.

“Now it's about not only getting it going in the right places where it hasn't gone before, but also making sure it's being managed properly in the places where it's already on. We've done some new deals in India, Israel, Iceland, Belgium, Ukraine and the Netherlands, bringing the total countries to 15, and the finished episodes on air to almost 150.”

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JARVIS FEEDS IN FORMATS COLIN Jarvis is no stranger to MIPCOM, but this year marks a first for the former BBC Worldwide formats director.

After leaving the corporation to set up his own consultancy, Colin Jarvis Media, Jarvis has signed his first major client, Cineflix International. He is now focusing on developing Cineflix’s formats division: “The formats business is a hungry animal. It needs new ideas, and then there’s the bigger challenge of getting them to air.” Cineflix is introducing titles including In Law Wedding Wars and Inside The Box With Ty Pennington to the international market this week. According to Jarvis, home makeover shows and game shows have strong appeal in the current economic climate. He also embraces the expansion of digital media platforms: “It won’t be long before a format that becomes a hit has originated on something other than television,” he said. Jarvis is working closely with Cineflix’s sales and production teams, as well as CEO Glen Salzman. “We are ideally positioned to do well in the formats business,” said Salzman. “It’s an area we need to move into to be a large international player.”

Colin Jarvis: “The formats business is a hungry animal”

Fuji focuses on formats with creation of a new division FUJI Television Network is offering fresher formats at MIPCOM, thanks to the creation of a worldwide production and sales division.

Akihiro Arai, executive director of the new division, said the innovation al-

lowed Fuji to “deliver the latest in Japanese formats to our global clients in a timely fashion”.

Fuji is focusing on formats at MIPCOM, and Arai said that despite the global economic turmoil the company

Fuji Television Network’s Akihiro Arai: “We can deliver the latest in formats”

has a strong programme line-up.

“We know that content is our bread and butter,” he explained. “While our competitors have cancelled high-cost drama slots, Fuji has, in fact, increased these slots in the past year.

This proves Fuji’s ability to be attuned to viewers’ needs despite economically difficult times.”

In some respects, he said, the downturn had helped the company, by making it more cost-efficient. “Fuji is ever more focused on the international market as a valuable revenue source,” he added. “We are the first Japanese network to set a companywide commitment to this end, and our mandate is to be more aggressive in expanding outward.

“Fuji is and always has been strongly supported by the younger demographics,” he continued, “and it is my goal to take all that is good in Fuji domestically and transfer it to the global market. Ultimately, it will be my goal to create worldwide the youth movement that Fuji is so well known for.”

Armoza gets Connected to five buyers ISRAEL’s Armoza Formats reports that it has sold its latest factual entertainment format, Connected, to five territories ahead of its MIPCOM launch.

The US, France, Sweden, Norway and Denmark have taken the format, which is now in its second season on Hot3 Israel, where it doubled the ratings in its time slot.

Armoza Formats’ CEO, Avi Armoza, said: “It’s the highest-rated Israeli TV show on cable ever, and the premarket deals and buzz it’s generating have confirmed its international market potential.”

Connected gives five women cameras to record their lives: five parallel stories unfold, and five lives gradually merge as each woman experiences transformative changes, and emotional highs and lows.

“Connected is a show that couldn’t have existed five years ago, because it’s based on a cultural revolution as much as a technological one,” Armoza said. “We now live in an age of selfexposure, and this format reflects that paradigm shift. It mixes the language of the internet, user-generated content and video blogging with quality production and brilliant editing.”

Armoza Formats’ Avi Armoza: a show “based on a cultural revolution”

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Matt Lucas

David Walliams

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Stars praise weird and wonderful Haven EMILY Rose and Eric Balfour are in Cannes to help kick-start the international career of E1 Entertainment’s new supernatural thriller, Haven, which debuted on Syfy in July.

The Stephen King story is set in Haven, a creepy village in Maine that has more than its fair share of quirky inhabitants. Enter damaged FBI agent Audrey Parker (Rose), who sets out to unravel the many mysteries of Haven — whereupon things go from spooky to downright weird.

Balfour, who plays bad-boy smuggler Duke Crocker in Haven, has been involved with several gamechanging US dramas, including 24 and Six Feet Under. With only two more episodes of the first season still to air, Haven is generating the sort of “mass excitement” that marks out a true hit, he said.

Given that the series is already headed

for 190 territories, Balfour’s optimism would seem to be justified. Rose observed that another major attraction is Haven’s location in Halifax, Nova Scotia. “It’s just gorgeous and so photogenic,” she said. “And it hasn’t been filmed a great deal, which makes it even more compelling.”

Rose also cited the dynamic between the central characters as having universal appeal. “There’s a classic love triangle, which is a lasting deal and one that everybody in the world can understand. Then there’s the deeper mythology of the supernatural storylines, which change every week, plus the genius of Stephen King and the global appeal of actors like Eric Balfour and Lucas Bryant. The fact that Haven is launching in 190 countries is amazing. I’m finding it mind-boggling to think of all those languages coming out of my mouth.”

Eric Balfour and Emily Rose: stars of E1 Entertainment’s new supernatural thriller

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SECOND HELPING OF EVERYDAY EXOTIC PORTFOLIO International has sold new episodes of popular cooking show Everyday Exotic to Scripps Networks’ Cooking Channel. The series (26 x 30 mins), now in its second season, is part of Portfolio’s expanded factual slate for MIPCOM. “The unique energy and exciting culinary style of Everyday Exotic make it a perfect show for Cooking Channel, which is dedicated to today’s more passionate food lover,” said Jennifer Quainton, director, programme planning & acquisitions, Cooking Channel/Food Network.

Everyday Exotic features host Roger Mooking as he explores exotic ingredients and incorporates them into everyday cooking. Each episode focuses on one distinctive seasoning — referred to as the obedient ingredient — and explores its provocative palate.

Everyday Exotic host Roger Mooking

“Everyday Exotic is one of the many high-quality factual programmes Portfolio has become known for, and we are delighted that it has once again been selected for Cooking Channel’s loyal, food-loving audience,” said Louis Fournier, vice-president, sales and acquisitions, Portfolio Entertainment.

In harmony: iConcerts selects The Orchard as cyber partner

IConcerts’ Natalia Tsarkova: “a music channel of the new generation”

ICONCERTS has appointed The Orchard to exclusively position and market an iConcerts-branded channel using internet video outlets, mobile video platforms and consumer devices in North America, the UK and selected global stores.

Established as a cross-platform digital channel, iConcerts offers more than 1,000 live music concerts, TV shows and documentaries featuring legendary artists such as the Rolling Stones, U2, ZZ Top, The Who, Pink Floyd and Queen, iconic contemporary artists including Coldplay, Alicia Keys, Radiohead, Robbie Williams, Amy Winehouse and Jay-Z, major current acts including Arcade Fire, Arctic Monkeys, Florence + The Machine, Mika, Lady Gaga and more.

“In the past three years we have built a music channel of the new generation

— linear and interactive, HDTV and on-demand — featuring great artists in a variety of genres and styles,” said Natalia Tsarkova, iConcerts cofounder. “The Orchard, with its thriving network of digital retail partners and unrivalled know-how in digital sales and marketing, will help us complete our cross-media strategy in several key markets.”

According to Steve Haase, EVP of Business Development at The Orchard: “The Orchard has made a significant investment in its video distribution platform infrastructure to provide an unmatched full service video offering to both content providers and consumer-facing video outlets. We are ecstatic with this partnership and look forward to growing iConcerts’ audience by bringing their unrivaled catalogue to the digital market.”

NTV and Metronome are format friends NIPPON Television Network (NTV) kicked off MIPCOM by entering into a major format co-development pact with Scandinavia’s Metronome Film & Television.

“We’re looking forward to having a lot of fun in this collaboration,” said Akihiko Harazono, head of format development in the business planning & development programming division of NTV. “We’ll be working together on a series of formats, including game shows.”

Lasse Hallberg, senior vice-president and head of creative business affairs for Metronome, part of the Shine Group, said that the collaboration was already at work. “We’ve begun narrowing our pool of ideas down, but the plan is to have at least one pilot and other paper formats ready by MIPTV 2011.”

Metronome’s Kim Bjornqvist, left, NTV’s Akihiko Harazono and Metronome’s Lasse Hallberg shake on the deal

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BBC’S HENRY VIII CONQUERS CANADA BBC WORLDWIDE Canada has finalised a large-scale deal with the country’s public education broadcaster, Knowledge Network, for over 70 hours of drama, documentary, and history programming. The deal includes seasons 1-4 of BBC drama series Born & Bred and seasons 7-9 of long-running detective series Dalziel & Pascoe. In addition, from the history genre, Knowledge Network has licensed the series Henry VIII: Mind Of A Tyrant, which sheds new light on the life of the infamous king, and Images Of Conflict, a one-off special that looks at the work of seven war photographers — taking in visions of conflict from Vietnam to Iraq.

Henry VIII: Mind Of A Tyrant (BBC Worldwide Canada)

Also included in the deal are two documentaries: Fantastic Mr. Dahl, a biography of the children’s writer Roald Dahl; and Love Of Money, which focuses on the financial crisis of 2008, featuring interviews with major players, international leaders and finance ministers.

“Knowledge Network is an esteemed client of BBC Worldwide Canada and a strong supporter of our programming,” Hilary Read, chief operating officer, BBC Worldwide Canada, said. “The viewers are sure to enjoy these fantastic titles.”

Telenovela partners Globo and Azteca eye worldwide sales THE FIRST telenovela resulting from a partnership between Brazil’s TV Globo and Mexican broadcaster TV Azteca has been brought to MIPCOM, a week after it debuted in Mexico.

A year ago the two companies signed the co-production deal which, according to Raphael Correa, TV Globo’s director of international sales, unites two of the most powerful forces in telenovela creation.

“We have put together the best of telenovela production, story development and scripting from Brazil with the very telling resources of TV Azteca,” he said.

The first fruit of the deal, Between Love And Desire, which so far has 165 one-hour episodes, was developed specifically for the Mexican market, potentially giving Globo access to Spanish-speaking territories.

“We have great expectations in terms of international sales not only for

Between Love And Desire (TV Globo/TV Azteca)

Latin America and the US but also the European, African and Asian telenovela buyers,” Correa said. “With Mexican actors who are known worldwide, this programme will strengthen our position in the big

Spanish-speaking territories.”

The possibilities do not end there: Eastern Europe and French- and English-speaking Africa have also acquired a taste for telenovelas, as have several Asian territories.

Electric Sky takes on CNNI ELECTRIC Sky has signed a distribution deal with CNN International (CNNI) that sees it become CNNI’s exclusive distributor in the EMEA re-

Dolly Parton, profiled by CNNI

gion. The deal covers a range of current affairs and biography programmes, including profiles of Dolly Parton, Francis Ford Coppola

and Anish Kapoor. John Malkovich, Archbishop Desmond Tutu, and Dolce and Gabbana are among those who feature in the series Revealed (16 x 30 mins), which gets under the skin of the world’s most brilliant thinkers, creative champions and inspirational leaders, offering a glimpse of the private person behind the public profile in the run-up to an important moment in each celebrity’s life.

“We are delighted to be representing CNN International at MIPCOM,” Electric Sky chief executive, David Pounds, said. “There is strong demand for current affairs and factual entertainment programming at the moment, so these series should have great international appeal.”

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Two-centre structure emerges from Zodiak Rights merger THE NEW brand created from the merger of RDF Rights and Zodiak Entertainment Distribution opens for business at MIPCOM. Called Zodiak Rights, the new production, acquisition and distribution enterprise is dividing its business between offices in London and Paris.

Matthew Frank, CEO of the newly merged venture, will be based in Paris and London, working with Londonbased managing director Jane Millichip (formerly chief operating office of RDF Rights).

The London office will handle all programme sales to English-speaking territories, while the Paris branch will be responsible for distribution to

non-English speaking markets for drama only.

In London, Frank will be responsible for the TV sales team, focusing on kids and family programming, the merchandising and licensing team, plus the brand management and creative services division. The English-language children’s programme strategy is driven by UK-based production company The Foundation, which was recently commissioned to create the pre-school animation Tic Toc House for Nickelodeon US. Millichip will concentrate on the nonkids business, which includes formats, factual entertainment, factual programming, and the acquisition of

drama. Frank’s duties in Paris have him overseeing other activities, such as kids and family programming made by French production companies Marathon and Tele Images, and

selling drama to non-English-speaking countries. “The restructuring clarifies which office does what and keeps the lines of communications cleaner,” Frank said.

Zodiak Rights’ Jane Millichip: focusing on formats, factual and drama

Zodiak Rights’ Matthew Frank: keeping the lines of communication cleaner

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MIPCOM NEWCOMERS SARAH BEARDSALL, DOMINIC MINGHELLA, managing partners, Island Pictures, UK: “We are a young, dynamic production company, but with a first-class pedigree. With projects in development with all the leading UK broadcasters, we relish the challenge of the mainstream. We are small, but we like to make a lot of noise!

We have several well-developed drama projects that could benefit from deficit funding, and we are also interested in exploring international coproduction. We are keen to build business relationships outside the traditional model of UK broadcaster drama and comedy commissioning. We have a writer/show-runner and a casting director/producer at the centre of our business. We don’t develop anything unless we know we can deliver it and package it with talent. We already have two ambitious drama series, developed with broadcasters, which are now close to commission, and hope to start shooting on our first production early in 2011.

Dominic created two hit TV series — firstly, Doc Martin, starring Martin Clunes, attracting up to 11 million viewers in the UK and recently re-commissioned for its fifth series, and Robin Hood, on which he worked as executive producer and show-runner, which ran for three series, and was a top-five bestseller around the world for its distributor, BBC Worldwide.”

Sarah Beardsall

Dominic Minghella

France and Netherlands move into the BBC’s lucrative attic LEOPARD International has inked further deals for the format of its longrunning BBC series Cash In The Attic, with sales confirmed for France and the Netherlands. GTNCO and Mediafisher will be producing it as a 50 x 40 mins series for M6 in France, while AVRO is preparing eight half-hours for Nederlands 2.

Now in its 15th season and on air in more than 30 countries, the series continues to draw in huge audiences for BBC1, with its formula of helping people from all over the country to

convert hidden gems in their attics into cash.

“We’re delighted to confirm these deals for France and Holland,” Leopard International head of sales Sarah Diggins said. “Cash In The Attic has become a huge success across the world and we’re extremely pleased to be spreading the footprint of this successful format even further. Additionally, we have just confirmed the first international sales for The Day The Immigrants Left, with broadcasters in Poland, Sweden and Belgium.”

Leopard International’s Sarah Diggins: “spreading the footprint”

GURU STUDIOS of Canada’s new programme sales arm, Guru Distribution, has picked up rights in the UK, US and France for season two of Hop To It Productions’ dance-along kids series Pop It!.

As part of the deal, Hop To It is taking rights on Guru’s 26 x 11 mins animation series Justin Time (pictured) for Australia and New Zealand.

Headed by former Disney executive Mary Bredin, the new Guru Distribution division will represent Guru's properties, and thirdparty properties that match its own brand philosophy.

“We are drawn to dynamic, constructive and entertaining properties like Pop It!,” Bredin said. “The show is really charming and the casting is terrific, it’s a perfect fit for our new distribution business.”

CBeebies website takes the plunge BBC WORLDWIDE has unveiled a consumer website for its pre-school offer, CBeebies, which sees the familiar characters live and play in their new underwater home: a submarine.

The submarine offers video content, promos and programme information, and the site has geo-targeted content for key CBeebies territories including South Africa, Asia and Australia, as well as local-language versions for Latin America and Poland.

The underwater theme is exclusive to the international audiences, and fea-

tures a host of new features. Becky Diver, vice-president, marketing, BBC Worldwide Channels, said: “The site is jam-packed with interactive features allowing kids to truly involve themselves with their favourite programmes.”

CBeebies.com is the first of BBC Worldwide’s branded channel websites to be refreshed, to enhance user experience and provide more information online. Those for BBC HD, BBC Entertainment, BBC Lifestyle and BBC Knowledge will follow.

BBC Worldwide’s CBeebies website

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NEWS

MIPCOM NEWCOMER

MBC to produce landmark drama depicting life of influential caliph SHEIKH Waleed Al Ibrahim, chairman of free-to-air Middle Eastern broadcaster MBC, has unveiled plans for the company’s biggest historical drama co-production.

The prestigious production focuses on the life of the second Muslim caliph Umar Ibn Al-Khattab (Fa-

rooq the Great) – a notable figure in the establishment of the state and religion of Islam. It will be scripted by Walid Saif and directed

by Hatem Ali. Given the sensitive nature of the drama’s content, there will also be a text validation and fact-review committee consisting

of various respected Middle Eastern figures.

The preliminary screening date of the drama is set for Ramadan 2011. It will be dubbed and/or subtitled into several languages, including Turkish, Urdu, Malay, Persian, English, French, Spanish and Portuguese.

Andres Jordan: flexible mindsets needed

ANDRES JORDAN, vice-president, head of innovative content solutions, International Carrier Sales & Solutions (ICSS), Deutsche Telekom North America.

“Deutsche Telekom is one of the largest telecom companies in the world, with approximately 200 million subscribers. It is committed to serving the media industry by providing platforms that bridge the gap between content producers and eyeballs hungry for content. Our enabling platforms consist of a content distribution network (CDN) that facilitates and speeds the distribution of audiovisual web content, the CONX platform that provides a webbased marketplace for professional buyers and sellers of content, and premium content link PCL, a fully integrated VOD distribution platform for selling premium content across one and all screens. We are looking for producers that want to partner in developing and monetising our platforms via revenue-sharing structures. Our strategic thinkers and business development counterparts need to come with flexible mindsets and be willing to experiment and pilot new business models. The capacity in our networks is growing at triple-digit rates every year, an indication of the value of our subscribers.”

Sheikh Faisal Bin Jasim (left) and Sheikh Waleed Al Ibrahim announce the landmark drama co-production

FME projects span generations A YEAR ago, FremantleMedia Enterprises (FME) used MIPCOM to announce plans for expansion in the children’s and family entertainment business. This year, it is back in Cannes with a huge slate of projects ranging from pre-school to high school.

Top titles include My Babysitter Is A Vampire, a live-action horror/comedy developed by Fresh TV in association with Teletoon Canada. With the series due in 2011, FME has exclusive distribution rights outside Canada. Also unveiled this week is an agreement between FME and CBeebies In-house Production for a new CGI animated

fantasy adventure series aimed at preschoolers, and a three-project development deal with the Dan Clark Company – best-known for shows such as Brats Of The Lost Nebula.

In other moves, FME has linked up with Josh Selig’s Little Airplane Productions to co-develop and co-produce a mixedmedia animated series for pre-schoolers titled Jo B.G. Raff. FME has also entered an agreement to develop a series with Australia’s Sticky Pictures, starring Bindi Irwin, daughter of the late Steve Irwin.

Another slate of groundbreaking projects is just around the corner, according to FME. These include a series based

on the exploits of an alternative rock band, a co-production deal with Random House based on a children’s graphic novel, an animated sitcom for Hasbro-backed channel The Hub and a re-imagining of DangerMouse by FME “and a major broadcast partner”.

“We are very pleased with the slate of projects and programmes we have assembled,” said Sander Schwartz, head of children and family entertainment for FME. “As we bring our new shows to market, we are diligently forging new partnerships and deals while building the value of the FME brand in the kids and family space.”

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NEWS

MILLIPEDE ON THE MARCH RENOWNED children’s entertainment producer Kenn Viselman is calling on undiscovered producers to submit short-form content for the chance to be included in a new programming block called Millipede, scheduled to premiere at the end of 2011.

Explaining the concept, Viselman said producers can submit any shorts for preschool audiences, ranging from 15 seconds to 11 minutes in length: “Anyone who has talent deserves to be showcased, and often because of a lack of contacts, length of programming or some other issue, projects never make their way on to the screen.

I am delighted to have the opportunity to allow Millipede to give back while affording my company the opportunity to expand our message of high-quality, wholesome fun, and funny family entertainment globally.”

Viselman’s credits include Teletubbies, Thomas The Tank Engine and It’s Itsy Bitsy Time! and, on the eve of MIPCOM, he was in Millipede negotiations with partners in the US, UK, Canada and France.

As for producers/creators, they must own all rights to the submitted material, and footage must be non-violent and appropriate for the age group.

Submission information is on www.millipedetv.com.

Innova-tive legal digital content feed for Russia A PLATFORM that feeds digital entertainment content to Russian audiences in a secure, legal environment is to be unveiled at MIPCOM. Innova Systems has spent nearly a year and $1m developing the Ayyo Project, said CEO and company founder Gevork Sarkisyan.

He said companies including Walt Disney, Warner Brothers, MGM Studios, Universal, Twentieth Century Fox, Lionsgate and HBO are expected to take part in a presentation from Innova product director Vasily Sitnikov and business development director Danila Streltsov on October 6. They will provide an overview of the Russ-

ian digital market, the role of social networks and the prospects for internet television.

Innova Systems’ legal staff will also outline solutions to problems facing rights holders and distributors.

That will be followed by details of Ayyo, which is to launch in November, offering a user-friendly player, a constantly updated library of licensed films and videos made available to coincide with DVD release.

Innova publishes massive multiplayer online games such as Lineage 2 and Aion. It has adapted titles including RF Online, FreeStyle Online and Point Blank for Russian users. Its tally

Innova Systems’ Gevork Sarkisyan: $1m investment in Ayyo Project

of unique registered users exceeds five million.

Monterosa: Famous And Fearless online LIVE social entertainment contentspecialist Monterosa has been commissioned by Channel 4 to create and deliver a real-time online play-along experience for a major new entertainment show in 2011.

Famous And Fearless, a two-hour show to be made by the UK’s Princess Productions, will broadcast live nightly in primetime for a week, and will see 12 celebrities compete in urban and extreme sports events at the Echo Arena Liverpool.

Monterosa has also been given the green light to create the play-along game for the new series of The Million Pound Drop Live.

Million Pound Drop Live earned a recommission for Remarkable Television, an Endemol company, after the initial week-long live show attracted an average of 2.2 million viewers and a 11.9% audience share on Channel 4 from 22.00.

The synchronised online game

attracted 450,000 unique users, a record-breaking 4.7% of the TV audience on its peak night.

Tom McDonnell, director at Monterosa, said: “We’re thrilled to be working with Endemol, Princess and Channel 4. The opportunity to work

closely together during the development of a format allows us to create a seamless experience for the audience on multiple platforms. 2011 is definitely the year that event TV will evolve and I’m proud that the UK is leading the way.”

Million Pound Drop Live’s online game attracted 450,000 users

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VIEWPOINT

‘Get a strong captain on board’ Steering big-budget international co-productions from inception to airing requires navigational skills and a firm hand, says Simon Vaughan, chief executive of Lookout Point OVER the last three years I have been involved in three major international drama co-productions of which I am extremely proud. I’ve learned lessons from each one, and each has informed my approach to the next. The projects are: Ben Hur, Coco Chanel and Titanic. Each ambitious, epic and extremely challenging! Each is 2 x 90 mins and designed to be a ‘tent-pole’ broadcasting event. With budgets exceeding £10m, they can only be produced with the support of the international marketplace, which means co-producing with several partners.

What is crucial is finding holistically sound, organic structures. This might perhaps sound a bit new age — but much of what we do relies on instinct and personality. Whoever we work

with on a project will be partners, for good or bad, for years to come. The combined development cycle and production process is rarely less than three years, and administration of the project as it sells worldwide extends indefinitely. These relationships are effectively marriages and they require work, patience, trust — and, above all, must be built on solid foundations.

Our current production, Titanic, represents a case study of how to build a global project. The subject has a number of natural points of contact in major financing markets. The ship was built in Ireland, was sailing to America via France, and many of the dead are buried in Canada. Furthermore, it was crewed by a large number of Italians.

We have built our structure along these

lines, with our core co-producers being UK, Ireland and Canada — with the US and European partners now coming on board (excuse the pun).

The most important lesson I have learned is that someone has to steer the ship (sorry!) with a solid creative vision. The ‘white noise’ of financing must be filtered from the creative process, while embracing each partner’s needs and ideas. Titanic works well because we are all are all working to one strong, creative producer — Nigel Stafford-Clark.

He is our captain, who won’t swerve or compromise under pressure. By working in this way, the co-production and financing structure will be invisible… and we will hope to avoid any icebergs!

THE BIG THREE BEN HUR was produced with ABC, CBC, Sony, Antenna 3 and ProSieben. It is soon to be launched on ABC Network in America and is hotly tipped for next year’s Emmy season.

Coco Chanel, starring Shirley Maclaine, was produced for Lifetime, RAI, France Television, and Avex in Japan. It was broadcast on Lifetime last year, rating as one its most successful shows of the year.

Titanic is produced for ITV, Canwest and TV3, and is being prepared for production in early 2011. At £2.5m per hour it is probably the most expensive Lookout Point’s Simon Vaughan UK-driven drama ever produced.

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NEWS

Where next for Sundance?

Robert Redford is in Cannes to mark the first anniversary of Sundance Channel in France.

The actor, director, producer, and founder of the channel, spoke exclusively to MIPCOM Daily News editor Julian Newby

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NEWS

Sundance Channel is coming up to 15 years old. What were your goals for the Sundance Channel back in 1996?

Sundance Channel started as a natural next step for the core mission of our overall Sundance brand, which was to support artists in new ways and bring original and independent work and voices to wider audiences.

Originally it was just to expand the festival concept onto television; once we took this first step we could begin to see ahead as to what shape the Sundance Channel could take. I’m pleased with where we have come with this company in this regard over the last 15 years, as we’ve been able to create and acquire content not seen elsewhere and deliver it over multiple platforms in dynamic ways. It is also very gratifying to see Sundance Channel launch internationally.

Sundance Channel has launched in France, Belgium, and parts of Asia. The plan is to continue to introduce Sundance Channel to more territories and continue to expand.

The core philosophy of the network remains the same even as you modify to meet the needs of different countries and cultures.

51

nology has made Sundance Channel content available to a much wider audience — in accordance with our initial goal — in new and exciting ways, like our original series and films being available on demand through most cable and satellite operators.

What innovative television have you observed recently?

I am more of a movie-goer than TV watcher. However one can not help but notice how many more opportunities there are for creatives on television and how many film people are doing series specifically for TV. Series such as Mad Men, Breaking Bad or Boardwalk Empire are a reflection of the very high quality of product that is on television these days, and in an era of tough film financing, television provides a very interesting option.

On Sundance Channel I am particularly proud of Brick City, which is shot in a verite documentary style, but edited for drama and television pacing. It received a prestigious Peabody Award and was nominated for an Emmy. Season two launches in early February 2011.

Has the acquisition by Rainbow Media changed anything at the Channel?

What are your hopes for your visit to Cannes?

Joining the Rainbow family two years ago brought with it an international reach I’d always wanted for Sundance Channel as well as resources Sundance Channel might not have had otherwise. For instance, a video-on-demand division called Sundance Selects has been launched so that audiences can connect with great independent films that may not open in a theatre near them.

The acquisition has brought more options for artists and more options for audiences, which has always been the Sundance focus.

Sundance Channel global is up in six markets and I know that there is the amibition to launch in more territories. MIPCOM offers the opportunity to be in front of key distributors from around the world and allows them to learn a bit more about Sundance Channel. It’s also a great opportunity for the creative executives at the network to meet with other makers of television from around the world to get ideas, talk about how to work together, get inspired.

How have digital technologies impacted on Sundance Channel?

Bigger is not necessarily always better and any expansion has to fit a set of criteria that adheres to the basic tenets of the brand. We are not in a rush to strike out in many directions, rather the proper directions for us when the time is right and there is a reason to do so. Something having to do with the expansion of our long-held commitment to documentary film may well come to fruition soon and we continue to expand the work that we’ve always done which brings to the table artists and creativity in the development of public policy for the 21st century.

That said, I am pleased that we are still here, that the brand continues to have meaning and resonance.

For me, the most important thing is that these varied formats push creativity. Sundance Channel’s website has become almost a channel unto itself; it has fostered the creation of some great original short films and series such as Isabella Rossellini’s Green Porno. Sundance Channel has also launched a stand-alone website called Full Frontal Fashion.

From a business standpoint, I think we’re much more integrated across departments.

Everything we do has potential on multiple platforms, and our content’s success may well even rely on being pushed out there on multiple platforms. Digital tech-

What's next for the Sundance brand?

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PRODUCT NEWS

On the Boyle A DOUBLE portion of Frankie Boyle, the fearless Scottish comedian whose credits include BBC2’s Mock The Week, is available from 4DVD. Channel 4’s DVD distribution arm is offering If I Could Reach Out Through Your TV And Strangle You, I Would, Boyle’s 75-minute stand-up performance filmed at the Hammersmith Apollo in June and tipped to become one of the stand-out comedy DVDs of the year. 4DVD also has the international DVD rights to the new six-part Channel 4 series, Tramadol Nights, in which Boyle satirises everything we love— and loathe — about British culture.

Sweet temptation Frankie Boyle (4DVD)

Playing the wild card AUSTRAL Road, brought to MIPCOM

by Grand Angle Distribution, visits one of the last virgin territories on the planet — the narrow strip between the Andean Cordillera and the Pacific Ocean. While the Austral Road, Hell Angel (Grand Angle opened in the SevDistribution) enties, has brought progress to Chilean Patagonia’s inhabitants, it is also endangering the region’s fragile ecology. Other titles from the Paris-based distributor include The Unsilent World, which looks at the ‘languages’ of whales and dolphins; and Hell Angels, which lifts the lid on the violent underworld of biker gangs.

Austral Road (Grand Angle Distribution)

Yumeiro Patissiere (Dentsu Tec)

A CAKE-obsessed 14-year-old and a forestdwelling, flower-headed family have star billing on Dentsu Tec’s MIPCOM 2010 slate.

Studio Pierrot’s Yumeiro Patissiere (50 x 30 mins) is a girls’ animation featuring Ichigo Amano, whose dearest wish is to open a patisserie and bake strawberry tarts. Her ambition comes one step closer when she meets Vanilla, the legendary spirit of sweets. The edutainment preschool animation, Hanakappa (150 x 5 mins), created by illustrator Tadashi Akiyama, follows the adventures of a boy from a family whose special talent is to grow flowers on their heads.

Hanakappa (Dentsu Tec)

A Nordic World of choice

Wild Things (Nordic World)

NORDIC World, the 50:50 joint venture between TV2 Norway and TV4 Sweden that provides a united export platform for Nordic content, has a well-stocked MIPCOM portfolio, covering all genres and just about every topic, from mobiles to murder. Among the titles on offer are Wild Things, which sees three fabulous transgender women embark on an eight-week road trip; The Sledmaker, which tells the story of Thorlief Nordengen, a 78-year-old cabinet-maker who builds world-beating dog sleds in his backyard; and Connecting People, billed as the first documentary to take a searching look at the life-cycle of the mobile phone. On the children’s front, Nordic World is showcasing Paint Planet, based on paintings sent in to NRK by children under the age of 10. Other titles include the multi-award-winning docu-drama The 7 Killings, which investigates seven murders committed in Denmark; and Sweet Swan Of Avon, which sets out to prove that Francis Bacon, not William Shakespeare, wrote the greatest plays in English literature.

Enjoy the ride

Tayo The Little Bus (Iconix Entertainment)

ICONIX Entertainment comes to Cannes with its new pre-school CGI animation, Tayo The Little Bus (26 x 13 mins), which follows the adventures of a bus which is just starting its career in the public-transport service of a busy metropolis. The series, which premiered on Educational Broadcasting System (EBC), blends captivating characters with educational messages to deliver a viewing experience that is both fun and informative.

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PRODUCT NEWS

New take on travel shows

Just William…and more

CANADIAN production company TGTV brings two HD lifestyle shows to MIPCOM. The Travel Guy highlights the attractions and activities of destinations in Frank Greco’s comedic style. Season two includes diving with bull sharks in Fiji, bogging in Wales, and glacier snowmobiling in Iceland. Gourmet Escapes has chef Massimo Capra partnering with a local chef, learning about local foods and working with his hosts on the final dishes. TGTV is also in production on Neptune’s Daughter, following a 57-foot schooner and its crew as they sail the world, providing humanitarian aid whenever needed.

Cooking-up trouble Just William (DCD Rights)

The Travel Guy (TGTV)

Whites (Fireworks International)

The other Mozart PARIS-based Wide Management brings new feature Nannerl, Mozart’s Sister (120 mins) to MIPCOM. Nannerl was also a child podigy, but was not encouraged to compose. Just Between Us (87 mins), from Croatia/Serbia/Slovenia is about the passionate undercurrent of bourgeois life. New documentaries from the company include:

SET IN the kitchen of a country house hotel, the new 6 x 30 mins BBC comedy series Whites is brought to MIPCOM by Fireworks International. The drama series follows head chef Roland White (Alan Davies), and his sous chef Bib (Darren Boyd), through a number of dramas in the hotel kitchen. Fireworks International has recently signed an agreement with Vuguru for the distributor to acquire a minimum of 10 multi-platform projects from the studio over two years. The first project from the deal is drama Pretty Tough (18 x 5 to 7 mins/90 mins), launching at MIPCOM. Set in Malibu, the series centres on two teenage sisters at opposite ends of the popularity spectrum.

FOUR new HD dramas top distributor DCD Rights MIPCOM slate. Just William (4 x 30 mins) is based on Richmal Crompton’s timeless comedy novels. The series, narrated by Martin Jarvis, follows the exploits of 11-yearold tearaway William Brown and his band of adventurous outlaws. Rake (8 x 55 mins) focuses on the world of a criminal defence barrister as he takes on what are seen as the worst cases. Sisters Of War (90 mins) is inspired by the true story of a group of Australian nurses and nuns made prisoners of war by the Japanese military. And finally the second season of Land Girls (5 x 45 mins/2 x 100 mins), set in the rural 1940s.

Formats from Turkey ISTANBUL-based Global Agency returns to MIPCOM with two new formats. Firstly, scripted format Forbidden Love, a family saga of passion, betrayal and revenge; and The King’s Jungle, based on an intense game of strategy.

Penguins head NatGeo slate

Nannerl, Mozart’s Sister (Wide Management)

Packaging (52 mins), looking at the design of packaging; The New Masters Of Space (2 x 52 mins), about contemporary architecture; Well-being Made In France (165 x 5 mins), bringing a concept of luxury and wellness; and Scena Del Crimine (74/58 mins), a Dutch film about organised crime in Naples.

NATIONAL Geographic Television International (NGTI) is launching several new programmes at MIPCOM. Penguin Island (6 x 26 mins/3 x 52 mins) is set on Australia’s Phillip Island looking at penguin life, from breeding to the challenges of surviving one of the hottest summers on record.

Leading NGTI’s history slate is Lost Mummies Of Papua New Guinea (52 mins), profiling the new discovery of racks of human mummies, too fragile to move. NGTI also brings Gallipoli’s Deep Secrets (52 mins), Stone Age Cannibals (52 mins) and Nasca Lines Decoded (52 mins), Big Sur: California’s Wild Coast (52 mins) and Gorongosa: Africa’s Lost Eden.

Penguin Island (NGTI)

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PRODUCT NEWS

Ker-pow! It’s Lady Bug

Recipe for Easy Living DRG IS launching the award-winning Nordic drama Easy Living (32 x 60 mins) as a scripted format at MIPCOM. The fast-paced primetime series was commissioned by MTV3 Finland, where it pulled in huge ratings when it premiered in 2009, earning the accolade of most successful drama in the broadcaster’s 50-year history. The action centres on the secret life of a ruthless entrepreneur, who appears to lead the perfect life. But behind the façade is a man teetering on the brink of mental, moral and financial destruction.

Lady Bug (Zagtoon)

THERE’s a new superhero in town — and her name is Lady Bug. The animated TV series, adapted from Univergroup Pictures and Onyx Film’s €50m-budget feature film, is brought to market by Zagtoon and Method Animation.

The story is set in Paris, where Lady Bug is using her incredible power of luck to protect the city from enemies. But Lady Bug’s lucky gift must be used only for altruistic purposes — and it’s so difficult to resist the temptation to use it for less noble causes, like getting good grades or a date with gorgeous Nathan from the gym club…

Microbes to morality

The fishermen’s tale

LANGBEIN & Partner is at MIPCOM looking for co-production partners for several highend documentaries. The Microbe Chasers is a portrait of scientists Louis Pasteur and Robert Koch, whose work in the field of microbiology rewrote the history of medicine.

Borderline sees the Austrian writer Robert Menasse hike and bike the boundaries of his homeland, musing on the borders that exist in nature, culture, linguistics and the human mind. Good Or Evil: Is Altruism Elemental And Greed Perverted? examines the latest brain and behavioural research and what it reveals about human relationships.

TWO NEW documentaries from National Geographic are headlining Rive Gauche Television’s MIPCOM slate. After The Spill: The Last Catch tells the heart-wrenching but inspiring story of the Louisiana fishermen’s fight to salvage their lives and livelihoods in the wake of the Gulf of Mexico oil disaster. Hunt For The Somali Pirates, meanwhile, focuses on the hijack of the Maersk Alabama and the audacious mission launched by US Navy SEALs to rescue the ship’s American captain.

A world of difference?

CYBERDODO is a new communication tool that offers children, parents and teachers information on human rights and environmental issues.

The non-commercial initiative from Association CyberDodo Global has the support of several international organisations, including the UN High Commissioner for Human Rights and HRH Prince Albert II of Monaco. CyberDodo’s message of ‘defending life’ is disseminated via animated TV series The Adventures Of CyberDodo, 40 episodes of which deal with children’s rights and 65 episodes on major environmental concerns. In addition, a family-friendly multilingual online community offers free access to rich audiovisual content.

CyberDodo (Association CyberDodo Global)

After The Spill: The Last Catch (Rive Gauche Television)

Justice strikes SKYWRITER Media is in Cannes with a new children’s reality game show and a fun-filled animation that encourages discovery and selfknowledge. The Toronto-based independent is debuting Hogan’s Court, a live-action series that allows children to take their friends and family to court for such crimes as spending too much time in the bathroom or wearing smelly sneakers. The courtroom is presided over by pro-wrestler judge Hulk Hogan. Vivi (52 x 11 mins), a co-pro between Skywriter and Brazil’s Mixer, sees a little girl and her grandmother explore diverse cultures, characters and locations.

Hogan’s Court (Skywriter Media)

Vivi (Skywriter Media)

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THE OUTSIDERS

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STUDIO 12

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PRODUCT NEWS

Deep, dark mysteries

On the beach TARGET Entertainment brings a cross-genre catalogue of programming to MIPCOM, including US producer Evolution’s Beach Patrol (67 x 30 mins) and Police Interceptors (42 x 60 mins) made by Rawcut Television, incorporating special-edition episodes, that have both recently sold to RTL in the Netherlands.

A package of six seasons of celebrity challenge series Jack Osbourne has also sold to Finnish channel Nelonen, including a special that features the whole Osbourne family.

Guillermo Lockhart, host of City Tales (Flor Latina)

CITY Tales (Voces Anonimas) is a series that explores urban legends and inexplicable phenomenon from all over the world, and is brought to MIPCOM by Argentina’s Flor Latina Entertainment Group. The series — originally shown on Teledoce, Uruguay — is presented and produced by Guillermo Lockhart, and explores a diversity of intriguing stories, including weird websites, mysterious text messages, ghosts, serial killers and even thrilling recreation parks. The brand extends to books and DVDs in its original country.

Digital distribution MGMEDIA develops technology for digital content multi-channel distribution. Its latest offer is Open4Content, enabling business to be conducted across connected devices including TVs, blu-ray players, home theatres, media centres, cell phones and the internet.

Open4Content allows the creation of stores where users can easily log in, activate their devices, and make their digital purchases. The platform can be customised and offers the latest in content-protection technology.

Open4Content (mgMEDIA)

Jack Osbourne (Target Entertainment)

Beach Patrol (Target Entertainment)

Rising to the challenge

Save our school

MCLAREN Entertainment, headed by format creator Tony McLaren, returns to MIPCOM with a new reality location franchise called Posse, which taps into the fashion for dark and gothic stories. The show is set in a surreal desert resort where contestants are set challenges by a bizarre ringmaster, and only after surprising twists is the cash prize-winner revealed. The aim is to build a global brand, with different countries bringing their contestants to the location to make their own versions of the show, and spin-offs envisaged include a video game, merchandising, website and even a commercial title song.

MANGO Distribution brings 26 x 24 mins series Invisible Network Of Kids (I.N.K) to MIPCOM, an action-comedy series for six- to 10-year-olds, about a secret network charged with protecting their school. I.N.K. is a coproduction between France’s Samka Productions and France 3. The show is currently airing on ABC3 in Australia. Mango also brings WordWorld (26 x 24 mins) and Pearlie (26 x 24 mins). Mango Distribution is a joint venture between Philippines-based production house Top Draw Animation and Australian kids TV producer Sticky Pictures.

Babar’s new look

Posse (McLaren Entertainment)

BABAR And The Adventures Of Badou is an updated version of the classic Babar animation, featuring King Babar’s eight-year-old grandson, Badou, and his friends. The show, aimed at four- to sevenyear-olds, is a Canada-France co-production from Nelvana Studio and TeamTO, in association with The Clifford Ross Company, and is brought to MIPCOM

by Nelvana Enterprises. Nelvana Enterprises has also recently completed a licensing agreement with Vivendi Entertainment for home entertainment and digital downloading for the new animated series Beyblade: Metal Fusion in North America.

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How to make stuff CANADA-based production company 9 Story Entertainment, in association with Loten Media, brings a new HD factual series for children to MIPCOM for its international debut. Five episodes are completed of Making Stuff (52 x 5 mins), which is aimed at kids four to seven, and is slated for broadcast on TVOntario, TFO, and Knowledge Network later this year. Gears, an animated host made from spare parts, and his pal Wiz whose x-ray vision helps children understand the inner workings of machines, show young viewers how everyday objects are made.

Making Stuff (9 Story Entertainment)

Leader of the pack

Suzy steals the show

NEW FROM the drama slate of MGM Worldwide Television is Teen Wolf (12 x 60 mins), based on a popular Eighties film, and reinvented as a teen thriller set in a high school with a forbidden, romantic love story at its core. Scott McCall is an awkward student who, after a wolf bite, gains super-human powers that lead him to become the star player on the lacrosse team, and more popular among his peers.

Scott has to fight his animal urges, contend with other werewolves and outrun a family of werewolf hunters, while trying to maintain his relationship with a new girl in town. The series is directed by Rus- Tyler Garcia Posey plays Scott McCall in MGM’s Teen Wolf sell Mulcahy.

LITTLE Airplane Productions and Spin Master Entertainment are debuting their new preschool series, Suzy Takes The Stage (52 x 11 mins), at MIPCOM. The series is about a little girl who shares the big events of her life from an extraordinary and ever-changing stage, with beautiful sets, trap doors and lighting effects.

The stories use comedy and music, whether she is learning to ice skate with her dog or helping her little brother get ready for pre-school.

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The Adventures of Yoyo and Doc Croc Seasons I & II

EDUCATIONAL

FAMILY FRIENDLY NON VIOLENT

Season I sold in over 120 territories Season II delivery December 2010 Greenlight Media represented by Magus Entertainment: Rick van den Heuvel phone: +31 6 54 76 87 97 POD ZONE on level 01 booth number: 11.20 POD 02

Germany's

No.1

TV Export

www.ssgb2b.com

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PRODUCT NEWS

Falling in love with 3D THE NATIONAL Film Board of Canada (NFB), has been experimenting with 3D technology since 1950, and is now launching a 3D catalogue at MIPCOM. Topping the list is Facing Champlain, a fusion of live-action and different kinds of animation that tells the story of an artist commissioned to paint a portrait of Samuel de Champlain, explorer and founder of Quebec City. Other titles include Falling In Love Again, an animated film that unfolds to the vocals of Marlene Dietrich; Moon Man, an animated short inspired by a song composed and sung by Canadian music legend Stompin' Tom Connors; and Vistas: Crossing The Line, a short by Mohawk filmmaker Tracey Deer that turns the politics and conflicts of a playground sandbox into an allegory for the way nations treat one another.

Ice (Power)

Chilling drama UK DISTRIBUTOR Power brings a range of drama series to MIPCOM, including: Ice (2 x 60 mins), in which an environmental catastrophe brings the earth to the brink of a new ice age; XIII: The Series (13 x 60 mins), a conspiracy thriller; Air Force One Is Down ( 2 x 120 mins), the story of a diplomatic hijack; Apocalypse Earth (2 x 120 mins), concerning international terrorism; The Dark Crusader (2 x 120 mins), a thriller about the search for a biological weapon; and Puppet On A Chain (2 x 120 mins) a thriller set inside a drugs ring.

Falling In Love Again (NFB)

When crime needs to pay TRUSTNORDISK has picked up the rights to Scandinavian thriller Headhunters, based on a book by crime writer Jo Nesbo. The story concerns Roger, a successful professional headhunter, married to a gallery owner. The couple lives way beyond their ample means and Roger turns to thieving to supplement the income. The film, which is currently shooting, is co-produced by Yellow Bird, the production company behind the Stieg Larsson MiIlennium trilogy, Asle Vatn from Friland, and Nordisk Film.

Headhunters (TrustNordisk)

Meet the parents

Fun, friends and facts

QUEBEC-based producer La Presse Tele brings the scripted family comedy The Parents, launched just over a year ago, to MIPCOM. The most recent format sale was to Poland’s TVP. The series is also in Russia via LLC Yellow Black and White Group; an Israeli version premiered during the summer on Channel 10; and three seasons of the series are destined for France on Canal+ Family.

TWO PROGRAMMES top ZDF Enterprises children’s catalogue for MIPCOM: Laura's Star (52 x 11 mins), a pre-school series featuring a curious little girl, and new HD series Tempo Express (26 x 26 mins) about a group of time-travelling friends. From the HD factual slate comes Delta Divers ( 2 x 50 mins) about a team of highly skilled underwater adventurers whose job is to dismantle unused or decrepit oil rigs. Hitler's Lost Battleship (1 x 50 mins) is an HD documentary about the scuttling of the Admiral Graf Spee, and Ice Race (4 x 49 mins) looks at the battle for control of resources in the Arctic.

Stirring ancient magic IFM WORLD Releasing is prioritising family entertainment at MIPCOM. Journey To Spirit Island is an adventure set in the Pacific Northwest. The film stars Bettina Bush as Maria, a teenage Native American girl living on a reservation. During a summer kayaking trip Maria, her brother and two friends from Chicago become caught up in a strange adventure involving the tribe's sacred burial island, an ancient curse and a magic canoe.

Other family films from IFM include An American In China, Cayman Went, Caterpillar Wish, Blue Fire Lady, Moosie and Somewhere In The Darkness.

Laura’s Star (ZDF Enterprises)

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Dramas from Central Europe

The Woman With A Broken Nose (Atkis Film International)

LEIPZIG-based Atkis Film International is headlining its MIPCOM slate with two films.

The Albanian (104 mins) is the story of Arben, who leaves Europe’s poorest country for the richest. In his desperation to make money to go home and marry, he has to face losing his innocence.

The Woman With A Broken Nose is a romantic tragicomedy. A young woman with a baby and a freshly broken nose steps out of a taxi caught in a traffic jam on the Belgrade Bridge, leaves her baby behind in the car, and throws herself off the bridge. What starts with a suicide attempt connects the lives of the three witnesses.

Mr Moon loves the Earth THE MEDIA Development Authority of Singapore (MDA), based at the Singapore Pavilion during MIPCOM, has brought a number of new animated series to Cannes. Mr Moon (52 x 11 mins) is an HD 3D animated series that illustrates how precious the Earth is, through loveable characters who are learning how to take better care of it. The show is a co-production between Skaramoosh (UK), Title Entertainment (Canada) and Sparky Animation (Singapore). Dream Defenders (26 x 22 mins), from Tiny Island Productions, is the first 100% Singapore-created and Singaporeowned 3D stereoscopic animation TV series.

The series follows a pair of twins, who are average teens by day, but by night fight monsters that lurk in nightmares.

Top billing for B-movies THE RACY, blood-drenched world of exploitation cinema is explored in Machete Maidens Unleashed (55 mins/84 mins), brought to MIPCOM by ABC Commercial.

Also in the factual line-up is Skin Deep (52 mins), anthropologist Nina Jablonski’s global journey to reveal the secrets of human skin colour.

Catch the Dinosaur Train THE JIM Henson Company is in production of the second season of the animated preschool series Dinosaur Train (26 x 30 mins/ 52 x 11mins), that will premiere in the third quarter of 2011 on the US’ PBS Kids. The show aims to nurture children’s curiosity about the natural world, using basic scientific thinking skills to observe and learn about plants and animals in their natural habitat. The new season will encourage parents to explore their local surroundings with their children.

The Dinosaur Train has the ability to visit the Triassic, Jurassic and Cretaceous worlds, while the train’s conductor, a knowledgeable Troodon, provides passengers with fascinating facts along the way.

Mr Moon (MDA)

Fun on the farm

The Mooh Brothers (Breakthrough Entertainment)

BREAKTHROUGH Entertainment brings a line-up of new animations to MIPCOM. The Mooh Brothers (26 x 11 mins) is a character-driven series that underscores environmentally-conscious themes, set on a farm run by two four-legged brothers.

Robot Zoo (26 x 11 mins) uses retro-style animation, for a comic series set in a far galaxy on a planet occupied by robots. The Droogles (26 x 11 mins) is a fantasy series combining puppetry, 2D animation, stories, songs and adventures. Each episode revolves around letters of the alphabet, and helps children to understand such concepts as colour, opposites, the senses, and basic social skills.

Dinosaur Train (The Jim Henson Company)

The facts of life FRANCE’s ZED comes to MIPCOM with a factual catalogue covering history, travel, adventure, science, nature and social themes, as well as a slate of award-winning featurelength documentaries including Alpine climbing film Beyond The Summits (75 mins), This Way Of Life (85 mins), a portrait of a Maori family, and Himalaya, A Path To The Sky (65 mins) which profiles a charismatic monk.

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Model turns film-maker CHRISTY Turlington Burns makes her directorial debut in the documentary No Women, No Cry. The film follows the stories of at-risk pregnant women in a Maasai tribe in Tanzania, a slum in Bangladesh, a post-abortion ward in Guatemala, and a pre-natal clinic in the US. After 25 years at the forefront of the fashion industry Turlington Burns suffered a serious complication after giving birth and subsequently learned that more than 500,000 women die each year during childbirth — and that 90% of these deaths are preventable.

The film is brought to MIPCOM by Cargo Film & Releasing.

No Women, No Cry (Cargo Film & Releasing)

More trouble for Dorothy

Arabic made easy

MARVISTA Entertainment has acquired the global distribution rights to The Witches Of Oz, which will debut at MIPCOM. The twoparter brings a modern twist to the classic tale and stars Christopher Lloyd as the Wizard of Oz. As an adult Dorothy moves to New York and becomes an author of children's books based on Oz. She realises that her books are based on repressed memories, and that Oz is real when the wicked witch turns up in New York. Dorothy must find the courage to stop her. MarVista also brings the second season of kid’s reality series Prank Patrol, an Australian format from Apartment 11 productions.

EMARI Toons, has produced Arabian Sinbad, a 2D animation designed to teach children the basics of the Arabic language using stories and songs. An episode is available to view at MIPCOM. The company has developed a website to accompany the series and a Facebook application is under development. Emari is also looking for partners to co-produce the family animated feature Tae Kwon Do Club, about a Middle-Eastern girl struggling to find her place in Western society.

The Witches Of Oz (MarVista Entertainment)

It’s all fun and games

Late Night Liars (IBC)

INTERNATIONAL Broadcast Communications (IBC) brings a slate of game shows and formats to MIPCOM from the Game Show Network (GSN). Included is Late Night Liars, a comedy game show produced by Henson Alternative. Actor-comedian Larry Miller serves as the host as two human contestants face a panel of four “celebrity” cocktail-soaked puppets. Whichever contestant can best distinguish fact from fiction wins prizes and cash. IBC also brings: Catch 21, blending pop trivia and the card game Pontoon; High Stakes Poker, featuring no-limit Texas hold’em poker; Cram, where two teams cram for 24 hours before a test; Friend Or Foe, a quiz with a twist; Inquizition, an elimination Q&A game; Burt Luddin’s Love Buffet, a couples quiz; and, National Lampoon’s Funny Money, a comedy-based game show.

Arabian Sinbad (Emari Toons)

Stars offer a helping hand

Sound and vision

ON THE 10th anniversary of its foundation, the Spanish producer Four Luck Banana brings two new formats to MIPCOM. In Lost In Rio 10 celebrities take to the streets of the Brazilian city during the 2011 carnival. They have to pass a number of tests to avoid weekly elimination and compete for a cash prize and the honour of parading in the Sambodrome. Touched By A Star is a challenge show in which celebrities get involved to help someone in need. The celebrity — the idol of the person in need — must be persuaded to “print" his or her hand on a personal object that is then auctioned on eBay. The money is used to help the person in question.

MEDI-LAN is a multilingual subtitling and dubbing company headquartered in Hong Kong, with affiliates and partner studios all over Asia, Middle East and Europe. The company is at MIPCOM offering localisation services on all platforms, to broadcast media and home entertainment companies across Asia.

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272 eps x 24 min http://tv.smurf.com I.M.P.S. Rue du Cerf 85 B-1332 Genval (Belgium) Tel.: +32 (0)2 652 02 20 Fax: +32 (0)2 652 01 60 www.smurf.com imps@smurf.com

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CONFERENCES & EVENTS

➤ EVENTS

➤ HIGHLIGHT KEYNOTES

MONDAY 4 OCTOBER

➤ PRODUCERS’ FORUM

PRODUCERS FORUM

9.00 > 9.45 WELCOME BREAKFAST

12.00 > 13.00 THE FORMATS SUPERPANEL: FORMULAS FOR SUCCESS

FOYER AUDITORIUM A, LEVEL 3

Moderator: ■ Anna Carugati, Group Editorial Director, World Screen

9.45 > 10.45 ENTERTAINMENT MASTER CLASS: HOW TO LOWER THE COSTS FOR EXPENSIVE FORMAT PRODUCTIONS Back-to-Back and Multi-Territory Co-Productions in the Format Business Hosts:

Speakers: ■ François de Brugada, CCO/ EVP Creative & Commercial Affairs, Banijay ■ Rob Clark, President of Worldwide Entertainment, FremantleMedia ■ Michael Davies, President, Embassy Row ■ Alex Mahon, President, Shine Group Tom Toumazis, Chief Commercial Officer, Endemol Group

Christoph Fey, Attorney at Law, Unverzagt von Have, & Director of Studies for the Entertainment Master Class

CONFERENCE ROOM ESTEREL, LEVEL 5

Sara Goldensohn, Head of development, KANAL 5 AB Eivind Landsverk, Program Director, TVNORGE & FEM ■ Ludo Poppe, President, 4mat4media ■ Maria Thastum, Head of Entertainment, SBS TV ■

13.15 > 14.15 FRESH TV AROUND THE WORLD EXCLUSIVE AT MIPCOM!

■

AUDITORIUM A, LEVEL 3

Presented by: Virginia Mouseler, CEO, The WIT

10.50 > 11.50 PRODUCTION INCENTIVES IN FRANCE Followed by Matchmaking Moderator: ■ Marlene Edmunds, Journalist & Media Consultant Speakers: John Bernard, Producer, Peninsula Film ■ Patrick Lamassoure, Managing Director, Commission Nationale du Film France ■ Renaud Mathieu, Line Producer, Firstep ■ Nicolas Traube, Producer, Pampa Production ■

Olivier-René Veillon, Executive Director, Ile de France Film Commission CONFERENCE NETWORKING ROOM, LEVEL 5

Visit www.mipcom.com for speaker information & regular updates

GRAND AUDITORIUM, LEVEL 1

14.15 > 15.15 TRANSMEDIA CONTENT SHOW & TELL Moderator: ■ Gavin McGarry, President, Jumpwire Media LLC Speakers: ■ Mathieu Ferland, Transmedia Senior Producer, Ubisoft Entertainment ■ Brian Seth Hurst, CEO, The Opportunity Management Company, Inc. ■ Jean-François Rodriguez, VP Games and Transmedia, Orange ■ Jody Smith, Cross Platform Commissioner, Drama, Comedy & Entertainment, Channel 4 AUDITORIUM A, LEVEL 3

Deals get done.

monday_prog_23x30 30/09/10 21:13 Page2

CONFERENCES & EVENTS

➤ EVENTS

➤ HIGHLIGHT KEYNOTES

MONDAY 4 OCTOBER

➤ PRODUCERS’ FORUM

PRODUCERS FORUM

14.30 > 16.00 MEET THE FILM COMMISSIONS & MEDIA FUNDS Followed by Matchmaking Chair: ■ Patrick Lamassoure, Managing Director, Commission Nationale du Film de France Speakers: ■ Alessandra Bergero, President, Italian Riviera – Alpi del Mare Film Commission ■ Arie Bohrer, Film Commissioner, Film Austria/Austrian Independent Film Producers ■ Sanna Kultanen, Project Manager, Film Location Finland (Poem Foundation) ■ Rafal Orlicki, Vice Director, Krakow Film Commission ■ Florencia Stivelmaher, Director of Operations, Government of Buenos Aires City

16.00 > 17.30 PRICEWATERHOUSECOOPERS’ INDUSTRY OUTLOOK, IN CONVERSATION WITH TF1 AND BBC WORLDWIDE Presentation: PwC's Global Entertainment & Media Outlook 2010-2014 Presented by: ■ Marcel Fenez, Global Leader, Entertainment & Media, PricewaterhouseCoopers Keynotes:

NONCE PAOLINI, Chairman and CEO, TF1 JOHN SMITH, Chief Executive Officer, BBC Worldwide

CONFERENCE NETWORKING ROOM, LEVEL 5

GRAND AUDITORIUM, LEVEL 1

15.15 > 15.50 INTERNATIONAL CO-PRODUCTION MASTERCLASS FEATURING “THE PILLARS OF THE EARTH” Moderator: ■ Elizabeth Guider, Editor in chief, The Hollywood Reporter Featured Speakers: Rola Bauer, Partner and Managing Director, Tandem Communications GmbH

18.00 > 19.30 MIPCOM WORLD PREMIERE TV SCREENINGS: “MAD MEN” AND “RUNNING WILDE” A premium showcase presenting an unaired episode from the 4th season of Lionsgate’s smash hit drama “Mad Men” with members of the cast.

This will be preceded by the first international preview of the second episode of Lionsgate’s new romantic comedy, “Running Wilde”.

Presented with Lionsgate *Doors open at 17.45 Open to all MIPCOM delegates

David W. Zucker, President of Television, Scott Free

GRAND AUDITORIUM, LEVEL 1

FOLLOW MIPCOM LIVE! For all MIPCOM live conference content updates, follow twitter.com/_mip_ For conference videos & liveblogging, visit MIPBlog (blog.mipworld.com) & all live content also available on our mobile apps (road.ie/mipcom)

JOIN THE CONVERSATION To make your own tweets more visible, include the #MIPCOM hashtag & if uploading photos to flickr, please tag them with “MIPCOM” too!

Transcripts of selected sessions available on mipcom.com, via Take 1 Transcription, from October 11

The world’s entertainment content market

MIPCOM® is a registered trademark of Reed MIDEM - All rights reserved.

CONFERENCE ROOM ESTEREL, LEVEL 5

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OTHER EVENTS

➤ EVENTS

➤ PRESS CONFERENCES

MONDAY 4 OCTOBER

9.00 - 10.30 KOCCA

16.00 - 17.00 Beta Film Gmbh

Tic Toc House Time HALL DES EXPOSITIONS

Beta Film presents the new teamWorx/EOS/Autentic event slate at MIPCOM 2010 AUDITORIUM I

11.00 - 13.00 TV Globo

17.00 - 19.00 Bavaria Bavaria’s Best

TV Globo and TV Azteca co-production Between Love And Desire

AUDITORIUM K

PRESS CONFERENCE — AUDITORIUM I

12.00 - 13.00 Reed MIDEM

21.00 - 1.00 TV Globo/TV Azteca

The International Academy of Television Arts & Sciences Announcement of the 38th International Emmy Awards Nominees PRESS CONFERENCE — AUDITORIUM K

TV Globo and TV Azteca party Between Love And Desire By invitation only MARTINEZ BEACH

14.30 - 15.30 Shaftesbury Films Good Dog AUDITORIUM I

Deals get done.

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Boo gets the OK from kids

Telling a harrowing tale

MY FRIEND Boo, co-financed by the European Commission, is an animation series available free to broadcasters. Aimed at 5- to 8-year-olds, the series focuses on understanding some of today’s important global issues, and was developed with independent experts and tested at each main production phase on hundreds of European children in Belgium, Bulgaria, Ireland, Italy, Spain and Poland. My Friend Boo will premiere on channels in 15 countries by the end of this year.

INGRID Betancourt - 6 Years In The Jungle tells the story of Ingrid Betancourt, a hostage of FARC in Colombia, who was freed two years ago in one of the most audacious rescues ever attempted, together with 15 other hostages. Produced with BBC, France TV and ARD/SWR, WDR and RCN, and brought to MIPCOM by Cinephil, this film presents the first exclusive interview with Betancourt as well as interviews with other hostages.

Cinephil also brings Precious Life, chronicling the struggle of an Israeli pediatrician and a Palestinian mother to get treatment for her baby who suffers from an incurable genetic disease. They face profound biases as they inch towards a possible friendship.

Ingrid Betancourt (Cinephil)

Health tips from Sony SONY Pictures Television’s MIPCOM roster includes: The Dr. Oz Show, a magazine talk show focusing on health and well-being, with format success already in Russia and the Middle East; Stand Out From The Crowd, a format where members of the public are cajoled into taking part in a live game show; Mr. Sunshine (13 x 30 mins), profiling the mid-life

Precious Life (Cinephil)

The return of Yu-Gi-Oh! 4KIDS Entertainment has secured global theatrical, television and home entertainment rights (excluding Asia) to Yu-Gi-Oh! 3D: Bonds Beyond Time, a special 3D animated film released to commemorate the 10th anniversary of the Yu-Gi-Oh! series. The film features heroes from all three of the previous series: Yugi Muto (from Yu-Gi-Oh! Duel Monsters), Judai Yuki (Yu-Gi-Oh! Duel Monster GX), and Yusei Fudo (Yu-Gi-Oh! 5D's). In the story the three heroes fight Paradox, a powerful new enemy.

My Friend Boo (European Commission)

Literary feasts OPTOMEN International returns to MIPCOM with Heston’s Feasts. Among the lavish banquets the chef prepares in the second series are a Willie Wonka feast inspired by Roald Dahl's Charlie And The Chocolate Factory; a fairytale feast celebrating Snow White, Cinderella and Hansel & Gretel; and a Gothic feast that takes inspiration from Frankenstein and Dracula. The culmination of each show is a banquet laid on for celebrity diners.

The Dr. Oz Show (Sony Pictures Television)

crises of Matthew Perry who plays the head of a sports arena in California; Franklin & Bash (10 x 60 mins) features two rogue street lawyers who join a conservative LA law firm; and The Big C (13 x 30 mins) stars Laura Linney as a suburban wife who tries to find the lighter side of a cancer diagnosis.

What they think about you THE VERDICT is a new talk show format brought to MIPCOM by Calt Distribution. Two public personalities are invited each week to discover the results of a survey concerning them, and to discuss how they are seen by the public in the context of current events. An expert third guest also comments on the results. The Verdict is co-produced by Novem and Radio Canada, and was broadcast last year on Radio Canada.

Heston’s Feasts (Optomen International)

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Deals get done.

THE SPOTLIGHT ON AUSTRALIA IS TOMORROW

10.30-10.50 OPENING KEYNOTE Gregor JORDAN, "NED KELLY" Director 11.00-12.45 WHAT’S GOING ON DOWN UNDER Case studies 14.45-16.00 WORKING WITH AUSTRALIA WORKSHOP & Matchmaking Event > Full conference programme page 72

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MAKE SURE YOU GET YOUR COPY! The world's entertainment content market

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PRODUCT NEWS

Girls on film

Kids fantasy from Italy

ARMOZA FORMATS returns to MIPCOM with a new catalogue of cross-platform content called Armoza 3.0. These include factual entertainment show Connected (125 x 25 mins), profiling five women who film their own lives; game show 7-Question Millionaire brings top online players into a studio each week to compete for a jackpot; and Restart (10 x 24 mins) is a three-screen close-up drama that uses the language of the internet with a webisode/episode broadcast combination. The company also brings formats The Bubble, Upgrade, Comedians At Work and The Frame.

GAMA Movie Animation, based in Italy and which launched last year, brings a new fantasy adventure animation series to MIPCOM. Star Key (26 x 26 mins) is aimed at 6- to 9-year-olds and is available for worldwide distribution.

Connected (Armoza 3.0)

Star Key (Gama Movie Animation)

Blind ambition

All in good taste

IRELAND’s RTE returns to MIPCOM with a selection of reality programming headed by the inspirational story Blind Man Walking (60 mins). At the age of 22, Mark Pollock, a young athlete and academic, lost his sight. He rebuilt his life over the next ten years becoming a professional adventure athlete and motivational speaker. On the tenth anniversary of his sight-loss he takes on the toughest challenge of his life in attempting to become the first blind man to race to the South Pole. RTE also brings Rescue 117 (6 x 30 mins) which profiles the Irish Coast Guard’s helicopter search and rescue service, capturing dramatic rescues in this dangerous terrain. The End Of Ageing (60 mins) looks at the science and consequences of living longer lives.

BBC WORLDWIDE brings a roster of food-related programming to MIPCOM. Topping the list is The Food Factory, a format that looks at the secrets behind the food we consume through a series of revealing experiments. The Great Bake Off sees passionate amateur bakers put through a series of challenges designed to showcase the exacting science behind the art of baking. Mums Know Best, meanwhile, is on a mission to save the UK’s favourite recipes. Two celebrity chefs search the country for the best home cooking. From other genres come: Tonight’s The Night, in which members of the public are given an opportunity to perform with their pop idols or with the cast of their favourite musical; High Street Dreams is a competition reality series which turns the business dreams of young entrepreneurs into reality; and game show Clever V Stupid.

China focuses on climate CHINA-based Phoenix Satellite TV brings environmental documentary The Earth’s Temperature – Climate Odyssey (80 mins) to MIPCOM. The film reveals how Chinese citizens feel that climate change must be tackled, now that China is one of the world’s largest emitters of carbon dioxide.

Other titles from its catalogue include: World's Dream Stage: National Centre For The Performing Arts (60 mins); Ma Ying-jeou's Political Life (60 mins) and Let Me Win (60 mins); and A Date With Lu Yu (30/ 60/ 90 mins), which features guests such as Jackie Chan, Maggie Cheung and Jet Li.

Maya’s 3D makeover STUDIO 100 Media headlines tits slate of releases at MIPCOM with the revived 3D animation series Maya The Bee (78 x 11 mins). Targeted at families and pre-schoolers, the series is produced by Paris-based Studio100 Animation in co-production with Thunderbird Films and in association with TF1 and ZDF, with Studio100 Media responsible for the worldwide distribution.

Maya The Bee is a story of an independent little bee who goes her own way, which often leads her into trouble.

Blind Man Walking (RTE)

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PRODUCT NEWS

Fighting fit

Cubicle To The Cage (Portfolio Entertainment)

PORTFOLIO Entertainment serves as executive producer and distributor of Cubicle To The Cage (26 x 60 mins), a new series in development, produced by Hemmings House Pictures. The series highlights the growing popularity of mixed martial arts (MMA), and each episode follows amateurs in training for six to eight months, undergoing an exacting nutritional programme while learning wrestling, grappling, Brazilian ju-jitsu, boxing and muay thai. They then have the chance to win a substantial cash prize in their first professional fight. Portfolio also brings Big Voice (13 x 30 mins), which follows celebrity voice coach Elaine Overholt as she helps everyday women fulfil their dreams of singing on stage.

Lost in space LIL’ ASTRONAUT is a new animation series brought to MIPCOM by AB International Distribution. The series, aimed at six- to 10-year-olds, features a bad-tempered earthling who crash-lands on an unknown planet, where he meets two crazy aliens who think he’s wonderful, follow him everywhere and mess up his plans to get home.

Lil’ Astronaut (AB International Distribution)

The power of prayer TURKEY’s Samanyolu Broadcasting brings TV series Broken Hearts to MIPCOM. The series is an exploration of the power of prayer.

In the programmes people talk about how when they feel helpless they turn to prayer, and explain the stages that they pass through, and how they gain tranquillity.

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PRODUCT NEWS

Tales of Knights and Moomins

81

Diverse documentaries THE SECOND season of Fish Life, the HD underwater documentary, will be available at the end of this year, and is brought to MIPCOM

by France’s Ampersand. Other documentaries prioritised by the company include: Core, about rock climbing and rock climbers; North Korea: The Last Days Of Kim Jong-Il, an account of the desperate efforts to perpetuate the regime; Tara Oceans, a 4 x 52-minute scientific odyssey; and World Challenge, featuring projects or small businesses from around the world showing innovation at grassroots level.

Toys take action CCI ENTERTAINMENT in partnership with First Star Studios and Fake Studio, and in association with TVO, SRC and the Bell New Media Fund, are to support the development of CCI’s new children’s series Jerry And The Raiders. The animated comedy/adventure series, which targets kids four to eight, follows Jerry and two toy action figures who cometo-life as they struggle to solve ecological crimes and mysteries as well as save earth from a plot by evil forces to destroy it.

Little Knights’ Tale (NonStop Sales)

INCLUDED in Stockholm-based NonStop Sales MIPCOM catalogue are: Czech film Little Knights’ Tale (105 mins), a medieval adventure; Little Knights’ Tale, the series (7 x 56 mins/14 x 28 mins); pre-school series Moomins (78 x 9 mins), in Swedish, Finnish and English; feature Moomins And The Comet Chase (75 mins); fantasy film Magic Silver (83 mins), Norwegian with English subtitles; Icelandic crime thriller The Cliff (105 mins); and Swedish horror film Psalm 21 (93 mins), available with English subtitles.

Human dramas Moomins And The Comet Chase (NonStop Sales)

Fun with science SOUTH African production house Astral Studios brings Mouse In The House (26 x 4 mins) to Cannes, a science series introducing high-school children to science and maths by exploring such principles as gravity, pressure, kinetics and magnetism, and conducting experiments in an integrated and entertaining way. It is produced using a combination of 3D animation and live footage, with an animated mouse host.

HINDENBURG, a two-parter about the last Atlantic crossing of the famous zeppelin airship and its tragic destruction in New Jersey, tops Beta Film's slate for MIPCOM. Shot in English, the film stars Lauren Lee Smith, Stacy Keach and Greta Scacchi. The company also brings: The Last Patriarch (2 x 90 mins), a love story and white collar thriller set between Europe and China; mini-series Laconia about a controversial submarine battle in 1942; and Spanish TV movie Blue Skin about a group of young people marooned at sea.

Mouse In The House (Astral Studios)

High-speed highlights AS THE television media partner of the Electric Vehicle Cup, Greenlight Television will be producing highlights from next year's six-round European Championship as well as a documentary about the technology, the race craft and the birth of this new form of motorsport. A third documentary follows former British science minister Lord Drayson who is moving from ambitious amateur to serious contender. Presenter Tiff Needell shadows Lord Drayson's team as they go to the 24-hour Le Mans race to take on the might of the Audi and Peugeot teams. Greenlight also brings racing series Best Battles Rallies (13 x 52 mins) and Best Battles Bikes (13 x 52 mins).

Hindenburg (Beta Film)

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PRODUCT NEWS

Big stage to small screen

Playing in the dark

UK DISTRIBUTOR Electric Sky is showcasing an HD catalogue of operas and ballets from the Royal Opera House at MIPCOM. Anna Nicole (120 mins) is based on the life of the late American glamour model Anna Nicole Smith, from composer Richard Thomas, whose previous work includes Jerry Springer — The Opera. In Simon Boccanegra (147 mins), a BBC / Royal Opera House production, Placido Domingo makes his Royal Opera baritone debut in one of Verdi’s most demanding roles. Electric Sky also brings three ballets: Infra, Chroma and Limen (3 x 30 mins), a collection from the Royal Ballet’s resident choreographer, Wayne McGregor.

TOTAL Blackout is a new game show and the first format to come out of the Creative Exchange Alliance between FremantleMedia and Fuji TV. In each episode six people compete in challenges in complete darkness, such as navigating their way around a sumo wrestler and plunging themselves into a tank containing a live animal. After each task the contestants are lined up and one is eliminated through a trap door. Pre-sales have already been secured in Sweden, Denmark and Norway.

Thomas is a HIT

It’s a dog’s life for Ken SHAFTESBURY Films is bringing a diverse slate of more than 165 hours of kids, factual and drama programming to MIPCOM including Good Dog (13 x 30 mins), an ironic comedy from writer, producer and actor Ken Finkleman. Good Dog focuses on the life of a self-absorbed, neurotic TV producer living with a woman half his age. From the factual slate comes From Spain With Love (13 x 30 mins), a series exploring Spain’s rich culinary life, and About Her, a one-hour documentary that follows eight women with breast cancer, narrated

by Kim Cattrall. Shaftesbury also brings Connor Undercover (39 x 30 mins), a l i v e - a c t i o n kids series about a teen spy buff, and family movie Vacation With Derek.

Rush: Beyond The Lighted Stage (Tricon Films & Television)

Forty years of rock THE ROCK band Rush is ranked third in consecutive gold or platinum albums after The Beatles and The Rolling Stones. Featuring never-before-seen footage and interviews with some of today’s rock artists, HD documentary Rush: Beyond The Lighted Stage explores the band’s 40-year career, featuring live performances from their first shows in high school gyms to sold-out stadiums around the world. The programme is brought to MIPCOM by Tricon Films & Television. The company also brings Metal Evolution: The Series (8 x 60 mins), which is slated for broadcast next year on VH1 Classics.

HIT ENTERTAINMENT brings new episodes from its top brands to MIPCOM, including: Thomas & Friends, a CG-animated show, now in its 14th series; Misty Island Rescue, a feature-length special from the Thomas & Friends brand; Angelina Ballerina, a CGI series already in 20 countries; Bob The Builder: Ready, Steady Build!, with new characters and locations; and a new series of Fireman Sam. HIT also brings new pre-school property Mike The Knight, featuring an ambitious little medieval prince,his wizard sister and dragon friends.

Shining a light on animal welfare

Good Dog (Shaftesbury Films)

GRB ENTERTAINMENT is launching Confessions: Animal Hoarding (12 x 60 mins) at MIPCOM. The phenomenon of animal hoarding is explained as a compulsive need to possess and control animals and often involves acquiring an unmana geable number of animals. A reported 250,000 pets are hoarded annually. The series is broadcast in the US on Animal Planet.

Thomas & Friends (HIT Entertainment)

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FEATURE: FILMING INCENTIVES

N O T T O O TA X I N G

Let’s take a TRIP to France

Shooting Gossip Girl in Paris needed “a bit of tweaking” in order to qualify for TRIP

France has an embarrassment of riches in terms of world-class locations and top-flight crews, but it used to be widely regarded as too expensive. Now, a new tax rebate scheme is changing all that. Gary smith reports

D

ESPITE being the world’s number-one tourist location, thanks to an astonishing number of historical sites and beautiful buildings, France has been suffering fierce competition from its neighbours, many of which introduced tax rebates and production incentives that were causing foreign productions to go elsewhere.

But since France’s introduction of the Tax Rebate for International Productions (TRIP) scheme, the volume of work from abroad has grown rapidly. “We were painfully aware of the fact that productions were going elsewhere, but the fact

that Steven Spielberg filmed the Paris scenes for the film Munich in Budapest, and then Quentin Tarantino likewise filmed his Paris sequences for Inglorious Basterds in Germany, came as terrible blow,” Patrick Lamassoure, managing director of Film France, says. “But since the rebate came into effect we are seeing employment in the sector growing faster than we would have dared to predict, and confidence is really coming back that things are on the upturn.”

The effect of the rebate has been such that a major Hollywood exec-

utive recently told Lamassoure that France is firmly back on the map as a production option for projects that previously would not even have considered going there. “So far 24 TV and film projects have benefited from the rebate, and what that means for France is €110m spent in this country, considerably more than we predicted,” Lamassoure says. “Recent shoots include Clint Eastwood’s Hereafter, Killers starring Ashton Kutcher, Chris Nolan’s Inception with Leonardo DiCaprio and the exterior shots for the second series of the BBC’s Merlin which

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FEATURE: FILMING INCENTIVES

Film France’s Patrick Lamassoure: “So far 24 TV and film projects have benefitted from the rebate, considerably more than we predicted”

Universal Studios chose French animation company Mac Guff Ligne to do the animation work on Despicable Me

were shot at the stunning Chateau de Pierrefonds in Picardy.”

Woody Allen’s Midnight In Paris is being entirely filmed in the city, while Martin Scorsese’s first venture into 3D, The Invention Of Hugo

“

We are seeing

employment in the sector growing faster than we would have dared to Ile de France Film Commission executive director Olivier-Rene Veillon: “We receive a constant stream of requests to shoot in locations such as the Eiffel Tower”

predict, and confidence is really coming back

”

Patrick Lamassoure

Cabret, based on the best-selling children’s book by Brian Selznick, is shooting all exterior shots in the capital. “In a typical year, between 30 and 40% of all foreign productions film in the Ile de France, which

is the Paris region, with a further 3040% going to PACA (Provence, Alpes, Cote d’Azur) in the south,” Lamassoure says. “But even the more peripheral regions are starting to see more interest from foreign productions so we are delighted with the way things are shaping up.”

Given the concentration of iconic sites around the Ile de France, it is hardly surprising that there is so much demand to shoot there. “Out of the last 20 productions in this country, 18 were shot in the Ile de France,” says Olivier-Rene Veillon, Ile de France Film Commission executive director. “We receive a constant stream of requests to shoot in locations such as the Eiffel Tower, on the Seine and around Notre Dame, but added to that we have an astonishing concentration of technical talent here which tends to attract ambitious projects such as Despicable Me, a film which has been a huge success in the US already. Universal Studios chose French animation company Mac Guff Ligne to do the animation work, comparing them to Pixar in terms of quality and originality. I

believe that now, post-TRIP, France is now ready to compete with Asia for animation projects.”

Alongside Woody Allen’s latest project, for which the crew was 100% French and which shot for seven weeks all over Paris, there is a constant stream of TV productions being shot around the capital and beyond. “We’re seeing a lot of Asian TV productions at the moment, especially from China, Taiwan and Korea.

In fact they come so regularly that there are companies in Paris who specialise in working with producers from that region,” Veillon says. “Another common theme with Paris is that well-established series in need of a change of look and a renewal of energy tend to quite often opt for Paris. Sex & The City was one, and more recently the Japanese series Nodame Cantabile came here to film an episode. It was so successful when it aired that they are back again shooting two feature films.”

Executive producer John Bernard, of Jake Productions/Peninsular Film, has no doubt that the TRIP incentive has had an invigorating effect on France as a production

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FEATURE: FILMING INCENTIVES

Japanese series Nodame Cantabile came to Paris to film an episode

destination: “I can absolutely confirm that, thanks to the TRIP, France has now become part of that club of countries which are always considered as a potential destination by outside producers, which was not the case before its introduction.” he says. “Now foreign studios are ringing me much more often to inquire about shooting here.”

A five-day shoot for US teen series Gossip Girl in Paris needed a bit of tweaking in order to qualify for the rebate. “The French involvement did not add up to the minimum €1m, so we increased that side,” Bernard says. “I’ve also recently worked on shoots for The Tourist,

starring Angelina Jolie, in Paris, which also shot for five days, as well as Monte Carlo Story, the new romcom production by director Tom Bezucha, and 20th century Fox’s TV series Desire.”

Alongside productions from the US, Bernard is reporting interest from clients closer to home. “We are seeing significantly more inquiries from the UK,” he says. “All I would like to see now is the clearing up of some grey areas in terms of eligible expenses. As things stand, about 75-80% of a given budget will be deductible but, for instance, overseas crews’ per diems are not included and neither are their hotel costs,

whereas those of French crew are.”

According to Evelyne Colle, film commissioner for the Alpes Maritimes/Cote d’Azur region, it will be some time before the real effects of TRIP are seen. “The interest has always been there for this region, and we haven’t really started trying to quantify how many new shoots it might bring in,” she says. “But I have no doubt that there is awareness abroad about it and that it is creating more opportunities. However, I think it will take two to three years before we can really make a valid comparison.”

The film commission will also be mounting an awareness campaign about the Alpes Maritimes/Cote d’Azur region in Paris in late October, which will also be an opportunity to make French producers aware of what TRIP could mean for them.

“There will be 130 French producers there, and we will be making sure that they know that they can play a role as executive producers for foreign productions benefiting from TRIP, all of which need to be associated with a French company.”

The Picardy region has received a massive boost in tourism from the BBC series Merlin being filmed at the Chateau de Pierrefonds. “The village and the chateau, which is Camelot in the series, are definitely seeing greater visitor numbers, and,

indeed, we are seeing more requests for information and location shots,” Juliette Flamand, Picardy film commissioner, says. “Merlin alone accounts for 572 working days per year for local crew, then there are the UK crew as well here for 10 weeks, all of which together makes a significant economic impact.”

“

France has now

become part of that club of countries which are always considered as a

potential destination by outside producers John Bernard

”

Flamand is expecting to see real growth in foreign shoots over the coming months and years. “We already welcome quite a few shoots from the UK because we are close by, but, given the difference the TRIP rebate makes, I have no doubt that it will boost business quite significantly, especially from the major US producers who are already in contact more regularly than previously.”

HOW TO TAKE A TRIP

Woody Allen’s Midnight In Paris is being entirely filmed in the city

THE TAX Rebate for International Productions (TRIP) supports foreign companies whose projects are completely or partly made in France. Delegates will be able to discover more on Monday at the Producers Forum, but to be eligible projects must include elements related to French culture, heritage, or territory, based on a cultural test which assesses the relevance of the story, locations, characters, sources, landmarks, creators, crew and technical hubs. For animated production there is a separate test tailored to that genre.

The amount allocated comprises 20% of the film expenses incurred in France, capped at €4m per project ($5.4m as of March 2010). The TRIP is given to the French company managing the production in France on behalf of the foreign producer. To file a TRIP application, a company must be subject to corporate income tax in France, act as line producer for the sequences produced in France and enter a line production agreement with the foreign producer.

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FEATURE: ANIMATION CO-PRODUCTIONS

P L AY I N G T H E S A M E T O O N

Best of friends

Jungle Book, a DQE and ZDF co-production

International co-production of animation is proving an essential tool in an era of tight budgets, as well providing an education even for experienced players.

Andy Fry reports

N

ORTH AMERICA, western Europe and Japan have historically dominated the global animation trade. But the toon business is now welcoming a new wave of players from emerging markets.

A classic example is DQ Entertainment (DQE), which, in the space of a few years, has helped India transform itself from a low-cost animation production base into a market that wants to take a creative and financial lead in shows. "We still

value the work for hire we do for our US and European partners," says CEO Tapaas Chakravarti. "But alongside that we have built our own IP-based business with animation properties such as Jungle Book and Peter Pan." For Chakravarti, there is a commercial and creative logic to the model DQE has devised: "We have learned so much from our partners in terms of the scripting and storytelling. To this we have added our

own production innovations to create some really high-quality family entertainment."

Support for that claim comes in the sales story. In the run-up to MIPCOM, the 52 x 11-minute Jungle Book series had sold into 160 countries, with key buyers including the BBC. With Peter Pan prepped for a big push in Cannes, Chakravarti is optimistic it can go the same way.

The emergence of such players fills a need in established markets. With

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FEATURE: ANIMATION CO-PRODUCTIONS

animation budgets under pressure, broadcasters are turning to acquisition and co-pro to make their money go further. For example, German public broadcaster ZDF came in as a full co-pro partner on Jungle Book — with its commercial arm, ZDF Enterprises, taking many distribution rights.

DQE has also formed a strong bond with Moonscoop in France. In June 2008, the two companies announced a strategic alliance aimed at co-producing at least five TV series and two films for worldwide distribution. The most recent is Tara Duncan, a 2D animated TV series based on the book by Sophie Audouin-Mamikonian. With M6 and Disney on board, the series looks set for a strong showing on the distribution market.

Co-production has also proved valuable as a way for some territories to grow domestic production.

In the same way France and Canada have subsidised home-grown production, the UAE and Singapore have sought to bring in international expertise by offering top-notch facilities and incentives.

This in turn is expected to help grow local talent.

Singapore has made large strides, primarily through the activities of

Fleabag!, a co-production between Vision Animation and Moody Street Kids

its Media Development Authority (MDA). One of the MDA's most important activities, according to CEO Kenneth Tan, has been to use treaties and agreements to provide its companies with access to new markets. According to Tan, projects that have benefited from a CanadaSingapore co-pro agreement include Rob The Robot by One Animation (Singapore) and Amberwood (Canada); Jack, by Sparky Animation (Singapore) and PVP Animation (Canada); and Zigby, from Singapore’s Big Animation and Zebra (Canada).

Also important, Tan says, is co-investment funding. "We co-invest in original animated TV series by Singapore animation studios for export.

One example is Silly Bitty Bunny, a 2D animated series for pre-schoolers which is a co-pro between Scrawl Studios, Planet Nemo (France) and CarpeDiem (Canada). Another is Mr Moon, a 26-episode 3D animated pre-school series which is co-produced by Title Entertainment (Canada), Skaramoosh (UK) and Sparky Animation (Singapore)."

Tan also cites the launch of the International Animation Fund, an ambitious joint venture between the MDA and FremantleMedia Enterprises (FME). "The fund, which invites applications from all over the world for animation content, will see MDA co-invest up to $3.5m for each project. FME will represent the projects as worldwide distributor."

Underlying such activities is a desire to develop a sustainable animation talent pool, Tan says. This is similar in philosophy to a project in the UAE, where publicly backed media outfit twofour54 has a remit to make Abu Dhabi a centre of excellence in

My Big Big Friend which brings together Canada's Breakthrough Films and Brazil's 2D Lab

content creation across film, broadcast, music, digital media, events, gaming and publishing. According to twofour54 COO Wayne Borg, media-based activity is part of a strategy designed to diversify the city-state's economy. "By 2030, 50% of GDP here will be non-energy based — and the cultural industries have been earmarked to play a big part. Twofour54's role in this is to drive the growth of a dynamic content creation business."

In terms of animation, the big story so far has been a co-production deal involving UK-based 3Line Media.

The series, Driver Dan's Story Train, is a mix of live-action and animated sequences. Produced by a team based at twofour54 that includes lo-

cally trained animation graduates, the 52 x 11-minutes series has been developed with both global and pan-Arabic audiences in mind. Explaining the rationale, twofour54

“

We have learned

from our partners in terms of the scripting and storytelling. To this we have added our own innovations

”

Tapaas Chakravarti

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FEATURE: ANIMATION CO-PRODUCTIONS

CEO Tony Orsten says: "Driver Dan offers us the opportunity not only to co-produce a children's property but also to [steer] content in an appropriate direction for the region."

Korea is also making its mark on the global animation business through a mix of private and public initiatives. In the last year or two, there has seen a notable increase in projects, which employ Korean expertise in areas such as 3D, audience interactivity and digital production (mobile/broadband). A case in point is a co-production called Robot ARPO from Korea's ToonZip

“

agency that spearheads MSC Malaysia, a national initiative to develop Malaysia’s digital content and technology sectors."

He says that international co-production is an important part of the MDeC's thinking. "Malaysian firms have various levels of co-production agreements with players around the world. A great example is Pet Squad, a Malaysian co-pro with the UK and Canada. MDeC offered funding to the Malaysian studio Inspidea for a three-way co-pro with Darrall Macqueen (UK) and March Entertainment (Canada). The series has already been acquired by CBBC in the UK and is being distributed

Pet Squad, a Malaysian co-production with the UK and Canada

internationally by Sony Pictures Television (excluding the UK, Canada and Malaysia)."

Aside from Robot ARPO and Pet Squad, the diverse MIPCOM slate

By 2030, 50% of GDP here will be

non-energy based — and the cultural industries have been earmarked to play a big part Wayne Borg

”

Animation, Malaysia's Centraline Animation and Italy's Connectoon.

Also of note is Canimals, a CG/live action partnership between Korea's Voozclub, the UK's Aardman Animation and Spain's BRB Internacional which has Samsung attached to help bring the show to digital media platforms.

The fact that Robot ARPO has a Malaysian partner attached is not a one-off. Malaysia has brought its biggest ever contingent of content creators to MIPCOM — operating in tandem with a body called MDeC, whose CEO, Datuk Badlisham Ghazali, explains the strategy: "MDeC is a government

Mr Moon, co-produced by Title Entertainment, Skaramoosh and Sparky Animation

of Malaysian-backed properties includes Fleabag!, a 52 x 12 mins co-pro between Vision Animation (Malaysia) and Moody Street Kids (Australia) and Ribbit!, from an

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FEATURE: ANIMATION CO-PRODUCTIONS

alliance between KRU Studios (Malaysia) and Crest Animation (India). There is also Saladin, an action-adventure animation co-production between MDeC and Al Jazeera Children’s Channel.

With so much activity, what does Badlisham Ghazali believe Malaysia can bring to the table? "As a media hub, Malaysia offers high-quality development and production values at a fraction of the usual costs. New facilities launched this year include the sprawling KRU Studios in Cyberjaya, FINAS Digital Mix Stage Studio in Kuala Lumpur and the MAC3 rendering farm."

One country that fascinates the international market is China. Tim Brooke-Hunt, executive head of children's content at ABC Australia, told this year's China Animation Market that the pressure on budgets meant that China was no longer viewed as a work-for-hire market but as a potential co-production partner.

Historically this would not have registered much interest in China, which has focused more on developing its internal animation sector. But Chinese companies are now eager to showcase their skills. One interesting co-production is Ikkyu-san, which

Tara Duncan brings together DQE, Moonscoop, M6 and Disney

Canada are extremely complementary. We have a full 2D animation studio with over 80 animators, so we took care of design, storyboards and animation. Breakthrough helped us with development and is doing scripts, post, music and sound and final packaging and delivery, as well as story editing and having the leading role in line and supervising production. In this way, we have been able to learn from their experience and avoid pitfalls. I honestly feel this show would not have been as good if done in any other way."

Peter Pan, a co-production with DQE and Method Animation

combines the might of Japanese animation firm Toei Animation with Shanghai Media Group and Chinese kids channel Toonmax. Based on a classic Toei TV series about a 15th century monk, Ikkyu-san is due to launch in 2012.

Commenting on the project, Kenji Ebato, chief manager of the international department at Toei Animation, says the co-pro model works well for both sides. "It helps to be able to share the work. Toei Animation oversees and finances pre-production, while Shanghai handles other elements of the production. In addition, doing a coproduction with a Chinese company makes it easier for us to pass through Chinese censors."

Ebato says co-pros vary depending on the territories involved: "Our company has 56 years of experience in animation, so it’s natural for companies to rely on our know-how.

However, if we were to partner with a US company, we would handle the main production work while agreeing for them to handle the pre- and post-production process, because US storylines are often a favourite. They are strong in handling this material,

“

so it would be the logical solution."

One of the most exciting things about co-production is the cross-fertilisation of ideas. A vivid example is My Big Big Friend, a 52 x 11-minutes 2D pre-school show which brings together Canada's Breakthrough Films with Brazil's 2D Lab. "The idea for Big Big Friend came from Brazil," says 2D Lab's CEO, Andre Breitman.

"We pitched the show to Breakthrough in Sao Paulo, at the Anima Mundi festival [in July 2007] and closed the deal at the Ottawa Festival later that year. Breakthrough secured Treehouse as a broadcaster and 2D Lab secured TV Brazil and Discovery Kids LatAm." Production started in 2009 and now the show is to be unveiled at MIPCOM. So what does Breitman think the two sides contribute? "Brazil and

We have been able to learn from their experience and avoid pitfalls. This show would not have been as good if done in any other way Andre Breitman

”

Rob The Robot by One Animation and Amberwood

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FEATURE: 3D

A NEW DIMENSION

Looking into the

The 2010 FIFA World Cup match between South Africa and Mexico, on ESPN 3D

The year 2010 has clearly been a groundbreaking one for 3D, with box office smasher Avatar fuelling a 3D firestorm, over 400 3D games on the market, and 3D options on the iPad. It is 3DTV, however, that has made 2010 a cutting-edge year for the media industry. Marlene Edmunds reports

P

ANASONIC, Samsung, Sony, LG, Mitsubishi, and Toshiba have all rolled out 3DTV models this year. Toshiba in August said it would have an auto-stereoscopic (glasses free) 3DTV set out by yearend. Chinese manufacturer TCL is selling a glasses-free 3DTV set with a price tag of $20,000.

On January 1 of this year The Ko-

rean HD Broadcasting Corporation launched Sky3D, the world’s first stereoscopic 3DTV channel. ESPN, with considerable fanfare, kicked off ESPN 3D with the entire world watching on June 11, at the start of the 2010 FIFA World Cup finals in South Africa.

With what is expected to be big fanfare, BskyB’s Sky 3D channel was,

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FEATURE

future

103

ahead for the ESPN 3D launch.

With the last quarter of 2010 in full swing, Bailey says ESPN 3D is a success. “People who have been exposed to our 3D offerings have enjoyed what they have seen and they seem to want more. And why not? Sport in 3D allows the fan to get the premium seat at the event.”

“

Whether you

produce something

in 3D or draw it with a stick in the sand, ultimately it’s still all

Korea HD Broadcasting Corp’s Sung Gil Moon: “There were NAME! problems in the area of broadcasting infrastructure”

about storytelling Jim Haygood

at press time, set to launch October 1 into homes. It had been broadcasting in pubs and public venues in the UK since earlier this year, showing Premiership soccer in glorious 3D. Discovery, Panasonic and Sony are expected to launch 3D Net, a 3DTV joint venture, early next year.

Clearly optimism prevails about the

future of 3DTV, especially on the technical side, but the learning curve is also big. Sport is still seen as the killer app for 3DTV and no one knows that better than Anthony Bailey, vice-president, emerging technology for ESPN. He heads up the team that spearheaded the testing of 3D and his input was considered crucial in giving the go-

”

He adds that during the World Cup, at ESPN’s Wide World Of Sports Cafe in Disney World, patrons had the choice of watching the World Cup in 3D or 2D. “Most opted to watch the entire match in 3D even though the 3D TV’s were 46-inch sets, as compared with large-screen projections of the 2D coverage of the event,” says Bailey.

Another company that holds the belief that sport will be one of the drivers of 3DTV is Panasonic. And the consumer electronics company started a quiet revolution earlier this year by moving into content, when it partnered with the French Tennis Federation (FFT) and Eurosport to broadcast the French Open in 3D, in selected retail outlets across France.

Fabien Roth, general manager, television, Panasonic Marketing, announced the partnership at MIPTV this year. Later, speaking at the IFA technology show in Berlin, Roth said he believes that 3DTV will

The MDA’s Yeo Chun Cheng: “Without the glasses the technology is still not there”

SPT’s Andy Kaplan: “It will be a good long while before the whole SPT catalogue is in 3D”

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FEATURE: 3D

move into the mass market in the second quarter of next year. And he believes that content, along with “future-proof” TV sets will together drive this market. By “future proof”, Roth means that consumers will want 3DTV sets even if at the moment they are not subscribing to 3D channels, aware that in the future they are likely to want — or to need — to watch in 3D.

“

We had to be 100% sure that 3DTV broadcasting would not be harmful to our viewers Sung Gil Moon

”

Meanwhile Panasonic is continuing its foray into the world of content creation, extending its tennis partnership to both the Australian and American grand slams, giving it access to three of the four most important tennis tournaments of the year.

And its content strategy doesn’t stop at sports. Panasonic has also entered into an exclusive partnership with games publisher Ubisoft. It has also established the Panasonic 3D Innovation Center in Japan, and with its domestic 3D camcorder, has added user-generated content to its set of 3D market drivers. If consumers choose to buy a 3D camcorder, then they are going to need a 3DTV set on which to watch their home movies. This is what Roth describes as an “end-to-end” strategy.

Sony is also looking towards a 3D future. “We are at the heart of a complex revolution of transforming our media to 3D, and there is a

whole new world of opportunity to explore within the 3D home environment.” That’s the word from Buzz Hays, executive stereoscopic 3D producer who runs the Sony 3D Tech Center for Sony Corporation of America. “We will get to a point where the process is more mainstream, the technology is easier to adopt and most importantly, storytelling is transformed, but everything takes time. Television was not a massive success in it's first few years. The best is yet to come.”

What intrigues Hays is the power of 3D to transform the storytelling experience. He adds: “3D television is an ideal medium to work in as the schedules are much shorter than feature films and there are many more opportunities for experimentation and refinement of telling stories in three dimensions. We are at the very early stages of understanding the best use of 3D as a storytelling medium. I expect to see some incredible stories created specifically for 3D television in the not too distant future.”

Re-working library material will be more of a problem, according to Andy Kaplan, president, networks, Sony Pictures Television (SPT). “It will be a good long while, if ever, before the whole SPT catalogue is in 3D,” he says. “The impediments are the cost of 3D production and the cost of converting existing library into 3D at an acceptable quality level.”

And he advises adding a healthy dose of perspective to the creative mix.

“Creatively, not all content is right for 3D so we'll only do what makes sense for the medium. As production and conversion costs come down, and as quality levels get better, over time, you'll start seeing a lot more content hitting the street."

Sung Gil Moon, president of the Korea HD Broadcasting Corp, says that

Geneva Film founder James Stewart: one of the first to produce stereoscopic 3D ads

since its launch, the Sky3D channel has broadcast the FIFA World Cup and increased production of other sporting events, concerts, and drama series. The ramp-up of domestic TV sales has helped push subscribership, he adds. But he admits it hasn’t all been an easy for the new venture. “There were problems, especially in the area of broadcasting infrastructure and content. We had to invest a lot in 3D broadcasting equipment, including the rigs and cameras. We also had to build up a new manual for 3DTV broadcasting, and we had training to do

as well. Even in the area of content, we had problems securing the funds and distribution channels for 3D programmes. Safety as well was a very important issue for us,” Moon says. “We had to be 100% sure that 3DTV broadcasting would not be harmful to our viewers.”

Moon says he believes cost will prevent glasses-free 3DTV from becoming popular for some time, and he predicts that pay satellite TV and cable TV will be the main 3DTV broadcasters, then it will go to terrestrials.

Singapore’s Media Development

Developing 3D technology at the Sony 3D Tech Center with Buzz Hays (left)

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FEATURE: 3D

Authority [MDA] has played, and continues to play, a pivotal global role in the development of 3DTV and had been among the organisations endorsing the move to glasses-free stereoscopic 3D. But according to Yeo Chun Cheng, the MDA’s chief information officer and director of broadcast and music, glasses-free will come when the time is right. “With glasses, the stereoscopic technology is almost there. What they have done in just one year has been amazing. Without the glasses, however, the technology is still not there. What we have at present is simply not good enough.”

In 2008, the MDA became the first

“

People have enjoyed

what they have seen and they seem to want more Anthony Bailey

”

major government media arm to put money, technical and other backing behind a full fledged move to stereoscopic 3D with the launch of its first 3DX festival. Leading Hollywood studio executives, including Dreamworks Animation CEO Jeffrey Katzenberg, flew in to endorse the beginning of the new 3D era.

On June 15 of this year the MDA launched a one-year trial aimed at testing transmission signals across a range of platforms, including terrestrial TV, cable TV and IPTV in partnership with MediaCorp, StarHub and SingTel, as well as other technical partners, including Panasonic. As part of that trial, the territory shot its first National Day Parade in stereoscopic 3D and at

Cloudy With A Chance Of Meatballs, among latest 3D titles from Sony

press time was in early stage talks with China and Japan about 3D documentary co-productions.

Yeo says he hopes to see a commercial 3D channel launched by one of the broadcasters at the end of the trial. “It will likely be sport-related and launched either by StarHub or SingTel since MediaCorp is a freeto-air station.” MediaCorp is expected to follow with content blocks or a 3D TV channel a bit later.

Yeo believes a lot of the problems

with technical standards of stereoscopic 3DTV will be solved in the next year. The city state is also moving ahead on the stereoscopic 3D games front, with TQGlobal’s 3D TQ Motor, Singapore’s first stereoscopic 3D game, among the next-generation media featured at Shanghai World Expo’s Singapore pavilion this year.

The enthusiasm for stereophonic 3D has fuelled a new focus on conversion technology among players

Customers enjoy the FIFA World Cup finals in 3D at ESPN’s Wide World Of Sports Cafe

coming to MIPCOM. Chris Yu, head of international business for Korea’s Superman Pictures, will be in Cannes to help launch a 3D conversion service. “We are demonstrating several clips converted 2D to 3D and trying to find projects that we can work on. “We’re seeing that there are a lot of good content opportunities.

The door to 3D has been opened.

What is relevant is who gets there first,” Yu says.

Every major ad network is talking up 3D advertising, but Geneva Film Company in Canada, through producer, director and founder James Stewart, was one of the first people to produce stereoscopic 3D advertisements. Stewart says studies show that viewers retain more information from 3D viewing than 2D. “That means a huge impact on advertising as well as education,” he says.

LA -based Union Editorial partner and editor Jim Haygood works across the media spectrum — film, TV and advertising — with projects including the movie Tron. He was also the editor on Wonderful, the first live-action 3D commercial to promote Samsung’s state-of-the art 3D LED TV. Says Haygood: “Whether you produce something in 3D or draw it with a stick in the sand, ultimately it’s still all about storytelling.”

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FEATURE: DTT

NEW BUYING OPPORTUNITIES

DTT: the picture gets clearer

A few years ago, it was unclear what digital terrestrial television was bringing to the TV landscape. Now it is the envy of analogue and digital rivals, and a significant buying force, Juliana Koranteng reports Discovery’s Man vs Wild “would not have found a home on traditional terrestrial broadcasters”

D

IGITAL terrestrial television (DTT) is already impacting how programmes are sold and bought in a very down-to-earth way. Until recently, DTT channels had a reputation for having no track record and no budgets, functioning as the home of reruns, or providing test beds for dubious programme concepts.

But some DTT markets are advanced enough to be demonstrating they can generate new business for programme sellers and buyers.

“Some DTT markets are already maturing,” Jane Millichip, chief operating officer of UK distributor RDF Rights, says. “They’re no longer showing just repeats. They have decent budgets for acquisitions and that’s very healthy for us.”

From Andorra to Zimbabwe, via the European Union and the US, governments worldwide are switching off the analogue terrestrial signals that have carried programmes via rooftop aerials for the past 60 years.

DTT will take over as the standard way programmes are broadcast into TV homes globally when the analogue switch-off is completed.

It will then be possible to transmit up to 10 free-to-air DTT channels within the same bandwidth occupied by one analogue terrestrial network. That will also enable broadcasters to offer services analogue-terrestrial operators could never consider: paid-for channels, HD networks, video on demand, in-

teractive content and even internetenabled connected TV. DTT is being rolled out from country to country between 2003 and 2022, with the majority of developed economies expected to have completed their switchover by 2012.

Millichip is among the sales executives who have been impressed by developments in countries such as France, where the switch-off is scheduled for completion in November 2011. The launch of French

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FEATURE: DTT

channels such as NT1 and W9, by established analogue broadcasters TF1 and M6 respectively, has created new programme buyers. And DTT’s extra frequencies have enabled newcomers such as NRJ Group and NextRadio TV to bring to the market more channels such as, respectively, youth service NRJ12 and news service BMF-TV. Millichip and her counterparts say such growth is opening up new geographical territories for them.

CITI TV, Ukraine’s regional DTT channel in Kiev, has been garnering significant audiences with British programmes such as Wife Swap, Ladette To Lady and How To Look Good Naked. Now, the country’s envious national analogue terrestrial channels have ap-

proached RDF Rights demanding more of the same.

“Programme directors of the rivals have been watching CITI TV’s success and have bought six new formats from us. That [DTT] shop window has led to new business in the Ukraine,” Millichip says.

Lessons are also being learned in the UK, where DTT platform Freeview was jointly launched in 2002 by public broadcaster the BBC, commercial channels ITV, Five and Channel 4, satellite operator BSkyB, and transmission services provider Arqiva. It is in nearly 80% of UK homes.

Freeview gives UK viewers up to 50 TV channels, including new services such as BBC 3, BBC4, ITV 2 and ITV 3, which would have found no room in the old analogue order.

“

Australia, France and Scandinavia have bided their

time over a number of years to see what works and what doesn’t Patrick Roberts

”

Before the drama series Being Human became a hit, the BBC was daring enough to premiere it on BBC 3, establishing its popularity before continuing the show on flag-

Youth-oriented Inbetweeners — on Go!, a new channel from Australian commercial network Nine

ship channel BBC 1. But it has made sure BBC 3 retains the credit as Being Human’s original home.

ITV 2 and ITV 3 are gaining established brand status for transmitting original productions that are, in fact, based on ITV 1 hit shows. These include The Xtra Factor and The X Factor 24/7, offshoots of ITV 1’s phenomenal talent show The X Factor.

Other fast-growing European DTT markets include Spain, where freeto-air network Antena 3 operates niche channels Nitro, NeoX and Nova, while Telecinco has launched kids service Boing. Scandinavia is also thriving in the DTT space.

The technology has enabled Italy’s analogue TV giants — RAI, the public broadcaster, Silvio Berlusconi’s Mediaset and Telecom Italia Media

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— to expand into pay DTT to compete against Sky Italia, News Corp’s satellite-delivered pay-TV operation.

“Even though they’ve mainly thematic channels, territories like Italy and France are already very active buyers,” says Laura Minarro, sales manager at Madrid-based Imagina International Sales.

Patrick Roberts, senior vice-president, international sales, at distribution group DRG, praises the way the Australian and Canadian

Banijay International’s Karoline Spodsberg: “You have to go to where today’s viewers are”

“

DTT has offered a whole new client base in some countries and created a whole new category of thematic-based channels Nicolas Bonard

TV Globo’s Liliana Nakonechnyj: “We have not abandoned the cable and satellite providers”

Discovery Enterprises International’s Nicolas Bonard: “DTT has offered a whole new client base”

”

markets have turned DTT into potential commercial successes. DRG has sold UK kids programme Jinx and adult comedy Peep Show to ABC 3 and ABC 2 respectively, both subsidiaries of Australia’s public broadcaster the ABC. The youthoriented Inbetweeners is on Go!, a new channel from Australian commercial network Nine. Rival Seven Network has opened a potential new programming outlet with the maleoriented 7 Mate channel.

“Australia, like France and Scandinavia, has been brilliant for us,” Roberts says. “What they have done is bided their time over a number of years to see what works and what doesn’t.”

Additionally, he points out, Cana-

dian broadcast regulator CRTC has set benchmarks for how to issue DTT licences. Fearing that the new DTT spectrums would attract only licensees keen to broadcast certain types of programmes, CRTC insisted on specific conditions.

“CRTC effectively dictated what each licensee could broadcast, which was smart because it stopped competitors from transmitting the same genres of programmes and wiping each other out, and gave each new channel a clear identity so that viewers could tell the difference.”

How these still-growing DTT channels can make a new programme stand out in today’s overcrowded digital media space provides another test.

France’s W9 faced such a quandary when it acquired the format for Dilemma (Dilemme), the Mondayto-Saturday reality game show with an unusual twist, from Paris-based Banijay International. The two companies used a multi-platform strategy involving social-media networks, websites and outdoor events to recruit contestants and to pull in TV and online viewers.

“You need to be alternative in the way you market a show on DTT,” Karoline Spodsberg, Banijay International’s managing director, says.

“You have to go to where today’s viewers are; you need to understand how they move around on the different [digital] platforms.”

The marketing strategy paid off.

“Dilemma’s first episode attracted 900,000 viewers, peaking at 1.2 million, the best score ever for a reality TV show on a DTT channel in France,” Spodsberg says.

Moreover, the Dilemma website attracted 8 million visits during the first week alone.

“Now that budgets are moving to these channels, it is important to learn how to market your show

and get in touch with your audience from the very first episode,” she adds.

Discovery Communications still relies on the extensively available conventional cable and satellite platforms to distribute its Discovery Channels internationally. Yet Nicolas Bonard, senior vice-president, Discovery Enterprises International, admits that DTT “has offered a whole new client base in some countries and created a whole new category of thematic-based channels”.

Two of Discovery’s greatest cableand-satellite hits, Man vs Wild and The Deadliest Catch, “would not have found a home on traditional terrestrial broadcasters”, he says.

As DTT rolls out internationally, agreements between buyers and distributors will also evolve. “This is something all distributors and buyers are trying to deal with in their contracts,” Millichip says.

It means distributors must constantly evaluate their pricing as DTT progresses. “DTT budgets are obviously lower, but we can make up for that by selling large packages of programmes to them,” DRG’s Roberts explains. “We don’t price them too low in case there’s growth that we didn’t foresee. Many don’t want the repeats; they want to stand out against the competition.”

In the near future, emerging economies could boost programming trade further. RDF Rights has started selling to Estonia’s new Kanal 2 and Kanal 11, and it is in talks with Hungary’s Origo, which plans to extend its service to other eastern European markets.

Roberts says: “There will be a proliferation of business in markets like Russia in the next few years.

And we see the same for Poland, where networks have started on their digital strategies.”

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2 3 April 2011 3 -April 2011 Martinez Hotel, Cannes, France Palais des Festivals, Cannes, France www.mipdoc.com

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In Latin America, Mexico’s new free-to-air DTT outlet, Hi-tv, is garnering audiences. Brazil is another DTT market leader. TV Globo operates DTT in major cities such as Rio de Janeiro, Sao Paulo, Brasilia, Belo Horizonte and Recife.

“We believe that, without DTT, terrestrial television will become

completely obsolete, so DTT is an issue of survival, not just an issue of generating new revenues,” says Liliana Nakonechnyj, TV Globo’s engineering director.

However, enthusiasm for DTT must not be overstated, argues Harold Gronenthal, senior vice-president/general manager at US-based

“

The days of relying on two or three major terrestrial

networks for our type of commodity-based content are over Bill Lord

DRG’s Patrick Roberts: praises the way Australia and Canadia have turned DTT into potential commercial successes

RDF Rights’ Jane Millichip: “They’re no longer showing just repeats”

Rainbow Media’s Harold Gronenthal: “We have not abandoned the cable and satellite providers that have been around for decades”

W9’s Dilemme, the Monday-to-Saturday reality game show in France with an unusual twist, from Paris-based Banijay International, used a multi-platform approach

”

Rainbow Media. The old distribution platforms still dominate. “We have not abandoned the cable and satellite providers that have been around for decades,” he says. “The overall digital landscape, including the internet, is still uniquely positioned to provide consumers with all the best options.

“At the moment, it is about the established [channel] brands that consumers respond to. So, at a time when cable and satellite are already delivering programmes, the internet, VOD, and telephony, the challenge will be what else DTT can bring to the table.”

Until that is resolved, Bill Lord, CEO of Blink TV, UK producer of live concerts and festivals, sees DTT as offering chances for the smaller content producers that struggled to gain a foothold on traditional TV’s scheduling space.

“The old TV channels are difficult to get on to unless you’ve a production partnership deal with them,” Lord says. “We’re ready for the many DTT channels that are coming on the market. Music programming can cross all borders. So the days of relying on two or three major terrestrial networks for our type of commodity-based content are over.”

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