MIPCOM 2012 PREVIEW by MIPMarkets

SEPTEMBER 2012

mipcom

www.mipcom.com The ofﬁcial MIPCOM preview magazine

preVieW MIPCOM PERSONALITY OF THE YEAR Country of Honour Pa y s à l ’ h o n n e u r

SEE PAGE 12

Grupo Televisa’s Emilio Azcarraga Jean SEE PAGE 10

WORLD PREMIERE TV SCREENING FX drama series The Americans

SEE PAGE 64

Also inside: KEYNOTES: Harvey Weinstein, The Weinstein Company • Robert Kyncl, Google/YouTube • Bruce Rosenblum, Warner Bros. Television Group… CREATIVE TALKS : Jane Campion • Gale Anne Hurd

EDITORIAL

COntents inEWS

Laurine Garaude Director, Television Division, Reed MIDEM

elcome to this Preview magazine, your introduction to what promises to be a lively and busy MIPCOM 2012. This year we are expecting over 12,500 participants, including 4,500 buyers, 500 of them digital buyers from around the world. We also welcome a signiﬁcant number of new exhibitors and regional pavilions. With Canada as the MIPCOM Country Of Honour, we will be focusing on Canadian excellence in international co-productions, and celebrating the country’s world-class creative talent across all genres. Our Personality Of The Year is Grupo Televisa president, CEO and chairman of the board of directors, Emilio Azcarraga Jean. Televisa’s groundbreaking alliance with Lionsgate and the launch of Televisa USA testify to the group’s international ambitions under its CEO. MIPCOM’s Media Mastermind keynote series focuses on original content creators drawn from such companies as Google/ YouTube, Hulu, The Weinstein Company, Conde Nast Entertainment, History and Lifetime Networks and One Three Media. We’ll also be hearing from senior executives from Sony Pictures Television, Warner Bros. Television Group and others. Make a note in your diary to attend the World Premiere TV Screening of FX’s new drama series The Americans. This year, we’re thrilled to introduce the inaugural Women In Entertainment Power Lunch, a unique networking platform to some 100 of the leading women of the entertainment industry, in partnership with Lifetime Networks. Another new addition to the MIPCOM agenda is the ﬁrst LatAm Global Dealmakers Networking Lunch, organised in partnership with Telemundo and TVN Chile. You can read about all these exciting events and much more in this MIPCOM Preview. I hope you enjoy it and I look forward to seeing you in Cannes in October. 6I

Personality Of The Year; Canada, Country Of Honour; MIPCOM Keynotes; screenings

ineWcomers

The increasingly diverse audiovisual industry is reﬂected in the line-up of companies in Cannes this year. Debbie Lincoln spoke to some of the people attending or exhibiting for the ﬁrst time

iproductneWs

For sale in Cannes: multiplatform content from around the world

iinvision

THE MIPCOM World Premiere TV Screening is The Americans, a new 13-part series for FX from Fox Television Studios

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SENTENCED TO DIE. CONDEMNED TO LIVE.

i contents ifeatures

They’re buying for everyone 66 More than 4,400 acquisition executives from across the globe are descending on MIPCOM and MIPJunior, seeking compelling content for all platforms, screens and demographics. Marlene Edmunds previews their wish lists Have you got 40 million friends? 76 The decades-old TV model is under attack from the new OTT services that are offering consumers a-la-carte content consumption instead of huge bundles of channels, most of which are unwanted and unwatched. Andy Fry reports TV for Generation Next… 88 Can traditional television survive the digital onslaught? Yes, writes Juliana Koranteng — and, if it forges the right alliances, it may well end up stronger than ever A brave new world 96 TV advertising isn’t what it used to be. And while there have been some gloomy headlines, Andy Fry ﬁnds that this creative sector is adapting well to the new world

102

Get ready for the land grab 102 A growing hunger for original content is proving to be a driving force as the TV industry evolves to embrace digital distribution. Marlene Edmunds investigates a trend that is rapidly changing the media landscape Something to celebrate 109 With more pavilions in Cannes this MIPCOM than ever before, and with Televisa Group’s Emilio Azcarraga Jean named Personality Of The Year, Latin America has something to celebrate. As Gary Smith discovers, Latin Americans are watching more foreign programming, producing stronger, more internationally skewed content, and signiﬁcantly, the region’s mainstream audience is ﬁnally getting connected

76 66 mipcom preVieW The ofﬁcial MIPCOM preview magazine September 2012. Director of Publications Paul Zilk ®

EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Deputy Technical Editor in Chief Frederic Beauseigneur Graphic Designers Marie Moinier, Carole Peres Sub Editors Clive Bull, Joanna Stephens Contributors Marlene Edmunds, Andy Fry, Juliana Koranteng, Gary Smith Editorial Management Boutique Editions PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Co-ordinators Nour Ezzedeen, Emilie Lambert, Amrane Lamiri Production Assistant, Cannes Office Eric Laurent Printer Riccobono Imprimeurs, Le Muy (France) MANAGEMENT & SALES TEAM Director of the Entertainment Division Jérome Delhaye Director of the Television Division Laurine Garaude Director of Market Development Ted Baracos Sales Director Frédéric Vaulpré Conference Director Lucy Smith Marketing Director Stephane Gambetta Programme Director Tania Dugaro Director of the Buyers’ Department Bénédicte Touchard Sales Manager Europe excluding Scandinavia & Eastern Europe, Buyers Cyriane Accolas Sales Manager Latin America, Middle East, Africa, Buyers Andry Ramilia Sales Manager Eastern Europe, Oceania, Asia excluding Japan & Korea, Buyers Yi-Ping Gerard Managing Director (UK / Australia / New Zealand) Peter Rhodes OBE Sales Manager Javier Lopez Vice President, Sales & Business Development, North & Latin America Robert Marking Vice President Sales and Business Development, Americas Robert Marking Sales Director Latin America José-Luis Sanchez Vice President Business Development, North America JP Bommel Sales Executive Panayiota Pagoulatos Sales Manager Panayiota Pagoulatos Sales Managers Paul Barbaro, Nathalie Gastone Regional Sales Director Fabienne Germond Sales Executives Liliane Dacruz, Cyril Szczerbakow Sales Manager Samira Haddi Digital Media Sales Manager Nancy Denole New Media Development Manager Bastien Gave Australia and New Zealand Representative Natalie Apostolou China Representative Anke Redl, Tammy Zhao CIS Representative Alexandra Modestova, Igor Shibanov English Speaking Africa Representative Arnaud de Nanteuil India Representative Anil Wanvari Israel Representative Guy Martinovsky Japan Representative Lily Ono MiddleEast Representative Bassil Hajjar Poland Representative Monika Bednarek South Korea Representative Sunny Kim Taiwan Representative Irene Liu Germany Representative (Digital Media Sector) Renate Radke Adam Published by Reed MIDEM, BP 572, 11 rue du Colonel Pierre Avia, 75726 Paris Cedex 15, France. Contents © 2012, Reed MIDEM Market Publications. Publication registered 3rd quarter 2012. ISSN 2104-2179. Printed on 100% recycled paper

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nEWs MIPCOM PERSONALITY OF THE YEAR

Televisa’s Emilio Azcarraga is Personality Of The Year

MILIO Azcarraga Jean, president and CEO of Mexico’s Grupo Televisa, is MIPCOM Personality Of The Year. The Award is a fitting tribute to the man who transformed Televisa into one of the world’s most dynamic and progressive companies. Azcarraga’s achievement is made all the more impressive by the fact that he took charge of the company when just 29-years-old, following the death of his father. Some 15 years on, and he has used Televisa’s domestic dominance as the platform to drive global growth, prioritising the export of completed shows and formats to markets as diverse as the US, Eastern Europe and Asia while maintaining its established presence in Spanish-speaking markets. Today, Televisa produces more than 80,000 hours of original content a year, and exports a healthy percentage of it to 60 countries around the world. Best-known for telenovelas such as Donde Esta Elisa?, Triunfo Del Amor and Rebelde, the group made $306m from exports in 2011 — up 31% on 2010. Under Azcarraga, Televisa has become an aggressive and entrepreneurial organisation on the international market. Highlights include a production joint-venture with Lionsgate, another with Globomedia in Spain and a partnership with Shanghai Media Group on the scripted series Dumb Girls Don’t Go To Heaven. Also of note is a new partnership with Sony Pictures Television, which will see the two companies producing each other’s formats in various parts of the world, and revenue growth from deals with on-demand player Netflix. Most significant of all has been the purchase of a $1.2bn stake in US Hispanic broadcaster Univision in 2010. That deal has enabled Azcarraga substantially to increase the revenue generated by Televisa-produced content from the US. In 2011, for example, Televisa made $225m by licensing its shows to Univision — up from $161m the year before. Azcarraga’s international success has not been bought at the expense of Televisa’s domestic business. The company’s free to air and Pay-TV channels dominate their respective markets, with the final episode of telenovela Teresa the highest-rated programme in Mexico last year. Eight of the top-10-rated shows currently in Mexico were produced and aired by Televisa. Critics of Televisa say the company is too dominant at home and needs more competition. Azcarraga has no problem with that. Writing in the Wall Street Journal, he said: “Televisa does not oppose the creation of a third, fourth or even fifth broadcast TV network. We welcome greater competition in the Mexican mass media market, particularly in TV, because we think our company is the best, and has been for half a century.” 10 I

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In return, Azcarraga would like to see Mexico’s telecoms market open up so that Televisa can compete with Telmex, the ﬁ rm belonging to the world’s richest tycoon Carlos Slim. One advantage of being such a young CEO is that Azcarraga is at ease with the changing nature of the media. At the 42nd IAA World Congress in Moscow, he argued for closer alignment between content and advertising. “We need to create more advertising that is also content and is able to make deep emotional connections with consumers … to beat timeshifting, skipping and splitting,” he said. At the same time, he has started developing content that suits the consumption habits of young audiences. In a recent interview, he said: “Rebelde was tar- geted to young audiences. [It also spun off a successful pop music act made up of actors from the TV series.] And we have now one called Atrevete A Sonar [Dare To Dream] that is not only thinking as a television programme or a telenovela. It’s really looking at a product [in] 360 degrees — what can you do in retail, music, live shows, internet, licensing, merchandising?” Emilio Azcarraga Jean will be honoured at a gala dinner at the Carlton on Tuesday, October 9, and will give a keynote speech on Wednesday, October 10, at 16.00.

Emilio Azcarraga

Lilyhammer Dramedy Series: 16 x 45‘

Restless Thriller, 2 x 90‘ / 1 x 130‘

Betty White‘s Off Their Rockers Comedy Series, 27 x 25‘ Jo Dramedy Series: 16 x 45‘

MIPCOM Booth: H4.12 www.redarrowinternational.tv / sales@redarrowinternational.tv

i nEWs IN BRIEF

COUNTRY OF HONOUR

CANADIAN PRODUCTION BY NUMBERS

You are invited to take a fresh look at Canada

• The Canadian television and digital media industry is comprised of 200,000 creative jobs • The budget dedicated to the creation of Canadian screen-based media by the CMF in 2011-2012 was $371m, which in turn triggered more than $1.3bn in production • Canada’s film and broadcast production sector generates nearly $5.5bn of activity annually and sustains over 128,000 fulltime jobs • Television production was worth $2.08bn in 2010-11 and employed 48,500 people full time • Foreign location and service production was worth $1.5bn in 2010-2011 and employed 35,900 people full time • Theatrical production was worth $306m in 2010-111 and employed 7,100 full time • Foreign location and service production was worth $1.5bn in 2010-111 and employed 35,900 people

IPCOM will pay tribute to Canada’s television, fi lm and digital industries through a programme of high-level conferences, screenings, showcases, and networking events, organised in partnership with Telefilm Canada and the Canada Media Fund (CMF). “Since about 18 months ago, Telefilm Canada and the Canada Media Fund decided to work together because for many years now — 40 in the case of Telefilm Canada, and 20 in the case of the old Canadian Television Fund, now the CMF — we have invested a lot of money into what we would call the supply side of content, so we have put money into production, development, all the usual stuff, in order to get the content made,” said Canada Media Fund president and CEO Valerie Creighton. “But we have spent very little time on the demand side, finding ways to work with our producers, broadcasters, feature fi lm distributors, to position that content in the best possible way in the market, both in Canada and internationally.” Carolle Brabant, Telefi lm Canada’s executive director, said she hoped that Canada’s Country Of Honour status at MIPCOM would help the international marketplace to understand more about the country’s industry. “People know Canada, but do they really know Canada?,” she said. “Do they really know what has been going on with our industry in recent years? Countries everywhere are struggling with the financial situation, but Canada is doing a little

bit better than most. It’s well known that we have talented people and we are doing pretty good, so that’s exactly what we want to present at MIPCOM.” The Country Of Honour initiative will mark the fi rst time that Telefi lm Canada and the CMF have joined forces on the international stage. Creighton is asking MIPCOM delegates who haven’t looked at Canada for some time, to look again. “What you will see now is an increased level of successful content and talent that is becoming more known to the world,” she said. Both organisations stress the benefits of coproducing with Canadian partners. “Coproductions are always a challenge for any country and they are complicated. But we’ve always been a leader in co-productions,” said Sheila de La Varende, Telefilm’s director of industry promotion. “We’re probably the most active country at MIPCOM in terms of coproductions. And what we have now is internationally recognised productions, whether documentaries, or high-profile dramas, or kids programming.” Through a series of funding and promotion programmes, Telefi lm Canada supports Canadian companies and creative talent at home and around the world, its mission to develop and promote the Canadian audiovisual industry. The Canada Media Fund (CMF) is a funding agency that also supports Canadian television and digital media production through research and promotion.

• Broadcaster in-house production was worth $1.23bn in 2010-111 and employed 28,700 people full time • Convergent interactive digital media production was worth $27.6m in 2010-111 and employed 640 people full time All figures are in Canadian dollars. Source: Canada Media Production Association

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Valerie Creighton

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Carolle Brabant

Sheila de La Varende

www.all3mediainternational.com www.all3mediainternational.com

Stand LR3.22 LR3.22

ALL3MEDIA International: All For Independents

Falsely Accused?

Accused SERIE SERIES S1&2

Blue Rose

The Secr Secret re et State (w/t)

With a stellar cast including Sean Bean (Game With (Game of Thrones ccleston ((Dr Dr Who Thrones)) and Christopher E Eccleston Who)) this EMMY EMMY A war w d winning series from from Jimmy Award McGover n rreturns eturns to deliver modern-day modern-day morality McGovern plays of tangled and taut drama that expose the blurr ed lines between the innocent, the guilty and blurred the somewher e in between. somewhere

A gr oup of ofﬁce personal assistants and group computer ner ds known as ‘The Society of the nerds Blue Rose’ have swor n to ﬁght corporate and sworn criminal injustice in their city city,, even if it means br eaking the law once in a while to do so… breaking

Gabriel Byr ne (The (The Usual Suspects) Suspects) and Byrne Charles Dance Dance (Going (Going Postal) Postal) lead this high-calibre high-calibre cover-ups, laying bare bare the thriller of political cover-ups, government and industry intersections between government power. that test the integrity of those in power.

Completed

Completed and Format

Completed

Totally ota o Framed? Totally

FAKE OR FORTUNE

WA ANTED: THE NEXT WARHOL

Fake or Fortune? SERIE SERIES S1&2

Antiques T To o The Rescue Resc

W Wanted: anted: The Next W Warhol arhol

With fakes to be exposed and fortunes to be With international had, Philip Mould, our inter national art dealerdealertur ned-sleuth, re-teams re-teams with presenter presenter Fiona turned-sleuth, Bruce in this acclaimed, high-art series that sees them uncover the truth behind infamously and, perhaps, unfairly condemned master -works. master-works.

Antiques expert, John Foster Foster,, heads in to crumbling and forsaken mansions, historic halls and stately homes in sear ch of forgotten search heirlooms and artworks that may fetch the fortunes necessary to save these homes fr om from being condemned.

Rembrandt, are the randt, V Van an a Gogh, Warhol… Warhol… But who are new masters? 100 artists of all disciplines ar e put are to the test in this unique competition as rround ound by rround ound their work is judged and they face elimination, until only one rremains. emains.

Completed

Format

ALLNEWPROGRAMMES ALLNEWPROGRAMMES ALL ALLNEWFORMATS NEWFORMA ATS T AL ALL ALLNEWCONCEPTS NEWCONCEPTS

RETURNING BRANDS FORMAT FORMAT

CGI helps turn old houses into dream homes. Produced in association with: W Network (Canada) and HGTV (US)

91 x 60 min (4 seasons) ·

Some lines just shouldn’t be crossed. Produced by: Seven Network (Australia)

164 x 30 min (8 seasons) ·

season VIII

Moving homes over land, lakes, and mountains. A Cineﬂix/Windfall Films presentation in association with: Shaw Media for HGTV (Canada) and Canal D (Canada)

39 x 30 min (2 seasons) ·

FORMAT

Investigating the unthinkable. Produced in association with: Discovery Channel (Canada), Canal D (Canada), and National Geographic Channel (US & International)

98 x 60 min (12 seasons) ·

seasons III - XII

Finding dream homes for ﬁrst time buyers. Produced in association with: HGTV (US) and Shaw Media for HGTV (Canada)

169 x 30 min (9 seasons) ·

SCREEN ONLINE cineflixrightscreening.com

seasons II – IX

SEE YOU AT MIPCOM 2012 RIVIERA STAND R37.20

FRESH NEW CONTENT FORMAT

Get mad. Get even. Get payback. Produced in association with: Investigation Discovery (US)

6 x 60 min ·

Putting domestic disasters to the test! Produced in association with: Shaw Media for HGTV (Canada)

FORMAT

14 x 30 min ·

Fake injuries, fake deaths and more…the things people do for money! Produced in association with: BBC1 (UK)

10 x 30 min ·

Big country, big projects, and big characters. Produced by: Southern Cross Austereo for Seven Network (Australia)

6 x 60 min ·

She loves him, she loves him not… Produced by: Indigo Films for Investigation Discovery (US)

6 x 60 min ·

cineflixrights.com

i nEWs NFB

Photo: NFB

NFB’S CANNES FOCUS IS DIGITAL AND GLOBAL TOM PERLMUTTER, government film commissioner and chairperson, National Film Board of Canada (NFB), is a speaker on the Disruptive Distribution panel, at 12.10, October 10, in the Esterel. Perlmutter has spearheaded a radical digital transformation at the Canadian public film producer, and at MIPCOM, with Canada as Country Of Honour, he said that the NFB’s focus will be on “how to develop economic opportunities”. He added: “What the digital revolution does is allow us to take something that may be perceived as marginal and reposition it so that it may become a global media player. How does that work? And what are the prospects for that over the next three to five years?” Perlmutter cited HBO as an example of a company that “pushed the boundaries for what was seen as the dominant forms of television drama, and create something that was radical, that was different, that was new and has paid off enormously”. He added: “Canada is probably the most diverse country, demographically, in the world, and that means the level of interest in issues around the world is very, very high,” he said. “We’re looking at things that are of interest to global audiences. We have long term partnerships with NHK, we’ve got agreements in Brazil, we’re developing agreements with Argentina, agreements in France, so that range of work, and our ability to work internationally is of interest to the community that comes to MIPCOM.” Tom Perlmutter

Pierre Karl Peladeau

Wade Oosterman

CANADA COUNTRY OF HONOUR KEYNOTES

Leading media ﬁgures speak of strong industry in Canada

IERRE Karl Peladeau, president and CEO of Quebecor Inc., Quebecor Media Inc. and Sun Media Corporation, gives a Media Mastermind keynote on Monday, October 8 at 11.15. He will be followed on Tuesday, October 9 at 17.30 by fellow Canadian Wade Oosterman, president, Bell Mobility and Residential Services, and chief brand ofﬁcer, Bell Canada, owner of Canada’s largest privately-owned network, CTV. Oosterman will explain his company’s Pick A Screen, Fill It With Goodness offer. “It’s really about enabling content of any variety on the screen of your choice,” he said. “We secure the rights and then what we do is we stream whatever it is that is on our traditional TV service — we will stream that live to tablets, handsets or laptops. We have online rights, we have mobile rights we have traditional linear rights and specialty rights, and so we try and make sure that whatever people can see on their television, they can see on the other screens.” The Pick A Screen project began with the

Vancouver Olympics in 2010 and Oosterman said that it has since opened up new areas of monetisation of content — and he believes that Canada is ahead of the curve in this ﬁeld. “Take-up is huge. We are experiencing incredible growth across all the screens. I think Canada is actually leading in terms of a sophisticated solutions set.” The Quebecor story is one of expansion in recent years. In 1998 Peladeau spearheaded the acquisition of Sun Media Corporation, making Quebecor the second largest newspaper chain in Canada; the following year he was named president and CEO. In 2000 Quebecor acquired Groupe Videotron, the largest cable TV operator in Quebec and the third largest in Canada, and the largest French-language broadcaster in the country. The takeover led to the creation of Quebecor Media, which brought all of the Company’s telecommunications and entertainment properties under one roof. In 2007, Peladeau engineered the acquisition of Osprey Media, which made Quebecor the largest newspaper publisher in Canada.

DIGITAL MINDS SUMMIT

Summit gazes into digital crystal ball THE DIGITA L Minds Summit (DMS) will take place once again at MIPCOM, on Monday, October 8, between 10.00 and 14.00. A closed-door event, the Summit is co-sponsored by Canada’s Bell Media Fund. Ahead of its time, the fund was formed in 1997 “to develop and produce world class, innovative new media interactive content, based on traditional broadcast programming.” Highly relevant to today’s industry, the Fund has since invested some $120m in over 1,000 projects, in English and in French. 16 I

“In its ongoing quest to prepare for the future of the broadcast industry, and in honour of Canada, this year’s Country Of Honour, the Bell Fund joins with MIPCOM to sponsor the Digital Minds Summit – to encourage the international broadcast and digital media communities to gaze into their crystal balls, get inspired and visualise the range of opportunities that new technologies and new viewing habits will offer,” said Bell Fund executive director Andra Sheffer. She said one issue for discussion at the DMS would be how to enable “greater

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international distribution of digital media content that is created to accompany television programmes”. She added: “Often the purchasers/ broadcasters of television programmes do not license the digital content as well. Why?” A closed-door event, the Summit aims to explore the many issues faced by the industry in the context of the digital explosion. Summit speakers include IBM’s Saul Berman, and Mark Ghuneim of Trendrr, which provides the technology that enables companies to leverage social data around television.

i nEWs CHANGING INDUSTRY

MEDIA MASTERMINDS

A NEED FOR NEW BUSINESS MODELS

Advertising survives as we reach the end of the digital beginning

WARNER Bros. Television Group president Bruce Rosenblum follows Andrea Wong with a Media Mastermind keynote, in conversation with PwC’s Marcel Fenez. One of the themes of the Bruce Rosenblum conversation will be the rapid changes in the television business from a global perspective, and “how television itself can no longer be thought of merely as a TV set in a living room, but rather any device playing content”. Rosenblum will address “the need for new business models as the industry continues to adapt to new consumption habits, and the ondemand and portability sought by viewers”. Fenez said that one particular subject he hopes to discuss with Rosenblum is content availability. “By that I mean, you could be on a company’s Facebook page and it tells you they’ve got this great new show coming out — you then try to find it and you can’t find it legally. Increasingly people will go and find it illegally.” He added: “The irony is that we are raising the profile of a new series using social media, but we don’t make the content available globally.” During the 2012–13 season, the Warner Bros. Television Group is producing more than 45 primetime, first-run, cable and animated series, totalling over 2,000 episodes. The Television Group’s domestic and international distribution entities together handles more than 6,600 feature films, 48,000 television titles and 14,000 animated titles.

ARCEL Fenez, global leader, media and entertainment at PwC, will address the MIPCOM audience with ﬁ ndings from the company’s annual Global Entertainment and Media Outlook, published earlier this year, on Monday, October 8, at 16.00. And for the majority of MIPCOM delegates, the outlook is fair. Fenez sa id the paid-for-by-advertising model will survive at least the next f i ve yea r s , and that 2012 has proved a good

Marcel Fenez: “The end of the digital beginning”

Wong: social has ‘transformed TV’ ONE OF the subjects PwC’s Marcel Fenez will raise with Sony Pictures Television’s (SPT) Andrea Wong during her Media Mastermind presentation, is how mainstream media companies are embracing social media. According to Wong, social media have “dramatically transformed” the viewer’s relationship with television content. “We’ve just enjoyed the first social media Olympics, for example, with Twitter and Facebook playing a major role in how audiences followed the events,” Wong said. “Sponsorship, broadcasting and audience interaction are changing as viewers expect a deeper relationship with television content.” 18 I

With SPT’s presence as a producer in so many markets, Wong said she is seeing different stages of development in different countries. “But the rate of convergence is increasing, and some emerging markets will jump straight into the social media world without ever having gone through earlier phases such as texting and phone voting.” It is the entertainment genre that is leading the way in social media, according to Wong. “For example, our Middle East production arm, SPT Arabia, is developing extensive social media to connect audiences across more than a dozen countries for a pan-regional series of The Voice. And there are very exciting

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Andrea Wong: “Emerging markets will jump straight into social media”

opportunities to explore in other genres, such as adding interactive layers to our documentaries or enhancing telenovelas with secondscreen back story during transmission.”

Photo: SPT

SOCIAL REVOLUTION

year for television and advertising, thanks in part to the Olympics and a number of highproﬁle political campaigns, not least in the US. “Television is still a very effective way for certain brands to reach a big audience,” he said. “The theme of the report is that it is ‘the end of the digital beginning’. What that means is … let’s stop talking about traditional and digital as if they are something different.” He added: “What we have had over the last four years — maybe a bit longer — is digital operations set up on the side of existing businesses, almost as a kind of incubation process. Our belief is that it’s time that everything is brought back into the mainstream and we focus on content being distributed in a digital world, content being exploited in a digital world, and distribution which is digital. So it’s a kind of change of mindset, but it is actually very fundamental because it will impact how people organise their business, the way they sell advertising — everything.” After his presentation on Monday, October 8 at 16.00 in the Grand Auditorium, Fenez speaks with Media Mastermind keynote speakers Andrea Wong of Sony Pictures Television and president of international, Sony Pictures Entertainment, and Bruce Rosenblum, president, Warner Bros. Television Group. (See advertising feature, page 96)

i nEWs FACING FACTUAL

‘Fearless’ Dubuc focuses on nurturing creativity

Nancy Dubuc: “Radical rethink of what women want to watch”

THE MAIN character in HBO’s mob series The Sopranos de-stressed on the treadmill by watching old black & white war footage on the H istor y Chan nel. Opening Media Mastermind keynote speaker (Monday, October 8, 11.50) Nancy Dubuc, president and general manager of Lifetime Networks, has made finding such dusty docs on the dial much harder. In six years at the helm of the cabler, she has redefined what history

encompasses, mandating all manner of creative experimentation. Same for her impact on sister outlets A&E, where toe dancers and opera singers have given way to hoarders and hipsters, and Lifetime, where she has spearheaded a radical rethink of what women want to watch. A fearless risk-taker, Dubuc said she has only built “on the shoulders of others” and that her focus is simply on “nurturing and protecting” creative people. “The drum we beat from the beginning was execution, execution, execution,” which to her mind means fostering an environment where bold ideas can percolate through vigorous ﬁ lters and concepts that do stick, are brought to market ﬁrst. “Derivative” is not part of Dubuc’s vocabulary. Think Pawn Stars and Swamp People on History, Storage Wars on A&E and Army Wives and Drop Dead Diva on

Lifetime. She is particularly proud of persevering to turn Brit hit Top Gear into a format phenomenon Stateside; missteps like Jurassic Fight Club are few. Under her management all three cablers are highly ranked. Latest coup: a slew of Emmy nominations for ad-supported cable’s most highly rated original series ever, a retelling of the classic family feud, Hatﬁelds & McCoys. Internationally, Dubuc emphasises her goal of securing greater ownership of content to deploy abroad and capitalising on opportunities in India, Southeast Asia and Eastern Europe. “At home and overseas, we have to come up with the best ideas, the best stories, the best characters.” And, were he still around, Tony Soprano could now work out to the magisterial mega-series assembled from museum archives worldwide, World War II in HD, which Dubuc also shepherded.

SUPREMO, SURVIVOR

Storytelling is key to Burnett’s successes ON AN escalator up to a press event years ago, One Three Media president Mark Burnett turned to CBS’s Leslie Moonves and marveled that after three years, his show Survivor had, well, survived. To which the network supremo rejoined: “I’ll bet 23 years from now you’ll be saying the same thing to me!” And in fact the reality juggernaut is still going strong in its 26th season in the States. Arguably still surprised by his own good fortune as a producer, Burnett (who gives a Media Mastermind keynote at 12.25, Monday, October 8) says he has never altered his approach. “In the end, it’s all about the storytelling and being open to the world. You have to be interested in other people as well as interesting to other people.” Nor has Burnett been resting on his laurels; he ticks off three current hits besides Survivor on as many nights Stateside: Celebrity Apprentice and The Voice on NBC and Shark Tank on ABC. With competition shows, he believes “that adrenalin-fueled experience is something we all relate

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to, and such shows attract fullquadrant viewership”, while music shows bring out the critic in all of us. “Passion” and “reverence” are at the core of Burnett’s latest efforts, as disparate as they are genre-wise. “I like to do things about subjects I love,” he says, pointing out that having served in a parachute regiment in the Falklands and Northern Ireland, he has great respect for the military and an abiding interest in veterans’ issues. Thus, Stars Earn Stripes, in which eight celebrities are paired with as many special ops in a training competition. With equal enthusiasm Burnett talks about a scripted series for the History Channel. “The Bible’s the ultimate in storytelling: There’d be no Lord Of The Rings without it. The journeys, the challenges, the characters. It’s perfect.”

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Mark Burnett: “I like to do things about subjects I love”

i nEWs WOMEN IN ENTERTAINMENT

Photo: Sky

Lifetime and MIPCOM join forces to celebrate women in industry

Marion Edwards

Sophie Turner-Laing

Margerita Simonyan

IFETIME Networks’ president and general manager Nancy Dubuc will lead a discussion during the MIPCOM Women In Global Entertainment Power Lunch, held in partnership with Lifetime Networks. Joining Dubuc will be Marion Edwards, president of international at Fox Television, Sophie Turner-Laing, managing director, entertainment, news and broadcast operations at Sky, and Margerita Simonyan, editor-in-chief of RT (Russia Today). The by-invitation gathering aims to create the first-of-its-kind global platform for women in entertainment to connect, network and expand business opportunities on an international level. “People are always in two minds about these events which spotlight women,” Edwards said. “While some are thinking ‘Isn’t it great that they take note of the women who have been successful made some contribution, great or small, to the industry as a whole?’ others are thinking, ‘Isn’t it too bad that we still have to do this?’” But she believes such events have value. “It’s important to encourage other women — particularly young women — and let them know that ours is an industry in which they can succeed, and introduce them to some women who have actually done that.” Edwards’ own company is way ahead of the curve with all of its five film production divisions

headed up by women. “I think with women in television it’s much more an even mix now than it used to be,” she said. “It used to be there was just a tiny handful, but you know there are some very powerful women that head up the US networks. And I think the distribution business, which was really male driven for many, years, has now got many more women — of which I am one.” For Sophie Turner-Laing, the MIPCOM event continues the kind of work she is doing all the time. A leading ﬁgure in the industry for many years (“Next year it will be 30 years of ﬂying down to the Croisette!”) she spends a lot of her time mentoring women, notably through the Creative Diversity Network, and SWIMM (Senior Women In Media and Marketing) and also internally at Sky. And she believes the message for young women wishing to climb the industry ladder is to have no fear. “I never felt that it was a boys club or that there was a barrier to entry for women,” Turner-Laing said. “I think maybe it took women a long time to realise that they were welcome. I think women’s only barrier is fear of the unknown, and maybe women are slightly riskaverse. In my role as a mentor it’s all about encouraging women to be brave.” She added: “I’m not a great fan of positive discrimination. All companies want the best person for the job, and I think that there needs to be balance – you need male and female perspectives on life.”

The good news is that the balance has changed, at least in some parts of the industry. “If you look at the sales teams and the acquisition teams, they are now predominantly female,” she said. “It’s a sign that the industry is maturing. And there’s something about the buying and selling business in that it plays particularly well to female characteristics.” But there is room for improvement. “In our side of the industry, in sales and distribution and so on, it is egalitarian. On the technical side of production I think it’s different. And anywhere, it takes time to break through glass ceiling and take senior management positions.” “If you look around town you will see there are more and more women in the industry all the time, and eventually that might make an event honouring women not quite as important or as useful as it may be at the moment,” Marion Edwards added. “But much of the reason for this is to encourage young women and illustrate that it’s possible to have a long, fun and successful life working in showbusiness.” RT’s Simonyan, who in 2005 became the youngest-ever editor in chief of an international TV network, said: “I am excited to share my experience at MIPCOM and look forward to the exchange of ideas and knowhow with the most successful women professionals in the business.”

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i nEWs: keynotes LATIN AMERICA

CISNEROS TO REVEAL THE REALITIES OF THE LATIN AMERICAN UPTURN ADRIANA Cisneros, vice-chairman and director of strategy for the Cisneros Group, is keynote speaker at MIPCOM’s inaugural LatAam Global Dealmakers Networking Lunch, a new senior-level gathering of some of the most influential entertainment executives from Latin America and worldwide who are driving the growth in international co-productions and media investment deals in and out of the Americas. Sponsored in partnership with Telemundo Internacional and TVN Chile, the invitation-only keynote and lunch takes place at the Carlton, Tuesday, October 9. “This has come at the right time,” Adriana Cisneros told the MIPCOM Preview. “I think it’s a really interesting time and it has a lot to do with the fact that Latin Amercia is very technologically advanced, and advanced when it comes to digital media and spending time online

consuming content. Add to that the fact that the economy in Latin America is doing extremely well — which we are very proud to be able to say these days — and the fact that we have this enormous new emerging middle class which is consuming a lot of media, these are the three key elements that make a very interesting eco-system for us right now.” In her speech Cisneros will delve deep into the realities Latin American economic upturn, the complexities of which she believes the rest of the world doesn’t see. “I think that people don’t really understand the scope of Latin America. And if they have heard a little bit about Latin America doing well it’s usually one story. They don’t really understand how all the dots are being connected down there. So I am going to start by giving a very macro outlook on why Latin America is doing so well and why it will continue to do

so well for the next 10 years. We’re really sure about that, that the next 10 years are going to be very fruitful.” And she believes that now Latin America can compete at the very highest level. “I plan to talk about this idea of Latin America being able to export content in the best-ofclass category. We are finally at a moment where we can compete against the betterknown production houses abroad,” she said. Adriana Cisneros

GLOSS

©Art Streiber

The pages of Conde Nast come to life

Dawn Ostroff 24 I

DAWN Ostroff, president, Conde Nast Entertainment (CNE), gives a Media Mastermind keynote speech at 16.00 on Tuesday, October 9, in the Grand Auditorium. Formerly with The CW Television Network and, before that, Lifetime, she took the helm at Conde Nast Entertainment one year ago. And she plans to draw on her experiences to argue in her speech that storytelling is as important if not more so, across today’s international, digital landscape. “So many people are speaking about platforms right now, and I think it’s very important that people don’t lose sight of the actual content,” she said. “Also, the world is becoming one, and that content is speaking with a universal voice more than ever. When you look at what’s happening in digital and compare it to what happened when cable ﬁrst started, there are many lessons to be learned.”

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Ostroff is working on building four divisions at CNE: a traditional media division that will “mine the Conde Nast” brands to produce ﬁ lm and television content; a digital division that will create digital channels around the many categories covered by the company’s publications; a production division that will partner with studios to produce Conde Nastbranded content; and eventually a distribution division that will push all this content out to the world. She said that it was time that the company “came off the sidelines and started to participate”. So much of the material in our publications has inspired ﬁlms and series. We are the originators of that content and so we have to take more responsibility in taking it onto other platforms.” She added: “We feel there is a real business for us in the global marketplace.”

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i nEWs A MIPCOM FIRST FOR RUSSIA’S MOSFILM

HARVEY’S IN TOWN

Weinstein plans to make a splash in Cannes with new distrib outﬁt

WHITE Tiger, a new Second World War film from leading Russian producer Mosfilm, gets its European premiere at MIPCOM. As World War Two is drawing to a close, prolonged fighting is exhausting both the Soviet and the fascist troops. The more the Soviet army advances, the more frequently the White Tiger, a huge, indestructible tank, appears on the battlefield — emerging from the smoke of combat, destroying anything in its path and then vanishing. Although no one will either verify or deny its existence, the Soviet military command decides to build a special version of the T-34 tank to take on the White Tiger. And so the pursuit of the mythical monster begins. ”The novel by Ilya Boyashov, on which the film is based, captured my attention at once,” said director Karen Shakhnazarov. “The duel between a soldier and a tank gives a unique possibility to show the war from an unusual perspective. So it was the plot that inspired me first of all. It is in fact Moby Dick with a tank in the place of the whale. And I like Moby Dick so much.” The film is written by Alexander Borodyansky and Karen Shakhnazarov, with Music by Richard Wagner. Producers are Karen Shakhnazarov, Galina Shadur; the cast includes Aleksey Vertkov, Vitaly Kishchenko, Karl Kranxkowski and Christian Redl. The screening is held in Auditorium K on Tuesday, October 9, at 13.00. A snack lunch is provided. Photo Mosfilm

ARVEY Weinstein, co-chairman, The Weinstein Company (TWC), gives a keynote address at MIPCOM on Monday, October 8. His Cannes appearance comes as the company goes into pre-production on the martial-arts epic Marco Polo for Starz, and follows the recent launch of TWC’s International Television Sales Division. “Sharing ideas with the brightest minds in the business is necessary for our company’s growth,” Weinstein told the MIPCOM Preview. “Understanding trends and discovering new business models are pertinent to any company’s success, and MIPCOM is the place to do it.” He said the visit to MIPCOM was “a long time coming. We have had a commitment to television for a long time. With Meryl Poster heading up our TV division, we have carved out a big space for ourselves to make a splash in the TV business.” He added: “We aren’t moving away from ﬁ lm at all, but rather broadening our TWC brand. Project Runway and its spinoffs speak for themselves, not to mention Mob Wives and the many shows we have in development, including the highly anticipated Marco Polo.” But keeping up with the audience is a priority. “We must approach all platforms for both our

Harvey Weinstein: “A lot can happen at MIPCOM”

ﬁlm and TV divisions. In recent years, we have had to re-evaluate how, where and when we release our ﬁlms and TV shows based on the rapidly changing preferences of the consumers,” he said. At MIPCOM Weinstein will unveil the TWC TV slate for 2013, and hopes to further other areas of the company’s business. “A lot can happen at MIPCOM,” he said. “The exciting part is not knowing what you’re going to leave with, whether it be new partnerships, new content or new ideas. I am thrilled and honored to be part of it all.”

International debut for EuropaCorp thriller

Aleksey Vertkov in White Tiger

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TF1 INTERNATIONAL presents the premiere of the thriller series Flight Of The Storks (Le Vol des Gigognes) at MIPCOM on Tuesday, October 9 at 17.00, in Auditorium K. Produced for Canal+ by EuropaCorp Television, the 2 x 90- or 4 x 45-minutes series is directed, in English, by Jan Kounen and written by Denis McGrath and Jean-Christophe Grange, on whose novel the series is based. In Flight Of The Storks a young English academic, Jonathan Anselme, teams up with an amateur ornithologist, Max Bohm, to follow storks on their migration from Switzerland to Africa. Bohm wants to ﬁnd out why some birds never return from this journey. Bohm is found dead in mysterious circumstances, and Anselme decides to make the trip alone, during which he uncovers a trail of murders while

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Flight Of The Storks (TF1 International)

travelling through Bulgaria, Turkey, the Middle East, and the Congo, along the ﬂight path of the migrating storks and their deadly secret. Flight Of The Storks stars include Harry Treadaway, Rutger Hauer, Perdita Weeks and Clemens Schick.

i nEWs CREATIVE TALK

DAY-AND-DATE

Campion in Cannes Fox’s zombies take to tell her story of over the world trouble in Paradise ACADEMY Award-winning director Jane Campion will take part in a MIPCOM Creative Talk on Tuesday, October 9, that will look inside the making of the upcoming BBC drama Top Of The Lake. Directed by Oscar-winner Jane Campion (The Piano, Portrait Of A Lady) and Australian newcomer Garth Davis, the story centres around a 12-year-old pregnant girl who tries to drown herself in a lake in a place called Paradise. She’s rescued, but soon afterwards she goes missing. The story is set in a ﬁctional place called Paradise, based on remote area outside Queenstown on New Zealand’s South Island where Campion has a remote holiday ‘hut’. “I have come to know the area and I love it a lot and I got inspired to write this while I was there,” Campion said. “I really love crime myster y stories, and I just thought, ‘What could be more disturbing?’ I don’t know where images come

from but a 12-year-old, pregnant half-Thai girl walking into a freezing lake with her school uniform on, it’s just such a great way to set up the inquiry for this whole story.” She has also enjoyed the process of creating the story for television. “It became obvious to me that HBO and other companies, were starting to take risks that you can’t take with cinema any more. I also love the idea that, with television, you can tell a longer story and you can get to know the characters, let the whole thing grow and develop. And you have room for whimsy if you want it.” The series’ co-writer Gerard Lee will join Campion at the Masterclass. Top Of The Lake is a See-Saw Films production in association with Screen Australia, Screen NSW and Fulcrum Media Finance for BBC, UKTV, The Sundance Channel and BBC Worldwide. It is produced by Academy Awardw i n ners Em i le S h er m a n a nd Iain Canning of See-Saw Films, a nd Ph i l ippa Campbell of Escapade Pictures. The cast includes Elisabeth Moss; Holly Hunter, Peter Mullan and David Wenham. Distributor is BBC Worldwide.

Jane Campion on location

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The Walking Dead premiered in some 120 countries day-and-date

FOX I N T ER NAT IONA L Channels (FIC) and AMC take part in a MIPCOM Creative Talk on October 9, where they will explain a new model for the international launch of TV series The Walking Dead. The two networks recently applied the model to the hit series, which premiered into some 120 countries day-anddate, with a strong international response. Executive producer Gale Anne Hurd, FIC’s Sharon Tal Yguado and Alex Marinescu, and AMC’s Linda Schupack, are among the panelists. “Global, simultaneous releases are a natural evolution of our brand promise. It’s all about getting water-cooler content to international viewers faster in the age of the internet,” said Sharon Tal Yguado, executive vice-president of scripted programming at FIC. “Before the web, before piracy and before social media, seeing a show in Spain six months after its premiere in the US didn’t matter that much. But over the last two-to-three years, with social networks and online becoming ubiquitous, our viewers are connected to, and very aware of, what the latest and greatest series

are stateside. Not only do they expect that content faster, they also want to be part of the global conversation about it.” FIC’s network of over 350 channels reaches about 1.2 billion viewers, giving it the infrastructure to co-ordinate such a complex launch. So what can MIPCOM delegates hope to learn at the Masterclass? “The main takeaway will be learnings about the intricate mechanics that were implemented to make The Walking Dead the huge international success it has become,” Yguado said. “We’ll talk about taking a traditionally theatrical model and applying it to television. We will also be talking about how the creative and financing model of shows is evolving, and how producers, studios and the creative community can leverage FIC’s scale as partners.” T he Wa l k i n g Dead is distributed by eOne Distribution.

FIC’s Sharon Tal Yguado

GOD WILL KNOW HIS OWN STAND 02-15

i nEWs PARTY HIGHLIGHTS JAPANESE DRAMA

NEW FORMATS DINNER

Japanese broadcasters jointly promote new TV formats

THE International Drama Festival in TOKYO is once again a sponsor of the MIPCOM Opening Party at the Hotel Martinez on Monday, October 8. At the party there will be a room dedicated to Japanese Drama — where the winner of the 4th annual MIPCOM Buyers’ Award for Japanese Drama will be announced. The Awards ceremony starts at 20.00. The Buyers’ Award event aims to showcase Japanese creativity and high production values. A panel of buyers from around the world will judge a selection of the top dramas to have appeared at this year’s Festival, and the winner will be announced during the evening. All MIPCOM delegates are invited to the MIPCOM Opening Party.

AWARDS HIGHLIGHT THE BEST IN INTERACTIVE TV AFDESI, the industry association for the development of enhanced TV services and interactivity, continues to highlight the new interactive services that will change the TV experience at the International ITV Awards Ceremony open to all MIPCOM delegates. The awards ceremony is held on Tuesday, October 9 at 18.15 in the Esterel, and will recognise the best entrants in eight different categories: • Best User Experience and Design Interface • Connected TV applications • Best Multiscreen application • Advertising, T-Commerce and services • Best Entertainment and Game service • Best Enhanced TV Service • Innovation and Technology • AFDESI Grand Prix for the service or program of the year The International ITV Awards are open to all companies involved in a live interactive television service during the year 2011/12, or involved in the production of a concept — including CE manufacturers, operators, broadcasters, developers, and publishers. The competition has grown to incorporate all new forms of television interactivity. 30 I

APAN has for decades inspired some of the world’s most famous formats, and is highlighting past and current successes and new format ideas during the Treasure Box Japan New Formats Dinner, at the Carlton Intercontinental hotel in Cannes on Sunday, October 7. Senior executives from all over the world will be hosted at the event, which is supported by seven major Japanese broadcasters — NHK, NTV, TV Asahi, TBS (Tokyo Broadcasting System Television), TV Tokyo, Fuji TV, and ABC (Asahi Broadcasting Corporation) — and two Japanese government Ministries — Ministry of Internal Affairs and Communications and Ministry of Economy, Trade and Industry — making this the ﬁ rst joint effort between the Japanese private and public sectors to promote Japanese TV formats in the global arena. With many US and European formats dominating headlines for some years now, the Japanese format success story has been somewhat overshadowed. Yet many examples of Japanese formats selling abroad have been highlighted in Cannes over the years. TBS ﬁrst sold Fun TV With Kato-chan & Kenchan back in the 1980s, which turned into the long-running global hit America’s Funniest Home Videos. Since then TBS has continued

to sell dozens of formats, includi ng Ta kesh i’s Castle, Amazing Animals, Happy Family Plan, Get 100 and Brain TBS’ Ninja Warrior, one of the many hit Survivor to broad- formats to have come out of Japan casters around the globe, many of them becoming long-running hits. Among TV Asahi formats to have succeeded internationally are: Ranking The Stars, which has sold to the Netherlands, Sweden, Poland, Korea and India; the 31 Legged Race, which has been licensed to Thailand, China, Vietnam, Malaysia; and Fidelity Test, which was picked up in Russia. Some of the best-known formats to come out of Japan are NTV’s Dragons’ Den, Fuji TV’s Iron Chef and TBS’s Takeshi’s Castle, now an international brand with numerous versions airing around the world. And famously, the Fuji TV format Hole In The Wall has sold to ﬂagship channels around the world, such as BBC1 (UK), Fox (US), CCTV1 (China), and many more. The evening’s entertainment will feature live performers from Siro-A, a visually impressive experience combining comedy, dance and technical wizardry.

COMING OF AGE

Sessions highlight growth for 3DTV 3D BROADCASTERS and producers from Asia, the US, and Europe, will share success stories and screen the latest 3D content on the big screen in Auditorium A, during the 3D Focus series of conferences on Wednesday, October 10, organised in partnership with Sony Corporation. The sessions start at 10.45 with keynote by Steve Schklair, CEO of Californiabased 3D production specialist, 3ality, whose advanced stereoscopic 3D production products have been used in movies including The Amazing Spider-Man, The Hobbit: An Unexpected Journey, Jack The Giant Killer, Oz, Prometheus, The Great Gatsby, and Underworld 4. The conferences feature 3D experts from ZDF, Toei Animation, NHK, 3Net, BSkyB, IEC (Sport), imCUBE, Blue Coat, Electric Sky, and Ericsson, as well as matchmaking opportunities between 3D content

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providers and a delegation of Chinese regional broadcasters. “3DTV continues to appeal to viewers thanks to spectacular sports programming, movies and factual entertainment,” 3D Focus chairperson Chris Forrester said. “Production costs are falling and a growing number of broadcasters are adding 3D channels to their bouquets. These MIPCOM panels and screenings showcase once again the quite brilliant content on offer at Cannes.”

What If? Sketch Comedy The Taste Cooking Show

A League of Their Own Entertainment Show

MIPCOM Booth: H4.12 www.redarrowinternational.tv / sales@redarrowinternational.tv

neWCOmErs MIPCOM NEWCOMERS

Cannes welcomes some new faces The increasingly diverse audiovisual industry is reﬂected in the line-up of companies in Cannes this year. Debbie Lincoln spoke to some of the people attending or exhibiting for the ﬁrst time

GEORGE KIMANI • BUSINESS DEVELOPMENT DIRECTOR • CCD Africa • Kenya “CCD AFRICA has been in existence for seven years distributing and selling broadcast rights to African content to broadcasters inside Africa. “Within the last year we have embarked on handling international content with good success. MIPTV is the perfect market to launch the ﬁ rst-ever Englishlanguage Kenyan catalogue with series, soaps, movies and documentaries. We are looking to meet serious international suppliers looking for African

representatives. “Kenyan English is crisp with no accent, our production quality is good and therefore our catalogue can be bought by any territory or market. “In the last year we have sold over 12 soaps, seven series and 150 movie titles of international content within Africa. Our Kenyan catalogue is getting a lot of recognition internationally with some of the titles already showing in Canada and USA.” (pictured with CEO Kezzy Omoni Kimani)

MATTHEW MANCINELLI • CEO • Mance Media • US “MANCE Media is a worldwide television distribution company based in Hollywood. We specialise in distributing American programming which translates well for international broadcasters. Our slate includes a variety of genres from factual to lifestyle to action sports. We were drawn to exhibit at MIPCOM because this is where all the buyers congregate. Our programming emphasises breathtaking visuals which don’t rely on dialogue to tell the story. “We are looking for broadcasters looking for

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unscripted, visual programming. We also are interested in acquiring product and ﬁ nding co-production partners, as producing shows is also part of our business plan. We’re a young company that understands multiplatform distribution, selling highquality American programming. Mance Media also recently digitised its library, enabling FTP or harddrive show delivery. “I launched my company a year ago. Today I have a staff, a library and I’m exhibiting at MIPCOM.”

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RENEWED FOR SEASON 4

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i neWCOmErs JI LING • DIRECTOR OF BUSINESS DEVELOPMENT XYZ Digital Studio • China “XYZ DIGTIAL Studio is a full-service animation company specialising in character animation for CGI theatrical feature ﬁ lms and TV series, located in beautiful Dalian and Beijing, China. The studio has enjoyed success since its inception in 2005. We have a high-tech facility with a full feature ﬁlm and TV series pipeline in place, and a staff of 150 artists and CG experts. “MIPCOM provides digital animation businesses with an unrivalled package of market entry support including pre-market advice, and active networking opportunities. Our strategy is to make full use of precious cultural resources, develop a world-class production team, create world-class animated portfolios, and thus contribute to the exchange of culture

throughout the world. I am not only looking for animation service providers, but also for creative coproduction partners to explore the Chinese and international cultural exchanges. “The Chinese animation industry has been growing at a rate of more than 20% per year. As XYZ Digital Studio looks to the future the company has plans to develop animation, games, electronic publishing platforms and multiplatform delivery channels. “Another key trend is the outsourcing to China and the co-production of animation content. The major factor behind this continues to be the availability of low-cost, powerful computer animation platforms and low labour costs in China.”

DANIELLE RAAPHORST • INTERNATIONAL SALES AGENT AND PRODUCER Incredible Film • The Netherlands “MOUNTAIN Road Entertainment Group is a very powerful force in local ﬁ lm and television productions and is also well-known for creative marketing and sales campaigns. As a dynamic player in the world of entertainment and experienced in acquisition from well-known international sales companies, it was an easy step to start up a sales division for selling strong local Benelux product to the international market. MountainRoad was founded by Sjef

Scholte, and he is working strongly together with us. At MIPCOM we are selling our catalogue of Dutch ﬁlms. “We are mostly looking for distribution partnerships. We already have a large network in Europe, but our goal is to enlarge our networking with distribution partners all over the world. “The market is not easy and it takes a lot of time before buying decisions are made. So, keeping up the relationships and being patient is what we keep doing.”

ELLIOT TONG • PRODUCER/HEAD OF INTERNATIONAL DISTRIBUTION Tianjin North Film Group • China “TIANJIN North Film Group (TNFG) is a stateowned ﬁ lm/TV enterprise in China that’s been established since the 1950s. In recent years the company has taken a more international and commercial approach to its productions, and has been focusing on 3D content, especially in the area of animation. TNFG currently has a joint venture with James Cameron in China called Cameron Pace Group China, that was launched in August 2012. “TNFG is expanding into TV with the production of a 104-episode 3D series, one of the ﬁ rst in

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production in China. TNFG has chosen MIPCOM as a launch pad to market the series to major broadcasters around the world who are interested in a highquality and fun martial arts show for kids. “We are looking to build relationships with broadcasters around the world who might be interested in picking up high-quality TV content from China, and producers who are interested in entering the Chinese market, through co-production or other market entry methods.

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i neWCOmErs ZSUZSANNA KALOMISTA • DIRECTOR OF SALES AND ACQUISITIONS MTVA • Hungary “MTVA was founded in January 2011 and has partly taken over the activities and functions of the still existing Hungarian Television (MTV), Hungarian Radio, Duna Television and the Hungarian News Agency (MTI). With a staff of around 2,000, it is in charge of producing, commissioning and acquiring programmes on behalf of all the public service radio and television channels (four TV channels and eight radio stations) as well as managing the public service online platforms. “MIPTV 2012 was the first time for many years that Hungarian Public Media was represented with a stand, and our experiences were very positive overall, so we decided to return to MIPCOM also with a stand. “Servicing four TV stations, we are always searching for new content, both fiction and non-fiction, and

are open to barter deals with any other TV stations, with the offer of our extended library of TV movies, live-action series, animated programmes and documentaries. “At MIPCOM participants can find top quality Hungarian animated series, documentaries, costume dramas, literature adaptations and thousands of hours of archive material, and news footage. With its long tradition in film-making Hungary can now finally show its product to the world. “As a TV station we are, of course, also effected by the consequences of the stagnating advertising market however thanks to this year’s big sports events like the European football championship and the summer Olympic Games, our ratings doubled in our target group which had a positive influence on our advertising revenues.”

MARTIN BRUNNETT • SALES MANAGER – INTERNATIONAL LICENSING KSM • Germany “KSM HAS been in business for 10 years as a successful independent distributor for German-speaking territories mainly in the home entertainment market. Due to growing demand for 3D content the company decided to enter into the production of nature and wildlife documentaries in 2011. All rights of these are held by KSM and in early 2012 the company formed the international licensing department. To date KSM offers a wide range of content, for example the award-winning documentary Azores 3D and the fascinating Wildlife South Africa 3D. The theatrical documentary Mexico Cenoten – The Caves Of The Dead 3D, about the mysterious Maya caves of Mexico, is in pre-production right now. All our titles are shot in real stereoscopic 3D. “This year’s edition of MIPCOM is the ﬁrst market for KSM as a seller and we want to present our line-up to buyers from around the globe. As we release all our

productions by ourselves in German-speaking territories we can provide international distributors with our marketing strategies. We will offer our current line-up of completed films with nearly 20 titles as well as our films in post-production and pre-production. “We want to build relationships with international buyers for all kinds of media — especially the digital market. And we also want to learn what kind of content each market needs. As all our titles work in 3D and 2D there are a lot of opportunities on how to market them in each territory. The 3D content market is still developing and we want to be a significant part of it with our fi lms. The physical distribution is still there, but has decreased. So, the main focus must be on developing digital distribution on all media platforms. That’s why KSM decided to enter into the field of production for wider distribution opportunities around the globe.”

INIGO PURROY SANZ • CEO Doblasound • Spain “OUR COMPANY specialises in dubbing services, subtitling and post-production of any type of audiovisual productions in any language. We want our production to sound different and make it distinct. Overall, we maintain a competitive edge, working within our client’s budgets in times of crisis. We offer a completely free demonstration for some of your productions so you can evaluate our work. “MIPCOM will give us the opportunity to know the new trends in

the market. We will also be able to meet international producers and distributors face-to-face to establish possible future relationships. We would like to make contact with any kind of international media, especially television and news channels. “We now provide a 24/7 service with fast turnaround, using our own state-of-the-art facilities in Argentina, Brazil and Spain, and we also have studio partners around the world.”

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PrOductnEWs For four days in Cannes the Palais des Festivals will be packed with stands selling every kind of content for every kind of platform. Here’s some of what’s on sale at MIPCOM this year PASSION DISTRIBUTION

FME’S highlights for MIPCOM include two cooking shows. Jamie’s 15 Minute Meals (40 x 30 mins) features two 15-minute dishes cooked-up by Jamie Oliver, and In Lorraine’s Fast, Fresh And Easy Food (6 x 30 mins), Lorraine Pascale demonstrates how to cook with minimal effort. From the comedy catalogue comes Cuckoo (6 x 30 mins) in which a young girl returns from her gap year with a strange husband, to the consternation of her family. Battleground (13 x 22 mins) is a documentary style comedy set in the world of political campaigns, and Brandt Point follows 16-year-old Rob and his friends during a summer vacation.

PASSION is highlighting Weather Channel’s new line-up of factual series at MIPCOM. Iron Men (13 x 30 mins) follows the fearless workers walking steel beams hundreds of feet high to build skyscrapers, bridges and stadiums. Primetime strand Braving The Elements (20 x 30 mins) follows men and woman who work in extreme situations. Programmes include: Turbine Cowboys, Reefmakers, Extreme Air, Lights Out and Iceberg Hunters.

Iron Men (Passion Distribution)

ARROW INTERNATIONAL

THE TASTE, brought to MIPCOM by Arrow International (formerly SevenOne International), features wellknown food experts Anthony Bourdain and Nigella Lawson who each mentor a team of Nigella Lawson stars in The cooks. Each episode features Taste (Arrow International) team and individual challenges, and an elimination round. The Taste was created and produced by Kinetic Content, Red Arrow’s US production company.

Jamie’s 15 Minute Meals (FME)

NHK

Ripper Street (BBC Worldwide)

FILM director, actor and comedian, Takeshi Kitano, popularly known as Beat Takeshi, presents Takeshi Art Beat (13 x 29 mins) where he meets artists from different genres around the world to ask “What is Art?”. In contrast Kim Jong-un: Inside North Korea (working title) is a 49-minute documentary about the new leader of North Korea, including exclusive footage and interviews with former North Korean dignitaries as well as South Korean and Russian officials.

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WORLDWIDE best-selling author Ken Follett investigates the middle ages in Journey Into The Dark Ages (2 x 45 mins). Follett looks at some of the characters that inspired his novels The Pillars Of The Earth and World Without End. The Great Women Of The Middle Ages is the first part, and the second is The Black Death. © Story House Productions GmbH

FILMS at MIPCOM from Sundance Channel include: coming of age drama Tiny Furniture; suburban drama 3 Backyards, starring Edie Falco; California Solo is the story of a former Britpop rocker who faces deportation; and the story of cultural fusion and confusion, The Imperialists Are Still Alive!. From the TV catalogue comes Road To Sundance (30 mins) and interview series Iconoclasts. Documentaries include 11/4/08, about the election of Barack Obama, and Skiing Everest.

TANDEM COMMUNICATIONS

Photo: NHK

SUNDANCE CHANNEL

Hugo Burnand

Photo: Jonathan Hession © Tiger Aspect

DRAMA Ripper Street (8 x 50 mins) features Inspector Edmund Reid, who heads the police district in east London, despite his failure to catch the seriial killer Jack the Ripper. The series stars Matthew Macfadyen, Jerome Flynn, Adam Rothenberg and MyAnna Buring. Top Of The Lake (7 x 45 mins/6 x 60 mins), created by Jane Campion and starring Elisabeth Moss, Holly Hunter, Peter Mullan and David Wenham, follows the mystery of a missing 12-year-old pregnant girl in New Zealand. The company also highlights: Chef Race (10 x 50 mins), in which 16 chefs are dropped in LA with only their skills to take them across the US; Generation Earth (3 x 60 mins), looking at the latest trends in engineering and farming; and Space Dive (1 x 90 mins) about Felix Baumgartner who attempts a freefall from 125,000 feet.

FREMANTLEMEDIA ENTERPRISES

BBC WORLDWIDE

Takeshi Art Beat (NHK)

preview preview magazine I September 2012 I www.mipcom.com

Journey Into The Dark Ages (Tandem Communications)

ABC Commercial Entertaining the world THE SEARCH FOR THE OCEAN’S

SUPER PREDATOR NATURAL HISTORY 1 x 60’ HD

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iproductneWs AB INTERNATIONAL

COMEDY series Lazy Company (10 x 22 mins) makes its first appearance on the international market at MIPCOM this year. The story follows a band of incompetent US soldiers after D-Day who in an effort to avoid conflict and to keep themselves alive unintentionally change the course of history.

ANTENA 3

SWEATBOX

SET AGAINST the backdrop of economic crisis, comedy series With Your Pants Down is set in a campsite 20 minutes from the city where a group of people who have lost everything look to build a second chance. Imperium is the sequel to the series Hispania, and the action takes place when the Roman praetor Galba comes back to Rome from Hispania after losing the war to find that a powerful senator has stolen his wife, his son and his fortune.

NIGHTBREEDS, the new animation from Sweatbox, unfolds in the city of Port Providence where the Alte Spiegel, an old relic with magic powers, is hidden. Thelonius is a sinister vampire pursuing it in order to rule the world. However an Alliance is formed by two vampire girls and a human boy who risk all to thwart Thelonius’ plans and save humans and vampires from destruction.

Lazy Company (AB International) Nightbreeds (Sweatbox)

FILM AND PICTURE TRICON FILMS & TELEVISION

CHURCHMEN (8 x 52 mins) is a drama series set in a seminary, following five young candidates to the priesthood as their lives change dramatically in an atmosphere of learning and faith, but also ambition and discord. Arte is airing the first season now and the second season will be shot in February next year with the same director and cast.

With Your Pants Down (Antena 3)

COMEDY Bang Bang (10 x 30 mins), is a comedy variety show hosted by Scott Aukerman and Reggie Watts, featuring Hollywood stars including Zach Galifianakis, Seth Rogen, Elizabeth Banks and Jon Hamm. The Canadian company also brings Bunk (10 x 30 mins), a new game show in which comedians compete in bizarre challenges to win surreal prizes such as the ability to travel back in time or trade places with a baby.

ELECTRIC SKY

ELECTRIC SKY is launching The Ronnie Wood Show: Paul McCartney Special (1 x 45 mins) at MIPCOM. McCartney shares anecdotes with Wood and plays a selection of his songs and those that have influenced him. 10 other episodes with guests including Alice Cooper, Slash and Mick Hucknall are available. Other factual titles include: Turtle Boy (1 x 48 mins), about a six-year-old boy from Colombia with a rare condition, a mole which has covered his back; More Sex Please, We’re British (1 x 48 mins) is a funny and frank look at Britain’s online sex toy business; and Hilary Lister – A Race Against Time (1 x 52 mins/ 1 x 73 mins) follows a young woman who attempts to sail around Britain despite being paralysed below the neck. The Ronnie Wood Show: Paul McCartney Special (Electric Sky)

Comedy Bang Bang (Tricon Films & Television)

DISNEY MEDIA DISTRIBUTION

MISTRESSES (13 x 1 hour) – is launched to international buyers at MIPCOM. Savi (Alyssa Milano) is a successful career woman, vying to be partner at her law firm while she and her husband, Harry (Brett Tucker), try to start a family. Savi’s younger sister, Josselyn (Jes Macallan), lives a single life, dating and partying. Their best friend, April (Rochelle Aytes), a recent widow and mother of two, is rebuilding her life after tragedy, and friend Karen (Yunjin Kim), a successful therapist, reconnects with the girls after her unfortunate involvement with a patient. The drama series about the four friends, from ABC Studios, launches on ABC in the US.

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BIGGEST HOARDERS 5 x 60’ series (HD) FACTUAL

Format / 12 x 60’ series (HD) Season 2: 2013 ENTERTAINMENT

FACTUAL ENTERTAINMENT

KUNG FOOLERY Format / 1 x 60’ (HD)

SECRET INTERVIEW Co-produced with GroupM Entertainment

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iproductneWs HAT TRICK INTERNATIONAL

MARVISTA ENTERTAINMENT

Jeremy Phillips photography

FRONTED by architect George Clarke, Small Space Revolution (6 x 1 hour) explores the extraordinary uses people make of small spaces. Travelling around the UK George discovers the world of micro design as property owners look to maximise every inch of space in their homes or gardens, including disused toilets, shipping containers, horse boxes and state-ofthe-art airstreams.

THE SHORES (13 x 30 mins) is set in the world of modelling and chic party planning, following four women who leave the US to live and work in luxurious locations. The first season takes place in a Cape Town events company owned by coal tycoon Quinton van der Burgh, who conceived the series. Living in a cliff-side mansion the women have to hone their skills in the world of networking and party planning.

The Shores (MarVista Entertainment)

Small Space Revolution (Hat Trick International)

DCD RIGHTS

BEYOND DISTRIBUTION

ZEE INDIA

BEYOND’S factual slate for MIPCOM includes: Wild

ALL3MEDIA INTERNATIONAL

FEATURING a cast that includes Gabriel Byrne

content aggregators and broadcasters looking for Indian content ranging from family serials, romantic stories, cookery and game shows, song and dance to thrillers, travel programmes and filmrelated events. Over 100,000 hours of content is available in various Indian languages with some dubbed or subtitled versions in English, French, Arabic, Russian, Melayu-Bahasa and Mandarin.

ZED

NEW HD programmes from ZED include Barack Obama – Great Expectations (2 x 52 mins). Produced in time for the US presidential elections, it takes a look at Obama’s White House battles, using interviews with the president’s main advisors and leading political analysts. Hooked On Food! (52 mins) goes behind the scenes to explore the strategies of the agribusiness giants, how they process food and mould our tastes.

and Charles Dance, Coup is a political thriller set in the run-up to an election. An industrial accident in the North of England raises questions about safety procedures at the American-owned chemical firm, and then the prime minister’s plane goes missing. All3Media is also launching two new formats. Show Me The Money sees members of the public perform pranks in public for money, taking instructions via an earpiece. In Be My Boss employees are given the chance to apply for promotion, not realising that if they’re successful they will be given their own franchise. Barack Obama - Great Expectations (ZED)

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Mystery Of A Hansom Cab (DCD Rights) Official White House photo by Pete Souza

Racers (24 x 30 mins) which follows the adventure racing World Series covering six races, four continents, 3,500 kilometres, all with no support; Fatal Vows (10 x 60 mins) which looks at how divorce sometimes becomes deadly; The Years That Made Us (3 x 60 mins), looking at the 1920s and 1930s in Australia; and Myth Or Science (1 x 60 mins) an investigation of misconceptions in science.

Wild Racers (Beyond Distribution)

MYSTERY Of A Hansom Cab (1 x 90 mins) is an HD TV movie based on the 1886 novel by Fergus Hume. The story follows the consequences of a fateful night when two men get into a hansom cab, but only one comes out alive. The film is due to premiere on ABC1 Australia. Comedy series Strange Calls (6 x 30 mins/HD) follows a hapless city cop demoted to night duty in the sleepy beachside village who, with his friend the town cleaner, investigates bizarre late night phone calls that expose the paranormal mysteries haunting the sleepy town.

ZEE HAS launched Zee Bollyworld, a service for

preview magazine I September 2012 I www.mipcom.com

NBCUNIVERSAL

NBC’S weight-loss challenge dance format Dance Your Ass Off features overweight contestants who take on a strict dance and fitness routine. A weekly elimination is judged on a dance score given by a panel of celebrity judges combined with the amount of weight they have lost. Portuguese commercial broadcaster SIC and new Finnish free-to-air channel FOX have both commissioned local adaptations.

The New Generation of French TV Series

18x26’

8x26’

12x13’

Stand n°02.15

www.theboxdistribution.com

iproductneWs BOOMERANG TV

PRODIGY PICTURES

NEW HD eight-part series The Time In Between is set in the turmoil of Madrid before the Civil War, and the cosmopolitan atmosphere of Morocco at the beginning of World War II. The story follows a woman who rises to be a prestigious couturier.

SUPERNATURAL crime drama Lost Girl follows a charismatic succubus called Bo (Anna Silk), a being that feeds on the energy of humans. She learns to control her abilities and help people in need. Season Three includes a guest appearance by Linda Hamilton (The Terminator, Terminator 2: Judgement Day) as an assassin.

OCTAPIXX WORLDWIDE

SHINE INTERNATIONAL

SHINE Australia-produced The Shire (13 x 30 mins) is set against the backdrop of Southern Sydney, an area known as a “new money” district of the city. The series is an unscripted fly-on-the-wall show. Characters include Mitch, the surfer boy who never wants to grow up, and Nikee the glamour model who wants nothing more than to settle down. The company is also premiering the new primetime BBC One five-part drama Mayday, an edgy serial about the murder of a young girl in a picturesque market town and how suspicion falls on members of the community.

COOKING For Beauty (13 x 30 mins/HD) demonstrates how simple recipes can deliver brighter, tighter and healthier looking skin. The host, fashion and beauty consultant Gregory Landsman, also creates natural skin serums and creams. Also from Octapixx comes History’s Verdict (13 x 30 mins), which explores major decisions made by world leaders during World War II, and The Ultimate Fishing Show (26 x 30 mins), in which Matt Watson and his team travel the world in search of the most powerful fish.

The Time In Between (Boomerang TV)

COMAREX

MTV Networks

POPLAND! (25 x 60 mins), the teen telenovela brought to MIPCOM by Mexico’s Comarex on behalf of MTV Networks, tells the story of a small-town girl who travels to the city to become a celebrity photographer. She soon enters a love affair with a pop star that turns her life around.

The Shire (Shine International)

Popland! (Comarex)

DISTRIBUTION WORKSHOP

PILOT PRODUCTIONS

GLOBE Trekker Round The World Series, (8 X 52 mins)

Pilot Productions

Cooking For Beauty (Octapixx Worldwide)

VISION FILMS

TWO FAMILY films top the MIPCOM slate for Vision Films. Firstly, The 12 Dogs Of Christmas II: The Great Puppy Rescue, in which two teens race against time to rescue a dog orphanage from an unscrupulous tycoon. Secondly, Elf-Man, in which Santa leaves an Elf behind on Christmas Eve, and is identified by a family of kids as super-hero Elf-Man. Together they must save their Dad’s new invention from a gang of thieves, and enjoy the best Christmas, ever.

Globe Trekker Round The World Series (Pilot Productions)

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Distribution Workshop

was created to celebrate the 20th anniversary of the Globe Trekker series. The programmes cover historic travel routes beginning in Washington DC and ending in the old world capital of Vienna. Hosts including Ian Wright, Justine Shapiro and Megan McCormack re-join the Globe Trekker team to take on a leg of the travel marathon.

MIPCOM highlights for Distribution Workshop include: Mulan, which sees a young girl go to war to protect her father; Monga, an action film set in Taipei; Japanese assassin thriller Rain Fall; cop thriller Overheard; What Women Want, a Chinese remake of the Hollywood film; animation The Flying Machine 3D; and a series of short animations set to the music of Chopin.

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Mulan (Distribution Workshop)

Watch now at www.shineinternational.com MIPCOM LR5.01

HUNTED Electrifying new action-packed primetime drama, starring Melissa George (The Slap), from the Golden Globe® winning screenwriter Frank Spotnitz (The X-Files) and the BAFTA award winning producers of Spooks World Premiere, BBC One & Cinemax - 8 x 60’

iproductneWs AZTECA

FIRST HAND FILMS

Antonio Flores

NEW TELENOVELA Amor Cautivo (Prisoner Of Love), centres on three families, united by a terrible secret. The story includes the cover-up of an accidental killing, disappearance, imprisonment, deception, and of course all the drama and romance we expect from telenovelas. The series (120 x 60 mins) is distributed internationally by Comarex, Azteca’s sales agent.

80 TRAINS Around The World (39 x 52 mins) is a series that follows railways across six continents, exploring the landscapes and people in more than 30 countries; Man For A Day (59/96 mins) features gender activist and performance artist Diane Torr who teaches women to become the man of their choice; and White Black Boy (52 mins) follows an albino boy in Tanzania, sent to boarding school for his own protection.

NOVAVISION

NOVAVISION, which this year celebrates its 10th anniversary, has a library of some 102,000 non-verbal comedy sketches, video gags, bloopers, extreme sports clips, available individually or packaged as shows that it produces or co-produces internationally, including The Mad Family (Mad Grandma, Mad Girls, Mad Animals, and Mad Kids). Novavision has also acquired content for its new show Fast, Mad And Explosive (13 x 26 mins), which uses footage of police chases and weird incidents captured on surveillance cameras. A pilot is available in Cannes.

80 Trains Around The World (First Hand Films)

Amor Cautivo (Azteca)

DRG

NEW SERIES Big Tiny (8 x 30 mins) looks at the extraordinary life of Bridgette (Bri) and Bradley (Brad) Jordan, the world’s smallest siblings. 23-year-old Bri weighs 18-pounds, with a height of 27 inches, while her younger brother, Brad, weighs 35-pounds and stands at 38-inches. Brimming with self-confidence, athleticism and big personalities, Bri and Brad tackle family life just like anybody else.

THE LIFE And Adventures Of Nick Nickleby (5 x 60 mins) is a modern take on Charles Dickens’ novel Nicholas Nickleby from producer Kindle Entertainment, originally commissioned for the UK’s BBC One. Nick moves to London with his mother and sister following the death of their father. They seek the help of their rich uncle, the owner of high-profile care homes, in one of which Nick works. While trying to uncover the abuse in the home Nick rescues the confused Mrs Smike and falls in love with single mother Maddy.

Mad Animals (Novavision)

SHORELINE ENTERTAINMENT

SHORELINE’S MIPCOM slate of films includes: Divorce Invitation, in which a man who thinks he’s happily married finds that sparks fly when he runs into his first love — however, his wife refuses a divorce; The Zombie King, in which a man turns to voodoo in a desperate bid to bring his wife back from the grave; and The Amazing Adventures Of The Living Corpse. RR MovieMakers LLC.

INDIGO FILM & TELEVISION

Divorce Invitation (Shoreline Entertainment)

The Life And Adventures Of Nick Nickleby (Indigo Film & Television)

11 TELEVISION

11 TELEVISION’S MIPCOM slate includes: comedy prank travel show Destination Fear (13 x 30 mins); Risky Business (13 x 30 mins), a competition investment show; and Cover Me Canada (9 x 60 mins), an 11 Television format in which bands compete for a record contract by covering Canada’s most popular songs. The company is also collaborating with television veteran Alan Thicke to develop a game show format. Big Tiny (DRG)

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OFF THE FENCE

AMONG 300 hours of programming brought to Cannes by Off the Fence is: Wildest Arctic (1 x 60 mins); Digital Dharma (1 x 60 mins), about digitising rescued Sanskrit and Tibetan texts; travel series The Travel Bug (30 x 60 mins); My Fair Wedding ( 18 x 60 mins); and Can You Survive A Horror Movie? (2 x 60 mins), in which famous horror film death scenes are analysed. © Off the Fence Wildest Arctic (Off the Fence)

ORIGINAL. BOLD. CAPTIVATING. Our innovative content pushes boundaries, crosses borders, and connects with audiences everywhere. A+E Networks…we make life entertaining.

MOUNTAIN MEN™ / 8 X 1 HOUR

BARTER KINGS™ / 14 X 1/2 HOUR

DANCE MOMS® / 36 X 1 HOUR + 6 SPECIALS

THE MEN WHO BUILT AMERICA™ / 8 X 1 HOUR

CAJUN JUSTICE™ / 21 X 1/2 HOUR

DUCK DYNASTY™ / 31 X 1/2 HOUR

LINDSAY LOHAN LIZ & DICK / 1 X 2 HOURS

VISIT US AT MIPCOM BOOTH G3-18.

iproductneWs NORDICWORLD

9 STORY ENTERTAINMENT

THE TERROR Island Triology (3 x 52 mins) examines the deadly attacks in July last year on Utoya island in Norway. Firstly, Terror Island tells the stories of some of the survivors. The follow-up programme, from the same team, is The Trial, which follows attack survivors Line, Eskil, Woria and Emma as they struggle to get their lives back on track, and looks at the trial of Anders Behring Breivik. The final documentary, Return To The Island, is in production.

FUGGET About It (26 x 22 mins) is an animated primetime comedy about Jimmy Falcone, a New York mob boss who, rather than kill his uncle as instructed, throws the Don out of a 19-storey window. After that he and his family enter the witness protection programme. That means a move to cold, snowy Regina where he has to live as regular guy among naive Canadians.

Terror Island (NordicWorld)

Fugget About It (9 Story Entertainment)

HGAGNON DISTRIBUTION

HANDEL PRODUCTIONS

CINEFLIX RIGHTS

MORE than 500 dancers and five million visitors have been through the doors of Montreal erotic cabaret club Le 281 since it first opened its doors 30 years ago. This one-hour adult documentary shows what a lively night at Le 281 is like.

HANDEL is at MIPCOM with two specials

commemorating the 100th anniversary of the Titanic disaster — Inside The Titanic (a co-production with Dangerous Films) and Titanic The Aftermath (a coproduction with IWC). The company also brings edgy new travel series, Scam City; and CGI-based special, Earth From Space (a co-production with Darlow Smithson). Two more specials are in production: Inside The Mind Of Leonardo (a co-production with IWC) and Ultimate Tutankhamen (a co-production with Blink Films) as well as six-part series, Strip The City (a coproduction with Windfall Films).

©Cynthia Ouimet, Vivavision

mins) to MIPCOM, an observational documentary that highlights the growing epidemic in the UK of bogus insurance claims. Each episode focuses on one story of insurance fraud as well as other material about insurance scams, with original surveillance footage. The company also brings World’s Maddest Job Interview (1 x 90 mins/HD) in which a group of volunteers with mental health conditions attempt to impress and confuse employers and psychiatrics, in order to convince them that they can work.

Handel Production

CINEFLIX Rights brings Claimed & Shamed (10 x 30

Le 281 (HGagnon Distribution)

PEACE POINT RIGHTS Inside The Titanic (Handel Productions)

Claimed & Shamed (Cineflix Rights)

ESTRELLA TV

MILAGROS is a one-hour drama that re-enacts miracles that people have experienced. Research for the drama has involved over 75 Catholic churches throughout Mexico. The series is shot on location all over Mexico and Latin America and stars Alejandro Avila, Luis Fernando Pena, Marisol Santa Cruz and Arlet Pacheco.

BEACTIVE

COLLIDER is a sci-fi series about six people transported to a post-apocalyptic 2018, where they have to discover how they got there, how to survive, and how to get back to the present. The story is told across several platforms including comic books, webisodes and an app/game in the lead-up to a feature film due for release in 2013. The company also brings Beat Girl, about a young talented pianist, torn between classical and dance music. Beat Girl features on social media, TV, books, magazines and apps.

KEASHA’S Perfect Dress (14 x 30 mins) is a new series that focuses on the highs and lows of brides-tobe and their opinionated families and friends. Bridal consultant Keasha Rigsby helps brides find their perfect dress in her boutique which is filled with dresses from some of the world’s top bridal designers.

Keasha Rigsby, host of Keasha’s Perfect Dress (Peace Point Rights) 50 I

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iproductneWs A+E NETWORKS

CONTENT TELEVISION

A+E BRINGS the latest Lifetime Original Movie, Liz & Dick to MIPCOM. The film stars Lindsay Lohan and Grant Bowler as Elizabeth Taylor and Richard Burton — who for nearly a quarter of a century were Hollywood royalty, their romance the most publicised and celebrated love affair of its day.

MANCE MEDIA

THE SCAPEGOAT is an adaptation of a Daphne du Maurier novel. The morally complex and darkly comic story set in 1952 stars Matthew Rhys, Sheridan Smith and Eileen Atkins. John Standing meets his doppelganger Johnny Spence and, after a drunken night, they swap lives. Standing initially tries to escape, but soon he is irresistibly drawn into Johnny’s world — with fatal consequences.

CIRQUE Berzerk made its debut in 2005 at the Burning Man festival in California, and now a two-hour television special about the circus, filmed in HD, is brought to MIPCOM by Mance Media. Cirque Berzerk has performed all over the US under tents and in theatres. Though many of the cast and crew are former Cirque Du Soleil members the show has a distinct atmosphere. The audience is greeted by cast members before the performance, and the show ends with a dance music session.

Lindsay Lohan as Elizabeth Taylor in Liz & Dick (A+E Networks) The Scapegoat (Content Television)

OSIRIS ENTERTAINMENT

M-NET

HOLLYWOOD Trash tops the MIPCOM slate for

MIPCOM highlights for South Africa’s M-Net include: Rhythms From Africa (4 x 52 mins), a new documentary series which explores the ways in which music has given hope to South Africa and influenced communities; Inkaba (208 x 24 mins), a new telenova; Travelling Unplugged (23 x 24 mins/1x48 mins), a travel series that follows an aspiring film director from South Africa; and Redi On Mzansi (56 x 24 mins), a weekly talk show hosted by Redi Direko.

independent film distributor Osiris. The story follows two best friends who are garbage truck drivers in Hollywood. The lucky duo become celebrities overnight after finding a Best Supporting Actor Oscar in the trash.

BETA FILM

TELEMUNDO INTERNACIONAL

ROSA Diamante (130 x 60 mins) is the new telenovela from Telemundo. Rosa and Eva grew up together and consider themselves a part of each other’s family. In a story of love, abandonment and deception, their lives become entwined and Rosa is forced to decide between loyalty to her friend and surrendering to true love.

CRACKED by Beta Film

Telemundo Internacional

MIPCOM launches for Beta Film include US crime series Cracked (13 x 45 mins); Australian investigation series Tricky Business (13 x 45 mins); and Swedish drama 30 Degrees In February (10 x 58 mins). The company also brings police drama Copper (10 x 45 mins), set in New York in the 1860s; the second season of Borgia (12 x 45 mins); family drama Heartland; biopic Rommel (1 x 90 mins); fantasy mini-series Merlin (2 x 90 mins); and The Tower (2 x 90 mins), a drama about the downfall of East Germany.

Cirque Berzek (Mance Media)

Rhythms From Africa (M-Net) Rosa Diamante (Telemundo Internacional)

ZODIAK RIGHTS

Cracked (Beta Film)

In A Day (Zodiak Rights)

ZODIAK Rights has joined with Scott Free to find new production and broadcasting partners for the In A Day documentaries, which are launching at MIPCOM. In A Day uses footage filmed by the public and uploaded to YouTube, on one day of the year, to tell stories with an intimacy no camera crew could capture. The films were inspired by YouTube and Scott Free’s feature film Life In A Day, directed by Kevin Macdonald and executive-produced by Sir Ridley Scott. So far, Britain In A Day has been completed and Japan is in production. www.mipcom.com I preview magazine I September 2012 I 51

iproductneWs BANIJAY INTERNATIONAL

GRUPO ZZJ

GRUPO ZZJ launches 100% at MIPCOM, a game show in which eight contestants compete to see who knows mosty about Spain and the Spanish people. Questions cover preferences, tastes, opinions and culture, and the answers are survey-based. 100% has been shown on ETB since June.

DOBLASOUND specialises in dubbing and subtitling services in any language. The team offers post-production services, voice-over artists and translation services. The service is 24/7, using their own state-of-the-art facilities in Spain and with studio partners around the world. Grupo ZZJ

OPPOSITE Worlds is a format from Canal 13 Chile, brought to MIPCOM by Banijay. Each week in an isolated house two groups — comprising celebrities and members of the public — live in a space where a glass wall stands between the past and the future. Together and individually they face a series of fierce strength, endurance and agility tests which grant the winners seven days full of futuristic privileges, while the losers must endure the hardship and scarcity of the past.

DOBLASOUND

Canal 13 Chile

TELEWIZJA POLSKA

PARADOX (13 x 45 mins) is a new crime thriller series, featuring the controversial figure of Inspector Marek Kaszowski, who has an “elastic attitude” to the procedures and instructions of superiors.

Opposite Worlds (Banijay International)

THEMA AK ENTERTAINMENT

THEMA distributes 60 international channels on multiple pay TV platforms (IPTV, DTH, cable, web TV, tablets and mobile) across EMEA, Africa, Asia and America. The Paris-based company offers specific ethnic TV strands including Le Bouquet Allemand and Le Bouquet Africain, with more than 135,000 subscribing households, and the first African SVOD offer on the French market, Films d’Afrique, and movie channel with Nollywood movies for French-speaking countries.

SECRET Asia (5 x 60 mins/HD) looks at some of the less well-known attractions across Asia, including street eateries and restaurants, culture and fashion. Programmes cover Phuket, Singapore, Osaka and Hong Kong among other locations. Empire Of Gold (3 x 60 mins) is a documentary series about the place gold holds in history, how it connects the East and the West, and the consequences of the soaring price of gold.

Paradox (Telewizja Polska)

PERNEL MEDIA TF1 INTERNATIONAL

STREET Cuisine (25 x 26 mins) is a new format that combines cooking and comedy. A chef with a colourful mobile kitchen built on a bicycle is sent around towns enticing unsuspecting shoppers and passers-by. The challenge is for the chef to search into people’s grocery bags to find the ingredients that he needs to prepare a recipe on the spot. © Eric Robert

EXPLORA FILMS

THE LADY Of Cao (1 x 52 mins) tells the story of the first female ruler of pre-Columbian Peru. Her tomb was discovered in 2006, and she is believed to have governed in the Chicama valley, near Trujillo, about 1,700 years ago.

TF1

Magoo Moro/Explora Films

TF1 IS highlighting two shows at MIPCOM. The fourth season of police investigation series Profiling (12 x 52 mins + 30 x 52 mins) sees an intuitive profiler Chloe team up with Detective Rocher, a tough homicide cop. The fast-paced series is based on actual criminal cases. TF1 also brings English-language series Flight Of The Storks (2 x 90 mins/4 x 45 mins), a thriller based on a novel by Jean-Christophe Grange, starring Harry Treadaway and Rutger Hauer.

Profiling (TF1 International)

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The Lady Of Cao (Explora Films)

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Street Cuisine (Pernel Media)

Breakthrough Entertainment

iproductneWs TELE MUENCHEN INTERNATIONAL

UNTAMED Spirit - The Steppes Of Asia explores the landscape, animals and people in a region that stretches across the heart of the continent, surrounded by the majestic peaks of the Tian Shan and Altai Mountains. It is also the story of the relationship between man and nature, and a cautionary tale of the consequences of the destruction of the environment.

NEW PROGRAMMING from Tele Muenchen includes: Bavaria (1 x 92 mins), a film by Joseph Vilsmaier about the people, folklore and lanscape of this region; Cosmos (18 x 50 mins), featuring natural history filmmaker Kurt Mundl tackling a vast range of questions; and mini-series The Other Wife (2 x 90 mins), a family drama starring Rupert Everett, John Hannah and Natalia Worner.

My Really Cool Legs (Breakthrough Entertainment)

BREAKTHROUGH ENTERTAINMENT

EBS

Untamed Spirit – The Steppes Of Asia (EBS) Bavaria (Tele Muenchen International)

EUROPE IMAGES INTERNATIONAL

TRANSPORTER - The Series (12 x 45 mins) is based on the film franchise created by Luc Besson and Robert Mark Kamen, and is a France/Canada co-production in association with M6, RTL and HBO/Cinemax as well as Astral/The Movie Network and Corus/Movie Central. Frank Martin has the driving, fighting and survival skills to deliver anything, anywhere, no questions asked. The company also brings comedy short-form series Dear Neighbours (1,125 x 1 min), and documentary Numbered (1 x 52 mins), featuring testimonies from Auschwitz survivors.

PICTURE BOX

THE FREMANTLE CORPORATION

TWO TITLES are highlighted by Fremantle from their MIPCOM slate. The Cisco Kid is a timeless western adventure starring Duncan Renaldo as a Robin Hood in Old California, assisted by his sidekick, Pancho (Leo Carrillo). Together, they defend the weak and downtrodden. The company, in association with the Peter Rodgers Organization, brings 156 re-mastered colour episodes. In contrast Baryshnikov’s The Nutcracker, is a 90-minute HD studio-filmed production of Tchaikovsky’s masterpiece. As both choreographer and star, this performance showcases some of Baryshnikov’s finest dancing in one of the most wellknown adaptations of the celebrated Christmas fable.

Robin Esrock/© Worldwide Bag Media Inc. 2012

GET STUFFED (13 x 30 mins) is an HD series combining extreme competitions with outrageous food. Each episode sees two competitors go head-to-head at North American festivals including Georgia’s Redneck Games, Arizona’s Ostrich Races, and Quebec’s Greased Pig Races. The competitors ride ostriches bareback, crawl through mud and bob for pig’s feet among other whacky competitions. The winner gets bragging rights and the loser has to take on a gut-busting meal.

MY REALLY Cool Legs follows a team of pediatric amputees as they challenge themselves to move beyond their disabilities. Under the guidance of the brilliant prosthetist who makes their legs, and led by their amputee mentor and coach, these kids learn to run, ski, dance and fly, refusing to let their disability define who they are.

Transporter – The Series (Europe Images International)

ATTRACTION DISTRIBUTION

ATTRACTION Distribution — previously known as Delhis Films — brings a slate of kids and family content to MIPCOM, including animation series Dragon, Pim And Pom and Doggy Day School, as well as 110 family films, and a number of drama series including the recent Belgian crime hit series Code 37. New to its MIPCOM offerings are light entertainment formats created by its sister production company Attraction Image, including Trade Up, Bet’n’Bond and singing competition It’s A Family Affair.

Get Stuffed (Picture Box)

The Cisco Kid (The Fremantle Corporation)

TVN

CULINARY adventure show Taste The World With Pascal (19 x 30 mins) takes the viewer on a journey to discover the specialties of southeast Asian cuisine. Doctors (15 x 45 mins) follows a team of young talented professionals at the start of their careers. Poland’s TVN also brings the second season of True Law (28 x 60 mins), a drama that mixes everyday life and problems with humour. Taste The World With Pascal (TVN)

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MINISERIES EVENTS. ORIGINAL MOVIES. SCRIPTED SERIES.

Booth R38.09 sonarent.com

iproductneWs VERIA LIVING WORLDWIDE ABC COMMERCIAL

WELLBEING and lifestyle specialist Veria brings four new series to MIPCOM: Yoga Sutra Now With Jai Sugrim (52 x 60 mins), a purist approach to yoga; Myth Defying With Dr. Holly (26 x 30 mins), helping to navigate conflicting messages on health that appear in the media; What Would Julienna Do? (39 x 30 mins), a talk show hosted by Julieanna Hever; and Kitchen Cures With Peggy K (39 x 30 mins), demonstrating wellness recipes for home cooking.

mins); The Swimmer (1 x 58 mins/HD), about Ian Thorpe; and Sporting Nation (3 x 55 mins/HD) which looks at how Australia came to take its sport so seriously.

NEW DOCUMENTARIES from ABC Commercial

include: The Search For The Ocean’s Super Predator (1 x 60 mins/HD); Globesity (1 x 55 mins), about global obesity; two programmes featuring champion racehorse, Black Caviar, To Set Before A Queen (1 x 28 mins); Paint The Town Black (1 x 26

The Search For The Ocean’s Super Predator (ABC Commercial)

THIRTEEN Steps Down (1 x 2 hours) is based on a

RISE’ s factual titles include: Confessions Of A Wedding Planner (3 x 60 mins), looking at marriage in different cultures; The Girl Who Became Three Boys (1 x 60 mins) about Gemma Barker, who disguised herself as three different boys so she could date girls — she has since gone to prison for fraud and sexual assault. And Baby With Two Heads (1 x 60 mins), about a baby born in a remote part of Amazonian Brazil.

Yoga Sutra Now With Jai Sugrim (Veria Living Worldwide)

RIVE GAUCHE TELEVISION

EVIL Twins follows true-crime mysteries surrounding sets of twins. Each episode reveals stories of twins who have committed serious crimes, including sleeping with a twin’s husband and then framing him for murder; stealing identities; and even coming back from the dead. © Rive Gauche Television

chilling Ruth Rendell story of a man who becomes obsessed with the serial killer Dr Christie. Endemol also brings: Peaky Blinders (6 x 1 hours), about gangs of youths in nineteenth century England; Bikie Wars: Brothers In Arms (6 x 1 hours), the true story of the deadly rivalry of two motorcycle clubs in the 1960s; Puberty Blues (8 x 1 hours), a 1970s coming-of-age story in Australia; and Bad Education (6 x 30 mins), a comedy about a teacher who’s a bigger kid than his pupils.

RISE USA

ENDEMOL WORLDWIDE DISTRIBUTION

Confessions Of A Wedding Planner (Rise USA)

THE TELEVISION SYNDICATION COMPANY

Thirteen Steps Down (Endemol Worldwide Distribution)

GROWING Bolder (44 x 30 mins) follows stories of men and women who are redefining the possibilities of life after 50. The series aims to inspire active lifestyle baby boomers to believe that it’s never too late to achieve their dreams.

CABLEREADY

TWO SERIES top the MIPCOM slate for CABLEready. The Top 7 Of The Caribbean (13 x 60 mins) explores the Caribbean’s breathtaking scenery, excursions and local cuisine. Outcast Kustoms (6 x 60 mins) looks at the design, engineering and restoration of big rigs and RVs and their transformation into one-of-a kind vehicles. Growing Bolder (The Television Syndication Company)

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Evil Twins (Rive Gauche Television)

FORMAT RIGHTS AVAILABLE ALREADY OPTIONED IN USA, FRANCE AND NORWAY

WWW.STARMEDIAFILM.COM

1.+* 8 )7&2& 4+ 9-* <471) +&24:8 8.3,*7 ANNA GERMAN was a hugely popular Polish singing star of the 1960s and 70s whose life was marred by tragedy. Known as the ‘White Angel of Polish Song’ she recorded dozens of albums during her short career and was adored not just in Poland, but also in the Soviet Union and many other European countries, her popularity later extending as far as Australia. This stunning new ten-hour drama series chronicling her dazzling career and tragic life was filmed entirely on location in Poland, Italy, Ukraine, Russia and Croatia and brings together major stars of film and television with top directing, screenplay and cinematographic talent from Poland, Italy and Russia. The series also features the original recordings of many of her most famous and popular songs, sung in Polish, Italian and Russian. In 1982 Anna was diagnosed with cancer, just before embarking on her last tour, this time to Australia. She died soon after her return on 26 August 1982 aged 46. Only recently – thirty years after her death – has her family allowed the full details of her tragic life to be revealed. This series tells the whole story.

RUSSIA Olesya Slavova Phone: +7(499) 356-54-00 o.slavova@starmediafilm.ru

UNITED KINGDOM William J Peck Phone: +44(0)20 3008 6555 Mobile: +44(0)7725 036525 bill@billpeck.co.uk

RUSSIA Maria Grechishnikova Phone: +7(499) 356 54 00 Mobile: +7(903) 508 03 18 m.grechishnikova@starmediafilm.ru

ZEPPELIN FILMS

Cinevideo/BTVP

iproductneWs CINEVIDEO

Zeppelin Films/BTVP

ONE AGAINST All (6 x 46 mins) is a documentary series about soccer referees in Brazil, showing the tough reality of their lives. Zeppelin also brings Fellinis Forever (13 x 46 mins), a romantic drama series featuring two young brothers who run a wedding video company.

CUBA, Mucho Gusto (1 x 70 mins) is an exploration of Cuba through the arts, sciences, culture and contemporary history. Brazil’s Cinevideo also brings African Presidents (16 x 52 mins). Each episode tells the story with exclusive interviews of sixteen Presidents from the continent, focusing on the possibilities and challenges faced by contemporary Africa.

One Against All (Zeppelin Films)

ONLY LIFESTYLE ONLY Lifestyle’s MIPCOM roster includes: A Piece Of Cake (35 x 26 mins/HD), hosted by renowned pastry chef Christophe Michalak, who looks at the secrets of French classic pastries and sweets; Hanging By A Thread (10 x 26 mins), a reality series featuring four fashion students in their final year at French design schools; and Food Forward (13 x 26 mins/HD) looks at pioneers and visionaries who are creating viable alternatives to the pressing social and environmental impacts of our industrial food system.

Cuba, Mucho Gusto (Cinevideo)

ELO COMPANY

SYNAPSE

TEODORA (Bruna Lombardi) is in search of an answer that does not seem to exist. This is the premise of Where Does The Happiness Hide?, a humorous film directed by Carlos Alberto Riccelli. Elo Company also brings The Valley Of The Forgotten, a documentary that looks at land disputes in the Amazon Forest.

10 (1 x 87 mins/HD) to MIPCOM. The Brazilian Amazon is home to the largest number of isolated indigenous peoples in the world. A team led by Jose Carlos Meirelles set up land limits so that the Indians could live free in the rainforest. This fragile balance is constantly threatened by the illegal activities of loggers, drug dealers and gold miners on the other side of the border with Peru.

Elo Company/BTVP

©Cyril LAGEL/TEVA

BRAZIL’s Synapse brings documentary Parallel

MEDIALAND

WHAT happens when you mix a reality show with a sitcom? The C&Ds (13 x 26 mins) sees a fictional family living a real, day-to-day life when it agrees to participate in a TV reality show. The HD series is a coproduction with TBS (Turner – Latin America). Muito Alem Do Medo (Way Beyond Fear) meanwhile, is a 4 x 30-minute HD series of suspense stories. C&D/BTVP

Where Does The Happiness Hide? (ELO)

A Piece Of Cake (Only Lifestyle)

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The C&Ds (Medialand)

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FLAME DISTRIBUTION

LATEST titles from Australia-based Flame include: Lyndey & Herbie’s Moveable Feast (8 x 24 mins). In stunning Australian locations Lyndey and Herbie reveal the mystery of herbs and spices; Dream Of Dakar (4 x 25 mins) presents an insight into an under-resourced off-road motorcycle team as they compete against the large factory teams at the Dakar Rally; First Fagin (1 x 80 mins/1 x 55 mins) and New Zealand From Above (4 x 43 mins).

CELESTIAL PICTURES

VISION 247

HONG Kong’s Celestial Pictures is making select titles from its Shaw Brothers Film Library available on the iTunes

THE UK’s Vision247 returns to MIPCOM with a range of new offers. Vision TV Network brings to UK audiences live international broadcasting through a mix of free-to-air and subscriptionbased live TV and video-on-demand. The Vision TV Network is now available through a free downloadable app for Roku’s streaming players — available from the Roku Channel Store. And Greek speaking residents in the UK can now watch 12 new television channels from the HellenicTV package of channels, with content covering drama, news, documentaries, sport, music and cinema, originating from London, Greece and Cyprus.

Store. The first titles to debut from the Shaw Brothers multiple-genre catalogue are Leslie Cheung’s Behind The Yellow Line, Gordon Liu’s The 36th Chamber Of Shaolin and Stephen Chow’s Out Of The Dark. This marks the first time iconic Shaw Brothers films will be made available on the iTunes Store in Hong Kong, Singapore, Taiwan and nine additional countries in Asia. Known as the world’s largest Chinese film collection, Celestial’s Shaw Brothers Film Library consists of 760 films that have been re-mastered and preserved in digital format and are now available across multiple media formats.

SULLIVAN ENTERTAINMENT

MOZART Decoded (1 x 60 mins/HD) is a documentary

ZDF ENTERPRISES

Mozart Decoded (Sullivan Entertainment) The Fall (ZDF Enterprises)

INPUT ARTE SONORA

FEATURE-length documentary Who Cares is brought to MIPCOM by Brazil’s Input Arte Sonora. The programme looks at the work of social entrepreneurs, brilliant people who are changing the world through their innovative ideas and transforming millions of lives.

Who Cares (Input Arte Sonora)

Input/BVTP

HD CRIME drama The Fall (5 x 60 mins/3 x 90 mins) is a gripping investigative series following two hunters — one homicide detective, and one serial killer. Family drama Reef Doctors (13 x 45 mins/HD), follows venomologist Dr Alice and her staff who live on Australia’s Great Barrier Reef. The Rocket City Rednecks (20 x 30 mins/HD) features five guys from Alabama, two of them actual rocket scientists, who use hillbilly ingenuity to solve Big Science problems. Invisible Universe (2 x 50 mins/HD) is a high-definition journey into space.

Sullivan Entertainment International Inc.

Artists Studio for BBC

Behind The Yellow Line (Celestial Pictures)

about Mozart’s tumultuous life, from miracle child to stardom, and ultimately to his mysterious death at 35. Canada’s Sullivan Entertainment also brings: Out Of The Shadows (1 x 60 mins/HD), looking at new techniques that reveal paintings that lie underneath masterpieces; and What Could Have Been (1 x 95 min/HD), a film about a once aspiring novelist (Joely Collins) who, after losing her daughter in a car crash, spirals downward. Then her deceased daughter (Kelly McGillis) re-appears as a variety of characters: a comical fumigator, a wise hobo, and a caring waitress.

KELENCONTENT

CANADA’s kelencontent brings a slate of shows to MIPCOM, including: Mantracker (72 x 60 mins), in which two subjects compete against personal obstacles and nature’s wildest elements; Rough Or Smooth (26 x 24 mins), a series that combines travel, food and adventure — hosts Paul and Terence drag each other into comedic and tantalising adventures that explore the rough and smooth sides of life; Londinium (26 x 22 mins), looks at London’s love of sports told with unusual facts and characters; Trailervision (100 clips of various lengths) and Spoof-A-Vision (26 x 3 mins/ in development), offer a range of comedy clips; and Hero Dogs Of 9/11 (1 x 45 mins/10 x 30 mins in development), an account of how remarkable dogs saved people’s lives at Ground Zero.

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World Premiere TV Screening 64 I

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THE MIPCOM World Premiere TV Screening is The Americans, a new 13-part series for FX from Fox Television Studios (FTVS). The star-studded event takes place on Monday, October 8, at 18.30 — after which stars of the show will walk the red carpet to the MIPCOM Opening Party at the Hotel Martinez.

Elizabeth Jennings (Keri Russell) and Phillip Jennings (Matthew Rhys) in the pilot episode of The Americans

The series stars Keri Russell and Matthew Rhys (pictured), Noah Emmerich and Max Hernandez, and was created by executive producer/showrunner Joe Weisberg. Graham Yost is also executive producer along with Darryl Frank and Justin Falvey of DreamWorks; Gavin O’Connor directed the pilot. The Americans is a drama about the complex marriage of two KGB spies posing as Americans in suburban Washington DC shortly after Ronald Reagan is elected President. The arranged marriage of Phillip (Rhys) and Elizabeth Jennings (Russell), who have two children who know nothing about their parents true identity, grows more real by the day, but the relationship is constantly tested by the escalation of the Cold War and the relationships they must maintain with a network of spies and informants under their control.

“I can’t wait to get to work on it” Joe Weisberg

“For the last two years, I’ve worked with the incredible people at FX, FTVS, DreamWorks, and my personal television guru Graham Yost on this project,” Joe Weisberg said. “More recently, Gavin O’Connor joined our team, and turned the script we’d been working on for so long into a beautiful pilot. Keri Russell, Matthew Rhys, Noah Emmerich, and Max Hernandez were sensational in it, and a joy to be around. To have all of this come to fruition has been indescribably exciting. Really, I’m a writer, and I can’t describe it. It’s a great privilege and opportunity to get to make this television show. I can’t wait to get to work on it.” The series begins production in October and is scheduled to premiere in early 2013.

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Feature BUYING STRATEGIES

They’re buying for everyone More than 4,400 acquisition executives from across the globe are descending on MIPCOM and MIPJunior, seeking compelling content for all platforms, screens and demographics. Marlene Edmunds previews their wish lists

HESE days, more often than not, buyers want all rights across all platforms — or as many as their budgets will allow. As Jules Borkent, senior vice-president of global acquisitions and international programming for Nickelodeon, puts it: “We have to be able to ensure that our content is available through every platform, so if there are rights to be had, we take them.” The global kids network is always looking for pre-school comedy animation and comedy live action. On average, Nick acquires about six-to-10 titles a year. It recently closed an enhanced acquisition deal with Zodiak Kids for the 3D animated pre-school series Quick Quack Duck!, to air on Nick Jr channels worldwide. Nick Jr has enjoyed unparalleled success in children’s telenovelas. Among its successes is the Latino novela Karku, acquired from Chile’s TVN, which continues to perform well across the Latin American market.

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Disney in Japan is aiming to acquire non-linear SVOD/VOD, “It’s our strategy to be mobile and internet rights, acable to reach people cording to Yasuko Arai, The wherever they are — in Walt Disney Company Japan’s senior manager for acquisitions their home, ofﬁce or and television programming. She subway. So full rights adds: “Japan is not actually a big across the board is market for non-linear service yet, what we need” but we are trying to get mobile, internet, SVOD and all forms of Peter Kim VOD rights as well as TV rights in the event that we start TV everywhere and a VOD service in the near future.” For Disney Channel, Disney XD and Disney Junior, Arai is looking for 30-minute animated comedy, sports and adventure series, as well as shorts and, for dLife, reality shows.

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i feature They’re buying for everyone Even Japanese public broadcaster NHK — impeccably credentialed when it comes to cutting-edge media — is affected by the changing digital times. Buying VOD rights is no longer an option, says NHK’s head of international programme development, Kazumasa Iida. “It is now becoming a necessity. We ask for catch-up VOD rights for at least 14 days after each transmission for our NHK on Demand service.” Iida says the launch of many satellite channels over the past year is heating up the competition for good programming. “It’s becoming harder to acquire high-quality dramas, and the competition is heavier in sport and history documentaries,” he adds. At MIPCOM, NHK is looking to feed its World Documentar y Monday-to-Thursday slot and its Dramatic Planet weekly strand. It is also looking for teen drama and high-impact drama titles like BBC1’s Sherlock, a contemporary re-imagining of the Arthur Conan Doyle classic.

“Producers have to be careful not to give away too many rights to broadcasters if they want to sell internationally” Yvonne Body

Korea’s tendency to break borders technically and digitally is a matter of record. For Peter Kim, senior manager of TV Chosun, IPTV and mobile rights are a must. “People in Korea use smartphones and download programming on a regular basis. It’s part of our strategy to be able to reach them wherever they are, whether in their home, ofﬁce or subway. So full rights across the board is what we need.” TV Chosun launched last December as a general programming station and aims to buy at least 1,000 hours of drama and documentaries annually. Kim, who was formally with Talpa in Korea, is also on the look out for formats. He says: “About 40% of our programming needs consist of news and current affairs, 20% of drama and 20% of documentaries. Currently, less than 5% of what we do is formats, but we would like to increase that to 10%.” Kim is particularly interested in formats that reﬂect current affairs — a nod to TV Chosun’s parent company and one of Korean’s main newspapers, The Chosun Ilbo daily. Also on the hunt for formats is Kenny Kwak, managing director of Korea’s Kenny & Co Entertainment. Kwak’s buying team is looking for movies and series to add to its TV and VOD distribution slates, as well as formats for its

Dancing On The Edge (Ruby Film & Television)

growing format business. Kwak says the digital landscape has made him aware that speed is essential when it comes to picking up good deals and securing the right partners with which to collaborate. LIC China’s main activities are documentary syndication in the Chinese market and production for the international market. A privately owned company, LIC China runs programming time slots for more than 300 local Chinese TV channels for syndication networks. It also buys more than 400 hours of documentaries a year across a spectrum of interests, including warfare, wildlife, history, culture, science, biography, and docu-drama. Acquisitions executive Laura Jing says she is looking for high-quality HD docs on a range of subjects, including sporting events. For Australia’s Beyond Distribution, digital times are not so different from any other times. “We always take all rights,” says Beyond’s head of co-productions and acquisitions,

Nick’s latest pickup from Zodiak Kids, Quick Quack Duck! www.mipcom.com I preview magazine I September 2012 I 67

i feature They’re buying for everyone Yvonne Body. But there is a downside, she warns: “Producers have to be careful not to give away too many rights to broadcasters if they want to sell internationally.” Commercial content across all genres, including drama, factual and kids, is on Body’s MIPCOM shopping list. “We’ll be concentrating on series, with the ‘holy grail’ being shows that could turn into long-running returning series.” Beyond launches 200-300 hours of programming each year, with 40% consisting of its own productions and the rest acquired, predominantly from North America, UK, Australia and New Zealand. “But we are open to programming from anywhere,” Body adds. Greenstone TV’s The Zoo, the 12th series of which launches at MIPCOM, is one of Beyond’s recent acquired successes. The Nordic territories have always been among the ﬁrst to adopt new media. In Finland, Roope Lehtinen, CEO of Moskito Television, part of the Nordic independent production alliance nice group, admits that buying online or digital rights can get tricky when it comes to formats. “But it shouldn’t be,” Lehtinen says. “TV shows are now everywhere. When we produce formats, we should also have the possibility of putting them everywhere. It’s as simple as that.” Lehtinen is also buying formats for the Finnish market and, at “If somebody has a MIPCOM, is aiming to pick up factual entertainment some pan-Scandinavian rights show that’s emotionally for its mother ship, nice group. catchy, has a solid “We are always looking for something unique, since the big concept and a trackmultinationals are all competrecord, we’ll take it” ing against us in our home terRoope Lehtinen ritory,” he adds. “If somebody has a factual entertainment

Janson Media’s Water First 68 I

show that is emotionally catchy, has a solid concept and a trackrecord, we will take it. And if somebody has a good live entertainment show or a big reality show that stands out, we are deﬁnitely very interested.” Public remit still drives some buying strategies, especially for Norwegian public broadcaster NRK, which acquires some 400-500 hours annually of documentaries and takes all rights, including VOD and IPTV. “But we often pre-buy because we want to support a project,” says Tore Tomter, NRK’s acquisitions controller for documentaries, citing the EBU’s global Why Poverty? project as an example. NRK’s shopping list for documentary includes naturalhistory ﬁ lms and series for NRK 1; cultural, music and human-experience docs for NRK 2; and docs aimed at the 18- to 29-year-old demographic “that are relevant to their life situations”, Tomter says. Svensk Filmindustri (SF) — now 94 years-old — is no stranger to changing media times. SF’s senior vice-president of home entertainment, Tore Skarelid, buys more than 100 programmes a year, mainly English-speaking titles. At MIPCOM and MIPJunior, he is looking for children’s content, drama and popular science. He also picks up as many rights as possible, including SVOD and AVOD

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Greenstone’s The Zoo

272 eps x 24 min

BLE ALSO AVAILA t %PDVNFOUBSZ BCPVU UIF 4NVSGT DSFBUPS 1FZP t 'FBUVSF รถMN i5IF .BHJD 'MVUFw

i feature They’re buying for everyone (audio video on demand), when various window and license he makes a buy. Recent finds deals altogether.” “Part of our revenue pie that are selling well, he adds, At MIPCOM, Bernfeld is fowas a significant DVD include Margin Call. cusing on VOD content acquiexploitation figure, but Skarelid highlights a major sition for two clients: “One is in that is now being problem when brokering digprelaunch phase in the EU and ital deals that he believes still the other is an existing internareplaced by digital” needs to be worked out: “From tional platform that is starting Fernando Szew an acquisitions point of view it’s to expand throughout the EU. difficult, since digital and packWe are looking for back cataaged media are mostly handled logue in fi lm and TV, but also by separate departments within the various companies buying new titles.” She adds that she will be focusing on we are buying from. Since packaged media is rapidly de- higher end indie and art-house film titles “that don’t alcreasing and digital is not growing fast enough to com- ways get picked up for traditional distribution”. pensate, margins are really under pressure.” Thanks to Spain’s current economic woes, buyers from that territory have more than just digital on their minds. That glitch has more relevance than one might imag- “We can no longer afford as many titles as we would like ine, agrees Wendy Bernfeld, managing director of the of the new series that are coming out,” says Jose Antonio 13-year-old digital content acquisition and licensing com- Salso, head of acquisitions and sales at Antenna 3. pany Rights Stuff. In Cannes, Salso is on the hunt for US or European TV Bernfeld believes that one of the major changes brought movies for a weekend slot, as well as telenovelas. “We are about by digital is the competition between traditional looking carefully to see what new titles Telemundo and and digital (VOD) rights. And she should know — before Televisa have,” he adds. launching Rights Stuff, Bernfeld worked as an entertainment attorney and media executive in the international in- Maria Kyriacou, managing director of ITV Studios dustry for some 15 years. Global Entertainment, reports that ITV is looking to “There are now possible deals that can be done for a given add to its roster of dramas from the UK and, increasingfilm non-exclusively across many regions, business mod- ly, from the US. els, screens and windows,” she says. “If carefully han- “Our latest drama slate illustrates our commitment to indled, the deals and revenues can be intelligently maxim- vesting in ambitious scripted shows,” she adds. Among ised in a complementary way. But some players just butt them is Stephen Poliakoff’s explosive Jazz Age drama heads in a competitive fashion, hoard rights they don’t Dancing On The Edge, produced for BBC Two by Ruby exploit and, whether by design or oversight, miss out on Film & Television.

HUNGRY FOR KNOWLEDGE SET TO launch in October in India, the ZeeQ channel is aimed at two age groups — four- to seven-year-olds and eight- to 14-year-olds. For the younger age group, ZeeQ channel head Subhadarshi Tripathy is looking for animated edutainment. For the older age group, he is on the hunt for live-action shows, including non-fiction formats. The plan is to source some 750 hours across genres. “Our primary filter for any show is knowledge,” Tripathy adds. “Shows that focus on life skills and values, and shows with lesson plans, games or apps have a higher preference.” ZeeQ has already picked up 15 animated edutainment shows, including Jim Henson’s Sid The Science Kid, Nelvana’s Cyber Chase and Portfolio’s The Cat In The Hat.

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STARRING

RUPERT EVERETT

VISIT US AT MIPCOM: Lerins # LR1.06 Credits not constractual

NATALIA WÖRNER

AND

JOHN HANNAH

CONTACT: Tel. +33(0)4 92 99 89 20 sales@tmg.de

i feature They’re buying for everyone

NHK’s Kazumaza Iida

Nickelodeon’s Jules Borkent

ITV is looking to add to its existing portfolio of long-running series, event mini-series and family drama, as well as its slate of successful factual entertainment formats, including Come Dine With Me, Hell’s Kitchen and Four Weddings. “We are focusing more on formatable returnable series and fewer one-off straight factual documentaries,” Kyriacou adds. Over in North America, Entertainment One Television International (eONe) is looking to acquire over 200 hours of programming in factual, drama, reality, comedy and documentary. “Our acquisitions team is looking for a wide variety of programming opportunities,” says Prentiss Fraser, eOne’s senior vice-president of worldwide sales and acquisitions. “We are looking for international formats as well as finished programming.” Prentiss adds that eOne, which has direct distribution for television, on demand, digital, home entertainment, music and merchandising, is very focused on Canada for acquisitions. “Canada has made leaps and bounds in production in the last 10 years,” he says. “Our programming is not only internationally recognised but also coveted and sought after.” In the US, Janson Media buys some 10-20 documentary specials and 20-30 television series annually. At MIPCOM, Jesse Janson, director of acquisitions and digital media, is shopping for current-affairs documentaries and specials, biographies, first-person experiential travel adventures and quirky docs. Janson’s content partners include the digital platforms Hulu, Hulu Plus, Amazon VOD, Amazon Prime, Netflix, Vudu and iTunes. He adds: “Our Amazon relationship will bring our content to Canada, Japan and, soon, Germany and the UK through LoveFilm.” Janson says his company’s preference is to control all rights worldwide — TV, DVD, digital and non-theatrical. “For TV and DVD, of course, we need exclusive rights,” he adds. “For digital platforms and non-theatrical, we can live with non-exclusive.” His recent acquisitions include 72 I

LIC China’s Laura Jing

MarVista’s Fernando Szew

the feature documentary Water First. Meanwhile, Janson says digital has broadened the company’s “buying spectrum” to include more short-form content. Janson also reports “more non-exclusive agreements that are solely digital”. Fernando Szew, CEO of MarVista Entertainment, says he has seen some changes as a result of the digital marketplace, but they were not unexpected. “Digital hasn’t really added another layer for us,” he adds. “It’s added another revenue source, but that source has not necessarily added to the overall pie, but rather replaced other rights. Part of our revenue pie was a significant DVD exploitation figure, but that is now being replaced by digital.” At MIPCOM, Szew can be tempted by completed movies or movies that are about to be completed, including thrillers, action fi lms and family fi lms. His acquisitions team is also on the hunt for formats successful enough to take into Latin America. He adds: “Our partners in Argentina at Snap TV are very active in that space. To that end, one of the inhouse producers at Snap TV is for the fi rst time accompanying our buying team to MIPCOM to help look for completed formats.”

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Contact: Marie-Laure Hébrard Stand TVFI number 02-15 Ph: 33 1 47 23 90 35 - M :33 6 31 18 64 10 ml@hebrard.org - www.filmandpicture.org

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Have you got 40 million friends?

South Park: 40 million friends on Facebook

MAGINE you went into a supermarket and they said you could only buy apples if you also bought pears. Or worse still, they only let you purchase alcohol if you picked up some fish at the same time. Maybe you hate fish. It doesn’t matter. If you want a nice bottle of Chardonnay, you have to buy the fish. You wouldn’t be happy. But this is exactly what has been

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happening with pay TV for the last two or three decades. All around the world, consumers buy bundles of TV channels because that’s what platform operators sell them. You want blockbuster movies and live sport? Fine, but here’s another 300 entertainment channels that you might never, ever watch. It’s a model with which many adult bill-payers are

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Image: VIMN

The decades-old TV model is under attack from the new OTT services that are offering consumers a-la-carte content consumption instead of huge bundles of channels, most of which are unwanted and unwatched. Andy Fry reports

Big landscapes. Big talent. Big hits. It’s a big country. Time to deal with it. Presented by Présenté par

Tout est grand au Canada. Tout.

i feature familiar. But it’s under threat because of the rise of the digital delivery platforms. In the same way that album sales have been hit by our ability to purchase individual tracks on Apple iTunes, the pay-TV business is having to come to terms with the emergence of on-demand, a-la-carte content consumption as an alternative to linear channels. Whether it’s Netﬂix, Amazon/LoveFilm, Hulu, iTunes, YouTube, BBC iPlayer or a host of other less well-known VOD providers, the challenge to bigbundle pay TV is now a genuine one. Anyone who doubts it needs only to take note of the IDATE research in the accompanying panel. How companies respond to this shift depends on their role in the market. For cable, satellite and telco platform operators, the obvious priority is to stop consumers churning out of high-cost pay-TV bundles in search of cheaper alternatives. Take a company like BSkyB in the UK, for example. Until now, the main ways it has sought to lock in subscribers have been the purchase of exclusive rights to live sports and movies, increased investment in original content, the introduction of HD and 3D, and the offer of broadband and telephony. But now, in the face of the new threat, it has gone one step further by launching Sky Go, a multiscreen service that allows authenticated Sky subscribers to access Sky content across a range of devices, including their iPhones, iPads and laptops. By going multiscreen, Sky is acknowledging the threat posed by the emerging players, which are collectively described as Over The Top (OTT) services. Put simply, its own OTT-style offer is trying to hold on to the existing subscriber base by adding value, while seeking to win its own share of this emerging market.

“DTH is declining and will decline in the coming years, while the virtual operator is growing” Hans-Holger Albrecht

Sky is not alone. In the US, there has been a similar expansion by leading cable player Comcast. And in mainland Europe, Scandinavian DTH (direct-to-home) broadcaster Modern Times Group (MTG) was early into the market with an OTT service called Viaplay. MTG CEO Hans-Holger Albrecht has not tried to disguise the fact that his core business is coming under pressure. Speaking to investors after the company’s latest set of ﬁnancial results in July, he said: “DTH is declining and will decline in the coming years, while the virtual operator is growing. We have seen increases in the number of 78 I

Photo: HBO

Have you got 40 million friends?

Now on HBO Go: True Blood customers coming to Viaplay.” Albrecht is not unduly troubled by this shift, because he takes the view that established pay-TV players like MTG have the retail and marketing skills to succeed on any platform. But there are signiﬁcant implications for the kind of companies that come to MIPCOM. This is because the cross-platform model can only work if channel operators and content distributors grant the necessary rights to make such services work. For them, the pivotal questions are these: how do they support the ambitions of their established platform partners while also making their own mark in the OTT and on-demand arena; and how do they protect existing revenues while seizing hold of the new opportunity and also giving consumers the services they want? Not all content companies have taken the same view on this. Catherine Powell, senior vice-president of media distribution, EMEA, at The Walt Disney Company, sees no conﬂ ict between working with both the established and new players: “It’s a very fragmented and competitive market, with challenges around consumer confusion and maintaining a consistent offer,” she admits. “But with the right windowing strategy, you can achieve a balance.”

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THE CHANGING FACE OF TV RESEARCH firm IDATE says the TV sector is facing a profound restructuring, as players converge from formerly disparate sectors, such as TV, the internet and equipment vending. “The most influential element comes from the popularity of OTT [over the top] products in the US,” says Jacques Bajon, head of IDATE’s video distribution division, citing Netflix with its 22 million streaming customers in Q1 2012 — up 9% from Q4 2011 and generating revenue of $500m during the quarter — and Hulu, which reports more than 1.5 billion ad views a month for its streamed videos. “The Hulu Plus paid offer had a base of two million subscribers in Q1 2012 — 33% more than in Q4 2011,” Bajon adds. While Europe is yet to experience such levels of activity, Bajon believes the growth of connected TV sets will fuel the market. “We anticipate that paid services will play a leading role in the development of connected TV services,” he says. “We believe that the global market of services on connected TVs will reach €2.5bn in 2016. This will represent 16.8% of the OTT video market.” Bajon identifies two key trends: cord-cutting, in which consumers combine free access to linear TV via digital terrestrial/satellite with a feeconsumption via OTT services; and cord-shaving, in which consumers scrap paid cable and IPTV plans in favour of low-cost OTT offers or a limited consumption of VOD services. “We believe the overall development of OTT offerings, in particular on connected TV, will significantly affect the linear-TV market,” Bajon says. “In the US, in particular, we anticipate reduced rates of pay television in the wake of competition from the OTT services.” But IDATE anticipates a more favourable development trajectory in Europe, Bajon adds: “In the developed European markets, we believe there is still growth potential for pay TV and that the level of prices will limit the impact of competition on linear-TV offers. Central and Eastern European countries offer a high growth potential.”

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Photo: Zodiak Rights

In terms of adding value to existing partnerships, Powell points to the US, where Disney and Comcast recently renewed their channel carriage partnership for 10 years. Under that deal, Disney agreed to let authenticated subscribers of Comcast’s Xfinity TV service see ESPN, ABC and Disney content across laptops, iPhones and iPads. This, however, is not incompatible with the kind of nonstandard deals that Powell herself is doing in Europe. “Our ABC TV On Demand service is now accessible via 14 platforms across Europe and our Hot From The US service [which offers series like The River shortly after their US TV debut] is continuing to do well on iTunes. ABC TV On Demand We have also done some interesting things around ‘multi-products’, which is where we work with platforms to So internationally, our instinct is to expand multiscreen create a deep dive into all things related to a brand or distribution with incumbent pay-TV platforms, setting up deals that allow their aucharacter. An example might thenticated subscribers to acbe the TRON: Legacy expericess our content across various ence, which we created in part“It’s a fragmented and platforms.” nership with XBox.” competitive market. But One recent example of this is Sundance Channel’s relationwith the right windowing Disney has such a vast array ship with Telefonica’s IPTV of content — and market musstrategy, you can service, Movistar Imagenio, in cle — that it is able to pursue achieve a balance” Spain. Having joined the platthis kind of strategy. But some Catherine Powell form in 2011 as a linear and companies have made it clear on-demand service, Tuchman that they see their short-term has just announced that its future as being directly concontent will now be available on iPhone and iPad with nected to the established platforms. Movistar Imagenio. “Consumer and distributor demand The best example is premium pay-TV channel HBO, which has shown its strategic preferences in two ways. The first is its continued refusal to license content to ondemand service Netflix. As recently as July, Netflix CEO Reed Hastings suggested it might be possible for the two to do a deal. But HBO spokesman Jeff Cusson responded immediately by saying: “We are not in discussions and have no plans to work with Netflix.” The second is in terms of its policy regarding access to HBO Go, an online service that features 600 hours of streaming content, including hit series such as True Blood and Game Of Thrones. Currently, the only way you can get HBO Go is if you subscribe to the main HBO channel. And the only way you can do that is if you buy an all-singing, all-dancing pay-TV package. Some fans of HBO Go have launched a petition saying that they would like to buy HBO Go as a stand-alone product. But HBO sees no strategic or commercial benefit in encouraging the a-la-carte consumption of its content at the expense of the established pay-TV model. You get a similar line from Bruce Tuchman, president of AMC/Sundance Channel Global. While Tuchman is completely committed to the idea of consumers getting content across multiple platforms, he is adamant that this cannot have an adverse impact on the way his parent company generates revenues: “Pay TV in the US is what enabled us to make shows like Mad Men and Breaking Bad. Zodiak Rights drama Being Human, licensed to Netflix

Image: Disney

Have you got 40 million friends?

i feature Have you got 40 million friends? for TV Everywhere access continues to grow worldwide,” Tuchman says. “So Sundance Channel’s launch on iPhone and iPad devices on Movistar Imagenio in Spain is a key development in the growth of our multiplatform distribution strategy internationally. But it’s important for us that this is done in a way that is complementary to our business and not cannibalistic.” AMC/Sundance has taken a similar stance in France, where it has launched an on-demand Sundance service on Numericable to complement its existing linear service. “We will continue to pursue expansion across linear and on-demand platforms, including TV Everywhere initiatives, to offer audiences wider access to our content on an authenticated basis to reinforce the high value of the payTV ecosystem,” Tuchman says.

Photo: Neal Street Productions

The judgment call on this subject is a ﬁ ne one, however. While HBO and AMC/Sundance have taken the view that their interests are best served within the payTV ecosystem, others are being more expansive in their approach. BBC Worldwide, for example, recently launched an ondemand app called the BBC Global iPlayer. Modelled very loosely on its successful catch-up service in the UK, Global iPlayer is currently available in 16 territories. For around $8-$10 a month, consumers can access around 2,000 hours of shows via Apple devices. This offer exists despite the fact that BBC Worldwide is also continuing

to run a portfolio of entertainment channels around the world. In other words, it has taken a different view to HBO and AMC/Sundance about the risk of revenue cannibalisation. This is also evident in BBC Worldwide’s approach to nonstandard programme distribution. While HBO currently has a block on dealing with Netflix, BBCW has just licensed its 2011 hit drama series Call The Midwife to Netflix US. Last year, it licensed another of its top“It’s not in our interest to performing titles, Misfits, to Hulu. see channels warehouse Whether or not companies work exclusively with the established payrights to great shows TV platforms or open up new partbecause they aren’t sure nerships, what is clear is that you can how to schedule them” only have an effective presence in Matthew Frank multiscreen distribution if you control the relevant rights. A key consequence of this is that programme distributors are engaged in an increasingly complex negotiation with channel operators about what rights they are willing to part with. “There is a fight with channels about rights, because they want them for their international channel strategy and we want them for our international programme catalogue,” says Zodiak Rights CEO Matthew Frank, whose slate contains the hit drama Being Human, licensed to Netflix in both its US and UK forms. “We know there is a value to digital rights because

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i feature of the deals that have been relationship with their done with the likes of audiences, says Philip “When South Park has 40 Hulu, Netflix, LoveFilm O’Ferrall, senior vicemillion friends on Facebook, and YouTube during 2012. president of digital at it’s self-evident that we need So if channels want those Viac om I nter national rights for their relationMedia Networks to launch products that ship with platforms, then (VIMN). “We are seecomplement the linear show” they have to pay something ing a seismic shift in our Philip O’Ferrall extra for them. They also MTV and Big Nick [ie, have to use them. It’s not older Nickelodeon] auin our interest to see chandiences,” he adds. “It’s nels warehouse rights to great shows because they aren’t a totally alien concept for them not to be connected sure how to schedule them.” at all times. What we are seeing is social media playNot surprisingly, the shows that create the most conflict ing a key role in their scheduling habits, both TV over rights are the ones that have the biggest impact in and non-TV. When a property like South Park has 40 the schedules, Frank adds: “To stand out, everyone — in- million friends on Facebook, it’s self-evident that we cluding the new platforms — wants a period of exclusivity need to launch products that complement the linear around high-impact shows, even if it’s just a few months. show and enable us to deliver a 360-degree deployThat’s making the competition for rights to in-demand ment of the brand.” acquisitions more intense and expensive.” Get this piece of the puzzle right and you can create Chris Bonney, CEO of Cineflix Rights, agrees — though an uplift effect across the entire business, O’Ferrall he adds that the battle for rights is more of a problem for says: “You can revitalise classic properties, drive ausome companies than it is for others. “Strategically, we diences back from the internet to the TV channel, benefit from the fact that Cineflix has a very good pipeline extend the primary viewing experience, use one esof in-house production, both in factual and, more recent- tablished property to introduce another, build only, in scripted,” he says. “That, coupled with the group’s demand transactional opportunities and, in the case financial firepower, means we are well placed to keep in- of formats like Jersey Shore, apply learnings across ternational rights when negotiating with channels.” territories.” All of this, of course, brings us back to the issue of Another upshot of the heated competition for ac- rights — but not just the headline rights to a show. In quired shows is that the more aggressive of the new this new world of immersive entertainment, every imOTT players are starting to invest in their own con- age, every catchphrase and every song can have a stratent in order to ensure the distinctiveness and exclu- tegic significance, making the battle for underlying IP sivity referred to by Frank. rights a defining issue in this new market. The most high-profile example is Netflix’s decision to commit $100m to the 26-part series House Of Cards, produced by and starring Kevin Spacey. But YouTube and Amazon/LoveFilm are also moving in this direction. The latter, via a vehicle called Amazon Studios, is inviting anyone with a good idea for a comedy or children’s series to submit a pitch. It aims to option one project a month for possible development, with an eye towards creating shows for its Amazon Instant Video platform. What is fascinating about this is that it takes the impact of consumer control way beyond content selection into content creation. Possibly, this attempt to stimulate a crowd-sourcing production pipeline is a step too far. But one dimension to the digital debate that cannot be overlooked is the way in which the new platforms, including Facebook and Twitter, are helping to create a second-tier of content to support TV properties. While much of the above discussion has been about the effective windowing of content, this is more about the way content-owners develop an ongoing Mad Men. On an iPad near you 84 I

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Photo: AMC/Sundance

Have you got 40 million friends?

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DIGITAL

TV for Generation Can traditional television survive the digital onslaught? Yes, writes Juliana Koranteng â&#x20AC;&#x201D; and, if it forges the right alliances, it may well end up stronger than ever

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ON’T Mean To Be Alarmist, But The TV Business May Be Starting To Collapse was the headline of a recent article by US media-entertainment pundit and former Wall Street analyst, Henry Blodget. Blodget argued that the ascendancy of the on-demand, multiplatform streaming TV services such as Hulu and Netﬂix, along with channels on the video-sharing website YouTube, signal the decline of the TV industry as a whole. But a community of digital-entertainment experts expected at this year’s MIPCOM would beg to differ. These experts operate social-media networks, create social-TV shows, steer online networks dedicated to digitally produced content, co-ordinate intellectual property (IP) across multi-screened transmedia platforms and ﬁnance original web series. They come to Cannes to embrace the TV industry as we know it so that they, in turn, can serve the communities of digital consumers who yearn for original or re-purposed existing TV shows in innovative, dynamic interactive ways. “In the traditional world, people would work really hard to get their content on air and then move on to the next. In our world, once the show is completed, you’re only half done. Next, you need to interact with your community because you’re creating entertainment with the emotional connection associated with videos, the intimacy of talk radio and the depth of special-interest magazines,” says Jim Louderback, CEO of San Francisco-based Revision3, an online factual-content network recently acquired by cable-TV pioneer Discovery Communications. Louderback would like to meet creators who embrace such multi-faceted skills at international networking events like MIPCOM and form partnerships that open international doors for Revision3 hits such as tech-culture show Diggnation, film-review series Breakin’ It Down With Catherine Reitman, and Veronica Belmont and Patrick Norton’s technology-news video podcasts Tekzilla.

Next…

“Once the show is completed, you’re only half done. Next, you need to interact with your community” Jim Louderback

Dominic Monaghan, in Crackle.com’s The Unknown

On the face of it, Revision3’s cutting-edge, no-holdsbarred content has little in common with Discovery’s safe, family documentaries. But like Discovery’s gripping reality series Deadliest Catch, Revision3 knows how to target audiences that are passionate about speciﬁc activities. “We’re not going to replace TV, but companies like Discovery know how to aggregate huge audiences,”

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i feature Photo: BeActive

TV for Generation Next... Louderback says. “And we want to learn from their ability to reach those large audiences.” In turn, seven-year-old Revision3 brings its ability to interact with 23 million-plus viewers a month via any internet-connected screen.

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Photo: Revision 3

BeActive has published a youngadult print and e-book novel called Beat Girl that has a movie franchise and comes with branded magazines and mobile apps

Breakin’ It Down With Catherine Reitman

Photo: Sony Pictures Television

does for programmes online what Wikipedia has done for the encyclopaedias. CEO and co-founder Razmig Hovaghimian is seeking more content-owners who understand how the social-TV concept can be used to globalise TV shows created in any language. ABI Research concludes that internet-connected TV Viki.com’s viewers include a dedicated community that set-top boxes will reach 57 million in 2017. Strategy volunteer to subtitle fi lm, programmes and videos into Analytics foresees 502 million connected flat-panel TV more than 150 languages. This boosts a show’s internahomes worldwide by 2016. BI Intelligence predicts the tional reach because the subtitle make it relevant to audiglobal sale of tablets will hit almost 500 million units by ences outside its market of origin. 2015. And Credit Suisse analysts forecast 1 billion units English-language hits from Hollywood and UK fi nd it of smartphones by 2014. easier to gain a global audience for economic and hisDiscovery bought Revision3 because it wants to be on torical reasons. But thanks to Viki.com, South Korean every connected screen. It recently launched its first ever shows now have a following among African Americans, social-TV app, starting with Latin America, to enable Venezuelan telenovelas have fans in the Philippines — viewers to interact with its programming via Facebook and a Taiwanese TV drama called Drunken To Love You and Twitter. is available in 26 languages. Sony Pictures Television (SPT) has Even programmes that failed in entered the multiplatform online their native markets can find a video space in a major way with new lease of life in another coun“It’s advantageous its subsidiary Crackle.com, which try thanks to Viki.com subtitle. to be able to use reaches 22 markets, including the “For example, Playful Kiss, which elements like phone US, the UK, Australia and several is a TV series that never took off calls, text messages Latin America countries. in Korea, has become a worldwide Crackle.com features full-length sensation with a loyal audience of and emails to create Sony movies and TV shows, plus nearly seven million viewers. It has plot and emotion” original snack-sized webisodes. made over $3.5m so far in adverJim Stewartson And, in July, it unveiled The tising and broadcast distribution Unknown, its first original fulldeals,” Hovaghimian says. length series. An anthology of halfWith offices in Singapore, San hour supernatural stories, The Unknown is packed with Francisco and Seoul, Viki.com reaches more than 12 milleading Hollywood stars. It also points to the direction lion TV fans, who log on monthly to watch TV in English, that Eric Berger, executive vice-president of digital net- German, French, Arabic, Mandarin, Turkish and other works for SPT, would like Crackle.com to head. dialects on any web-connected screen. “There are some great things that Crackle.com could bor- As a start-up, Viki.com has needed to win the trust of TV row from the best parts of the traditional-TV world, but content-owners willing to place their treasured properwe have an opportunity to create new formats,” Berger ties in the hands of non-professional subtitle writers. But says. He likes to work with producers who understand the subtitling community is equally so protective of the how Crackle.com’s 18- to 30-year-old male audience in- privilege that several international rights-owners, includteract with digital content. “An action-drama thriller, ing US-based NBCUniversal, A+E Networks, Warner for example, has conventionally been a one-hour series. Music Group (for its music videos), BBCW and many loI would want a thriller that takes place in 30 minutes — cal Asian programme-makers, have licensed content to something that speeds the pace for watching it online, on Viki.com. The service is also syndicated to such leading tablets and games consoles,” Berger adds. streaming-video sites as Hulu and Netflix, plus YouTube, Microsoft’s MSN portal and Yahoo!. Even traditional programme-sellers such as BBC Worldwide (BBCW) and FremantleMedia Enterprises Karla Geci, head of Facebook’s strategic partner devel(FME) are evolving into a new generation of digital-con- opment, is keen to engage with companies like Discovery, tent creators, owners, distributors and marketers who see BBCW, Viki.com and Revision3. Facebook, with its events at Cannes as opportunities to seek and find busi- more than 950 million registered users, wants to make ness partners that meet their digital wants and needs. TV viewing the ultimate social experience via any digiBBCW, the UK public broadcaster’s commercial arm, is tal technology. among the investors that have placed $24m-plus in Viki. Geci says Facebook’s two-way platform offers ideal facom, an international ad-funded streaming-TV site that cilities for broadcasters, programme-makers and talent

Crackle.com’s Eric Berger

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Jana Bennett, president of BBC Worldwide Networks and global BBC iPlayer

Photo: Fourth Wall Studios)

to communicate directly with fans, for fans to converse content plus marketing campaigns to promote these with each other — and for fans to interact with the show new ventures. Indeed, in May, Google led a group of initself. She explains how major TV sports events work with vestors that poured $35m into Machinima, a YouTube Facebook: “The integrations we are seeing from broad- channel that offers cutting-edge content aimed at vidcasters around big events like the Olympics are just the eo-game fanatics and boasted 14.5 billion views between sort of thing that we’d expect to become part of the eve- 2011 and 2012. ryday viewing experience in the future. For example, Machinima has clinched the license to produce Forward the new BBC Sports app on Facebook was showing 24 Unto Dawn, an interactive web series based on Microsoft live streams during the Games, so that people could Studios’ blockbuster game Halo. In budget terms, it is expick what they watched and comment with friends. NBC pected to be the largest original web series produced to also integrated social data from Facebook into its live date. It is scheduled to be transmitted on Machinima just broadcasts.” before the release of the Halo 4 game around November. Just as traditional TV companies are investing in or col- This is the brave new world with which the internationlaborating with digital specialists, so digital creators and al TV industry is grappling, but which the TV-influenced distributors not tied to broadcast, cable or satellite TV digital-production specialists fully embrace. YouTube also want to raise the content quality bar. wants more of such partnerships. Premium TV is very expensive — the pilot of a Hollywood “For us, this is about investing in content, not creating show can cost between $2m-$5m without even the guar- it. But we’ll recoup the investment as the content that’s antee of going on air. Web videos, on the other hand, can created is monetised,” says Paris-based Christophe cost as little as $1,000. But that no longer justifies blurry Muller, head of YouTube partnerships for Southern and pictures, poor sound and incompreEastern Europe, the Middle East hensible storylines, as Fourth Wall and Africa. Studios, the California-based digital Portugal-based Nuno Bernardo, “I think the days production studio, is demonstrating. CEO and co-founder of the interof low-budget web Among Fourth Wall Studios’ clients national transmedia production series are over” is Conde Nast Ideactive, part of the company beActive, goes further, international media group that pubarguing that interactive producNuno Bernardo lishes glossy print magazines and tions need not be restricted to web wants to enter the branded-entervideos. This year alone, beActive is tainment video business cost effideveloping a multiplatform camciently. Jim Stewartson, Fourth Wall Studios’ CEO and paign, including a video blog, for a series of teen books founder, explains: “Since we are generally not burdened called Girl Heart Boy published by Penguin’s teen imwith the overheads of a large network or studio, we have print Razorbill. BeActive itself has published a youngmore freedom to find less expensive ways to create con- adult print and e-book novel called Beat Girl that has a tent. It’s also advantageous to be able to use elements movie franchise and comes with branded magazines and like phone calls, text messages and emails to create plot mobile apps. Collider, beActive’s eight-part sci-fi web seand emotion. These elements are, of course, drastically ries, will be distributed on YouTube, the US storytelling cheaper to create than high-quality video.” platform Wattpad and be extended to comic books and Finding the right creators for this type of millennial-gen- app games, among other formats. eration entertainment is not easy. “We’ve found that peo- For Bernardo, these are early manifestations of what a ple feel pretty challenged to start with but, after a bit of transmedia company can do in the digital space. “I think brainstorming, it clicks,” Stewartson says. “Suddenly, the days of low-budget web series are over,” he says. they can add a dimensionality, immersiveness and imme- “Nowadays, you’re starting to see digital-only platforms diacy to the content that was never really possible before.” like Netflix, Yahoo, YouTube, Hulu and Amazon investing in high-quality productions at budgets very similar to YouTube, which started as a platform for amateur us- cable-TV budgets.” er-generated content, wants to work with premium video entertainers. With its parent company Google, the BBCW and FME are confi rming that old-style TV can search-engine goliath, YouTube is launching a series no longer ignore the new-media environment and hope of TV-standard channels by forming partnerships with to survive. As David Ellender, FME’s global CEO, points high-profi le stars and media enterprises, such as sing- out: “The TV market is gradually moving to one that has ing star Madonna, Hollywood actor and serial entrepre- a greater interface with consumers and brands, and less neur Ashton Kutcher, rap king Jay-Z, The Walt Disney with a specific distribution platform.” Company and The Wall Street Journal. With that in mind, Ellender is expanding FME’s portfoGoogle is reportedly spending $300m on original lio of mega-reality shows like American Idol and classic

Photo: BBC Worldwide

TV for Generation Next...

Jim Stewartson, Fourth Wall Studios’ CEO and founder

Jim Louderback, CEO of San Francisco-based Revision3

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Facebook’s Karla Geci

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Nuno Bernardo, CEO and cofounder BeActive

Veronica Belmont of Tekzilla

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Photo: Revision3

Photo: Facebook

Photo: BeActive

drama like The Naked Civil Servant to include original web content, such as Web Therapy, a comedy drama created by Lisa Kudrow — of comedy series Friends fame — and The Pet Collective, FME’s fi rst ever YouTube channel. “We are working with Lisa Kudrow on the online drama Web Therapy, which she has championed and invited her Hollywood friends, including Courtney Cox and Meryl Streep, to be in. That’s something that would not have happened 10 years ago,” says Ellender, who wants to meet talented creators who are not intimidated by the new distribution platforms. Web Therapy has been revamped into a 30-minute series that has been sold in 12 territories, including France, New Zealand and Germany. FME also has fi rst-look deals with acclaimed US documentary-maker Morgan Spurlock, whose production company Warrior Poets has made A Day In The Life, Ad-funded streaming site Viki.com which follows the lives of the affluent and famous for a whole day, for Hulu. complement the local BBCW adBBCW is certainly confronting the funded cable and satellite-delivered “If you don’t world of multiscreen, interactive, highchannels, including BBC Knowledge experiment, you tech bells and whistles full on. It has and BBC Entertainment. been conducting tests for an internaAlthough none of the global iPlayer’s don’t learn” tional edition of iPlayer, the BBC’s programming is original digital conJana Bennett UK catch-up TV platform. The globtent, Jana Bennett, president of BBC al iPlayer is available as a downloadWorldwide Networks and global BBC able app in 16 countries, including iPlayer, says the trial looks set to reAustralia, Canada and several Western European mar- veal the new ways in which content is being consumed onkets. It is being trialled until this autumn, when BBCW line, depending on the differences in local culture, ecowill assess how to commercialise the venture. nomic standards and access to international TV. Unlike the UK’s free catch-up version, global iPlayer “BBC Worldwide has always embraced digital,” Bennett is subscription-funded and offers curated content from adds. “It’s a way of thinking about the spaces we should the BBC’s archive for an average of €6.99 a month. The be in for our consumers. We want to be fearless about content is localised, depending on each market’s view- launching something as unique as the iPlayer worldwide ing habits, the digital rights available and how it might because if you don’t experiment, you don’t learn.”

Photo: Vicki

TV for Generation Next...

Patrick Norton of Tekzilla

http://www.showtime.jp/

i feature ADVERTISING

TV advertising isn’t what it used to be. And while there have been some gloomy headlines, Andy Fry ﬁnds that this creative sector is adapting well to the new world

Prometheus

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A brave new world

HE EMERGENCE of digital technology has transformed every part of the entertainment and media business. Nowhere is this more apparent than in TV advertising, where a combination of audience fragmentation, increased on-demand viewing and multi-screen media consumption has forced brands and their television partners to rethink the way they communicate. If truth be told, however, both sides are doing a pretty good job of managing the shift to a new business paradigm. On the one hand, they have succeeded in protecting the role of spot ads, which have always been the gold standard for advertisers. On the other, they are coming up with innovative ‘beyond the spot’ solutions, converting consumers into brand advocates via TV sponsorship, product placement, branded content and social media. Marcel Fenez, global leader of PwC’s Entertainment and Media practice, will present the company’s Global Entertainment and Media Outlook 2012 at MIPCOM and, in the short term at least, the news for the advertising industry is good as far as TV is concerned. “Certainly in the five-year window it’s surviving and doing reasonably well,” Fenez says. “And it continues to be resilient — for a couple of reasons. One is the fact that even at this point [TV] is still a very effective way for certain brands to reach a big audience. And secondly, if it truly does embrace social then we believe from an advertising context that can be sold as a bundle. and continues to be resilient — for a couple of reasons.” But figures for 2012 may be slightly distorted. “It was always going to be an OK year for advertising because we have had, from many countries, a boost from political advertising. And the Olympics has truly had an impact. So one of the things that we will see is that advertising growth rates for 2012 in many cases will be ahead of GDP. 2013, through no fault of its own, might not look as robust. And will that be something fundamental? No not necessarily. It will be because 2013 will be compared to 2012, and 2013 doesn’t have the major events in it that 2012 had.” Lindsey Clay is managing director of Thinkbox, a marketing agency set up and funded by some of the UK’s leading commercial broadcasters (ITV, Channel 4, Sky Media, Turner Media Innovations and UKTV are shareholders). Explaining the resilience of spots ads, she says: “You have to start with the headline numbers. First, there is the fact that TV viewing is at a record high — four hours a day in the UK, with similar trends in other markets. Then there’s the way audiences behave in digital homes. Our research shows that, despite the wide penetration of DVR devices, 85% of UK viewing is still live, not time-shifted.” At fi rst sight, this time-shifting figure might not make sense. But Clay says digital media is actually encouraging live viewing: “There are two phenomena at work here. The first is social. People don’t want to risk missing their favourite show and the background conversation that goes with it. Social chatter is instantaneous, so there’s no way you can avoid finding out plot lines, sports results or who got eliminated from a reality show unless you are a hermit. The second factor is multi-screen. Our research shows how using a second screen while watching TV encourages more TV viewing and gives people more exposure to — and the opportunity to respond to — TV commercials.” This research, Screen Life: The View From The Sofa, conducted for Thinkbox by a company called COG Research, examines what happens when people watch TV and simultaneously use an internet-connected device, such as a laptop, smartphone or tablet. The key findings include the fact that people are more likely to stay in the room or not change the channel during the ad break if they are multi-screening. “A lot of people are multi-screening now,” Clay adds. “Those that do stay in the room for 81% of ad breaks. For non-multi-screeners, it’s 72%.”

The digital positives don’t end there either, Clay maintains. “Brands are realising they can put all of the product details and hard data online and allow advertising to become more of a storytelling medium,” she says. “Brands like John Lewis, Yeo Valley and Volkswagen have used emotion and humour to great effect.” These last points are important. While there are strong indicators that spot ads continue to play a pivotal role in brand communications, there is no doubt that they are more effective if, (a), digital platforms are called into action and, (b), the narrative is compelling enough in its own right to encourage cross-platform conversations and sharing. “Spot ads aren’t going away because they are a tremendous awareness driver,” says Doug Scott, president of Ogilvy Entertainment. “But digital is driving a behavioural shift that makes it harder for brands to just interrupt people’s media consumption. So brands need to get better at putting themselves in the context of content and becoming part of the entertainment experience.” Scott cites the iconic sportswear brand Nike as an outfit that knows how to do this. Working with ad agency Wieden+Kennedy, Nike creates ad executions that are gateways to a deeper level of engagement between the brand and its audience. A case in point is My Time Is Now, Nike’s campaign for Euro 2012. The ad itself is three minutes long and starts out as a football match between France and Holland, featuring stars such as Franck Ribery and Wesley Sneijder. But then the soccer pitch is taken over by young players from The Chance, Nike’s scouting mission to find 100 potential stars from 50 countries. There are also cameo appearances from Nike athletes, including Andreas Iniesta, Cristiano Ronaldo and “TV viewing is at a NBA star LeBron James. record high — four As an ad it its own right, hours a day in the UK, My Time Is Now is an entertaining story. But Nike with similar trends in also uses the ad to engage other markets” and interact with viewers. Lindsey Clay It does this by creating tunnels that branch off from the main ad. These include everything from biogs of players through to viral videos featuring stars such as Mario Balotelli. The sum effect is that there are so many elements to the campaign that fans are encouraged to watch the ad again and again. By the time the Euro 2012 competition had ended, the campaign had clocked up almost 20 million views via YouTube. For Scott, activity like this is significant but only one manifestation of a wider trend. “I think we are still at an early stage, but more and more brands are figuring out how to break down the traditional barriers between PR, marketing and content creation,” he says. “They are seeing opportunities to develop or co-create original branded entertainment.” This isn’t just a defensive move designed to shore up spot advertising, Scott continues: “The new landscape allows brands to build an ongoing dialogue with people, using branded content as the starting point to demonstrate brand utility.” One of Scott’s favourite Ogilvy-enabled examples is Horizons, a documentary series that airs on BBC World News and has DuPont as a partner. The series, now in its third season, examines the future of business, looking at companies around the world that are influencing the way the world will live and work in the future. Each programme also features www.mipcom.com I preview magazine I September 2012 I 97

i feature A brave new world Photo: Twofour Productions/BBC

a two-minute mini-documentary highlighting a DuPont business collaboration that exempliﬁes such innovation. In addition, digital platforms allow audiences to see behind-the-scenes footage from the shows as they are created, enabling them to learn more about the problem-solving behind business innovation. This approach can also be applied to more mainstream parts of the schedule. At MIPTV 2012, for example, supermodel/actress Elle Macpherson teamed up with Electus International to promote the reality series Fashion Star. In this case, Macpherson serves as a celebrity mentor to 14 emerging fashion designers competing for the chance to launch new clothing lines in leading retailers Macy’s, H&M and Saks Fifth Avenue. Superﬁcially, this looks like a product-placement opportunity for the retailers involved. But the concept is actually richer and more engaging than that from a branded-content point of view. For a start, buyers from the three companies get to make genuine purchasing decisions about the designs, making them a pivotal part of the show’s narrative. Then, when decisions have been made, the audience can order winning designs online or go into the stores and buy them the next day. Either way, the emotional experience of the show converts into a real-world experience.

Horizons, a documentary series that airs on BBC World News and has DuPont as a partner Beauty and fashion have been key areas of activity, Burns says, adding: “There’s a lot of bespoke content around fashion, make-up and wardrobe on the website — and this has been used to good effect by brands like L’Oreal and Rimmel. The key here is that the shows are about personal transformation, which is a very rich area for brands to get involved with. Not only is it a useful way to engage with consumers, but it has real value in terms of motivating employees and talking to trade partners.” In terms of technology trends, Burns says brands are focused increasingly on social media and the dual-screen experience. But echoing Thinkbox’s Clay, he argues that it is a mistake to think that digital can replace the kind of water-cooler experience offered by TV events. This is also the view of Dave Brennan, a media strategist who recently set up a consultancy called Media Native. “Digital platforms can undoubtedly deliver deep engagement, but they need a blast of oxygen from TV,” he says. “A key message for brands is that social-media campaigns only really work if they are kick-started by a mainstream medium like TV. Otherwise it’s easy for them to fall off the radar.”

While these are both examples of branded-content projects that have been built from the ground up, the beauty of digital platforms is that they also make it possible to add branded-content elements to established entertainment franchises. This is what FremantleMedia Enterprises (FME) has done with great success around The X Factor and Britain’s Got Talent. “When you have big shows like these, the ﬁ rst consideration is to protect them,” says Dominic Burns, FME’s senior vice-president of licensing, UK. “But assuming you do that properly, the socialmedia side of these shows can be an amazing platform for brand partnerships.” Photo: Nike

Nike’s My Time Now spot achieved twenty million hits on YouTube 98 I

This digital/TV interdependence explains the industry’s interest in Zeebox, an augmented TV app that enables viewers to enhance their TV experience through their second screen. Explained in detail, it “serves up social-media feeds and conversations via Twitter and Facebook, as well as information on the topics, people and products featured within programmes. Consumers use these ‘zeetags’ to search the web for more information, read up on characters or actors, purchase music, buy products featured on-screen — whether during programmes or ad breaks — or share views with friends”. While Zeebox is clearly a valuable add-on in terms of programme enhancement/consumer experience, the other big area of potential growth is its use as part of a digital ad strategy. In April, for example, Zeebox unveiled

preview magazine I September 2012 I www.mipcom.com

“Spot ads aren’t going away because they are a tremendous awareness driver” Doug Scott

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The X Factor and Britain’s Got Talent

the UK’s “first synchronised ad campaign” across TV, so- “Prometheus gave us the perfect opportunity to harness cial media and second screen to promote Ridley Scott’s second-screen innovation,” says Caroline Clancy, digital Prometheus from Twentieth Century Fox. strategy director at Vizeum. “By synchronising our TV Here’s how it worked. On Sunday, April 29, during an epi- spots with Zeebox, we are moving the campaign beyond sode of Homeland on Channel 4, a trailer of Prometheus the bounds of TV ad lengths and extending users’ expeaired in the fi rst ad break (21.11). At this time, view- rience to allow for further exploration.” ers could share thoughts about the fi lm on Twitter us- The other thing worth noting is that, via Zeebox, the moing the hashtag #areyouseeingment an ad comes on, a consumthis. Next, a selection of tweets er can buy the product via their was broadcast during a 40-second second screen. Not only does spot in the following ad break. this give advertisers a sales-based “Digital platforms In addition, users who tweeted evaluation of the ad, but it also encan deliver deep from within Zeebox adding the ables Zeebox and its partners to engagement, hashtag #zeebox had the chance bank information about the conbut they need a blast to win tickets to the UK premiere sumer’s purchasing patterns. of Prometheus. Furthermore, Link this data-based capabilof oxygen from TV” Zeebox gave away another 50 ity with all the other tools at a Dave Brennan tickets for a pre-premiere screenbrand’s disposal and it’s clear that ing of Prometheus to Zeebox usTV’s role as a marketing medium ers who tweeted about the trailer is more powerful than ever. This from within Zeebox. The winners were announced live in is certainly the view of Eduardo Zulueta, managing diZeebox before the end of the show. rector of Chello Multicanal in Spain. “Digital is allowing The campaign ran throughout May. Whenever the advertisers to target audiences more closely than when Prometheus trailer aired on TV, Zeebox’s platform auto- their only choice was free-to-air terrestrial networks,” he matically recognised it and offered consumers more op- says. “At Chello, we have opened an in-house division portunities to win Prometheus tickets. that works on special tailor-made solutions for advertisTwentieth Century Fox worked with media agen- ers, and that has made it possible for them to increase ency Vizeum and Zeebox to design the promotion. gagement with viewers.” 100 I

preview magazine I September 2012 I www.mipcom.com

THE NFL SUPER SPOT ANYONE who thinks the spot ad is dead need only to look at this year’s revenue numbers for the NFL Super Bowl. All told, NBC — now owned by Comcast — sold a record $250m in advertising for the game. This means brands including Chevy, Chrysler, Samsung and Doritos paid an average of $3.5m for 30 seconds of airtime — double the cost of an equivalent spot 14 years ago. If that seems shocking, then it is worth noting that some analysts expect the price to break through the $4m barrier in the next year or two. The pricing is down to the fact that the Super Bowl attracts such high audiences (circa 110 million). But there is one noticeable strategic shift as a result of the rise of digital media. A few years back, brands would keep their ads secret until the night of the game. Now, the tendency is to create campaigns that trail the final ad. By doing so, brands stretch their $3.5m investment, so that it becomes an ongoing conversation with consumers. Some of the best examples of this come from Doritos and Chevy, which run competitions that invite people to submit their own ideas for Super Bowl ads. The resulting work has proved a bit hit on TV and via viral internet platforms.

WELCOME TO THE ‘END OF THE DIGITAL BEGINNING’ ACCORDING to PwC’s annual Global Entertainment And Media Outlook 2012-2016, released in June, digital opportunities are now well understood by media companies, advertising agencies and advertisers. With the ‘fog’ experienced in recent years around strategic options lifting, the challenge now lies in the implementation of digital strategies, says Marcel Fenez. “We have reached the point at which talking specifically about ‘digital’ misses the point. What matters now is how companies capitalise on it and operate within it. E&M companies have reached what we are calling the ‘end of the digital beginning’: they have made the commitment to a digital future and are striving to make the necessary changes to products, distribution and organisations.” Although there is wide variation in digital uptake around the world, PwC argues that “E&M companies need to understand consumer behaviour and motivation to engage with and immerse consumers in their connected, multi-screen environment”. But the way they do this will need to be handled sensitively if it is to reap genuine benefits, Fenez adds: “Data analytics tools Marcel Fenez are required to mine the mass of customer data. However, the development of such tools may be triggering consumer fears over risks to their privacy. PwC believes that avoiding this will require a shift of industry mindset from customer ownership towards facilitating a position where the customer is in control.” According to PwC, “companies will find that giving consumers more control over how their personal data is used may deliver higher benefits back to consumers, encouraging them to volunteer even more information, as well as providing better value for advertisers and higher rewards for media owners. Businesses need to aim for a win-win model in which the medium, the advertiser and the consumer all collaborate and benefit. Ultimately, the only person who ‘owns’ the customer — and the customer’s data — is the customer him or herself.” PwC reports that there were 13 countries in 2011 with total E&M spending (combined advertising and consumer/

end-user revenues) above $25bn, led by the US at $464bn, Japan at $193bn, China at $109bn and Germany at $99bn. China passed Germany in 2011 to become the third largest E&M market in the world. PwC forecasts that, of the leading countries, China and Brazil will be the fastest growing, with projected compound annual increases of 12.0% and 10.6% respectively. Brazil overtook South Korea in 2011 to move into ninth place and, during the next ﬁve years, is predicted to pass Canada and Italy to become the seventh largest market. In terms of advertising spending, PwC reports that the most cyclically sensitive E&M spending stream — advertising spending — increased by 3.6% in 2011. This represented a slowdown from the 7.0% gain in 2010, which was augmented by advertising associated with the FIFA World Cup and the Winter Olympics, and by the rebound from a sluggish 2009. In spite of growth during the past two years, advertising still remained lower in 2011 than in 2007, the beginning of the Outlook ’s repor ted period. Overall global advertising will increase at a 6.4% compound annual rate from $486bn in 2011 to $661bn in 2016. In terms of advertising segment growth, the Outlook predicts that internet advertising will be the fastest growing advertising category, with a 15.9% compound annual increase, followed by the small video-games advertising market at 11.2%. Television advertising will average 6.6% compounded annually through 2016 — higher than out-of-home radio and the print business. By 2016, global mobile internet advertising revenues of $24.5bn will grow at 36.5% compounded annually, to almost match the size of the classiﬁed internet advertising market. However, paid search at $78.1bn and banner/display at $46.6bn will retain the lion’s share of the market in 2016. China’s mobile internet advertising market will grow at a compound rate of 68.4% to reach $6.2bn in 2016, making it the second largest market in the world behind the US at $9.4bn.

“We have reached the point at which talking speciﬁcally about ‘digital’ misses the point. What matters is how companies capitalise on it and operate within it”

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i feature ORIGINAL CONTENT

Get ready for the land grab

A growing hunger for original content is proving to be a driving force as the TV industry evolves to embrace digital distribution. Marlene Edmunds investigates a trend that is rapidly changing the media landscape

S POWERHOUSE players with global entertainment brands are unveiling major new strategies for original content creation. Working together with new breeds of content producers, they are feeding a ravenous desire for new, original and quality content. That hunger has also opened up what some media analysts are calling a “land grab” among internet players like Hulu, Netﬂix, Amazon and YouTube. What’s triggering the seismic activity? To begin with, a new attitude which accepts the internet as a possible ﬁ rst destination for consumers and for original talent, the coming of TV Everywhere, and the maturation of advertiser attitudes and a willingness to work with new platforms. “The hunger for original programming is being driven

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by consumers and is emblematic of an era we are entering that is completely consumer oriented. Consumers have a lot of choice right now on many platforms,” Nancy Dubuc, president and general manager of History and Lifetime Networks says. Dubuc is among the Media Mastermind keynote speakers at MIPCOM. Under Dubuc’s leadership since 2007, History is the number one US cable network in the 25- to 54-year-old age group and the number one factual brand in all key demographics. The network reaches more than 300 million households in 150 countries and in 37 languages. In May of this year it aired its first scripted mini-series Hatfields & McCoys, starring Kevin Costner, and which shattered all records. History will be launching its first scripted series Vikings in 2013.

preview magazine I September 2012 I www.mipcom.com

“The hunger for original programming is being driven by consumers” Nancy Dubuc

Photo: Kevin Lynch

Hatfields & McCoys, starring Kevin Costner, and which shattered all records

Dubuc credits the recent successes of History to a combination of factors, including the economic maturation of the cable business. “We are also seeing an evolution in platforms and a competitive environment that necessitates original programming from an advertiser’s standpoint,” Dubuc says. She points out that History, with 100% original programming, is well ahead of competitors in terms of the volume and breadth and depth of the content it has produced. “What has been clear from our success is that original programming will always win out over programming that is syndicated.” Since 2010 Dubuc has also expanded original programming on Lifetime Networks with movies, dramas and unscripted series. Among the new hit series and movies is Dance Moms, Lifetime’s most watched series since 2009. Conde Nast Entertainment Group president Dawn Ostroff is also a Media Mastermind keynoter. Her brief since taking the helm a year ago is both daunting and to die for: she’s charged with turning the massive treasure trove of Conde Nast brands and content into film, TV and digital initiatives. The tasks ahead for the traditional media division include producing feature films and television shows, and in the digital division, launching video channels for Conde Nast’s brands and categories. “We’ve been going through all the archived content from the magazines, in addition to constantly exploring the content that comes out in the magazines,” Ostroff says. “We’ve already been optioning projects and packaging them with various writers and directors, and we are beginning to take these projects out to the marketplace.” On the digital front, she appointed Fred Santarpia as chief digital officer for the group. At press time, Ostroff says, he was putting together a strategic plan for Conde Nast digital channels. The game plan, she says, is to have films, television and digital content produced that originates from the brands, the content in the magazines, and the talent who work at Conde Nast. “There is so much content and so many articles in the archives, in addition to the new material that is currently being printed. Being able to fi nd these stories and translate them for the broadcast and digital media landscape is the challenge, and it is an exciting one.” There is no question the digital space is transforming the industry, Ostroff says. “This is a time when we are, in a sense, writing the script and participating in formulating a new industry that is being born right before our eyes.” The ad industry is a heavy contributor to the new birth. “Whereas previously there was confusion in the ranks, now it’s astounding how everyone has a deep appreciation for the reach and intimacy that you can achieve in the digital space,” Ostroff says. The vision and foresight of media industry strategists like Hulu CEO Jason Kilar is driving much of the change. Kilar, with his blue-chip backers NBCUniversal and The Walt Disney Company, sees the internet being

transformed into a major destination for original content. Kilar will be delivering the keynote Online TV And The Evil Plot To Destroy The World, also as part of the Media Masterminds line-up. Hulu announced at the beginning of 2012 it would spend some half a billion dollars in content. The half billion is spread across an investment in existing content partners, investment in new content acquisitions and investment in original content. Kilar says the investment in what he calls “quality-gated” original content production “will be smaller than the investment in licensed content but at the right levels for us to produce great TV shows.” He stresses the importance of being “very disciplined about investing at the right level in the right shows that will speak to a passionate and engaged audience.” In May, Hulu underscored that commitment with the announcement of 10 new series. Kilar admits his strategy is somewhat inspired by the legacy and legend of Sundance. “We have the chance to do for TV what Sundance has done for film,” he says. “We are inspired by Sundance’s dramatic impact on fi lm, in that they have enabled the creation and distribution of a wide variety of beloved film content. In our own way and with a decidedly ‘television’ bent, we aspire to provide an innovative platform to storytellers and for stories of many shapes and sizes.”

“We are, in a sense, writing the script and participating in formulating a new industry that is being born right before our eyes” Dawn Ostroff

Hulu original series content is guided strategically by a specific philosophy, Kilar says. “When we think about original programming on Hulu, we ask ourselves if the idea or series has the potential to be beloved TV? Is it a show that will inspire unabashed enthusiasm among a particular audience? Will we be working with storytellers who offer a unique perspective?” Kilar says the first original scripted series, Battleground, achieved viewership on a par with primetime shows that Hulu distributes from the top cable networks, ratings he admits they were not necessarily expecting. “We think the results will surprise many people — from our fi rst original documentary series A Day In The Life from Morgan Spurlock, to our fi rst original scripted series Battleground, to Richard Linklater’s travel docu-series Up To Speed and Kevin Smith’s movie review show Spoilers.” Hulu’s focus on original series is, Kilar says, largely because the platform “saw an opportunity to partner with talented storytellers in ways that simply were not possible

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i feature Photo: Hulu

Get ready for the land grab before the advent of the internet and broadband.” And the approach resonates with a large number of advertisers. “We have a growing roster of advertisers that are choosing to partner in this mission, as it is proving to be an effective way to reach an advertiser’s target consumer through the Hulu platform.” Sundance Channel’s new original content slate includes Rectify, Top Of The Lake and Restless, three projects that are “all about character driven stories derived from a singular vision,” executive vice-president and general manager Sarah Barnett says. “They are all helmed by true creative storytellers who have distinctive and layered visions.” A case in point, says Barnett, is William Boyd, who adapted the Restless screenplay from his original novel. “He is brilliantly literary and at the same time tells a cracking good story. Jane Campion [Top Of The Lake] is, of course, a celebrated filmmaker with an impeccable reputation and a shockingly original outlook. And then there is Ray McKinnon, creator and show runner of Rectify. “Ray has a beautiful sensibility and daring way of describing the world that is characteristic of what we absolutely wanted for our first fully-owned scripted project,” Barnett says. What’s the common thread? “It’s about storytelling that’s layered and distinctive, and that looks at the world in a way that’s a little bit different,” Barnett says. She outlines a two-pronged approach to fi nancing the new original content line that involves working with global partners in the distribution of wholly-owned original content such as Rectify, and then co-production, as with Restless and Top Of The Lake. “We work with trusted partners — in the case of Restless it’s Endor, with Top Of The Lake it’s BBC Worldwide — on a certain number of hand picked co-productions.” Netflix has been romancing both the media and the creative community with a discreet unveiling of its original content strategy. Netflix premiered its first original series, Lillyhammer, starring Steven Van Zandt, earlier this year and is set to co-produce the second series as well. At press time Netflix had also greenlit Hemlock Grove, a 13-episode series being produced by the LA-based Gaumont International Television, for an early 2013 bow. Eli Roth is director and executive producer and the series, based on Brian McGreevy’s gothic horror novel, includes title roles for Famke Janssen and Bill Skarsgard. House Of Cards and Orange Is The New Black are also on the original content front burner, the latter a 13-part series by Jenji Kohan (Weeds) set in a women’s prison. So is Arrested Development. Netflix’s Ted Sarandos announced a fourth season in April of 10 new episodes of the cult comedy, set for a simultaneous release in 2013. Netflix’s release strategy attracts the creative side of the business. It released all eight episodes of Season One of Lillyhammer at the same time this year, a move popular with creatives and one that could trump release strategies by Hulu and 104 I

Battleground, Hulu’s first scripted series other competitors. The trick is to convince advertisers of its success without the traditional back-up ratings metrics.

“When we think about original programming on Hulu, we ask ourselves if the idea or series has the potential to be beloved TV?”

Others easing into original programming are YouTube and Amazon. YouTube anJason Kilar nounced earlier this year a $100m investment in new premium channels, with Google content chief Robert Kyncl promising it was just the beginning of Google’s original content plans. YouTube is giving cash advances to mainstream celebrities and production companies, as well as some top YouTube stars, to create professional quality content. The strategy is to build the next generation of TV brands. The creators churn the content, YouTube monetises it through advertising, then splits the revenue after initial costs are paid back. YouTube also has some big money sponsorships, including some eightfigure deals with major corporate sponsors. But wait, what about all those cat videos? Keeping true to YouTube’s origins, there is still hope for the amateur broadcaster. If you believe you have a five- to six-episode script, especially in the comedy or kid content areas, the online e-commerce giant is stepping into the breach. In May it announced an original content initiative from its Amazon Studios arm inviting new content creators to submit a pilot script. If Amazon chooses to produce a full slate of shows, the creator will be paid a flat fee and a percentage on sales of licensed merchandise, and other royalties and bonuses. Also set to give keynotes on the subject of original content is Emmy award-winning producer Mark Burnett. Burnett’s One Three Media joint venture with Hearst Corporation,

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i feature Photo: Hulu

Get ready for the land grab which has produced Survivor (CBS), The Voice (NBC) and Shark Tank (ABC) among other reality shows, has recently branched into scripted series. Burnett is also teaming with James Cameron to co-create upcoming Discovery series Robogeddon, and is currently producing the 10-hour docu-drama The Bible for a 2013 bow on History. Andrea Wong, president of international production for Sony Pictures Television (SPT), has a mission that includes overseeing creative teams outside the US as well as 15 owned and joint-venture international production companies around the world. At MIPCOM, SPT’s international production team will be pitching a number new shows. “We’re fortunate to represent one of the biggest format catalogues thanks to our US studio and a further 17 production businesses internationally. It makes for a vibrant, creative mix of content that can spark fantastic production ideas for commissioners around the world, from gameshows and talent contests, to talk shows and scripted series,” Wong says “SPT also has several brand new network series launching this fall, so our colleagues in distribution have new dramas and comedies to pitch, not to mention the studio’s feature ﬁlm franchises like Spider-man and Men In Black 3.”

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SPT’s international production unit runs wholly-owned production ﬁrms in Russia, Germany, France, Lebanon, Egypt, Dubai and Miami and operates joint-venture companies in the US, the UK, France, the Netherlands, Russia, Italy, China, Brazil, and Colombia, all with a brief to develop original content for local broadcasters across a number of genres and platforms.

preview magazine I September 2012 I www.mipcom.com

Richard Linklater’s travel docu-series Up To Speed

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i feature LATIN AMERICA

Something to celebrate

Image: Ale Abreu

With more pavilions in Cannes this MIPCOM than ever before, and with Televisa Group’s Emilio Azcarraga Jean named Personality Of The Year, Latin America has something to celebrate. As Gary Smith discovers, Latin Americans are watching more foreign programming, producing stronger, more internationally skewed content, and signiﬁcantly, the region’s mainstream audience is ﬁnally getting connected

N WESTERN Europe, North America and Asia, access to the internet — preferably with a fast or even super-fast connection — is so much taken for granted that it’s now difﬁcult to remember life before connectivity. Perhaps more signiﬁcantly, we no longer have that sense of wonder at what it means to have a window on the world, and instant access to it. But that is what Latin Americans are currently experiencing — and it is profoundly changing audience tastes, especially among the 16-40 demographic.

“Latin American audiences are just as varied as you’d find in other territories,” says Diana Zakis, Content Television’s vice-president of sales for Latin America and Asia. “Whether through kids’ programming, movies, events or series, we have been able to reach a variety of socio-economic groups by targeting premium pay-TV services, basic cable and free-to-air TV. As in other territories, we are also increasingly selling to VOD, internet and mobile services, as these platforms rapidly develop in the region. So with such a diversified market, it’s possible for each specific genre of programming to find its audience in Latin America.”

Vivi, a co-production with Brazilian production house Mixer and Canada’s 9 Story Entertainment

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i feature

“Latin America has a vibrant production community so we are keen to explore the potential of content originating from there” Diana Zakis

But tastes are changing as the economies of Brazil, Colombia, Chile and Mexico strengthen. Interest is building in locally produced formats and observers expect this trend to continue in view of Brazil’s recently introduced production quota system, which stipulates minimum quotas for original Brazilian productions airing in primetime on the country’s cable channels. The law also obliges pay-TV platforms to carry more local channels. A+E Networks’ Mayra Bracer, international content sales representative for Latin America, says “big series” are selling well across Latin America. “Epic specials and series like Life After People, Nostradamus Effect and Stan Lee’s Superhumans continue to do well for A+E Networks,” she adds. Creating local versions of these franchises, such as Life After People Latin America and Superhumanos Latin America, both produced by History Latin America, has

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Latin America has proved to be successful for A+E, for example with the series Pawn Stars

Photo: Mary Morita / Brazilian TV Producers

Content Television is doing well in the region with a wide range of programming. “Primetime drama series, such as [UK-produced drama] Thorne, and our television movies continue to be popular,” Zakis says. “There is also strong demand for entertainment programming, particularly the glitz and glamour of awards shows. We have sold all of the special-event shows we represent, including the Primetime Emmys, the BAFTAs, the Britannia Awards [hosted by BAFTA in Los Angeles] and the Spike Guys’ Choice Awards, to various pan-Latin US pay-TV channels.” Content Television is also doing well in children’s and family programming, with Young Dracula and Heartland performing particularly well. And it is seeing a marked increase in the popularity of its multiplatform digital series and sports events, such the high-octane events organised by the British Association of Mixed Martial Arts (BAMMA). In terms of sourcing shows from Latin America, the foundations are in place, Zakis says: “We have not picked up any Latin American programmes or formats, but we are currently building relationships with a number of local producers. Latin America has a vibrant production community and has created globally successful programming, so we are keen to explore the potential of content originating from there.”

Photo: A+E Network

Something to celebrate

PAVILIONS AT MIPCOM OVER the last five years, the number of delegates and companies coming to MIPCOM and MIPTV from Latin America has grown year-on-year. This has partly been driven by the expansion of the region’s markets, but it is also the result of the growing number of national pavilions, which enable companies that would not otherwise be able to come to Cannes to attend the markets. Sebastian Aristizabal, consultant for the export department of Proexport, is one of the organisers of the New Colombia Pavilion. Promoting international tourism, foreign investment and non-traditional exports, Proexport provides support and consultancy to its clients via a network of national and international offices. Its mission, Aristizabal says, is “to generate, develop and close business opportunities”. There are between 15-20 companies on the Colombia stand at MIPCOM 2012. “We decided to participate because it’s an excellent way to promote our companies at the biggest event in the industry,” Aristizabal says. “It’s the perfect opportunity for Colombian companies to exchange knowledge and learn about new technologies and trends.” The Brazilian Pavilion is still the largest group exhibit from Latin America. “We have been attending MIPCOM since 2004 and the number of people at our Pavilion has been increasing every year,” says Rachel do Valle , executive manager of Brazilian TV Producers (BTVP). At press time, 43 producers from 31 companies had registered for the Pavilion, with 12 people from nine companies attending MIPJunior. Including BTVP officials and representatives from the Brazilian trade department

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The BTVP stand at MIPCOM and national film agency, the total Brazilian delegation will number around 65 people. According to Tobias Breton, a member of the promotion and export department of UCINE, the numbers attending MIPCOM under the auspices of the Argentine pavilion — Argentina Audiovisual — are currently in line with last year. At press time, around 20 companies were registered, with more expected in the countdown to Cannes. Among the confirmed producers are Telefe, Artear, Resonant, Anima Films, Illusion Studios, EB TV, Construir TV, ONTV, INCAA TV and 9 Media. “We are seeing more and more companies wanting to be part of the MIPs,” Breton says. This is partly because the media sector in Argentina has grown significantly in the last decade, but it is also because several government departments, including the international affairs ministry, are actively encouraging small and medium-sized companies to enter the export market. “And these are the sort of companies who would not otherwise be able to go to these events without the Argentina Audiovisual pavilion,” Breton observes.

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i feature Photo: Shine TV Ltd.

Something to celebrate also proved to be successful for A+E. And reality series like Hoarders and Obsessed, which deal with universal themes such as addiction and psychological disorders, are in demand. Bracer adds: “We have had a lot of success with our character-driven franchises like Pawn Stars [El Precio De La Historia]. Buyers were initially hesitant to take a chance on some of these series because they seemed very American. But great characters and great storytelling translate universally, and Latin American audiences love Pawn Stars and American Pickers. We look forward to expanding that frontier from cable to free-to-air TV.”

“At the end of the day, it all boils down to the quality of your content” Mayra Bracer

Image: Mixer

Meanwhile, co-production with local partners is seeing shows that originated in Latin America ﬁ nd their way on to A+E’s global slate. “Our joint venture in Latin America, A&E Ole Networks, is developing original formats such as El Luchador out of Mexico or Till Death Do Us Part in Brazil,” Bracer says. “A&E Ole Networks works with local producers so, in a way, we are sourcing and creating formats ourselves in the region.” Bracer recently visited Mexico, Chile and Ecuador, where she saw several formats that “would definitely work in the US”. She adds that the trip taught her a great deal about the ability of original local formats to migrate across the region: “There are many differences between the Latin American Spanishspeaking countries, but also many similarities, so formats created locally can be easily and successfully adapted.” Bracer says internet access is clearly changing audience tastes: “Although it’s a generalisation, the regional

FME’s Merlin, a hit on cable in Latin America audience is deﬁnitely more sophisticated. There’s a wealth of choice, so you better have a really interesting show to attract and keep their attention. At the end of the day, it all boils down to the quality of your content.” Brazilian production house Mixer, whose portfolio includes animation, sitcoms, TV series and feature ﬁlms, is currently working on two different animation projects with Canadian partners: Vivi, a coproduction with 9 Story Entertainment, and Doggy Day School with Cite-Amerique. “Doggy Day School is by far the most popular collaboration we’ve been involved with,” says Eliane Ferreira, d i re c tor of c on tent and business at

Doggy Day School, a production with Brazilian production house Mixer, and Canada’s Cite-Amerique 112 I

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Mixer. It has been broadcast on, among others, TVO, Radio-Canada, Nickelodeon Latin America, Aboriginal Peoples Television Network (APTN), Knowledge Kids, SCN.CA, KM Productions and Hop!. Ferreira expects to see more co-production with foreign partners. “These two co-productions are both examples of that trend and there will be more for sure,” she says. Four years after starting a TV department, producer Conspiracao Filmes has an impressive slate of international co-productions, including Rouge Bresil (2 x 90 mins), which has a €9m budget. “The Parisian production company Pampa Films and CD Films from Canada are our partners,” says executive producer Luis Antonio Silveira. Conspiracao is also developing Soccerland with Mentorn International, Anatomy Of Cities with Gedeon and Zootropolis with Havas Productions. Silveira explains that the Rouge Bresil project was started at MIPTV two years ago: “We then showed a ﬁveminute reel at last year’s MIPCOM. Now, we are back in Cannes and the show is ready to be rolled out internationally. It took us one year to raise the money and all the ﬁlming was in English. I don’t think it’s an exaggeration to say that it’s probably the biggest project I have ever been involved with.” Conspiracao is also working on the second series of Live To Tell for Discovery. “As the title indicates, it’s about people who survive incredibly traumatic events,” Silveira

says. “The ﬁ rst series was very well received, so now we’re producing a further eight episodes.” He adds: “We currently have so much ongoing work with foreign partners that our script department has doubled in size in the last year, from eight to 16 people. We are also developing a live-action series for kids, plus our ﬁ rst-ever animation series, called Me And My Umbrella.”

“We have so much work with foreign partners that our script department has doubled in size in the last year” Luis Antonio Silveira

Sheila Aguirre, FremantleMedia Enterprise’s (FME) senior vice-president of sales and development for Latin America and Hispanic US, also sees Latin American tastes changing. “Traditionally, this is a region that made much of its own programming and was perfectly happy with that,” she says. “But that’s not so much the case any more. We do a lot of business with the region these days, partly due to having such a diverse catalogue and partly due to evolving audience demands.” She adds that 1000 Ways To Die and Deadliest Warriors are currently performing well on the Turner channels, while Merlin, which has now been sold to Netﬂix, is a hit on cable. The media landscape is also changing, Aguirre says: “Over the years, TV Globo in Brazil has been a fantastic

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Photo: Jamie’s 30-Minute Meals, courtesy David Loftus/Fresh One

partner for FME but, more often these days, I ﬁnd I’m selling to the pan-regional satellite broadcasters, which are growing their audiences rapidly.” Aguirre reports that UK superchef Jamie Oliver is now a massive brand in the region. “And series like Live From Abbey Road and American Idol are also doing very well indeed,” she adds. The growth of the media landscape in Chile, Ecuador, Colombia and Mexico is also driving trafﬁc both ways. “We are still always looking for good telenovelas,” Aguirre says. “Even though they are not as popular as they were in Europe, the demand is still there. The format business, with series going both ways, is also very healthy. And you also have to take into account the Hispanic market, which consists of more than 50 million people, and is increasingly producing some great shows.” As Hispanic channel Estrella TV, Andy Weir, worldwide distribution executive, agrees that his market is thriving. “All of Estrella TV’s primetime programming is original productions, in Spanish, with all the rights owned by us,” he says. “Our hit reality shows, Mi Sueno Es Bailar and Tengo Talento, Mucho Talento, continue to power our primetime ratings and new seasons for each show are premiering in September. We are also now making the formats for these hit programmes available worldwide.” Another consistent ratings winner for Estrella TV is the news magazine strip Alarma TV. Weir adds: “We work with outside producers on some of our dramas but,

UK superchef Jamie Oliver, now a massive brand in the region 114 I

otherwise, we produce everything out of our Burbank facilities.” The channel currently has no plans to buy programming, but it is selling its shows. “At this time, nothing we air is acquired from Latin American broadcasters, but that may change in the future,” Weir says. “Currently, we like creating content that also has value outside the US.” He adds that it is a formula that seems to work, judging by Estrella TV’s “meteoric rise” to become one of the topfour US Hispanic TV networks in less than three years. Weir elaborates: “We were involved in Spanish-language local radio and TV before launching the Estrella TV network. We believe we are very much in touch with what the audience wants, which is a mix of game, reality, news, talk, variety, music and drama. We recently added a new drama — Milagros — to our line-up, which is quickly fi nding a loyal audience. In the fourth quarter, we will add a scripted comedy, A2D3, and a new reality show, La Supermodelo Latina.” Flavio Medeiros, ITV Studios Global Entertainment’s vice-president of sales for Latin America, sees a complicated region with huge disparities in taste. “Economically, it looks as if the Brazilian economy is really slowing — likewise Argentina — but Mexico and Colombia are more robust,” he says, adding that Colombia has become a powerful regional TV production hub. Medeiros singles out Golden Girls as a local adaptation of a hit US show that has performed particularly well in the region. Grey’s Anatomy was also a success — but Desperate Housewives wasn’t. “So it’s not an easy market and it’s not easy to generalise,” he adds. Like A+E, ITV Studios’ programming plays well on cable: “We are strong on HBO, Discovery and NatGeo, which recently acquired Titanic. It’s the first time they have bought a drama series.” In what Medeiros dubs “a unique deal all-round”, ITV Studios also sold Titanic to TV Azteca for terrestrial broadcast. He adds: “The cable market is growing fast, especially in Brazil, where it’s expanding by 20% per year. As a result, operators are looking for exclusive windows to give them an edge and that gives us more options.” Add to that the fact that Discovery has 11 channels and Turner 17 in the region, and it becomes clear that a lot of content is needed to feed the pipeline. Another landmark deal brokered by Medeiros was for a local version of the hit format Come Dine With Me. “The fi rst round started broadcasting daily on TV Globo in the mornings for six weeks, and it has been very successful as a light, lifestyle show,” he says, “So now we’re talking to both terrestrial and cable operators in several other territories about the series. As a general observation, selling a format gets a lot easier once one country has bought a show and the others have seen it work.”

preview magazine I September 2012 I www.mipcom.com

Photo: Tom Bunning/Live From Abbey Road/Abbey Road Debut

Something to celebrate

The Kaiser Chiefs feature on Live From Abbey Road

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tips &tools 1 PREPARE FOR THE MARKET

MEET • New participants are invited to attend the firsttimers’ presentation discovery tour. Meeting point at the main entrance of the Palais des Festival on Sunday, October 7, 17.00. • Network in style and celebrate a week of business opportunity with key industry personalities at the Opening Party, Monday, October 8, 19.30 at the Hotel Martinez. • Take meetings at the Participants’ Club, open to all visitors and features a meeting area, coffee service and free Wi-Fi, with a suggested time limit of one hour. PROMOTE • Organise an event at the market (parties, screenings, etc.) with the help of MIPCOM’s full-service Events Department. +33 (0)1 41 90 49 47 @ info.events@reedmidem.com • Make headlines with breaking news of major deals and announcements through the MIPCOM News Team. @ julian.newby@btinternet.com • Design a press event to maximise the impact of your announcements, including interviews, round tables, photo-calls or full-scale press conferences. Contact the Press Team for more information. +33 (0)1 41 90 46 48 2 YOUR TRIP TO THE MARKET

BOOK THE RIGHT ACCOMMODATION that fits your needs with our MIPCOM hotel reservations service. @ hotel.mipcom@reedmidem.com PLAN YOUR FLIGHT TO NICE Fly for less with a special MIPCOM offer from Air France KLM at www.airfranceklm-globalmeetings.com (ID code: 16134AF)

Your best-bet travel agencies: • Silver Voyages (France and Southern Europe) +33 (0)1 45 61 90 59 @ silvervoyages@wanadoo.fr • Dovetail Foks (UK and Northern Europe) +44 (0)20 7025 1515 @ exhibition@dovetailfoks.com GETTING FROM NICE AIRPORT TO CANNES • Bus 210 departs every 30 minutes. Duration: 50 minutes. Ticket desks are located in Terminal 1 and 2. One way ticket/return tickets: €16.50/€26. www.rca.tm.fr • Taxi: available at Terminal 1 and 2. Duration: 30 minutes approx. Average fare: €80. Night rates apply between 19.00- 7.00. To book a taxi, call +33 (0)4 93 13 78 78 • Train: to get to the Nice Saint Augustin train station, go to Terminal 1, gate 6, take bus 23, direction Vallon des Fleurs (€1). Disembark at Gare SNCF Saint Augustin (second stop) and walk to the station. Train departs every 5 minutes. Bus 23 every 5 to 12 minutes. One way ticket: from €6.40 www.voyages-sncf.com or +33 (0)8 92 35 35 35 • Car rental: Sixt offers special MIPCOM rates using promotion code: 9963828. Visit www.sixt.com or call +33 (0)8 20 00 74 98. IN CANNES • The free MIPCOM hotel shuttle bus service runs between hotels located outside Cannes and the Palais des Festivals for the entire event. Schedules are available in hotels as well as the accommodation desk in the Registration area. • Cannes local buses: One-way ticket: €1. www.busazur.com • Car parks: It is strongly advised to book well in advance of your arrival. @ equiptech@cote-azur.cci.fr mgaufillet@interparking.com

3 MUST-HAVES & MUST-KNOWS

REMEMBER THE ESSENTIALS Pack your badge or e-ticket and the original invoices for your French VAT refund (under certain conditions). COLLECT YOUR BADGE You will receive an e-ticket by email a few days before MIPCOM. Print this e-ticket and scan the barcode at a self-service delivery point in the Registration* area to collect your badge. Please remember to wear your badge at all times during the market. *Journalists, reporters and photographers can collect their badges at the press registration desk in the Press & News Hub.

REGISTRATION HOURS Saturday, October 6: 14.00-19.00 Sunday, October 7: 9.00-19.00 Monday, October 8: 8.00-19.30 Tuesday, October 9 Wednesday, October 10: 8.30-19.00 Thursday, October 11: 8.30-16.00 MARKET HOURS** Monday, October 8 – Wednesday, October 10: Thursday, October 11:

**Exhibitors can access the exhibition area 30 minutes prior to market hours.

• Exhibition location Palais des Festivals, Esplanade Georges Pompidou, 06400 Cannes. 4 AT YOUR SERVICE

CLUBS • Participants’ Club: used by participants attending MIPCOM without a stand. Features include a meeting area, free coffee service, free WiFi service and telephone charging stations.

Download the free app from http://road.ie/mipworld to keep the essentials right in your pocket, including information about conferences, events, speakers, keynotes and more. 116 I

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8.30-19.00 8.30-18.00

itips&tools • Buyers’ Club: reserved for programme purchasing executives. Features include a lounge area, complimentary bar, electronic message board organised by hostesses and free WiFi service. Sponsored by

• Gold Business Lounge reserved for eligible delegates. Features include complimentary personalised business services, private lounge area, international press, PC, internet access, refreshments and dedicated staff. ADDITIONAL SERVICES • Business centre: provides a complete range of secretarial and administrative services for all participants.

• VIP Club: exclusive club reserved for VIP delegates to relax or discuss business in more private surroundings. Features include WiFi access, refreshments and a dedicated staff.

• Concierge service: provides a complete range of services including restaurant and taxi bookings, flight, spa reservation etc.