Mipcom 2014 preview

SEPTEMBER 2014

www.mipcom.com The official MIPCOM magazine

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PREVIEW PERSONALITY OF THE YEAR

COUNTRY OF HONOUR

Simon Cowell

Mexico

honoured in Cannes

creativity under the spotlight

SEE PAGE 12

SEE PAGE 10

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WORLD PREMIERE TV SCREENING

The Book Of Negroes

MEDIA MASTERMIND KEYNOTES INCLUDE

James Murdoch Co-chief Operating Officer, 21st Century Fox SEE PAGE 14

Ted Sarandos Chief content officer of Netflix SEE PAGE 68

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Editorial IN JUST a few short weeks we will celebrate the 30th edition of MIPCOM, welcoming some 13,500 delegates, including more than 4,700 buyers, of whom around 1,500 are from the digital sector; a stellar line-up of industry speakers; an exciting World Premiere TV Screening; an entertainment icon as our 2014 Personality Of The Year; and a unique focus on the MIPCOM Country Of Honour, Mexico and two major new events devoted to Film Commissions and Global Channel Distribution.

Since we last met at MIPTV in April, 21st Century Fox has been grabbing headlines with its multi-billion dollar offer to acquire Time Warner. So you can imagine how excited we are that James Murdoch, 21st Century Fox’s cochief operating officer, chairman and CEO, international, has agreed to speak as part of the MIPCOM Media Mastermind programme. He is one of a truly exceptional line-up of keynotes which will see, among a long list of industry leaders, Sony Pictures Television’s Steve Mosko, Maker Studios’ Ynon Kreiz, CBS’ David Stapf and Armando Nunez, LEGO’s Jill Wilfert, Sohu.com’s Charles Zhang and Netflix’s Ted Sarandos take to the MIPCOM stage.

Creating content that is capable of crossing international borders is essential to business success today. As the driving force behind X Factor and Got Talent, our MIPCOM Personality Of The Year, Simon Cowell, has entertained a generation of audiences and been named as one of the 100 most influential people in the world by Time.

In its 30th edition, MIPCOM continues to place content at the heart of the event, showcasing great programming from as far apart as Mexico and Poland and the latest in 4K technology, designed to heighten the audience experience.

The World Premiere TV Screening is the opportunity to bring superb entertainment to the international TV community. With eOne’s event miniseries The Book Of Negroes, accompanied by stars Aunjanue Ellis, Cuba Gooding Jr and Louis Gossett Jr and director /co-writer Clement Virgo, the 30th edition of MIPCOM maintains the tradition of providing what promises to be a memorable evening’s entertainment.

Thank you for your continued support for MIPCOM. Your presence is extremely valuable and valued.

Enjoy the MIPCOM Preview.

Laurine Garaude.

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D A V I D

D U C H O V N Y

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Contents 10

News

What’s happening at MIPCOM Mexico Country Of Honour, MIPCOM Personality Of The Year, keynotes, conferences, screenings and more

Also inside : En

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nce

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35

Product News

Tips & Services

C16 C16 C16

What’s for sale at MIPCOM Highlights of some of the international multiplatform content showcased in the Palais

SUNDAY 12 OCTOBER From 19.30 Carlton Hotel

MIPCOM pre-opening dinner in honour of Mexico

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In partnership with Telefilms By invitation

MONDAY 13 OCTOBER DRAMA SCREENINGS

68

World Premiere

Diving into original content

GLOBAL CHANNE DISTRIBUTION DA

8.30-9.15

9.30-11.00

9.15-9.30

Blue Lounge (Press & News Hub)

Auditorium K

Esterel

“The Librarians”

Global channel distribution: Market overview

MIPCOM 2014 welcome press breakfast

by Electric Entertainment By invitation

9.30-10.00

9.30-10.10

Auditorium A

Esterel

The Book Of Negroes The remarkable story of Aminata Diallo’s 40-year quest for freedom is retold in The Book Of Negroes mini-series, MIPCOM 2014’s World Premiere TV Screening, followed by a Q&A with the creative team

Features It’s boom-time for Mexico

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99

The content-streaming service Netflix recently moved deeper into Europe. Andy Fry considers the implications

Gary Smith looks at Mexican productions, creativity and initiatives in Cannes this year

That’s entertainment

85

105 ‘All you need is a camera...’

All the evidence suggests that drama continues to be the industry’s hot ticket, writes Andy Fry

Channels in it for the long haul Andy Fry discovers that the international channel operators are as busy as ever

Changing the game

Digital has revolutionised factual content. Marlene Edmunds reports

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111

Who’s the filmfriendliest of them all?

Film commissions are becoming a key part of the content-creation chain, writes Marlene Edmunds

preview magazine I September 2014 I www.mipcom.com

Conferences

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MEXICO COUNTRY OF HONOUR: CONFERENCE & EVENTS PROGRAMME Monday 13 October, 8.30-11.20 Tuesday 14 October, 9.00-12.45

News COUNTRY OF HONOUR

2014

Mexico is Country of Honour, 2014 EXICO takes centre stage at MIPCOM in October as this year’s Country Of Honour.

Around 100 local companies will be present in Cannes representing the richness, quality, creativity and diversity of this Latin American media powerhouse, and delegates will be able to meet with representatives of the country’s industry at the Mexico Pavilion and “Casa Mexico en Cannes” located outside the Palais.

The Pavilion will also host VIP events, cocktails, screenings and matcmaking sessions organised by ProMexico — the government

M

ProMexico CEO, Francisco N Gonzalez Diaz

agency which supports Mexican exports internationally and is in charge of attracting investment in the country. “According to PwC’s latest Global Entertainment & Media Outlook 2014-2018, Mexico is the 13th-largest market in the world for the entertainment and advertising industry, and one of the nine high-growth markets that will power global entertainment and media revenue,” ProMexico CEO, Francisco N Gonzalez Diaz, said. “Mexico’s entertainment and media market figures represented $24.7bn in 2013. It is estimated that the entertainment and advertising industry in Mexico will grow by 9.5%, to a value of $27bn in 2014. Mexico, much like many Central and South American nations, is currently booming in terms of payTV subscriptions. At the end of June, Sky Mexico reported that it had 6.36 million subscribers, 12.6% up year-on-year.

This year, as the Country Of Honour, we will have the opportunity to share some of Mexico’s best work. During our participation at MIPCOM we will be displaying the richness of Mexico’s audio-visual production. And we will show up with representatives of the very best of both current and on-therise production companies, because we consider our creative industries to be among Mexico’s best ambassadors.”

Sahar Baghery, head of international TV formats & contents, at Eurodata TV Worldwide, said that Mexico’s time has come. “Mexico should be the Country Of Honour because for years it has been a major regional power, and now we are seeing it increasingly established as an international player, and generally the TV in-

dustry in Mexico is growing.” Mexican companies attending MIPCOM include: Comarex, Claro TV, MultiMusic, TVUNAM, Canal 11, Canal 22, Anima Studios, Adicta Films, Boxel and Los Cuates Films. Key exhibitors include: Televisa, Azteca, Televisa and ProMexico.

An extensive programme of networking events and panels kicks-off on Monday, October 13 at 08.30, with a Press Breakfast.

This is followed by Fresh TV From Mexico at 09.30, where The Wit’s Virginia Mouseler presents the best of the latest scripted shows that have not been aired internationally. At 10.10 Eurodata TV’s Baghery presents in-depth research revealing how Mexico has become the sixth-largest exporter of media content in the world. At the end of the morning, View From The Top features Emilio Azcarraga Jean, chairman of the board and CEO of Grupo Televisa in conversation with World Screen’s Anna Carugati.

Tuesday, October 14 again features a range of Mexico-related events including The Producers Showcase From Mexico at 09.00, where a number of the country’s brightest media executives share their insight into the future of the booming market of scripted programming. This is followed at 09.50 by the Broadcasters’ Superpanel, which will look at the programming strategies of Mexico’s major broadcasters. The Tuesday morning programme finishes with a Mexico Matchmaking session on co-production and international distribution at 10.45. The final event is the Latam Global Dealmakers Lunch in the Hotel Carlton sponsored by ProMexico and Telemundo Internacional, which will include opening remarks by Francisco N Gonzalez Diaz.

A series of social and networking events will underscore Mexico’s Country Of Honour status. Telefilms from Argentina, last year’s Country Of Honour, is marking the occasion by sponsoring the MIPCOM Pre-Opening Dinner for Mexico on Sunday, October 12.

The MIPCOM Opening Night Party will celebrate MIPCOM’s 30th anniversary with the sounds and tastes of Mexico, on the evening of Monday, October 13.

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News

PERSONALITY OF THE YEAR KEYNOTE: SIMON COWELL, ENTERTAINMENT CREATIVE ICON Monday 13 October, 17.00-17.40 Grand Auditorium, Palais 1

Cowell honoured in Cannes TV AND FILM producer, and on-screen talent judge, Simon imon Cowell, is MIPCOM Personality Of The Year for 2014.

014.

Cowell’s Syco Entertainment is the music, film, and television ion production company behind some of the world’s most uccessful reality franchises. Its global TV hits include the successful Got Talent and X Factor formats, while the Syco Music oster includes One Direction, Little Mix, Susan Boyle, Ella roster Henderson, Il Divo, Labrinth and Collabro.

Cowell said that the MIPCOM Award was a particular honour ur because it comes from the international industry.

And I am a relative newcomer to the busi“And ness, ess, so I was thrilled when I got the call,” hee said.

Already running a successful record label, is rise to fame began in 2001 with the his launch aunch of Pop Idol. Cowell fast found celebrity ebrity on both sides of the Atlantic as a judge udge on both Pop Idol and American Idol, dol, the US version. It was his often forthright orthright judgment of contestants’ performances erformances that caught the headlines, nes, but which also contributed considerably onsiderably to the show’s success.

Syco’s yco’s X Factor followed three years ears later with Cowell remaining ng as a judge on American Idol.

The following year saw the launch off Got Talent, Syco’s biggest hit so o far — with 63 original versions around round the world to date, and it was named amed the world’s most successful realityy TV format ever in the 2014 Guinness Book Of Records.

So o did the music business executive, now with over 350 50 million record sales to his name, expect to match this global success when branching out into TV? “No, not at all. It started as a way of finding ng acts for the record company. We had no idea that hat it would go around the world so fast. We have been een lucky working with such a great partner in Fremantle.”

Since ince the phenomenal success of Got Talent and X Factor — today with 49 versions globally — the talent alent show has become a staple of primetime TV the he world over, with members of the public and celebrities ebrities being judged on their skills in dancing, skating, kating, singing and even diving. “Oh yes, diving!

Am I responsible for that? It’s true though, so many

shows now have a panel of judges as part of the format.”

In the last few years Syco has branched out into film, film with One Direction’s This Is Us, directed by Morgan Spurlock, becoming the top grossing film in 80 councoun tries on its release last year. One Chance, a biopic of o Britain’s Got Talent winner Paul Potts followed with The Weinstein Company, the film starring James Corden and Julie Walters, directed by David Frankel and featuring music by Taylor Swift. of And next come two animated films, one o charthem based on the Betty Boop char busiacter — a tough area of the busi is, ness in which to succeed. “It is but it’s something that I have always wanted to do. And we have a great partner in these aniprojects with Australian ani mation studio Animal Logic Logi who were behind the LEGO movie. We took one idea to anthem and they brought an other idea to us, so we’re very hopeful with those projects.”

You m ig ht presume that everything Cowell Cowel touches will turn to not gold, but that was no necessarily going to be the case when he started “We out on Got Talent. “W made a 90-minute pipi lot that was so awful, we started cutting out all the th bad bits and were left with seven minutes,” he said. said “We were working with NBC us at the time and they asked u if they could see anything of o the new format. I said, ‘Yes we’ve we’v got a seven-minute pilot of really great material!’ And they went with it. I’m not sure that any other compacompa ny would have taken that at the time. time At that point I thought the show would never get made.”

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MIPCOM Personality Of The Year, Simon Cowell

One New Pictures Two New Pictures

INDI AN SUMMERS

all3media International congratulates New Pictures on a phenomenal first year of business, with two major drama commissions pre-selling to three continents.

Indian summers is a New Pictures Production for Channel 4, UK and Masterpiece, USA. The Missing is a New Pictures and Company Pictures (an all3media company) production in association with Two Brothers Pictures in association with Playground Entertainment for BBC in association with Starz. Co-produced with BNP Paribas Fortis Film Fund and Czar TV Productions, filmed with the support of the Belgium Federal Government’s Tax Shelter scheme for VRT.

all3mediainternational.com

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News KEYNOTES

Mosko: TV industry stands to gain from fight against piracy STEVE Mosko, president, Sony Pictures Telev ision (SP T), gives the opening MIPCOM Media Mastermind Keynote on Monday, October 13, at 11.30 in the Grand Auditorium. Mosko oversees all television operations for Sony Pictures Entertainment (SPE) worldwide.

During his keynote he will talk about the success of Sony’s global hit series Breaking Bad, and the growth of its international production businesses — including deals with global TV partners including Televisa and with production partners including George Clooney’s Smokehouse Pictures.

Mosko will also focus on piracy, particularly in the context of windowing. “There are a lot of things we need to do internally to help take care of the piracy issue that we’re working on and I think there are a lot of business opportunities that we can take advantage of that we think will also reduce piracy,” he said. “I think it’s a big issue in television and it doesn’t get discussed as much as in the motion picture business.”

SPT president Steve Mosko Another key topic will be the evolution of new digital platforms around the world. “There’s an explosion of subscription and other services, which are really shaking up the status quo,” he said. “The impact of the new digital

platforms is both good and bad. I think there was a concern that the market was shrinking a little, and then came this explosion of subscription services that has created more buyers and more competition. I think that’s great, but at the same time there are people who have been with us for a long, long time and we need to make sure we take care of them.

I mean, look at what’s happening in the US. Netflix comes into the market and it’s not like everybody shriveled up and went away. It heightened everybody’s competition. There’s more great programming on television — there’s plenty to go around.”

As the producer of Breaking Bad, Sony has been at the centre of the global revolution in scripted content.

“We are really in this great golden age of television and for those of us who are lifers in TV business — it’s not that we’ve taken a back seat to the movie business, but I’ll just tell you that it’s a great time to be in TV because the quality of work is just unparalleled. The great people in motion pictures are doing television, and vice-versa. There’s never been a time where TV content has traveled around the world the way it is now.”

MEDIA MASTERMIND KEYNOTE: STEVE MOSKO, PRESIDENT, SONY PICTURES TELEVISION Monday 13 October, 11.30-12.00, Grand Auditorium, Palais 1

Murdoch to focus on future of content and consolidation JAMES Murdoch, co-chief operating officer, chairman and CEO, international at 21st Century Fox, gives a Media Mastermind Keynote on Monday, October 13, at 16.10 in the Grand Auditorium.

Murdoch works across 21st Century Fox’s global portfolio of businesses with responsibility for the group’s television interests, which include the Fox Networks Group in the US and, internationally, its holdings in BSkyB, Sky Deutschland, Sky Italia and STAR India.

In his keynote he will focus on the current state of the industry, creativity in the field of content and the dynamism of the industry at this time. He will also address the future of consumption of content, and recent and ongoing consolidation in the marketplace.

He will also look at international growth of his

own group, with notable examples in STAR India and Fox International Channels.

21st Century Fox recently announced the transfer of Sky Italia and its 57.4% interest in Sky Deutschland to BSkyB to create Europe’s leading pay-TV business. “We have always believed that a combination of the European Skys would create enormous benefits for the combined business and for our shareholders,” Murdoch said. “The transaction underscores our focus at 21st Century Fox on simplifying our structure while delivering significant value to our shareholders.

We look forward to participating in Sky’s exciting next chapter under the leadership of Jeremy Darroch, along with the other senior leaders, colleagues and creative talent across all the European Sky businesses.”

21st Century Fox chairman and CEO James Murdoch MEDIA MASTERMIND KEYNOTE: JAMES MURDOCH, CO-CHIEF OPERATING OFFICER, 21ST CENTURY FOX Monday 13 October, 16.10-16.50, Grand Auditorium, Palais 1

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News Q HOW TO REACH ONE BILLION PEOPLE FACEBOOK presents a workshop on the morning of Thursday, October 16, at 09.30 in the Verriere Californie in the Palais.

The Facebook Workshop: Best Practices Integrating Facebook & Instagram Into Broadcast, will focus on the impact that the two social media sites are having on the television industry.

MIPCOM delegates will hear how to grow their audiences by engaging with the over one billion users of the social networks.

“Facebook is a powerful way for storytellers to connect with their audience. In addition to being a place where people connect with each other [it] is also where people connect with the public voices, news, and video they care about,” said Glenn Miller, Facebook’s head of media partnerships for EMEA. “Through Facebook, broadcasters can increase their reach and engagement at a global scale, participate in real-time conversations, and discover content. And through Instagram, broadcasters can engage with their followers and tap into the rich content generated by the Instagram community.”

KEYNOTES

Sarandos in Cannes as Netflix continues its march on Europe NETFLIX chief content officer Ted Sarandos gives a Media Mastermind Keynote on Tuesday, October 14, at 11.15 in the Grand Auditorium. His MIPCOM address comes at a time when the company is expanding into Europe — a move which includes content.

Ahead of MIPCOM the company announced its first French drama commission, Marseille, a crime series created and written by Carlos co-writer Dan Franck. Shot in France, Marseille will debut exclusively in all Netflix territories late next year.

Marseille focuses on the story of Robert Taro, for 25 years the mayor of Marseille. In upcoming elections he is facing the ambitious young man he chose as his heir, and the fight promises to be merciless.

“Marseille is an ambitious, diabolically smart, fictitious exploration of local politics in one of the world’s most vibrant and fascinating cities,” Sarandos said. “We are delighted to be working with some of the best storytellers in France to deliver a series that erases the line between film and television.”

He added: “We’re producing and bringing out original programming at about as fast a pace as we can and we’re going to continue pushing down that path. We’ll also, I think, always be a very valuable buyer for networks... potentially

Netflix CEO Ted Sarandos being a first-window partner for shows outside of the US.” Ted Sarandos has led content acquisition for Netflix since 2000. Its slate of original series includes House Of Cards, Lilyhammer, Hemlock Grove, Orange Is The New Black, The Killing, the fourth season of Arrested Development, BoJack Horseman and, coming in December, Marco Polo.

What’s next for TV and for Sweeney

Moving on: Anne Sweeney

ANNE Sweeney, co-chair, Disney Media Net works and president, Disney/A BC Television Group, will be interviewed during a Media Mastermind Keynote session on Tuesday, October 14, at 11.50 in the Grand Auditorium. Preparing for a career change she will discuss her time in the industry, the changes it has seen during that time, and where she thinks the industry might be headed next.

Speaking as MIPCOM Personality Of The Year back in 2011, Sweeney predicted: “The more personalised television gets, the less passive the experience will become,” adding: “Television has always been something you watch. Now, increasingly, it’s also something you do.”

It’s the changing nature of television that drew

Sweeney to the industry and that has kept her there for so long — 18 years at Disney alone.

“From the beginning, the television business has always been forward looking — to the next episode, the next season, the next advance in technology that will change everything and take us to a new level. That’s why I was drawn to it in the first place… and why I continue to love it.”

Sweeney will also talk about the shock announcement, earlier in the year, that she is to give up her place sitting alongside those at the top of the $12bn Disney empire, to move into directing.

In Cannes she will also speak on the panel at the Women In Global Entertainment Power Lunch on Monday, October 13.

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News Q FRED GRAVER

KEYNOTES

FRED GRAVER, head of TV creative at Twitter, presents the session TV X Twitter: Where The Audience Comes To Life, on Monday, October 13, at 15.00 in the Grand Auditorium. During the session delegates will learn about Twitter’s partnerships with networks, shows and talent. Graver’s background includes comedy writing and producing on shows including Late Night With David Letterman and hit sitcom Cheers.

What is the secret behind the world’s most-watched drama?

Q AXEL KUSCHEVATZKY MOVIE producer Axel Kuschevatzky gives the Film & TV Crossroads Keynote on Wednesday, October 15 at 10.25 in the Grand Auditorium. Now head of international film production, Telefonica Digital, he is producer of over 30 feature films. Among Telefonica Studios’ upcoming features are Welcome To Harmony starring Matthew Fox, Regression with Emma Watson and Ethan Hawke and Cannes Film Festival contender Wild Tales.

Q JILL WILFERT TURNING Toy Bricks Into Screen Hits is the title of the Media Mastermind Keynote with LEGO vicepresident, global licensing, Jill Wilfert, on Tuesday, October 14 at 12.15 in the Grand Auditorium. LEGO now engages with children in every possible way, while always staying true to its original, physical idea. Hear from Jill Wilfert how she and the brand succeed internationally and in all media.

David Stapf DAVID Stapf, president of CBS Television Studios, and Armando Nunez, president and CEO of CBS Global Distribution Group, are giving a joint address as part of MIPCOM’s Media Mastermind Keynote series.

Boasting more than five decades of television production and international TV distribution experience between them, the pair will discuss The Global Quest For Original Content, the theme of this year’s MIPCOM. “What’s changed for us over the past few years is that we are looking at everyhthing much more globally than just ‘What is going to work for this network?’. Now we’re asking ourselves ‘Is this going to resonate with a global audience?’,” Stapf said. “I think there’s an inherent competitive nature in a lot of artists and that’s what I call our showrunners,” Nunez added.

“They want their painting to be the best, or the most admired or the smartest, or the most beautiful. So I think that quality competition means people work harder, they’re digging-in and really trying to figure out what it is they want to say.”

On the changing environment created by the new OTT services, Stapf and Nunez said that as with everything else, they are looking at the long-term. “The thing about Netflix and Amazon and others is, whenever there’s a new distribution method or new technology in the marketplace, it creates some angst and some apprehension,” Nunez said. “But usually with time the dust settles and there’s an equilibrium in the market. Usually everybody figures out a way to work with each other.”

Armando Nunez An early foray into OTT was with Under The Dome which was made available on Amazon four days after its initial CBS network broadcast. “That set up a whole new landscape for us and while we weren’t producing original content for Amazon, from their viewpoint it kind of was because it was only four days later,” Stapf said. The series was ordered from Spielberg’s Amblin Television and CBS TV Studios with a new financial structure whereby the network would work with a subscription VOD partner.

The result was that the network was able to run event drama during the Summer months when lower-budget fare is usually made available. “It effectively made it a 12-month season instead of a nine-month season,” Stapf said.

But the team’s commitment to longevity remains firmly in place and they have no intention of changing the formula which has made their long-form series the most successful in the world. “Dave and I are going over to the NCIS studios today to have a little celebration because NCIS was recently named the world’s most-watched drama,” Nunez said. “We have a lot of shows that have been on the air a long time and to me that’s a badge of honour, that’s the game we’re in,” Stapf added. ”When you talk about having a show that’s as successful as it is consistent, like CSI — 15 seasons — that’s what we’re all doing this for.”

MEDIA MASTERMIND KEYNOTES DAVID STAPF, PRESIDENT, CBS TELEVISION STUDIOS ARMANDO NUÑEZ, PRESIDENT AND CEO, CBS GLOBAL DISTRIBUTION GROUP Tuesday 14 October, 16.20-17.00, Grand Auditorium, Palais 1

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News KEYNOTES

New markets start to open up as China wins war on piracy IN HIS MIPCOM Media Mastermind keynote on Tuesday, October 14, at 17.10, Sohu. com CEO Charles Zhang will explain how a concerted fight against piracy has given online companies in China the opportunity to offer online video services to rival the country’s state television.

Sohu is an online media group offering multiple services, with online gaming and advertising as key businesses. Its fight against piracy in China, in coalition with a number of Chinese and international companies including Youku Tudou, Tencent Video and the MPAA, has opened up the market for online video across the country. “In the future in China most people will be watching television drama and movies on the internet,” Zhang said. “With the piracy issue resolved all the leading TV sites will now not only be buying content domestically, but also internationally — especially buying from the US and South Korea.”

Sohu CEO Charles Zhang

He added: “China is entering a golden age of creative content.”

As recently as 2009 online piracy in China was rampant, but a concerted war driven by the private sector has had a dramatic effect.

In November 2013, in a joint-action statement

Maker unlocks millennial secrets YNON Kreiz is executive chairman and CEO of Los Angeles-based Maker Studios, among the most successful YouTube multi-channel networks (MCN) to date.

And his access to coveted information about the way today’s youth consume multiplatform on-screen entertainment will shape his Media Mastermind Keynote speech on Monday, October 13, at 12.10.

He told MIPCOM News: “The main theme will be how to leverage Maker Studios’ understanding of the millennial audience with data and insights that we’ve gathered from our networks to create shows that have a high likelihood of succeeding in a multiplatform environment.”

Maker Studios boasts more than 6.5 billion monthly views and 450 million-plus subscribers to its online channels.

But Kreiz has brought his background in legacy broadcast TV (former chairman/CEO of Endemol Group, pioneering international reality-TV producer/distributor; and co-founder of Fox Kids Europe) to the enterprise.

The end result is an operation that focuses

on online video content with multiplatform potential.

This explains why, in March, Maker Studios was successfully sold for more than $500m to the Walt Disney Company. Disney is one of many media conglomerates seeking to convert vast catalogues of traditional-TV shows into multiplatform productions.

It also means Kreiz and Maker Studios’ presence at this year’s MIPCOM confirms multiplatform content is now a serious business.

“Our main objective will be to sell our shows, including six to eight tentpole titles, to broadcasters worldwide,” he said.

Expect to become familiar with Maker Studios’ long and short-form content from YouTube celebrities like PewDiePie, EvanTubeHD, Andrea’s Choice, plus Andrew WK with his much anticipated kids show Meet Me At The Reck.

So, what made Maker Studios an attractive investment for Kreiz in 2012, when the industry was still sceptical?

“I saw the growth of content online,” he said.

“I also saw that many of the traditional players

from Sohu, Youku Tudou and Tencent, Zhang expressed the continuing seriousness of the situation: “The video industry is now at a crossroads. If we let such industry malpractices continue, it would be a devastating blow to the core of the copyright and creative industries.”

In his keynote he will explain how this joint action has worked, opening up a potentially vast market for content. Funded by advertising, Sohu attracts some 400 million views a day, about 50% of those for professionally-produced long-form videos as opposed to UGC. Domestic Chinese content represents around 75% of all viewing, the remainder split mainly between Japanese, Korean and US content — the latter of which represents around 10% of viewing.

“We buy a lot of American content so all the studios are very keen to come to China and meet us because we are big customers,” Zhang said.

“We’re not buying movies now as the business model is not ready yet, but our payment gateway system is under construction, and when it’s ready we will be in the market for movies.”

MEDIA MASTERMIND KEYNOTE A FOCUS ON DIGITAL CHINA: CHARLES ZHANG, CHAIRMAN OF THE BOARD AND CEO, SOHU.COM Tuesday 14 October, 17.10-17.40, Grand Auditorium, Palais 1

Maker Studios’ CEO Ynon Kreiz

struggled to get their heads around the creative process of making such shows, how to create, fund, measure, monetise and market them. Maker Studios was the only [MCN] with a strong DNA that focused on talent, the creative process and ambition to become a next-generation media company.”

MEDIA MASTERMIND KEYNOTE YNON KREIZ, CEO, MAKER STUDIOS Monday 13 October, 12.10-12.40, Grand Auditorium, Palais 1

preview magazine I September 2014 I www.mipcom.com

22

News Q CANNES WELCOMES FIRST-TIMERS

ACQUISITION SUPERPANELS

MIPCOM welcomes some 60 first-time exhibitors to Cannes this year. Stands representing territories include: the Polish pavilion; the Hungarian National Film Fund; the Korea Radio Promotion Association (RAPA); and the Writers Guild of America, West. Other new exhibitors include: Dick Clark Productions, of the US; India’s Buddha Pictures; Arab Telemedia Productions of Jordan; Russian National Film Centre; Italy’s Blue Box Entertainment; and Twitter, France.

What buyers really want

Q INAUGURAL CHANNEL DISTRIBUTION DAY THE GLOBAL Channel Distribution Day, held in association with The Association for International Broadcasting (AIB), is a new MIPCOM programme that brings together the world’s platforms ad channels to identify opportunities in the carriage deal market.

The sessions, in the Esterel on Monday, October 13, are: Market Overview (09.15), with Eurodata TV Worldwide; What Do Platforms Want? (09.30), with Orange and Deutsche Telekom; Cable vs. OTT (10.15), with Red Bee Media, Al Jazeera and Opera Software; Driving The Quest For The Audience (10.50), with EbonyLife TV and Scripps Networks; and AIB presents The Asian Carriage Landscape (14.30) and A Look At Asia: What Do Platforms Want? (15.10).

MIPCOM introduces two Acquisition Superpanels this year: What Do Buyers Want at 12.15 on Wednesday, October 15, and What Do Format Buyers Want at 15.15 on the same day — both are in the Grand Auditorium, organised and chaired by Anna Carugati of World Screen.

Sasha Breslau, head of acquired series for ITV in the UK, one of the panelists on the first Superpanel, buys across all of ITV’s channels.

Her focus at the moment is ITVBe, the female-skewed channel launched this October.

“In Cannes I am able to meet people from the US and Canada and also Australia and New Zealand — all the English-speaking territories. I do meet some European distributors too, and there was an instance a few years back where we dipped a very tentative toe into a foreign-language drama and I bought the Danish version of Those Who kill for ITV3.”

She added: “It’s just a really interesting time at the moment, because digital channels are competing for first-run rights on network series and you’ve got the OTT providers. All these platforms make the landscape incredibly competitive. But we’re a free-to-air service, so the paid platforms like Netflix actually present partnership opportunities. We quite happily look to share on scripted content.”

Breslau says that while she doesn’t have specific targets in Cannes, she does have a shopping list. “I’m looking particularly for female skewing, non-scripted reality shows, so bright,

Sasha Breslau, buying for ITVBe characterful series that will sit alongside the likes of Real Housewives and TOWIE and the other commissions. It’s about making sure I’m aware of everything and then hopefully finding stuff which I can then come back and investigate further and then do the deals on. MIPCOM is great for that. I have found out about series I didn’t know about in Cannes and then gone on to secure them for the channel later.”

Breslau appears alongside panelists Paulo Mendes of Globo, Stream Co (Nine)’s Les Sampson and Sundance TV’s Christian Vesper.

They will each receive the World Screen Content Trendsetter Award following the session.

The Format Trendsetter Award will be presented to the four panelists on the Formats Superpanel: CTV’s Phil King, TV2 Denmark’s Anette Romer, Viasat Broadcasting UK’s Merrily Ross and Keshet Broadcasting’s Ran Telem.

Speaking up for women and Africa

Mo Abudu: ‘Africa’s Oprah Winfrey’

MO ABUDU, CEO/executive chairman of Nigeria-based EbonyLife TV, is a speaker at the 2014 MIPCOM’s Women In Global Entertainment Power Lunch on Monday, October 13.

Abudu, who grew up in the UK and Nigeria, has been hailed by Forbes magazine as the first African woman to launch a pan-African TV network, selected by The Hollywood Reporter last year as one of the 25 Most Powerful Women in Global TV, and voted 2014 Entrepreneur of the Year by WomenWerk, the New York-based Ivy League-inspired organisation.

Unsurprisingly, Abudu, who is also the presenter of the internationally syndicated Moments With Mo chat show, has

added the tag ‘Africa’s Oprah Winfrey’ to her credentials.

“I am representing EbonyLife TV, female executives in our company, African female practitioners, as well as would-be African female practitioners in the media and entertainment industry at large,” she said of her participation in the Power Lunch. “This is the age of women empowerment and advancement in the media as well as in every other viable sector of the African and global economy. Women must rise and take their place as equal partners.”

The Women In Global Entertainment Power Lunch is sponsored by Lifetime Networks.

Abudu is also a speaker and partner for the inaugural Global Channel Distribution Day.

preview magazine I September 2014 I www.mipcom.com

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News INAUGURAL MIP FUTURE OF FACTUAL MEGASESSION

‘Democratisation of digital’ is good news for factual TOP players driving the next generation of online and linear factual programming will gather together Tuesday, October 14, at 14.30 in the Grand Auditorium to discuss what is driving the next generation of factual at MIPCOM’s first MIP MegaSession: The Future Of Factual.

Kicking off the session will be filmmaker and founder of the Warrior Poets banner Morgan Spurlock. Since the launch of Super Size Me a decade ago, Spurlock and Warrior Poets have been on the cutting edge of digital content, involved in Hulu’s first original series A Day In The Life, to Yahoo’s Failure Club, to Mansome, to Inside Man for CNN and more recently, 7 Deadly Sins for Showtime Networks. This year Warrior Poets’ two landmark deals, one with Maker Studios and another with Associated Press (AP), have staked out the company as a leader in the future of factual.

Spurlock’s keynote will address, among other things, the “democratisation of digital production and distribution.” Good stories will

always win,” Spurlock said. “But because of the revolution in distribution, someone like myself now has the ability to work with a multitude of platforms and distribution outlets.

I now have even more freedom to pick and choose where my projects can go. “ Following the keynote, Warrior Poets partner and producer Jeremy Chilnick will moderate a conversation with Michael Klein of Conde Nast Entertainment [CNE] and Hamish Mykura of National Geographic Channels International. Chilnick says that as a company, Warrior Poets is completely platform-agnostic but because of the digital evolution, “Every story now has a chance to be created and distributed on the medium that best serves the narrative”.

CNE rolled out its digital video network two years ago and now has more than 100 series.

“When it comes to storytelling, we are living the future right now,” Klein said. “There will always be a strong driving force to fund and make factual TV,” Mykura said, adding that

Morgan Spurlock

audiences will always value thought provoking shows, good storylines and strong characters.

Bollywood superstar, filmmaker and television presenter Aamir Khan will wrap up the Megasesson with a conversation with Spurlock on the future of storytelling. With more than 44 cinema acting credits alone to his name, Khan is one of most popular and influential film and TV figures in India today.

FUTURE OF FACTUAL MIP MEGASESSION: The global quest for original reality Tuesday 14 October, 14.30-16.00, Grand Auditorium, Palais 1 Opening Keynote: Morgan Spurlock, Writer, Director, Producer and President of Warrior Poets

Film and TV ‘have flipped value systems’ SCREENWRITER, director and producer M Night Shyamalan features in a line-up of creators, producers and commissioners — including actor Matt Dillon, BBC Worldwide’s Ben Donald and showrunner Glen Morgan.

They will share their insights in the Film & TV Crossroads series of case studies, on Wednesday, October 15 at 11.15 in the Grand Auditorium.

Night’s films over the years have made more than $2bn worldwide. Among them, 1999’s The Sixth Sense, starring Bruce Willis — who also stars in Night’s upcoming 2015 release Labour Of Love.

But like so many of cinema’s leading names, recent years have seen Night drawn to television, and his debut is the forthcoming series Wayward Pines — which commentators have said will conjure up memories of David Lynch’s pioneering 1990 cult series Twin Peaks.

Night said that for years he was wary of the medium of television — that in comparison with cinema it was more about commerce and less

Matt Dillon

about art. But as great work started to appear on the small screen he slowly opened up to the idea. “I was waiting for it to be very organic and luckily for me that moment happened. This pilot came in... and when I heard where it was going and what the story was, I said ‘Wow!’ and without thinking I said, ‘I’m in, let’s go!’ And within 48 hours we struck a deal.”

Night said television “started turning with The Sopranos. In many ways TV and film have flipped their value systems, which has been a fascinating thing to watch. Back in the day, with Five Easy Pieces (1970), the most important thing was that the film was resonant, as opposed to its sellability. Now, sellability is by far the most important thing in film. In TV it used to be ‘We need as many eyeballs as possible!’ and so sellability was primary and the more passive the storytelling the better. But that’s not the case any more. From The Sopranos on, to Mad Men to Breaking Bad, all the great shows, there’s been a move towards resonance. Now even the networks are saying ‘We want resonance.’ As artists, that’s what we want to hear.

That’s all we ever wanted on our side.”

FILM & TV CROSSROADS PANEL FEATURING M.NIGHT Shyamalan and Matt Dillon FROM CULT TO MAINSTREAM: FILM & TV CROSSROADS CASE STUDIES Wednesday 15 October, 11.00-12.00, Grand Auditorium, Palais 1

preview magazine I September 2014 I www.mipcom.com

26

News INTERNATIONAL DRAMA SCREENINGS

©New Pictures & Company Pictures with all3media international

The MIPCOM Preview highlights some of the new dramas from around the world being screened at the market this year James Nesbitt stars in The Missing.(All3Media)

The Missing THE MISSING is a Starz/BBC co-production, distributed by All3Media, about a man whose son is abducted during a family vacation in France. “The whole story unfolds over two timelines eight years apart — and over at least two different countries — the UK and France,” said series executive producer Willow Grylls, of production company New Pictures. “The story switches between past

and present throughout — tantalising us with clues in one time period and then cutting to the other just as we are about to find another. It allows us to deliver a much more thrilling ride for the audience than just following events in a linear way.” Grylls added: “Once you get half way through the series you realise that this show just isn’t going to go to places you expect — it wrong-foots you, the world

opens wider and wider, and episode eight takes us to a place that is mythic, arresting and painfully human. Add to that a great cast, a primetime BBC1 slot, a Starz co-production and TF1 pre-sale; key broadcasters have already seen the value of the show.”

Tuesday 14 October - 11.00-12.30 Auditorium A

Rescuing Santa RESCUING Santa is a six-episode family holiday musical, described as “a timeless story filled with hope, friendship and courage”. Santa has disappeared and four children, invited as special guests to Christmas Wonderland, might be the only hope of saving Christmas. The series is created by Aito Media, Small World IFT and Yle, who together explain an unusual format: “Rescuing Santa can be acquired as both a finished programme and a format, with the latter accompanied by full scripts and a stateof-the-art CGI/virtual set and turnkey production hub in Finland.” The format is distributed

by Small World IFT and the completed series

by Yle Sales.

Tuesday 14 October - 15.30-17.00 Auditorium K

preview magazine I September 2014 I www.mipcom.com

Rescuing Santa (Small World IFT/Yle Sales)

28

News ©Cineteve

Witnesses FRANCE’s Newen Distribution has acquired the rights to Witnesses, a six-part drama from France 2. “Blending mystery and investigation, strong, complex characters, two captivating lead actors and sophisticated direction and camerawork, Witnesses (Les Temoins) represents what’s best in French TV series today,” said Laetitia Recayte, managing director of NeweN Distribution. Recayte was also behind the international success of French TV series Spiral (Engrenages).

Tuesday 14 October - 18.0019.30 - Auditorium K

Witnesses (Newen Distribution)

The Librarians FOLLOWING the successful TNT movie trilogy The Librarian, the TNT network is launching new drama series The Librarians.

Filmed on location in Oregon, the 10-episode series is produced by Electric Entertainment which also produced the trilogy.

L ead i ng the c a st is Rebec c a Rom ijn in the role of Eve Baird, a counter-terror ism agent responsible for protecting The Librarians, an ancient organisation of librarians hidden beneath the

Metropolitan Public Library.

“The Librarians is a series based on the three very popular Movies of the Week starring Noah Wyle, which all did very well internationally,” said Electric Entertainment’s Sonia Mehandjiyska. “It’s a branded series that appeals to the whole family, and together with the light, fun tone of it, The Librarians is the perfect primetime content.”

TNT head of programming Michael Wright added: “The Librarian movies have been a

© 2014 Turner Entertainment Networks, Inc. A Time Warner Company. All Rights Reserved

The Librarians. Photo by Scott Patrick Green

huge success for TNT and we jumped at the opportunity to build a series around the incredible world Dean Devlin and his creative partners created.”

The trilogy began in 2004 with Quest For The Spear and continued in 2006 with Return To King Solomon’s Mines and Curse Of the Judas Chalis in 2008.

Monday 13 October - 9.30-11.00 Auditorium K

preview magazine I September 2014 I www.mipcom.com

30

News

Kingdom ENDEMOL Studios is bringing Kingdom to MIPCOM for a Cannes screening.

Kingdom is a 10-part series about family, loyalty, ambition, glory, lust, betrayal and the needs and desires that inspire people to greatness or drive them to unthinkable treachery. The series takes place in Venice, California and is set against the backdrop of Mixed Martial Arts (MMA).

The Kingdom cast is led by Frank Grillo (Captain America: The Winter Soldier, Homefront, Warrior), who returns to the ring to play Alvey ‘King’ Kulina. Nick Jonas plays Nate, Alvey’s youngest son and the prized fighter at the gym. Kingdom is an Endemol Studios production for Directv.

Tuesday 14 October - 12.30-14.00 Auditorium K

Kingdom (Endemol Studios)

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32

News Q MORE BUZZ FROM GLOBAL AGENCY TURKEY’S Global Agency – the distribution company with the slogan Content That Creates Buzz – is platinum sponsor of this year’s MIPCOM conference programme.

Global Agency’s Izzet Pinto Delegates will know the company not only for the controversial nature of some of its formats, but also its marketing stunts around the Palais – which have regularly seen actors in outrageous costumes publicising new shows from the company.

And according to CEO Izzet Pinto, this year will be no different.

“MIPCOM will be our best market ever,” Pinto said. “We’ll be attending with 20 executives and a very strong catalogue with brand-new drama series and formats. And once again we will employ guerilla marketing and our promotions will stand out.”

This year the company has had some success with its Turkish series in Latin American and Asian markets. Bestsellers worldwide from the company include Magnificent Century, 1001 Nights, Keep Your Light Shining, Perfect Bride and Shopping Monsters – Pinto said “has enjoyed phenomenal success in Europe”.

Keep your eyes open around the Palais for Global’s next guerilla stunt.

Q JAPAN COMES TO CANNES AFTER the success of last year’s J-Creative Party, the office of the Tokyo International Drama Festival will once again offer buyers the opportunity to discover the best of Japanese content. The J-Creative Party, on Tuesday, October 13 at the Majestic Hotel, will feature a showcase of drama, animation and new TV formats from Japan, and a presentation of the MIPCOM Annual Buyer’s Award for Japanese Drama.

International buyers attending the party will also enjoy authentic Japanese food and drinks with a live performance of traditional Japanese comic theatre known as kyogen.

South Africa’s indies target the international market in Cannes THE ASSOCIATION for Transformation in Film and Television (ATFT) is back at MIPCOM as host to the 2014 South African Indies pavilion, for the second time.

The ATFT’s stated purpose is “to empower, develop and inspire black individuals, as well as black-owned companies, and grow the South African film, television, animation and transmedia industries”. The organisation’s targets include: “An overall growth of 200% of South African content on local and international platforms of which 80% is made and sold by black individuals, and black-owned companies by end 2018”.

With funding from South Africa’s Department of Trade and Industry to assist with export and marketing, ATFT hopes MIPCOM will move South Africa closer to these goals.

“We’re going there to open our eyes to what is needed to break into the international market,” said Pascal Schmitz, director and public officer at the ATFT. At a time when commissions from South African broadcasters are limited, up-and-coming producers need the international sector for co-production and pre-sales deals.

“Ironically, our home market is the secondary market for us,” said Schmitz, who is also CEO of Johannesburg-based production firm Amariam Pictures. “Because our broadcasters buy [principally] international content, which is cheaper, the international market is a priority for us.”

Pascal Schmitz

Pavilion offers insights into Nigeria THE NIGERIAN Pavilion gained such positive results from its debut MIPCOM last year, it is back, bigger and bolder, said Emeka Mba, director general of the National Broadcasting Commission (NBC), Nigeria’s broadcast regulator.

“We are hoping to change the conversation again this year,” Mba said. “It had always been about us coming to MIPCOM to buy content, but we are now repositioning for other countries to come and buy Nigerian content so that rather than just being consumers, we can also be exporters of Nigerian content to the rest of the world.”

Last year’s matchmaking and

networking events to meet buyers, sellers and other business partners led to constructive trade dialogues for the NBC-organised pavilion.

This year, several of 2013’s Emeka Mba participants — which included EbonyLife TV, USNigerian production group AK Media Concepts, and A frinolly apps develop er FansConnectOnline — plus government representatives plan to build on those achievements.

A Globa l Hotspot session, Expanding Horizons In Nigeria: The Nollywood Case Study takes place in the Californie, in the Palais des Festivals, at 09.30 on Wednesday, October 15.

preview magazine I September 2014 I www.mipcom.com

34

News Q ISRAEL FUND IS BACK WITH NEW FORMATS Alon Dolev

ISRAEL’s TV Format Fund, a collaboration between entrepreneur Alon Dolev and the Rubicon Business Group, came to MIPTV this year with just one format for sale. At MIPCOM it arrives with five — all unscripted and including game shows and reality formats. The Israeli company invests in the production of TV formats and distribution at an international level.

“In our opinion the success of Israeli formats we witness on the international format markets is just the tip of the iceberg of the capabilities which one can identify in Israel,” Dolev said.

“There is a reason why Israel has already been defined as a start-up nation and today we are also using the term ‘format nation’.”

With just two partners and little more than six months in existence, the Fund is now looking for new investment. “At last there is a capital fund, a financial body which considers a TV format as a marketable product for investment,” he said. “I view every format as a start-up product. There is no doubt in my mind that soon we are going to see the fruits of these investments. Our biggest challenge now is to convince business firms to join the Fund and to see what I can see after 20-years’ experience in the field of the Israeli media.”

Dolev added: “I believe in each and every one of our formats, certainly at the content level, but no less as a high yielding product at an international level.”

PROFILE

Armoza sets out global strategy AT MIPTV a series of events examined the rich wave of creativity coming from Israel. Six months on, Armoza Formats’ Avi Armoza spoke to the MIPCOM Preview about new developments at his company and Israel’s newfound place in the international industry.

Flagship content for Armoza Formats at MIPCOM includes I Can Do That!, a primetime entertainment show that takes a group of competitive celebrities and challenges them to perform new, unique and show-stopping live acts each week to prove that there’s nothing they can’t do. The company’s CEO Avi Armoza describes it as ‘”a show that will win the evening for our partners”.

It was recently commissioned for Russia’s Rossiya1, and has been commissioned for a second season in Italy and Brazil.

I Can Do That! is one of company’s many shows that Armoza has described as “made for the viewer. We live in an age where our audiences are no longer satisfied with passively consuming the content we put in front of them,” he said. “They are used to giving their own opinions and creating their own content — in short, they are used to influencing the world around them. They are the content generation.”

Everyone, everywhere “is now a content generator”, Armoza said, “which is reflected in the company’s new primetime studio game show The People’s Choice.” Developed in partnership with France’s TF1, The People’s Choice tests how well viewers know their own country.

“Presented with the most trending, thought-provoking and entertaining dilemmas, participants must guess what the entire country would choose — a week without showering or without their smartphone? World peace or $10m? And it’s open to everyone — not only can the whole nation play, but everyone who does also has the chance to win cash prizes.”

The teaming with TF1 is illustrative of Armoza’s strategy of tapping into the global formats boom through international partnerships. “The formats industry has been suffering from creative stagnation over last few years, and in this current market we believe that Avi Armoza the ability to progress

lies in connecting capabilities between cultures and creativity,” he said. “We pride ourselves on bringing Israeli innovation and creativity to the market, and strongly believe that joining with key partners across the industry and different regions enables us to take this one step further in creating the next generation of content.

“We are partnering with the top broadcasters of both France and French Canada, which importantly allows our partnerships to revolve around a unique creative dialogue and the ability to codevelop high-end concepts.,” he added. “China is a hugely growing formats market and we saw the potential there, which led us to partner with leading Chinese broadcaster, JSBC. We see that this need for the next big primetime entertainment show is ongoing, and are now in the process of production in 15 countries. We see huge potential in the CEE, LatAm and Asian markets and we are focusing on these accordingly, and of course continue to learn about these cultures the more we work with them. We are also excited to be working very intensively with a major US network to launch I Can Do That! in America in early 2015.”

The ever-increasing demand for drama worldwide is serving to grow the scripted side of the business. “It is within [high-concept dramas] that you see the market for both formats and ready-mades, as broadcasters are more open to the success of the original. We have seen this in particular with the success of the suspense drama Hostages, which has now been taken in its original version as a ready-made in UK, France, French Canada, Australia and throughout the CEE region,” Armoza said.

Another scripted success is The Odds, a romantic comedy that follows a man who leaves his wife for another woman, and then tries everything to win her back when he realises he’s made a mistake. “It’s both touching and humorous in its honest portrayal of the situation, and has created a stir in Canada with its success on TVA — three seasons have already aired to an impressive 30% share, a fourth season is currently in production and it was nominated for four [FrenchC a nadia n] Gemeau x awards.”

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Product News 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 is some of what’s on sale this year BOMANBRIDGE MEDIA SINGAPORE-based Bomanbridge brings a

FIRST HAND FILMS NEW FILMS at MIPCOM from Switzerland-based First Hand Films include: Almost Friends (1 x 58 mins), which features two girls who correspond online, one Jewish and the other an Israeli-Arab whose father is from the occupied territories; and 1989, a featurelength documentary that recreates the collapse of the Iron Curtain in Hungary.

13-part series featuring the glamorous globe-trotting chef Kelly Randall. In Haute & Saucy Randall infuses modern, healthy cooking with international influences, to present dinners for friends and family.

Haute & Saucy (Bomanbridge Media)

BEYOND DISTRIBUTION AT MIPCOM Beyond Distribution presents

NIMBLE PRODUCTIONS NEWLY formed Canadian production company Nimble Productions is at MIPCOM with TV limited-series rights to Ann-Marie MacDonald’s bestseller Fall On Your Knees. Set largely in a Cape Breton coal-mining community and covering four generations, MacDonald’s darkly amusing first novel focuses on the Piper sisters and their relationship with their father.

SHINE INTERNATIONAL TWO TITLES are prioritised at MIPCOM

Dark Temptations, a series that looks at weird obsessions that turn deadly, including a married man with a shoe fetish and a voodoo priest who uses black magic to entrap women.

DARO FILM DISTRIBUTION TOPPING the MIPCOM catalogue for Monaco-based Daro is a range of female-skewed thrillers. Titles include Buried Secrets, Truth & Lies and Stolen Daughter.

by Shine International. Grantchester is a six-part drama that focuses on Sidney Chambers, a charismatic, charming clergyman who turns investigative vicar when one of his parishioners dies in suspicious circumstances. Gracepoint is a new 10 x 60-minute series starring David Tennant that expands on the characters from UK crime drama Broadchurch, this time featuring the story of a young boy found dead on an idyllic beach in a small California seaside town.

SONAR ENTERTAINMENT NEW YORK’s Sonar Entertainment is at MIPCOM with: Shannara (10 x 60 mins), based on fantasy novels by Terry Brooks; South Of Hell (8 x 60 mins), a supernatural thriller set in Savannah; Taboo, a drama set in 1813 and starring Tom Hardy as a rogue adventurer who returns from Africa with 14 ill-gotten diamonds; and The Fixer (2 x 120 mins), about an investigator with the National Transportation Safety Board who claims that a conspiracy of fixers are behind the worst natural disasters, rigged to manipulate the stock market.

Dark Temptations (Beyond Distribution)

GLOBAL TELEMEDIA HIGH -definition action-sports shows are brought to MIPCOM by Boston’s Global Telemedia, including one-hour, half-hour and five-minute shows, and clips. Subjects include free-skiing, extreme-skiing and snowboarding, skateboarding, surfing, BMX, BASEjumping, motocross, fishing and hunting.

The Fixer (Sonar Entertainment)

Grantchester (Shine International)

TF1 CALL MY Agent (6 x 52 mins) is a Parisbased comedy drama, brought to MIPCOM by TF1, about a group of talent agents striving to get contracts for their prestigious clients. Cecile de France.

Jeanne Moreau and other top actors make guest-star appearances as themselves. It’s one impossible situation after the next as the agents juggle their professional and personal lives.

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Product News OHM.TV REALITY format Musicbiz (13 x 60 mins) is brought to MIPCOM by Cologne, Germany-based ohm.tv.

Over the course of 13 episodes 24 contestants fight for a chance to kickstart their careers, including singer/songwriters, stylists, filmmakers and producers. Divided into three teams they record a song, style the artist and produce the video, culminating in the release of three songs to iTunes. The team that delivers the highest selling single will be crowned winners.

ATRESMEDIA TELEVISION NO IDENTITY (9 x 90 mins) tells the story

SMALL WORLD IFT LOS ANGELES- and London-based formats

of Maria, a wealthy lawyer who discovers that she was adopted. She begins an undercover search for her roots, and is drawn into a criminal underworld, ending up in prison in China.

After more than 10 years she escapes and with a fake identity embarks on revenge. The drama is brought to MIPCOM by Spain’s Atresmedia.

company Small World IFT is launching one-hour reality format All-Star Lifeguards to the international market at MIPCOM. Debuting on air in Finland and set in a scenic Thailand production hub available as part of the package, All-Star Lifeguards follows 10 celebrities as they train, competing in missions that measure fitness, courage and stamina.

No Identity (Atresmedia Television)

All-Star Lifeguards (Small World IFT)

PILOT PRODUCTIONS LONDON’s Pilot Productions is launching Great Railway Journeys Of Europe (4 x 26 mins) at MIPCOM. The HD series follows historian Julian Davidson from Norway to the Italian Adriatic coast, sampling some of the most dramatic railway journeys while taking in the sights of some of the most alluring continental cities.

AZTECA A NEW telenovela at MIPCOM from Mexico’s Azteca is Las Bravo/Girls Only (120 x 60 mins), the romantic story of wealthy Valentina Bravo and her three daughters whose world falls apart with the death of their patriarch. Left with debt they open a strip club for women, and in the process find love and learn independence.

Great Railway Journeys Of Europe (Pilot Productions)

COMTRANSLATIONS INTERNATIONAL subtitling and translation agency, ComTranslations, is at MIPCOM to showcase their services, including translating drama scripts into multiple languages for dubbing, subtitling files prepared specifically for release on iTunes and Netflix, and translations of production schedules, bibles and sample episodes for international format sales divisions, and voiceovers. The agency has bases in Los Angeles, Madrid, India and Hong Kong.

ALASKA TV TWO TITLES are prioritised by the UK’s

OFF THE FENCE AMSTERDAM -headquartered Off the

Alaska TV at MIPCOM. Blinging Up Baby (1 x 60 mins), brings stories of excess spending on young children, a market estimated at five billion pounds a year. Barging Around Britain With John Sergeant (8 x 30 mins) is a travleogue following eight canal journeys from Somerset in the south to the Crinan Canal in the Hebrides.

Fence is in Cannes with a catalogue including: Air Warriors (3 x 60 mins/HD) which takes an in-depth view into three influential aircraft of modern times; Animal Movers (19 x 30 mins/HD), which follows the daily operations of Pacific Pet Transport; Castle Builders (3 x 60 mins/HD) which looks at the history of European castles; David Tutera’s CELEBrations (8 x 60 mins/ HD), featuring the American celebrity party planner; Tareq Taylor’s Nordic Cookery (30 x 30 mins/HD); and UFO X Files (6 x 60 mins/HD).

Blinging Up Baby (Alaska TV)

Air Warriors (Off the Fence)

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Freedom is worth fighting for A brand new 26 x 30’ HD sci-fi series for 8 – 12 year olds See us at MIPCOM # P-1.B89

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Product News ARROW MEDIA A TOP priority at MIPCOM for the UK’s

DISTRIBUTION360 THREE series featuring renovation

RAYS OF SUNSHINE MAJORCA Is Not Magalluf! is a

Arrow Media is Animal Fight Night, which has premiered on Nat Geo Wild in the US before rolling out internationally.

The show looks at some of the biggest and often surprising fighters of the animal world, dissecting the science behind the tactics and bodily weapons that various creatures employ, using a range of footage, CGI and pop-up infographics. Other natural history content offered includes Building Penguin Paradise and Dogs: Their Secret Lives.

specialist Bryan Baeumier are offered to the international market by Torontobased Distribution360: Disaster DIY (26 x 30 mins), about fixing DIY mistakes; House Of Bryan (29 x 30 mins), about building a dream vacation home; and Leave It To Bryan (91 x 30 mins), in which he helps homeowners make the right decisions about their renovations.

The company also brings Sex, Fame And Murder (1 x 60 mins) which looks at the back story of alleged murderer Luka Magnotta.

documentary looking at the real story of the island of Majorca, its cultural wealth, gastronomy and history.

Magalluf is a party resort for Northern Europeans, but alcohol consumption has given rise to negative publicity. The documentary aims to show the beautiful island in its best light.

Majorca Is Not Magalluf! (Rays Of Sunshine)

VENEVISION PRODUCTIONS PRODUCER of Spanish-language content

Animal Fight Night (Arrow Media) Disaster DIY (Distribution360)

INCENDO CANADIAN producer and distributor Incendo brings a range of content to MIPCOM, including: drama series Versailles, a France/Canada coproduction; drama series in development, Ice; and TV movies Forget And Forgive, Trigger Point, Kept Woman, Custody and First Response.

TVS ASIA TVS ASIA , in association with Sunrise Entertainment is showcasing content at MIPCOM in the Singapore Pavilion. A top priority is the second season of The Toque 12 (16 x 30 mins/HD), a guide to Singapore’s most exotic and exclusive culinary venues, hosted by restaurateur Phil Davenport. Season one of The Toque 12 featured Bali’s 12 most elite restaurants.

VISION FILMS LOS ANGELES -based Vision Films brings a slate of documentaries to MIPCOM, including: Comedy Warriors, profiling five severely wounded Iraq/Afghanistan veterans as they work with four top comedians to create their own standup routine; Finding Happiness, following an investigative journalist as she visits a spiritual community; Femme: Women Healing The World is a celebration of women who are transforming and healing global society, executive produced by Sharon Stone; Beauty And The Breast, about breast cancer; and Divorce: A Journey Through The Kids’ Eyes.

for the US, Venevision, Productions, is highlighting at MIPCOM its new multiyear contract with successful DJ Enrique Santos to host a new television show for the UniMas network. The Venezualan company has also finished production of DeMente Criminal (Criminal MasterMind), a crime story featuring an international cast in the story of a respected psychiatrist who turns about to be an abuser and murderer.

Enrique Santos

NEW DOMINION PICTURES TWO TITLES top the MIPCOM slate for New Dominion Pictures. Docudrama A

The Toque 12 (TVS Asia)

Haunting (69 x 60 mins) features first-person accounts and dramatic recreations of paranormal experiences. The US company also brings FantomWorks (18 x 60 mins), following Dan Short and his team who run the largest automotive restoration shop in America. Every week old cars come with new challenges including irate owners, cost over-runs, parts problems and walkouts.

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Product News ATLANTIC PRODUCTIONS DAVID Attenborough’s Conquest Of The

COTE OUEST IVORY Coast-based specialist in African

Skies (3 x 60 mins) explores the world of animal flight, combining new 3D macroscopic and high-speed filming techniques, and is debuted at MIPCOM by the UK’s Atlantic Productions. The company also brings Inside The Commons (4 x 60 mins), which for the first time goes behind the scenes of one of Britain’s greatest institutions.

content, Cote Ouest, is highlighting two 10-part seasons of Ghanaian series Adam’s Apples at MIPCOM. The story centres on a group of modern Ghanaian women who work through family struggles, life and personal battles to achieve happiness and success in their lives. The second series includes a honeymoon and an unexpected kidnapping. The company also brings animated film Pokou Princess Ashanti (1 x 65 mins), which is available in French and English.

David Attenborough’s Conquest Of The Skies (Atlantic Productions)

EARTH TOUCH MEGA Trains (6 x 52 mins) travels the world profiling the trains that carry extraordinary loads: some prevent the economic isolation of remote territories, some bring together two countries or peoples, and others brave the elements and cross hostile territory. The series is debuted at MIPCOM by Durban-based factual producer and distributor Earth Touch.

Adam’s Apples (Cote Ouest)

GRB ENTERTAINMENT AMERICAN M.C. looks at what it takes to

PASSION DISTRIBUTION THE UK’s Passion Distribution returns to

create a motorcycle club with a biker boot camp that travels across the South West meeting notorious MC Hells Angels as well as celebrity bikers. Other content offered from the US’ GRB Entertainment includes: Chug, which follows Zane Lamprey around the world as he experiences local customs, food and alcohol; Twisted Tales Of My 9 To 5, delving the depths of office gossip; and Cropsey, in which filmmakers Joshua Zeman and Barbara Brancaccio examine the urban legend of a child kidnapper who escaped a mental institution.

MIPCOM with a slate including: World’s Worst... (4 x 60 mins), featuring survivors recounting stories of staring death in the face; from Passion’s exclusive relationship with The Weather Channel, So You Think You’d Survive (8 x 60 mins), looking at the choices you need to make if Mother Nature wreaks havoc; The Weather Channel’s Tornado Alley (12 x 60 mins); Cold Water Cowboys (10 x 60 mins), which follows four fishing boats; Prospectors (10 x 60 mins); Selling Houses With Amanda Lamb (20 x 60 mins); and documentary All In: The Poker Movie (1 x 60 mins/1 x 80 mins).

Prospectors (Passion Distribution)

CINEFLIX RIGHTS UK DISTRIBUTOR Cineflix brings two seasons of Brother Vs. Brother (12 x 60 mins/HD) to MIPCOM. Two brothers specialised in renovation each mentor a team of home-improvement experts who compete in weekly challenges to raise property values in comparable homes. The weakest link from the losing team is eliminated until only one remains, wining a $50,000 cash prize.

Brother Vs. Brother (Cineflix Rights)

American M.C. (GRB Entertainment)

SECUOYA CONTENT DISTRIBUTION SPAIN’s Secuoya brings new formats, documentaries and factual entertainment to MIPCOM. Included on the slate are: reality adventure show, Surviving The Wolfpack; and Tribes (4 x 60 mins) a documentary series looking at the everyday lives of four African tribes in North Kenya Sudan and Ethiopia.

JUST FOR LAUGHS COMEDY specialist Just For Laughs is at MIPCOM with: the new series of hidden camera show Just For Laughs Gags (13 x 60 mins), bringing the total to 276; compilations Just For Laughs Gags 15th Anniversary Specials (20 x 30 mins); Just Kidding (13 x 60 mins), targeting six- to 12-year-olds; Montreal Just For Laughs Comedy Festival; and format Les Pecheurs.

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Product News ARTE HIGHLIGHTS from the ARTE slate include:

TELEMUNDO DRAMA series brought to MIPCOM by

ZODIAK RIGHTS ZODIAK Rights returns to MIPCOM with:

Happiness Is On The Plate (15 x 26 mins), a show blending travel, cooking, nature and environmental responsibility; Looking For The Hobbit (5 x 26 mins), about the legends that inspired Tolkien; and The Balmain Style (1 x 52 mins), about the Parisian couture house.

Telemundo include: Senora Acero, about a woman who builds a money laundering empire not realising someone from her past is in pursuit; Los Miserables, inspired by the Victor Hugo novel, about a woman accused of a crime she did not commit persecuted by the man she loves; drug-dealing adventure El Senor De Los Cielos; and Reina De Corazones, a love affair against the backdrop of gem trafficking.

The Florida-based company also brings musical competition Yo Soy El Artist.

drama series Occupied (10 x 60 mins/ HD), a thriller in which Russia has staged a silk-glove invasion of Norway to control its oil resources. The Londonheadquartered company also highlights factual series The Operatives (8 x 60 mins), in which eco-warrior Pete Bethune and his team of former military commandos bring poachers and environmental criminals to justice.

Happiness Is On The Plate (ARTE)

GRAVITAS VENTURES GRAVITAS brings a range of documentaries and independent films to MIPCOM. The US company is prioritising worldwide TV rights to The Rise And Rise Of Bitcoin, a documentary available in 18 languages, about the leading digital cryptocurrency that has been gaining popularity since its creation in 2009.

The Operatives (Zodiak Rights)

A + E STUDIOS INTERNATIONAL MIPCOM sees the launch of A + E Studios International, a division of A + E Networks that distributes and finances scripted and movie entertainment.

Leading the line-up are two titles. UnReal (10 x 60 mins) is a dark comedy that goes behind-the-scenes at the production of a dating competition programme. Sons Of Liberty (6 x 60 mins) is a drama that follows a radical group of young men at the beginnings of the American revolution.

NOVOVISION PARIS -based Novovision brings its slate of clips programmes to MIPCOM, including: non-dialogue gag show Pop Corn New Generation (600 x 26 mins); Pop Circus (26 x 22 mins/HD); Pop Magic (26 x 22 mins/HD); Pop Corn Xmas (13 x 22 mins/HD); Mad Animals (26 x 22 mins/HD); Pop Extreme Sport Special Summer (12 x 22 mins); Pop Extreme Special Winter (12 x 22 mins); and season two of Yallah Nadhak (15 x 22 mins), a non-dialogue hidden-camera show produced for the MENA region.

Senora Acero (Telemundo)

RECORD TV NETWORK SHOWS prioritised at MIPCOM by Brazil’s Record TV include two telenovelas: Sins (176 x 45 mins), about the rivalry between two families of bankers during the 1970s; and Victory, a story that mixes controversial issues with humour. A new release is HD documentary series Miracles Of Jesus (18 x 50 mins).

Pop Corn New Generation (Novovision)

Un-Real (A + E Studios International)

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TAKING CARE OF YOUR BUSINESS

AT OUR NEW MIPCOM

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BrightSpark / Argonon International A fresh murder mystery docudrama series and format where the accused is put centre stage to create a captivating ‘did he do it?’ debate

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Pixcom Jeremy Patterson and his team of ex-cons travel across America jacking up houses and lifting spirits. Every job is a QIGLERMGEP QMVEGPI PMJXMRK LSQIW JIIX Sė XLI KVSYRH

Nine Lives / GME Mileage on the clock is no barrier to real romance.

We reveal all you ever wanted to know about intergenerational love.

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True North / GME When you go out on the town there is an army of people (doormen, cabbies, paramedics and takeaway owners) who help the evening go well. They also work through the night to pick up the pieces when things go wrong.

WORLD’S RICHEST DOGS

1x60

TVT Productions The Berlin Bunker. Hitler dictates his last will and testament as Soviet tanks close in. Nearly 70 years on his $3 billion fortune is still hotly contested.

1x60

Seven Productions Pawdicures, diamond collars, pooch palaces, pet weddings, dog couture, barkmitzvahs, versace bowls, a pet limo service, you name it, these pets have it all.

sales@tcbmediarights.com +44 203 735 5222 www.tcbmediarights.com

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Product News TRACE TV SPORT Stars Uncovered, brought to MIPCOM by France’s Trace TV, is a magazine show that reveals the romance, affairs, the glamour and the pitfalls that dominate top sports stars’ lives bringing a fresh angle on sports celebrity.

BLUE ANT INTERNATIONAL CANADA’s Blue Ant brings a new reality

FORTISSIMO FILMS FORTISSIMO, with offices in Amsterdam,

TCB MEDIA JACKED! (10 x 60 mins) follows Jeremy

Hong Kong, London and Beijing, brings a library of feature films, feature-length documentaries, animated films, and shorts to MIPCOM. Titles include: successful Chinese-language film Black Coal. Thin Ice; Wong Kar Wai’s The Grandmaster and Chungking Express; Martin Scorsese’s Shine A Light; Jim Jarmusch’s Coffee And Cigarettes; Morgan Spurlock’s Super Size Me; and Sydney Pollack’s Sketches Of Frank Gehry.

Patterson and a team of ex-cons and family members as they travel America rebuilding houses and helping homeowners who have experienced extreme weather, particularly hurricanes Katrina, Isaac and Sandy.

Black Coal. Thin Ice (Fortissimo Films)

Jacked! (TCB Media)

series to MIPCOM. Backroad Bounty (13 x 60 mins/HD) follows antique experts Marty and Bam Bam on a tour to find undiscovered vintage gems from antique furniture to forgotten family heirlooms, getting the stories behind every piece and an insight into the value.

TWOFOUR STUDIOS IN TWOFOUR’s new show for Channel 4 (UK), Stammer School (3 x 60 mins), a group of young adults who have spent their lives battling with a stammer enrol in an intensive course that aims to help them finally find their voice. At the end they make a potentially life-changing public speech. The show features Musharaf Asghar, known as Mushy, from the Educating Yorkshire series, who had to learn methods to overcome his often crippling stammer to pass his exams. Format and finished programme rights are available.

TVN POLISH commercial network TVN is at MIPCOM with: new seasons of alternative medicine series Following The Sixth Sense (38 x 30 mins) with host Przemek Kossakowski; Woman At The End Of The World (36 x 30 mins), in which journalist Martyna Wojciechowska meets women of different cultures, religions and professions; and drama series Medics (52 x 60 mins) and True Law (67 x 60 mins).

Following The Sixth Sense (TVN) Background Bounty (Blue Ant International)

STARZ WORLDWIDE DISTRIBUTION SURVIVOR’s Remorse (6 x 30 mins) is an original Starz comedy series making its debut at MIPCOM this year. Other TV series in Cannes with Starz include: Power (recently renewed for a second season); Black Sails (season two due early 2015); and Hit The Floor, recently renewed for a third season. TV movies include: The Holiday Tree, Merry ExMas, Secret Past and Eyewitness.

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Series 2 (13 x 45â&#x20AC;&#x2122;)

An Urban Myth Films production for BBC Cymru Wales co-produced with BBC America

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Product News ARMOZA NEW STUDIO game show from Armoza, The People’s Choice (1 x 60 mins), developed in partnership with France’s TF1, asks contestants to guess what members of the public would do when presented with trending, thought-provoking or entertaining dilemmas, for example an entire month without showering or without their smartphone? The Israeli company also brings romantic comedy series The Odds, about a man who tries everything to win back the wife he left.

ELECTUS ON THE MIPCOM roster for Electus: the third season of reality competition King Of The Nerds; three seasons of archeological series America Unearthed; reality show Wake Up Call (8 x 60 mins); culinary competition Food Fighters (8 x 60 mins); game show Bet On Your Baby (season one, 8 x 60 mins/season two: 8 x 60 mins); and Operation Change (10 x 60 mins), following Bill and Tani Austin and their son Steven Sawalich on their quest to uncover some of the world’s greatest unsung heroes.

CANAL 13 FREE Pass (90 x 45 mins), brought to

PBS DISTRIBUTION US PUBLIC

MIPCOM by Chile’s Canal 13, is a new telenovela which, with a mix of humour and drama, tells the story of a seemingly perfect couple who are going through a bad time. They decide to stay apart for three months in total freedom.

broadcaster PBS is highlighting factual programmes at MIPCOM. Al Capone: Icon (1 x 60 mins) examines the infamous criminal and his Al Capone: Icon connections to (PBS Distribution) modern-day organised crime, law enforcement and popular culture. Last Days In Vietnam (1 x 98 mins/1 x 120 mins/HD) profiles the chaotic evacuation from the US Embassy in Saigon. The Roosevelts: An Intimate History (7 x 60 mins/7 x 120 mins/HD) chronicles the lives of Theodore, Franklin, and Eleanor Roosevelt. In Lost City Of Petra (1 x 53 mins/HD) scientists travel to the site in modern-day Jordan.

Free Pass (Canal 13)

AVALON DISTRIBUTION SCRAPPERS (6 x 30 mins) features Terry Walker and his wife Lyndsay, the team behind a multi-million pound scrap empire. As well as keeping the business going an uplifting story is revealed over the series. From the UK company’s factual slate comes Kids With Cameras: Diary Of A Children’s Ward (3 x 60 mins), in which young patients tell their stories in their own words.

CINEXPORT PARIS -based distributor Cinexport brings a slate of factual programmes and films available in French and English to MIPCOM. Documentary series included are: The 100 Wonders Of The World (13 x 52 mins); Egypt (3 x 52 mins); and a series on French monuments. Films include political thriller The Statesman/Un Homme D’Etat and drama Under The Pines (Landes).

RED ARROW INTERNATIONAL INCLUDED in the MIPCOM roster from Germany’s Red Arrow are: crime series spanning New York and Stockholm, 100 Code (12 x 45 mins); a family film of Roald Dahl’s Esio Trot (1 x 90 mins), starring Judi Dench and Dustin Hoffman; and quiz formats You Against the Nation and Decimate.

King Of The Nerds (Electus)

VIEWSTER VIEWSTER is a Switzerland-based online video service that sources shows and films worldwide, from Japanese anime to British drama, from Korean soaps to documentaries.

A recent partnership will see to four Japanese animated series streamed across Europe, available free with ads in Germany, Austria and Switzerland, with additional availability throughout the region on a title-by-title basis.

Scrappers (Avalon Distribution)

100 Code (Red Arrow International)

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Product News 100% DISTRIBUTION 100% DISTRIBUTION brings the second

BETA FILM SET IN Spain in the 17th century,

season of Spin/ Les Hommes De L’Ombre. It is a year after Anne Visage (played by Nathalie Baye in the first season), lost the presidential elections, and the current President faces two disasters: one personal and one political.

The French company also brings a new season of Captain Sharif (18 x 52 mins), which focuses on a partnership between detectives who have differing methods in storylines that bring a light-hearted approach to crime series.

Alatriste (18 x 60 mins) features soldier of fortune, Diego Alatriste. The German distributor also brings: US comedy series Signed, Sealed And Delivered (14 x 60 mins), about the US Postal DeadLetter Office; the second season of Cedar Cove (26 x 60 mins); and the new season of the long-running franchise about a police dog, Rex – Special Unit.

Alatriste (Beta Film)

ELECTRIC SKY OFF CAMERA (12 x 60 mins), hosted by

DW TRANSTEL TASTY Tales (7 x 30 mins) profiles the

photographer/director Sam Jones, is a series of conversational interviews with artists including Robert Downey Jr, Sarah Silverman, Dave Grohl and Tony Hawk. Also on Electric Sky’s MIPCOM slate are: Making War Horse (1 x 51 mins), looking at the stage production; The Forgotten Greek Famine (1 x 52 mins), about the British blockade on food during WW2; Taste Of Vietnam Series 1 & 2 (26 x 30 mins); Lord Montagu (1 x 57 mins); and Spitfire Liberator – The Alex Herbst Story (1x 52 mins), about a WWII fighter pilot who takes a trip on a 787 Dreamliner.

people, culture and history related to culinary traditions in different regions around the globe. The series covers Asia, Europe and the Americas to find out what, and how, the world is eating.

Brought to MIPCOM by Germany’s DW Transtel, the series is available in English and Spanish.

Robert Downey Jr in Off Camera (Electric Sky)

Tasty Tales (DW Transtel)

Spin/Les Hommes De L’Ombre (100% Distribution)

ABC COMMERCIAL GREAT White Matrix (1 x 60 mins/HD) follows a shark attack survivor and an underwater cameraman as they explore the behavioural patterns of great white sharks. The Australian distributor also highlights Tribal Scent (1 x 52 mins/HD) which examines the history of sandalwood, along with its present uses, and potential future uses.

THE RED HARLEQUIN THE RED Harlequin, from Robert Ricci, is a transmedia property based on a book series. The brand is being developed across all platforms including music, film, gaming and television and features Asheva, a teenage hero living in a world where everyone lives hidden behind a mask. A Hip Hop concept album is in production, a feature film treatment is in development and the project is presented at MIPCOM as part of the London Book Fair delegation.

Great White Matrix (ABC Commercial) preview magazine I September 2014 I www.mipcom.com

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Product News CONTENT TELEVISION NEW 90 -minute drama Common is

ARTIST VIEW ENTERTAINMENT FEATURE films brought to MIPCOM

by Los Angeles-based Artist View include: The Last Rescue, a WWII movie about a soldier who attempts to free a group of POWs; Chrysalis: The Last Zombie War, about three survivors making their way out of Chicago 25 years after a bio-terrorist attack; and Nowhere Safe, a story about a mother and daughter to start over in a new town after an incident of cyber bullying.

brought to MIPCOM by the UK’s Content Television. The poignant story concerns two mothers whose lives become intertwined after a terrible altercation involving their sons that results in a fatal stabbing.

BALANGA GERARD Depardieu stars in the

DOGTV PROGRAMMES designed to please stay-at-home dogs are the priority for DogTV at MIPCOM. In addition to the US, DogTV is currently available in Japan and South Korea and will soon launch in the UK. Additional expansion is planned in Asia, as well as in Germany, France, Portugal and other European countries. DogTV Anywhere, a streaming app, was recently launched, and the American company has announced a partnership agreement with Discovery Communications.

EBS MAYA, Behind The Myth (3 x 60 mins)

documentary series Hedonist (working title/10 x 52 mins), produced by Les Films d’Ici 2 for ARTE and Canal+ Group, and brought to MIPCOM by Paris-based distributor Balanga. Depardieu travels through European regions, including Tuscany, Sicily, Bavaria, Brittany, Scotland, the Basque Country and Andalucia, exploring local specialities, identity and history. Depardieu teams up with chef Laurent Audiot and invites one of his friends (Roberto Benigni, Catherine Deneuve or Philippe Kerr) to join him to discover some of the finest food available in beautiful places.

Common (Content Television)

PRODUCTIONS MARIE BRISSETTE (PMB) DEVINE Qui Vient Garder? is a new format that sees a celebrity who is dealing with parenting issues matched to a family with similar problems and is put in charge of running the household. Each programme is developed around a specific parenting theme and is brought to MIPCOM

by Montreal, Canada’s PMB.

NPO SALES PRIORITIES at MIPCOM for NPO Sales,

Hedonist (Balanga)

CELESTIAL TIGER ENTERTAINMENT (CTE) HONG Kong’s CTE highlights its series of sports programmes at MIPCOM. World Series Of Fighting (WSOF) concerns mixed martial arts (MMA) and Glory World Series (GWS) covers the premier international kickboxing league.

the distributor for the Dutch public broadcaster, include Siblings (4 x 55 mins) which explores the experience of siblings of world-famous people, including Leon Hendrix, George Obama, Vanessa Branson and Stella Parton.

NPO also brings two episodes of its factual series Backlight: Fake For Real (1 x 52 mins), which looks at the blurring of lines in art and journalism; and The Greedy Brain (1 x 52 mins), which explores the work of neuroscientists looking at the potential of the human brain.

Leon Hendrix in Siblings (NPO Sales)

aims to debunk a number of myths and examine Mayan civilisation through recent archeological research in subjects including the jungle, corn, the Mayan calendar and the modern-day descendants of the Mayans. The series is brought to MIPCOM by Korea’s EBS. Maya, Behind The Myth (EBS)

GLOBO BRAZIL’s Globo is highlighting its new series Caribbean Flower, a telenovela concerning the love affair between an Air Force pilot and a tour guide.

Everything changes for the childhood sweethearts when a dishonest friend makes his moves on tour guide Ester.

Caribbean Flower (Globo)

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CONTACT: Tel. +33 4 92 99 89 20 sales@tmg.de | www.tmg.de

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Product News COMAREX MEXICO’s Comarex launches reality series

PICTURE BOX DISTRIBUTION BASED in the Royal Ontario Museum,

Kitchen To Fame at MIPCOM. Produced

by Comarex the show follows 14 amateur cooks as they compete for a kitchen makeover, a cash prize and their own cooking segment on the channel’s magazine show. The cooks attend a cooking academy for a maximum of three months where they live, study and master different types of cuisine. The format features three- to five-minute and a 30-minute daily show, and a weekly programme.

Museum Diaries (6 x 30 mins/HD) is a documentary series that explores the work of the dedicated curators and technicians as they authenticate the museum’s collection and discuss how to spot fakes, hunt for new specimens and prepare exhibits with dinosaur skeletons, famous photos and ancient mummies.

LOOKING GLASS INTERNATIONAL AUSTRALIAN factual distributor Looking Glass International tops its MIPCOM slate with two shows. Duncan’s Thai Kitchen (12 x 30 mins) follows chef, restaurateur and culinary teacher, Duncan Robertson on a cooking adventure to the far reaches of Thailand.

The company also brings Break-Neck Business (6 x 30 mins), an exploration of the lives of people who work in high-risk jobs, including tower crane operators, birds’ nests collectors, stuntmen, deepsea divers, oil rig riggers and coal miners.

Duncan’s Thai Kitchen (Looking Glass International)

Museum Diaries (Picture Box Distribution) Kitchen To Fame (Comarex)

ARKENA ARKENA’s Cloud4Media is a platform aimed at improving workflow management and secure distribution. The French company is presenting Cloud4Media to the global content industry at MIPCOM.

RTE GLOBAL A NEW one-hour documentary from Ireland’s RTE, Somebody To Love, explores the romantic lives of people with physical or intellectual disabilities, recognising that sexuality is not only about attraction but about self esteem, gender and body awareness, as well as the formation of relationships. Largely observational in style the programme includes first-hand experiences and a diverse range of stories from around Ireland.

Somebody To Love (RTE)

ENDEMOL WORLDWIDE DISTRIBUTION THE MIPCOM slate for Endemol includes: the second season of Northern Irelandbased thriller The Fall (6 x 60 mins), with Gillian Anderson as Detective Superintendent Stella Gibson on the trail of serial murderer; Jonathan Strange And Mr Norrell (7 x 60 mins), set at the dawn of the nineteenth century, which follows two magicians who join forces in the war against France; Kingdom (10 x 60 mins), a drama that takes place in Venice, California and is set against the backdrop of Mixed Martial Arts (MMA); the second series of Peaky Blinders (6 x 60 mins), set in Birmingham, England in 1919, which follows the gang named for their practice of sewing razor blades into the peaks of their caps; comedy series Younger (12 x 30 mins); drama Jennifer Falls (10 x 30 mins); and teen comedy Happyland (8 x 60 mins).

The Fall (Endemol Worldwide Distribution)

El Chef Del Mar (Medina Media)

MEDINA MEDIA SHOT in 4K, El Chef Del Mar/ The Sea Chef (13 x 50 mins) is a new culinary show featuring Michelin-Star chef Angel Leon who travels the coastlines of Spain searching out the best produce from the sea.

RIVE GAUCHE TELEVISION BROUGHT to MIPCOM by Californiabased Rive Gauche Television Fix It & Finish It (150 x 30 mins), features host, Antonio Sabato Jr. and his team which includes designers, specialists and contractors, as he travels and surprises lucky homeowners to help fix and finish their homes.

Fit It & Finish It (Rive Gauche Television)

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NBC AND AXN 39 X 1 HOUR

RENEWED FOR THIRD SEASONS

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Product News EXPLORA FILMS MADAGASCAR, The Lemur Island (1 x 52

7WONDER 7WONDER, a new UK based independent

ZED FRENCH producer and distributor ZED

mins/HD) features the brown lemurs in Nosy Mangabe National Park and a group of sifakas (also lemurs) in Bemaraha, as well as other aspects of the extraordinary flora and fauna of the island, and is brought to MIPCOM by Spain’s Explora Films.

production company, brings new show Micky Flanagan Hits The Road to MIPCOM. The four-part documentary follows the comedian and his companion as they cycle their own Tour de France, craftily incorporating Champagne vineyards, Belgian beers and Burgundy wines as well as the Eiffel Tower.

brings to MIPCOM Napoleon, The Russian Campaign (2 x 52 mins), a docudrama about one of the legendary military campaigns of recent history, the invasion of Russia by Napoleon. The company also highlights The Nazi Exiles, which follows the escape of Nazis to the Middle East, and The Last Fallen Soldier, an animated documentary that recounts the story of Private Trebuchon who was killed on armistice day.

Madagascar, The Lemur Island (Explora Films)

Napoleon, The Russian Campaign (ZED)

BOOMERANG TV SPAIN’s Boomerang TV is to co-pro-

Micky Flanagan Hits The Road (7Wonder)

duce a Chilean version of culinary competition Top Chef with Chilean public TV operator TVN. The adaptation of the NBC format is currently in the pre-production stage and slated to air next season. The Boomerang team has previously developed two seasons of the show for Antena 3 in Spain.

DICK CLARK PRODUCTIONS INTERNATIONAL TWO SHOWS are MIPCOM priorities for the US’ Dick Clark Productions. Hollywood Film Awards profiles the A-list event which kick-starts the awards season in November, profiling the big films, identifying the stars, directors and producers who are nominated for their exceptional performances this year. Fail Army (20 x 30 mins) is a new comedy series of blooper-style videos from around the world.

The series is produced by Dick Clark Productions International and Jukin Media.

ZDF ENTERPRISES (ZDFE) EUROPEAN police officers fighting

DCD RIGHTS LONDON -based independent distributor

HAT TRICK INTERNATIONAL A NEW six-part series from the UK’s Hat

international crime are the subject of The Team (8 x 60 mins/4 x 115 mins/ HD) from ZDFE. The Team consists of forensics, legal and IT experts, along with profilers and psychologists, and their cases take them to Europe’s major cities. The German company also brings Quiz Champion (1 x 150 mins/HD), a format that sees challengers going head-to-head with experts; and factual special Apocalypse Neanderthal (2 x 50 mins/1 x 90 mins/HD) which profiles new genetic and archeological discoveries that prove Neanderthals were cultured and technologically savvy.

DCD Rights debuts drama series The Gods Of Wheat Street at MIPCOM, a six-part series that follows the Freeburn clan, a modern Aboriginal family. Odin, the eldest brother, promised his dying mother he would keep the family together. Now he has one brother in jail and another brother in love with the daughter of the family enemy, his sister is desperate to leave town and his wife has run away to the city leaving him to raise their two daughters.

Trick Productions for BBC One, Boomers offers a humorous and touching insight into the lives of three over-60s couples living in Norfolk, England. The characters are all approaching retirement with very different ideas. The series stars Alison Steadman, Russ Abbot, Stephanie Beacham, Philip Jackson, James Smith and Paula Wilcox.

The Gods Of Wheat Street (DCD Rights)

Boomers (Hat Trick International)

The Team (ZDFE)

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Episodes:272 x 24’ Now available in HD 16/9 Documentary about the Smurfs’ creator Peyo Feature film “The Magic Flute”

www.smurf.com info@smurf.com

s visit u Come COM at MIP 7-E64 R Booth

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Product News MEDIASET NEW CONTENT brought to MIPCOM by Spain’s Mediaset includes: drama series Hermanos (Brothers/6 x 70 mins); El Principe (13 x 70 mins); B&B (16 x 70 mins); El Rey (The King/3 x 80 mins), which is based on the life of King Juan Carlos; and comedy series El Chiringuito De Pepe (Pepe’s Beach Bar/10 x 70 mins).

Hermanos (Mediaset)

MUSE DISTRIBUTION INTERNATIONAL MONTREAL-based Muse Entertainment brings Tut (6 x 60 mins) to MIPCOM, a drama series that follows the dramatic life of Egyptian King Tutankhamen.

Starring Ben Kingsley as the Grand Vizier and power behind the throne, Tut looks at the King’s rise to glory, his efforts to rule a chaotic empire and his untimely death.

NHK TOPPING the drama slate for NHK is Hanako And Anne (156 x 15 mins), about Hanako Muraoka, the woman who translated L. M. Montgomery’s Anne Of Green Gables into Japanese. Born into a poor, rural family in 1903, she eventually attended a Christian school for girls attended by children of wealthy families and was able to realise her dream of becoming a translator. In the documentary genre comes Life Force 2, a six-part series that follows the daily lives of animals found in evolutionary hot spots, combining world-class photography with CGI, cinematic-style narratives and cutting-edge science.

Tut (Muse Distribution International)

ITV STUDIOS GLOBAL ENTERTAINMENT ITV STUDIOS is prioritising two shows at MIPCOM. The Secret Life Of... is an

Hanako And Anne (NHK)

observational documentary format from Raw TV, in which students or teens share the details of their lives. Scripted drama Aquarius (13 x 60 mins) is set in the 1960s and stars David Duchovny as an LA police sergeant tracking Charles Manson. Other dramas include Poldark and Jordskott, and other formats include a quiz show based on QuizClash app, game show The Line, dating format Stand By Your Man and 24 Hours In Custody.

ZEE BOLLYWOOD AT MIPCOM India’s Zee Bollywood

Secret Life Of Students (ITV Studios Global Entertainment)

Satrangi (Zee Bollywood)

presents Satrangi, a musical travelogue to discover India’s myriad strains of folk music by meeting talented child prodigies who have embraced a musical upbringing and have become masters of their art. The company also brings Jodha Akbar (206 x 30 mins), a love story against the backdrop of the Mughal empire. The reigning emperor, Akbar finds his equal in Princess Jodha, in a time of war, cultural and social change.

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Product News BANIJAY INTERNATIONAL REALITY series The Sorrentinos is

FREMANTLEMEDIA INTERNATIONAL NEW FROM FremantleMedia at MIPCOM

debuted at MIPCOM by the UK’s Banijay.

Mike Sorrentino came to fame as The Situation in the Jersey Shore series and this show follows him and his quirky family as he searches for a meaningful career after his problems with addiction.

is The Returned (10 x 60 mins), a suspenseful drama based on a French series adapted by Fabrice Gobert and inspired by the feature film, Les Reven, in which residents of a small town grapple with the mysterious return of their dead loved ones. The company also brings new format, Master Athletes (10 x 60 mins), in which 24 amateur athletes in one-man one-women teams for a 10-week challenge across 10 disciplines, while living and training together. The first commission for the series is from Sweden’s national broadcaster SVT.

season of 12 HD episodes of Spiral to MIPCOM, bringing the total number to 52 x 52 mins. Spiral’s fifth season brings the focus on to organised crime, informers and girl gangs. The investigation reveals unexpected affinities between the characters, but none of them come through the ordeal unharmed. The show airs on Canal+ and has been sold to more than 70 countries, including Netflix in the US.

PEACE POINT RIGHTS COLIN & Justin’s Cabin Pressure II (13 x 30 mins) features designer duo Colin McAllister and Justin Ryan taking over a lakefront cabin with huge potential.

Without the hefty budgets the pair normally enjoy from their high-end clients, they work to transform their fixer-upper into a rural sanctuary.

The Sorrentinos (Banijay International)

INTRIGUE LOS ANGELES -based producer Intrigue brings the format rights to MIPCOM for Pushovers, a crime-comedy series originating from Chile. Intrigue will produce the US version of the show about a group of workers who, when laid off decide to steal from their former employer to make ends meet. Unfortunately, they’re caught by the company’s true owners, a menacing crime syndicate.

The Returned (FremantleMedia International)

MARVISTA ENTERTAINMENT DISASTER movie 10.0 Earthquake (1 x 90 mins) is premiered at MIPCOM by the US’ MarVista Entertainment. LA is about to be hit by an earthquake and scientist, Emily (Cameron Richardson), with engineer Jack (Henry Ian Cusick) — whose company is responsible for the quakes due to their deep fracking — join forces to divert the epicentre to a less populated area and potentially save millions of lives.

COMERCIAL TV SPAIN’s Comercial TV brings worldwide

© Copyright all rights reserved

distribution rights for MMA Stars to MIPCOM. The 18 x 45-minute HD series combines mixed martial arts competition with reality entertainment, and is produced simultaneously in Spanish, English and Portuguese. Taking place in Mexico, 16 fighters compete and live together over a period of 16 weeks.

MMA Stars (Comercial TV)

AB INTERNATIONAL DISTRIBUTION PARIS -based AB brings the new

10.0 Earthquake (MarVista Entertainment)

Cabin Pressure (Peace Point Rights)

TRICON KIDS & FAMILY TOP OF the MIPCOM slate for Tricon are: Mission: 4Count (8 x 30 mins) which follows new pop band 4Count, discovered and managed by media mogul Nick Cannon; The Next Star Season 7 (80 x 60 mins/26 x 30 mins), a talent competition for young singers; Summer Beach Bash (1 x 60 mins), a concert hosted by Nick Cannon, featuring performances from 4Count, winners from The Next Star plus dancers, magicians, extreme buskers and water stunts; and season two of animated series Wildernuts (52 x 7 mins), which introduces pre-schoolers to biodiversity and ecology.

preview magazine I September 2014 I www.mipcom.com

Khuzaa:

Attack and Aftermath A shocking firsthand account of death and destruction in south Gaza Factual Documentary: 1 x 45’ 47”

Visit Al Jazeera at Stand P-1.M61 For more information email: ContentSales@aljazeera.net

aljazeera.com

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Product News BBC WORLDWIDE (BBCWW) HEADING the MIPCOM slate for

The Hobbit: The Battle Of The Five Armies (MGM)

BBCWW are: Intruders (8 x 43 mins),a contemporary thriller about a secret society devoted to the search for immortality, set in America’s Pacific North West; Katherine Mills: Mind Games (4 x 50 mins), in which the acclaimed magician performs acts of mind control on members of the public; and Tumble (6 x 80 mins), an entertainment format in which 10 celebrities partner professionals to compete in a range of gymnastic and circus-inspired disciplines. Each show includes a performance from a top circus troupe or gymnastic team.

MGM MIPCOM highlights from 90-year-old MGM’s catalogue of films, include: The Hobbit: The Battle Of The Five Armies, the final film in The Hobbit trilogy; romantic drama If I Stay, based on a best-selling young adult novel; comedy Hot Tub Time Machine 2; Poltergeist, a reboot of the classic horror film; action film Hercules; and worldwide box office hits 22 Jump Street and RoboCop. Television priorities include: Fargo (10 x 60 mins), Vikings (19 x 60 mins) and Teen Wolf (48 x 60 mins).

PIXCOM PRODUCTIONS PIXCOM Productions, at MIPCOM Intruders (BBCWW)

SONY PICTURES TELEVISION SONY Pictures Television brings to MIPCOM: drama The Blacklist (44 x 60 mins), in which a wanted criminal offers to turn evidence if he can work with a new FBI agent; comedy series Marry Me (13 x 30 mins); Battle Creek (13 x 60 mins), about an unlikely partnership between a detective and a big-city FBI agent; Outlander (16 x 60 mins) is about a woman who time travels from postwar UK to Scotland in 1743, where she falls in love; The Night Shift (22 x 60 mins) is a drama about ex-Army doctors who work the night shift at a hospital; and 30-/60-minute format Raid The Cage, based on a hit Israeli game show.

Raid The Cage (Sony Pictures Television)

with Espace Quebec, is prioritising season four of reality series Licence To Drill. The series follows the everyday adventures of oil riggers in Louisiana. The company also brings Jacked!, about a team that repairs hurricane affected houses.

LIONSGATE TELEVISION INTERNATIONAL ORIGINAL scripted drama series

BEACTIVE PORTUGAL-headquartered Beactive brings Machinima Storyteller to MIPCOM, a new platform that allows filmmakers to create 3D CGI animated content. The platform employs videogame engines and techniques to create a professional film production environment, animated sequences are generated in real time and changes made in seconds.

PEACOCK ALLEY ENTERTAINMENT IN ILLUSIONS Of Grandeur (12 x 30

Manhattan (13 x 60 mins), produced by Lionsgate, Skydance Television and Tribune Studios, is set against the mission to build the world’s first atomic bomb, following the scientists and their families in Los Alamos, in a world where secrets and lies infiltrate every aspect of their lives. Filmed on location in New Mexico, the show is brought to MIPCOM

by Lionsgate Television International.

mins), brought to MIPCOM by Canada’s Peacock Alley, young magician Zack Mirza travels across North America on a magic pilgrimage. In each location, Zack performs close-up magic on the streets and meets with experts to explore each city’s magic past. He then puts his own spin on a classic illusion.

Manhattan (Lionsgate Television International)

Illusions Of Grandeur (Peacock Alley)

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DINOSAUR TRAIN (SEASON 1, 2 & 3)

by Sparky Animation Animation CGI Animated TV Series

LUXE ASIA

by MediaCorp TV Documentary

COOKING FOR THE CROWN

by The Moving Visuals Co. TV Lifestyle

COUNTING WITH PAULA

by Omens Studios Animation Pre-school

PARTICIPATING COMPANIES Antares International Media August Media Holdings Chips and Toon Drawiz Singapore DV Studio Hi-5 Operations Hub Media Group Infinite Studios Mâ&#x20AC;&#x2122;GO Films Make Productions MediaCorp Mediamorphosis TV Productions

Monstrou Studio Niubizi Studio Oak3 Films Omens Studios One Animation Refinery Media Shortman Films Sparky Animation The Moving Visuals Co. TheMedia TVS Asia/Sunrise Entertainment

GEORGE OF THE JUNGLE

by August Media Holdings Animation Comedy Adventure

SUPERMODELME (SEASON 4) THE INSECTIBLES

by One Animation Animation Comedy Adventure

by Refinery Media TV Reality

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Feature

Aunjanue Ellis and Cuba Gooding Jr in a scene from The Book Of Negroes

WORLD PREMIERE TV SCREENING

The Book Of Negroes The remarkable story of Aminata Diallo’s 40-year quest for freedom is re-told in a television adaptation of writer Lawrence Hill’s The Book Of Negroes, this year’s MIPCOM World Premiere TV Screening. Julian Newby reports OUIS Gossett Jr., Cuba Gooding Jr., Aunjanue Ellis and Lyriq Bent star in The Book Of Negroes, the mini-series from Conquering Lion Pictures, Out of Africa Entertainment, independent studio Entertainment One Television (eOne) and Idlewild Films for BET Networks in the US and CBC in Canada.

Based on the million-selling, Commonwealth Writers’ Prize-winning novel by Lawrence Hill, the mini-series tells the story of Aminata Diallo, who is kidnapped by slave traders in West Africa and enslaved in South Carolina. She serves the British during the American Revolutionary War in New York, experiences the isolation of Nova Scotia, and the jungles of Sierra Leone,

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before finding freedom in England at the beginning of the 19th century.

“Before it became a mini-series it was a novel, and before it became a novel it was sitting in my heart for about 15 years,” author Lawrence Hill said. I had permanently borrowed — you may say stolen — a book from my parents bookshelves when I was younger and took it away with me when I was traveling. It was a book about the Black Loyalists, people of African descent who’d been taken into slavery in the Carolinas and elsewhere. I had never heard of the idea of people of African descent who’d been enslaved and then liberated and return to Africa in the same lifetime. It was a stunning story that completely exceeded my knowledge

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Photo: Xxxx credit

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the project. While out and about pitching the of African-American history at the time. So it project she heard that Black Entertainment sat with me for about 10 or 15 years until I felt Television (BET) had recently aired the 1970s I could write the novel.” series Roots, based on the Alex Haley novThe original Book Of Negroes from which el, and had attracted four million viewers. “I Hill’s novel takes its title, was created by British thought ‘Wow! If you can bring in four milnaval officers in 1783, towards the end of the lion for a 30-year-old project and that kind of American revolutionary War. It listed some event, I should go and talk to them about this.’

3,000 Africans who were considered loyal to And I did and it was one of the easiest sales Britain and so given assistance to escape the US I’ve made.” for Canada — and on to freedom from slavery.

The series shot in Nova Scotia, Canada, and Back then, the political atmosphere was such South Africa, taking advantage of the cothat the book’s title would not have been conproduction treaty between the two counsidered offensive to most people. Today’s sotries. ”When we were here in December for ciety will see it a little differently. “When I was the start of prep we were actually able to first asked about making the series I had a real see the outpouring and grief and celebraaversion to reading the book because of the tion of Nelson Mandela’s life, someone who title. I think there’s a lot of negative associhas dedicated his life to the forgiveness and ation with that word,” director and co-writer restoration of order in society, and just the Clement Virgo said. But when he came to reemotional resonance that had with our stoalise where the title came from Virgo changed ry helped to really grasp the vision for this,” his mind.

D’Oliveira said. “We were honoured to be “Eventually when I read the book I fell in love here at that time in South African history, with it.” to be in the process of making this story of Originally approached to make a feature film emancipation.” adaptation of the book, Virgo said the deciThe Book Of Negroes is produced with the sion to produce a mini-series instead was the financial participation of right one. “It’s an epic story, the Canada Media Fund, and it actually falls naturalShaw Rocket Fund, Film and ly into six parts. So it just felt “When I read the Creative Industries Nova right to spend more time tellScotia through the Equity ing the story, and getting in- book I fell in love Investment Program, Film side Aminata’s character.” with it’” and Creative Industries Nova “It’s a transatlantic story, of Clement Virgo Scotia through The Eastlink a woman’s quest to find her I ndependent Production emancipation,” executive Fund, and with the participaproducer Damon D’Olivera tion of Cogeco Production Program. said. “We take her from Africa to North “Thanks to Canada’s dynamic funding ecoAmerica then back to Africa. It’s a story of system, comprised of public and private supone of the few people who was able to find port, this compelling story has been brought their liberation from slavery and find their to the screen,” Canada Media Fund’s (CMF) way home. And when she gets home she realValerie Creighton said. “The Book Of ises home is never going to be the same place, Negroes is an excellent example of how taland at that point to end the story she decides ent from Canada and other countries work toto head to England to work with the abolitiongether to inform and capture the attention of ists to end slavery in the world.” world audiences.”

For eOne’s Carrie Stein, The Book Of The series is produced with the assistance Negroes was the first project that came to her of the Nova Scotia Film Industry Tax Credit after her appointment as the company’s execand the Canadian Film or Video Production utive vice-president, global production, a litTax Credit. eOne handles the worldwide tle over two years ago. And initially she had rights to the mini-series in all media. The seher doubts. ries is produced in association with Canadian “I thought, ‘Oh my God, where am I selling Broadcasting Corporation and Black this thing?’,” Stein said. “And then I read it, Entertainment Television. and the scripts were unbelievable. I read them The CMF and Telefilm Canada are sponsorbefore I read the book, and they were so coming The Showrunners Masterclass on Tuesday, pelling, that it just got me and grabbed me by October 14, at 14.30 in Auditorium A — the throat and I became determined to find where D’Oliveira and Virgo will be joined by the financing.”

Shaftesbury/Smokebomb’s Christina Jennings But it was another story of slavery and emanto share their insights into filmmaking. cipation that inspired Stein to keep going with preview magazine I September 2014 I www.mipcom.com

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Feature

Night view of Japan from the International Space Station, from NHK

THE FUTURE OF 4K

Ultra-HD: ‘It’s beyond beautiful’ Sport is so often the driving force behind new broadcast technologies. So now the recent run of major international tournaments is over, where next for 4K? Chris Forrester reports

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IX MONTHS ago at MIPTV the prospects for 4K/Ultra-HDTV’s introduction was focused on the then impending FIFA World Cup soccer tournament, as well as looking back at quite brilliant but still experimental coverage of the Sochi winter Olympics.

Six months on and we have commitments from many broadcasters around the planet to 4K transmissions. Just about every major network is testing the new technology with some producing end-to-end transmissions to perfect the new developments. Today, the basics are understood, and it’s time for the production community to embrace the technology.

Some producers are ahead of the game, and globally popular shows like House Of Cards, Breaking Bad and others are ready to go in 4K. Mike White, CEO at US broadcast giant DirecTV says his company will start streaming services this coming winter, and follow up with transmissions by next winter.

But while Hollywood might be taking the lead, other networks are also gearing up for 4K. Visitors to MIPCOM can see the fruits of these efforts. Typical enthusiasm comes from Giuliano Berretta, president at Italian production house DBW Communications, who said that his company’s filming of a special performance of Puccini’s opera La Boheme at the end of July was “beyond beautiful in 4K. The colour, the costumes, the whole production was quite spectacular. I have been an opera fan all

my life but I have never seen something with an end-result so rich in colour and detail.”

Berretta was talking about a co-production between DBW and Italian public broadcaster RAI and filmed at the breathtakingly beautiful Torre del Lago openair waterside theatre, near Lucca in Tuscany. Puccini lived and worked in the town, and it is where the annual Puccini Opera Festival is held. DBW used six Sony F55 cameras on the shoot.

A standard and HD version were produced from the 4K master, and screened by RAI in August. Delegates to MIPCOM’s Sony 4K Theatre (Auditorium I) can see clips from the production, as well as DBW’s equally impressive 4K feature on Palladio’s Vicenza (Palladio: The Angel Of Beauty). Indeed, Italy certainly seems to be catching 4K fever especially since Sky Italia is also shooting feature-length documentaries in 4K. MIPTV audiences saw Sky’s Vatican Museum in 4K, for example.

UK-based Atlantic Productions, which has produced some amazing 3D shows for BSkyB (and is a joint venture partner with BSkyB in Colossus Productions) will be showing its Conquest Of The Skies epic, narrated by Sir David Attenborough and also available in 3D. Not to be left behind is the BBC, and its Natural History Unit which has always been at the forefront of spectacular footage. MIPCOM delegates can view the BBC’s latest production, One Planet in spectacular 4K. Japan’s NHK is another leading broadcaster which is

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Feature investing in a 4K archive. The company is bringing a handful of impressive 4K productions to MIPCOM, not least a production filmed from the orbiting International Space Station, and shot in 4K. Besides the obvious attractions of the 4K Screenings, MIPCOM delegates will hear some high-profile VIPs debate What Buyers Want From 4K. To date most of the 4K focus has been on sport, and movies. But any channel operator needs more than a few soccer matches to mount 4K channels, important as they are. These sessions will showcase

SONY, HELPING PRODUCERS AND DIRECTORS IN 4K

the Natural History, documentary and other factual elements as well as music and concert footage now emerging in 4K. The second panel looks at specific challenges, Delivering The Last Mile In 4K, and will examine how broadcasters and content owners can get their Ultra-HD material into the home. In August South Korea’s Pandora TV announced that it would start streaming 4K/UltraHD online during the month. DirecTV’s CEO promised the same.

Various US cable networks are also readying for 4K, but this panel will debate the

satellite, telephony and wireless delivery options for 4K. The European Broadcasting Union’s director of technology & innovation Simon Fell will update delegates on the view from Geneva as to how smaller, less well-funded public broadcasters might handle 4K, and how the technology challenges are being answered.

Maryline Clare-Charrier, who leads the French-backed 4Ever Consortium will also explain how her colleagues are pushing the envelope even beyond 4K, and including high frame-rate production.

MIPCOM+SONY 4K THEATRE (AUDITORIUM I)

SONY Professional Solutions is actively giving programme-makers hands-on training with the latest 4K technology. At its Digital Motion Picture Centres in Hollywood, the UK and Beijing, creatives can take part in Sony’s script-to-screen sessions, using the very latest F5/F55 and F65 cameras as well as specific segments of the workflow chain.

Feedback over the past few months has meant fine-tuning the training on offer to suit DPs, producers and line producers as well as VFX postproducers, and all of the ancillary trades and skillsets needed to get a production wrapped. Visitors can use Sony’s dedicated sets, edit suites and screening rooms as well as improve familiarity with handling live production and sports output.

Katsunori Yamanouchi, vice-president, Sony Professional Solutions Europe, said: “Our mission at these centres is to bring together the latest technology and the hottest talent to advance the art of media content creation. We want this to be a facility of training, of knowledge sharing and where people come together to exchange experience and learn about the latest tools and techniques.”

Monday, October 13 14.00-14.55 Panel - What Do Buyers Want In 4K? 15.05-16.00 Panel - Delivering The Last Mile In 4K Tuesday, October 14 09.45 Atlantic Productions: Conquest Of The Skies 10.30 BBC Natural History Unit: One Planet 11.30 France Televisions: 4EVER Consortium 14.00 NHK, Japan: International Space Station 15.15 Cugate/4KMedia4U, Berlin: Europe’s Concert Halls Wednesday, October 15 10.00 NexTV Forum, Japan: The Very Best In 4K 11.15 Red Bull Media House: Underwater Cave 14.00 RAI/DBW, Italy: La Boheme/Palladio: The Angel Of Beauty 15.15 Kropac Media: The Big 5/Audi/Food: A 4K Feast 16.15 Trator Filmes, Brazil: FIFA, the World Cup in 4K Thursday, October 16 All day Thursday MIPCOM delegates can see a continuous showreel of the best of the best in 4K, and displayed on Sony’s latest Ultra-HDTV home projector.

DBW Communications’ film of a special performance of Puccini’s opera La Boheme

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MIPJUNIOR Screening: Discover the New Crop of Innovative Children’s & Youth Content from Canada

Canada MIPJUNIOR & MIPCOM 2014

Followed by a networking coffee break October 11 – 10.30-11.00 MIPJunior Agora, Palm Beach Hotel

Les Argonautes

Camp Lakebottom

Pixcom Productions Inc.

9 Story Entertainment

Dino Dan Trek’s Adventures Sinking Ship Entertainment

Guardians

Time Tremors

Stanley Dynamic

Guardians Productions Inc.

Xenophile Media Inc., The People’s Republic of Animation Ltd., A Canada/Australia Coproduction

Amaze Film and TV Inc.

The Book of Negroes

Murdoch Mysteries

Conquering Lion Pictures, Out Of Africa Entertainment in association with Idlewild Films & Entertainment One (eOne), A Canada/South Africa Coproduction

Shaftesbury in association with CBC, ITV Studios Global Entertainment and UKTV

MIPCOM Films & TV Crossroads: The Showrunner Masterclass October 14 – 14.30-15.15 Auditorium A – Palais 3

Look for Canadian stars in attendance!

Canada Pavilion at MIPCOM: P-1.A0 and P-1.A51

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COUNTRY OF HONOUR

It’s boom-time for Mexico

Mexico’s Next Top Model, a ratings winner for TV Azteca

Mexico’s growing status as a global media hub and a growing TV market, makes it the perfect choice for MIPCOM’s 2014 Country Of Honour. Gary Smith looks at the Mexican productions, creativity and initiatives that will be adding stardust to Cannes this October thanks to a local film industry that goes back to the 1930s EXICO currently produces 100,000 hours and 1940s, when locations such as Durango hosted many of television programming per year, which a Hollywood cowboy movie. is then sold to over 100 countries and Mexico City is now regarded as being one of the world’s translated into 30 languages, before being leading centres of creative goods and services. Overall, watched by around one billion viewers.

Mexico’s media industries create over 3% of the counLast year, 126 feature films were also produced in the try’s GDP. According to PwC’s Global Entertainment country — the most in one year since 1959 — by an in& Media Outlook dustry that employs MEXICO’s entertainment and media market was valued 2014-2018, Mexico 30,0 0 0 people, at $24.7bn in 2013, and it is estimated that its entertainment is the 13th largest among them some market for the enof the finest techniand advertising industry will grow by 9.5%, to a value of ter tainment and cians working any$27bn, in 2014. The fastest growing areas are expected to be advertising induswhere on the planinternet access, TV subscriptions, TV advertising, newspaper try, and one of the et. It is also a sector publishing, business-to-business and filmed entertainment. nine high-growth with deep roots,

M

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Feature markets that will power global entertainment and media revenue into the future.

Mexico, like many Central and South American nations, is currently booming in terms of pay-TV subscriptions. At the end of June, Sky Mexico reported that it had 6.36 million subscribers — 12.6% up year-on-year.

And the cherry on this televisual cake is that Formula 1, one of the world’s most popular sports with a global audience of over 400 million viewers, will return to Mexico in 2015 after a 23-year absence.

A record number of Mexican companies are set to attend MIPCOM 2014, with ProMexico CEO Francisco N Gonzalez Diaz predicting that Cannes will host a delegation of close to 100 companies. “This year, as the Country Of Honour, we will have the opportunity to share some of Mexico’s best work,” he says. “We will be displaying the richness of Mexico’s audiovisual production. We will bring along representatives of the very best of both established and up-and-coming production companies, because we consider our creative industries to be one of Mexico’s best ambassadors.

Content is one of our century’s best tools in terms of spreading positive values and cultural philosophies.”

Gonzalez Diaz adds that being selected as the 2014 Country Of Honour cements Mexico’s position at the forefront of the global TV and film sector. At MIPCOM, he adds, “we want to show why Mexico is the industry’s destination of choice and a major power in TV content production”.

Mexico has played an important role in the history of television ever since the medium was invented. Guillermo Gonzalez Camarena patented the colour-television transmission system in 1942 and, a few years later in 1950, Mexican broadcaster XHTV was responsible for the firstever television broadcast in Latin America.

“And Mexico continues to innovate and lead today,” Gonzalez Diaz says, pointing to his country’s “state-of-the-art technology, toplevel infrastructure, scenic variety, decades of experience as leader of the Hispanic market, qualified labour force and abundance of talent that is recognised all over the world”.

He adds: “Mexico has what it needs to be a real player in the global TV industry: a strategic geographical position, highly competitive costs, a well developed production sector and, above all, talent and creativity.”

According to Gonzalez Diaz, Mexico is also the top creative economy in Latin America,

a major consumer market and the gateway to the Spanish-speaking audience, which is one of the fastest growing in the world. “All of this has been responsible for boosting the growth of Mexico’s creative industries, including video-game development, digital animation, and film and television production,” he says. “In Mexico, the stage is set to transform images, words, sounds and music into a universal language that can make an impact on the world.”

The joint efforts of the government and ProMexico to bring the country’s already impressive infrastructure into the 21st century have resulted in a first for Latin America — the creation of Ciudad Creativa Digital (CCD), or Digital Creative City. It has been established in Guadalajara, Mexico’s second largest city and the home of the country’s Silicon Valley.

“The CCD will be a global hub for digitalmedia development, as well as a future urban prototype for Mexico and Latin America,” Gonzalez Diaz says. “It will redefine models of urbanisation for cities in the region, integrate policies for economic development and social inclusion, and attract investments from knowledge-based industries, as well as supporting and underpinning strategic alliances for the global media industries. We also expect the project to generate technology transfer from leading media players, create attractive jobs for our youth, promote entrepreneurship among Mexico’s media talent, and position us as a global media platform for the Spanish-speaking market.”

ProMexico’s next initiative is a road map for the country’s creative industries, focused on developing content, especially for the film, digital and TV platforms. “A road map is a dynamic tool, used to determine the milestones, timing and the resources needed to achieve specific goals,” Gonzalez Diaz adds. “It also identifies future trends, capacities and scenarios. With this road map, the whole of the Mexican media industry is following the same script and a single vision in order to accomplish common goals.”

According to Angelica Guerra, senior vicepresident and managing director, production, Latin America and US Hispanic, for Sony Pictures Television (SPT), the boom in global sales is, at least partly, down to something very Mexican: “The shows created in Mexico often play well elsewhere because, for various reasons, viewers across Latin America and around the world respond strongly to the storytelling. Also, as Mexico is the biggest and

“We consider our creative industries to be one of Mexico’s best ambassadors” Francisco N Gonzalez Diaz

ProMexico CEO Francisco N Gonzalez Diaz

Sony Pictures Television’s Angelica Guerra most prominent market in Latin America, audiences and programmers tend to gravitate towards Mexican content first. It resonates strongly across the US Hispanic market as well, because that audience has a deep cultural connection to Mexico. In other parts of the world, viewers connect more to the stories themselves, as well as the unique way in which they are told.”

The importance of SPT’s recently signed

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Feature 12-series, five-year co-production deal with Televisa cannot be overstated. “The goal is to make a lot of hit shows that will entertain viewers for years to come,” Guerra says. “Our first co-production will be Senorita Polvora [Miss Gunpowder], which is currently in production in Mexico City and will premiere next year. We are focused on producing the highest quality programming and, through our distribution business, sharing it with the largest possible audience. Our [Colombia-based] production company Teleset recently expanded operations into Mexico, so we see great long-term potential there. Mexico is particularly attractive to us because of its abundance of physical production space and easy access to a diverse range of scenery for on-location shoots. It also has some of the region’s best talent, both in front of the camera and behind-the-scenes.”

SPT has also cut a deal with Telemundo to make Hispanic content in Mexico. The agreement is for three years and will see SPT producing one primetime series per year for Telemundo. Telemundo’s international sales

division, Telemundo Internacional, will distribute the series worldwide. Under the agreement, Teleset will produce the series in Mexico in association with Telemundo Studios. Production of the first series will kick off in early 2015.

In terms of the local audience, Guerra reports significant changes in viewing habits: “While telenovelas remain very popular in Mexico, audiences are increasingly looking for other forms of entertainment, particularly during the primetime hours. Viewers have embraced the new genres that blend the storytelling of high-action US dramas with the narrative elements of the telenovela. In fact, Metastasis, the Latin American series based on Breaking Bad, has performed exceptionally well in its timeslot on Televisa’s Canal 5.”

Yet more evidence of the Mexican TV audience’s growing taste for US and European hits comes with the news that Keshet International has just sold Prisoners Of War, aka the original Homeland, to Televisa. The series will be remade for Mexico, Colombia and, possibly, other markets.

Old habits die hard, however, and Juan Maldonado, chief creative officer for Zodiak Latino, says Mexico is still in love with classic telenovelas. “They continue to attract the really big audiences, and there are currently at least eight different productions on the major networks,” he says. “In terms of themes, traditional love stories are still very popular, but also now the preference is for a blend of love stories with humour/comedic situations.”

Zodiak, like many international companies, has plans to develop original formats and shows in both Mexico and across the region.

“We are now established in Mexico and are involved in regular productions for Televisa, Discovery and Sony,” Maldonado adds. “Our formats have been successful and second seasons are in pre-production. We are now closing a deal with a major channel in Colombia, and we are also in talks for a second season of Sing If You Can (Canta Si Puedes) for Peru. And we have been asked by E! Entertainment Mexico to develop an original format.”

As TV Azteca CEO Mario San Roman says, for the last 40 to 50 years, Mexico has not only

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TV Azteca CEO Mario San Roman the result of the fact that Mexico is an increasingly strong and confident country that has been through some tough times but is now reemerging as a televisual force.

Canta Si Puedes (Zodiak Latino) been a production hub for telenovelas, but also home to a highly demanding and competitive TV environment. “The intense competition between us and Televisa and all the other channels has resulted in a very capable and highly cost-effective production environment,” he adds. “The only thing that has really changed is that now the US and Europe have realised how much cheaper we are when it comes to quality production. As a general rule, I estimate that it costs about one-third in Mexico of what it does elsewhere.”

While TV Azteca telenovelas such as Siempre Tuya Acapulco and Las Bravo remain a channel staple, reality shows such as La Isla and El Hormiguero, a talk-show format acquired from Spain, have also become schedule anchors. “While US shows like Grey’s Anatomy and Criminal Minds do very well, we produce most of our hit shows ourselves, which I think is a reflection of the fact that Mexico is genuinely one of the strongest media countries in the world,” San Roman says. “We produce a lot of quality programming, which is

One of the newest TV stations in Mexico is TVUNAM, owned by the National Autonomous University of Mexico, the biggest university in the Hispanic World. Since its launch in 2005, it has garnered over 250 awards, both national and international.

“Our programming is 100% cultural,” says Ernesto Velazquez, TVUNAM’s general director. “We offer the viewer quality programmes created in-house or abroad from the best cultural TV stations, such as ARTE, ORF, RAI, the BBC and PBS. Our most important show is Observatorio, mainly thanks to the status of the

Siempre Tuya (left) and Las Bravo typify the modern telenovela, a form that remains a programming staple. There are currently eight telenovelas airing in Mexico preview magazine I September 2014 I www.mipcom.com

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TV Azteca’s reality series La Isla is a big hit with Mexican viewers politicians who participate in it. For example, all the principal candidates, including all the presidential ones at the last national elections, asked to be on Observatorio, as they believed it was an important window for their campaigns.”

TVUNAM, like ever y media outlet in Mexico, benefits from ProMexico’s efforts.

“ProMexico is making a huge effort to support the expansion of the Mexican audiovisual sector, not only in terms of private companies, but in its support for the public-TV stations too,” Velazquez says. “It’s important to point out that Mexico is the regional leader in terms of cultural and educational content. The public-TV stations are so well developed here that, for the last 10 years, they have been the biggest producers of educational content across the Spanish-speaking world.” Examples include the documentaries

Montezuma’s Feather Headdress, Between Two Worlds — the stor y of Gonzalo Guerrero, a castaway who arrived on Mayan shores years before the conquerors — and the 13-part series The Mexican People.

Melina Diazmercado Delfin, programming distribution manager at public broadcaster Canal 22, is also bringing cultural programming to MIPCOM: “We will be offering the documentary series Great Figures Of Mexican Art, which is about individuals whose cultural value goes beyond borders, time and ideologies. The underlying purpose is to export Mexico’s image around the world through characters such as Frida Kahlo, Diego Rivera, David Alfaro Siqueiros, Jose Clemente Orozco, Juan Rulfo, and Octavio Paz.” According to Sahar Baghery, head of international TV formats and contents at Eurodata TV Worldwide, Mexico is an excellent choice as MIPCOM’s Country Of Honour: “For years, Mexico has been a major regional power and now we are seeing it increasingly established as an international player. The country’s largest broadcaster, Televisa, has been developing entertainment formats for the international market, and there has been genuine success with shows like Everybody And Their Brother and Flashmob. The country’s other big broadcaster, Azteca, produces around 20,000 hours of television per year. Generally, the TV industry in Mexico is growing.”

Then there is the Hispanic factor, with Grupo Televisa’s 38% stake in the number-one US Hispanic broadcaster Univision making it a force across the border through shows

TVUNAM’s Ernesto Velazquez including Pequenos Gigantes (Small Giants).

“With the possibility of Univision going public, Televisa said in July that it is open to selling its stake,” Baghery adds.

“Mexico is very much a source for series that really sell,” he continues, citing Mi Pecado, Tiro de Gracia, El Senor De Los Cielos and, particularly popular in the US, La Viuda Negra.

“Netflix has ordered an original series in Spanish about pro-footballers in Mexico, and Devious Maids is a US/Mexican co-production distributed by Disney. A measure of the growing power of Spanish-language programming generally is that, when Hispanic broadcasters Univision, Galavision and UniMas do their joint-network broadcasts in the US, they regularly attract around six million viewers and outperform ABC and CBS in the young adult demographic.”

Frida Kahlo, Jose Revueltas and Maria Felix, Mexican cultural icons featured in public broadcaster Canal 22’s Great Figures Of Mexican Art preview magazine I September 2014 I www.mipcom.com

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Endemol’s US version of British comedydrama My Mad Fat Diary, for MTV

DRAMA

That’s entertainment On the eve of MIPCOM 2014, all of the evidence suggests that drama continues to be the TV industry’s hot ticket. Andy Fry reports

W

HETHER you talk to US cable networks, video-on-demand (VOD) platforms, European free-to-air (FTA) broadcasters, international distributors and co-producers, telenovela producers or scriptedformat specialists, the one thing they will all tell you is that the demand for signature drama content has never been more buoyant.

There is no single reason for this. But if there is one recurrent theme, it is that audiences are responding positively to the new wave of ambitious dramas that have burst into their living rooms. Series like Breaking Bad, The Walking Dead, Mad Men, Game Of Thrones, House Of Cards, The Bridge, Homeland, Broadchurch, Borgen, Hatfields & McCoys, Lilyhammer, Top Of The Lake, Downton Abbey, True Detective and The

Returned — to name a few — have redefined what it means to watch TV. Such is the quality and originality of these dramas that TV is vying with film as the benchmark by which great storytelling is judged. It is not by accident that film producer Harvey Weinstein is now investing so much personal capital in epic TV productions including Black Sails and Marco Polo for Starz Media. Nor is it unusual to see an A-list actor such as Matthew McConaughey switch between the two media, taking industry plaudits for HBO’s True Detective in the same year that he secured an Oscar for his sublime performance in Dallas Buyers Club.

The audience’s appetite for great drama has encouraged a remarkable can-do attitude within the TV industry, summed up neatly by eOne Television’s executive

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Feature vice-president of global production, Carrie Stein, when talking about upcoming project The Book Of Negroes, the subject of the 2015 MIPCOM World Premiere TV Screening: “The Book Of Negroes was the first thing sent to me when I was hired a year and a half ago. If I’m honest, the last thing I wanted to see on my desk was something that was not only six hours long, but American and a slave story. I thought ‘Oh my God, where am I selling this thing?’

And then I read it and the scripts were unbelievable. They were so compelling that it just grabbed me by the throat. And I became determined to find the financing. It’s a deeply inspirational, triumphant story that needs to be told, and we are proud to be part of the project.”

The Book Of Negroes, a Canadian-South African co-pro that will air on cable channel BET in the US, is one of many new dramas being showcased in Cannes this autumn.

And echoing recent trends in the business, there is a strong international feel to what is on offer. Irina Ignatiew, managing director of global scripted distribution at Red Arrow International, says her company will headline three scripted titles at the market: “We have Esio Trot, a Roald Dahl adaptation for BBC1 in the UK; 100 Code, a serial-killer crime drama co-production involving Kanal 5 Sweden and Sky Deutschland; and Bosch, a 10-part detective series based on the best-selling books by Michael Connelly.”

There are a lot of elements to the Red Arrow slate that capture the essence of 21st century drama financing and production. 100 Code, for example, is funded out of Europe but has a US showrunner in the shape of Bobby

Happy Valley (BBC Worldwide), ©Red Production Company Limited

Dominic Monaghan and Michael Nyqvist in 100 Code (Red Arrow International) Moresco (Crash). It tells the story of a US detective pursuing a serial killer to Sweden and uses the same mixed-language approach that was so effective in Lilyhammer and The Bridge/Tunnel. Bosch, meanwhile, is the latest in a line of dramas to have been funded by on-demand platforms, in this case Amazon.

For Ignatiew, “it’s a great fit because Michael Connolly is one of the top authors across Amazon and Kindle”.

As for Esio Trot, Ignatiew says that it boasts the kind of top-draw talent that TV audiences have come to expect: “It has a fabulous cast, led by Dustin Hoffman and Judi Dench, and it’s being adapted by Richard Curtis [Love Actually; About Time].”

Another company coming to MIPCOM with an action-packed drama slate is ITV Studios Global Entertainment (ITVS GE).

Well-known for UK productions Mr Selfridge, Vera, Morse, Endeavour and Lewis, ITVS GE will arrive in Cannes with a remake of the classic period drama Poldark. In addition, it is also bringing a slate of titles from markets including the US and Sweden.

“We are looking for the best drama, wherever in the world it comes from,” says Ruth Clarke, ITVS GE’s director of acquisitions and coproductions. “From Sweden’s SVT we have Angelby and Jordskott, two dramas that can be sold as finished shows or as formats for markets like the US and UK. And from the US we have our headline title for the market, Aquarius.”

Aquarius is a 13-part series commissioned by NBC in the US. Set in the 1960s, it stars David Duchovny as a police detective on the trail of a hippie cult leader revealed to be Charles Manson. “Following on from Rectify [recently renewed for a second series], Aquarius has the kind of scale and ambition that we want in our drama catalogue,” Clarke says. “Our aim is to push on and make the most of the current demand for high-quality drama.”

This is a message that MIPCOM delegates will hear from many of the market’s leading distributors this year. Sky Vision’s recently appointed managing director, Jane Millichip, is talking up multi-million dollar epic Fortitude, a 12 x 60 mins sci-fi thriller set in an Arctic town where bad things start to happen. A copro between Sky Atlantic and Participant Media’s US TV network Pivot, the series stars the likes of Stanley Tucci and Michael Gambon.

Buyers can expect a similarly strong pitch from All3Media International, which has the international rights to The Missing, a Starz/

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10.15 – 10.45, Esterel – Palais 5

CABLE VS. OTT: GETTING PAST ‘FRENEMIES’?

Cable and OTT become friends, not foes.

Learn what new business models await you in this surprisingly friendly new environment.

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Aquarius (ITVS GE) BBC co-production about a man whose son is abducted during a family vacation in France.

Endemol Worldwide Distribution CEO Cathy Payne has also been pushing her company’s drama credentials at recent markets.

This MIPCOM will be no different, with Endemol Studios’ Kingdom among Payne’s priority titles. The 10-episode family drama for DirecTV stars Frank Grillo and is set in the world of mixed martial arts. Payne adds: “We’ll also be bringing other scripted titles, including Kingmakers, which is a US adaptation of French drama Men Of Shadows [Les Hommes De L’Ombre]; Jonathan Strange & Mr Norrell, a US adaptation of [British comedy-drama] My Mad Fat Diary for MTV; and Cider With Rosie [a new version of the Laurie Lee novel].”

BBC Worldwide director of scripted Liam Keelan is another exec seeking to take advantage of the current upswing in drama’s fortunes. On the one hand, BBC Worldwide is doing well with identifiably British dramas like Sherlock, Doctor Who, Call The Midwife and Happy Valley, a dark crime drama that aired on BBC1 before being bought by channels in Australia, France and Scandinavia. On the other, it is broadening its slate with productions that have a more international profile. One of these is The Honourable Woman, a BBC2/Sundance TV spy thriller that stars Maggie Gyllenhaal as an Anglo-Israeli businesswoman. Headlining at MIPCOM,

meanwhile, is Intruders, a BBC America/ BBC2 paranormal series starring John Simm.

For Keelan, one of the most refreshing aspects of the current market is that “the demand for quality shows has become more important than the number of episodes. There’s no absolute insistence on having 13 or 26 episodes. Buyers are willing to look at shorter run shows like Sherlock. I think a lot of that’s to do with the way on-demand platforms like Hulu, Netflix and Amazon are changing TV viewing habits.”

While there is clearly strong demand in the market for paranormal and fantasy series — Outlander and The Returned are a couple of examples doing the rounds — Keelan says that there is still a thirst for powerful historical dramas: “We have Wolf Hall in production and are developing a six-part adaptation of War And Peace with The Weinstein Company. Also coming is Banished, about the first settlers in Australia. Our view is that it is important to have a good range of shows.”

That view is endorsed by Zodiak Media’s head of international scripted Caroline Torrance, whose diverse slate includes a lavish historical epic about Versailles and Occupied, an ambitious multilingual co-production involving Yellow Bird, GTV, TV2 Norway and ARTE. “Occupied is a political thriller that imagines a future where Russia has invaded Norway and controls its oil resources. It’s the kind of stand-out project that buyers are looking for,” Torrance says.

At the same time, she also highlights The Pinkertons, a 22-part detective drama from Canada’s Rosetta Media and Buffalo Gal Pictures. Set in the American Wild West of the 1860s, the series focuses on the Pinkerton Detective Agency, which employed the US’ first female detective, Kate Warne. “There’s a lot of talk about mini-series and serials,” Torrance says, “but this has a more procedural feel about it. That’s important because a lot of European broadcasters are still seeking shows that have a story-of-the-week feel to them.”

The huge surge in demand for signature dramas has, of course, had implications for the supply side of the business. The most obvious has been the growth in scripted formats, with an increasing number of shows being picked up from Scandinavia, France, Germany, Spain, Israel, Latin America and Turkey.

“Scripted formats make a lot of sense for broadcasters because they come with a proven track record,” says Henrik Pabst, joint managing director, with Irina Ignatiew, of Red Arrow International. “Drama is an expensive genre so there is security in going with something that has been tested on air in another market, rather than risking everything on an unproven idea.”

Pabst’s theory has gained more traction now that the market has seen successful examples such as Homeland, Being Human, The Killing and The Tunnel/The Bridge. “We are having a lot of success with leading German shows

Jordskott (ITV GE)

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Feature Danni Lowinski and The Last Cop,” he adds.

“We have also recently secured the rights to a hit comedy from Belgian creator Tim van Aelst called Safety First.”

Danni Lowinski, which has aired for five seasons on Sat.1 in Germany, has been remade for SBS6 in the Netherlands and also licensed to Russia and the Ukraine. “As for The Last Cop, there was a successful remake for TF1 in France,” Pabst says. “Our US production company Fabrik Entertainment is now working with Sylvester Stallone on a US remake for cable channel TNT.” The same logic that has led to growth in scripted formats has also led to a boom in film-toTV adaptations. Recent examples include Atlantique Production’s Transporter and Gaumont International TV’s Hannibal, both of which have which been distributed widely around the world. Film studio Relativity Media has also been heading down this road, with projects including Act Of Valor and Limitless also in the process of being converted from films to TV series.

While English-language drama still tends to grab the headlines, demand for quality drama is also benefiting the leading non-English players. Italy’s Rai Trade ended MIPCOM with around $2.5m worth of deals, with drama playing a key part in that success. Among the drama titles that attracted attention were It’s Never Too Late, which sold to markets including France (France TV), Poland (TVP), Spain (TVE), Japan (NHK) and Australia (SBS); and The Veiled Lady, which sold to China, Poland, Ukraine and Greece, among others. There was also continued demand for the leading Rai crime titles Antidrug Squad and Montalbano.

There is also an upbeat assessment of the market from France Televisions Distribution.

CEO Yann Chapellon reports strong demand for drama, saying: “Ready-made series based on novels by Mary Higgins Clark and Agatha Christie are still strong in our catalogue. Coming through, we have dramas in areas like dramedy and the detective genre. Usually, we have high demand in Central Europe and Russia and, more surprisingly, the Netherlands. China is also showing renewed interest in French drama.”

Echoing other developments, there is also some evidence of interest in formats: “Our core business historically is to negotiate ready-made content, but we are also experiencing more format negotiations for factual and drama,” Chapellon reports.

HBO, Starz, A MC and Netf lix can all take some credit for the new dynamism in the drama genre. But A+E Networks also played a pivotal part when it decided

to put scripted shows on US factual channel History. The success of, among others, Hatfields & McCoys, Vikings and The Bible persuaded dozens of other networks

SONY POWERS UP PLAYSTATION THE NEW wave of digital/on-demand players is playing an important role in the drama market. There is no doubt that Hulu and Netflix’s willingness to experiment with non-mainstream drama has helped transform the acquisitions and scriptedformats markets by showing that audiences are bolder than broadcasters gave them credit for. Along with Amazon, they have also become commissioners of new shows such as House Of Cards, Orange Is The New Black and Bosch.

No less interesting is the role of the gaming platforms. Ahead of MIPCOM 2014, for example, Sony PlayStation unveiled plans for its own content-origination slate.

Among the first projects to be given the greenlight was Powers, a 10-hour series based on a graphic novel about detectives who investigate supernatural crimes committed by God-like beings. Powers will be produced by Sony Pictures Television (SPT) with Circle of Confusion.

One rationale for this move is that Sony wants its new PlayStation 4 console to be more than just a gaming platform. Already, huge numbers of PS users download video content. Sony reckons that up to 3.2 billion pieces of content have been downloaded via PS devices since 2006, so it is keen to take advantage of this fact during the course of its PS4 rollout.

Some observers may wonder why Sony is going this route at exactly the same time that Microsoft is shuttering its Xbox Entertainment Studios division. But there is a difference between the two companies. While Xbox was trying to develop a TV content arm from scratch, Sony is a well-established player in the production, channels and distribution businesses. Any content it makes for PS4 can be used on its other platforms or licensed to third parties. It is no accident, for example, that SPT (Sony Pictures Television) has the distribution rights to Powers. For content creators, this raises the prospect of a new scripted-content investor.

Bosch, at MIPCOM with Red Arrow International

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that they could also use drama to make their mark.

If there has been a downside for A+E, however, it is that it has not held the international rights to many of its hits. This has opened up the possibility that its breakout dramas could end up doing the same job for competitive channels around the world.

This situation is now being resolved, according to Joel Denton, who has recently been installed as managing director, international content sales and partnerships, at A+E Studios. “We launched A+E Studios in 2013

The Missing (All3Media)

and are now in a situation where we are holding on to more of the international rights to our shows. At MIPCOM, we will be launching Unreal [a series that aired on A+E’s Lifetime] and Sons Of Liberty, a six-parter that focuses on the young revolutionaries who were around at the time of the US War of Independence. That’s a really dynamic series with a cool cast that has the feel of something like Gangs Of New York.”

Denton says the creation of A+E Studios under Bob DeBitetto has created a real buzz within the group. Aside from the titles mentioned

above, he has also greenlit a remake of French hit The Returned and a Houdini mini-series starring Adrien Brody.

Denton, whose brief is to build strategic partnerships with broadcasters and producers around the world, says “the beauty of drama is that it can be brand-defining for channels even when it’s not getting massive ratings. I think the thing we’ve all learned in the last few years is that audiences are willing to watch complex shows and that has drawn a creative response.”

Denton does not believe the rise of the miniseries/serial has killed off demand for more traditional forms of content: “We’ve done consistently well over the years with Lifetime TV movies. Currently, we produce around 1012 titles a year, many of which are edgy, contemporary stories with great casts. They still have a key role to play in daytime and shoulder peak for broadcasters like TF1, M6, Rai and Mediaset. About one or two a year are big event pieces and can go into primetime.”

Denton, who has been around the drama business for a long time, suspects that the current high level of demand for drama may ease off.

But for now he is keen to take advantage of the good times: “These things are always cyclical, but we are in an amazing period for drama. So we want to be involved in productions of scale and quality and are looking for partners who share that aspiration.”

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Feature

Viasat Explore: Ben & James Versus the Arabian Desert

A

MONG the most active players in the channels game this year has been AMC, which made its international ambitions clear when it acquired channel operator Chellomedia from Liberty Global for $1bn and rebranded it as AMC Networks International. A few months later, AMC was making headlines again when it announced its intention to rebrand its MGM channel as AMC. Over the next few months, it will begin launching locally versioned AMC feeds across Europe, Latin America, Asia, Africa and the Middle East.

Commenting on the company’s new-look portfolio, Bruce Tuchman, president of AMC Global and Sundance Channel Global, says: “There’s a huge appetite for AMC original programming abroad. That interest, coupled with our successful history of curating films from the major studios to complement our original programming, gives us a great opportunity to make AMC Global a top-tier entertainment destination worldwide.”

Tuchman acknowledges that AMC was a late arrival on the international channel scene, but he is confident that the combination of AMC, Sundance and the local

channels that came as part of the Chellomedia deal will have a key role to play on pay-TV platforms worldwide: “Audiences are asking for smart TV and that’s what our channels offer, whether its series like Halt And Catch Fire and The Divide on AMC or the independent cinema we feature on Sundance. We’re offering very distinctive and complementary services.”

While AMC has grabbed the lion’s share of headlines, Tuchman says there is also a lot of faith in the Sundance Channel brand’s ability to expand internationally. This was underlined in August with the news that the channel is entering six markets in Central America and has extended distribution in Colombia.

Tuchman is a big believer in the pay-TV ecosystem, pointing out that this is how AMC grew its business in the US. However, he is not defensive when discussing the impact of the emerging platforms: “I don’t see the likes of Netflix and iTunes as competitive threats, because there’s never going to be one source of content in the world. We want new services to flourish, but not in a way that corrodes the pay-TV ecosystem. It’s all about creating complementary offerings.”

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Feature

CHANNELS

Channels in it for the long haul Some say video-on-demand is a threat to the linear TV channel business. But as MIPCOM introduces its new Global Channel Distribution Day, Andy Fry discovers the international channel operators are as busy as they ever were

Despite its big investment in linear-channel brands, Tuchman is quick to point out that the business is actually designed to have numerous consumer touchpoints. “AMC’s new

channel gives us an international capability that we didn’t have before. But it’s not replacing programme distribution. We create so many great shows that they still need good homes internationally. At the same time, our services aren’t limited to linear channels.

We’re a big believer that authenticated TVeverywhere services, available via our platform partners, are critical.”

“I don’t see the likes of Netflix and iTunes as competitive threats, because there’s never going to be one source of content in the world” Bruce Tuchman AMC Global and Sundance Channel Global

President of AMC Global and Sundance Channel Global, Bruce Tuchman

While most leading channel operators come from different starting positions, they are all trying to do similar things. Firstly, they are

seeking to control their production pipeline, ensuring they are in charge of content rights.

Secondly, they are building portfolios of wholly owned channels that cover both male- and female-skewing audiences. Thirdly, they are building integrated channel and distribution operations in order to maximise the impact/ value of their content. Fourthly, they are continuing to roll out services as aggressively as possible across emerging TV markets and new-media platforms. And finally, they are seeking to invest in local production where economically viable.

At A+E Networks, for example, Sean Cohan, executive vice-president of international, says the company now has greater control of its scripted content thanks to the creation of A+E Studios and the revamp of its distribution division. At the same time, Cohan says it has made significant strides in taking outright control of the international networks that it used to run as joint ventures.

As for the channels themselves, “we aim to bring a core offering of three to six channels to each market from a brand portfolio that consists of A+E, History, Lifetime, H2, FYI and Crime & Investigation [C&I] Network”, Cohan adds. “Examples of our recent activity

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Feature include the launch of female-skewing network Lifetime in Latin America, a move that will ultimately give us access to 30 million subscribers. Then there has been the expansion of C&I into Eastern Europe and Italy. We’ve also rebranded Bio as A+E in markets such as Germany, Iberia and Africa.”

Coupled with the launch of A+E in France at the end of 2013, the A+E brand now has genuine global clout.

Cohan says there are a number of reasons why we are seeing more aggressive activity from the channel operators: “Partly it’s because a lot of the key players are still seeing good growth in subscribers and advertising. But there’s also the

fact that it isn’t going to get any easier to launch channels. I think there’s a view that it makes sense to get on with it while there’s still strong global demand for quality content.”

Echoing the views of AMC’s Tuchman, Cohan remains convinced there is a role for channel brands: “Clearly, there is less loyalty than there used to be. But channels still have a key role to play in helping audiences navigate what’s on offer. I think the channels that will last are the one with unique, non-derivative content that they can air in exclusive windows.”

One of the most interesting aspects of the current wave of channel activity is that the big

ONGOING PROGRAMME OF DISCOVERY PROOF that the traditional channel operators are in good shape came in July when Discovery Networks International (DNI) announced its best-ever quarter.

Despite competition from the FIFA World Cup, DNI reached 621 million viewers around the world (+3% year-on-year). Flagship Discovery Channel reached 366 million viewers, while Animal Planet and TLC reached 252 million and 204 million respectively. Other highlights included double-digit growth for Investigation Discovery and Discovery Home & Health, significant expansion for Discovery Kids and a 12% increase for DNI’s free-to-air portfolio. On the digital front, DNI attracted 11 million visitors (+45% year-on-year) to its websites and 38 million fans (+250%) to its social platforms, including sizeable growth numbers for India, Australia and South-East Asia.

Going forward, the prospects look even better following DNI’s 2014 $1.2bn acquisition of Eurosport International from TF1. Explaining that decision, Discovery Communications’ president and CEO David Zaslav says: “Combining the power of Eurosport’s brands and audience reach with Discovery’s network portfolio, boots on the ground and country-specific expertise creates an unrivalled offering for viewers, Discovery CEO David Zaslav advertisers and affiliates.”

Another of Discovery’s key moves has been to beef up its international production capabilities as a way of feeding hungry channel brands such as TLC. In 2011, for example, it acquired UK production company Betty. This year, it formed a 50:50 partnership with Liberty Global to acquire superindie All3Media for around $930m.

“For Discovery Communications, it’s always been about creating compelling content for our global audiences, and this partnership is yet another way for us to work with the best storytellers in the business,” Zaslav says.

A+E Networks’ Sean Cohan players are no longer restricting themselves to pay TV. The highest profile example of this in recent times was Viacom’s decision to acquire free-to-air Channel 5 in the UK for $750m.

Explaining the rationale, Viacom president and CEO Philippe Dauman says: “The acquisition of Channel 5 accelerates Viacom’s strategy in the UK, one of the world’s most important and valuable media markets. Viacom’s global resources, technology and expertise will help Channel 5 develop even more compelling programming and provide content to consumers in new ways.”

It is early days for Viacom in terms of revealing its plans for Channel 5, but the decision to acquire it seems to be based on three pillars: the value of the business in its own right; its role in promoting Viacom’s UK-based payTV business (which includes Comedy Central, MTV and Nickelodeon); and the potential for Channel 5 to become a focal point for globally oriented production.

In the same way that Viacom’s US networks provide content for its international channels, Channel 5 commissions could be leveraged across markets. Dauman seems to hint at this when he says: “This deal will dramatically increase Viacom’s investment in UK content. We look forward to partnering with local producers to introduce UK content to global audiences.”

Scripps Networks Interactive’s (SNI) president of international, Jim Samples, says his company is also adopting a flexible approach to the kinds of services it provides: “Pay TV is

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Feature still at the heart of what we do, but we will always evaluate new opportunities for growth.

Our international strategy is not a one-sizefits-all strategy — we adjust our approach to fit the dynamics of each market. Because Scripps produces so much lifestyle programming, we are able both to create thematic pay channels, like Food Network and Travel Channel, and more broad-based FTA lifestyle channels for some markets.”

To illustrate the point, Samples reports that, in the fi rst quarter of this year, SNI expanded its international footprint with the DTT launch of factual entertainment network Fine Living in Italy. “Italy is a top-three territory worldwide for DTT penetration, so this important market enabled us to further build our presence in the EMEA region,” he adds.

“Fine Living has already been viewed by over 15 million viewers in Italy and our reach is growing rapidly. The network has been wellreceived by local audiences and there has been very strong interest from advertisers.”

Echoing Cohan, Samples says SNI’s aggressive roll-out is a reflection of consumer demand: “The successful evolution of our business has proven there’s a healthy appetite for Scripps’ content around the world. Over the last year in Asia, we’ve achieved key launches with the distribution of Travel Channel in the Philippines, AFC in Taiwan and Vietnam,

Viacom president and CEO Philippe Dauman

and Food Network in Thailand. Fast growing markets in Asia will continue to be a priority for us. We also have our sights set on launching soon in Latin America, home to some of the world’s fastest growing pay-TV markets.”

Like his rivals, Samples emphasises the importance of having a robust production line, which in SNI’s case amounts to around 2,000 hours of original programming each year.

Increasingly, SNI is developing content outside of the US to complement its home-grown shows. “Our goal is to make our channels feel as relevant as possible to local audiences, so we’ll plan to invest in local productions and develop local talent,” he adds. “For example, SNI’s fi rst original international production, Siba’s Table, which aired on Food Network across EMEA, has now started airing in the US. It’s a fantastic example of how we can develop local programming and talent that has international appeal and transcends borders.”

Siba’s Table, SNI’s first original international production

While the international channel business is dominated by US fi rms, one notable exception is Swedish Modern Times Group (MTG), a $2bn business with a diversified business that encompasses pay TV, free TV, production, distribution, radio and digital. Active across six continents, its recent headlines have included the launch of a free TV channel in Tanzania, a new bouquet of factual channels on Turkish pay-TV platform Turksat, and the acquisition of additional production and distribution capabilities in the shape of nice entertainment group and DRG. In addition, MTG recently acquired 75% of Trace, a youth media brand and pay-TV channel operator available in 131 countries.

Aleks Habdank, MTG’s chief operating officer of pay-TV emerging markets, says there are a number of reasons why the group has prospered in the midst of such tough competition: “One reason is that we are both a platform and channel operator. This benefits our channel operation around the world because we speak the language of platforms. We know the challenges they face these days and are able to deliver accordingly.”

Another is MTG’s commitment to production, with a strong emphasis on local content. “We’re very attuned to local tastes,” Habdank says. “When we enter markets, we put a lot of emphasis on local programming and production. An example would be our Viasat History feed in Poland, which outperforms TVP Historia and is

biting at the heels of Discovery and A+E.” MTG has also never shied away from what might be perceived as tough markets, often establishing itself as a first mover in emerging economies: “We’re very good at building relationships in challenging environments, and getting the right content into markets early. That has paid off in countries like Russia, where we are the number one pay-TV channel group.”

Priorities going forward include expansion into growth markets including Africa and Latin America. Then there is the acquisition of Trace, which delivers Trace Urban, Trace Tropical, Trace Africa and Trace Sports Stars to around 37 million viewers worldwide. “Trace is exciting for a couple of reasons,” Habdank adds. “The first is that it reaches a young, nontraditional group — the kind of audience that are cord shavers and cutters. So for us, it’s a way of building a relationship with that increasingly important segment. The other is that Trace’s focus on the celebrity and lifestyle side of sport complements our existing business. We’re one of the world’s biggest sports-rights buyers and we see potential to leverage that against Trace’s areas of expertise.”

As outlined earlier, MTG is both a platform and a channel operator. And, according to Habdank, it does not fear the changing nature of consumption. “Our goal is to reach audiences in any way they want, whether that’s via connected TV, apps or our online service Viaplay,” he says. “We’re not hiding from what’s happening. Our philosophy is ‘bring it on’.”

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MEDIA MASTERMIND KEYNOTE TED SARANDOS, CHIEF CONTENT OFFICER, NETFLIX Tuesday 14 October, 11.30-12.00, Grand Auditorium, Palais 1

Feature THE NETFLIX EFFECT

A hot topic at MIPCOM is likely to be the unstoppable expansion of game-changer Netflix. Last month, the content-streaming service pushed into a further six European countries — and there are more to come. And at MIPCOM its CEO Ted Sarandos addresses delegates in Cannes. Andy Fry reports

Changing the

game H

AVING built a strong base in the US, Netflix is now rolling out satellite services around the world.

After a first wave of launches in markets including the UK, Australia, Scandinavia and Latin America, September saw the addition of France, Germany, Austria, Switzerland, Belgium and Luxembourg.

And this isn’t the end. Speaking to shareholders earlier in the year, Netflix CEO Reed Hastings said: “Our broad success has convinced us to further invest aggressively in global expansion. Even after our expansion in Europe, we’ll only address about one-third [271 million of 728 million] of global broadband households, providing a great opportunity beyond 2014.”

In absolute terms, Netflix is still quite a small business internationally, with around 13.8 million subscribers outside the US. But with a 78% increase in customers during the second quarter of 2014, Hastings is convinced that now is the time to invest in expansion.

Speaking in July after the second-quarter results, Hasting reported a “tremendous

adoption of on-demand viewing” among consumers around the world, from Latin America to Finland to the UK. “It’s been quite consistent,” he said, citing the World Cup as a “sym-

“This is an enormous moment in history as on-demand internet services come to the fore around the world” Reed Hastings

bol of how strong this phenomenon is”. Netflix was concerned that it would see a drop-off in demand during the World Cup, particularly in host nation Brazil. In the event, it had no effect. “What was incredible is just how straight our line of net additions were in Brazil during the World Cup,” he added.

For Hastings, this is not to do with anything

that Netflix in particular is doing: “It’s really this growing demand for control, and for the consumer to be able to click and watch what they want. That’s why we’re stepping up on expansion, because we see that this is an enormous moment in history as on-demand internet services come to the fore around the world.”

As in the US, the Netflix model is predominantly based on providing the consumer with the means to binge view high-quality TV content. Subscribers are encouraged to take up Netflix because of its exclusive quality drama, and then stay loyal because of the range and volume of archive content available. This strategy explains why Netflix has invested in original shows such as House Of Cards and Orange Is The New Black, which was the most-watched Netflix programme in every country during the second quarter of this year.

But it also reveals why Netflix has emerged as a key buyer of quality dramas.

Asked about Netflix’s content strategy back in July, chief content officer Ted Sarandos said the beauty of shows like Breaking Bad is that

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Orange Is The New Black, the most-watched Netflix programme in every country in the second quarter of 2014

they can look like Netflix originals once they are outside their domestic market. “We have a lot of programming like Breaking Bad that, in the UK, is a Netflix original and in other territories is a licence,” he added.

With Breaking Bad’s hotly anticipated sequel, Better Call Saul, Sarandos said it would premier “everywhere outside North America on Netflix, so that’s kind of an original show and kind of not”.

“We’re trying to do things that would be very difficult to do on conventional television” Ted Sarandos

Sarandos made it clear that ‘originals’, whether produced by Netflix or acquired from third parties, are key to the brand strength of the business: “We’re producing and bringing out

original programming at about as fast a pace as we can and we’re going to continue pushing down that path. We’ll also, I think, always be a very valuable buyer for networks… potentially being a first window partner for shows outside of the US.” In terms of follow-ups to House Of Cards and Orange Is The New Black, Sarandos singled out BoJack Horseman, Netflix’s first foray into adult animated comedy. “It’s very funny, and it’s a broadening of what we’re doing on ‘originals’,” he added. “And then we have the fourth season of The Killing also coming out.”

One particularly ambitious project is Marco Polo, filmed in Venice, Malaysia and Kazakhstan. “We’re trying to do things that would be very difficult to do on conventional television,” Sarandos said.

Aside from the shows already mentioned, Netflix recently premiered Mission Blue from the Oscar-winning director of The Cove, Fisher Stevens. Also on Netflix’s content slate is Marvel’s Daredevil, a dark family thriller from the creators of Damages, Sense8, Grace And Frankie and Narcos.

As Netflix expands internationally, one obvious question is whether it will need to increase the amount of local content it acquires. In response to that, Sarandos said: “We do have

NETFLIX IN NUMBERS AT PRESS time, Netflix had just over 50 million subscribers, 36.2 million in the US and 13.8 million internationally.

Breaking these numbers down further, the UK and Ireland have approximately five million subs, Canada has around 3.5 million, Latin America has around three million and Scandinavia has around 2.5 million.

Revenues from the still-growing US market are being used to underpin the company’s rapid roll-out strategy on mainland Europe.

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Feature model represents a way for French content to tap a worldwide audience: “We want to give an avenue for French content to get out around the world. There are amazing French storytellers and a great movie business. We’re actively licensing French content. Think of what we’re trying to do as connecting the world, [bringing] some of the world’s best content to the world’s citizens.”

Hastings acknowledged there are challenges in expanding so rapidly, but he is confident of Netflix’s ability to address them: “In every market there are nuances. In Brazil, there’s a tremendous payment complexity, plus the leadership of TV Globo. In Canada, there’s the CRTC. In the UK, the BBC is quite unique in its role in society. So think of us as adapting to local conditions in each case. I’m sure we will stub our toes on some things. But we’ve got a lot of confidence. That’s why our view is we should get in the market, then figure out those issues.”

a heavy focus on accessing local content that matters, and establishing local relationships with the local producers in every market, [but] what’s been really great is how much content travels. So in all of the international territories, it’s somewhere between 10% and 20% local, and mostly the rest will be international product — mostly Hollywood product. We imagine, when we get out to more exotic parts of the world, that may skew a little more local but, to date, it’s been well within that 20%-local range.”

According to Sarandos, this even holds true for markets like France, where there is a long history of protecting home-grown content.

“The Mentalist is the most popular television show in France, so tastes don’t run that far off when you get down to the consumer,” he pointed out. “But I’m really excited to have France look at us as somebody who brings opportunity to the market — not there to harm the market in any way — and who will employ French production employees and create great content in France.”

Extending this point, Hastings said the Netflix

While most discussions about Netflix focus on its drama investment, the company has also been extending its activities into other genres. It is, for example, a major player in the children’s TV market these days. Aside from high-profile acquisitions — examples include Star Wars: The Clone Wars and Pokemon — it has moved aggressively into origination.

In March, it closed a deal with DreamWorks Animation on three original series: King Julien (from Madagascar), Puss In Boots and VeggieTales In The House. As referenced above, it is also working with Disney on original series based on its Marvel characters.

“Selling a show to Netflix can create instant word of mouth that helps the wider sales effort” Caroline Torrance

Outside drama and kids, Netflix also recently announced plans for a late-night chat show hosted by comedienne Chelsea Handler.

Explaining that departure, Sarandos said: “Chelsea is going to be a great representative of the programming on Netflix, because her show is about the entertainment world, movies, and television and pop culture. [Just as]

people are not watching scripted programming the way they used to, they are also not watching these late-night talk shows the way they used to, meaning they are not watching them at 23.30. They are watching them days, weeks, sometimes months later, online, or [via] stacked episodes. So what we’re hoping to do with Chelsea and her team is create a show that’s built closer to the way people are going to watch it — the way we’ve done with serialised dramas, where we took out commercial breaks and the cliffhangers.”

Reaction to Netflix’s expansion depends on which sector of the market you talking to.

Producers and distributors, particularly those with drama slates, are overwhelmingly positive about the expansion of Netflix. Ruth Clarke, director of acquisitions and co-productions at ITV Studios Global Entertainment, says that “competition is a good thing for a company like ours. We’ve sold titles like Mr Selfridge to Netflix and have found that having SVOD creates greater focus on the true value of rights among buyers.”

Zodiak Media’s head of international scripted, Caroline Torrance, is equally upbeat.

“How Netflix fits into the windowing of shows varies, depending on how well established they are in a particular market. But they definitely give us more options. In addition, they are sometimes willing to take risks on shows that broadcasters are reluctant to take. Selling a show to Netflix can create instant word of mouth that helps the wider sales effort.”

The situation for channel operators and platforms is more complex. On the one hand, they are nervous that Netflix will outbid them for individual shows, and suck audiences and subscribers away from them. On the other, they recognise that Netflix can provide exposure for shows that then pushes viewers back in the direction of linear-TV channels. An example of this would be when they run the first few seasons of a show, creating a groundswell of interest ahead of a new season that is just about to debut on a regular TV service.

Netflix encroachment partially explains why leading channel operators are trying to develop end-to-end control of their rights. A+E’s decision to launch a production studio and AMC’s aggressive international expansion are just of couple of examples of how channels are positioning themselves for the rise of Netflix and other on-demand providers. In parallel, the arrival of Netflix is pushing platforms faster and faster towards TV-everywhere

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Feature offerings, ensuring that audiences can access their favourite shows anywhere, anytime, on any device.

At Netflix, Hastings’ view is that there is room for everyone: “Sky in the UK [is a] very aggressive competitor. But it’s turned out that we can grow very substantially in the UK, and Sky is untouched.” According to Hastings, this picture is repeated in the US, where the MVPD (multichannel video programming distributors) have been largely unaffected by Netflix’s rapid growth. “I think the big MVPDs are recognising that Netflix is one more network, like YouTube,” he added.

The other question, of course, is how other on-demand platforms will rise up to meet the Netflix challenge. The most interesting of these is Amazon’s SVOD service Prime Instant Video, which is also ramping up its investment in originals and high-profile acquisitions. Recent and upcoming titles include comedy Alpha House, crime series Bosch, post-apocalyptic drama The After (created by Chris Carter of The X-Files fame) and Transparent, a family drama created by Jill Solloway (Six Feet Under).

Amazon is also becoming involved in some novel acquisition activity — for example, reviving Victorian crime drama Ripper Street after the show had been axed by the BBC.

Kevin Spacey and Robin Wright in House Of Cards Critics of Amazon believe the platform made a mistake in not pursuing the same binge-viewing model as Netflix. But there are signs that it may be changing its stance.

There are reports that Transparent will be released all in one go.

HOW MILLENNIALS CONSUME ACCORDING to a recent TiVo survey in the US, Millennials — those born between the early 1980s and early 2000s — consume video content via a mix of traditional and new-media platforms.

The survey revealed that, in 2013, 36% of Millennials’ TVviewing time was spent viewing traditional TV content, such as TV shows and live sports. However, unlike previous generations, Millennials primarily access video from streaming and subscription services, including TV-channel apps, websites, Amazon Instant Video, Hulu Plus and Netflix. Almost three-quarters (72%) of those surveyed reported using free online streaming services (Hulu, YouTube and TV-network streaming sites), and nearly two-thirds (60%) regularly use subscription VOD solutions (Netflix, Amazon Instant Video, Hulu Plus and HBO GO). “This demonstrates a large disparity with the other generations, who report utilising free and subscription services 40% of the time,” the survey concluded.

If Amazon has one advantage over Netflix, it is the massive scale of its retail business, which puts it in many more homes globally.

There is also a synergy between its book, ebook and DVD businesses and its SVOD service, which may reap benefits.

In terms of the type of content watched, traditional TV series are “Millennials’ preferred content of choice, rather than fulllength movies, live events or music videos”, says Dr Jonathan Steuer, chief research officer at TiVo. “It is widely reported that video consumption is on the rise but, according to the study, there is a sharp year-over-year decline in certain types of content. Viewership of movies, live events and music videos was lower. Millennials’ consumption of TV shows is, however, on the rise — 14% of those surveyed reported a growing appetite for television programmes. User-generated content ranked second, with an 8% lift in viewing among Millennials.”

This is in line with the predictions of new-media execs who anticipate a boom in demand for short-form content.

Another interesting point to come out of TiVo is what it calls the rise of the ‘super-binger’. TiVo reports that some 75% of its subs watch whole seasons of a show in just a few days.

Over 90% said watching three episodes in a row is now a regular habit.

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Feature FACTUAL

‘All you need is a camera, a computer and a good idea’

Morgan Spurlock’s 7 Deadly Sins, a series for Showtime from Warrior Poets, Spurlock’s production banner with partner Jeremy Chilnick

At this year’s MIPCOM a MIP MegaSession examines the future of factual, with producer Morgan Spurlock giving the opening address. Marlene Edmunds reports

P

LATFORM agnosticism and the democratisation of production and distribution made possible by digital have resulted in a new wave of factual creativity. Among the factual players experimenting on the digital edge — and very successfully so — are industry mavericks Morgan Spurlock, the US documentary filmmaker, humourist, television producer and screenwriter, and Emmy-nominated producer Jeremy Chilnick, both of whom work under the Warrior Poets banner.

“We are very much platform agnostic,” says Spurlock, the keynote speaker at the MIP MegaSession: Future Of Factual, which takes place in the Grand Auditorium on October 14th. “From my point of view, the conversation isn’t about what platforms you are making the content

for, but where the best place is for that content. A great story will work just about anywhere.”

What is unique and compelling about this moment in time, according to Spurlock, is that stories can come from anywhere or anyone. “The democratisation of distribution has meant that all you need these days is a camera, a computer and a good idea,” he adds. “As a result, we are seeing people who live in places like Kansas creating content that can be distributed around the world.

You no longer have to live in traditional entertainment hubs like LA and New York to make amazing content that can impact the world.”

Warrior Poets has been producing content online for years — content that often goes from web to TV, and sometimes from film/TV to web. “I’ve always seen

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Feature online as an incubator for TV content — an approach that Klein belives is flawed. “I think it’s a real disservice to look at a digital platform and use it as an incubator,” he says. “It’s the wrong point of view to start with when developing any project. You have to keep in mind the audience, and the audience we are aiming for first and foremost is a digital one.”

Klein believes the differences between online and linear need to be absorbed into the fabric of all digital strategies. “The conversation that we have with our audience is so powerful that it can’t be matched by anything that is being done in linear,” he says. “The difference is vast. We can include our audience in our stories. Linear can’t. Length is not an issue in digital. Creatively speaking, loosing the shackles of a 30-minute time slot can be very satisfying.”

Some 75%-80% of CNE’s digital series fall into the category of non-scripted. Its

Fidel Castro: The Lost Tapes (NGCI) digital as a place where you can try innovative content for a lower price point — a place to experiment and build audiences,” Spurlock says.

The Warrior Poets production banner has considerably upped its game this year with the announcement of several significant partnerships, among them the launch of Smartish with Maker Studios and a landmark deal with The Associated Press (AP).

Smartish is a branded-content channel that is being entirely populated with new original programming. “We’ve had great success with past digital projects, among them Mansome and Losing It With John Stamos on Yahoo! and A Day In The Life on Hulu,” Chilnick says. He adds that Warrior Poets is also part of the FOCUS FORWARD: Short Films, Big Ideas series of 30 three-minute films. A partnership between GE and cinelan, the films aim to tell a story about an innovator or worldchanging idea in 180 seconds. With Smartish, Warrior Poets will be able to expand its brand and become proactive in developing, producing and distributing original content.

Chilnick calls the AP deal “a factual content creator’s Shangri-La”. The pact gives Warrior Poets unlimited access to AP’s library of broadcast, digital and mobile content from 110 countries. Under the deal, AP’s library will be available for development into scripted and unscripted multiplatform projects.

“To literally have access to anything newsworthy that has happened in the last 168 years is

beyond exciting,” Chilnick adds. “When the AP started reporting the news, there were still only 29 states. Needless to say, their archives are massive. For us, working with the AP provides not only an unprecedented opportunity to create original programming based on exclusive and often never-before-seen source material, but it also gives us a direct line to the hundreds of reporters in the field breaking news stories as we speak. The possibilities are truly infinite.”

Following Spurlock’s MegaSession keynote, Chilnick will be moderating a conversation about the future of factual with Michael Klein, Conde Nast Entertainment’s (CNE) executive vice-president of programming and content strategy, digital channels, and Hamish Mykura, executive vice-president and head of international content for National Geographic Channel.

Conde Nast has been in the business of content since 1909 so it clearly has staying power.

CNE was launched in 2011 to develop film, television and digital video programming, and rolled out its digital video network two years ago. It now has more than 100 series on its online channels.

Klein says that the number of outlets available, the territories that can be reached and the technology that can assist that reach are phenomenal. “CNE can and is harnessing the power of all of this to help grow our audiences,” he adds.

Many traditional media outfits are using

LONG-FORM LIVES ON TRADITIONAL long-form documentaries are far from being lost in the digital shuffle — and among those who agree is Warrior Poets cofounder Morgan Spurlock. “I think you are going to see more and more traditional documentaries,” he says.

“The last and most impactful documentary I saw was Virunga, a film about protecting the mountain gorillas in the Congo. These kinds of documentaries are becoming increasingly important as more and more people demand answers to what they see around them. I’ve never been more proud to be a documentary filmmaker.”

Mia Kwon, a producer with Korean educational public broadcaster EBS, agrees that linear long-form docs are far from dead. EBS, she says, is focused on “achieving a whole experience of content for viewers” via different approaches to audience engagement. These include offering short-form webdocs on mobile devices.

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Feature GQ Channel premiere Casualties Of The Gridiron, a documentary that takes a look at the issue of head injuries in NFL, was nominated in the Outstanding Sports Documentary Series category at the 35th Annual Sports Emmy Awards.

Another brand that dates back more than a century is National Geographic, founded in 1888. And like Conde Nast, Nat Geo has not achieved a century-plus of success by playing it safe.

Mykura believes that the immense curiosity people have about the world around them — the craving for shows that entertain while offering real insight and take-away content — will ensure the future of factual.

Nat Geo, he adds, “uses modern production values, styles and very contemporary storytelling to share amazing narratives. Its values are about subcultures, human endeavour, history and archaeology, engineering and technology, the planet and the environment.”

Mykura points out that Nat Geo has had great success making science and education programming that is fun and accessible. Shows such as Brain Games and Street Genius are successful and will continue into the future, he adds, because “viewers also value intelligent lean-in content”.

So what’s ahead for Nat Geo? Mykura forecasts that observational documentary, factual shows that are real without being ‘reality’ and shows that offer unprecedented access, such as Ultimate Airport Dubai, will continue to pull in audiences around the world.

“To have access to anything newsworthy that has happened in the last 168 years is beyond exciting” Jeremy Chilnick

Warrior Poets’ Jeremy Chilnick

© Photo: Juan Carlos Borrero

Peabody Award-winner Tom Jennings, owner of 1895 Films, believes that, when it comes to factual entertainment and the future,

imagination is the key. “Digital technology has allowed non-fiction filmmakers to explore storytelling with an eye toward ‘the sky is the limit’,” he says. “New technology makes our content look better. We can gather footage and edit it quicker. And we can use small cameras in places where past technology would have defeated our efforts, or where the attempt itself would have been too dangerous to try.”

But Jennings, whose company picked up a Peabody Award in 2013 for MLK: The Assassination Tapes, says that one thing has not changed — nor will it ever: “You’ve got to have a good story and a good narrative. You need a great plot and you need great characters and those things don’t come attached to your hard drive. You can have all the bells and whistles that technology brings to make your film look amazing, but it’s how you incorporate those tools into telling a story that will provide new avenues for filmmakers to truly discover where digital media and its platforms can take us.”

Jennings’ latest production was shown on PBS in September as The Fidel Castro Tapes. The rights are owned by National Geographic Channels International (NGCI) and the title will be broadcast by NGCI as Fidel Castro: The Lost Tapes.

“The film is special because we mined several Cuban archives for never-seen or rarely-seen images of Castro,” Jennings adds. “In fact, I think we found every piece of footage of Castro speaking English during his 50year career. Also, there are no interviews in the show — no talking heads telling you what you’re looking at. Instead, we rely solely on news reports from each time period to tell the story of Castro’s life. It’s very effective — at least we think so.”

Conde Nast Entertainment’s Michael Klein

Casualties Of The Gridiron (CNE)

National Geographic Channel’s Hamish Mykura preview magazine I September 2014 I www.mipcom.com

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FILM COMMISSIONS DAY Tuesday 14 October, Californie, Palais 5 FULL CONFERENCE PROGRAMME INSIDE

Feature

Eva Green in the series Penny Dreadful, produced for Showtime and Sky by John Logan and Sam Mendes

FILM COMMISSIONS

Who’s the film-friendliest of them all?

Today film commissions are a key part of the content-creation chain and integral to kick-starting TV and film projects. As MIPCOM launches its Film Commissions Day, Marlene Edmunds looks at the commissions’ growing importance to the industry

E

UROPE’s film commissions have become increasingly sophisticated at catering to the specific needs of TV, film, commercials, games and animation producers. A case in point is the Ile-de-France Film Commission (IDFC), which recently leveraged its contacts and market

knowledge to sign an alliance with the Ile-deFrance National Orchestra. The partnership offers competitively priced recording sessions by the internationally renowned orchestra led by Enrique Mazzola to film, TV and, especially, animation productions.

Ile-de-France, which encompasses Paris and

its suburbs, claims to be Europe’s second largest and the world’s sixth biggest economic region. It is home to 400 production companies and as many as 80 top-of-the line studios. It is also the seat of France’s most important royal and noble residences — and it is this history that is being tapped in one of the country’s latest

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Feature co-productions, the 10-episode series Versailles.

During MIPCOM’s Film Commissions Day on October 14, Olivier-Rene Veillon, CEO of IDFC, will be presenting a case study of the English-language French/Canadian co-production. The aim, Veillon says, is to underscore how film locations can add to storytelling and bring added value and prestige to films and TV series.

“Versailles as a location has become so embedded in history that it has come to be seen as one of the world’s first global brands,” Veillon says.

“I’m interested in the idea of focusing on iconic locations that can add to the narrative process.”

The series is being produced by Capa Drama, Incendo Productions, Marathon Productions and the Zodiak Media Group, and distributed

by Canal+ in France, Incendo in Canada and Zodiak Rights worldwide. Created by show-

“Versailles is so embedded in history that it has come to be seen as one of the world’s first global brands” Olivier-Rene Veillon

runners Simon Mirren (Without A Trace) and David Wolstencroft (Spooks), Versailles is set to debut in 2015.

Veillon observes that Versailles is one of the most important symbols of the emerging power of statehood, not just in France but internationally. In 1778, a delegation led by Benjamin Franklin to Versailles ended in the Treaty of Paris and Louis XVI’s decision to aid the struggling colonies. That decision and the 6,000 troops France sent to Yorktown turned the tide of history and the war against Great Britain.

Additionally, the Treaty of Versailles signed in 1918 marked the end of the First World War. With a budget of €25m ($33m) plus another $2.7m for development, the series is 80% backed by French finance. It fully qualifies for France’s 20% tax rebate (TRIP), as well as other subsidies within France and Ile-de-France.

From France and Germany to Italy, Lithuania and the UK, financial incentives are rife across Europe, helping to cover the costs of TV, animation and film production. Aside from national incentives, regional and local benefits

are becoming increasingly important. Film London is a textbook example of what can be achieved when a city decides to focus its energy on bringing in investment by luring in international film and TV producers.

David Shepheard, inward investment manager for Film London, will be explaining in Cannes to what degree the UK tax credit and London’s own tax incentives have made a difference. London some time ago had a reputation for being difficult to shoot in but, over the past 10 years, that perception has completely changed. “We’ve been working hard to create a much better environment and to make London more accessible and attractive to international TV and film producers,” Shepheard says.

New legislation to allow productions to close roads for filming and the introduction of a dedicated police unit to assist with shoots in the UK capital are just some of the initiatives that have been introduced. “There’s no question that London has fantastic locations, crews and facilities, but the changes help to improve the experience of shooting on location in London,” Shepheard adds.

Helping to drive these changes has been t he L ondon Fi l m i ng Partnership, a network set up in 2005 that now comprises more than 300 organisations and agencies in all 33 boroughs of London.

The primary aim of the partnership is to provide services for film crews wishing to shoot in the capital.

“Film London is, in effect, a one-stop shop with the aim of making sure that all of this runs smoothly and that, if someone wants to shoot here, it’s not only possible but easy to do so,” Shepheard says. The organisation works across the sector to help studios, facilities companies, post-production outfits and below-theline crew to connect with international producers.

It helps that London is a world-class location for studio production. Its credentials include Pinewood, Shepperton, Warner Bros.

Studios Leavesden, 3 Mills

Studios, Ealing Studios, Twickenham Studios and West London Film Studios, along with top facilities companies, post-production and VFX outfits, such as Double Negative, Molinare and Frame Store.

Shoots in London have grown exponentially over the last 12 months as a result of the introduction of the UK tax relief for high-end television and animation. For example, a TV company with a scripted project and a minimum core expenditure of £1m per broadcast hour can claim tax relief of up to 25% of qualifying UK expenditure. Enhancements to the film tax relief put in place earlier this year mean that productions can now claim up to 25% — up from 20% — on the first £20m of qualifying production expenditure, and 20% thereafter.

Recent shoots include Fox’s 24, which filmed 12 episodes in London, both in the studio and on location; The Royals for E1 Entertainment; AMC’s Knifeman for Media Rights Capital and Stars Road Entertainment; and the critically acclaimed drama series The Honourable Woman.

In shooting Edge Of Tomorrow, starring Tom

preview magazine I September 2014 I www.mipcom.com

Kiefer Sutherland and Mary Lynn Rajskub filming in London.

Photo: courtesy of Harley Evans for Fox

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Feature Cruise, one of the scenes called for a helicopter to be landed in London’s teeming Trafalgar Square. “You can imagine the planning that involved,” Shepheard says. “It was a testament to the capital’s agencies in place to help film and TV producers and to London’s new ‘can do’ attitude.”

At 30%, the Bilbao Film Commission (BiFiC) and the Basque province of Biscay already offer one of the most attractive financial incentives in Europe. BiFiC is now moving to top that up with an additional cash rebate aimed at luring more international TV, documentary

FILMING EUROPE IN CANNES AT MIPCOM for the first time, Filming Europe — also known as the European Film Commissions Network (EUFCN) — comprises 86 film commissions from 28 territories in Europe.

“Our aim is to support and promote the European film industry across the globe and to share each other’s experiences and best practices,” says Angelica Cantisani, Filming Europe coordinator. She adds that MIPCOM “offers us a unique opportunity to showcase European film commission activities to the thousands of international TV producers and film producers attending the event from across the globe”.

During the MIPCOM Film Commissions Day, Filming Europe will be unveiling a detailed overview of what Europe can offer in terms of locations, tax rebates, service and below-the-line support facilities. “As an example, we know that many of our members have been able to attract Asian producers and directors to shoot in Europe through various tax incentives and benefits,” Cantisani says.

“But we believe this is just the tip of the iceberg in terms of the kinds of creative partnerships that can be formed between Europe and Asia, and Europe and the rest of the world.”

Pawel Pawlikowski directs a scene from Ida, the Polish Oscar nominee for Best Foreign Language Film and film producers to Bilbao and Biscay.

According to Miguel Gomez-Tejedor, international area executive for EIKEN (Basque Audiovisual Cluster), a unit within Spain’s autonomous self-governing Basque region, the cash rebate is expected to become available in the near future. He adds that the rebate is part

“We help contentmakers find locations and obtain permits, and we also help in finding potential sources of finance” Tomasz Stangierski of a major restructure of BiFiC, aimed at enticing international producers to the Basque region. “We see ourselves as a gateway between the international film community and the incentives, talent, facilities and locations in this region,” Gomez-Tejedor adds. “And some of those locations are indeed breathtaking.”

Some 36 shoots have taken place in the Spanish Basque region over the last year, among them Jupiter Ascending. The film by Andy and Lana Wachowski, starring Mila Kunis, Channing Tatum and Sean Bean, was shot in and around the Guggenheim Museum Bilbao. Among the

Basque companies tapped for the shoot was K2000, one of the region’s leading audiovisual companies.

With more than a century-old tradition in film, Poland is no stranger to audiovisual production. And while it is one of the few territories in Europe that does not offer cash-back incentives, it is nevertheless attracting a raft of international producers.

Polish regional commissions including the Lodz Film Commission are working hard to up their game. “Our aim is to increase the number of audiovisual projects carried out in Lodz and the surrounding region, whether film, TV, documentary or animation,” says Tomasz Stangierski of the Lodz Film Commission.

“While we help content-makers find locations and obtain permits, we also help in finding potential sources of finance. Our mission is to help every step along the way.”

Lodz can offer a phalanx of talented professionals, including DOPs, set designers, directors, actors and animators. “We also have very unique locations, including post-industrial facilities, art nouveau villas, Baroque and Renaissance palaces, rivers, urban green areas, communes, open-pit mines, stately manor houses and medieval castles,” Stangierski adds.

Among the 25 audiovisual projects that Lodz Film Commission helped in 2013 was Pawel Pawlikowski’s Ida. The Polish Oscar nominee for Best Foreign Language Film was shot in

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Feature Lodz, co-funded by the Lodz Film Fund, produced by Lodz company Opus Film and has so far picked up a raft of awards on the festival circuit.

Germany remains one of the hottest territories for international co-productions when it comes to tapping financial incentives. The country has nine federal and regional film subsidy boards that last year put $329m into feature film and TV development and production.

Among the most active is Medienboard BerlinBrandenburg and its subsidiary, the Berlin Brandenburg Film Commission (BBFC).

Recent shoots on which BBFC and Medienboard have collaborated include The Grand Budapest Hotel, The Monuments Men and Beauty And The Beast. It is estimated that the money spent in the capital over the last decade as a result of the support of Medienboard/ BBFC has risen by some 400%. Medienboard’s latest focus is TV-pilot funding, aimed at attracting more of what are increasingly becoming very lucrative TV shoots.

The new Lithuanian tax incentives that went into effect in January 2014 offer up to 20% of a project’s Lithuanian production budget. Ausra Lukosiuniene, head of the film production department at the Lithuanian Film Centre, notes that the incentives are available to feature films, TV films, documentaries and animated films, and include domestically produced, coproduced and commissioned films.

One of the latest shoots to take advantage of the incentive is the Lithuanian/Polish/ Norwegian docudrama The Man Who Knew 75 Languages from director Anne Magnussen and co-director Pawel Debski. Due to premiere at the end of 2015, the full-length animated documentary about the language genius Georg Julius Justus Sauerwein is produced

by Fralita Films in Lithuania, Embla Films in Norway and Polish film outfit Fumi Studio.

Ireland was one of the first territories to recognise the value of attracting international productions and, over the years, has remained a competitive filming destination. It currently offers a cash incentive paid on the first day of principal photography, with a maximum benefit of 28% of qualifying local spend. Among the latest TV productions to have taken advantage of the benefit are Penny Dreadful and A Dangerous Fortune, produced by Constantin Television for German pubcaster ZDF. The current Irish incentive applies to EU individuals only, and to goods and services purchased in Ireland. However, the country is currently pushing through a real game changer, which will offer 32% on all individuals and will go into effect in 2015. “Essentially the new incentive will be nationality blind,” says the Irish Film Board’s film commissioner, Naoise Barry.

Today’s audiovisual players are interested in collaboration as well as competition and it is not unusual for content partnerships to

develop in which both territories have something to gain. Such is the case with RioFilme and Canada Media Fund, which recently began working together to support the co-development of television projects and related digitalmedia content that will benefit both territories.

Adrien Muselet, chief operating officer for RioFilm, says: “An international co-production partnership is much more likely to happen when both parties work on the scenario together and from the start.” Each funding partner will provide half the total incentive.

ABU DHABI FEELS THE FORCE ONE OF the latest shoots to be lured to Abu Dhabi by the emirate’s generous 30% cash production rebate is Star Wars: Episode VII. The JJ Abrams-led production has reportedly re-created the desert planet Tatooine, the home of Anakin and Luke Skywalker.

It’s all in a day’s work for Abu Dhabi Film Commission (ADFC) and twofour54, the principal driver behind Abu Dhabi’s ambitious plan to make the emirate the entertainment and media-industry centre of the Middle East.

Sameer Al Jaberi, production and locations co-ordinator for ADFC, will be unveiling details of Abu Dhabi’s rebate at MIPCOM’s Film Commissions Day. It is applicable to feature films, television programmes, TVC and music videos, and can even include crew costs, accommodation and flights to Abu Dhabi.

Abrams and cast, including Mark Hamill, Harrison Ford, Carrie Fisher, Max von Sydow and Adam Driver, flew to Abu Dhabi in May with the support of the Abu Dhabi Film Commission and twofour54.

Docudrama The Man Who Knew 75 Languages — a co-production between Fralita Films in Lithuania, Embla Films in Norway and Fumi Studio in Poland

Fast & Furious 7, Deliver Us From Evil and Bollywood action movie Bang Bang also shot recently in Abu Dhabi.

Recent TV projects have included Top Gear and The Bold And The Beautiful.

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Tips & Services

Welcome to MIPCOM! Thank you for attending the show this year.

There is much to think about to be fully prepared for this exciting edition, so we’ve designed this tips & services section to help you make the most out of MIPCOM To ensure you start off with a bang, please refer to our Quick Checklist Things to do before the Show: Have you prepared your transportation? Have you arranged your transfer to Cannes?

Have you booked your accommodation? if not, book now at www.mipcom.b-network.com and choose from a wide selection of hotels and apartments at special rates Have you connected to the Online Database on Mymip to find out in advance who else is attending the show, to set up meetings and discover projects?

Have you checked the full show programme of MIPCOM conferences, screenings and events not to be missed?

Ensure you download the MIPCOM App to get the most of MIPCOM. Find answers to all those questions on the following tips & services section. For more details please refer to my-mip.com

1. USEFUL TIPS GETTING TO THE FRENCH RIVIERA

BY AIR The nearest airport is Nice Côte d’Azur International (NCE), which provides direct flights to many cities around the world.

Special rates with our official partner Air France & KLM. Use the promotion code 22591AF www.airfranceklm-globalmeetings.com

BY TRAIN The Cannes train station is a short walk away from the Palais des Festivals. Please note that the station is currently under renovation. Works might make the access a little less fluid.

T: +33 (0)8 92 35 35 35 www.tgv-europe.com

GETTING TO MIPCOM TAXI T: +33 (0)8 90 71 22 27 or +33 (0)4 92 99 39 23 or book online www.taxi-cannes.net/en/reservation BUS FROM THE AIRPORT You have several options for bus travel. Tickets must be bought beforehand.

INSIDE: 1. USEFUL TIPS • GETTING TO THE FRENCH RIVIERA • GETTING TO MIPCOM • UPON YOUR ARRIVAL • THE EXHIBITION HALLS

2. SERVICES • CONTENT, CONFERENCE & SCREENING VENUES • CLUBS • ADDITIONAL SERVICES

3. GENERAL MAP OF MIPCOM

Where to get tickets: Desk at Terminal 1: outside arrivals, Gate A0.

Opening hours: 8.00 – 23.00 Desk at Terminal 2: outside arrivals, between gates A1 and A2. Opening hours: 8.00 – 24.00

stop). The station is just a few meters walk. Trains for Cannes depart every 5 minutes.

A one-way ticket costs from €5,80.

Book your train tickets at www.tgv-europe.com or by calling +33 (0)8 92 35 35 35

• The Nice AirportXpress line to Cannes (bus N°210) goes to and from Nice Côte d’Azur International Airport and the Cannes bus station via Le Cannet everyday from 8.00 to 20.00 every 30 minutes.

Journey takes 50 minutes.

A one-way ticket costs €20 and a return ticket costs €30.

Where to catch one: Terminal 1: gate A0, platform 3 Terminal 2: between gates A1 and A2, platform 3

CAR RENTAL If you wish to rent a car, our official partner Sixt Rent a Car can provide you with preferential rates.

Promotion Code: 9963828* (up to 10% discount) T: +33 (0)1 44 38 55 55 www.sixt.com * Please note that this reduction is subject to availability and only applies to prepaid payment via the Sixt booking centre or on the Internet.

• Bus N°200 also goes to Cannes from Monday to Saturday at 20.45 and 21.55.

Where to catch it: Terminal 1: platform 3 • Noctam’Bus N°200 will get you to Cannes in the evenings. It is available Thursday, Friday and Saturday nights and travels from 23.30 to 04.10 every hour and a half.

Where to catch it: Terminal 1: platform 3 TRAIN FROM THE AIRPORT To get to the Nice train station from the airport, go to Terminal 1, gate 6, take bus 23, direction Vallon des Fleurs (€1). Buses depart every 5 to 12 minutes.

Disembark at Gare SNCF Saint Augustin (second

HELICOPTER Azur Helicoptère operates regular 7-minute flights between Nice Côte d’Azur International Airport and Cannes. A shuttle takes you from the Cannes heliport to your destination.

Show participants benefit from a negotiated rate of €135 per person (+ €15 heliport tax).

T: +33 (0)4 93 90 40 70 info@azurhelico.com / www.azurhelico.com PRIVATE TRANSFERS For short or long trips, from 1 to 8 people, rent a private car with driver and save over 20% with our official partner Chabé Limousines.

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Tips & Services Airport shuttles from Nice to Cannes: €115 (Sedan) or €145 (Van-7 Pax) Evening offer* (3 hours): €250 *For quotes and bookings, visit www.chabe-limousines. com/en/events/mipcom For more information, riviera@chabe-grandsud.com or call +33 (0)4 93 43 90 91 SHUTTLES TO OUR PARTNER HOTELS in partnership with

MIPCOM offers you free shuttle service to and from our partner hotels if you are staying outside Cannes during the market.

UPON YOUR ARRIVAL USEFUL INFORMATION ABOUT CANNES The Palais des Festivals is on the seafront at the end of the famous Croisette. It is clearly signposted throughout Cannes.

Address: Palais des Festivals Esplanade Georges Pompidou 06400 Cannes Country dialling code: +33 Time zone: GMT +1 Electricity: 220 volts AC, 50 Hz. Round two-pin plugs are standard Measurement system: Metric Currency: Euro YOUR BADGE Your Badge is your primary means of identification during MIPCOM. It provides access to all exhibition areas, conference sessions and networking events during opening hours. Please carry it at all times, and be ready to show it at entry and security points around the area.

E-ticket holders: E-tickets will be sent to you via email a few days before the show. Also available in the my-mip.com database using your personal access codes. They include a barcode for ID recognition. Print it out to collect your badge at a selfservice delivery point or scan the QR Code on your smartphone and save time at the registration area.

REGISTRATION OPENING HOURS CROISETTE 18, Outside structure

• Saturday, October 11: 14.00-19.00 • Sunday, October 12: 9.00-19.00 • Monday, October 13: 8.00-19.30 • Tuesday, October 14 – Wednesday, October 15: 8.30-19.00 • Thursday, October 16: 8.30-16.00 Badges can also be collected from: • Palm Beach during MIPJunior • The Majestic Hotel: Saturday 12: 14.00-19.00, Sunday 13: 9.00-19.00, Monday 14: 8.00-19.30 • Press registration: at the Press & News Hub (Croisette 21) MARKET OPENING HOURS • Monday, October 13 – Wednesday, October 15: 8.30-19.00

• Thursday, October 16: 8.30-18.00 Exhibitors have access to all the exhibition areas starting from 8.00 via the Artists’ Entrance situated between the Palais des Festivals and Riviera 7.

EVENTS FOR ALL DELEGATES • All MIPCOM conferences, screenings and events can be accessed with your MIPCOM badge (space permitting). See the full programme overleaf.

• MIPCOM Opening Party in partnership with ProMexico Monday October 13, 19.30, The Grand Hyatt Cannes Hotel Martinez. You will need your MIPCOM badge to access the party.

• MIPCOM World Premiere TV Screening Monday October 13, 18.00, Grand Auditorium, Palais 1, Palais des Festivals.

MIPCOM & Entertainment One present the Book of Negroes at the MIPCOM 2014 World Premiere TV Screening.

Is this your first MIPCOM? Don’t miss these special events custom designed to help ensure you reach your targets and make the most of your first MIPCOM. MIPCOM First Timers’ Induction • First Timers’ presentation & discovery tour followed by a welcome champagne cocktail.

Sunday 12 October, 17.00. Meeting point: Main entrance, Palais 0, Palais des Festivals.

Including guest speaker “The Pitch Doctor”, Paul Boross, who will provide tools on how to make connections and win more business at MIPCOM. • First Timers meet & greet corner Monday 13 October, 19.30-20.30. Meeting Point: The Grand Hyatt Hotel Martinez. Meet and network with the MIPCOM team and other fellow first timers around a drink at the MIPCOM Opening Party.

• First Timers networking coffee break Tuesday 14 October, 8.30-9.30. Meeting Point: Blue lounge / Press & News Hub (Croisette 21).

Complete your MIPCOM experience and learn more from the MIPCOM team on how to benefit all year round from the Mip tools and events.

THE EXHIBITION HALLS The exhibition zone includes: • Palais des Festivals (Palais -1, 0, 1, 3, 4, 5 & 6) • Riviera Hall (Riviera 7, 8 & 9) • Croisette (all outside structures from 11 to 21)

2. SERVICES CONTENT, CONFERENCE & SCREENING VENUES Grand Auditorium: Palais 1 Auditorium A: Palais 3 Auditorium K: Palais 4

Sony 4K Theatre: Palais 4 Esterel: Palais 5 Californie: Palais 5 In association with Meet the Speakers’ Lounge: Palais 5 Networking Lounge: Palais 5

CLUBS PARTICIPANTS’ CLUB CROISETTE 18, Outside structure

Open to all participants attending MIPCOM without a stand. Features include a meeting area, free coffee service, free Wi-Fi service, telephone charging stations and a message system.

BUYERS’ CLUB In association with

PALAIS DES FESTIVALS – PALAIS -1, AISLE A

Reserved for programme purchasing executives.

Features include a lounge area, complimentary bar, electronic message board organised by hostesses and free Wi-Fi service.

VIP CLUB In association with

PALAIS DES FESTIVALS – PALAIS 3

Exclusive club reserved for VIP delegates to relax or discuss business in more private surroundings.

Features include Wi-Fi access, refreshments, daily press, professional concierge service and a dedicated staff. Entry reserved by invitation.

GOLD BUSINESS LOUNGE PALAIS DES FESTIVALS – PALAIS 1 Sponsored by

This lounge offers complimentary and personalised business services to the members of our Customer Recognition Programme including a private lounge area, international press, PC & Internet access.

PRESS & NEWS HUB CROISETTE 21, HARBOUR

The centre of anything newsrelated at MIPCOM, including the Press Club, Blue Lounge press conference room and the offices of the MIPCOM News, MIP Blog and international press teams.

ADDITIONAL SERVICES BUSINESS CENTRE PALAIS DES FESTIVALS - PALAIS 4 - AUDITORIUM J

Offers a complete range of secretarial and administrative services such as photocopying, word processing, printing and faxing at competitive rates.

CONCIERGE SERVICE PALAIS DES FESTIVALS - PALAIS 0

The MIPCOM concierge provides a number of services, free of charge, including restaurant and taxi bookings, flights and helicopter tours, shuttles, spa reservations and tourism information on Cannes and its surroundings.

preview magazine I September 2014 I www.mipcom.com

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Tips & Services CONNECTIVITY Wi-Fi Free Wi-Fi is available throughout the exhibition on the “Palais des Festivals Wi-Fi” network. You can connect one device at a time. If you require a customized Wi-Fi service, please contact Viapass at their desk at Palais -1.

Online Database Accessible on my-mip.com/online-database The best way to schedule meetings in advance!

• Introduce yourself, your company and programmes to increase your visibility.

• Search among participating companies and visitors to find your future business partners.

• Book meetings ahead of time to increase ROI during the market.

LEFT LUGGAGE There are 2 venues available free of charge. One next to registration and a further alongside the Press & News Hub next to the harbour.

MEMBER DESK PALAIS DES FESTIVALS - PALAIS 0

The Member Desk provides on-the-spot care and assistance for all the members of our Customer Recognition Programme.

3. GENERAL MAP OF MIPCOM

Master Guide To Cannes ex Croisette Village

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MIPCOM has joined forces with TripAdvisor and Cannes-I-Get.com to bring show visitors the ultimate guide to the Croisette’s hottest addresses. Available via the official MIPCOM app and on the MIP Markets Facebook page, the Master Guide offers reviews submitted both by TripAdvisor users and by fellow MIPCOM-goers. So they can not only find where to eat, drink and stay, but also read peers’ ratings, check in, and share tips themselves. A memorable time in Cannes is guaranteed!

Visit: my-mip.com GUIDE AND BAG DISTRIBUTION CROISETTE 18 - REGISTRATION HALL

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Pick up a MIPCOM guide at any time during the show by presenting your badge.

MIPCOM shuttle

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HELP DESK PALAIS DES FESTIVALS - PALAIS 0

Staff are on hand at this desk to assist you throughout the market. Don’t hesitate to ask them your questions.

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INFORMATION POINTS Information points with hostesses can be found at strategic positions all around the market.

mipcom PREVIEW The official MIPCOM preview magazine September 2014. Director of Publications Paul Zilk Director of Communication Mike Williams ®

EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Technical Editor in Chief Hervé Traisnel Deputy Technical Editor in Chief Frédéric Beauseigneur Graphic Designer Carole Peres Sub Editor Joanna Stephens Contributors Marlene Edmunds, Chris Forrester, Andy Fry, Gary Smith Editorial Management Boutique Editions PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Manager Amrane Lamiri Co-ordinators Nour Ezzedeen, Emilie Lambert 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 Entertainment Conference Director and MIPJunior Show Director Lucy Smith Sales Director Frédéric Vaulpré Director of Market Development Ted Baracos Programme Director Tania Dugaro Director of the Buyers’ Department Bénédicte Touchard Brand Director Lionel Lelouch Managing Director (UK / Australia / New Zealand) Peter Rhodes OBE Senior Vice President, Americas Robert Marking Sales Director Latin America José-Luis Sanchez Sales Manager Panayiota Pagoulatos Regional Sales Director Sylvain Faureau Regional Sales Director Nathalie Gastone, Regional Sales Director Fabienne Germond Sales Managers Paul Barbaro, Liliane Da Cruz, Nancy Denole, Samira Haddi Sales Executive Cyril Szczerbakow New Media Development Manager Bastien Gave Sales Managers, Buyers Cyriane Accolas, Yi-Ping Gerard Australia and New Zealand Representative Natalie Apostolou China Representatives Anke Redl, Tammy Zhao CIS Representatives Alexandra Modestova, Igor Shibanov English Speaking Africa Representative Arnaud de Nanteuil Germany Representative (Digital Media Sector) Renate Radke Adam India Representative Anil Wanvari Israel Representative Guy Martinovsky Japan Representative Lily Ono Middle-East Representative Bassil Hajjar Poland Representative Monika Bednarek South Asia Representative Adam Ham South Korea Representative Sunny Kim Taiwan Representative Irene Liu UK Representative (Digital Media Sector) David Hedges Reed MIDEM, a joint stock company (SAS), with a capital of €310.000, 662 003 557 R.C.S. NANTERRE, having offices located at 27-33 Quai Alphonse Le Gallo - 92100 BOULOGNE-BILLANCOURT (FRANCE), VAT number FR91 662 003 557.

Contents © 2014, Reed MIDEM Market Publications. Publication registered 3rd quarter 2014. ISSN 2104-2179. Printed on 50% recycled paper

preview magazine I September 2014 I www.mipcom.com

MIPCOM 2014 CONFERENCE AND EVENTS PROGRAMME NEW AT MIPCOM Monday 13 October,

MIPCOM THOUGHT LEADERSHIP EVENTS Monday 13 October,

9.15 – 15.50, Esterel Sponsored by

GLOBAL CHANNEL DISTRIBUTION DAY A one-day programme briging together the world’s platforms and channels to identify blooming opportunities in the carriage deals market.

3RD WOMEN IN GLOBAL ENTERTAINMENT POWER LUNCH MIPCOM and Lifetime Networks present this 3rd annual thought leadership lunch featuring an exclusive conversation with extraordinary senior executives who will share their unique perspectives on the industry of television.

Featuring

DR. SVEN WEISSENFELS Senior Expert Content Partnering Deutsche Telekom

DEAN POSSENNISKIE Managing Director, EMEA A+E Networks

JON SICHEL Managing Director UK /EMEA Scripps Networks International

TAAHIR HORZOOK Manager Digital Distribution Al Jazeera Media Network

MO ABUDU CEO & Executive Chairman EbonyLife TV

Tuesday 14 October, Tuesday 14 October,

9.00 – 15.00, Californie

Sponsored by

Media Partner

ANNE SWEENEY Co-Chair, Disney Media Networks & President Disney/ABC Television Group

12.30, Carlton Hotel - By invitation

LATAM GLOBAL DEALMAKERS LUNCH

Sponsored by

The LATAM Global Dealmakers Lunch brings together 150 of the most influential TV and entertainment executives driving international co-productions in Latin America, with a focus on the world-class television and film production industry of Mexico.

THE FILM COMMISSIONS DAY Abu Dhabi Film Commission (ADFC), Bilbao Film Commission, Film Commission Poland, Film London, Filming Europe – EUFCN, Italian Film Commissions, Lithuanian Film Centre, Łódz´ Film Commission, Medienboard Berlin-Brandenburg.

Film commissions across the globe will be in Cannes for a programme aimed at giving content creators one-on-one firsthand information on the latest incentives, subsidies, finance and tax relief packages available in their territories.

12.30, Majestic Hotel - By invitation

Case study: Paris to Versailles – How iconic locations lend power to storytelling.

Presented by OLIVIER-RENÉ VEILLON CEO Ile de France Film Commission

FILM & TV CROSSROADS Driving original content creation

Opening remarks FRANCISCO N. GONZALEZ DIAZ CEO ProMexico

JOE UVA Chairman Hispanic Enterprises Telemundo Internacional

DIGITAL DISTRIBUTION The quest for the audience

Monday 13 & Wednesday 15 October

Tuesday 14 & Wednesday 15 October

A series of interviews with cutting edge content creators and talent sharing the secrets of their success in driving the quest for original content creation.

At MIPCOM, a dedicated track teaches you how content distribution has evolved to do just that.

Don’t miss: UNDERSTANDING MILLENNIALS – ACCESS IS OWNERSHIP - VOD BEYOND VIEWING OPPORTUNITIES and more…

MATT DILLON Starring in Wayward Pines KEVIN BEGGS Chairman Lionsgate Television Group

M. NIGHT SHYAMALAN Executive Producer/Director Wayward Pines AXEL KUSCHEVATZKY Head of International Film Production Telefonica Studios

BEN PYNE President, Global Distribution Disney Media Networks

ERIN MCPHERSON Chief Content Officer Maker Studios

SAM TOLES VP, Content Acquisition & Business Development Vimeo

JIM PACKER President Worlwide TV & Digital Distribution Lionsgate

MIPCOM 2014 CONFERENCE AND EVENTS PROGRAMME

Full programme information on mipcom.com

MEDIA MASTERMIND KEYNOTES Monday 13 October, Grand Auditorium

THE GLOBAL QUEST FOR ORIGINAL CONTENT

11.30

12.10

STEVE MOSKO President Sony Pictures Television

The global quest for original content is raising the bar on quality and powering up the media world as never before.

MIPCOM brings forefront key industry players unveiling ambitious new business strategies and cutting edge solutions aimed at putting delegates and their companies at the heart of a powerful new media world committed to collaboration, creativity and audience connection.

YNON KREIZ CEO Maker Studios

Interviewed by DAVID ROWAN Editor-in-chief WIRED

16.10

JAMES MURDOCH Co-Chief Operating Officer 21st Century Fox

MIPCOM 2014 PERSONALITY OF THE YEAR Monday 13 October,

Tuesday 14 October, Grand Auditorium

17.00, Grand Auditorium

Interviewed by ERIC SCHERER Director Future Media France Télévisions

11.15

The TV and film producer, music label boss and internationally-renowned talent show judge will receive his award at a gala dinner for industry executives at the Carlton Hotel in Cannes on Tuesday 14 October. On Monday 13 October, Cowell will give a keynote interview in the Grand Auditorium of the Palais des Festivals.

TED SARANDOS Chief Content Officer Netflix

11.50 ANNE SWEENEY Co-Chair, Disney Media Networks & President Disney/ABC Television Group

16.20 DAVID STAPF President CBS Television Studios

12.15 JILL WILFERT VP Global Licensing and Entertainment LEGO Group

16.20 ARMANDO NUÑEZ President and CEO CBS Global Distribution Group

SIMON COWELL Entertainment Creative Icon

Interviewed by PIERS MORGAN

©CNN

17.10 CHARLES ZHANG Chairman of the Board and CEO Sohu.com

MIP MEGASESSION: FUTURE OF FACTUAL - The global quest for original reality Tuesday 14 October,

14.30 - 16.00, Grand Auditorium

Screen the future through sneak previews, and hear from our mega session of visionary producers and programmers shaping the future of factual financing, production and distribution.

MICHAEL KLEIN EVP, Programming & Content Strategy Digital Channels Condé Nast Entertainment

HAMISH MYKURA Executive Vice President & Head of International Content National Geographic Channels International

Opening Keynote MORGAN SPURLOCK Writer, director, producer & President of Warrior Poets

Featured interview AAMIR KHAN Indian film actor, director, screenwriter, producer and television presenter

An unparalleled opportunity to meet with Mexico’s top players.

Find out just what drives one of the most energetic television territories in the world and sixth largest exporter of content in the world.

Producers showcase

Monday 13 October, Auditorium A 9.30-10.00 FRESH TV FROM MEXICO 10.10-10.40 MEXICO MEDIA & ENTERTAINMENT LANDSCAPE 10.50-11.20 VIEW FROM THE TOP

Tuesday 14 October, Auditorium A

View from the top EMILIO AZCARRAGA JEAN Chairman of the Board and Chief Executive Officer Grupo Televisa

EPIGMENIO IBARRA President and CEO Argos Comunicacion

MIPCOM WORLD PREMIERE TV SCREENING THE BOOK OF NEGROES Mini-series by Entertainment One

9.00-9.40 THE PRODUCERS SHOWCASE 9.50-10.30 THE BROADCASTERS SUPERPANEL 10.45-12.45 MEXICO MATCHMAKING EVENT International buyers meet one on one with producers and distributors from Mexico.

PEDRO TORRES CEO The Mates Contents

INTERNATIONAL DRAMA SCREENINGS Diving into original content Monday 13 October,

9.30, Auditorium K - By invitation

THE LIBRARIANS by Electric Entertainment Monday 13 October,

18.00, Grand Auditorium

Academy Award winner Cuba Gooding Jr. (Jerry Maguire), Academy Award and Primetime Emmy Award winner Lou Gossett Jr. (Boardwalk Empire) and lead actress Aunjanue Ellis (The Help) are scheduled to attend the MIPCOM 2014 World Premiere Screening of the epic mini-series adaptation of The Book of Negroes, produced by Conquering Lion Pictures, Out of Africa Entertainment, Entertainment One Television (eOne) and Idlewild Films.

Based on the internationally acclaimed novel by Lawrence Hill, which has sold a million copies worldwide, The Book of Negroes is a universal story of loss, courage and triumph that depicts the extraordinary life journey of Aminata Diallo – an indomitable African woman who survives in a world in which everything seems to be against her.

Tuesday 14 October,

11.00, Auditorium A

THE MISSING by all3media international Tuesday 14 October,

12.30, Auditorium K

KINGDOM by Endemol Tuesday 14 October,

15.30, Auditorium K

RESCUING SANTA by Yle Tuesday 14 October,

18.00, Auditorium K

WITNESSES by Newen Distribution

Followed by a Q&A with the cast and the Director, Clement Virgo, interviewed by Lawrence Hill.

EXCLUSIVE AT MIPCOM! Monday 13 October, 13.00, Grand Auditorium

FRESH TV Wednesday 15 October, 13.15, Grand Auditorium

4K SCREENINGS THE VERY BEST OF 4K

FRESH TV FICTION Presented by

View breathtaking footage, in spectacular Ultra-HD in a series of conferences & screenings held in the Sony 4K Theatre, Palais 4.

SUNDAY 12 OCTOBER

MIPCOM 2014 conference and events programme

From 19.30 Carlton Hotel

MIPCOM pre-opening dinner in honour of Mexico In partnership with Telefilms By invitation

MONDAY 13 OCTOBER DRAMA SCREENINGS

TUESDAY 14 OCTOBER

Diving into original content

GLOBAL CHANNEL DISTRIBUTION DAY

8.30-9.15

9.30-11.00

9.15-9.30

9.00-9.40

9.15-9.30

Blue Lounge (Press & News Hub)

Auditorium K

Esterel

Auditorium A

Esterel

MIPCOM 2014 welcome press breakfast

“The Librarians”

Global channel distribution: Market overview

The producers showcase

Understanding millennials

by Electric Entertainment By invitation

9.30-10.00

9.30-10.10

Auditorium A

Esterel

Fresh TV from Mexico

What do platforms want?

10.10-10.40

DIGITAL DISTRIBUTION The quest for the audience

FILM COMMISSIONS DAY

9.30-10.30 Auditorium K

Californie

“Human, The Movie” special showcase

9.00-9.15

11.00-11.30 Auditorium K 9.50-10.30 Auditorium A

The broadcasters superpanel

9.30-10.15

Bringing comics to the screen

Esterel

By KOCCA

Access is ownership: Fireside chats 10.30-11.00

10.15-10.45

Auditorium A

CONTENT SHOWCASE

Esterel

Mexico media & entertainment landscape

10.45-12.45

Cable vs. OTT: Getting past “frenemies”

Foyer balcon, Grand Auditorium

10.50-11.20

10.50-11.30

Auditorium A

Esterel

View from the top: Emilio Azcarraga Jean Chairman of the Board and Chief Executive Officer Grupo Televisa

Driving the quest for the audience: Channel distribution strategies for success

Mexico matchmaking event

Esterel

Give consumers what they want: The electronic sell-through model

DRAMA SREENINGS

4K SCREENINGS Screenings the very best of 4K Sony 4K Theatre

9.45-10.15

Atlantic Productions: Conquest of the Skies 10.30-11.10

11.00-12.30

BBC Natural History Unit: One Planet

Auditorium A

11.30-12.15

“The Missing”

France Télévisions/4EVER Consortium

By all3media international

Opening remarks: Raising funding through new partnerships 9.15-9.35

Europe without frontiers 9.40-10.00

What’s hot in the Middle East?

10.05-10.35

Case study: Paris to Versailles 10.40-10.55

Shooting in Lithuania 11.00-11.15

Latest news from Bilbao 11.20-11.35

MEDIA MASTERMIND KEYNOTES

MEDIA MASTERMIND KEYNOTES

Grand Auditorium

Grand Auditorium

11.30-12.00

11.15-11.45

11.40-12.00

Steve Mosko, President, Sony Pictures Television

Ted Sarandos, Chief Content Officer, Netflix

12.10-12.40

11.50-12.10

Overview of incentives in London

Anne Sweeney, Co-Chair, Disney Media Networks & President, Disney/ABC Television Group

12.05-12.25

12.15-12.45

Look at the German Capital: Berlin

Ynon Kreiz, CEO, Maker Studios

A look at the Italian panorama

Jill Wilfert, Vice President Global Licensing and Entertainment, LEGO Group 12.30-14.30

SCREENINGS

Majestic Hotel

Women in global entertainment power lunch In partnership with Lifetime Networks By invitation

Grand Auditorium & Balcony

GLOBAL CHANNEL DISTRIBUTION DAY

Fresh TV

12.30-13.30

13.00-14.00

12.30-14.30 Carlton Hotel

DRAMA SCREENINGS

Latam global dealmakers lunch

12.30-14.00

In partnership with ProMexico & Telemundo Internacional By invitation

Auditorium K

“Kingdom”

Snack lunch

FUTURE OF FACTUAL

In partnership with Globecast

14.30-16.00

FILM & TV CROSSROADS

14.00-14.30

Focus on Poland 14.40-15.00

The Film Commissions wrap-up

By Endemol

Californie

FILM & TV CROSSROADS

CONTENT SHOWCASE

4K ULTRA-HD

14.30-16.00

14.30-15.00

14.00-14.55

Esterel

Auditorium K

Sony 4K Theatre

Driving original content creation: The interview series

Hyp-Gags with Messmer

What do buyers want in 4K?

By Entourage Television Followed by a coffee break

15.05-16.00

SOCIAL TV

Delivering the last mile in 4K

15.00-16.00

Sony 4K Theatre

Auditorium A

TV x Twitter: Where the audience comes to life

14.30-15.00 Californie

The Asian carriage deals landscape 15.10-15.50 Californie

A look at Asia: What do platforms want?

4K SCREENINGS Screenings the very best of 4K

Grand Auditorium

14.30-15.15 Auditorium A

MIP MEGASESSION: the global quest for original reality Opening keynote: Morgan Spurlock Writer, Director, Producer & President of Warrior Poets

The showrunners masterclass

Sony 4K Theatre

By the Canada Media Fund & Telefilm Canada

Followed by a conversation with: Michael Klein, Condé Nast Entertainment And Hamish Mykura, National Geographic Channels International

NHK, Japan: International Space Station

DRAMA SCREENINGS

15.15-16.00

15.30-17.00 Auditorium K

Cugate/4KMedia4U, Berlin: Europe’s concert halls

Featured interview: Aamir Khan Indian film actor, director, screenwriter, producer and television presenter

By Twitter

“Rescuing Santa”

By Yle

14.00-14.45

18.00-19.30 Auditorium K

“Witnesses”

By Newen Distribution

MEDIA MASTERMIND KEYNOTES

MEDIA MASTERMIND KEYNOTES

Grand Auditorium

Grand Auditorium

16.10-16.50

James Murdoch, Co-Chief Operating Officer, 21st Century Fox

16.20-17.00 David Stapf, President, CBS Television Studios & Armando Nuñez, President and CEO, CBS Global Distribution Group

17.00-17.40

17.10-17.40

MIPCOM Personality of the Year keynote: Simon Cowell, Entertainment Creative Icon 18.00-19.45 Grand Auditorium

MIPCOM World Premiere TV Screening: “The Book of Negroes”

Charles Zhang, Chairman of the Board and CEO, Sohu.com

MIP MEGASESSION

18.00-20.00

17.45-18.30

J-creative party with sushi/ Japanese cuisine

Grand Auditorium

Mini-series by Entertainment One

New business strategies from India

From 19.30 Grand Hyatt Cannes Hotel Martinez

From 20.00 Carlton Hotel

MIPCOM opening party

MIPCOM Personality of the Year dinner honouring Simon Cowell, Entertainment Creative Icon

In partnership with ProMexico

By invitation

MIPCOM thanks its sponsors & partners

Majestic Hotel

In partnership with the International Drama Festival in Tokyo

The global quest for original content WEDNESDAY 15 OCTOBER FILM & TV CROSSROADS

DIGITAL DISTRIBUTION

Driving original content creation

The quest for the audience

10.00-10.20 Grand Auditorium

Film & TV crossroads keynote: Kevin Beggs Chairman Lionsgate Television Group

GLOBAL HOTSPOTS

SOCIAL TV

4K SCREENINGS

9.15-9.45

9.30-10.15

9.30-10.00

10.00-15.00

Esterel

Californie

Californie

Sony 4K Theatre

What do we want? Content!

When do we want it? Always!

Expanding horizons in Nigeria: The “Nollywood” case study

Welcome breakfast

Film & TV crossroads keynote: Axel Kuschevatzky Head of International Film Production Telefonica Studios

10.00-10.30 Esterel

The user interface challenge

10.30-11.15 Californie

Expanding horizons: Poland - Europe’s undiscovered gem

Facebook workshop: Best practices integrating Facebook & Instagram into broadcast

By Facebook

10.45-11.15

VOD: beyond-viewing opportunities

12.15-13.00 Grand Auditorium

Acquisition superpanel: What do buyers want?

Sony 4K Theatre

Screenings the very best of 4K View breathtaking footage, in spectacular Ultra-HD

- BBC Natural History Unit “One Planet” - NHK’s “International Space Station”

Blue Lounge (Press & News Hub)

- Red Bull Media’s “Underwater Cave”

MIPCOM press conference: End of market round-up

- RAI/DBW’s “La Boheme in 4K” - DBW’s “Palladio: The Angel of Beauty”

4K SCREENINGS

Esterel

- Atlantic Productions’ “Conquest of the Skies”

- 4KMediar4U’s Europe’s Concert Halls 12.15-13.00

Grand Auditorium

Screenings - the very best in 4K content

- FIFA’s World Cup in 4K Californie

11.00-12.00

From cult to mainstream: Film & TV crossroads case studies featuring Matt Dillon, M. Night Shyamalan Glen Morgan “Intruders” Showrunner/Writer Steven Moffat “Doctor Who” Executive Producer and Lead Writer

By Facebook

10.00-12.00

10.25-10.45 Grand Auditorium

THURSDAY 16 OCTOBER

14.00-15.00

- Kropac Media’s “The Big Five”

Californie

MIPCOM trending topics The most buzz-worthy trends of the market are discussed and analysed by a panel of industry experts

10.00-10.45 NexTV Forum, Japan: The very best in 4K

Followed by World Screen Content Trendsetter Award

SCREENINGS

11.15-12.00 Red Bull Media House: Underwater Cave

13.15-14.00 Grand Auditorium

Fresh TV Fiction

14.00-14.45

RAI/DBW, Italy: La Boheme/Palladio: The Angel of Beauty

14.30-15.00 Grand Auditorium

“MasterChef” showcase

15.15-16.00 Grand Auditorium

NEW! The formats superpanel: What do buyers want?

15.15-16.00 Kropac Media: The Big 5/Audi/Food: A 4K Feast

16.15-17.00 Trator Filmes, Brazil: FIFA, the World Cup in 4K

Followed by World Screen Format Trendsetter Award

MIPCOM CONFERENCE HIGHLIGHTS THE GLOBAL QUEST FOR ORIGINAL CONTENT MEDIA MASTERMIND KEYNOTES FILM & TV CROSSROADS

Driving original content creation

FILM COMMISSIONS DAY

Raising funding through new partnerships

SCREENINGS

Diving into original content

FUTURE OF FACTUAL

The global quest for original reality DIGITAL DISTRIBUTION The quest for the audience 16.30-17.30 Californie

The VOD platforms show & tell

DIGITAL DISTRIBUTION The quest for the audience

GLOBAL CHANNEL DISTRIBUTION DAY The new carriage deals marketplace

4K

Screening the very best of 4K Programme as of 5 September 2014. Subject to change.

Visit www.mipcom.com for detailed programme.

GLOBAL HOTSPOTS Expanding horizons