Mipcom 2015 preview by MIPMarkets

SEPTEMBER 2015

mipcom

www.mipcom.com The official MIPCOM magazine

PREVIEW PERSONALITIES OF THE YEAR

TURKEY

MIPCOM 2015 Country Of Honour

Fox’s Dana Walden & Gary Newman

WORLD PREMIERE TV SCREENING

The Last Panthers

SEE PAGE 12

INTO THE STREAM

OTT takes centre stage at MIPCOM

Fox presents X-Files Screening

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SEE PAGE 10

SEE PAGE 26

SEE PAGE 62

SEE PAGE 22, 67 & 75

BROUGHT TO LIFE FOR A NEW GENERATION

Visit us at MIPCOM Stand P3.B38

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Stories From the Cutting Edge of Recorded Music

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Editorial WELCOME to this Preview magazine bringing you the highlights of MIPCOM 2015, where we look forward to hosting over 13,600 delegates, including 4,500 buyers, from 100 countries. This year, MIPCOM will explore the new creativity that is being brought to all genres — particularly drama — and how the rise of OTT and SVOD is providing audiences with ever-greater viewing choices, leading to the need for stand-out storytelling. Delegates will have the opportunity to hear from the heads of major studios, as well as leaders of the new digital outlets, on the radical shift in business models for distribution brought about by changes in viewing habits and increasing consumer control. Two of television’s most respected leaders, who have pushed forward the boundaries of storytelling, are Dana Walden and Gary Newman, co-chairmen and CEOs of Fox Television Group. We’re thrilled to be able to honour them as MIPCOM’s Personalities Of The Year. Alongside the intensive deal-making that is at the heart of MIPCOM, the conference programme provides unparalleled access to the industry’s thought leaders. This year’s keynote line-up includes Endemol Shine Group CEO Sophie Turner Laing, ITV CEO Adam Crozier, award-winning producer Mark Gordon, Lionsgate president of worldwide television and digital distribution Jim Packer, Hulu CEO Mike Hopkins, Discovery Networks International president JB Perrette and Fullscreen’s founder and CEO George Strompolos. MIPCOM is the international showcase for the latest in exceptional programming. This year the MIPCOM World Premiere TV Screening will unveil new event series The Last Panthers, from Sky Atlantic and Canal+, in the presence of key cast members, director Johan Renck and writer Jack Thorne. International buyers and MIPCOM delegates will be treated to an exclusive gala screening of Fox’s The X-Files revival, as well as the first footage from big-budget drama War And Peace, Andrew Davies’ adaptation of the Tolstoy classic, executive produced by Harvey Weinstein, the BBC’s Ben Donald and Faith Penhale and Lookout Point’s Simon Vaughan — all of whom will be speaking at MIPCOM. With Turkey as its Country Of Honour, MIPCOM will turn the spotlight on the $200m annual export of Turkish programmes, its thriving drama production and growing scripted and unscripted formats, animation and documentary genres. We look forward to seeing you in Cannes and thank you for being part of the international MIPCOM community of business leaders. Laurine Garaude

preview magazine I September 2015 I www.mipcom.com

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Contents 10

News

World Premiere TV Screening

What’s happening at MIPCOM

The Last Panthers

Turkey Country Of Honour, MIPCOM Personalities Of The Year, keynotes, conferences, screenings and more

Commissioned by Sky Atlantic and Canal+, co-produced by Haut Et Court TV and Warp Films, and distributed by Sky Vision and Tandem, The Last Panthers is Monday’s World Premiere TV Screening

More Cannes screenings The X-Files

Also inside : 113

Tuesday’s World Premiere TV Screening is Fox’s reboot of The X-Files. Other screenings include: The Art Of More; Mercy Street; Shadowhunters; Billions; The Frankenstein Chronicles; and The Girlfriend Experience

Tips & Services

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 out of MIPCOM. Find answers to all these questions on the following tips & services section. For more details please refer to my-mip.com

GETTING TO THE FRENCH RIVIERA

Product News

• GETTING TO THE FRENCH RIVIERA • GETTING TO MIPCOM • UPON YOUR ARRIVAL • THE EXHIBITION HALLS

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

1. USEFUL TIPS 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 25630AF www.airfranceklm-globalmeetings.com

• 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. uk.niceairportxpress.com A one-way ticket costs €20 and a return ticket costs €30. 4 Where to catch one: Terminal 1: gate A0, platform 3 Terminal 2: between gates A1 and A2, platform 3

BY TRAIN The Cannes train station is a short walk away from the Palais des Festivals. 2015 will shine a spotlight on Turkey’s MIPCOM • Bus N°200 also goes to Cannes from Monday to T: +33 (0)8 92 35media 35 35 rich & entertainment industry the Saturday and at 20.45offer and 21.55. www.tgv-europe.com opportunity for the world to meet 4 and dotobusiness with 1: platform 3 Where catch it: Terminal

the largest delegation of Turkish TV executives ever.will get you to Cannes in • Noctam’Bus N°200

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

Disembark at Gare SNCF Saint Augustin (second stop). The station is just a few meters walk. Trains for Cannes depart every 30 minutes. A one-way ticket costs from €5,90. Book your train tickets at www.tgv-europe.com or by calling +33 (0)8 92 35 35 35 CAR RENTAL Our official partner Sixt can provide an extensive range of rental services from their diverse fleet. 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. HELICOPTER Azur Helicoptère operates regular 7-min 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 €160 per person. T: +33 (0)4 93 90 40 70 info@azurhelico.com / www.azurhelico.com

117 The MIPCOM Conference Programme

the evenings. It is available Thursday, Friday and Saturday nights and travels from 23.30 to 04.10 every hour and a half. 4 Where to catch it: Terminal 1: platform 3 PRIVATE TRANSFERS TURKEY: MARKET OVERVIEW TRAIN FROM THE AIRPORT BUS FROM THE AIRPORT For short or long trips, from ÇATAY 1 to 7 people, rent a KEREM DEREN TUBA KEREM go BÜYÜKÜSTÜN You haveAuditorium several options A for bus 9.50-10.40 travel. Tickets must To get to the Nice train station from the airport, private car with driver and save over 20% with our Writer, Founding Partner Actress CEO to Terminal 1, gate 6, take bus 23, direction Vallon MEGASESSION: DIALOGUE WITH THE AMERICAS be bought beforehand. official partner Chabé. Ay Yapım Writer’s Room / des Fleurs (€1.5). Buses depart every 12 minutes.

Monday 5 October TAXI T: +33 (0)4 93 99 27 27 Auditorium A 9.30-9.50 or book online www.taxi-cannes.net/en/reservation

Highlights of some of the international multiplatform content showcased in the Palais

2. SERVICES

3. GENERAL MAP OF MIPCOM

4 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

GETTING TO MIPCOM

What’s for sale at MIPCOM

INSIDE: 1. USEFUL TIPS

Have you prepared your transportation? Have you arranged your transfer to Cannes?

113 Tips & Services

Auditorium A 10.45-11.15 FRESH TV FROM TURKEY

Tuesday 6 October

Matchmaking Lounge 9.00-11.00 MATCHMAKING WITH TURKISH PRODUCERS 12.30-14.30 by invitation Carlton Hotel TURKISH DRAMA LUNCH Co-hosted by ATV Auditorium A 14.00-14.15 TURKISH PUBLIC TV IN FOCUS

İBRAHİM EREN Deputy Director General TRT

Auditorium A 14.15-15.00 TURKEY: HOME OF ‘DIZI’ CONTENT

HALİT ERGENÇ Actor

Auditorium A 15.15-16.00 THE POWER OF UNSCRIPTED: SUPERPANEL

Sunday 4 October

Monday 5 October

18.30-20.00

Auditorium K

Doors open at 18.00

‘THE ART OF MORE’ Presented by Sony Pictures Television Open to all badge holders

İZZET PİNTO CEO Global Agency

CAN OKAN CEO / President ITV Inter Medya

WOMEN IN GLOBAL ENTERTAINMENT POWER LUNCH

DRAMA SCREENINGS Grand Auditorium

PELİN DİŞTAŞ YAŞAROĞLU General Manager Kanal D

Yazı Odası

preview magazine I September 2015 I www.mipcom.com

Monday 5 October

14.30-16.00

By invitation

Majestic Hotel

‘MERCY STREET’ Presented by Electric Entertainment

In partnership with

12.30-14.30 by invitation

Media Partner

Monday 5 October

Features

Tuesday 6 October Auditorium K 9.00-10.30

Grand Auditorium 9.00-10.15

Breakfast from 8.30 By invitation

Doors open at 8.30

‘THE GIRLFRIEND EXPERIENCE’ Presented by Starz

OTT: so much to choose from

Auditorium K 11.00-12.30 ‘THE FRANKENSTEIN CHRONICLES’ Presented by Endemol Shine Group

The industry comments on the growth in the number of OTT services around the world

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OTT: the growth curve OTT keeps cord-cutting millennials glued to the box

Living in a stream world The international channels business is a major focus at MIPCOM thanks to a new conference track titled Into The Stream. We here from the professionals

Drama: the love affair continues It’s a golden age of TV drama. We ask broadcasters if they are getting what they want

‘BILLIONS’ Presented by CBS Studios International

Breaking down barriers View breathtaking footage and learn how to anticipatethe 2016 massmarket deployment in a series of conferences and screenings such as: • New HDR Discovery Showcase • OTT and 4K • 4K and Factual Output

Today the best drama can come from anywhere. We take a look at drama from around the world Auditorium K 16.00-17.30 ‘SHADOWHUNTERS’ Presented by Constantin Film

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Taking a fresh look at windows As the TV landscape changes drama windowing strategies are changing all the time

103 Counting eyeballs A look at the business of measuring multiplatform TV viewing

107 A better vision of the future

Ultra-high definition is redefining documentary production

preview magazine I September 2015 I www.mipcom.com

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A MAJOR ITV PRIMETIME DRAMA

Churchill’s Secret 1 x 120’

FEATURING

Michael Gambon Lindsay Duncan Romola Garai Matthew Macfadyen PASSION / OBSESSION / DEVOTION www.passiondistribution.com

VISIT US AT MIPCOM STAND P4.C18

News MIPCOM 2015 COUNTRY OF HONOUR

Turkey is Country Of Honour Mexico passes the baton to Turkey as it takes on the status of MIPCOM Country Of Honour for 2015. Andy Fry looks ahead to a programme of events highlighting Turkey’s rich media and entertainment industry ITO president Ibrahim Caglar

TURKEY is MIPCOM 2015 Country Of Honour. Spearheaded by high-quality titles such as Game Of Silence, The End, Ezel, 1001 Nights, Broken Pieces and The Magnificent Century, the value of the country’s exports to 75 countries is now over $200m a year. In addition to the sale of completed shows, the country is also enjoying success in formats, with leading US networks showing interest. Istanbul Chamber of Commerce (ITO) president Ibrahim Caglar said: “We believe that being the Country Of Honour at MIPCOM 2015 — the world’s most-established TV and digital content market — is important for Turkey in the sense that it is a grand opportunity to show the world that it has been a powerful producer of visual culture and a competetive player at international level.” Caglar is expecting Turkey’s Country Of Honour status to attract a record number of Turkish delegates to Cannes, from both large and small companies. Already signed up are major players including TRT, Kanal D, Global Agency, ITV-Intermedya, ATV, Calinos

Entertainment and Ay Yapim. “This will provide a one-of-a-kind international platform for Turkish dealmakers and content creators to forge global partnerships, seal distribution deals and new networks with their international executive peers, opening up new cooperation areas for the sector,” he said. The ITO’s role is to facilitate and support Turkish businesses of all kinds, but Caglar is especially enthusiastic about the progress being made by the country’s media companies. “MIPCOM participants from all around the world will learn that the Turkish TV-series market has gained a widespread acceptance from the Latin American, Middle Eastern and North African countries,” he said, adding: “One of the strongest TV series producers of the world, Latin America, today has become one of the top importers of Turkish TV series. In this context, the total volume of export to 75 countries reached $200m in 2013.” A dynamic country of 76 million, Turkey has a unique position in the global imagination. Geographically positioned on the frontline

between Europe and Asia, it has been a central player in world culture and politics since before the Roman era. Even today, Turkey’s fabled Ottoman Empire is a source of great fascination for the international market, which explains why TIMS Productions’ lavish Ottoman drama The Magnificent Century has been such a hit with international buyers. A wide range of Turkish-themed activities are planned for MIPCOM 2015, ranging from networking events, conference panels and keynotes with leading industry figures, through to screenings and special appearances by talent. The focus on Turkey will also provide a useful platform for international players seeking to break into the market. Already companies including Fox, Disney and Endemol Shine have made significant moves in Turkey and more are sure to follow. One key opportunity is to adapt dramas for local markets. But there is also a belief in some quarters that Turkey provides opportunities for owners of non-scripted content. With the cost of primetime drama in Turkey increasing rapidly, broadcasters are looking for ways to introduce more costeffective programming. Caglar stressed that the country is also a great option for international productions looking for somewhere to shoot, offering quality crews, stunning locations and a warm climate. Director of Reed MIDEM’s television division, Laurine Garaude, said: “The Country Of Honour programme will allow TV executives from around the world to discover the richness of Turkey’s TV and entertainment industry.”

preview magazine I September 2015 I www.mipcom.com

CELEBRATING WITH TURKEY TURKISH public broadcaster TRT, the Turkish Radio and Television Corporation, is host of the MIPCOM Opening Night Party at the Grand Hyatt Cannes Hotel Martinez at 19.30 on Monday, October 5. All delegates are welcome TURKISH commercial TV station ATV welcomes international drama buyers and members of theTurkish delegation to discuss the winning formula for top-rated drama. The invitation-only Turkish Drama Lunch is on Tuesday, October 6, at the Carlton hotel

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IAIN GLEN

FRANCES O’CONNOR

HUNTER PAGE-LOCHARD

ROB COLLINS

THE LEGENDS ARE TRUE

GENRE DRAMA, 6 x 1 hour www.redarrowinternational.tv | MIPCOM Booth: P4.C10

News PERSONALITIES OF THE YEAR

Fox’s Walden and Newman share MIPCOM honours FOX TV Group’s Dana Walden and Gary Newman are joint MIPCOM Personalities Of The Year. It’s the first time since the award’s inception, back in 1989, that two people have shared the title, a testament to the fact that the pair work so effectively as a team. “I think we have a fairly unique situation here,” Dana Walden said in an exclusive interview with the MIPCOM Preview. “I would argue that it is not that the two of us have to work together to make this situation functional and successful, I would say that what both of us bring to the job is pretty meaningful, that we value this partnership and that it has been our choice to remain in a partnership all of these years, and that has been a great benefit to the organisations that we’ve overseen.” So do people

respond differently to a team as opposed to a single leader? “Dana and I have always worked pretty hard to have great communication and make sure that people are not getting one answer from one of us and then trying to get a different answer from the other, because that would be pretty disruptive,” Gary Newman said. “With business relationships, like any relationships, there’s a chemical, emotional element and there’ll be people who relate better to Dana and some that may relate better to me and there’s certainly nothing wrong with having that mentality of combining and conquering.” Walden and Newman were named joint heads of the Group a little over a year ago. And the responsibilities of running Fox TV Studios, Fox 21 and the network has led to changes in the way they operate as a team. “There are two big changes — one is a change in just the sheer volume of work where we’re now overseeing companies that are extremely prolific and have a lot of output on a daily basis; there are so many issues to cover and just trying to stay on top of the daily activity of those organisations has doubled our workload,” Walden said. “Gar y and I spend more time apart now than we ever have in our par tnership and we’ve wo rke d t o gether for a ver y long time, as partners for 16 years and working

together for 23 years. But there’s so much to do now that we are more than ever dividing to conquer, and based on the trust and security and the longevity of this partnership it’s been possible to do that in a pretty easy way because of how we stay connected in terms of communication and how united we are in terms of our goals for these organisations.” One constant during the pair’s time at Fox has been the continual stream of hit shows. “I can remember various times in our careers up until now where we’ve had the number one and two shows on different networks — a drama and a comedy that would battle it out for number one or two and that felt like an embarrassment of riches, “ Walden said. “Or being at the Emmys when our shows have been rewarded as both the best dramas and best comedies of that season which is a pretty extraordinary feeling and makes for a fantastic Emmy party. Modern Family and Homeland, or Ally McBeal and The Practice — we swept both categories and that’s gratifying,” So is there a secret to this hitmaking? “You know what, there isn’t particularly a secret formula, but there is a process that we instituted at the studio — we make sure we get into business with the best possible creators,” Newman said. “We have, I think, very good taste in creators and our creative partners — many of whom have called 20th Century Fox Television their home for a decade or longer — are some of the biggest, most inspired voices in our business and we work very hard on maintaining those partnerships. We also look to start new relationships with creators, directors and actors who we feel can be meaningful participants in our business. That’s the first principle of how we run our company — we engage in long-term relationships with the very best talent.”

preview magazine I September 2015 I www.mipcom.com

Dana Waldren and Gary Newman will receive the MIPCOM Personalities Of The Year Awards from Reed MIDEM CEO Paul Zilk on Wednesday, October 7 at a gala dinner at the Carlton hotel

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From ancient history to modern day dinosaurs

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From ancient and contemporary history to the modern day, all3media internationalâ&#x20AC;&#x2122;s factual slate is bursting at the seams.

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Keynotes OTT boom is bringing more content to more consumers JIM PACKER, president of worldwide television & digital distribution, Lionsgate, and Mike Hopkins, CEO, Hulu, will meet on the MIPCOM stage for a Fireside Chat that will cover Hulu’s rapid growth in the US, the changing distribution landscape, the future of television and the continued evolution of content. Dubbed by AdWeek as the man who “is helping digital video get the respect it wants”, Hopkins walked into a turbulent business but as SVOD and OTT take hold globally, the Fox/Disney/NBC-owned Hulu has become a key player in the new TV ecosystem. “Mike is at a company that has completely transformed itself over the last couple of years, from a platform with a couple of partners and some network TV shows, to a very aggressive market leader that is programming originals, acquiring content, and taking content on from new partners,” Jim Packer said of Hopkins. Lionsgate meanwhile has been launching its own channels — for example SVOD services Comic-Con and Tribeca Shortlist. “I think

Lionsgate’s Jim Packer

Hulu’s Mike Hopkins

it’s going to make it a very competitive space but I don’t believe it’s going to be a huge cordcutting dynamic,” Packer said. “What I think is going to happen is that, although somebody may say ‘Maybe I’m going to skinny my bundle a little bit’ and go from $140 to $110, they may then add three SVOD services as they happen to be a major Comic-Con fan and they love Hulu and Netflix. Maybe the net revenue coming into the content ecosystem may be the same or greater. I think there’s more content consumption going on now than ever before.” Mike Hopkins and Jim Packer take to the stage of the Grand Auditorium on Monday, October 5 at 12.10

Empowering the next generation JIMMY Maymann, president of Consumer Brands for AOL and former CEO of Huffington Post, joins BroadbandT V (BBT V) founder and CEO Shahrzad Rafati for a MIPCOM keynote session. Maymann’s message is “the need to commit to empowering the next generation of digital storytellers, to build the strongest brands in online video and lead the industry to a new level”. He added: “Shahrzad and I recently announced Outspeak, a partnership with The Huffington Post and BBTV, which I believe is a great example of this.” BBTV attracts more than four billion monthly video views across the 32,000 creators in its network. Started 10 years ago in Vancouver, Canada, by Teheranborn Rafati, today it has offices

BBTV’s Shahrzad Rafati

AOL’s Jimmy Maymann

in the US, Brazil, Mexico, India, France and, recently, Japan. And Rafati will echo Maymann’s message: “I want to inspire others to think ‘This is not impossible’,” she said. “I want to remove that element of fear for a lot of people.” Maymann stressed that online video is a crucial element of all media businesses: “It’s essential for ever y media business that wants to be successful to get into video. At HuffPost, we had a goal of 50% of our content having a video component. It’s a bold initiative but important to the brand’s success. For example, YouTube has over one billion monthly users… and has over 300 minutes of new content uploaded ever y minute. HuffPost’s recent video initiatives help us tap into that scale.”

Q MAKING CREATIVITY WORK ONLINE GEORGE Strompolos, founder and CEO of Fullscreen, gives a keynote presentation at MIPCOM. Described as a “global youth media company that develops online creators and produces multiplatform entertainment experiences”, Fullscreen boasts 600 million subscribers who generate more than five billion video views across it’s global network each month and claims some 70,000 creators in its network. Previously at YouTube, Strompolos cocreated the YouTube Partner Program, which provides monetisation opportunities for online content producers around the world. A supporter of the Digital Millennium Copyright Act (DMCA), he regularly speaks out on social media about online pirates. “I’m a huge DCMA proponent, but this has to improve fast,” he said and has called on social media sites to implement piracy-reporting systems. Strompolos has been named one of Advertising Age’s 40 Under 40 in 2013 and one of The Hollywood Reporter’s Top 35 Executives Under Age 35 in 2008. George Strompolos’ keynote presentation is on Monday, October 5, at 11.30 in the Grand Auditorium

Fullscreen’s George Strompolos

Maymann hopes to find inspiration in Cannes: “MIPCOM has some of the most innovative people in the industry in attendance and I always look forward to hearing as well as seeing how they are changing the landscape.” Shahrzad Rafati and Jimmy Maymann take to the stage of the Grand Auditorium on Monday, October 5 at 10.45

preview magazine I September 2015 I www.mipcom.com

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SHOWS THAT DELIVER

Brace yourself for spooky spirits and macabre myths.

First-hand accounts of Hilter’s death.

Chronicling the birth of law enforcement in America.

Saving lives in a city where anything is possible!

Emmy® -nominated

Tracking down and reuniting lost loved ones.

Transforming fixer-uppers into incredible dream homes.

SEE YOU AT MIPCOM 2015 RIVIERA STAND R7.L27

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Media Mastermind Keynotes ‘Child of MIP’ Sophie is ready for the next global challenge SOPHIE Turner Laing takes to the Cannes stage for the first time since her appointment as CEO of Endemol Shine Group. The company was formed at the start of this year with the coming together of Endemol, Shine Group and Core Media Group. Starting out at HIT Entertainment and then having spent some 17 years in broadcast — at the BBC and then Sky — she says she’s happy to be back in the global content business. “The opportunity to merge these two brilliant companies together was too big a challenge to resist,” she told Julian Newby. “I think what I really love about Endemol is that it’s 120 production companies in 30 countries — fiercely independent brilliant creatives who want to do their own thing, and do it unbelievably brilliantly. I absolutely feel that we are not a corporation, we’re a federation.” In contrast to some of the “supertanker” studios she describes, Turner Laing compares Endemol Shine to “an enormous flotilla of ships of all different sizes, flying different flags” which gives the company “great speed

and flexibility in a vastly changing world. In the 11 years I was at Sky just think back to what changed in those years. We’ll probably see the same amount of change in the next two years because everything gets faster and faster.” She relishes the globalisation of content that has happened comparatively recently. “A few years back you wouldn’t have expected to see your two hottest formats coming out of Spain and Germany. We just had a new format launch in Australia. So that’s what I really love, it literally could come from anywhere.” Turner Laing was 22 when she first started coming to the Cannes markets and describes herself as “a child of MIP. For me it’s where I grew up and the connections that one makes in this global business — which if you think about it is actually relatively small given the influence that your buyers have on taste — is just extraordinary, and people do stay close friends. I struggle to think of any other business that has quite the same connection and need still for people to have face-to-face meetings. “For me it’s connecting the dots, and while I

Endemol Shine CEO Sophie Turner Laing am not a producer for me it’s working out how I can encourage people to do their best stuff.” Sophie Turner Laing gives a Media Mastermind Keynote in the Grand Auditorium on Monday, October 5, at 16.30

‘People still love great television’ ADAM Crozier, chief executive of the UK’s ITV, will discuss the company’s strategy to build an international content business, including the creative renewal of ITV Studios and ITV’s international expansion in key markets, during a MIPCOM keynote presentation. At ITV for six years now, Crozier has overseen rapid growth; the company is now the largest independent producer of non-scripted programmes in the US. “We set out a simple, very clear strategy to rebalance, strengthen and grow the business creatively, commercially and financially,” he said. “I think we have probably grown a bit more quickly than I originally expected but it has all definitely been done by design.” Acquisition has been a key part of ITV’s growth strategy and Crozier said that would continue “if an opportunity makes strategic and financial sense”. Of recent acquisitions he said: “In Talpa we have brought to ITV the team behind The Voice, the biggest worldwide

entertainment hit in recent years. TwoFour Group, has significantly expanded our factual entertainment IP and production capability. They have created shows such as Educating Yorkshire, The Jump, Posh Pawn etc — programmes that return and travel. In Mammoth we have a team that has a terrific track record in producing returning drama that resonates with global audiences. Endeavour has been shown in around 180 countries. And their most recent hit Poldark is already selling around the world.” Targeting mass audiences is a clearly stated goal. “ITV is uniquely placed in the UK to deliver those large audiences, accounting for 100% of commercial programmes which attracted over six million viewers; 98% of shows with more than five million viewers; and 92% of commercial audiences over three million,” he said. “We are right at the heart of the national conversation, because we invest in high-quality shows that have wide reach.” Recent successes include Britain’s Got Talent,

ITV chief executive Adam Crozier

which averaged 10.5 million viewers with a peak of 12.7 million. After an enviable growth spurt, Crozier said this is “a really exciting time” to be in the creative industries. “My main message to MIPCOM delegates will be that, despite all the challenges from new competitors, technology and shifting viewing habits, the industry should face the future with confidence, because the world still wants to watch television at its best. However and whenever they choose to watch it, people still love great television.”

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Adam Crozier’s Media Mastermind Keynote is in the Grand Auditorium on Monday, October 5, at 17.10

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Keynotes NEWS IN BRIEF

Rudy Tanoesoedibjo

Nadav Palti

RUDY Tanoesoedibjo, president and director of MNC Sky Vision, and CEO and president of Israel’s Dori Media Group (DMG), Nadav Palti, join forces for a Media Mastermind Keynote on Tuesday, October 6. Tanoesoedibjo speaks in the context of running pay TV in Indonesia, where the television audience is young, and where out of a TV audience of 20 million only two million are currently subscribing — hence he sees “the highest growth potential” for pay TV in Southeast Asia. Nadav Palti is CEO of DMG. Located in Israel, Switzerland, Argentina and the US, the group produces and distributes TV and new media content, runs various TV channels and operates video-content internet sites.

NICOLA Mendelsohn, vicepresident, Facebook EMEA, gives a Media Mastermind Keynote on Wednesday, October 7. She joined Facebook in June 2013 from advertising agency Karmarama. She is the co-chair of the Creative Industries Council, a joint forum between the creative industries and the UK government. Mendelsohn is a director of the Women’s Prize for Fiction.

Nicola Mendelsohn

‘Good time to be a content creator’ CBS’ Nunez says In July Showtime launched an OTT streaming service offering on-demand access to the network’s content as well as live TV feeds, but Nevins doesn’t see radical changes to the offer. “I think we want to remain premium. We’re going to remain in adult, sophisticated storytelling. I don’t see that changing any time soon,” he said. O f t he cha ng i ng T V landscape, Nunez said: “Whenever there are new distribution platforms in the market it creates new opportunities to monetise our content. So much of the industry has evolved and this is a good time to be content creator.”

DAVID Nevins and Armando Showtime’s Nunez join forces in a Media David Nevins Mastermind Keynote on Tuesday, October 6. The two have shot through the ranks at CBS, with Nunez named president and CEO, CBS Global Distribution Group back in 2012, and Nevins moving up as CEO of pay-cable network Showtime from January next year. With Nevins as president Showtime has launched numerous hit series, notably the critically-acclaimed Homeland. As head of CBS Corp’s international operaCBS’ tions, Nunez oversees all inArmando Nunez ternational distribution, sales and marketing of programming from CBS Television Studios, CBS Television Distribution, CBS News, Showtime and one of the industry’s largest libraries of television content.

David Nevins’ and Armando Nunez’ Media Mastermind Keynote is in the Grand Auditorium on Tuesday, October 6, at 16.00

Hathaway heads new Gordon series

MARK Gordon, CEO, The Mark Gordon Company, gives a Media Mastermind Keynote on Tuesday, October 6. With over 100 television and movie projects to his credit, he is executive producer on toprated drama series including Criminal Minds, Ray Donovan and Quantico. Gordon’s upcoming films include Steve Jobs, written by Aaron Sorkin and directed by Danny Boyle. High on Gordon’s MIPCOM agenda is The Ambassador’s Wife, a series adaptation of author and journalist Jennifer Steil’s novel, with Anne Hathaway as producer and star. Inspired by her personal experiences as the wife of the British Ambassador to Yemen, Steil’s novel tells of the kidnapping of an American woman in the Middle East and the heartbreaking choices she and her husband each must make in the hope of being reunited. “We are so fortunate to have Anne starring in this timely, gripping, and compassionate drama,” Gordon said. “She is in a league all her

own and we cannot think of anyone who can better portray Steil’s complex heroine.” The Mark Gordon Company recently partnered with Entertainment One (eOne) to create an independent television and film studio with Gordon serving as CEO. Mark Gordon gives a Media Mastemind Keynote in the Grand Auditorium on Tuesday, October 6 at 11.00

Mark Gordon

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Mini-series takes a new look at Tolstoy’s War And Peace A SIX-PART adaptation of Leo Tolstoy’s War And Peace is the subject of a MIPCOM panel discussion that will include screenwriter Andrew Davies; the BBC’s Faith Penhale and Ben Donald; Simon Vaughan, CEO of production company Lookout Point; and Harvey Weinstein, co-chairman of The Weinstein Company. “The project is really the brainchild of Faith Penhale who runs BBC Cymru Wales. She’s responsible for all sorts of significant output for the BBC, and she really has been the driving force of this thing,” Simon Vaughan said. Anyone who has read the novel knows that it’s a challenging read if only because of its length — but Vaughan is confident that screenwriter Andrew Davies’ (House Of Cards) adaptation will not pass the hard work on to the viewer. “It’s broad, it’s got huge entertainment potential in terms of young stars playing vibrant young characters in a quite contemporary voice,” Vaughan said. “Andrew writes in a very young and energetic way and with Tom Harper directing — he has just directed Peaky Blinders — it’s got a sort of creatively critical but populist approach.” But with a complex structure behind the production. “It was difficult in that it was five or six

pieces of financing that had to interlock, but in truth because Harvey was so committed so early on, it wasn’t as tough as other projects I’ve been involved in. It all came together quite naturally,” Vaughan said. “You’ve got the BBC as the core network wanting it, BBC Worldwide as global distributor being prepared to put up significant money, tax credit structures in both the UK and

Lithuania which have to be co-existing, and then pre-sales in a couple of other smaller but significant territories that help to underpin people’s confidence that the market will want it.” Shot in St Petersburg, Lithuania and Latvia, War And Peace will be simulcast in the US, on Lifetime, A&E Network and History. The cast includes Paul Dano, Lily James, Gillian Anderson, James Norton and Jim Broadbent. The Weinstein Company is producing with BBC Cymru Wales and BBC Worldwide/Lookout Point. A panel discussion on War And Peace takes place Tuesday, October 6, in the Grand Auditorium at 12.20

Lily James and James Norton in War And Peace

Kirkman comic is brought to life

Fugit said that despite its otherworldly themes, the series takes on a realistic style. “These people are dealing with something very mysterious takes place — they see Kyle as a dark horse. and something which is arguably supernatural He seems very aggressive and violent, but as — or not. It plays around with the supernatural, we get to know him we come to realise that it being sort of a villain in itself.” he’s a very bright and good soul that has been Outcast marks the first series for the newly brought down by demonic possession being a formed Fox International Studios, headed up part of his life from an early age.” by Sharon Tal Yguado. “It was Robert Kirkman’s unique storytelling and Patrick Fugit way into this new world which I haven’t as Kyle Barnes seen on TV before,” Yguado told the MIPCOM Preview. “There is something very magnetic about Robert’s characters. They are very real and honest. The contrast between that and the extreme supernatural world they live in, makes our show a very special experience.”

CINEMAX has acquired US rights for The Walking Dead creator Robert Kirkman’s exorcism drama Outcast. Developed at Fox international Channels (FIC) it is comic book writer Kirkman’s first-ever pilot. Based on Kirkman/Skybound’s comic book of the same name, the series is the subject of a MIPCOM panel discussion on Tuesday, October 6. Outcast follows the story of Kyle Barnes, a young man who has been plagued by possession since he was a child. Now an adult, he tries to find some answers but what he uncovers could mean the end of life on Earth as we know it. “Kyle is an interesting part for me,” actor Patrick Fugit told the MIPCOM Preview. “Outwardly he seems like a very dark person. The people of Rome, West Virginia — which is where this Fox International Studios’ Sharon Tal Yguado

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The MIPCOM panel discussion on outcast, with guests including Patrick Fugit and Robert Kirkman, takes place on Tuesday, October 6, in the Grand Auditorium at 11.40

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OTT & Global TV Strategy Summit

Summit looks to TV’s future as consumers take control

NEWS IN BRIEF

Q THE POWER OF TWITTER REVEALED IN THE session TV x Twitter: Media At The Speed Of #Now, Twitter’s senior media executives — and one special guest — will in turn demonstrate how Twitter triggers global conversations and how those conversations can drive millions to discover, share and consume your content. Speakers include Twitter UK’s Dan Biddle; Fred Graver and Anjali Midha of Twitter, USA; and Bassem Youssef, Egyptian satirist and columnist and host of AlBernameg, Egypt.

Dan Biddle

Fred Graver

THE MIPCOM OTT & Global TV Strategy Summit is a two-anda-half-hour thoughtleadership gathering that brings together OTT and global channel strategists to explore business topics that affect all international channel networks with a global PwC’s Marcel Fenez footprint. The closed-door Summit is sponsored by PwC and Magine TV, an internet-based TV company offering live and catch-up TV across multiple devices. In its latest Global Entertainment and Media Outlook Report, PwC said: “It’s increasingly clear that consumers see no significant divide between digital and traditional media: what they want is more flexibility, freedom and convenience in when and how they consume any kind of content.” The report continued: “It’s time to embrace the fact that mastering the user experience is critical to success in this industry.” Marcel Fenez, PwC’s senior adviser to the Global Entertainment & Media sector, said that it’s important to look at OTT from the consumer’s perspective. “Basically there is a universe of content out there, which by the way seems to be getting bigger rather than smaller, and they’re fairly agnostic as to how they get to it.” But consumers want easy access and “if

Anjali Midha

Q WHAT NEXT FROM THE EC’S MEDIA? MEDIA Support To TV Series: How To Boost European Co-operation? is a MIPCOM session presented by the European Commission (EC). The session will cover the support that the EC’s MEDIA programme has given to production; how to boost co-operation between European broadcasters, producers and sales agents; and the future direction of TV support under Creative Europe MEDIA 2014 to 2020.

MIPCOM goes Into The Stream MIPCOM’s Into The Stream series of conferences is presented in partnership with Striim.in, Magine TV, PwC, Globecast and EbonyLife TV. Across a series of sessions and keynotes, it will explore the digital transformation of traditional broadcasting groups, showcasing best-in-class OTT and direct-tocustomer offerings and digital programming strategies. Executives taking part include

Turner Broadcasting System EMEA’s Giorgio Stock, A+E Network’s Amanda Hill, Fox International Channels’ Sharon Tal Yguado and Roku’s Ziba Kaboli-Gerbrands. Among Into The Stream’s highlights are Tuesday’s Carriage Deal Forum: Channels Everywhere, which will focus on territorial expansion tactics and offer matchmaking sessions between platforms, OTT services

they are going to pay for anything, they only want to pay for what they want, not what they perceive they are being forced to pay for”. Bundling, Fenez added, is under threat: “Consumers are now saying ‘Hang on, I appear to be paying for 500 channels when I Magine TV’s Michael Turner only watch five’.” Once dominated by Netflix, the OTT market is likely to become more complex as it begins to welcome new players — notably those who already own thousands of hours of content. “The growth of OTT TV has been largely consumer-driven: online piracy and streaming sites demonstrated the demand, and mainstream TV industry is only just catching up,” Magine chief content officer Michael Turner said. “Now, consumers expect OTT, and most — if not all — companies want to provide it in some way. Development in this sector has been fast and it has been extensive. As an industry we have come to realise that OTT needs to provide a high-quality TV experience that is as good, if not better, than traditional cable and satellite services.” The MIPCOM OTT & Global TV Strategy Summit takes place on Wednesday, October 7, from 09.30 to 12.30 at the Majestic hotel. By invitation

and channels. On Wednesday, MIPCOM will host the OTT And Global TV Channel Strategy Summit, a closed-door event aimed at facilitating networking between multiservice operators, OTT platforms, channels, streaming services and media groups. On the agenda will be the new paradigms behind content-access strategies and their impact on business models. See the MIPCOM conference programme on page 117

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From Executive Producer Steven Soderbergh

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MIPCOM 2015:

EXCLUSIVE SCREENING OF EPISODE 1 & 2

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News

Awards and pavilion show best of Japan to the world SHINGO Saito, director of IPR and content at the Japan Commercial Broadcasters Association, is hosting the seventh MIPCOM Buyers Award fro Japanese Drama in Cannes this year. The Association is also opening a new pavilion to enable the coming together of Japanese companies with professionals from around the world. For some years Saito’s mission at MIPCOM has been to assist the leading Japanese broadcasters in the sale of their content internationally, and he said that now is the time to give smaller content owners a chance to show their content to the world. “There are more than 120 regional broadcasters in Japan,” he said. “Each one produces original content that reflects local life and culture. Like the major stations, they want to expose that culture to the world, but they need help to do this.” Saito said that the new 60 sq m pavilion will offer this opportunity to smaller players. “I’ve been advising them to meet as many people as possible,” he added. “It’s not like Japan where they can relax and just let things happen.” In line with Cool Japan and other government

schemes to promote Japanese entertainment and cultural products abroad, the aim is to sell regional cities as cultural assets. To that end, Saito says there are plans to enlist the participation of the Japan Tourism Agency in the future. To welcome delegates to the new pavilion, sake and sushi will be provided to guests at the opening ceremony on Monday, October 5. In addition ‘maiko’, or apprentice geisha, will provide entertainment. This hospitality will continue every day the pavilion is open. The J-Creative Party for the seventh MIPCOM Buyers Awards will take place on October 6 at the Majestic hotel, and will also feature authentic Japanese cuisine and sake, as well as performances by maiko. Saito created the Awards originally as a promotional tool in Japan, before bringing it to MIPCOM seven years ago. “It is a means of making Japanese TV dramas more appealing internationally,” he said. “In terms of overseas viewing, most Japanese dramas are seen in Asia, but not so much in Europe or North America.” The Awards were

The future is brighter with HDR HIGH Dynamic Range (HDR) is for the 1st time the theme of two MIPCOM conference sessions on October 6 during which HDR content will be screened, and the issues around the technology discussed, at the Sony 4K Ultra HD Theater in the Palais des Festivals. “HDR is an emerging video technology that can display a wider range of brightness levels that will allow content creators — including film directors, broadcasters and production companies — to expand their range of

creativity,” said Joe Nakata, senior producer at Sony’s Visual Entertainment Project Office. Sony now offers a range of professional content creation equipment for HDR including the BVM-X300 OLED Master Monitor capable of displaying HDR video. “Selected Sony 4K Bravia Television 2015 models are going to be compatible with HDR content via a network update,” Nakata said. “With Sony’s unique technology, X-tended Dynamic Range PRO and X-tended Dynamic Range,

Shingo Saito

established in Cannes to redress that balance. There will be seven drama programmes presented as nominations, one from each commercial broadcaster and one from Japan’s public broadcaster, NHK. “The buyers always look forward to the Awards,” Saito said. “But they are more than just a ceremony. They are a way of exporting Japanese culture.” customers can enjoy the peak brightness of LED as well as deeper blacks, providing them with a superior viewing experience compared to that of regular HDR video or any video source with greater contrast.” He added: “Sony has been a leader in 4K Ultra HD and the exclusive Sony technologies have been at the core of providing TV lovers with the best picture quality, no matter what content they are watching.” In the HDR sessions, MIPCOM delegates will be able to experience some of the latest HDR content in action in variety of content genres including movies, sports and performance arts from a number of content creators.

How SDR compares with HDR preview magazine I September 2015 I www.mipcom.com

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Drama Screenings in Cannes A number of drama series are being highlighted in Cannes with guest appearances and screenings. The MIPCOM Preview highlights some of them here THE X-FILES

SHADOWHUNTERS

TUESDAY’s World Premiere TV Screening, The X-Files is in the Grand Auditorium at 18.30. Over 20 years after the first run of the original, the next chapter of The X-Files is a six-episode series directed by creator/executive producer Chris Carter, with stars David Duchovny and Gillian Anderson back together as FBI Agents Fox Mulder and Dana Scully. The X-Files remains one of the longestrunning sci-fi series in network television history. It premiered in September 1993 and over the course of its nine-season run, went from a cult sci-fi favourite to massive global hit, becoming one of the most successful television dramas of all time. The show follows FBI special agents Scully and Mulder as they

CONSTANTIN Film brings Shadowhunters to MIPCOM. The series for ABC Family is based on Cassandra Clare’s six best-selling young adult fantasy book series The Mortal Instruments. Ed Dexter serves as showrunner and executive producer on the 13-part series, which follows 18-year-old Clary Fray, who finds out on her birthday that she is not who she thinks she is, but in fact comes from a long line of Shadowhunters — human-angel hybrids who hunt down demons. Gary Marenzi, consultant on the project for the German producer — which now has offices in Los Angeles — said: “The Mortal Instruments books, which are the basis of the Shadowhunters TV series, were made into a film a few years ago. Constantin acquired the book rights and developed it as a movie, and the movie did OK. But it’s such a rich world, it’s one of these young adult sagas where you have demons, warlocks, witches, vampires — all of those nether-world creatures and it’s a very complex and rich ecosystem, and this story has a big fan base worldwide. So it was decided it will be better served as a long-running series.” Shadowhunters is screened at MIPCOM in Auditorium K on Tuesday, October 6 at 16.00.

investigate unexplained cases — the X-Files — which expose them to paranormal phenomena. The X-Files is brought to MIPCOM by 20th Century Fox Television Distribution. Fox Television Group heads Dana Walden and Gary Newman are MIPCOM 2015 Personalities Of The Year. Newman said: “Dana and I began our careers working on the The X-Files. We were there from the inception. Seeing David and Gillian back on the screen is incredibly exciting. Their chemistry is off the chart.”

BILLIONS STARRING Paul Giamatti and Damian Lewis, CBS Studios International’s Billions is a 21st-century examination of the American dream. Against a backdrop of New York City power politics and finance, the series brings together the worlds of ultra-wealth, influence and corruption in the shape of two highly ambitious opposing figures: hard-charging, blue-blooded, politically connected US Attorney Chuck Rhoades (Paul Giamatti) and brilliant, calculating, blue-collar billionaire hedge-fund king, Bobby ‘Axe’ Axelrod (Damian Lewis). Its first season picked up by Showtime, Billions is created, written and executive produced by Brian Koppelman, David Levien and Andrew Ross Sorkin. Billions is screened at MIPCOM in the Grand Auditorium on Tuesday, October 6 at 09.00. Doors open at 08.30.

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MERCY STREET ELECTRIC Entertainment is screening the new PBS American drama Mercy Street at MIPCOM on Monday, October 5. A production from Scott Free Productions and Sawbone Films, the creative team Includes Sir Ridley Scott, David Zabel, Lisa Q Wolfinger and David W Zucker. To depict a realistic and accurate account of this era, the writers and producers collaborated with historians and medical experts. The Civil Warbased saga, filmed on location in Virginia, is the first American drama to air on PBS in more than a decade. The series stars Mary Elizabeth Winstead, Josh Radnor, Gary Cole, Peter Gerety, Norbert Leo Butz, and AnnaSophia Robb, with newcomer Hannah James and guest starring Cherry Jones. Roxann Dawson and Jeremy Webb direct. Electric Entertainment has secured all foreign rights to the series and will continue sell international territories at MIPCOM. The screening is on Monday, October 5 in Auditorium K at 14.30.

THE FRANKENSTEIN CHRONICLES

THE GIRLFRIEND EXPERIENCE

THE FRANKENSTEIN Chronicles is set in London in1827. After a successful operation by the Thames River Police to catch a gang of opium smugglers, a child’s corpse is discovered. Inspector John Marlott (Sean Bean) then discovers that it’s not actually a child, but an assembly of human body parts. Marlott goes on the hunt for the killer, taking him into the dark corners of Georgian London, an underworld of prostitution, drug smuggling, bodysnatching, murder for profit and other vices. A demonic power is at work in the city, apparently attempting to reanimate the dead in a curious parody of the celebrated novel Frankenstein. The Frankenstein Chronicles has been created by director and writer Benjamin Ross and writer Barry Langford. The Frankenstein Chronicles is a Rainmark Films production in association with Far Moor and Agraffe, with funding from Northern Ireland Screen. The series is brought to MIPCOM by Endemol Shine and is screened at MIPCOM on Monday, October 5, at 11.00 in Auditorium K.

STARZ executives Gene George and Mara Winokur have announced that the upcoming Starz Original series The Girlfriend Experience, will premiere at MIPCOM. From executive producer Steven Soderbergh, the series explores a world where love has a price. Produced by Transactional Pictures and inspired by Soderbergh’s 2009 film of the same title, the series is written and directed by independent filmmakers Lodge Kerrigan and Amy Seimetz. Riley Keogh plays Christine Reade, a second-year law student and new intern at the prestigious firm of Kirkland & Allen. She is working hard to establish herself at the firm, when a lawschool friend introduces her to the world of transactional relationships. GFEs provide The Girlfriend Experience — emotional and sexual relationships at a very high price. Juggling two very different lives, Christine quickly finds herself entangled in an ever-broadening web of intrigue and betrayal. The Girlfriend Experience is screened by invitation at MIPCOM in Auditorium K, on Monday, October 5 at 09.00, with breakfast from 08.30.

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Photo, courtesy of Antony Platt/PBS

ALL 10 episodes of Crackle’s first one-hour scripted drama series The Art Of More premieres Thursday, November 19 in the US. Set in the high-stakes world of New York auction houses, The Art Of More stars Dennis Quaid, Cary Elwes and Christian Cooke and follows blue-collar Graham Connor (Cooke), a young man who works his way into the world of premium auction houses by exploiting connections to antiquities smuggling rings he was exposed to as a soldier in Iraq. Gardner Stern and Chuck Rose are the series’ writers and executive producers. Also serving as executive producers are Quaid, Gary Fleder and Laurence Mark. The show was commissioned by Crackle and is distributed internationally by Sony Pictures Television. Dennis Quaid, Cary Elwes, Christian Cooke and Kate Bosworth will be attending the MIPCOM screening and participating in a Q&A on Sunday, October 4, from 18.30 in the Grand Auditorium. Doors open at 18.00. Eric Berger, executive vice-president of digital networks for SPT and general manager of Crackle will also be on the panel.

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Product News For four days the Palais in Cannes will be packed with stands selling every kind of content for every kind of platform. Here is a selection of programming on sale this year STUDIOCANAL EUROPEAN distributor StudioCanal is highlighting three

The Five (StudioCanal)

IGMAR RUSSIA -based Igmar brings a new feature

film to the international market. Rudolf Nureyev AKA Rudik focuses on the early career and development of the worldfamous ballet dancer. The young man fell in love with dancing after he saw a ballet performance in a city theatre. Rudolf Nureyev AKA Rudik (Igmar)

productions at MIPCOM. Harlan Coben’s The Five (10 x 60 mins), produced for Sky One, is an original thriller from best-selling author Harlan Coben. When they were 12, Mark (Tom Cullen), Pru (Sarah Solemani), Danny (O-T Fagbenle) and Slade (Lee Ingleby) were playing when they told Mark’s five-year-old brother, Jesse, to leave them alone. So Jesse ran away and was never seen again. After 20 years Danny — now a detective — learns that Jesse’s DNA has been found at a murder scene, proving that he is alive. The company also brings: sci-fi thriller Section Zero (8 x 60 mins), an edgy political story set in the near future where Europe’s new leaders are the multinational corporations; and crime series The Last Panthers (6 x 60 mins), about how a jewel heist in the south of France goes tragically wrong and sets off a chain of events across Europe.

ZED NEW WILDLIFE programmes from

ZED include three in-house productions. Lion Queens, Fighting For Survival and The Kill In African Dry Zone focus on lionesses and their fight for survival. The Paris-based company also brings: Growing Up A Chimp, about an orphan chimpanzee; Kittenhood; The Messenger, a feature film spotlighting the beauty and importance of songbirds; After Hitler, about the post-war years; and The Eagle And The Lion: Hitler Versus Churchill, about the clash of two giant personalities.

Lion Queens (ZED)

BBC WORLDWIDE TWO HIGH -profile series top the BBC Worldwide drama selection for MIPCOM. Dickensian

Dickensian (BBC Worldwide)

(20 x 30 mins/10 x 50 mins/13 x 45 mins) is set in Victorian London and is inspired by the characters of Charles Dickens. The cast includes Stephen Rea, Anton Lesser, Ned Dennehy, Tuppence Middleton and Tom Weston-Jones among many others. Tolstoy’s tale of love and conflict War And Peace (6 x 50 mins), which filmed on location in Russia, Latvia and Lithuania, stars Paul Dano, Lily James, James Norton, Gillian Anderson, Stephen Rea and Jim Broadbent. BBCWW also brings the second series of documentarystyle comedy Hoff The Record (6 x 30 mins) featuring David Hasselhoff. From the factual and natural history catalogue comes: The Big Catch (6 x 60 mins), a fishing contest presented by Ben Fogle; Special Forces: Ultimate Hell Week (6 x 50 mins), in which 30 people go through tough military training regimes; Forces Of Nature (4 x 50 mins), a global exploration themed around colour, shape, motion and elements; Skyworlds (3 x 50 mins) a wildlife series looking at flight; and music special Daft Punk Unchained (1 x 84 mins). preview magazine I September 2015 I www.mipcom.com

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launching drama Cleverman (6 x 60 mins) at MIPCOM. The thriller is set in the near future and follows a group of nonhumans battling for survival. Also launching at MIPCOM is new reality format Kiss Bang Love which tests research that says we kiss an average of 15 people and have two onenight stands before we find our perfect partner. The Germany-based company also brings Peter & Wendy (1 x 120 mins), a new family adventure based on Peter Pan, starring Stanley Tucci, Laura Fraser and Paloma Faith.

Cleverman (Red Arrow International)

public broadcaster PBS includes: Walt Disney (2 x 112 mins/4 x 54 mins), a documentary that explores the man whose work told stories of outsiders struggling for acceptance and questioning conventions while celebrating the American way of life; Cancer: The Emperor Of All Maladies (1 x 90 mins), tells the story of cancer from ancient Egypt to modern research institutions; Giraffes: The Forgotten Giants (1 x 60 mins), looking at how scientists are racing to understand how these creatures communicate; and CyberWar Threat (1 x 53 mins), featuring defence experts and journalists who have researched criminal and strategic hacking.

NOVOVISION NOVOVISION, a producer and distributor of clip-based comedy, is highlighting the

first season of The X-Prank Show: Urgent Landing (30 x 22 mins) at MIPCOM. This first season takes place aboard a Boeing 737 where everyone — except the celebrities — is in on the prank, which includes a fire, an injured pilot and a sudden descent. Plans for season two will be introduced at MIPCOM.

OCTAPIXX WORLDWIDE INCLUDED on the MIPCOM slate for

Canada’s Octapixx Worldwide is: Goldlust, which follows miners, prospectors, ranchers and scientists searching for gold in the Montana wilderness; HD docu-drama series True Nordic Crimes (16 x 30 mins), including re-enactments, interviews with victims, witnesses, investigators, police officers and criminals; and the 15th season of Lumberjacks (13 x 30 mins/HD) featuring lumberjack-related challenges. Goldlust (Octapixx Worldwide)

CANAL 13 SUDMEDIA THE FILM slate brought to MIPCOM from

Walt Disney (PBS International)

TRICON INTERNATIONAL REAL Rob! (8 x 30 mins) is a scripted

Chile’s Canal 13 Sudmedia includes: Vacaciones En Familia (1 x 90 mins), a black comedy about the a family that pretends to be on vacation; Allende En Su Laberinto (1 x 90 mins), about the last hours of former president Salvador Allende; Bombal (1 x 81 mins), a drama inspired on the life of writer Maria Luisa Bombal; El Incontrolable Mundo Del Azar (1 x 90 mins), a series of absurd stories; and La Mujer De Ivan (1 x 90 mins), the tragic story of a woman who has lived under captivity since childhood.

series, interspersed with Rob Schneider’s stand-up performances, depicting Schneider’s real life, including managing a Hollywood career with a younger Mexican wife, a new baby, a stalker and his completely incompetent assistant. The Canadian company also brings Sunnyside (13 x 30 mins), a sketch-comedy series set in a place where residents aren’t always what they seem — book clubs and coffee shops can hide speakeasies and an underground baby-fighting ring.

Vacaciones En Familia (Canal 13 Sudmedia)

Real Rob! (Tricon International)

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Product News DW TRANSTEL TOPPING the MIPCOM slate for

Germany’s DW Transtel is documentary series Fake, Stolen — Sold! (6 x 30 mins), which looks at the underbelly of the art world, from theft and extortion to counterfeits and forgery. Stories include the thieves who stole three paintings from the Schirn Kunsthalle in Frankfurt, the Italian former Louvre employee who stole the Mona Lisa and counterfeiters who make millions reproducing work.

Spectre (MGM)

MGM MGM’S slate of theatrical films includes: Spectre, the 24th film in the Bond franchise,

directed by Sam Mendes and starring Daniel Craig; Creed, the next chapter in the Rocky franchise, starring Sylvester Stallone and Michael B Jordan; comedy How To Be Single, starring Dakota Johnson and Rebel Wilson; The Magnificent Seven, starring Denzel Washington, Chris Pratt and Ethan Hawke; Ben-Hur, starring Jack Huston and Morgan Freeman; Me Before You, starring Emilia Clarke and Sam Claflin; and Barbershop 3, with a cast including Ice Cube, Common and Nicki Minaj.

MARVISTA ENTERTAINMENT HEADLINING a MIPCOM slate of more

than 20 new movies from MarVista is A Deadly Adoption, starring Will Ferrell and Kristen Wiig. Inspired by a true story, the thriller is about a successful couple who care for a pregnant woman during the final months of her pregnancy with the hopes of adopting the child. A MarVista Entertainment production, the film is produced by National Picture Show and MarVista handles international distribution.

Fake, Stolen — Sold! (DW Transtel)

GUSTO TV GUSTO TV, a Canadian distributor and

producer of food series and digital content, is highlighting three new series at MIPCOM. Crate To Plate (6 x 30 mins HD/4K) is a documentary series following ingredients from harvest to plate, using the latest drone and go-cam techniques, and meeting the people whose lives are affected by the food we grow, sell and eat. Other series available in 4K or HD include A Is For Apple (30 x 30 mins/100 webisodes) and One World Kitchen (30 x 30 mins/120 webisodes). The company is also in production on the series Fish and Pop Up Parties, which is scheduled for 2016.

ALFRED HABER ALFRED Haber brings the

international distribution rights to the 58th Annual GRAMMY Awards to the international market at MIPCOM. The three-and-a-half-hour music-awards show will be filmed at the Staples Center in Los Angeles, from where it is broadcast live in the US on CBS, February 15, 2016. A Deadly Adoption (MarVista Entertainment)

Tony Bennett and Lady Gaga at the 2015 Grammy Awards

Crate To Plate (Gusto TV)

preview magazine I September 2015 I www.mipcom.com

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Product News HG DISTRIBUTION KONNECTED.TV (13 x 30 mins) is a

Konnected.TV (HG Distribution)

DISTRIBUTION 360 (D360) A TOP MIPCOM priority for Canada’s D360

ZDF ENTERPRISES DRAMA programming at MIPCOM from

documentary series — with supporting website — featuring Cree musician Pakesso Mukash, who meets members of the younger generation of indigenous people around the world, some who are hoping to revitalise their cultural heritage while respecting the legacy of their ancestors. The Quebec-based distributor also brings 24 Heures: Danger! (10 x 60 mins), which profiles the dangerous jobs of policemen, steeplejacks, prison guards, minesweepers, crab fishermen, volcanologists, reporters, linesmen, soldiers and race drivers.

is Mississippi Snake Grabbers (12 x 30 mins), in which six Mississippi law enforcement agents enter back-country Mississippi with a group of civilians to teach them how to catch snakes with their bare hands.

Mississippi Snake Grabbers (D360)

TCB MEDIA RIGHTS THE WORLD of second-hand car dealers

PEACE POINT RIGHTS DEAN Gunnarson, hailed as the world’s

most daring escape artist by Ripley’s Believe It Or Not organisation, stars in Escape Or Die! (12 x 30 mins), brought to MIPCOM by Canada’s Peace Point Rights. The series focuses on preparation for stunts performed in major metropolitan centres across the US, Europe, the Caribbean and Asia.

ZDF Enterprises includes: the third season of Bron I Broen (10x 60 mins/5 x 110 mins), about a series of murders beginning with a Danish gender activist; Wataha (6 x 60 mins), following border guards; and Sibel And Max (12 x 45 mins), about two doctors who have to sort out a relationship between their children. On the factual slate is: How Climate Made History (2 x 50 mins); science series Human Limits (2 x 50 mins); and The Secret Garden (2 x 50 mins), about tiny garden animals. The German distributor also brings a range of entertainment shows, including: family game show The Game Begins (1 x 180 mins); Crime Watch XY, a show that presents unsolved crimes, looking for input from viewers; and quiz show Quiz Champion (1 x 150 mins).

Escape Or Die! (Peace Point Rights)

RECORD TV NETWORK BRAZIL’s Record TV Network is

highlighting two titles at MIPCOM. Moses And The Ten Commandments is a 150-episode HD series spanning over 100 years of history, incorporating stories of romance, intrigue, revenge, comedy and betrayal in the retelling of the story of Moses. Also on the slate is new HD soap opera Escrava Mae, which was inspired by classic telenovela The Slave Isaura, this time telling the story of the protagonist’s mother, Juliana.

is the focus of Deals Wheels And Steals, a 6 x 30 mins series brought to MIPCOM by the UK’s TCB Media Rights. Each episode follows three very different dealers, from used-Porsche specialists to the bailiff auctions.

Deals Wheels And Steals (TCB Media Rights)

Bron I Broen (ZDF Enterprises)

Moses And The Ten Commandments (Record TV Network)

preview magazine I September 2015 I www.mipcom.com

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Product News DISNEY MEDIA DISTRIBUTION THE CATCH is a new thriller centered on

fraud investigator Alice Vaughan (Mireille Enos) who becomes the victim of fraud herself at the hands of her fiance. She is determined to find him before he ruins her career. Also on the slate is: The Muppets, this time in a more adult documentary-style show exploring the Muppets’ personal lives and relationships; Wicked City, which follows a serial murder case in 1980s’ LA; Quantico, about a group of recruits at the FBI Quantico Base; and American Crime, which features a complex home-invasion murder case, told from the points of view of all those involved, starring Felicity Huffman, Timothy Hutton, W. Earl Brown, Richard Cabral, Tontz, Caitlin Gerard, Benito Martinez and Alonzo Gutierrez.

Jack Irish at MIPCOM, a new 6 x 60 mins drama starring Guy Pearce and Marta Dusseldorp. Jack Irish, a former lawyer who is now a part-time investigator, whose world revolves around the racetrack, the pub and the woodwork shop where he’s apprenticed himself to a master craftsman. However it’s his investigative work that forms the backbone of the stories.

ALBATROSS WORLD SALES ON THE roster at MIPCOM for Germany-

The Catch (Disney Media Distribution)

NIPPONTV JAPANESE commercial broadcaster

DCD RIGHTS BRITISH distributor DCD Rights launches

NipponTV (Nippon Television Network Corporation) is at MIPCOM with its newest entertainment series MatsukoRoid. The show features Japan’s famous cross-dressing TV personality Matsuko Deluxe and his life-size android co-host, Matsuko-Roid. The android travels around the country talking with local people, while Matsuko Deluxe anchors the show from Tokyo.

based Albatross World Sales: The Chocolate Diet — A Scientific Hoax Goes Viral (1 x 52 mins) exploring how science is being misused by the weightloss industry; The Food Race (1 x 52 mins), which asks why even with successful food production children still die of hunger; Islands Of The Future (5 x 52 mins + web game) explores island dwellers’ innovations for sustainable energy; and Polar Bear Summer (1 x 52 mins) looks at how the polar bears survive Hudson Bay’s ice-free summers.

AB INTERNATIONAL DISTRIBUTION AT MIPCOM Paris-based AB International

Distribution is highlighting Research Unit. The HD 100 x 52 mins drama series follows an elite team of crime investigators, comprising forensic, computer and ballistic experts, working on complex cases. A further 12 episodes are in production.

Matsuko Deluxe and Matsuko-Roid

The Chocolate Diet — A Scientific Hoax Goes Viral (Albatross World Sales)

Jack Irish (DCD Rights)

Research Unit (AB International Distribution)

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Product News ABOUT PREMIUM CONTENT (APC) PARIS -based APC is launching its comedy drama series A Very Secret Service at

MIPCOM. Commissioned by ARTE France, APC has worldwide rights to the 12 x 26 mins HD series. The chauvinism-mocking comedy is set in the late Fifties and Sixties and features a young French secret-service agent tasked with tackling America’s obsession with communism and making friends with the Germans. Along the way he discovers France’s superiority may lie in its complex administrative minutiae.

ABC COMMERCIAL BENEATH New Zealand (3 x 43/HD) looks

at how earthquakes, mountains, glaciers, caves and volcanoes together form the wider environment. The series includes a science focus as well as breathtaking scenery and Maori legends. Further HD programming from the Australian distributor includes: Between A Frock And A Hard Place (1 x 57 mins), the story behind the film The Adventures Of Priscilla Queen Of The Desert; 72 Cutest Animals (12 x 30 mins), a countdown that includes interviews with those who work with and care for some loveable creatures; and Changing Minds – The Inside Story (3 x 60 mins), which goes inside the locked doors of a busy Mental Health Unit. Beneath New Zealand (ABC Commercial)

A Very Secret Service (APC)

GRB ENTERTAINMENT AMONG the highlights for the US’ GRB

Entertainment are: Chug, following Zane Lamprey around the world as he samples local customs, food and alcohol; FBI Takedowns, following FBI missions to hunt down wanted criminals; Mohawk Girls, a scripted comedy; Jobs That Don’t Suck, a humorous series revealing how people found their jobs; documentary series My Big Redneck Family; and sitcom For Better Or Worse.

TRAVELXP TRAVEL Channel Travelxp brings two 4K

series to Cannes. Backpack focuses on interacting with the locals, tasting the local food and travelling to places that are not usually featured or known — all on a budget. Eat See Do suggests three things to do and three delicacies to taste while exploring a particular destination. The first eight episodes have been filmed in eight cities in Canada, the next schedule covers Vietnam and Korea.

BLUE ANT INTERNATIONAL INCLUDED in Blue Ant’s 100+ hours of

Chug (GRB Entertainment)

Backpack (travelxp)

Great Blue Wild (Blue Ant International)

new content at MIPCOM is Great Blue Wild (6 x 60 mins/4K), in which professional divers encounter dolphins, giant manta rays, spectacular schools of fish and sharks. Another priority for the Canadian distributor is Baby Animals (7 x 30 mins/4K), which follows some of the world’s cutest creatures from birth to adolescence and adulthood.

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Product News KWANZA FRENCH producer and distributor Kwanza

CONTENT TELEVISION AT MIPCOM Content Television debuts

one-hour special, The Ivy, a behind-thescenes look at internationally-known London restaurant as it undergoes its first major renovation in 25 years. As well as profiling the team working at The Ivy, the programme includes contributions from some of it’s famous clients, including Calvin Klein and Julian Fellowes.

of documentary series Woman At The End Of The World (54 x 30 mins) to MIPCOM. Each episode focuses on a different inspiring female from around the world. The company also brings: The Ghost People (1 x 60 mins), which reveals the dramatic story of Tanzanian albinos who are believed to hold magical properties, and from whose flesh witch doctors to make potions; and docudrama/ format series Hospital and High School.

Charlie Hebdo: Terror In Paris (Kwanza)

The Ivy (Content Television)

Woman At The End Of The World (TVN)

returns to MIPCOM with 40 hours of new documentary titles, and is looking for pre-buys on current productions including: Charlie Hebdo: Terror In Paris (1 x 52 mins), which retraces the five days beginning with the attack of Charlie Hebdo and ending with the anti-terrorism rally attended by world leaders; Dolphins, The Sea People (2 x 52 mins), in which a British athlete whose life was saved by dolphins, travels worldwide to understand the latest discoveries about these sea mammals; and The Taste Of Risk (1 x 52 mins).

HAT TRICK INTERNATIONAL TV PRESENTER and journalist Sir Trevor

TVN POLAND’s TVN brings the seventh season

PRODUCTIONS MARIE BRISSETTE (PMB) MONTREAL’s PMB brings its reality show Devine Qui Vient Garder to MIPCOM.

McDonald explores Las Vegas in the 2 x 60 mins documentary Vegas With Trevor McDonald, at MIPCOM with the UK’s Hat Trick International. In the series, produced for UK network ITV, McDonald explores beyond the tourist areas. He meets a professional poker player who once won $18m; a local bail bondsman on the trail of a wanted man; a fugitive mobster; a former prostitute who now rescues working girls from the Strip; and heavyweight boxing legend Mike Tyson at his south Las Vegas home.

Each episode is developed around a specific aspect of parenting and a celebrity who is dealing with similar issues is matched to a family and put in charge of running their household. Often the guests find that that their chosen family could present them with problems.

Chakravartin Ashoka Samrat (Indiacast)

INDIACAST MULTIPLATFORM outlet IndiaCast, jointly owned by TV18 and Viacom18, holds a

Vegas With Trevor McDonald (Hat Trick International)

library of over 15,000 hours of multi-genre content available in 20+ languages. Priorities for MIPCOM include: Chakravartin Ashoka Samrat (175 x 60 mins), the story of Ashoka from boyhood to warrior and future emperor; Meri Aashiqui Tum Se hi/My Love Is Only For You (345 x 30 mins), about the son of the driver in a very rich house who is secretly in love with the daughter of that family; and Udann (1,300 x 30 mins), the story of two sisters married into the same family.

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Product News NEWEN DISTRIBUTION NEW LEGAL drama series Lebowitz Vs Lebowitz (8 x 52 mins) is

at MIPCOM with Paris-based Newen Distribution. The company also celebrates new seasons Blood Of The Vine (19 x 90 mins), Candice Renoir (38 x 52 mins) and medical drama Nina (8 x 52 mins). From the factual slate comes Who’s The Killer (45 x 52’) and Terror Studio (52’ or 90’), and on the format side, the distributor is highlighting the game shows Run & Buzz and Harry. Blood Of The Vine (Newen Distribution)

K7 MEDIA MEDIA consultancy K7 Media’s MIPCOM priority is the

recent launch of The Slate, a comprehensive overview of TV production companies in the UK. The Slate provides at-a-glance information on each business including key contacts, recent credits, news and ownership. Over 300 UK production companies feature in the online guide, available by subscription. K7 Media plans to launch further guides to other international territories.

OHM:TV GAME -show format A Clue For You is brought to MIPCOM by Germany-based ohm:tv. A Clue For You is a half-hour show in which four contestants answer fun and sometimes extremely hard questions in order to win prizes. Each player gets two letters, and after each correct answer they can either choose a new letter or money. More letters make it easier to come up with correct answers. The show aims to inspire the viewer to answer the questions before the contestants do.

A Clue For You (ohm:tv)

GIL FORMATS GIL FORMATS, content creator and new distribution arm of

Israeli outlet, Gil Productions, brings Life On Duty (12 x 60 mins) to MIPCOM. The observational documentary format takes the narrative line of a drama, following characters from three emergency services – police, fire, and hospital trauma – and contrasting their working days with their private lives.

INCENDO CANADIAN producer and distributor Incendo distributes television

programming in Canada through its joint venture with Twentieth Century Fox International Television. It also handles theatrical distribution in Quebec for Paramount. This year the company is set to produce five made-for-television movies, as well as the series Versailles, a co-production with CAPA Drama and Zodiak Fiction. Incendo priorities for MIPCOM include: drama series Versailles (10 x 60 mins); Ice and Los Juniors (both in development); and TV movies Amber Alert, First Response, Swept Under, Crossfire (in post production) and Crashed Hopes (in production). preview magazine I September 2015 I www.mipcom.com

Amber Alert (Incendo)

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SEASON 1: 10 X 30 MINS

SEASON 1: 13 X 30 MINS

SEASON 1: 6 X 30 MINS SEASON 2: 10 X 30 MINS

1 X 109 MINS

8 X 60 MINS

AT MIPCOM 2015: R9.A32 FOR MORE INFORMATION PLEASE VISIT: STARZGLOBAL.COM

SEASON 1: 8 X 60 MINS SEASON 2: 10 X 60 MINS SEASON 3: 10 X 60 MINS

SEASON 1: 8 X 60 MINS SEASON 2: 10 X 60 MINS

FOR BREAKING NEWS AND PRODUCT UPDATES, PLEASE FOLLOW US ON: instagram.com/starz_worldwide facebook.com/starzworldwide twitter.com/starz_worldwide STARZ and related channels and service marks are the property of Starz Entertainment, LLC. Ash vs Evil Dead © 2015 Starz Entertainment, LLC. All Rights Reserved. Survivors Remorse © 2015 Starz Entertainment, LLC. All rights reserved. The Girlfriend Experience © 2015 Transactional Pictures of NY LP. All rights reserved., Power © 2015 Starz Entertainment, LLC. All rights reserved., Black Sails © 2015 Starz Entertainment, LLC.All rights reserved. Flesh and Bone © 2015 Starz Entertainment, LLC. All Rights Reserved The Dresser © Playground Television Limited UK 2015. All rights reserved

Product News 100% DISTRIBUTION FRANCE-based 100% Distribution is

highlighting two comedy shows at MIPCOM. Be Happy! is about Marjorie who, though she is naive and occasionally tactless, attempts to ease the pain of others. Family Minds is about the grownup children of interfering parents. When the parents fall into a coma after a car accident, rather than reducing their influence they become omnipresent. From the factual slate comes The Heart Of Paris, Les Halles, a 52-minute documentary about the history of this central Paris destination which Emile Zola called “the belly of Paris”.

ARMOZA FORMATS ISRAEL‘s Armoza returns to MIPCOM

with a slate of formats including: The Virgins, an inspirational 60-minute reality format that follows three people as they experience things for the first time, wheither for leisure or a life-changing event; studio-based game-show Double Or Nothing where contestants take part in challenges; and I Can Do That!, in which celebrities are mentored and trained to perform variety acts.

EURODATA TV WORLDWIDE AT MIPCOM Eurodata TV Worldwide is

Be Happy! (100% Distribution)

highlighting the expansion of its online monitoring service NOTA. In order to keep track of video in the digital world, NOTA is now covering all new releases of original online content on SVOD platforms and streaming services as well as TV.

ENDEMOL SHINE INTERNATIONAL ENDEMOL Shine brings a diverse slate of

programming for MIPCOM, including: Impastor (10 x 30 mins), about a gambling, pot-smoking slacker on the run from a loan shark who steals a man’s identity and ends up posing as the new gay pastor in a small town; The Frankenstein Chronicles (6 x 60 mins), set in 1827 London, sees John Marlott (Sean Bean) on the hunt for a killer after the macabre discovery of a dead body assembled from human parts; River (6 x 60 mins), about a police officer (Stellan Skarsgard) haunted by victims; Peter Allen: Not The Boy Next Door (2 x 120 mins) which dramatises the story of songwriter Peter Allen; and The Beautiful Lie (6 x 60 mins), a contemporary reimagining of Tolstoy’s Anna Karenina.

ARTE SALES ARTE SALES the distribution branch of the French/German broadcaster,

brings a new season of specials to MIPCOM including: Buster Keaton, The Genius Destroyed By Hollywood; Alain Delon, A Unique Portrait; Warren Beatty, Hollywood Ambition; Alexander McQueen; David Ben-Gurion, Epilogue; and The Worlds Of Philip K. Dick. The company also brings The Great Myths (20 x 26 mins), an animated take on Greek mythology; Egypt’s Modern Pharaohs (3 x 52 mins); The Silk Road,(15 x 26 mins); Tree Stories (5 x 52 mins); Jesus And Islam (7 x 52 mins); and specials The Disappeared, An Invisible War In Syria; In Search Of The Perfect Sportsperson; The Artificial Womb; and Inexorable Anorexia.

Buster Keaton, The Genius Destroyed By Hollywood (ARTE Sales)

Impastor (Endemol Shine International)

THE TELEVISION SYNDICATION COMPANY (TVS) NOW PLAYING (22 x 30 mins/HD), brought to Cannes by the US’ TVS, is hosted by the head brewer of the musicinspired Black Shirt Brewing Company, and profiles some of Denver’s bestknown bands, including interviews with the artists along with videos of live performances. Future seasons set in other cities are scheduled.

Now Playing (TVS) preview magazine I September 2015 I www.mipcom.com

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WHY IS HE SO SPECIAL? The story of a man who wasn’t meant to be Pope.

POPE FRANCIS VATICAN’S LAST CHANCE

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Factual 2x60’ MIPCOM 2015 - Stand P-1. D50 / P-1.E51 www.contentsales.francetvdistribution.fr

Product News TELEMUNDO US SPANISH -language network

Telemundo is highlighting the telenovela Bajo El Mismo Cielo (120 x 60 mins) at MIPCOM. The story takes place in Los Angeles. Carlos is an undocumented immigrant widower who works as a gardener to give the best he can to his son, whose older brother was lost in gang crime. He then meets Adela, a beautiful and troubled gang member, but their love is threatened by street violence, injustice and fierce opposition from Felicia, his admirer.

RIVE GAUCHE TELEVISION US DISTRIBUTOR Rive Gauche Television A Dangerous Fortune (Global Screen)

GLOBAL SCREEN CURRENTLY in post-production A Dangerous Fortune (2 x 90 mins) heads Global

Screen’s MIPCOM roster. Based on a Ken Follett novel, it tells the love story of a poor Victorian girl and the heir to London’s most powerful banking family. The German company also brings The White Snake (1 x 90 min), an adaptation of a classic Grimm fairy tale about a young man who discovers the secret of a king’s magical powers.

brings a documentary series exploring the world of people who feel they are trapped inside the wrong bodies. Am I A Boy Or Girl (10 x 30 mins) profiles inspiring stories from the one in 1,000 people whose gender is not clearly defined.

YOMIURI TELECASTING CORPORATION (YTV) JAPAN’s YTV brings new quiz format Quiz: Only One! to MIPCOM. There’s no exact

right answer, nor can there be a wrong one as the show asks contestants to guess and match their responses to a single answer from a 100-person survey on a wide range of topics. Points are awarded or subtracted according to the answer’s popularity and viewers can play at home via the internet. Am I A Boy Or Girl (Rive Gauche Television)

SOMOS DISTRIBUTION ON THE MIPCOM roster of Florida-

Quiz: Only One! (YTV)

based Somos Entertainment: Infidels (42 x 60 mins), a drama series about five young friends; and telenovela 11-11 En Mi Cuadra Nada Cuadra (75 x 45 mins), about a 14-year-old boy with a passion for technology. After he moves into Apartment 11-B in Building 11.11 whenever he falls asleep he wakes up as a 20-year-old version of himself, who helps him find his mother and win the heart of a young actress and singer who lives in the building. Also in Cannes with Somos entertainment, Milagros, a 20 x 45/60 mini series of gritty stories where people must rely on their faith; and mixed-martial-arts series MMA (UFA) (18 x 45 mins).

preview magazine I September 2015 I www.mipcom.com

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Product News BREAKTHROUGH ENTERTAINMENT THE SECOND season of Breakthrough

DARO FILM DISTRIBUTION MONACO -based Daro Film Distribution

Entertainmentâ&#x20AC;&#x2122;s Science Max: Experiments At Large is debuting at MIPCOM. Host Phil McCordic starts each episode demonstrating a small-scale experiment. Phil and his team then design a way to make the experiment successful on a huge scale. Science Max: Experiments At Large (Breakthrough Entertainment) Made In China (Sky Vision)

returns to MIPCOM with a fresh slate of worldwide rights including new Steven Seagal action film Killing Salazar, co-staring Luke Goss and UFC champion Georges St Pierre. Daro is also highlighting the Garage Sale Mystery franchise with the fifth installment.

SKY VISION AS NATIONAL director of Miss Universe,

China Yue-Sai Kan encourages women to follow in her footsteps and use the beauty contest as a springboard to launch their careers. UK-based distributor Sky Vision brings documentary Made In China (1 x 60 mins) to Cannes, which follows the search for candidates for the next Miss Universe, the winner of which will have the opportunity of a lifetime.

LAGARDERE ENTERTAINMENT RIGHTS LAGARDERE Entertainment Rights is bringing two new thriller series to Cannes.

NPO SALES YOUTH-skewed documentaries from the

Dutch public broadcaster NPOâ&#x20AC;&#x2122;s distribution arm include: Just Kids (13 x 15 mins), based on the UN Convention on the Rights of the Child, each episode of which tells the story of a child whose rights are under pressure; Giovanni And The Water Ballet (1 x 17 mins), about a boy who dreams to compete in a synchronised swimming contest; Little Giants (8 x 25 mins), profiling talented kids; and Tough Cookies (25 x 25 mins), about children who take care of seriously ill family members. NPO Sales also brings an extensive catalogue covering drama, human interest and current affairs.

Trepalium (6 x 52 mins) is set in economic decline at the end of the 21st century when only 20% of the population is employed; and Cannabis (6 x 52 mins), in which a stolen cache of the drug sets off a story that involves farmers, chemists, shippers, brokers, wholesalers, retailers and dealers across Europe. From the factual catalogue comes At Your Own Risk (13 x 45 mins), featuring tough guy Hugo Girard who visits some of the most dangerous neighbourhoods in the US. He meets a local guide with the goal to interact with the locals and follow their lives for 48 hours. Trepalium (Lagardere Entertainment Rights) Just Kids (NPO Sales)

SMALL WORLD IFT LOS ANGELES and London-based

formats company Small World IFT is debuting at MIPCOM Lights Out!, a studio-based quiz show with play-athome and interactive potential. Set in a chat-show environment, with the help of a host and celebrity guest, four contestants take turns to battle the Lights Out! board. The players begin with 100 illuminated lights on the board. The contestants have to answer questions, all the answers to which are numbers. They lose one light for every number they are away from the correct answer.

preview magazine I September 2015 I www.mipcom.com

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Series “The Smurfs” 272 x 24’

Feature film “The Magic Flute” 1 x 70’

AVAILABLE IN HD 16/9

Documentary about the Smurfs’ creator Peyo 1 x 52’

Meet us at

MipCom Booth

R7-E64

Nele De Wilde Business Affairs Manager Audio & Audiovisual nele.dewilde@smurf.com www.smurf.com

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Product News PRIME ENTERTAINMENT GROUP NEW LIFESTYLE series A Cottage Life

OMNIFILM ENTERTAINMENT OMNIFILM Entertainment headlines its

(19 x 26 mins/38 x 13 mins/75 x 5 mins) takes place around Mont Blanc, featuring leading names from the worlds of architecture and design as well as renowned chefs working in the best guests houses in the region. Prime Entertainment, which is headquartered in Paris, with offices of LA, brings a library of over 3,000 hours to MIPCOM.

MIPCOM factual slate with the 28 x 30 mins series Jade Fever. Jade City is a remote highway stop in British Columbia with a population of 35. Claudia Bunce, and husband Robin mine a jade claim that employs most people in town. The second season premieres on Discovery Canada early next year. Drama highlights include Blood Magick, a one-hour supernatural series based on novels by Nora Roberts.

Lineup Industries brings a new format to MIPCOM. Holland Goes Green is a 60-minute format that challenges three celebrities and their families to lead an eco-friendly life for a week, without heaters, washing machines, dishwashers, meat, iPads or cars. Audiences get an entertaining but also educational insight into the impact of lifestyles on water, energy, waste, transport and food.

A Cottage Life (Prime Entertainment Group)

Jade Fever (Omnifilm Entertainment)

Holland Goes Green (Lineup Industries)

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AL L L EGENDS AR E TRUE ...

BA SE D ON T H E WOR L DW I DE BE ST- SE L L I NG B O OK SE R I E S

13 x 1 Hour Coming to ABC Family in 2016

MIPCOM: P3.B9

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Product News TRACE TV FITNESS Island is a workout fitness

BEYOND DISTRIBUTION BEYOND Distribution brings the latest

installment to the Love It Or List It reality franchise to MIPCOM. Love It Or List It UK, hosted by Kirstie Allsopp and Phil Spencer, helps people who have fallen out of love with their homes. Natural Born Outlaws is also in the Beyond line-up, exploring the true stories of iconic American outlaws including John Dillinger, Bonnie and Clyde and Al Capone.

Silence heads the slate of new Beta Film shows at MIPCOM. The psychothriller, produced for German-speaking pay-TV, begins when a man who has lost his memory wakes up near the corpse of a young woman. The German company also brings the Italian version of Spanish series Grand Hotel. Called Imperial, the story is set in the Alps. New seasons of Cedar Cove, starring Andie MacDowell, Hallmark’s Lost Letters Mysteries and Swedish format 30 Degrees In February are also on offer.

Fitness Island (Trace TV)

Love It Or List It UK (Beyond Distribution)

The Valley - In The Mist Of Silence (Beta Film)

show that combines zumba, sightseeing, music performances and extreme sports. The series also features beautiful locations including Guadeloupe, Martinique and Reunion Island. Fitness coach Edmee Cherdieu D’Alexis teaches various local stars zumba and local dance moves as well as sampling various sports with certifed instructors, including jet skiing, canoeing, canyoning and paragliding. The show is brought to MIPCOM by France-based Trace TV.

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BETA FILM THE SERIES The Valley – In The Mist Of

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Product News ITV STUDIOS GLOBAL ENTERTAINMENT (ITVS GE) A TOP MIPCOM priority for the UK’s ITVS

GE is the epic fantasy drama Beowulf (13 x 60 mins), based on one of literature’s most enduring heroes. After spending many years wandering as a mercenary warrior, Beowulf returns to the dangerous frontier iron-mining town of Herot. Wrongly accused of murder shortly after his arrival, Beowulf eventually proves his innocence and once again becomes embedded within the tribe, resolving to restore it to its former glory. However he falls in love with a woman who eventually becomes his greatest enemy.

FRED MEDIA THE MIPCOM priority for Australia’s Fred

Media is Vet On The Hill (13 x 60 mins), which profiles Dr Scott Miller, a Brisbane native who now lives in the UK with his family and runs a busy vetenary practice. Regulars include Mable the puppy and George the depressed donkey. Also on the slate is: Tony Robinson’s Time Travels (11 x 30 mins), which uncovers interesting and bizarre stories from the past; and The Crew (34 x 30 mins), which follows three friends — a musician, a surfer and a would-be MMA fighter. Cameo appearances in the series include surfer Kelly Slater and musicians Anthony Kiedis and Snoop Dogg.

PROPER RIGHTS PROPER Rights brings three new

series to MIPCOM. The second season of Vegas Rat Rods (10 x 60 mins) follows Steve Darnell and his eccentric crew of mechanics and fabricators who create one-of-a-kind vehicles. 7 Days In Hell (4 x 60 mins) follows amateur survivalists Brett and Cliff as they re-live historical worstcase scenarios in four locations around the world — the Yukon, the Caribbean, Manitoba and the Arizona desert. It Happened Here (1 x 90 mins) is a documentary following five student’s stories of sexual assault on university campuses and the institutional cover-ups that followed.

RTE GLOBAL KITCHEN Hero: Donal’s Irish Feast (6 x

25 mins) celebrates the finest food in Ireland as presenter Donal Skehan visits producers and artisans while traveling the length and breadth of the country. He then cooks three dishes to create a feast in a country mansion or castle, to which the producers are invited.

Beowulf (ITVS GE)

Vet On The Hill (Fred Media)

FACTORY MEDIA LONDON -based Factory Media brings its

CINEFLIX RIGHTS AMERICAN Lawmen (8 x 60 mins) is an

first branded-content TV commission and first international show to MIPCOM. The Unbreakables (12 x 30 mins) is presented by action-sports athletes Tim Warwood and Adam Gendle, who are dropped in different locations around Britain, where they have to take inspiration from their surroundings and dream up epic stunts. They build and test their creations during one week and then convince an athlete from the world of action sports to take on the challenge.

HD series that chronicles the birth of law enforcement in America. It tells of brave pioneering lawmen who pursued bank robbers armed with machine guns and dynamite, blood-thirsty cattle thieves, and in one case a band of Southern gentlemen plotting to kill a president.

The Unbreakables (Factory Media)

American Lawmen (Cineflix Rights)

Donal’s Irish Feast (RTE Global]

OPTOMEN TELEVISION OPTOMEN Television examines the life-

changing stories of unemployed people struggling to find jobs because of a neurological condition, in its new series Employ Me. With examples including autism, Tourette Syndrome, ADHD and Down’s Syndrome, the series follows these well-qualified people — many of whom have been trying to find work for years — as they try to overcome the hurdles posed by their condition, change potential employers’ perceptions and hopefully at last find a worthwhile job.

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Product News AVALON DISTRIBUTION THE UK’s Avalon Distribution brings new

shows from comedian Russell Howard to Cannes. A Gert Lush Christmas (1 x 60 mins) is a comedy in which Howard brings his new girlfriend home to meet his eccentric family, with unexpected consequences. Also on the slate is Russell Howard’s Sand-Up Central, a series featuring new material from Howard as well as introducing two additional acts per episode.

Madagascar, The Lemur Island (Explora Films)

EXPLORA FILMS THE PRIORITY at MIPCOM for Spain’s Explora Films is Madagascar, The Lemur

Island (1 x 52 mins/HD), which profiles some of the most endangered flora and fauna in the world, including giant chameleons, centenary baobabs, aggressive fossas, prehistoric birds of the size of an ox, tiny lemur-mice and bizarre aye-ayes.

STARZ WORLDWIDE DISTRIBUTION STARZ returns to MIPCOM with the 10 x

30 mins first season of Ash vs. Evil Dead (currently in production), based on the classic horror film franchise. Executive produced by the original filmmakers, the series stars Bruce Campbell in the revival of his role as Ash Williams. The US company, in partnership with the BBC, is also highlighting a television adaptation of Ronald Harwood’s play The Dresser, starring Anthony Hopkins and Ian McKellen. Starz is also premiering The Girlfriend Experience, a 13-part series starring Riley Keough with Steven Soderbergh as executive producer.

UPSIDE DISTRIBUTION AFTER a recent deal with German documentary producer Broadview TV, Paris-based Upside Distribution is highlighting four projects for presales at MIPCOM. Firstly three biographical films: Merkiavelli, a profile of German leader Angela Merkel; Frank Sinatra – The Voice Of America; and Arthur Miller – Man Of The Century, about the man who created some of the most memorable modern stage plays and after marrying Marilyn Monroe became an American icon. The fourth title is Mein Kampf – A Dangerous Book.

MAKEVER GROUP PRODUCTION COMPANY THE SECOND season of In America (10

Ash Vs. Evil Dead (Starz Worldwide Distribution))

x 26 mins) is brought to MIPCOM by France’s Makever Group Production Company. After the first season, set between New York and Last Vegas, Michel and David are on the road again, this time in search of Michel’s father who left for Rio de Janeiro several years before and has not been heard of since. The company also brings a second season of France KBEK.

Russell Howard

BOMANBRIDGE SINGAPORE -based Bomanbridge heads

B T

its MIPCOM slate with two cookery shows. Chef In Your Ear is a half-hour competition format where two rival chefs must produce a three-course meal by instructing a complete novice via an earpiece and against the clock. A celebrity chef and guest celebrity then judge the winner. Haute & Saucy (14 x 30 mins) features Kelly Randall Sia, a fashionista who prepares food with international flair

S s p b m y a s lo o a L fo

Chef In Your Ear (Bomanbridge)

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CREATIVE EUROPE MEDIA SUPPORT TO TV SERIES

How to Boost European Cooperation? Panel moderated by

Jacki Davis with introductory remarks by Lucia Recalde, Head of Creative Europe MEDIA

TUESDAY

06 OCTOBER  MIPCOM 2015 PALAIS DES FESTIVALS, CANNES  9.10 > 10.10

Creative Europe MEDIA

Product News ATRESMEDIA MAR DE Plastico (Plastic Sea) is a new

thriller produced by Boomerang TV, set to air on Antena 3 and brought to MIPCOM by Spain’s Atresmedia. Set in southern Spain in an agricultural area, the catalyst for the story is the murder of a mayor’s young daughter. Many locals have plausible motives, but very few have an alibi.

ELECTUS INTERNATIONAL CALIFORNIA -based Electus International

Partners In Crime (all3media International)

ALL3MEDIA INTERNATIONAL ALL3MEDIA International showcases an adaptation of Agatha Christie’s Partners In

Crime stories at MIPCOM. The 6 x 60 mins crime series stars David Walliams and Jessica Raine as Tommy and Tuppence in classic whodunnit tales set in 1950s Britain. All3media also brings comedy series Pompidou (6 x 30 mins) featuring Matt Lucas (Little Britain) in his new guise as the inimitable Monsieur Pompidou, a man out of place and time in the bustling modern world. Constructed reality format The Only Way Is Essex headlines all3media’s formats portfolio, along with spin-off Life On Marbs (12 x 60 mins); and children’s live-action drama Rocket’s Island, which has already been taken by ABC Australia, will make its debut at MIPCOM.

FREMANTLEMEDIA INTERNATIONAL FREMANTLEMEDIA International is launch-

Modus (FremantleMedia International)

Food Fighters (Electus International)

New Zealand is brought to MIPCOM by London-based Banijay International. The Monster Of Mangatiti (1 x 90 mins) tells the true story of Heather Walsh who as a teenager in the 1980s was held prisoner on a remote farm. Heather was sexually, psychologically and physically abused for months until she found the courage to escape and reveal her story.

BOPAUL MEDIA WORLDWIDE (BMW) GEORGE C Scott’s role as the Italian

©Johan Paulin

ing crime thriller Modus (8 x 60 mins) at MIPCOM. The series is based on the crime novels of Norwegian author Anne Holt. Modus follows psychologist and profiler Inger as she finds herself, and her autistic daughter, drawn into an investigation surrounding a series of disturbing and brutal deaths. Produced by Miso Film, the series premieres in Sweden on TV4 this year.

BANIJAY INTERNATIONAL A NEW docu-drama from Screentime

brings a range of programming to MIPCOM, including: Food Fighters (two series of 8 x 60 mins), giving amateur cooks the chance to test their skills against professional chefs; Home Free (8 x 60 mins), which sees nine couples compete to win a dream home by revitalising a run-down home for a couple in need; game show Separation Anxiety (14 x 60 mins); Hot Plate (18 x 60 mins), a restaurant competition; telenovela Jane The Virgin (two series of 22 x 60 mins); Running Wild (8 x 60 mins) and Mission Survive (6 x 60 mins), starring adventurer Bear Grylls; mixed martial arts show Bellator; competition series Twinning; and reality shows Dating Naked and Southern Justice.

The Monster Of Mangatiti (Banijay International)

dictator Benito Mussolini is to be rereleased internationally by BMW. The seven-hour mini-series, Mussolini: The Untold Story, was originally aired in 1985, and BMW is converting the series to HD. The series also stars Lee Grant, Mary Elizabeth Mastrantonio, Gabriel Byrne, Robert Downey Jr and Virginia Madsen.

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fred media distribution presents

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News

Last

WORLD PREMIERE TV SCREENING

The

Panthers

A scene from The Last Panthers

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DIAMOND robbery has all the hallmarks of a gang known as the Pink Panthers. But there is collateral damage as a little girl is killed during the raid. A story unfolds that brings together a British insurance agent, a French-Algerian policeman and a Serbian diamond thief. But this is not a story of the glamorous world of daring criminals seeking a life of luxury. Based on real events, The Last Panthers reveals a new type of crime that brings together traffickers, drug dealers, bankers and war criminals whose aims go far beyond the pursuit of personal wealth and ultimately threatens the stability of society. The Last Panthers began as an idea from celebrated French journalist Jerome Pierrat. It was commissioned by Sky Atlantic and Canal+ and developed and co-produced by Haut et Court TV and Warp Films. Shot on location in London, Belgrade and Montenegro, it is distributed by Sky Vision and StudioCanal’s Tandem. British actor Samantha Morton plays insurance agent Naomi, which she said is “the role of a lifetime”. In the series Morton plays both the 20-year-old Naomi and her character today. “The complexity of the years and the detail and depth which Jack and Peter have put into this character — the total dedication to truth and finding her — is very rare,” she said. Morton refers to series co-creator Jack Thorne and Warp Films’ Peter Carlton, who came in early on the series with Pierrat and Haut et Court TV’s Caroline Benjo. “It was discussions with them, and with Jack which helped me to see that it was more than a story about typical diamond thieves,” Carlton said. “It was a much more

interesting story about where they came from but also what they’re becoming — which allows you… to paint a portrait of Europe now, a changing Europe and the changing face of organised criminality. Jerome explained that what we need to understand is that organised crime in Europe is much more efficient and much more united than the official political and financial channels. That was one of the starting points for the series.” Cast and crew were astonished at the level of research carried out by Pierrat. His ongoing work as a journalist takes him regularly into the darkest corners of humanity and TV drama rarely benefits from such depth of knowledge and experience. “That’s exactly what excited us, Jerome’s deep understanding of criminality these days,” Haut et Court’s Jimmy Desmarais said. “He has a real social insight as to how it works, the structures and its relationship with legal entities and how the two work together. It goes way beyond the image of criminals, guns, fast cars and money.” Pierrat took Jack Thorne into some powerful and sometimes dangerous places during the course of their research. “In the morning they would see the prime minister of Serbia and in the afternoon the head of the Panthers. And then in France, the head of a police force who has dedicated his life to fighting the Panthers. And then on to the suburbs to see the hierarchy within the drug dealing community.” Director Johan Renck was more than comfortable with the subject matter. “I am very attracted to dark psychology, so for me I’m like a fish in

Julian Newby meets the cast and crew of this year’s MIPCOM World Premiere TV Screening, international crime drama The Last Panthers

water with these things. When a piece of work reflects those dark sides it interests me and always has done, my entire life,” he said. “That is pure pleasure to me.” Renck particularly enjoyed the fragility of the characters. “Many of these characters are both good and bad and they have brilliance and loss mixed together and almost no matter how brilliant you are in governing your own choices, most of us in our life make mistakes over stupid things and the consequences of these things always have a greater effect than if you do something great,” he said. “That is what makes this script interesting to me. Our characters are flawed and make stupid mistakes that spiral into the darkness… that’s what I like.” But some members of the cast were momentarily taken out of their comfort zone during the course of filming. Morton’s young Naomi was in the military and the part required military training. “To get me into character physically when we arrived in Montenegro I had to spend some time in the local gym,” Morton said. “As the young Naomi I’m playing a soldier and I’ve got to be a real soldier — there’s no acting that shape and I’ve got to be able to do all that stuff. The gym was quite rough,

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News

Tahar Rahim as maverick French cop Khalil

and to start with all the guys there, were giving me funny looks. I had to go and be with the boys doing the weights and it took a couple of days before they gave me total respect, once they saw how much I could dead-lift. To be welcomed in a different country and community, it was an amazing feeling — to be the young Naiomi in that gym with all the big boys doing their shit.” She added: “I’ve kept up the training now because its just felt so good.”

Samantha Morton as the young Naomi

Film actor Tahar Rahim plays maverick French cop Khalil and from the outset the production team agreed he was the only person for the part. “He was one of the first people who was approached and we could not imagine anyone else in the French role,” Benjo said. “It was his first television series and he was extremely cautious about the part. The amazing thing with him was that he would meet regularly with Jerome

and Jack to talk about every level of his character.” “He was born in the suburbs of Marseille and he was kind of a bad seed,” Rahim said. Sent by his father to live with a family in Northern France as a punishment for one of his many wrongdoings, he disappeared for 15 years. “When he returns he works his way into the police force and becomes a commissioner. But what he has is something different from other cops — he’s not exactly crazy but he’s traumatised. It seems that he knows better than other cops and other people how it works in the suburbs. So he wants to do it his own way — the end justifies the means. He’ll use anyone, even his own partners, to get what he needs.” Rahim also helped out with the multilingual aspects of the production. “He was very involved with us in the adaptation of the French dialogue — making sure we had the right tone and authenticity, and that was a huge help,” Desmarais said. The Last Panthers stars John Hurt, Samantha Morton and Tahar Rahim. It is written by Jack Thorne and directed by Johan Renck. The World Premiere TV Screening of The Last Panthers is on Monday, October 5, in the Grand Auditorium at 18.30. It will include a Q&A with cast and crew, who will afterwards walk the red carpet to the MIPCOM Opening Night Party at the Grand Hyatt Cannes Hotel Martinez.

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Feature

Deutschland 83, the first-ever German-language drama series to air on a major US network

THE NEW PAY-TV LANDSCAPE

OTT: so much to choose from As MIPCOM Into The Stream conference sessions will explore, there’s no question that the surging popularity of the OTT services is bringing pressure to bear on the traditional broadcast model. But this is a cloud with a definite silver lining, writes Juliana Koranteng

REMANTLEMEDIA International (FMI), Lionsgate and Sony Pictures Television (SPT) are among the growing number of content creators and distributors that are welcoming the highly disruptive but fast growing internet-delivered over-the-top (OTT) TV entertainment. Jens Richter, FMI’s CEO, believes OTT technology’s ability to open new subscriptionfunded video-on-demand (SVOD) businesses in the estimated $290bn global TV market is spurring rights-owners to be more inventive in how they license their intellectual properties. “We embrace the new client base and new exploitation windows,” he says. “You have to try

and reinvent yourself all the time. So, for us, the big challenge is how we build brands in the fragmented [media] future. To stand out, we need to be very original and loud. We need to be on our toes, because a hit or a miss now takes place faster compared to the old days.”

“The big challenge is how we build brands in the fragmented future. To stand out, we need to be very original and loud” Jens Richter

FMI’s international OTT SVOD portfolio includes The Returned, FremantleMedia North America’s adaptation of the French supernatural thrillers Les Revenants as an original international Netflix series. This follows a multi-year VOD agreement to supply content to Youku Tudou, China’s leading video-sharing platform, which includes 200 million mobile subscribers among its viewers. The OTT platforms are also opening up new opportunities for testing maverick or niche concepts. Richter is adamant that the recent success of the German-language event drama Generation War on Netflix influenced pay-TV service Sundance TV’s decision to screen Deutschland 83, the first-ever

preview magazine I September 2015 I www.mipcom.com

Feature German-language drama series to air on a major US network. Furthermore, the live binge-viewing phenomenon kick-started by House Of Cards on Netflix is influencing how the linear networks schedule their programmes. “When they air entertainment during primetime, they do something that’s an event and live — something viewers feel they have to see now,” he says. This view is supported by a comment made in the most recent Outlook report by accountancy conglomerate PwC: “One of the clearest shifts is in TV and video consumption, with consumers increasingly demanding highquality original programming in a flexible, on-demand manner across numerous devices, thus enabling ‘binge viewing’ and greater convenience. OTT services offer the best outlet for this type of consumption.” Thomas Hughes, Lionsgate’s executive vicepresident of worldwide digital distribution, sees the SVOD streaming platforms as a welcome addition. “We benefit whenever new players emerge with big appetites for content,” Hughes says. “The new digital platforms continue to expand our universe of buyers and create price competition for our product in markets where little or no competition previously existed.” And business is booming, Hughes reports: “Last year, we distributed nearly 2,000 hours of programming around the world — nearly five times as much as we distributed a few years ago. No matter who wins [in the pay-TV race], they will need the kind of premium content that Lionsgate produces.”

Comedians In Cars Getting Coffee, executive produced and starring Jerry Seinfeld

“Sling TV’s target market is the younger generations who love TV but dislike the existing pay-TV model” Roger Lynch Streaming platforms are boosting the overall pay-TV market, says Andy Kaplan, SPT’s president of worldwide networks. “Many consumers using these streaming platforms are supplementing their existing pay-TV service rather than replacing it,” he says. “It’s an opportunity for people to come into shows in later seasons where that opportunity was more limited in the past.”

Sling TV, the OTT service recently launched by US satellite TV giant Dish

The new streaming services are also luring big entertainment names into arenas that never existed in the linear-TV space, offers Eric Berger, SPT’s executive vice-president of digital networks and general manager of the SPTowned AVOD platform Crackle. Available in 21 countries, Crackle is already famous for Comedians In Cars Getting Coffee, the entertainment show executive produced and starring Jerry Seinfeld. The show is now in its sixth season. Meanwhile, Hollywood stars Dennis Quaid, Kate Bosworth and Cary Elwes star in Crackle’s first one-hour drama series, The Art Of More. Among the platform’s new slate of movies is Joe Dirt 2: Beautiful Loser, which stars US actor/comedian David Spade. For Berger, the streaming VOD format also enables content producers to target demographics in sophisticated ways never considered before. “The majority of Crackle viewers are young adults in the prime of building their careers,” he says. “We’ve identified this demo as ‘rechargers’, who frequently stream movies and TV shows to recharge after a busy day.” The SVOD network operators are growing competitive about what they can do for content-owners. Already in some 60 countries, Netflix has ambitions to be in almost 200 by next year’s end. It has publicly declared that it plans to spend $600m on marketing its brands, $500m on technology development and $3bnplus on content in 2015 alone. The company and its CEO Reed Hastings are blatant about why OTT works. The Netflix Long Term View statement reads: “People still watch over a billion hours a day of linear

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Feature

BT’s Delia Bushell

FMI’s Jens Richter

Lionsgate’s Thomas Hughes

SPT’s Andy Kaplan TV. But people don’t love the linear-TV experience. While still popular, the linear-TV channel is ripe for replacement.” Sling TV, the OTT service recently launched by US satellite TV giant Dish, wants to bring young audiences to its existing content suppliers. “Our target market is the younger generations who love TV but dislike the existing payTV model,” says CEO Roger Lynch. “Sling TV gives its programming partners access to an audience they aren’t currently reaching.” But for that approach to be viable, Sling TV accepts that its young OTT audience will want access to other streaming services. “We see the future of television as analogous to a puzzle,” Lynch adds. “We want Sling TV to be a big, important piece of the puzzle, but we recognise it’s not the only piece. Many consumers will subscribe to several complementary OTT services to meet their entertainment needs.” Now TV is the UK-based OTT venture launched by the Rupert Murdoch-controlled Sky, Europe’s largest pay-TV operation. The move strengthens Sky’s presence in the UK’s quad-play (TV, telephony, mobile, broadband) market. More significantly, Gidon

BT’s John Petter

Sling TV’s Roger Lynch

Katz, director of Now TV, says the company is “growing the whole pay-TV market”. In the past two years, he reports that 90% of Now TV’s customers have been totally new to the service, rather than converted Sky customers. And there are also those who take both Now TV and Sky. “But OTT also broadens the type of content we can market,” Katz adds. “It means we can put more money behind content that Sky would not normally market.” Now TV’s growth has intensified the heated rivalry between Sky and BT Group, the UK’s largest telecoms operator, which has also been making headway in the quad-play sector, especially in mobile and pay TV via its OTT platform BT TV. BT Group has made a £12.5bn takeover bid for EE, the UK’s largest mobile operator, as part of its mission to boost its multiplatform credentials for BT TV. While Sky has become the UK’s second largest broadband operator after BT, BT TV has successfully chased after some of the most coveted live and VOD rights to sports (eg, UEFA Champions League) and entertainment (dramas including Mad Men and The Walking Dead from US cable network AMC). It has also launched Europe’s

SPT’s Eric Berger

first ultra-HD sports channel. In the UK’s pay-TV space, however, BT claims that Sky’s dominance with a 64% share of the revenues is unfair and has asked Ofcom, the country’s telecoms regulator, to investigate. John Petter, chief executive of BT’s consumer division, says: “Spending a lot of money has been necessary but insufficient against Sky, which passes the cost of its expensive rights to its customers, which is why we need the regulatory underpinning by Ofcom”. “This is about consumers paying more than they need to,” adds former Sky executive Delia Bushell, managing director of BT TV and Sport. “And we’re asking Ofcom to look at the evidence.” The Sky-BT TV clash is an example of the intense competition within the SVOD industry. That scenario also explains why SPT’s Crackle opted for the ad-funded VOD model. This offers viewers a free alternative to paid-for SVOD. As Crackle’s Eric Berger says: “There are only so many services consumers will be willing to pay for as they put together their own bundles. But there will always be room in people’s personal bundles for a service that delivers high-quality movies and TV for free.”

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SINGAPORE ANIMATION

STUDIOS

PARTNER INTERNATIONAL BROADCASTERS TO ENTERTAIN CHILDREN AROUND THE WORLD Singapore brings you animation offerings that have kept young viewers across the globe entertained and engaged in learning about the world around them. Here are some exciting titles from Singapore that have aired to international audiences in collaboration with established producers and distributors.

Insectibles by One Animation Produced by One Animation with Discovery Kids Asia, German children’s channel KiKa and distributed internationally by ZDFE, One Animation brings yet another adventure comedy series, Insectibles (52 x 11 mins) to the international market following the success of Oddbods. Appealing to the imagination of the viewer, Insectibles features a young boy Zak whose Grandpa’s invention accidentally shrinks both Zak and Grandpa down to the size of insects. The main characters along with their three insect friends will take viewers on an exciting journey as they face challenges beyond their wildest dreams and battle an evil mosquito as they find a way to return themselves back to their normal size.

Ruff-Ruff, Tweet & Dave by Sparky Animation Ruff-Ruff, Tweet & Dave (52 X 11 mins) brings pre-schoolers on funfilled adventures in fantastical lands where they play games and make exciting discoveries. Described as a kid’s choice in edutainment, the show also encourages pre-schoolers at home to play along on a smartphone or tablet and learn to make choices by answering simple multiple choice questions. “Ruff-Ruff, Tweet & Dave is a unique preschool series that inspires kids to make their own decisions.” says KC Wong, CEO of Sparky Animation. Ruff-Ruff, Tweet & Dave is a coproduction between Sparky Animation, Collingwood O’Hare, Sprout and in association with Bejuba! Entertainment.

ZooMoo’s Got Brains by Beach House Kids Known for their original formats, Beach House Kids collaborates with Singapore’s Starhub to launch a special edition of ZooMoo in a gameshow format, ZooMoo’s Got Brains (20 x 12 mins). The fun-filled gameshow series is jam-packed with interesting nuggets of animal facts for 4-7 year olds. The show features a cast of funny, furry puppet contestants who are quizzed by our host Rory Tiger on all things about animals. “Our aim was to develop a comedic gameshow for kids that would have them laughing while learning about the animal kingdom”, said Susan Oliver, Head of Beach House Kids. The Beach House Kids team is already at work developing a second season for 2016.

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SINGAPORE P-1.C28,

PAVILION

SPARKY ANIMATION info@sparkyanim.com

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Palais des Festivals

ONE ANIMATION info@oneanimation.com

ENTERTAINING AND ENGAGING CONTENT FOR THE LITTLE ONES

BEACH HOUSE KIDS Angie@beachhousepictures.com / MDA Singapore

www.mda.gov.sg

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Feature

THE NEW PAY-TV LANDSCAPE

OTT: the growth curve It’s tempting to describe the number of OTT services being launched internationally as excessive. But as old-school TV viewing declines, some claim the OTT operators are singlehandedly responsible for encouraging cord-cutting millennials to stay glued to the box. Juliana Koranteng reports

NTERNET-delivered Netflix, Hulu and Amazon Prime Instant Video have become established US entertainment brands by successfully challenging the traditional TV terrestrial broadcasters, and cable and satellite operators. And ever since, an avalanche of more digitally connected, subscription-funded VOD (SVOD) services have announced their entry into the global pay-TV market. “Exploration and real intent to deploy OTT is at a fever pitch and only gaining stream from the widest array of content and media companies,” says Jay Samit, CEO of US-based

“There have been three responses to OTT from payTV operators: set up a rival service, do nothing yet or partner with SVOD players” Simon Murray

SeaChange, a technology company working with on-demand and multi-screen TV and video platforms that reach more than 50 million pay-TV subscribers and homes worldwide. “It’s a trend among subscription content-owners, networks, mobile carriers and service-providers alike.” OTT TV resonates with internet-connected viewers, especially young millennial digital natives, because of its convenient subscription model. Unlike the expensive and cumbersome contracts enforced by closed-cable and satellite platforms, with their dedicated set-top boxes, digital video recorders and bundles of channels you may never want to watch, OTT SVOD services need no contract, offer payas-you-go pricing models and require only a broadband connection via any internet service provider (ISP). The shows can be accessed through a variety of broadband-connected devices: video-game consoles, PCs, laptops, iOS and Android tablets, smartphones and dedicated gadgets such as Roku set-top boxes and Apple TV boxes.

OTT ON THE MOVE AS A global business, OTT SVOD is still at the embryonic stage. But the growth rate is astonishing and impacting on the legacy pay-TV operations. Digital TV Research predicts that revenues from OTT live TV and VOD services will yield $51.1bn by 2020, compared to the $26bn forecast for this year and the $4.2bn generated in 2010. Revenues from OTT SVOD (as opposed to advertising-funded and other VOD) are expected to account for $21.6bn by 2020 and be OTT’s biggest single income generator in that year. The US will be the biggest market, followed by Japan, the UK, China and Germany.

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FTI Consulting’s Phil Schuman

Digital TV Research’s Simon Murray

In addition to Netflix, Hulu and Amazon Prime in the dominant US market, established broadcasters, cable and satellite platforms, individual networks and telecom operators have gone OTT to complement their established pay-TV business models. Free-to-air terrestrial broadcaster CBS has launched CBS All Access, a subscriptionfunded service offering both linear and on-demand programming. CBS rival NBC has similar plans this year. Subscription-funded pay-TV network HBO offers HBO Now, while its rival Showtime recently entered the OTT fray. Satellite-TV pioneer Dish Network has Sling TV. Sony Corporation, owner of the global TV entertainment giant Sony Pictures Television and Sony PlayStation video games, is rolling out PlayStation Vue, with its combination of live and on-demand shows, across the US. Verizon, the telecoms giant, is already offering FiOS, the paid-for internet-delivered IPTV service. But IPTV, available to only the ISPs’ respective customers, has not been enough for Verizon, which is scheduled to launch a “mobile-first” OTT service this year. Viacom’s pay-TV kids network Nickelodeon has introduced the ad-free Noggin service featuring on-demand shows from Nickelodeon and its sister channel Nick Jr. Outside the US, telecoms behemoth BT Group is causing havoc in the UK market with BT TV. BT’s subscription IPTV service is challenging local rival Sky, already Europe’s biggest pay-TV operator, for popular SVOD

and live-TV rights to general entertainment, sports and, most recently, event drama. In response, Sky has introduced Now TV, its own OTT operation. Meanwhile, Vodafone, the UK-originated international telecoms conglomerate, is reported to be using its 2012 acquisition of Cable & Wireless to enter the subscription video-ondemand (SVOD) entertainment business. In the Nordic markets, Viaplay is leading the OTT march. Vivendi, owner of French pay-TV giant Canal+, reportedly acquired the vast majority of video-sharing website Dailymotion for $240m-plus as part of a bid to expand its streaming business. And over in Spain, viewers can opt for Telefonica’s Movistar TV Go or Wuaki.tv, a subsidiary of the Japanese e-commerce conglomerate Rakuten. Nigeria-based iROKOtv is using the same streaming technology and similar business models to offer Nollywood movies to the international African diaspora. Meanwhile, in Asia, iFlix is being described as the Netflix of Southeast Asia. Back in Europe, Digital TV Research’s principal analyst Simon Murray, says: “There have been three responses to OTT from pay-TV operators: set up a rival service, do nothing yet or partner with SVOD players. A big advantage the likes of Now TV [UK], CanalPlay [France] and Viaplay [Nordics] have over the likes of Netflix is that they offer linear/live

SeaChange’s Jay Samit

“Netflix may be seen as today’s metric, but it won’t be alone for long” Jay Samit programming, especially sports. Some operators, usually those with few exclusive content deals like the UK’s Virgin Media and Sweden’s Com Hem, have partnered with Netflix rather than set up their own service.” Phil Schuman, senior managing director at US-based FTI Consulting’s corporate finance division and a media and entertainment specialist, says: “[Internationally] local OTT services are popping up in many countries. As OTT offers improve and gain acceptance in these markets, it is probably inevitable that these services will make inroads and will affect the number of consumers acquiring paytelevision programming via MVPDs [multichannel video programming distributors] in a market. This is a real issue for later entrants if they need to achieve high subscriber penetration to be viable long term.” However, Schuman is optimistic about the vibrant OTT market — as is SeaChange’s Samit, who adds: “The good news is it’s still ‘day one’ for content-owners and service-providers who haven’t yet sorted an OTT strategy. Netflix may be seen as today’s metric, but it won’t be alone for long. It’s just first on a large scale.”

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An MTV ident: “MTV can’t afford to look like any other channel…”

CHANNELS

Living in a stream world The international channels business is a major focus at MIPCOM 2015 with its new conference programme titled Into The Stream. The event comes at a critical time for the channel business, as Andy Fry explains preview magazine I September 2015 I www.mipcom.com

think his channels have a chance of success? “It starts with the quality of the content,” he says. “In the case of AMC Global, for example, we launched our new Walking Dead spinoff series Fear The Walking Dead day-anddate with the US channel on August 23. And later this year, we have martial-arts series Into The Badlands coming through. Those are the kind of shows that platforms really want access to.”

“In this disruptive, complicated market, everyone is looking for ways to move the needle, so the value of compelling narrative drama series is increasing” Bruce Tuchman

Such is the demand for must-have content that platforms are even willing on some occasions to do exclusive deals with channels, in the same way that channels crave exclusivity of individual shows. In the UK, for example, AMC Global is being launched exclusively on telco TV platform BT, in what is described as BT’s first channel exclusive deal outside of sports rights. “In this disruptive, complicated market, everyone is looking for ways to move the needle,” Tuchman says. “So the value of compelling narrative drama series is increasing.”

PREAD over three days, Into The Stream explores the changing global video ecosystem and the content-distribution strategies that are evolving across traditional and emerging platforms. Against this backdrop, a number of the industry’s leading players are expanding their activities on the international stage. A good example is AMC, which has rolled out the international version of its channel, AMC Global, into 125 countries over the last 12 months.

“Last year, AMC was only available in the US,” says Bruce Tuchman, president of AMC/Sundance Channel Global and MGM Channel Global. “So this has been a banner year for us. When you also consider that Sundance is now in 80 countries, it’s a real watershed.” AMC Global and Sundance have been launched into a highly competitive market, populated by a mix of US-backed thematic channels, local channel bouquets and the burgeoning SVOD sector. So why does Tuchman

A focus on the importance of content also sits at the heart of recent changes in BBC Worldwide’s international channel strategy, according to David Weiland, executive vicepresident and general manager, Asia. “We’ve just rebranded BBC Knowledge as BBC Earth in Asia, as part of the roll-out of global channel brands that we recently announced. In this case, BBC Earth is a premium factual brand that has already launched in markets including Poland, Scandinavia and Latin America.” Like Tuchman, Weiland says that channel brands need to prove themselves on the content front if they are to stand out from their rivals: “The BBC is known worldwide for the quality of its natural-history, science, adventure, travel and documentary series. So BBC Earth is a way for us to showcase that fact. In Asia, some of our very best shows will now

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Feature Blue-chip series The Hunt, for BBC Earth

launch exclusively on BBC Earth, creating a real point of difference. For example, we have high-end blue-chip series such as Shark and The Hunt coming through quite soon. That’s a step up from BBC Knowledge, which was more of a general factual channel.” While great content is key to the viability of channels, Weiland says it is also important to be flexible about the way you deliver that content to consumers: “Aside from the quality of content, the big issue in the market is the drive to give consumers what they want, when they want. So it’s incumbent on us to make sure the content is available in different forms.” BBC Worldwide is not alone in attempting to make its content available via multiple routes to market. A+E Networks continues to place great faith in the linear versions of its flagship channel brands. However, it has also just launched a History Plus OTT service in Asia. Created in partnership with Singapore-based channel operator Brand New Media, the new OTT service will offer viewers short-form videos from popular History franchises, such as Pawn Stars, Ancient Aliens and The Pickers. It will be available alongside the linear History channel, which is widely distributed throughout Asia and is a leading factual service in Singapore and Malaysia.

“MTV can’t afford to look like any other channel if it is going to stay relevant to its target audience. We know from experience they will forgive almost anything except creative cowardice” Tanya Leedekerken

Prem Kamath, A+E Networks’ deputy managing director, Asia-Pacific, says: “As the TV landscape evolves and viewing habits change, we continue to look for opportunities to engage viewers with our content. History Plus allows History fans to create playlists of original short-form content from their favourite series, providing a deeper dive into the popular franchises from our linear channel.” Damien Bray, global director at Brand New Media, says the new service is in keeping with changing viewing behaviour among younger demos: “Audiences are converging to digital and social media in large numbers, particularly the early adopters and opinion leaders coveted by advertisers. History Plus is a strong

brand that will resonate well with new and existing viewers.” While the control of content rights is key to all of this, another issue that taxes channels is branding. In a world where consumers can source their content from so many providers, how do you create emotional engagement? This has been a key agenda at Viacom-owned MTV, according to MTV International’s vicepresident of marketing, Tanya Leedekerken. “We communicate with our audience in so many different ways across so many platforms that traditional methods of branding just didn’t seem relevant any more,” she says. “So we wanted to introduce a new approach that would give audiences and talent a greater say in our brand.” Starting on June 25 and now rolling out to its channels around the world, MTV is providing more opportunities for people to get their creative work and UGC videos on to the channel. “It’s a way for the brand to be more topical, localised, immediate,” Leedekerken says. “We’ve taken away rigid brand structures and allowed creative people to express themselves — even to the extent that they are able to experiment with the MTV logo.” One strand of this activity is MTV Bump, an

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Series star Daniel Wu as Sunny in AMC’s Into The Badlands initiative that will see content created on social platforms migrated to TV. Made in partnership with New York agency B-Reel Creative, the idea is that Vines and Instagram videos submitted to the network can be aired when regular programming switches to commercial breaks. “This kind of brand flexibility is unique in the channel business,” Leedekerken says, “but it’s the right approach for our channel. MTV can’t afford to look like any other channel if it is going to stay relevant to its target audience. We know from experience they will forgive almost anything except creative cowardice. We have to break boundaries to stay in tune with the zeitgeist of our audience.” The reason channel operators are doubling down on their content and branding investment becomes clear when you see the speed at which new forms of content delivery are getting their hooks into the market. SVOD platform Netflix, for example, recently released figures that show it is now in 65.6 million homes worldwide. With series such as Daredevil and Orange Is The New Black proving especially popular with audiences, the platform has managed to grow its international subscriber base to 23.3 million. With spend on film and TV expected to top $6bn next year, and new launches into markets including Italy and Japan, the competition from Netflix can only intensify. Other next-generation players are also adding to the competition. Lebara, for example, has

recently launched a new entertainment service for migrants called Lebara Play. According to the company, this will be “the only multi-ethnic entertainment service bringing together free and premium, fully licensed content in 13 languages in one place, without longterm commitments”. Content available on Lebara Play will come from Tamil, African and Turkish channels. L eba ra G roup cha i r ma n a nd C EO Yoganathan Ratheesan says: “Serving the migrant community is at the core of everything we do at Lebara. Lebara Play is an unrivalled service designed for an under-served community. And the launch proves that we’re delivering on our plans to disrupt the existing entertainment landscape and diversify our communications business.” While a lot of the strategic moves by channel operators are about addressing this paradigm shift to on-demand viewing, it is important to stress that no one is giving up on linear TV just yet. Indeed, it is interesting to note that some of the industry’s leading payTV players are actually buying traditional free-to-air channels. Viacom’s acquisition of Channel 5 in the UK, Discovery’s purchase of SBS Broadcasting, and Fox’s takeover of Turkish free-to-air channel CNBC-e from Dogus Media Group are just a few examples of this development, which at first sight seems counter-intuitive. Scripps Networks Interactive has also just joined the rush, acquiring a controlling stake in

Polish TV network TVN for $614m. Described by observers as one of the largest ever media deals in Central Europe, it is a reminder that free channels continue to command the largest percentage of the TV audience. Explaining the rationale, Scripps Networks Interactive’s chief development officer, Joseph NeCastro, says: “We liked what we learned about Poland. It has a stable economy, businessfriendly environment, a highly educated growing middle class, and is an aspirational market. That’s what our programming appeals to.”

“Evidence from markets like the US and Western Europe is that linear and ondemand can live in harmony” David Weiland

BBC Worldwide’s Weiland expects there to be a mixed linear/on-demand ecosystem: “There is a lot of debate around whether linear channels still have a role in the era of on-demand viewing, but I think the evidence from markets like the US and Western Europe is that they can live in harmony, with on-demand sometimes reinforcing the linear model.”

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COMMISSIONING DRAMA

Drama: the

love affair

Continues Thereâ&#x20AC;&#x2122;s no question that drama has become a key focus for channels across the globe; no question thereâ&#x20AC;&#x2122;s more money, more talent, more everything feeding the drama pipeline. And, the audiences love it. But with all this abundance, are drama broadcasters getting what they want? Marlene Edmunds asks the question

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Comarex’s Tanto Amor [So Much Love], a telenovela format that has been made several times in the last 15 years

ITH an original programming budget exceeding some £600m [$935m] Sky is on a roll. The Last Panthers — Monday’s MIPCOM World Premiere TV Screening — is but the latest Sky Atlantic drama to stir up global buzz. The Last Panthers comes on the heels of Fortitude, a drama that premiered in early 2015 that has now sold to more than 100 countries. Why are broadcasters climbing over each other to get to these two dramas? “For the same reason Sky commissioned them,” says Anne Mensah, head of drama for Sky, adding: “They are beautifully produced, emotionally engaging, and they feature incredible actors at the top of their game.” Broadcasters want big events and War And Peace, the latest adaptation of Leo Tolstoy’s near 150-year-old novel, is exactly that. But they also want relevance, and this adaptation, according to Lookout Point CEO Simon Vaughan, has a realism to it that past adaptations might have lacked. To begin with, he says, “Tolstoy’s novel is about very young people coming of age, going off to war and falling in love for the first time”. Times haven’t changed, and for those involved in the production it was significant that many of the protagonists are young, Vaughan adds. “These characters are in their late teens and early twenties. In order for us to make it relevant and stick to Tolstoy’s original intent, the production cast young actors and went for very high-profile but not predictable casting choices,” including Lily James as Natasha Rostova, Paul Dano as Pierre Bezukhov, James Norton as Prince Andrei Bolkonski. Just how this series — set to air on BBC One in 2016 and simulcast in the US on A&E, Lifetime and History — came together is the subject of a case study keynote session at MIPCOM, featuring Vaughan, the BBC’s Faith Penhale and Ben Donald, The Weinstein Company co-chairman Harvey Weinstein and screenwriter Andrew Davies, among others. One of the most satisfying things about programming drama today, according to Mensah, is “that there are lots of different forms and formats catering to a diversity of viewers”. But broadcasters also face huge challenges on all fronts, including streaming, the unbundling of programming and the millennial exodus from linear TV. These challenges all affect what broadcasters want and, when it comes to drama, what their business models will allow

preview magazine I September 2015 I www.mipcom.com

Feature them to acquire. Take limited series, currently very popular but also a massive Catch 22 for the free-toair industry whose business model is dependent on long-running procedurals to feed the bottom line. “From a broadcasters’ perspective, a successful limited series will resonate in a powerful way. If the series is truly unique and high-concept, the local and international buzz can be huge and that, of course, has value,” Patrick Nebout, Atlantique Productions’ creative director, says. Atlantique has been involved in a raft of front-burner productions of late with broadcasters and other drama players across Europe. From a purely commercial point of view, however, limited series have real drawbacks, Nebout says. “They are very high-concept, they are expensive and they have very little shelf life.” And Hollywood especially isn’t churning out long-running series in big numbers anymore. While Atlantique’s Transporter and StudioCanal’s (Tandem) Crossing Lines currently fill some of the gaps, English-language long-running closed-ended series appear to be few and far between. When it comes to limited series versus longrunning and anything in between Sony Pictures Television (SPT) president of international distribution Keith Le Goy believes the smart play is to keep the field wide

War And Peace, to be distributed by BBC Worldwide

SPT’s The Player

open. “Many big broadcasters around the world are looking to diversify their business and to create new SVOD platforms to meet consumer demand and create new revenue streams,” he says. “Shows like The Blacklist and The Player, which work on both free-toair linear television and in the more serialised

THINKING OUTSIDE THE BOXES PROGRAMMING is always a question of balance and the borders of programming are changing, says Christophe Riandee, vice-CEO of Gaumont. “The real issue,” Riandee says, “is that you can’t put shows in boxes. Broadcasters will always need to programme a combination of shows — long-running or limited series and other formats. As an example, we don’t do procedurals like we did five years ago. What we do now is edgier and the characters are more complex. So a show may become a long-running series if it works or maybe it will be just be a show that runs for two or three seasons. Limited series, Riandee says, “are attractive to high-octane talent because of the flexibility to work on other projects, but a broadcaster can’t programme only limited series. The shelf life is too short and they are expensive.”

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y O rd e n

Feature RTE’s Clean Break

“The pubcaster’s brief is to address questions that are relevant to our time” Christian Wikander

and far-off region in Europe where there is a large indigenous Sami population and tensions, sometimes bubbling just under the surface, between the Sami and the Swedish.” Stefan Baron, head of international ©Ulrika Malm Atlantique Productions SVT Nice Drama Canal+

SVOD world, provide a unique opportunity for broadcasters to do two jobs with one franchise show.” The Player, brought to MIPCOM by SPT, stars Wesley Snipes, Philip Winchester and Charity Wakefield, among others. “The Player is from the team that created The Blacklist, one of the most successful shows in recent times,” Le Goy adds. “There is a richness of storytelling that provides a very strong anchor and there is resolution, which is what audiences are looking for.” Produced by Atlantique Productions, Nice Drama and Filmpool Nord, Midnight Sun is the latest high-concept, multi-lingual thriller to be greenlit by Canal Plus and Sweden’s SVT. What’s the appeal to the French paybox? Nebout says: “Canal Plus is a broadcaster that needs to constantly surprise its audience. Apart from being a compelling, eerie and gritty thriller, Midnight Sun is set in an unknown

Leila Bekhti in Midnight Sun

co-production for Nice Entertainment Group, adds: “Minorities are being threatened all over Europe today so Midnight Sun has considerable social relevance.” The development of the series was financed by Nice, Atlantique, SVT and Canal Plus. “SVT has a brief to show stories from all over Sweden so it’s very important that not everything is about big cities. This story is not only set in the Arctic Circle but it also has some very strong characters in play,” Baron says. The eight-episode series is scripted and directed by Mans Marlind and Bjorn Stein [The Bridge] with French rising star Leila Bekhti and Sweden’s Gustaf Hammerstein taking roles. SVT and other broadcasters with a public mission, tend to focus on one season at a time and less specifically on limited or long-running series, says Christian Wikander, head of drama at SVT. The pubcaster’s brief is also “to address questions that are relevant to our time”, one of the reasons SVT commissioned Crater Lake, a Keshet UK and Atlantique eight-episode coproduction that has been billed as a “life affirming, character-driven show about death”. Creator is Oscar-nominated screenwriter Ron Leshem, best known for the 2007 film Beaufort, directed by his writing partner on the film, Joseph Cedar. Irish public broadcaster RTE also has a public brief to go outside the urban creche. Newest

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Feature drama Clean Break, a four-part mini-series written by Irish playwright Billy Roche, does just that. Directed by Gilles MacKinnon and Damien O’Donnell, the story is about a small community surviving in a climate of austerity and recession in which some of the characters have run out of options and set in motion plans for a kidnapping. Jane Gogan, RTE head of drama, says: “When you live in a city, you can be very remote from

“Personally, I never want to create a series without fantastic, complex and engaging female characters” Katie Newman

your neighbour, and it is possible to steer clear of people. In a smaller town, not so much. The beautiful thing in this drama is that as it unfolds you see that all of the characters are interconnected. Whether good or bad, they have known each other for a very long time and the kidnapping opens up the channels for revenge and retribution.” The year 2015 has seen growing comment on the lack of female directors, the lack of female scriptwriters and bottom line, the lack of programming for women. Actress Salma Hayek is just one of a long line of high-profile women recently taking Hollywood to task. Hayek recently told the LA Times that women represent economically something that Hollywood needs and that it has neglected. “Now they’re in trouble because they don’t even know what we want to see,” she said. True on the whole? The jury is still out but how does a broadcaster make one of the oldest poems in the history of English literature — Beowulf — relevant to today’s audiences, and particularly to women. Katie Newman is co-creator and executive producer of the ITV Studios production set to launch at MIPCOM. “In this fantasy genre in particular, creators have traditionally been men, with stories often told through a masculine lens,” she says, adding: “Hopefully our Beowulf will surprise and delight and appeal to women just as much as men.” “Personally, I never want to create a series without fantastic, complex and engaging

female characters and it’s one of the things I’m most proud of in the show,” Newman says. “Rheda, played by Joanne Whalley, is Herot’s Thane who strives to rule and hold power in an increasingly threatening world. We have a single mother who runs the blacksmith with her feisty teenage daughter who yearns to be a warrior and a female healer who isn’t quite what she appears to be.” For decades broadcasters around the world have been perfectly happy with one genre that never fails to please when it comes to longrunning appointment viewing and that is the telenovela. Just six months ago Mexico’s TV Azteca, Venezuela’s Cisneros Media and digital content distributor Africa XP unveiled Romanza+Africa, a 24-hour telenovela channel that is expected to reach some 4.5 million Kenyan TV households. Romanza+Africa has been launched into smaller African territories but Kenya marks its biggest market yet, says Marcel Vinay, Jr, CEO of Comarex, a content distributor with interests across Latin America, North America, Europe and Africa. Comarex has been inking deals left and right over the past year, among them a Spanish joint venture with transmedia outfit Onza Partners

“It is very important for broadcasters to mix appointment TV with limited series” Marcel Vinay

and a distribution deal with Mexican educational network Canal Once for drama and documentary series. “The point is that it is very important for broadcasters to mix appointment TV with limited series,” Vinay says. “Limited series can be watched on SVOD or catch-ups, but telenovelas are a daily event and, as such, are a powerful tool for broadcasters.” Azteca recently released Tanto Amor [So Much Love], a telenovela format that has been made several times in the last 15 years. “Every time it is released it is successful and indeed, this time, just days after it was released, it had already been pre-sold to 11 countries,” Vinay says.

PLAYING A SOCIAL ROLE

Keshet UK’s Sara Johnson FILMING soon, The A Word, a coproduction between Keshet UK, Fifty Fathoms and Tiger Aspect for BBC One, tackles the subject of how human beings communicate. The drama about a boy with autism and his family is an adaptation of the Israeli series by the British writer Pete Bowker. Autism affects families worldwide but the lure for broadcasters is the issue of communication. Sara Johnson, executive producer and head of coproductions, Keshet UK, says: “The A Word is a series about the Scotts, a typical family who like so many of us aren’t that good at communicating with one another. In this case, the issue is compounded when their son Jack is diagnosed with autism.” She adds: “Communication and its associated issues are at the heart of human relationships so this is a theme that could resonate with all audiences.”

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Feature

HBO Asia’s Halfworlds

DRAMA

Breaking down barriers The US once dominated the international market for television drama. Today it’s hard to know the origin of the imported shows we watch on TV as the borders come down in the world of TV content. Marlene Edmunds takes a lightning around-the-world tour

HE ANGLO-Saxon stranglehold on exportable drama is over. And more importantly, on a creative level, there is new recognition that talent from all around the world can make enormous contributions to the global evolution of storytelling. It could be said that Latin America led the way. The traditional telenovela’s segue into the Latin ‘superseries’, a sub-genre that Telemundo International has been at the forefront of developing, is a case in point. “These are short series of superior quality that appeal to millennials and contemporary adults,” Telemundo International president Marcos Santana, says. “These viewers find more appeal in higher quality, fast-paced storylines from 60-80 episodes.” Among the superseries brought to MIPCOM is Masters Of Paradise, a recent co-production

between Telemundo and Chile’s TVN. Queen Of The South, the 2011 new-era telenovela that remains the most viewed series in Latin America on Netflix is a clear nod to Telemundo’s digital ambitions. “Its success is a sign that we are moving in the right direction when it comes to producing content that can be syndicated on digital platforms,” Santana says. Mid-year USA Network ordered 13 episodes of the English-language adaptation of the series. Often it is the specificity of a location that helps boost authenticity and global passport. Such is the case with Narcos, which debuted at the end of August on Netflix. The 10-episode series about the rise of drug kingpin Pablo Escobar to become one of the wealthiest and most powerful men in the world, was shot in a number of cities in Colombia, including Bogota, Medellin, Villavicencio, and Santa Marta.

Katie O’Connell Marsh, CEO of Gaumont Inter national Telev ision, traveled to Colombia for the production. “We were the biggest television production ever brought to Colombia,” O’Connell Marsh says. “Our head of production, Carol Trussell, and her team spent countless hours, weeks and months producing the series with our partners on the ground. The result is that the sense of place in each frame of season one is extraordinary.” Dickensian, shot in London — the setting for much of the work of world-renowned Victorian author Charles Dickens — is another example. Dickensian, written by Tony Jordan and produced by Red Planet Pictures for BBC1, is expected to wrap a five-month production in West London by the end of October. In this 20-part series, Jordan reimagines the author’s

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Feature Telemundo’s Masters Of Paradise

favourite characters as if they might have lived on one street in London. Alex Jones, head of production and business at Red Planet Pictures says that finding a place to shoot in London was no mean feat. “We had quite a hunt last year to find a suitable build space for Dickensian and finally settled on an empty distribution warehouse in West London. The set covers a space of over 100,000 square feet and is spectacular.” Dickensian is set to air at the end of the year, and from Jones’ point of view it’s a perfect time for its bow. “It will be fabulous as you have all those classic Dickens images that he is so well known for that take place in the winter.” What gives drama passport? HBO Asia is clearly on the right path to finding out. It is currently in production on its third original and mainly English-language series Halfworlds.

“The whole genesis of Halfworlds came about through our exploration of Asian mythology, a very potent force across movie genres in Asia,” Erika North, head of programming and production for HBO Asia, says. The eight-episode thriller is expected to premiere on the paybox at year-end. North adds: “Asian mythological creatures have parallels in different territories and as a result tend to travel really well. In Halfworlds, a modern young woman is exposed to a hidden side of Jakarta populated by demons from Indonesian folklore. It is a discovery that defies her conventional view of the world.” Halfworlds is 80% English and 20% Bahasa Indonesia, the Indonesian national language. HBO Asia’s first original English-language series Serangoon Road, a collaboration between Australian network ABC and HBO Asia, performed well across Asia and sold

NHK’s 64

internationally to Canada, the US, UK and Latin America. Its second original production, Grace, this time 80% English and 20% Chinese, also did well across HBO Asia’s regional footprint and went international. There is a universality of themes and sentiment that pushes drama onto the international stage. Japanese public broadcaster NHK believes 64, which is being showcased at MIPCOM, is the story of a cold case that is about to heat up. The adaptation of best-selling author Hideo Yokoyama’s novel of the same name is set in a Japanese police department, seen through the eyes not of a cop, but of a press officer. Yukari Hayashi, senior producer, global content development division, programming department at NHK, says that “most crime drama of this sort in Japan focuses on the hunt for the criminal. 64’s story goes well beyond this to focus on the sorrow of the victims and the police who have failed to catch the perpetrator in the first place.” What makes 64 particularly special is its high production values, Hayashi says, adding: “With its carefully designed lighting and camera angles, each shot is calculated to focus on the psychology of the characters.” Time and again, what works internationally is what always works with all audiences — character and storyline. Produced by FremantleMedia’s in-house production department, Wentworth is going into production on its fourth series. Wentworth is a modern adaptation of the iconic Prisoner series starring Patrick McGoohan, which pushed boundaries more than three decades ago. Sarah Doole, director of global drama for FremantleMedia, says that Wentworth is Australia’s top primetime drama for good

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Feature

CJ E&M’s Oh My Ghostess

Red Arrow International’s Einstein

CHINA FEELS THE LOVE LOVE Conquers All In My Sunshine is the latest TV series brought to MIPCOM by Croton Media. The series, based on the novel Silent Separation by Gu Man, premiered simultaneously on Dragon TV, Jiangsu TV and iQiyi in January 2015. Wallace Chung and Tiffany Tang star in this complex storyline of star-crossed lovers, separated by time and distance from each other. Yanou Zhou, director, international business department, Croton Media, says: “The series, which benefitted from considerable media attention in pre-production, has become one of the more successful dramas in China today.”

reason: “This is a series with complex characters and unexpected storylines that keep audiences coming back for more,” she says. It’s been close to 15 years since Korean drama first began trailblazing its way across the globe with a number of series and glamorous stars that took the world — and some swooning fans — by storm and continues to do so. The creative vision of Jung Sung-Hyo, veteran producer for Korean public broadcaster KBS, has resulted in a string of hits, including the international success story I’m Sorry, I Love You. KBS is now at MIPCOM with Jung’s latest period drama The Merchant Gaekju 2015. Why will audiences around the world want to

see it? “The Merchant Gaekju 2015 is not just a period drama but also a romance and a story about growth, success and human values,” Jung says. “In this case, the hero overcomes challenges to become successful in business but he also uses his wealth to help people who are suffering from hunger and poverty. It is a story that is relevant today — how do you succeed in business and still retain one’s humanity and sense of values?” There is no magic formula for Korean drama but CJ E&M, one of Korea’s biggest media companies, has unveiled some of its secrets. “We produce trendy dramas but we don’t produce the typical ones — that is, a star-studded cast, a big production budget and a fairy-tale storyline,” says Hwang Jin Woo, senior manager and head of formats for the CJ E&M content development team. He adds: “Our dramas contain what we like to call a ‘sympathy code,’ a sense that you are able to find a story that ordinary people — that is you or the people you know — can relate to. We’ve found this code or formula that allows us to bring to the forefront extraordinary characters and stories that evolve from ordinary lives.” Among CJ E&M’s hits in Korea is Oh My Ghostess, a romantic comedy that premiered in July and became one of the toprated weekend drama series on pay-TV platforms in Korea. The storyline has a female chef with low self-esteem who becomes possessed by a seductress ghost and in turn tries to seduce her boss. There’s no question the drama world is awash with crime shows but what separates the good from the bad?

The latest TV adaptation of the many works of the late celebrated British crime writer Agatha Christie, And Then There Were None, is currently enjoying success around the world. First published in 1939, And Then There Were None is believed to be the best-selling mystery novel of all time. The mini-series, penned by Sarah Phelps (The Casual Vacancy) is being produced for BBC One by Mammoth Screen in association with Agatha Christie Productions. A&E Networks has boarded the production as a co-producer and A&E Studios is handling global pre-sales at MIPCOM. A&E’s managing director, international content sales and partnerships, Joel Denton, says:

KESHET KNOWS NO FEAR KESHET International has established itself as a major risk-taker when it comes to content, as a number of its series — for example Prisoners Of War — have shown. Sebastian Burckhardt, head of business development and acquisitions for Keshet International, says: “We can be quite fearless when it comes to tackling subject matters which are unusual or challenging, but are totally committed to doing so if we believe there is a powerful human story to be shared, that ultimately has global appeal.”

preview magazine I September 2015 I www.mipcom.com

Feature “A lot of the themes in this are just as contemporary today as they were in 1939 but when it comes to Christie, it is an absolute

no-brainer. This is a show that will travel the globe.” Red Arrow International managing director Henrik Pabst says the company’s new crime drama Einstein has a strong and evolving character at its centre. In this case it is Albert Einstein’s great grandson, a physicist with hereditary Huntington’s disease, who helps the police solve a series of challenging crimes. “The strong, memorable central character and evolving seasonFremantleMedia’s Wentworth wide story arcs really

make you want to know what happens in each episode — whether you are watching every week or bingeing in one session,” Pabst says. Line Of Duty, a recent multiple-BAFTA nominee, has already been re-commissioned for its third and fourth seasons. What makes it work? “Line Of Duty comes from the point of view of the investigations by an anti-corruption unit. Each season is based around uncovering a single but multi-layered story, building a tense thriller that immerses the viewers in the plot from week to week and keeps them guessing to the end.” That’s the word from Jonathan Ford, executive vice -president sales and distribution, Content Television. The upshot for broadcasters and platforms, he adds, “is that viewers keep coming back — ensuring loyalty for linear channels and binge viewing for on-demand platforms.”

WHAT WORKS AROUND THE WORLD ? INTERNATIONAL research company The Wit has identified five strategic and creative streams that have shaped the global drama business in 2015. Here, MIPCOM Preview lenses in on just a few of the dramas underscored in this cutting-edge report. MISSING CHILDREN Jordskott: Sweden (SVT1) — distributed by ITV Studios Global Entertainment. A detective returns to her small town 10 years after the disappearance of her daughter to work on the case of a missing boy. Secrets And Lies: USA (ABC) — distributed by Cineflix Rights. A local version of the Australian thriller in which a family man who finds the body of a boy becomes a suspect. Under Suspicion: Spain (Antenna 3) – distributed by Beta Film. Two detectives investigate the disappearance of a seven-year old girl. DRUG TRAFFICKING Shot Of Grace: USA (Unimas) — distributed by Caracol International. An unsuccessful actor is forced to become a double for a powerful drug lord in order to hoax the justice system. Ruta 35: USA (Univision) — distributed by Cisneros Media Distribution. A telenovela about a US drug agent and the informants/criminals he uses to track down and capture drug lords. Zero Zero Zero: Italy — distributed by Tandem Communications. This adaptation of Roberto Saviano’s novel, a sequel to the global best-selling Gomorra, revolves around the cocaine trade. SCRIPTED FORMATS SPY: South Korea (KBS2). A family drama based on the Israeli

series The Gordin Cell but modified to depict North/South Korea relations. Rodina: Russia (Russia 1). A Russian version of Israeli political series Prisoners Of War. DRAMAS BASED ON BOOKS Backstrom: USA (Fox) — distributed by 20th Century Fox Television Distribution. Based on Swedish criminologist and novelist Leif G.W. Persson’s novels about a misanthropic cop. The Book Of Negroes: Canada (CBC) — distributed by eOne Distribution. An African woman’s journey from slavery in North Carolina to freedom, based on the book by Laurence Hill. Marvel’s Agent Carter: USA (ABC) — distributed by Disney Media Distribution. Captain America’s sweetheart and budding secret agent Carter in play again in this series based loosely on a comic book COUNTRY-AGNOSTIC 1992: Italy (Sky Atlantic) — distributed by Beta Film. Political thriller launched simultaneously in all five Sky markets, including Sky Arts in the UK. Witnesses: France (France 2) — distributed by Newen International. A detective investigates a bizarre plot turning around grave robbing and corpses in model homes. Cordon: Belgium (VTM), pilot in US (The CW). Pilot order in US for remake of this thriller about a deadly virus that strikes Antwerp.

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Feature

Starz’ Flesh & Bone

DRAMA WINDOWS

Taking a fresh look at windows The ongoing threat of piracy and the evolution of the global TV landscape together mean that drama windowing strategies are changing all the time. Andy Fry reports

FEW years ago, international drama windowing was fairly straightforward. The host broadcaster would air a show in its domestic market and then the show’s distributor would license it to international pay-TV platforms followed by free-to-air broadcasters and home entertainment — with a time lag between each window. There were some exceptions — but it was a simple template that worked well in most scenarios. This basic model still exists today, but a number of changes in the TV market mean that broadcasters and distributors have had to become a lot more inventive with windowing strategies. The key development has been “digital

convergence,” says Dan Gopal, executive vice-president, EMEA distribution and global digital partners, at ITV Studios Global Entertainment (ITVS GE). “In the new world, we have free-to-air broadcasters, payTV channels and SVOD platforms all competing in the same space, all wanting as many rights as possible, exclusively and in the earliest available window.” The most obvious manifestation of this has been SVOD players including Netflix and Amazon picking up the first-window rights that used to go to pay-TV players. Gopal cites the example of Rectify, which aired exclusively on Netflix in Canada just a few days after

it debuted on Sundance Channel in the US. And it’s by no means an isolated example. Red Arrow International, for example, licensed its thriller 100 Code to Scandinavian SVOD platform HBO Nordic first while FremantleMedia International (FMI) gave Netflix global firstwindow rights for The Returned (outside the US, where it aired on cable channel A&E). Among Amazon’s first window deals was the purchase of sci-fi thriller Extant from CBS Global Distribution for use in the UK. The intervention of SVOD players in the battle for first-window rights is welcomed by content distributors because it means there are more buyers. But it does create complexity in negotiations, says FMI executive vice-president,

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Feature head of EMEA distribution, Jamie Lynn. “In general, you find that pay-TV channels and platforms want TV and online rights in order to support their own activities. If the online rights to a show have gone to an SVOD platform they lose interest, so you have to think carefully about the deals you do. One upside though is that free-to-air broadcasters are often happy to share with SVOD windows.” A recent case that underlines Lynn’s point is SVT Sweden’s success with True Detective after it aired on HBO Nordic. But it’s also interesting to note how, once the TV and online rights are de-coupled from each other, the free/ SVOD dynamic can work both ways. For example, Netflix acquired the global rights to Warner Bros.’ scripted series Gotham. But in the UK it was happy to take a second window after freeto-air broadcaster Channel 5. In a similar vein, Amazon was happy to take a second window to C5 on FMI prison drama Wentworth. The conflict between SVOD and pay TV is becoming more complicated, however, as a result of international expansion by the major players, according to Gopal. “There are a lot more genuine global or pan-regional players, that are consolidating to stay competitive. So now you are faced with the likes of Netflix, Amazon, Sky and the US channels among

others seeking to control more rights across more territories.” ITVS GE for example has just done a deal with pay-TV platform Sky that will see US drama Aquarius aired across Sky services in the UK, Ireland, Germany, Austria and Italy. “Multi-

“One upside is that free-toair broadcasters are often happy to share with SVOD windows” Jamie Lynn

territory deals can make sense if you want to try and engineer a unified launch around the world,” Gopal says. “Or if you want to secure a large return quickly, for example at the presale stage. But the risk of this approach is that you reduce the reward later on.” Drama windowing in the digital age also has to take account of the threat of piracy, says Mara Winokur, senior vice-president digital media at Starz Entertainment. “A few years ago when we were selling Spartacus there wasn’t really demand for global co-ordination, but now it’s a necessity. People around the world are so connected on social media

that they all know when a new show is launching in its home market. So there has been a big rise in requests for day-and-date (simultaneous) international release.” The upside of this is that simultaneous release can generate a groundswell of interest that supports a show’s release. But it does make the distributor’s job slightly harder, says Starz executive vice-president, worldwide distribution, Gene George, who works with Winokur to map out the best distribution plan for a show. “We have Flesh & Bone coming up on Starz in November. For us to be able to deliver that day-and-date internationally means doing deals much earlier than we used to do. There’s a lot of work to be done on things like language tracks for it to become a reality. Fortunately it’s easier for us than for some distributors because we are from the same group as the broadcaster.” A classic example of the trend towards day-anddate is HBO’s launch of Game Of Thrones season five, which saw every episode of the show released simultaneously around the world on HBO US, Foxtel Australia, Sky New Zealand, Orange France, DBS Israel, 365 Media Iceland, Sky Deutschland, Sky Italia, as well as international HBO services including HBO Asia, HBO Canada, HBO Europe, HBO Latin America, HBO Netherlands and HBO Nordic. AMC took

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Feature a similar approach with its Walking Dead spinoff Fear The Walking Dead, which aired simultaneously around the world in August. Where possible, the show was aired on AMC’s international channel AMC Global. But even where this wasn’t possible, the day-and-date model still applied, including with Canal+ in France. There have even been cases where shows have aired outside their home territory first, for example Disney’s Body Of Proof. But this kind of speed to market is not right or necessary for every show, says Stuart Baxter, president of eOne Television International. “We licensed the international rights for The Walking Dead to Fox International Channels and they did really well with day-and-date release. But it’s less of an issue with procedural dramas. It’s more for serials where you need to serve the show up as quickly as possible to satisfy loyal fans.” Baxter’s key rule is to develop a distinctive windowing strategy for each show: “We have an amazing AMC show called Into The Badlands coming up, which might lend itself to the serialised day-and-date strategy,” he says, “But you can’t take a cookie-cutter approach. We had an offer of global day-and-date on VH1’s Hindsight, which would have been the easy option for us. But we felt it was a very accessible show that could garner a bigger audience by going a more traditional distribution route. As a result we’ve had a lot of success selling it piece by piece to broadcasters including Canal+ in France and SBS Australia.” Paul Dempsey, president, global markets, BBC Worldwide says many of the above themes inform his company’s approach. Piracy, he agrees, means “speed to market is important, as is trying to serve audiences the content they want where and how they want it. These were considerations in our decision to simulcast the 50th anniversary episode of Doctor Who. We reached 98 countries and were able to add theatrical windows that were new to us to reach the widest possible audience.” Pursuing a broad audience demands a sophisticated strategy, Dempsey adds: “Take The Honourable Woman in the Nordics. It launched day-and-date with the UK broadcast on HBO (pay TV) across the region with HBO taking SVOD rights for a further period. After the launch, the series premiered on free with DR (Denmark), SVT (Sweden), TV2 (Norway) and RUV (Iceland) all licensing the title for an exclusive period. Alongside this we had a second SVOD window with TV2 (Norway) as well as a later DTO period with

AMC’s Walking Dead spin-off Fear The Walking Dead

very few days we offered Paradox — a 2009 scifi series — on an AVOD basis through Spiegel. de, creating new excitement for the show and resulting in a rise in EST sales too.” Drama windowing is also an increasingly sigPaul Dempsey nificant part of a show’s marketing plan. With so many scripted titles vying for attention, for example, one big trend is for shows to be given Altibox (Norway and Denmark only).” some kind of parallel exposure on the interWith changing viewing habits among the net as a way of boosting exposure or addressyouth, it’s also important to be versatile, ing new audiences. Recent examples in the Dempsey says: “In Germany, we placed US include the digital release of Mr. Robot, Misfits on iTunes first then on AVOD platepisode one, ahead of its official release on form MyVideo before moving to pay TV USA Network; the decision to stream all of and free with further very short windows on NBC’s Aquarius online after the first episode AVOD in between — a classic case of a show had aired on TV; and a similar decision by that attracts a demographic that is more likeLifetime to put four episodes of UnREAL on ly to want to watch the show on a digital platits website to encourage trial. All of this nonform. When a show pops with a particular standard activity is reinforced by a growing indemo, the key is to respond quickly and to be JBPRod_PV_COM-v3 dustry in online trailers and event screenings open-minded.” While careful windowing is important with new properties it also raises issues and opporby JB Productions tunities around returning series and back catThe funniest way alogue, adds Dempsey. of teaching English to kids! “We’ve worked to find The innovative 32 x 8’ Contact: Bilingual Method TV series ways of bringing new auGiovanni Giuliano diences to brilliant, but Wanna "mip" the Fumbles? Sales Manager th th slightly older content. Stand R7.F13 - Oct 5 - 8 +39 333 8500 784 info@fumbleland.com For example, in partnerTea with Mrs Spelling th ship with Der Spiegel, on Oct 7 at 4:30 pm mip.fumbleland.com for a limited time of

“When a show pops with a particular demo, the key is to respond quickly”

FUMBLES

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Feature

Starz Entertainment’s Mara Winokur

BBC Worldwide’s Paul Dempsey

FMI’s Jamie Lynn

— including at Comic-Con and MIPTV — that are designed to create social buzz. ITVS GE’s Gopal says NBC’s decision certainly had a positive knock-on effect on his company’s international sales activities with Aquarius because “a new audience found the show”. And others agree that there is merit in harnessing the power of new platforms to support shows — both in the US and internationally. “When we first took Power out to the international market it didn’t get the traction we hoped for,” Winokur says, “because a lot of buyers were waiting to see if there would be a second season. So we made the show available on transactional platforms as the UK and went back to the traditional players later.”

SVOD pioneer Lilyhammer, which has had three seasons on Netflix; Remedy, a Canadian drama that premiered in Germany on SVOD platform Maxdome; and Bosch, which aired on Amazon in the UK, US and Germany and a mix of pay- and free-TV broadcasters in other territories. But he also cites another windowing issue: “With increased drama formatting, another emerging area is how to window original series and their adaptations. One example of ours is The Last Cop, which was re-versioned for Nippon TV in Japan. While the new version aired on Nippon, we were able to air the original German version

on Hulu Japan.” For Gerhartz, extra windows represent “an opportunity not a challenge — but it does bring a responsibility to protect the brand. So many platforms come to you looking to do deals that you sometimes need to say ‘No’ to prevent over-exposure.” Brand protection also requires the ability to read the future: “A lot of channels and platforms are still expanding aggressively. So you need to factor in what might happen in a market when doing deals. You don’t want to destroy future value by giving away rights that might become valuable in a year or two.”

FMI’s True Detective

For FMI’s Lynn, there is always logic in “giving audiences a legal option to watch a show” — and it’s something FMI will consider carefully as it prepares for the launch of its iconic American Gods serial. However he does stress every additional window adds another layer of complexity. “There’s already such a lot of negotiation around what rights everyone owns that you need to make sure you don’t create the potential for conflicts.” Like his peers, though, Lynn is encouraged by the windowing options. “An interesting example for us was web series Blue. It was such high quality that we packaged it up as a linear 10-episode series which we were able to sell to Lifetime UK.” Tim Gerhartz, vice-president sales and acquisitions UK, Scandinavia and Benelux at Red Arrow International, has experienced many of the above scenarios with shows including preview magazine I September 2015 I www.mipcom.com

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X 0 v S

TV RATINGS

Counting

eyeballs

Until a couple of years ago, the measurement of multiplatform TV viewing was largely an experimental activity. But in these cost-conscious, accountable days, it is rapidly turning into an established business. Juliana Koranteng reports

SING technology to examine who is watching what, when and for how long no longer suffices for TV distributors and the advertisers who pay to reach their audiences. A new generation of viewers worldwide is accessing series, videos and fi lms via millions of connected devices anywhere, at any time. The recent addition of over-the-top (OTT) internet-TV platforms to linear, on-demand and online entertainment, as well as the universal adoption of automated programmatic advertising, have disrupted the international media-planning universe. The audience size for linear-TV networks is dropping gradually, cord-cutting is impacting on pay-TV subscriptions and mobile viewing is taking individuals out of the traditional measurement picture. The industry once feared that the resulting media fragmentation would make it difficult to keep track of viewing habits and pin down audience profiles for marketers, who now want more than just viewers’ gender, age group and household income. Andy Nobbs, chief commercial officer at international TV-content monitoring group

Teletrax T V, pins down the potential of the audience-measurement market in today’s multiplatform viewing business. “As TV and digital media come closer together in terms of reach, TV remains powerful but it’s not great at understanding what the audience wants,” he says. “Digital, on the other hand, doesn’t have TV’s reach, but it can give you a sense of when someone is engaged with a

“TV remains powerful but it’s not great at understanding what the audience wants. Digital doesn’t have TV’s reach, but it can give you a sense of when someone is engaged with a show” Andy Nobbs

show. If you put them together, then the media-owner provides additional value to the advertiser.” Various companies, from Teletrax to TV-ratings pioneer Nielsen, are developing in-depth analytical systems to overcome the ensuing challenges. Comprehensive multiplatform audience analysis not only provides a clearer identification of who is watching what and when, but the possible data collected should enable marketers to have their multiplatform campaigns seen by the appropriate target at the optimum time. Part of Dutch content-analytics specialist Civolution, Teletrax monitors more than 2,100 channels in real time worldwide in 70plus countries. Earlier this year, it launched its TV Synced Campaign Analytics to use audio and video fingerprinting plus watermarking technologies to help advertisers and agencies refine the measurement of ad campaigns on air, online, on mobile and on social media. Audio/video matching technology features unobtrusive signals installed in each programme to help determine if it has been watched, while watermark technology refers to the unique signals in each programme that are used to track how and where it is being watched. These are useful tools for a global sector growing more complex by the digital second. “It’s getting harder to understand what makes consumers tick and provide a single solution for advertisers and broadcasters,” Nobbs says, explaining

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Teletrax TV’s Andy Nobbs why the alliances Teletrax has formed with companies including global advertising conglomerate WPP and Nielsen are necessary. “The [audience-measurement business] is very fast moving,” he adds. “You can only do it through partnerships.” Nielsen has felt particular pressure from TVnetwork owners such as Viacom, which includes the Nickelodeon and MTV channels among its brands. Viacom CEO Philippe Dauman has publicly refuted some Nielsen US figures on the grounds that its measurement system does not take multi-device viewing into account. Nielsen supporters have argued that the claim is unfair. The company’s efforts to include mobile and social-media viewing into its analytics systems (such as Nielsen Twitter TV Ratings) face the same challenges as similar endeavours. Multi-device viewing via multiple platforms is still very young compared to traditional TV viewing, but the demand for it is extensive. “Never before has the viewer had more control and more skill in navigating this evolving ecosystem of devices, platforms and delivery for content discovery,” says Dounia Turrill, Nielsen’s senior vice-president of client insights and analysis. “With this comes an equally diverse and often completely unique media diet for every consumer.” Thanks to its Total Audience Measurement

system, Turrill says Nielsen is working with the TV and advertising industries to redefine the audience-measurement currency needed “to capture more of the time consumers spend with video content across the growing variety of screens, devices and platforms”. The company is going beyond traditional demographics to obtain its insights, and has set up different practices to close the gap between what consumers view and what they purchase. Turrill adds: “We believe that the industry metrics should evolve to be a comprehensive measurement of all audiences and all advertising, allowing for flexible business models that support both the linear and dynamic models of delivering ads and content by which the industry can choose on how best to transact.” And the company is not stopping at the world’s key developed TV and advertising markets. In June, Nielsen Thailand embarked on trials to measure multi-screen audiences in the country. Other developments in Asia can be seen in Singapore where GfK, the German consumer-market and TV-audience measurement group, is helping the city state’s Media Development Authority (MDA) to add multiplatform data to its overall programme ratings. The metrics developed from integrating figures for computer, tablet and smartphone viewing into traditional TV findings aim to set up a measurement system that marketers in Singapore, one of Asia’s biggest ad markets, can rely on. The three-year agreement, including a two-year renewal option, will see MDA report the first findings in 2016. Eurodata TV Worldwide, a subsidiary of France-based peoplemeter audience-measurement company Mediametrie, works with national TV-ratings specialists globally. With a presence in more than 107 countries a database containing information on 5,500-plus channels, Eurodata TV is well positioned to examine how multiplatform measurement is developing internationally. “As long as the audience-measurement company in a country is evolving to include catchup and time-shifting viewing on all four screens [TV, personal computers, tablets, smartphones] to create a uniform metrics system, we are interested,” says Sahar Baghery, director of the international TV formats and contents division at Eurodata TV Worldwide. From observations made by Eurodata TV, the most advanced markets in audience measurement for TV anytime, anywhere include the US, the UK, Scandinavia, the Netherlands and Switzerland. By the middle

Rentrak Corporation’s Bill Livek of this year, 26 countries were offering timeshifting measurements, 23 countries were measuring catch-up TV, 12 countries were assessing live-TV viewing on computers, and five territories were featuring viewing data on mobile devices. “Europe is taking the lead in this,” Baghery adds. “It has a large number of millennials who have been taken into account. Scandinavia has one of the most advanced social-TV viewing habits in the world.” But the fragmentation of media viewing does not mean linear-TV is dead, insists Bill Livek, vice-chairman and CEO of Rentrak Corporation, the US-based operation that has taken its established technology for measuring cinema box-office sales globally into US TV homes. Today, Rentrak collects data from 120 million US TV sets, including live data from 60 million multiplatform set-top boxes. From Rentrak’s findings, Livek concludes:

“The future of TV is TV because more people are watching great programmes. The incremental viewing is the result of digital viewing via other devices” Bill Livek

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Nielsen’s Dounia Turrill “The future of TV is TV because more people are watching great programmes. The incremental viewing is the result of digital viewing via other devices.” The company does not distinguish viewing on a TV set from laptop viewing. And based on the total number of minutes spent viewing TV over any 28-day period during the second quarter of this year, US viewers are watching more compared to the previous year, Livek says. Rentrak has also observed growth in live viewing outside the home. The evidence is stark during major sports events such as North America’s National Hockey League games and the recent FIFA Women’s World Cup football tournament in Canada. “No sports fan wants to watch a match on a delayed-time basis because they feel part of the event,” Livek says. One of the more interesting revelations from multiplatform measurement has been the discovery of new demographic types. For example, TV advertisers would love to reach those high-income executives interested in buying a $100,000 luxury sports car but who are generally too busy to watch scheduled programmes on linear TV. “It seems the more upscale the viewers, the more VOD viewing they want. It’s a new untold phenomenon,” Livek says.

complement the legacy businesses. These include London-based TVbeat, which specialises in measuring the viewing of linear and the new internet-distributed OTT services on any device. TVbeat CEO Laurence Miall-d’Aout says: “Just as Nielsen is not a technology-first company, we’re very niche with fully scalable deep-data technology for understanding the TV ecosystem. We’re complementary.” Since its launch in 2013, TVbeat has become active in four countries — Serbia, Russia, Croatia and Slovenia — and has embarked on active trials in Spain, the UK, Belgium and Latvia. As a young company making inroads in the still relatively conservative TV business, TVbeat’s growth strategy is to be steady but reliable “to make sure our customers are satisfied before we move on”, Miall-d’Aout says. “The people who have invested in us know from the results of our technology that it works. We’re bridging a gap.” Future challenges for the industry include gaining the co-operation of telecoms operators, which have access to precise data collected from viewing behaviour on internet-connected devices. Eurodata TV has agreements with French telecoms groups Orange and SFR, but it would like access to the logs of as many operators in as many countries as possible. Moreover, the emerging OTT platforms still feel possessive about the audience data they gather and are reluctant to share it with other industry users. Measuring their viewing figures has become vital as several, including Netfl ix, are both content aggregators and creators. Consequently, they are keen to learn how much time customers spend watching individual

Meanwhile, a new generation of audience analytics tech companies are emerging to preview magazine I September 2015 I www.mipcom.com

Eurodata TV Worldwide’s Sahar Baghery shows to see what works and what does not. “Right now, there is still too much audience fragmentation. You need everyone, including all the channels, involved if you want access to all TV homes,” Baghery says.

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02.

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BUSINESS CENTRE

Book a personal, tailored welcome from the airport staff.

Announce your event and welcome your guests from their arrival.

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Organise business meetings and events directly at the airport.

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Feature ULTRA-HIGH DEFINITION

A better vision of the future As delegates will hear in a number of MIPCOM sessions on 4K and factual, ultra-high definition is redefining documentary, allowing programme-makers to capture ever more subtle details, and to tell stories in fresh and visually stunning ways. Gary Smith reports

CCORDING to Futuresource Consulting, 4K TV shipments are expected to grow by 147% in 2015, with an estimated 30 million units shipped by the end of this year. And unlike the situation with 3D, adoption by consumers far is outstripping industry estimates. While 30 million is a small fraction of the global total of around 1.7 billion TV sets, it nonetheless forms the basis of a genuine and rapidly growing demand for 4K programming.

SPI International recently launched the 4K FunBox UHD channel, which the company claims is the first dedicated UHD channel in the world. Meanwhile, in the UK, Sky will be launching its own 4K service through the SkyQ box later this year, and British Telecom launched its own UHD channel package at the beginning of August. Mike Gunton, creative director of factual at BBC Worldwide (BBCWW), is the executive producer of Africa, Hidden Kingdoms, Tiny

Giants 3D, Life Story and Shark. “UHD has made a significant difference to documentary-makers and, creatively speaking, it provides some welcome changes,” he says. “For example, when we were shooting Shark in UHD, initially we were worried that all the particles floating in the water would cloud the action, and that we’d be making a highly detailed study of detritus. But ultimately, we were amazed by how good it is underwater. UHD has a much greater dynamic range than

The BBC’s Shark (BBCWW)

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Feature CANNES LAUNCH FOR 4K CHANNEL GLOBAL pay-TV channel operator SPI International recently announced the launch of its first worldwide native 4K TV channel. The full commercial version of the FunBox 4K UHD channel is premiering at MIPCOM and it will be available to all platforms and manufactures of devices which support 4K streaming over the internet.

A manatee in Blue Ant Media’s Season’s Of The Wild HD, so it can deal with the highly exaggerated contrasts of light and shade that you get in that environment.” Ironically, the almost surreal rendering of the creatures in Shark led to accusations of cheating. “We were accused of creating the animals in CG, which was absolutely not the case, but I suppose it demonstrates how good the technology is,” Gunton says. However, Shark was not Gunton’s first foray into UHD production. “Life Story is where we realised just how different UHD could be, partly because we were dealing with insects,” he says. “We knew how good it was in the macro world but, when you go micro, it’s astonishing. There’s a scene with a praying mantis where the characterisation of the insect is exceptional. It’s almost as if you’re inside the action. So editorially, UHD is a very powerful medium. Visually, it’s both striking and beautiful, as opposed to merely striking.” Striking and beautiful are two words that describe Jerusalem, produced by Cosmic Picture and directed by George Duffield. After five years of research and endless negotiations with local and government authorities, the show’s producers were allowed to film in areas of Jerusalem that are usually offlimits. “UHD cameras allowed us to make a

“Editorially, UHD is a very powerful medium. Visually, it’s both striking and beautiful, as opposed to merely striking” Mike Gunton show that we simply could not have done if we had only had 70mm movie cameras,” Duffield says, explaining that UHD cameras are relatively light, whereas 70mm cameras are extremely heavy and static. “So scenes we shot of crowds walking though the souk, and in the Church of the Holy Sepulchre at Easter, were only possible in such high quality thanks to hand-held UHD devices.” He adds: “I absolutely believe that UHD is a game changer for the industry, especially when you start running the cameras at high frame rates such as 60fps. At that point, UHD is almost movie quality.” Jerusalem has been playing on the IMAX circuit for the last eight months, and has now been picked up by Electus for the global TV market. “Jerusalem the best-known city in the world, and we get to see it through the eyes of three girls — one Muslim, one Christian and

With FunBox 4K UHD viewers are able to experience “more nuance and detail, faster frame rates, extraordinary contrast dynamics and extended colours”, according to SPI International. The channel will feature documentaries on wildlife and human civilization as well as sports and music programming, all in 4K. “We are becoming one of the largest native 4K/UHD content aggregator in the world,” said Berk Uziyel, executive director of FilmBox International. SPI said they are able to deliver the FunBoz 4K UHD channel — using SPI’s own compression technology — to platforms and manufacturers of devices supporting 4K streaming over the internet. one Jewish, all of whom were born there — in a visually stunning context,” says John Pollak, president of Electus International. “In terms of distribution, obviously it’s still early days for the global UHD market, but there are lots of opportunities out there. We intend to start just before Christmas with a short theatrical window in the US, which we’ll follow up with home video and iTunes etc. And then, finally, we’ll take it to the TV market.” Pollak says that, on the back of the successful IMAX tour, the US is currently the biggest market for Jerusalem. “But we are also expecting to be able to sell the show to countries such as Germany, the UK, France and Scandinavia, as well as across much of Asia and also into Latin America,” he adds. Multi-award-winning documentary maker Tom Jennings of 1895 Films sees the move

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The Smithsonian Channel’s Aerial America is an international hit from HD to UHD as being as significant, qualitatively speaking, as the change from vinyl to CDs was for the music industry. “UHD’s visual depth makes you feel like you’re in the action,” he says. “Anything this dramatically different is bound to revolutionise how you approach a story, and that includes how you use old footage, where the quality is so much lower. You can only upgrade stock footage to a certain point, which means there’s always going to be a kind of visual jump between UHD and anything inferior within the same programme.” He adds that, for a show to be recognised as a UHD production, no more than 15% of the total footage can consist of stock, or non-UHD. Jennings has no problem with filming his shows in UHD, but editing them is another matter: “First of all, the density of the images means that it demands huge amounts of storage space. Then, post-production is still in its infancy. Several of the bigger post houses here in LA don’t even have the ability to edit and finish in 4K. Plus there are currently three or four competing systems, so it’s a bit like VHS versus Beta all over again.” But despite some glitches, he is confident that UHD be the

“I absolutely believe that UHD is a game changer for the industry” George Duffield

standard five years from now. “The fact is that it’s the closest you can get to 3D without wearing glasses,” he says. For Chris Knight, president and CEO of Gusto TV, producing 150 hours a year of original programming in UHD was an obvious choice. “Even though we sell our shows to the local market in HD, for the international market there will come a point in the not-sodistant future when you won’t be able to sell HD shows any more,” he says. “And the look of UHD shows is astonishing. It provides a genuinely enhanced viewing experience. For example, we’ve just finished shooting an episode of From Crate To Plate up in northern British Columbia, looking at the people who brave grizzly bears and violent thunderstorms to harvest the morel mushroom, and it looks amazing. We’re also shooting an episode

of Fish in UHD, which features a sturgeon farmer whose farm is home to 25,000 of them. The sturgeon is a prehistoric fish that can grow up to five metres in length, and filming them in the water in UHD produces stunning and dramatic images. Incidentally, fish from the farm are also being used to re-populate the Caspian Sea, which was completely fished out.” Knight loves the look of UHD — but acknowledges that this, in itself, is not enough: “When HD first went mainstream, people were watching anything in HD. But we believe that you always have to tell a good story, whatever the technology. I’ll be bringing From Crate To Plate to MIPCOM and targeting the US, European and Russian markets.” Blue Ant Media now also films all of its nature documentaries in UHD. Solange Attwood, the company’s senior vice-president, international, says that UHD is able to capture many more details of animal behaviour. “That’s one of the reasons why we made a commitment to produce 300 hours of programming per year in the format,” she says. “And as we roll out our UHD catalogue, we’re seeing the

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Feature market growing rapidly, especially in countries such as the US, Japan, South Korea, France and Germany. India, Scandinavia and Latin America are also starting to look very promising.” Blue Ant will be bringing 50 hours of UHD programming to Cannes. “Alongside Nomads Of The Serengeti, we’ll have episodes of Baby Animals, Strange Creatures and Seasons Of The Wild, which is about The Everglades,” Attwood says. “For Blue Ant, UHD represents evergreen material with a long shelf life.” Ever since it was founded, the Smithsonian Channel has prided itself on being at the forefront of technology. “Part of our USP is being able to provide a top-quality experience,” says David Royle, the channel’s executive vice-president of programming and production. “So after the success we had with Aerial America in HD, we have now switched to filming new episodes in UHD. Viewers around the world love aerial views and, of course, the extra detail provided by UHD works really well.” But, Royle admits, not everything lends itself to

“UHD is the closest you can get to 3D without wearing glasses” Tom Jennings

A morel hunter in From Crate To Plate (Gusto TV) UHD. “For Nepal Quake: Terror On Everest, we used a lot of user-generated images of the

quake and its aftermath, so UHD wasn’t an option.” Air Warriors, which is about fighter planes and is heavily reliant on stock footage, was also an unsuitable candidate. “It’s shows where the bulk of the footage consists of original material, like The Last Buffalo, Alaska Crash Investigators and China’s Empress Of Evil, that merit UHD.” Royle adds. Royle believes the global market is at a turning point: “This year, we’re seeing the more adventurous broadcasters moving into UHD, including Sky, BT, Netflix and Amazon. We are now shooting the majority of our shows in UHD, but we’re currently still finishing them in HD. It’s a form of stockpiling so that, when the market grows sufficiently, we can simply remaster them in UHD.”

Filming at the Wailing Wall for documentary Jerusalem (Electus International) preview magazine I September 2015 I www.mipcom.com

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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 on the right foot, please refer to our Quick Checklist Things to do before the Show: Have you prepared your transportation? Have you arranged your transfer to Cannes? ave you booked your accommodation? if not, book now at www.mipcom.b-network.com and H choose from a wide selection of hotels and apartments at special rates ave you connected to the Online Database on Mymip to find out in advance who else is H 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 out of MIPCOM. Find answers to all these 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 25630AF www.airfranceklm-globalmeetings.com BY TRAIN The Cannes train station is a short walk away from the Palais des Festivals. T: +33 (0)8 92 35 35 35 www.tgv-europe.com

GETTING TO MIPCOM TAXI T: +33 (0)4 93 99 27 27 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.

4 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 • 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. uk.niceairportxpress.com A one-way ticket costs €20 and a return ticket costs €30. 4 Where to catch one: Terminal 1: gate A0, platform 3 Terminal 2: between gates A1 and A2, platform 3 • Bus N°200 also goes to Cannes from Monday to Saturday at 20.45 and 21.55. 4 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. 4 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 (€1.5). Buses depart every 12 minutes.

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 Disembark at Gare SNCF Saint Augustin (second stop). The station is just a few meters walk. Trains for Cannes depart every 30 minutes. A one-way ticket costs from €5,90. Book your train tickets at www.tgv-europe.com or by calling +33 (0)8 92 35 35 35 CAR RENTAL Our official partner Sixt can provide an extensive range of rental services from their diverse fleet. 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. HELICOPTER Azur Helicoptère operates regular 7-min 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 €160 per person. T: +33 (0)4 93 90 40 70 info@azurhelico.com / www.azurhelico.com PRIVATE TRANSFERS For short or long trips, from 1 to 7 people, rent a private car with driver and save over 20% with our official partner Chabé.

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Tips & Services Airport shuttles from Nice to Cannes: €115 (Sedan) or €145 (Van-7 Pax) Evening offer* (4 hours): €333 *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

Opening hours • Saturday 3 October: 14.00-19.00 • Sunday 4 October: 9.00-19.00 • Monday 5 October: 8.00-19.30 • Tuesday 6 – Wednesday 7 October: 8.30-19.00 • Thursday 8 October: 8.30-16.00

SHUTTLES TO OUR PARTNER HOTELS

• THE GRAND HYATT CANNES HOTEL MARTINEZ

in partnership with

• MAJESTIC HOTEL

MIPCOM offers you a free shuttle service to and from our partner hotels if you are staying outside Cannes during the market. Timetable available on my-mip.com

Saturday 3 October: 14.00-19.00 Sunday 4 October: 9.00-19.00 Monday 5 October: 8.00-19.30 • P ress registration at the Press & News Hub (CROISETTE 21)

Badges can also be collected from: during MIPJunior

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

Market opening hours • Monday 5 October – Wednesday 7 October: 8.30-19.00 • Thursday 8 October: 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.

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.

Monday 5 October, 19.30, The Grand Hyatt Cannes Hotel Martinez. You will need your MIPCOM badge to access the party.

E-ticket: E-tickets will be sent to you via email a few days before the show. Also available in the mymip.com database using your personal access codes. They include a barcode for ID recognition. Print it out to collect your badge at a self-service delivery point or scan the QR Code on your smartphone and save time at the registration area. BADGE COLLECTION NEW – NICE AIRPORT, TERMINAL 1

Save time and collect your badge directly at the airport while waiting for your luggage. Saturday 3 October, 14.00-19.00 Sunday 4 October, 9.00-19.00 Monday 5 October, 8.00-19.30 Registration CROISETTE 18, Outside structure

Save time by using an e-ticket at the self delivery points.

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 co-hosted by

• MIPCOM World Premiere TV Screenings - THE LAST PANTHERS, from Sky Atlantic and CANAL+, Distributed by Sky Vision and STUDIOCANAL Monday 5 October, Grand Auditorium, Palais 1 18.30-19.30. Doors open at 18.00. - `X-FILES’ Presented by 20th Century Fox Television Distribution Tuesday 6 October, Grand Auditorium, Palais 1 18.30-19.45. Doors Open at 18.00. IS THIS YOUR FIRST MIPCOM? Don’t miss the tour! • First Timers’ presentation & discovery tour Sunday 4 October, 17.00. Meeting point: Main entrance, Palais 0, Palais des Festivals. Followed by a welcome cocktail. 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 5 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 & breakfast Monday 5 October. Matchmaking Lounge 09.00-10.30 - Welcome breakfast from 08.30 Complete your MIPCOM experience and glean tips and best practices from industry experts whilst meeting with buyers, producers & distributors.

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 10 to 20)

2. SERVICES CONTENT, CONFERENCE & SCREENING VENUES Grand Auditorium (and coffee bar): Palais 1 Auditorium A: Palais 3 Auditorium K: Palais 4 Sony 4K Ultra HD Theatre: Auditorium I, Palais 4 Esterel: Palais 5 Matchmaking Lounge: Palais 5 In association with Meet the Speakers’ Lounge: Palais 5

CLUBS PARTICIPANTS’ CLUB

In association with

CROISETTE 18, Outside structure

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

In association with

PALAIS -1, AISLE A

Reserved for programme purchasing executives. Features include a lounge area, complimentary bar, electronic message board organised by hostesses and telephone charging stations. VIP CLUB

In association with

PALAIS 3

Exclusive club reserved for VIP delegates to relax or discuss business in more private surroundings. Features include refreshments, daily press, professional concierge service and a dedicated staff. Entry reserved by invitation. GOLD BUSINESS LOUNGE

In association with

PALAIS -1, AISLE D

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.

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Tips & Services In association with

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.

information including: a full event schedule, exhibitor and participants lists and speaker line-ups. New this year: Have your say and vote during live conferences! BAG & GUIDE DISTRIBUTION CROISETTE 18 - REGISTRATION HALL

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

Offers a complete range of secretarial and administrative services at competitive rates, from photocopying to printing and computer usage. CONCIERGE SERVICE 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. 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. Hotline: +33 (0)4 97 06 37 65 Website: www.viapass.com

PALAIS 0

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

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

3. GENERAL MAP OF MIPCOM CROISETTE 11 to 20 C11

FremantleMedia Group

C12

Sony Pictures Television

C14

Disney Media Distribution

C16.A

Talpa Global

C16.B

Home of Content - Turkey

C16.C

Fox International Channels; Content Sales

C17

Warner Bros.

C20.A

Banijay Group

C20.B

Arab Telemedia Productions

C11

C12

Sea

Riviera 8 C14 Beach

Riviera 7

C15 In association with

Registration

Participants’ Club

Riviera 9

C17

C16.C

Palais -1 to 6

Access to Riviera 7, 8 & 9

C16.B

Palais 6 Palais 5

Organiser’s office & Protocol

C16.A

Palais 1 En

tra

La Croisette

Palais 0 Palais -1 Buyers’ Club

Access

min

Carlton Hotel

Majestic Hotel

In association with

Hub News Press & ss Club Pre istration eg Press R

In association with

MIPCOM shuttle

La C roise

min

The Grand Hyatt Cannes Hotel Martinez

Harbour

Palais 4 Palais 3 VIP Club

Access to 0.B Grand auditorium C2 conferences C20 Access

Mobile Application Take MIPCOM to go! Check out the new official MIPCOM app! Designed to enhance your client experience by providing essential

MEMBER DESK

HELP DESK

Entranc

Online Database Want to know who is going to MIPCOM? • Search among participating companies and visitors to find your future business partners. • Create a profile for you and your company and add programmes to increase your visibility. • Send direct messages and start organizing your meetings. The most effective tool to plan your show in advance and start networking! Connect today on my-mip.com/online-database

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.

PALAIS 4 - AUDITORIUM J

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

BUSINESS CENTRE

tra

ADDITIONAL SERVICES

PRESS & NEWS HUB

tte

Train Station

mipcom PREVIEW The official MIPCOM preview magazine September 2015. 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 Designers Jordan Carel, Carole Peres Sub Editor Joanna Stephens Contributors Marlene Edmunds, Andy Fry, Juliana Koranteng, Gary Smith Editorial Management Boutique Editions PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Manager Amrane Lamiri Co-ordinators Emilie Lambert 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 Director of Market Development Ted Baracos Programme Director Tania Dugaro Director of the Buyers’ Department Bénédicte Touchard Brand Director Lionel Lelouch Sales Director (UK / Australia / New Zealand) Matt Colgan 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, Deborah Carella Australia and New Zealand Representative Natalie Apostolou China Representatives Rowan Simons, Anke Redl, Tammy Zhao CIS Representative Alexandra Modestova English Speaking Africa Representative Arnaud de Nanteuil Germany Representative Mark Wessel India Representative Anil Wanvari Israel Representative Guy Martinovsky Japan Representative Lily Ono Middle-East Representative Bassil Hajjar Poland Representative Monika Bednarek Spain Representative Marie Jose Vadillo South Asia Representative Adam Ham South Korea Representative Sunny Kim Taiwan Representative Irene Liu 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 © 2015, Reed MIDEM Market Publications. Publication registered 3rd quarter 2015. ISSN 2104-2179. Printed on 50% recycled paper

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Official partner : PARTENAIRE OFFICIEL

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MIPCOM 2015 will shine a spotlight on Turkey’s rich media & entertainment industry and offer the opportunity for the world to meet and do business with the largest delegation of Turkish TV executives ever.

Monday 5 October Auditorium A 9.30-9.50 TURKEY: MARKET OVERVIEW 9.50-10.40 Auditorium A MEGASESSION: DIALOGUE WITH THE AMERICAS

TUBA BÜYÜKÜSTÜN Actress

KEREM ÇATAY CEO Ay Yapım

KEREM DEREN Writer, Founding Partner Writer’s Room / Yazı Odası

PELİN DİŞTAŞ YAŞAROĞLU General Manager Kanal D

İBRAHİM EREN Deputy Director General TRT

HALİT ERGENÇ Actor

CAN OKAN CEO / President ITV Inter Medya

İZZET PİNTO CEO Global Agency

10.45-11.15 Auditorium A FRESH TV FROM TURKEY

Tuesday 6 October Matchmaking Lounge 9.00-11.00 MATCHMAKING WITH TURKISH PRODUCERS 12.30-14.30 by invitation Carlton Hotel TURKISH DRAMA LUNCH Co-hosted by ATV Auditorium A 14.00-14.15 TURKISH PUBLIC TV IN FOCUS 14.15-15.00 Auditorium A TURKEY: HOME OF ‘DIZI’ CONTENT Auditorium A 15.15-16.00 THE POWER OF UNSCRIPTED: SUPERPANEL

WOMEN IN GLOBAL ENTERTAINMENT POWER LUNCH

DRAMA SCREENINGS Sunday 4 October Grand Auditorium

Monday 5 October

18.30-20.00

Doors open at 18.00

‘THE ART OF MORE’ Presented by Sony Pictures Television Open to all badge holders

Auditorium K

Monday 5 October

14.30-16.00

By invitation

Majestic Hotel

‘MERCY STREET’ Presented by Electric Entertainment

12.30-14.30 by invitation

In partnership with

Media Partner

Monday 5 October

Tuesday 6 October Auditorium K 9.00-10.30

Grand Auditorium 9.00-10.15

Breakfast from 8.30 By invitation

Doors open at 8.30

‘THE GIRLFRIEND EXPERIENCE’ Presented by Starz

Auditorium K 11.00-12.30 ‘THE FRANKENSTEIN CHRONICLES’ Presented by Endemol Shine Group

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‘BILLIONS’ Presented by CBS Studios International

Auditorium K 16.00-17.30 ‘SHADOWHUNTERS’ Presented by Constantin Film

View breathtaking footage and learn how to anticipatethe 2016 massmarket deployment in a series of conferences and screenings such as: • New HDR Discovery Showcase • OTT and 4K • 4K and Factual Output

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MIPCOM 2015 CONFERENCES AND EVENTS PROGRAMME

Full programme information on mipcom.com

MEDIA MASTERMIND KEYNOTES Monday 5 October, Grand Auditorium 10.45-11.15

A NEW CREATIVE EXCELLENCE RESHAPING THE CONTENT GAME… INTO THE STREAM. In a multi-media, multi-platform landscape, competition is fiercer than ever and the bar has never been set higher with a more and more sophisticated audience to serve. Viewers want to be challenged with disruptive, groundbreaking content, and they want to access it on their own terms – whenever and wherever they are. To cut through the noise, content providers need to offer premium content, first class storytelling and enhanced viewing experiences.

12.10-12.40

JIMMY MAYMANN President of Consumer Brands, AOL & Former CEO, Huffington Post

JIM PACKER President Worldwide Television & Digital Distribution Lionsgate

SHAHRZAD RAFATI Founder & CEO BroadbandTV

MIKE HOPKINS CEO Hulu

16.30-17.00

11.30-12.00

SOPHIE TURNER LAING CEO Endemol Shine Group

GEORGE STROMPOLOS Founder & CEO Fullscreen

MIPCOM 2015 PERSONALITIES OF THE YEAR

17.10-17.40 ADAM CROZIER Chief Executive ITV

GARY NEWMAN & DANA WALDEN Co-Chairmen / CEOs, Fox Television Group MEDIA MASTERMIND KEYNOTES

Wednesday 7 October, Grand Auditorium

Tuesday 6 October, Grand Auditorium 11.00-11.30 MARK GORDON CEO The Mark Gordon Company

14.30-15.15

Dana Walden and Gary Newman, Co-Chairmen and CEOs of Fox Television Group, have been named as MIPCOM 2015 Personalities of the Year. Discover their incredible career and how they reimagined the boundaries of television storytelling and broke new business models which have been adopted by the industry during their Media Mastermind Keynote at MIPCOM 2015.

16.35-17.05

RUDY TANOESOEDIBJO President Director PT MNC Sky Vision

16.00-16.30 NADAV PALTI CEO & President Dori Media Group

DAVID NEVINS President Showtime Netwoks

ARMANDO NUÑEZ President & CEO CBS Global Distribution Group

17.10-17.40 JB PERRETTE President Discovery Networks International

Wednesday 7 October, Grand Auditorium 15.45-16.15

16.30-17.00

NICOLA MENDELSOHN Vice President EMEA Facebook

DERMOT MCCORMACK President of Video AOL

MIPCOM OPENING NIGHT WORLD PREMIERE TV SCREENING Monday 5 October, Grand Auditorium

18.30-19.45

Doors open at 18.00

‘THE LAST PANTHERS’ From Sky Atlantic and CANAL+, distributed by Sky Vision and STUDIOCANAL Samantha Morton, Tahar Rahim, Goran Bogdan and John Hurt star in THE LAST PANTHERS, a thrilling 6x60’ crime drama series based on real events, co-produced by Haut et Court TV (The Returned) and Warp Films (Southcliffe) for Sky Atlantic and CANAL+ and distributed by Sky Vision and STUDIOCANAL.

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MIPCOM 2015 CONFERENCES AND EVENTS PROGRAMME

INTO THE STREAM... From OTT and Online Channels to Cable, Satellite and beyond, MIPCOM introduces INTO THE STREAM, the firstever creative conference exploring the global video ecosystem digital switch, TV channel distribution, and launch strategies for international networks across every platform. Monday 5 & Tuesday 6 October

...RESHAPING THE CONTENT GAME From iconic classics to the vanguard of modern drama and outstanding blue-chip documentaries, RESHAPING THE CONTENT GAME will feature key executives sharing their vision on how to stand out from the crowd and make a difference. Tuesday 6 October

OTT & DIGITAL CHANNEL DISTRIBUTION CONFERENCE PROGRAMME

‘OUTCAST’ KEYNOTE SESSION Grand Auditorium

Supported by

11.40-12.10

Featuring

MATT BAXTER Global Head of Original Content Spotify

ZIBA KABOLI-GERBRANDS Director, Content Acquisition Roku

ROBERT KIRKMAN, Writer of ‘Outcast’ and Creator of ‘The Walking Dead’ PATRICK FUGIT, Actor SHARON TAL YGUADO, EVP Scripted Programming and Original Development, Fox International Channels

Tuesday 6 October GIORGIO STOCK President Turner Broadcasting System EMEA

‘WAR & PEACE’ KEYNOTE SESSION Grand Auditorium

12.20-13.00

Featuring

FAITH PENHALE, Head of Drama, BBC Cymru Wales HARVEY WEINSTEIN, Co-Chairman, The Weinstein Company ANDREW DAVIES, Screenwriter BEN DONALD, Executive Producer, International Drama, BBC Worldwide SIMON VAUGHAN, CEO, Lookout Point

Tuesday 6 October

CARRIAGE DEAL FORUM Supported by

Wednesday 7 October

& The Carriage Deal Forum will include showcases of channels and platforms, workshops on territorial expansion tactics and pre-arranged matchmaking meetings with platforms.

Anthony Geffen

THE BLUE-CHIP LEGACY: ASPIRATIONAL MEGASESSION Grand Auditorium

9.15-10.30

Featuring

Wednesday 7 October

OTT & GLOBAL TV CHANNEL STRATEGY SUMMIT Majestic Hotel

Supported by

9.30-12.30

LIZ DOLAN, EVP & Chief Marketing Officer, FOX International Channels ANTHONY GEFFEN, CEO and Creative Director, Atlantic Productions NATALIE HUMPHREYS, Controller, Factual & Daytime Production, BBC Television, BBC

Yann Arthus-Bertrand

SOCIAL RESPONSIBILITY MEDIA’S ROLE IN CREATING AND PROVOKING GLOBAL CHANGE

Featuring

Auditorium A

10.45-12.00

Featuring

ERIC BERGER EVP Digital Networks, Sony Pictures Television GM, Crackle

YANN ARTHUS-BERTRAND, Photographer, Film Director & President, GoodPlanet Foundation SHARMEEN OBAID CHINOY, Academy Award & Emmy Award Winning Documentary Filmmaker

Sharmeen Obaid Chinoy

WORLD PREMIERE TV SCREENING Tuesday 6 October, Grand Auditorium

18.30-19.45

Doors open at 18.00

Presented by 20th Century Fox Television Distribution OVER 20 years after the first run of the original series, the next chapter of The X-Files is a six-episode series directed by creator/executive producer Chris Carter, with stars David Duchovny and Gillian Anderson back together as FBI Agents Fox Mulder and Dana Scully.

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MIPCOM 2015 Conference and Events Programme in Chronological Order

SUNDAY 4 OCTOBER Esterel, 17.00-18.00, followed by Networking Drinks

MIPCOM First Timers’ Presentation & Discovery Tour Grand Auditorium, 18.30-20.00. Doors open at 18.00.

MIPCOM PRE-OPENING SCREENING: ‘THE ART OF MORE’ Presented by Sony Pictures Television. Open to all badge holders.

MONDAY 5 OCTOBER

TUESDAY 6 OCTOBER

Into the Stream

Drama Screenings

Events & Summits

Auditorium A 9.30-9.50

Esterel 9.00-9.15

Turkey: Market Overview

View from Over-The-Top

Auditorium K 9.00-10.30 Breakfast from 8.30 By Invitation

Matchmaking Lounge 9.00-10.30 Welcome Breakfast from 8.30

Auditorium A 9.50-10.40

MegaSession: Dialogue with the Americas Auditorium A 10.45-11.15

Fresh TV from Turkey

Esterel 9.15-9.45

Broadcast: Simple as an App Followed by Meet the Speakers Esterel 10.00-10.30

‘The Girlfriend Experience’ By Starz

First Timers Networking Breakfast

Auditorium K 11.00-12.30

‘The Frankenstein Chronicles’ By Endemol Shine Group

The New Disrupters Followed by Meet the Speakers

MEDIA MASTERMIND KEYNOTES Grand Auditorium, 10.45-11.15

JIMMY MAYMANN, PRESIDENT OF CONSUMER BRANDS, AOL & FORMER CEO, HUFFINGTON POST & SHAHRZAD RAFATI, FOUNDER & CEO, BROADBANDTV

TRACK Sony 4K Ultra HD Theatre 10.00-10.15

UHD TV Welcome Address

Grand Auditorium, 12.10-12.40

JIM PACKER, PRESIDENT, WORLDWIDE TELEVISION & DIGITAL DISTRIBUTION, LIONSGATE & MIKE HOPKINS, CEO, HULU Grand Auditorium & Balcony, 13.10-14.10

FRESH TV FORMATS

Drama Screenings

Esterel 14.15-15.00

Auditorium K 14.30-16.00 By Invitation

Followed by Meet the Speakers

‘Mercy Street’ By Electric Entertainment

Auditorium K 16.30-17.30

Reshaping the Content Game

Reshaping the Kids Multi-Platform Landscape

Esterel 15.15-16.15

By Escapade Media

Reshaping the Content Game

Sony 4K Ultra HD Theatre 9.15-11.00

Esterel 9.10-9.30

Matchmaking With Turkish Producers

MEDIA Support to TV Series: How to Boost European Cooperation?

HDR (High Dynamic Range) Focus: Discover HDR

Carriage Deals: Map of Opportunities

Sony 4K Ultra HD Theatre 11.15-12.30

Territorial Expansions: Channels, Platforms & OTT Show & Tell Part 1

Industry Spotlight

By the European Commission

Auditorium K 11.00-11.30

European Drama: One Step Beyond

Novel Adaptations: The Road to Success

MEDIA MASTERMIND KEYNOTES Grand Auditorium, 16.30-17.00

SOPHIE TURNER LAING, CEO, ENDEMOL SHINE GROUP Grand Auditorium, 17.10-17.40

ADAM CROZIER, CHIEF EXECUTIVE, ITV

Auditorium A 9.45-10.15

11.30-12.45

By Sacem

India Has 4K Services on Air

HDR (High Dynamic Range) Focus: The HDR Proof is in the Image

Telefilm Canada

MEDIA MASTERMIND KEYNOTES

Women in Global Entertainment Power Lunch

Grand Auditorium, 11.40-12.10

‘OUTCAST’ KEYNOTE SESSION Grand Auditorium, 12.20-13.00

‘WAR & PEACE’ KEYNOTE SESSION

TRACK Sony 4K Ultra HD Theatre 14.00-15.15

The Programme Makers in 4K Sony 4K Ultra HD Theatre 15.30-16.30

The 4K Specialists

Followed by Meet the Speakers

Featuring Faith Penhale, Head of Drama, BBC Cymru Wales & Harvey Weinstein, Co-Chairman, The Weinstein Company

Matchmaking Lounge 12.30-13.30

Carlton Hotel, 12.30-14.30, by invitation Turkish Drama Lunch Co-hosted by ATV

Into the Stream

Carriage Deal Networking Lunch TRACK

Auditorium A 14.00-14.15

Esterel 14.15-14.45

Sony 4K Ultra HD Theatre 14.00-15.15

Turkish Public TV In Focus

Content Ownership Global Freedom for Creation, Distribution & Marketing

Insight: A Spectacular New 4K Channel Launch

Auditorium A 14.15-15.00

Turkey: Home of ‘Dizi’ Content

Followed by Meet the Speakers

Auditorium A 15.15-16.00

Esterel 15.00-16.00

The Power of Unscripted: Superpanel

By Twitter

TV x Twitter: Media at the Speed of #Now

Followed by Meet the Speakers

Territorial Expansions: Channels, Platforms & OTT Show & Tell Part 2

MARK GORDON, CEO, THE MARK GORDON COMPANY

Majestic Hotel 12.30-14.30 By Invitation

Esterel 9.30-10.10

Esterel 10.20-11.00

Grand Auditorium, 11.00-11.30

Events & Summits

Into the Stream

Auditorium A 9.10-9.40

10.15-11.15

Japan Readies For UHD

TRACK

Matchmaking Lounge 9.00-11.00

In partnership with Lifetime Networks

Industry Spotlights

Satisfying the TV audiences of tomorrow: The ConsumerLab findings

`BILLIONS’ presented by CBS Studios International

Everything You Always Auditorium A Wanted to Know About 10.20-10.50 Music Rights The Allure of Escapism: (But Were Afraid Engaging Millennials to Ask) By Canada Media Fund &

Grand Auditorium, 11.30-12.00

GEORGE STROMPOLOS, FOUNDER & CEO, FULLSCREEN

Grand Auditorium, 9.00-10.15. Doors open at 8.30.

Sony 4K Ultra HD Theatre 15.30-17.00

MIPCOM’S 4K UHD Special Screenings

Supported by Globecast Matchmaking Lounge 14.30-16.30

Carriage Deal Matchmaking

Drama Screenings Auditorium K 16.00-17.30

‘Shadowhunters’ By Constantin Film

MEDIA MASTERMIND KEYNOTES Grand Auditorium, 16.00-16.30

DAVID NEVINS, PRESIDENT, SHOWTIME NETWORKS & ARMANDO NUÑEZ, PRESIDENT & CEO, CBS GLOBAL DISTRIBUTION GROUP Grand Auditorium, 16.35-17.05

RUDY TANOESOEDIBJO, PRESIDENT DIRECTOR, PT MNC SKY VISION & NADAV PALTI, CEO & PRESIDENT, DORI MEDIA GROUP Grand Auditorium, 17.10-17.40

JB PERRETTE, PRESIDENT, DISCOVERY NETWORKS INTERNATIONAL Grand Auditorium, 18.30-19.45. Doors open at 18.00.

Grand Auditorium, 18.30-19.45. Doors open at 18.00.

MIPCOM OPENING NIGHT WORLD PREMIERE TV SCREENING: ‘THE LAST PANTHERS’

WORLD PREMIERE TV SCREENING: ‘X-FILES’

From Sky Atlantic and CANAL+, distributed by Sky Vision and STUDIOCANAL

Presented by 20th Century Fox Television Distribution

Grand Hyatt Cannes Hotel Martinez, 19.30-24.00

Majestic Hotel, 18.00-20.00 J-CREATIVE PARTY with sushi/Japanese cuisine In partnership with The International Drama Festival in Tokyo

MIPCOM OPENING PARTY - TURKEY COUNTRY OF HONOUR Co-hosted by TRT-Turkey Home of Content

MIPCOM thanks its sponsors & partners

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A NEW CREATIVE EXCELLENCE

RESHAPING THE CONTENT GAME… INTO THE STREAM WEDNESDAY 7 OCTOBER KEYNOTE SESSIONS Grand Auditorium, 9.15-10.30

THE BLUE-CHIP LEGACY: ASPIRATIONAL MEGASESSION Featuring

Liz Dolan, EVP & Chief Marketing Officer, FOX International Channels Anthony Geffen, CEO and Creative Director, Atlantic Productions Natalie Humphreys, Controller, Factual & Daytime Production, BBC Television, BBC Auditorium A, 10.45-12.00

SOCIAL RESPONSIBILITY - Media’s role in creating and provoking global change Featuring

Yann Arthus-Bertrand, Photographer, Film Director & President, GoodPlanet Foundation Sharmeen Obaid Chinoy, Academy Award & Emmy Award Winning Documentary Filmmaker

MIP Screenings Auditorium A 12.15-14.15

THURSDAY 8 OCTOBER

Industry Spotlights

Into the Stream

Matchmaking Lounge 9.00-9.45

Matchmaking Lounge 9.30-12.00

Sony 4K Ultra HD Theatre 10.00-14.00

Facebook Workshop

The Best of 4K

Best practices for driving real-time engagement and audience participation with Facebook’s new Media Solutions tools.

View breathtaking footage and learn how to anticipate the 2016 mass-market deployment in this closing screening session featuring the best of 4K Ultra HD.

From Playgrounds to Galaxies Far, Far Away – Abu Dhabi Content Evolution By twofour54 Followed by Networking Coffee Break

By Facebook

Into the Stream Majestic Hotel, 9.30-12.30 By Invitation

OTT & Global TV Channel Strategy Summit Supported by Magine TV & PwC Matchmaking Lounge 10.30-11.00

Why Engaged Communities Matter More Than Ever in a Mobile First World? By Victorious Matchmaking Lounge 11.30-12.15