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Wednesday 19 October 2016

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SHONDA RHIMES 6

HIDING A MURDER I S N ’ T T H E I R O N LY S E C R E T. Shonda Rhimes gives a Media Mastermind Keynote at 15.30 today and will receive her MIPCOM Personality Of The Year award at a gala dinner tonight

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Marion Edwards received a Variety Vanguard Award during her MIPCOM Keynote yesterday

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Participant Media’s David Linde spoke of his company’s socially conscious content during his keynote session yesterday

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TV professionals gathered for the first time at MIPCOM to discuss issues around diversity, behind and in front of the camera

TOGETHER TODAY TOMORROW

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CONTENTS NEWS 6 MIPCOM Personality Of The Year; keynotes and conferences; stars in Cannes; deals done at MIPCOM; and more...

Kiyoshi Entertainment’s Rohit Bohara (left), Leslie Chin of Asia Animation and Bhupen Chhadva of Kiyoshi celebrate the signing of a content-acquisition deal at MIPCOM yesterday. The deal sees Mumbai-based distributor Kiyoshi acquire 400 hours of kids entertainment from Asia Animation, which is headquartered in Hong Kong, for distribution across India and the Indian-speaking diaspora throughout the world. Kiyoshi holds over 7,000 hours of kids entertainment content in its catalogue, with a diverse range of programming acquired from all over the world

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REED MIDEM’s MIPFormats and Philippe Chazal’s Fabrique des Formats, which brings together format producers, distributors and creatives to educate, encourage and stimulate the French industry, are partnering on a series of high-level masterclasses, to be staged in Paris.

Under the co-operation, MIPFormats will draw on its global network to invite heavyweight format creators and producers to the events, which will kick off this November and run into 2017.

Lucy Smith, director of MIPFormats, said: “We’re delighted to be partnering with Fabrique des Formats on such a valuable initiative. The French formats sector is one of the creative engines of the global formats industry and we feel it’s important to support its creative and commercial development.”

The official MIPCOM daily newspaper Wednesday 19 October 2016

Director of Publications Paul Zilk Director of Communication Mike Williams EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Sub Editors Neil Churchman, Sarah Kovandzich, Nigel Wilmott Reporters Ben Cooper, Andy Fry, Emelia Jones, Juliana Koranteng, Max Leonard, Rachel Murrell, Gary Smith, Joanna Stephens, David Wood Editorial Management Boutique Editions Technical Editor in Chief Herve Traisnel Deputy Technical Editor in Chief Frederic Beauseigneur Graphic Designers Muriel Betrancourt, Gaelle Daireaux, Carole Peres Head of Photographers Yann Coatsaliou / 360 Medias Photographers Christian Alminana, Olivier Houeix, Patrick Frega, Michel Johner.

PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Co-ordinator Emilie Lambert Printer Riccobono Imprimeurs, Le Muy (France).

ADVERTISING CONTACT IN CANNES Sylvia Ferreira: +33 (0)6 22 18 53 68 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 BOULOGNEBILLANCOURT (FRANCE), VAT number FR91 662 003 557. Contents © 2016, Reed MIDEM Market Publications. Publication registered 4th quarter 2016. Printed on FSC certified paper.

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NEWS

‘We’re not changing the world, just telling the truth’

“W

E ONLY make shows we want to watch,” said Shonda Rhimes, MIPCOM 2016 Personality Of The Year and today’s Media Mastermind Keynote speaker. “I only write something if it sticks in my head and I can’t let it go.”

Rhimes’ immense skill is to write shows that stick in the heads of millions of viewers too. As writer, creator, executive producer or showrunner — and often all four — of award-winning ABC hits such as Grey’s Anatomy, Private Practice, Scandal, How To Get Away With Murder and new show, The Catch, she is one of the most successful writers in the industry.

Speaking at a press conference yesterday, Rhimes denied setting out to create strong female characters. “I write women who talk like the women I know,” she said. “I never feel what they say is wild or shockingx —not until I heard other people say that.”

Rhimes founded her company ShondaLand in 2005, and in 2009 recruited executive producer Betsy Beers — also at the press conference — to run the non-writing parts of the business.

“Betsy has a nose for new talent, for new writers,” Rhimes said. “She’s really great at helping writers shape new ideas and making them better.”

Rhimes describes her transition from ‘introverted writer’ to a leadership role as a learning experience. She and Beers aim to nurture talent, giving staff who do well the opportunity to try new roles as a way to motivate them to stay.

“When someone is working well, we try to expand their responsibilities,” Beers said. “We keep them challenged so that they don’t leave.”

It’s the only way Rhimes can be so prolific. “Two years ago I realised I’m supposed to be the storyteller, not the business person,” Rhimes said. “To create time to write, we’ve expanded the company and recruited new people to do the rest.”

“Grey’s Anatomy and Scandal, they’re a piece of me,” she said. “But How To Get Away With Murder and The Catch were created and run by others. “We entrust our shows to people with a real creative voice and vision. I go in and talk story with them, but I see myself as the grandmother of these shows: I pat the baby, but I get to hand it back.”

According to Tony Goldwyn, who plays President Fitzgerald Grant III in Scandal, Rhimes pushes the boundaries. “Her characters are always filled with contrasts. They don’t have to be sympathetic as long as they’re compelling. And she will take a character who’s hateful and in one page, will flip it and you’ll fall in love with them.”

Mireille Enos, lead actor of The Catch, described working with Shonda as a dream. “She’s got such clear vision,” she said. “She’s calm and she’s measured, and she creates an environment of support.”

Asked how she promotes diversity on screen, Rhimes said: “I choose not to examine that. We’re trying very hard to make TV look like the real world. We’re not changing the world, just telling the truth.”

But her work for Hillary Clinton’s campaign may do just that. Asked by Clinton to do a campaign spot, she worked with Beers, actor/director Tony Goldwyn and Morgan Freeman to show the woman behind the headlines. “It was a huge honour,” she said.

Rhimes is delivering today’s Media Mastermind Keynote speech in the Grand Auditorium at 15:30, and will later be honoured at a gala dinner at the Carlton hotel.

Shonda Rhimes

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NEWS Fox president celebrates role of network TV in driving dialogue

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FTER some 40 years at the cutting-edge of the international TV business, the soonto-retire Marion Edwards said the old ways of consuming TV and doing business in it are still the best.

Edwards, president, international television, 20th Century Fox Television Distribution, collected the inaugural Variety Vanguard Award at MIPCOM yesterday.

And during the on-stage interview, she said there is nothing wrong with the word ‘old’ when it comes to TV. “‘Old’ is normally such a derogatory word, but old media is still king of what people think of as great TV,” she said.

She added that the concept of network TV remains the engine that beats at the heart of the business. Its ability to bring people together around a show is a sign of great entertainment.

“With a network hit, millions can

Marion Edwards: old media still king of great TV

Participant Media spreads awareness

OVER the last 12 years, Participant Media has proved that socially relevant content can make money and drive positive change — through movies like An Inconvenient Truth, Food Inc., Snitch and Spotlight. In total, it has generated $2bn (€1.8bn) at box office, tallied up 50 Oscar nominations and had a verifiable impact on policy-making in the US and around the world.

Now, the company is taking its social-impact agenda into TV and digital media, said Participant Media CEO David Linde during his Media Mastermind Keynote in the Grand Auditorium yesterday. “We’re doubling down on all formats, so that we can create a steady drumbeat of content,” he told delegates. “We’re expanding into TV and we’re also moving ag-

gressively into short-form content through our recent acquisition of Rainn Wilson’s media company SoulPancake.”

Linde revealed that Participant is working with the team behind Oscar-winning movie Spotlight on a scripted series about journalists breaking stories. He also said there are plans for an unscripted series called America To Me with Hoop Dreams director Steve James.

Linde told delegates he wants them to get involved in Participant’s mission: “Broadcasters, producers, advertisers, distributors — we’d like you to work with us. This is a good business that raises awareness about important issues and drives action. We’re creating sustainable impact platforms because our experience tells us the audience wants them.”

engage in a community dialogue about it,” she said. “I still believe that, at its heart, TV needs to be enjoyed with other people. It’s a great way of sharing with friends.

It is difficult to do that when binge viewing on your own.”

And as much as she is a fan of foreign formats being remade in the US, she said Americans will not embrace subtitles any time soon.

“I am not sure Americans are ready to read their TV. Many of us do other things while watching T , so it’s difficult to read the screen at the same time.”

Edwards, who also received the MIPTV Medaille d’Honneur in 2014, is linked to some of the great international brands in TV history.

She was behind the global reach of hit shows like The Six Million Dollar Man, The Bionic Woman, Thirtysomething, LA Law, Buffy The Vampire Slayer, NYPD Blue, The Simpsons and 24.

She insisted that great content will always see the industry survive numerous cycles in terms of trends.

“Having too many channels today has its advantages; it means the best content reaches people around the world in ways never thought possible before,” she added

Participant Media’s David Linde: “doubling down on all formats”

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NEWS

Diversity Summit lays out Attack led to a positive the challenges to inclusion programme for change

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IPCOM’s firstever Diversity Summit was a thought-provoking debate about how to increase inclusiveness, both on and off screen.

According to Tonje Bakang, CEO of VOD platform Afrostream: “Diversity is a business opportunity. It’s not just something we do to look good.

Think about millennials: millennials are open to diversity.”

Mo Abudu, CEO of Ebony Life TV, said: “Diversity for me has a slightly different slant. I am an African woman. So not only are we saying people of colour need to be included, but we also need to include African content.”

Sean Cohan, president, international and digital media, A+E Networks, said: “Up until a couple of years ago, I didn’t even really think about the potential for a diversity conversation. We’ve made a little bit of progress, but there’s still a lot to be done. We have major challenges in providing access to people in front and behind the camera, with an eye to driving great stories and making great business out of it.”

Michael Armstrong, executive vice-president and general manager, Viacom International Media, talked about the need to “reflect and ele ate the oice of

African-Americans” in the US; while David Ellender, president, global distribution and co-productions at Sonar Entertainment, stressed the need for diversity to be framed in the broadest terms: “It’s about gender, it’s about age, it’s about disability, it’s about sexual orientation, it’s about social background.” He added: “I’m asking the TV industry to think outside the box. In fact, to get outside the box.”

Keith Le Goy, president, international, Sony Pictures Television, called for “stories that appeal to people all across the globe. People want to hear stories that resonate with their lives and their experiences of who they are.”

Data was provided by Nielsen Entertainment’s head of consulting, Guillaume Morel, and all3media International’s senior vice-president of format production, Nick Smith.

Smith pointed to McKinsey research suggesting that genderdiverse companies are 15% more li ely to financially outperform their industry median, while ethnically-diverse companies are 35% more likely to.

He also talked about how popular dramas underperform with minority groups in the UK. “Maybe it’s because people are not seeing themselves in the dramas,” he said.

Moderator Ali May (left), Mo Abudu, Michael Armstrong and Keith Le Goy in one of the Diversity Summit panel discussions

So You Wanna Be In TV?’s Rioch Edwards-Brown’s: “Don’t do a Kodak”

SEVEN years ago, Rioch Edwards-Brown’s son was shot and stabbed — fortunately not fatally — by a 13-year-old boy lashing out against his world of exclusion and deprivation.

Edwards-Brown, a former TV researcher, took two powerful messages from that incident. The first was that children like her son’s attacker needed hope and help.

The second was that if she wanted to help change socially deprived young people’s lives through employment and access, she needed to “to listen to the TV industry to find out what they were really looking for”.

The result was So You Wanna Be In TV?, a social-enterprise programme that provides free training and long-term mentoring to facilitate social and economic mobility through employment, while bringing much neededdiversity to the TV industry.

So far, more than 2,500 young people from 17 of London’s poorest boroughs ha e benefited, with two-thirds of those mentored entering television.

Edwards-Brown said: “Our aim

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is to create a le el playing field.

We’re allergic to quotas and tick boxes, because TV needs the brightest and best talent to deal with the social and technological mega trends on the horizon.”

For an industry suffering from a “massive skills gap”, So You anna e In T ’s di ersified pipeline of Gen Y and Gen Z talent has won it friends in high places: its sponsors and partners include media heavyweights Sony Pictures Television, MIPCOM, Diversity TV and The Guardian.

Edwards-Brown, who attended yesterday’s first i ersity ummit, said that companies with “diversity baked into their DNA” could collectively expect to generate an additional £10.2bn in annual revenue, according to research by web scientists Flying Binary.

“The future of TV is already here, so we need to act now to be ahead of the curve,” she added. “If you are outside of these changes, the world will move on without you.

So don’t do a Kodak.”

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NEWS BBC SHOWS OFF NATURE OF UHD’S CUTTING EDGE

Penthouse tells the naked truth about big platforms and 4K

M BBC’s Mike Gunton

SPECTACULAR UHD programming lived up to its name yesterday during the High Dynamic Range session, with several clips of upcoming BBC nature programming in High Dynamic Range UHD that demonstrated brilliantly the appeal of such rich and dense imagery, especially in terms of capturing animals.

“High Dynamic Range UHD is very much a current buzz word,” Andy King, head of technology at BBC Engineering, said. “When I created some 4K footage last year it took me 10 days to make a few minutes of footage because the software was so imperfect. But on the technical side, 4K is now steaming along. What we have to work on now is standardising High Dynamic Range (HDR), which is coming, and as a result we are seeing much more software — which also means that we can use the superior pixilation of HDR.” Creative director Mike Gunton agreed that development had speeded up significantly: “Animals are beautiful and they look even better in 4K, but the challenges we now face are that a lot of the places we shoot in are not very camera-friendly, and the chips that control them are still rather delicate.

“On the other hand, environments that have extremes of light and shade are beautifully rendered. The golden light and deep shadows of Africa in the afternoon light look amazing.”

ODER ATOR she said. “So I have to go it C h r i s F o ralone. rom the first uarter rester might of next year, we’re planning have been jokto have our UHD content on ing when he SVOD and OTT streaming told the MIPCOM audience platforms.” “don’t watch the pictures, just Holland also said she feared watch the pixels” during the broadcasters and platform screening of adult entertainoperators were frustrated ment from Penthouse Global about the long time it is takMedia at the Here Come The ing UHD to go mass market.

UHD Channels session.

“Broadcasters and the big But speaker Kelly Holland, platforms are weary of waitPenthouse Global Media’s ing for the full shift from SD CEO/owner, highlighted (standard) TV to 4K. And some of the serious concerns when you mention 8K, they that come with supplying roll their eyes in frustration.

Penthouse Global Media’s Kelly Holland content to the still emerging But I assure them that if they but fast growing number of UHD (also known just give me the space, I’ll provide the content.” as 4K) channels.

She also predicted that UHD will be a tranShe noted that even major broadcasters and sitioning point for other audiovisual enterplatform operators are struggling to acquire tainment, such as virtual reality, to go maintransponder space on TV satellites to launch stream. dedicated UHD channels.

The session’s other speakers included Rian “The big platforms are investing in tran- Bester, CEO of INsight UHD’s owner TERN; sponder space to roll out channels. But even France-based Cofites’ managing director they tell me that it is sports channels, not Nela Pavlouskova; and SPI International’s adult entertainment, that will roll out first, executive director Berk Uziyel.

Buzz over VR take-off turns full circle

AS THE buzz around VR grows, so does velopment teams share, write and prototype the framework to make it a mass commer- more easily. cial success. But what components make Herve Fontaine of HTC explained the comthat up and who is addressing the technology pany’s just-launched Viveport app store for challenges? The Beyond 360º: From Passive non-gaming content for its Vive headset. “It’s Viewing To Virtual Interaction panel fea- a market that makes sense to consumers,” he tured three such companies. said, describing it as an ecosystem for content First up was Emilie Joly providers to display and sell Emilie Joly, Apelab from Apelab, a VR/AR stutheir products. dio. “What we learned early “VR takes over your brain!” on is that the user usually he added, and predicted that doesn’t do what you want shopping, design and eduthem to do,” she said. cation would all radically With all the thousands of change. possible scenarios in a 360º Finally, Wilfried Van Baelen immersive environment, of Auro Technologies talked “screenwriting in interactive of 3D sound, an underappreVR is very complex,” she ciated element of VR. His added. system has been commerApelab’s Spatial Stories is cial since 2010 and had supa content-development tool port from all the ma or film to create a viable pipeline studios, among many others. for VR development. With “George Lucas said sound is an interface similar to Final 50% of the movie,” he said.

Cut, Spatial Stories helps de“In VR it’s 80%,” Joly said.

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Disney’s Sherwood optimistic over ‘unlimited appetite for great TV’ Disney’s Ben Sherwood

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S CO-CHAIR of Disney Media Networks and president of Disney ABC Television, Ben Sherwood runs one of the most formidable content production and distribution outfits in the world. ut his formula for success, outlined during his Media Mastermind keynote, is simple: “The best content, deli ered in the most efficient and personalised way, will win.”

Sherwood — a former journalist — acknowledged that these are complicated times, both within the media business and in wider society. “But we are optimistic for two reasons. The first is that our commitment to stories is greater than ever and there is an unlimited appetite for great TV. “The second is that we are partnering with so many great companies to deliver our content around the world. Our content is already seen by one billion people and we see platforms like mobile as opportunities.”

Sherwood underlined the importance of international business, saying that non-US revenues had doubled in the last 10 years and that the company will be increasing its commitment to local production around the world. He outlined his excitement at the launch of isney’s first atino animated princess, Elena Of Avalor, to be rolled out in 100 countries.

On his company’s commitment to diversity, he said: “It’s good business sense and it’s the right thing to do. We want to make programming that reflects a rich di ersity. e deeply believe in the potential of TV to transcend borders and bring people together.”

He praised Shonda Rhimes, the producer of several successful ABC shows, who has been named as MIPCOM Personality Of The Year: “Her shows are deeply compelling and insanely addicti e. he reflects our values as a company and our future as an industry,” he said.

Content has to be seamless on all devices “CONTENT now has to be

available everywhere,” Sahar Baghery, head of global research and research strategy, Mediametrie/Eurodata TV Worldwide, told the session The Carriage Landscape: Streamlining Viewer Options.

“Asia is at the forefront of new usage patterns and our research shows that in China three in four smartphone owners watched a movie on their phone during . The figures for outh orea are around 50% and in Japan, 61%.”

Platforms were innovating to offer mobile users new ways of accessing content that are quicker, easier and often cheaper than those they use at home, she added, and gave three examples.

YouTube, she said, was signing up the major content suppliers for YouTube Unplugged, a mo-

bile platform set to launch in the US next year. Details were not yet available, but the price tag for its full offer was thought to be about $40 a month — less if the user only wanted selected content genres.

French start-up Molotov.tv is an innovative OTT service with a picture-led user-interface inspired by etfli , potify and YouTube. It offered more choice than networks, Baghery said, and allowed the user to watch it on any — and all — of their devices in a seamless way.

And Studio+ from Vivendi, she said, was the first mobile ser ice to offer premium original shortform content designed for smartphones. It was starting with key African territories, in which mobile phones are the most accessible screening device, and would roll out worldwide from there.

Sahar Baghery of Eurodata TV Worldwide

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mipcom

NEWS TANAISTE Frances Fitzgerald, Ireland’s deputy prime minister and minister for justice, opened yesterday’s Ireland On Screen reception, attended by representatives of the 70 Irish companies that are showcasing their creativity in Cannes. Also attending the event, organised by Enterprise Ireland, was Geraldine Byrne Nason, Ireland’s ambassador to France. Fitzgerald said it was an “exciting time” to be involved in Irish creativity, given the country’s growing economy and reputation for producing world-class creative product.

“We want to continue to internationalise what’s been happening in Ireland and seek more and more engagement with international partners,” she said.

Beggs praises new platforms’ innovation and commitment

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IONSGATE Television chairman Kevin Beggs has insisted that new distribution platforms such as YouTube and Netflix are crucial drivers of innovation in the industry.

Speaking at a MIPCOM keynote session, Beggs said: “When I see YouTube go out and recruit an executive like Susanne Daniels and see their willingness to embrace funding programmes, it feels exciting, like another great opportunity for Lionsgate to create networ defining content.

“The thing about new platforms is they are willing to try new things. They are willing to innoate. etfli ga e us a episode straight-to-series commitment to make Orange Is The New Black, something you rarely get from an established network. New platforms are out to establish them-

selves and are willing to give their series a level of commitment that incumbents just won’t.”

Beggs said that over the last two years, Lionsgate has worked with a number of YouTube rising stars in film and TV such as Grace Helbig, Mamrie Hart, Hannah Hart, the Janoskis and Freddie Wong. It has also produced dance series Step Up for YouTube subscription service YouTube Red. He added: “The beauty of YouTube is that they have some of the most innovative tools and metrics at their disposal. They have insights into what over one billion people watch and which genres have thrived on the platform — helping us to understand the potential for a new series.”

“They know better than anybody which stars are able to build a following on the platform and which creators are on the rise.”

GERMAN producer/ distributor m4e this week licensed live-action/ animated series Mia And Me to Chinese distributor UYoung Culture & Media Co. “We believe the show has huge potential in China, and can reach hundreds of millions of children,” said UYoung’s general manager, acquisitions and distribution, Clara Zheng Yang. “We are looking for properties for girls aged fi e to eight years, and we feel this has both engaging stories and very toyetic elements.”

“The Chinese market is very complex, so we have been deliberately cautious about choosing our partner there,” said m4e CEO Hans Ulrich Stoef. “Mia And Me is our crown jewels, so it was vital to us that we found the best partner. UYoung has a fantastic reputation, strong strategic partnerships with broadcasters and platforms and will give Mia And Me the best possible start in life in China.”

Pictured are m4e’s head of operations Jo Daris (left), UYoung’s Clara Zheng Yang and m4e’s Hans Ulrich Stoef.

Lionsgate Television’s Kevin Beggs: understanding the potential for a new series

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NEWS WOWOW creatives make Yomiuri invites market the case for localisation to explore more genres

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HE CREATIVE team behind Cold Case Japan, the first scripted series to be localised for the apanese mar et, is in annes to promote the part series, co produced by and arner ros. International Tele ision roduction. ased on the hit series old ase, the apanese series follows similar plotlines to the original show, but is set in oohama rather than hiladelphia and stars oh oshida in the role of ily Rush, played by athryn orris in the ersion. It has also been shot in H R on R ’s state of the art eapon the first time that the camera has been used on a apanese T series.

In terms of why chose old ase for its first foray into scripted formats, producer a i o ano said “The ersion of old ase was broadcast in apan with subtitles and was ery popular, so we new our audience really lo ed the story. he added that old ase apan is “more beautiful scenically than the origi-

The creatives behind Cold Case Japan: Kosuke Yamada (left), Takafumi Hatano and Makiko Okano

Yomiuri’s Masaya Yabushita (left), Mari Yoshikawa and Takeshi Kikukawa

nal, and has also been adapted to suit apanese emotions . irector of photography osu e amada said shooting in H R his first e perience of wor ing in the format presented certain technical challenges. “ H R adds wonderful richness and depth of detail but, if you get the lighting wrong, it can also remo e the atmosphere, and ma e a drama loo li e a news report, he said. ut for director Ta afumi Hatano, Cold Case Japan’s appeal is not to do with technology but emotion. “There’s no point in ha ing great technology if you don’t ha e a great story with a heart, he said. “ nd that’s what we ha e in old ase apan.

I RI T is in annes with its strong offering of anime series. ut it has also brought formats and drama, and ari oshi awa, general manager of omiuri’s business department, hopes that apan’s status as Iountry f Honour will help open global buyers to these other genres. n the drama side, oshi awa highlighted Ten ar omen , a blac comedy in which a famous T producer finds that some of his many lo ers are plotting to ill him. oshi awa also said that, ha ing sold some drama formats to outh orea and hina, format rights might be the way in. “ e can’t sell our drama series to western countries because the cast’s appearance or

the situations are uite different, she said. “ ut the themes and stories are ery impressi e, I thin , and these dramas can be remade and broadcast in these countries. ew on the animation slate is series Time o an , in which a girl and boy duo tra el bac from the th century to unco er how history really happened. omiuri also has an animation crosso er in ity Hunter a li e action ersion of the popular classic anime nown as ic y arson in rance is due to be shot in hina. It is due to be completed in two years and omiuri is loo ing for sales.

The classic irdman Rally and uic fire uic ut ui ui formats are also a ailable to international buyers.

Zig Zag turns Fantasy into reality with Tearaway Toys based indie ig ag roductions has optioned a format from apan’s sahi roadcasting ompany , a deal that will see ig ag adapt hit T show segment ower f antasy for the international mar et. ower f antasy has aired on in apan as a segment from popular long running late night show e op High Heel .

The format will be renamed Tearaway Toys for international broadcasters. “ e ha e a trac record of successfully adapting apanese formats either small segments or more established programmes

for both the and mar ets, att raff, commercial director, ig ag, said. “ e li e this pran format as it is pulled off in the nicest possible way it’s ultimately a dri e for good. e thin it will e ol e into a great family entertainment show and that’s what we find broadcasters are loo ing for at the moment.

The format features hidden cameras capturing unruly ids pran ed into belie ing their toys are tal ing to them, discussing their bad beha iour. The resulting con ersations are humorously insightful, re ealing that toy chats ha e the power to succeed where

Shaking on the deal: ABC International’s Thomas Hiraoka (left); Zig Zag’s Matt Graff; ABC International’s Shusaku Inoue; and Zig Zag’s Nicola Davey

parents may fail. “ e ha e found iewers can really relate to this candid camera

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show it has uni ersal appeal, husa u Inoue, managing director, International, added.

mipcom

content aims to Toons to create appetite Foundation’s spread the word about Japan for fine Japanese cuisine

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OOD LOVERS around the world are missing out on sushi at its artistic finest, according to a senior figure at the Japanese Ministry of Agriculture, orestry and isheries . has produced an animated series which explains the art and culture behind Japanese food and the way it should be eaten, which deputy director for food cultures and market development Kazuhiro Shimane says is designed to “educate the people of the world .

Shimane is in Cannes to showcase the series, ushi nd eyond, and meet broadcasters from around the world with an interest in Japanese food and culture. n onday night the ministry hosted a party for I delegates, ser ing authentic Japanese cuisine freshly prepared by a team of chefs.

Shimane told the MIPCOM News: “Japanese food is becoming increasingly popular around the world, but there are still lots of people who don’t know what real Japanese food is

and how it should be tasted.

He added that increasing global awareness of Japanese food was also a key part of boosting the country’s tourism industry and encouraging visitors to explore more widely.

He said: “We want people who come to Japan to visit more than just Tokyo and Kyoto; we want people to travel to the regional cities as well.

There’s been lots of interest at MIPCOM and we’ve got more meetings planned. e’re beginning to see more results and see a difference.

Japan Foundation’s Mizuki Kojima (left) and Masashi Beppu

TH oundation is a Japanese government organisation responsible for a wide range of cultural exchange activities around the world. s part of its acti ities, it wor s to deepen understanding and empathy towards Japan through the use of quality apanese T programmes. “ or o er years, the oundation has been providing dramas and documentaries free of charge to countries where commercial Japanese content is still not available, said asashi eppu, assistant director in the film and broadcast media department.

“This includes parts of sia, ceania, atin merica, astern urope, the iddle ast and frica. ince , in co operation with the rele ant ministries, the oundation has further expanded the scope of its efforts, said eppu. “ s of ctober , the broadcasting of o er programmes

Kazuhiro Shimane of the Japanese Ministry of Agriculture, Forestry and Fisheries

Japanimation’s balance of supply and demand T IT iura, co founder and president, a id roduction, and asao Ta iyama, representati e director, ony ictures ntertainment, apan, too to I ’s conference stage to look into the future of Japanese animation at Japanimation Out Of The o . In an era that has watched populations age and seen the rise

of global video-streaming platforms, Ta iyama the “godfather of Japanese animation” — said it was more important than ever to start tailoring a supply for the huge market and growing demand.

David Production’s Taito Okiura (left) and Sony Pictures Entertainment’s Masao Takiyama

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to 48 countries has been established — across genres such as drama, anime, mo ies, information and documentary programming. If programmes currently under negotiation were to be included, the oundation would be on schedule to pro ide o er programmes to appro imately countries.

Beppu explained that Japan’s status as MIPCOM Country Of Honour was a great opportunity to promote Japanese programming further. He added that one of the goals was to encourage people to isit apan. nother was to “build a foundation towards one day developing new commercial outlets for Japanese programmes . oo ing ahead, he hoped the hosting of cultural e po aponisme in rance in would provide an opportunity for partners to create new Japanesethemed content.

mipcom

NEWS Experts look beyond Brexit to chart UK TV’s new landscape

Discussion at Monday’s Brexit: A Survival Guide panel: TBI Vision’s Steweart Clarke (left); Endemol Shine’s Richard Johnston, Pact’s John McVay, The Bridge’s Amanda Groom and Olswang’s John Enser

B

REXIT’s impact on the television industry is a hot topic for discussion in Cannes this week. While the UK government’s negotiating aims remain shrouded in secrecy, MIPCOM convened a panel of experts to give their view.

Speakers agreed that limits on the free movement of labour will hit the UK industry hard. “About six per cent of the labour force in the UK’s creative industries comes from the EU,” said John McVay,

CEO of industry body Pact. “One of our arguments to government is if we can’t access global talent, then we won’t be as good.”

The falling pound will help — for a time. “It doesn’t have an immediate impact, but it does drive inward investment,” said McVay. “A lot of American shows are about to arrive in the UK because the exchange rate is very favourable.”

The likely impact on EU funding for directors, producers, writers and others is harder to calculate as

it’s spread between many initiatives and direct and indirect funding streams. The government may choose to invest in the EU media funds but it may not. And if the latter, “how do we know we’re going to get it all back to spend on our creative industries?” asked McVay. He was less pessimistic about content sales. “Europe accounts for about 42% of our exports,” he said. “But British shows will still be counted as European works under continental regulations.”

Olswang’s John Enser pointed out that the last government’s nine key industrial strategy areas did not include the creative industries. “We’re playing catchup from that perspective,” he said.

“These negotiations are going to be very complicated, and it’s still too early to see how that will shake out.”

Enser noted that when it comes to new EU legislation around copyright and other TV-relevant matters, the UK still has a formal seat at the table until it leaves the EU, but questioned how loud its voice can be in the debates, given its move towards an exit.

The panel discussed tax breaks as a way the UK could become more competitive on the global market post-Brexit.

“We’d love to see if the very successful effects the tax breaks had on drama and animation could be widened to other genres such as high-end factual,” said Richard Johnston, CEO of Endemol Shine UK. “It’s a conversation that’s been going on, and I hope it can accelerate.”

The only upbeat voice came from Amanda Groom, managing director of The Bridge, which helps UK media companies find partners in Asia. “[Post-Brexit], Englishspeaking producers have realised what a phenomenal opportunity there is in Asia,” she said.

Stories for the post-TV generation THE NEXT Generation Of Digital Sto-

NRK’s Marianne Furevold-Boland

rytellers panel yesterday featured NRK’s Marianne Furevold-Boland, executive producer of the hit series Shame, explaining how the show has become one of the most watched in Norway: “Shame is a teen drama about 16 year-old girls at high school whose primary and secondary broadcast platform is the internet, we regard linear TV as a bonus,” she said. “And we publish the stories in real time, that is to say if there’s a party at 2am, we broadcast it at 2am.”

The team behind it also put new material on the website every day and use social media to keep track of what the audience is reacting to. “The audience chooses if they

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want to watch daily or wait for the episode on TV at the end of the week, and the chat forum is where we go to evaluate what is working well on the show,” Furevold-Boland said. “And of course social media is hugely important in terms of building a community around the show.”

India’s The Viral Fever, represented by founder Arunabh Kumar, also opted out of the classic broadcast model: “It was the realisation that a whole generation of Indians had stopped watching TV that inspired us initially,” he said. “And even though we don’t use the broadcast networks, on shows such as Pitchers we do work in long form because we believe that it is the best way to tell our stories.”

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NEWS

CJ E&M grows in Asia by thinking global and local

Yvonne Pilkington

FORMATS DEAL SET TO BREAK NEW GROUND NBCUNIVERSAL International Formats and MBC Korea are to co-develop and produce original scripted and non-scripted formats in a MIPCOM deal designed to leverage both parties’ proven format creativity.

It is the first partnership with a major Asian terrestrial network for NBCUniversal International Formats, which handles the international sales of all formats created by NCBUniversal’s production and broadcast divisions.

With its deep knowledge of its home market, MBC will work with the US company to develop formats that work for both Korean and international audiences.

Yvonne Pilkington, NBCUniversal International Formats’ senior vice-president of format sales and productions, called MBC “the perfect partner”. She added: “Not only does it have the benefit of knowing the Korean market inside out, but it also boasts a strong creative team that will work with us to develop innovative formats with international reach.”

MBC’s managing director of programming, Kim Do-in, added: “By combining their market know-how and distribution network with our creative capabilities in Korea, we are confident that we’ll generate some great formats together.”

K

OREAN media com- lue, Blue Light, Indolink and the partnership will be known, will pany CJ E&M has ex- Oceanlink. deliver content across a range of panded its operations Seoul-based CJ E&M has also en- genres, from drama to talk shows. in Southeast Asia with tered into a joint venture with ma- CJ E&M chief executive Sungthe acquisition of a ma- jor Thai cable satellite TV operator Su Kim said: “CJ E&M strives jor Vietnamese content producer TrueVisions, a subsidiary of True to achieve its goal to become a and the launch of a joint venture Corporation. True CJ Creations, as global top-10 entertainment and in Thailand as part of culture company by a strategy of “glocali2020. For this, we sation” beyond its own are implementing borders. glocalisation strateCJ E&M has completgies, by forging parted a deal to acquire nerships with key loVietnamese company cal industry players.

Blue Group, which “We believe that produces a range of the acquisition of multimedia content Blue Group and the and advertising from est ablish ment of its offices in Hanoi and a joint venture in Ho hi inh ity. The Thailand will endeal sees CJ E&M take able us to lay the o er lue roup’s fi e groundwork for reoperating divisions, TrueVisions’ Soopakij Chearavanont (left) and Sung-Su Kim of gional business exBlue Ocean, Aquab- CJ E&M pansion.”

TH orea’s unhwa roadcasting orp has agreed a global distribution deal with the UK’s Orange Smarty for its Evolution Of Make-Up, and both were in Cannes to sign a memorandum of understanding.

Evolution Of Make-Up is a one-off 60-minute documentary on the history and sociology of make-up, using H technology to show the i id colours of ma e up from around the world.

MBC is also signing an agreement with UK producer STV, to begin planning and developing a documentary co-production about bears.

Orange Smarty’s Karen Young (left) with MBC’s JinMan Kim

TV Chosun and Ruptly swap news TH orean broadcast group TV Chosun has sealed a major international deal at MIPCOM with Ruptly, the Berlin-based international video-news agency.

The strategic agreement, the first of its kind between the two companies, comes into effect next month and sees Ruptly exclusively supply TV Chosun with international news videos, including breaking stories and live events.

In return, TV Chosun will produce and provide Ruptly with

Korean domestic and North Korea-related news stories.

“We look forward to strengthening international news coverage through the strong co-operation with Germany’s rising news agency,” said Chung-Oh Bang, TV Chosun’s executive vicepresident, head of broadcast, who signed the deal with Ruptly CEO Xenia Fedorova at MIPCOM. TV Chosun is the sister company of The Chosun Ilbo, the leading Korean national daily newspaper.

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TV Chosun’s Chung-Oh Bang (left) and Ruptly’s Xenia Fedorova

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C-LEVEL SUMMIT

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MARKET. CONFERENCE. NETWORKING EVENTS

Marina Bay Sands, Singapore Be where the brightest minds & best ideas meet; where the future of Asian Television is shaped.*

Kazufumi Nagasawa

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Chris Erwin

Chief Content Officer HJ Holdings | Hulu Japan Japan

Chair / Writer, Director, Editor (Filmography) International Academy of Web Television (IAWTV) USA

Clifton Dawson Founder / CEO Greenlight VR USA

Co-Founder & Chief Content Officer Hooq Group Singapore

Jeremy Kung

Chief Operating Officer Big Frame USA

Chief Executive Officer TM Net Sdn Bhd Malaysia

Winston Damarillo Chief Strategy Officer PLDT Group Philippines

Cheah Chee Kong Chief Content Officer MediaCorp Singapore

*List is not exhaustive. Visit www.asiatvforum.com for updated list of speakers.

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mipcom

NEWS TV IS NEXO DIGITAL’S LOGICAL NEXT STEP NEXO Digital, which specialises in the global distribution of HD event cinema including concerts, art exhibitions, documentaries and theatre, is at MIPCOM to introduce its newly established television and digital distribution division. It is presenting a selection of cinema documentaries that are available for broadcasting, home video and streaming platforms.

“We have an impressive and ni e librar of fil s and documentaries that have had phenomenal success as event-driven entertainment,” said TV and digital sales manager Pedro Citaristi, who heads up the new division. “We see their enormous potential on other broadcast platforms and set MIPCOM to introduce these distinct fil s to broadcasters who are seeking to captivate their audiences with cinema quality programming already supported by being bo office s ccesses A highlight for Cannes is Botticelli-Inferno (1 x 90 mins/52 mins/2D/4K), an investigation of the secrets behind Botticelli drawings — the subject of Ron Howard’s recent blockbuster Inferno, starring Tom Hanks and based on Dan Brown’s book of the same name.

Shot in several locations including Rome, Vatican City, Florence, Berlin, London and Scotland, Botticelli-Inferno presents the dark side of the renowned Renaissance artist. The documentary is set to premiere in Italian theatres in November and is available worldwide.

Stylistic shift in Rai Com’s drama increases international appeal

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AI COM, the commercial arm of Italian public broadcaster Rai, is taking an increasingly entrepreneurial approach to the international market — and its efforts are paying off. Crime drama Close Murders is a big hit with buyers and there are high hopes that new title The Bastards Of Pizzofalcone, about a group of hard-boiled Naples cops, will have similar success — negotiations are under way for remakes in Latin America and the US. Rai Com CEO Gian Paolo Taglia ia said the company is benefiting from having a wider variety of drama. “The emphasis used to be on making drama for Rai 1. But creating a drama that can get eight million viewers on Rai 1 and also sell internationally is not easy,” he said. The big change is that Rai is now making drama for Rai 2, 3 and 4 that is different in style. These dramas have the nuanced stories and complex characters that appeal to buyers.”

Tagliavia said there have also been key internal changes at Rai Com:

Rai Com’s Mattia Oddone (left) and Gian Paolo Tagliavia

“We’ve combined our digital and commercial activities. And we have created a dedicated division to handle international business.”

Series drama is not the only priority for Rai Com, adds Mattia Oddone, head of cinema and international sales saying other key properties they have brought to MIPCOM include period miniseries Studio 1 and movie titles The Ploy and They Call Me Jeeg.

There is also All’Opera, a Rai Com production that showcases

the best Italian opera productions to cinema audiences all over the world. This week, said Oddone, the company appointed Castalia Communications as its distribution agent for its All’Opera productions in Latin America.

Oddone said that there has also been a positive response to Rai Com’s kids’ animation series Pio Rocks!, presented to buyers this week. A 52-part series, the show is fully-funded and now available for pre-sales.

Italy and China seal deal for toon trio ITALIAN animation studio Mondo TV inked a co-production deal with Chinese animation company Henan York Animation for three animation TV series at MIPCOM. The $24m (€22m) deal for the new 3D CGI series follows a successful partnership that has already produced animated series Invention Story (104 x 11 mins).

“We are very happy to sign this agreement today,” Henan York Animation’s director Sophia Song, said. “We hope to make high-quality animation for the global market and that our collaboration with Mondo TV lasts long into the future.”

Under the contract, the three projects will be completed by the end of . The first, a pre

Shaking on the deal at MIPCOM: Henan York Animation Film’s Sophia Song (left) and Eric Song with Mondo TV’s Matteo Corradi

school series provisionally titled The Rowly Powlys, is slated to start production at the beginning of next month.

The deal mar s a significant step

22

for Mondo TV, a leading production and distribution animation company in Europe, to strengthen and expand its co-production alliances in the Chinese market.

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NEWS

Lights, action, iPhone: adapting technology for location shoots

I Yul Anderson

GIVE YOURSELF A HALO OF SOUND FOR VR APPS YUL ANDERSON, the Copenhagen-based US musician and new-tech entrepreneur, is at MIPCOM seeking content and distribution partners for his Halo Surround Virtual Reality system.

Anderson is already known for the Halo Surround headphone, which is made via his Circular Headphone System company. The device enables users to listen to 5.1 and 7.1 surround sound-quality audio from any listening device. He also has the world patent for his invention.

However, he has now combined it with a VR headset to manufacture a surround-sound VR experience, he said.

After users have downloaded the VR app, the smartphone installed inside a headset and connected to the Halo Surround creates an affordable VR experience.

Today’s VR platforms have failed to include high-quality audio and Anderson wants the Halo Surround to remedy that. “Without good audio, there’s no sense in having VR. itho t so nd it is diffic lt to focus on content,” he added.

He’s hoping to meet content producers and believes VR media will revolutionise content designed to teach and educate.

T MIGHT be only a smartphone, but the iPhone’s ability to capture high-end crystal-clear video footage will be demonstrated today at the session Shooting TV Content On An iPhone: They Did It!.

Among the speakers will be Steven Bawol, managing director of UK-based Helion Pictures, which is co-producing the iPhone-made Into The Fire (12 x 60 mins), a documentary about the ris s firefighters face daily as they battle life-threatening blazes.

But the role of the 10 iPhones used for this show was far from a gimmick, Bawol explained. “For a fire documentary, you can’t send cameramen into the fire.

But you can attach an iPhone on to a fireman. It is so small, they don’t notice it’s there.”

The use of the iPhone, normally

a platform for consuming content, continues Bawol’s innovative adoption of technology to grab great, but inexpensive, location shots.

He was behind the Eighties hit The treet, the first series e er shot with a Betacam. He also used GoPro action cameras on helicopters and rescue personnel for Mountain Rescue, a documentary/adventure series.

“I’ve always looked for better, but less expensive, ways to shoot video, especially on location. You can’t build in a studio what you have in real life. Location shots are more realistic and come with better production value,” Bawol added.

“Of course, the iPhone has a few constraints; for example, there’s no optical zoom. But it’s discreet.”

Created with Paris-based Tony Comiti Productions for French network RMC Decouverte HD

Helion Pictures’ Steven Bawol

24, Into The Fire was made with a combination of the iPhone and standard TV cameras. Sky Vision is the distributor.

Newsreel offers feedback to providers STOCKHOLM-based Newstag, the award-winning mobile-first video news service that enables consumers to curate and personalise their own news channels, has launched a B2B edition called Newsreel at MIPCOM. The original Newstag gives consumers who want to create their own news service access to broadcast-quality news videos provided by 3,000 TV channels in 200 countries.

The large amount of data gathered from their usage is then fed into a proprietary “black box” and interpreted by algorithms and geolocation technology. From that, Newstag is able to compile a list of the most watched news bulletins and what is trending by region, country and demographics.

From that data, Newsreel can give online publishers, broadcasters and telecoms groups the option to create bespoke channels based on news that Newstag viewers find the most rele ant.

Newstag’s Henrik Eklund (left) and Camilla Dahlin-Andersson

These companies would then be able to compare the stories selected for their own news services to the crowd-curated news items Newstag users have chosen for themselves.

“Over time, we believe personalisation is the way to go,” said Newstag co-founder Henrik Eklund. “In the meantime, we can provide our data to broadcasters, online media and telcos to target their viewers better with news that reflects the interests

24

of viewers.”

Co-founder Camilla Dahlin-Andersson added: “It means traditional news providers can offer more relevant newsreels that could complement or replace what they do at a fraction of the cost. And consumers can compare what they’ve chosen to watch with the broadcaster’s standard output.

This could even empower viewers to make a difference.”

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mipcom

MIP Kids’ Board promises to e p firs i ers fin eir fee

“I e

a e urs

unri

s

BEYBLADE BURST CLINCHES DEAL WITH DISNEY XD KIDS CHANNEL Disney XD in the US has secured the rights to Beyblade Burst, the latest generation of the iconic Japanese animation franchise. The new series consists of 51 half-hour episodes and will premiere in December.

The deal, which covers use on Disney XD’s TV and digital platforms, was clinched by Sunrights, which manages the distribution of broadcast, non-toy merchandising and promotional rights for Beyblade Burst outside of Asia.

In addition, Disney XD has also licensed a total of 350 episodes of Beyblade animated content from previous series.

Kaz Soeda, managing director of Sunrights, said: “We are thrilled to team up with Disney XD and believe its programing and digital strategies make them the ideal network to introduce Beyblade Burst to a new generation of fans.”

Alongside the DisneyXD deal, Hasbro will launch a new Beyblade Burst product line in the US from January 2017. There will also be an app, available in the App Store and Google Play for iOS and Android devices.

’ M V E RY exc i t e d that there will be so many new events for the kids’ com munity with the Junior @ MIPTV’ programme next April,” said Karen Miller, vice-president, worldwide programming strategy, acquisitions and co-productions, Disney Channels Worldwide.

“We’re helping to create a new competition for short-form content and helping first timers find their feet at the market.”

Miller is a member of the ninestrong MIP Markets’ Kids’ Buyers Advisory Board, working with Reed MIDEM to raise the profile of kids’ programming at MIPTV.

isne

anne s s

aren

i er

Fellow members are Jules Borkent (Nickelodeon), Deirdre Brennan (Corus Entertainment), Jackie Edwards (BBC), Hitoshi Furukawa (NHK), Luca Milano

(RAI), Adina Pitt (Cartoon Network), Tiphaine de Raguenel (France Televisions) and Janine Weigold (SuperRTL) “Short-form has universal appeal and kids love it,” Miller added.

“It’ll be great for the industry if we can bring the talent closer to the investors.”

“We’re also helping Reed MIdo more for first timers at the mar et. I remember my first market, and how overwhelming it all felt. So members of the advisory board have agreed to make ourselves more accessible to people. If we can do something to make the market easier for newcomers, I think that would be a really positive contribution.”

KIVA CAN DO! from Irish producer Kavaleer features a young girl with a fertile imagination and an expansive spirit that allows her to explore nearly everything and anything. The show, aimed at three- to six-year-olds, has been acquired by Lagardere for its Gulli Channel. “We love it because it’s very creative and thoroughly contemporary,” channel director Caroline Cochaux, said. “It’s very much in the spirit of the kids of today.” Celebrating the deal are: Gulli’s Julien Figue, Kavaleer’s Andrew Kavanagh; Happy Audience’s Estelle Lafoy; Kavaleer’s Gary Timpson; Lagardere’s Caroline Cochaux; and Lacey Entertainment’s Brian Lacey.

ore sa es ac ion for ani e u

4K MEDIA’s Yu-Gi-Oh! continues its worldwide march at MIPCOM, announcing deals with Portugal’s children’s channel SIC-K and Canada’s Teletoon, both of which have extended their commitment to the anime brand.

Following strong ratings for the first season of u i h ’s e al, SIC-K has licensed seasons two and three of the franchise, along with seasons one and two of ARC-V. Teletoon has also extended its licensing agreement to include season two of ARC-V. Nicole Correia, acquisitions manager at SIC, said the audience’s response to the first season of

e al not only “ alidated our belief in the appeal of the Yu-GiOh! franchise, but also proved there’s a niche that enjoys anime very much”.

Jennifer Coleman, vice-president of licensing and marketing for 4K Media, which manages the licensing and marketing of the Yu-Gi-Oh! brand, said the franchise’s global appeal was rooted in “beautiful production in the typical anime style, along with great action, adventure, gaming — and a lot of monsters. All the elements, in other words, that appeal to and engage young boys.”

In addition to the animation fran

25

i

e ia s Jennifer o e an ef an s ico e orreia

chise, which now includes more than episodes o er fi e series, the Yu-Gi-Oh! brand also includes a trading-card game, video games and feature films.

WEDNESDAY 19 OCTOBER THOUGHT LEADERSHIP EVENT OTT & CONTENT DISTRIBUTION STRATEGY SUMMIT 8.30-11.00 | Carlton Hotel By invitation In partnership with

SPEAKERS: Henrik Bergström, Partner, Bird&Bird LLP, Sweden Jack Davison, Director of Global Trends and Insights, 3Vision, UK Kelly Day, Chief Digital Officer, AwesomenessTV, USA Jakob Mejhede Andersen, EVP, Group Head of Programming and Content Development, Modern Times Group MTG, Sweden David Mowrey, Vice President of Business Development & Strategy, IBM Cloud Video, USA Jim Packer, President, Worldwide TV & Digital Distribution, Lionsgate, USA Morgan Wandell, Head of Drama Development, Amazon, USA

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Henrik Bergström

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DRAMA SCREENINGS ‘FANGAR-PRISONERS’ AND ‘CHARITÉ’

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Q&A with Zhao Yifang, President, Huace Group China, and Chuang Hsun-Hsin (Taiwan), Director, ‘The Legendary Tycoon’, ‘Mouth Love Rice’, ‘Heart Beat’, ‘Love in Spring’, ‘Another Brilliant Life’.

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18/10/2016 17:02

OFFICIAL CONFERENCE & SCREENINGS TRENDS & VISION

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DATA-DRIVEN ENTERTAINMENT: IT ISN’T BRAIN SURGERY (OR IS IT?) 9.15-10.00 | Auditorium A

Prof. Patrick M. Georges

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10.00-11.00 | Sony 4K Ultra HD Theatre

Prof. Patrick M. Georges, Chief Science Officer, NEURO Institute / The Fiction Lab, Belgium

SPEAKERS: Rian Bester, CEO, Insight TV, Netherlands Florian Edenberger, Director Special Projects, Red Bull Media House, Austria

MODERATOR: Marianne Behar, Journalist, L’Humanité, ACS, France Pernille Bech Christensen

Rian Bester

MODERATOR: Chris Forrester, Contributing Editor, Advanced-television.com, UK Florian Edenberger

CREATIVE MASTERCLASS: COMEDY GETS SERIOUS 10.10-10.55 | Auditorium A

Lydia Hampson

SPEAKERS: Pernille Bech Christensen, Executive Producer, TV2 Danmark, Denmark Lydia Hampson, Producer, Two Brothers Pictures, UK Pieter Van Huyck, Head of scripted, deMensen, Belgium

SHOOTING TV CONTENT ON AN iPhone: THEY DID IT! Pieter Van Huyck

Pierre Langlais, Journalist, Telerama, ACS, France

Anand Gandhi

THE RISE OF FACTUAL IN PROGRAMMING’S HORIZON

Steven Bawol, Managing Director, Helion Pictures, USA Patrick Dedole, Director/Showrunner, Tony Comiti Productions, France Rodolphe Guignard, Head of Pre-Sales & Co-Productions, RMC Découverte, France Barnaby Shingleton, Director of Entertainment and Factual, Sky Vision, United kingdom

Steven Bawol

Patrick Dedole

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Rodolphe Guignard

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Joel Philp

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WEDNESDAY 19 OCTOBER TRENDS & VISION

MEDIA MASTERMIND KEYNOTES

ACQUISITION SUPERPANEL: GLOBAL STRATEGIES

14.45-15.15 | Grand Auditorium

12.30-13.15 | Grand Auditorium SPEAKERS: Alexandra Finlay, Head of Acquisitions and Co-productions, UKTV, UK Mike Sneesby, CEO, Stan, Australia Zelda Stewart, Head of Acquisitions, Mediaset, Italy Cathrine Wiernik, Director of Programs, Bonnier Broadcasting, Sweden

MODERATOR: Anna Carugati-Guise, Group Editorial Director, World Screen, USA

ADI HASAK

Alexandra Finlay

Mike Sneesby

Zelda Stewart

Cathrine Wiernik

ADI HASAK CREATOR/EXECUTIVE PRODUCER/ SHOWRUNNER, USA’S ‘EYEWITNESS’ & NBC’S ‘SHADES OF BLUE’

SCREENINGS FRESH TV FICTION 13.30-14.15 | Grand Auditorium & Balcony

Adi Hasak is Creator, Executive Producer and

In partnership with

Showrunner of USA Network’s “Eyewitness” produced by Universal Cable Productions and

PRESENTER: Virginia Mouseler, CEO, The Wit, Switzerland

Virginia Mouseler

NBC’s “Shades of Blue”. In his MIPCOM keynote, Hasak will explore the crossover between the film

VIRTUAL REALITY

and TV industries, as well as the creative process behind the adaptation of the original Norwegian

GETTING REAL ABOUT VR: WHERE IS THE MONEY?

format on which “Eyewitness” is based. He will tell MIPCOM delegates that quality is key in today’s

14.15 -14.45 | Auditorium A In partnership with

Anthony Geffen

saturated marketplace if you want to rise above the noise.

SPEAKERS: Anthony Geffen, CEO & Executive Producer, Atlantic Productions, UK Kay Meseberg, Head of VR/360, ARTE G.E.I.E., France James Milward, President / Executive Producer, Secret Location (“Halcyon”), Canada

Kay Meseberg

MODERATOR: Leo Barraclough, Senior International Correspondent, Variety, USA

MODERATOR: Oliver Autumn, Managing Partner, AutumnCourage Film & Events, Germany

James Milward

4K ULTRA HD

UHD: THE LATEST DEVELOPMENTS 14.30-15.30 | Sony 4K Ultra HD Theatre SPEAKER: Peter Sykes, Strategic Technology Development Manager, Sony Professionals Solutions Europe, UK

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Peter Sykes

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OFFICIAL CONFERENCE & SCREENINGS MEDIA MASTERMIND KEYNOTES 15.30-16.15 | Grand Auditorium

MIPCOM PERSONALITY OF THE YEAR KEYNOTE: SHONDA RHIMES Shonda Rhimes, creator and writer of groundbreaking hit shows and one of the most celebrated and influential producers in Hollywood, has been named MIPCOM 2016 Personality of the Year. The internationally respected Rhimes, whose TV credits include ABC Studios’ ‘Grey’s Anatomy,’ ‘Scandal,’ ‘Private Practice,’ ‘How to Get Away with Murder,’ and ‘The Catch’ will be honoured at a gala dinner for leading international television executives at the Carlton Hotel, Cannes, on Wednesday 19 October and will be featured at a Media Mastermind Session in the Grand Auditorium of the Palais des Festivals.

MODERATOR: Anna Carugati-Guise, Group Editorial Director, World Screen, USA

SPECIAL PRESENTATION CANNES GOES TO MARS 17.30 | Grand Auditorium, doors open 17.00

BY INVITATION and with MIPCOM BADGE LIMITED SEATING

MISSION EXOMARS: PRESENTING THE LANDING OF THE EXOMARS PROBE SCHIAPARELLI Presented in partnership with the European Space Agency, Thales Alenia Space and the City of Cannes, French language - no translation.

SPEAKERS Jean-François Clervoy, Astronaut Jean-Pierre Bibring, Astrophysicist: Is There Life on Mars Host: Katy Haswell, Broadcaster, news anchor and Live Rocket Launch host

Screening of ‘MARS’ In English with French subtitles From Brian Grazer and Ron Howard’s Imagine Entertainment and RadicalMedia and presented by Fox Networks Group Content Distribution

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mipcom

NEWS AXN FORGES LINKS WITH PINEWOOD AXN, THE international television network group owned by Sony, has joined forces with Pinewood Television to develop a slate of six television projects, with the goal of producing three series over the next three years.

The six series will be financed in a partnership between Sony Pictures Television Networks (SPTN) and Pinewood Television — itself a joint venture between Pinewood Studios and investment company StoryFirst.

The proposal is for them to air on AXN channels in Latin America, Asia, Africa and Europe, with an story emphasis on high-impact action, crime and mystery.

The agreement was brokered by Marie Jacobson, executive vice-president programming and production at SPTN, and Peter Gerwe, a director for Pinewood Television.

Jacobson said: “As we look for alternative paths to expand original series development, Pinewood TV makes for the ideal partner. We look forward to developing projects that play both in the UK and on our channels around the world.”

Gerwe added: “We are proud to move forward to bring alit first r n programming to the AXN networks. We are looking forward to bringing our financing capabilities to the market.”

Pinewood Television is headed by Helen Gregory, whose credits include Sky’s Fortitude, the BBC’s The Last Kingdom and ABC’s The Catch.

BBC Worldwide in breakthrough Chinese deal for Planet Earth II

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Tencent’s Stefani Sun (left), BBC Worldwide’s Michael Gunton and David Weiland, and Tencent’s Molly Feng

LOBAL interest in BBC Worldwide’s (BBCWW) Planet Earth II (6 x 60 mins) continues to build with the announcement of a new co-production deal with Chinese internet giant Tencent. nder the agreement the first time that BBCWW has co-produced a documentary with a Chinese video platform — the David Attenborough-narrated series will be broadcast simultaneously on the UK’s BBC1 and Tencent’s v.qq.com platform and video app.

David Weiland, BBCWW’s executive vice-president, Asia, said Tencent’s involvement would “bring this landmark series to a wider audience across greater China”.

Jeff Han, Tencent Online Media Group vice-president and general manager of marketing and video content co-operation, added: “We’ve been partnering with BBCWW for some time now, working with them to bring premium documentaries to our audiences. This agreement signifies a new level in our relationship, which we hope to grow further.”

In other BBCWW deals this week, ZDF has commissioned a German version of the Tuesday’s Child format For What It’s Worth. An initial 20-epsisode run of the antiques quiz will be produced by BBCWW and all3media joint venture Tower Productions to be transmitted on ZDFneo in early 2017.

Karen Smith, CEO of Tuesday’s Child, said: “It’s a fresh, playalong quiz format built around the most compelling part of any antique show — how much is it worth?”

Fox takes Ukrainian political satire UKRAINIAN political comedy Servant Of The People this week made history, not ust as the first Ukrainian original series to be optioned by Fox Television Studios for a US remake, but also as the first original series from the country to be licensed to Netflix. “It’s a breakthrough for the Ukrainian industry,” said Nicola Soderlund, managing partner at its Swedish distributor Eccho Rights.

“Servant Of The People is such a strong comedy concept and is so relevant with the contemporary mistrust in politicians,” Soderlund said. “ rom the first time I heard about it, I knew it was go-

Eccho Rights’ Nicola Soderlund

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ing to be a hit. It’s simply a brilliant series.”

The show — about an ordinary school teacher swept to the Ukrainian presidency on a wave of anti-corruption sentiment — was made by Kvartal 95. Season one is complete, and season two — and a movie — are currently in production for delivery next year.

Eccho Rights is also selling comedy game show Crack Them Up, in which ordinary people perform comedy for professional comedians. The show — now in season 12 in Ukraine — has been optioned in several territories and commissioned for remakes in Finland and Italy.

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NEWS ZEE FOCUSES ON FORMAT FACTORY PRODUCTION

Singapore’s Bomanbridge Media extends its reach across Asia

S Dance India Dance (ZEEL)

ZEE ENTERTAINMENT Enterprises Limited (ZEEL) has launched Format Factory to develop new formats for the international marketplace. To kick off the initiative it is showcasing six new and current formats at screening sessions in the Zee Bollyworld Preview Theatre in its booth. Sunita Uchil, chief business officer, international ad sales, global syndication and production, said: “Zee has a rich history of developing and producing programmes with universal themes.” Zee’s unscripted formats include dance reality show, Dance India Dance, which is launching its sixth season later this year. New game show Moksha is another priority. Zee’s scripted formats include: Phantasmagoria, a series of 12 twisted, zodiac-based short stories set in a pawn shop; The Eclipse Harvest, a crime series about the NYPD Organized Crime Control Bureau; and comedy shows Five Is A Crowd and Kareena Kareena.

VR TO EDUCATE ASIA PACIFIC HONG Kong-based VR Educate, which specialises in immersive virtual reality learning, has signed a number of MIPCOM deals with VR content companies. Deals with Australia’s Virtual Content Group (VCG), EyeQVR from the US and Korea’s Nineplanners will ensure a steady supply of “the latest and best” VR content to schools and students across Asia Pacific, said VR Educate’s founder and CEO, Lanny Huang, who described her company’s mission as “championing the introduction of VR learning in classrooms across the region”. The deals’ content highlights include Children Confidence Builder Series, which aims to boost self-esteem; and a stage play called Vernetzt, which features interactive dance performances.

INGAPORE-based content distribution and production agency Bomanbridge Media has closed a raft of Asian deals at MIPCOM. The deals cover more than 300 hours of factual programming and were concluded with major broadcasters including Thailand’s PPTV and Now26, JEI TV South Korea, CCTV-9 and -10, and Radio Television Brunei.

Radio Television Brunei acquired programmes including Journey To The Deep, e ploring the different seafloors around the world and Britain’s Ultimate Pilots: Inside The R four one hour action films following RAF display teams during the summer leading up to the 75th anniversary of The Battle of Britain.

Thailand’s digital ter restrial channel Now26 acquired shows including Baboon Bandits, Polar Bear Town and Survivor while PPTV bought 20 hours of programming including Atlantic – Fire In The Ocean, Life In The Blue, Wild Capture

Animal Atlas: opens new chapter in China

School and Electric Amazon.

China’s CCTV-10 acquired series 11 of Animal Atlas — a show that takes audiences on an HD adventure through the animal world — while CCTV-9 also took several hours of factual.

Sonia Fleck, CEO of Bomanbridge Media, said the company is now reaching every Asian country: “Over the years, we have cultivated close connections within the region and are pleased to bring these exciting and informative programmes from our library that are sure to resonate with their audiences.”

Malaysia makes raft of global deals

MALAYSIAN production companies signed multiple deals worth over $4m (€3.6m) at this MIPCOM. This year, KKMM and FINAS led the Malaysian delegation of over 40 creative companies to Cannes.

Primeworks Studios has inked a deal with Japan’s Nippon Television Network Corporation (Nippon TV) and Sumitomo Corporation to co-produce comedy series Jenaka Kampung Kalut - Season 2.

Primeworks Studios also signed a deal with Canadian television production and distribution company Portfolio Entertainment, which has acquired the studio’s Welcome To The Railworld Japan and Best In The World Japan,

about the extraordinary culinary delights of the island nation.

“We are proud to be one of the companies that has caught Portfolio Entertainment’s attention at MIPCOM. Through this partnership, Primeworks Studios hopes to bring Asian content to screens across the globe,” said Marini Ramlan, general manager of content innovation and distribution, Primeworks Studios.

Animasia Studio signed another deal with Strika Entertainment to produce two new seasons of Supa Strikas, and Scubazoo confirmed a deal with ustralia’s ild ear ntertainment to co-produce Borneo’s Secret Kingdom.

The 40-strong Malaysian delegation was led by representatives of KKMM and FINAS

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NEWS SCRIPPS TAKES TO THE ROAD WITH NEW SHOWS FOR TRAVEL CHANNEL SCRIPPS Networks Interactive has announced two new original commissions, Olly Smith: Ale Trails (5 x 30 mins) and Take Me Home (5 x 30 mins), for Travel Channel in association with Brand USA. “The collaboration with Brand USA not only provides them with a platform to reach a highly engaged audience across new channels, but also offers our viewers a line-up of excellent new programming, featuring favourite international and established Travel Channel personalities,” Kevin Dickie, senior vice-president, channels, UK & EMEA, Scripps Networks Interactive, said.

“We are proud to be associated with these two series; Olly Smith: Ale Trails showcases the successful US craft beer industry; while Take Me Home takes the audience to some of the most treasured places our renowned home-grown talent have lived,” said Chris Thompson, president and CEO of Brand USA. Take Me Home is hosted by veteran CBS correspondent Peter Greenberg, who interviews celebrities about the places they call home, including Danny DeVito in New Jersey, Dolly Parton in Tennessee, Ted Danson in LA, Harry Connick Jnr in Louisiana and Jeff Daniels in Michigan.

Both series will premiere in December across UK & EMEA.

Ted Danson (left) with Peter Greenberg in Take Me Home

AMC UK to launch Eva+ in new African telenovela push

A

MC Networks International UK (AMCNI UK)has announced the launch of telenovela channel Eva+ in Africa, a companion channel to Eva, which came on air in early 2015.

Eva+ will begin broadcasting on November 1 on MultiChoice’s digital pay-TV satellite platform DStv, on English and Portuguese channels. It will also be available on DTT platform GOtv. Eva+ will offer high-production-value Latin American telenovelas fully dubbed in English and ortuguese, and will be the first channel in AMCNI UK’s regional portfolio to be available on MultiChoice’s DTT platform. ouise ottrell, ice president affiliate sales for AMCNI UK, said: “Telenovelas are increasingly popular in the region, so it’s exciting that with

TERN’s Rian Bester (left), with Xtreme TV’s Gregg Bywalski

XTREME Video is ramping up its coverage of the thrills and spills of Masters Of Dirt (MOD) in an UltraHD programme deal with TERN’s (TV Entertainment Reality Network) Insight TV. Inside The Masters Of Dirt (6 x 26 mins) is a non-scripted reality show following the stunt stars of the globetrotting , as they ta e their stadium show filled with bicycles, motorbi es, uads and even snowmobiles, around the world.

Xtreme Video is a multi-channel network with more than two million social media fans watching shows from its daring creators, who document surfing, umping and many other e treme activities in between. Its move into TV programming is a new avenue, under the guidance of general manager, Gregg Bywalski. “Xtreme Video sees huge opportunity in connecting digital nati e creators, with substantial social media following and influence, with brands, broadcasters and platforms globally,” Bywalski said.

Scoop picks up lifestyle service FNTV CANADIAN streaming service FNTV has signed an output deal with Dutch entertainment network Scoop to bring over 500 hours of Scoop content to FNTV’s OTT lifestyle streaming service in the US, Canada and the UK. FNTV is available in over 30 countries on streaming platforms such as Apple TV, Roku,

Eva+ we will now be able to reach brand new viewers.”

CEO of MultiChoice Africa, Tim Jacobs, added: “Telenovelas have always been a sensation with our subscribers and we hope this addition further demonstrates our commitment to bringing programming that will make viewers eager to tune in to DStv and GOtv.” Eva+ will air double bills of four telenovela titles every weekday and marathons over the weekend, including Buscando A Maria (Searching For Maria) and Cuando Me Enamoro (Timeless Love). Eva continues to broadcast on the DStv platform, with two of its most successful series, Somos Familia (We Are Family) and Amores Con Trampa (Fooled Into Love), now available on seven-day catch up.

Amazon Fire TV, and the Opera TV store.

The agreement covers entertainment content in the genres of film, fashion, music and lifestyle entertainment programming.

Top titles include: fashion show Fashion Forward; Instaglamour, billed as “a weekly magazine show for the social media savvy millennial”; and Films & Stars, Celebrity

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Scoop and Hollywood Buzz.

FNTV CEO David Greener said: “Our mission with FNTV is to break the programming malaise that we are seeing in the industry which shows a dearth of aspirational programming and more of a focus on reality TV, adding: “Scoop Network is an integral part of our programming strategy. With the addition of Scoop Network, we are well poised to lead the OTT sector in lifestyle entertainment.”

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NEWS “I have acted in a lot of Japanese fi s an series but nothing with is a i ion

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ORIBITO II: Guardian Of The Spirit is a live-action fantasy series based on the novels of Nahoko Uehashi — likened by some to JRR Tolkien’s epic The Lord Of The Rings. Produced by Japanese public broadcaster NHK in 4K and HDR, it is the second in a planned trilogy of T series, the first of which consisted of four parts.

NHK has been marketing the franchise strongly at MIPand has generated widespread interest among buyers. In Cannes to promote Moribito is actor Kento Hayashi, who told the I ews it was a rare opportunity to be involved in such a special project. “I have acted in a lot of apanese films and T series, he said. “ ut nothing with this ambition. irector Ta u ato said the production was inspired by apanese mythology but in TV production terms has been a groundbrea ing e perience “It was completely new for us, so we called in lots of talent to help us ma e the best possible show. There was no restriction on our creati ity.

Executive producer Kiyoshi Umibe added: “There are a lot of Asian elements to this series, but it was planned from the start to appeal to an international audience. e want to rise to the challenge of the international mar et and ha e to empower oursel es to aim for that.

Hayashi was also inspired by the challenge “I could feel the comple ity of the production, and the attention to details such as costume, backgrounds and computer graphics. It was such a high uality production I really had to pour all of my energy into matching its scale.

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Kento Hayashi

mipcom

l STUDIO LIDDELL is at MIPCOM with augmented and virtual reality content. CEO and founder Ian Liddell and head of new technologies Peter Caddock are at the market with a demo headset and are inviting interested parties to feed one of their impressive dinosaurs in the Palais.

The UK company is developing for Oculus, HTC Vive and Samsung Gear.

Studio Liddell’s hungry dinosaur

l AMEBA TV — one of the newest MIPCOM exhibitors in the Canadian Pavilion — is a multiplatform streaming offer for kids, featuring a line-up of educational, comedy, music, animation and live-action programming from leading content providers. In Cannes the company is seeking meetings with international producers, distributors and content providers looking for access to large North-American audiences. l HOHO RIGHTS has sold animation Everybody Loves A Moose (52 x 7 mins) to TG4 in Ireland, SIC K in Portugal and Portuguese-language channel DSTV in Angola and Mozambique. Aimed at six- to 11-year-olds, the series features young Jack and his impulsive expert-in-everything friend Moose. l ZHEJIANG MEDGAMEDIA — an online platform — is attending MIPCOM with LeTV and Tencent Animation. LeTV is showcasing its animation show Lekoo Music, and a project currently in development with Korea’s Gale Studio.

Mozambique.

Sports stars and celebs wheeled out for cycling reality show

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K-BASED distributor DCD Rights has teamed up with STV Productions and Krempelwood to launch Tour De Celeb to the international market this week.

The four-part series follows eight celebrities as they prepare and take on the toughest physical and mental challenge in the amateur cycling world – L’Etape du Tour in France.

They have just eight weeks to prepare before taking part in one of the world’s toughest races over the most mountainous stage of the Tour de France.

Some of the UK’s best-loved sports stars, including Darren Gough, Austin Healey and Amy Williams, together with top entertainment and TV talent, Louie Spence, Jodie Kidd, Lucy Mecklen-

A SCI-FI writer whose past credits include Star Trek has said that attending MIPTV and MIPCOM has been a “life-changing” experience.

Marc Zicree, who has written episodes of Star Trek: The Next Generation, Deep Space Nine and abylon , came to annes for the first time in April this year for MIPTV, which, he said, was like the “world in one place” for a TV writer.

He is now at MIPCOM to discuss his latest pro ect, a science fiction series, pace ommand, currently in post-production of a two-hour pilot show. The pilot features among its cast Mike Harney from Orange Is The New Black and Mira Furlan from Lost and Babylon 5.

DCD Right’s Pilar Perez and STV’s Paul Sheehan

burgh, Hugo Taylor and Angellica Bell, will take on the challenge. The series is being produced for Channel 5 in the UK. ci fi ri er

arc icree

HG snaps up rights to German sitcom

HG DISTRIBUTION has snapped up global distribution rights for The Finellis, a 12 x 30 mins sitcom from Flying Finelli Productions and 908video, written and starring actor, singer and producer Mark Janicello.

US-born artist Janicello developed and scripted the show, which he describes as a semi-autobiographical series about a famous singer (Tony Finelli) who is sent to gaol for 15 years to avoid his family being murdered by the Mob. On his release he discovers his wife has divorced him and turned his home into a boarding house.

The pilot also stars Timo Merkhoffer, Anne Alexander Sieder, Katharina Sporrer and Gabriela Burkhardt.

Janicello claims that the show, which is being promoted by HG’s Henry Gagnon at MI, aims to be the first successful sitcom produced in Germany and then exported to the rest of the world.

The pilot, which includes animated sequences from Berlin-based animation studio 908video,

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was premiered at the Berlin Serienale in September and aims to go into production in January 2017. It has a score and songs by Ulf Weidmann.

Said Janicello, a former opera singer: “When I moved from stage to TV, everybody said to me ‘You need your own show’ – but I was only offered scripted reality or docu soaps. I don’t want to be Kim Kardashian.”

HG’s Henry Gagnon and Mark Janicello

NEWS NBC TO ADAPT TELEFE’S TIME SLIP DETECTIVE NBC IS adapting Argentine TV drama Un Ano Para Recordar, first broadcast by Telefe in 2011.

The American version will be called A Year To Remember and will be produced by Kapital Entertainment and Telefe USA, the LA-based arm of Argentina’s biggest broadcaster.

The adaptation will be written by Michael Foley and is the story of a homicide detective who argues with her h sband when he finds her with her lover.

In the ensuing fight, the main character accidentally kills her husband. However, when she wakes up the next day, she finds out that time has gone back exactly one year, to the day when she meets her future lover and her husband is still alive.

SECOND SERIES FOR ACCLAIMED KIDS SHOW A SECOND series of Puerto Papel (Paper Port) has been confirmed with Zumbastico Studios of Chile, Gloob in Brazil, Senal in Colombia and PakaPaka in Argentina acting as co-producers.

After being recognised internationally at festivals such as Prix Jeunesse in Germany, India Catalina in Colombia, and TAL in Uruguay, the first series of the Chilean show was the most watched programme on Brazilian kids channel Gloob and is credited with increasing the audience by 30%. Meanwhile another Chilean kids’ show, Pinata Fiesta, produced by Lunes Cine TV will be co-produced with Brazilian producer Hype.

Sideways’ Solera hails strong demand for top-quality factual

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PECIALIST documentary and factual sales agency Sideways Film is at MIPCOM with a slate of single films and series.

Key titles include Rise Of The Trolls, The Price Of Fairness, In The Name Of Honour and fourparter Taboo.

Sales and acquisition manager Juan Solera said: “One of the things that sets us apart is that we attend so many markets and festivals each year. It means we have a very good idea of the key trends in the documentary business.”

The company also gets involved in pro ects early, either as a financial or production partner. “That way we can make sure that the final ersion of the film fits with the requirements of the international market,’’ added Solera.

Solera believes demand is currently healthy for high-quality factual films especially those with good access: “We have a film called Trophy Hunters, which has unique access to a safari club where millionaires hunt

large animals such as rhinos. In The ame f Honour is a film about honour killings that speaks to the victims and perpetrators in countries like Jordan and India.”

Public broadcasters are key buyers of the films that Sideways produces, finances and distributes. “But pay TV and SVOD are also increasingly important.

Audiences are interested in doc-

umentaries that have the feel of fiction with strong characters. o we create films to entertain mainstream audiences.”

In terms of hot topics, said Solera, buyers are interested in internet themed films “Rise f The Trolls is a case in point. It looks at the rise of online trolls and issues around anonymity and freedom of expression on the internet.”

Sideways Film’s Juan Solera

FRESHWATER Films, headed up by documentary maker and presenter Ross Kemp (pictured), is to produce a sixth season of Extreme World, which will premiere next year on Sky1 and will also be available on online streaming service Now TV. The series follows Kemp as he travels the world tackling hard-hitting topics including the smuggling of migrants across borders, the deadly consequences of the war on drugs and the rise of violent extremism.

Celia Taylor, head of non-scripted commissioning at Sky said: “Extreme World has been a huge success for us, giving our audiences an insight into the dramatic human stories behind the headlines at home and overseas.”

Freshwater Film’s Ross Kemp

Drive lands deals for scary landings PRODUCTION-funding and distribution agency Drive has secured international sales for documentary film Super Scary Plane Landings (1 x 60 mins), including NTV in Germany, Channel 9 in Australia, Discovery Canada, TV2 Denmark, MTV in Sweden and RTL in the Netherlands. The special was produced by NBC News

production arm Peacock Productions, with Drive also in advanced discussions to close a US broadcast deal.

The documentary, originally commissioned by Channel 5 in the UK, features eyewitness footage of frightening airplane landings.

The company also announced the pre-sale of The World’s

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Deadliest Weather (13 x 60 mins) to BBC Worldwide for BBC Earth in South Africa, Poland, Nordics, Asia and Central Eastern Europe.

“This type of high quality, popular factual content always does well internationally, and we are working hard to bring more to market,” said Drive co-founder Ben Barrett.

mipcom

Mattel Creations celebrates urr of a or con en ea s

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WEEK of deals for Mattel Creations culminated today in a three-year UK broadcast pact for 2D animation WellieWishers (26 x 11 mins) with Sony channel Tiny Pop. Mattel Inc’s theatrical, TV and digital content arm has also greenlit a second season of WellieWishers, which is aimed at fi e to se en year old girls. It oins se eral attel properties, including Barbie Dreamtopia and Monster High, on Tiny Pop, where it will air in 2017. eanwhile, sales ha e been buoyant across Asia-Pacific, Europe and Africa for the enduringly popular Thomas & Friends. The brand’s growth in the region is being led by China, where multiple deals ha e been signed with both broadcasters and digital plat-

forms, including CCTV, LeEco, China Mobile and Air Media.

Other broadcasters to take Thomas & Friends series and specials include NHK (Japan), Global TV (Indonesia), GMA (Philippines), KBS (South Korea), TVNZ (New Zealand), TVB (Hong Kong), ABC (Australia), Channel 5 (UK), Minimini (Poland), Next (South Africa) and RTE (Ireland). attel Inc’s chief content officer, Catherine Balsam-Schwaber, said: “This market has been bigger, better and more exciting than e er. e’ e had incredible feedback on our premium content and franchise brands, and the opportunities to work with them are inspiring and forwardthinking.”

In other Mattel Creations’ news, an e clusi e se en year deal has been signed with ni ersal

ight d enture and arbie Video Game Hero.

Balsam-Schwaber added: “From our exciting SVOD deals with UPHE Content Group for Barbie to partnering with Amazon to debut our American Girl Series WellieWishers, through to Thomas riends finding new homes in Asia and beyond, we’re excited about the future.”

Pictures Home Entertainment [UPHE] Content Group for the worldwide SVOD rights to the arbie mo ie catalogue, including new releases Barbie: Star-

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NEWS Exotic food series tops ine i annes ros er

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K INDEPENDENT distributor Cinef lix Rights is at MIPCOM with new additions to its slate covering the reality, factual and scripted genres. Priorities include: Chuck’s World (13 x 30 mins), from Trio Orange, which follows celebrity chef Chuck Hughes on a culinary adventure where he tracks down some of the world’s most exotic ingredients to create dishes typical of the regions he visits; Style Factory (14 x 30 mins), from Cineflix Productions, a behind-the-scenes look at how fashion and beauty products are made; and Wild Animal Rescue (6 x 60 mins), from Top Shelf Productions and Clawed Hat ilms, profiling animal welfare organisation Four Paws as they undertake daring missions to 216v2_FRAPA_N3_COM

rescue abused animals. inefli Rights is also e clusi e ly premiering scripted formats from Canadaian drama producer Aetios Productions, including series Ruptures, Blue Moon, Unit 9, Fortier and 30 Lives.

Chris Bonney, CEO rights at Cineflix Media said: “As we build our scripted offering to buyers, I’m also really pleased to be adding Aetios Productions’ award-winning scripted formats to our catalogue.”

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FOLLOWING its premiere last August, Chica Vampiro has been a major success in France on Lagardere’s kids channel Gulli. “The series’ success can be attributed to the marriage of great music, choreography and humour with storylines that appeal to distinct and gender-neutral age groups,” Ignacio Orive, president of Brands & Rights 360, said.

On-screen success has been mirrored by the licensing and merchandising – including publishing, dolls, apparel and back-to-school products.

A CD of music from the series has gone platinum in only three months with more than 100,000 units sold, and two tours of live shows went to 20 cities. The eight Chica Vampiro books are in the French Top 20 and one million books are expected to be sold by the end of this year.

On the SVOD side, two deals have recently been signed giving rights to Canal Play and TFOU Max. In addition to France and Italy, the series has been sold to Biggs Portugal, Zoom Israel, Nickelodeon Benelux + Poland and will soon premiere on Gulli Girl Russia. ica a piro oo

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Wounded Love plays out by the sea at Kanal D’s pop-up cinema

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PENING in 1912, Wou nd e d L ove st a rs Ha l it Ergenc as Cevdet, a committed patriot who fights in the irst al an War and is forced to choose between family and country. Cevdet’s beloved wife Azize — played by Ergenc’s real life wife erguzar Korel — has her own choices to ma e. Told e det is a traitor, and learning of his infidelity with another woman, she herself is pursued by his oldest friend Te fi .

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about the meaning of love, family, country — and war,” said Korel. “And it’s a story we tell from both the ree and Tur ish sides.”

Wounded Love is one of the shows

being screened for buyers by Kanal in I ’s first e er pop up cinema, which is in a converted truc situated near the articipants’ Club on the Croisette.

“The cinema is great, said erna ure ci Sendir, director of corporate communications and mareting at ogan T , which owns Kanal . “The seats are com for t able, a nd we have air-conditioning, drin s and snac s, so we can give buyers a very enjoyable exper ience.”

Wounded Love stars Halit Ergenc and Berguzar Korel sample MIPCOM’s pop-up cinema

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Jumpwire moves on Midsomer fanbase

JUMPWIRE Media, the in-

ternational digital agency that develops and manages social media platforms for entertainment brands, has snapped up a related deal for Midsomer Murders, the popular UK crime drama series.

The agreement has umpwire Media overseeing, managing and growing the 200,000 fans that follow the Midsomer urders brand on aceboo .

Midsomer Murders is produced by entley roductions with all3media International, which also has the distribution rights. umpwire edia also handles the social networ s for mithsonian hannel show The eapon Hunter and randmade.T , a social media based T channel showcasing the best brands and products worldwide.

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NEWS

Espresso takes Whispering Bob’s music from Under The Apple Tree

Special Treats Distribution’s Louise Brookes and Andrew Winter

SWEET DEALS FOR SPECIAL TREATS AT FIRST MARKET A NEW player on the music programming distribution stage has reported some strong pre-sales at its first MIPCOM. Special Treats Distribution’s Andrew Winter and Louise Brookes both have a background in the music industry, as well as TV, which has helped them assemble a slate filled with big names. UB40 documentary Promises And Lies is going to the BBC for transmission on BBC4; Eric Clapton: Live In San Diego has pre-sold to ZDF and AXS; and NRK, Sky New Zealand, Ceska Televisa and Sveriges Television will take Young Men, a ballet fil abo t orld ar I shot on location in northern France.

The rest of its programming includes live performance fil s and short and long-form documentaries. It has produced House Of o on a fil of adness performing on London’s Clapham Common; and Isle Of Wight Festival 2016; and also has fil s on and the Manic Street Preachers in the library.

“It’s high-end music and always authorised,” Winter said. “We work with the bands and their management.”

Special Treats is also raiding the comedy archives, with Matt Berry and Rich Fulcher’s dark British sitcom Snuff Box, and classic episodes of Reeves And Mortimer.

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V AND RADIO broadcasting legend Bob Harris has licensed The Bob Harris Collection to Espresso Media International. Music specialist Harris’ production company, the Whispering Bob Broadcasting Company (WBBC) has produced over 300 short, three-song sessions filmed and recorded in Harris’ home recording studio called Under The Apple Tree, alongside My Nashville, a documentary about Duane Eddy called Mr Twang, as well as the Back To … collection which features Dave Stewart, Emmylou Harris and legendary Nashville songwriter Beth Nielsen Chapman.

“When we were filming My Nashville, Beth invited us to her house for a performance by her and her friends, and by the time the day was over we realised that we had more than enough footage

Espresso Media International CEO David Hooper (left) with Bob Harris

to create a second show entirely based on the amazing music she played,” Harris said. “The reactions to that show were amazing so we’re currently planning more programmes based around great American music including My Texas, which features well-

known acts such as The Flatlanders alongside some lesser known but no less worthy bands. We also made a Back To… with Texan music legend Kimmie Rhodes, and we’re currently planning several more shows in New Orleans, Toronto and Los Angeles.”

Brewer’s docs drive Content Media deal CONTENT Media Corporation has signed a distribution deal with Cardinal Releasing for a raft of Cardinal’s new Emperor Media titles produced and directed by music and media veteran Jon Brewer, who has worked with David Bowie, Gerry Rafferty and Yes, among others.

Jonathan Ford, executive vicepresident sales and distribution at Content Media, said: “For more than 40 years, Jon Brewer has played a pivotal role in the careers of some of the world’s greatest icons. As a result, Cardinal Releasing represents some of the very best music and entertainment biopics and documentaries in the world.”

Jon Brewer added: “In this everexpanding arena of increasingly complex platforms and windows for digital, television and theatrical exploitation, we are thrilled to have aligned ourselves with

Content, as this guarantees our programming will reach its maximum potential.”

New productions making their international debut include: Beside Bowie: The Mick Ronson Story (1 x 90 mins), narrated by Bowie and profiling the guitar virtuoso who worked alongside him for so many years; three-part series Monochrome: Black, White & Blue, in which Brewer explores how America’s experience of racial unrest for

the past 300 years has affected blues, rock & roll and rap; and documentary B.B. King: On The Road, a sequel to B.B. King: The Life Of Riley.

Other highlights include Steve McQueen: Desert Racer, unearthing the story behind film star McQueen’s favourite pastime — dirt-bike racing; Bad Company, about one of rock’s original super groups; Nat King Cole: Afraid Of The Dark; and The Classic Artists Series.

Celebrating a harmonious deal in Cannes: Cardinal Releasing’s Jon Brewer (left) and Laura Royko, with Content Media’s Jonathan Ford

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MIPCOM 2016 Pick up your copy of Screen International at MIPCOM 2016 for insightful information on: How the digital players are shaping the European drama landscape

Profiles of the hottest new broadcast and digital high-end dramas

How the film and TV crossover is evolving and impacting both industries

To arrange a meeting please contact Pierre-Louis Manes +44 (0) 776 823 7487

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NEWS

Prime Entertainment’s Freydt oversees major growth plans

Chef 2 Chef star Alberico Nunziata

STELLAR SERIES DISHES UP STAR HOLLYWOOD CHEF US PRODUCTION company Stellar Image has brought its original food show Chef 2 hef to I for the first time after successfully selling the concept to an online content platform. The show features the executive chef of the Beverley Hills Hilton in Los Angeles, Alberico Nunziata, traveling around the Mediterranean to talk food with some of the world’s top chefs, make their favourite recipes and visit local markets. It has been pre-sold to new web platform Elevate TV, operated by Ardynt Media, which is making its MIPCOM debut this year. The platform enables viewers to interact with each other across multiple platforms and will be operated without distribution fees. Elevate TV which goes lives early next year, has already signed with the Folk Music Hall of Fame and Museum to host live music events on the platform.

WINNING STREAK FOR HOUSE OF FORMATS SPANISH distributor The House Of Formats has signed a deal to distribute Rai Uno’s latest hit game show Colors in Latin America and the Iberian Peninsula. The show, which was invented by Tonino Guinti, Francesco Ricchi and Amato Pennasilico in collaboration with Guinness World Records, is credited with revitalising its channel slot in Italy.

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ARIS-based factual distributor Prime Entertainment has embarked on a significant e pansion of its slate at MIPCOM. “We have accelerated the growth of our factual distribution business over the last few years, going from representing hours to , hours of content, said Prime Entertainment managing director David Freydt.

Prime’s latest MIPCOM deal is for hours from uidia T including ’ rtagnan’s m Horse Ride mins , The Horse Ride f y reams mins , and The Horse ob Industry mins , about the aried and unusual obs that people do in e uestrian businesses.

“Our ambition is to become a one stop shop, supplying all programming needs, said reydt.

Prime Entertainment’s David Freydt

Prime Entertainment is to move go a new e panded head uarters at lichy in aris in anuary which will include new production and post production facilities. The company also has production facilities in LA. Recent Prime Entertainment sales include episodes of Hollywood News Feed to SBS Belgium and the licensing of Einsat gruppen The a i eath uads, a historical documentary mins , to etfli . rance’s roupe has ac uired a ma or pac age of history programmes including Last Days Of talin, The hildren rew eath and WWII Financial Battle.

Freydt said the ambition was to continue boosting the Prime Entertainment library ac uiring another hours of programming before the end of the year.

Documenting the real Saudi Arabia

SAUDI Arabian distributor Scene isual edia is brea ing ground at MIPCOM with documentary content aimed at changing perceptions about the country. pea ing to I ews, cene isual edia technical manager aeel lmardoud said “We want to change the way the world thinks about Saudi Arabia.

There’s a notion that life there is all desert and oil, but there is so much culture and history. cene isual edia has brought a range of documentary shows to Cannes, highlighting the country’s historical and archaeological splendours and geographical diversity.

These include esert eas, an e ploration of the marine life on Saudi Arabia’s Red Sea and Arabian Gulf coasts, and Roads Of Arabia, an archaeological journey through the ancient trade routes from the Arabian Peninsula to the Greco-Roman world and esopotamia.

Osama Zain (left) and Waeel Almardoud of Scene Visual Media

lmardoud said he had spo en with “many people from many countries during this year’s

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MIPCOM, where there has been huge interest from the international market for the content.

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MIPCOM 2016 Pick up a copy of Broadcast International, distributed at Cannes International news, interviews and analysis

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Be seen by a targeted and influential audience

Published within print, digital and on our app

To arrange a meeting at MIPCOM or to discuss future advertising and sponsorship opportunities please contact Broadcast International Sales Manager Talia Levine

+ 44 (0) 7584 218652

talia.levine@broadcastnow.co.uk

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