Mipcom 2016 preview magazine

SEPTEMBER 2016

www.mipcom.com The official MIPCOM magazine

PREVIEW

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JAPAN MIPCOM COUNTRY OF HONOUR

PERSONALITY OF THE YEAR

SEE PAGE10

SEE PAGE 16

CONTENT CREATOR SHONDA RHIMES

MEDIA The World Premiere MASTERMIND TV Screenings line-up: KEYNOTE • The Halcyon, Sony

SONY’S KAZUO HIRAI SEE PAGE 14

• Mata Hari, Red Arrow • The Same Sky, Beta Film • The Rocky Horror Picture Show, Fox ... and a new series from Shondaland

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Our Ideas. Your Stories.

F O R M A T S

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Editorial WELCOME to what promises to be a fantastic edition of MIPCOM, where over 13,500 delegates from more than 100 countries, including some 5,000 buyers, will come together in Cannes to discuss and deal in the creation, financing and distribution of content across all genres and for all screens.

As the central theme of MIPCOM 2016 we’ve chosen to look at ‘The New Television’ — an in-depth programme of conference sessions focusing on audience choice; viewing trends; the growing number of countries creating content for the global marketplace; and how programmes are originating from the online powerhouses as much as the traditional TV channels and production houses. We are also showcasing the latest technological developments including virtual reality and ultra-HD. We are delighted to welcome Content Creator Shonda Rhimes as MIPCOM’s Personality Of The Year, and inside this magazine we have an exclusive interview with this truly inspiring television creative. Shonda joins a truly stellar line-up of speakers awaiting you and they’re all featured in this MIPCOM Preview. We’re especially pleased in this year when Japan is our Country Of Honour, that Sony Corporation CEO and president Kuzuo Hirai will be addressing MIPCOM delegates.

Also inside you’ll find a wealth of stories about the major issues and trends affecting the entertainment industry, including a look at financing of high-end drama, what’s new in the world of virtual reality, how traditional TV is shaping up to digital entertainment and what’s going on in the vibrant Latin American TV market.

MIPCOM is a unique opportunity to watch the latest in great international drama at the biggest World Premiere TV Screenings line-up ever in the prestigious Palais des Festivals Grand Auditorium and in the presence of major TV talent. So keep some time free for premium viewing.

I hope you find this MIPCOM Preview an informative read and we look forward to seeing you in Cannes.

Laurine GARAUDE Director, Television Division Reed MIDEM

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Contents 10

News Japan is MIPCOM Country Of Honour; Shonda Rhimes is MIPCOM Personality Of The Year; World Premiere TV Screenings; Media Mastermind Keynotes; Women In Global Entertainment; Diversity Day; and more...

40

Product News The MIPCOM Preview highlights some of the many programmes brought to Cannes from all over the world

Features Television gets a makeover

73

With SVOD the new playing field sees talent flowing freely from the big to the small screen

99

They want it all The business of launching linear TV channels is alive, well and adapting to new market realities

85

Following the money Financing high-end drama has become an increasingly aggressive business, as digital newcomers join the legacy players

91

We’re not all going OTT Traditional TV and new OTT platforms both need stand-out content and global rights control

’VR is a game-changer’

104

In 2016 VR becomes a commercial reality

The competition is hotting up

113

New players enter a hotly contested market

Also inside

117 Tips & services

mipcom PREVIEW

120 Conferences & Events Programme

The official MIPCOM preview magazine September 2016. Director of Publications Paul Zilk Director of Communication Mike Williams EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Technical Editor in Chief Hervé Traisnel Deputy Technical Editor in Chief Frédéric Beauseigneur Graphic Designers Jordan Carel, Nour Ezzedeen, Carole Peres Sub Editor Joanna Stephens Contributors Marlene Edmunds, Andy Fry, Juliana Koranteng, Gary Smith Editorial Management Boutique Editions PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Manager Amrane Lamiri Publishing Co-ordinator Emilie Lambert Printer Riccobono Imprimeurs, Le Muy (France) MANAGEMENT & SALES TEAM Director of the Entertainment Division Jérome Delhaye Director of the Television Division Laurine Garaude MIPCOM Conference Director Lucy Smith Director of Market Development Ted Baracos Programme Director Tania Dugaro Director of the Buyers’ Department Bénédicte Touchard Brand Director Lionel Lelouch TV Division Sales Director Géraud de Lacombe Senior Sales Director Entertainment (UK / Australia / New Zealand) Paul Nickeas Director UK Sales – TV Division Matt Colgan Director UK Sales Music & TV Division Javier Lopez Senior Vice President Sales & Business Development Robert Marking VP Sales - TV Division José-Luis Sanchez Director of Visitors Sales Matthew Rosenstein Sales Director Panayiota Pagoulatos Sales Director Christopher Domenick Sales Manager Hugo della Motta Regional Sales Director Sylvain Faureau Regional Sales Director Nathalie Gastone Regional Sales Director Fabienne Germond Sales Managers Paul Barbaro, Liliane Da Cruz, Nancy Denole, Samira Haddi, Cyril Szczerbakow Sales Managers, Buyers Deborah Carella, Yi-Ping Gerard, Eve Gualbert Australia and New Zealand Representative Natalie Apostolou China Representatives Anke Redl, Tammy Zhao CIS Representatives Alexandra Modestova English Speaking Africa Representative Arnaud de Nanteuil Germany Representative Marc Wessel India Representative Anil Wanvari Israel Representative Guy Martinovsky Japan Representative Lily Ono Middle-East Representative Bassil Hajjar Poland Representative Monika Bednarek Spain Representative Maria Jose Vadillo South Asia Representative Adam Ham South Korea Representative Sunny Kim Taiwan Representative Irene Liu Reed MIDEM, a joint stock company (SAS), with a capital of €310.000, 662 003 557 R.C.S. NANTERRE, having offices located at 27-33 Quai Alphonse Le Gallo - 92100 BOULOGNE-BILLANCOURT (FRANCE), VAT number FR91 662 003 557.

Contents © 2016, Reed MIDEM Market Publications. Publication registered 3rd quarter 2016. ISSN 2104-2179. Printed on PEFC Certified Paper ®

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News

Japan is MIPCOM Country Of Honour A SERIES of events including a totally Japanese-themed Opening Night Party will mark Japan’s tenure as this year’s MIPCOM Country Of Honour (COH), which will be introduced by one of the co-ordinators of the COH events, producer Yoshiaki Yamada, at a welcome breakfast on day one of MIPCOM. Broadcast television began in Japan in 1953, and its evolution was rapid. Colour came in 1960 and in 1964, full live coverage of the first Tokyo Olympics. Japan pioneered high-definition television during the Eighties, which is now commonplace in many homes around the world. And its technological advances continue — with 4K and 8K, demonstrations of which will form part of this year’s COH series of events.

Japan is also known around the world for its animation — both as a content creator and as a provider of animation production services to the world. So well-known is the country for its anime action series and children’s cartoons, that

examples were featured during the 2016 closing ceremony when Rio passed the baton to Tokyo — and Japan’s president Shinzo Abe faced the global television audience dressed as Super Mario.

“Our concept theme for the Country Of Honour event is the Spirit of Imagination,” Yamada will explain at the welcome breakfast.

“Certainly, times have changed.

But that being said, our imaginative capacity to come up with new content is unchanging.”

The COH programme revolves around three key platforms: the Opening Night Party and 4K Premiere Screenings; the Japan Plaza, a pavilion established just outside the Palais des Festivals; and a series of conferences showcasing Japanese content and other aspects of the Japanese industry. Also, inside the Palais is the Japan Regional Pavilion hosting exhibitors from all over the territory, expanded for MIPCOM 2016.

A c c ord i ng to Ya mad a , t he Japanese delegation in Cannes “intends to impart a vivid sense of our country Japan at the Country Of Honour event through a variety of different approaches. This year’s Country Of Honour event will serve as a platform for Japan to showcase the country’s ideas and upcoming creations for the content industry in the coming years.”

Exploring a wealth of Japanese content THE COUNTRY OF Honour series of conferences and panels turn the spotlight on Japanese content.

An introductory session at 09.30 on October 17 — presented by Yosuke Ito, a consultant at the Mitsubishi Research Institute — will offer insight into the Japanese content market and reveal domestic trends and international opportunities through in-depth research from the Institute.

At 10.10 on the same day, a group of Japanese broadcasters known as Treasure Box Japan presents World Premiere – Brand News Formats!. The session, presented by

Virginia Mouseler, CEO of French research firm the Wit, will introduce the latest formats brought to Cannes by key players in the Japanese industry.

The following day at 14.00, Tokyo Docs, a pitching forum for outstanding documentary projects from Japan and elsewhere in Asia, will screen new documentaries to the MIPCOM audience. The works presented include not only documentary programmes from broadcasters, but also works by production companies and independent filmmakers.

Later the same day, at 14.45, Japanimation

Out Of The Box shows Japanese animation at its cutting-edge best, demonstrating why it attracts massive audiences worldwide.

Following that at 15.30, in Japanese Drama Beyond Borders, two experts in Japanese drama will showcase some of the programmes that have succeeded on the international market as well as some brand new international launches. During the session TV France International’s Mathieu Bejot will talk with HJ Holdings’ Noriko Toishi, one of Japan’s most innovative producers.

• All sessions take place in Auditorium A

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News JAPAN COUNTRY OF HONOUR

Celebrate with Japan

Among the performers at the Opening Night Party: Soil & “Pimp” Sessions A NIGHT of good food and drink, music and presentations of striking new content is promised at the MIPCOM Opening Night Party, presented at the Grand Hyatt Cannes Hotel Martinez by Reed MIDEM and the Japan Country Of Honour team.

Expect the hottest names on Japan’s music scene including international star DJ Ken Ishii; breakbeat duo Hifana; and the jazz sextet Soil & “Pimp” Sessions, as well as food and saki in the hotel’s main ballroom.

The party will also feature invitation-only premieres of two new series: Cold Case Japan from Japanese pay-TV broadcaster Wowow; and Moribito II, from Japanese state broadcaster NHK. The screenings will be projected in 4K and HDR to show spectacular

Cold Case Japan. ©WOWOW/Warner Bros. Intl TV Production

clarity and lighting effects.

Cold Case Japan, a co-production with Wowow’s drama label Drama W and Warner Bros. International Television Production (WBITVP), is the first local-language adaptation of the detective series, a hit in the US on CBS. “The original Cold Case had proved very popular in Japan and Wowow felt that with the right cast their audience would enjoy their own version of the show set in Tokyo.

Because the format looks at cases from the past, sometimes even 40 years old, the stories allow you to look at your own country’s past and this sets it apart from regular cop shows where there is a case from yesterday that needs solving,” said Richard Burrell,

director of scripted production at WBITVP. “Our intentions are to offer Wowow subscribers the highest quality television series and Cold Case Japan is a perfect example of our approach in doing so,” Wowow president Akira Tanaka said. “We look to find the best partners, like WBITVP, and find a way to work together to create something special for our audience.”

Moribito and Moribito II are original Japanese drama series from NHK, based on the multi-million-selling fantasy novels and starring leading Japanese actor Haruka Ayase as the intrepid heroine Balsa. Moribito II picks up her story four years later.

And while Japanese formats and animation are global phenomena, it has taken longer for local drama truly to break out onto the world stage. Moribito and Moribito II, however, are likely to pave the way to territories that don’t typically go for Japanese series.

“Our usual drama buyers — Hong Kong, South Korea, and Taiwan — have bought the [first] series, and Philippines, Thailand, Vietnam and Indonesia have also showed interest,” said NHK senior producer Yukari Hayashi. But countries including the UK, France, Germany, Sweden, Finland, Turkey, Romania, Russia and the US — “not our regular drama-buying countries” — have also shown interest. “Besides the scale and quality of the drama being superb, and the fact that it is 4K, I think the interest is due to the fact that MIPTV helped boost recognition, and we are grateful to Reed MIDEM for that.”

Stars from both series will join stars from MIPCOM World Premiere Screenings on the red carpet for the start of the MIPCOM Opening Night Party.

Haruka Ayase in NHK’s Moribito II

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HILARIOUS AND HURTFUL

Phoebe Waller-Bridge (Crashing, Broadchurch)

HHHHH “Fleabag: a gloriously rude update of Bridget Jones’s Diary” The Telegraph

“Hailed by many as Britain’s answer to Lena Dunham” (Girls) Stylist

“The best, most fearless, bittersweet comedy on British television” The Observer

“Fleabag is the cult hit of the summer” Evening Standard

As seen on

Critically-acclaimed drama

BBC and Amazon

garnering praise on both sides of the pond

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Q&A

‘We have our finger on the pulse’ Kazuo Hirai is President and CEO of Sony Corporation. With Japan as Country Of Honour, he gives a Media Mastermind Keynote in Cannes this year. He spoke to the MIPCOM Preview You announced improved profitability in 2015. What are the key drivers behind this growth?

Our operating income for the fiscal year ending March 2016 was approximately Y294bn, almost five times that of the previous year. The most significant contributor to this was the revitalisation of our consumer electronics business.

In recent years, our consumer electronics business experienced many challenges, but in the current fiscal year, we are forecasting that every one of our consumer electronics businesses will end up in the black.

PS4 is the fastest-selling console in PlayStation history. To what do you attribute this success?

PS4’s remarkable success can be attributed to the compelling entertainment experiences that PS4 delivers. These include a vast array of exciting software titles from thirdparty developers and publishers as well as from Sony Interactive Entertainment Worldwide Studios, a wide variety of ser v ices available on PlayStation Network, including the PlayStation Plus membership service, and apps for streaming

video, music and TV content, to name a few.

PS4 has sold more than 40 million units worldwide, making it the fastest-selling console in PlayStation history.

Where else are you seeing growth and what is driving it?

Our network services business is continuing to grow, achieving a 50% increase in sales in fiscal year 2015 compared to the previous year. The user base is expanding, driven in particular by the PlayStation Plus subscription service, and we have continued to engage in investment in this recurring revenue business towards further growth.

Our PlayStation Vue cloud-based TV service is expanding its content line-up with more channels, both from Sony Pictures Television Networks and from others like Disney and ESPN. The service extends across the US now, and we are aiming to acquire even more new customers this year.

What is your strategy for the growth of your VR business?

PlayStation VR (PS VR), the virtual reality system for PS4, is set to go on sale in October of this year. VR is a new challenge for us, but we are looking to grow this market in collaboration with a range of business partners.

VR launches us into a new realm that promises limitless possibilities, starting with games, but soon expanding across our entire Sony enterprise. VR will enable us to leverage our technological strengths in areas beyond gaming, such as digital imaging, content acquisition and production. Sony is well positioned to set the trends in how, when, and where consumers will access content today and in the future. We also have our finger on the pulse of the types of content that will

“We see the shifting landscape in the entertainment industry as a great opportunity for Sony”

interest consumers most. We are exploring how to develop VR as an entirely new creative and business opportunity across Sony.

What can you tell the MIPCOM audience about key developments in the entertainment side of your business?

In the entertainment business, which consists of the picture and music segments, we see the industries themselves undergoing a major transition. There has been a shift to digital content and rapid growth in streaming services, while the individual needs of customers and the ways that they consume content are becoming increasingly diverse.

The number of viewers who binge-watch TV series is increasing, and this is one example of how content is being consumed immersively in large quantities at a time. As this type of content consumption becomes more prevalent, demand for high-quality content also increases, particularly for dramas. With Sony Pictures Television producing a succession of major hits including Breaking Bad, Better Call Saul and The Blacklist, Sony believes it is well positioned to take advantage of these trends.

With our ability to attract talented creators, our expertise in creating high-quality content, and our vast content portfolio, we see the shifting landscape in the entertainment industry as a great opportunity for Sony.

You are doing a lot of research into AI and robotics. Are there entertainment applications in this area?

We are moving forward with a number of different initiatives in artificial intelligence (AI) and robotics. Our aim is to combine Sony’s existing strengths — in areas such as video and audio technologies, sensors and mechatronics — with AI, robotics, communications and other elements, and by doing so offer new proposals to our customers across all types of living spaces. Applications in entertainment are a fascinating proposition, but I must say that it is still premature to go into the details of what our future robot will be like. Please stay tuned.

• Kazuo Hirai’s Media Mastermind Keynote is on Monday, October 17 at 11.30 in the Grand Auditorium

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Q&A

Welcome to Shondaland Shonda Rhimes, CEO of Shondaland, the company that brought us Grey’s Anatomy, Scandal and How To Get Away With Murder, is MIPCOM Personality Of The Year. She spoke to Julian Newby ahead of traveling to Cannes to receive the Award CONGRATULATIONS on the Award.

What was your reaction when you heard you were MIPCOM Personality Of The Year for 2016?

I think that mostly I was surprised generally because I always feel like it’s something that should happen closer to the end of your career, or when you’ve accomplished something. And I continue to feel like I’m just getting started, so it’s a huge honour. But I am always like — ‘Really? Me? At this point?’ So it’s very, very lovely.

Are you saying that you don’t feel you’ve achieved a great deal so far?

I feel like I’ve only just started working. I haven’t done this for that long — it’s been about 12 years and so to me, I feel like I’ve just figured out how to do this.

You majored in English literature.

That could have led to anything. Why TV? I thought maybe I would be a novelist, but then I went to fi lm school and really enjoyed it — but still thought I was going to write fi lms. And I did for a while and I liked it. But really, film, especially in the US, has a way of being just about blockbusters. And it goes through cycles where suddenly independent films are big and then they’re not. But really all the interesting character development was happening on television. It was really about getting to write some interesting characters and write the television that I wanted to see, because I wasn’t seeing a lot of television that I was interested in watching.

You were at the start of the outpouring of quality TV dramas that led us to label this era as the Golden Age of Television I don’t know, it feels like that time when Grey’s Anatomy, Lost and Desperate Housewives all came out was a big season. All of us writing TV shows that weren’t the normal shows that had up until then been on television. We wrote something that felt a little bit different

“I feel like I’ve only just started working” and a little bit individual. And mine was very different from Desperate and Lost. It was really just about writing something I wanted to see and speaking in my own voice, making something that felt original to me.

You’ve had a lot of hits. Have the hits surprised you?

Yes and no. I’m always sort of stunned that people are watching and how much the shows are resonating with people. I’m inside the stories and I feel like my biggest job is to be the keeper of the story more than anything else.

If I go somewhere and anybody recognises

me I’m very stunned by that because to me I’m in this little bubble of making the shows and it doesn’t occur to me that the shows are as popular as they are.

Is there a Shondaland brand?

I think that there is. We were talking about that a lot this year. There’s an intelligence to the characters, there’s a level of fun, you know you’re going to be meeting a certain kind of woman when you watch our shows, you know that you’re going to be watching a show with a certain kind of taste. Grey’s is a very different show from How To Get Away With Murder but you can still see where they’re all connected, and I’m proud of that. I don’t want it to feel like they’re all the same show, but I do want people to feel like they’re getting a level of quality when they’re coming here and watching our shows.

You started out writing movie screenplays. There’s a lot of cross-fertilisation between the two media these days.

Will you ever take on a movie again?

I love television and I love working in television. Shondaland has a couple of movies that we’re working on, so it’s not that we’re not doing movies. Am I defi nitely going to go out and write another movie or make a movie? I don’t know. I love the idea that Shondaland can be a part of helping another writer get her voice out there or his voice out there. There’s no movie in my head right now, and I get asked a lot to write certain movies and right now I haven’t been approached with anything that feels like the right thing.

When the right thing comes and it clicks I’ll probably say yes.

• Shonda Rhimes’ MIPCOM Personality Of The Year keynote presentation is on Wednesday, October 19, at 15.30 in the Grand Auditorium. Later, at a gala dinner at the Carlton she will receive the MIPCOM Personality Of The Year Award from Reed MIDEM’s Paul Zilk

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News Strong storytelling is the key even with a six-second video MIPCOM Media Mastermind Keynote speaker Sean Cohan is president, international and digital media, A+E Networks. His remit includes 75 branded channel feeds around the world and a 13,000hour library distributed across more than 200 territories, in 39 languages, on a range of platforms.

A lot of separate businesses for one brief: “True, but I think that there is a lot of linkage between them,” Cohan said. “Frankly it’s all about great storytelling and great content and strategically making and exploiting that content — and defining and popularising great brands around that content.”

A+E Networks recently announced the launch of 45th & Dean, a multi-platform video and audio storytelling hub and agency.

“Through 45th & Dean we are deploying via social media and measuring on behalf of advertisers — it’s a recognition that we’re making different kinds of content for different kinds of audiences,” he said.

Strong original content is also key to being heard above the noise, and the epic series Roots — which premiered at MIPTV this year — was an important statement of intent.

“We are creatively big risk takers and we are very proud of Roots,” he said. “There is also a link there to our belief in diversity — behind the camera and in front of the camera. It’s part of our variety of outreach efforts. I can’t talk about that enough, those things we aspire to beyond profitability.”

Appointed to his new role at the start of this year, Cohan is now in charge of A+E Networks’ digital media, including the broadband and mobile elements of all

YouTube has good news for creatives WITH HER background at MTV, Lifetime, Warner Bros. and Fox Television, Susanne Daniels is well-placed as YouTube’s new global head of original content. Her new role, announced just over one year ago, includes stewardship of YouTube Red, the subscription service with plans to compete with the likes of Netflix and Hulu, currently available in the US, Australia and New Zealand.

A nd t he new wave of v ideo creators t hat ha s emerged in the digital space

in recent years will have welcomed her arrival at the company. “YouTube Red originals allow us to help our creators realise their ambitions on the platform where their community already lives. It gives us a chance to open up Hollywood’s rolodex and introduce these creators to directors and producers who can help bring their visions to life.” She added: “First and foremost, our originals are about giving our creators a bigger stage.”

YouTube is the video platform with the highest traffic, but new rivals are appearing with increasing regularity. “Honestly, because it’s so much harder to reach the kind of audiences you used to be able to on TV, everyone is getting into the video business, whether you’re Pepsi or Pinterest,” she said. “The good news is that the vast majority of those making video, from independent creators to brands to established media companies, use YouTube in some way. Still, it’s important, especially in tech, to always focus on the future and stay ahead of the game. That’s why we’re focused on things like live and VR, but it’s also why we’re focused

A+E Networks brands. And he believes digital will continue to re-shape the industry into the future. “In 10 years time the landscape will be different — you’re going to have programmes and video in different formats, different kinds of content — there‘ll be VR and AR,” he said. “But we fundamentally believe that whatever you make — and it doesn’t matter if it’s just six seconds on Snapchat — if you put great care and talent into the project and define it in an interesting way, that is something you can build on.

That’s the thing we always come back to. You need that to remain relevant.”

• Sean Cohan’s Media Mastermind Keynote is at 12.15 on Monday, October 17, in the Grand Auditorium

on original programming, too. It doesn’t matter how great your platform is if you don’t have great content to draw people to it.”

Her previous employer, MTV, pioneered youth-targeted content before YouTube took up the mantle, so where now is the fundamental difference between the two? “There’s certainly a lot that’s similar. Both have had a huge influence on youth culture and music culture, with YouTube now serving as a great home for music videos as well as a new generation of celebrities and stars.“ One striking difference is the multi-talented nature of the YouTube generation of creators: “The stars who’ve grown up on YouTube have had to do it all — act, direct, edit, produce and market their work.”

But what really sets them apart is scale: “Our highlight at MTV was reaching eight million people during the Music Video Awards. At YouTube we reach over a billion every month.”

• Susanne Daniels’ Media Mastermind Keynote is at 17.15 on Monday, October 17, in the Grand Auditorium and includes Lionsgate Television Group chairman Kevin Beggs and Rooster Teeth chief creative officer Burnie Burns

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Q&A Q ‘MOVIES ARE NOT GOING AWAY’ MIPCOM delegates will be hoping that Sophie Watts will cause as much of a stir at her Media Mastermind Keynote session as she did when she spoke at last year’s Produced By event in LA. Watts was reportedly mobbed and cheered when she offered to speak individually to audience members who had suffered so many slammed doors in their attempts to make it in Tinstetown.

A Cambridge graduate with a music-video background, Watts is one of the original members of movie studio STX Entertainment, starting the company with Bob Simonds back in 2011. Backed by private equity the company’s stated goal was to “make, market and distribute star-driven commercial films”, describing itself as “a fully integrated, diversified, global media company designed from inception to unlock value from the 21st century’s changed media landscape”. By 2014 STX had raised $1bn to make 10 movies a year.

While many commentators speak of a gloomy outlook for cinema, Watts has stated that she “believes in the future of movies”, and that she is a “strict believer that movies are not going away”. She believes that people still want to see movies in theatres, that Netflix will not be the death of cinema and that “audiences want to be swamped with visions they couldn’t come up with themselves”.

“We are building a movie studio to provide a custom-made home for the world’s best storytellers,” she said. “The intention has always been to channel those storytellers into a new medium — to create a studio of the future.”

• Sophie Watts Media Mastermind Keynote is on Tuesday, October 18 at 12.15 in the Grand Auditorium

What’s next for industry legend Marion Edwards?

After 24 years at Twentieth Century Fox Television Distribution, Marion Edwards will leave her role as president of international television at the end of this year.

She spoke to the MIPCOM Preview about her extraordinary career and what she’ll do next You were a recipient in 2014 of the MIPTV Medaille d’Honneur, and this year you receive the Variety Vanguard Award. What do such awards mean to you?

Well I’ve been extraordinarily lucky in my career. I’ve stayed in it long enough and managed to make a contribution to an industry that is so endlessly fascinating. You don’t think of yourself as someone who is working towards a goal that will win an award, but it’s exciting for me to have that contribution recognised.

The Simpsons, 24, X-Files, Modern Family. You’ve taken a lot of unlikely, and at first controversial, shows and made them into massive hits…

Well one of the most fun and most successful things I’ve done is to get Buffy The Vampire Slayer on the air. There was a huge level of resistance to it, because it was high-school students plus violence. We did eventually convince people but to start with it was always on late, past the watershed — but eventually it became a primetime hit in many, many markets around the world and that was really gratifying because that was a place where I really did make a difference.

Is there one particular moment at Fox that stands out in your mind?

The production of Titanic — the James Cameron film — was plagued with lots of different issues, but when it came out it just caught fire on a level that I think no-one expected. And it was amazing to have our clients coming to us begging us for anything we could give them — a making of Titanic special, or a special on the sinking of the Titanic, or our 1953 version of Titanic — anything with the word Titanic in it that they could broadcast to try and ride on the back of the phenomenal success of the film.

Are you leaving an industry that’s in a good state?

Well obviously it’s in a state of change. And you always want to be able to say ‘I left it in a better state than I found it’. Now I think that the viewer is guiding us and pushing and pulling us into places that we never imaged we would go. And I think that content is more important now than it was when I started out; and I think that how we define television is different now from what we thought it would be. I think it’s a remarkably vibrant time now in many ways, but I do think we need always to try and re-think our business before somebody else does.

What’s next for you?

My husband and I are moving to a small community where we have what we refer to as ‘the farm’. It’s an agricultural community [north of LA and south of San Francisco] that consequently has quite a lot of migrant workers — who do a job that is essential for all of us and yet we don’t pay much attention to the quality of their lives. I was raised in a family where community service was very important. So this next part of my life will be focused on community service and trying to make a difference in a way that you can see the results of your actions.

• Marion Edwards’ Media Mastermind Keynote is at 16.30 on Tuesday, October 18 in the Grand Auditorium

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News TV pioneer Sutherland is back with a new conspiracy thriller

Kiefer Sutherland as Tom Kirkman

Tom Kirkman, a lower-level United States Cabinet member, who is suddenly appointed President after an attack during the State of the Union address kills everyone above him in the Presidential line of succession.

The primetime series for ABC is produced

by The Mark Gordon Company and ABC Studios and created by David Guggenheim.

And the movies continue too. Sutherland rejoined forces last year with 24 director Jon Cassar on Forsaken, starring opposite his father Donald Sutherland and Demi Moore.

Kiefer plays John Henry, once a quick-draw killer who returns to his hometown in the hope of repairing his relationship with his estranged father, Donald. The film premiered at the Toronto International Film Festival in September 2015 where Joe Leydon of Variety described Kiefer and Donald as “evenly matched pros [bringing] out the best in each other”. In September 2015, Sutherland was honoured with the Golden Eye Award at the Zurich Film Festival, where Forsaken also screened.

which he will introduce during a Media Mastermind Keynote session at MIPCOM. In Designated Survivor Sutherland plays

• Kiefer Sutherland’s Media Mastermind Keynote is on Monday, October 17 at 16.40 in the Grand Auditorium

Content for the socially conscious

platforms,” Linde said. “We understand that to truly make an impact on societal issues, consumers need to be engaged consistently.

We must have a steady drumbeat of content available to a global audience.”

Linde said he’s aware that the depth of Participant’s business is “largely unknown” outside of the US and so during his Media Mastermind Keynote “will be sharing who Participant Media is, what we do, and how we do it”. He added: “The immense power of combining content and social impact is less familiar to the MIPCOM audience and we see this as good business for everyone. We’ve had much success over the past 10 years, our films have grossed over $2bn worldwide and have been nominated and won countless awards, including an Academy Award for Best Picture for Spotlight. There is really something significant to this story, and we are simply looking to build relationships around audience engagement, but first by explaining who we are, what we do and how we do it.”

KIEFER Sutherland is something of a pioneer in the much talked-about merger between cinema and TV that has been a key element in the wave of high-end dramas that has come to the small screen in recent years.

It was in 2001 when this movie actor took on the role of Jack Bauer in the groundbreaking Fox series 24, and since that time a mass of movie talent has crossed the divide. “My colleagues in the movies were asking me what it was like, and saying they wanted their own series,” Sutherland said. “They all followed after that.”

The series was a career-changing move, winning Sutherland global star status — this time on the small screen — over the nine years the series ran on channels around the world.

And 15 years on the Emmy and Golden Globe winner remains the go-to leading man. His latest series is Designated Survivor, a conspiracy thriller and family drama about an ordinary man in an extraordinary situation,

DAVID Linde is CEO of Participant Media, the global media company founded in 2004

by Jeff Skoll, dedicated to “entertainment that inspires and compels social change”.

The company’s business includes the production, acquisition and financing of film, television and digital content; and the operation of its digital hub, TakePart, which serves

David Linde

millions of socially conscious consumers each month with daily articles, videos and opportunities to take action.

He came to the company one year ago from a movie background which included time at Miramax and Universal Pictures — “a natural career step”, according to Linde. “Stories well told have always contributed to change in the world because they transform the way we see the world,” he said. “We take that inspirational quality and help the audience act on it. These are stories that I’ve always been drawn to as a person and as a professional, and more so than ever, the power of impactful storytelling that is represented in films like Ghandi, Erin Brockovich or An Inconvenient Truth, are moving audiences and consumers to content with social value and personal relevance.

Participant started around narrative and documentary film and in the past decade has gradually expanded into television and digital programming. “We are now looking to increase our investment in content across all

• David Linde’s Media Mastermind Keynote presentation is on Tuesday, October 18 at 17.15 in the Grand Auditorium

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News Diversity is not a strategy it’s a reality, says Disney’s Sherwood DURING his Media Mastermind Keynote session, Disney Media Networks co-chair and president of Disney-ABC Television Group, Ben Sherwood, will underline his company’s commitment to “great storytelling”.

“One of the things that Bob Iger and I often discuss is that even though everything seems to have changed, even though the screen sizes have changed and even though the methods of distribution have shifted, one thing comes first and that’s great storytelling,” Sherwood told the MIPCOM Preview. “So I think that the best part about this moment for Disney ABC is to have incredible storytellers working with amazing new tools to tell stories and share them around the world.”

Sherwood’s presentation comes the day before one of Disney’s storytellers, MIPCOM Personality Of The Year Shonda Rhimes, takes to the Cannes stage.

“Shonda receiving the Ben Sherwood MIPCOM Personality Of

The Year Award, it’s an incredible honour and ABC Studios couldn’t be more proud,” Sherwood told the MIPCOM Preview. “In our view Shonda is much more than just a personality, she is a pioneer, a groundbreaker in ever y sense and the kind of person who represents the values of Disney-ABC — creative, for ward-think ing, modern — and is leading the way in reflecting the diversity of our audiences in the United States and around the world.”

Sherwood takes pride in the diversity on and off the screen at ABC, which rec ent l y na med Channing Dungey as network president,

the first African-American to lead a major network. But insists it’s down to pragmatism. ”Whether it’s what Shonda does, putting the best actor — Viola Davis or Kerry Washington — in a lead role, or whether it’s Channing Dungey taking the reigns at ABC Entertainment, these are the best people for the right roles at the right time and reflecting the world around us,” he said. “It’s the reality of the world today and ABC is proud to reflect the diversity of the audiences that we serve. We want diversity of thought, diversity of opinion, we want diversity behind the scenes and on the screen. At ABC News over the last five years 60% of the new on-air correspondents are diverse hires, more than half of the anchor team are diverse. This is not a strategy, this is reality of our country today and the audience that we serve.”

As for the future of the industry — and of Disney-ABC — Sherwood is not fazed by the suggestion of one futurist that “in the next 100 years we will see the equivalent of 20,000 years of change”. “I think that 15 years from now there’ll be all kinds of new ways that people watch and consume and engage, and we’ll be there telling even more and better stories in more places. That’s our mission.”

• Ben Sherwood’s Media Mastermind Keynote is at 11.30 on Tuesday, October 18 in the Grand Auditorium

Creators must ‘rise above the noise’ ADI HASAK is creator, executive producer and showrunner on USA Network’s new crime thriller Eyewitness. Premiering on October 16 in the US, Eyewitness was adapted by Hasak from the critically acclaimed Norwegian drama Oyevitne.

Hasak is also creator/executive producer on the NBC drama Shades Of Blue, which was greenlit straight to series after Jennifer Lopez and Barry Levinson joined the cast.

It has been renewed for a second season by NBC. His next TV project is an US adaptation of Finnish series Black Widows.

In his Media Mastermind Keynote session Hasak will tell MIPCOM delegates that quality content is key in today’s saturated marketplace. “It’s incumbent on creators and executive producers to come up with content that rises above the noise,” he told the MIPCOM Preview. “This makes it imperative to find

the most creative and innovative ways to tell stories so that they get noticed and inspire viewers to follow a complete season.”

He added that the free-flow of talent between film and television — he collaborates regularly with Luc Besson — is helping this process. “Film and TV have become interchangeable in that talent moves fluidly from one to the other and currently there seems to be a clear bias for top-A talent wanting to find the proper television projects.”

And he speaks of the filmic quality of his upcoming series. “Eyewitness is the best example of a character-driven drama with two parallel storylines that are at once complimentary, but speak to different demographics,” he said.

“Much like No Country For Old Men, the narrative begins with a strong genre component, but quickly delves into the characters and focuses on their trajectory rather than simply the plot.”

Adi Hasak • Adi Hasak’s Media Mastermind Keynote is on Wednesday, October 19 at 14.45 in the Grand Auditorium

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News

The search for Mata Hari Vahina Giocante as Mata Hari

RED ARROW International’s new epic drama series Mata Hari is the Sunday Night World Premiere TV Screening at MIPCOM. Produced by Star Media for Channel One Russia, the 12 x 1-hour series tells the true story of exotic dancer, courtesan and spy, played by French actor Vahina Giocante.

Born Margaret Zelle to humble beginnings in the Netherlands in 1876, Mata Hari escaped personal family tragedy and a loveless marriage to become the most controversial woman of her time. A notorious performer

and dancer; a seductress of wealthy lovers; and an informant to both the German and French intelligence services, she was eventually exposed as a double agent during World War I and executed by firing squad in France.

Vlad Ryashin, founder and general producer at Star Media, explained the genesis of the series: “We were looking for a meaningful story of a woman who was ahead of her time and hence changed it. Mata Hari has been a household name for a long time

How the other half lived

mass-movement of people — there is a refuTHE SUNDAY Evening World Premiere gee character in The Halcyon — and there TV Screening at MIPCOM 2016 is The are other parallels that have a poignancy at Halcyon, a brand new drama set in 1940s the moment.”

London, which tells the story of a busy and Left Bank was keen to do a WWII drama glamorous five-star hotel at the centre of and also wanted a story set in London and London society during World War II. Harries was keen on the idea of setting it in a The eight-part series, produced by Left Bank Pictures for ITV in the UK, depicts life in a city at war and the impact that the conflict Actor Kara Tointon performs as Betsy Day in a nightclub had on families, politics and relationships. scene in The Halcyon Created by Charlotte Jones and the series’ lead writer Jack Lothian, The Halcyon is executive produced by Sharon Hughff and Left Bank CEO Andy Harries and produced by Chris Croucher.

As more TV drama seeks to focus on recent turbulent history, Sharon Hughff said the series resonates with some of what parts of the world are experiencing today.

“It does feel like it has some relevance to things that are happening around us, like the

— the most famous female spy in history,” he said. “Her life is cloaked in many myths and speculation. She was betrayed by her husband, she lost her kids and due to various circumstances ended up at rock bottom. With strength of will, character and talent she rises up to find herself at the top of European aristocratic society. Under the pseudonym Mata Hari, she becomes a favourite of the European elite.”

Finding the right person to play Mata Hari took some 10 months. “We searched in the US, in Russia and in Europe,” Ryashin said. “After some time the project director Dennis Berry showed Channel One Russia’s Konstantin Ernst and me a short film in which Vahina Giocante was just brilliant.

And we decided to talk to her.”

Ryashin had received a sign that Giocante was the right person for the role at a previous Cannes market. ”As always, I stayed at the Majestic hotel, and when I was leaving my room, preoccupied with thoughts about the project, right in front of me — on the wall opposite the door — I saw a big portrait of Vahina Giocante. I’d never seen it there before. And I immediately understood the whole symbolism of the situation — we found Mata Hari, there she was!”

• Mata Hari will be screened at 21.30 on Sunday, October 16 in the Grand Auditorium. hotel simply because all types of people are there. “During the War in five-star hotels like The Halcyon, there were so many aspects of life that didn’t change in spite of what as going on in the rest of the world,” Hughff said.

“A lot of wealthy people went to live in these hotels, closing up their houses because they were losing their staff to the war effort. If you had money, life went on. The hotels weren’t even subjected to rationing.”

An important element to the show is the soundtrack by composer Samuel Sim, which reflects the era — and which also includes new songs written by jazz star Jamie Cullum with Amanda Ghost. Cullum appears in the series playing piano, and singer Beverley Knight also performs.

Due for broadcast on ITV in January, the series is distributed by Sony Pictures Television.

• The Halcyon will be screened at 18.30 on Sunday, October 16 in the Grand Auditorium

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News WORLD PREMIERE TV SCREENING

Two cities, same sky

Tom Schilling as ‘Romeo spy’ Lars in The Same Sky THE MONDAY Evening World Premiere T V Screening at 18.30 in the Grand Auditorium is Cold War series The Same Sky. Written by Paula Milne, it’s a family drama set in the divided Berlin of the 1970s. The Same Sky recreates the atmosphere of the Cold War city by focusing on two families on both sides of the Berlin Wall — surrounded by dissidents, informers, agents, police and diplomats. The one thing the people on both sides all share is the sky above them.

Co-produced by UFA Fiction and Beta Film, for ZDF, in association with Rainmark Films, the series came together from a number of ideas. “UFA is based in Berlin, so we confront the story and the history of Berlin every day in a way,” said UFA Fiction’s Benjamin Benedict, one of the series’ producers. “So we were very, very happy when our colleagues and good friends at Beta and Rainmark approached us to take part.”

“For us it started a little bit with The Lives

Of Others [Florian Henckel’s 2006 Berlinbased movie], one of the first films dealing with the Stasi. This was the start of us thinking about something for television which tells the condition of life in a divided city,” said Beta Film’s Ferdinand Dohna, also a producer on the series. “We considered various treatments and nothing satisfied us until Paula Milne was contacted by Rainmark. They pitched to us and UFA her ideas for the story and that was the start of it.”

Rainmark approached writer Milne on the strength of Die Kinder, her 1989 thriller for the BBC about the Baader-Meinhof gang.

“Their original concept was something with the tone of The Lives Of Others which [Beta Film CEO] Jan Mojto had been involved with,” Milne said. “He had ambitions initially to do an English-speaking series — essentially about spies. And I didn’t really grab at this, because it seemed to me that what we were dealing with in a divided city is divided

families — ordinary people caught up in extraordinary times. So I took the concept of a ‘Romeo spy’, planted it within a multi-stranded story on both sides of the wall and presented my scenario. Subsequently I spent time in Berlin where I got plenty of inspiration.”

When ZDF picked up the series there became a need for it to be written in German — and Milne speaks no German. So Oliver Hirschbiegel [Das Experiment, Downfall] was brought on board and he worked closely with Milne on the German scripts.

The result is a story created by people who in various ways are very close to the subject and the city. Not so the locations; with so much redevelopment taking place in Berlin since the wall came down, the production had to look further for authentic period streets.

They found them in Prague — which of course also has the same sky.

• The Same Sky will be screened at 18.30 on Monday, October 17 in the Grand Auditorium

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News

Life after Romeo And Juliet T H E T U E S DAY E ve n i n g Wo r l d Premiere Screening at 18.30 in the Grand Auditorium is the new as-yet untitled series from Shondaland and ABC Studios . Based on the book Still Star-Crossed by Melinda Taub, the series is a period drama that picks up where Shakespeare’s play Romeo And Juliet ends. It charts the treachery, intrigue and ill-fated romances of the Montagues and Capulets after the young lovers’ tragic deaths.

MIPCOM Personality Of The Year Shonda Rhimes said that with precedents set by West Side Story, Tom Stoppard’s Rozencrantz And Guildenstern Are Dead and other homages, she wasn’t worried about meddling with Shakespeare’s work. “No, given those examples I did feel like we had a little bit of freedom,” she told the MIPCOM Preview. “And because it’s about the minor characters — the people who were with Romeo and Juliet — as opposed to being about Romeo and Juliet, I didn’t feel like we were herding sacred cows.” She added: “It takes place right around the time that Romeo and Juliet died and what happens after that.”

Rhimes has high praise for the show’s creator. “Heather Mitchell is really talented and very into it,” she said. “Heather’s a writer

who has been within the shows forever. She’s written on Grey’s, she’s written on Scandal and now she’s writing this show. So we call it Shondaland University now; the writers have been here a long time and they understand the flow and the brand and the voice, and she’s got a really talented voice.”

The series is filmed in Spain. “It’s our first project that we’re getting to shoot in Europe

• The series will be screened at 18.30 on Tuesday, October 18 in the Grand Auditorium

Wade Briggs (Benvolio Montague), Lashana Lynch (Rosaline) and Sterling Sulieman (Prince Escalus) in the new series from Shondaland and ABC Studios based on the book Still Star-Crossed that follows on from Romeo And Juliet

Doing the Time Warp again THE TUESDAY Night World Premiere Screening at 22.00 in the Grand Auditorium is The Rocky Horror Picture Show. The twohour event promises the atmosphere and fun of the original cult classic film with a new cast.

and Spain has been delightful for us,” Rhimes said. “I think it’s really beautiful and it’s our first period piece. I’m very excited about it.”

The series was developed for television by writer and executive producer Mitchell; Rhimes, Betsy Beers, Mark Wilding and Michael Goldstein are executive producers. Michael Offer is executive producer and director of the pilot that is screening at MIPCOM.

The story follows sweethearts Janet and Brad who stumble upon Dr Frank-N-Furter’s bizarre household after their car breaks down at night time. A sexually ambiguous scientist, FrankN-Furter is holding an annual Transylvanian

Riff Raff (Reeve Carney, left), Columbia (Annaleigh Ashford), Janet Weiss (Victoria Justice), Brad Majors (Ryan McCartan) and Magenta (Christina Milian) in The Rocky Horror Picture Show

science convention to showcase the birth of Rocky Horror — an athletic, attractive man created to fulfil the doctor’s desires.

The series also stars Annaleigh Ashford (Masters Of Sex) as Columbia, Adam Lambert (American Idol, Glee) as Eddie, Reeve Carney (Penny Dreadful) as Riff Raff, Christina Milian (Get Real) as Magenta, Staz Nair (Game Of Thrones) as Rocky Horror, Ivy Levan as Usherette, Ben Vereen (Roots, How I Met Your Mother) as Dr Everett von Scott and Tim Curry (The Shout, Legend, The Rocky Horror Picture Show) as The Criminologist.

The Rocky Horror Picture Show is produced by Fox 21 Television Studios, The Jackal Group and Ode Sounds and Visuals.

Lou Adler, Gail Berman and Kenny Ortega are executive producers. It is presented at MIPCOM by Twentieth Century Fox Television Distribution.

• The Rocky Horror Picture Show will be screened at 22.00 on Tuesday, October 18 in the Grand Auditorium

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News JAPAN COUNTRY OF HONOUR

NHK presents The Dragon Dentist, the new series from anime legend Anno IN THE year when Japan is celebrated as Country Of Honour at MIPCOM, NHK is presenting a new project from leading Japanese producer and director Hideaki Anno.

The Dragon Dentist (2 x 45 mins) is produced

by Anno’s studio Khara, along with the animation division of Japanese public broadcaster NHK. It is due to broadcast early next year.

“It’s based on an original concept by awardwinning novelist Otaro Maijo,” NHK senior producer Keisuke Tsuchihashi said. “It takes place in a fictional country that is protected by a huge dragon. There’s a dentist who regularly checks the dragon’s teeth, because without its teeth the dragon is useless and the country would be vulnerable.”

The villains of the story are the bacteria that threaten the dragon with tooth decay, so it’s like a “war inside the dragon’s huge mouth”, Tsuchihashi said. “Anno produced an eight-minute film based on the concept

NHK senior producer Keisuke Tsuchihashi

and showed it to the public online two years ago — and it was amazing. So I asked if we could collaborate on it with his team.”

The animation is a hybrid of hand-drawing for the main characters and the backgrounds, and computer graphics for the dragon and the bacteria, which have the ability to transform into different shapes.

Anno has been in the news with Shin Godzilla , his reboot of the most famous mon ster mov ie ser ies in history. He is known worldwide for sciencefiction series Evangelion, and his company, Khara, is one of the country’s best- Japanese anime legend Hideako Anno known animation studios.

And Anno has a history The Dragon Dentist will be presented at with NHK. Twenty-six years ago he directed the MIPCOM Anime Dinner on Sunday, the hit animated series Nadia: The Secret October 16 at 19.30, hosted by NHK — Of Blue Water, based on the writings of with guests including Anno and Kawakami Jules Verne — and which won him star and some 80 international buyers — and status. What makes The Dragon Dentist Tsuchihashi expects a great deal of interest groundbreaking for NHK is that Anno and in the production. “I think overseas videohis team are creating totally new visuals on-demand services will be very interested in never seen before, much in the same way he this type of animation,” he said. did for Evangelion.

“We mainly produce animation for children,” Tsuchihashi said, “but we also do work JAPANANIMATION for pre-teens and teenagers. The Dragon Dentist target audience is the same as that OUT OF THE BOX for Evangelion: from teens to adults.”

THE JAPAN Country Of Honour series of Tsuchihashi said Anno’s name alone will conferences includes Japanimation Out give The Dragon Dentist worldwide appeal.

Of The Box, on Tuesday, October 18 at “First, we will broadcast it on one of NHK’s 14.45 in Auditorium A. Japanese domestic satellite channels in February, and animation is at the cutting edge of the then on our international channel, NHK World,” he added. It will also be made industry and attracts massive audiences available on-demand at NicoNico Douga, the worldwide. The session will focus on the popular Japanese online video service run by creativity and innovation that has led to Dwango Co, headed up by young Japanese the popularity of Japanese animation entrepreneur Nobuo Kawakami. Dwango is around the world. a production partner on The Dragon Dentist.

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News

No need to be in the dark about HDR technology Sofia Coppola’s La Traviata

SONY is once again presenting the Sony 4K Ultra-HD Theatre at MIPCOM, and this year — with Japan as Country Of Honour and with Sony CEO and president Kazuo Hirai delivering the opening keynote — is making a special emphasis on High Dynamic Range (HDR) technology. MIPCOM’s overall theme The New Television is wholly embraced in the UHD Theatre.

The UHD Theatre is designed to showcase the very best of Ultra-HD, and much of the content

to be shown at MIPCOM will be in the evenhigher UHD/HDR standard which delivers extra benefits to programme-makers and viewers.

HDR enables an image with more contrast between its lightest and darkest areas. The result is an image with darker blacks and lighter whites, leading to more detail in the image. So while in a standard display everything below a certain brightness is the same shade of black, an HDR display’s range goes further, allowing the viewer to tell the

difference between something that’s dark, and something that’s really dark.

Executive producer Chris Forrester said the 2016 UHD programme demonstrates how far the technology and the content has come. “Our theme is Here Come The UHD Channels, and we are highlighting brand new all-UHD channels which are now popping up all around the world, and each with spectacular HDR content.”

He added: “The BBC’s Natural History Unit’s creative director Mike Gunton will show footage from Planet Earth II: A New World evealed, which jumps forward from the Award-winning original Planet Earth in 2006, but now with footage captured in UHD. New camera technology, and HDR brings a very new perspective on the animal kingdom.”

The recent Sofia Coppola-produced opera La Traviata — with costumes by Valentino — will be highlighted by Rai.com, while Moon Studio will show its Steve Backshall live-action Eiger climb, The Vertical Mile, in UHD. SaintThomas Productions will screen Fire Rescue Frogs (6 x 60 mins) shot during the worst forest fires ever experienced in France’s Provence region. And Red Bull Media will stun viewers with spectacular HDR footage of skiing and snowboarding for lovers of action sports.

• MIPCOM’s ultra-HD conferences take place Monday to Thursday in the Sony 4K Ultra-HD Theatre on level 4 of the Palais

From 4K to 8K with Japan’s NHK IF YOU have never seen 8K television, then NHK urges you to visit its 8K theatre at the Japan Plaza, which enables MIPCOM delegates to experience the true-tolife experiences that 8K Super Hi-Vision offers.

Super Hi-Vision is not only the ultimate TV broadcasting system, but it opens doors to the usage in a wider field that includes medicine, education, art museums, public viewing, digital cinema, signage, industrial design, crime prevention and security.

Japan launched its 4K/8K Super Hi-Vision channel in August. With daily broadcasts of seven hours each day, NHK is airing programmes in a number of genres including drama, natural history, music, art, travel and sports. During the Rio Olympics, coverage of the games was shown daily. NHK has also built a new 4K system that enables smooth compression, editing, and transmission of heavy visual data.

Also in the Sony 4K Ultra-HD Theatre NHK is screening the Japanese adaptation of detective drama The Sniffer — originally a Russian-language production from FilmUA. MIPCOM delegates will be updated on the company’s progress in the field of UHD and can see how NHK is expanding its UHD entertainment portfolio. Special UHD presentations include how NHK is preparing for NHK News in 4K. • 8K demos in the Japan Plaza are open to all delegates daily 10.00-18.00, and from 15.45 on Monday, October 17

NHK is airing programmes in a number of genres including natural history and travel. Here, Mount Fuji in glorious 8K

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News Q SCREENINGS HIT RECORD HIGH MIPCOM is doubling the number of International Drama Screenings for 2016, this year presenting a record number of new shows from the US, the UK, Germany, France and China.

The Missing, Series 2, is the second installment of the criticallyacclaimed thriller from all3media International. Maximilian And Marie De Bourgogne is Beta Film’s bigbudget six-hour period drama about the impoverished Austrian Emperor and Europe’s most-wanted bride.

Ouro is a modern-day eight-part adventure series for Canal+.

Jamestown, from Carnival Films, is the epic story of the first British settlers in North America. Freakish, from AwesomenessTV, tells the story of 20 high-school students’ quest for survival among a mutating population. The Legendary Tycoon, from the China Huace Film & TV Co, is based on the true story of Asia’s first movie mogul, Sir Run Run Shaw. And a double-bill from Global Screen features Fangar – Prisoners, about a woman serving time in Iceland’s only women’s prison; and Charite, a six-part series set at the world-renowned Charite Hospital in Berlin in 1888.

There are also exclusive firstepisode screenings of two brandnew factual series — National Geographic’s Mars, presented by Fox Networks Group Content Distribution, and Planet Earth II, from BBC Worldwide.

• For more information see page 120.

Need for diverse content ‘has never been stronger’ MIPCOM’s first Diversity Summit will explore issues of diversity in entertainment, both behind and in front of the camera. A DiversifyTV board has been established to drive the discussion, that includes David Cornwall of Scorpion TV, Nick Smith of all3media, Bunmi Akintonwa of Blink TV and Liliane Da Cruz of Reed MIDEM. Sponsors include A&E Networks, Sonar Entertainment and Afrostream.

The idea was born out of a networking drinks event in Cannes a few years ago for those with an interest in diversity at the markets. “Since then it has grown to host talks from some of the leading diverse executives in the industry,” said David Cornwall who was there at the outset. “This year will be our most ambitious yet as we team with Reed MIDEM to host the event’s first-ever official Diversity Day.” According to Cornwall, the aim is to develop concrete and measurable outcomes regarding inclusion for under-represented groups in television and the distribution of diverse content. “We will show the business case for diverse content and demonstrate how organisations can identify, cultivate, encourage and promote genuine, diverse and recognisably talented individuals both on-screen and behind the scenes — including international executives – at all levels,” he said.

“Many companies employ policies that are supposed to address the issue but many fail to lead to continued progression,” Cornwall

Women in global entertainment MIPCOM 2016 will once again host the Women In Global Entertainment Power Lunch, in association with A+E Networks and Lifetime, for the fifth c onsecutive year. T he event brings together some of the biggest power players in global TV to discuss the challenges and opportunities facing women in the media industry worldwide. Discussion will include: new ways to reach audiences from a Shiri Appleby

women’s perspective; how to make content and branding in a way that develops, nurtures and empowers relationships with

Constance Zimmer

Scorpion TV’s David Cornwall added. “Mentoring is one option. Real-time monitoring of diversity in the workforce is part of the approach being taken in the UK. A database of diverse talent for scripted and non-scripted shows is also needed.”

Cornwall’s simple message to MIPCOM delegates is to consider the practical issues.

“Audiences have more choice than ever before, ratings for linear are in steady decline,” he said.

“When people don’t see themselves represented on TV they turn elsewhere. The commercial imperative for diverse content has never been stronger. Diversity of thought also makes for stronger businesses and a fairer society.”

•The Diversity Summit is at the Carlton hotel on Tuesday, October 18, from 8.30 to 11.30. By invitation only global audiences across multiple platforms; and new approaches to creativity, data and innovation in order to cut through the clutter and hear new voices.

Speakers this year include Betsy Beers, executive producer of ABC’s hit series Grey’s A natomy, Scandal, How To Get Away With Murder and T he Catch; and acclaimed actors Constance Zimmer and Shiri Appleby, co-stars of the acclaimed series UnREAL.

Betsy Beers

preview magazine I September 2016 I www.mipcom.com

• T h e Wo m e n i n G l o b a l Entertainment Power Lunch takes place from 12.30 at the Majestic hotel on Monday, October 17

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Product News Here we highlight some of the many programmes brought to MIPCOM from all over the world AUTENTIC DISTRIBUTION INCLUDED in Autentic’s priorities for

MARVISTA ENTERTAINMENT MARVISTA Entertainment debuts the

Top Secret: The Shadowy World Of Athletics (Autentic Distribution)

Summer Villa (MarVista Entertainment)

MIPCOM is Doping — Top Secret: The Shadowy World Of Athletics (1 x 60 mins), an investigation into doping in international sport. The German distributor also brings The Best Is Yet To Come (2 x 52 mins), a positive portrayal of a group of retirees, and The European Inventor Award, profiling groundbreaking inventors.

new romantic Hallmark Channel original movie, Summer Villa, starring Hilarie Burton and Victor Webster. The story follows a single mother who, struggling to finish her latest romance novel, travels to France with her precocious teenage daughter to stay in her editor’s beautiful chateau. They arrive to discover an unexpected guest, the editor’s brother, a famous chef who the mother had previously met on a disastrous blind date in New York.

DYNAMIC TELEVISION TWO TITLES head Dynamic Television’s

MIPCOM slate. Van Helsing (13 x 52 mins) is set in a world controlled by vampires and Vanessa Helsing is the last hope for survival as her blood is immune to vampires and she can turn vampires into humans. The series stars Kelly Overton, Jonathan Scarfe, Christopher Heyerdahl, Paul Johansson, David Cubitt, Vincent Gale and Tim Guinee. Dynamic Television handles worldwide distribution, excluding first run US television and Canada. Madiba (6 x 52 mins) is a drama about Nelson Mandela and his struggle to bring racial equality and democracy to South Africa, starring Laurence Fishburne and based on two of Mandela’s books.

Madiba is set to premiere on BET Networks in the US in 2017 and is distributed worldwide by Dynamic.

GAD DISTRIBUTION GAD BRINGS an expanded catalogue to MIPCOM this year, with new programmes

including Polynesia: The Beginnings Of A Pandemic, a documentary about the Zika virus; Four Seasons With Dior, a behind-the-scenes look at the fashion house; and a range of new music programming. GAD is also presenting its new website providing 4K and HD clips for professional use.

DLT ENTERTAINMENT NEW COMEDY series Go 8 Bit celebrates

the world of videogames. Part-comedy panel, part-game show, Go 8 Bit is hosted by Irish comedian and gaming enthusiast Dara O’Briain, and features guest comedians who battle it out in front of a live studio audience.

Featuring retro videogames including Pac-Man, Asteroids and Resident Evil, and newer titles including Star Wars Battlefront, Toybox Turbos and Trials Fusion, the studio audience is given the power to rate and score the teams via their smartphones.

Go 8 Bit (DLT Entertainment)

TRICON FILMS & TELEVISION TRICON brings over 400 hours of food

programming to MIPCOM and is launching Diary Of Asia (13 x 30 mins), which features wellness author Jojo Struys, traveling the Asia Pacific region to unearth techniques to de-stress through body, mind and great food.

Also on the slate is: Meat & Greed (6 x 30 mins), a celebration for carnivores in Singapore; and You Think You Know...

Food In Singapore (13 x 30 mins), in which Sonia Chew explores the culture and cuisines of Singapore’s new immigrant and expatriate communities.

Diary Of Asia (Tricon Films & Television)

Van Helsing (Dynamic Television)

NIPPON TV BURNING Questions! is a true-or-false

one-hour quiz show featuring intriguing, bizarre and sometimes risque questions for celebrity contestants. The winner gets a shot at a fabulous prize, while the others get their embarrassing secrets revealed. The show is hosted

by Mr. True and Mr. False who try to influence their answers.

Burning Questions (Nippon TV)

preview magazine I September 2016 I www.mipcom.com

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Product News FEDERATION ENTERTAINMENT CYBER-Crime series Unit 42 (10 x 52

mins) features a police Digital Unit in which Sam, a newly transferred homicide officer who is not particularly technology-minded, works with Billie, a young policewoman and IT expert. The Belgian series is distributed worldwide

by France’s Federation Entertainment, excluding Benelux and France.

GUSTO TV GUSTO TV brings a second series of its

series Fish The Dish (15 x 30 mins) to MIPCOM, which follows chef Spencer Watts as he cooks his favourite seafood dishes in preparation for his new cookbook. In each episode Spencer enthusiastically cooks one fish and one shellfish done two ways, focusing on themes including seeds, dairy, garlic and cocktails. Including the first season, 30 4K episodes and 120 webisodes are now available.

DARO FILM DISTRIBUTION MONACO -based Daro Film Distribution

brings a slate of new releases with worldwide rights excluding US and Canada, headlined by the recently completed Steven Seagal action thriller Contract To Kill. Female-skewed titles include Love You To Death, Deadly Affair and The Bad Twin.

Contract To Kill (Daro Film Distribution) Unit 42 (Federation Entertainment)

MGM TELEVISION MGM TELEVISION’s new drama series

include: The Handmaid’s Tale (10 x 60 mins), based on the Margaret Atwood novel and starring Elizabeth Moss, about life in a futuristic dystopia; thriller Condor (10 x 60 mins), inspired by feature film Three Days Of The Condor; and Get Shorty (10 x 60 mins) a reimagining of Elmore Leonard’s novel about a mobster turned movie producer. Additional highlights include the third instalment of Fargo (20 x 60 mins) starring Ewan McGregor and Carrie Coon; the final season of Teen Wolf (100 x 60 mins) and season five of Vikings (69 x 60 mins). From the reality genre comes The Celebrity Apprentice with new host Arnold Schwarzenegger (13 x 60 mins); dating series Coupled (10 x 60 mins); and the untitled Mark Burnett competitive entrepreneur reality series starring Steve Harvey (13 x 60 mins).

The Celebrity Apprentice (MGM Television)

Fish The Dish (Gusto TV)

MEDIASET ESPANA MEDIASET Espana brings a full catalogue

to Cannes. Reality shows include: Wanna Be, a 39-episode series that sees a team of fashion experts coach contestants with aspirations to join the industry; Love At The First Bark, a dating show where candidates and their dogs meet each other in places suitable for the dogs to play and the people to talk; and My House Is Yours, hosted by Bertin Osborne who interviews a variety of celebrities, in their house or his own.

Drama series include: I Know Who You Are, a thriller about the mysterious disappearance of a young girl; The Truth, about a young girl who returns home after eight year’s absence, to the suspicion of her town; and mini-series Cain’s Father, What Her Eyes Hide and Forgive Me God.

TRACE TRACE is in Cannes to promote its

programming for four new channels in Africa. Trace Naija is dedicated to music and entertainment content produced in Nigeria and Ghana; Trace Mziki, the first music channel broadcast in Swahili in East Africa; an English version of Trace Africa, the music channel in West and Central Africa; and Trace Gospel, which launched in France last year.

TWENTIETH CENTURY FOX TELEVISION DISTRIBUTION TWENTIETH Century Fox Television

returns to Cannes with drama series This Is Us, about an ensemble of characters born on the same day. The series stars Sterling K Brown, Milo Ventimiglia, Mandy Moore, Justin Hartley, Chrissy Metz, Chris Sullivan, Ron Cephas Jones and Susan Kelechi Watson.

Wanna Be (Mediaset Espana)

This Is Us (Twentieth Century Fox Television Distribution) preview magazine I September 2016 I www.mipcom.com

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Product News BBC WORLDWIDE WILD West (3 x 50 mins), brought to

Cannes by BBC Worldwide, digs deep into the character and soul of the Wild West, from scorching deserts, red-rock canyons and snow-capped mountain ranges to the rugged shoreline with some of the world’s richest seas.

Drama titles from the UK distributor include: Class (8 x 45 mins), set in Coal Hill School, part of the world of Doctor Who; SS-GB (6 x 50 mins/5 x 60 mins/3 x 90 mins), set in the 1940s in Nazi-occupied Britain; and Rillington Place (3 x 50 mins), based on the life of serial killer John Reginald Christie.

Factual titles include Planet Earth II (6 x 50 mins/1 x 50 mins); Food- How it Works (3 x 60 mins); and Million Dollar Car Hunters (10 x 50 mins).

CINEXPORT FRANCE’s Cinexport heads its French-language documentary slate with two

titles. Venice Known And Unknown (1 x 50 mins/HD), profiles the legendary Italian city on water. On The Track Of Butch Cassidy (1 x 38 mins/HD), follows the trail taken by the real Butch Cassidy and Sundance Kid from Montana to El Paso.

Venice Known And Unknown (Cinexport)

IX MEDIA CHINA’s IX Media brings worldwide

rights to a new documentary series to MIPCOM entitled One Face (10 x 45 mins). The series profiles the work of One Face Project, a borderless organisation tasked to record, preserve and share contemporary spiritual and cultural achievements, striving to build a world that values the diversity of individuals and groups.

Wild West (BBC Worldwide)

QUINTUS MEDIA NEW POP science show Evil Knows! —

In The Name Of Science (6 x 48 mins/ HD) is brought to MIPCOM by Berlinbased Quintus Media. Host Evil Jared Hasselhoff, bass player of the US rock band Bloodhound Gang, investigates some of the myths and phenomena of daily life, including spectacular experiments involving helicopters, jet fighters and horses. Other segments include Shot Check where he sends his team out to find the true stories behind odd pictures or videos from the internet and Human Heroes where he visits extraordinary personalities.

Evil Knows! — In The Name Of Science (Quintus Media)

FACTORIA PLURAL SPAIN’s Factoria Plural brings a range of

TCB MEDIA RIGHTS WORLD’s Greatest Hoaxes is brought to the international market by the UK’s TCB Media Rights. The programme looks at some of the world’s greatest hoaxes, including how the world was gripped by seemingly secret footage of an alien crash at Roswell, and the discovery of a fake Hitler diary. The series features on-location filming, news of recent investigations and original interviews.

ABOUT PREMIUM CONTENT PARIS -based APC (About Premium

programming to MIPCOM, including: Mother Chef, a format where renowned chefs reveal the secrets of their mother’s cooking; Born To Run, in which one celebrity tries to introduce running to another; Music Boulevard, in which two singers become patrons of street artists; talent show Catchy Tune; 1000 Stars Hotel, which follows three urbanites working alongside shepherds; and Second Chance, which puts buyers in touch with sellers of a variety of objects.

Content) launches drama series Valkyrien at MIPCOM. Two episodes are ready for Cannes, the rest will be available by the end of the year.

Written by showrunner Erik Richter Strand (Occupied), the series follows a physician trying to save his wife’s life in an underground clinic, while keeping up appearances in the real world, where eveybody thinks she is dead.

Mother Chef (Factoria Plural)

Valkyrien (APC)

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Product News CANAL 13 SUDMEDIA PROGRAMMING at MIPCOM from Chile’s Canal 13 includes: Un Caballo Ilamado Elefante (Elephant The Horse/1 x 70 mins), a family adventure film; La noche Del Jabalí (The Night Of The Wild Boar/1 x 70 mins), a thriller about a romantic writer investigating the cases of missing women; Lord Cochrane, Capitan De Mar Y Guerra (Lord Cochrane, Master And Commander/3 x 30 mins), about the British marine officer who led the fight for independence in Chile, Peru, Brazil and Greece; and Cazadores De La luz (Hunters Of Light/8 x 35 mins), about eight photographers who travel Chile looking for the perfect ray of light.

Un Caballo Ilamado Elefante (Canal 13 Sudmedia)

CINEPHIL TEL AVIV-based Cinephil is in

Cannes with the world rights for documentary A German Life (1 x 113 mins), which investigates the mentality of ordinary Germans who worked within the system during the Nazi era. Brunhilde Pomsel, now 105-years-old, was close to Joseph Goebbels and now she wrestles with her own complicity and responsibility.

A German Life (Cinephil)

ALBATROSS WORLD SALES GERMAN distributor Albatross’ factual

WOODCUT MEDIA UK-BASED production company

Band Of Bears (Albatross World Sales)

Combat Ships (Woodcut Media)

launches at MIPCOM include: Band Of Bears (1 x 90 mins/2 x 45 mins), which follows brown bear cubs in a Scandinavian forest; Thank You For Calling (1 x 90 mins), investigating mobile telephony’s implications for health; The VW Dossier (1 x 90 mins) about the emission tests scandal; and travel series Greece! From The Mountains To The Shoreline (5 x 52 mins), the follow-up to Greece! The Islands (5 x 52 mins/10 x 26 mins).

Woodcut Media is in production on documentary series Combat Ships.

Debuting at MIPCOM, Combat Ships (10 x 60 mins) is shot on location across Scandinavia, Europe, America and the UK. Each episode features several ships across time and provides a perspective on contemporary military, political and domestic issues, human stories and engineering marvels, using experts, reconstructions, engineering graphics and archive footage.

PROINTEL PRODUCCIONES TWO REALITY series top the MIPCOM

slate for Spain’s Prointel. Recording The World (5 x 45 mins) follows a TV crew shooting a documentary about endangered music and rituals, while facing their own conflicts. They travel through India, Indonesia and Thailand.

Recording The World, Cooking With Julius (5 x 45 mins) follows Julius Bienert, a Spanish TV cook who takes a culinary trip through Southeast Asia.

The distributor also brings two docreality formats, Pure Adrenaline and Sky With Diamonds, and cooking game show What’s For Dinner?.

FREE DOLPHIN INTERNATIONAL ELEMENTS Of Disaster is a collection of four English-language action/disaster movies

focused on the theme of natural elements — air, earth, fire and water. The first film from the Paris-based distributor, Crystal Inferno — starring Claire Forlani and Jamie Bamber — is now in post-production and ready for delivery later this year. Next in production will be Avalanche Down, followed by Daybreak and Fireline in 2017.

NPO AMONG the documentaries brought to MIPCOM by Dutch

Recording The World (Prointel Producciones)

distributor NPO is Forget Me Not (1 x 55 mins), about a primary school for children of rejected asylum seekers.

The teachers do all they can to give them the best possible education, yet they worry that any one of their pupils may be forced to leave the country. Other titles include: Mission Beirut (1 x 85 mins), profiling the Dutch embassy in Lebanon; and Backlight: Cyber Jihad (1 x 50 mins), lookForget Me Not (NPO) ing at virtual techniques used to encourage radicalisation. preview magazine I September 2016 I www.mipcom.com

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Product News BLUE ANT INTERNATIONAL HD HIGHLIGHTS from Toronto-based Blue

Ant include: Collision Course (6 x 60 mins), which examines the factors surrounding vehicle crashes involving celebrities — critical moments leading up to the incident and the consequences; Brazil Untamed (10 x 60 mins), which explores a lush wetland of unimaginable biodiversity in the heart of Brazil; and the second season of National Parks Secrets And Legends (12 x 30 mins), looking at horrific catastrophes, occult murders and UFO phenomena in North American parks.

LIONSGATE TELEVISION INTERNATIONAL GRAVES (10 x 30 mins), a single-camera,

10 x 30-minute comedy, tells the story of President Richard Graves (Nick Nolte) as he embarks on a quest to right the wrongs of his administration and reclaim his legacy 25 years after leaving the White House. Produced and brought to Cannes by Lionsgate, Josh Michael Stern (Swing Vote, Jobs) is the creator/ showrunner.

Graves (Lionsgate Television International)

FOX NETWORKS GROUP CONTENT DISTRIBUTION THE LATEST title in Fox’s Killing franchise is Killing Reagan (1 x 120 mins). The

drama is based on Bill O’Reilly’s best-selling book and stars Tim Matheson as Reagan and Cynthia Nixon as his wife Nancy. From the golden days of Hollywood up through his years in the California governor’s mansion and finally to the White House, Killing Reagan follows the president’s rise to power, which was nearly cut short by John Hinckley’s bullet.

AVALON DISTRIBUTION FORMAT Sugar Free Farm premiered on

DRG DISTRIBUTOR DRG is launching a range

Sugar Free Farm (Avalon Distribution)

Interview With A Murderer (DRG)

the UK’s ITV1 and is brought to MIPCOM by Avalon Distribution. The series features six famous faces living entirely without sugar for two weeks, while living and working on a farm in return for their share of healthy, wholesome food.

of crime programming at MIPCOM. Interview With A Murderer (3 x 60 mins/1 x 90 mins) features a criminologist who explores the psyche of a British man suspected of murder, but never charged. Murderers And Their Mothers (10 x 60 mins) profiles the dysfunctional relationship between a serial killers and their mothers.

Murder In Melbourne (1 x 60 mins), investigates the murders of three Irish nationals in Melbourne.

Collision Course (Blue Ant International)

ZDFE NEW CONTENT from ZDF Enterprises’

natural history catalogue includes: Children Of The Wild (1 x 50 mins/4K), looking at the true story of the wild child John Ssebunya in Uganda, and that of Rudyard Kipling’s Mowgli, fiction’s most-famous wolf child; Wild Wild West (2 x 50 mins/4K), about the abundance of life in the US’ Sonoran Desert; and The Celts — Age Of Blood And Iron (3 x 50 mins). Dramas include: Ku’damm ’56 (3 x 90 mins), set in a Berlin dance school; and romance series Lena Lorenz (6 x 90 mins) and Lotta’s Life (5 x 90 mins). Formats include game shows You Can’t Fool Me!, The Game Begins! and Quiz Champion.

Children Of The Wild (ZDFE)

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Product News ARMOZA FORMATS TWO FORMATS top the list of MIPCOM

DW TRANSTEL NEED TO Compete (5 x 30 mins) is a

Born To Be A Chef (Armoza Formats)

Need To Compete (DW Transtel)

launches from Armoza Formats. Born To Be A Chef is a 60-minute primetime family cooking competition in which two acclaimed chefs each lead a team of young apprentice cooks. Curvy Supermodel (90 mins), airing on Germany’s RTL2, uncovers the fears, struggles and joys of larger models in their search for a place in the tough and discriminative industry. Each week they face new challenges and an expert jury.

documentary profiling the spirit of competition in communities and cultures around the world, brought to Cannes by Germany’s DW Transtel.

From athletics to oddities, features include Scotland’s Highland Games, a 16th-century gladiator tournament in Italy and a competition featuring Chinese fighting crickets.

COMERCIAL TV COMERCIAL TV brings a range of new

titles to MIPCOM including two new telenovelas: Wild Skin is a battle between love, hate and a secret that transforms the lives of those who vowed to remain in silence; and Betrayed Heart, a story of love, crime and betrayal. The Spanish distributor also brings Hollywood News, a weekly show about the latest celebrity news and movies. From the natural history genre comes Wildlife Docs, featuring exotic animals and the people who care for them.

CBS STUDIOS INTERNATIONAL A NEW series of Star Trek is in production and is due for a January 2017 premiere, its first TV incarnation since 2005. An international licensing agreement for the new series sees Netflix as the exclusive home of Star Trek in 188 countries — excluding the US and Canada. Each episode will be available globally within 24 hours of its US premiere. Additionally, all 727 existing episodes will be available on Netflix worldwide by the end of 2016.

STUDIOCANAL FRENCH -Swedish drama co-production Midnight Sun is launched at MIPCOM by

Studiocanal. The eight-part thriller is set in a small mining community in northern Sweden, and follows French police officer Kahina Zadi (Leila Bekhti) as she investigates the murder of a French citizen. Working with Anders Harnesk (Gustaf Hammarsten), a Swedish detective and member of the local Sami tribe, they are soon faced with new killings.

Midnight Sun (Studiocanal)

Wild Skin (Comercial TV)

INDIACAST INDIACAST holds a library of 30,000

hours and priorities for MIPCOM include: Naagin (62 x 60 mins/HD), about a shape shifter — who can transform from woman to snake — who is looking for revenge; Swaragini (418 x 30 mins/HD), a saga of two very different families; Kasam (150 x 30 mins), a supernatural love story; Balika Vadhu, available in English and Spanish, about a child bride; and Chakravartin Ashoka Samrat, the story of the warrior and future emperor who created the nation of India.

Naagin (Indiacast) preview magazine I September 2016 I www.mipcom.com

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A series directed by Arnaud Malherbe and Clovis Cornillac created by Arnaud Malherbe and Marion Festraëts

© Calt Production. Christophe Charzat.

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Product News KOTV TWO SERIES are prioritised by Montreal-

based KOTV at MIPCOM. How To Survive My Family (62 x 30 mins) is a 30-minute comedy about 13-year-old Clovis and his family, who are united by love but separated by everything else. To vent his frustrations, he creates a YouTube channel where he gives advice on how to survive families.

The second 30-minute comedy series Simone (13 x 30 mins) aims to demystify, explain and justify the sometimes quirky behaviour of women.

OCTAPIXX WORLDWIDE TORONTO -based documentary

distributor Octapixx Worldwide brings Stem Cell Therapy: Biotechnology To The Rescue (1 x 52 mins/HD) to MIPCOM after signing an international distribution deal with veteran producers Global Science Productions.

LINEUP INDUSTRIES SWITCH (45 x 30 mins) is a quiz that is

played without points. Five contestants stand side by side. By solving word puzzles and trivia questions, contestants can Switch places with the goal to be in first place before the final, with the chance to win a cash prize. The same five contestants return throughout the week. If a contestant wins all five days, their prize fund is doubled. The format is brought to Cannes by Amsterdambased Lineup Industries.

Switch (Lineup Industries)

How To Survive My Family (KOTV)

Stem Cell Therapy: Biotechnology To The Rescue (Octapixx Worldwide)

THE TELEVISION SYNDICATION COMPANY (TVS) HOSTED by security expert Paul Viollis, each episode of The Security Brief (80 x

60 mins/HD) features a true crime story told in first-person with a focus on advice for family safety. With stories ranging from sex trafficking to children joining ISIS, the series is entering its second season in US syndication and is available for the first time outside the US. TVS also brings factual drama Betrayal Of Trust (2 x 55 mins/1 x 110 mins), telling the story of Father Brendan Smyth, an Irish priest who for 30 years went undetected as a serial child abuser.

52 mins), set in the Amazonian jungle, is premiered at MIPCOM by France’s Newen Distribution. Other shows on the slate include: procedural series The Intern (8 x 52 mins); fantasy Beyond The Walls (3 x 52 mns); the second season of drama Witnesses (8 x 52 mins); documentary Terror Studios (1 x 52 mins), exploring ISIS propaganda; new episodes of factual crime series Who’s The Killer (91 x 52 mins); game show On Fire; and game talk-show Truth Or Dare.

RTE PROGRAMME SALES IRELAND’s RTE highlights Making It

Down Under (6 x 30 mins) at MIPCOM. The series follows Irish people doing extraordinary jobs in Australia, including a helicopter doctor from the West of Ireland based on the Sunshine Coast, a veterinary nurse from the South working in Perth and an outback trucker from Cork who travels the remote wilderness of Western Australia driving one of the longest cattle trucks in the world.

GLOBAL SCREEN NEW TO the international market at

Ouro (Newen Distribution)

Making It Down Under (RTE Programme Sales)

Charite (Global Screen)

NEWEN DISTRIBUTION NEW ADVENTURE thriller series Ouro (8 x

MIPCOM are two drama series brought to Cannes by Germany’s Global Screen. Charite (6 x 45 mins) is set in a late 19th-century Berlin hospital where a young woman begins a successful medical career after working at a hospital to pay for her operation. In Fangar - Prisoners, a 30-year-old is charged with the attempted murder of her father who is now in a coma. She goes to prison but no one knows the secret that could tear her family apart and set her free.

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Product News ALFRED HABER THREE GRAMMY music specials are brought to MIPCOM by

Alfred Haber: The 59th Annual GRAMMY Awards (1 x 120 mins); GRAMMY Salute To Music Legends (1 x 120 mins), which includes tributes to Linda Ronstadt, Earth, Wind & Fire and Run DMC; and GRAMMY 4th Quarter Tribute Special (1 x 120 mins) featuring musicians performing songs made famous by an international superstar.

The 58th Annual GRAMMY Awards (Alfred Haber)

METROLOGICAL DUTCH technology developer Metrological is at MIPCOM to

offer content owners the ability to publish an app that can reach multiple operators’ subscriber bases simultaneously.

Metrological’s Application Platform integrates apps and OTT content with the TV viewing experience on most set-top boxes, enabling better content discovery and contextual-based programming alternatives without leaving the main screen.

GRB ENTERTAINMENT PROGRAMMING on the roster from the US’ GRB Entertainment

includes Walt: The Man Behind The Myth, presented by Diane Disney Miller, narrated by Dick Van Dyke, and featuring interviews with Disney stars and animators along with footage of Disney’s testimony before the HUAC Committee and the 1941 strike at the Disney studios. Occult Crimes profiles dangerous killers who say they take their orders from Satan. Follow The Rules is a reality show featuring rapper Ja Rule and his hectic household. Walt: The Man Behind The Myth (GRB Entertainment)

HAT TRICK INTERNATIONAL MAKING its international premiere at MIPCOM with UK

Eden (Hat Trick International)

distributor Hat Trick is Keo Films’ new commission Eden: What If We Could Start Again, scheduled for Channel 4 in 2017.

Filming 24/7 for 365 days across 600 acres in Scotland, Eden follows 23 men and women with the skills needed to be self-sufficient as they are given a year to build a new society from scratch.

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Product News TELEMUNDO AMONG the long-running dramas from Florida-based

Telemundo are: Silvana Sin Lana (121 x 60 mins), about an abandoned rich mother who learns what it really means to have work to survive, and in the process finds love; Senora Acero 3 La Coyote (80 x 60 mins), about a woman caught between drug traffickers and law enforcement; and Sin Senos No Hay Paraiso (90 x 60 mins), a drama reflecting the new generation of women determined to succeed in life.

Telemundo also brings reality format Would You Take Your Ex Silvana Sin Lana (Telemundo) Back?.

PBS INTERNATIONAL THE NEW PBS slate for

MIPCOM includes: Mega Croc vs. Super Snake (1 x 60 mins), following scientists as they piece together a 43-foot snake and a 50-foot crocodile after the bones are Mega Croc Vs. Super Snake (PBS International) discovered by a mining operation; Treasures Of The Earth (3 x 60 mins/HD), exploring the importance of precious stones and metals and how their properties lead to ingenious innovations; docudrama Martin Luther (1 x 60 mins), chronicling his fight for equality, education and women’s rights, as well as his legacy of nationalism; investigative documentaries Policing The Police (1 x 54 mins) and The Talk (1 x 120 mins); and Trading History (6 x 60 mins) profiling an auction house.

TWOFOUR RIGHTS TOPPING the slate for the UK’s Twofour Rights are:

Extraordinary Animals (4 x 60 mins), which explores animal behaviour across the globe to reveal what’s really going on and why; This Time Next Year (6 x 60 mins), a studio entertainment series showcasing real-life transformations, from people losing half their body weight to finding their soul mate or becoming a parent; and the third series of Impossible Engineering (12 x 60 mins), looking at mind-blowing modern engineering and incredible historical inventions..

Extraordinary Animals (Twofour Rights)

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Product News ARTE ARTE brings a new

season of its series Let’s Dance (6 x 52 mins) to MIPCOM. Let’s Dance explores the major figures of dance, exploring techniques, sensuality, discipline and physical characteristics. From the ARTE history slate comes The Great Greek Myths (20 x 26 mins), which recounts these ancient stories using animation Let’s Dance (ARTE) and illustrations.

OHM:TV GERMANY’s ohm:tv is launching documentary 35 Cows And A

Kalashnikov (1 x 83 mins) at MIPCOM. The film is a poetic tribute to the beauty and 35 Cows And A strength of the sub-Saharan Kalashnikov (ohm:tv) continent, paying tribute to the Surma tribe of southern Ethiopia, the dandy movement of Brazzaville and the voodoo wrestlers in Kinshasa in a continent where ancient roots, colonialism and western influences co-exist.

NOVOVISION PARIS -based Novovision has just completed production on

18-episode non-dialogue series Prank My Pet, featuring charming and cute moments with pets. Developing its Popcorn TV franchise of comedy clips the company has also begun production of a new series of non-dialogue candid-camera clips called Popcorn Street.

ALL3MEDIA INTERNATIONAL ALL3MEDIA is showcasing two new dramas at MIPCOM.

National Treasure, starring Robbie Coltrane, Julie Walters and Andrea Riseborough, is a four-part series examining the fallout when accusations of sexual misconduct are lodged against a fictional public figure. The eight-part second season of thriller The Missing, starring Tcheky Karyo, David Morrissey and Keeley Hawes, sees Karyo reprise his role as detective Julien Baptiste.

When a young British woman — missing for 11 years — stumbles though the streets of her German hometown, her reappearance sends shockwaves through the community.

National Treasure (all3media International)

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Product News BETA FILM GERMANY’s Beta

Film premieres its East-West drama series The Same Sky (3 x 120 mins/6 x 60 mins) at MIPCOM. The distributor also brings: Rocco Schiavone (6 x Rocco Schiavone (Beta Film) 120 mins), based on the novels of Antonio Manzini, about Inspector Rocco’s exile in the Alps; period drama Maximilian And Marie De Bourgogne (3 x 120 mins/6 x 60 mins), about the impoverished Austrian Emperor and Europe’s most wanted bride; Gotthard (2 x 120 mins), about the construction of a tunnel in 1873; and the first footage of 16-part 1920s show Babylon Berlin, from Tom Tykwer.

ZED PRIORITIES for Paris-based distributor Zed include: NHK

series Spaceship Earth (5 x 52 mins); Digits (3 x 60 mins), which explores the history and the impact of the internet; Deep Time History (3 x 50 mins), breaking down the walls between history and science; Hitler Vs Churchill, The Eagle And The Lion (1 x 52 mins); and Snapshots Of History (20 x 26 mins), which examines the stories of men and women who have witnessed history in the making. Zed is currently producing Sacred Spaces (4 x 52 mins/4 x 90 mins/15 x 26 mins), profiling some of the world’s greatest sacred architecture; biography Peter Falk, Columbo’s Last Case (1 x 52 mins); and The Secret Versailles Of Marie-Antoinette (1 x 52 mins).

FREMANTLEMEDIA INTERNATIONAL FREMANTLEMEDIA brings worldwide rights for psychological

thriller Apple Tree Yard to MIPCOM. The 4 x 60 mins courtroom drama, for the UK’s BBC1, is about a woman whose adultery unleashes events that lead to her standing trial for murder. From the format slate comes Q The Music (4 x 60 mins), a musicthemed quiz set over two runways fitted with four light pulses, each pulse corresponding to a potential answer.

The players must jump onto the correct pulse to score points for their team — the faster they move, the more points they score.

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Product News PIXEL THE CAPSULE (La Capsula) is a project to build a European time capsule containing 27 objects, one per country.

Each week a local celebrity explores the art and culture of the country, looking into the history of the society in order to build up the capsule. The project is brought to MIPCOM by Spain’s Pixel.

The Capsule (Pixel)

CONTENT TELEVISION AT MIPCOM the UK distributor Content

Television is showcasing the first title from its exclusive first-look deal with producer Deadpan Pictures. Can’t Cope Won’t Cope (6 x 30 mins), making its international debut in Cannes, follows two girls as they navigate the perilous waters of adulthood in Dublin, fuelled by vodka and a sense of entitlement.

However a reality check awaits them.

ITV STUDIOS GLOBAL ENTERTAINMENT ITV STUDIOS Global Entertainment is

launching three dramas at MIPCOM. Loch Ness (6 x 60 mins) is set on the shores of Scotland’s most iconic loch, where the search for a serial killer is the first murder case for local detective Annie Redford. Tennison (6 x 60 mins), the prequel to Prime Suspect, is set in London in the 1970s and follows the young Jane Tennison as she begins her career in the Metropolitan Police in London. Cold Feet (8 x 60 mins) revisits the characters from the original comedy series (1997-2003) as they are approaching 50.

Can’t Cope Won’t Cope (Content Television)

ABC COMMERCIAL AUSTRALIA’s ABC Commercial is highlighting three factual

The Wonder Of Marsupials (ABC Commercial)

titles at MIPCOM. The Wonder Of Marsupials (3 x 50 mins) looks at how marsupials have evolved to deal with the unique and difficult challenges of life in Australia. You Can’t Ask That (10 x 30 mins) focuses on groups of misunderstood or stigmatised people and confronts prejudice and discrimination in an entertaining way. Running Wild: Australia’s Camels (1 x 60 mins) is about a herd of wild camels roaming the outback, first introduced in the 1860s. The company is also offering the format for You Can’t Ask That.

EARTH TOUCH WILDLIFE and factual entertainment

DCD RIGHTS FOUR-part drama Striking Out makes its

1491 — The Untold Story Of The Americas Before Columbus (Earth Touch)

Striking Out (DCD Rights)

producer and distributor Earth Touch brings the hybrid scripted/factual series 1491 - The Untold Story Of The Americas Before Columbus (8 x 50 mins) to MIPCOM, with worldwide rights excluding Germany and North America. The series, based on a New York Times bestseller, portrays preColumbian North America, a thriving diverse land of many languages and developed trade and culture, using dramatic and animated sequences.

debut at MIPCOM. The show, brought to Cannes by the UK’s DCD, follows the tumultuous professional and personal life of Dublin-based solicitor Tara Rafferty. When Tara discovers her fiance and fellow solicitor has been cheating with a colleague she leaves him and the prestigious law firm they worked at to set up her own practice specialising in family and divorce law.

Loch Ness (ITV Studios Global Entertainment)

KABO INTERNATIONAL COPS On The Block (19 x 44 mins) is

a new scripted comedy format brought to MIPCOM by Kabo International, the distribution arm of France’s Kabo Family. Commissioned

by French broadcaster M6, the comedy revolves around the antics of Captain Campanella and his motley crew of cops and is based on another of Kabo’s products, the Pick’n Mix sitcom format of comedy sketches that can be assembled in any order to suit a broadcaster’s schedule.

Cops On The Block (Kabo International)

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Product News ZEE ENTERTAINMENT ENTERPRISES TWO MIPCOM priorities for India’s Zee

TVN POLAND’s TVN presents new seasons

are: Tashan-e-Ishq (290 x 30 mins/ HD), about the love life of Twinkle, set against the backdrop of upwardly mobile Punjab where her mother and her love interest’s mother have scores to settle; and Altar’d (6 x 60 mins/HD), in which fitness and nutrition experts work with a bride and groom to shape them up for when they next see each other — at the altar.

of Woman At The End Of The World (61 x 30 mins), a documentary series focusing on cultural diversity, at MIPCOM. Other titles include: Second Chance – What Matters Most? (26 x 60 mins), a drama about a talented star agent facing major changes in her life; and new drama A Dish To Die For (13 x 60 mins), exploring the complicated relationships among chefs struggling to start a restaurant in Warsaw.

Tashan –E – Ishq (Zee Entertainment Enterprises)

A Dish To Die For (TVN)

CARACOL TELEVISION CARACOL Television has begun production on drama series A Carnival Affair,

about a man from the capital who looks down on people from the coast and their customs. He and his girlfriend are shocked when his mother confesses that he is the result of a one-night-stand and that his father is from the coast.

The Colombian company also brings The White Slave (62 x 60 mins), about a white woman raised by slaves, who years after being separated from her family, comes back to America to avenge the death of her biological parents, free her adoptive family and reunite with the love of her life.

FRANCETV DISTRIBUTION FRANCETV distribution brings a full slate

ATTRACTION DISTRIBUTION FROM Montreal’s Attraction Distribution

Murder In… (Francetv Distribution)

Game On (Attraction Distribution)

of programming to Cannes, including: Giant Viruses (1 x 52 mins) a documentary about how the development of new viruses could have consequences for life on earth; kids’ series Dimitri and The Science Of Botheration; and the international collection of detective stories called Murder In... (5 x 90 mins).

comes a new tween-oriented fiction series, Game On (40 x 11 mins), starring comedians Samantha Bee and Jonathan Torrens who comment on the awkward coming-of-age stories of 14-year-olds in the style of sports announcers. Other shows include Benelux Noir crime series Commandments; and its 110-strong Family Film Collection.

KESHET INTERNATIONAL COMEDY detective drama Clues, brought

to Cannes by Israel’s Keshet, tells the story of a successful private investigator, his rich spoiled wife and his street-smart girlfriend, who actually does most of his investigative work.

His sudden disappearance leaves the women penniless so the unlikely duo throw themselves into a variety of detective work to keep the business running.

Clues (Keshet International)

PASSION DISTRIBUTION NEW ENTERTAINMENT and documentary

titles are priorities for the UK’s Passion Distribution at MIPCOM. The Next Great Magician (6 x 60 mins) is a format that features the world’s best magicians performing their greatest tricks as they compete to take the crown. Another format, The Dressing Room (6 x 60 mins), follows a range of different sporting clubs, spotlighting the key characters and their personal stories. Street illusionist Dynamo stars in two new 60-minute specials; Dynamo Live and Dynamo A-Z. New 60-minute documentaries include: The Woman Who Ate Her House, looking at the condition called PICA which results in a compulsion to eat anything from paper to brick; and The Hipster Handbook, a look at the rise of the hipster and the cultural consequences.

The Next Great Magician (Passion Distribution)

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Product News distributor includes: Lagerfeld, A Lonely King (1 x 52 mins), profiling the fashion legend; Christian Dior, The Refinement Of A Lost Paradise (1 x 52 mins), focusing on the designer’s parents’ house in Normandy; Space Tomorrow (6 x 52 mins), a 4K pop-science series; and culinary tour GlobeCooker In Paris (12 x 26 mins/6 x 52 mins).

UPSIDE DISTRIBUTION UPSIDE returns to MIPCOM

with three new feature-length documentaries. In production is Capital In The XXI Century, based on the book by economist Thomas Piketty.

The first clips are available of Roc: A Modern Icarus, a psychological exploration of master con man Christophe Rocancourt. Be Here Now (The Andy Whitfield Story) (1 x 105 mins) follows a young man’s fight against a lifethreatening disease. Other factual content from the French

INCENDO CANADIAN producer and distributor

Incendo has this year produced five made-for-television movies, and is currently in post-production on the second season of drama Versailles, a co-production with Capa Drama and Zodiak Fiction. Incendo’s priorities for MIPCOM include: reality series Divorce Court (480 x 30 mins); drama series Los Juniors (in development); Versailles (seasons 1 and 2); and TV movies Brace For Impact, Run To Me, Serialized, FANatic and Girls’ Night Out.

Space Tomorrow (Upside Distribution)

AMERICAN CINEMA INTERNATIONAL (ACI) PRODUCER and distributor ACI brings

a range of content to MIPCOM including: Of Mind And Music, a touching story about the importance of family, despite the ravages of Alzheimer’s, starring Joaquim de Almeida, Aunjanue Ellis, Bill Cobbs and Ruth Negga; and Holiday Breakup, a romantic comedy about a couple who pretend to still be together through the holidays, starring Manon Mathews and Shawn Roe.

NAKED ENTERTAINMENT TOPPING the MIPCOM priorities for

the UK producer Naked Entertainment is format 100% Hotter (10 x 60 mins), billed as an extreme make-under show. Each week the show’s team — a stylist, make-up artist and hairdresser — work with a fashion victim to see if they can convince them to change their style for the better.

TELEWIZJA POLSKA (TVP) TVP’S NEW musical movie Bodo depicts

FANatic (Incendo)

TM INTERNATIONAL THE LATEST addition to TM

100% DISTRIBUTION BEAUTIFUL Loser (10 x 26 mins) is a

the life of Eugene Bodo, who was a major European star between the wars. He was an actor, director, producer, businessman and the central figure of gossip and numerous scandals. The film follows Bodo running away from home, his early steps on stage in a provincial theatre, as well as his relationship with a possessive mother and his love affairs.

The drama contains original footage of Bodo’s performances and movies.

International’s line-up is Neanderthals (4 x 60 mins). Lena Taubner, a young police pathologist from Berlin, can’t believe the results of the DNA tests she took at a grim murder scene. What looks like the case of a family being brutally killed takes a bizarre twist when the suspected killer’s DNA turns out not to be human. Working with a paleontologist they discover that a group of Neanderthals have escaped from a secret laboratory.

Beautiful Loser (100% Distribution)

Bodo (TVP)

Neanderthals (TM International)

comedy series about an immature 30-year-old who discovers he is the father of a 14-year-old. He wants to play a part in his son’s life, but it’s not easy as he acts like a teenager himself.

The French distributor also brings the third and final season of Spin (18 x 52 mins), a political thriller in which before the presidential elections, the head of the leading extreme-right party is assassinated.

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Product News NORDIC WORLD THE STREAM is a new music

competition from pan-Nordic distributor Nordic World, that gives new talent an opportunity to be discovered through the internet and social media. Contestants upload their video to the show’s website for the public to stream and share. The top 100 streamed artists perform for Universal, Sony and Warner Music talent scouts. Those 100 candidates are reduced to nine, who perform in weekly live shows, with their songs available on Spotify. The winner will be the most streamed artist, discovered and chosen by the public.

TF1 FRENCH distributor TF1 is highlighting a

new procedural at MIPCOM, with two episodes already available. Emma (10 x 52 mins) features detective Fred Vitulo who has been selected to take on a new trainee, Emma. She quickly amazes Fred and his team, but her behaviour is strange. Fred eventually discovers the shocking truth that Emma is an AI android, part of a topsecret defence programme.

ELECTUS INTERNATIONAL LOS ANGELES -based Electus brings a

range of programming to MIPCOM, including: The Case Of: JonBenet Ramsey (6 x 60 mins), reuniting original investigators and new experts to re-examine this 20-yearold murder mystery; Toy Box (8 x 60 mins), featuring toymakers competing in front of a jury of children to invent the next big toy; two David Blaine Specials (2 x 60 mins); Separation Anxiety (18 x 60 mins), a game where one half of a couple thinks they’re playing an internet game while their partner is on stage with a chance to win $250,000; and two seasons of reality competition Home Free (8 x 60 mins/10 x 60 mins).

LOOKING GLASS INTERNATIONAL INK THERAPY (13 x 60 mins) follows

Emma (TF1)

EONE TELEVISION INTERNATIONAL NEW SHOWS from eOne include: legal The Stream (Nordic World)

108 MEDIA TORONTO’s 108 Media brings:

Passionate TV, a six-part series following six very different people who follow their dreams; The Challenger Muay Thai (12 x 60 mins), a martial-arts series combining reality, training, drama and elimination fights; season three of reality show Nightclub Confidential (17 x 30 mins), which is available as a format; and feature films Cold Nights Hot Salsa, set in the Latin dance world, and Origin, about three students on the verge of making a breakthrough in their research into biohacking and cell ageing, who spiral down in a dangerous direction.

drama Conviction (13 x 60 mins), starring Hayley Atwell as the daughter of a former President who is blackmailed into taking a job as the head of New York’s newly created Conviction Integrity Unit; Cardinal (6 x 60 mins), about the investigation into the murder of a 13-year-old; Foreign Bodies (8 x 42 mins), a comedy about young travelers on a trip around Asia; and Ransom (13 x 60 mins), created by showrunner Frank Spotnitz, based on the real cases of negotiator Laurent Combalbert, a former member of an elite police unit who now runs his own negotiation company.

Conviction (eOne Television International)

tattoo artist Charlie Hyde in California as free of charge he helps clients by covering up their physical scars with tattoos. The series is brought to MIPCOM by specialist factual distributor Looking Glass International, headquartered in Melbourne, Australia.

Ink Therapy (Looking Glass International)

PILOT PRODUCTIONS UK PRODUCER of travel and adventure

programming, Pilot Productions, is offering a slate of 52-minute documentaries at MIPCOM. The Story Of Sugar profiles the history of European expeditions to tropical islands and the African slave trade.

In The Story Of Spice Judith Jones investigates the world’s most aromatic culinary ingredients. The Story Of Beef features Kate Comer on a voyage to discover the facts behind the world’s favourite red meat. The Story Of Beer examines the world’s oldest alcoholic beverage.

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Feature

Kirsten Dunst in MGM’s series based on the Cohen Brothers’ movie Fargo

FILM + TV + SVOD

Television gets a makeover There was a time when film and television were two very separate businesses — creatively, financially and philosophically. But with SVOD the new playing field for feature films and talent flowing freely from the big to the small screen, TV is looking very different today.

Andy Fry reports

A

DOMINANT trend in TV drama over the last few years has been increased interaction with the feature-film business. At first sight this is surprising, given that the two sectors have, traditionally, mixed about as well as oil and water. However a number of factors have encouraged greater collaboration.

One key driver has been the improved

quality of the TV experience. The rise of large-screen HDTV sets with excellent sound has meant it is possible to bring the cinema experience into the living room. At a time when the movie business has shifted so much of its emphasis towards a small number of similarly pitched blockbusters, this means it is tempting for people to stay in and see what is on television. An added benefit of the

decision to stay at home is that consumers are not stuck with their first viewing choice, as they are with the movies.

US cable TV players including HBO, FX and AMC were among the first to take advantage of the changing landscape, with acclaimed series such as The Sopranos, The Shield and Mad Men. But it was the SVOD sector that took it to a new level, says Sarah Doole,

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Feature “Film talent has realised that TV provides them with a better canvas to tell their stories. A lot of stories just can’t be told in 90 or 100 minutes” Sarah Doole

director of global drama at FremantleMedia.

“Netflix started out by delivering films to TV sets [first as DVDs, then by streaming],” she says. “So they were quick to realise there was an opportunity to develop high-end filmic TV series like House Of Cards [starring Kevin Spacey and produced by David Fincher] for the small screen. Since then, we’ve seen many more free-to-air and payTV channels respond.”

None of the above would have made any difference, of course, if the film industry’s writers, directors and actors had not been tempted to enter the TV business. However, Doole says two factors came together to encourage the talent migration into TV. The first has been the implosion of the independent film business, a victim of SVOD/pay-TV’s rise and the polarisation of the movie business into blockbuster and low-budget. “There are still some good independent films out there,” she adds. “But it is increasingly difficult to pull

House Of Cards – “a high-end production for the small screen” the financing together. As a result, TV has become commercially attractive for talent.”

The second factor is creative. Doole continues: “Film talent has realised that TV provides them with a better canvas to tell their stories. A lot of stories just can’t be told in 90 or 100 minutes. They need eight or 10 episodes to unfold. We have a great example at the moment with The Young Pope, which stars Jude Law and is being written and directed by Paolo Sorrentino.”

As all of these factors have come into alignment, the interdependency of film and TV has been taken to a new level, says Joel Denton, managing director of international content sales and partnerships at A+E Networks. “There’s no question that the talent is attracted by the creative ownership offered by TV,” he says. “But there’s also a competitive dimension. With 400 or 500 new dramas coming to the market every year, it’s harder than ever to stand out.

So producers and broadcasters need the very best people for their projects. It’s no longer enough to make good drama — it has to be fantastic.”

Coming up next year on A+E-owned History channel, for example, is Knightfall, a drama about the Knights Templar that is being produced by film actor Jeremy Renner. There’s also military action-drama Six, which is being written by Castaway screenwriter William Broyles. “This level of talent is keen to get involved in TV,” Denton says. “That’s great news for our own channels, and also for our international distribution, because it’s attractive to buyers.”

“It’s no longer enough to make good drama — it has to be fantastic” The Young Pope, starring Jude Law and written and directed by Paolo Sorrentino. Photo: Giani Fiorito

Joel Denton

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Feature can be a way of triggering audience interest.

But it is also about this emerging opportunity to tell great stories in a new way and using TV to expand worlds beyond 90 minutes.

“There’s no guarantee this approach will give you a great show,” says Denton, whose company has a remake of Garry Marshall’s 1988 movie Beaches coming up. “But if you get the right showrunner, then you can get an interesting proposition.”

Jeremy Renner’s Knightfall, coming up on A+E The relationship between film and TV is not just about talent migration, Denton adds.

There has also been a surge in the number 051_FUNDACION_PV_COM

of classic film properties being re-imagined as TV series. In part, this is to do with the competition point raised above, since film IP

In addition to the above, a growing number of film producers/distributors have grasped the emerging opportunity by opening up TV divisions. One that neatly encapsulates this trend is Studiocanal, a leading European film studio that has taken a series of highprofile TV-company stakes in recent years.

Starting with Tandem Productions in 2012, it has gone on to invest in Red Production Company, SAM, Bambu Producciones, Urban Myth Films, The Final Twist and SunnyMarch TV, the latter being actor Benedict Cumberbatch’s company.

Rola Bauer, CEO/partner of Tandem Productions and Studiocanal’s head of US

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Feature

Military action-drama Six, which is being written by Castaway screenwriter William Broyles TV production and co-production, says it was a combination of economic and creative reasons that brought the French company into TV: “Studiocanal could see the economics of films had become more challenging.

But shifts in the TV business also represented a new way to tell stories. Now, all the wonderful talent that StudioCanal has built relationships with through film has an outlet in television.”

It is early days in terms of Studiocanal’s TV strategy, but Bauer says the interaction of film and TV is evident in several ways. “At a general level, it is present in the filmic style that is coming into our TV productions,” she says. “But it’s also there in terms of specific relationships, like the one with Benedict Cumberbatch, who is known globally for his film and television performances.”

Bauer adds that UK-based Red has evolved its slate in line with the new opportunities on offer. It is, for example, working with Hammer Films on Quatermass, a TV series based on a classic film/TV franchise that will air on BBC America in the US. It is also in development on an adaptation of

Henry James’ Portrait Of A Lady, working with Number 9 Films, better known for acclaimed features films including Carol.

Another film company that has recently entered the television business is Wild Bunch.

Head of sales Carole Baraton says the movie business continues to thrive when measured by its headline box-office figures. But she agrees that the tough economics around independent film have led to a narrowing of options for creatives. “The cinema business used to be much more open,” she says. Now, it is TV that allows the talent to “push creativity and originality”.

Baraton adds: “There are more opportunities, which means more freedom in the development process. There are fewer budget and slot constraints than there used to be. That is why many talents [from the Wachowski sisters to Steven Soderbergh; from Kevin Spacey to Tom Hardy and Kirsten Dunst] have come to television to express their skills and flair.”

The expansion of SVOD plays into this, Baraton says: “The consumers of TV series are a younger generation and they binge watch, so

the creation process is responding to that.”

According to Baraton, Wild Bunch’s film background has been an advantage while establishing the company’s television arm.

“Complex cinema financing models and negotiations are assets when it comes to the TV business,” she says. “And we have an address book that we use on the creativity side as well as the financing side.”

This increased interconnectedness can also

“TV drama is unrecognisable compared to 20 years ago. Its variety and ambition is mindboggling” Frank Spotnitz

have an impact on the way projects are developed, Baraton says: “When we discuss with producers of a project at a very early stage,

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Feature “Complex cinema financing models and negotiations are assets when it comes to the TV business” Carole Baraton

Garry Marshall’s 1988 movie Beaches starring Bette Midley and Barabra Hershey the question often arises: should this be a series? A few years ago, you were not talking to the same producer for a movie or a TV series, so it was not possible to think one way and the other.”

In terms of how this impacts on Wild Bunch’s TV slate, one of the company’s projects is Medici: Masters Of Florence, which stars movie legend Dustin Hoffman. In addition, Baraton says the company is also working on projects that are reboots of films.

Big Light Productions founder Frank Spotnitz is the showrunner on Medici: Masters Of Florence and has also penned high-profile series such as The X-Files, Transporter and The Man In The High Castle. He says: “TV drama is unrecognisable compared to 20 years ago. Its variety and ambition is mind-boggling.”

Spotnitz says he spent time writing film scripts a few years back, but recalls it as being a difficult time: “I got paid really well, but it was endlessly frustrating because I had zero control over the process. TV today is a different situation. As a writer, you are encouraged to be challenging, original, surprising and take risks. And the budgets are often as high as an indie feature.”

Sonar Entertainment has also embraced the opportunities that have come about. “There’s no question that the talent is now drawn to TV,” says Jenna Santoianni, executive vicepresident of television series. “There’s no

stigma any more about being in a TV drama — in fact, I’d say it’s in vogue. We are working with actor Tom Hardy on Taboo, which is a passion project for him that he would much rather explore across a season or more of television.”

There are also some practical benefits, Santoianni adds. One is the trend towards limited series, which means it is possible for actors to move between film and TV productions. “Another is the shift towards straightto-series orders, which provides more job security than the traditional pilot-based TV

model,” she adds.

Like Bauer, Santoianni says the idea of filmic television is something that permeates Sonar’s thinking in a number of ways: “I think it’s there in a fantasy series like Shannara, where we are using the kind of SFX that simply weren’t available to TV a few years ago. But it’s also evident in our ability to cast Pierce Brosnan in our new drama series The Son.” The last time Brosnan did a TV series was in 1982 (Remington Steele).

Echoing another industry-wide trend that reinforces the cross-fertilisation between film and TV, Sonar has also entered into a first-look deal with Smokehouse Pictures, the production company founded by George Clooney and Grant Heslov. The first project under the new arrangement will be America’s Most Admired Lawbreaker, to be adapted by Laura Ricciardi and Moira Demos (Making A Murderer), and Nicki Paluga. “It’s a big part of our strategy to bring theatrical talent to the home screen because it increases your chances of having a successful end result,” Santoianni says.

“You need to have a strong creative package

Henry James’ Portrait Of A Lady, to be adapted for TV by Red and Number 9 Films

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Beasts Of No Nation, a harrowing movie about African child soldiers to have any chance of standing out in a very busy marketplace.”

Endemol Shine is another leading outfit that has embraced the talent migration to TV. Its distribution division, Endemol Shine International, is backing film-producer Shoebox while its LA-located production division, Endemol Shine Studios, recently signed an exclusive TV development deal with Guy Ritchie and Lionel Wigram’s production company, Ritchie/Wigram Productions.

The latter deal was secured by Endemol Shine Studios president Sharon Hall, who shares the opinion that TV now provides a compelling platform for talent. “There is an absence of adult themes and deep character development in features where most wide-release product is franchise-based,” she says. “But TV offers the opportunity to unpack great characters and build worlds where the immersive experience lasts longer than a night out.”

In terms of live projects that reflect the ‘filmification’ of TV, Hall says Endemol Shine Studios is working with “many, many featurefilm writers, producers and directors” on a range of projects, including with Neil Cross on adapting Patricia Highsmith’s Ripley novels for television, and with several as-yet-tobe-named film writers on an adaptation of Dutch format Holland’s Hope.

Echoing Spotnitz and Baraton, she says the scale of TV’s ambition has grown to the point that it is now able to compete with film for the rights to great IP, from media such as

publishing: “I have seen many more book proposals that are a ‘jump ball’ between features and TV. The economics of optioning this material has historically been a barrier — but we have seen a steady increase in purchase prices for this IP.” Content Media president (film and TV) Greg Philips is currently distributing The Secret Agent, a TV mini-series with a top piece of film/TV talent at the helm in the shape of Toby Jones. He has no doubt that the right TV project can now enhance the career prospects of an actor: “If you get five million people watching you in a single sitting then there’s no doubt people will remember who you are. Tom Hiddleston has done some great movie work, but it’s interesting how his performance in The Night Manager has put him in the frame as the next James Bond.”

For Philips there is a win-win about the interplay between the two formats that also benefits distributors. “I’ve found helps to be aware of an actor’s upcoming schedule. If I can tell a buyer that a star in one of our completed series is currently shooting a movie, they might be tempted to acquire it and schedule it against the theatrical distribution of that movie.”

Philips shares the view that the integration of the two disciplines has gone much deeper than talent packaging: “We’ve been distributing film and TV for a number of years, so we have been aware of this shift for some time.

Getting a broadcast commission isn’t easy — but there is now an option to develop a project as a series instead of an independent film. At the same time, the new TV landscape is also an opportunity for independent film-makers. If they can’t get full theatrical distribution then there is an option now of pursuing a hybrid model where you mix theatrical, SVOD and pay-TV platforms.”

This last comment points to a world in which TV companies actually underpin the film business. Netflix, for example, has recently become a serious player in original movie production/distribution. In October 2015, it kicked off this part of its business by releasing Beasts Of No Nation, a harrowing movie about African child soldiers that starred Idris Elba. Soon after came Adam Sandler’s The Ridiculous Six; Crouching Tiger, Hidden Dragon: The Green Legend; and Pee-wee’s Big Holiday. In addition, the platform paid a reported $60m for the international distribution rights to War Machine, a David Michod film starring Brad Pitt.

The SVOD platform pioneer is also working with Angelina Jolie Pitt on a film version of First They Killed My Father: A Daughter Of Cambodia Remembers. Jolie Pitt, who will direct and produce the film, said: “Films like this are hard to watch but important to see.

They are also hard to get made. Netflix is making this possible, and I am looking forward to working with them and excited that the film will reach so many people.”

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‘No stigma attached to television’ The rush to turn films into TV series has led to a number of turkeys. But one company that has handled the process with great assurance is MGM. Andy Fry meets two of the company’s key players in this field

Mark Burnett

Chris Ottinger

R

ECENT series to come out of MGM – for example Vikings, Fargo and Teen Wolf – have racked up huge ratings and an impressive array of awards. MGM Television president Mark Burnett says the trick is “to put the right people in charge. The reason Fargo is so good is that it has a brilliant showrunner in Noah Hawley. And Vikings’ Michael Hirst is a brilliant writer who loves the world his is working in. Once you have talent like that involved, it attracts other great talent. That’s why we can get a star like Ewan McGregor for the third season of Fargo.”

There are several more movie-based projects coming through, including Condor, based on Sydney Pollack’s Three Days Of The Condor; Get Shorty based on Barry Sonnenfeld’s 1995 John Travolta-starrer; and The Adventures Of Buckaroo Banzai, a series based on WD Richter’s 1984 sci-fi comedy, which at the time of writing looked like it was heading for Amazon.

However Burnett stresses that MGM isn’t pursuing an industrialised archive exploitation drive: “Every week someone comes to us and says they want to adapt one of our movie IPs into a series. So we look at who they are, the talent package and what they’re planning. Then we ask ourselves if we trust them to do a good job and decide if we want to do business with them.”

Vikings (MGM)

MGM’s overall slate stretches from movie blockbusters to non-scripted series and Burnett has been involved in all of them. His movie, BenHur, recently hit the big screen. However he shares the view that TV is now on a par with the movies: “There are some stories that have to be told on the big screen. But there’s no stigma attached to making television now. None.”

MGM president of international TV distribution Chris Ottinger agrees with Burnett that TV is now on a creative par with moviemaking. But he stresses that a successful reboot requires a willingness to take creative risks. “Fargo could have really missed,” he

says, “but it is an unbelievable property that really gets the best out of what motion-picture talent can bring to TV… it’s one of the best TV shows of the last four-to-five years.”

A former film industry exec, Ottinger shares Wild Bunch’s Carol Baraton’s view that blockbusters are in good shape – but that the movie industry has narrowed considerably. “Tent-pole films are chewing up a lot of market share and that has made them less interesting for some talent. For example, there is a dearth of roles for lead female characters – especially aged 35 years plus. I think there’s a real opportunity for TV in the kind of adult drama/dramedy space that the movies don’t do anymore.”

This point seems to be backed up by a number of projects coming through that offer key female roles – across the ages. As well as Beaches and Portrait Of A Lady, HBO is working with Sarah Jessica Parker on a new series called Divorce. And FremantleMedia’s Sarah Doole says: “We’re remaking Picnic At Hanging Rock as a series. That’s an opportunity for us to go back to the original source material and take a fresh look at the theme of female adolescence.”

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Hooten & The Lady (Red Planet Pictures)

FINANCING DRAMA

Following the money Financing high-end drama has become an increasingly aggressive business, as digital newcomers join the legacy players in the race for premium content. Marlene Edmunds reports

W

or with more small deficits, we are now findco-production done in parallel or even slightITH both blue-chip broading that most shows need much larger investly retrospectively.” casters and the new digital ment planning.”

McMafia is produced by Cuba Pictures, platforms jockeying for acWagener notes that, in the last 12 months, and scripted by Hossein Amini (Drive) and cess to high-quality content all3media International has doubled the James Watkins (The Woman In Black), as early as possible in the game, today’s drafunding available for deficits. “Together with with all eight episodes directed by Watkins. ma market has never been more competitive, the all3media group, we are able to ensure Donald says that BBCWW had such conficreative or global. we can put together the funding for the right dence in the producer and the creative team “The rhythm has changed and there is a lot shows,” he adds. The dramas it has backed that it was happy to supplement the BBC liof creative deal-making,” says Ben Donald, include Two Brothers Pictures’ Fleabag, for cence fee to the minimum level the producBBC Worldwide (BBCWW) executive prowhich — typical of the deals beducer for international drama. ing done these days — both lin“In essence, the process has been ear and non-linear broadcastcompressed. Three to four years “There are a lot of local co-productions that ago, there might have been a more can go global, but not a lot that are from the ers came on board, in this case BBC3 and Amazon Prime in phased approach to financing, very outset international co-productions” the US. where you would have a domesWagener says: “We have tic network and then you would go Rola Bauer a strong relationship with and find the co-producers. That’s Amazon and have worked toall changed.” gether with them on several projects, such as er needed in order to proceed. “And then the Donald says that financing is more up front The Missing and Red Rock. With Fleabag, task was to go and find co-producers, both to these days, with competition coming from they were great. They made a quick decision contribute to the budget and lay off some of different players, including advertisers, eqconfirming their interest and worked closely the deficit investment,” he adds. “This kind uity investors and studio infrastructures. He with us to deliver it in 4K.” of creative financing helps the producer get cites the financing of international crime sestarted on prep, post-green light. “ ries McMafia: “There is a sense for players Some of the creative deal-making and fiAll3media International’s chief financial and like BBCWW that one needs to figure out nancing is the result of a European rampoperating officer John Wagener adds: “We much earlier in the game how to help proup in strategies aimed at tapping high-qualare discovering that, whereas only a few years ducers find the minimum financing they ity content, funding and co-production. ago, drama was regularly either fully funded, need to start prepping at the outset, with the preview magazine I September 2016 I www.mipcom.com

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Feature Studiocanal in recent years has taken majority and minority stakes in a stable of high-end drama production outfits. In 2012, it took a majority stake in Tandem Productions, followed in 2013 by a majority stake in Red Production Company. In 2014, it created SAM, headed by top Scandinavian talent: creators/writers Soren Sveistrup (The Killing) and Adam Price (Borgen), and producer Meta Louise Foldager Sorensen (A Royal Affair). A year later, it launched Guilty Party in the UK. In March 2016, Red founder Nicola Shindler partnered with best-selling author Harlan Coben to create the US-based Final Twist Productions and, a month later, Studiocanal picked up a flurry of minority stakes in Spain’s Bambu Producciones, the UK’s Urban Myth Films and Benedict Cumberbatch’s SunnyMarch TV. Tandem’s reputation as a serious producer of international co-productions in Europe stretches back to its launch in 1999.

According to Rola Bauer, Studiocanal’s head of US TV production and co-production, and Tandem CEO/partner: “There are a lot of local co-productions that can go global, but not a lot that are from the very outset international co-productions.”

Bauer has been instrumental in helping to take international co-production to the next level with, among other projects, Crossing Lines and Spotless. In January, her brief was

“Madiba called for at least eight levels of financing.

We were very keen to help so we made a financial commitment in the very early stages” Daniel March

expanded to include a pivotal role in driving Studiocanal’s co-production strategy. “By offering a full studio service, including international production strategy, business affairs, finance and sales, we can support all our production companies in the global market,” she says.

Studiocanal production companies have clearly been successful with local productions on a global basis. “The strategy now is to augment their slates with international productions,” Bauer says. A case in point is Urban Myth Films, in which Studiocanal has a 20% stake. Bauer and her team worked with Urban Myth on the six-part comedy Crazyhead.

“We studied the narrative and determined with Urban Myth which would be the best international production partner and where to land the series,” she says. “We knew the anchor network was going to be E4, and we felt

this millennial series would benefit from a global streaming platform, with the hope being that it would go viral big time.”

Bauer also worked with Red to find an anchor network in the US for Quatermass.

Red now has a development deal with BBC America. Netflix, meanwhile, has come on board as a co-producer, along with ITV, on new Red drama series Paranoid.

TRUST AND PROTECT WHILE it is much easier to finance the second season of a series than the first, there are still risks involved when it comes to taking on new partners, says Miikko Oikkonen, director and scriptwriter at Finland’s Fisher King Production. At press time, Fisher King was ramping up production on the second season of its thriller Bordertown, commissioned by YLE and co-producer Federation Entertainment.

“With a successful series, there are many buyers, broadcasters and distributors interested in taking an option for the second season,” Oikkonen says. “But it’s important that a small company like ours does not sell out the production beforehand. It’s easier to handle a project with partners you know and it’s also a way to confirm that you can keep your content in your own hands.”

© Kuva Anders Lonnfeldt

He adds: “Even if there are several new candidates willing to work with you, it’s important that you do not change something that is already working well.

The point is, trust your old partners and protect your original content.”

Studiocanal worked with Urban Myth on the six-part comedy Crazyhead

Fisher King Production’s Miikko Oiikkonen

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Feature Since 1990, Marathon founder Pascal Breton, now CEO of Federation Entertainment, has been one of the most successful names in the international TV business. So it is no big surprise to learn that, just two years after launching Federation, Breton’s mini-production and sales studio based in Paris and Los Angeles has already racked up a string of successes. These include Marseille, Netflix’s first foreign-language production, which has now been greenlit for a second season; and Bordertown, Federation’s co-production with Finland’s Fisher King Production, also heading into a second season on Finnish public broadcaster YLE. As part of its strategy aimed at partnering with top players in development and production, Federation goes well beyond completion finance. In the case of Bordertown, for example, it put up 25% of the budget — and for some shows, the figure is even higher. Breton says: “The money is not only used to complete local financing but also to help push up the budget. A higher budget can make all the difference and it can buy more time for development.”

Among the Federation projects achieving success is The Bureau, which just began filming its third season. Produced by Alex Berger and Eric Rochant of The Oligarchs Productions, the spy-thriller series tapped location support structures and filmed in and around the Ile-de-France region, including at Luc Besson’s La Cite du Cinema.

It is also one of the series that will enjoy the benefits of France’s new tax-rebate scheme that was bumped up in January to top off at 30% — the highest in Europe. The scheme covers international productions that are wholly or partly made in France, with a minimum spend in France of $1.13m, or 50% of the total budget.

Set against the backdrop of French intelligence operations in Syria, The Bureau has been praised for its realistic portrayal of the intelligence scene. Its writing team pulled off a major coup when it was granted exclusive access to intel from DGSE, the French intelligence service, to help authenticate research on the series.

Madiba, the first episode of which will be ready for MIPCOM, tells the true story of a man who became a legend in his own lifetime — Nelson Mandela. Starring Laurence Fishburne in the title role, the mini-series is being driven and financed by Toronto-based

Red Planet Pictures’ Death In Paradise on location in Guadeloupe

THE BREXIT EFFECT HOW WILL the UK’s decision to leave the European Union affect the major drama players in terms of financing? Industry heavyweights share their view on Brexit...

BBC Worldwide’s Ben Donald: “I don’t think any European co-production has ever been done because of the existence of the European Union. Coproduction has always been about trailblazing and marrying different systems and working practices, and nothing about it has ever been easy. Post-Brexit, the intricacy will be in how the subsidy systems, the accounting and the tax systems work together. But the impulse to co-produce will always come from the editorial side.”

Studiocanal/Tandem’s Rola Bauer: “There are a couple of issues when it comes to Brexit that do matter. One is whether the regulatory authorities will perceive the definition of EU content differently and how they will define it for the future. The second is that there have been a number of Euro productions that have benefitted from the tax incentives that have come out of the UK and subsidies like

MEDIA. These made a big difference to production financing and they are often tied to each other in some way. So the question is how will it have an impact on production and creativity?”

Federation Entertainment’s Pascal Breton: “If and when Brexit happens, I don’t think co-production will slow down very much.

We will find another way to finance.

However, it must be said that, for The Collection, we had a complex structure, using CNC money from France and the French tax incentive. And the CNC money might not have happened if we had been post-Brexit.”

Red Planet Pictures’ Alex Jones: “Brexit will undoubtedly impact the TV production sector in the UK. It’s still too early to know exactly how severe and longlasting that will be but, with the decreased value of the pound and the economic uncertainty impacting ad revenues for broadcasters in the UK, it seems likely that production both abroad and in the UK will be affected. Having said that, the UK will continue to be regarded as the home of outstanding original drama and creative people and, as an industry, we will continue to make world-class content.”

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Blue Ice Pictures, and produced and serviced by South Africa’s Out of Africa Entertainment. The UK’s Leftbank Pictures and Cinema Gypsy Productions are also on board.

The project was brought to Dynamic Television, the LA-based development, financing and distribution company run by industry veterans Daniel March and Klaus Zimmerman, in November 2014. Dynamic picked up the worldwide distribution rights, but also kicked in to help with the financing and creative vision. Says March, managing partner at Dynamic: “Madiba called for at least eight levels of financing. We were very keen to help so we made a financial commitment in the very early stages.”

Filmed in Johannesburg, Cape Town and Robben Island, Madiba’s executive producers include Kweku Mandela, president of Out of Africa, and a driving force behind the drama, which chronicles his grandfather’s heroic effort to bring racial equality and democracy to the people of South Africa.

“The Madiba project already had BET as the US broadcaster, and was able to bring a substantial portion of financing and tax incentives from South Africa, as well,” March adds.

Indeed, soft money in the form of tax incentives is being seen as increasingly important in South Africa in terms of pushing projects to the green light. Other projects to have tapped SA incentives include Red Planet Pictures’ Hooten & The Lady and Canadian comedy-drama The Indian Detective, soon to start lensing in South Africa.

Alex Jones, joint managing director of the

The Bureau (Federation Entertainment)

© Two Brothers Pictures & all3media International

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Two Brothers Pictures’ Fleabag, received backing from the all3media group

“We spend in excess of €5m on Guadalupe each year, so we have made a real contribution to its economy. Plus it’s a beautiful island that now gets shown off on TV to over 200 territories” Alex Jones UK’s Red Planet, says that the epic scale of Hooten & The Lady called for considerable creative financing. “We took advantage of both the South African and the UK tax incentives, with Sky Vision covering the remaining deficit,” he says.

The soft money really helped, Jones adds: “For South Africa, there is a 20% standard tax credit for shooting there, but it rises to 25% if you carry out post-production in the country. We did our assembly edit there, along with extensive VFX at Black Ginger in Cape Town. And, of course, most of Hooten

& The Lady was shot in various locations across South Africa. The rand has also been at an all-time low, so that helped us close our finance plan. “ Red Planet’s Death In Paradise — at press time filming its sixth season — is a classic example of how co-pro can help a good story become a global success. “When Death In Paradise was a new show and didn’t have the reputation and proven success that it does now, the financing was a co-production with the BBC and France Televisions,” Jones says.

“Now in its sixth season, we are able to produce the show with financing from the commissioning broadcaster, the BBC, and the distributor, BBCWW, as well as a grant from the region of Guadeloupe where we shoot the series every year.”

The knock-on effect of local support structures can make a big difference, Jones adds: “The French tax rebate’s increase to 30% makes France very competitive and Guadalupe, where Death In Paradise is filmed, has a great infrastructure due to its relationship with mainland France. We continue to be supported by the island, both in terms of practical support and also a grant.

But we also spend in excess of €5m on Guadalupe each year, so we have made a real contribution to its economy. Plus it’s a beautiful island that now gets shown off on TV to over 200 territories.”

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CARRIAGE DEALS

We’re not all going OTT Netflix, Amazon and YouTube may be stealing the headlines — but make no mistake, the business of launching linear TV channels is alive, well and adapting to the new market realities. Andy Fry reports

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ARELY a week goes by without SVOD platform Netflix hitting the headlines. If it isn’t launching in a new territory, then it is acquiring or commissioning a high-profile show. With 83 million global subscribers and counting, Netflix is one of the international media industry’s standout success stories of the last decade.

But if you think the traditional pay-TV sector is running scared, you’d be mistaken. Despite all the talk of changes in viewing behaviour, the major channel operators continue to launch linear TV channels on a regular basis. And rather than hand the on-demand initiative to the likes of Netflix, Amazon and YouTube, they are working with cable, satellite and telco platforms to ensure their linear offering is supported by the kind of ‘TV everywhere’ proposition consumers now expect.

Arran Tindall, senior vice-president of commercial and content distribution at Viacom International Media Networks (VIMN), says: “The reality is that the linear TV market is still a lot stronger than people might think. Our experience to date is that services

“Our experience is that services like Netflix don’t detract from pay TV — they complement it” Arran Tindall like Netflix don’t detract from pay TV — they complement it. In fact, there’s plenty of evidence to suggest that the smart use of SVOD windows can drive audiences back in the direction of traditional pay TV.”

This is not to say that companies like VIMN are ignoring the shift in consumer behaviour. “We see it at first hand,” Tindall says, “because channel brands like MTV and Nickelodeon target young audiences.

We spend a lot of time trying to understand how new consumption patterns affect our business. In terms of our relationships with platform partners, this means discussions about pre-transmission previews, box sets, catch-up rights, use across multiple screens and so on. Fortunately, we control a lot of our content rights, so we’re in a position to explore options.”

This last point seems to be a critical component of survival in the new landscape: “PayTV platforms are looking for strong, relevant content that can cut through the clutter of competition,” says Ed Palluth, executive vice-president of global distribution at AMC Networks. “And if you can make that content

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Feature available in several different ways, then that’s appealing to them.”

AMC came to the international channel business late, but has been making up for lost time. At press time, its most recent carriage deal saw it launch five channels in the Middle East and North Africa via the beIN platform.

“A lot of people know us for our AMC channel, which carries scripted shows such as Fear The Walking Dead [FTWD], Halt And Catch Fire and Into The Badlands. But we also have the independent film channel Sundance and a portfolio of local channels in genres like sport, food and kids. So when we talk to platforms, we can cover a lot of demos.”

Like Tindall, Palluth has no doubts that linear will continue to play a prominent part in people’s viewing behaviour: “For certain kinds of content, there’s no better way to watch. Live sport is an obvious example — but so are shows like FTWD, which we release internationally within minutes of it airing in the US. Shows like that are global social-media events. People don’t want to delay and then hear a spoiler from somewhere else.”

That said, the new landscape has meant there is much closer integration these days between different revenue-generating divisions within big companies. While linear channels are undoubtedly perceived as valuable assets, the programming content that flows through them could also be making money elsewhere or in other forms. It could be sold to Netflix, for example, or to thirdparty channels. If it has licensing and merchandising potential, then maybe it needs to be on free TV instead. Or perhaps it could form the basis of a new branded service in the mobile or OTT arenas.

The Walt Disney Company addresses these branding and monetisation challenges by having a single division that is responsible for the exploitation of Disney content in all its forms, according to Mark Endemano, senior vice-president and general manager of Disney Media Distribution EMEA. “My division has oversight of all channels and content distribution in EMEA, whether that’s Marvel, Pixar, Lucasfilm or ABC Studios content or our kids channels,” he says. “We’re also considering all digital options, from electronic sell-through [EST] to VOD to mobile apps.”

Endemano says this gives the group greater clarity when it is trying to understand the best pathway to market for content: “We

“Pay-TV platforms are looking for strong, relevant content that can cut through the clutter.

If you can make that content available in several different ways, that’s appealing to them” Ed Palluth

PAY-TV AROUND THE WORLD Europe: The cable industry in Europe is growing, with revenues in 2015 up 7.1% on the previous year, according to industry body Cable Europe, continued to be the main source of profit, accounting for 50% of its €22.9bn revenues. Around 60% of TV subscribers were digital, generating 77% of TV revenue. The implication is that there is more revenue growth to be achieved by switching Europe’s remaining analogue homes to digital. Looking specifically at Germany, commercial broadcasters’ association VPRT says payTV and paid VOD revenues in Germanspeaking countries will pass €3bn this year. Pay-TV subscribers rose by 6% last year to reach 7.4 million in Germany. “[This] data proves an increasing number of viewers are prepared to pay for the quality programmes offered by pay-TV channels,” says Sky Deutschland CEO Carsten Schmidt.

Asia-Pacific: Asia-Pacific’s pay-TV industry will grow at 5.8% a year from 2016 to 2021, according to Media Partners Asia (MPA). In a report entitled Asia Pacific Pay-TV & Broadband Markets, MPA predicts pay-TV revenues across 18 markets will rise from $54bn this year to $72bn by 2021, reaching $81bn by 2025.

Despite continued problems with piracy in the region, India, Korea, Australia and the Philippines are all seen as strong potential markets for pay TV. Netflix is yet to gain much traction in Asia thanks to low-cost

competing services.

MENA: Leading platforms such as OSN and beIN are driving growth in MENA by investing in high-quality, exclusive content, according to a new report from Digital TV Research (DTVR). Despite continued problems with piracy, DTVR principal analyst Simon Murray says the number of pay-TV homes across the 20 countries covered in the report will hit 20.9 million by 2021. Turkey, Uzbekistan and Egypt are all viewed as strong growth markets. The highest pay-TV penetration is in Qatar, Georgia and Israel.

Sub-Saharan Africa: MultiChoice is the dominant player, with around 10 million homes across DTH and digital terrestrial television (DTT). But rivals including Wananchi Group and On Digital Media (ODM) have added to the excitement in the region. Outside South Africa, the key growth markets are Nigeria, Kenya, Ghana and Angola. In terms of delivery platform, DTT is seen as an alternative to cable and satellite.

Latin America: Pay-TV revenue growth in Latin America is slowing, but it is still expected to advance by 9% between now and 2021, according to the fifth edition of Digital TV Research’s Digital TV Latin America Forecasts report. Brazil is the biggest market by far and will account for $7.3bn of the region’s $19.5bn total (2012 figures). Mexico and Argentina are the next biggest markets. Pay-TV penetration will hit 50.6% by 2012, which shows there is still a lot of room for subscriber growth.

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Feature don’t bundle rights. We sit down with our partners and try to understand their ambition and what rights they need to achieve their goal. We would never allow platforms to warehouse rights, even if there is financial value in doing so.”

This holistic approach makes it possible to form more interesting partnerships around content. “I think there used to be a tendency to say ‘no’ to innovative suggestions,” Endemano adds. “But now we’ve really got our arms around what is happening and have a better idea of what works. For example, if there is a new Star Wars movie launch, we can support that with activity on Disney XD involving our animated series Star Wars Rebels.”

Disney takes its channel business extremely seriously, reaching around 200 million homes in EMEA via a range of free and pay-TV services. “In markets where there is low pay-TV penetration, such as Germany, Spain and Turkey, we took the decision to launch free channels to ensure we were reaching enough families to support the Disney brand’s businesses,” Endemano says.

But he takes the view that a fully fledged channel is not always the right solution. ABC Studios dramas, for example, have not been bundled up into an ABC-branded linear channel: “Instead, we launched ABC OnDemand, which is now available via 41 platforms across the region.”

Asked whether Disney might ever consider a Marvel Channel, Endemano says: “That’s unlikely — but we do create pop-up or takeover channels around our content.” An example might be where a movie channel is completely given over to, say, Marvel movies or the Pirates Of The Caribbean franchise.

Then there is DisneyLife, a direct-to-consumer subscription-based service that offers kids a combination of movies, TV shows, ebooks, audio, music and games, “For us, it’s about deepening the connection by adding lots of touchpoints,” Endemano adds.

In return for giving platforms an array of ways to access their content, channel operators receive carriage fees and the ability to

Roots: a six-month gap between appearances on A+E and Hulu generate ad revenue. But what else should they expect from platforms?

A+E Networks managing director, EMEA, Dean Possenniskie says: “If you have great content, then what you’re looking for are opportunities to get it front and centre. So some kind of marketing support from platforms is welcome, both through the EPG and more generally. For example, you might negotiate for a better position in the EPG, so that more people can see your channels. Or if the platform is launching new services, then you might explore ways to be part of that.”

Possenniskie oversees channel brands including History, H2, Lifetime, A+E and Crime + Investigation. But like Disney’s Endemano, he also has an overview of the company’s distribution business: “We have a very profitable channel business in the US, so that is part of our DNA. But we also have a strong and growing distribution business, so a key part of our thinking is how to window our content

“We don’t bundle rights. We sit down with our partners and try to understand their ambition and what rights they need to achieve their goal” Mark Endemano

THE MIPCOM CARRIAGE DEAL FORUM THE MIPCOM Carriage Deal Forum takes place in the Esterel and Verriere Californie from 09.15 - 16.30 on Tuesday, October 18. Sahar Baghery, head of Global Research and Content Strategy Eurodata TV Worldwide Mediametrie , is opening the day’s sessions. “Broadcasters now have to adapt to deal with competition, multitasking, binge watching and delinearised viewing across a variety of screens,” Baghery says. “New entrants complete traditional broadcasters’ offers, as an accelerator of an already ongoing mutation, which encourages strategic partnerships. But broadly speaking at the heart of all channel distribution evolution, content is still king.” Introducing the Forum Baghery looks at what’s trending in this field.

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Feature in a way that supports both.”

Often, that can mean licensing a second window on content to free-to-air broadcasters.

But A+E has also embraced the opportunities presented by the new VOD players. In the US, for example, it licensed drama mini-series Roots and docu-drama Barbarians Rising to Hulu, with a six-month gap between their debut on History and their arrival on the Hulu platforms.

Like his peers, Possenniskie emphasises the importance of controlling an array of rights: “We are well-known for our factual franchises like Pawn Stars, Storage Wars, Duck Dynasty and American Pickers. But since the launch of A+E Studios, we’ve also had a much stronger presence in drama. A production like Roots [which airs on a number of A+E’s local History channels] is very important to us because it’s a way of attracting new audiences. And as content like that improves our ratings, it gives us a stronger position during renewals.”

Possenniskie stresses, however, that channels cannot go into negotiations with any old content: “Platforms are focusing on strong passion channels and content that can clearly demonstrate its ability to attract audiences.

And where they can get some kind of exclusivity, they will. So as channel operators, we need to be able to present them with as much of that as possible. They aren’t just looking for companies with large channel portfolios.”

A+E’s faith in the future of linear is evident in the fact that it continues to extend the reach of its channels. In July, for example, it secured carriage for three of its channels on the Inea cable platform in Poland, adding 100,000 subscribers to its existing 18 million Polish customer base. However, Possenniskie says there is little to fear from on-demand as long as you are willing to embrace it: “For us, on-demand presents several opportunities.

For example, a lot of our channels are in the factual sections of EPGs. So on-demand is a way of reaching audiences that might not go there regularly. As long as we have the right brand attribution on our on-demand content, it’s a way of encouraging viewers to come and look at our linear channels. And on-demand is a way for channel operators to try and reach elusive younger viewers.”

Continued channel expansion is also a priority for Scripps Networks Interactive (SNI), which has just launched HGTV and Travel Channel on the beIN network in the MENA

Disney XD’s Star Wars Rebels helped to promote a Star Wars’ theatrical release

“What you’re looking for are opportunities to get your content front and centre. So some kind of marketing support from platforms is welcome” Dean Possenniskie region. Echoing wider trends, it has also launched HGTV as a free channel in New Zealand. Commenting on the company’s strategic approach to distribution, SNI head of international lifestyle channels Derek Chang says: “Generally speaking, carriagedeal conversations focus on a combination of price, rights, packaging, distribution and all the things that go into that. It’s about long-term growth. Scripps Networks’ channel portfolio offers a price/value relationship such that it makes sense for our channels to be distributed broadly. This way they can constitute an integral part of a broad-based offering without much incremental cost.”

To be successful in the new digital world, according to Chang, linear channels still need to create must-have immersive experiences for viewers — or, as he puts it, “a trusted and reliable haven where audiences can be completely engaged and entertained”. He adds: “Platforms want linear channels that are highly sought after by the viewers — compelling propositions that consumers are willing to pay for.”

He believes Scripps offers this: “Consumers love our brands, and feel a personal affinity to them. That makes them even more valuable to distributors. For instance, in the US, we are one of the only network portfolios that

can boast wide audience appeal when viewers watch our content live. We also offer very clear network propositions. So when audiences tune in, they know what to expect: highquality, entertaining experiences that focus on food, home and travel. Ratings are on the rise and we are witnessing one of our best years yet. We also own almost all of our own content, so we can exploit it in any format, window or platform that makes it most relevant to the customers. In addition, we created Scripps Lifestyle Studios for the express purpose of creating digital-only content.”

Reference to digital is a reminder of how important this dimension is in terms of the overall channel picture. “There is no one-sizefits-all solution as platforms all have different priorities,” Chang says. “But additional products and activities, such as on-demand, marketing support and talent access, generally do provide greater value to the negotiation.”

In terms of the big trends affecting the market, VIMN’s Tindall says social media is an increasingly important part of the equation.

“Controlling great content is key but, because of our audiences, we have a strong social footprint. That means we can get a large number of our audience talking about our content in an instant, scalable way. That’s

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Feature incredibly powerful, but it’s not something that every channel operator can tap into.”

Offering channels exclusively to platforms is also an option for the key players. A+E Networks and AMC Networks, for example, jointly announced the launch of Crime + Investigation channel in Portugal exclusively through NOS. For AMC’s Palluth, exclusivity is not right in every situation, but can have value when trying to establish a channel’s position in a market.

Meanwhile, big alliances seem to be more important than ever, with channel executives describing broad-based partnership with multi-market players such as Liberty, Sky and Modern Times Group. But there can sometimes be clashes between the two sides. In February, Discovery was involved in a dispute with Canal Digital in Scandinavia, for example, which saw its channels come off air for a while. In April, Viacom and US DTH platform Dish were involved in a similar stand-off, which nearly resulted in the former’s channels coming off air. That dispute was only resolved when a deal was brokered at the last moment.

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Fear The Walking Dead, flagship content for AMC Channel executives say the two sides rarely reach that kind of impasse. “For the most part our interests align,” VIMN’s Tindall says. “But these are complex negotiations in a changing market. Everyone is trying to ensure they get the right deal.”

SNI’s Chang also stresses the value of a strong unified vision between channel operators and platforms: “The new

landscape introduces more variables and a level of uncertainty as operators and broadcasters navigate this new environment. Platforms obviously need to do what they think makes them most successful.

But we must evolve and respond to changing consumer viewing habits. These are long-term relationships and we need to believe we are in them together.”

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Feature WINDOWS: TRADITIONAL VS DIGITAL

They want it all Traditional TV and the new OTT platforms have things in common: they both need standout content and global rights control in order to survive. They want it all. Andy Fry reports

A

LARGE percentage of the TV viewing population still likes to slump on the sofa and watch whatever programmes broadcasters are serving up at that particular moment. But there is no question that timeshifting, on-demand and mobile technologies have had a significant impact on mainstream viewing patterns, especially with regard to scripted television.

At the simplest level, consumers may choose to record a show and watch it a day or two after it was scheduled. Or they might store up several episodes and watch them in one

“Exclusivity across all platforms is becoming a key issue when broadcasters invest heavily to secure premiere rights” Tim Mutimer go at the weekend. At a more complex level, viewers may choose to watch a show on a different device. Or they may stumble across something that debuted last year and is now

available as a digital box set.

All of this is exciting for consumers, who now have an incredible array of entertainment choices. But it is challenging for content buyers, who need to make sure they are getting a return on their investment. How does a broadcaster feel, for example, if a family time-shifts a show and then watches it in a slot that is occupied by another of its flagship programmes? Or, worse still, what if a broadcaster pumps a fortune into promoting a new show, but part of the audience does not get around to watching it until a year later — on Netflix or Amazon?

All Or Nothing, a documentary for Amazon that goes behind the scenes at the NFL’s Arizona Cardinals

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Feature In general, the broadcaster response to this challenge has been to push for more rights, according to Henrik Pabst, managing director of content distributor Red Arrow International. “They look for as many rights as they can get hold of — even rights beyond their technical ability to use,” he says. “They feel driven to do this to stay relevant and to make sure they see a financial upside.”

This quest for extensive rights comes hand in hand with a growing desire for sole usage, says Tim Mutimer, CEO of Zodiak Rights: “Exclusivity across all platforms is becoming a key issue when broadcasters invest heavily to secure premiere rights. If they make a significant investment and get behind a project in terms of marketing, they are likely to want the right to offer it on their catch-up service and not see it appear on an OTT SVOD service for a few months at least. Increasingly, broadcasters who are paying significant licence fees in large territories want to label it as their own ‘exclusive’ or ‘original’ content, so that audiences understand that they are the only place to view.”

Distributors have some sympathy for the broadcasters’ position, but they also have a responsibility to maximise the value of the content they represent. This means that every content deal is a balancing act, Mutimer says: “As long as we deliver the revenue we believe is fair for the programme in question, we’re open to working across a number of windows or granting all the rights to one partner if they are prepared to buy out other windows.”

If they are not willing to buy all windows,

The Secret Agent (Content Television)

Paranoid, an eight-part drama from Red Production Company

“As rights-owners, we don’t want to burn the value of a show too quickly. There have to be conversations about how decisions will affect brands” Lisa Honig perhaps because the cost is too high, it does not have to kill the deal, Mutimer says.

“There can be flexibility,” he says. “For example, some broadcasters are learning that

working with an SVOD partner can be beneficial.”

In the case of a returning drama series, he adds that, if a broadcaster does not want to use its entire budget to secure exclusivity, windowing with an SVOD service can benefit both parties: “The marketing push and awareness a linear channel provides will help the SVOD platform attract viewers who wanted to watch but didn’t find time. Some new viewers will be likely to watch the next season on the linear broadcaster, as they will want to see the programme as soon as it’s available.”

While any negotiation over content rights will start with questions about windows, platforms and exclusivity, it does not end there, stresses Lisa Honig, senior executive vicepresident of television and digital distribution at FremantleMedia North America.

“You also need to be very clear about what a broadcaster will be able to do with a show for the duration of their rights period,” she says.

It is possible, for example, that broadcasters will want to enable viewers to sample episodes online before the linear premiere in order to generate buzz (Mr. Robot). Or they may want to run episodes back to back on the same night to create a ‘mini-binge’ feeling in their schedule (The Five). They may even want to change approach in mid-run to improve a show’s visibility (UnREAL). For sure, they will want to repeat some shows heavily in order to maximise the opportunities to watch them.

“We are all keen to see a show succeed,”

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Feature Honig adds, “but as rights-owners, we don’t want to burn the value of a show too quickly.

So there have to be conversations about how certain decisions will affect brands.”

Jonathan Ford, executive vice-president of sales and distribution at Content Television & Digital, agrees that distributors need to protect their brands, but he also says there needs to be an air of reality about what can be protected.

“There’s so much great programming out there that you have to show some flexibility to get the buyer on your side,” he says.

“Sometimes, the channels themselves are under pressure to secure certain rights from the platforms they are on — for example, boxset rights. So if you aren’t willing to negotiate, they won’t be able to do a deal with you.”

In Ford’s opinion, the key is to explore the options for every show on a case-by-case basis, trying to back properties that look like they will have a decent shelf-life: “It’s exciting trying to find the right route for a show, but not always easy at the outset. Look at a show like Line Of Duty, which is an important title for us. The world was very different when season one launched in 2011, so we have adapted our strategy as the show has accumulated more episodes and the SVOD platforms have rolled out. If you have a quality show, there are opportunities to generate revenue and profile later in the sales cycle.”

“There’s so much great programming out there that you have to show some flexibility to get the buyer on your side” Jonathan Ford

Marcella (Cineflix)

Director David Gelb’s Jiro Dreams Of Sushi The issues raised above are echoed by executives across the industry. Katrina Neylon, executive vice-president of sales and marketing at Studiocanal, says she is dealing in a much wider range of rights-windowing arrangements. “Thirty-day stacking rights are being requested by many broadcasters, both commercial channels and public broadcasters,” she says. “Longer catch-up periods are being requested across the board. This has an impact on and changes the catch-up provisions with other digital players.”

She is positive about the changes, however, reiterating Mutimer’s point about the potential for complementary windows on TV and SVOD. “It’s of mutual benefit for the SVOD platform and the linear broadcaster if a Netflix- or Amazon-type platform is showing a previous season of a series. This helps extend the promotion of a series. The linear broadcast of a series similarly helps its marketing on SVOD, encouraging fans to view previous seasons. Really, it can be a win-win scenario.”

In terms of the kind of content being sought, Content’s Ford sees a shift towards shorter drama serials that can work on SVOD, premium pay TV (linear and box sets) or as freeto-air events: “We’ve seen strong demand for The Secret Agent, an event mini-series starring Toby Jones. This kind of high-budget, well-made production has a place in the new landscape.”

Studiocanal’s Neylon agrees, adding that: “Non-English-language content is also very sought after — much more so than in

previous years and especially when big names are attached to dramas, either in front of or behind the camera.”

On this point, she is echoed by Red Arrow International’s Pabst, who says the array of pay-TV and on-demand platforms in the market has created opportunities for content from outside the US: “We have drama from Iceland [Case], Sweden [Farang], Russia [Mata Hari], Australia [Cleverman] and Germany [various titles]. All of it is attracting interest.”

To date, the big battle for rights between broadcasters and SVOD platforms has tended to be over drama. But there are signs that the likes of Netflix, Hulu and Amazon are starting to show more interest in factual content. In the wake of Netflix’s success with Making A Murderer, for example, Pabst believes there is “growing SVOD demand for globally relevant factual series. I think we’re seeing that with Discovery and National Geographic as well — big players willing to spend $1m an hour for shows that can appeal to a global audience.”

Mutimer agrees that Making A Murderer has demonstrated that SVOD can create unscripted hits: “So they are working hard to understand what type of unscripted works for their audiences and experimenting across a range of content. Of course, brands and programming that are self-evident from the title are as important in an SVOD world as on linear channels.”

Stephen Driscoll, executive vice-president, EMEA, at all3media International, takes an expansive view on this: “Broadcast TV has

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Feature always excelled at addressing a wide range of audience tastes and now the SVOD players want to keep their subscribers satisfied by ensuring their offering is not seen as too narrow. Add to this the cost of acquiring highend drama and you can see the sense in acquiring or commissioning factual, factual entertainment and talk shows.”

Driscoll says that he personally enjoyed Chef’s Table (Netflix) and Jiro Dreams Of Sushi (Amazon), both from director David Gelb.

“And there has been plenty of buzz about true-crime series,” he adds. “A lot of people in the industry are keen to see whether a car show can have a global audience on VOD and I’m sure we’ll see more comedy. There’s no reason why any genre should be off limits.

Eventually I think the distinction between SVOD and linear will become irrelevant.”

FremantleMedia’s Honig is equally upbeat, pointing to projects such as Ultimate Beastmaster, a global competition series that has been created by Sylvester Stallone and Dave Broome for Netflix; and All Or Nothing, an acclaimed documentary for Amazon that goes behind the scenes at the NFL’s Arizona Cardinals. “There’s also a growing number of niche non-drama SVOD players entering the market,” she says. “In the US, we have the comedy service Seeso, which was recently launched by NBCUniversal.

There is also CuriosityStream, which focuses on factual content.”

Much of the above discussion concerns situations in which broadcasters are in the driving seat, securing the majority of rights to protect and extend their businesses. But Studiocanal’s Neylon argues there are also cases where a linear broadcaster may be content to play a smaller role in the overall windowing of a show: “Some channels are open to shorter windows to premiere series, allowing second-window opportunities soon after the first-run premiere.”

It is also possible to jigsaw together a distribution map that involves both traditional and non-standard platforms, she adds. An example would be Paranoid, an eight-part drama from Red Production Company that has ITV and Netflix as co-producers and Studiocanal handling the worldwide post-Netflix sales.

Ford echoes this point, noting that the US has a number of SVOD players, such as Hulu, Acorn and Crackle, meaning there is the option of licensing to SVOD in that market and pay-TV or free-TV broadcasters elsewhere.

The unexpected Netflix hit Making A Murderer

“Eventually I think the distinction between SVOD and linear will become irrelevant” Stephen Driscoll

“Acorn is the kind of business that will also look at picking up DVD/Blu-ray rights to shows,” he adds.

There are also a growing number of situations in which rights-owners go with the international SVOD platforms first, Pabst points out: “If you are looking for a quick return from distribution or immediate impact, then a multi-territory deal with Netflix or Amazon is an option.” One possible reason for going this route would be to complete finance quickly and get into production, rather than piecing together pre-sales market by market.

Cineflix Rights CEO Chris Bonney agrees with Pabst, having sold shows such as Marcella, Secrets And Lies and Blackstone to Netflix: “With Marcella, Netflix heard about it early and was interested in the idea of a Nordic Noir-style drama set in London with a top scriptwriter. From our point of view, it was a good way to give a new brand some profile at an early stage.”

Whatever the chosen route, it is clear that the industry’s business-affairs teams are busier than ever. All3media’s Driscoll says: “As modes of delivering content to the audience increase, the rights increase and number of

contract pages required to agree the licence increase.”

Driscoll also echoes Ford when he says there is an inevitable domino effect as traditional broadcasters start to support their core services with more on-demand add-ons: “When BBC Three evolved from a linear offering to a non-linear platform, this affected the home video, EST [electronic sell-through], VOD and secondary linear markets in ways we are all still coming to terms with,” he says. “Add to this the recent introduction of BBC Store and you further complicate the EST market for your rights windowing.”

Social media is another dimension of the new-media landscape that is growing in significance for content buyers and sellers, Studiocanal’s Neylon observes. “Platforms such as Twitter, Facebook and Instagram are strong marketing tools for the promotion of our series,” she says. “We encourage our talent to be actively engaged on their platforms and work with broadcasters to help implement digital strategies that will drive viewer tune-in and streaming.”

The social-media platforms have not moved mainstream as content buyers in a traditional sense — but it could happen, Zodiak Rights’ Mutimer believes. “We are exploiting clips and a limited number of hours of library content on our own digital channels,” he says.

“But the commercials don’t warrant premium content being made available. As for major platforms like Facebook, we use social to promote programming. The pace of change is fast, though, so any platform attracting a large audience is a potential client.”

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Feature

VIRTUAL REALITY

‘VR is a game-changer’

Rewind VR created the video for NotGet

by Bjork

As virtual reality becomes a commercial reality MIPCOM is staging a series of sessions in partnership with Sony that will examine where it is going next. Juliana Koranteng spoke to a number of professionals who are in at the start

D

URING a recent radio interview about Sky’s impressive financial results, the UK-based satellite-TV giant’s CEO Jeremy Darroch seemed to focus on the corporation’s future plans for Virtual Reality (VR) entertainment. He highlighted his ambitions for the new Sky VR Studios and original content production. Moreover, the company is an investor in Jaunt Inc, a US startup with expertise in VR content development and distribution technology.

Sky’s enthusiasm for VR, a totally new form of medium that transports viewers into the very centre of what they are watching, should no longer be treated as a digital pipedream.

The music, games and live entertainment sectors are very engaged with the technology. But the audiovisual heritage that TV companies take for granted could make VR the most disruptive technology to date.

“We’re seeing a lot of pressure on content sellers and producers who are being asked by cableTV networks to produce a companion piece in

VR for their pilot shows or renewed series,” says Dave Cole, CEO and co-founder of Californiabased NextVR, which specialises in producing long-form live (as opposed to on-demand) VR

“Until now, buying a VR device was like buying a TV set when there were no TV networks” Dave Cole

content for media and entertainment clients. In addition to creating VR versions of live sports events such as NBA basketball games in the US and media spectacles such as CNN’s US presidential debates, NextVR has clinched an exclusive five-year deal to transmit live concerts in VR and 360-degree videos for Live Nation Entertainment, the world’s biggest concert promoter.

“Live Nation told us that it produces more than 25,000 music shows a year and not everyone can get there. It asked if we could give them a lift,” Cole adds, explaining what VR can do for fans who cannot make it to popular gigs. “We place them at the event.”

He continues: “Until now, buying a VR device was like buying a TV set when there were no TV networks. That is changing. We’ve made a well-funded bet on VR’s future and shall even be producing a content guide to let people know when our shows are on.”

Another fast-growing start-up, VR creative agency Within (formerly known as VRSE), has enabled media and entertainment clients, from The New York Times to maverick multichannel network company VICE Media and rock band U2, to introduce their fans to VR news and entertainment.

“Movies are about showing someone a story, and 3D was an attempt at applying visual depth to an otherwise flat image,” says Chris Milk, co-founder and CEO of Within,

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Feature VR FILMMAKING: WHAT YOU NEED TO KNOW According to experts, there are about 15,000 professionals shooting in cinematic VR worldwide.

Although not all of them necessarily know what they are doing, some great content is being generated MIPCOM News asked Deep Inc’s founder and CEO Thomas Wallner and Sol Rogers, CEO and founder of UK-based VR production company Rewind VR, for advice on what it takes to be a VR filmmaker. Both agree that producers still need to know how to shoot conventional digital moving images, apply H.265 video encoding standards, use MP4 files and adopt streaming technology.

FremantleMedia’s UFA LAB has created VR-branded entertainment for motorvehicle maker Smart which raised $12.56m in June and includes Hollywood’s 21st Century Fox and Legendary Pictures among its investors.

“However, storytelling in a [VR] sphere is a whole new playing field. Cinema and TV are just two conduits for storytelling, same as prose and painting. With VR, we’re on the precipice of eliminating the translation gap between imagination and final product — a call 3D film/TV never attempted to answer.”

UK-based research group Futuresource Consulting predicts, that by 2020, the value of consumer VR content, including gaming and video, will be $8.3bn. In Europe alone, it expects 11.5 million headsets to be shipped in 2020.

Carl Hibbert, Futuresource Consulting’s associate director, media and entertainment content, says this year is a significant milestone for VR development: “The technology is pushing beyond the early adopters and reaching mainstream audiences and, crucially, a range of entertainment genres. It is seen as a totally new medium, so I don’t think there’s any concern regarding the cannibalisation of existing TV.” The European Broadcasting Union (EBU), an alliance of more than 70 public-service TV networks in 56 European markets, plus associate members in Africa, the Americas and Asia, supports the view that linear and VR TV can co-exist. EBU members such as ARTE, the Franco-German broadcaster, the UK’s BBC, Sweden’s SVT and TV4, Spain’s RTVE and Belgium’s VRT are among the pioneers in VR content production.

Adi Kouadio, senior project manager at the EBU’s technology and innovation department, cites The Polar Sea on the ARTE360 app as an example of what is being achieved in this space. Co-created with Canadian VR tech specialist Deep Inc, The Polar Sea takes viewers right into the heart of The North Pole.

Meanwhile, UR, the Swedish Educational Broadcasting Channel, used VR for an anti-bullying campaign to help young people understand what it feels like to be a victim. And VRT made headlines with its immersive VR coverage of the Syrian conflict and refugee crisis.

Kouadio says: “The creators feel it is a new way of getting

But here are their tips to aspiring VR content producers: • To highlight a detail in traditional filmmaking, you use close-ups. In VR or 360-degree video, you need to anticipate where the viewer might choose to look — and that could be anywhere.

• In a VR shoot, you need to be clever about where to position the lights, cameras and cranes for high aerial shots, camera dollies for smooth horizontal shots and the crew, otherwise they will all appear in your surround 360-degree shots. Instead of a crane, for example, use a drone.

Instead of wheeling cameras on dolly cart tracks, use thin wires.

• You need new types of cameras, such as Nokia OZO, Jaunt ONE and GoPro VR. Some cameras — the RICOH THETA, for example — are relatively inexpensive at about $400.

• You require new post-production skills, such as how to ‘stitch’ different shots together to tell your VR story.

• True VR production requires knowledge of real-time game-engine technology and a games-art skillset.

• 360-degree VR video requires film production and VFX skills.

• As a still-developing mass-market technology, VR skills are often taught in-house, depending on what is needed for projects currently in the works.

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The Click Effect, a VR film from Within

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Feature viewers more involved in the narrative, not necessarily in the same way as gaming does, but one that increases viewers’ empathy with the topics being discussed.”

Discover y Communications is injecting immersive experiences into its factual shows and entertainment via its subsidiary

Discovery VR,which already boasts a portfolio of more than 100 projects. In the US, the non-fiction media giant has melded VR with Discovery Channel shows including The Deadliest Catch and this year’s Shark Week in June. “To help encourage audiences to view Shark Week in VR, one of the

WHO’S WHO AND WHAT ARE THEY DOING? The leading tech and media investors in Virtual Reality (VR) — and what you need to know to join them • SOCIAL-media behemoth Facebook has been spearheading VR’s potential in media and entertainment since its $2bn acquisition of Oculus VR (which started as a crowdfunded venture on Kickstarter) in 2014.

• Search-engine giant Google has gone from offering cheap but consumer-friendly, do-ityourself Google Cardbox headsets to launching Google Daydream, a high-end technology platform that aims to challenge Oculus.

• This October, Sony Corp is scheduled to launch its PlayStation VR headset, which is aimed at the players of its popular PlayStation video games, but has the potential to deliver other VR content in the future.

• UK-based Sky, Europe’s biggest satellite-TV operator, has invested in Jaunt Inc, a California-based VR startup whose impressive shareholders include Axel Springer, China Media Capital, rock star Paul McCartney, ProSiebenSat.1 Media and The Walt Disney Company.

• Time Warner, NBCUniversal-owner Comcast, entertainment entrepreneur Peter Guber, The Madison Square Garden Company and Dick Clark Productions have shares in NextVR, another fast-growing VR tech enterprise.

• Discovery Communications owns Discovery VR, while NBCUniversal has SyFy Labs.

Discovery and HBO own shares in VR graphics tech firm OTOY. Comcast is a stakeholder in VR animation firm Baobab Studios; The Huffington Post owns VR studio RYOT, A+E Networks has committed funds to VR tech specialist VOKE, and Bonnier has interests in Swedish VR games developer Resolution Games.

Behind the scenes on Shark Week from Discovery VR

experiences we launched aired concurrently on air, and in virtual reality and 360-degree video online,” says Nathan Brown, Discovery Digital Networks’ senior vicepresident, development and operations.

“We were one of the first companies to integrate our digital and linear offerings like that in real-time.”

VR branded entertainment has been created at UFA LAB, the Berlin-based digital studio of FremantleMedia Group, for two international brand-owners: carmaker Daimler and Germany’s biggest circulation newspaper Bild.

“With VR, we’re on the precipice of eliminating the translation gap between imagination and final product” Chris Milk

Earlier this year, a 360-degree video was shot for the new fortwo cabriolet convertible from Daimler’s auto brand smart. The vehicle’s launch was hosted at an event that invited potential buyers to discover what it would feel like to drive the new car. The strategy enabled smart to overcome a couple of obstacles. “Firstly, they were about to launch a summer car in the middle of the European winter. Secondly, peripheral smart dealers do not allow a convenient test-drive experience for our urban target group,” says Jens-Uwe Bornemann, FremantleMedia’s senior vice-president, digital, Europe.

For Bild, UFA LAB, its sister company UFA Fiction and Bild.de created the country’s first 360-degree news reports. “With the 360-degree equipment, our team visited places like the destroyed city of Sinjar in northern Iraq, a coast guard ship saving refugees in the Mediterranean and a cemetery for drowned refugees,” Bornemann says. “Over a series of videos, the user can experience places and situations with a whole new intensity.

The user can accompany the journalist Paul Ronzheimer to places you only knew from the news.”

Independent production ventures are

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Feature

“People are so in awe of this new format that they sometimes forget everything they know about conventional filmmaking. They still need to be good storytellers” Thomas Wallner

Canada’s Deep Inc has used its Liquid Cinema technology to create cinematic VR content for broadcasters including ARTE, Austria’s ORF, the UK’s Channel 4, Danmarks Radio and several major Canadian and US networks. “The amount of investment in VR is staggering because companies like Google and Facebook understand this is the next medium,” says Thomas Wallner, Deep Inc’s founder and CEO. There are interesting times ahead, agrees Discovery’s Nathan Brown. “There’s a bit of a dichotomy with VR,” he adds. “It’s very much an individual experience at the point of consumption. And yet, a well-produced

HERE’S WHAT YOU NEED TO CONSIDER WHEN INVESTING IN VR...

Formats To experience full immersive VR, viewers need to wear high-end headsets or goggles to enter a totally different world. VR is sometimes confused with 360-degree videos, which offer similar 360-degree visuals.

However, 360-degree videos are similar to more sophisticated 3D video, although they can be watched on computer browsers because headsets are not always required.

© 2016 Sony Computer Entertainment Inc. All rights reserved.

also committing their future strategies to VR. Anthony Geffen, CEO of Atlantic Productions, the award-winning UK-based factual entertainment company, cannot see any downside to applying VR to film and TV… unless the industry fails to invest in high-end, must-watch content.

Atlantic itself has embarked on a series of high-quality VR productions via its subsidiary Alchemy VR. Its output includes collaborations with London’s Natural History Museum and Sir David Attenborough, arguably the world’s leading natural-history broadcaster.

“Make no mistake, VR is a game-changing platform and we’ve got enough projects for the next two to three years,” Geffen says.

“But there is still no robust economic model.

The content has to be totally driven by storytelling. The first time you put a headset on, you’ve got to be blown away. But most of the experiences so far have been dominated by the people who have made the technology, not storytellers.”

Other experts agree that complacency could be the obstacle that holds back VR’s growth prospects.

VR distribution platforms Consumers need to know where to find the content. It is usually delivered in the form of downloadable apps on Apple’s App Store, Google Play, the headset-maker’s website (eg Oculus Home), content-creators’ websites or third-party digital-delivery platforms, such as Valve Corporation’s digital games platform Steam. Increasingly, some 360-degree videos are being embedded inside smartphones’ browsers, meaning a dedicated app is not needed.

Headsets For true immersive VR enjoyment, goggles need to be attached to a powerful smartphone or computer. And the goggles market looks set to be huge. In addition to Facebook’s Oculus Rift, Google’s Daydream is coming out with its own dedicated headset. Then there is Google’s Cardboard, Samsung’s Gear VR, HTC Vive, Sony’s forthcoming PlayStation VR, the LG 360 VR, the Zeiss VR Lens and independent brands such as Homido VR and Sulon Q. Cost Headset prices range from about $20 (Google Cardboard) to $900-plus (HTC Vive). But some consider the high-end goggles as still too heavy, too big and too encumbered with wires connecting them to smartphones or computers. Moreover, some generate too much heat and still cause motion sickness. But lighter, wire-free headsets are in the pipeline.

Monetisation Currently, advertising is the dominant business model. Discovery VR and Facebook’s Oculus have declared plans to develop advertising space within the VR experiences they offer. Auto brand Lexus recently supported VR elements in ABC Studios’ crime series Quantico. FremantleMedia’s UFA LAB has created VR-branded entertainment for automaker Smart and German newspaper Bild. Concertgoers and gamers, who have traditionally been happy to pay for the experience, are the most likely to pay a subscription fee for VR. Standardisation Currently, there is no official standard way of measuring the consumption of VR content, as the sector needs time to establish a common ground among the different headset-makers and distribution platforms. Nielsen, the research giant that also measures TV viewing, has been carrying out related surveys for its 360o Gaming Report. Meanwhile, Nielsen Consumer Neuroscience tools are being used by Time Warner to measure the impact of VR viewing on brain activity and heart rates in a three-year deal announced in April.

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1. Within’s Chris Milk 2. Atlantic Productions’ Anthony Geffen 3. Futuresource Consulting’s Carl Hibbert 4. NextVR’s Dave Cole 5. Discovery Digital Networks’ Nathan Brown 6. Deep Inc’s Thomas Wallner 7. Rewind VR’s Sol Rogers

• V R Sessions focusing on Creativity, Production and Financing will be featured at MIPCOM. They will take place in Esterel and Auditor ium A , from October 17 to 19, in partnership with Sony Corporation.

© Atlantic Productions

piece of content begs to be socialised and discussed among viewers. For now, it’s about being nimble, entrepreneurial and innovative; so let the chips fall where they may.”

Sony is partnering with MIPCOM in a series of sessions on VR and Tom Rothman, chairman of the Sony Pictures Entertainment’s Motion Picture Group, says the company “is in a unique position to shape the VR landscape with its assets in entertainment, gaming and technology”.

For the moment, Sony’s VR initiatives have generally centred around video games and its PlayStation media console. However if it wants to popularise its VR headset it makes sense for Sony to develop VR for films and any type of content as well as for video games.

David Attenborough preparing for a dive in the Triton Submersible (Alchemy VR)

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Feature Gigantes Do Brazil (A&E Networks)

LATIN AMERICA

The competition

is hotting up The news that Televisa would be pitting itself against the leading OTT operators in the Latin America region with the launch of its SVOD service earlier this year added another heavyweight player to an already hotly contested market. Gary Smith reports

P

ROGRAMMING on Televisa’s new SVOD platform, blim, is available across Mexico and Latin America with, as is so often the case in South America, the exception of Portuguese-speaking Brazil. Blim faces competition from Claro video, a subsidiary of Carlos Slim’s America Movil, which has been following the lead of Netflix and Amazon in producing original series in order to entice new subscribers. Claro video now claims over a million subscribers in the region, while Netflix has around six million subs in Latin America, four million of those being in Brazil. Overall, Netflix has annexed over 65% of the Latin American SVOD market since launching in 2011, with Claro video coming in a distant second with just over 15%.

The launch of blim will have a direct impact on Netflix, because the Televisa shows currently on the platform will transfer to blim when the current contracts expire.

Original Televisa series, such as El Hotel De Los Secretos and Burocratas, are already

streaming on blim, with other new shows in the pipeline. According to research company Dataxis, VOD OTT revenues will have risen to $3.17bn in Latin America by 2018, with Brazil and Mexico remaining the largest markets (Brazil is expected to generate 35.3% of total revenues and Mexico 34.6%).

“Blim is performing as we expected but, right now, we are in the first few hundred metres of a

“Blim is performing as we expected but, right now, we are in the first few hundred metres of a marathon” Carlos Sandoval marathon,” says Carlos Sandoval, blim’s director general. “As planned and expected, we are most popular in Mexico, mainly because our marketing campaign was planned in two stages: first Mexico and then the rest of Latin America.

We are already seeing growing activity in the

region but, towards the end of the year, we will pick up speed across Latin America.”

Sandoval adds that, on the content side, blim is focusing on original shows produced in Spanish, such as El Hotel De Los Secretos and Burocratas: “But we also have lots of kids content and many movies and series from international producers.”

According to Diana Zakis, vice-president of sales, Latin America and Asia, at Content Television, the emergence of platforms such as blim, Claro video and Netflix is not yet significantly impacting on the region’s patterns of consumption.

“I’m not seeing dramatic changes in buying habits in the region yet,” she says. “We’re continuing to do strong business with all the traditional broadcasters, so it hasn’t weakened demand for high-quality international content from that market sector. However, from a distribution viewpoint, we are definitely augmenting our linear-TV business with volume deals with these and other VOD platforms.”

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Feature Zakis adds that Content Television’s drama series, feature films and event specials continue to prove very popular across the region, with deals recently concluded for primetime crime thriller Line Of Duty, psychological thriller Slasher, a range of feature films and the latest editions of the Primetime Emmy Awards, the Britannia Awards and the Guys Choice Awards.

Certain recent acquisitions by Content Television are particularly relevant to the region, reflecting its importance as part of the company’s wider international strategy. Zakis points to the Reelz Channel special El Chapo & Sean Penn: Bungle In The Jungle, as being particularly attractive to South American broadcasters and platforms. Also proving popular is the upcoming documentary special The Boy Who Changed America, executive produced by Alex Gibney, which looks at how a custody battle that broke out over a five-yearold Cuban boy changed the course of history.

E d wa rd Sabi n , ma nag i ng d i rec tor, Americas, and head of commercial operations, international, at A&E Networks sees Latin America’s current market environment as “the new normal”. “Disruption is a much overused word and I would not describe the situation as disrupted,” he says.

“What has undeniably evolved is the way that we think about our business. There is change in the market and we embrace it totally. We recognise the need not only to be first, but also to be smarter than the competition. We were among the first to introduce

Line Of Duty (Content Television)

Storage Wars (A&E Networks)

“There is change in the market and we embrace it totally. We recognise the need not only to be first, but also to be smarter than the competition” Edward Sabin network-branded apps, and we are always open to discussions about non-linear offers.”

With a population of over 200 million

people, Brazil is one of the most advanced markets. But Sabin reports that Argentina, Mexico and Colombia are also developing rapidly. “As a general observation, the Latin American audience really is starting to change,” he adds. “And the curve of development is getting steeper, forcing ever more profound changes in viewing habits. The main difference between South America and the US and Europe is that there is still room for organic growth in the region, which is not the case in the US or Europe.”

A&E’s growth strategy in Latin America is partly based on apps such as HISTORY Vault, which offers 13,000 hours of library programming and was recently launched in Canada. It also programmes a mix of US and local productions, Sabin says: “We leverage US TV culture by licensing series such as The Prophet from CNBC and NCIS from CBS for the region. We also do well there with our own globally popular shows, such as Pawn Stars and Storage Wars. In addition, we make local productions, such as Gigantes Do Brazil [about the powerful men that included Brazil in the world economic map in the first decades of the twentieth century putting the country on the path to become one of the economic powers of the twenty-first century] using our global network, as well as sharing formats and creating ad-sales partnerships.” But, he stresses, “everything we do has to be creatively led”.

According to Sabrina Nudeliman, CEO of Sao Paolo-based Elo Company, Brazil currently plays host to some 30 OTT platforms.

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Feature Content Television’s Diana Zakis

“It’s a very competitive market,” she says, citing players such as Globo Play — an evolution of the existing Globo TV+ platform — Claro TV, Net Servicos, Vivo Play and DirecTV’s SKY Brazil, which offers SKY Online and pay-per-view services Clube Oi TV and Oi Filmes. “But with 65 million people watching videos online in Brazil, there is already a huge market for such services,” Nudeliman adds. “Netflix dominates the Brazilian market. But given that it currently has four million subscribers, there’s clearly a lot of room for growth in a country of 200 million people.”

Netflix is aggressively pushing its services through huge advertising campaigns. It is also investing in series such as Narcos, which has a Brazilian director and lead actor, and futuristic drama series 3%, a reboot of the successful web series that originally aired in 2011, which started filming in Sao Paolo in March this year. “Netflix is also pre-buying top films, which allows it to air them very close to the theatrical release — something that puts it in direct competition with Globo,” Nudeliman says. “Basically right now there is a big fight between the leading platform operators over exclusive content, because Netflix has everybody — especially HBO, Globo and ESPN — worried. In response, ESPN has launched a TV-everywhere service, Globo is leveraging its enormous power as a producer to create high-quality exclusive drama series, and HBO recently announced that it would be launching HBO GO in Brazil by the end of the year. And then there are Hulu and Amazon, who have not yet launched here. Both are intending to do so but are waiting for new legislation to be put in place, which has been delayed due to the current political situation.”

Globo’s Erick Bretas

Elo Company’s Sabrina Nudeliman

“Netflix dominates the Brazilian market. But given that it currently has four million subscribers, there’s clearly a lot of room for growth in a country of 200 million people” Sabrina Nudeliman

Erick Bretas, head of digital media at Globo, reports that the public’s response has been very good to its new VOD platform, Globo Play, which launched nine months ago. “We have had approximately 10-12 million unique viewers per month and our mobile apps have been downloaded more than seven million times,” he says. He adds that Globo’s smartTV platform is also becoming increasingly important, with the time spent per visitor — 45 minutes per day — far exceeding the time spent interacting with mobile applications and the website.

“Recently Globo became the first broadcaster in the world to distribute 4K HDR content with our series Dangerous Liaisons,” Bretas adds. “This was only possible because we have a VOD platform.”

For the moment, Globo’s telenovelas are the driving force on Globo Play. Bretas says that Totalmente Demais is currently its most successful title, with an aggregated figure for full chapters and clips of more than 100 million video-views. “Globo’s own productions constitute approximately 98% of Globo Play offerings,” he adds. “We plan to expand the footprint of devices and systems. Much more than a free-to-air channel, Globo is

positioning itself as a company that creates, produces and distributes high-quality content across multiple platforms. In this sense, a VOD platform is essential to our future.”

Globo Play will increasingly be used to test shows for the free-to-air market, which will also drive the VOD business forward. “We aired a zero-chapter [prequel] of Totalmente Demais exclusively on our digital platforms and a 10-episode spin-off after the last chapter, which actually portrayed how the characters lived one year before the show premiered. In the second half of this year, we will premiere Supermax, one of our largest investments in 2016. The first episode will be available to Globo Play subscribers 24 hours before its broadcast on linear TV.”

MIP CANCUN 2016 MIP Cancun brings together the community of programming, digital, and production executives from across Latin America to explore new business and content opportunities. Held in Spanish and English, MIP Cancun also includes a one-to-one matchmaking marketplace with guaranteed meetings between distributors and buyers from 22 Latam countries.

MIP CANCUN - The International Latin America TV Market & Summit is from November, 16-18, at the Grand Fiesta Americana Cancun.

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Tips & Services

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

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

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

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

Ensure you download the MIPCOM App to get the most out of MIPCOM Ensure you pack your MIPCOM badge or print your e-ticket for quick access at registration ind answers to all these questions on the following tips & services F section. For more details please refer to my-mip.com

1. USEFUL TIPS GETTING TO THE FRENCH RIVIERA

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

Special rates with our official partner Air France & KLM. Use the promotion code 27055AF www.airfranceklm-globalmeetings.com

BY TRAIN The Cannes train station is a short walk away from the Palais des Festivals.

T: +33 (0)8 92 35 35 35 www.tgv-europe.com SPECIAL OFFERS Nice airport benefits Present your MIPCOM badge to benefit from a 10 % discount in the Nice airport stores.

For more information visit www.my.mip.com

Discover a variety of exclusive offers in and around Cannes, selected by our partner cannes-i-get. com (spas, restaurants, golf and more). For more information go to my-mip.com/cannes-offers

GETTING TO MIPCOM TAXI T: +33 (0)4 93 99 27 27 or book online www.taxi-cannes.net/en/reservation BUS FROM THE AIRPORT You have several options for bus travel. Tickets must be bought beforehand.

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

Opening hours: 8.00 – 23.00 Desk at Terminal 2: outside arrivals, between gates A1 and A2. Opening hours: 8.00 – 24.00 • The Nice AirportXpress line to Cannes (bus N°210) goes to and from Nice Côte d’Azur International Airport and the Cannes bus station via Le Cannet everyday from 8.00 to 20.00 every 30 minutes.

Journey takes 50 minutes. uk.niceairportxpress.com A one-way ticket costs €22 and a return ticket costs €33.

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

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

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

3. GENERAL MAP OF MIPCOM • Bus N°200 also goes to Cannes from Monday to Saturday at 20.45 and 21.55.

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

4 Where to catch it: Terminal 1: platform 3 TRAIN FROM THE AIRPORT To get to Cannes from the Nice Airport you can: Walk 15 minutes to Nice Saint Augustin train station.

Trains from Nice Saint Augustin Cannes depart every 30 minutes, a one-way ticket costs from €5,90.

Or take the 99 bus to the Nice Ville train station (buses depart every 30 minutes and cost €6).

Trains from Nice Ville to Cannes depart every 30 minutes, a one-way ticket costs from €7.

Book your train tickets at www.tgv-europe.com or by calling +33 (0)8 92 35 35 35 CAR RENTAL Our official partner Sixt can provide an extensive range of rental services from their diverse fleet.

Promotion Code: 9963828* (up to 10% discount) T: +33 (0)1 44 38 55 55 www.sixt.com * Please note that this reduction is subject to availability.

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Tips & Services HELICOPTER Our official partner Azur Helicoptère operates regular 7-min flights between Nice Côte d’Azur International Airport and Cannes. A shuttle takes you from the Cannes heliport to your destination in Cannes.

Show participants benefit from a negotiated rate of €160 per person.

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

Airport shuttles from Nice to Cannes: €120 (Sedan) or €140 (Van-8 Pax). Evening offer* (4 hours): €340 *For quotes and bookings, visit www.chabe.fr/en/ service/event-transport For more information: riviera@chabe-grandsud.com or call +33 (0)4 93 43 90 91 SHUTTLES TO OUR PARTNER HOTELS In partnership with

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

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

Address: Palais des Festivals.

Esplanade Georges Pompidou – 06400 Cannes Country dialling code: +33 Time zone: GMT +1 Electricity: 220 volts AC, 50 Hz. Round two-pin plugs are standard Measurement system: Metric Currency: Euro Security measures for MIPCOM: Please be informed that bag checks will be undertaken at the entrances to the exhibition. If you have suitcases or other luggage with you, we kindly request you leave them at our complimentary left luggage facilities before headding to the registration area & the exhibition hall. Thank you for your assistance. These measures are installed in accordance with French government’s Plan Vigipirate security regulations.

ACCESS TO THE MARKET Access to MIPCOM is via a secured perimeter (see map attached). You will be asked to show your MIPCOM badge at the access points. Systematic bag checks will also be made. Ensure you leave plenty of time for these controls prior to your appointments.

YOUR BADGE Your Badge is your primary means of identification during MIPCOM. It provides access to all exhibition areas, conference sessions and networking events during opening hours. Please carry it at all times, and be ready to show it at entry and security points.

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

BADGE COLLECTION NICE AIRPORT, TERMINAL 1

Save time and collect your badge directly at the airport while waiting for your luggage.

Saturday 15 October, 14.00-19.00 Sunday 16 October, 9.00-19.00 Monday 17 October, 8.00-19.30 Registration CROISETTE 18, Outside structure

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

Opening hours • Saturday 15 October: 14.00-19.00 • Sunday 16 October: 9.00-19.00 • Monday 17 October: 8.00-19.30 • Tuesday 18 – Wednesday 19 October: 8.3019.00 • Thursday 20 October: 8.30-16.00 Badges can also be collected from: • THE GRAND HYATT CANNES HOTEL MARTINEZ

during MIPJunior • MAJESTIC HOTEL

Saturday 15 October: 14.00-19.00 Sunday 16 October: 9.00-19.00 Monday 17 October: 8.00-19.30 • P ress registration at the Press & News Hub (CROISETTE 21) Market opening hours • Monday 17 October – Wednesday 19 October: 8.30-19.00 • Thursday 20 October: 8.30-18.00 Exhibitors have access to all the exhibition areas starting from 8.00 via the Artists’ Entrance situated between the Palais des Festivals and Riviera 7.

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

• MIPCOM Opening Party Monday 17 October, 19.30, The Grand Hyatt Cannes Hotel Martinez. You will need your MIPCOM badge to access the party.

• MIPCOM World Premiere TV Screenings - The Halcyon, Presented by Sony Pictures Television Sunday 16 October, Grand Auditorium, Palais 1 18.30. Doors open at 18.00.

- Mata Hari, Presented by Red Arrow International Sunday 16 October, Grand Auditorium, Palais 1 21.30. Doors open at 21.00.

- The Same Sky, Presented by Beta Film Monday 17 October, Grand Auditorium, Palais 1 18.30. Doors open at 18.00.

- The Rice, Presented by Hulu Japan (HJ Holdings) Tuesday 18 October, Grand Auditorium, Palais 1 09.00. Doors open at 08.30.

- Untitled Shondaland Project, Presented by Disney Media Distribution Tuesday 18 October, Grand Auditorium, Palais 1 18.30. Doors open at 18.00.

- The Rocky Horror Picture Show, Presented by Fox Tuesday 18 October, Grand Auditorium, Palais 1 From 22.00.

IS THIS YOUR FIRST MIPCOM? Don’t miss the tour!

• First Timers’ presentation & discovery tour Sunday 16 October, 17.00. Meeting point: Main entrance, Palais 0, Palais des Festivals.

Followed by a welcome cocktail.

Including guest speaker “The Pitch Doctor”, Paul Boross, who will provide tools on how to make connections and win more business at MIPCOM. • First Timers’ meet & greet corner Monday 17 October, 19.30-20.30. Meeting Point: The Grand Hyatt Hotel Martinez. Meet and network with the MIPCOM team and other fellow first timers around a drink at the MIPCOM Opening Party.

• First Timers welcome breakfast Monday 17, Tuesday 18, Wednesday 19 October 8.30-10.00, Participants’ Club (Croisette 18).

Meet the team and glean tips on how to make the most of your MIPCOM. • Coffee & cookies Daily, Monday 17,Tuesday 18 and Wednesday 19 October, 13.30-14.30, Participants’ Club (Croisette 18).

THE EXHIBITION HALLS The exhibition zone includes: • Palais des Festivals (Palais -1, 0, 1, 3, 4, 5 & 6) • Riviera Hall (Riviera 7, 8 & 9) • Croisette (all outside structures from 10 to 21)

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Tips & Services 2. SERVICES

CONCIERGE SERVICE

CLUBS PARTICIPANTS’ CLUB CROISETTE 18, Outside structure

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

In association with

PALAIS -1, AISLE B

Reserved for programme purchasing executives.

Features include a lounge area, complimentary bar, electronic message board organised by hostesses and telephone charging stations.

In association with

PALAIS 3

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

Features include refreshments, daily press, professional concierge service and a dedicated staff.

Entry reserved by invitation.

PALAIS -1, AISLE A

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

PRESS & NEWS HUB

In association with

PALAIS 0

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

In association with HAIR & NAIL BAR Professional blow dry, manucure and make-up service for both men an women.

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

LEFT LUGGAGE Please note that suitcases or other large luggage items must be left at the left luggage point prior to accessing the MIPCOM security perimeter.

There are 3 venues available free of charge. One next to registration, a further alongside the Press & News Hub next to the harbour and one in the gardens.

Mobile Application Take MIPCOM to go!

Bring the Online Database with you thanks to the official MIPCOM 2016 app! Designed to enhance your client experience by providing essential information including: your favourites and messages, a full event schedule,

MEMBER DESK PALAIS 0

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

3. GENERAL MAP OF MIPCOM CROISETTE 10 to 20 C10

Paramount Pictures WW TV Licensing & Distribution

C11

FremantleMedia Group

C12

Sony Pictures Television

C14

Disney Media Distribution

C16.A

ITV Studios House

C16.B

Talpa Global

C16.C

FOX Networks Group Content Distribution

C16.D

JAPAN PLAZA

C16.E

ITV-Inter Medya

C17

Warner Bros. International Television

C20

Banijay Zodiak Group

MIPCOM Perimeter C10

C11

Left Luggage MIPCOM Area

Sea

C12

Riviera 8 C14

Riviera 7

C15

Riviera 9

C17 Registration sponsored by

Access to Riviera 7, 8 & 9 Participants’ Club

C16.C C16.E C16.D

1

Palais 6 Palais 5

Organiser’s office & Protocol

C16.A

2

BUSINESS CENTRE

Palais -1 to 6

C16.B

3

PALAIS-1, AISLE A

Access to Grand auditorium conferences Access

4

Palais 0 Palais -1 Buyers’ Club

En

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nc

e

5

10

La C roiset

min

te

Train Station

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Hub News Press & ss Club Pre istration eg Press R In association with

Majestic Hotel

13

The Grand Hyatt Cannes Hotel Martinez

e

6

min

Carlton Hotel

In association with

Palais 1

Entranc

La Croisette

Harbour

Palais 4 Palais 3 VIP Club

C20

Offers a complete range of secretarial and administrative services at competitive rates, from photocopying to printing and computer usage.

Security Check Point

1

Beach

ADDITIONAL SERVICES

HELP DESK

Online Database Want to know who is going to MIPCOM? • Search among participating companies and visitors to find your future business partners.

• Create a profile for you and your company and add programmes to increase your visibility.

• Send direct messages and start organizing your meetings.

The most effective tool to plan your show in advance and start networking!

Connect today on my-mip.com/online-database

CROISETTE 21, HARBOUR

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

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

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

Hotline: +33 (0)4 97 06 37 65 Website: www.viapass.com

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GOLD BUSINESS LOUNGE

In association with

CROISETTE 18 - REGISTRATION HALL

En

VIP CLUB

BAG & GUIDE DISTRIBUTION

e

Grand Auditorium (and coffee bar): Palais 1 Auditorium A: Palais 3 Auditorium K: Palais 4 Sony 4K Ultra HD Theatre: Auditorium I, Palais 4 Esterel: Palais 5 Agora: Palais 5 In association with Meet the Speakers’ Lounge: Palais 5

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

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CONTENT, CONFERENCE & SCREENING VENUES

BUYERS’ CLUB

exhibitor and participants lists and speaker line-ups.

New this year: Have your say and vote during live conferences!

PALAIS 0

MIPCOM shuttle

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MIPCOM WORLD PREMIERE TV SCREENINGS

THE HALCYON

MATA HARI

THE SAME SKY

Presented by SONY PICTURES TELEVISION Sunday 16 October 18.30-19.45, doors open at 18.00 Grand Auditorium

Presented by RED ARROW INTERNATIONAL Sunday 16 October 21.30-22.40, doors open at 21.00 Grand Auditorium

Presented by BETA FILM Monday 17 October 18.30-19.45, doors open at 18.00 Grand Auditorium

An exclusive screening of the highly anticipated The Halcyon, a brand new 8 part drama set in 1940 London which tells the story of a bustling and glamorous five star hotel at the centre of London society and a world at war.

Produced by Left Bank Pictures and commissioned by ITV in the UK.

Mata Hari (12 x 1 hour) is an epic new drama that charts the extraordinary life of exotic dancer, courtesan and infamous spy Mata Hari.

Leading cast will be present at the screening, including Christopher Lambert (“Highlander”) and Vahina Giocante (“99 Francs”) in the role of Mata Hari, and one of the series directors, Julius Berg.

Mata Hari is produced by Star Media in partnership with Channel One Russia and Inter Ukraine.

THE SAME SKY is a multi-layered six hour drama directed by Oliver Hirschbiegel (“Billions”, “Downfall”), set in the divided Berlin of the 70’s, recreating the charged atmosphere of the Cold War by portraying the fates of two families on both sides of the wall - the only thing the people all share is the sky above.

Screening in the presence of multi-awarded writer/creator Paula Milne and the cast Sofia Helin (“The Bridge”), Friederike Becht (“The Reader”) and Tom Schilling (“Generation War”).

Produced by UFA/Beta/Mia/Rainmark for ZDF.

INTERNATIONAL SCREENINGS © New Pictures with all3media international

Monday 17 October

Tuesday 18 October 9.00-10.15 Auditorium K

Breakfast served from 8.30

THE MISSING, SERIES 2

By all3media International

10.30-11.45 Auditorium K FREAKISH

By AwesomenessTV

15.00-16.15 Auditorium K JAMESTOWN 14.30-15.45 Auditorium K MAXIMILIAN AND MARIE DE BOURGOGNE

By Beta Film

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By NBCUniversal International

16.30-17.45 Auditorium A OURO

By Newen Distribution For buyers only

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MIPCOM WORLD PREMIERE TV SCREENINGS 4K HDR WORLD PREMIERE TV SCREENINGS

© WOWOW/Warner Bros. Intl TV Production

Monday 17 October, Grand Hyatt Cannes Hotel Martinez

Salon Acajou 2, From 20.00 ‘COLD CASE JAPAN’ Presented by WOWOW

Presented by DISNEY MEDIA DISTRIBUTION Tuesday 18 October 18.30-19.45, doors open at 18.00 Grand Auditorium A period drama from Shondaland and ABC Studios.

Picks up where the famous story of Romeo and Juliet ends, charting the treachery, palace intrigue and ill-fated romances of the Montagues and Capulets in the wake of the young lovers’ tragic fate.

Screening with the presence of select cast and executive producer Heather Mitchell (“Scandal”, “Grey’s Anatomy”).

THE ROCKY HORROR PICTURE SHOW: LET’S DO THE TIME WARP AGAIN Presented by 20TH CENTURY FOX TELEVISION DISTRIBUTION Tuesday 18 October 22.00-23.45, doors open at 21.15 Grand Auditorium THE ROCKY HORROR PICTURE SHOW is a two-hour event that reimagines the phenomenon of the cult classic film, with an acclaimed new cast portraying the characters made famous in the 1975 original. The television event is produced by Fox 21 Television Studios, The Jackal Group and Ode Sounds and Visuals.

Wednesday 19 October

Monday 17 October

©NHK

LOVE AND WAR

Salon Acajou 2, From 21.00 Presented by NHK

Tuesday 18 October

FANGAR – PRISONERS

CHARITE

8.30-10.00 Auditorium K

Breakfast served from 8.30

FANGAR – PRISONERS / CHARITE

By Global Screen

10.15-11.30 Auditorium K THE LEGENDARY TYCOON

16.00-17.15 Auditorium A MARS

13.30-14.45 Auditorium K PLANET EARTH II

By BBC Worldwide

By Fox Networks Group Content Distribution

By China Huace Film & TV Co

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THE NEW TELEVISION

IT’S A BRAVE NEW MEDIA WORLD: CHOICE IS EVERYTHING, LINEAR AND NONLINEAR FEED INTO ONE ANOTHER AND THE LINES BETWEEN DIGITAL AND TRADITIONAL ARE NEARLY INVISIBLE. HIGH-END ORIGINALS, INSPIRING VOICES AND GLOBAL RIGHTS CONTROL ARE KEY ASSETS. AND TELEVISION HAS NEVER BEEN IN HIGHER DEMAND.

MIPCOM 2016 PERSONALITY OF THE YEAR

MEDIA MASTERMIND KEYNOTES Monday 17 October, Grand Auditorium 11.30-12.00

KAZUO HIRAI: OPENING KEYNOTE Part of Japan Country of Honour, Kazuo Hirai, President and CEO of Sony Corporation opens the MIPCOM 2016 keynote addresses.

Creator and executive producer of “Grey’s Anatomy” and “Scandal”, executive producer of “How to get away with murder”, “The Catch”, “Love and War” and New York Times best selling author of “Year of Yes”.

12.15-12.45

16.40-17.10

SEAN COHAN President, International and Digital Media A+E Networks

KIEFER SUTHERLAND Actor and Executive Producer “Designated Survivor”

YOUTUBE KEYNOTE SESSION – 17.15-17.45

SUSANNE DANIELS Global Head of Original Content YouTube

Featuring KEVIN BEGGS Chairman Lionsgate Television Group

Featuring BURNIE BURNS Co-founder and Chief Creative Officer Rooster Teeth

Tuesday 18 October, Grand Auditorium 11.30-12.00

12.15-12.45

BEN SHERWOOD Co-Chair, Disney Media Networks President, Disney-ABC Television Group

SOPHIE WATTS President STX Entertainment

Tuesday 18 October, Grand Auditorium

Wednesday 19 October, Grand Auditorium 14.45-15.15

17.15-17.45

16.30-17.00

SHONDA RHIMES Wednesday 19 October Grand Auditorium, 15.30-16.15

WOMEN IN GLOBAL ENTERTAINMENT POWER LUNCH Monday 17 October Majestic Hotel, 12.30-14.30 By invitation Informal networking from 12.00 In partnership with

Variety Vanguard Award at MIPCOM: MARION EDWARDS President, International Television 20th Century Fox Television Distribution

DAVID LINDE Chief Executive Officer Participant Media

ADI HASAK Creator/Executive Producer/Showrunner, USA’s “Eyewitness” & NBC’s “Shades of Blue”

©Renaud Monfourny

Media Partner

Betsy Beers Partner Shondaland

Euzhan Palcy Director, Producer, Screenwriter

DIVERSITY SUMMIT TRENDS & VISION A set of exclusive conferences and events that shed light on the latest trends in content development, OTT distribution and offer a unique opportunity to meet new partners.

Tuesday 18 October Carlton Hotel, 8.30-11.30 By invitation Leading international content creators and talent meet, for the first time, to find positive, commercial ways to increase inclusiveness, both on and off screen.

In partnership with

Alexandra Finlay Head of Acquisitions and Co-productions UKTV

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Anand Gandhi CEO Memesys Culture Lab

Marjorie Kaplan President of Content Discovery Networks International

Bruce Mann MD Programming Liberty Global

John Morayniss CEO Entertainment One Television

Cathrine Wiernik Director of Programmes TV4

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Monday 17 October 9.30-10.00, Auditorium A JAPAN: MARKET OVERVIEW 10.10-11.00, Auditorium A TREASURE BOX JAPAN: WORLD PREMIERE – BRAND NEW FORMATS!

Discover the very best of Japanese Content and culture through the MIPCOM 2016 Japan Country of Honour programme including a 2-day conference schedule designed to showcase the latest innovations in animation, drama, formats and documentaries from Japan.

Featuring: Kei Kitamura, TV TOKYO - Masashi Yamamoto, TBS Television Thomas Hiraoka, ABC JAPAN - Norie Taga, YTV - Yuka Kakui, TV Asahi - Fumi Nishibashi, Fuji TV/FCC - Yukiko Katie Nakano, Nippon TV - Hisako Fujioka, NHK/NEP

Ken-ichi Imamura Executive Producer NHK Enterprises

Ann Julienne Managing Director Doc Spinners

Rodrigo Mazon Director Content Acquisition Netflix

Mathieu Bejot Executive Director TV France International

Noriko Toishi Producer HJ Holdings

Yosuke Ito Senior Consultant Mitsubishi Research Institute

Taito Okiura Co-founder & President David Production

Tuesday 18 October 14.00-14.40, Auditorium A JAPANESE DOCUMENTARY SHOWCASE 14.45-15.25, Auditorium A JAPANANIMATION OUT OF THE BOX 15.30-16.10, Auditorium A JAPANESE DRAMA BEYOND BORDERS

PRODUCERS’ TOOLBOX

VIRTUAL REALITY

Monday through Wednesday 17-19 October

Monday through Wednesday 17-19 October

Calling all Producers!

• The Pitch Guide to Making It at MIP • Making Drama that Travels • New Ways of Financing Scripted Formats • Brexit: A Survival Guide • Shooting TV Content on an iPhone: They Did It!

In partnership with

Dr Paul Boross The Pitch Doctor

VR content disrupting the way to create, distribute and monetise content: • Producers + Gaming Studios : VR’s Creative Allies • Disruptive Storytelling: Weaving Narratives into VR • Beyond 360°: From Passive Viewing to Virtual Interaction • Getting Real About VR: Where is the Money?

Nicola Soderlund Managing Partner Eccho Rights

CARRIAGE DEAL FORUM

James Milward President/Executive Producer The Secret Location

OTT & CONTENT DISTRIBUTION STRATEGY SUMMIT

Tuesday 18 October In partnership with

On the heels of the successful launch in 2015, the Carriage Deal Forum is back to feature streaming services from around the world willing to trigger new partnerships to expand their territorial reach.

Rie Hayashi Head of Global Strategy Division, NHK (Japan Broadcasting Corporation)

Neil Graham Executive Producer, Sky VR Studios/ Sky Cinema Sky UK

Daniel Reich Senior Vice President, Multiplatform Product Strategy and Development, Viacom International Media Networks

Wednesday 19 October, by invitation In partnership with

GLOBAL RIGHTS, EXCLUSIVE CONTENT: THE QUEST FOR THE NEW GRAIL. Challenges the content industry has to face when it comes to content distribution in this new industry order.

Kelly Day Chief Digital Officer AwesomenessTV

Jim Packer President, Worldwide TV & Distribution, Lionsgate

MIPCOM ANIME DINNER

“THE DRAGON DENTIST” Presented by NHK

Monday through Thursday 17-20 October

Sunday 16 October Majestic Hotel, From 19.30 by invitation

MIPCOM’s Ultra HD conferences and screenings showcase the latest in 4K Drama, Factual, Music and Sport.

(c) Otaro Maijo, nihon animator mihonich LLP. / NHK, NEP, Dwango, khara

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SUNDAY 16 OCTOBER

MIPCOM 2016 CONFERENCE

THE NEW TE

SUNDAY EVENING WORLD PREMIERE TV SCREENING GRAND AUDITORIUM, 18.30-19.45. DOORS OPEN AT 18.00

‘THE HALCYON’ Presented by Sony Pictures Television MAJESTIC HOTEL, FROM 19.30, By invitation

MIPCOM ANIME DINNER: “THE DRAGON DENTIST” Presented by NHK

PROGRAMME AS OF 8 SEPTEMBER 2016. SUBJECT TO CHANGE.

SUNDAY NIGHT WORLD PREMIERE TV SCREENING GRAND AUDITORIUM, 21.30-22.40. DOORS OPEN AT 21.00

‘MATA HARI’ Presented by Red Arrow International

MONDAY 17 OCTOBER BLUE LOUNGE 8.30-9.15

MIPCOM 2016 WELCOME PRESS BREAKFAST AUDITORIUM A 9.30-10.00

JAPAN: MARKET OVERVIEW AUDITORIUM A 10.10-11.00

TREASURE BOX JAPAN: WORLD PREMIERE – BRAND NEW FORMATS!

TRENDS & VISION

DRAMA SCREENINGS

4K ULTRA HD

TRENDS & VISION

ESTEREL 9.00-9.30

AUDITORIUM K 9.00-10.15 Breakfast served from 8.30

SONY 4K ULTRA HD THEATRE 10.00-10.30

AUDITORIUM A 9.15-10.00

THE NEW TELEVISION: THE VALUE OF CONTENT Supported by Liberty Global ESTEREL 9.45-10.15

‘TINDERING’ CONTENT: CHOOSING THE BEST OUTLET FOR YOUR STORY ESTEREL 10.30-11.15

THE RISE OF OTT REGIONAL GIANTS

‘THE MISSING, SERIES 2’

Presented by all3media International AUDITORIUM K 10.30-11.45

‘FREAKISH’

Presented by AwesomenessTV

PRODUCERS TOOLBOX

HERE COME THE UHD CHANNELS

SONY 4K ULTRA HD THEATRE 11.30-12.30

MUSIC/CULTURE: THE UHD PRODUCERS

THOUGHT LEADERSHIP EVENTS

MEDIA MASTERMIND KEYNOTES

MAJESTIC HOTEL, 12.30-14.30 DOORS OPEN AT 12.00 By invitation

GRAND AUDITORIUM, 11.30-12.00

KAZUO HIRAI, PRESIDENT AND CEO, SONY CORPORATION SEAN COHAN, PRESIDENT, INTERNATIONAL AND DIGITAL MEDIA, A+E NETWORKS

WOMEN IN GLOBAL ENTERTAINMENT POWER LUNCH

GRAND AUDITORIUM & BALCONY, 13.15-14.15

In partnership with A+E Networks and Lifetime

GRAND AUDITORIUM, 12.15-12.45

FRESH TV FORMATS

VIRTUAL REALITY

TRENDS & VISION

DRAMA SCREENINGS

4K ULTRA HD

ESTEREL 14.15-14.55

AUDITORIUM A 14.00-15.30

AUDITORIUM K 14.30-15.45

SONY 4K ULTRA HD THEATRE 15.45-17.00

ESTEREL 15.00-15.30

ENTERTAINMENT 3.0: BEST-IN-CLASS VR EXPERIENCES

SUPPORTING NEW DISTRIBUTION STRATEGIES

By Creative Europe MEDIA AUDITORIUM K 16.10-16.40

AN AUDIENCE WITH ANDREW DAVIES

‘MAXIMILIAN AND MARIE DE BOURGOGNE’ NHK’S RAPID PROGRESS TO UHD Presented by Beta Film

INTERNATIONAL PRODUCERS SCREENINGS TOOLBOX AUDITORIUM A 16.00-17.15

‘MARS’

Presented by Fox Networks Group Content Distribution

AUDITORIUM A 10.15-11.00

NEW STORYTELLERS: FRESH VOICES FROM AROUND THE WORLD

THOUGHT LEADERSHIP EVENTS CARLTON HOTEL 8.30-11.30 By invitation

DIVERSITY SUMMIT In partnership with A+E Networks, Afrostream & Sonar Entertainment

PRODUCERS TOOLBOX VERRIERE CALIFORNIE 9.45-10.15

NEW WAYS OF FINANCING NONSCRIPTED FORMATS

TALENTED VOICES DRIVE INTERNATIONAL AUDITORIUM K APPEAL 10.45-11.30

By Canada Media Fund BREXIT: and Telefilm Canada A SURVIVAL GUIDE

THE PITCH GUIDE TO MAKING IT AT MIP VERRIERE CALIFORNIE 11.00-11.30

NEW VOICES – THE NEXT GENERATION OF DIGITAL STORYTELLERS

AUDITORIUM A 11.15-12.00

VERRIERE CALIFORNIE 10.15-10.45

MAKING DRAMA THAT TRAVELS

DISRUPTIVE STORYTELLING: WEAVING NARRATIVES INTO VR

TUESDAY 18 OCTOBER

ESTEREL 15.45-16.15

PRODUCERS + GAMING STUDIOS: VR’S CREATIVE ALLIES

MEDIA MASTERMIND KEYNOTES

4K ULTRA HD SONY 4K ULTRA HD THEATRE 09.30-10.30

HERE COME THE UHD CHANNELS SONY 4K ULTRA HD THEATRE 10.45-11.45

SPECTACULAR FACTUAL PRODUCTIONS IN UHD SONY 4K ULTRA HD THEATRE 12.00-12.45

WOWOW, MOVING INTO 4K

MEDIA MASTERMIND KEYNOTES BEN SHERWOOD, CO-CHAIR, DISNEY MEDIA NETWORKS, PRESIDENT, DISNEY-ABC TELEVISION GROUP GRAND AUDITORIUM, 12.15-12.45

SOPHIE WATTS, PRESIDENT, STX ENTERTAINMENT

JAPANESE DOCUMENTARY SHOWCASE Presented by Tokyo Docs AUDITORIUM A 14.45-15.25

JAPANANIMATION OUT OF THE BOX AUDITORIUM A 15.30-16.10

JAPANESE DRAMA BEYOND BORDERS

VIRTUAL REALITY

4K ULTRA HD

ESTEREL 14.00-14.30

SONY 4K ULTRA HD THEATRE 15.15-16.15

MASTERING THE VR CONTENT WORKFLOW ESTEREL 14.45-15.15

BEYOND 360°: FROM PASSIVE VIEWING TO VIRTUAL INTERACTION VERRIERE CALIFORNIE 17.30-18.30 Cocktail served from 18.00

VR & IMMERSIVE JOURNALISM: THE FUTURE OF NEWS

SPECTACULAR UHD PROGRAMMING

TRENDS & VISION ESTEREL 15.30-16.00

CROSSING FROM FILM TO TV: CREATIVITY & FINANCING

By RT Television News Network

MEDIA MASTERMIND KEYNOTES GRAND AUDITORIUM, 16.30-17.00

GRAND AUDITORIUM, 17.15-17.45

VARIETY VANGUARD AWARD AT MIPCOM: MARION EDWARDS, PRESIDENT, INTERNATIONAL TELEVISION, 20TH CENTURY FOX TELEVISION DISTRIBUTION

SPECIAL GUESTS:

DAVID LINDE, CHIEF EXECUTIVE OFFICER, PARTICIPANT MEDIA

GRAND AUDITORIUM, 16.40-17.10

KIEFER SUTHERLAND, ACTOR AND EXECUTIVE PRODUCER, ‘DESIGNATED SURVIVOR’ SUSANNE DANIELS, GLOBAL HEAD OF ORIGINAL CONTENT, YOUTUBE KEVIN BEGGS, CHAIRMAN, LIONSGATE TELEVISION GROUP & BURNIE BURNS, CO-FOUNDER & CHIEF CREATIVE OFFICER, ROOSTER TEETH MONDAY EVENING WORLD PREMIERE TV SCREENING GRAND AUDITORIUM, 18.30-19.45, DOORS OPEN AT 18.00

‘THE SAME SKY’ Presented by Beta Film

GRAND HYATT CANNES HOTEL MARTINEZ, 19.30-23.30

MIPCOM OPENING PARTY – JAPAN COUNTRY OF HONOUR

MIPCOM THANKS ITS SPONSORS & PARTNERS

GRAND AUDITORIUM, 17.15-17.45

TUESDAY EVENING WORLD PREMIERE TV SCREENING GRAND AUDITORIUM, 18.30-19.45, DOORS OPEN AT 18.00

‘LOVE AND WAR’ Presented by Disney Media Distribution

TUESDAY NIGHT WORLD PREMIERE TV SCREENING GRAND AUDITORIUM, 22.00-23.45, DOORS OPEN AT 21.15

In partnership with TRT WORLD ESTEREL 9.15-9.45

THE CARRIAGE LANDSCAPE: STREAMLINING VIEWER OPTIONS ESTEREL 10.00-11.15

SHOW & TELL: CHANNELS & STREAMING PLATFORMS VERRIERE CALIFORNIE 12.30-13.30

CARRIAGE DEAL NETWORKING LUNCH

GRAND AUDITORIUM, 11.30-12.00

AUDITORIUM A 14.00-14.40

CARRIAGE DEAL FORUM

‘THE ROCKY HORROR PICTURE SHOW: LET’S DO THE TIME WARP AGAIN’ Presented by 20 th Century Fox Television Distribution

VERRIERE CALIFORNIE 14.30-16.30 By invitation

CARRIAGE DEAL FORUM MATCHMAKING

FACTUAL SCREENINGS AUDITORIUM K 13.30-14.45

‘PLANET EARTH II’ Presented by BBC Worldwide

DRAMA SCREENINGS AUDITORIUM K 15.00-16.15

‘JAMESTOWN’ Presented by NBCUniversal International AUDITORIUM A 16.30-17.45

‘OURO’

Presented by Newen Distribution For Buyers Only

CE & EVENTS PROGRAMME

TELEVISION WEDNESDAY 19 OCTOBER TRENDS & VISION

DRAMA SCREENINGS

INDUSTRY SPOTLIGHT

AUDITORIUM A 9.15-10.00

AUDITORIUM K 8.30-10.00 Breakfast served from 8.30

MIP CANCUN BREAKFAST SESSION

DATA-DRIVEN ENTERTAINMENT: IT ISN’T BRAIN SURGERY (OR IS IT?) AUDITORIUM A 10.10-10.55

CREATIVE MASTERCLASS: COMEDY GETS SERIOUS

‘PRISONERS’ AND ‘CHARITÉ’ Presented by Global Screen AUDITORIUM K 10.15-11.30

‘THE LEGENDARY TYCOON’ Presented by China Huace Film & TV Co

VERRIERE CALIFORNIE 8.30-9.30

VERRIERE CALIFORNIE 9.45-10.15

STARMAKERS: CONNECTING GEN Z TO TV

THOUGHT LEADERSHIP EVENTS CARLTON HOTEL 8.30-11.00 By invitation

OTT & CONTENT DISTRIBUTION STRATEGY SUMMIT In partnership with IBM Cloud Video

By Zoomin.TV

ACTION & SPORT SONY 4K ULTRA HD THEATRE 11.15-12.00

SPECIAL PRESENTATION GRAND AUDITORIUM & BALCONY, 11.15-12.00

SNACK & SCREEN VERRIERE CALIFORNIE 12.30-13.45

DISCOVER THE NEW BEST DRAMA CONTENT FROM LATIN AMERICA

THE RISE OF FACTUAL IN PROGRAMMING’S HORIZON

By INCAA and the Argentine Investment & Trade Promotion Agency

TRENDS & VISION

PRODUCERS TOOLBOX

GRAND AUDITORIUM & BALCONY 12.30-13.15

AUDITORIUM A 12.15-13.00

ACQUISITION SUPERPANEL: GLOBAL STRATEGIES PRESENTING THE WORLD SCREEN CONTENT TRENDSETTER AWARD GRAND AUDITORIUM, 13.30-14.15

SHOOTING TV CONTENT ON AN IPHONE: THEY DID IT!

FRESH TV FICTION

VIRTUAL REALITY AUDITORIUM A 14.15-14.45

GETTING REAL ABOUT VR: WHERE IS THE MONEY? MEDIA MASTERMIND KEYNOTE GRAND AUDITORIUM, 14.45-15.15

ADI HASAK, CREATOR/EXECUTIVE PRODUCER/SHOWRUNNER, USA’S ‘EYEWITNESS’ & NBC’S ‘SHADES OF BLUE’ GRAND AUDITORIUM, 15.30-16.15

MIPCOM PERSONALITY OF THE YEAR KEYNOTE:

SHONDA RHIMES CREATOR AND EXECUTIVE PRODUCER OF ‘GREY’S ANATOMY’ AND ‘SCANDAL’, EXECUTIVE PRODUCER OF ‘HOW TO GET AWAY WITH MURDER’, ‘THE CATCH’, ‘LOVE AND WAR’ AND NEW YORK TIMES BEST SELLING AUTHOR OF ‘YEAR OF YES’

TRENDS & VISION

4K ULTRA HD

AUDITORIUM A 10.00-10.45

SONY 4K ULTRA HD THEATRE 10.00-11.00

BEST OF FRESH TV: A SPECIAL SELECTION OF THE FRESH TV FORMATS & FICTION SCREENINGS AUDITORIUM A 11.00-11.45

THEY MADE MIPCOM: CATCH-UP SESSION WITH EXCLUSIVE INTERVIEWS OF TOP EXECUTIVES

4K ULTRA HD SONY 4K ULTRA HD THEATRE 10.00-11.00

THURSDAY 20 OCTOBER

4K ULTRA HD SONY 4K ULTRA HD THEATRE 14.30-15.30

UHD: THE LATEST DEVELOPMENTS

UHD: THE LATEST DEVELOPMENTS SONY 4K ULTRA HD THEATRE 11.15-12.00

CONTINUOUS SCREENING OF THE BEST IN UHD

BLUE LOUNGE, PRESS CLUB 12.00-13.00

MIPCOM PRESS CONFERENCE END OF MARKET ROUND-UP AUDITORIUM A 14.00-15.00

TRENDING TOPICS: THE MOST BUZZ-WORTHY TRENDS OF THE MARKET

JOIN THE MIPCOM OPENING NIGHT PARTY FEATURING JAPAN COUNTRY OF HONOUR MONDAY 17 OCTOBER, GRAND HYATT CANNES HOTEL MARTINEZ

THE NEWEST JAPANESE MUSIC COMES TO MIPCOM! KEN ISHII / SOIL & “PIMP” SESSIONS / HIFANA / CALM / DJ UPPERCUT

4K HDR JAPANESE DRAMA WORLD PREMIERE SCREENINGS: SALON ACAJOU 2, FROM 20.00

‘COLD CASE JAPAN’ Presented by WOWOW

SALON ACAJOU 2, FROM 21.00

‘MORIBITO II, GUARDIAN OF THE SPIRIT’ Presented by NHK AND ENJOY

JAPANESE FOOD & SAKE!!

SPECIAL FIRST TIMERS PROGRAMME SUNDAY 16 OCTOBER ESTEREL, 17.00-18.30, MEETING POINT AT MAIN CROISETTE ENTRANCE Followed by networking drinks

MIPCOM FIRST TIMERS PRESENTATION & DISCOVERY TOUR MONDAY 17 OCTOBER GRAND HYATT HOTEL MARTINEZ, 19.30-20.30

MIPCOM OPENING PARTY: FIRST TIMERS MEET & GREET CORNER CARLTON HOTEL 20.00, By invitation Welcome Drinks From 19.30

MIPCOM PERSONALITY OF THE YEAR GALA DINNER HONOURING: SHONDA RHIMES

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MONDAY THROUGH WEDNESDAY 17-19 OCTOBER PARTICIPANTS’ CLUB, 08.30-10.00

FIRST TIMERS WELCOME BREAKFAST PARTICIPANTS’ CLUB, 13.30-14.30

FIRST TIMERS COFFEE & COOKIES

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