Mipcom 2017 preview magazine by MIPMarkets

SEPTEMBER 201 7

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www.mipcom.com The official MIPCOM magazine

PREVIEW

WORLD PREMIERE TV SCREENING Amazon US & Sky’s Britannia 083_BBC_Cover_PV_COM SEE PAGE 60

RUSSIAN CONTENT REVOLUTION

MEDIA MASTERMIND KEYNOTE

Russia in Cannes highlights

HBO’s Richard Plepler

SEE PAGE 18

SEE PAGE 10

PERSONALITY OF THE YEAR Discovery’s David Zaslav

SEE PAGE 8

Also inside: • Keynotes: Domingo Corral and Gordon Ramsay • Asian World Premiere TV Screening: NHK’s Kurara: The Dazzling Life Of Hokusai’s Daughter • Content for sale • and more...

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Editorial

mipcom PREVIEW

The official MIPCOM preview magazine September 2017 Director of Publications Paul Zilk Director of Communication Mike Williams EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Sub Editor Joanna Stephens Contributors Marlene Edmunds, Andy Fry, Juliana Koranteng Editorial Management Boutique Editions Head of Graphic Studio Herve Traisnel Graphic Studio Manager Frederic Beauseigneur Graphic Designer Carole Peres PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Manager Amrane Lamiri Publishing Co-ordinators Yovana Filipovic, Emilie Lambert, Veronica Pirim Printer Riccobono Imprimeurs, Le Muy (France) MANAGEMENT & SALES TEAM Director of the Entertainment Division Jerome 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 Benedicte Touchard Executive Producer, Conferences Amandine Cassi TV Division Sales Director Geraud de Lacombe Head of Entertainment UK Paul Nickeas Director UK Sales – TV Division Matt Colgan Director UK Sales Music & TV Division Javier Lopez SVP Sales & Business Development Robert Marking VP Sales Louis Hillelson Sales Director Manual da Sousa Director of Visitors Sales North and Latin America Matthew Rosenstein Sales Manager Noah Buchwald Sales Manager Hugo della Motta Sales Director Sylvain Faureau Sales Director Aude Dionnet Sales Regional Director Nathalie Gastone Senior Sales Projects Director Fabienne Germond Sales Managers Paul Barbaro, Liliane Da Cruz, Nancy Denole, Samira Haddi, Cyril Szczerbakow, Hicran Lefort Head of Sales, Buyers Yi-Ping Gerard Sales Manager, Buyers Eve GualbertGalvis Sales Executive, Buyers Laetitia Rouis-Carrero 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 MiddleEast Representative Bassil Hajjar 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 © 2017, Reed MIDEM Market Publications. Publication registered 3rd quarter 2017. ISSN 2104-2179. Printed on PEFC Certified Paper ®

Welcome to MIPCOM 2017 and the event’s Preview magazine, which offers an overview of what’s in store for you in Cannes and a look at some of the key subjects that have the industry talking. Never more fragmented, nor more exciting, the content market is in the midst of a global race for creative connections that is shaking the foundations of the industry. Demand for the kind of awe-inspiring shows that will be at MIPCOM has never been higher, global opportunities never greater. Fierce competition is driving global players to devise multi-local strategies and local players to power up global ambitions. The end goal is to unite players with the best partners, create the best content, nurture the best talent and deliver the next generation of ground-breaking shows. It is a race to connect on a creative level never before experienced by the content market, a global race to creative connections, many of which will be forged at MIPCOM. In this magazine, you can discover what’s hot in the world of tech as the industry rolls out 4K, UHD, 8K and VR. We look at channel distribution strategies in the OTT world, discuss the return of big formats and will find out where high-end drama is heading. We are thrilled to be honouring Discovery Communications’ CEO David Zaslav as MIPCOM Personality Of The Year. And as part of a special MIPCOM celebration, we highlight the Russian Content Revolution, 100 years after the October Revolution. We have a stunning line-up of World Premiere TV Screenings, and keynote speakers including celebrity chef Gordon Ramsay, HBO’s CEO Richard Plepler, Nat Geo’s Courteney Monroe as well as visionary leaders from Movistar+, Facebook and Snapchat. MIPCOM 2017 will offer a 360° experience of dealmaking, networking and knowledge-sharing at an international level. I’d like to thank you for your support and the whole MIPCOM team looks forward to seeing you in Cannes for what promises to be a spectacular market. Laurine GARAUDE Director, Television Division Reed MIDEM

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Contents 10

News Introducing Media Mastermind Keynotes; Women In Global Entertainment; The TV of the future; An entertainment powerhouse in Cannes; CANNESERIES launches at MIPTV 2018 and more... Russia under the Cannes Spotlight; Sreenings, Showcases, Opening Cocktail Party

Product News

Multiplatform content for sale from around the world

World Premiere TV Screening

David Zaslav is Personality Of The Year

DAVID Zaslav, president and CEO of Discovery Communications. Zaslav has led Discovery since 2007, during which time the company’s global distribution platform has expanded to three billion viewers worldwide. “As Chief Executive of Discovery Communications since 2007, David Zaslav has overseen Discovery’s development as a global leader in premium entertainment with a portfolio of outstanding brands covering nonfiction, sports and kids programming,” Reed MIDEM’s chief executive Paul Zilk said. “Under his leadership, Discovery has launched some of the fastest-growing cable networks in the United States, grown its coverage across free-to-air, pay-TV and digital platforms in 220 countries and become a Fortune 500 company. David Zaslav is a visionary leader of a visionary company and we’re proud to have this opportunity to honour him as MIPCOM 2017’s Personality of the Year.” David Zaslav will receive his MIPCOM Personality Of The Year Award at a Gala dinner at the Carlton hotel on Wednesday, October 18.

Features

Amazon US and Sky’s Britannia

Drama........................................................................................... 65 Formats.........................................................................................83 Tech............................................................................................... 95 Channel distribution................................................................. 105

Asian World Premiere TV Screening

105

NHK’s Kurara: The Dazzling Life Of Hokusai’s Daughter

Also inside :

117 Tips & services

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120 Conferences & Events Programme

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Media Mastermind keynote

No end to the gold rush HBO CEO Richard Plepler gives a Media Mastermind Keynote at this year’s MIPCOM. He spoke to Julian Newby ahead of the market

fan base,” Plepler said. “What Dan [Weiss] and David [Benioff] have done is bring George’s extraordinary world to the screen and done so with an uncommon amount of imagination, vision and intelligence. The onscreen talent is simply breathtaking; we saw pretty quickly in the first year that something special was afoot. But anyone who tells you at the beginning of a project that they know a show is going to hit the zeitgeist and become a phenomenon is lying to you.”

“Anyone who tells you at the beginning of a project that they know a show is going to hit the zeitgeist and become a phenomenon is lying to you” Technological developments have meant that streaming is a natural progression for HBO, but according to Plepler, crucial to the success of the company on any platform, is its hallmark of quality. “We have always believed that the HBO brand stands for quality and excellence across a wide range of genres,” he said. “That was the case from the early days of original programming at HBO and it is still the case today. We continue to define success as the curation of outstanding content. With our digital expansion, we have added a wide range of options for consumers to access HBO however, whenever, and wherever they want to.” And global expansion is ongoing: “We have a multi-faceted international distribution strategy with networks in 60 countries, licensing deals in over 150 markets and territories, and a presence in 17 countries where

ICH ARD Plepler, chairman and CEO of HBO heads up the world’s most successful pay-TV service, which provides HBO and Cinemax to over 134 million subscribers in over 60 countries and its programming into over 150 countries worldwide. In 2015, after two years in the post, Plepler announced HBO Now to the world, a streaming service for the US. Internationally, HBO has streaming services in the Nordic region, countries in Latin America, Hong Kong and the Philippines and, most recently, in Spain, launched in November last year. HBO has received the most Emmy awards of any network for 15 consecutive years and won 22 Emmys in 2016 alone, and many credit the company for triggering TV drama’s current — and ongoing — golden age, with a run of highly acclaimed series that began with The Sopranos. A flood of high-end dramas from a growing number of sources around the world followed, and seems unlikely to recede in the near future. “I think it’s fair to say that we were at the forefront of a new kind of television programming where the storytelling was more layered and nuanced,” Plepler said. “That was obviously the case with such breakthrough shows as The Sopranos, Six Feet Under and The Wire. So to the extent that people want to cite that as the beginning of this golden age, we are obviously flattered.” And HBO has proved time and again that it is genre-agnostic. You can’t typify an HBO series except, perhaps, by its originality — Game Of Thrones being the perfect example of something that seemingly came out of nowhere. Who knew that such an intense fantasy could sustain a global audience and make headlines for as long as it has? “Everyone who knew George [RR Martin]’s work felt it had the potential to ignite a huge

HBO CEO Richard Plepler. we lend our name,” he said. “We’ve also recently added OTT options in the Nordics, Spain, Argentina, Brazil, Mexico and other countries.” At MIPCOM Plepler will receive the Variety Vanguard Award in acknowledgement of his outstanding contribution to the international television business — but insists that he accepts the accolade on behalf of everyone at HBO: “I just have the privilege of sitting in the chair that allows me to represent our extraordinary company in accepting this wonderful recognition,” he said. And for the HBO boss this MIPCOM is significant for another reason: “It happens to be taking place on my 15th wedding anniversary, so I’m looking forward to sharing the trip with my wife.” • Richard Plepler’s Media Mastermind Keynote is on Monday, October 16 at 17.15 in the Grand Auditorium

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Media Mastermind Keynote

There won’t be dragons National Geographic’s Courteney Monroe unveils plans for a move into scripted drama at MIPCOM. She spoke to Julian Newby ahead of her keynote presentation

OURTENEY Monroe is CEO of National Geographic Global Networks. She oversees global programming, operations and marketing for National Geographic Channels around the world, including National Geographic Channel, Nat Geo Wild, Nat Geo People and Nat Geo Mundo. She is also responsible for the company’s inhouse television production unit, National Geographic Studios. Earlier in the year she announced that the company had plans to produce featurelength documentaries, under a new banner, National Geographic Documentary Films. At MIPCOM, during a Media Mastermind Keynote presentation, delegates will hear of further plans to produce premium television, this time in the drama genre. The move follows the success of Genius, in which Geoffrey Rush stars as Albert Einstein in this series about the professor’s life. “Scripted drama is a fairly new strategy for us. We’re on a quest for real transformational change, so I’m going to focus on scripted and what we’re doing on the heels of our launch of Genius, which has been very successful for us,” Monroe said. She added that drama is part of a “broader vision and strategy” for the network, “to break away from the pack and pursue a much, fewer, bigger, bolder, better strategy. Producing fewer hours overall but the hours that we are producing, factual or scripted, are bigger budget, bigger in ambition, with A-list talent and really premium. The strategy is really about quality and distinctiveness and living up to the quality and expectations of the National Geographic brand. Quality not quantity.” And a move away from lower-cost programming, including reality: ”We’ve really radically shifted from that approach,” she said.

“When it comes to lower-cost reality shows, when we were in that game, we were focused on chasing the audiences of channels like Discovery and History, who were getting a lot of success producing tons and tons of these low-cost reality shows in Alaska and other places. We were not as successful at that when we were doing it, and I think that’s because — my supposition is anyway — that’s not what people expect from National Geographic. That’s not what people are coming to us for.” And the marketplace has shifted. “There is no way to break through without being ex-

“Scripted drama is a fairly new strategy for us. We’re on a quest for real transformational change”

ceptional and without being distinctive, and there was nothing exceptional or distinctive about our tonnage strategy.” She added: “No one has a crystal ball to know what the world will look like in five years, but what we do know is the right strategy for us is one that is focused on enhancing the long-term value of National Geographic, with premium, distinctive content that people will perceive as being worth paying for. Because regardless of the way that content will be distributed, and I think it will continue to be distributed in a multitude of ways — and that’s good, content should be more available not less — it needs to be paid for.” Genius was a good start, with Ron Howard at the helm of the first episode and a world-class actor, Geoffrey Rush, in the lead role. And

Courteney Monroe while some may feel that drama may be going off the NatGeo brief somewhat, Monroe insists that there won’t be dragons. “We’re only telling stories that are, if not fact-based, then fact-inspired. I like to jest that you’ll never see dragons on National Geographic. As much as I love Game Of Thrones, dragons aren’t real and this brand is all about authenticity and fact-based storytelling. So even in our scripted drama we’re taking a fact-based approach.” At MIPCOM Monroe is keen to hear about “great ideas”. “We’re definitely spreading the word so people in the community understand and get excited about what we’re up to, and hopefully want to bring their great ideas to us,” she said. “We’re pretty focused on big global commissions — we are open to co-production, it’s not our first choice, but we just did one with Channel 4 around The State, which is a four-hour drama from Peter Kosminsky. We own it in all territories around the world except the UK; we’re very proud of it, it’s a terrific drama, so we’re open to that too.” • Courteney Monroe’s Media Mastermind Keynote is on Tuesday, October 17 at 11.20 in the Grand Auditorium

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Media Mastermind Keynote

Local stories, global appeal Telefonica-owned Movistar+ is investing big in Spanish drama created by Spanish talent. Andy Fry spoke to Domingo Corral ahead of MIPCOM DOM I NG O C or ral, head of or ig i na l prog ra m m i ng at Spa n ish pay-T V g ia nt Movistar+, gives a MIPCOM Media Mastermind Keynote, in which he will discuss the Telefonica-owned company’s huge investment in high quality TV drama. Speaking ahead of his visit to Cannes, he said: “Our plan is to launch 11 original series a year, one a month except for August. These will initially be available to customers via SVOD but then may also be broadcast on our basic channel Cero.” Corral said the emphasis will be firmly on “Spanish-language series dealing with Spanish stories created by Spanish talent. So, for example, we are very excited by La Zona, a story set in Northern Spain four years after a nuclear accident. Equally interesting for us is La Peste, which is set during an era when Seville had exclusive rights to trade with the Americas and against the backdrop of a terrible plague hitting the city. We also have a spin-off of the hit Spanish series Velvet, which will be set in a fashion store in Barcelona in the late 1960s.” The decision to focus on Spanish subjects is key to Movistar+’s strategy. “At the moment, we are not interested in making English-language drama unless we see a particular subject where that makes sense,” Corral said. There is so much good English-language drama in the international market that we can acquire it if necessary. What is missing is the kind of Spanish-originated drama we plan to offer Movistar+’s customers.” Corral acknowledges that this approach could lessen the appeal of his company’s

shows internationally, “but we aren’t trying to produce global dramas in which you can’t tell where they are taking place. Besides, if the shows have great stories and characters, high production values and universal themes, they will still travel. Some of the most talked about shows internationally, like The Sopranos or Happy Valley or Deutschland 83, have very specific local roots. Sky Vision and Beta Film are involved as distributors, which suggests that our shows can travel.”

How, though, will Movistar+ persuade people to pay for drama when they already have great drama for free in Spain? “There’s no question the likes of Antena3 and Tele5 make great drama, so we are doing something different,” he said. “We are making shows that are cinematic and are based around the distinctive creative vision of well-respected talent. The durations are different, 50 minutes for drama, 25 minutes for comedy, so people can binge watch. And we’re aiming at very specific targets, so different people come to different shows.” Corral said all of the talent involved in the shows comes from Spain, some from cinema and some from TV. “We got everyone we wanted — some of whom I thought would be impossible to attract.” Among those who have signed up to Movistar+’s original drama programme include theatrical award winners and boxoffice successes such as Cesc Gay (Truman); Rafael Cobos (Marshland); and Fernando Gonzalez Molina (Palm Trees In The Snow). Also on board are Jorge and Alberto SanchezCabezudo, creators of hit Spanish TV series Crematorium. Corral will expand on many of the above points in his upcoming keynote, and is also due to be joined on stage by Beta Film’s Jan Mojto and Sky’s Jane Millichip. • Domingo Corral’s MIPCOM Mastermind Keynote is on Monday, October 16 at 12.05 in the Grand Auditorium

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Media Mastermind Keynote

What the f***’s Gordon up to? Gordon Ramsay speaks to Julian Newby ahead of his first professional visit to Cannes for 25 years

IN A MUCH-anticipated keynote presentation, MIPCOM delegates will hear directly from Gordon Ramsay what’s coming next from the superstar chef, and how he became the first of a wave of TV chefs to win global fame, essentially by being himself on screen. Superficially he’s the guy on the television who shouts and swears at anyone who gets in the way of his quest for perfection. At least that’s what the headlines say. But there’s a lot more to the man. He was destined to become a professional footballer before injury put a stop to that at the age of 17. Switching to things culinary, his ambition kicked-in very early and after working with some of the UK’s leading chefs. He looked further afield, taking himself to Paris where he worked under Joel Robuchon and Guy Savoy, the latter becoming young Ramsay’s mentor. After Paris he “took a sabbatical”, working on the yacht owned by TV magnate Reg Grundy where he got his first taste of what it might be like to work in the world of television. He later returned to the UK, to the position of head chef at the three-star La Tante Claire in Chelsea, under chef-patron Pierre Koffmann. Further prestigious positions followed and led to Ramsay setting up his own restaurants and eventually a global empire. The TV career that developed alongside his culinary and business successes has lasted 25 years and keeps going, and it is this aspect of his life that MIPCOM delegates will hear about during his Cannes keynote presentation. “The first big party I had to cater for on the yacht was for Reg Grundy’s MIPCOM guests,” Ramsay said. “I had no idea how powerful he was, he had no idea how good a chef I was but when I got the job we hit it off immediately. I remember being positioned about 400 metres from the beach in Cannes and this little tender kept coming back and forth ferrying all these VIP guests. Then after that we did an amazing dinner. So to come back to Cannes, full circle 25 years later knowing what I know now in TV, it’s quite an exciting trip because I haven’t been back since. And I’ve been hard at it, as you know, pushing myself and pushing the ideas, and staying creative.” One important lesson Ramsay learned from Grundy was how to switch off, which for a self-confessed workaholic has proved to be an important skill. “Yes, time management. If there’s one thing I learned early on from him, it was just how on-the-clock he was in terms of

punctuality,” Ramsay said. “He’d cram meetings in the morning, nice break for lunch, and then an 8pm shut-off and close-down, time to enjoy dinner. He was very disciplined like that and work came first.” He added: “I don’t mind working hard when I’m out on location, but then I like switching off, and I mean switching off.” When he really does switch on, as his audiences around the world know, is when the camera is rolling. But he insists that he has never constructed an on-screen image or a brand. “Everyone says ‘Oh that’s for the camera!’ but I’m as passionate in business with or without a camera. If you were to mic-up a sports player, a boxer or football player and listen to the dialogue — in the Champions League Final or the Premier League or the FA Cup — it would be no different to what it’s like in the kitchen. Because it’s freakin’ raw, it’s brutally competitive and we should never shy away from that level of competitiveness. That’s the one thing that’s got me where I am today — being competitive is healthy, that’s really important.” While Ramsay has held three Michelin stars for over 15 years at his Restaurant Gordon Ramsay, television is a growing business for him. With his production company Studio Ramsay, a joint-venture with all3media, he has plans to move into factual and scripted — including Ramsay On Coke, a documentary where he goes deep into the underworld to learn about this destructive narcotic. “You know, everyone thinks it’s great to be a cool, hip chef fucked-up on coke. Well it’s the opposite,” he said. In the scripted domain Ramsay is “working with some great writers” on a ModernFamily-style restaurant show. “Fox are behind it and I’m dying to burst into that area.” And his own family is getting in on the business — with CBBC’s Matilda And The Ramsay Bunch, a cooking show for children fronted by daughter Matilda and featuring the rest of the family, now in its fourth series. “She’s a natural and they all grew up with a love of food,” he said. “While every other parent was buying their kids iPads and iPhones and Xboxes, I bought my kids pigs, lambs and sheep. They learned to understand the work ethic, how to not waste food and, more importantly, where food comes from.” • Gordon Ramsay’s Media Mastermind Keynote is on Monday, October 16 at 11.30 in the Grand Auditorium

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The Russian Content Revolution

Russia under the Cannes spotlight 100 years after the October Revolution comes the Russian Content Revolution, a series of screenings taking place at MIPCOM. A number of key delegates from Russia spoke to the MIPCOM Preview ahead of the market

HE RUSSIAN audiovisual industry comes into sharp focus in Cannes, with a series of screenings — under the title Russian Content Revolution — conferences and networking opportunities that aim to show MIPCOM delegates why the country is a serious player on the international stage. Leading figures from Russian television are in Cannes to meet with industry representatives from around the world — notably Konstantin Ernst, CEO of Channel One Russia, the country’s leading state broadcaster — who said that MIPCOM is an opportunity to introduce to the international community two important productions that will mark this year’s 100th anniversary of the Russian revolution. “Two of its protagonists were Lenin and Trotsky,” Ernst told the MIPCOM Preview. “Channel One will showcase a docudrama about Lenin, based on archives that will be publicly disclosed for the first time. Trotsky — who was the real mastermind behind the October upheaval — will be presented to audiences as a hero in a new drama series. Leon Trotsky, one of the truly international stars of the last 100 years, is a real pop icon, a man of great achievements, who met a tragic fate. Ours is the first drama in the history of Russia to be dedicated to Trotsky. We do hope to rouse both Russian and international audiences’ interest in this project.” Of the international industry generally, Ernst said that “an outdated view of television as broadcast, audiovisual product distributed via transmitters” still exists around the world. “This doesn’t correspond to today’s reality. Television today is capable of creating quality audiovisual product 24-hours-a-day, 365-days-a-year. And the means of distribution are no longer relevant as the number of delivery channels has increased dramatically.” Television “will not sink into oblivion”, he said, “but will live up to its new golden age. Because television drama today is to audiences what literature was in the 19th century. And TV news no longer simply reports events, but also explains

pavilions at key international fairs and expos. MIPJunior and MIPCOM are among the musttake-part events for digital content producers.”

“Leon Trotsky, one of the truly international stars of the last 100 years, is a real pop icon” Konstantin Ernst them. News reports are available 24-hours-a-day online, but people are switching on their TVs to understand what has actually happened.” He added: “The internet won’t cancel television.” Another major company to promote Russian content this year is Russian Export Center (REC). The organisation was established in 2015 to offer exporters and their prospective foreign partners a wide range of support — including consultancy services to assist the search for foreign buyers of exported products, the financing of export contracts, logistics, IP protection and other matters relating to trade and exports. “Media content producers and production studios started working with the REC because of its ongoing efforts to promote the export of digital content,” the REC’s CEO Petr Fradkov said. “Russian content producers are well known for the high quality of their product and Russian studios have gained strong reputation on foreign markets.” The REC also started working with key players in the animation industry at the start of 2017. “We have successfully launched a marketing and advertising programme to promote and support Russian animation producers,” Fradkov said. “The first step as we see it is to set up national

According to RACA, the Russian Association of Communication Agencies, TV advertising in Russia was worth €2.2bn in 2016, an increase of 10% on the previous year. The big-three channels, which include state-owned Channel One, Russia 1 and commercial broadcaster NTV, together take over 40% of all the advertising in the market, and account for 37% of all TV viewers. “That is why television continues to be the leading medium in Russia,” Timur Weinstein, general producer at NTV said. “The most popular channels are those which cater to interests of the wider audience and offer a long list of content — news, talk, documentaries, entertainment and lifestyle, series, movies and kids. NTV is one of those channels.” And because of the intense competition between channels in Russia — there are over 2,300 in total — the country has a strong production base, Weinstein said. “NTV produces suspense and detective series in large quantities. There are channels that focus on drama, romance or comedy. What this means is that Russia can offer content to mass audiences with all tastes and preferences.” NTV recently struck three distribution deals with international distributors. “The screen adaptation of the great novel by Alexei Tolstoy, The Road To Calvary, has been taken by Dori Media, and the premiere will take place at MIPCOM,” Weinstein said. And the series Death Highway and Sleepers are being distributed by Armoza Formats. “More agreements are in negotiation right now, and we are sure there will be even more after MIPCOM.” “There are two possible ways to see the Russian media industry today,” said Vyacheslav Murugov, CEO of CTC Media, which runs Russian channels CTC, Domashny, Che and CTC Love, as well as an international version of the Peretz channel and Channel 31 in Kazakhstan. “On the one hand, we are still catching up. On the other, Russia’s media industry is among the

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The Russian Content Revolution

RUSSIA IN CANNES SUNDAY, OCTOBER 15 MIPJunior World Premiere TV Screening New Creative Territories To Watch!: Heroes Of Envell. In partnership with Signal Media. 17.30–18.30, Conference Room – Grand Theatre, JW Marriott

Sreda’s Alexander Tsekalo

Art Pictures’ Fedor Bondarchuk

MIPJunior Snack & Screen: Fresh Russian Animation Screening. Presented by Russian Export Center. 12.00–14.00, snack lunch served from 12.40, Conference Room – Grand Theatre, JW Marriott MONDAY, OCTOBER 16 International Premiere Screening: Road To Calvary. Presented by NTV Broadcasting Company. 11.30-13.00, Auditorium A Opening Night Party: including a showcase of content from the NTV Broadcasting Company, from 20.00-21.00, Carlton hotel

CTC Media’s Vyacheslav Murugov

NTV’s Timur Weinstein

fastest-growing in the world today. We are inventing new formats and genres and discovering new markets. We’ve not only been buying content over the last few years, but also producing and selling ours. And if the acquisition of original Russian formats by international channels was rare only recently — today it happens regularly. We are increasing production, and being fresh and new is our advantage. Nobody considered Russia as a serious content producer before — we were regarded as consumers only. Now this situation is changing.” He added: “Today we see new people [in Russia] who can create a real masterpiece from both commercial and artistic perspectives. And we want to have more of them, as many as possible. This generation will bring our country to the forefront of the highquality content producers.” Fedor Bondarchuk, producer, film director, actor and founder of production company Art Pictures echoes this point: “The Russian TV industry is on the up,” Bondarchuk said. “Our production output shows a positive trend: 450 new projects were launched in 2016 compared with 300 in 2015, and we hope to see even better results in 2017. However, the point is not numbers, but the quality of content that has become competitive internationally.” He added: “It has been proven by the acquisition of Russian content by key American, European and Asian players over the last two years. For instance, big news for the Russian industry was the acquisition of [police drama] Silver Spoon by Netflix [produced by Sreda] and Through My Eyes [co-created by Zaur Bolotaev] by Fox Television Studios. And Hulu has acquired the rights to the fantastic

REC’s Petr Fradkov thriller series The Day After, produced by Art Pictures Vision, for broadcast in Japan.” Bondarchuk also cited Yellow, Black and White’s Better Than Us, which was chosen as a finalist for the MIPDrama Screenings at MIPTV. “It shows that Russian content can be equal to its global competitors in terms of quality and value, and that the industry is about to make a quantum leap into the global market.” Alexander Tsekalo is founder and general producer at Sreda, the company that produced the Channel One drama series Trotsky. Tsekalo said he had been “knocking at the door” of the international industry for some time. “My dream was always to create drama for an international audience. But then success in Russia came quite unexpectedly,” he said. “After that Netflix started to buy our projects, we got a distributor — Eccho Rights — as well as an American agent, Roy Ashton from the Gersh Agency. We perfectly understand that getting a distributor and an agent is not all, it’s just the beginning. And we’ll need to be patient and put

TUESDAY, OCTOBER 17 Russian Drama Showcase: projects from Amedia/Mars Media and All Media. 14.15-15.15, Esterel Meet The Russian Producers (By invitation only): International key decision makers meet with recognised Russian drama producers to shape the future of global content partnerships. 15.15-16.15, Verrière Californie Conference session by Ruptly: Going Live! Advancing The Accessibiliy Of Live Streaming And Making The Most Of The Trend. 17.15-18.00, Verriere Californie World Premiere TV Screening: Trotsky. Presented by Channel One and Sreda Production.18.30-19.45, Grand Auditorium WEDNESDAY, October 18 International Premiere Screening: Gogol. Presented by TV3. 10.00 - 11.15, Auditorium K in much time and effort. But you have to go a long way in Russia if you want to achieve something there. And to accomplish something global, you definitely need a good distributor and an agent from LA — in addition to talent and perfect health.” Tsekalo also wants more foreign producers to consider working in Russia. “We need to make them less afraid of it,” he said. “Filming here is cost effective. An episode of any American high-end drama costs from three to $10m dollars to produce. A drama episode of equal quality in Russia costs $500,000 at the most.” • Russia will be the subject of a special edition of the MIPCOM Daily News to be published on Monday, October 16

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News Zeta-Jones addresses Women In Global Entertainment Lunch internally — in the marketCATHERINE Zetaplace and in the media — Jones, star of the upcomabout how pioneering that gening Lifetime movie Cocaine re really was. At the time no Godmother, is lead speaker at one was really doing movies exthe sixth edition of the annual cept HBO and Showtime and MIPCOM Women In Global they were considered premium Entertainment Power Lunch, fare. So Lifetime coming into held in partnership with A+E the space to do movies was exNetworks and Lifetime. traordinary. And to come into The thought-leadership event the space and say, ‘We are spefeatures key industry players, cifically making movies for who will discuss the role of women’, that was pretty much women in the industry, both Lifetime’s Lea Goldman unheard of.” on and off screen. Lifetime edThe subject matter those films were tackling itor-in-chief, Lea Goldman, will speak about was also not typical of TV at the time. “It norher plans to revive the Lifetime Movies genmalised conversations that weren’t happening re — with Cocaine Godmother spearheadin middle-America,” Goldman said. “Issues ing the revival. like domestic violence, sex trafficking — and “Every year we focus on a major Lifetime inLifetime Movies also started to talk about itiative and this year it’s movies,” Goldman women having sexual appetites, and that besaid. “Lifetime started to show its female-taring totally OK. They are really early examgeted made-for-TV movies back in the earples of what I think is feminist storytelling.” ly Nineties and I’ve been talking to people

Take a look into the future of TV THE SONY UHD Theatre is showcasing non-stop High Dynamic Range (HDR) footage in Cannes this year. The BBC is showing its acclaimed Blue Planet II series, and head of the BBC’s Natural History Unit, Julian Hector, and Blue Planet II executive producer, James Honeyborne, will outline their UHD strategy and reveal how they overcame the obvious challenges in shooting on — and in — water. Japan’s NHK is showing footage of the stunning Mariinsky Theatre in St Petersburg, as well as Barcelona’s spectacular Sagrada Familia cathedral and excerpts from a co-production with the British Museum. NHK’s dedicated 8K Theatre is in Auditorium D, where the Japanese public broadcaster will update delegates with a road map towards 8K broadcasting in 2020. Netherland’s-based Insight TV is

screening its latest action footage in Cannes; and TravelXP 4K is making available its catalogue of UHD footage, all of which is now available in HDR. Rome-based Oberon Media is premiering a documentary on Herculaneum in 4K/HDR at MIPCOM.

Catherine Zeta-Jones Cocaine Grandmother is about “the biggest female drug dealer in the world”, Goldman said. “It’s a movie that is going to generate enormous attention for both Catherine and Lifetime.” And the time is right to revive the genre. “It could not be a better time for us to reclaim what made the movies so powerful in the first place,” Goldman said. ”We were pioneering in that space; we have authority, credibility and expertise. Nobody knows this audience better than we do and so it’s high time that we celebrate that.”

The UK’s Sky brings managing director, content, Gary Davey to Cannes to deliver a keynote on The Future Of UHD. Sky will also showcase its latest UHD productions, including 2017’s critical and ratings hit drama Riviera. There’s music in UHD from the Montreux Jazz Festival, C4k360 (Clubbing TV), Festival 4K from Canada’s Stingray, and Nashville-based The Country Network. And a Spanish delegation brings contributions from national broadcaster RTVE, as well as Telefonica’s Movistar and Medina Media. There is also a chance to see footage from Japan’s Kansai TV, Fuji TV, NTT Plala, NASA TV, InFront Sports, Neulion and Saint Thomas Productions. And delegates can attend a Masterclass, where they will gain a complete understanding of UHD technology and the impact it is making on production.

Shooting at Herculaneum in UHD

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• MIPCOM’s 4K conferences run Monday to Thursday in Auditorium I, in partnership with Sony Corp., Eutelsat, Insight TV and Vivicast.

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CANNESERIES

CANNESERIES launches at MIPTV 2018 CANNESERIES bows this April alongside MIPTV to create the world’s biggest week in television. The festival promises to create a global platform to showcase the world’s best new series for all screens. The international competition will debut in the Palais des Festivals, featuring daily screenings and events for MIPTV delegates and the general public, a Grand Jury and gala awards ceremony, as well as a new International Co-Production Forum (for professionals) to source new creative talent and projects. The organisers spoke to MIPCOM Preview.

ANNESERIES president and former French Culture Minister Fleur Pellerin has described the development of series as a worldwide phenomenon. “CA N N ESERIES will be the first world-class event dedicated to international series,” she told the MIPCOM Preview. “The quality of scripts being written for television and other platforms are comparable with those of the best feature films, and television offers much more freedom in terms of creativity. Best-in-class showrunners and actors are now part of this evolution.” “The event, announced during MIPTV 2017 by David Lisnard, Mayor of Cannes, aims to showcase series from all over the world and to give an international voice to this increasingly popular and fiercely creative entertainment genre,” Benoit Louvet, CANNESERIES general manager, said. “The combination of such an important industry event as MIPTV and a gold-standard, international CANNESERIES festival, hosted by such an emblematic city as Cannes, is truly unique,” Louvet added. CANNESERIES aims to create a stage on which the foremost creators in the world of series come together and where tomorrow’s

talent is showcased through screenings and an international competition. The new event offers an unprecedented international launch pad for their latest series. CANNESERIES is organised by an independent association presided over by Fleur Pellerin. Albin Lewi has just been appointed as the event’s artistic director. Lewi was most recently head of iTunes’ editorial TV and independent movie team. “The Palais des Festivals and its Grand Auditorium will be at the heart of the event, which runs alongside MIPTV and will include a competition with 10 series nominated and a Gala Closing Ceremony on Wednesday, April 11, aired on Canal Plus. It will include a separate competition for short series as well as public screenings of classic series and masterclasses throughout Cannes,” Lewi said. “All MIPTV participants are invited to attend the screenings, and the event will see professionals, cast members, showrunners and the general public mixing in a festival atmosphere. And access is free for everybody,” Louvet said. “MIPTV, along with CANNESERIES, will become the biggest week in global TV. From creatives to consumers, the two events will bring together the entire industry in one

place and one time,” Laurine Garaude, Reed MIDEM television division director, said. “Providing the perfect environment to discover or pitch new projects, to network and to get premium exposure for new programmes, CANNESERIES will add to the MIPTV experience by bringing even more media coverage, more contacts, more glamour and more deal potential,” she added. Along with CANNESERIES’ international competition, Garaude said that the event is teaming up with MIPTV to launch the new International Co-Production Forum which will foster and source new creative talent through partnerships with an international network of writing residences — including one in Cannes — and talent incubators. Over three days, the forum will stimulate interaction between creative talent and the international community, including producers, commissioners, investors and distributors. Criteria about entry into the festival and other details will be announced at a press conference during MIPCOM, where more information will be given to the world’s press. • The CANNESERIES press conference is on Monday, October 16 at 10.00 in the Press Club, Palais des Festivals

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News

Entertainment powerhouse set to make a big noise in the global marketplace Four years after the merger of WME and IMG, the time is right for the company to make its mark on the international content industry. Which is why the entertainment, sports and fashion giant is out in force at this year’s MIPCOM

GLOBAL leader in entertainment, sports and fashion, WME | IMG operates in more than 30 countries. Named one of Fortune’s 25 Most Important Private Companies, it specialises in talent representation and management; brand strategy, activation and licensing; media production, sales and distribution; and event management. The company has recently become prominent in the global content business, financing and handling worldwide sales on a number of high-end drama series. “We will have a major presence at this year’s MIPCOM, building on our business of packaging, financing and selling many of the industry’s biggest global co-productions,” WME | IMG partner Chris Rice said. “Our IMG sales team will be building off the success we have had with The Night Manager and Dirk Gently to launch The First — the next series from Beau Willimon (House Of Cards), in partnership with Hulu and Channel 4, as well as Killing Eve, the latest series from Phoebe Waller-Bridge; plus a series of three-hour specials based on iconic Agatha Christie titles with BBC and Amazon.” “Our team of WME scripted and non-scripted television agents, and our IMG sales team, will also be looking for the next series to come out of the international marketplace that we can help build, cast and/or sell,” IMG head of entertainment, sales and partnerships Gary Marenzi said.

Laura Andrews

Gary Marenzi

Recent projects involving WME | IMG include The Young Pope, Sky’s upcoming Britannia, and the second season of Top Of The Lake that premiered at the Cannes Film Festival this summer. “These are just a few examples of shows that originated in Europe, for which we secured major US partnerships on behalf of producers or European media companies,” Marenzi said. The expansion of the scripted programming side of the company’s business is overseen by Laura Andrews, who from IMG’s London Office works alongside Marenzi, Rice and IMG’s sales teams in some 25 countries, to sell shows, seek out investment opportunities, and expand IMG’s producer relationships throughout the UK and Europe. Key titles for WME l IMG at MIPCOM include Killing Eve, the eight-episode dramatic thriller series from producer Sid Gentle

“We will have a major presence at this year’s MIPCOM, building on our business of packaging, financing and selling many of the industry’s biggest global co-productions” Chris Rice

Chris Rice Films; Phoebe Waller-Bridge is lead writer and executive producer on the series, with Sally Woodward Gentle and Lee Morris. Based on the Villanelle novellas by Luke Jennings, Killing Eve follows two women — a psychopathic assassin and the woman charged with hunting her down. The series debuts in 2018 on BBC America. Ordeal By Innocence reunites Agatha Christie Limited and Mammoth Screen with writer and executive producer Sarah Phelps, following the critical success of BBC One’s And Then There Were None. In Ordeal By Innocence, old wounds are reopened for the Argyll family when a man suddenly turns up and claims that the black sheep of the family, Jack Argyll, could not have murdered its tyrannical matriarch — for which he was accused just one year earlier. The family must come to terms with Jack’s innocence and with the fact that one of them may be the real murderer. Amazon Prime Video is the exclusive streaming home for Ordeal By Innocence in the US; the Agatha Christie-Mammoth partnership and the deal with Amazon were brokered by WME. IMG is handling international sales for both series.

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Product News Here we spotlight multiplatform content brought to MIPCOM from around the world

ITV STUDIOS GLOBAL ENTERTAINMENT (ITVS GE) ADAPTED from China Mieville’s fantasy

novel, The City And The City is a thriller that follows Inspector Borlu as he investigates the murder of a foreign student in the city of Beszel. He discovers that the dead girl had been visiting Beszel’s prosperous twin city, Ul Qoma. This shouldn’t be possible as the citizens of each city are forbidden to interact with each other, and Borlu comes to realise he has a personal connection to the crimes. The cast includes David Morrissey, Maria Schrader and Mandeep Dhillon.

ALFRED HABER DISTRIBUTION TWO-HOUR special, Madonna: Rebel

Heart Tour, is brought to Cannes by Alfred Haber Distribution. The film was shot around the world in 2016, featuring live and behind-the-scenes footage, culminating in performances at the Sydney Olympic Park. International broadcasters for the show include: Nine Network (Australia), NRJ 12 (France), Telefonica (Spain), Wowow (Japan) and GMA Network (Philippines).

PRIME ENTERTAINMENT GROUP INCLUDED in the MIPCOM priorities

from Paris- and LA-based Prime Entertainment Group is a package of programmes that in a recent deal, is heading to Alshana TV in Ivory Coast. Included in the deal is Stars! (30 x 4 mins), a series of celebrity shorts produced by Prime; and African-related documentaries Capetown The Anti-Gang Squad (1 x 60 mins), Returning To Senegal (1 x 52 mins) and Children Of The Desert (10 x 26 mins).

The City And The City (ITVS GE)

POORHOUSE INTERNATIONAL POORHOUSE International is launching

KABO INTERNATIONAL KABO International is presenting two

new factual titles at MIPCOM, both produced by Canada’s Avanti Cine Video. Solved! Forensic Police Files (30 x 45 mins) looks at police investigations where science plays an important role, calling on expert testimony and dramatic re-enactments. On Duty 24/7 (24 x 23 mins/8 x 46 mins) takes a behind-the-scenes look at a busy hospital, including interviews with doctors as they discuss personal and professional issues.

Solved! Forensic Police Files (Kabo International)

Madonna: Rebel Heart Tour (Alfred Haber Distribution)

INDIACAST INDIACAST returns to Cannes with

an extensive catalogue that includes: drama Chandrakanta (104 x 60 mins), Princess Chandrakanta’s tale of power, destruction, love and deceit; Dil Se Dil Tak (260 x 30 mins), about how engaging a surrogate mother pulls a seemingly perfect couple apart; Ek Shringaar Swaabhimaan (260 x 30 mins), about a single mother struggling to find matches for her two daughters; and Thapki Pyar Ki (704 x 30 mins), about a young girl with a stammer who overcomes difficulties to secure a job at a news channel.

documentary Franco Zeffirelli – Directing From Life at MIPCOM. Distinguished opera and film director Zeffirelli is 94 and this profile, from Stanza Media, is directed by Chris Hunt. The interview explores how Zeffirelli’s life has inspired his productions and discusses relationships with collaborators, including Callas, Domingo and Visconti. Other interviews include directors Peter Sellars and Atom Egoyan, singers Placido Domingo, Jose Carreras and (in archive) Joan Sutherland, and actors Dame Judi Dench, Maggie Smith, Joan Plowright and Robert Powell.

Maria Callas and Franco Zeffirelli

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Product News 13SUDMEDIA 13SUDMEDIA, the international sales arm

MGM MARK Burnett format Steve Harvey’s

BBC WORLDWIDE HEADING the drama slate for BBC in

Funderdome (13 x 60 mins) is a seedfunding competition series in which two budding entrepreneurs attempt to convince a live studio audience that their projects should be funded. In each round, before the result of the audience vote, one of the entrepreneurs is allowed to cash out and walk away for a lesser amount — a good move if they lost the crowd vote, but a bad move if they would have won it. The series is produced by MGM Television and distributed internationally by MGM, and premiered on ABC in the US. France’s TF1 was the first broadcaster to secure the format rights.

Cannes is McMafia, a story that connects money launderers in Dubai, cyber criminals in India, Russian oligarchs in London and Bedouin smugglers in the Negev desert. What starts as a story of survival and revenge becomes one man’s struggle against the lures of corruption. From the natural history catalogue comes Blue Planet II. Since Blue Planet aired in 2001, understanding of ocean life has changed. From the polar seas to coral atolls, this series explores these new discoveries. Astronauts — Toughest Job In The Universe is a new show and format that follows 12 people as they take on a demanding training regime to prove they’ve got what it takes to become an astronaut.

of programming to Cannes, including: Mission 50-51: Space, The Future Of The Earth?, which follows three astronauts during their six-months on the International Space Station; First Steps At The Opera, profiling artists at the Academy of the Paris Opera; Pierre Christin, Time-Space, about the creator of cult comic strip Valerian Et Laureline; opera special Katerina Izmailova; and Four Seasons With Dior.

Steve Harvey’s Funderdome (MGM)

Astronauts - Toughest Job In The Universe (BBC Worldwide)

Mission 50-51: Space, The Future Of The Earth? (GAD)

On The Farm (Rajshri Entertainment)

of Chile’s Canal 13, is highlighting game show Vertigo (14 x 60 mins) at MIPCOM. The format features celebrities competing for a trip to a glamorous destination by trying to engage the affection and trust of the audience, who vote while the show is on the air.

Vertigo (13Sudmedia)

GAD FRENCH distributor GAD brings a range

RAJSHRI ENTERTAINMENT A PRIORITY for India’s Rajshri Entertainment at MIPCOM is travel and food show Off The Farm (7 x 23 mins). The English-language show is hosted by Neelam Bajwa, who travels around India — beginning with the vineyards of Nasik — sampling local cuisine and creating her own dishes, with the regional specialities, to produce an international cuisine.

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Product News STAR INDIA STAR INDIA returns to Cannes

with the premiere of the third season of Iss Pyaar Ko Kya Naam Doon/Strange Love (260 x 30 mins). Barun Sobti returns in the role of Aarnav, an angry young man who seeks revenge. The company also brings Chandra Nandini (260 x 30 mins), a historical costume drama about a warrior king and the daughter of his enemy; and Love Ka Hai Intezar/The Wait For Love (312 x 30 mins), about a Bollywood actress with an illegitimate daughter who when she grows up unexpectedly crosses paths with her father.

Love Ka Hai Intezar (Star India)

DRG LONDON -based DRG’s new factual slate

for MIPCOM leads with Act Of God (26 x 30 mins), a new series from Bellum Entertainment that presents first-hand survival stories from catastrophic events including tornadoes, floods, volcanic eruptions and tsunamis. Featuring captivating footage, each episode focuses on one specific unexpected event.

SOCIOGRAPH SPAIN’s Sociograph is in Cannes to showcase its service which determines the

effectiveness of content — testing ideas or pilots with technologies to measure the conscious and non-conscious reactions of audiences in real time and environments. The client list includes Warner Bros., Telefonica and Mediaset. Act Of God (DRG)

PORTFOLIO ENTERTAINMENT HD PRIORITIES for Toronto-based

Portfolio at MIPCOM include: new documentary The Gig Guys (6 x 30 mins), following the crew at an Asian music festival on a cruise liner; Fast Indian Cooking With Sapna (6 x 30 mins), featuring modern Indian dishes and stories about the chef’s childhood; reality show Small Town, Big Mayor (10 x 30 mins), about a flamboyant Mississippi mayor; Sailing Chef (30 x 30 mins/4K), featuring chef Vicky Ratnani; and Cafe Maria (30 x 30 mins/4K) in which Maria Goretti presents brunch menus from around the world.

The Gig Guys (Portfolio Entertainment)

ZED FRENCH documentary producer and

ZDF ENTERPRISES (ZDFE) TABULA Rasa (9 x 50 mins) is a

distributor ZED comes to MIPCOM with a line-up including 30 hours of new programming. Korea: The Never-Ending War is a co-production from WETA and ARK Media. The 2 x 52 mins documentary offers a new perspective on a war that has influenced international relations to this day. Another priority is The American Dreams Of Bobby Kennedy, a portrait using unique archive footage. Fifty years after his assassination, this 52-minute film looks back at the four crucial years in which he left his mark on American politics.

psychological thriller about a young woman in a psychiatric hospital suffering from amnesia. Detective Inspector Wolkers claims she was the last person seen with a missing man. As a witness and prime suspect Mie has to reconstruct her memories. The German distributor also brings: documentary series Hitler’s Circle Of Evil (10 x 50 mins); and 10 Vintners (5 x 45 mins), featuring friends and winelovers, the actor Joachim Krol and chef Vincent Moissonnier.

The American Dreams Of Bobby Kennedy (ZED)

Tabula Rasa (ZDFE)

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Product News ALBATROSS WORLD SALES THE MIPCOM factual catalogue from

German distributor Albatross includes: The Equalizer II - Winter Edition (1 x 52 mins), a scientific investigation of what would happen if the greatest athletes, past and present, could compete on ice and snow; Shopping Heaven (4 x 52 mins), profiling the heyday of the world’s biggest department stores; Stories Of The Mediterranean Forest (6 x 52 mins); and The Borderless Sky (5 x 52 mins/1 x 90 mins), about astro-photographers.

AVALON DISTRIBUTION NEW SERIES Ghost Hunt takes aim at

the modern dating phenomenon of ghosting — ceasing communication. Comedian Matteo Lane hosts the show and in each episode helps someone track down a past love who ghosted them, ultimately bringing the two parties together for some closure. Along the way, Matteo imparts his own brand of dating wisdom. Snap Inc. has greenlit production of the eightepisode unscripted series, produced by Vertical Networks and Avalon. The series will debut on Snapchat’s Shows platform later this year.

TWENTIETH CENTURY FOX TELEVISION DISTRIBUTION THE ORVILLE (13 x 60 mins) tops the

priority list for Twentieth Century Fox Television Distribution. The Orville is a comedic sci-fi action-adventure set 400 years in the future. It follows the voyages of a spaceship that is not exactly state-of-the-art. Facing cosmic challenges, a motley crew of space explorers includes Seth MacFarlane, Adrianne Palicki, Penny Johnson Jerald, Scott Grimes, Peter Macon, Halston Sage, J. Lee, Mark Jackson and Chad L. Coleman. The Orville is produced by 20th Century Fox Television and Fuzzy Door Productions.

TF1 STUDIO THE CRIME drama Killer By The Lake (8 The Equalizer II - Winter Edition (Albatross World Sales)

ZEE ENTERTAINMENT ENTERPRISES ON THE MIPCOM roster for India’s Zee

Entertainment Enterprises are: family drama Piya Albela (50 x 30 mins), a modern take on the ancient Vishwamitra – Meneka classic, about a young talented girl and a business tycoon who needs her help to discourage his son from living an ascetic life; Altard (6 x 60 mins), a factual series in which overweight couples take on the challenge to loose weight before their wedding days; Conquered (7 x 30 mins), featuring stories about people who have conquered obstacles to achieve their goals; and fitness competition Hai Dum!.

Piya Albela (Zee Entertainment Enterprises)

x 52 mins) reunites police officers Lise and Clovis who met while investigating the disappearance of a young teenager. Now in Annecy, with their nine-monthold son, they take on a demanding new investigation. Clovis gets secret calls and terrifying visions, and the corpses of two women have just been found. They agree that it must be the work of a serial killer, which reawakens painful memories for Lise, who must face her past while Clovis confronts his own demons. A co-production with Elephant Story, the series is brought to Cannes by France’s TF1 Studio.

Killer By The Lake (TF1 Studio)

The Orville (Twentieth Century Fox Television Distribution)

INCENDO CANADIAN producer and distributor

Incendo’s priorities for MIPCOM include: drama series Los Juniors (in development); reality series Divorce Court (480 x 30 mins); TV movie Love Blossoms (Hallmark); drama series Versailles (seasons 1 and 2); and TV movies Early Release, Sometimes The Good Kill, Separated At Birth, Sleeper and Second Opinion.

Separated At Birth (Incendo)

preview magazine I September 2017 I www.mipcom.com

Product News ABOUT PREMIUM CONTENT (APC) HEADLINING the MIPCOM slate for APC

is new crime thriller Alex (6 x 52 mins). Stockholm detective and family man, Alex, is also secretly working for the local mafia. The French distributor also brings family thriller Banking District (6 x 52 mins), set in the Swiss privatebanking sector. Another drama launch is Deadwind (12 x 52 mins), a new Finnish series featuring a detective who, while recovering from her husband’s death, must investigate the death of a young woman. APC is also showcasing its new series Food 3.0 (3 x 52 mins), which looks at the future of food production — culturally, scientifically and politically.

HAT TRICK INTERNATIONAL SET IN 1990s’ Derry, Northern Ireland, comedy series Derry Girls (6 x 30 mins) is

brought to MIPCOM by the UK’s Hat Trick International. Writer Lisa McGee based the series on her own experiences as a teenage girl living through civil conflict. In the series Erin experiences the conflict while at the same time coping with her uncompromising mother, her unimpressed English teacher Sister Michael, and her weird cousin.

Derry Girls (Hat Trick International)

CINEFLIX RIGHTS TWO TITLES top the MIPCOM roster for

Alex (APC)

DEUTSCHE WELLE/DW TRANSTEL 4K DOCUMENTARY series The Search For

Perfection – Islamic Garden Design (5 x 30 mins), brought to Cannes by Germany’s Deutsche Welle/DW Transtel, explores some of the world’s most magnificent Islamic gardens. The five films move from India to Morocco and Andalusia along the trail of Islamic history. With fountains, exotic trees and aromatic flowers, these gardens capture an ancient idea of paradise.

The Search For Perfection – Islamic Garden Design (Deutsche Welle/ DW Transtel)

the UK’s Cineflix Rights. WWII’s Great Escapes: The Freedom Trails (4 x 60 mins), hosted by Monty Halls, profiles the European resistance forces during the Second World War who established escape routes for Allied servicemen and women, risking their lives to guide people in challenging conditions. Halls treks the paths and survivors share their stories of escape. Rediscovering T-Rex (1 x 60 mins) is a scientific investigation by a team of scientists, paleontologists and zoologists as they use research — and VFX artists and modelers — to set the record straight about this often misunderstood dinosaur.

WWII’s Great Escapes: The Freedom Trails (Cineflix Rights)

FRANCETV DISTRIBUTION FRANCETV distribution brings international

rights for The Real War Of Thrones (4 x 52 mins) to MIPCOM, a documentary series that unveils the saga of rival dynasties in the history of modern Europe. Another factual highlight is The Road Of History (5 x 52 mins), an exploration of the historic significance of routes across France, explained by Lorant Deutsch. From the fiction slate comes The Chalet (6 x 52 mins), a thriller set in a village which is cut off after a bridge is smashed in a rock fall.

The Real War Of Thrones (francetv distribution)

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THE LAWYER International Premiere Screening Monday 16th October 2017 | 10.00 am - 11.15 am | Palais des Festivals | Auditorium K Talent & Creators attending

Product News DARO FILM DISTRIBUTION AGAINST The Wild: The Great Elephant

Adventure leads the line-up for Daro Film Distribution at MIPCOM. The third instalment of the Against The Wild series stars Elizabeth Hurley and Sam Arnold and shot on location in South Africa. The Monaco-based distributor also highlights Amber Alert from Indy Entertainment, a female-skewed thriller.

Against The Wild: The Great Elephant Adventure (Daro Film Distribution)

GRB ENTERTAINMENT IN EACH episode of Man At Arms (8 x

60 mins) a team of expert craftsmen reproduce ancient weapons from scratch. Using both the tools that would have been available at the time the weapons were originally created, as well as present-day technologies, the series is hosted by Hollywood actor Danny Trejo. GRB Entertainment also brings: Super Fan Builds (11 x 30 mins), in which Hollywood prop makers build one-of-a-kind items for super-fans of comic books, video games and movies; and drama series Day 5 (14 x 60 mins), set in the aftermath of a fatal sleep epidemic.

Man At Arms (GRB Entertainment)

DCD RIGHTS UK DISTRIBUTOR DCD brings new BBC

TCB MEDIA WARTIME Crime is a six-part series,

Nadiya’s Food Adventure (DCD Rights)

Wartime Crime (TCB Media)

series Nadiya’s Food Adventure (8 x 30 mins) to MIPCOM. Produced by BBC Studios for BBC Two, the series features Nadiya Hussain on a road trip around Britain to seek out great food and food stories. She visits a different region in each episode, meets food pioneers, passionate farmers, growers and fisherman before creating her own recipes.

commissioned by UKTV (UK) and Discovery (US), produced by the UK’s Spirit Level and brought to MIPCOM by TCB Media. This series looks at how during the Second World War crime flourished from bombed-out London to occupied France and Nazi Germany, with street gangs, looters, deserters, sexual predators and serial killers.

BETA FILM SPANISH drama is a focus for Germany’s Beta Film at MIPCOM. High-budget

Spanish-noir eight-hour series La Zona, part of Telefonica/Movistar+’s first roster of original productions, plays out in a post-Fukushima-like community struggling to return to normal amid a sudden series of gruesome killings. Other titles include Spanish producer Bambu’s glamorous Haute Couture drama, The Velvet Collection; Farinia – Snow On The Atlantic (10 x 70 mins), framed by the real 1990 raid of almost the entire Galician drug cartel; and the upstairs/downstairs drama Morocco – Love In Times Of War (13 x 70 mins), set in 1921, when lower and upper-class nurses clash against the life-and-death backdrop.

La Zona (Beta Film)

preview magazine I September 2017 I www.mipcom.com

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Product News RTE PROGRAMME SALES IRELAND’s RTE returns to Cannes with

documentary Countdown To Calvary (1 x 60 mins), the first project to come from its co-production development deal with Franco-German public broadcaster ARTE. Made in association with American Public Television (APT) the documentary is aimed as a special for Easter 2018, is hosted by actor Hugh Bonneville, and presents a minute-byminute, character-by-character and step-by-step account of the week that saw the capture, trial and execution of Jesus. Filmed on location in Israel, Countdown To Calvary includes the latest academic thinking, CGI and highquality dramatic reconstruction to create a map and timeline of the events and Bonneville examines the social, political and religious background to provide the context and significance of the death of Jesus.

FLAME DISTRIBUTION FLAME Distribution is launching a range

of titles at MIPCOM and also brings a roster of returning series. Lead titles include The Dinosaur Echo, about what dinosaurs can teach us about climate change; documentary Dark Secret, exposing the cover-up of child abuse in churches in the US; War/Peace, about radical political protest in the Sixties and its relevance to today; Frank Lloyd Wright: The Man Who Built America, the story of the American architect; The Surgeon & The Soldier, about an Iraqi refugee doctor who helps an exsoldier to walk again; and Data Mining The Deceased, exploring the bigger picture behind the ancestry industry. Returning titles include reality series Railroad Australia and A Chef’s Life, the character-driven documentary and cooking series.

ALL3MEDIA INTERNATIONAL PRODUCED for ITV (UK) and

SundanceTV, (US), psychological thriller Liar tells the story of a night that changes the lives of Andrew and Laura. They go on a date not realising the farreaching consequences that their meeting will have on each other or their families. Other priorities for all3media international include: time-jumping murder mystery Rellik, telling the story of a serial killer in reverse; and The Miniaturist (3 x 60 mins/2 x 90 mins), adapted from the novel by Jessie Burton and set in Amsterdam in 1686.

Liar (all3media international)

The Dinosaur Echo (Flame Distribution)

Countdown To Calvary (RTE Programme Sales)

NORDIC WORLD NORDIC World presents Cash Out – Dare

Your Dream at MIPCOM. The eightepisode series features ordinary people with big dreams who with the help of a team of management, motivation and economic experts go through their assets, challenges and finances. When they have a full overview, the experts ask the big question: ‘What are you willing to sell to realise your dream?’

RTVE SPAIN’s RTVE headlines its MIPCOM

slate with two new productions. In Estoy Vivo (I Am Alive/13 x 70 mins) a police inspector, who dies in pursuit of a serial killer, returns to life five years later to try to catch the same murderer, who has killed again. Daily series Servir y Proteger’(To Serve And Protect/65 x 45 mins) is a drama set in a police station, featuring local investigations including problems relating to immigration, house evictions and gender violence.

Cash Out (Nordic World)

Estoy Vivo (RTVE) preview magazine I September 2017 I www.mipcom.com

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Product News LIONSGATE DRAMA series Ten Days In The Valley

(10 x 60 mins) stars Kyra Sedgwick as an overworked television producer and single mother in the middle of a separation. Her life is turned upside down when her young daughter goes missing. The series is internationally distributed by Lionsgate.

Ten Days In The Valley (Lionsgate)

ARMOZA FORMATS THE FINAL Four (13 x 90/120 mins),

Buying Blind (Red Arrow International)

Kinetic Content and produced by Snowman Productions Denmark — in which a family allows a team of experts to buy them a home. Other new formats include: Pregnant With A Stranger, featuring single women who allow a team of experts to find the right father for their desired child; The Spouse House, following 14 single people who share a house in the hope of finding a partner; Music Of The People, featuring migrant musical bands who interpret local hit songs; and A Matter Of Life And Debt (15 x 45 mins), which goes behind-the-scenes at community-based credit unions. The factual line-up includes Autopsy Of A Murder and Murders And Mistresses. Highlights on the drama roster include: crime series Stella Blomkvist; and MIPCOM launch 23 Cases (6 x 45 mins), a psychological crime thriller.

UPSIDE DISTRIBUTION NEW PRODUCTIONS from

developed by Israel’s Armoza Formats, is a singing competition that begins where most shows end. Four superstar-quality finalists are announced in the first episode after being selected by a trio of musicindustry judges. In each episode new hopefuls try to steal one of their seats. The viewers can challenge the finalists also via a dedicated app. The Armoza slate also includes two new dramas. Inspired by true events, Death Highway (10 x 60 mins) features the notorious GTA gang which tormented the highway route M-4 with a series of seemingly random killings. Sleepers (8 x 60 mins) is the supernatural thriller based on the unusual paintings of real-life famous artists and the stories that surround them.

The Final Four (Armoza Formats)

RED ARROW INTERNATIONAL BUYING Blind is a new format — created by

Upside Distribution include: Lino Ventura, which unveils the powerful and dangerous man behind one of the most familiar faces of French cinema; Financing Terror, an international investigation into the 15-year-long fight against terrorism by following the money; Erasmus, Our Best Year, Xavier Veilhan’s Pavilion, Ocean’s Cartels; and series Archeologeeks (6 x 52 mins) and Special Ops (3 x 70 mins/3 x 52 mins),

Airships, Back To The Future (Kwanza)

KWANZA COMMEMORATING the 100th anniversary of World War I,

Kwanza is presenting 52-minute documentary Anne Morgan, An American On The Front at MIPCOM. Using archive footage it tells the little-known story of the early feminist, philanthropist and heiress of banker JP Morgan. Other titles from the French distributor include: Airships, Back To The Future (1 x 52 mins); Another Justice (1 x 52 mins), about restorative justice; and Sex And The Series (5 x 26 mins), about the representation of female sexuality in TV shows.

TV ASAHI VS KIDS, a new non-scripted TV Asahi

format, pits a former professional against a current young star — in the same genre — with professional announcers providing commentaries. Adults and kids compete on a range of tasks from sports including swimming, snowboarding, table tennis, gymnastics, free climbing, archery, tennis and wrestling; intelligence activities including Vs Kids (TV Asahi) mental arithmetic, memorisation and escape puzzles; and other fields including music composition and cooking. TV Asahi is also launching After Dark, a new factual format where a celebrity walks around a neighbourhood at night, encountering intriguing people and stories along the way. preview magazine I September 2017 I www.mipcom.com

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Claire van der Boom

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MIPTV ASIAN WORLD PREMIERE SCREENING

One of Japan’s leading broadcasters, Kansai Telecasting Corporation (Kansai TV), is stepping up its efforts on the international front after the success at MIPTV 2017 of one of its self-produced drama series. It was the ﬁrst time for the station to make an appearance on a world stage.

Asian World Premiere Screening of “CRISIS” The first episode of “CRISIS,” a police action drama series produced by Kansai TV, was selected as the first Asian World Premiere at MIPTV 2017 in April. The drama was introduced following a Red Carpet ceremony where the series’ lead actor appeared before the screening. It was the first such experience for not only Kansai TV but also entire Asian Drama productions in MIPTV history. The invitation was offered following MIPCOM 2016, where Japan was the Country of Honor. The organiser was intrigued by the storyboards of a police se-

About Kansai TV Kansai TV, a member of the Fuji Television network, is one of the key stations in the Kansai region, which is located in the western part of Japan centered around the Osaka-Kyoto-Kobe megalopolis. Kansai TV was founded in 1958, and as the second key station in the Fuji TV network it is famous for its independent productions, wh ich a re broa dca st n at ionw ide. I n particular, Kansai TV is known for its

ries written by an awardwining screenwriter. In addition, Kansai TV was able to secure coverage of the Red Car pet event on one of Japan’s morning news shows the following morning, an amazing feat of co-ordination between their Paris office and their programming division. Consequently, there was also extensive coverage in newspapers, trade magazines, and online news sites. “CRISIS” started its nationwide run on the Fuji TV network in April and scored high ratings. Fol low i ng t he sc re e n i ng, H idet osh i Nishijima gave a speech in front of more than 100 buyers at a cocktail reception and was interviewed by prominent members of the international press.

variety programming owing to the fact that Osaka is considered the main incubator of Japanese comedy. Kansai TV also produces award-winning documentaries, and makes feature theatrical films and organises live entertainment, such as concerts and stage musicals. Kansai TV has also actively worked on inviting excellent overseas performing arts such as Opera national de Paris and Riverdance. What makes Kansai TV distinctive is that is produces its own programmes in-house, rather than relying

Shun hun Oguri

Hidetoshi Hidetosh Nishijima

Concept and Script

Kazuki Kaneshiro Produced by

It was a big gamble to select a regional TV station for the very first Asian World Premiere, but it was a gamble that paid off. The money and time spent on the project showed a very positive outcome. Kansai TV is now a world player in terms of content.

on outside production companies as many other Japanese broadcasters do.

Kansai TV Headquarters building, Osaka, Japan ADVERTISEMENT

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Broadcast syndication Interview with Ms Miho Okada Kansai TV Interviewed by Mr Ted Baracos, Reed Midem

Reed Midem’s Ted Baracos

Ted Baracos, Director of Market Development, Reed Midem: “CRISIS” was a big success at MIPTV. Has it changed your view about international syndication? Miho Okada, General manager, Content Bussiness Department: Yes, indeed. There are many good drama series produced in Japan, but usually they aren’t known outside of Asia. We thought it would be difficult to make an impact in the rest of the world, and with the Country of Honor status at last year’s MIPTV and at the MIPCOM Buyer’s Award for Japanese Drama, we were able to meet many potential overseas customers for Japanese fare, so we were delighted when “CRISIS” was selected for the premiere. It’s the ﬁrst time a Japanese drama has been chosen for such a distinction, and if it wasn’t a success it might have had a negative impact on Japan’s reputation for making quality television, but that wasn’t the case. We feel a very heavy responsibility for the Japanese industry, as well as for Asian productions in general. Ted: “CRISIS” was a police action series. Do you have plans to sell different type of dramas?

Okada: We will bring “Fugitive Boys.” This is young fugitive suspense drama with a decent teen age boy’s life t u r ned upside-down as the fugitive unexpectedly. So this is quite a different type of drama from “CRISIS.” Actually We already have a deal with some overseas clients, including France, Hong Kong and Taiwan. Some buyers hadn’t even considered Japanese dramas before they saw “CRISIS,” but now they’re interested, so we hope they’ll watch more Japanese drama. So far, 19 countries have expressed interest in “CRISIS,” and most of them have never bought a Japanese TV series before. Ted: With the shrinking population and other factors, advertising revenues in Japan are becoming tighter. Is that one of the reasons you are looking for overseas markets? Okada: Yes, we have to take advantage of any opportunity to show the world how high the quality of Japanese TV is. That’s why our international sales also include streaming. We’ve made exclusive content for Netflix in Japan. This coming winter we will start streaming a series on Netﬂix that will be available worldwide. Ted: When you create a series now, do you think about an international audience? Okada: In fact, our Japanese shows were not created with an overseas audience in mind, but now we are starting to take into consideration international viewers to some extent. Last year’s MIPCOM was the first time Kansai TV went to Cannes. For the first time, we could look at the international market up close. It woke us up. Personally, I realised that we really have to do more to address the international market. The fact that one of our shows could be selected for the Asian premiere screening provided a huge impetus for our company. It was like a dream come true.

“CRISIS“ DRAMA

VOD

REMAKE

“Fugitive Boys” DRAMA

Ted: We think “Content can go both ways.” Is Kansai TV also importing live performances for Japanese audiences? Okada: Yes we do. We are hosting an international women’s marathon every year. We hold the ﬁrst “Paris Opera” Japan tour. So we want to bring more international events to Japan. As the first ever Asian World Premier screening at MIPTV/MIPCOM, "CRISIS" received a highly positive reaction from a packed audience of channel buyers, thus confirming the growing success of quality Asian drama in the international market.

Kansai TV’s Miho Okada

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Format sales So far, the bulk of Kansai TV’s foreign sales have been to other Asian countries. Kansai TV has sold unscripted formats for remakes – mainly variety shows – to countries in Asia, like Vietnam, which is currently showing a version of a “Matchmakers,” dating show they developed. They have sold many drama formats to Chinese broadcasters, for example “Time Taxi,“ about a taxi cab that can go back in time;

and the suspense drama “My Dangerous Wife.” Both of these series are the properties of Kansai TV. Another likely hit overseas is “SAKI,” a mystery-horror story about a woman who leads three different men to their destruction. Originally broadcast in Japan in 2013, the series’ titular character first appeared in the 2011 series “My Beautiful Neighbor,” and was so popular, especially among female viewers, that a sequel series was developed. A major American production company is considering a version of this. Going back even further i s “H E W HO CA N’T MARRY,” a 2006 comedy about an architect who is so handsome that he attracts many women, but so cynical and caustic that he drives them all away. Kansai TV thinks the theme will appeal to a wide range of viewers throughout the world.

“My Dangerous Wife“ DRAMA

A Vietnamese version of “Matchmakers“ ENTERTAINMENT FORMAT

A Chinese version of “Time Taxi“ VOD

REMAKE

4K is the future Kansai TV is also heavily involved in creating content for 4K television technology. 4K production started in 2014. First with variety shows, and then we branched out into drama, documentaries, and sports. For example, 4K cameras were used to record horse races. At the moment there are no terrestrial stations that broadcast in 4K, but BS satellite stations will begin broad-

DRAMA

casting in 4K next year. Some streaming services offer it now, too. Streaming ser vice Hikari TV dist ribute Kansai TV’s ﬁrst 4K drama production last year, “Osaka Loop Line –A Love Story at Each Station.” “The Three Japanese Beauties –Looking Beyond the Win,” is a documentary shot in 4K about top Japanese female athletes who will compete in the 2020 Tokyo Olympics. The directors, who are also the

VOD

REMAKE

cameramen, stay with them to follow their everyday lives. Consequently, they are very natural on screen. It was ﬁrst shown last year on Netﬂix Japan. “Seeking Utamaro –The Printer from Kyoto and Ukiyo-e in Paris,” is a documentary about a traditional woodblock artist from Kyoto who travels abroad in order to create a new type of print art. We hope to show these documentaries in Cannes in October.

4K ULTRA HD

4K THEATER 16 October, 17:00KANSAI TV: PRODUCING SUPERIOR QUALITY IN UHD Please visit us for more information at

Japan Regional Pavilion – P-1.B20/P-1.C27 “Seeking Utamaro –The Printer from Kyoto and Ukiyo-e in Paris” DOCUMENTARY

VOD

www.ktv.jp/en/

ktv_international@ktv.co.jp

Product News CINEXPORT PARIS -based distributor Cinexport is in Cannes with a catalogue including HD

shows: Amsterdam Is An Island Surrounded By Flowers (1 x 35 mins); Amazonia (1 x 75 mins), looking at the impact of modern life on indigenous communities; and USA, The National Parks Of The West (1 x 52 mins).

MY ENTERTAINMENT NEW YORK-based producer MY

Entertainment has entered into a new partnership with SBS Broadcasting in South Korea and Critical Density Media to co-develop a social-experiment format. The format puts the spotlight on society, the class system and power; how people, regardless of their background, wealth or social status, might behave when granted absolute power to make decisions that affect everyone around them. The series is slated to air in Korea in early 2018.

The Power (MY Entertainment)

STUDIOCANAL STUDIOCANAL is showcasing new

Amsterdam Is An Island Surrounded By Flowers (Cinexport)

FREMANTLEMEDIA EUSTON Films, part of

AUTENTIC DISTRIBUTION FACTUAL titles showcased in Cannes by

FremantleMedia UK, was commissioned by Channel 4 to produce six-part drama series Baghdad Central. As the coalition endeavours to secure the region after the fall of Sadam Hussein, Muhsin al-Khafaji, an Iraqi expoliceman who has lost his home, wife and career, is battling to keep himself and his ailing daughter safe. But when his brother in-law asks him to help find his missing niece, Khafaji accepts the task. He is arrested by US forces in a case of mistaken identity and meets British ex-police officer Frank Citrone who makes him an offer — medical supplies for his daughter in return for his skills as a police officer in the Green Zone.

Germany’s Autentic Distribution include: the second season of Mafia Queens; The Eagle Hunters Of Mongolia, featuring the hunting tradition of the Berkutschi people in Mongolia and the unbreakable bond between man and bird; and Sewol – On The Search For Truth, about the tragedy in South Korea when a ferry sank with 476 passengers on board, 304 of which were schoolchildren.

The Eagle Hunters Of Mongolia (Autentic Distribution)

drama The Child In Time (1 x 90 mins) at MIPCOM, produced by and starring Benedict Cumberbatch. A coproduction between Pinewood Television and SunnyMarch TV, the film is destined for BBC One in the UK and Masterpiece in the US. Adapted from Ian McEwan’s novel, The Child In Time stars Cumberbatch as Stephen Lewis, a successful writer of children’s books, who is confronted with the unthinkable when his only child, four-year-old Kate, disappears.

The Child In Time (Studiocanal)

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Product News ATTRACTION DISTRIBUTION MONTREAL-based Attraction brings a

ONZA DISTRIBUTION MADRID -based Onza Distribution brings

range of new content to MIPCOM. The Siege (6 x 50 mins) is a drama portraying a group of angry workers who break into a soon-to-close factory, taking its management hostage. New additions to its factual slate include; High Security (13 x 30 mins), an insider look at the dangerous work of private security agents; and Truck Non Stop (20 x 30 mins) which takes us into the universe of truck-racing fanatics. Attraction is also presenting Better Than The Chef, a cooking competition format that pits amateurs against chefs.

a range of programming to Cannes, including: revenge thriller Payback (100 x 50 mins); wildlife series Jungle Planet (26 x 26 mins/4K), an exploration of the biodiversity of jungles; and Everest (1 x 52 mins), which profiles the near-impossibility of climbing Everest in winter.

The Siege (Attraction Distribution)

Payback (Onza Distribution)

ENDEMOL SHINE INTERNATIONAL DRAMA heads the MIPCOM slate of programming from Endemol Shine. Tin Star

(10 x 60 mins) is about a former British detective, now police chief, who lives in the tranquil town of Little Big Bear. Part drama, part thriller and part dark comedy the story leads to a thrilling finale. Tin Star is jointly distributed by Endemol Shine International and Sky Vision. Gunpowder is a fast-paced 17th-century thriller about the conspiracy known as the Gunpowder Plot in London. The Woman In White (5 x 60 mins) is a new adaptation of Wilkie Collins’ psychological thriller. Romance, suspense and danger combine in the haunting tale of insanity and identity.

GYMBOCO WORLDWIDE broadcast rights are

MAGNIFY MEDIA MENTAL is a scripted format originally

brought to MIPCOM by Spain’s GymBoCo for content featuring 15-, 30- and 45-minute work-out sessions led by more than 20 expert trainers, with five intensity levels and three difficulty levels. A total of 19 disciplines are available, divided into six exercise rooms for all ages, all in 4K.

produced by Alive Films for Finnish broadcaster YLE. Brought to Cannes by the UK’s Magnify Media, the powerful drama, based on true stories, is about four troubled teens and their journey to a secure psychiatric ward. Their stories are personal, but universal themes tell the tale many teenagers face and this shocking but also humorous drama takes a big step towards banishing the stigma around mental illness.

Work-out sessions from GymBoCo

Mental (Magnify Media)

TVN POLAND’s TVN presents the ninth

season of travel documentary series Woman At The End Of The World (67 x 30 mins), a journey through different cultures, religions and professions. Diagnosis (13 x 60 mins) is a new medical series featuring Ana, who is diagnosed with amnesia. There is one person who will do everything possible to prevent Ana from learning the truth about her past. TVN also brings the fourth season of drama series and format Second Chance — What Matters Most? (52 x 60 mins), about a talented star agent facing major changes in her career and personal life.

Second Chance – What Matters Most? (TVN)

QUINTUS MEDIA SCIENCE documentary Remeasuring

The World (1 x 60 mins/HD), brought to MIPCOM by distributor Quintus Media, considers how radar satellites, drones and propelled special cameras are re-measuring the world. This documentary explores how the changing climate, the altered chemical composition of the air and oceans threatens life on earth. At the same time, the trend to track people via GPS, mobile phones and other devices is increasing exponentially. With the help of cutting-edge CGI Remeasuring The World explains the high-tech surveillance in scientific, commercial, social and military areas and illustrates how lives are currently being changed by the new opportunities.

Remeasuring The World (Quintus Media)

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Product News FREMANTLEMEDIA INTERNATIONAL HARD Sun (6 x 60 mins) features Jim

FOX NETWORKS GROUP CONTENT DISTRIBUTION FOX NETWORKS Group Content

NEW DOCS MIPCOM highlights for German

Distribution is launching the first titles from National Geographic’s new scripted focus at MIPCOM. The Long Road Home (8 x 60 mins) is about the 2004 eight-hour battle for Sadr City in Iraq. Starring Michael Kelly and Kate Bosworth, it is told in real time through the eyes of soldiers and their families at home. The State (4 x 60 mins) follows four British men and women who travel to Syria to join ISIS, and stars Shavani Seth, Amir El-Masry and Dhafer L’Abidine. The drama is unflinching in its portrayal of the hardships, brutality and everyday realities of life as members of the Islamic State.

documentary distributor New Docs include: The Russian Opposition (1 x 90/52 mins), a look at contemporary Russian politics, focusing on opposition leader Alexei Navalny; Book Hunters (1 x 52 mins), about historical and modernday scientists, historians, librarians and monks who work saving books from war zones or using scientific methods to restore ancient manuscripts; and Truth Detectives (1 x 90/52 mins/HD), following investigators collecting evidence of human rights violations in Gaza, Colombia and Ukraine. With the help of victims, journalists and eye witnesses, they gather film and photographic material and use various forensic methods for analysis.

Hard Sun (FremantleMedia International)

The Long Road Home (Fox Networks Group Content Distribution)

The Russian Opposition (New Docs)

Sturgess and Agyness Deyn as detectives, partners and enemies. While investigating what appears to be the routine death of a computer hacker in London, they stumble upon proof that the world is facing destruction within five years, and are pursued by Security Service operatives who are willing to kill to keep the secret silent. The company is also launching its new format, Restart. Devised by FremantleMedia-owned Israeli producers Abot Hameiri, Restart helps ordinary people reverse the damage caused by their unhealthy lifestyles.

TERRANOA CUBA, Paradise On The Brink (2 x 52

Cuba, Paradise On The Brink (Terranoa)

mins/4K) is a highlight for Terranoa at MIPCOM. The two-parter explores Cuba’s many unknown ecological treasures on land and underwater. The Paris-based company also brings: Police Patrols (10 x 52 mins), launching at MIPCOM, which offers a glimpse into 10 police squads around the world; and Brain Factory (1 x 52 mins) and Artificial Intelligence (1 x 52 mins), two shows exploring the latest developments and ethical boundaries surrounding experimental fields of science. preview magazine I September 2017 I www.mipcom.com

Product News ARTE DISTRIBUTION BECOMING Cary Grant is one of a new

slate of biopics brought to Cannes by ARTE. Other subjects include Barbra Streisand, Pavarotti, Ava Gardner, Roger Vadim, Yves Saint Laurent, Gauguin, Agatha Christie, and iconic characters Tarzan, Robin Hood and Frankenstein. Travel series include: Innovation On Board (15 x 26 mins), in which a young engineer sails the oceans on a quest for self-sufficiency; Silk Road And Other Marvels (15 x 26 mins), a journey in the footsteps of Marco Polo; Food Markets (15 x 52 mins), an exploration of big cities; and Amazing Gardens (60 x 26 mins). ARTE is also looking for pre-sales for: My Life In Hitler’s Germany, The Age Of The Builders: Notre-Dame; and Pasteur Vs Koch: The Duel That Cured The World.

THE TELEVISION SYNDICATION COMPANY (TVS) THE TERROR attack at the Pulse nightclub

in Florida is examined in new documentary Lifeline: The Untold Story Of Saving The Pulse Survivors (1 x 60 mins), brought to Cannes by Floridabased TVS. The nightclub was the scene of the worst mass shooting in the history of the US, 441 units of blood were transfused in the first 24 hours following the attack and this programme emphasises the importance of donating blood before such a tragedy occurs. TVS also brings six new half hours of science magazine 10 Things To Know About…; and six new half hours of Matched, featuring stories of arranged marriage.

KEW MEDIA CURRENTLY in production with

Shaftesbury, CBC series Frankie Drake Mysteries (11 x 60 mins) is brought to MIPCOM by Canada’s Kew Media. The series follows a female private detective in 1920s’ Toronto. From airplanes and booze-running to American G-men, communists and union busters, Frankie’s fearless sense of adventure gets her into all kinds of trouble.

Frankie Drake Mysteries (Kew Media) Lifeline: The Untold Story Of Saving The Pulse Survivors (TVS)

Becoming Cary Grant (ARTE Distribution)

LINEUP INDUSTRIES AMSTERDAM -based Lineup Industries

brings a 50-minute sports-based format to MIPCOM. The Locker Room reveals stories that highlight contrasting fortunes for professional athletes. In an often-revealing conversation, the subjects also discuss the highs and lows of life after fame. There are also stories about the contrasting lives of two teammates, one who remained successful, and the other who followed a different path. The Locker Room has already been commissioned for a third season on public broadcaster Canvas.

The Locker Room (Lineup Industries)

LAGARDERE STUDIOS DISTRIBUTION FRANCE’s Lagardere Studios Distribution

is launching The Explorers, a 52-minute documentary series shot in 4K/UHD. The series features a team of experts on a voyage to little-known areas, including Polynesia, the Great Northern Arctic, Honduras, Namibia and Indonesia, chronicling natural and cultural diversity. The company also brings a slate of drama series including: Iskander, a detective mini-series set in Guyana; the second season of Callboys (14 x 50 mins), a Flemish comedy about three gigolos; and Family Business (16 x 52 mins), in which a mother and daughter are lawyers specialising in family law.

The Explorers (Lagardere Studios Distribution)

RAYDAR MEDIA A FIREBALL TV production, in association with Raydar Media, The Seven Ages Of Elvis (1 x 90 mins/2 x 50 mins) marks the 40th anniversary of Elvis Presley’s death this year. Using Shakespeare’s Seven Ages of Man as a framework, the film charts his life, from an impoverished childhood, his meteoric rise to international fame, his Vegas years and tragically early death in 1977. Combining archive material with personal testimonies, the film throws new light on the secret of his success.

The Seven Ages Of Elvis (Raydar Media)

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Product News BLUE ANT INTERNATIONAL ON THE MIPCOM roster from Canada’s

Blue Ant are: wildlife series Mysteries Of The Mekong (10 x 60 mins/4K/HD); Arabian Seas (5 x 60 mins/4K/HD), an underwater exploration in the United Arab Emirates and the coral reefs of Oman; Collectors Candy (10 x 48 mins/ HD), featuring a vintage and retro museum in Woodstock Cape Town; Deadly Australians (4 x 60 mins/4K/HD), a close look at Australia’s most notorious killers, including venomous snakes, deadly jellyfish, monster crocodiles and venom-laden spiders; and I Waited Too Long (14 x 60 mins/HD), which features individuals who have encountered ordinary physical symptoms that turned into serious medical problems.

SND FILMS SND FILMS brings international rights to

Guest List (8 x 52 mins), produced by B2 Films and EndemolShine Fiction, and broadcast on France’s M6. Alex and Agnes are getting married. When Agnes announces she is pregnant it was a huge surprise to all their friends, and especially for Alex, who never revealed to Agnes that he was sterile. As the night unfolds he tries to get to the bottom of things, while guests reveal their own stories. Each episode focuses on one character, explores their storyline in flashback, unfolding secrets and motivations as Alex pursues his investigation.

GLOBAL SCREEN A PRIORITY at MIPCOM for Germany’s Global Screen is e-Legal (10 x 52 mins), produced by To do Today for RTBF in Belgium. In the series Valentine, an ambitious lawyer, has built her own firm specialised in legal issues around new technologies, and she recruits her half-sister, an incriminated hacker, as a cyber specialist. Together the duo helps various alleged victims or cyber criminals.

e-Legal (Global Screen) Mysteries Of The Mekong (Blue Ant International)

Guest List (SND Films)

RIVE GAUCHE TELEVISION CALIFORNIA -based Rive Gauche Television brings: Project Dad (8 x 60 mins), featuring

three celebrity dads — Daniel Cosgrove, DJ Skribble, and Donnell Rawlings — as they take part in an experiment to balance their high-pressure careers with the responsibilities of caring for their children without any help from their other partners; Written In Blood (10 x 60 mins), which looks into the true crimes that inspired bestselling murder mystery novels; and Jury Room (6 x 60 mins), a series that reexamines cases in which convicted killers have always maintained their innocence.

Project Dad (Rive Gauche Television)

TM INTERNATIONAL RENEWED for the seventh time and with

over 100 episodes available, Hubert & Staller, the crime procedural set in smalltown Bavaria, has been arguably the most successful series in its timeslot in Germany, and is brought to Cannes by TM International. The distributor also brings Thanks For The Memories (2 x 90 mins/1 x 130 mins), shot in Oxford and London and telling the story of Joyce, whose life changes dramatically after a blood transfusion leaves her with memories that are not her own. Featurelength documentary Napoleon looks at the unique competition between French Frank Samson and the American Mark Schneider as they strive to be chosen as Napoleon Bonaparte in the bicentennial reenactment of the Battle of Waterloo.

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Product News KESHET INTERNATIONAL (KI) THE SECOND season of BBC One drama

The A Word (6 x 60 mins) is launched in Cannes by KI, with its returning cast including Lee Ingleby, Morven Christie and Christopher Eccleston. Coproduced by Fifty Fathoms and Keshet UK, season two will revisit the funny, messy, mixed-up lives of the Hughes and Scott families. Two years on, Joe — who is autistic — is now seven and has begun to realise that he doesn’t easily fit in. The A Word is based on the original Israeli drama Yellow Peppers.

NEWEN DISTRIBUTION NEWEN Distribution is launching the

new thriller that aired on TF1 at MIPCOM, Tomorrow Is Ours (30 x 52 mins). Other titles include new investigation series Remember (6 x 52 mins) and the second season of Witnesses (8 x 52 mins). The French distributor is also launching a slate of formats, including: scripted reality show The First Years; adventure series Risky Rivers; and Pants On Fire, a talk and prank show.

FILMRISE CONTENT from US company FilmRise includes: Manifesto, starring Cate Blanchett, which pays homage to the tradition of artist manifestos through a series of 13 monologues; Alex Gibney documentary Going Clear: Scientology & The Prison Of Belief; music biography Janis Little Girl Blue, about Janis Joplin; Five Nights In Maine, a heart-wrenching drama starring Dianne Wiest and David Oyelowo; The Witness, a chilling documentary about the 1964 murder of a young woman; family film Monster Hunt; and TV series Forensic Files, Unsolved Mysteries and a range of classic Carsey-Werner titles.

NHK ENTERPRISES NHK ENTERPRISES brings two 4K

The A Word (KI)

Tomorrow Is Ours (Newen Distribution)

NIPPON TV NIPPON TV is unveiling a range of titles at MIPCOM. My Son, a 60-minute

scripted format, features a kidnapping in which three women learn what it takes to become a mother amid pain and struggle. Overprotected Kahoko is a new drama series that chronicles the growth and transformation of an overly protected child who finally becomes the queen of her small kingdom — her family. My Lover’s Secret is a mystery series about the extreme measures taken for love while trying to protect a family’s buried secret. Witness The Fitness is a studio-based game show in which different professions compete to test the skills of various body parts. Impress Us is a social experiment format where participants answer questions and create original performances that lead to shocking revelations and embarrassing moments in front of fixed cameras around the city. Reality format Yes Man is a mix of documentary, travel and game show. My Son (Nippon TV)

documentary specials to Cannes. A Tale Of Love And Honor - Life In Gion (1 x 49 mins), takes a look at the world of Geishas and profiles 77-year-old Kimi Ota, an Okami or “house mother”. An Okami must be a woman, cannot wed, but must give birth to a daughter so she can hand over the teahouse. Underwater Universe Of The Orda Cave (1 x 49 mins) explores this cave — legendary among divers — located beneath the Ural Mountains in Russia. In winter, with temperatures approaching minus 40 degrees, NHK’s diving team captured stunning images of the gypsum rock.

A Tale Of Love And Honor — Life Gion (NHK Enterprises)

ECCHO RIGHTS ECCHO Rights brings the fourth season of daily drama Elif to MIPCOM, which aired on Turkey’s Kanal 7 when it premiered in 2014. The Green Yapim production has since gone on to sell in over 30 territories worldwide. The fourth season continues to follow the fortunes of Elif, the kind-hearted girl caught in the middle of a succession of family feuds. The Swedish company also brings another Turkish drama, New Bride, a comedy from Surec Film, which is a romantic and light-hearted look at the culture clash between East and West in Turkey.

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Product News RM CREATIVE PIERRE Boulez — A Life For Music (1 x

58 mins/HD) is a portrayal of this controversial artist who suggested blowing up opera houses in order to do away with stuffy tradition, then became a guest conductor with the world´s top orchestras. Featuring interviews spanning almost 50 years, including contributions from his younger brother Roger and pianist and conductor Daniel Barenboim, the documentary is brought to Cannes by RM Creative.

ENTERTAINMENT ONE (EONE) EONE is showcasing a slate of new and

returning series including: Burden Of Truth (10 x 60 mins), starring Kristin Kreuk as a ruthless lawyer who returns to her hometown for a case that changes her life forever; comedy drama The Other Guy (6 x 30 mins), created by and starring Matt Okine as a newly single man; stylish 1970s thriller, Caught (5 x 60 mins), about an escaped convict searching for his expartner with the help of a corrupt cop; and female driven police procedural The Detail (10 x 60 mins), chronicling the professional and personal lives of three female homicide detectives. New returning seasons include: Designated Survivor (44 x 60 mins), starring Kiefer Sutherland; Cardinal (18 x 60 mins), starring Billy Campbell; and crime drama Ice (20 x 60 mins), starring Ray Winstone and Jeremy Sisto.

MEDIALINK A MIPCOM priority for Hong Kong-based

Medialink is the film We Love Him. The film features an intense story of complex relationships, unconditional love and acceptance.

We Love Him (Medialink)

AMC NETWORKS AMC NETWORKS’ comedy series Stan

Against Evil (two seasons of 8 x 30 mins) follows Stan Miller, a disgruntled former sheriff who with the new sheriff Evie forms an unlikely alliance to fight a plague of unleashed demons. Further titles from the slate include Brockmire, Documentary Now! and Living With Yourself. Drama priorities include Dietland (10 x 60 mins), Lodge 49 (10 x 60 mins) and Unspeakable (8 x 60 mins). Factual titles include: Robert Kirkman’s Secret History Of Comics, James Cameron’s Story Of Science Fiction, Cold Blooded: The Clutter Family Murders, Talking With Chris Hardwick and Ride With Norman Reedus.

GLOBO HIGHLIGHTS from Globo’s catalogue

include two new series. Under Pressure portrays the unlikely relationship between two doctors in a team that is constantly struggling to overcome the lack of resources and keep patients alive in a Rio de Janeiro suburban hospital. Loosely inspired by Drauzio Varella’s book of the same title, Jailers features the dilemmas and conflicts faced by prison officers in Brazil. The series stars Rodrigo Lombardi as Adriano, a correctional officer who faces the hardships of not only the prisoners’ incarceration, but also his own feelings of confinement. He also struggles with the demands of his wife who wants to have a child, a teenage daughter from his first marriage and a sick father who was also a jailer.

Stan Against Evil (AMC Networks)

BANIJAY RIGHTS CRAFT It Yourself (6 x 60 mins) is an

interior design craft series, fronted by three presenters. Clemency Green is a maker of beautifully crafted cakes, Ant Anstead is luxury car maker and Robin Johnson a bespoke furniture maker. Each week they make over a room in a different theme. London-based Banijay Rights also brings 20-episode drama The Restaurant to MIPCOM. Set in Stockholm and beginning as the Second World War comes to an end, the story follows the Lowander family and the restaurant staff through several decades of success and defeat, love affairs and conflicts.

Under Pressure (Globo)

B!PLAY SPAIN’s B!Play offers a brandable

multi-device platform aimed at the marketing and entertainment industries, to encourage new revenue streams for content creators and distributors, and open up opportunities to work with top brands in communication and advertising campaigns. Microsoft has joined as a strategic technological partner,and content partners include Twentieth Century Fox Home Entertainment, Sony Pictures Entertainment, Viacom International Media Networks, Xbox, beIN Sports Espana and Stingray.

Craft It Yourself (Banijay Rights) preview magazine I September 2017 I www.mipcom.com

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#EuropeanFilmForum @MEDIAprogEU

MEDIA PROGRAMME BEYOND 2020 CONNECTING CONTENT, FINANCING AND AUDIENCES WEDNESDAY 18 OCTOBER 2017  10.00>11.30 PALAIS DES FESTIVALS  AUDITORIUM A MIPCOM 2017  CANNES

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World Premiere TV Screening

Kelly Reilly as Kerra in Britannia

Ancient,but modern Britannia, a nine-part scripted co-production between Sky and Amazon US, gets its World Premiere TV Screening at MIPCOM. Andy Fry reports

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“The show has big action scenes, kings, queens, gods, monsters, love, sex, revenge — all universal themes that appeal to audiences” Anne Mensah

RITTEN by brothers Jez and Tom Butterworth, the epic drama Britannia is set in 43AD, when ancient Britain was a country ruled by powerful Druids and warrior queens. It follows the reluctant rise to power of Kerra, the daughter of the King of the Cantii, and her arch-rival Queen Antedia, who are forced to put their differences aside when the Romans invade Britannia. The Romans are led by General Aulus Plautius, who is determined to conquer this mythical land at the edge of the Roman Empire. Britannia was commissioned by Sky head of drama Anne Mensah, commissioning editor Cameron Roach, and director of Sky 1 Adam MacDonald, alongside Amazon Studios’ boss Roy Price. Speaking to the MIPCOM Preview ahead of the premiere, Mensah said: “There’s lots of great drama on free-to-air TV and OTT, so we need to ensure that anything we invest in stands out. Britannia is the kind of show that our customers won’t find anywhere else. It tells the story from the perspective of an indigenous culture being invaded, opening up new insights into religion and gender. Jez Butterworth’s visceral storytelling approach will make Britannia stand out from other shows in the period genre like Vikings or Game Of Thrones.” Roach, who worked alongside Mensah on the project added: “At Sky, we often talk about making dramas that offer customers an experience — and Britannia does just that. It has the kind of breathtaking scale that our customers would expect from this. But Jez is also extremely clever at getting into the hearts and minds of the characters and their belief systems.” Mensah and Roach both stressed that the quality of casting takes the show to an elevated level: “There are familiar faces like Zoe Wanamaker (My Family) and David Morrisey (The Walking Dead),” Mensah said, “but also new talent like Eleanor Worthington-Cox (The Enfield Haunting). Kelly Reilly (True Detective) as Kerra is outstanding as a strong female character at the centre of what is often a male-dominated genre.” They also stress the show’s freshness, which will enable the show to resonate with today’s audiences: “It’s not a history lesson,” Roach said. “It’s more like a rock concert experience.” Mensah added: “The emotion, colour, sensitivity, subject matter, manner of speaking all

add to the show’s modernity — and I know that’s one of the factors that encouraged Amazon to join us as a co-producer.” Amazon will air the show in the US and Sky will play it across its pay-TV platforms in the UK, Germany and Italy — probably early next year. But how do they expect channel buyers in other territories to respond? “The show has big action scenes, kings, queens, gods, monsters, love, sex, revenge — all universal themes that appeal to audiences,” Mensah said. “But it also has that specificity of place that often marks out great drama. Scale can’t replace stories and characters, and this is fundamentally a story centred on three families.” Roach agrees that the core themes are applicable everywhere. “The idea of an invading army and how local tribes are affected is something international audiences will respond to,” he says. In terms of the show’s potential to return, Mensah said “the world of Britannia is rich enough to allow that, but ultimately that decision is up to the creatives. We know our audiences love to return to certain dramas but what we aim for is a mixed ecology of longrunning returning series and one-offs.” Britannia, which was filmed in the Czech Republic and on the Welsh coast, will join an eclectic slate of shows that includes Fortitude, Riviera, Lucky Man, Guerilla and Tin Star. Although the subjects are very different, Roach says they are connected by the fact they all stand out: “We want our shows to be the definitive version of that story in that genre, so that people know Sky is a place they can go to find interesting drama.” Britannia is produced by Star Wars producer Rick McCallum; brothers Jez and Tom Butterworth (Fortitude, Tin Star) are lead writers along with Richard McBrien (Spooks, Merlin). Global distribution, excluding the US, is handled by Sky Vision, whose managing director Jane Millichip says: “Britannia is Sky’s most ambitious drama ever, taking over 5,500 hours to produce, and we look forward to sharing it with our international partners. It is a fantastically cinematic drama, and its scale and high quality will transfer brilliantly to the big screen. We are very grateful to MIPCOM for awarding us the World Premiere TV Screening.” • The World Premiere TV Screening of Britannia is on Monday, October 16 at 18.30 in the Grand Auditorium

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Asian World Premiere TV Screening Aoi Miyazaki as O-Ei in Kurara: The Dazzling Life Of Hokusai’s Daughter

How the daughter saved the artist T H E A SI A N World P remiere T V Screening at MIPCOM is Kurara: The Dazzling Life Of Hokusai’s Daughter. The NHK 89-mins drama special is the adaptation by scriptwriter Mika Ohmori of a book by acclaimed Japanese novelist Makate Asai.

Set in 19th century Edo — the old name for Tokyo — it tells the story of O-Ei, the daughter of master-painter Hokusai Katsushika. O-Ei developed a passion for painting at an early age, while observing her father at work. She married a local town painter by the name

of Kichinosuke, but missing the inspiration of her father, divorced and returned to the family home to assist, and learn from, her mentor. Home life was hard. Her mother grew sick and O-Ei also had to care for her layabout

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The Great Wave, the first print from the Mount Fuji series. Image, courtesy, the Sumida Hokusai Museum

nephew Tokitaro, who her sister left behind to be cared for by the rest of the family. But as Hokusai’s health deteriorated, O-Ei turned her full attention to her father and began to help him with his work, developing her own painting style at the same time. She was passionate about improving as an artist, and even after her mother passed away and Tokitaro disappeared leaving the family with huge debts, O-Ei carried on working

Director Taku Kato

Executive producer Motohiko Sano

alongside the master painter. When half of the city of Edo burned to the ground in the great fire of 1829, Hokusai’s print seller, Nishimuraya, lost everything. But father and daughter carried on working — notably for the two years between 1830 and 1832 as he completed his renowned Thirty-Six Views of Mount Fuji series, his aim to restore the family’s fortunes. And while there were many doubters, the first print from the series, known as The Great Wave, became a success worldwide, and the whole series went on to sell well in Japan and around the world. Hokusai’s health continued to deteriorate but with the assistance of O-Ei and his former apprentice Gosuke, he was still working at 90 years old, at which age he created his final masterpiece, The Dragon of Smoke Escaping from Mt. Fuji. “This is a family drama centring on the father and daughter relationship,” Motohiko Sano, executive producer, NHK Enterprises said. “As in any family of the Edo era, the daughter tries to outperform her father. However, in this family, because the father is the genius artist Hokusai Katsushika, the drama becomes a story about talent. The daughter O-Ei had artistic talent, as did the only man that she loved all her life. Amid the close relationship, their artistic talents fused.“ In Kurara: The Dazzling Life Of Hokusai’s Daughter, Hokusai is played by Kyozo Nagatsuka (The Laughing Frog) and O-Ei by Aoi Miyazaki, one of Japan’s best-known actors. Miyazaki is in Cannes for the world premiere. During filming Miyazaki told the MIPCOM Preview: “I feel a responsibility and keen interest because I am playing an actual historic figure,” she said, adding: “My emotions come

out naturally when playing the character, so I hope to retain and cherish that feeling until we finish filming this drama.” “As in any other country, there are two sides to Japan’s history,” executive director NHK Enterprises and the series’ director Taku Kato said. “One is the political movements that determine the fate of a nation; the other is the citizens’ lives that don’t make it to the history books. “This can be said of 19th-century Japan,” he added. “Under the strict rule of the 300-yearlong Edo government, the country had closed its doors to other nations politically. But meanwhile, the arts flourished among the people.” With his “originality and free spirit” Hokusai travelled all over Japan, and his works reached other parts of the world too. “His daughter O-Ei watched her father from the closest range. O-Ei herself was also a very talented artist — and her artworks are surprising people 200 years after their creation.” Kato said that the film focuses particularly on the artist’s and daughter’s determination to carry on in spite of the hardships they suffer along with their family. “With admiration, I tried to show their free will to survive.” He added: “I hope this drama encourages audiences to realise the massive spread of Hokusai art.” “After the death of her father Hokusai, the main protagonist O-Ei is released from this feeling of hierarchy,” Sano said. “What did she find after that? This drama fills audiences’ hearts with the calm after the storm.” • NHK presents the Asian World Premiere TV Screening of Kurara: The Dazzling Life Of Hokusai’s Daughter on Tuesday, October 17 at 11.45 in Auditorium A in the Palais 3

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Drama

Man X Man, Netflix’s first simulcast of a Korean drama

Local heroes, global stars Creative collaborations are being forged across cultures and continents, as the world’s producers and broadcasters struggle to keep pace with the ongoing demand for awe-inspiring drama. Marlene Edmunds reports

RADITIONAL broadcasters are developing local ideas with international traction as never before. Deep-pocketed subscription VOD (SVOD) players are throwing billions at original drama content. At the same time, drama players across the globe, from producers to distributors, are working together to overcome regional, national and global challenges. Taka Hayakawa, director of worldwide production and business development for Fuji TV/Fuji Media Holdings, points to the unprecedented level of collaboration in drama among producers in China, South Korea and Japan. From a national security perspective,

the governments may not always be “super happy”, Hayakawa says, but “audiences do not care about the nationality of content. Consumers just look for quality.”

“Audiences do not care about the nationality of content. Consumers just look for quality” Taka Hayakawa Across the media landscape, broadcasters aiming to give local ideas more traction are collaborating with international producers,

distributors, investors and SVOD platforms to bring high-end drama to the marketplace. No broadcaster is more adept at giving local drama international appeal than Denmark’s DR, the tiny pubcaster that has been responsible for launching international successes including The Killing and The Bridge. What’s the secret? “It’s been said many times before and it is still true — the more local, the more global,” says Piv Bernth, DR’s head of drama. “Don’t try to do what the others do. Do it you own way and think, and think again. You have to tell stories about something you know, and something that occupies your mind and heart.” After 10 years, DR is moving away from its

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Drama “It’s been said many times before and it is still true — the more local, the more global” Piv Bernth

focus on gritty Nordic noir to explore other sub-genres. “This means that DR will not do crime just for the sake of it,” Bernth says. “We’ll do the best and most interesting stories, whatever genre they are.” The public broadcaster debuted its latest drama, Ride Upon The Storm from SAM Productions, on September 24. SAM was founded by Soren Sveistrup (The Killing), Adam Price (Borgen) and Meta Louise Foldager Sorensen (A Royal Affair), in partnership with Studiocanal. DR is currently shooting the mini-series Liberty, co-producing season four of The Bridge, and is in development on the third season of Follow The Money. Studiocanal, part of the Canal+ Group, is a firm believer in “the more local, the more global” approach. “We partner with strong, locally based companies in Europe because we firmly believe in their ability to choose and develop stories that will have both local and international appeal,” says Francoise Guyonnet, executive managing director, TV, for Studiocanal. Through its stable of majority- or minorityowned companies, Studiocanal has helped produce more than 46 hours of drama so far this year. Currently on the front burner

Ride Upon The Storm (SAM Productions)

Occupied (Banijay) for Canal+ is Zabou Breitman’s Paris Etc, a series about the lives of five women in the City of Light; Safe, a second partnership with best-selling author Harlan Coben with Red Production Company; and The Child In Time, a 90-minute one-off TV film starring Benedict Cumberbatch, produced by Cumberbatch’s company SunnyMarch TV and Pinewood Television for BBC One. Banijay is also in the business of giving local productions an international passport and now has scripted productions in 12 of the 16 territories in which it operates. “Each broadcaster or platform wants its own

channel-defining series, which gives the industry a chance to use what works as well as push new boundaries,” says Takis Candilis, Banijay Group’s head of scripted. “The goal in each territory is to work closely with writers and directors to support their vision and creativity,” he adds. “We produce for both SVOD and linear.” Banijay’s current crop includes season two of Versailles for Canal+ and Occupied for Viaplay, ARTE and TV 2 Norway, among others. Banijay just added two new UK scripted companies to its fold: BlackLight Television headed up by Phil Trethowan (Being Human; Ellen) and Ben Bickerton (Ellen); and Fearless Minds, a joint venture with Jolyon Symonds. The latest project from one of the Nordic territory’s most successful production companies, Yellow Bird — distributed internationally by Banijay — is the second series of political thriller Occupied. Season one of the drama, which depicts a Russian invasion of Norway aided and abetted by the European Union and the US, not only ended on a cliff-hanger, but was condemned by Russia, who objected to be painted as an aggressor. However, executive producer Marianne Gray says the protests came in before the show had actually aired: “The series presented a balanced view, from personal perspectives, of what it might be like to live in our society if it were occupied.”

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Following ratings-winning performances in over 30 countries worldwide, the smash hit family drama returns for a fourth season this Fall in Turkey

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From Star India, a brand new re-telling of the classic Turkish series Fatmagul, an empowering story of a womanâ&#x20AC;&#x2122;s incredible fight for justice

empowering creativity worldwide

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The landmark digital original from Ay Yapim that scored 70 million views this Spring Second season coming Fall 2017

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Drama Season two aired on Nordic SVOD platform Viaplay at the end of September, and will debut on ARTE France and TV 2 Norway next year. Gray says the second season of Occupied is “relevant in many ways to what’s happening today”. She adds: “It’s about the breakdown of modern democracy and trust. It’s about the problems generated by situations like Brexit, in which someone has to take the lead and yet, because it could be political suicide, no one really wants to do it.” Gaumont, the oldest film company in the world, is also a believer in the global appeal of local drama. Christophe Riandee, viceCEO of Gaumont Television, says his company’s strategy is to expand into territories and reinforce its ability to produce local shows in local languages. Gaumont launched into the US five years ago with the mission of doing just that. One of the first French companies to cross the Atlantic, it now has a string of successes behind it, including Narcos, the third season of which has just debuted. Meanwhile, the Paris-based parent company is expanding its focus in Europe. “The idea is to have a network of companies and producers around the world who are local and produce local content that will travel to other countries,” Riandee says. “As we have done in the US, we now want to bring Gaumont to the UK and Germany. Audiences are now used to watching shows in the original language and, in fact, German shows are travelling very well right now for the first time internationally.”

McMafia (BBC Worldwide) Florence, RAI’s drama arm Lux Vide and Frank Spotnitz’s Big Light Productions has begun filming the second season and is already planning the third. The series is created by Spotnitz (X-Files/ Man In The High Castle) and Nicholas Meyer (Star Trek), with Daniel Sharman (Fear The Walking Dead) cast as a young Lorenzo the Magnificent and Sean Bean as his nemesis Jacopo Pazzo. The first four episodes of the $28m, eight-part series is being directed by Jon Cassar (24), with Italian director Jan

Michelini (Ben Hur) helming the last four. “Cassar and Michelini have forged a close working relationship, which has made our collaboration even more exciting,” Spotnitz says. The second season focuses on Lorenzo the Magnificent, who Spotnitz sees as the most important of the Medici because he used his power and influence to foster the revolutionary art that led to the high Renaissance and artists including Michelangelo, Botticelli and Leonardo Da Vinci. As with season one, the second series

Despite plenty of action internationally, local broadcasters including RAI, the BBC and ZDF continue to be the prime movers in high-end drama, blending local sensibility with international savvy. After an astounding first season in which the ratings were at an all-time high for Medici: Masters Of

“Audiences are now used to watching shows in the original language — in fact, German shows are travelling very well for the first time internationally” Christophe Riandee

Narcos (Gaumont Television) preview magazine I September 2017 I www.mipcom.com

Drama will be released on RAI first, followed by Netflix in the US, the UK, Canada, India and Taiwan, as well as on SFR Play in several territories, and Moviestar+ in Spain. BBC Worldwide has also been way ahead of the game when it comes to developing content with broadcast partners outside the UK, with projects including Death In Paradise, a British/French series shot in Guadalupe; and The Refugees, co-produced with Atresmedia in Spain. Liam Keelan, director of scripted content for BBC Worldwide, says drama continues to be a key area of focus. “Every market is different, but we feel we have such a

strong talent base in the production community that it would be mad not to exploit this further,” he adds. Keelan’s job includes overseeing investment into, among other properties, McMafia from Cuba Pictures, Abi Morgan’s The Split via Sister Pictures and Good Omens from BBC Studios. He was also involved in helping set up the funding process for Top Of The Lake: China Girl, the second instalment of Jane Campion’s Emmy-nominated crime-mystery series starring Elisabeth Moss (Mad Men). “As with the first series, the starting point for financing was BBC Two in the UK, and BBC

BBC Worldwide’s Liam Keelan

DR’s Piv Bernth

IDW Entertainment’s David Ozer

Fuji‘s Taka Hayakawa

all3media’s Louise Pedersen

ZDFE’s Robert Franke

First and Foxtel in Australia,” Keelan says. “BBC Worldwide handled the international sales of the series, worked with Chris Rice of WME and See-Saw’s Hakan Kousetta to negotiate the deals with SundanceTV and Hulu in the US, and provided production financing throughout.” Norwegian public broadcaster NRK was one of the first to give local hits international traction through the SVOD platforms. Netflix took pre-sales on Lilyhammer as early as October 2011 and, for the second season, NRK’s international drama commissioner, Tone Ronning, brought Netflix in as a coproducer. Since then, Nobel has been picked up by Netflix, Heavy Water (Saboteurs) by both Netflix and Channel 4 in the UK, The Half Brother by SF Anytime and Valkyrien by Walter Presents in the UK. Nobel, the story of a returning soldier and family man who becomes embroiled in political intrigue, was a hit in Norway. “Our audience really embraced the series, even though it was demanding. The ratings were 50%60%, or around one million, in a territory of five million people,” Ronning says. While NRK titles are by definition high-end, Ronning points out that, all too often, international partners “wait until the show is finally produced before they dare to invest”. She adds: “For us, of course, it is much better if they become involved at an earlier stage, where we can take advantage of the bigger overall budget”. Currently in production at NRK is State Of Happiness, an eight-episode drama series scripted by Nobel screenwriter Metta Bolstad and produced by Maipo Film (Miss Julie). If any broadcaster has been responsible for testing the waters outside of its home territory it is German public broadcaster ZDF and its commercial arm ZDF Enterprises (ZDFE). The broadcaster began co-producing with the Nordic territories decades ago and, in recent years, has also brought its expertise to territories across the rest of Europe. It is now testing the US waters with Genesis, a sci-fi thriller currently in development with USbased Belladonna Productions. Robert Franke, a producer on the Genesis project and vice-president of drama at ZDFE, says the story idea was brought to the pubcaster by Narina Jabari, a Canadian scientist turned screenwriter. “In turn, we needed to find a production company in the US and, since we had previously worked with Rene Bastian’s Belladonna Productions, the fit seemed right,” he adds.

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FOR 16-YEAR-OLD ERIN QUINN, COPING WITH THE TROUBLES IS ONE THING, COPING WITH THE FAMILY IS ANOTHER. WELCOME TO DERRY! Produced by Hat Trick Productions in association with Northern Ireland Screen for Channel 4

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HAT TRICK INTERNATIONAL

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Drama Entertainment, has signalled to the industry that it plans to continue to produce new and original high-end drama series with a new live-action King Kong series. Earlier this year, MarVista premiered Rebel, produced for BET, with John Singleton serving as an executive producer. For King Kong, the company has partnered with IM Global to develop, co-produce and co-finance the series based on DeVito ArtWorks’ Skull Island property and Merian C Cooper’s King Kong, King Kong Skull Island. MarVista CEO Fernando Szew says: “We are currently in the early stages of development, but we are looking to produce a contemporary update of the classic tale with a female-led multi-cultural cast. Jonathan Penner and Stacy Title will write and executive produce.”

Franke says the drama about a university student who submits to genetic experimental research and becomes the first trans-human is “a cool story that is socially relevant”. He adds: “We are at a crossroads in human development that is reflected by some of the questions and challenges about gender and, simply, what is next in human development.” ZDFE has the world rights to Genesis. With a track record that includes Borgia and Midnight Sun, Lagardere’s Atlantique Productions has become something of an expert in bringing international and multilingual co-productions to market. Among its latest projects is Eden, a co-production with Lupa Film and Port Au Prince Productions for ARTE France, ARTE Deutschland, SWR and ARD, set to begin shooting in early 2018 and to air in early 2019. Hiero, a French/ Spanish co-production with Alfonso Blanco (Portocabo) for Movistar+ and ARTE France, will also begin shooting early in 2018. Atlantique’s focus is on the international market and its aim is to drive series conceived at an early stage with international partners and international talent. Jimmy Desmarais, co-managing director of Atlantique, is also a strong advocate of the European Producers Club, a brainstorming collective of some of the biggest producers in Europe. Among its members, Desmarais says, “there is the strong belief that intercultural dialogue is key to organic storytelling beyond borders”.

“Intercultural dialogue is key to organic storytelling beyond borders”

Nobel (NRK) programming and know how to market their shows.” The pilot of Locke & Key is scheduled to go into production this year. IDW Entertainment has also created a partnership with author Jonathan Kellerman for the Alex Delaware franchise. “It’s never been exploited before, because Kellerman didn’t want to work within the Hollywood system,” Ozer says. “We have the rights to the whole book series and are in the early stages of development.” Another independent studio, MarVista

Keshet International (KI) is also among the content-creation and delivery players helping to bring local ideas to the global marketplace. KI recently focused its efforts on Latin America with the launch of new production company Keshet MX in Mexico City. The aim is to build on existing development and production deals by adding new partnerships with broadcasters, networks and talent in the territory, according to Kelly Wright, KI’s vice-president of distribution and new business. Among companies with whom KI is working is giant Mexicobased Televisa. Easy Money, the second in a deal for four scripted formats, premiered on Mexico’s Las Estrellas in August. Wright calls Keshet MX “a marriage of both worlds — local sensibilities, local cultural

Jimmy Desmarais Back in the US, IDW Entertainment, which launched four years ago as part of IDW, an award-winning publisher of comic books, graphic novels and trade paperbacks, has had a string of successes with projects including Wynonna Earp and Dirk Gently, both now in their second seasons. Next up is Locke & Key, based on a hit comic property that has been translated into 12 languages. The project has best-selling author Joe Hill attached, with Carlton Cuse as showrunner. Says IDW Entertainment president David Ozer: “We felt Hulu was the best partner. The huge success of the The Handmaid’s Tale shows they are really getting aggressive on their

Wynonna Earp (IDW Entertainment)

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Drama “It’s a marriage of local sensibilities, local cultural understanding and local relationships, paired with global content, global thinking and global opportunities” Kelly Wright

understanding and local relationships, paired with global content, global thinking and global opportunities”. KI has partners across Latin America, among them Telemundo, Televisa/Univision, Telefe, Globo and Mega. “They are all outstanding, dominant players in their markets and Keshet is the equivalent in Israel,” Wright says. “We share ideas and strategies, what has worked and what hasn’t, and we formulate plans for how to mutually combat ‘free-TV fatigue’, both from the viewers’ perspective and from the content programmers’ perspective.” 002_NHK_PV_com

Rebel (MarVista)

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CMY

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MIPCOM 2017

UNIVERSAL TALENT IS

BIG

Indigenous Content That Speaks to the World

Monday, October 16 3:30 - 4:00 PM Palais des Festivals – Level 5 Verrière Californie Lounge & Rooftop

SEE BIG.

Eric Myre

A showcase of successful drama series that convey unique stories.

Mohawk Girls

Season 5, 33 x 22 minutes Production Rezolution Pictures (Canada) International Sales GRB Entertainment

Meet. Greet. Network. At the Canada reception Canada Pavilion P-1. A51 Tuesday, October 17 5:00 - 7:00 PM

The Warriors

Season 1, 8 x 30 minutes Production Arenamedia (Australia) International Sales eOne

Drama

Turkey and Japan: partners in drama Turkey’s MF Yapim is partnering for the second time with Japan’s Nippon TV for a Turkish remake of a Japanese drama series. We spoke to the companies ahead of MIPCOM

ACK in April, Japan’s highestrated commercial broadcaster, Nippon Television Network Corporation (Nippon TV), announced that it would be working with Turkish producers for a second time on a Turkish remake of a Japanese drama series. In 2016, Nippon TV and MF Yapim partnered to turn the 11-episode Nippon TV drama, Mother, into the Turkish TV series Anne (“mother” in Turkish). The Turkish series went to over 33 episodes and so far has been sold to more than a dozen international markets. MF Yapim is now adapting another Nippon TV drama, Woman, for Turkey’s Fox TV. “Once we started making Mother we realised that this type of TV series was sparking huge interest in Turkey,” says Faruk Bayhan, a veteran TV executive who now runs MF Yapim. “It was one of those rare instances in Turkish TV where ratings were as strong at the end of the series as they were at the beginning.” Mother is about an elementary school teacher who tries to save one of her students from abusive parents. The producer of the original series, Hisashi Tsugiya, came up with the idea as a reaction to media reports of domestic violence, which became a public issue in Japan 10 years ago. “Many people were opposed to making this subject into a drama,” Tsugiya says. “Mainly because the heroine is a criminal. She kidnaps her student.” Sponsors were reluctant at first to support the project. “But when it was aired,” Tsugiya added, “it was an instant success, and overwhelmingly accepted by viewers.” Fatih Aksoy, CEO of Med Yapim, says that Woman will be shot by the same director who worked on Mother, but that the script will be handled by a noted Turkish novelist. “We asked her to watch the whole [Japanese] series, and as of July she’s written the first six episodes,” he says. “It should have the same

feeling as Mother, so hopefully the audience will react in the same way.” Woman is about a widowed mother who goes through great hardship raising her children alone. Aksoy says that the adaptations of both series were mainly about creating Turkish characters, and while Turkey and Japan have distinct cultural traits, there are enough sim-

“I only produce something I like. I produce it, it becomes successful in Turkey, then it becomes successful elsewhere” Fatih Aksoy

ilarities to make a credible adaptation. “We used the situations in the Japanese show just as they were,” he says, “because the values expressed in the series are universal. We’ve already sold Anne to 12 or 13 countries, have

agreements with 20 more, negotiations with another 30,” he adds: “We predict in the end we will sell it to something like 100 markets.” Tsugiya stresses that the international success of Mother is down to its quality. He did not set out to make a series that could be sold abroad, just one that he felt Japanese people should see and would enjoy. “We also think about the Turkish audience first,” Aksoy says. “And before that, I only produce something I like. I produce it, it becomes successful in Turkey, then it becomes successful elsewhere.” The Turkish production of Woman is already under way, and Bayhan hopes to have episodes to show at MIPCOM in October, where Nippon TV says it will collaborate on promotion. “By then the first episode may already have been released,” Aksoy says. Nippon TV has also been approached by various other foreign buyers interested in its productions and plans to carry out more international deals during MIPCOM.

Nippon TV’s Hisashi Tsugiya (left), MF Yapim’s Faruk Bayhan and Med ¥apim’s Fatih Aksoy shake on the partnership

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Drama

Big numbers So what’s next in high-end drama? Who’s making what and for whom? And how much are they willing to spend? Marlene Edmunds reports

Star India’s hit soap Strange Love

OWHERE have the big spenders on original content had more of an impact than in Australia, where the free-to-air players are struggling to come up with the means to match the deep pockets of SVOD players like Netflix, which has earmarked $6bn for original content worldwide. Stan is the second biggest SVOD player in Australia, with 600,000 paying customers. Amazon Prime is catching up fast. And Fetch, the territory’s largest OTT platform, also carries Netflix and Stan, and has more than 500,000 subscribers. Stan’s latest commission, Romper Stomper, is a revisit of the iconic 1992 Australian neo-Nazi-themed film starring Russell Crowe. The six-part original TV series is set to be delivered at the end of this year for airing in the first quarter of 2018. Directed by Geoffrey Wright and James Napier Robertson, the series was written by Robertson, author, poet and rapper Omar Musa (Here Come The Dogs), and journalist and author Malcolm Knox.

Produced by Roadshow Rough Diamond, Romper Stomper has secured investment from Stan and federal funding agency Screen Australia, in association with Film Victoria. The international distribution will be handled by DCD Rights. “The scripts deliver a startlingly original and energetic view across all the various political factions and those caught in the middle, as well as the police and media, intelligently reflecting the zeitgeist,” says DCD Rights CEO Nicki Davies Williams. Netflix has also ordered its first Chineselanguage original series — an eight-episode drama entitled Bardo, for which it has teamed up with Taiwanese writer/director Sam Quah. Bardo is being produced by Singapore-headquartered IFA Media. Netflix has been barred from operating in China, but it reached an agreement earlier this year with streaming service iQiyi for its content to be available simultaneous with Bardo’s global launch. As part of its tripling of local original

content around the globe, Netflix has partnered with Canadian broadcaster CBC for the second season of Anne With An E, commissioned two series from India — one based on the Man Booker Prize-winner Selection Day by Aravind Adiga and Again, a female-led supernatural detective series set in New Delhi — and commissioned a horror thriller from Mexico. Amazon has said it will spend $4.5bn on video content in 2017. While this may not equal the amounts being spent by Netflix, Amazon is grabbing headlines with one of its recently announced titles. The Romanoffs reunites Christina Hendricks and John Slattery with Mad Men creator Matthew Weiner in an all-star cast that includes Isabelle Huppert, Amanda Peet and Marthe Keller. The $50m series, co-produced by Weinstein Television, tells eight stand-alone stories about people in contemporary times who believe they are descendants of the Russian imperial family that ruled from 1613 until 1917. The Romanoffs is

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Drama STAR BILLING

JTBC Content Hub’s Jung Kyung Moon

Big Light’s Frank Spotnitz

Gaumont Television’s Christophe Riandee

“We focus on unique stories and topics that have not been seen in dramas from the terrestrial TV channels, while keeping the production quality at the same level or even higher” Jung Kyung Moon aiming to air in the second quarter of 2018. Over in Spain, Telefonica’s Movistar+ is spending $80m on original series, with plans in the works to release four premium dramas at the end of this year and another 10 in 2018. Moviestar+ sold the distribution rights at script stage for Giants (Gigantes) to France’s About Premium Content (APC). APC co-founder Emmanuelle Guilbart says: “Giants is a powerful and intense Mafia drama, extremely well written, which is directed by multiple award-winning talent Enrique Urbizu [No Rest For The Wicked].” APC will distribute worldwide outside Spain. In April, South Korean cable network and broadcasting company JTBC inked an exclusive international licensing agreement with Netflix for Man X Man. The deal, which will see the series aired in 20 territories, represents Netflix’s first simulcast of a Korean drama. Man X Man is produced by Chang-min Lee, who worked on the poplar K-drama series Giant. At MIPCOM for the first time, JTBC has plans to double the number of original drama episodes it produces from 100 to 200 in 2018. Currently on the front burner is police thriller Untouchable, directed by Jo Namkook, and another title, yet to be announced, directed by well-known Korean talent Ahn Pan-seok and set to air in early 2018. “These high-end series are created by renowned directors and have top-notch casts that we believe will appeal to global audiences,” says Jung Kyung Moon, CEO of JTBC Content Hub. He adds that JTBC aims to increase the average budget of

$400,000-$600,000 per 60-minute episode: “We try to focus on unique stories and topics that have not been seen in dramas from the terrestrial TV channels, while keeping the production quality the the same level or even higher.” JTBC’s MIPCOM line-up includes romance Strong Woman Do Bong Soon, about a young woman with supernatural powers. With the millennial and gen-Z generations demanding drama when and where they want it, could there be wave of 26-minute episodes that can travel to tablet and mobile? The standard drama format for decades has been 52 minutes, but research has shown that audiences may prefer shorter episodes on their tablets or phones. Christian Wikander, director of co-production for Pinewood Television, says: “From an audience perspective, there is a need for short as well as longer formats. From a financial perspective, the old scheduling is still in play. So as a producer, you need to be very open to different kinds of formats.” Pinewood is currently producing its first drama, The Child In Time with Benedict Cumberbatch’s SunnyMarch Television for BBC One, as well as co-producing the second season of mystical folklore drama Jordskott. Christophe Riandee, vice-CEO of Gaumont Television, adds: “It’s true that millennials and gen-Z are more interested in seeing drama on their tablets or cell phones, so the current interest in 26-minute shows as a result of that trend is not surprising. Gaumont already has a half-hour show on Netflix — F Is

STAR India, a subsidiary of 21st Century Fox, last year broke barriers when its successful soap Strange Love (Iss Pyaar Ko Kya Naam Doon), now in its third season, launched in Turkey. The drama’s first two seasons had been aired in 40 territories. Romances like Strange Love and mythological content like Mahabharata help spread India’s culture around the world, says Gurjeev Kapoor, Star India’s president of international business: “Powerful stories make a lasting impression. We believe that the contemporary themes of our stories and our production standards make it easier to engage audiences across the world.”

For Family — which is doing very well and is watched on a number of different platforms, including tablets and mobiles. The actual number of minutes is not the issue. The issue is to have a good story and good characters.” Frank Spotnitz, founder of Big Light Productions, says he absolutely believes drama can work in a shorter format: “One of my favourite shows of all time, The Twilight Zone, worked much better as a half-hour drama than as an hour-long format. In many ways, we’re still formatting television as if we were in a network-only world, but I think that’s rapidly changing and soon all kinds of different ways of telling stories will emerge. APC’s Guilbart adds that her company has had “very good experiences and great sales” with two 12 x 26 mins series: Norwegian dramedy Young & Promising and comedy A Very Secret Service. And all3Media international CEO Louise Pedersen says her company is now distributing titles ranging from 12-minute web series through to long-form drama. All3media international is showcasing The Widow from Two Brothers Pictures for ITV, which is currently in development. The eight-episode series is scripted by Harry and Jack Williams (The Missing; Liar), with filming set to start later this year in the UK and Africa.

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DISCOVER THE BEST J A PA N E S E C O N T E N T ! ...An unforgettable evening to enjoy authentic Japanese food a n d d r i n ks w i t h a l i v e m u s i c p e r f o r m a n c e o f Ts u g a r u - j a m i s e n . . .

TUESDAY OCTOBER 17th, 2017 6PM-8PM Majestic Hotel-Salon Croisette, Cannes

Booth: P-1.B20 / P-1.C27 The Japan Regional Pavilion showcases a variety of unique programs produced by local broadcasters.

Featuring Tsugaru-jamisen players: KAZUYUKI YABUKI

*TBJ: 8 Japanese broadcasters (NHK/NEP, NTV, TV-Asahi,TBS,TV-Tokyo, Fuji-TV, ABC and YTV/YTE ) came together to bring exciting new Japanese formats to the world.

LIVE MUSIC PERFORMANCE MASANORI TSUBAKI

Meet the finalists and the winner of MIPCOM8th Annual Buyersâ&#x20AC;&#x2122;Award for Japanese Drama and enjoy previews of the freshest TreasureBox Japan (TBJ) format contents.

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SINGAPORE

PAVILION

FASCINATING STORIES AND CAPTIVATING ENTERTAINMENT FROM THE HEART OF ASIA. BOOTH P-1.C16 P-1.D15

From remarkable real-life adventures to exciting animation for children, this year’s Singapore Pavilion boasts a splendid selection of content. Come discover the latest in Asian entertainment and meet the media companies that brought them to life.

DREAM DEFENDERS Tiny Island Productions davidk@tinyisland.net

WILD CITIES SINGAPORE Beach House Pictures jocelyn@beachhousepictures.com

SPICY HOT The Moving Visuals Co. info@tmvc.sg

IMDAsg

www.imda.gov.sg

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COUNTING WITH PAULA Omens Studios chisim@omens-studios.com

TILDA APPLESEED August Media Holdings info@augustmh.com

HALFWORLDS 2 Infinite Frameworks fred@infinitestudios.com.sg SPECIAL DELIVERY The Moving Visuals Co. info@tmvc.sg

ODDBODS (SEASON 2) One Animation info@oneanimation.com

PARTICIPATING COMPANIES activeTV Asia • August Media Holdings • Beach House Pictures • Infinite Frameworks • Liang Li Media • Mediacorp • M'GO Films • Monstrou Studio • Oak3 Films • Omens Studios • One Animation • Parade Media Group • Silver Wolf International • Tiny Island Productions • Ying Group (subsidiary of The Moving Visuals Co.)

#empoweringpossibilities

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Formats

Red Arrow International’s SuperPets

Feeling good Big shiny-floor entertainment formats, with high concepts and big rewards, are back. A number of these feelgood shows are coming out of the US — but not exclusively. The UK, Germany and Israel, among others, are also doing their bit for shiny, happy primetime, writes Andy Fry

TUDIO-based entertainment has always been an important part of primetime TV schedules. But the last year or two have been especially good for what are affectionately referred to across the industry as ‘shiny-floor’ shows. Titles like The Wall, Little Big Shots, Funderdome, Beat Shazam, Lip Sync Battle, Five Gold Rings and a reboot of Celebrity Family Feud are just a few of the shows attracting decent audiences, alongside established brands including The Voice, Dancing With The Stars and Got Talent. Entertainment observers say the shiny-floor resurgence is partly down to the cyclical nature of TV. But there are also solid business reasons why the genre is finding favour against a backdrop of rising costs and audience fragmentation, says Mike Beale, ITV

Studios’ managing director of Nordics and global creative network. “When these shows work well, the cost per episode looks very favourable compared to high-end drama. And they are also often treated by the audience as appointment-to-view television, which is attractive to ad-funded free-to-air and basic cable networks.”

“When shiny-floor shows work well, the cost per episode looks very favourable compared to high-end drama” Mike Beale

In terms of what is working right now, Beale identifies a number of key themes, starting with a shift towards upbeat, warm, aspirational shows: “Audiences don’t want cruelty to contestants — they want fairness. If they win a prize, it shouldn’t then taken away from them through no fault of their own.” He also identifies a growing willingness among audiences to watch entertainment shows that feature young and old contestants — anything from The Voice Kids and Big Star’s Little Star to Better Late Than Never and Big Star’s Bigger Star. “There’s an innocence about both ends of the spectrum that audiences like,” Beale says. “So with Talpa’s The Voice Kids, the show is about trying to help contestants, not take them down.” Most significantly, Beale believes there is a clear demand for shows with scale: “One

preview magazine I September 2017 I www.mipcom.com

Formats

Harry Gamsu, vice-president of non-scripted at Red Arrow International, takes the view that shiny floor never really went away, but simply changed. Like Beale, he believes shows have moved away from focusing on ridicule to become more feelgood, positive experiences. “Entertainment formats in Germany are a good example of this,” he says. “The Germans continue to love big, heart-warming primetime event programmes. People want a remedy to the dark stories on television and in the news. They want a little escapism. The recent success of Love Island in the UK is a perfect example of this, as is our format Kiss Bang Love, which we’ve sold widely.”

of the year’s stand-out successes has been NBC’s The Wall, which features a huge 40foot wall on set. I think the appeal of scale is also why physical game shows are popular. ITV in the UK has done well with Ninja Warrior and has also just commissioned a local version of Talpa’s Cannonball, which sees contestants competing in a series of hilarious water-based challenges among giant inflatables.”

Fuji’s Hole In The Wall

“The Germans continue to love big, heart-warming primetime event programmes. People want a remedy to the dark stories in the news. They want a little escapism” Harry Gamsu

In Gamsu’s opinion, the days when a show’s only hook was giving away a big cash prize have gone: “Audiences now want and expect a lot more. Again, Germany is a good example, because you see a lot of grand sets in primetime, because it’s good to have a big centrepiece. Standard Q+A formats can be quite alienating, but a physical backdrop can be appealing. More generally, I think the premise needs to be simple and easy to follow. Sometimes in the past, it has been too complicated or niche. But shows with elements of chance and a physical prop to demonstrate this — such as The Wall’s ball drop — are easy to understand and applicable to everyone.”

Talpa Media’s Five Gold Rings Gamsu agrees with Beale that the audience is showing greater interest in a wider age spectrum: “We made Old People’s Home For 4 Year Olds for Channel 4 in the UK, where four-year-olds are brought into a retirement home and partnered with old people. It’s very life-affirming, cute and positive, and touches on a topical issue.” Red Arrow even has a studio-based format based around pets. “The talent show genre has definitely got broader,” Gamsu says. “We have a show called SuperPets, spun off from a German show called A Star Is Born. It features

animals from around the world doing tricks in a huge studio setting. It’s indicative of the growing breadth and variety of talent shows.” Lisa Perrin, CEO of Endemol Shine Creative Networks, believes the positive vibe identified by Beale and Gamsu is evident across the entire unscripted/alternative sector. “It’s not just entertainment that is showcasing optimistic narratives and stories,” she says. “We’re also seeing this in factual and reality programming. It feels like the time of cynical television is over and viewers want to see positive and authentic shows.”

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Meet us downstairs in the main alley!

4 000 hours of Documentary, Drama, Shorts, 360° VR

Booth P-1.G51

Formats “It feels like the time of cynical television is over and viewers want to see positive and authentic shows” Lisa Perrin

Endemol Shine has been entrusted with the global rollout of The Wall, which Perrin calls “a great example of feelgood television”. She adds: “The show is all about changing lives and, with a big cash prize, viewers are really on the side of the contestants. It’s lots of fun, has a purpose and is electrifying to watch. It’s a gripping game show, where contestants have a wonderful story to tell and everyone wants the contestant to win big.” In terms of its appeal outside the US, Perrin says the show is rapidly becoming Endemol Shine’s next big international hit: “Since the US launch, we’ve sold the show to France, Germany and Spain, and it’s been a ratings smash in all of these markets. Plus, we’ve got a number of deals to be announced before MIPCOM. One of the brilliant things about The Wall is we have a hub set up in France and another in Poland, which makes the format scalable for any broadcaster and enables us to deliver a high-end show.” In terms of what it takes to cut through, Perrin says: “You really do need talent to be at the forefront of the show. The right cast, the right tone and effective social media are

Lionsgate’s adaptation of mobile game Candy Crush

Endemol Shine Creative Networks’ Lisa Perrin

crucial in making sure a show becomes part of everyday conversation.” W hile T he Wall is a new concept, FremantleMedia has done particularly well in the last couple of years with revivals of its classic shows. Jennifer Mullin, CEO of FremantleMedia North America, says: “We’ve had great success with our shows that air as part of ABC’s Sunday-night game block — Match Game, Celebrity Family Feud and To Tell The Truth. The concept of a game night is smart and timely. It’s capitalising on the belief that the audience is looking for light, uplifting and fun content.” Mullin says all of the above shows appeal to broad audiences, with each having its own particular hook — aspiration, playalong and high stakes. But one thing that has been especially noticeable across all of FremantleMedia North America’s revivals is the quality of the hosts, who bring star quality and comedic sensibility to the proceedings. “Celebrity Family Feud with Steve Harvey is currently airing in its third season on ABC,” she says. “We just finished shooting our third season of To Tell The Truth with Anthony Anderson and we are prepping our third season of Match Game with Alec Baldwin, also for ABC.” Underlining the view that shiny-floor shows never went away, Mullin also points out that America’s Got Talent on NBC is now in its 12th season. “It has been the number-one summer show since it started airing and is having its highest ratings in five years,” she adds.

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NBC’s The Wall One noticeable trend right now is the volume of shiny-floor shows originating from the US. For a long time, the US has been heavily reliant on formats acquired from the international market, but right now it seems that more shows are being developed there — and that broadcasters are more open to taking them than in previous years. Key players, for example, include NBC’s Universal Television Alternative Studio, which created The Wall and Little Big Shots, and MGM, which created Funderdome and Beat Shazam. Viacom International Media Networks’ (VIMN) Lip Sync Battle, CBS International’s Carpool Karaoke, Warner Bros. International Television Production’s Impractical Jokers and A+E Networks’ Alone are not shinyfloor shows, but they are evidence of a new energy within the US alternative programing arena. Red Arrow’s Gamsu says his company has nine US-based production companies. “We are seeing a lot of innovative activity coming

“With Funderdome, Beat Shazam and The Wall, the evidence is there on screen that the US is programming more original unscripted content right now” Chris Ottinger

from them,” he adds. “Two recent ideas that Red Arrow International is launching at MIPCOM come from Red Arrow’s Kinetic Content. One is The Spouse House, which just started on TLC in the US. The other is Buying Blind, in which people jump ‘blind’ into a key life decision by buying a house, sight unseen.” ITV’s Beale believes part of the reason the US seems to be experiencing a shiny-floor revival is his earlier point about scale: “When

the Americans make an entertainment show, they do it bigger than anybody else and that catches audience and buyer attention. You can see it with The Wall, but also with Lionsgate’s adaptation of mobile game Candy Crush.” The latter show, which debuted on CBS, boasted the world’s largest touchscreens. It has now been licensed to Dubaibased Eagle Films for a Middle East and North African version of the format. Chris Ottinger, MGM’s president of worldwide television distribution and acquisitions, says: “With shows like Funderdome, Beat Shazam and The Wall, I think the evidence is there on screen that the US market is programming more original unscripted content right now. We still scout for great ideas from around the world, but it is unusual to see so many formats without international ratings history being picked up in the US.” MGM is already very active in the US network arena with hit shows including Survivor,

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Formats Shark Tank and The Voice. “So we are putting a lot of energy into cable, which is also a strong market for unscripted,” Ottinger says. “As part of our expanded activities, we just acquired production company Evolution, whose historical credits and current slate includes the Real Housewives franchise, CBS’ Big Brother and NBC’s Fear Factor.” In terms of shiny-floor shows, MGM’s big launch this year has been Steve Harvey’s Funderdome, which debuted on ABC in June. Executive produced by Mark Burnett, Leslie Garvin and Barry Poznick, the show is a business/entertainment hybrid in which budding entrepreneurs compete to win over a live studio audience, who get to decide which ones should be given funding for their products or ideas. Ottinger reports that the show rated well and has attracted interest internationally: “We have secured a deal with TF1 in France and are close to announcing partnerships with other leading European broadcasters.” A strength of Funderdome, Ottinger suggests, is that the business component can be dialed up or down depending on the territory and the profile of the acquiring broadcaster: “I can see this playing well as a more variety/entertainment-led concept in markets like

Red Arrow International’s Kiss Bang Love

“Robot Wars has all the hallmarks of a big, bold entertainment show, but our heroes are nerdy roboteers. But they are wonderfully relatable characters because of their commitment to the cause” David Mortimer Brazil or Italy. But equally, there are markets that might want to make it more business-like.” The concept of the shiny-floor entertainment hybrid has also been picked up on by Tinopolis Group director of content David Mortimer, whose previous career experience has seen him work at NBCUniversal and the BBC, where he was involved in powerhouse formats such as Strictly Come Dancing. “I think one of the strengths of shiny floor right now is that we’re seeing it expand into subject areas that, a few years ago, wouldn’t have been seen at the centre of a big, bold primetime entertainment proposition,” he says. Mortimer cites the example of Robot Wars, produced by Tinopolis for the BBC: “This show has all the hallmarks of a big, bold entertainment show, but our heroes are nerdy roboteers. It’s not a traditional idea, but they are wonderfully relatable characters because of their commitment to the cause.”

Top Chef, produced by Tinopolis-owned Magical Elves for Bravo, and American Ninja Warrior, produced by Tinopolis-owned A Smith & Co for NBC have also learned from entertainment in terms of lighting, setting, scale and character selection, Mortimer says. “So while we might have thought of them in a different way 20 years ago, they now have the kind of shiny-floor elements that audiences enjoy,” he adds. In Mortimer’s opinion, the prospects for unscripted are looking stronger than ever because of its ability to hook audiences in live — a characteristic valued by the free-to-air networks. “But what’s interesting is that players like Amazon and Netflix are also starting to see the value of ambitious unscripted shows,” he adds. Of course, all of this talk of a US resurgence in unscripted does not mean that the international market has gone quiet. Keren Shahar, Keshet International’s chief operating officer and president of distribution, says her company continues to do well with interactive talent show Rising Star. “It attracts the kind of cross-generational family audience that broadcasters and advertisers are looking for,” she adds. “It continues to rate well in Israel, and has been picked up in India and renewed in markets including Brazil, Argentina and Indonesia.” Keshet International is also in the market with Master Class, an Israeli-originated show that has performed well in Hungary, Greece and China. “This is a musical talent show where kids sing classic songs,” Shahar says. “It fits in well with the current demand for positive uplifting shows because there is no elimination process — only positive reviews for the kids.” The company is also coming to MIPCOM with a dance-show format that has just launched in Israel to strong ratings. “We haven’t had a dance show in Israel before and it has proved very successful,” Shahar says. “It showcases a range of talent, from ballet to pole dancers. This show isn’t about a huge

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Formats prize, but bringing extraordinary talent to a nationwide audience.” Shahar also takes the view that shiny floor has never really gone away. “But I do think the success of The Wall might help trigger the comeback of game shows in primetime,” she adds. Japanese broadcasters are prolific producers of entertainment shows, many of which have gone on to be successful international formats. “We also have shiny-floor programmes here in Japan, where tapings are done before an audience,” says So Fujinuma, flying producer and director of worldwide production and sales in Fuji Television’s general business department. “These are mostly done in front of a couple of dozen people, not necessarily a huge crowd, and a lot of times the audience receives a small amount of payment. This is because the audience is present mainly for pumping up and energising the cast/talent, rather than to actually enjoy themselves.” In terms of trends, Fujinuma says: “I don’t really see the current situation as a new cycle. Ever since the days of Family Feud and Deal Or No Deal, shiny-floor variety shows have been the standard, and the current style simply incorporates more modernised versions.

Fuji Television’s So Fujinuma

“Chinese productions fight in a fiercely competitive world, so they are more likely to demand something that’s eye-grabbing and showy” So Fujinuma

American Ninja Warrior, produced by Tinopolis-owned A Smith & Co for NBC

The main difference I do see is the incorporation of tools like social media and other studio network solutions into programmes — for example, real-time chats and other forms of interaction between the viewers and the programme.” That said, Fujinuma agrees there has been a move towards more positive programming: “Yes, I do feel that. Especially in Japan, where the public now demands a high level of compliance awareness and management in variety/game shows, the production side is self-regulating more than ever, so we’re seeing fewer extreme programmes.” However, he also notes that there is still a taste in Japan for mischievous programming: “This is one of the reasons why we see the younger generation shifting more towards the internet, to seek for the extreme they can no longer find on television.” Fuji is best known for its massive physical game shows, for example Hole In The Wall. “We continue to produce formats mainly in that direction,” Fujinuma says. “These shows call for elaborate scenic designs, which obviously demand a larger budget. As a result, they fit more in primetime broadcast.” A new innovation, however, is what Fuji calls “custom-made formats” — namely shows that are built from scratch by the broadcaster’s experienced entertainment team: “When we discuss custom-made formats with our clients [mainly for mainland China], they almost always ask for something ‘totally unexpected’, ‘bizarre’, ‘fantastic’ or ‘something no one’s ever seen before’. Most of these end up becoming quite large-scale. But Chinese production houses normally have an enormous budget, equivalent to the amount of those from the US and Europe, making them capable of actually producing ‘something no one’s ever seen before’. Chinese productions fight in a fiercely competitive world, so they are more likely to demand something that’s eye-grabbing and showy.” In terms of the secret of making people watch live, Fujinuma emphasises the importance of defying audience expectations: “You need to provide a programme that viewers want to watch habitually and comfortably, but then develop an outcome that goes completely against their expectation. You need to create a situation where people get to witness some kind of ‘betrayal’ before it spreads all over the social media. This forces them to watch in real time.”

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New Tech

Welcome to the next level What do 4K UHD, 8K and VR mean in real terms? What impact will the next generation of TV tech have on the nuts and bolts of content creation and distribution? Juliana Koranteng reports

ROA D C A S T E R S , pro duc ers and distributors will be hard pushed to find excuses for not investing in 4K UHD, 8K and virtual reality (VR), because their applications are all but ready to be offered to viewers. And, as MIPCOM 2017 will demonstrate, a host of speakers and participants will come armed with productions that are no longer experiments, but actual shows ready to be beamed into audiences’ homes. In the case of the ultra high-definition image quality that 4K-UHD tech offers, international film-and-TV producer Stephen Cornwell argues that it should already be a standard requirement. Cornwell, co-CEO of L ondon- a nd

Los Angeles-based The Ink Factory, says there is a very good reason why his company produced The Night Manager, the 2016 blockbuster mini-series thriller, in 4K UHD. “Although delivered in normal HD, we felt

“The better the image, the more value it will have in the future” Stephen Cornwell

it is going to be a future favourite in the era of high-res TV,” he says. “The better the image, the more value it will have in the future.” Because so many movies end up on TV, The Ink Factory is also making movies in 4K UHD, such as last year’s war drama Billy Lynn’s Long Halftime Walk, which was directed by Taiwanese filmmaker Ang Lee. It was shot in 4K UHD at 120 frames-per-second (fps), compared to the standard 24 fps used in filmmaking today. “At 24 fps, a film is a combination of very light and dark frames,” Cornwell says. “At 120 fps, it shows the world as people see it — as one continuous image and no flickering. Ang Lee wanted to remove that flickering barrier and create greater intimacy and immersiveness for the viewer.” And today’s consumers, who are accustomed to high-res images even on cheap mobile devices, will be demanding more of the same from their TV content. In response, an increasing number of broadcasters, streaming platforms, producers and distributors are building up portfolios of 4K-UHD content. A compulsory requirement for these ultra high-res images is HDR (high dynamic range) tech, says Joe Nakata,

ZDF-produced Children Of The Wild

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New Tech

Arrow Media’s America In Color: there is more to 4K UHD than life-like images senior producer, brand design platform in the UX planning department of tech giant Sony, which has hosted MIPCOM’s Sony 4K Theatre sessions for several years. He says incorporating HDR makes the difference between crystal-clear images and ones that are so rich in colours that viewers feel they can physically touch what is on the screen. “HDR is the hottest 4K topic at the moment,” Nakata says. “HDR improves the colour richness and contrast ratio. Once the consumer sees it, it is hard not to notice the difference it makes to the picture quality.” The line-up of presentations at this year’s Sony 4K Theatre will confirm that 4K UHD is no longer limited to showing off how vivid and vibrant factual and wildlife TV can be. Other genres, including sports, fiction and music programmes, are being shot in 4K UHD with HDR. UK public broadcaster the BBC and Sky TV are among the traditional media conglomerates participating in MIPCOM’s UHD sessions. Music fans, meanwhile, will be treated to the Montreux Jazz Festival in 4K via Swiss broadcaster Radio Television Suisse. Among new MIPCOM participants will be US space agency NASA, which is scheduled to discuss its TV network and its coverage of the cosmos in 4K, including detailed images of Earth as seen from space. Leading streaming platforms, including Netflix, and satelliteTV broadcasters such as the UK’s Sky and BT Sport, are spearheading TV transmission in 4K UHD. Unlike traditional terrestrial broadcasters, their tech infrastructure has the bandwidth to cope with 4K-UHD content

files, which are four times as heavy as standard HDTV files. The number of HDR-compatible 4K-UHD TV sets worldwide is expected to reach 245 million by 2022, according to US-based ABI Research, boosted by manufacturers including Sony, which is including HDR capability in all its new TV sets. The international screen-entertainment sector is certainly embracing the tech. “In terms of live broadcasting, for now, many sports-focused broadcasters are in the advanced stages of testing or the early stages of implementation,” says Tristan Veale, market analyst, media and entertainment, at London-based Futuresource Consulting. “As of June 2017, of the top-20 grossing titles at the US box office, 40% were shot in native 4K, 40% were up-scaled to 4K and 20% were HD.” France-based Saint Thomas Productions, which specialises in wildlife, science and environmental films, is among the production companies that have centred their businesses on 4K UHD. The reason, says managing director Bertrand Loyer, is because Saint Thomas’ content “needs to cross borders and age seamlessly”. He adds: “We started to shoot in the format in 2009 and avoided all sorts of [cheap] 4K cameras, because they don’t support the colour grading

and stabilisation process required by large 4K-HDR sets. An image on a large 4K screen must be much more rock solid and smoother than on a smaller HD set.” The UK’s Atlantic Productions is another early adopter of 4K UHD, thanks to Colossus Productions, its joint venture with satellite broadcaster Sky. Originally built to specialise in 3D TV, Colossus already has the tools to create high-res quality videos. “For us, UHD and HDR are brilliant developments for our natural-history productions,” says Mike Davis, Atlantic’s associate creative director. “With drama, there are opportunities for retakes. With wildlife and other factuals, we film things that are pretty unique — shots you only get from once-in-a-lifetime opportunities — so future-proofing in the highest resolution works for us.” DW Transtel, the documentary production unit at German international broadcaster Deutsche Welle, is coming to Cannes with The Search For Perfection: Islamic Garden Design, which is automatically available in 4K to highlight the luxurious colours of the magnificent Islamic gardens in countries such as India and Morocco. U K independent A r row Media has

“With wildlife, we film things that are pretty unique — shots you only get from once-in-a-lifetime opportunities — so future-proofing in the highest resolution works for us” Mike Davis

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New Tech demonstrated why there is more to 4K UHD than life-like images. For America In Color, which was commissioned by the US’ Smithsonian Channel, Arrow Media had to resurrect archive documentary footage of life in the US from the 1920s to the 1960s. The footage came in a variety of conditions, including some damaged from age, heat, tears and scratches. A large proportion was also in black-and-white, shot with hand-cranked cameras in the 1920s and 1930s. The footage has been revived for a generation of viewers that no longer has the patience to sit through silent black-and-white motion pictures or the oversaturated colours in Technicolor films. “We thought that, if we could improve the footage by colourising it all and converting into 4K, it would look amazing — and it does,” says Nick Metcalfe, executive producer at Arrow Media. “We delivered old history in a modern way and unlocked a lot of great stories that would otherwise have remained hidden. 4K means broadcasters can revisit stories in a new way, giving them a longer shelf life.” Distributors, meanwhile, see the growth in 4K-UHD productions as an opportunity to expand the service they provide to TV networks and platforms. ZDF Enterprises (ZDFE), the distribution arm of the German public broadcaster, is coming to MIPCOM with a slate of high-end factual shows, including the NHNZ co-production Big Pacific, Screen Glue’s Size Matters and

Some 8K cameras are so small that NHK used them to shoot under a frozen lake in the Antarctic ZDF-produced Children Of The Wild. “The development of 4K UHD has grown very quickly, as it is being pushed by a lot of the VOD streaming platforms,” says Nikolas Huelbusch, director at ZDFE.factual. “As with HD a few years ago, factual and science have been key drivers for 4K UHD. And so have historical dramas, where visual quality is very important.” Stuart Smitherman, president of US-based distributor Vivicast Media, points out that 4K shows are no longer being used to

illustrate what the tech can do — these days, business is also being done. “In 2016, and so far in 2017, we have seen a growing requirement for more substance in the content,” he says. “The requirement now is that the content must tell a good story and engage the audience, all showcased in stunning UHD cinematography.” Japan’s NHK is totally committed to 4K UHD — and even 8K, the more advanced super-HD version that offers a resolution that is 16 times higher than HDTV and four times more than 4K TV. The public

VISIT THE VR ZONE THE VR Zone at MIPCOM, on Level -1 of the Palais des Festivals, gives delegates the chance to experience VR content from around the world and meet new VR startups and producers. The Zone is hosted by Laduma.

Laduma executive chairman Wayne Scholes War drama Billy Lynn’s Long Halftime Walk, directed by Ang Lee and shot in 4K UHD at 120 frames-per-second preview magazine I September 2017 I www.mipcom.com

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New Tech broadcaster is launching a 4K and an 8K channel in December 2018. Several Japanese satellite and VOD platforms have also won licences to transmit in the format, although the country’s content producers are focusing only on 4K at the moment. However, Jun Ochiai, senior producer content development center, NHK, says 8K’s potential is so high that the broadcaster is seeking content partners. “Using this new media, we would like to co-operate with first-rate artists and performers, as well as natural-science content makers, to record their action in 8K,” he says. “NHK recently shot Tokyo at night from above in 8K HDR. You can see each household’s light, literally, and the beauty of Tokyo’s night was almost three dimensional. We are starting to use 8K HDR in live sports coverage. And some 8K cameras are so small that NHK used them to shoot under a frozen lake in the Antarctic for the first time.” Ochiai cannot praise 4K and 8K’s potential enough: “This medium will bring the type of experience that a normal 2K TV cannot. It is not just a matter of seeing something beautiful — it is an experience of beauty itself.” VR is another entertainment tech vying for the TV industry’s attention. UK-based VR content creator Rewind helped set up MIPTV’s VR Zone this year. And CEO and founder Sol Rogers says the outcome indicates the industry is seeing only the tip of the huge iceberg

The Night Manager, shot in 4K UHD to give it future value

BBC Earth has invested in VR to promote some of its high-profile wildlife titles, including Cat Fight

“VR is the ultimate storytelling tool. It gives users a real sense of being present in the experience” Sol Rogers

that VR is set to become. “By MIPTV 2020, we could see VR studios selling both 360-degree videos and true VR formats,” he says. “This will include side-plots and tie-ins for some of the most popular intellectual properties on both the large and small screens.” In addition to recent VR assignments to accompany the 2017 sci-fi movie Ghost In The Shell and performances at the Welsh National Opera, Rewind is focused on the TV sector too. “VR is the ultimate storytelling tool,” Rogers says. “Studios, networks and broadcasters need to make sure they fully understand all the options available to them before diving into the world of immersive realities. It is about the true magic of VR, which gives users a real sense of being present in the experience.” Some high-profile TV shows, such as the BBC’s Galapagos and Great Barrier Reef With David Attenborough, USA Network’s Mr Robot, HBO’s sci-fi hit Westworld and the 600th episode of iconic animation The Simpsons, have been promoted with sophisticated trailers in VR and/or 360-degree video. Still, there is a consensus that the international TV industry could be doing more with VR. Atlantic Productions’ Davis says his company’s pioneering work has been receiving more attention from out-of-home entertainment ventures. London’s Science Museum, for example, recently commissioned Atlantic subsidiary Alchemy VR to create a 360-degree

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BBC Earth’s Jonathan Williams

Saint Thomas Productions’ Bertrand Loyer

VR re-enactment of UK astronaut Tim Peake’s return to Earth in the Soyuz capsule. Davis believes similar dedicated VR content should be available in the TV business. “VR should not just be a complement — we want VR to be a unique proposition too,” he says. BBC Earth, BBC Worldwide’s natural-history unit, has invested in VR to promote some of its high-profile wildlife titles, including Planet Earth II, Cat Fight and Bear Island. “VR is a brilliant complement to what we’re doing, and we’re excited by the potential for production and distribution,” says Jonathan Williams, BBC Earth’s commercial brand manager. Sports and branded content are providing VR business to Laduma, the VR production studio based in the UK and South Africa. Recent clients have included the UK’s International Cricket Council, Unilever’s deodorant brand Sure and US adventure-travel firm Moab Adventure Centre. The assignments have offered more opportunities to understand how TV content can exploit VR, says Laduma executive chairman Wayne Scholes. “From our point of view, we have to continue to produce great content and make

K7 Media’s Phil Birchenall

Sony’s Joe Nakata

NHK’s Jun Ochiai

Atlantic Productions’ Mike Davis

TV executives understand that VR can be a great platform,” Scholes adds. “If TV is serious about keeping people engaged, they would have content that not only mirrors the action on the screen, but can also change along with the movie or TV show while you’re watching it.” Phil Birchenall, projects director at K7 Media, says the demand for information from TV-industry clients indicates that VR has a place in the sector. In fact, demand has been so high that K7 Media itself has invested in its own VR laboratory. “After writing about VR for several years, we know the interest is there. Now we can also inform clients from a position of experience too,” he says. Birchenall predicts the future adoption of VR will also be inf luenced by people’s access to augmented-reality (AR) tech. This will happen via gadgets such as Apple’s new iOS II iPhone, which is expected to feature an AR app. And social media’s inf luence will be immense, he believes. Facebook has pledged to invest $250m in gaming and non-gaming VR

Vivicast Media‘s Stuart Smitherman

The Ink Factory’s Stephen Cornwell

Arrow Media’s NickMetcalfe

content via its Oculus-headset subsidiary. “The future will be somewhere between VR and AR, and the TV industry should be experimenting now,” Birchenall adds.

8K AT MIPCOM At MIPCOM this year, NHK is establishing a new 8K showcase area complete with the large 8K TV-screen technology and 8K content. Content on show includes: The Nutcracker Suite performed at the Mariinsky Theatre in Saint Petersburg; exploring the secret of Hokusai’s paintings, a collaboration with The British Museum; the mysterious frozen lake in the Antarctic; and a striking night view of Tokyo. The area is operational daily, Monday through Thursday, in Auditorium D, on Level 3 of the Palais des Festivals.

Futuresource Consulting’s Tristan Veale

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ZDFE.factual’s Nikolas Huelbusch

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Channel Distribution

The new Wild West Channel distribution in today’s OTT universe is an increasingly complex art, with new concepts — from to skinny bundles to direct-to-consumer services — making the global media landscape feel like the new Wild West. Andy Fry reports

OR MANY years, TV audiences around the world had a pretty straightforward viewing choice: adfunded free-to-air TV channels or big-bundle pay-TV subscriptions. True, there are differently priced tiers within the pay-TV universe — for example, premium sport and movies — but the defining characteristic of pay TV has been that you pay a fixed monthly fee for a huge array of channels, many of which you may never watch. The first big assault on this rigid model came with the launch of subscription VOD (SVOD) services like Netflix, which offered a range of on-demand content at a much lower price

point — roughly $7-$8 per month compared to pay-TV’s $60-$100 price range. There were fears that this might fundamentally undermine the pay-TV model, encouraging large numbers of consumers to give up their subscriptions in favour of Netflix (or other SVOD services, such as Amazon Prime). In reality, this has not yet happened, with most subscribers choosing to acquire Netflix on top of their existing pay-TV subscription. But what it has done is create a significant psychological shift in the television market, with consumers more likely to scrutinise the prices they pay for the content they consume. This is turn has created a new battleground

around intermediary price points. This is most evident in the US, which has seen the emergence of so-called ‘skinny bundles’ in the last couple of years. Pioneered by companies including Hulu, Sling TV, DirecTV Now and YouTube TV, these broadband-delivered services offer a smaller number of linear channels at price points of $20-$40. YouTube TV, for example, offers 44 channels for $35, including the four US networks and an array of sports channels, such as ESPN. There is also an option to add Showtime as an upgrade. The situation is not quite the same in Europe, where established pay-TV platforms including Sky TV and Viasat in Scandinavia pre-empted

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Channel Distribution the threat by launching their own low-cost OTT alternatives. The introduction of Sky TV’s Now TV, for example, means the company can offer a suite of services that range in price from just a few dollars to $100-plus, effectively squeezing the gap that might otherwise be taken up by skinny bundles. That said, there are enough examples of payTV disruption in Europe to suggest that the big players will not have it all their own way. Amazon, for example, has launched an aggregation platform called Amazon Channels. Currently available in the UK and Germany, it offers a way for rights-holders to sell their services direct to consumers for a monthly fee ranging from around $3-$10. Some of these are pay-TV staples —Discovery, for example — but there are also services such as pre-school platform Hopster, yoga platform Gaia and an MGM movie hub. Other new entrants in the market include French OTT service Molotov.tv, which has a basic tier of 35 channels that is free of charge and a premium tier of 70 channels that costs €9.99. There’s also a €3.99 option to store up

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to 100 hours of programming in the cloud for later viewing. In the UK, meanwhile, there is a new service called TVPlayer, which is seeking to emulate Hulu in the US by offering free and premium content packages. More choice is, of course, good news for consumers. But it does represent a challenge for the channels that have built their business around the traditional pay-TV model. Do they, for example, stay loyal to their long-established platform partners? Or do they jump on board the new skinny-bundle offerings? The risk of the former is that they miss out on an emerging opportunity; the risk of the latter is that, through dilution, they make themselves less attractive to their existing partners. It is interesting to note, for example, that the new YouTube TV platform includes AMC Networks channels in its line-up, but as yet has not secured deals with Turner, Viacom and Discovery. One executive at the forefront of this debate is Arran Tindall, senior vice-president of commercial and content distribution at Viacom International Media Networks (VIMN). His

assessment shows that there is a delicate balancing act. He starts by stressing that there is “a lot of life left in the traditional pay-TV bundle internationally”. He adds: “Outside the US, the penetration of pay TV is less than 40% of total TV households and there is plenty of room for growth. Subscriptions to OTT streaming services are growing at a much faster rate than traditional pay-TV subscriptions, but there is still an overwhelming overlap between the two models, with most opting for SVOD on top of the cable or satellite bundle.” A big part of VIMN’s agenda involves helping its existing partners to stay strong in the face of competitive threats, Tindall says: “The growing popularity of OTT streaming and the disruptive effects of new entrants like Netflix does threaten the long-term growth prospects of existing MVPDs [multichannel video programming distributors]. They have a choice: watch from the sidelines or influence through participation. We think brands like Comedy Central, MTV, Nickelodeon, Nick Jr and Paramount still have a vitally important role in marketing pay TV to subscribers and retaining customer loyalty, so we are focusing a

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Channel Distribution higher-than-ever percentage of our investment on a small number of global ‘flagship’ brands to enhance their appeal and distinctiveness.” This support of existing partners also extends as far as helping them to bolster their OTT ambition. “For example,” Tindall adds, “we provide five out of the 18 linear channels available through Sky’s Now TV entertainment and kids’ packs: Comedy Central, MTV, Nickelodeon, Nick Jr and Nicktoons.” At the same time, however, Tindall stresses that VIMN is open to working with new partners and through different distribution models. “We’ve launched two entirely new OTT linear channels in Japan: MTV Hits with AbemaTV and MTV Mix with Hulu,” he says. “We’ve also struck deals with mobile carriers, including Singtel in Singapore and Telkomsel in Indonesia, to launch products such as our Nick Play mobile streaming app on a standalone basis, as part of their wider OTT video offerings.” Of course, decisions about which platforms to work with vary from channel to channel and according to content. While pay-TV players have

to make a tough judgment call on the optimal solution from a subscription point of view, traditional free-to-air channels are balancing their existing advertising business against the prospect of exposure among new audiences. Ampere Analysis’ director of research, Guy Bisson, underlines the last point by saying that skinny bundles can be a way for traditional networks to reconnect young viewers with their content: “Network content hasn’t always been available on SVOD platforms, but it is on the subscription linear platforms, so it might be a way of winning back audiences that had been lost to them. NBC says the average age of the audience for Law And Order on traditional media is 50 but, in digital, it’s 30.”

“NBC says the average age of the audience for Law And Order on traditional media is 50 but, in digital, it’s 30” Guy Bisson

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Skinny bundles are not the only new development in the market. Tony Gunnarsson, principal analyst at Ovum, says it is one manifestation of a bigger trend, which Ovum has dubbed ‘SLIN’ for short: subscription-based linear OTT services. Alongside skinny bundles, Gunnarsson sees a trend towards subscription-based eSports services, such as Amazon-owned Twitch, and direct-to-consumer (D2C) services created by rights-owners and broadcasters. Gunnarsson’s view is that these D2C services are best for broadcasters with strong channel brands, such as HBO, or those who target particular audiences, such as NBCUniversal’s new reality hub hayu. “It makes sense commercially,” he argues, “because there is no need to pay a distributor. But it requires rights-holders to become experts in non-core capabilities.” On this score, VIMN’s Tindall says: “We have experimented with direct-to-consumer retail models with the launch of a pre-school OTT subscription service, Noggin, in the US and across Latin America. We’ve also launched BET Play direct-to-consumer in more than

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Channel Distribution

A&E Networks’ Live PD

100 countries. We are also investing in developing branded multiplatform products, like our mobile streaming platform Play Plex, to make sure our flagship brands stay salient and relevant as on-demand viewing grows in popularity. This ensures viewers have the option to watch their favourite Viacom shows anytime, anywhere and any way.” While established brands may have a competitive advantage, Park Associates’ director of research, Brett Sappington, says services like the Korean drama hub DramaFever offer encouragement to new services that manage to find the right niche. This point is elaborated upon by Douglas Lee, a former network executive who is now plying his trade as head of programming at OTT technology and content firm Ownzones Media Network. “When I was working at more traditional networks, I was always conscious of the way that consumers would need to acquire a bundle of channels to get the one I was working on,” Lee says. “The attraction of OTT is that it allows a la carte selection.” Ownzones is currently working on a variety of channels, Lee reports, ranging from an AVOD service about marijuana called 420TV to a Western service called Best Westerns Ever. “The editorial approach is different in each case,” he adds. “420TV is

mainly built around original short-form content of around seven minutes in length. Best Westerns Ever is built on TV series and movie acquisitions for which we have cleared the global rights. But in both cases, we’ve targeted niches where we think there is a global appetite that is not currently being serviced. With marijuana, there’s a broad range of topics, from culture and lifestyle through to the legal medicinal uses of the drug.” Lee is also exploring opportunities to target women with OTT services. “A lot of operators I’ve spoken to say that OTT services are still very male in orientation, so we think there’s an opportunity to create a service more focused on women.”

“OTT services are still very male in orientation, so we think there’s an opportunity to create a service more focused on women” Douglas Lee Sean Cohan, president of international and digital media at A+E Networks, whose channel brands include A&E, Lifetime and

History, takes a similar line to Tindall: “We are seeing subscription growth in a range of markets, but we are also starting to see the impact of disruption. The challenge for all of us is to stay relevant and visible, and the best way to do that is to keep on telling great stories and producing great content.” In terms of specific impact, Cohan says: “Five years ago, we were launching new channels but, with a couple of exceptions, there’s not really a need for that now. But we have introduced DTC services like History Vault and Lifetime Movie Club. And where it makes sense to be on skinny bundles, we will be.” Picking up the story, Mark Garner, senior vice-president of distribution and digital content licensing at A+E Networks, says he anticipates that new categories of content will come to the fore. He gives the example of enhanced content, whereby consumers chose between seeing a network for free with ads, or paying for it to be ad-free, perhaps also including premium content. “There’s an additional benefit to this model, which is that consumers get a better understanding of the true cost of content, and may opt for the ad version,” he says. The biggest change, Cohan adds, is not really around consumption but monetisation: “We used to operate with a simple advertisingand carriage-fee framework, but now we’re

preview magazine I September 2017 I www.mipcom.com

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Channel Distribution in the unusual position that sometimes the business model follows the content. That can feel uncomfortable, but it demands that companies are responsive and adaptive.” Proof that the current changes are having a significant effect on the market was August’s news that Discovery Communications is to acquire rival channel operator Scripps Network Interactive (SNI) for $14.6bn, creating an unrivalled non-scripted and lifestyle content studio by volume. In a deal carved out against the backdrop of cord-cutting, skinny bundles and carriage-fee disputes with payTV platforms, Discovery Communications’ president and CEO, David Zaslav, said: “We are building a global content engine [that will] unlock global strategic synergies.” SNI chairman, president and CEO Ken Lowe added: “The content we have created on linear has this huge opportunity on a digital basis, on a social basis and in shortform content.” Discovery’s Zaslav has previously said that he plans to increase Discovery’s activities on

the direct-to-consumer front. He has already launched what he calls a “sports Netflix” in Europe via the Eurosport Player and wants similar services in crime, science and kids. In an investor call last year, he talked about the importance of Discovery trying to “disrupt ourselves”. Self-disruption may seem counterintuitive but, in an era when new players like Vice Media are entering the SVOD arena, it has become an integral part of modern media management. This point is further illustrated by AT&T’s decision to launch DirecTV Now, a skinny bundle of 100 live channels for $35 per month. AT&T’s move comes despite the fact that the slim-line new service undercuts DirecTV’s classic offering, which starts with an $88 monthly fee for an entry-level of 145plus channels. Quizzed on this point by analysts, who fear that the company is going to adversely impact on its own revenues, AT&T CEO Randall Stephenson said cannibalisation simply means that “you’ve found something the market really, really wants”.

Back at VIMN, Tindall talks in similar terms: “While the pace of disruption represents a long-term challenge to our traditional business model, it also opens up new opportunities for growth. We are seeing strong growth in our revenues from OTT, and we are also striking a number of distribution deals directly with mobile operators as they start to become pay-TV providers in their own right. We are also investing heavily in growing our shortform content capabilities and finding interesting ways to monetise the massive engagement with our brands that we are driving on social platforms by offering our commercial partners new integrated marketing solutions.”

“While the pace of disruption represents a long-term challenge to our traditional business model, it also opens up new opportunities for growth”

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Channel Distribution Arran Tindall A big question in the midst of all of this digital disruption is whether there is still room for live appointment-to-view television — and the answer seems to be a qualified yes. While time-shifting and binge-watching has changed the way consumers watch drama, there are still key titles such as HBO’s Game Of Thrones and AMC’s The Walking Dead where fans still make sure they are tuned in for every episode. There are some genres, notably sport and news, that still help networks to sustain strong live audiences. And there are others — for example entertainment — that have learned a trick or two to ensure that audiences still engage in watercooler moments. A+E’s Cohan says: “There is less appointment viewing than there used to be, but there are a number of shows that have used live to great effect. A&E Networks has a popular show called Live PD, which follows police officers doing their duties in real time.” Perhaps ironically, social media, long

perceived as a threat to the future of television, is playing a key role in ensuring that some entertainment shows are watched live as opposed to delayed. In the UK, ITV2 has just had a hit with Love Island, the finale of which attracted a 52% share of 16to 24-year-olds. A glamorous and raunchy dating show with an elimination element, the target demo felt compelled to watch the show live for fear they would learn what had happened via social. Lauren Marriott, vice-president of international programme sales at VIMN, says: “It’s true that fewer people are watching programmes at a set time. The shared viewing experience that TV traditionally offered is being eroded by hundreds of millions sharing clips of the newest YouTube sensation and the binge-watching culture that OTT has created. But the majority of viewing to Viacom’s major freeto-air channels — Channel 5 in the UK and Telefe in Argentina — is still live and linear, from documentaries and popular

factual to scripted and light entertainment. Our flagship pay-TV brands also have tentpole shows that drive higher levels of live tune-in, whether that’s MTV formats such as Ex On The Beach or South Park on Comedy Central.” Underlining the point made above, Marriott adds: “Certain types of topical programming can really only be viewed live, whether its sports, news or major live showcase events, such as the MTV EMA [European Music Awards] or the Nickelodeon KCA [Kids’ Choice Awards]. Otherwise, networks have to exploit FOMO — the fear of missing out — creating unmissable moments that light up Twitter and dominate conversations in the playground and the office the next day, whether its Anne Hathaway recreating Miley’s Wrecking Ball performance on Lip Sync Battle, the latest reveal on MTV’s Just Tattoo Of Us or Trevor Noah’s broadside against Trump on The Daily Show.”

“Networks have to exploit FOMO — fear of missing out — creating unmissable moments that light up Twitter and dominate conversations in the playground and the office Lauren Marriott According to Marriott, innovations in scheduling, marketing and promotion, particularly via social, have an important part to play in teasing viewers towards tune-in. But, fundamentally, what technology can’t change “is the very human desire for shared experiences”, she says. “Viewers still want to talk about their favourite shows, characters and personalities, whether in person or via social media. Ultimately, only appointmentto-view TV can create watercooler moments and give viewers a sense of involvement in the all-important buzz that exists around a breakthrough TV show.”

The Love Island finale attracted a 52% share of 16- to 24-year-olds — in the UK — who felt compelled to watch the show live for fear they would learn what had happened via social media preview magazine I September 2017 I www.mipcom.com

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Your MIPCOM Experience 16-19 OCTOBER 2017 Palais des Festivals Cannes, France MIPCOM OPENING HOURS 16-17-18 October: 08.30*-19.00 19 October: 08:30*-18.00 * Access from 08.00 for exhibitors

Registration hours Croisette 22 14 October: 14.00-19.00 15 October: 09.00-19.00 16 October: 08.00-19.30 17 October: 08.30-19.00 18 October: 08.30-19.00 19 October: 08.30-16.00

Airport T1 & Majestic Hotel 14 October: 14.00-19.00 15 October: 09.00-19.00 16 October: 08.00-19.30

We look forward to welcoming you in Cannes, but ﬁrst here are some tips to prepare your journey to MIPCOM

Prepare for the show in 3 steps Visit the MIPCOM website to organise your travel • Book your transportation & accommodation with our partners to get the best deals

Prepare your agenda and meetings ahead of time

Your badge: your key to getting into MIPCOM

• Check out the programme of conferences, matchmaking sessions and networking events

• Did you receive it by post? Don’t forget to put it in your luggage.

• Log in to the Online Database and – Fill out your proﬁle and personalise your agenda – Browse participants and attending companies – Send one-to-one messages to other delegates and organise meetings

• You only have your confirmation email? Pick up your badge at the registration area, located in Croisette 22. Be sure to check the registration hours above.

• Download the Mobile App – It is synchronised with the database and your messages – NEW THIS YEAR: You’ll also ﬁnd the recommended contacts that match your business objectives!

• Save time with the e-ticket Print it out to collect your badge at a self-service delivery point or download the Mobile App and connect to your account. Please carry your badge all times, and be ready to show it at entry points around the show. Your badge is strictly personal and non-transferable.

Onsite: meet decision makers and get an overview of the market trends Make the best connections with our matchmaking programme Tailor-made meeting recommendations:

Matchmaking events*

Receive personalised matches for your business objectives via the online database

• Matchmaking Sessions

Don’t miss the: • Meet up sessions • and many more *Full schedule online and on the Mobile App

MIPCOM Networking Cocktail & Red Carpet Monday 16 October, 19.30 InterContinental Carlton Cannes The must-attend networking event, open to all participants. Access on presentation of your MIPCOM badge.

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Your MIPCOM Experience Find your way around

Discover dedicated spaces to hold your meetings

CROISETTE 10 to 22 C10

Paramount Pictures WW TV Licensing & Distribution

C11

FremantleMedia

C12

Sony Pictures Entertainment

C14

Disney Media Distribution

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ITV Studios House

C16.B

Talpa Global

C16.C

FOX Networks Group Content Distribution

C16.D

Inter Medya

C17

Warner Bros.

C20

Banijay Group

C22

WME | IMG

C10

C11

Sea

• Open to all participants attending MIPCOM without a stand

Left Luggage

Badge holders only

VIP Club (Palais 3)

C12

En tra

Riviera 7

C15

Riviera 9

C16.C

Palais 5

C16.B

Organiser’s office

C16.A

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Entry reserved by invitation

Palais -1 to 5

Access to Riviera 7, 8 & 9

C16.D

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Security Checkpoint

Riviera 8

Kanal D Cine

Participants’ Club

Participants’ Club (Croisette 18)

MIPCOM Perimeter 1

COL PROTO TRATION REGIS PRESS ON TRATI REGIS

MIPCOM shuttle

In association with

Train Station

• Dedicated to journalists with the assistance of permanent staff members

Gold Business Lounge (Palais -1, aisle A) • Reserved for gold members of our Customer Recognition Programme

Buyers’ Club (Palais -1, aisle A) • Reserved for programme purchasing executives

In association with

Your first time at MIPCOM? Don’t miss our First Timers Programme

Our “How to MIPCOM” includes a presentation by The Pitch Doctor, Paul Boross. Discovery tour of the exhibition floors and MIPCOM services and culminates with Welcome Drinks at the Participants’ Club (Croisette18)

A “First Timers welcome corner” manned by our dedicated team is available throughout MIPCOM in the Participants’ Club (Croisette18) and a daily programme to meet peers at the market. WELCOME

Monday 16 & Tuesday 17 October First timers’ catch up tour of the exhibition floors. Upon appointment

Sunday 15 October 17.00-19.00: First timers’ how to MIPCOM’ discovery tour

Monday 16 October 19.30-21.00: First Timers’ meet & greet corner at the Mipcom Networking cocktail InterContinental Carlton Cannes

Meeting point: Main Croisette Entrance, Palais des Festivals

Monday 16 Wednesday 18 October 8.30-9.30: First Timers’ Welcome Breakfast, Participants’ Club (Croisette18) Monday 16 Wednesday 18 October 16.00-17.00: First Timers’ Coffee & Cookies, Participants’ Club (Croisette18) Thursday 19 October 9.00-10.00: First timers’ breakfast. Exchange contacts and keep in touch Participants’ Club (Croisette18)

See the programme p.120 and plan your journey

See you in Cannes!

For further information: www.mipcom.com • Help desk: +33 1 79 71 99 99

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MIPCOM INTERNATIONAL SCREENINGS Monday 16 October

Tuesday 17 October

THE LAWYER

LA ZONA

GUEST LIST

TABULA RASA

BLUE PLANET II

LIVING THE DREAM

THE MINIATURIST

PULSE

By Studiocanal and Viaplay 10.00-11.15, Auditorium K

By BBC Worldwide 15.45-17.00, Auditorium A

By Beta Film 14.15-15.30, Auditorium K

By ITV Studios Global Entertainment 15.45-17.00, Auditorium K

By SND - Groupe M6 8.30-9.45, Auditorium K

By all3media International 14.30-15.30, Auditorium K

By ZDF Enterprises 10.00-11.15, Auditorium K

By ABC Commercial and Screen Australia 15.40-16.55, Auditorium A

Wednesday 18 October

THE PLAGUE WEISSENSEE

By Global Screen 8.30-9.45, Auditorium K

DEMENTIA

By Global Screen 8.30-9.45, Auditorium K

THE ROAD TO CALVARY Presented by NTV Broadcasting Company Monday 16 October 11.30-13.00, Auditorium A

The NTV Broadcasting Company has screened the greatest novel “The Road to Calvary” written by Alexey Tolstoy. The story of two sisters shows the most tragic times of 1914-1919: World War I, Revolution and Civil War… Friends and relatives of the sisters are on the opposite sides of the barricades, and the earning for a brighter tomorrow, which is paid with blood, will pave the road to Calvary.

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MOROCCO LOVE IN TIMES OF WAR

By Movistar 17.00-18.10, Auditorium K

By Beta Film 11.30-12.45, Auditorium K

GOGOL

Presented by TV3 Channel Wednesday 18 October, 10.00-11.15, Auditorium K A mystery thriller “GOGOL” is revolutionizing TV series monetization. One of the most expensive projects on Russian TV, “GOGOL” anticipates Marvel’s approach with “Inhumans”: the first part was released in cinemas in August, the next 2 feature-length episodes will follow in several weeks and appear on TV after. Within the first two days of cinema release it returned its production costs and closed the weekend breaking the national box-office record, which is best seasonal weekend in the history of Russian movies. The series features Nikolay Gogol, a great Russian writer, in the ghastly world of Ukrainian fairy tales and his own stories…

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MIPCOM WORLD PREMIERE TV SCREENINGS MIPCOM WORLD PREMIERE TV SCREENING

Presented by Monday 16 October, 18.30-20.00, doors open at 18.00 - Grand Auditorium Journey deep into the dark and unruly world of Britannia. Set in 43AD, the drama follows the Roman army as they return to crush the Celtic heart of Britannia, a mysterious land led by warrior women and powerful Druids who claim to channel the powerful forces of the underworld. Written by multi-award-winning Jez Butterworth, Britannia is the first co-production between Sky and Amazon US.

MIPCOM RUSSIAN CONTENT REVOLUTION WORLD PREMIERE TV SCREENING

Presented by

and

Tuesday 17 October, 18.30-19.45, doors open at 18.00 - Grand Auditorium “Trotsky” focuses on the rise and fall of one of the most controversial figures in the history of Russia - Leo Trotsky (played by Konstantin Khabensky). Alongside Lenin, he was the mastermind and driver of the Russian Revolution in 1917. Trotsky was a friend to Frida Kahlo and personally knew Sigmund Freud. He covered his hands with the blood of millions and remained faithful to his ideas until the end of his life.

MIPCOM PRE-OPENING WORLD PREMIERE TV SCREENING Sunday 15 October, 18.30-19.30, doors open at 18.00 - Grand Auditorium Presented by

Academy Award Winner J.K. Simmons plays Howard Silk, a lowly cog in a UN spy agency, who discovers that his organization safeguards a crossing into a parallel dimension.

MIPCOM ASIAN WORLD PREMIERE TV SCREENING Tuesday 17 October 11.45-13.15, doors open at 11.30 - Auditorium A Followed by Sushi & Cocktail

Presented by

Katsushika Hokusai is one of Japan’s most renowned Ukiyoe artists. But little is known about his life, let alone that he had a daughter, O-Ei, who was another brilliant painter. This is the story of O-Ei and how she devoted her life to art while assisting her father.

Screening in 4K

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THE GLOBAL RACE FOR CREATIVE CONNECTIONS MIPCOM 2017 PERSONALITY OF THE YEAR

MEDIA MASTERMIND KEYNOTES Monday 16 October, Grand Auditorium

Wednesday 18 October Grand Auditorium, 14.30-15.15

MOVISTAR+ KEYNOTE SESSION - 12.05-12.45

DOMINGO CORRAL Director of Original Programming Movistar+

Featuring JAN MOJTO CEO Beta Film

Featuring JANE MILLICHIP Managing Director Sky Vision

11.30-12.00 GORDON RAMSAY Award-Winning Chef & TV Host

17.15-17.45 Variety Vanguard Award at MIPCOM: RICHARD PLEPLER Chairman-CEO HBO

16.30-17.00 BENJAMIN SALINAS CEO TV Azteca

DAVID ZASLAV President & CEO Discovery Communications

Tuesday 17 October, Grand Auditorium COURTENEY MONROE - NATIONAL GEOGRAPHIC GLOBAL NETWORKS KEYNOTE SESSION - 11.20-12.00

SNAPCHAT KEYNOTE 17.00-17.45

WOMEN IN GLOBAL ENTERTAINMENT POWER LUNCH COURTENEY MONROE CEO National Geographic Global Networks

CAROLYN BERNSTEIN EVP, Global Scripted Development and Production, National Geographic Global Networks

MARTHA RADDATZ Author and ABC News Chief Global Affairs Correspondent (Moderator)

NICK BELL Vice President of Content Snapchat

Monday 16 October Majestic Hotel, 12.30-14.30 By invitation Informal networking from 12.00 In partnership with Media Partner Featuring:

PETER KOSMINSKY Writer/Director of ‘The State’

MIKKO ALANNE Showrunner, Screenwriter and Executive Producer of ‘The Long Road Home’

MICHAEL KELLY Lead cast of ‘The Long Road Home’

SEAN MILLS Senior Director, Content Programming Snapchat

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RICKY VAN VEEN Head of Global Creative Strategy Facebook

DANIEL DANKER Director of Video Product Facebook

CATHERINE ZETA-JONES

FACEBOOK KEYNOTE 11.30-12.00

©John Russo

Wednesday 18 October, Grand Auditorium

FLEUR PELLERIN

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RUSSIAN DRAMA SHOWCASE Gain insight into the vibrant Russian Drama industry and discover the most anticipated series.

Monday 16 October 11.30-13.00, Auditorium A ‘THE ROAD TO CALVARY’ Presented by NTV Broadcasting Company CLEANED UP

Tuesday 17 October 14.15-15.15, Esterel RUSSIAN DRAMA SHOWCASE

THE GOLDEN HORDE

Presented by:

15.15-16.15, Verrière Californie MEET THE RUSSIAN PRODUCERS By invitation only

MEET THE RUSSIAN PRODUCERS

Wednesday 18 October

By invitation only

10.00-11.15, Auditorium K ‘GOGOL’ Presented by TV3 Channel

International key decision makers meet with recognised Russian drama producers to shape the future of global content partnerships.

GLOBAL CONTENT TRENDS Monday through Thursday 16-19 October The most influential industry leaders and creators deliver visionary leadership and perspectives on the future of content industry.

Helen Jackson Chief Content Officer BBC Worlwide

Emmanuelle Guilbart Joint CEO About Premium Content

Steve November Creative Director UK TV Lionsgate

DIGITAL DISTRIBUTION Monday through Wednesday 16-18 October Learn more about the winning OTT strategies enabling your content to reach its audience.

Angela Aquereburu Founder YoBo Studios

Maria Kyriacou President, International ITV Studios

EUROPEAN DIGITAL SINGLE MARKET Wednesday 18 October Auditorium A, 9.15-9.45 How will the European digital single market affect my business?

Ira Gladnikoff Head of Viaplay Viaplay

Ziba Kaboli-Gerbrands Director, Content Acquisition Roku

VIRTUAL REALITY Monday and Tuesday 16-17 October Find out how to turn VR creativity into a sustainable business.

Ben Smith CEO Laduma

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Antoine Cardon Chief Innovation officer DV

Niclas Ekdahl Managing Director, Nuvu Ericsson

Shirley Frimpong-Manso Film Director/Producer, Sparrow Productions

4K ULTRA HD Monday through Thursday 16-19 October Get updated on how the world’s leading producers & broadcasters are gearing up for UHD and High Dynamic Range (HDR) technologies.

Claire Bury Deputy Director General European Commission

8K SHOWCASE Monday through Wednesday 16-18 October 10.00-18.00, Auditorium D, Palais 3, Palais des Festivals

MIPCOM delegates had a first glimpse of super HD TV last year as part of the Japan Country of Honour activities This year, NHK is setting up a new 8K showcase complete with the large 8K TV screen technology and amazing 8K content.

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MIPCOM 2017 CONFERENCE & EVENTS

SUNDAY 15 OCTOBER ESTEREL 17.00-18.30, ESTEREL

MIPCOM FIRST TIMERS PRESENTATION & DISCOVERY TOUR MIPCOM PRE-OPENING WORLD PREMIERE TV SCREENING

From 20.00 By invitation

18.30-19.30, GRAND AUDITORIUM - DOORS OPEN AT 18.00

MIPCOM PRE-OPENING GALA DINNER

‘COUNTERPART’ Presented by Sony Pictures Entertainment

In Partnership with TV AZTECA

THE GLOBAL RA FOR CREATIVE C

MONDAY 16 OCTOBER GLOBAL CONTENT TRENDS

CANNESERIES

9.30-11.15, AUDITORIUM A Breakfast served from 9.30 to 10.00

10.00-11.30, BLUE LOUNGE

SUCCESSFUL CONTENT IN THE MIDDLE EAST

CANNESERIES PRESS CONFERENCE

UHD: MIPCOM’S GLOBAL UPDATE

SCREENINGS

9.45-10.45, ESTEREL

DEFINING A HIT: NEW METRICS FOR SUCCESS

10.00-11.15, AUDITORIUM K

‘THE LAWYER’ Presented by Studiocanal and Viaplay

11.00-11.30, ESTEREL

OVER HERE! STANDING OUT IN THE CROWDED OTT SPACE

4K ULTRA HD 9.45-10.30 SONY 4K ULTRA HD THEATRE

RUSSIAN CONTENT REVOLUTION 11.30-13.00, AUDITORIUM A

‘THE ROAD TO CALVARY’ Presented by NTV Broadcasting Company

10.30-11.15 SONY 4K ULTRA HD THEATRE

IHS DELIVERS THE STATE OF THE UHD MARKET 11.15-12.30 SONY 4K ULTRA HD THEATRE

INSIGHT TV, DELIVERING UHD TO A GLOBAL AUDIENCE SNACK & SCREEN 12.00-14.30, VERRIÈRE CALIFORNIE

DISCOVER THE BEST NEW DRAMA CONTENT FROM LATIN AMERICA By INCAA and the Argentine Investment & Trade Promotion Agency

SUMMIT & EVENT

MEDIA MASTERMIND KEYNOTES 11.30-12.00, GRAND AUDITORIUM

GORDON RAMSAY, AWARD-WINNING CHEF & TV HOST 12.05-12.45, GRAND AUDITORIUM

DOMINGO CORRAL, HEAD OF ORIGINAL PROGRAMMING, MOVISTAR+ SPECIAL GUESTS: JAN MOJTO, CEO, BETA FILM JANE MILLICHIP, MANAGING DIRECTOR, SKY VISION

12.30-14.30 MAJESTIC HOTEL Doors open at 12.00 By invitation

WOMEN IN GLOBAL ENTERTAINMENT POWER LUNCH In Partnership with A+E Networks and Lifetime

SCREENINGS 13.15-14.15, GRAND AUDITORIUM & BALCONY

VIRTUAL REALITY

SCREENINGS

NHK: THE ROAD MAP FOR UHD 16.30-17.00 SONY 4K ULTRA HD THEATRE

TV ASAHI: CAPTURING BREATHTAKING UHD IN ANTARCTICA 17.00-17.30 SONY 4K ULTRA HD THEATRE

KANSAI TV: PRODUCING SUPERIOR QUALITY IN UHD

MEDIA MASTERMIND KEYNOTES 16.30-17.00, GRAND AUDITORIUM

BENJAMIN SALINAS, CEO, TV AZTECA 17.15-17.45, GRAND AUDITORIUM

VARIETY VANGUARD AWARD AT MIPCOM: RICHARD PLEPLER, CHAIRMAN - CEO, HBO

‘BRITANNIA’ Presented by Sky Vision 19.30-23.30, INTERCONTINENTAL CARLTON HOTEL

MIPCOM NETWORKING COCKTAIL & RED CARPET Co-hosted with NTV Broadcasting Company

Presented by Turkish Content

11.45-13.15, AUDITORIUM A DOORS OPEN AT 11.30

‘KURARA: THE DAZZLING LIFE OF HOKUSAI’S DAUGHTER’ Presented by NHK Screening in 4K

SPAIN AND ITS COMMITMENT TO UHD 10.15-11.00 SONY 4K ULTRA HD THEATRE

KEYNOTE: GARY DAVEY SKY AND THE FUTURE OF UHD

Followed by Sushi & Cocktail

MEDIA MASTERMIND KEYNOTES 11.20-12.00, GRAND AUDITORIUM

COURTENEY MONROE, CEO, NATIONAL GEOGRAPHIC’S GLOBAL NETWORKS SPECIAL GUESTS INCLUDE: PETER KOSMINSKY, WRITER/DIRECTOR OF ‘THE STATE’ MICHAEL KELLY, LEAD CAST OF ‘THE LONG ROAD HOME’ 12.15-13.00 GRAND AUDITORIUM

TO BE ANNOUNCED RUSSIAN CONTENT REVOLUTION

DIGITAL DISTRIBUTION

SCREENINGS

4K ULTRA HD

‘PULSE’

By 3C Media Cocktail served from 17.30

18.30-20.00, GRAND AUDITORIUM - DOORS OPEN AT 18:00

A NEW ERA FOR CONTENT AND PARTNERSHIP IN TURKEY

15.00-15.30 AUDITORIUM A

14.50-15.20 AUDITORIUM A

MIPCOM WORLD PREMIERE TV SCREENING

10.00-10.45, AUDITORIUM A

15.15-16.15 SONY 4K ULTRA HD THEATRE

15.30-16.15 ESTEREL

FROM HISTORY TO THE FUTURE THE BEAUTY OF WORKING WITH CHINA

MIPCOM ASIAN WORLD PREMIERE TV SCREENING

ORIGINALS: THE QUEST FOR BRAND DEFINING CONTENT

4K ULTRA HD 9.15-10.00 SONY 4K ULTRA HD THEATRE

15.40-16.55 AUDITORIUM A

15.30-16.30 SONY 4K ULTRA HD THEATRE

17.00-18.00, VERRIERE CALIFORNIE

10.00-10.40, ESTEREL

15.15-16.15 VERRIÈRE CALIFORNIE

15.45-17.00 AUDITORIUM A

By Canada Media Fund and Telefilm Canada

Presented by ZDF Enterprises

‘TABULA RASA’

‘BLUE PLANET II’ IN BREATHTAKING UHD/ HDR FROM THE BBC

Presented by Beta Film

INDIGENOUS CONTENT THAT SPEAKS TO THE WORLD

FORMATS: THE NEW CREATIVE HORIZON

Presented by all3media International

THE BEST MUSIC IN UHD

15.30-16.00, VERRIERE CALIFORNIE

10.00-11.15, AUDITORIUM K

‘THE MINIATURIST’

‘LA ZONA’

Presented by ITV Studios Global Entertainment

Presented by Laduma

9.15-9.50, ESTEREL

OTT PLATFORMS: A DISTRIBUTION EL DORADO FOR LIVE CHANNELS & NICHE CONTENT?

CINEMATIC VR: BUYING IT, SELLING IT AND FUNDING IT

‘LIVING THE DREAM’

YOUR VIRTUAL COMPASS

Presented by SND - Groupe M6

RUSSIAN DRAMA SHOWCASE

POWER SHIFTS: WHO WILL TAKE THE THRONE OF DRAMA?

15.45-17.00 AUDITORIUM K

‘GUEST LIST’

4K ULTRA HD 14.15-15.15 SONY 4K ULTRA HD THEATRE

INDUSTRY SPOTLIGHT

GLOBAL DRAMA: IT’S TIME FOR AFRICA!

14.00-15.00 SONY 4K ULTRA HD THEATRE

14.15-15.30 AUDITORIUM K

Presented by BBC Worldwide

VIRTUAL REALITY 9.30-10.00, VERRIERE CALIFORNIE

14.30-15.30 AUDITORIUM K

14.15-14.45 AUDITORIUM A

BEYOND THE BEST OF VR COPRODUCTION: CONTENT MAKING GLOBAL CREATIVE CONNECTIONS

SCREENINGS 8.30-9.45, AUDITORIUM K

14.00-14.45 AUDITORIUM A

14.30-15.15 ESTEREL

‘BLUE PLANET II’

GLOBAL CONTENT TRENDS 9.00-9.45, AUDITORIUM A

14.15-15.15 ESTEREL

FRESH TV FORMATS GLOBAL CONTENT TRENDS

TUESDAY 17 OCTOBER

MEET THE RUSSIAN PRODUCERS By invitation only

GLOBAL CONTENT TRENDS 15.30-16.15 ESTEREL

HOW TO SPOT- AND FINANCE- THE INDUSTRY’S NEXT TOP TALENT

SUCCESSFUL DISTRIBUTION STRATEGIES IN AFRICA INDUSTRY SPOTLIGHT

Presented by ABC Commercial and Screen Australia 17.00-18.10 AUDITORIUM K

‘THE PLAGUE’ Presented by Movistar

17.15-18.00 VERRIERE CALIFORNIE

GOING LIVE! ADVANCING THE ACCESSIBILITY OF LIVE STREAMING AND MAKING THE MOST OF THE TREND

SPECTACULAR SPORTS AND ACTION IN UHD 16.30-17.00 SONY 4K ULTRA HD THEATRE

JAPAN’S FUJI TV NETWORK HIGH DYNAMIC STRATEGY 17.00-17.30 SONY 4K ULTRA HD THEATRE

NTT PLALA AND THEIR IPTV/ VOD UHD PRODUCTIONS

By Ruptly

MEDIA MASTERMIND KEYNOTE 17.00-17.45, GRAND AUDITORIUM

NICK BELL, VICE PRESIDENT OF CONTENT, SNAPCHAT SEAN MILLS, SENIOR DIRECTOR OF CONTENT PROGRAMMING, SNAPCHAT 18.00-20.00, MAJESTIC HOTEL

J CREATIVE PARTY WITH SUSHI In partnership with The International Drama Festival In Tokyo

MIPCOM RUSSIAN CONTENT REVOLUTION WORLD PREMIERE TV SCREENING 18.30-19.45, GRAND AUDITORIUM - DOORS OPEN AT 18:00

‘TROTSKY’ Presented by Channel One and Sreda Production

MIPCOM THANKS ITS SPONSORS & PARTNERS

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07/09/2017 12:34

ENTS PROGRAMME

RACE E CONNECTIONS WEDNESDAY 18 OCTOBER GLOBAL CONTENT TRENDS

SCREENINGS

4K ULTRA HD

9.15-9.45 AUDITORIUM A

8.30-9.45 AUDITORIUM K

9.15-10.15 SONY 4K ULTRA HD THEATRE

HOW WILL THE EUROPEAN DIGITAL SINGLE MARKET AFFECT MY BUSINESS?

‘WEISSENSEE’ AND ‘DEMENTIA’

FACTUAL ENTERTAINMENT IN SPECTACULAR UHD/HDR #1

Presented by Global Screen 11.30-12.45 AUDITORIUM K

10.00-11.30 AUDITORIUM A

MEDIA PROGRAMME BEYOND 2020: CONNECTING CONTENT, FINANCING AND AUDIENCES

‘MOROCCO - LOVE IN TIMES OF WAR’ Presented by Beta Film

RUSSIAN CONTENT REVOLUTION

By Creative Europe MEDIA

INDUSTRY SPOTLIGHT 10.30-11.00 VERRIERE CALIFORNIE

MAKE MY CONTENT MORE DISCOVERABLE… By TiVo

THURSDAY 19 OCTOBER GLOBAL CONTENT TRENDS

4K ULTRA HD

10.00-10.45 AUDITORIUM A

10.00-11.00 SONY 4K ULTRA HD THEATRE

BEST OF FRESH TV

UHD: THE LATEST DEVELOPMENTS #1

11.00-12.00 AUDITORIUM A

11.30-12.30 SONY 4K ULTRA HD THEATRE

WHAT TO DO NEXT? KEYS TO A SUCCESSFUL POST- MARKET

UHD: THE LATEST DEVELOPMENTS #2

14.00-15.00 AUDITORIUM A

14.00-15.00 SONY 4K ULTRA HD THEATRE

TRENDING TOPICS: THE MOST BUZZ-WORTHY TRENDS OF THE MARKET

10.00-11.15 AUDITORIUM K

‘GOGOL’

THE VERY BEST IN ULTRA HD

Presented by TV3 Channel

MEDIA MASTERMIND KEYNOTES 11.30-12.00, GRAND AUDITORIUM

RICKY VAN VEEN HEAD OF GLOBAL CREATIVE STRATEGY, FACEBOOK DANIEL DANKER DIRECTOR OF VIDEO PRODUCT, FACEBOOK

8K SHOWCASE

MONDAY THROUGH WEDNESDAY 16-18 OCTOBER 10.00-18.00, AUDITORIUM D, PALAIS 3, PALAIS DES FESTIVALS

NHK IS SETTING UP A NEW 8K SHOWCASE COMPLETE WITH THE LARGE 8K TV SCREEN TECHNOLOGY AND AMAZING 8K CONTENT

GLOBAL CONTENT TRENDS

Presented by NHK

12.00-12.30, AUDITORIUM A

BREAKING STEREOTYPES TO CONNECT GLOBAL AUDIENCES Powered by Diversify TV

YOUR FIRST TIME AT MIPCOM?

12.15-13.00, GRAND AUDITORIUM

ACQUISITION SUPERPANEL— WHAT DO PROGRAMMERS WANT?

SUNDAY 15 OCTOBER

PRESENTING THE WORLD SCREEN CONTENT TRENDSETTER AWARD

17.00-18.30, PARTICIPANTS’ CLUB

FIRST TIMERS “HOW TO” MIPCOM MIPCOM FIRST TIMERS PRESENTATION & DISCOVERY TOUR

SCREENINGS

Welcome drinks From 18.30 in Participants’ club (croisette18)

13.15-14.00, GRAND AUDITORIUM

FRESH TV FICTION

MONDAY THROUGH THURSDAY 16-19 OCTOBER 8.30-9.30, PARTICIPANTS’ CLUB

INDUSTRY SPOTLIGHT 14.00-14.30, AUDITORIUM A

STREAMING PIRACY: CAN YOUR BUSINESS MODEL SURVIVE? By NAGRA

4K ULTRA HD 14.00-14.45 SONY 4K ULTRA HD THEATRE

FACTUAL ENTERTAINMENT IN SPECTACULAR UHD/HDR #2

FIRST TIMERS WELCOME BREAKFAST

MONDAY THROUGH WEDNESDAY 16-18 OCTOBER 16.00-17.00, PARTICIPANTS’ CLUB

FIRST TIMERS COFFEE & COOKIES

15.00-16.00 SONY 4K ULTRA HD THEATRE

THE VERY BEST IN ULTRA HD MEDIA MASTERMIND KEYNOTE 14.30-15.15, GRAND AUDITORIUM

MIPCOM PERSONALITY OF THE YEAR KEYNOTE:

PRODUCERS MEET-UP

MONDAY 16 OCTOBER 14.30-15.30, PARTICIPANTS’ CLUB

MEET UP: LATIN AMERICA CO-PRODUCTION, BUY & SELL

TUESDAY 17 OCTOBER

DAVID ZASLAV

10.00-11.00, PARTICIPANTS’ CLUB

PRESIDENT & CEO DISCOVERY COMMUNICATIONS

14.00-15.00, PARTICIPANTS’ CLUB

20.00, CARLTON HOTEL By invitation Welcome Drinks From 19.30

MIPCOM PERSONALITY OF THE YEAR GALA DINNER HONOURING: DAVID ZASLAV

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MEET-UP: AFRICAN CO-PRODUCTION, BUY & SELL MEET UP: VIRTUAL REALITY

WEDNESDAY 18 OCTOBER 10.00-11.00, PARTICIPANTS’ CLUB

MEET-UP: ASIAN CO-PRODUCTION, BUY & SELL

PROGRAMME AS OF 6 SEPTEMBER 2017. SUBJECT TO CHANGE.

07/09/2017 12:34

Like him … don’t trust him.

MEET US AT OUR STAND P-1.E58

6 x 52’