Mipformats 2015 preview by MIPMarkets

MARCH 2015

mipformats

www.mipformats.com The official MIPFormats magazine

PREVIEW

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MEDIA MASTERMIND KEYNOTE

France Televisions’ Eric Scherer

Fremantle’s Jens Richter Live: 230

SEE PAGE 6

MEDIA MASTERMIND KEYNOTE

Zodiak’s MarcAntoine d’Halluin

Trim: 230 Bleed: 235.0

SEE PAGE 6

Also inside: • The MIPFormats International Pitch • Treasure Box Japan • What formats do buyers want? • Formats for sale in Cannes • and more...

TINY HOUSE NATION™

PAWN STARS®

FORMATS BY A+E NETWORKS SURVIVING MARRIAGE

Bleed: 205.0

DANCE MOMS®

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SMILE

A+E Networks’ hit franchises push boundaries, taking viewers into little-known worlds with ground-breaking concepts. Our expertise and creative talent can bring these successful formats to life in your market. F O R M AT S B Y:

Contact Ellen.Lovejoy@aenetworks.com or visit sales.aenetworks.com/formats to find out more.

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Contents 6

News

MIPFormats Keynote Sessions, including France Televisions’ Eric Scherer, FremantleMedia’s Jens Richter and Zodiak Media’s Marc-Antoine D’Halluin; The MIPFormats International Pitch; Fresh TV

Q&A

The buyers’ market Format buyers from around the world share their shopping secrets

Features Never turn your back on a good story Scripted formats are two of the hottest words in international television

Formats at a turning point The non-scripted industry is waiting for the next big thing

Products For sale in Cannes: formats from around the world

Also inside : 14 Conferences

32 Tips & services

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News Ability to travel key to success in formats, says Zodiak boss

France Televisions’ Eric Scherer, expert in media, new technologies and digital trends, opens the MIPFormats Keynote Series with a presentation on the impact of digital in the TV business

Zodiak Media’s Marc-Antoine d’Halluin

ZODIAK Media CEO MARC-Antoine d’Halluin gives the first MIPFormats Keynote Series presentation on Saturday, April 11. He will be interviewed on the MIPDoc stage by Eric Scherer, director of future media at France Televisions. D’Halluin said that today formats dominate

the schedules and are no longer a genre in the minority. “I was looking at some numbers the other day and saw the percentage of primetime hours that are reported as being made up of formats,” he said. “Across Europe it’s 35%, in the UK it’s 44% and in Sweden it’s 41%. It’s very clear that it’s a genre that has

progressed in a massive way in the past 15 years.” He added: “If I was to take my nonscripted revenues and defined what came from formats and what didn’t, I would say that a huge majority would come from real formats — and by real formats, I mean those that can travel.” D’Halluin said that the biggest challenge for the industry is to find the secret behind those formats that do travel successfully. “That’s our main focus. To try to make them travel, to work out which are the ones that do travel and how, and on what criteria does a broadcaster choose one format over another one?” He added: “We don’t really care where the format idea comes from, either. What we do care about is when we have one that is ready to go, that everything is in place to make sure that it can travel fast across our production footprint, which in the past we were not doing in a systematic way.” He cites two recent examples where Zodiak has refined the process by which formats can roll-out to the international market — game show Dropped and adventure contest Trash Or Treasure. “With these we were aware that the initial success is critical but it’s not the end of the process. The process is about refining the formats to make them appealing across all sorts of different cultures and territories and I can already see the benefits of that with these two shows.”

‘Clear hook’ is key to format potential FOLLOWING Marc-Antoine d’Halluin’s MIPFormats Keynote Series session, Eric Scherer is joined by Jens Richter, newly appointed CEO of FremantleMedia International (FMI). Richter brings to FMI a wealth of experience at the cutting edge of international TV drama — notably, recently, with Red Arrow Entertainment Group where he steered pioneering projects including Netflix original drama Lilyhammer, and Bosch, the first series to be piloted on Amazon Prime and winning a series commission by popular vote. Where scripted formats are concerned, Richter says the industry has become wise to early mistakes. “There were some terrible situations out there in the market where formats had been distributed by different parties at risk to the ready-made content, and that caused chaos,” he said. “But I think in general people are

smarter now and the market is a lot clearer.” The Returned is a co-production with A+E Studios and FremantleMedia North America, based on the popular French suspense series Les Revenants. “We fought very hard to get the format rights for an English-language version and then with the right showrunner, Carlton Cuse, I believe we found the formula which is close to the original — however, it’s special and individual enough in a way that it will play in a slightly different way. So it’s like, you take the format, and then you ask, ‘What’s the market I’m working in and what’s my intention?’” Key to format potential is “a clear hook”, Richter said, citing the shining example of “someone with a terminal illness” in Breaking Bad. FremantleMedia Australia’s Wentworth is another such example: “It’s gritty, there’s a woman’s prison, the storylines are pretty clear — and the (recently launched) German version

FMI’s Jens Richter of Wentworth is basically a one-on-one copy of the Australian one. So you know you have a format when you are dealing with a very specific show and in just a few words, you can very clearly identify the USP of that show. And it must be different enough from all the other shows that are out there. Because if it isn’t, you might have a format but you won’t have a format that can sell.”

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News Q FORMATS MUST EMBRACE DIGITAL SHUSAKU Inoue, chief manager of international sales at Asahi Broadcasting Corp (ABC) is spokesperson for the 2015 MIPFormats Japanese Formats Showcase – Treasure Box Japan, which will feature the latest crop of formats from Japanese broadcasters NHK Enterprises, Nippon TV, TV Asahi, TV Tokyo, Fuji TV, YTV, YTE and ABC. “From here on, we believe that the TV industry will need to create programmes that assimilate digital features,” Inoue said. “With our younger generations being distracted from television by social networks, smartphones and computer games, the challenge is to create innovative shows that can pull this demographic back in front of the TV. I really hope to see something at MIPTV that has the power to do this.” Meanwhile, Japan’s format repertoire goes well beyond the cliche of “crazy game shows”, Inoue said, suggesting that anyone looking for the next Dragon’s Den or Iron Chef should come along to the Treasure Box Japan showcase on April 12. Japan also has a rich back catalogue of formats ready to be revisited, revived and reversioned for a new generation of viewers. “Because our broadcasters are competing with each other in a very tough domestic market, we have many hidden gems in our libraries,” Inoue adds. “For example, last year, ABC and FremantleMedia co-operated on redeveloping our format The Love Table, which was very popular 30 years ago. They modernised the original idea and combined it with Facebook and Instagram to make it relevant to the current market.”

Treasure Box Japan takes place at 12.30, April 12, and is followed by a snack lunch and networking session at 13.20

Formats Pitch judges on lookout for longevity and creativity THE MIPFormats International Pitch invites all creators and producers from around the world to present their new and original, non-scripted entertainment formats to a panel of international industry experts.  This year the panel includes executives from Maverick TV (Embarrassing Bodies), Objective Productions (Ref lex), Zoo Productions (Are You Normal?), Lion TV (Cash Cab), MME and Studio Lambert (Undercover Boss). The winning project receives a €5,000 cash prize, plus a package worth €25,000 to develop the idea, from the event’s exclusive global partner, all3media International. All3media America chairman and Studio Lambert CEO, Stephen Lambert, will lead the shortlist judges to select the five finalists during a live pitching session at MIPFormats on Sunday, April 12. Key criteria that Lambert and the panel will be looking for include creativity, originality, innovation and the capacity to return for multiple series. Format concepts must be new and original and must not have not commissioned or broadcast – and worldwide format rights must still be available. Lisa Gray and Claire Marshall of Australian

Claire Marshall and Lisa Gray

company The Feds, won last year’s Pitch with Zombie Boot Camp, a reality show that, according to Marshall, “trains people for the ‘zombie apocalypse’. So contestants learn survival skills, then they’re tested in challenges of those survival skills.” Gray added: “It’s a reality TV hybrid — it’s like a format, that we have grown to love with reality television, but we’ve put horror in there. We can watch shows about zombies, but this is a chance to be in the middle of that.” Gray said that the MIPFormats International Pitch prize would enable The Feds to realise the tone of the format “and make sure the tone is right. Because it’s really important for us to make sure we treat the zombie mythology with in-depth research, while at the same time creating survival-style games and challenges for people to really get into.”

Tragedy is key to scripted success

tragedy. And the hero or heroes are looking VIRGINIA Mouseler, managing director for the child or mourning the child throughof TV research company The Wit, gives five out the storyline, and that means you can feel presentations at MIPTV this year. Her standtheir pain, so you identify with them. And at the ing-room-only Fresh TV sessions take place same time they can do bad things, and you kind on Saturday and Sunday during MIPFormats, of want to forgive them because of what they and on Monday and Tuesday during MIPTV. have been through. It shapes the hero.” In the field of scripted formats, Mouseler has Examples include Broadchurch, The Missing identified a common theme that runs through and one of the most successful a number of series that have The WIT’s Virginia Mouseler scripted formats of recent times, The enjoyed worldwide success: Killing. personal tragedy and speMouseler addresses all aspects of cifically the loss of a child. the formats business in the follow“Drama is the big trend at ing MIPFormats Fresh TV sesthe moment, that’s what sions: Entertainment & Game Show everyone is looking for Pilots, April 11, 10.20 in the Grand and talking about. And we Auditorium; Scripted Formats, have identified something April 11, 16.00 in Auditorium A; and that you could say is the factual Entertainment & Reality Broadchurch syndrome: a Shows, April 12, 10.20, again in the missing child,” Mouseler Grand Auditorium. said. “It’s the ultimate

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Major launches in China Korea Germany and UK – the successful new face of the dating show

Revealing hidden faces Watching TV on the box

Global award-winning phenomenon with over 25 local versions and now best ever pay-TV launch in Australia

Keep your eyes firmly on the television – or behind a mask – with these two global formats. Dating show with a twist Sexy Beasts is embraced in China, Korea, Germany and the UK as Gogglebox continues its sweeping international success with versions in over 25 territories worldwide MIPTV Stand No: R8.C20 @all3media_int all3mediainternational.com

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Product News The MIPFormats Preview highlights some of the content on sale from around the world at MIPFormats and onwards at MIPTV... HAT TRICK INTERNATIONAL SHOW Me Your Garden, created by

Outline Productions for Sky One, is a new competition format presented in Cannes by the UK’s Hat Trick International. Each episode features three couples who appraise and judge one another’s gardens revealing their gardening tips as they compete for the cash prize and Golden Trowel.

KABO INTERNATIONAL OUR CRAZY Family (154 x 26 mins/6 x 52

mins) is a scripted format presented in Cannes by Kabo International, the distribution arm of French producer Kabo Family. The comedy, which focuses on a family of three generations trying to get along, is a product of Kabo’s Pick’n Mix sitcom format which comprises comedy sketches around particular characters and themes that can be assembled in any order to build 26- or 52-minute sitcoms or episodes of any length to suit a broadcaster’s programming schedule.

Show Me Your Garden (Hat Trick International)

ZODIAK RIGHTS THE DETECTIVE (8 x 60 mins/HD) is a new

investigative format in which former FBI Agent Mark Safarik uses his expertise as a criminal profiler and specialist in behavioural analysis to solve cold cases, and bring criminals to justice. Tackling a different investigation each week, Agent Safarik determines the motives and the methods behind some of the country’s toughest cases. The format is produced by Jarowskij for TV4 in Sweden.

mins) is a pre-school format that mixes live action and animation as the host, Monkey, and his good friend Parrot learn about friendship, animals and the importance of movement.

ZEE BOLLYWORLD ZEE BOLLYWORLD, a

distributor of Indian entertainment content, presents the format rights for Home Minister in Cannes, a familybased game show with a special focus on games between brides-to-be Home Minister and mother- in-laws. (Zee Bollyworld)

Our Crazy Family (Kabo International)

ARMOZA FORMATS ARMOZA Formats is launching their new

primetime competitive cooking format Yum Factor (1 x 60 mins) in Cannes. Each week three people cook two of their favourite dishes for a panel that includes a star chef. The home cooks watch the jury’s reactions without sound and guess which jurors like their dish the most. Every correct guess is worth money, and they can take a double-or-nothing chance to hear whether the show’s star chef thinks their food has the yum factor. The Israeli company also launches Babushka (1 x 60 mins), a primetime studio game show developed in partnership with France’s TF1, where contestants guess what is inside 10 huge Russian dolls. Yum Factor (Armoza Formats)

The Detective (Zodiak Rights)

9 STORY MEDIA GROUP MONKEY See, Monkey Do (26 x 11

LINEUP INDUSTRIES DUTCH formats distributor Lineup

Industries brings a new slate of formats to Cannes, including local singing competition format Beat My Guest. Each week five singers from one town are invited into each others’ homes to practice, over five consecutive days, the singers perform one song from a selection of five hits in the same musical genre. At the end of each day the singers vote for the best song of the day and on Friday the group votes for the best singer of the week. Beat My Guest was created by TVMARK and CCCP in the Netherlands. It has been commissioned by W9 in France where it is produced by Reservoir Productions. The Amsterdam-based company also brings With Open Arms, a feel-good adoption series; Hi-Q, a new game show in which unusually gifted children compete against grown-ups; and Fathers Pride, a father-and-son jungle adventure.

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Product News ELECTUS INTERNATIONAL ELECTUS brings a range of programming

available as formats to MIPTV, including: Style By Jury (6 x 30 mins), a makeover show with hosts Louise Roe and Preston Konrad; The Raft (6 x 60 mins), where two pairs of strangers are stranded in the ocean with the challenge to last seven days at sea; Food Fighters (series 1, 8 x 60 mins/ series 2, (8 x 60 mins), a culinary game show featuring amateur cooks who go head-to-head with professional chefs for a potential $100,000 grand prize; and an adaptation of a Venezuelan telenovela, Jane The Virgin (two series of 22 x 60 mins), about aspiring writer Jane Villanueva, who is accidentally artificially inseminated and subsequently struggles to navigate her complicated relationships.

Style By Jury (Electus International)

THE FREMANTLE CORPORATION THE FREMANTLE Corporation is

highlighting two new formats from its catalogue at MIPTV. Touring T.O. is a single-camera scripted comedy series about two unlikely friends and their intern. Together, they run a rickshaw tour company that specialises in taking tourists to obscure landmarks. Celebrity Room Escape places a team of four celebrities in a locked room, forcing them to work together to solve puzzles, find clues, and escape the room before time runs out.

LOOKING GLASS INTERNATIONAL AUSTRALIA‘s Looking Glass International

OHM:TV TOPPING the Cannes slate for Germany’s

The Fashion Hero (Looking Glass International)

Kicked To The Kerb (ohm:tv)

NORDIC WORLD A NIGHT At The Castle is a new

TVN POLAND‘s TVN offers the series and

is bringing a new project to Cannes. The Fashion Hero (13 x 60 mins) is an international promotional casting event as well as a television series. The format brings together brands and real people with the aim to challenge the way beauty is seen in advertising and media. Starting with a nationwide casting call, 12 fashion and beauty brands choose candidates to compete to represent their products for a year. Candidates register and create their portfolios online and campaign and collect votes through social media, building an audience online and creating a buzz. Brand managers along with online voters will select 120 finalists to be in the running for 24 spots, with two final winners per brand.

ohm:tv is new format Kicked To The Kerb, a half-hour dating show in which a single guy or girl takes a cab ride to a mystery destination. Along the way they stop for four people who might be their perfect match who have just a city block or two to make a big impression. When the next passenger appears on the horizon the guy or girl has to decide whether to wave their driver on or invite their new passenger in. The date that travels the furthest distance will be given a choice, to take a cash prize or they can drive on to play a quiz challenge for the chance to win an awesome date. The series is produced by LA-based format development company Pop Monkey Productions, with ohm:tv responsible for international sales.

paranormal series in which four celebrities take part in a sleepover in an abandoned old castle where they meet a psychic medium who puts them through tasks and trials in order to reveal stories and emotions. The show is an original format idea from Swedish indie ART89 and it first aired on TV4 in Sweden.

format High School in Cannes. The series follows the everyday life of students at a public high school, observing their successes and struggles as they move between childhood and adolescence, from their perspective and their parents.

A Night At The Castle (Nordic World)

High School (TVN)

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Visit Hat Trick Internatio nal at MIPTV 2 015: STAND R 7: F24

Escape the rat race and embrace self sufﬁciency. The River Cottage franchise incorporates a range of individual formats that start with Escape to River Cottage, the original journey to self sufﬁciency, now remade in Australia.

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Can a group of urban dwellers dependent on ready-made meals, make the leap to growing and cooking their own food?

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The proof that it can be done! Th is is the Australi the “River Cotta an answer to ge” experiment – from a house in an undevelope ﬁeld to a succes sful and self sufﬁ d cient farm.

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Can 3 celebr ities learn the ways of River the delights of Cottage and home-grown master and home-co oked food?

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MIPFormats 2015 Conference & Events Programme Palais des Festivals

MIPFormats is the place you have to be to discover the latest industry trends and meet and network with the people and companies that count in the format community.

HIGHLIGHTS 2015 THE MIPFORMATS KEYNOTES SERIES Eric Scherer Director of Future Media France Télévisions

Marc-Antoine d’Halluin CEO Zodiak Media

MIPFORMATS INTERNATIONAL PITCH Jens Richter CEO FremantleMedia International

Saturday 11 April, 16.40-18.00

SUNDAY 12 APRIL

DIGITAL SCREENING LIBRARY opens on Saturday 11 April from 9.30 to 19.00 10.20-10.50

DIGITAL SCREENING LIBRARY opens on Sunday 12 April from 8.30 to 19.00

GRAND AUDITORIUM

AUDITORIUM A

11.00-11.30

9.00-9.30

AUDITORIUM A

THE PRODUCERS TOOLBOX #2:

FRESH TV: ENTERTAINMENT & GAME SHOW PILOTS

THE PRODUCERS TOOLBOX #1:

TV FORMATS & SOCIAL MEDIA: THE DO’S & DON’T

AUDITORIUM K

11.40-12.10

8.45-9.30

MATCHMAKING LOUNGE

THE BUYERS’ MATCHMAKING #2 Pitch your winning formula

9.40-10.10

AUDITORIUM A

THE PRODUCERS TOOLBOX #3:

TV VIEWING TRENDS

NEW WAYS OF FINANCING YOUR FORMATS

Global Partner

Sunday 12 April, 15.00-16.15

SATURDAY 11 APRIL

11.00-11.30

NEW IDEAS. NEW TALENT. NEW FORMATS

10 THINGS YOU SHOULD KNOW BEFORE SIGNING A DISTRIBUTION DEAL

In partnership with FRAPA

AUDITORIUM A

10.20-10.50

GRAND AUDITORIUM

FRESH TV: FACTUAL ENTERTAINMENT & REALITY SHOWS

FOCUS ON THE NORDICS

SCREENING THE BEST FORMATS FROM THE NORDICS

11.00-11.30

12.20-13.00

AUDITORIUM A

GRAND AUDITORIUM

CREATIVITY & DIGITAL: “THE VOICE ” & “THE BIG PICTURE”

DIGITAL & FORMATS: THE TOP 10 BEST IDEAS 11.40-12.20 14.00-14.40

AUDITORIUM A

SPOT THE TALENT:

GRAND AUDITORIUM

NON-SCRIPTED

THE FORMATS FUTURE

11.40-12.10

AUDITORIUM K

THE PRODUCERS TOOLBOX #4: HOW TO WORK WITH EASTERN EUROPE?

The 6th annual edition of C21’s in-depth market analysis charting 2015 and beyond 12.30-13.20 14.50-15.10

AUDITORIUM A

“GOGGLEBOX”:

FORMAT CASE STUDY

15.20-15.50

AUDITORIUM A

14.45-15.30

K-FORMATS: WHAT’S NEW IN KOREA? Sponsored by KOCCA

15.45-16.30

13.20-14.10 14.10-14.50

AUDITORIUM K

SPOT THE TALENT: SCRIPTED FORMATS

GRAND AUDITORIUM

NEW IDEAS. NEW TALENT. NEW FORMATS

Global Partner

GRAND AUDITORIUM

THE MIPFORMATS KEYNOTES SERIES

16.20-17.00

AUDITORIUM A

SCRIPTED FORMATS:

16.40-16.55

ERIC SCHERER, DIRECTOR OF FUTURE MEDIA, FRANCE TÉLÉVISIONS

17.00-17.30

MARC-ANTOINE D’HALLUIN, CEO, ZODIAK MEDIA

17.35-18.00

JENS RICHTER, CEO, FREMANTLEMEDIA INTERNATIONAL

IS EUROPE THE NEW BLACK?

16.20-16.50

AUDITORIUM K

SPOT THE FRENCH TALENT

In partnership with La Fabrique des Formats & TV France International

17.10-17.40

AUDITORIUM A

FOCUS ON THE NORDICS

WHAT NOBODY ELSE WILL TELL YOU ABOUT DOING BUSINESS WITH THE NORDICS

GRAND HYATT CANNES HÔTEL MARTINEZ BEACH

FORMATS & FACTUAL OPENING PARTY

17.50-18.30

AUDITORIUM A

DIGITAL: THE BIRTHPLACE OF NEW FORMATS

FOR ALL MIPFORMATS & MIPDOC DELEGATES

Sponsored by Jiangsu Broadcasting Corporation (JSBC)

MIPFormats thanks its Sponsors & Partners

14.15-14.45

MIPFORMATS INTERNATIONAL PITCH

Pitch your winning formula

FRESH TV: SCRIPTED FORMATS

FROM 19.00

MATCHMAKING LOUNGE

15.00-16.15

THE BUYERS’ MATCHMAKING #1 AUDITORIUM A

AUDITORIUM A

WHEN BRANDS USE ENTERTAINMENT TO ENHANCE AUDIENCE ENGAGEMENT

THE ART OF PROVOCATIVE FORMATS:

16.00-16.30

SNACK LUNCH & NETWORKING

BRAND(ED) ENTERTAINMENT:

MATCHMAKING LOUNGE

“DATING NAKED”, “EXTREME MAKEOVER” & “MOMENT OF TRUTH”

AUDITORIUM A

JAPANESE FORMATS SHOWCASE

TREASURE BOX JAPAN : WORLD PREMIERE - BRAND NEW FORMATS!

AUDITORIUM K

MIPFormats Global Sponsor

- 20

THE FORMAT RECOGNITION & PROTECTION ASSOCIATION

Premium Partner

Programme as of 25 February 2015. Subject to change. Visit mipformats.com for regular updates.

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Q&A

MIPFormats:

the buyers’

market There are as many answers to the question, ‘What formats do buyers want?’ as there are buyers and commissioners. Some want upbeat storytelling and shiny floors; others want authenticity and emotional triggers. Most want interactivity and multiplatform appeal — and everybody, of course, wants The Next Big Thing. Joanna Stephens asks a crosssection of format buyers from around the world to share their shopping secrets

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Q&A

“A sense of humour is essential” CATHERINE CATTON Senior commissioning editor, UKTV Buying for: “Watch and Dave” Looking for: “For Dave, we’re looking for unscripted formats for 20.00, which can be either hours or half hours. We’ve had huge success with Storage Hunters UK, so we’re interested in fast-paced, entertainment-led formats that will skew towards a male audience. Dave is the home of witty banter, so a sense of humour is essential. Top-name talent is also critical, as are larger-than-life characters. For Watch, we’re keen to develop factual-entertainment formats for a predominantly upmarket,

35-plus female-skewing audience. These need to be able to sit at the heart of peak, have scale and be rooted in territories that are compelling for that audience. It’s also key they do not alienate a male audience, but deliver shared viewing. We are not looking for features ideas, but rather entertainment-driven formats that deliver a twist.” Additional rights sought: “We have a collaborative relationship with programme-makers and seek to share rights where possible.” What’s in: “Surprising, entertainment-driven formats with scale.” What’s out: “Features or specialist factual ideas.” Good to know: “We are looking for off-thewall, spiky ideas with scale and ambition.”

“Cost-effective formats are always in” Additional rights sought: “That really depends on the format. Each deal is different.”

JANET FRAWLEY Head of formats, RTE Television (Ireland)

What’s in: “Cost-effective formats are always in. Populist factual, and good game and variety shows are also always in fashion. Making them cost effective without losing editorial impact is the tricky bit.”

Buying for: “RTE One and RTE 2” Looking for: “As a national broadcaster, our needs are very varied. I look at what formats our domestic channel controllers want, as those will have a higher chance of getting an Irish series and therefore have a ratings story to sell to international territories. But I’ll look at everything at comes my way to see if we have the right home for it. For RTE One, we are currently looking for weekday, pre-watershed formats that will play between 19.00-21.00, family factual entertainment that will play well at 18.30 and populist factual formats.”

What’s out: “Different broadcasters and channel controllers want different things, so nothing’s ever really out. We’ll look at all format trends but we don’t always adhere to them.” Good to know: “RTE is Ireland’s national broadcaster, so working with us can bring a lot to the table in terms of partnership in format development and co-development, and access to creativity, talent and studio facilities. We also have our Format Farm pilot initiative scheme, which is another way we engage in finding the right formats for our channels.”

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Q&A

“Harsh reality shows are definitely out” and/or among viewers and broadcaster.”

TAKAKO ISHIKAWA Senior producer, format acquisition team, NHK Enterprises (Japan)

Additional rights sought: “It depends on the format, but possibly videogram, publication, merchandising and the international distribution rights for the Japanese version.” What’s in: “Difficult to say, as there are not too many format acquisitions in the Japanese market.”

Buying for: “All NHK’s terrestrial and satellite channels” Looking for: “Factual entertainment shows suitable for family viewing — programmes that all generations in the family can enjoy together. We are also interested in programmes that offer new forms of interactivity between

What’s out: “Harsh reality shows are definitely out.” Good to know: “As a public broadcaster, NHK is not able to give out prizes or prize money in programmes.”

“Storytellers sharing their passion is a proven recipe for success” Additional rights sought: “We require all TV rights, including digital for our platform TV 2 Play.”

ANETTE ROMER Head of acquisitions and formats, TV 2 (Denmark) Buying for: “TV 2 Denmark and the TV 2 Networks niche channels TV 2 Zulu, TV 2 Charlie, TV 2 Fri and TV 2 Sports” Looking for: “For weekday primetime, we need strong factual entertainment and modern storytelling tailored to the interests of a modern family. For weekends, the focus is on high-concept, family-oriented entertainment programming and big entertainment shows, as well as big-scale, shiny-floor formats for Friday evenings. We are also looking for edgy, male-skewing shows for TV 2 Zulu, easy-going feel-good entertainment for TV 2 Charlie, strong lifestyle titles characterised by passion and jeopardy for TV 2 Fri, and sports-related entertainment for TV 2 Sports.

What’s in: “Danish viewers are very keen on factual entertainment. Our keywords are relevance, identification, credibility, authenticity and remarkable presenters. And the hunt for the next big shiny-floor show is constant...” What’s out: “Over-formatted, predictable lifestyle programing where viewers could practically write the script themselves. The genre as such is not out, but we need new dimensions — a unique cast, emotional triggers or a competition element, for example.” Good to know: “TV 2 main channel needs high share — 25% of our 20-60 target group. We are very keen to secure strong titles that can return for several seasons for our 20.00 opening slot. Programme content must be applicable to people’s lives and feature positive, aspirational, upbeat stories that engage and create an emotional connection with the audience. Unique and energetic storytellers sharing their passion is a proven recipe for success.”

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“We are very hungry for new ideas” PAUL TELEGDY President of alternative and late night programming, NBC Entertainment (US) Buying for: “NBC” Looking for: “We’re looking for broad, inclusive fare that’s inspiring and full of entertainment value. Our shows are best when they inspire and provide relief from hard times — joyful, fun experiences, rather than shocking or controversial ones.”

Additional rights sought: “It depends, but we look for a pretty comprehensive package of rights in North America.” What’s in: “Clever and funny.” What’s out: “Dumb and shocking.” Good to know: “We are very hungry for new ideas, but will take the time where necessary to address localisation and development. We are very active collaborators and think that shows can always be improved upon through sharing good ideas. The US market provides unique challenges for bringing product to launch. We have an audience that is very savvy and sceptical about where to spend their time.”

“Korean tastes change every six months” HWANG JIN WOO Head of formats, senior manager, content development team, CJ E&M (Korea) Buying for: “Eighteen specialty pay-TV (cable/sat/IPTV) channels including tvN, Mnet, Olive, Onstyle, XTM, Tooniverse, Ongamenet. The programming and production teams on these channels seek creative formats that have the potential to become a new brand in Korea.” Looking for: “Formats that possesses empathic ideas, exceptional creativity, strong track records and good sponsorship values. Our previous channel-defining formats include Got Talent, Bet On Your Baby, The Voice, Saturday Night Live, MasterChef, Top Gear, The Phone, Next Top Models and Project Runway. With successful localisation, CJ E&M has been setting new standards with formats in Korea.” Additional rights sought: “Digital and ancillary rights are becoming more important.”

What’s in: “The famous telenovela scripted format Donde Esta Elisa? is being produced and its Korean version is currently airing on our general entertainment channel tvN.” What’s out: “After five successful years, the women’s lifestyle channel Onstyle has finished Project Runway, saying goodbye to the format with a final ‘all-star’ competition series.” Good to know: “Korean viewers are probably the most dynamic in the world. Their tastes seem to change every six months, which means keeping returning series on air is an extremely difficult process. It’s one of the reasons why our buyers look for formats t hat p o s s e s s st rong track records internally and externally. Single episode pilot formats or paper for mats are not easy to get commissioned.”

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“I’ll look at anything, as long as it’s good” CATHRINE WIERNIK Director of programmes for acquisitions and formats, local production and drama, TV4 Group (Sweden) Buying for: “TV4 Group’s linear channels – TV4, Sjuan, TV12, TV4 Sport, Fakta, FXL, TV4 Film, Komedi and Guld — and its digital platforms” Looking for: “Everything from shiny-floor entertainment shows to factual content to big event formats. When I go to MIPTV, I go with a very open mind. I’ll look at anything in any category, as long as it’s good. But it’s the big, breakthrough, must-see formats — shows that will give us a 28%-30% share in prime — that are top of my wish list. These days, when we buy a format directly, rather than co-develop a concept with local partners, it’s got to be really big and we’ve got to feel that we really, really have to have it.”

Additional rights sought: “Anything we acquire must be available to publish, use and market across every platform. We need to cover all our windows — pay TV, free TV, SVOD, AVOD, stand-alone VOD, catch-up — because we need to better, faster and more flexible than the pirates. And we can only do that if we can get content up quicker, keep it there longer, show all episodes on all platforms, and plan strategically across windows.” What’s in: “Food is definitely doing it at moment — the Bake Offs and the MasterChefs are still very strong. But I think it’s misguided to narrow success down to a specific genre. Rather, I’d say that content that’s engaging, authentic, has local resonance and is relevant to the Swedish audience will be successful whatever the genre.” What’s out: “Game shows and quizzes have been ice-cold in primetime for years. The last one that did reasonably well — at least initially — was Million Pound Drop, but generally speaking games just don’t cut it in the Nordic territories. So if you want us to buy something and get excited about it, there’s a 99% chance

it isn’t going to be a quiz show. That said, I never say never to anything…” Good to know: “The big thing for us now is content that has the potential to be big on both linear TV and digital. That’s the code to crack. Our primary focus is on innovative yet broadly appealing content that will attract large numbers of viewers to both platforms. It’s no longer about digital add-ons. That’s not enough. We want shows that can be as big and relevant and can’t-miss and must-see on our digital platforms as they are on telly.”

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Braquo, which Zodiak markets as a format outside the US

SCRIPTED FORMATS

Never turn your back on a good story Broadcasters want drama, preferably local. And today there are new opportunities to turn international hits into home-grown ratings winners. No wonder scripted formats are two of the hottest words in television. Andy Fry reports

and international production at CRIPTED format deals Sony Pictures Television (SPT). come in all shapes and “Everything needs to be “But it’s very rarely about acquirsizes. But when you get adapted to some extent ing and adapting existing scripts,” right down to it, they gento take account of local he adds. “When Ugly Betty came to erally address one of two basic isthe US, it was a telenovela with hunsues. First, a rapidly rising demand culture and taste” dreds of episodes, but what ABC for original ideas that can be reim- Jeff Lerner was looking for was an idea with a agined as signature shows. And seccertain kind of authentic, creative ond, a desire for locally produced voice that could inspire a new series.” content without all the creative and commercial risks The beauty of this idea-led scenario is that the original that origination typically entails. length of the show and its language of origin have no real The former theme tends to be most evident when disbearing on a format’s prospects. Aside from Spanishcussing scripted formats that have been sold into the US. language Ugly Betty, for example, the US market has With an estimated 50 to 60 US channels now in the marseen shows such as Homeland (from Israel), The Killing ket to commission original drama, there is a willingness (Denmark), Red Widow (the Netherlands) and Being to consider fresh ideas from almost anywhere, says Jeff Human (the UK) all being reinvented as US series. Lerner, senior vice-president of scripted development

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Feature Coming soon is The Returned, a French supernatural series being adapted for A+E in the US. This flexible approach to format adaptation does exist in other parts of the world. But most broadcasters outside the US tend to be looking for more than just an idea to work with, Lerner says: “Everything needs to be adapted to some extent to take account of local culture and taste. But in general you are dealing with markets that are less evolved than the US in terms of scripted content and are not so saturated. So you see more broadcasters being faithful to the original scripts and drawing on the existing expertise built up during production. What they are looking for from a scripted format is something proven that can be a consistent long-runner in their schedule.” This has been the case with SPT sitcoms such as Married With Children, The Nanny and Everyone Love’s Raymond, which have been reinvented in numerous markets. “We’ve had a lot of success in Eastern Europe, Russia and the Middle East,” Lerner says. “Now we’re in the midst of launching a local version of Raymond with Star Plus in India, which shows the appetite for scripted formats keeps growing.”

“What makes a deal stick is passionate networks and producers. This is critical, as the financial side of deals can be challenging” Yoni Cohen

As the above examples imply, a lot of the scripted-format business involves shows flowing into and out of the US. There are two obvious reasons for this. First, content-owners that can successfully launch their drama format into the US will have an asset capable of selling around the world — assuming they have managed to keep control of the exploitation rights. It is a fact that a long-running US series will travel further and have more value than any other form of content on the market. Second, the US remains one of the most prolific producers of high-quality scripted content in the world, which means there is plenty of attractive inventory to take to the international market. One US company that has

Boss, now being developed for the UK and Russia

benefited from this is Lionsgate, whose president of worldwide TV and digital distribution, Peter Iacono, says: “We are developing Boss for the UK and Russia. The local version of Nurse Jackie was a great success in the Netherlands and our ground-breaking series Weeds is currently being adapted for Latin America.” Explaining the company’s approach to formats, Iacono adds: “Every deal has to be tailor-made. You need to make the right choices on how to adapt for the local market and find talented local writers and a strong cast able to build their own ‘voice’ for the series, while staying true to the inspiration of the original. Finding the right partner is vital to scripted formats.” Twentieth Century Fox Television Distribution is another of the major US players in scripted formats. Yoni Cohen, senior vice-president of international development and sales, lists his company’s successes: “24, entering preproduction for season two in India; Bones, produced and soon to air in Russia; How I Met Your Mother, entering pre-production for season two in the Middle East; Glee, in

negotiation in India and Turkey; Lie To Me, in negotiation in Russia; Modern Family, in negotiation in India and Turkey, and picked up for another season in Greece; and Prison Break, in negotiation in India and in pre-production in the Middle East.” Echoing the points made above, Cohen says: “There are usually only two reasons for a deal to happen: recognising that creativity knows no boundaries, leading to, for example, US adaptations like Homeland and The Killing; or making up for a perceived skills shortage, be it writers, producers, etc.” Building on Lerner and Iacono’s observations, Cohen says the latter point does not mean that it is possible to just translate a show’s scripts and expect it to succeed: “We are having to do more and more adaptation, or partner with someone to do development with us, before pitching to networks. The format has to be demonstrated to be locally relevant and entertaining, especially since the ratings-winners are almost always locally originated. What makes a deal stick is passionate networks and producers. This is critical, as the financial side of deals can be challenging and only with the right people do projects happen.” That said, US executives believe there is a growing willingness among international networks to take creative risks. “Several of our shows have characters that push the boundaries of the local culture,” Cohen says. This point is echoed by SPT’s Lerner: “Metastasis, which is Caracol Colombia’s local version of Breaking Bad, has been a tremendous success. That was a risk because the US version of the show was so revered and people were asking how it would be possible to do a version without the genius of Bryan Cranston [aka Walter White]. But the team in Bogota have proven that even a show like that has universal themes; that it isn’t so specific it can’t be recreated somewhere else.” Of course, US-related projects are only one part of the scripted formats sector. As the business model has moved mainstream, more and more partnerships are being formed around the world. Mexico’s Televisa, for example, has sold some of its telenovela formats into China, while FremantleMedia’s Australian prison drama Wentworth has been adapted for German commercial broadcaster RTL. Scandinavian producer Yellow Bird made Wallander for the UK, while Turkish drama The End has been licensed as a format by Eccho Rights to the US, Germany, France

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Metastasis, Caracol Colombia’s version of Breaking Bad and Russia. Israel’s Keshet International has made headlines by licensing its format Prisoners Of War to Fox in the US, where it was remade as the critically acclaimed Homeland. But this is just one deal among many, says Keshet International’s CEO, Alon Shtruzman: “The US is important, because of the boost it can give to your format. But it’s not the only opportunity. Prisoners Of War has also been adapted in Korea [Star J], Russia [Weit Media for Rossiya] and, recently, Latin America, where Productions RTI Colombia is making 70 episodes for Televisa, Univision’s Unimas and a Colombian broadcaster. We have also licensed MICE to the US [NBC’s Allegiance] and Korea, and The A Word to the UK.” In Shtruzman’s opinion, the demand for scripted formats is getting stronger and stronger. “Since last MIPTV, it’s been notable to me that more broadcasters are getting involved,” he says. “And I certainly see a growing appetite for and openness towards shows that originate in non-English languages. The message is that are no limits these days to good creativity.” While Keshet’s big scripted hit — Homeland — is a thriller, Shtruzman believes there is a growing opportunity for comedies. “That’s an area we want to be in because a successful comedy has a great shelf-life, as Friends and Seinfeld have proven,” he says. “We have been doing well with titles like Your Family Or Mine, which we sold to the US [Sony Pictures Entertainment/Fanfare Productions/Keshet/

Tedy for TBS] and Greece [Plus Productions for Alpha TV]; Traffic Light, which has aired for seven seasons on CTC Russia; and The Baker And The Beauty [sold to Greece].” Caroline Torrance, head of international scripted at Zodiak Rights, also believes there is growing interest in comedy: “One of our companies, Yellow Bird, has been a pioneer in Scandinavian noir. But we’re also seeing interest in comedy from the region. We have a Swedish comedy called Solsidan that has been optioned in Germany and is the subject of negotiations in France and the US. It’s a useful title for us because it fits well alongside properties such as Braquo and The Returned [which Zodiak markets as a format outside the US].” Other titles that Zodiak has taken to market as formats include Love Me, a Welshlanguage production from Touchpaper about a rural village where a shortage of women encourages the men to advertise for romantic partners on milk cartons. “We’re also looking into out back catalogue to see what titles might work as formats. One that is attracting a lot of interest is Marathon’s soap St Tropez, which comes with a lot of episodes written,” Torrance says. Like her peers, Torrance believes the traditional geographic boundaries are breaking down, encouraging a new wave of partnerships with third-party content creators: “Korean companies have had a lot of success with formats in Japan, but now we are talking to a Korean firm about other regions. Some of their concepts are amazing, and would be perfect for adapting as formats.”

“I certainly see a growing appetite for and openness towards shows that originate in non-English languages” Alon Shtruzman

While much of the debate around formats concerns the issue of creative transfer, DRG senior vice-president and head of acquisitions Noel Hedges says there are also business considerations involved, notably how to balance format ambitions with tape sales. “If we’ve invested in a show, we’re certainly going to want to sell the finished version first. So we will listen to what the buying broadcasters say. If they are worried about having another version in the market, then we might agree a holdback.” Fox’s Cohen says decisions need to be taken market by market, which means it is beneficial to have formats and tape sales managed under one roof. “Things would be trickier if we were not part of the distribution business,” he says. “There are territories where we would never see a format sale because of the success of the original version. In other territories, the reverse is true. One client suggested an output deal of our half-hour scripts! The guiding principle is to do the deals that will return the most to the creators of the original shows.” Hedges points out that it is also important to keep in mind “that developing a format takes

Swedish comedy Solsidan has been optioned in Germany and is the subject of negotiations in France and the US

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Feature a long time, which means the return on investment is much slower than with finished tape sales. So you’re always looking to maximise both opportunities.”

“There are numerous examples of the completed version of a show doing so well in a market that it has inspired interest in the format” Cathy Payne

Black Widows, originally produced by Finnish company Moskito for Nelonen and now picked up by CBS Studios in the US DRG’s big success to date has been Doc Martin. But now that the company is part of Modern Times Group, it is gaining access to a whole new stream of formatable Nordic content. “We’ve already had some success with Black Widows, the story of three thirtysomething women who decide to murder their husbands,” Hedges says. “It was originally produced by our Finnish sister company Moskito for Nelonen and secured a 30% share. Now it has been picked up by CBS Studios in the US.” Cathy Payne, CEO of the distribution division at newly merged Endemol Shine Group, agrees with Hedges that the first priority has to be to recoup the original investment

The Russian version of Everyone Love’s Raymond

through sales, “because deficits are so big in drama. But that’s not necessarily a bad thing for the format. There are numerous examples of the completed version of a show doing so well in a market that it has inspired interest in the format among buyers.” The new SVOD platforms are helping in this respect, Payne adds: “UK drama Black Mirror was picked up by Netflix in the US and has attracted a lot of attention. That might be enough to put it back into consideration as a format for the US.” Like her peers, Payne says the big issue with formats is ensuring you achieve the right

balance between local relevance and the show’s original voice: “One issue with adapting formats for the US is that the buyer sometimes removes the elements that made it a success in the first place. I remember thinking that with Australian comedy Kath & Kim. NBC’s remake of the show didn’t capture the essence of the original.” The length of time it takes to recoup on a format means content-owners need to exercise patience. But there are certain obvious scenarios where it is worth the wait. One is when the original version has not done quite as well as hoped, observes Iacono: “Boss, starring Kelsey Grammer, was critically acclaimed, winning a Golden Globe. Unfortunately it didn’t run beyond two series in the US. But it has been optioned as a format in Russia, as well as to producer New Pictures for the UK. We believe these new local versions have the potential to extend beyond the original version, giving Boss the opportunity to flourish further than it did the first time around.” This observation does not just relate to the new stream of production that flows from successful formats, but also the potential for additional distribution revenues. Echoing the point made earlier about the international sell-on value of US shows, a Russian or Turkish version of a format will have tape-sale value in Eastern Europe and/or the Middle East; a Lat Am version can sell across the entire Spanishspeaking world; and a Korean version can sell into most Asian markets, including Japan. Handled properly, this kind of formatting can transform a single scripted show into a global franchise with superb shelf-life.

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FeatureTHE NEXT BIG THING

Formats at a turning point Photo: Xxxx credit

ITV Studios’ Get Your Act Together sees celebrities learn variety acts, from contortion to plate spinning

The non-scripted industry is heading to MIPFormats 2015 in much the same state as it headed into MIPFormats 2014 — still waiting for the Next Big Thing, still road-blocked by risk-aversion and still wondering how to harness the power of digital to stop younger viewers drifting out of reach. But that doesn’t mean there’s a shortage of ideas, Joanna Stephens discovers

International observes that, with the failure rate of new HERE’s been much talk about the difficulty of channels running as high as 80% in some territories, the breaking new non-scripted formats, with many temptation to stick with reliable pointing the finger at riskbankers is unsurprisingly strong. averse broadcasters opting The superformats may no longer to fill their schedules with tired old “As creators, we’ve got deliver the shock of the new, but franchises rather than take a punt on to take the risks that they continue to deliver respectsomething fresh, surprising and origi- the networks can’t able numbers. nal — and therefore untried, untested afford to take — de-risk Pabst’s view is that, rather than and untrusted. indulging in the blame game, Henrik Pabst, for one, understands the channel, if you like” it’s time producers and distributhe broadcasters’ dilemma. The Mike Beale tors started to share the risks, the managing partner of Red Arrow preview magazine I March 2015 I www.mipformats.com

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Feature rights and, with luck, the rewards with their broadcast partners. That could entail investing in early-stage development through pilots, or entering into part-funding or deficit-financing deals. Mike Beale, ITV Studios’ (ITVS) director of global developments and formats, agrees: “I think, as creators, we’ve really got to take the risks that the networks can’t afford to take — derisk the channel, if you like.” He references Millionaire, pointing out that arguably the greatest-ever game show would not have happened if Celador’s Paul Smith had not been prepared to share the responsibility with ITV of bankrolling the first series. And it’s not just the super-indies that are at it. Over in the Nordic territories — the subject of a special focus at MIPTV and MIPFormats — Nordic World is indicative of the growing number of boutique distributors that are also moving towards a risk-sharing model. “Quite apart from anything else, it makes commercial sense,” says chief operating officer and sales director Jan Salling. “You ultimately lose your investment in distribution rights, which you’re effectively just borrowing for a few years. But

“If you own a piece of a format’s IP, you’re accumulating long-term value for your business” Jan Salling

if you own a piece of a format’s IP, you’re accumulating long-term value for your business.” Nordic World has recently entered into such an arrangement with Boxatricks, the UK format company set up by the team behind Who Wants To Be A Millionaire?, for a new primetime game show The Shortest Straw. “We’re funding the pilot and working to bring in several international investors,” Salling says. These include Nordic World backer TV2 Norway, which has pledged to invest both money and airtime in the new format. “That will be invaluable in bringing The Shortest Straw to life and giving it a ratings story to sell on the export market,” Salling adds. “We’re lucky to have a very co-operative broadcaster owner that’s willing to work with us on this level.” Back at Red Arrow International, Pabst believes a successful launch requires a mix of

Red Arrow’s Escape Your Life offers couples the opportunity to start afresh factors: “You need close co-operation between producer, creator and channel from the start. Of course, you also need the right team behind you; a team that you can trust and that, ideally, already has a successful track-record with a project in a similar space.” And then, of course, you need a great idea, preferably something that chimes with the zeitgeist, is ahead of its time — but not too far ahead — is returnable, scalable, extendable and transferrable, and can be migrated across platforms. Pabst believes that three of Red Arrow’s headline formats for MIPTV — Escape Your Life, Lost In Love, and Married At First Sight — tick all these boxes, not least the one labelled ‘no more constructed reality’. “People are tired of predictable, fabricated stories,” he says. “They want to engage with stories that affect real people with whom they can identify, and where no-one can guess what the ending’s going to be. We’re seeing a strong trend towards these kind of ‘real reality’ formats and it’s one we believe will grow.” Escape Your Life, in which couples are offered the opportunity to start afresh but with no going back to their previous existence, is Red Arrow’s latest foray into social experimentation. Originated by Kinetic Content, the format has now been picked up by TNT for the US. Kinetic also produced A+E’s Networks’ ratings-breaking Married At First

TOP FORMAT TIPS Small World’s Tim Crescenti: “Don’t pitch a show unless you’re completely passionate about it. The buyer will probably buy your passion, rather than the format. And just as importantly, make sure you are really selling a format.” Hat Trick’s Sarah Tong: “Keep looking for the right partners — and wait until you find them. It’s really important that you are completely relaxed about letting somebody else reproduce your material in a remote part of the world. Trust is vital in this process.” The Wit’s Bertrand Villegas: “Stop being a developer and start being a viewer. Before trying to come up with the ultimate twist, ask yourself whether it will really make a difference to the viewer. Who cares about some minor innovation to the game rules?”

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Feature Small World IFT’s The Fan: from Thailand to the UK via Sweden

Sight, devised by Snowman in Denmark. The format, which centres on six unlucky-in-love singletons who take the radical step of marrying a total stranger, has now been sold straight-to-series in more than 15 territories. Nerd TV’s Lost In Love, currently in production for A+E’s FYI in the US, also turns on the unpredictability of love by reconnecting people with their Brief Encounter-style romances. But new ideas can also come out of old ones,

Pabst says. “We regularly take a good look at our archives to see if there are any formats that could be adapted with new elements and smart angles to make them work for today’s market.”

“You need close co-operation between producer, creator and channel from the start ” Henrik Pabst

Fuji Television’s legendary Iron Chef

ITVS’ Beale also believes in rebooting and repackaging formats — although he prefers to call it “celebrating the success and strength of our heritage brands”. It’s easy to take the likes of Come Dine With Me and Hell’s Kitchen for granted, he says, because “they’re always there and always doing well”. In 2014 alone, Hell’s Kitchen was licensed to seven new territories, bringing the total to 17; at the last count, 36 countries had bought into Come Dine With Me’s fail-safe recipe of snooping and sniping. While it is unlikely that the next breakout format is going to be found lurking in an archive, Beale’s point is that, as broadcasters

cast around for the Next Big Thing and fail to find it in the concepts coming through the development pipeline, it makes sense for them to start looking back at the Last Big Things — those formats that have proved themselves territory after territory, season after season and broadcaster after broadcaster. “So we’re looking hard at the message around our heritage formats to make sure that everybody remains aware of them and what they are capable of achieving,” he says. “While we’re very excited about our new shows, we don’t believe that ‘the newer the better’ is necessarily always the best.” Beale’s excitement about ITVS’ upcoming entertainment slate is understandable, given that one of his MIPTV priorities — Get Your Act Together, which debuted on the UK’s ITV in mid-January — includes such delights as exMP Ann Widdicombe with a troop of trained budgies. “I think it’s hilarious,” Beale says of the shiny-floor format, which sees celebrities learn variety acts, from contortion to fire dancing via budgies and ventriloquism. He is also optimistic about the interactive game show Quiz Duel, the second season of which is set to air on ARD Germany’s Das Erste channel. In each episode a team of friends attempts to outsmart the nation — playing via FEO Media’s Quiz Clash app

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Feature — in a series of multiple-choice question rounds. Beale says the show is “tense, exciting and the tech not only works, but has a real reason to be there”. The tricky thing about incorporating technology into formats, he adds, is that “while technology can be fab to play, it can be really, really dull to watch”. The man actually responsible for bringing Dragon’s Den (aka Shark Tank in the US) out of Japan and giving it to the world, Tim Crescenti, president of Small World IFT, has spent more than 20 years on the formats frontline, developing a reputation for truffling out successful shows in unlikely territories, including Romania, Singapore and Finland. One of his recent finds is the Thai game show The Fan, which launched on Sky 1 UK in January, following a successful run on TV4 Sweden last year. He also made headlines — and history — in September by selling the first South Korean format, Grandpas Over Flowers, to NBC, where it will air as Better Late Than Never. In terms of the most significant industry change since MIPFormats 2014, Crescenti has a one-word answer: “Shinedemol”. While the impact on the market of the mega-indie created by the Shine, Endemol and Core Media merger is still being assessed, it promises to be transformative — although not necessarily positively for all. Some fear it could leave mid-sized players vulnerable, caught between the massive scale of the new Endemol Shine Group and the specialist know-how of the nimble boutique distributors.

CREATING A BUZZ Turkey’s Global Agency has become an important player in the formats business since it launched eight years ago. The company’s CEO Izzet Pinto explains how What is new from Global Agency at MIPTV this year? We are expecting MIPTV to be one of our best markets ever. We’ll be launching four strong drama series and eight great formats. Our potential new hits are It’s Showtime and Stairway To Fame. Both are likely to sell to some 20 territories. Everybody is looking for the next big thing and we have two that we believe fit into that category. Buyers should pay attention these projects. How do you explain the growth of the company? Lately we became the world’s leading independent format distributor. This is a big achievement for us. It all started eight years ago with a single format in our catalogue and right now we have 120. In the format business many of the formats available are quite similar to each other. We always aim to find unique formats with original structures. We also look for controversial ideas — for example Choosing My Religion which puts 10 atheists in a house with a priest, a rabbi, an imam and a Buddhist monk for 10 weeks — even though that sells less, because it creates a buzz. Our motto has always been Content that Creates Buzz, so when it comes to selection we don’t mind taking some edgy formats into our catalogue. We are also known for our guerrilla marketing. With huge investment in marketing, we make sure that people know about our new titles. Where are the strongest markets for your programming? For dramas, our strongest markets are Middle East, CEE and Latin America. For formats, it’s Europe and Asia. We work with at least 100 territories so we close deals every single day. Turkish dramas have been popular in over 60 territories and our formats reach around 80 countries. What are your plans for MIPCOM 2015? Turkey will be the Country Of Honour at MIPCOM, so we are excited for this market. We’ll invest heavily at marketing one more time and hold a big party for 1,000 guests. They will have a chance to meet some of Turkey’s biggest stars at our party. We have our strongest catalogue at MIPCOM so I expect the business to keep growing fast.

Asahi’s The Love Table: redeveloped by ABC and FremantleMedia preview magazine I March 2015 I www.mipformats.com

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Feature

Banijay’s Sebastian Burkhardt: “real-time moments that are unmissable”

Hat Trick’s River Cottage: “unique, entertaining and highly repeatable”

The Wit’s Bertrand Villegas: “New talent titles aren’t offering enough novelty”

ITV Studios’ Mike Beale: “celebrating the success and strength of our heritage brands”

Crescenti points to the rise of the ‘true crime’ genre as a trend to have gathered pace over the past year, with cable channels dealing in crime content reporting impressive growth. “Coincidentally, we are launching a brand new unscripted crime format called The Detectives in the first quarter,” he adds. As to what is falling out of favour, the Small World exec predicts that the US is nearing the end of its love affair with the talent show. However, Sebastian Burkhardt, senior vice-president of international distribution at Banijay International, says that the big, lighthouse entertainment formats — “the talent shows with singing, dancing or cooking” — are still playing well in most territories. “And reality is also delivering solid results,” he adds, citing old stalwarts Temptation Island, I’m A Celebrity… Bachelor and Survivor. Bertrand Villegas, co-founder of global research agency The Wit, takes a similar line: “Talent competitions are the safest bet everywhere. Dancing With The Stars, Idol, X Factor, The Voice, Got Talent, MasterChef, the Great Bake-Off… The difficulty for new entrants is that these brands are still big and not eroding fast enough to allow new hits through. So it’s not that talent as a genre is now failing to deliver — it’s just that new talent titles aren’t offering enough novelty. Audiences aren’t getting what’s new about them, so they just think they’re derivative and reject them.”

“The difficulty is that the big brands are not eroding fast enough to allow new hits through” Bertrand Villegas But even though the big format franchises still dominate the schedules, they are beginning to lose viewers — and not just because they are getting tired, but because traditional TV audiences are declining across the board. Burkhardt says that 2014 was a watershed year in terms of viewers migrating from linear TV to the non-linear platforms. In Germany, for example, three of the country’s top-five entertainment formats — Idol, Got Talent and The Voice — have seen sharp falls in viewer numbers. The same is true of the UK. Banijay is attempting to reverse this trend by creating formats that offer events and “real-time moments that are unmissable”, Burkhardt says. An example is Beat Your Host, now in its ninth season in Germany, which is the only one of the country’s top-five formats not to have haemorrhaged viewers in 2014. “This could be attributed to the fact that the show airs live so there’s a real unpredictability to the format, and viewers don’t want to miss the outcome as it happens,”

preview magazine I March 2015 I www.mipformats.com

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Feature Burkhardt adds, echoing Red Arrow’s Pabst. Also event-driven is Banijay’s non-scripted MIPTV priority Something Special, which focuses on this summer’s Special Olympics in Los Angeles. The humorous yet touching Danish docu-series follows mentally handicapped athletes as they prepare for the sporting challenge, revealing passions and dreams that would resonate with any other sportsperson. Sarah Tong, director of sales at the UK’s Hat Trick International, believes that the secret is still, as it has always been, “a very strong central idea that is simple and straightforward to recreate elsewhere”. Pointing to recent deals for Room 101 with SBS Australia, If I Ruled The World with ZDF Germany, Amazing Spaces with TV2 Denmark and Whose Line Is It Anyway with TVP Poland, she adds: “We also provide a personal service from the actual producers of the successful original version, who can work alongside local producers. This reassures international broadcasters from the outset.” With its strong roots in comedy — the indestructible Have I Got News For You, is now in its 48th series on the BBC — is it is perhaps unsurprising that Hat Trick is even making this most tricky of format genres work. “Comedy is a tough sell internationally because sense of humour differs from country to country,” Tong says. But with a few subtle tweaks and a lot of respect for “the core USP of the show”, she maintains that comedy formats can successfully raise laughs across borders.

The same strong-and-simple formula is also working for Hat Trick in factual entertainment, where the likes of River Cottage, Dinner Date and Amazing Spaces are selling well as both ready-mades and formats. Tong ascribes their popularity to a number of factors: “The are unique, entertaining and highly repeatable, as well as giving the viewer plenty of ‘take out’ info, whether on sustainability, cooking tips or renovation.” So what genre is likely to spawn the Next Big Thing? Beale’s money is on physical competitions. “They can have the scale of the talent shows but with that element of danger,” he says. “Since Wipeout came off air in the UK three years ago, I haven’t see anything much in this space.” Small World’s Crescenti is looking in a similar direction: “I think making sports ‘big entertainment’ will happen. Also, I think we’ll see more shows either live or pre-recorded, where the content is kept secret and/or unpredictable until it airs.” The Wit’s Villegas, meanwhile, tips kids in talent, cooking and game shows — and Pabst thinks there’s a lot more mileage yet in social experimentation. But wherever it comes from, Beale is convinced that something game-changing is coming, and coming soon. “The big four formats — Big Brother, Survivor, Idol and Millionaire — that have defined the last 20 years are starting to fade away,” he says. “So I think we’re at a natural turning point. There’s a sea change coming.”

Red Arrow’s Henrik Pabst: “a strong trend towards ‘real reality’ formats”

Asahi Broadcasting Corp and Treasure Box Japan’s Shusaku Inoue: “We have many hidden gems in our libraries”

ITV Studios’ Quiz Duel: “tense, exciting and the tech works” preview magazine I March 2015 I www.mipformats.com

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Tips & Services

Welcome to MIPFormats! Thank you for attending the show this year. There is much to think about to be fully prepared for this exciting edition, so we’ve designed this tips & services section to help you make the most out of MIPFormats To ensure you start off with a bang, please refer to our Quick Checklist Things to do before the Show n Have you prepared your transportation?

Have you arranged your transfer to Cannes? n Have you booked your accommodation? If not, book now at www.miptv.b-network.com and choose from a wide selection of hotels and apartments at special rates n Remember to print out your e-ticket before the show to save time on your badge collection at Registration n Have you connected to the Online Database on Mymip to find out in advance

1• USEFUL TIPS

For more information: riviera@chabe-grandsud.com T: +33 (0)4 93 43 90 91 Desk at Terminal 2: outside arrivals, between gates A1 and A2. Opening hours: 8.00 - 24.00

BY AIR The nearest airport is Nice Côte d’Azur International (NCE), which provides direct flights to many cities around the world. Promotion code (Air France and KLM): 23910AF www.airfranceklm-globalmeetings.com BY TRAIN The Cannes train station is a short walk away from the Palais des Festivals. T: +33 (0)8 92 35 35 35 www.tgv-europe.com

GETTING TO MIPFormats T: +33 (0)4 93 99 27 27 Airport shuttles from Nice to Cannes: €115 (Sedan) or €145 (Van-7 Pax) Evening offer* (4 hours): €333

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

*For quotes and bookings, visit www.chabe-limousines.com/en/events/mipim

GETTING TO THE FRENCH RIVIERA

TAXI

who else is attending the show, to set up meetings and discover projects? n Have you checked the show programme to plan your schedule around screenings, events, matchmaking, keynote and networking sessions not to be missed? n If you are a buyer ensure you plan to screen the programmes and projects at the onsite digital library

*For quotes and bookings, visit www.chabe-limousines.com/en/events/miptv (mipformats)

For more information: riviera@chabe-grandsud.com T: +33 (0)4 93 43 90 91 • The Nice AirportXpress line to Cannes (bus N°210) goes to and from Nice Côte d’Azur International Airport and the Cannes bus station via Le Cannet everyday from 8.00 to 20.00 every 30 minutes. Journey takes 50 minutes. A one-way ticket costs €20 and a return ticket costs €30. 4 Where to catch it: Terminal 1: gate A0, platform 3 Terminal 2: between gates A1 and A2, platform 3 • Bus N°200 also goes to Cannes from MondaySaturday at 20.45 and 21.55. 4 Where to catch it: Terminal 1: platform 3

Inside

1• USEFUL TIPS GETTING TO THE FRENCH RIVIERA GETTING TO MIPFormats

2• SERVICES DIGITAL LIBRARY CLUBS & CONFERENCE ROOMS FACILITIES

• Noctam’Bus N°200 will get you to Cannes in the evenings. It is available Thursday, Friday and Saturday nights and travels from 23.30 to 04.10 every hour and a half. 4 Where to catch it: Terminal 1: platform 3 TRAIN FROM THE AIRPORT To get to the Nice train station from the airport, go to Terminal 1, gate 6, take bus 23, direction Vallon des Fleurs (€1). Buses depart every 5 to 12 minutes. Disembark at Gare SNCF Saint Augustin (second stop). The station is just a few meters walk. Trains for Cannes depart every 5 minutes. A one-way train ticket costs from €5,80. Book your train tickets at www.tgv-europe.com or by calling +33 (0)8 92 35 35 35 CAR RENTAL Our official partner Sixt Rent a Car can provide can provide an extensive range of rental services from their diverse fleet. Promotion Code (up to 10% discount): 9963828* T: +33 (0)1 44 38 55 55 www.sixt.com *Please note that this reduction is subject to availability

preview magazine I March 2015 I www.mipformats.com

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Tips & Services HELICOPTER

REGISTRATION

Azur Helicoptère operates regular 7-min flights between Nice Côte d’Azur International Airport and Cannes. A shuttle takes you from the Cannes heliport to your destination. Show participants benefit from a negotiated rate of €135 per person (+€15 heliport tax). T: +33 (0)4 93 90 40 70 www.azurhelico.com / info@azurhelico.com

Your badge can be collected at registration at the Croisette 21, next to the port. Press representatives can pick up their badges at a dedicated desk.

PRIVATE TRANSFERS Chabé Limousines For short or long trips, from 1 to 7 people, rent a private car with driver and save over 20% with our official partner Chabé. Airport shuttles from Nice to Cannes: €115 (luxury saloon) or €145 (luxury people carrier 7 pax) Evening offer* (4 hours): €333 *For quotes and bookings, visit www.chabe-limousines.com/en/events/miptv

For more information: riviera@chabe-grandsud.com T: +33 (0)4 93 43 90 91 SHUTTLES TO OUR PARTNER HOTELS MIPTV offers you free shuttle service to and from our partner hotels if you are staying outside Cannes during the market. Timetable available on my-mip.com.

UPON YOUR ARRIVAL USEFUL INFORMATION ABOUT CANNES The Palais des Festivals is on the seafront at the end of the famous Croisette. It is clearly signposted throughout Cannes. Address: Palais des Festivals Esplanade Georges Pompidou 06400 Cannes Country dialling code: +33 Time zone: GMT +1 Electricity: 220 volts AC, 50 Hz. Round two-pin plugs are standard Measurement system: Metric Currency: Euro.

Important E-ticket holders: E-tickets will be sent to you via email a few days before the show and are also available in the Miptv.com database section using your personal access codes. They include a barcode for ID recognition. Print it out to collect your badge at a self-service delivery point or scan the QR Code on your smartphone and save time at the registration area. REGISTRATION OPENING HOURS • Saturday, 11 April: 9.00 - 19.00 • Sunday, 12 April: 8.00 - 19.00 MARKET OPENING HOURS • Saturday, 11 April: 9.30 - 19.00 • Sunday, 12 April: 8.30 - 19.00 PLAN YOUR WEEK BE SURE YOUR SCHEDULE IS SET Make appointments and contacts before arrival.

SELLERS The buyers can contact you directly during the day via email as they screen your programmes. SCREENING REPORTS • Screening reports for buyers & sellers will be sent by email at the end of each day. The report sent on Sunday is the final report gathering all informationrelated to the 2 days screening activity. • Screening reports can be printed during the day at dedicated stations in the MIPFormats lounge (Palais 3). For both buyers and sellers, final reports can be printed during the MIPTV, on request, at the Help Desk, Palais 0.

CLUBS & CONFERENCE ROOMS

EVENTS FOR ALL DELEGATES

Audi C, D, E: Palais 3

Palais 3 Open to all participants. Features include a meeting area, free coffee service and Wi-Fi access. CONFERENCE ROOMS Grand Auditorium: Palais 1 Audi A: Palais 3 Audi K: Palais 4 DIGITAL LIBRARY

FACILITIES

Saturday, 11 April, 19.00 Grand Hyatt Cannes Hotel Martinez Beach

INFORMATION POINT

• MIPFormats Snack & Screen

LEFT LUGGAGE