MIPJunior 2010 Preview

September 2010

MIPJUNIOR Preview magazine

HANNAH MONTANA CREATOR MICHAEL PORYES Inside, page 6

T H E

O F F I C I A L

www.mipjunior.com

CONTENT FOR SALE AT MIPJUNIOR Inside, page 10

ALSO INSIDE Power Rangers Are Back • Technicolor in Cannes • Classic Kids Brands • Teens & Tweens • Kids Go Digital • Licensing … and much more

M I P J U N I O R

M A G A Z I N E

Produced with the participation of The Canada Media Fund (CMF), The Shaw Rocket Fund and The Bell Broadcast and New Media Fund

The high school comedy that’s right on the bite-geist!

Produced by:

For more information contact: Sander Schwartz sander.schwartz@fremantlemedia.com

Bob Higgins bob.higgins@fremantlemedia.com

CONTENTS

NEWS 6

Hannah Montana creator Michael Poryes Lisa Henson in Cannes Power Rangers are back!

8

Technicolor at MIPCOM Little Prince wraps a packed MIPJunior The Kids’ Jury

10

PRODUCT NEWS Shopping for Junior

28

CONFERENCE PROGRAMME FEATURES

MIPJUNIOR Preview Magazine – September 2010 Director of publications: Paul Zilk Editorial Department – Editor in Chief: Julian Newby – Deputy Editor: Debbie Lincoln – Sub Editor: Phil Sommerich – Contributors: Andy Fry, Bob Jenkins, Juliana Koranteng, Rachel Murrell – Technical Editor in Chief: Herve Traisnel – Deputy Technical Editor in Chief: Frederic Beauseigneur – Graphic Designer: Carole Peres – Editorial Management: Boutique Editions Ltd. Production Department – Content Director: Jean-Marc Andre – Publications Production and Development Manager: Martin Screpel – Publishing Coordinators: Amrane Lamiri, Bruno Piauger – Production Assistants: Emilie Lambert, David Le Chapelain – Production Assistant, Cannes Office: Eric Laurent – Printer: Riccobono Imprimeurs – Le Muy (France)

24 29 34 38

Classic kids brands get 360˚ makeover Teens & tweens: how to make them smile Digital: the new way to connect with kids Licensing: brands take a long journey

41

USEFUL MIPJUNIOR TIPS

Management, Marketing & Sales Team – Director Television Division: Laurine Garaude – Director of Digital Media: Ted Baracos – Sales Director: Sabine Chemaly – Communications and Partnerships Manager: Dee Perryman – Programme Director: Cathie Laven – Managing Director (UK / Australia / New Zealand): Peter Rhodes OBE – Sales Manager: Elizabeth Delaney – Vice President Sales and Business Development, Americas: Robert Marking – Vice President Business Development, North America: JP Bommel – Executive Sales Director, North America: MJ Sorenson – Sales executive: Panayiota Pagoulatos – Sales Manager: Paul Barbaro – Sales Manager: Nathalie Gastone – International Sales Manager: Fabienne Germond – Sales Manager: Samira Haddi – International Sales Manager: Olivia Screpel – Digital Media Sales Manager: Nancy Denole – Australia and New Zealand Representative: Natalie Apostolou – China Representative: Anke Redl – CIS Representative: Alexandra Modestova – Czech Republic and Slovakia Representative: Milan Stritesky – English speaking Africa representative: Arnaud de Nanteuil – India Representative: Anil Wanvari – Israel Representative: Guy Martinovsky – Japan Representative: Lily Ono – Latin America Representative: Elisa Aquino – Middle-East Representative: Bassil Hajjar – Poland Representative: Monika Bednarek – South Korea Representative: Sunny Kim – Taiwan Representative: Irene Liu – Germany Mobile & Music Representative: Renate Radke Adam – Germany Advertising Representative: Nathalie Daube www.mipcom.com Published by Reed MIDEM BP 572 – 11, rue du Colonel Pierre Avia 75726 Paris Cedex 15 – Contents © 2010, Reed MIDEM Market Publications – Publication Registered: 3rd quarter 2010

Printed on 100% recycled paper

FRANCE 5 returns to MIPCOM with Lulu Zipadoo!, a series aimed a tiny fans of exploration and nature. Lulu the tortoise and her friends live in the countryside, their playground is the surrounding fields, woods, and streams.

More MIPJunior product news on page 10

MIPJUNIOR: NEWS

POWER RANGERS BACK IN CANNES VETERANS of MIPCOM will all remember the noise the Mighty Morphin Power Rangers made when they first hit the Croisette, courtesy of Haim Saban back in 1993. Saban later sold them to Disney, and now, after 17 seasons and 700 episodes, Saban Brands has bought back the property and is creating an 18th season. International distributor is MarVista.

Fernando Szew

“We are making a big push in the children’s and teen and tween space,” said Fernando Szew, CEO of MarVista, until now principally known a distributor of TV movies.

“We are thrilled that we are coming to MIPJunior with two significant properties in that space, the keynote of that being the association with Saban Brands, and Saban being back in charge of that brand. The new episodes are in pre-production right now for a 2011 launch with Nickelodeon here in the US.” The second property is the movie 16 Wishes, a co-production with the Disney Channel. “It premiered extremely well in the US for the Disney Channel and again we control international rights,” Szew said.

The superheroes will no doubt be visible at Saturday’s MIPJunior Networking Lunch, as MarVista is sponsoring the event as part of the re-introduction of the Power Rangers to Cannes – and the world.

Hannah Montana creator Poryes gives Junior lessons in hitmaking THE MIPJUNIOR keynote for 2010 is from Michael Poryes, co-creator and executive producer of the television phenomenon Hannah Montana.

In his address Poryes will explain how Hannah Montana became a global success, both as a stand-alone series and as a merchandising phenomenon. He will also talk about how he plans to follow such a big hit.

“You know, nobody can predict a phenomenon like that,” Poryes said.

“It’s the product of a good idea at the right time, with the right cast, with the right team of writers and production people.”

Initially the series was intended as a a spin-off of That’s So Raven, another Poryes creation, but then The Disney Channel asked for a change of direction: “They said, ‘Could you think of something about a rock star?’” And so Hannah was born — but not initially with Miley Cyrus in mind. “We first saw Miley on videotape and she was 10 or 11 with not a lot of experience. She was sort of green so we didn’t go for her initially. But Miley kept sending us audition tapes. And

she kept getting better, there was something about her — the camera loved her.”

So she came for an audition — along with singing star father Billy Ray Cyrus.

She got the part. “But Billy wanted to come in and read. So we said to ourselves, ‘OK, fine, let him come in and we’ll nod our heads, and then cast the guy we want. He came in, and completely blew us away because he was such a natural. Their love for each other just popped at you. It was a gift!”

We need little reminder of the show’s success — not just on TV: live concerts, video games, hit records and magazines all sold globally, not to mention Miley Cyrus’s success outside of the Hannah character. So can such a success be repeated? Next from Poryes and team comes Life With Boys, produced by YTV in association with Nelvana, with distribution by Helion Pictures, Classic Media and Nelvana, about a 13-year-old girl who lives with her single Dad and three brothers. “Oh my God! The boys outside are as disgusting as my three brothers, but I’m attracted to them!,” Poryes shrieks in

Michael Poryes

mock-teen voice. “For my mind its time is massively ready. It doesn’t have a big hook per se but it has smart writing, smart characters and it’s about things that are totally relatable.” He adds: “My goal is to come out with a product about which the audience will say ‘Man, this is as good if not better than Hannah. I love this!’”

MIPJunior Keynote MICHAEL PORYES Hannah Montana Co-creator & Executive Producer

Sunday 3 October 16.45-17.30

For the full MIPJunior Conference Programme, see page 28

Henson grows the family business AS THE Jim Henson Company turns 55 years old, Lisa Henson is at MIPCOM to spearhead the company’s growth. Its pre-school properties, Sid The Science Kid and Dinosaur Train, remain popular fixtures on PBS Kids, while new online series The Possibility Shop (Disney.com) and Wilson & Ditch: Digging America (pbskidsgo.com) are both to be further developed for television. And recently the company has developed a brand that could be described as ‘unsuitable for kids’. Founder Jim Henson’s daughter, Lisa Henson, explained. “We

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have created Henson Alternative and the logo for that is ‘HA!’, because it is really a comedy brand for adults,” she said. “In fact my father’s very first programme, when he was 19 years old, was a late night alternative comedy thing.” Taking Muppetry to an adult audience was the idea of Lisa’s brother Brian, who wanted to capture the humour that comes from the muppeteers when the cameras aren’t rolling. For MIPJunior, Lisa is focusing on 26 new episodes each of Sid The Science Kid and Dinosaur Train — as well as fulfilling one of Jim Henson’s

dreams. “My father was always pushing me to get involved as a producer and an executive. He had the goal that every one of his five kids would work for the company.”

Lisa Henson

NEWS

KIDS TELL IT LIKE IT IS

City Of Friends creator, Norwegian police officer, Carl Christian Hamre

THE KIDS’ Jury is back at MIPCOM, in Cannes to tell programme makers the brutal truth about their kids’ shows. Organised in partnership with BillyWeb.fr, the jury of 20 children will decide which animation programme they like best in three age categories — Pre-school (three- to six-yearolds), Kids (sevento 10-year-olds) and Pre-teens (11to 14-year-olds). The Jury will screen in a private room during the afternoon of Saturday, October 2. A screening for MIPJunior delegates will be held at 18.00 on the same day, followed by the Awards Cocktail at 19.00.

Sponsor of the event is CreaCon, whose new offering at MIPJunior is the animated series City Of Friends. Created in 2006 by Norwegian swat team officer Carl Christian Hamre, City Of Friends originated as part of a bedtime routine Hamre had with his children.

With his children eager to hear all about his day in the police force, Carl Christian created the City Of Friends as a gentle, more entertaining way of describing his daily job. Distributor of City Of Friends is Parthenon Entertainment.

Coming soon: programmes for kids in glorious Technicolor TECHNOLOGY firm Technicolor is moving into the content creation business and is at MIPJunior and MIPCOM to further this development.

The company’s aim is to leverage its skills and experience as a technology services provider, as well as its existing relationships with studios and production partners.

“Since this is the very first time that Technicolor has entered into content ownership, our goal will be to surprise and excite everyone with the quality of our projects,” Steven Wendland, vice-president, animation at Technicolor said.

“We made a conscious effort to acquire and develop only those that we considered to be 'A' properties.

There are a lot of really good 'B'

Pickles (left) and Berkeley Breathed

properties, but 'A' properties take a lot of effort to find. Our goal is not to acquire a lot of properties, but to nurture and develop only a few exceptional projects.”

Technicolor’s first acquisition is Pete And Pickles, a children's book by Pulitzer-prize winning cartoonist

Berkeley Breathed, best known for his 1980s comic strip Bloom County. The story is about the unlikely friendship between a pig and an escaped circus elephant.

Technicolor is sponsor of the MIPJunior Networking Lounge and the MIPCOM Buyers’ Club.

Little Prince wraps a packed MIPJunior THE MIPJUNIOR Licensing Challenge returns for the seventh year on Saturday, October 2, with Holly Stein, vice-president, licensing acquisitions, Mattel, as jury president.

The event will provide producers and rights holders with the chance to pitch their projects to a jury of experts, who will judge the licensing potential of the programme.

The event is sponsored by KOCCA, the Korea Creative Content Agency, which is also holding a special matchmaking event on Sunday, October 3, between 10.00 and 13.00 with a special focus on co-production and animation in Korea. MIPJunior is expanding its matchmaking events in order to help producers and content creators meet the key international executives working in youth programming. Buyers and commissioners looking for

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projects to develop will come together at a special MIPJunior pitching breakfast to meet MIPJunior delegates. A further matchmaking event bring together delegates looking to acquire new youth programming from producers.

MIPJunior wraps with a Closing Night Party on the Martinez Beach between 19.00 and 21.00, Sunday, October 3. The event is sponsored by Method Animation, in partnership with French distributor PGS Entertainment, and Sony Pictures. The event will be preceded by a MIPJunior premiere, the screening of the first episode of The Little Prince, at 18.00 in the conference room at the Martinez hotel. The $18m series is a co-production with India’s DQ Entertainment, French producer Method Films, France 3, WDR, Sony Pictures and Rai. PGS Entertainment

is distributor of this version of the Francois de Saint Exupery classic.

The Little Prince wraps MIPJunior 2010

The MIPJunior Licensing Challenge Saturday 2 October 16.00 - 17.30

Meet The Buyers & Commissioners Saturday 3 October 8.45-10.15

Meet The Licensing Agents Saturday 3 October 10.30-11.30

For the full MIPJunior Conference Programme, see page 28

PRODUCT NEWS

Shopping for Junior MIPCOMJunior and MIPCOM combine to make the world’s biggest marketplace for animation. And there’s a lot more content available for kids and young people. Here’s some of the multi-platform content aimed at young people, available in Cannes this year …

Mermaid on the menu ZIG & Sharko (78 x 7 mins), is a new series brought to MIPCOM by Paris-based Xilam. The story follows a hungry hyena interested in a gorgeous mermaid for his dinner. However, sadly for him her best friend is a shark.

Zig & Sharko (Xilam)

Justice is served

The cat knows a lot!

NEW YORK- and London-based animation production and distribution company 41 Entertainment (41e) is prioritising four series at MIPCOM. Sally McKay (26 x 24 mins) is the tale of a wannabe journalist keeping a high-school blog who morphs into Jenny Justice, superhero. Blake: Double Indentity (26 x 24 mins) follows world-travelling action twins Justin and Tatiana who work for a government agency.

The company also brings Talma And The Myth Of Agharta, an adventure series based on a missing archaeologist in 1930s China, and Marco Antonio (26 x 26 mins), a comedy animation featuring a mischievous little boy.

CANADA’s Portfolio International brings The Cat In The Hat Knows A Lot About That! (40 x 30 mins), a series produced by Portfolio Entertainment and Collingwood O’Hare Productions, in association with Dr. Seuss Enterprises, Random House Children’s Entertainment, Treehouse and PBS Kids.

Voiced by actor Martin Short, the show guides two six-year-old neighbours on a journey of discovery.

Sally McKay (41 Entertainment)

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Animal rescuers PET SQUAD (52 x 11 mins), created by comedian Caimh McDonnell, is a co-production between the UK’s Darrall Macqueen, Inspidea in Malaysia and March Entertainment in Canada. The series, which debuts at MIPCOM and has already been acquired by CBBC in the UK, follows the adventures of part-time superheroes Dodge the beagle, Sheeba the cat and Bingo the guinea pig. Sony Pictures Television holds the distribution rights, excluding the UK, Malaysia and Canada.

Forest friends GON (52 x 11 mins) features a wordless, orange, dog-sized creature that lives with its pals in a beautiful forest. Produced by Korea’s Daewon Media and based on the Kodansha-owned books by artist Masashi Tanaka, Rainbow Spa holds European rights to the series while Daewon manages the rest of the world.

Art on display ARTZOOKA! (26 x 30 mins), brought to MIPCOM by CCI Entertainment, blends live action and animation in a series aimed at showing kids that there is an artist in everyone. The works produced include digital movies, silk-screened t-shirts, and even lamps made from oranges.

Franklin grows up FRANKLIN And Friends (26 x 30 mins) is a new CGI series brought to MIPCOM by Nelvana Enterprises, based on the original book character. In the updated series, aimed at fourto seven-year-olds, Franklin is maturing and there is a new character — the quirky Aunt T.

Taiki fights back TOEI Animation brings the sixth series of the Digimon franchise, Digimon Xros Wars, to MIPCOM. The series follows Taiki and his friends who are warped into the digital world where Taiki can perform a Digi Xros which can turn his allies into powerful forms to fight the forces of the Bagura Empire.

Elephant tales COOKIE Jar Entertainment’s MIPCOM priorities are: Ella, targeted at two- to five-year-olds, about a friendly elephant and her pals; Mudpit, targeted at nine- to 14-yearolds, about a virtual band that takes part in a competition to win a record contract and world tour; and, Decidedly Debra, about a girl with plans to make her town a happening place.

Ella (Cookie Jar Entertainment)

PRODUCT NEWS

Touring ancient China TAOTAO is an alien boy who accidentally lands in ancient China. His journey includes magical tales of friendship and heroism taking place in historical sites including the Great Wall, the terracotta warriors of Xian, and Henan Shaolin Temple. Tao’s Adventure (52 x 13 mins) is a 3D animation targeted at eightto 14-year-olds, produced and brought to MIPCOM by Forward Animation Studio.

King Ra Ra (Sandman Animation Studio)

King in the jungle SUZHOU, China-based Sandman Animation Studio’s MIPCOM priorities include: King Ra Ra (26 x 11 mins), a pre-school show about a king in Africa who gets into scrapes with his animal subjects; Odd Bod Saves The World! (26 x 11 mins/season two in production), about a group of friends who try to live an environmentally clean life and stop the encroaching Stink City; and, My Pet (26 x 11 mins/season four in production) which features Emily, who tries to find the perfect pet.

Animal behaviour

Mission of mercy

THE UK’s Studio Distract brings pre-school animation The Little Animals (52 x 7 mins) to MIPCOM, seeking broadcasting, licensing and merchandising partners. The series features children dressing up as animals, taking on the animals behaviours and abilities, and aims to encourage sharing, teamwork and learning from mistakes.

Re-inventing DaVinci MOONSCOOP brings high-definition flashanimated series The DaVincibles (52 x 11 mins) to MIPCOM. Aimed at six- to 10-yearolds, the show stars 16-year-old Pablo and his younger sister Zoe as they travel the world with their hilariously inept Uncle Leo DaVinci. The series has a pre-sold to France’s Gulli, Seven in Australia and the Middle East’s MBC3, and was a co-production with Neo Network from Italy, Rai Fiction, SLR; Telegael and Big Animation.

The DaVincibles (Moonscoop)

TWO NEW animated comedy series head the MIPCOM slate for Lincoln Butterfield. Shimmering Nincompoops (52 x 11 mins) and Leaps And Bounds Starring The Fabulous Flying Fabulinis! (52 x 11 mins). The former features the head of a worldwide organisation, who picks three people off the street to run her company better than her deputy.

Leaps And Bounds stars a family of performing acrobats who travel around the world sampling the different cultures.

The friendly Yeti FRENCH producer Toon Factory brings its new HD series about a Yeti and his friends, My Friend Grompf (52 x 13 mins/26 x 26 mins), to MIPCOM. The series is targeted at six- to 10-year-olds and is due to air on France 3 and Disney Channel. The company also brings two other HD series; Samson & Neon (78 x 7 mins/26 x 26 mins and Tony & Alberto (78 x 7.5 mins/26 x 26 mins).

My Mercy Box (Nordic World)

TWO EDUCATIONAL programmes top the agenda for distributor Nordic World. My Mercy Box (10 x 10/11 mins) is a series about Fride, who lives on a hospital ship in Africa called Africa Mercy. Each episode is full of lessons of tolerance and social responsibility from the perspective of a seven-year-old. In contrast, Oistens World (available in various lengths) encourages children to experiment with simple drawing techniques.

Best of friends PARIS-based AB International returns to MIPCOM with B.F.F. — Best Friends Forever, its animated series based on the adventures of two boys, one European and one African. Produced by Galaxy 7 and Blue Spirit, the series is aimed at four- to 10-year-olds.

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Shimmering & fabulous!

My Friend Grompf (Toon Factory)

PRODUCT NEWS

Vipo takes off VIPO - Adventures Of The Flying Dog is a 26episode series for the very young featuring the eponymous hero and his friends as they travel, learning valuable lessons and facts about the world. Producer Vipo Land has commissioned a second season in HD and 5.1 surround sound.

Flights of fantasy YUKO, Mo & Me (26 x 24 mins), brought to MIPCOM by Rainbow Spa, is the story of a young girl at boarding school who discovers that she can transport herself into the CGI-animated world of Centopia, becoming an elf that can communicate with unicorns. The series is a co-production between Lucky Punch, March Entertainment and ZDF, with Rainbow Spa.

Byte-sized lessons Yuko, Mo & Me (Rainbow Spa)

Enjoy your Cake LONDON-based Cake Entertainment brings 34 hours of new programming to MIPCOM. Highlights include: Poppy Cat (52 x 11 mins), a pre-school series based on books by Lara Jones, featuring a playful little cat with a big personality; and, Eliot Kid 2 (52 x 13 mins), featuring 2D character Eliot as he interprets everyday events with wild imagination into Hollywood-style action-adventure blockbusters.

Exploring wereworld

Search for young talent

TAIWAN’s Sofa Studio returns to MIPCOM with Werewarriors (26 x 22 mins), a CGI series with a delivery date of 2012. The story concerns a teenager who becomes a weredragon and discovers a whole world of werebeasts where good fights evil. The company is also prioritising its new series of pre-school animation MuMuHug, in which the characters explore a new island.

CURRENTLY in its third season, The Next Star is a 13-part talent show brought to MIPCOM

by Tricon Films & Television. Aged fifteen years and under, the competitors are narrowed down to six finalists, by a panel of industry experts, to participate in a pop star boot camp. The series culminates with a live concert, and the winner receives a recording contract with Universal Music.

Armor Hero heads for Europe CHINESE animation group Alpha brings Armor Hero to MIPCOM. The live-action series, produced by Alpha, is already popular across Asia and the company is seeking European deals.

Armor Hero is also a successful comic book and mobile game and earlier this year a feature film debuted in theatres. A second TV series is in production, with delivery due early next year.

BARCELONA-based producer Inmagic is launching its new series The Adventures Of Byte at MIPCOM. The animated series, for five- to 10-year-olds, aims to educate children on the proper use of new technologies.

The project will be distributed across TV, internet, mobile games and iPad.

The Adventures Of Byte (Inmagic)

From France to the world FRANCE Televisions Distribution’s MIPCOM slate includes: Lulu Zipadoo (52 x 13 mins), a pre-school exploration animation; Word World (84 x 11 mins) a multi-platform project for learning English; musical show The Podcats (78 x 7 mins); teenage drama Summer Dreams (120 x 26 mins); and science series The Whizz Report.

Playing for freedom

Armor Hero (Alpha)

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IMIRA Entertainment is at MIPCOM with 3D animated series Escape Hockey (26 x 26 mins), a co-production with Enne Entertainment Studios and Spanish broadcaster TVE. Imira is handling worldwide sales, and at MIPCOM is seeking further partnerships with broadcasters.

Aimed at six- to 12-year-olds, the series features Dan who has to win his freedom from a prison planet by winning a hockey tournament. The project also includes a gaming format.

Programming That Matters

NEW PROGRAMMES FOR CHILDREN IN 2010

– Winner of Eurovision Song Contest 2009 –

Draw with Oistein | various lengths

My Mercy Box | 10 x 10-11‘

Come and visit us at stand no. R31.18 Nordic World World AS · Karl Johansgate 14 | Box 2 | Sentrum · N-0101 Oslo · tel. +47 22 81 42 88 · www.nordicworld.tv www.nordicworld.tv

www www.nordicworld.tv .nordicworld.tv

PRODUCT NEWS

Heavenly feature

Indian Fables (Monster Distributes)

LOS ANGELES-based Cinema Management Group (CMG) brings a new 3D animated feature adaptation of the children’s book The Littlest Angel to MIPCOM. The film tells the The Littlest Angel (CMG) story of a young boy who arrives in heaven before his time and has difficulty adjusting to his new celestial life. The Littles Angel gives a modern take on the traditional Christmas story. The film, for which CMG holds international DVD/TV rights, will be delivered in time for a Christmas 2011 release.

Fish tales, and more MONSTER Distributes brings a range of children’s programming to MIPCOM including: Indian Fables (26 x 11 mins) a 3D series for three- to eight-year-olds; Baaas (104 x 12 mins/52 x 24 mins / and Christmas, Ramadan and Eid specials) a multicultural family sitcom that is a co-production between Wales-based Ceidiog, S4C and Al Jazeera Childrens Channel / JCCTV; and Monster’s first in-house production I’m A Monster (52 x 2 mins).

Green fingers

Young parisians

Learning to play

GASPARD And Lisa (50 x 11 mins) is an animated series for pre-schoolers starring two six-year-old best friends as they experience the wonders and challenges of school, family life, and their Paris neighbourhoods. TF1 in France is launching the show in autumn 2010. The series, which includes a 22-minute special, is launched to the international market by Chorion at MIPCOM.

THE BELLY Button Buddies (26 x 5 mins) is a live action series that aims to provide encouragement for creative play. Simple items like magnets, tissue paper, ramps, reels, boxes, and toilet paper become props for wordless games of discovery. The series is brought to MIPCOM by Canamedia.

Dreaming of dancing

INITIAL episodes of new series Zookaboo (104 x 2 mins) are brought to MIPCOM by BRB International. The series, aimed a three- to six-year-olds, features guessing games using different animals hidden in curious little box. Hint by hint, the box gives clues as to which animal is hiding inside. Zookaboo, which will be available for broadcast at the end of this year.

ZENTROPA Norway has signed award-winning animation director Anita Killi to direct its children s film Prima Ballerina. Development is under way on the emotional story about a little girl from a small farm who, inspired by her mother, follows her wildest dreams. The film is aimed at children between the ages of five and 11.

Guessing games THE LATEST production from Spain’s D’Ocon aims to entertain while educating viewers to lead a more sustainable lifestyle.

Enertips ( 26 x 26 mins) is set in a city of friendly, finger-shaped characters. The Handy family uses its imagination to face the conflicts provoked by their wasteful neighbours, the Stickyfingers.

A magical childhood

Tales from Taiwan TAIWAN’s Xanthus Digital Pictures headlines its MIPCOM slate with two series. Traces (13 x 24 mins) is an HD animation for five- to tenyear-olds about a time-travelling pair of friends who learn lessons from different eras while helping people in trouble. Yameme (26 x 12 mins) is set in Devil City, populated by monsters based on ancient Chinese legends.

The action focuses on the Kings daughter, and the series is aimed at seven- to nineyear- olds.

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Grachi (Comarex)

CURRENTLY in development by Nickelodeon Latin America, Grachi (75 x 60 mins) is a new HD live action series for tweens and teens featuring Grachi, a young girl who must learn to use her new-found magical powers, while coping with school, boys and growing up. The series is brought to MIPCOM by Comarex.

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PRODUCT NEWS

Searching for youth BETA Film's new children's brand Wunderbox includes more than 70 hours of new programming for pre-schoolers to teens. In Tiger Team (90 mins) friends search for the elixir of eternal youth in the Chinese jungle; and Chi Rho (26 x 22 mins) is an animation that takes children back to biblical days. In post-production now is the animated series Trenk, The Little Knight (13 x 22 mins), and Wild Soccer Bunch (13 x 22 mins).

Tiger Team (Beta Film)

Learning away from home

Good wins over bad

ASK LARA (26 x 11 mins), a series aimed at nine- to 13-year-olds, is brought to MIPCOM by Barcelona-based animation studio Tomavistas.

Lara — a 12-year-old whose emotions range from enthusiasm to anxiety — and her friends from around the world, live with host families, and study together at a language school.

TOP-INSIGHT International is at MIPCOM to showcase new 52-episode half an hour HD animation The Mon’s (52 x 30 mins). Set in a world where monsters roam the earth, The Mon’s tells the heroic tale of how the good guys, using wit, magic and Kung-fu, always come out of life-threatening situations and successfully tame the monsters.

Little Prince in space THE LITTLE Prince, the popular Saint Exupery story, has been brought to the small screen in a new CGI series brought to MIPCOM by PGS Entertainment. The series (52 x 30 mins) features the eponymous hero who leaves his asteroid after a visit from the snake who has caused chaos throughout the galaxy. The Little Prince brings equilibrium back to the planets, and has to find his way home. PGS Entertainment is handling worldwide TV distribution, excluding Asia (Sony Pictures) and the SAARC region (DQ Entertainment).

Virtual scrapbooks

Young linguists

SKYWRITER Media and Entertainment Group has chosen MIPCOM to launch two new children’s animated properties. Vivi (52 x 11 mins/104 x 5 mins) follows a girl full of imagination who fills her scrapbook with adventures.

An online component allows kids and their families to create their own scrapbooks of their real or imagined treasures. In Camp Lakebottom (26 x 11 mins) is about the most horrible and scary summer camp in the world.

A NEW television series designed to teach English to pre-school children from around the world is brought to MIPCOM by Octapixx Worldwide. The series, iKnow (26 x 30 mins), uses stories full of colours, letters and sounds, complete with original songs and music, teaching children to verbalise language while focusing on animal names, and learning the basics of science and the environment.

Mousey dread DHX MEDIA is launching Rastamouse (52 x 11 mins) to the international market at MIPCOM. Rastamouse, together with Scratchy and Zoomer, make up the Easy Crew — a crime-fighting, mystery-solving, special agent, reggae band. EMI Music Publishing is investing in the show with a reggae inspired soundtrack, which will be produced by The Rastamouse Company and UK composer Andrew Kingslow. The series is currently in production for CBeebies in the UK.

Lazy cat gets busy

Vivi (Skywriter Media and Entertainment Group)

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THE FIRST episodes of the second series of The Garfield Show — starring the lazy, selfish, orange tabby cat — are brought to MIPCOM by Mediatoon. Dargaud Media is producing 52 new episodes, with the participation of France 3. Delivery is due in early 2011. Also, 52 shorts of 40 seconds will be available for multi-platform and mobile content, and a supporting website translated into eight languages.

Rastamouse (DHX Media)

PRODUCT NEWS

Let the viewer decide Message of peace THE OLIVE Branch (26 x 1 min) is a new series made with the endorsement of Archbishop Desmond Tutu, the Simon Wiesenthal Center and UNICEF, and produced by Little Airplane Productions’ newly-established non-profit Little Light Foundation. It features two characters that live in an olive tree and find peaceful ways to resolve their differences. The programme is offered to broadcasters for one unit of their own currency per episode to ensure the widest range of children have access to it. To help cover production costs, broadcasters can make additional contributions to Little Light Foundation.

The Olive Branch (Little Airplane Productions)

CANADA’s Picture Box Distribution brings a new multi-platform kids’ series to MIPCOM. In Pillars Of Freedom each animated episode has an unresolved ending that encourages viewers to vote on what characters should do.

The possible solutions, which involve viewer feedback via the internet, are revealed online and on air.

Dragon tales FLORRIE's Dragons (52 x 10') stars a young princess and her bubble-blowing best friend Dear Dragon, and their other dragon friends.

Produced by Wish Films UK, South Africa's Clockwork Zoo and Studio100 Animation of the Belenlux, the series is brought to MIPCOM

by Germany’s Studio100 Media, which is responsible for the worldwide distribution excluding the UK, South Africa and Scandinavia.

Wakfu crosses over Green teens

Making a mess of magic

FRANCE’s Gaumont-Alphanim is launching The Green Squad (52 x 13 mins) at MIPCOM, an adventure series produced with the participation of France Televisions. The series features three siblings who enlist the aid of a global blogging network to save the planet’s natural treasures. Also new to the studio’s lineup is Italy’s Cartoon One/ Rai co-production Teen Days (26 x 30 mins), a sitcom about six teenagers at a performing arts school.

REKKIT Rabbit (104 x13’) is an HD comedy animation featuring a 10-foot crazy rabbit who fled his job as a magician’s assistant and found himself in his new owner Jay’s world, and they both grapple with his unreliable magical capabilities. Scheduled to premiere on TF1 and Disney Channel Europe in early 2011, Rekkit Rabbit will be available for pre-sales at MIPCOM, and is distributed worldwide by Zodiak Rights.

Cinderella goes wild TORONTO’S Cinemavault is prioritising an unusual take on the Cinderella story at MIPCOM. Cinderella 3D begins when a charming prince arrives at a small town and a Wild West Gala is put on to welcome him. On the night a magician turns poor Cinderella into a spectacular beauty. Before she is able to dance with the prince, pirates invade the party and Cinderella has to fight her way out before the magic disappears. But will the prince and Cinderella ever find each other again?

Cinderella 3D (Cinemavault)

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Wakfu (Ankama)

MULTI-platform project Wakfu is brought to MIPCOM by Ankama, with content including an animated TV series, online game, publishing projects and merchandising products. The series is broadcast in France, Germany, Poland and Morocco, and is moving soon to Spain and Italy. Ankama is currently producing a second season (26 x 24 mins), scheduled for next year.

Driver Dan goes digital TWOFOUR54, the Abu Dhabi government initiative to support Arabic media and entertainment content creation, has produced an interactive, dual language (English/Arabic) website for it’s children’s series Driver Dan’s Story Train. The company has also inked a deal with 24-hour pre-school television channel Sprout, an American digital cable network, to air Driver Dan’s Story Train in the US.

Worldwide TV Sales (excl Asia) & Video North America: PGS Entertainment #25.02 email: sales@pgsentertainment.com. Phone: +336 1404 0838 TV Sales Asia & Video (excl North America): Sony #RB.20 email: angel_orengo@spe.sony.com. Phone: +852 2913 3721

distributed by

Adaptation Rights: LPP612 - Société Pour l’œuvre et la Mémoire d’Antoine de Saint-Exupéry - 2008 © 2010 - LPPTV - Method Animation - LP Animation - Sony Pictures Home Entertainment (France) - La Fabrique d’images - DQ Entertainment Limited - ARD

MIPJUNIOR: CLASSIC CHILDRENS’ BRANDS

Power Rangers (MarVista)

N E W L O O K F O R O L D FAV O U R I T E S

Classic brands get a 360˚ makeover With the kids’ market more competitive than ever, the trend towards re-booting old brands seems to offer a way forward. But what makes a classic brand work for a new generation, second — or third, or fourth — time around? Rachel Murrell reports

T

HEY say nostalgia isn’t what it used to be, but in the crowded kids’ market, the trend for a return to classic brands is big business.

Whether it is remakes of shows like Lassie, Power Rangers or Maya The Bee, or adaptations of books, our screens are full of familiar faces.

To some this suggests a lack of originality and an unwillingness on the part of broadcasters to take risks.

Others see a yearning for security in these troubled times.

But there may be more to it than either of those.

“Recognition is important,” says Ed Galton, managing director of Cake Entertainment’s distribution arm.

“That’s true in adult brands as well.

The return of a known brand is an easier sell.”

It is not just a question of dusting off old scripts and hiring a 3D director, though. “It’s important to modernise the shows to the requirements and habits of a new generation,” says Patrick Elmendorff, managing director at Studio 100, which is remaking 2D classics such as Maya The Bee, Vicky The Viking and Heidi in its Paris production unit.

“We are remaking them as high-quality 3D shows,” Elmendorff says.

“We’re reducing the number of episodes from 104 to 78, and cutting the length from 26 to 11 minutes.

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We’re also using new platforms that didn’t exist when the brands were originally developed — online games, PC and console games, educational software, home entertainment (DVD, audio CD), video on demand and download to own (DTO).”

Vicky The Viking is set for release in 2013. A live-action movie version came out in 2009, and a second is slated for 2011; Elmendorff claims licensees have tripled already.

“By offering a 360-degree marketing approach and investing in content, merchandising, licensing and marketing, we are giving licensees a successful platform to build on,” he says.

New episodes of old friends are reassuring for risk-averse broadcasters, too: they bring familiarity, and at the same time the novelty they need. But that hasn’t induced The Jim Henson Company to put Fraggle Rock back into production. Instead, it is building an all-new TV series in CGI around some well-loved secondary characters, The Doozers. Original episodes of the 30-year-old show are set to air in October on The Hub, and there’s a movie too.

“This targets former fans who are now young parents,” says COO Peter Schube. “They have nostalgia and are eager to share a show they loved with their own kids.”

MIPJUNIOR: CLASSIC CHILDRENS’ BRANDS

It is “pester power” in reverse. Instead of kids imploring their parents to buy something the parents don’t know, it’s parents encouraging their kids to watch something they themselves loved as a child. And for “loved”, read “trusted”: in today’s busy world, where parents, carers and grandparents can’t scan all the content on offer, a trusted brand offers reassurance and saves them time and trouble.

“

This targets former

fans who are young parents. They have nostalgia and are eager to share a show they loved with their own kids Peter Schube

”

These young parents tend to be early adopters, so Schube is targeting them — and their kids — with content and Apps on iTunes too. But, as he explains, it is fundamentally about the quality of the show. “It all comes down to creating very high quality entertainment, compelling characters and connecting with our audience. When we create a show, we develop it for longevity.”

Power Rangers is another brand that has shown endurance. Created by Haim Saban in 1993, the show helped launch Fox Kids, and was later bought by Disney. Seventeen seasons and 700 episodes later, Saban Brands bought it back and is creating an 18th season with new episodes to air on Nick in the US. “There will be a new cast, and a new look and feel, but the style won’t change,” says Fernando Szew, CEO

Maya The Bee (Studio 100)

of distributor MarVista.

As well as getting the content right, Szew believes that having the partners will inspire industry confidence. “This will be a 360-degree campaign by Saban Brands,” he says. “And with MarVista, Nick and Bandai [the master toy licensee], the commitment and marketing muscle involved is second to none.”

Another factor driving the trend towards rebooting is the growing conservatism of retail. “The reliance on known brands is coupled with less shelf space for new ones — and for kids stuff in general,” says Cake Entertainment’s Galton. “As with adult brands, the return of a known brand is an easier sell.”

That is not to say that only classic brands sell now. “We work hard to turn our new brands into franchises,” he says. “But we’re not looking for the next toyetic property. You have to have good ideas first, as we did with Total Drama Island.”

But there is more to this than just “flashing the brand”. If you bring a well-loved brand back to the market, you may benefit from nostalgia, but you also have to deal with audience expectations.

Toei Animation discovered this when it relaunched Digimon. The first series aired in 1999, accompanied by movies, cards, video games and, of course, toys. After four sea-

Twenty-five years after the original series aired, the Voltron brand is to be rejuvenated.

Produced by World Events Productions (WEP), Kickstart Productions and Classic Media, Voltron Force, debuts on Nicktoons in 2011. Classic Media will handle international distribution and worldwide merchandising and licensing. Mattel is developing a line of Voltron toys

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sons, production stopped. Then, after a hiatus of three years, Toei went back into the fray.

“With the fifth series, we took more time developing the storylines, conflicts and characters,” says Kenji Ebato, chief manager of Toei Animation’s international department.

“We also tried to attract girl audiences in Japan with different characters and storylines.” But the attempt was judged a failure. “So, with Digimon 6, we went back to our original concept and produced an action/comedy series for boys aged six to 11.”

Nicolas Atlan, co-CEO of Moonscoop and executive chairman of the US operation, agrees that remodelling a brand is far from easy.

Moonscoop brought Fantastic Four back to TV, but for a younger audience. “It is very challenging to respect the integrity of the brand and at the same time make it for a slightly younger demographic,” he says.

“There are different ways to remodel a brand, but the important element is the content. With Fantastic Four, the key change was comedy. We knew that plain adventure isn’t enough for this audience.

We needed to bring a more accessible type of comedy.

“We started talking to Marvel in 2005, and worked hard to ensure they were happy with our plans.

We began production in 2006.

This was very exciting for us.

We’re fans as well as producers.”

Good marketing helps, and having the brand on other platforms can be beneficial. But in the case of Fantastic Four, there wasn’t real cross-promotion with the movies.

“There could have been more synergy,” Atlan admits. “And later we discussed co-ordinating marketing of the TV series and the DVD release with Fox Video, but it proved too complex.”

MIPJUNIOR: CLASSIC CHILDRENS’ BRANDS

But by then Moonscoop had the rebooting bug.

“In rebooting Casper The Friendly Ghost as Casper’s Scare School, we used richer stories, additional layers of story and a set of new young characters. And we’re now trying to reboot Code Lyoko. It has been 2D and 3D, and now we’re trying to make a live action/CGI version.”

Increasingly, producers are looking to build longevity into their brands from the outset. Producer Mike Watts of Novel Entertainment has recently announced a live-action movie spin-off from his 2D series Horrid Henry. But why live action?

“We felt that live action was an opportunity to reach different members of our audience,” says Watts. “The books target six- to nine-year olds, but TV plays from four to 10. Also, the animated fea-

“

In rebooting Casper The Friendly Ghost as Casper’s Scare School, we used richer stories, additional layers of

story and a set of new young characters Nicolas Atlan

”

tures market is very competitive: live action is rarer in the UK. And it allows us to do different things.”

Astley Baker Davies is about to

make 104 more episodes of its hit show Peppa Pig. Peppa already has 104 five-minute episodes, but, says producer Phil Davies: “Licensees get nervous when they hear you’re nearing the end of production. New episodes provide them with longterm security.”

With such a short show — just five minutes — new episodes give broadcasters increased scheduling flexibility, which helps keep the show on air in multiple territories.

But, unlike others, Astley Baker Davies has no plans for drastic remodelling. “The costs of doing it in 3D are too great for the UK market, and we don’t want to co-produce it overseas,” Davies says. “We’re not considering a feature film, either: longer form is very difficult for this age group. But then again, never say never.”

Toei Animation’s Kenji Ebato: “Back to original”

Studio 100’s Patrick Elmendorff: “360-degree marketing”

The Jim Henson Company’s Peter Schube: “Former fans are now parents” Fraggle Rock (The Jim Henson Company)

MIPJUNIOR PREVIEW MAGAZINE 2010 /

27

CONFERENCE PROGRAMME

This is where it begins.

2-3 October 2010, Cannes, France Conference Room

Licensing Lounge

SATURDAY 2 OCTOBER

SUNDAY 3 OCTOBER

Martinez Hotel

Martinez Hotel

8.45 - 10.15 MEET THE BUYERS & COMMISSIONERS

10.00 - 11.30 KICK-OFF WORKSHOP: HOW TO PITCH

11.45 - 12.30 CASE STUDY: CREATING A FAMILY BRAND

13.00 - 14.30 MIPJUNIOR NETWORKING LUNCH Martinez Beach

14.45 - 15.45 THE BUYERS’ SUMMIT 15.30 - 16.00 Conversation with...: Hear the Licensing Agents 16.00 - 16.30 ...Followed by Networking 16.00 - 17.30 THE MIPJUNIOR LICENSING CHALLENGE 17.30 - 17.50 PAUSE CAFE - Networking Lounge

10.30 - 11.30 MEET THE LICENSING AGENTS

10.00 - 13.00 WHAT’S NEW IN KOREA? Meet the New Content Producers Salon Macassar

12.00 - 12.30 Conversation with...: Hear the Licensing Agents 12.30 - 13.00 ...Followed by Networking

13.00 - 14.30 LUNCH BREAK

14.30 - 14.50 DIGITAL REVOLUTION IN KIDS’ PUBLISHING OPENING PRESENTATION 14.50 - 15.45 THE “i” GENERATION! GAMES, APPS & NEW DEVICES 16.00 - 16.30 NEW CREATIVE DEVELOPMENT MASTERCLASS 16.45 - 17.30 MIPJUNIOR KEYNOTE: MICHAEL PORYES Hannah Montana Co-Creator & Executive Producer

18.00 - 19.00 KIDS’ JURY SCREENING

18.00 - 19.00 PREMIERE SCREENING Le Petit Prince - The New Journey Begins

19.00 Onwards COCKTAIL & AWARDS CEREMONY

19.00 - 21.00 CLOSING COCKTAIL Martinez Beach

This Programme is subject to change.

Please visit www.mipjunior.com for regular updates.

MIPJunior THANKS ITS SPONSORS

MIPJUNIOR: TEENS & TWEENS

AUDIENCE ENGAGEMENT

How to make them smile

From age eight to 18 there is an avid audience out there for entertainment, but it’s tough capturing their attention. Andy Fry hears from those who are having some success entertaining this fickle audience

Vampire drama Split, from Israel's Dori Media Group

OR INTERNATIONAL producers and distributors, the appeal of US teen and tween shows such as iCarly, SpongeBob, Glee and The Simpsons is a major challenge.

This is not just because of the quality of such shows, says Josh Scherba, senior vice-president, distribution, at Decode Enterprises "but because

F

US style and pacing is now the norm for many broadcasters. If you can't match the US studios in scripting, casting and editing, then licensing shows to channels is harder." Canadian producers are better placed than most though, "because there's a common cultural heritage with the US", Scherba says. "That's cer-

tainly an advantage in areas like kids’ live-action comedy. There's also a realisation among US networks that Canadians can produce quality halfhour shows cost-effectively, which is why you see some pick-ups."

At Decode, the emphasis has been on tweens, Scherba says. "The teen market is more difficult because

older kids develop a taste for primetime and access primetime shows.

But the good news is that there's a distinction between content for tweens [eight- to 12-year-olds] and the edgier shows teens prefer." At MIPCOM, for example, Decode headlines How To Be Indie (26 x 30 mins), a character-based tween

MIPJUNIOR PREVIEW MAGAZINE 2010 /

29

MIPJUNIOR: TEENS & TWEENS

comedy which debuted on YTV and has sold to the UK and Australia.

"The good thing about this show is it can fit neatly alongside US shows in schedules." Another Canadian firm, Cookie Jar Entertainment, is also viewing the tween/teen audience with interest — though, like Decode, it is approaching older kids with caution. "It's an under-served market," says Tom Mazza, head of worldwide TV at Cookie Jar, "but there are so many distractions for teens and young adults it's like trying to hit a moving target."

Initially, Cookie Jar is focusing its energy on tweens. "We're moving into live action and have just done a deal with Family Channel Canada on Decidedly Debra, a 13 x 30minute comedy based on a 15-year old girl who has the ability to make things happen — a rain-maker."

The deal is a coup for Cookie Jar. But what does it take to succeed internationally in a genre where the

US is so strong? "You have to listen to the audience and be committed to doing the best show you can — through casting, writing, direction into post-production."

“

It's an under-served market, but there are so many distractions for teens and young

adults it's like trying to hit a moving target Tom Mazza

”

The Canadian position in exportable animation is also healthy — with strong titles including Fresh

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TV's reality TV spoof Total Drama Island and Nelvana's launch of Beyblade: Metal Fusion (licensed to Cartoon Network US, Gulli in France, Disney XD in Benelux and Boing in Spain among others).

This is also a stronghold for Cookie Jar, says Mazza — who has seen Johnny Test and Metajets picked up

by Cartoon Network US. "You're catering for a lot of different tastes so it makes sense to have a diverse range of shows. One big show at MIPCOM is a live-action/animation hybrid called Mudpit, which centres on four teens who become web rock stars while playing an online music game.

They then have to balance their teen lives with virtual stardom."

If that concept has echoes of other shows, it's no surprise given that tweens and teens are so trend-driven. After Twilight's box-office success, for example, we have seen Syfy US pick up the rights to BBC drama Being Human, the X-Men

franchise re-centred on Wolverine and Fresh TV unveil My Babysitter’s A Vampire as its first live-action show. Similarly, Israel's Dori Media Group (DMG) has tasted success with vampire drama Split.

Launched in Israel on the HOT platform, the show has been sold to 35 countries, says DMG CEO Nadav Palti. With Russia, Spain, Latin America and the Philippines signing up, his view is that tween/teen shows "with a good story, international look and advanced shooting techniques can cross boundaries".

Back in the field of animation, the French have also shown it is possible to crack the tween market.

Marathon, now part of Zodiak Entertainment Group, was one of the first European companies to adopt a US approach to writing, editing and production — a decision which resulted in Totally Spies. So well established is this franchise that Cartoon Network US has just reli-

MIPJUNIOR: TEENS & TWEENS

censed all five series of the show and acquired the 52 x 30 mins spin-off Amazing Spiez! — one of the most viewed kids shows at MIPJunior 2009 screenings).

It has been similar for Moonscoop, which has just licensed Cosmic Quantum Ray to Hasbro's US kids network The Hub and Hero 108 to Televisa Mexico. For Moonscoop president, worldwide distribution, Lionel Marty, one secret of this success has been a willingness to learn from the studios. "Throughout Moonscoop's growth, we have been willing to do work for hire on series such as Fantastic Four. In fact, we recently decided to ramp up work for hire because of the expertise we develop in production."

That philosophy has also been adopted by Indian animation studio DQ Entertainment (DQE). "We learned a lot about scripting, acting and cultural nuances from working with Disney, Nickelodeon

Cosmic Quantum Ray (Moonscoop)

MIPJUNIOR PREVIEW MAGAZINE 2010 /

31

MIPJUNIOR: TEENS & TWEENS

and Universal on shows such as Mickey Mouse Club House and The Penguins Of Madagascar," says Tapaas Chakravarti, DQE CEO. "We've now used that valuable learning on properties like Peter Pan — which we fully own."

Chakravarti is also cautious about entering the teen market. Aside from the points made by Scherba and Mazza, he says: "Children of that age are turning more to video games and social networking. The safest target for us is six- to nineyear-olds and their families, which is where we focus our efforts."

Having said that, DQE has dived into teen/tween projects when convinced of commercial potential. "We are co-producing animated series Tara Duncan with Moonscoop," he says. "For us, a big factor was that Tara is popular as a book property.

Even though it has strong editorial elements and Moonscoop is an excellent partner, I wouldn't want TV to be the test-ground for a new tween property."

Of course, trying to emulate the US style of production doesn't preclude the use of local concepts. "Being an Indian company means we have a unique position," Chakravarti says.

"So it makes sense to use that. For ex-

Escape From Scorpion Island (BBC)

ample, we are producing an animated TV movie and series based on Satyajit Ray’s detective stories The Mysteries and Feluda."

The TV movie, Feluda The Kathmandu Caper, has already been picked up by Disney Channel India — but Chakravarti stresses that the property is intended for global distribution: "It's 100% home-grown, but we have used a British screenwriter to make sure it has wider appeal. There's an Indian feel to it but I see no reason why it can't

translate into Europe."

He may be right. It is noticeable that South Asia ethnicity has worked its way into the global cultural mainstream. Decode's How To Be Indie is centred on an Indian lead — while one breakout series in the last year has been The Elephant Princess, a Jonathan M Shiff production for ZDF and Network Ten. Here, a teen discovers she has magic powers and is heir to the throne of an enchanted Indian kingdom.

Shiff, an Australian, is living proof

that non-US producers can compete. After delivering ZDF Enterprises (ZDFE) a global hit in the shape of H2O: Just Add Water, he is racking up sales with The Elephant Princess — including a pan-regional deal with Nick.

“

We learned a lot about scripting,

acting and cultural nuances from working with Disney, Nickelodeon and Universal on shows such as Mickey Mouse Club House Tapaas Chakravarti

”

Karku (Imira Entertainment)

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Christophe Goldberger, head of distribution and marketing at Spanish producer-distributor Imira Entertainment, is a fan of The Elephant Princess. His company has Iberian

MIPJUNIOR: TEENS & TWEENS

How To Be Indie (Decode Enterprises)

rights and has sold it to TVE Spain and SIC Portugal. He has now picked up another Aussie-based ZDFE show, Dance Academy, for distribution in Iberia. "This is a 52 x 26-minute drama which centres on some teens who are passionate about making a career as dancers," Goldberger says. "Like Elephant Princess, it has the music and dance content that appeals to kids."

As a general rule, Goldberger says, international shows need to conform to a certain model to break into the US. But there is more flexibility on the international market: "There is a north/south divide in Europe, with Spain and Italy attracted to Latin American teen drama series

like Rebelde Way. We have picked up two strong character-led shows, Patito Feo and Karku, which I expect to do well." While the US is dominant in comedy and animation, does

“

There is a

north/south divide in Europe, with Spain

and Italy attracted to Latin American teen drama series like Rebelde Way

”

Christophe Goldberger

Drinks firm Britvic supported Skillicious With Fruit Shoot H20, the UK magazine show from indie producer RDF for ITV

its influence extend to other genres?

"At the older end you have reality series like MTV's The Hills," Scherba says. "But there's not the same focus on factual or reality content for younger audiences."

This has opened the door for companies to develop kids adventure game shows. A neat example is the BBC's Escape From Scorpion Island — which brought in ABC Australia for seasons 2 and 3. Also interesting is Marble Media's game show Splatalot. The series, filmed in Canada as three territory-specific versions for ABC Australia, the BBC and YTV Canada, sees contestants compete in three rounds (Cross The Moat, Storm The Castle, and Steal The Crown). Along the way they have evade medieval soldiers.

On trends that affect all producers, "the most obvious is digital", Mazza says. "You need a coherent multiplatform plan for tween and teen show, because they expect it." Examples of how this might work include Channel 4's teen soap Hollyoaks — which introduced new characters via a webisode. Or the massively multi-player online game which has been developed by RedGate Games as a companion piece to Moonscoop's Hero 108.

Branded content, subject to regulation, is also growing in significance — with drinks firm Britvic supporting a UK magazine show from indie producer RDF for ITV. Called Skillicious With Fruit Shoot H20, it encourages kids to try activities like BMX. Finally, it's worth stressing that the US studios can be collaborators as well as competitors as they place more emphasis on localisation. A recent example saw Nickelodeon join forces with Benelux-based Studio 100 to create a global version of kids' live-action show House Of Anubis — a mystery series originally made as Benelux and German versions.

Imira Entertainment’s Christophe Goldberger: International shows need to conform to a certain model to break into the US

Decode Enterprises’ Josh Scherba: “If you can't match the US studios in scripting, casting and editing, then licensing shows to channels is harder"

MIPJUNIOR PREVIEW MAGAZINE 2010 /

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MIPJUNIOR: KIDS GO DIGITAL

GAMING DRIVES TRAFFIC

New ways to connect with kids

In the UK, a BBC microsite is devoted to Penelope K, a show on its CBeebies network aimed at three- to six-year-olds

In today’s multiplatform world, online and console games and apps are an essential element of TV programmes — even for toddlers.

Juliana Koranteng reports

R

OY EDMONDS always elicits a smile when making the following observation about digital games for infants: “Parents are already talking of their children trying to turn the TV on by running their finger across the bottom of the screen, the same way you slide to unlock an iPhone or iPad.” The digital director of Nickelodeon UK, part of MTVN International (MTVNI), is acknowledging the impact of touch-screen and other digital technology on how the

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young generation plays games.

“Gaming is at the heart of everything we do online; it’s our biggest traffic driver,” he says.

It is a fact that international TV rights owners and distributors must face when creating games online, as well as apps and consoles for toddlers and young school kids.

Among Nickelodeon children’s programmes extended to online games are Dora The Explorer, Go Diego Go!, Wonderpets and Barkyardigans.

Available on iPhone are free or paid-

for versions of a mobile app game called Dora Saves The Crystal Kingdom. Forthpcoming pre-school apps include more Dora-branded games and one based on the live-action/animation show Team Umizoomi, for two- to eight-year-olds.

“At MTVN International there is at least one online game per property,” Gary Ellis, vice-president of content and operations, digital media, MTVNI, says.

Disney has dived in headfirst into the pre-school digital games arena

MIPJUNIOR: KIDS GO DIGITAL

with The Playhouse Disney website.

Disney’s “boredom busters” for infants and their parents include online and app games such as Baby Einstein and Fairies Fly, says Anna Hill, executive director, channel marketing, at Walt Disney EMEA. A kiddie app was even launched to coincide with the release of Disney/Pixar animation blockbuster Toy Story 3.

“We know that playing games is one of the first activities pre-schoolers engage with when first venturing online, so it was important to us that we were there for them too,” Hill says.

Turner Broadcasting has enlisted the Cartoonitos, animation characters from its UK-based Cartoonito network, to guide toddlers playing related internet games. The Cartoonitos teach the kids to speak French, match pairs of items, and count, among other activities.

And for four-year-olds and older, Turner has generated games linked to iconic cartoon characters ScoobyDoo, The Flintstones and Top Cat from the pan-European network Boomerang.

To grab and maintain the attention of fickle kids, digital games must never lose focus of their TV origins, says Irene Chua, executive producer at Italy’s Rainbow Media. It produces the Winx Club animation series about the adventures of cute little fairies, for five-year-olds and slightly older. It also operates

the online Winx Club game. Chua says: “Programmes with strong characters, and a rich background story and universe, are ideal for games. Our properties feature characters with whom the audience strongly identify, which helps to draw in and involve kids.”

“

Playing games is one of the first activities pre-schoolers engage with when venturing online, so it was important that we were there for them too Anna Hill

”

Production house Nelvana, subsidiary of Toronto-based Corus Entertainment, is entering the toddler space after producing video games based on cartoon characters such as Babar the elephant and Franklin the turtle. “We are working with [interactive toys developer] Soma Creates on a pre-school iPhone game based on Max & Ruby [cartoon series],” says Colin Bohm, Nelvana Enterprises managing director. The app launches this autumn for the iPhone and iPad. International entertainment group Zinkia, which co-produces the popular pre-school animation show Pocoyo, operates the Pocoyo World online community for three- to eight-year-olds. Gamespacked Pocoyo World is in Zinkia’s Pocoyo: a truly multi-platform experience

Spanish and English, and is being rolled out in Italian, Mandarin and other languages from September.

It has more than 400,000 registered users, who can have their own avatars, and has had more than 4.5 million visitors.

The business of digital games for infants and slightly older, however, is a highly competitive business. Despite losing $500m in the year to July 2009, HIT Entertainment is investing in apps games for the popular Thomas And Friends franchise.

Rival Chorion, whose portfolio includes the cartoon series Olivia (described by the media as the pig “who has inspired a quasi-feminist movement in the pre-school market”), is producing international multi-platform games for its Mr Men and Little Miss brand.

But, says Catherine Warren, founder/president of Vancouverbased consultancy FanTrust Entertainment Strategies, it is public broadcasters such as the BBC, PBS and CBC in Canada that have spearheaded the education element in kids’ digital entertainment.

Subscription-based internet portals such as PBS Kids Play and Kids’ CBC Wonder World are packed with games. Warren says: “Having these engagements brings out new characteristics in children that TV couldn’t do on its own.”

She says that Canada’s Bell Broadcast and New Media Fund, a not-for-profit organisation that has awarded $85m-plus in 10 years-plus to producers creating TV digital content, has contributed to the production of pre-school games internationally. “PBS Kids Play has content and infrastructure built by Canadian companies that have used Bell Fund money,” she adds.

In the UK, a BBC microsite is devoted to Penelope K, a show on its CBeebies network. Aimed at three- to six-yearolds, its games encourage the children

Nickelodeon’s Roy Edmonds: “Parents are already talking of their children trying to turn the TV on by running their finger across the bottom of the screen”

Disney’s Anna Hill: “boredom busters” for infants and parents include online and app games

FanTrust Entertainment Strategies’ Catherine Warren: “Having these engagements brings out new characteristics in children that TV couldn’t do on its own”

MIPJUNIOR PREVIEW MAGAZINE 2010 /

35

MIPJUNIOR: KIDS GO DIGITAL

MTVNI’s Gary Ellis: “At MTVN International there is at least one online game per property”

Chapman Entertainment’s Greg Lynn — with Fifi and Roary The Racing Car: “I knew I had to talk to mothers, who are the gatekeepers of the children’s lives”

Nelvana Enterprises’ Colin Bohm: “Working on pre-school iPhone app”

to interact with the show’s characters and to develop problem-solving skills.

In Japan, NHK has been investing in console games inspired by programmes on its Educational TV channel. They include Fun With Japanese, plus the cookery-themed Miracle Mimika and Cookin’ Idol.

“We believe that the programmes’ concept will reach children through these games,” says Jun Takasaka, NHK Educational’s lead producer.

Yet, games developers face a major challenge: winning over adults responsible for children’s welfare. You can’t be too careful with entertainment concepts aimed at the innocent.

The content needs to be safe.

“I knew I had to talk to mothers, who are the gatekeepers of the children’s lives,” explains Greg Lynn, managing director/executive producer of UK-based Chapman Entertainment. Its pre-school animation TV hits Fifi And The Flowertots, and Roary The Racing Car have been sold to more than 150 countries. “We believe in targeting the parents by marketing our content in mums’ publications and parenting magazines.”

And, as Nelvana Enterprises’ Bohm says: “Games that feature inappropriate content are obviously not suitable for pre-schoolers. Most game publishers have, consequently, veered away from pre-school properties and focus more on brands for girls or boys who are at least six years or older.”

TV rights owners have taken on that responsibility instead. Caroline Casey, director of digital development (pre-school), Turner Broadcasting EMEA, says: “We will work with creative and digital agencies and do a lot of surveys with parents to see how kids are using digital media.”

Console platforms such as the Nintendo DS, Wii, Sony’s PS3 and Microsoft’s Xbox 360 are normally

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associated with action-packed games for teens and young adults.

Thus, another hurdle facing preschool content owners is knowing when to extend games from the internet to consoles.

Chapman Entertainment works with UK digital agency Studio Liddel to create Roary and Fifi games for iPhone mobile apps and the Nintendo DS. Forthcoming titles include versions for Nintendo’s role-playing Wii consoles.

Zinkia has used its expertise in making apps and console games (part of its 360-degrees content strategy) to turn Pocoyo into a games hero loved by all age groups. Maria Doolan, Zinkia’s managing director of brand and business development, says the industry cannot ignore how quickly young children adopt console games. “I don’t think we’ve realised that kids would be adopting the games platforms so quickly. Once the Wii came out, consoles’ target audience age came down radically.”

Zinkia also joins a host of other content owners who realise the need to make the games enticing for the adult accompanying the child.

Moreover, with the adult’s participation and the high cost of quality websites, games suppliers need to determine when and how to monetise such content.“In an online environment, I don’t think anyone has been brave enough to charge for pre-school content,” Lynn says. But many content owners hope paid-for apps will soon offset that cost.

Robert Nashak, executive vice-president, digital entertainment, BBC Worldwide, says: “BBC Worldwide is currently evaluating its pre-school portfolio, with the Nintendo DS remaining the best target retail platform, and the iPad and smartphones providing an exciting opportunity to create genuine parent/child experiences for a pre-linguistic audience.”

Challenges the sector is facing include understanding how kids will interact with evolving technology.

As Nickelodeon UK’s Edmonds notes: “Where a three-year-old will need supervision, play very simple click-based activities and be reliant on visual clues and repetition, a fiveyear-old will have good mouse skills and the ability to scroll and use a variety of keys.”

Nashak foresees a world of kids’ games that requires no physical pointing device. “The opportunity to make games for an audience who cannot manage a controller, such as a joystick, keyboard, or mouse, using a control-free system like Microsoft’s Kinect is also very appealing. So you can expect BBC Worldwide to be moving in these directions.”

But all agree that TV’s links with children’s digital games should never be severed. “In some cases, creating something for an online audience can be inexpensive,” FanTrust’s Warren notes. “It gives producers the chance to be more experimental, and if it is something the kids really like, then it might be worth putting through a pilot.”

Zinkia’s Maria Doolan: “I don’t think we’ve realised that kids would be adopting the games platforms so quickly”

MIPJunior Catalogue now online Login to MIP Online Screenings to access the 2010 MIPJunior Catalogue before the market.

Browse through programme descriptions and select the ones you want to screen in Cannes. Your playlist loads automatically at MIPJunior to save time.

Log in now to start preparing your screenings.

www.onlinescreenings.com

The world’s largest online library of new children’s, youth, documentary and factual programmes

MIPJUNIOR: LICENSING

T H E F I N A N C I A L L O N G TA I L

Kids brands take a long journey A strong licensing campaign can make a powerful kids brand go a long way.

Bob Jenkins reports

Olivia (Chorion)

L

ICENSING is an increasingly complex business, demanding the delicate balance of many different elements to make a really successful campaign.

“The licensing industry has evolved considerably over the last few years,” says Kylie Watson-Wheeler, general manager of licensing, The Walt Disney Company, Australia.

“It is now about building franchises — long-term brands that generate long-term relationships with consumers and therefore continuing sales opportunities.”

Citing Toy Story 3 and Playhouse Disney’s Handy Manny as examples, Watson-Wheeler is adamant that, at the heart of a property’s ability to generate this long-term franchise opportunity is great storytelling. “It is,” she insists, “what underpins both these examples, and has always been at the heart of everything we do. Compelling storytelling is present in everything we touch, whether it be a plush toy, a read-along book, a 3D motion picture or online gaming.”

While Andreas Niedergesaess, vice-

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president, Nickelodeon Consumer Products, north, agrees that “a strong property with a USP is key in the first instance”, he also identifies other areas of critical importance: “a 360-degree campaign with TV spots, on the ground elements, online, print and, very importantly, a direct link to point of sale”.

This is echoed by both Jon Owen, senior vice-president, HIT Brands Global, and Sandra Vauthier-Cellier, managing director, 4Kids Entertainment International. Vauthier-Cellier says: “The most important element of a successful licensing campaign is laying the right foundations, and the most important element of that is ensuring the campaign is properly integrated with the TV show, and that the right product categories are chosen at the very start of the licensing campaign.”

Owen agrees with both observa-

tions. “HIT,” he says, “is a company predominantly, although not exclusively, involved in the pre-school television business, and so the most crucial element for us is a robust television platform that will get us into all the television homes in a country, generating as many eyeballs as possible.”

Both also agree that, as VauthierCellier puts it: “A multidimensional approach is vital, especially in the timing and flow of content.” Owen spells out the sequence he believes works best: “Once the TV platform has been established, the next platform is DVD, typically but not necessarily six months after the series has first gone to air. Initially the release will be episodic, but, hopefully, after that it will move on to ‘never before seen’ content. After the DVD will be live events.

“Typically, these will start with character appearances in costume, and then non-ticket events such as shows in shopping malls, etc. These will be followed by theatre appearances, and, for the brands that enjoy truly major success, theatre will be followed by even larger venues and,

MIPJUNIOR: LICENSING ultimately, attractions in theme parks. The key drivers for such success being toys, followed by soft goods including apparel and then publishing.”

Jack Yew, vice-president, Nickelodeon Consumer Products, South Asia and Greater China, underlines the importance of this, as he describes it, holistic experience, especially the live events described by Owen.

“An audience meets and loves the characters on TV, and then get to play games with them online, and enjoy various products with favourite characters on them. So there is great joy in meeting them live at live events and meet-andgreet activities. And having your picture taken with your favourite character must certainly win you bragging rights!”

But, as Steve Cipolla, executive vicepresident, global licensing and sales at Chorion, points out, there are other elements vital in making any licensing campaign successful. “A great licensing campaign is the result of a strong brand equity combined with a solid partnership between the licensor, licensee and retail partner, all working towards a common goal.”

Nor does Cipolla think that’s all that is important. Citing Chorion’s Olivia as an example, he says: “Developing great innovative product is key, as is a solid understanding of your target market.”

The existence of a genuine partnership between licensee and licensor is vital, and Niedergesaess neatly sums up what makes a good partnership: “quality and product fit,

“

A great licensing campaign is the

result of a strong brand equity combined with a solid partnership between the licensor, licensee and retail partner Steve Cipolla

”

pricing, distribution and experience”. While agreeing the importance of those qualities in a potential partner, Owen says one “cannot over-emphasise the importance of the relationship with the retailer. For HIT, that is by far the most important factor in choosing a licensing partner.”

The importance of a property existing in as many different forms as possible, and of the partnerships that are needed to make a great merchandising campaign, is well illustrated by Mondo TV’s Puppet In My Pocket, as president and

Nickelodeon’s SpongeBob SquarePants’ apparel and soft drink. Says Andreas Niedergesaess: “A strong property with a USP is key in the first instance”

CEO Orlando Corradi explains.

“For the 22 years since Mondo TV’s inception, we have been a traditional producer of animation for television and video. Two years ago we began to explore the idea of producing TV shows based on properties that were already successful in other fields. The first such series was Angel’s Friends. Before we began to develop this property as a series, which eventually aired on Mediaset, it already had more than 40 licences in Italy.” The success of the resulting series has been such that it is now aired in more than 50 countries. And the success of the idea was such that Mondo has recently signed a co-production agreement with US company MEG and Giochi Preziosi to produce a series based on the established success of the Puppy In My Pocket brand.

Once a property has established itself and a well-run and properly managed campaign is under way, there are surprisingly few differences geographically in taste and demand, or how the business is run, although 4Kids’ Vauthier-Cellier does highlight an exception: “In some female-skewed Manga shows, some Anglo-Saxon countries might not be too sure about every aspect, whereas in south and Latin countries consumers might engage more with the series.”

If the geographical differences are not particularly significant, some of those between the sexes and age demos are. “Gender differentiation,” says Nickelodeon’s Yew, “is less evident amongst pre-schoolers than it is among children aged six to 10. For example, although most of the Dora The Explorer products are female-skewed, the viewing is pretty even between girls and boys.”

Corradi lends support to this: “A female-skewing property will, largely, only attract female consumers, but a male-skewing property is more

Nickelodeon’s Andreas Niedergesaess “A 360-degree campaign with... very importantly, a direct link to point of sale”

4Kids Entertainment International’s Sandra Vauthier-Cellier: “The most important element of a successful licensing campaign is laying the right foundations”

Mondo TV’s Orlando Corradi: “Two years ago we began to explore the idea of producing TV shows based on properties that were already successful in other fields”

Nickelodeon South Asia and Greater China’s Jack Yew: “Having your picture taken with your favourite character must certainly win you bragging rights!”

MIPJUNIOR PREVIEW MAGAZINE 2010 /

39

MIPJUNIOR: LICENSING

likely to attract both male and female consumers.”

Vauthier-Cellier highlights another difference between the two age groups. “Both licensees and consumers are becoming more sophisticated and choosy,” she says, “and this is especially true of preschool properties, where it is the parent making the buying decision.”

Although she accepts that “it is possibly less true of older-skewing properties where the child might be making the purchasing decision for themselves”.

Significant differences also occur between product categories, particularly the two key ones of toys and apparel. “Toy companies,” Owen says, tend to produce ranges of toys that are on offer to all retailers, while apparel companies are more likely to produce ranges that are bespoke for a certain retailer.

“Additionally, apparel manufacturers tend to work to shorter lead times than their counterparts in the toy industry.”

These differences are a reflection of the different costs associated with tooling up for production in the toy business as against that of the apparel business. One good example of the degree to which licensees must truly be partners, and of the increasing degree of sophistication demanded by the market, is Australian company TGA, which, says

Watson-Wheeler, “in the case of electric ride-ons went above and beyond stickering a standard ride-on mould, instead investing heavily in custom tooling to produce a replica of RC — Andy’s remote-control car from Toy Story 3.”

For Niedergesaess, this example illustrates a basic but crucially important truth about licensing: “This business is not about ‘selling’ a licence to a licensee, it is about longterm co-operation for the longevity of the property and its image.”

“

Licensees and

consumers are becoming more sophisticated and choosy, and this is especially true of pre-school properties, where it is the parent making the buying decision Sandra Vauthier-Cellier

”

Playhouse Disney’s Handy Manny. Said Disney’s Kylie Watson-Wheeler: “At the heart of a property’s ability to generate long-term franchise opportunity is great storytelling”

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USEFUL TIPS Dear participant,

The information is divided into eight sections:

The entire MIPJunior team is committed to ensuring your event experience goes as smoothly and efficiently as possible so you can focus on achieving your objectives.

This document is intended to assist you in your preparation for MIPJunior. The following information will provide you with the necessary tools to arrive with a full meeting schedule in place and an in-depth understanding of the market.

1 • PREPARING FOR MY MARKET Make contacts and appointments before arrival To get the most out of your experience, we encourage you to identify potential business partners and schedule meetings in advance using the MIPJunior online community.

Access the MIPJunior online community using the personal access codes emailed to you upon registration. If you have misplaced your codes, click on the “Forgot personal login or password” link.

Reserve your accommodation The Hotel Reservations Service is available to help you address your booking and accommodation requirements. For further information, please contact hotel.mipcom@reedmidem.com.

Don’t miss MIPJunior conferences & events Consult the MIPJunior conference programme details in this Preview Magazine. MIPJunior conferences are open to all participants free of charge on presentation of their badge, depending on venue capacity. Consult our website, www.mipjunior.com, for further details.

Organising an event If you wish to organise an event during MIPJunior, such as a cocktail party, screening or press conference, our Events Department is available to offer advice and assistance: Tel.: +33 (0)1 41 90 44 96 E-mail: info.events@reedmidem.com Need help?

Reed MIDEM staff members are available to answer questions and provide one-onone assistance before and after the market. Please do not hesitate to ask their advice or assistance: Tel.: +33 (0)1 41 90 44 41/42 E-mail:customerhelpdesk@reedmidem.com

2 • TRANSPORTATION BOOK YOUR FLIGHT TO NICE Travel agencies MIPJunior has two official travel agency partners who can help find the best airfares: • Silver Voyages (France and Southern Europe): Tel: +33 (0)1 45 61 90 59 E-mail: silvervoyages@wanadoo.fr • Dovetail Foks (UK and Northern Europe) Tel: +44 (0)20 7025 1515 E-mail: exhibition@dovetailfoks.com Airline and travel discounts Find the lowest airfares with Air France and KLM Global Meetings. Take advantage of discounts of up to 47% on flights within France, and up to 10% on international flights (conditions apply).

To benefit from these special offers, access www.airfranceklmglobalmeetings.com and use event ID code: 10461AF. These rates are valid from 27/09/2010 to 13/10/2010.

For more information about the terms and conditions of these special fares, check online at www.mipcom.com.

Airport The Nice Cote d'Azur International Airport (NCE) offers direct flights to many cities around the world. It is situated 24km (15 miles) southeast of Cannes, 30-45 minutes by car or 50 minutes by bus from the city centre.

Tel: +33 (0)820 423 333 Website: www.nice.aeroport.fr AIRPORT TRANSFERS Car rental Rent a car through MIPJunior partner Sixt for special rates reserved for MIPJunior participants. To take advantage of this deal, use promotion code: 9963828.

1 2 3 4 5 6 7 8

Preparing for my market Transportation Don’t forget to pack...

Accessing MIPJunior How does MIPJunior work?

MIPJunior services Keeping in contact during the market MIPJunior Online Screenings

For more information, consult the transport section under "Prepare" on www.mipcom.com, visit www.sixt.com or dial +33(0)8 20 00 74 98.

Sixt has agency locations at Nice airport and in Cannes. During the market, a Sixt desk will be situated at Registration.

The motorway toll from Nice to Cannes is €2.70. Payment must be made by cash, cheque or credit card. Please call +33 (0)8 92 70 70 30 for further information.

Helicopter Azur Helicoptere makes six-minute flights regularly between Nice Airport and Cannes. A one-way ticket costs €125, per person, including tax (10% off regular rates). A free shuttle service is available in Cannes for transfers between the heliport and your final destination downtown. A minimum of three people is required for each flight. An Azur desk will be located on Level 01 of the Palais des Festivals.

Tel: +33 (0)4 93 90 40 70 E-mail: info@azurhelico.com Member benefits available here.

Limousines MC Limousine specialises in every aspect of limousine services, including airport transfers and the provision of cars for all occasions. Oneway service from Nice Airport for one to three people costs approximately €100.

MC Limousines representatives will be on hand at the travel desks at Registration.

Tel: +33(0)4 92 18 80 80 E-mail: reedmidem@mclimousine.com Bus Bus 210 (Xpress Cannes) is an express line from Nice Airport to Cannes’ town hall. Buses run every half hour, with trips taking about 50 minutes. The Nice Airport ticket desk is located in Terminal 1 and Terminal 2. One-way/return tickets cost

€15.60/€25.50. A one-way ticket for four people costs €41. The RCA desk will be situated at Level 01 of the Palais des Festivals during the event. Visit www.rca.tm.fr for further information.

Taxis Taxis are available at the Nice Airport, from Terminal 1 (Gate A1) and Terminal 2 (Gate A3).The average taxi fare between Cannes and Nice airport is €70, with trips taking about 30 minutes. A night rate applies between 19.00-7.00.

To reserve a taxi, call the Allo Taxi Cannes 24/7 hotline at +33 (0)8 90 71 22 27, or their daytime number at +33 (0)6 20 26 65 94 (available 9.00 18.00). Visit www.taxicannes.fr for further information.

Train For information about rail travel between Nice and Cannes or for additional destinations, please call 3635 (France only) or +33 (0)8 92 35 35 35 (international number). A one-way ticket between Nice and Cannes costs between €4.50 and €8.00.

IN CANNES Free MIPJunior shuttle bus service The free MIPJunior shuttle bus service is available to all delegates, running between hotels located outside Cannes and the Palais des Festivals throughout the exhibition period. Schedules are available in hotels and at the Accommodation and Shuttle Bus Information Desk at Registration.

Cannes local buses A local bus network services Cannes and the surrounding areas (€1 for a one-way ticket).

Car parks Numerous covered public car parks are located within walking distance of the

MIPJUNIOR PREVIEW MAGAZINE 2010 /

41

USEFUL TIPS

Hotel Martinez. These can be paid for with a magnetic card available at the Tourism Office at the Palais des Festivals.

MIPJunior strongly advises you to book well ahead of the market.

• Equiptech: Chambre de Commerce et d’Industrie, Gare Maritime Fax: +33 (0)4 92 98 70 01 E-mail: equiptech@cote-azur.cci.fr • Uniparc Cannes SNC Tel: +33 (0)4 93 68 79 02/13 E-mail: mgaufillet@interparking.com / jjolly@interparking.com Tourist information The Cannes Tourism Office is located at the Palais des Festivals on la Croisette.

Tel: +33 (0)4 93 39 24 53 E-mail: tourisme@semec.com Website: www.cannes-on-line.com

3 • DON’T FORGET TO PACK...

Your invoice Foreign participants are eligible for a refund on French Value Added Tax (VAT) under certain conditions. TEVEA International, the fiscal advisor located at Registration, can organise and process your VAT refund request. Remember to bring the original copies of your invoices with you to the market and to visit TEVEA before you leave Cannes.

Your ID card If you registered in advance, you may have received an ID card. Please remember to bring this card with you to Cannes, as it will make collecting your badge faster and easier.

4 • ACCESSING MIPJUNIOR Hotel Martinez The Hotel Martinez is situated on the famous La Croisette and is clearly signposted throughout Cannes. The hotel’s address is: 73 La Croisette - 06400 Cannes - France For more information, call +33 (0)4 92 98 73 00, or visit www.hotel-martinez.com Other useful information Country code: +33 Time zone: GMT +1 Electricity: 220 volts AC, 50 Hz, round two-pin plug Measuring system: metric Currency: euro Collecting your badge To access MIPJunior, you will need to collect your official badge and bag at the MIPJunior Registration Desk.

• Registration opening hours Pre-registration: save time by registering before the market

Friday, October 1 14.00-19.30 Registration & screenings during the event Saturday, October 2 8.30-19.00 Sunday, October 3 8.30-19.00 • If you received an ID card, please bring it with you. The bar code on the card will facilitate identification and speed up the printing of your badge.

• If you are a journalist, reporter or photographer, please go directly to the MIPJunior Registration Desk to collect your badge. Please note that you must register as a member of the press before you arrive in Cannes.

• If you are conference speaker, please go directly to the MIPJunior Registration Desk to collect your badge.

• Badge types: badges indicate if the wearer is a participant, buyer, press or official. Please note that only buyers have access to the digital video library.

• Please remember to wear your MIPJunior badge at all times.

First Timer Orientation and Discovery Tour If you have never attended MIPJunior before or would like to meet our team, please join us for one of our First-Timer Orientation and Discovery Tour, taking place Saturday, October 2, 2010 (8.45), in the Networking Lounge at the Hotel Martinez.

The events will include a welcome drink, orientation session and guided tour of the show. Take advantage of this opportunity to receive one-on-one assistance and advice on how to achieve your goals during the market.

5 • HOW DOES MIPJUNIOR WORK? Find out who is at MIPJunior 2010 When you check in at the Registration Desk, you will receive a MIPJunior delegate’s bag and Catalogue/Guide. This publication lists all the companies and delegates present at the market, as well as the programmes available in the digital video library.

Viewing programmes Buyers can watch a wide range of cutting-edge programmes in individual screening booths. This simple and effective system exposes programmes to the largest possible buying audience.

When buyers pick up their badges, they will receive a smartcard to access the digital video library. Once connected to a PC in one of the screening booths, they will be able to start screening. An interface will help them select programmes or carry out advanced searches, according to the criteria and products listed in the Programme Catalogue.

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• Screening hours Saturday, October 2 Sunday, October 3

8.30-19.00 8.30-19.00

Up to 300 screening booths will be available exclusively for buyers.

Depending on availability, producers and distributors can also accompany buyers who wish to screen their registered programmes. Simply ask the registration staff on site.

“Lists of buyers who have screened programmes” & “Content lists for buyers” • Production and distribution companies with programmes listed in the Catalogue and digital video library can view the names and contact information of the buyers who have screened their programmes.

• Each buyer can review a list of the content they have screened during the event.

These lists are available at four stations located next to the MIPJunior Registration area.

Important: “Final lists of buyers who have screened your programmes” during MIPJunior and “Content lists for buyers” will be available by request only beginning Monday, October 4.

• If you are a MIPCOM exhibitor or participant, lists will be available Monday, October 4 (14.00) Friday, October 8 (12.00), Stand MIPmarkets.

• If you are not a MIPCOM participant, lists will be available Monday, October 4 (14.00)-Friday, October 8 (12.00), at the information desk at the entrance to the Registration Hall.

Please note that we no longer return screening materials sent to the digital video library.

6 • MIPJUNIOR SERVICES We offer an extensive range of services to make your stay in Cannes as pleasant as possible.

Business Centre Phone, fax, photocopying, typing and printing services are available in the hotel’s Business Centre.

Cloakroom Take advantage of the hotel’s free cloakroom to avoid carrying your coat or bag around all day.

The News Don’t hesitate to contact our News Team during MIPJunior with details of your breaking news and deals.

Hotel hotline The Hotel Reservation Service offers a

24-hour hotline to help you with issues regarding hotel check in and check out.

The hotline can also respond to any accommodation queries.

Tel: +33 (0)6 85 54 30 53 Mobile phones & 3G data cards rental CellHire, MIPJunior’s mobile telephone partner, can equip you with an international cell phone during the market. You will receive free incoming calls while in France and enjoy competitive international rates. 3G data cards are also available should you need unlimited wireless internet access throughout the event. Reserve your mobile phone, Blackberry, SIM card or 3G data card well ahead of the market at www.cellhire.fr/reedmidem or +33 (0)6 83 58 44 22 E-mail Cellhire for further information: France: paris@cellhire.com UK: york@cellhire.com USA: newyork@cellhire.com

7 • KEEPING IN CONTACT DURING THE MARKET Networking Lounge This comfortable and functional meeting place for MIPJunior participants is the ideal place to make new contacts and conduct business.

Assistants will be available to give you the information you need and help arrange your appointments.

Communicating with participants by e-mail Use e-mail to schedule your meetings efficiently before the show and receive messages from other participants before arriving in Cannes. All participants’ e-mail addresses are posted on the MIPJunior online database, unless they have chosen not to publish this information.

Use our e-mail kiosks to send and check e-mail during the market, free of charge. Kiosks are located next to the MIPJunior Registration Desk.

8 • MIPJUNIOR ONLINE SCREENINGS MIPJunior online screenings will go live October 4, 2010. The service will allow buyers to continue watching MIPJunior programmes after the market closes, and will be free of charge until 31th July 2011.

Discover this new service during MIPJunior by visiting the demonstration booth next to the MIPJunior Registration desk.

_} } y 26 x 26’ HD 26 x 11’

2n nd Se Seas Sea ason 26 x 26’ 6’ HD

52 x 11’

Fun with Claude: 52 x 10’/ Marsupilami: 52 x 26’/ Igam Ogam: 26 x 10’/ H2O – Just Add Water: 78 x 26’ HD/ The Jungle Book: 52 x 11’ + 1 x 60’ HD (from left to right)

Visit us at MIPCOM 2010: Booth No. 21.02 – 23.01 Sales, Merchandising and Coproductions | Erich-Dombrowski-Str. 1 | 55127 Mainz | Germany programinfo@zdf-enterprises.de | www.zdf-enterprises.de | Phone: +49 (0) 6131 – 991 16 01 | Fax: +49 (0) 6131 – 991 16 12