MIPTV News #1
Monday
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MIPTV News #1
4 April 2011
www.miptv.com
THE EXPERIENCE HUB THE EXPERIENCE Hub opens today. Located next to the Palais on the Croisette and open throughout MIPTV, The Experience Hub is part of Connected Creativity at MIPTV, and offers participants the opportunity to interact with the newest technologies.
THE GOVERNATOR’S IN TOWN The Official MIPTV Daily Newspaper
ACTOR and former Governor of California Arnold Schwarzenegger is in Cannes for the international launch of the animated series The Governator. Schwarzenegger will also be hosting a VIP dinner at The Carlton on Tuesday, April 5.
See page 10
WORLD PREMIERE TV SCREENING
CAMELOT stars Joseph Fiennes (left) Eva Green, and Jamie Campbell Bower are in Cannes to mark the launch of GK-tv’s Camelot. The World Premiere Television Screening of Camelot is at 18.00 today in the Grand Auditorium, followed by a Q&A with the three actors and a red carpet appearance at the Opening Night Party at 20.00.
See pages 22 & 24
TODAY’S KEYNOTES TODAY’s keynotes feature David Frank (left), CEO of Zodiak Media Group in the Grand Auditorium at 16.30. Frank is followed at 17.00 in the same venue by Canal+ COO and EVP content, Canal+ Group Rodolphe Belmer.
Monday 4 April 2011
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FremantleMedia PRODUCTION
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Please contact us at FremantleMedia Village Stand RB1 Riviera Beach Cannes
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INSPIRING ENTERTAINMENT
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CONTENTS
MIPTV News 1
CONNECTED CREATIVITY FORUM
The Official MIPTV Daily Newspaper
Monday, April 4, 2011 Director of publications: Paul Zilk Editorial Department: Editor in Chief: Julian Newby • Deputy Editor: Debbie Lincoln • Sub Editors: Sarah Kovandzich, Max Leonard • Reporters: Marlene Edmunds, Andy Fry, Juliana Koranteng, Rachel Murrell, Gary Smith, Phil Sommerich, Joanna Stephens • Technical Editor in Chief: Herve Traisnel • Deputy Technical Editor in Chief: Frederic Beauseigneur • Graphic Designers: Veronique Duthille, Carole Peres • Head of Photographers: Yann Coatsaliou – 360 Medias • Photographers: Christian Alminana, Georges Auclaire, Olivier Houeix, Michel Johner • Editorial Management: Boutique Editions Ltd. Production Department: Content Director: Jean-Marc Andre • Publications Production and Development Manager: Martin Screpel • Publishing Product Manager: Chealsy Choquette • Publishing Coordinators: Emilie Lambert, Amrane Lamiri, David Le Chapelain, Bruno Piauger • Production Assistant: Veronica Pirim • Production Assistant, Cannes Office: Eric Laurent • Printer: Riccobono Imprimeurs, Le Muy (France) Management, Marketing & Sales Team: Director of the Television Division: Laurine Garaude • Director of Digital Media: Ted Baracos • Sales Director: Sabine Chemaly • Brand Manager: Dee Perryman • Programme Director: Karine Bouteiller • 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 Managers: Paul Barbaro, Nathalie Gastone • International Sales Manager: Fabienne Germond • Sales Executives: Liliane Dacruz, Cyril Szczerbakow • Sales Manager: Samira Haddi • Digital Media Sales Manager: Nancy Denole • Australia and New Zealand Representative: Natalie Apostolou • China Representative: Anke Redl • CIS Representative: Alexandra Modestova • 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 Representative (Digital Media Sector): Renate Radke Adam Published by Reed MIDEM, BP 572 11, rue du Colonel Pierre Avia 75726 Paris Cedex 15 Contents © 2011, Reed MIDEM Market Publications Publication Printed on 100% Registered: 2nd quarter 2011 recycled paper
www.miptv.com
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REGISTER TODAY AT THE MIPTV REGISTRATION, PALAIS DES FESTIVALS SEE PAGE 12 FOR MORE INFORMATION
LOCATED next to the Palais des Festivals on the Croisette and open throughout MIPTV, The Experience Hub is part of Connected Creativity at MIPTV. It explores the future of connected media via developments in mobile media — for example, 4G networks and tablet computers — and innovative technology including cloud computing, and their impact on content creativity. Supported by international media and technology giants, including Intel and Orange, The Experience Hub invites MIPTV attendees to interact with the newest technologies and experience the future of entertainment. You can find further information on Connected Creativity at MIPTV on page 12.
MIPTV is live on MIPBlog! • Watch full conference videos and liveblog reports from MIPDoc and MIPFormats • Real-time coverage of MIPTV day 1, including Arnold Schwarzenegger and Camelot videos and more! blog.mipworld.com twitter.com/_mip_
NEWS 8 Exclusive star interviews, MIPDoc, MIPFormats, and more PRODUCT NEWS 52 Content for sale at MIPTV CONFERENCE AND EVENTS 62 All today’s conferences and special events at a glance FEATURES 82 Focus on drama 97 Next-generation animation 105 Industry trends: meet the buyers 111 Video-on-demand
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COMING SOON
One voyage. A world of untold stories.
The television drama event of 2012 From Oscar速 winning screenwriter Julian Fellowes, director Brian Percival and BAFTA award-winning producer Nigel Stafford-Clark. A Deep Indigo, ITV STUDIOS, Lookout Point, Mid-Atlantic & Sienna Films Production. 4 x 1 hour, 2 x 90 versions MIPTV Stand No: R38.01 www.itvstudios.com
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NEWS
Delegates relaxed at the MIPDoc closing cocktail party at the Carlton last night
OPENING NIGHT PARTY THE MIPTV Opening Night Party at the Carlton kicks off with a star-studded opening as members of the cast of Camelot walk the red carpet at 20.00. Sponsored by HIGHTV, the event also includes the International Digital Emmy® Awards ceremony where stars of Camelot, Joseph Fiennes and Jamie Campbell Bower, and Shawn Doyle, star of drama series Endgame, will hand over the prizes. Also at the ceremony, the Pioneer Prize will be given to Jon M Chu, creator and director of the web series The Legion Of Extraordinary Dancers (The LXD). Chu’s dance troupe will perform at the ceremony.
LATIN AMERICA WORKSHOP THE LATIN America Workshop featuring Gonzalo Cilley of Resonant TV, Juan Pablo Gaviria of Si Hay Ideas, and FremantleMedia Latin America’s Carlos Gonzalez, took place on Saturday in the Formats Lounge. Latin America has been a hotbed of creativity for scripted formats. This interactive session showcased some of the latest developments from the region and charted the global impact of the region’s creativity.
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NEWS: Q & A
Meet The Governator Bodybuilder, actor, and former Governor of California, Arnold Schwarzenegger, is in Cannes for the international launch of a new animated series The Governator. He spoke to Julian Newby about the project — and about his extraordinary life
Arnold Schwarzenegger meets The Governator
THE GOVERNATOR was the nickname given by the press to actor Arnold Schwarzenegger after he succeeded Gray Davis as the 38th Governor of California back in 2003. Today, it’s the name given to a new animated superhero created by Schwarzenegger himself, along with Spider-Man creator Stan Lee, and Andy Heyward, co-founder and joint CEO, with Amy Heyward, of A2 Entertainment.
You’ve spoken a little in the press about returning to acting, but few people expected this. “No, I always said ‘I am coming back into the entertainment business’, rather than acting. That is the key. I didn’t want to limit it to acting. I said ‘the entertainment business’ because I know that can mean a variety of different things: producing, directing, acting, or creating another superhero — a new multimedia superhero that can be on TV, the web, games, comics, movies, all those kinds of things. And
we were very fortunate to have come up with something very interesting that brings together all my lives — the bodybuilding career, the acting career, the political career, and family.”
Who is The Governator? “This is about an action superhero, but it’s an action superhero with comedy, and it relies more on the conversation than it does on the violence. One thinks of The Terminator, Total Recall and Conan The Destroyer — this doesn’t have the violence of those. “We are concentrating on surrounding me with young kids. So the people that will help me to fight villains and disasters, they will all be young people in their teens. Because very rarely do we see them being empowered. So in this show, the superhero will be surrounded by kids who can assist me to solve problems — maybe with the computer skills that young people have, they can help me by hacking into computers, that kind of thing.”
How much of the concept and the storylines are yours? “It’s a combination – Andy Heyward and Stan Lee and myself got together and instead of having brainstorming sessions we just clicked. And it was just the perfect storm where everything came together and everyone had the same ideas. Everyone just kept spewing out things and ideas, and it all just fell into place.”
You admired superheroes, bodybuilders as a young boy growing up in Austria. “Yes, superheroes had an impact on me as a young kid, when I had nothing. They inspired me to do something myself that is heroic, that is big, that is more than anyone else or better than anyone else – you get inspired by these things. And I was very fortunate to go beyond my dreams.”
A kid from Austria becoming Governor of California you mean?
“Yes. Who would have thought 50 years ago that there would be an Austrian who goes to America and wins world championship titles — Mr Universe and all those things — you would have said ‘No, that’s impossible.’ And then this very same guy is going to become the highestpaid actor — you’d say ‘No, impossible! You’re crazy’. And then he’s going to be the head of the eighth largest economy in the world even though he has never done anything in politics? And you’d say, ‘Impossible, come on!’. The odds are against that happening, but I made it possible. “So that’s what this TV show is about, making the impossible possible. And the important thing is that it appeals to the kids in England, Germany, Russia, Africa, the Middle East, Asian countries, Australia — it has to have this universal kind of a thing that all my action movies and my entertainment always had.”
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NEWS
FREE REPORTS AT THE HUB THE EXPERIENCE Hub will feature free White Papers distributed to participants. The first, from Forrester, will be handed out on Tuesday at 15.05 after the presentation by Nick Thomas. The second, the IDATE report on the long-term evolution (LTE) of cellular networks will be distributed on Wednesday at 08.45, before the presentation by Robert Tercek. The third, from Xyologic, will be handed out on Wednesday at 12.45 after How To Achieve Success In The App Store. The Xyologic report is an excerpt of the series of Xyologic Top Apps and Top Publishers reports. These look at the most successful publishers and most popular apps in various app stores and countries. Xyologic defines the app’s success by the number of downloads, and a publisher's success by the global and local success of all its apps. Xyologic tracks the speed of growth for each app to identify newly successful titles and publishers, even if their downloads numbers are not big yet. The IDATE report predicts that by 2015, 371 million subscribers worldwide will have access to mobile data solutions and an investment of €335m ($477m) during the period 2011-2018 on cellular networks.
VIVENDI GETS CONNECTED FRENCH company Vivendi is sponsoring the Connected Party on Wednesday in the Carlton Hotel. The invitation-only event, features the CC Ventures and Content 360 Awards.
Intel offers ‘next-generation possibilities’ to industry LANCE Koenders, director of marketing at Intel’s Digital Home Group, is very clear as to why the technology giant was keen to be part of MIPTV. “Our presence is aimed at educating the TV industry about the technological benefits that are already here, and next-generation possibilities,” said Koenders. “The Digital Home Group is focused on building silicon and platform solutions for the consumer electronics industry, which is one of Intel’s primary growth businesses. We’ve been involved for some years in MIPTV and MIPCOM, but in a much more low-key way. “This market, however, it was decided that we should raise our profile because the Digital Home Group is
increasingly involved in providing enabling products for the global TV industry, plus Intel’s products are very much part of a fundamental change in distribution possibilities which is bringing major benefits to independent programme and film-makers.” The internet is set to play an everlarger role in content production: “Already it is easier than ever for content makers to get their product out there without any studio being involved,” Koenders said. “The next stage in that internetbased evolution is that we are going to see full browser capability on TV sets which will enable the creation of destination websites around any brand. “Intel’s ultimate aim is that people in
Intel’s Lance Koenders: raising our profile
the TV industry get to recognise the innovation that Intel has brought in so many areas.”
Orange gets connected in Cannes CONNECTED Creativity partner Orange is demonstrating various entertainment-related services in The Experience Hub including two films. “Strong growth in the connectivity market (TVs, PCs, mobiles, tablets, etc.) has in recent years created a steady demand for innovative multiscreen content services,” Xavier Couture, executive vice-president, new growth businesses at Orange said. “The Orange Group has the technological expertise and innovation skills to create added-value content services in partnership with television networks, copyright holders, distributors and application developers.” Since 2009, Orange has been supporting a wide range of transmedia projects including Detective Avenue produced by Murmures Productions, as well as an iPhone application
called Rendez-vous that allows Orange TV customers to interact with TV programmes while they are being broadcast. “We are also bringing games such as My Star, an iPhone, iPod and iPad game by the UK developer Mobile Pie in partnership with Orange,” Couture said. “And alongside that,
delegates will be able to check out the Xperia Play by Sony Ericsson, a new type of terminal combining the features of a smartphone and a portable console with an integrated joystick. It comes with pre-loaded or downloadable HD games such as Bruce Lee, Asphalt6, SIMS 3, FIFA 10, Star Battalion and Tetris.” Orange’s Xavier Couture: bringing technological expertise and innovation skills
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Produced by Authentic Entertainment for Sundance Channel
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Creative Director for ELLE, Joe Zee, guides fashion designers to a make or break meeting with a buyer.
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Produced by Authentic Entertainment for Sundance Channel
Produced by Sharp Entertainment for Sundance Channel
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In the city of Newark, New Jersey, a true leader is changing his world and inspiring a generation.
Garo is a New York City couture fashion designer who does more than design clothes – he fashions identities.
Produced by Brick City TV for Sundance Channel
Produced by NorthSouth Productions for Sundance Channel
AVAILABLE TO SCREEN NOW: www.passiondistribution.com
VISIT OUR MIPTV STAND # H4.30 to schedule an appointment email info@passiondistribution.com
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NEWS
WE MEET AGAIN AT MIPDOC BOOKING a matchmaking session at MIPDoc isn’t just a way to pitch to a commissioner, it’s also great for keeping a dialogue going. “I first pitched our project to Lorenzo Hendel [commissioning editor, RAI] at last year’s MIPDoc,” said Joanna Skalska, head of sales at Poland’s Andrzej Wajda Studio. “We met again this year to discuss certain changes that he requested. He also gave me some useful information on his co-production plans. It was a very useful meeting.” Andrzej Wajda’s climbing documentary, Baltoro Passage, was one of the finalists in this year’s MIPDoc co-production challenge.
Andrzej Wajda Studio’s Joanna Skalska
Boutinard and Silberwasser give the facts about factual AS A documentary producer, Patricia Boutinard Rouelle is uniquely wellconnected with French broadcasters because, until last week, she was one. In a candid interview at MIPDoc, the former head of documentaries at France 2, 3, 4 and 5 — now producer at Nilaya Productions — identified three trends in French factuals. “Green docs work because they resonate with international concerns. Docu-drama works well in France, and is now a flourishing genre. And documentary formats are on the rise,” Boutinard Rouelle said. Boutinard Rouelle is developing a broad range of factual projects, but her first commission will be a major documentary for France 2 marking the 50th anniversary of the end of the Algerian War. In his accompanying keynote, Luis Silberwasser, chief content officer for Discovery Networks International, described the group’s evolution from an international platform company to a global content powerhouse. Silberwasser runs Discovery’s new production and development unit, which is charged with identifying projects from outside its traditional domestic hunting ground, and developing them for the international market. “Our global spend on content has in-
creased from $600m to $1bn in the last four years. We want our channels to have the best content.” Discovery is rolling out TLC worldwide and making it as strong a global brand as Discovery Channel. And that means feminising it. “Discovery
Channel is very male,” said Silberwasser. “We saw we were missing a trick, and are now making TLC skew female outside the US.” Boutinard Rouelle and Silberwasser were interviewed by independent executive producer Dinah Lord.
Nilaya Productions’ Patricia Boutinard Rouelle: identifying trends
Discovery Network International’s Luis Silberwasser: going global
AT THE MIPDoc Mentorships session on How To Pitch, key documentary players shared tips. They included Tracy Beckett, vice-president, regional programming and production, National Geographic Channel International, who emphasised the importance of “access, unbelievable visuals and a fantastic title”
Tribute to Nour’s documentary duo
Left to right: Reed MIDEM’s Bassil Hajjar, Aljazeera Documentary Channel’s Nabil Otaibi and Atef Dalgamouni, Reed MIDEM’s Anne de Kerckhove, Aljazeera’s Ahmed Mahfouz Nouh, Nour Productions’ Mai Masri and Aljazeera’s Mostafa Nagy
THE MIPDoc International Trailblazer Tribute this year recognised the pioneering work of film-makers Mai Masri and Jean Chamoun of Beirutbased Nour Productions. Speaking at the MIPDoc Trailblazer Lunch on Saturday, Masri said she was touched and honoured to receive the award on behalf of herself and her husband. “Our films celebrate the human spirit in the face of injustice and war,” she said.
This year’s Trailblazers were selected by MIPDoc partner Aljazeera Documentary Channel in recognition of more than 30 years of communicating about life in their native countries of Palestine and Lebanon. Between them, Masri and Chamoun have won more than 60 awards for films such as Beirut Diaries: Truth, Lies And Videos; Hanan Ashrawi: A Woman Of Her Time; and Lanterns Of Memory.
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NEWS
Science, environment and HD top buyers’ wish lists
Michelle Bagliebter: crime figures down
“WE LOOK for strong characters, emotions, action and big event specials,” said National Geographic
Channel’s Michelle Bagliebter at the MIPDoc What Do Buyers Want? session. “We’ve acquired a lot of crime recently, so we’ll probably tone down the crime and up our emphasis on science and the environment.” Al Jazeera Documentary Channel (AJD) wants to add female viewers to its audiences, said its Mostafa Nagy. Broadcasting in Arabic, AJD buys 1,200 hours a year across the genres of sports, youth, science, edutainment and arts. “We’ve just launched a full Arabic digital offer with websites, books and apps,” said Nagy. “And from 2012, all
our programmes will need to be delivered in HD.” The BBC’s Carole Sennett said BBC acquisitions are currently limited to 2%. “We aren’t a publisher-broadcaster, so we only buy things we can’t produce ourselves.” Examples given included where an outside producer offers unique access or archive, or when the budget can’t be met any other way. One recent example is the France 2 project, Versailles: The Dream Of A King. With historical reenactment and big CGI models of Versailles, the BBC invested to make an English-language version.
Mostafa Nagy: 1,200 hours to fill on AJD
Planete Channels in France acquires about 40% of its output, but head of acquisitions Laurent Sicouri noted that they don’t pay extra for catch-up rights. “Our viewers expect catch-up, but it doesn’t generate extra revenue, so we can’t pay more.” The session was moderated by Simon Shaps of Mercury Media and Joining the Docs.
“I’m seeing a lot more variety in the MIPDoc catalogue than in recent years,” said Victoria Liu, programme acquisitions section, Public Television Service Foundation (PTS) at Taiwan Broadcasting System. “But ironically enough, while the production sector is starting to recover from the financial crisis, now it’s the broadcasters who are experiencing financial constraints.” Liu is looking for programming across current affairs, the environment, social issues and arts.
Denis Dubois is vice-president of specialist channels at Canada’s TVA and is scoping out the market for the latest addition to his portfolio, Mlle. “Mlle is a channel for real women,” he said. “It covers style, beauty and health, and it will air 24/7.” As a producer/ broadcaster, TVA has made a significant investment in the channel and will originate much of the content.
Katharina Finger, commissioning editor for ZDF’s 3sat channel, is shopping for hardcore science programming: “The challenge for us is finding science programming that goes deep enough. Much of what’s available internationally is generalised and entertainment-oriented, but our audience skews older and educated, and they want more demanding programming.” Recent acquisitions include Welcome To The Nano World and The Iceberg Project.
“We’re looking for programming on topical issues such as Gadaffi, and wider ones, such as euthanasia,” said Luc Verreth, current affairs buyer for VRT Nieuws in Brussels. Verreth acquires for two channels, the populist 1, and the more in-depth Canvas. “The challenge is less about price than it is about quality,” he said. “We want programmes that are fresh and take an original approach.”
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18
NEWS
MIPDOC DEBATES PEOPLE POWER “DOCS are made for crowdfunding,” said Kino Lorber’s Richard Lorber. He was speaking of the strategy of pooling money, energy and resources to make films pioneered by fellow speaker Franny Armstrong, director of the film The Age Of Stupid. “Crowdfunding is a bridge, and it builds audience, as well as money,” said Lorber. “But it’s hard and it can fail. So as an independent distributor, Kino Lorber enables producers to leverage their passion with our skills, resources and output deals.” Lorber’s fellow panelists — all veteran crowdproducers — shared what they had learnt from doing it. Channel 4’s Jo Twist had got a community of YouTubers to make a pop video and get it to the top of the charts, and found that trying to get people involved by creating games is less successful than offering lots of competitions. Immense Productions’ Steffan Aquarone had produced a romantic comedy with the residents of a quaint English village, and found that the value of their logistical contributions far outstripped their not inconsiderable cash injection.
Kino Lorber’s Richard Lorber: ‘Docs are made for crowdfunding”
New fund to finance docs ‘the world wants to see’ SHERYL Crown of The Documentary Company outlined an exciting new fund for documentary features “that the world wants to see” at yesterday’s MIPDoc conference, Financing For New Co-Production. Crown is unapologetic about looking for a 120% return. “We have to recoup
our investment and make a profit, so the films we invest in need to be commercially viable,” she said. “But although we are commercial, we have a lot of heart. So we’ll look for ways to help you make it work.” French producer Frederic Fougea of Boreales, however, used traditional
The Documentary Company’s Sheryl Crown: “We’ll help you make it work”
methods to finance his film Volcano Devils. Fougea set out to make a documentary about two French volcanologists who died in Japan in 1991. But when he pitched it to NHK producer Sayumi Horie, she saw a far bigger project. “We lost 43 people in that eruption, including colleagues from NHK, so it was very important to us,” Horie said. The resulting documentary used interviews, dramatic reconstruction, archive footage and CGI special effects to portray the actual eruption. And in spite of their different documentary traditions, the two companies worked on the script together. The finished Japanese film is substantially the same as the French version being distributed internationally. National Geographic’s Kathleen Cromley and ZDF Enterprises’ Kristina Hollstein also discussed their co-production Dawn Of The Oceans, and the importance of using a 360-degree approach to connecting with the audience.
Plight of 17 Indians wins over jury THE 2011 MIPDoc Co-production Challenge has been won by Soniya Kirpalani of Sprocket Science Films. This is the second time that Kirpalani has won the contest. This year’s winning entry is 17 Not Required Indians, a film about 17 Indians condemned to death in the UAE, accused of killing a Pakistani man. The film highlights the growing number of Indian citizens allegedly accused in the UAE and abandoned by their own government. Jury president Hamish Mykura, head of documentaries at the UK’s Channel 4, said the project gave “unique access to an unknown story”, while Iikka Vehkalahti, commissioning ed-
itor at Finland’s YLE TV2, said it had the “clear narrative thread” essential for successful sales. Kirpalani won the same prize in 2008 for her documentary series Threads Of Tradition, about the international fashion industry. Also in contention were A Spy In Love from Ladybirds Films, Desert Cantos from Off World, Padre Fortea: The Exorcist from Gammaglimt, Wild One from Film IT and Baltoro Passage from The Andrzej Wajda Studio & Film School. The Co-production Challenge is organised in partnership with Realscreen and the European Documentary Network.
Sprocket Science Films’ Soniya Kirpalani: second win
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16 03 2011 11:59:07 Uhr
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NEWS
FORMAT EXPEDITION FOR MARK BURNETT
From left: Brian Kekich, C Scot Cru and Patrice Choghi of Mark Burnett International
MARK Burnett International has been quick off the mark at signing two deals in Cannes. The Santa Monica-based distribution arm of Mark Burnett Productions, best known for programmes such as The Apprentice, has bought the worldwide rights to more than 120 hours of Canadian daytime show, Best Recipe Ever, from CBC. It has also acquired the rights to two seasons (39 hours) of home improvement challenge show All For Nothing? from another Canadian producer, Mountain Road Productions. C Scot Cru, managing director of Mark Burnett International, said: “This year at MIPTV we are looking for other people’s content — which is something we do not do very often.” The company is also looking to sell its own output, including Expedition Impossible, a “highconcept epic adventure where Lawrence of Arabia meets Indiana Jones”, which is currently in production for ABC in the US and has already been sold to 20 countries.
Gronenthal heralds Rainbow Media’s ‘smart expansion’ RAINBOW Media’s Harold Gronenthal, senior vice-president and general manager of program acquisitions, is in Cannes to herald his “smart expansion” plans for Sundance Channel. And Sundance Channel Global has backed this up by securing the rights from eOne Television to air The Walking Dead in France and Frenchspeaking Belgium. The Walking Dead is set in a zombieinfested apocalyptic world, and is based on the comic book series written by Robert Kirkman. Frank Darabont (The Shawshank Redemption, The Green Mile) is writer, director and executive producer. Sundance Channel Global launched less than two years ago, in Belgium, but has since expanded into nine territories; the channel has announced at MIPTV a carriage deal in Spain, with Movistar Imagenio, Telefonica’s IPTV service. Subscribers will be able to receive both SD and HD versions on demand, and also receive mobile
Harold Gronenthal: smart expansion for Sundance
authenticated streaming. “Getting the brand out globally was always the ambition of Robert Redford when he founded Sundance Channel,” Gronenthal said. Yet he tempers the expansionist plans with a note of prudence: “In terms of content, there is
a tacit understanding between the original source of Sundance — the Festival — and the channel. We don’t want to go out and just blanket the globe. We want to make sure we are moving into markets that will be able to support the brand.”
TV Asahi showcases new formats JAPANESE broadcaster TV Asahi is in Cannes this week with a new stand and a slate of format ideas to introduce to producers and broadcasters.
Hedwig Schreck sees growing interest in Japanese formats
Heading TV Asahi’s format drive is Hedwig Schreck, manager of international programme sales, content business division. She says they are focusing on six formats for this market. Of those, four are based on late-night TV Asahi pilots: DataWiz; 10 Requirements To Marry A Millionaire; Party Games; and Quiz 5 by 5. They were selected from a slate of 12 entertainment pilots which aired at the end of last year. The other two titles are Stuck Til You’re Done and Gourmet Academy. In the first title, celebrities visit a highstreet food chain (such as KFC) and try to guess the 10 best selling products, which they must then eat. In the
second, top chefs sample popular dishes from well-known food chains and comment on them. “Both have strong product placement elements to them,” said Schreck. “How they are adapted will depend on the rules in particular territories.” Schreck has a busy schedule this MIPTV, thanks to growing international interest in Japanese formats. Aside from her own discussions with buyers, TV Asahi has a strategic partnership with Outright Distribution, now part of Warner Bros. International. Also at MIPTV, US companies Notional and Electus will unveil Unbeatable, a Yoshimoto Kogyo franchise which debuts on TV Asahi this week.
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NEWS
Power players JAMIE Campbell Bower and Joseph Fiennes are in Cannes to promote the epic series Camelot, which has its exclusive international debut at the 2011 World Premiere Television Screening tonight. It follows the young, impetuous Arthur (Campbell Bower) as the sorcerer Merlin (Fiennes) plucks him from obscurity to unify Britain. Also in the cast is Eva Green as the sorceress Morgan le Fay and Guinevere is played by Tamsin Egerton. Camelot is presented worldwide (excluding North America) by GK-tv, a division of GK Films. The series has just premiered on Starz in the US, and will screen on CBC in Canada and RTE in Ireland.
“I was hugely impressed by the sheer scope of this project. The budget and time invested in the production meant it could step out of the box. We wanted to create a very human Arthur, a young man who contemporary audiences would be able to relate to. It was strange: I came to the part without a huge amount of experience and I found that what was happening to me on a personal level in terms of confidence and growth was also happening to Arthur too. “Arthur starts as a whimsical, intelligent, Midsummer Night’s Dream-y young man who suddenly finds himself in a position of power. I wanted to develop him and make sure his character evolved during the series, and at the end of each episode was a more focused, empowered individual. “I remember feeling particularly mesmerised by the whole production when I was dangling in front of an almighty waterfall trying to retrieve a sword in the second episode. The physical strain and the pressure to get the shot were immense, but also I remember having a wonderful realisation that I was fulfilling all my boyhood fantasies.”
“I believe Sir Thomas Malory translated the Arthurian legends from a prison cell. This might be in part why there are many political undertones in the story. In Camelot we see Britain in a state of disenfranchisement, and Merlin is very much the puppeteer, manipulating characters in order to unify the land and prevent ensuing chaos. “I didn’t want to create a wizard stereotype with the starry pointed hat and wand. Merlin is a Machiavellian character; he is not trustworthy and although he is fighting for unification he is standing on foundations that are riddled with inconsistencies and contradictions. I wanted him to be a brilliant politician in the dark corridors of power, misleading characters to invoke change. I like to think of my Merlin as a thuggish monk or as a brutal politician. “We shot Camelot in Wicklow, Ireland — an incredibly beautiful place. I had no trouble conjuring up a Celtic, mythological atmosphere, it was just there, at my feet.”
Jamie Campbell Bower
Joseph Fiennes
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NEWS
Bewitching Eva ACTOR Eva Green is in Cannes for the World Premiere Television Screening of GK-tv’s drama series Camelot. The Paris-born actress plays Morgan le Fay in the series, a new and dramatic interpretation of the story of King Arthur And The Knights Of The Round Table. “I have to say, filming was very, very intense, very different from most movies I’ve done,” Green told Julian Newby. “But it’s an amazing story, and the relationship I had with the showrunner (Chris Chibnall) was amazing. It was very special. For example if there was something I disagreed with in the script he would immediately agree to a re-write. It’s fun to have such a close relationship when you’re filming for such a long stretch.” Morgan le Fay is Arthur’s half-sister who Green has described as a saint, a healer and a witch. “It’s such a great character. She’s ballsy, cool — quite virile in a way, but also quite damaged. The main concern at the beginning of the series is just for her to be evil, but then little by little through the episodes you learn why she is behaving in such a way. She’s quite vulnerable, in her golden armour.” A versatile performer who is never typecast — high-profile lead roles include Vesper Lynd opposite Daniel Craig in Casino Royale — Green has also done a lot of stage work, although her theatre career is on hold at the moment because of stage fright. “I’m becoming a bit more scared. I am not very brave, I have to say. I had blanks on stage and that’s really horrible. I have to get over it because it’s awful, you want to die. I need to gain my confidence and at the moment I’ve lost it. I would love to go back on stage because it’s such a luxury. You’re the master of the piece — they can’t cut you, there’s no editing.”
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NEWS
TALENT SHOWS BUYER APPEAL
Network Ten’s Beverley McGarvey
DESPITE constant innovation in the sector, familiar themes and formats continue to appeal to buyers, agreed speakers at the Format Programming Strategies: What Do Buyers Want? event. “As a broadcaster, elimination and talent shows are what we’re looking for,” said Julie Bristow of Canadian public broadcaster CBC. “We struggle when it comes to social observational shows.” RTL Klub’s Peter Kolosi reminded the MIPFormats audience the local edition of the hit singing contest show X Factor gave his network a healthy 53% audience share. And the success of MasterChef Australia, the Shine Groupowned format, has prompted Australia’s Network Ten to “look for more programmes like that”, admitted Beverley McGarvey. Yet, the popularity of formats has triggered a debate about whether public broadcasters should be focusing on the genre, admitted Markus Sterky at Swedish public network SVT. Yet they could have a positive effect on scheduling at public channels. Olexandr Tkachenko of Ukraine-based Studio 1+1 Group said the ability to localise formats has helped boost the local-programming budget for its youth audience.
Involve viewers with giving, says format legend De Rijk ANONYMOUS contestants winning huge amounts of money on TV game shows is on the way out, said format legend Dick de Rijk at Saturday’s MIPFormats Keynote. Now, if you want to dominate primetime ratings, you need real involvement with the viewer. This is what the latest format from De Rijk, the creative mastermind behind the global juggernaut Deal Or No Deal, delivers — as was demonstrated to the MIPFormats’ audience during the show’s international premiere. Called You Deserve It, the heart-warming game show was produced in partnership with Red Arrow Entertainment Group and has been sold to US network ABC by SevenOne International. “You Deserve It is about giving,” said De Rijk. “You play for somebody in need who deserves the money. It’s the first ever game show that proves it’s better to give than to receive.” De Rijk was also presented with the 2011 C21Media/FRAPA Format
Dick de Rijk accepts the 2011 C21Media/FRAPA Format Awards Gold Medal
Awards Gold Medal, which is given to an individual who has made an outstanding contribution to the global formats business. Former recipients include Reg Grundy, Peter Bazalgette and Merv Griffin. Speaking after the keynote, De Rijk said: “You Deserve It is going to be
my next big thing. Do you know how I know? During the taping, I not only listened to the audience, I also listened to the crew. If the crew, who have seen hundreds of shows come and go, get excited about what’s happening on stage, you know you’re on to something big.”
Nordic recipe for format success
Banijay International’s Karoline Spodsberg: “brought up to think creatively”
TEENAGERS in charge of the family finances, comedians battling it out in a gladiatorial show of gags, a road trip in nostalgia… Sunday’s Laugh, Scream, Learn: Nordic Format Screenings neatly demonstrated the range, scope and quirky brilliance of northern creativity. Asked by the host, Helen Cooper of K7 Media, why the Nordic region has become such a creative hotspot in recent years, Nordic World’s Jan Salling cited small territories, tight budgets and well-educated viewers. These are “good ingredients”, he said, for stimulating creativity, because the only way to attract an intelligent au-
dience on a low budget is to be superinnovative. “If a show works in the Nordic region, it has a very good chance of succeeding abroad,” he said. MTV Oy’s Pete Paavolainen agreed: “We are used to working on small budgets, so our programming is very accessible.” For Banijay International’s Karoline Spodsberg, the creative renaissance has its roots in social history. “Back in the Seventies, our school system changed from an authoritarian model to a more creative one,” she said. “As a result, our generation is the first to be brought up to think creatively.”
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NEWS
MONEY AND IP CREATE THREAT DISPUTES over intellectual property (IP) rights and lower budgets threaten the thriving formats business, panellists said at the second annual Formats Futures debate. Discussing Jan Salling the recent Formats Lab Report on the global business up to the first quarter of 2011, Banijay International’s Karoline Spodsberg said: “What’s happening to our creativity is the war over intellectual property. Broadcasters want to retain more and more rights, and the creatives want to keep them.” She added: “The money doesn’t get back to the creators, the battle over IP will become the industry’s biggest threat.” Lower budgets for formats are also hurting the sector, stated Nordic World’s Jan Salling. “However, I think we need a positive attitude,” he said. “When consumers say they like something, we should listen — because relevance in formats is important. It means more feelgood TV.” That said, the broadcasters will increasingly trust producers’ expertise, observed Nicola Soderlund of Sweden-based Sparks Network. “It’s a much more complex business, but that puts us in a better position when we sell.” The Formats Lab Report was conducted by C21 Media, whose David Jenkinson chaired the session.
Mediation calms conflict in format wars, says FRAPA HAVING your format stolen is enough to make you hire a hit man. And a hit man would likely be cheaper and more successful than a lawyer. So joked Fox’s David Lyle, FRAPA cofounder, introducing yesterday’s MIPFormats conference, How To Resolve Your Format Dispute. The session, co-hosted by FRAPA and UN agency WIPO, took the form of a mock mediation, lifting the veil of secrecy that cloaks format-dispute resolutions by acting out an arbitration process loosely based on real-life cases. On one side of the fictional dispute was a disgruntled US production company, Wonderland, which claimed its hit quiz format, You’re A Loser, featuring bankrupt contestants, had been stolen by Fantasy Europe — and transformed into a quiz for financially strapped couples called Don’t Screw Up… Darling! Wonderland was demanding recompense, a halt to production and a public apology. Fantasy Europe was declining to oblige. Under the guidance of Lyle and WIPO lawyer Sarah Theurich, the warring
Fox’s David Lyle (standing) hosts FRAPA’s ‘mock mediation’
parties were nudged towards compromise. Instead of stopping production, Wonderland agreed that Fantasy Europe could continue to produce under license. Fees would be paid for some parts of the Wonderland format, but these would be viewed as an expense, not a punishment. It was also agreed that the export of both formats could continue, with certain restrictions, thus laying the groundwork for an ongoing commercial relationship between the two companies.
In the 10 years since FRAPA was founded to protect and recognise formats, it has developed a buoyant sideline in mediation. Theurich said that mediation provided a “cost- and time-efficient alternative” to the courts. Other advantages of mediation over legislation include speed (one to five months instead of two years), cost ($15,000-$30,000 versus $150,000$400,000), neutrality, confidentiality, and the preservation of professional relationships and reputation.
Pictured at yesterday’s MIPFormats Networking Lunch at The Majestic hotel are SevenOne International managing director Jens Richter (left), Reed MIDEM’s Laurine Garaude, Dick de Rijk, exclusive development partner, Red Arrow Entertainment Group and Reed MIDEM’s Paul Zilk
Factual variety flourishes FROM teenagers talking about threesomes to British paramedics surrounded by the spilt blood of Latin America’s murder victims, the Fresh Formats Review: Factual Entertainment session confirmed that the genre
can cover a wide variety of topics. The session’s host Virginia Mouseler, The WIT’s CEO, emphasised ‘fact ent’s’ increasing popularity, thanks to its ability to make gripping entertainment out of serious social issues.
“Although it started in Britain, it is spreading worldwide,” she told the audience, showing trailers from Channel 4’s The Joy Of Teen Sex, and BBC 2’s Toughest Place To Be A Paramedic, among other shows.
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NEWS
MAGNIFICENT IDEA
Magnificent Century (Global Agency)
TURKEY’s Global Agency is offering the rights to the highly rated but controversial series Magnificent Century. The drama, based on the life of the great 16th-century sultan Suleiman the Magnificent, is currently showing in Turkey on Show TV. The series has caused controversy because it portrays Suleiman drinking alcohol, which is banned in Islam, and womanising with concubines in the harem. But Izzet Pinto, CEO of Global Agency, applauded producer Tims Productions “for making a courageous series that has spawned a resurgence of interest in modern-day versions of all things Ottoman”.
OHM:TV DEAL GERMANY’s ohm:tv has signed a deal with South Africa’s The Home Channel for several lifestyle series produced for Irish public-service broadcaster RTE, represented in South Africa and Spain by ohm:tv. Included are: Room To Improve, Designs For Life, ShowHouse and Rachel Allen Cookery. Ohm:tv recently opened an office in Cape Town, complementing its offices in Cologne, Barcelona and Vienna, which distributes formats to TV channels across South and SubSaharan Africa.
Brazil doubles its impact with 100% increase in producers BRAZIL has doubled its official participation at MIPTV this year, with 24 producers attending the market under the banner of the Brazilian TV Producers (BTVP) group. Companies from across Brazil brought together on the BTVP stand include Rio de Janeiro-based 2D Lab, Curitiba’s Digital Spirit Animation, Sao Paulo’s Martinelli
Worldwide sales for Power Rangers MARVISTA Entertainment and Nickelodeon this week finalised a multi-territory agreement for the new Power Rangers Samurai series. Territories covered by the deal include Germany, the Benelux, the UK and Ireland, Latin America, Australia and New Zealand. Nick will start airing the 40 new Power Rangers Samurai
Films and Florianopolis’ Ocean Producao. BTVP participants will be taking part in two of the MIPTV panel discussions. Marco Altberg, president of APBI-TV (Brazilian TV Producers Association), will be among the regional representatives at the Working With Latin America workshop, along with Fernando Dias of Grifa/Gullane, who
will be talking about the BrazilianFrench co-production Extinctions. Two Brazilian projects will be presented at the Content 360 Spotlight session: The Football Project, by Mosquito Video of Sao Paulo; and Moonflower, a Brazil-US co-production between Umana and Starlight Runner Entertainment.
episodes internationally in May. MarVista CEO Fernando Szew said: “Power Rangers Samurai is already a proven hit on Nick US, and both MarVista and Saban Brands are deeply gratified to expand the relationship with Nick.”
Jules Borkent, senior vice-president of global acquisitions and international programming at Nickelodeon, added: “Nick’s global reach and prowess, together with the popularity and brand awareness of Power Rangers Samurai, makes for a fantastic partnership.”
Enjoying the ride: Saban Brands’ Elie Dekel (left), MarVista’s Fernando Szew, Saban Brand’s Kirk Bloomgarden and Nicklodeon’s Jules Borkent
InSecurity spies a gap in the market ACTORS Natalie Lisinska and Remy Girard are in Cannes to mark the launch of Tricon Film & Television’s new scripted spy comedy InSecurity (26 x 30 mins). The character-driven series has been
designed as a cross-platform project, with online components including video content and insider information. From the same team behind the international comedy hit Corner Gas,
InSecurity cast members Natalie Lisinska and Remy Girard
InSecurity has been created and executive produced by Robert de Lint and Virginia Thompson of Verite Films, and Kevin White of Company Name Here Productions, in association with CBS Television. Tricon is handling the international distribution. “InSecurity is one of those specially scripted comedies from a great team that knows how to build a hit,” said Jon Rutherford, Tricon’s vice-president of sales and acquisitions. Thompson added: “Canadian programming travels well around the world and, following the international success of Corner Gas, InSecurity is set to continue this trend.”
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THE NEGOTIATOR SECURES DEAL WHITE Pine Pictures has secured an early-stage licensing deal with Daro Film Distribution for The Negotiator, a high-stakes international mini-series currently being written by Malcolm MacRury (ZOS: Zone Of Separation, Republic Of Doyle, Cra$h & Burn). The deal, finalised at MIPTV gives Daro a first look at international rights and certain specified territories. “Daro recognises the importance of stimulating development,” White Pine Pictures president, Peter Raymont, said. “Collaborations like this support our development strategy of pairing top writers with strong concepts that meet a demonstrated market demand.” The Negotiator is loosely based on real negotiators used by governments and the private sector to secure the release of hostages taken for financial or political ends. Raymont added: “What appeals most to us is the action-driven concept and the slick, charming character of the elite hostage negotiator.” Michael Wolter, vice-president of Daro, said. “After co-financing more than 10 TV movies for worldwide distribution in 2010, getting involved in an international mini-series with franchise potential was a logical step for us.”
White Pine Pictures’ Peter Raymont
Starz shows are proof that comedy crosses borders STARZ Worldwide Distribution is in Cannes with titles including Onion News Network, the tongue-in-cheek series based on the satirical website The Onion. Onion News Network debuted on IFC in January 2011 and a second season is already set to launch in October. The 10-episode first season covered such stories as the war crimes trial of an unmanned drone plane, an exclusive report that Kim Jong Il is shutting down North Korea’s nuclear programme in exchange for a lead role in the next Batman film, and a winter snowstorm that sent the country — and the newsroom — into a panic. Starz is also in Cannes with other IFC comedies, among them The Whitest Kids U’ Know, the scripted comedy
The Onion News Network’s anchor, Brooke Alvarez
series Z-Rock and the musical miniseries Bollywood Hero. “People say comedy doesn’t travel overseas, but we’ve found that the right properties find a home with a
surprisingly diverse range of audiences, and those properties tend to come from IFC,” said Starz Worldwide Distribution executive vice-president Gene George.
CINEFLIX International Distribution’s Cupcake Girls and its Conviction Kitchen format, newly licensed to Australia’s Channel 7, underscore the continuing relevance of food programming, said the company’s president, Paul Heaney. He added: “Thirty broadcasters from 20 territories have now acquired Conviction Kitchen, The Cupcake Girls, Dinner Party Wars and The Opener. It’s proof of how pivotal cookery shows are in today’s broadcast schedules.”
Haber makes supernatural sales ALFRED Haber Distribution has obtained the international distribution rights for the seventh series of the Ghost Hunters’ paranormal investigations. Haber has already represented the series (154 x 60 mins in total) for the past six years, to ratings success in the US and internationally. In addition to the acquisition Haber has signed a number of recent Ghost Hunters deals including with NBC
Universal (Latin America), AXN (Central Europe, Italy and India), Tele Astral (French Canada), Foxtel (Australia), CBS (UK) and TV4 (Sweden). The series is now seen in more than 100 countries worldwide. Alfred Haber Distribution founder Alfred Haber said: “Ghost Hunters has set the standard for paranormal investigation and we are pleased to have contributed to the success of the outstanding franchise.”
Ghost Hunters: paranormal investigation
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MIPTV NEWCOMER
Ballet In The Park (OMGACT Entertainment)
OMGACT Entertainment OMGACT Entertainment, a Japanese movie and music production, distribution and international sales agency, is at MIPTV for the first time, with a catalogue covering martial artists, dance and music, as well as film, animation, drama and variety. The company is producing content for internet, mobile, IPTV, VOD, apps and in-flight use, as well as TV and DVD, and making original soundtracks available on iTunes. A highlight for MIPTV is Ballet In The Park, in which professional ballerina Anzu Ito performs in beautiful locations to an original soundtrack. The show is airing on TV Kanagawa and can be seen on Yahoo! Japan and on YouTube. Other shows include: OMG! – Xtreme, a series of martial arts and free running video clips by Toronto’s Team 2X; film noir action feature An Assassin, directed by Go Ohara; drama feature film Kizuna; children’s animation Kumasan; and variety show Today’s Lucky Color.
Fuji Television delivers diverse line-up with a focus on fun FUJI Television Network’s head of worldwide production and sales, Akihiro Arai, is showing off several new productions at MIPTV. “We have brought new formats spanning diverse genres and styles and we are confident that our new line-up will both appeal to our existing buyers, and enable us to cultivate relationships with new clients,” he said. “The fun factor is more to the fore than ever before in the new shows. In Body Bowling!, the contestant becomes a human bowling ball, and Pie-Lot! should appeal to the kid in everyone. Answer a question correctly, and the contestant is allowed to throw a pie at a fellow contestant of choice. If the opponent is fast enough, he can
quickly cover his face with a pie guard. The winner takes away the grand prize of $100,000. “The Perfect Actors features three groups of five budding thespians who compete for a $10,000 prize and a chance for 15 seconds of fame. Each level requires higher theatrics, setting the bar higher for the actors-to-be.” Further new formats from Fuji include The Money Battle, and Hanetobu. “In addition to sales to US and European broadcasters, we are excited that mainland China has picked up Hole In The Wall and that it’s already become a top-rated show on CCTV1. Other Asian countries are quickly following suit,” Arai said.
Fuji Television Network’s Akihiro Arai: appeal to existing buyers and cultivating new relationships
Innovation is top of the Tuvalu list TUVALU Entertainment, the independent production company set up by former Endemol executive Paul Johnson, is looking to complete the financing for its 10-part debut production, Innovators That Changed The World. At a conference during MIPDoc Johnson said that two partners are already in place for the docu-drama series: “We’re in Cannes to show broadcasters a 22-minute pilot and sign up a couple of new partners. After that, we’d hope to be in production on the series as early as May this year.” The $400,000 pilot episode La Premiere is about the Lumiere brothers and their role in the invention of cinema. It is directed by Michael and Nick Regalbuto, whose own company Loaded Media is a partner on the production. According to Nick Regalbuto, in Cannes with Johnson, the goal of the series is to tell the human stories behind the innovations: “We have
hundreds of ideas. The ones we select will reflect the needs of our partners.” Tuvalu is working on a number of projects across different genres and formats, however Johnson said: “Innovators is our priority at this market and it has the visual richness of a
theatrical release.” Tuvalu shares its name with an island nation located in the Pacific, where 10% of Tuvalu Entertainment’s net profits are reinvested to help with its aim of becoming 100% sustainable in energy, water and food by 2020.
Tuvalu Entertainment’s Paul Johnson: in production as early as May
Loaded Media’s Nick Regalbuto: reflecting the needs of our partners
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them. And it pays to be quick as
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MIPTV NEWCOMER
Ozlem Ozsumbul Head of acquisitions and sales Kanal D & Star Tv2 Turkey “DOGAN Group is the biggest media company in Turkey. It owns Kanal D, Star Tv, CnnTurk, D Production, Kanal D Home Video and many newspapers, radio stations and magazines. International expansion is our central strategy in terms of selling our TV series. We also want to promote our country and culture, and this business is a great way to do that. Our dramas relate to many countries. For example, our production Gumus was a phenomenon in the Middle East, its final episode seen by nearly 85 million viewers. MIPTV and MIPCOM are the biggest content exhibition events in the world. We are looking for long-term partnerships with channels and distributors. After the success of Turkish dramas in the Middle East and Asia, Kanal D has expanded into Eastern Europe and the Balkan countries. Over the past 12 months our international sales have increased tremendously, and we have demand from many countries. We believe the common points of being human — stories, fairytales, love and passion, betrayal… — are not just for one nation or culture.”
Polish pact pays off as launch date set for new digital bundle allowing Polish TV viewers access for technological front,” said Markus TelPOLISH media group TVN has the first time to a dedicated full-HD lenbach, CEO of the TVN Group. kicked off the market by announcchannel that covers all UEFA ChamTellenbach also announced the kicking May 20 as the launch date of the pions League matches in parallel. “It off of the Full Conference Concept, first DTH premium pay-TV and will take viewers to the venue broadband internet bundle where the action is: goals, free in Poland. kicks, penalties in real time, The launch is the next step and without switching the in the groundbreaking cochannel.” operation signed between Traditional summary proTVN and Poland’s leading grammes, said Tellenbach, broadband supplier Telekohave the disadvantage of bemunikacja Polska (TP ing broadcast after the match Group). has ended. The Full ConferIn that pact, the TP Group ence Concept allows viewers agreed to provide broadband to follow the action live, and other communications when it happens. to the current and future The TVN Group will also be customers of ‘n’ satellite platadding an additional channel form while TVN provides to its HD offering, bumping content. the number of HD channels “Poland is not seen as a up to 26. “That puts Poland techno-driven market on the ahead of the European averwhole but it has in fact age when it comes to HD moved way ahead of expecchannels,” Tellenbach said. tations on the digital and TVN Group’s Markus Tellenbach: moving ahead of expectations
iConcerts deal takes centre-stage TRANSMEDIA has finalised a deal with leading IPTV operator kt (formerly Korea Telecom) to launch its iConcerts HDTV channel for the first time in Korea. With the launch scheduled for May 1, 2011, the iConcert’s live channel will be distributed only via kt’s innovative N-Screen Service, part of the newly launched Olleh brand, which includes IPTV, online, tablet PC, mobile and other devices based on wired and wireless telecommunication services. The service will broadcast concerts by Beyonce, Bon Jovi, Lenny Kravitz and Santana, among many others. “We are very pleased to have a partnership with iConcerts," said
Beyonce: live in concert on Korean screens
Dong Soo Park, managing director for the content & media business unit of kt. “With the iConcert’s channel expertise as an international music broadcaster, we are confident that iConcerts will help to make kt’s Olleh N-Screen multi-window lineup even stronger and more competitive.” Etienne Mirlesse, Transmedia’s CEO added: “South Korea is at the forefront of the digital media revolution, with operators always on the look-out for new digital products and brands to provide extra value to their audience. kt is an ideal partner to be the first to provide our innovative HD live music channel to Korean audiences.”
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NEWS
CHUA FOCUSES ON FAMILY FORMATS
Robert Chua
ASIAN TV industry veteran Robert Chua, president and CEO of Robert Chua Production, is focusing his efforts on promoting TV formats that entertain with social value in both China and the international market. “I have created TV formats for family viewing that have good social value and include viewer participation,” Chua said. “My TV formats work well in China and across most Asian countries, but they can also work well in western TV markets.” Chua is at MIPTV in order to identify potential partners: “I’m looking for either broadcasters or producers who would want to produce pilots of my new formats in return for co-ownership in certain territories,” he said. “The formats stand out from the rest because they have social value. 3 Generation Quiz Show and the Super Family Show both promote family values with several elements that offer home-viewer participation. Also Wok With Me is a reality show that home viewers can participate in and Young Chef Cooking Competition is a contest for young amateur cooks.”
Metronome and Nippon TV in partnership after MIP meet A YEAR ago at MIPTV, Nippon TV’s Akihiko Harazono met the creative team from Shine-owned Metronome for the first time. Now, the two companies are back in Cannes with a brand new show that was co-developed between them. The show, said Metronome’s head of acquisitions and business development Kim Bjornqvist, is called The Shuffle: “It was developed from scratch between us — so it’s not an existing Japanese format that is being exported internationally. We started with 25 ideas from each side and, after meeting in Tokyo, The Shuffle was the one we chose.” Harazono said that The Shuffle, which combines physical and mental challenges in a fun game show format, has just aired as a pilot in Japan, where it rated extremely well. The hope now is that it will go to series in a family primetime slot. Lasse Hallberg, head of creative business affairs at Metronome, said the
partnership is working well “because we’re having such fun coming up with ideas. The Scandinavians and Japanese have lots in common and that showed during development.” The format is being launched this
week with Shine International handling distribution and licensing. Buyers can catch a glimpse of the show at the Fresh TV Around The World screening event today at 13.00 (Grand Auditorium).
Metronome’s Kim Bjornqvist (left), Nippon TV’s Akihiko Harazono and Metronome’s Lasse Hallberg celebrate success of new show in Cannes
KBS takes a walk on the wild side KOREA Broadcasting System (KBS) has kicked off the market by signing an agreement with France Televisions for its documentary Wildlife
Architect, about animals that build intricate houses with their bodies, and is looking for the same success with The Amur.
The Amur: part of fresh flow of programming from KBS
The major new five-part documentary series about life along the Amur River is being showcased for the first time in Cannes. Forming the border between the east of Russia and northeast China, the Amur is the world’s 10th longest river. The Amur and Wildlife Architect are among a raft of documentary titles from Korea’s main public broadcaster that have travelled to France. Others include The Last Temple, Asian Corridor To Heaven and Noodle Road. KBS has also brought The Great Conquerer, about the legendary Korean hero Goguryeo, and is in Cannes to highlight format sales including the TV series Mom’s Dead Upset and Dangerous Invitation.
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BRAZIL HAS THE RIGHTS STUFF THE AMSTERDAM-based content-licensing specialist Rights Stuff has teamed up with Cesnik, Quintino & Salinas (CQS), a Brazilian law firm, to demonstrate to the country’s diverse media businesses how an understanding Wendy Bernfeld of the challenges of licensing and acquiring international digital content can benefit them. “In a country where digital media is still at the embryonic stage, we’re helping CQS enable local telecoms and cable companies offer new-media services and license original digital content,” Wendy Bernfeld, Rights Stuff’s managing director, explained. CQS, which is also working with the Brazilian TV Producers organisation, has a deep understanding of the financial incentives and legal structures that will attract international content producers. “There are numerous new incentives in Brazil that make it handy to coproduce in traditional and new media,” Bernfeld added. Rights Stuff is also assisting UK-based online streaming service IndieMoviesOnline.com expand into new territories and launch a video-on-demand service. Meanwhile, the Rainbow Media-owned Independent Film Channel has asked Rights Stuff for advice on licensing content to key international markets.
Sony DADC shows way forward for legal content on all screens SONY DADC is at MIPTV to demonstrate how it can help make legitimate content available to the consumer — and how its technologies are empowering consumer experiences. As a full supply-chain provider for the home-video industry with more than 3,000 customers from Hollywood majors to independent rights-holders, Sony DADC is well positioned to identify the upcoming trends in its sector. “Consumers increasingly expect to enjoy content however, whenever and wherever they want,” said Chris Reiser, the company’s executive vice-president. “So the current 'piracy window' — the time period after theatrical but before home entertainment, when the product is only available illegally — simply means lost sales. “Exclusive Blu-ray releases could fill that gap, combined with anti-piracy
legislation such as exists in France, Spain and Sweden. In addition, a digital copy for each legitimate buyer of packaged media reduces illegal downloads.” In Cannes, Sony DADC is showcasing the latest Blu-ray 3D releases that it has authored and produced in Europe. “We are here to discuss how we
can best take content to market,” Reiser added. The company provides a one-stop shop for rights-holders and distributors, providing authoring, mastering, DVD/Blu-ray disc replication and logistics services. It also offers digital distribution to commercial online platforms and their business partners.
L'Homme Qui Voulait Vivre Sa Vie is the first Sony DADC-created movieIQ title — a Bluray function that posts info on screen during playback
Skillstar arms armchair contestants A TECHNOLOGY that allows people to participate in TV game shows from home will transform the creative and commercial relationship between television and the internet, according
to Alexandre Halimi, head of TV content at Skillstar.com. The French start-up, which is backed by Stephane Courbit, former CEO of Endemol France, is at MIPTV to pro-
Game on: Skillstar’s Alexandre Halimi (left) and Pierre Faucon
mote what it claims to be a broadcast first. “Our technology allows all the contestants in a game show to compete via their computers while being broadcast in real-time,” Halimi said. “Only the host needs to be physically present in the TV studio.” Skillstar has partnered with French broadcaster M6, which will launch a 200-episode trivia game show based on the Skillstar technology. Halimi and Skillstar vice-president Pierre Faucon are hoping that MIPTV will generate more licensing and broadcaster alliances. Skillstar is not only a technology breakthrough, Halimi added: “It’s also important because it represents a new economic model. The web side produces revenues while the TV side drives recruitment and helps promote the show.”
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MISSY PEREGRYM
IN
SEASON 2 AVAILABLE NOW
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MIPTV NEWCOMER
Kikoriki makes global leap in MTVNI/Riki Group deal
Anna Gabrielyan: targeting new territories
ANNA GABRIELYAN, distribution executive, Russian World Studios (RWS), Russia. RWS is one of the largest film and television production companies in the Russian market, and among the leaders in film production services. We currently hold more than 1,500 hours of content in various genres, including TV series, TV movies and feature films. MIPTV is the best place to learn about new trends, to get the taste of how the industry will develop in the near future. As our slate has expanded dramatically during the last year, our main aim is to present our projects to new buyers. We are targeting new territories, and new media and emerging platforms. We also appreciate seeing our long-term partners. The RWS production team is also here, looking for breakthrough formats. Last year was extremely good for RWS, opening with Palm Sunday, an eight-part drama about a talented person in a totalitarian society, which provoked controversial discussion and a real empathy in the audience. An end-of-year highlight was our first sale of a Russian project to Indian broadcasters — an RWSproduced 12-episode series called Indian, shown on Doordarshan and Zee Smile.
Kikoriki: spreading fun across Russia
MTV NETWORKS International (MTVNI) has acquired the television and digital media rights to the multiaward-winning animated kids property Kikoriki from Russian multimedia organisation Riki Group. Targeted at three- to eight-year-old kids, Kikoriki (76 x 6.5 mins, also known as Smeshariki in Russia) follows a group of characters whose world is full of adventures. Available
in the MTVNI portfolio at MIPTV, the distributor is seeking sales across Central and Eastern Europe (excluding Russia), the Middle East, Africa and the Asia Pacific region (excluding Greater China). MTVNI has also acquired rights to broadcast Kikoriki on Nickelodeon TV platforms in Russia and CIS, Central Europe and Africa from August 2011.
“With its creative, kid-friendly messaging and playful characters and themes, Kikoriki is a perfect complement to our existing kids and family portfolio,” said Caroline Beaton, MTVNI’s senior vice-president of international programme sales. “We look forward to introducing Kikoriki and the amazing world of Kikorikiland to viewers and third-party broadcasters across the region very soon.”
Growth for RT FreeVideo offer THE TELEVISION news network RT, broadcasting from Moscow and Washington, and the first Russian Emmy nominee in the News category, has doubled the subscribers to its FreeVideo online platform over the past three months. According to RT, more than 4,200 TV channels and news agencies from 165 countries use the service daily.
FreeVideo provides a selection of broadcast-quality news, business, science, entertainment and politics stories, free, in a range of formats. Selected RT documentaries and selected RT programmes are also due to be added to FreeVideo. “We can see by the continued growth in subscribers, and the feedback we get from them, that FreeVideo, which
launched as an experimental project for media professionals, has turned out to be a very timely and successful idea,” said Xenia Fedorova, head of media promotion and development at RT. “In the near future we plan to launch high-quality live broadcasts via FreeVideo on important occasions, allowing other channels to get pictures from us in real-time.”
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BABY JAKE HEADS OVER TO CBEEBIES BBC WORLDWIDE has unveiled a new slate of shows for its international pre-school channel CBeebies. Titles for 2011 and 2012 include: Baby Jake, an acquisition from Darrall Macqueen; Jollywobbles, an acquisition from Scrumptious House; and Andy’s Wild Adventures, a co-commission with CBeebies UK. The deals — which encompass broader rights across BBC Worldwide’s different business lines — are the responsibility of Henrietta Hurford-Jones, its director of CBeebies investment. “I’m always on the look out for something special,” she said, “that travels well and has that unique ability to captivate young viewers around the world. These titles have captured my imagination and I have no doubt they will be global hits.” Andy’s Wild Adventures is a 40 x 15 mins wildlife series from the BBC’s Natural History Unit, Baby Jake is a 26 x 11 mins live action/animation and Jollywobbles is a 13 x 9 mins comedy written by and starring Justin Fletcher. “Given the growing scale of our channels, it’s essential that we continue to increase our investment in original properties that uphold the brand’s promise,” HurfordJones said.
Baby Jake from Darrall Macqueen
Cookie Jar takes on live action to boost kids slate CANADA’S Cookie Jar Entertainment, known for its pre-school and kids animation, has fulfilled its ambition to create live-action entertainment for teens. Mudpit is about real teenagers who are transformed into animated avatars to compete in a battle of the bands. And the tween-targeted Debra! follows the eponymous heroine as she improves the world one adventure at a time. “They’ll be seen for the first time ever at MIPTV — we’re bringing the first four episodes of each one,” said Toper Taylor, Cookie Jar’s president and chief operating officer. The shows will then debut in September, with Mudpit on Canadian cable network Teletoon and Debra! on the cable-and-satellite service The Family Channel. Reaching young adults is increasingly a priority for Cookie Jar, which is developing Spyburbia, its first primetime animated pilot for young adults, for the US network Fox.
Debra! — an exclusive first look
Mind Candy makes Monster move MIND Candy’s CEO Michael Acton Smith will be unveiling details of Moshi TV, the company’s planned web-based TV network centred on Moshi Monsters, when he talks at two MIPTV events this week. “We know kids love cartoons and videos, and we think we can revolutionise the kids TV market,” said Acton Smith. “We shall create some of the content, and some we shall buy. But there’ll be a social element to it. Children will be able to rate and share the programmes.” With more than 40 million registered users, Moshi Monsters is an online social network that lets kids share photos, send messages, and play educational puzzles. It has made Mind
Candy more than $100 million in product sales. Although the Moshi TV business model is still being developed, it is known the platform will be viewable online, on iPad and on internet-enabled TV.
Moshi Monsters on Moshi TV
Find out more when Acton Smith speaks at today’s Digital Distribution: Monetising Content On New Platforms, and tomorrow’s Connected Creativity Forum: Innovation From Around The World.
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Comedy Series (2011) 6 x 30 minutes
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MIPTV NEWCOMER
JOE TRAINOR, head of media solutions for EMEA, Autonomy, UK. Autonomy’s Intelligent Data Operating Layer (IDOL) platform allows computers to harness the richness of human information, forming a conceptual and contextual understanding of structured or unstructured data in any language, including text, e-mail, web pages, social media, audio and video. Autonomy’s broadcast software such as deep video indexing, speech-totext, compliant archiving and rich-media management, are ideally placed to solve the technical complexities of the modern broadcast environment. They enable media providers to manage, protect and monetise their archives and engage with consumers across platforms better, driving efficiencies, creating engaging multichannel customer experiences and, importantly, making more money out of their content. MIPTV is the place to be to meet existing customers, uncover new opportunities and to validate our commitment to the industry, and we are also looking for partnerships with systems integrators. We believe our software addresses the information-management challenges facing the market.
Peter Gabriel marches into 3D with Eagle Rock Entertainment UK COMPANY Eagle Rock Entertainment has announced a joint venture with rock musician Peter Gabriel to produce and distribute its first-ever 3D film, Peter Gabriel’s New Blood 3D. Also Gabriel’s first 3D project, it features a live performance by the star accompanied by a full orchestra at London’s Hammersmith Apollo, filmed on March 23, 2011.
Peter Gabriel’s New Blood 3D is an Eagle Media production directed by Blue Leach and co-produced by Peter Gabriel’s company Real World. It will be distributed by Eagle Rock later in the year across 3DTV, theatrical, digital, DVD and Blu-ray platforms in all territories. Gabriel said: “I have long been fascinated by the potential of 3D to go
beyond the gimmicks and immerse people in an experience. We had our first 3D filming experiments in the 1980s, but at that time there was no audience or place to show them. I am really looking forward to having a chance to do it properly with Blue Leach (Snow Patrol, Toto), who I rate very highly. Blue has been on all the orchestral dates so far, doing some amazing video work.”
Gabriel: live on stage at the Hammersmith Apollo
Digital works for DCD Rights CONTENT processing and re-purposing business re:fine has struck a deal with the independent distribution company DCD Rights for services including storage, the tapeto-digital transition, encoding and digital distribution. Under the terms of the deal, re:fine and DCD Rights will work together for an exclusive three-year period, managing DCD Rights’ library that includes 2,500 hours of top music, entertainment, and factual content. Key titles include Land Girls, Heavy Haulers, Rake, Danger Coast and World Of Jenks. “We are delighted to be working with
re:fine, whose high-level service culture and vision of where the industry
Land Girls: now housed with re:fine
is going matches our own,” Steve Ayton, managing director of DCD said.
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BBC Worldwide launches royal couple on international tour
The Quick Interview
Simon Abkarian as Tony Roucas
SIMON Abkarian plays Tony Roucas, aka Mad Tony, the lead character in crime series Tony’s Revenge (Les Beaux Mecs). This co-production between Lincoln TV, France 2, AB Thematiques and Via Productions, is currently wowing French audiences. It is commonly believed that it is easier to play bad guys. Is this true in your experience? “It is easy to play a bad guy when it’s well written. What is interesting is that the bad guy is the necessary evil who reveals the hero.” How did you prepare for the role? “I am prepared because I am an actor. This is no spiritual joke. Each role demands specific work, but if it is well-written, half of the job is done. And an actor is never alone. The director and the other actors enable you to exist as a character.” Was there anything revealed in the script about the differences between organised crime in the 1940s and today’s gangsters that surprised you? “Capitalism has evolved since the fall of the Eastern Bloc. The same goes for crime. Gangsters want to be rich no matter how. And I dislike the concept of ‘no matter how’.”
Michael Dunlea / Rex Features
QI
NEWS
Royal wedding fever: William And Kate – A Royal Engagement arrives in Cannes
BBC WORLDWIDE has sold William And Kate – A Royal Engagement to 32 broadcasters in more than 24 territories in the run-up to MIPTV.
The production has been picked up by broadcasters all over the world including in the US (Universal), Australia (Bio Channel), Italy (CDI
SRL) and Thailand (Cineplex). The one-off special includes contributions from close friends, historians, biographers and well-known journalists, to reveal the couple’s very different backgrounds and upbringings, and traces the moments leading up to their engagement. “The impressive sales of William And Kate – A Royal Engagement highlight the international interest there is in the imminent royal wedding and we have a strong collection of new programmes to satisfy this demand at MIPTV,” said Steve Macallister, managing director, sales & distribution at BBC Worldwide. A Royal Engagement is just one of five Royal wedding-themed programmes including the BBC’s Britain’s Royal Weddings and Untold Stories Of A Royal Bridesmaid, a one-off programme from Magilla Entertainment for TLC.
Global success for Downton drama NBCInternational announced on the eve of MIPTV that the highly successful drama series Downton Abbey has been licensed to more than 100 international territories since its global premiere in the UK in September 2010. Territories to have taken the period piece include Albania, Australia, Belgium, Iceland, Israel, Japan, Norway, Poland and Spain. “Downton Abbey was a tremendous hit out of the gate and we knew we had something very special on our hands,” said Belinda Menendez, president, NBCUniversal International Television Distribution & Universal Networks International. Throughout season one of Downton Abbey, UK viewing figures grew from 9.5 million for the premier episode to 12.8 million for the last episode,
capturing a 36% audience share. Downton Abbey’s most recent launch in Spain on March 15, 2011 delivered 3.2 million viewers garnering a 17% audience share for Antena 3. Set in an Edwardian country house in 1912, Downton Abbey portrays the
lives of the Crawley family and the servants who work for them. The series stars Maggie Smith as Violet, Dowager Countess of Grantham, Hugh Bonneville as Robert, Earl of Grantham and Elizabeth McGovern as Robert’s wife, Cora, Countess of Grantham.
Hugh Bonneville and Elizabeth McGovern, at the heart of Downton’s aristocratic family
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PRODUCT NEWS
Leaping from job to job
Profiles of a hero
THE TELEVISION Syndication Company (TVS) has recently added the 75-minute documentary One Week Job to its catalogue, with worldwide TV distribution rights, excluding Canada. The film follows a college graduate, in his quest to discover his passion by working 52 jobs in 52 weeks, traveling through Canada and the US, as a firefighter, stock trader, bungee instructor and pre-school teacher among other occupations.
LONDON-based Power brings five new 52minute biographical documentaries about Nelson Mandela to MIPTV. The series, called Mandela: Hero Of A Nation comprises: Mandela: Country, which looks at the early years when he moved from rural South Africa to Johannesburg; Mandela: City, focuses on his politicisation and campaigning against apartheid; Mandela: Rivonia, covers the decision to launch an armed struggle; Mandela: Prison, looks at his lengthy period of imprisonment; and Mandela: President, profiles South Africa’s first black president.
Sean Aiken in One Week Job (TVS)
Programming with polish TV GUIDE Network programmes brought to MIPTV by Lionsgate include the docu-soap Nail Files, which was created and execproduced by Jersey Shore’s executive producer and 495 Productions. The Nail Files (Lionsgate) action centres on the Katie Cazorla, an actress turned entrepreneur who operates a
Hollywood celebrityfilled nail salon. Other programming from TV Guide Network includes: Red Carpet Coverage, with host Chris Harrison, who also anchors Hollywood 411, covering the celebrity and entertainment news; and a selection of TV Guide Specials, from The Top 25 TV Blunders to Sexiest Stars. Mandela: Hero Of A Nation
Tweens in search of harmony FLYING With Byrd (52 x 11 mins) is new CGI animation series that follows the adventures of six tweens from around the world who travel through space and time, aided by a pop star called Byrd and Squawky his parrot. Their quest is to find lost notes needed for the Universal Symphony Of Harmony, a piece of music designed to bring harmony to the world. The HD series is brought to MIPTV by Bankok-based producer Shellhut. The company also brings Shelldon (Season 1,26 x 22 mins/Season 2, 26 x 22 mins), a new HD animation that educates youngsters about ocean life with fun stories set in Shell Land. Flying With Byrd (Shellhut)
It’s holiday time BANIJAY International has brought its new from a luggage carousel — the higher the game show, Honey Pack The Bags! to in- number, the harder the question and the ternational buyers at MIPTV. Three audience possibility of more points. The first to score 21 opens the bag to find members compete in a what they have won — a series of general knowldream getaway, or a pile edge questions and crazy of sand. challenges — like painting Produced by Air Producpictures with a brush attions, a Banijay Group tached to their forehead — company, the series is to compete for a holiday. hosted by Nagui, the The first-round winners choose a numbered bag Honey Pack The Bags (Banijay International) founder of Air Productions.
A look at prison life HARD Time is a 6 x 50-minute series that goes behind the scenes of maximum security prisons in the US, examining the undercurrent of danger and violence. The series is brought to MIPTV by ZDF Enterprises. The company also brings family film The Hunt For Hannibal’s Treasure (120 mis), which follows Fred and Laila as they try to uncover a legendary treasure, and settle an old score. The company is also launching its online screening service at www.zdf-enterprises.de at MIPTV. Registered users can view trailers and complete programmes.
Hard Time (ZDF Enterprises)
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PRODUCT NEWS
Following Darwin
Beagle: On The Future Of Species (NPO/RNW Sales)
BEAGLE: On The Future Of Species (8 x 50 mins) is brought to MIPTV by the Netherlands’ NPO/RNW Sales. For eight months Charles Darwin’s granddaughter, Sarah Darwin, and author Redmond O’Hanlon sailed a clipper following Darwin’s voyage in the Beagle, with visits from scientists and artists at different stages. The company also brings: Backlight: Sisters In Islamic Banking (50 mins), profiling a new generation of female Sharia bankers; and Egg For Later (50 mins), the story of a woman who wants to freeze her eggs. Backlight: Money & Speed - Inside The Black Box (50 mins) meanwhile is an iPad documentary that claims to be the world’s first TouchDoc, available in the Apple appstore. The film is a thriller based the automated financial world.
Making crime pay
Investigating Al Qaeda
GRB ENTERTAINMENT is launching138 hours of titles in HD at MIPTV. Included are: American Greed (50 x 60 mins), a look at some of the most sensational and profitable crimes; Gang World (2 x 60 mins), featuring MS13, Hell’s Angels and the Mongols; American Occult (3 x 60 mins) profiling true cases of devil-worship; true stories in Killer Kids (8 x 60 mins); Titans (17 x 60 mins), a series of business profiles; and How I Made My Millions (11 x 30 mins) featuring inspiring stories from ordinary people).
JAVA Films comes to MIPTV with distribution rights for a controversial new Canal+ documentary which will be ready in time for the10th anniversary of 9/11. Constructed from interviews with Al Qaeda operatives, including the current leader in Pakistan, 9/11 Through The Eyes Of Al Qaeda reveals how the group prepared for the attack. Other revelations include how Osama Bin Laden expected America to react; how the leaders of Al Qaeda were able to escape American Special Forces; and the reason Commander Massoud was murdered two days before the attack.
Taking a sacred journey INDIA: The Pilgrims Of The Ganges (52 mins/HD) is a journey through the North of India along the basin of the Ganges, the sacred river for Hindus, witnessing the world’s most crowded religious pilgrimage. The documentary is brought to MIPTV by Explora Films. Other programmes on the slate include: The Water Factor (52 mins), Seaway (13 x 26 mins), The Gaelo-Celtic Legacy (52 mins), 3 Rhino Stories (52 mins), La Joya And The Warriors In The Mist (52 mins), and The Spirits Of Congo (52 mins).
India: The Pilgrims Of The Ganges (Explora Films)
Right on Target
Let’s go back to school MADRID-based LittleRoom Productions brings its new 104 x 2-minute HD series Back To Skool (B2S) to MIPTV. The pilot of the series, which is targeted at nine- to 12-year-olds, begins on the night before going back to school, introducing the different characters and exploring themes of friendship, family, and the big questions facing the youngsters as they contemplate school life.
Back To Skool (LittleRoom Productions)
East West 101 (Target Entertainment)
9/11 Through The Eyes Of Al Qaeda (Java Films)
HIGHLIGHTS from Target Entertainment’s 100 hours of new programming at MIPTV include: East West 101 (series 3), a 7 x 60-minute drama series exploring the ramifications of the war in Iraq through crimes committed in Australia; Crownies (22 x 69 mins), currently in production in Sydney, set in the Department of Public Prosecution; On The Record With Fuse (30 x 30 mins), an interview show featuring top music stars; What Did I Do Last Night? (6 x 30 mins), which confronts young people with footage of what they did on a night out; and from the children’s catalogue comes The Abadas (52 x 11 mins), an interactive word show based in the magical world of a pop-up book.
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PRODUCT NEWS
High drama TOPPING the bill at MIPTV for Beta Film is a range of series and movies, including: Borgia (12 x 60 mins), a family saga that embodies the spirit of the Renaissance; King (8 x 60 mins), starring Amy Price-Francis as the head of a criminal task force; Kung-Fu Mom (90 mins) features a secret agent mother of three; The Secret Of The Ark (100 mins) follows the search for a medieval relic that becomes a battle against a lethal virus; The Chinese Man (2 x 90 mins), based on a Henning Mankell story, investigates a mass murder in a Swedish village; and Felipe And Letizia (90 mins) is a love story between the heir to the Spanish throne and a journalist.
Online and on the road SPANISH producer and distributor Imira Entertainment, is moving into the live-action arena with new series eBand, a co-production with Italy’s Brave Film. The series (26 x 26 mins) is about three 15-year-old school friends with a secret life as a virtual rock group. Imira Entertainment and Brave Film have also agreed to co-produce a new live action version of Imira’s animated series Lola & Virginia (26 x 26 mins), which is also being produced in partnership and in joint ownership with RAI Cinema, and is pre-sold to Nickelodeon for Spain, Portugal and Italy.
Richard Roxburgh in Rake (ABC Commercial)
Court on film RICHARD Roxburgh stars in a new drama series called Rake, that focuses on the working life of a criminal barrister. The 8 x 60 mins series is brought to MIPTV by ABC Commerical. The distributor also brings Lowdown, a comedy series about a man whose job it is to feed the public’s insatiable appetite for celebrity gossip. The series, narrated by actor Geoffrey Rush, premiered on the Australian Broadcasting Corporation last year, and is now to air on the UK’s BBC Four. From the current affairs genre comes WikiLeaks – The Forgotten Man (45 mins), looking at Private Bradley Manning who allegedly stole classified documents, and who is now in a US military prison.
Lowdown (ABC Commercial)
Watching the detective eBand (Imira Entertainment)
The Wide range DOCUMENTARIES brought to MIPTV by France’s Wide Management and Wide House International Sales & Acquisitions include feature-length film The Black Power Mixtape (90/58/52 mins), which bills itself as a cinematic and musical journey into the ghettos of America. Madame Figaro Confidential (52 mins), goes behind the scenes of the well-known women’s magazine. From the drama catalogue comes Oliver Sherman (82 mins), a psychological thriller; Nannerl, Mozart’s Sister (120 mins); and biopic The Mill And The Cross (91 mins), a historical exploration of Peter Bruegel’s painting The Procession to Calvary.
Allan Hawco in Republic Of Doyle (Content Television)
LONDON’s Content Television, a division of Content Media Corporation, is debuting the new season of HD drama series Republic Of Doyle (13 x 60 mins) at MIPTV. Charming and irreverent detective Jake Doyle (Allan Hawco) returns in this third season, charged with solving new cases while keeping his tangled private life in check. A total of 38 episodes are now available.
Rocking all over the world PASSION Distribution brings two series from LA’s LMNO Productions to MIPTV. Season three of Meteorite Men (8 x 60 mins) brings the total episodes available to 23 hours. In the series, produced for Discovery Science in the US, modern-day treasure hunters Geoff Notkin and Steve Arnold travel the world searching for remnants of meteorites. Over Your Head, which is now in its fifth season, helps do-it-yourself enthusiasts get expert assistance to finish their remodelling projects. The series, hosted by Eric Stromer, now has a total of 143 episodes available.
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PRODUCT NEWS
Kids on the mystery trail
Keep on truckin… VERTICE Sales brings a catalogue of movies, documentaries and TV formats to MIPTV. Highlights Include A World Apart (13 x 52 mins/HD), a global trip in an all-terrain vehicle, taking two years and covering over 100.000 kilometres to explore nature and aboriginal cultures. The company also brings The Dare Of Garamba (2 x 52 mins/HD), a film made by the first TV crew to film in the National Park of Garamba since the armed group LRA took refuge in the Democratic Republic of Congo.
In search of TV heroes
BARCELONA-based animation company Edebe Audiovisual Licensing brings its new property Four And A Half Friends to MIPTV. The HD series (26 x 26 mins) is aimed at 8- to 12year-olds and is based on a book by German author Joachim Friedrich. The story follows the detective adventures of four very different kids and a small street dog called Dandy. The show is complemented with an AR (augmented reality) game application for smartphones.
Golden Days (Nordic World)
Four And A Half Friends (Edebe Audiovisual Licensing)
GOLDEN Days is a nostalgia road show about near-forgotten TV stars. Three guys go in search of such retro stars as Don Johnson from Miami Vice, Laura Palmer from Twin Peaks, and Norm from Cheers. As a build-up to the celebrity interview there are scripted clips of the three hosts posing as teenagers. The format is brought to MIPTV by Nordic World.
Formats focus A World Apart (Vertice Sales)
Dating on the move P52 PRODUCCIONES’ dating format Bus Stop sees a young man travel in a bus with three female suitors who he gets to know over the course of the trip. As the bus stops in each new destination he chooses with whom he will continue the trip. The company also brings a new docu-reality show in which 13 people from around the world live together for three months in the countryside in Spain, learning about Spanish culture and bullfighting. The show is currently airing in Spain on Canal Sur.
Bus Stop (P52 Producciones)
BBC WORLDWIDE brings six new formats to MIPTV. In The House That Made Me, famous figures visit a meticulous recreation of their early homes. Junior Doctors: Your Life In Their Hands is a fly-on-the-wall series following seven newly qualified hospital doctors. Toughest Place To Be is a series that takes ordinary people to work alongside locals in workplaces that are wildly different from those they are used to. Generation Gap is a heart-warming format that sees young people work in a care home for the elderly. And finally Cook Off is a series that looks for the nation’s best cooking family, mixing cooking challenges, tips and a celebrity guest.
Jamm in the can Jelly Jamm (Vodka Capital)
SPAIN-based Vodka Capital returns to MIPTV with the first 13 episodes of Jelly Jamm, a coproduction with RTVE (Radio Television Espanola), Big Picture, and is also toy firm Bandai’s first European co-pro. The pre-school series (52 x 11 mins), is premiering in over 150 countries on Turner Broadcasting for EMEA (including free-to-air in Italy, Turkey and the Middle East), Discovery Kids for Latin America, and RTVE for Spain.The series celebrates music and friendship, following five friends who learn to live in harmony on the magical musical planet Jammbo.
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PRODUCT NEWS
Check in to Tati’s BEYOND Distribution is highlighting three new children’s series at MIPTV. Tati’s Hotel (26 x 15 mins) is a live action series for kids aged four to seven about a chaotic hotel run by eight-year-old Tati. In pre-school series Iconicles (26 x 30 smins), the characters leap out of their 2D worlds into 3D in order to join host Nat in the live action studio. Dick ‘n’ Dom Go Wild! (20 x 30 mins), aimed at kids eight to 11, follows the duo and their guests as they go backstage in some of Britain’s busiest vets and wildlife sanctuaries.
Tati’s Hotel (Beyond Distribution)
Indians in cyberspace THREE-part mini-series The Fight For Amazonia (co-prodcuced with SWR and ARTE), shows how so-called Internet Indians are connecting with other tribes to strengthen their position in the Amazon forest. The show is brought to MIPTV by Accent Films International, which also brings Goodbye Tibet (co-produced with BR and ARTE), a doc following the story of feature film Escape To Tibet, about mountaineer Maria Blumencron who became part of the mission to help refugees and children from Tibet into Nepal via snow-covered mountain passes, and The New Bolshoi, which will be ready in time for the grand re-opening of the legendary Moscow opera house later this year.
Hollywood style
Beverly Hills Fabulous (Cineflix International)
MISTRAL Production, from France, is launching The Biggest Game Show In The World, a family game show which is a large-scale version of an earlier show, Intercities. Teams from countries around the world will compete against each other in the 13-episode series, and over a dozen countries are expected to battle it out this year. Mistral is offering broadcasters the ability to join the production on their permanent sets in Paris, or in Malaysia. The company is also setting up a third location in South America.
ELGIN Charles is the self-proclaimed Emperor Of Hair, with a salon on glitzy Rodeo Drive in Los Angeles. With a celebrity clientele, this self-made man has turned his brand into a household name within the community of Beverly Hills and beyond. The high-end hairdressing series, Beverly Hills Fabulous, is brought to MIPTV by Cineflix International.
Love from Spain
The Fight For Amazonia (Accent Film International)
Jeux sans frontieres
PROGRAMMES from Television Espanola and its international channels, TVE and Canal 24 Horas are brought to MIPTV by RTVE. Shows on the roster include Love In Difficult Times, a daily series which is currently in its sixth season. The first series has already aired in Argentina, Uruguay and Mexico, as will the following seasons. Other drama series from RTVE include romance April 14: The Republic, and Vintage, the story of two wine-growing families. Films include Clara Campoamor – The Neglected Woman and Operation Checkmate, about the kidnapping of Ingrid Betancourt by FARC.
The Biggest Game Show In The World (Mistral Production)
Santa Barbara on show NEW SERIES from Santa Barbara-based Foothill Entertainment include: On Duty (13 x 22 mins/HD), a reality show following Santa Barbara’s firefighters; On Patrol With Santa Barbara PD (52 x 22 mins); volleyball animation series Spike Team (26 x 26 mins); On The Farm (4 x 45 mins), an animation series featuring the voice of Randy Travis; new episodes of My Friend Grompf (52 x 13 mins/26 x 26 mins); and history series Kings Of France: 15 Centuries Of History (15 x 52 mins).
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CONFERENCES & EVENTS
MONDAY 4 APRIL 8.00 > 9.15 THE PITCH DOCTOR’S GUIDE TO MAKING IT AT MIP
DIGITAL MEDIA
CONTENT 360
INTERACTIVE WORKSHOPS
BRANDED ENTERTAINMENT
CO-PRODUCTION
SCREENINGS
KEYNOTE
11.00 > 12.45 CO-PRODUCTION FOR SUCCESS: CASE STUDIES Moderator Marlene Edmunds, Consultant and Veteran Media Journalist
Speaker Paul Boross, The Pitch Doctor, Big Sky Co-Production Lounge, Foyer Balcon Grand Audi, Level 3
8.30 > 9.30 LAUGH, SCREAM, LEARN: NORDIC FICTION SCREENINGS Presented by Helen Cooper, Head of Research, K7 media Auditorium K, Level 4
9.30 > 10.15 INTERVIEW & THE BEST OF MIPDoc
Featured case studies: 11.00: Babylon, by Peter Engel, Producer, Zentropa Entertainments22 ApS and Peter Garde, CFO, Zentropa 11.20: Zen, by Ben Donald, Executive Producer - International Drama, BBC Worldwide 11.40: Death in Paradise, by Klaus Zimmermann, CEO, Atlantique Productions 12.00: Ben Hur, by Michael Prupas, President & CEO, Muse Entertainment 12.20: Lock-Out, by Michael Murphy, Chief Executive, Windmill Lane Entertainment Auditorium A, Level 3
9.30 > 9.45
11.30 > 12.45 CONTENT 360: INTERACTIVE & CROSS-MEDIA DIGITAL ENTERTAINMENT FORMATS PITCH
Interview with Arnaud Xainte, Ilégitime Défense Producer of “Qaddafi Our Best Enemy”
9.45 > 10.15 THE BEST OF MIPDoc Discover the top 30 programme screened at MIPDoc and meet the winner of the MIPDoc Co-Production Challenge! Guests: Mai Masri & Jean Chamoun from Nour Productions, MIPDoc Trailblazer 2011 selected by AL Jazeera Documentary Channel MIPDoc Pavilion, Level 01 – AISLE 18
9.30 > 10.45 ENTERTAINMENT MASTER CLASS: WE LOVE TO MIP YOU In partnership with Entertainment Master Class
Moderator Julian Newby, Editor in Chief MIPTV News, Boutique Editions Speakers Tim Crescenti, President, Small World IFT David Lyle, President, Fox Look Michel Rodrigue, Consultant, The Format People
Sponsored by FremantleMedia & RTL Group
Host and Moderator Gary Carter, Chief Creative Officer, FMX, and Chief Operating Officer, FremantleMedia Keynote Speaker Jon Kamen, Chairman and Founder, @Radical Media
Jury Members Christophe Gobel, Senior Project Manager, RTL Group Ian McClelland, Head of New Media, RTL Group Claire Tavernier, Senior Executive Vice President, FMX and Worldwide Drama, FremantleMedia Richard Vargas, Senior Vice-President, Development and Production, FMX, FremantleMedia Esterel, Level 5
Auditorium A, Level 3
10.00 > 11.15 TRANSMEDIA STORYTELLING: HOW TO ACHIEVE CREATIVE EXCELLENCE?
13.00 > 14.00 FRESH TV AROUND THE WORLD - EXCLUSIVE AT MIPTV! In partnership with The WIT
Presented by Virginia Mouseler, CEO, The WIT Grand Auditorium, Level 1
Moderator Jesse Cleverly, Managing Director, Connective Media TV Speakers Nuno Bernardo, General Manager, beActive Entertainment Matt Costello, President and Creative Director, Polar Productions Tracey Robertson, CEO, Hoodlum Christopher Sandberg, CEO, The Company P Tom Thirlwall, CEO, Bigballs Films Esterel, Level 5
11.00 > 11.45 EXPERT ROUNDTABLES: MEET THE TUTORS Tutors Paul Boross, The Pitch Doctor, Big Sky Patrick Hambraeus, Coach, Misterpitch.com Pat Quinn, Partner/Manager, Quinn Media Management Mickey Rogers, President, Mickey Rogers Media Inc.
14.00 > 15.00 CONTENT 360: ONLINE & SOCIAL GAMES PITCH Host and Moderator Catherine Warren, Founder and President, Fantrust Jury Members Julie Adair, Director, Content Creation Disney Online, EMEA, The Walt Disney Company Ltd Matt Costello, President & Creative Director, Polar Productions Ltd Fernando Herrera, Director, Gaming and Online, Sanoma Entertainment Erik Robertson, CEO, Nordic Game Resources AB Esterel, Level 5
Co-Production Lounge, Foyer Balcon Grand Audi, Level 3
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MONDAY 4 APRIL 14.00 > 16.00 UNMISSABLE: CO-PRODUCTION TOOL BOX Chaired by Patrick Lamassoure, Managing Director, Commission Nationale du Film France
14.00 > 14.30: PRESENTATION OF THE NEW CANADA MEDIA FUND Presented by Stéphane Cardin, Vice President, Industry and Public Affairs, Canada Media Fund
14.30 > 16.00: TOOL BOX Hosts Alessandra Bergero, President, Italian Riviera Film Commission Arie Bohrer, Film Austria/Australian Independent Film Producers Stéphane Cardin, Vice President, Industry and Public Affairs from the Canada Media Fund Sarim Fassi-Fihri, Producer, AMPAC (Association Marocaine des Professions de l’Audiovisuel et du Cinéma) Patrick Lamassoure, Managing Director, Commission Nationale du Film France Fernando Lopez de Castillo, Vitoria-Gasteiz Film Office Soon-Mi Peten, MEDIA Programme, Head of Sector «Support for Independent Producers», EACEA - Education Audiovisual & Culture Executive Agency Marielle Poupelin, Deputy Director, Coproductions certification, Business Affairs and Certification, Telefilm Canada Michèla Ritondo, Senior Tax Official, Fiscal Department for Foreign Investments, Federal Public Service Finance of Belgium
DIGITAL MEDIA
CONTENT 360
INTERACTIVE WORKSHOPS
BRANDED ENTERTAINMENT
CO-PRODUCTION
SCREENINGS
KEYNOTE
15.15 > 16.15 GLOBAL CO-PRODUCTION STRATEGIES – ACT 2 Moderator Pat Ferns, President/Executive Producer, Ferns Productions Inc. Speakers Nick Betts, Head of Commercial & Business Development, BBC Des Monaghan, Executive Chairman, Screentime John Penney, EVP Strategy & Business Development, Starz LLC Joey Plager, Senior Vice President, Co-Productions, Entertainment One Phyllis Platt, Interim Executive Director of Television Arts and Entertainment – English Services, Canadian Broadcasting Corporation Diego Suarez, Senior Vice President, Programming, Fox Television Studios Auditorium A, Level 3
15.15 > 16.15 DIGITAL DISTRIBUTION: MONETISING CONTENT ON NEW PLATFORMS Moderator Wendy Bernfeld, Managing Director, Rights Stuff Speakers Michael Acton Smith, CEO, Mind Candy Philip Bourchier O’Ferrall, SVP, Digital Media International, MTV Networks Hilary Perkins, Multi-Platform Commissioning Editor for Drama/Film, Channel 4 Gordon Synn, Head of Content Acquisitions, SeeSaw.com Esterel, Level 5
Co-Production Lounge, Foyer Balcon Grand Audi, Level 3
14.15 > 15.15 GLOBAL CO-PRODUCTION STRATEGIES – ACT 1 Moderator Pat Ferns, President/Executive Producer, Ferns Productions Inc. Speakers Sophie Gigon, Head of International Drama and Series Coproductions, France Télévisions Richard Life, Head of Co-Productions & Acquisitions, ITV Studios Global Entertainment Suzanne Mueller, Head of Co-Productions and Development, ZDF Enterprises GmbH Orion Ross, VP Original Series, The Walt Disney Company EMEA Bronagh Walton, MEDIA Programme
16.30 > 17.30 MIPTV KEYNOTES
David Frank, Zodiak Media Group Interviewed by: David Jenkinson, Editor-in-chief & Managing Director, C21Media
Rodolphe Belmer, CANAL+
MIPTV® is a registered trademark of Reed MIDEM - All rights reserved.
CONFERENCES & EVENTS
Grand Auditorium, Level 1
Auditorium A, Level 3
14.30 > 15.00 WHAT DO BUYERS WANT: THE MIPTV SERIES Guest: Leland Ling, CEO, LIC Chian China
18.00 > 20.00 GK-TV’S “CAMELOT” AT THE WORLD PREMIERE TV SCREENING Featuring the International Premiere of «Camelot». With a Q&A with Eva Green, Joseph Fiennes and Jamie Campbell Bower
MIPDoc Pavilion, Level 01 – AISLE 18
Grand Auditorium, Level 1
The world’s entertainment content market
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SEMINAR PROGRAMME
MONDAY 4 APRIL 8.30 > 19.30 Experience Hub is open for visits all day to all MIPTV and Connected Creativity Forum participants. Please come and experience the Connected Livingroom installations, by Orange, Intel, and all the other innovative companies including human gesture interfaces, digital graffiti, augmented TV, and social TV. (Open Presentation Theatre Located in Hub Structure, Near the Palais des Festivals)
13.00 > 14.00 THE PITCH DOCTOR’S GUIDE TO MAKING IT AT MIP (repeated session)
16.30 > 17.00 BRAIN COMPUTER INTERFACE TECHNOLOGY: EMOTIV, HONG KONG/USA by Tan Le, CEO, Emotiv, USA/Hong Kong
Paul Boross, The Pitch Doctor, Big Sky Presentation Theatre, Experience Hub
14.00 > 14.30 MONETIZE YOUR CONTENT WITH AUGMENTED REALITY by Joe Trainor, Head of Media Solutions EMEA, Autonomy, UK
Presentation Theatre, Experience Hub
17.15 > 17.45 TWONKY: CONSUME YOUR MEDIA WITHOUT MODERATION, PACKET VIDEO, USA by Leon Chicheportiche, Sales & Marketing, PacketVideo, USA Presentation Theatre, Experience Hub
Presentation Theatre, Experience Hub
15.00 > 15.30 NEXT GENERATION LIVING ROOM INTERFACES: PRIMESENSE, ISRAEL
18:00 > 19:30 CONTENT 360 HAPPY HOUR AT THE CONNECTED CAFÉ
by Iris Finkelstein-Sagi. Director of Marketing, PrimeSense, Israel Uzi Breier, EVP Sales & CMO, PrimeSense, Israel Presentation Theatre, Experience Hub
15.30 > 16.00 NEW WAYS TO ENGAGE AND MONETIZE THROUGH AUGMENTED REALITY ON TELEVISION: METAIO, GERMANY by Noora Guldemond, Director of Marketing, Metaio, Germany
Sponsored by:
Hub Program Partner:
Presentation Theatre, Experience Hub
The world’s entertainment content market
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NEWS
PRESS CONFERENCES & EVENTS
MONDAY 4 APRIL 12.00 - 13.00 INTERNATIONAL ACADEMY OF TELEVISION ARTS & SCIENCES PRESS CONFERENCE AND INTERNATIONAL DIGITAL EMMY® AWARDS NOMINEE MEDAL CEREMONY
17.30 - 19.00 MIKE THE KNIGHT PARTY: HIT ENTERTAINMENT Client: HIT ENTERTAINMENT By invitation only Palais des festivals – Booth n° R 29. 37
Client: The International Academy of Television Arts & Sciences Auditorium K
12.00 - 12.30 PRESS CONFERENCE HOSTED BY ROXANNE FRIAS: ARNOLD SCHWARZENEGGER
17.45 - 20.15 MIPTV WORLD PREMIERE TV SCREENING, FEATURING THE INTERNATIONAL DEBUT OF CAMELOT Client: Reed MIDEM Grand Auditorium
Client: Reed MIDEM Majestic — Salon Martha
15.00 - 16.00 PRESS CONFERENCE HOSTED BY ROXANNE FRIAS : CAMELOT IN PRESENCE OF JAMIE CAMPBELL BOWER, JOSEPH FIENNES, EVA GREEN AND CRAIG CEGIELSKI, EXECUTIVE PRODUCER & PRESIDENT OF GK-TV Client: Reed MIDEM Blue Lounge (Auditorium I)
17.00 - 18.30 EVERY EVENING, FROM 17.00, JOIN FASHION TV FOR A GLAMOROUS 3D COCKTAIL ON BOOTH 08.14 Client: FASHION TV Palais des Festivals — Booth n° 08.14
17.30 - 18.30 INA: DISCOVER THE NEW VERSION OF OUR PROFESSIONAL WEBSITE
19.45 - 21.45 MIPTV 2011 OPENING NIGHT PARTY & DIGITAL EMMY AWARDS RED CARPET, IN PRESENCE OF EVA GREEN, JOSEPH FIENNES, JAMIE CAMPBELL BOWER, SHAWN DOYLE, ETC. Client: Reed MIDEM Carlton Hotel
20.00 - 23.00 HIGHTV 3D LAUNCH PARTY — THE FIRST 24/7 3D FAMILY ENTERTAINMENT CHANNEL Client: FOOTPRINT MEDIA HOLDINGS LTD Carlton Hotel — Brasserie
20.45 - 21.30 THE INTERNATIONAL DIGITAL EMMY® AWARDS Client: The International Academy of Television Arts & Sciences By invitation only Carlton Hotel — Grand Salon
Client: Institut National de l'Audiovisuel (INA) Blue Lounge (Auditorium I)
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PRODUCT NEWS
Format shopping GLOBAL Agency, the Istanbul-based distributor, launches new format Shopping Monsters at MIPTV. Five women with different styles, backgrounds and tastes see who can be the most stylish on a limited budget. Challenges include dressing for a job interview and attending a best friend’s wedding or a film gala. At the end of the week the participant with the most points wins a cash prize. First aired on Kanal D, the concept allows for prominent product placement or sponsorship. Shopping Monsters (Global Agency)
Getting under the skin
Paparazzi Diaries (Splash News)
Papping the paps ENTERTAINMENT content provider Splash News is at MIPTV launching Paparazzi Diaries, a new celebrity show that gets up close and personal with the world’s leading paparazzi journalists. It reveals the close relationship that exists behind the scenes between the stars and some of the world’s most notorious celebrity photojournalists, and complements Splash’s half-hour entertainment video news service, Splash News TV.
A right royal feast AS THE UK’s Prince William and Kate Middleton prepare to wed, Food Network UK offers viewers a culinary insight into the British royal family with Secrets Of The Royal Kitchen. The 60-minute special, acquired from DRG, follows former royal chef Graham Newbould as he dishes out kitchen secrets and teaches viewers how to cook food fit for a king or queen. Newbould describes the exquisite food enjoyed by Queen Elizabeth and prepares the same breakfast that he made for the wedding of Prince Charles and Diana Spencer in 1981.
Highrise highlights NFB ENTERTAINMENT heads to MIPTV with a mix of documentaries, auteur animation, 3D and interactive online content. Highlights include Highrise/Out Of My Window, which garnered NFB’s first International Digital Emmy Nomination, exploring life inside the most common urban structure of our age, the high-rise apartment block. The Test Tube, presented by Canadian environmental activist and scientist David Suzuki, meanwhile, has already received several international awards.
ZED dives for U-boats Terror/Counter Terror (Rive Gauche)
RIVE Gauche is introducing three new series to international broadcasters at MIPTV: Science Of Sin (4 x 60 mins), Secret Service Files (4 x 60 mins), and Terror/Counter Terror (2 x 60 mins). The Science Of Sin takes a scientific journey through the darkest pathways of the brain, exploring why people stray from the straight and narrow. Secret Service Files focuses on the men and woman who safeguard the US president, while Terror/Counter Terror goes behind the scenes with elite teams of counter-terror agents, to get the inside story about some of their most fascinating and challenging cases.
U-455, The Lost U-boat (ZED)
FRENCH independent ZED has increased its production slate with newly recruited producer Valerie Abita, who has arrived at MIPTV with various high-profile documentary projects financed by Franco-German channel ARTE. Headlining the package is U455, The Lost U-boat (52 mins), a marine archaeology investigation of a German submarine lost during the Second World War and recently discovered off the coast of Italy. Other ZED programmes include Ghost Town (10 x 26 mins/HD), Game Over (52 mins/HD), which traces the last 40 years of video games, and Ya Basta Malaria!, investigating the first malaria vaccine.
4 - 7 April 2011
Majestic Hotel
Looking for the future of content and technology?
Connected Creativity Forum is opening tomorrow at Majestic Hotel 3 days of exclusive conferences and networking sessions with decision makers in connected entertainment Register today at MIPTV registration desk www.connected-creativity.com Official twitter hashtag : #mipcc
In partnership with
The new global forum for entertainment, mobile media and technology
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PRODUCT NEWS
He’s got the brains ITV STUDIOS Global Entertainment is highlighting its new medical drama Monroe at MIPTV, featuring James Nesbitt (Cold Feet) and Sarah Parish (Cutting It, Mistresses). Produced by Mammoth Screen for ITV, the 6 x 1 hour series stars Nesbitt as brilliant neurosurgeon Gabriel Monroe, and colleague and rival, heart surgeon Jenny Bremner (Parish). The series is set in a contemporary, urban hospital, with stories portraying how a medical emergency touches the lives of patients, families and staff.
Monroe (ITV Studios Global Entertainment)
Meals on wheels
Doing deals with the devil
ONE MAN And His Campervan (10 x 30 mins), from Plum Pictures, makes its debut at MIPTV with distributor Hat Trick International. The HD series follows campervan lover and foodie Martin Dorey as he journeys around Britain. Martin tries fishing for trout and foraging for mushrooms, as he unearths the freshest seasonal produce from the local area. Along the way he meets fishermen, farmers and fellow holidaymakers, and serves up a dinner for his new-found friends around a campfire.
COLOGNE-based Taglicht Media’s new history series, Hitler Inc. (3 x 52 mins), takes a provocative look at American corporations and their close collaboration with the Nazis. Based on recently declassified documents and new witness accounts the series reveals how US companies conducted business with Hitler, both before and during WW2, including Standard Oil, IBM, Chase Bank, Coca-Cola and GM. The programme is still open for co-production partners, with delivery scheduled for 2012.
One Man And His Campervan (Hat Trick International)
Torn apart by terrorism
Stranger at the door
SWITZERLAND-based First Hand Films brings two new documentary films, available for TV and theatrical, to MIPTV. Firstly, Love Hate Love (52 mins/82 mins), which was executive produced by Sean Penn, and features music from U2, Bruce Springsteen and Radiohead. The film chronicles the lives of three families whose worlds are torn apart by major acts of terrorism, how they ultimately help others and find peace. The Guantanamo Trap (58 mins/92 mins) tells the story of four individuals linked to the Guantanamo Bay internment camp in Cuba, including a former prisoner, military lawyers and a Spanish lawyer who tries to charge representatives of the Bush administration with crimes against humanity.
MUMBAI, India-based Madhu Entertainment & Media brings a catalogue of content to MIPTV that includes big-budget Bollywood films, English Indian cinema and films and television content in many regional Indian languages. The company is highlighting an English-language feature film at MIPTV. Who Is There? is a thriller about a woman waiting for her family to return to her remote house. She sees on TV that a psychopathic killer is at large, and feels so worried that she locks all doors and windows. The doorbell rings and a stranger asks for someone she doesn’t know, and then refuses to leave...
Love Hate Love (First Hand Films)
Who Is There? (Madhu Entertainment & Media)
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Need answers? Fence. Get Off the F ence.
China’s terracotta Warrio
Nature’’s Matchmaker HD
1 x 1 HOUR
HD
Mystery Cars 12 x 30 MINUTES
HD
8 x 1 HOUR
HD
HD
1 x 1 HOUR + 1 x 90 MINUTES
1 x 1 HOUR
HD
Oceans of Contrast HD
Shark Night
Life Force 6 x 1 HOUR
38 x 30 MINUTES
Joan & Melissa Joan Knows Best?
Stan Lee’’s Superhumans 9 x 1 HOUR
Secrets of the Ghost Army
Quest
1 x 1 HOUR
HD
Duet HD
13 x 30 MINUTES
Love and Hip Hop
Wildest Africa
8 x 30 MINUTES
13 x 1 HOUR
HD
HD
Please come and meet us at our stand R29.26. R29.26. For more information about our new titles visit our brand new website www .offthefence.com or email us at info@offthefence.com. info@offthefence.com. www.offthefence.com
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PRODUCT NEWS
Scenes we rarely see NATIONAL Geographic Television International (NGTI) comes to MIPTV with over 80 hours of new programming. Series include: Extreme Exposures (10 x 25 mins), looking at how National Geographic’s photographers capture amazing pictures; Wonders Of The World (10 x 52 mins), which reviews spectacles from around the globe; and new seasons of World’s Toughest Fixes 3 (6 x 52 mins), The Border 2 (4 x 52 mins) and Megastructure Breakdown 4 (6 x 52 mins). 52-minute specials include: Surviving 9/11, focusing on personal stories; Inside Lebanon Hostage Crisis, an interview with Terry Anderson, featuring fellow hostages John McCarthy and Terry Waite; Apocalypse, about the mysterious death of birds and fish earlier this year; and Australia’s Great Flood.
Extreme Exposures (NGTI)
Unfolding stories
This is your life THE REST Of Life For Sale (52 mins), a documentary produced by NHK and MediaCorp, follows a 23-year-old girl who opens an online shop selling “the rest of her life”. On her website she writes: “It’s your right to arrange my life, and it’s my duty to serve you.” She takes pictures and posts them on the website so that everyone can see that she has completed the challenges. Tasks she undertakes include bringing cat food to an elderly woman who cares for 200 cats, and collecting 100 pictures of 100 smiling men for a girl’s birthday. The film is brought to MIPTV by Singapore’s MDA.
Growing old gracefully
STUDIO 100 Media is highlighting new animated series T T PangPang Rescue (52 x 11 mins) at MIPTV. Produced by Korea’s Vix Creative Studios, the CGI series is targeted at four- to seven-year-olds. T T PangPang Rescue is set in a pop-up book, in Hurly Burly Town, Paper World, where the characters explore friendship while learning from the mistakes that they make.
T T PangPang (Studio 100 Media)
The Rest Of Life For Sale (MDA)
Meet the parents Jose And Pilar (Six Sales)
SPAIN’s Six Sales brings a documentary to MIPTV that chronicles the declining years of Portuguese Nobel Prize-winning novelist Jose Saramago. Jose And Pilar (128 mins) follows the writer and his wife, Pilar del Rio, between 2006 and 2008. The film is a witty and moving portrait of an unusual couple. Saramago was already 84 when shooting started and writing his final novel, The Elephant’s Journey, and he died in 2010.
Michael Jackson – The Musical DISCOVERY Communications is bringing three celebrity-focused documentaries to MIPTV. Dancing King: Man In The Mirror (6 x 60 mins) profiles UK theatrical producer David King preparing to launch the musical Man In The Mirror, based on the life and music of Michael Jackson. Animals Distract Me (60 mins) is an eccentric comic special written and directed by actress Isabella Rossellini, featuring animals that distract Isabella as she goes through an average day. In Prophets Of Science Fiction (8 x 60 mins) director Ridley Scott (Blade Runner, Alien) looks at the visionary minds behind iconic works of science fiction including Isaac Asimov, Gene Roddenberry and George Lucas. Dancing King: Man In The Mirror (Discovery Communications)
AB INTERNATIONAL returns to MIPTV with the fourth season of Desperate Parents. The eight new 45-minute episodes bring the total available to 34. The series features the Lepic and Bouley families in this modern parenting comedy. The format is already licensed in Poland and the US. The company also brings The Sparrowhawk (6 x 52 mins), a drama about Yann de Kermeur, a noble Breton knight with a mysterious past, who is also Sparrowhawk, one of the King’s famous privateers and a former pirate. But, accused of a crime he didn’t commit, he must prove his innocence.
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Fallen community BREAKTHROUGH Entertainment is premiering Crash Canyon at MIPTV, a youth- and adult-targeted animation developed by The Simpsonsâ&#x20AC;&#x2122; co-executive producer, Joel Cohen, and produced by Breakthrough in association with Canadaâ&#x20AC;&#x2122;s Teletoon. Crash Canyon (26 x 30 mins) features a family that accidentally drives a camper van over a cliff while on vacation. They realise the same fate has befallen an astronaut and his chimp, a wealthy family, a British punk rocker and more strange characters. They all hope to escape, but until one of their plans works, they make up the community of Crash Canyon. Crash Canyon (Breakthrough Entertainment)
10 people, 10 games, $1 million
Twins take the challenge
ARMOZA Formats and NBC Universal have partnered on game show format Still Standing, which debuted on Israel's Channel 10, and offers contestants the chance to win $1m by out-guessing 10 opponents in 10 fast-paced trivia battles. Production on the second season for Channel 10 is currently under way, and the series is distributed internationally by Armoza Formats and NBC Universal.
BUZZTAXI Communications, a Toronto-based factual distributor, is launching lifestyle show Sibling Rivalry at MIPTV. The series (13 x 30 mins) features twins Dan and Nikki Hall, who compete to build their dream homes. Also making its international debut are Untamed Gourmet (6 x 30 mins/HD), looking at food foraging, and Secrets Of Christianity (6 x 60 mins/HD), filmed in Israel, Jordan, Egypt, Europe and Turkey. BuzzTaxi also brings 60-minute HD specials The Real Vampire Diaries, The Real Jack The Ripper, and Uakari: Secrets Of The English Monkey.
Still Standing (Armoza Formats/NBC-Universal)
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Chefs get into gear OPTOMEN International comes to MIPTV with five new titles. Firstly, cooking shows include: Hairy Meals On Wheels, where chefs David Myers and Simon King help a community determined to provide hot meals for their elderly population; Perfect... (20 x 60 mins), featuring classic recipes from chefs including Ken Hom and Aldo Zilli; and Heston’s Fishy Feast in which Heston Blumenthal discovers the ocean’s alternative larder. Secret Shopper (4 x 60 mins), meanwhile, goes undercover to expose shoddy customer service. Finally, in Kung Fu Changed My Life, Matthew Ahmet helps young people change their chaotic lifestyle.
Hairy Meals On Wheels (Optomen International)
The girl and the elephant
Uranium clean-up
Yellow Cake – The Dirt Behind Uranium (HS Media Consult) Chandani – The Daughter Of The Elephant Whisperer (Albatross World Sales)
CHANDANI – The Daughter Of The Elephant Whisperer (52/87 mins) is a film about 16year-old Chandani, who wants to be an elephant guide. If she succeeds she will be the first female mahout. The programme is brought to MIPTV by Albatross World Sales. New titles from the company include: Goring’s Secret (54 mins), featuring rare colour footage from the Nazi regime; The Green Obsession (52 mins), about perfect lawns; Marco Polo Reloaded (4 x 52 mins), following Bradley Mayhew traveling the silk road from Venice to Beijing; and Circus Stories (5 x 45 mins) revealing amazing experiments with animals.
A FILM about atomic waste tops the documentary MIPTV slate for Germany’s HS Media Consult. Yellow Cake - The Dirt Behind Uranium follows the clean-up of uranium mining in former East Germany, and also looks at mines in Namibia, Australia and Canada. The company also brings two documentaries about French musical brothers Bernard and Francois Baschet —The Poetry Of Sound (22 mins) and 2 Brothers-One Sound (52 mins). Jean Cocteau used their instruments in his films, and in recent feature film Solaris, you hear the Cristal glass harmonica, their famous invention. Agenda Science And Technology (200 x 2-8 mins), meanwhile, provides a source of films about progress in science and technology.
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Green can be cool
The Thinkheads (Wizard Hat Productions)
NEW COMPANY Wizard Hat Productions comes to MIPTV with two new animation series. The Thinkheads (26 x 30 mins) stars hip-hop dancing kids from a futuristic family who reduce, reuse and recycle to the extreme, giving pre-schoolers something to laugh at and think about. In tween-targeted Grim Hill (26 x 30 mins) 13-year-old Cat Peters has been affected by dark magic, but has a charmed feather to help her. Each story combines Celtic myth with adventure, as well as scary moments diffused with humour.
Exploring with Rob SINGAPOREâ&#x20AC;&#x2122;s Media Development Authority (MDA) is highlighting Rob The Robot at MIPTV. The 52 x 11-minute 3D animation series, produced by One Animation and Amberwood Entertainment, is aimed at 4to 6-year-olds. The show transports children to the robot galaxy where they solve fun puzzles with the help of Rob and his friends. In each episode Rob visits a mysterious new planet, encouraging young viewers to explore and have fun while they learn. Rob The Robot (MDA)
Roza takes centre stage CINEPHIL Distribution & Coproductions is highlighting a music production at MIPTV. My Sweet Canary, co-produced with IBA Israel, ARTE France and ERT Greece, features three young musicians from Greece, Turkey, and Israel, in a concert with Greece's best-known rebetiko singer, Roza Eskenazi. The musical journey takes them from Istanbul to Thessaloniki, and to Athens. The film was selected to open the Thessaloniki Documentary Festival.
My Sweet Canary (Cinephil Distibution & Coproductions)
When weather makes the news Breaking News Hurricane in Florida
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Weather Solutions for Modern Broadcasting
Contact Info Email: sales@meteographics.com Telefon: +49 30 60098-0
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MIPTV stand 08.20 Contact PETER LEE
hh_lee@ebs.co.kr
An ancient kingdom, reborn in 3D...
Part1 The City of Gods, ANGKOR WAT Part2 The Seat of Empire, ANGKOR THOM
3D STEREO HD
2 x 50 minutes
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;LS !
GEDEON is showcasing two 3D films at MIPTV that are currently in production. Firstly, Makay, The Lost Worldâ&#x20AC;&#x2122;s Raiders follows a group of 35 scientists from around the world in the unexplored Makay, The Lost Worldâ&#x20AC;&#x2122;s Raiders (Gedeon) Makay range in Madagascar. The company is producing a 90-minute film in 3D and 2 x 52minute docs in 2D about this expedition. Secondly, Paris, A 3000-Year-Old City Revisited offers a tour of modern and historical Paris. Gedeon is also producing two 10 x 52-minute series Tales Of Nature - One Year In Wild France, and Home Sweet France.
Our lives in their hands... TRICON Films & Television is launching comedy-spoof spy series InSecurity (26 x 30 mins) at MIPTV, designed as a cross-platform project with online components. InSecurity is about the men and women of the fictional National Intelligence and Security Agency (NISA), as special agent Alex Cranston and her team take on missions vital to national security, making the world a safer place â&#x20AC;&#x201D; just not InSecurity (Tricon Films & Televsion) always as planned. The company also brings new titles Livin' Loud (12 x 30 mins/HD), Racing Around The World Alone (60 mins), Decked Out (13 x 30 mins), and Corpus (60 mins), an exploration of non-traditional options for after-life services.
Dramatic line-up *VU[HJ[ 7HYPZ 6MĂ&#x201E;JL! Alexandra Marguerite, Head of Sales a.marguerite@primeeg.com T +33 1 44 93 22 66 M +33 6 59 99 71 95
MARVISTA Entertainment is premiering five new feature films at MIPTV. Lies & Deceit, starring James Brolin, is an intimate relationship drama that sees a family torn apart by secrets. Lighthearted comedy Help Me, Help You, features a doctor (Steve Guttenberg) who, realising he only has six months to live, decides to fix the lives of six of his friends. The company also brings a psychological thriller, A Memory Of Lies; family drama The Dark Horse; and Redemption, set in the aftermath of the AmerJames Brolin in Lies & Deceit (MarVista Entertainment) ican Civil War.
Š Photo credit: Evrard Wendenbaum
Seeing the un-seen
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sales.redbullmediahouse.com
Visit us at our booth 11.02/13.01
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PRODUCT NEWS
Genteel, and not so …
World’s Greatest Carnivals (Canamedia)
Larger than life CANAMEDIA brings a slate of 3D factual titles from its new 3D production division. The catalogue includes: the World’s Greatest Carnivals (13 x 30 mins/13 x 60 mins), a global travel series, featuring Quebec’s Winter Carnival and the New Orleans Mardi Gras among
other celebrations; Ice Hotels (60 mins), including Quebec City’s Ice Hotel; Stratton In Time (13 x 30 mins/13 x 60 mins), a personal perspective on Brahms, Beethoven and Vivaldi; and World’s Greatest Cathedrals (13 x 30 mins). All titles are also available in 2D.
From Russia with drama MOSCOW-based distributor Art Pictures Media brings a range of feature films to MIPTV, including Russian and international independent movies, as well as their own productions from Art Pictures Studio. Included on the slate are: Sci-fi thriller The Inhabited Island (2009); The 9th Company (2005),
about the Russian war in Afghanistan; horror movie The Phobos (2010); 20 Cigarettes; The Apocalypse Code; The Magician; and The One Who Switches Off The Light. The company is currently in production on detective movie The Winter Queen and war drama Stalingrad.
Beat the experts DISTRIBUTOR DCD Rights is launching a new magic show at MIPTV. ITV1 has commissioned September Films and 1/17 Productions to make the series, based on the original special Penn & Teller: Fool Us (90 mins), hosted by Jonathan Ross. The series (6
x 60 mins) invites aspiring magicians to perform their best trick to try and fool the magic double-act Penn & Teller. Anyone who succeeds gets to perform in the duo’s Las Vegas show. The series airs on ITV1 later this year, and worldwide format rights are available.
ALL3MEDIA International is highlighting two shows at MIPTV. Royal Upstairs Downstairs (20 x 60 mins) looks at what happened in British stately homes when Queen Victoria made a visit — looking at how downstairs staff coped with tasks like polishing the Skins UK/Series 5 (All3Media International) brass, re-building the gardens and cooking lunch for several hundred people. Skins North America (10 x 60 mins) and the UK’s Skins Series 5 (8 x 60 mins), meanwhile, dramatise teenage life. Skins USA is co-produced by E1 Entertainment and Company Pictures, a division of All3Media, the same company that produces the Channel 4 series in the UK.
Royal Upstairs Downstairs (All3Media International)
Lucky losers AUSTRALIAN drama Winners & Losers (22 x 60 mins) is brought to MIPTV by FremantleMedia Enterprises. After going through High School as losers, four female friends buy a winning lottery Winners & Losers (FremantleMedia Enterprises) ticket — will their new fortune change their lives or will their ill child, who can inherit £5m from a losing streak come back to haunt mysterious benefactor if she carries them? In contrast, The Reckoning out a murder. The drama stars Ash(2 x 60 mins/120 mins) is a drama ley Jensen (Ugly Betty, Extras), and about a single mother of a terminally is produced by TXTV for ITV1.
BAOL - BEL AMI ENT. For 18 years BelAmi has been a synonym for male beauty and eroticism: the hottest models, the best production values, the most blockbusters. Join us in our quest for a better gay erotica. Cable-ready programming also available. Contact: Marie-Laure Hébrard Stand TVFI 02-15 Contact: Lucanumber Norcen, VP Int'l Sales 33 339 1 475969791 23 90 35 - M :33 6www.belamionline.com 31 18 64 10 Tel:Ph:+39 ml@hebrard.org - www.filmandpicture.org
New series, all CABLEready THREE new series top the MIPTV slate for CABLEready. TV With TV’s Jonathan Torrens (65 x 30 mins) is a magazine-style show taking a comedic look at contemporary television. The second series, Rescue Helicopter (48 x 30 mins), follows the emergencies attended to by the helicopters of the Finnish Border
Guard. Northwest Wild (7 x 30 mins) meanwhile looks at the sporting cultures of the Pacific Northwest — mountain climbing, surfing, scuba diving and river rafting. The company also brings Inside The Actors Studio (6 x 60 mins),The Minimalist (13 x 30 mins), and Women Behind Bars (6 x 60 mins).
© Foto: ScienceVision / Rita Schlamberger, Lukas Kogler
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ONE UNIVERSE IS NOT ENOUGH
WALTER KÖHLER AND HIS TEAM, THE FORMER ORF UNIVERSUM-EDITORIAL STAFF, HAVE FOUND A NEW HOME: THE TERRA MATER FACTUAL STUDIOS. “We will invest a lot of our energy in strengthening the output in our core genres – wildlife, science and history – but will move on to create top end productions for the big screen and develop new and innovative factual formats for every media platform. Together with our worldwide partners we want to make TERRA MATER a brand which is recognized throughout the world for its unchallenged quality.” © ServusTV
(Walter Köhler/CEO)
VISIT US AT OUR BOOTH 11.02 / 13.01
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ACTION!
©2010 KA Television Productions Limited/T5 Camelot Productions Inc. An Ireland-Canada Co-Production. All rights reserved
Small screen, big stories
J
Jamie Campbell Bower as King Arthur in Camelot, presented at MIPTV by GK-tv
As any visitor to MIPTV will have noticed, drama is back — and it’s big. The stories are big, the star names are big, the budgets are big and the ratings are big. Why is this happening? Andy Fry and Julian Newby talk to some of the big players
D
URING the ongoing industry debate about digital disruption, one topic that has come up repeatedly is the future of drama. Long regarded as a mainstay of television schedules, concerns have been expressed that the cost of the genre would prove prohibitive due to digital fragmentation, downward pressure on the DVD market and the audience's ability to time-shift drama and skip ads. In reality, however, the genre is in
good health. From landmark coproductions through to groundbreaking multi-platform series, the range and diversity of this genre has never been better. Particularly noticeable at the last couple of editions of MIPTV has been the buzz of excitement around big budget event dramas like Spartacus: Blood And Sand and Pillars Of The Earth — and this year, Camelot. But how do those involved justify the level of investment?
Ja
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Titanic, a co-production with ITVSGE, Deep Indigo and Lookout Point
“For us, it is important to differentiate the network from our rivals," says Carmi Zlotnik, managing director of US cable company Starz Media, "We want events that viewers will only associate with our brand." Debuting on Starz just three days before MIPTV 2011 was Camelot, a great example of what he means. Starring recognisable film talent (Joseph Fiennes, Eva Green, Jamie Campbell Bower), this 10 x 60minute re-telling of the Arthurian legend "has the strong promotable elements that can drive audiences to the channel. In this respect, it's part of the same strategy that persuaded us to back Spartacus: Blood And Sand and Spartacus: Gods Of The Arena." Starz' support for event drama is not an isolated example. Delegates at MIPCOM 2010 were lucky enough to hear Tandem Communications' Rola Bauer talk about the genesis of Pillars Of The Earth, a historical drama based on Ken Follett's bestselling book and co-produced with
Scott Free Productions and Muse Entertainment of Canada. Initially aired on Starz in the US and Channel 4 in the UK, this eight-part, U$40m production has demonstrated that the right project will generate worldwide demand. In
Asia, for example, it secured prestigious deals with NHK Japan, KBS Korea and Star Movies/Fox (for South East Asian territories). A clincher for NHK was the Ken Follett connection, says Yukihiro Shibata, senior producer, Pro-
gramme Development Center, NHK. “The Pillars Of The Earth is a very popular novel here in Japan. The series perfectly re-enacts the perspective of Ken Follett’s world and we believe that our viewers will enjoy the show.” Eva Green as Morgan in GK-tv’s Camelot
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While there is clearly a desire to make high-end productions like this happen, they need the kind of promotable elements identified by Zlotnik. ITV Studios Global Entertainment (ITVSGE), for example, has thrown its weight behind a high-end re-telling of the Titanic story (co-produced with Deep Indigo and Lookout Point). At first, you might ask why anyone would try to emulate James Cameron's iconic movie, but ITVSGE's managing director Maria Kyriacou believes that the story is "ripe for the re-telling. By making it as a mini-series, we have more space for stories to unfold. And it is timed to coincide with the 100th anniversary of the Titanic's sinking." That's an interesting idea in itself, but what makes it really compelling for buyers is that the project is being scripted by Julian Fellowes (Gosford Park, Downton Abbey) and produced by Nigel StaffordClark (Bleak House, The Passion). Kyriacou says: "Buyers are familiar with the quality of Julian’s and Nigel's work and are lining up to get involved in what we expect will be a global primetime event. We said we wouldn't get involved unless we could do the subject justice and we think this spectacular new production will achieve that.” Period dramas, with which Fellowes has enjoyed remarkable success in the recent past, have long sold well and the BBC is probably the world
leader in this genre. BBC Worldwide is currently enjoying international sales success with Upstairs Downstairs, a revamped version of the hit series that ran for five series on ITV between 1971 and 1975. The original series was co-created by actors Dame Eileen Atkins (Cranford, Gosford Park), and Jean Marsh (Sense And Sensibility, Crooked House), who both star in the new version. Atkins believes nostalgia is the key to the success of period drama.
“Everybody likes nostalgia really don’t they? It really does take you out of today’s problems, because they’re yesterday’s problems and they were solved, and people went on living. So I think you can look at things and either think ‘Goodness aren’t we lucky today?’, or you can say, ‘Oh isn’t it lovely that they got it all right back then!’.” Marsh says familiarity is important too. “I think the title is so famous, it’s become like Marmite or something. And it’s one of the most obvious ideas that you can have,
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We study the book market very closely. Follett and Stieg Larsson sell millions in Germany Peter Nadermann
Zodiak Entertainment’s Being Human — re-versioned for the US market
there’s an instant conflict and contrast — you know, servants downstairs and the masters upstairs. It’s a source of endless stories.” Peter Nadermann, executive director for co-production/drama at ZDF Enterprises, says the current resurgence in TV drama is comparatively new. “Two or three years ago this section of the market was virtually dead. But now we have seen projects on the Borgias, the Medicis and, of course, Pillars. Here, we are
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SVT Sales
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working on a period piece based on a Ken Follett novel called Dangerous Fortunes, about a 19th century banking crash.” The Ken Follett connection is not a coincidence: “We study the book market very closely because it is so important to have those branded elements. Follett and Stieg Larsson sell millions in Germany.” For broadcasters looking to air highquality drama but who don't have access to co-production mega-budgets, another answer has been the emergence of scripted formats. A lot of the activity in this arena has come from US majors raiding their vaults for shows that can be re-tooled for international markets. Since Disney broke new ground with Latin American versions of Desperate Housewives, for example, Sony Pictures Television and CBS have both become very active in this arena. CBS, for example, recently green-lit versions of Dynasty in Indonesia and the Middle East. The British have also punched above their weight in the last year or two. BBC Worldwide's Torchwood, All3Media's Skins and Zodiak Entertainment's Being Human, for example, have all been re-versioned for the US cable market. Meanwhile, localised versions of DRG-distributed Doc Martin have been licensed to Germany, Spain and France (where the show was a breakout hit for TF1). Julie Gardner is senior vice-president, scripted, BBC Worldwide Productions, and production partner on Torchwood with the series’ creator and writer Russell T Davies. Gardner recently relocated to Los Angeles where she and Davies are working on a fourth series of the hit Dr Who spin-off sci-fi series. She says that the series’ success in the UK, around the world — and particu-
Dame Eileen Atkins, one of the stars of BBC Worldwide’s Upstairs Downstairs
Everybody likes nostalgia really don’t they? It really does take you out of today’s problems Dame Eileen Atkins
larly on BBC America — led her to believe that more could be done with the concept. “Season three was transmitting on BBC1 [in the UK] around the time I moved to Los Angeles to work at BBC Worldwide Productions. Russell T Davies had also moved there and was looking for new challenges and wanted to try for a US career.” The pair were ob-
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serving the reaction in the US to the third series and thought “maybe there was another chapter of Torchwood to be told. And very happily we were able to sell the title to Starz.” The series stars John Barrowman and Bill Pullman are in Cannes to promote Torchwood: Miracle Day, which Gardner says will benefit from the partnership with Starz. “The pil-
lars of the show are actually the same. But I think the difference is that because of the quality of the coproduction partnership between Starz and the BBC, we have an opportunity to tell a big story over 10 episodes. The fact that we are transmitting on a pay premium cable channel, means that we have to compete production-value wise in that environment. We’re filming at the moment and from what I have seen so far we are able to do that.” For Zodiak Distribution managing director Jane Millichip, having distribution rights for Being Human US and UK has been a big boost “because there are stylistic differences which appeal to different buyers in different parts of the world. Clearly, we need to show sensitivity when licensing the US version in territories where we have already sold the UK version of the show, but overall it's adding an interesting dimension to our drama offering." Millichip is in a unique position when it comes to drama because of the way that the Zodiak group has been put together through crossborder acquisition. Historically, for example, there has been a cultural divide between the English-speaking/Scandinavian markets and continental European markets, "But now, as a result of Zodiak’s re-organisaton we have a slate which includes titles like Being Human (US/UK), Braquo (Capa/BETV/Marathon, France), Irene Huss (Yellow Bird, Sweden) and The Water Connection (Magnolia, Italy). These are all high-quality dramas but have tended to be restricted to some extent to markets familiar with them. Now we're in a position to take titles out as a unified slate, introducing them to markets that haven't been exposed yet."
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This attempt to re-draw cultural boundaries is emerging as a theme. ZDFE’s Nadermann, for example, has been a major player in bringing Scandinavian drama to a wider audience. And now he is working on a complex co-production based around a cross-border police unit based in The Hague. “The project is being led by my Danish writing team and will see storylines that could start in Norway and finish in Spain. It’s a little bit risky, but the things that hold it together are the quality of the storytelling and the fact that crime travels.” The BBC and France Television are thinking in a similar way. In December, they announced plans for their first ever co-production, an eight-part drama series called Death In Paradise about an English cop posted to the Caribbean island of Sainte Marie. The series is being made by Red Planet Picture in partnership with Atlantique Productions, whose CEO Klaus Zimmermann, says: "This joint development and production between the UK and France is unique but will most certainly be the first of many. Cross-border productions, creatively and economically, will become a reality and as producers it is part of our job to encourage broadcasters and talent to explore opportunities." There are editorial issues are as important as the commercial issues where drama co-productions are concerned. “I spend most of my time working with UK producers — whether in-house or indies — when the shows are in the development or pitching stage, looking at what they would need to appeal to this or that broadcaster or territory,” says Ben Donald, BBC Worldwide executive producer, international drama. “If you take the example of Death In
Jean Marsh, one of the stars of BBC Worldwide’s Upstairs Downstairs
I think Upstairs Downstairs is so famous it’s become like Marmite or something Jean Marsh
Paradise which is a show which we’ve spent the last year in co-development with France Television, that was presented to us at [BBC] Worldwide originally as a kind of British view of the Caribbean which wasn’t really making the most of the idea in terms of a glossy international crime drama. So my input
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was to change the setting to a more Creole, Francophone environment, in order to bring in a French partner.” Donald adds: “The Holy Grail of co-production is a series — Death In Paradise is an eight-part series which is quite unusual. The history of European co-productions is punctuated with a lot of mini-se-
ries, events, one-offs, or a more measured approach to a series such as the Wallander and Zen franchises, where you do three in a year and hope for more.” Shorter-form series have become a feature of drama’s current surge in popularity, as commissioners and broadcasters balance budgets with high-end production values and big-name actors. Sherlock, Upstairs Downstairs, and Zen: Vendetta, recent hits for the BBC in the UK and selling around the world through BBC Worldwide, all ended after the third episode. Another more recent production for Sky in the UK — and again distributed by BBCWW — Mad Dogs, is a four-part series which starts off as a holiday jaunt to Mallorca for four larger-than-life 30-40-something men, and turns into a dark, surreal horror story. A Left Bank production for Sky, in association with Fundacio Mallorca Turisme, the story was dreamed up by two of the four actors, Marc Warren and Philip Glenister, whose motivation was to work together with the other two actors, Max Beesley and John Simm. Warren says that the four-part format worked fine with the story. “We got four 46-minute episodes out of it in the end,” he says. “I really wanted the BBC hour — 57-58 minutes — and I kept saying to [Left Bank producer] Andy Harries, ‘Can we not see if we can squeeze more time out of it?’ But looking at it now actually it’s perfect, because when you’ve only got four characters it’s a lot of screen time, and I think you’d very soon think with that extra 10 minutes that it would really wear thin. It’s the perfect amount of time really.” BBC Worldwide managing director, sales and distribution, Steve Macallister says the mixing up of drama formats — some long-form, some
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short-form — is “more of a cultural thing” than a matter of economics. “It is partly because, from a public service perspective, you do need to make sure you’re making shows for everybody,” he says. “Of course we would like to have a few long running successful dramas bit it’s not essential for a business such as ours, because we have this breadth and depth. We’re investing in shows like US Torchwood and we've got a couple of others in development at the moment, it’s an area where we certainly see there could be more potential if we could have two or three successful returning dramas each year — that’s something which certainly our clients are looking for. But... the variety in our catalogue is important.” He adds that short runs can be easier to cast: “The advantage of short runs is the talent. You wouldn’t get Kenneth Brannagh (Wallander) or Rufus Sewell (Zen Vendetta) for a long run. It allows us to access the top UK talent.” The depth of talent in Mad Dogs certainly seemed to precipitate its getting made and broadcast. “I think it’s got a very foreign, indie feel about it, as opposed to the kind of run-of-the-mill television drama that you’d normally get coming out of England,” Philip Glenister says. “It feels different to what you’d normally get at nine o’clock on BBC1 or ITV, or even Sky. We were lucky enough to be in a position where all the main broadcasters wanted to make it, which was a very privileged position to be in.” Innovations and developments in drama’s business extend through all areas of the supply chain. Important, for example, is the way in which major players like Disney have transformed their approach to windowing: “The big shift for us has been increased flexibility in the way
Marc Warren (left) and Philip Glenister star in Mad Dogs (BBCWW)
we deliver our titles to the international market,” says Catherine Powell, senior VP and general manager of Media Distribution EMEA at The Walt Disney Company. “As long as it doesn't conflict with the strategic interests of the US market, we try to deliver our shows to broadcasters at the earliest opportunity.” Partly this is a reaction to the threat of piracy. But it’s also a recognition that early release, backed by smart marketing, can inspire huge audience interest. “We recently did a series of distribution deals which saw US series Body Of Proof launch in Europe before the US”, says Powell. “That’s very usual but delivered great ratings in markets like Italy. Previously, we did a deal with iTunes which brought the final episodes of Lost to Europe just a day after the US transmission. That’s part of the Hot From The US strategy which
is all about being consumer-centric in the way we licence shows.” Co-pros, scripted formats and short-run series can all provide spikes in the schedule, but they don't fill acres and acres of shelfspace. This is why sub-genres like telenovela continue to play such an important role in the scripted market-place. While global breakouts like Ugly Betty (originally from Colombia) are few and far between, telenovela powerhouses like Televisa Mexico and Globo Brazil continue to sell their content, both as completed shows and formats, into territories as diverse as India, China, Africa and Central & Eastern Europe. Interestingly, telenovelas are also playing a leading role in drama’s attempt to populate the new media space. Univision Interactive Media president Kevin Conroy, for example, has made no secret of his desire
to reach the Hispanic audience “whereever and however they consume content”. Last year, Univision backed up this ambition by greenlighting a distribution alliance with YouTube and making a web series called Vidas Cruzadas (Crossed Lives) with Endemol and Amistad. Following the success of the latter, Conroy has now OK’d the launch of an online and mobile telenovela channel. Called Novelas y Series, it will feature inhouse shows as well as titles from third-party suppliers such as RCN
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You wouldn’t get Kenneth Brannagh or Rufus Sewell for a long run Steve McAllister
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AS THE high-profile appearances of leading actors at MIPTV and MIPCOM in recent years confirms, stars sell shows — and are often the key to a show’s success. So important is the choice of the lead players in TV dramas that are destined for the international marketplace, that the writers and producers will occasionally have to change the nature of the production to suit the actor. As happened with Silk, BBC Worldwide’s new legal drama starring one of the most popular UK actors of the moment Rupert Penry-Jones (Spooks, Whitechapel). So important was it for the BBC to have Penry-Jones as the male lead that the script was changed from the start to make
and Dori Media. This move towards multi-platform storytelling is an important dimension of drama’s resurgence as a genre. There are a couple of reasons for this. Firstly, there’s a marketing component, with webisodes acting
Rupert Penry-Jones stars in Silk (BBCWW)
as a low-cost way of sustaining audience interest between seasons. ITV UK, for example, used 5 x 5 mins webisodes to bridge the gap between the third and fourth run of Primeval. Secondly, there’s an editorial dimension, with some players seeking
The Arne Dahl series (10 x 90 mins), based on the Swedish crime novels. A coproduction with ZDF, Filmlance (SE) and Nordisk Film
Nuclear Family, a new title from Vuguru launched at MIPTV by Content Digital
to reinvent the art of narrative storytelling. One leading player in this field is Vuguru, a US-based content studio founded by former Disney chief Michael Eisner. Overseeing day-to-day operations is company president Larry Tanz, who says: “Michael wanted to make original scripted content which could take advantage of the new channels opening up. Our first project Prom Queen was a huge success, achieving an audience of 25 million on MySpace and selling to 40 countries. From there, we’ve built a business capable of producing 10 broadcastquality shows a year.” Vuguru projects are scripted so that they can either be shown as a series of “chapters” online, or as a TV movie on traditional platform. “An example is Pretty Tough, which is available as 18 x 5-7 minute episodes or as a 90-minute feature,” Tanz says. For Tanz the beauty of this approach is three-fold. “Firstly, it encourages creative diversity at a time when Hollywood’s studios are backing fewer bigger brands and moving towards unscripted shows. Secondly, it gives clients more options: for example Fox, which acquired a cross-platform project called The Booth At The End from us. And finally, though this isn’t a primary goal, it could act as a way of piloting
sure he stayed in the role. “It was tough, I fractured my leg six weeks before filming so they had to have me falling down stairs at the end of the first episode so I could be on crutches in the second — which we shot first. So once I got rid of the crutches it was great; up to then it was a bit of nightmare.” And the series grew on the actor, who was wary of it at first because his part of barrister Clive Reader plays something of a supporting role to female lead Maxine Peak’s Martha Costello. “It was Martha’s show really and I wasn’t sure if it was a step back or not. But by the third and fourth episode it was great fun, the character’s brilliant — he’s an arse, but you kind of like him.”
ideas to the TV market.” As mentioned earlier, drama imports and exports tend to follow pretty traditional patterns (Korean drama to Japan, US product to Europe etc). But there are some realignments occurring. Turkey’s reemergence as an economic force, for example, has made it an influential player in its own backyard. ATV’s drama Ezel, for example, has been picked up in Greece, the Middle East, Bulgaria, Romania, Croatia, Serbia, Slovenia and Macedonia. Another territory which is punching above its weight is Israel where companies like Armoza and Dori have taken a highly-efficient model developed domestically into the global market. Dori, for example, has started selling telenovelas back into Latin America — which is quite an achievement. The most recent example is season two of Split, which has been picked up by Turner Broadcasting System Latin America for its Boomerang channel. Produced originally for Israeli cable platform HOT, Dori CEO Nadav Palti said: The first season achieved terrific ratings among Boomerang’s teenage viewers in Mexico, Argentina and Brazil. It has now been sold to over 60 countries worldwide and we expect the second season to be as, if not more, successful.”
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ANIMATION
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N E X T- G E N E R AT I O N A N I M AT I O N
Toon tastes are changing Animation producers around the world are in the middle of a period of intense change on both the business and technical fronts. Gary Smith reports
Plankton Invasion (TeamTO)
E
VIDENCE that the attention span of the average viewer is shortening is all around us, and is especially obvious in individual consumption habits as both mobile and static viewers hop from one medium to the next in search of engaging content. This grasshopper mentality has not yet affected the running times of live-action series, either for kids or adults, but the production slates of most animation studios are full of series whose running time has dropped from the classic 26 minutes to an average of 11. “Ten years ago Spain was producing a significant volume of half-hour episodes,” says
Maria Doolan, managing director, brand & business development, at Zinkia Entertainment. “But these days the majority of productions are short form, and creativity has risen significantly.” This transformation has, as is so often the case, been driven by necessity. “With Pocoyo we decided to do everything in-house as far as possible, because we need to keep the Pocoyo brand fresh, and if we need to tailor the show to a certain territory or to produce a new promo, we can do so while remaining innovative and cutting-edge. “We always try to differentiate ourselves in our productions and right
through the whole range of merchandising products. For example, we tried 90 different moulds of Pocoyo’s face before we found the right one for the plush. It’s a branddriven world and we need to feel that what we do is beneficial to all future brand expansion.” Part of that expansion has seen Pocoyo recently named as the first official Global Kids’ ambassador for the Beyond The Hour campaign by Earth Hour Global and the World Wildlife Fund, no doubt partly because the Pocoyo YouTube channel has received more than 400 million hits worldwide. “Pocoyo has also generated sales of
three million toys, two million DVDs and a similar number of books,” Doolan says. “And we’re also now working on the US market, as well as starting production of the third and fourth series.” Diminishing attention spans among young viewers have seen BRB Internacional produce over 800 five-minute episodes in the last five years. But, according to Carlos Biern, BRB’s executive vice-president, co-productions and worldwide distribution, it is not the only significant change in the world of animation production. “Among the young generation, the maximum you can expect to keep their
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attention is 15 minutes,” he says. “On the business front, the biggest change for us is that the large toy brands like Mattel and Hasbro are starting to produce their own programming blocks, and this will change the production dynamic in many ways. For BRB, it means that we don’t have to get a broadcaster on board to start considering producing a show.” BRB’s Barcelona studio Screen 21 was recently renamed Screen 21 3D, reflecting the volume of 3D series planned and in production. “When you see how fast the Nintendo 3DS sold out, it shows that there’s demand there, and not just from the audience. TV manufacturers like
Bubble Guppies (Nickelodeon International)
LG and broadcasters also need content, so we’re gearing up to provide it through shows like Canimals, which combines HDTV stereoscopic CGI mixed with scenes from the real world, and Zookaboo, preschool edutainment in HDTV stereoscopic CGI.” In terms of Spanish viewing trends, Nickelodeon staple SpongeBob SquarePants has recently exploded in popularity across the territory. “The key precipitating event for this was the emergence of the DTT channels,” Steve Grieder, executive vice-president, Nickelodeon International and MTV Networks, says. “SpongeBob had been on terrestrial TV for a while but had not caught
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Ten years ago Spain was producing a significant volume of half-hour episodes. Now the majority of productions are short form, and creativity has risen significantly Maria Doolan
fire, then the show moved to TVE’s Clan and now it’s running five times per day.” Looking further afield, Grieder believes series that show respect for the audience are increasingly important. “In a lot of Nickelodeon’s best shows, comedy is born of tragedy, but both SpongeBob and Fanboy &
Chum Chum feature terminal optimists, and I think it’s very brave to strip away cynicism,” he says. “These shows go for the layered laugh and a layered view of the world. Younger viewers today are very concerned about authenticity, plus they have been exposed to so much great TV that their expectations are very
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high.” Production of shows using CG has grown enormously in the last 18 months but Grieder is not in a hurry to join the crowd: “Even though we have launched Planet Sheen and Bubble Guppies in CG, we’re still looking at the right ways to use it, and we don’t do so unless it’s relevant to the show.” According to Kanji Kazahaya, director of Toei Animation, even though the audience likes 3D, the technology is far from being in enough homes: “There is a lot of professional interest in 3D and 2D/3D mixed shows from channel buyers, but the majority of the business is still 2D. We have, however, increased our 3D output for theatrical releases, and for TV series we are introducing 3D segments into our shows — such as, at the end of new series Suite Pretty Cure there
are 3D girls dancing over the closing song.” The manga DragonBall Z is Toei’s flagship show and the series continues to attract a huge global audience. “I believe that manga generally is something that Japan can be very proud of,” Kazahaya says. “Thanks to its popularity, manga is in fact effectively no longer Japanese, it has become a global phenomenon. And I believe that its enormous popularity will drive audiences towards other forms of Japanese animation. Over the next few years we will see a significantly broader range of Japanese animation becoming popular.” Alongside Suite Pretty Cure, Toei is also premiering Toriko at MIPTV. The series, aimed at sixto11-year-olds, is based on the Shonen Jump manga. While Toei is entering the world of 3D somewhat tentatively, Tapaas
When you see how fast the Nintendo 3DS sold out, it shows there’s demand, and not just from the audience. TV manufacturers and broadcasters need content Carlos Biern
Canimals (BRB Internacional)
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Chakravarti, CEO of India’s DQ Entertainment (DQE), believes that it will be mainstream within two to three years: “3D Net, the first dedicated 3D channel, has just started broadcasting in the US, and it is clear that there is not much content around because for the moment at least, it is broadcasting a lot of feature films. Which to me indicates that there aren’t nearly enough 3D TV series available.” DQE has several 3D projects including the second series of Jungle Book, Peter Pan and Iron Man, alongside The Little Prince, Five Children And It, a Jungle Book feature film plus Children Of The Wind, a co-production with Al Jazeera, also lined up for delivery in 2013-14. “The Indian animation industry has significantly matured on the technological front in the last few years,” Chakravarti says. “Indian animation companies have started using proprietary software for production management, production of highend visual effects, stereoscopic technology and producing VFX for live-action films such as Narnia, Avatar, etc.” DQE is also producing several TV movies based on Indian mythology and folklore. “Indian traditional stories have a plethora of epic characters ideally suited for animation,” Chakravarti says. “We have partnered with Nick India, Disney India and Turner on these productions, which have been very well received by audiences in India and the Indian diaspora. Many of these titles, especially the Feluda Mysteries, a detective series, and Keymon have generated interest among networks worldwide. “Monkey King has been broadcast on Disney Asia since August 2010 across dozens of countries, garnering good ratings and plenty of
Nickelodeon International & MTV Networks’ Steve Grieder: “SpongeBob and Fanboy & Chum Chum feature terminal optimists, and I think it’s very brave to strip away cynicism in comedy”
Zinkia Entertainment’s Maria Doolan: “We decided to do everything in-house as far as possible, because we need to keep the Pocoyo brand fresh”
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positive audience feedback.” In China, CCTV Animation’s Dong Hang can see the lure of 3D, but for the moment at least the company’s priorities are mostly elsewhere: “3D animation is popular for its strong visual effect, but generally we believe channel buyers would prefer highquality programmes with interesting stories and attractive designs. And, because MIPTV is one of our most important international markets, we are bringing some amazing new series such as Happy Town, Go Calf! Jianmu Legend, Origami World, and a slate of humorous shows like Noodles War, Witty-Boy Baodada, Rice Carpenter and one 3D series called Moon Circus.” CCTV productions are airing in more than 60 countries.” As with Spain’s Zinkia, Guillaume Hellouin, CEO and president of
multi-award-winning French producer TeamTO, believes that the way forward for medium-size producers is to take as much as possible inhouse: “I’ve been involved in 3D production for 24 years and in the past have had a studio in Asia, but now our animation is done in Valence. It’s considerably more intimate, which means that the noncreative aspects of the series are done exactly as we want.” In 2010 TeamTO launched Angelo Rules, Babar – Adventures Of Badou, International Airport and Oasis. Currently the second series of Angelo and Babar are in production alongside Plankton Invasion, a coproduction with Canal+. “Plankton Invasion
deals with global warming but through reverse psychology,” Hellouin says. “Rather than lecturing people about what they should and shouldn’t do, the show’s main characters are three plankton who exist due to global warming, but they are clumsy and a bit stupid. I’m very happy and proud to say that the series has been awarded a UNESCO ‘United Nations Decade for Education for Sustainable Development’ label. We’re currently working on the website and will be launching it at MIPTV.” Lionel Marty, president, worldwide distribution, at Moonscoop, sees a clear gender split in teen and tween audiences: “It’s clear that the 30-minute episode is much less popular than it was a few years ago for several reasons,
but in live action it still works, and successful live action is aimed mainly at girls these days. I’ve noticed that broadcasters are increasingly drawn to clips and clip shows, with the topic changing every two minutes, and I think that this trend will also be coming to the way in which cartoons are programmed.” Current hit series Tara Duncan and The DaVincibles are both short-form and both are written by specialists. “Shorter episodes are neither harder nor easier, it’s a question of adapting,” Marty says. “And, of course, it’s also a matter of getting the right writers, and they will most probably not be the same ones who have been doing half-hour episodes. Likewise, before we launch any series in the US, we have someone over there going through the scripts. Most of the time there are things that can be changed to make it work better there, but with Titeuf we just had to leave it because the dialogue is so much about him and his view of the world.” Moonscoop will be launching the second series of CGI series Casper this quarter.
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There is a lot of professional interest in 3D and 2D/3D mixed shows from channel buyers, but the majority of the business is still 2D Kanji Kazahaya
Jungle Book (DQE)
011_THE WIT_N_COM__ 19/08/10 20:52 Page1
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14 January 2011
BEHIND
Diana Howie on ITV’s Frills THE SCENES early evening refresh Fat and spills on Big Gypsy Weddings Page 10
INTERVIEW
Zodiak on Being British in LA
Page 30
Page 28
World Cup 2018 controver sy to waive Crown Jewels list
BY JAKE KANTER
Broadcast Expert industry intelligence at home and abroad.... The most comprehensive coverage of the industry available. We deliver the most compelling news, most insightful analysis, most authoritative commentators and most reliable research.
as part of failed England
bid
The BBC and ITV were set to join forces to battle a secret government decision that could have handed Sky the chance to air the 2018 World Cup. It has emerged that the government guaranteed to football body Fifa that it was BBC insider prepared to waive listed events regulations for the 2018 tournament as part of England’s failed bid to host the event. Under current rules, the World Cup is on the Crown Jewels TV sports list, meaning that it can only be shown live on free-toair television. However, at the request of Fifa, England’s 2018 World Cup bid document contained a promise to allow pay-TV companies, such as BSkyB and Disney-owned ESPN, the chance to bid for rights. Neither the BBC nor ITV – Spain vs Portugal: which traditionally share high-profile 2010 clash is the type of game free-to-air coverage viewers could have missed of the World Cup – were in 2018 aware of The idea was that, if successful, the guarantee at the time of the government England’s bid. the issue until after would have the digital switchover in 2013. Sources at both broadcasters sought to renegotiate the guarantee with Fifa, or at expressed concern that Last year, the Conservatives least strike they were a compromise. not consulted and that opposed a Labour-backed the governmove to Such a scenario ment appeared willing could have seen put the Ashes on the Crown to let Fifa England Jewels matches and games “dictate” legislative changes. TV sports list – a plan that was beyond the second round eventually “We would have come reserved DCMS spokesman derailed by the May together for free-to-air broadcasters. with other terrestrial channels general election. to But had these criteria seek talks,” a BBC insider Fifa’s eventual decision to award been guarantees, otherwise revealed. applied to bids could the 2018 the 2010 World Cup, Department for Culture, World Cup to Russia was not proceed. If successful Media terrestrial viewers in mired in controversy and Sport officials have could still have landing after a Panosuggested missed out 2018, we would have on the likes of Spain’s that the guarantee – submitted rama investigation accused entered into discussions three to victory over neighbours with Fifa senior officials Fifa in May last year under Portugal at the international to ensure that the World the pre- or Brazil’s group Cup governing body games. vious Labour government would have reached of football of – was A DCMS spokesman said: the widest accepting essential for the bid to proceed bribes. “Fifa possible audience.” and asked the governments for England to stand any The documentary was of all counIt is not clear what the chance of tries bidding branded coalition “unpatriotic” for the 2018 World securing the tournament. by England’s 2018 government’s position Cup to sign up to a is on listed World Cup number of events after bid chief executive it delayed a review into Andy Anson.
We would have come together with other channels to seek talks
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Government made secret decision
We would’ve talked to Fifa to ensure the World Cup reached the widest audience
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INDUSTRY TRENDS
105
HOT PROPERTIES
The ones to watch
As buyers and sellers gather in Cannes to trade audiovisual content rights, Bob Jenkins takes a look at what’s new and what some of the buyers in Cannes think of the latest offerings
F
OR SEAN Cohan, senior vicepresident, international, at A&E, the most important current trend is “a renewed energy in the industry at large”, something he sees reflected in “the large number of participants attracted to content markets such as MIP”. “This,” Cohan adds, “is great news for all of us and is driven by an upturn in world economies that has resulted in more robust ad-sales markets and a consequent increase in programming investment by broadcasters.” Among the programming genres Cohan identifies as being produced
to meet this increased demand are “factual entertainment and series featuring compelling characters”. But he also reports “an increased demand for ancillary digital rights to our TV programmes”. Ruediger Boess, senior vice-president, group programming acquisitions, at Germany’s ProsiebenSat1, also sees a likely increase in available programming, but for a different reason. “The current TV season,” he explains, “was mostly bad for all studios, with the exception of CBS, and so they all have a lot to fill in.” Cathrine Wiernik, head of format ac-
quisition at Sweden’s TV4, endorses Cohan’s comments, insisting: “Strong, character-driven reality still works well, good reality doesn’t go out of fashion.” She does, though, see “a strong demand for shows, of whatever genre, with a real feel-good factor”. And, while agreeing that “everyone is still talking about finding the show that will really cross over into social media”, she adds: “But they have been talking about this for a while now, in fact, the overwhelming feeling I have is that there isn’t likely to be that much new at this market and people will still be, pretty
much, talking about the things they have been talking about at the last few markets.” She warns: “While we understand, like everyone else, the importance of having formats capable of playing across all platforms and devices, it is important to remember that the first question we always ask ourselves is — will this make a good primetime show?” Confident of having “cracked the Holy Grail of a show that will, for the first time, nail the crossover between the internet and linear TV”, Caroline Beaton, senior vice-president, international programme
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INDUSTRY TRENDS
TV4’s Cathrine Wiernik
Dance Cam Slam (MTVNI)
RTE’s Dermot Horan
FremantleMedia’s Rob Clark
sales, MTV Networks International, will be at MIPTV with new format Dance Cam Slam. An original show from VH1 in the US, Beaton says it “perfectly integrates the internet and linear TV, as all the auditions are done online and the contestants progress to linear TV, so one cannot exist without the other”. Iris Boelhouwer, managing director, creative operations, at Endemol, agrees with Wiernik: “Generally I think the observable trends at this year’s MIP will be pretty much the same as they were at last year’s market.” She fingers “humour and nostalgia as still being popular elements in shows” because, “in these difficult economic times I think people like to be able to laugh and I also think they like a return to the sort of shows with which they grew up”. As evidence of this, Boelhouwer cites “the considerable traction we have recently been experiencing for shows such as All You Need Is Love, Forgive Me and Stars In Their Eyes”. This is a sentiment echoed by Alina
Florea, head of acquisitions and programming at Chello Zone, who points to the forthcoming remake of Dallas as an example of a nostalgia drive led by theatrical remakes such as Police Academy and Robocop. But Endemol, like MTV, also thinks it has created the perfect crossover format from television to the internet and back again with its new show Zoom: Level 1. The pilot shoot for ProSiebenSat1 started in March and the company will not have any footage at MIPTV, but Boelhouwer says: “We are really excited about this show and will be talking to buyers about it at MIP.” Zoom: Level 1 follows the contestants 24/7 in their everyday lives and they have to interact with all kinds of social media. Their popularity, and therefore their fate, will be decided by a Social Communication Index operating across all such sites in real time. Dermot Horan, director of broadcast and acquisitions at Irish state broadcaster RTE, is another to identify an emerging trend towards
nostalgia, citing a move in the US, “to more traditional production values in sitcoms” as evidence of this. Horan recalls: “In the ‘90s and early noughties, there was a trend in comedy for single-camera shoots with no laugh track, as exemplified by series such as My Name Is Earl and Scrubs. But there has definitely been a return to the multi-camera studio series, and last year both of the two most successful sitcoms in the US, The Big Bang Theory and Two And A Half Men, were in this mould.” Like Wiernik, Horan believes the economic downturn is the reason
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In these economic times, people like to be able to laugh and they like a return to the sort of shows with which they grew up Iris Boelhouwer
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The worldâ&#x20AC;&#x2122;s entertainment content market
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Until recently, channels were produced under very broad headings such as ‘kids’ or ‘news’ or ‘sport’. Now, the content producers are continuously narrowing the focus Grzegorz Plaza
Forgive Me (Endemol)
ITI Neovision’s Grzegorz Plaza
A&E’s Sean Cohan
for this return to the past: “When you are living through tough economic times, you often like to go back to the sort of shows you grew up with.” While pointing out that this is not a trend confined to the US , citing the recent co-production between RTE and BBC Scotland, Mrs Brown’s Boys, as another example, Horan does complain: “There are now considerably fewer comedies in the US schedules than there used to be in the past.” He blames “reality/entertainment shows such as Dancing With The Stars and American Idol that now take up vast tracts of the US networks’ schedules”. He points out: “The key thing about comedy is that you have to produce several in order to create a single hit.” If Horan is concerned that the mega formats are stifling other genres, he is also prepared to credit them with, “the bounce back in ratings most FTA broadcasters have recently been experiencing”, a phenomenon he attributes in part to “the fact that these shows are live and are watched as such
by the majority of people, and they are real ‘water cooler shows’ — if you haven’t seen the big format over the weekend, you are out of the conversational loop on Monday morning”. Nor is the success of nostalgia confined to sitcoms. Last year The Price Is Right was the highest-rated daytime show on US television, and the highest-rated game show in France, where TF1 produced a new local version. Joining The Price Is Right on The FremantleMedia Village is an alluring array of proven hits such as Idols, X Factor, Family Feud and Farmer Wants A Wife, as well as many new formats including Total Blackout, in which contestants perform unusual and daring tasks in “total blackout” and are therefore often unaware of what they are actually doing. The format was developed as a result of the Creative Exchange Alliance between FremantleMedia and Fuji TV and, having already sold to nine territories, it is, says Rob Clark, president, worldwide entertainment, Fre-
mantleMedia, “one to watch”. Grzegorz Plaza, head of programming at Poland’s ITI Neovision, is concerned with packaging channels, and the trend that he observes and with which he is not happy is “the increasing specialisation of thematic channels. Until as recently as just a few years ago, channel producers were only producing channels under very broad headings such as ‘kids’ or ‘news’ or ‘sport’. Now, the content producers are continuously narrowing the focus of their channels and are, therefore able to produce more and more channels.” Plaza acknowledges: “In theory, this is a convenient situation for a broadcaster who is able to offer a wide selection of channels to subscribers. But in practice new channels are often created using old archive content, and these channels are often bundled with newer, more attractive channels which can make the negotiation with suppliers much longer and more difficult than had previously been the case.”
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THE FUTURE FOR CONTENT
Consumer demand fuels VOD As cable subscriptions decline in North America and Western Europe, and on-demand explodes globally, what are the issues for content suppliers? Bob Jenkins explores the link between platforms and producers
A
N INFORMA report last November highlighted the boom under way in on-demand, putting the 2010 worldwide value of the business, for movies and premium TV programming, at $5.6bn, up 24% year on year, and predicting that by 2015 this figure would have more than doubled to $13.7bn. This might seem like good news for content suppliers, but with cable subscriber numbers falling in North
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Cable is in the most favourable position to monetise on-demand services. It is a longestablished pay-TV platform with a fast, reliable, network offering two-way communication Adam Thomas
Informa’s Adam Thomas
America and Western Europe, subtle issues are being raised. The Informa report gives cable a 51% share of the 2010 VOD market ($2.9bn) and predicts that will rise to 56% by 2015, representing $7.7bn. Indeed, senior analyst and lead researcher on the report Adam Thomas says: “Cable is in the most favourable position to monetise on-demand services. It is a longestablished pay-TV platform with a fast, reliable, network offering two-way communication between the client and the company making the ordering of content easy.” While a lot has been written recently about the effect of ‘cord-cutting’ and the impact of the arrival of OTT (over the top) services, which use the net to bypass platforms, both Thomas and Richard Broughton, senior analyst at Screen Digest, think the significance of such developments has been overrated. Echoing the findings of his report, which suggests
that by 2015 on-demand revenues for IPTV will be $2.2bn, or around 16% of the global total, Thomas argues: “IPTV is a relatively new platform and offers telcos a good way to retain and attract subs and to raise blended ARPU.” This is a view broadly shared by Broughton, who, while calling the current global split between pay and OTT “as roughly fifty-fifty” (OTT $3.65bn, pay on demand $2.65bn), goes on to suggest: “The other issue is that there are two ways of accessing on-demand revenue; the first is by selling directly to the customer, and the second is by selling via cabsat platforms. The danger with selling direct to the customer is that you risk undermining the income in the form of carriage fees that you get from these platforms.” Broughton sees this as, “a very difficult dilemma for pay-TV groups”, and, consequently, predicts: “For the foreseeable future, at least the next five years, they will stick with the
Scripps Networks’ Bob Baskerville Content Television’s Greg Phillips
Zodiak’s Mark Lesbirel
status quo and continue offering VOD via pay operators and look to make some revenue from the pay element and also look to raise the carriage fee from around 15 pence [25 cents] per customer to 16 pence per customer, in return for an offer of some free on-demand.” Informa’s Thomas agrees, arguing: “Cutting out the pay-TV operators would be a very dangerous game, likely to generate just a fraction of current revenues. The key is to use library content to satisfy OTT demand while keeping premium content for traditional distribution methods.” Despite this, Thomas acknowledges, “there are countries where this may not be as true. In China, for example, the cable infrastructure is still largely analogue and, while it is being upgraded to digital, OTT services such as Tudou and Youku are enormously popular.” But he warns: “In China there is always the risk that regulatory intervention will radically alter a
MTV Networks’ Philip O'Ferrall
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GLOBAL: CABLE TV SUBSCRIBER NUMBERS (000s)
2005
2006
2007
2008
2009
2010
North America
73 127
73 248
72 921
71 896
70 384
69 162
Latin America
19 417
21 598
23 803
26 473
27 587
28 569
Middle East & Africa 2 464
2 513
2 587
2 650
2 704
2 829
Eastern Europe
30 352
31 516
33 255
34 465
36 409
37 577
Western Europe
50 932
51 264
51 129
50 984
50 121
49 490
Asia Pacific
221 657
245 637
272 588
292 605
309 140
330 091
Global Total
397 950
425 775
456 282
479 074
496 346
517 718
Note: Numbers refer to year-end — Source: Informa Telecoms & Media
market, but, for now, OTT is emerging as a fully fledged alternative to traditional platforms and, if this continues, it could set a precedent for other markets in the region.” For Bob Baskerville, general manager Scripps Networks, the key to the apparent dichotomy facing content suppliers lies in “truly being a good business partner”. And he freely admits: “There is no question that our existing carriage deals are the bread and butter of our operation, and are likely to remain so for some time, but I don’t see that there is any reason why we should not be able to explore with our partners ways of approaching these new opportunities in such a way as to benefit all concerned.” Much the same thinking is apparent at MTV, which in the first week of February launched MTV OD as part of its UK website. Philip O’Ferrall, senior vice-president, digital media, MTV Networks International, says he is, “not at all worried” that the site might undermine MTV’s carriage
fees: “As a media owner and content provider that operates, broadly speaking, within a pay-TV environment, we also offer much the same content within the cabsat platforms as a premium streaming option.” O’Ferrall continues: “MTV OD was launched in response to the huge number of fans coming to our website, either through search or as the result of recommendations on social networking sites, and it is important to us to provide these fans with content they can watch safely and legally on line.” Ed Palluth, senior vice-president, international distribution, at Rainbow Media, also cites “exploding consumer demand” as being “the biggest factor contributing to the growth of VOD”. And, like Baskerville and O’Farrell, Palluth believes this is an opportunity from which both content supplier and platform can benefit by working together. “As more and more consumers embrace VOD, it is becoming significantly more
important to cable operators. So, at Sundance Channel and WE tv, we have put a major emphasis on creating innovative VOD packages to help satisfy this growing demand from our distribution partners and their customers.” This harmony of thought between content suppliers who are also channels, breaks down, however, when talking to content suppliers who are not also channel operators. For Greg Phillips, president, Content Television and Content Digital: “VOD is significant in terms of standalone sales, which represent around 10% of our total revenue, and it is of course also significant in adding value to traditional linear TV deals as on-demand rights are increasingly required by channels to provide a complete 360-degree experience for their viewers.” By contrast, Mark Lesbirel, director, publishing and home entertainment, at Zodiak Rights, while acknowledging that “we are getting increasing ad-hoc requests interna-
tionally for our content for various VOD platforms”, insists: “At the moment budgets are not very big and currently on-demand is not a significant part of our business.” Like Phillips, Lesbirel also highlights the importance broadcasters attach to on-demand to provide a free catch-up service. “It is an open question as to how indies get rewarded for this viewing, and I think this is something that will have to be negotiated at an industry level. After
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VOD is significant in terms of standalone sales, and it is of course also significant in adding value to traditional linear TV deals Greg Phillips
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Producers must fairly share in that value, or they will not be able to fund productions people want to watch and are willing to pay to watch Mark Lesbirel
all, if VOD is to have an increasing value, then producers have to be able to fairly share in that value, otherwise they will not be able to properly fund productions people want to watch and which they are willing to pay to watch.” Adam Thomas, for one, thinks this
might not be such a straightforward negotiation as some might hope. “The benefit of certain genres and services in retaining customers is very difficult to prove. Even if a cable operator is losing subscribers, who knows if that decline would have been faster and steeper had it not been for a particular programme, genre or service?” Despite sounding this note of caution, Thomas adds: “Having said all that, there probably is some latitude for programme suppliers to get creative and add some sort of ‘customer retention bonus’ to their supply deals.” If much of the defining parameters of on-demand, and the role it is to have in the world of pay TV is yet to be finally hammered out, one thing is certain, as Bob Baskerville points out: “The concept of ‘TV everywhere’
OVER THE TOP REVENUES Europe North America Asia Pacific Total
€m €m €m €m
2010 467 2 075 80 2 622
€m €m €m €m
2010 485 1 195 210 1 890
€m €m €m €m
2010 952 3 271 290 4 512
Pay-TV on-demand Europe North America Asia Pacific Total Total Europe North America Asia Pacific Total
Note: 1) OTT TV revenues for North America and Western Europe only 2) Pay-TV on-demand includes nVoD and true VoD revenues 3) Adult content, live PPV events and live PPV sports excluded from on-demand revenues
has been talked about a lot over the past few years, but that does not alter the fact that a viewer’s ability to watch
what you want, where you want, how you want and when you want simply has to be the future of our business.”
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