MIPTV NEWS 1

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DAY Sunday 1 April 2012 TITANIC CENTENARY GALA SCREENING

ITV Studios and Lookout Point present the MIPTV Gala Screening of Titanic tonight at 18.00, in the Grand Auditorium. After the screening, writer Julian Fellowes and cast members Celia Imrie, Glen Blackhall and Geraldine Somerville, will discuss the series, then take to the red carpet at the Hotel Martinez

MEDIA MASTERMIND KEYNOTES

Today’s Media Masterminds are Amazon’s Anthony Bay, Discovery’s JB Perrette and Rovio’s Nick Dorra

THE PRODUCERS’ HUB The new Producers’ Hub, which offers a mix of networking opportunities, a lounge, bar, space for meetings, and practical workshops, opens in the Gare Maritime, by the harbour, today.

See page 8

JEAN RENO Movie superstar Jean Reno joins showrunner Rene Balcer for a press conference in the Blue Lounge, in the Producers’ Hub, to introduce new crime series Le Grand

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FREMANTLEMEDIA FremantleMedia PRODUCTION

Please contact us at FremantleMedia Village Stand RB1 Riviera Beach Cannes

T: +33 (0)4 92 99 89 11 F: +33 (0)4 92 99 89 13 E: formats@fremantlemedia.com

INSPIRING ENTERTAINMENT www.fremantlemedia.com

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Contents miptv neWs 1 ®

The official MIPTV daily newspaper Sunday 1 April 2012 Director of Publications Paul Zilk Director of Communications Mike Williams EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Sub Editors Clive Bull, Sarah Kovandzich, Joanna Stephens Reporters Marlene Edmunds, Andy Fry, Emelia Jones, Juliana Koranteng, Max Leonard, Rachel Murrell, Gary Smith, Chris White, Nigel Willmott Deputy Technical Editor in Chief Frederic Beauseigneur Graphic Designers Muriel Betrancourt, Veronique Duthille, Marie Moinier, Carole Peres Head of Photographers Yann Coatsaliou / 360 Media Photographers Christian Alminana, Georges Auclaire, Olivier Houeix, Michel Johner Editorial Management Boutique Editions.

news

did you kn oW?

MIPT distribute V News : d ev at MIPTV erywhere more th , and in an in Cann 80 hotels e s a nd vicinity the

8 MIPCube, MIPFormats and MIPDoc reports; Keynote speakers; and market news

people 26 Stars of Femme Fatales come to Cannes

PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Co-ordinators Nour Ezzedeen, Emilie Lambert, Amrane Lamiri Production Assistant, Cannes Office Eric Laurent Printer Riccobono Imprimeurs, Le Muy (France).

MANAGEMENT & SALES TEAM Director of the Entertainment Division Anne de Kerckhove Director of the Television Division Laurine Garaude Sales Director Sabine Chemaly Director of Market Development Ted Baracos Conference Director Lucy Smith Marketing Director Stephane Gambetta Programme Directors Tania Dugaro, Karine Bouteiller, Cathie Laven Managing Director (UK/Australia/New Zealand) Peter Rhodes OBE Sales Manager Elizabeth Delaney Vice President Sales and Business Development, Americas Robert Marking Vice President Business Development, North America JP Bommel Sales Managers Paul Barbaro, Nathalie Gastone, Samira Haddi Regional Sales Director Fabienne Germond Sales Executives Liliane Dacruz, Panayiota Pagoulatos, Cyril Szczerbakow Digital Media Sales Manager Nancy Denole New Media Development Manager Bastien Gave 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 ADVERTISING CONTACT IN CANNES Christine Mendes 01 41 90 49 89 christine.mendes@reedmidem.com Published by Reed MIDEM, BP 572, 11 rue du Colonel Pierre Avia, 75726 Paris Cedex 15, France. Contents © 2012, Reed MIDEM Market Publications, Publication registered 2nd quarter 2012. ISSN 1967-5178.

Printed on FSC certified paper

The MIPTV News team is located in the Palais des Festivals ,EVEL s !ISLE

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product news 44 Content for sale in Cannes

features 76 Start-ups: Secondscreen apps, social analytics, personalised TV and games are causing a stir in Cannes How to beat the pirates: Who wants pirated stuff when the real thing is so much better?

90 Small screen, big ambitions: Cinema talent is finding a creative haven in TV

TODAY’S EVENTS 12.00 – 13.00 The International Academy of Television Arts & Sciences Press Conference & International Digital Emmy® Awards Nominee Medal Ceremony Palais des Festivals – Auditorium K 19.30 – 21.30 The International Digital Emmy® Awards Hotel Martinez – By invitation only 19.30 – 24.00 MIPTV Opening Party Hotel Martinez

From the creators of the award-winning One Born Every Minute

Would you allow 50 strangers to change your life?

MIPTV Stand No: R38.01 www.itvstudios.com

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Tweet of the day

See our exclusive behindthe-scenes Titanic video at MIPBlog

Gamification: “Not just an ugly word, but an ugly concept” that “turns the audience into click-monkeys” says @superplex #MIPCube

http://bit.ly/GUWKwk Picture caption xxxxxxxxx

MIPCube gets creative

All happening in the Hub HE NEW MIPCube event held in the Gare Maritime on Friday and Saturday makes way for another ground-breaking event, The Producers’ Hub. Designed to facilitate producer networking in a casual and friendly atmosphere, The Hub will also host a range of practical workshops from today right through until the end of the market on Wednesday.

Day One kicks off at a frenetic pace with sessions on how to pitch a programme idea and how to secure funding from international Film Commissions.

The day’s events are rounded

T Delegates to MIPCube got connected at networking drinks sponsored by Conde Nast Ideactive

HE FIRST ever MIPCube, which ended yesterday, provided a fascinating insight into in-market ideation and content creation thanks to MIPCube Lab, Content 360 and TV Hack Day. MIPCube Lab gave 10 companies from North America and Europe the chance to pitch their business plans and prototypes to TV executives, entrepreneurs and venture capitalists.

Content 360, a well-established part of MIPTV, saw digital creatives pitch new ideas in transmedia content and next-generation audience engagement. With prize money totalling up to €18,000 ($24,000) up for grabs, ingenious entries came from companies based in the UK, France, Canada, Israel, Chile and Sweden.

TV Hack Day, meanwhile, showed just how quickly and ef¿ciently programmers, developers and coders can build content to accompany TV shows. In just 48 hours, a range of new ideas were turned into augmented experiences for consumers from a standing start.

The best ideas to come out of this dynamic content evolution process will feature in a special MipCube session, The Innovation Show, in the Grand Auditorium today at 11.30.

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off at 17.30 with a cocktail by the harbour, sponsored by Ex Machina, open to all producers here in Cannes this week.

As the week progresses, other hot session topics include coproduction ¿nancing in drama and documentary, opportunities in emerging markets like Brazil and China and insights into digital deal-making and social media.

On Wednesday, the last day of the Producers’ Hub programme, a special session will look at how to drive new formats by leveraging social media and game-changing nature of second screen usage.

The Gare Maritime on the harbour, home to The Producers’ Hub

News in brief • FASHIONTV models will join star presenters from the International Digital Emmy Awards Ceremony 2012 at the MIPTV Opening Party from 19.30 tonight at the Hotel Martinez, in partnership with fashiontv. A live fashion show from 20.00

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will follow a celebrity red carpet line-up, including cast members from Jersey Shore, Femme Fatales and Copper.

• TODAY’s Digital Deals conferences in the Esterel include Connected Devices & Connected Audiences at 10.00, Who’s Connecting To

Your Audience Now? at 10.15, and The New TV Players’ Interview Series at 14.10.

• FIND out what kids are watching around the world in a series of Kids & Animation conferences today in Audi A, C and D today from 10.00 until 15.30.

Explore the unknown

GHOST ADVENTURES

MAN V. FOOD NATION

Season 5 (12 x 60’)

Season 1 and 2 specials (25 x 30’ & 2 x 60’)

Zak Bagans, Nick Groff, and Aaron Goodwin are back to investigate the scariest, most notorious and haunted places in the world. The trio will interview eyewitnesses and historians at each location and then confront the ghosts during their dusk-to-dawn lockdowns.

In Man v. Food, Adam Richman scoured the country and competed in America’s most compelling food challenges. He fought, he conquered, and he’s been conquered.

Now, Adam is recruiting local talent to take on their beloved hometown challenges.

A Sharp Entertainment production for Travel Channel

A MY Tupelo production for Travel Channel

HIDDEN CITY

(12 x 60’)

SAND MASTERS

(16 x 30’)

THE DEAD FILES

(21 x 60’)

Cities are more than brick and concrete, they’re made of stories. And the best stories are usually about the worst people. Thriller novelist Marcus Sakey knows good stories – and now he’s going from city to city to identify three crimes or criminals that reveal the real character of the place.

These are not your typical sand castles! Across the U.S. and around the world, the unconventional artists of Sand Masters create unimaginable masterpieces on a massive scale that will defy expectations and often defy gravity.

Physical medium Amy Allan and retired NYPD homicide detective Steve Di Schiavi combine their unique and RIWHQ FRQ¾LFWLQJ VNLOOV WR VROYH XQH[SODLQHG SDUDQRUPDO phenomena in haunted locations across America.

Crazy Legs Productions for Travel Channel

A Painless Entertainment Inc. production for Travel Channel

A Painless Entertainment Inc. production for Travel Channel

Available to screen now: www.passiondistribution.com

Visit our MIPTV stand, no. H4.30

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neWs TV should design its own future says Cindy Gallop O ONE knows what the future will bring, so the TV industry might as well dictate its own future, declared media entrepreneur and branding consultant Cindy Gallop during her MIPCube keynote speech.

In her presentation, Smashing Through The Screen: How To Rewire Television For The New World Order, Gallop expressed her frustration at setting up a storefront for her pending new venture MakeLoveNotPorn.tv, an online-TV service dedicated to responsible adult entertainment.

“PayPal, Amazon, Google would not talk to me because of the adult content,” she said. The solution is to bypass the old way of doing things and turn to enterprises that are looking at the future of money. Gumroad, which enables anyone to sell content through a

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link, is an example she cited.

If you believe in what you are doing in your business, you should not let old barriers stand in your way, she advised. “Fund your future in a way that ensures your future can fund itself.”

Gallup said “action branding” — the way individuals and corporations turn good intentions into actions — will determine the extent to which an enterprise succeeds. That is why the future of the TV platform is assured, she added.

“In a medium as powerful as TV, the actions that result from what you do can be extremely effective.”

And that is the approach she plans to apply to MakeLoveNotPorn.tv and IfWeRanTheWorld, an online initiative she has started to help people and businesses turn good intentions into actions.

MGM’s Roma Khanna receives inaugural visionary award Reed MIDEM’s Anne de Kerckhove (left) with winner Roma Khanna, president television group and digital, MGM

ROMA Khanna, president, television group and digital, MGM, was at MIPCube on Saturday evening to collect the ¿rst ever Media Architect Of The Future Award.

Having picked up her award she gave a Visionary Talk in which she showed she is also a pretty good media archaeologist. “I looked back at the ¿rst time I gave a future of television speech in 1999 and discovered that the six principles I outlined back then are still relevant today.”

Explaining these principles, Khanna said content is king — because TV is an experience not a device. “Distribution is not all that matters; audiences are socially networked.”

She said technology matters — but it matters most when you don’t notice it.

Cindy Gallop at MIPCube

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“Business models matter and great content is not free because you have to be able to place a value on it,” she added.

Khanna used her talk to emphasise the way that audiences had taken control, but noted that they are willing to cede some of that control if there is a valuable trade. “Audiences allow Apple to have some control because it is not a gatekeeper but a trusted taste-maker with a friendly interface.”

Expanding on her theme, Khanna said media pioneers need to ensure that the use of technological advancements matches consumer expectations. “If technology is ahead of its time, it doesn’t matter how good it is it won’t work… not everything needs to be interactive or in 3D.”

miptv

neWs DMS DEBATES DISRUPTED TV DEVELOPMENTS in disrupted TV formed the focus of the Digital Minds Summit (DMS), where some of the world’s digital-TV leaders gathered during MIPCube. Although MIPCube introduced delegates to disruptive innovations in media, the DMS participants questioned if and when the disruption would take place in TV. “At a time when 90% of traditional broadcasters are seeking to preserve their traditional revenues, new players like Google, Apple and Facebook are getting themselves ready for the new era,” said DMS participant Marco Ferrari, CEO of Italy’s Zodiak Active, which has launched T-Plus, a new social-TV app designed to be embedded in several of Zodiak’s media programmes. More consolidation is expected in the media space, he said. “YouTube will play a significant role, so will Facebook, even if it has no specific plans because other media owners will use its technology.” Steve Ronson, executive vice-president, enterprises, A+E Television, added: “With regards to apps and the mobile environment, there is likely to be significant deployment by content providers, platforms and consumer-electronic manufacturers followed by a period of consolidation.”

The Digital Minds Summit

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Panel puts brand interaction at heart of transmedia experience H E F U T U R E of branded entertainment must offer TV viewers an easy-to-access multi-dimensional storytelling experience, concluded the speakers at MIPCube’s Up Close & Personal With Conde Nast Ideactive: The Future Of Branded Transmedia.

Moderated by Janine Silvera, founder of Conde Nast Ideactive, a new branding agency within US publishing empire Conde Nast, the panel examined how transmedia shows will become effective platfor ms for audiences to interact with brands.

As part of Conde Nast, which is famous for its global lifestyle magazine titles like Vogue, Vanity Fair and Wired, “Ideactive is a new agency built on the values of Conde Nast,” Silvera explained. “What we’re looking to do is take our storytelling expertise and apply it to brands.”

The ultimate goal is to make

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Conde Nast Ideactive’s Janine Silvera: building on the values of Conde Nast

mu lt i- d i me n sion a l st or ie s immersive but easy to access, said Sean Stewart, head writer/ founder of US-based next-generation entertainment developer Fourth Wall Studios. Fourth Wall is working with Ridley Scott’s RSA Films to develop a “transmedia ride” for Conde Nast Ideactive.

“A ‘rides’ platform should be as easy as a ride in an amusement

park,” Stewart said. “We need to stop making new media something only cool kids can use.”

And brands bene¿t “when fans get together and bond because of their af¿ nity with a brand,” added Howard Goldkrand, cofounder of SoundLab Cultural Alchemy a multimedia performance platform, and innovations director at Modernista!, a creative branding agency.

Consumer control shapes future BROADCASTERS, TV manufacturers and advertisers have to accept radical changes in their future roles as the internet and new technology place more power in consumers’ hands, said speakers at Follow The Money – The Technology Of The Future at MIPCube. And how they respond to the changes will determine where investors direct their funds, they added.

“In the future, your TV will be dumb and only respond to what is happening on smartphones and tablets,” said Anthony Rose, founder of social-TV platform Zeebox, which recently received substantial investment from UK satellite-TV giant BSkyB. “At one point, flat-screen TV manufacturers thought they could control the audience (by installing apps on the TV), but

broadcasters fought back determined not to have another layer (of technology) on what they do.”

Broadcasters, however, cannot be complacent about consumers’ demand for content, declared Ralph Eric Kunz, managing partner at Berlin-based investment ¿ rm Catagonia Capital & Consulting.

Gone are the days when the industry focused on how content was delivered. The industry’s attention is now on how audiences access and control that content’s fate.

“Every executive in traditional TV industries needs to understand the innovation that is coming,” he said. “Audience measurement systems will change, advertisers will seek new ways to pay for that, and this will lead to new business models.”

Catagonia’s Ralph Eric Kunz: “new business models”

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Machinima seeks partnerships with traditional TV networks Machinima’s Philip DeBevoise

Christopher Sandberg of The company P

EXPLORING THE POTENTIAL OF MULTIPLATFORM CREATING your own intellectual property, which can then be turned into formats, is the key to success in transmediatisation, Guy Gadney of The Project Factory told delegates at an Innovation Agora session.

One the company’s successful prototypes, a spy thriller, was developed after a MIP meeting with broadcaster RTL. “The format must integrate all platforms,” he said. “All elements must exist for the format to work, whether it’s TV, online, phone or whatever.”

ouTube, the video-sharing website where more than four billion videos are viewed daily, is the platform of choice for online video streaming service Machinima, because it is reliable for monetisation.

But that is not stopping Machinima president and co-founder Philip DeBevoise from ex-

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Tweeting reveals viewer engagement Twitter’s Tony Wang

One trend he noted was for partners to be interested in using transmedia to promote campaigns and causes, such as with the UK TV programme The Great British Property Scandal.

Christopher Sandberg of The company P pointed to one of the problems of interactive content.

Drama uses the linear format to build tension. That is lost, he suggested, if there is an interactive element that allows viewers to text the hero, for example, to warn her the murderer is in the cellar.

Considering why some broadcasters are still resistant to transmedia working, Nuno Bernardo of Portugal’s pioneering beActive said: “They still hold to the notion of ‘let’s get the show in the can’.”

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ploring partnerships with traditional broadcasters, he said during a keynote interview called Hollywood’s Biggest New Media Company Is Completely Virtual.

Since its 2000 launch, Machinima has gone from showcasing animated content to incubating high-end movie concepts. Mobile phone company Motorola put funding of $1.5m ($1.12m) into the streaming service’s feature ¿lm RCVR (pronounced receiver).

Machinima itself ¿nances pilot versions of new ideas and tests the resulting video clip or trailer online in real time. If viewers are keen it will commission more. Machinima now reports 166 million viewers a month.

“For us, YouTube is both a marketing and viewing platform. And working with YouTube and Google has enabled us to monetise every view (with advertising),” DeBevoise said.

With the technology to geo-block and geotarget audiences, Machinima is able to localise content and target speci¿c demographics, especially young males between 13 and 34 years old.

“Our strategy is to work with channel partners around the world and we’re talking to TV networks and studios about co-developing series. The next phase will be to go deep into different countries and develop local-language content,” DeBevoise said.

he second-screen trend is not only encouraging audiences to interact with on-air TV programmes via computer tablets and smartphones, it can also boost ratings, according to Tony Wang, Twitter UK’s general manager.

Speaking during the MIPCube session How Must-See TV Is Now Must-Tweet TV, Wang pointed out how Twitter, currently the world’s

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biggest micro-blogging platform, is enabling audiences to get more involved in TV content.

A viewer’s tweet confirms that someone cares about what is on the screen, as illustrated by audiences’ reaction when US singing star Beyonce disclosed her pregnancy during the 2011 MTV Video Music Awards.

“That generated more than 8,900 tweets per second,” Wang said. “Millions are tweeting about programmes they are watching. It has brought people closer to the programmes to make it a rich experience. People are having conversations over a global water cooler.”

At a time when 80% of under 25-year-olds use a second screen while watching TV, Wang suggested it might not be realistic for broadcasters to expect audiences to pay attention to their content 100% of the time.

“Social TV and the second screen are here to stay,” Wang said. “Some people ¿nd good TV entertainment so compelling, they have to tweet about it. Broadcasters should not fear that tweeting might distract attention away from their shows. Someone tweeting is the only real sign that someone is actually watching.”

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miptv

neWs Gee sets out behaviour rules for multiplatform projects ULTIplatform projects have to add value,” said Adam Gee, multiplatfor m commissioning editor (factual) at Channel 4 (UK). Gee was delivering MIPDoc’s Commissioning 360 keynote speech, and talking about how such initiatives can achieve measurable behavioural change.

“They have to give the user something that Facebook, Twitter and YouTube can’t,” he said.

For the broadcaster, multiplatform angles can offer a deeper relationship with the audience, and the ability to put a value on ad spots that helps in negotiations with advertisers. But users will only give their data in exchange for something they actually want.

Gee described three projects where the multiplatform offer combined with populist television to achieve behavioural change at a personal, national and policy level.

An award-winning interactive health website called Live From The Clinic evolved into a brash but effective television show called Embarrassing Bodies.

By making available quick and

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easy health tests, the site generated valuable health information for users, anonymised data for researchers and savings to the health service of £300,000 ($480,375).

Sexperience 1000 surveyed 7,000 people and presented the data in ways that were visually interesting and tempted the user to explore. “Often people start off with the frivolous questions,” said Gee. “But then they will start to compare their own pro¿le with those of the national data.

And ¿ nally they start to share advice, peer to peer, and explore changing their behaviour.”

FishFight combined the force of television and web to raise awareness about the fact that 50% of the ¿sh caught in the North Sea are discarded due to European Union regulations. “Some 500,000 people backed the campaign against discards within a week,” said Gee. “And user reactions caused the EU ¿sheries commissioner to ban discards and convinced commercial brands to change policy too.”

“There’s so much twitter and twatter online that having a purpose is a valuable thing to bring to the party,” concluded Gee.

Channel 4’s Adam Gee: “having a purpose is a valuable thing”

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Nat Geo CEO welcomes world of entertainment

National Geographic’s David Lyle: “it’s about authenticity”

“ENTERTAINMENT is not a dirty word,” said David Lyle, speaking about the new regime at National Geographic Channels US since he became CEO a little over six months ago. “If we lose sight of entertainment, we lose the audience.”

Interviewed in the MIPDoc Media Mastermind keynote, Lyle detailed how he is throwing open Nat Geo’s doors to unconventional programming styles in order to grow its audience and pull in advertising.

The recently announced commission of The Eighties: The Decade That Made Us from Jane Root’s company Nutopia is the kind of highend doc series that Nat Geo is known for. But alongside it are increasing amounts of formatted series, user-generated footage, and what some disparagingly describe as ‘reality television’.

“Reality is just a word people use for programmes they don’t like,” said Lyle.

“Even lovers of Jersey Shore claim to hate ‘reality TV’ in

general because it’s staged, re-shot and so on. But to me it’s about authenticity. Take Wicked Tuna, for example, our new 10-part series launching this weekend.

Yes, it’s telling an environmental story in a populist way. But those guys were ¿shing for tuna before our cameras arrived.”

He acknowledged that Nat Geo has shifted from 75% one-offs to 75% series.

“While we still do one-offs, we need those we do to be wonderful. We came late to the realisation that a plethora of middle-range one-offs won’t cut it.”

And Nat Geo should be quicker to air with programmes about big natural events. “We recently aired footage shot by passengers of the ill-fated Concordia cruise ship and survivors of the Japanese tsunami which were incredible. And somewhat sur prisingly, you don’t have to edit it to make it compelling — even when it’s accompanied by Japanese commentary.”

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Top honour goes to Left Turn Films’ Honest Liar Winning smile: Left Turn Films’ Tyler Measom, winner of the MIPDoc Pitch 2012

“WE BELIEVE documentary is the best way to introduce Chinese culture to the world,” said Liu Wen (second left), managing director of China’s CCTV Documentary Channel, welcoming delegates to the MIPDoc networking lunch.

“It also offers the best opportunities for international partnerships.” CCTV Documentary Channel, which launched in January 2011, broadcasts in Chinese and English. “In our ¿rst year, we aired over 1,000 hours of programming from more than 20 countries, and worked with international partners such as the BBC, ITV, NHK and National Geographic,” Liu added. He is pictured here with CITV’s Cheng Chunli (left), Reed MIDEM’s Laurine Garaud, CITV’s Ma Runsheng and Reed MIDEM’s Paul Barbaro.

RODUCER/director Tyler Measom of Left Turn Films, from the US, had plenty to smile about on Saturday when his pitch for documentary An Honest Liar: The James Randi Story won him the coveted title of MIPDoc International Pitch of 2012.

Jury member Barbara Truyen, head of documentaries at VPRO Netherlands, dubbed his presentation “a clear pitch for a universal story, told in a good way”.

The pitch from Norway’s Sant & Usant Documentary Film for Maiko’s Dance also received a special commendation for having “lots of nerve and great storytelling”. The four other projects that reached the ¿nal were Homo Touristicas (Roche Productions, France), Afghan Warriors (Making DOC Productions, Spain), The King Of Mont Ventoux (Associate Directors, Belgium) and The New Plastic Road (Fil-

P STUDENTS from the martial arts school of Henan Province demonstrate Shaolin Tagou at the MIPDoc opening lunch, courtesy of CCTV

ESTONIAN producer Vygantas Kirejevas of Benjamin River Productions pitches to Barbara Truyen of VPRO Netherlands. MIPDoc offers producers numerous opportunities for one-on-one meetings with decision-makers

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mogra¿ k Productions, Greece).

Truyen and her fellow jury members — Axel Arno of SVT Sweden, Nick Fraser of the BBC UK and Ove Rishoj Jensen of European Documentary Network — appreciated genre mash-ups and humour in proposals. But they also grilled pitchers on the suitability of their chosen characters, the coherence of their story arcs and whether they can make an audience care enough.

The session concluded with a presentation on crowdfunding from Danae Ringelmann, founder and chief operating of¿cer of Indiegogo, which partnered with MIPDoc in the pitching session.

Ringelmann described how crowdfunding enabled documentary-maker Vicki Lesley of Tenner Films and Dartmouth Films to crowd-fund her forthcoming film, The Greatest Story Ever Sold, with individual donations typically as low as $79.

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Fresh insight as Ackerman shares Jamie company’s trade secrets OU NEED two things to build a successful company, Roy Ackerman, managing director of Jamie Oliver’s Fresh One Productions, told a MIPFormats keynote session: serendipity and access to someone with a cheque book.

Asked how he planned for innovation, he said he was sceptical of brainstorming and away days. “I think great things come from unexpected places,” he said. “Mostly someone in your team has a conversation with someone, they take an idea from that to someone else and there is a series of binary conversations.

In the end, there is a producer person with an idea, and a money person with a cheque book. They hire a great team and together they produce great stuff.”

Ackerman saw formats as a way of improving the low margins in television production and he had been successful in formatting programmes such as Operatunity in the mid2000s. But he added: “If you start by asking yourself ‘What will travel the world?’, you will probably end up with bland and boring

Y David Lyle at the FRAPA Format Boot Camp

SIZZLING ADVICE AT FRAPA EVENT A SIZZLE reel is not an on-air promo, a play-by-play demonstration or an outright pitch.

“In fact, a better word is teaser,” said National Geographic Channels’ CEO David Lyle at yesterday’s FRAPA Boot Camp workshop session, How To Make A Sizzle Reel.

“It should be seen as a conversation starter and a scene setter.

And I urge you not to be suckered into sending your sizzle reel to a commissioner ahead of meeting them. A good sizzle reel shouldn’t work without a human to explain it.”

Co-presenter Phil Gurin, president and CEO of The Gurin Company, observed that entertainment commissioners are “not necessarily the best explainers” of other people’s concepts. He added: “I like to give them enough on tape that, if they suddenly lost the power of speech, the sizzle reel could explain my show to their bosses.”

Both Lyle and Gurin agreed that less is more when it comes to crafting the perfect sizzle reel.

“Be brief,” Lyle said, citing one tape that went on for a heroic 11 minutes — “by which time I hated everything about it”.

Gurin added: “In a nutshell, the perfect sizzle reel is three minutes tops. Anything longer than that is too much.”

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Fresh One’s Roy Ackerman: “better to trust your instincts”

programming. Better to trust your instincts.”

Building brand value was an alternative way to develop a company, but it depended on the authenticity of someone like Jamie Oliver, who really believes in what he does in programmes such as Food Revolution and Dream School.

“To succeed, they must really mean it,” he said. “ They must be it, not just do it.”

STUART Coxe, executive producer at Canadian company Antica Productions won the MIPFormats Pitch yesterday with Looking For Love (L4L). The format pits the mysterious ways of a matchmaker against the high-tech algorithms of a web guru’s internet dating site in order to discover who is better at ¿nding true love. “Over 200 million people worldwide are looking for a life partner online because the web offers almost unlimited choice, and great convenience,” Coxe said. “But is it really better than the olden days when family and tradition had more to do with the process of ¿nding the ideal partner?”

Indies need to find their niche BLOCKBUSTER international formats are saturating TV screens worldwide, reported the four panelists at the MIPFormats Indies Take The Stage event. The biggest challenge for the indies is ¿nding space for something new, when broadcasters are keeping their trusted brands alive.

“There is still a lot of interest in Israel as a creative market,” Gil Productions’ Assaf Gil said. “But very few reality or talent shows broadcast in Israel are original. We are looking at scripted shows, something that looks and feels completely different.”

Both broadcasters and production companies wanted to ¿nd fresh ideas. However, David Jenkinson of C21 Media, who was modera-

ting the panel, commented that it must be frustrating for creatives to have such a vague brief. How did they interpret it?

“We don’t spend time looking for trends, that’s a trap,” Trond Kvernstrom of Norway’s Monster said. “We focus on quality.”

Kvernstrom commented that quiz shows weren’t working in Norway, whereas Sergio Sancho of Phileas Productions found that in his home market, they were on the way back. Sancho also reported that lower budgets were the biggest challenge in crisis-hit Spain. Ilya Krivitsky of Red Square Russia commented: “The trend we see is towards monetising online. For us, that has great potential.”

A New York Gangster.

In Norway?

Best Ratings for a Norwegian Drama Series ever and all-time High on NRK 1!

Now airing on Netix, soon airing on BBC Come and see us.

MIPTV 2012

Stand H4.12

Tel.: +33(0)4 92 99 87 72

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neWs ZDFE AND NAT GEO CLOSE 63-HOUR DEAL

Package deal: ZDFE’s Fred Burcksen (left), NGC’s Germaine Deagan Sweet, ZDFE’s Kristina Hollstein and NGC’s David Lyle

ZDF ENTERPRISES (ZDFE) — the commercial arm of German public broadcaster ZDF — has acquired a 63-hour package of programming from National Geographic Channels (NGC) for worldwide distribution. The deal, which follows on from a previous distribution agreement between the two companies, will add a variety of successful series and specials to ZDFE’s roster, including seasons three and four of Alaska State Troopers and season four of Hard Times. The package also includes the new series Rocket City Scientists, Najavo Police and CIA Confidential. “This new deal furthers our commitment to growing relationships with international partners,” said David Lyle, CEO of NGC. “ZDFE is an important partner for our networks in acquisitions, co-productions and distribution.” Alexander Coridass, president and CEO of ZDFE, added: “The success we’ve encountered with the first 60 hours of [NGC] programming has proved National Geographic’s ‘magic touch’ with respect to programme concepts and realisation. The unique mix of serious information, action, quest, humour and mystery makes these factual programmes winners among all demographics.” The new agreement is the latest collaboration in a long-standing co-production and distribution relationship between ZDF, ZDFE and NGC. Most recently, NGC acquired the contemporary history series Secrets Of The Third Reich for NGC International and NGC US.

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Tandem and Bernero to be partners in European crime ERMAN production giant Tandem Communications and US producer Ed Bernero are to co-develop and produce a new European crime series called Crossing Lines.

The creation of Crossing Lines represents a significant deve-

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lopment for Tandem, which has mostly focused on blockbuster event serials and co-financed series developed by third parties.

This is the ¿rst drama series that Tandem is jointly creating from scratch. Bernero, meanwhile, brings extensive experience as showrunner and executive producer of the hit US series Crimi-

nal Minds to the partnership.

“Law enforcement in Europe is where the FBI was in the US about 50 years ago, when crossborder crimes intensi¿ed,” Bernero said. “I had wanted to do a crime series set in Europe and, when Tandem told me they were thinking of something similar, I thought they were pulling my leg. It’s now actually happening — a European show set in Europe.”

The series goes into production this autumn and is scheduled to premiere during the ¿rst quarter of 2013.

“This is an original idea that stems from brainstorming meetings that con¿rmed we were on the same page,” said Rola Bauer, Tandem’s president. “We are looking for European partners at MIPTV — partners with likeminded editorial goals.”

The news comes shortly after StudioCanal, the French ¿lmproduction giant, acquired a majority stake in Tandem.

“That will enable us to move faster with the ¿nancing once we have identi¿ed the European partners for Crossing Lines,” Bauer added.

Bernero Productions’ Ed Bernero and Tandem’s Rola Bauer: “like-minded editorial goals”

TV consumption up by six minutes HOTSPOTS, the recently released report by Eurodata TV Worldwide, shows that global daily TV consumption across the 80 countries and 5,000 channels covered by the 2011 survey has grown by a further six minutes to a total of three hours and 16 minutes per day.

“Growth in Asia was higher than the global average, with viewers watching 11 minutes more than in 2010,” said Jacques Braun, vice-president of Eurodata TV Worldwide. “The US remains the world’s biggest consumer of TV, with an average four hours

and 53 minutes watched per day, rising to over ¿ve hours in February due to the Super Bowl and the Oscars.”

More positive news is that TV viewing across the whole day is growing, with TV now giving radio serious competition in the mornings. “TV is now regarded as a being a sort of news kiosk, as well as having a valuable social function,” Braun said. “Another interesting phenomenon that we have detected is that smart or connected TVs are increasingly bringing the online world into the living room. So instead of

TV being crushed by the internet — something that has been regularly predicted by industry observers and jou r nalists since 2001 — the inter net is being integrated into it.”

Eurodata TV Worldwide’s Jacques Braun: “US remains the world’s biggest consumer of TV”

NBC’s special sneak preview made #1 in its time slot and scored NBC‘s highest viewership in this slot in 28 months.

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neWs TABLET PLATFORM HELPS MONETISE DIGITAL CONTENT TATCHI, The Project Factory’s new iPad and Android-enabled digital platform, is launching internationally at MIPDoc, MIPCube and MIPTV. Tatchi builds a curated content layer on top of original productions, bringing to life a new transactional digital revenue stream. “Tatchi goes beyond the display advertising model by adding a commercialisation layer that producers can control,” said Kirsty Hunter, UK managing director of The Project Factory, which has offices in Sydney and London.

She added: “As the DVD market slowly disintegrates with website monetisation remaining elusive, there is a need for producers to be able to monetise their content in the digital arena. An app effectively offers an interactive experience that can be sold to consumers who are willing to pay for content on their personal entertainment devices, which deliver richer and deeper versions of the standard video experience.” In addition to the core video platform, Tatchi allows producers to add additional unreleased video, research, text, images and audio to create a multi-layered version of the original narrative. Producers can also create links to live information on the internet, enabling them to keep the context of the documentary current, and gain direct feedback and interaction with their audience. Viewers can sign up to support causes, send tweets and promote the app to their Facebook community.

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New name, CEO and drama roster for relaunched RHI CRIPTED TV studio RHI Entertainment is using MIPTV to unveil a new company name, a new chief executive and a new slate of shows.

As of today, it will be called Sonar Entertainment and its CEO will be producer Stewart Till, currently RHI’s interim coCEO. Till’s appointment was announced by Gabriel de Alba, chairman of the company’s board of directors, who said: “Stewart has demonstrated exceptional leadership skills, an outstanding creative sensibility, an unparalleled understanding of the global marketplace and a forward-looking vision. We could not be in better hands.”

Speaking to MIPTV News, Till said he was “excited and honoured” to have been appointed to the new role, having originally

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been called in to help steady the RHI ship when it emerged from administration. “RHI had a turbulent time ¿nancially,” he said, “but under new ownership that uncertainty is behind us.

What remains is a great team with real expertise in high-end production.”

Sonar is also bringing a new slate to Cannes. “Our strengths historically have been in TV movies and mini-series, so highlights include ¿ve four-hour mini-series, which we’re selling collectively as a Disaster pack,” Till said. “We are also really excited about King Tut, an epic eight-hour mini-series based on the life of King Tut, which we are producing in partnership with Muse Entertainment.”

Looking ahead, Sonar also wants to expand its slate to include returnable drama series.

Till said: “We are developing a

Sonar Entertainment’s Stewart Till: “uncertainty is behind us”

series based on the famous horror-film franchise Hellraiser.

That kind of in-built awareness is a good starting point.”

Sales accelerate for Bahrain doc AL JAZEERA Media Network has sold its multiple awardwinning documentary Bahrain: Shouting In The Dark to SVT Sweden, YLE Finland, Canal+ France, RTP Internacional Portugal, Estonia TV and Wananchi Programming Group in Kenya.

The hard-hitting ¿lm, which was shot undercover, documents the extrajudicial killings, torture and ‘disappearances’ perpetrated by the Bahraini government, as well as its use of social media to organise witch-hunts and round up protestors.

Roch Claude Pellerin, Al Jazeera’s head of global distribution, said: “A measure of Shouting In The Dark’s excellence is that it has received three prestigious awards in the last month alone, including the UK Foreign Press Association’s Documentary Of The Year.”

Al Jazeera is also premiering Earthrise, which explores ecosolutions to the world’s environmental challenges; and The Final Moments, which examines the last hours of the ex-Egyptian president, Mohammed Husni Mubarak.

Paul Johnson, Al Jazeera’s newly

appointed executive director of marketing and distribution, said: “The Final Moments is an insightful ¿lm about how Mubarak and those close to him dealt with the crisis. Al Jazeera’s Arab Spring programming is proving very successful with audiences worldwide.”

Shouting In The Dark (Al Jazeera Media Network)

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Stars of HBO’s new cult sensation Femme Fatales: Nikki Griffin (left), Christine Donlon, Tiffany Brouwer, Catherine Annett, Madison Dylan and Shani Pride. The girls will be taking to the red carpet tonight and presenting an award at the seventh International Digital Emmy Awards

IKE all good ideas, HBO’s latest cult sensation, Femme Fatales, is based on a simple but powerful formula.

“It’s beautiful women in dangerous situations,” said Steve Kriozere (NCIS; VIP), co-creator and executive producer with Mark Altman (Castle; Necessary Roughness) of the ‘badass-chick anthology series’ inspired by the traditions of ¿lm noir, pulp ¿ction and classic thrillers.

The stars and creators of Femme Fatales, brought to market by eOne, are in Cannes to mark the launch of the second season of show, the ¿rst 27 x 30 mins series of which has sold into multiple territories, including Italy, Latin America, Russia and Turkey. In each standalone episode, strong women ¿nd extreme ways of sorting out their problems, whether punishing a straying lover, exorcising a demon or avenging murder.

Altman — a hardcore fan of ¿lm noir — sold the show to HBO in less than 10 minutes. “It was the easiest pitch of my career,” he said. A measure of HBO’s con¿dence in the project was that it commissioned a second

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26

Deadly partnership: Femme Fatales co-creators and executive producers Mark Altman (left) and Steve Kriozere

season before the ¿rst series had even aired — “which is a ¿rst in the annals of HBO history”, Altman added.

The combination of Femme Fatales’ high impact but relatively low budget undoubtedly played a part in HBO’s decision. But for Altman and Kriozere, being “budgetarily challenged” has not been a bad thing. “It’s given us more creative freedom than we’ve ever had,” Altman said. “Also, it’s more authentic. Film noir was never a big-budget genre.”

Altman said the second season of Femme Fatales is “ridiculously ambitious”, with storylines including sci¿ and superheroes. As to what draws him to the ¿lm noir genre, he added: “It’s the look, the nihilism of the universe, the dialogue… There’s such a literacy to ¿lm noir — nobody’s ever lost for a good quip. One of my favourites is: ‘You’re like a cookie laced with arsenic.

I’d hate to take a bite out of you’.”

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neWs

UKTV deal will bring Miramax movies to Britain and Ireland ILM and television studio Miramax sealed its ¿ rst-ever multi-title movie distribution deal with British multichannel broadcaster UKTV on the eve of MIPTV 2012.

Under the terms of the deal, a selection of the studio’s 800-title library will be available across UKTV’s basic pay and DTT channels.

Doing the deal for UKTV was head of acquisitions and co-productions Alexandra Finlay who said: “The Miramax library is renowned for its breadth and quality, and these ¿lms will be a fantastic addition to UKTV’s offering.”

Danny Goldman, who joined Miramax as senior vice-president and head of sales, Europe last September, said: “It’s the ¿ rst major, multi-title linear deal for Miramax in the UK and Ireland. As such it represents a milestone for Miramax in establishing itself

F Recreation president Ariel Veneziano

RECREATION JOINS UP WITH INCENTIVE

as a signi¿cant distribution player.”

Goldman says Miramax has built up a robust international division since the company was bought out from Disney in 2010 and is well placed to do similar deals in other markets.

“Historically, our titles were managed by Disney. But now, through our own in-house international division, buyers can go deeper into our catalogue.”

According to Goldman, who is based at the company’s new London of¿ce, Miramax is at MIPTV ready to do deals across all platforms. “From free-to-air broadcasters and pay-TV platforms through to on-demand players like NetÀix, we can do very Àexible distribution deals with some of the most original independent movies on the market. We also have a Miramax branded on-demand offer for platforms such as BT Vision UK.”

US MEDIA fund Incentive Capital and Los Angeles-based sales company Recreation have struck a deal to collaborate on the distribution of a 3,000-hour library of feature films and television programming.

The collaboration marks the beginning of an ongoing partnership between Incentive and Recreation, as the two companies aggressively scout for new acquisitions.

Recreation president Ariel Veneziano will spearhead the marketing and sales efforts at MIPTV, though Incentive remains the rights holder to the catalogue. “Incentive has extremely valuable assets in its library, allowing us to bring a far-reaching selection of product to the marketplace,” Veneziano said. “It is also a great foundation for future joint business endeavours.”

Titles on show at MIPTV include movie The Return Of Superfly starring Samuel L Jackson, 13-part series Religions Of The World, animated series Speedracer and recent documentary Tupac: Assassination. There are also classic series such as The Invisible Man and music docs and concerts featuring the likes of The Black Eyed Peas, Kanye West, Abba and The Rolling Stones.

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Miramax’s Danny Goldman

UKTV’s Alexandra Finlay

Sundance brand attracting new partners RUCE Tuchman, president of AMC Networks’ international division AMC/Sundance Channel Global, has overseen a busy year in terms of his company’s worldwide ambitions.

Speaking to MIPTV News, he said his twin priorities this week would be to secure further distribution for his company’s two payTV channels, Sundance Channel and WE tv, while also looking for quality third-party content that can play in the Sundance schedule.

Having joined from MGM in 2011, Tuchman has guided Sundance Channel into numerous new territories including France, Belgium, Spain, Portugal and Poland. “We’re seeing great demand from platform partners, because the Sundance brand has a reputation for uncompromising quality which dates right back to its launch by Robert Redford,” Tuchman said. “In a market with so many

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channels, pay-TV platforms are looking for the kind of hand-picked programming Sundance offers.”

According to Tuchman, Sundance is an ideal showcase for AMC’s ground-breaking drama. “One thing I really want to emphasise is how much our distribution success has to do with the explosion of quality at AMC, our US cable channel. Series like Mad Men, Walking Dead and Hell On Wheels are a really signi¿cant part of Sundance’s rapid acceleration internationally, alongside handpicked independent ¿lms and superbly-crafted documentaries.”

As for female-focused celebrity-based lifestyle channel WE tv, Tuchman said it has been having a big impact in Asia. “We spotted that this demo was underserved in Asia and have taken advantage of that fact. So now we have the foundation for further international expansion of WE tv.”

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neWs TRAVEL FORMAT TRAVEL FORMAT HEADS TO SPAIN

Through Your Eyes (Upside Television)

FRENCH travel show Through Your Eyes (40 x 26 mins), presented by blind journalist Sophie Massieu, clinched its first format sale at MIPDoc this weekend and is close to signing two more.

“Spain’s Media 3.14 (Mediapro Group) has bought the format, and deals are imminent in Latin America and the US,” said Christophe Bochnacki, head of sales and acquisitions at distributor Upside Distribution. “The completed series has sold to 10 territories including Rai in Italy, MTVA in Hungary, Evasion in Canada, Planet in Poland, RTVS in Slovakia and Medi 1 TV in Morocco.”

Massieu attributes the show’s appeal to her interviewing style. “The way I ask questions is a little different,” said Massieu. “And as people show me something, they tend to touch my arm to guide me. They often forget the camera and are more relaxed and spontaneous as a result.”

New international co-pros at top of France Televisions’ MIPTV agenda HE FRANCE Televisions group is building on its key strategy of establishing worldwide co-production deals at MIPTV. Caroline Behar, France Televisions’ head of acquisitions and international co-productions, and head of documentaries for France 5 said that she and her team would be looking to acquire and forge new international coproductions, complementing the company’s domestic French productions.

“We want to establish strong and original co-productions across such key genres as wildlife, discovery, science, technology, the environment, ancient civilizations and archaeology, and major historical events and anniversaries,” Behar said. “We are always on the look-out for very accessible programming with entertaining and inspiring storytelling, and a very visual approach, suitable for daytime and primetime slots.”

Behar said that documentaries hold an important place on all France Televisions’ channels but

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particularly on France 5, which devotes half of its schedule to the genre. “We have built strong long-term relationships with producers, distributors and other broadcasters such as the BBC, NHK, ZDF, National Geographic and AETN,” said Behar.

“The stability and coherence of the schedule, and the desire to remain close to viewers, means that F5 is achieving unprecedented success. We have maintained a

clear and distinct identity.”

France 5 is looking to ¿nalise coproductions focusing on several forthcoming anniversaries, including the deaths of Marilyn Monroe (50 years) and Princess Diana (15 years) later this year.

The 50th anniversary in 2013 of the assassination of President Kennedy, and the 100th anniversary of the beginning of World War II in 2014, will also be marked.

Key DTT platforms partner in Cannes LAGARDERE Active TV and independent Italian broadcaster Switchover Media have ¿nalised a co-operation agreement in Cannes that is expected to open the way for the acquisition of exclusive free- and pay-TV broad-

Fish-tank Western

By L&C a new version of a Western tale “Spaghetti Western in the Water” (26 X 8 mins/ 3D) an animation series starring Red, a young Contact: Caterina De Mata, CEO fish. In his aquarium everything Tel: +393386500567 is transformed by his imagination. Scenarios include villages, estates, deserts, Website: www.lclightcolor.it canyons and saloons.

30

France Televisions’ Caroline Behar: “always on the look-out for very accessible programming”

casting rights as well as licensing and home video rights.

The deal is also expected to create a strong European distribution platform for independent kids content owners. The deal will cover France, Russia — where Lagardere channels Gulli and Tiji operate, and Italy — where Switchover’s K2 and Frisbee are active.

The combined coverage of the French and Italian DTT platforms is expected to reach 40 million households.

Antoine Villeneuve, CEO TV channels of Lagardere Active, said: “The similarity of our brands, which both target youth and family audiences, and their respective attractiveness in France and Italy, to which we

can add Russia, will give us the opportunity to acquire the rights of high-pro¿le properties.”

Lagardere’s Antoine Villeneuve: seizing opportunity to acquire high-profile properties

miptv

neWs ELECTRIC SKY’S BODY OF WORK

Crucifixion (Electric Sky)

SETTING the tone for the Easter holiday, Electric Sky brings a documentary called Crucifixion to MIPTV. “It’s a major coup for us to be distributing this documentary,” Stella Briley, Electric Sky’s head of acquisitions, said.

“It’s made by Nick Curwin and Magnus Temple’s company The Garden who also produced The Seven Dwarves, and it features Gunther von Hagens of Body Worlds fame and it may well be the last art work that he produces as he has been diagnosed with Parkinson’s disease.

It’s also a very personal work in that the tree used to make the cross comes from very close to where he lives.”

Despite that fact that the figure on the cross does not feature any human tissue, being entirely made of plastic, Briley is expecting controversy.

“It touches on an iconic image which to many people is sacred so we expect reactions,” Briley said.

Alongside the documentary, which comes in two versions (1 x 52/1 x 90 mins), Electric Sky is also bringing a slate of new programming including Call Girls, Britain’s Youngest Undertaker, series two of Baking Mad, From Birmingham To Bombay and More Sex Please, We’re British.

Food Network UK’s new talent travels to America and Africa IFESTYLE and entertainment channel Food Network UK has announced that its first two original commissions, Andy Bates Street Feasts and Reza, Spice Prince Of India, will both run for second seasons following the successful launch of home-grown talent on to the schedule.

Airing in late 2012, audiences will embark on new culinary adventures as Andy Bates travels to the US in Andy Bates All American Street Feasts (working title) and with Reza Mahammad as he heads to Africa in Reza’s Tales Of Africa (working title).

“Breaking new and unknown food talent into the UK market is an incredible feat,” Nick Thorogood, managing director for Food Network EMEA said.

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“Andy Bates was the most successful new cooking talent to launch across Food Network UK’s 2011 autumn schedule.”

“Meanwhile, the premiere of Reza, Spice Prince Of India gave

the channel the highest average audience and reach among lifestyle channels,” Thorogood said.

“UK audiences have embraced our newest chefs and are hungry for more.”

Bank Job heads up Endemol slate ENDEMOL has announced its new line-up of formats for MIPTV, including The Bank Job which has had two successful series on Channel 4 in the UK, Your Face Sounds Familiar sold

Black Mirror (Endemol)

32

Nick Thorogood, managing director for Food Network EMEA

to six territories already, and Fear Factor which returns to the market following the ratings success of the new series on NBC in the US. The Bank Job is a multiplatform

game show which gives players the chance to pull off the ultimate heist and walk away with a lifechanging fortune.

The show has already started to roll out internationally with a ¿rst deal closed with Megavision in Chile.

Talent competition Your Face Sounds Familiar features celebrities who take on new identities as iconic music performers, and are awarded points for singing, style and believability.

Deals have been closed with Rai Uno in Italy and Novy Channel in Ukraine, and the show has recently launched on Antena 1 in Romania and Megavision in Chile.

In addition Endemol has sold Zeppotron’s satirical drama Black Mirror to 21 territories including SBS in Australia, Hot Vision in Israel, SVT in Sweden, and both Turner and Mediaset in Spain.

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neWs TV ASAHI ADDS LOVE TO SLATE JAPANESE broadcaster TV Asahi has arrived in Cannes with its first-ever slate of scripted formats. Titles include Love Again Syndrome, The Negotiator, Doctors: The Ultimate Surgeon, The Sun Also Rises and Ha-Chaku.

Masayoshi Isago, of TV Asahi content business division, international programme sales, said: “We are already active with entertainment formats. But this is the first time we have brought dramas to MIP. These titles rated well on TV Asahi and have been chosen because we believe they are right for the international market.”

Love Again Syndrome has already been remade for JTBC in Korea. It tells the story of four fortysomethings who rekindle teen romances amid an unfolding crime plot.

“We see this as being right for the US, Europe and Asian markets like Singapore and Hong Kong,” said Isago.

The Negotiator hasn’t been reversioned yet but has sold well as a completed series across Asia, said Isago, which should help TV Asahi’s format ambitions. “Ha-Chaku is another interesting title,” he added. “It is a classic Japanese children’s series which ran for 329 episodes.

It’s low cost, fun and the kind of series that could work in emerging markets like Brazil or Russia.”

TV Asahi’s Masayoshi Isago

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NTV gives emotional explanation for broadcaster’s ratings success I PPON Television Net work ( N T V ) reached number one in the ratings in 2011 in Japan and the broadcaster is still riding high. Board director, operating of¿cer, director general of programming division at NTV, Yoshinobu Kosugi explained the reasons behind this sustained success.

“Engaging in a ratings war is not what a TV channel should be about,” he said. “It’s all about making emotional connections with the audience by offering them programmes that move them or make them happy.”

Kosugi identi¿ed two key emerging business areas in the form of globalisation and digitalisation.

“These are not yet a big portion of our operations but they de¿nitely will be,” he said. “In terms of globalisation, one of our current initiatives is to broadcast six programmes per week where all the titles are prefaced with ‘World’, and we’ll be bringing some of those shows to MIPTV.” One of the shows features directors sent to foreign cities like Rome or Rio de Janeiro with a brief to look at those places in a non-news way. “If the ‘World’

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Yoshinobu Kosugi: offering audiences “programmes that move them or make them happy”

programmes prove to be popular with foreign channels, it provides a new opportunity to grow our business relationships with those channels,” Kosugi said. “Forming inter-channel alliances ¿rst doesn’t work. First you need to form relationships based on great programming and creativity.”

In 2013 NTV will celebrate its

60th anniversary. “We’ll be launching several new marketing messages in order to be better understood and perceived by the international TV industry,” Kosugi said. “And we are also looking to acquire good content from foreign producers, which again will improve our position in the global TV community.”

NHK and TED to make Super series NHK HAS announced it is partnering with the ideas platform TED, to use its inspirational talks as a language-learning tool for Japanese audiences.

TED invites the world’s leading thinkers, artists, adventurers and icons to give 18-minute talks and NHK will package these talks as Super Presentation, a 24 x 25 mins series of programmes.

The talks will be bookended by studio segments, presented by Joi Ito, MIT Media Lab director and former TED participant. These will introduce the speakers, give background information on the subject and explain the language involved. The goal is to empower

a new generation of independent thinkers in Japan, and teach them English at the same time.

“Given Japan’s rich history of innovation and great potential to re-invent its future after last year’s devastating earthquake, this collaboration between TED and NHK comes at exactly the right time and in the right place,” said TED’s director of content distribution, Deron Triff.

Haruo Kakegawa, NHK’s director-general of programme production, added: “The tie-up between TED and NHK has great potential for encouraging Japanese people to be more internationally minded, and inspiring

Sharing ideas: NHK Educational’s Mizuto Tanaka (left) and TED’s Deron Triff

the future generation in Japan to take on new challenges with con¿dence and conviction.”

NHK Educational, an NHK af¿liate that produces 60% of the Japanese public broadcaster’s educational programming, will produce the series, which begins broadcasting in Japan tomorrow.

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The Voice continues to make a noise on the world market Tetra Media’s Spin

SPIN SET TO TURN FRENCH OPINION SPIN (Les Hommes de L’Ombre), the French series producing record viewing figures for its slot and its broadcaster France 2, is debuting at MIPTV. Produced by Tetra Media, the series vindicates the company’s ambition of creating series with international appeal and credibility.

Spin joint producer and co-creator Emmanuel Dauce said. “On the one hand, France is proud of its cultural heritage; on the other hand, the potential of TV fiction has been largely ignored in favour of catering to the lowest common denominator. In making Spin and its predecessor The Line [Un Village Francais], we were determined to break that mould.”

Since debuting on France 2, Spin has attracted audiences of around 5.5 million — twice the normal number for the slot — threatening the primetime hegemony of TF1.

Dauce added: “What I love about the best fiction from the US and the UK is the underlying ambition that makes these shows so utterly gripping and compulsive. I’m not ashamed to say that myself, [company president] Jean-Francois Boyer and my collaborator Charline de Lepine quite deliberately adopted that mindset in making these series.”

Spin follows what happens after a presidential assassination. Series two will feature intrigue around a new president.

36

ALPA reports a pack of deals for its vocal talent competition The Voice, including sales to TVA Canada, Rai2 Italy, Omnicom Middle East for MBC4 Arabia, Georgia’s Imedi TV and Armenia TV. Maarten Meijs, managing director of Talpa Distribution, said: “With The Voice, we are aiming to create enduring artists with staying power. For example, in Holland, our winner Ben Saunders won three MTV awards and his debut album went platinum.

In Germany, our winner Ivy Quainoo had a gold album within three weeks of the ¿nal episode of The Voice.”

The quality of the coaches —

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in the UK, these include Jessie J, Tom Jones, Will.i.am and Danny O’Donoghue — demonstrates that The Voice is taking the talent seriously, Meijs said.

Moreover, he added, The Voice also takes the search for talent seriously: “We go to clubs, bars, everywhere we can, in search of the highest quality talent.”

Since The Voice launched in September 2010 in the Netherlands, it has been seen in over 140 territories. In France, the ¿rst four episodes of the format achieved a 36.6% share, some 65% above the average share for that time slot. It was accompanied by a avalanche of tweets. “Our strategy encourages 360-degree participation,” Meijs said.

Talpa is now launching The Voice Kids internationally. “The idea is similar but the talent is younger,” Meijs said.

“From what we’ve seen so far in Holland, it’s going to be a big success.”

Maarten Meijs

Afghanistan’s 1TV enters formats race PROOF that a strong format can work for any audience comes from Afghanistan’s 1TV, which is currently producing local versions of two hit shows, Sony/2waytraffic’s That’s My Stuff and Mark Burnett’s Are you Smarter Than A Fifth Grader?

The man responsible for programming the Kabul-based station is CEO Farrell Meisel, who is seeking more “top-rated formats and dramas from Turkey, India and South America” at MIPTV. Meisel, who works in a protected compound and travels under armed escort, said the move into formats was driven by the need

to keep 1TV “fresh, relevant and local”. The channel, which was founded two years ago by Afghan entrepreneur Fahim Hashimy, “aims to create multimedia products that stimulate independent thought and promote liberty”.

Meisel added: “We are looking for formats that have succeeded in other Muslim countries, such as game shows that offer signi¿cant prize money. We hope to continue to build our brand identity, which according to a CNN report last year, is known for risk-taking.”

While that risk-taking remains respectful of Afghanistan’s

The Afghan version of 2waytraffic’s That’s My Stuff: “fresh, relevant and local”

culture and traditions, Meisel is prepared to challenge convention when it comes to content that, like 5th Grader, educates while it entertains.

He said: “Afghanistan has a literacy rate of less than 30%. Around 43% are male; 12% are female.

Six million children go to school — 35% of them are girls. The overall population is 29 million.”

He added: “My hope is that Afghanistan can develop and sustain a responsible media sector, respecting the rule of law, with high-quality entertainment, and unbiased news and factual programming.”

1TV’s Farrell Meisel: “risk-taking”

ERICA DURANCE (Smallville)

MICHAEL SHANKS (Stargate)

DANIEL GILLIES

(The Vampire Diaries)

LIFE. LOVE. LOSS.

Visit eOne at RIVIERA BEACH RB.43 Watch the trailer at EONETV.COM tvinfo@entonegroup.com

Drama Series (2011) 13 x 60 minutes

miptv

neWs Blumenthal in Cannes to share new show’s recipe for success ESTON Blumenthal is at MIPTV to promote his latest cooking series How To Cook Like Heston, which has just ¿nished airing on Channel 4 in the UK. In the series, Blumenthal encourages viewers both to question received cooking wisdom — examining assumptions such as whether searing a steak keeps the juices in — and to be generally inquisitive in the kitchen.

“It is about encouraging people to adopt a questioning mindset, as well as showing them that it’s perfectly okay to make mistakes, something that Keith Floyd did brilliantly,” Blumenthal said.

“Our underlying intent was to make the idea of being questioning and adventurous accessible to a broad audience.”

It is also about showing that Blumenthal is not merely a scientist let loose in a kitchen: “Due to the success of The Fat Duck, I am associated in a lot of people’s minds with using copious amounts of nitrogen and creating

H

facsimiles of common foods out of unexpected ingredients, both of which are great fun, but this series is more about how to get the very best out of simple ingredients like potatoes, chicken, eggs and cheese,” he said. “And it’s very much about sharing ideas: a glass of ¿ne red wine at sunset is a wonderful experience, but it’s in¿nitely better when it’s

a shared one.”

The show has garnered glowing reviews in the UK, but making it was a challenge: “The world of cooking shows is currently highly competitive, and there are a lot of very talented and engaging characters doing it these days. So there is pressure not only to produce something that stands out from the crowd, but also to do it in

Chef Heston Blumenthal: “questioning and adventurous”

Hat Trick thinks big while acting small HAT TRICK International (HTI) is in Cannes with the ¿rst-ever output deal under its belt. The company has signed up 50 hours of programming from Hugh Fear-

nley-Whittingstall’s Keo Films but, according to director of sales Sarah Tong, the move does not signal any change of direction for the specialist distributor.

Living With The Amish: “two very different worlds collide”

38

a super-condensed way in order not to lose the audience. Ironically one of my biggest challenges was to explain exactly what happens when a chip is fried. Why, in effect, it becomes a chip. No problem, you might think, but try doing it in seven seconds!”

Blumenthal was also pleased to ¿nd that the producers had deliberately left in some of his mistakes. “I have a problem with the word ‘tiramisu’ and I was on set trying to say it properly and failing, all of which was captured on ¿lm and duly broadcast without me knowing, and I’m delighted that they did that,” he said.

“We remain a bespoke player, because we believe that is what the market wants and it’s what we do best,” she said. “Increased consolidation means that output deals are increasingly the norm, but we are not interested in that method of selling, because we believe that individual titles suffer.”

James May’s Toy Stories provides a perfect example of the Hat Trick ethos: “The series has been sold to 140 countries, and every single deal was based on an individual deal, and we can work like that because we only have 200 hours of factual shows.”

Another recent acquisition is Love Productions’ Scrapheap

Orchestra. “There are some incredible characters taking on a serious challenge, showing amazing creativity and resourcefulness, leading-up to a performance of Tchaikovsky’s 1812 Overture as part of The Proms at the Albert Hall.”

Hat Trick has also brought UK/ US comedy drama Episodes, starring Matt LeBlanc. HTI has pre-sold the second series of the show to 150 countries worldwide, with more sales expected to close in the coming months.

The company also has new titles from Keo including Living With The Amish.

“The series features British kids transplanted to the world of the Amish, and of course, there are plenty of moments where two very different worlds collide,” Tong said.

THE TRUTH IS ALWAYS DANGEROUS STARRING

JOSH LUCAS Visit eOne at RIVIERA BEACH RB.43 Watch the trailer at EONETV.COM tvinfo@entonegroup.com

Drama Series (2012) 22 x 60 minutes

miptv

neWs FRANCE TELEVISIONS’ ONLINE SCREENINGS FRANCE Televisions Distribution is opening its content sales and screening website to buyers at MIPTV who can register, from today, at www.contentsales. francetvdistribution.fr. The website allows buyers to access screeners and trailers online, plus programming and availability information. It hosts more than 3,500 series, episodes and one-offs and includes access to more than 450 videos for screening online. The site will allow buyers to download both broadcast quality material and ancillary files hosted online. Yann Chapellon, vice-president business development France Televisions and CEO France Televisions Distribution, said: “The website brings a new dimension to our sales activities. It has the potential to become an even more integrated platform that will allow us to optimise our relationship with producers and facilitate the work of our teams.”

STUDIO 100 SELLS DRAGONS SERIES STUDIO 100 Media, a subsidiary of the Studio 100 group, has sold Florrie’s Dragons (52 x 10 mins) to German children’s channel KiKA. The animated series, based on the book Dear Dragon, is written by An Vrombaut, creator of the award-winning series 64 Zoo Lane, and produced by Wish Films UK, Clockwork Zoo and Studio 100 Animation. The deal gives KiKA exclusive German TV rights for the animated series for five and a half years.

Florrie’s Dragons (Studio 100 Media)

40

9 Story marks tenth birthday with move into primetime animation STORY Entertainment is celebrating its tenth anniversary by moving for the first time into the world of primetime animation production with its new title Fugget About It. Fugget About It (26 x 22 mins) is about the comedic misadventures of former New York mob boss Jimmy Falcone and his family, who are put into a witness protection programme in a small town in Canada.

9 Story has made a name for itself over the last decade with its award winning animated and live-action content aimed at young audiences.

“Primetime animation gives you greater ability to parody and take licence and to be more outra-

9

9 Story Entertainment’s Vince Commisso

geous than one might be in a primetime sitcom, as an example,” Vince Commisso, president and CEO of 9 Story Entertainment, said.

The animated series is being given the Hollywood treatment by being put into a writing room, with the writers led by Jeff Abugov, who also headed up the writing team for Two And A Half Men and Roseanne.

Teletoon At Night is on-board as the Canadian broadcaster. 9 Story is in Cannes looking for new licensing deals around the globe.

The company is also showcasing its classic animation line-up for kids, including Almost Naked Animals, Daniel Tiger’s Neighborhood and Camp Lakebottom.

THE PREMIERE of Kaboul Kitchen, based on the true story of former journalist Marc Victor, scored the highest ever ratings for a primetime comedy on Canal+.

Victor ran a popular bar and restaurant in the city for many years before co-writing the series with Jean-Patrick Benes and Allan Mauduit.

Pictured are series producer Joey Fare of Scarlett Films (left), Stephanie Pasterkamp who plays the main character’s daughter, producer Marco Cherqui of Chic Films, and Valerie Vleeschhouwer, deputy managing director AB International, the worldwide distributor of the series, and Gilbert Melki, who plays Jacky

activeTV debuts rock ‘n’ roll chef ACTIVETV, producer of several Amazing Race franchises outside the US, is debuting reality series Food That Rocks at MIPTV. Australia-based activeTV recently signed a deal with rock ‘n’ roll chef Aaron Harvie to create Food That Rocks and is now poised to produce 13 x 60 mins episodes.

The company is presenting pro-

mos at MIPTV and seeking presales.

Food That Rocks will see Harvie, who appeared as a contestant on MasterChef Australia, travel to cities like Los Angeles, New York and Seattle to ¿nd out why bands keep going back to certain restaurants. It was conceptualised by Brad Cox, activeTV’s creative director, who will direct

the series.

“Aaron’s encyclopedic knowledge of pop culture history, coupled with his unique take on cuisine, separates him from many of the ‘stand and stir’ celebrity chefs and makes his style of travel-food television highly watchable to a mass global audience,” Michael McKay, president, activeTV said.

Visit eOne at RIVIERA BEACH RB.43 Watch the trailer at EONETV.COM tvinfo@entonegroup.com

Reality Series (2011) 6 x 60 minutes

miptv

neWs CANNES GREETS THE GOVERNOR

Morgan Spurlock and FME seek super-size buyers for UK series NDEPENDENT documentary maker Morgan Spurlock is launching a new super-size series Morgan Spurlock’s New Britannia in Cannes.

The US creator of Super Size Me, the 2004 Oscar-nominated documentary feature, is at MIPTV with FremantleMedia Enterprises (FME) to seek potential buyers for the 10 x 60 mins series, which was co-produced with UK-based Thumbs Up Productions.

Morgan Spurlock’s New Britannia, which takes a witty look at British eccentricities from an American’s point of view, debuts on Sky Atlantic HD, a BSkyB channel in the UK. Spurlock and his production company Warrior Poets are also at the market with a new ¿ rstlook deal with FME. This sees FME adding other

I White Fox’s Anastasia Manou

GREEK TV production and distribution company White Fox is in Cannes for the first time looking for co-production partners for The Governor, a UNESCO documentary project on Ioannis Kapodistrias.

The story of Kapodistrias, the first governor of Greece, “reflects a very intense and interesting period of early 19th century European history following the fall of the Ottoman Empire and the slow return of Greece to a democratic government,” said Anastasia Manou, general manager of White Fox. The documentary is being made under the auspices of the Greek branch of UNESCO, and taps historical documents, narratives and written evidence from a number of different countries to tell the public and personal story of Kapodistrias.

White Fox is planning to shoot the documentary in Greece, Italy, Austria, Germany, Switzerland and Russia and will be tapping local film commission funds, as well as pan-European funds, for the shoot.

42

Spurlock factual productions, including Failure Club and A Day In The Life. Both titles originated as web series.

“I’ve wanted to speak to Fremantle for quite a while as I was impressed with the way it continues to have a real footprint in the global distribution market,” Spurlock said. “Fremantle will have an option to de¿cit ¿nance our projects, which is a major step towards growing our company. The Fremantle deal and the Oscar nomination mean people now return my calls, I get meetings and things actually get made.”

Spurlock emphasised that he has a unique working style for his productions. “If a production has my handprint, I am usually in it, and it should make the viewers laugh and think about their life. It must be socially relevant,” he said.

Morgan Spurlock: “people now return my calls”

Assange show on RT is talk of the town WIKILEAKS founder and cyber activist Julian Assange is to host a new talk show, The World Tomorrow, on Russia’s multilingual news network RT. The subject of much speculation and controversy before its scheduled premiere, the 10-part series brought to market by RT will feature leading political ¿gures, activists and thinkers on key issues affecting the global political agenda.

RT’s editor-in-chief Margarita Simonyan said that it is RT’s mission to show that there is more than one side to every story, adding: “Julian Assange is absolutely the right person to bring a diversity of opinion to our viewers.”

Assange said that he hopes to “explore the possibilities for our future” with his guests, and has kept their identities under

wraps, only saying that they will be “iconoclasts, visionaries and power insiders”. The World Tomorrow will air on three RT channels, broadcasting in English, Spanish and Arabic.

Launched in 2005, RT in En-

glish is available to 465 million viewers worldwide, as well as in two million hotel rooms. RT Arabic broadcasts through the Middle East and North Africa, and RT Spanish is aimed at the Latin American audience.

WikiLeaks founder Julian Assange: exploring the possibilities of our future

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CONTENT DIGITAL

TBS

UK

JAPAN

DISCOVERY NETWORKS INTERNATIONAL

MUSIC DRAMA SERIES

ANIMATION AND REALI

US

TOKYO Broadcasting System Television (TBS) brings a varied slate to MIPTV, including: theatrical film K-ON! Movie, based on the popular TV series; new one-hour format Asian Ace, a nation versus nation talent competition featuring a new talent each week; new format The Value Of Men, looking at what women want in a boyfriend; format rights and finished series of Sasuke/Ninja Warrior, a version of which G4 and NBC are producing in the US, as American Ninja Warrior; format Brain Survivor, which after primetime runs in Spain and Korea, and three seasons on Nickelodeon in the US, has just been picked up by Discovery Kids Latin America. © kakifly - Houbunsha/Sakura High Band

NEW LIVE-action music drama Beat Girl is launched at MIPTV by Content Digital. Produced by beActive Entertainment, the series is available in three formats — 12 x 8 mins, 6 x 22 mins, a 1 x 90-minute feature, as well as 12 two- to three-minute online versions. Beat Girl follows 20-year-old Heather who after the death of her mother, a professional pianist, is forced to move in with her father and half-brother.

She auditions for a prestigious music school, but a burgeoning career as a DJ leaves her divided between the two music worlds.

REALITY SERIES

THERESA Caputo seems like your average mum, looking after a family, running errands and going to work every day, with just one difference — she can speak to the dead. Long Island Medium (seasons 1 and 2, 22 x 30 mins), produced by Magilla Entertainment, follows this psychic medium and her clients.

Long Island Medium (Discovery Networks International)

Beat Girl (Content Digital) K-ON! Movie (TBS)

JAPAN

CANADA

©TBS Japan

TOEI ANIMATION

FACTUAL AND MUSIC SERIES

ANIMATION SERIES AND FILM

TOEI Animation is celebrating the 25th year of its series, Saint Seiya, with new series Saint Seiya Ω (Omega), the first new production since 2008’s The Hades Chapter. Based on the popular manga by Masami Kurumada, Saint Seiya follows the adventures of a group of youths clad in a mystical armour called Cloth. Toei Animation is also developing a CGI-animated film based on the property. Other highlights include: a new series of Smile Pretty Cure!, and the original series (48 x 26 mins); Toriko (52 x 26 mins); Digimon Xros Wars (78 x 26 mins); and One Piece, with over 500 episodes.

Ninja Warrior (TBS)

ITV STUDIOS GLOBAL ENTERTAINMENT UK DRAMA SERIES

THE LIFE of the flamboyant and visionary American entrepreneur, Harry Gordon Selfridge, is the subject of a new drama produced by ITV Studios. Created by writer Andrew Davies, Mr Selfridge (working title) tells the story of Selfridge’s colourful life at the turn of the century, when he opened his lavish department store on London’s Oxford Street, staging innovative and spectacular events to draw the crowds. He was a gambler, and although happily married, notoriously enjoyed the company of showgirls and film stars. The series (10 x 60 mins) is scheduled for transmission on ITV1 during 2013.

Saint Seiya (Omega) (Toei Animation)

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TRICON FILMS & TELEVISION

AD FACTORY (24 x 30 mins/HD) looks behind the screen to reveal the inner workings of television’s most influential and interesting advertisements. Innovation Lab (12 x 30 mins/HD), meanwhile, is a new series of documentaries that unveil the creativity, design, technology and innovation in companies that have successfully implemented cutting-edge business models. Mark It (12 x 30 mins/HD) is a series looking at new marketing and media concepts that are revolutionising advertising — online and mobile marketing, celebrity branding, entertainment marketing and social networks. Tricon is also highlighting Metal Evolution (11 x 60 mins), which looks at the family tree of heavy metal music.

Metal Evolution presenter Sam Dunn with Slash (Tricon Films & Television)

Watch now at www.shineinternational.com MIPTV LR5.01

HUNTED Electrifying new action-packed primetime drama, starring Melissa George (The Slap), from the Golden Globe® winning screenwriter Frank Spotnitz (The X-Files) and the BAFTA award winning producers of Life on Mars BBC One & Cinemax - 8 x 60’

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HASBRO STUDIOS

MEDIASET

US

US

SPAIN

CHILDREN’S ART SHOW

ANIMATION SERIES

DRAMA SERIES

ARTS and crafts show The Possibility Shop, provides families with activities to foster creative thinking, finding new ways to utilise simple things around the house or at school. The show can be licensed as a format led by a local host, with guest celebrities and sponsorship opportunities. In the US, for example, the Bright Ideas segment features clean up solutions from The Clorox Company. The Possibility Shop premiered on Disneyfamily.com in the US and The Jim Henson Company offers broadcast, cable and digital format rights. The company is also offering fantasy feature films Dark Crystal and Labyrinth (starring David Bowie) and sci-fi series Farscape, and is in development on a sequel to Dark Crystal.

HASBRO’s MIPTV highlights include: Transformers Prime (52 x 22 mins), with the return of the Autobots versus the Decepticons in CGI; Transformers: Rescue Bots (52 x 22 mins), following four young Transformers and their human counterparts; Pound Puppies (39 x 22 mins), where dogs take care of each other in Shelter 17; My Little Pony, Friendship Is Magic (52 x 22 mins) set in the magical land of Equestria; and Kaijudo, Rise Of The Duel Masters (52 x 22 mins) featuring a 14-year-old creature tamer and duelist, battling evil forces trying to enter the world.

miptv

THE ESCAPE (La Fuga) is set in a world where oil reserves are almost exhausted and governments have clamped down on freedoms in the name of security. A revolutionary movement grows led by a young man who is then imprisoned on an oil rig. His wife then becomes a prison officer in order to help him escape. The 13 x 70-minute series is produced

by Mediaset and Bocaboca.

Transformers Prime (Hasbro Studios)

MONSTER FORMATS NORWAY REALITY SERIES

The Possibility Shop (The Jim Henson Company)

IMIRA ENTERTAINMENT SPAIN ANIMATION SERIES AND APP

LUCKY Fred (52 x 11 mins) follows the adventures of a 13-year-old boy who accidentally becomes the owner of a shapeshifting robot. The series for six to 12-yearolds, is an Imira co-production with Spain’s Televisio de Catalunya, RAI Fiction in Italy and Top Draw Animation in the Philippines.

Imira is launching the complementary crossplatform app at MIPTV, featuring a web and mobile-based alien hunt, collectibles, puzzles and a ‘Brain´s Lab’, where information can be updated daily. The app recruits fans and tasks them with finding aliens in their own city in exchange for prizes and discounts for local attractions.

SOCIAL media is popular with everybody, including celebrities who are tweeting, Facebooking and blogging every detail of their lives. This phenomenon lies at the heart of 24 Hours – Live, the new show from NICE Group’s Monster Formats. The format consists of 10 unscripted, unedited live studio shows stripped over 10 days, integrated with a 24/7 online stream, and social-media feeds. In each show a different celebrity is given three challenges to complete in one day and one night. Wearing a headcam, they film themselves over the 24-hour period. Because the celebrity and, via social media, the public is in control of the action, the result is unpredictable, unplanned and interactive. .

DEUTSCHE WELLE GERMANY ENVIRONMENTAL SERIES

MORE than half the world’s population lives in cities. By 2050, the figure will have risen to more than two thirds. Cities produce huge amounts of greenhouse gases and garbage, and are therefore at the root of many of the world’s environmental problems, explored in HD series Ecopia (3 x 30 mins). Key questions addressed include: how should we live and work in the future?; how should we shape our public urban spaces?; and how can green architecture provide new impetus for urgently needed ecological reforms?

24 Hours – Live (Monster Formats)

46

The Escape (Mediaset)

Watch now at www.shineinternational.com MIPTV LR5.01

THE DATE MACHINE

The Date Machine is the spectacular new and No.1 rating entertainment format, where contestants are challenged with the ultimate question, do you believe in love at first sight?

Sky Living - Format and 10 x 60â&#x20AC;&#x2122;

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NORDIC WORLD

NEPTUNO FILMS

NORWAY

SPAIN

REALITY SERIES

ANIMATION SERIES

MISSING, produced by Denmark’s Dokumentarkompagniet takes as its inspiration the stories of thousands of European children who are abducted from their home country by one of their parents. Many find themselves living in an alien land, isolated by language and culture. With the help of investigators, mediators, computer experts, lawyers, politicians, family and friends, the show sets out to find abducted children and return them to their rightful homes.

Missing (Nordic World)

POWER

IN CHUCK Chicken, a co-production between Neptuno Films, Animasia and Agogo, Chuck runs a detective agency on Rocky Perch Island with his two friends Flick, a highlyintelligent Kung Fu champion, even though she’s a dove, and Wing, and an inventor who builds gadgets. Chuck used to be an accidentprone scatterbrain, but fate led him to a magic golden egg and now he has superpowers. The series, which is aimed at six- to 12-year-olds, has been acquired for the Indian sub-continent by Nickelodeon India in a prebuy agreement.

UK CONTENT TELEVISION

FILMS & MINI-SERIES

POWER comes to Cannes with a roster of new films and mini-series, including: Neverland (2 x 120 mins) which goes back to where Peter Pan and Captain Hook first crossed swords, starring Rhys Ifans, Anna Friel, Bob Hoskins and Kiera Knightley; Treasure Island (2 x 120 mins), a new adaptation of the pirate adventure, starring Eddie Izzard, Elijah Neverland (Power) Wood and Donald Sutherland; 7 Below (120 mins), a thriller about an evil presence in an old house, starring Ving Rhames, Luke Goss and Val Kilmer; Blood Money (120 mins) in which a Shaolin warrior goes to war against drugs cartels in Australia; and Blackout (2 x 120 mins), featuring a terrorist conspiracy plot that pitches the West Coast of the US into total darkness and chaos.

UK DRAMA SERIES

MADE for the UK’s BBC Two by World Productions, thriller Line Of Duty is a multi-stranded investigation over five hour-long episodes, set in the fictional anti-corruption unit AC-12. The team is led by zealous Superintendent Ted Hastings (Adrian Dunbar), with Detective Sergeant Steve Arnott (Martin Compston) and Detective Constable Kate Fleming (Vicky McClure).

Line Of Duty (Content Television)

ZODIAK RIGHTS UK REALITY AND DOCUMENTARY SERIES

ZODIAK Rights has expanded its independent third party catalogue with three series. Firstly, in Desperate Scousewives (8 x 60 mins) the ladies of Liverpool dress to impress the man of their dreams, or at least a man with the bank-balance of their dreams. Repo Games (40 x 30 mins), which is also available as a format, makes a game show out of car re-possession. Armed with five trivia questions professional repo-men doorstep unsuspecting debtors giving them the chance to win back their cars. Thirdly, Sandhurst (3 x 60 mins) is an observational documentary about the elite, and sometimes brutal, world of the British Army’s officer training course. The series follows one intake of cadets, male and female, through three grueling terms.

CCI ENTERTAINMENT CANADA ANIMATION SERIES AND FILMS

Desperate Scousewives (Zodiak Rights)

48

CGI SERIES Jerry And The Raiders (26 x 11 mins), a co-production between CCI Entertainment, Montreal’s Fake Studios and First Star Studios, will launch in 2013 on TVO in Ontario. Aimed at four- to eight-year-olds, the series features a seven-year-old boy whose two toy action figures mysteriously come to life. An online presence and an app are also in development. Also CCI Releasing and Dolphin Entertainment have acquired worldwide rights for six movies from Leader Film Company: Visions Of Murder, The Captives, Souvenirs, Under Protection, Twins and Tailor-Made Murder.

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9 STORY ENTERTAINMENT

STARZ MEDIA

SBS INTERNATIONAL

CANADA

US

AUSTRALIA

ANIMATION

DOCUMENTARY & DRAMA

NEW CHILDREN’s programming from 9 Story includes Camp Lakebottom (26 x 22 mins/52 x 11 mins), about rich kid McGee who longed for thrills and friends and so begged his parents to send him to the most exciting camp, Camp Lakebottom, where cabins are possessed and staff members are creepy. Also new are: season three of Almost Naked Animals (52 x 22 mins/104 x 11 mins); pre-school series Daniel Tiger’s Neighborhood (40 x 22mins/80 x 11 mins), about a shy tiger; and the digitally refreshed 16th season of Arthur (20 x 22 mins/40 x 11 mins). The company has also brought Fugget About It (26 x 22 mins) to market. The series is about a mob boss and his family hiding out in small-town Canada.

DOCUMENTARY Jerry Lewis: Method To The Madness takes a look at this comedy legend through previously unseen footage and interviews including Jerry Seinfeld, Alec Baldwin, Eddie Murphy, Chevy Chase and Quentin Tarantino. Lewis’s career as a comedian, actor, director, producer, writer and singer goes from his partnership with Dean Martin and his film career up to his comedy tours as he approaches 86 years old. The company has also announced a second season of stylish drama series Magic City, set in Miami’s Playa Hotel in the late 1950s where the hotelier becomes indebted to organised crime members.

COMEDY & DOCUMENTARY SERIES

COMEDY series Danger 5 is set in a bizarre 1960s-inspired version of World War II and follows a team of five spies from around the world on a mission to kill Adolf Hitler. The company also has three-part documentary Once Upon A Time In Cabramatta, about the changing suburb of Sydney that is home to a vibrant Vietnamese community.

Two new cookery programmes are also highlighted: magazine show Destination Flavour (10 x 26 mins) and two series of Huey’s Kitchen (140 x 30 mins/70 x 30 mins), starring celebrity chef Iain Hewitson.

Danger 5 (SBS International)

Jerry Lewis: Method To The Madness (Starz Media)

Camp Lakebottom (9 Story Entertainment)

EDEBE AUDIOVISUAL LICENSING SPAIN

ZDF ENTERPRISES

DCD RIGHTS

GERMANY

UK REALITY & HISTORY SERIES

DRAMA, CHILDREN’S & FACTUAL

ZDF ENTERPRISES’ drama catalogue includes: Jack Irish (2 x 100 mins/4 x 50 mins/HD), set in a Melbourne law practice; and Munich ’72 (1 x 90 mins/HD), about a policewoman and her boyfriend who become involved in the terrorist attack at the Olympic Games. From the kids’ roster comes My Phone Genie (26 x 22 mins/HD), and Michel (52 x 11 mins/HD).

The factual slate includes Alaska State Troopers II (13 x 50 mins) and wildlife series Nature Now!.

Jack Irish (ZDF Enterprises)

50

MIPTV headliners for DCD include: Coast Guard Alaska (20 x 60 mins/HD), which follows search and rescue missions: Parole Diaries (13 x 60 mins), following six parole officers from Indianapolis through some of their difficult cases; Do Or Die (4 x 60 mins/ HD), in which office workers are taken on a survival adventure; Pawnbrokers (6 x 30 mins), about a family-run pawn shop in the UK’s Birmingham; and history series She Wolves: England’s Early Queens (3 x 60 mins / HD) and Afghanistan: The Great Game With Rory Stewart (2 x 60 mins/ HD).

Coast Guard Alaska (DCD Rights)

ANIMATION SERIES

NEW ANIMATION series Jonas (26 x 5 mins) is a co-production between Machango Studio and Television de Canarias, targeted to kids from four to 10. Jonas is an only child from a humble neighbourhood living in a tiny flat with his grandmother. What he lacks in material things, he makes up for with his imagination — his bed is a spaceship, the bathtub is a ravenous monster, and his teddy bear is a magic oracle. The first 26 episodes are finished and a second season of 26 episodes is planned for later this year. Edebe holds worldwide rights.

Jonas (Edebe Audiovisual Licensing)

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AK ENTERTAINMENT

BRB INTERNACIONAL

SOUTH KOREA

SPAIN

DRAMA AND DOCUMENTARY SERIES

ANIMATION SERIES

HD DRAMA series Big Heat (10 x 60 mins) is about an upcoming boy band that overcomes hardships on the way to making it in the music industry and becoming pop stars. AK Entertainment also brings documentary series Empire Of Gold (3 x 55 mins) which looks at how the price of gold has skyrocketed over recent years, the reasons we obsess over gold and how it has affected the destiny of humanity over time.

Big Heat (AK Entertainment)

NEW PRE-school series Mica (104 x 7 mins) is based on a popular Spanish character created by the publishing house Editorial Santillana. Six-yearold Mica and her friends Daniel and Julia, always turn daily routines into adventures. And Mica has a secret, Lio, the little book bug she has hidden in her den, which is a van in the garden. At MIPTV BRB is also highlighting the first episodes of Khuda-Yana (26 x 26 mins), Mica (BRB Internacional) aimed at 6- to 10-year-olds, about a petty street thief who steals a mystic tulip and is forced to assume his new destiny, to be the next king of Kosala.

CUPPA COFFEE STUDIOS

CCTV

CANADA

CHINA

ANIMATION SERIES

ANIMATION FILM AND DRAMA SERIES

HEAVY metal legend and reality star Ozzy Osbourne and his family are voicing new stop-motion animated versions of themselves in a new comedy sitcom. The 20-episode series, The F’n Osbournes, is produced by Cuppa Coffee Studios, which is looking to secure financing sales for the series at MIPTV. Sharon and Jack Osbourne are involved in the production and developing the show’s scripts.

The F’n Osbournes (Cuppa Coffee Studios)

52

The Mystery Of Blue Butterfly (Gcoo)

EONE

GCOO

US

CHINA

DRAMA SERIES

DRAMA AND COMEDY SERIES

FEMME Fatales is a series about powerful, sexy and dangerous women inspired by and styled in the tradition of pulp stories, film noir and graphic novels. The half-hour standalone episodes include stories inspired by classics including Double Indemnity, Pulp Fiction and The Twilight Zone. In addition production will soon be under way for the first Femme Fatales Presents films scheduled for delivery later this year. Entertainment One (eOne) handles the broadcast, digital and DVD distribution outside of North America for the series.

CCTV brings a range of drama series to MIPTV, and is also highlighting animation film Legend Of Young Yue Fei (1 x 90 mins), about a young man from a humble background who grows into a wise military leader. HD drama series include: Mystery In The Palace (37 x 47 mins), about royal court conspiracies during the reign of Kang Xi; Chinese Detective (30 x 47 mins), about two legal advisors in ancient China, friends and competitors in love; Sword Heroes’ Fate (33 x 47 mins), about a hero who cannot be with his loved one in the real world; and Beijing Love Story (39 x 47 mins), about four young people in Beijing working out their love lives and careers.

THE MYSTERY Of Blue Butterfly follows Chinese detective Lan, who finds it hard to work in the male-oriented Shanghai police, particularly her boss Ding. With the help of forensic genius Liu, they successfully solve the mystery of a poisoning using the blue butterfly, and in the process Lan and Ding come closer.

The company also brings successful sitcom iPartment, which tells stories of seven young people in one apartment, bringing people together from different backgrounds and different dreams.

Three seasons are available.

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ALBATROSS WORLD SALES

FILMASTER

GERMANY

POLAND

WILDLIFE DOCUMENTARY

FILM

FILMASTER’s movie recommendation engine aims to help VOD and digital TV providers increase views and generate revenue by guiding viewers on what to watch based on their previous viewing choices and current mood. Filmaster analyses each viewer’s watching behaviour and how the viewer rates movies. It then combines that data with specific film traits and current mood of the user to deliver personalised recommendations.

NEW TITLES brought to MIPTV by Albatross World Sales include: Moksgm’ol – The Quest For The Spirit Bear (1 x 52 mins), which looks at the white black bear found in the temperate rainforests of the Canadian West and one of the rarest species on our planet; On The Trail Of Evil (1 x 52 mins), which tries to find out what is going on in the mind of a psychopath and how decent people can become murderers; and a project in production, Blue Whisper (1 x 52 mins), a 3D look at communication among fish in the ocean.

Moksgm’ol — The Quest For The Spirit Bear (Albatross World Sales)

LEVELK

BOPAUL MEDIA WORLDWIDE (BMW)

SHAFTESBURY

DENMARK

US

CANADA

DOCUMENTARY

FILMS & TV SERIES

RIO 2.0 is a documentary that makes the argument that in the 21st century a sustainable economy is the only way out of global financial crises. It gives the example of a growing dependence on finite resources as for each smartphone made, more than 50 minerals are exploited. The documentary is scheduled to premiere in Rio at the UN Earth Summit later this year.

Mrs Caldicot’s Cabbage War (BMW)

Rio 2.0 (LevelK)

NEW DISTRIBUTION company BMW debuts at MIPTV with a catalogue of more than 800 films, many of them classics including The Wild Geese with Richard Burton, and Hellraiser IV: Bloodline.

Also on the slate are documentary film Heaven (1 x 45 mins/90 mins) from John Scheinfeld, and five recent British theatrical films including Mrs Caldicot’s Cabbage War starring Pauline Collins.

BMW also has 150 hours of television series programming. Currently in pre-production is Marina (13 x 60 mins/120 mins pilot), a tale of intrigue and scandal set against a wealthy yacht-centric family and starring Joan Collins.

DOCUMENTARY, COMEDY & COOKERY

WHO’S SORRY NOW? is a one-hour documentary which showcases memorable moments of regret from public figures such as Bill Clinton and Tiger Woods, looking at the business behind the big apology. Shaftesbury and its digital media division, Smokebomb Entertainment, has also announced casting and production details for State Of Syn, a science fiction digital project. Starring Jewel Staite (Firefly, LA Complex), David Hewlett (Stargate SG-1, Stargate: Atlantis) and Rainbow Sun Francks (The Listener, Stargate: Atlantis), State Of Syn (10 x 5 mins) is a 3D-enabled digital motion novel for online, smartphone and tablet devices that combines live-action photography with animated hyper-real backgrounds. State Of Syn is available to buyers as a standalone property for multiple platforms at MIPTV.

OPTOMEN INTERNATIONAL UK COOKERY & REALITY SERIES

EVERYONE loves Chinese food, but most people are too scared to cook it. Gok Cooks Chinese (6 x 30 mins) sees the fashion expert set out to prove that Chinese food is not only delicious and nutritious, but quick and easy to prepare. The series is an Optomen production for the UK’s Channel 4. Also on Optomen International’s MIPTV slate is Kevin McCloud: One Man And His Shed (4 x 60 mins), which follows the Grand Designs presenter as he fulfils his boyhood ambition of creating a place he can escape to.

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Gok Cooks Chinese (Optomen International)

Who’s Sorry Now? (Shaftesbury)

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CINTV

HIGH POINT FILMS

PBS INTERNATIONAL

SPAIN

UK

US

DOCUMENTARIES

FILM

FROM CINTV’s wildlife catalogue come Wild Connections and Waterlife, two series that have recently sold into China. The company has also brought: The Dare Of Garamba, (2 x 52 mins/HD), about the difficulties of managing a national park in an area close to war, where guerrillas threaten attempts to develop the area for local residents; and The Wars Of The Wolf, a one-hour programme launched at MIPTV and looking at the growing wolf populations in Europe.

HIGH POINT FILMS, the feature film distribution division of High Point Media Group, has added family film Cool Kids Don’t Cry to its catalogue.

Based on the novel Eighth Graders Don’t Cry by Jacques Vriens, currently in the Dutch bestsellers list, the film stars up-and-coming actress Hanna Obbeek as a football crazy 12-year-old girl whose world is turned upside down when she is diagnosed with leukaemia. Released in the Netherlands by Dutch FilmWorks, it has already become the most successful family film in the Netherlands for the last five years.

ARTS & CURRENT AFFAIRS DOCUMENTARIES

ANDY Warhol (2 x 113 mins) is a film portrait of the famously-controversial artist, stretching across five decades from the late 1940s to his death in 1987. Combining interviews and rare still and motion picture footage, the programme explores the complete spectrum of Warhol’s artistic output. PBS also has Murdoch’s Scandal (1 x 53 mins/HD), telling the story of the battle over the future of News Corporation, Rupert Murdoch’s reputation and his family’s fortunes. Now his dynasty is under threat from accounts of bribery, blackmail and invasion of privacy, prompting criminal investigations on both sides of the Atlantic.

Wild Connections (CINTV)

PICTURE BOX DISTRIBUTION CANADA LIFESTYLE & REALITY SERIES

PICTURE BOX is highlighting two new programmes at MIPTV. Firstly, Way Off Broadway (13 x 60 mins/26 x 30 mins/HD) follows a group of strangers as they work together to launch the musical The Wizard Of Oz under the guidance of Sarina Condello.

These performers only have eight weeks to transform from total amateurs to polished stars. Secondly, Buy.O.Logic (13 x 30 mins/HD), hosted by journalist Isla Traquair, with a series of fast-paced segments, navigates the claims and promises made by products — and even plays guinea pig herself — to find the best products based on price, performance and ingredients.

Way Off Broadway (Picture Box Distribution)

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Cool Kids Don’t Cry (High Point Films)

Andy Warhol (PBS International)

SWEATBOX PRODUCTIONS

FORMACTION.TV

SPAIN

CANADA

ANIMATION SERIES

TALENT SHOW & SITCOM

NIGHTBREEDS (26 x 23 mins) is a new vampirethemed animated series aimed at 9- to 13-yearolds and is set in the futuristic city of Port Providence. Three courageous youngsters — Zack, a human, and two vampire girls, Rosalyn and Lizbeth — fight against Thelonious, the evil leader of a vampire clan. Co-produced with Catalan network TV3, the completed series is scheduled for a 2013 release. Sweatbox is at MIPTV looking for co-production partners and network pre-sales.

Nightbreeds (Sweatbox)

HE CAME TO DANCE is a format, first launched at MIPTV, that tracks the development of 10 young performers who benefit from training with Nico Archambault, learning to master different dance styles. Supported by well-known choreographers and teachers, the group gives a performance at the end of each show. First broadcast on Radio-Canada, the original series has been sold to TV5 Monde.

The company has also brought scripted format All About Me, which has completed its fifth season on RadioCanada, a smart and funny sitcom that follows a group of friends.

He Came To Dance (Formaction.tv)

OFFICIAL CONFERENCES & EVENTS

DIGITAL DEALS CONNECTED DEVICES & CONNECTED AUDIENCES 10.00 – 10.15 Esterel State of the Market: Connected Devices & Connected Audiences ■ Tom Morrod, Senior Principle Analyst, TV and Broadcast Technology, IHS Screen Digest, UK @tommorrod

WHO’S CONNECTING TO YOUR AUDIENCE NOW? 10.15 – 11.15 Esterel

KIDS & ANIMATION THE GLOBAL ANIMATION MARKETPLACE: The Big Picture 10.00 – 11.15 Audi A Introduction ■ Amandine Cassi, Head of Research, Médiamétrie / Eurodata TV Worldwide, France @Amandin3

MEET THE SPEAKERS SESSION!

Media (C)nsulting, France Speakers ■ Kay Benbow, Controller Cbeebies, BBC, UK ■ Jules Borkent, SVP, Programming and Acquisitions, Nick International, Viacom International Media Networks, USA ■ Michael Carrington (photo), SVP, Chief Content Officer EMEA, Turner Broadcasting Systems, UK

Take a look at the emerging talents that will disrupt TV!

11.00 – 12.00

THE PITCH DOCTOR’S GUIDE TO PRACTICAL PITCHING Agora Speaker

From 11.15 Foyer Audi A KIDS & ANIMATION Coffee Break offered

by MFG Filmförderung Baden-Württemberg Paul Boross, The Pitch Doctor, Big Sky, UK @PaulBoross

KIDS & ANIMATION THE GLOBAL ANIMATION MARKETPLACE: New Studios from Malaysia 11.30 – 12.30 Audi D Presenter ■ Balaraman Narayanasamy, Director, Planning & Research, FINAS and Head of Malaysia Delegation, Malaysia

MIPCube: THE INNOVATION SHOW 11.30 – 12.45 Grand Audi

Gare Maritime, Cannes Harbour

Moderator

■ Christophe Erbes, Author and Consultant,

Moderator ■ Kate Bulkley, Media Commentator and Journalist, UK @katecomments Speakers ■ Christian Bombrun, Deputy Managing Director, M6 Web, M6, France ■ Emma Lloyd (photo), Director of Emerging Products, British Sky Broadcasting, UK @bskybpress ■ Peter Mercier, Senior Director, Content Acquisition & Strategy, Microsoft, UK ■ Daniel Saunders, Director of Content Services, Samsung Electronics Europe, UK @danieljsaunders

Producers’ Hub

Speakers ■ Edmund Chan (photo), Managing Director, Animasia Studio Sdn Bhd, Malaysia ■ Wong Cheng Fei, CEO, Lemon Sky Animation Sdn Bhd, Malaysia ■ Leon Tan, Executive Director, Tripod Entertainment Sdn Bhd, Malaysia @LeonTanBG

12.15 – 13.00

HOW TO MIP IT! Agora In cooperation with the Entertainment Master Class Speaker

Visionary Talks:

■ Sandrine Dufour (photo), EVP Innovation and Deputy CFO, Vivendi

■ Geoff Sutton, General Manager, MSN International Media Group

KIDS & ANIMATION THE GLOBAL ANIMATION MARKETPLACE: New Studios from Philippines 11.30 – 12.30 Audi C

Interviewed by:

■ Robert Tercek, President, General Creativity, USA MIPCube competitions showcase: meet the winners

■ The MIPCube Lab ■ Content 360 ■ The 1st TV Hack Day

Speakers ■ Juan Miguel del Rosario (photo), President & CEO, ToonCity Animation, Philippines ■ Michael Kho Lim, Executive Director, Animation Council of the Philippines, Inc., Philippines

Tony Humphreys, Managing Director, Talent Television, UK

SUNDAY 1 APRIL KIDS & ANIMATION THE GLOBAL ANIMATION MARKETPLACE: New Studios from Korea 12.45 – 13.45 Audi D

DIGITAL DEALS THE NEW TV PLAYERS: The Interview series 14.10 – 15.30 Esterel

By registration

■ Kate Bulkley, Media Commentator and Journalist, UK

Moderator ■ Park Byongho, Marketing Manager, Korea Creative Content Agency, Korea

Interviews

Speakers ■ Mun Ho Choi (photo), General Manager, DPS, Korea ■ Sara Kyungwon Han-Williams, President, Pixtrend and Vice President, Neon Pumpkin, Korea ■ Jarin Sohn, Manager, Synergy Media, Korea

KIDS & ANIMATION THE GLOBAL ANIMATION MARKETPLACE: New Studios from China 12.45 – 13.45 Audi C

Producers’Hub 14.30 – 16.00

@katecomments

THE FILM COMMISSIONS’ FEATURE

14.10-14.30 ■ Christian Witt, Strategic Partner Development Manager, Google TV, Google, Germany

Discover production incentives from around the world

14.30-14.50 ■ Karla Geci, Strategic Platform Partnerships, Facebook, UK

Agora Featuring ■ Cote d’Azur Film Commission: Evelyne Colle, Director of Film ■ Filas, Lazio Region, Italy : Andrea Romagnoli, Project Manager ■ MFG, the German Film Fund from the Baden Württemberg Region: Andreas Trautz, Manager of the Animation Media Cluster & Oliver Zeller, Head of Production ■ Rabat Film Commission: Abdelhaq Mantrach, President

14.50-15.10 ■ Blair Day, VP Strategy, MySpace, USA 15.10-15.30 ■ Jed Simmons (photo), Director, Head of Original Programming, YouTube EMEA

Moderator

■ Kristian Kender (photo), Research Director, CMM Intelligence, China Speakers ■ Sean Chu, VP, Ciwen Kids + Ciwen Rights, Ciwen Media Group, China ■ Lena Ni, Director of Distribution, Fantawild Animation, China ■ Rose Zhang, Marketing Director, Global Digital Creations Holdings, China

KIDS & ANIMATION LIVE ACTION! MUST-SEE TV FOR KIDS: Discover the hottest new shows from around the world!

14.30 – 15.30 Audi A Introduction ■ Amandine Cassi, Head of Research, Médiamétrie / Eurodata TV Worldwide, France @Amandin3 Moderator ■ Christophe Erbes, Author and Consultant, Media (C)nsulting, France Speakers

■ Nina Hahn (photo), SVP Production & Development, Nickelodeon International, UK ■ Bob Higgins, EVP Kids & Family Entertainment, FremantleMedia, UK ■ Nigel Pickard, CEO MEAA, UK Kids and Family, Zodiak Media, Zodiak Rights, UK

DRAMA COPROXCHANGE SUMMIT

From 17.30 Producers’ Hub

16.00 – 18.00 Majestic Hotel

NETWORKING DRINKS In partnership with Exmachina & Civolution

By invitation only

MEDIA MASTERMIND KEYNOTE SERIES Grand Audi 15.45-16.15

■ Nick Dorra, Head of Animation, Rovio Entertainment, Finland Interviewed by Nic Newman, Digital Strategist, Nic Newman & Associates, UK @nicnewman

16.20-16.50 ■ Jean-Briac Perrette, Chief Digital Officer, Discovery

17.00-17.40 ■ Anthony Bay, Vice President, Amazon.com, USA

Communications, USA Interviewed by Stewart Clarke, Editorial Director, Informa Telecoms & Media, UK

Interviewed by Kate Bulkley, Media Commentator and Journalist, UK @katecomments

TITANIC CENTENARY GALA SCREENING EVENT 18.00 – 19.30 FRESH TV: EXCLUSIVE AT MIPTV 13.00 – 14.00 Grand Audi In partnership with The April edition of Virginia Mouseler’s selection will provide an exclusive glimpse of some of the most talked about formats on the planet.

Speakers

■ Virginia Mouseler, CEO, The WIT, France

@TheWitFreshTV

Grand Audi The screening of the first episode of the major international mini-series Titanic hosted by ITV STUDIOS Global Entertainment and Lookout Point.

Followed by a Q&A with author Julian Fellowes and leading cast members.

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AB INTERNATIONAL DISTRIBUTION

TELEMUNDO INTERNACIONAL

FRANCE

US

ANIMATION AND HISTORICAL DRAMA

TELENOVELAS

LAUNCHED at MIPTV, Tangerine And Cow (156 x 7 mins) is a series aimed at eight- to 12-year-olds. The Tangerines are a dysfunctional family — with an inventor mother, two hyperactive children and a busy father — who own a talking pet cow. AB also brings historical drama Toussaint Louverture (2 x 90 mins), which tells the story of the slave who stood at the forefront of Haiti’s fight for independence.

Tangerine And Cow (AB International Distribution)

FLORIDA-based Telemundo brings a catalogue of telenovelas to MIPTV, including: Una Maid En Manhattan (130 x 60 mins), about a young Mexican chambermaid who is mistaken for a guest by a successful entrepreneur; Relaciones Peligrosas (Dangerous Affairs), (130 x 60 mins), set in a Miami high school; Dance! To The Beat Of The Heart (80 x 60 mins), following four women working in a dance academy; Esperanza (80 x 60 mins) features a Peruvian woman who works in Chile as a nanny and becomes embroiled in the family’s problems; Aqui Mando Yo (I’m The Boss), a fun story about a man who becomes house-husband; and Jardin Secreto (20 x 60 mins) a body-switching drama.

GRUPPO ALCUNI ITALY FIRST HAND FILMS SWITZERLAND FACTUAL FILMS

HIGHLIGHTS from First Hand Films include: You Laugh But It’s True (1 x 52 mins), following South African stand-up comedian Trevor Noah, confronting the legacy of apartheid head on; The Art Of Yodeling (1 x 58/72 mins), featuring a student yodeler and his friend who take their act to stadium stages; 2012: The Beginning (1 x 52 mins), looks at Mayan prophesies; Seduced & Blackmailed (1 x 51 mins), about a young man extorting money from a wealthy woman; and in Where My Heart Beats (1 x 58 mins/72 mins) journalist and former refugee Khazar Fatemi returns to Afghanistan for the first time in 20 years.

ANIMATION SERIES

TWO ANIMATION series top the MIPTV slate for Gruppo Alcuni. Firstly, Symo & Rose (52 x 6 mins) stars a brother and sister who go on incredible adventures in their own bedroom. The non-dialogue, music-filled series references classic movies.

Secondly, in the latest season of Pet Pals 5 (52 x 13 mins), in 3D, Crow Witch has decided to cancel the past, erasing her humiliating defeats. The Pet Pals discover an antidote to her spell and embark on a journey in search of mysterious ingredients.

BANIJAY INTERNATIONAL DENMARK DATING SHOW

Symo & Rose (Gruppo Alcuni)

RO*CO FILMS INTERNATIONAL US DOCUMENTARIES

You Laugh But It’s True (First Hand Films)

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Una Maid En Manhattan (Telemundo Internacional)

RO*CO films international brings 12 new documentaries to MIPTV. The roster includes two Sundance Film Festival award winners: The Law In These Parts, an investigation into Israel’s legal structure governing the Occupied Territories; and The Invisible War, which looks at sex crimes in the American armed forces. Two Academy-nominated films are also highlighted: Hell And Back Again, a drama mixing the life of a marine on the front line and his experience of recovery at home; and Saving Face, an exposure of brutal acid attacks on women in Pakistan.

DEVELOPED from the original Norwegian version, Sons Of Norway, Origins Of Love features single men and women who have moved away from Norway. The show’s team finds potential dates for them with people from their home country. They exchange letters and four winners are invited to travel to the “new world”, and finally one is chosen.

The question is then posed — do they want to stay in the new country or return home.

Origins Of Love (Banijay International)

JIM MARRINAN

1951 – 2012

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MOSKITO TELEVISION/NICE GROUP

ALL3MEDIA

DOM VETRO & ASSOCIATES

UK

CANADA

FINLAND

REALITY AND DRAMA SERIES

DOCUMENTARY, REALITY & KIDS

DRAMA SERIES

MARKKU and Maisa are the original odd couple.

He’s a homeless bum and she’s a pop starlet. Their lives collide when Maisa runs over Markku on the way home from a party. So begins an acquaintance that, via bribery and blackmail, develops into a romantic, edgy relationship. Hidden Tracks (12 x 45 mins), the new drama from NICE Group member Moskito Television, debuted on MTV3 Finland in February, and is available as a finished programme and a scripted format.

VENICE 24/7 comes to the international market after a run on the UK’s BBC4. The series (6 x 30 mins) follows the emergency services in this unique city, coping with everything from Carnival and cruise ships to Pope visits. From the drama catalogue comes new series Miss Fisher’s Murder Mystery. The Australianproduced drama is set in the stylish 1920s.

DOM VETRO is highlighting several productions from its slate, including Song Of The Dunes: Search For The Original Gypsies (1 x 55 mins/HD), looking at poor musicians close to the India/Pakistan border. A millennium ago, some left and travelled across the world. They are the original gypsies. Also on offer are: Snapatoonies (13 x 23 mins/26 x 11 mins/52 x 5 mins/HD), an interactive and educational pre-school series; Auto-B-Good (63 x 12 mins/HD) and Monster Truck Adventures (52 x 12 mins), two children’s 3D animation series emphasising respect and confidence; and innovative version of world history Far & Wide (62 x 30 mins/660 x 2-3 mins), also available in French.

Venice 24/7 (All3Media)

PEACE POINT RIGHTS Hidden Tracks (Moskito Television/NICE Group)

CANADA

Song Of The Dunes: Search For The Original Gypsies (Dom Vetro & Associates)

COOKING & FACTUAL SERIES ELECTRIC SKY PRODUCTIONS UK FACTUAL SERIES

SUPER SYSTEMS (5 x 60 mins), commissioned by US 3D channel 3net, pulls back the curtain on some of the most complex systems in the world and reveals the people and machines that keep the planet ticking. The 3D series observes the people and machines that keep the world on track and fix it when it goes wrong. Episodes will focus on subjects from transport, including the largest train station in the world, Grand Central Terminal in New York, and the US’ busiest International gateway, JFK Airport, to mega farming including a look at the super systems involved in the great Cranberry Harvest.

Super Systems (Electric Sky Productions)

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BAKE WITH ANNA OLSON (40 x 30 mins/HD) sees celebrity chef Anna Olson showcase her baking mastery, from muffins to meringue and cream cake to croissants. Each episode builds on a fundamental baking skill and takes viewers on from beginner to master baker. Also new from Peace Point is season two of the award-winning factual series SuperBodies (1 x 60 mins/12 x 2 mins/English HD, and 12 x 2 mins/French HD), which matches science and art through cutting-edge forensic computergenerated imagery, exploring the athleticism of the human body. Hosted by Dr Greg Wells, a physiological scientist who works with elite athletes, SuperBodies unveils what happens when star athletes perform.

Bake With Anna Olson (Peace Point Rights)

EARTH TOUCH SOUTH AFRICA WILDLIFE DOCUMENTARIES

AFRICA’S DEADLIEST (3 x 52 mins) from Johannesburg-based producer Aquavision TV Productions explores the animals that have evolved complex weapons in the battle for survival, from dolphin armies in the ocean to the masters of ambush on the savannahs. Earth Touch also brings three-part series Speed Kills, featuring super slow motion and CGI, and one-hour specials: Death Beach, about shark attacks; Venom Island, about the poisonous island in Indonesia; Coelacanth — The Great Survivor; Underwater Okavango; Croc Labyrinth; and Raggies — A Mouthful Of Teeth.

Africa’s Deadliest (Earth Touch)

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A SQUARED ELIXSI ENTERTAINMENT (A2E2)

CINEXPORT

NPO SALES

FRANCE

THE NETHERLANDS

US

DOCUMENTARY

DOCUMENTARY & DRAMA

ANIMATION SERIES

A NEW series of 26 x 30 mins episodes of Warren Buffett’s Secret Millionaires Club is brought to MIPTV by A2E2. Co-produced with Xing Xing Digital, the series aims to teach youngsters about business through adventures with Buffett, and surprise guests including Jay-Z, Shaquille O’Neal and Serena Williams. The series focuses on reallife situations any kid might face and helps to provide the tools necessary to make wise decisions in their lives. In addition to the 26 TV episodes and 26 shorts, an in-school curriculum has been developed for the classroom with fun activities and competitions.

TWO NEW documentaries head the MIPTV slate for Cinexport. Jordan, 2,000 Years Of History (1 x 52 mins/HD), in French and English, explores the kingdom of Jordan which is strewn with the traces of its history — the influences of Greek, Roman and Muslim rulers. And The 100 Wonders Of The World (1 x 52 mins) profiles some of the natural and archaeological wonders around the world.

NPO SALES returns to MIPTV with a raft of programmes, including: Elements, a documentary series about 12 people around the world as they confront natural forces; About Canto, featuring Canto Ostinato, a modern classical piece by Dutch composer Simeon ten Holt; Sinners Disease — Surviving HIV In Russia, about a group of activists; kids’ football drama series Charlie Champion; coming of age show How To Survive…?; and two new episodes from the Backlight documentary series, The Power Of The Rating Agencies, and Our Man In Sudan: Land Rush In Africa.

Jordan, 2,000 Years Of History (Cinexport)

Elements (NPO Sales)

M-NET Secret Millionaires Club (A2E2)

SOUTH AFRICA DRAMA, COOKING & FACTUAL

TELEPRODUCTIONS INTERNATIONAL (TPI) US FACTUAL

NEW HD factual programmes from TPI include: Call Of The White (1 x 46 mins), featuring eight women from eight countries who undertake a skiing trek to the South Pole, setting six world records; Sing Freedom (10 x 30 mins), looking at the songs of freedom that accompanied almost every Arab Spring demonstration, and talking to the musicians that helped topple dictators; and The Nip Tuck Trip (1 x 45 mins), which looks at the growing phenomenon of cosmetic surgery holidays.

Call Of The White (TPI)

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M-NET has brought a selection of new dramas to MIPTV as an exhibitor at the market for the first time. Highlights include: The Wild (208 x 24 mins), a daily drama shot in HD against the backdrop of a game reserve, and focused on three families from different racial and cultural backgrounds; Jacobs Cross (104 x 48 mins) follows a high-powered oil company executive who inherits the family business and sets out to build an empire. M-Net has also brought Cooking With Siba (39 x 24 mins), Great Africans (5 x 52 mins) and Crimes Uncovered (13 x 44 mins).

The Wild (M-Net)

HAT TRICK INTERNATIONAL UK REALITY SERIES

PRODUCED by Love Productions for the UK’s BBC Four, Scrapheap Orchestra (1 x 90 mins/2 x 60 mins) is a documentary that follows inspirational conductor Charles Hazlewood who challenges a group of instrument makers to transform junk into instruments worthy of a place in a symphony orchestra. Delving into the history of instrument making and the science of music along the way, it culminates in a public performance. Hat Trick also brings Gok Wan: Made In China, in which the fashion pundit travels to his ancestral home to explore the largely unseen world of Chinese mass production, visiting ‘Jeans Town’, which makes 260 million pairs of jeans a year; and ‘Bra Town’.

Scrapheap Orchestra (Hat Trick International)

product neWs BREAKTHROUGH ENTERTAINMENT CANADA DOCUMENTARY

BREAKTHROUGH Entertainment, producer and distributor of primetime comedy and drama, arrives at MIPTV with several major new documentary titles including Raw Opium (2 x 60 mins/1 x 90 mins), which focuses on how the opium poppy is fuelling a vast criminal trade larger than the economies of many countries. Also new are Diamond Road (3 x 60mins), Clash Of Cultures â&#x20AC;&#x201C; China & The West (1 x 60 mins) and The House Of Tomorrow (1 x 60 mins/1 x 90 mins) which follows the plight of Israeli and Palestinian women who challenge themselves to find peace in a land that has been plagued with conflict for centuries. Reality series Operation Unplugged follows self-proclaimed technology-obsessed participants after they unplug from their network, and walk away from their devices.

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BUZZTAXI COMMUNICATIONS NETFLIX/GAUMONT INTERNATIONAL TELEVISION US DRAMA SERIES

BASED on the critically acclaimed novel by Brian McGreevy, Netflix and Gaumont International Television (GIT) is launching internationally at MIPTV the new series Hemlock Grove. The series is being produced

by GIT and will air on Netflix in early 2013.

Casting includes Famke Janssen (X-Men) and Bill Skarsgard (Simon Of The Oaks). Hemlock Grove is a gripping tale of murder, mystery and monsters set in a ravaged Pennsylvania steel town, and starts with the discovery of a young girlâ&#x20AC;&#x2122;s body, murdered in the shadow of the former steel mill. As the crime goes unsolved and rumours mount, lead characters Peter and Roman decide to find the killers themselves.

CANADA FACTUAL

NEW PROGRAMMING from Toronto-based distribution company BuzzTaxi Communications includes lifestyle titles Handyman Superstar Challenge and The Real Designing Women, both produced for HGTV Canada. In Handyman Superstar Challenge 10 contestants prove their ability to be crowned with the title of Handyman Superstar, while The Read Designing Women follows four of the most successful female interior designers working in North America. Other MIPTV highlights include Survivorman: Ten Days, 100 Days, La Cucina Di Sabrina and The Age Of Anxiety.

TV ASAHI JAPAN ANIMATION

Operation Unplugged (Breakthrough Entertainment)

A+E NETWORKS

ANIMATED series The Knight In The Area is being launched internationally at MIPTV by TV Asahi. The animation is based on the hit soccer Manga series, which launched in Japan in 2006 and is now also published in serial book form. The drama portrays a group of boys in a soccer team at junior high and high school, as they practice hard to win their way up into the National Championship and dream of playing in the International Championship. The series, which debuted in Japan in February this year, is available with English and Spanish subtitles.

US REALITY

A+E NETWORKS has brought over 450 hours of new programming to MIPTV. Highlights include Shipping Wars (9 x 30 mins) and Dance Moms (24 x 60 mins) which follows the students of a dancing school, as they take their early steps on the road to stardom, and their mothers who are there for every rehearsal. A+E has also launched several new formats including Monsters-In-Laws, The Marriage Test, and Pawn Stars, set in a family-run pawn shop..

Shipping Wars (A+E Networks)

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The Knight In The Area (TV Asahi)

Handyman Superstar Challenge (BuzzTaxi Communications)

SHINE INTERNATIONAL US REALITY

OVATION, the multiplatform network, has green lit a new dance competition, A Chance To Dance, from executive producers Nigel and Simon Lythgoe. The series is a co-production between their two respective companies, Nigel Lythgoe Productions and Legacy Productions, and follows Michael Nunn and William Trevitt, two former Royal Ballet dancers known as The BalletBoyz as they audition, select and train a new American dance company. Shine International will represent the worldwide distribution and is introducing the show at MIPTV. Nigel and Simon Lythgoe between them have crafted hit shows So You Think You Can Dance and American Idol.

A Chance To Dance (Ovation)

TRAVEL & ADVENTURE 25 x 60’

HD

Aerial America America from a new angle: aerial HD. From Alcatraz to the largest volcanoes; the Nevada desert to Colorado’s great Lakes.

1 x 60’

1 x 60’

NATURE & WILDLIFE

HD

1 x 60’

Some endangered species can’t procreate on their own. JoGayle Howard has devoted her life to saving them.

4 x 30’

Nature’s Matchmakers

TRAVEL & ADVENTURE

HD

SCIENCE & TECHNOLOGY

SCIENCE & TECHNOLOGY

HD

Skateboard Nation Native American Bryant Chapo is, at just 20, one of a new generation of skateboarders who’ve become icons of the sport.

HD

Mission Critical: Amphibian Rescue

HISTORY 1 x 60’

Amphibian Arks was built to house the 500 most threatened amphibian species. To catch them, scientists must venture into Panama’s Darien jungle.

Design with the Other 90% Following engineers, architects and entrepreneurs developing solutions for the 90% of us living with limited access to food, communications, and clean water.

Martin Luther King: The Assassination Tapes Remarkably prescient scholars in Memphis collected this extraordinary media collection about MLK in the months before his death.

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ATLANTYCA ENTERTAINMENT ITALY

TRUST NORDISK

ANIMATION SERIES

DENMARK DRAMA

TRANS-Media entertainment company Atlantyca Entertainment is partnering with Spanish production and distribution company Imira Entertainment, and digital animation company Inspidea, from Malaysia, to develop Bat Pat, The Creepy Sitcom (52 x 11 mins). Based on the best-selling children’s book series, Bat Pat, The Creepy Sitcom follows the spooky and comical adventures of Bat Pat and his friends, Martin, Leo and Rebecca Silver, the intrepid supernatural investigators of Fogville, a town which is a magnet for ghosts, mummies, witches,

SIX YOUNG artists from different countries gather in Copenhagen, Denmark where they have been planning a series of art thefts with an eye to compile the greatest paste-up piece of art that the world has ever seen.

However, when one of them mysteriously disappears, the partners in crime soon find out that they are in for a lot more than they bargained for. Drama series The Spiral, a five-part cross-media venture initiated by Brussels-based Caviar, is being co-produced with other Northern European broadcasters Canvas, VARA, NRK, YLE and TV3. Trust Nordisk and Coproduction Office are handling international sales.

CARGO FILM & RELEASING NORTH AMERICA

monsters, werewolves and other things that go bump in the night.

Bat Pat, The Creepy Sitcom (Atlantyca, Imira, Inspidea)

DOCUMENTARY

CARGO Film & Releasing has arrived at MIPTV with several new additions to its catalogue including Brother Number One (54 x 99 mins), a powerful documentary about one man’s pilgrimage to Cambodia where he confronts his brother’s torturer, Comrade Duch, keeper of the infamous Tuol Sleng prison in Cambodia during the Khmer Rouge regime. Also new from Cargo is Bible Storyland (55 x 85 mins), tracking art dealer Harvey Jordan on his obsessive journey to find out about an ill-fated bible theme park intended to compete with Disneyland.

Brother Number One (Cargo Film & Releasing)

3D Eyes Wide Open on Tues. & Wed. for all MIPTV participants SESSIONS, 3D SCREENINGS & WORKSHOPS - AUDI A, Level 3 Tues. 3 April T A pril 09.15 3D Keynotes: Erwin Schmidt, Producer, PINA in 3D & Jim Chabin, International 3D Society 10.20 3DTV State of the Market: IHS Screen Digest 10.45 3D Sports 12.00 3DTV Global Entertainment 14.15 3DTV Broadcasting Revenue Opportunities 15.20 Playstation 3D Games 16.00 3DTV New Media Revenues

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Wed. 4 April W 10.00-12.30 3DTV Producer Boot Camp Workshop

Including speakers from: 3net, Atlantic Productions, BSkyB, Deutsche Telekom, EBU, HIGHT TV V 3D, Orange, Prime Focus, Sky Deutschland, Sky Italia, Sony

www.miptv.com In partnership with:

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product neWs DAEHAN MEDIAWORLD

GAD

KOREA

FRANCE

DOCUMENTARY

DOCUMENTARY

DAEHAN Mediaworld is showcasing two HD documentaries at MIPTV. Penguins: The Antarctic Wildlife (1 x 52 mins) shows how, due to global warming, wildlife living at the South Pole is in grave danger. The programme highlights, in particular, the plight of penguins. Also on offer is Beef, Boning & Deboning (1 x 52 mins) which visits four countries, Argentina, Japan, Mongolia and Korea, to introduce views to their traditional beef culture. Each country has its own different culture and cuisine approach to the meat.

KBS KOREA DRAMA/MUSIC/DOCUMENTARY

KBS IS at MIPTV introducing various genres of programmes, and targeting the European market.

Titles include: drama series Love Rain, which examines two different types of love; Immortal Songs, an audition of young singers singing the songs of past legendary performers; and Super Fish, a documentary dealing with the special relationship between humans and fish.

Objective Moon (GAD)

Penguins: The Antarctic Wildlife (Daehan Mediaworld)

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GAD IS looking for international pre-sales for its new 3D documentary Objective Moon (1 x 90 mins), directed by Pascal Guerin. A co-production with ARTE, the programme relates the story of King Louis XIV’s ship La Lune which was wrecked off the coast by Toulon in November 1664. The ship was returning from an expedition to the Barbary Coast and over 1,000 people — both seamen and nobles of the highest rank — were drowned. The ship’s wreckage was discovered in 1993 and is this year to be the subject of an underwater archeology investigation.

Love Rain (KBS)

product neWs BETA FILM

MARVISTA ENTERTAINMENT

GERMANY

REALITY

DRAMA

US

ANTENA 3 TV’s drama series Grand Hotel has been brought to MIPTV by Beta Film. Set in 1905, it tells the story of a waitress who suddenly disappears.

Her brother tries to discover the truth while falling in love with the hotel’s owner. French TV channel M6 has already bought the drama. Other Antena 3 TV programming at MIPTV includes teenage drama Physics And Chemistry.

Grand Hotel (Beta Film)

The Shores (MarVista Entertainment)

BASQUE AUDIOVISUAL BASQUE REGION MULTIPLE GENRES

SEVERAL companies from the Basque region are at MIPTV in a joint initiative, Basque Audiovisual, which sees them sharing a stand for the sixth consecutive year to help them market their products. Companies represented are Baleuko, Dibulitoon Studio, EiTB, EPE/APV, Exppresive, Idem 4, Mediabask, Pausoka, Somuga and Ubiqua. The stand will be hosting specialist meetings and shows the range of products made by the companies, to ensure a presence for the Basque audiovisual sector at the market. It has been co-ordinated

by Eiken and Instituto Etxepare.

MARVISTA Entertainment is taking its first step into the production and distribution of unscripted reality drama series, and has teamed up with the UK’s Clifton Shores and South Africa-based Clive Morrison Productions, to co-produce The Shores, a series set in the glamourous world of modelling and chic party planning. A total of 39 half-hour episodes will be delivered by the end of 2012. The Shores follows four American women who leave the US to live, work and play in some of the world’s most luxurious and hottest beachside destinations.

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SONY PICTURES TELEVISION

HGAGNON

US

CANADA

DRAMA

DOCUMENTARY

WHO’s In Who’s Out, a cross-media interactive series about six talented youngsters who study at an Amsterdam-based performing arts school for singers, dancers and actors, is being launched internationally this week. Viewers gain an insight into the lives of the characters but reality and fiction are mixed as each week viewers decide via the website which actor gets the part in the series, and which character will be expelled. The viewer even has the chance to secure their own starring role in the show. Who’s In Who’s Out is a NewBe TV and Tuvalu Media co-production distributed by Sony Pictures Television.

HGAGNON Distribution has launched several new HD documentary titles including Over My Dead Body (1 x 52 mins) about dancer/choreographer Dave StPierre, acclaimed by both critics and the public, but diagnosed with cystic fibrosis at the age of 34 with doctors giving him only two years to live. Other programming highlights include JOY! Portrait Of A Nun, produced by Compass Productions and which examines sexuality, spiritualism and political activism through the story of Sister Missionary P. Delight, one of the founders of the Sisters of Perpetual Indulgence.

Who’s In Who’s Out (Sony Pictures Television)

OSIRIS ENTERTAINMENT US DRAMA/COMEDY

OSIRIS Entertainment has a new package of programming for MIPTV, highlighted by suspense thriller Suspicion, about a retired mobster living in Phoenix who, when he discovers he is dying, decides to complete ‘unfinished’ business. Other Osiris Entertainment titles include thrillers The Eves, All God’s Creatures, Wages Of Sin and Legacy, comedy Circus Maximus and drama The Twenty.

Over My Dead Body (HGagnon Distribution)

Meet Chuck Hughes in person at MIPTV with Beyond!

MIP STAND R27.13

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miptv

feature KILLER APPS

Startups follow in the footsteps of the big boys in Cannes Second-screen apps, social analytics, personalised TV and games are causing a stir at MIPTV. Stuart Dredge reports

M

IPTV has become a popular destination for large technology companies, with

Google, Facebook, YouTube and Amazon all appearing on stage this year to talk up their work with TV producers and broadcasters.

And equally high-pro¿le will be Rovio, whose head of animation, Nick Dorra, gives a Media Mastermind keynote today during which he will tell the story of one of the app phenomena of the century, and talk of the company’s future strategy.

Yet just as important to the buzz around the show will be the dozens of small, innovative startups working on apps, sites and services to help the MIPTV crowd make the most of new digital opportunities.

So which startups should you be looking out for this year? Here’s a choice selection of some of the companies making waves.

German startup Tweek launched its social TV iPad app in mid-March, pitching it as “the TV guide curated by your friends”. That means a tablet electronic programme guide — initially for the UK and Germany — showing what’s on traditional TV channels.

However, it also gets users to connect the app to their Facebook accounts in order to make recommendations of shows based on what their friends have Liked on the social network.

The app also provides links for shows and ¿lms to services including iTunes, YouTube, Crackle and BBC iPlayer, spanning the divide between live broadcasts and on-demand streaming.

So-called ‘second-screen’ apps and content is an important theme for MIPTV this year, and there is no shortage of startups looking to help the TV industry tap into the boom in sofa-bound tablet and smartphone usage.

Another of them is Applicaster, which works with content owners, broadcasters, cable TV providers and mobile operators to make TV-based mobile apps. That includes social TV and synchronised apps through to live broadcast and on-demand streams.

The company’s platform runs across iPhone, iPad and Android devices, and is a white-label affair, ensuring its customers can keep their own branding on the apps produced around their shows and content.

British startup Screach also focuses on social features around TV, having launched in March 2011, then re-

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Idris Elba in Luther — coming to a Vdio near you?

vamped its service a year later as Screach 2.0, aiming to be “the ultimate interactivity app for discovering and enjoying content on all mediums and in all locations”.

What that means is using its iOS and Android app to control what’s happening on a larger screen, including controlling music playlists, playing multiplayer games and sharing thoughts on the TV show that they’re currently watching — a feature likely to be the focus this week in Cannes.

French startup Teleglu is also banging the drum for social TV at this MIPTV. It’s a self-styled social network for television, where users can browse an EPG, and chat live with their friends while watching. A Gallic equivalent of Zeebox in the UK, or GetGlue and Miso in the US — all of which have made headlines in the last year for their growth and funding rounds.

There’s an intriguing debate to be had about whether each country will have its own local social-TV services, rather than a handful of global players taking control.

More second-screen apps come from Mobovivo and its MiScreens platform, which helps TV ¿ rms stream or download their shows to mobile phones, tablets and connected TVs, adding in social fea-

Meet a Meet att yyour our lleisure eisure w with ith p potential otential p partners artners a att M MIPTV’s IPTV’s all-new calm, cool and a ll-new c alm, c ool a nd collected collected Producers’ Producers’ Hub. Hub. Conduct business, business, grab grab a coffee coffee and and attend attend a series series Conduct of how-to how-to workshops workshops covering covering the the entire entire deal-making deal-making of process from from pitching pitching to to negotiation negotiation to to the the digital digital details. details. process Join us us on on Sunday Sunday at at 5:30pm 5:30pm for for welcome welcome cocktails cocktails Join by the the harbour. harbour. by

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feature tures and in-app promotions for marketing, merchandising and e-commerce.

One theme that has been highlighted at previous MIPTVs is the social chatter around TV shows on Twitter and Facebook, and how the resulting data can be analysed by producers and broadcasters to identify the shows’ most inÀuential fans.

PeerIndex PeerIndex is one of the companies trying to help, although it stresses that it’s as much about providing bene¿ts to those fans for their passion as it is harvesting their data for brands and media companies.

Like another startup, Klout, PeerIndex ranks the inÀuence of social media users, while helping its clients reach out to them with offers and exclusive content. It has worked with record label Atlantic UK and book publisher Penguin, so what can it offer TV companies in 2012?

Streaming TV services like NetÀix and Hulu are well known to MIPTV attendees, but 2012 sees them face an intriguing new challenger in the form of Vdio. The company was founded by Janus Friis, best known for co-creating KaZaA and Skype, both extremely disruptive startups in their own ways.

Vdio has yet to launch, but will go live in the UK this year, promising to let users “instantly watch the best in TV and movies, right now”. Although a separate team, it has links to streaming music service Rdio, which was also co-founded by Friis.

As yet there has been relatively little crossover between the worlds of television and social games, with other entertainment industries quicker to catch on to the potential of marketing within Facebook games like CityVille and FarmVille. For example, when Enrique Iglesias ran a campaign in CityVille, 1.5 million players watched his latest music video within the game.

Canadian ¿ rm Social Game Universe is one of the companies looking to forge links between social games and TV and ¿lm companies, having already launched an of¿cial Facebook game for movie Dirty Dancing called Romance Resort.

Meanwhile, Belfast-based Project Zebra is a developer with a focus on “geo-social applications” for mobile phones. The startup claims that “applications and games become more compelling the more intelligently they combine a number of core aspects. These include location-based activity, social interaction, competition and integration of real-world experience.”

It has made two non-branded mobile war games — FoursqWAR and Bunker Buster — which tap into data from social location app Foursquare. But its presence at MIPTV may have roots in the company’s branded TF3 Battle Zone, which applies the same Foursquare checkin data to a game based on the latest Transformers ¿lm.

Punndit is a startup that couldn’t be accused of a lack of ambition, promising that its still-stealthy service “is about to change the conversation forever”.

The company has been keeping exact details under wraps, saying that it wants to foster social engage-

ment around video — from TV shows through to people’s cameraphone footage — from a variety of devices.

Pult is another company with a big idea: that of turning smartphones into “a virtual set-top box in a user’s pocket”, capable of streaming content from Facebook, YouTube, pay-TV and film-rental services, and broadcasters, to larger screens around the house.

The Estonian startup sees the smartphone as part-remotecontrol, part-connecting-device, and part-identity-carrier, bringing in social features to get people even more engaged in what they’re watching.

This idea of TV personalisation is one that’s sure to get a lot of discussion during MIPTV this week. Filmaster is likely to be one of the startups chipping into the debate, especially when it relates to the need for better discovery tools for TV shows. Its seductive vision: a TV that will “know what you want to watch based on your taste, current mood, recommendations from friends, and watching trends in entire network”, pulling content from NetÀix, YouTube and live channels as appropriate.

User-generated content often has a poor reputation among TV industry professionals, who equate the term to grainy videos of cats on YouTube — a far cry from their own well-produced shows. Yet UGC can be hugely engaging.

Sportdub is one startup looking to prove this. It’s a website that offers “live amateur sports commentaries” from fans. The idea is that they switch their laptop webcam on while watching a match and broadcast their thoughts to friends and strangers alike.

A threat to the companies broadcasting the matches?

Quite the opposite according to Sportdub, which sees its amateur commentaries as getting fans more engaged in the live broadcasts, rather than less.

Talking of UGC, Viewrz is a startup that wants to help broadcasters to encourage people to take clips from their shows and share them online with friends, rather than clamp down on the idea as copyright infringement.

Its technology can be embedded within a customer’s website, enabling viewers to capture and edit clips ready for sharing on social networks.

Finally, a startup you might have heard of — or at least heard of its games. Finnish ¿rm Rovio is at MIPTV with Angry Birds.

Rovio’s Nick Dorra speaks today on Rovio’s potential partnerships with the TV industry. The Angry Birds franchise has now hit well over 700 million downloads, while Rovio has sold 25 million soft toys, persuaded NASA to unveil its latest game Angry Birds Space on its International Space Station, and acquired an animation studio to begin work on… Well, MIPTV is the place for Dorra to reveal whether Rovio’s ambitions for Angry Birds are cinematic or televisual. Either way, Rovio and the many less high-pro¿le startups buzzing around the Palais this week could have signi¿cant roles to play in the future for the TV industry.

It’s as much about providing benefits to fans as it is harvesting data

Project Zebra

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© Photo courtesy Disney/ABC

feature

Johnny Depp in Pirates Of The Caribbean: Dead Man’s Chest

How to beat the pirates...

In the digital world, where it feels like everything is free, many believe that it’s now up to the legitimate industry to beat the pirates with quality. Who wants the pirated stuff when the real thing is so much better? Clive Bull reports HE PROBLEM of piracy is one that has haunted the entertainment industry for decades. With the world more connected than ever, and with the arrival of digital technology, the TV business has been facing a whole new set of challenges.

Some believe in tougher legislation, others call for a reassessment of business models, many feel the answer lies somewhere between the two.

In the US, SOPA, the Stop Online Piracy Act, aims to take a more direct legal approach to what it calls the theft

T

of US property, by allowing the federal government to block access to websites accused of copyright infringement. But SOPA and PIPA (Protect IP Act) have been met with such ¿erce opposition that plans to draft the bill have now been put on the back burner.

Prominent senators distanced themselves from SOPA, after millions of American citizens signed petitions, thousands demonstrated outside congressional of¿ces, and websites were blacked out to protest the bill.

Among those featured in Google’s high profile stand

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feature against SOPA was the former US president of creative agency Bartle Bogle Hegarty, CEO of If WeRanTheWorld.com and speaker at MIPCube, Cindy Gallop. She warned that the Act would be far too draconian and have widespread negative consequences. “At a very fundamental level I worry that this is going to stop money being made at every level of business and society. I think it is critically important that America really Àies the Àag for new freedoms that allow new ways of inventing the future and new ways of designing opportunities to create in a way that will inspire the rest of the world.”

Gallop says that parts of the entertainment industry are too stuck in the past and that fundamental change is required. “You cannot build a rational argument, the music industry thing of saying it’s stealing — that doesn’t work. You’ve got to be a lot cleverer and emotionally appealing, and you do that by redesigning yourselves in a way that makes people see the total sense of what you’re saying. When you are mired in the old world order industry it’s incredibly hard to see a way to the future.”

The apparent unpopularity of SOPA with many members of the general public has prompted suggestions that the case against ¿le-sharing has not been set out clearly enough. Michael Shepard, the president of Thunderbird Films in Vancouver, Canada, says that content rights holders need to get more serious about enforcing copyright protection: “Whether that’s through prosecution and/or legislation I don’t know, but we have to educate consumers that what seems like a harmless act is actually costing millions. And I don’t mean that some big media conglomerate loses a bit off the bottom line.

“Piracy impacts every aspect of the free market system and if you ask consumers if they’d be happy doing their job for free, maybe then they’d understand the consequences of ‘just downloading’ or ‘just sharing’ copyrighted material illegally,” Shepard says.

In the music world numerous studies have concluded that ¿le sharing does displace sales, but with movies and TV there has been less hard evidence of the scale of potential ¿nancial losses. However a recent report (Reel Piracy: The Effect Of Online Piracy On International Box Of¿ce Sales) attempted to determine whether piracy, in particular movie downloading via BitTorrent, depressed international movie box of¿ce revenue.

It found a signi¿cant correlation between delayed release dates outside of the US and an increase in illegal

It’s still about good storytelling, making compelling entertainment content Michael Shepard

downloads. In one sample alone, observing just sixteen countries, the estimated actual losses to the movie industry were $240m (€184m), which scales up to nearer a billion dollars when taking into account the entire global box of¿ce.

This might explain the move towards near simultaneous releases of some high-pro¿le TV series. ABC’s The River, for example, became available in the UK on iTunes the day after its US premier. In another paper Danaher investigated what happened when one studio’s content was removed from iTunes — there was an 11.4% increase in demand for that content via non-legal means. It appears that piracy is not just about getting something for free but also about availability and convenience.

“We have a cultural problem in that there’s a generation of people growing up that are expecting to have anything and everything they want at their ¿ngertips immediately,” says Paul Cohen, commercial director, Hat Trick International, recalling having to wait six months to a year as a child to see a ¿lm after it was released. “Now, if you don’t get it out there into your major markets quickly, then if it’s a big show and people want it, they’ll go and ¿nd it anyway.”

Cohen says that traditionally arrangements under the terms of trade with certain broadcasters have prohibited selling a series until the whole series has aired with the original broadcaster, but efforts are increasingly being made to shorten that window.

“It’s the opposite of the Field Of Dreams philosophy really,” says Thunderbird’s Shepard. “Consumers are going to the internet for video entertainment in staggering numbers so if we want to continue to be relevant to consumers, we’d better ¿gure out how to monetise our online content offer and, perhaps more importantly, make it more attractive to consumers than the pirated material that is free.”

With more than 20 million streaming subscribers, NetÀix might then be considered a perfect example of a potential solution to the problem of illegal ¿le-sharing. “People go to piracy when they can’t get something they want,” says Steve Swasey, vice-president, corporate communications, at NetÀix. “There’s this perception that the internet is free and that perception has to change because obviously content producers should be paid for their production.”

By offering online consumers a legal, user-friendly way of accessing content, NetÀix believes it can help in the ¿ght against piracy and make money for the studios, the networks and independent ¿lm-makers. “It gives people an alternative to pirated content. They’re willing to pay

Hat Trick International’s Paul Cohen

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feature People go to piracy when they can’t get something they want Steve Swasey

The future has only ever happened because certain visionary individuals have seen the ways to design it Cindy Gallup

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for it, when it’s a low price and a great service and an abundance of content,” Swasey says. “Now we don’t have everything and we never will have everything but we have a lot more than was available on the internet before NetÀix started doing this. When you give people a great service at a low price, piracy is thwarted — or at least, it’s diminished.”

There’s certainly evidence to support that argument, not least from NetÀix itself. In Canada, when NetÀix launched in 2010, media downloading was dominated by bitTorrent. By the summer of 2011 however, NetÀix had reached one million subscribers and had 10% penetration of broadband households. At that point NetÀix eclipsed bitTorrent as the top provider of media consumed over the internet.

So do traditional media companies need to reinvent themselves for the digital age? Thunderbird’s Shepard thinks not. “It’s still about good storytelling, making compelling entertainment content, distributing that content to the masses. I think maybe it’s more of a need to open their minds and their eyes as to how and where today’s generation of consumers is engaging with the content.”

Shepherd says that rather than wholesale transformations, some judicious tweaking of current business models may be all that’s required. “We’ve seen music adapt, newspapers and magazines are shifting to online platforms.

It’s a period of tremendous growth and change and to remain relevant, those traditional media companies have to adapt, but I think their core business remains the same.”

Hat Trick’s Cohen agrees that a full-scale shake-up is not required, but warns that the problem of piracy is the extent of it, and the cost of managing it. “Take YouTube. Trying to manage that is now almost impossible for a company of our size — and that’s at the more legitimate end of things.

What we have done in the past with a couple of key shows is experiment with companies that provide a service to take down ¿le-sharing and effectively police the internet for us. That’s very expensive — for a small company it’s quite challenging to spend that amount of money on something where you don’t really know the cost bene¿t.”

“Copyright is technology’s child,” says Cohen, pointing out that before the printing press there was no need for copyright. “This is not something that’s new, and copyright has always had to struggle with technological advancements. It doesn’t always get it right, and it’s a complex web across different individual jurisdictions, but copyright needs to play its part in protecting intellectual property the same as trademarks and patents do.”

Copyright law will no doubt have a role, as will SOPA or its replacement. But Cindy Gallop says that ultimately the industry has to create its own future. “This is an issue that will keep recurring until both sides redesign themselves in a way that means nobody needs to worry about it. Everybody’s scared. It doesn’t matter how big you are, what your net worth is, nobody knows what the future is. There is a new world order if you make it happen.

“Decide what you want the future to be and make it happen. That’s the only way the future has ever happened. That’s what Steve Jobs did with Apple. That’s what Einstein and Newton did. They said we’re going to understand these forces so we can use them to create a new future for mankind. The future has only ever happened because certain visionary individuals have seen the ways to design it.”

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feature TV DRAMA

Small screen, big ambitions

As gala screening events at recent editions of MIPTV and MIPCOM have proved, the barriers between TV and cinema are no more. Cinema talent that once would not even consider the small screen is finding a creative haven in TV. Julian Newby lines up an A-list cast to ask ‘What’s going on?’

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Parade’s End, a five-part adaptation of novels by Ford Maddox Ford

When something comes out of my computer I am convinced that it’s the worst thing ever written Tim Kring

Y

OU COULD be forgiven for confusing the last few MIPs with another Cannes event

— the May Film Festival, the biggest in the world. Because in the past few years MIPTV and MIPCOM have hosted big screen talent the likes of which would not look out of place in Cannes in May. Robert Redford, Werner Herzog, Tom Stoppard, Shirley Maclaine, Kiefer Sutherland, Bill Pullman, Ashley Judd, Joseph Fiennes, Eva Green… and the list gets longer. Among the cinema talent celebrated in Cannes this week include Lord Fellowes — Julian Fellowes — who wrote the screenplays for 2001’s Gosford Park and 2010’s The Tourist, and Jane Campion, multiple award-winning director of 1993’s The Piano and 2009’s Bright Star, to name just two of her many acclaimed theatrical ¿lms.

Stars of Fellowes’ Titantic, and production talent from Campion’s Top Of The Lake, are at MIPTV this year for a gala screening and a co-production panel, respectively, reinforcing the importance of the mutual respect and dependency that exists between cinema and television today.

Another series in high pro¿le in Cannes this week is the eight-part thriller World Without End, the sequel — give or take 200 years — to the 12th-centrury drama Pillars Of The Earth from Tandem Communications and Scott Free. The series, shot at Korda Studios in Hungary, is littered with cinema talent, not least executive producer Sir Ridley Scott. “Film and television are coming closer and closer together.

They’re all ¿lms. A ¿lm is a ¿lm is a ¿lm. And the fact that you’re doing eight hours, eight shows — well that’s eight movies really. There’s no difference,” Scott told MIPTV News. “They just have different outlets and, you know, in certain countries you’ll have more exposure in one night through TV than any ¿lm might get. And there’s a real revenue payback there which is healthy. That turns the world round and makes it work.”

Scott began his career in television and remembers a time when the medium carried a stigma. “Once you’d done television you’d never get into ¿lm. Now, that really doesn’t matter, so actors are moving between ¿lm and television and adjusting according to what the budget is, what their fee expectation is… but in fact they don’t care. I think what’s important about people from my side of the business — which is creative — what’s important is to work, because that’s you’re lifeblood. Your creative output is your lifeblood.”

Actor Kiefer Sutherland, — in Cannes for MIPCOM last year to launch his next hard-hitting Fox TV series Touch — echoes Ridley Scott’s point.

“When my father was working (exclusively in movies), if you did television, it was over. You would never do features again. That’s all based on this (points to an iPhone), and cable and HBO. When I was 17-years-old and I wanted to see Paul Newman in a movie, I would have to stand in line to watch Paul Newman in a movie.

I turn on the cable now and I can ¿nd Paul Newman in three different spots, at home. Same with Tom Cruise, same with whatever big marquee star there is. So that line got blurred.”

Sutherland adds: “Then you’ve got an industry that stopped making $20m movies. And instead of making

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feature

STOPPARD ON PARADE SIR TOM Stoppard says he would never visit the sets of his movies, but Parade’s End has changed that habit.

“I’ve never gone to the shoot of a movie. I’ve done the occasional tourist visit — but I’ve barely ever been there for the shoot. With Brazil (Terry Gilliam, 1985) I went for one day because I was hoping to at least see Robert De Niro. As he had a balaclava on I’m not sure I ever did. With Shakespeare In Love — one day maybe two at the most.

“To indicate the difference in my attitude, with Parade’s End I went on location every day I possibly could, even when the location was Belgium which it was for several weeks. I must have gone to Belgium six times. I really resented missing a day’s shooting. I wanted to be there. It shot for 84 days and I think I must have been there for 40 or more of those days.”

50 movies a year they started making 15 movies a year, at $150m, and everything became high-concept, and all of a sudden all the ¿lms I wanted to watch — Terms Of Endearment, Ordinary People, Cutter’s Way, The Godfather — those ¿lms evaporated and they became The Sopranos, ER, Heroes, 24, The Wire, and that’s where I was getting my ¿x as a viewer. And in all fairness I was very lucky to have landed in 24 when I did, because it was literally after the success of 24 that you started seeing unbelievable actors — Nick Nolte, Dustin Hoffman, for example — crossing that line.”

Ridley Scott: “When you get something that’s as original in its thinking as The Sopranos, and the quality of someone like (Sopranos creator) David Chase and his whole backup team, television takes a quantum leap in terms of its evolution of story and character, and it’s not all the usual suspects.” He adds: ”I cast my leading girl for Prometheus [Scott’s next theatrical ¿lm] from watching Scandinavian television. Actually it wasn’t television, but it was a television budget — it was a three- or four-million dollar ¿lm called The Girl With The Dragon Tattoo. So I sat and watched that thing and thought ‘Who the hell is that?’ and I cast her (Noomi Rapace) immediately in Prometheus … so everything is now mixing into this one big pot, which is very healthy.“ He adds: “It’s all about the story. I keep saying this. The hardest thing to do is to get it all on paper.

Once you get it on paper, it’s then budgetable, and it’s then designable to focus it into what kind of target you’re going for. It’s all about that.”

A further sign of the synergy — or blurring of the lines — between ¿lm and television was the presence of Miramax at MIPCOM for the ¿rst time last year. Actor Rob Lowe, creative advisor to Miramax, made his name in the movies — and re-made his name in television, in possibly the most important role of his career — Sam Seaborn in US drama The West Wing, created

by Aaron Sorkin and broadcast on NBC between 1999 and 2006. “The West Wing changed a lot,” Lowe says.

“Both Billy Petersen of CSI and Kiefer Sutherland of 24 say they got into television when they saw that I made the jump into West Wing, and those are massive, massive iconic roles for them, and iconic shows — arguably the best thing either one of them has ever done.

And they made more money than they have ever made.

“I was talking to a gigantic executive, longtime CEO of a ¿lm company, and he said, ‘We’re not in the movie business and we haven’t been for a long time. We’re in the ancillary business of rights and theme parks, all of the other revenue streams. So the minute that ethos changed from ‘Is it a good movie?’ to ‘How many revenue streams will it drive?’, that’s the minute the writers began to Àee. I say that without a pejorative because it is what it is. I think it’s a great thing because it opens a niche for us, which is that with the right ¿ nancial discipline, you can just do a movie if it’s good. If you made a list in the studios, with boxes to tick on whether you make a movie or not — and sounds like I’m being a prick — but ‘Can it be a good movie?’ I bet is not in the top three.”

Prolific playwright and Oscar-winning movie screenplay writer Sir Tom Stoppard is no stranger to TV — and pre-empted the current trend by having happily switched between stage, TV and theatrical

Sir Ridley Scott

cinema throughout his career.

At MIPCOM 2011 he launched Parade’s End, his ¿vepart adaptation of the acclaimed First Word War set of four novels by Ford Maddox Ford, produced by Stoppard’s Ridley Scott Shakespeare In Love collaborator David Par¿tt. Stoppard told the MIPTV News how television can be a liberating experience for a writer.

“There are a number of attractions in writing for television,” he says.” First, I would hate to have to write a movie of Parade’s End, and to know that I have a maximum of two hours to tell the story. So I like the whole thing of doing something where you’ve got ¿ve hours — and even that was my choice. I think if I’d said six to them they wouldn’t have said ‘No way!’.”

Stoppard says he enjoys the autonomy enjoyed by the writer in television, although he concedes that writers in television aren’t as autonomous as they were when he “was a young man”.

“When I ¿rst wrote for television — and it was a long time ago – Professional Foul was 1977 which was 35 years ago. (It was in colour by the way!) The organism was so simple then. There was a producer, a director and a writer, just this little nucleus of people. I don’t remember ever getting notes — or even a note in the singular. You might mess around with it in an informal way, but the whole thing of receiving a lot of notes typed out, I associate that with movies. And it’s much more the case with movies. So the distinction between writing for ¿lm and writing for television isn’t quite what it was. But I am quite comfortable with it.”

Producer David Par¿tt (Shakespeare In Love, My Week With Marilyn) says there are “too many executives” in cinema. “It’s about ¿nance really,” he says. “If you have a situation where you can self-fund development,it’s

It’s all about the story. The hardest thing to do is to get it all on paper

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Kiefer Sutherland of 24 said he got into television when he saw that I made the jump into West Wing Rob Lowe

Lord Fellowes on the set of Titanic

a much smother process, because otherwise you are trying to please different masters all the time. And in fact on My Week With Marilyn, which we have just done, that was really very straightforward because we didn’t attract ¿ nanciers until we went into prep. So BBC Films were with us from the beginning, and in fact we pretty much did it in one draft. The Weinstein’s only came in about two months before we started prep and they came in on the basis of that script. But I have done it the other way where you get endless development, and things eventually get lost in the notes.”

Stoppard says he wrote Parade’s End as though it was his own. “I was thinking of it as a play. I felt the kind of attachment and identity with Parade’s End — a sort of possessiveness about it and a protection towards it — which I only normally feel with my own plays. It’s partly because the novel doesn’t lend itself easily to a series of dramatic scenes which fall nicely, and build nicely, and turn corners nicely. Not at all. It’s a marvellous novel, but I had to invent a huge amount of stuff in order to contain what Ford Maddox Ford was describing. So I feel, still now, a degree of authorship and I’m really glad I did it — and it was kind of at the expense of having written another play by now.”

Keifer Sutherland recalls working with now Oscarwinning writer (for The Social Network) Aaron Sorkin. “Aaron’s situation is kind of interesting because I was working with him on A Few Good Men (1992) and he was writing American President (1995) at the time, and he just enjoyed it. It’s what he likes to talk about — he really wrote something that was in his wheelhouse and it was his dinner conversation and it was what he wanted to do. And for him it just wasn’t enough to write the two-hour screenplay. He had so much more that he wanted to say (Sorkin went on to create The West Wing) and I’m glad that people are

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There are a number of attractions in writing for television Sir Tom Stoppard actually realising that that’s why writers are coming into television. Because by the same token, the lucrative potential ¿nancially is massive compared to $1m for a screenplay which itself is quite high. I think a lot of people were looking over at us and asking, ‘What are they making over there?’.”

And Sutherland believes that with the right relationship with the writer/showrunner, actors can contribute to the shape of the show — or at least their own characters. “When the storyline on 24 was getting a bit Knotts Landing-ish I would say something,” Sutherland says.

“It didn’t mean I would always get my way; for the most part Howard (Gordon) wrote that show, and he was very kind to give me license. If there was an easier way for me to say something, or if there was any aspect which I thought, after playing Jack Bauer for six years, he could expand upon, I would say so. In the end though, in the ¿lm industry you work for a director and in the television industry you work for a writer. And I believe in those boundaries and I respect them. Otherwise the wheels fall off and nobody knows who to go to.”

Heroes Creator Kring enjoys such collaboration. “Nobody knows a character as well as the actor who is

Jenny Agutter as Sister Julienne in Call The Midwife

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feature playing the character,” he says. “It’s part of their job more than anything it’s the overall project that’s inteto be the gatekeeper of that character, the protector resting,” she says. “You know when a certain director of that character.” He adds: “I have a very different or a certain producer — or a certain company — is relationship with actors than most producers have. I doing something and you know they have a good repulove the collaborative process. When something comes tation, you want to go with them. out of my computer I am convinced that it’s the worst No stranger to movies — her notable roles being the thing ever written, and I’m waiting for somebody’s Railway Children (1970), Walkabout (1971), Logan’s feedback. I need that feedback. It’s not gold until we Run (1976) and An American Werewolf In London (1981) — Agutter says she has watched actors in longmake it gold.”

We are undoubtedly in a golden period of television running TV series and enjoys seeing them grow in their drama, and it’s possible to stereotype the output from roles. “You get interesting actors like Kiefer Sutherland some territories around the world: from mainland and you can see that they do develop their characters as Europe we are seeing historical epics (World Without the series goes on. And you get people who kind of sit End; Borgias); from Scandinavia we are seeing dark back in their roles and actually become the character criminal sagas (Borgen, The Killing) and from the UK they are supposed to be playing. In a series you can we are seeing a resurgence in period costume dramas actually invest more and more in the character.

— including big sellers Upstairs Downstairs, Down- “I remember being Tessa in (long-running BBC spy seton Abbey, and most recently Parade’s End and Call ries) Spooks — I got to the third year and then didn’t go The Midwife, a drama series set in London’s East End on with it after that. But I was always kind of asking ‘Is she actually good or bad?’ And during the 1950s, based on the there was something good about memoirs of Jennifer Worth. Call having to keep asking that quesThe Midwife has out-shone toption, because I sort of always rated Upstairs Downstairs and wanted an indication from the Downton Abbey, peaking on producers, but they always said the BBC’s mainstream channel ‘Well… you know…?’ And the BBC1 with an audience of 11 fact is you don’t know, until million in February of this year. someone dies actually. You ulActress Jenny Agutter, who timately look at someone’s life plays the supporting role of nun and it might have had a detriSister Julienne, says the role mental effect and it might have came from nowhere and that’s had a good effect. It was so odd. usually how she likes them. “The Kiefer Sutherland We were parallel with 24. But things that come out of left-¿eld boy we were on a tight budget.” are always extraordinary. I think

When the storyline on 24 was getting a bit Knotts Landing-ish I would say something

Tim Kring and Kiefer Sutherland

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