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Tuesday 9 April 2013 www.miptv.com ANTHONY E ZUIKER
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Anthony E Zuiker gave a Media Mastermind Keynote yesterday before accepting his Pioneer Prize at the International Digital Emmy Awards ceremony during MIPTV’s Opening Night Party
ONLINE SCREENINGS
26 MIPTV and YouTube launched the inaugural Original Online Content Screenings yesterday, highlighting successful examples of YouTube channels from around the world
TIM KRING The creator of cult series Heroes explores his career from journeyman storyteller to multiplatform visionary
14 CO-PRODUCTION SUMMIT
12 We report from yesterday’s International Drama Co-Production Summit which brought together over 60 producers and broadcasters from around the world. MIPTV presents a series of co-production case studies throughout today
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Contents IN PICTURES 10 Opening Night Party Stars walk the red carpet (p10) and, below, the 50th anniversary fireworks display, courtesy of the City of Cannes
Conference & Events Programme
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Full programme, including keynotes, screenings, case studies and competitions
FEATURES 83 CONTENT FINANCE New approaches to financing production are creating a new kind of producer
83 91 ADVERTISING Eyeballs are everywhere these days and advertising is changing as a result
NEWS 12 Including: reports from MIPCube, MIPTV conferences and keynotes; star interviews; MIPTV deals; and news of MIPTV events
PRODUCT NEWS 52 Content for sale in Cannes
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The official MIPTV daily newspaper Tuesday 9 April 2013
91 The MIPTV Newsroom is located in the Gare Maritime (registration area)
Director of Publications Paul Zilk Director of Communication Mike Williams EDITORIAL DEPARTMENT Editor in Chief Julian Newby Sub Editors Neil Crossley, Sarah Kovanzich Deputy Editor Debbie Lincoln Contributors Ben Cooper, Andy Fry, Juliana Koranteng, Max Leonard, Rachel Murrell, Gary Smith, Joanna Stephens, Chris White Editorial Assistant Hannah Stephens Editorial Management Boutique Editions Technical Editor in Chief Herve Traisnel Deputy Technical Editor in Chief Frederic Beauseigneur Graphic Designers Muriel Betrancourt, Veronique Duthille, Carole Peres Head of Photographers Yann Coatsaliou / 360 Media Photographers Christian Alminana, Olivier Houeix, Michel Johner, Yohann Mortier. 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). ADVERTISING CONTACT IN CANNES Christine Mendes: tel.: +33 (0)1 79 71 99 89
Reed MIDEM, a joint stock company (SAS), with a capital of €310.000, 662 003 557 R.C.S. NANTERRE, having offices located at 27-33 Quai Alphonse Le Gallo - 92100 BOULOGNE-BILLANCOURT (FRANCE), VAT number FR91 662 003 557. Contents © 2013, Reed MIDEM Market Publications. Publication registered 2nd quarter 2013. ISSN 19675178. Printed on 50% recycled paper
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in pictures
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Felix Baumgartner with Reed MIDEM’s Paul Zilk
Opening Night Party entertainment Les Fantastiques
US comedian Steve Harvey with his wife Marjorie
Stars of La Source, Christophe Lambert and Clotilde Courau
Da Vinci’s Demons stars Blake Ritson, Tom Riley (Leonardo da Vinci) Laura Haddock and Lara Pulver
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Star of French series Odyssey Caterina Murino
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DIGITAL EMMY AWARD NOMINEES THE 2013 International Digital Emmy Awards Nominee Medal Ceremony was held yesterday, with Bruce Paisner, president and CEO of The International Academy of Television Arts and Sciences, presenting the digital nominees in each category. Winners were then presented with their Emmys at The International Digital Emmy Awards ceremony, sponsored by the Bell Fund of Canada, last night at the Martinez hotel (see tomorrow’s MIPTV News). The 12 nominees in three categories were: Dirtgirlworld… Dig It All — mememe productions/ dirtgirlworld productions/ Screen Australia, Australia; Jongo Love — Well Told Story, Kenya; Malhacao TV Orelha (Young Hearts) — TV Globo, Brazil; Web vs. Celebrity (Web vs. Promi) — ZDF tivi, Germany; Amor Eterno Amor (Investigation News) — TV Globo, Brazil; Guidestones — 3 o’clock.tv/ iThentic, Canada; The Spiral — Caviar/VRT/SVT/NRK/ VARA/YLE/TV3/ARTE/Casa Kafka Pictures, Belgium; Temps Mort 3 (Time Out 3) — Societe Radio-Canada/ Productions Babel/TOU.TV, Canada; All Connected — New Sock/Channel 10 (Uruguay), Argentina; Entertainment Experience — FCCE/Ziggo, The Netherlands; The Great British Property Scandal — Tiger Aspect/The Project Factory/MySociety/Channel 4, UK; Supermodelme — Refinery Media/Tigergate/ Mediacorp Channel 5, Singapore.
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MIPTV announces Argentina as MIPCOM Country Of Honour HIS October will see Argentina take the prestigious role of MIPCOM 2013 Country Of Honour, it was announced at MIPTV yesterday. This will be the first time that a Latin American country has been chosen as Country Of Honour for the event. MIPCOM will be organising a dedicated focus on Argentina’s vibrant television, film and digital media industries, featuring a wide-ranging programme of high-level conferences, screening showcases, co-production matchmaking, and Argentine-themed networking events. Liliana Mazure, president of the Argentine National Film Board, INCAA (Instituto Nacional de Cine y Artes Audiovisuales), said that since the introduction of the Ley de Servicios de Comunicacion Audiovisual (audiovisual legislation): “Argentina’s pro-
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Liliana Mazure and Reed MIDEM’s Paul Zilk at the signing ceremony to mark the official agreement
duction sector has been growing rapidly, putting out around 1,000 hours of content each year, and is increasingly finding windows for its shows around the world — partly thanks to events like MIPTV and MIPCOM, and partly due to a concerted effort by trade delegations who are currently undertaking five missions per year.”
The Argentina stand at MIPTV is the biggest ever, but Mazure is confident that the representation at MIPCOM will be significantly bigger. “INCAA has over 600 active members and we are expecting around 200 companies to take the opportunity to be at MIPCOM 2013.”
Like minds meet at Co-pro Summit YESTERDAY saw 60 leading industry figures attend the International Drama Co-production Summit, a unique opportunity to discuss scripted TV trends, identify emerging opportunities and connect with co-pro partners. Held in the Majestic hotel, it saw producers, broadcasters and distributors share their experiences and expertise in a two-hour workshop. The BBC’s controller of drama commissioning, Ben Stephenson, summed up the mood of participants when he said: “I don’t know of one hit drama which doesn’t have a writer’s vision behind it. Drama co-production may be about compromise, but you can’t compromise on the heart of the piece.” Ta ndem Com mu n icat ions’ president Rola Bauer agreed, adding that there were “a lot of like-minded people in the room.
There was a real understanding of the need to be open and receptive. Whether it’s the network voice or the creative voice, it’s essential that everyone be respectful and listen to each other.” Speaking to MIPTV News at the end of the invitation-only session, ITV Studios Global Entertainment managing director Maria Kyriacou said: “The lineup of experience in the room was phenomenal. There was so much knowledge and expertise, all of it based on concrete examples of successful co-productions.” Muse Entertainment president Michael Prupas said: “You hardly ever get an opportunity to talk to so many quality participants in a single session. It was a great way to sensitise participants to the different styles and approaches around the world.” For HBO Europe executive president original programming and
Delegates get down to business at the International Drama Co-production Summit
production, Antony Root, the beauty of the summit was that it “allowed you to spend time with people you half know, to get a sense of who has similar creative instincts and might be a future partner”.
Dramedy, 8 x 45‘ www.redarrowinternational.tv sales@redarrowinternational.tv
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ZUIKER BLAZES NEW TRAILS ANTHONY E Zuiker may have given rise to the most watched TV franchise in the world, when he created CSI, but he certainly isn’t resting on his laurels. At his interview in the Grand Auditorium yesterday, he was keen to talk about fresh and upcoming projects. “I’m always trying to do things that are surprising and trailblazing,” he explained. “It’s what keeps me excited about this business.” Cybergeddon, a (10 x 9 mins/1 x 90 mins) crime thriller is a case in point. Funded by internet security firm Symantec to promote its Norton antivirus software, it premiered online in September last year. Symantec played a key role in ensuring the technology within the series was authentic, drawing on its research and including a character from Norton in the plot. “For the same amount of money as a 30-second ad spot in CSI, Symantec, got a 90-minute motion picture, brand integration, and online shelf-life,” Zuiker said. “It’s a simple example of how brands can come into storytelling and get big-time mileage.” Upcoming productions from his company Dare to Pass include Whodunnit?, a reality-mystery show where amateur sleuths compete to solve pretend murders, which will air on ABC this summer; and Wonderland, a drama pilot in production for NBC that offers a new spin on Alice in Wonderland, being based, as Zuiker explained, on a 19-year-old woman from Detroit.
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How Kevin’s Kombat tribute went big time from online
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HERE IS a flood coming and I am offering you a place on the ark,” said one of the characters in a clip from Mortal Kombat: Legacy screened at yesterday’s MIPCube session on Building A Split-Screen Blockbuster. The words could easily have summed up the career of the Warner Bros. project’s director and producer Kevin Tancharoen, and the revolutionary changes in video-entertainment production it represents. As a frustrated music-video dance choreographer in 2010, he had hoped his online 10-minute film based on the Mortal Kombat game would help when pitching action-movie ideas. “When (rights owner) Warner Bros. called, I thought they were going to sue,” he said. Instead, he admitted, he inadvertently spawned a new online-to-cinema video-making art form. An impressed Warner Bros. Digital Distribution got him making the first Mortal Kombat: Legacy web series, which triggered 65
Kevin Tancharoen
million views and was 2011’s most viewed YouTube series. An equally successful second series followed and now there is a feature movie in the pipeline. “Every director wants to make a movie and that was my goal from the start. This experience is an amazing example of how you put something online and see it evolve,” Tancharoen added. “I’m also learning how a web series can be the commercial for a big-
ger idea because it has a fan base that will go and see it on a larger screen.” Lance Sloane, Warner Bros. Digital Distribution’s head of digital programming and development, recounted how Tancharoen’s original 10-minute film impressed the studio’s executives. “We had organic enthusiasm because Warner Bros. saw the power of the (digital) platform. The web series is the new cable.”
Kring explores two-way storytelling TIM KRING, creator of cult series Heroes and Touch, is in Cannes to deliver a Media Mastermind Keynote — Redefining TV With Tim Kring — and launch a new show called The Drake Equation. He told MIPTV News that the keynote would “explore the arc of my career from a journeyman storyteller to someone who focuses more on the potential for twoway communication with audiences across multiple platforms”. Kring started going down this route with Heroes, by enabling online audiences to share ideas and co-create content based on the TV series. “You have to
Tim Kring
think carefully about how much you want to allow the audience to get involved. But there are some situations where you can hand
over the car keys to the audience — and allow them to bring their own contribution to storytelling.” Typically, Kring works with his own ideas. But this MIPTV sees him launching The Drake Equation, a multiplatform project devised by the UK’s Pure Grass Films which now has producer/ distributor Sonar Entertainment on board: “What I really like is that it’s an alien invasion story where you don’t see the aliens. It’s about the human reaction, which we explore from a range of perspectives in different parts of the world. It has the tone of a paranoid psychological thriller.”
Thriller, 2 x 90‘ www.redarrowinternational.tv sales@redarrowinternational.tv
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‘PREPARE THE WAY FOR 4K’ A MIPCube Innovation Seminar on the future of television yesterday urged producers to get ready for the 4K revolution. Called 4K:Tomorrow’s TV, in partnership with Sony, and moderated by UK industry consultant Chris Forrester, the panel of speakers concluded that 4K’s higher Ultra-HD resolution image format would soon have an impact on the broadcast sector. Until now, it is filmmakers that have been shooting in 4K. “But there is now tangible evidence that broadcasters have 4K transmission in their sights,” Forrester said. On the panel were UK-based VMI.TV managing director Barry Bassett, Berti Kropac, Germany-based director of photography and founder, Kropac Media, and Thomas Morrod, UK-based senior director of consumer electronics and media technology at research group, IHS Global. Kropac, who has been shooting in 4K, said the technology was now in place for broadcasters. But he advised the industry that some issues still needed to be fixed. For example, the digital storage of 4K footage “is still expensive”. Also, in terms of packaged media such as Blu-ray, a standard has yet to be finalised. From the panel debate, it was clear that 4K technology would take a while before going mainstream. That should not prevent content makers from starting to produce with 4K channels and display screens in mind, the panelists said.
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2013 will be a game-changing year predicts Fox 21 president ROADCASTING is going through a “watermark year for change” as a wave of hit cable shows continue to break the mould, a leading executive has said. Speaking at a press conference held on the first day of MIPTV, Fox 21 president Bert Salke said that 2013 would be a gamechanging year with shows such as the hugely popular drama Homeland breaking new ground in the way they are written and produced. Salke said: “Homeland and the effects of the show on the broadcast industry is the TV story of 2013. The world is influencing the US and it’s all changing so rapidly.” Homeland, which swept the board at last year’s Emmy Awards, was based on Israeli drama Prisoners Of War, a gripping story of life for POWs returning from captivity. Prisoners Of War was written and directed by Gideon Raff, who took a writing and executive
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Fox 21 president Bert Salke
producer role on Homeland after it was picked up by Fox 21 for the US audience. Praising Raff’s creation, Salke, who also spoke at a keynote session on Monday afternoon, said that Homeland and Prisoners Of War had become a “global phenomenon”. “We engaged with it as soon as we heard about it,” he said. “It’s such powerful material. I’ve never seen
a show that, from the very first moment to when it won the Emmy, it was a perfect experience.” Salke also discussed Fox 21’s latest project, Tyrant, the story of an American family that finds itself embroiled in Middle Eastern politics. He confirmed that Ang Lee had been booked to direct the pilot with shooting due to begin in Morocco in the near future.
Turner Laing hails new golden age HIGH-end original drama will spearhead the next stage of Sky’s growth, said managing director of content Sophie Turner Laing in her keynote speech on Monday. “You can give viewers all the technology you want,” she said. “But unless you back it up with high quality content that people want to watch, you are never going to drive usage.” Turner Laing — who will this week receive a MIPTV Medaille d’Honneur in recognition of her outstanding contribution to the international television business — used her speech to announce a major new drama commission for Sky Atlantic. Fortitude, a 13-part crime series written by Simon Donald, will be produced by the
Sky’s Sophie Turner Laing
British indie Fifty Fathoms, and co-produced with Starz. “I genuinely believe that this is yet another golden age of television,” she said. “There are great shows. People are watching more
TV than ever. Why? Because content affects our emotions.” “From a standing start, we’ve brought 23 new comedy series to screen — over half of which have already been recommissioned — and announced 70 news hours of new drama, including season three of Mad Dogs and now Fortitude.” She ended with an appeal to delegates to recognise the primacy of content. “Let’s spend the precious time we have here together this week discussing the shows, not the pipes,” said Turner Laing. “New technology can open up fantastic new opportunities. But it’s the art of storytelling that engages and enthralls audiences.”
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Pictured at the presentation ceremony: Roger Deshayes (left), Bernard Chevry and Reiner Moritz
MIPTV has paid tribute to its founding father, Bernard Chevry, presenting him with a special Jubilee Award to mark its 50th anniversary. Half a century after his vision for an international television industry market based in France became a reality, he and two MIPTV veterans, producers Reiner Moritz and Roger Deshayes, were presented with their medals by Reed MIDEM’s Paul Zilk, at a ceremony in the Palais. But for a twist of fate, yesterday’s ceremony could have taken place in the city of Lyon, where the first MIPTV was staged in 1963. Cannes became the market’s home two years later, after the then mayor of Lyon revealed, at an end of market dinner, that he’d been unimpressed by the event. Reiner Moritz remembered: “He turned to me during the course of the evening and, pointing to the 200 delegates, he said: ‘Do you know, I don’t think television has a future.’ And that is why Lyon lost MIP.”
Starz happy to make history with Gregory’s White Queen OR AN English king to marry a commoner for love generates headlines even today — step forward Prince William and Kate Middleton. But back in 1464, at the height of England’s Wars of the Roses, it was so far removed from the natural order as to be almost unimaginable. Yet this was what happened when Edward IV fell in love and secretly married Elizabeth Woodville, said to be the most beautiful woman in England. And what’s more, the handsome young king met and married her within six weeks. This is the starting point of The White Queen, an original scripted
drama brought to MIPTV by Starz, which acquired the distribution rights from All3Media. The 10-episode series is based on a trilogy of novels by award-winning novelist Philippa Gregory (The Other Boleyn Girl), who is at MIPTV with actor Max Irons to help promote “a powerful story about English history that most people don’t know”. At the heart of The White Queen are three extraordinary women: Elizabeth Woodville (Rebecca Ferguson), Margaret Beaufort (Amanda Hale) and Anne Neville (Faye Marsay). “I think a lot of people will be startled to find such strong, heroic
women in a period in which women were largely invisible,” said Gregory, who took 18 months to write and research The White Queen. “You see them plotting and powerbrokering in ways that you don’t see in conventional history, which has been written by men for men.” Max Irons (Red Riding Hood), who plays King Edward IV, said researching the “history and context” of his role had been an enlightening experience. “I realised that holding on to your throne was no mean feat in those days,” he said. “It was a hard period, where everything you did had terrifying political and personal ramifications.”
Crime set to pay for Ed Bernero US SHOWRUNNER Ed Bernero (Criminal Minds; Third Watch) is in Cannes to promote Crossing Lines, a 10 x 60 mins acTandem’s Rola Bauer and showrunner Ed Bernero
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tion-crime series that he developed, wrote and produced with Munich-based producer Tandem Communications. Starring Donald Sutherland and William Fichtner, the show is based around a US cop (Fichtner) who joins an international police unit that investigates cross-border crimes from its HQ in Holland. Other cast mem-
bers include Gabriella Pession, Tom Wlaschiha and Richard Flood. Bernero said he could not believe his luck when Tandem president and founder Rola Bauer proposed the project to him following an introduction in Los Angeles by legal counsel Tom Hoberman. “I’d been trying to get this kind of Europe-based ensemble project off the ground for years. It’s exactly what I was looking for,” he added. Bauer said Crossing Lines is Tandem’s first move into contemporary one-hour crime series — an area in which Tandem’s parent
Philippa Gregory and Max Irons: history in the making
As to what Irons would take away with him from the experience, he said: “I got quite used to walking into a room and everybody bowing. I rather miss that.”
company StudioCanal is keen to expand. “Ed has written a story that is very grounded and accessible,” she added. “Not many writers could have pulled it off.” Crossing Lines is one of a new breed of scripted series devised outside the US studio system by piecing together international finance. That, Bernero said, “has been a very freeing experience and explains why a growing number of US showrunners are attracted to this approach”. TF1 is a co-producer on Crossing Lines and NBC, RAI and Sat1 have acquired rights to season one. Bauer said a second season is in development, with shooting slated for later this year.
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Junko Ogawa from the Japanese Broadcasting Corporation (NHK) and Yukiko Kimishima of the Nippon Television Network Corporation (NTV)
Japanese broadcasters mark major anniversary May La Source be with you — Lambert mini-series launched
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a Source, the latest miniseries from France Televisions, deals with the world of espionage from the point of view of the family behind the spy. The series was directed by Xavier Durringer (The Conquest) and produced by Chabraque Pro-
ductions and Barjac Production, and features Christophe Lambert (John Lacanal), Clotilde Courau (Claire), Flore Bonaventura (Marie) and Edouard Montoute (Kalder). International distribution is through Newen Distribution International Sales.
John McVay, chief executive of Producers Alliance for Cinema and Television (PACT) (left); Lord Inglewood, chairman of the British House of Lords select committee on communications; John Whittingdale, British member of parliament; and Reed MIDEM’s Peter Rhodes, in the Palais to meet British exhibitors at MIPTV.
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TWO OF JAPAN’s biggest broadcasters celebrated 60 years in the business by taking part in the opening ceremony for MIPTV, which itself turns 50 this year. The inauguration ceremony took place on Monday morning, to cut the ribbon and officially kick off the conference. Joining the official inauguration party were the Japanese Broadcasting Corporation (NHK) head of content marketing division Junko Ogawa and Yukiko Kimishima, divisional vice-president, international business development at Nippon Television Network Corporation (NTV). Speaking to MIPTV News Ogawa said: “We are here to meet broadcasters around the world; we have lots of great products to bring to the market. Last year, we got the footage of the giant squid in the deep sea, which we are showing the market at MIPTV.”
NHK held a session as part of MIPDoc on Sunday to screen footage of the giant squid, filmed in the depths of the Pacific Ocean in conjunction with Japan’s National Science Museum and the Discovery Channel. Kimishima said: “We come to MIPTV every year; it’s very important to us and it’s becoming more and more important worldwide. It’s necessary to expand our business and for companies looking for business development.” On Sunday, NTV — the original creator of Dragons’ Den — took part in the Treasure Box Japan workshop, a major session in which eight Japanese broadcasters unveiled a host of new formats to the market. NTV used the opportunity to unveil its new A-HA! Experience format, which challenges contestants’ powers of perception through a series of visual tasks.
years of
Haggling, negotiating, meeting, drinking, smiling, laughing, arguing, agreeing, getting sunburnt over lunch, getting soaked en route to cocktails – watching tv for a living To all at REED MIDEM and to all our wonderful clients, producers, broadcasters and today’s new kids on the block “platform & app creators” – thanks for the MIP memories and all best wishes to you and your businesses for the next 50 years... From ALL3MEDIA International
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celebrates 20th anniversary with new corporate Alexander Coridass, President and CEO of ZDF Enterprises, greeted CSI and “Cybergeddon” creator Anthony E. Zuiker and over 330 guests to the firm’s Sundowner. Coridass also explained the new business structure grouped around four main “genre” pillars: ZDFE.junior, ZDFE.drama, ZDFE.factual and ZDFE.entertainment, each with specialized personnel to manage international projects from the securing of rights to the many facets of sales and distribution. Among the program highlights are the “H2O” spin-off “Mako Mermaids”, the dramedy series “House Husbands”, the docu-series “Last Secrets of the Third Reich” and the refurbished “Wanna Bet?” show format.
Anthony Zuiker and wife MichelleTerrito toast to the international success of "Cybergeddon" with Alexander Coridass (President and CEO ZDF Enterprises), Tasja Abel (VP ZDFE.drama) and Fred Burcksen (COO ZDF Enterprises).
ZDF Enterprises' VP ZDFE.junior Peter Lang with Jessica Schulte (Acquisitions Manager for Universal Pictures Germany) and Jan-Frederik Maul (Manager ZDFE.junior).
RTL's Frank Paffen (Program Acquisitions Manager), Manuela Huhn (VP Acquisitions) and Markus Schmidt (Editor Digital Channels) are having a great time at ZDF Enterprises' Sundowner.
Award-winning producer Jonathan M. Shiff, Kathrin Pietzsch (Director ZDFE.junior), Arne Lohmann (Vice President ZDF.junior) and Nicole Keeb (ZDF's Head of International Coproductions and Acquisitions Children & Youth) are proud of the new series "MAKO MERMAIDS".
Sebastian Krekeler (left, Director ZDFE.drama) and Sarah Eichenlaub (second from right, Manager ZDFE.drama) with Mainstream Networks' Head of Program Planning Christiane Blum, Caes Bacs and COO Tim Werner.
Advertorial
structure and prominent Hollywood guest
ZDF Enterprises' VP ZDFE.entertainment Sylvia Brucker (right) with Studio Hamburg Doclights' CEO Michaela Hummel.
Ralf Rueckauer, ZDF Enterprises' VP ZDFE.factual, with Polyband Medien's Licence Manager Fedor Patrzek.
CSI-creator Anthony Zuiker and ZDF Enterprises’ President and CEO Alexander Coridass explain the concept of Zuiker’s cybercrime series “Cybergeddon” to the Sundowner guests.
Sebastian Krekeler (Director ZDFE.drama) with Paul Borgetto (CEO, Redspider Networks), Catrin Corell (Head of Partner Channel, SKY Deutschland) and Frank Nadzeika (Producer, Medi Cine).
Andrea Roskosch (second from right, Director ZDFE.factual) with Elza Strapkova (Acquisitions Manager, Markiza Slovakia), Eva Dzurovcinova (Senior Acquisition Manager,TV JOJ), Filip Kralovic (Acquisitions Manager, Markiza Slovakia), Katarina Slovakova (Head of Acquisitions, Radio and Television of Slovakia) and Peter Chalupa (Head of Acquisitions, Markiza Slovakia).
Simone Emmelius (VP Content, ZDF.neo), actress Dennenesch Zoudé, German TV and Movie Director Carlo Rola, Wolf Bauer (CEO UFA Film), Manfred Haus-Pflüger (Head of Production Programming, ZDFE.neo) and Regina Ziegler (General Manager Ziegler Film).
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YouTube session showcases the cream of original online content
M Ogilvy’s Olivia Rzepczynski
MASTERCLASS TAKES CREATIVE APPROACH PARTICIPANTS at this morning’s Brands & Content Masterclass should “prepare to use their brains”, according to Olivia Rzepczynski, EAME digital consultant for Ogilvy Advertising. In the course of the threehour session, 100 delegates will be writing a book, to be published online tomorrow, on the top 10 take-away points to emerge from the Ogilvy-sponsored session. Rzepczynski and her colleague, Patou Nuytemans, Ogilvy’s chief digital officer, have been working with Reed MIDEM for the past seven years to “figure out the voice of brands and agencies within television”. Today’s masterclass, hosted by Johanna Frelin of Sweden’s school of creativity Hyper Island, is the latest result of that co-operation. “We’ve done a lot of work to get more major brands down to Cannes,” Rzepczynski said. “Philips, British Airways, Volkswagen and SABMiller are all down here for the first time this year.” She added: “Our aim is to encourage greater collaboration at an earlier stage between brands, broadcasters and producers. Broadcasters want eyeballs. Producers want quality product. And brands want visibility. So our mission today is to identify the points of shared interest.”
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IPTV and YouTube launched the inaugural Original O n l i ne Content Screenings yesterday, a special screening session highlighting successful examples of YouTube channels from around the world, showcasing works by a new generation of creative producers. The event was hosted by Michael Stevens, founder and presenter of Vsauce — YouTube’s most-subscribed science and technology channel. First up was the DJ BBQ (aka Christian Stevenson), Jamie Oliver’s right-hand man on FoodTube, who presented the megastar chef’s channel, followed by make-up artists Sam and Nic Chapman who were showing off their UK make-up tips channel Pixiwoo, which attracts 6.5 million views per month. Tim Shieff, founder of parkour and urban sports channel Flow, hit the stage doing backflips, finishing with a handstand
Michael Stevens of Vsauce presenting the latest from YouTube
on the arm of his speaker chair. Next up was Ponk, a German comedy channel that founder Philip Laude called “a dream that came true”. Three years ago, at McDonald’s in Cannes, he discovered Ponk had become a YouTube content partner. “Now we’re producing some of the best videos in Germany,” he said. “And all we learned about content creation we learned from
community feedback.” French comedy platform Golden Moustache takes video games, media and other pop culture elements, and gives them a twist. Launched just four months ago, as well as being distributed on YouTube and its own website, next week it is starting a show with French channel W9, according to general manager Adrien Labastire.
Goyer tells story of Da Vinci’s Demons AS ARTIST, designer, inventor and scientist, Leonardo da Vinci was one of history’s great multitaskers — and at the MIPTV Creators’ Masterclass yesterday, delegates were able to meet another man of many talents, David S Goyer, who is bringing him to life in the new high-profile television series Da Vinci’s Demons. Produced by Adjacent Productions for Starz Entertainment and distributed by BBC Worldwide, Goyer is not only creator, but also writer, director and executive producer of the series. The project began to take shape about two years ago, Goyer said. Approached by Adjacent to work on a historical project for TV, he revealed his lifelong interest in da Vinci. “I said, ‘What about him?’ and they said, ‘That sounds good’!”
Goyer said his vision would challenge many common perceptions about the Renaissance genius. “He’s not the old, bearded Merlin-like figure he’s become in the public imagination,” he said. “He was arrogant, he was self-destructive, and that usually goes hand-in-hand with people who are geniuses.” Calling it a “historical fantasy”, Goyer said that historians might take issue with the show. “I think we’ve been true to the spirit of the characters and the relationships,” he said. “And then there’s a little bit of invention.” Goyer played a key part in choosing the actors. “I cast everyone,” he said. “The main issue, at least in America, was this discussion over whether to get people who were very well known or not. I argued that da Vinci was the
star… we just wanted to get the best actors.” That involved seeing more than 500 actors for the lead role. “I was worried that we weren’t going to find the right guy,” said Goyer. “Then Tom [Riley] walked in the door and absolutely smashed it, as he might say!” Da Vinci’s Demons was the MIPTV 2013 World Premiere Screening last night.
David S Goyer: challenging common perceptions
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Hincks unveils five-point plan for Endemol and peers to prosper
T The Valley Girl Show’s Jesse Draper: “women should be encouraged to do a lot more in business”
VALLEY GIRL SHOW’S CREATOR IN CANNES JESSE Draper is in Cannes as a MIPCube Lab contest judge and a Women In Tech & Media speaker to share her experience in making the business world more consumer-friendly. “We’re simplifying business and making it accessible to people,” said Draper about online business series The Valley Girl Show, which she created and hosts. The series has a growing reputation for being fun and has been compared to hit US TV-chat programme The Ellen DeGeneres Show. It has attracted a following of high-profile interviewees including Google executive chairman Eric Schmidt and Facebook chief operating officer Sheryl Sandberg. “Business education creates jobs and opportunities, and I want to inspire people to know that anyone can start a business,” Draper said. MIPTV’s MIPCube Lab contest invited media and tech start-ups to pitch business ideas that advance the international TV sector. “As a judge, I was looking for contestants with viable revenue models that would do enough to transform the TV business.” As CEO of her company Valley Girl Inc, Draper has disclosed ambitions to expand The Valley Girl Show to broadcast TV. “I figured out that to stay afloat, you can’t give me anything better than TV revenue because people have yet to master how to monetise the internet,” she said. When asked why participating in the Women In Tech & Media session on Wednesday was important, she replied: “My father, grandfather and great grandfather were investors, and I learned a lot about start-ups growing up. I believe women should be encouraged to do a lot more in business.”
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HESE are changing times for the television industry, with broadcasters and producers alike grappling with the implications of digital trends such as YouTube channels, social media and second-screen apps. But for Tim Hincks, president of Endemol Group, this is exactly why 2013 is an exciting time for the industry. In a MIPTV Media Mastermind keynote yesterday, he outlined his five-point “creative manifesto” for the company and its peers to prosper. The first point in the manifesto was looking after the brands that you have already, with Big Brother the obvious example for Endemol. Hincks described Big Brother as “resurgent” in 2013, with technology playing a key role — video downloads in Australia, a 3D version in Brazil — alongside traditional TV values such as good casting. Point two was diversification. For Endemol, diversification has meant moving into scripted formats, with 66% growth in that sector over the last four years, to the point where scripted now accounts for a quarter of the group’s business. Point three: “The world is getting bigger, not smaller,” he said, pointing to shows such as The Next One in Italy, The Brain and Unbeatable in Germany, Wall Of Fame in the US, Grading Mom And Dad in Holland and Your Face Sounds Familiar in Spain as prime examples of inventive formats coming from countries other than the US and UK. Point four was a new relationship with audiences, where production companies and creatives alike go from “leaning back to leaning forward” in how they interact with, and market to, people. “Content and ideas are not enough any more. They’re necessary but they’re not sufficient,” he said. The fifth point was the need to change the risk models around content production, even if the bulk of Endemol’s business remains with traditional broadcasters and familiar distribution models.
Endemol partnered with The Rolling Stones to make a mobile app in 2012, investing its own money in the project. “Hundreds of thousands of people are subscribing to this app,” he said, with 91% of them signing up for push notification messages when new content is added. “This is a very exciting but new venture for us and we want to do more. We want to back our content in digital, get behind it and take risks.”
Tim Hincks, president of Endemol Group, outlines his five-point “creative manifesto”
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Factual programming chiefs reveal which shows worked for them SK Films’ Jonathan Barker
CANADIAN COPROS: HOW TO DO THE DEALS CANADA has participated in 114 documentary coproductions since 2008. Deal-making experiences with markets such as the UK, France, Australia, Mexico, Germany and Israel have made it an important port-of-call when sourcing global finance for factual films. How these deals get done was the subject of a MIPDoc session entitled The Canadian Co-production Case Study, during which two leading producers and an expert from Telefilm Canada provided insights from their experience. Jonathan Barker, CEO of SK Films, described how he pulled together the $12m (€9.2m) budget for a Canada/ UK/Mexico co-production called Flight Of The Butterflies, set to launch in iMax theatres before making its way to TV. His advice was to “talk to the various public agencies as early as possible and keep up a good dialogue. If you get them fired up early on they will do their best to work with you.” Elliott Halpern, orincipal of YAP, discussed a Canada/UK co-production called Things You Need To Know. He said: “the biggest challenge was making sure the creative work was seamless.” Telefilm’s deputy director of co-production certification Marielle Poupelin echoed this. Her best advice was “to find a partner who fits the way you work, has similar values and the right skills for the subject.”
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T WAS standing room only at the Buyers’ Summit when factual programming chiefs told delegates the shows that worked for them. Mikael Osterby of SVT (Sweden) said The Equestrian proves the enduring attraction of money and horses for the female audience. The success of Great War Diary and The Bible were also showing that well-scripted factual drama can bring in large audiences, he said. Sabine Holzer of Terra Mater Factual Studios said that blue-chip wildlife does well for her company. “But we need very high visual quality to create emotion,” she said. Holzer commissions nature, science features and factual entertainment for a factual slot on the Red Bull channel. “We produce 20-plus hours a year, as well as coproducing and acquiring,” she said. Charles Schuerhoff, director of international acquisitions at PBS International, buys science, history and social issues. He screened a teaser for biography King Of
SVT’s Mikael Osterby
Hollywood:Inventing David Geffen. “This film demonstrates a high level of access, skill, and the budget to license the 60-plus songs the story needed,” he said. Schuerhoff added that PBS sometimes commissions factual programmes to support other elements of its schedule. He cited as an example Secrets Of The Manor House, a companion piece to Downton Abbey. Laurent Sicouri, head of acqui-
sitions at Canal+ Group Documentary Channels, said that in addition to acquiring shows, he commissions around 100 hours a year as pre-buys. He buys history, blue-chip science and crime. Elvira Lind, head of acquisitions and sales at Speigel TV in Germany, buys mainly current affairs and social issues. “We screen HD only. And we have to have the German-speaking premieres,” she said.
Authenticity appeals in reality-dating “WE DIDN’T want to make another glitzy daytime dating show,” said Ran Telem, vicepresident programming at Keshet Broadcasting, about his realitydating format, 3. “We wanted to see dates go wrong, just like real life.” 3 puts three women of different ages, all of them looking for love, into an apartment and watches them audition men, date some, reject others, and discuss their dates. There is no fixed number of dates, and no fixed outcome. Maybe all three will find a date. Maybe none will. When Stephen Lambert, of All3Media, saw the format, it was its authenticity that appealed. “A good format puts people in a situation where drama will happen, but the viewer can’t predict how,” he said.
Keshet Broadcasting’s Ran Telem
Lambert optioned it, and remade it for the UK as Girlfri3nds, while Magical Elves did the same in the US and made it for CBS.
“In all three versions — the Israeli, US and the UK one — the women genuinely formed a good relationship with each other,” said Telem. “Their dialogue was more natural than interviews, and they behaved as friends, not rivals.” Telem acknowledges that the US version did not work as well as the others. “For US networks to do something that is real is too hard,” he says. “Americans are a bit scared of the word documentary. They say they want it, but then they want to see a script.” For Lambert, the show’s beauty lies in its unpredictability. “It’s a format, so it is repeatable,” said Lambert. “But it’s funny and entertaining and there’s real variety because there’s no way of knowing the outcome.”
Visit eOne at RIVIERA BEACH RB.43 Watch the trailer at eOnetv.com tvinfo@entonegroup.com
Drama | Suspense Series (2013) 35 x 60 minutes
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HE Middle East is one of the most dynamic TV markets in the world and tomorrow, a high-powered panel of experts will be exploring the opportunities in the region as part of The Future Of Television In The Middle East session. Sponsored by recently launched satellite operator YahLive, the session will also explore the impact of HD broadcasting as it rolls out across the region. According to YahLive CEO Mohamed Youssif: “Broadcasters around the world are looking to capitalise on the growing market in the Middle East — but they know very little about it. This session will help them understand the dynamics in the region and especially HDTV.”
Youssif said that the majority of Arab people watch TV via satellite with news, movies and series the most popular genres of programming. Currently, most viewing is free-to-air — but he predicts HD will change this. “Free-to-air has historically dominated satellite TV in the Arab region,” he said, “but this session will provide some insight into the trend towards a low-pay HD model. We hope it will explain how HD will change the dynamics of how broadcasters make money. YahLive, which is seeking to create an HD hotspot in the region, is playing a leading role in this transition, said Youssif: “The number of HD channels in the Middle East is expected to jump from 62 at the end of 2012 to 87 channels by the end of 2013
with YahLive having more HD channels than other satellites in the region.” HD is an opportunity for foreign content owners, but a challenge for Middle Eastern companies, said Youssif: “Most HD content
YahLive’s Mohamed Youssif: leading the transition to HD
Beyonce event aims to empower women
Beyonce: using concert event to raise awareness of women’s issues
FORMER British prime minister Gordon Brown is a key member of a United Nations
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(UN) delegation at MIPTV. Among the UN’s announcements are a global concert
being broadcast is imported from outside the region. While more [regional] broadcasters are starting to shoot in HD, many are still downscaling to SD to cater for consumers who have yet to upgrade to HD. This has challenged us to convince broadcasters of the need to move to HD broadcasting. Consumers stay tuned longer and feel better when watching HD — so companies that have made the move already will gain an important advantage.”
event headlined by Beyonce. The Sound Of Change Live is being presented by Chime For Change, Gucci’s recently launched campaign for girls’ and women’s empowerment, and will be broadcast live around the world on Saturday, June 1, from London’s Twickenham Stadium. In his role as UN special envoy for global education, Brown will outline the UN’s Global Education First initiative in a speech at 11.00 tomorrow in the Grand Auditorium. Brown said the UN initiative “has done more than anything else in recent years to move education up the global agenda”. A VIP lunch supported by Chime For Change will follow Brown’s speech. Gucci’s chief marketing officer, Robert Triefus, and producer Kevin Wall of Con-
trol Room are among the guests. Wall and Aaron Grodsky of Control Room are producing the event in association with concert promoter Harvey Goldsmith. At the concert Beyonce, who is artistic director and part of the founding committee for Chime For Change, will perform alongside a host of artists and presenters including Ellie Goulding, Florence + The Machine, Haim, Iggy Azalea, John Legend, Laura Pausini, Rita Ora and Timbaland. The event will include short films and stories by awardwinning directors, spotlighting girls’ and women’s issues. Kevin Wall said: “The concert event is already attracting huge global attention and with our experience of producing momentous global events with Harvey Goldsmith, including Live Earth and Live Aid, we are hugely excited to be part of the Chime For Change movement.”
Visit eOne at RIVIERA BEACH RB.43 Watch the trailer at eOnetv.com tvinfo@entonegroup.com
Drama Series (2013) 52 x 60 minutes 11 x 4 minutes original webisodes
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did in the UK, but you don’t often get the chance to play the same character seven years later,” said Strong. In the US show, he stars alongside Lennie James, another UK actor with a successful Hollywood career. James said: “I read the script and decided I wanted the role to be mine.” Also present at the press conference were showrunner Chris Mundy, AMC’s senior vice president of scripted programming Susie Fitzgerald and Endemol Studios’ CEO Philippe Maigret.
Lead actors join Endemol Studios in Cannes for Low Winter Sun OW Winter Sun, a gritty contemporary crime drama set in the economically barren US city of Detroit, was unveiled at a MIPTV press conference yesterday attended by the show’s lead actors. The 10 x 60 mins series, which is getting a high-profile marketing push in Cannes, is a co-production of Endemol Studios and US cable network AMC (of Breaking Bad, Mad Men and The Walking Dead fame). It will premiere this August on AMC. The series is the first scripted co-production in which Endemol Studios, which launched in August 2011 as a division of the global TV-formats empire, is the lead production partner. Jeremy Gold, Endemol Studios’ Los Angeles-based head of creative affairs, told MIPTV news: “Hell On Wheels was developed
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by Endemol USA, which we are a part of; and Red Widow was created in partnership with ABC Studios. But Low Winter Sun is the first in which we’re the lead producer.” Endemol Worldwide
Distribution has the global rights, apart from the US and Canada. Low Winter Sun is based on a 2006 award-winning British mini-series of the same name set in Scotland’s capital Edinburgh. It starred Mark Strong, who has reprised his original role in the more in-depth new US version. “The original was the last TV I
Lennie James: “I wanted the role to be mine”
Mark Strong: role marks a reprise
Netflix sees Roth sink teeth into TV ELI ROTH, producer of Inglourious Basterds, is in Cannes with cast members of new horror murder-mystery series Hemlock Grove, produced by Gaumont International Television for Netflix. It marks Roth’s first venture into television. “Coming from the world of feature film, we wanted to do something special,” said Roth. “I’ve heard people compare this show to An American Werewolf In London, and it makes me very proud.” Based on the novel by Brian McGreevy, it starts with the discovery of a dead cheerleader in a former steel town in Pennsylvania. The ensuing investigation exposes the community’s underbelly and reveals that nothing is
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as it seems. “This isn’t just a story about werewolves,” he said. “The murder sets up a much larger mythology. This could potentially go on for many, many years.” Famke Janssen (X-Men), who plays mysterious matriarch Olivia Godfrey, said: “It has the traditional werewolf backdrop, but it also has intricate relationships and character work. And it’s twisted.” Bill Skarsgard (Simon & The Oaks), who plays her arrogant son Roman Godfrey, was not initially excited by “another vampires and werewolves story”, but, he said: “The scripts were so good, and completely blew my mind.” Roth added: “The story plays out over 13 episodes. It meant
we could pace it like a 13-hour movie.” Janssen added: “Shooting for Netflix rather than TV meant we didn’t have to tie up the story every week. And now that
people can determine when and how they watch, they can see three episodes at once.” Skarsgard, part of a Swedish acting dynasty, has become something of a Netflix addict. “I’m used to watching whenever and wherever,” he said. “Two episodes usually turns into three or four. Or all night.”
Eli Roth (left) with Famke Janssen and Bill Skarsgard
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FremantleMedia offers feast of new home-grown formats
F Telmo Martins
TELMO MARTINS CEO OF LOBBY PRODUCTIONS PORTUGAL AND SPAIN “LOBBY PRODUCTIONS is a full service production company supporting all types of projects from feature films to TV series and advertising. Our mission is to tell compelling stories through engaging media. Through our multidisciplinary team we wholeheartedly embrace each project and tailor each strategy to ensure we efficiently deliver high quality and creative productions. “We have great products and ideas and want to reach new markets, and MIPTV allows us to do just that. This year we produced a comedy series that we think is great, with lots of irreverent humour. Plan X is about a small movie production firm, that in order to avoid bankruptcy turns to porn to save the company. “MIPTV is a great opportunity to make new contacts and expand our network. We are also open to new opportunities in co-operation with other production companies that share our enthusiasm. “The last 12 months has been tough for everyone but, against all adversity, we produced high-quality products that now we can show at MIPTV. More than a company Lobby Productions is an ideal — to produce the best films whether it’s fiction, advertising, institutional, cinema or TV, so that we can be at MIPTV 2014 showcasing our best work.”
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REMANTLEMEDIA (FM) is in Cannes with a bumper slate of new entertainment formats, including Everybody Dance Now, The Year Of Making Love, Perfect Score and The Noise. Rob Clark, FM’s director of global entertainment development, said the slate consisted of in-house and third-party titles. However, he stressed that it had invested heavily in origination: “Until 2011, our primary function was production, but since then we’ve been building up the development side of the business. This is the first time for a while we’ve had more FM than third-party formats.” Speaking at the same launch event, FM CEO Cecile Frot-Coutaz said expansion into digital was another key area of activity, which was why FM had created a new digital and branded entertainment division under Keith Hindle: “Digital and sponsorship are an integral part of how you make shows these days,” she explained, “so you have to be thinking about how to bake these elements in from the start.” Hindle added that FM’s 4.5 billion views for its content on YouTube were proof of the company’s commitment to digital. Whether it was viral videos off the back of FM-produced talent shows or original YouTube channels such as FM’s Pet Collective, “we took the decision to embrace the platforms where consumers want to be.”
FMI’s David Ellender (left) with FM’s Cecile Frot-Coutaz, Rob Clark and Keith Hindle
FremantleMedia International’s CEO David Ellender is using MIPTV to launch a remake of the cult sci-fi series Blake’s 7, to be produced by Georgeville TV. The show is in development with US cable network Syfy. “Blake’s 7 was such a forward-thinking concept that the show continues to resonate with audiences today,” he said. Ellender also unveiled a strong slate of new comedy on the first day of MIPTV. Titles include Count Arthur Strong, Anna & Katy and two multiplatform comedies, Fetching and Hollywood Help, in partnership with Vuguru. FMI also has a new series of Web Therapy, a Lisa Kudrow vehicle that started life as an online series but has been repackaged and sold to 18 television networks around the world.
Dramatic upturn for Korean exports THE EXPORT of Korean drama has been one of the global TV market’s big success stories over the last decade. And there’s no sign of demand easing off, according to JaeMan Park, Secretary General of the Seoul Drama Awards Organising Committee: “In the beginning phase, only the broadcast rights of finished programmes were licensed, but the trends have changed recently so that remake/ script rights to Korean drama have also been exported since 2008.” Among dramas whose remake rights have been acquired are Feast Of The Gods, A Thousand Days Of Promise, and Delightful Girl, Choon Hyang — all licensed to China. Another big breakthrough, said Park, was Temptation Of Wife, which was “sold to a global production/distribution company in the US and which will be adapted into English and
Spanish versions for the US and Latin America. The title has also been remade by China and the Philippines.” Park believes that the Seoul International Drama Awards (SDA) have Jae-Man Park played their part in this process: “It is not just an annual ceremony, but a hub for exchange and promotion of the world’s dramas. The SDA Organising Committee has built tight professional relationships with other festivals and awards, media partners and regional consultants and advisors to promote and encourage sales of all dramas submitted into the SDA competition each year. Also, by attending annual content markets such as MIPTV, the SDA team interacts with media professionals and sales executives to present Korean drama formats and encourage the acquisition of quality productions.”
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Farewell Poirot
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David Suchet in Cannes to launch the final series of Agatha Christie’s crime drama Poirot for ITV Studios Global Entertainment
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ONDON-born actor David Suchet is best known internationally as Agatha Christie’s Hercule Poirot, the courteous, mustachioed Belgian detective who has been solving crime mysteries on ITV for 25 years. This MIPTV sadly heralds Poirot’s demise, with ITV Studios Global Entertainment (ITVS GE) offering international buyers the thirteenth and final series of Agatha Christie’s Poirot, consisting of five films: Elephants Can Remember, The Big Four, The Labours Of Hercules, Dead Man’s Folly and Curtain: Poirot’s Last Case. “Poirot dies — it is the end,” said Suchet, flashing an innocent smile as he spoke with MIPTV News at the Majestic Barriere hotel in Cannes. “On June 28, 2013 at 18.30 I will wrap the last episode, standing in Agatha Christie’s house. Amazingly, she used her own house as the location for her final book and so this is where we are due to film for three days. It is a befitting way to bid farewell.” There are now 13 series and 71 episodes available of the long-running, awardwinning television series based on Christie’s famous series of crime novels. The completion of the final series fulfills Suchet’s ambition to bring Christie’s canon of work to completion on ITV. “People have always asked why I think Poirot is so enduring,” said Suchet. “My son-in-law recently came up with a brilliant answer. It is because Poirot is a great moral compass. Poirot has never sought instant gratification but, rather, embodies values represented by traditional morality. As a Belgian, he is also a foreigner and has no affiliation with a particular class — he can move effortlessly between the upper and lower echelons of society. Agatha Christie had wonderful fun using him to point fingers at anyone she pleased.” Co-produced by ITV Studios and Agatha Christie Ltd — an Acorn Media Group company — at least one series of Poirot has been sold by ITVS GE to every country in the world, echoing Christie’s own success as a best-selling novelist, rivalled only by sales of William Shakespeare and The Bible. ITVS GE has secured pre-sales with eight broadcasters worldwide for the thirteenth series (5 x 120 mins), including TMC (France), ABC (Australia), Prime (New Zealand), Chungwa (Taiwan), Latvian Television, RTV (Slovenia), HRT (Croatia), Sanoma (Hungary) and Digiturk (Turkey). WGBH in the US will coproduce and air two of the Poirot films — The Big Four and Dead Man’s Folly. The most recent episode — the series 12 finale — aired on ITV in December 2011, attracting a consolidated audience of 5.7m viewers and a 25.7% share. “I am so thrilled that the series has done what her books have done — touched people around the globe,” said Suchet. “The digital age has made everything so accessible; I love the idea that I might have introduced Christie’s books to new audiences internationally.” Although Suchet finds it hard to believe a television series could ever resurrect Poirot, he did leave clues to imply that there are several unexplored angles in Agatha Christie’s stories warranting further exploration. “I feel so fortunate to have had the experience of starting a project and working on it from beginning to end. I would love to make a movie as Poirot, but for now, I’m excited to leave all doors open.”
IAN MCKELLEN
DEREK JACOBI
FROM THE EXECUTIVE PRODUCER OF
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THE OUTRAGEOUSLY FUNNY NEW COMEDY ITV (UK) | Comedy Premiere | 6 x 30’ Watch now at shineinternational.com MIPTV
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neWs FOXTEL MAKES NEW LIFESTYLE CHOICES AUSTRALIAN pay-TV giant Foxtel is folding more than 220 hours of lifestyle-related content licensed from BBC Worldwide Australasia into its LifeStyle-branded channels. On the flagship LifeStyle Channel is BBC Worldwide’s Phil Spencer: Double Agent Down Under, and Hotel Secrets with Richard E Grant. The first sees the entrepreneurial property expert Spencer help British citizens buying property in Australia, while the latter sees English actor Richard E Grant disclose the stories and scandals behind the facade of some of the world’s most famous hotels. Relaxed cooking is the theme of Rachel Allen’s Easy Meals and Nigel Slater’s Dish Of The Day, both of which will be on the LifeStyle FOOD channel. Slave To Food and Big Brooklyn Style, which look at nutritional diets, self-esteem and body issues, are destined for the LifeStyle YOU channel. And LifeStyle HOME is set to transmit Marbella Mansions, which casts a spotlight on the extravagant mansions dotted along the southern Spanish coast.
Malaysian industry going from strength to strength
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ROUND 40 Malaysian companies are at MIPTV, reflecting the country’s drive to position itself at the heart of the international TV, film and digital-content industries. Under the banner Empowering Content For The World, the Malaysian pavilion is hosting a range of media players, spanning TV, film, broadcasting, animation and documentary. According to YM Raja Rozaimie Raja Dalnish Shah, director general of the National Film Development Corporation Malaysia (FINAS), the country’s content market is growing rapidly, fuelled by a range of financial inducements. These include the Film In Malaysia Incentive (FIMI), which offers local and foreign producers a 30% rebate on audited in-country spend, the $38m (€29m) Creative Industry Grant, the $33m Creative Industry Development Fund and NATHALIE BOURDON , t he
former sales director of Just For Laughs, has joined forces with
50TH ANNIVERSARY I’ve been coming here for 20 years. I remember the great restaurants, which are still there; and also many of my friends in the business, they are still here. So we are growing all together, it’s a community. And you don’t need to make appointments — you walk the Croisette and there is the biggest TV office. You meet everybody there. RUEDIGER BOESS, head of acquisitions, ProSieben Sat1
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the $65m MyCreative Fund. “As a result, the Malaysian film and television content industry is expanding within the Malaysian economy,” Rozaimie said, driven by an increase in “world-class IP” and a growing volume of international co-production, acquisition and distribution deals. Malaysia’s other strengths, Rozaimie added, include a “highly talented” workforce, a strategic geographic location, economic stability and a multilingual, multicultural society. The $120m Pinewood Iskandar Malaysia Studios is also seen as a major boost to the country’s content industry. The 20-ha complex — a collaboration between Malaysian government investment arm Khazanah Nasional and Pinewood Shepperton, home of the James Bond franchise — will be the region’s largest independent studio facilities when it opens in May. Michael Lake, CEO of JohorFrancois-Xavier Poirier, founder and President of Novovision, to create Novovision Canada. Novovision Canada is being officially launched at MIPTV, where the new company will share a stand with Novovision . “After the co-production in 2012 of 170 episodes of PopCorn TV ‘live’, Novovision had clearly shown its desire to reach the North American market,” said Nathalie Bourdon. “A
Pinewood Iskandar Malaysia Studios’ Michael Lake
based Pinewood Iskandar Malaysia, applauded the “commitment, resources and attention” that the Malaysian government is investing in the transformation of its production industry. He added: “I am convinced that Malaysia will become a major power in the Asian content business.” partnership then became the obvious thing to do, given that our ambitions and skills were converging. Poirier added: “Nathalie has unrivaled expertise in non-verbal comedy programming plus a great deal of experience in the area of formats. The launch of Novovision Canada marks a new stage in the international development of Novovision, which has just celebrated 10 years of activity.”
Fun format heads to Mongolia MONGOL TV, launched in 2009 as the cornerstone of a multi-media group that also embraces magazine publishing, radio and the internet, has signed a MIPTV deal with format agency Absolutely Independent for the comedy panel show Who Am I?. The format has been a big ratings success in the Netherlands for 20 years, and will be aired on primetime in Mongolia from May. Mongol TV CEO Nomin Chinbat said: “It’s a simple format but we
expect Who Am I? to revolutionise the market for this kind of fun programming in Mongolia.” Absolutely Independent CEO Patty Geneste added: “It’s a format that has always travelled well and been a big ratings success wherever it has been seen.” Celebrating the MIPTV deal are: The Format People’s CEO Michel Rodrigue, (left), Mongol TV’s Nomin Chinbat and Absolutely Independent’s Patty Geneste.
A NEW LIFE FOR THE DEAD
A BBC DRAMA PRODUCTION BBC Three (UK) | Drama Premiere | 3 x 60’ Watch now at shineinternational.com MIPTV
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neWs MIPTV NEWCOMER Peter Dickinson, general producer, Jewish News One, Belgium, Israel and Ukraine “JEWISH News One (JN1) is the world’s first international Jewish news network. Launched in 2011, JN1 aims to complement the growing ensemble of global news outlets and provide a uniquely Jewish perspective on world affairs. Broadcasting in six languages (English, Arabic, French, Spanish, Russian and Ukrainian), JN1 has succeeded in establishing a firm foothold in what was previously a vacant niche. “Many of our news stories do have a direct Jewish association — this includes our coverage of Israel and the Middle East, as well as regular reports from Jewish communities around the world. However, more than half of the news items featured on JN1 have no direct Jewish association — it covers global affairs much like any other international TV news network. “Viewing patterns for the past 18 months suggest that JN1’s reach goes far beyond the international Jewish community. Audiences around the world are becoming increasingly discerning consumers of news who are comfortable getting their information in a variety of different formats. JN1’s multilingual, easily digestible video news reports are specifically designed to meet this demand. We recognise that our audience is both intelligent and informed — we see it as JN1’s role to help provide a more nuanced and multi-faceted impression of current affairs.”
Endemol TV personality hits Cannes to spread laughter across the globe TEVE Harvey, US TV personality, comedian, radio-show host and author, is in Cannes to generate international interest in his eponymous TV talk show, produced by Endemol USA and distributed outside the US by Endemol Worldwide Distribution. The multi-topic daytime series, which has already been sold to M-Net South Africa, is year-to-date the number-one syndicated show in the US in the 25-54 female demographic — an achievement that Harvey puts down to its focus on “everyday people” rather than celebrities. He said: “You need to give people some type of take-away. And there’s no take-away with celebrities. You don’t have their money, you can’t vacation where they vacation, you can’t shop where they shop… So I talk about everyday things that have resonance for everyday people, like children and husbands and wives and teenagers and marital issues and money and trying to find Mr Right.” Harvey’s fresh and insightful take on everyday problems is also leavened by laughter. “I think that’s what keeps me a bit out in front,” he said. “I just keep sprinkling in the humour so people don’t think their problems are the end of the world.” The fact that he offers a male viewpoint —
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largely missing from daytime television — is another USP. “Also, I think my openness and frankness are refreshing to people. I just call it like it is.” As to Harvey’s mission this week in Cannes, the TV host is aiming high. “I’d love to go home being a smash hit, with everybody from Europe to Africa to Asia going, ‘Hey, we love this guy, let’s buy him…’ So yeah — world domination in a week. That’s the goal.”
Science series adds fizz to Spike TV INTERNATIONAL distributor DRG has sold a new series showing dangerous and wacky experiments to Spike TV. The show, Never Ever Do This At Home, was produced by Insight Productions in association with Discovery Channel Canada and Bell
Discovery Channel’s Ken MacDonald (left), Patrick Roberts of DRG, Spike TV’s Tom Zappala, Edwina Follows from the Discovery Channel, Insight Productions’ Jane Rimer and Ole Hedemann of NRK
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Steve Harvey: “world domination in a week”
Media. It features a number of dangerous experiments in which everyday household items meet a variety of messy ends in the name of science. These are carried out by two hapless hosts, Teddy Wilson and Norm Sousa, both of whom are completely underqualified for the tasks. The pair sets out to find the breaking point of objects around the home through various twisted forms of destruction. Jane Rimer, who oversees international creative and business development at Insight, said: “The instant we first saw this format we knew it was a winner. This irresistible show has wide-ranging appeal for North American audiences and we know Spike TV viewers will have as much fun watching it as we did making it.” The show, which is based on a Norwegian format by NRK, will be broadcast in 13 halfhour episodes on Viacom Media Networksowned Spike TV, which is available to 98.7 million homes in the US.
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Armoza and Nordisk create buzz with The Gran Plan in Cannes Armoza Formats’ The Gran Plan: taking on Scandinavia
Oktanfilm’s Cecilia Hall: “We have good material with us”
CECILIA HALL, INDEPENDENT DEVELOPER, OKTANFILM & TELEVISION, SWEDEN “OKTANFILM started in 2005 as a production company within TV commercials and music videos. We did very well and got good results, won a Swedish Grammy for Best Music Video and had the success we were aiming for. Two years ago we realised that we also had really good, different ideas for TV productions. In total, we now have 12 new formats. Eight of them will see the light here in Cannes and we truly believe that at least one of them will be the next big thing! Every time we present it we get the reaction, ‘But how come it hasn’t been made yet?’. We like that. “We want to let the big fish know what we can bring to the table and we know they are all in Cannes. We have good material with us. Our brains are working on a combination of entertainment, selling, product placement and, of course, high ratings. “We have booked a few meetings with companies that we highly respect and would love to work with in the future. We really look forward to meeting them and getting their reactions to our portfolio.”
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RMOZA Formats and Nordisk Film TV have forged a partnership to launch comedy factual entertainment format The Gran Plan into the Scandinavian territories. The multi-territory deal follows on the heels of agreements in France, Belgium, the Netherlands and Australia for the 60-minute primetime format, in which a trio of hilarious, tough-talking grandmothers bring their wisdom to bear on such life issues as first dates, last dates, career struggles and addictions. Peter Hansen, chief creative office of Nordisk
Film TV, said the show, which is produced by Artza Productions in co-operation with Channel 10 Israel, had “instantly created a buzz” at MIPTV. He added: “Nordisk Film is looking forward to setting loose outspoken grannies in the Nordic territories.” Observing that the experts in The Gran Plan have, between them, some 230 years of life experience, Avi Armoza, CEO of Armoza Formats, said: “This show injects a fresh lease of life into the coaching format. We could not be happier with the attention it is receiving.”
Upside unveils investment in drama FRANCE’s Upside Distribution, an arm of screenings on the first morning at MIPDoc and Havas Productions Group, is ramping up its great feedback, I am confident that this will be drama investment activity with the announce- a highlight of our catalogue this market.” ment of its new MIPTV slate headlined by The Jewish Cardinal is a biopic (1 x 90 mins) dramatic biopic The Jewish Cardinal (1 x 90 produced for ARTE by Scarlett Production, mins), docu-drama A Day In The Life Of A and highlights the distributor’s strategy to Dictator (1 x 90 mins/2 x 52 mins) and The extend into drama. It was winner of the FesLion Whisperer (1 x 52 mins). tival de Luchon Grand Prix for Best Fiction, Produced by Maria Roche Productions for was nominated in three different categories at Planete+ and pre-bought by Monte Carlo Festival and RTBF (Belgium) and TV5 Cahas been sold to the US, nada, A Day In The Life Of A Switzerland and Slovakia. Dictator premiered at MIPDoc, “We hope we will sign highand features intimate portraits end deals with international of three contemporary dictapartners for this extraorditors — Stalin, Gaddafi and nary story about a Jewish Amin Dada — during one siboy who converted to Chrisgnificant day in their lives. tianity and later became “This primetime show is an head of the French Catholic outstanding blend of archive, Church,” said Bochnacki. interviews with people who “Our role as distributor is knew these dictators personally really evolving. Increasinand amazing CGI techniques,” gly, we are using our intersaid Christophe Bochnacki, Upnational expertise to work side Distribution’s head of sales with producers and shape and acquisitions. “With over 50 Upside Distribution’s Christophe Bochnacki projects at an early stage.”
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A+E Networks makes big splash at market with Duck Dynasty Katy Perry on stage (iConcerts library)
ICONCERTS TAPS INTO JAPAN LIVE music TV channel and VOD provider iConcerts has marked its arrival in the Japanese market with the opening of a Tokyo subsidiary and a major new signing. The newly formed company, operating as iConcerts Japan, will be headed up by recently appointed CEO Daihei Shiohama. It will serve as a platform for Switzerlandbased iConcerts to sell its extensive library of live music, video and documentary content to the Asian markets. iConcerts has already signed a deal with major Japanese multi-system operator J:COM and the country’s largest cable television company, to launch a cable TV SVOD service in Japan. The deal will also see iConcerts Japan team up with Asmik Ace, a subsidiary of J:COM, to roll out J:COM On Demand Mega Pack and IP SVOD mobile and PC service KDDI Video Pass. Co-founder and editor-in-chief of iConcerts, Natalia Tsarkova, said: “We have been investing considerably in the Asia territories as this is an incredible growth market, with demand for music programming and our services going from strength. We are thrilled with the opening of this new office and the deal with J:COM, and look forward to making further announcements over the coming months.” iConcerts is owned and operated by Geneva-based parent company Transmedia Communications.
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+ E N ET WOR K S has had a great start to MIPTV thanks to its record-breaking factual entertainment series Duck Dynasty. The show, which recently attracted 8.6 million viewers for the US launch of season three, has been sold to a slew of broadcasters including TV3 Denmark, Pro4 Hungary, Veronica Netherlands, Mediacorp Singapore and OLN Canada. A+E Networks executive vicepresident international, Sean Cohan, said demand for characterdriven factual series is strong — and his company is wellplaced to benefit: “Duck Dynasty is an A+E show but we also have great titles from our other channel brands, History and Lifetime. Shows like Storage Wars and Double Divas allow us to reach a diverse range of audiences.” According to Cohan, the success of A+E’s completed programme sales is now being reinforced by the growth of the company’s formats business: “Shows like Pawn Stars and American Pickers continue to sell really well but have also given birth to UK and Australian versions. We’ve also seen 7 Days Of Sex picked up for Germany, Austria and Scandinavia. Other promising titles in-
A+E Networks’ Sean Cohan: character-driven factual series in demand
clude Dance Moms and Monster In-Laws.” The acquisition of Lifetime by the A+E Networks family has also made the company a major player in the distribution of made-for-TV movies. Headlining the company’s slate at MIPTV are titles like Ring Of Fire, Betty & Coretta and Sworn To Silence, a movie starring Neve Campbell
that Cohan expects to do good business at this week’s market. A+E is in the fortunate position of being both an international channel operator and a programme distributor. In terms of channel plans, it has commenced the roll-out of H2, a spin-off of History and Lifetime. The latter is already in South East Asia and will come to the UK during 2013.
Netflix selects re:fine service
Re:fine’s Symon Roue: “robust approach”
CONTENT processing business re:fine has been appointed as a preferred vendor service for internet television network Netflix. As a Netflix Preferred Vendor (NPV), re:fine becomes one of a dozen companies chosen to help optimise the digital supply chain and meet the standards required for high-quality conversion of video for streaming. Symon Roue, chairman of re:fine, said: “Our robust approach to content supply chain procedures and quality control
have been given endorsement by one of the world’s most exciting players in true on demand.” Chris Fetner, Netflix director of content partner operations, added: “We’re looking for the top providers in the digital supply chain to streamline workflow and help us accelerate the streaming VOD transformation. We need to digitise content quickly while still maintaining the highest quality possible. Matching content providers with the best service providers accomplishes that.”
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Zig Zag and Yoshimoto Kogyo’s co-pro deal shows good timing Zig Zag Productions’ Danny Fenton (left) and Yoshimoto Entertainment’s Aki Yorihiro
Dogwoof Global’s Yung Kha: “It’s not about quantity. It’s about quality”
YUNG KHA, INTERNATIONAL SALES AND ACQUISITIONS, DOGWOOF GLOBAL, UK “DOGWOOF Global is the international sales arm of UK documentary distributor Dogwoof. We offer filmmakers worldwide representation along with a guaranteed UK distribution deal. We rep only about eight feature docs a year, and we believe in building global social media campaigns and managing film festival exposure to maximise marketing potential. “We work with all major broadcasters, key doc distributors and platforms such as Netflix and iTunes. Filmmakers can also take advantage of our global streaming channel, Dogwoof TV, and a global non-theatrical distribution platform called Popup Cinema. “Dogwoof comes on board for completed films and now also those that are still in development or production. Our latest titles are: Gabriela Cowperthwaite’s killer whale documentary Blackfish, Eva Orner’s documentary about the biggest media network in Afghanistan, and we are currently pre-selling Doug Block’s 112 Weddings. “We set up Dogwoof Global two years ago with a limited number of titles, mostly theatrical. This year with a dozen titles under our belt, all of which now have TV versions, we thought the time had come to start attending MIPTV. We would like to expand our network of collaborators, and are keen to meet broadcasters who tend not to attend the other doc-pitching forums or festivals. “In the last 12 months, Dogwoof Global has become the fastest-growing division of Dogwoof. It’s not about quantity. It’s about quality.”
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IME is of the essence for two new game show formats co-produced by UK-based Zig Zag Productions and Yoshimoto Kogyo, the Japanese entertainment conglomerate. Time Out had a successful pilot run before Japan’s KTV (Kansai Telecasting Corporation) ordered a whole season. The show will be called Giridome in Japan. Split/Second is the second game format from the Zig Zag/Yoshimoto Kogyo co-production partnership. Described as a “slow-motion format”, Split/Second contestants require lightning-speed responses in the general knowledge elimination game show. Split/Second is being launched at this year’s
MIPFormats by Danny Fenton, Zig Zag’s CEO, and Aki Yorihiro, Yoshimoto Entertainment USA’s CEO. It is available in English and Japanese. Who Wears Wins and Right Here, Right Now are two new Zig Zag formats that have already been optioned via Sparks Network, the Swedenbased international alliance of format producers. Spark Network members, France-based Elephant & Cie and Italy’s Elephant Italia, have got the option to create local versions of Who Wears Wins. It will be called Nei Tuoi Panni in Italy. Beirut-based Imagic has won the Middle Eastern rights to Right Here, Right Now, while south&browse has the rights for Germany for the same show.
Zodiak promotes premium clips website ZODIAK Rights has introduced its new Zodiak Clips website at MIPTV, following the successful launch of its Clips division — one of five new divisions within the company’s genre-based structure — in October 2012. Matthew Frank, Zodiak Rights CEO, said: “The new website is extremely user-friendly and the industry likes the fact that we are offering something different and radical. We are offering a premium service, and don’t want to be perceived as yet another general clip archive.” Frank added: “The website has launched with some 10,000 clips but has a high quality threshold, and offers unusual and outstanding footage. At MIPTV we are looking to partner with other companies who also do things differently and share the same aims.”
Zodiak Rights CEO Matthew Frank and Zodiak Clips sales manager Sandra Coelho celebrate the website launch
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TODAY’S Foyle’s War debuts in Finland EVENTS as series moves into a new era 9.00-10.30 Auditorium K An hour with CCTV-9 : New Projects, Better Opportunities
10.00-11.00 Auditorium J – Blue Lounge EURONEWS press conference
12.00-13.00 Auditorium J – Blue Lounge TV AZTECA Mexico’s leading international distribution company Comarex and Argentinian new media company New Sock present All Connected – ConecTados
12.45-14.15 Martinez Hotel - Acajou I Brands & Content Lunch sponsored by Ogilvy – by invitation only
13.00-14.30 Palais des Festivals level -1 stand N°10.02
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N ITS eighth series, popular UK crime drama Foyle’s War is entering new territory — out of the Second World War and into Cold War machinations, with Britain racked by austerity as the country rebuilds. The UK debut of the new series received seven million viewers and is now entering new territories for broadcast. YLE (Finland) has acquired Foyle’s War for the first time, and there are new deals in territories such as Sweden (TV8, series 1-7); Denmark (DR, renewing for the eighth series); RTV Slovenia and Norway (TV Norge for secondary rights and NRK for the series eight debut). This is the first time that All3Media is representing Foyle’s War at Cannes. “To refresh Foyle’s War and take it into the new era is fantastic,” said Louise Pedersen, managing director for All3Me-
Celebrating the success of the eighth series of Foyle’s War are: All3Media’s Louise Pedersen (left), actress Honeysuckle Weeks, writer Anthony Horowitz, and Eleventh Hour Films’ Jill Green
dia. “It’s helping us target the bigger European dubbing markets, such as Germany, which is an ambition of ours now we’re representing the show. It gives us a chance to reframe the pitch.” Writer Anthony Horowitz — also behind many well-loved titles such as Midsomer Murders — and star Honeysuckle Weeks, are at MIPTV to promote Foyle’s War, with
Jill Green of Eleventh Hour Films, its executive producer. “We’ve taken a series that has a passionate following, and rebooted it, given it a new energy while keeping what was best about the show,” said Horowitz. “We’ve put the characters into this new world of espionage, early Le Carre, treachery and double dealing.”
VILLE DE MARSEILLE – cocktail reception
15.00-16.00 Auditorium J – Blue Lounge VILLE DE MARSEILLE – press conference : Ville de Marseille
17.00-19.00 Palais des Festivals level 1 stand C1.09 TOONBOOM ANIMATION celebrates our Storyboard Pro Launch – by invitation only
17.00-19.00 Palais des Festivals level 1 stand N°21.01 Austrian Broadcasting Corporation cocktail by invitation only
17.30-19.30 Hall Riviera ground floor stand R.35.21 ATLANTYCA Let’s Go cocktail by invitation only
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Generation War sold to Music Box, Mojto reveals AT A Beta Film screening and dinner on Sunday evening, company CEO Jan Mojto revealed that the company’s highly-popular Second World War series Generation War has been sold to US theatrical distributor Music Box, yet another sign of the blurring of the lines between high-end TV productions and feature films. “The show got great ratings in Germany, even though it was up against a very popular and Beta Film CEO Jan Mojto
long-established detective series Tatort, and is now rolling out internationally,” Mojto said. “The recent sale to Music Box is particularly exciting as they will be distributing the series theatrically in key US cities.” The Spanish drama series Grand Hotel is also proving to be a hit with sales to the UK, US, Central Europe, Italy, France, Russia, Belgium, Austria, Germany and Finland plus several other terri-
tories in negotiation. Adventure series Alatriste now has ARTE on board as the German-French partner. Produced by DLO and Beta Film for Telecinco and ARTE, Alatriste is based on the bestselling novels by the internationally-acclaimed author Arturo Perez-Reverte and plays out at the Spanish royal court during the 17th century. Beta Film has also picked up the distribution rights for HBO Europe’s highly acclaimed threepart mini-series Burning Bush. Directed by Academy Award nominee Agnieszka Holland, Burning Bush depicts the story of Jan Palach, the young student who made the ultimate sacrifice in the name of freedom in the Prague of January 1969, and the legal fight by his family to clear his name in the face of the oppressive communist propaganda machine.
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Al Jazeera aiming to inspire with new-look kids’ channel
A Gary Lico
GARY LICO managed to get to MIPTV for the first time for under $3,000. CABLEready’s president and CEO recalls his first unexpected bedroom guest… We were less than two years old when I hired Greg Kimmelman (Global Telemedia). I challenged him to get us to MIP for under $3,000 and he somehow did it. Of course, our hotel was a little spartan…our wake-up call was a pigeon that flew in the bathroom window!
L JAZEERA’s children’s channel JCC has been relaunched and renamed as JeemTV. Targeted at seven- to 12-year-olds, JeemTV is a multiplatform service spearheading a portfolio that includes pre-school channel Baraem and educational VOD portal Taalam.TV. The JCC name continues as a corporate umbrella. Commenting on the revamp, JeemTV’s deputy executive general manager and acting director of channels, Saad Al Hudaifi, said: “Today’s technological revolution empowers children to choose what to watch and when. JeemTV sets itself apart because it is responsive to that trend.” According to Al Hudaifi, JeemTV will offer 360-degree entertaining content that is safe for families. In addition to being a distinctively pan-Arab channel, it will aim to inspire and empower Arab children, helping them improve their Arabic language skills. New shows on JeemTV include the Anbar Show, in which a presenter and two puppets discuss topics of interest to children through light comedy. Other titles include kids gadget
What changes have you observed since your first MIPTV? Consolidation, mergers, acquisitions... while it’s built strong companies, it’s also diluted creativity. There is so much duplication of the same formats and ideas that global schedules are starting to look identical. What was once local production has been replaced by local “versions”. Do you have a favourite MIPTV anecdote? Our parties have been legendary. But few know that one year, our so-called party planner dropped the ball (you know who you are) and at 15 minutes until kick-off, the bar was empty, undecorated, no waitresses and no DJ. I swear, I thought I was going to have a heart attack. So our client and my close friend Dale Bosch, said, ‘Gar, sometimes ya gotta punt’, which is American for ‘let’s not sit here, let’s do something’. So we started setting the place up ourselves, and when the manager saw we were serious, he got his staff there and into action. Somehow, within a half-hour, we got some semblance of a party going... and it was one of our best. Thank God.
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Pierre-Andre Rochat, president, Daro Film Distribution (left) and Greg Phillips, president, Content Television & Digital
JeemTV’s Saad Al Hudaifi
and technology show Shashatech, a news bulletin and Noun, in which VIP guests discuss their experiences in fields such as arts, fashion, lifestyle and culture. Acquired titles in the line-up include The Little Prince, M.I. High, Phineas And Ferb, Kim Possible, Lilo And Stitch and The Emperor’s New School. There are also Disney movies such as Up, Bolt, and Toy Story 3. CONTENT Television this week renewed its multi-territory distribution deal with Monaco-based Daro Films for its latest primetime drama titles. Leading the charge is the new four-part Channel 4 drama Run starring Lennie James and Olivia Colman, alongside World Productions’ mystery drama The Bletchley Circle, and seasons one and two of hit thriller Line Of Duty. Also included are Screenworks’ Amber, the four-part drama Freddy, season four of Republic Of Doyle, Highway To Heaven starring Michael Landon, and rights in English-speaking Africa to The Fall starring Gillian Anderson and crime drama Jack Taylor, starring Iain Glen.
Rebranded and ready for action CHILDREN’s producer and distributer Alphanim is being rebranded. Part of the Gaumont Group since 1997, it will now be known as Gaumont Animation. The first deal to be unveiled under the new banner is a development and production agreement with France Televisions and DreamWorks Classics for Noddy (52 x 11 mins). The new 3D CGI-animated series is based on the character created in 1949 by the children’s author Enid Blyton. CEO Pierre Belaisch said: “This is an exciting time for Gaumont Animation as we expand our development efforts to include both original content, such as Dude, That’s My
Ghost! which was recently delivered to Disney XD, and classic properties, such as Calimero and now Noddy with France Televisions and DreamWorks Classics.”
Gaumont Animation’s Pierre Belaisch
TUESDAY 9 APRIL PRODUCERS’ HUB PRODUCERS’ HUB
GLOBAL HOTSPOTS: CO-PRODUCING WITH CANADA MATCHMAKING Sponsored by CMF and Telefilm Canada
8.30-10.30 I Foyer Balcon Grand Audi, Level 3
AN HOUR WITH CCTV9: NEW PROJECTS, BETTER OPPORTUNITIES
PRODUCERS’ HUB POST-PRODUCTION SERVICES: THE ADDED VALUE OF BRUSSELS BASED COMPANIES Sponsored by Brussels Capital Region
11.00-12.30 I Audi K, Level 4 Speakers Jimmy Blibaum, Producer/CEO, Butterfish Group, Belgium Damien Deville, Postproduction Coordinator, Studio l’Equipe, Belgium Emmanuel Maindiaux, Director, Agent Double, Belgium
Sponsored by CCTV
9.00-10.15 I Audi K, Level 4
LIU Wen
LUO Ming
ZHOU Yan
PRODUCERS’ HUB
CO-PRODUCTION CASE STUDY: “SPIES OF WARSAW” 10.10-10.50 I Audi A, Level 3 Moderator Stewart Clarke, Editorial Director, TBI Magazine, UK Speakers Maciej Bernatt-Reszczynski, Head of Programme Coordination, TVP S.A., Poland Ben Donald, Executive Producer, International Drama, BBC Worldwide, UK Dariusz Jablonski, CEO, Apple Film Production, Poland Matthew Patnick, Co-Producer, Fresh Pictures, UK
PRODUCERS’ HUB
MARTINEZ HOTEL BRANDS & CONTENT MASTERCLASS 10.00-12.40 I Martinez Hotel By invitation
GRAND AUDI MIPTV MEDIA MASTERMIND KEYNOTES 11.45-12.20 I Grand Audi, Level 1 © Courtesy of BBC
Speakers LIU Wen, Managing Director, CCTV Documentary Channel, China LUO Ming, Editor-in-Chief and Vice President, China Central Television, China ZHOU Yan, Deputy Managing Director, CCTV Documentary Channel, China
BEN STEPHENSON, Controller, Drama Commissioning, BBC PIV BERNTH, Head Of Drama/Producer, DANISH BROADCASTING CORPORATION/DR Interviewed by Lisa Campbell, Editor, Broadcast, UK
Ben Stephenson
Piv Bernth
CO-PRODUCTION MASTERCLASS: “ROGUE” Moderator Stewart Clarke, Editorial Director, TBI Magazine, UK Speakers Peter Emerson, President, Entertainment One Television International, Entertainment One, UK Nick Hamm, Executive Producer, Greenroom Entertainment, UK Patty Ishimoto, VP, Entertainment, DIRECTV, USA Thandie Newton, Cast member Thandie Newton Matthew Parkhill, Creator/Writer, UK
MIPTV MEDIA MASTERMIND KEYNOTE
“REDEFINING TV WITH TIM KRING” 12.25-13.00 I Grand Audi, Level 1 © D.R
10.55-11.35 I Audi A, Level 3
© Courtesy of Danish Broadcasting Corporation
Moderator ZHANG Jianxin, Translation Editor, CCTV Documentary Channel, China
TIM KRING, President/Ceo, TK IMPERATIVE Interviewed by Anna Carugati, Group Editorial Director, World Screen, USA
Tim Kring
OFFICIAL CONFERENCES & EVENTS ESTEREL
AGORA TALKS
TWITTER TALKS: CULTIVATING YOUR AUDIENCE OF USERS 9.30-9.45 I Esterel, Level 5
SQUARE
MAXIMISING THE VALUE OF DIGITAL AND TV CONTENT, ACROSS PLATFORMS, IN AN AUDIENCE-BASED WORLD Sponsored by Collider
Moderator Louisa Heinrich, Founder, Superhuman Limited, UK
8.30-9.45 I Agora, Level -1
Speaker Dan Biddle, Head of Broadcast Partnerships, Twitter, UK
Dan Biddle
Speaker Anne de Kerckhove, Managing Director France & Southern Europe, Collider, France Anne de Kerckhove
TALKS
BUILDING A LOYAL & INVESTED AUDIENCE SQUARE
9.45-10.15 I Esterel, Level 5
THE HIGH COST OF EVERYWHERE
Moderator Louisa Heinrich, Founder, Superhuman Limited, UK Speakers Sam and Nic Chapman, Creators, Pixiwoo, UK Philip DeBevoise, President & Co-Founder, Machinima, Inc., USA Jorge Rincón, COO, Adsmovil, USA
Sponsored by Brightcove
10.00-10.30 I Agora, Level -1 Speaker Luke Gaydon, Vice President of Media EMEA, Brightcove, UK Luke Gaydon
Sam and Nic Chapman
Philip DeBevoise
SQUARE
Jorge Rincón
MIPCUBE LAB PITCH FOR START-UPS 2/ 2 10.45-11.45 I Agora, Level -1
TALKS
DOES USER INTERFACE REALLY MATTER? 10.25-10.55 I Esterel, Level 5 Moderator Louisa Heinrich, Founder, Superhuman Limited, UK Speakers Mattias Hjelmstedt, Founder & COO, MAGINE, Sweden Gene Liebel, Chief Strategy Officer, Huge, USA Ofer Weintraub, EVP Innovation, Viaccess-Orca, Israel
Jury Members Jesse Draper, creator and host of The Valley Girl Show, USA Olivier Ezratty, Digital Media Strategy Expert, France Marie-Christine Levet, Partner, Jaïna Capital, France Emma Lloyd, Director of Corporate Business Development & Investments, BSKYB, UK Anne-Marie Roussel, Executive in residence, Illuminate Ventures, USA
Jesse Draper Mattias Hjelmstedt
Gene Liebel
Olivier Ezratty
Marie-Christine Levet
Emma Lloyd
Anne-Marie Roussel
Ofer Weintraub
SQUARE
TALKS
THE MOST SHARED VIDEOS: A SCREENING 11.05-11.35 I Esterel, Level 5
Sponsored by CMF and Telefilm Canada
12.30-14.00 I Agora, Level -1
Moderator Louisa Heinrich, Founder, Superhuman Limited, UK Speaker Dorota Smaggia, Managing Director France, Unruly, France
SNACK & SCREEN
Presenter Catalina Briceño, Director, Industry and Market Trends, Canada Media Fund, Canada Dorota Smaggia
Catalina Briceño
TUESDAY 9 APRIL PRODUCERS’ HUB
PRODUCERS’ HUB PRODUCERS’ HUB
PRODUCERS’ HUB
DRAMA CONTENT MAKERS’ SHOWCASE 13.00-14.00 I Foyer Balcon Grand Audi, Level 3 Discover new Drama Programmes from: U.S.A., Turkey, Brazil and Canada. Followed by matchmaking with the audience. Open to registered buyers only. (Snack lunch will be provided).
PRODUCERS’ HUB
CO-PRODUCTION CASE STUDY: “CROSSING LINES” 14.10-14.50 I Audi A, Level 3 Moderator Peter White, International Editor, Broadcast, UK Hear secrets from behind the scenes: Rola Bauer, President/Partner, Tandem Communications, Germany Ed Bernero, Executive Producer/Writer, Bernero Productions, USA
Ed Bernero
FUTURE OF TV IN THE MIDDLE EAST Sponsored by Yahlive
16.00-17.00 I Audi A, Level 3 Moderator Chris Forrester, Journalist and Industry Consultant, UK Speakers Mohamed Saeed Al Shahi, CEO Strategy Technology & Executive Affairs, Dubai Media Incorporated, Dubai, UAE Youssef El Deeb, Founder-Chairman, Takhayal Entertainment, Dubai, UAE Nick Grande, Managing Director, ChannelSculptor FZ-LLC, Dubai, UAE Marwan Helayel, Consultant, Dubai, UAE Mohamed Youssif, Chief Executive Officer, YahLive, Abu Dhabi, UAE
“THE ODYSSEY” SCREENING Presented by 100% Distribution
PRODUCERS’ HUB
CO-PRODUCTION CASE STUDY: “HEMLOCK GROVE” 15.00-15.45 I Audi A, Level 3
17.30-19.00 I Audi K, Level 4 Presenter Diana Bartha, Managing Director, 100% Distribution, France
Moderator Peter White, International Editor, Broadcast, UK
GRAND AUDI
Presented by MPCA By invitation only
15.30-17.00 I Audi K, Level 4 Presenters Francisco González, SVP International Sales, MPCA, USA Brad Krevoy, CEO, MPCA, USA
PRODUCERS’ HUB
NEW PRODUCERS TO WATCH 15.50-16.20 I Foyer Balcon Grand Audi, Level 3 Speakers Arabella Bartsch, Editor, ZDF Digital, Germany Jimmy Blibaum, Producer/CEO, Butterfish Group, Belgium Richard Boland, Director, Fail Safe Films, Ireland Ryan Nadel, Producer, Writer and Creative Director, Z2H Media, Canada Hannu Uotila, CEO, Rocket Gang Productions, Finland
16.30-17.15 I Grand Audi, Level 1
DAVID ZASLAV, President & CEO, DISCOVERY COMMUNICATIONS Interviewed by Stewart Clarke, Editorial Director, Informa Telecom & Media, UK
David Zaslav
© Courtesy of Discovery Communications
“THE SAINT” SCREENING
MIPTV MEDIA MASTERMIND KEYNOTE
MISSION TO THE EDGE OF SPACE RED BULL STRATOS 17.30-18.15 I Grand Audi, Level 1
FELIX BAUMGARTNER, Aerial Expert ALEXANDER KOPPEL, Chief Commercial Officer, RED BULL MEDIA HOUSE
© Courtesy of Red Bull Media House
Famke Janssen
Felix Baumgartner © Courtesy of Red Bull Media House
Speakers Famke Janssen, Cast member Katie O’Connell, CEO, Gaumont International Television, USA Eli Roth, Director and Producer, USA Bill Skarsgard, Cast member
Interviewed by Kate Bulkley, Presenter and Commentator, UK Alexander Koppel
OFFICIAL CONFERENCES & EVENTS ESTEREL
AGORA TALKS
SQUARE
BEST OF BRANDS & CONTENT SCREENING
DESIGNING TV AROUND THE VIEWER
14.30-15.00 I Esterel, Level 5
Sponsored by Magine
14.30-15.00 I Agora, Level -1 Speakers Doug Scott, President, OgilvyEntertainment, USA Panos Sambrakos, Executive Creative Director, OgilvyOne Worldwide, Athens, Greece
Doug Scott
Speakers Mattias Hjelmstedt, Founder & COO, MAGINE, Sweden Michael Turner, Head of Content, MAGINE, Sweden
Panos Sambrakos Mattias Hjelmstedt
TALKS
DRIVING COMMUNITY TO YOUR CONTENT 15.15-15.45 I Esterel, Level 5 Moderator Kate Bulkley, Presenter and Commentator, UK Speakers Matt Heiman, Chairman & CEO, Diagonal View Productions, UK Mark Sorrell, Development Director, Hide&Seek, UK
Matt Heiman
Michael Turner
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MATCHMAKING: MEET THE BRANDS 15.15-15.45 I Agora, Level -1 Presenter Marc Goodchild, Managing Director & Chief Creative, IpDipSkyBlue.tv, UK Speakers Eva Barrett, Global Head of Brand Communications, Philips, The Netherlands Paolo Bonsignore, Marketing Director EMEA, illycaffè, Italy Antoine Wolf, Global Advertising Manager for Electric Vehicles and Innovation, RENAULT SAS, France
Mark Sorrell
SQUARE
TALKS
NEW MEDIA MOGULS 16.00-16.30 I Esterel, Level 5 Moderator Kate Bulkley, Presenter and Commentator, UK Speakers Andrew Creighton, President, VICE MEDIA, USA Scott Dikkers, Founding Editor and VP of Creative Development, The Onion, USA
Andrew Creighton
Scott Dikkers
MATCHMAKING: MEET THE BRANDED CONTENT EXPERTS 16.30-17.00 I Agora, Level -1 Presenter Marc Goodchild, Managing Director & Chief Creative, IpDipSkyBlue.tv, UK Speakers Tarek Daouk, Chief Content & Innovation Officer, LiquidThread MENA, UAE Lorenzo De Stefani, Founder & Director, Showethica, Portugal Thomas Jamet, President of Brand Content, UDECAM and CEO, Moxie Paris (ZenithOptimedia), France Victor Knaap, CEO, MediaMonks, The Netherlands Abigail Marks, Director, Strategy and Operations, OgilvyEntertainment, Ogilvy & Mather, USA Colin Turnbull, Partner, Kolody, Canada Mark Waugh, Global Managing Director, Newcast Worldwide, UK
product neWs MAKING DOC PRODUCCIONES
miptv
MEDIALAND
SPANISH producer Making DOC brings three new documentary projects to MIPTV: Sadaf Rahimi: Boxing For Freedom is about a young female student who has decided to challenge Afghan traditions and take up boxing; Prescription Art follows the evolution of Alzheimer’s and Huntington’s disease patients in music therapy, photography and text interpretation workshops; and Spain Year 0 explores the causes and consequences of the crisis in Spain, and the effect of cuts, inequality, unemployment and evictions.
AN ARGENTINEAN, a Paraguayan and a Uruguayan are put together in a 1970s Volkswagen van and challenged to cross Brazil in 30 days in Los Hermanos: Lost In Brazil (12 x 26 mins), brought to MIPTV by Medialand. The team will not learn of their prize unless they make it to the finish line. The company also brings Way Beyond Fear (4 x 30 mins), a series of stories full of suspense and the supernatural.
Los Hermanos: Lost In Brazil (Medialand)
ARIRANG
KOREA’s Arirang is prioritising its series Korea Top 10 at MIPTV. The company brings two seasons (1: 13 x 60 mins/2: 20 x 60 mins) of the show which looks at the top 10 in various themes, including the hottest nightlife venue, healing destinations, vacation spots, and even Gangnam style. Sadaf Rahimi: Boxing For Freedom (Making DOC Producciones)
MULTIVISIONNAIRE PICTURES BIGBONSAI
BEYOND Boundaries (1 x 90 mins) looks at the hopes and obsessions of Brazilian neuroscientist Miguel Nicolelis in his relentless challenge to make a paralysed person walk again in the opening ceremony of soccer’s FIFA World Cup in 2014. The Brazilian producer BigBonsai also brings documentary Dominguinhos (1 x 90 mins/6 x 26 mins), a portrait of musical talent Dominguinhos, Volta e Meia, as he reaches his 70th birthday.
MULTIVISIONNAIRE Pictures, a Los Angeles-based distributor brings its slate of over 100 titles to MIPTV. Film debuts include Live At The Foxes Den, a musical drama about a promising young corporate lawyer ready to throw it all away to become a lounge singer. Bullets & Cookies (Balas & Bolinhos) is an action-comedy about a mischievous trio who lie, cheat and steal from anyone and everyone to solve each of their problems. In The Last Death (La Ultima Muerte), an unconscious unidentified young man is found outside the cabin of a doctor, and a conspiracy begins to unravel, and The Blue Apple Tree (El Manzano Azul), is a heart-warming story about an 11-year-old boy who spends a summer in the countryside with his grandfather, whom he hardly knows.
ERREQUERRE
SPANISH company Errequerre is at MIPTV to highlight its online content management platform, with a range of over 6,000 hours of broadcast content. The company offers shielded broadcast, transcoding of the different formats in the cloud, a new watermarking system for copyright protection and a private storage system. One hundred companies are part of the system, covering animation, movies, sports, documentaries, news, series and soap operas. Live At The Foxes Den (MultiVisionnaire Pictures)
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product neWs When Muhammad Ali Met The Irish (RTE)
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GRIFA FILMES
BRAZILIAN producer Grifa Filmes brings a documentary series to MIPTV, Between Heaven And Earth (6 x 26 mins), which talks to people who use different skills and abilities to express their communication between the known and the unknown, the visible and invisible, in a quest for spirituality. SAMSUNG PUBLISHING
ANIMAL Rescue Cubecon is a series introducing animal characters in trapezoid, circle, and triangle shapes that have boats, submarines, ambulances, and other vehicles to search and rescue. Set around an island called Figure World, the series aims to teach children about safety around water and how to administer first aid. Merchandising is part of the roll-out plan for this series, brought to MIPTV by Korea’s Samsung Publishing.
RTE
EIRE’s national television broadcaster is highlighting two of its shows at MIPTV. When Muhammad Ali Met The Irish (1 x 52/HD) is a documentary about when the world’s greatest boxer came to fight in Ireland in 1972. Promoter ‘Butty’ Sugrue and opponent ‘Blue’ Lewis, an ex-con from Detroit trying to go straight, are among a wealth of entertaining characters surrounding the visit who are profiled. Living The Wildlife (32 x 25 mins) is the fifth series from cameraman Colin Stafford-Johnson that explores Ireland’s fauna: from a close encounter with a family of pine martens to swimming with blue sharks off the south coast.
Animal Rescue Cubecon (Samsung Publishing)
THE TELEVISION SYNDICATION COMPANY (TVS)
AMONG Orlando, Florida-based distributor TVS’ MIPTV priorities are: Better Show (100 x 60 mins), a daily series covering all aspects of relationships, fashion, entertainment, finance, health and family life; sport specials Disson Ice Skating Spectaculars (8 x 60 mins) and International Beach Volleyball Exhibitions (2 x 60 mins); Hot Rods, Customs And Classics (13 x 30 mins), featuring classic and exciting cars; Working Woman Report (10 x 30 mins), a series dedicated to female entrepreneurship; Harbor House Life (10 x 30 mins), which visits coastal destinations to spear fish, free dive and forage; and award-winning cooking series, Great Chefs (600 x 30 mins/21 x 60 mins).
Better Show (TVS)
UPSIDE TV
FRANCE’s Upside TV is debuting A Day In The Life Of A Dictator (1 x 90 mins/2 x 52 mins) at MIPTV, a documentary that looks at the intimate life of three contemporary dictators: Stalin, Gaddafi and Amin Dada. The programme blends CGI, drama and archives. The company also brings: The Lion Whisperer (1 x 52 mins), about Kevin Richardson, who has been surrounded by domesticated lions for years, and can pet them and travel with them; Ground Breakers (6 x 52 mins), which profiles significant entrepreneurs; travel series Through Your Eyes (40 x 26 mins); and Homo Touristicus (1 x 52 mins), a history of travel that plays with the A Day In The Life Of A Dictator, Stalin (Upside TV) narrative of wildlife documentary.
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HG DISTRIBUTION
HG DISTRIBUTION brings a new featurelength fiction trilogy Time Out to MIPTV. The series, set in a post apocalyptical winter, sees Joel and Chloe join forces to journey in search of survivors and warmth, but they discover another disturbing traveller. The Quebec-based distributor also brings three documentary films about serial murderers: The Spirit Of Hatred And Vengeance (1 x 80 mins/HD), featuring Carl Panzram, who writes about his horrific crimes in jail; In Sin He Found Salvation (1 x 86 mins), about Albert Fish, a twisted child killer in depression era New York; and America’s First Serial Killer (1 x 64 mins), about Dr. H.H. Holmes, who targeted unsuspecting victims visiting the 1893 World’s Fair in Chicago.
EVS ENTERTAINMENT WE HAVE THE POWER TO ENGAGE
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We give programme makers the power to be truly creative, with production solutions that deliver speed and total reliability. From reality TV to staged events, we offer producers the freedom to push boundaries and engage new audiences. Our entertainment solutions deliver the smartest, most efficient and most creative workflow for TV production. Our intelligent XS production server provides the ultimate platform for studio applications, while on-the-fly editing with IPEdit and integrated production control with IPDirector add new dimensions to the potential of entertainment broadcasting. EVS Entertainment. Enabling creativity.
www.evs.com
product neWs DLT/RAYDAR RIGHTS
NEW LONDON-based distributor DLT/Raydar Rights launches BBC One primetime drama Our Girl (1 x 90 mins) at MIPTV, which tells the story of disenfranchised inner-city tearaway Molly Dawes (Lacey Turner), whose lack of opportunities leads her to enlist with the Army. The company also brings: interactive teen and family thriller, Reservoir Hill; romantic comedy Girl Vs Boy; witty drama Flatmates; kids’ show Olive The Ostrich; and game show Talkabout.
JAVA FILMS
FRANCE’s Java Films brings the BBC Storyville documentary I Will Be Murdered to Cannes. When a video of a murdered Guatemalan lawyer surfaced on YouTube in which he foretold his own death and accused the country’s president of his murder, it triggered a national frenzy that nearly brought down the government. It was just the beginning of a case that took multiple twists and turns before reaching a stunning revelation.
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MOCHO PRODUCTIONS
IF I WERE (13 x 22 mins) is a TV Series where the hosts Bruno Dubeux and Gisele Werneck experience one day in the life of a man and a woman from different cultures around the world, dressing in their clothes, living their routine and discovering what makes us unique and what is common to all humans. The show is brought to MIPTV by Brazil’s Mocho Productions.
If I Were (Mocho Productions)
Our Girl (DLT/Raydar Rights)
I Will Be Murdered (Java Films)
ENDEMOL
SLASH:// (Gruppo Alcuni)
GRUPPO ALCUNI
ITALY’s Gruppo Alcuni returns to MIPTV with animation series SLASH://, about five youngsters who, thanks to the magic power of a green stone, are able to physically travel through the worldwide web. They go up against the evil Cobra who is intent on destroying some of the most important works of art on the planet. H2Ooooh!, stems from a collaboration between Gruppo Alcuni, the UNESCO Venice Office and RAI Fiction, in which young people were asked to create stories on the theme of water for these 26 shorts. The company also brings feature film Pet Pals — Marco Polo’s Code.
FORMATS from the US, Italy, Germany and the Netherlands lead Endemol’s new slate for MIPTV. Created by Endemol USA, Does Someone Have To Go is a new fly-on-the-wall format where bosses hand over the reins of their companies, offering employees the chance to make changes. Also from Endemol USA is game show Wall Of Fame, where families of four win cash by correctly answering general knowledge questions and then identifying which celebrity on a wall of fame also got the right answer. The Brain is a cerebral talent show originally produced by Endemol Germany, in which contestants perform mental and physical challenges. Next One is a new daily game show from Endemol Italy where players queue on stage to take part in a high-speed game of knowledge. Grading Mom And Dad is a reality series from Endemol Netherlands that lets children grade parents’ parental skills. From Endemol Germany is Unbeatable, where contestants with distinctive skills have to face their toughest opponent, chosen by two celebrities. Endemol Spain’s successful format Your Face Sounds Familiar is also returning to Cannes having now sold to 20 countries. The celebrity talent show sees personalities perform as iconic music performers of both sexes.
DUO2
BRAZIL 2014 - A Global Cup is a series of 32 13-minute documentary films which aims to portray all aspects of life from the point of view of immigrants in Brazil. Producer of the show Duo2 is in Cannes under the auspices of The Brazilian TV Producers (BTVP) organisation. Does Someone Have To Go (Endemol)
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product neWs DANDY SPC
HIGHLIGHTS from Korea’s Dandy SPC animation catalogue include: Bubble Bubble Marin (52 x 11 mins/3D), set in the unique environment surrounding Marin’s family and neighbours; Bolts & Blip (26 x 22 mins/3D and 1 x 75 mins), about an intergalactic sports circuit, where robots known as the Lunar League settle Earth’s disputes; Spark (1 x 90 mins/3D & 4D), about space pirates; The Beet Party (104 x 2 mins/3D), about beat-boxing beets who chill out in a fridge; and The Nut Job (1 x 90 mins/3D & 4D) about the adventures of Surly Squirrel and his rat friend. The company also brings the musical drama 1789, Les Amants De La Bastille (135 mins/3D).
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EBS
KOREA’s EBS tops its MIPTV slate with two HD documentaries. Children Of The World (26 x 40 mins) looks at the lives of children from areas dominated by their natural environment, including Madagascar, the Himalayas, and Tuvalu, exploring aspects of childhood and the issues faced by developing countries. Babylon Unveiled (2 x 50 mins/3D) looks at the historical significance of this city that lay buried under the desert sands of Iraq, only discovered late in the 19th century. The documentary compares myth with historical fact, and brings to life the city’s characters and buildings using the latest in 3D motion capture technology.
Children Of The World (EBS) Bubble Bubble Marin (Dandy SPC)
VISOM DIGITAL
ATLANTIC PRODUCTIONS
LONDON-based producer and distributor of factual programming, Atlantic, brings new series Micro Monsters to MIPTV. Created by Colossus Productions, and presented by David Attenborough, the production is a joint venture between Sky and Atlantic Productions. The 3 x 50-minute series is slated to premier this year on Sky 3D and Sky 1 HD. Micro Monsters looks at the weird and wonderful world of bugs, using new footage and CGI.
MIRA FILMES
CONFESSIONARY (13 x 26 mins) is a drama about a stressed-out priest who is put in charge of a church in a small town in the Brazilian countryside, convinced he can finally lead a peaceful life. However, he gets caught in a web of bickering, scandals and temptations. Brazilian producer Mira Filmes also brings: I Wanna Have A Million Friends (13 x 24 mins), about an internet celebrity and his loser friends; and disturbing tale Camp Paradise (7 x 26 mins).
THE WORK of one of the world’s most prolific string quartet composers is performed in the series Villa-Lobos – The Complete String Quartet Works (13 x 26 mins), brought to MIPTV by Visom Digital. The works are played by the Radames Gnattali Quartet and accompanied by guitar virtuoso Turibio Santos, president of the Brazilian Music Academy. The company also brings sports series Ciclos. In Ciclos – A Record Breaking Adventure (6 x 52 mins), three paragliders take part in a 500-kilometre flight to attempt a Guinness World Record.
NBCUNIVERSAL FORMATS
NBCUNIVERSAL returns to MIPTV with Emmy award-winning cooking format Top Chef, which sees top cooks compete in culinary challenges. A Spanish version is in pre-production with La Sexta to air this year, and Indonesian terrestrial network SCTV is also showing 13 two-hour episodes, also later this year. Top Chef now appears in 10 countries across four continents, and is optioned in Italy, Sweden, Mexico and Brazil. Micro Monsters (Atlantic Productions)
Villa-Lobos – The Complete String Quartet Works (Visom Digital)
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product neWs ENXEBRE ENTERTAINMENT
ENXEBRE Entertainment is at MIPTV to showcase its offer of stereoscopic services and production for 3DTV, film and documentaries. The company has 18 years experience producing stereoscopic content and is in Cannes under the Audiovisual From Spain umbrella.
ELO COMPANY
JOURNEYMAN PICTURES
UK-BASED distributor Journeyman Pictures is at MIPTV with a line-up of documentaries. The World According To Lance (1 x 45 mins) talks to those who broke the silence around cyclist Lance Armstrong about his illegal drug taking and the pressure he put on his teammates to do the same. The company also brings Searching For Steele (1 x 52 mins), which looks at American-sponsored terror in Iraq, and Nina Conti: Her Master’s Voice (1 x 60 mins), a revealing personal journey through the world of ventriloquism, and Amazonia Eterna examines whether the commercialisation of the Amazon rainforest may save it, rather than lead to its destruction.
THEATRICAL distribution is planned in 2014 for documentary Boy 23 (1 x 90 mins), and the Brazilian producer, Elo Company, is at MIPTV looking for prelicensing of the project. The special covers the history of eugenics and Nazi ideology in Brazil, specifically a ranch at Campina do Monte Alegre, upstate from Sao Paulo, where 50 orphans between nine and 12-years-old lived in semi-slavery under the aegis of Brazilian Law. Boy 23 (Elo Company)
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Amazonia Eterna (Journeyman Pictures)
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CONTENT TELEVISION
NOTTINGHAM FOREST
SPAIN-based Nottingham Forest is at MIPTV with Sendokai Champions (26 x 12 mins), co-produced by Kotoc and TVE, which will air on Cartoon Network channels in more than 50 countries later this year. The company is partnering with Planeta Junior to manage licensing and merchandising for Sendokai Champions in several European countries. Nottingham Forest’s Jokebox (156 x 2 mins), a series of adult animation shorts, is also the subject of a deal with Turner Broadcasting System, this time to I.Sat, the company’s channel in Latin America.
HELICOPTER Rescue (7 x 30 mins), brought to MIPTV by the UK’s Content Television, focuses on the busiest search and rescue operation in Britain, that of the Royal Air Force (RAF) in Wales. This division of the RAF, in which HRH Prince William serves, covers the mountains and coastline that can be both beautiful and treacherous for visitors.
Helicopter Rescue (Content Television)
Sendokai Champions (Nottingham Forest)
1895 FILMS
CALIFORNIA-based 1895 Films is at MIPTV with a range of documentary programming. Highlights include: Sky Soldier: The Vietnam War In 3D, commissioned by and premiered on the 3net channel, which tells the story of the recently discovered collections of 3D photos taken by Vietnam helicopter pilot Joel Glenn; MLK: The Assassination Tapes, looking in real time at the events surrounding the assassination of Dr Martin Luther King; and Frozen In Time: Our History In 3D, which also airs on 3net later this year.
POLAR STAR FILMS
FALCIANI’s List (working title), a coproduction between Polar Star Films of Barcelona and Gebrueder Beetz Filmproduktion of Berlin, tells the story of Herve Falciani, an employee of the Swiss private-bank HSBC, who left the office with a list of 130,000 secret accounts. A manhunt began, while he leaked his list to world governments. The film, directed by Ben Lewis, puts this story of a whistleblower in the context of the global investigation of tax evasion.
Are you ready? Feel the beauty of ultra high definition TV Happening now at MIPTV Dedicated sessions and screenings with a Sony 4K Digital Cinema Projector SRX-R515p
Monday, 17.00 - MIPCube Agora 4K Innovation Seminar Wednesday, 10.00 – 12.15 - Audi A 4K Television’s Next Revolution Super Sessions Don’t miss Sony’s 84-inch 4K Bravia demo on MIPCube Square, stand 01.07, and outside Audi A!
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product neWs LOOKS FILM & TV
LYNDON B Johnson - Succeeding Kennedy (1 x 52 mins) is a documentary in production, brought to MIPTV by Germany’s Looks Film & TV. On November 22, 1963 Lyndon Johnson was propelled to be President of the US after the Kennedy assassination. He is most often remembered as the man who took the US into Vietnam, though he pushed through more civil rights legislation than Kennedy planned to. This programme looks at this controversial presidency using never-before-seen footage and rare archives.
DISTRIBUTION360
TORONTO-based marblemedia, Big Soul Productions — a leading producer of Aboriginal programming — and Aboriginal Peoples Television Network (APTN) are collaborating with Alexander Bar, creator of the series Lunar Jim, to develop a new animated pre-school series, Snow Joe. Set in the wintery wonderland of Snowflake Peak, an Aboriginal boy of Dene descent dreams of becoming a hero — just like the ones in his grandfather’s stories. Marblemedia’s interactive division is developing mobile and online products for the brand, and marblemedia’s partner company Distribution360 handles all international television, interactive and format sales for the series.
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TV PINGUIM
EARTH To Luna! (26 x 11 mins) is a pre-school series about science and the process of scientific inquiry. Luna notices things in her surroundings and questions how the world works, and she pursues the answers using her intuition and the process of scientific inquiry. The show is brought to MIPTV by Brazil’s TV PinGuim.
Earth To Luna! (TV PinGuim)
FICCION PRODUCCIONES
LITTLE Finger is an animated film about a peasant who dreams of lifting his family from poverty. He finds a magic mirror that reveals a woman who urges him to follow his brothers to the city. In his journey to achieve his goal he encounters dragons, giants and a creepy evil witch. The Spanish producer also brings Dragal: The Legacy Of The Dragon, the story of Adrian who is unknowingly dragged into a mystery when a medallion inherited from his father leads him to prevent a powerful dragon coming back to life on the shores of Galicia.
Lyndon B Johnson - Succeeding Kennedy (Looks Film & TV)
NELVANA ENTERPRISES
CANADA’s Nelvana Enterprises brings Zack & Deuce (52 x 11 mins), a 2D animated series for 6- to 11-year-olds, based on the book series The Day My Butt Went Psycho, to MIPTV. Zack and his best friend Deuce, who happens to be his newly detached butt, navigate a world where humans and their butts live side-by-side. The show is a coproduction between Nelvana and Studio Moshi, in association with Scholastic Entertainment Inc. In a separate project, the UK’s HIT Entertainment and Nelvana have green-lit a second season of their pre-school show, Mike The Knight. This series (52 x 12 mins) is set in the medieval CG-animated world of wizards, castles, dragons and trolls. Nelvana Enterprises represents the series in broadcast and home entertainment in Latin America and France, and broadcast in the US, while HIT represents Mike The Knight in other territories.
Zack & Deuce (Nelvana Enterprises)
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Snow Joe (Distribution360)
ATRESMEDIA
SPAIN’s Atresmedia (formerly Antena 3) brings two new seasons of its shows to MIPTV. Love Is Forever (Amar) returns with a new cast and new love stories set in the early 1960s. With Your Pants Down (Con El Culo Al Aire) is a comedy drama about a group of different families who are forced to move to a campsite because of the economic crisis, and their different strategies to cope with their bad fortune.
Love Is Forever (Atresmedia)
product neWs PGS ENTERTAINMENT
Stan Lee’s Mighty 7 (PGS Entertainment)
FINDING4YOU
STAN Lee’s Mighty 7, the latest offering from Stan Lee Comics — a joint venture between Stan Lee’s POW Entertainment, A Squared Entertainment and Archie Comics — is brought to MIPTV as a movie trilogy (3 x 75 mins) by Paris-based distributor PGS Entertainment. Stan Lee is the co-creator of iconic superheroes, including Spider-Man, The Hulk, The Avengers, The Fantastic Four and X-Men. In Mighty 7, Stan inserts himself into the story as a writer hired by Archie Comics to create a new group of superheroes. When seven aliens crash-land near his trailer in the desert night, Stan realises that they are being chased by the military and has to act fast. He decides to help by teaching them how to behave as superheroes. The first of the three movies is scheduled to deliver in the fourth quarter of 2013.
ANIMATION Rascayu (26 x 6 mins/HD), from Spain’s Finding4You, features a bizarre character who lives in a fantastical cemetery. The Spanish company has produced the comedy series in 2D and 3D, and it is targeted at 6- to 12-year-olds.
Rascayu (Finding4You)
PRIMITIVO
BRAZILIAN producer Primitivo is highlighting two projects at MIPTV. Mad Dogs (1 x 52 mins/3 x 26 mins) is the story of three Brazilian surfers who left all in pursuit of the dream of surfing the biggest waves in the world, not imagining that later they would write an important chapter in the history of surfing. Beyond The World (1 x 78 mins) is set in a magical hidden valley at an altitude of 1,000 metres, where people from different nationalities have sought refuge, and experiment with ideological models and community living.
EUROARTS MUSIC INTERNATIONAL
BERLIN-based EuroArts Music and the San Francisco Opera have struck a new deal (in principle) for TV distribution and home video of performances. The arrangement is made for a long-term relationship and regular releases on DVD/Blu-ray, and includes the possibility of future co-productions. The plan is to have six titles released over two years. Mad Dogs (Primitivo)
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ary s r e v i n n a to the 50 of MIPTV th
8-11 April 2013
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ALBATROSS WORLD SALES
GERMANY’s Albatross World Sales brings a number of new titles to MIPTV, including: Adopted By Dolphins (1 x 52 mins), which looks at bottlenose dolphins in the Red Sea; The Wagner File (1 x 52/90 mins), a docu-drama about the great german composer; Killer In The Caves (1 x 52 mins), about the looming extinction of many North American bats; and Greece! The Islands (5 x 52 mins) shows the locations of Europe’s earliest civilizations using aerial filming, and on the ground olive-farmers, monks, ferrymen and sculptors give insights into historical buildings, sacred places and culinary traditions.
ELECTRIC SKY
ELECTRIC Sky highlights several programmes from its MIPTV catalogue, including: The Wedding Shop (1 x 60 mins), following the formidable owner and her colleagues in one of Britain’s busiest bridal shops; Special Spaces (12 x 30 mins), featuring amazing interiors around the world; The Railway (6 x 60 mins), an observational documentary following the inner workings of Britain’s railways; The Man Who Ate Himself To Death (1 x 53 mins), about an obese man living on the Pacific island of Guam; and Lava Land (2 x 52 mins), about the Hawaiian Volcano Observatory and the effect volcanoes have on local communities.
Adopted By Dolphins (Albatross World Sales) The Wedding Shop (Electric Sky)
Today, 11:00am Join us for a MIPTV 50th Anniversary Champagne and Birthday Cake celebration on the Parvis of the Palais des Festivals courtesy of the City of Cannes and local partners*
3FFE .*%&. XPVME MJLF UP UIBOL $JUZ PG $BOOFT t 1BMBJT EFT 'FTUJWBMT FU EFT $POHSĂ’T t $BOOFT "DDPNNPEBUJPO t $BOOFT #FBDIFT "TTPDJBUJPO t $BOOFT )PUFMT "TTPDJBUJPO t $BOOFT 1SFTUJHF "TTPDJBUJPO t $BOOFT 3FTUBVSBOUT "TTPDJBUJPO t $BOOFT 5BYJT "TTPDJBUJPO t 4DIPPM j'BDVMUĂ? EFT NĂ?UJFSTx
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ELASTIC RIGHTS
SPAIN’s Elastic Rights brings TVE’s stop-motion animated series, Clay Kids, to MIPTV. Produced by the Spanish company, Clay Animation, and co-produced by Television Espanola (TVE), the 52 x 11-minute series is targeted primarily at kids 6- to 11-years-old. Elastic holds rights for Spain, Portugal, France, Greece and Turkey (with the exception of free TV rights in Spain). The company also brings Omm Moo, Yoga For Kids (26 x 7 mins), combining 3D, 2D and live-action sequences. The series focuses on a group of kids who, with the help of a cat guru and a group of cows take part in a simple yet fun yoga routine including music, voice exercises, stretching and meditation. Clay Kids (Elastic Rights)
ABC STUDIOS
ABC STUDIOS in the US has entered into a joint venture with Sonar Entertainment to produce Fix It Men, a drama series created by John Glenn at ABC Studios through The Mark Gordon Company. A scientist and a special forces soldier from a post-apocalyptic future travel in time to our present day and into their younger selves in an effort to forestall Armageddon. They must alter a series of seemingly random events that form the chain leading to the catastrophe. ABC Studios will handle distribution in North America with Sonar distributing in the rest of the world.
KENNY & CO
GURU STUDIO
PRE-SCHOOL series Wish Come True (52 x 11 mins) revolves around a nine-year-old girl named True and her adventures in Rainbow City. Brought to MIPTV by Canada’s Guru Studio, and in development with Home Plate Entertainment and TVO Canada, the product is based on a toy design concept from creative studio FriendsWithYou. True is brave, athletic, inquisitive, and exceedingly clever. She also has the Wishes, a collection of tiny characters that have the ability to bestow magical powers.
HENSON INDEPENDENT PROPERTIES (HIP)
HIP, THE Jim Henson Company’s media distribution and consumer products banner, has acquired the I Love Egg brand from D&H of Korea, for global rights outside of Asia. The acquisition marks the first property deal for HIP that spans both global consumer products and international media distribution. HIP brings the I Love Egg interstitial content to the international market at MIPTV. Originating as a series of animated shorts on a Korean website, the property quickly grew across Asia, garnering millions of views on YouTube and television networks such as Cartoon Network Japan, and spawned a line of collectible figurines, followed by apparel, publishing and food products.
KOREA 1% is a one-hour talk show format where 50 people who are or were in the top 1% in their various fields get together in a studio to share their stories. Each episode takes on a certain theme, such as cleverness, the wealthy or the beautiful. They discuss what made them such achievers, what they would give up to be in the 1%, or if they really are different from the 99%. Korea 1% (Kenny & Co)
WORLD MEDIA RIGHTS
UK FACTUAL production house World Media Rights brings a documentary series featuring never-beforeseen footage from a Russian archive to MIPTV. The series War & Revolution includes film of the Tsar’s family and the Russian Revolution. World Media Rights is aiming to pre-sell territory licenses at MIPTV in advance of the 100th anniversary of the commencement of WWI in 2014. The company also brings World War Two In HD Colour, Black Op and The Mafia’s Greatest Hits.
Wish Come True (Guru Studio)
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I Love Egg (HIP)
War & Revolution (World Media Rights)
product neWs CLEAR VISION
CLEAR Vision, the UK home entertainment publishing company, has announced its latest partnership with Saban Brands, bringing Power Rangers Samurai and Power Rangers Super Samurai to the French market. The distribution deal with US-based Saban Brands builds on Clear Vision’s existing youth entertainment portfolio, which already includes popular Marvel Animation franchises, Iron Man, The Fantastic Four, The Incredible Hulk, X-Men and Original Spider-Man, as well as the company’s latest release, Gormiti.
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LNC MEDIA
SIX-PART documentary mini-series The Sleepwalkers has been brought to MIPTV by LNC Media and Beckner Media Productions. The series focuses on the six-month period prior to the outbreak of the First World War, looking at the monarchs, politicians and generals who failed to see the tragedy of the events unfolding. The series is due to air in 2014, coinciding with the 100th anniversary of the start of the conflict. BABYFIRST
THE COLOR Crew, an animated series featuring a group of bright and engaging crayon friends who visit different black and white scenarios, has been added to the daily line-up of BabyFirst, the global television network for babies, toddlers and their parents. The series comes to BabyFirst having achieved a successful international roll-out. TURNER BROADCASTING
Power Rangers (Clear Vision)
GLOBO
TELENOVELA The Life We Lead — a poignant story about a young woman who has to put her life back together after five years of coma — is one of Globo’s highlights at MIPTV. The Brazilian broadcaster, which is celebrating 40 years of operations in the international market this year, has already licensed the telenovela to Canal 13 (Chile), Teledoce (Uruguay) and Ecuavisa (Ecuador).
TURNER Broadcasting’s content sales arm has secured the rights to distribute two new documentary series from CNN. Anthony Bourdain Parts Unknown (16 x 60 mins, seasons 1 and 2) is a lifestyle series, hosted by the Emmy Awardwinning chef and television personality. Inside Man (8 x 60 mins), presented by Morgan Spurlock, explores some of the hot button topics of the age including global recession, controversial medical topics and the use of marijuana to ease the chronic pain of the seriously ill.
Anthony Bourdain and Morgan Spurlock
SHAFTESBURY
The Life We Lead (Globo)
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SHAFTESBURY has started production on a onehour documentary, entitled Unsung, for TVO, Ontario’s public educational media organisation. Directed and produced by acclaimed performing arts filmmaker Moze Mossanen (Love Lies Bleeding, Romeos & Juliets), the documentary charts the journey of two Toronto high school show choirs as they battle time, nerves and each other to create an award-winning routine for the Show Choir Canada Nationals.
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ZIG ZAG PRODUCTIONS ZDF ENTERPRISES (ZDFE)
GERMANY’s ZDFE brings a wideranging catalogue to MIPTV. Crime series include Dicte (5 x 90 mins/10 x 45 mins/HD), based on thriller novels by Elsebeth Egholm about a crime-solving journalist and single mother; and The Fall (5 x 60 mins/3 x 90 mins/HD), in which Gillian Anderson plays a detective pursuing a serial killer in Belfast. From the kids genre comes the third season of live-action series Dance Academy (13 x 26 mins/HD), which sees Tara and her friends in the final year. Factual titles include: CIA Confidential (2 x 50 mins/HD), bringing true stories of undercover agents working around the world; and Bomb Hunters (10 x 50 mins/HD) which discusses the remote areas of Canada that have been used for military training for many years, and therefore hold tons of unexploded ordnance.
PILOT FILM & TELEVISION PRODUCTIONS
SPLIT / SECOND is a new 30-minute game show format from Zig Zag in partnership with Sony Pictures Television, in which a celebrity host keeps the series of quick-fire rounds moving at breakneck speed, and the last remaining player goes against the clock, where one button and a split second could win a cash prize. Zig Zag partners with Red Arrow Entertainment Group for another game show format, It Takes Balls, a 60-minute show that sees two teams of four go through a series of rounds where each catch of the ball can win money. The games and challenges are fun, physical and eyecatching, and in the end the team with the most money must each catch a single ball to win. Drop the ball and they could lose everything.
PILOT returns to MIPTV with the 16th season of travel show Globe Trekker (13 x 52 mins/HD), with episodes including Australia, Croatia and Slovenia, Myanmar, Japan, and cities Buenos Aires and Moscow. The London-based company also brings the third series of Bazaar (13 x 26 mins/HD), a travel and shopping series giving advice on the planet’s best bargains; and Planet Food (6 x 26 mins/HD), featuring foodies Rosie Lovell and Bobby Chinn as they discover how the history, climate and economy of a country reflects the diet of its people. 2BMEDIA
Split / Second (Zig Zag Productions)
FIND Me A Home is a 13-part series that follows the adoption of one baby. 10 hopeful couples are taken to a retreat and given parenting challenges, are monitored 24/7, and analysed by an expert panel. At the end of the series the adoption agencyapproved panel makes the decision as to who will be the parents. After this dramatic resolution the show makes an uplifting visit to the newly formed family. The format is brought to MIPTV by New Zealand’s 2BMedia.
Relive the fascinating stories of ABBA in three brand new film documentaries Visit us at Stand 02.34 on Level 01 of the Palais. All enquiries please contact: alex.maldini@imgworld.com
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POWER
INDEPENDENT UK producer and distributor Power is presenting a festive line-up of Christmas content at MIPTV. Titles have already been sold to LRT Lithuania, POP TV Slovenia, HRT Croatia, and Globosat in Brazil. Featured in the programme package are Christmas Pageant, Old Fashioned Christmas, Meet The Santas, and the traditional adaptation of the classic Charles Dickens novel, A Christmas Carol, starring Kelsey Grammer.
SOMETHIN’ ELSE
CONTENT design and creation company Somethin’ Else is at MIPTV to showcase its new offer to the international TV marketplace. The offer is a way to bring new channels of storytelling to the TV experience, with a multiplatform storytelling kit, entitled Story Farm. The kit, comprising a software platform and a package of strategic and support services, transforms dramas or soaps into integrated transmedia experiences. ENTERTAINMENT ONE
A DIVERSE slate of new factual programming has been unveiled at MIPTV by Entertainment One (eOne) including: Perfect Storms: Disasters That Changed The World (6 x 60 mins), which documents some of the most consequential disasters of all time, exploring the emotional damage extreme weather conditions can cause; and Dangerous Persuasions (6 x 60 mins), which shows how normal people can be brainwashed. The company also brings: Panic Button, Who The F**K Is Arthur Fogel? and Offbeat Roads.
A Christmas Carol (Power)
OSIRIS ENTERTAINMENT
MANCE MEDIA
CALIFORNIA-based Osiris is at MIPTV with a catalogue of films, including In My Pocket, a story that follows a young man who seems to have his whole life planned — college, med-school and life as a wealthy surgeon. However drugs take over his life and evenutally his parents convince him to enter a rehab centre. Meeting others there with addiction problems helps him confront his mistakes as he struggles to find the right path to health and happiness. IGMAR
MANCE Media has arrived at MIPTV with twice the hours of programming that it had available at MIPCOM. The Hollywood-based company has already closed several deals, including the wildlife series Zoo Diaries (74 x 30 mins) to Thailand’s True Visions for cable and satellite rights; Fire Ants (60 mins) to South Korea’s EBS for FreeTV rights; and motorsports series Test Drive (6 x 30 mins) to Sony’s AXN Channel across Bulgaria, Czech Republic, Hungary, Moldova, Poland, Romania and Slovakia.
FOOTHILL Europe and its co-production partners Moody Street Kids and Gallus Entertainment announced that Network 10 Australia has commissioned the series G.U.N.K. Aliens (26 x 30 mins). G.U.N.K. Aliens is based on the best-selling books from HarperCollins about Jack, his robotic dog Snivel, and pals Oscar and Ruby, who work for the top-secret wacky alien-fighting organisation C.L.E.A.N.
Eskimo Girl (Igmar)
RUSSIA’s Igmar is at MIPTV with 3D animation series Eskimo Girl (26 x 5 mins). In the beautiful Arctic landscape the young Eskimo girl goes fishing every day in the bay with her friends Egghead and Loogan, and her pet deer. They explore, experiment and use their creativity and imagination, and when they find a mysterious floating object in the water they look for new ways to use it and try to figure out what it’s actually used for. BOMANBRIDGE
SINGAPORE boutique distribution company Bomanbridge Media is back at MIPTV with its catalogue of 3,500 hours of programming, which includes animation, HD programming, formats and game shows, light entertainment, documentaries and sport. In addition to its distribution network, Bomanbridge is also developing formats and factual entertainment series, as well as digital media opportunities to grasp the market embedded in the four-screen phenomena.
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FOOTHILL EUROPE
G.U.N.K. Aliens (Foothill Entertainment)
www.ogilvy.com/miptv
Winner of 7 Branded Conttent & Entertaiinm ment Lions at Cannes Official Partner of MIPTV since 2007
Creating global conversations
Increasing brand value
Turning content into sales
product neWs STARZ WORLDWIDE DISTRIBUTION
HIT THE Floor (10 x 60 mins) is a drama series that follows the lives and loves of the Devil Girls, the dance team for number-1 basketball team, Los Angeles Devils. The cast includes: Dean Cain, Kimberly Elise, Charlotte Ross, Taylour Paige, Logan Browning, Valery Ortiz, Katherine Bailess, Jonathan McDaniel and McKinley Freeman. The VH1 series is brought to MIPTV by Starz, which also brings Starz’s original series Spartacus, Magic City and The White Queen.
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WARNER BROS. INTERNATIONAL TELEVISION PRODUCTION
LETRIS, a daily game show that combines the intensity and strategy of word games with the excitement and speed of game puzzles, is among the programming being launched internationally by Warner Bros. International Television Production at MIPTV. The show takes place in a studio kitted out with the latest technology and is also available on tablet and cell phone applications. Other programming includes quiz show No Brainer, dating format Date Night, and music competition show The Hit.
PORTFOLIO ENTERTAINMENT
Dean Cain in Hit The Floor (Starz Worldwide Distribution)
NEW PRE-school show series Doki has been launched by Portfolio Entertainment at MIPTV. The 26 x 30 mins or 52 x 11 mins animated series fully exploits the popularity of Discovery Kids’ host character. Also featured in Portfolio’s MIPTV programming slate are series two of You Gotta Eat Here! (26 x 30 mins) and the special, The Cat In The Hat Knows A Lot About Christmas! (1 x 60 mins).
BANIJAY INTERNATIONAL
ATHLETIC competition format Stars In Danger: The High Dive (8 x 60 mins) has been licensed by Banijay International to free-to-air nationwide broadcaster Channel One in Russia. The series is currently in production with leading Russian producer Red Square. Banijay is also launching a line-up of new entertainment formats at MIPTV including: The Illusionist, devoted to magic; Absolute Majority, where politics meets game show; dating game Dress Me To Impress Me; and feel-good factual entertainment format Sold Or Broken.
MC FILM CONSULTANTS
BAFTA award-winning filmmaker Gerald Fox’s first feature drama production has been brought to MIPTV by MC Film Consultants. Mother’s Milk (1 x 95 mins), an adaptation of Edward St. Aubyn’s worldwide best-selling novel, has been executive produced by Melvyn Bragg and David Nicholas Wilkinson, and developed in conjunction with the UK Film Council. Fox has produced over 40 arts films for ITV, Channel 4 and Bravo. He is talking to international broadcasters at MIPTV.
TOEI ANIMATION
TWO OF Toei Animation’s latest properties make their international debut at MIPTV this week: Saint Seiya (Omega) and Driland. The series were previously only available in Japan. Saint Seiya has been running in Japan for over 20 years and features a group of youths clad in Cloth, a mystical armour. Driland follows the adventures of this mobile game’s main characters, Princess Davina and her band of heroes.
Doki (Portfolio Entertainment) Mother’s Milk (MC Film Consultants)
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Saint Seiya (Toei Animation)
MIPTV BOUTIQUE booth 08.20, level -1
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feature CONTENT FINANCE
First Hand Films’ Harry Dean Stanton: Partly Fiction
Who’s got the money? New approaches to financing production are themselves creating a new kind of producer, a new kind of audience and a new kind of content. Or is it the other way around? Juliana Koranteng investigates
A
OL, once a mere web portal and now a stock-exchange listed media behemoth, appointed former ABC Entertainment president Susan Lyne in March to be its content brands’ CEO. The division includes AOLowned original websites such as The Huffington Post and TechCr unch. Now, media pundits predict Lyne will be commissioning more original videos to go with those multiLarry Tanz platform brands. In the same month, US-based creator of youth-targeted web content Alloy Digital received a $30m investment from US venture-capital firm ABS Capital Partners. Deric Emry, ABS Capital’s general partner, says: “Alloy Digital is perfectly positioned as major brands increasingly direct advertising dollars online, following a coveted demographic that has embraced multiplatform, digital media entertainment consumption.” The 12 mil-
lion subscribers to Alloy Digital’s YouTube video channel must have also been appealing. AOL and ABS Capital Partners are part of a new generation of investors (see panel) that are changing how original video content is funded for the multi-platform, multi-screen environment. Economic uncertainty in recent years has made broadcasters retreat from backing whole productions. Additionally, distributors have limited how much they are prepared to advance to producers. But quality video entertainment needs substantial funding and investors expect to get their money back. Confident that they can offer healthy returns, digital-media producers are turning to alternative sources of cash. Crowd-funding, merchandise licensing, digital studios, venture capital and private equity, plus new types of public subsidy are helping them produce the videos for
You can just go and make it and have the potential of reaching the internet’s global audience
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Justin Time (Guru Studio)
future entertainment channels. quirky niche operation when started in 2006 has turned Thanks to successful ventures backed by Kickstar- into viable rival to established independent studios, like ter, arguably the most famous online crowd-funding Lionsgate for example. site, more producers are turning to the general public Vuguru does not bring out the multi-billion dollar to finance new video concepts in return for shares or blockbusters such as Lionsgate’s Twilight Saga series, exclusive copies. but global content sellers and distribution platforms, “Some of it actually works. The producers will do the from FremantleMedia Enterprises to YouTube, have research, find people who are interested and raise the agreed to expose its shows (Fetching, Hollywood Help, money, but it is usually for seed funding,” says Esther Feel So Good, and Little Women Big Cars) to a global van Messel, CEO of Zurich-based documentary dis- multiplatform audience. tributor First Hand Films (FHF). “We’re a true studio, just like War“Non-fiction and documentary ner Bros., Lionsgate, and Sony Picfilmmakers have to do everything tures Television. We find projects themselves, as very few can afford via pitches or scripts, we work on an agent. They end up doing evethe development and finance the rything and invest so many manproductions, at which point, we own hours in raising the funds, they them,” Tanz says. fail to take that into account. From “The big studios are still focused on a business point of view, that isn’t TV,” he continues. “But we always very efficient. But from a marketing thought that, at some point, there point of view, it works because you would be a lot of distribution platare able to build a community that forms like Yahoo!, AOL, YouTube, Frank Falcone has pledged to want your project Hulu, but not enough programming. once it is finished.” They have all built substantial subsFHF — which is at MIPTV with a criber bases so, for differentiation, portfolio that includes Harry Dean Stanton: Partly Fic- original content has begun to matter.” tion, a documentary about the iconic Hollywood actor Productions targeting digital platforms can cost 10 — has worked with producers that use crowd-funding. times less than big-studio shows. Investments from They usually raise between $5,000 and $25,000, van companies like Vuguru consequently start from a lowMessel adds. That minuscule amount can help to pro- capital base increasing the chances for larger profit duce a trailer for a professionally crafted film. margins in the long term. “There is also the creative freedom to go and produce a Larry Tanz, CEO of US-based digital studio Vuguru, good concept. Instead of suffering the machinations of says that companies like his have become a necessity developing a pilot, going through the scripting process as the number of digital platforms vying for revenues before the show is made by a big studio for a network, grows. The venture, founded by former Walt Disney you can just go and make it and have the potential of CEO Michael Eisner, finances and produces original reaching the internet’s global audience,” Tanz adds. content for digital distribution. Yet, what seemed like a
Merchandise used to be a dirty word even five years ago
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The entertainment merchandise industry is growing needed standard-definition content; a wireless operainto a reliable source of finance, according to Frank tor’s video-on-demand service that wanted longer HD Falcone, president/creative director of Toronto-based cuts; the major record labels expected music videos, Guru Studio, famous for its kids’ series, including pre- plus special cuts for Vimeo and YouTube, and viral school animation Justin Time. Falcone says that shows videos for social media. aimed at the young used to struggle for investment from “The principle was a lot like crowd-funding, where merchandise licensees. “Merchandise used to be a dirty everyone pays a little and it all gets done in the end, word even five years ago until that sector realised the except that we were putting together a puzzle with a value of entertainment was driven by shows’ creators, number of major players whose different needs had to not their [the merchandise companies’] sales’ goals.” be taken into account without compromising the needs To deserve the investment in the first place, however, of everyone else.” multiplatform producers also need to explain not just Venture capital firms and private-equity companies what they are producing, but alike are warming to the multialso why? platform arena. “The business “If you’ve an idea on paper that angels and venture capitalists talks to an audience in a way I’ve spoken to over the past no one has ever talked before, year are looking into investing you’ll be able to pull the finanin more and more content,” cing,” Falcone says. “But you Staffans says. need to be able to count; you The flipside to private invesneed to know what you’re protors are public subsidies such mising and deliver it. You have as the European Commission’s to be responsible with other MEDIA programme, which put people’s money.” aside €775m from 2007 to 2013 Mike Watts, managing directo support the production and tor of UK-based Novel Enterdistribution of European audiotainment, producer of kids’ visual content internationally. Simon Staffans animation series Horrid Henry, Also, starting this month, the says sourcing money for kids’ UK government is extending its genres, especially factual, live Enterprise Investment Scheme action and animation, has always been tough. (EIS), a tax-relief initiative for high-quality drama, vi“Fortunately, all is not gloomy,” he says, thanks to mul- deo games and animation. Media reports indicate the tiplatform distribution. “The growth of activity in apps move could attract £350m for the UK TV business as and the new means of delivery in on-demand and digi- more investors inject funds into the sector and hence tal-download services give some cause of optimism. attract more foreign producers. Platforms such as Netflix, Hulu, Blinkbox and iTunes “Animation producers in the UK are looking forward are looking to offer more children’s content and some to it as it will go a long way to levelling the playing are even funding their own productions.” field with countries such as Canada, France and IreInvestors can be biased about genres, says Andrew land, which have [for some time] enjoyed support in Baker, managing director of UK-based international the form of fiscal measures and cultural grants,” Novel media consultancy Rights.tv. “Drama often attracts Entertainment’s Watt says. the highest licence fees but also the best international FHF’s van Messel, however, believes European subsidy sales, whereas kids programming is typically very low schemes could be more supportive of distributors, not by comparison as a percentage of budget,” he adds. just producers. It would be ideal for European public “For example, [UK commercial channel] ITV might bodies to subsidise activities after the development fund 80% of a multi-million pound costume drama but stage, she says. Only cinema distribution for non-ficeven the BBC will pay no more than 30% of a kids bud- tion productions receives subsidies, via the EU’s Sales get. Producers need to be aware of the funding options Agent support scheme. “The one part of the system that available and increasingly UK producers are becoming is not subsidised is [TV distribution], the part where more savvy about their funding to ensure they keep you can make the film visible for people to see.” more rights and control.” Which is why broadcasters still hold the biggest purse strings, argues Rights.tv’s Baker. “Despite the changing Investors also need assurance that the producers are landscape of media outlets, TV broadcasters remain the experts in their profession, says Simon Staffans, content key source of funding; they have both the scale and developer at multiplatform, transmedia production reach to afford to pay the highest sums of money for company MediaCity Finland. “You need to know how your programme, and they are also expanding their outto produce, direct, shoot, finance, edit, distribute and, put across multiplatform as well.” preferably be good at all of them.” The Mill Sessions, a Traditional distributors as investors should never be Finnish music series that came out in 2011, is a case in written off either, says London-based Chris Bonney, point. “We spent nearly as much time on developing the CEO of rights at international producer/distributor Cifinancial structure as on the show itself,” he says. “We neflix Media. “They’ve got the experience to work cloneeded to shoot a lot of additional content to be able to sely with a producer and broadcaster to achieve the best offer unique content to different partners.” result for all parties: strong, creative content at a comThose partners included a free-to-air broadcaster that petitive price for commissioner, acquirer and producer.”
You need to know how to produce, direct, shoot, finance, edit, distribute and, preferably be good at all of them
Rights.tv’s Andrew Baker
Vuguru’s Larry Tanz
Cineflix Media’s Chris Bonney
First Hand Films’ Esther van Messel
Guru Studio’s Frank Falcone
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The new wave of content finance New distribution platforms are investing in original shows to distinguish their brands among the billions of digital viewings. And a new generation of dedicated content makers have come along to help fill the gap, while crowd-funding has proved that the fans will pay for the production of the entertainment they want. But they still cannot match the $5bn that Time Warner invests in production annually... Agents Chloe Jocelyn (Missy Peregrym) and Frank Parker (Manny Montana) in Yahoo!’s Cybergeddon
AMAZON : The apparently unstoppable Amazon.com — formerly “the Earth’s biggest bookstore” and now “the biggest marketplace on Earth” — is investing in original content via Amazon Studios. It targets aspiring unknown producers, who can upload their ideas on to Amazon Studios’ website. Selected projects, mostly kids’ shows and comedies at the moment, will receive $55,000 to develop the concept. The development fee is $200,000 for movies. As well as receiving up to 5% of the associated merchandise and licensing, the series will be produced by, or with, Amazon subsidiary People’s Production Company and be distributed via Amazon’s streaming-video platforms. HULU Original content in 2013 for the pioneering over-the-top on-demand platform includes adult animation The Awesomes and comedy series The Wrong Mans. They follow Morgan Spurlock’s A Day In The Life in 2011, and the anti-movie review show The Spoilers last year. But the biggest portion of Hulu’s $500m annual content budget is still for acquired shows. KICKSTARTER In 2012, 2.4 million people in 177 countries used the online crowd-funding platform to pledge $319.8m to fund 18,109 projects successfully. That year, fans pledged $58m for 3,891 successful Film & Video projects, the second-biggest pledged category after Games. About 10% of the films at last year’s Sundance Film Festival were Kickstarter-funded, and the movie Incident In New Baghdad was nominated for an Oscar. Some 63 Kickstarter-funded films opened in cinema theatres. The most talked about Kickstarter project was Freddie Wong’s web series Video Game High School; the maverick US director raised more than $808,000 despite requesting $636,010. NETFLIX Media reports indicate that the leading on-demand online streaming-content platform has a budget of up to $300m to invest in original content, and that $100m went into House Of Cards’ 26 epi-
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sodes. Other original productions include two eightepisode seasons of Lilyhammer, and its revival of cult US comedy Arrested Development. In the pipeline are Orange Is The New Black; Hemlock Grove; Turbo: FAST (Fast Action Stunt Team); and Ricky Gervais’ new comedy series Derek. YAHOO! Yahoo! Screen is Yahoo!’s equivalent of YouTube. It was when Yahoo! Screen backed Electric City, a futuristic sci-fi animation web series produced by Hollywood star Tom Hanks in 2012, that the industry realised it was a serious contender in terms of content investment. It co-produced web comedy series Burning Love with Paramount Pictures, media agency PHD and Hollywood actor Ben Stiller. Electricity City cost an estimated $2m; it was followed by Cybergeddon, a $6m crime-web series by CSI-franchise creator Anthony E Zuiker. VUGURU Founded by former Walt Disney Company CEO Michael Eisner in 2006, this next-generation operation was targeting multiplatform users before Hulu and Netflix started offering streamed content. Vuguru’s budget remains unknown, but it has produced original web shows that are distributed in more than 40 countries. Vuguru original content — including The Booth At The End and Little Women, Big Cars — is receiving extended distribution via third-party partners including BBC Worldwide, FremantleMedia Enterprises and digital platforms including YouTube. YOUTUBE With more than 800 million unique visitors a month, the Google video-sharing subsidiary has the audience size that appeals to content creators. In 2011, YouTube disclosed ambitions to invest $100m in original-programming channels and has since funded about 180 original channels in the US, UK, France, Germany and Japan. They include celebrity chef Jamie Oliver’s Food Tube and the Madonna-backed DanceOn Network.
8 - 11 April 2013 Cannes - France
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feature ADVERTISING Wainy Days, an internet video series starring David Wain that is hosted on the My Damn Channel platform
What are they looking at? Eyeballs are everywhere these days and advertising is changing as a result. And the good news is the figures show that the numbers are up. Juliana Koranteng reports
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DVERTISING remains the core method for monetising TV content. ZenithOptimedia predicts expenditure on traditional TV ads will grow to $226.5bn (€174bn) worldwide in 2015 from $205.5bn this year. Add online-video ads, and video formats will represent nearly 43% of total advertising in two years’ time. The media agency also forecasts that global internet advertising alone ($101.5bn in 2013) will overtake newspaper ad revenues for the first time this year. The internet will then overtake global newspaper and magazine revenues combined in 2015, when it will return $132.4bn in ad revenues. Social-media and online-video ads are the “fastest growing” sub-categories. Such findings confirm we are entering a new age of TV advertising. The same ad-funded networks and shows are accessible via analogue and digital broadcast signals; OTT (over-the-top) subscription-funded TV services like Netflix and Hulu; catch-up TV websites; Microsoft’s Xbox Live games network; TV-Anywhere services; video-sharing giant YouTube; social media; mobile apps; and internet-delivered IPTV.
However, in that fragmented TV landscape, industry executives still wish to remind the world that the original 30-second spot and its variations are far from dead. “Last year, traditional TV spots represented over 80% of total gross investment in pan-European TV,” says Petra Malenicka, CNN International’s sales director, referring to the 2012 Kantar Media PETV Adspend report.
Last year, traditional TV spots represented over 80% of total gross investment in pan-European TV Petra Malenicka
TV advertising remains the most effective way to build brands, increases a campaign’s efficiency six-fold and is becoming more effective thanks to synergy with the internet, observes Julia Jordan, executive director, business and operations at UKTV, the British digital pay-TV network co-owned
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feature by BBC Worldwide and Scripps Networks Interactive. “Although the TV landscape has changed considerably, the 30-second spot remains not only undiminished but significantly enhanced in effectiveness,” Jordan says. “The digital-TV landscape also offers many things for every spot advertiser, from mass-reach campaigns to highly targeted tactical activity. Over and above linear advertising is the incremental reach benefit of advertising in playback TV via PVR (personal video recorder) viewing and video-on-demand. Then, add to that the opportunity new technology brings, such as geo-targeting, demographic targeting, interest-based targeting, synchronised multi-screen ads, and interactivity.” However, brands’ relationship Julia Jordan with TV is evolving in other directions, as demonstrated by winners of MIPTV’s Brand Of The Year Award. Financial services giant American Express (the 2011 winner) has its own highly respected branded online channel and, in the US, cable-TV channel. And The Date, a TV spot for Dutch brewery Heineken (the 2012 winner) encapsulates how brands truly interact with TV viewers via social media. Product placement, branded content and sometimes the amalgamation of the two, are also shifting the definition of TV advertising.
Find My Past, a brand-funded series on UKTV channel Yesterday, is financed by UK digital publisher Brightsolid, a subsidiary of media group DC Thomson. The series, which combines historical events and ancestry information, can be found on Brightsolid’s findmypast. co.uk website. “The whole product-placement market is in a test-and-learn phase. But Find My Past is an excellent example of product placement in an advertiser-funded series. The brand is not jarring to the viewer and it gives the brand an excellent opportunity to normalise its product range,” Jordan says. Viacom International Media Networks’ (VIMN) strength in monetising content includes bringing together relevant advertisers and its targeted young viewers via branded content. “Branded content is a nice counterweight to the commoditisation of media,” says Tom Armstrong, vice-president, digital sales at Be Viacom, VIMN’s in-house brand sales business. “It is now about building relationships with customers and connecting them with viewers very closely. You’ve to provide value, and branded content is an effective way of doing just that.” In 2011, Calvin Klein launched a new range of ck one jeans, fragrance and underwear aimed at 18- to 25-year-
The whole productplacement market is in a test-and-learn phase
UKTV’s Dave On Demand
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miptv olds. The brand then embarked on a four-month global launch campaign that saw VIMN creating related but relevant original entertainment on air, online and on the ground with live events. On-air activity involved the MTV Push music programme. The live events and parties included the kiosk-like ck one box that concert fans entered to be filmed. The resulting video clips appeared on MTV and ck one websites and social media. The ck one brand received more than 340 million touch points — indicating the number of Rob Barnett times a viewer connected with the brand, as counting the number of eyes that watched is no longer enough. VIMN’s exclusive brand partners at last year’s MTV Europe Music Awards ceremony included Microsoft. Microsoft was able to demonstrate its new multi-coloured Windows 8 operating system for tablets and smartphones to the event’s young attendees. Windows 8 was also integrated into the live event by being featured on a massive wall screen behind a presenter so that viewers could see, among other things, a ‘map’ of all the tweets related to the show. Another VIMN-made branded content show involved US singing star Alicia Keys, sports footwear maker
Reebok and District MTV, VIMN’s recently launched online fashion-and-style platform. And when auto maker Volkswagen launched its 21st century Beetle car in 2011, it was integrated into MTV shows like: Pimp My Ride and MTV Made; a live concert featuring the band Black Eyed Peas called MTV World Stage; plus MTV’s multiplatform content. The brandedcontent elements helped deliver 407 million touch points globally for the brand. “I don’t think people mind when they see something that’s well executed,” Armstrong says. “The activities have to be really entertaining or else they’ll backfire.”
The best brandedentertainment campaigns are first focused on entertaining the target audience an advertiser needs to reach
Rob Barnett, founder/CEO of US online platform My Damn Channel, which distributes content co-produced by entertainers and brand owners, adds: “The best branded-entertainment campaigns are first focused on entertaining the target audience an advertiser needs to reach. Online video fans are more savvy and cynical than traditional audiences and you’ve got to start every integrated branding campaign knowing that viewers can smell BS in seconds.” CNN International’s Malenicka is impressed with the
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miptv way luxury brands have embraced the multiplatform opportunities available at the news network: “The luxury sector has become one of the most invested-in sectors on CNN over the past five years.” For example, Swiss luxury watch Hublot is the timekeeper on CNN Football Club, a new show launched globally in February to coincide with the UEFA Champions League soccer competition. To emphasise the brand’s live timekeeping role, a Hublot watch has been integrated into the CNN Football Club website so that fans can watch live the countdown to the different rounds of Champions League games. As Malenicka explains: “Hublot is associated with the show’s TV spots, and with pre-rolls and banners online. And a live watch has been inserted as product placement around the social-media debate on the CNN Football Club digital platform.” Another potential route to TV monetisation is to extend an ad campaign’s reach via second-screen activity. This is done by creating content that viewers can access in social media on mobile devices while watching a show. Second-screen monetisation is still developing, but it appeals to networks. “It is early days and the jury is still out, but advertisers are already experimenting,” Tom Armstrong at VIMN says. “If there is some activation, such as playing an online game, offering viewers more information or clicking to buy, that is very powerful. Then, when viewers start logging into connected TV in two to three years’ time, you will have a massive connected audience at scale.”
In the new Golden Age of TV, you’ll get the interesting dynamics of the web on connected sets and the second screen Tom Armstrong UKTV’s mobile apps accompany programmes like Dynamo: Magician Impossible, Hairy Bikers Mississippi Adventure and its Dave On Demand platform. The network’s Jordan says: “We see incremental viewer and advertiser value in second screen and we’re actively testing and learning with a variety of apps already launched.” She notes that technology companies like UK-based Zeebox and Shazam are creating platforms that allow advertisers to be in constant communication with audiences on first and second screens simultaneously via “always on” apps. “Viewers are encouraged to keep the app on at all times during their viewing experience, which facilitates TV ads interacting with the app by using sonic or visual triggers. This way, a programme sponsor can extend the brand association to multi-screen, and with it a layer of engagement and interaction that delivers multiple measures — value, data, purchase and feedback.”
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When Volkswagen launched its 21st century Beetle car in 2011, it was integrated into MTV show Pimp My Ride
The transformation from the commercials-only revenues to multiplatform advertising comes with more challenges, such as the complicated auto-trading platforms. With the millions of websites in existence, it is easier for advertisers and agencies to buy online ads via ad networks (which aggregate and sell website space to advertisers) and ad exchanges (which aggregate and sell audiences). “It is highly complex, and agencies are using more of the budget in this area, especially for direct-response [ads]. For networks like ours that already trade in video, that is increasingly part of the ad sales but we’re not dependent on it. But print-media businesses that offer online video ads are much more aggressive in this space,” Jordan says. Ad exchanges and networks also have ambitions to offer advertisers more sophisticated opportunities to reach their targeted audience, says Scott Ferber, CEO of international digital-video advertising platform Videology. “Our TV Amplifier product, launched last autumn, allows advertisers to supplement their TV strategy with targeted digital-video campaigns using a common set of metrics based on Nielsen’s online-audience segments and TVviewing data.” Find My Past, a brand-funded series on UKTV channel Yesterday
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To complicate matters further, the pay-TV sector is also addressing the impact of multi-screen viewing on its revenues. A recent study by research group HIS/Screen Digest with ACCESS, the global media-technology group based in Japan, indicates advertising business models will be competing with subscription-based formats. “[Pay-TV] operators have chosen to bundle multiscreen into their existing subscription pay-TV tiers,” Ferber adds. “Not only is this strategy sensible in a highly competitive pay-TV market, it is also a monetisation strategy that positions multi-screen as a means to protect the existing subscription base, grow it in the future, and ensure the very high value of subscriptiongenerated income.” The monetisation options for both pay-TV and adfunded services are expected to grow thanks to Big Data, the information that networks can collect about viewers’ behaviour on digital devices. And Armstrong at VIMN advises the industry to embrace all the advantages that technology brings: “In the new Golden Age of TV, you’ll get the interesting dynamics of the web on connected sets and the second screen. And when all the data available on the web is brought into the TV environment, things will get very interesting.”
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