MIPTV 2014 preview magazine by MIPMarkets

MARCH 2014

miptv

www.miptv.com The official MIPTV magazine

PREVIEW WORLD PREMIERE TV SCREENING

MIP DIGITAL FRONTS

Starz presents Power

with founding partners YouTube and Maker Studios

SEE PAGE 64

SEE PAGE 8

MEDIA MASTERMIND KEYNOTE

Publicis CEO Maurice Levy SEE PAGE 20

Also inside:

• Focus on Israel • Media Mastermind Keynotes • News from MIPCube • Junior At MIPTV • Stars in Cannes • International Drama Co-Production Summit • Mexico is MIPCOM Country Of Honour • And more...

3 x 1 hour | Drama |

Coming to BBC One and MIPTV 2014 JESSICA BROWN FINDLAY Downton Abbey, Labyrinth

MATTHEW MCNULTY The Paradise, Room At The Top

SEAN HARRIS <PM *WZOQI[ ;W]\PKTQ‫ٺ‬M

JOANNE WHALLEY The Borgias, Gossip Girl

Adapted from the classic novel by Daphne Du Maurier Directed by PHILIPPA LOWTHORPE (Call the Midwife, The Other Boleyn Girl) Written by EMMA FROST (The White Queen, Shameless) An Origin production for the BBC (UK)

Stand Croisette 11 Cannes www.fremantlemedia.com

CONTENTS

EDITORIAL

iNEWS

Interviews with keynote speakers; introducing MIP Digital Fronts; Focus on Israel; Junior At MIPTV; and more...

i PRODUCT NEWS

Dear friends

HE 51st edition of MIPTV is rapidly approaching and in this Preview magazine you can discover some of the highlights awaiting you. With over 11,000 participants, including 4,000 content buyers, MIPTV will bring together the whole entertainment ecosystem, uniting top TV executives with tech companies, brands and agencies, startups and online producers. Together, you are creating a New Age in Storytelling — the central theme of MIPTV and MIPCube. Stories that are combining the best from new online and ofﬂine producers, with traditional television and from countries around the world. Stories that are being told in new forms, available interactively on multiple screens and devices. This year we are very excited to be introducing the inaugural MIP Digital Fronts, the new international screenings for original online video that launch a real international digital marketplace. Our thanks go to MIP Digital Fronts founding partners YouTube and Maker Studios. And that’s not all — as you will see as you read this magazine. We have outstanding industry speakers lined up, an in-depth focus on Israel’s vibrant industry, the Digital Minds and International Drama Co-Production Summits, a new Junior At MIPTV programme that includes a Future Of Kids TV Summit and our gala World Premiere TV Screening of Starz series Power. It’s going to be a busy and buzzing MIPTV and we are looking forward to seeing you soon in Cannes.

For sale in Cannes: multiplatform content from around the world

i FEATURES

Where next for television? Focus on the online video marketplace

Co-production A new energy is driving the world’s co-production community

Junior At MIPTV New channels and digital platforms are hungry for kids’ programming. We talk to some of the key buyers and sellers

Scripted formats A report on the growth of television’s latest trend and the must-have shows that are spreading into new territories

4K Focus The industry braces itself for further developments in the way we make and watch ﬁlmed entertainment

iIN VISION

Power, a new crime series from Starz

iTIPS & SERVICES iCONFERENCES

99 104

Meanwhile, enjoy the read, and don’t forget your sunglasses!

Laurine Garaude Director, Television Division, Reed MIDEM 6I

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The greatest drama begins with the smallest spark

T H E G R E AT F I R E This Autumnâ&#x20AC;&#x2122;s Epic New Mini-Series

NEWS ORIGINAL ONLINE VIDEO SCREENINGS

Cannes launch for MIP Digital Fronts YouTube and Maker Studios are founding partners for the new international screenings for original online video

IP DIGITAL Fronts is the world’s ﬁ rst international screenings event, designed to present original online video programming and web series from both platforms and producers, to an audience of international buyers and distributors, digital strategists, agencies, brands, advertisers and media from the global TV and video entertainment industry. The MIP Digital Fronts will also serve to showcase the best of new creative talent in the online space. As a founding partner, YouTube will present a showcase of channels and content partners. “The new MIP Digital Fronts initiative will offer an excellent global platform for YouTube creators, digital studios and traditional television and ﬁ lm studios to promote their web video talent and programming,” said Ben McOwen Wilson, director YouTube EMEA. The second founding partner to be announced was Maker Studios, the Los Angeles-based YouTube MCN and producer and distributor of

online content. Rene Rechtman, Maker Studios’ president, international, said: “MIPTV is an important platform that gathers many of the best TV professionals from around the Laurine Garaude: building a world including con- market tent creators, buyers and distributors. With the increased focus on digital and innovation it is an obvious partner for Maker to showcase our cutting-edge content and talent.” He said his aim was to “start the dialogue about the changes taking place in the industry and engage the traditional players to participate. Maker is a platform focused on millennials — they create, interact and engage at scale. With more than ﬁve billion monthly video views, Maker is one of the largest original content platforms. Thus MIPTV is the place to start building the marketplace for the future.”

Ben McOwen Wilson: excellent global platform

Rene Rechtman: start the dialogue

MIPTV director Laurine Garaude said: “By introducing the MIP Digital Fronts at MIPTV, we are simultaneously building a market for digital studios, while creating a platform for traditional television and ﬁlm studios to leverage their digital programming and production assets during the market.”

THE INAUGURAL EDITION OF MIP DIGITAL FRONTS is on Wednesday, April 9, and Thursday, April 10, in the Palais des Festivals

BUYERS PREPARE FOR A BULLISH MARKET MIPTV is hosting more than 4,000 buyers this year. And the good news for rights owners and distributors is that the number of outlets for content is growing; some 1,000 of those 4,000 are buying for VOD and digital. Many buyers are on the lookout for multiple genres. John Ranelagh of TV2 Norway is looking for daytime programming, formats, and US drama. “Acquisitions are moving to late night as more local programming is filling primetime,” he said. “Younger viewers are viewing on small screens, so rights

issues are now very important.” Yann Labasque of TF1 is looking for content for TFou, the network’s offer for four- to 10-year-olds. “We have needs on all sub-targets among the four to 10 segment: pre-school, upper pre-school, bridge series, and gender neutral programmes for the six-to-10 age range.” Massimo Bruno, head of TV channels at Italy’s DeAgostini is also looking for kids programming. “Broad types of programming like animation with a strong comedy component,

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Massimo Bruno

John Ranelagh

action-adventure animation, live-action for teen and tweens,” he said, adding: “We are focusing on the new generation of kids and their needs and trends.

Yann Labasque We’re always looking for new experience and interesting things to learn. The kids are the protagonist of our channels.”

The Female of the Species… and Dave

Army nurses, private detectives, revolutionary thinkers… and Dave. Independent women lead our latest independent drama slate. Oh, and let’s not forget Dave. Visit us at MIPTV ‘14 Same location, new number: R8.C20 all3mediainternational.com

i NEWS NEWS IN BRIEF

CELEBRATE THE START OF MIPTV 2014 THE MIPTV Opening Night Party will again feature the Red Carpet ceremony which follows the MIPTV World Premiere TV Screening of Starz’ Power. Stars from the worlds of film and television will walk the red carpet into the Grand Hyatt Cannes Hotel Martinez for the week’s biggest networking event, to which all delegates are invited. The party kicks off at 19.30 on Monday, April 7, and will once again feature the ceremony for the Digital Emmy Awards. During the ceremony The International Academy of Television Arts & Sciences (IATAS) will present the 2014 Pioneer Prize to YouTube for its “innovative contributions to the field of digital entertainment”. Alex Carloss, YouTube’s head of entertainment, will accept the Prize on behalf of the company. The Emmys ceremony is sponsored by Canada’s Bell Broadcast & New Media Fund, whose mission is to encourage and fund “the creation and development of excellent Canadian digital/TV multiplatform projects”. The Digital Emmys ceremony will be held in the hotel’s Salon Acajou. To enter the party all that is needed is your MIPTV delegate badge.

Focus On Israel celebrates new wave of creativity

HE growing inﬂuence of Israeli creativity in the entertainment world will be highlighted at MIPTV during the Focus On Israel series of events and conferences. Recent research from Eurodata TV Worldwide shows a thirst for formats in Israel, with reality programmes making up seven out of its top-10 programmes for 2013. It is with both scripted and reality formats that Israel has made its mark on the international media landscape in recent years. A series of events will examine the burgeoning industry in Israel, beginning at MIPDoc with a panel session, Co-Production Marketplace: Success Stories From Israel, on Saturday, April 5 at 17.10 in the Grand Hyatt Cannes Hotel Martinez Conference Room. At MIPFormats delegates can learn How To Do Business With Israel in the Grand Auditorium in the Palais des Festivals on Sunday, April 6 at 17.00. At MIPTV on Tuesday, April 8, a series of Focus On Israel sessions in Auditorium A begins with a Welcome Breakfast at 08.30 before the session Fresh TV From Israel with The Wit’s Virginia Mouseler at 09.00. Then follows

Balkan Beat Box performs at the Focus On Israel party

Junior At MIPTV sees Summit launch ISRAELI musician, talent show judge and digital entrepreneur Yoni Bloch has been lined up as one of the keynote speakers at MIPTV’s first-ever Future Of Kids TV Summit. The Summit is part of a new programme, Junior At MIPTV, which is dedicated to kids and teens programming executives. Speaking to the MIPTV Preview, Bloch, who is CEO and co-founder of digital media company Interlude, said he will use his keynote session Yoni Bloch: “Kids really love interactive videos”

All delegates are invited to the Grand Hyatt Cannes Hotel Martinez for the MIPTV Opening Night Party 10 I

How To Create Successful Scripted Formats/ Dramas at 09.40; and the Israeli Innovation Seminar: From Start Up To TV at 10.30. On Tuesday evening American-Israeli musical group Balkan Beat Box provides entertainment at the Focus On Israel party at the Carlton Intercontinental Hotel at 21.30. A special Focus On Israel supplement will be published with Tuesday’s edition of the MIPTV News. The Focus On Israel series of events is presented by MIPTV and sponsored by the Israel Export Institute along with leading Israeli media companies.

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to “demonstrate our online web application Treehouse, which allows people to tell their own stories via interactive videos. We will also showcase some of the interesting ways it has already been used.” He added: “Kids really love interactive videos because they can engage and shape the story differently each time. It combines their love of repetition with a new discovery each time they view the video. So I’m looking forward to exploring that with the audience.” Interlude’s work has also proved popular with leading brands including Shell, MAC, Subaru, Intel and Goldﬁsh. The Future Of Kids TV Summit is from 15.00 to 18.30 on Tuesday, April 8, by invitation only. Junior At MIPTV also features The CoProduction Marketplace: K ids TV CoProduction With Asia Matchmaking, where kids’ buyers will discover new content in development; and a keynote presentation from Amazon Studios’ Tara Sorensen which features new pre-school content from the company.

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i NEWS A ‘perfect storm of opportunity’ STARZ CEO Chris Albrecht has greenlit some superb scripted TV shows during his career. A creative visionary with a commercial sixth sense, he is sure to pull a huge audience when he delivers his Media Mastermind Keynote at MIPTV, at 11.00 on Monday, April 7 in the Grand Auditorium. “I’m going to have former president of HBO Films Colin Callender up on stage with me, and we’re going to spend some time looking at the proliferation of co-productions between US networks and international partners,” he told the MIPTV Preview. “We’ll also look at the increasing trend towards scripted formats and the dynamics of having two versions of a show in the market.” Starz has been a key player in the recent renaissance of scripted co-production, a development that Albrecht welcomes, but which has its challenges: “We certainly see co-productions as a creative opportunity, not a compromise. But they do require experience and a certain level of trust between the show’s endusers and the creative team in the middle.” One of the key things to understand, he added, is that “coproductions need much longer lead-times than more standard funding models. There’s a lot of bridge-building that needs to be done upfront. I think the failure to do that is why you still see some examples that don’t work out as planned.” During his time at Starz, Albrecht has backed a run of ambitious projects including a reboot of Spartacus, Torchwood, Da Vinci’s Demons, Boss, Outlander and Black Sails. “What we’re increasingly seeking to do is ﬁnd characters and worlds that are distinguished by the fact they you won’t “Instead of Florentine f i nd them a nyaristocrats backing where else on TV. creative talent, it’s Black Sails, a pirate adventure, and huge TV companies” Outlander, an epic

time travel romance, are both great examples of that. Coming up we have Survivor’s Remorse (produced by basketball legend LeBron James) and Power (produced and featuring Curtis ‘50 Cent’ Jackson) which introduce cultures and imagery you don’t get to see enough of on television.” While at Starz, and previously at HBO, Albrecht has contributed to what many regard as a golden age in scripted drama. So what does he think is driving this rich vein of storytelling? “I’ve started comparing it to Renaissance Italy, but instead of Florentine aristocrats backing creative talent, it’s huge TV companies. What’s happening is that TV allows writers to tell stories in a way that no other form allows, and at the same time, it’s a high-margin business for companies that generate their revenues from advertising, premium content and distribution. It’s a perfect storm of opportunity that is mutually beneﬁcial for both sides and for the audience.” ON THE SAME DAY, STARZ’ NEW CRIME DRAMA SERIES POWER IS THE WORLD PREMIERE TV SCREENING, also in the Grand Auditorium at 18.15

Starz CEO Chris Albrecht Omari Hardwick stars in Power 12 I

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i NEWS NEWS IN BRIEF

INTERNATIONAL DRAMA CO-PRODUCTION SUMMIT THE THIRD MIPTV International Drama Coproduction Summit takes place in Cannes between 10.00 and 14.00 on Tuesday, April 8. Organised by Reed MIDEM, the Summit is aimed at providing networking and brainstorming at the highest levels of the production industry. ZDF Enterprises, Starz, DR, Atlantique Productions, A&E Networks, Filmlance International, Sundance Channel, TF1 International, BBC Worldwide, Screentime Australia, NRK, HBO Europe, and ITV Studios Global Entertainment and many other leading organisations are represented among the 60 professionals attending. Among the top-level speakers is X-files writer and producer Frank Spotnitz, back at the Summit for his second year. “There is a right and a wrong way to do a co-production,” he says. “And the right way is driven by passion and strong creative vision.” Also speaking is Borgia showrunner Tom Fontana. While Borgia just wrapped its third and final season, he says that he would happily take on another co-production of its complexity and size. “We’ve created a sort of creative United Nations, bringing the best talents together,” he said. The Summit is supported by United Talent Agency and Telefilm Canada with the Canada Media Fund .

Tom Fontana: “A creative United Nations” 14 I

Franco-German teaming set to strengthen creative output

ANDEM Communications president Rola Bauer, one of Europe’s leading drama producers, is giving a MIP T V keynote speech alongside Studiocanal chairman CEO Olivier Courson. Scheduled for 15.40 on Tuesday, April 8, in the Grand Auditorium, Bauer’s keynote will look back at what has happened in the two years since Germany’s Tandem became Tandem Communications’ Rola Bauer: “Great Studiocanal”s Olivier Courson: “Producing start to the marriage” long-running returnable TV series” part of Studiocanal’s expanding film and TV empire. returnable TV series such as Crossing Lines.” Speaking to the MIPTV Preview, she said: “I The move into TV, which actually began when always think that if you can survive the first Studiocanal backed Olivier Assayas’ Carlos two years of a marriage then it will last. In the The Jackal, has also seen Studiocanal acquire case of our marriage to Studiocanal, it’s been Red Production Company in the UK. “Tandem a great start.” and Red are a good fit for Studiocanal because According to Bauer, the decision to join forc- they are European companies that share the es with Studiocanal was partly about securing same creative sensibility as us. They are jointhe financial and structural support necessary ing just at a time when scripted series on televito produce long-running returning series. “But sion are getting really interesting.” it wouldn’t have worked if we didn’t have the But the new emphasis on TV does not mean same creative sensibility. At Tandem, we have there will be less emphasis on film. “There is still always tried to produce dramas that entertain a very good market for the kind of independent and enlighten, and we knew that Studiocanal features we produce,” he said. “But I see opporwas also keen to support this kind of pro- tunities for collaboration between film and TV.” ject. Like us, they have managed to produce This works at two levels: “At one level, we have for the global market but not lose their strong a huge film library, which can act as a source of European narrative sensibility.” ideas for TV series. At another, we have great Bauer will use her keynote to discuss Crossing relationships with writers, directors and proLines, the first series to have been produced ducers in the film business who are looking at since Tandem became part of Studiocanal. opportunities in TV. I see a role for us to build She will also provide updates on Sex, Lies And bridges between the two.” Handwriting, a partnership with Lionsgate in While Tandem and Red are key to Studiocanal’s the US. “Crossing Lines is very exciting for us strategy going forward, Courson says the combecause it has gone to second series and we are pany will look at working with third-party proalso ready to announce our broadcast partners ducers on a project-by-project basis. He also on Sex, Lies And Handwriting,” she said. “In stressed Studiocanal’s autonomy even though addition, I’m hoping that Olivier and I will also Canal+ is often assumed to be Studiocanal’s be able to reveal details of two new scripted parent company: “We are more like sister comprojects for Canal+ that we are working on.” panies,” Courson said. “We have a great workDuring his keynote Studiocanal’s Courson will ing relationship with Canal+, and we are of explain why his movie company has expanded course planning to produce series for them as into television production. airing high-quality original programming is “We have built a successful business in mov- one of their priorities, while trying to optimise ie production and distribution,” Courson told international revenues on projects they develop the MIPTV Preview. “Now we are ready to with other producers. However we are free to add a second pillar to our business. Working partner anyone. Crossing Lines, for example, is with Tandem, we are producing long-running co-produced and broadcast in France by TF1.”

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i NEWS Red Arrow changes the game with new Harry Bosch series I N J UST a few yea rs , Red A r row Entertainment Group has established itself as one of the leading producer/distributors in the international TV business. At MIPTV, managing director Jan Frouman will deliver a Media Mastermind Keynote, during which he will outline the company’s strategy and discuss the productions that are spearheading Red Arrow’s rapid expansion. He told the MIPTV Preview: “As an over-riding set of principles, I’d say we’re active in both scripted and non-scripted content, both homegrown and third party. On balance, we tend to focus more on English-language content in the scripted market, whereas the emphasis in nonscripted is on ﬁnding great formats wherever they may originate.” Key scripted projects coming into MIPTV include the third season of global hit Lilyhammer, the Roald Dahl adaptation Esio Trot starring Dustin Hoffman and Judi Dench, a hotly-anticipated international co-production entitled 100 Code written by showrunner Bobby Moresco, and the pilot for a planned crime series featuring iconic detective Harry Bosch — a gamechanging production for Red Arrow. “The Bosch project is very exciting for us because we

are developing, producing and selling it,” said Frouman, “We created a pilot for Amazon Studios which went live on February 6. So depending on the feedback we will go to series.” On the non-scripted front, “The Taste is doing well for us globally and has now gone into 25+ territories. We’re also very upbeat about Married At First Sight, a Danish format, House Rules (Australia) and Benidorm Bastards/Off Their Rockers.” Red Arrow has grown through a mix of organic expansion and company acquisition. Looking ahead, “we would consider more M&A activity if it ﬁt our strategy. Our parent group ProSiebenSat1 has a lot of different priorities, but they’ve been unbelievably supportive of our division’s growth strategy.” Red Arrow Entertainment Group’s Jan Frouman

YouTube awarded Pioneer Prize YOUTUBE’s global head of entertainment Alex Carloss is at MIPTV to deliver a Media Mastermind Keynote. Responsible for managing all facets of YouTube’s entertainment strategy, content partnerships and transactional businesses, Carloss will provide insight into the agenda at the Google-owned video platform, which has emerged as a major force in the ﬁlm and television business. Carloss will also accept the IATAS Pioneer Prize on behalf of YouTube at the Digital Emmy Awards ceremony at the MIPTV Opening Night Party. YouTube is founding partner of the inaugural MIP YouTube’s Alex Carloss 16 I

Digital Fronts online screenings initiative. Carloss has made much of the potential for partnership between his company and the content industry.At one level, he has stressed the role of YouTube in the promotion of ﬁlm and TV content, by showcasing related content that can drive social media interest. At another, he has overseen a signiﬁcant investment in content origination. Having spent an estimated $100m on backing a range of niche entertainment channels, Carloss’ keynote may provide the content industry with some feedback on how that worked out.

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One of YouTube’s biggest challenges is how to help users discover content that will interest them, since such a high volume of video is being uploaded round the clock. To this end, Carloss oversaw a redesign of the platform to place more emphasis on channels. “Channels can serve as container for people to ﬁnd videos on their interests. When they ﬁnd them and subscribe to them, our platform can surface those channels when they go to back to YouTube on any device,” he said. One other major issue for YouTube is to make sure content creators feel like they are getting a good return for posting their content on the platform. At the end of last year, YouTube introduced a new ad revenue share arrangement to make posting content more attractive for premium content owners. Under the new deal, revenue below a certain designated audience threshold is split 55-45 in YouTube’s favour. But if that threshold is passed then 100% of revenue generated above that line goes to the content owner.

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i NEWS NEWS IN BRIEF

DATA… BUT WHAT FOR? AFTER launching The Craftsman, an interactive thriller for the iPad where viewers can change the plot using dedicated websites, in the UK last October, Portal Entertainment founder Julian McCrae is now about to launch the Immersion Go data platform commercially. “Immersion Go is a patented storytelling platform that allows producers to tell stories over multiple platforms and more importantly, change the direction of those stories based on the audience’s anxiety level,” McCrae said. “We will be taking on pilot partners who can use the data that we collect by observing an audience watching their show, to see what works and what does not, and then fine tune plot settings. We have already done three updates to The Craftsman using data to confirm or deny how the story beats are being hit.” McCrae, who will be speaking at the MIPCube session Data...But What For?, is also now ready to start the international distribution of The Craftsman. “The fact of the show being available as an app on iTunes means that, at least in principle, we could launch globally.” The Craftsman will be launched around the end of the first quarter of this year in the US, Canada, New Zealand, and Australia, plus Sweden, Norway and Denmark.

Success stories keep coming as MIPCube enters its fourth year

IPCube is a growing element of the MIPTV programme. A forum for innovation and audience engagement, it focuses on the latest in digital content, innovative technologies and measurement tools. Much of the action takes place in the MIPCube Square, a new-tech exhibitors’ area, meeting point and conference centre in the Palais des Festivals, where producers, digital strategists, tech companies and creative talent meet and exchange on the best ways to engage with audiences. The MIPCube Talks, a number of which take place in the MIPCube Agora, also in the Palais, feature presentations from the world’s most innovative minds in content and entertainment; and, for the fourth year running, MIPTV is hosting the MIPCube Lab startup competition, an opportunity to pitch your services, promote your company and secure new customers. MIPCube Lab is designed for B2B startups wanting to be part of the multi-million dollar TV & online video industries. Jilion, the creator of SublimeVideo, made an early international appearance at the MIPCube Lab, and in December 2013, Jilion was acquired by Dailymotion. “MIPCube Lab was the perfect launch pad for Jilion,” said company co-founder Mehdi Jacques Aminian. “It allowed us to get industry recognition, meet potential investors and gain international visibility within the TV and online video ecosystem.” Hollywood producer Kim Moses was one of the

speakers at last year’s MIPCube; she was also in Cannes scouting for potential new shows. She watched a trailer of Echo’s The End, about a husband with a double life across two countries (Turkey and Iran), and was much taken with the idea. “Being able to meet face to face with the producers during MIPTV made a big difference to the process of acquiring the format, it went very smoothly,” Moses said. The result is the thriller Runner, which centres on Lauren Marks who learns that her husband is not the person she believed him to be. She goes on a truth-seeking journey that entrenches her in a US/Mexican war over weapons and terrorism. The Runner has gone to Fox, “and frankly I think that’s a good ﬁt,” Moses said. MIPCube sponsors are Brightcove, Region De Bruxelles, Accenture, Microsoft and Viaccess Orca. The list of MIPCube exhibitors includes Arkimedia, Ex Machina, Sony, ProMexico and Next TV.

Kim Moses of Sander/Moses Productions

Nerds get passionate about digital

The Craftsman (Portal Entertainment) 18 I

HEAD of production at Nerdist Industries Seth Laderman, one of MIPCube’s New Media Moguls, will be offering MIPTV delegates his take on what it means to be an entertainment channel in the digital era. He will also be examining the current audience. “One of the things which unites the most successful digital shows is that they are a lot of fun, because they are made by people who are effectively their own audience,” he said. “Being part of, and in touch with your audience enables you to ﬁnd your niche much more easily, and despite the use of a word that implies smallness, those so-called niches can be huge.” Nerdist Industries is a very different sort of operation to a traditional TV producer/broadcaster: “We have no bureaucracy, no traditional ad

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sales, in fact we’ve stripped out all the processes that stop shows from working with their intended audience,” he said. “And most importantly, we believe that you can nerd-out to anything, and that’s what drives us. Nerd is a much misunderstood term in that it is perceived as referring to lonely computer obsessives. But to us nerds are people who care passionately about something. And that’s how we were able to attract so many big names, because we let them do exactly what they wanted to do. So for us, digital content is all about passion, but then the main challenge is rising above the noise, because there is so much great content that an individual cannot possibly see it all. So at that point it’s about how shareable your content is, because sharing is what really drives audience to you.”

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i NEWS Levy to focus on partnerships between brands and content MAURICE Levy, chairman and chief executive of ad agency network Publicis Groupe, is making a welcome return to Cannes to deliver a MIPTV Media Mastermind Keynote, in the Grand Auditorium on Tuesday, April 8 at 17.50. A planned merger with Omincom would place Levy at the head of the world’s biggest marketing agency. In the keynote he will explore the increasingly close relationship between brands, agencies and content creators. Levy recently praised the continued power of TV ads to reach large numbers of consumers. But he also reiterated his belief that the future is with digital, which is not surprising for a man who has placed innovation at the heart of his company’s modus operandi. “We are at the beginning of a huge transformation,” he said, adding that his group had been moving money into digital platforms like Spotify and LinkedIn. With almost 40% of Publicis

revenue now coming from digital, he also referred to a deal between media subsidiary StarcomMediavest and Twitter. In terms of prospects for 2014, Levy is expecting the market to show an upturn from 2013. Not only is the economy starting to grow in key markets like Europe, but there are key global events to look forward to, for example the 2014 FIFA World Cup in Brazil. Even if the market doesn’t pan out as well as expected, 2014 is likely to be an interesting year for Levy, who joined Publicis in 1971. In July 2013, he revealed that his company would merge with rival agency network Omnicom, a deal that will see him become co-CEO of the enlarged group. Assuming it passes various regulatory hurdles, the deal will create the biggest marketing communications agency in the world, reafﬁrming its status as a crucial partner for broadcasters, digital platforms, and companies operating in the branded content arena.

Wise plays TV’s new ball game FOLLOWING the success of its animated shorts Back To The Start and Scarecrow, US Mexican restaurant chain Chipotle has released four-part comedy series Farmed & Dangerous. Produced with branded entertainment producer Piro the series, which debuted on Hulu in back in February, stars Ray Wise — who, alongside Chipotle CMO Mark Crumpacker, producer Daniel Rosenberg and writer/director Tim Piper both of Piro, will appear on the MIPTV stage to discuss how to leverage brand partnerships without compromising creative vision. The session takes place in the in the Grand Auditorium on Wednesday, April 9 at 11.30 as part of the MIP Digital Fronts series of events. According to Wise, who has appeared in Mad Men, Star Trek, Twin Peaks, Robocop and many more headline movies and series, this was the ﬁrst time he had ever played in a show funded by a brand: “But it didn’t feel any different to shows that were funded in a more traditional way, by a network for example,” he said. “For the actors and the creative team it was business as usual, and it was all about the show. But series like Farmed & Dangerous represent something very exciting 20 I

Maurice Levy: “Huge transformation”

in entertainment because this is a quality production, but it’s going straight to the web, which is new for me, and it’s breaking down walls across the ﬁlm and TV industries.” The fact that the show is the ﬁrst ever brandfunded, web series to be featured on the red carpet at MIPTV, is, according to Wise, a

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reﬂection of the quality and also the underlying message. “Productions like this, funded by a brand, but with only a very subtle ‘brand footprint’, represent a whole new ball game for TV,” he said. “It’s wonderful to be involved in such a worthy and forward-looking project that shows up some very questionable practices in industrial food production, while at the same time being genuinely entertaining.”

Ray Wise: “A whole new ball game for TV’

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i NEWS Industry leaders gather to discuss entertainment in the digital age THE DIGITAL Minds Summit takes place once again in Cannes as MIPTV continues to bring together key industry professionals from around the world, who can together define and progress the entertainment industry’s digital future. Susan Etlinger, industry analyst at Altimeter Group, will open and close the invitation-only event on Monday, April 7, which is designed to foster unhindered brainstorming behind closed doors. Etlinger works with global companies to develop social media listening and measurement strategies that support their business objectives. She also helps companies to find strategies that will help them cope with disruption. “Disruption is such a buzzword right now, but clearly the TV industry is going through a lot of it,” she said. “Media was the same for so long, but this is such a frenetic time, with everything changing constantly, and it can be tough to find a frame of reference. Consequently it isn’t very obvious how you should prepare your company for these changes.” In terms of where the industry currently is in its online presence, Etlinger is emphatic:

“We’re at the hyper-embryonic phase. TV really started in the US in the late Forties and early Fifties, but it wasn’t until I Love Lucy in the late 50s, which was the ﬁrst show to have two cameras for reaction shots, that TV started to be genuinely entertaining,” she said. “So for all the current new technologies to be adopted, understood and used to the maximum is going to take a while.” Social media, for example: “The engagement and loyalty of an audience grows hugely when the actors from that show take the time to talk with their fans online,” she said. “And because many fans are very active on social networks, they can generate and extend interest and grow the audience.” The current record for tweets per second (TPS) generated by a TV show is held by Japanese anime movie Castle In The Sky which, when broadcast on television in Japan, asked its audience to tweet the word ‘balus’ — a magic, made-up word from the movie which roughly translates as ‘destruction’. The request produced a remarkable 143,000 tweets per second at its peak and prompted Twitter to ask for restraint. Etlinger introduces and moderates the Summit

whose three hours will include two other talks featuring Unruly CEO Scott Button and Eric Scherer, director, future media at France Televisions; and a series of moderated roundtable discussions.

Susan Etlinger, analyst at Altimeter Group

Mexico is MIPCOM Country Of Honour MEXICO has been named Country Of Honour for MIPCOM 2 014 w ith a year-long campaign that started in C a n ne s la st October. ProMexico, the Mexican federal government agency in charge of promot-

ProMexico CEO Francisco N Gonzalez Diaz

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ing investment attraction, exports and the internationalisation of Mexican companies, has worked alongside Mexico’s media industry to organise these events, which include the ﬁrst Mexican Pavilion at MIPTV. “Mexico is determined to become the leading producer of content for the Spanish-speaking market and each of the activities as part of our participation at MIPTV, and as Country Of Honour at MIPCOM and MIPJunior, will be aligned with this goal,” said ProMexico CEO Francisco N Gonzalez Diaz. These include the MIPDoc Snack & Screen Viva Mexico, a showcase of the best in Mexican documentary and factual programmes, at 12.30, Sunday, April 6 in the MIPDoc Conference Room. “We are well aware of global storytelling trends, new methods of content distribution and new windows, and I believe that Mexico is ready to position itself on the leading edge of the digital revolution and stand out as the matrix of the digital wave in Spanish. Through our

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participation as Country Of Honour, we want to show our leadership in television content, and our progress in digital animation and special effects, to name just a few areas.” Mexico’s Grupo Televisa is the biggest massmedia company in the Spanish-speaking world and an internationally known brand. “We are distinguished by a style and a unique identity,” Gonzalez Diaz continued. “In addition, the fact that the dramatic content of Mexican television is seen by more than a billion people in more than 100 countries around the world puts us in a very strong position, and at the same time represents a challenge, to continue to create content in attractive formats, both for television and the whole spectrum of platforms. One of our major strengths is our creativity, which distinguishes our content.” ProMexico is sponsor of the MIPDoc and MIPFormats Opening Cocktail, at the Grand Hyatt Cannes Hotel Martinez Beach.

i NEWS NEWS IN BRIEF

WHAT’S TRENDING? DAMON Berger, executive producer of hit YouTube show What’s Trending, and executive producer and presenter Shira Lazar, are appearing at the MIPCube New Media Moguls session on Tuesday, April 8 at 10.00 in the Esterel. They will be discussing the current and future state of the convergence between TV and internet culture. “All of us at Disrupt/Group — the company that produces What’s Trending — are very passionate about how these two cultures are combining, because we believe that this presents a major opportunity to create shows based upon an always-on relationship, which is an ideal fit for the generations who are utterly used to getting their content wherever and whenever they want,” Berger said. “And we’re delighted that this area is getting so much attention at MIPTV this year.”

Nearly 400 million people enjoy Cheezburger every month

HE CHEEZBURGER Network was launched in 2007 when CEO Ben Huh bought the Can I Has Cheezburger site with the help of angel investors. At the time the site was getting 500,000 views per day. More recently Cheezburger has scored a major hit with

Lolwork, a show about daily life at the company, where Huh is one of the central ﬁgures. This has not however, distracted him from the task of building Cheezburger Network into a global brand through original content across sites including the FAIL Blog and The Daily What. Today the Cheezburger Network gets 375 million views per month across its 50 sites. And Huh has an interesting take on the current state of the TV industry, where this is very clearly an exciting time for some. “In times of transition, there is always a ﬂight to quality and I think you are seeing that with high-budget, highly creative content like Game Of Thrones, Sherlock, and House Of Cards,” he said. “But this is also a time of turmoil and innovation in the long-tail for people who have small budgets. There’s success to be had there too, but you have to be willing to be unconventional.” THE MIPCUBE NEW MEDIA MOGULS SESSION Tuesday, April 8 10.00 Esterel

Cheezburger Network CEO Ben Huh

Order is coming to the online world

Whats Trending’s Shira Lazar and Damon Berger ALSO appearing at the New Media Moguls session is Vimeo CEO Kerry Trainor — responsible for overseeing strategy and development of Vimeo’s business. Trainor joined Vimeo from AOL where he served as general manager, entertainment for the Huffington Post media group, overseeing AOL Music, AOL TV, Moviefone, Huffington Post Entertainment, Huffington Post Celebrity and Huffington Post Comedy.

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BRENT Weinstein, head of digital media at talent and literary agency UTA, also features in the MIPCube Media Moguls session on April 8. In 2003 Weinstein helped to develop UTA’s digital department, and three years later worked on the launch of the agency’s dedicated online entertainment division. In 2011 he added a social media practices division to the company and now leads its team of dedicated digital media agents to create, identify and evaluate opportunities for UTA clients including actors, writers, directors, producers, transmedia producers, recording artists and technology entrepreneurs. As someone who has been leading the move to digital from the front, where does he think the media industries currently are in terms of their online operations? “It’s hard to say exactly where but what I can say is that it’s still relatively early days, perhaps not the ﬁrst chapter but we’re still not so far in,” he said. “But for the first time

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since the explosion of the online world, some order is coming and what we are seeing is large companies like Netﬂix, Hulu, Yahoo! and Amazon taking on a role previously held by broadcasters. Concurrently we are also seeing YouTube stars with huge fan bases. They have millions of subscribers, and they did it all by themselves, something which could never have happened previously.” So who among the newer players should we be keeping an eye on? “In terms of understanding how to use social media to amplify a message, and also for its content, Brian Robbins’ AwesomenessTV is exemplary,” Weinstein said. “The company was recently acquired by DreamWorks, which I think speaks volumes about its quality, but what impresses me about the company is its unique voice. They have in fact transformed their work into careers and a fully-ﬂedged business, and we are going to be seeing a lot more of that in the coming years.” Brent Weinstein, head of digital media at talent and literary agency UTA

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i NEWS Kim gets Sensitive KIM CATTRALL comes to MIPTV to promote her new comedy series Sensitive Skin. The series is an adaptation of the 2005 series of the same name written and directed by Hugo Blick, starring Joanna Lumley and produced by Baby Cow Productions for the BBC. She will discuss the project during a session in the Palais des Festivals at 12.15 on Monday, April 7. The series centres around Davina (Cattrall) and her long-time husband played by Don McKellar, who have sold their comfortable family home and moved downtown to an ultra-modern condo, in an effort to change their lives, stay relevant, and begin again. Cattrall stars and executive produces along with co-star Don McKellar, who directs all six episodes from scripts by Bob Martin. The adaptation is produced by Rhombus Media in association with Baby Cow Productions, The Movie Network, and Movie Central. Niv Fichman and Sari Friedland serve as producers with Cattrall, Don McKellar, Bob Martin, Henry Normal and Hugo Blick executive producing. The series marks Cattrall’s first lead role since Sex And The City — and that is because she chooses her roles carefully. It’s been some eight years since she was first introduced to the original series during development meetings at the BBC. “When I took home the first six episodes and watched them all I was not only really impressed by the writing, but also the freshness of what Hugo Blick was writing about. I felt the same way when I first read the scripts of Sex And The City, you know, about women being single. It was from a very female point of view, through the eyes of four different women who were single, which was quite unique.” Cattrall believes that Sex And The City played a big part in the development of roles for women and the way in which women’s stories are told. “I don’t think it was really known how to portray middle-aged women before that — you know, the fact that as women get older it just gets better! They might not photograph as easily — but that’s more of a problem in North America than in Europe, where for years they’ve had shows like Prime Suspect with Helen Mirren, where they dared years ago to show that she had wrinkles and they didn’t have Vaseline on the camera lens. You think ‘Wow! It took that long to photograph a woman that wasn’t idealised?’” In Sensitive Skin Cattrall plays a woman who, in her words “has been attractive all her life —she was a model but now the bloom is way off the rose. And how does she feel about that? This is something that Betty Berzon talked about in her books for years — I mean before she was even heard of or recognised. What is the status of a woman who has this condition that has no name? What is this malaise coming into women’s lives, really feeling these regrets and where do they lead us? Its not a specific thing. So how do we open that up and make it less scary and entertaining and make it a truth that can be talked about? I’m very excited about that because it’s what I’m going through.” 26 I

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i NEWS

The Honourable Woman MAGGIE Gyllenhaal comes to Cannes with The Honourable Woman, the first series to come from new UK independent Drama Republic. Episode one of the seven-part series from producer, director and writer Hugo Blick, is screening in Auditorium A on Monday, April 7 at 15.00 — after which Gyllenhaal will be joined on stage by members of the production team for a question-and-answer session in front of a MIPTV audience. As a young girl, Nessa Stein (Gyllenhaal) witnessed the assassination of her father by the armed wing of the Palestinian Liberation Organisation. Now in her late thirties, Nessa is at the forefront of the Middle East peace process. Honoured as a Baroness for her campaigning work, Stein comes up against forces that are conspiring against her as she awards a lucrative contract to a Palestinian businessman. When he is killed, she and her brother Ephra (Andrew Buchan) come under the renewed close scrutiny of Whitehall and the Secret Intelligence Service. Acclaimed for performances in a variety of productions including movies The Dark Knight and Crazy Heart, Gyllenhaal said she was drawn to the drama for a number of reasons. “First, I had never read a character like Nessa. She is a powerful, grown-up woman who is also deeply flawed and broken. She is smart and sensual and brave and childlike all at once. Like we all are. I love that the project deals with very important, terrifying global conflicts — and it really takes them on. But it is also about a woman trying to sort out similar conflicts inside herself.” She added: “So while The Honourable Woman deals with political inheritance and trust and deceit, it also deals with the deep personal side to those same issues. It took all of me — my brain, my heart, my body — to play Nessa Stein, and I had never been presented with a challenge quite like that before.” The series has attracted a stellar cast to play alongside Gyllenhaal, including Stephen Rea, Lindsay Duncan, Janet McTeer and Buchan. “I think when you’ve got good material great performers are attracted to it,” the series’ executive producer, Drama Republic’s Greg Brennan said. “I think TV increasingly is a more interesting arena than film for the discerning artist. And if you can bring them a show that will cast them in a character that is going to develop over many hours I think that’s a very interesting opportunity and proposition for them.”

Maggie Gyllenhaal as Nessa Stein in The Honourable Woman

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FEATURE

ONLINE VIDEO

Where next for television? The television industry — and the marketplace for ﬁlmed entertainment generally — has experienced such rapid evolution in recent years that together they are unrecognisable from just a few years ago. The new MIP Digital Fronts initiative is part of that evolution

platforms to consider. The monHE INTERNET’s conetisation of the various release tinuous disruption of the “Online on-demand windows is key to success. The business has turned the liis a wonderful windows are shortening, and censing of professional multi-genancillary business” there are many more of them to re video content for multiplatmonetise.” form distribution into an intricate Jamie Lynn FremantleMedia International, business. the traditional-T V distribuMIPTV’s new MIP Digital Fronts, tion arm of media juggernaut the world’s first international screenings for showcasing and featuring new creative FremantleMedia, is generating even more business via talent and producers, and trading content designed for digital media. Lynn says licensing professional TV and digital distribution — for example via online streaming, original video content to digital and on-demand platmobile apps, and games consoles — is being launched forms has created new business opportunities. this year with the aim of unravelling any complexity for “In the US, you can fi nd great British content on Hulu Plus, Netflix and Amazon Prime. We sell [comedy] The content sellers and buyers. Jamie Lynn, executive vice president, sales & distri- IT Crowd to all those platforms. Only 10 years ago, it bution, EMEA at FremantleMedia International, ex- would have been challenging to find airtime for them beplains why MIP Digital Fronts is needed: “The amount cause the gatekeepers did not have the space,” he says. of work involved in licensing video content for online is “Online on-demand is also a wonderful ancillary busirelentless,” he says. “[Media] fragmentation is not go- ness where you can offer catch-up of great episodes from ing to slow down because there are many more [digital] the past. It also means we have more revenue streams.” 32 I

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The Booth At The End (Content Media)

i FEATURE

Where next for television?

On YouTube, FremantleMedia offers a roster of con- disappeared. When they want our programmes, we tell tent, including clips based on its linear-TV productions. them our terms. Many have come to us with virtually no Its YouTube distributed The X Factor UK channel, cen- subscribers, and 50% of nothing is nothing.” tred on the reality-singing show, has 2.5 million-plus sub- But some risks are worth taking, especially when these emerging new buyers offer realistic propositions. “If scribers globally. In addition, FremantleMedia delivers stand-alone orig- we had not started working with Amazon or Hulu, we inal web content on the video-sharing network, includ- would not have been there when they became successing The Pet Collective, aimed at the niche audience of ful,” he adds. pet owners but with more than 265,000 devoted subscribers. Meanwhile, FremantleMedia North America For Ford, these new players must compete with the trahas formed a multi-series, multi-year development deal ditional networks for Content Media’s best shows. “We with StyleHaul, the fashion-and-lifestyle YouTube chan- want the highest fee we can get. If I am looking at a film nel. The Crew, the first series resulting from the part- to license for first pay-TV window, it will be the one that nership, premiered in January. In all, FremantleMedia pays the most, the one that thinks it will give them most value, whether it is BSkyB, operates 141 YouTube channels Netflix or LoveFilm.” in 32 countries with 72 monthly Content Media has internaunique visitors and seven billion “Online video offers tional distribution rights to views last year alone. more precise targeting original web content as well. “YouTube has become a good They include Halo 4: Forward partner,” Lynn adds. “It has opportunities than TV” Unto Dawn, a Primetime scale that can’t be matched beNorm Johnston Emmy Award-nominated web cause of the sheer volume of consci-fi thriller co-produced by tent it can put up and monetise.” Microsoft Studios, which makes Licensing copyrighted TV video in this new environment calls for some tough negoti- the popular video-games franchise Halo. It also handles ation skills as more entertainment digital platforms en- The Booth At The End for Vuguru, the digital-content studio founded by former Disney CEO Michael Eisner. ter the business. For example, Intel Media, the entertainment arm of com- The portfolio of Content Media’s sister company Spirit puter chip maker Intel, recently had to relinquish ambi- Digital features web shorts for Food Tube, British cetions to launch OnCue, a cloud delivered streaming video lebrity chef Jamie Oliver’s YouTube channel, and the platform. Despite having a large multinational corpora- newly Yahoo!-commissioned weekly show-busition for a parent company, Intel Media struggled to ac- ness video blog The Shizzle. Licensing original web content brings its own quire the appropriate content licences. But that has not stopped US telecommunications group challenges. Ford explains: “From the producVerizon, which currently offers its customers the IPTV ser- tion point of view, the budget available for online-only videos is low, so that ad and sponsorvice FiOS, from agreeing to acquire Intel Media’s assets. ship figures are not on the same level as those Is the online-video sector in danger of overheating? “We are an established TV distributor, so we offer our for TV. The priority here is how to find encontent first to traditional broadcasters,” says Jonathan gaging and exciting content on a low budget.” Ford, executive vice-president, content TV and digital at Content Media, the US-based international en- TV distributors have had no choice tertainment group. “But we’ve also noticed many digi- but to embrace digital platforms tal platforms coming into this space and several have as alternative income sources,

Unruly Media’s Dorota Smaggia

Yahoo!’s Dawn Airey 34 I

FremantleMedia International’s Jamie Lynn

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Content Media’s Jonathan Ford

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i FEATURE says Rebecca Glashow, Discovery Communications’ senior vice-president, digital distribution and partnerships. This is making the barriers to entry for new platforms even higher, she says. “The shift is definitely towards video entertainment wherever and whenever the viewers want it. It must be accessible in the easiest way possible, especially if they are going to pay for it,” she says. “It is difficult to deliver a video experience that will move viewers away from their existing habits. People have so many boxes in their living rooms: the TV, the games console, the other connected devices. Putting a new box into that home is going to be difficult unless it’s going to change their lives.” Her colleague Sean Atkins, senior vice-president, digital networks & commerce, emphasises that this is not about digital-only versus TV-originated content. Major TV corporations like Discovery are unapologetic about their hunger to dominate any screen, anywhere. The recently formed Discovery Digital Networks division is building on the acquired online channel Revision3 in 2012. “It is all part of our mission to be the Nº1 non-fiction video company on all screens. Since our acquisition of Revision3, we’ve continued to invest in original online video aggressively, launching new networks like Animalist and TestTube, and bringing top talent like Phil DeFranco and the DeFranco Creative team into the fold.” While digital technology has enabled variations of the traditional pay-TV business model, with monthly subscriptions and subscription video-on-demand (SVOD), advertising dominates the monetisation debate.

REVENUES ARE UP PRICEWATERHOUSECOOPERS predicts global TV revenues — licence fees, subscriptions, and advertising — will have grown at an average annual rate of 4.3% to $421bn in 2017 from $334bn in 2012. Internet advertising will shoot up at a growth rate of 13% during the same period to $185bn. As Dawn Airey, senior vice-president, of Yahoo! EMEA says: “Video, by its very nature, is not something everyone can generate easily, so the tail is less long and with guaranteed demand from premium advertisers, [online] ad exchanges are struggling to source supply. But watch this space. That will change and it will be interesting to see whether the evolution in online-video [ad] trading over the next few years will ever have an impact on the traditional TV market.” MindShare, the global media-planning, buying and marketing agency, has been at the forefront of encouraging advertisers to adopt and adapt to online videos. “We’ve learned from clients like Nestle and KimberlyClark, who have embraced online video, that it offers more precise targeting opportunities than TV. We also know for certain that a combination of TV and online video packs the biggest punch,” MindShare Worldwide chief digital ofﬁcer Norm Johnston says.

Where next for television? The online-media operators are constantly making efforts to justi“How much of online fy to advertisers why they are a safe advertising is actually bet. “YouTube and many other onbeing viewed by the line video networks and destinations have produced countless reconsumer and how much search projects with multiple data is being avoided?” points to prove it,” Johnston adds. Dorota Smaggia “Furthermore, all of the data is now routinely fed into ‘yield-optimiser tools’ that have helped [standardise] the audio-visual planning process across channels. Of course, cost does play a role in some of this. Cheaper online inventory is particularly attractive in markets like Spain and France where TV is suffering inflationary pressure.” Johnston predicts that as connected-TV’s penetration grows, online-video and TV advertising will start to meld their respective qualities. “We are still a few years away from any tipping point, but eventually TV will begin to resemble the current internet experience, and with nuances. It requires clients to take a more adaptive approach to TV and think, audio-visual, not TV versus online video.” Other industry experts believe that focusing on video as the common factor (as opposed to pitching TV versus digital content) means video-advertising creativity is going to evolve as social media and branded content take on more influential roles in advertising campaigns. “Advertising agencies have been looking to offer an increasingly 360-degree service to their clients to cover traditional media but also digital, mobile and social media activity, and advertisers are recognising the importance of this approach to the marketing mix,” says Huw Morris, head of UK advertising at international law firm Reed Smith. TV producers and networks are not only uploading their copyrighted content online, they are also using the same technology via social media, micro-sites, and mobile apps to boost audience engagement to lure advertisers, Morris points out. “Since they are so valuable in creating a buzz around TV programming, in a sense, opportunities to advertise around online video, and digital advertising in general, may be seen as important tools in maintaining the growth of traditional TV advertising revenues,” Morris says. The evolution, however, will not be easy to come by, according to Dorota Smaggia, managing director at social-video network Unruly Media in France. “A hot topic in 2014 is going to be ad ‘viewability’,” she says. “For example, how much of online advertising is actually being viewed by the consumer and how much is being avoided. These questions will force brands to create content which is more entertaining and less ‘salesy’ as they will realise that consumers will vote with their feet if they are being bombarded with the same ads they are forced to watch on TV.”

MindShare’s Norm Johnston

Discovery Communications’ Rebecca Glashow

Discovery Communications’ Sean Atkins

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i FEATURE BEGINNINGS OF A NEW WORLD Steven Spielberg is executive producing a TV series based on Halo

Who’s doing what online? Fail to recognise any of the following scenarios as the beginnings of a new world in TV and video entertainment and, maybe, a different career should be considered. Or get involved in the MIP Digital Fronts to see how this new marketplace is evolving NETFLIX AND HULU, the internet-powered TVstreaming platforms, are commissioning original content and vying with traditional broadcasters for the premiere of new shows. These range from Netflix series Orange Is The New Black and Hemlock Grove, plus Hulu coproduction The Wrong Mans to Amazon’s LoveFilm being the primary UK network for Vikings, the MGM Television blockbuster. BAIDU, China’s search-engine giant, has joined forces with Singapore-based Viki, the online-video service famous for crowdsourcing its subtitles. They are bringing international TV entertainment to China. As the Financial Times pointed out, the move gives Viki access to the Chinese market before Netflix, YouTube and Amazon’s streaming services. IROKOTV, described as the Netflix for Nigerian-produced Nollywood movies, recently grabbed another $8m in private-investment funds to grow globally and boost revenues from ads and subscriptions. THE BBC, the UK public broadcaster, has premiered comedy (Bad Education) and drama (Moving On) on its digital catchup TV platform iPlayer.

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MAKER STUDIOS is a producer and distributor of online video to millenials and attracts over 4.5 billion monthly views and 340 million subscribers. YOUTUBE, once the home of frivolous user-generated content, is accommodating short and long-form video content from established broadcasters and producers, as well as the new generation of multiplatform studios such as Machinima, Base79, Fullscreen and Maker Studios. DISCOVERY COMMUNICATIONS, the factual-TV pioneer, took over online channel Revision3 in 2012 to create its Discovery Digital Networks division. CONDE NAST, the US glossy-magazine publisher, operates a network of branded online video channels based on its famous titles, including Vogue, Vanity Fair and GQ, and is producing original scripted shows for TV and digital distribution. STEVEN SPIELBERG is executive producing a TV series based on the Halo video games to premiere on Microsoft’s new Xbox One consoles. BROAD CITY, which is backed by Hollywood comedian Amy Poehler, is now on US cable network Comedy Central.

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ISSA RAE, creator of crowd-funded The Misadventures Of Awkward Black was recently snapped up to work at HBO. YAHOO! SCREEN, part of the Yahoo! network of websites receiving more than 800 million unique visitors a month, transmits original shorts such as Ghost Ghirls, a coproduction by Hollywood actor Jack Black and Shine America, and also The Fuzz and Burning Love, executive produced by Ben Stiller. Additionally, the web-portal giant acquires clips from, among others, Conde Nast Entertainment Group, Discovery, Comedy Central and the US’ ABC network. AOL recently paid $405m to buy Adap.tv, a videoadvertising platform that it hopes will lure TV-advertising dollars to its websites. It should prepare for competition from the Web 3.0 social-media networks Facebook and Twitter. Facebook is testing the sale of video ads around its users’ News Feed, while Twitter is shopping for social-TV analytics specialists like Trendrr and Bluefin Labs. The experiments are over. It is truly open season for online video as a serious business for content owners.

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PRODUCTNEWS The MIPTV Preview highlights some of the content brought to Cannes from producers and distributors around the world GLOBO

DARO FILM DISTRIBUTION MONACO-based Daro Film Distribution comes to MIPTV with a line-up of new acquisitions including: the triple Oscar-nominated Tim Robbins movie The Player; womenskewed thrillers Anatomy Of Deception, Buried Secrets and Til Death Do Us Part; and in the action genre, Badge Of Honor, starring Martin Sheen and Mena Suvari, and Pound Of Flesh, starring Jean Claude Van Damne. The Player (Daro Film Distribution)

BREAKTHROUGH ENTERTAINMENT

BRAZIL’s Globo is highlighting two HD drama series at MIPTV this year. Trail Of Lies (160 x 45 mins) tells the story of Paloma, a willful woman whose newborn baby is kidnapped by her brother, who plans to inherit the family fortune. Bruno, an honest man who loses his wife and child, miraculously finds Paloma’s child abandoned in a dumpster. A plot unravels that is full of secrets, romance, revelations and disputes. Siren’s Song (4 x 30 mins) features a young singer whose murder in the midst of carnival shocks the country. The hunt for her killer reveals many suspects before it reaches its astonishing end.

TORONTO-based Breatkthrough brings a new series based in the Borealis College of Medicine, known as Hard Rock U, a medical school in the heart of the Canadian Shield in Northern Ontario. In Hard Rock Medical (13 x 30 mins/HD) eight students are initiated into the medical profession in a most unusual school. Hard Rock U (Breakthrough Entertainment)

A+E NETWORKS A LIFETIME Original Movie, brought to MIPTV by A+E Networks, Flowers In The Attic stars Heather Graham, Ellen Burstyn, Kiernan Shipka, Mason Dye and Dylan Bruce. The two-hour movie, based on a best-selling book, tells the gothic horror story of four siblings who are forced by their evil grandmother and weak mother to live in an attic, in order to conceal their existence from their dying grandfather so their mother can inherit his estate. A+E also brings Don’t Trust Andrew Mayne (13 x 30 mins), in which magician and illusionist Andrew Mayne uses magic to help people teach a lesson to those who have wronged them.

NEW FILMS INTERNATIONAL COMEDY drama Chlorine stars Kyra Sedgwick, Vincent D’Onofrio and Tom Sizemore and tells the story of a suburban family’s struggles to maintain their well-todo lifestyle in their materialistic New England community. When the menopausal matriarch pushes her underachieving husband into a bad real estate deal, the fabric of the family is tested. In its feature-film roster the LA-based distributer also brings: Jake Squared, about a young filmmaker who examines his past unlucky relationships; romantic comedies Bikini Model Academy and American Beach House; biography Saving Lincoln; and sci-fi thriller Resilient 3D.

Flowers In The Attic (A+E Networks)

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Chlorine (New Films International)

Trail Of Lies (Globo)

ZDF ENTERPRISES MAINZ, Germany-based ZDF Enterprises brings HD animated series Knight Rusty (52 x 13 mins) to MIPTV. The HD/3D series tells the story of ex-cash register Knight Rusty who thinks he’s the bravest, coolest knight in all of Scrapland. Aimed at children aged six to 12, the characters are made from recycled household utensils and tools. From the drama catalogue comes Thicker Than Water (10 x 60 mins/HD), a family chronicle set on the Swedish island of Sunnano concerning two brothers and a sister who have to agree to the conditions of their late mother’s will and run the family’s boarding house together for one year in order to inherit.

Knight Rusty (ZDF Enterprises)

iPRODUCTNEWS HAT TRICK INTERNATIONAL THE UK’s Hat Trick International brings a new season of comedy series The Kumars (6 x 30 mins) to MIPTV in which Sanjeev Bhaskar resumes the role of Sanjeev Kumar, alongside Meera Syal and Vincent Ebrahim, as they recreate the chaotic Indian family now living in a London flat behind the shop they run. Sanjeev has been married and divorced, with his ex-wife and child now living in New York, and Ashwin has decided to use the platform of the shop to resurrect the family’s talk show. The Kumars’ star guests include Daniel Radcliffe, Richard E Grant, Elizabeth McGovern, Chevy Chase, James Corden, Emilia Fox and Ray Winstone.

AB INTERNATIONAL DISTRIBUTION RESEARCH Unit (92 x 52 mins/HD) follows an elite police team of investigators — including forensic, computer and ballistic experts — as they solve the most complex cases. Airing in primetime on France’s TFI, the eighth season is currently in production, and the series is brought to MIPTV by Paris-based AB International Distribution, which holds worldwide rights.

Research Unit (AB International Distribution)

IMAGINA INTERNATIONAL SALES (IIS) SPANISH distributor IIS is prioritising two titles at MIPTV this year. The Manor House is a period drama series from the Czech Republic that follows the life, loves and an unsolved murder mystery surrounding the Valenta family in Prague in the 1920s. Comedy drama Lolita Cabaret, produced by Globomedia, follows the artists at a failed cabaret as they try to recover the glory days. Also on the roster for IIS is period miniseries In The Heart Of The Ocean (El Corazon del Ocean), and daily drama series The Lighthouse (El Faro).

The Manor House (ISS)

TRICON FILMS & TELEVISION The Kumars (Hat Trick International)

NBCUNIVERSAL TV DISTRIBUTION DRAMA series Chicago PD (13 x 60 mins) is set in District 21 of the Chicago Police Department and follows the uniformed cops on the beat and the intelligence unit, the team that combats the city’s major offences, including organised crime, drug trafficking and high-profile murders. NBCUniversal also brings comedy series About A Boy (13 x 30 mins). Based on the Nick Hornby novel, the series focuses on a single man whose primary goal in life is avoiding responsibility until he accidentally befriends a young boy and his needy single mother who live next door. Sensitive Skin (Tricon Films & Television)

TORONTO’s Tricon Films & Television brings new dramedy series Sensitive Skin (6 x 30 mins/HD) to MIPTV. The series stars Kim Cattrall (Sex And The City) as Davina who with her long-time husband, played by Don McKellar, sell their comfortable family home and move downtown to an ultra-modern condo in a conscious effort to reboot their lives — unfortunately for them that’s exactly what happens. Additional cast includes Elliott Gould, Nicolas Wright, Colm Feore, Joanna Gleason, Cle Bennett, Mary Walsh and MarcAndre Grondin.

ALBATROSS WORLD SALES

Chicago PD (NBCUniversal TV Distribution) 40 I

The Wagner Files (Albatross World Sales)

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THE WAGNER Files (1 x 52/90 mins) is a docudrama that mixes music documentary, re-enactments and animation to investigate Wagner’s controversial personality and musical genius. Criminal and medical files, photographs and expert interviews reveal more details about the German composer. The German distributor also brings Greece! The Islands (5 x 52 mins/10 x 26 mins), a series that looks at the natural beauty of the islands from the forests and snowcapped mountains to the cliffs, beaches and volcano craters, and also talks to the locals about their history, traditions and cuisine.

iPRODUCTNEWS OHM:TV SWEDISH crime novel series Crime Scene Malmo (5 x 90 mins) is brought to MIPTV by Germany’s ohm:tv. The main character in the novel series is the former bank robber and thief Kirre Oskarsson. He believes himself to be a reasonable man who tries to keep everybody happy. However, the rest of the world sees him as a homicidal lunatic, though he has now decided that he never wants to enter a maximum-security prison again.

DISCOVER CHINA PRODUCTION HONG Kong-based Discover China brings A Taste Of Tibet to MIPTV, which explores how the fact that Tibetans have struggled to cultivate their inhospitable land has led them to develop some of the most extraordinary dishes on the planet. Filmed in the mountains, villages, local markets, city restaurants and Tibetan home kitchens, this programme aims to show the authentic taste of Tibet.

A STORY about a typical American family whose members find themselves embroiled in the geopolitical intrigue of a volatile Middle Eastern country tops the MIPTV priorities for Twentieth Century Fox Television Distribution. From Homeland creators Howard Gordon and Gideon Raff, Tyrant features the youngest son of a war-torn country’s controversial dictator who returns to his homeland for a wedding after a 20-year exile in America. On his return Barry is immediately thrown back into both the familial and national politics of his youth and struggles to make his all-American family understand his worries and fears.

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HG DISTRIBUTION has worldwide distribution rights to feature film Project-M. The story is set in the near future when four astronauts are launched in orbit around the Earth for a 1,000-day space voyage to test the feasibility of a proposed three-year mission to one of Jupiter’s moons. However, communications with Earth are lost and the crew is marooned.

Project-M (HG Distribution)

DHX MEDIA

A Taste Of Tibet (Discover China Production)

TWENTIETH CENTURY FOX TELEVISION DISTRIBUTION

H GAGNON DISTRIBUTION (HG DISTRIBUTION)

PGS ENTERTAINMENT TOPPING the MIPTV roster for Paris-based PGS Entertainment are two animation series. Thomas Edison’s Secret Lab (52 x 11 mins/HD), aimed at six- to eight-year-olds, is set in a secret lab where Edison invented a virtual version of himself and a prototype robot. Years later Angie, a 12-year-old prodigy, cracks the secret coded message and discovers the lab. Guided by the virtual Edison, Angie and her friends begin experimenting and inventing wild creations. Super 4 (52 x 11 mins) is a comedy-adventure series produced in CGI native 3D for kids aged five to nine. It features Alex the Knight, Ruby Red the Pirate, Agent Gene, Twinkle Dust the Fairy and their friends facing a range of foes in the world of Playmobil. This series marks the first time the 40-year-old children’s toy brand has come to television.

Thomas Edison’s Secret Lab (PGS Entertainment)

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PRODUCER and distributor DHX Media is launching a new 26 x 30 mins 2D animation series at MIPTV. Looped is aimed at kids aged six to 12, and is commissioned by YTV in Canada and already pre-sold to Super RTL in Germany. Luc and Theo are stuck in a time-loop where every day is the same, and knowing the day inside out they can choose what happens. However, the time-loop has affected the universal time stream and they find things aren’t as predictable as they hoped. DHX has Canadian offices in Halifax, Toronto and Vancouver, as well as bases in Los Angeles and London.

Looped (DHX Media)

From Executive Producer Courtney Kemp Agboh (The Good Wife)

A visionary crime drama set in two different worlds – the glamorous New York club scene and the brutal drug trade.

THE OFFICIAL WORLD PREMIERE SCREENING Monday, April 7th at 18 :15 [ The Grand Auditorium With appearances by cast members Omari Hardwick and Curtis “50 Cent” Jackson

SEASON 1 – 8X60 MINS

AT MIPTV: RIVIERA 9.A32 (FORMERLY RSV25)

iPRODUCTNEWS PEACE POINT ENTERTAINMENT

RED ARROW INTERNATIONAL

MUSKOKA is to Toronto what the Hamptons are to New York, a summer playground of the rich and famous. Colin And Justin’s Cabin Fever (13 x 30 mins) features TV personalities Colin McAllister and Justin Ryan leaving their home in Glasgow — and their floorlength furs — and heading to Canada in search of the ultimate second home. The pair finally find a rustic lakeside cabin that they transform into a rural sanctuary worthy of a Hollywood star.

COMEDY series Betty White’s Off Their Rockers (Season one, 12 x 25 mins; Season two, 14 x 25 mins/ Season III: 20 x 25 mins) features American comedy actress Betty White and her fearless gang of seniors who play pranks on an unsuspecting younger generation. The Germany-based company also brings Remedy (10 x 45 mins), a drama series that looks at the life of a hospital through the eyes of the charismatic Griffin and his eccentric family of overachieving medical professionals. Kicked out of med school in disgrace, he returns to the family business as an orderly. Each stand-alone episode is driven by an emotionally riveting medical case.

INDIACAST INDIACAST is a joint venture in India between Viacom 18 and the Network 18 Group, with over 15,000 hours of content syndicated in more than 20 languages. One of its MIPTV priorities is Madhubala (A Love, An Obsession), a 520 x 30 mins series telling the story of middle-class aspirations, values and desires, set against the backdrop of a young girl’s dreams of Bollywood stardom. Beintehaa (Eternal Love) is a 260 x 30 mins series that tells the passionate love story of Zain and Aliya.

Colin And Justin’s Cabin Fever (Peace Point Entertainment)

Madhubala (Indiacast) Betty White’s Off Their Rockers (Red Arrow International)

IMIRA ENTERTAINMENT

100% DISTRIBUTION PARIS-based distributor 100% Distribution brings a range of dramas and sitcoms to MIPTV, including: France 2 series Captain Sharif (16 x 52 mins), which tells the story of an unconventional police officer who tries to solve crimes like his TV heroes; the second season of political thriller Spin (12 x 52 mins), starring actress Carole Bouquet; The Line (60 x 52 mins), a drama set in World War 2; In America (10 x 26 mins), a funny and moving road trip in which two brothers-in-law cross the US to reach Las Vegas; and France Kbek (10 x 26 mins), a cultureclash comedy about a Canadian woman who moves to Paris to start a new life. Scripted formats are available. Captain Sharif (100% Distribution) 44 I

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SPANISH producer and distributor Imira headlines its slate at MIPTV with two titles. The Snow Queen (1 x 80 mins) is a feature-length stereoscopic 3D film from Russian studio Wizart Animation. Inspired by the Hans Christian Andersen fairy tale, it is set in a far-away land where bewitched pirate ships lie trapped in icy tundras and young children become heroes. Imira holds rights for distribution in Latin America, Iberia, Greece and South Africa. Pre-school crayon-style animation series Cleo (39 x 5 mins), produced by La Mirada in Spain, features an excitable puppy and his young owner, for which Imira holds worldwide rights.

The Snow Queen (Imira Entertainment)

iPRODUCTNEWS ENTERTAINMENT ONE (EONE) BASED on Alexander Rose’s novel Washington’s Spies, drama series Turn (10 x 60 mins) takes place in the summer of 1778 and features a farmer and a group of his friends who become unlikely spies and come to turn the tide in America’s fight for independence. With some scenes shot on the same set as Lincoln and John Adams, the series sees the Revolutionary War through the eyes of everyday people, focusing on a man who is pulled into the conflict against his will and is set on a journey that changes him from someone living in a world that controls him, to living in a world that he controls.

MEDIA I.M. NEWLY launched London-based distribution company Media I.M. brings a slate of animation properties to MIPTV. Heading the slate is Pin Code, a science-fiction series aimed at seven- to 11-year-olds made in 3D CGIstereo. Pin the Penguin is a great mechanic and inventor and the series tells stories that are based on scientific and technical phenomena that Pin and his friend Dokko explain through their educational adventures, investigations and experiments.

PILOT PRODUCTIONS THE LATEST production from London-based Pilot Productions is Tough Trains (6 x 52 mins/HD) which looks at some of the most impressive and hard-core train journeys around the world, including: from the East coast of Africa to the West; a South American expedition from Corumba, Brazil — reputed to be a centre for smuggling and drug trafficking — on board the Dead Train to the frontier town of Santa Cruz, Bolivia; and in India where the railways carry 11 million passengers every day. Trips that should take hours but take days, a lack of timetables, bribery and escapes are all experiences from such memorable rail journeys. The series, currently in production, has already been sold to Travel Channel International and Voyage, France.

Turn (eOne)

ITV STUDIOS GLOBAL ENTERTAINMENT BROUGHT to MIPTV by the UK’s ITV Studios Global Entertainment, The Great Fire (4 x 60 mins) is a drama series set against the backdrop of the fire that engulfed the city of London in 1666. Produced by Ecosse Films and written by ITV News’ political editor Tom Bradby, the series unfolds over four days and follows the lives and loves of historical and fictional characters in a world where, on the surface, the rich have everything and the poor have nothing.

Pin Code (Media I.M.)

TVN POLISH commercial broadcaster TVN returns to MIPTV with new seasons of successful Polish television series including Medics and True Law. Medics, which has already sold to China and Russia, follows a group of professionals tackling serious medical cases in a modern hospital. True Law tells the story of a young lawyer, Agata, who loses her prestigious job, charming boyfriend and amazing apartment and is forced to build her life and career from scratch.

NOTTINGHAM FOREST A TOP MIPTV priority for Spain’s Nottingham Forest is Sendokai Champions, co-produced with Kotoc, TVE and Planeta Junior, a series that has been sold to more than 130 countries and dubbed into 16 different languages. The series features a group of ordinary kids who travel to another dimension where they have to protect earth by becoming warriors and win the Grand Tournament of the Multiverse. Licensing companies including Simba, Panini, Dracco, Joumma Bags, Copywrite Europe Group and Planeta Group, are developing products for Iberia.

Sendokai Champions (Nottingham Forest) 46 I

Tough Trains (Pilot Productions)

Medics (TVN)

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iPRODUCTNEWS RTE GLOBAL

CONTENT TELEVISION

CLASS Swap (6 x 25 mins) is a new series that follows three groups of Irish students and teachers as they sample school life in three European countries — Finland, Spain and Poland — for a two-week period. Brought to MIPTV by Ireland-based RTE Global the series gives the students and teachers a chance to immerse themselves in the schools and communities and see what it is like to be a teenager in another country.

PRIMETIME thriller Line Of Duty (6 x 60 mins), about a police anti-corruption unit, is brought to the international market in Cannes by London-based Content Television. The series opens with the ambush of a police convoy in which three police officers are killed and a protected witness seriously injured. The sole surviving police officer then comes under scrutiny from the unit.

Class Swap (RTE Global)

Line Of Duty (Content Television)

BALANGA

ALL3MEDIA NEW FROM indie producer Screentime, with investment from the UK’s all3media International, comes Anzac Girls (6 x 60 mins) a drama that tells the true stories of five Australian and New Zealand army nurses during World War 1, when they overcome prejudice, heartbreak and adversity. The series is based on a book by Peter Rees which uses diaries, letters and historical records. All3media also brings Love Child, a drama that follows a fun-loving and rebellious young girl who is placed in a refuge for unmarried mothers in 1960s Sydney.

Anzac Girls (all3media)

PARIS distributor Balanga is launching Face To Face (8 x 52 mins) at MIPTV, a show which looks at rivalries between two well-known figures in the areas of business, politics, art and technology, including: Visconti and Fellini; Puma and Adidas; and Chanel and Schiaparelli. The series is co-distributed in French speaking territories by France Television Distribution. The company also brings docu-drama A Tale Of Two Thieves (1 x 90 mins) and Shake-Up At The Vatican (1 x 52 mins).

TELEWIZJA POLSKA (TVP) HEADLINING the TVP line-up for MIPTV are: One Way Ticket To The Moon, a comedy about two brothers on a trip that changes their lives, set in 1969; and Baron24, a comedy sitcom based around a petrol station in a small town.

LAGARDERE ENTERTAINMENT RIGHTS (LE RIGHTS)

Visconti and Fellini in Face To Face (Balanga)

SONIC Boom (52 x 11 mins) features Sonic, his best friend Tails, and their never-ending search for adventure and battles with Dr. Eggman. Also in the ensemble are Knuckles and Amy Rose. Produced by SEGA of America and Ouido Productions for Cartoon Network, Gulli and Canal J, the series is brought to MIPTV by France-based distributor LE Rights.

CAKE ENTERTAINMENT

Ella Bella Bingo (Cake Entertainment)

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PRE-SCHOOL animation Ella Bella Bingo (78 x 7 mins) is one of Cake’s newest catalogue highlights at MIPTV. Happy-go-lucky Ella and her friends try to solve everyday problems in spectacularly innovative ways. Also on the slate are: Trunk Train (52 x 11 mins), a 3D comedy from about a group of misfit animals traveling on a train as they explore Latin America; and Wanda & The Alien (52 x 10 mins), with stories of friendship between a kind-hearted rabbit and an alien.

Sonic Boom (LE Rights)

iPRODUCTNEWS BRB INTERNACIONAL BRB INTERNACIONAL’s creative studio Screen 21 and Outfit7 have agreed to produce Talking Tom And Friends (52 x 11 mins), a television series based on a successful app series. Produced in 3D for a target audience of eight- to 12-year-olds, the TV series will feature all the characters from the digital platform. A trailer is available at MIPTV, and the series is distributed by Spain’s BRB Internacional. Talking Tom And Friends (BRB Internacional)

BEYOND DISTRIBUTION

ARGONON

BEYOND Distribution’s new series Hillbilly Preppers (6 x 30 mins) looks at a team providing home security for serious and wacky clients, including against invading aliens and zombies. The company also brings Manufactured (13 x 30 mins), which tells the stories of great products, from the inventors to the workers on the factory floor. Each episode shows the conception, history and manufacture of products including the Stetson Hat, Vitamix blender, Toto Drake II toilet and Jack Daniel’s Old No 7 Tennessee Whiskey.

PRESENTED by Jonathan Phang, Jonathan Phang’s Gourmet Trains (6 x 60 mins) follows the cookery writer and style connoisseur as he travels on some of the world’s iconic trains, including the Venice SimplonOrient-Express and the Eastern & Orient Express, for a series of culinary adventures. The company — which has offices in London, New York and Vancouver — also brings Handsome Devils (10 x 60 mins), which explores 10 real crimes of passion. The cases are examined using a mixture of dramatisation and first-person testimony.

Hillbilly Preppers (Beyond Distribution)

Jonathan Phang’s Gourmet Trains (Argonon)

Robada (Atresmedia)

ATRESMEDIA ROBADA is the provisional title for a new drama about a complicated case of Mafia baby trafficking. Stolen child Maria’s search for the truth resulted in her imprisonment. Thirteen years later, she has returned with a mission to take revenge. Robada is brought to MIPTV by Spain’s Atresmedia.

TECHNICOLOR

MEDIATOON DISTRIBUTION AT MIPTV Paris-based Mediatoon Distribution is launching the first season of animation series Linkers (26 x 26 mins). Five young teenagers are invited to the mountain chalet belonging to game designer, computer genius, and social-network friend Cassiel. When they get there the chalet is nowhere to be found and they must then figure out how to save their friend who is trapped in his own computer game.

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ALONG with co-development partner Mercury Filmworks, US-based Technicolor brings new animated pre-school series Chamelia, currently in development, to MIPTV. Based on books by Ethan Long, the 52 x 11 mins series features the six-year-old chameleon who, contrary to the nature of chameleons, would rather stand out than blend in. Set in the town of Camouflage, the stories feature familiar childhood situations. Chamelia (Technicolor)

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RTVE SPAIN’s RTVE — Corporacion Radio Television Espanola — brings a range of programming to MIPTV. Isabel (26 x 70 mins) is a drama series profiling the extraordinary life of one of the most prominent women in Spanish history, Queen Isabella the Catholic. The company is also showcasing Mom Detective (19 x 70 mins), about a woman who uses her weapons, intuition and instinct to dismantle the most perfect alibi.

Isabel (RTVE)

iPRODUCTNEWS ACAMAR FILMS LONDON-based producer Acamar, brings new series Bing Bunny (78 x 7 mins) to MIPTV. Based on books by Ted Dewan, the project has been developed with Irish animation studio Brown Bag Films and London-based Tandem Films. Each episode explores life from the point of view of a pre-school child, from taking a bath to making a smoothie. BBC pre-school channel CBeebies has pre-bought the series, and it will broadcast on ABC Australia later this year. A multiterritory representation agreement has been signed with TLC (The Licensing Company) to develop Bing Bunny with key partners around the world, and HarperCollins is to re-issue the entire series of Ted Dewan’s original books.

VISION FILMS

NEWEN DISTRIBUTION

SUNSET Strip, from California’s Vision Films, looks at the history of The Strip in Los Angeles from its origins in the 1920s to the present day, featuring interviews and performances from Slash and Fergie, The Pussycat Dolls, Johnny Depp, Dan Aykroyd, Keanu Reeves and Ozzy Osbourne. Vision also brings Comedy Warriors, which profiles five severely wounded Iraq and Afghanistan veterans as they work with four top comedians (Zach Galifianakis, Bob Saget, B J Novak and Lewis Black) to perfect their own standup routine.

CANDICE Renoir is a family series featuring a divorced mother of four who is also a police lieutenant. France’s Newen Distribution also brings: Lady Liberty, the story about the gift of the Statue of Liberty from France to the United States, using re-enactments, 3D animation and archives; Putin’s Hidden Treasure; The Twilight Of The Spanish Monarchy; Blood Of The Vine: The Mysterious Cities Of Gold; and game show Harry.

Fergie and Slash in Sunset Strip (Vision Films)

PROPER RIGHTS

Bing Bunny (Acamar Films)

GRB ENTERTAINMENT CALIFORNIA-based GRB brings a range of programming to MIPTV including: situation comedy Love Thy Neighbor and Savannah-based drama series The Haves And The Have Nots, both produced for the Oprah Winfrey Network; King of Thrones, about a crew of contractors who make high-end bathrooms; When Ghosts Attack, about threatening supernatural incidences; and My Beautiful Game which celebrates great soccer moments through the eyes of celebrities and fans, including David Beckham and Lionel Messi.

Love They Neighbor (GRB Entertainment)

PROPER Rights is prioritising two new series at MIPTV. Hardcore Heroes (6 x 60 mins) tells the stories of courage and self-sacrifice, from war heroes and technological wizards to those who risk their lives to save strangers. The series uses reconstructions, CGI maps, period stills and stock footage, as well as firstperson interviews. The Toronto-based company also brings Don’t Drive Here Season 2 (6 x 60 mins), which features Andrew Younghusband as he tries to navigate six of the world’s worst driving cities — Ho Chi Minh City, Rome, Nairobi, La Paz, Port-au Prince, and Sao Paulo. Candice Renoir (Newen Distribution)

ENDEMOL WORLDWIDE DISTRIBUTION

Hardcore Heroes (Proper Rights)

THE ARK tells the story of World War 1’s British frontline medics through the eyes of the newly recruited VADs (women from the Voluntary Aid Detachment), in stories based on stories drawn from diaries and letters. The series is based in a tented field hospital on the coast of France where a team of doctors, nurses and women volunteers treat British and overseas soldiers as well as enemies and civilians. Endemol also brings: Kirstie (12 x 30 mins); Criss Angel BeLIEve (10 x 60 mins); Anthony Bourdain — Parts Unknown (24 x 60 mins); Morgan Spurlock — Inside Man (16 x 60 mins); and children’s series Mr Bean: The Animated Series 2 (52 x 11 mins) and Hairy Legs (52 x 12 mins).

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iPRODUCTNEWS DCD RIGHTS DCD RIGHTS brings Australian drama Code to MIPTV, a new six-part series about two brothers who stumble across information about a new energy-creation technology that makes them marked men. The brothers — one an internet journalist desperate for a break, and the other a hacker on a good behaviour bond — try to uncover the secrets of the potentially deadly technology while avoiding detection. The London-based company also brings Sarah Graham’s Food Safari (13 x 30 mins), a travel and food series from South Africa.

KESHET INTERNATIONAL ROMANTIC comedy She’s With Me (10 x 30 mins) follows the love story between a simple baker and an international superstar that begins with a chance encounter at a fancy restaurant. The show is currently the highest-rated scripted show on air in Israel and has been commissioned for a second season by Keshet Broadcasting.

NERD CORPS ENTERTAINMENT VANCOUVER-based Nerd Corps brings new comedy animation series Endangered Species (26 x 22 mins/52 x 11 mins) to MIPTV. Aimed at six- to 12-year-olds, it features three unlikely best friends — Pickle the adrenaline-junkie bunny, Merl the hyper-safetyconscious squirrel, and Gull the naive seagull, who band together to have fun while doing their best not to become endangered species. The company also brings a TV movie based on its boys action property Slugterra. Ghoul From Beyond (1 x 44 mins/2 x 22 mins) is slated to air in the first half of 2014 on Disney XD. Slugterra is also available as a series (39 x 22 mins/46 x 1 min).

Endangered Species (Nerd Corps Entertainment)

LIGHTNING ENTERTAINMENT

Aden Young in Code (DCD Rights)

ENGINE 15 MEDIA GROUP

She’s With Me (Keshet International)

SCREEN MEDIA

ENGINE 15 is showcasing three feature films at MIPTV, all available in HD. In Designer Pups (1 x 85 mins) a young fashion designer fails to land an internship under one of the city’s biggest fashion designers, but then gets her big break looking after a movie actress and her pups. As her prestige grows a rival designer dognaps the pups before the annual runway show competition. Ugly Benny (1 x 85 mins) is a family film about an abandoned dog taken in by the owners of a pet store; and in Little Ponderosa Zoo (1 x 85 mins) a family tries to save a zoo.

THE US’ Screen Media is highlighting two titles at MIPTV. Tapped (1 x 105 mins) features a disgruntled teenager who is sent to do community service at a rundown karate school and then enters an MMA tournament to fight the man who killed his parents. Back In The Day (1 x 94 mins) is a comedy featuring a man who goes home for his high school reunion. In an attempt to re-live the glory days with his friends and explore an old romance, he nearly destroys his friendships and the town.

Designer Pups (Engine 15 Media Group]

Tapped (Screen Media)

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GODS Behaving Badly, a comedy featuring Christopher Walken, John Turturro, Sharon Stone, Alicia Silverstone, and Edie Falco, is brought to MIPTV by Lightning Entertainment. The California-based distributor also brings to Cannes: romantic comedy Other Plans, about a beautiful young executive who falls for a man who doesn’t fit into her life plan; and thriller We Gotta Get Out Of This Place, starring Mackenzie Davis; and Burning Blue, which chronicles a web of deceit and jealousy among naval commanders during a modernday witch hunt.

Gods Behaving Badly (Lightning Entertainment)

Episodes : 272 x 24’ Documentary about the Smurfs’ creator Peyo

us Meet TH at BOO 4 R7.E6

Feature ﬁlm “ e Magic Flute”

www.smurf.com info@smurf.com

Meet us at MIPTV 2014, Stand

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Meet us at MIPTV 2014, Stand

P-1.E10

iPRODUCTNEWS DOGTV

JCC

DOGTV is the only television network created exclusively for dogs. It comes to MIPTV with a catalogue of scientifically developed programming designed to entertain, relax and stimulate stay-athome dogs. For example, research shows that psychoacoustic music relaxes dogs, so DogTV features original music, mainly piano and harp, that is simply arranged at 50-60 beats-per-minute.

PAN-ARAB media company JCC is at MIPTV with a range of programming, including: Shasha Tech (Season one, 78 x 18 mins; Season two, 156 x 52 mins), a technology show featuring high-tech gadgets and movies; Jawla (30 x 15 mins), a weekly tour around the world highlighting tourist spots; pre-school series Uncle Mosleh’s Tales (Season one, 15 x 7 mins; Season two, 30 x 9 mins), in which Uncle Mosleh and his string puppets act out stories of cultural and historical value; and Everything’s Rosie, featuring the positive-thinking, enthusiastic role model for pre-schoolers and her colourful friends as they have fun while learning life lessons.

DogTV in action

Sasha Tech (JCC)

BOOMERANG TV INTERNATIONAL LUCI (13 x 30 mins) is a new drama series from Boomerang, produced by Galician company Portocabo. A comedy with the look and feel of a documentary, shot in authentic settings, the series revolves around Luci’s everyday life — her failed marriage, her son’s poor academic performance, adapting to a new boss, and trying to get back into the dating scene. The first season will be aired on public channel TVG. The Spanish company also brings: The Time In Between, a drama about a woman who runs an haute couture workshop while working as a spy for the British in the run-up to World War 2; and comedy Mum Detective, which is to be adapted for three new territories — Russia, Italy and the US.

PORTFOLIO ENTERTAINMENT Doki (Portfolio Entertainment)

PRODUCED and distributed by Portfolio Entertainment, Doki (26 x 30 mins/52 x 11 mins) is based on a Discovery Kids Latin America character. Like most preschoolers, Doki asks a lot of questions and does what he can to find the answers. New broadcasters of the show include kids’ channel Qubo (US), German public broadcaster KiKA, Horng En Culture in Taiwan and MediaCorp in Singapore.

Luci (Boomerang TV International)

MARVISTA ENTERTAINMENT LA-BASED MarVista Entertainment is debuting its family comedy film Monkey In The Middle at MIPTV. When 11-year-old Chris teams up with his new neighbour Mara to liberate mistreated animals from the local fair, they unwittingly help a monkey to escape. Discovering Momo stowed away in his backpack, Chris must find a way to keep him out of sight, or take him back to the fair. Having the monkey has its perks as Mara is spending a lot of time with him, and Momo is even helping out on the soccer field, but trying to keep the monkey a secret proves to be more than they bargained for. The World’s Most Extreme (TCB Media Rights)

TCB MEDIA RIGHTS TCB MEDIA Rights brings the UK’s Arrow Media’s six-part series to MIPTV. The World’s Most Extreme (6 x 60 mins) uses eyewitness stories, rare archive and CGI to explore the world’s most extreme airports, railways, roads, tunnels, bridges and waterways. Examples of the most dangerous transport stories include landing a plane on the side of a mountain, a Russian highway washed away by mud, and old railways that are death traps.

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Monkey In The Middle (MarVista Entertainment)

CAT HIM IF YOU CAN!

MIPTV 2014 - XILAM BOOTH R7.K16

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iPRODUCTNEWS FREMANTLEMEDIA KIDS & FAMILY ENTERTAINMENT BUNKS (1 x 90 mins) is a new TV movie about two troublesome brothers sent to summer camp as punishment, who accidentally trigger a curse that brings a campfire zombie to life. Aimed at girls and boys over the age of nine, the comedy is produced by Fresh TV and Inferno Pictures in association with Disney XD Canada and FremantleMedia Kids & Family Entertainment. Bunks premiered on Disney XD Canada in October, 2013, and is due to air on Disney XD in the US.

BETA FILM AMONG the highlights of Beta Film’s 200 hours of new series at MIPTV are: Spanish Velvet (13 x 70 mins/16 x 60 mins), set in a 1960s Madrid fashion gallery; action-adventure series Alatriste (13 x 70 mins/18 x 60 mins); Wonderland (44 x 60 mins), featuring young couples living near an Australian beach; Renaissance-drama Borgia (38 x 60 mins), with 14 new episodes due for its third season; The Pilgrim (2 x 120 mins), set in the 14th century; The Wagner Clan (1 x 90 mins) about the family of composer Richard Wagner; and Sarajevo, which depicts the fatal attack on Austria’s crown prince.

Bunks (FremantleMedia Kids & Family Entertainment)

ELECTUS INTERNATIONAL A CROSS-genre programming line-up brought to MIPTV by the US’ Electus includes: Wake Up Call (8 x 60 mins), in which Dwayne ‘The Rock’ Johnson helps people overcome their personal struggles; competition and elimination show King Of The Nerds (Season one, 8 x 60 mins; Season two, 8 x 60 mins); celebrity-led globalwarming series Years Of Living Dangerously (8 x 60 mins); the fourth series of mafia wives drama Mob Wives New Blood; game show Bet On Your Baby (Season one, 8 x 60 mins; Season two, 8 x 60 mins); ranchbased animal show Lone Star Legend (12 x 30 mins); and G-Thing (8 x 30 mins), which follows an ItalianAmerican rapper and his family as they try to launch a record label.

Dwayne ‘The Rock’ Johnson in Wake Up Call (Electus International) 58 I

Spanish Velvet (Beta Film)

BLOCKADE ENTERTAINMENT CONTINUING the production partnership between animation studio Rainmaker Entertainment and LA’s Blockade Entertainment, comes Sly Cooper, their second theatrical film together. Sly Cooper is based on the PlayStation videogame franchise from Sony Computer Entertainment America. Sly Cooper tells the story of the raccoon thief and his friends as they race to reassemble pieces of an ancient book holding the family secrets before it can fall into the hands of Clockwerk, an evil Russian metallic owl. The film is planned for release in early 2016.

ECHO BRIDGE ENTERTAINMENT

NOVOVISION

HEADING Massachusetts, US-based Echo Bridge Entertainment’s MIPTV catalogue are two titles. Season 13 of Degrassi (40 x 30 mins) brings the total number of episodes of the teen series to 357. In the latest series new friendships are formed, old relationships are tested and rivalry flourishes among the students. Cooking show Lidia’s Kitchen (26 x 30 mins), features cook Lidia Bastianich as she cooks simple, seasonal and economical dishes.

ON THE MIPTV slate for Paris-based comedy-clip specialist Novovision is: Pop Video HD (2,000 clips), with previously unseen HD home-video clips; Pop Magic (26 x 22 mins), with non-dialogue magic tricks; Pop & Pop (104 x 13 mins), a children and animal clip show in the form of a news bulletin. Initially in French and English, other language versions are planned; Pop Circus (26 x 22 mins), with non-verbal circus clips; Mad Falls (10 x 22 mins), with non-verbal pratfalls from home videos and extreme sports; and Pop Kids - The Mix (66 x 22 mins), a compilation of clips featuring children.

Degrassi (Echo Bridge Entertainment)

Pop Magic (Novovision)

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iPRODUCTNEWS DISTRIBUTION 360

TF1 INTERNATIONAL

ON THE Disbribution 360 MIPTV roster are: Save My Pet (39 x 30 mins/HD), which with dramatic re-enactments follows real-life stories from crisis to recovery; The Skinny Dip (8 x 30 mins/HD), a travel show looking for skinnydipping bliss around the world; Atomic Betty (78 x 30 mins/156 x 11 mins/ 1 x 60 mins), about a Galactic Guardian called Atomic Betty, her loud-mouthed alien sidekick, a know-it-all robot, and a talking fish; and Miss BG (104 x 11 mins/2 x 30-minute specials/24 x 2-minute mobisodes), a 3D animated series about an eight-year-old girl from French children’s book Gudule et les bebes.

FRANCE’s TF1 International’s new primetime mini-series Resistance (6 x 52 mins) features 17-year-old Lili who in occupied France joins the Resistance. Through the interconnecting stories, Resistance tells the story of young people going to any lengths to defend their country.

Save My Pet (Distribution 360)

Resistance (TF1 International)

CYBER GROUP STUDIOS

THE FREMANTLE CORPORATION NEW HIGHLIGHTS from Canada’s The Fremantle Corporation include: family drama Sunshine Sketches; two Irish romcoms, Kiss For Jed and Cupcake; romcom series Chemistry (13 x 30 mins); and Odyssey, a 1984 feature based on the book 12 Years A Slave. In the documentary category are Convict Women; Silent Shame; Behind The Red Carpet; What In The World (33 x 30 mins), available as a format; and Corvette Nation (26 x 30 mins) which pays tribute to the iconic American sports car.

HENSON INDEPENDENT PROPERTIES (HIP) THE JIM Henson Company’s third-party licensing banner, HIP brings the first episodes of 52 x 11-minute CGIanimated series, Elias: Rescue Team Adventures to MIPTV. Norway’s Animando is producing the series with the Icelandic animation studio Coaz Animation. HIP controls the media distribution rights. Elias is a brave, playful little rescue boat with an enthusiasm for adventure.

AT MIPTV Cyber Group is showcasing the first episodes of Mia (39 x 11 mins), a pre-school series co-produced by Sardine Productions, Cyber Group Studios and Spacetoon for Societe Radio-Canada, Tiji in France, and Spacetoon in the Middle East. Mia is six, the perfect age to develop an awareness of others and the world around her. Cyber also brings first episodes of TF1 Production’s first animated TV series Mini Ninjas (52 x 11 mins 2D/HD), adapted from the online and offline videogame distributed by Square Enix.

ABC COMMERCIAL TWO NEW Opera Australia productions from Sydney Harbour are brought to MIPTV by Australia’s ABC Commercial. La Traviata (1 x 130 mins) is performed on a floating, mirrored stage, with the orchestra concealed in a studio underneath. Emma Matthews is the courtesan Violetta while Alfredo is played by Italian tenor, Gianluca Terranova, on a set with a Swarovski chandelier illuminating the stage. Bizet’s Carmen (1 x 142 mins), with Rinat Shaham as Carmen and Dymtro Popov as Don Jose, has a gritty set design, sumptuous costumes and stunning choreography. Both performances include fireworks.

Mia (Cyber Group Studios)

SABAN BRANDS NEW FROM Saban Brands are: Digimon Fusion, the sixth season of the franchise, launched in 2013 and airing on Nicktoons and Vortexx on The CW in the US; Julius Jr., the pre-school series which currently broadcasts on Nick Jr. in the US; Power Rangers Super Megaforce, the 21st season of the Power Rangers franchise, which debuted on Nickelodeon in the US and is set to air internationally later this year on Channel 5 and Nickelodeon in the UK.

Elias: Rescue Team Adventures (HIP) 60 I

La Traviata (ABC Commercial)

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iPRODUCTNEWS 9 STORY ENTERTAINMENT ON THE live-action slate from Toronto-based 9 Story is a new season of Cache Craze (20 x 22 mins), a family game show that mixes a treasure hunt with adventure challenges. The company also brings a new season of teenage prank show Extreme Babysitting (35 x 22 mins). Animation priorities from 9 Story include: preschool series Guess How Much I Love You (78 x 11 mins), based on the best-selling book; Monkey See, Monkey Do (26 x 11 mins), a pre-school show mixing animation and live action; Nerds And Monsters (40 x 11 mins) a comedy aimed at six- to 11-year-olds; Numb Chucks (52 x 11 mins), about two half-witted woodchuck vigilantes; and summer-camp comedy Camp Lakebottom (52 x 11 mins).

GURU STUDIO HOOBA Jooba is the latest project from Canada’s Guru Studio, currently in development as a 52 x 11-minute 2D series. In the story two hairy visitors drop into the world and get up to strange things, including eating a microwave because food comes out of it, and building a fartpowered time machine. Hooba Jooba (Guru Studio)

RIVE GAUCHE TELEVISION THE WORLD of electronic dance music’s hottest stars is explored in DJ Diaries (6 x 30 mins), brought to MIPTV by California-based Rive Gauche Television. International DJ Caroline D’Amore travels the world to spend 48 hours with talented performers, including Steve Aoki, 12th Planet, Afrojack and Cedric Garvais.

STARZ WORLDWIDE DISTRIBUTION THE SECOND season of VH1‘s series Hit The Floor continues to follow the dangerous world of the Los Angeles Devil Girls, a dance team in professional basketball. The troupe stars Taylor Paige, Kimberly Elise, Dean Cain, Logan Browning and Charlotte Ross.

Cache Craze (9 Story Entertainment)

LIONSGATE TEQUILA Sisters is a new docu-soap featuring the Marins, a wealthy and traditional Mexican-American family in Laguna Beach, California, brought to Cannes by the US’ Lionsgate. Against the background of an Mexican-American culture clash Bill Marin is an overbearing father of four young girls eager to embrace the opportunities that a luxurious, independent life offers in today’s California. Also, business is slowing down for Bill and that has an effect on everyone in the family.

Tequila Sisters (Lionsgate) 62 I

DJ Diaries (Rive Gauche Television)

STUDIO 100 MEDIA

NEW SERIES Rocka-Bye Island (26 x 11mins) is brought to Cannes by Ireland’s Monster Entertainment. Co-produced with Magpie 6 Media and aimed at children from three- to six-years-old, the series features children and their animal friends on the fantastical Rocka-Bye Island. The series premieres on RTE Junior channel in Ireland. Monster is also launching the third series of non-dialogue show Jungle Beat.

BASED on the popularity of Benelux girl band K3, new animation series K3 (52 x 13 mins), is brought to Cannes by Munich, Germany-based Studio 100 Media. The new 2D series follows the teen pop trio — best friends Kim, Kylie and Kate — on a global tour full of fun-packed adventures, mysteries and excitement. Targeted at sixto eight-year-olds, K3 is currently in production, with delivery set for 2015. The HD series is produced by Paris-based Studio 100 Animation with Studio 100 Media responsible for international TV and home entertainment sales.

Rocka-Bye Island (Monster Entertainment)

K3 (Studio 100 Media)

MONSTER ENTERTAINMENT

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PASSION DISTRIBUTION THE UK’s Passion Distribution is highlighting a slate of new and returning series at MIPTV 2014, including a number new series and specials from producer Firecracker Films. Firecracker shows include Men In Rubber Masks (1 x 60 mins), a behind-the-scenes look at the secretive world of female masking, where men transform themselves into dolls by squeezing into elaborate rubber second skins. Another Firecracker production is Air Pressure (working title/4 x 60 mins/8 x 30 mins), which follows rookie pilots who work in one of the most dangerous and remote places in the world as they try to clock up the hours they need to qualify as commercial pilots. Passion also brings Joanna Lumley Meets Will.i.am, from Rain Media, and Paperny Entertainment’s Cold Water Cowboys (10 x 60 mins), about a group of larger-than-life characters on fishing boats off the coast of Newfoundland.

FREMANTLEMEDIA INTERNATIONAL AT MIPTV FremantleMedia International is relaunching classic British comedy Birds Of A Feather, about sisters Sharon Theodopolopodous (Pauline Quirke), Tracey Stubbs (Linda Robson), and their neighbour Dorien Green (Lesley Joseph). Tracey is twice divorced and living with her pampered son, Sharon scrapes by on a minimum wage in a discount shop and Dorien seems to be living a jet-set lifestyle as the author of the racy new novel Sixty Shades Of Green. The new series is written by the original writers, Laurence Marks, Maurice Gran, Gary Lawson and John Phelps.

Birds Of A Feather (FremantleMedia International)

HASBRO STUDIOS HASBRO Studios, the production and distribution division of toy giant Hasbro, brings the new 26 x 22-minute season of animated series Transformers Rescue Bots to MIPTV. The Rescue Bots are given an important mission by Optimus Prime: protect and learn about mankind. Stationed on a technically advanced island called Griffin Rock, they team up with the Burns family who run the Emergency Rescue services on the island, working alongside our Rescue Bots team.

Transformers Rescue Bots (Hasbro Studios)

FILM.UA GROUP UKRAINE-based Film.UA Group is highlighting two series at this year’s MIPTV. Crime series The Sniffer (8 x 60 mins) follows the proud owner of an acute sense of smell, who can detect things that people try to conceal. However sometimes his gift can seem a curse. Docudrama History Of Criminalistics (6 x 44 mins) traces the attempts to use scientific methods to investigate crimes, from early methods to modern techniques. The series uses CGI reconstructions and dramatic re-enactments of famous cases that cover ballistics, identification, fingerprinting, trace evidence, toxicology and forensics.

The Sniffer (Film.UA Group)

VIACOM INTERNATIONAL MEDIA NETWORKS (VIMN) COMEDY Central’s new scripted comedy series Broad City is a satirical series that follows two friends as they navigate their way through their college years in New York City. With cameos from popular comedians including guest executive producer Amy Poehler, Broad City has a sketch-show feel rather than a strictly narrative structure, and is brought to Cannes by VIMN. From Nickelodeon comes The Thundermans (40 x 30 mins), a live-action show about 14-year-old fraternal twins and members of a family of suburban dwelling superheroes. Animation series Breadwinners (20 x 30 mins) features two dynamic and carefree ducks who fly around in a jet-propelled, bread delivery rocket van. VIMN also brings Being Mary Jane (8 x 60 mins), a series based on a TV movie which debuted on BET, and social-media inspired game show @midnight.

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INVISION WORLD PREMIERE TV SCREENING

Starz brings Power to Cannes Crime drama which shows two sides of New York is created by Courtney Kemp Agboh, stars Omari Hardwick and is executive produced by 50 Cent

ONE OF the highlights of MIPTV will be the World Premiere TV Screening of Starz original drama Power. Created by rising star Courtney Kemp Agboh with rap icon Curtis ‘50 Cent’ Jackson as executive producer, Power is an eight-part series that tells the story of James ‘Ghost’ St. Patrick (Omari Hardwick) a wealthy New York City club owner who lives a double life as the kingpin of a lucrative drug-dealing network. “The story is about a man who has created a series of different personae he uses to his advantage,” Kemp Agboh told the MIPTV Preview. “It’s set against the backdrop of New York and has a strong music feel to it.” Agboh conceived the idea around the time of her father’s death in 2011. “My father’s guiding principle was that perception is reality, that what people think of you is the truth. I don’t think he was right but it’s an idea that I wanted to explore. Power became my opportunity to do that.” The link-up with 50 Cent came about

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because the two talents share the same agency. “They put us in a room together and we just clicked. I went in thinking ‘wow this is 50 Cent’ and came out thinking of him as Curtis, my friend and collaborator.” Jackson, who has a recurring role in the series, has been a passionate advocate of the show, says Agboh, whose previous credits include critically-acclaimed CBS show The Good Wife. “He’s more enthusiastic than I ever believed possible. At the start we just talked all the time. Then, when Power moved to the writer’s room, we’d have regular meetings to get his comments. He is a great storyteller, and has been so committed, interested and focused on making Power work.” Power is in production and due to air later in 2014 on Starz. Agboh, who will accompany the Starz team to Cannes, says they’ve been the perfect creative partners: “The network is all about taking audiences to new worlds. For a writer like me that’s great because they allow you be yourself.”

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The MIPTV World Premiere TV Screening takes place in the Grand Auditorium at 18.15 on Monday, April 7. After the screening, stars of the series will walk the red carpet into the MIPTV Opening Night Party in the Grand Hyatt Cannes Hotel Martinez

50 Cent with Omari Hardwick

Omari Hardwick as James â&#x20AC;&#x2DC;Ghostâ&#x20AC;&#x2122; St. Patrick in Power

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the leading factual programming screenings and conference 5-6 April 2014 Palais des Festivals, Cannes, France

KEE P TH E STO R Y RE AL A true story is behind each of the over 1,300 factual and documentary titles that get screened in the MIPDoc Library. Attend MIPDoc, the weekend before MIPTV, and discover fresh stories for every screen from over 60 countries. As the leading conference and networking event for international co-production and ﬁnancing, MIPDoc is the place to build your international deals and make new connections with the world’s top factual and documentary producers, distributors and buyers. There’s still time to register! Deadline for materials: 24 March.

mip d o c . c o m FEED YOUR HUNGER FOR REAL STORIES

Plus, registration gives you access to conferences. Together, they form the world’s largest gathering for the non-ﬁction community. Part of the whole MIPTV experience.

i FEATURE CO-PRODUCTION NEW PARTNERSHIPS

TV4 Sweden/eOne Entertainment’s Welcome To Sweden. Starring Patrick Duffy (left), Illeana Douglas, Greg Poehler, Josephine Bornebusch, Lena Olin and Claes Mansson. Photo: Linus Hallsenius/TV4

United Nations of creativity As the countdown begins to the third MIPTV International Drama Co-production Summit, Marlene Edmunds ﬁnds a new energy driving the world’s global co-pro community

HE THIRD International Drama Co-production Summit, organised and sponsored by United Talent Agency, Canada Media Fund and Teleﬁlm Canada, is aimed at providing networking and brainstorming time and space to those involved at the highest level of the drama co-production industry. ZDF Enterprises, Starz, DR, Atlantique Productions, A&E Networks, Filmlance International, Sundance Channel, TF1 International, BBC Worldwide, Screentime Australia, NRK, HBO Europe and ITV Studios Global Entertainment are but a few of those attending the event, many for the third year in a row. So what has changed in the three years since the Summit was launched? Quite a bit, it appears. Fear of Euro-puddings has long since been left behind. Global

“There is a right and a wrong way to do a co-production. And the right way is driven by passion and creative vision” Frank Spotnitz

drama-makers, distributors and talent, both before and behind the camera, are forging border-breaking pacts as never before. Digital evangelists are moving into co-production. And a small but growing coterie of US showrunners, including Tom Fontana (Borgia), Ed Bernero (Crossing Lines) and Frank Spotnitz (Transporter; The www.miptv.com I preview magazine I March 2014 I 67

i FEATURE CO-PRODUCTION

United Nations of creativity

X-Files) are choosing to work in Europe and help fashion what is becoming an increasingly international European co-production landscape. Award-winning producer and writer Spotnitz is now showrunner for the second season of Transporter, an M6/HBO Canada co-production, with production outfits QVF and Atlantique on board. This follows his previous role as showrunner on Hunted, a co-production between Spotnitz’s company Big Light Productions and Kudos Film and Television for the BBC. Spotnitz opened London-based Big Light Productions several years ago to focus on international co-production. “There is a right and a wrong way to do a co-production,” he says. “And the right way is driven by passion and strong creative vision.” He adds that he is back at the Summit for the second year running because he has found the people there share this view. Also attending the Summit is Tom Fontana, showrunner for Borgia, a multi-territory co-production in terms of talent, funding and casting. While Borgia just wrapped Moa Silen and Rolf Lassgard — as Sebastian Bergman — in Sebastian Bergman its third and, at Fontana’s request, final season, he says that he would happily take on another co-production of adds. “But overall, we always wanted to make the same this complexity and size. “The biggest difficulty has been thing — a quality programme.” in waiting each season for the various partners to decide Among the projects on the front burner for Fontana whether to renew the series,” he says. are Billy The Kid, a co-production for Fox between Fontana adds: “On the plus side — and it is a huge plus The Levinson/Fontana Company and Halfire-Core side — we’ve created a sort of Entertainment; and Beta Film’s creative United Nations, bring$33m co -production about ing the best talents together.” Frederick II of Hohenstaufen, “We have created a Everyone involved In Borgia one of the more powerful empersort of creative United seemed to share a common sense ors of the Middle Ages. Nations, bringing the of purpose and mutual respect, Fontana says. “That is not to Once the domain of small, subbest talents together” say there haven’t been disagreesidy-dependent territories, coTom Fontana ments, personality clashes and production today includes some language misinterpretations,” he of the biggest players in the world working on such commercially viable passion projects as The Honourable Woman and War And Peace. Driving the Leo Tolstoy adaptation, set to air in late 2015/early 2016, are The Weinstein Company, BBC Worldwide (BBCWW) and Lookout Point, with scribe Andrew Davies (Pride And Prejudice; Sense And Sensibility) attached. War And Peace came together over lunch. Lookout Point, BBCWW and Davies all wanted to finance a major classic adaptation. “We went out for a creative working lunch and this evolved some time later,” says Simon Vaughan, chief executive of Lookout Point (Ripper Street; Titanic). “Then we got a phone call completely out of the blue one day from Harvey Weinstein saying he wanted in on the project. As it turns out, he is a major enthusiast of War And Peace and knows the work intimately.” The 8 x 44 mins or 6 x 60 mins production is expected to cost upwards of $25m. Vaughan says it has major global potential, adding: “I’ve never been involved in a project that has had so much pre-sale interest before. It’s a oncein-a-lifetime opportunity. How often does the BBC and Melissa George in Hunted The Weinstein Company come together to put a stamp 68 I

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i FEATURE CO-PRODUCTION on one of the greatest novels ever written?” Ben Donald, executive producer for international drama at BBCWW, agrees. “It’s one of those projects that comes around once in a generation and gives actors and actresses a chance to take part in a truly iconic role. If productions are done well, they can endure and that is the draw for top talent. It’s like being offered the chance to play Hamlet.” This adaptation, Donald adds, will differ markedly from others that have gone before. “From the production perspective, there has been no previous adaptation of War And Peace that has made an effort to depict these characters at their real age,” he points out. “War And Peace is essentially a coming-of-age story, but previous productions have cast the protagonists as much older. These are, in fact, very young protagonists, so this TV adaptation is in the spirit that Tolstoy intended it to be.” BBCWW is no slouch when it comes to bringing co-productions together. It just inked a partnership deal with Spain’s Atresmedia to co-produce an original Englishlanguage sci-fi drama titled The Refugees, which will be aired later this year. It is also a partner with Sundance Channel on The Honourable Woman, the drama series starring Maggie Gyllenhaal. Sundance Channel’s Nena Rodrigue, head of original programming and development, says The Honourable Woman “was a collaborative process with both the creative teams of Sundance and the BBC. We had many meaningful conversations with Hugo Blick, the writer/director, and Greg Brenman, the producer of the series.” The Honourable Woman is a co-production between Sundance Channel, Drama Republic and Hugo Blick’s Eight Rooks production for BBC Two in the UK and Sundance Channel in the US. Rodrigue, attending the Summit for the first time this year, believes the key to a great co-production is “to make sure the vision and respective goals are aligned”. She adds: “I am always amazed at how elusive interpretations can be. Once you have the same understanding, the rest is just process, fun and true partnership.” With more than 50 years of co-production behind it, Scandinavian companies have become masters at the art of regional collaboration. But it is only in the last few years that the Nordic territories have become serious about international co-production. Following the success of DR’s The Killing and The Bridge, on the back of the international success of Stieg Larsson’s Millennium trilogy, companies such as Yellow Bird Entertainment, Filmlance and Tre Vanner have become hot properties. Zodiak Media snapped up Yellow Bird; Filmlance is now part of the Shine Group; and Tre Vanner late last year was scooped up by the 95-year-old Nordic film titan Svensk Filmindustri. Filmlance has been the driving force behind the widely acclaimed co-production The Bridge, whose three seasons have seen it travel way beyond Scandinavia. The Tunnel, a co-production with Sky Atlantic and Canal+, is a French-English bi-lingual remake loosely based on The Bridge. A US TV version of The Bridge, set on the 70 I

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United Nations of creativity

“If productions are done well, they can endure and that’s the draw for top talent. It’s like being offered the chance to play Hamlet” Ben Donald US-Mexican border, has also been renewed by FX for a second season. Meanwhile, crime thriller Exposed, an adaptation of a Liza Marklund novel and co-produced by Peter Traugott’s TBD Entertainment, Yellow Bird and Universal TV, received a pilot order from ABC in January. Netflix has also ordered an eight-part third season of Lilyhammer, a co-production between NRK and Rubicon TV, with Netflix on board as international distributor. Michael Hjorthe, co-founder of Tre Vanner and executive producer and writer for much of the drama coming out of the Swedish production house, is back at the Summit for the third year in a row. “It’s an oasis of sorts,” Hjorthe says of the Summit. “We have two to three hours in which we are able to focus, behind closed doors and without interruptions, on some of the key questions and issues in our business. It’s very rare that people at decision-making level spend this amount of time actually talking about what matters in the business. You get to know the partners better, and you get an easier read on whether potential partners might be right for you.” Hjorthe is currently at work with long-time collaborator and writer Hans Rosenfeldt (The Bridge) on the third season of Sebastian Bergman, the Swedish police drama featuring criminal profiler Bergman and a 10-episode TV series and co-pro titled Deja Vu. He is also on board as executive producer on The Grey Zone, a 50:50 TV coproduction with Denmark’s Cosmo Film. Hjorthe believes one of the biggest challenges in coproduction is the lack of market maturity in terms of

Clemence Poesy and Stephen Dillane in The Tunnel

BBCWW’s Ben Donald

Transporter showrunner Frank Spotnitz

Borgia showrunner Tom Fontana

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i FEATURE CO-PRODUCTION financing and digital rights. “We know digital rights are increasingly important, but we don’t know how much they are worth,” he adds. “In co-production, that can be quite tricky. There is concern that we are giving away our rights cheap. And we are also uncertain of who the future players will be in digital and how it will affect our business.” Premiering in Sweden in March, Welcome To Sweden is a co-production between TV4 Sweden and Entertainment One (eOne). A true story, it is the Swedish broadcaster’s most ambitious co-production so far, says Asa Sjoberg, TV4’s director of programmes. “Greg Poehler, the star and creator of the show, fell in love with a Swedish woman and they decided to move to Sweden,” she says. “So it has an authenticity about it. Also, as a fish-out-of-water story, it resonates here. Sweden is a country with a lot of new immigrants. There are many things about our culture that can be strange and awkward for someone who has not been born here.” Sjoberg notes that TV4 has had great success with serious drama, including Wallander, Johan Falk, Maria Wern and Beck, all of which were co-produced with German partners. Wallander also did well on BBC4 in the UK. “But Welcome to Sweden is the first time that an American network has shown an interest in a Swedish show,” she adds. Carrie Stein, executive vice-president of global production at Entertainment One Television, adds: “For me, Welcome To Sweden has been a challenge and very interesting on a cultural level. In the post-production process, there were certain scenes I looked at and thought were fantastic, but TV4 looked at them and they were not so sure. What might be funny or interesting to our audience could be culturally insulting to a Swedish audience, and vice versa.” Stein adds that the biggest challenge in co-production from a US point of view is the issue of control: “Everyone wants ownership and figuring out ways to share ownership is the conundrum.” The next frontier for co-production may be Central and Eastern Europe if the success of ventures like mini-series Spies Of Warsaw are any measure. The co-production between TVP1, BBC America, BBC Four and ARTE, starring David Tennant and Janet Montgomery, was filmed in Poland and executive produced by Richard Fell for Fresh Pictures and Dariusz Jablonski for Apple Film Production. “It was a model co-production,” says Apple CEO Jablonski, one of Poland’s leading independent film producers and a member of the European Film Academy. Jablonski spent his earlier years in film working with the influential Polish film director and writer Krzysztof Kieslowksi. Jablonski points out that Poland, Hungary, the Czech Republic and other territories in Central and Eastern Europe all have long and rich film traditions, so the creative potential is clearly there. “More to the point, we now have broadcasters like TVP who are willing to put money into international co-productions under the right 72 I

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United Nations of creativity

Art Malik (left), Marta Gastini and Victor Schefe in Borgia

circumstances,” he adds. Co-production is not new to these territories. “We have been co-producing with each other for decades,” Jablonski says. “What is new is co-producing with Western European and North American companies. Spies Of War is a good example of what might be called a model co-production.” HBO Europe is only three years into scripted-drama production and it produces in local languages in Poland, the Czech Republic, Hungary and Romania. It has not as yet done any drama co-produc“We know digital rights are tions, although it has been acincreasingly important, but tive in documentary co-pro. “What is important to us is a we don’t know how much direct connection with local they are worth. There is audiences in these countries concern we are giving away through their language and culour rights cheap” ture,” says Antony Root, HBO Europe’s executive vice-presiMichael Hjorthe dent of original programming and production. “Our eyes are always open for co-production opportunities, but there will only ever be a very limited number of projects that can satisfy our language and cultural needs.” However, Root — who was also at last year’s Summit — agrees that, when it comes to co-production, “there is a sense internationally that Central and Eastern Europe may be the next region to pop”. He adds: “Generally, we see a growing international interest in the potential of these countries to tell stories about themselves that have not previously been told on television.” He points to Agnieszka Holland’s Burning Bush, which is selling strongly internationally through Beta Film, as an example.

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i FEATURE DIGITAL KIDS

New channels and digital platforms are hungry for children’s programming, with a demand for new kinds of content that focus on interactivity. Rachel Murrell talks to some of the key players as they meet in Cannes to consider the future of kids’ TV

What’s next for the kids? J

will be about how creators UNIOR at MIPTV, a can use interactivity to ennew programme ded“The technology for our hance the way they commuicated to k ids and vision of online seamless nicate with kids — for exteens programming execuinteractive play didn’t ample Melody Street, whose tives, takes place on Tuesday, video Interactive Mozart lets April 8. It includes the Future exist, so we created it” kids orchestrate the music. Of Kids TV Summit which Yoni Bloch “Interactivity allows them to brings together executives to feel part of the creative protalk about developments in cess,” Bloch says. “This game this genre. Yoni Bloch, co-founder of Israeli technology start-up has record-breaking retention.” Interlude is a key speaker at the event. A successful rock And Interlude recently made interactivity itself intermusician, producer, composer and reality show judge, active with the launch of Treehouse, a self-service platBloch is also the co-creator of a new technology that form that gives anyone — including artists, animators and kids in classrooms — the tools to create and publish lets artists, brands and content owners make their own their own interactive videos. interactive videos. “We wanted to make music videos that fans would want “We wanted to invent a new medium for storytelling for to play over and over again,” he says. “The technology everyone,” Bloch says. “We develop the tools and pay for our vision of online seamless interactive play didn’t for hosting, and we want to encourage cool use.” Viewers as content creators are also at the heart of exist. So we created it.” Bloch’s session at the Future Of Kids’ TV Summit AwesomenessTV, the teen multi-channel YouTube

Mission Oceans (2d3D/ Galatee Films)

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i FEATURE

2d3D’s Florent Mounier

What’s next for the kids?

Wildseed Studios’ Jesse Cleverly

Henson’s Richard Goldsmith

network created in 2012 by Brian Robbins and bought programming from new shows such as Doozers to clasfor $33m by Jeffrey Katzenberg’s DreamWorks sics such as Fraggle Rock. “The networks have migrated away from two- to threeAnimation a year later. AwesomenessTV now has 81,000 teen- and tween-tar- year-olds towards three to five, and are now heading to geted YouTube channels — most run by users — and four to six,” he says. “This reduced our opportunities boasts 26 million subscribers and more than 1.93 bil- for the pre-school content that is the most prolific part of our business. But SVOD has opened that up again uslion views. And its recent joint venture with Hearst Corp’s Seventeen ing mobile.” magazine to relaunch the Seventeen-branded YouTube And the SVODs are now firmly in the market for origchannel recognises the appeal of user-generated content inal kids’ programming too. Netflix’ multi-year deal to a young audience — and AwesomenessTV’s expertise with DreamWorks for 300 hours of new content came in programming for it. Although Hearst is a highly di- on stream in December 2013 with Turbo FAST. Its deal versified media group with 29 TV stations and stakes with Disney’s Marvel will see four new titles featuring Jessica Jones, Daredevil and others in A+E and ESPN, it is entrusting in 2015. And Amazon’s original ofRobbins’ team with the task of creferings include Annebots, Creative ating and managing this new kind of “We don’t force Galaxy and Tumbleaf. content on this new kind of channel. ourselves on Henson too is creating original But not all content has to be new parents. And we content for the on-demand space. to have value to the SVODs. DHX “Teeny Tiny Dogs was the first Media, with its library of more make it incredibly original title we developed with than 8,500 half-hours of kids’ coneasy to cancel” Amazon,” Goldsmith says. “But tent, licenses a significant amount Nick Walters they cancelled it so we’re going of its catalogue to Amazon, Netflix, it alone. And we’re closing a deal SpiritClips and the like. with another SVOD for a new se“The big message with Netflix and Amazon is that kids are important to them,” Josh ries now.” Scherba, senior vice-president distribution at DHX But while Goldsmith is impressed by the big SVOD platMedia, says. “And as we bring key characters and forms, he’s less optimistic about the future of the small brands, and a breadth and depth of library, we’ve li- bespoke SVODs. “Most of their content is B or C list,” he says. “So as a censed a wide cross section to such services.” DHX Media was among the first to launch branded parent, why should I pay for that when I can pay a little paid channels for kids on YouTube in the shape of DHX more for Netflix? And as a distributor, why should I let Kids, DHX Junior and DHX Retro, and its acquisitions them build a business on my content?” of the Cookie Jar and Ragdoll Worldwide libraries were Nick Walters, founder of UK pre-school SVOD Hopster, disagrees. He launched the service in December 2013 made with an eye on expanding digital opportunities. “We’re seeing a lot of free use of our content, and are for parents in search of a safe, ad-free tablet-based looking at ways to monetise it,” Scherba says. “We’re VOD service for pre-school kids. currently experimenting with AVOD (advertising-fund- It’s true that Hopster doesn’t have first-run shows, but it launched with studio deals with four significant played VOD) as a means to expand our business.” Richard Goldsmith, executive vice-president glob- ers — eOne, Nelvana, DHX and Millimages — and al distribution at The Jim Henson Company, is also there are more to come. “It’s very important that we’re supplying SVOD channels with hundreds of hours of good value,” Walters says. “We don’t force ourselves on 76 I

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i FEATURE parents. And we make it incredibly easy to cancel.” So far, so mini-Netflix. But there are other differences. “Netflix is replicating the broadcast experience, but we’re more tailored,” Walters says. “We’re trying to be active and interactive for kids, with a learning element. We build micro games customised to our shows with a gentle literacy/numeracy social learning agenda.” Kabillion, the free kids’ VOD service, has been ploughing this furrow in the US since 2007. And although it’s bigger and older than Hopster, claiming to reach more than 50 million households in the US with an average of five to seven million views per month, according to Nicolas Atlan, co-CEO of parent company Splash Entertainment, it too is “comfortable with non-exclusivity”. Kabillion sees itself partly as a digital distributor that helps build third-party properties that then migrate to Netflix, Hulu and even the networks. “We’re growing fast on YouTube,” Atlan says. “So we’re trying to push iconic brands like Bobby’s World, Suncakes, Digimon, Dragon Ball Z and The Bratz for a year, and to help launch new properties.” Kabillion can also function as a test bed for existing properties from around the world that are seeking to reach a new audience in the US. “We tell content owners we need six months at least to build an audience,” he says. “But unlike a network, if something isn’t working by its second week, we don’t take it off air. Instead, we take our time to build a show, using Rentrak to analyse our audience reactions, then we go and see Netflix, Amazon or Hulu with the numbers.” NHK’s

What’s next for the kids? successful interactive kids’ show Bitworld takes a differ“Unlike a network, if ent approach to building an something isn’t working by audience. It gets viewers to its second week, we don’t create the TV story by sending in ideas and drawings via take it off air” the programme website, as Nicolas Atlan well as voting, playing games and completing quizzes. This is made possible with the help of NHK’s Hybridcast. “Hybridcast enables broadcast digital TV to be closely integrated with internet-based content,” Mitsuaki Furuya, senior producer of Bitworld, says. “It allows us to transmit additional information to tablets and mobile devices using the television signals. So viewers of a live studio-based entertainment show like Bitworld can not only play on their tablets and mobile devices, but also watch multi-camera images on their tablets for games in which we use multi-channels.” Furuya says there are other changes afoot. “Currently, we ask viewers to send in their ideas for characters and designs using 2D image drawing software. But we plan to make some changes so that people will be able to send in their 3D images, a little like Minecraft.” NHK is also using ‘data broadcasting’ to allow digitised text and images to be sent via television signals. Thus kids watching the puzzle show Phi Brain or the adventure show Log Horizon can solve puzzles and battle monsters live on their digital TV sets after the show. Meanwhile in France, Florent Mounier, development manager at 2d3D Animations, also offers games and puzzles. He will be at MIPTV seeking partners for Mission Oceans, a major transmedia project about undersea exploration. Mission Oceans began with Oceans, the $66m natural history feature documentar y made i n

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i FEATURE 2010 by renowned French film-maker Jacques Perrin of Galatee Films. “Jacques had 490 hours of fantastic unused footage,” Mounier says. “So we approached him about making a video game using his images and a ‘virtual aquarium’ technique we had developed for museums.” Mounier’s team then pitched a CGI animated series for seven- to 12-year-olds to France TV Distribution, based on a bunch of kids in a submarine who explore the oceans with a talking baby walrus. This has an interactive 3D second-screen element in which players identify new animals to unlock ‘conversations’ taking place in the TV show between the animal and the baby walrus. There is a website, of course, with a blog of the show, missions for players to undertake, and a virtual album in which they can store the photos and video clips they unlock along the way. And there’s a mobile application set in an aquarium that allows people to find and track particular fish, see them from every angle, and win video clips. Mounier’s strategy at MIPTV is to find co-production partners and presales, ideally from Canada, where 2d3D has a production base. “We need a Canadian partner with technical expertise and big servers. We have different partners for each element,” Mounier says. “The TV element is fairly conventional — we must work with a French broadcaster and the CNC, and we need coproducers and presales. For the second-screen element, we need sponsors such as telcos and energy companies. Our video game and mobile partner for Asia is FPT, a big Vietnamese telecom company, and we need another to match — ideally a big European telco. And we have input from a Toulouse-based company, Mercator Oceans, which is supplying a year’s worth of satellite images, water temperature data, and information on ocean currents to simulate real conditions.” Australia’s Flying Bark Productions is also exploring partnerships for its new series The Eggsperts (11 x 7 mins). Based on Reading Eggs, the online reading program for three- to 13-year-olds created by Australian educational company Blake eLearning, The Eggsperts is a web series designed for four- to seven-year-olds. It will initially be available online and for download on Android and Apple mobile devices. Creating linear narrative out of a web property requires great characters, according to Flying Bark managing director Jim Ballantine. “Our job was to identify the characters we wanted to focus on, give them a purpose and goals, and then watch the story unfold,” he says. “We also had to make the learning experience fun for kids.” Reading Eggs already has more than two million subscribers in over 134 countries, and this widespread brand recognition can only help sell the series. But Ballantine is weighing up the options. “The broadcast landscape is evolving rapidly and we’re going to gauge the success of the show with the web deployment of the episodes,” he says. 80 I

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The Eggsperts (Flying Bark Productions)

Moshi Monsters is another property negotiating the rocky road from web to mobile. And in spite of its impressive figures — a rumoured 87 million registered users in 150 territories — it hasn’t all been plain sailing. Darran Garnham, chief business development officer of Moshi-owners Mind Candy, acknowledges that the company came late to mobile and has taken its time to put together the right team. Now that it has, things are starting to move. “Our first mobile projects are a music video app and Moshi Village, which allows users to build their own world. It “It’s easy to become a has some similarities to Smurf World — producer and indeed, it was built by the same designer broadcaster, but how — but with more than 300 characters, it’s richer,” Garnham says. do you get out of your “The exciting thing is we’ve only rebedroom?” ally launched Moshi in the UK and Jesse Cleverly Australia, so the rest of the world doesn’t really know it yet. That’s because we originally built it on the web and it’s hard to localise.” By contrast, Moshi Village is already in 11 language versions, so it’s ready to reach new markets. Two further Moshi Monsters products for tablets are under way, and there’s talk of a TV series. “I think you have to do something in this space,” Garnham says. “Rovio is doing its short animations. We have nothing slated at the moment but after the success of the movie, we’ll have to look at it.” But Mind Candy is about more than just Moshi. “Not many companies survive on one property,” Garnham says. “So we’re looking at creating a brand new IP, for a different demographic, using our knowhow. We’re very aware that our sweet spot is seven-yearolds, so we’re looking at games for 13 and over.” Few creatives can call on the brains or the budgets of Mind Candy. But there’s one company that can help. And it’s not the BBC. UK-based Wildseed Studios has set up a fund to invest in creative ideas with the potential to become commercial

What’s next for the kids? successes. Led by Jesse Cleverly (ex-BBC Fictionlab) and Miles Bullough (ex-Aardman Animation), it is selecting 50 projects for an initial £10,000 ($16,500) of backing, together with strategic and creative advice. Pitches are sought from four areas of the entertainment business that are popular with the audience that has stopped watching television: kids aged six to 11, genre fiction, animation for adults, and character comedy. “Our observation is that it’s easy to become a producer and broadcaster, but how do you get out of your bedroom?” Cleverly says. “We offer the creative mentoring, strategic advice and funding people need to take it to the next level.” Cleverly says that of the 50 projects, 25 will get further funding up to £25,000, and the top five, up to £100,000. If a project tanks, it owes nothing. If it makes money, it pays Wildseed back first. “We only need one to be a hit.” “We are being sent ideas from everywhere, including Europe and the US,” Cleverly says. “We’ve had pitches for short films, comics, TV shows, web series, movies, games, apps...” The first pilot to go public is Hunger Ford, a zombie drama from 19-year-old YouTuber Drew Casson. Cleverly says the next may well be a kids’ property for six- to 11-year-olds. So he’ll be meeting potential partners in Cannes with a laptop full of pilots and animatics from new talent none of us has ever heard of. “Our

Bitworld (NHK)

business model is to invest as little as possible at the beginning, and then more later as the project takes shape,” Cleverly says. “It’s the reverse of the broadcaster model. Broadcasters are shelf-space businesses: they aren’t structured for innovation.” Which brings us back to the topic of MIPTV’s Future Of Kids’ TV Summit. Change. What it is, where it is, and how to harness it.

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1,600+ buyers and commissioners in Cannes for kids content New in 2014 Future of Kids TV Summit - Tuesday 8 April join creative strategists deﬁning the direction of the children’s entertainment industry, including:

+ Yoni Bloch, CEO & co-founder of digital media company Interlude, + Daniel Efergan, Creative Director, Digital, Aardman Animation, UK + Peter Robinson, Head of Research, Dubit + Nicholas Walters, Founder, Hopster

Kids TV Keynote - Tuesday 8 April, 11.10 - 11.40, Esterel

+ Tara Sorensen, Head of Kids Programming, Amazon Studios

Kids Co-Pro Marketplace - Tuesday 8 April your chance to pitch the world’s most inﬂuential commissioners from Asia MIP Digital Fronts - Wednesday 9 April & Thursday 10 April Screen and trade the best in children’s original online video

m i ptv.co m S CR E E NI NG I S PLAY ING

i FEATURE JUNIOR AT MIPTV

Shopping for Junior With kids’ content increasingly in demand by new channels and SVOD services, Rachel Murrell asks new buyers — and some of their longerserving counterparts — what’s on their wish list for MIPTV 2014

“More time and investment should be spent on initial development as this has such a huge effect on the standard of the programmmes” Julia Muntefering

: Thinks

tock

AUNCHED in November 2013 as part of the Zuku TV offer, Nairobi-based Zuku Kids claims to be the ﬁrst African-originated kids’ channel on the continent. Owned by the Wananchi Group, it has identiﬁed young audiences as curiously underserved by free-to-air channels in East Africa and sees Zuku Kids as almost as a ‘club’ for kids to belong to. “Zuku Kids has a target audience of six- to 12-yearolds so we’re looking for pre-school programming, animation, live action and animated movies,” Catherine Njari, Wananchi’s head of entertainment channels says. “We are currently airing shows such as Tinga Tinga Tales (Classic Media) — very appropriate for our African audiences — Pocoyo and Saladin.” Zuku has 100,000 subscribers in Kenya, Tanzania and Uganda. It is currently available in Nairobi and will soon extend to Mombasa. Zuku TV is operated by Wananchi Group and backed by Liberty Global. Another new kid on the kids’ block is ToonTV Scandinavia. A linear web-based channel optimised for two- to eight-year olds on tablets, mobile phones and computers, it launched in August 2013 and serves Denmark, Sweden, Norway and, soon, Finland. ToonTV partner and former director of SBS TV Bent Helvang primarily seeks “non-violent kids’ content for pre-schoolers and kids aged from eight to 12”, hinting at an ambition to extend the channel’s target demographic in due course. “Content must be pre-dubbed in all four languages, or dialogue-free.”

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i FEATURE

Zuku’s Catherine Njari

ToonTV’s Bent Helvang

Telepool’s Julia Muntefering

TV3 Catalunya’s Francis Humble

Recent acquisitions include My Little Pony, The Smurfs, Enterprises), Rekkit Rabbit, and Shaun The Sheep Strawberry Shortcake, and ToonTV also offers footage of (Aardman). animals from Copenhagen Zoo and blue planet TV. The “Shaun’s hugely popular here,” says Humble. “We dub all channel also features a ‘playroom’ including VOD pro- our acquired shows into Catalan ourselves, and I think gramming, learning, interactive games, print-and-colour most of our viewers think Shaun is Catalan. And even with pre-schoolers, who like Timmy Time a lot, Shaun is activities, as well as competitions. ToonTV’s USP is safe on-demand edutainment content still their first love.” in local languages. But Helvang acknowledges that its Top of Super 3’s MIPTV wish list is comedy, adventure, and shows that work for both boys and girls. “The ninestrength is also something of a challenge. “Non-violent programming dubbed in Danish, Swedish, to 12-year-olds are always hardest to find,” Humble says. Norwegian and Finnish is limited,” he says. “Though “Strangely, we haven’t had a live-action hit for this age group for years. But we’ve just startthat’s not a problem for the ed airing House Of Anubis and if moment.” that does well, we will do more live What Julia Muntefering looks for is action to help retain these older great storytelling. As head of acqui“For us, it’s all viewers. We’re also pushing English sitions and sales for family enterabout scripts and this year, so are asking for Englishtainment at Germany’s Telepool, characters” language rights.” Muntefering sources programming Francis Humble Although Super 3 has a huge and for all German channels, in all genpassionate kids’ club — 50% of res, for all ages from pre-school to Catalan kids subscribe — parent teenagers. company TV3 suffers from being Recent acquisitions that have worked well include the series Calimero, and the Oscar- labeled a regional channel. “Distributors tend to have Madrid blinkers on,” Humble says. “They just think nanominated, multi-award-winning Ernest And Celestine. While there is no shortage of good animation, espe- tional. But they’re missing out on an audience of 7.5 milcially in pre-school, Muntefering says there’s a need for lion people. That’s bigger than Denmark and Finland. live-action series for older kids — especially those that The win-win is a first-run in Catalan on Super 3 with a combine strong characters, modern storytelling and an holdback, then a national broadcast in Spanish.” Film buyer Els Kuiper and her colleague Jean-Loeck van appeal to both genders. “What is still missing in my view are programmes with Kollenburg, buy for Zapp Holland, the public channel for well-written scripts and nicely developed stories,” she children in the Netherlands. says. “More time and investment should be spent on in- “We focus mainly on animated series and live-action draitial development as this has such a huge effect on the ma series for pre-schoolers, wildlife, live-action drama and non-fiction series for children aged from six to 12,” standard of the programmmes.” Francis Humble, assistant head of acquisitions at Catalunya’s Kuiper says. “We also buy live-action feature films for TV3 and buyer for its kids’ channel, Super 3, agrees. “For children aged eight to 12.” Among their recent acquisitions is Deadly 60 from us, it’s all about scripts and characters,” he says. Super 3 prides itself on edgy original shows and acqui- CBBC. “It’s full of excitement, information and stunsitions to match. Recent hits include Wild Kratts (9 ning wildlife images,” van Kollenburg says. “This really Story), Peter Pan (ZDF Enterprises), Jungle Book (ZDF attracts kids in the eight-to-14 age group, both girls and 84 I

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Shopping for Junior

NHK’s Naohiko Kuroda

France Televisions’ Claire Heinrich

boys, and a broader family audience.” Dance Academy (ZDF/Werner Film) is another winner with eight- to 14-year-olds. “Authentic stories, recognisable human interest drama, and very realistic, strong and talented characters.” Digital rights are an important part of the mix. “Together with our free-TV rights, we acquire the rights for a secondary digital channel running 24/7, and we started acquiring non-exclusive SVOD rights as well,” Kuiper says. “From 2014 on, this will be extended as we are starting a dedicated SVOD service which will offer viewers an extended catch-up opportunity.” “The hardest programming to find — and the programming that is most important for our channel — is human-interest drama series for eight- to 13-year-olds,” she says. “We want live-action shows that deal with recognisable daily life, which include humour but aren’t explicitly comedy.” Claire Heinrich, head of acquisitions at France Televisions’ youth unit, finds good character-led comedy hard to find. She is looking for a small number of strong comedies for France 3’s Ludo block (six- to 12-year-olds), pre-school shows for France 5 with a strong educational curriculum and fresh and original designs, and teenoriented live-action series such as H2O, and its spin-off Mako Mermaids, for the channel France 0. But the children’s output of France 4 is set to change. “On France 4 we already have the best of the superhero shows for eight to 14s,” Heinrich says. “But from midMarch we are going to offer extended slots to 18.30, and explore other genres than animation.” She wants domestic and acquired documentaries, magazine shows and acquired formats. Heinrich is keen to see shows with an original transmedia approach. “We look for an innovative second-screen experience different from the usual web assets related to a show,” she says. There are further changes afoot in France TV’s digital offer for youth. “It will still be based on our two brands Ludo and Zouzous,” Heinrich says. “But we’re aiming to offer more free content any time, anywhere, and on any device. So we are looking for specific web content

Zapp Holland’s Els Kuiper and Jean-Loeck van Kollenburg

such as web series, competition games, e-books and other activities.” “We look for an innovative Naohiko Kuroda, senior prosecond-screen experience ducer, pre-school and childifferent from the usual web dren’s programmes, NHK, has five five-minute animation assets related to a show” slots throughout the week for Claire Heinrich five- to 7-year-olds. He is looking for fresh and visually original shows with 26 episodes to sit alongside The Adventures Of Pim And Pom (Fiep Westendorp Illustrations). “Pim And Pom tells stories about universal and deep themes like disability, discrimination and death, but through original compelling images,” he says. “We got a lot of publicity and the ratings were good.” “One of our biggest challenges is cultural difference,” Kuroda says. “Manners and remarks that are OK in the country of origin could be inappropriate in Japanese culture. And we need 26 episodes, so if there are several inappropriate expressions that can’t easily be cut or changed, we may have to give up acquiring the title.”

Astral Productions and Meta TV presents The new international game show sensation that gives each player the chance to win a fortune – or lose it all – if they can answer one simple question : What Have You Got ?

Contact:

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+1 (213) 400 6765 charlotte@astralproductions.tv

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the discovery market showcase for the global formats community 5-6 April 2014 Palais des Festivals, Cannes, France

Format your future. With the biggest gathering of format execs in Cannes next month and a unique Screening Library for your new shows, MIPFormats is the trading place you cannot miss. / Super Saturday keynote sessions with Rob Clark (FremantleMedia), Marco Bassetti (Banijay Group), Gary Carter (Shine Group UK) / MIPFormats International Pitch : sponsored for 3rd year running by Warner Bros. International Television Production There’s still time to sign up! / Fresh TV Scripted Formats and Pilots sessions / Screening Library with new scripted format genres Deadline for materials: 17 March

mipformats.com FEED YO UR PASSION FOR FRESH CONTENT

Don’t forget that your registration also gives you access to Together, they form the world’s largest gathering for the non-ﬁction community. experience. Part of the whole

conferences.

i FEATURE MIPFORMATS: SCRIPTED

Spot the difference

Scripted formats have suddenly become big business, and a new category in the MIPFormats digital screenings library. Andy Fry reports on the growth of television’s latest trend and the must-have shows that are quickly spreading into new territories

Breaking Bad

Teleset’s Metastasis – Breaking Bad for Spanish-speaking audiences

Distribution, says a numNYONE who has been ber of factors have comaround the TV busi“Shows like Homeland bined to make scripted forness for long enough demonstrate that scripted mats the hot topic it has will tell you that scripted forformats don’t have to be become: “One of the key mats are not a new idea. At any a compromise” developments has been the time over the last two or three growing number of US cadecades you could have pointCathy Payne ble networks that are comed to several sitcoms, soaps and missioning original drama. telenovelas that were doing well both in their completed forms and as locally-adapted ver- With 40 or 50 channels competing for ideas, the prospect sions. The Nanny from Sony Pictures Television (SPT), of working with scripted formats has become much more FremantleMedia’s The Restless Years and RCN’s Betty appealing to them. Not only do they get a proven creative concept, they are also able to reduce development time, La Fea are a few durable examples of this. But Cathy Payne, CEO of Endemol Worldwide which can mean savings.” www.miptv.com I preview magazine I March 2014 I 87

i FEATURE Added to this is the fact that some of the formats in question have performed extremely well in their adapted form. Payne picks out Homeland, a Fox show based on Keshet International format Prisoners Of War. But just as impressive have been US remakes of UK drama Being Human (for Syfy Channel), Danish drama The Killing (for AMC), Danish/Swedish drama The Bridge (for FX). “Shows like Homeland demonstrate that scripted formats don’t have to be a compromise,” Payne says. The fact that scripted formats are working in the US has had important knock-on effects. The most obvious, Payne says, is that ideas are being ‘found’ in a wider range of places. “The UK has always had a good relationship with the US. But now we are seeing ideas from markets like Israel, Scandinavia, France, Australia and the Netherlands. Last year, our Dutch show Penoza was adapted by ABC in the US as Red Widow. And now we are developing a French political thriller (Les Hommes De L’Ombre) for cable network AMC.” The US version, Kingmakers, tells the story of two spin doctors who will stop at nothing to try to get their candidates elected. Payne also cites the example of Spirited, an Australia drama that ﬁrst aired on Foxtel. The story of a divorced mother who has a relationship with the ghost of a 1980s punk rock star, the show is currently being developed for ABC in the US, with writers Chris Black (Desperate Housewives) and Henry Alonso Myers (Ugly Betty — itself a US remake of Betty La Fea). FremantleMedia’s worldwide drama creative director Sarah Doole says her company is also having success with formats from non-traditional markets: “Scripted content is a big priority for us in 2014,” she says. “We’re really pleased to have secured the format rights to Haut et Court’s French drama Les Revenants (The Returned). Our North American division is developing a version for A+E Network in the US.” Doole has no doubt that this trend will continue: “It’s a signiﬁcant shift in the market. I think Germany will be the next territory to start delivering breakthrough formats. But we are looking everywhere for the kind of ideas that can be adapted.” SPT’s Ugly Betty, the US remake of Betty La Fea

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Spot the difference THE PIONEERS SOME of the early pioneers of scripted formats were telenovela producers. Today, they are still going strong, with companies like Televisa, Telefe and Endemol Argentina continuing to play lead roles. Televisa’s successes have included format deals in Eastern Europe and China. But more recently it has broken into the US market with Devious Maids, a drama for Lifetime Network that is based on Mexican telenovela Ellas Son La Alegria Del Hogar. Elsewhere, Televisa has a partnership with SPT, which gives the latter responsibility for marketing Televisa’s formats to the international market (outside the Americas). SPT Arabia, for example, is remaking Ugly Betty for the Middle

East market (although Ugly Betty is based on a Colombian idea Betty La Fea, it is best known as a hit for Televisa in Mexico). SPT’s Jeff Lerner says this will be a daily version, which will be shot in Cairo:“There will be 90 episodes in the first chunk.” The Middle East is an increasingly important market for telenovela producers. Middle Eastern broadcaster MBC recently acquired The Chairwoman, a show that was originally coproduced by Telefe and Endemol Argentina. Other Endemol hits have included Graduados and Los Exitosos Pells (The Successful Mr Pells), which has been locally adapted in Spain, Russia, Turkey, Poland, Greece, Mexico, Chile and Ecuador.

The Chairwoman, originally co-produced by Telefe and Endemol Argentina

The sale of scripted formats into the US is only one part of the sector’s success story. There has, for example, been growth in the number of format deals that see US content exported to other territories. There are also a growing number of format deals that don’t have a creative or commercial link to the US. One example in the former category is Disney’s Desperate Housewives, which has done the rounds in Latin America and Turkey. Another is SPT’s criticallyacclaimed Breaking Bad, which is being made for Latin America. SPT senior vice-president, scripted development and production, Jeff Lerner says: “Colombian producer Teleset has made the series with a spring 2014 launch in mind. The local version (Metastasis) will air across Spanish-speaking LatAm, including Univision’s UniMas network in Hispanic US.” Another example is ER, which is also in production in Colombia. Owned by Warner Bros., the remake is being handled by Resonant TV, an indie studio set up in 2010 by Argentinian Gonzalo Cilley and Colombian Guillermo Restrepo. When complete it will air on RCN in Colombia, TC Television in Ecuador and pan-regional channel Fox Latin America. “I developed a lot of

“Scripted content is a big priority for us in 2014” Sarah Doole

i FEATURE

Spot the difference

such as Israel and the Netherlands are having an impact experience with formats during the last decade when I worked with Telefe International in Argentina,” Cilley in the scripted formats field. While they are undoubtedsays. “The thing I learned then is that a good story can ly home to great creative talent, they have also learned to travel anywhere if the adaptation is done properly. ER produce shows on tight budgets. From a format perspecis a perfect project for us because it ran for 16 seasons tive, this means shows can either be adapted at a very in the US, which means there are lot of scripts for us to competitive price or scaled up to meet the expectations of bigger commercial markets. Keshet International managwork from.” As mentioned above, the creative and economic bene- ing director Alon Shtruzman says there is also an entrefits of scripted formats haven’t gone unnoticed in oth- preneurial instinct that makes markets like Israel and the er parts of the world. “The US market is very high pro- Netherlands punch above their weight: “We don’t have a file,” Doole says. “But we’ve recently done a format lot of natural resources to export, so that has forced us to deal for Australian series Wentworth which is now be- be creative and entrepreneurial,” he says. ing adapted for RTL in Germany One thing that is evident in the by UFA Serial Drama (a division of new market for scripted formats is FremantleMedia). We’re confident “A good story can that there are no strict rules. While that Wentworth, which is set inside travel anywhere if there’s some logic in adapting shows a women’s prison, has the kind of when they are still fresh in the auuniversal story that will also work in the adaptation is dience’s mind, there’s also a lot of other territories.” done properly” activity around archives. Payne sinGonzalo Cilley gles out the example of Low Winter Beta Film managing director Eric Sun, a Channel 4 UK drama from Welbers says his company is also 2006 that was remade by AMC last building up momentum in this area. “One of our long-running dramas, Inspector Rex, has year. As for FremantleMedia, Doole points to Birds Of been adapted for Poland and is also being lined up for an A Feather, a classic UK comedy being adapted for the Italian version. We are also in discussions for a French Lithuanian market. version of Homicide Hills, a drama which has been doing Another good example of this is Sensitive Skin, a UK black comedy that was produced by Baby Cow extremely well for Germany’s ARD.” Like Doole, Welbers says there is now a lot more fluidity Productions for BBC2 in the UK between 2005-2007. about the import and export of formats. “One of our big- The story of a wealthy socialite facing a personal crisis, gest properties is Spanish period drama Grand Hotel,” Sensitive Skin is now being adapted for Movie Central he says. “The series has been big seller for us in distribu- and The Movie Network in Canada, where the lead role tion, and now the format is attracting interest. An Italian will be played by Kim Cattrall (Sex And The City). version is being made for RAI, which saw the show and Historically, Canada hasn’t been a big acquirer of forfell in love with it. We are also exploring the potential for eign scripted formats, but the Sensitive Skin deal suggests this might be about to change. Likewise, Bell Media, a Latin American version.” More evidence of Spain’s growing influence is Imagina- the owner of CTV and Bravo, has unveiled plans to recontrolled drama series The Boat, about a group of pas- make Belgian drama Salamander. Originally created by sengers who are the only survivors of a global cataclysm. Skyline Entertainment, the new version will be made by While the original series was made for Antena 3 in Spain the creators of Flashpoint. and has since sold across Latin America and Eastern There are also signs that Canada wants to muscle in on Europe, a deal was done which saw CTC Russia make a the export of scripted formats. Muse Entertainment version for its own market. According to Welbers, a key part of Grand Hotel’s appeal is the way it has been produced. “It’s a great story with an attractive period setting. But it has also been very intelligently made, so that the budget is not too big. This production expertise is another factor that can contribute to a format’s success.” The producer of Grand Hotel, Bambu, has now made another show called Velvet, which is a kind of Upstairs Downstairs story set in the 1960s fashion world. Commissioned by Antena 3 in Spain, “it is already being lined up as a format by RAI,” Welbers says. “I think we’ll see more examples like this, where the format is licensed much closer in time to the original version.” Welbers’ point about production ingenuity is an important one, because it is part of the reason smaller territories Prisoners Of War (Keshet International). Photo: Ronen Akerman 90 I

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i FEATURE CEO Michael Prupas says there is active interest in his company’s series Bomb Girls, which was recently recommissioned for series two. Despite growing competition from around the world, a number of the above remakes show that the UK continues to be an important source of ideas. One of the hottest properties on the market right now, for example, is Broadchurch, a crime drama produced by Shine-owned producer Kudos for UK broadcaster ITV. Already a hit in distribution, it is being remade for Fox in the US as Gracepoint. Echoing Low Winter Sun, the British lead of Broadchurch, David Tennant, will reprise his role in Gracepoint, but be supported by US actors Anna Gunn and Nick Nolte. If there’s a problem with the UK, Doole says, it’s that the top writers there are in such high demand: “They’re often booked up two or three years in advance. That’s one reason why scripted formats make such sense for us. When you do get one of them on board, you want to make the most of them by rolling their stories and concepts out across territories.” While the scripted formats market is primarily fuelled by broadcasters’ desire to produce original content on an affordable budget, it is also a huge plus point for distributors, which now have two or more versions to sell internationally. In an ideal world, Doole says, the same company will control both the original and the adaptations, because this makes it easier to work out the best windowing strategy. But even if they don’t, the two properties can boost each other’s fortunes — particularly if there is a successful US version. Rejecting the idea that the two versions might cannibalise each other’s sales, she points to Life On Mars: “We had great success selling the US version of that show around the world, and what we found was that it boosted the original version. Fans of these shows are interested in seeing them both.” A more current example of this is Armoza Formats’ Hostages, an Israeli drama about a surgeon whose family is kidnapped by masked men after she performs surgery on the Israeli president. A US version was produced by Jerry Bruckheimer Television and distributed by Warner Bros. Television to broadcasters including Channel 4 in the UK and Nine Network in Australia. In parallel, Armoza licensed the Israeli version to the BBC (for use on BBC4) and French pay-TV broadcaster Canal+. If there’s another factor that’s helping drive the formats market it’s the role of VOD platforms like Netflix and Hulu. As relative newcomers to the market, they have been more willing to experiment with the content they offer. It was Hulu, for example, that introduced the UK version of BBC Worldwide’s science fiction comedy-drama Misfits to the US audience. A strong performance on that platform soon resulted in a US format deal for Misfits. As a footnote, it’s also worth noting that Misfits has been remade as Freaks in Italy. The scripted formats sector looks set to continue its stellar 92 I

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Spot the difference

Broadchurch, produced by Kudos for ITV

growth, SPT’s Lerner says. But there are a couple of trends that may impact on the way its expansion plays out in the next year or two. One that Lerner picks out is the growing trend for ﬁlm franchises to be adapted into TV series. His company has reimagined Zorro, Maid In Manhattan and El Mariachi as a TV series for the Latin American market. But there is a bigger global trend taking place that will see brands like The Terminator, Rosemary’s Baby and The Wizard Of Oz turned into TV series. “Movies provide the germ of an idea, but the audience often leaves the cinema wanting to know where the story would go next,” Lerner “Movies provide the germ says. “When you have great vivof an idea, but the audience id characters it makes sense to often leaves the cinema apply that to a television series.”

wanting to know where the story would go next”

Another trend to watch is the impact of censorship. Until reJeff Lerner cently, Russia was regarded as a big opportunity for format producers. But a tightening up of censorship rules concerning topics such as homosexuality looks like it might slow down progress in that market. By contrast, format owners are ﬁnding the Middle East more open to the idea of drama adaptation. Given the sector’s stunning growth, it’s inevitable that scripted formats draw comparisons with the non-scripted and entertainment formats sector, where top shows have gone on to be remade in dozens of countries. But FremantleMedia’s Doole warns against such comparisons: “Scripted formats is a much more organic process. You can’t set out at the beginning to make a global brand in the way you might with non-scripted. We have learned a lot from the entertainment guys in terms of best practice, but at the end of the day drama is about the writing.”

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i FEATURE The Mona Lisa Mystery in UHD from Austria’s Terra Mater Factual Studio

Serpent Productions’ Muse Unsustainable Tour event in Rome

LTR A-HDT V was the outstanding hit at January’s giant Las Vegas Consumer Electronics Show, and there’s now little doubt that the production community — and a growing number of key broadcasters — are beginning to tap into the exciting new TV transmission technology. The Sochi Winter Olympics saw some impressive 4K images, and the upcoming World Cup in Rio will do the same for

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broadcasters looking to debut services in Ultra-HD (UHD). But new 4K/Ultra-HD channels need more than just spectacular sport, and MIPTV has gathered some amazing 4K productions from around the world which it will screen in its dedicated 4K Theatre. Two expert panels of programmers and creatives will discuss their current activity and future plans for this

New ways of seeing

4K FOCUS

New ways of seeing MIPTV is once again the place to see the latest in 4K images and technology, as the industry braces itself for yet further developments in the way we make and watch ﬁlmed entertainment. Chris Forrester reports game-changing technology. Footage to be shown in dedicated 4K screening sessions includes amazing material from the Sochi Winter Olympic Games, and Niclas Ericson, FIFA’s head of TV will update delegates on plans for the upcoming Brazil soccer World Cup, which kicks off on June 12. There’s a magnificent new UHD documentary, The Mona Lisa Mystery from Austria’s Terra Mater Factual

Studio. Japan’s public broadcaster NHK is presenting a 4K showreel of current and future productions. And a wonderful and fresh look at Treasures Of The Vatican Museums is being presented by Sky Italia, which has been given unprecedented access to some sections of the Vatican. Technical advances are also being made. For example, a new lightweight helicopter ‘drone’, from Rome-based www.miptv.com I preview magazine I March 2014 I 95

i FEATURE

New ways of seeing

forecasters. By 2020 there are likely to be DBW Communications. that’s also capa4K-READY around 200 UHD channels on air. A reble of 4K transmission and will capture TV SHOWS port from researchers at IHS Electronics live footage from the Croisette outside the Breaking Bad & Media says that number could be even Palais des Festivals. House Of Cards higher. Barely six years from now there will Delegates will also see ultra-sharp clips Masters Of Sex Orange Is The New Black be “at least 140 million TV homes with at from FourK Productions’ new Mix, filmed least one UHD display, and more than 50 in some of the hottest cocktail venues in million UHD set-top boxes installed,” says Los Angeles, Las Vegas and Miami. The BBC is presenting a 4K showreel which reflects current IHS. projects including work being done by its famous Natural South Korea and Japan are both promising new UHD History Unit for BBC Worldwide. Sky Deutschland is pre- channels on air later this year, and taking advantage of senting its latest UHD work with Germany’s Bundesliga this year’s FIFA World Cup soccer tournament. NHK is a key member, with SkyPerfectTV, of Japan’s NexTV consoccer coverage. United4All is a Dutch production house that specialises in outdoor shoots. Last year it captured sortium of broadcasters, already testing and perthe Muse Unsustainable Tour event in Rome in 4K for “4K will be the production fecting 4K transmissions. Serpent Productions and it made compelling television. standard in the near future. Japan’s NHK is to start 4K test transmissions this year, The NexTV group will be 4K broadcasting will take exhibiting at MIPTV. with support from the nation’s commercial broadcasters. longer, but not as long as the “4K and 8K are ideal media for recording the 21st cen- MIPTV is devoting four transformation from SD to tury as they capture so much information,” says Shinichi days to UHD screenings. HD took.” Nagano, NHK’s media strategist, programming depart- The content is astonishDr Walter Kohler, CEO of Terra Mater Studios ment. “We’re using 4K cameras for high-quality flag- ing, and the various speakers are each experts in how ship programmes with international appeal.” NHK will show spectacular 4K clips from Human Life: Our the technology is going to Amazing Cells, as well as footage from a recent shoot on develop. Drop in to the 4K Theatre (on level 01) and let your eyes be opened. Australia’s Great Barrier Reef.

UHD: SKY DEUTSCHLAND’S VIEW “After taking a leading role as an innovator in high definition in Germany and Austria, Sky Deutschland is now working to pioneer the development of Ultra HD: With our UHD test recordings, both on and off the pitch, we are preparing for the next generation of consumer viewing experience with the goal of gradually approaching a full end-to-end Ultra HD live production capability.” Christian Barth, senior manager, playout & satellite, Sky Deutschland Sony is again supporting the 4K activity at MIPTV. Joe Nakata, senior producer at its Visual Entertainment Project Ofﬁce, said: “We believe in bringing the visual entertainment experience to its next level with 4K. MIPTV is an excellent opportunity to showcase leading 4K content producers to share these activities with the content and production community. I encourage all MIP delegates to see with their own eyes the various spectacular 4K screenings at the Sony 4K Theatre, made possible through Sony’s 4K SXRD Home Theatre Projector and well as Sony’s UHD displays.” Nakata’s words resonate with Kevin Williamson, of LA-based FourK Productions. He says 4K production over the next few years will explode. “The driving force of course is technology as 4K cameras and hard drives become cheaper we’ll see more and more productions shooting in 4K. Whether we’ll see a big push towards 4K with the mass viewing public is still in question. Whether the production companies will shoot in 4K is not.” Williamson’s question is more than answered by the 96 I

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RECENT QUOTES FROM HOLLYWOOD’S FINEST “I think I’m done with film” David Lynch “There is a field of possibilities that you just cannot do with film” James Cameron “Film is a 19th-century invention. We are at the top of wherever it is going to go” George Lucas “We’re in the middle of a revolution” Stephen Soderbergh “The delivery system is changing” Lana Wachowski *Quotes from Side By Side, a documentary from Keanu Reeves which talked about Hollywood switching to all-digital production.

INTERNATIONAL

DS I K AWA R D S

CONGRATULATIONS TO THE WINNERS OF THE SECOND INTERNATIONAL EMMY速 KIDS AWARDS ANIMATION ROOM ON THE BROOM FACTUAL SAME BUT DIFFERENT NON-SCRIPTED ENTERTAINMENT PET SCHOOL PRESCHOOL BEN AND HOLLY'S LITTLE KINGDOM SERIES PEDRO & BIANCA TV MOVIE/MINI-SERIES THE PHANTOMS

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7-10 April 2014 Palais des Festivals, Cannes, France

MIP Digital Fronts First international screenings of original online video

Screening is believing

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Meet the producers, creative executives and talent behind the content!

Wednesday 9 April & Thursday 10 April miptv.co m FEED YOUR PASSION FOR FRESH CONTENT

TIPS & SERVICES Welcome to MIPTV! Thank you for attending the show this year. There is much to think about to be fully prepared for this exciting edition, so we’ve designed this tips & services section to help you make the most out of MIPTV. To ensure you start off with a bang, please refer to our Quick Checklist

INSIDE:

Things to do before the Show: Have you prepared your transportation? Have you arranged your transfer to Cannes?

1. USEFUL TIPS

Have you booked your accommodation? If not, contact our accommodation department for preferential pricing on your lodging: hotel.miptv@reedmidem.com.

• GETTING TO THE FRENCH RIVIERA • GETTING TO MIPTV • UPON YOUR ARRIVAL • THE EXHIBITION HALLS

Have you visited the Online Database on my-mip.com/online-database to ﬁnd out in advance who else is attending the show, to set up meetings and discover projects? Have you checked the full show programme of MIPTV conferences, screenings and events not to be missed? Ensure you download the MIPTV App to get the most of MIPTV. Find answers to all these questions on the following tips & services section. For more details please refer to my-mip.com.

1. USEFUL TIPS GETTING TO THE FRENCH RIVIERA BY AIR The nearest airport is Nice Côte d’Azur International (NCE), which provides direct ﬂights to many cities around the world. Promotion code (Air France and KLM): 21336AF www.airfranceklm-globalmeetings.com BY TRAIN The Cannes train station is a short walk away from the Palais des Festivals. Please note that the station is currently under renovation. Works might make the access a little less ﬂuid. T: +33 (0)8 92 35 35 35 www.tgv-europe.com

GETTING TO MIPTV TAXI T: +33 (0)8 90 71 22 27 or +33 (0) 492 99 39 23 or book online : www.taxi-cannes.net/en/reservation BUS FROM AIRPORT You have several options for bus travel. Tickets must be bought beforehand. Where to get tickets: Desk at Terminal 1: outside arrivals, Gate A0. Opening hours: 8.00 – 23.00 Desk at Terminal 2: outside arrivals, between gates A1 and A2. Opening hours: 8.00 – 24.00

• The Nice AirportXpress line to Cannes (bus N°210)

goes to and from Nice Côte d’Azur International Airport and the Cannes bus station via Le Cannet everyday from 8.00 to 20.00 every 30 minutes. Journey takes 50 minutes. A one-way ticket costs €20 and a return ticket costs €30.

Where to catch it: Terminal 1: gate A0, platform 3 Terminal 2: between gates A1 and A2, platform 3 • Bus N°200 also goes to Cannes from Monday-

Saturday at 20.45 and 21.55. Where to catch it: Terminal 1: platform 3

• Noctam’Bus N°200 will get you to Cannes in the evenings. It is available Thursday, Friday and Saturday nights and travels from 23.30 to 04.10 every hour and a half. Where to catch it: Terminal 1: platform 3

TRAIN To get to the Nice train station from the airport, go to Terminal 1, gate 6, take bus 23, direction Vallon des Fleurs (€1). Buses depart every 5 to 12 minutes. Disembark at Gare SNCF Saint Augustin (second stop). The station is just a few meters walk. Trains for Cannes depart every 5 minutes. A one-way train ticket costs from €6.40. Book your train tickets at www.tgv-europe.com or by calling +33 (0)8 92 35 35 35.

2. SERVICES • CONTENT, CONFERENCE & SCREENING VENUES • CLUBS • ADDITIONAL SERVICES

3. GENERAL MAP OF MIPTV CAR RENTAL If you wish to rent a car, our ofﬁcial partner Sixt Rent a Car can provide you with preferential rates. Promotion Code (up to 10% discount): 9963828* T: +33 (0)8 20 00 74 98 www.sixt.com *Please note that this reduction is subject to availability and only applies to prepaid payment via the Sixt booking centre or on the Internet.

HELICOPTER Azur Helicoptère is available at the Arrivals Concourse in both Terminals 1 and 2. The ﬂight duration is 7 minutes to Cannes. A free shuttle service is available in Cannes for transfers between the heliport of Palm Beach and your ﬁnal destination downtown. A one-way ticket costs roughly €135 per person for MIPTV participants (+15€ heliport tax). Note that there is a 2-person minimum for helicopter service.

T: +33 (0)4 93 90 40 70 www.azurhelico.com PRIVATE SHUTTLES Le Privilège Limousine is a Reed MIDEM preferred partner. Contact: Stéphanie Plot +33 (0)6 25 75 34 54 stephanie@le-privilege.com www.le-privilege.com SHUTTLES TO OUR PARTNER HOTELS MIPTV offers you free shuttle service to and from your hotel if you are staying outside Cannes during the market.

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iTIPS & SERVICES UPON YOUR ARRIVAL USEFUL INFORMATION ABOUT CANNES The Palais des Festivals is on the seafront at the end of the famous Croisette. It is clearly signposted throughout Cannes. Address: Palais des Festivals Esplanade Georges Pompidou 06400 Cannes Country dialling code: +33 Time zone: GMT +1 Electricity: 220 volts AC, 50 Hz. Round two-pin plugs are standard Measurement system: Metric Currency: Euro YOUR BADGE Your Badge is your primary means of identiﬁcation during MIPTV. It provides access to all exhibition areas, conference sessions and networking events during opening hours. Please carry it at all times, and be ready to show it at entry and security points. E-ticket holders: E-tickets will be sent to you via email a few days before the show (Also available in the miptv.com database using your personal access codes). They include a barcode for ID recognition. Print it out to collect your badge at a self-service delivery point or scan the QR Code on your smartphone and save time at the registration area. REGISTRATION OPENING HOURS (CROISETTE 21 – On the port to the right of the Palais des Festivals)

IS THIS YOUR FIRST MIPTV? DON’T MISS THE TOUR

First Timers’ presentation and discovery tour Sunday, 6 April, 17.00, Main entrance, Palais des Festivals

THE EXHIBITION HALLS The exhibition zone includes: • Palais des Festivals (Palais -1, 0, 1, 3, 4, 5, 6) • Riviera Hall (Riviera 7, 8, 9) • Croisette (all outside locations: from 10 to 22)

2. SERVICES CONTENT, CONFERENCE & SCREENING VENUES MIPCube: Palais -1 Networking Lounge: Palais 3 Grand Audi: Palais 1 Audi A: Palais 3 Audi K: Palais 4 Esterel: Palais 5 Meet the Speakers’ Lounge: Palais 5

your MIPTV badge to access the party.

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Staff are on hand at this desk to assist you throughout the market. Don’t hesitate to ask them your questions. INFORMATION POINTS Information points with hostesses can be found at strategic positions all around the Palais des Festivals. GUIDE AND BAG DISTRIBUTION (CROISETTE 21 – Registration Hall)

(PALAIS DES FESTIVALS – Palais -1, Aisle H)

Offers a complete range of secretarial and administrative services such as photocopying, word processing, printing and faxing at competitive rates. LEFT LUGGAGE There are 2 venues available free of charge. One next to registration and one on the main concourse along the seafront. CONNECTIVITY Wi-Fi Free Wi-Fi is available throughout the exhibition on the Palais des Festivals WiFi. You can connect one device at a time. If you require a customized Wi-Fi service, please contact Viapass. Online Database

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• MIPTV 2014 World Premiere TV Screening “POWER” by: Monday, 7 April, 18.15, Grand Auditorium, Palais 1, Palais des Festivals.

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Open to all participants attending MIPTV without a stand. Features include a meeting area, free coffee service, free Wi-Fi service and telephone charging stations and a message system. BUYERS’ CLUB

In association with

• MIPTV Opening Party – Monday, 7 April, 19.30, Grand Hyatt Cannes Hôtel Martinez. You will need

The Member Desk provides on-the-spot care and assistance for all the members of our Customer Recognition Programme. HELP DESK

(PALAIS DES FESTIVALS – Palais -1, Aisle E)

• The Grand Hyatt Cannes Hotel Martinez during MIPDoc • The Majestic Hotel (Saturday, 5 - Monday, 7 April 8.30 -19.00) • Press registration: at the Protocol.

can be accessed with your MIPTV badge (space permitting) See the full programme overleaf.

The MIPTV concierge provides a number of services, free of charge, including restaurant and taxi bookings, ﬂights and helicopter tours, shuttles, spa reservations and tourism information on Cannes and its surroundings. MEMBER DESK

PARTICIPANTS’ CLUB

Badges can also be collected from:

• All MIPTV conferences, screenings and events

(PALAIS DES FESTIVALS – Palais 0)

Pick up a MIPTV guide at any time during the show by presenting your badge. THE BUSINESS CENTRE

CLUBS

Reserved for programme purchasing executives. Features include a lounge area, complimentary bar, electronic message board organised by hostesses and free Wi-Fi service. VIP CLUB

EVENTS FOR ALL DELEGATES

CONCIERGE SERVICE

(PALAIS DES FESTIVALS – Palais 0)

• Saturday, 5 April : 9.00-19.00 • Sunday, 6 April: 8.30-18.30 • Monday, 7 April: 8.00-19.30 • Tuesday, 8 April - Wednesday, 9 April: 8.30-19.00 • Thursday, 10 April: 8.30-16.00

MARKET OPENING HOURS • Monday, 7 April – Wednesday, 9 April: 8.30-19.00 • Thursday, 10 April: 8.30-18.00 Exhibitors have access to all the exhibition areas starting from 8.00 via the Artists’ Entrance situated between the Palais des Festivals and Riviera 7.

ADDITIONAL SERVICES

(PALAIS DES FESTIVALS – Palais -1, Aisle D)

Exclusive club reserved for VIP delegates to relax or discuss business in more private surroundings. Features include Wi-Fi access, refreshments and a dedicated staff. Entry reserved by invitation. GOLD BUSINESS LOUNGE

Accessible on my-mip.com/online-database

This lounge offers complimentary and personalised business services to the members of our Customer Recognition Programme including a private lounge area, international press, PC & Internet access. MEDIA CENTRE

The best way to schedule meetings in advance! • Introduce yourself, your company and programmes to increase your visibility. • Search among participating companies and visitors to ﬁnd your future business partners. • Book meetings ahead of time to increase ROI during the market. Master Guide To Cannes

(PALAIS DES FESTIVALS – Palais 5)

Enhance your Cannes experience at MIPTV

The Media Centre includes a lounge area, complimentary bar, Wi-Fi access and a fully equipped editorial room with computers for journalists. Visit the press section at www. miptv.com to access the latest news and background information, including ofﬁcial press releases, as well as press kits and news releases from clients. MIPTV NEWS & EDITORIAL TEAM

MIPTV has joined forces with TripAdvisor and Cannes-I-Get.com to bring show visitors the ultimate guide to the Croisette’s hottest addresses. The Master Guide offers reviews submitted both by TripAdvisor users and by fellow MIPTV-goers. So they can not only ﬁnd where to eat, drink and stay, but also read peers’ ratings, check in, and share tips themselves. A memorable time in Cannes is guaranteed! Available on : MIPTV app, MIP Markets Facebook page, my-mip.com (Cannes Guide section)

(PALAIS DES FESTIVALS – Palais 1)

(CROISETTE 21)

Visit the News Room during the market to brief our team of journalists about your breaking news, latest deals, events, parties and photo opportunities!

preview magazine I March 2014 I www.miptv.com

NETWORK WITH THE WORLD’S CONTENT INDUSTRY YOU ARE INVITED TO THE

MIPTV OPENING PARTY MONDAY 7 APRIL GRAND HYATT CANNES HOTEL MARTINEZ STARTING AT 19.30 OPEN TO ALL MIPTV DELEGATES WITH BADGE

A member of Reed Exhibitions

3. GENERAL MAP OF MIPTV

C11

Riviera 8 (ex Lérins Hall) Se En afro tra nt nc e

C17

Riviera 7 (ex Riviera Hall)

Harbour

Croisette 15 (ex Riviera Beach Hall)

Riviera 9 (ex Riviera Seaview)

Access to Riviera 7,8 & 9

MIPTV Shuttles

C16.A3

Palais -1 to Palais 6

Croisette 16 (ex Croisette Village)

MIPCube Buyers’ Club Participants’ Club Palais -1 VIP Club Palais 3

La Croisette

Dynamic TV C16.A1

La C

C20

RATION

REGIST

Entr

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miptv

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Organiser’s Office Protocol Press Registration

Entrance

miptv PREVIEW The ofﬁcial MIPCOM preview magazine March 2014. Director of Publications Paul Zilk Director of Communication Mike Williams EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Technical Editor in Chief Hervé Traisnel Deputy Technical Editor in Chief Frédéric Beauseigneur Graphic Designer Carole Peres Sub Editor Clive Bull, Joanna Stephens Contributors Marlene Edmunds, Andy Fry, Juliana Koranteng, Rachel Murrell, Gary Smith Editorial Management Boutique Editions PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Co-ordinators Nour Ezzedeen, Emilie Lambert, Amrane Lamiri Production Assistant, Cannes Office Eric Laurent Printer Riccobono Imprimeurs, Le Muy (France) MANAGEMENT & SALES TEAM Director of the Entertainment Division Jérome Delhaye Director of the Television Division Laurine Garaude Sales Director Frédéric Vaulpré Conference Director Lucy Smith Director of Market Development Ted Baracos Marketing Director Stéphane Gambetta Programme Director Tania Dugaro Director of the Buyers’ Department Bénédicte Touchard Managing Director (UK / Australia / New Zealand) Peter Rhodes OBE Sales Manager David Hedges Vice President Sales and Business Development, Americas Robert Marking Sales Director Latin America José-Luis Sanchez Vice President Business Development, North America JP Bommel Sales Executive Panayiota Pagoulatos Regional Sales Director Fabienne Germond Sales Executives Liliane Dacruz, Cyril Szczerbakow Sales Managers Paul Barbaro, Nancy Denole, Nathalie Gastone, Samira Haddi New Media Development Manager Bastien Gave Sales Managers, Buyers Cyriane Accolas, Yi-Ping Gerard, Andry Ramilia Australia and New Zealand Representative Natalie Apostolou China Representatives Anke Redl, Tammy Zhao CIS Representatives Alexandra Modestova, Igor Shibanov English Speaking Africa Representative Arnaud de Nanteuil India Representative Anil Wanvari Israel Representative Guy Martinovsky Japan Representative Lily Ono Middle-East Representative Bassil Hajjar Poland Representative Monika Bednarek South Korea Representative Sunny Kim Taiwan Representative Irene Liu Germany Representative (Digital Media Sector) Renate Radke Adam 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 © 2014, Reed MIDEM Market Publications. Publication registered 1st quarter 2014. ISSN 2104-2179. Printed on 50% recycled paper ®

102 I

preview magazine I March 2014 I www.miptv.com

Sixt - ofﬁcial car rental supplier of MIPTV

Our cars are available elsewhere. Our prices aren’t. (Special discounts for MIPTV visitors and exhibitors. Call +33 (0) 1 44 38 55 55 and state the promotion code 9963828 or book online on www.miptv.com)

Vivez l‘émotion.

For the full programme, visit miptv.com

A NEW AGE OF STORYTELLING CONFERENCES AND EVENTS HIGHLIGHTS MIPTV brings together the forward-thinkers penning a new chapter in storytelling through its world-class programme of conferences and events. Stories from online producers as well as traditional television, stories told in new forms, stories made interactive on multiple devices. A New Age of Storytelling is here.

Media Mastermind Keynote Series >> Be inspired by the leaders in entertainment. Monday 7 April

Chris Albrecht CEO Starz

Avi Nir CEO Keshet Broadcasting Group

Jan Frouman Group Managing Director Red Arrow Entertainment Group

Ynon Kreiz Executive Chairman Maker Studios

Alex Carloss Global Head of Entertainment YouTube

Maurice Levy Chairman and Chief Executive Officer Publicis Groupe

Deb Roy Chief Media Scientist Twitter

Olivier Courson Chairman & CEO STUDIOCANAL

Rola Bauer President / Partner Tandem Communication

Tuesday 8 April

Kim Cattrall Star and Executive Producer “Sensitive Skin”

MIPTV 2014 World Premiere TV Screening “POWER” by Starz Worldwide Distribution Monday 7 April, 18.15 Created by showrunner Courtney Kemp Agboh (“The Good Wife”), the eight-episode first season features Curtis Jackson, aka 50 Cent, on board as Executive Producer and part of a stellar cast. Mark Canton (“300,” “Immortals,” “300: Rise of an Empire”), Randall Emmett (“End of Watch,” “2 Guns,” “Lone Survivor”) and David Knoller (“Big Love,” “Carnivàle”) also serve as Executive Producers. The series is being produced in association with CBS Television Studios.

INTERNATIONAL DRAMA CO-PRODUCTION SUMMIT Tuesday 8 April 10.00-14.00, by invitation Back for its third edition, this exclusive closed-door summit will bring together 60 influential commissioners, producers and deal brokers including BBC, DR, STARZ, TF1, ZDF, ITV, HBO Europe… Supported by:

CREATIVES TALK Creators, producers, showrunners and commissioners behind some of the most inspiring shows on screen around the globe share their stories…

FOCUS ON ISRAEL Tom Fontana "Borgia" Creator

Chris Long "The Mentalist" Executive Producer

Frank Spotnitz "Hunted & X-Files" Creator & Writer, Chief Executive Big Light Productions

JUNIOR AT MIPTV

MIPTV will present success stories from some of its most exciting entertainment companies.

Tuesday 8 April A new programme dedicated to kids and teen programming execs.

>> Future of Kids TV Summit - “Screening is Playing” Kids entertainment execs gather together to be inspired and to talk about the future. By invitation. Supported by:

>> The Co-production Marketplace: Kids TV Co-production with Asia Matchmaking A unique opportunity for kids’ buyers to discover new content in development.

INTERNATIONAL DRAMA SCREENING

Israel is one of the most creative and innovative countries in the world with more start-ups per square mile than anywhere else. Its powerful storytelling is now known from programmes adapted around the world.

>> Kids TV Keynote Presentation: Tara Sorensen, Amazon Studios Changing Kids TV One View at a Time: An Exclusive Look at Amazon Studios’ new preschool series.

FEATURED SCREENINGS >> MIPTV spotlights stunning 4K/Ultra-HD Open your eyes to spectacular TV and watch a series of Conferences & Screenings hosted in the 4K Theater in partnership with Sony (Level -1).

Monday 7 April,

>> FRESH TV AROUND THE WORLD

15.00-16.30; Audi A, level 3

Presented by The Wit’s Virginia Mouseler Monday 7 April, 13.00-14.00 - FRESH TV Tuesday 8 April, 13.00-13.45 - FRESH TV FICTION Thursday 10 April, 9.00-10.00 - FRESH TV BEST OF (Formats & Fiction)

“THE HONOURABLE WOMAN” By BBC WORLDWIDE

For the full programme, visit miptv.com

MIPCUBE TALKS: THE NEW AGE OF AUDIENCE ENGAGEMENT In a connected world, great content must be paired with an engaged audience around an epic experience. >> The Future of Production >> Audience Creation, Engagement & Monetization >> Alternative Distribution

Ben Huh Founder & CEO Cheezburger

Brent Weinstein Head of Digital Media United Talent Agency

Keith Hindle CEO, Digital and Branded Entertainment FremantleMedia

Kerry Trainor CEO Vimeo

Shira Lazar Co-Founder What’s Trending

Peter Mercier Senior Director, Content Acquisitions and Strategy Team, Microsoft

Seth Laderman Senior VP Production Nerdist Industries

Aline Bonnet Media Strategy Manager Orangina-Schweppes

Catherine Tait President Duopoly

Lorenzo Beneditti Founder Studio Bagel

Brands & Online Video Lunch Wednesday 9 April, by invitation How to surf the tidal wave of video content produced or curated by brands to personalize customer experiences?

Digital Minds Summit >> The Right Data over Big Data The closed-door educational and executive think tank brings together 60 digital media VIPs to learn how to create actionable intelligence using data. By invitation. Knowledge sponsor:

Scott Button Co-Founder and CEO Unruly

Susan Etlinger Industry Analyst Altimeter Group

Eric Scherer Director Future Media France Televisions

>> From Branded Entertainment to Brand Publishing: The Rise of the Chief Content Ofﬁcer Featuring Talks from:

MIPCube Lab >> The one-of-a-kind start-up competition Innovative tech companies pitch in front of key decision-makers in TV and online video. Previous entrants included Mediabong, Stupeflix, Filmaster, Stevie, eTribez and Jilion- recently acquired by Dailymotion…

Kirsty Hunter Head of International Creative Develoment, Digital, Sony Pictures Television

Gary Woolf SVP Digital & Business Development all3media international

Rhys Noelke Vice President Business Development RTL Group, Germany

CALLING ALL PRODUCERS! Interested in creating the future of TV and video content? Producers are challenged every day to fill their screens, from co-productions to web creation and need to know about creation, production, distribution, and marketing. MIPCube provides it all.

MIPCube MATCHMAKING Meet the right people in the best context!

Producers’ TOOLBOX The "how-to" sessions: accelerated training with experts in the field!

Mark your calendar

MIP DIGITAL FRONTS

The NEW International Screenings for Original Online Video

Wednesday 9 & Thursday 10 April

Over a dozen of the world’s most acclaimed digital studios present the hottest new web series and online channels with global reach. Meet the talent and creative teams behind the play button. The MIP Digital Fronts creates a true digital content marketplace and is the mustattend showcase for producers, brands, channels and everyone involved in the digital entertainment frontier.

SCREENING IS BELIEVING! FOUNDING PARTNERS SHOWCASES

Photo by Jeff Boudreau

YouTube and Maker Studios, the most celebrated forces in online entertainment, will each present their groundbreaking productions in the Grand Auditorium, on Wednesday 9 April.

>> YOUTUBE YouTube’s most subscribed science & technology channel creator presents some of YouTube’s hottest talents.

Leah McFall

>> MAKER STUDIOS Michael Stevens Creator of VSauce

A special presentation from the next-generation media and technology company and the world’s largest provider of online video content for millennials.

>> “Farmed & Dangerous” by CHIPOTLE & PIRO Presented by actor Ray Wise and series creators: Chipotle’s CMO Mark Crumpacker, Piro’s Writer/director Tim Piper and Writer/Executive Producer Daniel Rosenberg.

THE DIGITAL PRODUCERS SERIES Top digital studios from across the planet will each take to the stage to present their best online originals across every genre. “PARALLELS”

“WE NEED HELP”

“STATE OF SYN”

by FOX DIGITAL ENTERTAINMENT

by VUGURU

by SMOKEBOMB ENTERTAINMENT

“PEMBERLEY DIGITAL”

“WHAT’S TRENDING”

“VEVO THE COMMENT SHOW”

“SECRETS & LIES”

by SXM

by HOODLUM

“LIB TV” by JIMMY LEE

Full programme available on miptv.com

CONFERENCE & EVENTS PROGRAMME 7-10 APRIL - CANNES, FRANCE MONDAY 7 APRIL AGORA & HUB

TALKS

SUMMITS & SPECIAL EVENTS

TUESDAY 8 APRIL 4K/ULTRA-HD AGORA & HUB

TALKS

INTERNATIONAL SCREENINGS

FOCUS ON ISRAEL

JUNIOR AT MIPTV

4K/ULTRA-HD 9.15-9.30

9.15-9.45

9.45-10.15

10.00-13.00

9.30-9.45

8.30-9.30

9.15-9.45

8.30-10.00

From 8.30

9.00-11.00

MIPCUBE AGORA

ESTEREL

CARLTON HOTEL

4K THEATER

MIPCUBE HUB

ESTEREL

AUDI K

AUDI A

PRODUCERS’ TOOLBOX: HOW TO PITCH?

THE FUTURE OF PRODUCTION: THE DO-IT-ALL PRODUCER

DIGITAL MINDS SUMMIT

KEYNOTE: NICLAS ERICSON Head of TV FIFA

BREAKFAST & DEMO: DECONSTRUCTION OF MOBILE WEB AND CONNECTED DEVICES

A DATE WITH DATA

INTERNATIONAL DRAMA SCREENING

WELCOME BREAKFAST

FOYER BALCON GRAND AUDI

11.30-12.00

10.30-11.00

MIPCUBE AGORA

PRODUCERS’ TOOLBOX: HOW TO BRAND IT LIKE BECKHAM?

ESTEREL

SHOW ME THE MONEY!

Followed by lunch Knowledge sponsor: ACCENTURE By Invitation

9.45-10.45 4K THEATER

THE UHD BROADCASTERS, READY FOR TOMORROW

11.00-12.00 4K THEATER

12.30-13.00

THE UHD FACTUAL CONTENT CREATORS

MIPCUBE AGORA

INNOVATION SEMINAR By Région de Bruxelles

By Brightcove

10.00-10.40 MIPCUBE AGORA

PRODUCERS’ TOOLBOX: HOW TO FUND SUSTAINABLY?

10.00-11.00

MIPCUBE HUB

MATCHMAKING: DIGITAL COMMISSIONERS

FRESH TV FROM ISRAEL

SUMMITS & SPECIAL EVENTS

Supported by: UTA, CMF & TELEFILM CANADA By invitation

INNOVATION SEMINAR

CHANGING KIDS TV ONE VIEW AT A TIME: AN EXCLUSIVE LOOK OF AMAZON STUDIOS’ NEW PRESCHOOL SERIES

HOW TO CREATE SUCCESSFUL SCRIPTED FORMATS/ DRAMAS?

10.30-11.10 AUDI A

INNOVATION SEMINAR: FROM START-UP TO TV

MEDIA MASTERMIND KEYNOTES

11.45-12.15 I GRAND AUDI YNON KREIZ, Executive Chairman, MAKER STUDIOS

11.30-12.00 I GRAND AUDI

12.20-12.50 I GRAND AUDI ALEX CARLOSS, Global Head of Entertainment, YOUTUBE

INTERNATIONAL SCREENINGS

4K/ULTRA-HD 14.00 -15.00

4K/ULTRA-HD

14.00-14.45

17.30-19.00

15.00-18.30

14.00-14.45

ESTEREL

AUDI A

CARLTON HOTEL

4K THEATER

ALTERNATIVE DIGITAL DISTRIBUTION: THE PLAYERS YOU SHOULD MEET

INTERNATIONAL DRAMA SCREENING

FUTURE OF KIDS TV SUMMIT & NETWORKING COCKTAIL: ‘Screening is Playing’

SCREENING: DBW COMMUNICATION

13.00-14.00 I HUB MATCHMAKING: TECH TO CREATE

14.00-14.15

15.00-16.30

ESTEREL

AUDI A

4K THEATER

14.45-15.15 I AGORA

MIPCUBE LAB START UP COMPETITION

THE ATTENTION ECONOMY: CAPTIVATING THE USER

“THE HONOURABLE WOMAN” SCREENING

AMBITIOUS FOR 4K, AND INNOVATING THE PROCESSES

PRODUCERS’ TOOL BOX: HOW TO VOD LIKE A VIDEO STAR

By BBC Worldwide

14.15-15.15

DIGITAL PRODUCERS: MEET THE 2014 DIGITAL EMMY® AWARD NOMINEES

ESTEREL

THE RULES OF ENGAGEMENT: STRATEGIES FOR AN ON-DEMAND GENERATION

By Miramax

Supported by: Shaw Rocket Fund

15.30-16.30 I HUB 15.15-16.15 4K THEATER

4K: THE PROVEN EXPERTS

By invitation

MATCHMAKING: VOD ENABLERS PLATFORMS

17.00-17.30 I AGORA INNOVATION SEMINAR

18.00-18.30 I AGORA WOMEN IN TECH & MEDIA

17.00-17.30 MIPCUBE AGORA

INNOVATION SEMINAR

MEDIA MASTERMIND KEYNOTES MEDIA MASTERMIND KEYNOTES

16.45-17.15 I GRAND AUDI JAN FROUMAN, GROUP MANAGING DIRECTOR, RED ARROW ENTERTAINMENT GROUP

18.15-19.30 I GRAND AUDI MIPTV WORLD PREMIERE TV SCREENING: “POWER” By Starz Worldwide Distribution

From 19.30 I GRAND HYATT CANNES HOTEL MARTINEZ BEACH MIPTV OPENING PARTY & THE INTERNATIONAL DIGITAL EMMY® AWARDS Sponsored by The Bell Fund

12.30-13.15

JUNIOR AT MIPTV

TALKS

15.15-16.45

MIPCUBE HUB

4K THEATER

SCREENING: BBC

INTERNATIONAL SCREENINGS

AGORA & HUB

MIPCUBE AGORA

16.30-17.30

11.30-12.15

FRESH TV FICTION

FRESH TV

TALKS

4K THEATER

4K SCREENING

13.00-13.45 I GRAND AUDI

13.00-14.00 I GRAND AUDI

AGORA & HUB

10.30-11.15

4K THEATER

11.00-11.30 I GRAND AUDI CHRIS ALBRECHT, CEO, STARZ

12.15-12.45 I GRAND AUDI KIM CATTRALL, STAR & EXECUTIVE PRODUCER ‘SENSITIVE SKIN’

4K THEATER

SCREENING: UNITED4ALL

MEDIA MASTERMIND KEYNOTES

AVI NIR, CEO, KESHET BROADCASTING GROUP

9.30-10.15 SCREENING: SKY DEUTCHLAND

ESTEREL

AUDI A

CARLTON HOTEL

11.30-12.00

11.10-11.40

9.40-10.20

10.00-14.00

MIPCUBE AGORA