Miptv 2015 preview

MARCH 2015

miptv

www.miptv.com The official MIPTV magazine

®

PREVIEW MEDIA MASTERMIND KEYNOTE

Modern Family’s Steve Levitan

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SEE PAGE 32

BLOCKBUSTER SCREENINGS INCLUDE:

YouTube, Maker Studios, Vice, AwesomenessTV and More SEE PAGE 14

WORLD PREMIERE TV SCREENING

ITV Studios presents Texas Rising SEE PAGE 36

Also inside: • International Drama Coproduction Summit • Media Mastermind Keynotes • Focus on the Nordics • Junior at MIPTV • Brand Of The Year • and more...

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Editorial Dear Friends, WELCOME to this Preview magazine which lifts the curtain on one of the richest and most wide-ranging MIPTV programmes ever.

Over six days, under the umbrella of MIPTV, the world’s most established television and online content market, delegates will have access to MIPDoc, MIPFormats, MIP Digital Fronts, Junior @ MIPTV and the new Drama at MIP — two days devoted to drama co-production, commissioning and screenings.

One of the driving forces behind change and development in the entertainment industry is the way the millennials are producing, watching and interacting with content across all platforms. With Generation Y barely established in our day-today vocabulary, talk now is of the Generation C — dedicated to creation, curation, connection and community.

So we’ve made The Millennial Shift the central theme of MIPTV 2015. And following a well-received launch last year, MIP Digital Fronts is back with an impressive cast of presenting companies. The Fronts will highlight blockbuster talent and content from a unique line-up of 14 leading multi-channel networks including YouTube, Vice, Dailymotion, Maker Studios, AwesomenessTV, Collective Digital Studio (CDS), Machinima, New Form Digital, Screen Australia and Vox Media.

The Nordic countries have established themselves on the international scene as extraordinary content creators in the crime genre. But they also have an enviable record in kids programming, formats and documentaries, and are pioneering in the digital entertainment sector. For the first time, some 20 of the region’s leading broadcasters, producers, creatives, distributors and digital pioneers will come together as part of the Focus On The Nordics conference, networking and business initiative at MIPTV. And there is much more in store to make this a memorable week for delegates in Cannes. ITV Studios Global Entertainment presents 10-part drama Texas Rising, The MIPTV World Premiere TV Screening, that will be attended by stars of the series, whose cast includes Ray Liotta, Kris Kristofferson and Olivier Martinez. This year’s conference programme includes keynote speakers Jeremy Darroch from Sky, 20th Century Fox Television’s Steve Levitan, Ze Frank and Michael Shamberg of BuzzFeed Motion Pictures, Yannick Bollore of Havas and Marriott Global Content Studio’s David Beebe. And a gala Medailles d’Honneur celebration will recognise Cecile Frot-Coutaz, Irfan Sahin, Ricardo Scalamandre and Ben Silverman, for their contributions to the industry.

If you are one of the 11,000 delegates, including 3,800 acquisition executives, heading to MIPTV, I hope you find this Preview magazine an interesting read and the whole MIPTV team looks forward to welcoming you to Cannes in April.

Laurine GARAUDE Director, Television Division Reed MIDEM

preview magazine I March 2015 I www.miptv.com

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Contents 10

News

MIP Digital Fronts, The Millennial Shift; Media Mastermind Keynotes, including Jeremy Darroch, Steve Levitan, Ze Frank, Michael Shamberg, Yannick Bollore, David Beebe, and Karin Timpone; Focus On The Nordics; Drama At MIPTV; Brand Of The Year; Medailles d’Honneur; World Premiere TV Screening; and more...

Features From small screens to all screens A look at the international industry one year on from the inaugural MIP Digital Fronts

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Partners in drama We hear from the global industry’s top players in drama co-production

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Digital takes custody of the kids 81 As the Junior @ MIPTV series of events gather momentum we consider how digital affects the way kids consume content ‘So good you don’t know it’s marketing’ 89 Broadcasters resistance to branded content is crumbling as they cast around for new financial models

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Products For sale in Cannes: multiplatform content from around the world

Also inside : 99 Tips & services preview magazine I March 2015 I www.miptv.com

105 Conferences

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Secrets and Lies Romance and Revolution

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News

The Millennial Shift The theme in Cannes this year is The Millennial Shift, as MIPTV explores a new generation of media users who are radically influencing the way we consume and produce content MILLENNIALS, the young generation of viewers weaned on the internet from birth, are mobile, multi-connected, multi-taskers and multi-cultural, if the state of the ever-evolving online/offline international TV business is anything to go by.

Technology offering personalisation, streaming and interactivity has empowered an everconnected youthful group of consumers. And YouTube, its multi-channel networks (MCN), web platforms, legacy broadcasters, and advertisers are grappling with how to tune into the mind-set of this demanding generation.

“We seem to have quickly skipped from online devices being the second screen, through to them being the first for many generations, especially the all-important millennials,” said Matt Campion, founder/creative director at Spirit Digital Media, the UK-based digital and social-media production agency. “Social media is largely the reason for this shift as younger generations, via smartphones and tablets, are able to connect, share and even create the content they actually want to consume. So why do they need to watch TV that has limited choices?”

JWT Intelligence’s Lucie Greene

Millennials are not so much cord-cutting, as significantly cord-shaving, reducing the amount of time they spend in front of the traditional TV set.

Generation C, Y and Z (or whatever alphabet you want to attach to today’s teenagers and young adults) do not talk about TV, only about the shows, says Christian Kurz, vice-president of research, insight and reporting at Viacom International Media Networks.

“In many developed markets, like the US, the UK, France and Spain, only a few subscribe to cable and satellite; they are more into telcos,” he says. “We’re living in a true 24/7 TV world, where there are more viewing opportunities. So TV has to be smart, social, mobile, accessible, relevant and tailored to each audience. Content produced at Viacom has to run through this framework.”

Viacom has responded by creating apps, even “appisodes”, which do more than offer catchup to its linear-TV programmes on its channels, such as the My Nick Jr app for kids network Nickelodeon. The apps, plus those for MTV and Comedy Central, are gradually being rolled out internationally.

Even, fast-growing and increasingly powerful social media and e-commerce operators like Facebook and Amazon, with their billions of registered users, cannot ignore Millennials’ demand for professionally produced video content.

In addition to making its website video and commercials-friendly, Facebook paid $2bn last year for Oculus VR, creator of the virtual-reality gaming platform that is expected to lure young consumers in the future.

Amazon.com snapped up ad-funded broadcast gaming and e-sports platform Twitch for $970m. Research company IHS Technology expects e-sports, where gaming fanatics watch other gamers compete live or on-screen, will command 6.6 billion hours of viewing globally in 2018 from 2.4 billion hours in 2014. preview magazine I March 2015 I www.miptv.com

VIMN’s Christian Kurz MIP Digital Fronts is another way in which MIPTV is addressing this seismic shift in viewing habits. California-based Machinima, the video games-inspired YouTube MCN, is a presenting partner for the event. “Millennials won’t pay $150 a month for cable, so you have to figure out how to hit them with the right content,” said Machinima chief content officer Daniel Tibbets. “The traditional TV networks must look at their release windows not as a syndication function but as a programming one.”

Machinima grabs 3.4 billion views monthly and produces live programming for Twitch, its original YouTube network and its extensions, Machinima Premium and Happy Hour.

It has also had to learn to compete in an industry still dominated by linear TV. “We’ve become smart at programming for the

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News

Ooyala’s Sarah Kiefer Millennials and become savvy about the economics of our media space because advertisers are getting it.”

Beth Stevenson, CEO of Canada-based kidscontent creator Brain Power Studio, reminds the industry that broadcasters have had it easy creating shows around limited-sized focus groups. In addition to its YouTube channel Something Fuzzy, Brain Power has sold content to Nickelodeon, an example of online and broadcast networks collaborating in the Millennials’ new world. “Today, even if they watch your show, Millennials will also be dabbling in other things. However, they are open to original ideas, so holding them and keeping them captivated is the challenge.” And that goes for independent producers too, she said, as they now have ad-funded platforms like YouTube where they can target young audiences without depending on broadcasters to control the marketing.

Advertisers will have to respond to these developments, says New York-based Lucie Greene,

MAKING IT BIG It is estimated that Millennials will have a combined purchasing power of $2.45tr worldwide in 2015.

Source: University of Massachusetts Dartmouth

worldwide director at JWT Intelligence, part of ad agency group JWT Worldwide.

“Millennials see themselves as part of the picture in entertainment — as content creators, reporters, as celebrities and brands — creating videos, blogs, vlogs, and platforms,” she said. “Already, this is impacting how celebrities communicate with them and the visual language of entertainment. Consider Beyonce’s 7/11 video, which was staged to look like a homemade YouTube fan video.”

Sarah Kiefer, UK-based senior marketing manager EMEA at international video-technology service provider Ooyala, advises advertisers to shift their thinking about young viewers. “Millennials expect to find short ‘snackable’ content on their way to work or school, on the big TV in the evening, and 20-minute versions of TV shows during the lunch hour,” Kiefer said.

“Traditional TV networks and advertisers are being forced to wake up to the fact that there are many new entrants, such as Vice Media, which has shown how lucrative its business can be by having a unique voice that is authentic.”

“For digital natives, content moves across different screens very fluidly; they don’t like restrictions” Paul Verna

Paul Verna, senior analyst at eMarketer, believes 2015 will be the year to watch for the real impact of online viewing. As HBO, CBS, Sony Pictures Television unveil their onlineonly pay-TV services, legacy-TV entertainment will win over more Millennials. “I don’t know what the 2014 (research) figures will show,” he says. “But cable/satellite providers are not facing an existential threat as much as realignment in their businesses away from pure pay-TV services and toward broadband services.”

However, he admits, that would be the start of new challenges. “For digital natives, content moves across different screens very fluidly; they don’t like restrictions. As they grow older and have more spending power, we’ll be heading into a future where the walls put up during the last generation will start coming down.” preview magazine I March 2015 I www.miptv.com

Machinima’s Daniel Tibbets

GENERATION C GOOGLE’s YouTube describes Millennials as belonging to Generation C: they are interested in creation, curation, connection and community “Gen C is a powerful new force in culture and commerce. Sixty-five percent are under 35 but they span the generations, empowered by technology to search out authentic content that they consume across all platforms and all screens, whenever and wherever they want.”

• 80% of Millennials belong to the Generation C demographic • 67% of Generation C upload their photos on to social-media networks • 80% of Generation C watch YouTube on smartphones • 39% of Generation C do not mind video ads, as long as they are relevant • 95% of Generation C create some content at least once a month • 72% of Generation C curate content at least once a week • 40% of Generation C watch videos on all screens

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Mark your calendar

Wednesday 15 & Thursday 16 April

News

Opening screenings Tuesday 14 April PM

MIP DIGITAL FRONTS

Your chance to see the hottest new online content and talent Leading companies at the forefront of the original online video industry are partnering with MIP Digital Fronts for a line-up of must-see screenings in Cannes YOU T U BE , V ice , Ma ker St ud ios , Dailymotion, Awesomeness TV, Collective Digital Studio, Machinima, New Form Digital, Screen Australia, Rooster Teeth, Slashtag TV, Dim Sum Entertainment, Vox Media and Zoomin.tv are all on board as partners in MIP Digital Fronts, the global digital content market that brings together the new online video ecosystem with the television industry.

The partner companies are presenting original online video as part of the MIP Digital Screenings programme, giving delegates the opportunity to get up to speed with new online formats and talent.

New Form Digital is focused on scripted, mobile friendly content and with its network of talent, distributors and partners focuses on “storytelling for the social media generation”. Kathleen Grace, chief creative officer of New Form Digital, said: “To them, it’s not about TV, it’s about content across multiple platforms that tells a story they can relate to.

There is a huge opportunity there.” At MIP Digital Fronts, New Form Digital “will be showcasing several original series that come from very different places: individual creators cultivated through the studio’s Incubator Series and a collaboration with an established Hollywood production company.”

Collective Digital Studio (CDS) is best known for producing the hit web series Video Game High School as well as TV shows for The Annoying Orange, Epic Meal Time and F ED. The company’s presentation will include a preview of new online series Maximum Ride based on the fantasy franchise from James Patterson – which has sold more than 13 million copies worldwide. CDS CEO Paul Kontonis said of the company: “We create

entertainment programming on whichever platform it makes the most sense. If it’s a vine series we’ll do a vine series, if it’s a vine series and then a TV film so be it. If it’s a YouTube series that should then go to Instagram then so be it. We’ve never followed the straightforward cookie cutter…”

Maker Studios is a MIP Digital Fronts founding partner. During the company’s MIP Digital Fronts presentation, head of international Rene Rechtman will speak on the subject The Future Of Entertainment Is Here. It will be an opportunity to “learn about the global leader in short-form online video and the largest content network on YouTube”.

Machinima, the video games-influenced YouTube digital studio, specialises in “kickass action-drama content”. And Daniel Tibbets, chief content officer, plans to present some examples in Cannes. The company will demonstrate its ability to cater for a wide range of content genre. “The nature of our technology is that we get constant feedback from our audience, so we know what’s working and what’s not and can adapt and change the content very quickly,” Tibbets said.

Dailymotion vice-president, content, Marc Eychenne says Digital Fronts is vital to the company’s strategy because “it will give us the chance to meet different partners from around the world to help them create original video content for their channels.” He added: “Over the years, we’ve learned that original content is an efficient way to drive users to your channel, to create a community.”

Continues on page 16 preview magazine I March 2015 I www.miptv.com

New Form Digital’s Kathleen Grace

CDS’ Paul Kontonis Maker Studios’ Rene Rechtman

Full line-up with talent available: www.miptv.com

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News Continued from page 14

Screen Australia will present a showcase of the hottest online talent from Down Under.

Fiona Cameron, Screen Australia’s chief operating officer, will introduce four leading Australian content creators reaching global viewers of a size that would be impossible solely through mainstream broadcast. The creative teams behind Soul Mates and Bondi Hipsters, Veritasium, Community Channel and mychonny “share the keys to their online success, building global audiences against the odds, and migrating to mainstream media platforms. This promises to be a very entertaining presentation and may need to come with a warning!”

YouTube, a MIP Digital Fronts founding partner, will present some of its hottest talent in Cannes, with the help of Michael Stevens, the creator of Vsauce, the largest educational network of channels on YouTube which has attracted more than one billion total views and more than 13 million total subscribers.

AwesomenessTV CEO and founder Brian Robbins comes to MIP Digital Fronts “to host a deep dive on the most influential audience ever: Generation Z”. He’ll discuss keys to success in marketing to this audience, how they’ve fueled the rapid growth of AwesomenessTV, and their impact on brands on a local and global level.

Vox Media “is one of the fastest growing media companies today”, according to CEO Jim Bankoff. “We combine intelligent TV-ready video content with premium technology and distribution capabilities to deliver reach to a massive audience who rely on us for a modern take on the world.” Vox Media’s presentation will feature original video franchises that cover news, technology, sports, food, fashion and shopping, gaming, home and real estate categories, and will include collaborations with tech and products review superstar Marques Brownlee (aka MKBHD), TV personality Lo Bosworth, production studio Magical Elves, and many more. Chad Mumm, vice-president and creative director, will also present.

Rooster Teeth is an American production company located in Austin, Texas and LA, founded by actor/producer/director Burnie Burns.

Among its headline productions are Red vs.

Blue, a comedy science-fiction series that is in

its 12th season. The company also produces live-action shorts, comedy game play, as well as video games and full animated productions, including RWBY. Rooster Teeth hosts its convention, RTX, annually in Austin, Texas. This year Rooster Teeth releases its feature film debut, the science-fiction comedy Lazer Team.

Vice is a global youth media company and an industry leader in producing and distributing online video content. Launched in 1994 as a punk magazine, Vice now operates out of 36 countries, and has expanded into a multimedia network, including a source for original online video, vice.com; an international network of digital channels; a television and feature film production studio; a magazine; a record label; and a book-publishing division.

Zoomin.T V, based in Amsterdam and co-founded by Jan Riemens and Bram Bloemberg, claims to be Europe’s No. 1 online video news network with a growing presence in the North and Latin American markets. Every month Zoomin.TV reaches over 171 million unique visitors across 26 markets with over 400 produced videos daily in 17 languages. Zoomin.TV’s YouTube multichannel network generates 1.6 billion video impressions per month, making it a Top 10 MCN in most European, North American and Latin American countries. Director of content Jaap van den Berg, said: “MCNs on YouTube have been experiencing a period of rapid growth. At the same time premium content owners and content distribution companies are finding it harder and harder to reach a younger target audience, which has been shifting towards online television.”

Dim Sum Entertainment was founded last year by French comedian Fred Testot, producer Thomas Plessis and author Ahmed Hamidi.

Based in Paris it is a multi-channel and talent network focused on entertainment. Dim Sum Entertainment edits and produces Dim Sum Academy for Dailymotion original programmes, mixing confirmed actors and new talents and targeting an audience aged 20-45.

Slashtag TV, based in Paris, targets the millennial audience. Reinventing video content using new technologies, the platform combines a video channel and a social network offering 360° experiences and interactive videos. preview magazine I March 2015 I www.miptv.com

Screen Australia’s Fiona Cameron

Vsauce’s Michael Stevens

Vox Media’s Chad Mumm

Rooster Teeth’s Burnie Burns

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News Q AWESOMENESS’ BRIAN ROBBINS WINS PIONEER PRIZE AT THE INTERNATIONAL DIGITAL EMMY® AWARDS AWESOMENESSTV founder and CEO Brian Robbins will receive the Pioneer Prize from the International Academy of Television Arts And Sciences, during the 10th edition of the International Digital Emmy® Awards, which takes place during the MIPTV Opening Night Party on Monday, April 13.

The former actor and director founded the digital-focused media company aimed at tween and teen audiences in 2012 and sold it the following year to DreamWorks Animation for $150m.

Robbins will receive his prize along with the winners of the three Digital Emmy Awards on offer.

There are 12 nominees in the three International Digital Emmy® Awards categories: Children & Young People; Fiction; and Non-Fiction. Nominees from Brazil, Canada, Germany, Japan, Malaysia, the Netherlands and the UK are competing for this year’s awards.

All nominated programs will be showcased during a special session in the MIP Digital Square, sponsored by the Bell Fund of Canada and designed to give MIPTV participants the opportunity to see excerpts of the programs and meet the nominees.

“The Academy is proud to showcase and recognise the world’s best digital programs, producers, and creators for a 10th year at MIPTV,” said Bruce L Paisner, president & CEO of the International Academy of Television Arts & Sciences (IATAS). “The 2015 nominees once again embody the cutting edge of digital creativity.”

The MIPTV Opening Night Party is at 19.30 in the Grand Hyatt Cannes Hotel Martinez.

Pioneer: Brian Robbins

MIPLAB 2015: The Only Global B2B Startup Competition in TV and Online Video Monday 15.00-16.00 Sponsored by Canalstart & Canal+ In partnership with: FaberNovel

Digital Talks explain TV’s new ecosystem VideoInk’s Jocelyn Johnson

TWO PIONEERING companies have partnered with MIPTV for the second MIP Digital Fronts. VideoInk, the news resource that covers original online video content, and What’sTrending, the daily, live, interactive YouTube show hosted by Shira Lazar, will be present in a special zone inside the MIP Digital Square. The two companies will also be supporting the MIP Digital Talks conference programme.

MIP Digital Talks is a series of sessions that focuses on “the convergence of all screens”.

The theme of the talks is The Millennial Shift – focusing on creating, producing and monetising content, and engaging the demographic – and will include case studies from “innovators trying to build the future of this business”.

“Digital and television have been barreling towards each other for some time now and as those markets mature, the international playing field for digital and broadcast crossover becomes even more active for content creators,” VideoInk founder Jocelyn Johnson said. “MIPTV and VideoInk are both sitting at the centre of this convergence serving to educate and drive the international content market across both digital and linear businesses, so naturally, we see great value in MIPTV as a partner.”

Shira Lazar added: “It’s been so valuable to meet the international TV and web community through MIPTV. It was so great to be able to have creators representing the best in digital content and formats take the stage alongside traditional media leaders. As these preview magazine I March 2015 I www.miptv.com

What’s Trending’s Shira Lazar

landscapes evolve and converge, this is essential because it’s the future.”

As well as content, innovative technologies and digital studios are on show at the MIP Digital Square, the “business incubator where technology meets content” located on level one of the Palais des Festivals.

MIP DIGITAL TALKS: Digital content has redefined what it means to watch TV. In this constantly-connected, multi-tasked world, learn from the visionaries who are expanding their content buffets to fuel viewers’ growing appetites.

Conference tracks to include: Monday 9.00-11.30, Esterel: The New Producers Main speaker: Hayley Dickson, vice-president, acquisitions & development, global content, FremantleMedia International, USA Tuesday 9.00-11:30, Esterel: Brands, The New Programmers In association with Adweek Main speaker: David Lang, chief content officer, Mindshare, USA Tuesday 14.00-16.00, Esterel: Content & The Geek Main speaker: Marc Valentin, founder & CEO, Wizdeo, France

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News Photo: Erik Esbjörnsson

Nordic countries under the spotlight MIPTV turns its attention to Finland, Sweden, Denmark and Norway, as the international industry looks to Nordic territories as a source of innovation and new ideas THE NORDIC territories are enjoying a high profile on the international marketplace, notably the result of the extraordinary international success enjoyed by a number of drama series to have come out of this part of the world in recent years.

With the global success of series including The Killing, Borgen, Wallander and The Bridge, the world’s industry is looking north, to see what the next big hit to come from this region will be.

“For us, it’s the way that drama has been produced since the Seventies, basically,” said Annie Wegelius, a media pioneer in the region, former director of programmes for SVT and now an advisor to the Nordic media industries. “But the current popularity of dramas from this region has not just changed the TV industry it’s changed the book publishing industry too. “When Nordic publishers go to Frankfurt to the Book Fair, it’s completely changed for them. Before, nobody came to their stands. They were insignificant. Nobody was interested. Now, everybody wants to see what they have to offer.”

But Wegelius has a word of warning for the industry. “I think the important thing for the Nordic companies now is to continue to deliver quality. There’s not a critical mass of people in Denmark and Sweden and Norway and Finland who can continue to create these high-end dramas. And the risk of course is that the pressure from distributors and buyers to get hold of this kind of material, could cause us to be tempted churn out lower-quality product. That is what we must avoid. These dramas have actually been around since the Seventies. They are actually commentaries on society, and the crimes are only there to drive the story. I think that’s what gives the depth to those series. So hopefully we can build on a long-standing tradition, and that

this is not just a fad.”

Wegelius said that the purpose behind MIPTV’s focus on the region was three-fold: “That the international industry could get to know better the key players in the region; that the world would better understand how to do business with companies from one of the most sophisticated and competitive — albeit compact — markets; and that the international industry would gain inspiration from the digital transformation of the Nordic marketplace.”

This region is a buyer as well as a seller and Wegelius believes that MIPTV delegates can learn from the Nordic countries in this area.

“Our public service broadcasters are so strong in the Nordic countries that the appetite within those companies make the buying profile a bit different,” she said. “The buyers’ perspective is really interesting if you look at it from the digital standpoint. Because really what’s going on is that buyers all the time have to try and convince the sellers — the distributors and the big studios, primarily — to be a part of the solution to the problems that have arrived with the new platforms that have come along.

I think the Nordic region is very, very advanced in the way that rights have to be divided — in the context of the fact that there is no new money to buy digital rights. I think there has to be a lot of innovation here and that the Nordic buyers are leaders in that area.”

The current popularity of drama from the region has led to the growth of a scripted formats business across the Nordic countries — alongside the more established non-scripted formats sector (Sweden’s Expedition Robinson spawned every international version of the hit format Survivor). “Nordic production companies are very good at creating non-scripted formats, but I think what has been lacking in the past couple of years have been the big ones — the primetime, event-driven formats. preview magazine I March 2015 I www.miptv.com

Annie Wegelius Now there are some of those coming out as we speak and my feeling is that the Nordic region is going to be the next big provider of these types of shows,” Wegelius said. “And again this is a structural thing — the audience’s demands change all the time and the production companies respond to that. So this growth won’t be a fad, it will be real and sustained.”

• A series of conferences and networking events focused on the Nordic territories will take place during MIPTV; and a special supplement on the Nordic countries will be published with issue 2 of the MIPTV Daily News, on Tuesday, April 14.

NORDICS BY NUMBERS Finland, Norway, Sweden, Denmark • Total population: 26 million • Total TV households: 13 million • Estimated growth of entertainment and media industries, 2013-2018: 3.2% (Global estimate: 5%) • Advertising industry expected to grow by 3.3% annually up to 2018, with online advertising growth of 8% • OTT expected to grow by 47.3% up to 2018 Source: PwC

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News Q INDUSTRY BACKS CO-PRO SUMMIT NEW YORK- and LA-based United Talent Agency (UTA), Telefilm Canada and the Canada Media Fund (CMF) are sponsors of the 2015 MIPTV International Drama Co-production Summit.

Telefilm Canada is the federal cultural agency devoted to the development and promotion of the Canadian audiovisual industry; the Canada Media Fund, headed up by Valerie Creighton, delivers $368m in funding annually to support the Canadian television and digital media industries.

Telefilm Canada’s Sheila de La Varende said that co-production is important to its international strategy, both in film and television. “Canada has signed 54 co-production treaties and the vast majority of them actually cover both media, which is not the case in other countries.” She added: “We consider that Canada has a lot to offer in terms of drama series, from our financing schemes such as the Canada Media Fund and tax credits, to experienced production companies and high-calibre facilities.”

Peter Benedek UTA co-founder Peter Benedek said the Summit was a good match for the agency, as more of its clients’ content is globally financed and Sheila de La Varende distributed. “It made sense to become more intimately involved in MIPTV, which is truly one of the hubs of the worldwide television ecosystem.”

Valerie Creighton

Experts come together in Cannes for Drama Co-Production Summit

The Refugees showrunner Teresa Fernandez Valdes

Amazon Studios’ Morgan Wandell

Writer Sally Wainwright

THE MIPTV 2015 International Drama Co-production Summit — part of the Drama At MIPTV initiative — presents a full line-up of top drama experts who are speaking at the fourth edition of the annual event attended by 70 of the world’s top decision-makers and creatives in the world of drama co-production.

Among the key speakers, Sky head of drama Anne Mensah said that money is only one reason to co-produce. “We have found that if you have like-minded partners, they add an exciting creative energy to the production with casting and editorial contacts and suggestions that expand the range and ambition of the show.”

For the team working on The Refugees, a La Sexta/Atresmedia/BBCWW and Bambu Producciones co-production, the energy was very high, according to showrunner Teresa Fernandez Valdes. “We may not have shared the same language, but we shared the same audio-visual references. We hadn’t worked with BBCWW before so all of us were very aware that this co-production could be a key to opening new doors in the future.”

Writer Sally Wainwright has picked up plenty of kudos for her work on Last Tango In Halifax and Happy Valley. “In Happy Valley, my primary objective in terms of character was to explore the psychology of a tough, intelligent woman to whom a tragic event happened, and how she’s dealing with it eight years down the line when the man who caused this tragedy ends up back in her life,” Wainwright said.

Morgan Wandell, head of drama development for Amazon Studios, is also on the speaker slate, along with Anna Winger, writer and co-creator of eight-part drama Deutschland preview magazine I March 2015 I www.miptv.com

Sky’s Anne Mensah

83, produced for RTL Television in Germany and on SundanceTV — becoming the first German-language drama to be aired on a major US network. “Stories are everywhere and, although it sounds counter-intuitive, the more specific — even local — the story, the more universal it can be. I think it’s a mistake to try to write something about everyone at once,” Winger said. “I think you bring all your passions and experiences to the table when you create a television show. The material only becomes richer with the right mix of people.”

In February Amazon launched crime series Bosch, a co-production with Red Arrow Entertainment based on the novels of crime writer Michael Connelly. “We ask ourselves, ‘Is this creative material we are really excited about and will it resonate with Amazon customers?’,” Wandell said. “’What is the team involved and what point of view are they bringing to the project?’ It’s a tough environment today to break through and produce shows but the bar has been set very high with Bosch. It resonates with customers and fans of the book series and we believe it will not only play very well in the US but also in Germany and the UK where we also have Amazon Prime.”

THE MIPTV 2015 INTERNATIONAL DRAMA CO-PRODUCTION SUMMIT is at 09.30 on Tuesday, April 14, by invitation only

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News Marriott International honoured in Cannes for brand innovation Williams and Biz Stone. Marriott Hotels has also joined with Snapchat-focused marketing and analytics agency Naritiv to become the first major hotel company on Snapchat.

The goal, says David Beebe, vice-president, global creative and content marketing, “is to produce engaging content that builds communities of people passionate about travel that will drive commerce”. He added: “We’re moving rapidly to engage development and production partners, get into physical production and to deliver content to travel consumers. We aim to activate and leverage global reach and distribution to become the leading publisher of travel lifestyle content that engages travelers and builds Marriott’s reputation as the world’s favourite travel company.”

Beebe will be joined in a keynote presentation at MIPTV on April 14, by Karin Timpone, Marriott International’s global marketing officer and talents.

This will be the fifth year of the MIPTV Brand Of The Year Award. Past recipients include American Express, Heineken, Intel and Vice Media. Chipotle and Piro won last year for their Farmed And Dangerous series on Hulu.

MARRIOTT International has been named MIPTV Brand Of The Year for 2015.

The award recognises its innovative Global Content Studio, which is dedicated to publishing, distributing and sharing digital content across multiple platforms and all screens, in partnership with leading producers and creators.

Marriott’s strategy is to further the company’s focus on next-generation travelers and to drive new business by owning “original content marketing as both a travel company and a worldwide community”. One of its first projects is the short film, Two Bellmen, a collaboration with dance, martial arts and music collective Substance Over Hype which features the JW Marriott Los Angeles as a character in the film.

Other projects announced so far include a branded digital project with Sander/Moses and The Navigator Live, a Renaissance Hotels TV series distributed on AXS TV, produced in partnership with AEG. There are also exclusive development deals with various YouTube stars and a content and distribution partnership with Medium.com, the publishing platform launched by Twitter co-founders Evan

A chance to meet the New Programmers

Adweek’s Michael Burgi

Mindshare’s David Lang

BRANDS, The New Programmers is the title of a MIP Digital Talks series that gives the opportunity for MIPTV delegates to get to know brands that are looking to finance

LiquidThread’s Oliver Gers online formats and branded entertainment.

Juha-Matti Raunio and Theodor Arhio of TBWA\ Helsinki, present the Buy This! case study. In the 10 x 30 mins scripted sitcom Buy This!, brands

preview magazine I March 2015 I www.miptv.com

Marriott International’s Karin

Marriott International’s David Beebe

have an active role in the show that features a fictional advertising agency. In each episode, the agency creates real campaigns for real brands and the commercials air right after the show.

In The Storytelling Singularity, a panel examines how to create content that speaks to a broad audience when everyone wants to be addressed as an individual. Speakers include Claudia Cahill of Ominicom Media Group and co-founder of The Content Collective; Oliver Gers of LiquidThread, part of the Starcom MediaVest Group; and David Lang, chief content officer at Mindshare.

In the final session, A Successful Video Strategy, The Secret Sauce, delegates have the opportunity to learn how to use Facebook, Tumblr, Twitter and Snapchat as marketing platforms.

Presented in partnership with Adweek, The Brands, The New Programmers sessions, start at 09.00 on Tuesday, April 14. Michael Burgi, Adweek’s director of editorial partnerships, is moderator of the sessions.

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Visit us at MIPTV 2015: Booth No. P -1.L 2 / P -1.M1 ZDF Enterprises GmbH | Erich-Dombrowski-Str. 1 | 55127 Mainz | Germany Phone: +49 (0) 6131 - 991 0 | programinfo@zdf-enterprises.de | www.zdf-enterprises.de

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News

The Medailles d’Honneur go to…

FremantleMedia’s Cecile Frot-Coutaz, DTV’s Irfan Sahin, Globo’s Ricardo Scalamandre and Electus’ Ben Silverman. The MIPTV 2015 honourees spoke to the MIPTV Preview…

Ben Silverman

Cecile Frot-Coutaz

THE MIPTV Medailles d’Honneur were created in 2013 to mark the 50th anniversary of MIPTV and to recognise industry leaders from around the world who have made an exceptional contribution to the international television business.

The line-up of this year’s recipients illustrates a global industry enriched by cultural and professional diversity.

Cecile Frot-Coutaz is chief executive officer of FremantleMedia, a world leader in content production with more than 8,500 hours of programming a year produced across its international network of companies in 28 countries.

French-born Frot-Coutaz said it is “an honour to be awarded MIPTV’s Medaille d’Honneur.

Throughout my career, MIPTV has been a cornerstone event of the year. From the early days of rolling out our global formats to most recently launching our new digital ventures, the market allows us to spend quality time and do business with our clients, colleagues and partners alike. “ She added: “And for me personally it is always great to do business in my native country.”

Irfan Sahin of Dogan TV Holdings (DTV) said the award is “such an amazing honour to be given, together with the excitement of being the first award winner from Turkey”.

But, “I do not count this honour as a personal achievement”, he said. “Rather I will take it on behalf of the Turkish TV industry.”

After some 15 years working as a top-level executive in the media and press, in 2010

Irfan Sahin

Sahin was named CEO of DTV, which owns Turkey’s Kanal D as well as other free-to-air channels including CNN Turk and TV2, and has interests in radio, digital platforms, audiovisual production, and music.

“Throughout my career in the TV business, I have witnessed so many breathtaking moments, learned a lot, worked a lot and shared all the experience which I gathered on this journey,” Sahin said. “I strongly believe that the most crucial and essential points in whatever you do, are passion and patience. Without these, no great work can be achieved.”

Ricardo Scalamandre, head of international business at Brazil’s TV Globo, said he is “very proud to receive this award. At Globo, we have been striving daily, for 50 years, to produce quality content that is made in a unique way and that enchants people in Brazil and around the world. And to have this effort recognised by the public and the industry is extremely rewarding. Our history is being built with each one of you. And together we will continue to make the best products that thrills audiences around the world.”

Ben Silverman, the Emmy and Golden Globe Award-winning show creator and media executive, is founder and chairman of next-generation studio Electus. The company was launched in July 2009, in partnership with IAC, the internet and media company chaired by Barry Diller.

Silverman said: “It’s an incredible honour to be recognised by Reed MIDEM and MIPTV with this fantastic award. MIPTV and MIPCOM

Ricardo Scalamandre have been an integral part of my career and life.

Having spent over 19 years attending and participating at the markets, it is great to see them expand and evolve as the media landscape continues to change.”

He added: “The world gets smaller but the business continues to get more complicated and MIPTV has grown in importance as a goto environment to pursue new business and check in on great relationships.”

PAST HONOUREES Winners of the Medaille d’Honneur since the inaugural event at MIPTV in 2013 are: • Marion Edwards, 20th Century Fox Television Distribution • Konstantin Ernst, Channel One Russia • Herbert G Kloiber, Tele Muenchen Group • Tim Worner, Seven West Media • Jan Mojto, Beta Film • Armando Nuñez, CBS Global Distribution Group •A rmando Nuñez Sr., Industry veteran • Masao Takiyama, Sony Pictures Entertainment Japan • Nicolas de Tavernost, Groupe M6 •S ophie Turner Laing, formerly BSkyB, currently Endemol Shine Group

preview magazine I March 2015 I www.miptv.com

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News Sky sees results after €800m investment in original shows JEREMY Darroch, group CEO of leading pay-TV platform Sky, is to deliver a MIPTV Media Mastermind Keynote on Monday, April 13. It will be Darroch’s first major address since the company announced plans to merge its UK, German and Italian operations into a single company servicing 20 million customers.

Darroch took over as CEO of Sky in 2007 and has achieved a number of key objectives since then. One of the most significant has been his commitment to spend £600m (€825m) a year on original production. Determined to reduce the company’s reliance on third-party rights, he has established Sky as a major content creator in areas such as drama, through productions including Nordic noir series Fortitude, and natural history, through ground-breaking 3D productions like Flying Monsters. He has also sanctioned the creation of an important new distribution arm called Sky Vision, now a

prominent player at MIPTV. Another of Darroch’s achievements has been to reinvent Sky as a cross-platform proposition, to ward off competition from emerging on-demand platforms like Netflix and Amazon. Through production innovations such as Sky Go, Sky On Demand and Sky Box Sets, Darroch has managed to keep Sky subscribers signed up to the service, while the company’s OTT service Now TV has achieved record growth by linking up with partners such as Dixons Carphone, Google and Vodafone.

Commenting on the shape of the business in the company’s most recent financial results announcement, Darroch said: “Customers are responding to our investment in more high-quality TV and innovative services. This has resulted in the highest customer growth in nine years, the highest total product growth in four years and the lowest churn in a decade.

The strength of our performance in the UK

Jeremy Darroch: bullish mood and Ireland shows that our approach to segmenting the market with the complementary Sky and NOW TV brands is working.”

Ahead of his trip to Cannes, Darroch is in bullish mood: “2015 will be a great year for entertainment programming on Sky. The launch of Fortitude is just the first in a slate of exciting shows we are bringing to screen this year.

I look forward to coming to MIPTV 2015 to lift the lid on our plans and talk to the industry about the scale of the opportunity as we work together to create a powerhouse for TV content across Europe.”

HAVAS boss prioritises digital and data DURING Yannick Bollore’s short time as Havas CEO, the advertising giant has recorded faster growth than was originally predicted. Second-quarter growth for 2014 — his first year at the head of the company — was 7.9% higher than the previous year and double what was expected.

Bollore joined the Havas Group in 2011 after selling the T V division of Bollore Media to Canal Plus. In 2 012 he was named directeur general delegue at the company and at the end of 2013 became chairman and CEO. He puts Havas’s strong position down to two broad policies: embracing digital and encouraging teamwork — bet ween his creative and media teams and bet ween agencies. He calls the strategy ‘Together’, and he said the atmosphere at the company has improved since he first joined, when “it was like Game Of Thrones”, and you would “have to get people to leave their weapons at the door”.

The result of his digital strateg y is that

the company’s employ ment polic y has shifted slightly, taking on more mathematicians to make sense of big data: “There has never been so much data out there,” he said.

I n his M I P T V Media Master m i nd Key note entitled C ontent Redef i ned, Bollore examines the future of media and entertainment. “The market is at a turning point,” he said. “On the one hand, some business models in the industr y are being seriously disrupted and more will follow. But on the other hand, consumers have never been thirstier for content than today. It is a great time to be a storyteller...”

Yannick Bollore gives a Media Mastermind Keynote on Tuesday, April 14, at 12.10 in the Grand Auditorium

preview magazine I March 2015 I www.miptv.com

Havas CEO Yannick Bollore

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News Q A LOOK BEHIND HBOS’ THE JINX MEDIA As A True Detective: A Look Behind HBO’s The Jinx is a MIPTV session featuring film director Andrew Jarecki.

The Jinx: The Life And Deaths Of Robert Durst is a six-part examination of the reclusive millionaire who is the focus of three killings spanning four decades.

Robert Durst, the heir to a New York real estate empire, has long been a suspect in the disappearance of his wife, Kathie, in 1982. Then followed the unsolved killing in 2000 of his confidante, Susan Berman, thought to be a key witness in the investigation into Kathie’s disappearance, and the subsequent killing of a neighbour in Galveston, Texas. Durst has consistently maintained his innocence and remains a free man today. The series tracks Jarecki as he develops a relationship with Durst following the release of Jarecki’s 2010 film, All Good Things, about Durst’s life and starring Ryan Gosling and Kirsten Dunst.

Jarecki explained why the story needed six episodes: “It’s not because we couldn’t make a two‑hour movie.

We could not stop. We were so fascinated by it,” he said. “There were so many twists and turns and unexpected revelations that you could read a hundred things on Google and never know most of what’s in this piece, partly because people were afraid to talk because there were a lot of people who are either afraid of him, whether that’s reasonable or not. They are afraid of the family because this is a multi‑billion‑dollar, multi-generational fortune. This is a family that has tremendous power in New York City.

They’ve really changed the skyline.

During exclusive interviews with Jarecki that were initiated by Durst himself, he reveals secrets of a case that has baffled authorities for three decades.

Robert Durst in The Jinx: The Life And Deaths Of Robert Durst

There’s no comedy rule book for Modern Family’s Steve Levitan THERE is perhaps nobody better to speak on comedy right now than Steve Levitan. The creator, executive producer and showrunner (with Chris Lloyd) of Modern Family has been making TV comedy now for over 20 years. Past credits include Frasier and The Larry Sanders Show — both long-running multiple awardwinning hits, while Modern Family’s plaudits include the Emmy Award for Outstanding Comedy Series every year since it premiered on ABC in the US in 2009.

Ask Levitan about his approach to comedy and you get the clear feeling that he writes from the heart, rather than following any kind of masterplan. “I think that part of my job is to have a basic sense of tone,” Levitan told Julian Newby. “I feel it in my bones sometimes.

Either it feels right or it’s wrong — and that’s to the frustration of the writers on our staff. I can’t even articulate why a joke feels wrong for a particular moment, or why it feels too mean or sentimental. It is just my basic gut reaction.”

Much of Modern Family is born out of Levitan’s own personal experience. “You know I have three kids and the dynamic of the Dunphy family was loosely based on my family,” he said. “I have older daughters and a son and so it comes naturally to me. I imagine watching the show with my kids and asking ’Is this appropriate?’

By the same token though, I don’t want it to go soft and pull punches, so that often requires some extra clever writing to get the spirit of the joke — without being too crude.”

How Modern Family has become a global success is something of a mystery to Levitan: “In general, for whatever reason, American pop culture travels well,” he said. “Music, movies, trends, fashion, it all lays well in the world. For some there’s an aspirational quality about our shows — and the English language has a wide appeal or understanding. But beyond that I don’t know. I think it’s a good question and maybe even best put to those other countries who have received our products — I’d like to know the answer.”

It’s hard to imagine that Levitan could have any regrets from such a glittering career, but he revealed that he wished he had stayed with his first hit show — Just Shoot Me, a comedy about the team on a fashion magazine — for a bit longer. “I left that show full time after preview magazine I March 2015 I www.miptv.com

Steve Levitan: comedy from the heart two or three years and I always look back with some regret. I feel like I left that too soon, before it really had a chance to reach its potential. So I’m trying not to make the same mistake with Modern Family. I feel so lucky to be working on a show both so well received and one that enjoy writing for so much.”

While in no hurry to leave the series, Levitan recently signed to 20th Century Fox Television for a further four years, which presumably means there will at some time soon be new material from his golden pen.

“I’m gonna just spend a little time in this hiatus thinking about new projects and who knows?

It might mean I just get some ideas, or it might mean I get into something really great. I’ve been working so hard for so many years that I didn’t really feel like writing in the breaks. But this year I feel like I could possibly do something.”

Steve Levitan gives a Media Mastermind Keynote on Monday, April 13, at 11.30 in the Grand Auditorium

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News KEYNOTES

Ze Frank and Michael Shamberg help BuzzFeed invent the future Q 4K/ULTRA HD HEADING TOWARDS CRITICAL MASS 4K BROADCASTING – and narrowcasting – is now a reality.

While the on-line community is praising the latest House of Cards and Breaking Bad as being typical of the new breed of high-value productions, the fact is that producers can now look forward to real UHD transmissions, and a fast-growing audience with suitable TV sets.

MIPTV will again be showcasing the very latest 4K programming.

The BBC’s Factual division, Japan’s NHK and SkyPerfecTV, Spain’s TVE, the Montreux Jazz Festival and the 4K Content Hub are amongst two days of featurerich 4K programming and expert sessions.

Andrew Cohen and Mark Hedgecoe of BBC Factual’s science division, will showcase Earth’s Natural Wonders and introduce Forces of Nature at MIPTV. NHK’s deputy head of programming, Shinichi Nagano, is screening its Deep Ocean series.

The Montreux Jazz Festival will show some new 4K footage to delegates, while Spain’s Medina Media will screen its Sea Chef cookery and travel show and clips from Flamenco in Seville music series.

ONE OF the world’s first online stars, Ze Frank, and Hollywood producer Michael Shamberg, team up for a Media Mastermind Keynote session in Cannes.

Frank — the Ze short for Hosea — made his name back in 2001 when he sent an online birthday party invitation, showing a video of him dancing in different styles, to 17 of his friends.

The hilarious video went viral and sent millions of people to Frank’s website — and an online star was born.

In the movie business for over four decades, Shamberg has a number of hits to his name including A Fish Called Wanda with John Cleese, Julia Roberts-starrer Erin Brockovich and the Quentin Tarantino movies Pulp Fiction and Django Unchained.

The pair now work together, with Frank as executive vice-president of BuzzFeed Motion Pictures (BFMP), and Shamberg as advisor.

Shamberg said he joined because of the sense at BuzzFeed that there is “a chance to invent the future”. He described the working practice at the New York-based company as “an experiment to find out what the future is”.

He added: “I don’t think there’s ever been a Hollywood R&D model like we have here.”

BFMP was formed after a $50m investment across all of BuzzFeed’s divisions announced

by CEO Jonah Peretti in August of last year.

BFMP focuses on short-form content, midlength serialised projects and long-form film, television and transmedia.

One year after his life-changing party

4K SESSIONS INCLUDE: Monday April 13 10.00: Japan’s 4K broadcasters 14.00: BBC Factual 14.30: Solving 4K for producers Tuesday April 14 10.00: The Music Producers 14.00: The Factual Producers

Michael Shamberg: social change invitation went viral, Frank won a 2002 Webby Award for Best Personal Website and three years later his was featured in Time Magazine’s 50 Coolest Websites. He is a speaker in demand and has made four appearances at TED. He has been candid about the online world, expressing the view that the message is more important than the medium: “For me, experimentation is not about the technology,” he said. “In an ever-changing technological landscape, where today’s platforms are not tomorrow’s platforms, the key seems to be that any one of these spaces can use a dose of humanity and art and culture.”

Shamberg founded video collective Raindance Corporation back in 1970, which ran a publication called Radical Software. The corporation — later renamed TVTV, or Top Value Television — expounded the view that new technology could effect social change, for example with Shamberg’s film In Hiding: A Conversation With Abbie Hoffman, featuring the political and social activist and which was shown on public television. In 1971 he published the book Guerilla Television, a term he used to describe an alternative to traditional broadcast TV.

MEDIA MASTERMIND KEYNOTE Early online star Ze Frank preview magazine I March 2015 I www.miptv.com

17.45 – 18.15 on Tuesday, April 14 Grand Auditorium

Kanal D-MATTER OF RESPECT-new

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News

The Making Of The Mob A NEW AMC mini-series comes under the spotlight at a MIPDoc session on April 12, entitled From The Godfather Of Factual Drama: The Making Of The Mob. The Godfather of Factual Drama is Stephen David, and his latest work, The Making Of The Mob: New York, chronicles the historical roots of the original Five Families that led to the formation of the modern American Mafia.Mixing dramatic scenes, archive footage and VFX, The Making Of The Mob: New York

begins in 1905 and spans 50 years, tracing the rise of Charles ‘Lucky’ Luciano, Meyer Lansky, Benjamin ‘Bugsy’ Siegel and other notorious gangsters from their beginnings as a neighbourhood gang of teenagers to murderous entrepreneurs and bootleggers who organised the criminal underworld and turned it into an American institution.

The series also features interviews with historians, authors, actors, law enforcement personnel and family members, including: actors Joe Mantegna and Drea de Matteo; Mob attorney and former Las Vegas mayor Oscar Goodman;

author David Pietrusza, an expert on Lucky Luciano’s criminal mentor Arnold Rothstein; and Meyer Lansky’s grandson, Meyer Lansky II. In just five years, David has established production and post-production company Stephen David Entertainment (SDE) that has seen a continued yearly growth and has already produced some highly acclaimed work — notably docudrama, documentary and non-fiction, alongside selected scripted series.

SDE’s The Men Who Built America was nominated for five EMMY awards.

The Godfather Of Factual Drama, Stephen David

preview magazine I March 2015 I www.miptv.com

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News TEXAS RISING

World Premiere TV Screening History’s eight-hour television event Texas Rising is the MIPTV World Premiere TV Screening for 2015. Julian Newby spoke to executive producer, Thinkfactory Media’s Leslie Greif, and the series’ director Roland Joffe

J

OHN Wayne pretty much owns the story of The Alamo. Along with stars Richard Widmark, Laurence Harvey, Frankie Avalon and many others, he acted and directed his way through the 1960 movie which told of the stand-off between Davy Crockett, Jim Bowie and a group of Texan and Tejano men, and Mexican tyrant general Antonio Lopez de Santa Ana. Wayne’s classic locked down the story in the eyes and minds of so many, and 2004’s John Lee Hancock remake with Dennis Quaid, Billy Bob Thornton and Emilio Echevarria didn’t try too hard to shake up the myths of the original.

Texas Rising tells the story of the real Wild West beyond The Alamo. Back in 1836 after Mexico had lost its grip on Texas, the land west of the Mississippi was there to be fought over and the Texas border was truly a wild frontier. The series features an allstar cast that includes Bill Paxton, Brendan Fraser, Ray Liotta, Jeffrey Dean Morgan, Kris Kristofferson and Olivier Martinez.

When approaching the story of Texas Rising, Leslie Greif was able to apply his experience as executive producer of History’s 2012 miniseries Hatfields And McCoys.

“What I learned from Hatfields And McCoys

that applied to this, is that you are taking very familiar stories and historical references that everybody knows about, but in truth knows nothing about,” Greif said. “So, for example, with Hatfields And McCoys everybody knew there was a famous feuding Hillbilly group shooting each other for years, but no one really knew why or how it started. Likewise everybody knows the historic story of the defeat of the Alamo, but nobody really knew what happened afterwards, or what it meant or what the significance was. So I thought, ‘Wow! Wouldn’t it be great to tell a story of where the Alamo isn’t the end, but the beginning’.” He added: “Texas Rising is about anyone’s and everyone’s struggle throughout history throughout the world to find a better way of life, to stand up for freedom, to stand up for liberty, to walk away from prejudice and come together as one.”

Bigger screens, high-resolution and knowledgeable audiences with more choices than ever before, mean that a historical work such as this needs to be accurate and true to the period. Greif says this was down to the series’ director. “Roland Joffe, he’s just a visionary,” he said. “He wanted to make sure that every bit was accurate. We replicated saddles and uniforms and military weapons to the best of our

preview magazine I March 2015 I www.miptv.com

ability — to be as spot-on as possible. We had Texan historians review this and we spent a great deal of time doing our best to get it right.”

Best-known as the multi-Oscar-nominated director of highly acclaimed movies including The Killing Fields and The Mission, Roland Joffe’s career began in television with early notable work including four episodes of the UK’s longest-running soap Coronation Street.

But that was television then. Texas Rising is shot in 6K, and is the first such series ever to be filmed in Cinemascope.

“Yes, I started out in the days when television was very vital and original. Then I moved into cinema because that’s where I felt the originality was,” Joffe said. “What’s interesting now is that I’ve come back to a new kind of television which, I think, has largely been pushed by HBO and the cable channels and has taken on what movies used to be. Suddenly the people who are creating really interesting, vital, vivid material are going to television. And meanwhile movies have become rather dull at times.”

Texas Rising has awakened a long-held dream for Joffe, much of whose childhood was spent watching Westerns in the cinema.

“I realise now that in the back of my mind I always had a yearning to make a cowboy movie.

So when they phoned up and explained what

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the idea was, I was fascinated. I went ahead and looked at Hatfields And McCoys and I thought, ‘You know, whoever produced this is a significant person — a significant producer.

It’s very well thought out.’ What I like about this story, and all cowboy stories, is really two things: one is that they are about human beings in nature and what it means to be a man and, to some extent, a woman; and that they are also about the building of countries that didn’t exist and extraordinary landscapes where everything asks you to decide who you are.”

As well as being about the history of this part of America, there are also strong connections to the history of cinema. Texas Rising is filmed in Durango, Mexico, a location used in classics including Viva Zapata! (1952), How The West Was Won (1963) and Butch Cassidy And the Sundance Kid (1969). John Wayne made seven movies there and bought a ranch in the area. Disney’s The Lone Ranger starring Johnny Depp shot there in 2012 and current governor Jorge Herrera Caldera is keen to bring more filmmaking to Durango. “It was funny,” Greif said. “There was a scene we were doing with Kris Kristofferson where he suddenly looked up and he said: “I was in this room, like 40 years ago. I shot Billy The Kid here with Bob Dylan.”

preview magazine I March 2015 I www.miptv.com

Maria Kyriacou, managing director of the series’ distributor ITV Studios Global Entertainment, said: “Texas Rising has at its heart a fantastically rich story of bravery and the fight for freedom, despite insurmountable odds. These are themes which have relevance all over the world and in Texas Rising the story is brought to life on a truly cinematic scale.” She added: “The international appeal of this epic series is underscored by a phenomenal cast.”

Texas Rising is produced by A+E Studios and ITV Studios America in association with Thinkfactory Media for History. Leslie Greif is executive producer for Thinkfactory Media. Dirk Hoogstra, Elaine Frontain Bryant and Julian P. Hobbs serve as executives in charge of production for History.

Roland Joffe directs, and the series is distributed worldwide by ITVS GE.

THE MIPTV WORLD PREMIERE TV SCREENING Texas Rising, is in the Grand Auditorium at 18.30, Monday, April 13

38

Product News The MIPTV Preview highlights some of the content on sale from around the world in Cannes

NOVEL ENTERTAINMENT UK-based Novel Entertainment has de-

veloped new factual entertainment series Cinemaniacs (8 x 30 mins) for CBBC in the UK. Aimed at six- to 12-year-olds, Cinemaniacs explores all facets of making and watching movies.

Child-led, the show features strands such as Michael Sheen: Super Actor, where each week the award-winning actor is challenged by a young audience; DIY Blockbuster, featuring, among others, director Ron Howard and actor Sir Ian McKellen; Secrets of Movie Making; Rock Hard Quiz; and Top Tips which offers encouragement for viewers to share their own short films.

BEYOND DISTRIBUTION BEYOND’s new cooking series features

chef Pati Jinich, who explores Mexican flavours and traditions in Pati’s Mexican Table (26 x 30 mins). A familiar face on US television Pati famously cooked for President Obama. The Australian distributor is also launching a renovation competition at MIPTV, Game Of Homes, hosted by Cameron Mathison. The series features four derelict homes that have been uprooted and moved to Vancouver.

Four teams have four weeks to create their dream homes, in the hope of winning their house and a plot of land.

TRICON FILMS & TELEVISION ROCK Icons (10 x 30 mins) is a series

AB INTERNATIONAL DISTRIBUTION PARIS -based AB International returns to

A Family Secret (AB International)

priority for Spain’s Frida Films. Set in a world going through a global crisis, the action follows two security guards at an abandoned factory, exchanging night and day shifts. When they suddenly lose their jobs they decide to build a machine to escape their troubled world.

Noah’s Ark (Frida Films)

Cinemaniacs (Novel Entertainment)

MIPTV with a new mini-series. In A Family Secret (6 x 52 mins/HD) Fred, who is a loving husband, father and son, suffers a fatal fall at his 40th birthday party. His wife, mother and daughter, who are the only witnesses to the accident, join forces to investigate what really happened.

What at first seems to be a suicide or domestic accident could be a murder.

FRIDA FILMS NOAH’s Ark (El Arca De Noe) is a MIPTV

Pati’s Mexican Table (Beyond Distribution)

INDIACAST INDIACAST will present a library of

over 15,000 hours of entertainment, film, music, youth, lifestyle, news, and infotainment content in many languages at MIPTV. Included on the slate are: Udaan (To Take Off/200 x 30 mins), a drama about bonded labour; romance Beintehaa (Endless Love/235 x 30 mins); Balika Vadhu (The Young Bride/1,850 x 30 mins), a drama following a child bride to adulthood; and Meri Ashiqui..Tum Se Hi (My Love Is Only For You/200 x 30 mins): a romance across a class divide.

preview magazine I March 2015 I www.miptv.com

about some of the most legendary artists in the history of rock, featuring candid interviews and access to the star’s private world, from Slash’s basement music room, to Nikki Sixx’s radio studio, to backstage with Heart’s Ann Wilson.

Also profiled are Geddy Lee, Rob Halford, Ted Nugent, Dave Mustaine, Daryl Hall, Joe Elliott and Billy Corgan. The Torontobased company also brings Off The Map With Shannen & Holly (6 x 30 mins/HD), which follows actresses and friends Shannen Doherty and Holly Marie Combs on an adventure-fueled road trip through the US; renovation show The Expandables (14 x 30 mins); Custom Built (26 x 30 mins) with designer/ builder Paul Lafrance; and Sensitive Skin 2 (12 x 30 mins/HD), starring Kim Cattrall, about a couple who make a conscious effort to change their lives.

Ted Nugent in Rock Icons (Tricon Films & Television)

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Product News ALBATROSS WORLD SALES AMONG the highlights of new titles in the Albatross catalogue is What’s Cookin’?

(26 x 26 mins), a series that combines cuisine and travel, exploring tradition, history and everyday life through local families’ best recipes and secret ingredients. The German distributor also brings: Karl Lagerfeld – An Intimate Portrait (1 x 52 mins), profiling Chanel’s head designer; Passion For Scent – The True Story Of Perfume (1 x 52 mins); America’s West Coast (5 x 43 mins), which takes in the breathtaking nature and technological innovation of the region; and Wild & Wide Awake – Spring Across Europe (2 x 52 mins).

GENIUS BRANDS INTERNATIONAL NEW ANIMATION Thomas Edison’s Secret

Weekend (Igmar)

Lab (26 x 30 mins) follows Angie, a 12-year-old prodigy and her science club who accidentally discover Thomas Edison’s Secret Lab which includes a hologram that brings Edison to life, and a virtual reality machine that lets them travel anywhere. In each episode, Edison encourages and inspires the kids in scientific and technological explorations.

IGMAR RUSSIA -based Igmar is highlighting a

What’s Cookin’? (Albatross World Sales)

CBS STUDIOS INTERNATIONAL CBS STUDIOS International is bringing 10

series to MIPTV, including dramas CSI: Cyber (13 x 60 mins), a spin-off of the successful series inspired by real-life cyber psychologist Mary Aiken; Zoo (13 x 60 mins), a thriller about a wave of violent animal attacks against humans; NCIS: New Orleans (22 x 60 mins); Scorpion (22 x 60 mins); Madam Secretary (22 x 60 mins); Jane The Virgin (22 x 60 mins); The Dovekeepers (4 x 60 mins); and The Messengers (13 x 60 mins). The US company also highlights comedies The McCarthys (13 x 30 mins) and The Odd Couple (13 x 30 mins).

CSI: Cyber (CBS Studios International)

Thomas Edison’s Secret Lab (Genius Brands International)

KOKO MEDIA DEER Little Forest, from British producer King Rollo Films, is a pre-school series about a band of woodland friends.

Forest Flo, with the help of her city cousin Tobi with his bottomless backpack of gadgets, uses nature, magic, music and a sense of fun to make every day an adventure.

black-and-white feature film at MIPTV. Weekend, from Stanislav Govorukhin, is a remake of Louis Malle’s 1957 film Lift To The Scaffold, about the financial director of a large corporation who kills an accountant who has discovered his fraud. The murder is made to look like a suicide, but as he leaves the crime scene the protagonist gets stuck in the elevator and is later accused of another crime which he did not commit.

NOTTINGHAM FOREST MADRID, Spain-based Nottingham Forest

returns to MIPTV with animation series Sendokai Champions which has to date sold to more than 130 countries worldwide. Recent deals include to European channel operator Ultra TV.

Deer Little Forest (Koko Media) preview magazine I March 2015 I www.miptv.com

Sendokai Champions (Nottingham Forest)

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Product News ABC COMMERCIAL THE SECRET River (2 x 90 mins/HD) is a

new drama from Australia’s ABC Commercial launching at MIPTV. Based on Kate Grenville’s novel, the mini-series is the tragic story about a good man who is compelled by desperation, fear, ambition and love for his family to participate in a savage crime, set against the backdrop of the British colonisation of Australia and the dispossession of indigenous Australians.

HAT TRICK INTERNATIONAL (HTI) SCRIPTED comedy series Impress Me (13 x

30 ins), produced by SoulPancake in the US, will debut at MIPTV with the UK’s Hat Trick International. Impress Me follows Ross (Ross Marquand) and Jim (Jim Meskimen), two successful impressionists who want to be taken seriously as dramatic actors. They embark on their own 12-Step Program to make the transition. The series features guest stars including Angela Kinsey (The Impress Me (HTI) Office) and Matt Jones (Breaking Bad).

DCD RIGHTS BRITISH distributor DCD Rights will

The Principal (DCD Rights)

debut The Principal at MIPTV, a fourpart one-hour mini-series from Essential Media. Set in a high school, the drama explores topical themes of community, race and staff room politics. A history teacher and former deputy principal at a prestigious girls’ school is promoted to the position of principal at a troubled boys school, where he is met with cynicism. When a student is found dead on school grounds the ensuing investigation threatens his fledgling reforms.

GRB ENTERTAINMENT MIPTV priority titles from GRB’s

CONTENT TELEVISION LONDON -based Content Television will

The Secret River (ABC Commercial)

GRUPPO ALCUNI AT MIPTV this year Italy’s Gruppo Alcuni

will be presenting its new 3D 26-part series Leonardo, 13 episodes of which are due for completion by April. Each five-minute episode covers a topical theme including nutrition, the use of seasonal and local produce, food wastage and renewable energy sources. Other projects in development include new pre-school series Mini Pet Pals (52 x 6 mins), and after the success of feature film, Pet Pals In Windland, production has begun on a new movie starring Leonardo.

Leonardo (Gruppo Alcuni)

catalogue include: Jet Truck, profiling daredevil Chris Darnell’s challenge to tame a 36,000 horsepower rocket that in reality wants to go 800 MPH; Cutting Edge MD, following the stories of athletes who have suffered traumatic injury; American MC, about motorcycle clubs; Six Degrees Of Helter Skelter, which takes a look at the life and crimes of the notorious Manson Family crimes; and The Mona Lisa Myth, offering a new interpretation of the famous Leonardo da Vinci picture.

debut new drama Dead Rising: Watchtower at MIPTV, a 113-minute HD feature or nine-part 10-minute series.

The drama, based on a videogame franchise, takes place during a largescale zombie outbreak and when a government vaccine fails, four survivors join forces to evade infection while pursuing the root of the epidemic, with all signs pointing to a government conspiracy.

Jet Truck (GRB Entertainment)

Dead Rising: Watchtower (Content Television)

preview magazine I March 2015 I www.miptv.com

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T H E

L E A D E R

I N

P R E M I U M

R9.A32 For more information please visit: starzglobal.com STARZ and related channels and service marks are the property of Starz Entertainment, LLC. Black Sails © 2015 Starz Entertainment, LLC. All rights reserved. Power © 2015 Starz Entertainment, LLC. All rights reserved., Magic City © 2013 Starz Entertainment, LLC. All rights reserved., Hit The Floor © 2014 Viacom International Inc. All Rights Reserved., Spartacus © Starz Entertainment, LLC. All rights reserved., The White Queen © 2013 Company Television Limited. All Rights Reserved.

T E L E V I S I O N

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Product News PEACE POINT RIGHTS ESCAPE Or Die! (12 x 30 mins) features

escape artist Dean Gunnarson as he prepares for escape performances in major metropolitan centres across the US, Europe, the Caribbean and Asia. Also launching at MIPTV from the Canadian company is Ice Road Racers (12 x 60 mins), a sports reality series where contestants battle each other on icecovered obstacle courses and race tracks for a shot at a $10,000 grand prize.

PLATINUM FILMS UK PRODUCER and distributor Platinum

Films is launching the fourth series of Matt Hatter Chronicles at MIPTV. The CGI adventure-comedy series aimed at five- to 10-year-olds has been dubbed in over 20 languages. The series (52 x 22 mins) includes a new 3D animation technique called Multivision. The stories follow a schoolboy whose life is changed forever when he discovers a secret dimension known as the Multiverse.

100% DISTRIBUTION FRANCE-based 100% Distribution

highlights a new season of The Line, originally titled Un Village Francais (60 x 52 mins), at MIPTV. Against the backdrop of the Nazi occupation of France, the drama begins in 1940 and centres on the lives of the villagers — patriots, traitors, collaborators and resistance fighters. The company will also highlight Captain Sharif (28 x 52 mins), the whimsical cop series coupling the sarcastic Captain Sharif with his new ambitious teammate, Captain Adeline Briard.

Escape Or Die! (Peace Point Rights) The Line (100% Distribution)

HOHO RIGHTS LONDON -based Hoho Rights brings a

new interpretation of Kenneth Grahame’s classic novel The Wind In The Willows to MIPTV. A collaboration between children’s production company Hoho Entertainment, Martin Gates Productions and Cloth Cat Animation, the series Wind In The Willows: Mole Of Mole End (52 x 11 mins) rediscovers old characters and introduces some new female ones including the adventurous Squirrel, resourceful Rabbit and the scheming Chief Weasel.

Wind In The Willows: Mole Of Mole End (Hoho Rights)

Matt Hatter Chronicles (Platinum Films)

DOGTV DOGTV, the network created for dogs,

brings fresh content to MIPTV, including: Best Breed Ever, a series from Animalist, a Discovery Digital Network, which gives advice on how to decide which pet is the best fit for an owner; Sit, Stay And Get Fit, from K9 Fit Club, providing educational and professional certificate training; and the second season of Dogstar, featuring television actress and dog-lover Maggie Lawson, which showcases home videos of canine viewers competing for the chance to be the newest star of DOGTV programming.

MEDIATOON PARIS-based distributor Mediatoon returns

to MIPTV with a packed catalogue, including: Bobby & Bill, a new CGI remake of series Billy & Buddy, about a young boy and his dog; new educational series Lilooba, which aims to answer the many questions that young children like to ask; a new special episode of Garfield; The Fantastic Four!, a 26-episode series featuring the Marvel heroes; and three series about a little Sioux boy Yakari.

Bobby & Bill (Mediatoon)

DogTV and audience

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Product News AVALON DISTRIBUTION COMEDIAN and author Rob Delaney and

actor and writer Sharon Horgan write and star in Catastrophe, a new, transatlantic romantic comedy following an Irish woman and an American man whose casual relationship becomes complicated when Sharon becomes pregnant. They must also cope with her awful friend (Ashley Jensen) and his eccentric Bostonian mother (Carrie Fisher). Avalon Distribution also brings from its scripted slate a second series of Channel 4 comedy Man Down (14 x 30 mins), written by and starring Greg Davies.

COMERCIAL TV MMA STARS is an international sport

competition, brought to MIPTV by Spain’s Comercial TV, that combines mixed martial arts and reality entertainment. The series (18 x 45 mins/HD), available in English, Spanish and Portuguese, profiles 16 fighters from 11 countries who compete for a prize of $100,000 while living together in Cuernavaca in Mexico.

DW TRANSTEL THE POWER Of Sports (7 x 30 mins),

brought to MIPTV by Germany’s DW Transtel, is a series that looks at the value sports bring to people’s lives while demonstrating the passion and commitment it takes to succeed.

Stories explore individual triumph — like a solo race across the Atlantic in a rowboat — or the power of teamwork during the largest amateur soccer competition in Brazil, women who surf the coasts of southern Iran, or an ice hockey team that plays in the Himalayas.

MMA Stars (Comercial TV)

GUSTO CANADIAN food and lifestyle channel

Catastrophe (Avalon Distribution)

BOOMERANG OUR GUYS (3 x 75 mins) is a mini-series

about two Spanish youngsters who are kidnapped by a group of terrorists. An elite group from the armed forces sets off from Mali to find them. Spanish distributor Boomerang also brings Acacias 38, a telenovela shown daily on Spain’s TVE1. The 50-minute series is set in a stately apartment building at the end of the 19th century, and concerns a group of maids and the bourgeois families they serve.

Our Guys (Boomerang)

Gusto is launching its first original series, One World Kitchen (30 x 30 mins), available in HD and 4K. The series features five vibrant hosts cooking Japanese, Thai, Italian, Indian and Argentinian cuisines on a fun set.

The project also includes 120 webisodes and120 recipes with artwork for broadcaster use. Publishing rights for the book are also available.

TVE SPANISH channel TVE (Radio Television

Espaniola) brings a range of products from its schedules to MIPTV, including: Victor Ros (6 x 70 mins), a drama set in 19th-century Madrid about a brilliant police detective; and the third season of Isabel (13 x 70 mins), a historical drama set in the court of Catholic monarchs Isabella and Ferdinand.

Victor Ros (TVE) preview magazine I March 2015 I www.miptv.com

The Power Of Sports (DW Transtel)

URBAN CANYONS UK-BASED Urban Canyons is highlighting its new docudrama Samurai Warrior Queens (1 x 52 mins/HD) in Cannes.

The film reveals the little-known history of female Samurai warriors through telling the real life story of Takeko Nakano, who in 1868 formed an allfemale fighting unit to defend her clan’s independence in a battle that marked the end of the Samurai era in Japan.

Filmed mainly in Shiga and Aizu Province, the programme includes UK and US historians and a female martial arts grandmaster from Japan. Samurai Warrior Queens is the third instalment of a series that includes Ninja Shadow Warriors and Samurai Headhunters.

Samurai Warrior Queens (Urban Canyons)

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Product News ELECTUS INTERNATIONAL LONDON -based distributor Electus

International returns to MIPTV with a multi-genre catalogue. Priorities include: Outlaw Country (7 x 60 mins), a series set in Missouri, that chronicles the battle between law enforcement and crime by following Mike and Steve Cook, brothers who represent the force of law, as they clash with the Monk brothers they suspect are responsible for the town’s surge in crime; and Bellator (12 x 120 mins/4 x 180 mins), a mixed martial arts series featuring some of the world’s top athletes.

MONSTER ENTERTAINMENT THE DAY Henry Met...? is a new pre-

school series, brought to MIPTV by Monster Entertainment. Henry is an inquisitive little boy who in each episode meets something new, which becomes the focus of his adventure, including The Day Henry Met A Whale! The Day Henry Met The Moon!, The Day Henry Met A Knight!. The Dublin, Irelandbased company also brings: a new seven-minute Jungle Beat Explorers series; Pip Ahoy! (52 x 11 mins), Pikkuli (26 x 5 mins), Hullabalooba (13 x 5 mins); and and FlipFlap (30 x 4 mins).

The Day Henry Met...? (Monster Entertainment)

Outlaw Country (Electus International)

NORDIC WORLD MY ENTERTAINMENT’s Breaking Borders is a new one-hour reality show that follows journalist Mariana Van Zeller and celebrity chef Michael Voltaggio who travel to conflict zones across the globe, including Rwanda, Egypt, Israel, Cambodia, Burma and Kashmir. There they meet individuals who live these conflicts every day, while Michael obtains local ingredients for a meal.

Then over the dinner table, the sides come together to discuss each other’s foods and beliefs. The series is represented at MIPTV by Nordic World.

XILAM FRENCH distributor Xilam will introduce

two new series at MIPTV. Firstly, the second season of Zig & Sharko, bringing the total episodes available to 52 x 30 mins/156 x 7 mins. The animation is set on a desert island where a starving hyena has one obsession, to eat the mermaid. Paprika (26 x 30mins/52 x 13 mins) is aimed at four- to six-year-olds and features Stan and Oliver, who with a little help from their friends have a special knack for turning problems into solutions.

HENSON INDEPENDENT PROPERTIES (HIP) THE MIPTV catalogue for HIP includes

Lily’s Driftwood Bay (52 x 7 mins), a mixed-media animated series for four- to six-year-olds, that follows the imaginative adventures of five-year-old Lily who lives on an island in a beach hut with her father. Each day, Lily crafts adventures and colourful characters inspired by the items she finds washed ashore. The series, created and produced by Northern Ireland’s Sixteen South, had its global premiere on Nick Jr. in the UK last year.

Lily’s Driftwood Bay (HIP)

TOONZ ANIMATION INDIA -based Toonz Animation, a division of Toonz Entertainment, is highlighting at MIPTV its 2D-animated comedy RatA-Tat (156 x 7 mins), a co-production with Nickelodeon India. In the series Don, a charming dog, is at war with Charly, Marly and Larry, the trio of mischievous mice that has set up camp in his house. Don’s ally and only aide is his brother Colonel, an ex-army dog.

Zig & Sharko (Xilam)

Breaking Borders (Nordic World)

Rat-A-Tat (Toonz Animation) preview magazine I March 2015 I www.miptv.com

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COWBOYS & ANGELS

WICKED INVENTIONS

The series takes us to the frontline of domestic emergencies as tradesmen respond to calls from distressed homeowners and help fix badly botched up jobs.

This fascinating series looks at some of the most common everyday items that surround us and the surprising ways in which they began.

WHAT ON EARTH?

SCREEN MACHINES

A pop science series that asks the big questions from the Earth’s orbit. By using satellite photography, can experts solve bizarre mysteries on the ground?

An inside look into the super fan world of building replica cars from the world’s most iconic movies: Ghostbusters, Back to the Future and more!

Brown Bob Productions 15x30

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Product News STUDIO 100 MEDIA MUNICH, Germany-based Studio 100

Media is prioritising a new CGI adventure comedy series at MIPTV, Blinky (52 x 11 mns). Based on the original 1930s book series written by Dorothy Wall, Blinky Bill is an Australian children’s classic. The first film and TV series was produced in the 1990s, and the new series — targeted at five- to nine-year-olds — will again feature koala Blinky, along with his best friends Nutsy, Marcia and Robert, in the sleepy outback town of Green Patch. Produced

by Flying Bark Productions, the rejuvenated TV series will follow on from the recent international release of Blinky Bill The Movie.

BRB INTERNACIONAL AT MIPTV BRB Internacional is presenting

its 360-degree strategy for its series The Invizimals (26 x 30 mins), which is based on a videogame. The series, which debuted in France (Gulli) and Portugal (SIC), has been acquired by other channels including Al Jazeera, Disney XD, K2, Multimania, Megamax, Eleven, Talit, and is available on digital platforms including iTunes and PlayStation Network.

TECHNICOLOR CG-ANIMATED children’s adventure se-

ries, The Deep (26 x 30 mins), is brought to MIPTV by the US distributor Technicolor, which holds the exclusive international rights excluding Canada, Australia and New Zealand, and will develop brand extension licensing opportunities. Co-produced by Nerd Corps Entertainment and A Stark Production, The Deep, aimed at six-to 12-year-olds, is based on a graphic novel series and follows the adventures of the Nekton family, who explore uncharted areas of the earth’s oceans in their submarine.

The Deep (Technicolor)

Blinky (Studio 100 Media)

The Invizimals (BRB Internacional)

RTE GLOBAL FOLLOWING a documentary from last IMIRA ENTERTAINMENT A NEW version of fairytale stories is

brought to MIPTV by Spain’s Imira Entertainment. HTDT (52 x 11 mins) is aimed at eight- to 12-year-olds combines classic folklore and anime-inspired comedy. The action follows Humpty Dumpty who after his fall is handed over to the Kings bio-nuclear scientist and infused with a polymer matrix, turning him into the crime-fighting HTDT. With the help of the scientist’s 10-year-old son and his babysitter HTDT battles the baddies in the fairytale land.

year of the same name The Notorious (6 x 30 mins) is a series following Conor McGregor in his efforts for success in mixed martial arts, focusing on the physical and mental strains for the fighter and his family as he strives to become an Ultimate Fighting Champion.

The series moves from Dublin to Rio, Las Vegas and finally Boston, as the series follows Conor’s professional and personal life. Irish distributor RTE Global represents the show at MIPTV. The Notorious (RTE Global)

ZODIAK RIGHTS VERSAILLES (10 x 60 mins/HD) is a

historical drama that originally broadcast on Canal+ in France, set in the times of King Louis XIV of France, an absolute monarch, extraordinary strategist, ruthless ruler and 17th century celebrity.

The year is 1667, Louis is 28 and in sole command of his kingdom, in a world of power and betrayal, love, lust and declarations of war, where courtiers battle for the King’s favour.

Versailles (Zodiak Rights)

HTDT (Imira Entertainment) preview magazine I March 2015 I www.miptv.com

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Product News BETA FILM GERMANY’s Beta Film is bringing the six-

hour mini-series Line Of Separation, about life in a town torn between Eastern and Western occupation zones after WWII, to MIPTV. Beta Film is also highlighting: psychological thriller Under Suspicion (10 x 70 mins), about sevenyear-old Alicia, who disappears in a closed-knit community; feature-length drama Starfighter, based on true events, about a cover-up scandal concerning crashing US jets; and Italy-based political thriller 1992 (10 x 60 mins).

Line Of Separation (Beta Film)

RAINBOW ITALIAN animation specialist Rainbow,

celebrating its 20th anniversary, is highlighting three series at MIPTV. The seventh series of Winx Club carries a strong environmental message. The fairies discover the importance of rare Fairy Animals, which they must save from Kalshara, an evil shape-shifter and her clumsy brother, Brafilius. Royal Academy (working title) is a new take on fairy tales and focuses on the adventures of Rose Cinderella, a normal girl who suddenly she finds herself in a fairy-tale world. My American Friend is a live-action show aimed at pre-teens which follows Jessie, an American girl who wins a two-year scholarship at the Milan Fashion Academy. There she meets Bianca, and the two girls pursue their passion for fashion and music.

BLUE ANT MEDIA PARANORMAL Survivor (10 x 60 mins/

HD) looks at real-life encounters with the supernatural, including interviews and dramatic recreations of harrowing confrontations. The Canadian company also brings The Big Feed (13 x 30 mins/ HD/4K), a documentary that features feeding time at the zoo, including giraffes, gorillas, penguins and pandas. Each episode features three different animals.

Paranormal Survivor (Blue Ant Media)

SECUOYA CONTENT DISTRIBUTION (SCD) SOMETHING To Celebrate (Algo Que

Celebrar), is a comedy based around the Navarro family’s celebrations, including weddings, birthdays and funerals. The Madrid-based SCD also brings adventure reality show, Surviving The Wolfpack, where two teams have to make use of wolf characteristics if they want to remain in the pack, as the weakest are removed from the group.

Something To Celebrate (SCD)

9 STORY MEDIA GROUP THE MIPTV animation slate for Canada’s 9 Story includes: season four of Wild

Kratts (92 x 22 mins), featuring the natural history exploits of real-life brothers Martin and Chris Kratt; the second season of Numb Chucks (52 x 11 mins), featuring two woodchuck vigilantes; season two of Camp Lakebottom (52 x 11 mins), about a crazy summer camp; pre-school series Peg + Cat (80 x 12 mins), about a little girl and her cat as they travel to faraway lands while learning the magic of numbers; Haunted Tales (40 x 11 mins), about Pepe, a 12-year old delivery boy at his grandmother’s potion emporium; and Arthur (80 x 11 mins), based on the book series about the little aardvark by Marc Brown.

TVN DOCU -drama series. Hospital covers

THE TELEVISION SYNDICATION COMPANY (TVS) OFFERED as a pre-sell at MIPTV from the

intriguing medical cases and revolves around patients, their families and their personal life problems as they pass through accident and emergency departments. Each episode concentrates on different storyline looking at the medical team and their efforts to save lives.

US distributor TVS, Millennials (6 x 60 mins) has been 14 years in the making.

The series provides an insight into the minds of teens during the difficult transition from puberty to adulthood, using interviews with teens that reveal their feelings about the world.

Hospital (TVN)

Millennials (TVS)

Winx Club (Rainbow)

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Product News DHX MEDIA DHX MEDIA, which has offices in Halifax,

Toronto, Vancouver, Los Angeles, and London, is launching Make It Pop (20 x 22 mins) at MIPTV. The live-action series, cocreated by Tom Lynch and Nick Cannon and produced by DHX Media, is an original production for YTV, also acquired by Nickelodeon for the US and international territories. The musical comedy is set in a boarding school, focusing on three teenage girls with a shared love of the K-pop — whether fashion, music or dance.

LIONSGATE TELEVISION INTERNATIONAL LIONSGATE showcases the new 10 x one-

VIACOM INTERNATIONAL MEDIA NETWORKS (VIMN) MIPTV priorities for VIMN include:

hour drama series The Royals at MIPTV. Set in contemporary England, The Royals follows the lives of a fictional British royal family who inhabit a world of opulence and regal tradition, but one that also comes with duty, destiny and intense public scrutiny. Prince Liam (William Moseley) is thrust into the spotlight after the death of his older brother puts him next in line to the throne. When King Simon (Vincent Regan) announces that he is considering abolishing the monarchy, the manipulative Queen Helena (Elizabeth Hurley) will do whatever it takes to remain in power. Joan Collins takes a guest-star role as the Grand Duchess of Oxford, the mother of Queen Helena.

Nickeodeon live-action series Bella And The Bulldogs (20 x 30 mins), which follows teenage cheerleader Bella, who decides to become a quarterback for her football team; Nickelodeon animation pre-school series Blaze And The Monster Machines (20 x 30 mins/1 x 60 mins); Comedy Central scripted series Big Time In Hollywood, Fl (10 x 30 mins), which follows two delusional brothers and selfproclaimed filmmakers; also from Comedy Central, flat-share comedy I Live With Models (8 x 30 mins), and late-night panel talk show The Nightly Show With Larry Wilmore (160 x 30 mins); and two shows from Spike TV, furniture design show Framwork, and comedy format Lip Sync Battle, a collaboration with Jimmy Fallon.

The Royals (Lionsgate Television International)

Bella And The Bulldogs (VIMN)

Make It Pop (DHX Media)

MARVISTA ENTERTAINMENT FAMILY holiday movie An En Vogue

Christmas, starring David Alan Grier (Bad Teacher, Bones, In Living Color), Genelle Williams (The Latest Buzz, Bitten, Remedy), and Terry Ellis, Cindy Herron and Rhona Bennett from R&B singing stars En Vogue, debuts at MIPTV from MarVista Entertainment. In the film, which premiered on Lifetime in the US, Kendall (Williams) is desperate to save The Opera House, a club coowned by her late father and his brother from foreclosure. She enlists the help of her old friends, En Vogue, to put on a Christmas concert. But the ladies must overcome each other’s reluctance to reunite the group before helping Kendall.

US distributor MarVista holds global distribution rights, excluding Canada.

An En Vogue Christmas (MarVista Entertainment)

AZTECA MEXICO’s Azteca brings

to Cannes a new romantic comedy, Asi En El Barrio Como En El Cielo (120 x 60 mins).

Produced by Azteca, the series tells the story of a wealthy family who become poor and a moderately poor family who overnight become millionaires. The telenovela is a mixture of passion, love, laughter, hate and retaliation.

Asi En El Barrio Como En El Cielo (Azteca) preview magazine I March 2015 I www.miptv.com

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Series “The Smurfs” 272 x 24’

Feature film “The Magic Flute” 1 x 70’

AVAILABLE IN HD 16/9

Documentary about the Smurfs’ creator Peyo 1 x 52’

Nele De Wilde Business Affairs Manager Audio & Audiovisual nele.dewilde@smurf.com www.smurf.com

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Product News ARTE IMMERSED (3 x 52 mins), a new crime

thriller from France’s ARTE, features police officer Michel Serrero who lives with his 15-year-old daughter Clara.

When he finds out that she has developed a drug problem and that he is suffering from an incurable disease, he decides he has nothing left to lose.

Unknown to his superiors, he infiltrates a violent network that is planning to flood Paris with a devastating drug.

MEDIA I.M. ANIMATED adventure fantasy The Great

Adventures Of Rosa And Dora (1 x 26 mins/52 x 11 mins), produced by Czech studio Bionaut, is brought to MIPTV by London-based Media I.M. Aimed at sixto eight-year-olds, the series follows seven-year-old twins Rosa and Dora, who with help of their Grandma, have to repeatedly save the world from the exploits of their troublemaking dog.

During the course of their adventures, they travel around the world and discover interesting things about the planet.

LAGARDERE ENTERTAINMENT RIGHTS (LE RIGHTS) FRANCE’s LE Rights is launching a

new high-concept dystopian thriller set at the end of the 21st century when society is in decline. In Trepalium (6 x 52 mins) only 20% of the population is employed and the Actives live within the city limits. On the fringes, in the Zone, live the Jobless. Separating them is a fortified wall, on one side the hungry, and on the other Actives who are terrified of losing their jobs.

A+E STUDIOS INTERNATIONAL THE US’ A+E Networks brings 40 hours of

The Great Adventures Of Rosa And Dora (Media I.M.) Immersed (ARTE)

TINO FILMS ENTERTAINMENT THE SURE Shot Crew is hip-hop

animation series featuring eight characters looking for ways to break into the music business, and spoofs the music industry and young Hollywood entertainment. One of the crew gets a break with a marketing job at a TV channel, and to their surprise introduces his pals to perks including VIP treatments, private jets and red carpets.

The Sure Shot Crew (Tino Films Entertainment)

PGS ENTERTAINMENT FRENCH kids and family content

specialist PGS returns to MIPTV with a slate including: ALVINNN!!! And The Chipmunks (104 x 11 mins), an animated version of a primetime sitcom about the trials of a single parent raising six, hyper-active Chipmunks; Smiley Kids (52 x 11 mins), a pre-school series that helps kids understand a range of emotions, while always emphasising the positive; Miss Moon (52 x 13 mins), about a nanny with magical powers; Monchhichi (52 x 11 mins), about the Monchhichi sleep custodians; and The Jungle Bunch: To The Rescue! (104 x 11 mins/TV movie/shorts), about a bunch of friends on their missions to rescue animals from the hazards in the Jungle.

ALVINNN!!! And The Chipmunks (PGS Entertainment) preview magazine I March 2015 I www.miptv.com

scripted content to MIPTV under the recently launched banner, A+E Studios International. Headlining the slate is Marilyn (2 x 120 mins), which profiles the life of Hollywood star Marilyn Monroe, starring Kelli Garner, Susan Sarandon and Emily Watson. Set against the backdrop of a dating competition show, UnREAL (10 x 60 mins) follows a young producer (Shiri Appleby) whose job is to get dramatic and outrageous footage from the contestants. The fact-based drama series Gangland Undercover (6 x 60 mins) chronicles meth dealer turned law enforcement infiltrator Charles Falco’s mission inside one of America’s most violent motorcycle gangs.

UnREAL (A&E Studios International)

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What’s the story up North?

Saturday 11th

Sunday 12th

Tuesday 14th

MIPFORMATS

MIPDOC

MIP DIGITAL SQUARE

Auditorium A, Palais des Festivals

Grand Hyatt Cannes Hôtel Martinez

Agora, Palais des Festivals

11.40-12.10

Snack & Screen

09.00-10.00

Screening:

Screening 12.30-13.00

Show & Tell: The Nordic Innovators

The Best Formats From The Nordics

Snack & Networking from 13.00

MIPDOC

MIPFORMATS

Grand Hyatt Cannes Hôtel Martinez

Auditorium A, Palais des Festivals

12.20-12.50

17.10-17.40

Dox Factor: Speed Pitching

The Secret Of Doing Business

The Nordic Commissioners

With The Nordics

Come and talk to us, listen to us and do business with us.

Or just come and see us in The Nordic Pavilion.

FOCUS ON THE NORDICS Auditorium A, Palais des Festivals 14.00-14.45 Reinventing Broadcasting 14.50-15.20 Reinventing Content 15.30-16.15 The Hottest Drama From The Cold THE NORDIC PARTY 22.00 Hotel Martinez – By invitation only Stockholm Node – Live Show

The Nordic Pavilion in the Croisette Village is hosted by:

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Product News HASBRO STUDIOS THE NEXT instalment in the Transformers story, a 78-episode series, is brought to MIPTV by Hasbro Studios. Prime Bumblebee is summoned by Optimus Prime to save Earth from a new faction of Decepticons. Bumblebee assembles a rogue team of young Autobots to chase and capture their new enemies.

Each new Bot is a fully capable action hero, but relatively inexperienced in working together in a team. Thus Bumblebee finds himself needing to be equal parts squad leader and coach.

STAR INDIA NEW OFFERINGS from Star India include

thriller Mahakumbh- Ek Rahasya, Ek Kahani — the first ever Indian show to be promoted on Times Square billboards. The show is a contemporary international conspiracy thriller that revolves around the journey of the enigmatic Rudra (played by Gautam Rode) who is hit by a life-changing catastrophe while at the Kumbh Mela, a mass Hindu faith pilgrimage in which Hindus gather to bathe in a sacred river.

ARAB TELEMEDIA PRODUCTIONS JORDAN -based Arab Telemedia

Productions is at MIPTV with a wide slate of their productions including: Medinah (20 x 45 mins), a sci-fi series that tells the story of a group of people who survive a car crash caused by an unsuccessful scientific experiment. The survivors are teleported to another dimension and struggle to find their way back; Malik Bin Al-Rayb (30 x 45 mins) is a historical drama about the life of AlRayb, a poet from the BaniTamim tribe who is forced to live a life of looting and eventually becomes a bandit to aid the poor; and Al Hashashoun (The Assassins/30 x 45 mins), set from the end of the 11th century to the beginning of the 13th century, when political and religious violence involved eliminating enemies by individual and group assassinations.

BANIJAY INTERNATIONAL UK-BASED independent distributor Banijay Mahakumbh- Ek Rahasya, Ek Kahani (Star India)

TF1 NEW FROM French network TF1 is a TV

Transformers: Robots In Disguise (Hasbro Studios)

CMJ PRODUCTIONS CMJ’s WHEELS That Fail (18 x 30

mins) is a comedic compilation of outrageous, funny and dangerous misadventures on wheels, featuring camera clips with sharp commentary.

The series covers faulty design, stunts gone wrong, and bad or stupid driving. The CMJ catalogue also includes: Imposters; A Stranger In My Home; Fatal Vows; The Will: Family Secrets Revealed; Accident Investigator; Risk Takers; Stunt Stars; Monster Quest; Regatta; and Outrageous Final Wishes.

movie based on a real-life trial. Woman Under Influence (L’Emprise/1 x 96 mins), tells the story of Alexandra Lang, a wife and mother who suffered domestic violence from her husband. Alexandra tried everything to break free or get help without endangering her kids, but after years of ever-increasing abuse she finally fought back and killed her husband.

Woman Under Influence (TF1) preview magazine I March 2015 I www.miptv.com

International will launch the observational documentary series Outback ER (8 x 30 mins) at MIPTV. Outback ER reveals the vital and important work of one of rural Australia’s Emergency Response teams and Broken Hill Base Hospital. Dealing with everything from snakebites and amputations, high-speed car crashes and heart attacks to mining injuries and farming accidents, each admission brings a new challenge. Outback ER is a Screentime — a Banijay company — production for ABC TV made with the financial assistance of Screen Australia and Screen NSW.

Outback ER (Banijay International)

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Product News of a music empire whose three sons and ex-wife battle for his throne. Lucious Lyon (Terrence Howard) is the CEO of Empire Entertainment and a former street thug. He learns that he has a disease that is going to render him crippled and incapacitated in three years, and he must groom one of his three sons to take over his business without destroying his already fractured family. The series includes an original soundtrack written and produced by Timbaland, and stars Jussie Smollett, Trai Byers, Kaitlin Doubleday, Taraji P Henson, with special guest star Gabourey Sidibe.

FREMANTLEMEDIA INTERNATIONAL (FMI) FMI IS launching new German-language

ZEE BOLLYWORLD ZEE BOLLYWORLD is presenting

content at MIPTV in its Z Living catalogue, covering healthy lifestyles, talk shows and wellness.

On the priority list is Good Food America (39 x 60 mins), a search for the best healthy places to eat in America, from vegan cafes to truck stops or cantinas, with hosts Nathan Lyon and Danny Boome.

FOOTHILL ENTERTAINMENT FOOTHILL brings new footage of themepark based Rollie & Friends to MIPTV, about characters that live in the Sunshine Cove Amusement Park. The company has also announced an extension of its relationship with London’s Content Media to represent the 1,600-episode live-action and animation catalogue which includes Young Dracula, Even Stevens, The Cut and newly acquired Stepping Up.

drama series Deutschland 83 (8 x 60 mins) at MIPTV. Deutschland 83 is a suspenseful coming-of-age story set against the real culture wars and political events of Germany in the 1980s. The series follows Martin Rauch (Jonas Nay) as the 24-year-old East German sent to the West as an undercover spy for the Stasi.

Deutschland 83 is produced by UFA Fiction for RTL Television in Germany. ©Nik Konietzny

TWENTIETH CENTURY FOX TELEVISION EMPIRE is a new drama about the head

Deutschland 83 (FMI)

STARZ WORLDWIDE DISTRIBUTION STARZ brings its biggest slate of new TV

Rollie & Friends (Foothill Entertainment)

Empire (Twentieth Centry Fox Television)

ULTRA GROUP INDIA’s Ultra Group is at MIPTV to

showcase its services in copyright acquisition and aggregation, production and distribution of feature films and TV content on various platforms globally. The company also up-scales content from SD to HD formats for broadcasting channels, as well as upscaling HD content to 4K and specialises in 2D to stereoscopic 3D conversion of content for Indian and international productions.

M4E NEW PRE-SCHOOL series Wissper (52

x 7 mins) is aimed at girls, aged four to seven, and is brought to MIPTV by m4e. The series is a co-production from m4e and London-based animation studio Absolutely Cuckoo, Ireland’s Telegael, India’s Discreet Art and Germany’s Bastei Media.

The first 26 episodes are scheduled for delivery by end of this year, the second 26 episodes for early 2016.

The German company also brings: Mia And Me (52 x 23 mins; Tip The Mouse (52 x 7 mins); Miffy’s Adventures – Big And Small (52 x 7 mins); Atchoo! (52 x 11 mins); and Team Franco (52 x 11 mins).

preview magazine I March 2015 I www.miptv.com

movies to MIPTV in addition to Starz original series, including Black Sails and Survivor’s Remorse, and third-party series. Films include: Impact Earth, an action story starring Tom Berenger, about an asteroid on a collision course with Earth; The Dog Who Saved Summer, the sixth in a series; and new holiday titles Christmas Under Wraps, starring Candance Cameron Bure, David O’Donnell, and Robert Pine, and A Perfect Christmas List, starring Ellen Hollman, Beth Broderick, Aaron Hill, Richard Karn and Marion Ross.

Impact Earth (Starz Worldwide Distribution)

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Canada MIPTV 2015

MIP DIGITAL FRONTS – INNOVATION SEMINAR Monday, April 13 14.00 – 14.30 Agora – Palais 01

VIRTUAL REALITY EXPERIENCE Monday, April 13 to Wednesday, April 15 09.30 – 11.00 16.00 – 18.00 Canada Pavilion – P-1.A51

The Making of Missing: An Interactive Thriller Presented by Simon Tremblay.

Zandel Media

Strangers with Patrick Watson Produced by Felix and Paul Studios.

3D, 360-degree live-action virtual reality content exclusive to the Canada Pavilion

Smart Tones – A Unique Second Screen Experience Presented by Daryl Hemingway.

SmartTones.tv

Canada Pavilion P-1.A0 and P-1.A51

#CanadaMIPTV #eyeoncanada canada-miptv2015.ca

COME AND MEET A WORLD OF TALENT AT A NETWORKING RECEPTION Tuesday, April 14, 17.00 – 19.00 Canada Pavilion – P-1.A51

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MIP DIGITAL FRONTS

From small screen to all screens A year on from the inaugural MIP Digital Fronts, MIPTV’s forum for original online video, Juliana Koranteng looks back on a period of dynamic change, shifting relationships and — for those who dare — a rich new seam of opportunity

Original online videos. Pictured: The Crew; TGN PlayTime on BBTV; Comedy Gives Back; Two Bellman; and What’s Trending preview magazine I March 2015 I www.miptv.com

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HE BEST TV shows are no longer tethered to traditional broadcast signals; they are also on the broadband platforms, which are here — and here to stay. This reality provides the backdrop to the MIP Digital Fronts market, which launched in 2014 as the first international content marketplace for the production, distribution and acquisition of original online video content.

Digital Fronts offers opportunities for current and next-generation content producers to reach online and mobile platforms, as well as legacy broadcasters eager to hold on to young audiences hooked on online viewing.

Amber J Lawson says she and her co-founders of Comedy Gives Back, a US online entertainment venture that raises funds for good causes by hosting comedy events, were inspired by last year’s Digital Fronts to launch their own MCN. “As a programming executive, I want to buy amazing storytelling that will attract an audience,” she says. “If you have an audience that will follow your storytelling, you have leverage in the deal and will always find a home for your content.”

“Online video will play a bigger role in the entertainment eco-system and I believe it will complement what happens on TV” Mia Goldwyn

Global media companies with traditionalTV interests are equally focusing their attention on digital developments, especially YouTube MCNs. The Walt Disney Company paid $500m for MCN Maker Studios — a MIP Digital Fronts founding partner — last year. Maker Studios’ rival, another MIP Digital Fronts founding partner, Vice Media, amassed $250m from A+E Networks (partly owned by Disney). Magazines-to-TV conglomerate Hearst Media and DreamWorks Animation jointly own AwesomenessTV — a MIP Digital Fronts presenting partner — while FremantleMedia has formed digital-content studio Tiny Riot! with Canadian

MCN BroadbandTV. Meanwhile, Germany’s RTL Group and parent company Bertelsmann are financially backing women’s fashion-andbeauty MCN StyleHaul.

These moves are backed by research.

International digital video-technology service provider Ooyala reports that 706 million-plus homes — nearly half the world’s TV households — will be watching online video by 2020, up from the 374 million forecast for 2014. And Media agency ZenithOptimedia predicts that global advertising revenues will reach the $545bn by year-end. It foresees TV advertising’s share remaining the largest by medium, but dropping to 37.4% in 2017 from 39.6% in 2014. The revenue share of desktop internet ads is expected to grow to 19.6% from 18.8% during the same period, while mobile ads’ share will leap to 11.4% from 5%.

By the time it was acquired by Disney, Maker Studios had created broadcast-like opportunities for the 55,000 independent content producers from 100 countries contributing to its network. Last year, it launched a proprietary online video platform Maker.tv, which is separate from the YouTube original. YouTube is a MIP Digital Fronts founding partner. Additionally, it has set up Maker Labs, a dedicated production hub to focus on developing branded-entertainment content, to accompany an eight-figure web-video deal with Omnicom, the US global advertisingagency conglomerate.

Early this year, YouTube rival Vimeo announced a partnership to finance original content made

by Maker Studios for its Vimeo On Demand platform.

But YouTube continues to provide the most accessible opportunities.

“YouTube is established.

Very few people worldwide don’t know it,” says Mia Goldwyn, chief content officer at StyleHaul, which has 4,90 0 channels, 199 million-plus preview magazine I March 2015 I www.miptv.com

subscribers and more than 17 billion views.

“The rate of organic growth for our talents and the way they engage with their audience [via YouTube] after they join is very fast and will continue to be so.”

Popular StyleHaul titles include the irreverent talk show The Crew, which is co-produced with FremantleMedia, and Web Therapy, a comedy starring Lisa Kudrow of Friends fame. StyleHaul has also embarked on producing a series of five- to seven-minute premium shows this year.

“Online video will play a bigger role in the entertainment eco-system and I believe it will complement what happens on TV,” Goldwyn adds. “You are already seeing how powerfully both social media and online distribution are extending the life of a TV series. And, eventually, you will see more premium full-length content online.”

A StyleHaul edition targeting the Asia-Pacific region launched in Singapore last year, followed by StyleHaul Mundo, a Spanish- and Portuguese-language edition being produced from Brazil. An extended version of

StyleHaul’s Mia Goldwyn

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Feature StyleHaul’s Web Therapy is transmitted on Showtime, the premium US cable-and-satellite network.

The Primetime Emmy-nominated What’s Trending is another example of a digital-first show being adopted by traditional TV operators. A YouTube daily interactive show devoted to news topics that have gone viral online, What’s Trending has featured a host of celebrity interviews, from Arnold Schwarzenegger to Harry Potter star Daniel Radcliffe. In the pipeline is a digital series for Viacom’s VH1 network called Huge On The Tube. It has had a syndication agreement with the US’ CBS network. It is also on other streaming platforms including Ustream and has a development agreement with Marriott International hotels’ global Content Studio. At MIPCOM, it announced a deal to launch an Indian edition via a joint venture with Mumbai-based Culture Machine.

“What’s Trending is the new water cooler, with fans sharing information, photos and

videos online. Not only do we get people through the noise of it all, we also entertain,” says Shira Lazar, What’s Trending co-founder and presenter. “Two years ago, premium content on YouTube was rare. Now, anyone can take a camera and shoot something that could end up being good enough for television.”

“Two years ago, premium content on YouTube was rare. Now, anyone can shoot something that could end up being good enough for television” Shira Lazar

Launched in 2011, What’s Trending has ridden the wave by understanding its audience, Lazar says. “[Today’s viewers] have their own stars and the way they follow these people on social media is powerful. While there is a buffer between the stars and their fans on TV, the fans of the new generation of stars are used to interacting with them and watching them grow.” These new celebrities include YouTube vlogger Tyler Oakley, with almost 5.5 million subscribers. His celebrity profile is so high that US First Lady Michelle Obama agreed to be interviewed on his show.

“Networks have embraced the notion of producing high-quality content that will live on other platforms outside of TV. It is no longer an exception to produce multiplatform content — it is an expectation,” says Nathan Mayfield, co-founder and chief creative officer at Hoodlum, the pioneering digitalcontent and transmedia production group.

Hoodlum has just completed the US version of Australian multiplatform series Secrets & Lies for Disney’s ABC network, which stars Hollywood actress Juliette Lewis.

“The desire to produce multiplatform content has been there for many years,” Mayfield adds. “What has changed is the need of broadcasters, brands and digital networks for content to engage with their audience.”

Canada-based MCN BroadbandTV (BBTV) foundBroadbandTV’s er and CEO Shahrzad Rafati Shahrzad Rafati preview magazine I March 2015 I www.miptv.com

Comedy Gives Back’s Amber J Lawson advises the TV industry not to underestimate advertisers’ growing inclination towards the online platforms. “Historically, the advertising market has struggled to understand the masses of viewer data, but that is now coming together,” she says. “The reality of intelligently reaching an individual with sophisticated, targeted campaigns is progressing rapidly. TV simply doesn’t offer that level of sophistication.”

While “measurable ROI [return on investment]” has always been relevant to the online market, there have never been enough third parties to validate measurement and analytics, Rafati argues. “That’s now changing with the help from companies such as comScore,” she adds.

The beauty about digital-media technology is the flexibility that its offers advertisers, not only in terms of reaching consumers via third-party content, but enabling them also to be the entertainment providers. The Marriott Global Content Studio, a subsidiary of hotel and resort group Marriott International, is a prime example.

Launched only last September and already the MIPTV 2015 Brand Of The Year, the studio aims to connect with Marriott customers by creating content that adds value, entertains and engages with its customers.

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Feature “We want to ow n the travel-and-lifestyle space,” says David Beebe, Marriott International’s vice-president, creative and content marketing, global marketing. “The journeys made in that lifestyle lend themselves to content naturally, because travelers are constantly tweeting, taking photos and videos, and capturing their adventures. We want to respond to that by creating content in all formats for all screens.”

“It is no longer an exception to produce multiplatform content — it is an expectation” Nathan Mayfield

Marriott started the venture by poaching Beebe from Disney-ABC Television Group and forming partnerships with established celebrities, YouTube stars and content

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Hoodlum’s Nathan Mayfield

preview magazine I March 2015 I www.miptv.com

producers. The shows will be distributed via social media (Facebook, Snapchat and Instagram), YouTube and in-room screens at Marriott’s 4,100 hotels in 78 countries, ranging from the luxurious Ritz-Carlton through its lifestyle Renaissance Hotels to Courtyard

by Marriott for business travelers. In addition, they will be licensed to interested broadcasters.

The Renaissance hotels, which like to be associated with music, the arts and discovery, are linked to The Navigator Live, Marriott’s new series about independent artists performing at various destinations worldwide. The show, co-produced with concert-promotion giant AEG Live, is also available on US cable network AXS. Other Marriott-developed entertainment includes comedy drama Two Bellmen and Marriott Rewards’ Year Of Surprises, a series of 12 webisodes. “It is about providing value first because the next generation of travelers don’t watch 30-second spots or click on banner ads — you need to give them video content,” Beebe says.

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Tut, co-produced with Muse Entertainment and Spike TV

INTERNATIONAL DRAMA CO-PRODUCTION

Partners in drama The global industry’s top players in drama co-production will be gathering at MIPTV to discuss, dissect and debate the supersising world of international co-production, as part of the Drama At MIPTV series of events. Marlene Edmunds looks at the key issues on the 2015 agenda

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HE INTERNATIONAL Drama Co-production Summit, which launched at MIPTV 2012, brings together leading thinkers and creatives for a high-level discussion of the challenges at the heart of a co-production industry that is growing like wildfire.

Four years ago, UK producers had just begun to look beyond their borders in search of new money and new creative opportunities. Scandinavian producers had more than half a century of co-production behind them but, aside from the occasional partnership with ZDF or the BBC, rarely strayed beyond their home turf. But change was in the air. The

Danish original version of The Killing in 2011 had crossed into the UK, where it began raking up more viewers than Mad Men, despite being subtitled. The Bridge and Borgen followed shortly afterwards.

Today, drama-loving co-producers from across the globe are forging partnerships and

striking deals that nobody could have imagined. Drama Co-production Summit veteran and Lookout Point chief executive Simon Vaughan recalls: “At the time of the first Summit four years ago, we came to Cannes with Julian Fellowes and Tobi de Graaff to pre-sell Titanic. We partnered with networks

“Remember what made you fall in love with the project in the first place and then stick to it. It’s vital not to insist on changes just because you can” Piv Bernth

preview magazine I March 2015 I www.miptv.com

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Feature “It’s a very competitive market and you need solid nerves and cash flow to be in it” Patrick Nebout

including ABC in the US and in Europe and with broadcasters such as ZDF, TF1 and Antenna 3, but there were no SVOD or multichannel partners to talk to. If we did that same kind of project in 2015, we’d have a very different landscape to explore. There are now over 100 buyers who can commission a major English-language drama. Alongside the traditional networks, we now have multi-territory networks like History, Fox and Discovery and, of course, SVOD platforms like Hulu, Netflix and Amazon, all actively involved in the original drama business.”

Last year BBC Worldwide took a 35% stake in Lookout Point, cementing a long-time partnership that is now working on adaptations of Leo Tolstoy’s War And Peace, in co-production with The Weinstein Company, and Charles Dickens’ A Tale Of Two Cities, now in development with Mammoth Screen.

The Refugees is also a sign of the changed drama co-production climate. The laSexta, Atresmedia, BBC Worldwide and Bambu Producciones co-production partnership has been very different from the pattern usually

Sofie Grabol in Fortitude taken in co-productions, says BBC Worldwide executive producer Ben Donald. “Normally, the British take the project to the world and generally want money,” he says. “It’s very unusual for us to start a co-production with both of us agreeing at the beginning of creative development to work together in the way that we have with Atresmedia.”

Donald, who last year launched his own indie Cosmopolitan Pictures in partnership with Clerkenwell Films and BBC Worldwide, believes the same business model — that is, coming together at the very beginning and sharing the creative and production costs equally — could be taken to other territories.

“We always envisioned a 50:50 partnership both on the creative and business side,” says Nacho Manubens, fiction sub-director for Atresmedia Television. LaSexta — the sixth nationwide broadcaster in Spain — is wholly owned by Atresmedia (formerly Grupo Antena 3). “When we began considering drama ideas for laSexta, we knew we wanted to build the brand based on series with distinctive character, and BBC Worldwide was a perfect match,” Manubens adds. “Working with

ONLY EXCEPTIONAL IS GOOD ENOUGH THE PROLIFERATION of great drama from around the world has raised the bar for all drama producers, says Sky head of drama Anne Mensah, who presides over a $900m drama budget.

Mensah, who is also the driving force behind Sky’s hottest new co-pro title Fortitude, starring Sofie Grabol (The Killing), adds: “It’s no longer enough just to make good drama. For your channel to stand out, the drama on it has to be exceptional. It’s a brilliant challenge for all of us because the coproduction climate is making partnerships you never would have expected possible — and that is making us all better collaborators.”

Natalia Tena in The Refugees

preview magazine I March 2015 I www.miptv.com

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Feature Bambu, we decided that The Refugees was [a good project] to pursue and I guess my role in all this was being crazy enough to believe we would be able to pull it off — which we did.”

It was Atresmedia’s first move into Englishlanguage co-production and the experience of teaming up an English writer with a Spanish writer was a challenge, Manubens admits: “The creator and executive producer of The Refugees, Ramon Campos, is not fluent in English. But he has so much passion and creative energy that he was able to convey all his ideas when we were in the room with the BBC’s script consultant Tom Grieves, who doesn’t speak Spanish.”

The barriers between countries continue to fall, notes Christian Wikander, head of drama for Swedish public broadcaster SVT. “These days, it’s not unusual to talk to many European countries, as well as Turkey, Israel and the US, about different projects,” he says.

He adds that SVT now looks for international potential much earlier in the game. However, its primary mission is to develop and co-produce for the Swedish market, then for the Nordic market — and only then, when it becomes clear a project will travel, the international market.

New from SVT is 10-episode crime meets mystery-drama Jordskott, a co-production between SVT, Sweden’s Palladium Film, Finland’s Kinoproduktion and ITV Studios Global Entertainment, with the latter handling the worldwide distribution.

It is not surprising in the current climate that media companies around the globe are looking to tap the Nordic region’s seemingly endless stream of creativity, especially in the area of scripting. “Scandinavia has a long tradition of writing,” says Soren Sveistrup, scriptwriter and showrunner on the original Danish series The Killing. Last May, Sveistrup along with Adam Price (Borgen) and Meta Louise Foldager (A Royal Affair) formed the StudioCanal-backed SAM. The production company is already working on a raft of new projects spanning two continents and six countries.

“Scandinavian writing is solid, structured and has a lot of substance and I don’t see that well drying up in the near future,” Sveistrup says.

“In fact, I believe the Nordic breakthrough will generate even greater Scandinavian books, TV series and movies than we’ve seen so far.”

Despite the robust activity, international coproduction comes with its challenges. “There are a lot more opportunities for shows but,

Occupied (Yellow Bird Entertainment) at the same time, it is harder to find writers because everyone is busy,” says Marianne Gray, executive producer for Yellow Bird Entertainment, a subsidiary of Zodiak Entertainment, and the current producer on just-wrapped Occupied. The co-production for TV2 Norway — lensed in three languages: Russian, Norwegian and English — has Zodiak’s French production outfit GTV and ARTE on board as co-producers. Zodiak Rights is the distributor.

Given the number of languages and partners involved, the translation and subtitling process was a bit of a challenge, Gray admits. The dystopian political thriller, based on a novel by Jo Nesbo (Headhunters), is set in a notso-distant future, when Russia orchestrates a ‘silk glove’ invasion of Norway to control its oil resources.

Yellow Bird has achieved a near iconic reputation in international co-production. It launched in 2003 when Danish producer Ole Sondberg and best-selling Swedish author Henning Mankell collaborated on a series based on Mankell’s Kurt Wallander novels. Yellow Bird’s film and TV adaptations of Stieg Larsson’s The Millennium Trilogy, Jo Nesbo’s Headhunters, Liza Marklund’s Annika Bengtzon series and the UK version of Wallander starring Kenneth Branagh followed.

Currently on the Yellow Bird development slate is The Swede, an adaptation of the Robert Karjel-penned Swedish thriller De Redan Doda. Yellow Bird is developing the preview magazine I March 2015 I www.miptv.com

title, the rights for which have been picked up by Twentieth Century Fox Television, with Chernin Entertainment.

Piv Bernth, head of drama for DR Fiction and

BALANCING ACT MANY shows are suffering from a funding gap, says Alon Shtruzman, CEO Keshet International.

“Broadcasters are paying less but the demands of finding talent that has international recognition and achieving the quality threshold that viewers expect is an investment you have to make in order to maximise your international sales,” he adds. As a result, producers are increasingly turning to international co-production to realise drama projects. But this money must be balanced with the impact of “extra voices in the mix”, Shtruzman says: “Audiences don’t care who had the deciding vote, or how you patch together your global sales, or who demanded what in return for their money. They only care that you deliver a well-produced, wellacted, brilliantly written and creatively cohesive end product that leaves them wanting more.”

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Keshet International’s Alon Shtruzman

Scott Free Productions’ David Zucker

the force behind the phenomenally successful crime series The Killing, says that one of the biggest challenges in co-production is protecting the original idea and story. “A big virtue in co-pro is to remember what made you fall in love with the project in the first place and then stick to it. It’s vital not to insist on changes just because you can,” she says. She adds that the industry also needs to pay attention to “all kinds of creativity — and that includes experimentation. TV needs to be able to develop new ways of telling stories, new ways of producing and new co-production options. That means taking risks and not just going with the flow until it stops.”

Michael Hjorth, executive producer, scriptwriter and co-founder of Tre Vanner, admits he is on a mission to “to find a way to make co-productions more organic and to find more creative partners from other places. The financing can be found but the right creative mix is a bit harder.” He adds that Tre Vanner is actively looking for additional US, UK, German and French writers.

“Co-pro is a gold rush these days,” Hjorth says. “But there are very different and complicated visions and agendas of how it should work. People have to understand that it is also about long-term risk and commitment. You need to find partners that are solid.”

Hjorth is at work on The Lawyer with his longtime script collaborator Hans Rosenfeldt (The Bridge) and Jens Lapidus, an attorney and author of the bestselling Easy Money trilogy. Produced by Tre Vanner in collaboration with TV4 Sweden, the 10-episode thriller is being developed as part of the recent partnership between Tre Vanner parent group Svensk Filmindustri and StudioCanal.

DR Fiction’s Piv Bernth

“People have to understand that co-pro is about longterm risk and commitment.

You need to find partners that are solid” Michael Hjorth As international co-production outlet for the Lagardere Group, Atlantique Production’s primary brief is to create, develop and produce shows for the international audience — and that generally means English-language co-production, says Atlantique creative director Patrick Nebout.

But Nebout points out that international coproduction is a high-risk, cash-intensive business and that it can take years from development to delivery. “The bar has now been set higher,” he says. “These days, it’s a very competitive market and you need solid nerves and cash flow to be in it. Everyone is rushing to do these very high-concept TV dramas, but these are the productions that take a long time to produce and they often have a short shelf life.” This is one reason why Atlantique is also looking for long-running and closed-ended series that are more schedule friendly.

“Time to market needs to get shorter,” Nebout adds. “We want to produce IP that has strong commercial potential and a longer shelf-life that we can produce and develop in a shorter time period — which in some cases means producing more cost-efficient series with less complex and lengthy co-financing structures.”

Among the Atlantique projects in development are Midnight Sun with The Bridge team writers Mans Marlind and Bjorn Stein. preview magazine I March 2015 I www.miptv.com

Lookout Point’s Simon Vaughan

The co-production with Swedish producer Nice Drama is set to start shooting mid-year.

Also on Atlantique’s slate is Crater Lake, an English-language series created by Ron Lesham (MICE; Beaufort; Gordin Cell), coproduced with Keshet UK. Asa Sjoberg, director of content for Sweden’s TV4 Group, notes that, with the home-entertainment market more or less gone in Scandinavia, there is a dire lack of investment capacity. “There are also so many more great projects on the co-pro market,” she adds. “But with the UK now seeking co-production capital outside its borders, the competition for that essential money is much tougher.”

The success of Welcome To Sweden, which has been green-flagged for a second season, has prompted SVT to consider stepping into more English-language co-productions.

Among TV4 Sweden’s pack of drama projects in development is Vik/Stubo, adapted by writers Peter Thorsboe and Mai Brostrum (Unit One; The Eagle) and based on the Norwegian writer Anne Holt’s novels. The eight-episode thriller is produced by Miso Film, the Scandinavian production company that has been majority owned by FremantleMedia since 2013.

With the advent of Netflix, Amazon, Hulu and others, it is no secret that digital is making a big difference to the world of co-production.

As ITV Studios’ managing director of global entertainment, Maria Kyriacou says: “The binge-viewing habit created by digital platforms and linear broadcasters’ catch-up services and apps means that serialised programming has become more popular and viewers want more character engagement.”

Indeed, the emergence of digital players “has

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Feature widened the market and created a greater degree of competition for high-quality production”, says Muse Entertainment CEO and president Michael Prupas. But he adds that producers need to think differently about the way a project is developed when it comes to digital. Sex and violence can be an issue, he adds: “Broadcasters have different expectations, especially in the digital world, which affects the way scripts are prepared and written, and the way shows are performed. All of that creates a very different kind of market.”

The call for ever-higher quality means that expectations are greater than they have ever been, Prupas says. He cites Tut, co-produced with Spike TV, as an example: “In Tut we were able to attract a larger budget and Ben Kingsley, who normally would be doing only feature films.”

Prupas describes Tut as “the story of the man behind the mask”, adding: “This is a boy who became a pharaoh at the age of nine and died at the age of 19 and who lived at a time of political turmoil driven by religious differences.”

“What I’ve found most challenging — and fascinating — is the need to understand the cultural tastes and sensitivities in different countries. You really have to be humble” Frank Spotnitz “There is something liberating about producing a series that will be released online, to be watched when and how viewers want it,” says X-Files creative Frank Spotnitz, chief executive of Big Light Productions in the UK and scriptwriter on board Amazon’s recently aired pilot of The Man In The High Castle. “You’re not trying to win a time period, so you don’t live or die by ratings the way you do in traditional television,” Spotnitz adds. “It relieves a certain commercial pressure but, more importantly, it frees you to try different kinds of storytelling than you would dare attempt in another setting.”

The producers on The Man In The High Castle included Scott Free Productions, Electric Shepherd Productions and Amazon Studios.

The series has now been green-lit.

“Co-productions are exciting, but they are not

The Lawyer, created by Michael Hjorth with Hans Rosenfeldt and Jens Lapidus easy,” Spotnitz says. “What I’ve found most challenging — and fascinating — is the need to understand the cultural tastes and sensitivities in different countries. You really have to be humble, because there are things about these cultures that the broadcasters understand and you don’t. That doesn’t mean they’re always right, but they very often are. And you need to be open to that, listen and learn, and then find some way to accommodate their concerns without compromising the series.”

Working with US producers poses a special challenge to co-production ambitions, says David Zucker, president of the TV division of Scott Free Productions, which has just preview magazine I March 2015 I www.miptv.com

announced a major civil war drama co-production with PBS in partnership with Electric Shepherd, among others.

“Typically, once we have a grasp of the creative ambitions of a project, we look at what kind of partnerships and financing might be available through our co-production to best serve the piece,” Zucker says. “However, US buyers will usually try to defer the conversation about co-production until the production is ordered. But the challenge we ultimately keep running into is that almost every broadcaster in the US wants to retain ownership and control over the distribution.”

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Feature

Making history Cast and crew of the BBC’s Wolf Hall spoke to Julian Newby about the headlinemaking historical drama series

Kosminsky’s challenge was somehow to reflect Mantel’s writing style which famously gets inside the head of her protagonist, Cromwell. “The major challenge was that although the book is written in the third person, it’s completely seen from Cromwell’s point of view and you have a lot of sense of the interior monologue. So, we weren’t using voiceovers or narration so we needed a camera technique that made you feel you were with Cromwell and following him with hand-held. I felt that would help to understand it was from his point of view,” Kosminsky said.

And like Mantel’s book, Kosminsky strove for realism: “What we were trying to do was to say ‘These are people like us, these people don’t know they’re in history, they’re people like us sitting around in their own present time.’ They’re not thinking ‘Oh, we’re in the past!’ So we wanted to create a feeling of naturalism and it’s certainly true that with the costumes and sets in much historical drama, there is a tendency to make these things heightened and, you know, feel theatrical. We wanted to do the opposite — make the costumes feel really lived-in, and the locations feel like people were living there.

We’re stood in a room where Henry and Anne actually stood. How would that room have been lit back then? So it really all flowed from that desire to feel contemporary.”

Wolf Hall is a co-production of Company Pictures and Playground, the US company helmed by Colin Callender, for BBC Two and Masterpiece in association with BBC Worldwide, Prescience and Altus Productions. preview magazine I March 2015 I www.miptv.com

Mark Rylance as Thomas Cromwell

Company Pictures/Playground Entertainment for BBC 2015

EVEN before its much publicised international launch in February, BBC Worldwide had sold historical drama Wolf Hall to a number of territories around the world.

The six-part series adaptation of Hilary Mantel’s Man Booker Prize-winning novel won a four-million-strong audience when its first episode aired on BBC2 in January of this year and has made headlines ever since.

Groundbreaking production techniques including hand-held camera and candleonly lighting; acclaimed performances including those from British stage and screen actor Mark Rylance as Thomas Cromwell and Homeland’s Damian Lewis as King Henry VIII, and a realistic portrayal of Tudor times, set it apart from the lush period dramas that have gone before.

“It’s the immediacy that the hand-held camera brings to the production that is so effective,” said Sherlock co-creator Mark Gatiss who plays Stephen Gardiner in the series. “It doesn’t look stately, it looks real. It helps to make you realise these are real people. My costume got dirtier and dirtier during filming and they didn’t do anything to it.”

Veteran actor Jonathan Pryce — whose credits range from Terry Gilliam’s Brazil to Pirates Of The Caribbean and a wealth of TV and theatre in between — plays Cardinal Wolsey.

Pryce had praise for director Peter Kosminsky. “I trusted Peter,” Pryce said. “He’s got it all in his head. He’d absorb the story and the book and then set up a process whereby you do five takes or so — just do them, and they were mostly between me and Mark (Rylance) — and at the end of those takes he would just come and quietly say something like, ‘I like that, and have you thought about doing this as well?’ It’s like he’s building on what you’ve already given him. There’s no director’s ego apparent on set.”

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Feature JUNIOR AT MIPTV

Digital takes custody of the kids Kids’ TV comes into sharp focus on Tuesday in Cannes, with the day-long Junior @ MIPTV series of events. Here Andy Fry looks at the opportunities and challenges that digital is offering kids’ content creators

A

Strange Hill High: the BBC greenlit a game that acted as an interactive episode of the show

MONG the most obvious upsides of today’s kids’ market is that there are now many more outlets for content. “We have good relationships with the traditional players such as Disney, Nickelodeon and Cartoon Network, but now the likes Amazon, Netfl ix, Hulu and YouTube have become viable buyers of kids’ content,” says Halle Stanford, executive vice-president of children’s entertainment at The Jim Henson Company. “Our animated series The Doozers [a spin-off from Henson’s Fraggle Rock] is available on Hulu in the US, which is a very exciting development.”

Amazon and Netflix, in particular, have become key players, both in terms of production and acquisition. Amazon, for example, has commissioned a number of kids’ pilots with a view to taking some to series. Shows that have already gone to series include Tumble Leaf, Creative Galaxy and Annedroids, while new pilots include Buddy: Tech Detective (Zodiak Kids), The Stinky & Dirty Show (Brown Bag Films) and Niko And The Sword Of Light (Imaginism Studios). At the same time,

preview magazine I March 2015 I www.miptv.com

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Feature Amazon has unveiled some high-profile acquisitions, notably pre-school series Fireman Sam from Mattel-owned HIT Entertainment.

As for Netflix, the company has announced a number of projects including a slate of originals from Disney’s Marvel, a new series based on the Lemony Snicket books, a reboot of DreamWorks’ Richie Rich and, for France and Germany, a spin-off of Winx Club.

Coming into 2015, it joined forces with the BBC to make a CGI-animated comedy based on classic Australian book series Bottersnikes And Gumbles.

On the acquisition front, Netflix has picked up seasons one to three of Horrid Henry for the UK and Eire. “Season four will also be on Netflix, after Horrid Henry has had its launch window on ITV in the UK and been released as a DVD through Abbey Home Entertainment ,” says the show’s producer, Mike Watts, CEO of Novel Entertainment.

Echoing Stanford, Watts adds: “It’s a new and welcome opportunity if you are able to come to an agreement that is satisfactory for your existing partners in broadcast and home entertainment.”

While Netflix and Amazon are arguably the most high profile of the new kids’ competitors, DHX Media president and chief operating officer Steven DeNure says the opportunities presented by the new digital landscape are growing worldwide. “In November, we entered into an agreement with CNTV [the new media broadcast division of Chinese pubcaster CCTV] to launch a streaming service across multiple platforms nationally in China.

This will provide us with a platform to deliver

ITV’s Thunderbirds: “Rich history” over 700 x 30 mins of children’s content into the market, including shows like Teletubbies, Inspector Gadget and Sonic The Hedgehog.”

But DeNure, whose company has grown to become one of the largest vertically integrated children’s studio in the world outside the US,

DHX Media’s Monster Math Squad preview magazine I March 2015 I www.miptv.com

stresses that new outlets are only one strand in the digital kids story. “There’s no question digital is a healthy development for content creators,” he says. “But it also brings a number of challenges — one of which is the need to create content that can keep kids engaged across all platforms and devices.”

To illustrate the point, DeNure cites Slugterra, an animated series created by DHX’s recently acquired Nerd Corps division: “It’s not enough to just create linear content any more. Slugterra comes with an array of related content, such as apps and games, so that kids can enjoy it in multiple ways. That kind of approach can no longer be treated as an afterthought.”

Most agree with DeNure on this point.

Martin Baynton, chief creative officer at New Zealand-based Pukeko Pictures, is currently producing a new version of classic franchise Thunderbirds for ITV in the UK. He says: “If you make a 26 x 30 mins series and then kids have to wait 18 months for the next one, there’s a risk of losing them. So you either have to be producing much more frequently [expensive]

83

Slugterra comes with an array of related content including apps and games

“I think we’ll start to see some really interesting projects now that digital is bringing the publishing and TV worlds closer” Martin Baynton or offer them some kind of related content between series.”

For Baynton, one implication of this is that children’s properties need to have sufficient depth to sustain a 360-degree creative treatment: “Thunderbirds has it because of its rich history. But it also explains why established book-based properties often lend themselves well to adaptation across platforms. I think we’ll start to see some really interesting projects now that digital is bringing the publishing and TV worlds closer.”

Henson’s Stanford agrees. One of her company’s new properties, Enchanted Sisters, started life as a book from Henson’s new publishing division. It is now in the process of being adapted for other platforms including TV. “We take a 360-degree approach to everything,” Stanford says. “Social media engagement with kids is key.”

Alongside the issue of 360-degree development, another challenge that digital brings to the kids’ industry is how to cut through the clutter of competition. With so many entertainment choices, it is noticeable that the bigger players — Disney, Nickelodeon, Turner — are investing heavily in established brands as a way to capture children’s attention, says industry veteran Andy Heyward, chairman

and CEO of Genius Brands International.

“Disney, for example, has an extraordinary range of content thanks to acquisitions like Marvel, Lucasfilm and former Henson properties such as The Muppets,” he adds. “So the question for companies like ours is how to find a space where it is possible to be competitive and stand out.”

Genius’ answer has been to focus on “content with a purpose”. Heyward adds: “We have animation like Thomas Edison’s Secret Lab, which is an entertaining series that has science at its core. With parents concerned about what their kids are actually watching on digital platforms, our answer has been to provide shows that are not just empty calories of storytelling.”

The notion that kids need to be protected from the unregulated nature of digital

media has also resulted in a series of business launches on the platform side of the business. In December, Myke Crosby, co-creator of Bin Weevils, launched OobEdoO, an appbased SVOD service that enables pre-school children to watch shows and play pro-development games associated with those shows in a safe environment. The available on OobEdoO include Angelina Ballerina, Ben And Holly’s Little Kingdom, Bob The Builder, In The Night Garden, Pingu, Teletubbies, Thomas & Friends, Timmy Time and Tractor Tom. Explaining the rationale for the service, Crosby says: “Pre-schoolers have an incredible aptitude for devices like iPads, and that can have upsides and downsides. Our aim is to help parents by controlling the kind of shows their children have access to and the amount of time they can access them.”

As an example of what Crosby calls “digital parenting”, he adds: “We have devised a way for the app to switch itself off, so the parent doesn’t have to step in and take the iPad away from the child. That’s much more likely to prevent any temper tantrums. As for the games and activities on the platform, they have been

“Our answer has been to provide shows that are not just empty calories of storytelling” Andy Heyward

Henson’s Chatter Zoo Group launched as an appisode preview magazine I March 2015 I www.miptv.com

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Feature carefully designed to encourage learning through play.”

enjoyed independently of the TV series). By contrast, on animation series Strange Hill High, commissioning broadcaster the BBC greenlit a game that acted as an interactive episode of the show. Written like a real episode, it achieved high levels of immersion and generated a healthy 500,000 unique browsers.

On the second point, Higgins, whose hit preschool property Kate & Mim-Mim has just

that has successfully transitioned to TV. “We produce a show called Warren Buffett’s Secret Millionaires Club, which is designed to encourage financial literacy among young audiences,” Heyward says. “It started life as a series of webisodes on AOL before transferring to The Hub as a series. Voice talent to have taken part in the show includes Bill Gates, Jay-Z, Shaquille O’Neal, Nick Cannon, Gisele Bundchen and Kelly Rowland.”

Of course, once you view kids’ content as a cross-platform business, as opposed to a TV business, it raises interesting questions. For a start, should your digital content relate directly to the TV iteration of the brand? Or should it offer a stand-alone entertainment experience? Similarly, does it become possible to launch a kids’ franchise on other platOne of the big trends to forms, with a view to bringing have emerged in the era it back to television in the secof digital entertainment is ond phase? the rise of toy companies as On the first point, content creators and ownFremantleMedia Kids and ers. In part, this has been Family Entertainment exdriven by the opportunity ecutive vice-president Bob for them to own media, as Higgins says both routes are opposed to renting it from options, depending on the third parties. But it is also property and what you are an acknowledgement that trying to achieve. A couple of toy brands face the same FremantleMedia-produced challenge as TV series: if shows underline the point. In they are not available in all the case of Tree Fu Tom, for Warren Buffett’s Secret Millionaires Club: voice talent includes Bill Gates, Jay-Z, Shaquille O’Neal, Nick forms across all platforms, example, FremantleMedia Cannon, Gisele Bundchen and Kelly Rowland they risk being detached worked with Crane Media on from fans. an augmented reality technolThe toy/content/digital relationship has takdebuted on Disney Junior US, says: “We’ve ogy that allowed kids to bring the pre-school en many forms, including The Lego Movie, seen example of properties going from app show’s central character to life on an iPad by Mattel’s acquisition of pre-school stuto TV, the most obvious being Angry Birds. juxtaposing him with real-world settings (thus dio HIT Entertainment and Spin Master I’d love that kind of success and do think digcreating a standalone spin-off that could be Entertainment’s deital can act as a kind cision to join forces of reverse engineerwith Mondo Media to ing test lab. My main launch kids-focused warning, however, “The app world is crazily cha n nel is that the app world competitive — even more so YouTube Spindo TV. is crazily competiHasbro, meanwhile, tive — even more so than TV. To break out you has a number of TV than TV. So to break need something that is truly series based on toy out you need to have unique in character and prop er t ies , not asomething that is trudesign” bly Transformers, ly unique in character Bob Higgins My Little Pony and and design.”

Littlest Pet Shop.

Henson is one comSu m ma r i si ng t he pany that has been company’s view of the new digital landscape, exploring this route to market. Last year, it senior vice-president of international distrilaunched Chatter Zoo as an appisode, workbution and development Finn Arnesen says: ing with new-media specialist Mindshapes.

“We’re still working with all the major kids’ Created by Alex Rockwell (Pajanimals; Bear networks but we welcome the emergence of adIn The Big Blue House), Chatter Zoo is an ditional platform partners. For us, the key issue interactive pre-school property that features is to get the right balance between the camps.” stories, learn and play activities, animations In terms of how digital impacts on Hasbro’s and music content. The ultimate goal is to content, Arnesen says: “With a franchise like build momentum and adapt for TV. Transformers, we’re always thinking about Genius, meanwhile, already has a property Transformers, one of Hasbro’s series based on toy properties preview magazine I March 2015 I www.miptv.com

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Feature how we can telling a compelling story across all disciplines, and that includes short-form content and apps.

Our YouTube channels are also a way for young audiences to find our content. And we are exploring the possibility of original content with one of the new players in the market.”

YouTube is not just interesting as a content platform, but also as a form of marketing, Arnesen adds: “When you think about the popularity of YouTube among younger audiences, there’s clearly an opportunity to work with YouTube influencers, as long as there is a way to make them Zodiak Kids’ Zack & Quack relevant to your content.”

DHX, Henson and Novel also em“We’re still working with phasise the importance of YouTube.

“For us, having a Horrid Henry YouTube the major kids’ networks but channel is a way to give something extra to we welcome the emergence fans and reach new audiences,” says Novel’s of additional platform Watts. “Done well, YouTube channels can partners. For us, the key have a halo effect on the core programming.”

In terms of the structure of shows, the advent of mobile devices has created a window of opportunity for short-form content to sit alongside the more standard five, seven- or 11-minute episodes that work for TV and SVOD. FremantleMedia’s Higgins, for example, believes that shorter, more comedic content works better on phones and tablets, because it is harder to engage with audiences for long periods of time on those platforms. “Contrast that with Netflix, where people tend to binge view,” he adds. “In that context, you’re looking for ways to encourage audiences to jump from episode to episode.”

Zodiak Kids UK CEO Michael Carrington, whose current slate includes Zack & Quack, Tickety Toc and Dani’s Castle, believes the

issue is to get the right balance between the camps” Finn Arnesen

TV market is just about ready for interactivity: “Our pilot for Amazon, Buddy: Tech Detective, is a pre-school show that will allow children to directly influence the story by touching interactive icons on the TV screen.

This is something they are already very familiar with via other devices, so it’s very exciting to bring this immersion to TV sets.”

For Carrington, one of the most exciting aspects of digital is the immediacy of the audience’s reaction: “It’s extraordinary how quickly they start to comment or interact with your content. Lots of people upload our content to YouTube and that’s very valuable, because it’s such a real connection. As for the Amazon pilot, it’s interesting for us to get immediate feedback, rather than having to wait 18 month or two years.”

E c h oi n g DH X ’s D eNu re, Carrington adds: “We’re thinking earlier and earlier about how we can develop stories across TV, website, apps, games — any digital platform. The challenge for companies is to ensure they have the right expertise, so they are capable of creating both a long-form Netflix has picked up seasons one to three of Horrid Henry for the UK and Eire preview magazine I March 2015 I www.miptv.com

TV script and an app.”

Carrington, however, believes the children’s industry has an advantage over other parts of the TV business when trying to address digital “because it has been built on partnerships. If you think about the way it develops licensing and merchandising programmes, or uses co-production to finance shows, it’s well-set for digital.” Hasbro’s Arnesen makes a similar observation: “At Hasbro, we are completely agnostic about where a property might start and end.”

While it is clear that the domination of Disney, Nick and Turner has been dented by digital, one question is whether we are witnessing a genuine change in the creative paradigm, or a slight shift to encompass toycos, owners of legacy brands and a few superindie studios, such as DreamWorks and DHX. Pukeko’s Baynton, who is currently developing an animation series called Book Hungry Bears, which is about inspiring kids to read, is optimistic: “The kids audience is passionate about consuming new and different content, but the commercially led processes at big studios don’t always allow them to explore new ideas in the same way as small studios. Digital media is giving creatives a way to bypass the gatekeepers and that’s exciting for the industry.”

For those concerned about securing the budgets for new properties, digital even offers alternative forms of finance in the shape of crowdfunding. Animation studio Aardman, for example, used Kickstarter to fund a 15 x 1 min series for YouTube based on its classic character Morph. Similarly, US creator Natasha Allegri secured $800,000 via Kickstarter to fund a six-part series called Bee And Puppycat, which debuted on popular YouTube animation channel Cartoon Hangover.

In other words, now is the time to get out there and be creative.

“The challenge for companies is to ensure they have the right expertise, so they are capable of creating both a long-form TV script and an app” Michael Carrington

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The Lego Movie: the film has generated over $470m at the box office

BRANDED CONTENT

‘So good you don’t know it’s marketing’ Broadcasters’ resistance to branded content is crumbling as they cast around for new financial models and multiplatform, millennial-friendly strategies. Meanwhile, more and more brands are discovering their own editorial voice — and using it to tell powerful stories. Andy Fry reports

B

RANDS have been involved in the TV business since the early days through a mix of advertising and sponsorship. The challenge for brands today, however, is that the system that worked so well for so long has changed fundamentally. Starting in the 1990s, the proliferation of pay TV meant it became difficult for brands to reach large audiences at a single sitting with spot ads. This problem has been exacerbated by the rise of time-shifting, which makes it easy for audiences to skip ads.

Brands have responded in two main ways.

First, they have become more creative with their commercials so that, rather than avoid them, audiences are actually intrigued enough to pursue a deeper relationship with them. This is particularly noticeable around major sports events such as NFL Super Bowl

and UEFA Champions League, where the ads are stylish, entertaining and often act as the gateway to digital added extras and related PR. This trend is also increasingly apparent among luxury brands and during holiday seasons. In the UK, for example, retailer John Lewis spent $9m on its Christmas TV commercial in 2014 — enough to fund a multi-part television series.

Brands’ second response has been to get closer to content — via sponsorship, product placement, story integration and various digital activations — so that audiences cannot avoid interaction.

Samantha Glynne, vice-president of branded entertainment at FremantleMedia, acknowledges that branded content used to be viewed suspiciously by broadcasters, but she argues that this has changed as they have seen the preview magazine I March 2015 I www.miptv.com

benefits to their businesses: “Branded content has become important because broadcasters need brands to help them with their deficit financing and because brands are excellent partners in the digital space, which is so important these days in reaching audiences.”

Part of the initial resistance to branded

“Broadcasters need brands to help them with their deficit financing and because brands are excellent partners in the digital space” Samantha Glynne

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Feature entertainment was the fact that some executions placed an over-emphasis on commercial messaging at the expense of the entertainment experience. But Glynne says the industry has learned: “There’s a better dialogue between broadcasters, producers and brands now, so that it’s possible to create high-quality content irrespective of whether brands are involved in the funding. In fact, you can sometimes get a better end result because of the bigger budget you can bring to the table.”

According to Glynne, the key is to get the fit between brand and content right: “If you look at The X Factor, you can see that we integrate brands in lots of different ways. It could be product placement, point-of-sale activities or sponsorship of the TV show, the online

Retailer John Lewis spent $9m on this Christmas TV commercial in 2014

playlist or the tour. But the key thing is that we make it as seamless as possible. Skype, for example, is integrated into The X Factor story by getting contestants to use it to talk to judges. So it shows off Skype’s product benefits in a relevant way.”

This assessment is endorsed by Jon Sichel, managing director of Scripps Networks UK and EMEA, whose company has just unveiled a partnership with appliances firm Kenwood around a new show called Kitchen Superheroes, which will air on The Food Network.

“Scripps in the US is very experienced in this kind of partnership, but it’s a first for us in the EMEA region,” Sichel says. “We see it as a win-win. Kenwood gains the ability to reach a highly engaged audience across multiple channels, while our viewers will enjoy fantastic new programming, informative and engaging digital content, and unique off-air events featuring their favourite Food Network personalities.”

Kate Bradshaw, Scripps’ vice-president of digital, says Kitchen Superheroes provides various product integration opportunities for Kenwood, but she stresses that audiences

Kitchen Superheroes, in partnership with Kenwood preview magazine I March 2015 I www.miptv.com

MASTERS OF BRANDED CONTENT: LEGO POSSIBLY the most effective example of branded content ever is The Lego Movie. Bizarrely overlooked by the Oscars-voting community, the film had generated $470m at global box office at press time.

At MIPCOM 2014, Lego’s vicepresident of global licensing and distribution, Jill Wilfert, gave delegates an insight into the company’s content strategy, explaining that it was initially driven by fans who had made up their own stories with Lego. “People were creating fabulous content and we were really inspired by that,” she said.

“So we started off creating shorts, which were really well received, then one TV special, then two TV specials, then a series and it culminated with The Lego Movie.”

While the film’s strong showing has given Lego a welcome revenue boost, Wilfert told her audience that the content strategy had “not been so much about developing this as a separate business that’s going to drive a new revenue stream [as] about driving engagement and building the brand”.

One of the big challenges with this approach is not allowing the content strategy to stray too far from the core brand values. “There are times when the temptation would be to maybe be a little more edgy and to go for teenage appeal,” Wilfert added. “But we’ve managed to find the right balance. We’re maintaining really broad appeal, but we’re never inappropriate.”

In terms of movie’s goal, Wilfert said it was for families to walk away from the film “feeling the creativity of the brand”.

Looking ahead, she added: “You’ll continue to see us in this entertainment and content space. We’re working on a new property that will launch with a TV series in 2015, and we’re focusing on having real interactivity.”

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Feature Jack and Finn, YouTubers who run a channel called JacksGap which has 3.9 million subscribers — and a deal with Marriott Hotels

are comfortable with this: “One reason these partnerships work is that consumers today have developed a different, more sophisticated, relationship with brands.”

In terms of turning that into a piece of watchable content, Bradshaw says: “It has to be a partnership. We started by asking Kenwood about their business objectives and then came up with a format and talent that would work for them and our audience. The result is authentic, high-quality programming.”

Like Glynne, Sichel and Bradshaw say that one key to effective branded content is the use of all available platforms. While Kitchen Superheroes — a 6 x 30 mins format that aims to turn six hapless home cooks into a crack squad of cookery gurus — is destined for extensive airing on TV, episodes will also be available to watch via Food Network’s website, on its catch-up service and via a mobile app. Additional online content offerings include short-form video, including episode highlights and participant auditions, and recipe demonstrations, all featuring Kenwood products and messaging. These will be available via the website, Food Network’s YouTube channel, Rightster and AOL ON. Chef biographies, competitions, tips and recipes will also be available on foodnetwork.co.uk.

Kim Moses, co-founder of US indie producer Sander/Moses, says her company made a concerted push into cross-platform content eight years ago, with the development of what it calls “the total engagement experience”. She adds: “Brands now have a central role to play in that process, whether you’re talking about pre-existing properties or ideas you have developed from ground zero. I really see this kind of relationship as the future because the old-fashioned ‘mountain messaging’ isn’t as effective as it used to be.”

Sander/Moses’ drama series Ghost Whisperer

“One reason these partnerships work is that consumers today have developed a different, more sophisticated, relationship with brands” Kate Bradshaw A case in point was Sander/Moses’ drama series Ghost Whisperer, which had a successful fiveyear run on CBS from 2005-2010. “We built a lot of digital activity around the show, including a series of webisodes called The Other Side, which were sponsored by General Motors,” Moses

says. “That gave fans of the show extra content, while also giving General Motors a targeted platform to showcase their product range.”

More recently, Sander/Moses has formed a partnership with MIPTV Brand Of The Year Marriott Hotels to create an original webbased series. “They came to us and said they wanted something based around Paris that would appeal to millennials,” Moses says.

“When you look at their international reach in terms of hotel chains, TV and web traffic, who wouldn’t want to be part of that?”

While a lot of branded content involves a mix of TV and digital, a growing number of projects are bypassing TV altogether. One interesting

MASTERS OF BRANDED CONTENT: IKEA IKEA, which refers to itself as a ‘life improvement’ store, has been in the content business since 1951, when it launched its first catalogue. More recently, it gained plaudits for Fix This Kitchen, a kitchen makeover series for A+E in the US that was created with MEC Entertainment and ran on Saturdays.

IKEA has shown an acute understanding of content marketing, from its entertaining TV ads to a series of webbased projects. One example was the IKEA ‘bookbook’ promotion, a hilarious 150-second video that mimicked the launch of the iPhone 6 to promote the merits of the 2015 IKEA (paper) catalogue. At press time, it had attracted 16.5 million views on YouTube.

preview magazine I March 2015 I www.miptv.com

Other IKEA content-marketing activities include web series Easy To Assemble and its First :59 campaign. Based on a survey of US adults, this was an attempt to help people have a better start to their day and included website tips. Then there was Share Space, a communitybased photo-sharing site that has developed into a hub for user-generated content and blogger tips.

Extending IKEA’s life-improvement positioning, the company created the Home Tour Squad, a group of IKEA employees who traveled the US helping people with home makeovers. Their activities formed the basis of a series of short YouTube films, the majority of which garnered 100,000 to 500,000 views.

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Feature example of this is Smokebomb Entertainment’s Carmilla, a YouTube-based series that was created in partnership with shift2 and is funded

by Kimberly-Clark feminine-care brand Kotex.

“Our view is that brands have barely scratched the surface in terms of what can be done with YouTube,” says Smokebomb’s vice-president of digital and creative director, Jay Bennett.

“So what we wanted to do with Carmilla was find out how young audiences could be encouraged to connect with brands.”

For Bennett, it was critical to avoid including any product messaging in the series itself. This is a different approach to Kenwood/Scripps, but it does underline a key point about branded content: the way you speak to teen girls about menstruation will inevitably be different to the way you discuss kitchen appliances with an audience of foodies.

Smokebomb Entertainment’s Carmilla, a YouTube-based series funded by Kotex “This project could never be about selling product,” Bennett adds. “It had to be about transferring brand attributes. So our focus was on finding a piece of content that tapped into the beliefs and lifestyle of the audience Kotex was targeting. We did some research and found that there was a big cult following for Carmilla, which is a Gothic vampire novella by Joseph Sheridan Le Fanu [published in 1871]. So we updated the story in the form of a vlog series.”

Carmilla’s first series (36 x 4 mins) was a massive hit for YouTube channel VervegirlTV, generating 17 million minutes of watch time and 7.5 million views. When it ended, fans jumped on board a #SaveCarmilla campaign with such enthusiasm that a new series is now in development. “We didn’t even tell the audience Kotex was involved until about 20 episodes in,” Bennett says. “The impression we had to create was that this was a brand that was genuinely giving you something you wanted.”

For Kotex, the commercial payback came in two ways: an outpouring of social-media gratitude

from fans; and a series of related videos that used the cast to discuss issues that are relevant to the brand. One tie-in video called Do Vampires Get Their Periods? dealt more directly with Kotex product benefits — and still got 111,000 views.

“The emotion you have to reach is: ‘I’ve switched product because you’re making a show I love’.

That’s the core of the deal,” Bennett says.

Doug Scott, vice-president of marketing and brand solutions at agency WME IMG, summarises much of the above by saying that “branded content has to be so good you don’t know it’s marketing. It needs to get to a place where individuals are willing to spend time with it, and not regard it as an unwanted interruption. But at the same time, it can’t be content for content’s sake. It needs to begin with a real understanding of the brand objectives.”

Scott left Ogilvy Entertainment to take up his newly created role at WME IMG in August.

That fact alone is a significant indicator that brands are moving closer to talent and content.

“I think more and more leading brands realise they need to be on the bleeding edge of developments in this area,” Scott adds. “Instead of just renting associations with content, they are looking to be owners of content or partners involved from the outset in the development of projects that have real brand utility.”

Digital brings with it benefits other than its direct relationship with millennials, Scott says — such as the fact that it is less heavily regulated, there are no distribution constraints, it is easier to track audiences and it is possible to create content at a lower cost, perhaps with a view to evolving it into a TV property at a later stage. “Smart brands are looking at franchises like Candy Crush and Angry Birds and asking what triggers people to engage with their wallet,” Scott says. “What drives conversations and actions? Right now, the holy grail for brands has to be Red Bull Media House, which has developed a model that works across platforms and devices.”

But a lot of companies are still unsure how to become involved with branded content, says Damaris Valero, founder and executive producer of Animus Group and author of the book Branded Entertainment: Dealmaking Strategies & Techniques For Industry Professionals. Valero, who has spent years helping companies including Fox, NBC, Univision and ESPN put together branded content projects, says: “I’ve seen a lot of projects fall apart during development. They might have had a great idea and great content, but it only takes one concern on the preview magazine I March 2015 I www.miptv.com

BRANDED CONTENT INSIGHT ENTERTAINMENT marketing agency Hollywood Branded has conducted a survey designed to measure brand, agency and consumer perception of the tactics used in entertainment marketing campaigns. Significant survey findings include: • 72% of brands and agencies use entertainment marketing. Strategies include product placement, brand integration, celebrity endorsement and co-promotional partnerships • 52% of marketers stated that TV is the most utilised platform, followed by digital. Film is used by 29% of marketers, celebrities by 23%, music by 20% and gaming by 11% • 85% of marketers said entertainment marketing boost sales • 98% of consumers reported noticing product placement in TV and film, with 80% of respondents favouring this form of ‘organic’ marketing • 43% of consumers have been influenced to purchase products after seeing a celebrity endorsement Additional survey findings concluded that social-media engagement was the preferred measurement by marketers of campaign success. The majority of agencies measure their return on investment based upon digital analytics and conversion rates, followed to a lesser extent by estimated impressions. broadcaster or brand side for it to not happen.

In my experience, one of the most important aspects of any deal is making sure the brand is involved right from the beginning.”

Asked to name an example of a successful partnership, she picks out an episode of The Big Bang Theory where one of the central characters, Raj, falls in love with Apple’s voice-recognition system Siri. “It was relevant to the script,” she says. “If the audience doesn’t believe a brand belongs, it’s a turn-off.”

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Q&A THE RED BULL EXAMPLE

Extreme

engagement Austria’s Red Bull is among the world’s most successful exponents of the integration of entertainment and marketing strategies. Here, Alex Koppel, chief commercial officer of Red Bull Media House, talks to Andy Fry

W

hy does it make sense for you to be active in content and events?

Stor y telling has always been part of the Red Bull DNA [the company launched in 1987]. By the 1990s, Red Bull had decided to produce its own content to bring those stories across in the detail and quality they deserved, and that content was shared with consumers and media contacts around the world. Red Bull Media House launched in 2007 as the next step of professionalisation: formalising content production, collection and distribution in an independent company with a target of sustaining its own revenue stream.

What are Red Bull Media House’s key areas of activity?

We produce, publish, distribute and license high-quality sport, entertainment and educational programming in the areas of sport and lifestyle, nature and science, and tradition and inspiration. Our portfolio includes sport and lifestyle programming, documentaries, feature films, music, games and mobile apps, as well as print and online magazines. In sports alone, Red Bull Media House is active in 130 different disciplines to serve a broad range of interests.

“Only if a partnership is authentic can it exploit its full potential” Alex Koppel

What are you looking for when you form talent/content partnerships?

We stick to the core values of a partnership. It has to be beneficial for both parties. Only if a partnership is authentic can it exploit its full potential and be a win-win.

Examples include collaborations with media companies like NBC Sports Group, which partners us for the Red Bull Signature Series on NBC in North America; a joint initiative with Spain’s San Sebastian Film Festival to create a new section, called Savage Cinema, that showcases the best in action sports and adventure movies; collaborations with sporting organisations such as OC Sport [organisers of the Extreme Sailing Series] and IFSC [the worldwide governing body of sport-climbing competition]; distribution deals with brands like Warren Miller Entertainment, which has named us the exclusive distribution partner for its content library; production partnerships with companies like C3 Presents to produce preview magazine I March 2015 I www.miptv.com

and deliver exclusive global live streams of events, such as the legendary Lollapalooza music festival; licensing partnerships with major TV distributors worldwide; a partnership with Here Maps, which maps out our events and playgrounds on our digital platforms to give context and orientation; and content distribution deals with platform partners, such as YouTube, Apple, Amazon, Xbox, Google and Samsung.

What about your own media?

Red Bull Media House runs its own media channels in print, TV, web and social media and has a global sales force to syndicate and commercialise its content offering towards third parties.

Any Felix Baumgartner-style events coming up?

The second edition of the Wings For Life World Run is a highlight in 2015. It’s a unique event that, in 2014, brought together more than 45,000 runners in 32 countries, all running at the exact same time within a completely new running format. We have proven that it has the potential to keep an audience captivated through TV, web or social.

We are constantly exploring opportunities to engage audiences all over the world with exciting, fresh content.

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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

Inside

1• USEFUL TIPS GETTING TO THE FRENCH RIVIERA GETTING TO MIPTV UPON YOUR ARRIVAL

To ensure you start off with a bang, please refer to our Quick Checklist Things to do before the Show n Have you prepared your transportation?

Have you arranged your transfer to Cannes? n Have you booked your accommodation?

If not, book now at www.miptv.b-network. com and choose from a wide selection of hotels and apartments at special rates n Have you connected to the Online Database on Mymip to find out in advance

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): 23910AF www.airfranceklm-globalmeetings.com

BY TRAIN The Cannes train station is a short walk away from the Palais des Festivals.

T: +33 (0)8 92 35 35 35 www.tgv-europe.com

GETTING TO MIPTV TAXI T: +33 (0)4 93 99 27 27 or book online: www.taxi-cannes.net/en/reservation BUS FROM AIRPORT You have several options for bus travel. Tickets must be bought beforehand.

THE EXHIBITION HALLS

who else is attending the show, to set up meetings and discover projects? n Have you checked the full show programme of MIPTV conferences, screenings and events not to be missed? n 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

2• SERVICES

4 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

TRAIN FROM THE AIRPORT

• 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.

4 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 MondaySaturday at 20.45 and 21.55.

4 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.

4 Where to catch it: Terminal 1: platform 3

preview magazine I March 2015 I www.miptv.com

CONTENT, CONFERENCE & SCREENING VENUES CLUBS ADDITIONAL SERVICES

3• GENERAL MAP OF MIPTV 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 €5,80.

Book your train tickets at www.tgv-europe.com or by calling +33 (0)8 92 35 35 35 CAR RENTAL Our official partner Sixt Rent a Car can provide an extensive range of rental services from their diverse fleet.

Promotion Code (up to 10% discount): 9963828* T: +33 (0)1 44 38 55 55 www.sixt.com *Please note that this reduction is subject to availability

HELICOPTER Azur Helicoptère operates regular 7-min flights between Nice Côte d’Azur International Airport and Cannes. A shuttle takes you from the Cannes heliport to your destination.

Show participants benefit from a negotiated rate of €135 per person (+€15 heliport tax).

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Tips & Services PRIVATE TRANSFERS Chabé Limousines For short or long trips, from 1 to 7 people, rent a private car with driver and save over 20% with our official partner Chabé.

Airport shuttles from Nice to Cannes: €115 (luxury saloon) or €145 (luxury people carrier 7 pax) Evening offer* (4 hours): €333 *For quotations and bookings, visit: www.chabe-limousines.com/en/events/miptv

For more information: riviera@chabe-grandsud.com T: +33 (0)4 93 43 90 91 SHUTTLES TO OUR PARTNER HOTELS MIPTV offers you free shuttle service to and from our partner hotels if you are staying outside Cannes during the market. Timetable available on my-mip.com.

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: E-tickets will be sent to you via email a few days before the show. Also available in the mymip.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 In association with

Croisette 21 – On the port to the right of the Palais des Festivals • Saturday, 11 April: 9.00 - 19.00 • Sunday, 12 April: 8.00 - 19.00 • Monday, 13 April: 8.00 - 19.30

• Tuesday, 14 - Wednesday 15 April: 8.30 - 19.00 • Thursday, 16 April: 8.30 - 16.00 Badges can also be collected from: • The Grand Hyatt Cannes Hotel Martinez during MIPDoc • The Majestic Hotel • Press registration: Croisette 21.

MARKET OPENING HOURS • Monday, 13 - Wednesday, 15 April: 8.30 - 19.00 • Thursday, 16 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.

EVENTS FOR ALL DELEGATES • All MIPTV conferences, screenings and events can be accessed with your MIPTV badge (space permitting). See the full programme overleaf.

• MIPTV 2015 World Premiere TV Screening Monday, 13 April, 18.15.

Grand Auditorium, Palais 1, Palais des Festivals.

ITV Studios Global Entertainment and MIPTV present “Texas Rising”.

• MIPTV Opening Party – Monday, 13 April, 19.30.

Grand Hyatt Cannes Hotel Martinez.

You will need your MIPTV badge to access the party.

IS THIS YOUR FIRST MIPTV? DON’T MISS THE TOUR • First Timers’ presentation and discovery tour Sunday, 12 April, 17.00. Main entrance, Palais des Festivals. Followed by a welcome cocktail.

• First Timer meet & greet corner Monday, 13 April, 19.30 - 20.30. Meeting Point: The Grand Hyatt Cannes Hotel Martinez Meet and network with the MIPTV team and other fellow first timers around a drink at the MIPTV Opening Party.

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 21)

2• SERVICES CONTENT, CONFERENCE & SCREENING VENUES MIP Digital Square: Palais -1 Matchmaking Lounge: Palais 3 Grand Audi: Palais 1 Audi A: Palais 3 Audi K: Palais 4 Esterel: Palais 5 Meet the Speakers’ Lounge: Palais 5 preview magazine I March 2015 I www.miptv.com

CLUBS PARTICIPANTS’ AND PRODUCERS’ CLUB Palais des Festivals – Palais -1 – Aisle C 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

Palais des Festivals – Palais -1 – Aisle D Reserved for programme purchasing executives.

Features include a lounge area, complimentary bar, electronic message board organised by hostesses and telephone charging stations.

VIP CLUB In association with

Palais des Festivals – Palais 3 Exclusive club reserved for VIP delegates to relax or discuss business in more private surroundings.

Features include refreshments, daily press, professional concierge service and a dedicated staff.

Entry reserved by invitation.

GOLD BUSINESS LOUNGE In association with

Palais des Festivals – Palais -3 – Aisle C 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.

PRESS CLUB & EDITORIAL ROOM In association with

Croisette 21 The Press Club includes a lounge area, complimentary bar 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 Palais des Festivals – Palais-1 – Aisle B Visit the News Room during the market to brief our team of journalists about your breaking news, latest deals, events, parties and photo opportunities!

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How to optimise

01.

02.

03.

PARK & FLY

CLUB LOUNGE

BUSINESS CENTRE

Stay within your parking budget with discounts and monthly invoicing.

Enjoy a little downtime before boarding.

Organise business meetings and seminars directly at the airport.

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Feature ADDITIONAL SERVICES CONCIERGE SERVICE Palais des Festivals – Palais 0 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.

CONNECTIVITY Wi-Fi Free Wi-Fi is available throughout the exhibition on the Palais des Festivals Wi-Fi. You can connect one device at a time. If you require a customized Wi-Fi service, please contact Viapass.

Palais des Festivals – Palais 0 The Member Desk provides on-the-spot care and assistance for all the members of our Customer Recognition Programme.

Online Database Accessible on my-mip.com/online-database 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.

HELP DESK

MOBILE APPLICATION

Palais des Festivals – Palais 0 Staff are on hand at this desk to assist you throughout the market. Don’t hesitate to ask them your questions.

TAKE MIPTV TO GO! Check out the new official MIPTV app! Designed to enhance your client experience by providing essential information including: a full event schedule, exhibitor and participants lists and speaker line-ups. You can also continue networking by sending one-to-one messages and meeting requests.

MEMBER DESK

INFORMATION POINTS Information points with hostesses can be found at strategic positions all around the Palais des Festivals.

BAG AND GUIDE DISTRIBUTION Along the seafront Pick up a MIPTV guide at any time during the show by presenting your badge.

NEW THIS YEAR Get interactive by posting your opinions on the social media news feed and take part in live polls during conferences.

Download the MIPTV app for free on the app store!

THE BUSINESS CENTRE Palais des Festivals – Palais -1 Offers a complete range of secretarial and administrative services such as photocopying, word processing, printing and faxing at competitive rates.

TELEPHONE CHARGERS Participants’ and Producers’ Club & Buyers Club – Palais -1 Nomad recharges available for all mobile devices.

ACCOMMODATION Croisette 21 Book your accommodation early at www.miptv.bnetwork.com and choose from a wide selection of hotels and apartments at preferred rates and conditions. On site, our Accommodation team is at your disposition to assist you with your reservations during MIPTV. LEFT LUGGAGE There are 2 venues available free of charge. One next to registration and one on the main concourse along the seafront.

preview magazine I March 2015 I www.miptv.com

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Feature 3• GENERAL MAP OF MIPTV

miptv PREVIEW

The official MIPTV preview magazine March 2015. 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 Designers Nour Ezzedeen, Carole Peres Sub Editor Joanna Stephens Contributors Marlene Edmunds, Andy Fry, Juliana Koranteng Editorial Management Boutique Editions PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Manager Amrane Lamiri Publishing Co-ordinator Emilie Lambert 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 MIPTV Conference Director and Director MIPDoc and MIPFormats Lucy Smith Director of Market Development Ted Baracos Programme Director Tania Dugaro Director of the Buyers’ Department Bénédicte Touchard Brand Director Lionel Lelouch Managing Director (UK / Australia / New Zealand) Peter Rhodes OBE Director UK Sales – TV Division Matt Colgan Senior Vice President, Americas Robert Marking Sales Director Latin America José-Luis Sanchez Sales Manager Panayiota Pagoulatos Regional Sales Director Sylvain Faureau Regional Sales Director Nathalie Gastone Regional Sales Director Fabienne Germond Sales Managers Paul Barbaro, Liliane Da Cruz, Nancy Denole, Samira Haddi Sales Executive Cyril Szczerbakow New Media Development Manager Bastien Gave Sales Managers, Buyers Cyriane Accolas, Deborah Carella, Yi-Ping Gerard Australia and New Zealand Representative Natalie Apostolou China Representatives Anke Redl, Tammy Zhao CIS Representatives Alexandra Modestova English Speaking Africa Representative Arnaud de Nanteuil Germany Representative Marc Wessel India Representative Anil Wanvari Israel Representative Guy Martinovsky Japan Representative Lily Ono Middle-East Representative Bassil Hajjar Poland Representative Monika Bednarek Spain Representative Maria Jose Vadillo South Asia Representative Adam Ham South Korea Representative Sunny Kim Taiwan Representative Irene Liu 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 © 2015, Reed MIDEM Market Publications. Publication registered 1st quarter 2015. ISSN 1963-2258. Printed on 50% recycled paper ®

preview magazine I March 2015 I www.miptv.com

THE MILLENNIAL SHIFT CONFERENCE & EVENTS PROGRAMME

MEDIA MASTERMIND KEYNOTES & CREATIVE TALKS Monday 13 April

11.30 - 12.00 Grand Auditorium STEVEN LEVITAN Modern Family co-creator and executive producer

15.30 - 16.30 Esterel ANDREW JARECKI Director and Producer of HBO’s The Jinx The Life and Deaths of Robert Durst

17.00 - 17.40 Grand Auditorium

This year, the special Junior at MIPTV track will attract even more kids buyers, producers and distributors than ever before, making it an unmissable event for anyone in kids entertainment.

Tuesday 14 April

JEREMY DARROCH Group Chief Executive and Executive Director SKY

9.30 - 10.30, Auditorium A

THE KIDS CHANNELS TALK A new conference track featuring the world’s leading broadcasters sharing their editorial strategy and acquisitions plans, and explaining how producers can work with them on future co-production projects.

Tuesday 14 April

MIPTV 2015 BRAND OF THE YEAR AWARD 11.30 - 12.00 Grand Auditorium KARIN TIMPONE Global Marketing Officer Marriott International

11.30 - 12.00 Grand Auditorium DAVID BEEBE Vice President Marriott Global Content Studio

ERIC ELLENBOGEN Co-Head DreamWorks International Television and DreamWorks Classics

Tueday 14 April

PAULA TABORDA DOS GUARANYS Head of Content & Programming Gloob

15.00 - 18.00, Carlton Hotel - By Invitation only

FUTURE OF KIDS TV SUMMIT Supported by: A unique chance to be inspired by a carefully curated group of visionary speakers and to network with some of the best.

Tuesday 14 April 12.10 - 12.40 Grand Auditorium FRED SEIBERT Founder/CEO Frederator Networks & Thirty Labs

YANNICK BOLLORE Chairman & CEO Havas

Wednesday 15 April

MALIK DUCARD Global Head of Family and Learning YouTube

10.50 - 11.20, Grand Auditorium

MIP DIGITAL FRONTS 17.45 - 18.15 Grand Auditorium ZE FRANK President BuzzFeed Motion Pictures

17.45 - 18.15 Grand Auditorium MICHAEL SHAMBERG Movie and TV Producer Advisor BuzzFeed Motion Pictures

As a leader in teen entertainment, AwesomenessTV creates original web series, television shows and theatrical films across all platforms, including the #1 social movie of 2014, Expelled, and the AwesomenessTV YouTube channel with over 570 million views.

BRIAN ROBBINS Founder and CEO AwesomenessTV

A brand new two-day programme brings together future thinkers, producers and broadcasters in the world of original drama putting the spotlight on international drama co-production, commissioning and screenings.

Monday 13 April

18.15 - 19.30, Grand Auditorium

MIPTV 2015 WORLD PREMIERE TV SCREENING

WHEN IN HELL, FIGHT LIKE THE DEVIL Texas Rising is an inspiring, epic story of desperate men rising from the dust of Texas to take back their liberty. With an all star cast that includes Bill Paxton, Brendan Fraser, Ray Liotta, Jeffrey Dean Morgan and Olivier Martinez.

The brand new, epic series is produced by A+E Studios and ITV Studios America, in association with Thinkfactory Media for HISTORY and is distributed by ITV Studios Global Entertainment.

Presented by:

Monday 13 April

12.10, Grand Auditorium

Monday 13 April

COMEDY MASTERCLASS: A SERIOUS SAVOIR-FAIRE!

14.00-15.30, Auditorium K

INTERNATIONAL DRAMA SCREENING

Get ready for laughs as well as some serious savoir-faire from producers, commissioners and comedic talent who have learnt how to take their originality to wider audiences and to move seamlessly from local to global and from web to TV in the new world of comedy.

JOE LEWIS Head of Comedy and Docu-Series Amazon Studios

Tuesday 14 April

ROB SCHNEIDER Emmy-nominated actor, writer, producer, director

JILL OFFMAN MD Comedy, Central UK and SVP Comedy, Viacom International Media Networks

FOLLOW THE MONEY

By DR Fiktion By invitation only

ASH ATALLA Managing Director & Executive Producer, Roughcut Television

9.30-14.00, Carlton Hotel - By invitatiion only

Tuesday 14 April

18.00-19.30, Auditorium K

INTERNATIONAL DRAMA SCREENING

INTERNATIONAL DRAMA CO-PRODUCTION SUMMIT Supported by:

TERESA FERNÁNDEZ-VALDÉS Showrunner The Refugees, Velvet, Grand Hotel

Tuesday 14 April,

SALLY WAINWRIGHT Creator, Writer, Director & Executive Producer of Happy Valley

ANNA WINGER Writer & Co-Creator Deutschland 83

VERSAILLES

By Zodiak Rights By invitation only

14.00-16.15, Auditorium A

FOCUS ON THE NORDICS PAN-REGIONAL INITIATIVE PUTS NORDICS AT THE HEART OF MIPTV 2015 Key Nordic media players invite the industry to share news, views and debuts.

CASTEN ALMQVIST CEO TV4 Group

DUNJA GRY JENSEN Head Writer The Legacy

PIV BERNTH Head of Drama DR

HENRIK BJÖRN Director Jordskott PALLADIUM FILM

Mark your calendar

Wednesday 15 & Thursday 16 April

Designed for digital entertainment executives, MIP Digital Fronts is the first international digital content marketplace for the production, distribution and acquisition of high-quality original content produced primarily for online audiences.

Opening screenings Tuesday 14 April PM

THE MIP DIGITAL FRONTS ARE BACK WITH A BLOCKBUSTER LINE-UP OF 14 PRESENTING PARTNERS Tuesday 14 April 16.15 - 17.00 Grand Auditorium Maker Studios, a subsidiary of The Walt Disney Company, is the global leader in short-form video and the largest content network on YouTube home to many of the world’s leading online talent and award-winning original programs.

18.15 - 18.45 Agora

17.10 - 17.40 Grand Auditorium

Reinventing video content using new technologies, the platform combines a video channel and a social network offering 360° experiences and interactive videos.

Presented by: Lenka Galinié, CEO and Founder, Slashtag TV David Mutzenmacher, Director, Slashtag TV Marine Sejournant, Strategic planner, Slashtag TV

Machinima is the most notorious purveyor and cultivator of fandom and gamer culture.

Presented by: Chad Gutstein CEO, Machinima Daniel Tibbets Chief Content Officer Machinima

Wednesday 15 April

Presented by: Connor Van Vuuren & Nick Boshier Soul Mates/Bondi Hipsters Natalie Tran, Community Channel, John Luc, mychonny, Derek Muller, Veritasium

11.30 - 12.00 Grand Auditorium

Vox Media is one of the fastest growing media companies today, combining smart content, technology, and distribution capabilities.

16.00 - 16.30 Grand Auditorium New Form Digital is the only data-driven digital studio focused on scripted mobile-friendly content.

Presented by: Jack and Dean New Form Digital Joe Penna New Form Digital

10.50 - 11.20 Grand Auditorium

10.00 - 10.45 Grand Auditorium

09.15 - 09.45 Agora

Presented by: Michael Stevens Creator, Vsauce

12.05 - 12.50 Grand Auditorium

Presented by: Marc Eychenne VP International Content, Dailymotion Oleg Kogut Head of Live & Gaming Dailymotion

16.40 - 17.10 Grand Auditorium Rooster Teeth is a pioneering creative production studio responsible for some of the biggest online series in history.

Presented by: Matt Hullum, CEO, Rooster Teeth Burnie Burns, Creative Director Rooster Teeth Ezra Cooperstein President and COO Fullscreen

AwesomenessTV is a next generation media company serving the global teen and millennial audience.

Presented by: Brian Robbins Founder & CEO, AwesomenessTV

14.30 - 15.15 Grand Auditorium

15.20 - 15.50 Grand Auditorium

Presented by: Andrew Creighton, President, Vice Eddy Moretti, Chief Creative Officer, Vice

Collective Digital Studio (CDS), will preview the new online series Maximum Ride based on the massively popular Young Adult fantasy franchise from James Patterson.

Thursday 16 April 11.30 - 12.00 DIGITAL STUDIOS SHOWCASE Agora

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freeing CREATIVE CONTENT MONDAY 13 APRIL

TUESDAY 14 APRIL 8.30-9.30

BRANDS, THE NEW PROGRAMMERS

THE NEW PRODUCERS

Verrière Grand Auditorium

THEMATIC BREAKFAST

By Huace Group

9.00-10.00

10.00-10.30

9.30-10.45

9.00-10.00

9.00-10.00

8.30-9.30

DIGITAL FRIENDLY PRODUCTION 101

PRODUCERS TOOLBOX: HOW TO BRAND CONTENT EFFECTIVELY

SCRIPTED FORMATS, DRAMA GLOCALISATION

VIDEO IS THE NEW BLACK

By invitation only

11.00-12.00

10.45-11.15

Esterel

FOCUS ON THE NORDICS SHOW & TELL: THE NORDIC INNOVATORS

Matchmaking Lounge Foyer Balcon Grand Auditorium

Esterel

10.15-10.45 Esterel

INTERNET WINDOWING: THE ART OF ONLINE PROGRAMMING

Agora

Agora

SHOW & TELL: TECH TO PRODUCE

11.00-11.30

12.00-12.30

WHEN STORYTELLING BECOMES EXPERIENCE

INNOVATION SEMINAR

Esterel

Auditorium A

SCRIPTED FORMATS MATCHMAKING By registration

Agora

Esterel

Agora

10.15-10.45 THE STORYTELLING SINGULARITY

Auditorium H

10.00-10.30 Agora

PRODUCERS TOOLBOX: HOW TO FIND THE STREAM… OF ONLINE REVENUE

11.00-11.30 Esterel

A SUCCESSFUL VIDEO STRATEGY: THE SECRET SAUCE

11.30-12.00 Agora

INNOVATION SEMINAR

12.30-13.30

GETTING READY FOR 4K/UHD

GETTING READY FOR 4K/UHD

Agora

10.00-11.00

10.00-11.00

JAPAN’S BROADCASTERS LINE UP FOR 4K

THE MUSIC PRODUCERS, INVESTING FOR 4K’S FUTURE DEMAND

Sony 4K Ultra HD Theatre

Sony 4K Ultra HD Theatre

11.30-12.00 I Grand Auditorium

MEDIA MASTERMIND KEYNOTE STEVEN LEVITAN MODERN FAMILY CO-CREATOR AND EXECUTIVE PRODUCER

12.10-12.50 I Grand Auditorium

SHOW & TELL: NEW PRODUCERS TO WATCH!

KIDS PUBLIC BROADCASTERS BREAKFAST

9.30-10.30 Auditorium A

THE KIDS CHANNELS TALK: BUDGETS, PROJECTS & TARGETS

10.30-11.00

9.30-14.00 Carlton Hotel

By invitation only

INTERNATIONAL DRAMA CO-PRODUCTION SUMMIT Supported by the Canada Media Fund,Telefilm Canada & United Talent Agency

THEMATIC CONFERENCE

Matchmaking Lounge Foyer Balcon Grand Auditorium

10.30-11.30

THE KIDS CHANNELS MATCHMAKING

10.45-11.30

TV ADVERTISING AND FREE TO AIR CHANNEL OPPORTUNITIES IN POST DIGITAL SWITCH OVER AFRICA

PLAYING THE DIGITAL TRANSFORMATION

By Africa Media Distribution, Inview & National Broadcasting Commission

By registration Auditorium A

Auditorium K

11.30-12.00 I Grand Auditorium

MIPTV 2015 BRAND OF THE YEAR KEYNOTE MARRIOTT INTERNATIONAL’S CONTENT STUDIO

12.10-12.40 I Grand Auditorium

COMEDY MASTERCLASS: A SERIOUS SAVOIR-FAIRE!

MEDIA MASTERMIND KEYNOTE YANNICK BOLLORÉ, CHAIRMAN & CEO, HAVAS

13.10-14.10 I Grand Auditorium & Balcony

13.15-14.00 I Grand Auditorium

FRESH TV FORMATS

FRESH TV FICTION

CONTENT & THE GEEK

GETTING READY FOR 4K/UHD

14.00-14.30

14.00-14.30

14.00-15.30

14.00-14.30

14.00-14.45

15.00-18.00

14.30-16.00

KEYNOTES: 4K HIGH-END PRODUCTION FOR TV

A NEW DIGITAL FORMAT: THE MAKING OF “MISSING: AN INTERACTIVE THRILLER”

By invitation only

DRAWING CREATIVITY INNOVATION OUT OF DATA SEMINAR

REINVENTING BROADCASTING

By invitation only

14.45-15.15

14.50-15.20

INTERNATIONAL DRAMA SCREENING: “DEADLINE: GALLIPOLI”

By the Canada Media Fund & Telefilm Canada

By DR Fiktion

Sony 4K Ultra HD Theatre

14.30-15.30 Auditorium I

4K: SOLVING THE PROBLEMS FOR PRODUCERS

Agora

15.00-16.00 Agora

MIPLAB 2015 Sponsored by CANALSTART / CANAL+

16.30-17.30 Agora

SHOW & TELL: MEET THE 2015 INTERNATIONAL DIGITAL EMMY® AWARD NOMINEES

Auditorium K

INTERNATIONAL DRAMA SCREENING: “FOLLOW THE MONEY”

14.15-15.30 Auditorium A

THE CHANNELS TALK: BUDGETS, PROJECTS & TARGETS

15.15-16.15 Agora

ENRICHING CONTENT SHOW & TELL: WITH TECHNOLOGY MEET THE DIGITAL UNDERWRITERS! 15.30-16.00 Esterel

ENGAGING ONE, ENGAGING ALL (LEGALLY) GETTING READY FOR 4K/UHD

THE CHANNELS MATCHMAKING

15.00-16.10

By registration

THE FACTUAL PRODUCERS, READY FOR 4K BROADCASTING

MEDIA AS A TRUE DETECTIVE: A LOOK BEHIND HBO’S “THE JINX” ANDREW JARECKI, FILM DIRECTOR & CO-FOUNDER OF MOVIEFONE

17.00-17.40 I Grand Auditorium MEDIA MASTERMIND KEYNOTE JEREMY DARROCH GROUP CHIEF EXECUTIVE AND EXECUTIVE DIRECTOR, SKY

18.15-19.30 I Grand Auditorium

MIPTV WORLD PREMIERE TV SCREENING: “TEXAS RISING” Presented by ITV Studios Global Entertainment

MIPTV OPENING PARTY FEATURING THE INTERNATIONAL DIGITAL EMMY® AWARDS

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Agora

Matchmaking Lounge Foyer Balcon Grand Auditorium

15.30-16.30 I Esterel

Sponsored by The Bell Fund

Esterel

14.15-14.45

15.30-16.00

Sponsored by The Bell Fund

From 19.30 I Grand Hyatt Cannes Hôtel Martinez

Esterel

Auditorium A

Auditorium A

REINVENTING CONTENT

15.30-16.15 Auditorium A

THE HOTTEST DRAMA FROM THE COLD

Carlton Hotel

FUTURE OF KIDS TV SUMMIT Supported by SK Broadband

Auditorium K

By Foxtel and NBCUniversal

18.00-19.30 Auditorium K

By invitation only

INTERNATIONAL DRAMA SCREENING: “VERSAILLES”

By Zodiak Rights

Sony 4K Ultra HD Theatre

16.15-17.00 I Grand Auditorium MIP DIGITAL SCREENING MAKER STUDIOS

17.10-17.40 I Grand Auditorium

MIP DIGITAL SCREENING MACHINIMA

17.45-18.15 I Grand Auditorium

MIP DIGITAL FRONTS KEYNOTES ZE FRANK, PRESIDENT, BUZZFEED MOTION PICTURES & MICHAEL SHAMBERG, MOVIE AND TV PRODUCER, ADVISOR TO BUZZFEED MOTION PICTURES

18.15-18.45 I Agora

MIP DIGITAL SCREENING SLASHTAG TV

From 22.00 I Grand Hyatt Cannes Hôtel Martinez

THE NORDIC PARTY© HOSTED BY THE NORDIC BROADCASTERS In association with Ericsson By invitation only

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THE MILLENNIAL SHIFT CONFERENCE & EVENTS PROGRAMME AT-A-GLANCE WEDNESDAY 15 APRIL

THURSDAY 16 APRIL

8.30-10.00 Carlton Hotel

By invitation only

09.15-.9.45

WOMEN IN TECH & MEDIA BREAKFAST

MIP DIGITAL SCREENING SCREEN AUSTRALIA

By PwC

Agora

10.00-11.00 Agora

PRODUCERS TOOLBOX: HOW TO MASTER THE SOCIAL MEDIA MAZE

11.30-12.00

10.00-10.45

Agora

Grand Auditorium

MIP DIGITAL SCREENINGS: DIGITAL STUDIOS SHOWCASE

MIP DIGITAL SCREENING YOUTUBE

11.30-11.45

DIM SUM ENTERTAINMENT

10.50-11.20

10.45-11.45

MIP DIGITAL SCREENING AWESOMENESSTV

SHOW & TELL: THE ONLINE VIDEO MARKETING EXPERTS

Grand Auditorium

Agora

11.30-12.00

ZOOMIN

12.30-13.15

Grand Auditorium

MIP DIGITAL SCREENING VOX MEDIA

Agora

PRESS CONFERENCE MIPTV: END OF MARKET ROUND UP The most buzz-worthy trends of the market are discussed and analysed by a panel of industry experts.

12.05-12.50

12.00-12.30

MIP DIGITAL SCREENING DAILYMOTION

INNOVATION SEMINAR

Grand Auditorium

11.45-12.00

Agora

14.00-15.00 Agora

TRENDING TOPICS

13.00-14.15

Matchmaking Lounge, Foyer Balcon Grand Auditorium

NEW MEDIA MOGULS MEET & GREET

MIPTV Thanks its Sponsors & Partners 14.30-15.15

Country Focus

Grand Auditorium

MIP DIGITAL SCREENING VICE

15.20-15.50

15.45-16.30

MIP DIGITAL SCREENING COLLECTIVE DIGITAL STUDIO (CDS)

PRODUCERS TOOLBOX: HOW TO BE A YOUTUBER?

Grand Auditorium

Agora

16.00-16.30

Grand Auditorium

MIP DIGITAL SCREENING NEW FORM DIGITAL

16.40-17.10

16.45-17.15

MIP DIGITAL SCREENING ROOSTER TEETH

PRODUCERS TOOLBOX: HOW TO CROWDFUND AND WHY

Grand Auditorium

Agora

17.15-17.45

Grand Auditorium

KEYNOTE SHOWCASE THE NEW MEDIA MOGULS

From 19.30 I Carlton Hotel

MIPTV GALA DINNER: MEDAILLE D’HONNEUR By invitation only

VISIT MIPTV.COM FOR REGULAR UPDATES As of 27 February 2015, subject to change.

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