Miptv 2016 preview magazine

MARCH 2016

miptv

www.miptv.com The official MIPTV magazine

®

PREVIEW MIPDRAMA SCREENINGS

MIP DIGITAL FRONTS

Showcasing the best in high-end drama

Top Digital Studios’ screenings

SEE PAGE 10

SEE PAGE 16

Intersection

Hunted

WORLD PREMIERE TV SCREENING

Roots A+E Studios SEE PAGE 54

Mossad 101

Icon

SuperHuman

MIPTV 2016 Stand R8 E1/E15

Also inside:

Medailles d’Honneur • Focus on Germany • International Emmy® Kids Awards • Keynotes, including Harlan Coben, Dominique Delport and Guillaume de Posch • and more...

MY KIDS ARE RUNNING WILD!

YOU NEVER LISTEN TO ME!

10 x 1 hour | Factual

I’M AT MY WITS’ END!

A Nanny Jo Production for UPTV

Stand Croisette 11 Cannes www.fremantlemedia.com

AJ Eats

AJ Eats goes on a journey to discover what a city's food tells us about its people, the fault lines of its history, the echoes of its past, and the emerging future.

Documentary AJ Eats - 3 x 25 mins

Visit Al Jazeera Stand number P-1.M61

For more infromation email us at: distribution.int@aljazeera.net

www.aljazeera.com

6

Editorial WELCOME to the MIPTV Preview magazine highlighting what promises to be a very content-rich, action-packed event.

Hosting over 11,000 delegates, including some 4,000 buyers, MIPTV is the global TV and digital content marketplace and the leading spring gathering for the international content community. It’s the place where great programming, in all its forms and genres, meets the multitude of distribution platforms represented at MIPTV. We are thrilled to be launching this year a new event: MIPDrama Screenings held on Sunday, April 3, which will be showcasing the Official Selection of 12 programmes previewed for over 350 key buyers and press.

This year’s MIPTV central theme is The Power Of Fans, reflecting the increasingly important role that audiences and particularly fans are playing within the entertainment ecosystem. Broadcasters and platforms need to develop their brands and connect with enthusiastic programme followers via ‘sticky’ content.

The Power Of Fans theme will be addressed by forward-thinking keynote speakers including: international best-selling author, Harlan Coben; president of Vivendi content and global managing director Havas Media Group, Dominique Delport; Mattel’s president and COO, Richard Dickson; and RTL Group’s co-CEO Guillaume de Posch.

MIP Digital Fronts is back for the third season with an exciting line-up of MCNs and talent showcasing the best in online video. These will be accompanied by a special programme for brands on Tuesday that will look at how major brands are building ambitious online content strategies.

And we are delighted to shine the spotlight on Germany. Focus On Germany will showcase Europe’s largest television market — in terms of TV households — and examine the new creative trends within German television production and the place of German production within the global TV market.

Last but not least, don’t miss the most anticipated events of the markets, including the Monday night World Premiere TV Screening of A&E Networks’ remake of iconic series Roots. We’ll also be hosting a record number of international screenings, and the International Emmy® Kids Awards that have moved from New York to MIPTV in Cannes, with the fourth annual awards held on Tuesday, April 5.

We look forward to welcoming you to Cannes and, until then, I hope you enjoy this MIPTV Preview magazine..

Laurine GARAUDE Director, Television Division Reed MIDEM

preview magazine I March 2016 I www.miptv.com

ITV STUDIOS GLOBAL ENTERTAINMENT

“Victoria has it all; a riveting script, brilliant cast ...and it’s a true story!”

Rebecca Eaton, Executive Producer, MASTERPIECE on PBS

VICTORIA . BRAND NEW DRAMA

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Contents 10

News

MIPDrama Screenings; Focus On Germany; Kids@MIPTV; MIP Digital Fronts; Brands@MIPTV; MIPTV Brand Of The Year; Media Mastermind Keynotes; Ultra HD; The MIPTV International Drama Co-Production Summit; spotlight on the Nordic territories

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Product News

58

Features

Drama: What do buyers want? ..................................................58 Drama: Where’s the money coming from? ...............................63 Drama: Content without borders ..............................................67 How MCNs and TV live together .................................... 73 & 77 Brand extension: Standing out in a hyper-choice world ..........83 Kids@MIPTV: A look to the future..........................................87

Multiplatform content in all genres on sale in Cannes

36 The People V. O.J. Simpson: American Crime Story (Twentieth Century Fox Television Distribution)

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54

World Premiere TV Screening Roots: The MIPTV World Premiere TV Screening

Also inside: 93 Tips & services

54

preview magazine I March 2016 I www.miptv.com

96 Conferences

Ancient Worlds

The all3media international ancients and classics catalogue is full of treasures including: Rome: Empire Without Limit, The Story of Egypt, Pompeii’s New Secrets Revealed, China: Treasures of the Jade Empire and Building the Ancient City: Athens and Rome MIPTV Stand No: R8.C20 @all3media_int all3mediainternational.com

10

News

MIPDrama Screenings make Cannes debut MIPDRAMA SCREENINGS OFFICIAL SELECTION Bodo (Telewizja Polska/ Akson Studio) Bordertown (Fisher King/ Federation Entertainment) I Know Who You Are (Arca, Filmax) Ku’damm 56 – Rebel With A Cause (UFA Fiction) Mathilde (Rock Films Studio) Medici: Masters Of Florence (Lux Vide/Big Light Productions) Public Enemy (Playtime Films/Entre Chien et Loup) Ramona (Wood Producciones) Section Zero (EuropaCorp Television/Bad Company/ Umedia) The A Word (Fifty Fathoms/ Keshet UK) The Secret (Hat Trick Productions in association with Northern Ireland Screen) Victoria (Mammoth Screen)

The MIPDrama Screenings Selection Jury

SIX CREATORS and showrunners from around the world make up the all-star Selection Jury for the first-ever MIPDrama Screenings, a new day-long accelerator event, showcasing world premieres of the specially selected scripted content to drama buyers at MIPTV 2016.

The Jury includes: Teresa Fernandez-Valdes and Ramon Campos, showrunners for hits including The Refugees, Velvet and Gran Hotel (Spain); Chris Long, director and executive producer of The Americans and The Mentalist (US); Sarah Phelps, writer and executive producer for And Then There Were None (UK); Soren Sveistrup, creator and writer of The Killing (Denmark) and Anna Winger, writer and co-creator of Deutschland 83 (Germany).

The Selection Jury has chosen the 12 programmes that make up the MIPDrama Screenings Official Selection and they will be exclusively previewed during the invitationonly drama screenings showcase.

The aim of MIPDrama Screenings is to meet the growing international demand for preview magazine I March 2016 I www.miptv.com

high-end drama series, especially originating from Europe, as well as other major dramaproducing territories. The day-long event will culminate with the MIPDrama Screenings Award Ceremony.

The first edition of MIPDrama Screenings will see 350 leading acquisition executives invited to the event which is held at the JW Marriott Hotel on Sunday, April 3 on the eve of MIPTV. L auri ne Garaude, di rector of Reed MIDEM’s Television Division, said: “This initiative, designed to showcase the latest content ahead of the main MIPTV market, reflects the surge in international dramas debuting in Cannes.”

Entry to the MIPDrama Screenings was open to international producers and distributors of high-end drama across all genres.

Submitted programmes were previewed by the Pre-Selection Committee made up of Reed MIDEM and international industry experts and the resulting shortlist was then reviewed by the Selection Jury who arrived at the shortlist of 12 titles.

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12

News COUNTRY FOCUS

Germany under the Cannes spotlight

Embassy (Beta Film) ©Manuel Fernandez-Valdes GERMANY takes centre stage at MIPTV this year, with a Focus On Germany series of events that will highlight the programming and production industries of a vibrant TV market.

The world’s second-biggest television market

ZDFE’s Alexander Coridass

in revenue terms, Germany has more than 40 million TV households in a population of some 80 million people. The market is showing growth across all sectors, in particular pay-TV and VOD. Total revenue from the television industry in 2013 was €13.8bn, rising this year to €14.6bn according to projections by PwC. Focus On Germany lead partners Red Arrow and ZDF Enterprises (ZDFE) are hosting a series of conference sessions on the international production and co-production of scripted and unscripted programming during the course of the week. Beta Film is presenting an international screening of the 13 x 70 mins drama series Embassy, produced by Bambu Producciones for Atresmedia in association with Beta Film. The series is produced by Ramon Campos Saez and Teresa FernandezValdes, producers of international hits including Grand Hotel and Velvet.

Other partners in the Focus On Germany programme include Deutsche Welle, Global Screen and WDR Media Group.

Ahead of MIPTV Alexander Coridass, preview magazine I March 2016 I www.miptv.com

president and CEO, ZDF Enterprises, told the MIPTV Preview: “ZDF Enterprises is the largest distributor of German-language programmes, a valued co-production partner of international broadcasters and producers, as well as a major investor in audiovisual content both domestic and foreign.” He added: “Being a global player with a German home base, we are honoured and delighted to take the opportunity of Focus On Germany to present the German market’s many exciting facets and assets on the international stage.”

Henrik Pabst, managing director, Red Arrow International said the initiative is “a great opportunity to celebrate our industry’s domestic and international success”. He added: “It’s also an important way for Red Arrow to highlight how our business now extends far beyond our original home country, with 14 production companies in six countries, including seven businesses in the US. As a group, our international ambitions have proved to be a source of huge creative strength for both our in-house production companies and third-party producers. Focus On Germany is a great reason to celebrate that kind of global creativity.”

The German Pavilion at MIPTV continues to expand and will be back on the MIPTV exhibition floor this year with AG Dok, ARRI Media, German Films, SOLA Media, Spiegel TV and Your Family Entertainment already confirmed as exhibitors. Other Focus On Germany initiatives include a special supplement on the German television industry published with Tuesday’s edition of the MIPTV News.

Red Arrow’s Henrik Pabst

Lookalikes 5 x 30’

Rich Kids Of Social Media 1 x 60’

Deadliest Pests Down Under 20 x 30’

The Evolution Of Us Seventy With A Six Pack

2 x 60’

1 x 60’

The Jihadis Next Door 1 x 60’

Extreme Stories For Your Schedules

Visit us on stand P4.C18 www.passiondistribution.com

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KIDS@MIPTV Q FUTURE OF KIDS TV SUMMIT THE FUTURE Of Kids’ TV Summit is a feature of Kids@MIPTV, a one-day focus offering a new window on the future of kids’ TV. This third Summit welcomes over 100 decision-makers from the kids’ sector and features a line-up of expert speakers as well as networking opportunities.

Three key subject areas that will be covered include: findings on kids’ behaviour presented by sociologists, neuroscientists and researchers; content ownership and rights management in the multiplatform landscape and the challenges brought

by SVOD; and innovation including interactive storytelling, apps, games and technology, and how they impact on kids’ behaviour.

Partner in the Summit is Majid Entertainment, a specialist in media, entertainment and educational content for children. The company’s general manager Mohamad Yehya said that his key goal at the Summit — and at MIPTV in general — is to exchange ideas, understand and explore the possibility of collaborations with the global community.

• The Future Of Kids TV Summit is on Tuesday 5 April at 09.30 in the Carlton hotel, preceded at 08.30 by the Future Of Kids TV Summit Breakfast incorporating the International Emmy Kids Awards Nominee ceremony. Both events are by invitation only

Emmy Kids Awards nominees PRE-SCHOOL Bing - Acamar Films Production/Brown Bag Films, UK

International Emmy Kids Awards find a new home in Cannes ®

MIPTV is the new home for the International Emmy® Kids Awards. Previously held annually in New York, the ceremony will this year take place at the Carlton hotel on Tuesday, April 5 and will close the Kids@MIPTV series of events.

Reed MIDEM CEO Paul Zilk said of the move: “Reed MIDEM has been promoting the best in children’s television since 1993 when we launched MIPJunior and we welcome this opportunity to continue to work in partnership with the International Academy of Television Arts & Sciences.”

The International Academy has been presenting six kids Emmys annually since 2012. “For a very long time, the International Academy had only one Children & Young People category, which was presented at our November Gala in New York,” said Bruce L Paisner, president and CEO of the International Academy of Television Arts & Sciences. “We felt that this catch-all category was not representative of the different age groups and genres in children’s programming and did not properly serve the global kids television community, which is very specialised. So after a few years of research, we created six categories and an event solely dedicated to children’s content.” He added: ”The International Academy and MIPTV have done a number of successful events together and this partnership enables both organisations to create a greater showcase for quality kids programming, more networking opportunities for our nominees and attendees at MIPTV and more exposure for our Presenting Partners. This year the nominations span 13 countries: Argentina, Australia, Brazil, Canada, Colombia, France, Iceland, Italy, Japan, Singapore, the Netherlands, Norway and the UK. The International Emmy® Kids Awards at MIPTV presenting partners are: Al Jazeera Children’s Channel, Ernst & Young, Kids@MIPTV, Shaw Rocket Fund, TV Kids and WDR. Ronja, The Robber’s Daughter NHK/NHK Enterprises/Dwango/ Polygon Pictures, Japan Le Tresor Du Vieux Jim (The Great Treasure Quest) - TAT

LazyTown - Cartoonito/Turner Broadcasting Systems Europe, Iceland

Productions/Master Films, France

O Zoo da Zu - Discovery Latin America/ Boutique Filmes, Brazil

FACTUAL Mentira la Verdad (Truth Lies) Mulata Films/Canal Encuentro, Argentina

Shimajiro’s WOW! - Benesse Corporation/ TV Setouchi Broadcasting/Dentsu/DASH/demand/The Answerstudio, Japan

ANIMATION Get Ace - Galaxy Pop, Australia Mr. Trance - El Recreo Studio (Spain)/Senal Colombia, Colombia

Bruce L Paisner

Paul Zilk

My Life: I Am Leo - Nine Lives Media, UK Kore-eda X High School Girls: Portrait Of Fukushima 3 Years After - NHK Educational Corporation/NHK/Paonetwork, Japan

De Zandtovernaar En De Oorlog (The Sand Artist And The War) The Media Brothers, Netherlands

Malhacao Sonhos (Young Hearts) - Globo TV, Brazil Nowhere Boys - Matchbox Pictures, Australia

NON-SCRIPTED ENTERTAINMENT Battle For Money: Return Of The Dinosaurs - Fuji Television Network, Japan

Taart (Penguins And Pastry) - VPRO Television/Pupkin, Netherlands

Best I Mest (All-Round Champion) - NRK, Norway

TV MOVIE/MINI-SERIES Evermoor - Lime Pictures/Disney Channels, UK

The Big Performance 3 - Twenty Twenty Productions, UK Undercover High - General Purpose Entertainment, Canada

SERIES Braccialetti Rossi - RAI Radiotelevisione Italiana/ Palomar/Big Bang Media, Italy

preview magazine I March 2016 I www.miptv.com

Jongens (Boys) - NTR / Pupkin, Netherlands Rabarber (Rhubarb) - NL Film & TV/KRO-NCRV, Netherlands Spelling Armadillo - Oak3 Films, Singapore

16

News

MIP Digital Fronts showcase the next-generation studios

Back at MIP Digital Fronts : Collective Digital Studio, now known as Studio71… and Vice Media BACK in Cannes for a third year, the MIP Digital Fronts is the only international screenings showcase for MCN’s, digital studios and online publishers. The event was created in 2014 as the first international distribution and acquisition market for high-quality original online productions and web series across all screens.

The aim of the event is to bridge the gap between online video and traditional content.

The MIP Digital Fronts showcases feature new online productions followed by on-stage interviews with the executives and talent behind the content.

Now in its third year, the MIP Digital Fronts provides buyers, distributors, advertisers, brands, producers, strategists and press from around the world the opportunity to discover new original online video content targeted at millennials and Generation Z .

Each digital studio participating in MIP Digital Fronts will bring online talents and key creative executives to Cannes to showcase

their productions, helping them to grow their business through exposure to the international television industry and to trigger content partnerships.

MIP Digital Fronts also offers networking opportunities that enable MCNs to meet with TV producers and other professionals present at MIPTV throughout the four days — and on Tuesday, April 5, to meet with brands, at the Brands & Online Video Summit and matchmaking event at the Martinez hotel.

For this nascent industry partnerships are key.

One of last year’s MIP Digital Fronts participants, Collective Digital Studio, merged that same year with ProSiebenSat1 subsidiary Studio71 — and is in Cannes this year under the Studio71 banner. The company’s CEO Reza Izad said that two or three years ago there weren’t many buyers for his YouTube content, but that “teaming with the right partner” has changed that.

Other digital studios returning to MIP Digital Fronts include New Form Digital, Machinima preview magazine I March 2016 I www.miptv.com

and Maker studios, whose acquisition by Disney back in 2014 valued it at approaching $1bn.

Also back in Cannes again for 2016, Vice Media has seen investment of some $450m from Disney and A+E Networks and is set to use A+E’s H2 channel to launch youth channel Viceland into 70 million US homes.

Endemol Beyond, a new addition to the MIP Digital Fronts line-up this year, recently added two new digital channels to its roster of businesses — Icon Networks and Smasher Network. Endemol Beyond’s global managing director Georg Ramme said: “Millennials lead the way with new trends and it is important for broadcasters to tap into this.”

Other newcomers include FremantleMedia’s The Football Republic and Paris-based Webedia.

• The MIP Digital Fronts series of events runs throughout the four days of MIPTV. See the Programme of Events in this publication for full details

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News Q MATTEL IS MIPTV 2016 BRAND OF THE YEAR MATTEL’s president and chief operating officer Richard Dickson gives a Media Mastermind Keynote in Cannes this year as his company is named MIPTV Brand Of The Year for 2016. Dickson is responsible for all aspects of the company’s consumer brands including Barbie, Hot Wheels and Thomas & Friends.

Starting out as a toy company in El Segundo, California back in 1945, today Mattel is known as a producer of content across all platforms, including movie specials, series and short-form content. Mattel’s properties also engage with fans through numerous digital outlets.

Recent projects include, at the start of 2016, the announcement of a collaboration with the World Wildlife Fund (WWF) to help protect animals and their habitats, through the character of Lea Clarke. Written by award-winning author Lisa Yee, the 2016 Girl Of The Year books Lea Dives In, Lea Leads The Way and Lea And Camila, introduce girls to Lea, a curious 10-year-old girl with an adventurous spirit. Following her older brother to the Amazon rainforest where she engages her love of photography to the full, Lea’s stories highlight the plight of the many aspects of nature that are now in danger.

Mattel has taken the character and its stories into numerous areas including a paid app and online play, in-store and online retail, with all activities benefiting the WWF. • Richard Dickson’s Media Mastermind Keynote is on Tuesday, April 6 at 17.15 in the Grand Auditorium

Mattel CEO Richard Dickson

BRANDS @MIPTV

Brands in Cannes to explore new approaches to content

BCMA CEO Andrew Canter

Les Gaulois president Elisabeth Billiemaz

BR ANDS@MIPTV is a day-long programme of sessions and events which brings brands together with the broadcast and online-video industries towards mastering online and other content strategies.

A Brands & Online Video Summit will be the key event of the day. This by-invitation event will include networking followed by a panel in which brands with established media outlets will tell their stories and offer strategic advice as to how to grow from a consumer brand to a full media content company.

Confirmed speakers include Mattel’s Catherine Balsam-Schwaber, Mondelez’s Laura Henderson and Swedish Post Code Lottery Head of TV and Event Ase Ericson.

“Brands@MIPTV is an exciting development following on from the success of MIP Digital Fronts,” said Andrew Canter, global CEO of the Branded Content Marketing Association (BCMA), a Brands@MIPTV industry partner.

Brands attending the events will be shown how mastering their content strategy can turn them into a media owner in their own right.

“They will attend showcases from leading international digital studios, be inspired by brands that have already been successful and get to participate in pre-arranged meetings with digital studios.” Canter said. “There is no doubt that the brands who harness the power of content have thrived, including Red Bull, Marriott, Coca Cola, P&G, Unilever, Diageo, Honda.”

Another Brands@MIPTV industry partner is Les Gaulois, an advertising agency based preview magazine I March 2016 I www.miptv.com

AK Consulting’s Andrea Kaul

in Paris. Part of the Havas group, its portfolio of more than 40 clients includes Citroen, Transavia, Acadomia, Malakoff Mederic, Credit Mutuel and Intersport.

“The digitisation of the advertising world has revolutionised our ways of working and has changed the relationship between brands and their consumers,” Les Gaulois president Elisabeth Billiemaz said. “Therefore we think that nowadays it is important that a brand is no longer viewed just as a brand, but as a mediabrand.” She added: “Participating in MIPTV means committing ourselves to this goal of creating media brands, by providing them with the necessary resources to start a new chapter in the relationship between brands and clients.”

A third Brands@MIPTV industry partner Andrea Kaul of AK Consulting said: “We are experiencing a decade where partnerships and co-operations become more important than ever and where business goes beyond the classical forms of a client-vendor relationship.”

Kaul added: “This also applies to media and brands. Initiatives like Brands@MIPTV help brands and media develop their full potential for successful partnerships, in order to develop new innovative forms of storytelling.”

“The Brands@MIPTV programme will look to demystify these complexities and demonstrate the value of branded content in a clear, practical and concise way,” Canter said. “It will offer brands the best advice and enable them to speak to those that are creating amazing content and working with the best talent.”

TITUS WELLIVER is

ALL NEW SEASON TWO

CRIME SERIES, 20 x 1 hour www.redarrowinternational.tv | MIPTV Booth: P4.C10

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Media Mastermind Keynote

‘I’m excited, it absolutely works’ MULTI-million selling author Harlen Coben will deliver a Media Mastermind Keynote on day-one of MIPTV. Following his Cannes appearance, his fi rst-ever TV series, The Five, will be aired mid-April on Sky One in the UK. Coben’s novels have sold more than 60 million copies, the last eight debuting at Nº1 on the New York Times bestseller list. His work was first seen on screen when his 2001 thriller Tell No One was made into a French-language movie by Guillaume Canet; more recently, French channel TF1 adapted his novel No Second Chance into a six-part series that became the highest-rated

French TV series in a decade.

The Five is his fi rst story written exclusively for the television. The 10-part thriller series was commissioned by Sky in the UK and produced by the UK’s Red Production Company.

Distributed by StudioCanal, the story tells of a group of people haunted by the disappearance of a younger brother a number of years back, and forced to re-live the horror when the missing person’s DNA shows up at a crime scene.

His keynote coming under the MIPTV theme The Power Of Fans, Coben is someone who has a good understanding of his own fans — or readers as he prefers to call them — and has a scheme in place that enables some of them to play a role in his stories. Readers donate money to a specified charity and in return their names will appear as a character in a forthcoming novel.

“The idea has been going on for many years,” Coben said. “And people have a lot of fun with it, as long as they understand they could be anything — they could be a dead body, a cross-dresser, the neighbour, they could be mentioned more than once.

It depends on the name and, frankly, my mood.” He estimates that the scheme raises up to $50,000 a book “and people have fun with it at the same time. So it’s a win-win.”

A nother way in which readers can

Harlen Coben: The Five is “the closest to a crime novel on TV that I’ve ever seen” preview magazine I March 2016 I www.miptv.com

stay in touch with Coben’s world is through social media, his “primary” Facebook page enjoying in the region of 325,000 followers, another in France with 80,000 and others in countries around the world attracting similar attention.

But social media is primarily for the readers to speak to each other. “I don’t have conversations, very rarely. I don’t want to give them too much of me because I don’t want that to interfere with the product.” He added: “Artistically I’ve never paid attention to focus groups, to what audiences want, to what an editor wants, it’s always been my sensibility that leads the way. If people want to have an argument or discussion among themselves that’s fantastic, I don’t really want to interfere with that either even if it’s critical of me. I’d rather let people have it out between themselves, that’s sort of what social media should be about.”

“Artistically I’ve never paid attention to focus groups” But with a TV series it’s different — there’s a team involved. “When you do it with a group you have to make sure that we are all on the same page, we all had the same sensibility, we all had the same vision — which maybe was mostly mine — and in this case we did. I loved the fact that we would argue and discuss different aspects of it, but our end vision was always the same.“ And The Five took Coben out of his comfort zone in another way. Avid Coben readers will know that his novels rarely venture far from New Jersey in the US. The Five is set, and shot, in the UK, in and around the city of Liverpool. “I recognised right away when I was working with Red that we’d be shooting in England. When they came over here the fi rst time I drove them and showed them the New Jersey places that I wanted them to find British counterparts for — and almost every one of them lived up to my expectations.”

Until now rather sceptical of production teams who claim their experiences on set were harmonious and always productive, Coben admits that he’s now “sitting in that camp. And now I’ve seen all 10 episodes and you can probably tell from my voice, I’m even more excited, it absolutely works. This is a series that I think my readers will love.

This is the closest to a crime novel on TV that I’ve ever seen.”

IAIN GLEN

FRANCES O’CONNOR

HUNTER PAGE-LOCHARD

ROB COLLINS

THE LEGENDS ARE TRUE

GENRE DRAMA, 6 x 1 hour www.redarrowinternational.tv | MIPTV Booth: P4.C10

22

News

Digital: RTL Group’s ‘call to action’ RTL Group co-CEO Guillaume de Posch is to give a Media Mastermind Keynote this year.

With its families of channels, RTL Group’s subsidiaries are either number one or number two in most of the European markets in which they operate. FremantleMedia, the Group’s production arm, is a world leader in content production.

And with recent digital investments in North America — BroadbandTV, StyleHaul and SpotX — the Group is taking a leading position in online video. With further investments in broadcast, content and digital, the Group’s stated goal is to become a “global force in video production, aggregation and monetisation”.

A n i mpor ta nt fo cus of the company’s strategy moving forward is fragmentation, which continues to change the media industry, according to de Posch.

“And the pace of this change is increasing,” he told the MIPTV Preview.

“C ou ntless new niche channels are emerging, for ever-smaller target groups and we have a clear strateg y for this — we were the fi rst to develop the family of channels concept for Europe, and we continue to lead the market. We’ve launched more TV channels in

the past four years than ever before across all territories in which RTL Group is active.”

Digital is also changing people’s viewing habits, he said. “In particular, the growing number of mobile devices that are also, in effect, video screens. Already, mobile devices generate 17% of worldwide internet traffic. And the younger the target group, the more they use mobile devices and so shift to non-linear viewing. What’s more, on-demand mobile viewing, on smaller screens, means a higher demand for short-form video. This is why we invested in leading multi-channel networks such as BroadbandTV, StyleHaul and Divimove.”

Digital is now accountable for 8% of the RTL Group’s total revenue. “For us, TV does not stand for television alone anymore, but for ‘total video’ — and we have built leading market positions across the whole value chain of this total video market,” he said. “Investments in broadcast, content and digital are transforming our leading European entertainment network into a global force in video production, aggregation and monetisation.”

De Posch said he was in LA last summer for VidCon and witnessed the enthusiasm of thousands of young video fans. “For me, it was a call to action, to continue our push into short-form video. Non-linear viewing is growing rapidly, especially short-form content among millennials. To succeed as a company that creates and provides video content, we simply have to serve this audience, and serve it well.”

The Group has a three-pronged approach to this goal: “Firstly, we’re extending our existing TV content into the non-linear world.

Secondly, creating new web content specifically for these digital platforms. And thirdly, by aggregating short-form videos on platforms such as YouTube, which rely increasingly on professionally produced content.”

• Guillaume de Posch’s Media Mastermind Keynote is on Monday, April 4, at 16.30 in the Grand Auditorium

preview magazine I March 2016 I www.miptv.com

MIPTV stand no. P-1.L2, P-1.M1 zdf-enterprises.de

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News

Perpetual motion, 24/7 DOMINIQUE Delport, president of Vivendi Content, will deliver a Media Mastermind Keynote at MIPTV 2016. During his presentation he will provide an insight into how Vivendi’s recently-formed content division operates and explain why the company is wellplaced to compete in the fast-changing global media landscape.

Delport took over the content division in September 2015 and is tasked with discovering talent and investing in new forms of video and music content for the group’s different brands, which include pay-TV platform Canal+, Universal Music Group and Dailymotion. He also retains his previous role as global managing director for the Havas Media Group, where he oversees all brands, clients and commercial activities.

Born in 1967, Delport is unusual in having enjoyed three distinct careers — as a TV journalist, internet entrepreneur, and head of a media agency. This combination has given him expertise in content, digital and media at an international level.

Delport began his career as deputy chief editor for the television channel M6 Lyon, and then became chief editor at M6 Lille. In 1996, he was appointed chief editor at M6, the second-largest private television channel in France. In April 2000, he gave up his career in television to move into the world of startups, forming the streaming multimedia company Streampower, where he served as chairman/ CEO. In October 2001 Streampower became a 75% subsidiary of the Rivaud Media Group, a subsidiary of the fast-growing Bollore Group.

In 2003, Delport launched a daily programme on Canal+ called Merci Pour L’info, and in 2004 he created for France 5 the interactive Emmy Award-winning C.U.L.T., an interactive broadcast on urban cultures featuring live blogger videos. The next significant segway in his career came in 2006 when he joined Media Planning Group (MPG) as CEO. In 2007, he joined Havas Media, rising to become CEO of the Havas Media Group global network. In this role, he set up a number of initiatives that help the agency and its clients

respond to the rapid developments in technology, data, content and media. He also led a run of global account wins for the group — notably Emirates, LG Electronics and The Walt Disney Company — and, somewhere in the mix, helped launch the TV channel D8.

A key characteristic of Delport’s career has been his fascination with social media. He is a member of The Facebook Client Council and a regular speaker on technology, media and digital. His views on content, data and organic marketing have been featured on CNN, CNBC, and Bloomberg, as well as in The Huffington Post, The Guardian and industry publications around the world. He has been voted as one of the most influential media agency executives on social networks and is one of the most followed chairman/CEOs on social media platforms in France.

He is known, above all, for his tireless energy and visionary qualities. It is not unusual for him to stay up until 03.00 in the morning tweeting his latest brainstorming ideas. Delport’s 24/7 perpetual motion philosophy fits the profile of a man whose motto is: “The only place success comes before work is in the dictionary”.

Delport’s v iew s w i l l be of major interest to MIPTV delegates who follow Vivendi.

T he 20bn revenue conglomerate has backed film division StudioCanal’s expansion into scripted T V and is now

preview magazine I March 2016 I www.miptv.com

negotiating a stake in the soon-to-merge Banijay Group-Zodiak Media entity.

• Dominique Delport’s Media Mastermind Keynote takes place on Wednesday, April 6, at 10.30 in the Grand Auditorium

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News Q ULTRA HD ON SHOW IN CANNES Sony Pictures Entertainment’s Bill Baggelaar

MIPTV is showcasing Ultra HD (UHD) programming during a three-day focus on the technology. Dedicated panels will feature drama, music, sports and factual, as well as discussion from channels already on air.

A growing number of broadcasters are either already transmitting in Ultra HD or planning to do so in the near future. The UK’s Sky will introduce a number of Ultra HD channels this year, while some Japanese and South Korean Ultra HD services are already on air.

Leading producers are also stepping up. Sony Pictures Entertainment’s Bill Baggelaar (senior vice-president technology) will address the challenge of producing high-quality Ultra HD episodic drama on time and on budget. Sony’s Ultra HD output includes top-rated shows Better Call Saul, The Blacklist and Mad Dogs.

There will also be participation from the BBC, Japan’s NHK and SkyPerfecTV, Sky Italia, InFront Sports, Atlantic Productions, Smithsonian Channel, London’s Royal Opera House, Saint Thomas Productions, Red Bull Media, Paramax, Orange TV, UHD-1, DJazz, Pearl TV , Eutelsat, Globo TV, Insight TV and TravelXP among others.

Delegates will also see programming made with High Dynamic Range (HDR) technology which leads to breathtaking footage. Ultra HD product on show includes: the BBC’s latest drama offerings; NHK’s Moribito: Guardian Of The Spirit; Sky Italia’s latest 4K and 3D offering St Peter’s Basilica; Saint Thomas Productions’ Prehistory; Terra Mater Film’s Wild Sri Lanka; Atlantic Productions’ Sir David Attenborough’s Great Barrier Reef; and Paramax Film’s Tosca In The Desert.

Epic Japanese 4K drama is highlight of MIPTV’s Opening Night Party

Haruka Ayase is Balsa in Moribito: Guardian Of The Spirit MIPTV delegates will get the opportunity to see the first episode of NHK’s new Asia Fantasy series, Moribito: Guardian Of The Spirit, to be screened in 4K Ultra HD in the NHK Lounge during the MIPTV Opening Night Party.

The multi-million-selling fantasy novel saga comes alive in the series which stars leading Japanese actress Haruka Ayase as Balsa.

The story is set in an imaginary land resembling ancient Asia, where the two worlds of spirits and humans intertwine. The heroine, Balsa, is a skilled bodyguard who rescues Prince Chagum who has fallen into a river.

The prince is carrying a mysterious spirit egg inside his body and is in danger of being assassinated by his emperor father, who fears this incident will damage his imperial status.

Balsa embarks upon a perilous journey when she accepts the Empress’ request to protect her son from her husband. Balsa learns from Torogai the shaman that Chagum is destined preview magazine I March 2016 I www.miptv.com

to act as the “guardian of the spirit” who must safely guard the egg until it hatches.

If he fails, a massive drought will strike the kingdom, and it will take Chagum’s life.

“The challenge for the NHK drama team was how to visualise the grand scale of the original stor y,” Yukari Hayashi, senior producer at NHK said. “The 4K technology helped with that challenge. Combining the landscapes of A sia with high-tech VFX, in 4K quality, enabled us to bring the story to life in a very colourful and vivid way, while maintaining an element of realism. It took three years of filming to adapt the original 12-volume novel to 22 episodes of drama for television.”

• The MIPTV Opening Night Party is held on Monday, April 4, at 19.30 in the Grand Hyatt Cannes Hotel Martinez. All delegates are invited

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News

The Medailles d’Honneur go to...

Rola Bauer

Ben Pyne

Marcel Vinay Hill

Punit Goenka

Amit Goenka

REED MIDEM has named five recipients of this year’s Medailles d’Honneur. The honour is given to international executives who through their talent, leadership, and passion have made a significant contribution to television and to the development of the global content industry

ROLA BAUER leads StudioCanal’s production and co-production television initiatives in the US market. The StudioCanal umbrella includes Germany-based Tandem Productions, helmed by Bauer, the UK’s Red Production Company and Guilty Party and Denmark’s SAM Productions. Recognised three times by the Hollywood Reporter as one of The 25 Most Powerful Women in Global TV, she has been a pioneer of international co-productions since 1985 when she started out with Canadian producer Alliance.

BEN PYNE is president, global distribution, Disney Media Networks. Promoted to this role in June 2007, he has global responsibility for the portfolio of entertainment and news content produced by The Walt Disney Company. He also looks after the ABC Television Network’s affiliate relations department and the Disney and ESPN media networks affiliate sales and marketing team.

Under his guidance, Disney Channel transitioned from a pay-cable service to an expanded basic service, growing from 6.5 million US

subscribers in 1992 when he joined the company to more than 94 million today.

MARCEL VINAY HILL Sr, founder and president of international distribution company Comarex, has enjoyed a career spanning some 50 years, during which time he has held numerous senior roles with companies including TV Azteca, Telecadena and Televisa, overseeing sales, telenovela production, pay-TV channels, acquisitions, international distribution and supervision of various operations across Latin America. A pioneer in Latin American content distribution, Vinay Sr began his career as a broadcaster in 1966. In 1969 while at Telecadena, he distributed the first Plaza Sesamo (Sesame Street) children’s series in Latin America and launched 15 TV stations in key Mexican cities.

PUNIT GOENK A , CEO and managing director of India’s most valuable listed entertainment entity Zee Entertainment Enterprises Ltd (ZEEL), took over from his

preview magazine I March 2016 I www.miptv.com

father as head of ZEEL in 2008. Since then, not only has he kept the 36-channel network at the forefront of the TV business in India — it is the second most watched after Star India — he has also been instrumental in numerous new channel launches including interactive movie channel &Pictures and Hindi-language entertainment channel &TV in 2015, as well as its international expansion — a job he handed over to his younger brother Amit last year. Today the network is available in 169 countries and reaches 730 million viewers worldwide.

AMIT GOENKA is chief executive officer of Indian broadcast major Zee’s international broadcasting businesses which includes all of the network’s channels — excluding international and sports. The Zee network is present in numerous markets from Russia to the UK, middle West Asia to north Africa and to Indonesia. He has looked after the group’s lottery, public utilities and infrastructure businesses and was given his new charge in October of last year.

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News CO-PRODUCTION

Industry joins forces to take co-production to next level THE MIPTV International Drama CoProduction Summit brings together some of the highest level decision-makers involved in international original drama production from leading global producers and broadcasters.

Sponsors this year are the Canada Media Fund (CMF), Telefilm Canada and United Talent Agency (UTA).

With over 50 co-production treaties in place around the world, the CMF’s Valerie Creighton said Canadian producers are experienced in working with their counterparts

UTA’s James Kearney

from other countries to deliver compelling content that transcends borders and that appeals to wide audiences.” She added: “The Drama Co-production Summit is an excellent opportunity to share our successes and learn from the success of others as the audiovisual community pursues its effort to garner the attention of increasingly demanding audiences.”

TV literary agent at UTA Lucinda Moorhead said: “The world is shrinking and story tellers in each market are now more relevant in every other market as well.” UTA’s James

UTA’s Lucinda Moorhead

Telefilm Canada’s Roxane Girard

Spotlight on the Nordic territories THE NORDIC territories are once again in high profile in Cannes after a successful Focus On The Nordics series of events at MIPTV in 2015.

Annie Wegelius, media entrepreneur and former director of programmes at SVT, was coorganiser of last year’s Focus On The Nordics.

“The events last MIPTV were a big success and we felt we would like to replicate some of what happened there,” Wegelius said. “We have designed a new series of networking opportunities and conferences in order to bring MIPTV delegates from around the world together with professionals from the Nordic industries.

“The Nordic territories are enjoying great international attention at the moment thanks

partly to the success of Nordic Noir dramas, and we want to build on that. Our dramas have struck a chord with viewers around the world — but there’s more to the Nordic industries.

Our formats and documentaries have a similar fresh approach and we are keen to speak with colleagues from around the world about partnerships, not just in production but in other areas too. This continued heightened presence in Cannes will help us to do that.”

Events focusing on the Nordic territories include: a MIPFormats screening on Saturday, April 2 at 16.25 in the Grand Auditorium; and a MIPDoc Snack & Screen event on Sunday, April 3 at 12.30 in the MIPDoc Conference Room in the Martinez. At MIPTV on Tuesday, preview magazine I March 2016 I www.miptv.com

Kearney, added: “Our goal is to support this kind of networking, and we believe the Summit is a critical event on the international television calendar.”

Telefilm Canada’s Roxane Girard said: “It’s important for an organisation such as Telefilm Canada to support this event as it’s typically a forum that allows us to promote Canada as a partner of choice,” adding: “One of Telefilm’s priorities, as detailed in its 2015-2018 strategic plan — entitled Inspired By talent. Viewed Everywhere — is helping the Canadian industry to diversify its financing sources and coproduction is a key tool in this regard.”

• The fifth MIPTV International Drama CoProduction Summit, a closed-door event, is at the Carlton hotel, Monday April 4, at 14.15

CMF’s Valerie Creighton

April 5, events include: the Media Moguls breakfast in the Verriere, Grand Auditorium at 08.30; a Drama Panel in Auditorium A at 11.30; and a Drama Screening in Auditorium K at 15.30.

Annie Wegelius

JAMES PUREFOY S M A I L L I W H T E N MICHAEL KEN S K C I R D N E H A N I T CHRIS

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Product News For four days the Palais in Cannes will be packed with stands selling every kind of content for every kind of platform. Here is a selection of programming on sale this year ABOUT PREMIUM CONTENT (APC) PARIS - and London-based APC is showcasing a range of new shows at this year’s MIPTV, crossing genres including drama, documentaries and animation. Contact is an 8 x 52-mins thriller which piloted on TF1 in France.

The series follows Thomas Adam, a man with a unique gift: when he touches an object, he can visualise the memories attached to it. From producers 2 Minutes and Doghouse Films, kids’ animated sitcom Zoli & Pokey (52 x 13 mins) tells the story of how Zoli’s life is transformed by the appearance of his father, who has turned into a dog. The quirky modern family faces all the usual challenges including sibling rivalry, teen crises and annoying parents and step-parents.

Contact (APC)

CONTENT TELEVISION A NEW season of primetime drama Line Of Duty is brought to MIPTV by Content Television. Set in the fictional police anticorruption unit AC-12, Line Of Duty is a drama focusing on modern policing and corruption. In this third season (5 x 60 mins and 1 x 90 mins), made by World Productions for BBC Two in the UK, AC-12 faces its most dangerous adversary yet as they investigate Sergeant Danny Waldron, leader of an Armed Response Unit whose unpredictable behaviour is becoming a threat Line Of Duty (Content Television) to colleagues and suspects.

ITV STUDIOS GLOBAL ENTERTAINMENT (ITVS GE) THE UK’s ITV Studios Global Entertainment’s drama launch for MIPTV is Victoria (1 x 90 mins and 7 x 60 mins).

Produced by Mammoth Screen for ITV channel, the series follows the early life of Queen Victoria (Jenna Coleman), from her accession to the throne at 18 through to her courtship and marriage to Prince Albert (Tom Hughes). Victoria went on to rule for 63 years, and was the UK’s longest-serving monarch until Elizabeth II overtook her last year.

Victoria (ITVS GE)

COTTONWOOD MEDIA PARIS -based Cottonwood Media and Canadian co-production partner Shaftesbury Entertainment bring animated comedy Squish to MIPTV, following a development deal with Teletoon Canada, and with France’s Gulli moving from development partner to pre-buyer of French rights. Squish (52 x 11 mins), aimed at six- to 11-yearolds, brings to light the secret life of amoebas struggling to survive in the challenging world of single-cell organisms — not to mention school. The series is based on graphic novels by Jennifer Holm and Matthew Holm, published by Random House Children’s Books. Delivery is due in 2017.

Squish (Cottonwood Media) preview magazine I March 2016 I www.miptv.com

STUDIOCANAL SECTION Zero (8 x 60 mins) is an edgy sci-fi thriller, made by EuropaCorp Television, Bad Company and Umedia, for Canal+. Set in the near future where multinational corporations are Europe’s new leaders, one of the most powerful, Promethee, wishes to secure its dominance by replacing the police force with their own militia, the Black Squad, led by Henry Munro (Pascal Greggory).

Following the shooting of his daughter, an idealistic law enforcement officer, Sirius Becker (Ola Rapace), aligns himself with an old cop, Franck Varnove (Tcheky Karyo). Sirius takes charge of Franck’s clandestine squadron, Section Zero, to battle the violent militia, promising a return to traditional law enforcement. The French distributor also brings political drama series Baron Noir (8 x 60 mins) and disturbing thriller The Five (10 x 60 mins) — written by international best-selling author Harlan Coben — about a group of friends who cover up their involvement as youngsters in the disappearance of a younger child.

Section Zero (Studiocanal)

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Product News CYBER GROUP STUDIOS AT MIPTV French kids specialist Cyber Group Studios is launching further pre-sales of

PEACE POINT RIGHTS IN THE series Inspired With Anna Olson

Mirette Investigates (52 x 11 mins/HD), co-produced with KD Productions in Spain for TF1 and Canal+ (France), WDR (Germany) and TV3 Catalunya (Spain). Also pre-sold to VRT (Belgium), the series follows a 10-year-old girl detective who works with her ‘catssistant’. The company also brings the third season Zou, which brings the series to a total of 156 11-minute episodes. New productions include: The Pirates Next Door (52 x 11 mins/HD), developed for France Televisions; and Gilbert & Allie (52 x 11 mins/HD), aimed a eight- to 11-year-olds, about a teenage girl who has extraordinary powers when she teams up with a grumpy magical rabbit.

Mirette Investigates (Cyber Group Studios)

(10 x 30 mins/HD) chef Anna Olson travels to Singapore, Malaysia, Indonesia, Vietnam, Hong Kong, the Philippines and Thailand, to learn the secrets behind Asia’s best-loved signature dishes which she then adapts to create her own recipes. Learning from street-food cooks to high-end restaurant chefs, Anna’s emphasis is on respecting the techniques, ingredients and the people from whom she learned.

The company also introduces Bake With Anna Olson Season 3 (20 x 30 mins), shot in 4K, in which Anna transforms beginner bakers into master bakers.

TEAMTO JADE Armor (52 x 11 mins) is a comedy about an unlikely teenage hero with an unlikely set of powers. Originally featuring a male lead, TeamTO re-cast Jade as a female and developed the character with a female creative team: executive producer Corinne Kouper, director Chloe Miller and head writer Rebecca Hobbs. Cho Yu is a girl who splits her busy life between school and an animal shelter. Her life takes an unexpected turn when she discovers a mystical suit of jade armour. Together with her best friend Yang and the Beasticons, Cho Yu battles for justice.

HAT TRICK INTERNATIONAL (HTI) UK-BASED distributor Hat Trick International brings Inside The World’s Toughest Prisons (4 x 60 mins) to MIPTV. The series follows a new partnership agreement between HTI and producer Emporium Productions. Commissioned by the UK’s Channel 5, the series follows Paul Connolly as he goes behind the bars of some of the world’s most notorious prisons, including in Honduras, Poland, the Philippines and Mexico.

FREMANTLEMEDIA INTERNATIONAL FREMANTLEMEDIA International brings

Jade Armor (TeamTO)

new drama The Young Pope (8 x 60 mins) to MIPTV. Currently in production, it is directed by Paolo Sorrentino (The Great Beauty, Youth), and stars Jude Law as Pope Pius XIII and Diane Keaton as Sister Mary. The Pope, a conflicted conservative character with compassion towards the poor, is stubbornly resistant to the Vatican courtiers. The series is a joint production of Sky, HBO and Canal +, and was directed and written by Sorrentino in collaboration with Tony Grisoni, Umberto Contarello and Stefano Rulli. The Young Pope is produced by Wildside in which FremantleMedia has a majority stake, and co-produced by Haut et Court TV. The international distribution rights (outside of partner territories) are held by FremantleMedia International (FMI). preview magazine I March 2016 I www.miptv.com

Bake With Anna Olson (Peace Point Rights)

PASSION DISTRIBUTION THE UK’s Passion Distribution returns to MIPTV with a varied slate that includes: Robot Wars (6 x 60 mins), a re-boot of the original series with new and improved filming techniques and technology; Deadliest Pests Down Under (20 x 30 mins), which follows pest controllers during a challenging summer season as they take on lethal spiders and snakes; Gay For Play (12 x 30 mins), a new pop-culture game show starring RuPaul; Evolution Of US (2 x 60 mins), a 4K science special featuring unprecedented aerial photography shot from drones, time-lapse photography, CG imagery and reconstruction; documentary The Jihadis Next Door (1 x 60 mins), looking at he spread of fundamentalism; and structured reality series Lookalikes (5 x 30).

SEASON 1: 6 X 30 MINS SEASON 2: 10 X 30 MINS

8 X 60 MINS

AT MIPTV 2016: R9.A32 FOR MORE INFORMATION PLEASE VISIT: STARZGLOBAL.COM

FOR BREAKING NEWS AND PRODUCT UPDATES, PLEASE FOLLOW US ON: instagram.com/starz_worldwide facebook.com/starzworldwide twitter.com/starz_worldwide STARZ and related channels and service marks are the property of Starz Entertainment, LLC. Ash vs Evil Dead © 2015 Starz Entertainment, LLC. All Rights Reserved.

Survivors Remorse © 2015 Starz Entertainment, LLC. All rights reserved. The Girlfriend Experience © 2015 Transactional Pictures of NY LP. All rights reserved., Power © 2015 Starz Entertainment, LLC. All rights reserved., Black Sails © 2015 Starz Entertainment, LLC.All rights reserved. Flesh and Bone © 2015 Starz Entertainment, LLC. All Rights Reserved The Dresser © Playground Television Limited UK 2015. All rights reserved

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Product News GENIUS BRANDS INTERNATIONAL (GBI) GENIUS Brands International is producing a new music and fashion-driven brand for

MARVISTA ENTERTAINMENT MARVISTA Entertainment makes MIPTV

tween girls that it is presenting at MIPTV. Spacepop features original music produced by Ron Fair with his singer-songwriter partner Stefanie Fair; original character and fashion designs created by Han Lee; and stories developed by head writer Steve Banks. Over 100 animated shorts are currently in production for digital distribution, and GBI is creating a line of consumer products.

the debut outing for its new film Jessica Darling’s It List, based on the book Jessica Darling’s It List: The (Totally Not) Guaranteed Guide To Popularity, Prettiness And Perfection by Megan McCafferty. Starring Chloe East and Emma Rayne Lyle, Jessica Darling (East) — a smart, witty, opinionated girl heading into seventh grade — was never too concerned about where she’d fit in the middle-school hierarchy. But before her first day of school her older sister, the popular Bethany (Fowler) who is now in college, decides to help out by giving her the It List, a cheat sheet on how to navigate middle school.

Spacepop (GBI)

TWENTIETH CENTURY FOX TELEVISION DISTRIBUTION DRAMA series The People V. O.J. Simpson: American Crime Story (10 x 60 mins) is brought to Cannes by Twentieth Century Fox Television Distribution. Based on the book The Run Of His Life: The People V. O.J. Simpson by Jeffrey Toobin, the series looks at the Simpson trial from the perspective of the legal teams, exploring the behind-the-scenes dealings and maneuvering on both sides of the court, and how a combination of prosecution overThe People V. O.J. Simpson: American Crime Story confidence, the shrewdness of the defence (Twentieth Century Fox Television Distribution) and the LAPD’s history with the city’s African-American community gave a jury what it needed — reasonable doubt. The series stars Cuba Gooding Jr (Simpson), David Schwimmer (Robert Kardashian), John Travolta (Robert Shapiro), Sarah Paulson (Marcia Clark), Courtney B Vance (Johnnie Cochran), Sterling K Brown (Christopher Darden) and Kenneth Choi (Judge Lance Ito). The series is produced by Fox 21 Television Studios, FX Productions, Color Force and Ryan Murphy Productions.

ABC COMMERCIAL TOP TITLES from the ABC Commercial MIPTV HD catalogue include: Surfing The Menu: Next Generation (13 x 25 mins), a series featuring friends Dan Churchill and Haydn Quinn who share a love of cooking, surfing, fresh food and travel in their 50-year-old VW Bug; Splashdance (26 x 4 mins), a live-action pre-school series that encourages imagination through movement, with songs written by John Surfing The Menu: Next Generation (ABC Commercial) Field, writer of more than 300 songs for The Wiggles; and Luke Warm Sex (6 x 27 mins), in which stand-up comedian Luke McGregor aims to get better at sex with help from sexperts, therapists, scientists, tantric practitioners and sexual empowerment coaches. preview magazine I March 2016 I www.miptv.com

Jessica Darling’s It List (MarVista Entertainment)

M4E-TELESCREEN GERMAN media company m4e comes to MIPTV with a varied kids’ catalogue including: new production Wissper (52 x 7 mins), an animation series about a little girl who can talk to animals; the new third season of popular series Mia And Me (52 x 23 mins), due to be finished by the end of 2016; Tobot (58 x 22 mins), a Korean action series aimed at boys; and Julio Bunny (52 x 11 mins), a pre-school series based on the Julio Bunny children’s books.

Wissper (m4e-Telescreen)

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Product News DISTRIBUTION360 DRIVING Me Crazy (20 x 30 mins),

UNION MEDIA ANIMATION producer Lupus Films and production partner Walker Productions have set

produced by marblemedia for YTV and brought to MIPTV by Canada’s Distribution360, is a series featuring driving courses for rookie tween/teen drivers. Each contestant is accompanied by a family member who helps them prepare for the Ultimate Driving Test which is graded by a strict evaluator.

Winning contestants are rewarded with the keys to the family car.

up Bear Hunt Films to produce animated special We’re Going On A Bear Hunt, to be distributed worldwide by Union Media. Based on the children’s book by Michael Rosen and illustrated by Helen Oxenbury, We’re Going On A Bear Hunt will air on the UK’s Channel 4 at the end of this year, followed by a cinema release in 2017. When Stan, Katie, Rosie, Max, the baby and Rufus the dog are left home alone one day before Christmas, they decide it would be fun to go on a bear hunt, spurred on by Katie’s love of grizzly bears.

BBC WORLDWIDE BESTSELLING author and screenwriter Anthony Horowitz is behind the new BBC One investigative drama, New Blood, which has begun filming and is brought to MIPTV by BBC Worldwide. Created and written by Horowitz and produced by Eleventh Hour Films, New Blood is a 7 x 60 mins series starring Mark Strepan (Stefan) and Ben Tavassoli (Rash) as junior police investigators who work in collaboration with the Serious Fraud Office in London. Rash and Stefan are opposites in almost every way — one is Polish British and the other Iranian British — but they share the same frustrations with life. Their friendship strengthens over the series and they come to understand that they make a New Blood (BBCWW) formidable crime-solving force.

Driving Me Crazy (Distribution360)

FRANCETV DISTRIBUTION MYSTERY In Paris (3 x 90 mins) is a prestigious new series of historical thrillers brought to MIPTV by Francetv Distribution. The stories include: Mystery At The Moulin Rouge, a blend of musichall and fast-paced intrigue; Mystery At The Tour Eiffel, about the mysterious death of engineers during the inauguration of the Eiffel Tower at the World’s Fair in 1889; and Mystery At The Opera, about the death of an usherette in a box at the opera house before a performance of Carmen. Francetv Distribution holds international distribution rights.

Mystery In Paris (Francetv Distribution)

DANDELOOO HIGHLIGHTS from the Paris-based Dandelooo

MEDIA IM LONDON -based distributor Media I.M.

production slate include: Ernest And Celestine, about a rather large bear — who’s a street musician and a clown — who lives with Celestine, a mischievous little mouse; Treehouse, about four friends who meet up in a secret tree house and immerse themselves in the world of children’s literature; and Moustique, Cigale & Cambriole, about a boy who spends the summer with his grandmother only to find that she is a seasoned robber. From the distribution catalogue comes: Rita & Croco, about an imaginative little girl who shares her bathtub with a hungry crocodile who plays an important part in her life, even though he’s not real; and Bitkiz, about, Mia, Pete and Al who live in the SunnyDay shopping centre, which becomes their playground at night.

brings Sunny Bunnies (26 x 3:30 mins) to MIPTV, a non-dialogue CGI animation comedy aimed at kids four to seven and produced by Belarus-based Digital Light Studio. The Sunny Bunnies are five beaming balls of light that can appear anywhere there is a light source, whether it is sunlight or moonlight. Each episode is in a different location, including a circus, a stadium, a carousel, a park and a stage. At the end of each episode there is a fun collection of bloopers.

Ernest And Celestine (Dandelooo) preview magazine I March 2016 I www.miptv.com

Sunny Bunnies (Media I.M.)

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Product News CREATIVE MEDIA PARTNERS SINBAD & The 7 Galaxies (26 x 11 mins)

ZDF ENTERPRISES (ZDFE) THE FALL (11 x 60 mins/HD) is

is the first title brought to Cannes by recently formed Creative Media Partners. The HD CGI comedy series chronicles the intergalactic adventures of Sindbad, an extra-terrestrial who lives on earth in the guise of a 14-year-old boy. He lives a normal life doing normal teen things, yet he has special powers and a spaceship in his basement, in which he and his pals embark on missions to save the seven galaxies from disaster. Sindbad & The 7 Galaxies is distributed globally by Your Family Entertainment except for Asia which is managed by Lightning International.

an investigative series starring Gillian Anderson, which follows Detective Superintendent Stella Gibson on the trail of a serial killer who is preying randomly on people in Belfast, Northern Ireland. Further titles from ZDFE include: crime series The Inspector And The Sea (6 x 60 mins/HD), set in a seemingly quiet medieval town on a Swedish island which is beset by evil happenings, and based on the novels of Mari Jungstedt; two seasons of House Husbands (48 x 45 mins/HD), a comedy set in Melbourne, Australia, about four modern families with one thing in common, the men are in charge of raising the kids; Scream Street (52 x 11 mins/HD), a scary stop-motion kids’ animation; three seasons of Wolfblood (39 x 26 mins/HD), a live-action supernatural series; and kids’ animation Coconut, The Little Dragon (104 x 12 mins/HD).

The Inspector And The Sea (ZDFE)

LAGARDERE STUDIOS DISTRIBUTION FRANCE’s Lagardere Studios Distribution Sinbad & The 7 Galaxies (Creative Media Partners)

LINEUP INDUSTRIES AMSTERDAM -based distribution company Lineup Industries is bringing a reality series about the Gold Coast University Hospital and the Queensland Ambulance service to MIPTV. Gold Coast Medical (13 x 60 mins), produced

by McAvoy Media, airs on Network Seven in Australia. The observational series includes the work of paramedics and trauma teams (featuring access to dramatic emergency calls), cardiologists, obstetricians, neurosurgeons, plastic surgeons, paediatric nurses and oncologists.

Gold Coast Medical (Lineup Industries)

brings a slate of drama series to MIPTV. Beau Sejour (10 x 52 mins) is a Flemish noir thriller about a young girl who sets out to solve her own murder case — despite the fact that she’s dead.

Cannabis (6 x 52 mins) is a fast-paced thriller about the marijuana trade which from cultivation to distribution and sale makes big traffickers rich, lets small dealers and growers earn a living and though supporting whole families, can also ruin lives. Brothers United (20 x 52 mins) is about the love between two brothers, success and failure in the world of football and about growing up and facing hard choices. A second season is in production.

Beau Sejour (Lagardere Studios Distribution) preview magazine I March 2016 I www.miptv.com

TCB MEDIA RIGHTS MONEY For Nothing is a new daytime series for the UK’s BBC1, produced by Glasgow-based Friel Kean and brought to Cannes by TCB Media Rights. In each show presenter Sarah Moore saves three things from being dumped at the rubbish tip, transforms them into bespoke and therefore more valuable pieces, then returns the profits back to the people who had no idea there was cash to be made from their trash.

Money For Nothing (TCB Rights)

WORLD CLASS CONTENT RAISING POMPEII

THE INDIAN DREAM HOTEL

THE WORLD’S BEST RESTAURANTS

GET ME TO THE CHURCH ON TIME

IMPOSSIBLE ENGINEERING

EXTRAORDINARY ANIMALS

1 x 60 60’ for ITV1 (UK) / CBC (Can) / Canal D (Can)

6 x 60’ for UKTV (UK)

Series 2: 8 x 60’ for UKTV (UK)

3 x 60’ 60 / Format for BBC2 (UK)

6 x 60’ 60 / Format for UKTV (UK)

4 x 60’ for BBC2 (UK)

www.twofour-rights.co.uk | sales@twofour-rights.co.uk LONDON | LOS ANGELES

MIPTV 2016 Stand No: P-1.A94

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Product News ZODIAK KIDS ZODIAK Kids brings new series Magiki to MIPTV, a 52 x 11 mins animation series for the Gulli channel in France and the Super channel in Italy. The series is an upper-pre-school series that tells the story of a seven-year-old girl named Billie, who when treated unfairly by her older sisters uses a magic key to travel to the enchanted land of Magiki where she is the beloved princess and her friends and toys her loyal subjects.

Magiki is based on a range of figurines produced by DeAgostini.

Fit For Fashion

BOMANBRIDGE MEDIA (Bomanbridge Media) FIT FOR Fashion (season 1, 10 x 60 mins/season 2, 10 x 60 mins) is a reality show

Magiki (Zodiak Kids)

that takes 14 ordinary men and women from around the world and attempts to transform them into fit, stylish and confident individuals through a competition covering physical and fashion challenges. There’s style advice and coaching from Louise Roe, the host; motivating workouts created by celebrity trainers Mitch Chilson and Christine Bullock; and high-end fashion photography by Todd Anthony Tyler. The Singapore-based distributor also brings The Apartment (10 x 60 mins), a competition that pits celebrities from the worlds of television, music, high fashion and film against each other in a home design challenges, for a prize of $100,000 for their chosen charity. Challenges are set by designers Jamie Durie, Andrea Savage and Laurence Llewelyn-Bowen.

UPSIDE DISTRIBUTION UPSIDE Distribution presents three original productions made for Canal+ at MIPTV. Reset is about Benjamin Millepied’s first creation for Opera National de Paris; Coach Me If You Can, is about legendary coaches Toni Nadal (Rafa Nadal’s coach), Carlo Ancelotti (Milan AC, Chelsea, PSG, Real Madrid), Claude Onesta (Handball gold medalist and world champion with the French national team), Huand Yubin (China gymnastics team) and Graeme Henry (All Blacks rugby); and 16 Sunrises follows Thomas Pesquet and Peggy Whitson on their Space Station mission. The French distributor also brings Hitler’s Bankers and several new projects including documentaries The Tragedy Of International Brigades, Wildlife In South Africa, Space Tomorrow (6 x 52 mins) and a biography of Jean Paul Belmondo, produced for ARTE.

CINEFLIX RIGHTS LONDON -based Cineflix Rights brings

GRB ENTERTAINMENT PRIORITIES for GRB Entertainment at MIPTV include: One Bad Choice, featuring

reality series Hell’s Satans (8 x 30 mins) to MIPTV. Hell’s Satans is a 20-something moped gang from Richmond, Virginia for whom being rowdy is a virtue and getting thrown out is as much fun as the party itself.

Whether they’re on a ride, at a bar, or hanging out at their skate-park clubhouse, the Satans keep boredom at bay with elaborate pranks, outrageous stunts, and plenty of booze. No one has a regular job, they just care about revving their tiny engines and refusing to grow up.

stories from young people who each made one single, terrible decision that irrevocably changed their lives forever — including a high school student who took drugs and whose best friend suffered dire consequences and a teenager who became unwittingly involved in a robbery that ended in tragedy. Nelson Serrano: I’m Innocent, is about businessman Serrano who was convicted of murdering four people in Florida and was sentenced to death by lethal injection. Secret Guide To Fabulous covers many aspects of life including whipping up a gourmet meal, refining your personal style, picking the perfect gift or One Bad Choice (GRB Entertainment) managing life on social media.

Hell’s Satans (Cineflix Rights)

preview magazine I March 2016 I www.miptv.com

GLOBAL SCREEN PRESENTS INSPIRED BY A TRUE STORY

COMING SOON

Rivals Forever THE SNEAKER BATTLE

COMING FROM

WIEDEMANN & BERG, THE PRODUCERS OF ACADEMY AWARD ® WINNING “THE LIVES OF OTHERS” WRITTEN BY INTERNATIONAL EMMY ® AWARD WINNER CHRISTOPH SILBER

EVENT MINI SERIES | 2 x 90 min or 4 x 45 min ADIDAS VS. PUMA THE BATTLE OF TWO GLOBAL BRANDS

RIVALS FOREVER is inspired by true events and tells the exciting story behind the global brands Adidas and Puma, one of the greatest success stories of German industry, set against the backdrop of the rising Nazi regime. At the same time, RIVALS FOREVER also is a gripping and dramatic family saga, full of love, friendship, mistrust and intrigue and who casts a light on the beginning women’s movement.

ANNA LOOS

THOMAS THIEME

BURGHART KLAUSSNER

DIRECTED BY FRIEDEMANN FROMM THE SHARPEST COP ON THE BOSPORUS

ELECTORAL CAMPAIGN IN BERLIN.

LET THE DIRTY GAME BEGIN.

MOVIE COLLECTION

CRIME COLLECTION | 16 x 90 min A sensational homicide series featuring German star Erol Sander as dashing detective Mehmet Özakin, solving crimes and turning ladies’ heads amid the spectacular scenery on the Golden Horn.

Produced by Ziegler Film.

MINI SERIES | 6 x 45 min A gripping thriller about the game of power, directed by Friedemann Fromm (“Weissensee“), starring Anna Loos (“Night Over Berlin”, “Anatomy“), Thomas Thieme (“The Lives of Others“, “The Door“) and Burghart Klaussner (“The White Ribbon“).

Produced by Real Film Berlin.

MEET US AT MIPTV 2016 Booth: P-1.K1, Hall: Palais-1 | info@globalscreen.de | www.globalscreen.de

CG ANIMATION | 26 x 24 min A visually stunning animated series bursting with suspense, excitement and magic, SHERAZADE features lovable largerthan-life heroes, who set out on a courageous quest to save their kingdom and return the rightful Sultan to the throne.

Produced by Hahn Film, Chocolate Liberation Front and Toonz Entertainment.

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Product News PROPER RIGHTS PROPER Rights is launching several new titles at MIPTV, including: Holmes And Holmes (6 x 60 mins), which follows home-improvement contractor Mike Holmes and his son Michael as they transform a modest bachelor bungalow into the perfect, two-storey home for Michael and his girlfriend; Justice For MLK: The Hunt For James Earl Ray (2 x 60 mins/1 x 120 mins), a documentary telling the story of the assassination of Martin Luther King Jr and the desperate search for his killer; and How Hard Can It Be (14 x 30 mins), a comedic factual series following Andrew Younghusband as he experiences the toughest, oddest, most dangerous jobs and pastimes with the help of experts.

ARTE CULTURE specialist ARTE has recently begun distributing drama and in Cannes is highlighting its latest film starring Isabelle Adjani. In Carole Mathieu, Adjani plays a physician employed in a call centre who has become emotionally involved in the suffering of her humiliated coworkers who are exposed to both physical and emotional violence.

Powerless to stop the endless flow of employees that come to see her on a daily basis, she decides to take action.

PORTFOLIO ENTERTAINMENT PORTFOLIO Entertainment is launching its

Holmes And Holmes (Proper Rights)

THE JIM HENSON COMPANY THE JIM Henson Company and Herschend Enterprises are in production on 80 x 11 mins series Splash, a new CG animated comedy series for kids ages four to seven, set in the undersea world and using the Henson Digital Puppetry Studio. Splash debuts later this year on PBS Kids in the US and other platforms worldwide. Splash, a yellow Splash (The Jim Henson Company) fusilier fish, has traveled across the oceans before settling down with his family in Reeftown, where he befriends three inquisitive fellow sea creatures.

Together the friends explore the oceans, where they meet wildly diverse marine animals and discover otherworldly undersea habitats.

newest acquisition, Do You Know? (25 x 15 mins) at MIPTV. Commissioned by the UK’s Cbeebies, pre-school series Do You Know? features YouTube star Maddie Moate, as she answers pressing questions such as how does a toilet flush?, how are ice cream cones made? and how does a cat’s tongue work? Other highlights from Torontobased Portfolio’s catalogue includes: animations series Freaktown (26 x 30 mins/52 x 11 mins); food and travel show You Gotta Eat Here! (130 x 30 mins), including a best-of compilation (16 x 30 mins); and pre-school animation series The Cat In The Hat Knows A Lot About That! (60 x 30 mins/120 x 15 mins and 4 x 60 mins); and Doki (52 x 30 mins/104 x 11 mins and 3 x 30 mins).

NEWEN DISTRIBUTION NEWEN Distribution is launching mini-series Beyond The Walls, a fantasy tale that follows the destiny of a young woman who travels through time and space, from creator and showrunner Herve Hadmar. The French company also brings: police series Candice Renoir, now airing in eight countries, the fourth season brings the total number of episodes to 38; Ouro, billed as a modern-day western series set in the Amazonian jungle; the fifth season of comedy series Loopdidoo which is due for completion later this year, bringing the total number of episodes to 260; and 26 new episodes of adventure series The Mysterious US Cities Of Gold, with episodes set in Japan, India and the Middle East.

preview magazine I March 2016 I www.miptv.com

Do You Know? (Portfolio Entertainment)

WWW.STARMEDIAFILM.COM

/STARMEDIA

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Product News GO-N PRODUCTIONS NEW TO market from France’s Go-n

Brace For Impact (Incendo)

INCENDO INCENDO returns to MIPTV with its newest drama Brace For Impact. Sofia, a disgraced flight crash inspector, breaks protocol to investigate the plane crash that killed her brother. Trusting no one, she sets out to uncover the truth, but it’s a race against time to avoid jail before she solves her brother’s death. New films and television series also on the Canadian distributor’s roster include: Swept Under, starring Devin Kelley; Amber Alert, starring Alaina Huffman; Crossfire, starring Roxanne Mckee; and the television series Versailles, staring George Blagden as Louis XIV, co-produced with CAPA Drama and Zodiak Fiction.

TECHNICOLOR BEAR, Bud & Boo is an original comedy series for children four-to-seven years-old.

Technicolor Creative Development and Brown Bag Films have partnered to produce the series. Bear, Bud & Boo is about the friendship between three bears, one of which is actually a boy in a bear suit who thinks he’s a bear. Technicolor and Brown Bag Films will co-produce 52 x 11 mins episodes and is launching the project at MIPTV.

KESHET INTERNATIONAL THE SIX-part, one-hour series The A Word is co-produced by Fifty Fathoms (Fortitude) and Keshet UK for BBC One and is based on the Keshet International and July August Productions’ series Yellow Peppers, created and written by Keren Margalit, who is also executive producer on the UK series. The A Word is about a messy, extended family with a child newly diagnosed with autism at its centre. The family consists of a mid-30s couple, their teenage daughter, and fiveyear-old Joe who lives in a world of routine, set to a soundtrack of punk, new wave and The A Word (Keshet International) indie music. preview magazine I March 2016 I www.miptv.com

Productions is pre-school book-based property, Simon (52 x 5 mins), about a playful young rabbit. Produced in partnership with France Televisions for France 5, the series is due for delivery towards the end of this year. The series has already pre-sold to TeleQuebec in Canada and YLE Finland. Another series currently in production is Tib & Tumtum (52 x 13 mins), in partnership with TF1, about a pre-historic kid and his dinosaur friend. Other titles from Go-n include: a new season of Tootuff (75 x 7 mins) — originally entitled Titeuf — about life and friends of the 10-yearold star, originally found in comic books; Zip Zip (52 x 13 mins), in which wild animals disguise themselves as pets for an easier life: The Large Family (52 x 13 mins), about an elephant family; and space-dog stories in Commander Clark (50 x 13 mins).

Simon (Go-n Productions)

KOKO ROSE MEDIA THE TRAILER of new pre-school TV show Deer Little Forest can be viewed on a newly launched app built for the multiplatform project. Deer Little Forest stars young Flo and her band of charming, silly, helpful and wise woodland friends.

Created by Boston-based Playrific, the app also features match-three games, puzzles, colouring pages and drag-anddrop. It also contains a digital picture book and a card-making game, based on greeting cards by project creator Jo Rose. Deer Little Forest is brought to MIPTV by the UK’s Koko Rose Media.

Deer Little Forest (Koko Rose Media)

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Product News ALL3MEDIA INTERNATIONAL CLOSE To The Enemy (7 x 60 mins) is debuted at MIPTV by all3media. A miniseries written and directed by Stephen Poliakoff (Dancing On The Edge, The Lost Prince), the thriller features a cast of European stars including Jim Sturgess, August Diehl, Aleksandar Jovanovic, Angela Bassett, Robert Glenister, Alfie Allen and Alfred Molina. Set in London in the aftermath of World War II, Close To The Enemy follows a British intelligence officer who’s last task for the army is to ensure that a captured German scientist hands over secret military technology crucial to national security. The officer employs unorthodox methods in his attempt to convince the scientist to work for the British, and discovers that his involvement in the Nazi war machine may be more than it initially seemed.

Close to The Enemy (all3media International)

Fargo (MGM Television)

MGM TELEVISION NEW FROM MGM Television at MIPTV is producer Mark Burnett’s first unscripted dating series, which was recently picked up by Fox in the US for 10 episodes. The untitled project features single men and women who, after face-to-face meetings, pick a mate based solely on instant chemistry, aiming to take the concept of modern digital romance to the next level. Also on the MGM slate comes: the third chapter of the critically acclaimed Emmy and Golden Globe Award-winning mini-series Fargo (20 x 60 mins); the Celebrity Apprentice franchise, which pits actors, musicians, athletes and politicians against one another in business-related tasks; the fourth season of international hit Vikings (29 x 60 mins); and a bigger-than-ever fifth season of the MTV show Teen Wolf (80 x 60 mins).

NHK A CENTURY On Film (6 x 52 mins),

HG DISTRIBUTION QUEBECOIS distributor HG Distribution returns to MIPTV with Le Chalet (26 x 30

produced by NHK, is an archive history of life from the early 20th century to the present day, using footage secured from more than 500 film archives from 40 countries, totalling 20,000 hours. Using the latest digital restoration technology, the series features newly discovered film clips from the first World War.

mins), seasons one and two, with a 20-episode third series in production. Every year five long-time friends — Sarah, Lily, Francis, Charles and Antoine — meet at the chalet for the ski season. The surprise arrival of a sixth roommate, Catherine, causes disruptions in the group.

A Century On Film (NHK)

STUDIO 100 MEDIA MUNICH -based Studio 100 Media offers

Arthur And The Minimoys (Studio 100 Media) preview magazine I March 2016 I www.miptv.com

new CGI animation series Arthur And The Minimoys — The Series (26 x 26 mins) at MIPTV. Also known as Arthur And The Invisibles in North America, the series is based on Luc Besson’s children’s book and feature film.

Targeted at five- to nine-year-olds, the series follows the adventures of an average little boy who falls into a vivid world of magic, fantasy and action.

Arthur discovers a passage while staying at his grandmother’s house that enables him to become a Minimoy — a tiny being — and explore their world.

Studio 100 retains all media rights except for GSA, Italy, CIS and France.

Canada MIPTV 2016

See. Hear. Experience.

VR worlds at the Canada Pavilion Stand P-1.A51 April 4-6, 2016

Š DEEP Inc.

VR creators making waves in Canada MIP Digital Fronts Agora Palais 01 Tuesday April 5, 2016 From 11:45 to 12:15

Meet. Greet. Network. at the Canada reception Tuesday April 5, 2016 from 17:00 to 19:00 Canada Pavilion, P-1.A51

#EyeOnCanada canada-miptv2016.ca

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La Famiglia (Armoza Formats)

© Photo: Tal Shahar

Product News

ARMOZA FORMATS AS PART of its drama offering Armoza Formats brings new Israeli comedy La Famiglia (30 x 30 mins) to MIPTV. The series follows a couple through their therapy sessions, during which the funny incidents from their family life are revealed. Aired on Israel’s Channel 10 it has already received a second season commission.

TF1 A LEADING title for French broadcaster TF1 at MIPTV is La Vengeance Aux Yeux Clairs/Bright-Eyed Revenge (8 x 52 mins), starring Laetitia Milot, Claire Borotra and Bernard Yerles. The story follows Olivia, who 10 years after miraculously surviving a murderous car accident that killed her mother and brother, and secretly taking on a new identity, returns to the French Riviera to take revenge on the people who assassinated her family. This brings her face-to-face with a powerful mafia ring which she infiltrates, eventually becoming the lawyer of the wealthy Chevalier clan. Olivia is convinced they played a part in her family’s murder and has to find out who and why.

ORANGE SMARTY ORANGE Smarty is at MIPTV with distribution rights to ITN Productions’ documentary How The Rich Live Longer. The show, which aired on the UK’s Channel 4, features Dr Christian Jessen (Embarrassing Bodies), and explores the health industry that focuses on keeping the wealthy fit and well, including high-end detoxes, medical MOTs and new-fangled therapies. Based in Brighton, UK, the distributor is also highlighting six-part series Stop! Roadworks Ahead, made for the UK’s Channel 5.

ENDEMOL SHINE INTERNATIONAL ENDEMOL Shine International brings a slate of drama programming to Cannes, including Dark Angel (3 x 60 mins), in which Joanne Froggatt (Downton Abbey) plays notorious Victorian serial poisoner Mary Ann Cotton, a troubled woman who made a career of casual murder, while her loved ones and friends — who were also her victims — never suspected her crime. Also on the priority list are: Turkish drama Intersection (Kordugum/13 x 120 mins), a story that examines contemporary relationships, the distinction between rich and poor and the financial and moral commitments of love; Mossad 101 (season 1, 14 x 60 mins/season 2, 13 x 60 mins), an action drama centred around the training course for the Mossad secret service; Swedish drama Spring Tide (10 x 60 mins), about the brutal murder of a pregnant woman buried alive on a beach; and family comedy Flowers (6 x 30 mins). The company also brings returning seasons of The Fall, Peaky Blinders, The Tunnel, Grantchester, Kingdom, The Third Eye, Archer, MasterChef UK, MasterChef USA, My Kitchen Rules, So You Think You Can Dance, Anthony Bourdain: Parts Unknown, One Born Every Minute UK, The Island with Bear Grylls UK, The Biggest Loser USA and Ink Master.

IGMAR RUSSIA’s Igmar returns to Cannes to showcase the animated feature True Stories Of Baron Munchausen. The film follows the adventures of the bizarre Baron and his ability to pretend to be the hero of all sorts of well-known tales.

La Vengeance Aux Yeux Clairs (TF1)

True Stories Of Baron Munchausen (Igmar) preview magazine I March 2016 I www.miptv.com

Dark Angel (Endemol Shine International)

Come visit us at MIPTV booth P-1.C90 fredmedia.com.au

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Product News CAKE BOTTERSNIKES And Gumbles is a 52 x

FRED MEDIA A TOP MIPTV priority for Australia’s Fred

ORF AUSTRIAN broadcaster ORF is highlighting

11-mins CGI series aimed at six- to nineyear-olds. It follows the Gumbles — who can squash and stretch into any shape without being hurt — around their junk valley while avoiding their grumpy neighbours, the Bottersnikes.

Produced by Cake, Cheeky Little Media and Mighty Nice Productions, Bottersnikes And Gumbles is a Netflix original title co-produced with CBBC in the UK and Seven Network in Australia.

Media this year is the reality series, Operation Thailand. The programme follows a diverse group of people who travel to Thailand, combining cosmetic surgery with a luxury vacation. They turn to each other for support through the tough times and relax in five-star resorts during their recovery. With radical alterations to their appearance, will they be happy with the results? Pre-sales have been secured in over 40 territories.

its single-camera half-hour comedy format series Braunschlag at MIPTV. A US adaptation called Hail Mary is under way, about young female mayor Mary Wolf, who juggles dysfunctional siblings, a dying father, disgruntled citizens, a nearly bankrupt town and the mafia. The only thing that saves her and her small town is a faked miracle. Author of the US coproduction from ABC Studios and Sony Pictures Television is Brian Gallivan (creator of The McCarthys). Seth Gordon (SPT-based) directs the pilot and Tariq Jalil (Agency Intrigue) is executive-producer.

Bottersnikes And Gumbles (Cake)

Operation Thailand (Fred Media)

Braunschlag (ORF)

INDIACAST KRISHNDASI (130 x 60 mins/HD) is a story about Radha, a college

STARZ WORLDWIDE DISTRIBUTION STARZ Worldwide Distribution is at MIPTV with four new made-for

student who is troubled by the fact that she has never known her father and furthermore, the man she loves belongs to the family that was responsible for her family’s destruction. Other priorities from a library of over 30,000 hours held by distributor IndiaCast — a company jointly owned by TV18 and Viacom19 — include: Meri Aashiqui (450 x 30 mins/HD), about the son of the driver at a rich house who is secretly in love with the daughter of the family; Thapki (284 x 30 mins/HD), about a young girl with a stammer who after many disappointments becomes an intern in a prestigious news channel; Chakravartin Ashoka Samrat (20 x 60 mins and further episodes of 30 mins/HD), the story of Ashoka the Great, the emperor who created the nation of India; and Swaragini (298 x 30 mins) about two rival families living in Kolkata.

television movies. The first three are holiday-focused. Christmas Land features a successful New York businesswoman who is left a themed holiday village and tree farm by her grandmother. She then has to decide whether to sell it to developers or work with a charming lawyer to rebuild the magic. 12 Gifts Of Christmas features Anna, an unemployed painter, who is hired as a personal Christmas shopper for Marc, an uptight corporate exec. Marc learns the importance of giving, while Anna discovers she might find success as an artist in a way she never expected. In I’m Not Ready For Christmas the nine-year-old niece of career-driven Holly makes a christmas wish that sends Holly on a quest to rediscover herself. In contrast, Betrayed is a thriller that follows a girl who discovers that her new stepfather may be cheating on her mother.

Krishndasi (IndiaCast)

Christmas Land (Starz Worldwide Distribution) preview magazine I March 2016 I www.miptv.com

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Product News ENTERTAINMENT ONE (EONE) TORONTO -based eOne is highlighting two new series in

MADHU ENTERTAINMENT & MEDIA NEW BOLLYWOOD movies made

Cannes. You Me Her (10 x 30 mins) is billed by the company as a “polyromantic comedy”, when what begins as an impulsive date between suburban husband Jack (Greg Poehler) and escort Izzy (Priscilla Faia) spins into a whirlwind three-way affair including Jack’s wife Emma (Rachel Blanchard). Inspired by an article in Playboy magazine written

by John Richardson, You Me Her was created and written by executive producer and showrunner John Scott Shepherd.

EOne finances, produces and distributes the series worldwide. Private Eyes (10 x 60 mins) stars Jason Priestley as Matt ‘Shadow’ Shade, an expro athlete who is now a crimesolving PI along with his smart partner Angie Everett, played by Cindy Sampson (Rogue, Rookie Blue). Private Eyes is produced by eOne in association with Shaw Media, with the participation of the Canada Media Fund, Cogeco Program Development Fund, and the Canadian Film or Video Production Tax Credit.

You Me Her (eOne)

for television are brought to MIPTV by India’s Madhu Entertainment & Media. Titles include: All Is Well, which follows a dysfunctional family on the run, who have to learn a lot about each other in extreme circumstances; Sanam Re, about an ambitious man who surprisingly finds his childhood love, only to face a difficult decision; Loveshhuda, All Is Well (Madhu Entertainment & Media) aimed at a youth and family audience, about a budding relationship; and The Shaukeens, about three childhood male friends who decide to go on a holiday to Mauritius, only to find that Bollywood superstar Akshay Kumar is visiting the island as well.

RED ARROW INTERNATIONAL TITLES topping the MIPTV drama slate from German distributor Red Arrow International include the second season of crime series Bosch (10 x 60 mins), starring Titus Welliver as Californian homicide detective Harry Bosch. The series is based on Michael Connelly’s internationally best-selling novels, and stories in the series are drawn from the novels Trunk Music, The Drop and The Last Coyote. Case (9 x 60 mins), is a new Icelandic psychological crime thriller, beginning when a promising young ballerina is found hanged on the main stage of the National Theatre.

Cleverman (6 x 60 mins), is a new drama for ABC Australia and SundanceTV, set in the near future and starring Iain Glen and Frances O’Connor, and featuring creatures and effects by Oscarwinning Weta Workshop. And The Romeo Section (10 x 60 mins), is an espionage thriller set in Vancouver.

CANAMEDIA A NEW series brought to MIPTV by Canamedia provides a behindthe-scenes view of the hazardous world of bridge painting. Bridge Brothers (13 x 60 mins/HD) explores the camaraderie of a crew of industrial bridge painters in the US, who sandblast through layers of hazardous coatings and damaging corrosion to repaint these enormous structures. Other priorities for the Canadian distributor include: Liquid Edge (10 x 60 mins/HD), which follows watersports action from around the world, including big wave surfing, kiteboarding, jetskiing, windsurfing, stand-up paddling, free-diving, wakeboarding, cliff diving and whitewater kayaking; Supper Club (13 x 30 mins/HD), the second season of Top Million Dollar Agent (26 x 30 mins/HD); Health Wellness & Lifestyle TV (13 x 30 mins/ HD); and Caribbean Vibrations TV (13 x 30 mins/HD.) Bridge Brothers (Canamedia)

Bosch (Red Arrow International) preview magazine I March 2016 I www.miptv.com

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World Premiere TV Screening

Roots

preview magazine I March 2016 I www.miptv.com

Mark Wolper with Malachi Kirby who plays Kunta Kinte in Roots

History’s four-part retelling of the Roots saga gets its world premiere at MIPTV on Sunday, April 3. Alex Hayley published his epic novel Roots: The Saga Of An American Family back in 1976. One year later it was adapted for television and the result was a powerful mini-series that is still talked about today. Now, 40 years on it has been re-made as a four-night, eight-hour simulcast television event for History. Julian Newby reports

HISTORY will premiere Roots on Memorial Day, Monday, May 30. It will air over four nights at 21.00 and will be simulcast on A+E and Lifetime. Roots is an A+E Studios production in association with Marc Toberoff and The Wolper Organization, the company that produced the original series.

Among the numerous executive producers of the series is Mark Wolper, son of the late David Wolper who produced the original 1977 series.

Wolper has been approached countless times to produce a remake but has resisted until now.

“Well it is a hard act to follow, a frightening act to follow and an act to follow that I refused to do for many years,” Wolper told the MIPTV Preview. “Partly because, why touch or try to recreate probably one of the most successful television projects of all time? And why try to preview magazine I March 2016 I www.miptv.com

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News step into the shoes of my father who produced the original one, why take that added daunting challenge on? Add to those the fact that Alex Haley became a very close friend and so trying to honour what he did in the book yet again — now that’s three rather horrific reasons for not doing it again.”

Eventually, some four years ago, it was a younger member of the Wolper family who helped to change father Mark’s mind.

“I set my then 16-year-old son down to watch the original Roots which his grandfather produced. And it was a battle, a physical battle to get him to sit down and watch it. He did not connect with it at all. And when the show was over, he said, ‘Dad I understand why the story is important, but like your music which is from a different generation, this project didn’t connect with me’.”

It was at that moment that Wolper realised that it was important that he remake the series.

“There is a whole generation, probably a couple of generations, that do not know the story, that will not go back and watch the original because it’s dated, or they don’t even know about it,” he said. “And there is a whole generation of people and a whole nation, and maybe perhaps a whole world, that needs to know the story, this critical important story about what this nation was built on, the slave trade. It’s history, and we always must tell history over again. And if the story of Kunta Kinte is done in an entertaining and dramatic way that will connect with that broader audience and teach them that history, then that is a reason to do Roots again.”

The differences between the two are many and fundamental. The first was shot mainly in Hollywood; locations for the remake include South Africa and the state of Louisiana. And

for this new version, more is now known about the period.

“The central story of the characters is completely intact with Alex Haley’s book. We haven’t touched any of that, but we’ve corrected the history,” Wolper said. “And it’s not that Alex Haley made a mistake in the history, it’s actually the opposite. Because Alex Haley’s book and the mini-series were so incredibly, phenomenally successful, a whole couple of generations of historians, archaeologists and sociologists started exploring in greater detail than ever before the original village of Juffure where Kunta Kinte is from. As a result of that, there is much information that Alex Haley did not know because there wasn’t enough study or intelligence done on it. It wasn’t available.”

Then there is the structure of the production — this time there are four two-hour events each made with a different director, shown on consecutive nights. Plus there’s the backing of History. “So when I start talking it around that I’m going to do this again and History channel responds, now my ears pick up, that seems like a perfect partner. They have a whole historical department, the clear need to get the history right,” Wolper said. “So that seemed a very natural and strong partner. And then when we started talking and they said ‘You know what, we’re going to bring all of our network support under the A+E label — it’s going to be History, Lifetime and A+E all simulcasting this show.’ I go, ‘OK, now they’re bucking up, they’re serious about this’, so they were the trifecta as a partner for doing Roots again.”

“We are incredibly proud of Roots,” said Sean Cohan, president, international and digital media, A+E Networks. “It’s a story with

exceptional gravity, emotion and universality, which will impact viewers around the world.”

The series has been developed and produced by in-house production arm A+E Studios which, Cohan said, “we launched to better control our destiny, to produce and own our premium content. To that end, Roots is one of our biggest undertakings. It embodies the type of ambitious storytelling that A+E Studios is bringing to the global marketplace.”

Another nod to the original is the inclusion of LeVar Burton as one of the executive producers. Burton played Kunta Kinte in the original and went on to become a successful director, producer and educator. “That was important and there are a couple of things I wanted from him,” Wolper said. “One was to be sure that we were honouring the original, I wanted him to be a part of that because he became not only the face of it but also the spokesperson for it. That was critical. The other really important thing about LeVar Burton that people don’t realise is that four generations of American children learned to read because of a programme that he did called Reading Rainbow. He took all the success from Roots and Star Trek and converted it into being an educator in a significant way, so him being in the original Roots and also being about the education of youth in America, he was the perfect person to have as a producing partner with me.”

• The World Premiere TV Screening of Roots is at 18.15 on Monday, April 4 at the Grand Auditorium, after which members of the cast and production team will walk the red carpet to the MIPTV Opening Night party at the Grand Hyatt Cannes Hotel Martinez

miptv PREVIEW The official MIPTV preview magazine March 2016. 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 Jordan Carel, Nour Ezzedeen, Carole Peres Sub Editor Joanna Stephens Contributors Marlene Edmunds, Andy Fry, Bob Jenkins, Juliana Koranteng, Gary Smith 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 TV Division Sales Director Géraud de Lacombe Managing Director (UK / Australia / New Zealand) Simon Rhodes Director UK Sales – TV Division Matt Colgan Director UK Sales Music & TV Division Javier Lopez Senior Vice President Sales & business development Robert Marking VP Sales - TV Division José-Luis Sanchez Director of Visitors Sales Matthew Rosenstein 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, Cyril Szczerbakow 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 © 2016, Reed MIDEM Market Publications. Publication registered 1st quarter 2016. ISSN 1963-2258. Printed on PEFC Certified Paper ®

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Australia’s Wentworth: selling worldwide

DRAMA BUYING TRENDS

They’re all lining-up for drama With so many networks now using drama as events, acquisition is in vogue — even in the US where, traditionally, the big dramas have all been home-grown. Andy Fry reports

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OHN Landgraf, CEO of FX Networks and FX Productions, has been keeping tabs on the growing number of dramas in the US. His research shows that the number of scripted shows airing in the territory has risen from 211 to 409 since 2009.

Among the big beneficiaries of this increase are UK producers and distributors, which have been involved in 10% of this total.

PBS, for example, has been a big supporter of British drama, acquiring Downton Abbey and Wolf Hall from BBC Worldwide. It has now followed up by acquiring ITV’s lavish period drama Victoria, which follows the early years of Queen Victoria’s reign. Explaining the appeal, Rebecca Eaton, executive producer of PBS’ Masterpiece strand, says that Downton “proved that millions of viewers will turn up year after year for a beautifully crafted period drama. Victoria has it all: a riveting

script, brilliant cast and spectacular locations.

And it’s a true story! This is the programming Masterpiece fans love.”

The Brits are also breaking into other slots.

Esquire Network, for example, has acquired ITV’s Beowulf: Return To The Shieldlands, while MTV-owned Logo picked up Channel 4’s Banana and Cucumber.

“Victoria has it all: a riveting script, brilliant cast and spectacular locations. And it’s a true story! This is the programming Masterpiece fans love” Rebecca Eaton

preview magazine I March 2016 I www.miptv.com

AMC’s decision to come on board Channel 4’s Humans as a co-pro partner and A&E’s acquisition of Sky’s The Enfield Haunting and ITV’s The Frankenstein Chronicles (starring Sean Bean) demonstrate a continuing bond between the US and the UK. A&E’s executive vice-president and head of programming, Elaine Frontain Bryant, who negotiated the deal for the latter show, says “it uniquely merges classic elements from both the crime and horror genres, which pairs perfectly with A&E’s scripted slate”.

A big part of the British success story in the US is the emergence of SVOD platforms Netflix, Amazon and Hulu, which have cherry-picked many of the UK’s best scripted shows. Examples are Misfits (BBC to Hulu), Catastrophe (Channel 4 to Amazon) and Peaky Blinders (BBC to Netflix). Netflix chief content officer Ted Sarandos says the platform

was attracted to Peaky Blinders by its “compelling storylines, powerful performances and stunningly beautiful imagery”.

Cable channel SundanceTV has also decided to explore the potential for such shows. Titles picked up include French-language supernatural series The Returned, multi-language crime thriller The Last Panthers and Germanlanguage spy thriller Deutschland 83 (D83).

Christian Vesper, former senior vice-president of international programming, development, acquisitions and co-productions at the channel, says that, despite the language difference, D83 is “quintessential SundanceTV and the kind of out-of-the-box storytelling for which it’s known”.

Meanwhile, quality US shows continue to play a big part in the world’s free-to-air and payTV schedules. This is true both for networkstyle procedurals and the more edgy limited series produced by US cable channels.

In the UK, pay-TV channel Sky Living acquired Blindspot, Limitless and The Catch, three shows that debuted in the US. Sky Living rival, Viacom-owned 5, has picked up titles including Gotham, Heroes Reborn, Tut and The Shannara Chronicles. The latter, according to Channel 5 head of acquisitions Katie Keenan, is part of a strategy to rejuvenate 5* by adding a “growing number of young skewing programmes”.

In the UK market, these pay-TV channels now

have to face off against Netflix and Amazon for the rights to US shows. And there is further competition from fast-growing telco payTV platform BT. Recent deals that underline the competitiveness of the market include Amazon’s acquisition of UK rights to hot US shows such as Mr Robot, Into The Badlands and Outlander; and AMC’s decision to launch a UK network on BT, giving the platform exclusive access to shows including Fear The Walking Dead and future AMC titles.

UK free-to-air channels are also showing interest in good US series. Deals have included BBC Two’s acquisition of FX series American Crime Story, which looks at the famous OJ Simpson case. An FX to BBC Two deal is unusual, but it underlines the importance of shows that are capable of punching through. BBC programme acquisitions chief Sue Deeks calls American Crime Story “a totally absorbing dramatisation of a case seared into the public consciousness”.

Equally interesting was the deal that saw 5*’s free-to-air sibling Channel 5 acquire the relaunched X-Files from Fox. The UK is also buying more non-English language shows. The pioneer in this area is BBC Four, but it now faces competition for such titles from Sky Arts, ITV Encore, and Channel 4 and its on-demand platform Walter Presents.

The Bridge (Sweden/Denmark), The Young Montalbano (Italy) and D83 (Germany) have demonstrated that it is possible to get more

than a million Brits to watch a good subtitled show.

While US drama dominates the global trade in English-language content, the UK, Canada and Australia are also doing well with completed shows — sometimes because of their quality and sometimes because they offer a cheaper English-language option to US drama.

UK shows that sell widely include Sherlock, Call The Midwife, Mr Selfridge, Midsomer Murders, Doc Martin and Downton Abbey, while popular Canadian exports include Saving Hope, Rookie Blue and Orphan Black.

For Australia, a high-profile recent deal saw Sundance in the US pick up fantasy series Cleverman, an Australia/New Zealand coproduction. Other Australian shows to move the dial internationally include Home And Away, sold to Hulu US; Wentworth, sold to TV4 Sweden and MNET South Africa, among others; Rake, sold to broadcasters including Fox Africa; and Wonderland, sold

by Beta Film into numerous territories, including the US, Canada, Israel, Benelux and Scandinavia.

The Nordic Noir wave also shows no sign of losing momentum. After iconic titles The Killing, The Bridge and Borgen come Modus, Eyewitness, Acquitted, Jordskott, 1864, Follow The Money, Black Widows and Occupied. Channels that have dipped into the Nordic Noir pool on repeated occasions

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Feature include BBC Four and Franco-German broadcaster ARTE. ARTE, for example, has either acquired or co-produced series such as The Killing, Borgen, Broke and Occupied. It has also come in alongside DR in Denmark as a partner on Rides Upon The Storm, a new show from Adam Price at StudioCanal-owned production house SAM. Explaining the channel’s interest in the show, Olivier Wotling, ARTE France’s head of drama, says: “In 2007, DR produced the hugely successful drama series The Killing, which ARTE began to broadcast soon after. Then came Borgen, another great success for our channel, created and written by Adam Price.

Our drama department has been groundbreaking in promoting Scandinavian TV series, and one of our main goals is to support the production of European fiction and to engage in international co-productions with prestigious partners such as DR. So it was only natural that we wanted to work again with such a talented author as Price on his new project, which explores a world of spirituality and personal quests — two themes at the heart of ARTE’s drama department.”

Diane Reynald is director of acquisitions, international drama, in a department that is responsible for buying programming for Canal+, Canal+ Series, Canalplay, D8 and D17. The total number of hours acquired varies year-to-year “depending on the returning seasons we have already”, Reynald says. “But for next year we have 35 new series and mini-series for Canal+ and Canal+ Series. With the launch of Canal+ Series, we have been buying a lot more.”

The majority of shows come from the US and the UK. “However there are very good series coming from all over the world now,” Reynald adds. “The last two we broadcast were from Germany [D83] and Israel [False Flag]. Other titles that have worked well for us recently are Happy Valley [UK] and Gomorrah [Italy].”

In terms of her targets, Reynald says she is looking mainly for serialised shows that are innovative, with “new voices and new ways of telling a story”. She adds that genre is not so important: “It has more to do with the edge and the cast.”

As for changes in the way she does business, she says: “There are more countries and producers to follow since the quality of production and projects has improved everywhere.

One difference now is that we are doing more

BBCWW’s Sherlock, a UK hit that’s gone global

“We don’t know how people will watch TV in the near future, but I am sure drama will still drive the audience” Diane Reynald

pre-buys and trying to keep track of projects at a very early stage.”

Asked whether she expects the drama boom to continue, Reynald says: “We don’t know how people will watch TV in the near future, but I am sure drama will still drive the audience.”

A big change in the dynamics of buying dramas is that the SVOD platforms like to secure rights across multiple territories. This is encouraging some traditional broadcasters to go in pursuit of output deals, moving away from the acquisition cherry-picking that has characterised the market recently. In January, for example, pay-TV platform Sky and CBS Corporation announced a long-term licensing agreement for the Sky Atlantic channel to be the exclusive home of Showtime content across all its territories (the UK, Ireland, Italy, Germany and Austria). The deal will span all new and future series, including current hit preview magazine I March 2016 I www.miptv.com

Billions. Gary Davey, Sky’s managing director of content, calls it “one of the most important content deals Sky has ever agreed”.

A similarly significant deal in Germany saw broadcaster ProSiebenSat.1 acquire rights to Disney movies and TV series (titles include The Muppets, Code Black, Criminal Minds: Beyond Borders and Quantico). The agreement covers free- and pay-TV services and also gives ProSiebenSat.1 exclusive SVOD rights for its SVOD service Maxdome. Like the Sky/Showtime deal, this is a way of protecting ProSiebenSat.1 against the rise of the SVOD players. ProSiebenSat.1’s executive vice-president of programme acquisitions, Ruediger Boess, calls the deal “an important strategic step” that “strengthens our position for the long term”.

For EMEA content, one standout story of the last year or two is the production of Versailles, a French project shot in English. Networks to pick up the show range from Scandinavian premium pay service C More to BBC Two, BTV Bulgaria to ABS-CBN in the Philippines. In other words, a high-quality drama can sit in either pay TV or free TV and work in both Europe and Asia. It will be interesting to see how the BBC’s lavish War And Peace does in comparison.

Israeli drama is increasingly being picked up in its original form in addition to being bought

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FremantleMedia International’s Modus, new from the never-ending stream of hit Nordic Noir dramas as a format. A deal that perfectly encapsulates the new paradigm in international drama is Fox’s acquisition of Keshet International espionage thriller False Flag. The show will be aired in its original Hebrew form on FIC channels around the world, but adapted for the US. There are powerful regional variations that add another layer of intrigue to the acquisition business. Go to Japan and Korean shows are highly prized. Visit the Middle East or Eastern Europe and you’ll find Turkish drama performing strongly. In the Spanish- and Portuguese-speaking world, it’s Mexican, Colombian and Brazilian content that drives ratings.

Global demand for good drama has also enabled these pools of content to win new fans around the world. Eccho Rights-distributed Turkish drama Ezel, for example, has sold across Latin America and been a big hit in Indonesia. More recently, Eccho has sold another popular Turkish drama, Karadayi, to Mega in Chile and Telefe in Argentina.

Barbora Susterova, sales and acquisitions director, Latin America and Iberia, at Eccho Rights, says: “Turkish drama has really taken off in Latin America. The mixture of strong characters and engaging storylines appeals to the local audience and there are many similarities to the telenovela.”

Globo’s hit telenovela Precious Pearl has been

“I don’t think the current boom will end any time soon. Whether there is sufficient availability in the talent pipeline to uphold quality is a different matter” Sasha Breslau

selling to broadcasters as far afield as EPG in Korea and HRT Croatia. And Korean content has become the subject of bidding wars between online platforms in China. Last year’s big hit from KBS, The Producers, was sold to China’s online network Sohu for $2.4m.

Another popular Korean show, Pinocchio, is reckoned to have cost Chinese video-sharing website Youku Tudou $280,000 per episode.

As a general observation, China is emerging as one of the most exciting of all the drama-buying territories thanks to the expansion of its online platforms. LeTV, for example, has just acquired AMC series Into The Badlands from distributor eOne, showing that there are plenty of new frontiers left in drama distribution.

As head of acquired series at ITV, Sasha Breslau acquires content for ITV, ITV2, ITV3, ITV4, ITVBe and ITV Encore. In terms of volume, she acquires each year preview magazine I March 2016 I www.miptv.com

around “two-to-three new, first-run dramas across the portfolio, some library titles and relicenses of existing titles. Predominantly these come from the US and Canada, with occasional European drama series. Recent examples would be The Americans, Jordskott and Scorpion.”

She adds: “Since the launch of ITV Encore, our first premium pay channel, we have a greater interest in high-quality European drama series, particularly Scandinavian crime drama. [Aside from this] our needs have remained fairly stable for some time, although they may increase slightly over the coming 1218 months.”

Despite having so many channels, Breslau says ITV has not had an output deal in place with any of the studios for several years, preferring instead to cherry-pick individual titles. “Because ITV commissions much of its content within the UK, we neither have the slots or the need for volume across most of our suite of channels when it comes to acquired content,” she adds.

In terms of the trends affecting the business, she says: “OTT platforms are having the most immediate and obvious impact. On certain programmes, we are amenable to windowing with SVOD services. But Netflix and Amazon are such significant players now that they are competing for first windows on new drama, which has implications for us. However, we still perceive opportunities for partnership with these platforms.”

As for her view on the state of the international drama market, Breslau says: “If this is a golden age, it’s one that started some time ago. I think we’ve enjoyed brilliant, quality drama at home and from abroad for decades, although the cross-fertilisation of film talent is a more recent phenomenon and has helped contribute to the status accorded to drama series.”

Looking ahead, she adds: “I don’t think the current boom will end any time soon simply due to the proliferation of platforms with an appetite for brand-defining dramas. Whether there is sufficient availability in the talent pipeline to uphold quality is a different matter. As many have already noted, viewers only have so much time and dramas are a commitment. However, good shows tend to find their audience and, if they’re on the right kind of platform, will flourish — even if flourishing means a more select set of viewers. Not every drama can have the reach or impact of, say, The Walking Dead.”

MIP *

tv

You are invited to the MIPTV OPENING PARTY Monday 4 April 2016 Grand Hyatt Cannes Hotel Martinez – starting at 19.30

Featuring the 4K World Premiere of Moribito sponsored by

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© Photo: Xxxx credit

Feature

Lookout Point’s fashion drama series The Collection

FINANCING DRAMA

Paying for quality As the cost of making high-quality drama skyrockets, producers are being forced to stitch together complicated financial patchworks to fund it. Marlene Edmunds looks at the increasingly creative art of drama finance

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NE OF the more recent adventurers into the area of high-cost drama has been TV and film production trailblazer StudioCanal, now a leader in television and film production and distribution. StudioCanal has plans to deliver around 20 drama series a year, some local and some international. It is also among

the handful of French companies, including Gaumont, that has become part of a burgeoning France-US TV axis.

Romain Bessi, chief operating officer and chief financial officer for StudioCanal, notes that the group is planning on having at least 25% of its revenues in the next five years coming from drama series. With a phalanx preview magazine I March 2016 I www.miptv.com

of recently acquired production companies, it has plenty of creativity on hand to achieve this ambition. StudioCanal last year took a 25% stake in Guilty Party, a new UK producer dedicated to English-language co-productions. Guilty Party joins StudioCanal’s previously acquired drama production outfits, which include Tandem, Red and SAM

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Feature “We look at the competitive environment and sales forecasts, but also the human factors. We need to love the project and the team behind it” Emmanuelle Guilbart Productions. The last was built from scratch by StudioCanal and some of the top screenwriting talent in Scandinavia — Soren Sveistrup (The Killing), Adam Price (Borgen) and Meta Louise Foldager Sorensen (A Royal Affair).

Outside of commissioning fees and soft money, Bessi says that StudioCanal will be fully financing and distributing all the projects generated through its production companies. He adds: “The aim is to bring European series and formats to the rest of the world, partnering with American players when it makes sense.”

While StudioCanal’s investments have been mainly in Northern Europe, the company is clearly not finished with its M&A activity: Bessi says he is now exploring options in Southern Europe as well. And it clearly has expansion in the US in its sights: StudioCanal recently gave Tandem CEO Rola Bauer, a USEuropean co-pro trailblazer, a mandate to lead all of its production and co-production TV activities in the US market.

It is no secret that European players are mixing and matching financial strategies as never before. Take The Collection, the eight-part fashion-themed drama from UK independent

StudioCanal’s Romain Bessi

Bordertown, produced by Finland’s Fisher King Production

“The aim is to bring European series and formats to the rest of the world, partnering with American players when it makes sense” Romain Bessi Lookout Point, greenlit by Amazon Prime Instant Video and BBC Worldwide. The Collection marks the first time that Amazon has ordered a UK-created original — and the financing of The Collection is also breaking new ground. The partnership between Amazon, BBC Worldwide and France Televisions has Pinewood and the Welsh government providing further finance and services, as well as tax credits from both the UK and France. Simon Vaughan, CEO of Lookout Point, admits the funding “is intricate but it works, and is reflective of the kinds of financing models we are seeing emerging”.

The Collection is the first English-language co-production for France Televisions, which is the principle terrestrial platform attached to the series. “France Televisions has a new senior management team and this partnership between them, Amazon and the BBC is a major signal that they are in the business preview magazine I March 2016 I www.miptv.com

of producing English-language content for a global audience,” Vaughan says.

The first priority in a co-production is protecting the creative team — director, producer, scriptwriter — from being distracted by the financial aspects of the deal, Vaughan adds: “It has to be seamless and invisible. You make sure that all the partners know what they are going to get into, and that requires that all partners co-exist harmoniously.”

He adds: “You have to treat this complicated stuff as normal,” rather than approaching it as a necessary evil or a compromise. “Then you can pay attention to what really matters — and that’s the creative process.”

A mong The Collection co-production partners is Pascal Breton’s Federation Entertainment, launched as a mini-studio in 2014. Breton comes with a 25-year history of production and management credentials, including a stint as the former CEO of Marathon Images.

Breton notes that Victor, the new 13-episode medical drama developed in the US with Tim Kring (Heroes) and Carole Barbee (Dig), is a good example of how the mini-studio works when it comes to financing. At press time, Federation had France’s TF1 and Canada’s Shaftesbury on board as co-producers and cofinanciers for Victor, which is set to be delivered in mid-2017.

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Feature “Pay attention to what really matters — and that’s the creative process” Simon Vaughan this case, we helped YLE to finalise it and bring it to the international market.”

Lookout Point’s Simon Vaughan “It’s a modern American medical show but we financed 80% of it from Europe and the rest from the US, with the aim of selling it to the networks, platforms and wherever we can,” Breton says. “It’s a model we feel will allow us to finance a lot in Europe, and allows us to help American colleagues co-produce and invest in European co-productions. We can bring between 50% and 80% of the money to the table using this model — and with SVOD players, we anticipate a lot of room for growth.” Breton adds: “When you are a cable player, you don’t need more than eight shows a year. But for a platform, there is no limit to the number of shows that you can deliver.”

Federation has shown itself to be infinitely flexible when it comes to financing. Political thriller Marseille, Netflix’s first French drama, kick-started the company even before its official launch was announced. “Netflix put in all the money for Marseille, so they have the first window worldwide and now we’re starting the process of selling it in other windows, territory by territory,” Breton says.

The second season of The Bureau, to be finished and delivered before MIPTV, included financing by Canal+ as a co-producer, with Federation kicking in more money “to bring the show to a certain level internationally”, Breton says. At press time, season one and two had been sold to 12 countries.

Federation also provided 25% of the budget of Bordertown, a 10-episode co-production with Finnish public broadcaster YLE. The series, produced by Finland’s Fisher King Production, is set to air in the run-up to MIPTV. “It’s a cross between Millennium and the much older Twin Peaks in terms of ambition and atmosphere,” Breton adds. “In

There is no denying that the market dynamics are attracting new financing outfits, including boutique players such as About Premium Content (APC), a specialist in gap financing, sourcing and distributing content. Part of Nevision, APC was co-founded by former Zodiak Media chief financial officer Laurent Boissel and ex-France Televisions and Canal+ channels head Emmanuelle Guilbart.

At MIPTV, APC is launching Danish family series The Wish and pre-sales on Norway’s Valkyrien, Tordenfilm’s high-concept thriller for NRK. Valkyrien is funded through Nordisk Film & TV Fund, the Norwegian Film Institute, public broadcaster NRK, APC and Storyline Studios, with APC distributing. The drama is slated to premier on NRK in 2017.

Guilbart says that APC has access to whatever financial resources it needs for content investment, but that it operates with a boutique point of view. “Our producers like the fact that we try to come up with a tailor-made solution for each financing situation and that we don’t blindly apply standard recipes,” she says. “As a boutique, we also are building a TV-content supermarket in that we cherry-pick TV programmes that we like, made by people we like and with, of course, the potential to travel as a key investment criteria.”

APC uses a mixed strategy to choose clients, Guilbart adds: “We look at the competitive environment and sales forecasts, but also the human factors. We need to love the project and the team behind it.”

So what triggers enough interest to sink money into a project? “There are a lot of criteria,” Guilbart says, listing an original concept — “or a proven concept with a twist” — on and off screen talent attached to the project, and high production standards. “With gap financing, our investment, along or through our partner and shareholder Nevision, can be between 5% and 20% of the production budget, but there is always a case-by-case analysis of sales potential, deal terms and other relevant criteria.” preview magazine I March 2016 I www.miptv.com

THE RISE AND RISE OF THE FALL THE FOCUS of Artists Studios on the artists’ vision has given it one of the biggest hits in television in the last few years — The Fall. Set up in the UK in 2009 by Emmy Award-winning producer Gub Neal (Prime Suspect; Queer As Folk), the mini-studio has become one of the highest profile UK drama companies, with an emphasis on working with leading writers, directors and on-screen talent.

The BBC and RTE crime drama The Fall, starring Gillian Anderson and Jamie Dornan, is now going into its third season. It is filmed and set in Northern Ireland and was created, written and directed by Allan Cubitt, working with Artists Studios.

In 2014, Artists Studios became a part of Endemol Shine Group, but Neal says the company’s original vision remains intact. “We continue to be trusted to run our own business our own way,” he says. “The talent remains at the heart of everything we do, both commercially and creatively.”

He says, however, that working with Endemol Shine “brings with it huge creative opportunities” in terms of collaboration.

BBC and RTE crime drama The Fall

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Fox’s Red Band Society, a Beta Film format

INTERNATIONAL DRAMA

We all still love drama US shows like Breaking Bad, Mad Men, Game Of Thrones and House Of Cards may have pioneered today’s golden age of drama, but the EMEA is also playing a pivotal role in the genre’s current success. Andy Fry reports

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NTERNATIONAL drama series including The Bridge, Borgen, Spiral, Les Revenants, Gomorrah, Generation War, Deutschland 83, Magnificent Century, Grand Hotel, The Burning Bush, War And Peace, Versailles, Downton Abbey and Prisoners Of War have shown that creativity is not contained by territorial borders.

FremantleMedia director of global drama Sarah Doole says: “US drama is still very strong, but now you are seeing a lot more European dramas appearing in major slots around the world.

In particular, a growing number of European dramas are finding their way into the US cable market. Who would have thought that a

German-language drama like Deutschland 83 could play in the US [on Sundance]? Or that it

“The reason shows like D83 and The Bridge are working so well outside their domestic markets is that they give audiences an insight into a different culture and mindset” Sarah Doole

preview magazine I March 2016 I www.miptv.com

would attract more than one million viewers at 21.00 on Channel 4 in the UK?” Part of the reason for this surge in great shows is that there are more slots that need filling across free-to-air TV, pay-TV and the SVOD platforms, Doole says. But she also points to the positive response from the creative community and the audience. Echoing a similar trend in the US, she adds: “We’re seeing great film and theatre talent migrating to TV drama in markets like France, Italy, Germany and the UK. At the same time, the audience has demonstrated a thirst for authentic, original stories. The reason shows like Deutschland 83 and The Bridge are working so well outside

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Feature their domestic markets is that they give audiences an insight into a different culture and mindset.”

Closer inspection shows that EMEA drama exports actually fall into three categories. The first is event co-productions, such as Pillars Of The Earth, War And Peace, Versailles and The Young Pope, which are shot in English with a specific eye to the international market, including North America. The second is scripted formats, where a strong idea is re-imagined for a new market (Spain’s Gran Hotel or Israel’s Prisoners Of War, for example). And the third category consists of dramas that travel well despite being shot in their own language or focusing on hyper-local stories (Happy Valley, D83, Spiral, The Bridge and Jordskott).

At first sight, members of the latter group do not look like obvious candidates for international buyers. “But they export well because the writer’s passion resonates with the audience regardless of where they are located,” says Ben Donald, executive producer for international drama at BBC Worldwide. “Series like Generation War [Germany] or 1992 [Italy] work better in their own language because that’s what the audience wants to buy into. Sometimes we make the mistake of imposing our international preoccupations on shows.”

While all three subsets are selling well around the world, it is important to stress that there is still a clear preference for English-language titles in Anglo-American markets. In the UK, for example, shows like The Bridge and D83 attract around 1-1.5 million viewers on

Under Suspicion 2 (Beta Film)

Deutschland 83: insight into a different culture and mindset

“Series like Generation War or 1992 work better in their own language because that’s what the audience wants to buy into. Sometimes we make the mistake of imposing our international preoccupations on shows” Ben Donald

Channel 4 or BBC Two. But they would not get the 5-6 million that English-language War And Peace achieved on BBC One. This point is echoed in the context of the US. Here, there is growing demand for European-based shows (Victoria to PBS; The Frankenstein Chronicles to A+E; Beowulf to Esquire; Humans to AMC). But only the likes of Netflix and Sundance have been willing to show non-English-language titles. For the rest, a show still needs to be in English or to be adapted, examples being Turkey’s The End or France’s The Returned.

BBC Worldwide’s attempt to appeal to both Europe and the Americas has seen it create a number of shows that combine a Eurocentric sensibility with English-language scripts.

Aside from War And Peace, for example, preview magazine I March 2016 I www.miptv.com

Donald highlights Maigret, a new detective series based on the works of French author Georges Simenon. Also heading for Cannes are SS-GB, which imagines a Nazi-occupied UK, and McMafia, an event series set in the international world of organised crime.

The latter explores the web of connections between money launderers in Dubai, cyber criminals in India, black marketeers in East Europe, narcos in Colombia, Russian oligarchs and Bedouin smugglers in the Negev desert. In doing so it echoes the approach taken with previous hit, The Honourable Woman.

“McMafia is going to be a great production,” Donald says. “We’re just in the process of looking for partners to join the show. It’s a perfect example of a scripted co-production.”

BBC Worldwide is also involved in The Collection, a co-production with France Televisions and Amazon that is set in a French fashion house in the 1950s. For Donald, it is “a great example of the new financial model that is making these big co-productions possible: a strong public-broadcaster partnership supported by one of the new SVOD platforms active in the market”.

BBC Worldwide’s approach is not that different to the stance taken at StudioCanal, owner of TV indie producers Tandem, Red and SAM. Tandem CEO Rola Bauer says the company’s TV strategy echoes that of its

TUESDAY APRIL 5, 2016 THANK YOU TO OUR 2016 PARTNERS!

70

Feature Asia who gets caught up in the criminal world because his son gets involved with drugs.”

Explaining why these series cross over, von Kruedener says it is about “authenticity and quality”. He adds: “I also think we’ve seen local producers thinking more about the international market when they make shows.

Because budgets are tight everywhere, they produce in a way that might attract a distribution partner.”

Von Kruedener says the best position is probably to have a slate that contains both English and non-English drama. “But there is also the format business to consider, which continues to be a good way to get into markets that aren’t so interested in the original version,” he adds. “We have done recent format deals on shows like Grand Hotel, Red Band Society and The Valley.”

Gomorrah (Beta Film) film division — namely, to use its European storytelling strengths as the basis of a global business. A case in point is the Englishlanguage gangster thriller Spotless, which focuses on two French brothers living in London. That show, Bauer says, has sold to broadcasters including SBS Australia, DirecTV Latin America and Esquire in the US. “European stories can land in the US and do well,” she adds, “but they need to be in English if they are going to attract big audiences. Non-English titles like Witnesses and The Killing are very good and will do well in markets that are used to dubbing and subtitling [such as mainland Europe].

But they are always going to appeal to a more specialised audience in the Englishspeaking markets.”

Tandem made its name with event mini-series such as Pillars Of The Earth before expanding its portfolio into one-hour returnable dramas, examples being Spotless, Crossing Lines and Sex, Lies And Handwriting. However, Bauer stresses that the company has not lost its appetite for epic events: “We’re working on Lionhearts, an English-language production with the BBC. It’s the kind of epic production that we anticipate will have widespread appeal on the international market.”

Germany-based producer-distributor Beta Film has had more success than most in

“European stories can land in the US and do well, but they need to be in English if they are going to attract big audiences” Rola Bauer distributing non-English-language drama around the world. Titles to have done well include Gomorrah (Italy), Mammon (Norway), Generation War (Germany), Grand Hotel and Velvet (both Spain).

Beta Film managing director Moritz von Kruedener says: “It is still easier to sell English-language drama in the US, UK, Asia and the Middle East. But our success shows that the demand for non-English-language series is growing.”

With this in mind, Beta Film will be at MIPTV with Gomorrah 2, Mammon 2 and Under Suspicion 2. “The new series of Under Suspicion has just been a big success on Antena 3 in Spain, with more than three million views,” von Kruedener says. “That will help us when we present it to buyers. We will also be presenting our 15m German-language period drama Maximilian and the latest series from Spanish producer Bambu, Embassy.

That tells the story of a Spanish diplomat in preview magazine I March 2016 I www.miptv.com

Federation Entertainment CEO Pascal Breton set up his company two years ago after leaving Zodiak Media-owned Marathon Images, where he produced St Tropez and set up the lavish international co-production Versailles. At his new firm, he has decided to back both English-language and non-English language shows, since he sees a market for both categories.

English-language titles on his slate include Lucky Luciano, a mobster drama being coproduced with Mediaset in Italy; and Victor, a medical procedural show that has TF1 and Tele Munchen Group on board, but will be shot in Canada. Non-English-language titles include French dramas Marseille and The Bureau, Finnish drama Replacements and Hebrew drama Hostages. “I have no problem backing a Hebrew show because Israeli

Replacements (Federation Entertainment)

71

Feature producers are so talented,” Breton says.

“Hostages has sold to markets like Germany, France and the UK. Regardless of their language, what all these shows have in common is originality.”

Having said this, Breton stresses that it makes sense to try to include elements that are going to improve a show’s prospects abroad: “We sold St Tropez all around the world despite the fact it was in French. Part of the reason for that was that it was such an attractive show. With Marseille, which we have made for Netflix, it helps that Gerard Depardieu is a lead actor.”

One of the most interesting drama series to have been produced in the last couple of years is period drama Versailles. Although commissioned by Canal+ in France, it was shot in English in order to appeal to the international market. This it did with sales to the UK, Germany, Scandinavia, Poland and the Philippines, among others. The decision to shoot in English might have been regarded as a mistake if the show had not done well in its domestic market. But it did, becoming the best performing Canal+-originated drama series since 2013.

With a second series now commissioned, it is a great example of why continental European producers want to have at least some Englishlanguage productions in their drama portfolio.

Others to have invested in English-language drama include Gaumont and Atlantique, both based in France.

says her company is also keen to have a foot in the European-originated English-language camp. It is, for example, the global distributor of The Young Pope, an English-language drama from Italian production house Wildside.

In fact, FremantleMedia is so convinced of Wildside’s potential that it recently bought the company.

“The Young Pope lends itself to being shot in English because of its subject,” Doole says.

“For us, it’s a project-by-project decision.”

FremantleMedia is also developing a series based around protestant revolutionary Luther, Doole says. Interestingly, she also sees potential for an accompanying documentary — an approach she expects to see more of. “When people watch a historical drama, I think they often want to explore the subject matter further,” she says.

©Sky/HBO/Wildside

FremantleMedia’s Doole, while a big believer in the export potential of shows like D83, which is due to return for a second series,

Hostages (Federation Entertainment)

The Young Pope (FremantleMedia)

While preview magazine I March 2016 I www.miptv.com

there is still a limit on how far non-English shows can penetrate the Anglo-American market, Doole and Breton point out that there is an interesting hybrid model developing that could provide an answer. “Shows like The Missing and The Last Panthers are being produced in more than one language,” says Doole, who might also have cited Occupied.

“And I think young audiences are comfortable with that. I have a theory that young people are so used to reading text on second screens that they no longer have a problem with TV subtitling.”

All of this above also needs to be seen against the backdrop of the continued success of EMEA scripted formats, a few of which have been referenced above. Evidence that this market is still going strong was USA Network’s decision in January to give a straight-to-series, 10-episode order to Eyewitness, a drama based on NRK Norway’s much-talked-about crime thriller Oyevitne. Commenting on the decision to pick up the show, Alex Sepiol, USA Network’s senior vice-president of original scripted programming, said: “Eyewitness takes a horrific crime and, in compelling fashion, uses it to examine a whole network of unique character relationships. We were immediately drawn to the source material, and Adi Hasak [the US showrunner] has found a very smart way to adapt it into a universal and engaging story.”

So what are the prospects for European drama? Breton predicts “at least five more incredible years ahead of us. It may be a bit scary for the traditional cable players, but I expect channels and platforms to keep pushing for the best shows.”

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Feature

Bigballs Media’s You, Me And The Apocalypse

MIP DIGITAL FRONTS

Making friends with the MCNs With huge audiences and proven revenues, MCNs have become a target for media companies looking to stem the flow of young viewers from linear television. Juliana Koranteng looks at the new relationships that are springing up between legacy TV players and the next-generation video platforms

N

OT LONG ago, youth video entertainment was dominated by the MTV brand. Less than a decade later, it seems every traditional TV broadcast and production operation has young digital natives firmly in their sights.

They are spending billions investing in or acquiring YouTube-originated next-generation digital networks and studios, from Maker Studios to Vice Media, and creating content devoured by generation Z viewers online, on mobile and on social media. The end result is a series of collaborations leading to marriages made in potential video-entertainment nirvana. With these partnerships, it’s no longer about the use of second screens — all screens are equal.

So what exactly are the established heritage TV companies learning from the digital multichannel networks (MCNs), whose entertainment platforms were built from scratch on the internet?

“Broadcasters need to start thinking of such

collaborations because young millennials will follow the MCN artists they like to the full broadcast experience,” says Conrad Withey, CEO of Instrumental, a YouTube social-music network. “I don’t think young viewers are against long-form entertainment, but if you want your TV show to reach them, they are going to discover it in a different place.”

UK-based MCN owner Bigballs Media, famous for its soccer-focused YouTube channel Copa90, understands how to win over millennials — an expertise that has led to its first major TV co-production. You, Me And The Apocalypse is a 10-part sci-fi comedy drama starring Hollywood star Rob Lowe on US network NBC and Sky 1 in the UK. Bigballs’ skill in grabbing digital natives’ attention, gained from pioneering transmedia shows like LonelyGirl15 and Who Killed Summer? in the 2000s, interested UK-based Hollywood producer Working Title Pictures. “Eric Fellner [Working Title’s co-chairman] approached us preview magazine I March 2016 I www.miptv.com

in 2011 to discuss the challenge of spending $100m on a movie while still not being sure if it would be a success,” says Bigballs founder Chris Kelly. The discussion led to Bigballs and Working Title TV (WTTV), an NBCUniversal International joint venture, co-producing You, Me And The Apocalypse, which follows the actions of protagonists after they learn the end of the world is truly nigh.

The show’s accompanying marketing campaign demonstrated what an MCN could bring to the production table. In a series of online videos, Bigballs filmed Colin Furze, an eccentric British YouTube celebrity, building a real-life fortified underground anti-nuclear bomb bunker in his back garden. Furze then invited other YouTube stars to actually watch You, Me And The Apocalypse’s final episode in the bunker.

Funded by Sky 1, Furze and the other YouTubers promoted the TV series by discussing the show and their bunker adventures

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Feature “I don’t think young viewers are against long-form entertainment. But they are going to discover it in a different place” Conrad Withey

Instrumental’s Conrad Withey with their online followers. The campaign triggered more than 23 million views on YouTube and other platforms, plus more than 60 million social-media impressions.

“It proved talent can get their audience to traditional media properties,” Kelly says. “This is how you use the internet as a marketing initiative. A [traditional] TV presenter delivers someone else’s vision, while the millennials want to be part of a YouTube presenter’s journey. And that is the gap that needs to be bridged.”

Reza Izad is CEO of Studio71, which was formed last year after the merger of Los Angeles-based MCN Collective Digital Studio (CDS) and Studio 71, a subsidiary of German broadcast conglomerate ProSiebenSat.1.

“Two to three years ago, there weren’t many buyers for our [YouTube] content,” Izad says.

“But now that has changed because we have the right partner and YouTube’s advertisingbased economics is catching up with what we do. That has allowed us to produce even more content.”

Among Studio71’s existing and planned production deals is The Cyanide & Happiness Show, a comedy animation series sold to Seeso, NBCUniversal’s new comedy-dedicated streaming platform.

Lionsgate is distributing Natural Born Pranksters to the mass market via cinema theatres, online and on-demand platforms. The CDS-produced comedy feature film stars YouTubers VitalyzdTV, Roman Atwood and Dennis Roady. Additionally, Studio71 has just finished the production of Maximum Ride, a feature film based on US novelist James Patterson’s young-adult fantasy franchise.

Meanwhile, the company is working with Seven Bucks Productions, co-founded by Hollywood action movie star Dwayne ‘The Rock’ Johnson,

to launch a new YouTube channel.

“Why are companies like Lionsgate coming to us? Because unlike the typical content supplier, we not only deliver the title, we also market it to an audience that we brought with us. We reach people who are already engaged,” Izad says.

Endemol Beyond, the digital division of Endemol Shine Group, has added MCNs to its business portfolio. It recently created two new digital channels: Icon Networks with online beauty and lifestyle celebrity Michelle Phan; and Smasher Network, aimed at young gamers.

Germany-based Georg Ramme, Endemol Beyond’s global managing director, says: “Digital talent and creators are the new stars for the young generation and, by partnering with the latest [celebrities like] Michelle Phan at Icon or KSI at Rule’m Sports, we are able to engage directly with their existing audiences as well as build brands to extend their reach globally. Millennials lead the way with new trends and it is important for broadcasters to tap into this.”

Bearing this in mind, social-music MCN Instrumental, whose roster includes emerging music acts Red, Elyar Fox and Matt DeFreitas, has positioned itself as “MTV for the connected generation”, says UK-based Withey. “The way we work with talent is similar to the music industry, but the way we finance them is similar to TV networks,” he adds, referring to the potential partnerships with brand owners.

Additionally, Withey says, an increasing number of music artists are independently seeking other avenues outside of YouTube: “We’re seeing Facebook having a bigger and bigger impact on attracting viewers, so the artists we work with are using Facebook more and more.”

After working with several MCNs, Tahir Basheer, partner in the digital media, music, fashions and brands group at international law firm Sheridans, says that broadcasters’ learnings “won’t necessarily include trying to understand how to shift generation Z’s viewing habits back to traditional forms of linear preview magazine I March 2016 I www.miptv.com

consumption”. He adds that capturing Gen Z’s engagement comes from good analytics — “something the MCNs are currently much better equipped to do than traditional TV sectors”.

Basheer’s view is supported by Jim O’Neill, principal analyst at international research firm Ooyala. “MCNs are putting the power back into content creators’ hands because they really understand their millennial audience,” he says. “Viewing growth is so rapid that it’s got to the point where some MCNs can match the reach of some of the small cable-TV networks. I wouldn’t be at all surprised to see MCN viewing time doubling.”

MCNs also place different values on content, O’Neill adds: “TV shows produce thousands of minutes of content, but only use hundreds of them. An MCN believes that once you shoot [video content], it probably has value, so monetise as much of it as possible, then make it as social and shareable as you can.”

The next-generation video entertainment networks are equally learning a thing or two from established media owners. Ramme says Endemol Beyond’s MCNs can benefit from Endemol Shine’s international reach: “With our global presence, we are able to grow our brands quickly by adapting formats in new markets with speed.”

Ooyala’s O’Neill says the challenge for both digital networks and legacy TV companies is how to enable viewers to discover what they want to watch among the thousands and thousands of online channels: “How can they tell the wheat from the chaff? This is where the broadcasters’ deep pockets can help the quality of the MCN’s content and grow their audience.”

KSI at Rule’m Sports: extending global reach

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Feature

MIP DIGITAL FRONTS

Digital

partnerships

Traditional media companies are teaming with MCNs in an effort to reach the elusive millennial generation. Juliana Koranteng explains a few of the partnerships

H

ere we present a round-up of media companies, from broadc a ster s to pro duc er s , t hat have forged partnerships with YouTube and other digital entertainment

multichannel networks (MCNs). While most MCNs, supported by alliances with brands, kicked off on YouTube, several have extended their audience reach by also making content available via a variety of other digital

platforms. These include dedicated websites Roku, Dailymotion, Vimeo, Vessel and telecoms giant Verizon’s Go90 mobile platform, plus social-media platforms from Facebook to Snapchat.

preview magazine I March 2016 I www.miptv.com

78

Feature Digital network: AwesomenessTV (US)

Reach: 161 million subscribers and 15.2 billion views (including 3.3 million subscribers and more than one billion views on YouTube) Legacy player(s): DreamWorks Animation; Hearst Corporation Legacy players’ interest: DreamWorks Animation bought AwesomenessTV for $33m in 2013. DreamWorks then sold 25% of AwesomenessTV to Hearst Corporation, owner of A+E Networks. Today, AwesomenessTV describes itself as a “multiplatform media company” with production deals with Nickelodeon, E! and Canada’s Family Channel.

Digital network: ChannelFlip (UK)

Reach: more than 189 channels, 20 million-plus subscribers and over 85 million monthly views Legacy player(s): Endemol Shine Group Legacy players’ interest: Production conglomerate Shine Group, a News Corporation subsidiary, acquired ChannelFlip in 2012 for an undisclosed sum. ChannelFlip also has a partnership agreement to use content supplied by France’s StudioCanal.

Digital network: Defy Media (US)

Digital networks: Icon network (US) and Smasher Network (US)

Digital network: Bigballs Media (UK)

Reach: creator of international football MCN Copa90, which has more than one million YouTube subscribers and about 124 million views Legacy player(s): Working Title TV; Liberty Global Legacy players’ interest: Bigballs co-produced Sky 1 and NBC comedy drama You, Me And The Apocalypse with the TV division of Working Title Films, the highly successful UK-based Hollywood film producer.

Last August, cable-TV giant Liberty Global paid $10m-plus for a 14% stake in Bigballs.

Digital network: BroadbandTV (BBTV) (Canada)

Reach: 5.7 billion monthly views Legacy player(s): RTL Group Legacy players’ interest: In 2013, Germany’s RTL Group snapped up 51% of BBTV for $36m. It has also formed a strategic alliance with global music publisher BMG (RTL’s sister company) and signed deals with Sony Pictures Television, Warner Bros. Pictures and Mexico’s Grupo Televisa.

Legacy player(s): Chernin Group; AT&T Legacy players’ interest: Fullscreen is controlled by Otter Media, a joint venture between Chernin Group (the investment vehicle belonging to former News Corporation executive Peter Chernin), and AT&T, the US telecoms conglomerate and satellite TV distributor. WPP Group, the world’s biggest advertising conglomerate, is also an investor.

Fullscreen’s TV-industry partners include FremantleMedia Group and NBCUniversal (via parent company’s investment arm, Comcast Ventures).

Reach: 600 million monthly views, 64 million YouTube subscribers and 80 million unique monthly visitors Legacy player(s): Viacom Legacy players’ interest: Viacom, owner of the original youth TV brand MTV, grabbed a minority stake in teen-focused Defy Media in 2014. In January 2015, Hollywood independent Lionsgate licensed a 200-movie library to Defy’s Break channel.

Digital network: Discovery Digital Networks (US)

Reach: Icon has more than 443,000 YouTube subscribers and 34 million views; Smasher has nearly 59,000 YouTube subscribers and more than six million views Legacy player(s): Endemol Shine Group Legacy players’ interest: Icon was launched last year after Endemol Beyond, Endemol Shine’s digital unit, joined forces with US YouTube celebrity Michelle Phan to create an online lifestyle and beauty network. Endemol Beyond then went after male millennials with Smasher, an online network focusing on video games that launched in October.

Digital network: Instrumental (UK) Reach: more than 200 million streams per month Legacy player(s): Discovery Communications Legacy players’ interest: Discover y Communications threw its hat into the millennials-entertainment ring in 2012 when it bought Revision3, an online TV network, for $30m. Revision3 was later renamed Discovery Digital Networks and has since expanded into eight online networks, including Seeker, aimed at thrill-seekers and adventure-loving audiences; and Super Panic Frenzy, a dedicated gaming channel.

Digital network: Fullscreen (US) Reach: more than 600 million subscribers and more than five billion monthly views preview magazine I March 2016 I www.miptv.com

Reach: 30 million YouTube subscribers to 300 channels Legacy player(s): Bill Roedy (former MTV Networks International chairman/CEO) Legacy players’ interest: Instrumental, which describes itself as a social music channel, came to the media’s attention in December, when global record company Warner Music Group led the online network’s most recent funding round. Bill Roedy, who led MTV, Comedy Central and Nickelodeon’s international growth into 200 countries, is on the board of advisers.

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© iStockphoto.com/Danil Melekhin

Feature

Digital network: Machinima (US)

Reach: 430 million subscribers, 170 million unique viewers and 3.7 billion monthly views Legacy player(s): Time Warner Legacy players’ interest: In 2014, Warner Bros. Entertainment led an $18m funding round for Machinima, which is aimed at young male gamers. This was followed by another $24m round, led by Warner Bros. in February 2015. Today, Machinima describes itself as a “many2many” programming service to emphasise it is not dependent solely on YouTube. Machinima action TV shows include Justice League: Gods & Monsters Chronicles, RoboCop, #4Hero and reality series DC’s Hero Project.

Digital network: Maker Studios (US)

Reach: 650 million subscribers and 10 billion monthly views Legacy player(s): The Walt Disney Company Legacy players’ interest: Arguably the MCN all online networks want to emulate, Maker Studios works with 55,000 original and curated content creators from more than 100 countries. It broke all MCN valuation records in 2014 when Disney bought it for almost $1bn ($500m in cash and shares plus $450m in performance bonuses). preview magazine I March 2016 I www.miptv.com

Digital network: Studio71 (after Collective Digital Studio and Studio 71 merged) (Germany/US)

Reach: CDS grew from 1.2 billion monthly views to almost 3.5 billion monthly views during 2015, and predicts a similar reach this year following its merger with ProSiebenSat.1’s MCN Studio 71 Legacy player(s): ProSiebenSat.1 Legacy players’ interest: As part of the above-mentioned merger, German broadcast giant ProSiebenSat.1 paid $83m for a 75% stake in the newly enlarged Studio71, which has deals with independent Hollywood studio Lionsgate and US network NBC, among other major media companies.

80

Feature Digital network: Studio Bagel (France)

largest MCNs. The recent YouTube launch was The Voice Global YouTube Channel in December.

Digital network: Vevo (US)

Reach: 18 million subscribers to 25 channels (including 2.4 million subscribers with 290 million views on YouTube alone) Legacy player(s): Canal+ Legacy players’ interest: One of the biggest MCN deals in France occurred in 2014 when pay-TV platform Canal+, a subsidiary of the Vivendi entertainment conglomerate and sister company of YouTube rival Dailymotion, bought the majority of Studio Bagel, a network specialising in comedy channels. In November, Bagel Studio short-form content started airing on Canal+.

Reach: 829.6 million YouTube subscribers to 48,693 Vevo channels with more than 395 billion views combined Legacy player(s): Abu Dhabi Media Legacy players’ interest: Vevo has turned into the 21st century equivalent of the original MTV, offering a round-the-clock network of music-video channels. It is jointly owned by major record labels Universal Music, Sony Music Entertainment, YouTube owner Google and Middle East broadcast group Abu Dhabi Media.

Digital network: VICE Media (US) Digital network: StyleHaul (US)

Reach: almost 2 billion monthly views for channels hosted by 6,400 creators Legacy player(s): RTL Group Legacy players’ interest: RTL Group, the German broadcast TV conglomerate with interests in Canadian MCN BroadbandTV, acquired a stake in leading lifestyle and beauty MCN StyleHaul for $107m in 2014.

Digital network: Talpa (Netherlands)

Reach: 100 YouTube channels and more than 1 billion monthly views Legacy player(s): ITV Legacy players’ interest: ITV’s 2015 acquisition of Talpa Media, the Dutch reality-TV juggernaut, brings with it an extensive portfolio of digital content, including the 100 YouTube channels that gives Talpa one of the world’s

Reach: up to 300 million monthly visits to all VICE channels, and more than 2.2 billion YouTube views to date Legacy player(s): A+E Networks; The Walt Disney Company; News Corporation; WPP Group Legacy players’ interest: Maverick youthoriented online channels such as Noisey (urban music), Thump (dance music), Broadly (female) and Motherboard (technology) made VICE famous on YouTube. But its magazine, production studio, record label, book-publishing unit, creative-services agency and bureaus in 30 countries make it a true media conglomerate for the millennial generation.

A+E Networks and Disney have invested $450m together. VICE is about to use A+E’s H2 channel to launch its first 24-hour TV network Viceland, a youth lifestyle channel, in 70 million US homes. In Canada, a similar deal with Rogers Media will see The Biography Channel revamped as a localised Viceland.

Digital network: Whistle Sports (US) Reach: 352 digital channels with 32.9 million subscribers and 6 billion views (including more than 721 million YouTube subscribers) preview magazine I March 2016 I www.miptv.com

Legacy network: Sky Sports Legacy players’ interest: Sky, Europe’s biggest satellite-TV platform, invested $7m in Whistle Sports, a global sports-focused MCN, in 2014. Private investors topped up the funding pot with $28m in January 2015. Sky Sports and Whistle Sports have jointly launched a new social-media channel to create original content around football for social-media distribution.

Digital networks: Zoomin.T V (Netherlands); Splay (Sweden) Reach: millennial-centred Splay has 16 mil-

lion subscribers and 140 million monthly views; Zoomin.TV is a dedicated news and factual content MCN with 2 billion monthly views and 100 million YouTube subscribers Legacy player(s): Modern Times Group (MTG) Legacy players’ interest: MTG, the Swedish international free-to-air, VOD and pay-TV conglomerate, extended its stake in Nordic MCN Splay to 81% last July from 49%, while snapping up 51% of Dutch platform Zoomin.

TV. The latter creates content for a network of more than 2,000 online media publishers in 17 languages with 2.2 billion-plus monthly views combined.

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Feature

Akon at the Trace Urban Music Awards

BRAND EXTENSIONS

Getting your brand out there Content is king. Or is it? Bob Jenkins explores the view that this tenet of television is holding back broadcasters and platforms from launching immersive — and enduring — brand-extension strategies

B

RAND extension is an interesting concept. And it would be even more interesting, some suggest, if it weren’t for the near universal adherence to the concept that ‘content is king’.

In the linear, pre-digital world this was certainly the case, but whether it remains so in media’s brave new world is another question.

Many people, however, believe that content is still at the heart of brand experience. Nicolas Loufrani, CEO of SmileyWorld — ‘the happiest brand ever’ — says he knows of “very few examples of brand extensions that are not based purely on content”. Interesting given that his brand is based purely on a simple, if iconic, image. He does, however, point to the Gulli theme parks in France, of which there are five, and acknowledges that these are

based on the Gulli brand rather than on any of the cartoons the children’s channel broadcasts. He continues: “But without content, what can you provide a partner that’s worth

“Without content, what can you provide a partner that’s worth paying a royalty for?

Management? A turnkey concept?”

Nicolas Loufrani paying a royalty for? Management? A turnkey concept? Certainly these are things with value that are worth paying for, but it’s a tough sell.” preview magazine I March 2016 I www.miptv.com

By contrast, Chris Epple, vice-president of franchises and content marketing, international, at A+E Networks, says that the view that content is king “has resulted in shows and brand extensions that are not always consistent with what a particular brand stands for”.

He adds: “In this new world of untapped competitive entrance, ranging from OTT and mobile to digital players, it has never been more important to have a strong brand identity. A shift in our thinking to ‘brand first’ has never been more important.”

But the question is, which brand? Is it the content, the talent, the channel or the platform? At the end of the day, the answer to these questions — as to most other questions in our business — is money. At the moment, the overwhelming view is that the money is in

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Feature the brand extension of content because of the emotional connection that exists between the consumer and content. But might broadcasters and platforms be missing out on just such a connection with their own brand?

For Loufrani, the answer is clear. While accepting that, for a TV channel to develop brand extensions, it needs to have “strong DNA”, he insists that content will always be key. “Why is there a Nick store in [London’s] Leicester Square?” he asks. “Because it’s full of products based on famous and well loved content.”

Olivier Laouchez, co-founder, CEO and chairman of Trace, the urban entertainment brand for multicultural and afro-descendent youth communities in France, French overseas territories and Sub-Saharan Africa, has a different take. He identifies several key factors that need to be taken into account when assessing the possibility of brand extensions: “Does your brand have what it takes to go beyond its core business? Is your brand or name adaptable to new activities? Is there a risk that you will lose your values when moving to new territories?

Can your brand be an umbrella brand that allows the addition of sub-brands, such as Virgin Active, Trace Mobile or Vice News?”

Beyond these questions, Laouchez suggests it is important to consider how to differentiate your brand from established local rivals.

“When launching new channels, Trace has always targeted niche markets with a unique positioning and a clear tone of voice,” he says.

Illustrating this point, he adds: “All our music channels are dedicated to specific music genres, such as urban, Lusophone, African,

Nickelodeon‘s Gerald Raines

tropical, etc, and this has enabled them to attract not just a niche audience, but also a broader audience, which currently stands at more than 100 million homes in over 180 countries. All our brand extensions offer something new to the market and something that complements Trace’s overall portfolio and improves the general Trace experience.”

In many ways, that is the question at the heart of brand extension. How do you improve the overall brand experience? For Nickelodeon, one of the key channel brands in Viacom International Media Networks’ (VIMN) portfolio, the answer is hotels. Last summer, VIMN announced what Gerald Raines, Nick’s senior vice-president of recreation business development, describes as “the first and so far only collection of Nickelodeon Hotels” in partnership with Karisma Hotels and Resorts.

Under the deal, Nickelodeon Hotels (working title) plans to open Nickelodeon Punta Cana in the Dominican Republic in late 2016, with a second Nick branded hotel to follow in Mexico shortly after.

“A shift in our thinking to ‘brand first’ has never been more important” Chris Epple

Raines is keen to stress the extent of the branding: “The hotels are 100% Nickelodeon.

Bright and bold branded elements will be sprinkled throughout each hotel, including the bedrooms, lobby, restaurants and pools. The Nick brand will be stylishly and creatively infused throughout, from the external and internal decor to a number of branded attractions and entertainments.” The latter will include appearances from many Nickelodeon characters, including SpongeBob SquarePants, Dora and the Teenage Mutant Ninja Turtles.

This announcement represents a further development from an earlier agreement with Karisma, which saw the luxury hotel chain and Nickelodeon partner on Karisma’s Azul chain to offer what Raines calls the “Nickelodeon experience”. The initiative was implemented across three Azul hotels in Mexico and included kids’ check-ins, Nickelodeon concierges, a Nick Toy Lending Library, themed Nickelodeon amenities, character dining preview magazine I March 2016 I www.miptv.com

A+E Networks‘ Chris Epple opportunities, and meet and greets.

So far, this appears to be an endorsement of Loufrani’s insistence that “content will always be the key”. Indeed, Raines underlines this with his next statement: “We place great importance on our research, which continually indicates the incredible brand value of creating interactive, immersive experiences, especially for kids who have grown up with Nick.”

The hotel experience, he adds, “reflects this in a way that is authentic to the brand”. He concludes: “I can guarantee that the Nick Hotels will be the ultimate, upscale spot for Nick fans to love and live the brand with their families, creating the family vacation of a lifetime.”

However, Raines also goes on to say: “Nickelodeon is a family favourite around the world and we are really excited to present unique ways for kids and their parents to embark on vacation adventures. By providing a truly immersive experience, allowing Nick fans and their families to totally engage with the brand and its properties, we are able to create an even stronger bond and strengthen their affinity for our characters and the Nickelodeon brand.”

Note: the Nickelodeon brand — not just its characters and content.

So is it the case that, when looking at brand extension, it is impossible to get away from the draw of characters — the beating heart

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Feature of content itself? This is at the centre of an interesting development rolled out by Israeli broadcaster Keshet in the form of an app, which is downloadable from its web portal Mako. Known as the “hacking app”, it grants audiences access to all manner of information and content pertaining to Keshet series on air.

Ofer Naor, Mako’s head of cross-media and second screen for Keshet TV, explains that the website feature allows audiences to “hack” the phones and emails of characters in the Keshet series being transmitted. “Not only does this allow audiences to get a deeper insight into the characters and what they’re up to and what they’re thinking, but it also allows the story to be updated to keep pace with actual current events,” Naor adds. “The content that is displayed on the hacking app is always controlled by the head writer since, at the end of the day, it’s his or her show. In the case of a scripted show that has already been written and filmed, there is little influence [on the content] if it’s the first season. But with something like our weekly political satire show, Eretz Nehederet, the feedback from the app can be used to determine the popularity of sketches and the politicians impersonated, and can be used to shape the following episode.”

A form of the hacking app is also used on Keshet’s version of Big Brother, which allows viewers to hack a duplicated version of contestants’ phones, as well as that of the producer, although of course with their consent. Naor stresses the app is a development of Keshet’s and not part of the general format deal for Big Brother, which is distributed by Endemol Shine.

Underscoring the importance of the hacking

“Bright and bold branded elements” in a Nickelodeon hotel

app, Uri Rozen, CEO and chief editor of Mako, says: “We get approximately one million page impressions per month, generated by approximately 200,000 visits only for this specific activity. These are pretty impressive numbers, as we aim to engage about 2.5%-5% of the total viewership.” He adds that the hacking app has been successful across a wide range of content, including the Keshet culture-clash comedy Imported, which centres on a young Israeli footballer, Adir, who moves to London to launch a career in the English Premiership.

The app allows viewers to read, for example, Adir’s girlfriend’s messages and texts.

At MIPTV, the company is launching a brand — Touch — that combines all of its digital capabilities. Touch exists as both a TV game and primetime show. “It’s based on touch screens and capitalises on how we are all accustomed to consuming content and communicating nowadays,” Rozen says.

Trace‘s Olivier Laouchez

“The Nick Hotels will be the ultimate, upscale spot for Nick fans to love and live the brand with their families” Gerald Raines

While the hacking app is an excellent example of the importance of the second screen, it is an extension of the show rather than of the Keshet brand itself. Trace’s Laouchez thinks there are opportunities for the extension of channel and possibly even platform brands that are being overlooked. He points to the Trace Urban Music Awards, which the group organised in 2013 and 2014: “We have a strong and exclusive relationship with artists from around the world, but especially in France and Africa — Akon debuted his single Each His Own at the 2014 Awards — and we also have an engaged and broad audience who trust our expertise and influence in the music world. So the staging of such award events is something we are very keen to expand and we are sure will be successful.”

Another such success is the Airtel Trace Music Star — the first mobile phone-based song contest ever organised in Africa. Laouchez reports that the recent second edition generated 2.6 million calls for entry.

Neither of these successes is based on content: preview magazine I March 2016 I www.miptv.com

they are both based on the Trace brand that Laouchez and his team have developed.

“We’re the voice of youth in Africa,” Laouchez says. “Young people trust us and look up to us — and we trust the youth.”

The real significance of that statement is that, ultimately, the vast majority of content is transient. Of course, this does not mean content should be ignored, but perhaps a smarter approach to brand extension is one that extends a brand that has a potentially longer life expectancy.

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© Istockphoto.com/scyther5

Feature

FUTURE OF KIDS TV SUMMIT

Who’s changing the

game for kids?

In the run-up to the third Future Of Kids’ TV Summit, Rachel Murrell asks industry experts from around the world ‘What is set to disrupt the children’s space?’ preview magazine I March 2016 I www.miptv.com

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Feature David Kleeman, senior vicepresident of global trends, Dubit (UK)

“IN THE emerging market for VR for kids, the game changer is Google Cardboard.

It’s not as absorbing as the Oculus Rift or Samsung Gear VR, but it’s a satisfying experience and inexpensive enough to equip entire classrooms. It’s made content creators think about the potential of VR for play and learning.

“I think the exploration of game worlds will be VR’s biggest use. I expect forward-looking schools to add VR and the complementary AR [augmented reality] to their teaching tool-kits with content that extends traditional texts and videos. This will require significant media literacy and teacher education. I hope in five years we’ll see kids ‘tagging’ their world, using AR engines to spotlight their favourite thing, tell stories and share what they learn with others.

“The disruptors in kids’ VR will be on the content side — the ones who figure out how to do narrative in a virtual space and how to make it sticky, so kids want to come back over and over. VR has to be more than a one-time experience.

“I hope we’ll think about best practice, safety, ageappropriate uses and so on. We shouldn’t throw the kitchen sink at VR just because we can.”

Aine Behan, CEO, Cortechs (Ireland) “A S A N EU RO SC I E N T IS T-t u r nedentrepreneur, I’m excited about using neurofeedback — training the brain using brainwaves — to empower people as an

alternative to pharmaceutical intervention.

“At Cortechs, we’re developing game apps to help children who have ADHD or autism to improve their focus and relaxation levels. While a child plays our game Zip And The Misty Mountain, a sensor on their headset measures their brainwaves and converts their levels of focus and attention — in real time – into ‘powers’ that help them progress through the game.

Building these skills retrains the brain. And it can help the child in other ways, such as improving behaviour and relationships.

“Our games and headsets put neurofeedback in the hands of the family, not just the clinics.

Our goal is to partner with people who can help us create more content to use with our technology. And not just for kids with ADHD: bringing metrics into educational gaming can be used to develop brain health for the wider population too.”

about interaction. The idea of immersing kids in a VR digital world is going in completely the opposite direction.

“I love the Makies because they don’t force you to choose between the online and offline world: they offer things that work in both. They launched as customisable 3D-printed dolls, but they’re just out of the Disney Accelerator programme and they now have an app game that’s getting 4.5 ratings in the iTunes store.

Longevity will come with stories and character. I don’t know what their plans are for linear content or the Disney partnership, but I’m impressed by their values on a number of levels.”

Sean Chu, founder and CEO, WeKids (China)

Thatcher Mines, head of deals and development, Power Animals United (Russian Federation and Finland) “I’M INTERESTED in how our devices can encourage us to interact with each other, not just the screen. I like Spaceteam and Lego’s George apps, both of which are best played with others rather than alone. It’s not the future of media, but it’s an exciting and underexplored area.

“In a broader sense, I hope that the next thing will be properties, characters and products that encourage physical and digital play, human interaction and playing together. That’s why VR is not that interesting to me. I’m preview magazine I March 2016 I www.miptv.com

“THE ANIMATION industry in China is changing from a B2B business to a B2C one.

For years, kids’ content producers have had

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Feature little financial help from state-owned networks. Now, we are using new technology, apps and WeChat to go direct to our core users — kids and parents.

“In the last two years, large video portal companies like iQiYi, Tencent Video and YoukuTudou have stepped in to finance and produce animated content based on popular online comic strips and novels for teens and young adults. Their goal is to give this IP exposure, then to make money from the larger markets of movies and gaming. Such opportunities have attracted production studios, investors and talent into the field, offering a range of content, services, audio stories, songs, animation shorts, educational content, licensed goods, toys and more. “ WeK ids and our k ids-focused app BuddiesTV are the largest kids’ content distributor and promoter in China, with over 3,000 episodes of kids’ content acquired from the West. With new investor Xiaomi, makers of more than 100 million active smartphones and 10 million smart TV/OTT boxes, we are ready to take advantage of this new form of B2C kids business.”

audience want to look around anyway?

“My sense is that VR is more of a Nintendo Wii stick: you can play tennis with it, or it can be a light sabre, but it’s still tied to a game.

For small kids, it could work as an exploratory game, such as looking around Peppa Pig’s house in VR. The question then is how you make it pay. My guess is it’ll be a subscription from the provider. Then, when there’s a critical mass of similar products, you’ll get platforms that bundle lots of them together.

“But there are still questions: how long before the novelty wears off? How much refreshing does the IP-owner have to do? You could see it as a progression. You could have Peppa’s room without Peppa. Further layers could have more interaction, then graduate to games. I remain sceptical whether VR will graduate to story, but am happy to be proven wrong.”

and umbrella deals and brand-funded content.

“We’re on StarSat across Africa, MY-HD in the Middle East and Deustche Telekom in Germany. For pre-school, the preferred length is 40 minutes. That works on iTunes on a tablet for a four-year-old and they’ll watch and rewatch. Older kids can pause it, skip around, share it with friends. But it’s a closed environment: they can’t exit to the wider internet.”

Darren Garrett, creative director and digital storytelling consultant (UK)

Scott Ehrlich, CEO, The QYOU (US)

Nick Dorra, independent animation producer and digital-content consultant (Finland) “COMPANIES like TaDaKids and TuTiTu are redefining what kids’ content is in an on-demand world. But whether Virtual Reality has a role to play here is unclear. Baobab Studios are the first I’ve seen who are trying to use VR in narrative story. But if your storytelling is good and you’ve got the pacing right, why would the “FOR US, it’s about curation. When we started, short-form video for kids was exploding online, but there was no bridge between online content and the pay industry, so that content wasn’t on the dial. The MCNs were building businesses with artists, but what we did was say, ‘Here’s the good stuff’, publish it and monetise it.

“We built an engine to discover, licence and package short-form content from around the world, from the internet and elsewhere. We identify a channel, profile what’s being watched online by its audience, feed it into the discovery engine, and look for more. We have humans sort it, segment it according to the age of the viewers and the regulations of the territory in question, then we licence it through individual preview magazine I March 2016 I www.miptv.com

“I’M STILL waiting for digital books for children that really understand the medium.

There are some companies doing it right — Nosy Crow’s Jack And The Beanstalk is a good example — but most [digital] books just have the story and stick games on top. They’re not designing for the platform.

“Toca Boca is a company that excites me.

They don’t just invest in one big expensive risky idea. They put out a range of products and learn from each one. Their property Boo, about exploring a haunted house, is the closest [I’ve seen] to an interactive story. It’s simple, playful fun and beautifully designed. These people aren’t making games or books but toys.

Understanding that is what makes them different from everyone else.”

Flavio Stecca, CEO PlayKids (Brazil) “AS WITH all industries, kids’ media goes through cycles. Next up, we’ll see the return of the living room. Data shows that app saturation on mobile is upon us, and the major

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Feature and jokes. But some users wrote whole episodes, and we got a 72-page script on day one.

“Things like Storyteller and our game-maker and music visualisation tools are giving kids [digital] creativity at the speed of thought. And that allows us to open doors for them. It’s ‘connected learning’ outside school. Kids learn what they need to know as they need it, which is a very strong way of learning. We’re setting up the environment where it can happen.”

Adamu Waziri, founder and head of EVCL (Nigeria)

tech players are doubling down on TV. Apple now has an App Store for Apple TV, Google is steadily advancing Chromecast and smart TVs are becoming more widespread and easier to use.

“So here at PlayKids, we are anticipating innovation for content consumption on smart TVs and we will invest heavily in it.”

Steven Andrew, executive producer, Secret Life Of Boys, Zodiak Kids Studios (UK) “I THINK there’s huge potential for interactivity in kids’ live-action. We’re just beginning to learn how to do it, but it’s a matter of choosing the right story.

“Our show The Secret Life Of Boys is a live-action interactive sitcom about an Australian girl who goes to live with her all-boy English relatives.

It’s both a web series of 25 x 60 mins webisodes and a weekly TV sitcom of 5 x 22 mins episodes.

“For the interactive version, we started from the principle that kids love laughter and secrets.

So web users can access secrets about the characters that other characters don’t necessarily know. And we do what we call ‘push-button punchlines’, where the user presses a button and the gag they’ve just seen is repeated with a silly soundtrack. They love it. They’ll push the button again and again — up to seven or eight times.

Jon Howard, executive product manager for digital creativity, BBC (UK) “I’M EXCITED about The Storyteller, a tool we built for our kids’ television programme Blue Peter, because it engages kids of nine and 10 beyond linear television and lets them become creators and sharers. The Storyteller allows the child to sequence a few pages of story or animation for themselves. And if what they make is good, it gets shared. When we launched it, we were expecting some snippets

“ADAPTABILITY is key. We make Bino And Fino, an animated pre-school series, in our studio in Nigeria. It’s an educational show about two little kids as they learn about the history and culture of different African countries.

“But it’s not easy making a pre-school show in Africa. Our broadcasters don’t see children as a high priority. They import some kids’ shows, but they don’t tend to invest in original IP. And people are used to watching Disney and so on.

“When we couldn’t get airtime on our national television networks, we switched to an ecommerce model. We now make the show and sell it direct to the consumer in DVDs and downloads. We started off making seven-minute episodes, but switched to 11 minutes. And we sell plush toys of the key characters too.

“As a company, we’ve learnt to be very adaptable. Right now, our main market is not in Africa but in the US. Parents there really love that our show offers positive representations of black kids and of Africa. The feedback we get is tremendous.” preview magazine I March 2016 I www.miptv.com

“We’ve learnt a lot about how to do interactive, how to work with the writers and how to stay within budget. We’ve learnt from posts on the CBBC website too. Viewers loved sharing their thoughts about what worked, what didn’t, and what the secrets were.

“Our next interactive project is like a MMPOG [massively multiplayer online game] integrated into a live-action narrative. It’s difficult, but it’s really exciting.”

Lorna Probert, head of digital production, Aardman Animations (UK) “WE’RE excited about immersive storytelling. We’re developing some great VR projects

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Feature

and recently launched Special Delivery, an animated short for Google Spotlight Stories. It’s a 360-degree experience where moving your smartphone reveals mini-stories within the main narrative. For us, the challenge is balancing the user’s agency alongside controlling the flow and structure of the narrative.

“Another key focus is inspiring and facilitating kids’ digital creativity. With Shaun’s Game Academy! and the Appsolute Genius competition for CBBC, we got six- to 12-year-olds to send us their game ideas, and we developed the winning game.

“And we continue to develop games for our own IP, like Shaun The Sheep and Timmy Time, and for other clients. We’re massive believers in the power of game play and simulation to educate, and we’ve seen how powerful much-loved characters are in helping children learn.”

“IT’S TIME for television producers to rethink everything they think they know about what constitutes content and quality. TaDaKids launched nine pre-school-targeted original content channels on YouTube in January of this year, including Bitziboos, Number Rumble, Iggi and TaDalphabets. Over the next three years, we’ll launch more than 30.

“Some of our original content — for example, on numbers and words — is already quite well represented on YouTube, and we use this to funnel parents towards our original content, such as Bitziboos and Iggi. The highest perminute cost in our stable is £370 for a CG animation show, and the lowest is £50. And yet we make high value, quality content that any parent would be more than happy to sit and watch with their children. We’re trying to re-define what constitutes quality content.”

storytelling and archive, which we thought children might find boring. On the contrary — they were really interested.

“So we’re now taking things further. This year’s Financing Forum included a two-day lab with children aged nine to 12 as young coaches. To us, children are far more intelligent and clever than we are. Our task is to be inspired by this, to remember childhood and to become fearless catalysts for screen art fostered in this spirit.”

V iola Gabr ielli , project m a n a g e r, K i d s R e g i o (Germany)

Annette Brejner, head, The Financing Forum for Kids Content (Sweden)

Christopher Skala, co-founder and CEO, TaDaKids (UK) “WHAT’s exciting to me is co-creating with children. We’re increasingly involving children in early development. Studying our target group has led us to invite kids to be experts alongside adults during our workshop initiative RealYoung. They gave us very surprising feedback. We asked them to comment on one project that we all loved. They told us frankly that they didn’t find it interesting and wanted more pace and more character. One broadcaster told us the experience made her turn her way of looking at her programming upside down.

“In another instance, there was a project with lots of literary references, multi-layered preview magazine I March 2016 I www.miptv.com

“KIDS Regio lobbies for and supports European professionals working in film for children and youth. We particularly encourage live-action films that offer a wide variety of stories, genres and styles.

“We’re finding that more submissions are hybrid projects that mix genres, and more have a 360-degree approach. And you can see kids’ growing proficiency in all kinds of media being incorporated into the story. They’re quite able to understand combinations of the analogue world, the virtual world, and characters having to tackle problems in both.

“We know that European projects have to be distinctive in order to get attention.

Sometimes that’s done through beautiful 2D artwork, the visual style of contemporary video art or even a return to old media, such as comic books. And sometimes it’s by persuading producers to think harder about marketing and audience engagement.”

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Tips & Services

Welcome to MIPTV!

Inside

1• USEFUL TIPS

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

GETTING TO THE FRENCH RIVIERA

To ensure you start off on the right foot, please refer to our Quick Checklist

THE EXHIBITION HALLS

Things to do before the Show O Have you prepared your transportation?

Have you arranged your transfer to Cannes?

O 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 O 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.

Special rates with our official partner Air France & KLM. Use the promotion code 27053AF 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 SPECIAL OFFERS Nice airport benefits Present your MIPTV badge to benefit from a 10 % discount in the Nice airport stores.

For more information visit www.my.mip.com Discover a variety of exclusive offers in and around Cannes, selected by our partner cannes-i-get. com (spas, restaurants, golf and more). For more information go to my-mip.com/cannes-offers

who else is attending the show, to set up meetings and discover projects?

O Have you checked the full show programme of MIPTV conferences, screenings and events not to be missed?

O Ensure you download the MIPTV App to get the most out of MIPTV Find answers to all these questions on the following tips & services section. For more details please refer to my-mip.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.

Where to get tickets: Desk at Terminal 1: outside arrivals, Gate A0.

Opening hours: 8.00 - 23.00 Desk at Terminal 2: outside arrivals, between gates A1 and A2. Opening hours: 8.00 - 24.00 • The Nice AirportXpress line to Cannes (bus N°210) goes to and from Nice Côte d’Azur International Airport and the Cannes bus station via Le Cannet everyday from 8.00 to 20.00 every 30 minutes.

Journey takes 50 minutes. uk.niceairportxpress.com A one-way ticket costs €22 and a return ticket costs €33.

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.

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

Where to catch it: Terminal 1: platform 3. preview magazine I March 2016 I www.miptv.com

GETTING TO MIPTV UPON YOUR ARRIVAL

2• SERVICES CONTENT, CONFERENCE & SCREENING VENUES CLUBS / MEETING AREAS ADDITIONAL SERVICES

3• GENERAL MAP OF MIPTV TRAIN FROM THE AIRPORT To get to the Nice train station from the airport, go to Terminal 1, gate 6, take bus 23, direction Vallon des Fleurs (€1,50). 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 30 minutes.

A one-way ticket costs from €5,90.

Book your train tickets at www.tgv-europe.com or by calling +33 (0)8 92 35 35 35 CAR RENTAL If you wish to rent a car, our official partner Sixt Rent a Car can provide you with preferential rates.

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

HELICOPTER Our official partner 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 €160 per person.

T: +33 (0)4 93 90 40 70 www.azurhelico.com / info@azurhelico.com

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Tips & Services PRIVATE TRANSFERS For short or long trips, from 1 to 8 people, rent a private car with driver and save over 20% with our official partner Chabé.

Airport shuttles from Nice to Cannes €120 (sedan) or €140 (luxury van – up to 8 pax) Evening offer* (4 hours): €340 *For quotes 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 Security measures for MIPTV: Please be informed that bag checks will be undertaken at the entrances to the exhibition. If you have suitcases or other luggage with you, we kindly requested you leave them at our complimentary left luggage facilities. Thank you for your assistance. These measures are installed in accordance with French government’s Plan Vigipirate security regulations.

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 my-mip.com database using your personal access codes. They include a barcode for ID recognition. Print it out to collect your badge at a selfservice delivery point or scan the QR Code on your smartphone and save time at the registration area.

BADGE COLLECTION NEW – Nice airport, Terminal 1 Save time and collect your badge directly at the airport whilst waiting for your luggage.

• Saturday 2 April, 14.00-19.00 • Sunday 3 April, 9.00-19.00 • Monday 4 April, 8.00-19.30 Registration – Croisette 21 Save time by using an e-ticket at the self delivery points.

Registration opening hours • Saturday 2 April: 9.00-19.00 • Sunday 3 April: 8.00-19.00 • Monday 4 April: 8.00-19.30 • Tuesday 5 – Wednesday 6 April: 8.30-19.00 • Thursday 7 April: 8.30-16.00 Badges can also be collected from: The Grand Hyatt Cannes Hotel Martinez during MIPDoc Majestic Hotel • Saturday 2 April: 9.00-19.00 • Sunday 3 April: 8.00-19.00 • Monday 4 April: 8.00-19.00 Press registration Croisette 21 MARKET OPENING HOURS • Monday 4 – Wednesday 6 April: 8.30-19.00 • Thursday 7 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 2016 World Premiere TV Screening Monday 4 April, 18.30-19.30 Grand Auditorium, Palais 1 “Roots” presented by A+E Studios.

• MIPTV Opening Party and Red carpet photocall Monday 4 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! • First timers’ presentation and discovery tour Sunday 3 April, 17.00. Main entrance, Palais des Festivals. Followed by a welcome drink.

• First timer meet & greet corner Monday 4 April, 19.30-20.30. Lobby bar 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.

• First timer welcome breakfast Monday 4, Tuesday 5 and Wednesday 6 April 9.00-10.00, Palais -1 Meet the team and glean tips on how to make the most of your MIPTV. preview magazine I March 2016 I www.miptv.com

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 Audi A: Palais 3 Audi K: Palais 4 Esterel: Palais 5 Grand Auditorium: Palais 1 Meet the Speakers’ Lounge: Palais 5 MIP Digital Square: Palais -1 Sony 4K Ultra HD Theatre: Auditorium 1, Palais 4 Speakers’ Matchmaking Lounge: Palais 3

CLUBS / MEETING AREAS BUYERS’ CLUB

In association with

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.

GOLD BUSINESS LOUNGE

In association with

Palais -3 – Aisle A 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.

LOUNGE Palais 3 A relaxed business lounge for all participants.

Includes internet points.

MIPTV NEWS Palais 3 Visit the News Room during the market to brief our team of journalists about your breaking news, latest deals, events, parties and photo opportunities!

PARTICIPANTS’ AND PRODUCERS’ CLUB Palais -1 – Aisle B & C Open to all participants attending MIPTV without a stand. Features include a meeting area, free coffee service, telephone charging stations and a message system.

95

Tips & Services

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.

VIP CLUB

In association with

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.

ADDITIONAL SERVICES CONCIERGE SERVICE 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.

TELEPHONE CHARGERS

Online Database

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

Want to know who is going to MIPTV? • Search among participating companies and visitors to find your future business partners.

• Increase your visibility by completing your profile and adding a photo and a company logo.

• Send direct messages and start organizing your meetings.

The most effective tool to start networking before the show begins!

Connect today on my-mip.com/online-database

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 hand to assist you with your reservations during MIPTV.

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.

Hotline: +33 (0)4 97 06 37 65 Website: www.viapass.com

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

In association with

Wi-Fi Professional blow dry, manucure and make-up service for both men an women.

C11

FremantleMedia Group

C16.A

Talpa Global

C16.B

Fox

C16.C

Nordic Pavilion

C16.D

ITV Inter Medya

C17

Warner Bros. International Television Distribution Warner Bros. International Television Production

C20.A

Banijay Group – Zodiak Media

C20.B

Arab Telemedia

C11 Sea

Riviera 8

Beach

Riviera 7 Riviera 9

C15 C17

Information points with hostesses can be found at strategic positions all around the market.

MIPTV shuttle

C16.D C16.C

C16.B

Palais -1 to 6

C16 .A

BAG AND GUIDE DISTRIBUTION

2UJDQLVHUťV 2ƢFH & Protocol 0.B

C2

C20 .A La Croisette

Access to Grand auditorium conferences

Port

Registration Press Club

Main Entrance

Sponsored by

10

min

Carlton Hotel

Access

Majestic Hotel

La C roise

13

min

Palais -1 Offers a complete range of secretarial and administrative services at competitive rates, from photocopying to printing and computer usage.

In association with

Croisette 11 to 20

HELP DESK

THE BUSINESS CENTRE

HAIR & NAIL BAR

3• GENERAL MAP OF MIPTV

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

Croisette 21 Pick up a MIPTV bag and guide at any time during the show by presenting your badge.

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.

There are 2 venues available free of charge. One next to registration and one on the main concourse along the seafront.

MEMBER DESK

INFORMATION POINTS

Mobile Application

LEFT LUGGAGE

The Grand Hyatt Cannes Hotel Martinez

preview magazine I March 2016 I www.miptv.com

tte

Train Station

NEW THE PRE-MIPTV DRAMA SHOWCASE FOR INTERNATIONAL BUYERS

MIPDRAMA SCREENINGS SELECTION JURY

9.00-10.00 WELCOME COFFEE 10.00-13.00 SCREENINGS

By invitation

13.00-14.00 NETWORKING LUNCH

SUNDAY 3 APRIL

14.00-18.00 SCREENINGS

JW Marriott Cannes Designed to meet the growing international demand for high-end drama series from Europe and other major drama-producing territories, this brand new by invitation only event is aimed at curating the best of scripted content being premiered at MIPTV.

18.00-18.30 MIPDRAMA AWARD CEREMONY & CREATIVE TALK From 18.30 NETWORKING COCKTAIL

Teresa Fernández-Valdés and Ramón Campos Sáez, Showrunners, “The Refugees”, “Velvet”, “Gran Hotel” (Spain) Chris Long, Director and Executive Producer, “The Americans” and “The Mentalist” (USA) Sarah Phelps, Writer and Executive Producer, “And Then There Were None,” whose credits also include “Casual Vacancy” and “Great Expectations” (UK) Søren Sveistrup, Creator and Writer, “Forbrydelsen/The Killing” (Denmark) Anna Winger, Writer and Co-Creator, “Deutschland 83” (Germany)

MIPDRAMA SCREENINGS OFFICIAL SELECTION BODO

BORDERTOWN

Production: TELEWIZJA POLSKA, AKSON STUDIO

Production: FISHER KING & FEDERATION ENTERTAINMENT

Distribution: TELEWIZJA POLSKA Broadcaster: TVP 1, TELEWIZJA POLSKA

Distribution: FEDERATION ENTERTAINMENT Broadcaster: YLE

KU’DAMM 56 REBEL WITH A CAUSE

MATHILDE

Production: UFA FICTION for ZDF/ZDF ENTERPRISES

Broadcaster: CHANNEL ONE RUSSIA

Production: ROCK FILMS STUDIO

I KNOW WHO YOU ARE Production: ARCA (FILMAX) Distribution: FILMAX INTERNATIONAL and MEDIASET Broadcaster: MEDIASET

MEDICI: MASTERS OF FLORENCE Production: LUX VIDE, BIG LIGHT PRODUCTIONS

Distribution: ZDF ENTERPRISES

Distribution: WILD BUNCH TV

Broadcaster: ZDF

Broadcaster: RAI

PUBLIC ENEMY

RAMONA

SECTION ZERO

Production: PLAYTIME FILMS/ENTRE CHIEN ET LOUP

Production & Distribution: WOOD PRODUCCIONES

Production: EUROPACORP TELEVISION, BAD COMPANY and UMEDIA

Distribution: BANIJAY INTERNATIONAL

Broadcaster: TVN CHILE

Broadcaster: RTBF

Distribution: STUDIOCANAL Broadcaster: CANAL+

THE A WORD

THE SECRET

VICTORIA

Production: FIFTY FATHOMS and KESHET UK

Production: MAMMOTH SCREEN

Distribution: KESHET INTERNATIONAL

Production: HAT TRICK PRODUCTIONS IN ASSOCIATION WITH NORTHERN IRELAND SCREEN

Broadcaster: BBC ONE

Distribution: HAT TRICK INTERNATIONAL Broadcaster: ITV 1

Distribution: ITV STUDIOS Broadcaster: ITV STUDIOS GLOBAL ENTERTAINMENT

CALLING ALL PRODUCERS! MIPTV 2016 PRODUCERS PROGRAMME Producers are challenged every day to fill their screens, from co-productions to digital creation, and need to know about creation, production, distribution and financing.

MIPTV provides it all.

PRODUCERS TOOLBOX Monday 4 April, Agora, 15.15-15.45 WHEN TV LEVERAGES ONLINE INFLUENCERS Find out how you collaborate with the new players, what the brand-new business paradigms and the new online rules of the game are.

Tuesday 5 April, Agora, 10.00-10.30 ONLINE NATIVE FORMATS TO TV: MYTHS & REALITIES The online world abounds with fresh new concepts, ideas, talent and formats but do the linear rules of the game still apply?

Wednesday 6 April, Agora, 10.15-10.45 FINANCING DRAMA: FILLING THE GAP While budgets are skyrocketing, what are the new and innovative ways of financing premium drama to tell new stories and nurturing fresh talent?

Wednesday 6 April, Agora, 11.00-11.30 WHY WEB SERIES WILL BE THE NOUVELLE VAGUE IN FICTION? An update on this cutting-edge creative phenomena.

BRAND NEW PRODUCERS MEET-UPS Located at the heart of the Digital Square, Palais -1, a brand new meet up & pitching zone offers a programme of events designed to help producers to meet and create new partnerships in every corner of the globe.

Monday 4 April, Digital Square, 11.00-12.00 TURKEY & MIDDLE EAST Monday 4 April, Digital Square, 12.00-13.00 AFRICA Tuesday 5 April, Digital Square, 11.00-12.00 EASTERN EUROPE & RUSSIA Wednesday 6 April, Digital Square, 11.00-12.00 SPAIN, PORTUGAL & LATIN AMERICA Thursday 7 April, Digital Square, 11.00-12.00 ASIA >>> Register Online: www.miptv.com/programme

CHANNELS & PLATFORMS MATCHMAKINGS Producers, here’s your chance! Don’t miss this exclusive opportunity to pitch your projects, find out what they are looking for and cement new partnerships.

Monday 4 April, Speakers Matchmaking Lounge, 11.00-11.45 DRAMA AT MIPTV: MATCHMAKING WITH CHANNELS & PLATFORMS Tuesday 5 April, Speakers Matchmaking Lounge, 15.30-16.15 KIDS @ MIPTV: MATCHMAKING WITH CHANNELS & PLATFORMS >>> Register Online: www.miptv.com/programme

VIRTUAL REALITY EXPERIENCE SHOWCASE Wednesday 6 April Grand Auditorium, 14.30-16.00 Virtual reality will be hot at MIPTV, don’t miss a spectacular showcase in the Grand Auditorium…

It’s getting more real than virtual.

Your content, your community. Any screen. The global TV and digital marketplace in April.

4-7 APRIL 2016 // CANNES // FRANCE

MIPTV 2016 Conference & Events Programme

THE POWER OF FANS In a talent-led ecosystem increasingly powered by communities of fans, the traditional content value chain is transforming dramatically.

Acting virtually like brands, broadcasters, platforms and creators are more than ever before finding ways to connect to enthusiastic audiences millennials, Gen Z and beyond - through the most attractive, innovative, and sticky content.

In drama alone, the power of fans has driven an unprecedented hunger across the globe for original content that both traditional and online players are working overtime to satiate.

And digital studios - MCNs and MPNs - are the new rising stars in this complex fan-driven equation where, like brands, uniqueness and originality are absolutely vital to achieve the passionate connect.

Welcome to a world where attention, community and relationship is all. Welcome to the Power of Fans.

MEDIA MASTERMIND KEYNOTES

SPECIAL FEATURES

Margaret Czeisler Chief Strategy Officer Wildness

Harlan Coben Novelist, Creator, Executive Producer ‘The Five’

Guillaume de Posch Co-CEO RTL Group

MONDAY 4 APRIL GRAND AUDITORIUM 11.45-12.15

MONDAY 4 APRIL GRAND AUDITORIUM 12.20-12.50

MONDAY 4 APRIL GRAND AUDITORIUM 16.30-17.00

Richard Dickson President and Chief Operating Officer Mattel

Dominique Delport President, Vivendi Content Global Managing Director Havas Media Group

Ted Schilowitz Futurist 20th Century Fox

TUESDAY 5 APRIL GRAND AUDITORIUM 17.15-17.45

WEDNESDAY 6 APRIL GRAND AUDITORIUM 10.30-11.00

WEDNESDAY 6 APRIL GRAND AUDITORIUM 14.30-16.00

Buyers and Commissioners come and meet the next generation studios !

MONDAY 4 APRIL

MONDAY 4 APRIL

TUESDAY 5 APRIL

GRAND AUDITORIUM, 15.00-15.30

GRAND AUDITORIUM, 15.45-16.15

GRAND AUDITORIUM, 10.40-11.10

MONDAY 4 APRIL, GRAND AUDITORIUM, 17.10-17.40

Variety’s 2016 Achievement in International Television Award at MIPTV:

Jeremy Darroch Group Chief Executive Sky

TUESDAY 5 APRIL, ESTEREL, 9.30-10.00

Sports, the Origins of Fans Ronaldo Football World Champion & TV Globo Commentator

Brands @ TUESDAY 5 APRIL A one-day journey from mastering your video content strategy to becoming a media owner.

Catherine Balsam Schwaber Chief Content Officer Mattel

TUESDAY 5 APRIL

TUESDAY 5 APRIL

TUESDAY 5 APRIL

GRAND AUDITORIUM, 11.20-11.50

GRAND AUDITORIUM, 12.00-12.30

GRAND AUDITORIUM, 15.45-16.15

Laura Henderson Head of Media and Monetization Mondelez Åse Ericson Head of TV & Event Swedish Postcode Lottery

TUESDAY 5 APRIL

WEDNESDAY 6 APRIL

WEDNESDAY 6 APRIL

GRAND AUDITORIUM, 16.30-17.00

GRAND AUDITORIUM, 11.15-11.45

GRAND AUDITORIUM, 12.00-12.30

GRAND HYATT CANNES HÔTEL MARTINEZ 12.30-14.45 By invitation

BRANDS & ONLINE VIDEO LUNCH SUMMIT Supported by 15.00-16.30 By invitation

THE BRANDS MATCHMAKING

NEW THE PRE-MIPTV DRAMA SHOWCASE FOR INTERNATIONAL BUYERS By invitation SUNDAY 3 APRIL, JW Marriott Cannes, 9.00-18.30 followed by Cocktail

>>> SEE PAGE 112 FOR FULL DETAILS

MIPTV WORLD PREMIERE TV SCREENING MONDAY 4 APRIL GRAND AUDITORIUM, 18.30-19.45, doors open at 18.00

A+E Studios presents a MIPTV World TV Premiere Screening of ‘Roots’ featuring Academy Award® winner Anna Paquin; Golden Globe Award® winning and Emmy Award® nominated actor Jonathan Rhys Meyers; Tony Award® winner Anika Noni Rose; Malachi Kirby (“Kunta Kinte”); and Executive Producer Mark Wolper (son of David Wolper, producer of the original “Roots” series) and Co-Executive Producer LeVar Burton (who portrayed Kunta Kinte in the original “Roots” series).

Developed by HISTORY®, from A+E Studios, the four-night, eight-hour event series is a historical portrait of American slavery recounting the journey of one family and their will to survive and ultimately carry on their legacy despite hardship.

A+E Networks handles worldwide distribution for ‘Roots’.

Presented by

INTERNATIONAL DRAMA SCREENINGS TUESDAY 5 APRIL AUDITORIUM K, 11.00-12.30

TUESDAY 5 APRIL AUDITORIUM K, 17.30-19.00, by invitation only

THE EMBASSY

INTERSECTION

CANNABIS

By Beta Film

By Endemol Shine International

By Lagardère Studios Distribution

©Manuel Fernandez-Valdes

MONDAY 4 APRIL AUDITORIUM K, 9.00-10.30

INTERNATIONAL DRAMA CO-PRODUCTION SUMMIT MONDAY 4 APRIL CARLTON HOTEL, 14.15-18.00, by invitation only

MONDAY THROUGH THURSDAY 4-7 APRIL AUDITORIUM I - 4K ULTRA HD THEATRE MIPTV’s Ultra HD conferences will showcase the latest in 4K Drama, Factual, Music and Sport.

Supported by:

Knowledge partner

TUESDAY 5 APRIL, CARLTON HOTEL, 9.30-12.30 By invitation

FUTURE OF KIDS TV SUMMIT MIPTV’s annual invitation-only gathering of worldwide top executives shaping the future of kids content.

With more than 1,000 children’s entertainment buyers and 1,200 companies distributing and producing kids’ programmes, MIPTV is the ideal place to discover exclusive content that isn’t showcased anywhere else.

K@IMDIPTSV ®

The International Emmy® Kids Awards will be presented in partnership with Reed MIDEM on Tuesday 5 April at the Carlton Hotel, from 19.30 (by invitation).

Supported by:

CONFERENCE HIGHLIGHTS

Jules Borkent SVP Global Acquisitions and International Programming Viacom International Media Networks Nickelodeon

David Michel President and Founder Cottonwood Media

MIPTV 2016 Conference & Events Programme SUNDAY 3 APRIL

NEW

THE PRE-MIPTV DRAMA SHOWCASE FOR INTERNATIONAL BUYERS By invitation JW Marriott Cannes

MONDAY 4 APRIL

TUESDAY 5 Producer Toolbox

Producer Toolbox Esterel

Esterel

Agora

10.10-10.50 THE POWER OF FANS SUPERPANEL

9.15-10.00 INTERNATIONAL TV & CONTENT TRENDS

Esterel

9.00-10.30 ‘THE EMBASSY’

10.00-10.45 REGIONAL DIGITAL FRONTS: MCNS FROM AROUND THE WORLD

Auditorium K

11.00-11.40 eSPORTS, THE NEXT BIG CONTENT PLAY?

Screening by Beta Film Auditorium A

10.00-11.00 CHANNELS & PLATFORMS TALK Speakers Matchmaking Lounge

Sony 4K Ultra HD Theatre

10.00-10.30 WELCOME INTRODUCTION

Auditorium A

Agora

Verriere Grand Auditorium

9.15-9.30 MARKET OVERVIEW

10.00-10.30 ONLINE NATIVE FORMATS TO TV: MYTHS & REALITIES

8.30-9.30 THE NORDIC MEDIA MOGULS BREAKFAST

Agora

Esterel

11.45-12.15 VR CREATORS MAKING WAVES IN CANADA

9.30-10.00 SPORTS, THE ORIGINS OF FANS

By Canada Media Fund and Telefilm Canada

Featuring TV Globo & Football World Champion Ronaldo

Auditorium A

10.30-10.45 ULTRA HD’S FAST-GROWING IMPORTANCE

9.30-10.15 BEYOND THE HYPE: GERMAN DRAMA SERIES GOING GLOBAL

10.45-12.00 ULTRA HD: JAPAN IS BOOSTING PRODUCTION

Auditorium A

11.00-11.45 MATCHMAKING WITH CHANNELS & PLATFORMS

Industry Spotlight

10.30-11.15 REAL LOVE: DATING, MARRIAGE AND REAL REALITY

Supported by The Nordics

Auditorium A

11.30-12.00 THE NORDIC DRAMA SPOTLIGHT Presented by The Nordics

Brands @

Media Mastermind Keynotes

Grand Auditorium, 10.00-10.30

BRANDS AS CREATORS: THE FUTURE OF ONLINE VIDEO STRATEGY WITH YOUTUBE

Grand Auditorium, 11.45-12.15

MARGARET CZEISLER, CHIEF STRATEGY OFFICER, WILDNESS Grand Auditorium, 12.20-12.50 HARLAN COBEN, NOVELIST, CREATOR, EXECUTIVE PRODUCER ‘THE FIVE’

Grand Auditorium, 10.40-11.10

Screening

ENDEMOL BEYOND

Grand Auditorium & Balcony, 13.15-14.15

Grand Auditorium, 11.20-11.50

FRESH TV FORMATS

STUDIO 71, A DIVISION OF PROSIEBENSAT.1 MEDIA

9.00-10.00 WELCOME COFFEE 10.00-13.00 SCREENINGS 13.00-14.00 NETWORKING LUNCH 14.00-18.00 SCREENINGS 18.00-18.30 MIPDRAMA AWARD CEREMONY & CREATIVE TALK

Producer Toolbox

Drama Screnings

Esterel

Agora

Auditorium K

14.15-14.45 “LIVE”, THE NEW COOL IN A NON-LINEAR WORLD

15.15-15.45 WHEN TV LEVERAGES ONLINE INFLUENCERS

15.45-17.15 INTERNATIONAL DRAMA SCREENING

Esterel

15.00-15.30 FEED THE PASSION, ENGAGE YOUR 360° FANS Supported by Bell Fund

Grand Auditorium, 12.00-12.30

WEBEDIA Sony 4K Ultra HD Theatre

Carlton Hotel

14.00-15.00 DRAMATIC ENTERTAINMENT IN HDR ULTRA HD

By invitation

Sony 4K Ultra HD Theatre

15.15-16.30 SPORT: BREAKING RECORDS IN ULTRA HD HDR

14.15-18.00 INTERNATIONAL DRAMA CO-PRODUCTION SUMMIT Supported by Canada Media Fund, Telefilm Canada and United Talent Agency

Brands @ Grand Hyatt Cannes Hôtel Martinez

12.30-14.45 By invitation

BRANDS & ONLINE VIDEO LUNCH SUMMIT Supported by Insight TV

15.00-16.30 By invitation

THE BRANDS MATCHMAKING

Grand Auditorium, 15.00-15.30

miplab Esterel

Agora

14.00-14.30 FRESH INNOVATION: TECH ROCKS CONTENT

14.30-15.30 SCRIPTED FORMATS: WHAT’S HOT, WHAT’S NEXT?

Esterel

14.35-15.05 WHAT’S NEXT? FUTUROLOGISTS TALKS Esterel

15.15-15.45 THE INNOVATION SHOW: THE START-UPS TO COME

Auditorium K

15.30-17.00 THE NORDIC DRAMA SCREENING Presented by The Nordics Auditorium K

17.30-19.00 By invitation only

MACHINIMA

‘CANNABIS’

Grand Auditorium, 15.45-16.15

Screening by Lagardère Studios Distribution

FREMANTLEMEDIA-THE FOOTBALL REPUBLIC

From 18.30 NETWORKING COCKTAIL

Media Mastermind Keynotes Grand Auditorium, 16.30-17.00

GUILLAUME DE POSCH, CO-CHIEF EXECUTIVE OFFICER, RTL GROUP Grand Auditorium, 17.10-17.40

VARIETY’S 2016 ACHIEVEMENT IN INTERNATIONAL TELEVISION AWARD AT MIPTV: JEREMY DARROCH, GROUP CHIEF EXECUTIVE, SKY

MIPTV World Premiere TV Screening

VISIT MIPTV.COM FOR REGULAR UPDATES As of 22 February 2016, subject to change.

MIPTV Thanks its Conference Sponsors & Partners

Grand Auditorium, 15.45-16.15

NEW FORM DIGITAL Grand Auditorium, 16.30-17.00

MAKER STUDIOS

Media Mastermind Keynote

Grand Auditorium, 18.30-19.45 Doors open at 18.00

Grand Auditorium, 17.15-18.30

‘ROOTS’

RICHARD DICKSON, PRESIDENT AND CHIEF OPERATING OFFICER, MATTEL

Presented by A+E Studios Grand Hyatt Cannes Hôtel Martinez, from 19.30 MIPTV OPENING PARTY and MIPTV 4K Premiere TV Screening ‘MORIBITO’ Presented by NHK/NEP

Carlton Hotel, from 19.30 By invitation

INTERNATIONAL EMMY® KIDS AWARDS

THE POWER OF FANS 4-7 APRIL 2016 // CANNES // FRANCE

APRIL Drama Screnings Auditorium K

Carlton Hotel

11.00-12.30 ‘INTERSECTION’

8.30-9.30

Screening by Endemol Shine International

FUTURE OF KIDS TV SUMMIT BREAKFAST

Sony 4K Ultra HD Theatre

10.00-10.25 KEYNOTE Bill Baggelaar, SVP Post Production Technologies, Sony Pictures Entertainment 10.30-12.00 ULTRA HD HDR: ADDING THE “WOW” FACTOR

Buyers Club

Verrière Californie

8.30-9.30 MIPCANCUN PRESENTATION & BREAKFAST FOR BUYERS

9.00-10.30 By invitation

KIDS PUBCASTERS BREAKFAST

By invitation

Screenings

Featuring the International Emmy® Kids Awards Nominee Ceremony

Grand Auditorium, 9.45-10.15

Sony 4K Ultra HD Theatre

SHOWCASE: THE BEST OF WEB SERIES

9.30-10.45

Media Mastermind Keynote

Carlton Hotel

9.30-12.30 By invitation

Grand Auditorium, 10.30-11.00

FUTURE OF KIDS TV SUMMIT

DOMINIQUE DELPORT PRESIDENT, VIVENDI CONTENT & GLOBAL MANAGING DIRECTOR HAVAS MEDIA GROUP

Supported by Majid Entertainment

MUSIC: HITTING THE RIGHT NOTES Producer Toolbox

11.15-12.00 THEY MADE MIPTV !

Catch-up session featuring exclusive interviews of top executives & thought leaders in Cannes.

Sony 4K Ultra HD Theatre

13.30-14.30 ULTRA HD SCREENINGS NON-STOP The best of 4K Ultra HD in a continuous screening session.

11.00-11.30

WHY WEB SERIES WILL BE THE NOUVELLE VAGUE IN FICTION?

Grand Auditorium, 12.00-12.30

Sony 4K Ultra HD Theatre

VICE

11.00-12.15

Screening Grand Auditorium, 13.45-14.15

Sony 4K Ultra HD Theatre

Auditorium A

14.00-14.20 KEYNOTE: David Royle, EVP Programming & Production, Smithsonian Networks

14.30-15.30 CHANNELS & PLATFORMS TALK

15.45-17.00 FACTUAL: TELLING NEW STORIES

Agora

FINANCING DRAMA: FILLING THE GAP

THE NEW ULTRA HD BROADCASTERS

Sony 4K Ultra HD Theatre

10.00-11.00 BEST OF FRESH TV A special selection of the Fresh TV Formats & Fiction Screenings.

10.15-10.45

FULLSCREEN

14.20-15.30 FORWARD THINKING IN ULTRA HD

Agora

Agora

Agora

Grand Auditorium, 11.15-11.45

Sony 4K Ultra HD Theatre

THURSDAY 7 APRIL

WEDNESDAY 6 APRIL

FRESH TV FICTION

Virtual Reality

Speakers Matchmaking Lounge

15.30-16.15 MATCHMAKING WITH CHANNELS & PLATFORMS

Grand Auditorium, 14.30-16.00

VIRTUAL REALITY EXPERIENCE SHOWCASE

Agora

15.45-16.30 WORKING WITH AMERICAN WRITERS/ HOW TO MAKE THE DEAL

14.00-15.00 MIPTV TRENDING TOPICS The Most Buzz-worthy trends of The Market Are Discussed and Analysed by a Panel Industry Experts.

BRAND NEW! DIGITAL SQUARE MEETS-UPS MONDAY 4 APRIL Digital Square, Palais -1

9.00-10.00 FIRST TIMER NETWORKING BREAKFAST 11.00-12.00 PRODUCERS MEET-UP: TURKEY & MIDDLE EAST REGISTER ONLINE: www.miptv.com/programme 12.00-13.00 PRODUCERS MEET-UP: AFRICA REGISTER ONLINE: www.miptv.com/programme 14.00-15.00 COFFEE BREAK 15.00-16.00 PITCHING SESSION

TUESDAY 5 APRIL Part 1 - Getting started with VR Tips, Tools, Examples: All you ever wanted to know about VR but never dared to ask.

Producer Toolbox

Agora

Part 2 - The VR Experience Virtual reality is getting real. But what can you expect from it?

Join Orange (content division) & Fox Innovation Lab and experience VR from different angles.

Digital Square, Palais -1

9.00-10.00 FIRST TIMER NETWORKING BREAKFAST 11.00-12.00 PRODUCERS MEET-UP: EASTERN EUROPE & RUSSIA REGISTER ONLINE: www.miptv.com/programme 14.00-15.00 COFFEE BREAK 15.00-16.00 PITCHING SESSION

WEDNESDAY 6 APRIL Digital Square, Palais -1

By Writers Guild of America, West

9.00-10.00 FIRST TIMER NETWORKING BREAKFAST 11.00-12.00 PRODUCERS MEET-UP: SPAIN, PORTUGAL AND LATIN AMERICA REGISTER ONLINE: www.miptv.com/programme 14.00-15.00 COFFEE BREAK 15.00-16.00 PITCHING SESSION Carlton Hotel, from 19.30 By invitation

SV K@ID MIPT ®

MIPTV GALA DINNER: MÉDAILLES D’HONNEUR

THURSDAY 7 APRIL Digital Square, Palais -1

11.00-12.00 PRODUCERS MEET-UP: ASIA REGISTER ONLINE: www.miptv.com/programme